As a child, Roberto Gómez Bolaños dreamed of being a soccer player or an engineer; acting seemed ridiculous to him. But as time went by he discovered his true calling. First as a writer and then as an actor, he gave life to several characters, including two of the most popular in the history of Mexican television.
This 1929 home movie, shot by longtime Corpus Christi resident Antonio Rodríguez Fuentes, may well represent some of the earliest produced by a Mexican-American filmmaker about the Mexican-American community in Texas. In the footage, Fuentes captures his wife Josefina and four of their children playing in a park in Corpus Christi. Josefina also takes a turn behind the camera to document her husband with the children.
This home movie, shot by longtime Corpus Christi resident Antonio Rodríguez Fuentes, captures the Fourth of July parade through downtown Corpus Christi in 1929. The footage provides insight into the early construction of parade floats, with many adopting a boxy appearance and featuring limited decoration. Fuentes and his wife Josefina were active members of the city's Mexican-American society, participating in several community organizations.
Every image in The Fall of Communism as Seen in Gay Pornography comes from gay erotic videos produced in Eastern Europe since the introduction of capitalism. The video provides a glimpse of young men responding to the pressures of an unfamiliar world, one in which money, power and sex are now connected.
A haunting documentary about a normal family living in Connecticut, who, after moving into their new house, are terrorized by an evil ghost that dwells in the home.
The Manaki brothers document the hanged bodies in a town square, post-Ilinden Uprising; The disheartened mill about. The men were likely killed by Muslims loyal to the ruling Ottoman Empire in attempts to quash Macedonian support for Adrianople and greater Macedonian autonomy.
The surrealist painter René Magritte questions the objective reality and emphasizes the arbitrariness of the relationship between an object, its image and its name: the evocation of mystery consists of images of familiar things gathered or transformed in such a way that they no longer conform to our ideas, whether naive or wise.