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>Based on the novel by Marjorie Kinnan Rawlings, this drama focuses on the family of Civil War veteran Penny Baxter (Gregory Peck), who lives and works on a farm in Florida with his wife, Orry (Jane Wyman), and their son, Jody (Claude Jarman Jr.). The only surviving child of the family, Jody longs for companionship and unexpectedly finds it in the form of an orphaned fawn. While Penny is supportive of his son's four-legged friend, Orry is not, leading to heartbreaking conflict.
apologies for the delay this week, making essentially a feature length film took most of my concentration



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Edvard Munch


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It's weird to see something praising white culture. It felt like a John Ford flick but good


Is that like Spinal Tap or The Office?


Yes basically


I feel like I remember reading a book like this in elementary school, except it was set in the 20th century and the main character was a girl.


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Reminds me to show those interested.
>Timeline of Historical Film Colors

This site is fun to look through. It's hardly perfect but it is nice to see all the historical color film processes
>two strip technicolor
>the two color soviet process
>the apparently incredibly labor intensive soviet 3 strip process
and so on


3 strip technicolor was very labor intensive too, although I don't know about the Soviet ones. Maybe they were even more involved.


>Maybe they were even more involved
I will see if I can dig it up (I had to do a lot of searching through databases of paywalled articles to get reliable info on anything-I still frequently see people saying that USSR never made color Chromogenic (C-41 process or similar) film or that all USSR color motion picture (slide or negative) film was imported-both total bullshit lies.)


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as well I would be remiss without mentioning that (as in keeping with burger tendencies to chuck the old technology when new [cost cutting] processes arrive) Technicolor and its successor companies got rid of the final technicolor process (Technicolor No. V, Film Imbibition dye transfer) and sold the equipment to China. One of the last films made and distributed with this process in its original run (they brought back a quasi-similar process contracted to the chinese labs briefly in the early 90s) was Ju Dou (1990).


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From The Political Imperative of
Color: Stalin, Disney, and the
Soviet Pursuit of Color Film,

Basically despite having only seen a screening of La Cucaracha and never seen how technicolor worked or what machinery, chemistry, and processes were used to make technicolor work, Stalin used his sperg rage to insist that Mosfilm figure out how to make a feature length color film. Their process worked but involved significantly less automation in gelatin coating and dye transfer.
Theres a part referring to the efforts to get a print finished before a particular party milestone as "stakhanovite"


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Have we had Nanook of the North on the WFC yet? If not, I nominate that.


Keep thinking of more shit to bring up.
Suspiria was one of the last IB printed film to be made in the west during the original run, Technicolor Italy was able to do it at that time, but IB printing had already been shutdown in USA and Britain.
Worth mentioning that Film Imbibition technicolor is a print, like a book, not a photographic process. There's translucent film backing, and the image is printed on as with ink onto a book, not photographically like with an enlarger.


Didn't Tarkovsky use Kodak stock for Stalker?

Sounds to me a bit like Kodachrome/Kovatachrome prints.


>Didn't Tarkovsky use Kodak stock for Stalker?
Might take me a bit to find the references to that, but Tarkovsky had a strong preference for black and white-and he translated this to a strong desire for Kodak/Eastman Film stock in custom chemistry.
He wanted to have Color of a western level of sensitivity-but to tone it down dramatically for a quasi-sepia effect in color.


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The Author is both not totally correct and actually a little misleading.
(most notably that use of Sovcolor was a point of national pride and was used for prestige projects in large format e.g. 70mm as well as for the mentioned War and Peace as well as many others)
In general Soviet industry can be analogized as skipping the walking step in order to run-so it skipped the commercial viability at scale step in order to produce a workable completed product as fast as possible to make up for lost time.
Bare in mind the USSR made its first serial production still 35mm camera (FED, a copy of leica II) only in the mid 30s. To go from that to full fledged film production with everything from the chemistry, to the manufactured stock, to the cameras, to the sets, directors, etc. is very impressive under the autarchic pressures they faced.


I'm getting ahead of myself without explaining this important detail.
Before World War II, only 4 countries had developed workable color film formats:
>Germany (which had been a major beneficiary of the second industrial revolution, and whose population was actually only slightly less than USA at this time)
>Britain (sort of, Dufaycolor and Gasparcolor were not true projection color format/viable at volume with teething problems respectively)
>USSR (had a two and three color process even before 1939-but essentially abandoned the latter in favor of Agfacolor).

When USSR reached the burned corpse of eastern germany at the end of ww2, they came upon the optical plants zeiss, meyer-gorlitz, Erneman, Ihagee, and the major plant for AGFA film in Wolfen.
After basically working their asses off to have a viable three color format without any of the subordinate mature technology, the superior maturity of agfacolor was apparent and under political orders, shitloads of Agfacolor film was carted back to the motherland (guess what, after >20M of your flesh and blood die in such a conflict, and you win, you can do this).
After much blood sweat and tears into tri-pack format, the political demand for color changed to "just fucking copy this".

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