Issue 36
Dead End Kids: The 16th Human Rights Watch International Film Festival
June 9-23, 2005 Around Memorial Day in New York, it’s not unusual to hear cinephiles say they’re excited about the upcoming Human Rights Watch International
The Lady from Shanghai
The Lady from Shanghai (1948 USA 87 mins) Source: Columbia/Tristar Prod Co: Columbia Exec Prod: Harry Cohn Prod, Dir: Orson Welles Scr: Orson Welles, adapted
“Real” vs. “Reel” Magic: An Appreciation of I Know Where I’m Going!
I Know Where I’m Going! (1945 UK 92 mins) Source: NFVLS Prod Co: The Archers Prod, Dir, Scr: Michael Powell, Emeric Pressburger Phot: Erwin Hillier
Coming up for Air: Andy Warhol’s Blow Job by Roy Grundmann
A brief scan of Roy Grundmann’s book on the film Blow Job (Andy Warhol, 1964) brings the reader the promise of future bouts of fascination,
Alchemical Transformations: The Abstract Films of Harry Smith
The career of a key figure of the American avant-garde is discussed in depth
Brief Pleasures and Enduring Sadness: Empress Yang Kwei Fei
Empress Yang Kwei Fei/Yokihi (1955 Japan 102 mins) Source: ACMI Collections Prod Co: Daiei Prod: Masaichi Nagata, Run Run Shaw Dir: Kenji Mizoguchi Scr: Matsutaro Kawaguchi, Masashige
Video as a Subversive Art: The 48th San Francisco International Film Festival
April 21–May 5, 2005 Film societies must remain at least one step ahead of their audiences and must not permit themselves to be pulled down
Clouds Pursuing Clouds: Bernardo Bertolucci’s Prima della rivoluzione
Prima della rivoluzione/Before the Revolution (1964 Italy 115 mins) Source: NFVLS Prod Co: Cineriz, Iride Cinematografica Dir: Bernardo Bertolucci Scr: Gianni Amico, Bernardo Bertolucci, inspired
Peeping Tom
Peeping Tom (1960 UK 101 mins) Source: Potential Films Prod Co: Michael Powell (Theatre) Prod, Dir: Michael Powell Scr: Leo Marks Phot: Otto Heller Ed:
Chasing the Runaways: Foreign Film Production and Film Studio Development in Australia 1988-2002 by Nick Herd
Is domestic production being “swamped” by international production? Where does creative control lie? Which sectors of the industry and the economy more broadly benefit from