The National Archives' Media Matters blog recently highlighted several newly digitized military etiquette training films from the late 60s and early 70s. These included a series of three films aimed at the difficult intersection of military service and gender dynamics for the members of the Women's Army Corps: The Pleasure of Your Company (background post), Mind Your Military Manners, and Look Like a Winner (background post). Bonus film for the guys: How to Succeed with Brunettes.
"At a time when most old films were still protected by copyright and studios were urging the FBI to prosecute individuals owning copyrighted films, movie collecting was a largely underground and somewhat dangerous activity." In 1977, for example, a 20 year old film collector was visited by the FBI. The agents, posing as fellow collectors, entered his home and seized his collection. His case wasn't unique. Even the stars — most famously, Roddy McDowall — were subject to the legal wrath of the very studios they worked for. Still, some collectors got away with it (including one J. D. Salinger). [more inside]
WALK .. is a trippy 1983 journey from one part of Minneapolis to another. It begins with a guy who can hardly move. He slowly gains stuttered motion and utters basic letter sounds, then begins a real and imaginary walk. His journey is from his view - floating. At the end of this walk, he meets a friend. Walk's film surface is hand worked and street noise is composed as music-concrete. 16mm B/W SLYT
Snow is a short film directed by Geoffrey Jones (1931-2005) and shot by Wolfgang Suschitzky [imdb], simultaneously spectacle and social-commentary it can be viewed online (YouTube). Snow was made under the aegis of British Transport Films (wiki) and nominated for an Oscar in 1965; unable to afford to licence his choice of soundtrack—“Teen Beat” by Sandy Nelson—Jones enlisted Johnny Hawksworth to rerecord “Teen Beat” with an altered tempo and effects by Daphne Oram [wiki, BBC]. The result is a masterpiece of sound and image.
The 16mm Shrine writes about movies. "The fact that there’s any talent in Brazil not devoted to kidnapping schemes and making curare poison out of small frogs, let alone the kind it takes to make an epic like Meirelles’ breakout film, City of God, is astounding ... [With The Constant Gardener,] I hoped Meirelles might be able to inject some excitement into material that probably had an initial interest level hovering somewhere between televised Canadian parliamentary proceedings and rough notes for a thesis project on religious atavism in Norway. ... Weisz is an activist, which means she’s easy and doesn’t shave her legs, and gets very upset if you notice. She also becomes immediately attached to the African children surrounding her in that particular stage of starvation and illness that makes their eyes big and their stomachs small enough that they still look small and pitiful, but not yet weird enough that they could pass for shark-toothed baby Grays from The X-Files. She gets involved in a conspiracy and soon ends up dead, leaving Fiennes to pick up the pieces and grow a backbone."