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hearthesilence wrote: Mon Sep 16, 2024 6:14 pm Not sure if this is related, but when I first visited London, I was astounded how literally EVERYONE on the Tube would be reading a physical newspaper during the morning commute. This was in 2007 when it was accepted wisdom that print was "dying" in the U.S., yet it seemed to be completely the opposite in the UK.

hearthesilence wrote: Mon Sep 16, 2024 6:14 pm Not sure if this is related, but when I first visited London, I was astounded how literally EVERYONE on the Tube would be reading a physical newspaper during the morning commute. This was in 2007 when it was accepted wisdom that print was "dying" in the U.S., yet it seemed to be completely the opposite in the UK. I heard many reasons for this and that basically there's a different business model for how newspapers are run in the UK, but I do wonder if it's a cultural difference. You do hear that explanation about Japan where music streaming hasn't taken off to the same level because listeners still prefer to have a physical copy of the music they like.

Stefan Andersson wrote: Sat May 02, 2026 5:19 pm Interesting comment on the restoration of the film (browser translation from Italian Wikipedia entry):

"When the film was released in several copies distributed in Italy, some scenes were toned (in sepia in some copies, in blue in others): these were, as a caption at the beginning of the film explained, the scenes that represented what was dreamed or imagined by the protagonist. The toning was decided by the distributor to make it easier for viewers to distinguish between real and non-real scenes[9], especially with a view to distribution in foreign markets.

Other sequences, on the other hand, Fellini wanted them to be overexposed (i.e. excessively bright, an effect obtained during the printing of the positives), such as the sequence at the source, when Marcello is in line with other people, with his glass in his hand. This deliberately dazzled aspect of the scene has been lost with the recent restoration of the film. The restorers redid the sequence with a perfect black and white extremely contrasted, thus betraying Fellini's original intentions."
https://it.wikipedia.org/wiki/8%C2%BD

rrenault wrote: Sun May 03, 2026 9:08 am

Stefan Andersson wrote: Sat May 02, 2026 5:19 pm Interesting comment on the restoration of the film (browser translation from Italian Wikipedia entry):

"When the film was released in several copies distributed in Italy, some scenes were toned (in sepia in some copies, in blue in others): these were, as a caption at the beginning of the film explained, the scenes that represented what was dreamed or imagined by the protagonist. The toning was decided by the distributor to make it easier for viewers to distinguish between real and non-real scenes[9], especially with a view to distribution in foreign markets.

Other sequences, on the other hand, Fellini wanted them to be overexposed (i.e. excessively bright, an effect obtained during the printing of the positives), such as the sequence at the source, when Marcello is in line with other people, with his glass in his hand. This deliberately dazzled aspect of the scene has been lost with the recent restoration of the film. The restorers redid the sequence with a perfect black and white extremely contrasted, thus betraying Fellini's original intentions."
https://it.wikipedia.org/wiki/8%C2%BD

Is this in reference to the 4K restoration or the one Criterion released on their circa 2010 blu-ray?