Primers

by Gregg Rickman

Land of both the stiff upper lip and the ministry of silly walks, England has long had both a highly respectable public culture along with a disreputable underground tradition of broad comedy. In Britain, the chief conduit for lower class comedy for years was the music hall, but the tradition has remained alive for many more years in the cinema (in the 1930s, in the Carry On. series of the 1960s) and on television (Benny Hill). At the same time upper class England has a long tradition of satire and keen verbal wit, apparent in the plays of George Bernard Shaw and Noel Coward in the early 20th century, coming to the fore in the postwar comedies produced by Ealing Studio. The coarse and fine threads of British comedy were at last firmly knitted together in the radio and TV work of the 1950s and later in such productions as The Goon Show, Beyond the Fringe, Monty Python's Flying Circus and their filmic spinoffs. These different traditions continue to jostle, with often fine results, today.

Page 03/23/2007 - 1:13pm

by Phurba Gyalzen

Bollywood: the mere word conjures up colorful and vibrant dream-like versions of reality. A reality far from the truth but which represents a cultural stereotype of Indians held by firangis (foreigners) and, unfortunately, a fictitious culture that most Indians themselves intimately identify with. To understand where these stereotypes originate and why these illusions are a big part of Indian culture is to get to the core of Bollywood. The word itself is, of course, a play on the word Hollywood, representing Indian cinema's equivalent commercial production output.

Page 03/23/2007 - 1:01pm

by David Hudson

We can argue endlessly about whether DW Griffith's Birth of a Nation ought to be praised for its groundbreaking achievements in the evolution of a new cinematic language or condemned for its blatant racism (and, as I've argued before, I say, both, simultaneously), but for everything else it accomplished, it also so alarmed a handful of separate groups of black businessmen that they sprang to action to create films and film production companies to counter the message of what was then, in 1915, America's box office smash.

Page 03/23/2007 - 11:48am

By Robert von Dassanowsky

The re-emergence of Austrian film on the screens of international film festivals, art houses, cable networks, DVDs, and in the consciousness of film critics and historians worldwide since the turn of the century is hardly the sudden or belated flowering of a national cinema some would have it be. It is the cyclical revitalization of geographically framed film art experiences.

Page 03/22/2007 - 3:47pm

by David Hudson

 

The story of sex in the movies is really two stories. For all practical purposes, they begin at the same moment - the invention of motion pictures - but take off running in parallel universes. One is the story of a very public debate over how much of the reality of human sexuality can be shown, discussed or even implied in movies meant for general audiences; the second is the story of an entire industry thriving along underground yet rarely even mentioned in polite company until the 1970s.

Page 03/22/2007 - 2:49pm

By Julie Newcomb

"The time has come to cast aside these bonds and to elevate our consciousness to a higher plane. It is time to become a part of all things!" - Ghost in the Shell

Defined simplistically, anime is animation made in Japan. It's a bit like asking "What are American movies?" -- a question almost too vague to be useful. But if you look closely, you can identify overall trends, to which there will always be exceptions, and a variety of subgenres.

Page 03/22/2007 - 2:08pm

By Heather Johnson

"Spiritual and/or religious themes permeate films of nearly all genres and budgetary means, either blatantly obvious or nestled elusively between the lines. But whether low-key comedy or bold, intellectual drama, many films with a mission ultimately fall into the spiritual or religious category, as each category bears its own characteristics. What follows are two interwoven "sub-primers," if you will. The two subgenres have much in common, but use different approaches to get their message across. The spiritual film takes an inner-directed road to our quest for higher purpose. The film may point to divine principles, but it may also inspire us to forge our own path toward discovering our true nature..."

Blog entry 03/14/2007 - 1:17pm

By Walt Opie

With the latest incarnation of James Bond now arriving on DVD, Daniel Craig in Casino Royale (reviewed here), it's a good time to bone up on the character's long and varied history on screen. Our new shaken, not stirred, James Bond primer, Walt Opie first looks at 007's early incarnation, in the person of Sean Connery - arguably still the best Bond ever - George Lazenby (in one of the best Bond films ever, despite Lazenby), and then looks at the early 007 efforts of Roger Moore>. Then Craig Phillips tackles the years leading up to Casino Royale: Moore to Brosnan, and beyond. Everything you wanted to know about Bond, but were afraid to ask, now, on GreenCine.

Page 03/12/2007 - 4:04pm
Page 03/06/2007 - 11:37am
Story 02/28/2007 - 4:31pm

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