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The Governor (Stan Brakhage, 1977)
Jul
4
1976
And July 20
“On July 4, 1976 I and my camera toured the state of Colorado with governor Richard D. Lamm, as he traveled in parades with his children, appeared at dinners, lectured, etc. On July 20, I spent the morning in his office in the state capitol and the afternoon with himself and his wife in a television studio, then with Mrs. Lamm greeting guests to the governor’s mansion and finally with Governor Lamm in his office again. These two days of photography took me exactly one year to edit into a film which wove itself thru multiple superimpositions into a study of light and power.”
– Stan Brakhage
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The Naked Kiss (Samuel Fuller, 1964)
Jul
4
1961
A desk calendar reading July 4, 1961, with dirty, crumpled dollar bills thrown on top of it. DP: Stanley Cortez.
“Nobody shoves dirty money in my mouth.”
– Candy
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Divorzio all'italiana [Divorce Italian Style] (Pietro Germi, 1961)
Jul
3
A closeup of a man's hand holding up a diary. It's the third of July. DPs: Leonida Barboni & Carlo Di Palma.
Additionally, IMDb writes that “director Pietro Germi filmed a close-up of the front page of a newspaper announcing Yuri Gagarin's flight around the earth on April 12th 1961.”
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Lonesome (Pál Fejős, 1928)
Jul
3
Sat
“You've won a doll and a kiss. I'll give you the doll and your girl can give you the kiss!”
– Coney Island barker
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Пасифик 231 [Pasifik 231 / Pacific 231] (Mikhail Tsekhanovskiy, 1931)
Jul
2
Musicians superimposed over the locomotive's pistons. DP: Leonid Patlis.
“What I sought in 'Pacific' was not the imitation of the sounds of the locomotive, but the translation of a visual impression and a physical enjoyment through a musical construction. It starts from objective contemplation: the quiet breathing of the engine at rest, the effort of starting, then the progressive increase in speed, to arrive at the lyrical state, the pathos of the 300-ton train, launched in the middle of the night at 120 km/h.”
– Arthur Honegger, Dissonances. Revue musicale indépendante (1925) (via)
Hinted on in Abel Gance's La Roue (1923), composer Arthur Honegger's Пасифик 231 follows the narrative of a stream train ploughing through the night. The conductor's gestures mirror the fireman's and slowly, the machine comes to live. The music becomes abstract, machine-like, in its rendition of pistons and valves. Using double exposure and Soviet montage theory, music and movement become one. The Futurists, if not opposed to the Soviets that is, would have had a field day with this outing.
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Il mare [The Sea] (Giuseppe Patroni Griffi, 1962)
Jul
1
The actor (Umberto Orsini) looking out over the island. The claustrophobic framing of the hotel windows contrasts sharply with the openness of the sea. DP: Ennio Guarnieri.
My ideal vacation spot, country, city, town, or resort*
An island, in this case Capri (granted I've never been there), off-season, in a space and time lost in the mists. It'll occasionally rain and it's cold enough to dress up.
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Burnt Offerings (Dan Curtis, 1976)
Jul
1
The chauffeur (Anthony James). DP: Jacques R. Marquette.
“The house takes care of itself.”
– Roz Allardyce
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Farewell, Etaoin Shrdlu (David Loeb Weiss, 1980)
Jul
1
1978
All set for the July 2, 1978 edition of The New York Times, hot off the press.
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Combat de boxe (Charles Dekeukeleire, 1927)
Jun
30
Mike Tyson – 1966
One of the fighters receives a direct hit. The camera is so close that we see abstract shapes, texture and contrast before recognising the scene. DP: Antoine Castille.
A [favourite] athlete in a film role for Mike Tyson's birthday
“But this art of total synthesis that is Cinema, this fabulous newborn of Machine and Sentiment, is beginning to cease its moans and is entering its infancy. Its adolescence will soon arrive, seize its intelligence, and multiply its dreams; we ask that we hasten its development, precipitate the advent of its youth. We need Cinema to create the total art toward which the other arts have always tended.“
– Ricciotto Canudo, Gazette des sept arts, 1923 (via)
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蠱 [Gu / Bewitched] (Chih-Hung Kuei, 1981)
Jun
30
Exorcising demons. DP: Hsin-Yeh Li.