剧情介绍
电影，一项百年前兴起的新科技，没人料到纪录它的材料——胶卷，会在这个时代濒临绝种，被数位潮流给取代。胶卷，在温度18-22度与溼度55度的环境下尚能生存6、70年，但当它暴露在缺乏恒温恒湿的环境里胶卷随时可能开始发酸，影像随之裂解、溶出，而记载在上面的一切记忆也就无法再被唤醒。
台湾有一群人，正参与在这场时间竞赛中，他们隐身于「新加坡工业园区」的片库，这裡一万七千多部的胶卷与百万件的电影文物，成为他们的精神粮食，他们日复一日的在裡头穿梭，带著疑问、带著学习、带著信念。他们在做的，是唤醒这些长年被忽略的胶卷，进而拼凑出那些不复存在的社会氛围和遥远的生活样貌。而这些片库时光，就是电影典藏与胶卷修复者们的日常。 Some movie superheroes save movies. They lug dollies of film reels up and down elevators. They crack open canisters adhered through decades of chemical synthesis. They have the uncanny nose for the smell of vinegar - that olfactory sign of expiration lurking beneath the celluloid corner. They are film archivists, protectors of cultural legacies. But as depicted in ARCHIVING TIME, which follows preservationists and restorationists at the Taiwan Film Institute, they are also workers of physical agility, laser-quick thinking, and historical conscience, poring through decades-old 16mm and 35mm reels. Lu Yuan-chi's documentary follows select reels, rescued from humid Hong Kong storage, as they go through the archive's labyrinth of celluloid makeover magic. From inspection and cleaning, to projection and scanning, to the painstaking process of removing every speck and pop, these films sparkle anew with 21st century light. Very few of the films are classics by auteurs like King Hu or Lee Hsing. Most are faintly-remembered features screened occasionally at a village fair, or newsreels produced by a nationalist government, or curios bearing titles like \"The Infertility Girl\" or \"Monkeys Will Be Monkeys.\" Some will be restored for future events and future scholarship. Some, unfortunately, arrive D.O.A. Through it all, our heroes - like archive veteran Allen Chung or digital ace Chang Yi-chen - press on with a dispassionate determination and a modest feeling of accomplishment. This is, to put it plainly, thankless work. But in capturing the mundane churn of mouse clicks, celluloid surgery, and box lunches, ARCHIVING TIME offers the deepest gratitude.
台湾有一群人，正参与在这场时间竞赛中，他们隐身于「新加坡工业园区」的片库，这裡一万七千多部的胶卷与百万件的电影文物，成为他们的精神粮食，他们日复一日的在裡头穿梭，带著疑问、带著学习、带著信念。他们在做的，是唤醒这些长年被忽略的胶卷，进而拼凑出那些不复存在的社会氛围和遥远的生活样貌。而这些片库时光，就是电影典藏与胶卷修复者们的日常。 Some movie superheroes save movies. They lug dollies of film reels up and down elevators. They crack open canisters adhered through decades of chemical synthesis. They have the uncanny nose for the smell of vinegar - that olfactory sign of expiration lurking beneath the celluloid corner. They are film archivists, protectors of cultural legacies. But as depicted in ARCHIVING TIME, which follows preservationists and restorationists at the Taiwan Film Institute, they are also workers of physical agility, laser-quick thinking, and historical conscience, poring through decades-old 16mm and 35mm reels. Lu Yuan-chi's documentary follows select reels, rescued from humid Hong Kong storage, as they go through the archive's labyrinth of celluloid makeover magic. From inspection and cleaning, to projection and scanning, to the painstaking process of removing every speck and pop, these films sparkle anew with 21st century light. Very few of the films are classics by auteurs like King Hu or Lee Hsing. Most are faintly-remembered features screened occasionally at a village fair, or newsreels produced by a nationalist government, or curios bearing titles like \"The Infertility Girl\" or \"Monkeys Will Be Monkeys.\" Some will be restored for future events and future scholarship. Some, unfortunately, arrive D.O.A. Through it all, our heroes - like archive veteran Allen Chung or digital ace Chang Yi-chen - press on with a dispassionate determination and a modest feeling of accomplishment. This is, to put it plainly, thankless work. But in capturing the mundane churn of mouse clicks, celluloid surgery, and box lunches, ARCHIVING TIME offers the deepest gratitude.
7分。那些堆叠在库房的电影胶片，绝大部分都只是在等待死去罢了。资料馆的人一年要收成百上千的电影胶片，胶片修复师每年大概能修好几十部电影的胶片，真正能通过数码修复的电影屈指可数，绝大多数的胶片只是换个地方更缓慢地变酸。那么为什么还要收藏他们呢？选择性收藏和修复那些重要的不是更好么？因为没有人有资格判断好和坏，特别是对于几百年后的人类来说，这些胶片都是同样重要的历史。
作为在北京生活期间时常跑去中国电影资料馆和中国电影博物馆看电影的影迷，还挺希望他们也能拍摄如《数电影的人》这样的纪录片来书写某些鲜为人知电影工作者的工作生活。——（老電影底片）這東西沒收到會怎麼樣？其實真的不會怎麼樣。地球還是照樣運轉，總統還是上台下台，真的完全不會怎麼樣。可是，我覺得那就是一個時代的記憶，我覺得以文物收藏的角度來講，你如果都沒有記下這些東西的話，其實很可惜。
“英文的播放是PLAY，日文是再生，因为你那一个播放的动作，它又重生了。”
4.0。
如果英文是写"play（播放）"，日文就写“再生”，因为你那一个播放的动作，它又重生了。 向电影修复匠人致敬。
致敬！
国家电影中心出品纪录片。记录国影中心那些对电影胶片进行收藏、整饬、扫描、画面修复、声音修复的工作。作为参观过中国电影资料馆胶片库房、也多次拜访过国影中心的影迷，无法不对这些在银幕后、电脑前默默耕耘，让老片起死回生、焕发生机的工作者肃然起敬。无论是胡金铨大导和阮玲玉国宝影片，还是质量低下的台语片，都是珍贵的电影文物值得被尊重对待。让长眠的胡金铨安息，在世的连燕石欣慰。作为纪录片，还是过于简短，只能当做介绍宣传片看看大概，管中窥豹。国影官网的修复手册内容更加详尽
虔诚谦卑的胶片电影修复工作者，清扫时间的尘埃，抵达电影往日的光辉。时长略短，意犹未尽。
又寂寞又美好
记录
电影修复了解一下，有了这些“匠人”才真的有了所谓电影的光影魅力经典永恒
12年在大剧院看过空山灵雨，希望有机会看看修复版吧。无脑五星给了。但这片子在youtube上也只有不到3000人观看过，可惜呢
＃台湾国家电影中心快闪放映 看这部片，再看看台湾国影的官网，只能赞叹羡慕。法国韩国资料馆的片子修复之后还主动上传 Youtube 供影迷免费观看呢。某些地方的资料馆美名其曰保护国有资产不被流失，吃着公粮不干事，让馆藏胶片就烂在库存里呗。不要修一部《盘丝洞》就大吹特吹，被某人写进书里，结果到现在就根本没放过几次，想看到还得靠被上传网络的盗版。
一个完整流水线，每一环被描述的同时传递着信念，不会高大到肃然，但踏实地传递着感动。亚洲也不只有日本出匠人。
走马观花。@YouTube