They're all on this DVD set, in color and very legible transfers; region 0 disk:
http://www.edition-filmmuseum.com/product_info.php/info/p70_Berlin--die-Sinfonie-der-Gro-stadt---Melodie-der-Welt.html Michael Betancourt Savannah, GA USA michaelbetancourt.com twitter.com/cinegraphic | vimeo.com/cinegraphic www.cinegraphic.net | the avant-garde film & video blog On Sat, Jan 31, 2015 at 5:08 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 > <https://www.youtube.com/watch?v=od0MxuD4xxQ> 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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