#Vertov Project

[copperbadge]

I was thinking about proofing the latest novel this morning and some of the stuff I may have to shift around or alter -- I'm hoping nothing major, but it's evident from comments that I didn't do quite as much research as I should have in one or two spots.

Because this is a book that is in some aspects very much about pregnancy, while writing it and now while proofing it I've had pregnancy media on the brain, as I try to avoid the pitfalls that a lot of pregnancy arcs on sitcoms or in television dramas fall into. I tried as much as possible to put myself in the position of "If this was happening to my body, how would I feel? If this was my new cultural position, what would that be like?"

I've also been thinking a lot of a pregnancy arc from the TV series Seventh Heaven, and this has driven me to develop what I think of, humorously, as the Dziga Vertov-Seventh Heaven scale of realism. (I've taken to calling it the Vertov-Hampton scale, after producer Brenda Hampton. It sounds amusingly like a personality test, and in some ways it is.)

Dziga Vertov was one of the founders of the cinema verite movement and often combined documentary elements into his fictional work, or vice versa; I studied him in a documentary film class in college and again when I was working on my documentary theatre capstone project. Seventh Heaven, meanwhile, was one of late-90s "family" shows where you can practically chart the way it became more acceptable to be visibly evangelical right-wing in America; it portrayed a pastor and his family grappling with life's difficult questions like "How do I repent of premarital sex" and "why it's not okay for women to decide how they dress for themselves". It was one of many shows I watched during grad school because I was home a lot and only had network television, and I had a horrified fascination with it.

There's a pregnancy arc late in the series where the mother-to-be ends up going into labor while stuck in an elevator. That's tropey, but it's also tried-and-true (White Collar did a similar plot, for fuck's sake). It did give me pause that for the entire sequence of her giving birth in the elevator, she had all of her clothes on, including her shoes and a conveniently draped skirt. Still, you know, it's network television, there are sponsors and censors and such who get involved...

And then, after the big suspenseful "Push! Push!" and the cut to commercial, we return to them finally getting the door of the elevator open from the outside...

And the woman who was giving birth five minutes ago appears in the doorway, still completely dressed, not a speck of bodily fluid on her, and walks out of the elevator carrying her newborn. Like she just picked it up from the customer service desk. It's fucking bonkers. And it was such a definingly stupid moment of television that it cemented Seventh Heaven for me forever as the most ridiculous thing I'm ever likely to watch.

Anyway all of this is to say that while I try to stay as far towards Dziga Vertov as possible, I do sometimes drift towards Seventh Heaven, but I do my best to stop myself before I hit "Walking out of an elevator after giving birth" levels of absurdity.

And I remind myself that however implausible I think my storytelling is, it'll never be Seventh Heaven level bad.

[moochilatv]

More Drifting. music for you

Patrick "it's a guitar driven dreampop song"

More Driting. content for you. Check also this post.

The full EP it's good.

Listen Patrick here:

BIO:

Based in Dublin, 'drifting.' (John) captures a nomadic spirit through their unique blend of indie rock, alternative, post-punk, and hypnagogic pop. True to their name, 'drifting.' moves between countries and cultures, infusing their music with a diverse, global perspective.

Their latest project, “The Fairy Trail,” is a short film series released in parts on Instagram (@bess_bear_24). This film explores queer Ireland through the 1920s city symphony genre, popularized by Walter Ruttmann and Dziga Vertov, offering an intimate look at Pride celebrations and the everyday experiences of queer individuals in Ireland.

What sets 'drifting.' apart is their commitment to creating every aspect of their art independently—from music and music videos to visual art.

[saneclownpussy]

@boybreastmilksteward i love uuuu thanks for tagging me!!!!!

last song

blister in the sun by the violent femmes

currently reading

a collection of sergei eisenstein’s essays on film editing, we discuss him a lot in uni and i finally decided to read some of his texts

last movie

man with a movie camera, 1929, by dziga vertov

SO GOOD brought me so much joy and excitement about life and about film!!!!!

currently watching

started watching twin peaks!! i tried to watch it a few years ago but found it boring but now i’m actually enjoying it a lot!!

currently craving

what i need rn is to run in a circle until i tire myself out

currently consuming

tea :)

three ships

i’m not really into anything rn i’ll be real with you..harry/kim from disco elysium, house/wilson from house md and hannibal/will from nbc hannibal were the last ones i was really into!!

first ship

umm maybe rainbow dash/fluttershy from mlp??? as far as i can remember..

favourite color

yellow!! also recently ive been really into lavender!!

currently working on

like a million projects!!!! starting to work on an animated music video for uni(ok preparing to start..), making a collage for class on friday, working on being a better sillier goofier person etc.. oooh also crocheting a cardigan!!!!!

i tag everyone who wants to participateeeee!!!!:3

[audiovisualheritageday]

Warsaw Silent Film Days - 19th Edition.

The most famous film review organized by Poland’s National Film Archive - Audiovisual Institute (FINA) returns on October 19th!

Polish and foreign cinema accompanied by live music will be welcoming viewers over the course of four days at Iluzjon Cinema in Warsaw. The programme includes films of Polish, French, American, and Ukrainian production.

Per tradition, the festival will open with a Polish title. This time around, opening will be Emil Chaberski and Zbigniew Gniazdowski’s 1928 “Tajemnica Starego Rodu” (Mystery of an Old Lineage)—a drama starring Jadwiga Smosarska, queen of the Polish screen, in a double role. The opening will be followed by three differently themed screening sections.

The section “Ukrainian Silent Cinema” will present two films by Kyivan director Mikhail Kaufman, a largely forgotten filmmaker now being rediscovered, who for most of his career was undeservedly overshadowed by his brother Dziga Vertov. Musical bands from Ukraine will accompany both films.

In the section “Silent Cinema Behind the Scenes” we’ll celebrate the 100th anniversary of the introduction of 16mm tape, which happens to fall on this year. Expect a rare opportunity to view films projected from 16mm on the big screen.

Additionally, we’ll showcase films with furry critters in the limelight, recalling the canine leads of yesteryear’s silent cinema—including Jean, Cameo, and the greatest adventure film star, the German Shepherd Rin Tin Tin. Equine and elephantine fans will also find something to their interest in this section.

As every year, we’ve also kept our youngest viewers in mind. In addition to slapstick comedies featuring various animals, we’ll be showing a children’s comedy-drama: the first screen adaptation of the well-known American youth novel “Penrod and Sam.”

The programme also includes great dramas and melodramas that remain touching and gripping to this day, such as Tod Browning’s “The Unknown,” Clarence Brown’s “Smouldering Fires,” and Alexander Hertz’s “Ludzie bez jutra” (People with no Tomorrow).

Poland National Film Archive - Audiovisual Institute (affiliated to FIAF, FIAT-IFTA)  Warsaw Silent Film Days - 19th Edition 19-22 October 2023 Narbutta St. 50A Warsaw, Poland.

For more detailed information regarding the festival along with its programme, please see the link below:

[rrrauschen]

Dziga Vertov, {1922} Кино-Правда №6 (Kino-Pravda No.6)

[dizzymoods]

1. For a long time now I've been seeing a problem with the advancement of digital image manipulation technology. I've seen a trend that as the tools which allow filmmakers to make digital adjustments to their images become more powerful and accessible, the reliance on these tools has increased to the detriment of the quality of the image.

2. In the days where the photochemical process allowed much more limited control over the graduation of hues, much more of the work of producing the final image happened on set. The quality of the frame was more directly determined by the quality of the light which was reflecting off of the subject.

3. Light is the crux of the image making process. You can't have a good image without good light full stop. It doesn't matter what you do after the image is captured, if the light you captured doesn't work, it can't be made to work by any means.

4. As these technologies have progressed I've seen such a dramatic drop in creativity in the way that light is utilized. I can't help but think that some part of this is due to a shifting attitude in the way that the image making process is conceptualized because of these technologies. Especially when I see things like the incredible popularity of Patreon grifters selling access to their corny LUTs.

5, People are eating that shit up. It seems like its playing into the homogenization of culture. Like it's a homogenization of the visual language of media which is being catalyzed in part by the accessibility of incredibly powerful tools that aren't strictly necessary to the image making process in the hands of an entire generation uncreative hacks who have risen to popularity through means other than the merit of their work.

I think the key to what you’re responding to is what you call the homogenization of visual language in media. I think the problem isn’t the technology per se but the industry that incentivized the use of  the technology to maintain the carbon copy standard of the Hollywood look while also being used to save on money/time onset. && the developers who equally became incentivized to make the technology easier to be used in such a way by the industry & prosumers as well. That’s where I locate this problem. There’s a kind of echo chamber where the images that gets you hired fit into this rigid easily replicate-able formula and the technology makes it easier to make said images.  I see this reverberate outside of technology and into the arena of corporate production and aesthetics. Which of course loops us back to the homogenization of visual language.

I see this homogenization in the work of DPs who started in the late 90s/early 00s. I’m thinking about Matty Libatique in particular who started out doing unique visuals in  Pi and Requiem for a Dream. Even though I don’t particularly like the look of these movies they did have personality.  It’s hard not to notice how on trend, flat, and boring Matty’s recent movies have been.

& I use Matty bc he moves between Big Studio pictures (Venom, A Star Is Born, Birds of Prey) and boutique indie films (Chiraq, Mother!, Native Son). & part of this echo chamber is that the technology is now relatively accessible and cheap and can produce a quality that rivals Hollywood. So now there isn’t much of a visual distinction between a $100mil film and a $10mil film in terms of image quality outside of maybe vfx.

Indie films aren’t an alternative to the Hollywood look anymore. They are now either boutique bootlegs (a24 or Annapurna) or generic knockoffs.  The indie scene is a kind of testing ground for new directors and DPs: can you follow the Hollywood formula on a limited budget? That’s why today’s indie wunderkinds get scooped up into Hollywood bc they can achieve these boring corporate approved looks on a budget. Vastly different from say PTA  or Malik Sayeed in the 90s.

This mimesis is at the heart of film education too. & I say film education bc you find it not only in institutional training (film school/residencies) but also on film sets interning and in the most easily accessible online resources (youtube, forums, patreon grifters, books, etc). All film education follows the model of Recognition and Recreation. Recognize the elements of this image/look and reproduce it as best you can. Film education produces technicians not masters of craft. There is no artist development. You have to sneak your pov into this small rigid mold. 

And this echo chamber discourages seeking out history and alternatives bc they are either obsolete or not profitable. Ppl think photographing black skin is a relatively new development when photographers like Van Der Zee were doing in the 1920s. & what Van Der Zee was doing in his photography in the 20s is wildly more technically difficult than dragging an effect onto a photo or applying a filter. The New Black Vanguard photographers are particularly annoying about claiming to be the “first” to do something even though they’re consciously (but badly)  copying 70s-90s fashion photography that was circulating on tumblr (usually by Rashida & Bri) ca. 2011-2014

I’m not mad at these insta photographers or these other visual artists who might not be talented but are adept at social media/sliding the HSL scale. Its the media and tech industries manufacturing the ability to do so and the manufactured need to work this way. Now that so many ppl can do this and the tech is demystified it makes it easier to replace workers. As a photographer/DP you aren’t bringing a unique eye to the project like Vadim Yusov or Jack Cardiff. You’re bringing the ability complete the task quickly and cheaply.

Something that I don’t ever see talked about wrt the homogenization of visual culture is how around 2007 Fincher & Soderbergh started saying the dreaded digital look will be as good and eventually better than celluloid. & with the RED One and Arri Alexa it became an achievable reality. So now instead of a meaningful difference in the visual palette between celluloid and digital we now have what essentially amounts to celluloid and imitation celluloid.

i do think there is value in this post manipulation technology. I just think that it needs to embrace it’s artifice. So much of this digitally  produced corporate look has some tether to reality/physics. I try to imagine how Dziga Vertov or Seijun Suzuki would have used it. I think it would’ve been exciting We got a glimpse of how Obayashi was using it.

While I agree that the visual degradation of the image is annoying and worrisome. I think more importantly is the end to which images are used. What is the meaning or purpose of this image? There’s also a degredation and flattening of meaning in these images as well. I think #RepresentationMatters is a big reason for this. Everything is now selling us capitalist aspirational images of women presidents and black board members. They really don’t mean much more than those “Anything is possible” posters with the balloons on them in first grade classrooms.

Since going to HU I’ve been increasingly less interested in placing value in the graphic quality of an image but rather its meaning/purpose. The Dario Calmese/Viola Davis cover kinda sealed that deal lol. But I do agree w the sentiment here. I don’t think there’s a point to working in a visual medium if everything you’re making looks the same.

Shameless self plug of an online grifter: I’m planning on covering cinematography more generally but this specifically is central to that topic in September’s episode of Niggas Eatin.

TL:DR: the technology is more of a symptom of the absolute disease that is hollywood’s corporate slog of images than the actual problem.

[shihlun]

I want to return, though with quite different methods, aims and end-products, to the old Dziga Vertov idea: that the montage should be conceived with the project and not merely with the exposed film. This may sound like a conceit, but you could say that the script is written in the montage, and that the montage is established before shooting.

Jacques Rivette, 1974

[willywonka1234]

Arrival and the Kuleshov Effect

During the early 20th century, Soviet cinema was very eager to experiment with both content and form. 

Pioneers such as Sergei Eisenstein and Dziga Vertov established key principles in this new mean of expression, while paving the way for future filmmakers, who sought to develop their own cinematic language. What they all had in common was the belief that it’s not the content of the shots themselves that had a powerful dramatic impact on the audience, but rather the way they were joined together through editing. One of the best examples of these principles is the Kuleshov effect.

What is the Kuleshov effect? Named after the Soviet filmmaker Lev Kuleshov, this effect is an editing technique which is used to manipulate the audience’s emotion. They subconsciously derive meaning from the juxtaposition of two consecutive shots and depending on what they see in the second shot, the audience project emotion on an otherwise neutral character. In the following example, the character might feel hunger, grief or desire depending on whether his enigmatic expression is followed by a bowl of soup, a child in a coffin or a young woman.

But who cares anyway?  These discoveries only belong to history books and nobody uses that kind of archaic techniques in contemporary films, right? Well… not exactly. You’d be surprised to what extent the Kuleshov effect is present even in very recent films. I can only recommend you to check out Hitchcock’s interpretation of it in this interview (link). Let’s take a more recent example, though: Denis Villeneuve’s Arrival (2016). When twelve alien spaceships land on Earth, the linguist Louise Banks (Amy Adams) is charged with the mission to understand their language and mysterious message to humanity. If you still haven’t seen it, you should stop reading here – major spoiler ahead.

The first scene portrays the life Louise Banks shares with her daughter, from her very first days to her premature death as a teenager. Shaken by the tragedy they just witnessed, the audience can’t help but project extreme sorrow on Amy Adams’ character in the second scene where she walks through the university where she teaches, the day the aliens arrive. She seems distressed and the fact that she does not succumb to panic, as opposed to the many people surrounding her, only proves that her mind is elsewhere, right? Wrong.

In fact, Villeneuve uses the Kuleshov effect skilfully: the audience eventually find out that the first and second scene are not presented in chronological order and that the film’s opening is actually taken from the future. The juxtaposition of these two very distinctive moments in the character’s life only play with our expectations and interpretations, which makes the final plot twist all the more baffling.

[moviereviewstation]

The Movie List

Hi all, 

As promised, here’s the list. Once a movie has been reviewed, I’ll turn the movie into a link to the review on this list. Any movie we can’t find will be marked with a cross through. There were double ups in the categories, movies being listed twice, so I’ve only let them be in the first category they show up in (Hence why there isn’t 100 movies in the fourth category). The list is below: 

1. GENRE 

Action-Aventure

The Mark of Zorro (Fred Niblo, 1920)

The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)

The Seven Samurai (Akira Kurosawa, 1954)

Top Gun (Tony Scott, 1986)

Lethal Weapon (Richard Donner, 1987)

Thelma and Louise (Ridley Scott, 1991)

Mission: Impossible (Brian De Palma, 1996)

Kill Bill: Volume 1 (Quentin Tarantino, 2003)

Animation

Steamboat Willie (Ub Iwerks, 1928)

Snow White and the Seven Dwarfs (David Hand and William Cottrell, 1937)

Pinocchio (Ben Sharpsteen and Hamilton Luske, 1940)

Yellow Submarine (George Dunning, 1968)

Akira (Katsuhiro Otomo, 1988)

Toy Story (John Lasseter, 1995)

Spirited Away (Hayat Miyazaki, 2001)

Belleville Rendez-vous (Sylvain Chomet, 2003)

Wallace and Gromit: The Curse of the Were-Rabbit (Steve Box and Nick Park, 2005)

Wall-E (Andrew Stanton, 2008)

Up (Pete Docter and Bob Peterson, 2009)

How To Train Your Dragon (Chris Sanders and Dean DeBlois, 2010)

Avante-Garde

L’Inhumaine (Marcel L’Herbier, 1924)

Un Chien Andalou (Luis Bunuel, 1929)

L’Age d’Or (Luis Bunuel, 1930)

Biopic

Young Mr. Lincoln (John Ford, 1939)

Gandhi (Richard Attenborough, 1982)

A Beautiful Mind (Ron Howard, 2001)

The Aviator (Martin Scorsese, 2004)

Ray (Taylor Hackford, 2004)

The Last King of Scotland (Kevin Macdonald, 2006)

Milk (Gus Van Sant, 2008)

Comedy

The General (Clyde Bruckman and Buster Keaton, 1927)

Duck Soup (Leo McCarey, 1933)

His Girl Friday (Howard Hawks, 1940)

The Ladykillers (Alexander Mackendrick, 1955)

The Pink Panther (Blake Edwards, 1963)

Annie Hall (Woody Allen, 1977)

Airplane! (Jim Abrahams, David Zucker, and Jerry Zucker, 1980)

Four Weddings and a Funeral (Mike Newell, 1994)

The Full Monty (Peter Cattaneo, 1997)

Meet the Parents (Jay Roach, 2000)

Bridget Jone’s Diary (Sharon Maguire, 2001)

The Devil Wears Prada (David Frankel, 2006)

Costume Drama

Jezebel (William Wyler, 1938)

Les Enfants du Paradis (Marcel Carne, 1945)

Senso (Luchino Visconti, 1954)

Barry Lyndon (Stanley Kubrick, 1975)

Dangerous Liaisons (Stephen Frears, 1988)

Howards End (James Ivory, 1992)

Sense and Sensibility (Ang Lee, 1995)

Bright Star (Jane Campion, 2009)

Cult

Plan 9 from Outer Space (Edward D. Wood, 1958)

Faster, Pussycat! Kill! Kill! (Russ Meyer, 1965)

Pink Flamingos (John Waters, 1972)

The Wicker Man (Robin Hardy, 1973)

The Rocky Horror Picture Show (Jim Sharman, 1975)

Withnail and I (Bruce Robinson, 1987)

Fight Club (David Finch, 1999)

Disaster

Airport (George Seaton, 1970)

The Poseidon Adventure (Ronald Neame, 1972)

The Towering Inferno (John Guillermin, 1974)

Independence Day (Roland Emmerich, 1996)

Titanic (James Cameron, 1997)

Documentary

Man with a Movie Camera (Dziga Vertov, 1929)

Night and Fog (Alain Resnais, 1955)

Don’t Look Back (D.A. Pennebaker, 1967)

The Sorrow and the Pity (Marcel Ophuls, 1969)

Bowling for Columbine (Michael Moore, 2002)

Capturing the Friedmans (Andrew Jarecki, 2003)

The Story of the Weeping Camel (Byambasuren, Dava and Luigi Falorini, 2003)

March of the Penguins (Luc Jacquet, 2005)

An Inconvenient Truth (Davis Guggenheim, 2006)

Epic

The Birth of a Nation (D.W. Griffith, 1915)

Alexander Nevsky (Sergei M. Eisenstein and Dmitri Vasilyev, 1938)

The Robe (Henry Koster, 1953)

The Ten Commandments (Cecil B. DeMille, 1956)

Ben-Hur (William Wyler, 1959)

Spartacus (Stanley Kubrick, 1960)

Doctor Zhivago (David Lean, 1965)

Gladiator (Ridley Scott, 2000)

Kingdom of Heaven (Ridley Scott, 2005)

Film Noir

Double Indemnity (Billy Wilder, 1944)

Fallen Angel (Otto Preminger, 1945)

The Big Sleep (Howard Hawks, 1946)

Kiss Me Deadly (Robert Aldrich, 1955)

Touch of Evil (Orson Welles, 1958)

Chinatown (Roman Polanski, 1974)

L.A. Confidential (Curtis Hanson, 1997)

Sin City (Frank Miller and Robert Rodriguez, 2005)

Gangster

Little Caesar (Mervyn Leroy, 1931)

Public Enemy (William Wellman, 1931)

Angels with Dirty Faces (Michael Curtiz, 1938)

Bonnie and Clyde (Arthur Penn, 1967)

The Godfather (Francis Ford Coppola, 1972)

GoodFellas (Martin Scorsese, 1990)

Pulp Fiction (Quentin Tarantino, 1994)

Snatch (Guy Ritchie, 2000)

Gangs of New York (Martin Scorsese, 2002)

Road to Perdition (Sam Mendes, 2002)

Horror

Nosferatu (F.W. Murnau, 1922)

The Bride of Frankenstein (James Whale, 1935)

Cat People (Jacques Tourneur, 1942)

The Night of the Living Dead (George A. Romero, 1968)

The Exorcist (William Friedkin, 1973)

Halloween (John Carpenter, 1978)

Ring (Hideo Nakata, 1998)

The Blair Witch Project (Daniel Myrick and Eduardo Sanchez, 1999)

Martial Arts

Fists of Fury (Wei Lo, 1971)

The Chinese Connection (Wei Lo, 1972)

Enter the Dragon (Robert Clouse, 1973)

The Karate Kid (John G. Avildsen, 1984)

Once Upon a Time in China (Tsui Hark, 1991)

Crouching Tiger, Hidden Dragon (Ang Lee, 2000)

Hero (Zhang Yimou, 2002)

Melodrama

Imitation of Life (John M. Stahl, 1934)

Stella Dallas (King Vidor, 1937)

Now, Voyager (Irving Rapper, 1942)

Mildred Pierce (Michael Curtiz, 1945)

Brief Encounter (David Lean, 1945)

The Life of Oharu (Kenji Mizoguchi, 1952)

Musical

Le Million (Rene Clair, 1931)

42nd Street (Lloyd Bacon, 1933)

The Merry Widow (Ernst Lubitsch, 1934)

Top Hat (Mark Sandrich, 1935)

Meet Me in St. Louis (Vincente Minnelli, 1944)

Singin’ in the Rain (Gene Kelly and Stanley Donen, 1952)

Gigi (Vincente Minnelli, 1958)

West Side Story (Robert Wise and Jerome Robbins, 1961)

Cabaret (Bob Fosse, 1972)

Grease (Randal Kleiser, 1978)

Dirty Dancing (Emile Ardolina, 1987)

Moulin Rouge! (Baz Luhrmann, 2001)

Hairspray (Adam Shankman, 2007)

Propaganda

The Triumph of the Will (Leni Riefenstahl, 1935)

The Plow that Broke the Plains (Pare Lorentz, 1936)

Der Fuehrer’s Face (Jack Kinney, 1943)

Science Fiction and Fantasy

Metropolis (Fritz Lang, 1927)

The Wizard of Oz (Victor Fleming, 1939)

The Time Machine (George Pal, 1960)

2001: A Space Odyssey (Stanley Kubrick, 1968)

Solaris (Andrei Tarkovsky, 1972)

Star Wars (George Lucas, 1977)

The Matrix (Larry and Andy Wachowski, 1999)

Avatar (James Cameron, 2009)

Inception (Christopher Nolan, 2010)

Serial

The Perils of Pauline (Louis Gasnier, 1914)

Flash Gordon (Frederick Stephani, 1936)

The Lone Ranger (John English and William Witney, 1938)

Series

Charlie Chan (Various, 1931-49)

Don Camillo (Various, 1951-65)

Zatoichi (Various, 1962-2003)

The Lord of the Rings (Peter Jackson, 2001-03)

Harry Potter (Various, 2001-11)

The Chronicles of Narnia (Various, 2005-)

Teens

Rebel Without a Cause (Nicholas Ray, 1955)

American Graffiti (George Lucas, 1973)

The Breakfast Club (John Hughes, 1985)

Mean Girls (Mark Waters, 2004)

Thriller

The Third Man (Carol Reed, 1949)

Psycho (Alfred Hitchcock, 1960)

The Silence of the Lambs (Jonathan Demme, 1991)

The Constant Gardener (Fernando Meirelles, 2005)

The Girl Who Played with Fire (Daniel Alfredson, 2009)

Underground

Meshes of the Afternoon (Maya Deren, 1943)

Wavelength (Michael Snow, 1967)

Flesh (Paul Morrissey, 1968)

War

J’Accuse (Abel Gance, 1919)

Paths of Glory (Stanley Kubrick, 1957)

Apocalypse Now (Francis Ford Coppola, 1979)

Das Boot (Wolfgang Peterson, 1981)

Full Metal Jacket (Stanley Kubrick, 1987)

Saving Private Ryan (Steven Spielberg, 1998)

No Man’s Land (Danis Tanovic, 2001)

The Hurt Locker (Kathryn Bigelow, 2008)

Western

Stagecoach (John Ford, 1939)

The Man from Laramie (Anthony Mann, 1955)

The Searchers (John Ford, 1956)

The Magnificent Seven (John Sturges, 1960)

The Man who Shot Liberty Valance (John Ford, 1962)

The Wild Bunch (Sam Peckinpah, 1969)

Once Upon a Time in the West (Sergio Leone, 1968)

Unforgiven (Clint Eastwood, 1992)

True Grit (Joel and Ethan Coen, 2010)

2. WORLD FILM

Africa

The Money Order (Ousmane Sembene, Senegal, 1968)

The Night of Counting the Years (Shadi Abdelsalam, Egypt, 1969)

Xala (Ousmane Sembene, Senegal, 1975)

Chronicle of the Burning Years (Mohammed Lakhdar-Hamina, Algeria, 1975)

Alexandria… Why? (Youssef Chahine, Egypt, 1978)

Man of Ashes (Nouri Bouzid, Tunisia, 1986)

Yeelen (Souleymane Cisse, Mali, 1987)

The Silences of the Palace (Moufida Tlatli, Tunisia, 1994)

Waiting for Happiness (Abderrahmane Sissako, Mauritania, 2002)

The Middle East

Divine Intervention (Elia Suleiman, Palestine, 2002)

The Syrian Bride (Eran Riklis, Palestine, 2004)

Thirst (Tawfik Abu Wael, Palestine, 2004)

Paradise Now (Hand Abu-Assad, Palestine, 2005)

Iran

The Cow (Dariush Mehrjui, 1968)

The White Balloon (Jafar Panahi, 1995)

Taste of Cherry (Abbas Kiarostami, 1997)

The Children of Heaven (Majid Majidi, 1997)

Blackboards (Samira Makmalbaf, 2000)

The Day I Became a Woman (Marzieh Meshkini, 2000)

Secret Ballot (Babek Payami, 2001)

Kandahar (Mohsen Makmalbaf, 2001)

Turtles Can Fly (Bahman Ghobadi, 2004)

Eastern Europe

Knife in the Water (Roman Polanski, Poland, 1962)

The Shop on the High Street (Jan Kadar, Czechoslovakia, 1965)

The Round-Up (Miklos Jansco, Hungary, 1965)

Loves of a Blonde (Milos Foreman, Czechoslovakia, 1965)

Daisies (Vera Chytilova, Czechoslovakia, 1966)

Closely Observed Trains (Jiri Menzel, Czechoslovakia, 1966)

Man of Marble (Andrzej Wajda, Poland, 1976)

The Three Colours trilogy (Krzysztof Kieslowski, Poland, 1993-94)

Divided We Fall (Jan Hrebejk, Czech Republic, 2000)

The Turin Horse (Bela Tarr, Hungary, 2011)

The Balkans

A Matter of Dignity (Michael Cacoyannis, Greece, 1957)

I Even Met Happy Gypsies (Aleksandar Petrovic, Yugoslavia, 1967)

The Goat Horn (Metodi Andonov, Bulgaria, 1972)

Yol (Yilmaz Güney and Serif Goren, Turkey, 1982)

Underground (Emir Kusturica, Yugoslavia, 1995)

Eternity and a Day (Theo Angelopoulos, Greece, 1998)

Uzak (Nuri Bilge Ceylan, Turkey, 2002)

The Death of Mr. Lazarescu (Cristi Puiu, Romania, 2005)

4 Months, 3 Weeks, and 2 Days (Cristian Mungiu, Romania, 2007)

Russia

The Battleship Potemkin (Sergei Eisenstein, 1925)

Storm Over Asia (Vsevolod Pudovkin, 1928)

Earth (Alexander Dovzhenko, 1930)

Ivan the Terrible Parts I and II (Sergei Eisenstein, 1944/58)

The Cranes are Flying (Mikhail Kalatozov, 1957)

Ballad of a Soldier (Grigori Chukhrai, 1959)

The Colour of Pomegranates (Sergei Parajanov, 1969)

Come and See (Elem Klimov, 1985)

Russian Ark (Aleksandr Sokurov, 2002)

The Nordic Countries

The Phantom Carriage (Victor Sjostrom, Sweden, 1921)

Day of Wrath (Carl Dreyer, Denmark, 1943)

Persona (Ingmar Bergman, Sweden, 1966)

Babette’s Feast (Gabriel Axel, Denmark, 1987)

Festen (Thomas Vinterberg, Denmark, 1998)

Songs from the Second Floor (Roy Andersson, Sweden, 2000)

O’Horten (Bent Hamer, Norway, 2007)

The Girl with the Dragon Tattoo (Niels Arden Oplev, Sweden/Denmark/Germany/Norway, 2009)

Germany

The Last Laugh (F.W. Murnau, 1924)

Pandora’s Box (G.W. Pabst, 1929)

The Blue Angel (Josef von Sternberg, 1930)

M (Fritz Lang, 1931)

The Bridge (Bernhard Wicki, 1959)

Kings of the Road (Wim Wenders, 1976)

The Marriage of Maria Braun (Rainer Werner Fassbinder, 1978)

The Tin Drum (Volker Schlöndorff, 1979)

Run Lola Run (Tom Tykwer, 1998)

France

Napoleon (Abel Gance, 1927)

L’Atalante (Jean Vigo, 1934)

La Grande Illusion (Jean Renoir, 1937)

Le Jour se Leve (Marcel Carne, 1939)

Diary of a Country Priest (Robert Bresson, 1951)

Hiroshima Mon Amour (Alain Resnais, 1959)

Jules et Jim (Francois Truffaut, 1962)

Weekend (Jean-Luc Godard, 1967)

La Haine (Mathieu Kassovitz, 1995)

The Taste of Other (Agnes Jaoui, 2000)

The Class (Laurent Cantet, 2008)

A Prophet (Jacques Audiard, 2009)

Of Gods and Men (Xavier Beauvois, 2010)

Italy

The Flowers of St. Francis (Roberto Rossellini, 1950)

Umberto D. (Vittorio De Sica, 1952)

La Notte (Michelangelo Antonioni, 1961)

The Leopard (Luchino Visconti, 1963)

The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)

Amarcord (Federico Fellini, 1973)

1900 (Bernardo Bertolucci, 1976)

Cinema Pardiso (Giuseppe Tornatore, 1988)

Il Postino (Michael Radford, 1994)

The Best of Youth (Marco Tullio Giordana, 2003)

Gomorrah (Matteo Garrone, 2008)

Vincere (Marco Bellocchio, 2009)

United Kingdom

The Lady Vanishes (Alfred Hitchcock, 1938)

Odd Man Out (Carol Reed, 1947)

Black Narcissus (Michael Powell and Emeric Pressburger, 1947)

Whiskey Galore (Alexander Mackendrick, 1949)

The Servant (Joseph Losey, 1963)

If… (Lindsay Anderson, 1968)

Local Hero (Bill Forsyth, 1983)

Brazil (Terry Gilliam, 1985)

Billy Elliot (Stephen Daldry, 2000)

Touching the Void (Kevin Macdonald, 2003)

The King’s Speech (Tom Hooper, 2010)

Spain

Welcome Mr. Marshall! (Luis Garcia Berlanga, 1953)

Death of a Cyclist (Juan Antonio Bardem, 1955)

Viridiana (Luis Bunuel, 1961)

The Spirit of the Beehive (Victor Erice, 1973)

Cria Cuervos (Carlos Saura, 1976)

Tierra (Julio Medem, 1996)

Talk to Her (Pedro Almodovar, 2002)

The Sea Inside (Alejandro Amenabar, 2004)

Portugal

Hard Times (Joao Botelho, 19880

Abraham’s Valley (Manoel de Oliveira, 1993)

God’s comedy (Joao Cesar Monteiro, 1995)

River of Gold (Paulo Rocha, 1998)

O Delfim (Fernando Lopes, 2002)

Canada

My Uncle Antoine (Claude Jutra, 1971)

The True Nature of Bernadette (Gilles Carles, 1972)

The Apprenticeship of Duddy Kravitz (Ted Kotcheff, 1974)

The Decline of the American Empire (Denys Arcand, 1986)

I’ve Heard the Mermaids Singing (Patricia Rozema, 1987)

Dead Ringers (David Cronenberg, 1988)

Jesus of Montreal (Denys Arcand, 1989)

Exotica (Atom Egoyan, 1994)

The Sweet Hereafter (Atom Egoyan, 1997)

The Barbarian Invasions (Denys Arcand, 2003)

Twist (Jacob Tierney, 2003)

Central America

Maria Candelaria (Emilio Fernandez, Mexico, 1944)

La Perla (Emilio Fernandez, Mexico, 1947)

Los Olvidados (Luis Bunuel, Mexico, 1950)

I am Cuba (Mikhail Kalatozov, Soviet Union/Cuba, 1964)

Memories of Underdevelopment (Tomas Gutierrez Area, Cuba, 1968)

Lucia (Humberto Solas, Cuba, 1968)

Like Water for Chocolate (Alfonso Area, Mexico, 1992)

Amores Perros (Alejandro Gonzales Inarritu, Mexico, 2000)

Y Tu Mama También (Alfonso Cuaron, Mexico, 2001)

Pan’s Labyrinth (Guillermo del Toro, Mexico, 2006)

South America

The Hand in the Trap (Leopoldo Torre Nilsson, Argentina, 1961)

Barren Lives (Nelson Pereira dos Santos, Brazil, 1963)

Antonio das Mortes (Glauber Rocha, Brazil, 1969)

The Hour of the Furnaces (Fernando Solanas and Octavio Getino, Argentina, 1970)

The Battle of Chile (Patricio Guzman, Chile, 1975/79)

The Official Story (Luis Puenzo, Argentina, 1985)

Central Station (Walter Salles, Brazil, 1998)

City of God (Fernando Meirelles, Brazil, 2002)

The Secret in Their Eyes (Juan Jose Campanella, Argentina, 2010)

China, Hong Kong, and Taiwan

Two Stage Sisters (Xie Jin, China, 1965)

A Touch of Zen (King Hu, Taiwan, 1969)

The Way of the Dragon (Bruce Lee, Hong Kong, 1972)

Yellow Earth (Chen Kaige, China, 1984)

City of Sadness (Hsiou-Hsein Hou, Taiwan, 1989)

Ju Dou (Zhang Yimou and Yang Fengliang, Japan/China, 1990)

Raise the Red Lantern (Zhang Yimou, China, 1991)

Yi Yi (Edward Yang, Taiwan, 2000)

Still Life (Jia Zhang Ke, China, 2006)

Korea

The Day a Pig Fell into the Well (Hong Sang-Soo, 1996)

Shiri (Kang Je-Gyu, 1999)

Chihwaseon (Im Kwon-Taek, 2002)

The Way Home (Lee Jong-Hyang, 2002)

Oasis (Lee Chang-dong, 2002)

Spring, Summer, Fall, Winter… and Spring (Kim Ki-Duk, 2003)

Secret Sunshine (Lee Chang-Dong, 2007)

Japan

Equinox Flower (Yasujiro Ozu, 1958)

An Actor’s Revenge (Kon Ichikawa, 1963)

Boy (Nagisa Oshima, 1969)

Vengeance is Mine (Shohei Imamura, 1979)

Hana-Bi (Takeshi Kitano, 1997)

After Life (Hirokazu Koreeda, 1998)

Still Walking (Hirokazu Koreeda, 2008)

Catepillar (Koji Wakamatsu, 2010)

India

Devdas (Bimal Roy, 1955)

Rather Panchali (Satyajit Ray, 1955)

Mother India (Mehboob Khan, 1957)

Charulata (Satyajit Ray, 1964)

Bhuvan Shome (Mrinal Sen, 1969)

Sholay (Ramesh Sippy, 1975)

Nayagan (Mani Ratnam, 1987)

Salaam Bombay! (Mira Nair, 1988)

Bandit Queen (Shekhar Kapur, 1994)

Dilwale Dulhaniya Le Jayenge (Aditya Chopra, 1995)

Kannathil Muthamittal (Mani Ratnam, 2002)

Shwaas (Sandeep Sawant, 2004)

Harishchandrachi Factory (Paresh Mokashi, 2009)

People Live (Anusha Rizvi, 2010)

Australia and New Zealand

Picnic at the Hanging Rock (Peter Weir, Australia, 1975)

The Getting of Wisdom (Bruce Beresford, Australia, 1977)

Newsfront (Phillip Noyce, Australia, 1978)

My Brilliant Career (Gillian Armstrong, Australia, 1979)

Mad Max (George Millar, Australia, 1979)

Crocodile Dundee (Peter Faiman, Australia, 1986)

An Angel at My Table (Jane Campion, New Zealand, 1990)

Heavenly Creatures (Peter Jackson, New Zealand, 1994)

Happy Feet (George Millar, Australia, 2006)

Australia (Bax Luhrmann, Australia, 2008)

3. DIRECTORS

Woody Allen

Sleeper (1973)

Love and Death (1976)

Manhattan (1979)

Broadway Danny Rose (1984)

The Purple Rose of Cairo (1985)

Hannah and Her Sisters (1986)

Crimes and Misdemeanors (1989)

Husbands and Wives (1992)

Match Point (2005)

Vicky Cristina Barcelona (2008)

Pedro Almodovar

What Have I Done to Deserve This (1984)

Law of Desire (1987)

Women on the Verge of a Nervous Breakdown (1988)

High Heels (1991)

All About My Mother (1999)

Bad Education (2004)

Volver (2006)

Robert Altman

M*A*S*H* (1970)

McCabe and Mrs. Miller (1971)

Nashville (1975)

The Player (1992)

Short Cuts (1993)

Gosford Park (2001)

A Prairie Home Companion (2006)

Theo Angelopoulos

The Traveling Players (1975)

Landscape in the Mist (1988)

The Weeping Meadow (2004)

Michelangelo Antonioni

L’Avventua (1960)

L’Eclisse (1962)

Il Deserto Rosso (1964)

Blow-Up (1966)

The Passenger (1975)

Ingmar Bergman

Summer Interlude (1951)

Smiles of a Summer Night (1955)

The Seventh Seal (1957)

Wild Strawberries (1957)

The Face (1958)

Cries and Whispers (1972)

Autumn Sonata (1978)

Fanny and Alexander (1982)

Bernardo Bertolucci

Before the Revolution (1964)

The Conformist (1970)

Last Tango in Paris (1972)

The Last Emporero (1987)

The Dreamers (2003)

Luc Besson

The Big Blue (1988)

Nikita (1990)

Leon (1995)

The Fifth Element (1997)

Robert Bresson

Ladies of the Park (1945)

A Man Escaped (1956)

Balthazar (1966)

L’Argent (1983)

Tod Browning

The Unholy Three (1925)

The Blackbird (1926)

The Unknown (1927)

West of Zanzibar (1928)

Dracula (1931)

Freaks (1932)

The Devil-Doll (1936)

Luis Bunuel

An Andalusian Dog (1929)

Age of Gold (1930)

The Young and the Damned (1950)

Nazarin (1958)

The Exterminating Angel (1962)

Diary of a Chambermaid (1964)

Belle de Jour (1967)

Tristana (1970)

The Discreet Charm of the Bourgeoisie (1972)

Frank Capra

Platinum Blonde (1931)

The Bitter Tea of General Yen (1933)

Lady for a Day (1933)

It Happened One Night (1934)

Mr. Deeds Goes to Town (1936)

You Can’t Take It with You (1938)

Mr. Smith Goes to Washington (1939)

It’s a Wonderful Life (1946)

Marcel Carne

Bizarre Bizarre (1937)

Port of Shadows (1938)

The Devil’s Envoys (1942)

John Cassavetes

Shadows (1959)

Faces (1968)

Minnie and Maskowitz (1971)

Gloria (1980)

Claude Chabrol

The Cousins (1959)

The Good Time Girls (1960)

The Unfaithful Wife (1969)

The Hatter’s Ghost (1982)

The Ceremony (1995)

Nightcap (2000)

Charlie Chaplin

The Kid (1921)

A Woman of Paris (1923)

The Gold Rush (1925)

The Circus (1928)

City Lights (1931)

Modern Times (1936)

The Great Dictator (1940)

Rene Clair

The Italian Straw Hat (1928)

Under the Roofs of Paris (1930)

The Million (1931)

Freedom for Us (1931)

The Last Billionaire (1934)

The Ghost Goes West (1935)

It Happened Tomorrow (1944)

Night Beauties (1952)

Summer Manoeuvres (1955)

Henri-Geoges Clouzot

The Raven (1943)

Quay of the Goldsmiths (1947)

The Wages of Fear (1953)

Diabolique (1955)

The Picasso Mystery (1956)

Jean Cocteau

The Blood of a Poet (1930)

Beauty and the Beast (1946)

Orpheus (1950)

The Testament of Orpheus (1960)

Joel and Ethan Coen

Blood Simple (1984)

Raising Arizona (1987)

Barton Fink (1991)

Fargo (1996)

The Big Lebowski (1998)

No Country for Old Men (2007)

A Serious Man (2009)

Francis Ford Coppola

The Conversation

The Outsiders

Tucker: The Man and His Dreams

George Cukor

Dinner at Eight (1933)

Little Women (1933)

Sylvia Scarlett (1935)

David Copperfield (1935)

Camille (1936)

Holiday (1938)

The Women (1939)

The Philadelphia Story (1940)

Adam’s Rib (1949)

A Star is Born (1954)

My Fair Lady (1964)

Michael Curtiz

Kid Galahad (19370

Casablanca (1942)

Cecil B. DeMille

The Cheat (1915)

The Ten Commandments (1923)

Cleopatra (1934)

The Plainsman (1936)

Union Pacific (1939)

Reap with Wild Wind (1942)

Unconquered (1947)

Samson and Delilah (1949)

The Greatest Show on Earth (1952)

Vittorio De Sica

Shoeshine (1946)

Bicycle Thieves (1948)

Miracle in Milan (1951)

Two Women (1960)

The Garden of the Finzi-Continis (1970)

Carl Dreyer

Master of the House (1925)

The Passion of Joan of Arc (1928)

The Vampire (1932)

The Word (1955)

Gertrud (1964)

Clint Eastwood

Play Misty for Me

The Outlaw Josey Wales (1976)

Bird (1988)

Mystic River (2003)

Million Dollar Baby (2004)

Flags of Our Fathers (2006)

Letters From Iwo Jima (2006)

Invictus (2009)

Sergei Eisenstein

Strike (1924)

October (1927)

The General Line (1928)

Rainer Werner Fassbinder

The Merchant of Four Seasons (1971)

The Bitter Tears of Petra von Kant (1972)

Fear Eats the Soul (19740

Effi Briest (1974)

Fox (1975)

Mother Kusters’ Trip to Heaven (1975)

In aYear of 13 Moons (1978)

Lola (1981)

Veronika Voss (1982)

Federico Fellini

I Vitelloni (1953)

La Strada (1954)

La Dolce Vita (1960)

8 1/2 (1963)

Juiletta of the Spirits (1945)

Roma (1972)

Fellini’s Casanova (1976)

Robert J. Flaherty

Nanook of the North (1922)

Moana (1926)

Man of Aran (1934)

Louisianna Story (1948)

John Ford

The Grapes of Wrath (1940)

Fort Apache (1948)

Milos Forman

The Firemen’s Ball (1967)

One Flew Over the Cuckoo’s Nest (1975)

Amadeus (1984)

Man on the Moon (1999)

Abel Gance

The Tenth Symphony (1918)

The Wheel (1923)

The Life and Loves of Beethoven (1936)

Jean-Luc Godard

Breathless (1960)

My Life to Live (1962)

Contempt (1963)

Band of Outsiders (1964)

Alphaville (1965)

Two or Three Things I Know About Her (1967)

New Wave (1990)

In Praise of Love (2001)

Our Music (2004)

D.W. Griffith

Intolerance (1916)

True Heart Susie (1919)

Broken Blossoms (1919)

Way Down East (1920)

Orphans of the Storm (1921)

Howard Hanks

Scarface (1932)

Twentieth Century (1934)

Bringing Up Baby (1938)

Only Angels Have Wings (1939)

To Have and Have Not (1944)

Red River (1948)

Rio Bravo (1959)

Werner Herzog

Signs of Life (1967)

Fata Morgana (1971)

Aguirre, Wrath of God (1972)

Enigma of Kasper Hauser (1974)

Fitzcarraldo (1982)

My Best Friend (1999)

Grizzly Man (2005)

Encounters at the End of the World (2007)

The Bad Lieutenant: Port of Call - New Orleans (2009)

Alfred Hitchcock

The 39 Steps (1935)

Shadow of a Doubt (1943)

Strangers on a Train (1951)

Rear Window (1954)

Vertigo (1958)

North by Northwest (1959)

The Birds (1963)

Marnie (1964)

John Huston

The Maltese Falcon (1941)

The Treasure of the Sierra Madre (1948)

Key Largo (1948)

The Asphalt Jungle (1950)

The African Queen (1951)

Beat the Devil (1953)

The Misfits (1961)

Reflections in a Golden Eye (1967)

Fat City (1972)

The Dead (1987)

Miklos Jancso

My Way Home (1965)

The Red and the White (1968)

The Confrontation (1969)

Agnus Dei (1971)

Red Psalm (1972)

Beloved Electra (1974)

Elia Kazan

A Streetcar Named Desire (1951)

On the Waterfront (1954)

East of Eden (1955)

A Face in the Crowd (1957)

Wild River (1960)

Splendor in the Grass (1961)

Abbas Kiarostami

Where is the Friend’s Home? (1987)

And Life Goes On… (1992)

Through the Olive Trees (1994)

The Wind Will Carry Us (1999)

Ten (2002)

Krzysztof Kieslowski

- Blind Chance (1981)

- A Short Film About Killing (1988)

- A Short Film About Love (1988)

- The Double Life of Veronique (1991)

Stanley Kubrick

Lolita (1962)

Dr. Strangelove (1964)

A Clockwork Orange (1971)

Akira Kurosawa

Rashomon (1950)

To Live (1952)

Throne of Blood (1957)

The Hidden Fortress (1958)

The Bodyguard (1961)

Sanjuro (1962)

Dersu Uzala (1975)

Kagemusha (1980)

Ran (1985)

Fritz Lang

Dr. Mabuse: The Gambler (1922)

Fury (1936)

Hangmen Also Die! (1943)

The Woman in the Window (1944)

Scarlet Street (1945)

Clash by Night (1952)

The Big Heat (1953)

Human Desire (1954)

David Lean

In Which We Serve (1942)

Great Expectations (1946)

Oliver Twist (1948)

Hobson’s Choice (1954)

The Bridge on the River Kwai (1957)

A Passage to India (1984)

Spike Lee

She’s Gotta Have It (1986)

Do the Right Thing (1989)

Jungle Fever (1991)

Malcolm X (1992)

Crooklyn (1994)

Clockers (1995)

Ernst Lubitsch

Trouble in Paradise (1932)

Design for Living (1933)

Desire (1936)

Angel (1937)

Ninotchka (1939)

The Shop Around the Corner (1940)

To Be or Not to Be (1942)

David Lynch

Eraserhead (1977)

The Elephant Man (1980)

Blue Velvet (1986)

Twin Peaks (1992)

The Straight Story (1999)

Mulholland Drive (2001)

Louis Malle

The Lovers (1958)

Murmur of the Heart (1971)

Lacombe Lucien (1974)

Pretty Baby (1978)

Atlantic City (1980)

Au Revoir Les Enfants (1987)

Joseph L. Mankiewicz

The Ghost and Mrs. Muir (1947)

A Letter to Three Wives (1949)

All About Eve (1950)

5 Fingers (1952)

Julius Caesar (1953)

The Barefoot Contessa (1954)

Guys and Dolls (1955)

Suddenly, Last Summer (1959)

Leo McCarey

Ruggles of Red Gap (1935)

Make Way for Tomorrow (1937)

The Awful Truth (1937)

Love Affair (1939)

Going My Way (1944)

The Bells of St. Mary’s (1945)

An Affair to Remember (1957)

Jean-Pierre Melville

The Strange Ones (1950)

Bob the Gambler (1956)

Doulos: The Finger Man (1962)

Magnet of Doom (1963)

Second Breath (1966)

The Samurai (1967)

Army of Shadows (1969)

Vincente Minnelli

The Pirate (1948)

An American in Paris (1951)

The Bad and the Beautiful (1953)

The Band Wagon (1953)

Lust for Life (1956)

Some Came Running (1959)

Kenji Mizoguchi

Osaka Elegy (1936)

Sister of the Gion (1936)

The Story of the Last Chrysanthemums (1939)

Utamaro and his Five Women (1946)

Ugetsu Monogatari (1953)

Sansho the Bailiff (1954)

Street of Shame (1956)

F.W. Murnau

Faust (1926)

Sunrise (1927)

Tabu (1931)

Manoel de Oliveira

Aniki Bobo (1942)

Doomed Love (1979)

Francisca (1981)

The Cannibals (1988)

The Convent (1995)

I’m Going Home (2001)

A Talking Picture (2003)

O Estranho Caso de Angelica (2010)

Max Ophuls

Leiberlei (1933)

Mayerling to Sarajevo (1940)

Letter from an Unknown Woman (1948)

La Ronde (1950)

House of Pleasure (1952)

Madame de… (1953)

Lola Montes (1955)

Nagisa Oshima

The Sun’s Burial (1960)

Death by Hanging (1968)

Diary of Shinjuku Thief (1969)

The Ceremony (1971)

In the Realm of the Sense (1976)

Empire of Passion (1978)

Taboo (1999)

Yasujiro Ozu

Record of a Tenement Gentleman (1947)

Late Spring (1949)

Early Summer (1951)

Tokyo Story (1953)

Early Spring (1956)

Good Morning (1959)

Late Autumn (1960)

The End of Summer (1961)

An Autumn Afternoon (1962)

Georg Wilhelm Pabst

The Love of Jeanne Ney (1927)

Diary of a Lost Girl (1929)

The Threepenny Opera (1931)

Comradeship (1931)

Sergei Parajanov

The Stone Flower (1962)

Shadows of Forgotten Ancestors (1964)

Ashik Kerib (1988)

Pier Paolo Pasolini

Accatone (1961)

Oedipus Rex (1967)

Theorem (1968)

The Decameron (1971)

The Canterbury Tales (1972)

The Arabian Nights (1974)

Salo, or the 120 Days of Sodom (1975)

Sam Peckinpah

Ride the High Country (1962)

Major Dundee (1965)

The Ballad of Cable Hogue (1970)

Pat Garrett and Billy the Kid (1973)

Bring Me the Head of Alfredo Garcia (1974)

Roman Polanski

Repulsion (1965)

Cul-de-Sac (1965)

Rosemary’s Baby (1968)

The Tenant (1976)

The Pianist (2002)

The Ghost Writer (2010)

Michael Powell and Emeric Pressburger

The Life and Death of Colonel Blimp (1943)

A Canterbury Tale (1944)

I Know Where I’m Going (1945)

A Matter of Life and Death (1946)

The Red Shoes (1948)

The Small Back Room (1948)

The Tales of Hoffman (1951)

Otto Preminger

Laura (1944)

Daisy Kenyon (1947)

The Man with the Golden Arm (1955)

Anatomy of a Murder (1959)

Exodus (1960)

Advise and Consent (1962)

Vsevolod Pudovkin

Mother (1926)

The End of St. Petersburg (1927)

Nicholas Ray

They Live By Night (1949)

In a Lonely Place (1950)

Johnny Guitar (1954)

Bigger Than Life (1956)

Wind Across the Everglades (1958)

Satyajit Ray

Pather Panchali (1955)

The Unvanquished (1956)

The Music Room (1959)

The World of Apu (1959)

The Big City (1964)

The Lonely Wife (1964)

Days and Nights in the Forest (1970)

Distant Thunder (1973)

The Middleman (1976)

The Chess Players (1977)

Jean Renoir

Boudu Saved from Drowning (1932)

The Crime of Monsieur Lange (1936)

Grand Illusion (1937)

The Human Beast (1938)

The Rulers of the Game (1939)

The Southerner (1945)

The Golden Coach (1952)

French Can-Can (1954)

Elena and Her Men (1956)

Alain Resnais

Last Year at Marienbad (1961)

Muriel (1963)

The War is Over (1966)

Stavisky (1974)

Providence (1977)

Same Old Song (1997)

Les Herbes Folles (2009)

Jacques Rivette

Paris Belongs to Us (1961)

The Nun (1966)

Mad Love (1969)

Celine and Julie Go Boating (1974)

La Belle Noiseuse (1991)

Jeanne la Pucelle I - Les Batailles (1994)

Va Savior (2001)

The Duchess of Langeais (2007)

Eric Rohmer

My Night at Maud’s (1969)

Claire’s Knee (1970)

The Aviator’s Wife (1981)

Pauline at the Beach (1983)

The Green Ray (1986)

A Tale of Springtime (1990)

A Tale of Winter (1992)

A Summer’s Tale (1996)

An Autumn Tale (1998)

Les Amours d’astres et de Celadon (2007)

Roberto Rossellini

Rome, Open City (1945)

Paisan (1946)

Germany Year Zero (1948)

Stromboli (1950)

The Greatest Love (1952)

Voyage to Italy (1953)

General della Rovere (1959)

The Rise of Louis XIV (1966)

Martin Scorsese

Mean Streets (1973)

Taxi Driver (1976)

New York, New York (1977)

Raging Bull (1980)

After Hours (1985)

The Colour of Money (1986)

The Last Temptation of Christ (1988)

The Age of Innocence (1993)

The Departed (2006)

Shutter Island (2010)

Ousmane Sembene

God of Thunder (1971)

The Camp of Thiaroye (1989)

Moolaade (2004)

Douglas Sirk

Has Anybody Seen My Gal? (1952)

Take Me to Town (1953)

All I Desire (1953)

Magnificent Obsession (1954)

All That Heaven Allows (1955)

Written on the Wind (1956)

The Tarnished Angels (1957)

Imitation of Life (1959)

Steven Spielberg

Jaws (1975)

Close Encounters of the Third Kind (1977)

Raiders of the Lost Ark (1981)

E.T.: The Extra-Terrestrial (1982)

Jurassic Park (1993)

Schindler’s List (1993)

Munich (2005)

Indiana Jones (2008)

Josef von Sternberg

Morocco (1930)

Dishonored (1931)

Shanghai Express (1932)

Blonde Venus (1932)

The Scarlet Express (1934)

The Devil is a Woman (1935)

The Saga of Anatahan (1953)

Erich von Sternheim

Blind Husbands (1919)

Foolish Wives (1922)

Greed (1924)

The Merry Widow (1925)

The Wedding March (1928)

Queen Kelly (1929)

Preston Sturges

The Lady Eve (1941)

Sullivan’s Travels (1941)

The Palm Beach Story (1942)

The Miracle of Morgan’s Creek (1944)

Hail the Conquering Hero (1944)

Andrei Tarkovsky

Ivan’s Childhood (1962)

Andrei Rublev (1966)

The Mirror (1975)

Stalker (1979)

The Sacrifice (1986)

Jacques Tati

Jour de fete (1949)

Mr. Hulot’s Holiday (1953)

Mon Oncle (1958)

Playtime (1967)

Lars von Trier

Epidemic (1987)

Europa (1991)

Breaking the Waves (1996)

The Idiots (1998)

Dancer in the Dark (2000)

Dogville (2003)

Antichrist (2009)

François Truffaut

The 400 Blows (1959)

Shoot the Piano Player (1960)

Fahrenheit 451 (1966)

The Bride Wore Black (1968)

The Wild Child (1970)

Bed & Board (1970)

Day for Night (1973)

The Green Room (1978)

Agnes Varda

Cleo from 5 to 7 (1962)

Happiness (1965)

One Sings, the Other Doesn’t (1977)

Vagabond (1985)

Jacquot da Nantes (1991)

The Gleaners & I (2000)

Les plagues d’Agnes (2008)

King Vidor

The Big Parade (1925)

The Crowd (1928)

Hallelujah! (1929)

The Champ (1931)

Our Daily Bread (1934)

Duel in the Sun (1946)

The Fountainhead (1949)

War and Peace (1956)

Jean Vigo

A Propos de Nice (1930)

Zero for Conduct (1933)

Luchino Visconti

Ossessione (1942)

La Terra Trema (1948)

Rocco and his Brothers (1960)

Death in Venice (1971)

Andrzej Wajda

A Generation (1954)

Canal (1957)

Ashes and Diamonds (1958)

Innocent Sorcerers (1960)

Siberian Lady Macbeth (1961)

Landscape After Battle (1970)

Man of Iron (1981)

Danton (1983)

Katyn (2007)

Tatarak (2009)

Orson Welles

Citizen Kane (1941)

The Magnificent Ambesons (1942)

The Lady from Shanghai (1947)

Macbeth (1948)

Othello (1952)

Confidential Report (1955)

Chimes at Midnight (1965)

William Wellman

Wings (1927)

Wild Boys of the Road (1933)

The Call of the Wind (1935)

Nothing Sacred (1937)

Beau Geste (1939)

Roxie Hart (1942)

The Ox-Bow Incident (1943)

The Story of G.I. Joe (1945)

The High and the Mighty (1954)

Wim Wenders

Alice in the Cities (1973)

The American Friend (1977)

Paris, Texas (1984)

Wings of Desire (1987)

Buena Vista Social Club (1999)

Don’t Come Knocking (2005)

James Whale

Frankenstein (1931)

The Old Dark Horse (1932)

The Invisible Man (1933)

Show Boat (1936)

Billy Wilder

The Major and the Minor

The Lost Weekend (1945)

Sunset Boulevard (1950)

Ace in the Hole (1951)

Stalag 17 (1953)

Some Like It Hot (1959)

The Apartment (1960)

One, Two, Three (1961)

Wong Kar Wai

Ashes of Time (1994)

Chungking Express (1994)

Fallen Angels (1995)

Happy Together (1997)

In the Mood for Love (2000)

2046 (2004)

My Blueberry Nights (2007)

William Wyler

The Little Foxes (1941)

Mrs. Miniver (1942)

The Best Years of Our Lives (1946)

Roman Holiday (1953)

Friendly Persuasion (1956)

The Big Country (1958)

Funny Girl (1968)

4. TOP 100 MOVIES

The Cabinet of Dr. Caligari (Robert Wiene, 1920)

All Quiet on the Western Front (Lewis Milestone, 1930)

King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933)

A Star is Born (William A. Wellman, 1937)

Olympia (Lena Reifenstahl, 1938)

The Rules of the Game (Jean Renoir, 1939)

Gone with the Wind (Victor Fleming, 1939)

Passport to Pimlico (Henry Cornelius, 1949)

Panther Panchali (Satyajit Ray, 1955)

The Night of the Hunter (Charles Laughton, 1955)

Saturday Night and Sunday Morning (Karel Reisz, 1960)

Lawrence of Arabia (David Lean, 1962)

The Sound of Music (Robert Wise, 1965)

The Battle of Algiers (Gillo Pontecorvo, 1966)

The Chelsea Girls (Andy Warhol and Paul Morrissey, 1966)

Easy Rider (Dennis Hopper, 1969)

The Deer Hunter (Michael Cimino, 1978)

Blade Runner (Ridley Scott, 1982)

Heimat (Edgar Reitz, 1984/1992/2004)

Shoah (Claude Lanzmann, 1985)

A Room with a View (James Ivory, 1985)

Reservoir Dogs (Quentin Tarantino, 1992)

Traffic (Steven Soderbergh, 2000)

Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)

[moochilatv]

Drifting. presents: Spire

Cool mix of styles here

’Spire’ is the second single off of the debut EP ‘73 dame street’. The track begins with a Celtic drone that delves into a krautrock, washy guitar driven track.

The entire song was recorded DIY in John’s bedroom located in the Olympia Theatre in Dublin. The track explores the daily events of a young persons life and the debauchery that ensues.

Listen spire in Spotify:

BIO:

Based in Dublin, 'drifting.' (John) captures a nomadic spirit through their unique blend of indie rock, alternative, post-punk, and hypnagogic pop. True to their name, 'drifting.' moves between countries and cultures, infusing their music with a diverse, global perspective.

Their latest project, “The Fairy Trail,” is a short film series released in parts on Instagram (@bess_bear_24). This film explores queer Ireland through the 1920s city symphony genre, popularized by Walter Ruttmann and Dziga Vertov, offering an intimate look at Pride celebrations and the everyday experiences of queer individuals in Ireland.

What sets 'drifting.' apart is their commitment to creating every aspect of their art independently—from music and music videos to visual art.

Check the full EP

[nunc2020]

Joris Ivens la vie et le siècle

MONTRER LE TRAVAIL DES HOMMES

Il naît le 18 novembre 1898 à Nimègue, ville située au Sud-Est de la Hollande. Après une enfance et une adolescence heureuses, Joris suit les cours de l’École supérieure d’économie de Rotterdam, interrompus un temps par son service militaire. Il participe alors très activement au manifeste de la Filmliga d’Amsterdam, qui exprime la volonté d’artistes, d’intellectuels, d’étudiants de « réformer le goût du public », c’est-à-dire de « libérer le cinéma de la forme mélodramatique traditionnelle et commerciale pour affirmer la valeur esthétique du cinéma et développer un nouveau moyen d’expression capable de produire des œuvres d’art ».

Tout imprégné de la théorie du « Ciné-œil » de Dziga Vertov, mais aussi des films programmés par la Filmliga tels La Grève d’Eisenstein ou Nanouk l’Esquimau de Robert Flaherty, Joris Ivens expérimente alors les possibilités de sa caméra Kinamo, lors d’un voyage à Paris où il tourne Études de mouvements. Le Pont et La Pluie font de leur auteur un cinéaste reconnu de l’avant-garde européenne. Commence alors une période d’intense activité marquée par des films de commande où déjà s’affirme avec force la volonté de montrer le travail des hommes, leurs relations avec la machine, leurs combats contre les forces de la nature, leur désir de solidarité, sans jamais oublier « qu’un film est une œuvre d’art ».

Invité en 1930 par Poudovkine à venir présenter ses films en URSS, Joris Ivens y fait une tournée de plusieurs mois. Son amitié avec Poudovkine, Dovjenko, Eisenstein sera déterminante. Après des films de commande, Joris Ivens retournera en URSS pour y réaliser Komsomol ou Le Chant des héros (1932). Dans ce film, Ivens, soutenu par la magnifique musique tour à tour concrète et symphonique d’Hans Eisler, célèbre le travail difficile mais aussi l’enthousiasme des jeunes travailleurs communistes en train de construire des hauts-fourneaux à Magnitogorsk, au fin fond de l’Oural.

DES ÉTATS-UNIS À LA CHINE

Revenu aux Pays-Bas, Joris Ivens coréalise, avec le documentariste belge Henri Storck, Borinage (Belgique, 1933), qui montre et dénonce les conséquences de la grève perdue des mineurs du Borinage : le chômage pour des milliers de travailleurs qui se retrouvent dans la misère. Borinage sera interdit de projection publique pendant des dizaines d’années. À Borinage succède Nouvelle terre, remontage de Zuiderzee, pour y introduire une dimension sociale et politique correspondant à la montée de la crise économique mondiale des années trente. Joris Ivens y dénonce ouvertement la destruction organisée des denrées alimentaires pour maintenir les activités boursières, alors que dans le monde des milliers d’hommes, de femmes et d’enfants meurent chaque jour de faim.

À partir de 1936, Joris Ivens vivra pendant neuf ans aux États-Unis, où il se liera d’amitié avec Robert Flaherty, Ernest Hemingway, John Dos Passos, Fredric March, Luise Reiner, Lillian Hellman.

En 1937, il tourne avec John Ferno Terre d’Espagne pour soutenir les défenseurs de la République espagnole contre Franco, un film dont le commentaire est écrit et dit par Hemingway. L’année suivante, Joris Ivens est en Chine avec John Ferno et Robert Capa, aux cotés des deux armées qui luttent contre l’invasion japonaise : celle du nationaliste Chiang Kai-shek, et celle de Mao Tsé-toung. De retour aux États-Unis, il tourne à la demande du ministère de l’agriculture L’Électrification de la terre (Power and the Land), film destiné à convaincre les fermiers américains que l’électrification leur apportera le bien-être.

FILMER LES LUTTES ET LES ESPOIRS DES PEUPLES

En 1945, le vice-gouverneur des Indes néerlandaises propose à Joris Ivens la charge de commissaire du cinéma du gouvernement des Indes néerlandaises, et la mission d’apporter « le témoignage de la construction de la nouvelle Indonésie où Hollandais et Indonésiens pourront et devront collaborer sur la base d’une pleine égalité ». Ivens accepte la proposition et part en Australie, en attendant la fin de la guerre du Pacifique. En préparant une série de films éducatifs pour les Indonésiens, Ivens constate vite que le gouvernement néerlandais est loin de tenir ses promesses. Il prépare au contraire la guerre contre la toute jeune république indonésienne, qui a su se libérer seule de l’occupation japonaise. Ivens annonce alors à la presse internationale qu’il démissionne de sa charge et qu’il « ne fera jamais de film en contradiction avec ses principes et ses convictions ».

Interdit de séjour dans son pays et privé de son passeport, Joris Ivens répond à l’invitation du directeur du cinéma de Tchécoslovaquie, Lubomír Linhart. Entre 1947 et 1956, il réalise plusieurs films dans les républiques de l’Est, dont Les Premières années (Tchécoslovaquie, Bulgarie, Pologne), La Paix vaincra (Pologne), L’Amitié vaincra (Berlin-Est) et Le Chant des fleuves, grande fresque sur la condition ouvrière dans le monde réalisée avec la collaboration de dix-huit pays. Ivens tourne alors, sur une idée de Georges Sadoul, son premier film français : La Seine a rencontré Paris. Ce magnifique documentaire poétique sur Paris, son fleuve et les Parisiens, remporte en 1959 la Palme d’or du court métrage au festival de Cannes.

En 1964, grâce à la persévérance du directeur du Filmmuseum d’Amsterdam, Jan de Vaal, et de Tineke de Vaal, Joris Ivens revient aux Pays-Bas. Il affirme son soutien au Nord-Vietnam en participant au film collectif Loin du Vietnam (1967) et en coréalisant Le 17ème parallèle (1967) avec Marceline Loridan. Du 17ème parallèle, le critique du Nouvel Observateur Jean-Louis Bory écrira : « Le 17ème parallèle n’est pas un film de guerre, c’est un film sur des paysans obligés à la guerre… C’est le peuple qui s’y bat pour sa vie et sa liberté ». Premier film d’Ivens tourné en 16 mm et en son direct, document d’un réalisme dramatique et engagé, mais aussi empreint de tendresse et de poésie, Le 17ème parallèle demeure un des films d’Ivens les plus accomplis et les plus révélateurs de sa démarche : celle d’un cinéaste et d’un artiste qui, quelles que soient les motivations des politiques et les retournements de l’Histoire, aura partagé, mis en mémoire, tout au long du XXe siècle, les luttes et les espoirs des peuples.

EMBRASSER L’HUMANITÉ TOUT ENTIÈRE

Rotterdam Europort, sur la vie et le travail du plus grand port d’Europe, marque aussi le début de la vie commune et de la collaboration entre Ivens et Marceline Loridan ; collaboration qui ne cessera de se renforcer jusqu’à la mort de Joris en 1989, et se poursuivra bien au-delà, au travers notamment de la création de la Fondation Joris Ivens.

Les dernières œuvres de Joris Ivens seront consacrées à la Chine : la Chine de la révolution culturelle, en 1966, que Joris Ivens et Marceline Loridan feront connaître au monde entier dans Comment Yukong déplaça les montagnes (1971-75), la Chine millénaire et mythique retrouvée dans Une histoire de vent (1988). Comment Yukong déplaça les montagnes, dont Michel Foucault écrira : « J’ai eu l’impression non pas seulement d’en apprendre sur la Chine, mais de la voir dans une réalité politique intense qu’aucun discours ne peut transcrire : le seul endroit où la vie politique, ce soit l’existence même des gens. Ce qui permet au film d’être immédiatement beau, plastiquement beau et politiquement intense ».

Une histoire de vent (co-réalisé avec Marceline Loridan), regard poétique sur la Chine éternelle, ses montagnes, ses légendes, ses lieux de rencontres et de culte, ses habitants, est aussi une réflexion profonde sur la beauté, la fragilité et l’imprévisibilité de l’existence humaine que symbolise le vent. À eux seuls, Une histoire de vent et Comment Yukong déplaça les montagnes, qui ouvrent et ferment cet hommage rendu par la Cinémathèque française, témoignent de ce que fut et demeure Joris Ivens : un homme et un cinéaste dont l’art, comme le disait Henri Langlois en 1957, « se qualifie en trois mots : l’amour des autres. Un grand cinéaste qui toute sa vie n’a cessé de vouloir embrasser l’humanité tout entière ».

Claude Brunel

[persinsala]

Ibrida - Festival delle Arti Intermediali 2020

Ibrida – Festival delle Arti Intermediali 2020

Gli esponenti più inaspettati della ricerca italiana e internazionale nell’ambito dell’audiovisivo sperimentale, della performance art e della musica elettronica si danno appuntamento, live e in virtuale, alla quinta edizione della vivace manifestazione curata da Vertov Project.

(more…)

[ahmedvisanthro]

Camera and the City

Dziga Vertov’s movie is his manifesto on the power of the movie camera, not as a teller of fictional stories, but as a capturer of reality. This power to capture cities in motion and to jump from one life situation to another. He centers a lot of the scenes not only around the real stories but the camera filming those stories.

The film is a love letter to the city - but not the symphony of one city. This city is actually Kiev, Kharkov, Moscow, and Odessa.

That’s when he takes us to the editing room and we see the power of the editor,  Elizaveta Svilova, for the first time. This display of the behind-the-scenes was new for his time and it was followed by a show-off of all the editing tricks they had. He shows us the real power to construct meaning out of the realities he films.

I liked to think about this part a lot in the period we were editing our final film project. While writing about the camera and centering the film around it, Vertov, in the end, did not only show the power to capture reality, but the power to create it in the editing room. Does that mean he is not different from fictional filmmakers? That he failed to actually capture the reality he was boasting about? I don’t think so. Editing does not take away from reality but reveals the fact that we construct its the meaning, and the meaning of our interaction with it, on a daily basis. A documentary film is just that fact put on display.

[imnothinginparticular]

#finishedbooks 100 Artists' Manifestos From the Futurists to the Stuckists selected by Alex Danchev. Came across this @nmoreira 's house in 2013 and added it on my Amazon list. Saw it again @willrrobinson 's house, half hoping he would give it to me lol, and checked amazon.jp again and found it was out of stock and available used at 9000 yen. So made sense that he didn't as the book is quite indispensable, I finally found it for 15 USD and got it for Christmas.It is as the title suggests a 100 artist manifestos in chronological order. Some are serious some aren't, some are concise some are rants, some of truly original ideas while most are rather reactionary. Think going in I had only read surreslist manifestos in full, some of the rest I have heard about and know of, especially the film ones from Vertov to Dogma 95 but again had never actually read them full. With that said, artists are horrid writers for the most part, although kinda the point for some. The film and architecture ones made the most sense to me as for opposite reasons did a few of the ten or so Dada ones just because it played with the language. It kinda dies in the middle closer to WWII where most of the manifestos were either facist or communist. Borges summed them up best suggesting politics can be a stimulus for art certainly, but absurd for it to be the only one. Then 60s on, for the most part, was brand new to me. Kinda felt most were just reactionary or reinterpretations. In all really the art of making manifestos is that of an art of appropriation. I have written a company manifesto and have one for my new project, but for the artist manifestos are akin to specialized academics in that they are so concentrated on a certain thing and have to stay within that thing that it becomes stifling for anything more because it discourages any curiosity. An indispensable book for anyone who thinks more about art, but for most a modern art history book that simply shows what these artists were actually doing may be more beneficial. This will be a constant source of reference.

[hsmithmovingimage]

Man With a Movie Camera

Dziga Vertov 1929

No intertitles

Set in Russia

Opens with opera music and explanation 

6 reels of film

Trying to tell a story with no dialogue or intertitles

Dramatic feeling music

Music changed to more playful when we see the man with the camera

Crazy tilted angles

Filming a man in the train tracks

We see a woman waking up and her morning routine

Shots of the camera set up and then cuts to what the camera is seeing - eg focus adjusting cuts to out of focus flowers and back and forth til it focuses

Showing everyday happenings in the city - trams etc

Introduction to miners

We follow the man with the camera throughout

Scenes sped up then slowed down - music did too

Consistent shots of dolls?

Consistent shots of trains, trams and other modes of transportation 

Film negatives/reels shown and then the real shot shown

Double exposures

Couple gets divorced

Doesn’t really have a storyline - there’s many different things happening at the same time eg people get married, divorced, one lady is giving birth and someone just died 

So many different shots - isn’t really a pattern or noticeable repetition of shots eg not all closeups or low angles they’re all over the place

A pattern with the music - at the end of each song it speeds up and then slows down and a new song starts

Research

Wanted to portray reality and not fantasy

Filmed many hours not intending it for any project

Goal was to show progress of one day in the city of Moscow, Russia

‘Essence of getting the perfect shot’

Film within a film

Can be watched by anyone in the world

[shihlun]

During the projection of an imperialist film, the screen sells viewers the voice of the Owner-State. This voice caresses you, puts you to sleep, or beats you over the head. During the projection of a revisionist film, the screen is a loud speaker projecting a voice that had once been delegated by the people but which is no longer their voice. The people look silently at their own deformed faces. During the projection of a political film, the screen is simply a blackboard inscribed with the images and sounds produced by the concrete analysis of a concrete situation, namely the class struggle. In front of this screen, the population thinks, learns, struggles, criticizes, and transforms itself.

The Dziga Vertov Group