1. Charlie Chaplin: The Immigrant with Audio Commentary

    24:35

    from Darren Reid Added 130 0 0

    Featured in iTunes (January and February 2014). This video contains Charlie Chaplin's 1917 "The Immigrant" with a new audio commentary from historian Dr. Darren R. Reid and photographer/blogger, James O'Hara. The commentary track examines the social issues and attitudes that Chaplin was commenting upon with this film. Chaplin's work is often described as timeless but there are many deep connections between his films and the periods in which they were made. Like so much of his work, "The Immigrant" contains plenty of timeless comedy that needs no explanation but much of the value in this film lies in the way it passes comment upon contemporary issues. In this case, Chaplin makes a subtle attack upon those who opposed immigration, particularly from eastern European countries. "The Immigrant" paints a sympathetic portrait of immigrants by emphasising the hardships they endured and the compassion that bound most (but not all) of them together. More: http://www.darrenreidhistory.co.uk http://www.twitter.com/thathistorian

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    • A Valentine for Alice

      02:45

      from amber yada Added 28 2 0

      Colorful and upbeat animated tribute to Alice Guy-Blache, one of cinema’s progenitors. An early experimenter in sound and color, she began her career in France, then moved to Ft. Lee, New Jersey, where she founded the Solax film studio. Many consider her film La Fee aux Choux to be the first fictional film. Her work was wildly popular and spanned many genres and themes, yet few of her 700+ (some say 1,000+) films survive.

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      • A History Film Film

        06:03

        from Miriah Atwood Added 12 0 0

        Final project for History of Cinema, Spring 2013. Miriah Atwood Sidney Dunn

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        • Walter Ruttmann - Lichtspiel: Opus IV (1925)

          04:18

          from Avant-Garde Cinema Added 2,985 127 4

          Walter Ruttmann (4m18s, 1925). Source: AVI, 159mb.

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          • Walter Ruttmann - Lichtspiel: Opus I (1921)

            11:44

            from Avant-Garde Cinema Added 4,434 110 2

            "Walter Ruttmann's Lichtspiel Opus I premiered in Germany in 1921, the first abstract film to be publicly screened. In the film, Ruttmann mastered the technical means to realise his abstract imagery in film. He patented his particular technical methods in 1921. William Moritz provides an interesting description of his method: '[Ruttmann's] first animations for Opus No. I were painted with oil on glass plates beneath an animation camera, shooting a frame after each brush stroke or each alteration because the wet paint could be wiped away or modified quite easily. He later combined this with geometric cut-outs on a separate layer of glass'." (Jennifer Valcke, Static Films and Moving Pictures: Montage in Avant-Garde Photography and Film, p173) "Ruttmann also envisioned his Lichtspiel Opus I film to closely relate to music and commissioned the composer Max Butting to compose a string quartet for it. In the music score Ruttmann provided many indications to ensure that the music precisely synchronised with the visual elements unfolding on screen." (Valcke, p173)

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            • Viking Eggeling - Symphonie Diagonale (1924)

              07:29

              from Avant-Garde Cinema Added 5,290 85 2

              Viking Eggeling (7m28s, c1923). Source: AVI, 79mb. "Born in Sweden to a family of German origin, Viking Eggeling emigrated to Germany at the age of 17, where he became a bookkeeper, and studied art history as well as painting. From 1911 to 1915 he lived in Paris, then moved to Switzerland at the outbreak of World War I. In Zurich he became a associated with the Dada movement, became a friend of Hans Richter, Jean Arp, Tristan Tzara, and Marcel Janco. With the end of the Great War he moved to Germany with Richter where both explored the depiction of movement, first in scroll drawings and then on film. In 1922 Eggeling bought a motion picture camera, and working without Richter, sought to create a new kind of cinema. Axel Olson, a young Swedish painter, wrote to his parents in 1922 that Eggeling was working to “evolve a musical-cubistic style of film—completely divorced from the naturalistic style.” In 1923 he showed a now lost, 10 minute film based on an earlier scroll titled Horizontal-vertical Orchestra. In the summer of 1923 he began work on Symphonie Diagonale. Paper cut-outs and then tin foil figures were photographed a frame at a time. Completed in 1924, the film was shown for the first time (privately) on November 5. On May 3, 1925 it was presented to the public in Germany; sixteen days later Eggeling died in Berlin." (Louise O’Konor, Viking Eggeling 1880–1925) "While he was working on Symphonie Diagonale, Eggeling was evolving a theory based on his film experiments and his studies of form and colour. He called his theory Eidodynamik [visual dynamics]. Little is kown about it, but the fundamental principle was the projection of coloured lights against the sky to bear the elements of form." (Jennifer Valcke, Static Films and Moving Pictures: Montage in Avant-Garde Photography and Film, p172)

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              • Hans Richter - Film Ist Rhythm: Rhythmus 21 (c1921)

                03:22

                from Avant-Garde Cinema Added 18.5K 235 1

                Hans Richter (3m22s, c1923). Source: AVI, 36mb. See also: http://vimeo.com/avantgardecinema/rhythmus23 "Richter, on the other hand, decided to adopt an entirely new strategy: rather than attempting to visually orchestrate formal patterns, he focused instead on the temporality of the cinematic viewing experience by emphasizing movement and the shifting relationship of form elements in time. His major creative breakthrough, in other words, was the discovery of cinematic rhythm, which he then used as the title of his first film, Film ist Rhythmus: Rhythmus ’21 (Film is Rhythm: Rhythm 21, 1921). For Richter, rhythm, “as the essence of emotional expression”, was connected to a Bergsonian life force: 'Rhythm expresses something different from thought. The meaning of both is incommensurable. Rhythm cannot be explained completely by thought nor can thought be put in terms of rhythm, or converted or reproduced. They both find their connection and identity in common and universal human life, the life principle, from which they spring and upon which they can build further'. The determining impulse for all of Richter’s early film work, visual rhythm, as articulated time, was used to organize the constituent spatial elements of a film into a unified whole. In Rhythmus ’21, generally considered to be the first completely abstract film, Richter used these principles to create a work of remarkable structural cohesion. Completed by using stop motion and forward and backward printing in addition to an animation table, the film consists of a continuous flow of rectangular and square shapes that “move” forward, backward, vertically, and horizontally across the screen. Syncopated by an uneven rhythm, forms grow, break apart and are fused together in a variety of configurations for just over three minutes (at silent speed). The constantly shifting forms render the spatial situation of the film ambivalent, an idea that is reinforced when Richter reverses the figure-background relationship by switching, on two occasions, from positive to negative film. In so doing, Richter draws attention to the flat rectangular surface of the screen, destroying the perspectival spatial illusion assumed to be integral to film’s photographic base, and emphasizing instead the kinetic play of contrasts of position, proportion and light distribution. By restricting himself to the use of square shapes and thus simplifying his compositions, Richter was able to concentrate on the arrangement of the essential elements of cinema: movement, time and light. Disavowing the beauty of “form” for its own sake, Rhythmus ’21 instead expresses emotional content through the mutual interaction of forms moving in contrast and relation to one another. Nowhere is this more evident than in the final “crescendo” of the film, in which all of the disparate shapes of the film briefly coalesce into a Mondrian-like spatial grid before decomposing into a field of pure light. According to Richter, the original version of Rhythmus ’21 was never shown publicly in Berlin. At the behest of Theo van Doesberg, however, it was shown in Paris in 1921, with Richter introduced as a Dane due to anti-German sentiment. In May 1922, Richter travelled with van Doesberg and El Lissitzky to the First International Congress of Progressive Artists, where they formed the International Faction of Constructivism. In a group manifesto, written by Richter, they define the progressive artist 'as one who denies and fights the predominance of subjectivity in art and does not create his work on the basis of random chance, but rather on the new principles of artistic creation by systematically organizing the media to a generally understandable expression'." (Richard Suchenski, Hans Richter, http://sensesofcinema.com/2009/great-directors/hans-richter/)

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                • History of Film

                  02:39

                  from Hayley McGuire Added 89 0 0

                  New Media Art Decollage Project

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                  • Director Mark Rucker - Film meets Theater

                    08:24

                    from Stark Insider Added

                    http://strk.in/MarkRucker Film meets theater. Director Mark Rucker (Die Mommie Die!) talks about the differences working across the two mediums with his new show Once in a Lifetime in San Francisco.

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                    • A STRANGE CREW 2_engl ST

                      01:47

                      from Boris Nicot Added

                      A STRANGE CREW "It is common knowledge that the figure of the producer is one of the latest mythological creations to date. His Olympian legend, fuelled by his position as the powerful character staying in the background, has inspired many novels, films and dreams. Quite the discrete type himself, Stéphane Tchalgadjieff has little to do with a nabob though. Not so much Zeus than Vulcan, he has spared no effort to keenly defend cinema. Or rather, one particular cinema. That of Robert Bresson, the Straubs, Huillet, Marguerite Duras’ INDIA SONG, or Jacques Rivette’s monumental OUT 1. In a word, cinema as art. Who is Stéphane Tchalgadjieff? Boris Nicot endeavours to portray him, and to try and wring more than just a few parsimonious confidences out of him. So images substitute to wordy confessions: film abstracts, sparkles of gems whose force is increased tenfold by being put under a microscope that way. He adds some "complicities": with Martine Marignac, a great heroine of production, Michael Lonsdale, Jean Douchet or Danièle Gégauff. A patient investigator, he uncovers all alliances, either invented, necessary or sought after. Thus the film is an epic tale, as secret as Balzac’s History of the Thirteen, the story of "a highwayman rather than a shopkeeper" (Benoît Jacquot), as well as the story of a time which hadn’t yet given up on the utopia of a cinema worthy of the name." Jean-Pierre Rehm

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