Preserving, restoring, promoting and sharing cinema

The core of the digital sound restoration consists on several phases of manual editing, high resolution de-clicker & de-crackle, and multiple layers of fully automated noise reduction. It was an initiative that began with us, the World Cinema Project (a program of The Film Foundation). One of the WCP’s main goals is to give audiences a chance to discover a wide variety of cinema and languages from all over the world. All the elements were wet-scanned at a 4K resolution to eliminate or reduce heavy scratches and halos.

Although the film rested in obscurity for a long time, its aesthetic value was rediscovered in 2000 by a new generation of critics and cinéphiles who classed it as one of Iran’s lost cinematic masterpieces. Shatranj-e Baad is a singular film, at the confluence of the aesthetics of Visconti and Bresson. The influence of painting can be found in each shot and the careful screenplay toys with multiple plot twists.

• Whenever you make a historical film, whether it’s set two decades or two centuries ago, you are referring to the present.
• However, conservations efforts continue as the site has become wildly popular with fans of the movie.
• The 4K restoration of Muna Moto was made from the 35mm original camera and sound negatives and a second generation dupe negative.

Bachchan Back to the Beginning Film Festival

However, conservations efforts continue as the site has become wildly popular with fans of the movie. Who can forget that iconic scene at the end of this movie, when Sean Connery turns to his “son” Harrison Ford, and retorts, “We named the dog Indiana.” That scene was filmed in front of the iconic Siq, the main entrance to Petra. Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematográficos (ICAIC).

Global Heritage Travel

Once a year, FIAF celebrates a film personality (external to the FIAF archival world) whose experience and personal commitment in the field of cinema underlines the missions of the Federation, by presenting them with a FIAF Award. The FIAF Award recognizes in particular their dedication and contribution to the preservation of, and access to, the world film heritage, for the pleasure of today’s audiences, as well as for the benefit of future generations. A new digital transfer was created from the 35 mm original camera negative, preserved at the National Film Archive of India in Pune. A 35 mm print from the Library of Congress was used for sections of the film where the original camera negative was damaged or incomplete. The original camera negative, outtakes from the same element, and the interpositive were integrated to match a 35mm vintage WORLD FILM HERITAGE print provided by the filmmaker as a reference.

Maximus Decimus Meridius is forced into slavery after he has buried his family, and the scene in which he transitions to slave is filmed at the site. In probably the most hilarious scene shot at a UNESCO site, Chevy Chase inadvertently steals money from a hotel cash register outside the Grand Canyon, then attempts to quickly gather his family (who are trying to enjoy the view) to make a quick getaway. During the opening scene of the James Bond movie, Spectre, the Mexico City Historic Center was “blown to bits” during a Day of the Dead parade. This UNESCO World Heritage Site was not harmed during the making of the movie.

Most of reel 3 was irreversibly crystallized and half of reel 4 was badly compromised by decay. The camera negative was scanned at 4K, using wet-gate only for the most problematic sections.The dual bilateral variable area sound negative showed a poor photographic definition, resulting in a harsh and raspy sound, with noticeable image spread distortion. Scratches, dirt and dust on the emulsion caused heavy crackles and clicks during reproduction. The restoration of the uncut version of A Brighter Summer Day used the original 35mm camera and sound negatives provided by the Edward Yang Estate and preserved at the Central Motion Pictures Corporation in Taipei. Due to the deterioration of the original camera negative an intermediate of the film printed at the time was also used. Shatranj-e Baad might be one of the most emblematic films in the history of Iranian cinema, even though its visibility was limited to a disastrous preview at Tehran International Film Festival in 1976.