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annual report 2012

I mage courtesy of / GREEN DESIRE (1965, d. Mike Kuchar) mage Licensed By: Warner Bros. E ntertainment I nc. All R ights eserved. I mage Licensed By: Warner I mmagine R itrovata. I mage courtesy of Cineteca di Bologna at L’ / INVESTIGATION OF A CITIZEN ABOVE SUSPICION (1970, d. ) OF A CITIZEN ABOVE / INVESTIGATION

Chair Executive Director (1955, d. ) / REBEL WITHOUT A CAUSE Margaret Bodde

Board of Directors Managing Director Jennifer Ahn founding executive director I mage courtesy of St ud io canal . Raffaele Donato (1968, d. Agnès Varda) PANTHERS / BLACK Archivists Advisory Council

Curtis Hanson Robert Rosen, Chair I mmagine R itrovata. I mage courtesy of Cineteca di Bologna at L’ Academy Film Archive

Ang Lee Century Fox. wentieth George Eastman House I mmagine R itrovata. I mage courtesy of Cineteca di Bologna at L’ Robert Redford Museum of Modern Art National Foundation I mage courtesy of T In Memoriam UCLA Film & Television Archive Artists Rights Advisory Council Elliot Silverstein, Chair

Sydney Pollack (1969, d. Agnès Varda) / LIONS LOVE President Taylor Hackford Miloš Forman Taylor Hackford Secretary-Treasurer Anjelica Huston Bruce Ramer Executive Advisor Ken Ziffren uchar and Anthology Film Archives. Jay D. Roth BLACK PANTHERS (1968, d. Agnès Varda) (1968, d. Agnès Varda) PANTHERS this page: BLACK P ictures. THE TALES OF HOFFMANN (1951, dirs. and ) THE TALES front cover: I mage courtesy of M ike K TWO FOR THE ROAD (1967, d. Stanley Donen) FOR THE ROAD TWO back cover:

I mage courtesy of 2012 The Film Foundation’s goals are three-fold: film preservation, education and exhibition. annual This annual report reflects the foundation’s report activities and accomplishments in these / GREEN DESIRE (1965, d. Mike Kuchar) overview areas during 2012. mage Licensed By: Warner Bros. E ntertainment I nc. All R ights eserved. I mage Licensed By: Warner

FILM PRESERVATION Over the past 22 years The Film Foundation, led by its board of directors and working in partnership with archives and studios, has saved nearly 600 motion pictures. From silent to experimental films, home movies to documentaries, newsreels to features, The Film Foundation works to ensure that these films survive for future generations.

2012 highlights include:

• The preservation/restoration of over 25 films including hand-painted 16mm works in the “Black Film Series” I mmagine R itrovata. I mage courtesy of Cineteca di Bologna at L’ by multi-media artist , Nicholas Ray’s Technicolor CinemaScope classic REBEL WITHOUT A CAUSE (1955), four independent films made in by Agnès Varda, a rarely seen adaptation of DEATH

/ INVESTIGATION OF A CITIZEN ABOVE SUSPICION (1970, d. Elio Petri) OF A CITIZEN ABOVE / INVESTIGATION OF A SALESMAN (1951) directed by Laslo Benedek and more.

• The completion of 8 additional restoration projects from previous grant cycles.

/ REBEL WITHOUT A CAUSE (1955, d. Nicholas Ray) / REBEL WITHOUT A CAUSE • Over 100 media outlets publicizing the foundation’s preservation work.

EDUCATION

I mage courtesy of St ud io canal . The Film Foundation educates young people about visual literacy through The Story of Movies program and is addressing the emerging challenges of digital preservation by creating a campaign to inform filmmakers how best to preserve their digital work. / BLACK PANTHERS (1968, d. Agnès Varda) (1968, d. Agnès Varda) PANTHERS / BLACK 2012 highlights include: I mmagine R itrovata. I mage courtesy of Cineteca di Bologna at L’ • An estimated 10 million young people have studied The Story of Movies. The program is distributed free of charge to educators across the country. wentieth Century Fox. wentieth • TFF and IBM sponsored a working group of filmmakers, archivists and technicians to create digital preservation guidelines and recommendations. Plans are underway for a campaign to publicize the issue, I mmagine R itrovata. I mage courtesy of Cineteca di Bologna at L’ targeted to independent filmmakers. I mage courtesy of T

EXHIBITION TFF ensures access to restored films through screenings at film festivals, archives, museums and repertory theatres around the

/ LIONS LOVE (1969, d. Agnès Varda) (1969, d. Agnès Varda) / LIONS LOVE world, as well as through DVD and Blu-ray releases. 2012 highlights include:

• Screenings of 150 TFF-funded restorations at over 180 venues worldwide. • The release of 2 new Collector’s Choice DVD sets: Classics III and : The Early Collection featuring 10 films never-before released on DVD. uchar and Anthology Film Archives. BLACK PANTHERS (1968, d. Agnès Varda) (1968, d. Agnès Varda) PANTHERS this page: BLACK Sony P ictures. THE TALES OF HOFFMANN (1951, dirs. Michael Powell and Emeric Pressburger) THE TALES front cover: I mage courtesy of M ike K TWO FOR THE ROAD (1967, d. Stanley Donen) FOR THE ROAD TWO back cover: 1 film preservation & restoration

In 2012, The Film Foundation helped to rebel without a save over 25 films, representing a diverse cause selection of motion pictures. (1955, d. Nicholas Ray)

Nicholas Ray’s iconic film tells the story of a troubled teen, at the Warner Bros. laboratory, rather than at Technicolor. Jim Stark (James Dean), who moves to a new town and The Warner Bros. lab created optical sections by shooting quickly makes enemies with the local high school gang. the single-strip negative sections to separation positives, The film immortalized James Dean; launched the then shooting back to single-strip negative, which yielded careers of Natalie Wood, Sal Mineo, and Dennis Hopper; soft images with heavy grain. and captured the zeitgeist of the 1950s through the prism of teenage angst. The original camera negative of REBEL WITHOUT A CAUSE sustained heavy physical damage due to the popularity of Restoration was completed from an 8K scan of the original the feature and the large number of theatrical re-releases. CinemaScope (widescreen 2.55:1) camera negative at The camera negatives for reels 3 and 4 were discarded by Warner Bros. Motion Picture Imaging (MPI). Due to color the studio many years ago as they had been entirely fading, the original camera negative could no longer yield damaged in printing. Reels 7 and 8 were extremely fragile an acceptable photochemical print. and had sustained heavy damage in the perforations throughout the reels. For the restoration, Warner Bros. The stereo soundtrack was reconstructed at Chace Audio scanned and recombined YCM separation master positives by Deluxe from the magnetic soundtrack stripes of release for the missing camera negative sections. They also used prints, commonly referred to as “Fox hole” prints due to the the YCMs to replace sections of damaged picture negative smaller perforations found on CinemaScope prints that in reels 1, 2, 6 and 7. The original Technicolor dye-transfer were a product of Twentieth Century Fox. The original answer print was used for color reference. stereo soundtrack master was erased by the studio so that the magnetic stock could be re-used for another film. The final elements created from this preservation project (This was a common practice for most studios at the time, will include a 35mm YCM separation master from the raw as it was difficult to obtain good quality magnetic stock.) 8K scan of the OCN, a 35mm intermediate negative from the final 4K color corrected restoration, a 4K Digital Cinema Director Nicholas Ray shot this film using early single- Master from the final restoration, a 35mm soundtrack strip Eastman color 5248 negative which was a low-cost negative 5.1, and a 35mm release print. alternative to the 3-strip Technicolor process and provided more flexibility for camera placement. Unfortunately, this Restored by Warner Bros. in collaboration with The Film early color negative yielded poor color imagery. This was Foundation. Restoration funding provided by Warner Bros., a “Warnercolor” feature, which meant that the Eastman Gucci, and The Film Foundation. negative would be processed and optical sections created

2 mages Licensed By: Warner Bros. E ntertainment I nc. All R ights eserved. I mages Licensed By: Warner 3 mages Licensed By: Warner Bros. E ntertainment I nc. All R ights eserved. I mages Licensed By: Warner

the tales of restoration restoration & hoffmann (1951, dirs. Michael Powell and Emeric Pressburger) film preservation film preservation Written, directed and produced by the celebrated filmmaking team of Michael Powell and Emeric Pressburger, THE TALES OF HOFFMANN is based on the Jacques Offenbach opera, Les Contes d’Hoffmann. The film was a continuation of their earlier success with , and was the Archers’ experiment to make an entire film that was “purely dance.” Set in Nuremberg, Germany, the young Hoffmann, played by Robert Rounseville, recounts three past loves played by Moira Shearer, Ludmilla Tchérina, and Ann Ayars during the course of a ballet featuring his new love interest, also played by Moira Shearer. THE TALES OF HOFFMANN was nominated for two , for Hein Heckroth’s art direction-set decoration and costume design. The film won a Special Award and was nominated for the Grand Prize at the 1951 . It also won the Silver Bear for Best Musical at the 1951 Berlin International Film Festival.

THE TALES OF HOFFMANN was filmed using the 3-strip Technicolor process, the same format as THE RED SHOES (1948) and THE LIFE AND DEATH OF COLONEL BLIMP (1943), and the original camera negatives exhibit the same devastating mold and mis-registration issues. Surviving prints of THE TALES OF HOFFMANN represent a shortened version of the film, requiring research to evaluate and utilize various source materials to reconstitute the original release version. The soundtrack will be restored digitally by John Polito at Audio Mechanics in Burbank. During the final film-out, Restoration is currently in progress; work is underway the restored sound will be married to the restored to identify the best elements. Several existing sources picture in order to create a pristine 35mm negative and are available, including the photochemical preservation prints. A DCP will also be created for digital screenings completed in the 1980s by the BFI, and vintage reference and public access. prints from Martin Scorsese’s personal collection. Both Mr. Scorsese and Powell are Restored by The Film Foundation in association with the consultants on this restoration project. BFI National Archive and STUDIOCANAL. The original negatives will be scanned at 4K resolution Restoration funding provided by The Franco-American and then digitally restored by Warner Bros. Motion Picture Cultural Fund, a unique partnership between the Directors Imaging (MPI). Restoration techniques include re-alignment Guild of America (DGA); the Motion Picture Association of of the color records, image stabilization, restoration of America (MPAA); the Société des Auteurs, Compositeurs areas damaged by mold, and clean-up of surface dirt et Editeurs de Musique (SACEM); and the Writers Guild and scratches. Digital color correction will be completed of America, West (WGAW), The Hollywood Foreign by MPI colorist Ray Grabowski, who also worked on the Press Association, the Louis B. Mayer Foundation and restorations of THE RED SHOES and THE LIFE AND DEATH The Film Foundation. OF COLONEL BLIMP.

4 I mages courtesy of St ud io canal . films directed by 4agnès varda

Agnès Varda has been at the vanguard of independent filmmaking for over 60 years. As the only female director of the French New Wave, Varda made her mark in 1962 with her breakthrough feature, CLÉO FROM 5 TO 7. Her work, which shifts easily between fiction and documentary, defies categorization. Philosophically feminist but not dogmatic, her portrayals of female protagonists are empathetic and unforgettable. Varda directed several films during the years she spent in California. Working in partnership with the Annenberg Foundation, the County Museum of Art (LACMA), Ciné-Tamaris, and the Cineteca di Bologna, TFF will restore:

UNCLE YANCO (1967) These four films have been restored by Cineteca di Bologna In Varda’s personal portrait of her uncle, Jean Varda, the at L’Immagine Ritrovata from the original picture and sound filmmaker researches her own family history, visiting her negatives, provided by Agnès Varda’s production company, bohemian Uncle Yanco who is living amongst artists on a Ciné-Tamaris. Each film was scanned at 4K resolution; pier near San Francisco. LIONS LOVE was restored at 4K, the three other films at 2K. BLACK PANTHERS (aka HUEY) (1968) Ms. Varda followed the restoration closely and oversaw the Shot in exquisite 16mm color, Varda’s documentary short work at L’Immagine Ritrovata. The sound restoration on all of is her personal tribute to activist Huey Newton, made the films was undertaken using the original magnetic tracks, while Varda lived in California and witnessed first-hand the with both French and English soundtracks restored for beginnings of the radical Panthers party. UNCLE YANCO and MUR MURS. The resulting preservation elements for each film include a 35mm print, DCP, and LIONS LOVE (1969) HDCAM-SR. Varda’s feature follows Gerome Ragni and James Rado, Restored in 2013 by Cineteca di Bologna at L’Immagine composers of the musical Hair, and muse Viva, Ritrovata. Restoration made possible by The Film Foundation, as they explore the Hollywood lifestyle, while at the same in association with Ciné-Tamaris. Restoration funding time showing how difficult it can be for female filmmakers provided by the Annenberg Foundation, the Los Angeles to raise financing for projects. County Museum of Art (LACMA). MUR MURS (1981) Varda captures the street art scene in this documentary short about outdoor wall murals in Los Angeles, including one, Pig Paradise, painted on the side of a slaughterhouse.

5 I mages courtesy of St ud io canal . I mmagine R itrovata. I mages courtesy of Cineteca di Bologna at L’ two for the road (1967, d. Stanley Donen)

Successful architect Mark (Albert Finney) and his wife Joanna (Audrey Hepburn) take a road trip and reflect on their turbulent ten-year marriage. The film was considered visually innovative for a Hollywood picture at the time due to director Stanley Donen’s use of non-linear storytelling and frequent jump cutting, popularized by the French New Wave filmmakers. The film’s exceptional widescreen cinematography by Christopher Challis, the nuanced performances by Finney and Hepburn, and the frank depiction of a complex relationship make this one of Stanley Donen’s most poignant endeavors. The film’s legendary composer, Henry Mancini (BREAKFAST AT TIFFANY’S, THE PINK PANTHER), considered the score he wrote for TWO FOR THE ROAD his favorite. A full 4K digital restoration was performed at Sony Colorworks from the original 35mm camera negative. The film was scanned, restored and recorded back to film at 4K. The original color negative contained clear signs of uneven color fading from shot to shot, particularly in the optical sections, which necessitated urgent attention. Audio restoration was completed digitally at Audio Mechanics. Restored by Twentieth Century Fox in collaboration with The Film Foundation. wentieth Century Fox. wentieth

6 I mages courtesy of T investigation of a citizen above suspicion (1970, d. Elio Petri)

This anti-establishment film opens with Roman police inspector (Gian Maria Volonté) brutally murdering his mistress and methodically planting evidence that will implicate himself. As the homicide investigation continues and it becomes clear he is the culprit, it appears that his powerful position will protect him from being accused. ’s score enhances the psychological terror of Volonté’s chilling performance. Winner of the Academy Award for Best Foreign Language Film, Petri’s subversive thriller remains relevant and engaging in a modern political landscape. A boldly-directed melodrama with darkly satirical undertones, INVESTIGATION OF A CITIZEN ABOVE SUSPICION is an indictment of authoritarianism.

The original camera negative was scanned at 4K resolution at L’Immagine Ritrovata and the raw 4K files were then moved to Colorworks to undergo color correction with Sheri Eisenberg. Digital tools were used at L’Immagine Ritrovata to remove scratches and dirt and to repair torn frames in the original negative. As each reel of restored images was completed, the files were sent to Colorworks for assimilation into the film and additional image Restored in 4K by Colorworks in collaboration with Cineteca restoration. di Bologna at L’Immagine Ritrovata. Funding provided by the Chace Audio by Deluxe restored the Italian language Hollywood Foreign Press Association, The Film Foundation, soundtrack from the original 35mm magnetic tracks. and Entertainment. New 4K DCPs were produced for the premiere at the 2012 and subsequent theatrical presentations, along with new HD masters for the forthcoming Criterion Blu-ray release. A new 35mm negative will be created for preservation and to produce new prints for exhibition. Both the raw 4K data and the restored 4K data will be archived. wentieth Century Fox. wentieth

7 I mages courtesy of T I mages courtesy of Sony P ictures.

restoration restoration

& the

film preservation film preservation lusty men (1952, d. Nicholas Ray)

Veteran rodeo champion Jeff McCloud () returns to his childhood home and meets a young couple, Wes and Louise Merritt. Falling for Louise (Susan Hayward), Jeff agrees to train Wes (Arthur Kennedy) to be a rodeo

rider. Director Nicholas Ray spent months observing and I mage courtesy of Sony P ictures. shooting the rodeo circuit to give this Western a realistic, modern aesthetic. Reflective of its time and place, Ray mirrors back the dreams and fears of Americans in the death of a mid-twentieth century. THE LUSTY MEN was restored from the original 35mm salesman camera negative using traditional photochemical methods. The original soundtrack negative had been (1951, d. Laslo Benedek) destroyed, therefore sound restoration was completed This motion picture version of ’s play is directed from a 35mm nitrate re-record negative held by the Royal and shot with the spare, dreamlike intensity of German Film Archive of Belgium. Warner Bros. also used a nitrate expressionism. Stanley Kramer’s contract with Columbia picture dupe from Belgium to replace sections damaged limited him to producing low-budget pictures and this in the original camera negative. adaptation could have simply been a filmed rendition of Restored by Warner Bros. in collaboration with The Film the stage play. But Kramer hired director Laslo Benedek Foundation and The Nicholas Ray Foundation. and cinematographer Franz Planer to give the film its dramatic visual style. Several actors from the original Broadway production were recruited, with Fredric March cast as Willy Loman, giving one of the greatest performances of his career. The original release was plagued by the House Un-American Activities Committee’s investigation of Arthur Miller, and the allegation that DEATH OF A SALESMAN was an insult to the American system of capitalism. Anti-Communist protesters picketed the premiere. Despite the controversy, Laslo Benedek received the Hollywood Foreign Press Association’s Golden Globe Award as best director of the year for his work on the film, which has been out of circulation in recent years, making its restoration and re-release all the more critical. The original black-and-white safety 35mm negative was scanned at 4K resolution at Cinetech/Deluxe laboratory. The film exhibits a moderate amount of scratches, dirt and tearing. The raw 4K files have been ingested into the full 4K workflow system at Sony Colorworks, and colorist David Bernstein has begun the initial grading. Digital

Image Licensed By: Warner Bros. Entertainment Inc. All Rights Reserved. image restoration is undergoing testing at Colorworks and MTI Film in Los Angeles. Restored by The Film Foundation. Funding provided by the Hollywood Foreign Press Association, The Film Foundation and Sony Pictures.

8 national film preservation foundation nfpf federal grant program 2012 marked the thirteenth cycle of federal cash grants offered by the NFPF through monies authorized and appropriated by the U.S. Congress under the National Film Preservation Act of 1996. The NFPF grants fund the creation of preservation masters and public access copies of culturally and historically significant orphan films in American libraries, archives and museums. Under the terms of the legislation, the NFPF is required to raise private matching funds to sustain its operations, making The Film Foundation’s support essential in underwriting these expenses. The NFPF has delivered federal-supported grants to institutions in all 50 states, Puerto Rico, and the District of Columbia, and has helped preserve more than 1,870 films to date.

avant-garde masters grants The Avant-Garde Masters Grant is solely dedicated to the preservation of American experimental film.T ypically produced with limited funds and few commercial prospects, experimental films are among those most likely to suffer deterioration and loss. The artists rarely have the funds or the technical knowledge to properly care for their elements, making support from the NFPF and The Film Foundation invaluable. Established in 2002 and fully funded by The Film Foundation, the grants provide $50,000 annually for the preservation of these important works. Awarded by an expert panel including critics, scholars and archivists, the grants enable filmmakers to work directly with the archives to preserve and protect their films.O ver the past ten years, the initiative has saved works from over 50 artists including Kenneth Anger, Samuel Beckett, Bruce Conner, Hollis Frampton, Ernie Gehr, George and Mike Kuchar, , , Tom Palazzolo, , Andy Warhol and others, making them available in many cases for the first time in decades. In 2012, the grant supported institutions:

Library of Congress AI-YE (1950), Ian Hugo’s impressionistic study of mankind, with music by Ozzie Smith BELLS OF ATLANTIS (1953), Ian Hugo’s adaptation of a poem by Anaïs Nin, with music by Louis and Bebe Barron JAZZ OF LIGHTS (1954), Portrait of Times Square by Ian Hugo, featuring Anaïs Nin and the blind poet Moondog MELODIC INVERSION (1958), Study by Ian Hugo, set to the music of Arnold Schoenberg

Anthology Film Archives GREEN DESIRE (1965), Mike Kuchar’s mood piece exploring the transition from adolescence to adulthood

Selections from Aldo Tambellini’s “Black Film Series” Images courtesy of Harvard Film Archive.

Harvard Film Archive Black Film Series (1965–69), A selection of 10 films from the series by artist Aldo Tambellini

Trisha Brown Dance Company PLANES (1968), Film created by for an interactive work by the Dance Company

Temenos ENIAIOS: CYCLE VII (1948-90), Part seven of Gregory Markopoulos’ epic work GREEN DESIRE (1965) Image courtesy of Mike Kuchar and Anthology Film Archives.

9

restoration restoration

& completed projects film preservation film preservation restoration projects from previous grant cycles completed in 2012

KING KONG (1933, dirs. Merian C. Cooper and Ernest B. Schoedsack) Restored in collaboration with Warner Bros. with additional funding provided by the Hollywood Foreign Press Association and The Film Foundation.

THE CHASE (1946, d. Arthur D. Ripley) Restored by the UCLA Film & Television Archive, with funding provided by The Film Foundation and the Franco-American Cultural Fund, a unique partnership between the Directors Guild of America (DGA); the Motion Picture Association of America (MPAA); the Société des Auteurs, Compositeurs et Editeurs de Musique (SACEM); and the Writers Guild of America, West (WGAW).

Image from the collections of the Margaret Herrick Library.

THEY LIVE BY NIGHT (1949, d. Nicholas Ray) THE BREAKING POINT (1950, d. Michael Curtiz) Restored by Warner Bros. in association Preserved by Warner Bros. in association with UCLA Film & Television Archive. with The Film Foundation and the Nicholas Preservation funding provided by Warner Bros., The Film Foundation and the Ray Foundation. Hollywood Foreign Press Association.

Images courtesy of Colorworks and Janus Films. RICHARD III (1955, d. ) Restored by The Film Foundation and Janus Films in association with the BFI National Archive, ITV Studios Global Entertainment Ltd., the Museum of Modern Art, and Romulus Films. Restoration funding provided by the Hollywood Foreign Press Association and The Film Foundation. Restoration supervised by Grover Crisp and Tom Heitman. before after

IL CASO MATTEI ALL THAT JAZZ (1979, d. Bob Fosse) (1972, d. ) Restored by Twentieth Century Fox in collaboration Restored by Cineteca di with The Film Foundation. Bologna at L’Immagine Ritrovata in association before with The Film Foundation, , ONCE UPON A TIME IN AMERICA (1984, d. ) and Museo Nazionale Restored by Cineteca di Bologna at L’Immagine Ritrovata del Cinema di Torino. Laboratory in association with Andrea Leone Films, The Restoration funding Film Foundation, and Regency Enterprises. Restoration provided by Gucci, , funding provided by Gucci and The Film Foundation. and The Film Foundation. after Images courtesy of Cineteca di Bologna at L’Immagine Ritrovata.

10 the film foundation conservation collection a collection of over 75 new 35mm prints of films restored with tff support is maintained at the academy film archive

Added in 2012: THE BOY WITH GREEN HAIR MY DARLING CLEMENTINE (1946, d. ) (1948, d. Joseph Losey) ALL THAT JAZZ (1979, d. Bob Fosse) NO MORE EXCUSES (1968, d. Robert Downey Sr.) THE BOYS FROM SYRACUSE OF MICE AND MEN (1939, d. ) IL CASO MATTEI (1972, d. Francesco Rosi)— (1940, d. Edward Sutherland) 35mm print and DCP ONCE UPON A TIME IN THE WEST BRITISH AGENT (1934, d. Michael Curtiz) THE CHASE (1946, d. Arthur D. Ripley) (1968, d. Sergio Leone)—both the Italian CHAFED ELBOWS (1966, d. Robert Downey Sr.) and English language versions KING KONG (1933, dirs. Merian C. Cooper and Ernest B. Schoedsack)—35mm print and DCP CLOAK AND DAGGER (1946, d. Fritz Lang) PANDORA AND THE FLYING DUTCHMAN (1951, d. Albert Lewin) THE LIFE AND DEATH OF COLONEL BLIMP THE CONNECTION (1962, d. Shirley Clarke) THE RED PONY (1949, d. Lewis Milestone) (1943, dirs. Michael Powell and THE CRY OF JAZZ (1959, d. Edward Bland) Emeric Pressburger) THE RED SHOES (1948, dirs. Michael Powell THE DIARY OF A CHAMBERMAID and Emeric Pressburger) ONCE UPON A TIME IN AMERICA (1946, d. Jean Renoir) (1984, d. Sergio Leone)—35mm print and DCP REMINISCENCES OF A JOURNEY TO LITHUANIA LA DOLCE VITA (1960, d. ) THE SEAFARERS (1953, d. Stanley Kubrick) (1971–72, d. Jonas Mekas) (1939, d. John Ford) SUNNYSIDE UP (1929, d. David Butler) THE RIVER (1951, d. Jean Renoir) THE ENFORCER (1951, d. Bretaigne Windust) TWO FOR THE ROAD (1967, d. Stanley Donen)— THE ROBE (1953, d. ) A FACE IN THE CROWD (1957, d. ) 35mm print and DCP SENSO (1954, d. ) FACES (1968, d. John Cassavetes) Previously deposited: SHADOW OF A DOUBT (1943, d. ) FAIR WIND TO JAVA (1953, d. ) (1950, d. Joseph L. Mankiewicz) SHADOWS (1959, d. John Cassavetes) IL GATTOPARDO (1963, d. Luchino Visconti) AMERICA, AMERICA (1963, d. Elia Kazan) SUNDAY (1961, d. Daniel Drasin) THE GOLDEN BED (1925, d. Cecil B. DeMille) LE AMICHE (1955, d. ) THEY MADE ME A FUGITIVE HIGH TREASON (1929, d. Maurice Elvey) (1947, d. Alberto Cavalcanti) BABO 73 (1964, d. Robert Downey Sr.) HOW GREEN WAS MY VALLEY (1941, d. John Ford) TURNABOUT (1940, d. Hal Roach) BABY DOLL (1956, d. Elia Kazan) JOAN OF ARC (1948, d. Victor Fleming) A WALK IN THE SUN (1945, d. Lewis Milestone) THE BAREFOOT CONTESSA (1954, d. Joseph L. Mankiewicz) George and Mike Kuchar 8MM Shorts WANDA (1970, d. Barbara Loden) (1958–63, dirs. George and Mike Kuchar) WAY OUT WEST (1937, d. James W. Horne) BECKY SHARP (1935, d. Rouben Mamoulian) (10 films) WILD RIVER (1960, d. Elia Kazan) THE BIG COMBO (1955, d. Joseph H. Lewis) LEAVE HER TO HEAVEN (1945, d. John M. Stahl) A WOMAN UNDER THE INFLUENCE THE BIG COUNTRY (1958, d. ) MACBETH (1948, d. Orson Welles)— (1974, d. John Cassavetes) BLONDE COBRA (1958-63, d. Ken Jacobs) both the original and U.S. release versions BORN TO BE BAD (1950, d. Nicholas Ray) THE MAN WITH THE GOLDEN ARM (1955, d. Otto Preminger) dga—mpi collection The Directors Guild of America—Motion Picture Industry Conservation Collection was created in November 2000 to conserve a 35mm release print of every DGA signatory film 101 35mm prints added produced. Archived at the UCLA Film & Television Archive, to the collection in 2012 for a the Collection ensures that a print exists so it can be used total of 1,751 films archived as a preservation element of last resort in the future.

11 education

the The foundation’s innovative educational program, The Story of Movies (SOM), introduces students to a variety of classic films and helps them learn about of the cultural, historical, and artistic significance of cinema. Students are taught story to understand the visual language of film and encouraged to apply their critical- thinking skills to all moving-image communications. Through engaging lessons, movies they learn visual literacy and the importance of preserving cinema for their generation and beyond.

In 2012, a new lesson was added to The Story of Movies website. The teacher’s guide and student activities created around Harold Lloyd’s THE FRESHMAN (1925, dirs. Sam Taylor and Fred Newmeyer) provide a unique context for students to practice their inference skills, as they learn to identify nuances of meaning within the moving images. The lessons surrounding THE FRESHMAN explore the historical and cultural environment depicted in the film, that of American college life in the 1920s.

The American West and the Western Film Genre Lesson Grid

MODULE 1: MODULE 2: MODULE 3: MODULE 4: The Myth of the Standards of Racism and the Industrialism, American West Justice in the Changing Image of the Nation Building American West Native American and the End of the American West

The Screening Room, The Screening Room, The Screening Room, The Screening Room, Part 1: The Silent West Part 1: Narrative Part 1: The Searchers Part 1: Red River The Great Train Robbery Structure in Stagecoach (1956, d. John Ford) (1948, d. Howard (1903, d. Edwin S. (1939, d. John Ford) Flaming Arrows Hawks) Porter) Act 1—Social Class No Longer White Robber Barons in Over Silent Paths and Prejudice the South (1910, d. D. W. Griffith) Act 2—The Journey The Drive North Hell’s Hinges Act 3—Revenge and new som units The Betrayal (1916, d. Charles Redemption Swickard) featuring William S. Hart The foundation is developing new comprehensive units on Westerns and Animation for upper The Screening Room, The Screening Room, The Screening Room, The Screening Room, Part 2: Part 2: My Darling elementary,Part 2: Broken Arrow middlePart 2:and Shane high (1953, d.school students. (1930, d. ) Clementine (1946, (1950, d. Delmar Daves) George Stevens) The Spectacular d. John Ford) VO and POV— The Outsiders Journey West Outlaws and Lawmen Jeffords’ Version Who Owns the ? 70 mm Grandeur Vision Shakespeare in The Apache Way Violence, Vengeance, Tombstone? The Peace Makers v. and the Love of a The Shoot-Out The Warriors Good Woman

Western Film Reader: Western Film Reader: Western Film Reader: Western Film Reader: The Link Between John Ford’s Western Centuries of Conflict— Barbed Wire and History and Culture Vision “The Vanishing American” Railroads Popularism vs. Monument Valley— “ Condition of the Range Wars Progressivism in Folded Layers of Time Indian Tribes: Report Early 20th Century Art Music & Meaning: of the Joint Special Dime Novels and Scoring Ford’s Westerns Committee, 1865” Wild West Shows Violence and Vengeance “ The Indian Question” by Francis A. Walker, Characteristics of the Life in the Territories Western Film Genre 18 74 The Posse The Cynthia Ann Parker saga

12 Research & Argument: Research & Argument: Research & Argument: Research & Argument: Our Film Heritage— Print the Legend— The Calvary to the Rescue? Building the Union Pacific The American West, Which Wyatt? E ntertainment, I nc. I mages courtesy of Harold Lloyd 1898–1938 som at-a-glance the day SOM Distribution to kill a mr. smith goes the earth SOM Website Statistics Statistics mockingbird to washington stood still Approximate total number of visitors: Number of teachers 44,869 28,786 26,619 485,000 Public school 78% 80% 80% Approximate number of Film Lesson Library downloads*: Private school 18% 15% 16% How to Nominate a Film to Writing About History Parochial school 4% 5% 4% the National Registry Using Moving Images 9,780 21,960 Urban 30% 27% 30% Theft International Film Classroom Suburban 38% 40% 41% 21,450 8,220 Interpreting a Short Rural 32% 33% 29% Documentary Film Harold Lloyd’s THE FRESHMAN 21,800 3,400 *Numbers of downloads are incomplete and actual figures are higher. digital preservation As contemporary motion pictures are increasingly created The foundation hosted a conference in March to discuss entirely in the digital realm, the preservation of digital content these issues and draft a working document based on presents a complex set of challenges to preservationists. preliminary research and input from archivists, filmmakers, studios, labs, and post-production facilities. The foundation In response to this urgent situation, The Film Foundation, is also creating an informative campaign targeted to in partnership with IBM, has launched an initiative to raise independent filmmakers. awareness of the need for digital preservation and to develop resources for filmmakers in order to communicate In 2013, the foundation will host events around the country current archival recommendations. to introduce the program at archives, festivals, museums, industry organizations, and educational institutions.

film and digital storage best recommendations better good film Multiple secure locations A secure, temperature A film archive or library, and humidity-controlled with clearly stated terms storage facility and responsibilities on matters such as access

DIGITAL Diverse formats such as Diverse formats kept in Archive or library with hard drives, data tape, multiple locations, including migration responsibilities the cloud digital storage facilities clearly outlined

An excerpt from TFF’s Digital Preservation Guide, available Fall 2013

13 mages courtesy of Harold Lloyd E ntertainment, I nc. I mages courtesy of Harold Lloyd events I mmagine R itrovata. I mage courtesy of Cineteca di Bologna at L’ may june 7th–June 18th: Mondo and The Alamo Drafthouse— 23rd–30th: Il Cinema Ritrovato TFF Screening Series Screens ONCE UPON A TIME IN AMERICA, THE LIFE AND DEATH OF 18th: Cinema Visionaries—ONCE UPON COLONEL BLIMP, and Avant-Garde A TIME IN AMERICA at Cannes Masters Tribute 19th: The Silent Films of Alfred 27th: THE LIFE AND DEATH OF Hitchcock—THE RING at Cannes COLONEL BLIMP—Los Angeles 23rd: East Meets West—Event with Restoration Premiere Alexander Payne and Stanley Kwan I mage courtesy of Gucci/Getty mages.

august

9th: HFPA Luncheon—Steven Spielberg discusses the importance of analog film preservation 31st: Cinema Visionaries— IL CASO MATTEI restoration premiere . ® at Venice A I mage courtesy of HF P

october

14th: RICHARD III— World Restoration Premiere in , U.S. Restoration Premiere in NY 18th–25th: Mumbai Film Festival— TFF Screening Series

14 I mage courtesy of Colorworks and Janus Films. february april

14th: The Collector’s Choice— 13th: TCM Classic Film Festival Film Noir Classics III released on DVD auction benefits TFF

24th: Vanity Fair honors Martin I mage courtesy of T C M . All R ights eserved. 21st: Avant-Garde Masters: Scorsese and The Film Foundation A Decade of Preservation— Screening Series kick-off 26th: Mercedes-Benz supports TFF I mmagine R itrovata. I mage courtesy of Cineteca di Bologna at L’ through Oscar events

july

June 28th–July 21st: The Silent Films of Alfred Hitchcock—Four TFF-funded restorations premiere in London 13th–22nd: Maine International Film Festival—TFF Screening Series .A.S. 24th: THEY MADE ME A FUGITIVE restoration released on DVD and Blu-ray I mage courtesy of ©A. M . P

september

8th: Premio Positano— TFF awarded Massine Legacy Prize 27th: The Collector’s Choice— Frank Capra: The Early Collection released on DVD I mage courtesy of T C M and S P H E . I mage courtesy of Linda Nyland.

november

13th: WE CAN’T GO HOME AGAIN restoration released on DVD see more details and Blu-ray 27th–December 2nd: of 2012 events > Toute la Mémoire du Monde Festival—TFF Screening Series

15 I mage courtesy of Janus Films and the Criterion Collection. events vanity fair february 24 Vanity Fair honors Martin Scorsese and collector’s choice The Film Foundation february 14 On February 24th, Vanity Fair and Richard Film noir classics and five early Frank Capra films released on DVD Mille paid tribute to Martin Scorsese and The Film Foundation at an intimate cocktail Turner Classic Movies and Sony Pictures Home Entertainment once again reception at the Hotel Bel-Air. The event was joined with TFF to release two new DVD sets in the “The Collector’s Choice” one of several hosted by Vanity Fair honoring series. In February, five fully restored and remastered films were featured charitable causes in the week leading up to in the Film Noir Classics III collection: MY NAME IS the Academy Awards. JULIA ROSS (1945, d. Joseph H. Lewis), THE MOB (1951, d. ), DRIVE A CROOKED ROAD (1954, d. Richard Quine), (1955, d. ), and THE BURGLAR (1957, d. Paul Wendkos). The DVD set mercedes-benz includes introductions by Martin Scorsese on DRIVE A CROOKED ROAD and THE BURGLAR. february 26 Mercedes-Benz recognizes a film icon in motion In September, five early Frank Capra films were released onV D D for the first time in Frank Capra: The Early Collection, featuring restorations of Mercedes-Benz celebrated the six-decade five 1930s pre-code Capra pictures: LADIES OF LEISURE (1930), RAIN OR anniversary of its legendary SL model with the SHINE (1930), THE MIRACLE WOMAN (1931), FORBIDDEN (1932), and THE unveiling of the 2013 SL. The car was on display at BITTER TEA OF GENERAL YEN (1933). The DVD extras include introductions an exclusive Mercedes-Benz Oscar viewing party by Martin Scorsese, and Michel Gondry. at the Soho House in West Hollywood on February 26th. Mercedes-Benz marked the occasion with a contribution to The Film Foundation. avant-Garde masters: a decade of preservation tcm classic april 21 film festival Tenth anniversary screenings around the world april 13º “i’m thrilled that the work of such artists as TCM Classic Film Festival auction benefits TFF George kuchar, shirley clarke, and kenneth anger has been preserved and—equally important— The TCM Classic Film Festival continued its made available so audiences can actually see partnership with The Film Foundation at these extraordinary films.” its third annual festival, this year themed – martin scorsese around “Style in the Movies.” The program The Avant-Garde Masters Grant moderated by NFPF Assistant included the world restoration premiere of was created in 2003 by the National Director Jeff Lambert, with Stanley Donen’s TWO FOR THE ROAD (1967) on Film Preservation Foundation and filmmakers Abigail Child, Larry April 13th. The film was digitally restored in The Film Foundation to preserve Gottheim, Carolee Schneeman, and 4K by Twentieth Century Fox as part of its American avant-garde cinema. Tribeca Film Festival experimental partnership with The Film Foundation. Funded by TFF, the program has film programmer Jon Gartenberg. Director Stanley Donen introduced the film helped save more than 105 films to an enthusiastic crowd. in its first decade, making many Special screenings were also The festival hosted a silent auction featuring works available to audiences for featured at: two classic movie posters—VERTIGO the first time. Seattle International Film Festival— (1958, d. Alfred Hitchcock), signed by Seattle, WA and 20,000 LEAGUES UNDER TFF and NFPF marked the anniver- Alamo Drafthouse—Austin, TX THE SEA (1954, d. Richard Fleischer), sary with screenings at venues Onion City Film Festival—Chicago, IL signed by . Proceeds benefited around the world, kicking off with Il Cinema Ritrovato—Bologna, TFF with a matching contribution by TCM. a presentation at the Tribeca Film Pacific Film Archive—Berkeley, CA Festival. The April 21st event Anthology Film Archives—New York, NY featured a panel discussion, Cinémathèque Française—Paris,

16 mondo and the alamo drafthouse may 7–june 18 TFF Screening Series The Alamo Drafthouse and its art boutique Mondo joined forces with The Film Foundation to showcase eight films restored with funding from the foundation. The sold-out screenings were held throughout May and June at the Alamo Drafthouse Ritz in Austin, Texas and featured pristine 35mm prints. Beautifully designed posters for each of the restored films were created by Mondo and its talented team of artists. Posters were available at the screenings and online. Included in the program:

THE UNHOLY THREE THE OLD DARK HOUSE KING KONG SHADOW OF A DOUBT (1925, d. Tod Browning) (1932, d. James Whale) (1933, dirs. Merian C. Cooper and Ernest B. Schoedsack) (1943, d. Alfred Hitchcock)

RASHOMON THE NIGHT OF THE HUNTER PATHS OF GLORY FILM (1950, d. ) (1955, d. Charles Laughton) (1957, d. Stanley Kubrick) (1965, dirs. Alan Schneider and Samuel Beckett)

THE UNHOLY THREE Artist: Jeff Kleinsmith / THE OLD DARK HOUSE Artist: Elvisdead / KING KONG Artist: Laurent Durieux / SHADOW OF A DOUBT Artist: Alan Hynes / Artist: Delicious Design League / THE NIGHT OF THE HUNTER Artist: Phantom City Creative / PATHS OF GLORY Artist: Jay Shaw / FILM Artist: Delicious Design League Images courtesy of Mondo.

17 events Cinema visionaries may 18 Gucci and TFF host restoration premieres of ONCE UPON A TIME IN AMERICA and IL CASO MATTEI Gucci extended its commitment to preserving the artistic and cultural legacy of cinema with a 2012 contribution to restore Sergio Leone’s ONCE UPON A TIME IN AMERICA (1984) and Francesco Rosi’s IL CASO MATTEI (1972). To date, Gucci has donated nearly $3 million to The Film Foundation, funding the restoration of eight iconic films through the Cinema Visionaries program: A WOMAN UNDER THE Filmmaker Francesco Rosi and Venice INFLUENCE (1974, d. John Cassavetes), LE AMICHE (1955, d. Michelangelo Antonioni), WANDA (1970, Film Festival Director Alberto Barbera d. Barbara Loden), SENSO (1954, d. Luchino Visconti), IL GATTOPARDO (1963, d. Luchino Visconti), LA DOLCE VITA (1960, d. Federico Fellini), as well as ONCE UPON A TIME IN AMERICA and IL CASO MATTEI. Gucci and the foundation also contributed to the restoration of WE CAN’T GO HOME AGAIN (1976, d. Nicholas Ray). ONCE UPON A TIME IN AMERICA made its world restoration premiere at the 65th Cannes Film Festival on May 18th, with , James Woods, Elizabeth McGovern, and Jennifer Connelly in attendance, along with the film’s legendary composer, Ennio Morricone. Leone’s final film originally premiered out of competition at Cannes in 1984. This newly restored version featured roughly 20 minutes of additional scenes that had never before been seen by audiences. IL CASO MATTEI had its world restoration premiere at the 69th Venice International Film Festival on August 31st. The event commemorated the 40th anniversary of the film’s release, and prior to the screening, the festival honored director Francesco Rosi with the for Lifetime Achievement. Both films made their U.S. restoration debuts in New York in October: IL CASO MATTEI was presented at the 50th New York Film Festival, and Robert De Niro introduced ONCE UPON A TIME IN AMERICA to a sold-out audience at MoMA’s 10th “To Save and Project” Festival of Film Preservation, followed by a week-long run at New York’s Film Forum.

Left: ONCE UPON A TIME IN AMERICA composer Ennio Morricone and his wife, Maria Travia / Right: ONCE UPON A TIME IN AMERICA cast and Gucci’s Frida Giannini and Patrizio di Marco

the Silent films of alfred hitchcock may 19 Restoration Premieres The BFI National Archive completed the restoration of silent films through its “Save the Hitchcock 9” program. With generous funding from the Hollywood Foreign Press Association, TFF provided support for the restoration of four of these films—THE PLEASURE GARDEN (1925), THE RING (1927), THE LODGER (1926), and BLACKMAIL (1929). The BFI commissioned new musical scores for three of the four titles. The newly restored THE RING premiered at the Cannes Film Festival on May 19th and then, along with the other three TFF funded projects, made its way to London for a special summer screening series. THE RING then headed stateside for a U.S. premiere on November 29th at the Academy’s Theater in Beverly Hills. A U.S. tour of the Hitchcock Silent Films is scheduled for summer 2013.

18 I mage courtesy of Gucci/Getty mages. east meets west may 23 A conversation between Stanley Kwan and Alexander Payne Louis XIII Cognac continued its partnership with TFF in 2012 at the Cannes Film Festival on May 23rd at “East Meets West,” a conversation between TFF board member Alexander Payne and acclaimed Hong Kong filmmaker Stanley Kwan, about their journeys through the world of film.

the life and death Stanley Kwan and Alexander Payne converse at “East Meets West.” of colonel blimp Image courtesy of LOUIS XIII. june 27 Restoration Premieres maine international After London and New York restoration premieres in 2011, THE LIFE AND DEATH OF COLONEL BLIMP (1943) film festival continued to debut around the globe with a German july 13–22 premiere at the Berlin TFF Screening Series International Film Festival The 16th Annual Maine International Film Festival recognized on February 11th, in the work of The Film Foundation in its popular “Re-Discovery” Bologna at the II Cinema section, screening eight films restored with TFF funding, Ritrovato Festival on including: June 23rd, and in Los Angeles at the Academy’s THE CHASE (1946, d. Arthur D. Ripley) Samuel Goldwyn Theater LETTER FROM AN UNKNOWN WOMAN (1948, d. Max Ophüls) on June 27th. Thelma THE BREAKING POINT (1950, d. Michael Curtiz) Schoonmaker Powell THE BIG SKY (1952, d. Howard Hawks) presented a before- LE AMICHE (1955, d. Michelangelo Antonioni) and-after restoration IL GATTOPARDO (1963, d. Luchino Visconti) demonstration at these ONCE UPON A TIME IN THE WEST (1968, d. Sergio Leone) special events. THE LIFE AND DEATH OF COLONEL BLIMP (1943, dirs. Michael Powell and Emeric Pressburger)* Thelma Schoonmaker Powell introduces the LA premiere of THE LIFE AND DEATH OF COLONEL BLIMP. *Presented by Thelma Schoonmaker Powell, who was honored with the Image courtesy of ©A.M.P.A.S. festival’s Mid-Life Achievement Award.

hollywood foreign press association august 9 Steven Spielberg accepts contribution on behalf of TFF and highlights the importance of analog film preservation The Hollywood Foreign Press Association held its annual installation luncheon on August 9th at the Beverly Hills Hotel, awarding over $1.2 million in grants to entertainment-related charities and scholarship programs. Steven Spielberg accepted the HFPA’s generous $250,000 grant to The Film Foundation and reiterated the important and urgent need for the preservation of moving images, particularly analog film as the industry shifts to digital production. He described the process as “a race against the clock,” while at the same time reminding the industry why preservation is a labor of love. “This has been the stuff of dreams since 1895 and I will remain loyal to it until its dying day. Today, its years are numbered, but I will remain loyal to this analog art form until the last lab closes.” Over the past 16 years, the HFPA has contributed over $3.6 million to The Film Foundation in support of its preservation and restoration projects. This year’s grant will help fund the restoration of Federico Fellini’s (1954).

19 I mage courtesy of Gucci/Getty mages. events premio positano richard iii September 8 October 14 TFF awarded Massine Legacy Prize Restoration Premiere The restoration of Michael Powell and Emeric The restoration of Laurence Olivier’s RICHARD III (1955) had its Pressburger’s THE RED SHOES (1948) received world restoration premiere at the 56th BFI London Film Festival the Premio Positano Massine Legacy Prize in on October 14th, featuring an introduction and post-screening Positano, Italy on September 8th. Rachel and discussion with Claire Bloom, the film’s Lady Anne. On the same Eleanor Hall, the daughter and granddaughter day, the U.S. premiere was held at the New York Film Festival, of the film’s lead actress, Moira Shearer, featuring an introduction by Martin Scorsese. The restoration accepted the prestigious award that recognizes marks the first time that the film’s continuity nearly matches the achievement in dance. original UK premiere version, and the result is the longest existing version of the film, with greatly improved image quality and sound.

Mumbai Film Festival panel discussion Image courtesy of the Mumbai Film Festival. mumbai film festival October 18–25 TFF Screening Series Among more than 200 films from 65 countries, the 14th Annual Mumbai Film Festival included a special “Restored Classic Series,” highlighting the preservation/restoration work of The Film Foundation, the Academy Film Archive, and Twentieth Century Fox. TFF Executive Director Margaret Bodde, Michael Pogorzelski (Director of the Academy Film Archive) and Schawn Belston (Senior Vice-President of Library and Technical Services at Twentieth Century Fox) introduced screenings and participated in the festival’s first-ever panel discussion on preservation and restoration. The panel, moderated by Ian Birnie, also included Kimball Thurston (Reliance Media Works), Shivendra Singh Dungarpur (Filmmaker), and Davide Pozzi (Cineteca di Bologna at L’Immagine Ritrovata). The following TFF-funded restorations screened:

HOW GREEN WAS MY VALLEY (1941, d. John Ford) WILD RIVER (1960, d. Elia Kazan) TWO FOR THE ROAD (1967, d. Stanley Donen) THE LIFE AND DEATH OF COLONEL BLIMP IL GATTOPARDO (1963, d. Luchino Visconti) SHATRANJ KE KHILARI (THE CHESS PLAYERS) (1943, dirs. Michael Powell and Emeric Pressburger) CHARULATA (1964, d. ) (1977, d. Satyajit Ray) LEAVE HER TO HEAVEN (1945, d. John M. Stahl) ONCE UPON A TIME IN AMERICA (1984, d. Sergio Leone)

20 “...these are great films that marked me at a young age, toute la mémoire and that opened my eyes du monde festival to cinema and to the world.” november 27–december 2 – martin scorsese TFF Screening Series La Cinémathèque Française hosted its inaugural festival of preservation, appropriately named in honor of Alain Resnais’ acclaimed 1956 short film about La Bibliothéque nationale de France. The festival included the screening program, “Inspirations,” a tribute to The Film Foundation, featuring a selection of restored films curated by Martin Scorsese. In his notes about the program Scorsese remarked, “The Film Foundation has restored almost 600 pictures of all types from all over the world. Many of those films have inspired me and opened my mind to new possibilities, and I return to them often. I realize now that all of these pictures were made during my childhood and early adolescence—nothing intentional, that’s just the way it happened. So, these are great films that marked me at a young age, and that opened my eyes to cinema and to the world.” The “Inspirations” program included:

THE SHANGHAI GESTURE THE CHASE THEY MADE ME A FUGITIVE ON THE WATERFRONT (1941, d. ) (1946, d. Arthur D. Ripley) (1947, d. Alberto Cavalcanti) (1954, d. Elia Kazan) LEAVE HER TO HEAVEN MY DARLING CLEMENTINE THE RIVER (1951, d. Jean Renoir) (1945, d. John M. Stahl) (1946, d. John Ford)

The festival also commemorated the ten-year anniversary of the Avant-Garde Masters program with “Avant-Garde Masters: A Decade of Preservation,” a retrospective of the grant program administered by the National Film Preservation Foundation and funded by The Film Foundation. Included in the screening program:

BLUES (1969, d. Larry Gottheim) SYLVIA’S PROMISE PREFACES (1981, d. Abigail Child) MUTATIONS RABBIT’S MOON (1962, d. George Kuchar) IN (1972, d. Lillian Schwartz) (1950–70, d. Kenneth Anger) COSMIC RAY BOSTON (1967, d. Andy Warhol) (1961, d. Bruce Conner)

In addition, the festival hosted the French restoration premieres of Bob Fosse’s ALL THAT JAZZ (1979), newly restored through a partnership of Twentieth Century Fox and The Film Foundation, and Alfred Hitchcock’s BLACKMAIL (1929), restored by the BFI National Archive with funding from the HFPA and TFF. Margaret Bodde and NFPF’s Jeff Lambert also participated in a round table discussion on restoration financing. Other panelists included: Jérôme Soulet (Gaumont), Serge Toubiana (Cinémathèque Française), Rosalie Varda (Ciné-Tamaris), Laurent Cormier (Centre national du cinéma et de l’image animée), and Marc Lacan (Pathé).

Image courtesy of La Cinémathèque Française.

BLACKMAIL screening at Toute la Mémoire du Monde with live accompaniment from Chloé Image courtesy of © Visual. 21 “When Sergio Leone made ONCE UPON A TIME IN AMERICA, it was an event. Here was the man who had invented the spaghetti press Western, coming to New York to make a Jewish gangster epic.... We all knew it would be unlike anything we’d ever seen.” Martin Scorsese Vanity Fair | August 2012

M Le magazine du Monde | May 19, 2012 22 “(Martin Scorsese) is concerned with making sure the early days of the art form aren’t lost to the dusts of time.” Kevin Jagernauth, Indiewire.com

The New York Review of Books | December 20, 2012

Indiewire | November 23, 2012

“One of the great things about preservation in general is if you have never seen a movie, it doesn’t matter if it’s 60 years old, it’s a new movie to you.” Margaret Bodde, TFF Executive Director

“The vibrant reds and yellows that fill the screen have the eye-popping brightness of a widescreen poster.” Geoffrey O’Brien, The New York Review of Books

LA Times | June 13, 2012

LA Weekly | June 12, 2012

additional tff press breaks Corriere Della Sera (Italy) Le Figaro (France) In Touch Weekly (US) Vogue Online (Worldwide) The Daily Telegraph (UK) (UK) The New York Post (US) Wall Street Journal (US) Daily Variety (US) The Hollywood Reporter (US) Rolling Stone (Italy) Women’s Wear Daily (US) Elle (France, Japan, Spain) i-D Film (US) Vanity Fair (Italy, UK, US)

23 over 350 screenings exhibition worldwide

Screenings in 2012 of films preserved/restored with funding from The Film Foundation

ACADEMY FILM ARCHIVE TWO FOR THE ROAD (1967, d. Stanley Donen) April 13 TCM Classic Film Festival—Hollywood, CA ALL THAT JAZZ (1979, d. Bob Fosse) May 27 SIFF Cinema Uptown—Seattle, WA November 30 La Cinematheque Francaise—Paris, France October 24 Mumbai Film Festival—Mumbai, APUR SANSAR (1959, d. Satyajit Ray) WE CAN’T GO HOME AGAIN (1976, d. Nicholas Ray) October 30–November 4 Finnish Film Archive—Helsinki, Finland November 28 La Cinematheque Francaise—Paris, France CHARULATA (1964, d. Satyajit Ray) WILD RIVER (1960, d. Elia Kazan) July 8 TIFF Bell Lightbox—Toronto, Canada October 25 Mumbai Film Festival—Mumbai, India October 19 Mumbai Film Festival—Mumbai, India THE CHESS PLAYERS (1977, d. Satyajit Ray) October 19 Mumbai Film Festival—Mumbai, India ANTHOLOGY FILM ARCHIVES DRUMS ALONG THE MOHAWK (1939, d. John Ford) ANITA NEEDS ME (1963, dirs. George and Mike Kuchar) November 30–December 5 Bard College—Annandale-on-Hudson, NY February 12 Anthology Film Archives—New York, NY May 10 Anthology Film Archives—New York, NY HOW GREEN WAS MY VALLEY (1941, d. John Ford) October 22 Mumbai Film Festival—Mumbai, India BLONDE COBRA (1963, d. Ken Jacobs) November 16–29 Deutsches Filminstitut—Frankfurt, Germany June 16 Anthology Film Archives—New York, NY August 12 Anthology Film Archives—New York, NY JALSAGHAR (1958, d. Satyajit Ray) April 12 Center for Contemporary Arts – Santa Fe, NM BORN OF THE WIND (1962, d. Mike Kuchar) October 28 Anthology Film Archives—New York, NY KING KONG (1933, dirs. Merian C. Cooper and Ernest B. Schoedsack) May 6 Montclair Film Festival—Montclair, NJ GREEN DESIRE (1966, d. Mike Kuchar) May 28 Alamo Drafthouse Ritz—Austin, TX October 28 Anthology Film Archives—New York, NY LEAVE HER TO HEAVEN (1945, d. John M. Stahl) LOST LOST LOST (1976, d. Jonas Mekas) May 12 Museum of the Moving Image—Astoria, NY December 19 Anthology Film Archives—New York, NY October 23 Mumbai Film Festival—Mumbai, India REMINISCENCES OF A JOURNEY TO LITHUANIA (1971–72, d. Jonas Mekas) December 2 La Cinematheque Francaise—Paris, France December 9–10 —London, UK THE LIFE AND DEATH OF COLONEL BLIMP December 16 Anthology Film Archives—New York, NY (1943, dirs. Michael Powell and Emeric Pressburger) SYLVIA’S PROMISE (1962, d. George Kuchar) February 11 Berlin International Film Festival—Berlin, Germany November 29 La Cinematheque Francaise—Paris, France March 6 Seattle Art Museum—Seattle, WA April 12 Chapman University—Orange, CA June 2–3 Curzon Soho—London, UK BRITISH FILM INSTITUTE June 3–7 Harbour Lights Picturehouse—Southampton, UK BLACKMAIL (1929, d. Alfred Hitchcock) June 10 Dundee Contemporary Arts Cinema—Dundee, UK July 6 British Museum—London, UK June 15 Phoenix Square—Leicester, UK August 1 BFI Southbank—London, UK June 20–21 Dartington Hall/ Barn Cinema—Devon, UK August 5 New Zealand International Film Festival— June 22–24 Glasgow Film Theatre—Glasgow, UK Auckland, New Zealand June 23 Il Cinema Ritrovato—Bologna, Italy September 21 Film Festival—Cambridge, UK June 27 Samuel Goldwyn Theater—Beverly Hills, CA November 9 Eden Court—Inverness, UK July 15 Stamford Arts Centre—Stamford, UK November 13 Edinburgh Filmhouse—Edinburgh, UK July 17 Maine International Film Festival—Waterville, ME December 2 La Cinematheque Francaise—Paris, France July 20–25 Stockton Arts Centre—Stockton-on-Tees, UK THE LODGER (1926, d. Alfred Hitchcock) August 3 Northwest Film Forum—Seattle, WA July 21 Barbican Hall, Barbican Centre—London, UK August 9 Aero Theatre—Santa Monica, CA August 10 BFI Southbank—London, UK October 13 Belcourt Theatre—Nashville, TN August 10 Curzon Mayfair—London, UK October 16–23 Smith Rafael Film Center—San Rafael, CA August 10 Edinburgh Filmhouse—Edinburgh, UK October 20 Mumbai Film Festival—Mumbai, India August 13 Mac Birmingham—Birmingham, UK October 25 Hailsham Pavilion—East Sussex, UK August 17 Watershed Cinema—Bristol, UK November 4 The Gulbenkian—Kent, UK August 18–23 BFI Southbank—London, UK THE MAN WITH THE GOLDEN ARM (1955, d. Otto Preminger) August 26 Chichester Film Festival—West Sussex, UK June 10 TIFF Bell Lightbox—Toronto, Canada August 26 Hackney Picturehouse—London, UK NIGHT TIDE (1961, d. Curtis Harrington) August 26 Stratford-upon-Avon Picturehouse— October 24 Northwest Chicago Film Society—Chicago, IL Stratford-upon-Avon, UK August 26 Stratford East Picturehouse—London, UK ONCE UPON A TIME IN THE WEST (1968, d. Sergio Leone) August 26 Regal Picturehouse—Henley-on-Thames, UK January 12 Indiana University Cinema—Bloomington, IN August 27 Belmont Picturehouse—Aberdeen, UK June 15–19 Film Forum—New York, NY August 27 Greenwich Picturehouse—London, UK July 16 Maine International Film Festival—Waterville, ME August 31 Ritzy Picturehouse, —London, UK October 28 University of Wisconsin—Madison, WI September 1 National Media Museum—Bradford, UK (1955, d. Satyajit Ray) September 2 Exeter Picturehouse—Devon, UK January 21 Indiana University Cinema—Bloomington, IN September 2 Little Theatre Cinema—Bath, UK February 29 Pacific Film Archive—Berkeley, CA September 2 Picturehouse at FACT—Liverpool, UK RASHOMON (1950, d. Akira Kurosawa) September 2 Cinema City—, UK May 21 Alamo Drafthouse Ritz—Austin, TX September 2 Harbour Lights Picturehouse—Southampton, UK September 4 The Dukes—Lancaster, UK THE RIVER (1951, d. Jean Renoir) September 9 Phoenix Picturehouse—Oxford, UK November 30 La Cinematheque Francaise—Paris, France 24 THE LODGER (1926, d. Alfred Hitchcock) continued September 12 Aldeburgh Cinema—Aldeburgh, UK IL GATTOPARDO (1963, d. Luchino Visconti) September 14 Ipswich Film Theatre—Ipswich, UK May 20 Festa del Cinema—Bologna, Italy September 15 Dartington Hall / Barn Cinema—Devon, UK July 18–19 Maine International Film Festival—Waterville, ME September 15 Hippodrome Bo’ness—Scotland, UK August 1 Associazione Arci Modena—Modena, Italy September 15 RADA Screen—London, UK October 19 Mumbai Film Festival—Mumbai, India September 17 Cambridge Film Festival—Cambridge, UK October 24 Museo Nazionale del Cinema—Torino, Italy September 20 Artrix Bromsgrove—Worcestershire, UK December 9 Revista Ler/ Fundacao Circulo De Leitores— September 21 Malvern Theatres—Worcestershire, UK Lisbon, Portugal September 23 Ritz Belper—Derbyshire, UK INVESTIGATION OF A CITIZEN ABOVE SUSPICION (1970, d. Elio Petri) September 30 Riverside Studios—London, UK September 3–4 Film Festival—Venice, Italy September 30 Rio Cinema Dalston—London, UK September 28—October 4 Film Forum—New York, NY September 30 Aubin Cinema Shoreditch—London, UK September 30 Tyneside Newcastle—Newcastle upon Tyne, UK ONCE UPON A TIME IN AMERICA (1984, d. Sergio Leone) October 7 Saffron Walden Community Cinema—Essex, UK May 18 Cannes Film Festival—Cannes, France October 7 Watford Palace Theatre—Watford, UK June 22 Il Cinema Ritrovato—Bologna, Italy October 10 The Alban Arena—Hertfordshire, UK October 13 MoMA “To Save & Project” Festival—New York, NY October 12 Eden Court—Inverness, UK October 19 Institut Lumiere—Lyon, France October 16 Hyde Park Picturehouse—Leeds, UK October 21 Mumbai Film Festival—Mumbai, India October 21 Stamford Arts Centre—Lincolnshire, UK November 23–29 Film Forum—New York, NY November 4 City Screen Picturehouse—York, UK SENSO (1954, d. Luchino Visconti) November 17 Kyiv Cultural Cinema—Kiev, Ukraine September 17 Adana Golden Boll Film Festival—Adana, Turkey November 18 Curzon Community Cinema—Clevedon, UK October 12 Stadtkino Basel—Basel, Switzerland December 9 Irish Film Institute—Dublin, Ireland December 11 International Film Festival of Kerala—Kerala, India December 16 MOMA Broadway Cinema—Beijing, China GEORGE EASTMAN HOUSE December 21 Cinema—Xi’an, China BEGGARS OF LIFE (1928, d. William Wellman) December 21 Borderlines Festival/The Courtyard—Hereford, UK February 20 Film Forum—New York, NY THE PLEASURE GARDEN (1925, d. Alfred Hitchcock) April 21 Bradford International Film Festival—Bradford, UK June 28–29 Wilton’s Music Hall—London, UK April 29 Barbican Center—London, UK September 14 Cambridge Film Festival—Cambridge, UK August 1 The Cinefamily—Los Angeles, CA September 23 BFI Southbank—London, UK THE BLUE BIRD (1918, d. Maurice Tourneur) October 4 Rio International Film Festival—Rio de Janeiro, Brazil November 8 National Audiovisual Archive—Helsinki, Finland October 20 Institut Lumiere—Lyon, France BORN TO BE BAD (1950, d. Nicholas Ray) October 21 National Media Museum—Bradford, UK November 21 Festival 4+1—Madrid, Spain November 4 Edinburgh Filmhouse—Edinburgh, UK November 8 Eden Court—Inverness, UK THE CAT AND THE CANARY (1927, d. Paul Leni) December 7 La Ferme du Buisson—Marne-la-Vallee, France October 27 The Redford Theatre—, MI December 13 International Film Festival of Kerala—Kerala, India THE CHEAT (1915, d. Cecil B. DeMille) RICHARD III (1955, d. Laurence Olivier) August 26 Harvard Film Archive—Cambridge, MA October 14 BFI London Film Festival—Southbank, London UK THE GRASP OF GREED (1916, d. Joseph De Grasse) October 14 50th New York Film Festival—New York, NY September 29 National Film and Sound Archive, Australia— THE RING (1927, d. Alfred Hitchcock) Canberra, Australia May 19 Cannes Film Festival—Cannes, France KINDRED OF THE DUST (1922, d. Raoul Walsh) July 13 Hackney Empire—London, UK June 23 Il Cinema Ritrovato—Bologna, Italy September 22 Cambridge Film Festival—Cambridge, UK November 24 National Gallery of Art—Washington, D.C. October 5 BFI Southbank—London, UK PASS THE GRAVY (1928, dirs. Fred Guiol and Leo McCarey) November 25 Edinburgh Filmhouse—Edinburgh, UK September 23 Denver Festival—Denver, CO November 29 Samuel Goldwyn Theater—Beverly Hills, CA December 2 Chapter Arts Centre—Cardiff, UK THE SHANGHAI GESTURE (1941, Josef von Sternberg) December 7 International Film Festival of Kerala—Kerala, India December 1 La Cinematheque Francaise—Paris, France THEY MADE ME A FUGITIVE (1947, d. Alberto Cavalcanti) THE UNHOLY THREE (1925, d. Tod Browning) April 19 Seattle Art Museum—Seattle, WA May 14 Alamo Drafthouse Ritz—Austin, TX November 30 La Cinematheque Francaise—Paris, France LIBRARY OF CONGRESS CINETECA DI BOLOGNA AGE OF CONSENT (1932, d. Gregory La Cava) LE AMICHE (1955, d. Michelangelo Antonioni) July 7 Edinburgh International Film Festival—Scotland, UK July 20 Maine International Film Festival—Waterville, ME ALMOST A LADY (1926, d. E. Mason Hopper) August 13 Associazione Culturale Cinemazero—Pordenone, Italy November 7 Packard Campus—Culpeper, VA October 23 Fondazione Ferrara Arte—Comune di Ferrara, Italy THE BOYS FROM SYRACUSE (1940, d. Edward Sutherland) IL CASO MATTEI (1972, d. Francesco Rosi) October 10 BFI Southbank—London, UK August 31 Venice Biennale Film Festival—Venice, Italy HIGH TREASON (1929, d. Maurice Elvey) September 7 G.2 Eventi, Teatro Ariston—Mantova, Italy March 2 Packard Campus—Culpeper, VA September 19 Cambridge Film Trust—Cambridge, UK October 11 The 50th New York Film Festival—New York, NY THE OLD DARK HOUSE (1932, d. James Whale) October 25 Apollo spazioCinema—Milano, Italy June 11 Alamo Drafthouse Ritz—Austin, TX October 26 Giometti Real Estate & Cinema—Matelica, Italy SHADOW OF A DOUBT (1943, d. Alfred Hitchcock) December 3 Teatro San Carlo di Napoli—, Italy May 7 Alamo Drafthouse Ritz—Austin, TX December 20 Seoul Art Cinema (Korea Association of Cinematheques)—Seoul, South Korea December 20–28 italian Cultural Institute in Seoul—Seoul, South Korea MUSEUM OF MODERN ART LA DOLCE VITA (1960, d. Federico Fellini) ABRAHAM LINCOLN (1930, d. D.W. Griffith) January 20 Cineteca del Comune di Rimini—Rimini, Italy February 25 The High Museum of Art—Atlanta, GA May 29 Festa del Cinema—Bologna, Italy October 28 Museum of Modern Art—New York, NY July 2 Coop. Voli­—Bologna, Italy THE BIG SKY (1952, d. Howard Hawks) August 2 Solares Fondazione delle Arti—Parma, Italy July 20 Maine International Film Festival—Waterville, ME August 8 Associazione Arci Modena—Modena, Italy October 10 Must Kasi Mtu—Tallin, Estonia

25 MUSEUM OF MODERN ART continued THE BIG TRAIL (1930, dirs. Raoul Walsh and Louis R. Loeffler) COSMIC RAY (1961, d. Bruce Conner) June 23–24 Il Cinema Ritrovato—Bologna, Italy June 2–3 Seattle International Film Festival—Seattle, WA

screenings BONJOUR TRISTESSE (1958, d. Otto Preminger) November 29 La Cinematheque Francaise—Paris, France March 10 The High Museum of Art—Atlanta, GA DOORWAY (1970, d. Larry Gottheim) November 21 Festival de Cine 4+1 Fundacion MAPFRE— April 21 Tribeca Film Festival—New York, NY Buenos Aires, Argentina ENIAIOS: CYCLE V (1948–90, d. Gregory Markopoulos) THE BOY WITH GREEN HAIR (1948, d. Joseph Losey) June 30 Temenos—Lyssaraia, Greece November 23–29 torino Film Festival—Torino, Italy EPILOGUE and SIAM (1969, d. Tom Chomont) A BRONX MORNING (1931, d. Jay Leyda) April 21 Tribeca Film Festival—New York, NY June 14 Midnight Sun Film Festival—Helsinki, Finland FACE (1965, d. Andy Warhol) DANTE’S INFERNO (1924, d. Henry Otto) June 27 Il Cinema Ritrovato—Bologna, Italy July 23 J. Paul Getty Trust—Los Angeles, CA FILM (1965, dirs. Alan Schneider and Samuel Beckett) DREAMS THAT MONEY CAN BUY (1947, d. Hans Richter) June 27 Il Cinema Ritrovato—Bologna, Italy December 18 Eye Film Instituut—Amsterdam, Netherlands May 14 Alamo Drafthouse Ritz—Austin, TX EAST SIDE, WEST SIDE (1927, d. Allan Dwan) I WAS A TEENAGE RUMPOT (1960, dirs. George and Mike Kuchar) June 16 The High Museum of Art—Atlanta, GA October 14 Seattle Lesbian & Gay Film Festival—Seattle, WA August 21 Bonner Kinemathek­—Bonn, Germany MONTAGE V: HOW TO PLAY PINBALL September 2 Bonner Kinemathek—Munich, Germany (1963, dirs. Richard Grove, Richard Meyer, and Wayne Sourbeer) GANJA AND HESS (1973, d. Bill Gunn) November 17 AMIA Screening Night—Austin, TX February 23 Beursschouwburg /Cinematek—Brussels, Belgium MOTEL CAPRI (1986, d. George Kuchar) November 24 The High Museum of Art—Atlanta, GA April 21 Tribeca Film Festival—New York, NY THE GREAT TRAIN ROBBERY (1903, d. Edwin S. Porter) MUTATIONS (1972, d. Lillian Schwartz) February 4 The High Museum of Art—Atlanta, GA November 29 La Cinematheque Francaise—Paris, France THE LAND (1942, dirs. Robert Flaherty and Frances Flaherty) NOTES ON THE PORT OF ST. FRANCIS (1952, d. Frank Stauffacher) April 19 Beursschouwburg /Cinematek—Brussels, Belgium October 31 Pacific Film Archive—Berkeley, CA LITTLE FUGITIVE (1953, dirs. Ray Ashley, Morris Engel, and Ruth Orkin) PACIFIC FAR EAST LINE (1979, d. Abigail Child) June 23 The High Museum of Art—Atlanta, GA June 2–3 Seattle International Film Festival—Seattle, WA LOVERS AND LOLLIPOPS (1955, dirs. Morris Engel and Ruth Orkin) October 31 Pacific Film Archive—Berkeley, CA November 2 The High Museum of Art—Atlanta, GA PASSION IN A SEASIDE SLUM (1961, d. Robert Chatterton) THE MARRIAGE CIRCLE (1924, d. Ernst Lubitsch) April 5 Anthology Film Archives—New York, NY March 2 Stanford Theatre—Palo Alto, CA April 29 Los Angeles Filmforum—Los Angeles, CA October 9–16 The Swedish Film Institute—Stockholm, Sweden THE PETRIFIED DOG (1948, d. Sidney Peterson) MY DARLING CLEMENTINE (1946, d. John Ford) June 28 Il Cinema Ritrovato—Bologna, Italy December 2 La Cinematheque Francaise­­—Paris, France THE POTTED PSALM (1946, dirs. Sidney Peterson and James Broughton) ON THE WATERFRONT (1954, d. Elia Kazan) June 28 Il Cinema Ritrovato—Bologna, Italy August 18 The High Museum of Art­—­Atlanta, GA PREFACES (1981, d. Abigail Child) August 29–31 Museum of Modern Art­­—New York, NY April 21 Tribeca Film Festival—New York, NY November 29 La Cinematheque Francaise—Paris, France June 2–3 Seattle International Film Festival—Seattle, WA A SCARY TIME (1960, dirs. Shirley Clarke and Robert Hughes) November 29 La Cinematheque Francaise—Paris, France July 23 Museum of Modern Art—New York, NY RABBIT’S MOON (1950-70, d. Kenneth Anger) August 12 Museum of Modern Art—New York, NY April 21 Tribeca Film Festival—New York, NY THE SEAFARERS (1953, d. Stanley Kubrick) June 27 Il Cinema Ritrovato—Bologna, Italy July 6 Eye Film Instituut—Amsterdam, Netherlands November 29 La Cinematheque Francaise—Paris, France November 9 Los Angeles County Museum of Art—Los Angeles, CA RAUMLICHTKUNST (1926–1929, d. Oskar Fischinger) SWEET SWEETBACK’S BAADASSSSS SONG (1971, d. Melvin Van Peebles) June 26 Tate Modern—London, England February 18 The High Museum of Art—Atlanta, GA June 28 Whitney Museum of American Art—New York, NY May 4 George Eastman House—Rochester, NY SIDE/WALK/SHUTTLE (1991, d. Ernie Gehr) A TALE OF TWO CITIES (1917, d. Frank Lloyd) October 31 Pacific Film Archive—Berkeley, CA October 12 Le Giornate del Cinema Muto—Perdenone, Italy TEN SECOND FILM (1965, d. Bruce Conner) WHAT PRICE GLORY (1927, d. Raoul Walsh) June 2–3 Seattle International Film Festival—Seattle, WA June 28 Il Cinema Ritrovato­­—Bologna, Italy TITS (1969, d. Larry Rivers) October 26 Anthology Film Archives—New York, NY NATIONAL FILM PRESERVATION FOUNDATION UNTITLED NORMAN MAILER FILM (1947, d. Norman Mailer) AMERICA IS WAITING (1981, d. Bruce Conner) June 27 Il Cinema Ritrovato—Bologna, Italy June 2–3 Seattle International Film Festival—Seattle, WA THE VELVET UNDERGROUND IN BOSTON (1967, d. Andy Warhol) ANITA NEEDS ME (1963, dirs. George and Mike Kuchar) June 27 Il Cinema Ritrovato—Bologna, Italy May 10 Anthology Film Archives—New York, NY November 29 La Cinematheque Francaise—Paris, France BLUES (1969, d. Larry Gottheim) WATER RITUAL #1: AN URBAN RIGHT OF PURIFICATION (1979, d. Barbara McCullough) November 29 La Cinematheque Francaise—Paris, France April 21 Tribeca Film Festival—New York, NY BODY COLLAGE (1967, d. Carolee Schneemann) Y (1963, d. USCO Collective) April 21 Tribeca Film Festival—New York, NY October 27 Anthology Film Archives—New York, NY BORN OF THE WIND (1962, d. Mike Kuchar) October 28 Anthology Film Archives—New York, NY UCLA FILM & TELEVISION ARCHIVE THE CAGE (1947, d. Sidney Peterson) AMERICA, AMERICA (1963, d. Elia Kazan) June 28 Il Cinema Ritrovato—Bologna, Italy February 8 Melbourne Cinematheque—Melbourne, Australia CLAUDIA (1972–73, d. Jorge Prelorán) February 18 National Film and Sound Archive—Canberra, Australia June 23 Onion City Film Festival—Chicago, IL March 24 Swedish Film Institute/ Cinemateket—Stockholm, Sweden October 7 Hong Kong Film Archive—Hong Kong, China

26 BABY DOLL (1956, d. Elia Kazan) LOVE OBJECTS (1971, d. Tom Chomont) March 7 Emory University/ Department of Film Studies— May 10 Echo Park Film Center—Los Angeles, CA Atlanta, GA MACBETH (1948, d. Orson Welles) April 21 National Film and Sound Archive, Australia— January 18–29 Danish Film Institute—Copenhagen, Denmark Canberra, Australia April 12 The Crank, UCLA—Los Angeles, CA BECKY SHARP (1935, d. Rouben Mamoulian) THE MIRROR GARDEN (1967, d. Tom Chomont) October 2 Filmpodium der Stadt Zurich—Zurich, Switzerland May 10 Echo Park Film Center—Los Angeles, CA October 21 Verein Le Bon Film/ Stadkino Basel—Basel, Switzerland THE NIGHT OF THE HUNTER (1955, d. Charles Laughton) THE BIG COMBO (1955, d. Joseph H. Lewis) March 15 American Cinematheque—Los Angeles, CA February 8 Million Dollar Theatre—Los Angeles, CA May 7 Alamo Drafthouse Ritz—Austin, TX March 28 George Eastman House—Rochester, NY November 28 La Cinematheque Francaise—Paris, France May 11 The Roxie Theater—San Francisco, CA OBLIVION (1969, d. Tom Chomont) THE BREAKING POINT (1950, d. Michael Curtiz) May 10 Echo Park Film Center—Los Angeles, CA January 27 Noir City 2012—San Francisco, CA June 23 Los Angeles Film Festival 2012—Los Angeles, CA OPHELIA and THE CAT LADY (1969, d. Tom Chomont) July 16 Maine International Film Festival—Waterville, ME May 10 Echo Park Film Center—Los Angeles, CA October 21 AFI Silver Theatre—Silver Springs, MD PATHS OF GLORY (1957, d. Stanley Kubrick) CAUGHT (1949, d. Max Ophüls) January 25 Million Dollar Theatre—Los Angeles, CA January 19 Goethe-Institut, Montreal, Canada PHASES OF THE MOON (1968, d. Tom Chomont) April 13 Pacific Film Archive—Berkeley, CA May 10 Echo Park Film Center—Los Angeles, CA August 21 Music Box Theatre/Noir City Chicago—Chicago, IL POINT OF ORDER (1964, d. Emile de Antonio) September 28 Northwest Film Center—Portland, OR January 23–26 Anthology Film Archives—New York, NY THE CHASE (1946, d. Arthur D. Ripley) (1947, d. Raoul Walsh) June 3–4 Seattle International Film Festival—Seattle, WA June 23 Il Cinema Ritrovato—Bologna, Italy July 22 Maine International Film Festival—Waterville, ME July 31 BAMcinematek/Brooklyn Academy of Music— November 29 La Cinematheque Francaise—Paris, France Brooklyn, NY COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN October 1 Film Society of Lincoln Center—New York, NY (1982, d. Robert Altman) RABBIT’S MOON (1950–70, d. Kenneth Anger) January 6–8 Northwest Film Center—Portland, OR April 21 Tribeca Film Festival—New York, NY January 18–20 Cineteca di Bologna—Bologna, Italy February 4 Wexner Center—Columbus, OH RAMROD (1947, d. André De Toth) April 25 American Cinematheque—Los Angeles, CA October 9 BAMcinematek/Brooklyn Academy of Music— May 5 Northwest Film Forum—Portland, OR Brooklyn, NY May 19 Museum of Fine Arts, Houston—Houston, TX THE RED SHOES (1948, dirs. Michael Powell and Emeric Pressburger) July 13–14 Maine International Film Festival—Waterville, ME May 6 Montclair Film Festival—Montclair, NJ August 2 Museum of Fine Arts, Boston—Boston, MA May 30 Million Dollar Theatre—Los Angeles, CA THE CONNECTION (1962, d. Shirley Clarke) RUTHLESS (1948, d. Edgar G. Ulmer) March 8 Cinemateca Portuguesa/ Museu do Cinema— July 12 La Cinematheque Francaise—Paris, France Lisbon, Portugal SECRET BEYOND THE DOOR (1947, d. Fritz Lang) May 4–10 IFC Center—New York, NY September 22 Film Programmes Office—Hong Kong, China THE DARK MIRROR (1946, d. Robert Siodmak) SEVEN MEN FROM NOW (1956, d. Budd Boetticher) August 1–2 Film Forum—New York, NY July 13 UCLA Film & Television Archive—Los Angeles, CA October 7 Colonial Theatre—Phoenixville, PA SHADOWS (1959, d. John Cassavetes) EPILOGUE and SIAM (1969, d. Tom Chomont) January 12 Los Angeles County Museum of Art—Los Angeles, CA April 21 Tribeca Film Festival—New York, NY August 23 San Francisco Museum of Modern Art—San Francisco, CA May 10 Echo Park Film Center—Los Angeles, CA December 3 Silent Movie Theatre—Los Angeles, CA ETERNAL LOVE (1929, d. Ernst Lubitsch) SHOCK CORRIDOR (1963, d. ) July 1 Hong Kong Film Archive—Hong Kong, China January 18 Million Dollar Theatre—Los Angeles, CA A FACE IN THE CROWD (1957, d. Elia Kazan) August 24 American Cinematheque—Los Angeles, CA April 4 Swedish Film Institute/Cinemateket—Stockholm, Sweden TILLIE’S PUNCTURED ROMANCE (1914, d. Mack Sennett) April 26 National Film and Sound Archive, Australia— March 10 UCLA Live/Royce Hall—Los Angeles, CA Canberra, Australia September 2 Hong Kong Film Archive—Hong Kong, China WANDA (1970, d. Barbara Loden) January 8 Northwest Film Center—Portland, OR FAIR WIND TO JAVA (1953, d. Joseph Kane) February 9 Wexner Center—Columbus, OH June 7 The Crank, UCLA—Los Angeles, CA March 8 International House Philadelphia—Philadelphia, PA FILM (1965, dirs. Alan Schneider and Samuel Beckett) May 3 Maryland Film Festival—Baltimore, MD January 8 National Gallery of Art—Washington, D.C May 6 Northwest Film Forum—Portland, OR January 20 Northwest Film Center—Portland, OR June 8 Museum of Fine Arts, Houston—Houston, TX February 3 Wexner Center—Columbus, OH June 17 Provincetown International Film Festival— May 7 Northwest Film Forum—Portland, OR provincetown, MA May 14 Alamo Drafthouse Cinema—Austin, TX August 9 San Francisco Museum of Modern Art—San Francisco, CA June 3 Museum of Fine Arts, Houston—Houston, TX August 10 Museum of Fine Arts, Boston—Boston, MA June 23 Il Cinema Ritrovato—Bologna, Italy October 6 Danish Film Institute—Copenhagen, Denmark August 16 Museum of Fine Arts, Boston—Boston, MA WATER RITUAL #1: AN URBAN RITE OF PURIFICATION (1979, d. Barbara McCullough) JABBOK (1967, d. Tom Chomont) April 21 Tribeca Film Festival—New York, NY May 10 Echo Park Film Center—Los Angeles, CA WAY OUT WEST (1937, d. James Horne) KUSTOM KAR KOMMANDOS (1964–65, d. Kenneth Anger) June 22 Columbus Association for the Performing Arts— June 2 Los Angeles County Museum of Art—Los Angeles, CA Columbus, OH July 15 Outfest 2012—Los Angeles, CA August 2 Heights Theater—Columbia Heights, MN LETTER FROM AN UNKNOWN WOMAN (1948, d. Max Ophüls) August 30 Cinecon 2012—Los Angeles, CA April 12 TCM Classic Film Festival—Los Angeles, CA A WOMAN UNDER THE INFLUENCE (1974, d. John Cassavetes) July 13 Maine International Film Festival—Waterville, ME June 2 AFI Silver Theatre—Silver Spring, MD August 26 Cleveland Cinematheque—Cleveland, OH

27 partners The Film Foundation is grateful to receive significant support from the following partners. For more information, please visit film-foundation.org.

George Lucas Family Foundation

Louis B. Mayer Foundation

The Film Foundation also acknowledges generous support from: J.J. Abrams and Katie McGrath, AFI, Alamo Cinema Drafthouse, Woody Allen, AMC Theaters, Paul Thomas Anderson, Wes Anderson, Austin Community Foundation, Bloom Hergott Diemer Rosenthal LaViolette Feldman & Goodman, LLP, , Patricia Clarkson, Colorworks, Coolidge Corner Theatre Foundation, Daniel Day-Lewis and Rebecca Miller, Deluxe Labs, Cecil B. DeMille Foundation, Nelson DeMille, Cameron Diaz, Digital Entertainment Group, DirecTV, Douris Corporation, Euro Ltd., Exclusive Media, Ralph Fiennes, Timothy Finn, Miloš Forman, George Lucas Family Foundation, Goldsmith Family Foundation III, Brad Grey, Anne Harrison and Timothy Forbes, HBO, Ron Howard, Intramovies, ITV Studios Global Entertainment, Hugh Jackman, Janus Films, , Mohammad and Ahmed Khawaja, Jimmy Kimmel, Irving Kohn Foundation, Michael LaFetra, , Michael Mann, Barbara and Garry Marshall, Mercedes-Benz, William Monahan, MTI Film, Liam Neeson, , Ovation, Paramount Pictures Group, Nick Pileggi, John Ptak, Bruce Ramer, , Farley Rentschler, Ira M. Resnick Foundation, James Schamus, , STARZ, Swedish National Television, , Variety Foundation, Gretchen Wayne, and William Morris Endeavor Entertainment.

28 donors The Film Foundation gratefully acknowledges our generous supporters since 1990:

$1 Million or more ITV Global Studios Entertainment The Roblee Foundation Lyman Chen Mohammad Khawaja Personal Concierge Services International AMC Networks Janus Films & The Criterion The Ross Family Foundation Chimera Jimmy Kimmel Collection Joe Pesci Directors Guild of America Andrew Saffir Frank Chrissotilmos Sir Norman Jewison Nick Pileggi DirecTV Yeardley Smith Cineric, Inc. Kevin Kline The Kennedy/Marshall Planet Hollywood George Lucas Family Foundation STARZ Judy Collins Steve Knotts Company Cheryl Reventlow Post Gucci Sharon Stone Colorworks Knotts Enterprises Louis XIII Premiere Magazine Hollywood Foreign Press Technicolor Sandra Costa Korn/Ferry International National Endowment for the United Talent Agency (UTA) CW Productions Thomas Kranz Cecilia DeMille Presley Association (HFPA) Arts (NEA) The Variety Foundation Dallas Film Society, Inc. Mark Krizki John Ptak IBM The Newman’s Own Foundation Michael Verruto David LaChapelle Rainbow Media Primetime Omnimedia, Ltd. $250,000 to $999,999 Margo & Irwin Winkler Daniel Day-Lewis & James Ladman Henry Rappaport Winona Ryder Allen Foundation for the Arts Foundation Rebecca Miller Howard Lancer Ray of Light Foundation Jeff Schick American Express John Sacret Young Deluxe Labs Landmark Silver Cinemas Ira M. Resnick Foundation, Inc. The Semel Charitable The Annenberg Foundation Rick Yorn Nelson DeMille RICOH Corporation Foundation Marisa Lang Cinema per Roma Foundation Robert Rifkin Fondation Jérôme $1,000 to $9,999 Abe & Frances Lastfogel Creative Artists Agency (CAA) Seydoux-Pathé Robert De Niro Foundation Julia Roberts Alamo Cinema Drafthouse Tom Cruise The Simons Foundation Kirk & Anne Douglas The Last Moving Picture Robert Rosing Blair Allen Company Digital Entertainment Swedish National Television Douris Corporation E. Robert & Diane Roskind Group (DEG) Woody Allen Darlene Litchfield Lathigee Universal Studios, Inc. DuArt Film Laboratories, Inc. Leonard Ross Entertainment Industry AMC Theaters Ang Lee Marc Weilheimer Diana Lynn Ellis Gena Rowlands Foundation (EIF) American Corporation John Logan Encore Media Corporation Elbert Royas Franco-American Cultural Ali Amidy Sidney Lumet William Morris Endeavor (WME) Euro London Films Ltd. Jeffrey A. Sachs Fund (FACF) Robert Appiah Adrienne M. Maloof Bud Yorkin Exclusive Media Joshua Sapan Los Angeles County Museum Michael Apted Vera Farmiga Michael Mann James Schamus of Art (LACMA) Robert Zemeckis Guido A. Aren Donald P. Farrell Marmont Productions, Inc. Paul Schrader Marc Jacobs International $10,000 to $24,999 Yvette Fierstein Richard C. Marquardt, Jr. Jane W. Scott Material World Charitable Alan Arkush Mark Marsillo Foundation J.J. Abrams & Katie McGrath Selma Fonseca Aurora Productions, Inc. J. Scott & Ashley Mattei MaxMara Paul Thomas Anderson Forbes Foundation Ronald & Marilyn Secrest William Austin David Maule-Ffinch Louis B. Mayer Foundation Giorgio Armani FotoKem David Sehring Avalon Cable Kate McEnroe Miramax Films Artist Management Foundation for Brotherhood Jonathan Sehring Zane Balsam Joseph Medewar Netflix Group (AMG) Janet Friedman-Edwards Rachel Banvard James Meigs Paramount Motion Alec Baldwin Jeremy Frommer Robert Shaye Picture Group The Banky La Rocque Don & Paula Barbier Gagosian Gallery Merchant Ivory Productions, Inc. Bruce W. Sheinberg Philips Consumer Electronics Foundation S. Barrett & Cynthia Rittmaster Charles Gargano Alan Meyers Howard Shore Sony Pictures Home Steve Bing Richard Barrington Larry Garrison Michael & Courtney Monahan Heide Signes Entertainment Jake Bloom, Bloom Hergott Batjac Productions William Monahan Mike Silverman Steven Spielberg Diemer Rosenthal LaViolette B. Baron Benham Mark Goldblatt, ACE Michael Morrow, Schwab Jane Smith Feldman & Goodman LLP Robert B. Sturm William Berenger Goldsmith Family Foundation III Fund for Charitable Giving Russell K. Smith Michael J. Blutt Turner Classic Movies (TCM) Jay Bernstein Mr. & Mrs. Peter John MTI Film Richard Soloway William Brawer Twentieth Century Fox Goulandris Torie Mudarris Special Rider Music California Community Jeff Bewkes Barbara Grogan Paula Mueller Ray Stark Vanity Fair Magazine Foundation (CCF) The Bisch Family Taylor Hackford Steven & Paula Myers Elizabeth Thieriot $100,000 to $249,999 Mark Bloom Kenneth W. Harrell National Philanthropic Trust Denise Thomason Glenn Gordon Caron Department Blueprint Films Anne Harrison & Jose Luis Nazar ToshiFilms CBC Framing Inc. of State Gloria Boileau Timothy Forbes Ursula Neal Joseph Traina City National Bank Warner Bros. Entertainment Boots Entertainment, Inc. George S. Harros Liam Neeson Michael Crichton Peter & Loraine Boyle HBO Network for Good Tribeca Productions, Inc. Alfonse D’Amato $25,000 to $99,999 Jim Broadbent Hugh Hefner Richard New & Paul Tsigrikes Cameron Diaz Mara Beltrami-New (AFI) Phillip Brock Marie Hepp David Unger Clint Eastwood Wes Anderson Dale F. Brown The Heron Foundation Valhalla Motion Pictures John Ebey Marc Anthony David Brown Dustin Hoffman Trang Vo Energy Brands, Inc. Vern Noble Carnegie Corporation Matthew Brown Anthony Hoyt Mark Wahlberg of New York GQ Magazine Edward Norton Jerry Bruckheimer International Creative Company Condé Nast Traveler & Rita Wilson Management, Inc. (ICM) Philip Noyce Carolyn Buchanan The Wasserman Foundation Coolidge Corner Theatre Arthur Hiller Interstate Consultant Services Gianni Nunnari Cindy Saunders Buggs Rachel Webber Foundation Ron & Cheryl Howard Intramovies October Films and the Austin The Nathan Cummings Family Foundation Community Foundation Noreen O’Loughlin Foundation Courtney & Barbara H. Werner Graham King Thomas Burlington Hugh Jackman OMD USA, Inc. The Carole & Robert Daly Wes Craven Films Irving Kohn Foundation Catherine A. Butler Peter Jackson Overture Films Charitable Foundation West Coast Ground Services lan & Cindra Ladd Family Robert Butler Georgia Rosenberg Jacobson Pace Productions Leonardo DiCaprio T. Wheatcraft Foundation c5 Inc. Dr. Wendell L. James Richard Padulo Driehaus Capital Management David L. Wiener Michael LaFetra Nicholas Cage Dr. Mark R. Jenkins Gwyneth Paltrow Eastman Kodak Company The Windfall Foundation Garry Marshall Capital Publishing John Gordon Jones Panavision Eni Dr. Fanny Yacaman Mercedes Benz Jeremy Carr Nina Kaminer Paradyme Trust Timothy E. Finn Rick Yorn Jack Nicholson Cartier Harvey Keitel Mary Parent Harrison Ford Steven & Elizabeth Zaillian Ovation Casswood Insurance Agency Daniel F. Kelly, Jr. Cheyne Parker Miloš Forman Bruce Ramer Michael Chapman Timothy F. Kelly PDI Enterprises Hermès Rob & Michele Reiner John B. Charnay Ahmed Khawaja Christopher Todd Perrotta Imagine Entertainment Ivan Reitman

29 7920 Sunset Boulevard, 6th Floor Los Angeles, CA 90046 / 323-436-5060 110 West 57th Street, 6th Floor New York, NY 10019 / 212-258-0860 www.film-foundation.org

filmmakers for film preservation