#filmpreservation

Instagram photos and videos

#filmpreservation#filmarchive#cinema#film#movies#movie🎬#films#cinemalovers#filmreels#artist#filmheritagefoundation#indiancinema#posters#saveindiancinema#filmheritage#actors#wolrdcinema#saveourcinema#instadaily#cinemania#16mm#filmrestoration#classicfilm#35mm#16mmfilm#smallgauge#kodak#posterart#eastmankodak

Hashtags #filmpreservation for Instagram

Director: Mehboob Khan Producer: Mehboob Productions Cinematographer: Faredoon Irani Cast: Nargis, Sunil Dutt, Rajendra Kumar, Raaj Kumar, Kanhaiyalal, Jiloo, Kumkum, Master Sajid, Sitara Devi.
Rich in incident and spectacle, director Mehboob Khan’s Mother India has acquired the status of a national epic over the years. A remake of Khan's own Aurat (1940), the film unfolds the saga of a peasant woman (Nargis in an iconic performance), whose courage and determination symbolizes the endurance of the nation itself. The rural landscapes of India, the rhythms of village life and the changing seasons are brought alive by evocative colour cinematography in rich earth tones. Showered with awards after its release (including two National Awards), Mother India was also the first Indian film to make it to the final list of nominees for the Best Foreign Language Film at the Academy Awards.
Amitabh Bachchan on Mother India
Today, in our country we have been talking about women empowerment, but if you look at Nargis-ji’s performance in Mother India, a film made in 1957, she was the epitome of the empowered woman—the strength of a woman, the strength of a mother so powerfully portrayed against the landscape of rural India. The way Mehboob saheb captured the lives of the people living in the villages of India and the performances of Dutt saheb and Raaj Kumar saheb still remains embedded in our mind. And how can I forget the wonderful performance of Kanhaiyalal-ji. What a star cast! Being from U.P. myself, the film really resonated with me. It is like a canvas well-painted.
The text is excerpted from Film Heritage Foundation's publication 'From Darkness Into Light' edited by Rajesh Devraj.
#FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemania


0

ShantaApte was born in Dudhni, Maharashtra. Trained at the Maharashtra SangeetVidyalaya at Pandharpur, she was introduced to film as a child by BhaljiPendharkar, one of the founding members of the Prabhat Film Company. In AmritManthan (1934), Apte converted a supporting role (playing the hero’s sister) into one of the film’s principal draws with her vocal renditions of KeshavraoBhole’s songs. The songs were hugely popular not only in Maharashtra, but also in the north-western regions of the subcontinent such as Amritsar and Lahore, opening markets for Prabhat Film.KeshavraoBhole, the music composer, was initially skeptical of her ability to adapt to his light classical form of music, but she performed it with aplomb and with a hitherto unseen felicity of vocal expression and physical gesture on screen. This was a marked departure from the stiff, declamatory style of actors that had been imported from the stage.
After starring in another major Prabhat film ‘Amar Jyoti’ (1936), Apte starred in what has become her most iconic role: that of the strong-willed young woman forced into marriage with a much older man in ‘Kunku’/ ‘Duniyana Mane’ (1937). Her performance and appearance are starkly counterpointed against those of Keshavrao Date, who played the old husband, ensuring the incisive impact of the film as a progressive social statement till date.
Besides V. Shantaram, she worked with a host of directors of the time such as BhaljiPendharkar, PhaniMajumdar, Master Vinayak and Raja Paranjpe. In 1941, Apte acted opposite the legendary M.S. Subbulakshmi in Y.V. Rao’s ‘Savithri’, playing the title role alongside Subbulakshmi’sNarada. Her real-life hunger strike outside the gates of the Prabhat studio in Pune to protest over her contract is famous in the annals of film lore. Her autobiography, released in 1940, was titled ‘Jau mi cinemaat?’, translated as ‘Shall I go into films?’ #FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemania


0

AT THE DRIVE-IN, the documentary will screen Tuesday (11/28) at the Alamo Drafthouse Yonkers (@alamoyonkers)
This film has been getting raves from audiences and reviewers on the festival circuit, and won the "Best Local Feature" award at the Philadelphia Film Festival. The director and many of the team will be in attendance for this screening!

We hope you can join us for this celebration of our dream coming true. Doors open at 6:30p. Film at 7p.
**Huge thank you to our friends at @drafthouse 🍿❤️🍿
https://drafthouse.com/yonkers/show/at-the-drive-in
🎟️📽️Stay tuned to our page for exciting news and updates📽️🎟️
#cinema #classicfilm #classic #drivein #driveinmovie #doublefeature #driveinmovies #driveintheater #film #filmart #filmpreservation #icon #lehighton #movies #movieposter #movietheater #nostalgia #phillyfilm #retro #VHS #classicfilm #mahoningdit #35mm #posterart #atthedriveindoc #classic #hollywood #alamodrafthouse MahoningDIT.com

Alamo Drafthouse Yonkers
1

Director: K.V. Reddy Producer: Vijaya Pictures Cinematographer: Marcus Bartley
Cast: N.T. Rama Rao, S.V. Ranga Rao, Akkineni Nageswara Rao C.S.R. Anjaneyulu, Savitri, Relangi Venkatramaiah, Gummadi Venkateshwara Rao, K. Mukkamala, Rajanala Nageshwara Rao, Savitri, Vangara, Balakrsihna, Rushyendramani, Suryakantam, Chhaya Devi, Sandhya.

A mythological from the Vijaya studios, the film adapts an episode from the Mahabharata which has been elaborated with stunts, special effects, comedy and musical numbers in countless stage and screen adaptations. The plot deals with the marriage of Abimanyu (Nageswara Rao) to Sasirekha (Savitri), aided by the rakshas Ghatothkach (Ranga Rao), son of the Pandava hero Bhima. The film featured actor and future politician N.T. Rama Rao in his first appearance as the god Krishna.
The text is excerpted from Film Heritage Foundation's publication 'From Darkness Into Light' edited by Rajesh Devraj.
#FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemania


0

Ada yang tau artinya? #16mm #FilmPreservation #FilmArchive


2

A little Bela Lugosi action at work today! #filmpreservation 📽️🎞️#belalugosi


1

Director: Guru Dutt Producer: Guru Dutt Cinematographer: V.K. Murthy
Cast: Guru Dutt, Waheeda Rehman, Mala Sinha, Johnny Walker, Rehman, Kumkum, Shyam, Leela Mishra, Rajinder, Mayadass, Mehmood, Radheshyam, Ashita, Moni Chatterjee

A classic melodrama about a misunderstood romantic artist, Pyaasa was a landmark film for actor-director Guru Dutt, and a great popular success. Its principal character is the unsuccessful poet Vijay, who rejects his family to live on the streets, where he encounters the prostitute Gulabo. The narrative traces his harrowing journey to hold on to his artistic integrity and lay claim to his own work in a corrupt and materialistic world. Cinematographer V.K. Murthy creates striking evocative images; the memorable soundtrack, lauded by Sight and Sound as ‘one of the best ever in film’, ranges from the bitter rhetoric of 'Jinhen naaz hai to the bemused resignation of 'Jaane woh kaise' to the ultimate aria of world-weary disillusionment, 'Yeh duniya agar mil bhi jaye to kya hai.’
Naseeruddin Shah on Pyaasa

Pyaasa is one of the most significant films made in our country and that it is languishing in need of restoration is indicative of the apathy that is our besetting sin.

The text is excerpted from Film Heritage Foundation's publication 'From Darkness Into Light' edited by Rajesh Devraj.
#FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemaniac


2

Chittor V. Nagaiah had already acquired a formidable reputation on the Telugu stage before he actually stepped into films. Launched by the venerable Surabhi theatre group- that traced its origins back to a Maratha clan that had settled in Rayalaseema after the 1857 revolt- Nagaiah went on to be associated with another theatre stalwart BellariRaghava, besides the Madras- based Suguna Vilas Sabha.
His first major cinematic outing was B.N. Reddi’s reformist Vauhini drama ‘Sumangali’ (1940) for which he composed and sang several memorable songs, as well as acting in a pivotal role in the film too. His role was partly based on the Telugu reformer VeeresalingamPanthulu. His most successful work lay in genre he helped define: the saint musical. The foremost examples of this genre are ‘BhaktaPotana’ (1942)and ‘Thyagayya’ (1946) that went onto become the biggest hits in the south Indian film industry of the 1940’s, owing to their revival of Hindu asceticism and nationalism by way of Gandhian moralism.
In 1941, Nagaiah made a stellar debut in the Tamil film industry with ‘Ashok Kumar’ (1941), playing the title role, alongside M.K. ThyagarajaBhagavathar and a then unknown M.G. Ramachandran. His best known film appearance was K. Ramnoth’s ‘EzhaiPadumPadu’ (1950), an adaptation of ‘Les Miserables’, in which his performance of a desperate thief was hugely acclaimed inviting comparisons with Paul Muni. His musical compositions in ‘VandeMataram’ (1939), ‘Sumangali’, ‘Devatha’ (1941) and ‘BhaktaPotana’ (1942) are remarkable for their utter simplicity and their seamless incorporation into narratives.
#FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemania


0

For our Archivist, Andy Uhrich, a few frames from the short educational film, “Animals Growing Up”. It’s a black and white 16mm Kodak print. #16mmfilm #16mm #smallgauge #filmarchive #filmpreservation #educationalfilm #blackandwhitefilm #kodak #eastmankodak #puppies #bostonterrier

Ruth Lilly Auxiliary Library Facility
0

Director: Sombhu Mitra, Amit Maitra Producer: R.K. Films Cinematographer: Radhu Karmakar
A comical, critical depiction of middle-class life, Jagte Raho shows the travails of a thirsty peasant (Kapoor) who strays into an apartment building in search of water, launching a series of misadventures. The comedy acquires a darker dimension as the night stretches on, and ultimately delivers a searing denunciation of bourgeois apathy and the erosion of humanist values in India. The film was an unusual collaboration for Raj Kapoor’s studio with the Bengali PTA director Sombhu Mitra.
The film became successful only after a shortened version won the main prize at the Karlovy Vary festival in 1957. As the years have gone by, it only seems increasingly prophetic.
Jahnu Barua on Jagte Raho
I consider Amit Maitra’s Jagte Raho to be a great cinematic statement on humanity getting lost with the advent of material living. As the world starts growing more and more inclined towards urban life, society tends to get delinked from basic human values. Jagte Raho beautifully presents a metaphoric criticism on each human aspect, through a series of events experienced by the protagonist one night in an apartment building which he has entered in search of some water to quench his thirst. Jagte Raho is undoubtedly an important Indian classic that must be preserved for its content and cinematic treatment.
The text is excerpted from Film Heritage Foundation's publication 'From Darkness Into Light' edited by Rajesh Devraj.
#FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemaniac


0

📽️#FILM di Samuel Beckett con #BusterKeaton | Questa sera a #Napoli all'Istituto Italiano per gli Studi Filosofici | A seguire: presentazione del #libro-con-disco "Disappartenenza dell'Io: #Filosofia e #Musica verso #SamuelBeckett" a cura di Rosario Diana. 📽️ Il 23 novembre, sempre all'IISF, in collaborazione con l'Accademia di Belle Arti di Napoli, proiezione di #NOTFILM di Ross Lipman. [#EsseEstPercipi]

Istituto Italiano per gli Studi Filosofici
1

Paper ephemera in a 400ft 16mm film can. Much of our collection consists of formerly circulating educational films. As a result, many cans have flyers like these glued to the film can. #16mmfilm #16mm #film #filmarchive #filmpreservation

Ruth Lilly Auxiliary Library Facility
2

Behold! The curse of color fade… here are two prints of the same film at about the same section. The film on the left has been printed on low fade stock while the film on the right was printed on Eastman Kodak fast fade film. Swipe for close-ups. #smallgauge #16mmfilm #16mm #film #filmarchive #filmpreservation #iulmia #kodak #eastmankodak

Ruth Lilly Auxiliary Library Facility
0

The Kinetta Archival Scanner, which safely scans damaged film, in te IndieCollect offices

IndieCollect
2

Open house at IndieCollect, which saves American independent films from neglect or faulty preservation.

IndieCollect
1

Director: L.V. Prasad Producer: Vijaya Pictures Co-Producers: B. Nagi Reddy, Chakrapani Cinematography: Marcus Bartley
Cast: Savitri, Jamuna, S.V. Ranga Rao, Rushyendramani,Gemini Ganesan, K.A. Thangavelu, Relangi Venkatramaiah, Balakrishna, Ramanna Reddy, Gummadi Venkateswara Rao, M.N. Nambiar, A. Karunanidhi, V.M. Ezhumalai, Santhanam, Meenakshi.

A comedy involving mistaken identities, the film tells the story of unemployed Rao (Ganesan) and Mary (Savitri), who have to pretend to be married to each other in order to find jobs as teachers in a village school. This entertaining hit film was an adaptation of a classic Bengali comedy, and was in turn remade in Hindi and Marathi. It established the lead screen pair of Gemini Ganesan and Savitri and featured a hit soundtrack with track ‘Varaye vennilave’ becoming especially popular.
#FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemania


0

TBT & Shoutout to Our Friends at Mazzella Enterprises!! The Brothers Mazzella and their team were able to give our Massive Screen a much needed facelift last season.. The crew was made up of local boys who all shared stories of visiting The Mahoning in their youth..
They went above and beyond for the love of what we're doing - and, after working with them, it is clear to us that they certainly love what they do!
#cinema #classicfilm #classic #drivein #driveinmovie #doublefeature #driveinmovies #driveintheater #film #filmart #filmpreservation #icon #lehighton #movies #movieposter #movietheater #nostalgia #phillyfilm #retro #VHS #classicfilm #mahoningdit #35mm #posterart #mahoningdrivein #classic #hollywood #mazzellaenterprises MahoningDIT.com

The Mahoning Drive-In Theater
2

Early '70s leader lady. #film #kodak #ektachrome #filmpreservation #1970s #16mm


0

Photo curtsey of @jennyjonesie Official Indiana University film print title from the Audio-Visual Center, now part of our collection. 16mm Eastman Kodak film with color fade present. #16mmfilm #iulmia #film #filmarchive #filmpreservation #smallgauge #16mm #eastmankodak #kodak #eastman #colorfade

Ruth Lilly Auxiliary Library Facility
0

Original flyer for Coronet Educational Films’ “Vacuumated” film cleaning process. #coronet #educationalfilms #film #filmarchive #filmpreservation #smallgauge


0

Director: Bimal Roy Producer: Bimal Roy Productions Cinematographer: Kamal
An updated version of Barua’s 1936 film on which director Bimal Roy had served as cinematographer, Devdas features Dilip Kumar as the intensely brooding hero, Suchitra Sen as his tragic unattainable love, and Vyjayanthimala as the graceful dancer whose ebullience conceals deep emotion. The melodramatic tale was well served by Kamal Bose’s expert cinematography and the soundtrack by S.D. Burman and Sahir Ludhianvi. True to Roy’s concerns, the film manages to look beyond Devdas’s obsessions at society as a whole, depicting a decadent, feudal world which mercilessly crushes any quest for personal happiness and redemption.
Amitabh Bachchan on Devdas

Another one of my favourite films is Bimal Roy’s Devdas. I still remember Dilip saheb’s performance: for my generation, his Devdas will always be the ultimate performance. Bimal Roy-ji’s knowledge of Bengali literature and its nuances, his understanding of Saratbabu’s writing, the star cast, the outstanding performances, and the music came together to create an iconic film that will remain with us eternally.
The text is excerpted from Film Heritage Foundation’s publication “From Darkness Into Light” edited by Rajesh Devraj.
#FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemania


0

Born Narendranath Sanyal in Darjeeling (whence his assumed nom de guerre originated), he worked briefly as a secretary to the Raja of Awadh. A trained singer from Morris College, Lucknow, he soon found his way into films courtesy New Theatres, starring in some of their most important films and becoming one of their biggest stars.
The early success of Debaki Bose and Premankur Atorthy such as ‘Meerabai’ and ‘Yahudiki Larki (1933) were followed by the first film in Indian cinema to use playback singing, Nitin Bose’s ‘Bhagyachakra’/ ‘Dhoop Chhaon’ (1935), P.C. Barua’s Bengali ‘Devdas’ (1935), ‘Mukti’ (1937) and both the Hindi and Bengali versions of ‘Bidyapati’ (1938). The best example of his vocal performance from this period was Barua’s ‘Adhikar’ (1938), in which Sanyal sang to Timir Baran’s music. His strongest acting performances, however, came in pivotal roles in classic biographicals such as ‘Mahakavi Kalidas (1944) and in his later days, in Modhu Bose’s ‘Mahakavi Girishchandra’ (1956).
Sanyal enjoyed a fairly prolific career in Hindi language films too, after moving to Bombay in 1942, playing crucial character roles films such as Nandlal Jaswantlal’s ‘Kadambari’ (1942), Nitin Bose’s ‘Milan’ (1948), Debaki Bose’s ‘Ratnadeep’ (1951). He collaborated with Satyajit Ray on three of his films, first in ‘Parash Pathar’ (1958), followed by the hyperlink, ensemble film ‘Kanchenjunga’ (1962) and, finally, in the mordant ‘Aranyer Din Ratri’ (1970). #FilmHeritage #filmpreservation #cinemalovers #filmarchive #filmheritage #films #movies #cinema #indiancinema #wolrdcinema #filmheritagefoundation #saveourcinema #saveindiancinema #artist #actors #posters #filmreels #instadaily #movie🎬 #cinemania


0

Putting this 1959 film in the queue for digitization since the acetate is starting to shrink and spoke! It’s a football game from @nuarchives.
_________________
#filmpreservation #librarypreservation #northwesternarchives #avpreservation #archives #northwesternfootball #acetatefilm #iglibraries

Northwestern University Library
0