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"Kodachrome" wins award at the world's oldest short film festival


Jurgen Lossau

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Thanks for your nice messages. The KODACHROME music clip is part of this DVD:

 

 

Super-8-DVD-Cover-englisch-.jpg

 

DEATH OF THE YELLOW BAG

 

A 20-minute documentary that visits the Kodak lab in Lausanne (Switzerland) in August 2006, shortly before it closed forever. Includes moving interviews with the lab manager and his colleagues, along with a behind-the-scenes look at the last Super 8 Kodachrome lab in the world and the operation of its complex 14 bath process. In German and English. A film by Juergen Lossau and Heiko Riemann.

 

 

KODACHROME

 

In 1973, Paul Simon (Simon & Garfunkel) composed a song about his youth. He dedicated the song to Kodachrome, because this slide film kept the colorful memories of his adolescence alive. Shortly after Kodachrome Super 8 film was withdrawn from the market ? 41 years after its introduction ? Juergen Lossau and Heiko Riemann produced this ode to the exceptional material: a music clip to accompany Paul Simon's song. Long live Kodachrome. Fittingly, this tribute was shot on Kodachrome 40 Super 8 film.

 

 

KODAK SUPER 8 INSTAMATIC

 

An ingenious commercial that promotes Kodak Instamatic cameras and the newly introduced Super 8 format. Shot in 1965, in English. A witty montage of earlier silent and sound movies that demonstrates the challenges of shooting motion pictures and promises a better future with Kodak?s Super 8. More than 15 minutes of entertaining slapstick scenes and quick-witted comments. An extraordinary industrial film.

 

 

ELMO COMMERCIAL

 

A unique glimpse into the past! This German Elmo commercial was shot on 16 mm and highlights the Japanese beauties and products from 1966. In addition to 8 mm, Super 8 and 16 mm projectors, it shows the production of the legendary Elmo C-300 Trifilmatic camera ? the only movie camera capable of shooting 8 mm, Super 8, Single 8 and Double Super 8 material. 15 colorful minutes you won?t forget!

 

 

Super 8 Exposed DVD, ? 29.95/US-$ 38.95. Please pay via www.paypal.com, using our eMail address info@atollmedien.de or send us a cheque in an envelope:

 

atoll medien

Sierichstr. 145

D-22299 Hamburg

Germany

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DEATH OF THE YELLOW BAG

 

A 20-minute documentary that visits the Kodak lab in Lausanne (Switzerland) in August 2006, shortly before it closed forever. Includes moving interviews with the lab manager and his colleagues, along with a behind-the-scenes look at the last Super 8 Kodachrome lab in the world and the operation of its complex 14 bath process. In German and English. A film by Juergen Lossau and Heiko Riemann.

 

I saw it, it's part of the film I mentionned was broadcast on french channel arte the other night.

 

Great stuff, thanks !

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Jurgen (sorry, I don't know how to put on the umlaut, stupid American that I am): let me join the others in the thread in congratulating you and your film for winning this award. That sounds like a great accomplishment.

 

Has the film seen any playing time on American film channels, such as Sundance? If it hasn't you should submit it. I may take the fall and buy a copy if that doesn't' happen, when I can scrounge up enough money of course.

 

So how many people collaborated on the project and what was shooting it like?

 

Regards,

 

~KB

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Your post makes it obvious that its not the same everywhere, in the U.S. artists do not sell the television or film rights to their music to a bureau

it *is* the same everywhere because licenses are global. i don't know what kinds of licenses the u.s. bureaus sell domestically, but they do sub license the music all over the world, hence control *is* lost. and in any case i'm talking about all kinds of licenses, not just tv and film, which you would have seen had you bothered to read my entire post instead of just finding one sentence to bite on.

 

and as far as film and television goes they DO control what happens in every case if the want to. If a show tries to clear the master and the artist says "no" then the song can not be used, period.

your patronizing attitude isn't helping. i've also been involved in both buying and selling music rights for film and tv for several years and i know what you're saying. it's just the "period" that i don't agree with.

 

/matt

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If anyone is interested......

 

One of the most common ways in the U.S. to use music in a TV broadcast situation is to get a license through ASCAP.

 

 

http://www.ascap.com/licensing/

 

 

Here in Norway I think the group is TONE ( I could be very wrong about this). But I have never had to deal with then directly.

 

 

P.S. I can't wait to get my copy of "Kodachrome" on DVD. Great work!

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  • 2 weeks later...

Congratulations Jürgen on your fantastic work! It's very sad that S8mm & 16mm Kodachrome was cancelled by Antonio Perez and his bunch of anti-film sycophants at Kodak. The Swiss Kodachrome Lab did not need to be closed. That Lab developed all of their Kodachrome stocks including Slide Film. The European Union was prepared to offer Kodak subsidies to keep the Lab open. The real truth is that Perez and company at Kodak wanted to get rid of 8 & 16mm Kodachrome. When they announced two years ago that they were discontinuing S8 Kodachrome, they stated that they didn't plan to stop production of 16mm Kodachrome (which was a different Emulsion from S8mm), but this was a lie. If this were true, then they would have given S8 users the 16mm K40 instead of E64T. However, Perez and company had every intention of scrapping 16mm Kodachrome because they had every intention of closing that Swiss Lab! Once Perez is gone, it is possible for S8mm and 16mm users to get back Kodachrome. They could bring back K25 Slide Film, and give that to us. They could also give 16mm users K200 so that 16mm cinematographers have adequate ISO Stocks for all filming situations. They could bring back 16mm K40, and also give that to S8 users (to replace E64T) as well as to 35mm Slide photographers. If they offered each Kodachrome Stock to all their customers -- S8mm, 16mm & 35mm Slide), sales would be sufficient to keep those Stocks more than profitable.

Your post makes it obvious that its not the same everywhere, in the U.S. artists do not sell the television or film rights to their music to a bureau, and as far as film and television goes they DO control what happens in every case if the want to. If a show tries to clear the master and the artist says "no" then the song can not be used, period.

Douglas, how exactly does licensing work when negotiating rights from a company like Warner-Chappel? Would W-C have the full authority to grant any level or full licensing rights to use a Song in a Movie for example? TV and Video rights as well? I would assume that only more famous Artists can enjoy veto rights over licensing of their music, or is this more common.

 

I think the confusion between yourself and Matt Sandstrom relates to the lack of government involvement in the U.S. The "bureau" Matt refers to sounds like a government or EU agency, and of course this matter is not handled by government agencies in America.

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