Showing posts with label independent cinema. Show all posts
Showing posts with label independent cinema. Show all posts

Monday, 15 January 2018

Links to Free Online Streaming Platforms for Films and Moving Image Work

Last updated January 17, 2018
Temperatūra ne pagal Celsijų / Off Gauge Temperature (Almantas Grikevičius, 1973)
Recommended by Herb Shellenberger. Click on CC in the frame above to switch on English subtitles.

Film Studies For Free brings you an entry that has come about because of a piece of Facebook crowdsourcing by film curator extraordinaire Herb Shellenberger. Shellenberger requested from his friends any links they had to free online streaming platforms for films and moving image work. He was especially interested in ones that are run by archives, and most interested in those outside the US/UK.

A wonderful list of links was rapidly assembled to a wide variety of international platforms, only some of which FSFF has tweeted or blogged about before. So, courtesy of Shellenberger and his friends, below is the list (with acknowledgement given to the individual suggesting each link - thanks especially to Patrick Friel for his extensive contribution, along with Herb).

If you have any further suggestions to make for the list, please use the Comments thread below.

Note: OpenCulture.com also has a great list of free online films, and currently links to at least two of the channels suggested by the crowdsourcing above). It sourced its list from the following collections: Public domain collection of film noir at Archive.org - Boing Boing; The Best: Movies in the Public Domain - Wired; Films in the Public Domain - Wikipedia; Fimoculous list of Hulu Movies; About.com: Download the Classics; Salon: The Future is Almost Now.
Temperatūra ne pagal Celsijų / Off Gauge Temperature (Almantas Grikevičius, 1973)
Recommended by Herb Shellenberger.
Online at the Lithuanian documentary films website, run by Meno Avilys: http://sinemateka.lt 
Posted by at 9 comments:
Labels: , , , , , , ,

Friday, 27 June 2014

On happy and other endings! Kelly Reichardt, Andrew Klevan and James MacDowell on Video (not all together!)

The filmmaker Kelly Reichardt, Humanitas Visiting Professor in Film and Television, "In Conversation" with Dr Andrew Klevan at the University of Oxford on May 23, 2014. Click here to access the video (1:18:30)


Film Studies For Free brings you tidings of some more wonderful film studies related videos. Both of them, like yesterday's Rancière videos, came from top notch tip offs by Hoi Lun Law (thanks HL!).

In the above video (online here), Andrew Klevan enters into an incredibly thought-provoking and insightful conversation with the great American filmmaker Kelly Reichardt about her work. Reichardt's five feature films are River of Grass (1994), Old Joy (2006), Wendy and Lucy (2008), Meek’s Cutoff (2010) and Night Moves (2013); and she has also made the short narrative Ode (1999). Klevan is Lecturer in Film Studies at the University of Oxford, and author of, inter alia, a recent book on Hollywood film star Barbara Stanwyck (London: BFI/Palgrave, 2013), which he discussed in a number of formats  with Film Studies For Free. He is also a member of the editorial board of Movie: A Journal of Film Criticism.

Below, you can find the embedded recording of a great talk by Klevan's fellow Movie editorial board member James MacDowell, Assistant Professor at the University of Warwick and a film scholar who has shared far more high quality work online for free than many academics produce in a lifetime (see here, here, here, here and here [PDF], for instance).

MacDowell discusses the romantic ‘happy ending’ in Hollywood cinema - its motifs, meanings and potential mutability - in a brilliantly illustrated and entertaining talk for an event for the Zabludowicz Collection which took place on December 6, 2013. MacDowell is the founder of great film critical website Alternate Takes, author of the book Happy Endings in Hollywood Cinema: Cliché, Convention and the Final Couple (Edinburgh University Press, 2013) and he is currently writing a monograph on irony in film for Palgrave MacMillan (forthcoming 2016).

Posted by at No comments:
Labels: , , , , , , , , ,

Sunday, 27 November 2011

New Todd Haynes' Masterclass

Todd Haynes' masterclass given on November 12, 2011, on the occasion of a retrospective of his films at the XIIth Queer Film Festival MEZIPATRA in Prague. Coproduced by MEZIPATRA, MIDPOINT and FAMU. Todd Haynes speaks about all his films with the Variety critic Boyd Van Hoeij.

Film Studies For Free heard about the above, enjoyable and hugely insightful video thanks to San Francisco based film critic Michael Guillén.

FSFF has a longstanding soft spot for Haynes, a great filmmaker whose work has a compelling relationship with film theory, as well as with Film Studies as a discipline, as the above video indicates time and again.

Interested readers can find earlier FSFF entries on Haynes (with links to lots of online studies of his works) here and here, and also on queer film theory here.
Posted by at No comments:
Labels: , , , , , , , ,

Sunday, 4 July 2010

On Todd Haynes: Happy Independence Day!

Film Studies For Free is off on its annual holiday. 
Back in two weeks. Hasta entonces, lectores queridos



Richard Dyer, Professor of Film Studies at University of Warwick and author of White and The Matter of Images will join Todd Haynes to discuss issues raised by his work and the Hopper film programme at the Tate Modern, London, June 4, 2004.

In the first of a two-part interview, Reel Report speaks to maverick American director Todd Haynes about his latest movie I'm Not There, an unconventional rock biopic about the life of music legend Bob Dylan. Haynes talks about the challenges of telling Dylan's story, casting the six very different actors who play Dylan, and how he plans to take on the Bush administration with his next project (December 7, 2007).


In the second part of Reel Report's two-part interview with Todd Haynes, director of I'm Not There, the rock biopic about the life of Bob Dylan, we talk more generally about aspects of his filmmaking. In particular we ask him about his unique way of story-telling, his approach to the concept of film genres and whether his sexuality has an effect on his ability to interpret characters (December 18, 2007).

On this very appropriate day, Film Studies For Free honours Todd Haynes, a true and truly wonderful American independent filmmaker, with links, above and below, to great videos and many freely accessible and high quality online studies of his work.

Haynes is a big favourite at this blog, and why wouldn't he be as one of the most "cinema-studies literate" filmmakers working today. Here's looking forward to his forthcoming reworking of that Film Studies classic Mildred Pierce...



 Cornell Cinema events May 6, 2008





Posted by at 2 comments:
Labels: , , , , , , , , ,

Wednesday, 26 May 2010

"Mix-Tape Cinema": studies of Wes Anderson's films

Links added May 27, 2010
Fantastic Mr. Fox: Wes Anderson at the New York Public Library (Fora.tv)

On the occasion of today's publication by Fora.tv of the above entertaining and informative video, Film Studies For Free presents a (rather) small but (almost) perfectly formed compendium of links to freely accessible studies of the joyous/poignant/whimsical/arch/'scavenger' films of US writer/director Wes Anderson. As usual, if readers know of any other good online material to add to the below list, do please get in touch.


The Substance of Style, Pt 1Wes Anderson and his pantheon of heroes (Schulz, Welles, Truffaut) by Matt Zoller Seitz  posted March 30, 2009 

The above video is the first in a five-part series of video essays analyzing the key influences on Wes Anderson’s style. Part 2 covers Martin Scorsese, Richard Lester, and Mike Nichols. Part 3 covers Hal Ashby. Part 4 covers J.D. Salinger. Part 5 is an annotated version of the prologue to The Royal Tenenbaums.


'The Films of Wes Anderson' (great clip 'mix-tape'/montage) by Paul Proulx

"A COUPLE OF YEARS AGO, I watched a film called Bottle Rocket. I knew nothing about it, and the movie really took me by surprise. Here was a picture without a trace of cynicism, that obviously grew out of its director's affection for his characters in particular and for people in general. A rarity. And the central idea of the film is so delicate, so human: A group of young guys think that their lives have to be filled with risk and danger in order to be real. They don't know that it's okay simply to be who they are." Martin Scorsese, 'Wes Anderson', Esquire, March 1, 2000
"Whenever I am getting ready to make a movie I look at other movies I love in order to answer the same recurring question: How is this done, again? I can never seem to remember, and I don’t mean that to be glib. I also hope people don’t throw it back in my face. Making a movie is very complicated, and it seems like kind of a miracle when it actually works out. Hal Ashby made five or six great movies in a row, and that seems to be practically unheard of." 'Wes Anderson on [Hal Ashby's] The Last Detail' in 'The Director's Director', by Jennifer Wachtel, GOOD, June 18, 2008
"In narrative, whimsy emphasizes the unexpected links that connect disparate ideas or events, but the connections must be meaningful. Richard Linklater’s Slacker (1991) is not whimsical because it never proposes that the links between its scenes are anything more than incidental. It embraces insignificance and ponders the possibility of elevating apathy into anarchy. Wes Anderson’s films are whimsical because their unexpected juxtapositions are imbued with sentimental significance. As a visual mode, whimsy favours busy frames and compositions that distract viewers from the centre. It rewards those willing to explore the edges with jokes buried in marginalia or Dalmatian mice sniffing around in the corner of an elaborately composed shot. In all cases whimsy values the ability to appreciate the aesthetic harmony possible among myriad incongruent objects. It draws attention to the act of perception and the sensibility of the perceiver." Charlotte Taylor, 'The Importance of Being Earnest', Frieze Magazine, Issue 92, June-August 2005
'...[S]tuff like Wes Anderson mix-tape cinema...', Michael Sicinski, 'Songs Sung Blue: The Films of Michael Robinson', Cinema-scope, 33 
Posted by at 1 comment:
Labels: , , , , , , ,

Tuesday, 13 April 2010

La Science de Michel Gondry: online scholarship on his films & videos

Last updated April 19, 2010
Electric Dreams? Above and below, images from Be Kind Rewind (Michel Gondry, 2008)
 


Film Studies For Free presents un petit hommage -- en images, hypertexte, et vidéos --to one of its favourite filmmakers, Michel Gondry, French maestro of the music-video form, and also responsible, as director, for the audiovisual brilliance of the following films: Human Nature (2001); Eternal Sunshine of the Spotless Mind (2004); La Science des rêves/The Science of Sleep (2006); Be Kind Rewind (2008); and The Green Hornet (2010).

There are some truly wonderful scholarly resources linked to below: merci bien, as ever, to their authors, editors and publishers for making them freely accessible online.

 
 The original music video of Gary Jules' and Michael Andrews' cover version of Tears for Fears' song Mad World, directed by Michel Gondry. This song features in the soundtrack of Donnie Darko (Richard Kelly, 2001)
Posted by at 3 comments:
Labels: , , , , , , , , ,
Subscribe to: Posts (Atom)