Congratulations Sayings On Engagement

the film print: next stop - terminus station

When I am about the recent Berlinale with JPG, the chair of the Cinema Museum Berlin eV, met - as was the future margin of the audiovisual media, film process, a topic of conversation. Of course, some truth to JPGs argument that more than 85% of all commercially operated theaters worldwide are working with film.

I liked for a prognosis, how long to be copied and distributed to print film is, I admit, however, only on a six-month intervals. And patter the messages currently in the same constant sequence start: first

The German film processing plants now seem an order slowdown in 35-mm productions in terms of evolution have led to negative. The new large chip cameras such as RED, Alexa und die neue AF-101 von Panasonic hauen kräftig ins Kontor. Es wird mehr und mehr als Filmemacher "unschicklich", noch weiterhin mit Film zu arbeiten -- siehe auch die jüngste Diskussion um das Verbot von Super16-Negativ-Materialien wegen "Kompressionsartefakten bei Filmkorn", also eigentlich wegen übertrieben niedrigen Datenraten. Das Raunen vom "Filmlook" ist so weit weg verhallt, dass man sich fast schon gar nicht mehr daran erinnern kann.

2. Der Fachpresse kann man derzeit entnehmen, dass z.B. die 35-mm-Print-Abteilungen bei der Geyer-Nachfolgefirma aus Hamburg und München nach Berlin zusammengezogen und konsolidiert werden sollen, bzw. schon wurden.

3. Der UK-Guardian brachte gestern einen sehr persönlichen Beitrag the film artist Tacita Dean, after which the last remaining film lab with 16-mm print department (and positive) tract in the UK, the former 'Soho Film Laboratory', - after acceptance by the Deluxe Corporation (and, therefore, now renamed the 'deluxe Soho ') has closed with immediate effect, the 16-mm-Positive Division:
http://www.guardian.co.uk/artanddesign/2011/feb/22/tacita-dean-16mm-film/print

I am very happy that we could write to the output 8 of the "Wonders of the cinematography," a brief 'history of film processing plant' and it sat so still a small memorial:
http://www.amazon.de/exec/obidos/ ASIN/3934535267/kulturcontent-21

Zeit würde es jetzt, ggf. eine Liste aufzusetzen, welche Filmkopierwerke in der weiten Welt überhaupt noch was an klassischen Filmkopierwerksleistungen anbieten können. Anders herum formuliert, die letzten würden nicht die Hunde beißen, sondern ein vielleicht erträgliches Auskommen haben können, sich den verbleibenden Restmarkt an Filmkünstlern, Liebhabern und sonstigen 'Verrückten' aufzuteilen.

Völlig unbeantwortet bleibt weiterhin die Frage, worauf die ganze Flut an Video-Digital-Werken und sonstigen Bewegtbild-Materialen kuratorisch selektiert und mit einer gewissen Erhaltungschance materiell gespeichert und gesichert werden soll und werden kann.

Wir nähern uns schwarz bleibenden Zeiten vor lauter Bildschirm-Blendung.

JP

American Standard L Shaped Shower Curtain Rod

Manfred Salzgeber - biography and bio-doc still missing

Egbert Hörmann's brief hommage article on Manfred Salzgeber is an interesting read from Berlinale's Teddy Award journal at its 25th anniversary run. However it reminds me urgently that an in-depth and detailed written biography on Manfred Salzgeber is still missing after all these years. Manfred Salzgeber was one of the outmost inspirators of its time for bringing German cinema culture, festival curatorship and film publishing to new horizons.

Indeed he was bringing "the salt" into a still grey everyday life soup of Stuttgart and Berlin during the 1960s and 1970s -- before becomming internationally known and renowned as the sidekick of the Berlinale and Moritz de Hadeln during the 1980s in his own right.

Two years ago I publicly questioned that a bio-doc (or even bio-doc series regarding all things considered) on Manfred Salzgeber and on his life, work and influence until today is also still missing sadly:
http://kinoberlin.blogspot.com/2009/02/manfred-salzgeber.html

The reactions after my call made it clear to me that there seems to be a sort of local conflict in multiple perspectives and consisting of several different interest parties involved: the hiers, their inheritance, the remaining artefacts and their legal rights, the commercial continuation of Salzgeber's film distribution, the Berlin International Film Festival and its sudden interest in current Kiezkino but not in their own history track, the Panorama section with the successor of M.S., the Teddy Awards merchandize and now the forthcoming Teddy Academy, plus local Public Radio Television with their archives, licensing strategies and program policies.

So, unfortunatly, it seems continiously that it might not be a comfortable choice to be right in the middle of such an intense conflict of interests with such mighty powerful parties. However this strugge for a Salzgeber biopic becoming real might be a doc (or even a feature movie) in itself, on the Berlin 'Hauptstadtgefühl' with this everlasting presence of the present while neglecting history.

http://www.berlinale.de/de/archiv/archiv_biografien/Biografie_Salzgeber.html
http://de.wikipedia.org/wiki/Manfred_Salzgeber
http://www.amazon.de/gp/product/392679660X/

JP

Perfect 10 Ash Blonde

Riemengesang

The scouring and sharpening

greasy leather

Rosa gallop on cracking ice

abdominal

flat on the ground

hip

spread apart completely

anatomically wrong-headed

invitation

supervisor to increase cross

Such

I be powerless

In Frozen clutching

For future arbitrary

The skin chasing

An opening

Without Zapf

The scouring and sharpening

greasy leather

Rosa gallop on cracking ice

ice packs

This is the Los

The white pig

with green faces

A shrill outing

enhancement of nature

Hysteron-Proteron

breaking wind

The scouring and sharpening

greasy leather

Rosa gallop on cracking ice

Have You Ever Gave A Male Brazilian Wax

Dancing on Ashes (Tedibea)

Thoughtfully considered Skull from the rearmost Table in the cabaret heads, hair styles and faces of the people who sip their drinks off their cell phones, yet quickly bring a sentence, although the public light has already ausgedimmt. Since they actually missed the moment, had summoned the Devyani it requires special attention: the sublime uncanny way the silhouette of a Japanese geisha out of the darkness to the edge of the beam. The unmistakable floating gear to the wonderful wooden sandals of their culture, the result of lifelong training, as if the woman moves on wheels. It follows a traditional geisha dance without musical accompaniment. The elegant quiet steps, the moderate gestures and bows, the interplay between taking and release of the kimono fabric with regard to its cultural inaccessibility and the lack of music is a strange abstract intimacy, and the consistency between gesture, make-up and mixed material, the presence of the dancer to a kind of closed work of art makes the greatest density.

occurs at their disposal another dancer, or is it a man into space - the memory banks of the same subtle early railways. He or she, without makeup, in western clothing, namely, track pants and sneakers, performed the same dance. As expected, the effect is entirely different. Skull Face for the presentation now looks to contemporary conceptual Dance, which concludes them to be interpreted as an attempt at uncovering patterns of motion in the context would seem meaningless. Some gestures received by the lack of panels a funny note, and the floating gear is for the rubber sole of the Adidas shoes almost impossible. From time to time is on the precise quarter-turns or reverse steps to hear a slight squeak, and the close ties up the thigh and knee seems absurd.

After her disappearance, this figure is now replaced by a distinctly male form. She is naked and performs exactly the same traditional choreography with all its refinements and subtleties but the genitalia simply do not have fit into the overall picture. Again and again tumble and swing it out, what the rest of the body bound even more extreme in itself and can act banned. Thanks to the precise repetition of formulaic steps and arm movements, the tilting of the head and trickily varying perspectives of the eyes, the complexity of the composition of the Geisha dance is a part, tangible, on the other hand, reach, until finally builds up over all the possible levels of meaning an internal defense, at least for Skull Face.

As the last passage brings the change to a giant teddy bear, the audience spontaneously began to clap, by each strain is different from the humor of the stuffed animal. Of course, the dancers in brown full-body costume same facilitations and subtle changes in the Geisha follows as closely as possible. In view of the quaintness of his figure and the gaze of Soulful button eyes, the feeling of congestion in peals of laughter discharges. The memory of the discreet bows, now run by a giant round head, these fine finger sign, lost in the clumsy claws. No less preposterous the short legs clamped together along with the abdominal skin. Just before the scene turns and a bitter heart is felt, a fabric flap opens the bear in his butt. One eye. When Blackout is alone ein blinkender weißer Lichtpunkt aus der Mitte sichtbar.