2012 in Review: No Compromise?

Last year we presented a two-part analysis of trends and achievements from the preceding twelve months of cinema. Here’s this year’s edition. — Ed.

Nothing But a Man, the independent feature from 1964 about apartheid conditions in the American South, plays in a new print at the Gene Siskel Film Center this weekend. It’s worth seeing for many reasons, but let’s focus on one detail. It opens with a peculiar credit, made no less disconcerting by the intervening five decades; instead of announcing itself as the product of a film studio, television station, or the star’s vanity label, Nothing But a Man cites the DuArt Film Laboratories as its putative producer.

This is, of course, literally true—DuArt developed the latent image recorded on the original camera rolls and then struck intermediate elements that facilitated the release prints distributed to theaters. In the most industrial sense, they produced the object to be consumed. (Amy Taubin suggests a less totalizing explanation in Artforum: Irvin Young, brother of Nothing But a Man producer/cinematographer/co-writer Robert M. Young, ran DuArt and probably offered free or steeply discounted lab services to the shoestring production.)