Le Giornate del Cinema Muto festival showed restored 35mm prints of the Ruttmann shorts in 2000, most of which were from the Munich Stadtmuseum and/or Netherlands Filmmuseum (now Eye). Some were tinted/toned, others were directly colored, and the 35mm preservations were done on color stock to retain these qualities. Don't know if they've been made available digitally. And prints may only be obtainable from those archives, though perhaps MoMA or another US archive or museum acquired some.
Mark Toscano > On Jan 31, 2015, at 2:08 PM, Laura Trager <[email protected]> wrote: > > Hello Frameworkers, > > I have a question regarding color preservation of Walter Ruttmann's "Opus" > films, and was hoping you might be able to point me in the right direction or > share your insights with me. I am currently researching the use of color (or > lack thereof) in the early "absolute" animations by Viking Eggeling, Hans > Richter and Walter Ruttmann, and recently came across an essay by William > Moritz titled "Non-Objective Film - The Second Generation" (1979). He states > that "we have only fragmentary black-and-white silent prints of Ruttmann's > originally hand-coloured films" - and yet, these digital color versions of > his films are widespread online. > > So, my question is: What do we actually know about the use of color in Walter > Ruttmann's Opus films, and what sources is this knowledge based on if his > colorized films are not preserved? Have there been any new insights since > Moritz' essay was published? And who made these digital color versions of his > films - are they just amateur work, or are they a legit institutional > reconstruction project? > > Any leads you might have regarding the use and preservation of color in > Ruttmann's films or in early abstract films in general will be greatly > appreciated. > > Thanks so much! > Laura > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks
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