atom bomb ( film )
these illustrations by atom bomb survivors are a chilling reminder of the visceral power of visual storytelling .
free wallpapers download of atom bomb movie, hero, heroine, etc is available in our gallery section .
the decision to drop the atom bomb, the secrecy surrounding the mission, and the men who flew it .
we do not sell pirated atom bomb dvds & vcds. we recommend you to buy movies of original dvd & vcd .
two escaped killers take hostages and hide in a nevada mining ghost town knowing that an atom bomb is scheduled to be tested there the next morning .
haseena atom bomb (pashto film) exclusively on hi - tech pakistani films star cast: badar munir, masarat shaheen, tariq shah, b. bakht, shahnaz & many more... watch full movies & dramas on hi - tech pakistani films subscribe - urltoken keep up with hi - tech music ltd on facebook - urltoken twitter - urltoken website - urltoken subscribe - urltoken haseena atom bomb (pashto film) badar munir, masarat shaheen & tariq shah - official classic film
it began innocently enough. in 1938, two german chemists accidentally discovered how to split the nucleus of the uranium atom: nuclear fission. einstein’s e = mc2 equation predicted that the amount of energy released from just one atom would be enormous .
after collecting dust in high - security vaults for more than 65 years, the united states has declassified hundreds of reels of film showing cold war nuclear bomb tests .
after 35 years in a bomb shelter, adam webber is finally going outside to play .
after collecting dust in high - security vaults for more than 65 years, hundreds of reels of film showing cold war nuclear bomb tests have been declassified by the united states .
the bomb, created by filmmaker smriti keshari and author eric schlosser, premieres saturday april 23 at the tribeca film festival in new york city. the film will be projected on floor - to - ceiling screens surrounding the audience in 360 degrees, while a live band plays the film' s soundtrack live in the center of the space. the idea is to break away from traditional linear viewing to put the audience
inside
the film, creating a more impactful, visceral way to experience the story of the nuclear bomb .
we witness the united states navy relocating'' the friendly natives'' of bikini atoll in preparation for further bomb - testing, hear a congressman call for the use of the bomb during the korean war, and watch - again in a government training film - the members of a happy, middle - class american family repairing to their bomb shelter fitted with a periscope .
set against the backdrop of pre - atom - bomb hiroshima, the japanese animated film “in this corner of the world” proceeds under the dreadful weight of what is to come, as the calm of everyday life — carried out by ordinary civilians and rendered in bright colors — eventually gives way to air raid sirens. directed by sunao katabuchi, the film is deceptive, keeping its exact message obscure until its final minutes .
col. paul tibbetts piloted the plane that dropped the atomic bomb on hiroshima in world war 2 .
search for
dr. strangelove or: how i learned to stop worrying and love the bomb
on urltoken
the woodie station wagon driven by sam hurley has a desert water bag on the front bumper. the bag is missing in the exterior shot of the car just after larry fleming informs hurley about the atom bomb test. in the next shot the bag is back on the bumper .
the film was made of nitrate cellulose, an organic material that, when decomposing, smelled like vinegar .
the last bomb - u. s. army air force, b - 29 raids on japan, wwii 3357 2205
as terrifying as it is beautiful, crossroads represents the detonation of a nuclear weapon with a yield equivalent to around 23, 000 tons of tnt (the same as the atom bomb dropped on nagasaki) ninety feet below the surface of the ocean, under a fleet of abandoned naval ships floating in disrepair—test subjects for the bomb’s destructive powers. almost in direct contrast to the rapid - fire blasts at the end of dr. strangelove, conner’s film presents the test in its original film speed and from various angles, so that the viewer can experience—fifteen times over the course of thirty - six minutes—an almost mesmerizing sense of doom .
bomb magazine has been publishing conversations between artists of all disciplines since 1981. bomb’s founders—new york city artists and writers—decided to publish dialogues that reflected the way practitioners spoke about their work among themselves. today, bomb is a nonprofit, multi - platform publishing house that creates, disseminates, and preserves artist - generated content from interviews to artists’ essays to new literature. bomb includes a quarterly print magazine, a daily online publication, and a digital archive of its previously published content from 1981 onward .
sam hurley ,
nation' s no. 1 killer
with a cold contempt for
heroes ,
escapes prison with two companions and takes a mixed bag of hostages to nevada ghost town lost hope city. he knows they won' t be found there because an atom - bomb test is planned for next morning! relationships shift and tension builds as hurley keeps the others in suspense as to whether he will let them escape before bomb time .
there' s no voiceover and next to no conversation, a testament to the power of visuals to tell a story. the film uses archival footage, animations, and brilliant aesthetics to tell the story, but what struck me were the drawings made by atom bomb survivors shown about halfway through the documentary. the music stops, everything goes black, and a minute later the illustrations appear on the screen backdropped by silence. it' s chilling .
, who was having an affair with kelly and would later marry him. kelly' s next film after this one was
form, montage and mesmerizing kinetics propel this experimental meditation on the destructive power of the nuclear bomb, featuring music by the acid .
the enola gay that dropped the bomb on hiroshima was a plane that was stripped of all armor and machine guns to lighten it so that it could carry the heavy payload of the first atomic bomb. in more than one scene the enola gay, on its final mission to drop the bomb shows a top turret with obvious machine guns mounted - in other scenes the plane is shown correctly as unarmed .
we hear from scientists, weapons designers, pilots who dropped nuclear bombs, former secretaries of defense and state who wrestled with the bomb’s impact on international diplomacy, witnesses to nuclear explosions, historians, and ordinary men and women who have lived and worked with the bomb .
janet cardiff and george bures miller, the paradise institute (film still), 2001, audio, video, mixed media .
with a tip of the old conelrad fedora, then, this page gratefully acknowledges a great film, soundtrack, and book .
seventy years after the cold war, the threat of the atomic age is greater than ever. nine countries have stockpiles of nuclear weapons thousands deep and more powerful than the atom bomb that hit hiroshima in 1945. yet the horrors of nuclear warfare are no longer at the forefront of the public consciousness—a troubling amnesia that art has the power to change .
atom egoyan i often find it discouraging that no matter how radically a film may experiment with form, structure and visual texture, it’s ultimately presented to the viewer in an extremely formulaic way: on a projection screen or monitor. one of the things that excites me about your work is that you take your dramatic narratives off the screen and into streets and gardens. your characters occupy our physical space. the degree of interaction is profoundly respectful, yet extremely invasive. have we outgrown film and television screens ?
a wonderful tie - in book to the film featuring some of the remarkable images from this nation' s atomic heritage. some great photographs include the original
atomic café
sign as well as an odd picture of a man getting into a box labeled
atomic bomb protective device .
the
it is clear that kevin rafferty, jayne loader and pierce rafferty, who spent five years gathering material for this film, believe that even if the detonation of an a - bomb is one of the most beautiful sights ever seen by man it may also be man' s last sight of anything .
physicists all over the world immediately realized that fission might make a bomb of extraordinary power — and that nazi germany might be capable of creating one. the fear of adolph hitler getting a nuclear weapon led to a race to deter him by developing such a bomb first. thus began a chain of events that would lead inexorably to hiroshima, the nuclear arms race, the hydrogen bomb, the cuban missile crisis and some of the greatest fear and tension ever in world history .
the mind - bending climax of the episode intertwines images of the “got a light? ” guy invading the radio station and crushing employees’ skulls with shots of a hideous frog - cockroach hybrid, seemingly hatched from an egg on the nuked salt flats of new mexico. both narratives of creeping violence have the feel of a curse being visited upon a society that tacitly condoned one of history’s greatest sins, nodding to a rich tradition of post–world war ii science - fiction cinema in which monsters birthed by atom bomb tests (and other scientific or military experiments that were essentially stand - ins for atom bomb tests) menaced teenagers and their adult guardians in norman rockwellian small towns and suburbs. the final section is also redolent of william butler yeats’s much - quoted poem “ the second coming, ” which ends with :
adam weber is the child of an eccentric inventor and his wife. following a bomb scare in the 1960s that locked the webers in their bomb shelter for 35 years, adam weber must venture out into los angeles and obtain food and supplies for his family. he meets eve, who reluctantly agrees to help him out .
greg spriggs, a weapon physicist at llnl and head of the project said when they got their hands on the film they could smell it wasting away .
the film’s tension, in part, arises from the question of whether its characters are innocent or willfully ignorant. at times, suzu seems overly naive, as when she and harumi casually catalogue warships in the harbor. slowly, the mood of the film shifts, underscored by the percussion of distant bombs .
greg spriggs, a weapon physicist at llnl and head of the project, said when they got their hands on the film they could smell it wasting away .
over the past four decades, tony conrad’s legendary work in minimalist music, experimental film and video, has been seminal in the development of those art forms .
the atomic cafe, documentary, produced and directed by kevin rafferty, jayne loader and pierce rafferty; edited by miss loader and kevin rafferty; music coordinator, rick eaker; distributed by the archives project inc. running time: 88 minutes. this film is not rated. at the film forum, 57 watts street .
bomb songs expressed people’s political hopes and fears, their religion, and even their sexual fantasies. people boogied with the bomb, and they prayed with the bomb. here is a cross - section of the best of that music, interspersed with short documentary news clips from the time. it is a reflection of an earlier, more innocent america trying to come to grips with the new atomic era. just as important, it is a collection of seldom - heard vintage music which remains exciting and dynamic today .
in 1974, the japan broadcasting corporation (nhk) started collecting paintings and drawings from people who had lived through the atomic bombings and exhibited them the following year in hiroshima. a few of these haunting drawings are shown in a new experimental documentary film, the bomb, an immersive multimedia depiction of the story of nuclear weapons. the film aims to do what the survivor artwork exhibition did in 1974: provide a new window through which to experience the horror of nuclear warfare, to make sure it' s not forgotten .
what a wonderful film !
blast from the past
is charming, sweet, and hilarious. very funny. the premise is original and interesting, and i thought the film was engrossing and thoroughly entertaining - - i laughed out loud several times. brendan fraser is perfectly cast as the goofy, innocent adam. alicia silverstone is better than she' s ever been, i' m certainly no fan of her, but she did a more than okay job in this film. but the really ingenious casting decision was to give the roles of adam' s parents to sissy spacek and the always brilliant christopher walken - - i dare say that the casting of spacek and walken in this film is the _ opposite _ of type casting, : -). i really, really liked this film because it is genuinely entertaining, and it is never boring. brilliant comedy in other words. (8 / 10 )
or, to paraphrase the philosophy expressed in song in a walt disney film,'' nothing is so awful that wishing won' t make it seem not so bad.''
the pieces shown in the film are part of a larger collection of survivor artwork kept at the hiroshima peace memorial museum in japan, which gave motherboard permission to republish the selections below .
whispering room was an experience of installation art as a forum for dramatic storytelling. it made me feel inspired, and at the same time frustrated by the constrictions of traditional film practice .
the other huge attraction to using preexisting footage is that you don’t have to deal with the political structure of film production. the reason i find myself so interested in installation work these days is that it allows me to address the more formal aspects of my work without needing to explain to distributors why masses of people would want to see something. you mentioned an earlier film of mine ,
katabuchi does not shy away from horrific war imagery, ending the film with a heartbreaking coda. but by focusing on suzu’s ordinary life before the war, he gives her fate a universal resonance .
no less than the discovery of fire, the bomb marks a dividing line in human history between all that came before it, and everything that follows. for the first time, humans acquired the ability to destroy themselves, and we are still struggling to learn how to live with this awesome power. decades after it first appeared, the bomb has receded in the public consciousness — but it continues to shape our lives .
these are some of the components of'' the atomic cafe,'' a devastating collage - film that examines official and unofficial united states attitudes toward the atomic age in the years immediately after world war ii. the film, which opens today at the film forum and deserves national attention, begins with the first successful a - test at alamogordo, n. m. , and goes on to include president harry s truman' s triumphant announcement of the atomic bombing of hiroshima, when he pledges that the weapon will be used'' in his ways and to his purposes.''
the screenplay title is incorrectly spelled. it reads:' base' on the book
red alert
by peter george. this is pointed out on the dvd supplement about the making of the film .
after two radio comedians make jokes about hiroshima -'' it looked like ebbetts field after a doubleheader with the giants'' - we see newsreels of hiroshima survivors. united states public figures are confident that god gave the bomb to americans because americans love democracy, until the soviet union detonates its own bomb. a southern california shopping - center owner sponsors a nuclear defense drill because'' shopping centers are an expression of the free world.''
two plump school girls proudly if self - consciously display the bomb - shelter provisions they made in their home - economics class: a dozen one - quart mason jars filled with dehydrated potatoes, deyhdrated milk, vegetables and dried fruit .
annually, bomb serves 1. 5 million online readers––44% of whom are under 30 years of age––through its free and searchable archive and bomb daily, a virtual hub where a diverse cohort of artists and writers explore the creative process within a community of their peers and mentors. the oral history project, which is an online series of comprehensive interviews with new york city’s african - american visual artists, offers readers a treasury of artistic, historical, and cultural critique .
the idea for this unique and innovative documentary began in a san francisco bookstore in 1976 when one of the film' s co - producers (pierce rafferty) found a thick catalogue of u. s. government films. that same day rafferty envisioned a project that would utilize some of these titles to create a satirical documentary on the subject of american propaganda. the concept of crafting a visual montage out of long forgotten government training movies took six years and $ 300, 000 to finally be realized on the screen in 1982. along the way rafferty enlisted his brother, kevin, and shortly thereafter, new york film teacher jayne loader to join him in making the film .
the program recounts the bomb’s history, as well as the successes, failures and moral dilemmas of the personalities who created it. we learn how it was developed and how it quickly changed everything, from international relations to politics, culture, even sex .
'' one of the most beautiful sights ever seen by man'' is the way one enthusiastic united states army chaplain describes the detonation of an atomic bomb, an event about to be witnessed for the first time by his men in the nevada desert .
—atom egoyan is an acclaimed writer and director. his most recent films include exotica, the sweet hereafter, felicia’s journey, and a screen adaptation of samuel beckett’s krapp’s last tape. he has also written and directed the operatic works salome, elsewhereless, and dr. ox’s experiment. egoyan has received five genies, the grand prix and the international critics’ award at cannes and two academy award nominations. he lives in toronto .
the bomb
explores how what started as simple scientific curiosity ultimately resulted in a weapon capable of ending civilization. the invention, says historian richard rhodes, “was a millennial change in human history: for the first time, we were now capable of our own destruction, as a species. ”
dennis hopper credited bruce conner with inventing the music video, and bruce jenkins, the former director of the harvard film archive, once wrote, “what the cubists wreaked on painting... conner inflicted on cinema itself. ” for every iconoclastic film that the renegade west coast artist made before his death in 2008, there are sculptures, collages, paintings, and drawings, too. simply put, if you’re not yet familiar with conner’s work, now’s the time for an introduction—well ahead of the retrospective that moma and sfmoma are rumored to be jointly planning for next year .
at the film' s premiere, artwork inspired by the threat of nuclear weapons will also be on display by contemporary artists. the images and artists' statements below also aim to spark a conversation and raise awareness about the reality of nuclear warfare today. the entire collection can be viewed at urltoken .
an artist whose sense of nihilism was as highly developed as his sense of beauty, conner never made work that was easy or decorative, which is one reason the west coast resident never achieved the commercial success of his pop contemporaries in new york. fortunately, the importance of his work has become more widely recognized of late. on saturday, conner’s longtime dealer, michael kohn, is opening an exhibition of his drawings and crossroads, which was recently restored by the ucla film & television archive. until then, you can preview the film in the exclusive clip below. i’d say, “enjoy, ” but that’s not really the point .
burt the turtle, a cheerful cartoon character in a training film for children, demonstrates how he ducks and safely covers himself inside his shell whenever a firecracker explodes nearby - in this way to train children to crawl under their desks and hide their eyes as soon as they see the bright light of an a - blast .
is ultimately a post - modern masterpiece that is different from any documentary that came before it or has been released since. one of the reasons the film is such an artistic success is because the filmmakers were daring enough to eschew narration and rely solely on their source footage. this footage - edited for maximum irony and backed by a phenomenal soundtrack - evolved into a completely fresh and original work. and with the reagan administration' s re - energized arms race in full swing (with complimentary plans for
continuity of government
), the film achieved currency with its wicked satire of truman / eisenhower era designs for winning world war iii .
several times during the film, when the b52 is shown in flight from the side, even though the camera angle
pans
with the aircraft when banking (turning), there is no change in the angle or geography of the scenery on the background plate footage - it still looks as if the plane were in straight level flight .
i’m going to concentrate on the meaning of the atomic bomb here, mainly because i’m so dazzled by it that i can’t mount a coherent response to the rest of the episode, a largely black - and - white trip into painterly horror that feels, even more so than in the show’s first few episodes, that lynch has come full circle to his roots as a primarily experimental filmmaker .
actually, as soon as george bures miller, my collaborator, and i started to build it we intended to have our friends over to the studio to watch our favorite movies in our “own” theater but then time ran out before it had to be shipped to venice. i hope some day we’ll have a house big enough to do that. we could show your film ,
we’re used to seeing big battle scenes in the show. what did you want to do to distinguish this one? i started by trying to focus on whose point of view i wanted to prioritize, because there are a lot of points of view in it. you see tyrion’s point of view, you see daenerys, you see jaime, bronn. and i also decided with jaime and bronn to focus on what it was like to be the man on the ground in the middle of a dragon attack. we rooted for daenerys as she burned slavers in meereen from the sky. we’ve been with her in sort of heroic moments with the dragons. but we’ve never been in a battle between two people that we love and are rooting for, and i wanted to see what it was like for those men on the ground when war changed forever, when traditional fighting goes out the window because of a giant weapon like napalm or even an atom bomb is suddenly introduced and what that sort of horror is like on the ground .
( the film, the soundtrack and the tie - in book) as it was a major inspiration to our drive to plumb the depths of atomic culture and start this site. therefore, if we ever do find
fallout shelter ,
a copy will be shipped to ms. loader immediately. [ update: in november of 2003 conelrad tracked down the elusive (and amazing )
in another training film mr. average man goes to a doctor who diagnoses the patient' s illness as'' nuclearosis,'' the symptoms of which are undue worry about nuclear war. after all, the doctor points out, using appropriate charts, it is absurd that 85 percent of the population should be so fearful when only 15 percent would be killed in an all - out nuclear war .
younger brother who died while vomiting blood ,
created by masato yamashita. atsumu yamashita was exposed to the bomb while doing building demolition work in dohashi. he returned to his home on august 20th. on around the 25th, he came down with a nosebleed, his hair fell out, and small red spots appeared all over his body. on the 31st, he died while vomiting blood. image courtesy of hiroshima peace memorial museum .
the film, remarkably well edited by miss loader and kevin rafferty, touches a lot of bases, including the cold war, washington' s efforts to root communists out of government in the 50' s, the trial of julius and ethel rosenberg, as well as a brief clip in which the late bob considine describes mrs. rosenberg' s electrocution in graphic detail, with his own patriotic sentiments added .
it’s difficult to express my excitement in this room. i had the sensation of being in the middle of a film that was still being formulated; that was still in someone else’s mind. i was completely overwhelmed by the collision of technological artifacts—speakers, projectors, lights, wires—and narrative abstraction. i found myself drifting through the emotional residue of a personal trauma that was both immediate and distant, visceral yet disembodied .
one of the few public figures who seems to take the peril seriously in'' the atomic cafe'' is president dwight d. eisenhower, shown in a clip of a speech in which he stresses that science has'' outrun'' our social, political and intellectual institutions. it is the feeling of the film makers that ike, who is not often credited with foresight, is even more right today than he was then .
last night for the second time in a small theater here in berlin. it wasn’t as good as the first time (which was in a better cinema) because the sound system was deficient. it really showed me how much the film gets influenced by the soundtrack. one thing about presentations in the art world is that if you want to you can totally control how your piece will be viewed, which speakers you will use, et cetera. some artists don’t really care about the final presentation but it is super important to george and me. there is a lot of freedom in the art world and a lot of openness to alternative approaches to cinematic pieces, but i think for some artists, including myself, the attraction to the film world is about getting access to a larger audience and even more than that, the poetics of the space. cinemas, especially the larger ones, are just
the episode is filled with figures and creatures that seemed to have slithered out of primordial ooze even as their appearance is accompanied by electronic or electrical distortion noises (notably, david lynch serves as his own sound designer on this series). the post - bomb sequences feel like a nightmare of eisenhower / kennedy–era american hypocrisy, with the proverbial chickens of the atomic age coming home to roost via a series of invasive and brutal acts, perpetrated against oblivious americans in small town or suburban settings. (speaking of chickens: see eraserhead ’s chicken baby .) they’re just going about their business, working in soda shops and enjoying innocent dates and broadcasting songs at a podunk radio station, while unbeknownst to them a hideous evil unleashed by the bomb is secretly creeping up on them, preparing to squeeze the blood and brains from their heads, crawl inside their sleeping mouths, or (in the case of the coffee - shop waitress) knock them unconscious with lynchian record - skip noises and incantations broadcast over the same airwaves that previously offered golden oldies .
your description of the theater—an openness to wonder and suspension—i love that. in several cyberpunk novels there are perfect devices that block out the world completely so that you jack into a virtual world, even your senses collaborating on this level. i think contemporary cinema is one stage of a long journey in which people have been attempting to create virtual worlds. i guess it started with cave drawings and continued through linear perspective in renaissance paintings, then into photography and film. i think my video walks and installation pieces are a continuation of this obsession .
i love you so
by francesco vullo.'' i love you so'' tells the story of a needed love between a man and a weapon. a love worth thousands of lives. the artwork is a remake of the iconic picture (v - j day in times square, by alfred eisenstaedt 1945) showing the other face of war: indifference. taking a closer look at the depersonalization of the individuals in today' s society. the piece' s sense can be summarized by dr. strangelove' s claim :
how i learned to stop worrying and love the bomb .
we wanted the paradise institute to be about the whole experience of the cinema including the background noise in the balcony, audience comments, et cetera. it’s about undermining what people expect to see at a film and also undermining ourselves as filmmakers in a comedic way. for example, in the intimate scene with the nurse kissing the bound patient, when someone behind you (on the soundtrack) jokes “that’s excellent nursing, ” it pokes fun at the film but we’re also in on the joke. it comes back to what we were saying about format as well. people really don’t want the format disturbed. this is what john cage did, he frustrated people’s attachment to the established consensus of what music was. as a culture we are used to agreeing to be silent when listening to a film, agreeing as a whole audience that it’s not appropriate for other audience members to spontaneously start singing or making comments out loud (unless it’s the rocky horror picture show). i’ve heard that this isn’t true in all cultures, that in some italian movie houses there is a lot of commenting and noise. in playhouse, which is a similar piece only with a single opera singer onstage and one viewer in the balcony, people get really annoyed because i have the audience laugh at the singer for no apparent reason. i also mix a filmic detective plot into an operatic setting. these things really make many people uncomfortable; they feel bad for the singer being laughed at, they feel cheated when there is no suitcase under the chair when the character beside them has said there is. one viewer told me that when she found herself seated in an opera house in her street clothes she felt annoyed because she was underdressed. i think this all means that we take our play very seriously .
janet cardiff i don’t think so. you could compare it to the longevity of the painting format. it’s a perfect “window” to escape into. the framing becomes invisible so you can see the message or the film without being sidetracked by an experimental format. however i agree that we’re in a time of change—there are all these crossovers now from filmmakers like yourself and artists like myself. also, i think some of the audience is open to new stuff, because we’re a society accustomed to interacting much more than an audience of 30 years ago. for my work i do push the format; there is more of an immersing experience for the audience. with the audio walks i want people to be inside the filmic experience and have the real physical world as the constantly changing visuals of the screen. every person will have a different experience of the piece depending on what happens around them or where and when they walk. i want the pieces to be disconcerting in several ways, so that the audience can’t just forget about their bodies for the duration of their involvement like we do in a film. but please don’t take away that flickering screen and those comfy seats, it’s nice to just relax and escape sometimes .
i think we are. it must be amusing to you as a filmmaker to see artists playing with films as if they were raw collage material. in the last decade artists and curators have had such a love affair with the cinema—not so much as producers, but as educated viewers creating a type of didactic intervention. it’s about stealing beauty under the guise of deconstruction. the filmic investigations that interest me have been ones such as steve mcqueen’s film that replicated the falling house from buster keaton. that’s about really paying homage to keaton but also about mcqueen having the guts to put himself in the precarious position of the filmmaker .
at the venice biennale, there was a huge line of people waiting to get inside. when you’re in the next group of 15 to get in, you’re put into a roped - off “vip” section, where you get to feel that you’ve finally made it. then, as you enter the installation, you’re led to the last row of the balcony, which is the worst seat in the house! there’s a wonderful play between the contrast of privilege, marginalization and hierarchy that accompanies film events. did you completely plan the outside part of the pavilion experience? could you anticipate that the work was going to be so popular ?
a very good place to begin would be with crossroads, the 36 - minute film conner made in 1976 out of archival footage of the first tests of nuclear weapons conducted at bikini atoll in the summer of 1946. (code name: operation crossroads .) one of the most thoroughly documented events in history—one estimate puts roughly half the available celluloid on the planet in bikini atoll for the occasion—the extraordinary experiment has turned up in many pop cultural moments over the past seventy years, including the final scene of stanley kubrick’s dr. strangelove and michael jackson’s video for “man in the mirror. ” but no other compilation of the footage is as creatively conceived as crossroads .
the story of colonel paul tibbets, the pilot of the enola gay, the bomber that dropped the atomic bomb on hiroshima. although unaware of the full potential of this new weapon, he knows that it is capable of doing tremendously more damage than any other weapon used before, and that the death toll resulting from it will be enormous. he is reluctant to be the person who will end so many lives, but if using it may bring an end to the war, then not doing so may result in even more lives being lost in continued ground assaults as the fighting goes on. at the same time, the intense secrecy surrounding this mission leaves him with no one he can express his thoughts and doubts to, not even his wife. as time goes on, the pressure upon him only increase .
yes and no. getting back to the idea of home theaters, the sound quality you can get in your basement with a decent surround system is amazing. i completely agree that sound is an essential element of film projection, and that a lot of repertory cinemas have inferior sound. but there’s nothing more annoying than being in a first - run theater and listening to the ambient sound of people eating popcorn, or whispering to themselves. you deal with this phenomenon in your work. it’s amazing how you allow discrepant noise to infiltrate your track. do you actually find yourself listening to other audience members when you’re watching a movie—allowing that to become part of your sonic experience in a john cage sort of way—or do you find extraneous noise as irritating as i do ?
george and i never thought of using pre - existing footage. we had to shoot our own not only because that’s what we’re interested in but because the piece was a 3 - d narrative experience. the film was just one element written into the script. part of the story was the audio that went on around the listener and the relationship of the wooden structure to the content of the video and audio. one of my favorite parts is when it appears that people are banging on the outside of the structure itself and it makes the audience physically paranoid, as well as affecting the interpretation of the image on screen. after producing it, i have to say our respect for filmmakers went way up. sometimes i think the real reason some artists use preexisting stuff is that it’s way easier than shooting it yourself .
people falling
by peter wieben. the first nuclear bomb was tested in 1945. after witnessing the test, j. robert oppenheimer said he was reminded of the words from the bhagavad gita :
now i am become death, the destroyer of worlds .
in this scene, krishna is speaking to arjuna. he has just shown arjuna a vision of truth. all of the people of the world, past and future, are falling helplessly into krishna' s mouth. the mouth is on fire, and as large as the sky. there are thousands of teeth, and everything the people know crashes into the teeth and is completely destroyed. i have drawn a small number of people out of what would have been billions. when arjuna sees this vision he falls on the ground and he tells krishna that while this vision was intended to teach him something, it has taken all of his courage, and all of his peace .
in much the same way, most commercial films are “didactic tours” through different genres and formulas. i used to feel that sitting in a cinema when the theater darkened and the screen lit up was to be in the presence of magic. psychological and environmental factors could combine to create an openness to wonder and suggestion, what amos vogel called an “unlocking of the unconscious. ” the cinema could be “a shrine at which modern rituals rooted in atavistic memories and subconscious desires are acted out in darkness and seclusion from the outer world. ” this seems a far cry from the experience most people have in modern multiplex screenings. the problem seems to be that it is almost impossible to forget where you are. there is a peripheral ambient light in most of these places, the overwhelming presence of commercial enterprise. the film experience should be physically total, isolating and hallucinatory. is this only possible in a contemporary gallery setting ?
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most anticipated indian movies and shows
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lakeith stanfield and his sorry to bother you crew reveal their most soul - crushing jobs in our freewheeling interview .
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from 1945 to 1962, the united states detonated more than 210 nuclear bombs, with multiple cameras capturing each explosion at around 2, 400 frames per second .
for decades, about 10, 000 of these films have been locked away, sitting idle, scattered across the us in high - security vaults. until now .
a team from the lawrence livermore national laboratory (llnl) has worked for the last five years on finding, declassifying and preserving the films' content before it was lost forever .
it is made of nitrate cellulose, an organic material that, when decomposes, smells like vinegar .
you can smell vinegar when you open the cans ,
mr spriggs said in a youtube video .
they' re made out of organic material, and organic material decomposes. so this is it. we got to this project just in time to save the data .
according to the llnl, the goal of the recovery was to provide better data to the post - testing - era scientists who use computer codes to help certify that the ageing us nuclear deterrent remains safe, secure and effective .
mr spriggs does not want nuclear weapons to be used and believes the key to ensuring that is to make sure the films act as an effective deterrent .
it' s just unbelievable how much energy' s released ,
he said .
we hope that we would never have to use a nuclear weapon ever again .
i think that if we capture the history of this and show what the force of these weapons are and how much devastation they can wreak, then maybe people will be reluctant to use them .
he estimates it will take another two years to scan the rest of the films, and longer to complete the analysis and declassification .
to date, the team has located around 6, 500 of the estimated 10, 000 films created during atmospheric testing .
around 4, 200 films have been scanned, 400 to 500 have been reanalysed and around 750 have been declassified .
even more exciting, the public can now watch some of these declassified films on the llnl' s youtube playlist .
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we' ve ranked the top 50 wimbledon players over the last 50 years .
peter sagan is a triple world champion and the most charismatic rider in professional road cycling. he is now the leader of the 2018 tour de france, writes rob arnold .
could you bring yourself to support england? are the french or belgians more your cup of tea? we want to know who your pick is to take out the 2018 world cup title .
the beautiful game has shown an ugly side in russia, with the treatment of the referees coming into sharp focus .
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from 1945 to 1962, the us detonated more than 210 nuclear bombs, with multiple cameras capturing each explosion at about 2400 frames per second .
for decades, about 10, 000 of the films were locked away, sitting idle, scattered across the us in high - security vaults .
a team from the lawrence livermore national laboratory (llnl) has worked for the last five years on finding, declassifying and preserving the films' content before it was lost .
according to the llnl, the goal was to provide better data to post - testing - era scientists .
mr spriggs did not want nuclear weapons to be used. he hoped the films would be a deterrent .
i think that if we capture the history of this... show what the force of these weapons are and how much devastation they can wreak, then maybe people will be reluctant to use them .
he estimated it would take another two years to scan the rest of the films. completing the analysis and declassification would take longer .
to date, the team has found around 6500 of the estimated 10, 000 films created during atmospheric testing .
about 4200 films have been scanned, 400 to 500 have been reanalysed and about 750 have been declassified .
the mood of “in this corner of the world” shifts, underscored by the percussion of distant bombs .
dia’s terminal is in for more than 3 years of construction. here’s how it will play out, and what to expect .
three stars. rated pg - 13. i18n two versions: japanese with subtitles and dubbed in english. 128 minutes .
as it opens, suzu is a young woman living in hiroshima with her family. time passes quickly — skipping an entire decade in what feels like minutes — until shusaku, a young man, offers suzu a marriage proposal. she accepts, moving with him to the nearby seaside town of kure. with her warm disposition, suzu develops a rapport with her niece, harumi. although everyone is aware of the escalating war, they rarely talk about it, until it can’t be avoided .
based on manga by the hiroshima - based artist fumiyo kouno, “corner” adopts kuono’s pastel palette and exaggerated facial expressions. yet it hews to realism — at least until the spreading horror is so extreme that hallucinatory imagery is the only way to make sense of it. “corner” is a deeply sympathetic tale, using the possibilities of animation not just to pique curiosity, but to devastate.
atom bomb is a 1964 indian malayalam film , directed and produced by p. subramaniam . the film stars k. balaji , kaviyoor ponnamma , adoor bhasi and thikkurissi sukumaran nair in lead roles . the film had musical score by br lakshmanan . 
atom bomb is a 1964 indian malayalam film, directed and produced by p. subramaniam. the film stars k. balaji, kaviyoor ponnamma, adoor bhasi and thikkurissi sukumaran nair in lead roles. the film had musical score by br lakshmanan.
atom bomb is a 1964 indian malayalam film, directed and produced by p. subramaniam. the film stars k. balaji, kaviyoor ponnamma, adoor bhasi and thikkurissi sukumaran nair in lead roles. the film had musical score by br lakshmanan.