Hollywood Chinese: The Chinese in American Feature Films (official site w/Flash) Filmmaker Arthur Dong covers the good (YT), the bad and the players (link to Flash video clips) in his latest award-winning documentary. Related MeFi post.
posted on May 4, 2008 - View this thread

Throwing bones in the air as 2001 turns 40. Stanley Kubrick's film, 2001: A Space Odyssey turned 40 yesterday and Movie City Indie collated a good selection of links about the film and its maker to commemorate the occasion.
posted on Apr 3, 2008 - View this thread

Anders als die Andern ("Different From the Others") [IMDB|Wikipedia] was one of a series of films on sexual issues directed by Richard Oswald in the late 1910s and sponsored by Magnus Hirschfeld's Institute for Sexual Science. The 1919 movie (photo reconstruction), "the first major gay-themed film ever made," and "the world's first homosexual emancipation film," was made in part to protest against Paragraph 175, which was added to Germany's Reich Penal Code in 1871 and prohibited sex acts "between persons of male sex." [more inside]
posted on Dec 15, 2006 - View this thread

In the Twilight of Modernity and the Silent Film (.pdf) Irie Takako was the most popular actress in 1930s Japan: film scholar Tanaka Masasumi locates the turning point of Japanese modernity in 1933, the year Kenji Mizoguchi's The Water Magician was made, arguing that Irie's transformation from radiant embodiment of moga(modern girl, the Japanese version of the flapper)-hood to suffering beauty in a kimono (.pdf) epitomized modernism's (modanizumu) defeat by nationalism in 1930's Japan. (via Camera Obscura; more inside)
posted on Feb 15, 2006 - View this thread

"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 on Feb 12, 2006 - View this thread

The Man With The Magnétoscope.
"How marvelous to be able to look at what you cannot see... cinema, like Christianity, is not founded on historical truth. It supplies us with a story and says: Believe — believe come what may."
Jean Luc Godard's 'Histoire(s) du Cinéma' at UCLA.
posted on Feb 7, 2006 - View this thread

"One could go on, and one will -- praising (...) the National Center for Jewish Film for releasing all four of Edgar Ulmer's Yiddish films in restored editions. But the DVD player is beckoning, and I think it is time for me to get back to the couch".
The National Center for Jewish Film (NCJF) is a unique nonprofit motion picture archive, distributor and resource center housing the largest, most comprehensive collection of Jewish-theme film and video in the world. In their archives you can discover the works of Leo Fuchs, the "Yiddish Fred Astaire", restored gems (scroll down) like "Motl the Operator" and re-releases like "The Life and Times of Hank Greenberg". (More on Greenberg, the Jewish kid who challenged Babe Ruth’s homerun record here, more on the NCJF inside).
posted on Jan 9, 2006 - View this thread

Eroica. Film director Andrzej Munk’s tragic death at age thirty-nine might have formed the plot for one of his own darkly sardonic works: a Polish Jew and an active resistance worker during the war, he was returning home from shooting his film Passenger at the Auschwitz concentration camp in 1961 when an oncoming truck struck his car. He left behind only four feature films, but his influence was prodigious. As one of the key figures of the postwar “Polish School” of filmmaking, along with Wajda and Kawalerowicz, he helped to shape a vision that broke with the official social realist optimism of Eastern-bloc dogma and cast a skeptical eye on official notions of heroism, nationalism, and life in the Stalinist-occupied state. Mentor to Roman Polanski and Jerzy Skolimowski, his influence can be felt even in the films of a later generation of Polish filmmakers — directors like Zanussi and Kieslowski. More inside.
posted on Dec 7, 2005 - View this thread

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 Sun", 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" (2001), 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 on Sep 13, 2005 - View this thread

"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: «Manderlay» 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 on May 16, 2005 - View this thread

The End Of Sexual Taboos: Erotic and Pornographic Cinema. Not safe for work.
posted on Feb 26, 2005 - View this thread

Call her Madame. Among the old-timers, the story went like this: a woman known to everyone as Madame came to California from Kentucky with her children and her husband. But once they were in the Gold Rush State, her husband left her. Desperate to find work, she introduced herself to a movie director named D. W. Griffith. He not only cast her in his movie, but the two became friends for life. And with this woman, called Madame Sul-Te-Wan, what we now call Black Hollywood began -- as a new book by historian Donald Bogle explains. (more inside)
posted on Feb 7, 2005 - View this thread

Josie Hayes' Great Moments in Film History. "Being a series of pictorial essays on some of the defining moments in cinema...at least the way I see it." [Not unsafe for work, but perhaps unwise]
posted on Jan 5, 2005 - View this thread

"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." (more inside)
posted on Mar 22, 2004 - View this thread

Bill Douglas Centre for the History of Cinema and Popular Culture A major UK archive of all things cinema-related, ranging from magic lanterns and transparencies to games and cigarette cards. Registered users can build and display their own exhibitions from the website's images.
posted on Nov 16, 2003 - View this thread