The style is relatively unchanged, but the images--press conferences, news events, disasters--convey his vision of the world in a new, direct, political fashion. Featuring startling footage of the City Hall riots after Councilman Dan White received a light prison sentence for slaying San Francisco Mayor George Moscone and Supervisor Harvey Milk, Noblesse Oblige opens a new chapter on Sonbert's career. --David Ehrenstein, LA Reader. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.
The style is relatively unchanged, but the images--press conferences, news events, disasters--convey his vision of the world in a new, direct, political fashion. Featuring startling footage of the City Hall riots after Councilman Dan White received a light prison sentence for slaying San Francisco Mayor George Moscone and Supervisor Harvey Milk, Noblesse Oblige opens a new chapter on Sonbert's career. --David Ehrenstein, LA Reader. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.
1981-01-01
0
A static close-up of a clock. Preserved by the Academy Film Archive in 2007.
Begins as a whimsical piece with 'sheets' of lines running down the screen, progressing into more and more complex geometic patterns but without deviating from the basic precepts of 'dot and line' animation. Jazz piano on a lazy Sunday afternoon, and a spring color palette. -- Stephanie Sapienza. Preserved by the Academy Film Archive in 2001.
Olivia may have felt no need to change, but the world around her was not bound by such an impractical sentiment. Olivia’s Place is gone. The site where it used to stand is now a sort of plaza between two large old wood frame houses that were moved to their present location from elsewhere in the city. One of these houses is occupied by a restaurant, the other is occupied by the California Heritage Museum. (Morgan Fisher) Preserved by the Academy Film Archive in 2008.
A magic aeroplane takes two children to the Moon, where they encounter prehistoric monsters and witness a battle between them. As far as is known this was the first film to combine realistic stop-motion dinosaurs and live-action actors in the same shot. Preserved by the Academy Film Archive in 2008.
“CINDERELLA is a musical treatment of the fairy tale. I have broken apart the story and set it as a mechanical game with a series of repetitions where CINDERELLA is projected back and forth like a ping-pong ball between the hearth and the castle. She never succeeds in satisfying the requirements of the ‘Cinderella Game’. The film was shot MOS, the dialogue is lip-synched, and along with the out-front score and effects track magnifies the film’s sense of alienation.” — E.B. 1984 - Preserved by the Academy Film Archive in 2017.
Produced in association with the Academy of Motion Pictures Arts and Sciences as part of a twelve part series called The Industry Film Project, meant to inform the public about specific facets of production and industry life. It shows that the "magic seat" of a movie theater can transport the movie-goer to all types of adventures, such as the Oklahoma land rush; being rescued by a sheik in the Sahara Desert; watching a huge ape climb the Empire State Building; or experiencing a hurricane in the south Pacific. No matter what type of thrill your looking for, you'll find it on the big screen. Preserved by the Academy Film Archive in partnership with Library of Congress Motion Picture, Broadcasting, and Recorded Sound Division in 2012.
“Chronicles of a Lying Spirit (by Kelly Gabron) is less a depiction of 'reality' than an exploration of the implications of the mediation of Black history by film, television, magazines, and newspapers. Using her alter ego, Kelly Gabron, Smith fabricates a personal history of her emergence as an artist from white-male-dominated American history (and American film history). Smith collages images and bits of text from a scrapbook by 'Kelly Gabron' that had been completed before the film was begun, and provides female narration by 'Kelly Gabron' that, slowly but surely, makes itself felt over the male narration about Kelly Gabron (Chris Brown is the male voice). The film's barrage of image, text and voice is repeated twice, and is followed by a coda. That most viewers see the second presentation of the imagery differently from the original presentation demonstrates one problem with trusting any media representation.” Preserved by the Academy Film Archive in 2016.
A series of terrifying dramas of male-female relationships offset against the background of a New York tenement. Preserved by the Academy Film Archive in partnership with The Film Foundation in 2012.
This film, photographed and edited by Les Blank, produced and directed by Pieter Van Deusen, documents a spontaneously improvised concert by musician Christopher Tree. With his one-man orchestra, including 40 Tibetan temple gongs, flutes, tympani and wind chimes, Christopher Tree whirls and weaves his sound tapestry within a pristine forest. Preserved by the Academy Film Archive in 2013.
Set in the holy city of Benares, this is the second film about the detective Feluda, in which he goes for a holiday along with his cousin, Topshe and his friend, Lalmohan Ganguly. But the theft of a priceless deity of Lord Ganesh (the Elephant God) from a local household forces him to investigate. Preserved by the Academy Film Archive in 2007.
The Madam of a brothel satisfies the erotic fantasies of her customers, while a revolution is sweeping the nation. Preserved by the Academy Film Archive in 2010.
Legacy takes the audience on a rapid-fire journey through the evolution of the world, starting with a cosmic bang, evolving through billions of years of plants, animals and the creation of natural resources, ending with man and his bounty – “sitting on his world contemplating his coconut”. Preserved by the Academy Film Archive in 2012.
Amitabha Roy is a Calcutta-based scriptwriter, driving around in the country to collect material for a film. His vehicle breaks down in a small town. A tea planter, Bimal Gupta, offers hospitality for the night. Amitabha is forced to accept the offer as he has no alternative. Preserved by the Academy Film Archive in 2005.
Carriage Trade was an evolving work-in-progress, and this 61-minute version is the definitive form in which Sonbert realized it, preserved intact from the camera original. With Carriage Trade, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920’s; he particularly disliked the “knee-jerk’ reaction produced by Eisenstein’s montage. In both lectures and writings about his own style of editing, Sonbert described Carriage Trade as “a jig-saw puzzle of postcards to produce varied displaced effects.” This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between individual shots. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.
"Muscle Beach is a fascinating location for people-watching in the L.A. area, and in 1963, the strangeness of its sights was much more pronounced than today. Pat O’Neill’s first film (made with Robert Abel) progresses from humorous, curious observation to energetic, graphical interaction with the sights and sounds of Santa Monica’s famed beach." —Mark Toscano. Preserved by the Academy Film Archive in partnership with Pat O'Neill in 2007.
"Bump City is a colour film about the symbolic destruction of Los Angeles. It was never a very finished film, but it was about signs and advertising, redundant communications and manufacturing, waste and monotony." —Pat O'Neill. Preserved by the Academy Film Archive in partnership with Pat O'Neill in 2007.
"Black Vision is inspired by the only passage in Jean Paul Sartre's writings which has ever specifically concerned me – the passage from Nausea wherein the protagonist sits in a park and imagines his suicide." Preserved by the Academy Film Archive in 2005.
Motion Painting No. 1 is a 1947 experimental short animated film in which film artist Oskar Fischinger put images in motion to the music of Johann Sebastian Bach’s Brandenburg Concerto no. 3, BWV 1048. It is a film of a painting (oil on acrylic glass); Fischinger filmed each brushstroke over the course of 9 months. In 1997, this film was selected for inclusion in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. Preserved by the Academy Film Archive in 2000.
A carousel barker falls in love with a young woman. Both are fired from their jobs, and when the young woman becomes pregnant, the carousel barker tries to help pull off a robbery, which goes wrong. Because of the robbery, he dies, and after spending time in hell, is sent back to earth for one day to try to make amends. Preserved by the Academy Film Archive.
Hand-painted — closed-eye — film envisioning optic feedback in response to sound. Collaborative soundtrack compiled by Joel Haertling with sound contributions by Die Tödliche Doris (WG), Zoviet France (UK), Nurse With Wound (UK), The Hafler Trio (NL), Joel Haertling (US) and I.H.T.S.O. (WG). Preserved by the Academy Film Archive in 2012.