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Jason_Els

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About Jason_Els

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  1. WOW!! Great movie! I am so completely shocked. Faster Pussycat! Kill! Kill! is actually a good movie! This is unreal. Freud would have a field day. Aggressive women punished for their dominance, an old impotent man using his son as a proxy to rape a virgin, a lesbian using a car as a **** to kill men... it just goes on! This is sexual expressionism with a beat motif. It's like all the actors graduated the Emil Jannings school of acting with a major in sex. I'm still really shocked and THANK YOU TCM! It's a hell of a risk showing these films, but WoW! I've discovered a whole new genre.
  2. This is the most critical period for film preservation. If we're careful we can preserve (and restore) pretty much everything that exists and is still in one piece. The key is to be able to digitize all of it so there's no risk of future loss Off film, it's as safe as safe will ever get. Once digitized, they can be restored later on when time and money permit. Archiving is the priority and it's a race against time. We've already lost most of the silents and many Technicolor and Eastmancolor films are fading into oblivion. It's exceptionally important that we stop this process now, while we still have an idea of what the original color timing values were. In some cases we're lucky enough to have people who worked on the original productions or the original timing values, but I think most people would be shocked at how disorganized studio archives are. There are films lost in these vaults. Plenty of the archivists, as job security, developed private code systems so that only they knew what was where. All film stock decays over time, even when kept in climate-controlled hermetically-sealed vaults, however for over half of cinema's lifetime nobody thought these films would ever see the light of day again. There was no aftermarket after a primary run was over, so films were stashed away with little care, frequently in sealed closets, subject to the hot climate of California. With so little care, fires were frequent given the flamability of early film stock, and what didn't burn slowly started to crumble to dust. We have to get it now while the getting is good. > They are also the future of film preservation. > Without the preservation, the films we know and love > will not exist in the future. Most of the major > studios are involved with the restoration and > preservation of their libraries but across this > country and throughout the world, those working at > the studios and at archives wrestle everyday with > how to best spend the few dollars they have. > > Should the market for films on DVD (or whatever the > next technology is) tank in the years ahead, the > studios will cut back on their preservation and > restoration.
  3. > It's "Orpheus," directed by Jean Cocteu. Careful: > it's a foreign picture. Ah excellent! It looked an awful lot like BeB but I would have remembered that shot. I can't wait to see it! Thank you!
  4. I loved Zsa Zsa in Queen of Outer Space. Few things are so completely outrageous as a Gabor. They'd be celebrities in any time period; like tail fins on Cadillacs. You can't help but smile.
  5. I think I have a recording of it. I have to look at the DVR stuff I recorded while I was at work. I might be able to burn a copy of it. I don't know how big it will be. I'm happy to help you out (if I don't get banned for my last post in the, 'baloney' thread). Hehe.
  6. I'm embarrassed for TCM. By bothering to understand and learn from this shorts festival we will be able to gain greater appreciation for the films some here so narrowly define as, "classic." Many, many, of the films on show today are seminal to cinema as we know it. Just now I'm watching two very rare Hitchcock propaganda shorts produced for distribution to the French underground in World War II. Think maybe these might enlighten us not just about film, but in how the British distributed propaganda favorable to the allies, about things the British wanted the French resistance to know and think about? Their influence on the war? They're great exmaples of Hitchcock's style. They are, however, in French; subtitled and not dubbed, thanks to the wisdom of TCM which seeks to show films in their most original format. Guess it's time to switch over to The Beverly Hillbillies. Think carefully about why the newer shorts were incorporated into this festival. TCM, to its immense credit, knows about movies and movie history. They do not miss a step. Those films of Lynch, Scorsese, Polanski, Truffau and yes even Chaplin and Keaton, influence the films that follow them. You can parallel, had you actually bothered to look, the development of film in both structure and narrative from the earlier days of cinema to today. You could have compared the older films with the newer to see how contemporary film makers use the techniques developed by these earlier directors. Paying further attention would tell you about how film is used in various eras to express those things important and relevant to the people who make them and what they're saying about the world they inhabit. "Classic film" is not inclusive of personal taste. What you "prefer" is and by all means you're entitled to prefer what you wish. I feel sorry for those so entrenched in self-imposed ignorance that they cast down and sneer at the jewels of knowledge handed to them with such care and effort; jewels that could illuminate and enrich the experience of watching the films they love so much. If you don't think the films of any period don't owe a tremendous debt to the films which preceded them then you're sorely mistaken. Love film noir, Citizen Kane, Blade Runner, or even I Love Lucy? Then you owe some filmmakers in Weimar Germany a debt of gratitude. This festival is designed to educate, illuminate, and present the development of cinema. To condemn the very valuable process of education itself is a travesty. Worse still is to mock what you do not even attempt to understand. That is a mark of something, but it's not education. It's ironic that Europeans have long decried American anti-intellectualism and now some members here have handed a French company the stereotype on a silver salver.
  7. They're called bugs and they're just as annoying. I wish all stations would drop them entirely. Some stations are, however, much worse than TCM and either leave the bug on at all times or accompany the bug with scrolling pop-up windows and data. I will not watch channels that do that no matter what they play.
  8. >Well, that?s my point. No one remembers the movies shown in the promo. >Everyone remembers the blonde lady with the tattoo, but they don?t remember >the films being promoted. I don?t need a promo of a blonde lady with a tattoo to >remember TCM. I remember the movies, Seventh Seal, La Belle et Le Bete, something with what appeard to be HedyLamarr, San Francisco, Sunset Boulevard, a Chaplin film, Yojimbo (can't tell), and what I later discovered to be Aleksandr Nevskiy, plus some shorts and a few films I didn't recognize I saw these images and the ones I knew of I was happy to recognize but I was intrigued by those I didn't know, some of them absolutely stunning. I'd love to know what that film has the person sliding sideways along a wall. This is what these trailers do so well, they inspire people to want to find the film that matches the images because they look so good. As for any narrative in the structure of the promo I'd say it involves a woman who finds her life dull and empty despite having a great apartment, a naked hunk in bed, and gourmet coffee. She does not appear to take pleasure in the vaccuum cleaning but then few people do. No matter what she does she can't tear herself away from what's going on, "out there." She's a voyeur and like most voyeurs, she becomes so enrapt that she eventually becomes overwhelmed with yearning to take part, hence she goes out on the balcony to be just a little bit closer to where the action is. I also think this is a sly reference to the classic, Peeping Tom, which has been shown a few times on TCM. Peeping Tom has quite a controversial history and one of the more anticipated classic film releases. It involves a voyeur who likes to observe young women then kill them. The promo reverses the roles a bit and one might imagine the man in her bed to be doing something a little more permanent than sleeping.
  9. It does indeed follow with a vowel, "Herm?s and TCM present..." She heavily syllabalizes her, "s" sounds leading me to think she's trying very hard not to change, "s" into "th." The sound of the music seems to hit a note exactly in the same range as her voice the second she says it but I'm all but certain she's saying, "airmeth."
  10. I think this is a great idea. We can discuss the DVDs, what's good, what's bad, what's newly released, what needs remastering, and a whole host of things. It would be great feedback on the DVD releases themselves and help marketing target demand.
  11. MovieGal53 - What 50s and 60s did you grow-up in?? Korea, Vietnam, Cuban Missile Crisis, Assassinations, Civil Rights, McCarthyism and the Red Scare, Cold War, Youth Movement, Drug Culture, Women's Rights, Housing Slump, DDT, The Great Society, Agent Orange, Environmentalism, Rock and Roll, and the near ruin of Hollywood. I think seeing these films because they give you a feeling of nostalgia is great. Really. Everyone likes to be remembered of the happier times in their lives and every generation, alive or dead, has cursed the ones that follow, positive the world will end when they take over. I'm glad you still enjoy these films and I envy you being able to see them in theaters at their release. Nostalgia, however, isn't what these films are about. Cinema reflects the values or the anti-values of a society. It explores narrative myth and the best cinema challenges us with thinking in new ways, or illuminating our shortcomings while extolling the best of our virtues. All film is political in nature whether it's the politics of sex, culture, society, or art. It's an interpersonal experience, like it or not, and these things don't go away when the last reel of a release is in the vault, never to see a theater again. It's amazing but cinema is the ONE art form that fades from public view no matter how great it is. Top orchestras still perform Mozart, top operas still perform Mozart (heh), top museums still display Greek sculpture, top ballets still perform Nijinksy, great theaters still play Shakespeare, and the great stories of Homer are still read by readers. Top movie theaters do not show old cinema. The youngest of the arts is the one with the most neglected and least accessible catalog and it's a tragedy. I know people who will not, absolutely refuse, to watch a film if it's in black and white, much less if it's silent. These same people might not usually visit a museum or read a classic novel, but they will recognize the importance of such works for their universal value in helping humankind understand itself and our place in society, our meaning of life, our religion. Doesn't cinema do the same thing? What you are watching, via these promotionals, is the backlash from the prevailing cultural attitude that film can't be great, that it's all about what's now, what's hip, and it's all commercialized brain candy in the end. If all these old films you love, we love, we recognize as great works, are to survive at all, not just these last 120 years, then we have to educate the average film watcher about the value of these films. By no means am I suggesting we dumb-down. Great art never dumbs down, it uplifts. What we must do is challenge the popular meme that old cinema doesn't matter, doesn't have anything to say about life today, nothing to teach us. The raygun promos do this remarkably well. They reach out to us, to today's audience and educates them, using the language of today's audience, using contemporary themes and images to create a new language of cinema. Raygun's promos bring these films into the here and now. I said before that raygun deconstructs the films for us to consider them in a new way, a new context. This is the reason they do that. It's the reason companies like Criterion and Janus exist, it's the reason there are still theaters that show the great films. We will never have a museum that can show cinema as it was meant to be seen in any effective, broad format. Sure museums can act as film libraries, but a library is not a museum. The nature of the medium makes this impossible. People have to welcome these films into their homes, schools need to show them as part of art history courses, and people have to be educated about the value of choosing Grand Illusion over The Water Boy when they visit the video store (if they can even find Grand Illusion as a choice). DVD grew faster than CD and today DVDs outsell CDs. While this has shocked the music industry, it means that people are beginning to get the message that great film isn't just what was made in the last 20 years. Great film also takes great risks. Again, nostalgia is nice and comforting, but time moves on and great art moves with it. Be envious if you want, it's ok. The best cinema will still be stunning and fresh and new long after we're all old, wrinkled, and dead. It will always be contemporary even if we aren't. Don't be too upset when younger generations appropriate, explore, reassess, and reinterpret it in ways you don't like. It's a sign that cinema is alive and well, challenging, thrilling, amazing new audiences; telling our stories from our times. In this, we can live on long after we're gone.
  12. This is driving me nuts, sorry if it's trivial. Does the announcer mispronounce, "Herm?s", the first time she says it? It sounds as though she has a lisp and is saying, "airmeth". I know how 'Hermes' is pronounced en fran?ais, but the "th" at the end is just plain wrong. I'm kind of shocked by it. If I were Herm?s, I'd demand a re-take with a different announcer. It's a beautiful promo, however. No other complaints. Message was edited by: Jason_Els
  13. I second Fail Safe! The most chilling of political thrillers ever. It has given me nightmares with its starkly cold and realistic scenario. The ending leaves me shell shocked. Superb cast and masterful cinematography. I have to keep my answer narrow, I think, because politics is such a broad subject and includes so many variations, from spy, war, homefront, quasi-historical, clash of classes, allegories, etc. I could include everything from The Birth of a Nation to The Thing from Another World to Mrs. Miniver to Network to The Grapes of Wrath to The Discreet Charm of the Bourgeoisie!
  14. Thank You! I'm so happy to find who does these. Interesting site, there's nothing else on it. However something odd is going on there. I clicked on, and watched, "Tear Jerkers" on that site but when I looked at the site again it was gone. This is very odd. Others I watched didn't disappear.
  15. I have loved, absolutely loved, nearly every montage TCM has come-up with. I even write them and tell them to pay whomever does them a LOT more money so that person won't leave. The promos are direct, astonishing, lush, stunning. They are unlike anything else done and they break the original narratives in which these films were constructed and reconstructs them around a theme, allowing us to view them as fresh and brilliant all over again. Beck's "Lonesome Tears" trailer just blew me away. It was just unbelievably beautiful. These films aren't some celluloid memory closets, they're vital, living works of art that should challenge us no matter how old they are. The promos make viewers reassess what it is they're watching and when you catch a bit of a movie you know, you're forced to change the context and your perception of that context. I wish, beg, plead, TCM to put these promos on the web for download because seeing them disappear when their run is over is just a sin. I'd love to run them in my home theater as filler trailers before or after showing films. Maybe these trailers help TCM bring in a younger audience, but I'm not sure they need to. Cinema studies is becoming more and more popular and I see GenX and GenYers watching TCM because the better films in the catalog help them to see, appreciate, and learn about cinema. Few people I know watch TCM for cinematic history alone and I know none who watch it because they're old enough to remember when most of these films came out. Film is like any other art form. The best examples will live forever as great precisely because they transcend time and culture. If you find them nostalgic then fine, but don't be shocked when you find they like to dress a little dangerously and have a wild night out on the town and not come home until after dawn. Thankyou TCM for these remarkable promos and treating these films with the electricity they deserve.
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