Case Studies Report (individual work) 32%
A case studies report (2,000 – 3,000 words) that demonstrates the student’s ability to apply appropriate theories to analyse and evaluate the selected cases. Theoretical framework and critical reflection will be assessed.
Cite: Chicago author date style
Must-have Reading reference : choose 3 of the following
Film Preservation and Restoration Practices and Trans-regional Co- operation
Guest Lecture by Bede Cheng, Director of L’Immagine Ritrovata Asia
Gelardi , Andrea. (nd). Keeping cinema’s memory alive in Hong Kong: An interview with
Bede Cheng, Managing director at L’lmmagine Ritrovata Asia. Franes Cinema Journal website. Retrieved from http://framescinemajournal.com/artic le/keepin g -cinemas-memory-alive-in-hong-kong-an-interview-with- bede -cheng-managing- director-at-limmagine-ritrovata-asia/
Film Preservation, Conservation and Restoration
Jamieson, Krista. (2015). Ethical film restoration and concepts of “original”. Journal of film preservation , 9-14.
Film Archives and Film Programming
Hong Kong Film Archive Readings:
Horak , Jan-Christopher. (2020). Constructing history: Archives, film programming, and preservation. Journal of Film Preservation , (102), 27-36.
Magliozzi, Ronald. S. (2003). Film archiving as a profession: An interview with Eileen Bowser. The Moving image , 3(1), 132-146.
Berry, David M., and Anders Fagerjord (2017). Digital humanities: Knowledge and critique in a digital age . Cambridge, UK: Polity.
Gold, Matthew K., and Lauren F. Klein (Eds.). (2016). Debates in the digital humanities . Minneapolis; London: University of Minnesota Press. (https://dhdebates.gc.cuny.edu/read/ untitled-88c11800-9446-469b-a3be-3fdb36bfbd1e/section/b19e954b-71eb-4fca-a7a7-7dce78d24dc1#cover)
Liu, Alan. (2013). The Meaning of the Digital Humanities. Publications of the Modern Language Association of America , 128(2), 409-423.
The case study report I want to write has already determined the direction with the teacher:
the collaboration between Gucci and The Film Foundation
The teacher has already given comments and hopes to cover the following contents in the report:
- Who has the right to choose the movie?
- Apart from commercial cooperation, does the Film Foundation have any cooperation with other organizations? Like other non-profit organizations?
- Is commercialization necessarily good?
For this report, we made a presentation first and then handed in the manuscript. The following is my presentation, I hope it can help.
The topic I want to share with you is the collaboration between Gucci and The Film Foundation.
First, I would like to briefly introduce you to the Film Foundation. It is a non-profit organization founded by Martin Scorsese and some other filmmakers in 1990.
The Film Foundation has three main goals:
increasing awareness of preservation,
and issuing grants to safeguard cinematic heritage
Many of the American directors we are familiar with are members of the Film Foundation, for example, Woody Allen, Clint Eastwood, Stanley Kubrick, George Lucus , Steven Spielberg, Paul Thomas Anderson, Wes Anderson, Peter Jackson, Ang Lee, and Christopher Nolan …. Some of them are starter members, and some joined the foundation in 2006 and 2015.
As we know about the preservation and restoration of films, the public’s preservation of cinema culture is often easily overlooked. Only some people within the film industry are aware of their importance. And it is a costly and ongoing project that, judging from current experience, is difficult to see the returns on.
Gucci’s partnership with the Film Foundation began in 2005. This literary family from Italy has always been committed to preserving Italian culture. That’s why they are involved in the restoration of an old classic film almost every year, most of which are Italian films.
– In 2006- “A Woman Under the Influence” (1974, d. John Cassavetes)
– In 2007- “Le Amiche ” (1955, d. Michelangelo Antonioni)
– In 2008- “Wanda” (1970, d. Barbara Loden) – In 2009- “Senso” (1954, d. Luchino Visconti)
– In 2010- “Il Gattopardo ” (1963, d. Luchino Visconti)
– In 2010- “La Dolce Vita” (1960, d. Federico Fellini) – In 2011- support of the restoration of “We Can’t Go Home Again” (1976, d. Nicholas Ray)- In 2012- “Once Upon A Time In America” (1984, d. Sergio Leone)- In 2012- “Il Caso Mattei ” (1972, d. Francesco Rosi )
– In 2013- “Rebel Without a Cause” (1955, d. Nicholas Ray)
Most of these films appear at premieres at foreign film festivals, at Gucci art exhibitions, and at the unveiling of Gucci flagship stores.
Through the program, the 52nd San Francisco International Film Festival (April 23–May 7, 2009) will host one of the first screenings of the restoration of John Cassavetes’ astonishing marital drama, A Woman Under the Influence (1974).
I believe this is a win-win partnership for both Gucci and the Film Foundation. On the one hand, the Film Foundation receives financial support,
more classic films are restored,
and even the very niche subject of film preservation is brought to the attention of more people outside the industry because of Gucci.
On the other hand, for Gucci, the re-screening of classic films at the festival’s opening ceremony is far more meaningful and respectful to the film industry than sponsoring celebrity dresses.
Gucci is a clothing brand with a distinctly vintage and artistic Italian style. Working with the Film Foundation is far more branding than working with the Animal Protection Society, as other brands do.
Next, I will focus on finding a film restored by gucci in collaboration with the Film Foundation. In terms of its technology, the subject matter of the film, its value, the meaning it brings to both parties and to the industry.