Word: 16mm
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Dates: during 1960-1969
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...critics, a background which has continually influenced their work. About four years ago, a film entitled Paris Vu Par (literally "Paris as seen by...") was organized. By including three "established" directors (Chabrol, Rouch, and Godard) along with three young directors (Douchet, Pollet, and Rohmer) and by shooting in 16mm rather than the more expensive 35mm, an economically feasible means was found to give the second generation Cahiers critics a chance to follow the path of the first. The result is surprisingly successful, containing two films (by Chabrol and Rouch) whose stature can only be termed monumental, two films (by Douchet...
Claude Chabrol's "La Muette" is a work as precise and beautiful as any of his features. Chabrol deliberately modified his style to suit the limitations of a 16mm camera and a stock whose grain texture cannot hold the details that commercial 35mm film can. Thus the frames do not have the astounding depth and dominance of background objects which we have come to associate with recent Chabrol. At the same time, however, the frames retain a three dimensional quality and a precise interaction of parts that has been the basis of all of Chabrol's work. Unlike Godard...
...this grumbling obliquely suggests that the excellent 16mm equipment of the New York and California film schools cannot-substitute for solid thought and style. Personal commitment and expression through film-making is harder to acquire than technical proficiency and, to date; is still sorely lacking in the winners of this most-important student competition...
Film historian William K. Everson, for example, tells Kahlenberg that he knows a private collector with a 16mm print of Air Mail. Although Air Mail is legally owned either by Universal, or Ford and his producer, it has slipped into one of the hundreds of excellent underground collections of films throughout the country: collections which possess all of Chaplin's features, and such classics as Murnau's Tabu, Rosselini's Paisan, complete versions of Fritz Lang's first Doctor Mabuse, and early films by Jean Renoir, to name some of the most popular items in the underground market...
...these prints (and they are almost always 16mm prints, due to the expense of 35mm printing) came into the country or into existence is a question without precise answer. Many are reduction prints from 35mm, made quickly by people tangential to the distribution profession who had brief access to a print during theatrical release. Many others are known as "dupes," referring to prints made directly from other positive prints; a "dupe" print can usually be detected by its quality: contact printing positive to positive invariably results in higher grain, higher contrast, and consequent lack of image clarity and detail...