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"content": "\u003cp>It’s no secret that restoring old films involves attention to detail. In some cases, it also requires old-fashioned mystery-solving.\u003c/p>\n\u003cp>When Lewis Milestone’s 1926 silent film \u003cem>The New Klondike\u003c/em> was donated by Paramount to the Library of Congress in the 1970s, it was deemed incomplete, based on black-frame cuts in the film that typically indicate missing footage.\u003c/p>\n\u003cp>Yet when film archivist and the founder of \u003ca href=\"https://www.maltesefilm.com/\">The Maltese Film Works\u003c/a> James Mockoski sat down to restore the film at his home office in Martinez, California, he saw that the frame count actually did match what was reported in 1926 – there was nothing missing.\u003c/p>\n\u003cp>This led to the discovery that those little black frames, which Mockoski refers to as slugs, had words like “amber” and “orange” etched into the emulsion of the film. These weren’t missing pieces. They were a set of instructions.\u003c/p>\n\u003cfigure id=\"attachment_13983542\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions.jpg\" alt=\"\" width=\"2000\" height=\"1503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions-1536x1154.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A black ‘slug,’ written with scene coloring instructions, which was originally thought to be a missing part of a film. \u003ccite>(Courtesy of ArtCraft Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Silent films were not black and white generally,” Mockoski says. “They were tinted with a color to denote if it’s sunny outside, if it’s an interior, if it’s night. The silent films were very vivid and they did have a color palette. What a person thought as being missing footage actually were a set of instructions to people in the future on how to restore the back of the original color.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to this discovery, \u003cem>The New Klondike\u003c/em> will be shown in its original presentation at the 28th San Francisco Silent Film Festival taking place Nov. 12-16 at the Orinda Theatre. Throughout the course of five days, 22 programs will be shown with a variety of genres. From beloved classics like Charlie Chaplin’s \u003cem>The Gold Rush\u003c/em> (celebrating its 100th year anniversary) to the kid-oriented animated program “Koko!,” each film will be accompanied by a live musical performance.\u003c/p>\n\u003cp>Alongside \u003cem>The New Klondike\u003c/em>, Mockoski restored two other films for this festival: Cecil B. DeMille’s \u003cem>The Affairs of Anatol\u003c/em> and, notably, Herbert Brenon’s \u003cem>Beau Geste\u003c/em>, a film about three brothers who each take the blame for stealing a valuable family sapphire to protect their aunt.\u003c/p>\n\u003cfigure id=\"attachment_13983543\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983543\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003.jpg\" alt=\"\" width=\"2000\" height=\"1571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003-1536x1207.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Ralph Forbes, Neil Hamilton and Ronald Colman in ‘Beau Geste’ (1926; dir. Herbert Brenon). \u003ccite>(Courtesy of ArtCraft Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almost 99 years after the film was made, the festival will debut what’s now \u003ca href=\"https://vimeo.com/1074708470\">the most complete version of \u003cem>Beau Geste\u003c/em>\u003c/a>. Efforts toward its restoration included pulling from the archives of UCLA, the George Eastman Museum and the Museum of Modern art.\u003c/p>\n\u003cp>If that sounds like a lot of work, well, it is. “It’s a labor of love to restore these films,” Mockoski says.\u003c/p>\n\u003cp>With restoration work underway, the festival also needed to find a new venue for this year’s event. San Francisco’s Castro Theatre had housed the film festival for nearly three decades, but it \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">closed for renovations\u003c/a> in 2024 and won’t reopen until next year.\u003c/p>\n\u003cfigure id=\"attachment_13983549\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200.jpg\" alt=\"\" width=\"2000\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200-768x277.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200-1536x554.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A before-and-after of the restoration process on a frame from the film ‘The Affairs of Anatol’ (1921). The original color used in 1921 was restored via a process called Handschiegl color. \u003ccite>(Courtesy James Mockoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year’s festival took place at the Palace of Fine Arts, which East Bay resident and film festival artistic director Anita Monga described as a “schlep” to get to. This year’s search for a new theater had three main checklist items: a venue large enough to fit an audience and live music, an auditorium with their own projection, and accessibility to public transportation.\u003c/p>\n\u003cp>The Orinda Theatre hit all these marks — and is just a three- to four-minute walk from BART.\u003c/p>\n\u003cp>“It just seems so perfect,” Monga said.\u003c/p>\n\u003cfigure id=\"attachment_13983618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918.jpg\" alt=\"\" width=\"2000\" height=\"1338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918-1536x1028.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The main auditorium of the Orinda Theatre was renovated and restored to its original classic Art Deco style in the 1980s. \u003ccite>(Carlos Avila Gonzalez/San Francisco Chronicle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monga emphasizes that the spirit of the festival and art of silent films is very much alive, as three films celebrate their 100th anniversary. Chaplin’s \u003cem>The Gold Rush\u003c/em>, Carl Dreyer’s \u003cem>Master of the House\u003c/em> and Buster Keaton’s \u003cem>Go West\u003c/em> could have been made yesterday, Monga said, with their humor, emotion and craft still as sharp as ever.\u003c/p>\n\u003cp>“We are really a general audience festival,” Monga said. “We’re really geared toward just film lovers. You don’t need to know anything about the silent era at all to come to our festival, but these films will convert anyone to silent film fans because they’re just so modern in their aspect and their acting. They’re brilliant.”\u003c/p>\n\u003cp>After this year, the film festival will return to the Castro Theatre after its grand reopening. That’ll include a special screening in March, as well as the 29th annual Silent Film Festival, to run May 6-10.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Silent Film Festival runs Nov. 12-16 at the Orinda Theatre (Orinda Theatre Square, Orinda). \u003ca href=\"https://silentfilm.org/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no secret that restoring old films involves attention to detail. In some cases, it also requires old-fashioned mystery-solving.\u003c/p>\n\u003cp>When Lewis Milestone’s 1926 silent film \u003cem>The New Klondike\u003c/em> was donated by Paramount to the Library of Congress in the 1970s, it was deemed incomplete, based on black-frame cuts in the film that typically indicate missing footage.\u003c/p>\n\u003cp>Yet when film archivist and the founder of \u003ca href=\"https://www.maltesefilm.com/\">The Maltese Film Works\u003c/a> James Mockoski sat down to restore the film at his home office in Martinez, California, he saw that the frame count actually did match what was reported in 1926 – there was nothing missing.\u003c/p>\n\u003cp>This led to the discovery that those little black frames, which Mockoski refers to as slugs, had words like “amber” and “orange” etched into the emulsion of the film. These weren’t missing pieces. They were a set of instructions.\u003c/p>\n\u003cfigure id=\"attachment_13983542\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions.jpg\" alt=\"\" width=\"2000\" height=\"1503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/slug_colorinstructions-1536x1154.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A black ‘slug,’ written with scene coloring instructions, which was originally thought to be a missing part of a film. \u003ccite>(Courtesy of ArtCraft Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Silent films were not black and white generally,” Mockoski says. “They were tinted with a color to denote if it’s sunny outside, if it’s an interior, if it’s night. The silent films were very vivid and they did have a color palette. What a person thought as being missing footage actually were a set of instructions to people in the future on how to restore the back of the original color.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thanks to this discovery, \u003cem>The New Klondike\u003c/em> will be shown in its original presentation at the 28th San Francisco Silent Film Festival taking place Nov. 12-16 at the Orinda Theatre. Throughout the course of five days, 22 programs will be shown with a variety of genres. From beloved classics like Charlie Chaplin’s \u003cem>The Gold Rush\u003c/em> (celebrating its 100th year anniversary) to the kid-oriented animated program “Koko!,” each film will be accompanied by a live musical performance.\u003c/p>\n\u003cp>Alongside \u003cem>The New Klondike\u003c/em>, Mockoski restored two other films for this festival: Cecil B. DeMille’s \u003cem>The Affairs of Anatol\u003c/em> and, notably, Herbert Brenon’s \u003cem>Beau Geste\u003c/em>, a film about three brothers who each take the blame for stealing a valuable family sapphire to protect their aunt.\u003c/p>\n\u003cfigure id=\"attachment_13983543\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983543\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003.jpg\" alt=\"\" width=\"2000\" height=\"1571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Beau-Geste-1926-Paramount-Dir-Herbert-Brenon-Wm-Powell-Ron-Colman-Neil-Hamilton-and-Ralph-Forbes003-1536x1207.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Ralph Forbes, Neil Hamilton and Ronald Colman in ‘Beau Geste’ (1926; dir. Herbert Brenon). \u003ccite>(Courtesy of ArtCraft Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almost 99 years after the film was made, the festival will debut what’s now \u003ca href=\"https://vimeo.com/1074708470\">the most complete version of \u003cem>Beau Geste\u003c/em>\u003c/a>. Efforts toward its restoration included pulling from the archives of UCLA, the George Eastman Museum and the Museum of Modern art.\u003c/p>\n\u003cp>If that sounds like a lot of work, well, it is. “It’s a labor of love to restore these films,” Mockoski says.\u003c/p>\n\u003cp>With restoration work underway, the festival also needed to find a new venue for this year’s event. San Francisco’s Castro Theatre had housed the film festival for nearly three decades, but it \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">closed for renovations\u003c/a> in 2024 and won’t reopen until next year.\u003c/p>\n\u003cfigure id=\"attachment_13983549\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200.jpg\" alt=\"\" width=\"2000\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200-768x277.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-08-12-105200-1536x554.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A before-and-after of the restoration process on a frame from the film ‘The Affairs of Anatol’ (1921). The original color used in 1921 was restored via a process called Handschiegl color. \u003ccite>(Courtesy James Mockoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year’s festival took place at the Palace of Fine Arts, which East Bay resident and film festival artistic director Anita Monga described as a “schlep” to get to. This year’s search for a new theater had three main checklist items: a venue large enough to fit an audience and live music, an auditorium with their own projection, and accessibility to public transportation.\u003c/p>\n\u003cp>The Orinda Theatre hit all these marks — and is just a three- to four-minute walk from BART.\u003c/p>\n\u003cp>“It just seems so perfect,” Monga said.\u003c/p>\n\u003cfigure id=\"attachment_13983618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918.jpg\" alt=\"\" width=\"2000\" height=\"1338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GettyImages-1408853918-1536x1028.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The main auditorium of the Orinda Theatre was renovated and restored to its original classic Art Deco style in the 1980s. \u003ccite>(Carlos Avila Gonzalez/San Francisco Chronicle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monga emphasizes that the spirit of the festival and art of silent films is very much alive, as three films celebrate their 100th anniversary. Chaplin’s \u003cem>The Gold Rush\u003c/em>, Carl Dreyer’s \u003cem>Master of the House\u003c/em> and Buster Keaton’s \u003cem>Go West\u003c/em> could have been made yesterday, Monga said, with their humor, emotion and craft still as sharp as ever.\u003c/p>\n\u003cp>“We are really a general audience festival,” Monga said. “We’re really geared toward just film lovers. You don’t need to know anything about the silent era at all to come to our festival, but these films will convert anyone to silent film fans because they’re just so modern in their aspect and their acting. They’re brilliant.”\u003c/p>\n\u003cp>After this year, the film festival will return to the Castro Theatre after its grand reopening. That’ll include a special screening in March, as well as the 29th annual Silent Film Festival, to run May 6-10.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Silent Film Festival runs Nov. 12-16 at the Orinda Theatre (Orinda Theatre Square, Orinda). \u003ca href=\"https://silentfilm.org/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The swift passage of time is rarely a positive, but from a film-lover’s perspective, each year brings the gift of new titles entering the public domain. In 2025, \u003ca href=\"https://en.wikipedia.org/wiki/2025_in_public_domain#United_States\">that list\u003c/a> includes 1929’s \u003ci>The Cocoanuts\u003c/i> (the first Marx Brothers film), Luis Buñuel and Salvador Dalí’s \u003ci>Un Chien Andalou\u003c/i>, and some of the earliest talkies.\u003c/p>\n\u003cp>But in order for films to survive long enough to make it into the public domain — or get restored back to something resembling their original glory — they need a lot of help along the way. Which is where operations like the \u003ca href=\"https://filmpreserve.org/\">San Francisco Film Preserve\u003c/a>, a brand new nonprofit dedicated to restoring, preserving and providing access to films, enters the scene.\u003c/p>\n\u003cp>[aside postID='arts_13958735']“In our digital world, people don’t think of it, but these materials are very often one of a kind,” says Robert Byrne, Film Preserve’s board president. “And they are now often more than 100 years old. When they go, they go. If this work isn’t done, it’s gone forever.”\u003c/p>\n\u003cp>The Film Preserve, just two months old, is actually an offshoot of the \u003ca href=\"https://silentfilm.org/\">San Francisco Silent Film Festival\u003c/a> (SFSFF), founded in 1996. Kathy Rose O’Regan started doing full-time restoration work for the SFSFF about three years ago; 43 titles have been restored under the festival’s umbrella.\u003c/p>\n\u003cp>But recently, the work of putting on an annual festival and restoring films year-round started to seem like two separate projects. “The amount of work we were doing kind of exploded,” O’Regan says. “We just got to a point where it was this endless stream of every conference we go to, every festival we’re at, we end up having conversations and being made more and more aware of all these films that are being unearthed and really need to be worked on.”\u003c/p>\n\u003cfigure id=\"attachment_13969530\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock.jpg\" alt=\"older man and young child on hillside, mountains in background\" width=\"2000\" height=\"1543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-1536x1185.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-1920x1481.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The White Heather,’ 1919. \u003ccite>(San Francisco Film Preserve)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, as the inaugural executive director of the San Francisco Film Preserve, she sees opportunities to expand on the work she was doing at SFSFF. The first title they’ll present to the public is \u003ci>The White Heather\u003c/i>, a 1919 silent film by Maurice Tourneur, which will have its “\u003ca href=\"https://www.moma.org/calendar/events/10213\">world premiere\u003c/a>” on Jan. 24, 2025 at the Museum of Modern Art in New York. (No one alive has seen this film, Byrne points out.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Long thought lost, \u003ci>The White Heather\u003c/i> tells the story of a Scottish lord who seeks to annul his secret marriage to his housekeeper by destroying their marriage certificate — aboard a sunken yacht. Underwater scenes, technically groundbreaking for the time, ensue.\u003c/p>\n\u003cp>The film’s only surviving print was found in the Netherlands, which means part of Byrne’s job has been to work with a graphic designer to recreate the original intertitles in English, based on the remaining Dutch version.\u003c/p>\n\u003cp>Right now, the Film Preserve has three other restorations in progress: \u003ci>Hula\u003c/i> (1927), \u003ci>Black Lightning\u003c/i> (1924), and \u003ci>You Remember Ellen\u003c/i> (1912). Much of their work comes from archives and museums unable to undertake a project themselves — perhaps it’s an American film found in another country’s national vault, or it doesn’t align with the mission of the institution.\u003c/p>\n\u003cp>Many of O’Regan’s days involve sitting in front of a computer and digitally restoring a film frame by frame. “For \u003ci>The White Heather\u003c/i>,” she says, “it took quite a number of months because it was in pretty bad shape. It was decomposing, there was mold. It had been heavily used in its original run in 1919, so it’s covered in scratches.”\u003c/p>\n\u003cfigure id=\"attachment_13969528\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat.jpg\" alt=\"man at two wheels on boat\" width=\"2000\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-1536x1106.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-1920x1382.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The White Heather,’ 1919. \u003ccite>(San Francisco Film Preserve)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both O’Regan and Byrne stress that there’s a real urgency to the work they do. Look no further than \u003ci>\u003ca href=\"https://silentfilm.org/preservation/now-were-in-the-air/\">Now We’re in the Air\u003c/a>\u003c/i>, a believed-to-be-lost 1927 silent film restored by the SFSFF. Of the six original reels, only portions of three were found in the Czech national film archive.\u003c/p>\n\u003cp>“In the can were index cards that recorded the history of the film,” Byrne says. “They would do periodic inspections of the film and as parts deteriorated, they chop them off and throw them away because it just makes the rest of the film rot.”\u003c/p>\n\u003cp>[aside postID='arts_13951535']Every 10 years, according to the index cards, the film got shorter and shorter. Now, only 20 minutes remain. Imagining all the other films sitting uncatalogued in archives or unknown in private collections, Byrne says, “There’s more work to be done than anyone can possibly do.”\u003c/p>\n\u003cp>For their first year of operation as an independent entity, the San Francisco Film Preserve has big plans: monthly online talks on film history and restoration; offering two travel grants to the Association of Moving Image Archivists conference; funding a student essay prize with Women and Film History International; and working on Blu-ray collections.\u003c/p>\n\u003cp>In the most immediate, they’re throwing \u003ca href=\"https://filmpreserve.org/event/sffp-launch-party/\">a launch party\u003c/a> on Dec. 18 at 518 Valencia St. in San Francisco. Unlike the SFSFF, they won’t need hundreds of volunteers to put on events, but Byrne says they would love to hear from people with niche skills and an interest in preserving film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We want to be a resource for the community because we live in a city that people say awful things about all the time, and I think we’re the luckiest people in the world,” O’Regan says. “You know, we have this thriving film community, people who are incredibly passionate about the arts and culture. I want us to be a significant and worthwhile part of that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The swift passage of time is rarely a positive, but from a film-lover’s perspective, each year brings the gift of new titles entering the public domain. In 2025, \u003ca href=\"https://en.wikipedia.org/wiki/2025_in_public_domain#United_States\">that list\u003c/a> includes 1929’s \u003ci>The Cocoanuts\u003c/i> (the first Marx Brothers film), Luis Buñuel and Salvador Dalí’s \u003ci>Un Chien Andalou\u003c/i>, and some of the earliest talkies.\u003c/p>\n\u003cp>But in order for films to survive long enough to make it into the public domain — or get restored back to something resembling their original glory — they need a lot of help along the way. Which is where operations like the \u003ca href=\"https://filmpreserve.org/\">San Francisco Film Preserve\u003c/a>, a brand new nonprofit dedicated to restoring, preserving and providing access to films, enters the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In our digital world, people don’t think of it, but these materials are very often one of a kind,” says Robert Byrne, Film Preserve’s board president. “And they are now often more than 100 years old. When they go, they go. If this work isn’t done, it’s gone forever.”\u003c/p>\n\u003cp>The Film Preserve, just two months old, is actually an offshoot of the \u003ca href=\"https://silentfilm.org/\">San Francisco Silent Film Festival\u003c/a> (SFSFF), founded in 1996. Kathy Rose O’Regan started doing full-time restoration work for the SFSFF about three years ago; 43 titles have been restored under the festival’s umbrella.\u003c/p>\n\u003cp>But recently, the work of putting on an annual festival and restoring films year-round started to seem like two separate projects. “The amount of work we were doing kind of exploded,” O’Regan says. “We just got to a point where it was this endless stream of every conference we go to, every festival we’re at, we end up having conversations and being made more and more aware of all these films that are being unearthed and really need to be worked on.”\u003c/p>\n\u003cfigure id=\"attachment_13969530\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock.jpg\" alt=\"older man and young child on hillside, mountains in background\" width=\"2000\" height=\"1543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-1536x1185.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Flock-1920x1481.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The White Heather,’ 1919. \u003ccite>(San Francisco Film Preserve)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, as the inaugural executive director of the San Francisco Film Preserve, she sees opportunities to expand on the work she was doing at SFSFF. The first title they’ll present to the public is \u003ci>The White Heather\u003c/i>, a 1919 silent film by Maurice Tourneur, which will have its “\u003ca href=\"https://www.moma.org/calendar/events/10213\">world premiere\u003c/a>” on Jan. 24, 2025 at the Museum of Modern Art in New York. (No one alive has seen this film, Byrne points out.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Long thought lost, \u003ci>The White Heather\u003c/i> tells the story of a Scottish lord who seeks to annul his secret marriage to his housekeeper by destroying their marriage certificate — aboard a sunken yacht. Underwater scenes, technically groundbreaking for the time, ensue.\u003c/p>\n\u003cp>The film’s only surviving print was found in the Netherlands, which means part of Byrne’s job has been to work with a graphic designer to recreate the original intertitles in English, based on the remaining Dutch version.\u003c/p>\n\u003cp>Right now, the Film Preserve has three other restorations in progress: \u003ci>Hula\u003c/i> (1927), \u003ci>Black Lightning\u003c/i> (1924), and \u003ci>You Remember Ellen\u003c/i> (1912). Much of their work comes from archives and museums unable to undertake a project themselves — perhaps it’s an American film found in another country’s national vault, or it doesn’t align with the mission of the institution.\u003c/p>\n\u003cp>Many of O’Regan’s days involve sitting in front of a computer and digitally restoring a film frame by frame. “For \u003ci>The White Heather\u003c/i>,” she says, “it took quite a number of months because it was in pretty bad shape. It was decomposing, there was mold. It had been heavily used in its original run in 1919, so it’s covered in scratches.”\u003c/p>\n\u003cfigure id=\"attachment_13969528\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat.jpg\" alt=\"man at two wheels on boat\" width=\"2000\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-1536x1106.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/TheWhiteHeather_Boat-1920x1382.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The White Heather,’ 1919. \u003ccite>(San Francisco Film Preserve)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both O’Regan and Byrne stress that there’s a real urgency to the work they do. Look no further than \u003ci>\u003ca href=\"https://silentfilm.org/preservation/now-were-in-the-air/\">Now We’re in the Air\u003c/a>\u003c/i>, a believed-to-be-lost 1927 silent film restored by the SFSFF. Of the six original reels, only portions of three were found in the Czech national film archive.\u003c/p>\n\u003cp>“In the can were index cards that recorded the history of the film,” Byrne says. “They would do periodic inspections of the film and as parts deteriorated, they chop them off and throw them away because it just makes the rest of the film rot.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Every 10 years, according to the index cards, the film got shorter and shorter. Now, only 20 minutes remain. Imagining all the other films sitting uncatalogued in archives or unknown in private collections, Byrne says, “There’s more work to be done than anyone can possibly do.”\u003c/p>\n\u003cp>For their first year of operation as an independent entity, the San Francisco Film Preserve has big plans: monthly online talks on film history and restoration; offering two travel grants to the Association of Moving Image Archivists conference; funding a student essay prize with Women and Film History International; and working on Blu-ray collections.\u003c/p>\n\u003cp>In the most immediate, they’re throwing \u003ca href=\"https://filmpreserve.org/event/sffp-launch-party/\">a launch party\u003c/a> on Dec. 18 at 518 Valencia St. in San Francisco. Unlike the SFSFF, they won’t need hundreds of volunteers to put on events, but Byrne says they would love to hear from people with niche skills and an interest in preserving film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We want to be a resource for the community because we live in a city that people say awful things about all the time, and I think we’re the luckiest people in the world,” O’Regan says. “You know, we have this thriving film community, people who are incredibly passionate about the arts and culture. I want us to be a significant and worthwhile part of that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You’re most likely to hear the magic words “live cinema” at experimental-film venues and (paradoxically) top-tier film festivals. The phrase typically refers to a creative presentation of images (i.e., dual asynchronous projectors) or live musical (or verbal) accompaniment to a completed film. In every case, the tangible goal and fundamental appeal is a unique evening that can never be precisely duplicated.\u003c/p>\n\u003cp>\u003ca href=\"http://www.silentfilm.org/festivalevents/festival-2019\" rel=\"noopener\" target=\"_blank\">The San Francisco Silent Film Festival\u003c/a>, which Art Deco-rates the Castro Theater May 1–5, has been in the forefront of the live cinema movement for 24 years. SFSFF founders Melissa Chittick and Stephen Salmons didn’t aspire to be trendsetters or jargon coiners; they simply wanted to spread their love for silent movies. Circa 1995, the silent era was the least-respected period in cinema history—for the simple reason that it was the least-remembered and the most poorly presented on television and in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13856219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LInferno_1200.jpg\" alt=\"Still from 'L'inferno,' Directed by Francesco Bertolini and Adolfo Padovan.\" width=\"1200\" height=\"903\" class=\"size-full wp-image-13856219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-1020x768.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘L’inferno,’ Directed by Francesco Bertolini and Adolfo Padovan. \u003ccite>(Courtesy of SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFSFF screens new or recently restored prints, at their proper speed, accompanied by the top musical ensembles specializing in silent film accompaniment around the globe. A slew of slides with delicious trivia and background info precede each film, while the free program is packed with expert essays about each title. The environment, scholarship and performance are designed to not merely entertain, but to revive and celebrate an art form that reached its first—and to some, greatest—peak before technology regaled us with “talkies.” \u003c/p>\n\u003cp>The upshot, if you’ve never attended the San Francisco Silent Film Festival, is that you can pick any program and get the gestalt of the entire enterprise. The evening screenings, of course, draw more people in period dress among the enormous, rapt crowds. You’ll need to hurry to nab tickets to the hot Saturday night shows: Erich von Stroheim’s \u003cem>The Wedding March\u003c/em> (1928), accompanied by the Mont Alto Motion Picture Orchestra and starring Fay Wray of \u003cem>King Kong\u003c/em> fame (whose daughter and biographer, Victoria Riskin, will introduce the film), and \u003cem>L’inferno\u003c/em> (1911), a stunning dramatization of Dante’s circles accompanied by the Matti Bye Ensemble. As we say every year, silents is golden.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re most likely to hear the magic words “live cinema” at experimental-film venues and (paradoxically) top-tier film festivals. The phrase typically refers to a creative presentation of images (i.e., dual asynchronous projectors) or live musical (or verbal) accompaniment to a completed film. In every case, the tangible goal and fundamental appeal is a unique evening that can never be precisely duplicated.\u003c/p>\n\u003cp>\u003ca href=\"http://www.silentfilm.org/festivalevents/festival-2019\" rel=\"noopener\" target=\"_blank\">The San Francisco Silent Film Festival\u003c/a>, which Art Deco-rates the Castro Theater May 1–5, has been in the forefront of the live cinema movement for 24 years. SFSFF founders Melissa Chittick and Stephen Salmons didn’t aspire to be trendsetters or jargon coiners; they simply wanted to spread their love for silent movies. Circa 1995, the silent era was the least-respected period in cinema history—for the simple reason that it was the least-remembered and the most poorly presented on television and in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13856219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LInferno_1200.jpg\" alt=\"Still from 'L'inferno,' Directed by Francesco Bertolini and Adolfo Padovan.\" width=\"1200\" height=\"903\" class=\"size-full wp-image-13856219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-1020x768.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘L’inferno,’ Directed by Francesco Bertolini and Adolfo Padovan. \u003ccite>(Courtesy of SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFSFF screens new or recently restored prints, at their proper speed, accompanied by the top musical ensembles specializing in silent film accompaniment around the globe. A slew of slides with delicious trivia and background info precede each film, while the free program is packed with expert essays about each title. The environment, scholarship and performance are designed to not merely entertain, but to revive and celebrate an art form that reached its first—and to some, greatest—peak before technology regaled us with “talkies.” \u003c/p>\n\u003cp>The upshot, if you’ve never attended the San Francisco Silent Film Festival, is that you can pick any program and get the gestalt of the entire enterprise. The evening screenings, of course, draw more people in period dress among the enormous, rapt crowds. You’ll need to hurry to nab tickets to the hot Saturday night shows: Erich von Stroheim’s \u003cem>The Wedding March\u003c/em> (1928), accompanied by the Mont Alto Motion Picture Orchestra and starring Fay Wray of \u003cem>King Kong\u003c/em> fame (whose daughter and biographer, Victoria Riskin, will introduce the film), and \u003cem>L’inferno\u003c/em> (1911), a stunning dramatization of Dante’s circles accompanied by the Matti Bye Ensemble. As we say every year, silents is golden.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! A Resurrected ‘King of Kings’ at Grace Cathedral",
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"content": "\u003cp>Hire a skywriter, or a street prophet: Christ and DeMille are together again! Well, they’ve actually never been apart. DeMille’s film about Christ, 1927’s \u003cem>The King of Kings\u003c/em>, has been seen by more people than any movie in human history. \u003c/p>\n\u003cp>How and why? For years after its theatrical release, religious groups were encouraged to rent prints for a minimal fee and missionaries schlepped copies ‘round the world. Like few movies before or since, Cecil B. DeMille’s spare-no-expense amalgam of religious gospel, carnival kitsch and educational film reached a mass(ive) audience. \u003c/p>\n\u003cp>But the faithful moved on to sound and color films and DeMille’s biblical epic faded into memory, superseded by Nicholas Ray, Martin Scorsese and Mel Gibson’s respective renderings of the pre-prosperity gospel. Then Serge Bromberg of Paris-based Lobster Films, a familiar and popular presence at the \u003ca href=\"http://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a> every year, took a vow to restore \u003cem>The King of Kings\u003c/em> up to its original length and down to its striking two-color Technicolor sequences. \u003c/p>\n\u003cfigure id=\"attachment_13827524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg\" alt=\"Still from Cecil B. DeMille's 'The King of Kings,' 1927.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13827524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecil B. DeMille’s ‘The King of Kings,’ 1927. \u003ccite>(Courtesy of San Francisco Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The S.F. Silent Film Festival and the Ghiberti Center for Culture at \u003ca href=\"https://www.gracecathedral.org/events/sf-silent-film-festival-the-king-of-kings/\" rel=\"noopener\" target=\"_blank\">Grace Cathedral\u003c/a> co-present the U.S. premiere of Lobster’s restoration this Saturday night, March 24, at 7pm. How will DeMille’s unrestrained blend of sincerity and showmanship, shameless spectacle and moral uplift play in secular, self-obsessed, selfie-saturated San Francisco? With David Briggs (from New York’s Cathedral of St. John the Divine) hitting the keys of Grace Cathedral’s mammoth pipe organ, assuredly souls will be saved by the word (via intertitles) of Jesus Christ, superstar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hire a skywriter, or a street prophet: Christ and DeMille are together again! Well, they’ve actually never been apart. DeMille’s film about Christ, 1927’s \u003cem>The King of Kings\u003c/em>, has been seen by more people than any movie in human history. \u003c/p>\n\u003cp>How and why? For years after its theatrical release, religious groups were encouraged to rent prints for a minimal fee and missionaries schlepped copies ‘round the world. Like few movies before or since, Cecil B. DeMille’s spare-no-expense amalgam of religious gospel, carnival kitsch and educational film reached a mass(ive) audience. \u003c/p>\n\u003cp>But the faithful moved on to sound and color films and DeMille’s biblical epic faded into memory, superseded by Nicholas Ray, Martin Scorsese and Mel Gibson’s respective renderings of the pre-prosperity gospel. Then Serge Bromberg of Paris-based Lobster Films, a familiar and popular presence at the \u003ca href=\"http://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a> every year, took a vow to restore \u003cem>The King of Kings\u003c/em> up to its original length and down to its striking two-color Technicolor sequences. \u003c/p>\n\u003cfigure id=\"attachment_13827524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg\" alt=\"Still from Cecil B. DeMille's 'The King of Kings,' 1927.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13827524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecil B. DeMille’s ‘The King of Kings,’ 1927. \u003ccite>(Courtesy of San Francisco Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The S.F. Silent Film Festival and the Ghiberti Center for Culture at \u003ca href=\"https://www.gracecathedral.org/events/sf-silent-film-festival-the-king-of-kings/\" rel=\"noopener\" target=\"_blank\">Grace Cathedral\u003c/a> co-present the U.S. premiere of Lobster’s restoration this Saturday night, March 24, at 7pm. How will DeMille’s unrestrained blend of sincerity and showmanship, shameless spectacle and moral uplift play in secular, self-obsessed, selfie-saturated San Francisco? With David Briggs (from New York’s Cathedral of St. John the Divine) hitting the keys of Grace Cathedral’s mammoth pipe organ, assuredly souls will be saved by the word (via intertitles) of Jesus Christ, superstar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"marketplace": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 13
},
"link": "/podcasts/mindshift",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 12
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"order": 15
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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