A Restoration of NOSFERATU (1922) with instructor Mark Rance
TICKETS £10 advance / £11 on the door / £8 concs
This show-and-tell lecture will illustrate many of the issues encountered and (with varying degrees of success) resolved in a digital restoration of Murnau’s NOSFERATU. We will begin with a description of the original production and the technology used to make the film. The film’s own troubled history complicated the film’s physical reconstruction, and that impacted the digital restoration. The reconstructed master print was made from many disparate elements, as a single negative was simply not available. We will examine many scenes and shots in a side-by-side comparison of the unrestored reconstructed print and the digitally restored version of the same material. As we do, this talk will investigate many of the problems faced by any restoration team when not all the original elements are available. We will examine the use of VFX tools, grain management, tinting processes and photo-chemical to digital translation issues when restoring motion pictures.
This talk will primarily explore the complex and subjective issues currently floating around in many analog-versus-digital discussions of film and how those opinions can influence the determination of what the restored version should look like if the goal is to replicate the original projected image at the time of first release. Can digital restorations generate valid preservation copies of photo-chemical materials? Let’s find out.
About the Instructor:
Mark Rance is a documentary filmmaker who for many years was a producer at The Criterion Collection before forming his own company in Los Angeles and producing DVDs and Blu-rays for the Hollywood studios. His titles include THE SILENCE OF THE LAMBS, ROBINSON CRUSOE ON MARS, HARD EIGHT (aka SYDNEY), BOOGIE NIGHTS, MAGNOLIA, SEVEN, I,ROBOT, THE PRESTIGE, RESERVOIR DOGS and THE DARK KNIGHT. He moved to London in 2004 and established Watchmaker Films to restore and distribute lost independent films. Those restorations include Eagle Pennell’s THE WHOLE SHOOTIN’ MATCH and LAST NIGHT AT THE ALAMO; Tobe Hooper’s first feature, EGGSHELLS; and Jack Hazan’s A BIGGER SPLASH.
Named for the fictional university in H.P. Lovecraft’s literary mythos, The Miskatonic Institute of Horror Studies is an international organization that was founded by film writer/programmer Kier-La Janisse in March of 2010 and now has branches in London and New York. Miskatonic London operates under the co-direction of Kier-La Janisse and Josh Saco.
All classes take place at the historic Horse Hospital, the heart of the city’s underground culture. Season tickets are £45. Individual class tickets are £10 advance / £11 on the door / £8 concessions.
For full details of the next courses please check the Miskatonic website. For all enquiries, please email Miskatonic.london[at]gmail.com.