Hi Fred,
I agree with you about restoration titlecards. In some cases, funding agencies
require them as a condition of accepting that funding. Some archives always
have them as a matter of course, which often helps them to be identified with
the great work they're doing when the print shows whoknowswhere, which I
understand and respect in principle, but don't care for personally. In the
Academy's case, we only include restoration titles when the funder requires it,
which is not all that frequent. For instance, the batch of 9 Brakhage films
I've been restoring with Film Foundation funding do have titlecards, per their
requirement. I consulted with Marilyn about the placement of the cards, and we
agreed to compose them in very simple language, and put them at the beginning
of each film, with a gap of five seconds between the titlecard and the start of
the film. Seemed like getting it over with at the beginning was a less
intrusive place than the end to
stick them.
Mark
________________________________
From: Fred Camper <[email protected]>
To: Experimental Film Discussion List <[email protected]>
Sent: Monday, October 29, 2012 6:53 PM
Subject: Re: [Frameworks] Warren Sonbert - retrospective tour available
The restored Sonbert films that I have seen end with an onscreen credit to
something like "The Estate Project for Artists With Aids." I'm all in
favor of crediting everyone who helped, but these screen credits, which as
I recall appear immediately after the final image, are a deeply
disrespectful defacement to the work of a filmmaker who resolutely avoided
using any credits at all, including his own name. They bother me too on
another level: do we have to have all his films identified not by his name
or their titles, but by the disease that killed him?
If such titles have to appear on screen, there should be a respectful
interval of black leader, like ten seconds, before they appear, with
instructions to the projectionist as necessary to insure that they run.
Fred Camper
Chicago
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