A group of punks is observed and interviewed on a square in Hamburg-Ottensen. In close-ups, characteristic details of the outward appearance of punks and their provocative behavior are presented. The reactions of passengers and the owners of surrounding stores are recorded; some act emphatically tolerant and understanding, others reject them...
1982-01-01
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Ron Rice's Chumlum is one of those films in which the conditions of its construction are integral to the experience of watching it. It is a record of a cadre of creative people having fun on camera, playing dress-up, dancing, flirting, lazing around.
Alain Resnais & Robert Hessen use the famous Picasso mural "Guernica" in combination with newspaper headlines in an anti-war cry against the Spanish Civil War. Narration by Jacques Pruvost highlights the Guernica atrocity of April 1937, followed by a poem by Paul Eluard read by María Casares to a discordant score by Guy Bernard.
Orson Welles talks fantasy and magic in this short Vienna travelogue.
A pulsing, kaleidoscope of images set to an energetic soundtrack. This is a world in motion, dominated by mechanical and repetitive images, with a few moments of solitude in a garden.
Stan Laurel and Oliver Hardy are stopped by narrator Pete Smith for the purpose of showing the audience how much wood and wood by-products the average person carries.
A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.
A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.
An intimate study of the life of a domestic cat, taking place over a period of months as she gives birth to a litter of kittens and cares for them as they grow.
A narrator recounts the state of Great Britain near the end of WWII via a visual diary for the titular baby boy born in September 1944.
An experimental meditation on Times Square's marquees and iconic advertising that captures the concurrently seedy and dazzling aspects of New York's Great White Way.
Aleksander Sokurov brings the treasures of the Hermitage back into the light by making films about artists and their paintings. He has chosen the painter Hubert Robert, who spent a long time in Italy, and whose preference was for creating ancient ruined landscapes and naturalistic portrayals of times past. He was successful with the wealthy, who bought his works from him. The camera pans across the paintings while Sokurov speaks of a happy era, when the artist was at one with the spirit of the times, and agreed with the taste of his clients. Just how far removed from us this is, is shown by pictures of a "Nô" performance which are inter-cut on the screen. No words are necessary to describe what everybody knows today.
George Lucas's senior project at the University of Southern California in 1966. It was named for the lap time of the Lotus 23 race car that was the subject of the film. It is a nonstory visual tone poem depicting the imagery of a car going at full speed, and featuring the car's engine as the primary sound element. Shot on 16mm color film with a 14 man student crew, it was filmed at Willow Springs Raceway, north of Los Angeles, CA. The Lotus 23 was driven by Pete Brock.
After a look at some strange creatures, the narrator and camera take us to the Chaco forest, on the borders of Paraguay, Argentina, and Brazil, where a vampire bat lives, desmodus rotondus, attacking wildlife and domesticated creatures, killing small ones by draining all their blood and killing large ones by leaving a parasite in their bloodstream. Four inches long, with a 12-inch wingspread, we see it walk, approach a victim, pull out a patch of fur large enough for it to engage its teeth, then lap six or seven ounces of blood. Its saliva may be an anesthetic keeping its victims from waking. A stub nose and harelip contribute to its efficiency and its hideous look.
Claude Lelouch presents in his own vision of Iran. Between tradition and modernity, the movie reveals all the country's vision contrasts, under the very precise and aesthetic eye of Lelouch : veil and miniskirt, caviar and oil, ancestral Islamic art and the Shah of Iran.
Film historians examines the making of the 1938 "The Adventures of Robin Hood."
A documentary charting the rise and fall (and inevitable undead rise) of fictional killer Jason Vorhees from the Friday the 13th series, which takes in the "video nasty" phenomenon in general.
The March, also known as The March to Washington, is a 1964 documentary film by James Blue about the 1963 civil rights March on Washington. It was made for the Motion Picture Service unit of the United States Information Agency for use outside the United States – the 1948 Smith-Mundt Act prevented USIA films from being shown domestically without a special act of Congress. In 1990 Congress authorized these films to be shown in the U.S. twelve years after their initial release. In 2008, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". (Wikipedia)
After being tasked with creating a piece of work summarizing their filmmaking journey, 18 year old Lewis Bedford reflects on their history in film and video.
Stunning macro 3D filmmaking takes viewers on an unforgettable journey from lake bottom battles for territory to lovelorn toads searching for a mate to lizards prowling the forest for a meal. We humans are but lumbering, clumsy giants striding through these miniature ecosystems that thrive without us... even in spite of us.