Word: celluloidal
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Film buffs may regard the '30s and '40s as the Periclean Age of Celluloid. But those on the other side of the screen tended to view themselves as galley slaves. Joan Blondell reports, "During the Depression I was making more than six pictures a year. I made six pictures while carrying my son and eight with my daughter. They'd get me behind desks and behind barrels and throw tables in front of me to hide my growing tummy." Dancer Eleanor Powell runs into a friend, a film cutter at MGM, and lunches with him at the studio commissary. That...
...cares about the visual integrity of Hollywood movies when there is a buck to be made? Not the studios or the TV networks. For them the golden oldies are either profitable inventory or chopped celluloid. And now the archives are being raided by technicians with a new idea: "colorizing" the black-and-white films of Hollywood's Golden Age through computer wizardry. The film is copied onto video and broken down into gradations of gray. An "art director" sits at a console and chooses the colors for each face, dress and prop, which the computerized "paintbrush" adds frame by frame...
Maybe you shouldn’t. Cinema is a representational art anyway—what is on screen has only a causal, chemical parallel to corporeal reality, and film itself is nothing but miles of celluloid, or zeroes and ones. Its fascination for a century of viewers and scholars lies primarily in its powerfully subjective unmasking of human conscience, memory, and history...
...anything Chan has ever done, but part of him misses the way things used to be. "Hong Kong culture will inevitably be gone one day," Chan says. "That's why it's important for me to still make small Hong Kong films. If you make something, it stays on celluloid forever. Like a memory...
...question, Couldn't straight men or women have created these shows? Probably. But they didn't. Instead, these writers have taken the idea of a gay sensibility beyond the old campy, fey stereotypes. Their shows have the subtler sensibility defined by gay film historian Vito Russo in The Celluloid Closet, his study of the influence of gays on the movies: "A natural conviction that difference exists but doesn't matter, that there's no such thing as normal even when a majority of people think...