Canadian Film Weekly (Aug 31, 1955)

Page 8 more about how and where archive material may be obtained and cared for, as well as the variety and character of such films, is contained in an _ excellent memorandum on the subject, the work of Dr. J. Roby Kidd, director of the Canadian Association for Adult Education. Dr. Kidd, one of the founders of the Canadian Film Awards and an authority on utilization of film for teaching, has permitted only private circulation of the memorandum, a detailed study to which he has added appendices of old films from several sources. Efforts are being made to interest the federal government in a film archive and film societies, the Canadian Picture Pioneers and other non-industry and industry organizations have expressed support for the idea. Some years ago the International Conference of Artists in Venice urged the establishment of film archives in all countries. In the USA selected titles are deposited with the Library of Congress, since in 1912 the law requiring a print of each film was suspended. Before 1912 producers, to meet the requirement, made paper still photos of each frame, these being about two inches wide. These were discovered several years ago and the work of restoration begun while still possible. Kemp Niver of Primrose Studios evolved a process that not only made it possible to transfer the images to film but eliminated the old-time flicker as well. This brought him an honorary Academy Award. Great Britain, through the British Film Institute, has had a film archive project for 15 years and the British government provides an annual grant. Its aims are (1) To encourage the development of the art of the film, to promote its use as a record of contemporary life and manners and to foster public appreciation and the study of it from these points of view; (2) To explore and promote new or extended uses for the film; and (3) To encourage, support and serve other bodies working in the same field. Britain’s National Film Archive, which contains about 6,000 films representative of film art and national history, has been given increased autonomy within the British Film Institute and greater financial support has been asked from the government and the industry for its expanded program. The Kinematograph Weekly of London, in an editorial urging support, observed that ‘The preserved film is the most graphic form of record of not only the art in the film, but also of national history, the country’s way of life, its scientific, industrial and sporting accomplishments.” In his latest book, The Film CANADIAN FILM WEEKLY Film Restoration (Continued from Page 1) and the Public, Roger Manvell, British authority, writes: ‘The dignity and status of the film as a form of art and a medium of record demand that the wilful destruction of films should be prohibited, in the interests of both the film-maker and the public. Each country must create its own legislation to effect the preservation of its films. There is no time to lose, for the life of a film is far less than that of a human being.” In the supplement to Manvell’s work Denis Forman, director of the British Film In ture Herald, 1952, that efforts were being made to establish a film archive in Canada. He observed: “Tt will be of interest to see more persons intimately con cerned with the industry become constructively active. Up there as here genuine institutional interest is too often entirely external to the business. The surviving pioneers and their successors, wherever you find them, are interested in the yesterdays more for the occasions of socializing than for preserving the Why An Arehive ? In 1946 Luther H. Evans, the Librarian of Congress for the United States, addressed the National Board of Review of Motion Pictures on the subject: The Library of Congress Accepts the Liveliest Art. He spoke of the 1894-1912 paper print collection of 3,500 titles as ‘the incunabula of the motion picture industry'' and said that during the summer of 1943 the late President Roosevelt told the then Librarian, Archibald Macleish, that he was definitely interested in the preservaiion of motion pictures and asked that steps be taken. In the course of his speech Mr. Evans spoke these words, which should be of the same interest to Canadians: “This brings us, therefore, to the consideration of the ultimate uses such collections may serve. Certainly the historian should be served: no medium records our comings and goings quite so graphically and I hope faithfully as does the motion picture. Even the producer may turn historian on occasion with profit to himself and craft. But the historian is not the only one interested; there are many others with interests which must be heard. In our policy statement on selection appear these words: ‘These others would include students of the manifold arts as reflected in motion pictures, such as music, the dance, make-up, costuming, speech, and drama in general; scientists and technicians having an interest in optics, electronics and photo-chemistry; sociologists and psychiatrists interested in human behavior, business men contemplating investments; public leaders and public officials who may want to mobilize our national resources through the use of this medium in some great crisis; producers looking for research material as well as actual footage on non-restricted films; and taxpayers in general who may be motivated solely by a curiosity in life as mirrored on the screen.’ ” stitute, discusses the work of the BFI and gives a half-dozen pages to the National Film Archive, saying: ‘‘The method of selection has been aimed at fulfilling three principal objects: To provide a record of contemporary life and manners for the social historian; to survey the development of science and technology; and to preserve for posterity an anthology of films which reflect the development of the art.” The New York Museum of Modern Art is running a special series of screenings for its Film Preservation Fund. The proceeds will go to aid the work of transferring films from the old perishable nitrate stock to the new triacetate which, it is claimed, will last 400 years. In Canada? There is little to brighten those who believe that ze motion picture is an unique and invaluable form of record, as vitally needed as any other and superior to most. The late Terry Ramsaye, author of the outstanding history of the motion picture, A Million and One Nights, noted in the Motion Pic tradition of the institution. Here in the States the principal effort is left to such organizations as the Museum of Modern Art and the Eastman House in Rochester, both, incidentally, doing admirable jobs.” A committee for a Canadian film archive was. established some years ago but has remained inactive. To this committee Associated Screen News donated in 1948 a print of Carry On, Sergeant, a full-length feature made in Trenton, Ontario in 1928. This came to ASN when the Province of Ontario years ago sold its accumulation of 8,000 feet of film. Carry On, Sergeant was saved but many subjects that would be valuable today were scrapped for their silver content. At the time there was no thought of an archive. In 1952 Ralph Ellis, National Film Board representative, was in St. John’s, Newfoundland, and there he heard about some cans of film that had reposed in a fish storage for many years. He acquired them. Thus was found a print of the feature motion August 31, 1955 picture, The Viking, made in 1931 under the sponsorship of the friends of Sir Wilfred Grenfell, the Labrador humanitarian, as a picture of life among the sealers. There is a prologue in which he tells of his work and of the tragedy that followed the making of this remarkable picture, for its director was killed in an explosion of the ship which gave this early talkie its title. The NFB gave the film special care. Many films were made in Canada by Canadians and Americans, some in the class of the one Thomas Edison made for Massey Harris in 1898 to demonstrate the uses of the binder. Any chance of salvaging them as records for the youth of tomorrow will soon be gone forever. Sponsored and voluntary research is necessary. So far Dr. Kidd, through his organization, has been the best friend the project has had. He has devoted much time to visiting the British Film Institute and the Library of Congress while in London and Washington on other projects and minor research has been inspired by him. In the up-to-1912 list of Library of Congress titles are 31 dealing with Niagara Falls, 15 with the Rockies, six with public events, ten with travel pictures, four with military doings, two with historical pageants, 14 with the Klondyke, ten with sports, two with story films and “many with miscellaneous sub jects. There are films of Canadian infantry leaving for the Boer War, the 300th anniversary celebration of Quebec’s founding in 1608, Gold Rush scenes, Tommy Burns winning the heavyweight championship, Montreal and Quebec fire departments, and Marie Dressler, There are 41 titles of Mary Pickford films. Post-1912 Congressional Library titles are of Jimmy McLarnin of Vancouver winning the world’s welterweight boxing -championship, ten of short sub jects made from 1914 to 1920 by Thomas Edison Inc., those of a dozen features before sound, and others for travelogues. There are interesting subjects among the newsreels predating the 30’s: Airviews of Winnipeg in 1922, the only newsreel film of Sir Wilfred Laurier known to exist, Grey Cup football, opening of Hart House at the University of Toronto and 1923 personalities interested in the pos sibility of a St. Lawrence Seaway. Indeed, the establishment, organization and administration of a Canadian film archive is not a simple matter but it is essential that it be activated soon. Our yesterdays will lead us to the world of tomorrow. The record of how we got there will be both interesting and important.