arsonfilms wrote:I started to laugh at the thought, but then quickly realized that my own arrangement by spine number - separate from my other DVDs - really isn't any less ridiculous or dorky. I stopped laughing.
I'll admit I used to do the spine number thing, but I've long since switched over to alphabetical by director (and chronological within that). There's some weird issues with that system as well, but basically it works.
It looks like they've taken the detailed information about the source of the film's transfer and the aspect ratio off of each page. At least I can't find it. I'm referring to this stuff:
Picnic at Hanging Rock is presented in the director's preferred aspect ratio of 1.66:1. This new digital transfer was created on a high-definition Spirit Datacine from a new 35mm interpostive made from the original negative.
If I can't read about the "thousands of instances of dirt, debris, and scratches were removed using the MTI Digital Restoration System," I don't know what I'll do! Those things did occasionally offer some insight into why a transfer looked the way it did, and the ones for Dazed and Confused and Symbiopshycotaxiplasm were pretty funny.
Well criterionforum.org is officially listed on the "Criterion DVDs" page now under the "links" section... right beneath criterionforum.com (who will cry themselves to sleep over this slight?) Good to see Criterion Contraption listed as well. A great read.
If you keep refreshing the home page you can spot the spines of Breathless, Days of Heaven, and Under the Volcano. Breathless looks great and is definately a digi-pack!
"Two Great Moderns": Antonioni/Bergman
This week, the English-language E-Cahiers du cinema has put out a special edition, available to subscribers only, devoted entirely to the films of Ingmar Bergman and Michelangelo Antonioni. E-Cahiers' "Two Great Moderns" issue features new and reprinted writings in tribute to the late directors by various critics and filmmakers, including Jean-Michel Frodon, Stéphane Delorme, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Serge Daney, Olivier Assayas, Catherine Breillat, André Techiné, and many others. Click here for information on how to sign up for E-Cahiers du cinema.
I don't have an e-subscription but if anyone out there does and can post some of the articles that would be great.
Lots of new Stack-Our-Shelves, most of which make me smack my forehead with "why didn't I think of that" chagrin. Self-Directed Peformances; Banned and Censored Films; Urban Landscapes; Music on Film; and then one that I find totally inexplicable: "Prime" Criterions. I'm looking forward to learn just what the hell that means.
Edit: Wow, not 2 seconds after I post that do I figure it out. Movies whose spine numbers are prime.
It looks as though Criterion is starting to put the "About The Transfer" details back up. It's back up for some of the older releases, as well as the April titles.
Max von Mayerling wrote:Ok, life goes on (or doesn't), but why no Richard Widmark paragraph? From the company that put out Night & the City and Pickup on South Street?
Absolutely right. Malvin Wald, but not Widmark? Maybe this week something will materialize.
They now have a paragraph up on the site about Widmark's passing. There is also a short piece on The White Mane.
Richard Widmark, 1914–2008
Richard Widmark, whose film debut as a maniacal killer in Kiss of Death brought him both an Oscar nomination and the start of a brilliant career as an idiosyncratic Hollywood heavy, died last week at his home in Connecticut, after a long illness. At ease as both villain and hero, western lawman and noir detective, Widmark headlined works by such filmmakers as Jules Dassin, Samuel Fuller, Stanley Kramer, and John Ford; some of his most popular performances were in Night and the City, Pickup on South Street, Hell and High Water, and Cheyenne Autumn. Widmark was 93.
I'm sure the site is crippling under the weight of the listing for all of the special features to Salo that will most assuredly be announced in the next few days.
