December / 2009

In The News

Manoel de Oliveira: A Cinematheque Ontario Retrospective

At 100 years of age, multi-award-winning producer/director/writer/editor/actor Manoel de Oliveira continues to be the iconoclastic radical of Portuguese cinema who is finally gaining recognition in North America. "Manoel de Oliveira's Time Regained" was a major retrospective of his work that was held at the Cinematheque Ontario in Toronto from October 9 to November 2.

The retrospective featured the maestro's first film, Douro, Faina Fluvial (1931), a documentary short that is considered a seminal work of Portuguese cinema rarely screened in North America that was accompanied by the live piano of Andrei Streliav. Made in the final years of a silent era, the film celebrates the city of Porto, Portugal's second largest.

It screened along with Porto de Minha Infãcia (Porto of My Childhood, 2001), a tribute to the joyous spirit of Porto, where Oliveira established his rich documentary roots. Aniki Bóbó (1942) was a rare opportunity to view his first feature film, which highlights a bairro operator from Porto. It is credited as a predecessor to Italian neorealism.

Oliveira's "tetralogy of frustrated love," comprised of four films, established his reputation in Europe. O Passado e o Presente (Past and Present, 1972), a black comedy about female infidelity; Denilde ou a Virgem Mãe (Denilde or the Virgin Mother, 1975), a story about an immaculate conception based on a play by José Régio; Amor de Perdicão (Doomed Love, 1979, based on a 1862 romance by Camilo Castro Branco), a five-hour miniseries made for Portuguese television; and Francisca (1981), which was controversial when it premiered at the Cannes Film Festival. It recounts the true story of a tragic love affair from the 19th century.

Also included in this retrospective were such recent films as Um Filme Falado (A Talking Picture, 2003), with Catherine Deneuve and John Malkovich, and La lettre (The Letter, 1999), based on a 17th-century romance by Madame de la Fayette, La Princesse de Clèves. Other gems were Vale Abraão (Abraham's Valley, 1993) and Belle toujours (Every Day's Beautiful, 2006).

Singularidades de uma Rapariga Loura (Eccentricities of a Blond Haired Girl, 2009), which had its North American premiere at this year's TIFF, is an obsessional tale of love gone wrong told with desperate and ironic homour, which is a trait of Oliveira's capricious characters and direction. The retrospective was made possible by the Camoes Institute and Portuguese Ministry of Foreign Affairs.
Roy Marquis, CSC Associate Member


A Conference on Authors Rights Held in Spain

The following article is reproduced from Imago's website.
The fundamental issue of concern to cinematographers worldwide is how to retain control of the image for which they are responsible after it has been captured in camera, and how to participate in the income made by exploitation of the cinematographic or audiovisual work, besides earning the production fees.
In many European countries the rights of cinematographers to be regarded legally as co-authors of the cinematographic or audiovisual work have been granted. In Spain the cinematographer is now regarded as co-author of the film by the new Spanish cinema law.

The AEC [the European Federation of Cinematographers] is justifiably proud of its part in the establishment of a new commission to study intellectual property rights. Negotiations are taking place between the president of the AEC, Porfirio Enriques and the Spanish Collecting Societies, seeking a way forward in ensuring payment for those rights.

In Germany, Jost Vacano bvk is fighting for the right of the cinematographer to examine the accounts of the production company responsible for his acclaimed film Das Boot. The first legal hurdle has been overcome. This is not for a share of the profits, which may be manipulated at will but for a share of the revenues gained from the exploitation of the film.

The BVK, the German Society of Cinematographers, has drawn up a document, which includes suggestions about the cinematographers' share of the revenues deriving from the exploitation of the audiovisual work. This proposal has been presented to the producers alliance and discussions will hopefully soon be underway leading to a ruling under German law.

The Italians are expecting the outcome of an important court case in the New Year, and Vittorio Storaro aic, asc updated their latest position at the Imago Seville Conference on Authors Rights that was held in November [5-9].

British cinematographers appear happy to receive their benefits from other countries and have not reported any lobbying to improve the position in the United Kingdom. The French are reluctant to upset their established arrangements. Their cinematographers can sign a participation contract granting them a slice of any profits.

The Scandinavians have as ideal a situation as exists in Europe. The Russians and several other countries in the former Soviet Block report a deteriorating remuneration since they achieved their Autonomy. The Bulgarians have full rights; the Romanians, thanks to [deposed and executed former Communist strongman Nicolae] Caucescau, no longer have any rights.

In short, European societies are in something of a mess. Progress is being made but is slow and fragmented. Time is running out for the fight to retain the cinematographers' control of the image after principle shooting has taken place. Imago is suggesting a way forward would be to encourage those countries, which have already granted rights to cinematographers (11 in Europe) to expand that contractual obligation to include the grading period and the right to attendance at the DI.

This is the area under most threat and of the greatest universal concern to cinematographers. Enshrined in the Imago model contract is a clause that the cinematographer is responsible for any kind of image control, participating in optical work, digital effects, colour grading, digital postproduction, film of digital colour timing including scanning for master and DVD. In general all kinds of post-production work relating to the photographic image.

The findings and recommendations from the Seville Conference will be presented at Camerimage (Nov. 28 to Dec. 5, in Lodz, Poland) for further discussion, which will eventually lead to later analysis at the EU.XXL Forum in Vienna next spring. From there recommendations are taken to the European Union for further discussion.

For any questions please contact: President of IMAGO Nigel Walters waltatbush@aol.com; www.imago.com.


Fuji Expands Solutions for 3D Imaging

In September, Thomson's Technicolor Business Group announced an affordable 3D process that works with existing 35-mm projectors. Recent technological advances in filmmaking such as Digital Intermediate and Fujifilm's RDI film stock have reinvigorated the popular 3D theatrical experience.

Deluxe Entertainment Services Group, a leading motion picture laboratory, will work with Technicolor to quickly provide exhibitors with the necessary post-production and film printing services. Thomson announced widespread support for the Technicolor 3D solution among major motion picture studios.

"Fujifilm is working to expand solutions for 3D imaging on many fronts, and we fully support an innovative and timely solution that will allow the motion picture industry to continue to benefit from the superior quality of film, and bring 3D within the economic reach of all theater owners," said Kevin Masuda, president, Fujifilm North American Motion Picture Group. "We applaud Technicolor, and its marketing partner, Deluxe, for their accomplishment and stand ready to support them with the highest quality film stocks for the Technicolor 3D experience."

Earlier this year, Fujifilm introduced the FinePix REAL 3D digital-camera system, the world's first three dimensional digital-imaging system that captures realistic 3D still photographs and movies, providing 3D images that users can enjoy without special 3D glasses.

With the FinePix REAL 3D system, Fujifilm is offering users a totally new experience in both still pictures and movies to capture precious moments just as their eyes see them. Unlike any other digital imaging product on the market today, the introduction of this innovative advance in digital stereoscopic photography has placed Fujifilm at the forefront of imaging technology.

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