Events that took place in the capital of the Tajik SSR, the city of Dushanbe in 1929.
On September 11, 1929, the first Termez-Dushanbe train arrived at the newly built station in the Tajik capital. However, not only the train was the first that day - the shots of the arrival of the locomotive, as well as people waiting for it with excitement, became the basis of the first Tajik film.
Nearly a century ago, two filmmakers traveled to Germany to shoot an homage to the 1922 film, Nosferatu, and visit the graves of those who made the silent horror masterpiece. In doing so, they unleashed a dark shadow from cinema's past.
A contemplative, seemingly timeless record of the years Hutton spent in Southeast Asia while working as a merchant seaman. Jon Jost writes, "The film is rich with truly wonderful visions: a thick, white porcelain cup perched on a ship's rail, the tea within swaying gently in sync with the ship while the sea rushes by beyond the faces of crewmen posing awkwardly but also movingly for the camera; a cockfight on ship; scenes from a bucolic pre–Pol Pot Phnom Penh. Images has the haunting elegiac resonance of Eugène Atget's Paris, the echo of a time and place that was." - MoMA
Florence is a contemplative study of light and shadows, textures and planes, that makes beautiful use of the tonal qualities of black and white film. (mubi.com)
Documentary short film depicting the filmmaking activity at the Paramount Studios in Hollywood, featuring dozens of stars captured candidly and at work.
Shows masked mental patients enacting various schizophrenic symptoms as they were understood at the time. A disturbing film that raises questions about the condition and treatment of its subjects. (archive.org) “Abstract: This film describes and demonstrates four types of schizophrenia. Filmed at various New York institutions, it shows patients singly and grouped in large, outside recreational areas. Some patients are blindfolded. Symptoms shown include: social apathy, delusions, hallucinations, hebephrenic reactions, cerea flexibilitas, rigidity, motor stereotypes, posturing, and echopraxia.” (Guide to Mental Health Motion Pictures)
Taken in 1896 on the Boulevard (upper Broadway) on the occasion of a bicycle parade in the heyday of the wheeling craze. Old-fashioned horse cars lend interest to the scene.
Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.
Documentary that details the daily habits of beavers and their interaction with the ecosystem at large. Filmed mostly in Digby County, Nova Scotia.
I Can’t Get Away is a three-channel black-and-white silent video. The video depicts 4 sequences: a figure perpetuating walking away; a figure bounded to an immobile tree; a figure running away from another figure, and vice versa. The performances of stages within the grieving process, different modes and processes to grapple with loss and the sensibilities that comes with mourning impermanence.
Andy Warhol directs The Factory regular Louisa "Jackie" Foster for a screen test.
A metallic cacophony resounds as Eric hunts for, and labours through, abandoned scrap. The sun beats down as his pick-up truck rumbles through the day.
This silent film from 1948 "The Creation of Life" briefly demonstrates how a fetus forms and graphically shows different types of births. It was made by Sherwood Picture Corp., and may have been sold both to schools and professional organizations for medical education, and to the public for shock value. (Several similar birth films were sold in this era through home catalogs and photography shops.) Summary: By means of diagrams, conceptions and pregnancy are explained. Views of various methods of delivery are shown. Created by: T. Marc Sherwood
Elam records several men moving boxes and furniture as they track across her backyard.
“Tai Chi II,” similarly to Elam’s “Tai Chi Bowling” and “Tai Chi,” focuses on movement. Through a sequence of close-ups, Elam coyly records portions of several individuals practicing tai chi, primarily focusing on the practitioners’ extremities as they float about. Distinct from its affiliates, “Tai Chi II” finds the action taking place outside.
Consists of frantic and (mostly) uninformative pans sprinting across Elam's lawn.