The documentary investigates the history, process and workflow of both digital and photochemical film creation. It shows what artists and filmmakers have been able to accomplish with both film and digital and how their needs and innovations have helped push filmmaking in new directions. Interviews with directors, cinematographers, colorists, scientists, engineers and artists reveal their experiences and feelings about working with film and digital.
Žižek appears transplanted into the scenes of various movies, exploring and exposing how they reinforce prevailing ideologies. As the ideologies undergirding cinematic fantasies are revealed, striking associations emerge: from nuns advising following your desires at The Sound of Music to the political dimensions of Jaws. Taxi Driver, Zabriskie Point, The Searchers, The Dark Knight, John Carpenter’s They Live (“one of the forgotten masterpieces of the Hollywood Left”), Titanic, Kinder Surprise eggs, verité news footage, the emptiness of Beethoven’s "Ode to Joy", and propaganda epics from Nazi Germany and Soviet Russia all inform Žižek’s psychoanalytic-cinematic argument.
The film version is Jeff Garlin's documentary on the work of John Waters. Waters talks for an hour and a half about different subjects that made him into who he is today while standing on a stage decorated with a pile of trash, some roses, and a confessional. Waters starts off by talking about his earliest negative influences. He then begins talking about directors of the macabre that inspired him on what to do with his films. He then talks about filmmaking experiences on each and every one of his films and tells stories about some of the Dreamlanders. He discusses sexual fetishes, court trials he has visited, how to make books cool again, and more. The last topic he speaks of is his hometown of Baltimore and all the things he has experienced there.
P. K. Nair’s fascination with cinema began as a child and he watched his first few films lying on the white sand floor of a cinema in Trivandrum. He was a collector even then - collecting ticket stubs, lobby cards, even weighing machine tickets sporting pictures of the stars of the day. He grew up to be a great collector of films.
Not Quite Hollywood documents the revival of Australian cinema during the Australian New Wave of the 1970s and '80s through B-movies including Alvin Purple, Barry McKenzie Holds His Own, Dead-End Drive In, Long Weekend, Mad Max, The Man from Hong Kong, Patrick, Razorback, Road Games, Stork and Turkey Shoot. From 1971 through to the late 1980s, Australian directors began to take advantage of the newly introduced R-rating which allowed more on-screen nudity, sex and violence for audiences restricted to age 18 and over. "Ozploitation"—writer-director Mark Hartley's own portmanteau of "Australian exploitation"—was a subgenre of the New Wave which accounted for the critically panned "gross-out comedies, sex romps, action and road movies, teen films, westerns, thrillers and horror films" of the era, commonly overlooked in Australia's "official film history". The film addresses three main categories of "Ozploitation" films: sex, horror and action.
Un documentaire sur Z Channel, l'une des premières chaînes câblées payantes des États-Unis, et son responsable de la programmation, Jerry Harvey. Lancée en 1974, cette chaîne basée à Los Angeles a proposé une programmation éclectique de films qui est devenue un exemple parfait de la puissance inexploitée de la télévision par câble.
The film is a celebration of the casting profession, highlighting its previously unsung role in film history while also serving as an elegy to the lost era of the New Hollywood. It focuses on casting pioneer Marion Dougherty, an iconoclast whose exquisite taste, tenacity and gut instincts brought a new kind of actor to the screen that would mark the end of the old studio system and help to usher in this revolutionary new period. The film draws a line through the last half century to show us the profession’s evolution from studio system type-casting to the rise of large ensemble films populated with unique and diverse casts.
Bien avant la révolution technologique de l'animation assistée par ordinateur et ses possibilités infinies, la magie de l'animation s'écoulait du crayon de deux des meilleurs animateurs que la Walt Disney Company n'aie jamais connu : Frank Thomas et Ollie Johnston. Talentueux dessinateurs de Bambi, Pinocchio, La belle et le clochard ou Le livre de la jungle, ils sont devenus des modèles pour toute une génération de nouveaux animateurs, et notamment ceux de succès récents comme Le roi lion.
Leur génie créatif a rendu à tout jamais le nom de Disney synonyme d'excellence dans l'animation et ses attributs que sont la belle musique et les scénarii intemporels. Ils nous livrent ici leurs secrets, pensées, inspirations et réflexions sur la genèse de films d'animation parmi les plus beaux de l'histoire du cinéma
Le monde connaît Paul Newman comme un Prix d'Académie en gagnant l'acteur avec des cinquante - plus la carrière d'année comme un des acteurs les plus prolifiques et révérés au Cinéma américain. Il était aussi bien connu pour sa philanthropie; Newman Propre a donné plus de quatre cent trente millions de dollars aux charités dans le monde. Pourtant peu savent la passion alimentée d'essence qui est devenue si importante dans le maquillage de cet homme complexe, à multiples facettes. La passion invétérée de Newman pour les courses d'automobiles était si intense il a presque remplacé sa carrière d'acte. Sa carrière courant s'est étendue sur trente-cinq ans; Newman a gagné quatre championnats nationaux comme un chauffeur et huit championnats comme un propriétaire. Pas mal pour un gars qui n'a pas même commencé à courir jusqu'à ce qu'il avait quarante-sept ans.