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Color Tinted 13 Min. Color Tinted 56 Min. All of the ones listed in Volume 1 are in the Gaumont box set. It does say "and more", so maybe that won't be the case with those.
Anyway, I'm glad they are releasing these separately so those of us who have the Gaumont set can just pick up Vol 2.
Beginning as a typist for the Gaumont Company, she volunteered to produce a series of novelty films. So successful were her films-and efficient her methods-she eventually became the studio's head of production.
Enjoying complete creative freedom, she explored long-form storytelling, alternating between serious dramatizations of the early 20th-century American experience Making an American Citizen , The Strike , Frozen on Love's Trail and playful experiments in melodrama The Detective's Dog.
This thematically-arranged collection showcases 2K and 4K restorations, and is essential viewing for anyone interested in the evolution of the industry and the art form.
New scores were curated by music supervisor Dana Reason. As with Pioneers, efforts were made to foreground the work of emerging women composers.
This collection showcases two of Ivers's directorial efforts: A Son of Erin and The Majesty of the Law , of which only a single reel survives.
Through these meticulous restorations of films preserved by the Library of Congress, the woman once known as "Lady in the Shadows" can now finally receive the attention her work so richly deserves.
The Intrigue was curated by Lynanne Schweighofer and George Willeman of the Library of Congress, both of whom oversaw the reconstructions.
Includes audio commentary on The Intrigue by film historian Anthony Slide, and a booklet essay by film historian April Miller.
Film historian Kim Tomadjoglou is intimately acquainted with Guy's filmography and has curated the collection to focus specifically on Guy Blache's more personal films.
Thus is Guy's personality as a filmmaker made more apparent. Tomadjoglou further aids in the reevaluation of Guy's films through detailed liner notes and analysis.
Kino Classics will release additional films under the Pioneers: First Women Filmmakers banner later in I doubt that will be a problem with these, but I will check when I get a chance.
Is there one of the discs you'd like me to check first? They appear to have new scores that don't have timing issues. Excellent music scores from Ben Model and others.
A Mutant Spectator? Is it someone who can believe in fiction and be amazed by reality? Arnaldo Zeus also says that the kryptocelulloids suck reality and expel it in film form.
Since we are global spectators we share mostly memories of Hollywood cinema. How did you find this? You are a krypto-reporter…. Edison, while his boss was travelling to Europe.
This unsung hero found a way to travel to the kryptocelluloid dimension and obtained the krypto-particles that originated film as we know it.
Film as kind of excrement of reality? Before making a film I create a cine-universe to live in. When I was doing The Baron I volunteered to serve a master who was cruel and ruthless, who lived in the shadows and manipulated my will.
Cinesapiens is a child made in an environment of love, freedom and enthusiasm so it meant for me a new way of life, much more true to my own identity.
When farce fucks with reality the result is a creature that needs some kind of visceral empathy, from a Parent-Amazed Spectator.
And, as everybody knows, we still live under the dictatorship of Sobriety. I had for the first time the opportunity to shoot with a honorable, even if very small for USA, budget.
The Baron was made under emotional fascism, as the original novel was written under the fascist regime. Cinesapiens was made after the collapse of a dictatorship.
It celebrates freedom of thinking. And the right to laugh and to be silly. And I asked Jorge Prendas to make a silly musical that would remind the viewer some songs or artists of the history of cinema but without using the original melodies.
Then I asked Leonor Keil to interpret it coreographicaly, also as a silly homage to the musicals. In Cinesapiens there are two actors who play different personas.
Each persona of Zeus represents different Ages of Spectatorship. His personas re-enact different ages of Kino-music.
Any particular reason? Hollywood has a pantheon of star-gods. Nyarlathotep is the messenger of the gods of the lovecraftian mythology.
Lovecraft was the only writer who updated mythology to modern times. His materialistic gods are reflections of the fears of our age.
Their contempt for humans rivals our own contempt for each other. You used the famous first paragraph from The Call of Cthulhu.
Lovecraft anticipated the Holocaust. His phobias were the fuel of his narrative. But I used the text, not the story. We can say that Lovecraft was much more complex than Kafka.
The horror of his stories were based in the insignificance of human beings on a cosmic scale. We only see what we are constructed to see.
You are well informed and have a very sharp mind, for a young kid. It must be a very short thesis! But in a way, you are correct. Each person has its own reality tunnel and each spectator has a different memory of a movie.
The consensual reality and the consensual cinema is the result of an atrophied organ of perception. I try to show my kino-reality tunnel with the minimum of interference from the cine-normalization processus.
Actors, musicians and even some technicians. Why, if they are two complete different films? Greenaway is a painter of moving images, a cine-architect.
I only tried to be faithful to my cine-identity. He is the Krypto-Indiana Jones of lost cinematographies. He is also a text-maker, i.
You are correct again, young man.