original cinema

Light, shadow, and moving image - a solar eclipse is the essence of cinema.

Here in the Bay Area it was an annular eclipse, leaving just a crescent-shaped sliver of sun visible, so that shape became the theme of this primitive cinema. Look at the countless crescents formed by the shadow of a tree. This is the original non-narrative moving image.

onto a new year

This is the Hearst Memorial Mining building at UC Berkeley. The school once had a working mine on campus for educational purposes. Now it's a traffic loop, but this refurbished building maintains the grandeur of an earlier education experience. It's one part of the inspiring atmosphere on campus - along with the Pacific Film Archive of course.

This is my version of a year-end wrap-up. Most of my time was taken up with classes and schoolwork, but I did attend some amazing film screenings which you can go read. Brian at Hell On Frisco Bay, fine film writer that he is, invites fellow locals to share their favorite rep theater screenings from 2011. Go check it out; I'll wait for you here.

I've been enjoying reading other people's end-of-year lists all over the internet film world, but I'm sad to notice the neglect of the passing of some important avant garde and experimental filmmakers:

George Kuchar, 1942-2011, whose I, An Actress was selected for preservation at the National Film Registry for 2011;

Robert Breer, 1926-2011, creator of the roto-scoped and beautiful Fuji which was added back in 2002;

Jordan Belson, 1926-2011, whose Allures was also selected for preservation this year.

Thanks, guys.

a little Gaudi in SF

Last week, when I was taking a look at the Ghiberti doors on Grace Cathedral, I noticed a vacancy sign at one of my favorite apartment buildings in San Francisco. Now, I can't find any listings and I'm not surprised.

It was designed by a self-taught architect, local James Francis Dunn, who clearly absorbed the influences of late-19th century Paris and not a little of Antonio Gaudi.

It's on the National Register of Historic Places, an official San Francisco Landmark and right across the street from Grace Cathedral, as you can see below:

Chambord Apartments (1921)

1298 Sacramento Street, San Francisco

architect James Francis Dunn

the view from the PFA

Many times I've sat outside the Pacific Film Archive, waiting for the doors to open for the film screening that evening. Each time I wait there on the grounds of the UC Berkeley campus, I contemplate this lovely urn with the slack-jawed lion staring back at me.

He and I will have many more face-offs, now that I will be attending the university in the fall.
I am going to be a film studies student at Berkeley!

I want to become a film archivist. I've been inspired by the preservationist presentations at the San Francisco Silent Film Festivals over the years, and more than inspired by all the great films I've watched. And now, after years of working my way through college, I'm finally on my way.

Whee!

i saw ride the pink horse on a good-sized screen

humbly borrowed from Category D

There's a local film noir series that's been going on and off for a few years now. Some local film collectors contribute their own prints (usually 16mm), set up a screen and some chairs in an undisclosed location and invite those in the know to free screenings. There's a Robert-Osborne-esque introduction before the film and an open discussion right after.

The last few years, a stable home has been found in a beautiful art deco building here in the city. Not only are there beautiful surroundings but a full bar is provided so one can watch film noir projected on screen while enjoying a glass of scotch, just as nature intended.

humbly borrowed from noir of the week

The discussion was actually well attended, with many different people contributing ideas and observations. Racial and class overtones were the best topics. The host kept trying to draw parallels between the characters on-screen and their later involvement with HUAC, but no one was biting. I was still overwhelmed by the long opening shot, which followed the character exiting the bus, walking indoors, moving around to take care of business and finally focusing on the gun in the briefcase- difficult and absolutely beautiful photography.

Ride The Pink Horse (1947)

directed by Robert Montgomery

cinematography by Russell Metty