“The Dark Knight,” “Shrek,” “Grease,” “The Blues Brothers,” “Lillies of the Field,” “The Hurt Locker,” “A Clockwork Orange,” “The Joy Luck Club” and “The Man With the Golden Arm” are among this year’s additions to the National Film Registry by the Library of Congress.
“This is not only a great honor for all of us who worked on ‘The Dark Knight,’ this is also a tribute to all of the amazing artists and writers who have worked on the great mythology of Batman over the decades,” said Christopher Nolan, director of “The Dark Knight.”
“Lillies of the Field” star Sidney Poitier, who became the first Black person to win the Oscar for best actor, said, “‘Lilies of the Field’ stirs up such great remembrances in our family, from the littlest Poitiers watching a young and agile ‘Papa’ to the oldest – Papa Sidney himself!”
Janet Yang, producer of “The Joy Luck Club,...
“This is not only a great honor for all of us who worked on ‘The Dark Knight,’ this is also a tribute to all of the amazing artists and writers who have worked on the great mythology of Batman over the decades,” said Christopher Nolan, director of “The Dark Knight.”
“Lillies of the Field” star Sidney Poitier, who became the first Black person to win the Oscar for best actor, said, “‘Lilies of the Field’ stirs up such great remembrances in our family, from the littlest Poitiers watching a young and agile ‘Papa’ to the oldest – Papa Sidney himself!”
Janet Yang, producer of “The Joy Luck Club,...
- 12/14/2020
- by Dave McNary
- Variety Film + TV
Girl Talk is a weekly look at women in film — past, present, and future.
From July 20 – July 26, New York City’s BAMcinématek presents “Pioneers: First Women Filmmakers,” a new program in collaboration with Kino Lorber and The Library of Congress. Produced for Kino Lorber by Bret Wood and curated by historian Shelley Stamp, the series includes a number of brand-new 2K restorations of classic (and often forgotten) films, mostly focused on female directors from America’s rich silent-era in cinema.
As the series’ official synopsis notes, “as was frequently the case, women directors remained uncredited or were co-credited as director, even though for all intents and purposes, they were the de-facto directors and primary creative forces of the film.” For every Alice Guy-Blaché, there was a Ruth Ann Baldwin or an Ida May Park or a Mabel Normand, and that’s just the start of the rich history of women behind the camera.
From July 20 – July 26, New York City’s BAMcinématek presents “Pioneers: First Women Filmmakers,” a new program in collaboration with Kino Lorber and The Library of Congress. Produced for Kino Lorber by Bret Wood and curated by historian Shelley Stamp, the series includes a number of brand-new 2K restorations of classic (and often forgotten) films, mostly focused on female directors from America’s rich silent-era in cinema.
As the series’ official synopsis notes, “as was frequently the case, women directors remained uncredited or were co-credited as director, even though for all intents and purposes, they were the de-facto directors and primary creative forces of the film.” For every Alice Guy-Blaché, there was a Ruth Ann Baldwin or an Ida May Park or a Mabel Normand, and that’s just the start of the rich history of women behind the camera.
- 7/13/2018
- by Kate Erbland
- Indiewire
Last week Kino Lorber launched a new Kickstarter aimed to fund their latest project “Pioneers: First Women Filmmakers,” a collection of important American films directed by women, including Alice Guy Blaché, Lois Weber, Nell Shipman, Dorothy Davenport, and many more, between 1910 and 1929.
The ambitious project will be presented in association with the Library of Congress and be the largest commercially-released video collection of films by female helmers. It will include HD restorations of both the most important films of the era, as well as lesser-known works, including short films, fragments and isolated chapters of incomplete serials.
“By showcasing the ambitious, inventive films from the golden age of women directors, we can get a sense of what was lost by the marginalization of women to ‘support roles’ within the film industry,” reads the Kickstarter page.
Read More: ‘The Eyeslicer,’ A New Variety Series By and For Indie Filmmakers, Launches Kickstarter Campaign...
The ambitious project will be presented in association with the Library of Congress and be the largest commercially-released video collection of films by female helmers. It will include HD restorations of both the most important films of the era, as well as lesser-known works, including short films, fragments and isolated chapters of incomplete serials.
“By showcasing the ambitious, inventive films from the golden age of women directors, we can get a sense of what was lost by the marginalization of women to ‘support roles’ within the film industry,” reads the Kickstarter page.
Read More: ‘The Eyeslicer,’ A New Variety Series By and For Indie Filmmakers, Launches Kickstarter Campaign...
- 10/25/2016
- by Liz Calvario
- Indiewire
New York’s Anthology Film Archives has announced the lineup for its ambitious Woman With a Movie Camera: Female Film Directors Before 1950,” which runs September 15 — 28. Among the spotlighted filmmakers are Gene Gauntier, Lois Weber and Alice Guy-Blaché, though many more will be featured during the two-week series as well. Full lineup below.
“The Girl Spy Before Vicksburg” (Sidney Olcott & Gene Gauntier)
“Further Adventures of the Girl Spy” (Sidney Olcott)
“The Colleen Bawn” (Sidney Olcott & Gene Gauntier)
“Broadway Love” (Ida May Park)
“The Adventures of Prince Achmed” (Lotte Reiniger)
Read More: The Rock Named World’s Highest-Paid Actor, Earning Nearly $20 Million More Than Highest-Paid Actress, Jennifer Lawrence
“The Rosary” and “Suspense” (Lois Weber & Phillips Smalley)
“Shoes” (Lois Weber)
“The Holy Night” (Elvira Notari)
“Humankind” (Elvira Giallanella)
“The Drunken Mattress” (Alice Guy-Blaché)
“The Strike” (Alice Guy-Blaché)
“The New Love and the Old” (Alice Guy-Blaché)
“The Roads That Lead Home” (Alice Guy-Blaché)
“The...
“The Girl Spy Before Vicksburg” (Sidney Olcott & Gene Gauntier)
“Further Adventures of the Girl Spy” (Sidney Olcott)
“The Colleen Bawn” (Sidney Olcott & Gene Gauntier)
“Broadway Love” (Ida May Park)
“The Adventures of Prince Achmed” (Lotte Reiniger)
Read More: The Rock Named World’s Highest-Paid Actor, Earning Nearly $20 Million More Than Highest-Paid Actress, Jennifer Lawrence
“The Rosary” and “Suspense” (Lois Weber & Phillips Smalley)
“Shoes” (Lois Weber)
“The Holy Night” (Elvira Notari)
“Humankind” (Elvira Giallanella)
“The Drunken Mattress” (Alice Guy-Blaché)
“The Strike” (Alice Guy-Blaché)
“The New Love and the Old” (Alice Guy-Blaché)
“The Roads That Lead Home” (Alice Guy-Blaché)
“The...
- 8/25/2016
- by Michael Nordine
- Indiewire
On Tuesday morning, Wamg was invited to the Academy of Motion Picture Arts and Sciences’ special press preview of John Ford’s Upstream (1927), one of 75 films recently found in the New Zealand Film Archive and repatriated to the U.S. with the cooperation of the National Film Preservation Foundation.
The 1927 silent film, that was thought lost for decades, had it’s re-premiere Wednesday night, September 1, at the Samuel Goldwyn Theater in Beverly Hills. Many of the VIP’s on hand included Silent Film Historians and those involved with the restoration, as well as the general public.
Having seen the film on Tuesday, I must say the transfer is absolutely beautiful. I was so impressed by the special care taken with the film’s clarity and how vibrant the tinting is on the multiple color frames throughout. The smoky special effects combined with the subtle transitions made me forget I was...
The 1927 silent film, that was thought lost for decades, had it’s re-premiere Wednesday night, September 1, at the Samuel Goldwyn Theater in Beverly Hills. Many of the VIP’s on hand included Silent Film Historians and those involved with the restoration, as well as the general public.
Having seen the film on Tuesday, I must say the transfer is absolutely beautiful. I was so impressed by the special care taken with the film’s clarity and how vibrant the tinting is on the multiple color frames throughout. The smoky special effects combined with the subtle transitions made me forget I was...
- 9/2/2010
- by Michelle McCue
- WeAreMovieGeeks.com
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