In April 1999, Eric Harris and Dylan Klebold murdered 12 students and one teacher in Columbine, Colorado, while injuring 21 others.
Michael Moore documented the tragedy in his 2002 film, Bowling for Columbine, which sits on YouTube, available for everyone to see. It’s heartbreaking to think that a decade later, students are no safer at their schools. If anything, gun control has slackened during the intervening years (thanks partly to the Supreme Court) and mass murders have become more commonplace, if not a monthly occurrence. 12 were killed and 52 injured in Aurora, CO in July. 10 killed in a Sikh temple shooting in Wisconsin this August. Five gunned down at Accent Signage Systems in Minnesota in October. Two shot dead at a mall in Portland, Oregon earlier this week. And now 20 youngsters and seven adults killed at an elementary school today in Connecticut.
ier Paolo Pasolini (March 5, 1922 -- November 2, 1975) was an Italian poet, intellectual, film director, and writer. Pasolini distinguished himself as a poet, journalist, philosopher, linguist, novelist, playwright, filmmaker, newspaper and magazine columnist, actor, painter and political figure. He demonstrated a unique and extraordinary cultural versatility, becoming a highly controversial figure in the process.
Jonas Mekas - Walden/Diaries, Notes and Sketches 1969, 16mm color 180 With Jonas Mekas, P.
Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it's a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don't get it at all. To go back and shoot it later, it would mean restaging, be it events or feelings. To get it now, as it happens, demands the total mastery of one's tools (in this case, Bolex): it has to register the reality to which I react and also it has to register my state of feeling (and all the memories) as I react. Which also means, that I had to do all the structuring (editing) right there, during the shooting, in the camera. All footage that you'll see in the Diaries is exactly as it came out from the camera: there was no way of achieving it in the editing room without destroying its form and content."Walden contains materials from the years 1965-69, strung together in chronological order. For the soundtrack I used some of the sounds that I collected during the same period: voices, subways, much street noise, bits of Chopin (I am a romantic), and other significant and insignificant sounds."
he great French New Wave director, Jean-Luc Godard, turns 81 years old today. And Woody Allen, the legendary comedic filmmaker, turned 76 just two days ago. So what could be more perfect than to serve up Godard’s 1986 short film Meetin’ WA? What you get is Godard, one of the driving forces behind La Nouvelle Vague, in conversation with Woody Allen. Godard’s trademark approach to filmmaking, the expected dose of Woody Allen neuroses – they’re all there, packed into 26 minutes.
They’re now fixtures in our culture — one on television, the other in cinema. But that wasn’t quite the case in 1994. The world had yet to lay eyes on Pulp Fiction, Quentin Tarantino’s rollicking film that eventually landed the Palme d’Or at the ’94 Cannes Film Festival. And Jon Stewart was still five years away from taking the helm of The Daily Show, which … you know … is the wittiest show on American TV. The clip above brings you back to their salad days, with Tarantino (31 years old) and Stewart (32 years old) talking about Pulp Fiction, Reservoir Dogs, and the great spaghetti westerns of Sergio Leone….
The great French filmmaker François Truffaut would have turned 80 today, and to celebrate, we're bringing back a wonderful series of audio recordings -- Truffaut's lengthy interview with another legendary director, Alfred Hitchcock.
Each new American Masters broadcast, when it debuts on television, tends to receive a hero's welcome.
The 18 minute "Connecting" documentary is an exploration of the future of Interaction Design and User Experience from some of the industry's thought leaders. As the role of software is catapulting forward, Interaction Design is seen to be not only increasing in importance dramatically, but also expected to play a leading role in shaping the coming "Internet of things." Ultimately, when the digital and physical worlds become one, humans along with technology are potentially on the path to becoming a "super organism" capable of influencing and enabling a broad spectrum of new behaviors in the world.
The Making Of The Hobbit with Peter Jackson. Set of 8 Production Blogs HD (from April 14, 2011 to July 23, 2012 - 98 minutes). Behind-the-scenes visuals, information, back stories and production techniques that showcase the making of the Hobbit movie "Unexpected Journey" by Peter Jackson.
Oskar Fischinger was a German-American abstract animator, filmmaker, and painter, notable for inventing abstract musical animations many decades before the appearance of computer graphics and music videos.
his documentary simply and concisely covers the vastly complex history of the origins of Cinema. Any film fan or anyone with an interest in the history of cinema will hopefully find this both interesting and enlightening. (
It's a simple recipe for happiness. Eliminate all negative emotions, anything that creates bad feelings and distracts from the project at hand. Clear it all away, and what's left? The space for creativity pure and simple.
Fellini: I’m a Born Liar Profiles the Filmmaker’s Love of Artifice (and Features Italo Calvino)
in Film | October 25th, 2012 1 Comment
“If you know little about Fellini,” warns Roger Ebert in his review of Fellini: I’m a Born Liar (watch it free online here), ”this is not the place to start.” Perhaps he rightly issues such a disclaimer about a formally unorthodox documentary that plunges deeply and immediately into the aesthetics of its subject’s work while paying barely any heed to the facts of his life. But if you can’t say that Federico Fellini dealt near-exclusively in aesthetics, you can’t say it about anyone. The director’s love of artifice, which eventually led to his total dedication to shooting all scenes on a soundstage, produced motion pictures so flamboyant yet so distinctive and personal that first-time viewers still find themselves undecided as to whether to call them elegant or grotesque. The verdict, as any regular attendee of revival screenings of 8½, Juliet of the Spirits, Satyricon, and Amarcord knows, is that they’re both: grotesque to the extent of their elegance, and elegant to the extent of their grotesqueness. This already gives documentarian Damian Pettigrew much to work with, and indeed, he would have had the material and expertise to assemble a robust essay film on Fellini’s visuals alone. But he chose to make a fresher examination.
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