Tag Archives | Cinema
Pramod Pati, who died an untimely death at the age of 42, worked for the Films Division of the Ministry of Information and Broadcasting in India, which commissioned feature-length and short documentaries as well as short animation films for the purposes of cultural archiving and nationwide information dissemination. The documentaries generally consisted of profiles of artistes practicing traditional forms, educational films for adults, and simple moral tales and basic literacy courses for children. Although there was an obvious restriction on the type of subjects filmmakers can choose, the Films Division, like the Kanun in Iran, was free from commercial concerns and thus presented a higher scope for formal experimentation for directors.
Euro-cult great Jess Franco has passed away after producing nearly 200 films. A unique filmmaker, Franco’s work fits in a category all its own, combining art, the erotic, and the macabre into titles like Lorna the Exorcist, The Awful Dr. Orloff, Succubus, Venus in Furs and of course, the eponymous Vampyros Lesbos. While Franco isn’t to everyone’s taste, he certainly stretched the definition of erotic horror cinema.
Unclear Holocaust is a feature-length autopsy of Hollywood's New York-destruction fantasy, gleaned from over fifty major studio event-movies and detourned into one relentless orgy of representational genocide. It is the unrivaled assembly of the greatest amount of capital and private property heretofore captured in one frame, that, with unfathomable narrative efficacy, suicides itself in an annihilatory flux of fire, water, and aeronautics...We see the Cinema as it really is; an unequivocal annihilation, the auto-genocidal mass fantasy of a megalomaniacally depressed First World.
Between 1957 and 1959, Belson collaborated with composer Henry Jacobs on the historic Vortex Concerts, which combined electronic music with moving visual abstractions projected on the dome of Morrison Planetarium in San Francisco (and also the Brussels World Fair in 1958). These pioneer Light Shows used filmed imagery as well as multiple projections of geometric and polymorphous light phenomena. The Vortex experience inspired Belson to abandon traditional painting and animation in favor of creating visual phenomena in something like real time, by live manipulation of pure light. Many of the films share certain images which Belson regards as "hieroglyphic-ideographic" visual units that express complex ideation not easily stated in verbal terms.
After Hollywood began producing films with soundtrack music, a publicity campaign foretold that recorded (“canned”) music, symbolized by hostile robots, would choke the art, color, and humanity out of society. Scoff if you will…but there’s something magical about a live band accompanying a film. Via Paleofuture:
After the release of The Jazz Singer in 1927, thanks to synchronized sound, the use of live musicians was unnecessary. In 1930 the American Federation of Musicians formed a new organization called the Music Defense League and launched a scathing ad campaign to fight the advance of this terrible menace known as recorded sound.
James Mcbride, co-writer of Spike Lee’s ‘Red Hook Summer,’ has penned a pull-no-punches open letter to Hollywood, detailing some serious issues on race and representation in cinema, and what it means to be a storyteller in an overtly commercial studio system. Via Colorlines.
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The reviews for Spike Lee’s film “Red Hook Summer” that premiered at Sundance earlier this week have not been good. His comments made after the premiere about Hollywood studios knowing “nothing about black people” made more headlines than the actual film.
An open letter published yesterday by “Red Hook” co-writer, James McBride, is sure to make even more headlines because he takes the film community to task and says “nothing in this world happens unless white folks says it happens.”
Below is an excerpt from McBride’s open letter on the 40 Acres and a Mule website:
Three days ago, at the premiere of “Red Hook Summer” at The Sundance Film Festival, Spike, usually a cool and widely accepting soul whose professional life is as racially diverse as any American I know- lost his cool for 30 seconds.
A Trip to the Moon (French: Le Voyage dans la lune) is a 1902 French black-and-white silent science fiction film. The film was written and directed by Georges Méliès, assisted by his brother Gaston. It is based loosely on two popular novels of the time: From the Earth to the Moon by Jules Verne and The First Men in the Moon by H. G. Wells. It is the first science fiction film and uses innovative animation and special effects, including the well-known image of the spaceship landing in the moon's eye.
When is enough enough? Real Clear Politics reports:
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Shortly after Republicans swept last November to a historic victory in which Sarah Palin was credited with playing a central role, the former Alaska governor pulled aside her close aide, Rebecca Mansour, to discuss a hush-hush assignment: Reach out to conservative filmmaker Stephen K. Bannon with a request. Ask him if he would make a series of videos extolling Palin’s governorship and laying to rest lingering questions about her controversial decision to resign from office with a year-and-a-half left in her first term. It was this abdication, Palin knew, that had made her damaged goods in the eyes of some Republicans who once were eager to get behind her potential 2012 presidential campaign.
The response was more positive than Palin could have hoped for. He’d make a feature-length movie, Bannon told Mansour, and he insisted upon taking complete control and financing it himself — to the tune of $1 million.