Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThe big news in Hollywood is that "the Academy of Motion Picture Arts & Sciences has approved a series of major changes, in terms of voting and recruitment, also adding three new seats to the 51-person board — all part of a goal to double the number of women and diverse members of the Academy by 2020. The changes were approved by the board Thursday night in an emergency meeting," Variety reports. A major step, certainly, but we've still to see what the results will be. And certainly Academy membership does little to alter what kinds of movies get produced and by whom.Charles Silver, the head of the Museum of Modern Art's Film Study Center, passed away last week. IndieWire is running an homage by Laurence Kardish, a former MoMA film curator:"Perhaps,...
- 1/27/2016
- by Notebook
- MUBI
[Editor's Note: Charles Silver, who headed up the Museum of Modern Art's Film Study Center, passed away this week in New York. Silver worked at the museum since 1970. Indiewire asked his longtime colleague and former Moma curator Laurence Kardish to share the following thoughts on Silver's legacy.] "For Charles, a Standing Ovation" Perhaps, and with good reason, there is no one in this world whose name appears more frequently in film books’ acknowledgements than the name of my former colleague and friend, Charles Silver. Charles arrived at MoMA in 1970 to work in the Department of Film’s Study Center, established a few years previously, with no formal academic training in film but with the hard-knock trench experience of working with a mercurial and important distributor, Tom Brandon, whose left-wing history gave him access to a remarkable catalogue of 16mm and 35mm films from Cold War "enemy" countries. Charles’ passion for film, knowledge of the art, and...
- 1/22/2016
- by Laurence Kardish
- Indiewire
Above: Calendar Girl (1947) / Pearl of the South Pacific (1955) / Frontier Marshal (1939)
Last October, my co-editor David Phelps and I released our first self-published e-book out into the world. It was entitled William A. Wellman: A Dossier, and after the somewhat life-changing experience we had discovering Wellman's films during his Film Forum retrospective, we were happy to have discovered a format that would allow us to curate, create, and share an anthology of criticism centered on Wellman's work.
After the release, David and I found ourselves contemplating what to do next, and our thoughts soon brought us back to a night when we screened Allan Dwan's Cattle Queen of Montana (1954), a Western unlike any Western we had seen. A movie that on paper is a simple genre exercise about a vengeful woman trying to regain her land and cattle but in practice is about how different people and events fill...
Last October, my co-editor David Phelps and I released our first self-published e-book out into the world. It was entitled William A. Wellman: A Dossier, and after the somewhat life-changing experience we had discovering Wellman's films during his Film Forum retrospective, we were happy to have discovered a format that would allow us to curate, create, and share an anthology of criticism centered on Wellman's work.
After the release, David and I found ourselves contemplating what to do next, and our thoughts soon brought us back to a night when we screened Allan Dwan's Cattle Queen of Montana (1954), a Western unlike any Western we had seen. A movie that on paper is a simple genre exercise about a vengeful woman trying to regain her land and cattle but in practice is about how different people and events fill...
- 6/4/2013
- by gina telaroli
- MUBI
Beyond the Time Barrier is part of Anthology Film Archives' Edgar G. Ulmer retrospective in New York.
Above: The Light Ahead (Edgar G. Ulmer, 1939).
“Nicholson was able to photograph the parked F-102a from a matched angle to complete the second side of the split-screen shot begun at the abandoned airfield the previous day. Fortunately, the weather had remained consistent, or the composite could never have been assembled. For the film, the jet would now appear in the same shot with the wrecked control tower and Clarke, though existing in actuality some twenty miles apart.
At every step, Ulmer sought production value and realism whenever he could squeeze it in, even when barely possible. Says Clarke: ‘We were very exited about [trying to get] a B-36 as it was taxiing along. We were so hopeful that the actors playing the officials from the Pentagon would get their dialogue correct and that their car...
Above: The Light Ahead (Edgar G. Ulmer, 1939).
“Nicholson was able to photograph the parked F-102a from a matched angle to complete the second side of the split-screen shot begun at the abandoned airfield the previous day. Fortunately, the weather had remained consistent, or the composite could never have been assembled. For the film, the jet would now appear in the same shot with the wrecked control tower and Clarke, though existing in actuality some twenty miles apart.
At every step, Ulmer sought production value and realism whenever he could squeeze it in, even when barely possible. Says Clarke: ‘We were very exited about [trying to get] a B-36 as it was taxiing along. We were so hopeful that the actors playing the officials from the Pentagon would get their dialogue correct and that their car...
- 11/5/2012
- by David Phelps
- MUBI
Gina Herold Gabriel Byrne, left, and Enda Walsh
Directors Jim Sheridan and Enda Walsh chatted with actor Gabriel Byrne yesterday at MoMA about their own films and others, as part of “Revisiting The Quiet Man: Ireland on Film,” an exhibit which runs through June 3. John Ford’s classic 1952 story about Sean Thornton (John Wayne), an American boxer born in Ireland who returns to Innisfree and falls in love with Mary Kate Danneher (Maureen O’Hara), is more than just a feel-good St.
Directors Jim Sheridan and Enda Walsh chatted with actor Gabriel Byrne yesterday at MoMA about their own films and others, as part of “Revisiting The Quiet Man: Ireland on Film,” an exhibit which runs through June 3. John Ford’s classic 1952 story about Sean Thornton (John Wayne), an American boxer born in Ireland who returns to Innisfree and falls in love with Mary Kate Danneher (Maureen O’Hara), is more than just a feel-good St.
- 5/29/2011
- by Gwen Orel
- Speakeasy/Wall Street Journal
There are so many film happenings in New York, that it is very easy for one to lose track of the near countless festivals, retrospectives and even the dozens of venues that put them on. The Museum of Modern Art though is a biggie. Just coming off New Directors/New Films, they've got two in the hole for early April. Take a look. From April 6th (yep, tomorrow) to the 25th, MoMA and film curator Charles Silver present Charles Burnett: The Power to Endure. This'll be a rare opportunity to see both feature and short form works from the seminal African-American filmmaker. Things kick off tomorrow night with Burnett's claim to fame, Killer of Sheep. And the man himself will be in attendance for all screenings...
- 4/5/2011
- Screen Anarchy
"My favorite film of the last two years, Hong Sang-soo's Bam gua nat (Night and Day), is getting a one-week run at Anthology Film Archives, starting this Friday," announces Dan Sallitt, and for more raves (well, mostly), you can turn to Richard Brody (New Yorker), Scott Foundas (Voice), Andrew Schenker (L) and Keith Uhlich (Time Out New York). Update, 10/23: More from Jeannette Catsoulis (New York Times), Michael Joshua Rowin (Reverse Shot) and S James Snyder (Artforum).
This is just one of several extraordinary runs going on in NYC over the next while, starting this evening at Film Forum, where, with what the Voice's J Hoberman calls the "cine-essay-cum-illustrated-lecture Rembrandt's J'accuse," Peter Greenaway "uncovers a foul, lurid, corrupt, and perversely compelling conspiracy - which is to say, he successfully turns The Night Watch into a Peter Greenaway film." More from Manohla Dargis (New York Times), David Fear (Tony), Nicolas Rapold...
This is just one of several extraordinary runs going on in NYC over the next while, starting this evening at Film Forum, where, with what the Voice's J Hoberman calls the "cine-essay-cum-illustrated-lecture Rembrandt's J'accuse," Peter Greenaway "uncovers a foul, lurid, corrupt, and perversely compelling conspiracy - which is to say, he successfully turns The Night Watch into a Peter Greenaway film." More from Manohla Dargis (New York Times), David Fear (Tony), Nicolas Rapold...
- 10/23/2009
- MUBI
New York City's Museum of Modern Art is launching a two-year film series called "An Auteurist History of Film" on Sept. 9. The program, drawn from the museum's collection, kicks off with two documentaries, "Origins of the Motion Picture" and "Eadweard Muybridge, Zoopraxographer."
The auteurist approach to film, articulated by the critics who wrote for Cahiers du Cinema in the 1950s and brought to America by film writer and critic Andrew Sarris, contends that, despite the collaborative nature of the medium, the director is the primary force behind the creation of a film.
Rather than creating a single, formal museum canon, "Auteurist" will offer filmgoers a look at filmmaking from its origins to the present by examining the role of the director.
The first three months of the series will explore pre-cinema; the earliest films seen in Europe and America, by the Edison Company and the Lumiere Brothers; pre-d.W. Griffith...
The auteurist approach to film, articulated by the critics who wrote for Cahiers du Cinema in the 1950s and brought to America by film writer and critic Andrew Sarris, contends that, despite the collaborative nature of the medium, the director is the primary force behind the creation of a film.
Rather than creating a single, formal museum canon, "Auteurist" will offer filmgoers a look at filmmaking from its origins to the present by examining the role of the director.
The first three months of the series will explore pre-cinema; the earliest films seen in Europe and America, by the Edison Company and the Lumiere Brothers; pre-d.W. Griffith...
- 8/26/2009
- The Hollywood Reporter - Movie News
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