Author: Geofrey-Victory

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35mm Film

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  • 35mm film refers to how wide the roll of film that you are using is when you are filming a movie.
  • 35mm film was commonly used to make most movies up until about 2005 when more and more companies began to use digital photography.
  • 35mm film is said to have more “soul” than digital.
  • 35mm film equipment  is now being considered vintage. There is now only a finite supply of spare parts.
  • It is making a comeback, as younger generations are gravitating towards film again.

Quotes

“Dating back to the first quarter of the 20th century, the 35mm format has mostly given way to digital still and video technologies. The 35mm film frame is 36 x 24mm, and high-end digital SLR (DSLR) and video cameras use sensors of equivalent size.”

“I also would vastly prefer to watch a classic exploitation movie with all the grit, scratches, and intermittent audio pops you experience with a well-worn roadshow 35mm (Links to an external site.) print. To me, that is part of the journey, part of the history unfolding on screen.”

“Although there is a consensus that film provides a better image than digital imaging, there is some disagreement about the resolution of 35-mm slide film confirmed that 35-mm slide film is the practical benchmark for image quality in standardized patient photography.”

“The development of cinema has seen the shift from silent to sound film, black and white to colour, and the move from 35mm film stock to recent formats such as High Definition (or HD) that capture and project images in digital form. Recent cinematic history includes advances in computer graphics and editing, stereoscopic imaging or 3D, motion capture, and sound recording, mixing and design” (Page 42).

“First Man was assembled from a complex mixture of 16, 35 and 70mm IMAX footage”

“We’re now in such an instant world, with iPhones, digital cameras. It’s good to have this slow process, ripping off the wrapper around the film, putting it in the camera.”

Sources

“Encyclopedia.” 35mm Film Definition from PC Magazine Encyclopedia, www.pcmag.com/encyclopedia/term/67550/35mm-film (Links to an external site.).

Journalistic – League, Tim. “35mm Film Deserves Your Respect: Alamo Drafthouse Founder Tim League Makes the Case.” IndieWire, 3 Mar. 2017, www.indiewire.com/2017/03/35mm-film-tim-league-reel-film-day-1201789618/ (Links to an external site.) (Links to an external site.)

Scholarly – III, Grant S. Hamilton. “An Objective Comparison of 35-Mm Film and Digital Camera Image Quality: A New Gold Standard.” Archives of Facial Plastic Surgery, American Medical Association, 1 May 2009, jamanetwork.com/journals/jamafacialplasticsurgery/fullarticle/407315 (Links to an external site.)

Whittington, William. “Introduction to Film Studies 5th Edition Edited by Jill Nelmes.” Academia.edu,www.academia.edu/8957152/Introduction_to_Film_Studies_5th_Edition_Edited_by_Jill_Nelmes.

https://www.reddit.com/r/BeAmazed/comments/bule03/my_camera_shoots_across_two_frames_of_35mm_at/ (Links to an external site.)

https://www.theguardian.com/uk-news/2018/jan/28/does-reflex-slr-camera-herald-35mm-film-renaissance (Links to an external site.)

https://filmmakermagazine.com/107353-23-films-35mm-released-in-2018/#.XSgDE-hKjb0

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The Reception from the Living

Night of the Living Dead does not strike me as the gore fest that the initial reception by the audience held it back then. The AVClub article proclaims, “[the film’s] status as a gore champion has long since been superseded.” Romero uses buckets of blood splattered onto his actors to ignite gore, but comparatively to today’s films, that practice would not be up to par to the standards of horror. But perhaps, appealing to popular belief, its popularity proves the weight of it opening the doors in the aspect of gore in horror.

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In the Bright Lights article Night of the Living Dead: Reappraising an Undead Classic, Stephen Harper mentions that the movie was shot “over seven months on a shoestring budget.” Harper displays the evolution of film production in how a film took a longer timespan to shoot—especially one of a low budget film like George A. Romero’s Night of the Living Dead. However, it does not take anything away from the film; in fact, it amplifies Romero’s ability to stretch the budget.

Roger Ebert says that the audience seems to be majority of kids under 16 years. Once the “gore fest” in the film started, Ebert observes that the audience, especially the kids, were unfamiliar with the gore. On one hand, I cannot blame Ebert for being troubled about the how these kids will live their lives from then on; but on the other, I cannot help but find it absurd to find the movie disturbing from the lens that I have. Ebert misses on accurately projecting on the generation outside of his. It is very possible that the kids he observed have a more mature understanding that the feeling gore induces.

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Romero opens the doors to a specific sub-genre of horror—gore.  The audience’s reception and the critique assumes the progress that the film industry has made on two aspects: visual and an audience’s stomach for gore. The amalgam of the two says that as film has evolved visually, an audience tends to evolve what we accept, even the diction Ebert uses in his review is outdated. If constructing the binary in film watching creates the side on camera and the side of who is watching outside of that camera, Night of the Living Dead shows how the medium evolves on both sides.
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