Just to add a bit on EYE’s holdings—they do have an original tinted and
hand-colored nitrate copy of Ruttmann’s Opus IV, and I’m pretty sure that
Munich used it in their restoration. The print was originally part of the
Netherlands Filmliga in the late 1920s, whose holdings eventually became a core
of the Filmmuseum.
> On Feb 2, 2015, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote:
> From: Laura Trager <tragerla...@gmail.com <mailto:tragerla...@gmail.com>>
> To: Experimental Film Discussion List <email@example.com
> Date: February 1, 2015 at 1:02:38 PM EST
> Subject: Re: [Frameworks] question regarding color preservation of early
> animation films
> Thanks so much, everyone, very helpful!
> 2015-02-01 3:23 GMT-05:00 Ingo Petzke <i...@petzke.biz
> 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...
> Am 31. Januar 2015 23:08:45 MEZ, schrieb Laura Trager <tragerla...@gmail.com
> 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
> Thanks so much!
FrameWorks mailing list