feat: APPS-3023 Create composable useContentIndexer to index craft data used on all routes for FTVA

[jendiamond]

Connected to APPS-3023

Create composable and add it to all slug pages

Notes:

1. composables/useContentIndexer.js
   • Add a composable that

Checks the page slug
 Calls ES (Elastic Search)
  Checks if the document exists in ES
   if the document already exists
    it overwrites/replaces it in the index
   if the document doesn't exist
    it adds it to the index

3. pages/events/[slug].vue
   • Adds the composable to the page
   • Runs the composable function to index the main data on page
4. pages/series/[slug].vue
   • Adds the composable to the page
   • Runs the composable function to index the main data on page
5. pages/collections/[slug].vue
   • Adds the composable to the page
   • Runs the composable function to index the main data on page
6. pages/blog/[slug].vue
   • Adds the composable to the page
   • Runs the composable function to index the main data on page
7. gql/queries/FTVAEventDetail.gql
   • Add sectionHandle to the query for naming structure specificity
8. gql/queries/FTVAEventSeriesDetail.gql
   • Add sectionHandle to the query for naming structure specificity
9. gql/queries/FTVACollectionDetail.gql
   • Add sectionHandle to the query for naming structure specificity
10. gql/queries/FTVAArticleDetail.gql
    • Add sectionHandle to the query for naming structure specificity

apps-dev-ftva-local-jendiamond-2024-11-07t20-04-23.745z/

Checklist:

• I added github label for semantic versioning

{
  "took" : 9,
  "timed_out" : false,
  "_shards" : {
    "total" : 1,
    "successful" : 1,
    "skipped" : 0,
    "failed" : 0
  },
  "hits" : {
    "total" : {
      "value" : 587,
      "relation" : "eq"
    },
    "max_score" : 1.0,
    "hits" : [
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "hollywoods-copyright-wars-from-edison-to-the-internet",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3357999",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-09-07T07:30:00-07:00",
          "slug" : "hollywoods-copyright-wars-from-edison-to-the-internet",
          "title" : "\"Hollywood’s Copyright Wars: From Edison to the Internet\"",
          "uri" : "blog/hollywoods-copyright-wars-from-edison-to-the-internet",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>Peter Decherney’s new book, "<strong><a href="http://cup.columbia.edu/book/978-0-231-15946-3/hollywoods-copyright-wars" target="_blank" rel="noreferrer noopener">Hollywood’s Copyright Wars: From Edison to the Internet</a></strong>" (2012), is a groundbreaking study on what has been an understudied aspect of American film history, namely film copyright. Decherney takes a well-established history of Hollywood and turns it on its head to reveal the way copyright has influenced many of the turns that the movie industry has taken.</p>
<p><img class="dropshadow" title="Hollywood's Copyright Wars" src="https://cinema.ucla.edu/sites/default/files/app.jpeg" alt="Hollywood's Copyright Wars" align="left" /></p>
<p>Peter’s first chapter on the many copyright battles in the cinema’s first 20 years is particularly illuminating, because he utilizes previously hidden documents, such as case law records, to construct a very different narrative of film’s early development from the one-shot films of the 1890s to full-blown feature films in 1915. Indeed, the technological and aesthetic evolution of moving pictures is much more dependent on the establishment of court precedents than anyone had ever previously realized with Decherney illustrating the symbiotic relationship between media technology and the law.</p>
<p>To my knowledge, no academic film historian has crafted such a legalistic perspective, nor has anyone highlighted with quite the same urgency the central role that piracy played in early cinema and its popularization. Yes, I remember seeing the Lubin and Porter versions of <em>The Great Train Robbery</em> (1903), but I wasn’t aware of the fact that piracy was part of the business model of the first generation of American filmmakers.</p>
<blockquote class="callout1"><p>"Yes, I remember seeing the Lubin and Porter versions of <em>The Great Train Robbery</em> (1903), but I wasn’t aware of the fact that piracy was part of the business model of the first generation of American filmmakers."</p></blockquote>
<p>In his second chapter, Decherney demonstrates the way American courts took material essentially in the public domain and privatized it, as the film industry developed an economy in which their contract actors’ value had to be protected by law. And it is case law, so argues Decherney, that defines the power to control all media, turning a chaotic cottage industry into a well-functioning monopoly.</p>
<p><img class="dropshadow" title="The Great Train Robbery (1903)" src="https://cinema.ucla.edu/sites/default/files/edison.jpg" alt="The Great Train Robbery (1903)" align="left" /></p>
<p>In the following chapters, Decherney confronts the technological revolutions of television, home video, and the digital Internet, chapters in which the former pirates (Hollywood) accuse their younger competitors of piracy and copyright infringement. The advent of television in fact benefitted greatly from film and radio’s accumulation of media case law. Likewise, the battle over artists' rights when Hollywood filmmakers organized to oppose colorization and reformatting for video formats. Finally, the courts will ultimately establish the parameters of moving image distribution via the Internet, as Decherney theorizes in his final chapter.</p>
<p>Peter Decherney’s copyright book is not only groundbreaking, but will catapult him into the first rank of film scholars. Film scholars tend to shy away from difficult texts outside their field, so Peter took on a huge task in learning how to master American case law in regard to copyright without being a lawyer. It is his ability to read those texts and make them legible to the field of film studies that makes his work original. Furthermore, Decherney’s book will cause a seismic shift in our film historical thinking regarding the primary motors of the development of cinema. It opens up many other avenues of inquiry—most directly, the relationship between case law and the development or suppression of film technology; law and the economic development of the media industry, beyond milestone cases like the Paramount Consent Decree; law enforcement and audience control through censorship, etc.</p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "mias-boot-camp",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3357993",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-09-21T14:55:00-07:00",
          "slug" : "mias-boot-camp",
          "title" : "MIAS Boot Camp",
          "uri" : "blog/mias-boot-camp",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>Last week, UCLA Film &amp; Television Archive staged its annual Boot Camp for incoming graduate students to UCLA’s <a href="http://www.cinema.ucla.edu/education/moving-image-archive-studies">Moving Image Archive Studies</a> program (MIAS). </p>
<p><img src="https://cinema.ucla.edu/sites/default/files/MIASbootcampblog.jpg" alt="" height="226" width="250" />Founded in 2002, the MIAS graduate degree program was the first of its kind in North America. The intensive, specialized two-year course of study is offered jointly by UCLA's <a href="http://www.tft.ucla.edu/programs/film-tv-digital-media-department/">Department of Film, Television and Digital Media </a>and <a href="http://is.gseis.ucla.edu/" target="_blank" rel="noreferrer noopener">Department of Information Studies</a>, in collaboration with the UCLA Film &amp; Television Archive. </p>
<p>During Boot Camp, grad students got their first look at the inner workings of UCLA Film &amp; Television Archive. Students toured the Archive’s photochemical facilities at the Stanford Theatre Film Laboratory, and the digital restoration suites in our new digital media laboratory. Archive staff and other professionals discussed workflows, protocols, challenges, and current issues confronting the field––answering student questions along the way. </p>
<p>There were plenty of demonstrations too––the arts of timing, film cleaning, printing and tinting––followed by screenings of some of the Archive’s own restoration work. The screenings included selections from the Hearst Metrotone News Collection, <em>Becky Sharp</em> (1935), <em>The Big Sleep</em> (1946), and <em>The Times of Harvey Milk</em> (1984)––not only the finished product, but also examples that illustrated the various problems encountered and problem-solving techniques employed during the process. </p>
<blockquote class="callout2"><p>"And yes, the students were even able to take home their own commemorative splices!"</p></blockquote>
<p>In addition to hearing from field experts directly, students also had the opportunity to participate in “hands on” activities, working with both film and digital materials. Students were able to try their hand at film rewinding and repairs, flatbed operation, digital image stabilization, dust and scratch removal, and color correction.<img class="dropshadow" src="https://cinema.ucla.edu/sites/default/files/MIASbootcamp2.jpg" alt="" height="231" width="350" /></p>
<p>And yes, the students were even able to take home their own commemorative splices!</p>
<p>Welcoming new practitioners to the field is always inspiring and we look forward to working with these MIAS students as valued colleagues in the future. </p>
<p>For more photos from Boot Camp, visit our <a href="http://www.cinema.ucla.edu/galleries/mias-boot-camp">gallery</a>. </p>
<p>For more information on the MIAS program, visit the <a href="http://www.cinema.ucla.edu/education/moving-image-archive-studies">Archive's website.</a></p>
<p>—Meg Weichman, UCLA Film &amp; Television Archive.</p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "janna-jones-the-past-is-a-moving-picture",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3358007",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-07-27T10:36:00-07:00",
          "slug" : "janna-jones-the-past-is-a-moving-picture",
          "title" : "Janna Jones: \"The Past is a Moving Picture\"",
          "uri" : "blog/janna-jones-the-past-is-a-moving-picture",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>One indication of the rapidly maturing field of moving image archiving has been the publication of a number of books over the past several years on the history of the field. These works have been published not only by actual archivists, like <strong><a href="/blogs/archival-spaces/2012/05/18/grain-pixel">Giovanna Fossati</a></strong> of the Amsterdam EYE Institute, but especially by film studies academics, looking at film archiving and film preservation as a now legitimate adjunct to the entertainment industry. That industry has traditionally included production, distribution and exhibition, to which has now been added preservation and legacy access.</p>
<p>While some authors have looked at the history of one institution, e.g. the Museum of Modern Art (Haidee Wasson, Peter Decherney), more recent work has surveyed the field as a whole. Caroline Frick’s published dissertation, "Saving Cinema. The Politics of Preservation" (2011), for example, is the first book-length study to attempt to encompass the whole history of moving image preservation and the development of film archives. My review of that book will be appearing shortly in "The Moving Image," but I note there that Frick formulates the highly controversial thesis that in the digital age, access should take precedence over preservation, better said, the multiplicity of digital access copies constitutes preservation in itself, making attempts at analog preservation obsolete and unnecessary.</p>
<p><img class="dropshadow" title="Saving Cinema: The Politics of Preservation" src="https://cinema.ucla.edu/sites/default/files/jones-past.jpg" alt="Saving Cinema: The Politics of Preservation" align="left" /></p>
<p>Now comes Janna Jones’ book, "The Past is a Moving Picture. Preserving the Twentieth Century on Film" (2012), which has set itself a more limited goal, namely to provide a history of analog film preservation in the last century, rather than discuss the state of a field in digital flux. Within those parameters, Jones interviewed numerous practitioners in the field, searched out and analyzed historical documents, and provided close readings of such publications as the "United States Congressional Hearings, Film Preservation 1993: A Study of the Current State of American Film Preservation." Having been a witness myself at those hearings—personally, I find it hard to believe that I have myself become an historical artifact—I’m struck today by how clueless literally all the participants of those hearings were about the digital tidal wave that would wash over the field in only a few short years. Not one person predicted the end of analog cinema, certainly not within a little more than a decade.</p>
<p>Given Jones’ reliance on oral histories, the book does sometimes tend to fall into the anecdotal; nevertheless, the author does provide some important theses to structure her history of film preservation in the United States. She notes, for example, that the argument of film preservationists attempting to garner public attention for their work always centered on scarcity and loss (i.e. 90% of all silent films lost forever) even while archivists were being institutionally overwhelmed by massive amounts of film material entering the archive, especially as film preservation institutions shifted from an exclusive focus on Hollywood feature films to documentaries, newsreels, industrials, educational, amateur film and other “orphaned” moving image media. As Jones notes:</p>
<blockquote class="callout2"><p>“A dialectic of creation and destruction, control and chaos has shaped the twentieth century moving image archive, resulting in an environment of logic and ingenuity, as well as order and disruption.” (p. 9)</p></blockquote>
<p>I like the irony, because it is completely true and yet no one I know who was a practitioner in this period, including me, saw that contradiction. Like the phrase, “Nitrate Can’t Wait,” another scare tactic we archivists used—although admittedly we didn’t really know about storage until the early 1990s, when nitrate suddenly could wait (if stored properly at 30% RH and 35° F ± 2°).</p>
<p>Jones also theorizes that the impetus for the creation of moving image archives was in part the result of a wish to demonstrate the cultural, aesthetic and political power of the United States, to utilize historical moving images for the writing and control of history. However, as the century wore on:</p>
<blockquote class="callout2"><p>“[T]he meanings of the film archive became less and less controllable,… helping to liberate the archive from its original inclinations toward historicism and its nationalistic underpinnings.” (p. 51)</p></blockquote>
<p><img class="dropshadow" title="Lost Horizon" src="https://cinema.ucla.edu/sites/default/files/lost-horizon-card.jpg" alt="Lost Horizon" align="right" /></p>
<p>Given this lens, Jones notes that film preservation funding from the National Endowment for the Arts reflected Cold War policies and once the Cold War ended, so did funding, leading to the creation of the National Film Preservation Foundation, whose mission was to fund “orphan” films, which reflected a cornucopia of ideologies rather than American Cold War perspectives. I find this thesis provocative, but possibly only one explanation. Interestingly, the AFI/NEA film preservation work mainly benefitted the Hollywood studios, i.e. public money funded commercial property. Congress eventually balked at that proposition, as demonstrated by their refusal to fund a National Television Preservation Foundation, but they were willng to put money into films that were in the public domain, hence today’s structure.</p>
<p>In the final chapter, Jones discusses various preservation and restoration case studies to indicate both the heterogeneity of such projects and the institutions engaging in such work, including UCLA Film &amp; Television Archive with Bob Gitt, and also their structural inability to recreate a cohesive past; of necessity, they approach the past through the eyes of the present. In other words, all film restorations, no matter how faithful to an imaginary original, will always be reconstructed in the present tense. A good read for anyone interested in the field.</p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "preserving-the-gullah-geechee-cultural-heritage",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3357991",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-09-25T13:56:00-07:00",
          "slug" : "preserving-the-gullah-geechee-cultural-heritage",
          "title" : "Preserving the Gullah/Geechee Cultural Heritage",
          "uri" : "blog/preserving-the-gullah-geechee-cultural-heritage",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>The National Trust for Historic Preservation recently posted an <a href="http://blog.preservationnation.org/2012/09/05/tellin-we-story-preserving-the-gullahgeechee-cultural-heritage-corridor/">article</a> detailing the preservation efforts of the <a href="http://www.gullahgeecheecorridor.org/?Itemid=113">Gullah/Geechee Cultural Heritage Corridor Commission</a>.</p>
<p><img class="dropshadow" src="https://cinema.ucla.edu/sites/default/files/dod-2.jpg" alt="" height="225" width="225" />It was L.A. Rebellion filmmaker Julie Dash’s film <a href="http://www.cinema.ucla.edu/la-rebellion/films/daughters-dust"><em>Daughters of the Dust</em> </a>(1991) that first introduced many Americans to the vibrant Gullah/Geechee culture, that of African Americans living in coastal and sea island areas of South Carolina, Georgia, North Carolina and Florida. </p>
<p>While Dash’s film called attention to a little-known culture at risk using film, the commission’s new preservation plan aims to increase “public recognition of the culture and history of the Gullah/Geechee” through “education, economic development and documentation/preservation.” This will include focusing on establishing heritage centers and implementing signage along the corridor to highlight historic sites and help brand the area. Together these efforts will work to ensure that a rich cultural tradition survives and that the contributions of a people are not forgotten. </p>
<p>To read the full article, visit the <a href="http://blog.preservationnation.org/2012/09/05/tellin-we-story-preserving-the-gullahgeechee-cultural-heritage-corridor/">National Trust for Historic Preservation</a>.</p>
<p>For more information of the Gullah/Geechee Cultural Heritage Corridor Commision, please visit their <a href="http://www.gullahgeecheecorridor.org/?Itemid=113">site</a>. </p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "out-of-the-past-highlights",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3357979",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-10-29T15:21:00-07:00",
          "slug" : "out-of-the-past-highlights",
          "title" : "\"Out of the Past\" Highlights",
          "uri" : "blog/out-of-the-past-highlights",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>Film restoration and preservation are at the core of UCLA Film &amp; Television Archive’s mission, and play an increasingly vital role in making cinema accessible to modern audiences, whether through public screenings, home video distribution or online delivery </p>
<p>The Archive’s “<strong><a href="http://www.cinema.ucla.edu/events/2012-10-01/out-past-film-restoration-today">Out of the Past: Film Restoration Today</a></strong>” public film series––screening Monday nights this fall––offers audiences a behind-the-scenes look into contemporary restoration techniques and concerns, featuring newly restored prints and discussions with leading film preservationists from across the country.</p>
<p>Run in conjunction with a graduate seminar offered by UCLA’s <strong><a href="http://www.cinema.ucla.edu/education/moving-image-archive-studies">Moving Image Archive Studies</a></strong> program, instructor Mike Pogorzelski, Director of Academy Film Archive, will be on-hand at the screenings to engage both students and the public.</p>
<h4 class="sectioncolor">There's No Business Like Show Business (1954)</h4>
<p>On October 1, Vice President and Executive Director of Film Preservation at 20<sup>th</sup> Century Fox, Schawn Belston, joined us for the public premiere of a newly restored print of <em>There’s No Business Like Show Business</em> (1954), directed by Walter Lang. Digitally restored as part of the studio’s commemoration of the 50<sup>th</sup> anniversary of Marilyn Monroe’s death, both Monroe and the print dazzled attendees.</p>
<p><img class="dropshadow" src="https://cinema.ucla.edu/sites/default/files/theresnoblog.jpg" alt="" height="219" width="325" />In the screening’s post-film discussion, Pogorzelski asked Belston to share some of the challenges he encountered during the restoration. While color fading emerged as one of the prominent issues, the problem was not so much being able to fix the color, but rather the ethics behind their color choices. With something as subjective as color in a film that Belston notes is “not modest in its palette,” the archivists decided to go back and try to best represent the original experience of audiences in 1954. Lacking a color reference, the team used other period Cinemascope materials shot on Eastman Color to help guide their decisions with the underlying goal to “let the film be what it was.”</p>
<p>Belston also discussed a bit of the history of the 20<sup>th</sup> Century Fox preservation program. Fox was late to the game, starting their program around 1997/98 following the release of a new <em>Star Wars</em> home entertainment set and the shock of discovering that the film elements of such a highly valued property like the <em>Star Wars Trilogy</em> were not in as great of shape as they thought. </p>
<p>Pogorzelski and Belston also brought up the 2000 restoration of Robert Altman’s <em>M*A*S*H</em> (1970), a project they worked on together. Upon embarking on the restoration they discovered that both the original camera negative and original mono mix had been discarded, deemed too deteriorated by predecessors. But even with the loss of such crucial original elements, the story has a happy ending. Altman was actually very pleased with the final results of the restoration, with Belston claiming Altman felt the original look of the film “never looked quite bad enough for him.” While in this case the filmmaker’s original intent was in a way restored, this remains a powerful example of just how at risk film materials can be.</p>
<h4 class="sectioncolor">Laurel &amp; Hardy Restoration Project</h4>
<p>The Archive’s own Head of Preservation, Scott MacQueen, screened a pair of Laurel &amp; Hardy shorts and presented his findings on our Laurel &amp; Hardy/Hal Roach Collection on October 8. Macqueen recently completed a full inventory of the collection as part of our <strong><a href="http://www.cinema.ucla.edu/support/laurel-and-hardy">preservation effort</a></strong> to restore all surviving Laurel &amp; Hardy negatives and his results were staggering.</p>
<p>MacQueen detailed the history of the Laurel &amp; Hardy films and their “devolution of quality” that largely started with Hal Roach’s sale of the library to other distributors. But even before the sale, Roach did not hold the sanctity of the original film materials in very high regard. In order to avoid paying taxes, he would take a truck full of film and drive it across state lines to Nevada where for a few weeks the film would bake in the desert heat, accelerating decomposition.<img class="dropshadow" src="https://cinema.ucla.edu/sites/default/files/laurelhardyblog.jpg" alt="" height="168" width="300" /></p>
<p>While Hal Roach Studios would be bankrupt by 1959, Laurel &amp; Hardy were still enormously popular across the globe and the films were constantly being reissued. But these new distributors, as MacQueen said, “didn’t want to spend a dime” on taking care of the film materials, and their condition suffered drastically. In fact, original nitrate materials were nearly discarded were it not for former UCLA colleague Rob Stone's intervention and the film has since remained in our vaults.</p>
<p>As mentioned previously, MacQueen has since run a full inventory and he spoke of just how “important documenting inspections” is to the preservation process. MacQueen was able to document issues of film turning to powder and even found that 20% of the collection was misidentified, leading to the discovery of the original camera negative for reel 1 and 2 of <em>The Music Box</em> (1932). </p>
<p>Using side-by-side image comparisons, MacQueen showed the audience just what bad shape many of the materials were in, including damaging splices that MacQueen described as equivalent to being “limb by limb hacked off and replaced.”</p>
<p>But even amidst the veritable horror stories MacQueen shared, he felt confident that with the technology and expertise of the Archive, Laurel &amp; Hardy will shine brightly once again. To illustrate, the program closed with a screening of the Archive’s restoration (led by UCLA preservationist Jere Guldin) of the 1933 original release of <em>Busy Bodies</em> that lacked many of the distracting imperfections that marred the original nitrate print screened earlier in the evening. </p>
<h4 class="sectioncolor">No Man of Her Own (1932)</h4>
<p>October 15 brought Bob O’Neil and Mike Feinberg of Universal Studios to the Billy Wilder Theater to discuss their work on the Carole Lombard and Clark Gable Pre-Code romantic drama, <em>No Man of Her Own</em> (1932), directed by Wesley Ruggles. While introducing the film, O’Neil emphasized the collaborative nature of film restoration and thanked the labs, personnel and archives that contributed to the success of this particular restoration.</p>
<p><img class="dropshadow" src="https://cinema.ucla.edu/sites/default/files/no-man-blog.jpg" alt="" height="246" width="250" />O'Neil also noted that even with more than 3 million holdings in their own vaults, Universal will sometimes need to turn elsewhere for critical preservation elements. In the case of <em>No Man of Her Own</em>, Feinberg and O’Neil discovered Universal had only a 3<sup>rd</sup> generation duplicate negative. Fortunately, UCLA Film &amp; Television Archive had a 35mm nitrate print, which after extensive testing of several different elements proved to be the best source material. Even so, that print required more than 28 minutes of replacement footage, and Feinberg eloquently described the painstaking process of piecing together existing materials in order to achieve the most complete and highest-quality restoration. </p>
<p>While addressing the MIAS students in attendance that evening, O’Neil praised the collegiality and mutual cooperation of the film preservation field––and while professing to be an “analog guy until I die”––admitted that he was “envious” of the potential of the digital future. O'Neill remarked that “since we have saved [films] for the future generations,” the students will have the “opportunity to do something pretty special” with the resources of digital technology in terms of both access and preservation.</p>
<p>Before the screening, Feinberg pointed out that Universal selected <em>No Man of Her Own</em> for restoration in part because of the on-screen chemistry of future and fabled spouses Gable and Lombard. Indeed, this film is the only time the pair appeared on the big screen together and the audience that night was the appreciative beneficiary of this unearthed footnote in film history.</p>
<h4 class="sectioncolor">And thanks to the <a href="http://www.oscars.org/">Academy of Motion Picture Arts and Sciences</a> Foundation for its generous support of this series.</h4>
<p>For more information and a complete schedule of these FREE screenings, visit “<strong><a href="http://www.cinema.ucla.edu/events/2012-10-01/out-past-film-restoration-today">Out of the Past</a></strong>.”</p>
<p>For additional images from the program, please visit our <strong><a href="http://www.cinema.ucla.edu/galleries/out-past-film-restoration-today">galleries</a></strong>. </p>
<p>For more information about UCLA’s program in Moving Image Archive Studies, visit the<strong> <a href="http://www.cinema.ucla.edu/education/moving-image-archive-studies">Archive website</a></strong>. </p>
<p>To learn more about our Laurel &amp; Hardy Restoration Project and how you can help, please visit <strong><a href="http://www.cinema.ucla.edu/support/laurel-and-hardy">here</a></strong>. </p>
<p>—Meg Weichman, UCLA Film &amp; Television Archive.</p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "in-memory-of-audrey-wilder-1922-2012",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3358017",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-06-07T07:40:00-07:00",
          "slug" : "in-memory-of-audrey-wilder-1922-2012",
          "title" : "In Memory of Audrey Wilder, 1922-2012",
          "uri" : "blog/in-memory-of-audrey-wilder-1922-2012",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>We are saddened to announce the <strong><a href="http://articles.latimes.com/2012/jun/09/local/la-me-passings-20120609" target="_blank" rel="noreferrer noopener">passing</a></strong> of Audrey L. Wilder on Friday, June 1st, in Los Angeles. Mrs. Wilder was an actress at Paramount Pictures (billed as Audrey Young) in the 1940s, and later the beloved wife of the Academy Award-winning screenwriter and director Billy Wilder. UCLA Film &amp; Television Archive's theatrical home, the Billy Wilder Theater, was made possible by an exceptional gift from Mrs. Wilder. Designed by Michael Maltzan, the venue opened in 2006 to coincide with the centennial anniversary of the filmmaker's birth.</p>
<p><img class="dropshadow" title="Audrey L. Wilder, Curtis Hanson, Warren Beatty and Annette Bening at the Billy Wilder Theater" src="https://cinema.ucla.edu/sites/default/files/AudreyWilder2006Opening.jpg" alt="Audrey L. Wilder, Curtis Hanson, Warren Beatty and Annette Bening at the Billy Wilder Theater" align="left" /></p>
<p>The Wilders were long-time residents of Westwood, and Audrey's vision created a state-of-the-art setting for Angelenos and visitors from around the world to experience not only the Archive's renowned film exhibitions, but also the rich public programs of the Hammer Museum.</p>
<p>On the occasion of the theater's opening, Audrey said, “Billy would have been so proud to have this superb theater bearing his name open right in our own neighborhood of Westwood… While film may have been his passion, his other love was art. I hope [the theater] serves to enrich the cultural life of the city through film, art and conversation. And Billy would have been so relieved to get the tax break.”</p>
<p><img class="dropshadow" title="Billy Wilder Theater" src="https://cinema.ucla.edu/sites/default/files/bwt.jpg" alt="Billy Wilder Theater" align="right" /></p>
<p>Audrey was born in Los Angeles on October 30, 1922; her father and uncles were set builders. She began her career as a singer with the Tommy Dorsey Band and often sang onscreen, including 1946’s <em>Blue Skies. </em>She met her husband Billy when he was directing <em>The Lost Weekend</em> (1945), and they were married in 1949.</p>
<p><img class="dropshadow" title="Billy and Audrey Wilder" src="https://cinema.ucla.edu/sites/default/files/audreywilder.jpg" alt="Billy and Audrey Wilder" align="left" /></p>
<p>Billy recounted their meeting in a 2001 interview with director Cameron Crowe. “She was under contract to Paramount, and I was a director. They sent her to the set to play a small part as a hatcheck girl. I said, 'Stand here, hand him [Ray Milland] his hat.' ... I was directing a scene in <em>The Lost Weekend</em> where Ray Milland goes into a nightclub and he gets boozed.... Then I saw the arm of the hatcheck girl come in, with the hat of Ray Milland. They throw him out, then they take the hat and throw it out with him too. And I only saw the arm, and I fell in love with the arm.”</p>
<p>They were married for 53 years. Billy Wilder died in 2002.</p>
<p>A private memorial is planned.</p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "getting-the-blues",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3358019",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-06-04T14:08:00-07:00",
          "slug" : "getting-the-blues",
          "title" : "Getting the Blues",
          "uri" : "blog/getting-the-blues",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>Writing for the <em>Chicago Tribune</em>, arts critic Howard Reich <strong><a href="http://www.chicagotribune.com/entertainment/music/ct-ent-0521-blues-conference-20120521-7,0,4082594.column" target="_blank" rel="noreferrer noopener">gives a report</a> </strong>on a recent "Race, Gender &amp; the Blues" symposium at Dominican University in River Forest, Illinois.</p>
<blockquote><p>"The blues—born of the Black experience in Africa, America and across the diaspora—is slipping away from the people who created it. An art form historically defined by African American artists has become homogenized, with white performers and entrepreneurs increasingly enjoying the rewards of a music invented by others."</p></blockquote>
<p>The article reflects on the way the industry marginalizes Black artists while it co-opts Black musical tradition.</p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "a-chat-with-haile-gerima-part-i",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3358003",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-08-23T10:35:00-07:00",
          "slug" : "a-chat-with-haile-gerima-part-i",
          "title" : "A Chat with Haile Gerima: Part I",
          "uri" : "blog/a-chat-with-haile-gerima-part-i",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p><em>IndieWire</em>'s regular column, "Shadow and Act," has posted <strong><a href="http://blogs.indiewire.com/shadowandact/haile-gerima-part-1" target="_blank" rel="noreferrer noopener">the first part of a new interview</a></strong> with filmmaker <strong><a href="/la-rebellion/haile-gerima">Haile Gerima</a></strong>.</p>
<p><img class="dropshadow" title="Haile Gerima" src="https://cinema.ucla.edu/sites/default/files/haile-new.jpg" alt="Haile Gerima" align="left" /></p>
<p>Gerima talks about his most recent film, <em>Teza</em> (2008), and offers compelling advice for independent filmmakers. As the author notes, "In his company, you can't help but be schooled."</p>
<p>"For me," Gerima says, "it is not only wanting to tell your story, but to also tell it your way that’s part of the struggle. I am not interested only in telling a story, but I want to tell it my way. I don't want my accent, my temperament, my narrative style to be compromised to fit into a mold of the Hollywood type."</p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "das-2012-the-lifecycle-of-a-digital-asset",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3357977",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-11-08T15:15:00-08:00",
          "slug" : "das-2012-the-lifecycle-of-a-digital-asset",
          "title" : "DAS 2012: The Lifecycle of a Digital Asset",
          "uri" : "blog/das-2012-the-lifecycle-of-a-digital-asset",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>On October 26, 2012, the Association of Moving Image Archivists (AMIA) invited participants to the Linwood Dunn Theater at the Academy Film Archive for AMIA’s Digital Asset Symposium, a one-day affair that was well worth the time. Attending were numerous professionals from the entertainment industry, as well as a smattering of students and job seekers. The program was hosted by AMIA Board member Tom Regal, who along with volunteers Rick Utley, Colleen Simpson, and Karen Barcellona, put together a truly exciting and enlightening program. You mean digital asset management systems (DAMs) can be exciting? Well, yes, if you are like me, a person whose eyes glaze over whenever someone starts throwing digital asset tidbytes at me, this seems to be an unlikely proposition. But here, for the first time, I got a clear understanding of what it is all about. <img class="dropshadow" src="https://cinema.ucla.edu/sites/default/files/das2012.jpg" alt="" width="400" height="100" /></p>
<p>Milt Shefter’s keynote in the morning set the tone by tossing out many more questions than he could ever hope to answer, concerning digital lifespan, costs, etc. Jeff Proctor and Claus Trelby from ProAngle Media and Iron Mountain, respectively, discussed the mass digitization of all the Los Angeles Lakers’ visual assets from KTLA and Fox, now that Time Warner Cable has bought the Lakers broadcast rights for billions of dollars and want to make sure no one touches the stuff without paying; bye-bye free TV Lakers games. My take away was that even though they are swimming in cash, they have only digitized 1000 hours in 6 months and still have no metadata for a search engine, which tells me this whole process is extremely costly and labor intensive, even if you’ve got the bread.<img class="dropshadow" src="https://cinema.ucla.edu/sites/default/files/lakers.jpg" alt="" width="300" height="183" /></p>
<p>The highlight of the morning, though, was Julie Dutrisac’s case study of how the National Film Board of Canada put 2,500 films online, then mass digitized all their other assets, which meant creating a tiered digital system for zettabytes of data. Her explanation of both the planning process and the workflow was the clearest and most understandable presentation of its kind I have ever heard. For the 2,500 titles they have online, they created a “mezzanine” of spinning disc drives for immediate access, and have added iPhone, Android, and iPad audience content platforms, since going online in 2009; resulting in more than 16 million viewings. Dutrisac said: “Once you go down digital, you are condemned to that road.” Meaning for all the other assets, they were digitized in HD as DPX frame-by-frame files, with the raw scans stored in “deep storage” on DSM and DM with only a minimum of cleanup and color correction. Their IT infrastructure and Media Asset Management system was made possible with donations from some unnamed companies, otherwise the costs would have been far beyond what the NFB could afford, which was about $3-4 million. Yikes! <img class="dropshadow" src="https://cinema.ucla.edu/sites/default/files/nfb.jpg" alt="" width="300" height="183" /></p>
<p>The first speaker in the afternoon was Steve Cronan of 5<sup>th</sup> Kind, who introduced a digital asset management system for film production, which was interesting, but less germane to my concerns as an archivist. John D. Edwards from Kaiser Permanente then talked about their attempts to get all their medical imaging (x-rays, etc.) from their member doctors and hospitals into one system for immediate access. They haven’t gotten around to digitizing moving images, though, so the jury is still out on whether their system works for the avalanche of bytes coming at them from that quarter.</p>
<p>The highlight of the afternoon was undoubtedly Steve Anastasi from Warner Brothers, who discussed archiving all their born digital content, now that filmmakers feel shooting digital is free and therefore they can increase shooting ratios form a modest 40-1 to 200-1 and higher. Steve’s presentation, delivered as stand-up comedy, was nevertheless an excellent summary of all the issues facing moving image archivists in the brave new world of digitality, broken down into comprehensible steps. He started off by naming their guiding principles:</p>
<p class="sectioncolor"><strong>1. Digital media offers no long-term protection</strong><br /><strong>2. Digital assets are either managed or perishable</strong><br /><strong>3. Digital archiving requires changes in production workflow and delivery.</strong></p>
<p>The biggest problem? What to do with all that raw footage, of which only 20% even has a prayer of ever generating revenue? They studied costs for in-house storage, out-of-house storage, filming out to analog media, etc., and decided it was cheaper not to set up their own infrastructure, despite the masses of material. If they are not doing it, why should an institution like UCLA, I asked myself? They also made the decision that loss is good, in other words, all those terabytes of outtakes from one film production will, after they have remained inactive for ten years, be jettisoned. And while they do keep that material, they will not spend any effort in transcoding to new formats. This makes sense. All the rest of us can do is mourn the fact that with film, they used to be able to keep everything forever at little cost. But as Steve said, “those days are over.”</p>
<blockquote class="callout2"><p>"All the rest of us can do is mourn the fact that with film, they used to be able to keep everything forever at little cost. But as Steve said, 'those days are over.'"</p></blockquote>
<p>Less happy news from Warner Brothers: By next year, Warner Brothers will stop production of all 35mm release prints. If you don’t have digital projection, then, you won’t see the newest films from any of the studios. It is the end of cinema as we knew it… </p>""",
          "blocks" : [ ]
        }
      },
      {
        "_index" : "apps-dev-ftva-local-jendiamond-2024-11-08t20-32-10.801z",
        "_type" : "_doc",
        "_id" : "andrew-sarris-and-me",
        "_score" : 1.0,
        "_ignored" : [
          "aboutTheAuthor.keyword"
        ],
        "_source" : {
          "id" : "3358011",
          "typeHandle" : "ftvaArticle",
          "sectionHandle" : "ftvaArticle",
          "postDate" : "2012-06-28T14:38:00-07:00",
          "slug" : "andrew-sarris-and-me",
          "title" : "Andrew Sarris and Me",
          "uri" : "blog/andrew-sarris-and-me",
          "imageCarousel" : [ ],
          "articleCategories" : [ ],
          "contributors" : [ ],
          "aboutTheAuthor" : """<p>The <em>New York Times</em> <strong><a href="http://www.nytimes.com/2012/06/21/movies/andrew-sarris-film-critic-dies-at-83.html" target="_blank" rel="noreferrer noopener">reported last week</a></strong> that Andrew Sarris, long-time film critic for the <em>Village Voice</em>, had died at the age of 83 in Manhattan. Sarris had a huge influence on academic film studies, because he was the first American film critic to apply theoretical principles to his film criticism. At a time when most critics still preferred impressionistic viewing, his auteur theory looked at American cinema as a film director’s art form, which elevated previously neglected American auteurs—like John Ford, Howard Hawks and Alfred Hitchcock—to the level of European filmmakers. The “theory” had been imported from France, where directors were considered gods on the set, but not everyone agreed it was applicable to the industrial production process in Hollywood; the ensuing critical wars between Sarris and Pauline Kael and/or John Simon became legendary. With a <em>Voice</em> subscription, I read Sarris’ column religiously.</p>
<p><img class="dropshadow" title="American Cinema" src="https://cinema.ucla.edu/sites/default/files/amcinema.jpg" alt="American Cinema" align="left" /></p>
<p>Sarris’ magnum opus, "The American Cinema: Directors and Directions," 1929-1968, was one of the first film books I ever bought as an undergraduate and for a couple of years it was my bible. After becoming the film critic for my college newspaper, <em>The Review</em>, I proudly declared myself an auteurist. As I developed as a film scholar, my critical faculties became more nuanced, but Sarris’ book still holds up surprisingly well in its short, pithy analyses of the work of individual directors, even if his multi-tiered levels of critical value from the pantheon (the greatest) to “less than meets the eye,” was a bit too pat.</p>
<p>In the fall of my senior year at the University of Delaware, I actually got to meet Sarris when our film professor, Gerald Barrett, invited him to campus. I described the lecture in a piece, noting (which I had completely forgotten) that Sarris railed against many modern films: “Films no longer serve as vehicles of communication, rather they become 'heavy' artistic statements on the state of contemporary existence.” In other words Sarris was very much a classicist who wanted to recuperate the old Hollywood studio system. I sent Sarris my little article and soon after, I began an occasional correspondence with Sarris, and he became somewhat of a mentor to me.</p>
<p><img class="dropshadow" title="Ali: Fear Eats the Soul (1974)" src="https://cinema.ucla.edu/sites/default/files/ali.jpg" alt="Ali: Fear Eats the Soul (1974)" align="right" /></p>
<p>A year into graduate school at Boston University, I spent the summer in Germany researching my thesis and I saw Rainer Werner Fassbinder’s <em>Ali: Fear Eats the Soul</em> (1974). I wrote an article, since I knew the film hadn’t opened in America yet, and sent it to Andrew Sarris. Much to my surprise, I opened the <em>Voice</em> in October 1974 and found my review starring at me. It was my first published piece in a non-student publication and earned me $75. More importantly, it gave me the confidence to pursue a film career when my parents were lobbying heavily for me to look for something more respectable.</p>
<p><img class="dropshadow" title="The Lubitsch Touch (1968)" src="https://cinema.ucla.edu/sites/default/files/weinberg.jpg" alt="The Lubitsch Touch (1968)" align="left" /></p>
<p>Sarris next gave me some good advice. While in Germany doing my master’s research on Ernst Lubitsch’s German career, I had discovered that significant portions of Herman Weinberg’s classic monograph, "The Lubitsch Touch" (1968), had been translated and reproduced without credit from a German language book on the history of UFA. Being a young, passionate film scholar, I was naturally incensed at this blatant case of plagiarism and set about putting together an article comparing the appropriate passages from both the German and English text. I sent my text to a couple of publications, including <em>Sight &amp; Sound</em>, only to have it quickly rejected. Penelope Houston wrote that they couldn’t publish such material. I eventually sent the piece to Sarris and asked for his comments.</p>
<p>Sarris wrote me a very nice response, saying that he was sure my findings were probably correct, but suggested I drop the matter. He pointed out that Weinberg was so well-known and powerful in film circles and that “You may not have the stomach for the kind of nasty counterattack he might mount against you.” In other words, he could probably do 10 times more damage to my budding career than I with this exposé could ever do to his. I took Sarris’ advice and maybe saved my career, because word did eventually get back to Mr. Weinberg. The next revised edition of "The Lubitsch Touch" (1977) included a note stating that passage from Lubitsch’s early career had been translated by an independent researcher.</p>
<p>More than a decade later, after becoming the film curator at Eastman House, I ran into Sarris at a film screening in New York and thanked him again for his generous help. He smiled ambiguously. Having since been in similar situations where strangers thanked me for something I supposedly did for them, I’m sure he remembered nothing.</p>""",
          "blocks" : [ ]
        }
      }
    ]
  }
}

[github-actions]

Percy Screenshots

In order to conserve our percy screenshot allowance, percy is not configured to run automatically. Please make sure the PR is ready and all other checks are passing, then start it manually: 1. Visit https://github.com/UCLALibrary/ftva-website-nuxt/actions/workflows/percy.yml 2. Click the 'Run workflow' button in the blue bar. 3. Select the correct branch for this PR and click 'Run workflow' again to confirm.

[github-actions]

🚀 Deployed on https://deploy-preview-67--test-ftva.netlify.app

[pghorpade]

well done 💯

[pghorpade]

GET apps-test-ftva-website-deploy-preview-67/_search
{
"query": {
"match_all": {}
}
}