Near Dark – New Beverly Blog

New post on the New Beverly blog!

An article on the film Near Dark (Kathryn Bigelow, 1987) and interview with lead actress Jenette Goldstein.

 

Check it:

http://thenewbev.com/blog/2017/04/near-dark/

Ariel’s Print Resource Guide for TCMFF 2017: Moving Pictures

It’s that time again! Time for TCMFF (TCM Classic Film Festival)!!!

Last year I decided to make an official film guides to assist in examining the program and schedule and use that data to do a format breakdown. Using my skills as a film archivist and preservationist, I thought that these things would be useful for fans and attendees to have.

This year I think this is an ESPECIALLY useful tool since we have an all new item to add for our viewing pleasure: 35MM NITRATE!!!

So first of all, let’s get a few rumors settled: nitrate is not OMGZFIRECAUSING and it will not blow up if you simply touch it. The chemicals that are released when the film begins to deteriorate (called “off-gassing”) can lead to some nasty toxicity though and the more you pack nitrate in…the more likely you are to cause a fire. Nitrate doesn’t like close quarters and it doesn’t like to to be under pressure. Think of Nitrate as the hippie film base- it just wants to chill, man. But if it gets a bad dose (ie, starts to deteriorate) or is put under bad pressure/circumstances, it could really blow.

BUT HAVE YOU SEEN A 35MM NITRATE PRINT??????????

Don’t miss the chance to do it this year.

Seriously, guys.

PART I: PREPARATION & PLANNING

Listed below, in the alphabetized spreadsheet, is all the films that are playing as of Friday, March 31, 2017. The spreadsheet moves down and also moves to the right and includes notes, theaters, times, formats and all kinds of details!!

If you want to download the spreadsheet and organize it according to your own wants (format, notes, theater, day/time, etc.) that link is here:

https://docs.google.com/spreadsheets/d/1BZuaCal1g9zZu0GYSdGScDKBWjB8uDpIuffrWImC6Q0/edit?usp=sharing

PART II: DATA BREAKDOWN

This (obviously) is the way that the formats broke down this year. The wonderful thing to notice is that we still have a thick chunk of rare kinds of films to see, including different kinds of formats. While there is no 16mm or 8mm (except digitized in the Hollywood Home Movies program which usually occurs on Saturday afternoon in Club TCM), the Cinerama and 35mm nitrate is pretty nifty stuff. We’re pretty spoiled on basic technicals.

Format Chart TCMFF 2017

TCMFF 2017

Last year’s stats looked like this:

Screen Shot 2016-04-20 at 12.34.25 AM

TCMFF 2016

So I think we’re doing pretty well for 2017!!! Analogue has gotten a more diverse face this year, which is definitely a plus. That is, of course, thanks to the Egyptian Theater/American Cinematheque for taking that risk and refitting their projection booth with all the necessary items for the projection of nitrate. Not every theater is able to project nitrate. We’re exceptionally blessed that they were able to do that in time to work with wonderful people like the UCLA Film and Television Archive and access prints from their MASSIVE nitrate collection.

I can personally assure all of you that UCLA FTVA’s nitrate collection is brilliant. I helped move their archive from where it used to be in Westwood and Hollywood to where it resides now, in a glorious archival palace in Santa Clarita. Their collection is beyond compare.

PART III: WHATCHA SEEIN’?

So I have some definite “MUST SEES” this year:

One of my favorite films of all time and a film that I wrote about for the National Film Registry/Library of Congress, Born Yesterday.

A film I’ve seen a gazillion times but it’s also one of my FAVORITE FILM IN THE UNIVERSE EVERZ, The Court Jester.

Last year I saw Larry Peerce’s One Potato, Two Potato at TCMFF and it was a revelation. This year I plan on seeing The Incident, come hell or high water.

I missed the screenings & talks for the restoration of The Front Page this year. But I won’t miss it at TCMFF!!! Especially with one of my favorite professors and awesome people from archiving school giving the intro!

There are plennnnnttttyyyyyy more that I’m thinking about & considering but that’s all I’m committing to on blog right now.

See ya at the movies!

Anarchy in the TV: 2016 Discoveries in UK TV

I’ve given up on a great deal of media work in the US. It just doesn’t do it for me anymore. The representation of women is awful, discussions on culture, ethnicity and class are disappointing, and my crime shows are just not satisfactory.

So, I’ve turned to the English. They have an insane amount of content that not only centers women & POC as dynamic and powerful players but also examines class and subcultural topics.

For a punk rock intersectional feminist like myself, it’s good media food.

Also, they just hit it so much better with crime/detective things (or at least they have in the past) and I’m getting to discover a bunch of stuff that I didn’t know about before. So, although I am picky, if it’s British, I’ll usually give it a shot over any US TV program.

I can’t say that all of these are easy to find. Sometimes you have to work at it. But they are ALL worth it.

Here are my pix for this year.

1) HAPPY VALLEY (2014-

happy-valley

Available on Netflix.

While I LOVE Olivia Benson & Law & OrderHappy Valley is all that and then some. If the first 10 minutes don’t grab you, I don’t know what will.

2) SCOTT & BAILEY (2011-

scottandbailey

Available on Amazon.

Another show by Sally Wainwright. Best cop team ever. Suranne Jones and Lesley Sharp are insanely great actresses.

3) OUR FRIENDS IN THE NORTH (1996)

our-friends

Mark Strong. Christopher Eccleston. Daniel Craig. Malcolm McDowell. Gina McKee.

After I watched this, I was stunned. I wished there was more than 6 eps. But…no. There’s a cadre of reasons that it won a bunch of BAFTAs. Tells the story of a bunch of friends in the north of England from the 1960s to the 1990s. Brutally good.

4) THIS IS ENGLAND (2010, 2011, 2015)

this-is-englandthis-is-england-all

If you haven’t seen the movie This is England (Shane Meadows, 2006) you should. This show is a continuation of those characters and it’s ABSOLUTELY GREAT. If you have (or have had) any history in the punk rock or ska scene, it’s a must. But even if you haven’t, the writing is great, the characters are unusual and well-formed, and, like Our Friends in the North, it does an amazing job of covering long periods of time in people’s relationships.

5) PRIME SUSPECT (1991-2006)prime-suspect

Available on Hulu

Helen Mirren is the best DCI that I have come across. Sarah Lancashire, Lesley Sharp & Suranne Jones are amazing in their own ways, but Helen was first. This show is so great at discussing feminist issues in the workplace AND being a top notch crime show that it’s bonkers.

Ask An Archivist Day: October 5th, 2016

archive1

Archivist – ar·chi·vist \ˈär-kə-vist, -ˌkī-\

a person who has the job of collecting and storing the materials in an archive

see archive 

Archive – ar·chive \ˈär-ˌkīv\

  1.   a place in which public records or historical documents are preserved; also :  the material preserved —often used in plural

  2.   a repository or collection especially of information

Tomorrow, OCTOBER 5TH, 2016, is #AskAnArchivist Day!

Have you ever wondered what it is we do? What our favorite part of being an archivist is? What great pieces are in our collections? What we think about when we see archivists portrayed in popular culture? Well **NOW** is your chance to ask!

Just use the hashtag #AskAnArchivist on Twitter and Instagram and check out all the archival magic happening!!!

If you are particularly interested in film/moving image archiving, a few of the fabulous archivists/archives who will be participating will be the following:

American Archive of Public Broadcasting @amarchivepub

MIAP (Moving Image Archiving Program) and the NYU Cinema Studies department archive @NYUMIAP

USC Shoah Foundation @USCShoahFdn

Snowden Becker @SnowdenBecker

UCLA Film & TV Archive @UCLAFTVArchive

Access Committee will be RT’ing archival tweets all day at @AMIAnet

Rachel Beattie at Media Commons Archive, University of Toronto @MediaCommons_TO

Pamela & Juana will be answering in both English and Spanish at @secondrunpres

Other General Archival participants who have sent me their info:

 Special collections/university archives folks will answering questions at @uoregonlibnews

The Kappa Alpha Theta fraternity  will be participating. @bettielocke

 

 

A-“GOG” at #TCMFF 2016: Talking 3D & Restoration With Bob Furmanek

We’re heading into the final stretch, guys and gals. So many plans and schedules have already been posted (mine is forthcoming, I swear)! The slow trickle of #TCMFF pals into my Hollywood hometown and everyone’s excitement is (as usual) giving me such joy. I’m just giddy with Classic Film Craziness!

So aside from the Print Resource Guide that I posted a few days back, I have something else very special to add to my “preservation and restoration stream.” As one of the TCMFF Social Producers, my focus is to increase knowledge about preservation, restoration & film archiving through social media platforms. As a working archivist, I wish to showcase why I truly believe that TCMFF is one of the strongest film festival venues dedicated to these critical procedures.

IMG_4784

One of my favorite parts from TCMFF 2015 – an entire booth dedicated to cinephilia and why we, as film lovers, “heart movies”! So great!

For this blog, I got a wonderful and in-depth pre-TCMFF interview from the knowledgeable Bob Furmanek of the 3D Film Archive about the restoration of GOG (Herbert L. Strock, 1954), which will be playing as the midnight show on Saturday night, April 30th at the festival! Bob will be there in person with his restoration colleague Greg Kintz, so that will be extra cool!!

Hope all of you enjoy this interview and perhaps learn a bit more about 3D preservation!gog3dposter1

 

1) Can you give a short history on your relationship to this film and why it’s such a unique opportunity for TCMFF fans to be seeing it this year?

When I was living in Los Angeles and working for Jerry Lewis in the mid-1980’s, I spent a lot of time doing work in the old Technicolor building in Hollywood. Director Herbert L. Strock was still active at the time and maintained an office on the first floor. I used to visit with him quite often and naturally, we discussed GOG. At that time, it was lost in 3-D (the studio only had material on the right side) and he lamented the fact that nobody would ever see it again.  For that reason, I made it a top priority to try to find the missing left side.
 
I eventually discovered the lost 35mm left side print in 2001 and carefully matched it to a new 35mm right side print from MGM. We screened the dual-35mm polarized 3-D prints in 2003 at the World 3-D Film Expo at the Egyptian Theatre in Hollywood. Mr. Strock got to see it again with a sold-out audience of 700 fans and it was a wonderful moment. Sadly, he passed away in 2005.
 
We spent five tedious months restoring the film last year for 3-D Blu-ray release through Kino-Lorber. Our new digital master has extensive color restoration and shot by shot 3-D alignment and left/right panel-matching. As a result, the audience at TCMFF will be seeing GOG in a better presentation than was technically possible in 1954. Mr. Strock would have loved it!
GogPoster2

TRULY exquisite examples of the restored L/R eye work can be found by clicking on this picture. It will take you to the AMAZING “before & afters”!

2) You head up the 3D Archive. Why is it important to have a 3D Archive? Isn’t 3D still coming out?

Nearly every 3-D feature from the first forty years of stereoscopic cinema (1922 – 1962) was photographed and printed on dual-strips of 35mm film with one print representing the left side and the other representing the right. They were projected theatrically on two 35mm machines in precise synchronization. Polaroid filters in each projection port – and the corresponding polarized glasses worn by the audience – insured that each eye only saw the intended side in order to create a 3-D image. If either the left or right elements are missing, you have lost the film in 3-D. Since the early 1980’s, the Archive has worked very hard to ensure that most of them survive.
 
There were fifty Golden Age (1952-1955) domestic 3-D features and thankfully, forty-eight survive in their complete stereoscopic versions. The only lost 3-D features from that period are TOP BANANA with Phil Silvers and one half of SOUTHWEST PASSAGE with Rod Cameron.
A lobbycard for Southwest Passage (Ray Nazarro, 1954) a lost 3-D film...

A lobby card for Southwest Passage (Ray Nazarro, 1954) a partially lost 3-D film…

 
We are doing our very best to get as many released onto 3-D Blu-ray as possible so that people can see these films as they were originally intended. It’s been quite an obstacle and uphill battle securing licenses from the copyright holders but we don’t give up easily.

3) What is the most difficult thing about restoring a 3D film? What was the most difficult part of restoring GOG?

Right out of the gate, the workload is doubled and that presents many challenges with respect to time and financial resources. You basically have to restore the film twice. The most challenging aspect is ensuring that both left/right sides are perfectly aligned and panel-matched in order to present the best possible viewing experience. That means going through the film and making adjustments on every single shot. It’s very time-consuming and labor intensive but it’s absolutely crucial that both the left and right sides are matched.
 
On the average, we can restore a 3-D feature in three months: GOG took five. It was an enormous challenge because the left side was completely faded with no yellow or cyan information whatsoever. In addition, every single shot in the film required up to seven levels of correction including color restoration, left/right panel matching, flicker reduction, image stabilization, detail extraction from the superior right side element, stereoscopic vertical alignment and dirt/damage clean-up. Greg Kintz has literally worked a restoration miracle in bringing this 3-D gem back to life.

4) GOG is a Eastman color film, a stock that is known to fade if not cared for correctly. Can you talk a little bit about the process of the color restoration and why color restoration and 3D film preservation might be especially challenging (if it is)?

 

GOG had a rather complicated history so far as lab work and processing. It was filmed on Eastman color negative 5248 (25 ASA tungsten) and processed by the Color Corporation of America laboratory – formerly SuperCinecolor/Cinecolor – in Burbank. By time it was edited and ready for theatrical release in May 1954, the lab was in financial trouble and had been sold to Benjamin Smith and Associates, owners of the Houston Fearless Corp. As a result, the 35mm release prints of GOG were made by Pathé Laboratories in Hollywood. While some early Eastman color negative stock holds up pretty well if it has been stored properly, the 1954 Pathé color release prints were already faded within a few years after it was released.
 
Thankfully, the right side element used in the restoration (a 35mm inter-positive struck from the original camera negative) still had quite a bit of color. With a little finesse, we were able to tweak it digitally to bring back its original palette. The biggest challenge was then matching the faded left side with the right.

5) Without any spoilers, can you give us a scene to look for that was *especially* challenging in the process but your team thinks came out particularly well?

To be honest, there wasn’t one particular scene that was more difficult than others. The entire film was an incredible challenge! When Greg Kintz was doing his work and sending me 3-D Blu-ray test discs, I was constantly amazed at the restoration and how the image kept improving with each new level of correction. Additional dirt and damage clean-up was then done by Thad Komorowski and that helped immensely.
 
To give you an idea of what we achieved on a shoestring budget, Warner Bros. spent close to $300K restoring HOUSE OF WAX. We brought in the 3-D and color restoration of GOG for $10K.
 
After suffering through flat, black and white 16mm open-matte full-frame transfers on TV for decades, I never expected GOG to look as good as it does today. We’re very proud of the final result in bringing this lost 3-D classic back to life.

6) What are you particularly looking forward to seeing at the TCMFF?

Boy, that’s a tough question. The entire schedule is wonderful and there are many cinematic treasures to be enjoyed.
 
For me personally, the new restoration from the 35mm nitrate camera negative of FRANKENSTEIN MEETS THE WOLFMAN (Roy William Neill, 1943) is going to be quite a treat. That’s been a favorite of mine since I was a young Monster Kid in the 1960’s and watched New York TV’s Chiller Theater on Saturday nights. I even had the three-minute Castle Films 8mm fifty-foot home movie edition. It’s going to be great fun seeing it fully restored on the big screen!

Thanks again so much, Bob!!! Can’t wait for this screening!

It’s been a pleasure Ariel, thank you!

 

Ariel’s Print Resource Guide for TCMFF 2016: Moving Pictures

TCMFFlansbury

I’m ready. BOY AM I READY.

I have been since last year when TCMFF2015 ended. I live for this film festival. My experience has shown me that TCMFF is one of the most organized and best staffed film festivals that I have ever attended and the content is truly the most dynamic and rare. For a film archivist and preservationist to say this is no small feat.

The films are sometimes familiar, many times obscure, always challenging and enjoyable. The festival welcomes audience members from all over the world and gives them access to films that they would not normally be able to see, especially not in the environment that they were designed to be seen in: a theatrical setting. This annually growing community of passionate film-goers and classic film fans that TCM has created is what I have termed “Classic Film Summer Camp.” I don’t think I’ve ever had such a great time waiting in line for a film as I have at TCMFF. I’ve met people from everywhere and learned about so many different lives, experiences and classic film star fandoms. Y’all can have Christmas- this is MY most wonderful time of the year!EarthaKittenTCMFF

For the second year in a row I have been asked to be a member of the wonderful TCMFF Social Producers’ Team. As Social Producers, we are a group of fabulous and intelligent classic film advocates and cineastes working with the TCMFF social media team to advance the goals of the festival and make it more enjoyable for everyone involved! Each of us has our own “theme” or line of “promotion” and we can be found under the hashtags #TCMFF and #TCMFFSP. Whether or not you are in attendance, you want to follow these hashtags! These folks are some heavy hitters!

TCM_CFF_Horz_NoYear[2]

So my theme this year? Well, nothing’s changed. Leopard and spots and all. I’ll be Tweeting, Tumblring, Instagramming on my most beloved subjects: film archiving, preservation and restoration.

So, for my first intro post, I have created a resource for everyone who may be currently planning their TCMFF schedules. I designed a spreadsheet that has cataloged the 35mm prints, DCPs, noted the restoration and preservations, and did my best to signify notes on World Premiere or North American Premiere, etc.

OF NOTE: the TCMFF schedule, while extremely reliable, is always subject to change. As a preservationist, projectionist and film series programmer myself, I can tell you that there are innumerable variables that can cause variations in guests, film format or program itself. This is just your garden variety disclaimer, folks,  but it has to be said. You know it does. And since you’re reading this blog, I’m likely preaching to the choir, but it’s a necessary statement. Additionally, if I have not written it here, that does not mean it is NOT a premiere/restoration/etc. I have based this upon as much information as I could get. If there is something in need of correction, please contact me immediately! I would be pleased as punch to change it!

So let’s get down to business, shall we?

PART I: RESOURCES & PLANNING

So. Now that the disclaimers have been said, here is your 2016 TCMFF Format & Preservation Resource guide. Get to scheduling!

It’s alphabetical, and if anyone has any questions or problems reading it (or understanding the manner in which it has been broken down) please let me know. I will actively pay attention to any and all comments  as they come in, and will be ABSOLUTELY ready to alter something if needs be.

If you would rather have it in a link form rather than embedded, go here.

It is critical for attendees to have this kind of format map. It may have taken some time to put together, but I know how important this resource is. Being able to access a full report of what has been restored, what has been preserved, what has been digitally reconstructed and how to identify each of these pieces in order to put together the fabulous puzzle that will eventually be your TCMFF experience is just invaluable.

Before moving into Part II, I briefly mention a remark about formats and preservation. Please consider the curatorial dedication and labor that has gone into the maintenance of all the films that you will watch this festival season, no matter what format they are in. Whatever your sensibilities or thoughts about format (analogue/digital, etc), every person with whom I have personally come into contact in my archival career who is involved in classic film preservation takes their job very seriously. Whether moving towards the creation of a Digital Cinema Package or striking a new 35mm print, my classic film archival colleagues work really hard to make sure that these materials see another generation and that another generation sees them. So let us be certain that if we downplay a digital format in favor of analogue, we do not forget that the digitization and digital work had to have an incredible amount of analogue preparation work done to it first. There are no classic films that were “born digitally” and thus you cannot have digital without analogue attention. Let us not forget that aspect of the workflow.

PART II: DATA BREAKDOWN

I compiled some data based upon what we have this year, print-wise. So if you want to get nerdy with me, here’s what we have…

From a preservation standpoint, I noted that the vast amount of 35mm was made up of rare works and, quite simply, the films that rarely make it out of the vaults. These films are the very reason that I continually attend TCMFF, religiously watch the channel until stupid o’clock in the morning (just…one…more…movie….), and truly appreciate educated colleagues like Will McKinley‘s continued updates on TCM as we move forward into various streaming and cable variations.

These are the films that caused me to become a preservationist. But we can get back to that.

Screen Shot 2016-04-20 at 12.34.25 AM

The analytics – 33% of the films appearing at TCMFF this year will be shown in 35mm. These are films like One Potato, Two Potato (Larry Peerce, 1964) a film about interracial marriage that came out BEFORE the more socially palatable Guess Who’s Coming to Dinner? (Stanley Kramer, 1967). Or a bewilderingly unheard-of feature like Double Harness (John Cromwell, 1933), a pre-code film that has been, quite literally, sitting in a vault until TCM bought the rights to it in 2006. These films catalyzed my film archival career and have subsequently reignited my film passion every year at the TCMFF. They are the “lost” or “forgotten” children of classic cinema.

While it’s beyond incredible to watch an old favorite on the big screen with a crowd, I would highly recommend that folks try to make it to at least ONE “rare pick” at TCMFF. Try the Film Noir Foundation/UCLA Film & Television Archive Restoration of Repeat Performance (Alfred L. Werker, 1947) or the rarely screened Bulldog Drummond Strikes Back (Roy Del Ruth, 1934). This is your opportunity!

So here are my “5 Points to Consider When Making Your TCMFF Schedule and Beyond.”

  1. Restoration costs a GREAT deal of money. A LOT. Many grants, volunteer labor and insane hard work is involved just to get to the point of being able to approach the physical restoration. This relates to 35mm *and* DCP. Love your restoration folks and the restorations!

  2. Lesser known films are riskier and have less potential for “return investment” in many people’s eyes. When you get the opportunity to investigate rare works at TCMFF or at a home repertory theater, you can be part of a new kind of “return investment.”

  3. Supporting restorations & preservations (in 35mm *and* DCP) and making your voice heard through social media & online makes a difference. Boutique labels do exist for DVD/Blu distribution and we do have wonderful companies like Warner Archives, Flicker Alley and others who make it a mission to serve our community.

  4. TCM (and TCMFF) serves the classic film community in a positive way by their continual & consistent showcasing of “forgotten films” or unusual materials — there is the possibility that, with more exposure, viewing more rarities on 35mm may lead to more preservation and restoration!

  5. TCM also showcases incredible panels like the Academy Home Movies presentation (something that I will be livetweeting for the second year in a row) with the wonderful Lynne Kirste and Randy Haberkamp. What was previously a closed circuit of “35mm features” is now open to different formats and narratives (Super8, 8mm, 16mm – all transferred of course, but that IS what we get to see). If you have not attended this panel, DO IT. It is one of my favorite parts of TCMFF every year.

PART III: SAY HELLO!!! I’D LOVE TO MEET YOU! 🙂 

When you see me walking around during #TCMFF, I will have my badge on and it will look like this:

TCMFF2016Pass

Look for the blue and burgundy 16mm reels and the red circled SP on the badge.

My social media platforms that you can follow are…

INSTAGRAM: www.instagram.com/archivistariel

TWITTER: https://twitter.com/ArchivistAriel

TUMBLR: http://archivistariel.tumblr.com

And once again, check out the hashtags this year – #TCMFF, #TCMFFSP and follow @tcm on Twitter!

I will be returning with another post soon letting you know what my schedule will possibly be so that you can stalk…er…find me during TCMFF if you wish. But for now, enjoy!

 

See you at the festival! ❤

 

ArielSchudsonTCMFFSocial

 

Not Just The Clydesdales: Super Bowl 50 & Advertising History

It’s coming. It’s happening in a few days. My neighborhood is going to be full of screaming and cheering and less parking than usual.

 

But my gaze will be fixed on my television in a slightly different manner.

For some time now, I have been focusing my archival energies on the pursuit of preserving commercials and working on the recognition of advertising as something of worth within moving image archiving. While we have officially recognized television, film, home movies, industrial works and other short subjects as worthy of respect, there still seems to be a hard stare around the word “commercial” or “advertising.”

Yes- it is The Man. And yes, it is Corporations. And Consumption. All the “dirty words” that seem to make us uncomfortable and feel like we are somehow disrespecting ourselves and our individuality and relinquishing our rights to choose the things we put on our hair, into our bodies and treat our children with.

But advertising is more complex than this. I believe that there is a highly significant need for better and more extensive preservation (even restoration) of these works because they represent our social, domestic, political and cultural leanings throughout the years.

That said, one of the biggest events for advertising, lying somewhere between the Indy 5000 and the Oscars, is the Super Bowl. In just a few days, all over the United States, bars, homes and facilities of all sorts will be turning their lighted media boxes to the exact same program. There will be enough beer, pizza, nachos, hot wings and other grease and alcohol-slathered snacks to truly make one consider going vegetarian. After all, next to Thanksgiving (the largest eating day of the year) this is the second largest!

So let’s talk food for a second. According to the National Chicken Council‘s 2015 pre-game report, approximately 1.25 billion wings were eaten during last year’s Super Bowl- enough to circle the Grand Canyon 120 times and enough to put 572 wings on each seat in every NFL football stadium. As for pizza, by halftime last year Pizza Hut had broken its digital sales record and had already been named as the #1 food choice for the US during the game. So…score? As for booze, the figure is that 325 million gallons of beer are consumed on Super Bowl Sunday. Many articles say this is overblown and improbable, chalking the number up to the amount that is purchased on the day (not an impossibility). If the number were true, everyone in the US (men, women, AND children- omgz! Not drunk toddlers! They can barely walk anyway!) would have to chug an entire gallon themselves. And while I can certainly see a certain percentage of the folks I have encountered in my life being able to imbibe 10 beers in one sitting (especially light beers), I’m not putting bets on the babies.

So it’s a day of celebration, camaraderie and (it would seem) mild debauchery of some kind. I feel that there is an entirely different post related to this about why advertisers would select a day of drinky/greasy/cheer-ismo as the day to put their best foot forward and place their top ads that they have been working on (and spending the most money on securing spots and time for) but that certainly isn’t the point of this discussion. In fact, what I want to first discuss is who is watching and how.

Super Bowl Statistics

If you think that American Football is a dudes game, you’d be dead wrong. Mirroring the results that I found when I did my research into female fans of professional televised wrestling, the Nielsen demographic data has proven that women are not only active sports consumers, but they are interactive sports consumers. A recent statistic showed that 46% of the viewing audience is female (that’s almost half- guys, did you get that?) and on an even more fascinating level, MORE WOMEN WATCH THE SUPER BOWL THAN THE OSCARS, EMMYS, AND GRAMMYS COMBINED!  To add to this, the social media centered on the Super Bowl has been led strongly by women. As Kat Gordon, founder of the 3% Movement  wrote in AdWeek, “Women watch equally, buy + share in greater #s than men on Super Bowl Sunday. Ads with female appeal = best return on $4 million price-tag.” Of note: Gordon has an annual Super Bowl tweet-up with women creatives that deftly tries to negotiate the historic divide between the way that women consumer/fans are approached by advertisers and the way in which they wish to be approached. Here is the promo video-

The other big adjustment is newer technologies. So Super Bowl 50 (and its advertisers) are making that play to connected-TV devices like Apple-TV, Xbox, Roku and others. Mobile devices and tablets are in high use with the Millennial audiences for viewing sports events year-round, so the Super Bowl programming has made certain that their Jewel in the Crown is no different. But advertising will be a little different depending on the device. As reported in Variety,  CBS required all sponsors to run ads in the digital stream in addition to the straight-up TV broadcast. On the other hand, if you were to utilize a device like Roku or AppleTV, the only ads you would receive would be national spots.

Compared to the 16mm commercial collections that I have been dealing with, thinking about all this is mind-numbing. I have always had a slight interest in American football because they continued to film on 16mm up until 2014 when they went digital. So the discussion of digital outreach and audience visibility through mobile applications is a big step in my mind for the NFL.

So let’s get down to content stats before we go all historical.

The National Retail Federation reports that this year it is likely that there will be a viewing population of approximately 188.9 million folks who will be checking out the Denver Broncos play the Carolina Panthers. About 34.7% (85 million) view the game as the “meat” of the day, while 17.7% (43.4 million) are there to check out the commercials. The other 4.5% (11 million)? They’re just there for the food, man.

Now let’s look at the way these commercials are being watched. Are they being glossed over? Talked through? Is that when you go grab another beer or head to the privy? 78.6% said that they think of the ads as entertainment (whether the definition of “entertainment” deserves a more critical look is another story) and 17.5% of viewers say that they see these commercials as informative. The remaining 10.3% say that the ads definitely influence their desire to purchase a product.

Considering the history of Super Bowl ads, I can definitely understand that 10.3%. I mean, look at this Snickers ad from 2010. Betty White AND Abe Vigoda (RIP)? I’m sold.

If I was old enough to drink wine in 1980, I would most certainly have bought it from a classical music-testifying Orson Welles!

And there is no way you could talk me out of buying a car that is being sold to me through the spirit of Wile E. Coyote and the Roadrunner. That would be MADNESS (note: this is from 1969, 2 years after Super Bowl I)

History

Ok. So this year is Super Bowl 50. And it’s being played in San Francisco, making every one of my friends who lives there incredibly frantic. In fact, some have decided to just leave town for the weekend. I don’t blame them. I’m not entirely sure how they plan to fit that many people in a city that small, but good luck to them. Game on, right?

The first game was played in 1967, between the NFL and the AFL (American Football League), and was not called the “Super Bowl” for a few more years. Until 1972, the Super Bowl wasn’t even broadcast nationwide (I KNOW. CAN YOU IMAGINE. AND WE USED ROTARY PHONES THEN TOO). Super Bowls I-IV were blacked out in the host cities, plausibly to force the fans to actually attend in person. A bizarre event happened during the first Super Bowl that some might conjecture foretold of how interrelated the Super Bowl and advertising were to be. As Robert Klara describes it, “Green Bay Packers coach Vince Lombardi threw a fit when the second-half kickoff had to be done over. The reason? NBC held off returning to the game until after it aired a commercial for Winston cigarettes.” Out of the many anecdotes about live television I’ve heard/read, this might be one of my favorite because it was a live sporting event that is now one of the largest in the country. And they re-did the kickoff due to a commercial break. 1967, folks, Winston cigarettes.

This isn’t the ad that they showed (this one is from 1968) but it was too good not to include as an example of a “late 60s Winston ad.”

Advertising changed for the big game when star quarterback Joe Namath appeared in a very steamy Noxzema commercial for the 1973 Super Bowl with a pre-Charlie’s Angels Farrah Fawcett. The Noxell Corporation (also owners of Cover Girl) were at the tail end of a very sexually-charged campaign for Noxzema products that had featured a former Miss Sweden and some highly suggestive language. This ad fits in quite well with that theme and sparked the match that the Super Bowl/advertising industry needed to light their partnership fire.

That same year, another ad ran with an unknown young actor and he (and his leather jacket and “Eyyyy!” attitude) became pretty famous soon thereafter!

Cost

So how much does all this run?

AN INSANE AMOUNT OF MONEY. People say it costs a great deal, you can read the numbers, but it’s beyond what you would think. In fact, the best way to describe how much ad space for the Super Bowl costs is to tell you how much it has cost through the years and do comparisons.

So the year that it began- 1967- a 30-second spot cost $42,000. Twenty years later, in 1987, people were shelling out a hefty $600,000 for :30. For Super Bowl XLI in 2007? It was $2,600,000. At this point, advertisers are currently paying $160,000 A SECOND to advertise on the Super Bowl.

So why is this, aside from everyone loving sports and the Super Bowl becoming a massive National Cultural Event? The Big Kids got involved and they put their money where their mouths were. And, like advertising is, it became a massive competition to see who could do the best and freshest work, produce the most effective product that would get results for their clients. And more clients got involved as time went on. And bigger clients. So instead of smaller ads like this Wild Kingdom bumper from 1969

they garnered much larger ones like the now-famous Clydesdale/Budweiser ads.

It was at this stage in the Super Bowl/Advertising Game that they began to get some very interesting content as well.

I have a personal love for this Xerox commercial from 1976. But it’s incredibly nerdy and so am I.

And of course when you pair up a huge star like Mean Joe Greene with a kid, add some heart to the ad, and put it within the Coca-Cola landscape? Yeah. You have a winner. This is well-remembered as one of the best Super Bowl ads. And it’s held up.

One of the most legendary commercials to run during the Super Bowl is the Apple Commercial directed by Ridley Scott. It aired on January 22, 1984 and (contrary to popular belief) did run more than once but was not a regularly programmed spot by any stretch of the imagination. It is still incredible.

Big clients. Big names. Big money. And the Super Bowl gets bigger and bigger.

And advertising for the Super Bowl gets better and better through the years. I would argue that the thoughts and considerations I have been having on modern American advertising do not seem to apply to the Super Bowl advertising spectrum. Many of today’s standard ads do not seem to carry the same narratives, diversity and engaging fun that is present during the ads of the 70s, 80s and 90s, even up until the early ’00s. But the Super Bowl ads…well, that’s when everyone (literally) brings their A-Game. They all seem to have wit and swagger of some kind.

February 7, 2016

Clearly I am going to watch the Super Bowl mainly for the commercials (as you have probably guessed by now). I am BEYOND excited that Squarespace seems to know that I’m a commercials whore and love comedians Key & Peele, and they are providing me with a way in which to have the best time ever on Sunday, which rocks.

It will probably be me and my cats. I might yell and scream at the TV too, just like any DudeBro, but it’s going to be advertisement related. BECAUSE I’VE SEEN THE TEASER/TRAILERS FOR SUPER BOWL 50 AND THEY’RE WILD.

There are a few ads for Super Bowl 50 that I am really looking forward to based upon seeing the teasers. This is the major one. I love the Snickers ads. They are so clever & they star my favorite people. The #EatASnickers campaign is really great.

This one looks pretty great too…

Also these:

And there are more. Maybe I’ll do a top 10 faves when #SB50 is over.

For now, I’m going to also leave you with a few classic faves because, well, THEY’RE GREAT COMMERCIALS. I hope you enjoyed this piece as much as I enjoyed dorking out about what is pretty much one of the biggest days of the ad year. Have a good one folks!

Legacy Super Bowl Ads – Personal Faves!

Evil Beaver. So much yes. Maybe not as an ad, but I can’t help myself. LOVE.

I still don’t even believe this is real but…it is. “Start living again!”

Oh, Holiday Inn…

CLASSIC.

Magic Mountain appearance!

And you’ll never beat Spuds Mackenzie. Party animal!!!!