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File: 1416203721666.jpg (147.53 KB,692x1024,173:256,knowledge.jpg)

 No.2486 [Last50 Posts]

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.
____________________________
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 No.2487

dronezero has compiled a nice list of online resources at r/cinephiles

http://www.reddit.com/r/Cinephiles/comments/2km093/online_resources/

Still being updated:
[in]Transition - http://mediacommons.futureofthebook.org/intransition/
16:9 In English (Danish journal that publishes some English essays) - http://www.16-9.dk/kategori/english/
Artforum - http://thequietus.com/film
Audiovisualcy (vimeo group about cinema) - http://vimeo.com/groups/audiovisualcy/videos
Blogdanovich (Peter Bogdanovich's blog) - http://blogs.indiewire.com/peterbogdanovich
David Bordwell's website on cinema - http://www.davidbordwell.net/blog/
Bright Lights Film Journal - http://brightlightsfilm.com/
Richard Brody's blog - http://www.newyorker.com/culture/richard-brody
Chronicle of a Passion (Steve Erickson's website) - http://home.earthlink.net/%7Esteevee/
Cine-File (great resource for those in Chicago) - http://cine-file.info/
The Cine-Files - http://www.thecine-files.com/
Cineaste - http://www.cineaste.com/
Cinema Compart/ive Cinema - http://www.ocec.eu/cinemacomparativecinema/index.php/en/
Cinemascope - http://cinema-scope.com/
Cinephile (University of British Columbia's film journal) - http://cinephile.ca/
The Cinephiliacs (podcast) - http://www.thecinephiliacs.net/
Current (The Criterion Collection's blog) - http://www.criterion.com/current/posts
The Daily Notebook (Mubi's blog) - https://mubi.com/notebook
filmanalytical (Catherine Grant's blog) - http://filmanalytical.blogspot.com/
Film Comment - http://www.filmcomment.com/
Film Critic Hulk - http://badassdigest.com/author/67
Film International - http://filmint.nu/
Filmmaker IQ - http://filmmakeriq.com/
Film Quarterly - http://www.filmquarterly.org/
Film-Philosophy - http://www.film-philosophy.com/index.php/f-p
Film Studies For Free (more Catherine Grant) - http://filmstudiesforfree.blogspot.com/
Filmwell - http://theotherjournal.com/filmwell/
Following Film (Christoph Huber's new blog) - http://blog.filmmuseum.at/
Fredrik on Film (Fredrik Gustafsson's blog) - http://fredrikonfilm.blogspot.com/
Chris Fujiwara's website - http://www.insanemute.com/film.htm
girish (Girish Shambu's blog) - http://girishshambu.blogspot.com/
International Cinephile Society - http://icsfilm.org/
J. Hoberman's blog - http://j-hoberman.com/
Keyframe (Fandor's blog) - http://j-hoberman.com/
Kinema - http://www.kinema.uwaterloo.ca/index.php
Moving Image Source - http://j-hoberman.com/
The Permanent Seminar On Histories of Film Theories - http://filmtheories.org/
The Quietus - http://thequietus.com/film
Photogénie - http://www.photogenie.be/photogenie_blog/
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 No.2488

Reverse Shot - http://www.reverseshot.com/
Jonathan Rosenbaum's Blog - http://www.jonathanrosenbaum.net/
Screening the Past - http://www.screeningthepast.com/
Screen Machine - http://www.screenmachine.tv/
Self-Styled Siren - http://selfstyledsiren.blogspot.com/
Senses of Cinema - http://sensesofcinema.com/
Serge Daney in English - http://sergedaney.blogspot.com/
The Seventh Art - http://www.theseventhart.org/main/
Sight & Sound - http://www.bfi.org.uk/news-opinion/sight-sound-magazine
Some Came Running - http://somecamerunning.typepad.com/some_came_running/
Sounds, Images (Ignatiy Vishnevetsky's blog) - http://soundsimages.blogspot.com/
Slow Criticism - http://www.filmkrant.nl/slowcriticism_2014
David Sterritt's website - http://davidjsterritt.com/
Synoptique - http://synoptique.hybrid.concordia.ca/index.php/main
To Be Cont'd - http://www.tobecontd.com/
Ignatiy Vishnevetsky at A.V. Club - http://www.avclub.com/author/IV/?page=1
You Must Remember This (podcast) - http://youmustrememberthispodcast.com/

Not being updated and other resources:
Aesthetics and Philosophy of Film (Harvard) - http://isites.harvard.edu/icb/icb.do?keyword=k27441&pageid=icb.page123080
CineFiles - http://cinefiles.bampfa.berkeley.edu/cinefiles/
Experimental Conversations - http://www.experimentalconversations.com/
Godard Montage - http://godardmontage.blogspot.com/
Godard's films from his Dziga Vertov Group period - http://ubu.com/film/dziga_vertov.html
The Film Experience (MIT course with partial video lectures) - http://ocw.mit.edu/courses/literature/21l-011-the-film-experience-fall-2012/lecture-videos-and-notes/
Eric C. Johnson's website - http://alumnus.caltech.edu/%7Eejohnson/
Dave Kehr's blog - http://www.davekehr.com/
LOLA - http://www.lolajournal.com/
Philosophy of Film (Stanford Encyclopedia of Philosophy) - http://plato.stanford.edu/entries/film/
Philosophy of Film: Continental Perspectives (Internet Encyclopedia of Philosophy) - http://www.iep.utm.edu/filmcont/#H1
Raymond Durgnat's website - http://www.raymonddurgnat.com/index.htm
Rouge - http://www.rouge.com.au/
Screening the Past archives - http://tlweb.latrobe.edu.au/humanities/screeningthepast/archives/archives.html
Undercurrent (Fipresci's journal) - http://www.fipresci.org/undercurrent/index.htm
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 No.2489

File: 1416205792777.pdf (7.97 MB,David_Lynch_keeps_his_head….pdf)

David Lynch Keeps His Head

by David Foster Wallace
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 No.2490

File: 1416207671986.pdf (6.3 MB,Mayer - Encyclopedia of Fi….pdf)

Encyclopedia of Film Noir

by Mayer & McDonnell
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 No.2547

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 No.3059

File: 1422865742223.gif (23.88 KB,181x121,181:121,deer[1].gif)

i think you guys will like this one. it's full of fascinating materials for film as well as other types of art and avant garde.

http://monoskop.org/Monoskop

> Welcome to Monoskop, a wiki for collaborative studies of art, media and the humanities.


their collection of ebooks for film are at http://monoskop.org/log/?tag=film
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 No.4082

File: 1427000138507.webm (3.95 MB,600x447,200:149,Four_Bagatelles - small.webm)

Thanks for the Monoskop link. Discovered this great experimental film by Gabor Body
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 No.4084

File: 1427004304500.jpg (42.04 KB,700x525,4:3,TheLuggage.jpg)

Here are two sites that host rare Polish films

http://artmuseum.pl/en/filmoteka/o-filmotece

> Filmoteka of the Museum of Modern Art in Warsaw operates with the goal of digital protection and distribution of outstanding audiovisual works from Polish visual artists of the 20th and the early 21st century.

> At the moment, the Filmoteka website offers a selection of 400 films, with 1500 titles planned in total

http://filmpolski.pl/fp/index.php?kino=1

100 early shorts by some famous directors. I don't see subtitles though.
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 No.4410

File: 1429166049042.jpg (213.69 KB,1417x1535,1417:1535,doc_alliance.jpg)

I'm not sure if this is the right place to post this, but here's a documentary streaming/download service with worldwide access

Doc Alliance Films - http://dafilms.com/
> Doc Alliance is the result of a creative partnership of 7 key European documentary film festivals: CPH:DOX Copenhagen, DOK Leipzig, FID Marseille, Jihlava IDFF, Planete Doc Film Festival, Visions du Réel Nyon and, since 2013, Portugal’s Doclisboa. The aim of the Doc Alliance initiative is to advance the documentary genre, support its diversity and continuously promote quality creative documentary films.

Currently there is a free online retrospective event for Deborah Stratman: http://dafilms.com/event/205-deborah-stratman/

Other free films listed here: http://dafilms.com/film/free
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 No.4913

http://ubu.com/

Odd Ubu isn't there besides the godard link. It's an art archive, often the only web copy of art films.

http://bombmagazine.org/archive/category/film

Bomb does interviews given by other artists, lots of good stuff on film. Sharp selection.

>Artforum - http://thequietus.com/film

This caption is wrong. I imaganed an organized archive of all of artforum's film related material. That would be amazing. Instead it's a really mediocre e-magazine. Yuck..

http://artforum.com/film/

What critics do you guys follow?

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 No.4916

this site has a lot of interesting stuff to go through, from chaplin films to old home movie compilations (which are really amazing to watch)

https://archive.org/details/movies

and here is huge ass collection of books about various aspects of film, production, theory, specific directors, and so on. I'm seeding it and will be for the foreseeable future

http://www.demonoid.pw/files/details/2438720/5725979/

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 No.4919

>>4913

Yeah UBU is one of the best and absolutely should be listed here. It's got loads of great audio too.

As for critics I don't pay much attention to them (for better or worse). But two that I like the most are Jonathan Rosenbaum and Kent Jones.

>>4916

> https://archive.org/details/movies

I like the Prelinger Archive over there too. Various industrials and other odd material.

One of my faves is Design for Dreaming

https://archive.org/details/Designfo1956

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 No.4921

>>4919

that's great man.

"everyone says the future is strange

but I have a feeling some things won't change"

I'll have to sample that on my dystopian hip hop album

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 No.4923

>>4919

> Design for Dreaming

Wow, amazing. Shades of Mon oncle and Trafic… I'd like to see a comprehensive investigation of what was attempted with automated 1950's kitchens.

Those concept cars made me think of IMCDB, a site that catalogs all the vehicles used in films. I've used it to research floating cars, rocket cars, etc.

http://www.imcdb.org/

> Welcome to the Internet Movie Cars Database. You will find here the most complete list on the web about cars, bikes, trucks and other vehicles seen in movies, image captures and information about them.

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 No.4929

http://www.egs.edu/faculty/faculty-overview/

European Grad School's site has good pages for all the filmmakers that teach there. Hosts their essays, interviews & relevant videos, as well as their lecture syllabi and recordings of many of their lectures.

Faculty includes Claire Denis, Peter Greenaway, Atom Egoyan, Quay brothers, etc. also note Alain Badiou, Chris Kaus, Manuel de Landa etc.

>>4919

Yeah, I only follow Richard Brody & Jonathon Rosenbaum. Who does Kent Jones write for? I don't know if I've read him.

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 No.4931

>>4929

Kent Jones writes for Film Comment and has been involved with various programming and restoration work in New York.

I'm surprised he doesn't even have a wikipedia page.

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 No.5355

>>4921

>hip hop

Please go back to reddit and stay there scumbag.

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 No.6527

>>4923

> Welcome to the Internet Movie Cars Database

Here's the Internet Movie Firearms Database:

http://www.imfdb.org/wiki/Main_Page

Are there other Internet Movie __ Databases? There should be one for fashion/clothing and one for architecture.

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 No.6528

I have film books but the pdfs are mostly over 8 MB

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 No.6530

This site has a huge amount of downloadable ebooks/pdfs

Try searching for a title, director or movement

http://bookzz.org

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 No.6879

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 No.6880

>>6879

Adding to this:

http://rarelust.com/ - Sounds like a porn site and it kinda is but there's also a decent selection of tough to get B-movies

http://www.rarefilmm.com/ - Same deal but without the softcore and horror flicks floating around, recently the guy took some monetary measures to avoid getting his site taken down but there's still plenty of free stuff, although not that rare

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 No.6881

File: 1457907668986.jpg (74.66 KB,960x570,32:19,Goldfinger_Lockheed_JetSta….jpg)

>>6527

>Are there other Internet Movie __ Databases?

http://impdb.org

Internet movie plane database

Dedicated to identifying aircraft throughout Movies, Television, and now Video Games!

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 No.7006

File: 1459580278371-0.jpg (285.48 KB,1280x565,256:113,marienbad.jpg)

File: 1459580278395-1.pdf (617.94 KB,D.A. Miller - Hitchcock's ….pdf)

D.A. Miller - Hitchcock's Hidden Pictures

essay on Hitchcock's cameo(s) in Strangers on a Train with passing mention to his appearance in Last Year at Marienbad

Alfred Hitchcock Wiki: http://the.hitchcock.zone/wiki/Main_Page

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 No.7062

http://sci-hub.io/

helpful for getting journal articles if you don't have access to JSTOR

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 No.7243

File: 1462691962891-0.jpg (483.24 KB,1600x900,16:9,criterion-the-kid-lustgart….jpg)

File: 1462691962891-1.jpg (479.36 KB,1600x900,16:9,criterion-the-kid-lustgart….jpg)

File: 1462691962891-2.jpg (841.64 KB,1278x1540,639:770,bumping-broadway-cleveland….jpg)

File: 1462691962891-3.jpg (720.57 KB,1600x1229,1600:1229,bumping-broadway-cleveland….jpg)

https://silentlocations.wordpress.com/ ... Here is a blog focused on the locations of silent comedies (mostly). Very specific and detailed!

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 No.7917

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 No.7974

File: c5b3e3d6c740caf⋯.jpg (20.66 KB,327x500,327:500,41f9V1dJxaL.jpg)

File: c138a4cff333f08⋯.pdf (724.35 KB,Tyler Cowan - Good and Ple….pdf)

Like most people, I used to think that it was better to have strong gov't funding of art (as is the case in many parts of Europe). Now I'm not so sure. This book goes against conventional wisdom by highlighting the benefits of the decentralized funding of art in the United States

> Americans agree about government arts funding in the way the women in the old joke agree about the food at the wedding: it's terrible--and such small portions! Americans typically either want to abolish the National Endowment for the Arts, or they believe that public arts funding should be dramatically increased because the arts cannot survive in the free market. It would take a lover of the arts who is also a libertarian economist to bridge such a gap. Enter Tyler Cowen. In this book he argues why the U.S. way of funding the arts, while largely indirect, results not in the terrible and the small but in Good and Plenty--and how it could result in even more and better. Few would deny that America produces and consumes art of a quantity and quality comparable to that of any country. But is this despite or because of America's meager direct funding of the arts relative to European countries? Overturning the conventional wisdom of this question, Cowen argues that American art thrives through an ingenious combination of small direct subsidies and immense indirect subsidies such as copyright law and tax policies that encourage nonprofits and charitable giving. This decentralized and even somewhat accidental--but decidedly not laissez-faire--system results in arts that are arguably more creative, diverse, abundant, and politically unencumbered than that of Europe. Bringing serious attention to the neglected issue of the American way of funding the arts, Good and Plenty is essential reading for anyone concerned about the arts or their funding.

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 No.8197

>>6879

what happened to the hawkmenblues?

it was a great source, damn

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 No.8198

>>8197

speedyshare went kaputski, so all the links died

I didn't know he started using nitroflare though

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 No.8372

http://www.imdb.com/date/

IMDb On This Day

Births and deaths of individuals in the imdb database

(Happy 100th Birthday to Issur Danielovitch)

Most people here don't care about actors but I mentioned this link because I'd like to find an "on this day" webpage for film release dates. So far I can't find one.

Do /tech/ people browse this board? I wonder how hard it would be to query imdb and organize every film by the days of the year. I bet people would go to a site which had that information.

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 No.8937

Really great website... you guys will probably like it, there are some rare treats in it.

http://akademiapolskiegofilmu.pl/en

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 No.9140

File: 401014629071353⋯.jpg (144.31 KB,1200x1365,80:91,Mario Bava Book-L.jpg)

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 No.9143

File: 517ce47fbcc68cc⋯.jpg (1.06 MB,3906x2206,1953:1103,0006a.jpg)

File: ea9dc88d622a98c⋯.jpg (738.93 KB,2085x2404,2085:2404,0013.jpg)

File: da63445e795f153⋯.jpg (638.97 KB,1837x2283,1837:2283,0072.jpg)

File: 216ecf61efddd73⋯.jpg (1.27 MB,3710x2156,265:154,0720-0721.jpg)

File: 66f9b2dd468bd35⋯.jpg (1.06 MB,3812x2217,3812:2217,0924-0925.jpg)

>>9140

Thanks. I found my files eventually on a flash drive. Someone on cinemageddon made the scan.

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 No.9463

http://www.imsdb.com/ -- Internet Movie Script Database

>Welcome to the Internet Movie Script Database (IMSDb)

>If you enjoy movies you've come to the right place, we have the biggest collection of movie scripts available anywhere on the web. Our site lets you read or download movie scripts for free.

>Reading the scripts

>All of our scripts are in HTML format so you can read them right in your web browser. You won't need any additional software to enjoy our great selection of free movie scripts.

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 No.9464

File: 27ac28a20de0258⋯.jpg (142.35 KB,960x960,1:1,17861435_1295694843851564_….jpg)

>>5355

I recommend you to watch Wild Style, Style wars and Dark Days and read Hip Hop Family Tree

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 No.9949

>>6879

http://movieparadise.org/ - mostly popular stuff but check "Non English Movies"

links hosted on 1fichier

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 No.10003

File: dcdd848af17da9e⋯.jpg (64.45 KB,1050x700,3:2,59_16_002284-1050x700.jpg)

Jonathan Rosenbaum - New interview with Federico Casal for the online Uruguayan film magazine Revista Film (June 19 2017)

https://www.jonathanrosenbaum.net/2017/06/51161/

>In the last few years we have seen video essays proliferate, with varying degrees of scholarship and presentation, either on DVD/Blu ray extras or video sharing sites like YouTube and Vimeo. Moreover, anyone can have a space dedicated to sharing reviews or thoughts on films, such as on blogs or social media. With all of this in mind, what qualities should the present day professional film critic have to earn a position of authority?

Knowledge of film history, knowledge of history in general, some knowledge of the other arts, and a good grasp of spoken and written language. Also, taste—something harder to pinpoint but something that should be both defined and defended by the critic.

>You have met Jacques Tati and Robert Bresson, among other directors. Do you perceive an essential difference in the way independent directors worked and thought about film back then and now?

I never had a proper conversation with Bresson, and I haven’t met enough studio directors to hazard any generalizations about either them or independent filmmakers, except to say that I believe that they all thought somewhat differently from each other. For example, I did know Sam Fuller pretty well, and I know that he had no trouble thinking of himself as an artist, which apparently wasn’t the case with Howard Hawks. Tati certainly thought of himself as an independent, but that doesn’t mean he ignored commercial considerations.

>Pedro Almodóvar and Will Smith have recently incarnated the two sides of the Netflix debate, about whether or not films made for streaming services should participate in film festivals or be considered equal to theatrical releases. One could argue that some people fear that the increasingly personalized, consumer-oriented way of experiencing entertainment might make us less willing to take a chance with films outside of the familiar spectrum or go to the theater at all. On the other hand, streaming services offer audiences films from all over the world. Is there a real conflict here, or is the presentation secondary to the quality of a film?

I hate to make or even think about rules for everyone. I’ve never used Netflix or any streaming service, so I’m especially reluctant to think up rules for those who do. I don’t even know what positions Almodóvar and Smith hold on these matters. But I can at least say that the more venues that are open for people accessing films, the better. And my only thoughts about business rules is that they should be much less restrictive.

>David Lynch has often said that the art-house is dead. One can assume he refers to the cultural environment in which Eraserhead premiered 40 years ago, as a midnight movie in a few independent cinemas, and the kind of public that came with that. Now, you’ve written a book with J. Hoberman on the subject. Do you share David Lynch’s sentiment or do you see that that world and spirit have taken another form?

The only commercial cinemas that I frequent in Chicago nowadays with any regularity are arthouses (the Landmark, the Music Box) or alternative venues such as the Gene Siskel Film Center. David Lynch seems to be speaking now as a businessman, not as an artist, and maybe he’s right from a business standpoint; I’m not at all qualified to comment on this subject. Jim Hoberman and I wrote Midnight Movies over 30 years ago, and the business has certainly changed a lot since then.

>Would Erich von Stroheim be able to make Greed in 2017 as a 10 one-hour episode series for television?

What a provocative notion! I suppose that maybe he could have done that. Jacques Rivette did something roughly comparable in Out 1, but French TV refused it in the 1970s. Would they refuse it today? I have no way of knowing, and the same thing applies to Stroheim and Greed and North American cable TV.

>You have been to countless film festivals over the years, and served as jury in many of them. What would your ideal film festival be like?

I guess it would be a cross between the Buenos Aires Festival of Independent Film (at least during 2001-2004, the only years that I’ve been able to attend it) and il Cinema Ritrovato in Bologna (which I now attend every year). That is, a festival where a critical perspective and a sense of film history are both prominent, and where it’s easy to hang out with friends and talk about the films.

>It is easier for an American film, whether big or low budget, to find global distribution deals. A Latin American film, on the other hand, might just have to conform with playing in its native country and in some film festivals. Do you see any of this changing?

I would like to see this changing, but until Donald Trump gets replaced by someone else, I wouldn’t expect this to change any time soon.

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 No.10004

>>10003

>Your book Essential Cinema: On the Necessity of Film Canons stresses the importance of maintaining certain masterworks, classical, international and contemporary, as quality standards and reference guides when thinking and writing about film. What are some of the characteristics shared by those films that make them “canonical”?

The only answer I can provide to this question is a personal response. For me, what makes them canonical is the number of times I can watch them without them ever seeming to lose their freshness. In other words, “canonical” equals “inexhaustible”.

>In the Criterion essay about Playtime, you wrote: “The utopian vision of shared space that informs the latter scenes is made unthinkable by mobile phones, whose use can be said to constitute both a depletion and a form of denial of public space, especially because the people using them tend to ignore the other people in immediate physical proximity to them.” Have cell phones also been detrimental in some way to our appreciation of film?

Yes, and I’d go further and describe them as detrimental to all forms of concentrated attention. One thing that impressed me enormously about the Melbourne International Film Festival when I attended it last year was that I never saw another spectator checking her or his mobile once during any screening.

>Do you miss anything in particular about the days when you started out?

I miss the experience of communal and theatrical filmgoing, mostly as a child in my family’s theaters in Alabama during the late 1940s and the 1950s. Part of that experience was quite clearly the experience of being part of a community, which is much harder to find and to feel these days in the United States—except, perhaps, on the Internet, where it’s a radically different notion of community, both physically and metaphysically.

>If you had to move to a space station and could only take with you films from a single country, what country would that be and why?

It would probably be films from the U.S.—and not only because I’m an American myself, but also because I suspect that my country has produced the richest national cinema. On the other hand, if I was as fed up with American solipsism and arrogance and stupidity as I’m feeling at this moment, I might opt for French cinema instead, both in order to improve my limited language skills and as a better cultural reference point for what I believe culture and society might be—and also because France has a pretty rich national cinema of its own.

>Your writing often analyzes a film’s politics even when the story is not directly making a social or political statement. Is a film’s political conscience an indicator of the filmmaker’s artistic maturity? Are there apolitical films? Should a filmmaker have a sense of social responsibility? Tarkovsky and Malick, for example, seem to be more concerned with atemporal, universal matters of the “soul,” than their characters’ relationship with society or the underlying economic tensions of their misfortunes.

Intentionality is often a hazardous and bogus criterion in film criticism. Regardless of their intentions, the films of Tarkovsky, which I admire enormously, are deeply misogynous, and the films of Malick, which I admire less, are the expressions of a football player. Both filmmakers are obviously talented as well as soulful individuals, but regardless of how apolitical they may be (or think they are) in terms of their artistic intentions, their films both reflect and have political and ideological aspects, some of which might be regarded as consequences.

>Do you have any advice for the struggling young but hopeful filmmaker?

Don’t give up.

>If you could live inside the world of a film, what film would that be and why?

Perhaps Les Demoiselles de Rochefort, because of the music and colors and people and feelings inside that film. I wouldn’t mind the food and the sex, either.

>Do you have a personal top 10?

Theoretically, this list changes all the time, but for the moment, without thinking about it too much, my top ten are as follows (in no special order):

PlayTime (Jacques Tati, 1967)

Satantango (Béla Tarr, 1994)

Ordet (Carl-Theodor Dreyer, 1955)

Spione (Fritz Lang, 1928)

The World (Jia Zhangke, 2004)

City Lights (Charles Chaplin, 1931)

Rear Window (Alfred Hitchcock, 1954)

The Wind Will Carry Us (Abbas Kiarostami, 1999)

Stars in My Crown (Jacques Tourneur, 1950)

The Magnificent Ambersons (Orson Welles, 1942)

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 No.10005

File: 29fdf568db38312⋯.jpg (29.84 KB,300x381,100:127,tark.jpg)

File: 027a961d7f63fdb⋯.pdf (9.78 MB,[Andrey_Tarkovsky]_Sculpti….pdf)

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 No.10006

File: 408a404da10f1bf⋯.jpg (29.61 KB,321x499,321:499,41eWMxJalqL._SX319_BO1,204….jpg)

File: 74332c4fbbc9a00⋯.pdf (7.89 MB,[Maya_Turovskaya]_Tarkovsk….pdf)

File: 8df3b5039cbcff9⋯.jpg (105.9 KB,1240x1754,620:877,iconic turns.jpg)

File: 2cd8ecedeea634a⋯.pdf (1.66 MB,[Liliya_Berezhnaya,_Christ….pdf)

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 No.10007

File: d94c3af81a7fc03⋯.jpg (36.83 KB,361x499,361:499,51JN8VRQV1L._SX359_BO1,204….jpg)

File: 0a71600dba81642⋯.pdf (9.42 MB,[Ernest_Mathijs,_Xavier_Me….pdf)

File: e99493fc6bde797⋯.jpg (33.63 KB,320x499,320:499,51f n5NwyNL._SX318_BO1,204….jpg)

File: 836a48bdaa4e660⋯.pdf (1.55 MB,[Marek_Haltof]_Historical_….pdf)

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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

File: 58065d986a37885⋯.jpg (1.22 MB,1920x1036,480:259,666.jpg)

>>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

File: 124e6028f15150c⋯.jpg (93.63 KB,960x960,1:1,DC-5PgZV0AAWNRL.jpg)

>>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

File: 79ea907480fcda3⋯.jpg (47.1 KB,333x500,333:500,51BPxEQuWRL.jpg)

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

>>9140

That book is 10 years old now

http://videowatchdog.blogspot.com/2017/08/the-bava-book-at-10.html

The author put it online here to promote the release of the expanded digital version

https://content.yudu.com/htmlReader/A29bhe/BavaBook/reader.html

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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

File: 3d49156ed535f28⋯.jpg (50.82 KB,240x320,3:4,Japanese Cinema Film Style….jpg)

File: 94548ef5537a398⋯.pdf (15.69 MB,Donald Richie - Japanese C….pdf)

Japanese Cinema

Film Style and National Character

by Donald Richie

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 No.10849

File: 1ac6d726adbe0fb⋯.gif (956.4 KB,500x382,250:191,detourjitter.gif)

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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

File: 5dc56be818e3683⋯.jpg (146.18 KB,638x938,319:469,robert-bresson-notes-on-ci….jpg)

File: 2e46e43c7b61357⋯.pdf (1.79 MB,Robert Bresson - Notes On ….pdf)

File: eec63c44071fae8⋯.jpg (64.55 KB,413x640,413:640,cms_visual_965887.jpg_1500….jpg)

File: d2e3029ca2b9a6d⋯.pdf (3 MB,Sarah Street - British Nat….pdf)

<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

File: 2c5a964401dbaee⋯.jpg (31.55 KB,334x500,167:250,445528.jpg)

File: 42541bea88d175c⋯.pdf (1.87 MB,Peter Hames - Czech and Sl….pdf)

File: 971d458f0709668⋯.jpg (51.29 KB,301x430,7:10,9780195385632.jpg)

File: 45fdbae39d3ce0b⋯.pdf (3.87 MB,Rosalind Galt and Karl Sco….pdf)

<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

File: 09fb6c59a31906a⋯.jpg (20.94 KB,287x400,287:400,9782906571389.jpg)

File: be4caf4088e46e6⋯.pdf (15.23 MB,Raoul Ruiz - Poetics Of Ci….pdf)

And finally by request

>>11097

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 No.11127

File: 10ca95829428826⋯.jpg (14.18 KB,281x400,281:400,9782914563253.jpg)

File: 8960be429bb0a3b⋯.pdf (14.24 MB,Raoul Ruiz - Poetics of Ci….pdf)

>>11126

+ part 2

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 No.11327

File: 9c2467642aead1f⋯.jpg (16.21 KB,333x499,333:499,003c1514.jpg)

File: e54a23685459029⋯.pdf (648.32 KB,Paul Virilio - The Vision ….pdf)

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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

File: bab8ae68d617a0e⋯.png (134.95 KB,500x319,500:319,logo.png)

An interesting selection of reviews on this blog

http://www.soiledsinema.com/

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 No.11635

File: 028b7f9e68b30f1⋯.jpg (333.59 KB,1116x1454,558:727,416400937_lg.jpg)

File: 25a420834921e20⋯.pdf (11.65 MB,Cinema Scope 69 - Winter 2….pdf)

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

File: 490ffa4befda3a8⋯.jpg (318.89 KB,1594x2048,797:1024,CS70.jpg)

File: 67fc5328b2d57d4⋯.pdf (11.17 MB,Cinema Scope 70 - Spring 2….pdf)

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

File: e3aa70fdb4cc2d7⋯.jpg (124.59 KB,566x740,283:370,351354-1ebc5-102308037-m75….jpg)

File: 8056913697a30f0⋯.pdf (11.28 MB,Cinema Scope - Summer 2017.pdf)

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

File: ac7ddb64332feaf⋯.png (1.15 MB,1136x698,568:349,2001-a-space-odyssey_keir-….png)

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

File: 0879520d0e2256c⋯.jpg (103.17 KB,719x1024,719:1024,ruiz.jpg)

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

File: 3383d0bfcb0b6a9⋯.pdf (126.19 KB,Sergei Parajanov's Differe….pdf)

File: 8421ebd0747c98f⋯.jpg (39.08 KB,350x261,350:261,3a7d7d864491164.jpg)

File: bc4d966d8af856b⋯.jpg (62.44 KB,350x261,350:261,9fe0b3864489164.jpg)

File: 8a62df81678f45a⋯.jpg (41.59 KB,350x261,350:261,aa9cf2864489904.jpg)

File: 29241bb579f727d⋯.jpg (61.64 KB,350x261,350:261,b48ecb864489634.jpg)

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

File: b0ac6e3f87a9e9f⋯.jpg (384.08 KB,744x558,4:3,NewWalterMurch.jpg)

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

Good stuff.

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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

File: 09e443eac7a76b3⋯.jpg (52.94 KB,500x258,250:129,cinema01.jpg)

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

File: bc857fb652a7dc3⋯.png (28.9 KB,409x112,409:112,logo-head.png)

File: d7ea21737c0468b⋯.png (15.38 KB,300x140,15:7,EEFB-Logo.png)

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

File: 5eae1381781c0c3⋯.jpg (230.77 KB,940x708,235:177,940__a_snake_of_june_04_bl….jpg)

File: 5748a800eef1004⋯.jpg (38.36 KB,622x387,622:387,trailers-ross.jpg)

File: 174deafcfe132e1⋯.png (234.72 KB,600x338,300:169,un-lac-image-7.png)

File: 4c4327bb2e7a283⋯.png (128.71 KB,641x480,641:480,night-aaa.png)

File: ff61bd39af81717⋯.jpg (133.79 KB,726x672,121:112,blog.jpg)

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

File: 09baf339e5d6095⋯.jpg (21.09 KB,686x294,7:3,466.jpg)

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

File: fe179cd84f69ccd⋯.png (93.79 KB,704x384,11:6,any luck.png)

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 No.14552

File: 53948b260595877⋯.jpg (425.1 KB,1920x808,240:101,Atomic-Blonde-1.jpg)

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

File: d3456f2eb7b373d⋯.jpg (369.96 KB,1203x991,1203:991,3453452345234523654.jpg)

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 No.14854

File: c50116b5a514c07⋯.jpg (68.17 KB,826x516,413:258,ruiz.jpg)

File: 8b8393a0ed0979a⋯.jpg (249.71 KB,1400x788,350:197,mubi.jpg)

File: 5370d8fb246d689⋯.jpg (99.86 KB,704x295,704:295,mubi1.jpg)

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

File: 30a1a113cdcb17a⋯.jpg (64.08 KB,828x1095,276:365,cannes ovation length.jpg)

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

File: 8a26fe638c9afd7⋯.jpg (60.96 KB,675x1200,9:16,C5Dt0lWUoAAYpBt.jpg)

>>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

File: 10c5cc7040a2a54⋯.jpg (16.02 KB,200x267,200:267,Tsunekichi_Shibata.jpg)

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

File: b76c9ef037e6fbd⋯.png (226.24 KB,855x271,855:271,Portada clasicosdecine-cor….png)

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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