O Arquivo do Dia #76 — Boop-Oop-A-Doop

A 9 de Agosto de 1930, Dave Fleischer e a Paramount Pictures promovem a estreia de DIZZY DISHES, curta-metragem de animação incluída na série Talkartoon, assinalando a estreia da voluptuosa Betty Boop no grande ecrã.

Longe da sua versão por excelência de "sex symbol animado", Betty Boop surge ainda na figura de uma caniche antropomórfica, mas plena do charme irresistível que marcaria a imagem da personagem — um estatuto que perdurou ao longo de décadas, dos imperativos do Código Hays e de guerras de copyright até à notoriedade que hoje lhe reconhecemos.



[Fonte e Imagem: VolterraChannel].

Nunca se Escreveu Tanto Sobre a Película — Parte 3

Os pormenores de conservação de clássicos da Paramount, a (re)descoberta da película — tanto em nitrato como celulose — e a permanente oposição analógico/digital. Os debates prosseguem.

"THE GODFATHER. BREAKFAST AT TIFFANY'S. TO CATCH A THIEF. These are just a few of the cinematic gems by Paramount Pictures that will be preserved in a state-of-the-art vault, which opens on Wednesday. Constructed by Pro-Tek Vaults, it will house approximately 500,000 reels of film that Paramount has produced since the 1950s and store it at 29 degrees Fahrenheit, freezing the film to stop almost all image deterioration."
Hayley C. Cuccinello, in Freeze-Frame: Paramount To Open The First Frozen Commercial Vault In The U.S., Forbes.

"With a moving film print, every film has a different make-up of grains. It looks like every image is moving within itself because of the grain whereas the digital version is very flat. There is nothing happening beyond the hard lines of the object you’re looking at."
Geoffrey Macnab, in Film vs. Digital? In the same way that a new generation of music lovers are re-discovering vinyl, cinema enthusiasts are discovering, or re-discovering celluloid, Independent.

"It's also just the nature of how film is seen on screen: its image clarity, its colour palette, the sound is just something that's very different to digital, and I think that's something that's very worth saving."
Paul Vickery, citado por Daniel Curtis, in Can celluloid lovers like Christopher Nolan stop a digital-only future for film?, NewStatesman.

""You don't want Oz to look real. You want it to be in Technicolor."
Richard Trenholm, in A century ago, the first Technicolor film was a total disaster, CNET.

"For its pictorial quality elements, its clarity, its contrast, nitrate was the best. Many people say you have not seen the classic film noir titles unless you have seen them on nitrate."
Jeff Smith, citado por David Tenenbaum, in Fire in a crowded theater? Nitrate film is crumbling as experts strive to salvage the past, University of Wisconsin-Madison.