The Deadalus Foundation\u2019s relationship with cinema has never been simple patronage. We have rarely sought credit, and almost never required it. Our interest has always been in the deeper machinery of film: the technologies, spaces, images and private convictions that allow a civilisation to dream in public.<\/p>
From the early twentieth century onwards, Foundation associates were present at the edges of moving-image culture: advising on lighting systems, projection, set engineering, architectural miniatures, mechanical effects, archive preservation and the discreet financing of ambitious work that others considered impractical. Certain records suggest an early fascination with cinema\u2019s ability to construct worlds as convincingly as any engineer constructs a bridge, aircraft or city.<\/p>
It is therefore unsurprising that our archive contains correspondence, sketches, location notes and production ephemera connected to many of the medium\u2019s defining figures. Fritz Lang understood the city as machine and myth. Ingmar Bergman treated the human face as a chamber of metaphysical inquiry. Steven Spielberg revealed the emotional power of wonder when joined to technical discipline. Martin Scorsese demonstrated that memory, violence, faith and urban life could be cut together with almost surgical precision.<\/p>
We do not claim ownership of such achievements. That would be vulgar, and untrue. But the Foundation has long recognised in cinema a sister discipline: collaborative, dangerous, expensive, visionary and dependent on people willing to build the impossible before anyone else believes in it.<\/p>
Our cultural division continues to support filmmakers, restoration projects, experimental studios, moving-image research and new forms of visual storytelling. We are particularly drawn to cinema that understands spectacle as more than display: as architecture, ritual, testimony and warning.<\/p>
The screen is often mistaken for an escape from reality. We have found the opposite to be true. At its most serious, cinema is a laboratory of consequence. It shows us the worlds we are building, the ghosts we have inherited, and the futures we may yet deserve.<\/p>"},"textColor":{"id":130434494,"value":"#{feature.text.color}"}}},{"id":5161731,"type":"button","published":1,"size":{"x":12,"y":0},"order":2,"items":[],"properties":{"text":{"id":130434495,"value":"About Us"},"href":{"id":130434496,"value":"\/aboutus\/"},"borderRadius":{"id":130434497,"value":"#{feature.border.radius}"},"align":{"id":130434498,"value":"left"},"primaryColor":{"id":130434499,"value":"#{button.primary.color}"},"secondaryColor":{"id":130434500,"value":"#{feature.text.color}"},"primary":{"id":130434501,"value":"0"}}}],"properties":{"icon":{"id":130140521,"value":null},"title":{"id":130140522,"value":"Feature Title"},"backgroundColor":{"id":130140524,"value":"#{feature.background.color}"},"padding":{"id":130140528,"value":"6"},"fullWidth":{"id":130140529,"value":"0"},"fullBackgroundColor":{"id":130140530,"value":"#{feature.fullBackground.color}"},"published":{"id":130140531,"value":"1"},"conditions":{"id":130140532,"value":"[]"},"direction":{"id":130434486,"value":"column"},"textColor":{"id":130434487,"value":"#{feature.text.color}"},"buttonText":{"id":130434488,"value":"About Us"},"copy":{"id":130434489,"value":"
The Deadalus Foundation\u2019s relationship with cinema has never been simple patronage. We have rarely sought credit, and almost never required it. Our interest has always been in the deeper machinery of film: the technologies, spaces, images and private convictions that allow a civilisation to dream in public.<\/p>
From the early twentieth century onwards, Foundation associates were present at the edges of moving-image culture: advising on lighting systems, projection, set engineering, architectural miniatures, mechanical effects, archive preservation and the discreet financing of ambitious work that others considered impractical. Certain records suggest an early fascination with cinema\u2019s ability to construct worlds as convincingly as any engineer constructs a bridge, aircraft or city.<\/p>
It is therefore unsurprising that our archive contains correspondence, sketches, location notes and production ephemera connected to many of the medium\u2019s defining figures. Fritz Lang understood the city as machine and myth. Ingmar Bergman treated the human face as a chamber of metaphysical inquiry. Steven Spielberg revealed the emotional power of wonder when joined to technical discipline. Martin Scorsese demonstrated that memory, violence, faith and urban life could be cut together with almost surgical precision.<\/p>
We do not claim ownership of such achievements. That would be vulgar, and untrue. But the Foundation has long recognised in cinema a sister discipline: collaborative, dangerous, expensive, visionary and dependent on people willing to build the impossible before anyone else believes in it.<\/p>
Our cultural division continues to support filmmakers, restoration projects, experimental studios, moving-image research and new forms of visual storytelling. We are particularly drawn to cinema that understands spectacle as more than display: as architecture, ritual, testimony and warning.<\/p>
The screen is often mistaken for an escape from reality. We have found the opposite to be true. At its most serious, cinema is a laboratory of consequence. It shows us the worlds we are building, the ghosts we have inherited, and the futures we may yet deserve.<\/p>"},"template":{"id":130434490,"value":"feature"}}}],"properties":{"title":{"id":130094377,"value":"Cinema"},"isStorePage":{"id":130094378,"value":"1"},"description":{"id":130094379,"value":"Our rich history of cinema"},"ogImage":{"id":130094380,"value":"https:\/\/images.podos.io\/qq1qdpycqgzottchuzcsdf8hpukaj3thtyywaattoojswrxv.png.png?w=1200&h=auto"}},"labels":[],"published":1,"sitemap":1,"divisionId":315888,"edited":true}