Time in Film
From Jonathan Mitchell | 06:45
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In the movies, a single cut can jump several decades. Bullets stop and linger onscreen. In this piece, three film critics dissect how directors have twisted time in recent movies. Orginally aired on Studio 360 in May, 2002 NOTE: Because this piece was produced in 2002, the film examples are probably a bit dated. Included are examples from Memento, Run Lola Run, and Timecode. We hear from: Holly Willis, editor of Res magazine Michael Fox, film journalist for San Francisco Weekly David Laderman, professor of film at the College of San Mateo
Commentary: The Art of Silence
From Dick Meister | 03:01
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Silent films are not merely the outdated, herky-jerky precursors of talking pictures. As this commentary notes, they were -- and are -- a distinct popular art form. They are movies tjhat were truly designed to move, to show by movement rather than tell by words and sounds. They are at least as artristic as the talkies that supplanted them, far more experimental and daring, and certainly as imaginative and innovative.
Filmmaker David Lynch explains how to catch big ideas (Lecture)
From KUOW | Part of the Speaker's Forum series | 53:59
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David Lynch is out to catch big ideas. He has been making movies for 40 years. He says transcendental meditation is at the root of his creative process. David Lynch spoke at Town Hall Seattle on January 16, 2007. The event was sponsored by the Elliot Bay Book Company. Also this hour, David Lynch speaks with KUOW's Ross Reynolds. Fits a 1 hour program with a 5 min news hole
Movies For Grown-Ups: Greatest Special Effects of All Time
From AARP Radio | Part of the Prime Time Radio series | 02:00
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Sometimes special effects are the best part of a film. Bill Newcott tells us about some of his favorite movie wizardry.
Why we love a good scare
From With Good Reason | Part of the news features series | 02:48
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With Halloween right around the corner, you're likely to see more horror films on TV. What is it that we love so much about a good scare?
The Miracle Case and Film Censorship
From WRPI | 25:43
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In 1950 the Roberto Rossellini film "The Miracle," part of a trilogy called "Ways of Love," was condemned by the Catholic Legion of Decency and censored by the New York State Motion Picture Division (the state censor board), "The Miracle's" distributor, Joseph Burstyn, fought back through the New York courts and finally at the United States Supreme Court, claiming that his First Amendment rights had been violated by the state. Burstyn won and in 1952, a unanimous Supreme Court ruled that movies were entitled to the free speech protections of the First Amendment. The story did not end there, though, since the Court allowed state censorship statutes to stand provided they were "narrowly drawn." The fight over the right of states to pre-approve movies continued until 1965 when all states but Maryland stopped censoring movies. For more information on this story, see Laura Wittern-Keller's *Freedom of the Screen: Legal Challenges to State Film Censorship* (University Press of Kentucky) and the forthcoming 8Burstyn v. Wilson: The Miracle Case8 by Ray Haberski, Jr. and Laura Wittern-Keller (Landmarks Law Cases series of the University Press of Kansas).
Technicolor
From Trent Wolbe | 06:58
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As it became an integral part of filmmaking in the 1930s and 40s, Technicolor became much more than a way to present colors on the silver screen. Film historian Scott Higgins and archivist Robert Harris talk about how Technicolor became a tool for deeper emotional expression and explain how it rose to become a household name. We also hear why we won't see "In Technicolor" on movie posters ever again. Originally aired January 24, 2004 as a part of Studio 360's "Color" show.
Hollywood Science
From Spectrum Radio | Part of the Spectrum Radio series | 07:16
Physicists review and rate Hollywood movies for science accuracy
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Spectrum Radio's Susan Hassler investigates two physicist film reviewers who critique and rate Hollywood films for good and bad science.
Movie Madness
From Merle Kessler | 02:30
Terrorism and the Movies: Connection?
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Some critics attack movies for ignoring terrorism; others find subliminal reactions to terrorism in every movie. Ian Shoales just wants more zombies, please.
Sound Design from Hell
From Jonathan Mitchell | 06:00
confessions of a Hollywood sound designer
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Steve Boeddeker has been a film sound designer for ten years. His work has been heard in films like "The Village," "Seven," and the re-release of "The Exorcist." This segment was recorded in 2001, around the time Boeddeker was working on the film "From Hell," directed by the Hughes brothers. In this piece, he demonstrates how sound can be used to enhance the emotional impact of a scene. This segment was originally produced for Studio 360, and first aired in June, 2002. It has also been heard on: KQED's Hot Soup (2003) WBEZ's re:Sound (2004) Third Coast Festival website (2003)