Documentary about the inmates and penal officers of Alabama's Limestone Correctional Facility and Arizona's Estrella County Jail, the first prison ever to put women on a chain gang.
The band Fugazi is documented over a period of more than ten years (1987-1998) through performance footage and interviews with the band and their fans. Director Jem Cohen's relationship with band member Ian MacKaye extends back to the 1970s when the two met in high school in Washington, D.C.. The film takes its title from the Fugazi song of the same name, from their 1993 album, In on the Kill Taker. Editing of the film was done by both Cohen and the members of the band over the course of five years. It was shot from 1987 through 1998 on super 8, 16mm and video and is composed mainly of footage of concerts, interviews with the band members, practices, tours and time spent in the studio recording their 1995 album, Red Medicine. The film also includes portraits of fans as well as interviews with them at various Fugazi shows around the United States throughout the years.
Hideaki Anno's documentary about the making of Shusuke Kaneko's Gamera 3: Revenge of Iris. From concept to film, the documentary is a video diary of the film's production.
Release in March 1987, U2's The Joshua Tree quickly became the fastest-selling album in British chart history, selling almost 250,000 copies within the first week of release. In the US, it was equally successful, topping the Billboard album chart for nine weeks, spending 58 weeks in the Top 40 there and earning a Grammy Award for Album of the Year. The story of the making of The Joshua Tree is told here, via interview and archive film footage, with contributions from band members Bono, The Edge, Adam Clayton and Larry Mullen Jr. U2’s long-time manager Paul McGuinness reveals how the album catapulted the band into the category of rock superstars, and there are contributions from Elvis Costello in the role of a major U2 fan, re-mix producer Steve Lillywhite, and of course co-producers Brian Eno and Daniel Lanois. Packed with reminiscences and powerful performances, this is the story of one of the most famous and best records of the Eighties, a true Classic Album.
In 1989, Reed Paget was a 23-year-old photographer and aspiring documentarian who wanted to record the seven wonders of the world on film. He decided to start in China, where he got a job teaching English, just in time to witness the student uprisings that led to the massacre in Tiananmen Square. Paget was able to sneak his film (and himself) out of the country, and next visited Vietnam and Cambodia, hoping to photograph Angor Wat. As one might expect, Paget and his traveling companion were both arrested, but upon his release, Paget discovered he'd developed a taste for danger. He spent much of the next few years scrambling to the world's trouble spots and throwing himself into the face of war or civil disturbance in Nicaragua, El Salvador, Costa Rica, Panama, South Africa, Germany, Moscow, Cairo, and Israel, which was as close to the Gulf War as he was able to get before missiles began to fall.
Traces the Beats from Allen Ginsberg and Jack Kerouac's meeting in 1944 at Columbia University to the deaths of Ginsberg and William S. Burroughs in 1997. Three actors provide dramatic interpretations of the work of these three writers, and the film chronicles their friendships, their arrival into American consciousness, their travels, frequent parodies, Kerouac's death, and Ginsberg's politicization. Their movement connects with bebop, John Cage's music, abstract expressionism, and living theater. In recent interviews, Ginsberg, Burroughs, Kesey, Ferlinghetti, Mailer, Jerry Garcia, Tom Hayden, Gary Snyder, Ed Sanders, and others measure the Beats' meaning and impact.
Geoffrey Giuliano is a Beatleologist who has written lots of books about them ,notably an interesting Harrison biography (Harrison reportedly said: "this guy knows more about my life than I do").He appears in his movie,as some kind of tourist guide who takes the viewer to Abbey road,the roof-where-the-last-concert-took-place ,and the gates of Strawberry Fields. Most of the interviews come from the post-Beatles era: Pete Best (and Fred Seaman ) speaks of the savage days in Hamburg .There is a lot of unseen photographs although they are sometimes anachronistic : for instance,they are talking about the campaign for peace while showing pictures of Lennon with his second son Sean.
Bigfoot videos, Alien Autospy videos, Loch Ness videos, and Billy Myers' UFO films, is this footage really real? Documentary which exposes the world's greatest myths. Lance Henriksen takes an
in-depth look at Bigfoot, the Loch Ness monster and UFO sightings. Lance Henriksen Narrates An In-Depth Look At Bigfoot,The Loch Ness Monster, The Alien Autopsy And UFO Sightings Never-before-seen footage and new technological evidence will expose the truths behind the most sensational of legends -- Bigfoot,the Loch Ness Monster, the Alien Autopsy and Flying Saucers -- in the original special. For many years, believers and sceptics have debated the fact or fiction behind films and videos supposedly showing legendary beings and unexplained phenomena -- on earth and in space. This special details the who, why and how of the most sensational material ever caught on tape. In each case, informants, experts and modern technology expose the truths behind these myths.
Never one for understatement, the aptly named singer known as Meat Loaf (aka Marvin Lee Aday) teamed with operatically-minded pianist-composer Jim Steinman to produce a bombastic slab of 1970s classic rock that has become one of the biggest selling albums of all time. Fueled by Steinman's epic compositions, Todd Rundgren's grandiose production, and Meat Loaf's own soaring vocals, the singer's 1977 debut BAT OUT OF HELL elevated the rock-opera genre to appropriately theatrical heights with its extravagant orchestration and a melodramatic narrative celebrating teenage rebellion. This episode of the CLASSIC ALBUMS series recounts the making of this monumental work through interviews, archival footage, and live performances of album tracks such as "You Took the Words Right Out of My Mouth," "Two Out of Three Ain't Bad," and, of course, the adolescent opus "Paradise by the Dashboard Light."
Affectionate tribute to Bruce Vilanch, who writes material for celebrities who make public appearances, from Oscar hosts and award recipients to Presidents. We meet his mom and see photos of his childhood; in Chicago, he writes for the Tribune and then heads West. Whoopi Goldberg, Billy Crystal, Robin Williams, and Bette Midler talk with him and to the camera about working with Bruce, and we also watch Bruce help others prepare for Liz Taylor's 60th, Bill Clinton's 50th, and an AIDS awards banquet where the hirsute, rotund Vilanch lets his emotions show.
Consisting of two parts: ‘Revelations’, Bill Hicks’ last live performance in the United Kingdom made at the Dominion Theatre; and a documentary about Hicks’ life ‘Just a Ride’ featuring interviews with friends, admirers, and family.
A musical study of Los Angeles in the late 90s, where homeless teens roam the streets and profess to live a punk lifestyle of music, drugs, and flouting authority.
Pointing to the increasingly blurred distinction between reality and fiction in the world today, Dennis Hopper leads a discussion on the methods used by advertisers, as well as the responsibilities of ad-makers. The biggest names in the business have their say on shock, humour, and sex as methods of selling.
In Africa there is a fable that explains the creation of the tides. When a hyaena challenged a mudskipper to a drinking contest to decide who should own the shore, the god Mungu tilted the earth so the sea flowed inland, and neither could win.
BRAKHAGE explores the depth and breadth of the filmmaker’s genius, the exquisite splendor of his films, his magic personal charm, his aesthetic fellow travelers, and the influence his work has had on generations of other creators. While touching on significant moments in Brakhage’s biography, the film celebrates Brakhage’s visionary genius, and explores the extraordinary artistic possibilities of cinema, a medium mostly known only for its commercial applications in the form of narratives, cartoons, documentaries, and advertising. BRAKHAGE combines excerpts from Brakhage’s films and films of other avant-garde filmmakers (eg, George Kuchar, Jonas Mekas, Willie Varela, Bruce Elder, and others); interviews with Brakhage, his friends, family, colleagues, and critics; archival footage of Brakhage spanning the past thirty-five years; and location shooting in Boulder, Colorado and New York.