Thanks so much, everyone, very helpful!


2015-02-01 3:23 GMT-05:00 Ingo Petzke <[email protected]>:

> That's perhaps already been answered but OPUS 1 was restored by Filmmuseum
> Munich and they worked for years on it so it should be a serious result. If
> I remember correctly they based their efforts on both a few feet of
> coloured film in a forgotten tin and on a colouring chart. Stockholm and
> Moscow were the two places of the sources. Once again: if I remember
> correctly...
> Ingo
>
> Am 31. Januar 2015 23:08:45 MEZ, schrieb Laura Trager <
> [email protected]>:
>>
>> 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
>>
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