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Το άλλο γράμμα [To allo gramma / The Other Letter] (Lambros Liaropoulos, 1976)
Apr
6
Greece
Something something Greece (or the Olympics) on the date of the 1896 Summer Olympics
Athens seen through words put down in letters, forming a narrative of the city, Greece, its history, and its people.
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The Patriot Game (Arthur MacCaig, 1979)
Apr
4
MLK Jr. – 1968
“All the ideas I'd previously had were shown to be completely false. This was the first time I had really seen the strength and the power of a mass struggle; ordinary people directly participating in organizing their communities, and the defense of their communities.”
– Arthur MacCaig, title card
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News from Home (Chantal Akerman, 1976)
Apr
3
Pony Express Day
New York, a street scene. Superimposed a quote from one Chantal Akerman's mother's letters. DPs: Jim Asbell & Babette Mangolte.
“Dear child,
l received your letter and hope you will write often. l hope you won’t stay away too long and that you’ve found a job by now. If you’re doing well, we’re happy. Even though we do miss you. When will you be back? Everything is fine here, but Sylviane is home with the flu. My blood pressure is low. l’m on medication for it. Today is my birthday. l feel sad. lt’s quiet at the shop. Tonight we’re going out to dinner with friends. That’s all. Your birthday is coming up. l wish you all the best. Write to me soon about your work, about New York, about everything. Lots of love from the three of us.
Your loving mother” (quote via)
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ドキュメント 路上 [Document Rojo / On the Road: The Document] (Noriaki Tsuchimoto, 1964)
Mar
26
Road Traffic Act 1934
A look from a Tokyo cab driver's perspective. We see the dashboard, heavy trucks ahead, and behind, and the reflection of the driver in his rearview mirror. DP: Tatsuo Suzuki.
Bad drivers: the start of compulsory driving tests in the UK was established on March 26, 1934* with the Road Traffic Act.
“This film portrays the traffic war that goes on every day. — Tokyo, 1964”
– opening title
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De nieuwe ijstijd [The New Ice Age] (Johan van der Keuken, 1974)
Mar
16
Reykjavík Food & Fun Festival
A young female factory worker listlessly fills a long plastic tube with pale ice-cream.. DP: Johan van der Keuken.
“For me it’s important to note that the film’s information is also the only thing you know. That’s the idea of the tip of the iceberg, provided that only the portion above the water exists (in the film), because you know nothing of what’s under water and therefore it’s impossible for you to describe the entire iceberg.
For example, in De nieuwe ijstijd the characters are not described 'in their entirety'. What is shown is only what we’ve encountered when we were filming. It’s always a limited, fragmentary knowledge of everything that exists, and that’s how it’s shown.”
– Johan van der Keuken, via
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絵を描く子どもたち [E o kaku kodomotachi: jidōga o rikai suru tame ni / Children Who Draw] (Susumu Hani, 1956)
Mar
13
Youth Art Month
A little girl painting. DP: Shizuo Komura.
Small children work with clay, paint, and other materials. Under the camera's watchful eye, we see their work come to life.
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Le tombeau d'Alexandre [The Last Bolshevik] (Chris Marker, 1993)
Feb
25
Warsaw Pact
Still from a Medvedkin film. Silhouettes in light of Lenin and Stalin facing each other are projected above a crowd of people. DP of Le tombeau d'Alexandre: Chris Marker.
“Alexandre Ivanovitch Medvedkine est le seul cinéaste russe né en 1900. (…) Son énergie, son courage, ses illusions, ses désillusions, ses compromissions, ses bagarres avec les bureaucrates, ses illuminations prophétiques, ses aveuglements, volontaires ou non, son humour indestructible et la lumière déchirante que l’effondrement de l’URSS jette rétrospectivement sur toute sa vie, ce sont ceux de toute une génération, et c’est le portrait de cette génération que j’entends tracer à travers le portrait d’un ami.”
– press kit (via)
A film essay using the life and work of filmmaker Aleksandr Medvedkin to tell the story of communism. Medvedkin traveled the Soviet Union with his Kinopoezd or Cinetrain (also Agit-train), a moving film production train with the sole purpose to create Agitprop while documenting the Five Year Plan.
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Unsere Afrikareise [Our Trip to Africa] (Peter Kubelka, 1966)
Feb
22
National Wildlife Day
Wild animals for this year's first National Wildlife Day (USA). A second one is on September 4.
“For me, Afrikareise is, in its own genre, the most intense sound film that exists. Sound and images are in synch like in nature (even if it isn’t about the natural sound of something). The sound becomes the acoustic portrait of the visual action.”
– Peter Kubelka, via
Commissioned to film a rich Austrian couple's hunting trip, Kubelka sat on the material for several years before editing it in something more than the sum of its parts.
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Der Riese [The Giant] (Michael Klier, 1983/1984)
Feb
15
freebie: a movie from 1984
A woman, we only see her hands, waits at a counter while clutching her purse. Her handbag is next to her. The camera focusses on the small space reserved to count out money. DP: n/a.
January 21 redux: a film from 1984 on the date Orwell died (1950).
“The film is about observing, about glances that see without being seen, a dubious art of light and visibility.”
– Michael Klier, via
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Symbiopsychotaxiplasm: Take One (William Greaves, 1968)
Feb
1
Filmmaking
Don Fellows – testing as “Freddy” – and Patricia Ree Gilbert – testing as “Alice” –, the director (William Greaves), and a camera assistant holding up a light meter. Everyone is eyeing everyone and it's not clear who is playing what part. DPs: Stevan Larner & Terence Macartney-Filgate.
A film about filmmaking, or Hollywood, to celebrate the opening of Edison's Black Maria in 1893.
“You and I are going to be filming the actors. The two of us, see, are going to be filming the actors – continuously – and you will be filming me and the actors. I'm going to be filming the actors and Terry is going to be in charge of filming the whole thing. You see?”
– William Greaves – Director