Originally made with a German soundtrack for screening in occupied Germany and Austria, this film was the first documentary to show what the Allies found when they liberated the Nazi extermination camps: the survivors, the conditions, and the evidence of mass murder. The film includes accounts of the economic aspects of the camps' operation, the interrogation of captured camp personnel, and the enforced visits of the inhabitants of neighboring towns, who, along with the rest of their compatriots, are blamed for complicity in the Nazi crimes - one of the few such condemnations in the Allied war records.
A documentary about the famous Danish film director Carl Th. Dreyer, made a few years before he died. In this film Dreyer tells about the style in his feature films and about the important things in film making: the script and the casting. He tells about his theories about setting and acting.
Filmmaker Jan Nemec and his crew risked their lives to create this historic documentary account of the 1968 Soviet invasion of Czechoslovakia. The award-winning work is the only filmed record of the invasion. Oratorio for Prague began as a study of the liberalization of Czechoslovakia and then continued when the Russian forces moved in. The gripping footage was broadcast by television, providing the first report of the event. In addition to the news footage, the film features never-before-viewed scenes taken prior to the invasion that crushed Prague's anti-Communist movement.
A nostalgic and compelling look into the legendary three camera, three projector process that revolutionized motion pictures and led the industry into the widescreen era.
The film was filmed in Bibi-Heybat, a suburb of Baku (now the capital of Azerbaijan), during a fire at the Bibi-Heybat oil field. The film was shot on 35mm film by the Lumiere brothers in 1898. On August 2 of the same year, a demonstration of Alexander Michon's program took place, which included the film "Fire at an oil fountain in Bibiheybat".
Looks at the stereotype-breaking films of the period from 1929, when movies entered the sound era, until 1934 when the Hays Code virtually neutered film content. No longer portrayed as virgins or vamps, the liberated female of the pre-code films had dimensions. Good girls had lovers and babies and held down jobs, while the bad girls were cast in a sympathetic light. And they did it all without apology.
In 1831, Nat Turner led a slave rebellion in the United States that resulted in the murder of local slave owners and their families, the eventual execution of 55 rebels and the retribution lynching of more than 200 innocent slaves. Nat Turner: A Troublesome Property examines how the story of Turner’s revolt has been interpreted throughout history and how it continues to raise new questions about the nature of terrorism and other forms of violent resistance to oppression. The film adopts an innovative structure by interspersing documentary footage and interviews with dramatizations of these different versions of Turner’s story. A unique collaboration between MacArthur Genius Award feature director Charles Burnett, acclaimed historian of slavery Kenneth S. Greenberg and Academy Award-nominated documentary producer Frank Christopher, Nat Turner is a compelling look at one of history’s most mysterious figures.
Lon Chaney, the silent movie star and makeup artist, renowned for his various characterizations and celebrated for his horror films, becomes the subject of this documentary.
Shows all the prominent buildings on this thoroughfare, ending with a close view of the base of the Eiffel Tower, with the Trocadero Palace in the background.
A panoramic shot, making a full circle, at the 1900 Paris Exposition. It begins and ends looking at the front of the Palace of Electricity. As it pans, first we see a workman hosing down the promenade. Men and women walk past, all wearing hats. We see the base of the Eiffel Tower, which the Palace faces. A couple strolls. A mother and daughter walk passed, father is slightly ahead wearing a boater. Three men in uniform walk toward the camera as it comes to a stop facing the Palace.
This film is difficult to classify. It opens on a scene showing a mourner with bowed head sitting in front of what appears to be a tombstone. Shortly afterwards, the face of Abraham Lincoln and then of two other presidents, Garfield and McKinley, can be seen on the monument and then they disappear. There is a figure huddled at the foot of a statue of Justice, as if asking forgiveness.