Rare musical performances: Django Reinhardt with Stéphane Grapelli and the Quintet of the Hot Club of France in Jazz hot (1939), Duke Ellington and the Cotton Club Orchestra featured in Black and tan (1929), Louis Armstrong in Copenhagen, 1934, and a 1929 performance from the Utica Jubilee Singers.

Eleven films designed to influence, including a vintage promotional film of a French-dubbed Laurel & Hardy, theatrical advertisements featuring Michel Simon and Jacques Tati, a 1938 George Pal puppet animation, three WW-II era musical shorts, two political campaign films, and the National Film registry selection Master Hands, a paean to the 1936 Chevrolet automobile.

As one of the most iconic personalities of the silent film era, Rudolph Valentino achieved an unprecedented level of fame, due in part to his exotic good looks and a magnetic personality that leapt from the screen. His undeniable cultural resonance, coupled with his untimely death in August of 1926, has made him a recognizable and still-relevant figure throughout the world. The Valentino collection is the definitive video compilation featuring digital reconstructions of four previously unavailable Valentino films. A new digital reconstruction of two lost films: The young Rajah (1922) and Stolen moments (1920), featuring new musical scores by Jon Mirsalis, A society sensation (1918), featuring Bob Mitchell at the pipe organ, and Moran of the Lady Letty (1922), featuring a restoration of the films original intertitle text and tinting and a new score by Robert Israel. Directed by Phil Rosen, James Vincent, George Melford and Paul Powell.

Charles Chaplin came to Mack Sennett's Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theatres sufficed to attract audiences. Some of the films, especially Tillie's punctured romance, remained in theatrical distribution for decades. The fact that all but one of the Chaplin Keystones exist is due, of course, to the star's enormous subsequent popularity. Most of the original Keystone negatives, however, were simply printed away and the survival of all but a few of these films depends upon a very few original prints, a larger number of reissue prints, and some duped prints from later years. With the support of Association Chaplin (Paris), 35mm full aperture, early-generation materials were gathered over an eight year search on almost all the films from archives and collectors around the world, and were painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. Most are now clear, sharp and rock-steady, although some reveal that their source prints are well-used and a handful survives only in 16mm. One can now understand Chaplin's meteoric rise, for it is possible for the first time in generations to see clearly what clever and imaginative films he made at Keystone. These editions feature all-new musical settings by outstanding practitioners of silent film accompaniment Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer and The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur's band Tillie's Nightmare with the UCLA Film and Television Archive restoration of Tillie's punctured romance.

Charles Chaplin came to Mack Sennett's Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theatres sufficed to attract audiences. Some of the films, especially Tillie's punctured romance, remained in theatrical distribution for decades. The fact that all but one of the Chaplin Keystones exist is due, of course, to the star's enormous subsequent popularity. Most of the original Keystone negatives, however, were simply printed away and the survival of all but a few of these films depends upon a very few original prints, a larger number of reissue prints, and some duped prints from later years. With the support of Association Chaplin (Paris), 35mm full aperture, early-generation materials were gathered over an eight year search on almost all the films from archives and collectors around the world, and were painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. Most are now clear, sharp and rock-steady, although some reveal that their source prints are well-used and a handful survives only in 16mm. One can now understand Chaplin's meteoric rise, for it is possible for the first time in generations to see clearly what clever and imaginative films he made at Keystone. These editions feature all-new musical settings by outstanding practitioners of silent film accompaniment Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer and The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur's band Tillie's Nightmare with the UCLA Film and Television Archive restoration of Tillie's punctured romance.

Charles Chaplin came to Mack Sennett's Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theatres sufficed to attract audiences. Some of the films, especially Tillie's punctured romance, remained in theatrical distribution for decades. The fact that all but one of the Chaplin Keystones exist is due, of course, to the star's enormous subsequent popularity. Most of the original Keystone negatives, however, were simply printed away and the survival of all but a few of these films depends upon a very few original prints, a larger number of reissue prints, and some duped prints from later years. With the support of Association Chaplin (Paris), 35mm full aperture, early-generation materials were gathered over an eight year search on almost all the films from archives and collectors around the world, and were painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. Most are now clear, sharp and rock-steady, although some reveal that their source prints are well-used and a handful survives only in 16mm. One can now understand Chaplin's meteoric rise, for it is possible for the first time in generations to see clearly what clever and imaginative films he made at Keystone. These editions feature all-new musical settings by outstanding practitioners of silent film accompaniment Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer and The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur's band Tillie's Nightmare with the UCLA Film and Television Archive restoration of Tillie's punctured romance.

Charles Chaplin came to Mack Sennett's Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theatres sufficed to attract audiences. Some of the films, especially Tillie's punctured romance, remained in theatrical distribution for decades. The fact that all but one of the Chaplin Keystones exist is due, of course, to the star's enormous subsequent popularity. Most of the original Keystone negatives, however, were simply printed away and the survival of all but a few of these films depends upon a very few original prints, a larger number of reissue prints, and some duped prints from later years. With the support of Association Chaplin (Paris), 35mm full aperture, early-generation materials were gathered over an eight year search on almost all the films from archives and collectors around the world, and were painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. Most are now clear, sharp and rock-steady, although some reveal that their source prints are well-used and a handful survives only in 16mm. One can now understand Chaplin's meteoric rise, for it is possible for the first time in generations to see clearly what clever and imaginative films he made at Keystone. These editions feature all-new musical settings by outstanding practitioners of silent film accompaniment Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer and The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur's band Tillie's Nightmare with the UCLA Film and Television Archive restoration of Tillie's punctured romance.