Still suggestion for Doug Walker: http://mubi.com/cast_members/198360
still for :I’m a Cyborg, But That’s OK
“Andrea Fraser (born 1965, Billings, Montana) is a New York-based performance artist, mainly known for her work in the area of institutional critique. She is currently a member of the Art Department faculty at the University of California, Los Angeles.
Fraser’s brand of performance during the 1990s popularized the institutional critique art movement, a loosely-formed artistic practice meant to critique the very institutions that are involved in the sale, display, and commerce of art. Fraser’s work typically comments on the politics, commerce, histories, and even the self-assuredness of the modern-day art museum, including the hierarchies and the exclusion mechanisms of art as an enterprise. Her performances, despite having serious undertones, are often presented in a humorous, ridiculous, or satirical manner.
Arguably Fraser’s most famous performance, Museum Highlights (1989) involved Fraser posing as a Museum tour guide at the Philadelphia Museum of Art in 1989 under the pseudonym of Jane Castleton. During the performance, Fraser led a tour through the museum describing it in verbose and overly dramatic terms to her chagrined tour group. For example, in describing a common water fountain Fraser proclaims “a work of astonishing economy and monumentality … it boldly contrasts with the severe and highly stylized productions of this form!” Upon entering the museum cafeteria: “This room represents the heyday of colonial art in Philadelphia on the eve of the Revolution, and must be regarded as one of the very finest of all American rooms.”
In Kunst muss hängen (Art Must Hang) (Galerie Christian Nagel / Cologne, 2001) – featured in Make Your Own Life: Artists In & Out of Cologne – Fraser reenacted an impromptu 1995 speech by a drunk Martin Kippenberger, word-by-word, gesture-for-gesture.
For Official Welcome (2001) – commissioned by the MICA Foundation for a private reception – Fraser mimicked “the banal comments and effusive words of praise uttered by presenters and recipients during art-awards ceremonies. Midstream, assuming the persona of a troubled, postfeminist art star, Fraser strips down, […] to a Gucci thong, bra and high-heel shoes, and says, I’m not a person today. I’m an object in an art work.”
In her videotape performance Untitled (2003), Fraser recorded a hotel-room sexual encounter with a private collector, who had paid close to $20,000 to participate, “not for sex, according to the artist, but to make an artwork.” Actually, according to Andrea Fraser, the amount that the collector had paid her has not been disclosed, and the “$20,000” figure is way off the mark. Only 5 copies of the 60-minute dvd were produced, 3 of which are in private collections, 1 being that of the collector with whom she had had the sexual encounter; he had pre-purchased the performance piece in which he was a vital participant.
Her videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she “… writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space” which she takes literally in an “erotic encounter”.
Fraser’s work has been shown in public galleries including the Philadelphia Museum of Art (1989); the Kunstverein München, (Germany, 1993, 1994); the Venice Biennale (Italy, 1993); the Sprengel Museum (Hannover, Germany, 1998); the Kunstverein Hamburg (Germany, 2003); the Whitechapel Art Gallery (London, England, 2003); the Los Angeles Museum of Contemporary Art (2005); the Frans Hals Museum (Haarlem, The Netherlands, 2007); and the Centre Pompidou (Paris, 2009).
Her work is held in public collections including the Tate (London),6 the Saatchi Gallery, London, and the Centre Pompidou, Paris.
She presented a lecture as part of the “Art and the Right to Believe” lecture series through the Visiting Artists Program at the School of the Art Institute of Chicago in February, 2009."
“Makoto Tezuka (手塚 眞 Tezuka Makoto?, born 11 August 1961), also known as Macoto Tezka, is a Japanese film and anime director, born in Tokyo. He partially owns Tezuka Productions and helped in releasing the posthumous works of his father, the famous Osamu Tezuka. He also runs his own company, Neontetra. He is married to manga artist Reiko Okano.”
Still for THE BLONDE FURY (http://mubi.com/films/the-blonde-fury)
New still for Bring Me the Head of Alfredo Garcia
Higher quality still for Farewell, Friend:
Plot synopsis for Robinson Crusoe
On 30 September 1659, the aristocratic British Robinson Crusoe’s ship sinks and he miraculously survives on a deserted island somewhere in South America. He retrieves a dog, Rex, and cat, Sam, from the shipwreck together with some supplies, weapons, clothes and tools and builds a shelter. He soon learns how to survive by cooking, farming, harvesting the crops. Then the loneliness begins to haunt him, especially after the loss of Rex. When he sees a group of cannibals in the island, tension and fear become part of his life. Later he saves the life of a savage that was going to be eaten by the cannibals; he names him Friday and they become friends. When Robinson Crusoe sees Caucasians on the island, he finds that Captain Oberzo was the victim of a mutiny and he helps him to retrieve his ship. – IMDb
Voyage to a Prehistoric Planet
Hillbillys in a Haunted House
The Devil’s Messenger
new profile picture for Paul Thomas Anderson
“Pop is always right, too. If it hadn’t been for his advice I wouldn’t even be in pictures. He gave me the same advice Horace Greeley gave the newspaper reporter. Paraphrasing it, my father said ‘go west to Hollywood!’”
This promising 1950s Universal-International contract player had so much going for her — beauty, brains and talent — to go the distance, but she came up far short after deciding to retire for domestic life. Not remembered all that well today, pretty and wholesome blonde Peggy Dow was born Margaret Josephine Varnadow on March 18, 1928, in Columbia, Mississippi. Her father, a businessman, moved about quite a bit but the family subsequently settled in Louisiana, where she attended college (both Louisiana State and Northwestern State University), majoring in drama and appearing in several college plays.
After brief modeling and radio experience, she was spotted by a talent agent and cast in a TV show in February 1949. Shortly after that exposure, Universal offered her a seven-year contract. Bypassing the starlet bit-part route, she made an auspicious film debut co-starring with Scott Brady in the thriller Undertow (1949), in which she played a vacationing schoolteacher who accidentally gets involved in a murder. Her second film (which she actually made first but was released later), Woman in Hiding (1950), was also a crime thriller, co-starring Ida Lupino and Stephen McNally. Showing clearly that she was up to the task of playing love interests with depth and range, Peggy’s star began to ascend with these two modest efforts. She hit her peak when she co-starred as the lovely nurse in the classic James Stewart farce Harvey (1950) and appeared opposite Arthur Kennedy in the touching war drama Bright Victory (1951), the story of a soldier who is blinded and must learn to readjust to civilian life. These two different roles showed Hollywood that Peggy could handle comedy and drama with equal finesse.
Following a couple of more “B” pictures, Peggy suddenly retired after only three years in the business to marry Walter Helmerich in 1951. A non-professional whose career was in oil drilling, Helmerich and Peggy relocated to Tulsa, Oklahoma. Despite such a promising Hollywood forecast, she never looked back and raised five sons in the process.—IMDb
“Every time I get in front of a camera, I think of it as an attractive man I am meeting for the first time. I find him demanding and aloof—so I must do all in my power to interest him.”
Capucine (6 January 1928 – 17 March 1990) was a French actress and fashion model best known for her comedic roles in The Pink Panther (1963) and What’s New Pussycat? (1965). She appeared in 36 films and 17 television productions between 1948 and 1990. Her death was a result of suicide.
Capucine was born Germaine Hélène Irène Lefebvre in Saint-Raphaël, Var, France on 6 January 1928. (She often confused the issue by saying she was born in 1931 or 1933, and most sources report these years, but there is documentary evidence for a 1928 year of birth.) She attended school in France and received a B.A. in foreign languages. At 17, while riding in a carriage in Paris, she was noticed by a commercial photographer. She became a fashion model, working for fashion houses Givenchy and Christian Dior. She adopted the name, “Capucine” (French for nasturtium). Capucine met Audrey Hepburn modeling in Paris. The two would remain friends for the rest of Capucine’s life.
In 1949, Capucine made her film debut in the French film Rendez-vous de Juillet. On the set of Rendez-vous, she met Pierre Trabaud; they married the next year. The marriage lasted only six months, and Capucine never married again.
In 1957, film producer Charles K. Feldman spotted Capucine while she was modeling in New York City. Feldman brought her to Hollywood to learn English and study acting under Gregory Ratoff. She was signed to a contract with Columbia Pictures in 1958 and landed her first English-speaking role in the film Song Without End (1960) for which she was nominated for a Golden Globe Award.
For the next few years, Capucine made six more major motion pictures. They included North to Alaska (1960), a comedy, as a prostitute who becomes the love interest of John Wayne, and Walk on the Wild Side (1962), in which she portrayed a redeemed hooker, before moving to Switzerland in 1962.
Much of 1963’s hit film The Pink Panther was shot in Europe. A crime comedy that led to a number of sequels, the film starred David Niven and Peter Sellers along with Capucine. She continued making films in Europe until her death.
Capucine was briefly married to French film actor Pierre Trabaud. She later met actor William Holden in the early 1960s. They starred in the films The Lion (1962) and The 7th Dawn (1964). Holden was married to Brenda Marshall, but the two began a two-year affair. After it ended, she and Holden remained friends until Holden’s death in 1981.
On 17 March 1990, Capucine jumped from her eighth-floor apartment in Lausanne, Switzerland, where she had lived for 28 years, having reportedly suffered from illness and depression for some time.—Wikipedia
Alberto Moravia appeared in Pasolini’s Love Meetings.
The protagonist of L’AMORE RITROVATO is Stefano Accorsi and not Stefano Accordi
Robert Beavers should be listed as a director.
“A bodily sense of the filming is sustained through the editing; literally the same hand which has operated the camera reaches to complete the image. Even the simplest unwinding and rewinding of the unedited film rolls is part of this process that may release an insight—finding the direction in which all of the parts will fit carefully together.”
Robert Beavers (born 1949) is an American experimental filmmaker. Born and raised in Massachusetts, he attended Deerfield Academy which he left before graduating to move to New York in 1965 to pursue filmmaking. He lived in New York until 1967 when he and his partner, Gregory Markopoulos, left the United States for Europe, where they continued to live and make films until Markopoulos’ death in 1992.
Both filmmakers restricted the screenings of their films after leaving America, and instead held yearly screenings of Markopoulos’ and Beavers’ work from 1980-1986 at the Temenos, a site near Lyssaraia in Arcadia, Greece. After Markopoulos’ death, Beavers founded Temenos, Inc., a non-profit devoted to the preservation of Markopoulos’ and Beavers’ work. Beavers has worked extensively on re-editing his films to create the larger film cycle “My Hand Outstretched to the Winged Distance and Sightless Measure.”—Wikipedia
photo for MC5
MC5 was an American rock band from Lincoln Park, Michigan, formed in 1964. The original band line-up consisted of vocalist Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis, and drummer Dennis Thompson. “Crystallizing the counterculture movement at its most volatile and threatening”, according to Allmusic critic Stephen Thomas Erlewine, the MC5’s far left political ties and anti-establishment lyrics and music positioned them as emerging innovators of the punk movement in the United States. Their loud, energetic style of back-to-basics rock ‘n’ roll included elements of garage rock, hard rock, blues rock, and psychedelic rock.
The MC5 had a promising beginning which earned them a cover appearance on Rolling Stone magazine in 1969 even before their debut album was released. They developed a reputation for energetic and polemical live performances, one of which was recorded as their 1969 debut album Kick Out the Jams. Their initial run was ultimately short-lived, though within just a few years of their dissolution in 1972, the MC5 were often cited as one of the most important American hard rock groups of their era. Their three albums are regarded by many as classics, and their song “Kick Out the Jams” is widely covered.
Tyner died of a heart attack in late 1991 at the age of 46. Smith also died of a heart attack in 1994 at the age of 45. The remaining three members of the band reformed in 2003 with The Dictators’ singer Handsome Dick Manitoba as its new vocalist, and this reformed line-up occasionally performed live over the next nine years until Davis died of liver failure in February 2012 at the age of 68. —wikipedia
“The essence of photography is the image and the observation”
Walter Carvalho was born in Paraíba, Brazil, in 1948. He arrived in Rio de Janeiro in 1968 and studied graphic design. Walter Carvalho has, since the eighties, become the most important cinematographer in Brazilian cinema. His involvement with cinema started when he accompanied his brother Vladimir in the shooting of works like O País de São Saruê (1971). After that, he was the assistant director of cinematography to Dib Lufti, José Medeiros and Fernando Duarte, and made his debut as a photographer in 1973 with Boi de Prata (1973), by Augusto Ribeiro Jr. Since then, Walter has won several prizes, in festivals like Cartagena, Huelva and Brasilia, for his cinematography. The recognition of his works came with Central do Brasil (1998), by Walter Salles, followed by Madame Satã (2002), by Karim Aïnouz, in which he makes unforgettable images that unite bodies and emotions with movements of brightness. —fipresci
Arild Kristo is a unique and myth surrounded Norwegian photographer and film director. Kristo has always been an independent spirit who has lived by the motto “not like the others”. His production includes 180 photographs, two short films and one feature film.
Arild Kristo is a unique photographer and film director, surrounded by myths. Kristo has always been an independent spirit who has lived by the motto “not like the others”. For a period he was titled the “most rejected film director”, and neither his short nor long projects received financial support. His total production consists of 180 photographs, two short films (Kristoball -1967 – and Undergrunnen – 1966) and one feature film (Eddie & Suzanne – 1974). His short films have, as time has passed, achieved cult status.
In 1995, Kristoball was selected as one of the world’s 100 most important short films by the International Short Film Festival in Clermont-Ferrand.
Kristo’s photographs are purchased by a.o. the Museum of Modern Art in New York, and Richard Pollard, chief editor of Life magazine, said Kristo was “the most talented photographers I have met over the last ten years.”
In this film, Kristo talks about his choices, artistic doubts, and about the exceptionally high demands he sets for himself. —NFI
“Dialogue is something dangerous because it is almost the opposite of
cinema. One can fall into a trap. One tends to resolve everything through
dialogue but cinema works with another peculiarity. It resolves itself with
the image” – Elena Soarz
Bodil Ipsen (1889–1964) was a Danish actress and film director, and is considered one of the great stars of Danish cinematic history. Her acting career, which began in theater and silent films, was marked by leading roles in large folk comedies and melodramas. However, it was as a director that she was most influential: directing the first Danish film noir and making several dark psychological thrillers during the 1940s and 1950s. Ipsen’s name along with that of Bodil Kjer is given to Denmark’s most celebrated film prize, the Bodil Award.
Bodil Louise Jensen Ipsen was born on 30 August 1889 in Copenhagen, Denmark. In 1908, after obtaining her high school diploma, Ipsen began studying at Det Kongelige Teater (Royal Danish Theatre) and made her stage debut there one year later. Her work on stage quickly received attention. Especially noted were her performances with Danish actor Poul Reumert. Throughout her career, Ipsen performed at the Royal Danish Theatre as well as the Dagmar Theater, The Folketeatret, and The Betty Nansen Theater. She also performed on stage in Sweden and Norway. Ipsen played almost 200 roles in the theater, the majority as lead actress, as well as 150 radio theater roles and four television parts.
In 1920, Ipsen made her film debut as a leading actress in Lavinen, directed by her third husband, Emanuel Gregers. She made films with Gregers in 1922 and 1923. Off and on, she acted in 12 films during her career. Her most noteworthy early performances were in big blustering comedies, such as the shrewish spinster Bollette in Bollettes Brudefærd or the Countess Danner in Gregers’ Sørensen og Rasmussen.
Ipsen became a director in 1942 and directed 10 films in 10 years. Although Ipsen’s acting talent was showcased in big romantic comedies, her seat in the director’s chair marked the development of classic Danish dark dramas and mysteries. Her debut film, which she co-directed with Lau Lauritzen Jr. was the 1942 dark psychological thriller Afsporet (Derailed), the first true Danish film noir. Two years later, Ipsen directed another two even more extreme noirs, Mordets Melodi (Melody of Murder), about a singer accused of serial murders, and Besættelse (Possession), a taut thriller about a man’s erotic obsession with a young woman.
After Afsporet Ipsen collaborated with Lau Lauritzen Jr. on four more films. Their second film, De røde enge (The Red Meadows), about the Nazi occupation of Denmark during World War II, received the 1946 Grand Prize at the Cannes Film Festival. In 1950, Ipsen and Lauritzen again won acclaim for their film Café Paradis (Paradise Cafe). The harsh story about alcoholism is considered a masterpiece of Danish cinema, and for which Ipsen won her namesake award, the Bodil, named after her and fellow actress, Bodil Kjer. Two years later, Ipsen and Lauritzen again won the Bodil Award for Best Danish Film for Det Sande Ansigt (The True Face).
In 1960, at age 71, Ipsen was awarded the Bodil again, this time as Leading Actress of the Year for the film Tro, håb og trolddom. Ipsen retired afterwards. She died on 26 November 1964 in Copenhagen. The movie Bodil Ipsen og Filmen (Bodil Ipsen and the Film), released in 2006, is a portrait of her life and career.
Ipsen’s steady career on stage was offset by a volatile personal life. She was married four times. Ipsen was married the first time in 1910 with the actor Jacob Texière, but the marriage was dissolved within the same year. Then, in 1914, she married civil engineer H.H.O. Moltke, and they divorced after three years. Her marriage in 1919 with film director Emanuel Gregers lasted four years. Ipsen was married for a fourth time in 1932 to the journalist Ejnar Black. They remained together for 17 years until Black’s death in 1949. After Black’s death, Ipsen isolated herself outside of work, preferring the company of her assistant and housekeeper, Stella Jensen.—Wikipedia
Better quality (and better looking) still for Monte Hellman’s Ride in the Whirlwind
“I want to die seeing a lot of people laughing around me”
Amácio Mazzaropi (1912 – 1981) one of the most loved Brazilians artist of all time. He was an actor, director, and producer, worked in at least 32 movies between the 1950 and 1981 when died. Despite that his movies has never been accepted by the critics, his movies always were successfully accepted by the public. His movies still today are very popular among those who love the Brazilian cinema. His importance can be showed and seen even today 30 years after his death in Taubate (São Paulo) where he opened his own studio, a museum in his tribute nowadays. Some in Brazil labeled him as one of the “Fathers” of Brazilian cinema. —IMDb
The subtitle on Close Encounters of the Third Kind’s page is redundant.
New picture for Spellbound 1945:
Pic for Radha Mitchell:
Quote: “I went through a phase of not wanting to watch any movies at all, and lately I’ve got back into watching films, I think because I meet people that make them all the time, and I feel like if I’ve seen their movie I know more about them, and it’s a better discussion to have. And in doing that I rekindled my love of movies.”