Morning reveals New York harbor, the wharves, the Brooklyn Bridge. A ferry boat docks, disgorging its huddled mass. People move briskly along Wall St. or stroll more languorously through a cemetery. Ranks of skyscrapers extrude columns of smoke and steam. In plain view. Or framed, as through a balustrade. A crane promotes the city's upward progress, as an ironworker balances on a high beam. A locomotive in a railway yard prepares to depart, while an arriving ocean liner jostles with attentive tugboats. Fading sunlight is reflected in the waters of the harbor. The imagery is interspersed with quotations from Walt Whitman, who is left unnamed.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.
This short experimental film tells the story of a man who comes to Hollywood to become a star, only to fail and be dehumanized. He is identified by the number 9413 written on his forehead.
A montage of the skyscrapers of Manhattan opens with a succession of stationary views of the upper portions of numerous buildings. This is followed by a wide variety of fluid shots, which also begin to show more and more of the surrounding city, in addition to the skyscrapers themselves.
A lyrical portrait of Amsterdam and its changing appearance during a rain-shower.
This short film made by László Moholy-Nagy is based on the shadow patterns created by his Light-Space Modulator, an early kinetic sculpture consisting of a variety of curved objects in a carefully choreographed cycle of movements. Created in 1930, the film was originally planned as the sixth and final part of a much longer work depicting the new space-time.
What starts off as a conventional travelogue turns into a satirical portrait of the town of Nice on the French Côte d'Azur, especially its wealthy inhabitants.
The Second part of Olympia, a documentary about the 1936 Olympic games in Berlin by German Director Leni Riefenstahl. The film played in theaters in 1938 and again in 1952 after the fall of the Nazi Regime.
The First part of Olympia, a documentary about the 1936 Olympic games in Berlin by German Director Leni Riefenstahl. The film played in theaters in 1938 and again in 1952 after the fall of the Nazi Regime.
In this short film Bert Haanstra gives his vision - from the water – of a tranquil Holland. During filming he held the camera upside down and afterwards put the images ‘up right’ again in the film. By doing this, we see the ‘usual’ waterfront, but transformed by the rippling of the water. In this way Mirror of Holland became a modern looking experimental film. However this did not devalue the Dutch sentiment regarding waterfronts that are so trusted to so many.
In 1952, Haanstra made Panta Rhei , another view of Holland through the eyes of a painter and filmmaker. Its poetic images of water, skies and clouds reflect Haanstra's own moods.
Featuring a commentary by Noël Burch (in nonsense French), Recreation's rapid-fire montage of single-frame images of incredible density and intensity has been compared to contemporary Beat poetry.
This short documentary, shot in the glass factories of Leerdam and Schiedam, demonstrates how glass blowers do their work. But thanks to the superbly edited ballet of working hands and the sequence of mechanical motions of the engines, is it especially a cinematic tour de force. That the industry can’t do without man’s involvement is shown in the scene where we hear the voice of Haanstra himself counting the bottles on the conveyor belt, until one bottle breaks…
A perfect, fast and hilarious montage. Using images from Artis (Amsterdam Zoo), Bert Haanstra shows that a couple of similarities can be discovered between human and animal. Particularly the manner in which human and ape are confronted with each other, is significant. The images speak for themselves, human voices or commentary is absent. The ironic music of Pim Jacobs does add an extra dimension to the whole. With regards to human and animal Haanstra limits himself for the time being to this short film, recorded with a hidden camera. Later on, in several big films, he would return to this subject.
Robert Drew shows the sights and sounds from the funeral of President John F. Kennedy in November, 1963. Preserved by the Academy Film Archive in 2002.
The faces of a 5:00 PM crowd descending via the Pan Am building escalators in one continuous shot. In old-fashioned black and white, these faces stare into the empty space, in the 5:00 PM tiredness and mechanical impersonality, like faces from the grave.
Shot under extreme conditions and inspired by Mayan creation theory, the film contemplates the illusion of reality and the possibility of capturing for the camera something which is not there. It is about the mirages of nature—and the nature of mirage.
For years I've been looking for the means to capture everyday life just as it is perceived through a glance from the street. Twenty years ago, you could see young people standing with their bicycles on street corners, in fact, if the bicycles where there, you could be sure to find the young people standing there talking. I would like to document these kinds of events. On this occasion, I was presented with the opportunity to do so. For two and a half weeks, I walked around different parts of the city with my camera and collected images for the film. (Harun Farocki, 1979)
A woman narrates the thoughts of a world traveler, meditations on time and memory expressed in words and images from places as far-flung as Japan, Guinea-Bissau, Iceland, and San Francisco.
Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.