talkietime

February 10, 2008

Soundtrackers,

I have experience with many Panasonics, including two examples of those manufactured in 2007. I can not recommend the current (2007) models due to bugs (some that have recently started appearing), design flaws, and, with combo recorders, the lack of essential dubbing features that are found in 2006 and some 2005 models.

Pansonic combo recorders, DMR-ES35V (from 2006) and DMR-ES30V (from 2005) are full-featured and have performed well in my service. There are two other similar models, DMR-ES45V and DMR-ES46V (from 2006). All these have analog tuners that will continue to be useful when enslaved to a digital cable box. I would not hesitate to purchase any of these models if they may be found new or refurbished by Panasonic. Your present VCR may also be connected to any of these or to a DVD recorder that does not have a VHS section. One DVD recorder that has served well is the DMR-ES15 (from 2006). These sometimes may also be found new or refurbished by Panasonic. One model to avoid is the DMR-ES40V (from 2005).

I have just checked Amazon finding new and refurbished DMR-ES35V combo recorders reasonably priced. New models come with the original one year warranty. Models refurbished by Panasonic come with a 90 day warranty. Again, I must repeat that my Panasonics purchased refurbished have performed well in very heavy use. Occasionally new or refurbished Panasonics appear on eBay or other online services.

My Panasonics have been purchased new, refurbished and used. I have even purchased as-is parts machines and cannibalized them to keep those purchased used in service.

In the Information Please! thread I gave the same advice with more detail:

Panasonic's 2007 model combo recorders DMR-EZ37, DMR-EZ47, DMR-EZ475 are limited to a front panel control for dubbing. At first this seems quite user-friendly. The drawback is that this dubbing method is not really as user-friendly for SELECTIVE dubbing as it does not incorporate two essential features, Time Limited Dubbing/Copying and Flexible Dubbing/Copying as found on 2006 and some 2005 models. I have some experience with front panel copying/dubbing controls as it is one of two dubbing methods available on my earlier models. Front panel dubbing is satisfactory for occasional dubbing or copying an entire videotape without supervison, but the controls do not allow customized settings. Selective dubbing with front panel controls requires frequent supervision. And dubbing initiated from front panel controls stops and starts, dividing recordings into new titles whenever encountering videotape index marks or whenever it is deemed that one recording has ended and another begins. Sometimes a scene change or a commercial will cause a new title to be started.

My recent dubbing project included home-recorded videotapes that I had recorded over a twenty-year period. I was selective in what I chose to preserve to DVD. During the ten month dubbing project, concluded in early September, I usually had four Panasonic combo recorders running sixteen hours per day. Sometimes as many as seven Panasonic combo recorders were running up to eighteen hours per day. These Panasonics, DMR-ES35V models (from 2006) and the similar DMR-ES30V models (from 2005) also feature menu-initiated dubbing that allows Time Limited Dubbing/Copying and Flexible Dubbing/Copying, the two essential features for such an extensive selective dubbing project. These features, accessed from the FUNCTIONS menu on the remote control, streamline selective dubbing through customized settings so the Panasonics may be left alone to do their work with very little supervision. This method of dubbing produces seemless recordings.

Without Time Limited Dubbing/Copying and Flexible Dubbing/Copying my dubbing project would have occupied a much longer, labor-intensive committment.

For selective dubbing there is very little advantage to a current Panasonic combo recorder. A less expensive Panasonic DVD recorder interconnected with an external VCR will perform the same function and allows for workarounds that emulate the essential dubbing features missing from current model Panasonic combo recorders.

If facing an extensive selective dubbing project I would give consideration to these Panasonic combo recorders: DMR-ES35V, DMR-ES45V, or DMR-ES46V (all 2006 models). I have four DMR-ES35V models (and two of the similar DMR-ES30V models from 2005). I purchased some of these new, some refurbished and some used. These Panasonic models may sometimes be found on eBay or other online sources factory refurbished to new condition by Panasonic, with a 90-day Panasonic warranty, and at very reasonable prices. The refurbished models I have purchased have performed well and been very reliable. Used models do not have warranties.

February 10, 2008

My favorite TCM programming is early talkies through the film noir era. I generally do not care for movies produced after 1960, but there are some exceptions.

With my Panasonics I record most black and white material at the EP speed (six hours per DVD). (Panasonics may also be set to record eight hours per DVD. Visit the SETUP menu to change the default EP speed to eight hours.) At the EP speed black and white picture quality is satisfactory and color picture quality is watchable but only of fair quality. For much better picture quality I use the LP speed (four hour per DVD) for black and white material of special merit and for very good color reproduction. Occasionally I may use the SP speed (two hours per DVD) or the Flexible Recording feature that fits or fills a DVD with a recording of specific length for best picture quality.

Panasonics set to record at LP (four hours per DVD) or better give 500 lines of resolution. Other brands need to be set at SP (two hours per DVD) to give this resolution. This was an important factor in my purchase of Panasonic DVD recorders and combo recorders.

In September 2007 I concluded a ten month project dubbing to DVD selected portions of my home-recorded time-shifted videotape archive going back to 1986. During this project there were usually four Panasonic DMR-ES30V and DMR-ES35V combo recorders running up to sixteen hours per day. Occasionally there were six or seven Panasonic combo recorders or DVD recorders and two Toshiba VCRs running up to eighteen hours per day. I also continued to time-shift from TCM and other cable services before, during and since the dubbing project.

Currently I have twelve functional Panasonic DVD recorders or combo recorders, five in current daily use and seven reserved for standby use. Of my six most frequently used Panasonics the average utilization is 3,008 recording hours per machine (as of 5 February 2008). (I keep track of this information in order to maintain DVD drive hub, spindle and lens servicing and to monitor power supply electrolytic capacitor longevity in these machines. I do not keep track of play hour utilization as this is a far less demanding function as long as burned disc hub and spindle areas are kept clean.) One Panasonic, my first DMR-ES30V (a 2005 model) had a DVD drive failure after eleven months' use. That drive was replaced by Panasonic under warranty. That machine has more than 4,200 hours recording. Last month that machine was set aside for servicing and standby use. At some point I may rotate that machine back into regular service as it is a reliable performer.

I use TDK, Maxell or Verbatim DVD-R media for archival use. Due to an excessive failure rate, one in every six blank discs, I do not use Memorex brand DVD-R discs.

February 9, 2008

Soundtrackers,

I have never had difficulty recording any movies shown on TCM with Panasonic DVD recorders and combo recorders manufactured in 2005 and 2006. All these have analog tuners. Two of my Panasonics are enslaved to a Comcast digital cable box for the specific purpose of recording TCM.

I also have one Panasonic DVD recorder with analog/digital tuning. This Panasonic, manufactured in 2007, is set up cable-ready (without a cable box) so it is not used to record TCM.

I have some brief experience with a DVD combo recorder manufactured by Funai. These are marketed under several brand names, Magnavox, Sylvania, and others. I found that this combo recorder deemed a variety of programing from the digital cable box as "copyright protected" so it frequently refused to record. This combo recorder also found home-recorded videotapes (that I recorded from AMC in the early 1990's) as "copyright protected" and refused to copy the recording. I had no problem copying the very same recording with a Panasonic combo recorder. I contacted Funai Customer Support. They said that some of their products were overly sensitive and suggested that I return the product to Wal-Mart for exchange or refund. I took the refund.

I have read many user comments or reviews that Sony DVD recorders are also very sensitive to copyright protection.

February 9, 2008

There were so many other considerations to this incident, particularly the reasons why the the US government did not become "involved." Of course a movie is not supposed to be a documentary. But with its long running time there certainly could have been some more meat and less fluff.

As an example, A Night to Remember (1958) is a far better movie than Titanic (1997) IMHO.

After this TCM showing some Hollywood type is probably thinking of remaking Voyage of the Damned with a few plot twists. All the passengers are homosexual and the St. Louis return voyage strays off course and there is a collision with an iceberg.

February 8, 2008

A number of matters mentioned in this current thread have been discussed in greater detail in this thread:

http://forums.tcm.com/jive/tcm/thread.jspa?threadID=121656&start=30&tstart=0

The TCM "business model" that keeps TCM a viable business has been discussed between several posters, myself included, in posts appearing early on 1/27/2008. Comparisons with AMC, and its downfall, are found in earlier posts in that same thread.

It is to be regretted that discussions of the old/new topic in that thread sometimes generated more heat than light.

February 7, 2008

TCM is a Time Warner company.

Ahead of the Bell: Time Warner

Analysts Say Spinoffs Could Lift Time Warner Stock but Question Value of AOL and Cable Units

February 07, 2008: 08:00 AM EST

NEW YORK (Associated Press) - Analysts said Thursday that Time Warner Inc.'s plan to sell AOL's dial-up access business, and perhaps spin off the rest of Time Warner Cable, gives the company an opportunity to increase its value.

Time Warner reported its fourth-quarter results Wednesday, and detailed plans to separate AOL's slumping access business from the more successful advertising business. The company may also spin off the rest of Time Warner Cable, of which it owns 84 percent.

Goldman Sachs Ingrid Chung said the move will create strategic options for AOL and added that Time Warner intends to focus on improving profit margins instead of gaining market share.

"We view the plan as balanced and reasonable - it's clear that things will change, but that change will be gradual and thoughtful," she said.

Soleil Securities analyst Laura Martin said she expects Time Warner's leadership to spin off pieces of the company to reduce costs and find new value. That will lift the shares in spite of weakness in the U.S. economy, and in her view, makes Time Warner one of the best media stocks in 2008.

Other analysts questioned the value of AOL, however. Jeff Wlodarczak of Wachovia Capital Markets had difficulty imagining a buyer for AOL's dial-up or advertising business. Because of that lack of interest and declining business, he cut his estimate of AOL's value to $13 billion from $20 billion.

"Given negative trends in the access business, the value of that asset would seem to decline daily," he wrote.

Wlodarczak also reduced the value of Time Warner Cable to $42 billion from $48 billion, lowering his price target on the stock to a range of $16 to $18 per share, from $19 to $21.

The stock closed at $15.71 Wednesday.

February 7, 2008

When you wish to browse elsewhere just minimize TCM and then maximize it upon your return.

February 6, 2008

Fred,

Another very perceptive (thumbnail) social history.

My only question, isn't Scotch most commonly a whisky? A Scot is someone from Scotland. Such folks are Scottish, unless they've been tippling, in which case might they be scotched?

Great information as is your practice, thank you!

Message was edited by: talkietime

February 6, 2008

Madeleine,

If you want to find an earlier post, yours (or someone else's), click on your (or their) name in the left column at the top of the post. Links showing the thread and a bit of the post will appear. Notice at the bottom of the list that you may navigate to additional pages of user messages.

February 6, 2008

There are several movies showing this month that are worthwhile, including some I've not seen or recorded before. Most of the "classics" being shown during Oscar month I've seen/recorded before.

So far this month I've seen/recorded: Them (1954), Wings (1927), Sunrise (1927), The Broadway Melody (1929) and Janie (1944).

I'm looking forward to: Five Star Final (1931), Libeled Lady (1936), the Sin of Madelon Claudet (1931), Kitty Foyle (1940), Once Upon a Honeymoon (1942), Suzy (1936), One Night Of Love (1934), Little Big Man (1970), L.A. Confidential (1997), The Great Ziegfeld (1936), and Cimarron (1931). I've seen/recorded some of these before. There are certainly some others I'll be watching/recording and some others I might have overlooked, including a few of the Hitchcock titles last shown by TCM in 2005.

For the most part Oscar month gives my DVD recorders a well-deserved rest and allows for cleaning drive lens, spindles and hubs.

Oscar month allows me time to find some real "classic" movies that might be shown on RetroPlex.

The March issue of Now Playing arrived today. A quick look indicates that March will be better, but there is still "modern" dreck thrown into the programming mix. If I'm to watch dreck, I prefer that of the 1930s-1940s "classic" era to "modern" dreck.

February 4, 2008

The Nostalgia Channel had old movies, sometimes with poor prints and sometimes with good prints. There were also shorts, Star Clips (brief star biographies), soundies, newsreels, trailers, intermission promos, and some early TV commercials. Our cable provider dropped The Nostalgia Channel in favor of AMC in 1990. The Nostalgia Channel later became the American Life network that currently runs older TV series.

Tempo showed some old movies, sometimes without commercials, but the prints were often in poor condition, perhaps 16mm films scrounged from TV station libraries. Tempo was purchased by NBC who relaunched it as CNBC.

Several of our local broadcast stations showed older movies in the 1960s and 1970s, usually in the wee hours or on weekends.

February 4, 2008

Kenneth,

While I seldom watch or record sporting events the Super Bowl was of special interest to a relative so I recorded the whole event with my Panasonic DMR-EZ17 DVD recorder (with NTSC and ATSC tuning). The game was recorded at the LP speed (four hours per disc) on two discs.

This DMR-EZ17 is set up cable ready (without a cable box) on Comcast. I watched portions of the game on a LCD HDTV connected to the same cable feed through a splitter. This TV (with NTSC, ATSC, Clear QAM) produced stunning picture quality when watched live.

As the LP setting on my Panasonics always produces very good picture quality I was dissappointed when I sampled the LP recording through both the component and composite inputs to the same TV. I found the recorded images to be of only poor to fair picture quality. There were random digital artifacts and a generally fuzzy picture, even while the players were standing around between plays. Action scenes were even worse. The commercials seemed to be of much better picture quality.

This is probably an example of DRM impact upon home-recording.

February 4, 2008

Jeff,

Welcome to TCM!

That simple hook-up is all it takes to start an archive of home-recorded DVDs.

Enjoy your new hobby.

January 31, 2008

Arturo,

On another thread there has been heated discussion of the perceived "trend" toward more recent movies on TCM. Here is my follow-up posting in that discussion:

I don't want to see TCM go the way of AMC. In an earlier post I described AMC from the good years 1990 through the 1997/1998 period and its downfall through the 1999/2002 period. AMC abandoned a great heritage when it ceased to be "American Classic Movies."

It seems to me that before TCM came on the scene in 1994 Turner Network Television (TNT) was the prototype for TCM. In the early 1990s the Turner film library formed the main part of TNT's programming. There were themed days/programming blocks made up of gangster films, musicals, romance, heros, classic literature, classic shorts and other "in-betweens," featured actors/actresses, etc. The "classics" were often programmed late in the evening, over-night, or in the morning hours. More recent films were shown in the afternoons and "prime-time." And there were commercials. TNT and AMC were my favorite cable channels in those days.

When Turner Broadcasting brought TCM into its cable lineup in 1994 the former TNT programming was moved over to TCM where the movies were shown uncut and without commercials. (In my household we had TCM for the first half of 1997 but not again until 2004.)

Since TCM and AMC did not receive advertising revenue or a premium level of subscription revenue, both networks actually competed for the most viable business arrangements with the various cable providers. Since TCM and AMC shared a specific and limited "niche" viewership that would likely support but one such network per cable provider, one or the other network seemed doomed to fail. AMC blinked first by adding commercials to increase revenue; and to increase viewership soon after that there followed drastic format changes designed to draw in younger viewers. Advertising revenue increased with increased viewership ratings. Instead of programming classic movies uncut and without commercials, the "bottom line" became AMC's cause.

While the great old AMC was lost between 1999-2002, we should not draw too close a comparison between AMC and TCM. The familial comparison should be to TNT, where the emphasis became made-for-TV movies and reruns of TV series from other broadcast networks, all supported by advertising revenue based upon viewership ratings. There is a place in the spectrum of networks for this programming. TNT and several other networks serve this audience. One might even say that this market segment is over-saturated.

We need to remember these factors as we discuss particular "trends" with the present-day TCM.

We need not be so concerned with what we perceive as a change in programming or emphasis. There is only one network serving the "classic movies" niche. While Fox Movie Channel might compete with TCM I understand that they have chosen to fill a somewhat different niche than TCM. (I do not subscribe to FMC but I have read others' comments.)

We need to be more concerned that TCM might determine that it needs commercial advertising to remain a viable business. At that moment TCM becomes less concerned with revenue through a per-capita of subscribers; and becomes reliant upon viewership ratings/demographics that determines advertising revenue. Such a scenario is more likely to bring on the demise of TCM as we know it.

January 28, 2008

AMC ran the widescreen version of The Big Trail (1930) on 27 April 2001. It ran a few seconds short of two hours. While I sampled this recording I did not see any commercial interruptions. My videotape recording was only of fair quality due to Comcast signal quality that day. I copied this recording to DVD and disposed of the videotape in June 2007.

January 28, 2008

Roland,

The most recent discussion of this topic is found here:

http://forums.tcm.com/jive/tcm/message.jspa?messageID=8042921#8042921

January 28, 2008

This thread came back to the top because I found it necessary to delete/edit some misinformation in an earlier post.

January 28, 2008

There are several discussion groups that have dealt at some length with this and related topics. Sometimes these discussions focus on technology and sometimes on issues of "fair use" or "rights" of the various parties. Sometimes the discussions generate more heat than light.

These discussions attempt to deal with newly arising realities of copyright encoding within digital and HD transmission and reception technology, and with limitations to recording by hard drive DVRs provided by cable and satellite providers. Such current products do not allow for production of DVD copies of copyrighted material.

There are also discussions of brands and models of general consumer DVD recorders that have been observed to be more or less restrictive in recording copyrighted material.

Some discussions of reproduction of HD transmissions are, for want of a better term, "hacker discussions" where implementation of such theories may land these folks in jail.

Aspects of these issues have been mentioned from time to time on the TCM message board but the most comprehensive discussions may be found elsewhere.

January 28, 2008

Fred,

I am most often in agreement with you. Now and then we may disagree.

On any discussion board there is room for posters to disagree. Some of those who take issue with you have not comported themselves well. This brings reproach upon them, not you.

Most of the movies made since around 1960 are of little interest to me, but there are a few exceptions.

When TCM programs modern movies not to my liking I may turn to my home-recorded DVD archive for a good old movie. In fact, I may watch, for the first time, a time-shifted movie originally shown on the Nostalgia Channel in the 1980s, AMC in the 1990s or TCM in this decade. When TCM programmed Bogart Week in January 1997, it was round the clock Bogart without much duplication. I was able to time-shift the major portion of those movies, including some I've yet to see.

I seem to remember a couple of movies where Raymond Burr shot William Tallman and Harry Morgan shot Jack Webb; or was it the other way round? Doesn't matter, I've copied them to DVD so I should see them again some day. Great fun, eh?

January 28, 2008

Ziggyelman,

Here are two possibilities:

1-the DVD recorder or DVR you are using is particularly sensitive to copyright flags that prevent your recording. Some overly-sensitive brands are Sony and the Funai brands (SV2000, Magnavox, Sylvania and some others).

2-Encore, or your program provider, may have implemented a higher degree of copywrite protection.

My older Panasonics (analog tuner DMR-ES30V, DMR-ES15, DMR-ES35V models manufactured in 2005 and 2006) are set up to record encoded premium channels such as TCM and the Encore group from a Comcast digital converter box. These Panasonics have not experienced any difficulties recording the Encore group of channels. (Of course, I seldom record from Encore channels.)

I recorded Lady With a Torch from Encore on 1/8/1999 with a Toshiba M781 VCR (manufactured in 1996); and from MoviePlex on 1/8/2008 with a Panasonic DMR-ES30V (manufactured in 2005). The only other Encore/Starz group recording this month was the pan-and-scan version of Day of the Bad Men (1958) from Starz On Demand on 1/21/2008 with a Panasonic DMR-ES15 (manufactured in 2006).

My Panasonic DMR-EZ17, an analog/digital tuner model (manufactured in February 2007) is set up to record analog and non-encoded digital channels cable-ready (without a converter box). This model has had a few occasional failures of a scheduled recording from a local digital broadcast channel but this failure is deemed to be due to a product "bug" that has been documented and discussed on the AVS discussion board. This model records the local HD stations in SD.

Message was edited by: talkietime

January 27, 2008

Fred,

I agree with you, I don't want to see TCM go the way of AMC. In an earlier post I described AMC from the good years 1990 through the 1997/1998 period and its downfall through the 1999/2002 period. AMC abandoned a great heritage when it ceased to be "American Classic Movies."

It seems to me that before TCM came on the scene in 1994 Turner Network Television (TNT) was the prototype for TCM. In the early 1990s the Turner film library formed the main part of TNT's programming. There were themed days/programming blocks made up of gangster films, musicals, romance, heros, classic literature, classic shorts and other "in-betweens," featured actors/actresses, etc. The "classics" were often programmed late in the evening, over-night, or in the morning hours. More recent films were shown in the afternoons and "prime-time." And there were commercials. TNT and AMC were my favorite cable channels in those days.

When Turner Broadcasting brought TCM into its cable lineup in 1994 the former TNT programming was moved over to TCM where the movies were shown uncut and without commercials. (In my household we had TCM for the first half of 1997 but not again until 2004.)

Since TCM and AMC did not receive advertising revenue or a premium level of subscription revenue, both networks actually competed for the most viable business arrangements with the various cable providers. Since TCM and AMC shared a specific and limited "niche" viewership that would likely support but one such network per cable provider, one or the other network seemed doomed to fail. AMC blinked first by adding commercials to increase revenue; and to increase viewership soon after that there followed drastic format changes designed to draw in younger viewers. Advertising revenue increased with increased viewership ratings. Instead of programming classic movies uncut and without commercials, the "bottom line" became AMC's cause.

While the great old AMC was lost between 1999-2002, we should not draw too close a comparison between AMC and TCM. The familial comparison should be to TNT, where the emphasis became made-for-TV movies and reruns of TV series from other broadcast networks, all supported by advertising revenue based upon viewership ratings. There is a place in the spectrum of networks for this programming. TNT and several other networks serve this audience. One might even say that this market segment is over-saturated.

We need to remember these factors as we discuss particular "trends" with the present-day TCM.

We need not be so concerned with what we perceive as a change in programming or emphasis. There is only one network serving the "classic movies" niche. While Fox Movie Channel might compete with TCM I understand that they have chosen to fill a somewhat different niche than TCM. (I do not subscribe to FMC but I have read others' comments.)

We need to be more concerned that TCM might determine that it needs commercial advertising to remain a viable business. At that moment TCM becomes less concerned with revenue through a per-capita of subscribers; and becomes reliant upon viewership ratings/demographics that determines advertising revenue. Such a scenario is more likely to bring on the demise of TCM as we know it.

January 25, 2008

I, too, enjoy watching some programming in HD. But TCM often programs my favorites, early talkies through the film noir era, at inconvenient hours. For that reason most of my TCM viewing is time-shifted to DVD by DVD recorders. (Since copying to DVD selected portions of my home-recorded videotape archive I have begun watching, for the first time, some movies originally shown on the Nostalgia Channel in the 1980s and AMC in the 1990s.)

Digital and HD technology provides a better viewing experience but limits the ability to record through more sophisticated copyright encoding, the so-called broadcast "flag." Such encoding may originate from movie/program producers, programming services (HBO, Showtime, etc.) cable and satellite providers (Comcast, Dish, etc.) and even local broadcast stations.

With the coming of digital tuning and HD technology there are today fewer DVD and hard drive recorders being offered in the US consumer marketplace than just a year ago. In a few years DVD recorders that may record from antennas, cable, and satellite may vanish from the marketplace.

Digital and HD transmission and tuning technology flags are very effective at preventing or restricting the recording of copyrighted material. There is no requirement that copyright holders must allow recording of their product. Some copyrighted programming content allows for "fair use" i.e., one recording on hard drive recorders provided by cable and satellite services. These recorders can not produce a DVD recording.

There is lively and sometimes heated discussion of such matters on technical forums.

General consumer product manufacturers are moving away from producing products mired in a quagmire of copyright issues; and where consumers will complain that such products are defective as they may no longer record some copyrighted material to DVD.

Message was edited by: talkietime

January 24, 2008

Our cable provider transitioned from the Nostalgia Channel to AMC around 1990. Bob Dorian was the original AMC host. Later Nick Clooney alternated as host. For a time Gene Klaven was another host.

For several years AMC programmed a great mix of classic movies from Fox, Paramount, Universal, and Columbia. There were also occasional movies from other studios, including the smaller studios. AMC had annual Film Preservation Festivals and raised money for that purpose.

Beginning around 1992 AMC began showing a few widescreen movies (sometimes shown after the pan and scan version of the same movie to give viewers a choice). The widescreen version of The Big Trail (1930) was hosted by Alec Baldwin on 27 April 2001, at the end of the AMC "classic" era.

From 1996-1998 AMC produced Remember Wenn, a drama series set in a Pittsburgh radio station circa 1939-41. The Lot, a drama series set in a movie studio, replaced Remember Wenn in 1999.

On Saturday mornings Bob Dorian hosted Movie Palace Memories from a variety of restored movie palaces, including Radio City Music Hall (owned by AMC's corporate entity). There were Betty Boop cartoons and Screen Songs (often mixing animation with a bouncing ball sing along led by popular performers of the day); Popular Science and Unusual Occupations shorts, all originally from Paramount; Fox Movietone or Paramount Eyes and Ears newsreels; Laurel & Hardy and a few other Hal Roach shorts; the next chapter from a cliff-hanger serial; followed by a featured film.

Occasionally there were Laurel & Hardy shorts marathons (that included some Spanish language versions); and a number of serials where all the chapters were run in a single four hour programming block.

AMC co-produced or showed a number of film documentaries and biographies.

Beginning around 1997 AMC began programming more 1960's and 1970's movies into the mix.

AMC hosts Bob Dorian and Nick Clooney departed in the summer of 1999. Commercials began airing between movies in late 1999/early 2000. There were attempts to attract younger viewers with the much younger John Burke as the main host. There were many more 1970's and 1980's movies added to the mix. There was frequent cross-promotion and programming blocks borrowed from AMC's second network "Romance Classics" (later WE--Women's Entertainment). Leslie Nielsen hosted a series of Three Stooges shorts. The American Pop series was aimed at "babyboomers." While I am a babyboomer I always prefered early talkies through the film noir era so my AMC viewing dropped way off. Toward the end of this period about the only classic movies AMC programmed were those of Shirley Temple; and classic Universal horror films shown in the Monsterfest series, sometimes with such guest hosts as Linda Blair, Carmen Electra and Whoopi Goldberg to appeal to younger viewers.

In 2001 commercials interrupted movies and there were very few "classics" in the programming mix. My AMC viewing had ended. John Burke departed sometime in 2001. In 2002, as I surfed channels, I saw that American Movie Classics had become "amc" and completed their youth transition where a bunch of twenty-somethings sat around spewing mindless chatter about 1980's and 1990's movies.

January 24, 2008