“Movie theaters wanted nothing to do with popcorn,” Smith says, “because they were trying to duplicate what was done in real theaters. They had beautiful carpets and rugs and didn’t want popcorn being ground into it.” Movie theaters were trying to appeal to a highbrow clientele, and didn’t want to deal with the distracting trash of concessions–or the distracting noise that snacking during a film would create. - So Why Do We Eat Popcorn At The Movies Anyway
? (Smithsonian Mag)
posted by The Whelk
on Oct 4, 2013 -
During the Golden Age of Hollywood and until 1967, mainstream movie studios were banned by the Production Code
from depicting taboo topics like drug addiction, explicit murder and venereal disease, or even showing explicit nudity. But in the 1930's and 1940's, films marketed as "educational" could and did fly under the radar, and three of the best known 'educational' propaganda exploitation films are: Sex Madness
(1935), Reefer Madness
(1936) and The Cocaine Fiends
(1938). [more inside]
posted by zarq
on Oct 15, 2012 -
"The German invasion of Britain took place in July 1940, after the British retreat from Dunkirk".
We see, documentary-style, members of the Wehrmacht trooping past Big Ben and St Paul's Cathedral, lounging in the parks, having their jackboots shined by old cockneys, and appreciatively visiting the shrine of that good German, Prince Albert
, in Kensington Gardens. Kevin Brownlow
and Andrew Mollo
's film "It Happened Here
", with its cast of hundreds (.pdf)
, imagines what a Nazi occupation might have been like — complete with underground resistance, civilian massacres, civil strife, torch-lit rallies, Jewish ghettos, and organized euthanasia. Shot on weekends, eight years in production, made for about $20,000 with nonactors and borrowed equipment and Stanley Kubrick's help, "It Happened Here" was originally envisioned by Brownlow
as a sort of Hammer horror flick about a Nazi Britain
. Thanks in part to Mollo's fanatical concern with historical accuracy
, however, it became something else
. The most remarkable thing about this account of everyday fascism is that it has no period footage. Brownlow's 1968 book
about the film's production, "How It Happened Here
", has recently been republished
. More inside.
posted by matteo
on Feb 12, 2006 -
The Emperor's Bunker. "The Japanese, with sadness and irony, stressed that Hirohito couldn't even speak properly. This was partly to do with the fact that he didn't have to speak - people spoke in his name and he was isolated from real life"
", the third part in Russian director Aleksandr Sokurov
's 'Men of Power' tetralogy
after the gloom of Moloch (1999)
, about Hitler and Eva Braun, and the despairing tones of "Taurus
, focused on the wheelchair-bound Lenin in his death throes, "The Sun" seems almost upbeat. This, after all, is a film about reconciliation. More inside.
posted by matteo
on Sep 13, 2005 -
"I am an American, so that is why I make films about America.
America is sitting on our world, I am making films that have to do with America (because) 60% of my life is America. So I am in fact an American, but I can't go there to vote, I can't change anything. We are a nation under influence and under a very bad influence… because Mr. Bush is an asshole and doing very idiotic things."
Lars Von Trier introduces his new film
at the Cannes Film Festival
picks up where «Dogville
» left off, with the character originated by Nicole Kidman -- now played by Bryce Dallas Howard -- stumbling
onto a plantation that time forgot, where slavery
still operates in the 1930s. The film (5 MB .pdf file, official pressbook)
ends, as Dogville did, with David Bowie’s Young Americans played over a photomontage of images that range from a Ku Klux Klan meeting to the Rodney King beating, George Bush at prayer and Martin Luther King at his final rest, American soldiers in Vietnam and the Gulf, the Twin Towers. More inside.
posted by matteo
on May 16, 2005 -
"The people of Dogville are proud, hypocritical and never more dangerous than when they are convinced of the righteousness of their actions" (NYT link)
"The movie is, of course, an attack on America
—its innocence, its conformity, its savagery—though von Trier is interested not in the life of this country (he’s never been here) but in the ways he can exploit European disdain for it." (The New Yorker). Lars Von Trier's
new movie, Dogville
, is under attack from critics who consider it anti-American. Von Trier, of course, has never been to the US but he counters that he knows more about U.S. culture through modern media than, say, the makers of "Casablanca' knew about Morocco.
Kafka hadn't been to Amerika either
Should non US-ian artists leave America alone if they've never been there? Von Trier says that "in my own country, I'm considered anti-Danish
- again, that's more about politics than issues of nationality."
posted by matteo
on Mar 22, 2004 -