Would You Like A Cheese Puff?: The Art Of The RCA SelectaVision Videodisc CED

Posted by Mark Beaver, January 13, 2015 04:20pm | Post a Comment
 For a brief moment in time (1981-1986, to be exact) there existed a film delivery system based on needle/groove technology, just like a record player.

Launched by RCA and dubbed the CAPACITANCE ELECTRONIC DISC (CED), it was quickly supplanted by both commercially available VHS tapes and Laserdiscs, the precursor to the DVD, which read the information with light beams.

Ultimately, it was a clunky, inelegant technology prone to problems and RCA lost about $600 million on it, but there was a curious upside to its brief arc through the collective consciousness...the cover art.

For many of the CED packages, promotional artwork was commissioned for the face of the cartridge that was singular for the release of the RCA SelectaVision format. 

Below I have displayed a gallery of some of the cover art from that time, in most cases, different images than were ever seen on the more popular VHS, Laserdisc or DVD releases of the same films. 

Enjoy the beauty!

CED amityville horror josh brolin selectavisionboxcar bertha barbara hershey


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Love and Hate—The Night of the Hunter

Posted by Chuck, March 30, 2011 05:00pm | Post a Comment
Robert Mitchum in The Night of the Hunter

There’s an overriding feeling to 1950s films that everything is happy to the point of sedation. The men have fine posture and slick hair; the women are always starched, enthusiastic and dressed for appearance; the children are trite Osh Kosh cutouts. Such play-acting is a perfect backdrop for something leery, an underexposed set-up that precious few directors back then made use of. Yet, that’s why Charles Laughton’s The Night of the Hunter (1955) can’t help but slip into our times as a cult classic.

As with such forgotten films that warrant recirculation, Criterion has brought the film back out on DVD and Blu-ray, and it’s a good thing (one of our staff's fave picks in this issue of Music We Like). There are remarkable things at play, such as it being the only time Laughton (an actor) sat in the director’s chair. As sometimes happens with one-offs, he made it count by forever parting ways with ordinary. It was no small feat. He got Robert Mitchum—the kingpin of film noir—to deliver one of his best performances. Some might argue it was his best work. It’s one of the reasons the film was protected by the National Film Registry.

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