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27-604: Founded in 1982 as the Yale Film Study Center, the Yale Film Archive traces its roots to film collections at Yale dating back to the 1960s, including the historic archives of a number of prominent film collectors. The Film Archive is currently involved in efforts to preserve film on film and to share its collection through public screenings, to ensure that films can continue to be presented as they were originally seen by audiences. The film collection of

54-607: A motion picture . Picture and sound rolls are placed onto separate motorized disks, called "plates," and then threaded through picture and sound transports, each of which has sprocket rollers that transport the film or magnetic stock forwards or backwards at variable or fixed speeds while maintaining their precise positions. The transports can be "locked" together, either mechanically (KEM, Steenbeck, Showchron) or electronically (Moviola), so that they move in harmony and maintain synchronization between picture and sound. They can also be unlocked to move them independently. A prism reflects

81-538: A 1972 broadcast by WTIC of "What's Happening," a local news program that covered the visit to Yale by Duke Ellington and other jazz musicians including Eubie Blake , Dizzy Gillespie , Jo Jones , Charles Mingus , Max Roach , and Mary Lou Williams . In 2021, the archive completed preservation work on Sedat Pakay's 1973 short film James Baldwin: From Another Place , which captures James Baldwin during his time living in Istanbul , Turkey in 1970. In 2022, thanks to

108-634: A Man , directed by Murray Lerner ; and four films by animator Frank Mouris : Quick Dream , You're Not Real Pretty But You're Mine... , Chemical Architecture , and Coney Island Eats . In 2018, the Film Archive completed preservation of director Nicholas Doob's 1979 film " Street Music ," which features performances by 19 street musicians including " Oliver "Pork Chop" Anderson ," Brother Blue , Bongo Joe Coleman , Jimmy Davis , Guy Mosley , Gene Palma , and " The Automatic Human Jukebox ." The Yale Film Archive also preserved 2-inch videotapes containing

135-606: A field research assistant for Gunnar Myrdal and Ralph Bunche 's on their publication An American Dilemma: The Negro Problem and Modern Democracy . He was also a publicist for the Farm Security Administration covering the plight of tenant farmers until he was drafted in 1942. Throughout this time he also wrote freelance articles for many newspapers and magazines, including the New York Times , The New Republic , Raleigh News and Observer and

162-423: A grant from The Film Foundation , the Yale Film Archive restored Losing Ground in 4K using the original 16mm negative to create a new 35mm negative, 35mm prints, and DCPs. The Yale Film Archive holds a number of individual collections of the films of various filmmakers and film collectors, some of which are listed below. Flatbed editor A flatbed editor is a type of machine used to edit film for

189-669: A rotating prism rather than the Geneva drive intermittent mechanism first used by the American upright Moviola . The rotating prism allows the editor to move the film smoothly and continuously, reducing mechanical noise and film wear. It also makes high-speed operation feasible, and some machines can move the film at up to ten times standard speed. The K-E-M Universal, which has a modular construction, supports up to three picture heads and up to three soundtracks. George C. Stoney George Cashel Stoney (July 1, 1916 – July 12, 2012)

216-595: Is often cited as being the "father of public-access television." With his work in public-access television, Stoney sought to democratize of voices recorded on an audiovisual medium by sharing authority through community engagement. In 1995, Stoney directed The Uprising of '34 about the General Textile Strike in 1934 . For the film's production, over 300 hours of interviews from former mill workers, their children and grandchildren, labor organizers, mill owners, and others who experienced or were affected by

243-441: Is shot on film, while the sound is recorded separately on a quarter-inch audiotape on a Nagra III, 4.2, 4S or occasionally a Stellavox SP7. For convenience during the editing process, the sound is transferred to a magnetic track ("mag") — sprocketed recording film, which is filmstock coated with magnetic oxide, instead of photo-sensitive emulsion. One "frame" on the magnetic film equals one frame of picture. The magnetic film

270-403: Is usually edge-coded: sequential numbers are stamped on the edge every few frames to facilitate locating particular frames or scenes. Since picture and sound are usually recorded separately, the editor must synchronize them. The editor loads one picture roll onto a film plate and its corresponding magnetic roll onto a sound plate. Then they advance the film to find the frame where the two parts of

297-666: The Challenge for Change project, a socially active documentary production wing of the National Film Board of Canada from 1968-70. After working with Red Burns on the Challenge for a Change, the pair founded the Alternate Media Center in 1972, which trained citizens in the tools of video production for a brand new medium, Public-access television . An early advocate of democratic media , Stoney

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324-461: The Clapperboard came together. The editor repeats the process on the magnetic roll to find the frame with the clap sound. Once found, they mark the frame on both rolls as the synchronization point and switches the flatbed to interlock mode. From then on, both picture and sound rolls advance or reverse by exactly the same amount to maintain synchronization. When the editor finds a point to edit

351-750: The Survey Graphic . He served as a photo intelligence officer in World War II . In 1946, Stoney joined the Southern Educational Film Service, writing and directing government education films for their constituents. Shooting in North Carolina, he worked on Mr. Williams Wakes up in 1944, and Tar Heel Family in 1951 under the company. He went on to create films for the Association of Medical Colleges and

378-754: The 1930s. There are also the Italian Prévost and Intercine , the Dutch Oude Delft or Oldelft , the French Atlas as well as Moritone flatbeds. The U.K. produced the LEM , and America the Moviola flatbed and the exclusively 16 mm Showchron of which approximately 400 were produced in 4, 6, or 8 plate configurations, 6 being the most common. (A few 35 mm Showchrons were built, but never sold commercially.) All these machines employ

405-521: The North Carolina Film Board. In 1953, Stoney worked with the Association of Medical Colleges to write, direct and produce All My Babies: A Midwife's Own Story . The film follows Mary Francis Hill Coley an African American midwife as she attends to her clients and work with doctors and nurses within the medical establishment to promote education and cooperation within the modern medical field. The film received numerous awards and

432-698: The United States during the 1970s, although never completely replacing the Moviola. By the mid-1990s, flatbeds were increasingly replaced by computer-based non-linear systems , such as Avid and Lightworks . As of 2007, some film schools were still using flatbed editors for their educational value. Feature films in the United States now use electronic non-linear systems almost exclusively. The two most common brands of flatbed editor, Steenbeck and K-E-M ( Keller-Elektro-Mechanik ), were invented in Germany in

459-608: The University. Although modest, this acquisition encouraged other collectors to donate their films, which then became part a vital part of film curricula. Over the next 15 years, film as an academic discipline grew immensely, leading to the formation of both the Film Studies Program and the Yale Film Study Center in 1982. During the 1980s, the 16mm archive burgeoned with film donations by Yale alumni Spencer Berger, Ralph Hirshorn, and others, while Yale’s 35mm archive

486-660: The Yale Film Archive formally became part of the Yale University Library. In January, 2021, the Film Archive moved to a newly renovated 3,200 square foot headquarters, designed by Apicella + Bunton Architects , in Sterling Memorial Library. Films preserved by the Yale Film Archive include Passages from James Joyce's Finnegans Wake (directed by Mary Ellen Bute) and The Boy Who Saw Through (produced by Bute and directed by George C. Stoney ); Our Union, directed by Carl Marzani ; To Be

513-682: The Yale Film Archive is made up of a wide range of holdings, from Hollywood features to experimental shorts, from home movies to Bollywood musicals. The collection spans more than 120 years of cinema history, and includes films from around the globe as well as a number of films made by Yale alumni and about Yale and New Haven. Researchers can view films on site in the Yale Film Archive's screening room, capable of showing 16mm film, DCP, and multiple consumer video formats including 3-D Blu-ray. The Film Archive also has two flatbed film viewing stations and ten private video viewing booths for individual use. The Yale Film Archive regularly screens its 35mm prints for

540-416: The film image onto a viewing screen, while a magnetic playback head reads the magnetic audio tracks. The two most common configurations are the "six-plate" (one picture transport and two sound transports) and the "eight-plate" (two picture and two sound transport) models. (The edges of two of the plates on the six-plate model can be seen pictured at the right.) Most films are shot double-system : The picture

567-817: The journal Wide Angle in 1999. George Cashel Stoney was born in 1916 in Winston-Salem , North Carolina . He studied English and History at the University of North Carolina and graduated in 1937. Later studying at Balliol College in Oxford, and received a Film in Education Certificate from the University of London . He worked at the Henry Street Settlement House on the Lower East Side of NYC in 1938, as

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594-461: The picture and/or sound, they mark the frame with a grease pencil, make a cut, and add, remove, or rearrange shots or sections and then rejoin them with splice tape. One of the first and most popular film editing machines was the Moviola . With it, one could manage a thousand-foot eleven-minute 35 mm roll. It was difficult to use compared to later machines because it did not have high-speed operation. European flatbeds came into more common use in

621-795: The public in the Whitney Humanities Center Auditorium, the last 35mm-equipped public venue in New Haven County. Yale Film Archive staff regularly consult on special film projects around the University, including the preservation of film material in the Benny Goodman Collection in the Irving Gilmore Music Library of the Yale University Library . In 1968, Yale began collecting 16mm film with

648-667: The purchase of several hundred prints known as the John Griggs Collection of Classic Films. The Griggs films came to Yale largely through the efforts of experimental filmmaker Standish Lawder , then Assistant Professor in Yale’s History of Art Department, and Yale alumnus Spencer Berger , a film collector and historian of the Barrymore family . The purchase was funded by three alumni: Fred W. Beinecke , Richard E. Fuller , and Chester J. LaRoche Jr. , all graduates of

675-540: Was an American documentary filmmaker , educator, and the "father of public-access television ." Among his films were Palmour Street, A Study of Family Life (1949), All My Babies (1953), How the Myth Was Made (1979) and The Uprising of '34 (1995). All My Babies was entered into the National Film Registry in 2002. Stoney's life and work were the subject of a Festschrift volume of

702-817: Was born with hundreds of rare prints of television programs produced by Herbert Brodkin , and collections such as those of the pioneering experimental director Mary Ellen Bute , a 1926 alumna of the Yale School of Drama . In 2014, the monthly screening series " Treasures from the Yale Film Archive ," showcasing 35mm prints from the archive's collection, began. The screenings feature introductions by Film Archive staff as well as Yale faculty, and have also included guest filmmakers such as Lee Isaac Chung , Tamar Simon Hoffs , Warrington Hudlin , James Ivory , Frank and Caroline Mouris, Michael Roemer , Willie Ruff , Ira Sachs , and Norman Weissman , as well as musical accompaniment for silent films by Donald Sosin . In July, 2017,

729-506: Was inducted into the National Film Registry in 2002 by the Library of Congress . In the late 1960s, Stoney founded his own production company, George C. Stoney Associates, and taught at Columbia University , Stanford University (1965–67), and became a professor at New York University 's Tisch School of the Arts in 1971. He was an emeritus professor at NYU until his death. He directed

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