The Man with a Movie Camera.
Puzzling pistol.
9413.
Love of Zero.
A Canterbury Tale.
Shadows.
Under the Roofs of Paris.
La Chinoise.
Preface to Celine and Julie.
Daybreak Express.
DG should see this.
Speedy.
My all-time favorite Lloyd moment.
February 22, 2009
some screengrabs
My computer is getting loaded with screenshots, so I thought I'd share some of my favorites.
The Man with a Movie Camera.
Puzzling pistol.
9413.
Love of Zero.
A Canterbury Tale.
Shadows.
Under the Roofs of Paris.
La Chinoise.
Preface to Celine and Julie.
Daybreak Express.
DG should see this.
Speedy.
My all-time favorite Lloyd moment.
The Man with a Movie Camera.
Puzzling pistol.
9413.
Love of Zero.
A Canterbury Tale.
Shadows.
Under the Roofs of Paris.
La Chinoise.
Preface to Celine and Julie.
Daybreak Express.
DG should see this.
Speedy.
My all-time favorite Lloyd moment.
February 09, 2009
top 50, Feb. 09
Made for the TLC 1000.
I don't plan to do it again for a long time. A copy for my archives:
1. The Man with a Movie Camera (Vertov, 1929)
2. Sullivan's Travels (Sturges, 1942)
3. A Canterbury Tale (Powell and Pressburger, 1944)
4. The Shop Around the Corner (Lubitsch, 1940)
5. Sherlock Jr. (Keaton, 1924)
6. Love Me Tonight (Mamoulian, 1932)
7. Under the Roofs of Paris (Clair, 1930)
8. Little Man, What Now? (Borzage, 1934)
9. Marie, a Hungarian Legend (Fejos, 1932)
10. Major Barbara (Pascal, 1941)
11. Manhattan (Allen, 1979)
12. The Life and Death of 9413, a Hollywood Extra (Florey and Vorkapich, 1927)
13. Night at the Crossroads (Renoir, 1932)
14. Mr. Arkadin (Welles, 1955)
15. The Palm Beach Story (Sturges, 1942)
16. 14 Juillet (Clair, 1933)
17. Lonesome (Fejos, 1928)
18. The Gay Divorcee (Sandrich, 1934)
19. A propos de Nice (Vigo, 1930)
20. His Girl Friday (Hawks, 1940)
21. Salt for Svanetia (Kalatozov, 1930)
22. Diary of a Chambermaid (Renoir, 1946)
23. The Love of Zero (Florey, 1927)
24. Easy Living (Leisen, 1937)
25. Cluny Brown (Lubitsch, 1946)
26. F for Fake (Welles, 1974)
27. City Girl (Murnau, 1930)
28. In Spring (Kaufman, 1929)
29. The River (Borzage, 1929)
30. The Scarlet Empress (von Sternberg, 1934)
31. Ecstasy (Machaty, 1933)
32. Le Million (Clair, 1931)
33. Two for the Road (Donen, 1967)
34. Brand Upon the Brain! (Maddin, 2006)
35. Man's Castle (Borzage, 1933)
36. The Good Fairy (Wyler, 1935)
37. One Hour with You (Lubitsch, 1932)
38. Listen to Britain (Jennings and McAllister, 1942)
39. The Docks of New York (von Sternberg, 1928)
40. True Heart Susie (Griffith, 1919)
41. The Cameraman (Sedgwick, 1928)
42. One of Our Aircraft is Missing (Powell and Pressburger, 1942)
43. Swing Time (Stevens, 1936)
44. The Cranes are Flying (Kalatozov, 1957)
45. The Moon is Blue (Preminger, 1953)
46. Exit Smiling (Taylor, 1926)
47. The Crime of M. Lange (Renoir, 1936)
48. Borderline (MacPherson, 1930)
49. The Devil and Miss Jones (Wood, 1941)
50. L'Atalante (Vigo, 1934)
I don't plan to do it again for a long time. A copy for my archives:
1. The Man with a Movie Camera (Vertov, 1929)
2. Sullivan's Travels (Sturges, 1942)
3. A Canterbury Tale (Powell and Pressburger, 1944)
4. The Shop Around the Corner (Lubitsch, 1940)
5. Sherlock Jr. (Keaton, 1924)
6. Love Me Tonight (Mamoulian, 1932)
7. Under the Roofs of Paris (Clair, 1930)
8. Little Man, What Now? (Borzage, 1934)
9. Marie, a Hungarian Legend (Fejos, 1932)
10. Major Barbara (Pascal, 1941)
11. Manhattan (Allen, 1979)
12. The Life and Death of 9413, a Hollywood Extra (Florey and Vorkapich, 1927)
13. Night at the Crossroads (Renoir, 1932)
14. Mr. Arkadin (Welles, 1955)
15. The Palm Beach Story (Sturges, 1942)
16. 14 Juillet (Clair, 1933)
17. Lonesome (Fejos, 1928)
18. The Gay Divorcee (Sandrich, 1934)
19. A propos de Nice (Vigo, 1930)
20. His Girl Friday (Hawks, 1940)
21. Salt for Svanetia (Kalatozov, 1930)
22. Diary of a Chambermaid (Renoir, 1946)
23. The Love of Zero (Florey, 1927)
24. Easy Living (Leisen, 1937)
25. Cluny Brown (Lubitsch, 1946)
26. F for Fake (Welles, 1974)
27. City Girl (Murnau, 1930)
28. In Spring (Kaufman, 1929)
29. The River (Borzage, 1929)
30. The Scarlet Empress (von Sternberg, 1934)
31. Ecstasy (Machaty, 1933)
32. Le Million (Clair, 1931)
33. Two for the Road (Donen, 1967)
34. Brand Upon the Brain! (Maddin, 2006)
35. Man's Castle (Borzage, 1933)
36. The Good Fairy (Wyler, 1935)
37. One Hour with You (Lubitsch, 1932)
38. Listen to Britain (Jennings and McAllister, 1942)
39. The Docks of New York (von Sternberg, 1928)
40. True Heart Susie (Griffith, 1919)
41. The Cameraman (Sedgwick, 1928)
42. One of Our Aircraft is Missing (Powell and Pressburger, 1942)
43. Swing Time (Stevens, 1936)
44. The Cranes are Flying (Kalatozov, 1957)
45. The Moon is Blue (Preminger, 1953)
46. Exit Smiling (Taylor, 1926)
47. The Crime of M. Lange (Renoir, 1936)
48. Borderline (MacPherson, 1930)
49. The Devil and Miss Jones (Wood, 1941)
50. L'Atalante (Vigo, 1934)
January 30, 2009
writing project notes, 1/30
Found this today:
"The montage-film is a film assembled of separate images which is not immediately related to a single thing or event, but which, when joined into sequences, becomes a unit organized in a definite rhythm."
-H.A. Potamkin
This is exactly what I needed to give my city film project momentum. It reminded me what first interested me in this project; I had thought the term "city symphony" and the comparisons between Berlin and The Man with a Movie Camera ignored the formal and ideological complexities of Vertov's film, and that the two were, at their philosophical cores, radically opposed.
I have spent the past week searching through books for critical studies of "city symphonies," but all I had found were casual treatments in various histories (of documentary, of the avant-garde, of individual filmmakers, etc.). I have yet to find a comparative analysis or rigorous definition of the genre. Everyone takes it for granted. Why has nobody given much thought to these films as a whole? (Especially suspicious considering the term "city symphony" evokes a close connection between film and music and should so provide the ideal formal comparison between the two arts.)
Potamkin wrote about montage-films in 1930. He understood the genre better than any of our modern scholars. I'll use the term "montage-film" to overthrow this "city symphony" notion. It is the tool needed to unlock the heart of my thesis, that city films share different interests in the broader contemporary avant-garde.
"The montage-film is a film assembled of separate images which is not immediately related to a single thing or event, but which, when joined into sequences, becomes a unit organized in a definite rhythm."
-H.A. Potamkin
This is exactly what I needed to give my city film project momentum. It reminded me what first interested me in this project; I had thought the term "city symphony" and the comparisons between Berlin and The Man with a Movie Camera ignored the formal and ideological complexities of Vertov's film, and that the two were, at their philosophical cores, radically opposed.
I have spent the past week searching through books for critical studies of "city symphonies," but all I had found were casual treatments in various histories (of documentary, of the avant-garde, of individual filmmakers, etc.). I have yet to find a comparative analysis or rigorous definition of the genre. Everyone takes it for granted. Why has nobody given much thought to these films as a whole? (Especially suspicious considering the term "city symphony" evokes a close connection between film and music and should so provide the ideal formal comparison between the two arts.)
Potamkin wrote about montage-films in 1930. He understood the genre better than any of our modern scholars. I'll use the term "montage-film" to overthrow this "city symphony" notion. It is the tool needed to unlock the heart of my thesis, that city films share different interests in the broader contemporary avant-garde.
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