8 items from 2014
This morning, Seattle's Scarecrow Video announced it will be converting its video library into a non-profit collective in an effort to preserve the world's largest "home video" collection of film and television with over 120,000 VHS, laserdiscs, VCDs, DVDs and Blu-ray titles. To accomplish this goal they have launched what they are calling "The Scarecrow Project" via a a Kickstarter campaign to aid in the creation of the non-profit, ensuring this collection's survival. The goal is to join the ranks of the American Film Institute, UCLA Film & Television Archive, The Film Foundation, American Genre Film Archive and the Film Noir Foundation in a commitment to preserving film history with a unique look at films you might not otherwise think of when it comes to the idea of preservation: With the explosion of home video in the 1980's came the birth of the direct-to-video industry. Countless direct-to-video films have never been released as16mm or 35mm prints. »
- Brad Brevet
Here we are, at the top of the mountain. We’ve had plenty from every war imaginable, some supportive of war efforts, some not. But the more interesting war films really focus on the people; the internal struggles those men and women have about what they are doing. Whether made in America, Germany, the United Kingdom, or anywhere else, war is not just a battle between good and evil. It’s a life and death struggle between opposing sides that may not be that different. The movies at the top of this list may be subtle or straightforward, but each of them is a clear snapshot that lets audiences see what it means to fight, so they don’t have to.
10. Paths of Glory (1957)
Directed by: Stanley Kurbick
Conflict: World War I
- Joshua Gaul
If you're a member of Austin Film Society, tonight marks the first event in a new monthly series called Free Member Fridays! Actor Thomas Haden Church and director Emanuel Hoss-Desmarais will be at the Marchesa for a special screening of their new film Whitewash. It is free for Afs members and general admission tickets will also be available for $15 at the door subject to capacity. Afs also is presenting the new release Hateship Loveship on Sunday afternoon. While this IFC Films release is available on VOD, this (along with a second showing next Friday) is your only chance to catch it locally on the big screen. The movie stars Kristen Wiig and Guy Pearce and is an adaptation of a story by Alice Munro. Richard Linklater's Jewels In The Wasteland series returns on Wednesday night with a 35mm print of Coppola's 1983 feature Rumble Fish. Finally, the week in movies »
- Matt Shiverdecker
100 years after the start of World War I, three Austin organizations are teaming up to showcase cinema of or about the conflict. The Paramount Theatre and Austin Film Society are joining the University of Texas Harry Ransom Center, which is holding the current exhibition "The World at War, 1914-1918," to host a combined total of 13 films running May through July.
The screenings at the Ransom Center are free (bear in mind it's not a large theater), but tickets are required for the Afs at the Marchesa and Paramount/Stateside shows. Here's the schedule, which concludes with Lawrence of Arabia shown in 70mm:
Mon, May 5, 7 pm, Stateside at Paramount
Grand Illusion (pictured above), 1937 [tickets]
This moving French classic from director Jean Renoir features Jean Gabin among others at a German Pow camp. Screens as a double feature with L'Atalante as part of Paramount's 100th birthday celebration.
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- Elizabeth Stoddard
We French pride ourselves at being great at many things: Cooking elaborate meals, cultivating ridiculously expensive wine, making love while speaking with a thick accent English-speakers find inexplicably sexy, for example. But if there’s one aspect of French culture that’s particularly brag-worthy, it’s our films.
From the invention of the cinematograph by the Lumière Brothers to the New Wave, French cinema has established itself as one of the most revered in the world, perhaps second only to Hollywood in its influence over the rest of the world. Most filmgoers have seen or at least heard of such landmark works as Breathless, The 400 Blows, Grand Illusion or La Femme Nikita. As such, this list will focus on French films that, due to lack of media coverage, poor international distribution or their own unconventional nature, are not as well-known as the aforementioned ones but are just »
- Thomas Ricard
The Oscar-winning director of 12 Years a Slave has pushed back the boundaries of film because of the fearlessness that comes with a background in art
When the director Steve McQueen was an art student learning basic film-making skills at Goldsmiths College, London, he joked he was already aiming for the time when his name would eclipse that of his glamorous namesake, star of The Great Escape and Bullitt. "One day," he told his tutor, Professor Will Brooker, "when people talk about Steve McQueen, I am going to be the first person they think of."
Now, with an Oscar for his film 12 Years a Slave, the transition from Turner prizewinning artist to celebrated director has been made in style. It is a path to cinematography also taken by the British artist Sam Taylor-Wood, nominated for a Turner prize in 1998 and now editing her high-profile film of the erotic bestseller Fifty Shades of Grey. »
- Vanessa Thorpe
Roberto Rossellini's Rome is dazed, disoriented and at the mercy of Nazis in this classic of neorealism
The Rome of Rossellini's film (now on rerelease) has a dazed, disoriented, stateless look – like the Vienna of Carol Reed's The Third Man or the studio-created Casablanca in Michael Curtiz's movie. The action is set over the winter of 1943-44: it is an "open" city because this was the wartime status conferred on it: in return for a cessation of bombing, the authorities would abandon its military defence. This was a concession to the Allies: but Rossellini's irony is that Rome is "open" to Italy's occupier, Germany, as the capital of northern Italy's new Nazi puppet-state, the so-called Salò Republic (which inspired Pier Pasolini's film Salò, or The 120 Days of Sodom).
The former stronghold of empire is unprotected, open to the forces of history – and to a new kind of film-maker. »
What makes a brilliant script? Is it quotable lines? Is it nuanced dialogue? Or is it just the ability to move the story along and not get in the way? When looking back through the history of screenwriting, there are plenty of iconic films based on previous work; the Writer’s Guild of America voted Casablanca the greatest screenplay of all time, but it’s adapted. So, what is the most important piece of film writing ever written directly for the screen? This list will shift from American to international, conventional to unconventional. Most importantly, these are the scripts that demonstrate how “screenwriting from scratch” is done.
courtesy of amazon.com
50. Last Year at Marienbad (1961)
Written by Alain Robbe-Grillet
Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, »
- Joshua Gaul
8 items from 2014
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