/film/ - FILM

>>14304

Not to mess with the nest but the chinese started the massacres with the Zhao kingdom genocide, the main precursor/ancestor to the mongolian steppe nomads which became nomads in small-ish part due to the persecution and the literal worship these areas have for their ancestors led to bad blood for centuries, boiling the pot for mass-scale butt revenge that spawned an empire.

Also the classical Aztecs were already overthrown when the spaniards came, you are thinking of the Mexicas, which were the chimp-tier lower strata of society (including tons of small foot soldiers and non-nobility elite warriors) that forcibly expelled the older rule, hence why Cortez got overwhelming support by loyalists when he managed to explain his route of action. Aztecs were butchers but they were more about making taxed-to-hell satellite states with an aligned leader on helm, also never attacked the Northern tribes even when they knew about their trade routes and exotic goods.

You are not all that wrong, just wanted to point small details, even when your examples were asking for it. Although half of the injuns in the Mississippi area and Southwest were pacific (plus an entire age behind to be a continental rival) and had no business being executed by power-drunk brits, see the Crow tribe for example, always helped the colony rule and were vanished for being red in the Manifest Destiny days. These are cromwellian anglos we are talking about

While it is true Europeans have spilled some beans along the way, i have no doubt somebody else would've done the same if they were in a similar situation some other day, it just happened to be some moors searching for their redemption by their perceived homeland and later a couple of brits led by someone who might or might not have been a brit. Vikings didn't bother with some Athapascan/Inuit archers, Macedonians didn't want none with black jungle demons, supposedly the chinese didn't either with a bunch of Cahitan.

Don't tell me you forgot about Themroc?

This thread reminded me of the Viennese Actionists. Their performance art is rather distasteful and I could only stand to watch for a few minutes when I first heard of them. My memory is that naked people were flopping around slapping chicken meat on themselves.

Maybe I'd feel differently about watching this garbage now, who knows.

I remembered the name Otto Muhl, so I decided to read about the man. Wikipedia says, "Otto Muehl (16 June 1925 – 26 May 2013) was an Austrian sex offender and artist, who was known as one of the co-founders as well as a main participant of Viennese Actionism and for founding the Friedrichshof Commune." Sounds like a class act.

>>14003

Looking into it more, it's an interesting movement despite some of the disgusting aspects. The Kurt Kren shorts on Index 01 gives the performances added impact via rapid editing. Selbstverstümmelung is particularly effective.

The commune is another topic altogether. A Marxist sex cult. Throw out the natural order and replace it with whimsical new rules.

http://d-sites.net/english/muhl.html

>In 1970 Otto Mühl founded a commune in Vienna. The experiment was an offshoot of the ‘Aktionismus’, a Viennese version of the happenings in New York, lead by meanwhile legendary artists such as Nitsch, Schwarzkogler, and Brus. The happenings – in German ‘Aktionen’ – were an effort to lift all kinds of taboo in art. Many an artist proceeded to complement the revolution in art with a revolution in life itself. Life as the ultimate work of art, so to speak.

>The ideal of life-long fidelity was replaced by the ideal of absolute promiscuity. It was forbidden to make love with the same partner more than once a week. And also the frequency had to be reconsidered accordingly. With ‘bourgeois couples’ the frequency of copulation, grown to daily drudge, dropped to an alarming 2,57 times a week, at least according to the then widely known statistics of Kinsey. In Friedrichshof one was supposed to make love as often as a Muslim bows to Mecca. Whoever would like quality to prevail over quantity was reminded of the fact that ‘sex’ had to be unlinked from mere bourgeois ‘love’: foreplay and similar ‘romantic nonsense’ were unacceptable. Ideally, the job had to be done in a few minutes. To protect the communards from the dangers of bourgeois inertia, a rather efficient measure was introduced: men were not allowed their own bed. So they had to look for a shelter every night. Thus, even a slowly moving wheel had to turn at least one round a day.

Bumping this garbage thread to rehabilitate it.

I'm on an Orson Welles kick after seeing his newly released film, which was a nice surprise. It was better than I expected it to be.

https://www.youtube.com/watch?v=_G6KDzlsA6E

I also watched this great documentary The One-Man Band that explores all of Orson's unfinished personal projects. There are a lot of these unfinished projects -- Merchant of Venice, Don Quixote, The Deep, The Dreamers, and The Other Side of the Wind until recently. Unfortunately due to bad circumstances and perhaps a tragic character flaw Orson Welles always had trouble getting his films across the finish line.

Anyway, the reason he made these ridiculous commercials in his later years was to fund his independent filmmaking. Despite all his setbacks he never stopped filming.

It's a sad story in some ways, as you see his vision unrealized again and again. But it's still very interesting to see how his talent and creative drive were firmly at the forefront of his daily life.

Another Orson video where he discusses his philosophy on effective acting

>>5782

The trial, its funny, the only movie of his i founded to be fascinating is actually an adaptation of a Kafka novel.And not even a good one at that

>>11548

>Ken Jacobs - Star Spangled to Death (2004)

<6h42m

I'm all in favor of revealing uncomfortable truths about our society, but this is really enraging. It demands a detailed rebuttal. I don't know if I'm up to the task but first I'll have to force myself to finish watching.

Combines many short segments to attain a running time over 4 hours. It's more like watching a short film compilation than an extra-long film.

Senses of Cinema has three new essays on Juraj Herz films

I highly recommend Morgiana

http://sensesofcinema.com/2017/cteq/morgiana/

http://archive.is/JAZsP

Panna a netvor is okay but not essential

http://sensesofcinema.com/2017/cteq/beauty-and-the-beast/

http://archive.is/h0OPI

I've not watched The Junk Shop

http://sensesofcinema.com/2017/cteq/the-junk-shop/

http://archive.is/OWMjV

Generally I love anything with:

1-a village

2-plenty of fire

3-black and white widescreen

Comfy af

>>12703

Nice music by Ilja Zeljenka. I'd like to find some of his OSTs, but I don't know if any of them were released. He was composer for >>7763 too.

I remember hearing that Zdenek Liska's widow would not give permission for soundtracks, because she said the films were the optimal (and thus only) way to experience his music. I guess that changed a bit with the release of Morgiana and a couple others. I'd like to hear more though...Liska was as prolific as Morricone IIRC.

I'm sure almost everyone knows about Mitchell and Webb by now. They've made a lot of funny content for TV and radio. Here's a clip from one of their lesser known pilots.

I think it's interesting how there's very few comedy duos in the United States anymore. Maybe the comedy duo is more popular in the UK. Michell and Webb also do plenty of radio sketch comedy. That format definitely doesn't exist in the US.

Admit it, they were kino despite how cartoony they got.

sword of doom

also many serial killer and noir films

Angst (1983)

I'm open to sentimentality and try not to be too cynical or stoic. As far as effectiveness, I guess it all depends how it's presented. No one wants to be cheaply manipulated. My pet peeve in this regard is overscoring.

John Ford includes sentimentality quite often. It usually seems to work. I think How Green Was My Valley had the greatest impact on me.

There might be another layer to older movies, independent of narrative – a feeling of sentimentality for the time in which they were made.

>>14056

he probably came from >>>/tv/1828193

Is Fandor the next to go? Most of staff has been fired and the company has been sold to an unknown entity.

https://variety.com/2018/digital/news/fandor-staff-layoffs-sale-streaming-shutdown-1203084579/

It's too bad they didn't merge with Criterion. From what I saw the Fandor library was a little more eclectic.

Six arthouse distributors are banding together to create a new streaming service called OVID

https://hyperallergic.com/481111/in-march-a-much-needed-streaming-service-for-arthouse-films-will-launch/

>Enter OVID, a recently announced partnership between academic documentary service Docuseek and six independent film distribution companies. Together, these partners — Bullfrog Films, Distrib Films US, Grasshopper Film, Icarus Films, KimStim, and First Run Features — control the rights to thousands of different documentary, arthouse, independent, and international titles. OVID will be an on-demand subscription service offering selections from these various catalogues.

>The site stresses that many of these films will be unavailable to see anywhere else. It promises to feature filmmakers Chantal Akerman, Chris Marker, Bill Morrison, Jean Rouch, Wang Bing, Bi Gan, Pedro Costa, Claire Denis, Bruno Dumont, Cheryl Dunye, Eric Rohmer, Raul Ruiz, and Jean-Marie Straub and Danièle Huillet.

What do you guys know about Jerzy Hoffman? He made a lot of historical war epics in Poland

Colonel Wolodyjowski (1969) aka Pan Wolodyjowski

>In 1668 Polish colonel Michael Wolodyjowski, who recently retired to a monastery, is recalled to active duty and takes charge of Poland's eastern frontier defenses against invading Tatar hordes and Ottoman armies.

The Deluge (1974) aka Potop

>During the 1655 war between Protestant Sweden and Catholic Polish-Lithuanian Commonwealth some Polish-Lithuanian nobles side with Swedish king Charles X Gustav while others side with the Polish king Jan Kazimierz.

With Fire and Sword (1999) aka Ogniem i mieczem

>An epic story about the Ukrainian uprising against the Polish-Lithuanian Commonwealth magnates in the 17th Century.

Army of Valhalla (2003) aka Stara basn. Kiedy slonce bylo bogiem

>In the 9th century, a tyrant oppresses pre-Christian Slavic tribes living on the Polish lands. They must unite for the common future.

Battle of Warsaw 1920 (2011) aka 1920 Bitwa Warszawska

>The First Polish 3D Feature Film! Poland's winning battle against Soviet Russia as seen through the eyes of two young protagonists, Ola and Jan. She is a Warsaw cabaret dancer, while he is a cavalry officer and poet who believes in socialist ideals.

The last two have poor ratings but I'd like to see the others

Darius Khondji was DP on Delicatessen, Se7en, Amour, Funny Games (2007), The City of Lost Children, The Lost City of Z, Alien: Resurrection, Stealing Beauty, Okja.

https://en.wikipedia.org/wiki/Darius_Khondji

To get familiar, an excerpt from a new book of interviews with him: https://ascmag.com/articles/book-excerpt-conversations-with-darius-khondji

And a general career overview: https://mubi.com/notebook/posts/the-cinematographer-is-in-jordan-mintzer-s-conversations-with-darius-khondji

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When you take on a project, how do you begin to visualize it in terms of the framing, the lighting and the overall look you want to give the film?

I would say that’s one of the hardest things for me as a cinematographer: finding the key that unlocks the film in a visual sense, that will illuminate the story so you’re inspired and excited about shooting it everyday for a long time — because when you decide to do a movie it can take anywhere from three months to a year of your life. When I find that key, it ignites what I call the “big bang.”