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Women Make Films: Thursday Night Theme running September through December


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Awesome! I have been debating buying the blu-ray of this and am happy to see it on TCM along with the films. In this documentary, Mark does not do much if any of the narration so that should be good news for all those with a problem with his voice. 

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44 minutes ago, spauldingd said:

Awesome! I have been debating buying the blu-ray of this and am happy to see it on TCM along with the films. In this documentary, Mark does not do much if any of the narration so that should be good news for all those with a problem with his voice. 

His cadence really annoys me, but I tried to give the Eyes of Orson Welles a chance when TCM aired it. However, I found it rambling and more about Mark Cousins than about Orson Welles. Cousins has some nice ideas on film, and of course the subject matter is endlessly fascinating. It's just that I would rather watch the Scorsese documentary. 

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8 hours ago, umop apisdn said:

I don't particularly care for Mark Cousins work, but I don't know exactly know why.

Because it's stock footage of people making coffee and trying to catch a bus?

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It's amazing how many people would be OK with another blacklist as long as it was non-Communists getting blacklisted.

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1 hour ago, Fedya said:

It's amazing how many people would be OK with another blacklist as long as it was non-Communists getting blacklisted.

Yep, I'm pretty sure the Cultural Marxists would be tickled with a new blacklist.

Something tells me their day is almost done, though.

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Regarding problematic works and the artists behind them getting blacklisted, I have long felt that it is the lazy person's way of dealing with things. It's easier to close yourself off to different perspectives than trying to understand.

Naturally, this is also true for the people that do not want to understand why some works may now be offensive.

This era of the 15 second soundbytes and 140 character limit is doing humanity a disservice. People hear, but they do not listen.

Regarding Leni Riefenstahl, I would like to understand why she thought her talents would be best used to serve the Nazi regime. Many directors, writers and actors left Germany in the 1930s, while others did not. The spotlight on German film from a few years back touched on it.

I would like to understand the causes behind it and it's how I approach most subjects that I am interested in.  

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13 minutes ago, umop apisdn said:

Regarding Leni Riefenstahl, I would like to understand why she thought her talents would be best used to serve the Nazi regime. 

Did she ever say why?

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5 minutes ago, SadPanda said:

Did she ever say why?

I believe she used the Albert Speer defense of not knowing about the war crimes. Speer's reputation of being the "good Nazi" has been thoroughly debunked through recent scholarship. While Riefenstahl's propaganda work is not on the same level being in charge of armaments, she probably had to know something. 

I don't want to justify her actions, I want to understand why so it may be possible to prevent such mindsets from developing in the future.

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23 minutes ago, umop apisdn said:

I don't want to justify her actions, I want to understand why so it may be possible to prevent such mindsets from developing in the future.

How do you plan on doing that?

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39 minutes ago, SadPanda said:

How do you plan on doing that?

Well, I am known as the movie buff in the circles I frequent. Topics such as films being pulled from viewing and needing more context has become a topic of conversation. I try facilitate a respectful conversation between differing viewpoints while offering what historical background on the films I know.  I had a conversation just yesterday, with a few 30 somethings about Gone with The Wind and and one said "well no one protested back then". I told them that in fact there were protests and how Selznick dealt with Frank and Ashley's "political meetings". I also told them how Birth of a Nation really galvanized the African-American community to protest such portrayals in film. 

Did they learn something and change their mind? I don't know. Basically, all I can do is start the dialog and maybe educate people.

In my Indian community, I run a movie club and most of the viewers are in aged 60-80 while I just turned 40. We have discussed phrases used in those classic film that are are really jarring today. The most meaningful discussion  was about contemporary Germany events and after watching Fritz Lang's M.  I had explained that many German filmmakers had left Germany in the 1930s, and one elderly gentleman in his 80s was surprised to learn how early the persecutions had started and the increasing levels, specific laws etc.

I like talking things out and learning different perspectives, which I why I really like Jacqueline Stewart. How I wish I were about 20 years younger and still at the University of Chicago. I would have loved to taken classes with her and majored in something not so practical like economics.

Sorry for being rambling and verbose, maybe I should be less annoyed with Mark Cousins, after all.

 

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Ramble away, I don't mind.

All I know is I can't really know Leni Riefenstahl or anybody else that I've never met.

People from the past are complete mysteries to me. Hell, people in the present are mysteries to me.

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In the documentary The Wonderful Horrible Life of Leni Riefenstahl made in conjunction with her 90th birthday, she claims that she only agreed to make Olympia on the grounds that the Nazis not ask her to make another movie, and that would have been before the genocide and the big war crimes got going.  She also claims that Goebbels didn't want her using some of the techniques she used in Triumph of the Will.

In any case if they didn't want to air any of the Nazi-era movies, they could show the documentary; or, I believe The Blue Light is obtainable.

And sorry, slaytonf, that I like pointing out the hypocrisy that says going on and on about the 50s blacklist is virtuous (I forget who the one poster is who always claims the blacklist killed John Garfield), but that suddenly when it comes to someone on the losing side of history being blacklisted, how dare you bring it up.

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2 hours ago, UMO1982 said:

Women filmmakers were also writers and producers, not just directors.

Good point.

While I like the possibilities of this series, and how it will bring "new" films to viewers...I can't help but worry that it will be a bit heavy-handed as these things tend to be on TCM. Also three months seems excessive. They didn't really need to showcase a hundred of these films, did they? It's like they are putting quantity over quality.

I guess we'll see how it goes...

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5 hours ago, Fedya said:

It's amazing how many people would be OK with another blacklist as long as it was non-Communists getting blacklisted.

I think your comment relates to slaytonf's yawn to your comment, as far as I'm concerned nazi propaganda should be blacklisted. Don't bother to argue with me, I wonder  how you would feel if your family was murdered by nazi's

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20 hours ago, sewhite2000 said:

A cursory run through these titles, and it looks like I've only seen nine of these 100 films. So, certainly an opportunity for me to expand my palette.

I've only seen 9 of these films too. Some are on the Criterion Channel, so I will probably check out a few before September.

I hope they show the "Be Natural" documentary on Alice Guy-Blaché again in October. They are showing "The Birth, the Life and the Death of Christ" as part of this spotlight.  I love silent film and I had heard of her only in passing, so I was glad that TCM showed her work a few months back. I watched everything they showed.

I am most interested in watching Wanda directed by Barbara Loden and Seven Beauties.. I am also looking forward to seeing Salaam Bombay! again after many years.

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Perhaps it was a pipe dream, because it was truly given the shaft, but I wish that 1988's Zelly and Me was showing here. Such a haunting little film about an orphaned girl traumatized by a manipulative grandmother (Glynis Johns) who finds the nanny she relies on for kindness (Isabella Rossellini) is being driven away. It was a near perfect portrait of loneliness and it truly touched my soul.

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