How to best describe the 1922 Swedish film Haxan (also known as Witchcraft Through the Ages) by Danish director Benjamin Christensen? While not a conventional documentary by anyone’s standards, it is not a traditional narrative film either and straddles several genres in its exploration of witchcraft and the black arts from the Dark Ages up to 1921.Continue reading
Tag Archives: Man With a Movie Camera
Movie Streaming in the Year of the Pandemic
For most Americans, life, work and daily interactions with the outside world have been interrupted indefinitely and self-isolation at home is the new normal. How we fill those hours are a personal decision but even in the worst of times people need escapism. If you are an avid movie lover, you have a lot of options.
Hundreds of movies are available for free streaming from a variety of legal websites as long as you have access to a computer and a good Wi-fi connection. Below are a handful of options in no specified order for the more discriminating cinephile. These offer everything from classic Hollywood films to cult and indie fare to foreign language selections. Continue reading
A Paean for Terra Firma
From an early age I developed a fascination with film but it wasn’t until college when my film interests expanded beyond American cinema to include international films and more specialized genres like underground, silent, documentary and exploitation movies. A Film History 101 course at the University of Georgia, curated by a drama professor, was partly responsible for that due to his eclectic overview which sampled the early work of Sam Fuller (The Steel Helmet, Park Row), Fritz Lang silents (Die Nibelungen: Siegfried & Kriemhild’s Revenge), the roots of Neorealism (La Terra Trema) and Hollywood studio system gems (George Sidney’s Scaramouche, An Affair to Remember). What made one of the strongest impressions, however, were examples of early Soviet cinema like Sergei Eisenstein’s Battleship Potemkin and Dziga Vertov’s Man With a Movie Camera. And my favorite of them all was Aleksandr Dovzhenko’s Earth (Russian title: Zemlya, 1930), the third film in a trilogy that included Zvenyhora (1928) and Arsenal (1929). Continue reading