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film group membership is $ 95 / year. to add film group to your membership, please contact us at filmgroup @ urltoken or call 818. 754. 2800 .
for film group screenings. seating is on a first - come, first - served basis for film group members. future screenings may require an rsvp; please check the individual listings to verify .
related materials the chuck olin collection also at chicago film archives contains 60 reels of film created by the film group and mike gray associates, inc. some duplicate the urban crisis films in this collection, but it also includes television commericals and sponsored films made by the film group .
cottle helped fund the creation of the film group as it evolved out of an earlier company - hedman gray shea, inc. when cottle left the company in 1969 to start his private practice as a lawyer, the film group dissolved and his partner, mike gray, continued producing films as mike gray associates, inc. cottle kept the film group name alive by distributing a series of short educational films called urban crisis and the new militants. these films were created from documentary footage shot by the film group between 1966 and 1969 .
film group members may bring up to three guests. the first guest is free; third and fourth guests are $ 5 each .
related materials the film group collection at chicago film archives includes preservation and access elements of the urban crisis films and a small paper collection of documents related to the film group. the university of illinois at champaign urbana has digitized copies of the interviews olin conducted for the making of in our own hands and is jerusalem burning. see urltoken for more information .
custodial history the films in this collection were created by the film group. william cottle was a producer for the company and he stored the films until his donation of them to chicago film archives in 2005 .
william cottle was a member of the chicago film production company film group, inc. from 1966 to 1969. the film group made television commercials (local and national) as well as a select number of political documentaries on the impact of the 1968 democratic national convention. while assisting in the filming of the disorders associated with the convention, cottle was detained by the police – an event that helped cement the film group’s transition from ad men to political activists. these films have played an important role in the development of the chicago - style of documentary filmmaking .
tuesday, july 31, 2018 from 6: 30pm to 10pm the 48 hour film contest is an annual event organized by the winnipeg film group. participants are tasked to write, shoot, act, edit, and score an original short film in just two …
abstract the film group was a chicago commercial film production company that made television commericials and political documentaries in the late 1960s / early 1970s. this collection includes original prints and preservation elements of their political documentaries on the 1968 democratic national convention including american revolution ii and the educational series urban crisis and the new militants. filmmakers associated with the film group include mike gray, william cottle, howard alk, mike shea, and chuck olin .
custodial history the objects in this collection were created by chuck olin and others at two production companies: the film group / mike gray associates and chuck olin associates. the films were stored by olin at his home and office. they were donated to chicago film archives after olin' s death in 2005 .
cottle received his undergraduate degree from northwestern university in 1953. three years later he graduated with a law degree from the northwestern university school of law. after completing law school he enlisted in the u. s. navy, in which he served until october, 1958. he then practiced public accounting until he joined the film group in 1966. after the dissolution of the film group in 1969, cottle practiced law until 1977. from 1977 until 1997, he served as the chairman of the board of the bank of chicago’s group of community banks. currently retired, he spends much of his time as a saxophone player in a local swing band. he lives with his wife judith in winnetka, illinois .
semester two begins in just 10 days on july 16 and it' s about time we shared what we' ve been working on for the past few months. so without further ado, the anu film group presents our new programme for semester two 2018 !
abstract the chuck olin collection is comprised of films, videotapes and ephemera made by chuck olin from his work at two chicago area film production companies from the mid - 60s to the late 1990s: first with the film group / mike gray associates and after 1974 with his own chuck olin associates. included are political documentaries made by the film group on the 1968 democratic national convention; television commercials for a variety of clients including sears, blue cross blue shield, and politicians running for election; sponsored films for the art institute of chicago, the national medical association, and eli lilly; educational films for encyclopaedia britannica; and a documentary by olin on the jewish brigade in world war ii .
exclusive: as the afm gears up, highland film group has boarded worldwide rights on josh hartnett - starrer gut instinct. directed and written by daniel roby (versailles), the crime thriller also stars antoine - olivier pilon (mommy). based on a true story, the film follows an investigative journalist (hartnett) who unravels a twisted entrapment ...
when joe braven (jason momoa), a humble logger residing along the u. s. / canada border is confronted by a group of deadly drug runners who have stashed heroin in his secluded cabin ...
exclusive: x - men and ready player one star tye sheridan is to front crime drama the night clerk, written and directed by original sin director and bonfire of the vanities screenwriter michael cristofer. the film is produced by david wulf, producer of forthcoming nic cage vehicle looking glass, and highland film group, which is launching it at berlin next week. the feature sees sheridan star ...
rlje films has acquired all u. s. rights to vaughn stein’s noir thriller “terminal, ” starring margot robbie, simon pegg, mike myers, max irons, and dexter fletcher. the deal with highland film group was announced on wednesday, a day after robbie received an academy award nomination in the best actress category for ...
the packard campus is home to more than 7 million collection items. it provides staff support for the library of congress national film preservation board, the national recording preservation board and the national registries for film and recorded sound .
under the terms of the national film preservation act, each year the librarian of congress names 25 films to the national film registry that are “culturally, historically or aesthetically” significant. the films must be at least 10 years old. the librarian makes the annual registry selections after reviewing hundreds of titles nominated by the public and conferring with library film curators and the distinguished members of the national film preservation board (nfpb). the public is urged to make nominations for next year’s registry at the nfpb’s website (urltoken) .
hfg’s management team has significant experience in film production, finance and and worldwide sales, and this experience is available to filmmakers throughout all phases of film financing production, marketing and sales .
five of the seven films in the urban crisis series utilize footage from the 1968 chicago democratic convention. the other two cicero march and black moderates, black militants are concerned with similar issues of civil rights and civil disobedience, but were not filmed during the democratic convention. the film group created the urban crisis series as educational films aimed at high school students. the films and accompanying literature used current political events as springboards into discussions on the limits of constitutional freedoms and the proper response of the government. though made for the educational film market, they are closer in style to cinema verite documentary films. they dispense with the didactic voice - over narrator and are shot in black and white .
“the national film registry stands among the finest summations of more than a century of extraordinary american cinema, ” said billington. “this key component of american cultural history, however, is endangered, so we must protect the nation’s matchless film heritage and cinematic creativity. ”
a fascinating example of the daringly unexpected topics and scope showcased by the best regional, independent filmmaking during the silent era, “daughter of dawn” features an all - native - american cast of comanches and kiowas. although it offers a fictional love - story narrative, the film presents a priceless record of native - american customs, traditions and artifacts of the time. the oklahoma historical society recently rediscovered and restored this film with a grant from the national film preservation foundation .
when frank stauffacher introduced the art in cinema film series at the san francisco museum of art in 1947, he was on his way to becoming a significant influence on a generation of west coast filmmakers. through the series, he cultivated his knowledge of san francisco surrealist films of the 1940s as well as the “city symphonies” produced by european filmmakers in the 1920s and 1930s. “notes on the port of st. francis” is the natural progression of stauffacher’s appreciation for the abstract synthesis of film and place. impressionistic and evocative, the film is shaped by the director’s organization of iconic imagery, such as seascapes and city scenes, and by the juxtaposition of these visuals and the soundtrack comprised both of music and narration by vincent price of excerpts from robert louis stevenson' s 1882 essay on san francisco. independent film scholar scott macdonald speculated that the “notes” in the film’s title may refer to “both the informality of his visuals and his care with sound that may have been a subtle way of connecting his film with the european city symphonies of the twenties. ” throughout the film, macdonald observed, stauffacher echoes stevenson’s theme of the “city of contrasts” by shooting from both san francisco bay and from the hills .
these seven short films in the urban crisis series have been preserved through grants from the national film preservation foundation. chicago film archives has original release prints and answer prints as well as new preservation elements including internegatives, sound elements, and access prints for projection .
among the documentaries named to the registry are “roger and me, ” michael moore’s advocacy film about the human effects of the failing auto industry; “cicero march, ” the confrontation between blacks and whites on the streets of an illinois town in 1966; “decasia, ” which was created from scraps of decades - old, decomposing film; and female filmmaker lee dick’s “men and dust. ”
with the end of world war ii came a dark edge in the american psyche and a change in the films it produced. film noir defined the 1940s and “gilda” defined the hollywood glamorization of film noir—long on sex appeal but short on substance. director charles vidor capitalizes on the voyeuristic and sadomasochistic angles of film noir—and who better to fetishize than rita hayworth, poured into a strapless black satin evening gown and elbow - length gloves, sashaying to “put the blame on mame. ” george macready and glenn ford round out the tempestuous triangle, but “gilda” was and, more than 65 years later, still is all about hayworth .
by turns utterly derivative and audaciously original, quentin tarantino’s mordantly wicked möbius strip of a movie influenced a generation of filmmakers and stands as a milestone in the evolution of independent cinema in the united states, making it one of the few films on the national film registry as notable for its lasting impact on the film industry as its considerable artistic merits. directed by tarantino from his profane and poetic script, “pulp fiction” is a beautifully composed tour - de - force, combining narrative elements of hardboiled crime novels and film noir with the bright widescreen visuals of sergio leone. the impact is profound and unforgettable .
use restrictions use beyond on - site viewing of american revolution ii and police power and the freedom of assembly: the gregory march must be cleared with mike gray and bill cottle. chicago film archives manages the rights of the other titles in this collection .
part of the vibrant new wave of independent african - american filmmakers to emerge in the 1970s and 1980s, billy woodberry became a key figure in the movement known as the l. a. rebellion. woodberry crafted his ucla thesis film, “bless their little hearts, ” which was theatrically released in 1984. the film features a script and cinematography by charles burnett. this spare, emotionally resonant portrait of family life during times of struggle blends grinding, daily - life sadness with scenes of deft humor. jim ridley of the “village voice” aptly summed up the film’s understated - but - real virtues: “its poetry lies in the exaltation of ordinary detail. ”
during the summer of 1966, the chicago freedom movement, led by dr. martin luther king, jr. , targeted chicago in a drive to end de facto segregation in northern cities and ensure better housing, education and job opportunities for african americans. after violent rioting and a month of demonstrations, the city reached an agreement with king, in part to avoid a threatened march for open housing in the neighboring all - white town of cicero, ill. , the scene of a riot 15 years earlier when a black couple tried to move into an apartment there. king called off further demonstrations, but other activists marched in cicero on sept. 4, an event preserved on film in this eight - minute, cinema - vérité - styled documentary. using lightweight, handheld equipment, the chicago - based film group, inc. filmmakers situated themselves in the midst of confrontations and captured for posterity the viciousness of northern reactions to civil - rights reforms .
this introspective “contrived diary” film by stanton kaye features vignettes from the relationship of a real - life couple, in this case the director and his girlfriend. an evocative 1960s time capsule—reminiscent of jim mcbride’s “david holzman’s diary”—this simulated autobiography, as in many experimental films, often blurs the lines between reality and illusion, moving in non - linear arcs through the ever - evolving and unpredictable interactions of relationships, time and place. as paul schrader notes, “it is probably quite impossible (and useless) to make a distinction between the point at which the film reflects their lives, and the point at which their lives reflect the film. ” “brandy in the wilderness” remains a little - known yet key work of american indie filmmaking .
the films in this collection contain one feature - length documentary, american revolution 2 and the 7 part series of educational short films called urban crisis and the new militants. american revolution 2 begins with footage of the political demonstrations at the 1968 democratic convention and the forceful reaction of the chicago police department and the national guard. investigating the lack of an african american presence at the protests, the filmmakers follow members of the chicago chapter of the black panther party as they search for common ground with a variety of white activist groups. in one scene, panther bobby lee and members of the young patriots, a community of white appalachian activists living in the uptown neighborhood of chicago, organize to protest police brutality. chicago film archives holds two release prints of this film .
access restrictions this collection is open to on - site access. appointments must be made with chicago film archives. due to the fragile nature of the films, only video copies will be provided for on - site viewing .
use restrictions most of the films in this collection were made as works for hire. as such copyright was not transferred to chicago film archives and remains with original copyright holder. determination of copyright for these materials for reproduction is the responsibility of the user. rights for olin' s two films on chagall - the gift and palette of glass - as well as his film in our own hands remain with his estate, which is managed by his widow nancy olin .
this two - week course will provide teens (ages 13 - 18) with a hands - on environment covering the various departments involved in a shoot, and will expose them to the basic components of film and video production. the students will make at least 3 short films in the 2 week class .
selecting as its focus the “justices trial” of the post - world war ii nuremberg war crimes tribunal, rather than the more publicized trials of major nazi war criminals, “judgment at nuremberg” broadened its scope beyond the condemnation of german perpetrators to interrogate the concept of justice within any modern society. conceived by screenwriter abby mann during the period of mccarthyism, the film argues passionately that those responsible for administering justice also have the duty to ensure that human - rights norms are preserved even if they conflict with national imperatives. mann’s screenplay, originally produced as a playhouse 90 teleplay, makes “the value of a single human being” the defining societal value that legal systems must respect. “judgment at nuremberg” startled audiences by including in the midst of its narrative seven minutes of film footage documenting concentration camp victims, thus using motion - picture evidence to make its point both in the courtroom and in movie theaters. mann and actor maximilian schell received academy awards and the film boasted fine performances from its all - star cast .
heroes of the space race, a pop cult classic; the age - old battle between the sexes; and a record of native - american traditions are among a cadre of films being recognized as works of great cultural, historic or aesthetic significance to the nation’s cinematic heritage. the librarian of congress, james h. billington, announced today the annual selection of 25 motion pictures to join the national film registry of the library of congress. they will be preserved as cinematic treasures for generations to come .
with “the hole, ” legendary animators john and faith hubley created an “observation, ” as the opening title credits state, a chilling academy award - winning meditation on the possibility of an accidental nuclear catastrophe. jazz great dizzy gillespie and actor george mathews improvised a lively dialogue that the hubleys and their animators used as the voices of two new york construction workers laboring under third avenue. earlier in his career, while he worked as an animator in the disney studios, john hubley viewed a highly stylized russian animated film—brought to his attention by frank lloyd wright—that radically influenced his ideas about the possibilities of animation. with his new vision realized in this film, the hubleys ominously, yet humorously, commented on the fears of nuclear devastation ever - present in cold war american culture during the year that the cuban missile crisis unfolded .
directed by fred m. wilcox, mgm’s “forbidden planet” is one of the seminal science - fiction films of the 1950s, a genre that found itself revitalized and empowered after world war ii and within america’s newly created post - nuclear age. loosely based upon william shakespeare’s “the tempest, ” “forbidden planet” is both sci - fi saga and allegory, a timely parable about the dangers of unlimited power and unrestrained technology. since its production, the movie has proved inspirational to generations of speculative fiction visionaries, including gene roddenberry. along with its literary influence, highly influential special effects and visual style, the film also pushed the boundaries of cinematic science fiction. for the first time, all action happened intergalatically (not on earth) and humans are depicted as space travelers, regularly jetting off to the far reaches of the cosmos. additionally, “forbidden planet” is remembered for its innovative score—or lack thereof. no music exists on the film’s soundtrack; instead, all ambient sounds are “electronic tonalities” created by louis and bebe barren. walter pidgeon, leslie nielsen, anne francis and, in his debut, robbie the robot make up the film’s cast .
for each title named to the registry, the library of congress packard campus for audio visual conservation works to ensure that the film is preserved for future generations, either through the library’s motion - picture preservation program or through collaborative ventures with other archives, motion - picture studios and independent filmmakers. the packard campus is a state - of - the - art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (urltoken) .
the one folder of paper materials contains copies of pages from a catalog of a film distributor that sold the urban crisis series, a one - sheet for cicero march, and information on the accompanying literature that schools could use when screening police power and freedom of assembly. the papers have not been processed and as such are not included in the container list below. however, they are accessible for on - site access .
access restrictions this collection is open to on - site access. appointments must be made with chicago film archives. due to the fragile nature of the films, only video copies will be provided for on - site viewing. the videotapes in series ii: subseries ii are not currently accessible. the photos in series ii: subseries iii are not processed but are accessible on - site .
the popularity of this western, based on akira kurosawa’s “seven samurai” (1954), has continued to grow since its release due in part to its role as a springboard for several young actors on the verge of successful careers: steve mcqueen, charles bronson, james coburn, robert vaughn and horst buchholz. the film also gave a new twist to the career of yul brynner. brynner bought the rights to kurosawa’s original story and hand - picked john sturges as its director. sturges had earned a reputation as a solid director of westerns such as “bad day at black rock” (1955) and “gunfight at the o. k. corral” (1957). transporting the action from japan to mexico, where it was filmed on location, the story portrays a gang of paid gunslingers hired by farmers to rout the bandits pillaging their town. contributing to the film’s popular appeal through the decades is elmer bernstein’s vibrant score, which would go on to become the theme music for marlboro cigarette commercials from 1962 until cigarette advertising on television was banned in 1971 .
the list also includes “forbidden planet, ” one of the seminal science - fiction films of the 1950s; “the right stuff, ” an epic tribute to the pioneers of the space program; and “judgment at nuremberg, ” which earned actor maximilian schell and screenwriter abby mann academy awards .
errol morris, the director of such highly acclaimed documentary features as “the thin blue line, ” “fast, cheap and out of control” and “mr. death, ” is noted to have sat drop - jawed watching “decasia” and stammering, “this may be the greatest movie ever made. ” created from scraps of decades - old decomposing “found film, ” “decasia” hypnotizes and teases with images that fade and transform themselves right before the viewer’s eyes. culling footage from archives across the country, filmmaker bill morrison collected nitrate film stock on the very brink of disappearance and distilled it into a new art form capable of provoking “transports of sublime reverie amid pangs of wistful sorrow, ” according to new york times writer lawrence weschler. morrison wedded images to the discordant music of composer michael gordon—a founding member of the bang on a can collective—into a fusion of sight and sound that weschler called “ravishingly, achingly beautiful. ”
with her trendsetting dutch bob haircut and short skirts, colleen moore brought insouciance and innocence to the flapper image, character and aesthetic. by 1926, however, when she appeared in “ella cinders, ” moore’s interpretation of the flapper had been eclipsed by the more overtly sexual version popularized by clara bow or joan crawford. in “ella cinders, ” ella (colleen moore) wins a beauty contest sponsored by a movie magazine and is awarded a studio contract. new york times reviewer mordaunt hall observed that the film was “filled with those wild incidents which are seldom heard of in ordinary society, ” and noted “miss moore is energetic and vivacious. ” the film is an archetype of 1920s comedy, featuring a star whose air of emancipation inspired her generation .
• law and order vs. dissent intermixes footage of the police response to the demonstrations at the 1968 convention with press conferences by mayor richard j. daley and a spokesman for the chicago police department .
never one to shy away from sentiment, director john ford used “the quiet man” with unadulterated adulation to pay tribute to his irish heritage and the grandeur of the emerald isle. with her red hair ablaze against the enveloping lush green landscapes, maureen o’hara embodies the mystique of ireland, as john wayne personifies the indefatigable american searching for his ancestral roots, with victor young’s jovial score punctuating their escapades. the film and the locale are populated with characters bordering on caricature. sly, whiskey - loving matchmaker michaleen o’flynn (barry fitzgerald), the burly town bully will danaher (victor mclaglen) and the put - upon but patient widow tillane (mildred natwick) are the most vivid. beautifully photographed in rich, saturated technicolor by winton c. hoch, with picturesque art direction by frank hotaling, “the quiet man” has become a perennial st. patrick’s day television favorite .
produced and directed by lee dick—a woman pioneer in the field of documentary filmmaking—and written and shot by her husband sheldon, this labor advocacy film is about diseases plaguing miners in kansas, missouri and oklahoma. sponsored by the tri - state survey committee, “men and dust” is a stylistically innovative documentary and a valuable ecological record of landscapes radically transformed by extractive industry .
alleged to be walt disney’s personal favorite from all of his many classic films, “mary poppins” is based upon a book by p. l. travers. with travers’ original tale as a framework, screenwriters bill walsh and don dagradi, with the aid of songwriters the sherman brothers (richard m. and robert b .), fashioned an original movie musical about a most unusual nanny. weaving together a witty script, an inventive visual style and a slate of classic songs (including “a spoonful of sugar” and “chim chim cher - ee”), “mary poppins” is a film that has enchanted generations. equal parts innocent fun and savvy sophistication, the artistic and commercial success of the film solidified disney’s knack for big - screen, non - cartoon storytelling and invention. with its seamless integration of animation with live action, the film prefigured thousands of later digital and cgi - aided effects. with its pitch - perfect cast, including julie andrews, dick van dyke, jane darwell, glynis johns and ed wynn, “mary poppins” has remained a “supercalifragilisticexpialidocious” achievement .
spanning the period 1919 - 2002, the films named to the registry include hollywood classics, documentaries, silent films, independent and experimental motion pictures. this year’s selections bring the number of films in the registry to 625, a small part of the library’s vast moving - image collection of 1. 2 million items .
employing a title suggested by irving berlin, screenwriter anita loos, working with husband john emerson, crafted this charming spoof on romance in the workplace that catapulted constance talmadge, the object of berlin’s unrequited affection, into stardom. during the silent era, women screenwriters, directors and producers often modified and poked fun at stereotypes of women that male filmmakers had drawn in harsher tones. the smiles of loos’ “virtuous vamp”—as embodied by talmadge—lead to havoc in the office, but are not life - threatening, as were the hypnotizing stares of theda bara’s iconic caricature that defined an earlier era. in this satire of male frailties, the knowing innocence of loos’ character captured the imagination of poet vachel lindsay, who deemed the film “a gem” and called talmadge “a new sweetheart for america. ”
• the right to dissent: a press conference records a pre - convention press conference of the national committee to end in the war in vietnam. david dellinger and rennie davis recount their difficulties in dealing with the city of chicago to plan their protests against the 1968 democratic convention .
• the people’s right to know: police vs. reporters interviews photojournalist paul sequeira on his experience covering the 1968 democratic convention and the police attempts to physically restrict reporters’ access .
the 2013 registry list includes such movie classics as “mary poppins, ” featuring julie andrews’ academy award - winning performance, and john ford’s “the quiet man, ” starring john wayne and maureen o’hara. films that catapulted the cinematic careers of their directors include quentin tarantino’s “pulp fiction, ” a fusion of film noir and hardboiled crime storytelling; and mike nichols’ “who’s afraid of virginia woolf? ” which starred elizabeth taylor and richard burton, then married, as an explosively espoused couple .
library of congress > news from the library of congress > 2013 > cinema with the right stuff marks 2013 national ...
adam davidson’s 10 - minute columbia university student film examines the partial erosion of haughty self - confidence when stranded outside one’s personal comfort zone. a woman has a slice - of - life, train - station chance encounter with a homeless man, and stumbles through several off - key reactions when they share a salad she believes is hers. winner of a 1990 student academy award, “the lunch date” stands out as a simple, yet effective, parable on the vicissitudes and pervasiveness of perception, race and stereotypes .
john travolta (academy award nominee) stars as the legendary mobster john gotti who was head of the largest and most powerful crime organization in north america, the gambino family. his ...
historians estimate that more than 250, 000 american teens were living on the road at the height of the great depression, criss - crossing the country risking life, limb and incarceration while hopping freight trains. william wellman’s “wild boys of the road” portrays these young adults as determined kids matching wits and strength in numbers with railroad detectives as they shuttle from city to city unable to find work. wellman’s “wild bill” persona is most evident in the action - packed train sequences. strong performances by the young actors, particularly frankie darrow, round out this exemplary model of the gritty “social conscience” dramas popularized by warner bros. in the early 1930s .
• social confrontation: the battle of michigan ave. shows one day’s events at the 1968 democratic convention including national guardsmen detaining protestors, mass arrests near grant park, and mayor daley cursing at opponents from the convention floor .
in the aftermath of a nuclear apocalypse, a man desperately seeks a cure for his comatose daughter, unaware that she is the last child on the planet and being sought after by a mysterious organisation. filmed in canberra !
no food or drinks (including bottled water) are permitted inside the theater .
after decades of product ascendancy, american automakers began facing stiff commercial and design challenges in the late 1970s and 1980s from foreign automakers, especially the japanese. michael moore’s controversial documentary chronicles the human toll and hemorrhaging of jobs caused by these upheavals, in this case the firing of 30, 000 autoworkers by general motors in moore’s hometown of flint, michigan. as a narrative structure, moore uses a comic device sometimes found in political campaign commercials, weaving a message around trying to find the person responsible for a wrong, in this case general motors chairman roger smith. “roger & me” is take - no - prisoners, advocacy documentary filmmaking, and moore makes no apologies for his brazen, in - your - face style—he would argue the situation demands it. the themes of unfairness, inequality and the unrealized attainment of the american dream resonate to this day, while the consequences of ferocious auto - sector competition continue, playing a key long - term role in the city of detroit’s recent filing for bankruptcy protection .
universally acknowledged as the preeminent figure in the development of modern dance and one of the most important artists of the 20th century, martha graham formed her own dance company in 1926. it became the longest continuously operating school of dance in america. with her company’s creation, graham codified her revolutionary new dance language soon to be dubbed the “graham technique. ” her innovations would go on to influence generations of future dancers and choreographers, including twyla tharp and merce cunningham. this quartet of films, all silent and all starring graham herself, document four of the artist’s most important early works. they are “heretic, ” with graham as an outcast denounced by puritans; “frontier, ” a solo piece celebrating western expansion and the american spirit; “lamentation, ” a solo piece about death and mourning; and “appalachian spring, ” a multi - character dance drama, the lyrical beauty of which is retained even without the aid of aaron copland’s famous and beloved music .
at three hours and 13 minutes, philip kaufman’s adaptation of tom wolfe’s novel is an epic right out of the golden age of hollywood, but thanks to its assortment of characters and human drama, it rarely drags. director / screenwriter kaufman ambitiously attempts to boldly go where few epics had gone before as he recounts the nascent space age. he takes elements of the traditional western, mashes them up with sophisticated satire and peppers the concoction with the occasional subversive joke. as a result, kaufman (inspired by wolfe) creates his own history, debunking a few myths as he creates new ones. at its heart, “the right stuff” is a tribute to the space program’s role in generating national pride and an indictment of media - fed hero worship. remarkable aerial sequences (created before the advent of cgi) and spot - on editing team up to deliver a movie that pushes the envelope .
• police power and freedom of assembly: the gregory march depicts a rally led by comedian and political activist dick gregory at the 1968 chicago democratic convention. this footage is included in american revolution ii .
in the dark heart of a sprawling, anonymous city, terminal follows the twisting tales of two assassins carrying out a sinister mission (max irons and dexter fletcher), a teacher battling ...
some of the most impressive first features are those that don’t appear to be first features at all – that, instead, seem like the work of a seasoned pro who commits fully to familiar material, and somehow reinvigorates clichés and conventions. “braven” marks the directorial debut of lin oeding, a ...
48 hour film contest 2018 – adults vs the youth: advance tickets $ 10: tuesday, july 31, 2018 @ 6: 30pm - - - - - - - - - - - - - - - - - - - - - - - - buy advance tickets for $ 10 online now until 11: 59pm monday, july 30th. directors will get 2 free tickets. - - - - - - - - - - - - - - - - - - - - - - - - join us at the metropolitan entertainment centre on tuesday, july 31, 2018 from 6: 00pm to 10: 00pm. the theatre will seat up to 600 people and all 28 films that were submitted will screen at this prestigious theatre. there will be an hour long youth program that will lead off and an hour long adult program that will conclude the night. see link for ticket purchase below ...
• cicero march follows a 1966 march in cicero, il led by robert lucas, chairman of the chicago branch of the congress of racial equality, and an associate of martin luther king, jr. , demanding the end of discriminatory employment practices engaged in by some of cicero’s principal employers. white inhabitants of cicero hurl insults at the african american demonstrators as police officers attempt to tamp down on threats of violence .
founded in 1800, the library of congress is the nation’s oldest federal cultural institution. it seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its vast collections, programs and exhibitions. many of the library’s rich resources can be accessed through its website at urltoken .
a sparkling example of a musical in the earliest days of two - color technicolor, “the king of jazz” is a fanciful revue of short skits, sight gags and musical numbers, all with orchestra leader paul whiteman—the self - proclaimed “king of jazz” — at the center. directed by john murray anderson and an uncredited paul fejos, it attempted to deliver “something for everyone” from a walter lantz cartoon for children to scantily - clad leggy dancers and contortionists for the male audience to the crooning of heartthrob bing crosby in his earliest screen appearance. “king of jazz” also featured an opulent production number of george gershwin' s “rhapsody in blue. ”
the silent films tapped for preservation are “daughter of dawn, ” featuring an all - native - american cast of comanches and kiowas; “a virtuous vamp, ” starring constance talmadge, from 1919; and the 1926 cinderella story, “ella cinders. ” the library of congress recently released a report that conclusively determined that 70 percent of the nation’s silent feature films have been lost forever and only 14 percent exist in their original 35 mm format .
claudette colbert, don ameche and john barrymore light up the screen in this mitchell leisen romantic comedy. liesen is often described as a “studio contract” director—a craftsman with no particular aesthetic vision or social agenda who is efficient, consistent, controlled, with occasional flashes of panache. leisen’s strength lay in his timing. he claimed he established the pace of a scene by varying the tone and cadence of his voice as he called “ready…right…action! ” this technique served to give the actors a proper “beat” for the individual shot. in addition to leisen’s timing, “midnight” also boasts a screenplay by the dynamic duo of billy wilder and charles brackett. hilarity ensues when penniless showgirl colbert impersonates a hungarian countess, aided by the aristocratic barrymore, until, despite her best efforts, she falls for a lowly taxi driver (ameche) —all this amidst a continental sumptuousness abundant in paramount pictures of that era. the staggering number of exceptional films released in 1939 has caused this little gem to be overlooked. however, in its day, the new york times called “midnight” “one of the liveliest, gayest, wittiest and naughtiest comedies of a long hard season. ” reportedly unhappy with leisen’s script changes, wilder found the motivation to assert more creative control by becoming a director himself .
edward albee’s 1962 stage triumph made a successful transfer to the screen in this adaption written by ernest lehman. the story of two warring couples and their alcohol - soaked evening of anger and exposed resentments stunned audiences with its frank, code - busting language and depictions of middle - class malaise - cum - rage. elizabeth taylor and richard burton—who were both academy award nominees for their work (with taylor winning) —each achieved career high - points in their respective roles as martha and george, an older couple who share their explosive evening opposite a younger husband and wife, portrayed by george segal and sandy dennis. “woolf’s” claustrophobic staging and stark black - and - white cinematography, created by haskell wexler, echoed its characters’ rawness and emotionalism. mike nichols began his auspicious screen directing career with this film, in which he was already examining the absurdities and brutality of modern life, themes that would become two of his career hallmarks .
please refer to the screening information pages for start times. double feature screenings are separated by a ten minute intermission .
find out all about our new home – a purpose - built cinema with all - new cinema - style seating and projection equipment – located in the heart of the anu' s new kambri precinct. due for completion in early 2019 !
looking glass is a psycho - sexual thriller following a couple that buys an old motel in the desert looking for a new beginning, but what seemed at first as an escape ...
a once abused woman, sadie (olivia wilde), ingeniously and ruthlessly helps victims get rid of their domestic abusers while hunting down the husband she must kill to truly be free... .
starring paul rudd, evangeline lilly, michael peña, walton goggins, hannah john - kamen with michelle pfeiffer, laurence fishburne and michael douglas. produced by kevin feige. directed by peyton reed. runtime 125 minutes. not yet rated. courtesy of walt disney pictures. presented in dolby vision and dolby atmos at the wolf theatre at the saban media center, north hollywood. rsvp is not required for this screening .
starring dwayne johnson, neve campbell, chin han, noah taylor, roland møller, bryon mann, pablo schreiber and hannah quinlivan. produced by beau flynn, dwayne johnson, rawson marshall thurber and hiram garcia. directed by rawson marshall thurber. runtime 109 minutes. rated pg - 13. courtesy of universal. presented in dolby vision and dolby atmos at the wolf theatre at the saban media center, north hollywood. rsvp is not required for this screening .
get your new entertainment books for 2018 / 19, with each book or digital membership packed with thousands of offers for the best local restaurants, cafés, shopping, attractions, travel, accommodation and more. all for just $ 60 !
starring christine baranski, pierce brosnan, dominic cooper, colin firth, andy garcia, lily james, amanda seyfried, stellan skarsgård, julie walters, alexa davies, josh dylan, jeremy irvine, hugh skinner and jessica keenan wynn, with cher and meryl streep. produced by judy craymer and gary goetzman. directed by ol parker. runtime 114 minutes. rated pg - 13. courtesy of universal. presented in dolby vision and dolby atmos at the wolf theatre at the saban media center, north hollywood. rsvp is not required for this screening .
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• black moderates and black militants documents a meeting between chicago black panther members, including future congressman bobby rush, and an african american school principal .
a crime action thriller about two evil cops who discover a strangely hidden safe guarded by a gang, filled with mysterious contents. little do they know that their lust for...
the film group was a chicago commercial film production company that made television commercials and political documentaries in the late 1960s and early 1970s . filmmakers associated with the film group include mike gray , william cottle , howard alk , mike shea , and chuck olin . the majority of their films reside at chicago film archives within the film group collection and chuck olin collection . over its approximately ten-year existence from 1964-1973 the company went through a variety of name , location , and personnel changes . mike gray and lars hedman created hedman gray inc. in 1964 and were located at hedman ’s photography studio on 3325 west huron in chicago , illinois . in early 1966 they added photographer mike shea . they changed the name of the company to hedman gray shea inc. and opened an 11,000 square foot state of the art production facility at 430 west grant place and soon after changed their name to the film group . at that point hedman was the president , shea was the director of photography , and gray was the writer/producer . right after the move to grant place they hired james dennett as a production manager , william cottle as the business manager and financial backer , and chuck olin as salesman . hedman left the company by the end of 1966 and shea left in 1967 . gray then took over as cameraman . cottle left in 1969 and the company changed its name to mike gray associates and moved to 120 west kinzie . the company was dissolved in 1973 with gray ’s move to california . from 1965 to 1972 they made tv commercials for national and local clients including eli lily , montclair cigarettes , hills bros coffees , mogen david , sara lee , wbib tv , aunt jemima , blue cross blue shield , illinois bell , quaker oats , chicago tribune , kentucky fried chicken , and sears . they also made longer sponsored films for clients that are closer to their documentary work including a matter of opportunity ( 1970 ) and 8 flags for 99 cents ( 1970 ) . their documentary films include the two features - american revolution ii ( 1969 ) and the murder of fred hampton ( 1971 ) . the two films are closely related and document the unrest of the 1968 democratic national convention , follow the chicago chapter of the black panthers , and refute the city of chicago ’s media cover up of fred hampton ’s death . in 1969 they released a seven part educational film series urban crisis and the new militants in an attempt to update the educational film genre . this series includes the 1966 film cicero march , which was added to the national film registry in 2013 . 
the film group was a chicago commercial film production company that made television commercials and political documentaries in the late 1960s and early 1970s. filmmakers associated with the film group include mike gray, william cottle, howard alk, mike shea, and chuck olin. the majority of their films reside at chicago film archives within the film group collection and chuck olin collection. over its approximately ten-year existence from 1964-1973 the company went through a variety of name, location, and personnel changes. mike gray and lars hedman created hedman gray inc. in 1964 and were located at hedman ’s photography studio on 3325 west huron in chicago, illinois. in early 1966 they added photographer mike shea. they changed the name of the company to hedman gray shea inc. and opened an 11,000 square foot state of the art production facility at 430 west grant place and soon after changed their name to the film group. at that point hedman was the president, shea was the director of photography, and gray was the writer/producer. right after the move to grant place they hired james dennett as a production manager, william cottle as the business manager and financial backer, and chuck olin as salesman. hedman left the company by the end of 1966 and shea left in 1967. gray then took over as cameraman. cottle left in 1969 and the company changed its name to mike gray associates and moved to 120 west kinzie. the company was dissolved in 1973 with gray ’s move to california. from 1965 to 1972 they made tv commercials for national and local clients including eli lily, montclair cigarettes, hills bros coffees, mogen david, sara lee, wbib tv, aunt jemima, blue cross blue shield, illinois bell, quaker oats, chicago tribune, kentucky fried chicken, and sears. they also made longer sponsored films for clients that are closer to their documentary work including a matter of opportunity (1970) and 8 flags for 99 cents (1970). their documentary films include the two features - american revolution ii (1969) and the murder of fred hampton (1971). the two films are closely related and document the unrest of the 1968 democratic national convention, follow the chicago chapter of the black panthers, and refute the city of chicago ’s media cover up of fred hampton ’s death. in 1969 they released a seven part educational film series urban crisis and the new militants in an attempt to update the educational film genre. this series includes the 1966 film cicero march, which was added to the national film registry in 2013.
the film group was a chicago commercial film production company that made television commercials and political documentaries in the late 1960s and early 1970s. filmmakers associated with the film group include mike gray, william cottle, howard alk, mike shea, and chuck olin. the majority of their films reside at chicago film archives within the film group collection and chuck olin collection. over its approximately ten-year existence from 1964-1973 the company went through a variety of name, location, and personnel changes. mike gray and lars hedman created hedman gray inc. in 1964 and were located at hedman ’s photography studio on 3325 west huron in chicago, illinois. in early 1966 they added photographer mike shea. they changed the name of the company to hedman gray shea inc. and opened an 11,000 square foot state of the art production facility at 430 west grant place and soon after changed their name to the film group. at that point hedman was the president, shea was the director of photography, and gray was the writer/producer. right after the move to grant place they hired james dennett as a production manager, william cottle as the business manager and financial backer, and chuck olin as salesman. hedman left the company by the end of 1966 and shea left in 1967. gray then took over as cameraman. cottle left in 1969 and the company changed its name to mike gray associates and moved to 120 west kinzie. the company was dissolved in 1973 with gray ’s move to california. from 1965 to 1972 they made tv commercials for national and local clients including eli lily, montclair cigarettes, hills bros coffees, mogen david, sara lee, wbib tv, aunt jemima, blue cross blue shield, illinois bell, quaker oats, chicago tribune, kentucky fried chicken, and sears. they also made longer sponsored films for clients that are closer to their documentary work including a matter of opportunity (1970) and 8 flags for 99 cents (1970). their documentary films include the two features - american revolution ii (1969) and the murder of fred hampton (1971). the two films are closely related and document the unrest of the 1968 democratic national convention, follow the chicago chapter of the black panthers, and refute the city of chicago ’s media cover up of fred hampton ’s death. in 1969 they released a seven part educational film series urban crisis and the new militants in an attempt to update the educational film genre. this series includes the 1966 film cicero march, which was added to the national film registry in 2013.