Filmmaker Michel Gondry Brings Classic Album Covers to Life in a Visually-Packed Commercial: Purple Rain, Beggars Banquet, Nevermind & More

in Film | January 18th, 2018

File this under “why didn’t I see this ear­li­er?”

Here’s a too short but visu­al­ly packed Michel Gondry-direct­ed com­mer­cial for the Pan­do­ra app. Here, he indulges in all the things that make Gondry so beloved: large sets, in-cam­era effects, huge props, and a visu­al wit.

For the “Sounds Like You” cam­paign, Gondry has a short-haired young woman run­ning through var­i­ous rooms and land­scapes, all of which reveal them­selves to be album cov­ers from the famous (Metallica’s Mas­ter of Pup­pets) to the more recent (Big Sean’s Moves). We even get a Bowie shout-out and it’s not what you’d expect. We’d say more, but hey it’s so short, why spoil the sur­prise. It does how­ev­er feel like Gondry has been hired to do some­thing he’s already done–somewhere before he got the call you can hear an ad exec say­ing “hey, who’s avail­able, who can do a Gondry-like thing with this cam­paign?”

Indeed, it is very rem­i­nis­cent of his real­i­ty-bend­ing video for the Chem­i­cal Broth­ers’ “Let For­ev­er Be” (includ­ing the run­ning woman):

And chore­o­graph­ing a series of tableaux is also sim­i­lar to Gondry’s “Lucas with the Lid Off” from 1994:

So, yes, in a world where a third of all music videos are bit­ing from Gondry’s career, it’s good to see the best imi­ta­tor of Gondry is the man him­self.

(But if bring­ing album cov­ers to life is your jam, have you watched “Dave” yet?)

Album cov­ers ref­er­enced in the video include:

0:08 The Doors — Mor­ri­son Hotel (1970)

0:12 Prince — Pur­ple Rain (1984)

0:17 The Rolling Stones — Beg­gars Ban­quet (1968)

0:20 Metal­li­ca — Mas­ter of Pup­pets (1986)

0:26 The Week­nd — Star­boy (2016)

0:28 Devo — Free­dom of Choice (1980)

0:31 Nir­vana — Nev­er­mind (1991)

0:38 Drake — Noth­ing Was the Same (2013)

0:39 The Cure ‎– A For­est (1980)

0:46 Joy Divi­sion — Unknown Plea­sures (1979)

0:49 David Bowie ‎– ★ (Black­star) (2016)

0:55 Big Sean — I Decid­ed. (2017)

Relat­ed Con­tent:

Michel Gondry’s Finest Music Videos for Björk, Radio­head & More: The Last of the Music Video Gods

French Film­mak­er Michel Gondry Cre­ates a Steamy New Music Video for The White Stripes

Direc­tor Michel Gondry Makes a Charm­ing Film on His iPhone, Prov­ing That We Could Be Mak­ing Movies, Not Tak­ing Self­ies

 

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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A Teaser Trailer for Fahrenheit 451: A New Film Adaptation of Ray Bradbury’s Ever-Relevant Novel

in Film, Sci Fi | January 15th, 2018

From HBO comes a teas­er trail­er for an upcom­ing adap­ta­tion of Ray Brad­bury’s Fahren­heit 451, a film that went into pro­duc­tion a year before the 2016 election–that is, before things in Amer­i­ca took a turn for the worse and the weird. That life has start­ed to imi­tate Brad­bury’s art has­n’t been lost on the film’s direc­tor, Ramin Bahrani, who told crit­ics at the Tele­vi­sion Crit­ics Asso­ci­a­tion:

Polit­i­cal­ly things are going in a very strange direc­tion in terms of what is real and what is not real… I think we’ve been going in that direc­tion for a long time, it’s just now kind of being revealed to us more clear­ly. So I think from a high lev­el, that’s a prob­lem.…

I don’t want to focus so much on [Trump] because I don’t want to excuse the 30, 40 years pri­or to that. He’s just an exag­ger­a­tion of it now…

I don’t want us to for­get what Brad­bury said, that we asked for this… We are [also] elect­ing again this thing [a smart­phone] in my pock­et . We are elect­ing to give it all away to this.

Between the tech­no­log­i­cal advance­ments in last 20 years and pol­i­tics, I think Bradbury’s biggest con­cern about the ero­sion of cul­ture is now… and the speed at which this is advanc­ing is expo­nen­tial.

Will we actu­al­ly get ahead of the dam, or will it just be a flood and up to some oth­er gen­er­a­tion to bring back all of Bradbury’s heroes?

The new film star­ring Michael B. Jor­dan, and Michael Shan­non will come out this spring. Stay tuned.

via Devour

Relat­ed Con­tent:

To Read This Exper­i­men­tal Edi­tion of Ray Bradbury’s Fahren­heit 451, You’ll Need to Add Heat to the Pages

Ray Brad­bury Reveals the True Mean­ing of Fahren­heit 451: It’s Not About Cen­sor­ship, But Peo­ple “Being Turned Into Morons by TV”

Father Writes a Great Let­ter About Cen­sor­ship When Son Brings Home Per­mis­sion Slip to Read Ray Bradbury’s Cen­sored Book, Fahren­heit 451

Who Was Afraid of Ray Brad­bury & Sci­ence Fic­tion? The FBI, It Turns Out (1959)

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The Film Posters of the Russian Avant-Garde

in Art, Film | January 11th, 2018

To com­mem­o­rate the cen­ten­ni­al of Russia’s Octo­ber Rev­o­lu­tion (it seems like only yes­ter­day, com­rade!) Taschen has yet again deliv­ered an impres­sive tome of a book, enti­tled Film Posters of the Russ­ian Avant-Garde. Col­lec­tor Susan Pack has put togeth­er this selec­tion of 250 posters by 27 artists for films both well known and lost to his­to­ry.

The book first came out in 1995, but this new edi­tion is small­er and mul­ti­lin­gual, like many of their new releas­es.

The style still impress­es and influ­ences today, with its com­bi­na­tion of pho­to-real­ist faces and the jagged ener­gy of con­struc­tivism.

Many of the artists nev­er saw the films they were adver­tis­ing, but plain­ly not a bad thing here. Artists like Alek­san­dr Rod­chenko (who was also a design­er and pho­tog­ra­ph­er) and the Sten­berg Broth­ers (sculp­tors and set design­ers) mixed pho­tos with lith­o­graphs, incor­po­rat­ed the film’s cred­its into the actu­al art, and wor­ried not about sell­ing the sto­ry beyond a basic excite­ment lev­el. This was art designed to get peo­ple in the door, regard­less of the film. And, if you think about it, it’s art that could not exist in this cur­rent era. Who would com­mis­sion a film poster blind­ly? Nobody, my friend.

Still, it was in no way ide­al for the artists. They often had less than a day to fin­ish some­thing, and the print­ing press­es were pre-rev­o­lu­tion vin­tage and in var­i­ous stages of repair. And very few, we can assume, thought their posters would be saved and col­lect­ed. Pack’s col­lec­tion often con­tains the only sur­viv­ing copies of a cer­tain work.

Stal­in stopped all this once he took pow­er and insist­ed that only social­ist real­ism be depict­ed in art. This style has its own col­lec­tors, for sure, but there’s always a tinge of kitsch to it all, because it reveals the lie that was the Stal­in era. Where­as the dynamism of these ear­ly posters still main­tain their aes­thet­ic hold, spring­ing from a time where hope, excite­ment, and rev­o­lu­tion were puls­ing through the coun­try and its pop­u­lace.

via Vice/Hyper­al­ler­gic

Relat­ed Con­tent:

40,000 Film Posters in a Won­der­ful­ly Eclec­tic Archive: Ital­ian Tarkovsky Posters, Japan­ese Orson Welles, Czech Woody Allen & Much More

“Glo­ry to the Con­querors of the Uni­verse!”: Pro­pa­gan­da Posters from the Sovi­et Space Race (1958–1963)

Strik­ing French, Russ­ian & Pol­ish Posters for the Films of Andrei Tarkovsky

Down­load 144 Beau­ti­ful Books of Russ­ian Futur­ism: Mayakovsky, Male­vich, Khleb­nikov & More (1910–30)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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David Bowie: The Last Five Years Is Now Airing/Streaming on HBO

in Film, Music | January 10th, 2018


FYI: David Bowie died two years ago today. And to com­mem­o­rate the anniver­sary, HBO has just start­ed air­ing David Bowie: The Last Five Years, a 90-minute BBC doc­u­men­tary that revis­its Bowie’s less pub­lic final years. If you don’t already have HBO, you could always watch the doc by sign­ing up for a free tri­al for HBO Now (HBO’s stream­ing ser­vice). Here’s a quick summary/overview of the film:

In the last years of his life, David Bowie end­ed near­ly a decade of silence to engage in an extra­or­di­nary burst of activ­i­ty, pro­duc­ing two ground­break­ing albums and a musi­cal. David Bowie: The Last Five Years explores this unex­pect­ed end to a remark­able career.

On the 2003–2004 “Real­i­ty” tour, David Bowie had a fright­en­ing brush with mor­tal­i­ty, suf­fer­ing a heart attack dur­ing what was to be his final full con­cert. He then dis­ap­peared from pub­lic view, only re-emerg­ing in the last five years of his life to make some of the most impor­tant music of his career. Made with remark­able access, Fran­cis Whately’s doc­u­men­tary is a rev­e­la­to­ry fol­low-up to his acclaimed 2013 doc­u­men­tary David Bowie: Five Years, which chron­i­cled Bowie’s gold­en ‘70s and early-‘80s peri­od.

While illu­mi­nat­ing icon­ic moments of his extra­or­di­nary and pro­lif­ic career, David Bowie: The Last Five Years focus­es on three major projects: the albums The Next Day and the jazz-infused Black­star (released on Bowie’s 69th birth­day, two days before his death in 2016), and the musi­cal Lazarus, which was inspired by the char­ac­ter he played in the 1976 film The Man Who Fell to Earth.

Dis­pelling the sim­plis­tic view that his career was sim­ply pred­i­cat­ed on change, the film includes reveal­ing inter­views with many of Bowie’s clos­est cre­ative col­lab­o­ra­tors, includ­ing: Tony Vis­con­ti, Bowie’s long-time pro­duc­er; musi­cians who con­tributed to The Next Day and Black­star; Jonathan Barn­brook, the graph­ic design­er of both albums; Robert Fox, pro­duc­er of Lazarus, along with cast mem­bers from the show, pro­vid­ing a unique behind-the-scenes look at Bowie’s cre­ative process; and Johan Renck, direc­tor of Bowie’s final music video, “Lazarus,” which was wide­ly dis­cussed as fore­shad­ow­ing his death.

You can watch a trail­er for the new film up above.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Pro­duc­er Tony Vis­con­ti Breaks Down the Mak­ing of David Bowie’s Clas­sic “Heroes,” Track by Track

The David Bowie Book Club Gets Launched by His Son: Read One of Bowie’s 100 Favorite Books Every Month

David Bowie’s Top 100 Books

David Bowie Urges Kids to READ in a 1987 Poster Spon­sored by the Amer­i­can Library Asso­ci­a­tion

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A Supercut of Buster Keaton’s Most Amazing Stunts

in Comedy, Film, Writing | January 8th, 2018

Joseph Frank Keaton was born into show­biz. His father was a come­di­an. His moth­er, a soubrette. He emerged into the world dur­ing a one night engage­ment in Kansas City. His father’s busi­ness part­ner, escape artist Har­ry Hou­di­ni, inad­ver­tent­ly renamed him Buster, approv­ing of the way the rub­bery lit­tle Keaton weath­ered an acci­den­tal tum­ble down a flight of stairs.

As Keaton recalls in the inter­view accom­pa­ny­ing silent movie fan Don McHoull’s edit of some of his most amaz­ing stunts, above:

My old man was an eccen­tric com­ic and as soon as I could take care of myself at all on my feet, he had slapped shoes on me and big bag­gy pants. And he’d just start doing gags with me and espe­cial­ly kickin’ me clean across the stage or tak­ing me by the back of the neck and throw­ing me. By the time I got up to around sev­en or eight years old, we were called The Rough­est Act That Was Ever in the His­to­ry of the Stage. 

By the time of his first film role in the 1917 Roscoe “Fat­ty” Arbuck­le vehi­cle, The Butch­er Boy, Keaton was a sea­soned clown, with plen­ty of expe­ri­ence string­ing phys­i­cal gags into an enter­tain­ing nar­ra­tive whole.

Like his silent peers, Harold Lloyd and Char­lie Chap­lin, Keaton was an idea man, who saw no need for a script. Armed with a firm con­cept of how the film should begin and end, he rolled cam­eras with­out much idea of how the mid­dle would turn out, fine tun­ing his phys­i­cal set pieces on the fly, scrap­ping the ones that didn’t work and embrac­ing the hap­py acci­dents.

Could such an approach work for today’s come­di­ans? In lat­er inter­views, Keaton was gen­er­ous toward oth­er com­e­dy pro­fes­sion­als who got their laughs via meth­ods he steered clear of, from Bob Hope’s wordi­ness to direc­tor Bil­ly Wilder’s deft han­dling of Some Like It Hot’s far­ci­cal cross-dress­ing. His was nev­er a one-size-fits-all phi­los­o­phy.

Per­haps it’s more help­ful to think of his approach as an anti­dote to cre­ative block and timid­i­ty. We’ve cob­bled togeth­er some of his advice, below, in the hope that it might prove use­ful to sto­ry­tellers of all stripes.

Buster Keaton’s 5 Rules of Com­ic Sto­ry­telling

Make a strong start - grab the audi­ence with a dynam­ic, easy to grasp premise, like the one in 1920’s One Week, which finds a new­ly­wed Buster strug­gling to assem­ble a house from a do-it-your­self kit.

Decide how you want things to fin­ish up - for Keaton, this usu­al­ly involved get­ting the girl, though he learned to keep a pok­er face after a pre­view audi­ence booed the broad grin he tried out in one of Arbuckle’s shorts. Once you know where your story’s going, trust that the mid­dle will take care of itself.

If it’s not work­ing, cut it — Keaton may not have had a script, but he invest­ed a lot of thought into the phys­i­cal set pieces of his films. If it didn’t work as well as he hoped in exe­cu­tion, he cut it loose. If some serendip­i­tous sna­fu turned out to be fun­nier than the intend­ed gag, he put that in instead.

Play it like it mat­ters to you. As many a begin­ning improv stu­dent finds out, if you let your own mate­r­i­al crack you up, the audi­ence is rarely inclined to laugh along. Why set­tle for low stakes and dif­fi­dence, when high stakes and com­mit­ment are so much fun­nier?

Action over words Whether deal­ing with dia­logue or expo­si­tion, Keaton strove to min­i­mize the inter­ti­tles in his silent work. Show, don’t tell.

Films excerpt­ed at top:

Three Ages
Cops
Day Dreams
Sher­lock Jr.
One Week
Hard Luck
Neigh­bors
The Gen­er­al
Steam­boat Bill, Jr.
Sev­en Chances
Our Hos­pi­tal­i­ty
The Bell

Relat­ed Con­tent:

Buster Keaton: The Won­der­ful Gags of the Found­ing Father of Visu­al Com­e­dy

Some of Buster Keaton’s Great, Death-Defy­ing Stunts Cap­tured in Ani­mat­ed Gifs

The Pow­er of Silent Movies, with The Artist Direc­tor Michel Haz­anavi­cius

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

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The Movements of a Symphony Conductor Get Artistically Visualized in an Avant-Garde Motion Capture Animation

in Animation, Computer Science, Film, Music, Technology | January 5th, 2018

Some clas­si­cal music enthu­si­asts are purists with regard to visu­al effects, lis­ten­ing with eyes firm­ly fixed on lin­er notes or the ceil­ings of grand con­cert halls.

Those open to a more avant-garde ocu­lar expe­ri­ence may enjoy the short motion cap­ture ani­ma­tion above.

Moti­vat­ed by the Lon­don Sym­pho­ny Orches­tra’s desire for a hip­per iden­ti­ty, the project hinged on recent­ly appoint­ed Musi­cal Direc­tor Sir Simon Rat­tle’s will­ing­ness to con­duct Edward Elgar’s Enig­ma Vari­a­tions with a spe­cial­ly mod­i­fied baton, while 12 top-of-the-range Vicon Van­tage cam­eras not­ed his every move at 120 frames per sec­ond.

Dig­i­tal design­er Tobias Gremm­ler, who’s pre­vi­ous­ly used motion-cap­ture ani­ma­tion as a lens through which to con­sid­er kung fu and Chi­nese Opera, stuck with musi­cal metaphors in ani­mat­ing Sir Simon’s data with Cin­e­ma 4D soft­ware. The move­ments of con­duc­tor and baton morph into a “vor­tex of wood, brass, smoke and strings” and “wires rem­i­nis­cent of the strings of the instru­ments them­selves.” Else­where, he draws on the atmos­phere and archi­tec­ture of clas­sic con­cert halls.

(The unini­ti­at­ed may find them­selves flash­ing on less rar­i­fied sources of inspi­ra­tion, from lava lamps and fire danc­ing to the 80’s‑era dig­i­tal uni­verse of Tron.)

via Atlas Obscu­ra

Relat­ed Con­tent:

The Grace­ful Move­ments of Kung Fu & Mod­ern Dance Revealed in Stun­ning Motion Visu­al­iza­tions

Visu­al­iz­ing WiFi Sig­nals with Light

The Entire Dis­ci­pline of Phi­los­o­phy Visu­al­ized with Map­ping Soft­ware: See All of the Com­plex Net­works

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

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An Innocent Christmas Typo Causes Sir Patrick Stewart to Star as Satan In This Animated Holiday Short

in Animation, Comedy, Film, Theatre | December 25th, 2017

In cer­tain sec­tors, over-the-top ad agency greet­ings are as much a part of the hol­i­day sea­son as A Christ­mas Car­ol and How the Grinch Stole Christ­mas!.

Anom­aly Lon­don put in their thumb and pulled out a plum when Sir Patrick Stew­art agreed to voice their lat­est effort, above.

And what bet­ter way to top his cel­e­brat­ed turn as Ebe­neez­er Scrooge than by tack­ling the most Christmas‑y role of them all?

San­ta, is that you?

No, dear child, ’tis Satan, sum­moned by an inno­cent mis-spelling on the part of a young girl eager for a Christ­mas pup­py.

When the post office deliv­ers her sim­i­lar­ly mis­ad­dressed enve­lope to hell by Decem­ber 25, the buff and tat­tooed Lord of Dark­ness’ heart grows three sizes. Every­one likes to be told they’re spe­cial.

Next thing you know, he’s trad­ed the fiery fur­nace for a gluten-free bak­ery in Shored­itch, where he’s a hap­py team play­er, mak­ing lat­te art and wear­ing a goofy cap.

The end­ing is a sweet mix of “I hate you, you ruined Christ­mas, go to hell!” and “God bless us every­one.” San­ta doesn’t sur­vive, but the child­like capac­i­ty for won­der does.

Those with sen­si­tive stom­achs may want to go easy on the eggnog while watch­ing this soon-to-be-hol­i­day clas­sic. The pro­jec­tile vom­it­ing rivals the Exor­cist’s.

And hap­py hol­i­days from all of us at Open Cul­ture!

Relat­ed Con­tent:

Hear The Cin­na­mon Bear, the Clas­sic Hol­i­day Radio Series That Has Aired Between Thanks­giv­ing and Christ­mas for 80 Years

Hear Paul McCartney’s Exper­i­men­tal Christ­mas Mix­tape: A Rare & For­got­ten Record­ing from 1965

Sir Patrick Stew­art & Sir Ian McK­ellen Play The New­ly­wed Game

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

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Watch Santa Claus, the Earliest Movie About Santa in Existence (1898)

in Film, History | December 25th, 2017

San­ta Claus Is Comin’ to Town, The San­ta Clause, San­ta Claus: the Movie, Bad San­ta, the unfor­get­table San­ta Claus Con­quers the Mar­tians: we all have a pre­ferred depic­tion of Saint Nicholas on film, the selec­tion of which grows larg­er each and every Christ­mas. The tra­di­tion of San­ta in cin­e­ma goes back 120 years to a cou­ple of obscure 1897 shorts, San­ta Claus Fill­ing Stock­ings and The Christ­mas Tree Par­ty, made by a com­pa­ny called Amer­i­can Muto­scope, but it finds its fullest ear­ly expres­sion in the fol­low­ing year’s San­ta Claus.

Direct­ed by hyp­no­tist and mag­ic lanternist turned film­mak­er George Albert Smith, this 66-sec­ond pro­duc­tion, though a high­ly elab­o­rate one for the time, pur­ports to show just how San­ta Claus makes a vis­it to drop off gifts for a cou­ple of sleep­ing chil­dren. When their nan­ny turns off the lights for the night, we see super­im­posed on their dark­ened wall a vision of the jol­ly old elf him­self land­ing on the roof and clam­ber­ing down the chim­ney.

“What makes this treat­ment con­sid­er­ably more inter­est­ing than a con­ven­tion­al piece of edit­ing,” writes the British Film Insti­tute’s Michael Brooke, “is the way that Smith links the shots in terms of both space and time, by plac­ing the new image over the space pre­vi­ous­ly occu­pied by the fire­place, and con­tin­u­ing to show the chil­dren sleep­ing through­out.”

Brooke calls that effect “cin­e­ma’s ear­li­est known exam­ple of par­al­lel action and, when cou­pled with dou­ble-expo­sure tech­niques” that Smith had devel­oped for his pre­vi­ous films, it makes San­ta Claus “one of the most visu­al­ly and con­cep­tu­al­ly sophis­ti­cat­ed British films made up to then.” He notes also that Smith cor­re­spond­ed with Georges Méliès, his fel­low pio­neer of not just spe­cial effects but cin­e­ma itself, around the time of this film, no sur­prise since “the two men shared a com­mon goal in terms of cre­at­ing an authen­tic cin­e­ma of illu­sion.”

Watch San­ta Claus on this Christ­mas Day, and you’ll find that, in the words of Kieron Casey at The Total­i­ty, “the plot is sim­ple, but the mag­ic is not — viewed over 100 years lat­er, it’s impos­si­ble not to be touched to the very core with the won­der on dis­play in the film. In the same way young hands will find the most sim­ple of toys mes­meris­ing when touched for the first time, there is a real inno­cence and enthu­si­asm in G.A. Smith’s film – it’s a short movie which is full of imag­i­na­tion and dis­cov­ery, the type of which will nev­er again be expe­ri­enced in cin­e­ma.” But see­ing as San­ta Claus exist­ed long before cin­e­ma and will exist long after it, rest assured that he’ll bring his trade­mark twin­kle to any sto­ry­telling medi­um human­i­ty comes up with next.

San­ta Claus will be added to our list of Clas­sic Silent Films, a sub­set of our col­lec­tion 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

A Christ­mas Car­ol Pre­sent­ed in a Thomas Edi­son Film (1910)

Cap­ti­vat­ing GIFs Reveal the Mag­i­cal Spe­cial Effects in Clas­sic Silent Films

A Trip to the Moon (and Five Oth­er Free Films) by Georges Méliès, the Father of Spe­cial Effects

Watch the Films of the Lumière Broth­ers & the Birth of Cin­e­ma (1895)

1,150 Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, etc.

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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