Not so long ago I would have swooned at the idea of savoring a parade of black-and-white widescreen classics in their original celluloid splendor. Nobody is a bigger fool for this format than myself. Why, then, would I be ducking BAMcinematek‘s “Black & White ’Scope: American Cinema” (2.27 through 3.19), a 21-film series of widescreen monochrome masterpieces, if I was living in New York? Because 15 of the 21 are being shown in 35mm, and we all know what that means — dirt, scratches, pops, possibly too-dark illumination or murky images, occasionally weak sound, reel-change marks, etc. There’s just no romance left in film projection. That was then, this is now. Digital exactitude or nothing.