quote:
Part of the French TV program – Cineartists of Our Time. In 1964, film critic and filmmaker André S. Labarthe, together with Janine Bazin, widow of influential film theorist André Bazin, approached the French television channel ORTF about starting a program that would resemble the long, in-depth interviews with film directors that magazines such as Cahiers du cinéma and Positif regularly published. ORTF gave the green light, and Cinéastes de notre temps (Filmmakers of Our Time) was born. Many of the programs were dedicated to older directors, then in retirement or in the final stages of their careers. Instead of TV journalists, Labarthe and Bazin would often ask well-known film directors to make these programs: thus, Jacques Rivette on Jean Renoir, or Jacques Rozier on Jean Vigo, etc

File Size : 619 Mo
Runtime : 1h15

Video Codec : DIVX
Frame Size : 576 x 432
FPS : 25
Video Bitrate : 1000
Bits per Pixel : 0.161

Audio Codec : MP3
Sample Rate : 48000Hz
128 kb/s

https://nitro.download/view/CA82EB3DC7D3A10/Cineastes_de_notre_temps_-_La_premiere_vague,_Delluc_&_Cie.avi

Language(s):French
Subtitles:No, sorry

The post Noël Burch & Jean-André Fieschi – Cinéastes de notre temps: La première vague : Delluc & Cie (1968) first appeared on Cinema of the World.

Quote:
Correction Please is a formally adventurous and rigorously philosophical essay on the nature of early cinema, made under the auspices of the Arts Council of Great Britain in the late 1970s. It emerged in the era of works like Laura Mulvey and Peter Wollen’s Riddles of the Sphinx (1977) and Anthony McCall and Andrew Tyndall’s Argument (1978), two other instances of filmmaking-as-film-theory to which Burch’s otherwise singular project might be compared. The topic of Correction Please is the development of narrative cinematic language from film’s inception to the period of sound—what Burch has dubbed “the gestation of the Institutional Mode”—investigated through a series of tautly structured segments, including ten archival examples of so-called “primitive” films made prior to 1906, animated diagrams explicating these early works, quotations from Maxim Gorky, Christian Metz, and Lillian Gish, and, most dramatically, a series of five staged sequences that recapitulate and analyze emblematic formal properties of five different chapters in cinema’s evolution.

Shot with actors on a stunning Art Deco set, these scenes construct a tale of international intrigue, as a young man delivers a secret message to a mysterious and mesmerizing Countess. “For the record,” Burch explains in a series of notes written to accompany the film’s first screenings, “I should indicate that while true pastiche is never intended, the periods alluded to in the five sequences staged by me are: the mature primitive years (ca. 1905), Griffith’s middle period at Biograph (ca. 1910), the more mature films which Reginald Barker made for Thomas Ince (ca. 1915), Fritz Lang’s Mabuse diptych (1922)—a crucial moment in the elaboration of the visual and symbolic structures of the Cinema Institution—and, finally, the era of ‘canned theatre,’ insofar as it is that of so many films made between 1929 and today.”

321MB | 49m 48s | 720×576 | mkv

https://nitro.download/view/859B2932FAA21DD/Correction_Please_(Burch,_1979).mkv

Language(s):English
Subtitles:None

The post Noël Burch – Correction, Please or How We Got Into Pictures (1979) first appeared on Cinema of the World.

The sea is forgotten until disaster strikes. But perhaps the biggest seagoing disaster
is the global supply chain, which – maybe in a more fundamental way than financial
speculation – leads the world economy to the abyss.

The Forgotten Space follows container cargo aboard ships, barges, trains and trucks,
listening to workers, engineers, planners, politicians, and those marginalized by the
global transport system. We visit displaced farmers and villagers in Holland and Belgium,
underpaid truck drivers in Los Angeles, seafarers aboard mega-ships shuttling between
Asia and Europe, and factory workers in China, whose low wages are the fragile key
to the whole puzzle. And in Bilbao, we discover the most sophisticated expression of
the belief that the maritime economy, and the sea itself, is somehow obsolete.

A range of materials is used: descriptive documentary, interviews, archive stills and
footage, clips from old movies. The result is an essayistic, visual documentary about
one of the most important processes that affects us today. The Forgotten Space is
based on Sekula’s Fish Story, seeking to understand and describe the contemporary
maritime world in relation to the complex symbolic legacy of the sea.

2.05GB | 1h 51m | 1024×576 | mkv

https://nitro.download/view/451DEA59E89DAA3/The.Forgotten.Space.2010.DVDRip.x264-HANDJOB.mkv

Language(s):English, Dutch, Indonesian, Mandarin, Spanish, Korean
Subtitles:English hardcoded for the non-English parts

The post Noël Burch & Allan Sekula – The Forgotten Space [Theatrical version] (2010) first appeared on Cinema of the World.

Quote:
In this extraordinary six-part series, film historian and critic Noel Burch uses clips of rare archival silent film treasures to take us on a riveting journey of discovery. How did silent film reach such incredible heights in a mere 30 years? Why did film in the United States so quickly become such a popular art form?

In the first program, Along the Great Divide: Great Britain 1900-1912, Burch examines early British classics like Rescued by Rover and other, rare films by Cecil Hepworth, Stuart Kinder, James Williamson, R.W. Paul and others to look at how the British “gentlemen inventors of the cinema” created entertainment for the poor.

The second part, Tomorrow the World: USA 1902-1914, looks at early film in America against the background of the immigrant masses streaming into the factories, slums and sweat-ships of early 20th century America. Films by Porter, Griffith, Reginald Baker, George Dobson, Stuart Blackton and others show how early American film invented social content and then dropped it for the development of narrative.

In the third program, She! Denmark 1902-1914, Burch looks at the incredible explosion of filmmaking in Denmark where mature cinema was born at a time when French and American films were simple melodramas. The earliest Danish film stars – Asta Nielsen and Urban Gad – played in remarkable films which were innovative in the technical aspects of lighting, camera angles and editing.

The fourth program, The Enemy Below: France 1904-1912 covers the early love affair between the cinema and the French working class through early Pathe and Gaumont productions, and rare films of Leonce Petter, Louis Feuilliade, (including his celebrated serials Les Vampires, Judex and Vendemaire) and Jacques Feyder’s Crainquebille.

Post-Revolutionary Russia was a period of extraordinary social and cultural experiment, and in the fifth program of this landmark series about the early years of the cinema, Noel Burch focuses on the sexual politics of the Soviet cinema. The program, Born Yesterday: USSR 1926-1930 includes obscure films like The House on Trubnaya Square by Boris Barnet, Ermler’s Katka’s Apples and Remnants of an Empire, Vertov’s Kino-Eye and Kozintsev and Trauberg’s The Devil Wheel in a unique look at a great era of cinema in a climate of virulent change.

In Under Two Flags: Germany 1926-1932, Burch discusses the German silent cinema, including landmark German films like Billy Wilder, Robert Siodmak and Edgar Ulmer’s People on Sunday, Brecht and Dudow’s Kuhle Wampe and Jutzi’s Berlin Alexanderplatz. These films were part of the “populist” cinema of the Weimer Republic, the German Worker’s Film. Ironically, these films were ultimately replaced by the more palatable and cheerful films of Siodmak and Wilder, and the victory of Nazism.

https://nitro.download/view/1EABF4CC2D99994/Old_Films_1_-_Great_Britain.avi
https://nitro.download/view/1EC6354AADA3D0C/Old_Films_2_-_USA.avi
https://nitro.download/view/2737295684047D8/Old_Films_3_-_Denmark.avi
https://nitro.download/view/D15A4BAD0229C0E/Old_Films_4_-_France.avi
https://nitro.download/view/451FBDF1ECE3DE6/Old_Films_5_-_USSR.avi
https://nitro.download/view/E54A88C45BDC630/Old_Films_6_-_Germany.avi

Language(s):English
Subtitles:none

The post Noël Burch – What Do Those Old Films Mean? (1985) first appeared on Cinema of the World.