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| Edith Kramer |
Auditorium della Regione, Pordenone, Le Giornate del Cinema Muto, 7 Oct 2009.
– As a programmer, looking back, I re-live the nightmares.
– Every screening is different. Every audience is different.
– I started as a teacher of art history, then in the 1960s moved into the Bay Area avant-garde distribution.
– I always stood at the back of the cinema in a dark corner near to the telephone.
– It's working when the audience is breathing with the film.
– Programming and presentation: programming as a narrative, with infinite stories. I never run out of stories.
– Respect for the audience.
– Respect for the medium. Concerning photochemical vs. digital: there has always been constant change. We don't talk enough about film stock and lights. Having studied film-making myself I had renewed appreciation about how difficult it is to make a good film. How technology can inform the language.
– I'm digitally challenged.
– I belong to a generation with a missionary feel. The mission: understanding cinema as an art form. The fight for the prestige of the cinema in an art museum.
– Facing a corporate mentality, the approach of business administration in the art museum world.
– The meaning of the theatrical experience. The dvd will probably stop. Online downloading is on the rise.
– I feel the difference in digital presentation. My whole physiognomy reacts differently.
– Restoration: the word has been so wonderfully promoted by the film archives. The media took this word, one even talks about "the restored dvd", the language gets corrupted.
– The real total cost of the digital cinema can be overwhelming. It may become more expensive to go to the cinema. The real bargain may be to stay at home.
– The question about an ageing audience and ageing programmers: I don't think we're useless.
– In the 1960s there were lines around the block for Anger, Rocha, Griffith, but I never thought it would last. Now film courses have been more than full over ten years.
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