This week’s question: As you may be aware, America is fixing to elect a new President later this year. If you could cast your vote this November for any movie President (real or fictional), who would it be and why?
Christopher Campbell (@thefilmcynic), Nonfics/Film School Rejects
If I had to choose fictional, I’d go with Jackson Evans in “The Contender.” He comes off as so perfect that he’s clearly just a product of the movies. But I can choose someone real, so I go with the John F. Kennedy of “Primary” and “Crisis: Behind a Presidential Commitment” (and the Drew
In the early 1960s, Drew and his associates pioneered a kind of filmmaking that’s now a staple of the documentary form. Over a career that spanned more than five decades, Drew made more than 100 films, many on social issues, politics and the arts.
Drew’s entire collection will be preserved by the archives of the Academy of Motion Pictures Arts & Sciences, of which he was a member. Two of Drew’s films are in the National Film Registry, administered by the Library of Congress.
His list of honors includes the Cannes Film Festival Special Jury Prize, blue ribbons from the New York Film festival, the International Documentary Association Career Achievement Award, an Emmy Award, first prizes at the Venice Film Festival, 19 Cine Golden Eagles, the Flaherty Award,
TCM’s commemoration of the 50th anniversary of John F. Kennedy’s assassination will open with four works by documentary filmmaker Robert Drew, considered a pioneer of the cinéma verité. Drew’s use of new light-weight cameras traditional allowed him to capture reality as never before, leading to a filmmaking movement known as “direct cinema.” He utilized the new cameras for the first time while chronicling the election of John F. Kennedy in Primary (1960), airing at 8 p.m. (Et), which focuses on the 1960 Wisconsin Democratic Primary contest between Kennedy and Hubert Humphrey.
Primary will be followed by the
Sadly, this prestigious accomplishment comes several months after Kuchar’s passing back in September. I, an Actress was released on DVD in 2009 on the Treasures IV: American Avant-Garde Film, 1947 — 1986 box set put out by the National Film Preservation Foundation.
Two other underground films were also accepted into the National Film Registry this year: Jordan Belson’s Allures (1961) and Chick Strand’s Fake Fruit Factory (1986). Belson and Strand also passed away recently. Belson, on the same day as Kuchar (Sept. 6, 2011), and Strand on July 11, 2009. Fake Fruit Factory can be seen alongside I, an Actress on the Treasures IV box set.
The National Film
"Every year, Librarian of Congress James H Billington personally selects which films will be added to the National Film Registry, working from a list of suggestions from the library’s National Film Preservation Board and the general public," reports Ann Hornaday for the Washington Post. This year's list of 25 films slated for preservation:
Allures (Jordan Belson, 1961) Bambi (Walt Disney, 1942) The Big Heat (Fritz Lang, 1953) A Computer Animated Hand (Pixar, 1972) Crisis: Behind a Presidential Commitment (Robert Drew, 1963) The Cry of the Children (George Nichols, 1912) A Cure for Pokeritis (Laurence Trimble, 1912) El Mariachi (Robert Rodriguez, 1992) Faces (John Cassavetes, 1968) Fake Fruit Factory (Chick Strand, 1986) Forrest Gump (Robert Zemeckis, 1994) Growing Up Female (Jim Klein and Julia Reichert, 1971) Hester Street (Joan Micklin Silver, 1975) I, an Actress (George Kuchar, 1977) The Iron Horse (John Ford, 1924) The Kid (Charlie Chaplin, 1921) The Lost Weekend (Billy Wilder, 1945) The Negro Soldier (Stuart Heisler,
“My momma always said, .Life was like a box of chocolates. You never know what you’re gonna get..” That line was immortalized by Tom Hanks in the award-winning movie “Forest Gump” in 1994. Librarian of Congress James H. Billington today selected that film and 24 others to be preserved as cultural, artistic and historical treasures in the National Film Registry of the Library of Congress.
Spanning the period 1912-1994, the films named to the registry include Hollywood classics, documentaries, animation, home movies, avant-garde shorts and experimental motion pictures. Representing the rich creative and cultural diversity of the American cinematic experience, the selections range from Walt Disney.s timeless classic “Bambi” and Billy Wilder.s “The Lost Weekend,” a landmark film about the devastating effects of alcoholism, to a real-life drama between a U.S. president and a governor over the desegregation of the University of Alabama. The selections also
The Library of Congress picks 25 movies each year that are "culturally, historically or aesthetically" important to add to the registry. They're usually a mix of silent movies from the early days of motion pictures, Hollywood hits, documentaries and avant-garde films. This year is no different.
The most immediately recognizable titles in the 2011 class are Disney's well-loved "Bambi" and "Forrest Gump" and "The Silence of the Lambs," both of which won multiple Oscars (including best picture) in the '90s. Others include Chaplin's 1921 classic "The Kid," Billy Wilder's "The Lost Weekend," John Cassavetes' "Faces" and John Ford's 1924 silent film "The Iron Horse." Robert Rodriguez's first movie, the made-for-$7,000 "El Mariachi," is also on the list.
With more than 2,000 titles nominated in 2011 alone, the list of this year's crop of movies include Walt Disney's "Bambi," Robert Rodriguez's "El Mariachi," Charles Chaplin's "The Kid" and Robert Zemeckis' "Forrest Gump."
Just from those four films alone, you can see that the criteria for inclusion has cast its net pretty wide, with everything from Pixar co-founder Ed Catmull's "A Computer Animated Hand" (1972) whose significance we covered back in September, John Cassavetes' highly influential indie domestic drama "Faces" (1968), to Jonathan Demme's 1991 Best Picture winner "Silence of the Lambs," in which, incidentally, Anthony Hopkins' character takes people's faces.
Hollywoodnews.com: Each December, the Library of Congress adds new films to its preservation list. Today, they revealed the 25 selected titles that will be protected by the National Film Registry.
Walt Disney’s “Bambi,” Robert Zemeckis’ “Forrest Gump,” and Charlie Chaplin’s classic “The Kid” are among the movies selected for this year’s list.
“These films are selected because of their enduring significance to American culture,” Librarian of Congress James H. Billington said. “Our film heritage must be protected because these cinematic treasures document our history and culture and reflect our hopes and dreams.”
Annual selections are finalized by the Librarian, who reviews hundreds of titles nominated by the public. This year 2,228 films were nominated for consideration. The Library of Congress Packard Campus for Audio Visual Conservation then works to ensure that every film added to the Registry is preserved for generations to come.
Their latest list — created for both public awareness and the opportunity to grumble, as I’ll do in a second — has been unveiled, and the selections are none too out-of-left-field. The biggest of these 25 would have to be Forrest Gump, a choice I fully understand but completely disagree with on an opinion and moral scale. The only other true objection I can raise is toward El Mariachi, film school-level junk from a director whose finest works are the direct result of working with those more talented.
If you remember the 1960s, you may well remember the documentary films shot by Richard Leacock, notably Monterey Pop (1968). This concert film, made in the summer of 1967 at a music festival in California, featured the Animals, Canned Heat, Otis Redding, Jimi Hendrix, Janis Joplin, the Mamas and the Papas, Jefferson Airplane, the Who and Ravi Shankar, among others. Leacock, who has died aged 89, was one of six cinematographers on the film – including its director, Da Pennebaker – and had already established himself as a leading figure in the "direct cinema" movement, the American version of cinéma vérité, which was characterised by filming events as they happen without interpretive editing or narration.
"I don't like being told things," Leacock said. "I like to observe." To this end, he was instrumental in perfecting a lightweight, handheld 16mm camera, synced to a quiet sound recorder,
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