For this short roundup of events launching from today throughout the weekend, I want to begin with one happening on Sunday, City Scherzos, presented by Cineaste and UnionDocs and curated by David Phelps, who writes in the program notes, "In the 20s and 30s, at the strange intersection of Impressionist music, constructivist politics, and the broadcast networking of telecommunications, film and radio, City Symphonies like Man With a Movie Camera, Rien Que Les Heures, and Berlin: City Symphony became something of a genre… The films, taking off from modernist city novels like Ulysses and Manhattan Transfer, operate as though the city, not director, is a conductor through everyday rhythms, pathways, and rituals, and its inhabitants the floating nodes in a larger network of information exchange and routine. In the age of global social networks, these films couldn't be more relevant." David will be on hand to discuss Joris Ivens's...
- 2/17/2011
- MUBI
For this short roundup of events launching from today throughout the weekend, I want to begin with one happening on Sunday, City Scherzos, presented by Cineaste and UnionDocs and curated by David Phelps, who writes in the program notes, "In the 20s and 30s, at the strange intersection of Impressionist music, constructivist politics, and the broadcast networking of telecommunications, film and radio, City Symphonies like Man With a Movie Camera, Rien Que Les Heures, and Berlin: City Symphony became something of a genre… The films, taking off from modernist city novels like Ulysses and Manhattan Transfer, operate as though the city, not director, is a conductor through everyday rhythms, pathways, and rituals, and its inhabitants the floating nodes in a larger network of information exchange and routine. In the age of global social networks, these films couldn't be more relevant." David will be on hand to discuss Joris Ivens's...
- 2/17/2011
- MUBI
He was behind the Ealing films and made a handful of the most polished, imaginative and enjoyable movies of the 1940s. It's time the name of Alberto Cavalcanti was better known, argues Kevin Jackson
'Directed by Cavalcanti" runs the last of the black-and-white title credits. Back in the 1940s, the ordinary chap in the Odeon's ninepenny stalls is baffled, even annoyed. Who on earth is this jumped-up foreigner, thinking he's so bloody famous that he doesn't need a first name? (In fact, Cavalcanti was widely seen as one of the most self-effacing, charming men ever to have worked in film.) And why is a bloody Eyetie in charge of a British film – let alone an Ealing film, the most British productions of all? (In fact, Cavalcanti was Brazilian.) But those in the audience who had noticed the unusual credit once or twice before settled deeper into their red plush seats,...
'Directed by Cavalcanti" runs the last of the black-and-white title credits. Back in the 1940s, the ordinary chap in the Odeon's ninepenny stalls is baffled, even annoyed. Who on earth is this jumped-up foreigner, thinking he's so bloody famous that he doesn't need a first name? (In fact, Cavalcanti was widely seen as one of the most self-effacing, charming men ever to have worked in film.) And why is a bloody Eyetie in charge of a British film – let alone an Ealing film, the most British productions of all? (In fact, Cavalcanti was Brazilian.) But those in the audience who had noticed the unusual credit once or twice before settled deeper into their red plush seats,...
- 7/2/2010
- by Kevin Jackson
- The Guardian - Film News
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