#silent-cinema

#silent-cinema

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

Jack Karlson's declaration, 'Gentlemen, this is democracy manifest! What is the charge? Eating a meal? A succulent Chinese meal?' has become a viral sensation and is now preserved in the NFSA's Sounds of Australia collection.

The invention of the Cinématographe was ready right away. The process of the invention was longer, and there were a lot of inventors before Lumière.

Set on the blossom tree-lined fringes of Hyde Park in London, Herbert Wilcox's black-and-white rom-com blows in like a fresh spring breeze. The film charts the will-they-won't-they romance between Richard (Michael Wilding), a wealthy lord masquerading as a butler, and Judy (Anna Neagle), the niece of the family who employs him.

Anticolonialism, Ontology, and Semiotics draws upon Africana anticolonial philosophy-especially the work of Frantz Fanon and two of his most influential interpreters, Eldridge Cleaver and Sylvia Wynter-to develop a basic analytical model for doing anticolonial political theory. I wanted to show that there is something distinctive, something special, to be found in this tradition of thought that has not been fully appreciated by philosophers and theorists in other fields.

The inquiry was like thousands of others. Somebody had potentially cool films they thought might interest the Library of Congress. But it was brand new for Jason Evans Groth... In September, he stepped outside the National Audio-Visual Conservation Center in Culpeper, Virginia, to meet Bill and Mary McFarland, who had driven from Michigan with about 40 strips of celluloid that had once belonged to Bill's great-grandfather.

During a junket interview with OutNow, Gyllenhaal explained that the punctuation mark was included to represent the "whole lot of energy" that comes out when the historically muted Bride of Frankenstein is finally allowed to speak. That's all well and good, but to viewers the titular exclamation point is less of a metaphor and more of a golden arrow saying, "This movie is going to be crazy."

Following a flurry of online backlash, AMC Theaters said it would no longer allow an AI-generated short film to be shown at its US locations, in the latest example of the mounting resistance to AI's encroachment on the arts.

A vast, miserable proletariat squanders its days in meaningless toil. Society is under the control of ultra-wealthy business magnates. In order to pacify the underclass, the ruling class pins its hopes on a technological solution: artificial intelligence. Welcome to the year 2026, as envisioned in Fritz Lang's Metropolis.

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

Even in an era of CGI and AI, nothing is more vivid than the intimacy and imagination of radio or more direct than the connection radio has with listeners. I remember when the legendary Stan Freberg drained Lake Michigan and filled it with hot chocolate, a 700-foot mountain of whipped cream, and a 10-ton maraschino cherry. We didn't have to see it. We heard it on the radio. It was Freberg's demonstration of what radio can do better than television.

A quarter-century later, it's safe to say that those days have come to an end. Not only does the streaming-only Netflix of the twenty-twenties no longer transmit movies on DVD through the mail (a service its younger users have trouble even imagining), it ranks approximately nowhere as a preferred cinephile destination. That has to do with a selection much diminished since the DVD days

The esteemed film-maker was licking his wounds: his most recent picture, Far from the Madding Crowd, which imbued its 19th-century rural characters with an anachronistic King's Road style and panache, had flopped stateside. Childers approached the date with mixed feelings. He adored Schlesinger's previous movie, the jazzy Darling, starring Julie Christie as a model on the make, and had seen it three times.

It's nice that you are asking about props, because they're not really acknowledged, says Jode Mann, a TV prop master in Los Angeles. When Mann worked on the children's comedy show Pee-wee's Playhouse in the 1980s, she got a call from its star, Paul Reubens, who said he was nominating her for an Emmy. It was only after Mann told her mother and promised to thank her if she won that Reubens called back to say he couldn't nominate her because there's no category for you.

Through the tiny window of short clips on Instagram and TikTok, Mary's world seems enchanting and vast. Bree's work exudes melancholic emotion and ethereal femininity, painting the surfaces of Mary's world in the vibrating style of stop-motion animation, dappled with sparkling light and computer-generated surfaces so convincing it feels like you could pose the model with your own hands. O'Donnell sat down with us to talk a bit about her process creating textures and her life's work making magic real.

10 Cloverfield Lane Mary Elizabeth Winstead, John Goodman and John Gallagher Jr are locked in an underground bunker for the majority of this left-field sequel to Cloverfield, with thrilling results. In the film's final throes, Winstead's character exits the bunker, and finds that her captor was telling the truth about an alien invasion above - a twist that completely and ruinously dissipates the hard-earned tension that came before.

In all the dystopian visions of the future that the movies have trotted out over the last few decades, the one that sticks the most, surprisingly, is WALL-E. That's not just because of the chastening sight of an over-polluted Earth or those sedentary humans glued to their screens. It's because those quite plausible possibilities mean something different in a kids movie. It's their future, after all.

Though Tattle TV - a UK-based streaming platform created by filmmakers Philip McGoldrick and Marina Elderton - features a reality dating series about dog-owners and a modern drama about a female MMA fighter, the company's latest debut is a vertically-oriented edit of Alfred Hitchcock's silent film The Lodger: A Story of the London Fog. Similar to other microdrama apps, Tattle TV splits all of its content into short segments that can be purchased individually using an in-app currency (Tattle Coins).