By Julio di Risio One afternoon in 1947, I lived with an aunt in the neighborhood of Almagro and taking advantage of the sunshine of April, I went for a walk along Avenida Rivadavia to a film that was close Plaza Once, the cinema and then old Harmony, one of the many "Piojera" as they called these small rooms old, dirty, torn, musty, pee and with a screen that was not white and was perforated over with rocks.
Of course, my aunt was forbidden to go to those movies (he was an illegal departure), but the entry cost very little and gave up four films in one program. Suffice it to say that I frequented quite this kind of room, or I must have seen over 100 films in this exciting "state of secrecy." That afternoon
Easter movie was no surprise, as was "The Passion" as we used to call the film version of "Life Passion and Death of Our Lord Jesus Christ, who spent every year to that date. It was an old silent version with intertitles [1] to which they had to music with religious themes from the beginning to the end. Some time later I found out it was a version by Ferdinand Zecca in the late 10 and was another of the director and the same time contained in a yellowing poster of the movie hall "The victims of alcoholism ', but I do not let in by a minor.
The audience was this afternoon at the Harmony was not more educated or more serious than usual, so seeing the rapid movement of Jesus carrying the Cross, which was due to his early film at 16 frames per second [2] , the public, if you could call it that, was killed laughter.
But this afternoon something happened that marked an important change in me, the shadow of a bird hovering over the images irreverent Stations of the Cross led me look into the projection light and find the poor animal that Pullman had the big boys released into the room and that is crazy looking for an exit between light and shadow. The bird managed to escape but I stood mesmerized watching the changing light cone density and shrank to the back of the room into a point within a small window. There was an unknown, magical, that caught me as much or more than the images on the screen.
There was a time when I could not concentrate on the plot of the movie, I distracted the moving light that flowed from that mysterious window up there in the dark, at the end of the room.
1 - Titles of transition that were used in silent films to maintain continuity (synthesized) from the talks. Temporal continuity: "A few months later," was also covered with intertitles. 2 In
the early silent films was normal cadence of 16 frames per second. With the advent of sound, had to change the speed to 24 frames per second, this cadence normally reproduces the human voice. If a film is projected at 16 CXS shot in a sound projector (24 CXS), the images will be accelerated. Consequently, the normal rhythm can only be obtained by projecting the film at the same speed with which it was filmed.
Of course, my aunt was forbidden to go to those movies (he was an illegal departure), but the entry cost very little and gave up four films in one program. Suffice it to say that I frequented quite this kind of room, or I must have seen over 100 films in this exciting "state of secrecy." That afternoon
Easter movie was no surprise, as was "The Passion" as we used to call the film version of "Life Passion and Death of Our Lord Jesus Christ, who spent every year to that date. It was an old silent version with intertitles [1] to which they had to music with religious themes from the beginning to the end. Some time later I found out it was a version by Ferdinand Zecca in the late 10 and was another of the director and the same time contained in a yellowing poster of the movie hall "The victims of alcoholism ', but I do not let in by a minor.
The audience was this afternoon at the Harmony was not more educated or more serious than usual, so seeing the rapid movement of Jesus carrying the Cross, which was due to his early film at 16 frames per second [2] , the public, if you could call it that, was killed laughter.
But this afternoon something happened that marked an important change in me, the shadow of a bird hovering over the images irreverent Stations of the Cross led me look into the projection light and find the poor animal that Pullman had the big boys released into the room and that is crazy looking for an exit between light and shadow. The bird managed to escape but I stood mesmerized watching the changing light cone density and shrank to the back of the room into a point within a small window. There was an unknown, magical, that caught me as much or more than the images on the screen.
There was a time when I could not concentrate on the plot of the movie, I distracted the moving light that flowed from that mysterious window up there in the dark, at the end of the room.
1 - Titles of transition that were used in silent films to maintain continuity (synthesized) from the talks. Temporal continuity: "A few months later," was also covered with intertitles. 2 In
the early silent films was normal cadence of 16 frames per second. With the advent of sound, had to change the speed to 24 frames per second, this cadence normally reproduces the human voice. If a film is projected at 16 CXS shot in a sound projector (24 CXS), the images will be accelerated. Consequently, the normal rhythm can only be obtained by projecting the film at the same speed with which it was filmed.
0 comments:
Post a Comment