"International Projectionist" Νοέμβριος 1952 σελ 33
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Δεν ισχυρίζομαι πως το παραπάνω είναι σώνει και καλά σωστό, όπως όμως δεν μπορώ να δεχθώ και το αντίθετο χωρίς πραγματική τεκμηρίωση.
Φίλε μου, τέτοια τεκμηρίωση μπορεί να σου δώσει μόνο κάποιος που έχει διδακτορικό στην επιστήμη της φωτογραφίας και εγώ είμαι απλός σινεφίλ που του αρέσει να διαβάζει για την ιστορία των τεχνικών του κινηματογράφου. Την άποψη περί ξεχωριστής ποιότητας του nitrate φιλμ την έχω συναντήσει επανειλλημένως, γι'αυτο και την κατέθεσα. Για εγκυκλοπαιδικούς λόγους παραθέτω απλώς τα αποσπάσματα που την υποστηρίζουν, χωρίς περαιτέρω σχόλια περί ορθότητάς της:
https://www.bbc.co.uk/blogs/thereporters/willgompertz/2010/06/the_dangerous_beauty_of_cellul.html
According to the eminent curators at the British Film Institute (BFI), cellulose nitrate film is the most vivid film stock ever created.
Robin is captivatingly passionate about nitrate film and says that the real allure of this film stock is its aesthetic attributes; that it exhibits a quality never matched by modern safety film stocks. The luminosity of the blacks caused by the stock's high silver content means that black-and-white movies have an extraordinary lustre and richness that can create a contrast between light and shade similar to that seen in the paintings of the renaissance artists using their chiaroscuro method.
Nitrate film consisted of nine strips of colour film recording simultaneously, resulting in the "truest, purest colour you will see" and the BFI says the vibrant colour of an original dye transfer Technicolor nitrate print is unforgettable. For Robin, this season is about learning to look, to gain an appreciation of the difference between film stocks which he says is a marked as the difference between oil and acrylic paint.
https://www.theverge.com/2015/6/17/8792169/nitrate-picture-show-film-conservation-festival
Renowned for the beauty and clarity of its images, nitrate is so flammable and physically unstable that it’s rarely, if ever, still screened
Megan Labrum, general manager of Australia’s National Film and Sound Archive, told me before the Casablanca screening that "there is a warmth, a brightness, a depth" to nitrate. But it’s basically impossible to see nitrate films in her home country, she said. "We have a fabulous cinema, but we can’t afford the constraints around putting it on — the licenses, the safety measures, the equipment."
https://www.npr.org/2017/04/10/5232...te-film-stock-its-combustible?t=1575413312909
Nitrate film stock has been praised for the beauty of its images and for truly allowing cinematographers to paint with light — whites pop off the screen, blacks are deep and rich, and grey tones shimmer. It's also extremely flammable.
Casablanca was the first film Genevieve McGillicuddy saw projected on nitrate. McGillicuddy is director of the TCM Classic Film Festival, which sponsored the screenings. "I felt like I was seeing Humphrey Bogart for the first time, and Ingrid Bergman never looked better, and the outfits just popped off the screen."
Color nitrate has been described as equally breathtaking. Dennis Bartok manages the Egyptian Theatre, where the films are playing. He says his single most unforgettable screening experience was watching a Technicolor nitrate print of the movie Black Narcissus. "So, people will compare them to an illuminated manuscript or something like that. All I can say is watching Black Narcissus really is a spiritual experience for people who love cinema."
