A momentous thing is happening, a collected writings of Gregory Markopoulos is being published. The table of contents alone is enough to make a strong-hearted cinephile weak in the knees.
Chelsea Girls (Andy Warhol, 1966)
KINDLESS VILLAIN | Janie Geiser 
Faust | 1926 | F.W. Murnau | Germany
You just could gif every frame of this movie.
Wild at Heart - David Lynch - 1990
Nicolas Cage, Laura Dern
Since the dawn of cinema, women have been making meaningful contributions to the film industry behind the camera. Here are just a few of those distinguished ladies who made movies.
- Alice Guy Blaché – actress, writer, cinematographer, producer, director
- Lois Weber – actress, writer, producer, director
- Cleo Madison – actress, writer, producer, director
- Anita Loos – actress, writer, producer
- Mary Pickford – actress, writer, producer, director
- Mabel Normand – actress, writer, producer, director
- Dorothy Arzner – writer, editor, director
- Mae West – actress, writer
Eight stills from Nathaniel Dorsky’s new films, most of which are premiering on Thursday, April 3rd, at the Yerba Buena Center for the Arts. In order of appearance: Song (2013), Spring (2013), Summer (2013), and December (2014).
Preface to the Third Edition:
Since the publication of the second edition of Devotional Cinema in 2005, I had the opportunity to teach a semester-long seminar at Princeton University entitled “The Character of Space / Space as Character.” In examining closely Carl Theodor Dreyer’s The Passion…
Athanasius Kircher. Physiologia Kircheriana Experimentalis. 1600s.
Jeanne Eagels in 1929 film version of The Letter.
Walter Ruttmann. Lichtspiel Opus I. 1921.
Lichtspiel Opus I premiered in Germany in 1921, the first abstract film to be publicly screened. In the film, Ruttmann mastered the technical means to realise his abstract imagery in film. William Moritz provides an interesting description of these technical methods: ‘[Ruttmann’s] first animations for Opus No. I were painted with oil on glass plates beneath an animation camera, shooting a frame after each brush stroke or each alteration because the wet paint could be wiped away or modified quite easily. He later combined this with geometric cut-outs on a separate layer of glass’.” -J. Valcke