No.2486 [View All]
Since we have the ability at 8chan to upload pdfs, here's a thread for sharing interesting books, magazines, and articles related to film.
You can also link to databases and other online resources, such as the Media History Digital Library:
http://mediahistoryproject.org/
> We are a non-profit initiative dedicated to digitizing collections of classic media periodicals that belong in the public domain for full public access. The project is supported by owners of materials who loan them for scanning, and donors who contribute funds to cover the cost of scanning. We have currently scanned over 1.3 million pages, and that number is growing.
> Our Collections feature Extensive Runs of several important trade papers and fan magazines. 42 posts and 33 image replies omitted. Click [Open thread] to view. ____________________________
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No.10015
>>10006
Is the Cinema as Poetry one any good?
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No.10144
>>6530
>http://bookzz.org
did it shut down or change url?
a shame if it's gone
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No.10146
>>10144
>>10144
It has another domain now, but I forget what it was.
Lib-gen is basically the same though.
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No.10148
>>10146
thanks. i found the new address http://b-ok.org/
i think lib gen is http://gen.lib.rus.ec/
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No.10153
Interesting article about how military and intelligence agencies shape the content of Hollywood films
https://medium.com/insurge-intelligence/exclusive-documents-expose-direct-us-military-intelligence-influence-on-1-800-movies-and-tv-shows-36433107c307
Documents expose how Hollywood promotes war on behalf of the Pentagon, CIA and NSA
US military intelligence agencies have influenced over 1,800 movies and TV shows
<When Bond is about to HALO jump out of a military transport plane they realise he’s going to land in Vietnamese waters. In the original script Bond’s CIA sidekick jokes ‘You know what will happen. It will be war, and maybe this time we’ll win.’
<This line was removed at the request of the DOD.
<The movie Countermeasures was rejected by the military for several reasons, and consequently never produced. One of the reasons is that the script included references to the Iran-Contra scandal, and as Strub saw it ‘There’s no need for us to… remind the public of the Iran-Contra affair.’
<Similarly Fields of Fire and Top Gun 2 were never made because they couldn’t obtain military support, again due to politically controversial aspects of the scripts.
<The CIA’s ability to influence movie scripts goes back to their early years. In the 1940s and 50s they managed to prevent any mention of themselves appearing in film and TV until North by Northwest in 1959. This included rejecting requests for production support, meaning that some films were never made, and censoring all references to the CIA in the script for the Bob Hope comedy My Favourite Spy.
<The CIA even sabotaged a planned series of documentaries about their predecessor, the OSS, by having assets at CBS develop a rival production to muscle the smaller studio out of the market. Once this was achieved, the Agency pulled the plug on the CBS series too, ensuring that the activities of the OSS remained safe from public scrutiny.
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No.10352
>>8197
>hawkmenblues
He is now reuploading dozens of links every day
Currently has 81.8% of the old posts working
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No.10473
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No.10500
>>10153
<<Similarly Fields of Fire and Top Gun 2 were never made because they couldn’t obtain military support, again due to politically controversial aspects of the scripts.
It will be interesting to see how dumbed down and just outright bad Top Gun 2 will be. No doubt not making it for years after the first one has changed everything.
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No.10847
Japanese Cinema
Film Style and National Character
by Donald Richie
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No.10849
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No.10902
I finally found a place to leech nitroflare
leechpremium.link
The downside:
file limit 500MB
be sure to use NoScript or you'll be sorry
you will fill out recaptcha about a dozen times
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No.10940
YouTube embed. Click thumbnail to play. This is an interesting youtube channel "British Movietone" with old newsreel footage
https://www.youtube.com/channel/UCHq777_waKMJw6SZdABmyaA
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No.11123
<Respect man's nature without wishing it more palpable than it is
<It is quite possible to conceive of a national cinema, in the sense of one which works with or addresses nationally specific materials, which is none the less critical of inherited notions of national identity, which does not assume the existence of a unique or unchanging ‘national culture’, and which is quite capable of dealing with social divisions and differences.
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No.11124
<In discussing lyricism in Czech cinema, the essential elements comprise the visual image (cinematography), the evocation of landscape as a positive force and a sense of the countryside as a homeland and of a paradise lost or regained.
<Lately, theorists have shown a greater interest in the problems surrounding “art cinema” and its terminological offshoots. For example, in a useful article, Andrew Tudor has noted the strangeness of the term “art movie,” observing that in “everyday discourse we do not speak of ‘art novel,’ ‘art picture’ or ‘art music.’”1 Indeed, Tudor is pointing to something that has long irritated the ex-composition teacher in me: “art cinema” seems redundant, even needy. This is a genre of cinema, the term almost shouts, that is also art. Point taken, but what else could movies be?
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No.11126
And finally by request
>>11097
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No.11127
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No.11327
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No.11358
>>10849
> http://www.m-hddl.com
Signups closed! Is someone a member of this site?
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No.11628
An interesting selection of reviews on this blog
http://www.soiledsinema.com/
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No.11635
Issue 69: Table of Contents
FEATURES & INTERVIEWS
*From the Other Side: Exiled in Trumpland by Roberto Minervini
Land of Confusion: Cristi Puiu Talks Sieranevada by Christoph Huber
*Artifact Bonfire: Ken Jacobs and Reichstag 9/11 by Daniel Kasman
Self-Portrait: Bob Dylan as Filmmaker by Sean Rogers
*Super-Ornithologist: João Pedro Rodrigues’ Birdman by Robert Koehler
*The Working Hour: Salomé Lamas’ Eldorado XXI by Michael Sicinski
The Cost of Reparations: An Interview With Alanis Obomsawin by Steve Macfarlane
“Doesn’t Have to Be a Tome”: Kelly Reichardt’s Certain Women by Angelo Muredda
*Something, Everything: Manuela De Laborde on AS WITHOUT SO WITHIN by Blake Williams
SPOTLIGHT: FALL FESTIVAL HIGHLIGHTS
*Rat Film by Jordan Cronk
*Austerlitz by Jay Kuehner
By the Time It Gets Dark by James Lattimer
*Ceux qui font les révolutions à moitié n’ont fait que se creuser un tombeau by Adam Nayman
Donald Cried by Celluloid Liberation Front
Free Fire by Julien Allen
*Kékszakállú by José Teodoro
Le quadrille, Aux quatre coins, and Le divertissement: Three Short Films by Jacques Rivette by Christopher Small
COLUMNS
*Editor’s Note
*Film/Art: La Biennale de Montréal by Andréa Picard
*Global Discoveries on DVD by Jonathan Rosenbaum
DVD Bonus: The Herschell Gordon Lewis Feast by Michael Atkinson
EXPLODED VIEW
Gary Beydler’s Mirror by Chuck Stephens
WEB ONLY
*Moonlight by Phil Coldiron
Northern Exposure: Future//Present at VIFF by Jordan Cronk
CURRENCY
*Jackie by Adam Nayman
La La Land by Alicia Fletcher
Fire at Sea by Samuel La France
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No.11636
Issue 70: Table of Contents
Interviews
The Quest for Beauty: James Gray and The Lost City of Z by Daniel Kasman
*Cinema Concrete: Dane Komljen’s All the Cities of the North by Robert Koehler
*First Do No Harm: Hugh Gibson on The Stairs by Angelo Muredda
A Workingman’s Life: Michael Glawogger, Monika Willi, and Untitled by Andréa Picard
Features
*Orchestrating the Apocalypse: The Survival Horror of Paul W.S. Anderson’s Resident Evils by Christoph Huber
*Small Things and Big Things:Feng Xiaogang’s I Am Not Madame Bovary by Shelly Kraicer
The Land of Sound, the Land of Images: On Recent Works by Sky Hopinka by Jesse Cumming
*Common Boston: Dennis Lehane on Screen by Sean Rogers
*Unseen Forces:Joshua Bonnetta in Sound and Image by Michael Sicinski
Agitate Everywhere: On Sergei Eisenstein’s Drawings by Phil Coldiron
Columns
*Editor’s Note
*Film/Art: Indeed, We Know: On the Video Art of Elizabeth Price by Blake Williams
Festivals
Sundance (I) by Alicia Fletcher
*Sundance (II) by Jay Kuehner
*Berlin by Jordan Cronk
*Deaths of Cinema: Nothing Will Die: John Hurt, 1940–2017 by Adam Nayman
Nirvanna the Band the Show by Jason Anderson
*Global Discoveries on DVD by Jonathan Rosenbaum
*Exploded View: Will Hindle by Chuck Stephens
Currency
*Silence by Andrew Tracy
Get Out by Adam Nayman
Maliglutit (Searchers) by Samuel La France
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No.11637
Issue 71: Table of Contents
Interviews and Features
Electroshock Therapy: Matthew Rankin on The Tesla World Light by Jason Anderson
Quiet Savagery: A Tale of Two Tourneurs by Christoph Huber
All You Can Eat: The Heroism of Howard Hughes by Adam Nayman
Censoring Shakespeare: Ing K’s Shakespeare Must Die by Nathan Latoré
Would You Like to See a Magic Trick?: Basma Alsharif’s Ouroboros and its Contexts by Phil Coldiron
A Passage Through: Filipa César’s Spell Reel by Jesse Cumming
Dusting the Corners: Luke Fowler’s Restorative Histories by Michael Sicinski
Rossellini’s War Trilogy: Neorealism or Historical Revisionism? by Celluloid Liberation Front
Spotlight: Cannes 2017
Cannes at 70: Bad Times, Good Time by Mark Peranson
The Square by Josh Cabrita
The Day After / Claire’s Camera by Andréa Picard
At the Frontier: Valeska Grisebach on Western by James Lattimer
Closeness by Daniel Kasman
24 Frames by Blake Williams
Deserting the Real: Documentaries at Cannes by Richard Porton
Jeannette, l’enfance de Jeanne d’Arc by Jordan Cronk
Un beau soleil intérieur by Giovanni Marchini Camia
Columns
Editor’s Note
Festivals
The Nitrate Picture Show by Alicia Fletcher and Samuel La France
TV or Not TV
Twin Peaks: The Return by Kate Rennebohm
Global Discoveries on DVD by Jonathan Rosenbaum
DVD Bonus: Fat City and Hard Times by Sean Rogers
Exploded View: Peter Gidal’s Room (Double Take) by Chuck Stephens
Currency
Baby Driver by Robert Koehler
Araby by Jay Kuehner
Maison du bonheur by Angelo Muredda
Risk by Steve Macfarlane
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No.11685
http://filmref.com/
Thoughtful analyses of films and film books
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No.11823
Vimeo embed. Click thumbnail to play. I wasn't sure where to post this. It is a "master class" with Paul Thomas Anderson which focuses on his film The Phantom Thread. Questions in French, answers in English.
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No.11858
I found a couple interesting Kubrick links today.
First this site with a wide range of content: http://www.visual-memory.co.uk/
<This page links to four separate sites exploring the work of Stanley Kubrick. The Kubrick Site is a non-profit archive for documentary materials; The Kubrick FAQ, attempts to answer some of the questions asked on alt.movies.kubrick; 2001: A Space Odyssey Program, showcases the original 1968 foyer program that accompanied the first release of the film and Stanley Kubrick 1928-1999 is the archive of a site that closed September 1999. These sites are maintained by Roderick Munday.
Second these recollections of 2001 from actor Keir Dullea and effects supervisor Douglas Trumbull: https://www.theguardian.com/film/2018/mar/12/how-we-made-2001-a-space-odyssey-stanley-kubrick-hal
<One day in the early 1960s, I had my palm read at a funfair. The palmist saw a rocket ship in my future. Then my agent called and said I’d been offered the lead in Stanley Kubrick’s next film. When I started reading the script, something felt terribly familiar. As a teenager, I had read The Sentinel, a short story by Arthur C Clarke – and that was the starting point for Kubrick’s film.
<The first day of shooting ended up being delayed because Kubrick didn’t like my shoes. The wardrobe came up with the right pair real fast. I felt awed working with him and he picked up that I was tense – which is terrible for an actor. After a week, he took me aside and said: “Keir, you’re everything I’m looking for.”
<The rotating living quarters of the Discovery spacecraft were built by Vickers. They were 70ft across and turned at 3mph. The camera tricks the crew used to simulate centrifugal force were ingenious. There’s a scene where I climb down a ladder and, at the other side of the screen, you see the other astronaut sitting at a table upside-down. It looks as if I walk round towards him, until I’m upside-down too, but they actually rotated the set, and him, round to me. He seems to be eating normally – but only because they’d glued his food to his fork.
<The film was very prescient about the dangers of AI. Kubrick didn’t know the exact voice he wanted for Hal, the computer that goes rogue, but we needed something to work with for shooting. Eventually, he turned to the first assistant director, who was from east London, and said: “You do the voice for the boys.” So Hal sounded like an eastender at first. “I fink you know what the problem is,” he’d say in a cockney accent, “just as well as I do.”
<The film got mixed reviews. Lots of people walked out of the premiere, including Rock Hudson. “What is this bullshit?” he said. But a few months into the release, they realised a lot of people were watching it while smoking funny cigarettes. Someone in San Francisco even ran right through the screen screaming: “It’s God!” So they came up with a new poster that said: “2001 – the ultimate trip!” I’m sure I must have watched it while I was high. But not at the premiere.
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No.12013
Here's a blog translating Raúl Ruiz: Diario. Notas, recuerdos y secuencias de cosas vistas (2017) into English.
Day One; https://tinyletter.com/ruizdiaries/letters/sunday-november-21st-1993-hello-everyone
Sunday November 21st, 1993
Hey! Welcome! I'll be translating the Raúl Ruiz diaries for as long as the copyright people will get to me and sue my ass. In the meantime, enjoy, and if you think that I'm doing a good work with these translations, give up a tip at My Kofi it really helps a lot!
Cafe de la Bastilla. Yesterday I finished writing my first letter in 20 years. Today I start this film diary, the first in 52 years of life. Reasons? None. Something unlocked (Gallicism) in my head. Curiosity to see what happens when one goes back in a moment of day and to calendar (Milanese verb) hour by hour.
Recent reading of the hilarious reading diary by Fozio (Adelphi) and re-reading o so many curious papers (The Unquiet Grave by Connolly, which was just translated to French). Walk through the La Bastilla neighborhood searching for a Japanese restaurant (today is Sunday), meditating about the frontiers of odors. Since a few days I've been trying to orchestrate honeys and vinegars into some crumbs of my invention, more or less inspired in the Bolognese-Chilean recipes by Abate Molina: oseille -coriander juice with hot perfumes: cinnamon, [-], anchovies and tomatoes. Potatoes boiled in chicken broth disengaged with maqui juice. The day before yesterday I mixed capers, truffle oil, saffron pistils and some grains of honey pollen, and the result was dead sparrow feathers. Cooking dishes that remind you of neatly putrid corpses.
Everything freezes in Paris. Passers-by almost run on the streets, frozen: in other words, formulas of domestic economy. Tomorrow by this hour I'll be in Lisbon, preparing Fado, Major and Minor. In two weeks, filming. It's been two years since I last touched 35mm.
Yesterday we were prepping with [Jean-Yves] Coic, the operator, in presence of Melvil [Poupaud], one of the protagonists. It's not bad to mix-up technicians and artists, specially in these moments in which artists long for technicality, and the technicians élan creator. Bad times. Bad hour for those who think that can create, fund, invert sovereign images. Waterfalls unchained by a single and simple gesture (like turning on the light at your home after arriving at midnight).
This was the first diary entry of the Ruiz diaries. I'm not a professional translator, but I've written in both English and Spanish for enough time to believe that I can do the best job possible while the translation rights aren't bought and someone takes three years to do it. I'm no better, but I just wanted to share the great amounts of fun that I've been having reading these with the people that love Raúl Ruiz all over the world. What you just read, commas and parenthesis, is all in the original text (or at least the way the compiler redacted it), I won't add anything, and the words that aren't in English and in cursive, it's because they were in a language that isn't Spanish and were written that way in the original book. Hope you enjoy this travel with me. Tip if you can, and spread it around!
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No.12116
2,500 Movies Challenge
Join me as I attempt to watch 2,500 movies on DVD and Blu-Ray, including films from all around the world and spanning as many genres as I can muster. Check back often...new movies are posted daily!
http://www.dvdinfatuation.com/
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No.12145
YouTube embed. Click thumbnail to play. Michael Caine teaches acting for an hour
<"The theatre is an operation with the scalpel, i think movie acting is an operation with the laser." Michael Caine teaches in this documentary the art of movie acting to five young actors, who perform scenes from "Alfie", "Deathtrap" and "Educating Rita". He talks about how to perform in close-ups and extreme close-ups. He warns about the continuity dangers of smoking cigarettes or fiddling with props. He talks about screen tests, special effects, men who are cavalier about your safety and speaking to someone who is off camera. The movie camera is your best friend and most attentive lover, he says, even though you invariably ignore her (BBC 1987).
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No.12155
This film journal is new to me, maybe you too
http://www.ejumpcut.org/home.html
JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA
Looking at media in its social and political context
Pioneers since 1974, analyzing media in relation to class, race, and gender
Yeah yeah, it sounds like they have a political axe to grind. But it looks like they feature obscure directors and films, so it might be worth checking out.
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No.12985
YouTube embed. Click thumbnail to play. Agnès Varda: Playfully Serious or Seriously Playful?
<Recorded at Bristol's Watershed Cinema, Tara Judah takes audiences and viewers on a illustrated tour of Agnès Varda's filmography. Part of the nationwide Agnès Varda retrospective, Gleaning Truths, Judah covers Varda's nouvelle vague beginnings, right the way through to her most recent documentary, Faces Places.
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No.13248
The films of Sergei Parajanov (1924–1990) remain some of the most stylistically unique in the history of the medium and easily place him within the pantheon of the world's great filmmakers. This article offers a new perspective on Parajanov's art through a detailed examination of the two works at the center of his oeuvre, The Colour of Pomegranates (1969) and The Legend of Suram Fortress (1985). In addition to their undeniable aesthetic value, these films may be appreciated as meaningful discourse on our conceptions of time, perception, and identity. Like Parajanov's other films, they dismantle the perceptual and narrative structure of classical cinema in order to stimulate awareness of an expressly raw layer of reality beneath what we customarily take to be static, indivisible essences or identities. With specific attention to the correlation of difference, repetition, and perception, this article also focuses on the effects this presentation of perpetual flux and variation has on consciousness and subjectivity within the films.
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No.13359
I just started reading this.
Walter Murch (besides his more famous accomplishmemts) directed an episode of The Clone Wars, and it made me go back and watch his and George Lucas' earlier projects like THX 1138, after which I decided to buy this (I also just finished a biography of George Lucas that was a good introduction to Murch's era of Hollywood filmmaking).
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No.13377
>>13359
Is there anything in the book that sticks out at you?
It is hard for me to assess the quality of editing unless the editing calls attention to itself.
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No.13380
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No.13423
>>13377
>Is there anything in the book that sticks out at you?
Well the whole idea is about "cutting on the blink". Murch talks about how blinking either accompanies a human switching to a new thought, or is even more directly part of how we switch to a new thought by "cutting" or creating a discontinuity between one moment and the next. He likes to cut a moment or two after a blink, and other things like that.
The rest of the book is a really dated analysis of digital editing that is only really interesting now as a curiosity.
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No.14013
Here's a quality blog worth mentioning. It's an overview of significant films from 1895-1926. Includes a top film list for each year.
Click on a poster for a detailed review.
http://www.acinemahistory.com/
<A Cinema History
<This site presents a personal and chronological view of world cinema history, covering presently films from 1895 to 1926
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No.14404
Cineuropa is the first European portal dedicated to cinema and audiovisual in 4 languages. With daily news, interviews, data bases, in-depth investigations into the audiovisual industry, Cineuropa aims at promoting the European film industry throughout the world. Welcome to a platform where professionals can meet and exchange information and ideas.
https://cineuropa.org/
The East European Film Bulletin is a journalistic and literary project dedicated to the criticism of films related to Central, Eastern and South-Eastern Europe.
https://eefb.org/
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No.14466
I found this cool blogpost Top 50 Movies of the 21st Century
https://cinepensieri.wordpress.com/2017/07/14/top-50-movies-of-the-21st-century/
It's essentially a unique personal list, and I love the author's response to someone complaining about it
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No.14493
I found another uniquely-focused film database:
Paintings in Movies
http://paintingsinmovies.com
It could use some more submissions
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No.14527
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No.14552
http://www.filmsinfilms.com/
Films in Films started as a game and became a personal obsession. Now it is a project, to collect as many in-film references as possible.
Here you will find screenshots of film scenes featuring:
cinema marquees
cinema screens
posters
VHS/DVD/BD covers
TV screens
any other title references
http://cinematic-literature.tumblr.com/
Pedantic archivist of books in films and TV shows
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No.14578
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No.14854
This interesting new article about Raoul Ruiz by Adrian Martin explores some of the films that resulted from the director's occasional workshops with film students. After reading you should get interested in watching La Telenovela Errante if you haven't yet.
https://mubi.com/notebook/posts/do-and-teach-the-workshop-films-of-raul-ruiz
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No.14897
I don't know where to post this—it could be too ridiculous for this thread—but here are some of the longest ovations given to films premiering at Cannes
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No.14901
Not very film-related, but a good open directory of various interesting files
http://the-eye.eu/public/
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No.14941
>>14901
thank you for this. It made me very nostalgic for summers of yore when I found all the sketchy ftp ebook sites.
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No.15024
>>2486
I'm looking for a copy of Alexander Mackendrick's 'On Filmmaking'. I would greatly appreciate it if someone link/post it.
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No.15429
Who's Who of Victorian Cinema - A biographical guide to the earliest years of moving pictures, 1871-1901 - http://www.victorian-cinema.net/
<The confusion that existed at the birth of film to a very large extent still exists. Moving pictures did not arrive as a neat package on a specific date; those who were involved knew nothing of the phenomenon of cinema that was to come. They were scientists who saw film as an aid to their work, businessmen who hoped to exploit a new invention for the short period they expected the public to be attracted to it, or performers only doing what they would normally do on a stage. Moving pictures were just another invention in an age of inventions, or just another variety turn. What none could have foreseen was the grip that film would have on audiences, how the medium would develop and extend itself, and how the moving image would become dominant as a means of communication and entertainment in the twentieth and twenty-first centuries.
Sample biography
Shibata Tsunekichi was a photographer employed by the Mitsukoshi department store in Japan. He appears as a filmmaker in April 1898, filming five scenes in Tokyo for the Lumière brothers, the first films in Japan by a native filmmaker. In 1899 he filmed three geisha dances, at the behest of Komada Koyo, benshi and proto-film producer. The dancers had trouble staying within the sight-lines laid down for them, but geisha films went on to become a very popular native product in the earliest years of Japanese filmmaking. The geisha films were first shown 20 June 1899. In September of the same year Shibata shot Inazuma goto Hobaku no Ba (The Lightning Robber is Arrested), with Yokoyama Umpei playing the detective and Sakamato Keijiro the burglar. The following day Shibata shot Shosei no Sumie (The Schoolboy's Ink Painting) with Yokoyama as a man painted with ink by two boys while he is asleep on a bench. In November 1899 he shot the most prestigious Japanese film so far, Momiji-gari (Maple Leaf Hunters), intended as an historic record of the Kabuki theatre actors Danjuro IX and Kikugoro V. Ninin dojoji (Two People at Dojo Temple) was made in December. Shibata, by now Japan's most experienced camera operator, is last known of being sent with Fukaya Komakichi to film the Boxer rebellion in China, travelling with a contingent of the Japanese army throughout August 1900.
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No.15641
Another download site on the open web, maybe helpful if you need Spanish language options
https://www.misclasicosdecine.com/
It seems to use jdownloader, a program I really dislike, but perhaps you can get around it. There used to be sites that decrypt DLC files.
Damn it took forever to get this post through.
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No.15645
>>15641
Will keep an eye on it, though i've been watching less "classics" lately
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