Films by Charlie Chaplin, Cecil B. DeMille, and Buster Keaton are among the “hundreds of thousands” of books, musical scores, and motion pictures that will enter the public domain on January 1, according to The Atlantic. All of the works were first made available to audiences in 1923, four years before the introduction of talkies. Due to changed copyright laws, this will be the largest collection of material to lose its copyright protections since 1998.
Artists looking to incorporate black-and-white era throwbacks into their modern creations will have lots of new options. The Atlantic consulted unpublished research from Duke University School of Law’s Center for the Study of the Public Domain, which shared with IndieWire a list of 35 films that will soon become available to all.
“Our list is therefore only a partial one; many more works are entering the public domain as well, but the relevant information to confirm this may...
Artists looking to incorporate black-and-white era throwbacks into their modern creations will have lots of new options. The Atlantic consulted unpublished research from Duke University School of Law’s Center for the Study of the Public Domain, which shared with IndieWire a list of 35 films that will soon become available to all.
“Our list is therefore only a partial one; many more works are entering the public domain as well, but the relevant information to confirm this may...
- 4/9/2018
- by Jenna Marotta
- Indiewire
David Cronenberg "isn't moonlighting; he's a real novelist," write Chuck Bowen, reviewing Consumed at the House Next Door. Also in today's roundup of news and views: Blaise Cendrars's foray into cinema, Ashley Clark on Martin Scorsese's Taxi Driver, Grady Hendrix on the most obscure works in Takashi Miike's oeuvre, Godfrey Cheshire's "Movie Love Questionnaire," Michael Sicinski on Terry Gilliam, Terrence Rafferty on Roman Polanski's Macbeth, DC's on Patrice Énard and a theory as to what's made this current moment a "Second Golden Age of Television." » - David Hudson...
- 9/25/2014
- Keyframe
David Cronenberg "isn't moonlighting; he's a real novelist," write Chuck Bowen, reviewing Consumed at the House Next Door. Also in today's roundup of news and views: Blaise Cendrars's foray into cinema, Ashley Clark on Martin Scorsese's Taxi Driver, Grady Hendrix on the most obscure works in Takashi Miike's oeuvre, Godfrey Cheshire's "Movie Love Questionnaire," Michael Sicinski on Terry Gilliam, Terrence Rafferty on Roman Polanski's Macbeth, DC's on Patrice Énard and a theory as to what's made this current moment a "Second Golden Age of Television." » - David Hudson...
- 9/25/2014
- Fandor: Keyframe
Marina de Van’s horror movie has won the top prize at the 13th Neuchâtel International Fantastic Film Festival (Nifff).See below for full list of winners
Dark Touch, a supernatural horror film that centres on an 11-year-old girl, was handed the Hr Giger Narcisse Award for best feature in the international competition, which includes a $10,500 (10000Chf) prize.
The international jury said it “appreciated the original way in which the horror genre was combined with a moralistic fairy tale. The director was able to use the supernatural in order to reach a certain truth that revealed an invisible aspect of reality.”
The film, sold by Wild Bunch, also won the Denis-de-Rougemont Youth Award and Mad Movies Award.
A special mention went to Swiss horror Chimères by Olivier Beguin.
The international jury was headed by French producer François Cognard and comprised Frederike Dellert, Kim Newman, Orson Scott Card and Jean-François Rauger.
The festival...
Dark Touch, a supernatural horror film that centres on an 11-year-old girl, was handed the Hr Giger Narcisse Award for best feature in the international competition, which includes a $10,500 (10000Chf) prize.
The international jury said it “appreciated the original way in which the horror genre was combined with a moralistic fairy tale. The director was able to use the supernatural in order to reach a certain truth that revealed an invisible aspect of reality.”
The film, sold by Wild Bunch, also won the Denis-de-Rougemont Youth Award and Mad Movies Award.
A special mention went to Swiss horror Chimères by Olivier Beguin.
The international jury was headed by French producer François Cognard and comprised Frederike Dellert, Kim Newman, Orson Scott Card and Jean-François Rauger.
The festival...
- 7/15/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
All The Critics Love You In [Name Of European City Here]:
"It is just a little bit weird that if I appear in Europe, anywhere, and I go often—to teach, to festivals, when and where there are retrospectives of my work (I’ll go almost anywhere I’ve never been before, because I like to travel)—that I find a great deal of interest in my work. On the other hand these pictures are never discussed, never shown, nor are the other filmmakers involved in them...in America. Which led me to develop a kind of 'Fuck America' attitude. They don’t want to have anything to do with me, I won’t have anything to do with them."
—Director Bob Rafelson, in conversation with the author, 4/9/10
"[Henri] Langlois had been struck with admiration for Hawks in 1928—in the silent days, the antiquity of film—when, at the age of 15, he saw Louise Brooks...
"It is just a little bit weird that if I appear in Europe, anywhere, and I go often—to teach, to festivals, when and where there are retrospectives of my work (I’ll go almost anywhere I’ve never been before, because I like to travel)—that I find a great deal of interest in my work. On the other hand these pictures are never discussed, never shown, nor are the other filmmakers involved in them...in America. Which led me to develop a kind of 'Fuck America' attitude. They don’t want to have anything to do with me, I won’t have anything to do with them."
—Director Bob Rafelson, in conversation with the author, 4/9/10
"[Henri] Langlois had been struck with admiration for Hawks in 1928—in the silent days, the antiquity of film—when, at the age of 15, he saw Louise Brooks...
- 4/23/2010
- MUBI
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