I’m ready. BOY AM I READY.

I have been since last year when TCMFF2015 ended. I live for this film festival. My experience has shown me that TCMFF is one of the most organized and best staffed film festivals that I have ever attended and the content is truly the most dynamic and rare. For a film archivist and preservationist to say this is no small feat.

The films are sometimes familiar, many times obscure, always challenging and enjoyable. The festival welcomes audience members from all over the world and gives them access to films that they would not normally be able to see, especially not in the environment that they were designed to be seen in: a theatrical setting. This annually growing community of passionate film-goers and classic film fans that TCM has created is what I have termed “Classic Film Summer Camp.” I don’t think I’ve ever had such a great time waiting in line for a film as I have at TCMFF. I’ve met people from everywhere and learned about so many different lives, experiences and classic film star fandoms. Y’all can have Christmas- this is MY most wonderful time of the year!

For the second year in a row I have been asked to be a member of the wonderful TCMFF Social Producers’ Team. As Social Producers, we are a group of fabulous and intelligent classic film advocates and cineastes working with the TCMFF social media team to advance the goals of the festival and make it more enjoyable for everyone involved! Each of us has our own “theme” or line of “promotion” and we can be found under the hashtags #TCMFF and #TCMFFSP. Whether or not you are in attendance, you want to follow these hashtags! These folks are some heavy hitters!

So my theme this year? Well, nothing’s changed. Leopard and spots and all. I’ll be Tweeting, Tumblring, Instagramming on my most beloved subjects: film archiving, preservation and restoration.

So, for my first intro post, I have created a resource for everyone who may be currently planning their TCMFF schedules. I designed a spreadsheet that has cataloged the 35mm prints, DCPs, noted the restoration and preservations, and did my best to signify notes on World Premiere or North American Premiere, etc.

OF NOTE: the TCMFF schedule, while extremely reliable, is always subject to change. As a preservationist, projectionist and film series programmer myself, I can tell you that there are innumerable variables that can cause variations in guests, film format or program itself. This is just your garden variety disclaimer, folks,  but it has to be said. You know it does. And since you’re reading this blog, I’m likely preaching to the choir, but it’s a necessary statement. Additionally, if I have not written it here, that does not mean it is NOT a premiere/restoration/etc. I have based this upon as much information as I could get. If there is something in need of correction, please contact me immediately! I would be pleased as punch to change it!

So let’s get down to business, shall we?

PART I: RESOURCES & PLANNING

So. Now that the disclaimers have been said, here is your 2016 TCMFF Format & Preservation Resource guide. Get to scheduling!

It’s alphabetical, and if anyone has any questions or problems reading it (or understanding the manner in which it has been broken down) please let me know. I will actively pay attention to any and all comments  as they come in, and will be ABSOLUTELY ready to alter something if needs be.

If you would rather have it in a link form rather than embedded, go here.

It is critical for attendees to have this kind of format map. It may have taken some time to put together, but I know how important this resource is. Being able to access a full report of what has been restored, what has been preserved, what has been digitally reconstructed and how to identify each of these pieces in order to put together the fabulous puzzle that will eventually be your TCMFF experience is just invaluable.

Before moving into Part II, I briefly mention a remark about formats and preservation. Please consider the curatorial dedication and labor that has gone into the maintenance of all the films that you will watch this festival season, no matter what format they are in. Whatever your sensibilities or thoughts about format (analogue/digital, etc), every person with whom I have personally come into contact in my archival career who is involved in classic film preservation takes their job very seriously. Whether moving towards the creation of a Digital Cinema Package or striking a new 35mm print, my classic film archival colleagues work really hard to make sure that these materials see another generation and that another generation sees them. So let us be certain that if we downplay a digital format in favor of analogue, we do not forget that the digitization and digital work had to have an incredible amount of analogue preparation work done to it first. There are no classic films that were “born digitally” and thus you cannot have digital without analogue attention. Let us not forget that aspect of the workflow.

PART II: DATA BREAKDOWN

I compiled some data based upon what we have this year, print-wise. So if you want to get nerdy with me, here’s what we have…

From a preservation standpoint, I noted that the vast amount of 35mm was made up of rare works and, quite simply, the films that rarely make it out of the vaults. These films are the very reason that I continually attend TCMFF, religiously watch the channel until stupid o’clock in the morning (just…one…more…movie….), and truly appreciate educated colleagues like Will McKinley‘s continued updates on TCM as we move forward into various streaming and cable variations.

These are the films that caused me to become a preservationist. But we can get back to that.

The analytics – 33% of the films appearing at TCMFF this year will be shown in 35mm. These are films like One Potato, Two Potato (Larry Peerce, 1964) a film about interracial marriage that came out BEFORE the more socially palatable Guess Who’s Coming to Dinner? (Stanley Kramer, 1967). Or a bewilderingly unheard-of feature like Double Harness (John Cromwell, 1933), a pre-code film that has been, quite literally, sitting in a vault until TCM bought the rights to it in 2006. These films catalyzed my film archival career and have subsequently reignited my film passion every year at the TCMFF. They are the “lost” or “forgotten” children of classic cinema.

While it’s beyond incredible to watch an old favorite on the big screen with a crowd, I would highly recommend that folks try to make it to at least ONE “rare pick” at TCMFF. Try the Film Noir Foundation/UCLA Film & Television Archive Restoration of Repeat Performance (Alfred L. Werker, 1947) or the rarely screened Bulldog Drummond Strikes Back (Roy Del Ruth, 1934). This is your opportunity!

So here are my “5 Points to Consider When Making Your TCMFF Schedule and Beyond.”

1. Restoration costs a GREAT deal of money. A LOT. Many grants, volunteer labor and insane hard work is involved just to get to the point of being able to approach the physical restoration. This relates to 35mm *and* DCP. Love your restoration folks and the restorations!

2. Lesser known films are riskier and have less potential for “return investment” in many people’s eyes. When you get the opportunity to investigate rare works at TCMFF or at a home repertory theater, you can be part of a new kind of “return investment.”

3. Supporting restorations & preservations (in 35mm *and* DCP) and making your voice heard through social media & online makes a difference. Boutique labels do exist for DVD/Blu distribution and we do have wonderful companies like Warner Archives, Flicker Alley and others who make it a mission to serve our community.

4. TCM (and TCMFF) serves the classic film community in a positive way by their continual & consistent showcasing of “forgotten films” or unusual materials — there is the possibility that, with more exposure, viewing more rarities on 35mm may lead to more preservation and restoration!

5. TCM also showcases incredible panels like the Academy Home Movies presentation (something that I will be livetweeting for the second year in a row) with the wonderful Lynne Kirste and Randy Haberkamp. What was previously a closed circuit of “35mm features” is now open to different formats and narratives (Super8, 8mm, 16mm – all transferred of course, but that IS what we get to see). If you have not attended this panel, DO IT. It is one of my favorite parts of TCMFF every year.

PART III: SAY HELLO!!! I’D LOVE TO MEET YOU! 🙂 

When you see me walking around during #TCMFF, I will have my badge on and it will look like this:

Look for the blue and burgundy 16mm reels and the red circled SP on the badge.

My social media platforms that you can follow are…

INSTAGRAM: www.instagram.com/archivistariel

TWITTER: https://twitter.com/ArchivistAriel

TUMBLR: http://archivistariel.tumblr.com

And once again, check out the hashtags this year – #TCMFF, #TCMFFSP and follow @tcm on Twitter!

I will be returning with another post soon letting you know what my schedule will possibly be so that you can stalk…er…find me during TCMFF if you wish. But for now, enjoy!

 

See you at the festival! ❤