Lapas attēli
PDF
ePub
[merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small]

TO CARRY OUT PARTICULAR POSTPRODUCTION TASKS FOR NO PAY FOR A PERIOD

[blocks in formation]

AS THEY HAVE UNDERGONE ALL KINDS OF NEEDED COMPROMISES AND ASSAULTS

[blocks in formation]

THE ABOVE.

WHEN PHOTOGRAPHY IS FINISHED EVEN THOSE OF US WHO WORK

[blocks in formation]

SO OUR SENSIBILITIES ARE ACUTELY BRUISED WHEN WE SEE "OUR CHILDREN"

[blocks in formation]

THE CAMERA AND THE PROJECTOR AT 24

FPS.

BY TRANSFERRING THE FILM

TO TAPE AND DROPPING THE EQUIVALENT OF ONE OR TWO OF THOSE FRAMES

[blocks in formation]

TO ACHIEVE, AMONG OTHER THINGS, EXACTLY THE RIGHT PACE.

MANY HOURS

ARE SPENT TO GET A SCENE TO PLAY JUST SO LONG AND GET A PAUSE TO

[blocks in formation]

WHICH VARY FROM A FRAME THE SIZE OF 1 UNIT HIGH TO 1.33 UNITS WIDE

TO THE WIDE SCREEN CONSISTING

OF PROPORTIONS

OF 1 TO 2.35 UNITS.

A SHOT MADE OF A CANOE, WOULD IN WIDE SCREEN, FOR INSTANCE, CONTAIN

[blocks in formation]

IN WHAT IS, IN OUR OPINION AND THAT OF ALMOST ALL CRITICS, INFERIOR

[blocks in formation]

OF THE DIRECTORS GUILD HAVE NEVER MADE A BLACK AND WHITE FILM AND

[blocks in formation]

OFFERED TO YOU IN THE LIGHT NOT ONLY OF MERIT BUT OF MOTIVATION.

LAST SUMMER OUR GUILD PRESIDENT GILBERT CATES ASKED ME TO TO CHAIR

[blocks in formation]

A PART OF THAT REPORT WHICH OUTLINES OUR PHILOSOPHY ON THE SUBJECT

[blocks in formation]

THE ADVICE NOR THE CONSENT OF THE ARTISTS WHO CREATED

THESE IMAGES IN THE FIRST PLACE, CONSTITUTES IN THE

WORDS OF JOHN HUSTON, "AS GREAT AN IMPERTINENCE AS

FOR SOMEONE TO WASH FLESH TONES ON A DA VINCI DRAWING.

[blocks in formation]

CASES, BLACK-AND-WHITE WAS CHOSEN AND COLOR SPECIFICALLY REJECTED

FOR ARTISTIC REASONS.

SOME OF THE ARTISTS REMAIN ALIVE

TO TESTIFY TO THE DELIBERATENESS OF THEIR CHOICES.

THE GUILD MUST SUPPORT THEM AND LENDS ITS VOICE IN

PROTECTION OF THE WORK OF THOSE ARTISTS WHO ARE NOT

HERE TO DEFEND THEIR WORK THEMSELVES.

THE REAL POINT TO BE ADDRESSED IS THAT IF FILMS WERE

MADE IN BLACK-AND-WHITE (FOR WHATEVER REASON),

THEIR

CREATORS DESIGNED THEM TO TAKE ADVANTAGE OF THE

UNIQUE OPPORTUNITIES AND POSSIBILITIES AS WELL AS THE

THE LIMITATIONS OFFERED BY BLACK AND WHITE PHOTOGRAPHY.

"COLORIZATION" SIMPLY UNDERMINES THESE VALUES AND INTENTIONS.

[blocks in formation]

APPEARANCE OF ANY WORK OF ART DOES NOT REST WITH THE

[blocks in formation]

BASIC RIGHT OF THE ARTIST, AND ONE THAT THE DIRECTORS GUILD,

AS YOU KNOW,

HAS FOUGHT FOR BY MEANS OF MANY PUBLIC

DEBATES AND THROUGH MANY CONTRACT NEGOTIATIONS.

BUT THERE IS AN EQUALLY COMPELLING REASON THAT WE

BELIEVE THAT THE GUILD SHOULD OPPOSE "COLORIZATION".

[blocks in formation]

HISTORY, THE VANDALISM OF OUR COMMON PAST, NOT MERELY

AS IT RELATES TO FILM, BUT AS IT AFFECTS SOCIETY'S

PERCEPTION OF ITSELF.

"COLORIZATION" IS A RE-WRITING

OF HISTORY, WHICH WE BELIEVE TO BE INHERENTLY DANGEROUS.

WE BELIEVE THAT THE DIRECTORS GUILD SHOULD SUPPORT THE

NOTION THAT NO CIVILIZATION WORTHY OF THE NAME CAN AFFORD

TO PROMULGATE LIES ABOUT ITSELF.

IF WE DO NOT PRESERVE WITH FIDELITY IMAGES OF HOW WE

ONCE VIEWED OURSELVES, WE INCREASE THE LIKELIHOOD

THAT WE WILL ARRIVE AT A DISTORTED UNDERSTANDING

OF WHO WE ARE AND HOW WE GOT THAT WAY."

"BUT," SAY THE "COLOROIDS", IGNORING US, "MANY BLACK AND WHITE

FILMS WERE NOT MADE BY CHOICE BUT BY STUDIO FIAT AND MANY DIRECTORS

WOULD HAVE WANTED COLOR IF THEY HAD BEEN ALLOWED TO USE IT."

PUTTING ASIDE THE QUESTION WHETHER ANY PROFESSIONAL WOULD STILL

HAVE A JOB AFTER MISAPPLYING SUCH COLORS, THE REASON THAT THE PALETTE,

WAS OR IS, LIMITED TO BLACK AND WHITE, MAY BE HISTORICALLY INTERESTING

[blocks in formation]

NOW TO THE QUESTION OF WHY ANYONE SHOULD CARE, PARTICULARLY THE

INTELLECTUAL LEADERS AND LAWMAKERS OF OUR SOCIETY.

LET ME OFFER

SOME REASONS.

NO ART (INCLUDING FILM ART) IS CREATED IN A SOCIAL

VACUUM.

OUR ARTISTS HAVE BEEN FORMED AND INFORMED BY OUR CULTURE,

[blocks in formation]

THE CULTURE OF THE UNITED STATES, LIKE THAT OF MOST OTHER COUNTRIES,

[blocks in formation]

(OF WHICH ART IS AN IMPORTANT INGREDIENT) IS PRESERVED.

[blocks in formation]

"IT'S A WONDERFUL LIFE" BY HIMSELF BUT WAS NURTURED BY THE CULTURAL

[blocks in formation]
« iepriekšējāTurpināt »