From the UCLA Film & Television Archive's Website:  

Eight years after Betty Boop first appeared on-screen to become an era-defining animated icon, the Fleischer Brothers extended her on-screen family with the intention of freshening up the brand. Introduced in 1938 as Betty’s country cousin, Buzzy Boop was Betty’s comic opposite in every way. Where Betty was frequently the fetching victim of unwanted mischievousness, the gum-smacking, marble-shooting, pig-tailed dynamo Buzzy initiated chaos wherever she went. Unseen for 85 years, Buzzy Boop at the Concert is one of only two shorts she appeared in and was thought lost until a print was discovered in Russia in 2019.

This is of note to anyone in the LA Area in May, being one of 4 Betty Boops never in UM&M's Package, and thought lost for decades. If anyone attends, I hope you enjoy the short!

So, does that mean the whole Betty Boop filmography has been found?

So, does that mean the whole Betty Boop filmography has been found?

As of 2019, yes, all 4 Bettys never in UM&M's package and were deemed missing before the sold have been found, these are:

-Pudgy and the Lost Kitten; In Serge Bromberg's/Lobster Film's collection & aired on Cartoon Factory, unsure what kind of print
-Buzzy Boop; Circulates with 16mm dupes
-Honest, Love & True; Mute 16mm French print from the Netherlands discovered in 2017 by David Gerstein, with original soundtrack discovered since, of the same French Variant, now owned by Lobster Films. Preserved at UCLA
-Buzzy Boop at the Concert; Original 35mm Nitrate discovered at Gosfilmofond, a Russian film archive, in 2019. Preserved at UCLA

I didn't realize this since I wasn't going because I live in the East Coast (ahem ahem, where these films were made and should eventually be screened in this condition), but the event is free! If you can go, it won't cost a cent for a ticket

Welp. Living in Europe isn't gonna help to see this. For some reason most people don't think this one will be publically released for a while. Any chance that Fleischer restoration project is allowed to include this is their preservation collection? Is there any hope for a poor Dutchman like me?

Welp. Living in Europe isn't gonna help to see this. For some reason most people don't think this one will be publically released for a while. Any chance that Fleischer restoration project is allowed to include this is their preservation collection? Is there any hope for a poor Dutchman like me?

No chance, especially since that Fleischer project is never going to take off due to their practices. There are other people lobbying to get it released, so don't think all is lost yet

Welp. Living in Europe isn't gonna help to see this. For some reason most people don't think this one will be publically released for a while. Any chance that Fleischer restoration project is allowed to include this is their preservation collection? Is there any hope for a poor Dutchman like me?

No chance, especially since that Fleischer project is never going to take off due to their practices. There are other people lobbying to get it released, so don't think all is lost yet

What about their practices?

Any chance that Fleischer restoration project is allowed to include this is their preservation collection? Is there any hope for a poor Dutchman like me?

Which "Fleischer restoration project"? And what do you mean by "preservation collection"?

Any chance that Fleischer restoration project is allowed to include this is their preservation collection? Is there any hope for a poor Dutchman like me?

Which "Fleischer restoration project"? And what do you mean by "preservation collection"?

I'm talking about Max Fleischer's granddaughter working together with Paramount to help restore the Fleischer library. Correct me if I'm wrong?

Any chance that Fleischer restoration project is allowed to include this is their preservation collection? Is there any hope for a poor Dutchman like me?

Which "Fleischer restoration project"? And what do you mean by "preservation collection"?

I'm talking about Max Fleischer's granddaughter working together with Paramount to help restore the Fleischer library. Correct me if I'm wrong?

I see what you mean. Without intending for any condescension here, I should clarify by saying that your phrasing is a bit of an over hopeful over-generalization. What has unfolded has been more of a series of odd one-shot arrangements, rather than there being a solidified large-scale and long term plan, to that effect. The business of doing this sort of thing is very shaky at best, and not profitable—so it remains to be seen whether there will be anything more than a few piecemeal attempts at restoring more of these cartoons in tandem with Paramount's support, and access to their masters.

Also, 'restore' does not necessarily equal 'preserve.' Most industry insiders and laymen alike would consider comprehensive digital cleanups to be full 'restorations' at this point. However, a proper 'preservation' involves outputting a new restoration back to a physical film negative for posterity. While some institutional archives like UCLA are doing this with their own in-house restorations, most non-institutional and independent restorers and re-release labels often do not have that end goal in mind, nor do they generally have the necessary funding or a workflow at hand for film-outs as proper long-term preservations. I would love to be doing that with the restorations I've produced, but there just isn't enough money for that. Yet?

Any chance that Fleischer restoration project is allowed to include this is their preservation collection? Is there any hope for a poor Dutchman like me?

Which "Fleischer restoration project"? And what do you mean by "preservation collection"?

I'm talking about Max Fleischer's granddaughter working together with Paramount to help restore the Fleischer library. Correct me if I'm wrong?

I see what you mean. Without intending for any condescension here, I should clarify by saying that your phrasing is a bit of an over hopeful over-generalization. What has unfolded has been more of a series of odd one-shot arrangements, rather than there being a solidified large-scale and long term plan, to that effect. The business of doing this sort of thing is very shaky at best, and not profitable—so it remains to be seen whether there will be anything more than a few piecemeal attempts at restoring more of these cartoons in tandem with Paramount's support, and access to their masters.

Also, 'restore' does not necessarily equal 'preserve.' Most industry insiders and laymen alike would consider comprehensive digital cleanups to be full 'restorations' at this point. However, a proper 'preservation' involves outputting a new restoration back to a physical film negative for posterity. While some institutional archives like UCLA are doing this with their own in-house restorations, most non-institutional and independent restorers and re-release labels often do not have that end goal in mind, nor do they generally have the necessary funding or a workflow at hand for film-outs as proper long-term preservations. I would love to be doing that with the restorations I've produced, but there just isn't enough money for that. Yet?

I understand. Thank you for taking the time to explain that to me!

Any chance that Fleischer restoration project is allowed to include this is their preservation collection? Is there any hope for a poor Dutchman like me?

Which "Fleischer restoration project"? And what do you mean by "preservation collection"?

I'm talking about Max Fleischer's granddaughter working together with Paramount to help restore the Fleischer library. Correct me if I'm wrong?

I see what you mean. Without intending for any condescension here, I should clarify by saying that your phrasing is a bit of an over hopeful over-generalization. What has unfolded has been more of a series of odd one-shot arrangements, rather than there being a solidified large-scale and long term plan, to that effect. The business of doing this sort of thing is very shaky at best, and not profitable—so it remains to be seen whether there will be anything more than a few piecemeal attempts at restoring more of these cartoons in tandem with Paramount's support, and access to their masters.

Also, 'restore' does not necessarily equal 'preserve.' Most industry insiders and laymen alike would consider comprehensive digital cleanups to be full 'restorations' at this point. However, a proper 'preservation' involves outputting a new restoration back to a physical film negative for posterity. While some institutional archives like UCLA are doing this with their own in-house restorations, most non-institutional and independent restorers and re-release labels often do not have that end goal in mind, nor do they generally have the necessary funding or a workflow at hand for film-outs as proper long-term preservations. I would love to be doing that with the restorations I've produced, but there just isn't enough money for that. Yet?

I understand. Thank you for taking the time to explain that to me!

It's my pleasure. Unfortunately, much of the related PR has been misleading for one reason or another.

Bumping this to remind people in the area of the event tomorrow, and that because of special donors, all the tickets to this (and all the screenings for this year's Festival of Preservation) are free!

Well, never expected this to be made publicly accessible so soon.

https://cinema.ucla.edu/...uzzy-boop-at-the-concert 

https://www.youtube.com/watch?v=jhIDjS61RU4 

Well, never expected this to be made publicly accessible so soon.

https://cinema.ucla.edu/...uzzy-boop-at-the-concert 

https://www.youtube.com/watch?v=jhIDjS61RU4 

Having it online and restored is great. It would be nice if there was a version without the UCLA watermark.

Kintutoons, I'd take it. I'm just happy to see this thing after 4 years of being initially discovered! Its a pretty lively Betty for the later period, and the animation is top notch. Keep in mind, it is Public Domain, so yes, UCLA is allowed to do this without Viacom's permissions