Andrey Arnold talks to Iris Elezi about Xhenfise Keko
In dem Vortrag „Muss in jedem Film gesungen werden?“ wird eine Zeitreise unternommen, in der das Publikum aus einer Zeit der tonalen Reizüberflutung in eine Epoche zurückgeführt wird, in der die Entwicklung von Stumm- zum Tonfilm unsere Hörgewohnheiten für immer veränderte. Einführende Gedanken von Günter Krenn.
The weight of knives and more saved ladies in Allan Dwan’s “The Half-Breed” presented by the Cinémathèque française.
Parachuting dogs and doubts about the versatility of the program.
What a fitting metaphor for a retrospective about international archival work is a film about a woman being saved from drowning. “Maria do Mar” is more than that, much more.
MoMa brought their archival assembly of “Lime Kiln Club Field Day” to the retrospective. White producers stopped the shooting of this film made by a pioneering cast of African-American performers led by the famed Caribbean-American entertainer Bert Williams.
“Valkoinen peura” (The White Reindeer) is a beautiful and haunting film made in white and black. The contributions of Kansallinen audiovisuaalinen instituutti ask important questions about ethics in relation to working with film.
“The disadvantage of film is that it remains.“, wrote Ingmar Bergman. “Sånt händer inte här” is a film he was embarrassed about to a degree that made him prohibit screenings of it. In the year of his centenary the Swedish Film Institute brought this rarely seen film as a gift.
A definition of cinema as a means of capturing milestones in the progress of the world lies at the core of 30 Years of Motion Pictures, the second compilation film of “Forever Film”.
Bringing the legendary “White Shadows in the South Sea” directed by W.S. Van Dyke and Robert J. Flaherty (who left the project) as a gift, the George Eastman Museum not only chose a unique print for presentation but also one that talks about the inevitability and beauty of decay in film history