| a brief list of films screened on Z Channel in Los Angeles in the 1980s |
[Mar. 12th, 2009|03:25 pm] |
The Blue Angel (1930)
The Leopard (1963), in its longer Italian-language version unreleased on video in the U.S. until 2003
McCabe & Mrs. Miller (1973)
Overlord (1975)
1900 (1976), shown in its 5-hour form for the first time in the U.S. on this station; the 5-hour cut wasn't released on video in the U.S. until 1992
Eraserhead (1977)
Bad Timing (1980), in its uncut form
Heaven's Gate (1980), in its 219-minute cut.
Das Boot (1981), in its theatrical, director's cut, and mini-series versions
Once Upon a Time in America (1984), shown back to back in its severely cut two-hour version, and Leone's 229-minute director's cut.
Salvador (1986).
The Sicilian (1987), shown in its extended form, which didn't come out on video until the early 1990s
8½ (1963), Federico Fellini
L'important c'est d'aimer (1975), Andrzej Zulawski
1900 (1976), Bernardo Bertolucci
The 400 Blows (1959), François Truffaut
A Safe Place (1971), Henry Jaglom
Andrei Rublev (1969), Andrei Tarkovsky
Attilas '74 (1975), Michael Cacoyannis
Berlin Alexanderplatz (1980), Rainer Werner Fassbinder
Black Orpheus (1959), Marcel Camus
Children of Paradise (1945), Marcel Carné
China 9, Liberty 37 (1978), Monte Hellman / Tony Brandt
College (1927), James W. Horne
The Divine Nymph (1975), Giuseppe Patroni Griffi
The Decline of Western Civilization (1981), Penelope Spheeris
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Stanley Kubrick
Fingers (1978 film) (1978), James Toback
Fitzcarraldo (1982), Werner Herzog
Images (film) (1972), Robert Altman
In a Lonely Place (1950), Nicholas Ray
Juliet of the Spirits (1965), Federico Fellini
La Cicala (1980), Alberto Lattuada
La Notte (1961), Michelangelo Antonioni
La Strada (1954), Federico Fellini
Lady on the Bus (1978), Neville De Almedia
L'Avventura (1960), Michelangelo Antonioni
Le Magnifique (1973), Philippe de Broca
Mädchen in Uniform (1931), Leontine Sagan
Malizia, (1973), Salvatore Samperi
The Moon's Our Home (1936), William Seiter
My Darling Clementine (1946), John Ford
One Deadly Summer (1983), Jean Becker
Pandora's Box (1929), G.W. Pabst
The Passenger (1975), Michelangelo Antonioni
Pat Garrett and Billy The Kid (1973), Sam Peckinpah
Paths of Glory (1957), Stanley Kubrick
The Red Desert (1964), Michelangelo Antonioni
Ride the High Country (1962), Sam Peckinpah
Spetters (1980), Paul Verhoeven
Silver Streak (1976), Arthur Hiller
Something of Value (1957), Richard Brooks
Turkish Delight (1973), Paul Verhoeven
Welcome to L.A. (1976), Alan Rudolph
Wifemistress, (1978), Marco Vicario
The Wild Bunch (1969), Sam Peckinpah |
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whitnail's journal
I've never photographed outside of English before. I've always been able to direct and disarm sitters with language-based charm. I had Leigh Ann run thru the Spanish words for chin, shoulders, and nose but couldn't bring myself to speak at all. Every sitting was silent. My usual pantomimes worked well enough and once or twice I put my hands on them and moved the muscles into place, but largely they just stepped in front of the camera and got it. And it could be because they were dancers and knew how to present their bodies, but I also think it's because everybody speaks 4x5, regardless of their mother tongue. It's instantly apprehend-able. Big camera, slow moves. Tripod, sandbags, weight. 
Some of the dancers stood behind me afterward and watched their teammates in front of the camera and I got this weird sensation of carnival curiosity.
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