Anthology Film Archives


July 24 – September 27

As the medium of celluloid (or more accurately but far less evocatively, polyester) is rapidly pushed towards obsolescence, and the new digital standard, DCP, continues to invade not only the world’s multiplexes but also those repertory theaters and museums devoted to screening movies from the art form’s first century, Anthology stands fast in its commitment to keeping 35mm and 16mm and 8mm alive! Though our devotion to screening films in their original formats holds true throughout our programming, this past spring we inaugurated the series “This Is Celluloid” in order specifically to highlight the unique beauty (which DCP can approximate, but never equal) of celluloid, and to celebrate the exquisite textures, glorious colors, and unique qualities of light that are becoming a tragically rare sight on our cinema’s screens in the 21st century.

Highlighting some of the most stunningly beautiful prints that have graced our screens or that we’ve encountered in other repertory cinemas in recent memory, “This Is Celluloid” also serves as an opportunity for us to invite various archives to select beauties from their libraries. Encompassing both pristine preservations as well as vintage prints whose visual delights are undimmed despite the inevitable wear and tear they’ve accumulated through decades of projections (and now wear almost as a badge of honor), the series is guaranteed to raise your appreciation of the medium to new heights.

Special thanks to Brian Belovarac (Janus Films); Daniel Bish (George Eastman House); Paul Ginsburg (Universal); Mike Mashon & Lynanne Schweighofer (Library of Congress); Mark McElhatten (Sikelia); Kristie Nakamura & Nicki Woods (WB); Mike Pogorzelski, May Haduong & Cassie Blake (Academy Film Archive); Caitlin Robertson & Joe Reid (20th Century Fox); Martin Scorsese; and David Spencer, Matt Jones & Eric Self (University of North Carolina School of the Arts).


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