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Comment on the last film you watched Anonymous 09/04/2020 (Fri) 05:38:31 No.682 [Reply] [Last]
What was the last thing you watched, and what did you think of it?
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A very Hollywoodesque/Chilango turn of events, at the start it was supposed to be like that until you get into the real thing but sadly it degrades again into the foreign wet dream to please someone, not the public that's for sure because Cox is a well known maverick. Originally this was going to be an american movie but Alex got blacklisted for being a socialist but also the kind of the ones who whine about the top 1% and also name names, hence why the patrolman attire, weaponry and range of activities in the movie is actually american-fashioned, to avoid vexing the local government the production even invented the patrolman company image and academy but also some ironic billboards which come as anti-tax. The project in its 3 phases never loses sign of the decadence and vices of the police corporation and their ill-interactions with the environment so it should be commended for degeneracy consistency. It's a decent but quite off film about just that, a Highway Patrolman, at least the clean cinematography perfectly portrays the harsh light and strong reflections in the arid region which isn't seen much in the medium (exposure value has to be tuned down a step or 2 due to direct light all over the place, which gives place to well-lit environments but shiny reflections and overly strong shadows) also the protagonist did a great job; i do have a dislike on the subtitles when i was peeking at them, all trace of ethnic slurs towards the cops and mentions of drug cartels (mentioned as contrabandists instead) were cleaned giving a much more tame atmosphere for a non-speako-spanish viewer, along with most drug runners being portrayed as american (which is as ridiculous as the rich ranch girl marrying a southern civil servant) still Alex Cox and the peruvian scriptwriter gave a lot of texture with local jokes like the antagonist's truck having Sinaloa plates (along with the directors' audio commentaries about how cops hated the thing and ticketed/asked the staff for bribes in the middle of filming also much of the casting being commies due Cox watching mexican commie movies) but these details quickly fade with the very poor work on accents by most of the main cast that were/should've been assigned one (Armendariz and Zaide are the only ones who pull it out). Can't blame an englishman and a peruvian for this as the casting crew were an insidious capital city philosophy student and another peruvian... you know what i think i can. 3 oil sweaty tacos with cold lettuce and homemade sauce out of 5 because the camera work, the setting and the main protagonist with 2 small supporting roles are quite up to goodness, but the lack of the other 2 tacos, namely the bizarre script phases and character consistency, bogged this down by quite a lot but perhaps not so much for a non-local. I'm on the edge that i don't think those 3 aspects are worth revisiting this movie although i'm very curious about the movie being produced solely by the japanese... now that's a better story, if anything the audio commentary from Cox is very appealing: The mystical scene in the movie where strong winds happened in a highway and the dust clouds made the trees and the sun behind some characters seem psychedelic while they were performing one of the surreal exchanges was mentioned by the director as a "complete accident" as it happened out of nowhere and without any planning at all, making it one of the favorite scenes in some of the cast members' careers, certainly a high-point in the movie already technically well-made by the cameramen. Sidenote: While the comments need to be focused on the movie with some general info of the director, a common trend that needs to be pointed out in Mexico's cinema is the mostly communist/socialist-friendly cast members (activists) and a rampant amount of them from the capital city after the 60's; i have my theories for the former (highly divided investment groups/producing houses) but nothing concrete, yet these leak into many portrayals and script changes with a couple of times coming in deep contrast with the subject and/or local culture at hand. I use this to gauge the fling-o-meter at the end, although many can be just pointed to bad/insufficient acting; I am too critical about it so i also apologize for it.
Don't get scared, the thread is only about a small passing comment, i just wind up and make a mess sometimes. Don't know why i stopped making these, i had fun but i keep watching too many trashy movies. Let's see if i resume one of these days and make something out of seeing only action stuff, already made some webms so it shouldn't be hard piercing some texts together.
>>715 Thanks for the review of The Highway Patrolman, I like these kinds of genre films. Definitely will going to watch it
>>715 When I was younger I absolutely loved Once Upon a TIme in Mexico by Rodriguez, that is, until I saw the original El Mariachi, which in my opinion is much better when you consider every aspect of the film and the making. Now that you have seen Highway P. and are familiar with Mexican action, what did you think of Mariachi? If you've already seen it of course
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We the Living was an unauthorized adaptation of Ayn Rand's first novel, produced in fascist Italy. Although Rand's book was ostensibly anti-Soviet, scenes in the film attacking collectivism crossed the line with the fascist authorities. They banned the film soon after its release and sought to destroy all copies. The film was lost for decades until Rand's representatives located a surviving negative. Scenes were edited to remove lines that contradicted Rand's free-market viewpoint and the film was re-released with the author's (post-humus) approval in 1986. Despite the tumultuous history of We the Living, with many different forces making an impact, the film we have today is actually quite good. Alida Valli is the determined female anti-communist aspiring to build gleaming steel bridges, instantly recognizable as a character based on Rand herself. Alida falls in love with Fosco Giachetti, a young man from the aristocracy who has struggled to survive under the new Bolshevik system that scorns his kind. The third and strongest character is played by Rossano Brazzi, a Soviet secret police officer whose moral compass gradually leads him to question his political philosophy and his occupation. The climax of the film is central to the film's political troubles. One character gives an impassioned denunciation of collectivism, stressing that collectivism goes against man's natural urge to look out for himself. While I'm sympathetic to this viewpoint, I only oppose forced collectivism. Voluntary collectivism (e.g. family, community, religious & civic groups) is wonderful and essential to survival. Rand's apparent preference to go-it-alone seems an unnecessary overreaction.

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Open Thread 08/31/2020 (Mon) 21:01:08 No.34 [Reply] [Last]
[JW01 ~ 08/24/2019] There aren't many people here, but this bunker needs more content. Post something interesting that doesn't fit into other threads.
Edited last time by Lensman on 09/02/2020 (Wed) 21:33:59.
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>>248 Impressive autism tbh smh.
>>691 Which one, there are so many today?
There were two movies that I saw maybe around 2004 to 2005. I don't remember the titles, perhaps someone also has seen them? One was a black and white samurai film that maybe was from the '50s or '60s. I just remember that there was a samurai running around a small village and getting shot to death, it had a real sad feeling to it. Maybe it's just a Kurosawa film? The second was a snowboarding video that was possibly made for no money by a bunch of friends. I remember that it was a mockumentary and the title may have been a play on of This is Spinal Tap. Thank you.
>>694 Yojimbo is a Kurosawa film where a samurai runs around a small village, but I don't remember him getting shot
This new book on the sweeping influence of Richard Wagner sounds interesting. It reminds me I still need to watch that Syderberg documentary with Winifred Wagner. >For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. >In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. https://us.macmillan.com/books/9780374285937

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Music Videos Anonymous 09/01/2020 (Tue) 15:00:59 No.356 [Reply] [Last]
[JW04 ~ 05/22/2020] A special place for a small-format video field dedicated, once upon a time, to video technique experiments, unorthodox art directions and/or kinetic performances. As previously discussed this is a genre who has gotten a bit harsher to collect and research, there's some ways to start amassing a personal stash in a reliable way and check information regarding content creators, but in recent times these have gotten limited. The IMVDb site is a good place to start although it seems its staff activity has halted, at least considering that community entries have been on hold for a year now, so it should probably be taken as an introductory resource rather than a golden rule. Archive.org also features "small" batches of standard quality files, so it's also a most-see for new adventurers. Featured here is one of the early products made by the famous Ninja Tune label, as the founders of said company Coldcut made a collaboration with Hexstatic to create a small Audiovisual single that shows the very early and pioneering technology of their own real-time video manipulation software, something also called video scratching as it remixes and manipulates video as it were a vinyl on a disc jockey table, with audio included. Something that just very recently has been considered a normal mark in video sites, and mostly as an evolution of golden age Youtube Poop which is at its earliest around 2007; Coldcut made Timber in 1997. It also comes a decade after the same guys were already written in history with gold for popularizing and somewhat creating the standard of pausing cassettes, cutting the tape at that point, taping it over cheap copies of the same recording, doing it several times with several things and ending up with a frankenstein tape that basically invented the UK Garage scene along with the Big Beat scene, and by default the Remix style of musicianship, something that in a very short time would be refined and raised as an art by artists such as Todd Edwards. Highly criticized these days due to being seen as careless for the decline of the cult electronica label that was Ninja Tune, the Coldcut duo is somehow still underrated even when their influence has been omnipresent.
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>>678 So that's where it all comes from, legit thought it was a program. Reminds me of that one PES/FIFA parody video where all the players become homosexuals. Yes, that one goes into a list now that i think of it.
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>>677 >meanwhile i will post isolated and obscure examples So here's one of them, taking advantage of La Gran Colombia month in KG (actually just a coincidence) i searched for some work from the colombian Jorge Navas, the typical indie experimental-turned-commercial director who boosts the usual yet still impressive feat (in my eyes) of having helm more than 250 commercials and spots in his native country, many ideas being invented by him too so that's a plus. His work appears around 1999 and goes into the 2010+ so probably some colombians might be familiar with a couple of his shoots, he also directed some shorts, mini documentaries and i think a full-length movie called La Sangre y La Lluvia. Honestly i didn't know a single one of his works other than the video i saw and searched for in the first place: Sidesteppers' Deja. This is a particularly obscure one from the golden era in the fanatic latin american scene that comprises around 1993 to 2007 that actually appeared outside the usual channels, being broadcasted by Sony Entertainment Television around 2004, as one of the videos thrown around from time to time to fill the slot until another program came around; the vid was produced by one of Sony's music subsidiaries of course. Nothing spectacular but it was a very moody video and usually shown at late hours, many still remember it and the song itself is somewhat of a cult one. It's basic stuff dealing with a highly depressed party boy who might or might not smoke strange cigarettes, but the thing that always catches my eye are the camera techniques which i believed were more advanced: I always thought the sequence starting from 1:15 was an absurdly stable and post-processed Steadycam shot with a telephoto, highly technical, until re-watching recently i realizing it's just a generic green screen with graffiti painted over digitally. I mean half the video is just garish digital effects but i just thought that one was real, like the zooming + moving camera sequences. I searched for a good quality version, at least to bookmark it for "the event", but it seems none of this guy's videos are in .vob, nor did i find a mention in one of those party DVDs, also i highly doubt it's in one of the trackers so i started downloading his stuff in the only qualities available to mark his name out already. Not all his videos are remotely narrative as in showing something other than the band/singer dancing around for the entire video so i only threw 3 videos which are worth noting due to the brevity: >Deja by Sidestepper >Soñar Despierto by La Pestilencia >Contenme by Estados Alterados I don't think any non-latino will know any of that but for the sake of it there's that. >https://anonfiles.com/rdg1g8U6ob/_-film-_MsVd_JrgNvsGC_rar Also obligatory MTV/Geosites extremely stereotypical profile picture attached. For little more than a decade those kind of pictures were our only source of bibliography or source for music video directors in the lands of spanish. Good old days that probably won't return.
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And here's another one not many remember did some music videos, a pesky individual and sure enough someone not many may like, the british Guy Ritchie. While the guy pretends he's a tough street urchin the truth is his lineage and upbringing are very strong, born of an executive with royal ties and a scott soldier from a top infantry line (with royal ties and notorious family too, ranging from King Edward I to guitar god John McLaughlin) this dude certainly didn't have anything going south in his life other than his school friends. The horny bugger fooled around with girls, did drugs and appeared drunk in his front yard from time to time without his dad being around due to his obvious rank schedules, so it is of not surprise to read his high school days were crazy and not very fulfilling in terms of grades but he sure blew tons of weed and money from his mom's side, along with watching movies all day. He didn't know any trade other than having a sharp but refined tongue and some visual skills, so he started going around practicing with an expensive camera (which you might expect got easily) and refined his style from very early on, influenced by the back-then new wave of asian cinema (Hong Kong, Japan) and old british gangster movies in the line of Get Carter. Somehow he met a dirty rich dude, from Hard Rock restaurant money, who was starting to get into production of small but elaborated projects and soon enough Ritchie sold him a very sturdy idea he had been working on for a long time. They got the money later on and Guy went out with one of the strongest debuts i can imagine, Lock, Stock and Two Smoking Barrels, in 1998. His first try into making something big was in 1995 with a short film called The Hard Case, but later on to keep going (and win money independently) he started doing some small gigs in which his collaboration with The Bucketheads came on. A big name for a project just made by one guy, a big cat in the house scene Kenny Dope Gonzalez, Guy did 2 videos in short succession from late 1995 to early 1996 for him: The Bomb! and the one in this post Got Myself Together. From early on we can see clear stylistic trademarks: Wide angle perspective which at times are fish-eyed, crooked angles and dynamic close-ups, flashy colours, extravagant characters from the lowly street life and tons of filler scenes, usually portraying the city life.
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After banging his debut and doing a commercially successful sub-par american semi-remake in the form of Snatch, Ritchie wanted to eat the world and did bite one of its biggest figures: The main reason this guy is here comes from one of his infamous collaborations with his then-wife Madonna, who was LARPing as a british royal at the time and what better than to have this dude, a young high-energy successful party boy with lineage, as her prize for a while. Honestly i probably would've done the same if i was Guy Madonna was still hot back then but she previously burned coal, so who knows maybe i would've not but it seems our boy here went a little overboard with it. The mainstream media had many field days with these two and to be fair their usual projects were trashy or didn't really fit into perspective, we can mention the well-directed but horribly acted BMW action shorts which Ritchie co-directed with Kar-Wai Wong and starred the mentally-retarded Clive Owen, the infamous Madonna cameo/theme song for 007's Die Another Day in which both lobbied hard to get and also the panned 2002 remake of Swept Away, directed by Guy himself and starring Madonna with Adriano Giannini, the son of the original protagonist. The movie sadly shows plenty of scenes with the italian stud kissing, rolling and downright banging Madonna on a desert island while Ritchie somehow called for re-shoots to achieve perfection, something which made him suffer the highest ridicule that still goes onto this day, mainly because the movie was considered hot garbage (haven't seen it so can't say) and the supposed re-shoots seemingly didn't work any good at all, making his """suffering""" and the uncomfortable times the entire crew had go in vain. There is something salvageable there, in fact i think it's pretty decent and probably the only good thing to come out of that hilarity is this video, What It Feels Like For a Girl, made in 2001 for his dear wife. This here shows one of the few well-done examples of hyperkinetic action cinema, the formal street name for the genre spawned from Hong Kong action cinema and refined by the Japanese some time later (mainly by Takashi Miike) that shows deuscth angles galore, quick but legible cuts into action moves, schematic visual explanations of objects in motion ala futurismo, overall somewhat complex camera work accompanying hyperactive editing/montages, exaltation of colours, night life, larger-than-life characters and the average special sauce of not taking anything seriously while doing this. It's very easy to screw this kind of sub-genre, hence why very few achieve this while being entertaining and not migraine-inducing, even the masters like John Woo, Tsui Hark and Miike ended up screwing some attempts up in the process; not here, although overly juvenile, edgy and silly with no substance in initial motivations (like most of Ritchie's work to be fair) this short example plays its cards on time and without overdoing it too much. It does delve well into the independent woman power fantasy but the implications she's the devil/a demon mainly placate this, the song probably is a bit too serious for its own good to be frank. It's all good fun but some channels didn't think so, the video was banned in some countries for its absurd portrayal of violence, namely MTV and VH1 screened only the official debut of it and then dropped it hard. In my case i remember the video getting heavy circulation on MTV Latin America, so i guess it didn't apply everywhere. After that fiasco and having directed two popular but lambasted films, Revolver and Rockn'Rolla, our man here got a second breath and went on to make the surreal re-imagination of Sherlock Holmes, which then spawned a couple of projects more and got him the seat for the recent Aladdin (the one with the CGI). I don't think he ever succeeded a project in quality after his debut Lock, Stock... but Madonna's video is the closest thing i can think of, in other terms i think the guy is rolling in money at this moment and banged anything he could after getting the divorce so fair play to him. Guy Ritchie directed only 4 music videos, one was a one-night stand done as a favor for a DJ i think, 2 for Kenny Dope and the final one for his own girl/milf. Here's the latter 3, one in .mp4 converted from a VHS, a standard .vob and the Madonna one in .mkv from a .vob done losslessly. >https://anonfiles.com/r1z1MeW2ob/_-film-_MsVd_GRitch_rar If someone knows where can i upload stuff while making "a database" of sorts that would be appreciated, i'm thinking something like that anon did with the video game share threads because these zipped files are getting heavy and the host itself might be a bit unpredictable in the future.
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>>734 >If someone knows where can i upload stuff while making "a database" of sorts that would be appreciated Why not a Mega folder?

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Documentaries Thread Anonymous 09/01/2020 (Tue) 22:43:44 No.542 [Reply] [Last]
[JW02 ~ 04/16/2020] A thread to post and request good documentaries on the variety of subjects. I'll start with some choice docus on ancient Egypt. All are selected for quality of presentation, study of subject as well as absence of current year agendas, we wuz kangz niggers etc. Romer's Egypt (3 episodes; 1982) and Ancient Lives (4 episodes; 1984) – the finest and quintessential ancient Egypt presentation; a soothing, in-depth look into ancient Egypt’s life and culture. It has that unmistakable classy 80s look that elevates it above the rest. https://www.invidio.us/channel/UC4gF7P8JKlJ9xAz8MF6AhFw/videos https://www.invidio.us/user/xinistri/videos Egypt: Beyond the Pyramids (4 episodes; 2001) – somewhat similar to Romer’s; not as in-depth or classy but still an enjoyable watch. https://www.dailymotion.com/search/Egypt%3A%20Beyond%20the%20Pyramids The Robot, The Dentist and the Pyramid (1 episode; 2020) – an excellent amateur documentary about the latest attempt to explore the shaft of the Great Pyramid. https://www.invidio.us/watch?v=rhsddHgybTo Immortal Egypt (4 episodes; 2016) – despite being modern and hosted by a wommyn, it surprisingly manages to somehow avoid the current year pozz and is very much watchable. Probably the best HD series on the matter.

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>>706 My connection died and the image was lost.
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James Burke's Connections (1978) https://www.imdb.com/title/tt0078588/ (9.3/10) Here's one of the best historical docuseries, according to IMDb >This ten volume series was made in 1978 by turning science into a detective story, James Burke creates a series that will fascinate students and adults alike. This interdisciplinary approach has never before been applied to history or science and it succeeds tremendously. Winner of the Red Ribbon in the American Film Festival, the scope of the series covers 19 countries and 150 locations, requiring over 14 months of filming. >As the Sherlock Holmes of science, Burke tracks through 12,000 years of history for the clues that lead us to eight great life changing inventions-the atom bomb, telecommunications, the computer, the production line, jet aircraft, plastics, rocketry and television. Burke postulates that such changes occur in response to factors he calls "triggers," some of them seemingly unrelated. These have their own triggering effects, causing change in totally unrelated fields as well. And so the connections begin... Sample: https://www.youtube.com/watch?v=1NqRbBvujHY Complete: https://concen.org/content/james-burke-connections-1-3-day-universe-changed
>>708 >according to IMDb So it's shit then.
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Mystery of the Lost Pyramid (1 episode; 2020) – a short documentary from Smithsonian about the newly discovered pyramid and it's undisturbed tomb. It's a bit meandering, going on long tangents to talk about basic egyptological facts, but the main crux of the presentation is quite fascinating. Undisturbed tombs are one in a million so this is truly a big deal. Though it isn't a flashy royal burial chamber, there's a bit of a mystery to the investigation which was a nice story device. https://daftsex.com/watch/442943391_456239875

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Request & Share Anonymous 09/01/2020 (Tue) 13:51:06 No.277 [Reply] [Last]
[JW03 ~ 09/11/2019] Friendly link exchange
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>>724 >Inglourious Basterds [2009] Really? I wonder which part/s.
>>724 >Under the Sun of Satan That's somewhat surprising. From 1990 and on it's clear that the audience was not easily amused with transgressive random actions or overly garish ones, but that seemed to stop from the mid 10's, perhaps due to the americans getting the rights to the festival.
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>>726 >>725 I can't find anything for Inglourious Basterds but here's >Under the Sun of Satan' (1987), starring Gerard Depardieu and Sandrine Bonnaire, won the Palme D'Or, but director Maurice Pialat received boos at his acceptance speech and closed by telling the audience: 'I'm happy about the boos and the whistling. If you don't like me, I can tell you I don't like you either.'' Source from a few places. This WSJ slideshow is paywalled unfortunately https://www.wsj.com/articles/SB10001424127887324766604578459254056340168 https://www.bam.org/film/2013/booed-at-cannes https://www.artforum.com/film/melissa-anderson-on-booed-at-cannes-at-bamcinematek-40769 > One boos a film at Cannes because one is at Cannes and booing is what happens there. Wanting to participate in this tetchy convention often reveals behavior more masochistic than sadistic: Two years ago, a colleague, rather than leave a film he despised very early on, stayed through all 127 minutes of it just so he could join the chorus of boos at the end. Sometimes, though, the vicious responses are genuine manifestations of near-pathological rage at the filmmaker, as I witnessed in 2009, when Lars von Trier, whose Antichrist had screened the night before to a din of jeers, was booed—at his own press conference.
>>727 >stayed through all 127 minutes of it just so he could join the chorus of boos at the end It's not like they can join another room and the point of the festival is to judge, most of the people there are not even enthusiasts but the toughest critics, merchants scooping talent, craftsmen and the film staff themselves. Hence the air of elitism but also high standards (at least back then) strange that some experienced directors don't realize that. I keep reading bad stuff from the festival in recent years so i don't know what to say, i am seeing politics and ego appeasement have taken a hold on the most popular festivals. Berlin is a far-left stronghold with its liberal critics and standards, Venice is a Hollywood distribution hub enclave with its explicit award handouts between friends (Shape of Water and Roma, Al Pacino and James Franco winning honorary prizes for their "masterful contribution to the world of cinema in directing") and Cannes became a red carpet/fashion runway that made most of their nominees pay their own expenses to travel to the festival and the judges have no credentials to do such a duty. >>722 >>723 It's a nip movie, so probably a translation for hikikomori that aged ironically. Let's see if i can pull it out from somewhere, it doesn't have seeders so it might take a while.
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>>722 >>728 There we go, get it while it's hot >https://mega.nz/file/qZpFxSJA#iiDb3fowFAvjQTYP5eyoCQLgu5msLL6WaTLfm73XErw whoever requested this, post review comment plox

/film/ Meta Anonymous 05/13/2020 (Wed) 12:13:48 No.1 [Reply] [Last]
Is this our home now?
Edited last time by 11811 on 09/14/2020 (Mon) 06:12:37.
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>>669 > Anon.Cafe has some differences compared to Julay.World Do you happen to remember those differences? My first gripe is that thumbnails are 56px smaller. Maybe I will upscale them.
>>674 Honestly don't remember very well, images were one for sure, i think the separation between a last post of one thread and the OP of another was also a factor i couldn't find. Others i didn't recall back or were different in Julay were the recaptcha window, report window of individual posts, the bottom strip of the board (under Report/Delete/Moderation tab), catalog and i think the More tab also was different. Took me a while to complete a decent enough version, but so far here seems more than usable. I will tweak it to match the palette and post a version if you like.
>>676 Here's the CSS with some minor tweaks and rules into it, mainly for the buttons and Settings/Moderation/ReCaptcha forms. Will update if i see something weird or if we need something else but other than that it seems to be dandy. >https://zerobin.net/?21f7ab295d4b1fff#Zfp8AKXd8hznssLUAw3StQoxZNhEv7mkHhKDld52AxI= As a sidenote: Can't access the site like i usually do, seems i can only reach here via Tor so probably some users will be forced to take some vacations.
>>696 Thanks, I've been too busy to deal with it. The site has been unreachable often but I don't know why. Testing the mp3 player.
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So, all in all we probably survived in theory Seems the site was hit by technical issues the same day the migration process began but it's still very much usable... by our normal posting schedules aka every once in a while. To commemorate our seemingly persistence on quality how about some banners? i fixed this puppy just for us :^)

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Films that made you think Anonymous 09/06/2020 (Sun) 10:41:26 No.697 [Reply] [Last]
Vague enough title to hopefully allow for a broader discussion, which films made you sit and think, either about the content or the commentary that it creates? Pic related elephant man, ie Joseph Merrick sparked my interest in historical treatment of "freaks" that are suffering medical conditions, it is a difficult one because his finances relied upon people coming to see him to fulfil their curiosities but when Britain became too sensitive for that he had to travel abroad to find work and suffered for it

How to like films again? Anonymous 09/02/2020 (Wed) 20:07:50 No.649 [Reply] [Last]
[JW21 ~ 01/12/2020] Growing up I always enjoyed watching films, but when I got older I started studying film and it tainted my movie-going experience permanently. It used to be that movies had a magical, escapist quality to them for me. But now when I watch a movie I can't help but criticize and analyse it in my mind. I can't stop myself from being taken out of immersion. It's no longer a fun past time, but a chore. It's very frustrating for me, because I just want to get absorbed into a story and forget about everything for 90 minutes, but I can't. Has anyone else here faced this problem?
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>>649 I wish I knew, same thing happened to me but with music. I used to listen to new albums all the time but around 2014 I completely lost interest in music and I only listen to a song maybe every once in a while.
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I used to watch a lot of the stuff in Top 10 and Essential Viewings back in my teenage years, and after a year it burned me out completely. It will sound pretentious but watching too much of the good stuff will bust you up, and timing is important too. Eating caviar, hickory bacon and choice beef every day is not healthy and will screw your standards, you need to drink your water, rice with gravy and cheap fast food once in a while. After a while (months later) and after criticizing anything and everything, i saw a crude action flick so absurd it got me good, i had genuine fun and eventually i started seeing cheap trash movies until i slowly delved again into "real" stuff, another bunch of months later. Sadly i became addicted of bad/dumb movies for longer You just need to vary your dose quality and do it when you are ready for it, hence why people always download stuff they will not see until years later, if someday one wants to see some obscure south asian movie out of nowhere you just need to go for it in its respective folder and 5 minutes later you are set, i know many will not do that but we can have our luxuries, some feelings last very little and when satiated you feel way better than hyping yourself for hours or days. Also never watch trailers and extended synopsis, that only ruins the experience unless you saw them by chance and gets you pumped. Everyone has a guilty pleasure, use that to cleanse yourself from the good stuff, still eventually you will just feel the whim for a very specific thing and will rarely burn yourself. Although in your present condition, especially with theoretical studies, i would quit for a while and rest in the side hobby, manual labor is good in those instances as it makes you yore for old comforts.
>>651 >If you watch alone you'll probably be more analytical, focusing on your personal assessment of the film but lacking alternate viewpoints to start a dialogue. Depending on your friends, I'd still recommend watching films with others. Good friends know when to stay quiet with a film and when to talk (they'll usually stay quiet during /film/-tier stuff) and you'll all walk out of it noticing stuff you wouldn't have otherwise.
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I support the notion that you ought to just watch things that are good instead of bad. Bad things are bad, after all, and you're going to see right through any dumb tricks the creators are using to entertain peasants. Good things should still be good to you but if you're truly at a point where absolutely nothing is watchable then I suppose you're just burned out and you should probably find something else to do for awhile.

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Animated shorts and features Anonymous 09/01/2020 (Tue) 22:27:04 No.530 [Reply] [Last]
[JW09 ~ 10/27/2019] I saw this short by chance last night and really enjoyed it. Well-executed concept with a distinctive visual style. >Thursday >Dir: Matthias Hoegg / UK / 2010 https://invidio.us/watch?v=HQ1z0Zzqg5U <An everyday love story set in the not so distant future sees blackbirds battling with technology, automatic palm readers and power cuts. I looked for more content from Matthias Hoegg, but found that he's chosen a more profitable career as animator for hire. Still he's done interesting work for various corporate and non-profit clients. https://vimeo.com/matthiashoegg
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>>539 >Something I didn't notice at first is that everyone in it has their eyes closed, except for the very last shot. I didn't notice that either. Thanks for posting. This one made a big impact on me when I first saw it, but I forgot the name so I've wanted to find it again.
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>more than ten posts >no mention of Don Hertzfeldt https://archive.org/details/Don_Hertzfeldt_Collection Use the torrent (bittorrent can download from three servers at once, much faster than direct) It's Such A Beautiful Day (2012) is compulsory viewing, fullscreen, no ads (It's the VOLUME 2 in the link above, 480p). I think Netflix may have it in better quality; I managed to find a 1080p version on https://archive.org/details/its.-such.a.-beautiful.-day.-2012 but it has burned in Spanish subtitles. More /co/core coming soon.
>>675 hey, 1080p version can be found on rarbg https://rarbg.to/torrent/v3ujnaf the 6.30 gb is the same one on private trackers
>>679 I searched for over an hour before and couldn't find any 1080p. Thanks a heap Anon.

Thoughts on the works of Sergei M. Eisenstein Anonymous 09/02/2020 (Wed) 20:15:27 No.656 [Reply] [Last]
[JW22 ~ 09/03/2019] >Sergei Mikhailovich Eisenstein was a Soviet film director and film theorist, a pioneer in the theory and practice of montage. The son of an affluent architect, Eisenstein attended the Institute of Civil Engineering in Petrograd as a young man. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In the following years, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and then director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own "montage of attractions"--a sequence of pictures whose total emotion effect is greater than the sum of its parts. He later theorized that this style of editing worked in a similar fashion to Marx's dialectic. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphor in what he called "intellectual montage" sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how film could move beyond its nineteenth-century predecessor--Victorian theatre-- to create abstract concepts with concrete images. Eisenstein's completed feature films include: Strike (1925) Battleship Potemkin (1925) October: Ten Days That Shook the World (1928) The General Line (1929) Alexander Nevsky (1938) Ivan the Terrible, Part I (1944) Ivan the Terrible, Part II (1945) Incompleted films: ¡Que viva México! (A version was completed, edited, and released in 1979 by Eisenstein's co-director Grigori Aleksandrov) Bezhin Meadow (lost, only exists as a slideshow now) Ivan the Terrible, Part III (what was completed was destroyed)

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>Battleship Potemki Terribly nauseating, insipid piece of Soviet propaganda. Maybe it influenced all the other nauseating, insipid propaganda films, who knows? In that case, I despise it even more. Battleship Potemkin is so caricatured, overblown, and heavy-handed as to be comical. Hardly the intended effect, I think... Am I supposed to be impressed with the editing, when what I came to see, namely the story and the actual shots, are uninspiring garbage? Sorry, but I am a viewer of movies, not a filmmaker, and I like to be entertained when possible. Technical breakthrough alone is not enough. Unless you're an avowed communist (lol) or a wannabe "revolutionary", this film holds little merit. Personally, all I could think about was the farce of Soviet ideals when fattened sailors are willing to die a glorious death for "tastier borsch." Not a decade after this film, millions died in Ukraine (much of the action here takes place in Odessa) during the Holodomor famine, shriveled in the streets with nothing to eat thanks to Soviet ideals... You know, actual starvation, instead of discontent with military rations and disrespect from superior officers (i.e. the story of every soldier ever). Now THAT is a story which could and probably should be told with revolutionary intent. There are dozens of better silent films out there, some earlier and some later. Only two years later we have Metropolis, which intelligently addresses issues like economic inequality, and definitively puts this Bolshevik travesty to shame. The Swedes, yes, even the tiny nation of Sweden, had already progressed far beyond this. They combined technical progress with subtlety of atmosphere and storytelling. It's unfortunate, because the Soviets produced many beautiful, iconic films. This just isn't one of them. It's not even Sergei Eisenstein's best film, because I watched Ivan the Terrible, and that film is powerful, emotionally captivating and inspiring.
>>663 >written by Izaak Babel >music by Prokofiev fam it would be crazy good >>664 I recommend reading the essay I have mentioned as it shows how Eisenstein was unsatisfied with his all early Leninist propaganda films and how collective heroes and anti-theatre idea in that early soviet 'avant-garde'. Also kind of kudos to Stalin for ending the 'avant-garde' and accepting the ideas from western 'bourgeois' cinema.
Montage in of itself isn't bad but this kike ruined cinema of the past's future (inadvertently), and while Battleship Potemkin isn't a bad move it's overrated and a fictional propaganda film which is a subversive thing to do on top of that.
>>666 I'm not fond of Eisenstein's almost cult of personality but he had his merits (along with Griffith) but to call him a jew is going past it, ironically i read about his father before him and the guy was a good architect from Riga. He had a jewish name in one of the most pozzed cities in terms of jewish antics (one of the ex-capitals of the Teutons that fell into decadence) but he was one of the few christians in the city with a good job, somewhat of a bourgeois and went with the monarchists when the revolution came about, which Sergei didn't like a lot and set him aside like a true snake (his pop was a single father who pampered him if his riches are valid evidence). Man went to Germany and died there soon after. Now that i think of it Sergei's best work is a piece fully against the teutons, the ones who build his home town, not to mention his dad seems to have an appreciation for them (spoke german, studied germanic/austrian architects like Loos' functionalism and Wagner's Viennese Secession school, retired there after the civil war) Reading some info to check if i didn't screw up it seems some guy in a university said he was born a jew. Yet he converted to orthodox, practiced, married a christian and was buried in christian grounds. Going crypto is normal for a rat but it doesn't make sense for me to go at such lengths and not play the cards when the big moment came about (bolshevik uprising), he was already respected in the higher strata and in one of the most kosher cities around, his conversion doesn't seem to have granted any kind of interests IF it happened anyways, university investigations regarding personal details are very often hear-say and jews convert anyone if they want to brag about him, and Mikhail's work was very fine in its day. The more i read about Sergei, the more i dislike him. Polite sage for somewhat off-topic.
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