Top 1. 0 documentaries Film No Merchandising. Editorial Use Only. No Book Cover Usage Mandatory Credit: Photo by Courtesy Everett Collection/REX (2.

THE MAN WITH A MOVIE CAMERA, 1. THE MAN WITH A MOVIE CAMERA, 1. MAN WITH A MOVIE CAMERA 1.

S MOVIES SILENT SPECIAL EFFECTS Film Stills Actor Personality 1. Photograph: Courtesy Everett Collection/REX. To best understand this 1. Dziga Vertov", was actually born David Abelevich Kaufman in 1. Some say the name derives from the Russian word for spinning top, but the pseudonym is more likely an onomatopeic approximation of the sound made by the twin reels of film as the director ran them backwards and forwards through his flatbed editor.

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For Vertov, film was something physical, to be manipulated by man, and yet, paradoxically, he also saw it as a medium that revealed the truths of life. Heavily influenced by futurism and constructivism, both key concerns of the Soviet avant- garde, Vertov set out with a simple plan – to record a day in the life of urban Russia. Significantly, though, there is nothing mimetic about this documentation; Vertov's plan was to make the camera and the celluloid itself as significant as the scenes portrayed. Hence the result is a heady and vertiginous piece of cinema, using optical effects, split screens and double exposures as it jump- cuts, by association, from city to city and moment to moment, the titular "man with a movie camera" more of a magician – maybe even a cyborg – than a social historian, and far from a passive bystander. Seen now, its celebration of the burgeoning machine age is still resonant but not without humour – even if its constantly self- reflexive nature borders on exhausting (the breakneck 6. Dali and Bunuel's more purely surreal Un Chien Andalou, premiered later the same year).

An old Cherokee is teaching his grandson about life. “A fight is going on inside me,” he said to the boy. “It is a terrible fight and it is between two wolves.

Indeed, you could draw a direct line from Vertov's film to the deadpan electronic beats of Kraftwerk, whose 1. Man Machine the Polish- born director would surely have relished.

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No Book Cover Usage. Mandatory Credit: Photo by Moviestore Collection/REX (1. Killer Flood: The Day The Dam Broke Full Movie Online Free. Crumb , Robert Crumb Film and Television FILM TELEVISION CRUMB ROBERT Film Stills Personality 1. Photograph: Moviestore Collection/REX. The cartoonist Robert Crumb is a man who made his name by sketching gleeful and disturbing pictures of a dysfunctional USA, who is reported to masturbate over his own drawings, and who confesses to becoming sexually aroused by the sight of Bugs Bunny in drag. Terry Zwigoff's bewitching 1.

As part of YouTube's entry into the online movie-streaming business, it has created something called OpenFlix-- a collection currently boasting 670 free, full-length. History In cinema. Robert J. Flaherty's 1922 film Nanook of the North is typically cited as the first feature-length documentary. Decades later, The Walt Disney.

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Addams family. It was Crumb's abiding good fortune to find an outlet for his demons. His other siblings were not so blessed. Crumb (the movie) paints a portrait of the artist as snickering, self- loathing geek, pushing the boundaries of taste with his exultant inky emissions and view of modern- day America as a kind of circus of the damned. Zwigoff - Crumb's former friend turned tormentor - chases him down and shoots him at length.

Having established Crumb as a successful, serious artist, the film then turns the clock back to his nightmarish upbringing in a hothouse home where he and his brothers hid from the world and drew their comics in a frenzy. Watch The Rover Megavideo on this page. Maxon Crumb would later grow up to be a sex pest, all but losing control of his motor functions as he recalls assaulting a woman in his local shop. But the film's dark centre is filled by tragic Charles, the Colonel Kurtz of American cartooning, who ventured further and further upriver while scribbling his own version of the Treasure Island tale and now lives at home with mum, strung out on anti- depressants and periodically fantasising about killing his younger brother. Zwigoff's film is black as pitch and twisted like a pretzel.

Small wonder that Crumb reacted with horror when he finally sat down to view his likeness up on screen. Xan Brooks No Merchandising. Editorial Use Only Mandatory Credit: Photo by Everett Collection / Rex Features ( 5.

GREY GARDENS - Edie Beale Edith Beale 'GREY GARDENS' FILM - 1. GREY GARDENS' FILM 1. GREY GARDENS EDIE BEALE STILL STILLS 3. Photograph: Everett Collection / Rex Features. Directed by David and Albert Maysles, Grey Gardens is surely one of the most hypnotic studies of human behaviour ever recorded.

For a time, its shattered- mirror assembly is really quite frustrating, offering slivers and fragments of its subjects, until suddenly it snaps from chaos into order, albeit of the most subjective kind. Made in 1. 97. 5, it depicts a world now long gone, but unusually for a documentary of the period, it presents a situation that was unthinkable even then: two once- wealthy socialites living in squalor, gloom and cat shit in New York's fashionable East Hampton area. Both women are named Edith Beale – Big Edie and Little Edie – and the film begins with the two women in their rundown house, a newspaper clipping screaming, "Mother And Daughter Ordered To Clean House Or Get Out," a second clipping telling us that the pair are Jackie Kennedy's aunt and cousin. This, however, is a much as we get in the way of third- party context: the Maysles's approach is to go inside the Beales' world and show us what they see there. It turns out to be an extraordinary vision of life through the looking glass. Artworks moulder, raccoons nibble at the once- grand 2. Little Edie mixes cocktails in empty mayonnaise jars.

And suddenly Big Edie will drop a bombshell, saying of her daughter, "She had a proposal of marriage from Paul Getty." Turning to Little Edie, she adds, "Remember Paul? The richest man in the world?"What Grey Gardens does quite brilliantly is to present these two wild women at face value and then reveal them as they are: thoroughbred eccentrics, by no means as crazy as they look. And though they come as double act (Big Edie shooting down her daughter with an acid tongue), Little Edie is the film's poster girl. With her strange taste in clothes, often wearing sweaters on her apparently bald head (it is never explained), Little Edie has since become an icon for gay culture and the fashion world alike: a true original. DWAround the time he released his Man With a Movie Camera in late 1. Vertov claimed that he had found "an authentically international absolute language of cinema," free from "foreign elements" from theatre and literature.

That same year, Vertov's younger brother, the Paris- based cameraman Boris Kaufman, teamed up with novice film- maker Jean Vigo to work in the same vernacular: no scenario, no intertitles, no performers, no sets. Vigo was the son of an anarchist- leftist who'd been strangled in prison when Vigo was 1. Zero de Conduite.

Vigo's loathing of militarism, uniforms, clerics and authority was bred in the bone alongside an inborn subversiveness and a deeply lyrical aesthetic. A Propos de Nice is thus both scathing and exquisite. Vigo dwells at first on Nice's gilded gargoyles, the idle rich at play in this Mediterranean pleasure dome: the bourgeoisie making their evening promenade - ostensibly on parade, but recoiling at the camera's approach - buttoned- up, aloof, ugly, angry. The other Nice edges in slowly: a filthy tramp among the rich, a child with smallpox, a cat in the garbage.

Then a bizarre parade of people in huge papier- mache masks gives way to a repeated shot of pretty working- class girls dancing and flashing their drawers at the camera below them, an image of pure unharnessed hedonism and unselfconscious joy intercut with images that scorn the sombre mausoleums of generals and monarchists and blasphemously mock the tedium of a Catholic funeral procession. The contrasts may be simple, perhaps obvious, and certainly there's venom, but it is the lyricism that lingers, and which would find its purest refinement in Vigo's third and final film, the luminous L'Atalante. John Patterson Still from Michael Moore's Fahrenheit 9/1. Photograph: Michael. Moore. com/AP. Michael Moore's takedown of the Bush administration's reaction to the terrorist attacks on New York's World Trade Centre in September 2.