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The Golem (1920) More at IMDbPro »Der Golem, wie er in die Welt kam (original title)

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28 February 2013 7:08 AM, PST | The Guardian - Film News | See recent The Guardian - Film News news »

From the narrow streets of medieval Prague to the rubbish dumps of Rio De Janeiro, here are five of the best ghettos featured in films

This week's clip joint is from Claire Adas - check out more of her writing on her blog here. If you have an idea for a future clip joint, email adam.boult@guardian.co.uk

Every city has its shantytowns, tenements, projects and favelas; ghettoes in which people are thrown together, joined by race, religion or, most frequently, poverty. Theses spaces form a teeming world of their own within the larger macrocosm of the city, connected but self-contained. Life is stacked upon life in a confined area, making the situation rife for story telling; a perfect stage setting of tension and drama.

The term "ghetto" has expanded somewhat from its original use in the 11th century, when it specifically described the part of a city where Jews could live. »

- Guardian readers

18 February 2013 5:17 AM, PST | MUBI | See recent MUBI news »

The authors wish to acknowledge with gratitude the venues in which some version of this article previously appeared: Cinema Scope 24 (Fall, 2005), Trafic 62 (Summer, 2006), and the late and twice-lamented The New-York Ghost (Dec. 26, 2006).

In the Place of No Place

Every movie contains its alternates, phantom films conjured variously by excess or dearth: textures and movements that carry on their own play apart from the main line of the narrative, an obtruding performance or scene, an unexplained ellipsis or sudden character reversal, the chunk life of an object seizing the frame in an insert whose plastic beauty transcends its context.

Though the extremes of pure narrative economy (in which each detail exists purely for transmission of plot) or utter dispersal (in which no piece connects to any other) can never exist, we can tentatively use the concepts as limit-cases to differentiate films which make room for their phantoms (or, in the worst case, »

- B. Kite and Bill Krohn

14 January 2013 10:45 PM, PST | Cinelinx | See recent Cinelinx news »

Our daily countdown continues with part 14 out of 30, in our list of the 300 Greatest Films Ever Made. These are numbers 170-161.

170) Way Out West (1937) James Horne USA

169) Topper (1937) Norman McCleod USA

168) Giant (1958) George Stevens USA

167) The Golem (1920) Paul Waggoner German Silent

166) Little Caesar (1930) Mervyn LeRoy USA

165) The Mummy (1932) Karl Freund USA

164) The Man Who Would Be King (1975) John Houston USA

163) Gigi (1958) Vincent Minnelli USA

162) Goldfinger (1964) Guy Hamilton USA

161) The Caine Mutiny (1954) Edward Dmyrky USA

 Numbers 160-151 coming next.

film cultureClassicslist300 »

- feeds@cinelinx.com (Rob Young)

3 items from 2013