Category — Uncategorized
Lately, I’ve been scouting around on the Web to find good sources of independent films, and in the process I have found some great films, met some interesting filmmakers and found sites that allow us to watch independent films for free.
Here’s a small sampler of the stuff that I found and I can recommend.
First up is a film by an up and comer, Shuchi Talati. It is a beautiful film called Mae and Ash about a young couple who are in an open relationship. Watching this film I realized how much control it takes to make a film that is so silent and yet so full of emotion. Shuchi has been nice enough to share her film with me, though as of now it is not available online. A trailer of sorts can be found at: https://vimeo.com/61106015. The film is being screened at the Atlanta Film Festival and the Queens World Film Festival. I am hoping that it will be available online once these screenings are done. Watch this space for when it does. (More info at: http://www.queensworldfilmfestival.com/films/detail.asp?fid=293)
Up next is a site called artbarricade that is coming up as an interesting platform not just for discussions about art (and art-related events), but from the look of it, also independent films. As of now it has a small archive of films and videos, some generated by their own personnel. I particularly like Pallavi Paul’s Nayi Kheti. I think it is a thoughtful and well-crafted deliberation on ideas of rhythm and movement as they find common ground in poetry and cinema. Here’s a link to the site (the film is embedded on the homepage if you scroll down a little): http://artbarricade.org/
Among sites where you can find independent films to watch for free, there is: http://www.indiemoviesonline.com/ and also http://indieflix.com/ (this one is not entirely free, it has some free content and a free trial). Indieflix is also a platform for new filmmakers to submit their film to a dedicated audience of cinephiles and fellow filmmakers.
March 14, 2013 No Comments
BFI posted this early Ridley Scott film that starred his brother Tony Scott who recently passed away.
Access it here: http://thespace.org/items/e00000ml?t=cdhp
August 20, 2012 No Comments
In the midst of some reading on Fearless Nadia, I decided to look at the Internet to see and gather what all images are easily available. The result of this is a small, unofficial, almost random gallery of Fearless Nadia film stills and posters etc that I made on Facebook. Have borrowed them from various sources. And I can’t identify all the films.
So all help in clarifying details for this little archive will be welcome.
The gallery is available here
June 18, 2012 2 Comments
Read more about SOPA at: http://en.wikipedia.org/wiki/Stop_Online_Piracy_Act
January 18, 2012 No Comments
The link to SPARROW’s 2006 documentary on Homai Vyarawalla, India’s first woman photo-journalist.
January 15, 2012 No Comments
The current economic recession in the United States of America and world over has led to a literary resurgence of an odd kind as the writings of economic theorist Karl Marx started selling in record numbers. Marx has now been accorded the status of the “comeback kid” of the present financial crisis. Such spacio-temporal travels of past forms testify to the retrospective view of historical narration, one that is recounted through the gap between the moment of first encounter and the moment of recounting. Revivals, adaptations, and remakes have often been seen as cultural symptoms of this echo of history. Released among a web of inter-textual as well as inter-historical articulations, Todd Haynes’s multiple Emmy award winning mini-series Mildred Pierce (2011) strategically places itself along the nodes of a faithful adaptation of James M. Cain’s 1941 depression era novel and a reflective remake of Michael Curtiz’s inventive noir adaptation (1945) of the same. Riding on the success and cultural memory of Curtiz’s film and socio-economic resonance of Cain’s novel, Haynes builds his version of Mildred Pierce as a mega television event which uses historical memory as a means to explore and expand generic possibilities of a remake, while simultaneously foregrounding its travels through the mediums of literature, cinema and television. [Read more →]
October 11, 2011 No Comments
When I arrived at my hotel in Berlin to cover the film festival, I was surprised to discover a default image of a wood fire quietly crackling away on the flat screen TV on the wall of my room. I wondered what our caveman relatives would have made of a civilization that has come to this point: we don’t need a fire for heat anymore, but we still enjoy seeing and hearing one, even if it’s virtual. [Read more →]
March 15, 2011 No Comments
Miriam Bratu Hansen, professor of Cinema Studies and Literature at the University of Chicago passed away today. One of the leading scholars in the field, she is the author of Babel and Babylon: Spectatorship in American Silent Film (Harvard UP, 1991; 1994) and her upcoming book, The Other Frankfurt School: Kracauer, Benjamin, Adorno on Cinema, Mass Culture, and Modernity. She has written widely on the Frankfurt School as well as varied essays in journals across the world. Her writings have influence cinema studies scholars and students all over the world.
One of the first people to inform the world of Prof. Hansen’s passing is Catherine Grant whose blog has a selection of tributes while also providing a list of Hansen’s work available online. Click here to access this page. A short yet moving account by one of her students can be accessed by clicking here .
February 6, 2011 No Comments
Vol.2 No.2 Special Issue on Production Studies.
Guest Editors: Dorota Ostrowska and Graham Roberts
November 23, 2010 No Comments
by Matthew Holtmeier
In a joint invitation between the Department of Social Anthropology, the Centre for Film Studies and the Institute for Iranian Studies, acclaimed Iranian director Mohsen Makhmalbaf visited the University of St Andrews 24 June 2010.
The event involved a screening of Salam Cinema, followed by a Q&A session and a more intimate reception afterward. During these, Makhmalbaf discussed the practical aspects of filmmaking, and the role of cinema and culture in shaping political events, which is particularly important given his prominence in the Green Movement in Iran.
Salam Cinema, which Makhmalbaf made in 1994, follows the auditions of ordinary Iranian citizens who show up in response to an ad placed in the newspapers announcing open auditions for Makhmalbaf’s latest film. Makhmalbaf, played by himself, teases out the participants’ desire to be involved in cinema by asking why they want be cast in his film – the usual response being a declaration of love for cinema. [Read more →]
July 7, 2010 No Comments