When America entered World War II, prominent Hollywood directors enlisted to make government-sponsored documentaries, notably John Ford, Frank Capra, William Wyler, George Stevens, and John Huston. The youngest among them, Huston had been a screenwriter before turning to directing with The Maltese Falcon (1941). San Pietro is the second of his three war documentaries, filmed when Huston was a captain in the army and released after his promotion to major. It followed his relatively straightforward Report from the Aleutians (1943) and preceded Let There Be Light (completed in 1946 but suppressed until 1980), his moving documentary about the psychological wounds of war.
The main battle around San Pietro, an ancient town of no particular note in the mountains of central Italy, pitted German forces against the Allies, primarily American infantry, from December 8 to 16, 1943. The Allies had invaded Sicily in July; Mussolini had been thrown from power by the Italians, who sued for a separate peace (many soldiers joining the Allies, as glimpsed in the film). Germany had easily taken over the country and was well entrenched militarily by the time of the bloody U.S. landing on the Italian mainland at Salerno in September.
San Scaricare Film
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One week in the extraordinary-ordinary life of Mr. Moriyama, a Japanese art, architecture and music enlighted amateur who lives in one of the most famous contemporary Japanese architecture, the Moriyama house, built in Tokyo in 2005 by Pritzker-prize winner Ryue Nishizawa (SANAA).Introduced in the intimacy of this experimental microcosm which redefines completely the common sense of domestic life, Ila Bêka recounts in a very spontaneous and personal way the unique personality of the owner: a urban hermit living in a small archipelago of peace and contemplation in the heart of Tokyo. From noise music to experimental movies, the film let us enter into the ramification of the Mr. Moriyama's free spirit.Moriyama-San, (63 min), the first film about noise music, acrobatic reading, silent movies, fireworks and Japanese architecture! WINNER: * Best Prize, London Architecture Film Festival, 2019 * Best Prize, FILAF D'OR, Festival International du Livre d'Art et du Film, Perpignan, 2018 * Best Prize, Arquiteturas Film Festival, Lisbon, 2018 * Best Prize, Arqfilmfest, Santiago, Chile, 2018 * Best Prize, FIFAAC, Bègles, France
While they are capable of processing most film formats that you can find, they also do a great job developing more common sizes. 35mm, 120, and large format film are all processed in house, whether you like to shoot color, black and white, or even color-reversal slide film.
For the month of February, we will be throwing it back to the early 2000's with classic romance films every Wednesday night at the Palladium and Casa Blanca starting February 8th at 7:30pm. Join us each week and enjoy your favorite love stories on the big screen with themed cocktails and fun souvenir items!
Prelinger Archives was founded in 1983 by Rick Prelinger in New York City. Over the next twenty years, it grew into a collection of over 60,000 "ephemeral" (advertising, educational, industrial, and amateur) films. In 2002, the film collection was acquired by the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division. Prelinger Archives remains in existence, holding approximately 11,000 digitized and videotape titles (all originally derived from film) and a large collection of home movies, amateur and industrial films acquired since 2002. Its primary collection emphasis has turned toward home movies and amateur films, with approximately 18,000 items held as of Spring 2021. Its goal remains to collect, preserve, and facilitate access to films of historic significance that haven't been collected elsewhere. Included are films produced by and for many hundreds of important US corporations, nonprofit organizations, trade associations, community and interest groups, and educational institutions. Getty Images represents the collection for stock footage sale, and over 8,500 items (representing approximately 6,000 distinct films) are available here.
Rick Prelinger and The Internet Archive hereby offer public domain films from Prelinger Archives to all for free downloading and reuse.You are warmly encouraged to download, use and reproduce these films in whole or in part, in any medium or market throughout the world. You are also warmly encouraged to share, exchange, redistribute, transfer and copy these films, and especially encouraged to do so for free.Any derivative works that you produce using these films are yours to perform, publish, reproduce, sell, or distribute in any way you wish without any limitations.This statement of rights describes the rights granted to you so that you can use films from the online Prelinger collection at the Internet Archive.Your right to use these films is granted by the Creative Commons Public Domain license when it appears on the "detail page" for a film. For details on this license, please click the Creative Commons license logo below.Neither the Internet Archive nor Rick Prelinger can offer additional information regarding the rights to these films, or provide written license agreements. If you require a written license agreement or further information on the rights status of any Prelinger Collection titles, please see below.Please be aware that: -- the Creative Commons Public Domain license is the only license relating to films from the online Prelinger Collection;-- the Internet Archive "Terms of Use" do not apply to the online Prelinger Collection;-- the CC Public Domain license refers to the public domain status of the films, but not necessarily to every element that a film may contain;-- and that other films, videos, texts and audio files hosted at the Internet Archive are not necessarily covered by the same license that governs the online Prelinger Collection. Please research these items individually if you wish to reuse any of them.Descriptions, synopses, shotlists and other metadata provided by Prelinger Archives to this site are copyrighted jointly by Prelinger Archives and Getty Images. They may be quoted, excerpted or reproduced for educational, scholarly, nonprofit or archival purposes, but may not be reproduced for commercial purposes of any kind without permission.If you require a written license agreement or need access to stock footage in a physical format (such as videotape or a higher-quality digital file), please visit our Stock Footage page. Neither Rick Prelinger nor the Internet Archive furnish written license agreements, nor do they comment on the rights status of a given film above and beyond this Creative Commons license.Further information on works from Prelinger Archives can be found here. Questions should be directed to Rick Prelinger at Prelinger Archives, PO Box 590622, San Francisco, CA 94159-0622 USA.
Toire no Hanako-san (Japanese: トイレの花子さん) (English: Hanako-san of the Toilet), also known as School Mystery or Phantom of the Toilet,[1][2] is a 1995 Japanese horror film directed by Jōji Matsuoka. Based on the Japanese urban legend of Hanako-san, the spirit of a young girl who haunts school bathrooms, the film stars Takayuki Inoue, Ai Maeda, Yuka Kōno, Etsushi Toyokawa, and Nene Ohtsuka.
In his book Flowers from Hell: The Modern Japanese Horror Film, author Jim Harper writes: "Although it's difficult to imagine American or European parents allowing their offspring to watch a film in which young children are terrorized by a serial killer, Toire no Hanako-san is easily the best of the Japanese horror movies aimed at pre-teen audiences."[3]
The feature film by Ila Bêka, part of the duo Bêka & Lemoine, shot in Tokyo in August 2016, begins with a musical precision: the definition of noise music, which is displayed in white letters against a black backdrop. Then the protagonist is introduced: someone who, a few seconds later, we discover has never travelled by boat or by plane. He has never left Japan, or even Tokyo, and he still lives in the place where he was born.
The man is an unconditional fan of noise music, and indeed, the latter is the intermediary through which he enters into contact with the director as they talk about Yoshihide Otomo, whose music accompanies the entirety of the film. When Ila Bêka asked him if he can stay a little while, he never imagined that he was about to spend a week in this iconic house designed by Ryue Nishizawa, recipient of the Pritzker Prize.
Over the course of an hour, the viewer follows Yasuo Moriyama as he wanders through these ten white blocks connected by little dirt tracks, where plants are abundant. Reading, looking at the sky and the clouds, projecting a film on one of his walls, or blowing dandelion clocks, Moriyama-San deals with what is around him in the moment.
To celebrate the 50th anniversary, Yôji Yamada (who turned 88 this past September 13) has directed Welcome Back, Tora-san, to be released in Japan in December for shogatsu season. Marking the 50th entry in the series, it stars two of the actors from the original films (Chieko Baishô and Gin Maeda), along with archival footage of Atsumi as Tora-san.
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