Podcast appearances and mentions of Jonathan Rosenbaum

Jonathan Rosenbaum is one of the foremost film critics and historians in the world, author of several essential books — including his most recent collection, “In Dreams Begin Responsibilities.” He's with us to discuss one of his favorite movies, Carl Theodor Dreyer's indelible “Ordet.”Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, I spoke with film critic Jonathan Rosenbaum about his latest book "Travel In The Cities of Cinema". Jonathan Rosenbaum stands as one of the most eminent film critics in the English-speaking world. After working for Sight and Sound and Monthly Film Bulletin in London in the 1970s, he served for two decades as chief film critic for theChicago Reader. Hailed as "one of the best" by Jean-Luc Godard, who compared him to James Agee and André Bazin, Rosenbaum is known for his incisive, thought-provoking polemics, which have inspired generations of writers while reshaping how we think about cinema.

Buy Travels in the Cities of Cinema: Conversations with Ehsan Khoshbakht here. Jonathan Rosenbaum stands as one of the most eminent film critics in the English-speaking world. After working for Sight and Sound and Monthly Film Bulletin in London in the 1970s, he served for two decades as chief film critic for the Chicago Reader. Hailed as “one of the best” by Jean-Luc Godard, who compared him to James Agee and André Bazin, Rosenbaum is known for his incisive, thought-provoking polemics, which have inspired generations of writers while reshaping how we think about cinema. Distinguished by his equal investment in both contemporary cinema and film history, his work offers a rich dialogue between the past and present of moving images. In this wide-ranging conversation with film scholar Ehsan Khoshbakht, Rosenbaum reminisces about his childhood in Florence, Alabama, where his family ran a chain of cinemas, and follows that journey to New York, Paris, London and Chicago. Each city marks a chapter in his evolution as a critic, filled with encounters and experiences that together reveal the life of an indefatigable cinephile and cultural commentator. “An engaging history of the esteemed critic's career and a survey of the cinephilic landscape. Rosenbaum proves a frank, expansive interviewee, telling curator Ehsan Khoshbakht about his childhood in Alabama and his work as a critic in Paris, New York, London, Chicago and elsewhere.” — Pamela Hutchinson, Sight and Sound Learn more about your ad choices. Visit megaphone.fm/adchoices

Fueled by events that reflected Gilded Age American economic, cultural, and political interests in the preceding years, the presence and role of sensationalist styled news medium known as “yellow journalism” found its place into the fray and was woven into the fabric of America's foreign affairs. “Yellow journalism” furthered American ambitions of empire and aided foreign policy efforts in advancing overseas expansion through the exploitation of the Cuban War of Independence. Sources Avalon Project - Treaty of Peace Between the United States and Spain; December 10, 1898. Accessed June 26, 2021. https://avalon.law.yale.edu/19th_century/sp1898.asp. Calhoun, Charles W. The Gilded Age: Perspectives on the Origins of Modern America. Lanham, MD: Rowman & Littlefield Publishers, 2007. Dill, William A. “Growth of Newspapers in the United States.” Kansas University Scholar Works. Kansas University. Accessed June 24, 2021. https://kuscholarworks.ku.edu/bitstream/handle/1808/21361/dill_1928_3425151.pdf?sequence=1. MacOwen, Arthur H. Remember the Maine. Library of Congress. Library of Congress. Accessed June 24, 2021. https://www.loc.gov/static/classroom-materials/spanish-american-war-the-united-states-becomes-a-world-power/documents/remember.pdf. War Movie Watch War Movies: The American Battle in Cinema | Prime Video (amazon.com) Amazon.com: War Movie: The American Battle in Cinema [DVD] : Steve Summers, Dale Dye, Jonathan Rosenbaum, Steven Jay Rubin: Movies & TV National Museum of the Pacific War (pacificwarmuseum.org) --- Support this podcast: https://podcasters.spotify.com/pod/show/hardtackpod/support

The guest on this week's episode will need little introduction to anyone who reads film criticism or follows film culture. Jonathan Rosenbaum, one of the most prolific and respected critics of the last half-century, began his career at publications like Film Comment and Sight and Sound in the '70s, and later became known for his writing at The Chicago Reader. More recently, he's gained notice for his website, jonathanrosenbaum.net. He is known for his erudite yet accessible writing, and his championing of international cinema, among other things. No less a figure than Jean-Luc Godard once compared him to Andre Bazin. Jonathan is also the author of numerous books and collections of film writing, the latest of which, In Dreams Begin Responsibilities, has just been published by Hat & Beard Press. He describes the career-spanning, chronologically arranged collection as an autobiography of sorts, opening with his earliest published film review from his college days at Bard, before diverging into his many non-film interests. The collection also includes his writings on jazz and literature, and emphasizes Jonathan's uniquely syncretic approach to criticism. Jonathan joined FC editors Devika Girish and Clinton Krute via Zoom from his home in Chicago to discuss this new book, his time as Film Comment's Paris correspondent, his appearance as an extra in a Bresson film, and much, much more.

When we started our Alejandro Jodorowsky series last year, we began a loose exploration of the history of the Midnight Movies phenomenon of the 1970s (as documented in J. Hoberman and Jonathan Rosenbaum's iconic book on the subject). Before we wrap up that discussion with David Lynch's ERASERHEAD (coming soon!), we couldn't skip past what is probably the most iconic Midnight Movie of all time, THE ROCKY HORROR PICTURE SHOW. What started as a small stage production in an experiemental theater space in London quickly grew to a worldwide phenomenon and it, to this day, the longest running continuous theatrical release of all time.  In this episode, we trace ROCKY HORROR's entire history, from its early days on the London stage through its move across the pond to the US, its disastrous original theatrical run, and its eventual rise as the most impactful Cult Film of all time. You may think you already know everything about THE ROCKY HORROR PICTURE SHOW, but on this episode, we'll give you the full story behind this iconic movie. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

He has risen again! He being Jesus Christ of course, our lord and saviour and friend of the pod. Alex and Ben are back with Part II of the epic Christ Quadrilogy where they explore weighty themes like religion, resurrection, sin, and salvation. This week we're covering Martin Scorsese's (and Paul Schrader's) THE LAST TEMPTATION OF CHRIST. Joining us are returning guest Jordan Seccareccia and, finally completing the Westelaken Exodia, Lucas. We talk about our experiences with religion and debate the merits of Scorsese's controversial adaptation of the gospels. We also talk about live events we went to IRL such as Rosencrantz and Guildenstern Are Dead and the Jonathan Rosenbaum talk at U of T. Ben also reminisces about K-holing and disassociating with Ellen DeGeneres.This is a long episode where we actually spend most of the time talking about the film so if you've never seen it before, don't resist the temptation!Join us next week for "Mad" Mel Gibson's The Passion of the Christ, it'll be a doozy.Listen to Westelaken: https://westelaken.bandcamp.com/album/i-am-steaming-mushroomsFollow us on Instagram and Twitter @thefranchisees and email us at thefranchiseespod@gmail.com

Tune in to this episode of Hardtack for an interview with a special guest, the producer, director, writer, and editor of the five-part documentary series, War Movie: The American Battle in Cinema, Steve Summers. War Movie is a documentary series that examines not only the history of war in American cinema, but how this medium has shaped our country's perspective on conflict, foreign policy, race, masculinity and national identity. Sources and Links: Watch War Movies: The American Battle in Cinema | Prime Video (amazon.com) Amazon.com: War Movie: The American Battle in Cinema [DVD] : Steve Summers, Dale Dye, Jonathan Rosenbaum, Steven Jay Rubin: Movies & TV Amazon.com: War Movie: The American Battle in Cinema [Blu-Ray] : Steve Summers, Dale Dye, Jonathan Rosenbaum, Steven Jay Rubin: Movies & TV War Movie: The American Battle in Cinema (TV Series 2023) - IMDb National Museum of the Pacific War (pacificwarmuseum.org) --- Send in a voice message: https://podcasters.spotify.com/pod/show/hardtackpod/message Support this podcast: https://podcasters.spotify.com/pod/show/hardtackpod/support

We discuss our favourite film critic, Jonathan Rosenbaum, and focus on his work about Ace Ventura, Luc Moullet, Small Soldiers, Spielberg's A.I. and more. Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalog, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as well as Will's MICHAEL AND US (@michael-and-us).

Join hosts Jason, Anthony, and Tim as they discuss Cy Endfield's The Sound of Fury aka Try and Get Me!, a 1950 crime film that critic Thom Andersen includes on his list of film gris movies, or socially conscious crime cinema, during the film noir years (1940s through the 1950s). Endfield was blacklisted in 1951 after his name was mentioned during the infamous House Un-American Activities Committee (HUAC) hearings. He subsequently relocated to London, where he went on to make a number of celebrated films, including Hell Drivers (1957) and Zulu (1964). In this episode we cite an essay by the Chicago critic Jonathan Rosenbaum that is included in his excellent 1997 book Movies as Politics. We hope you enjoy!

The seventh episode of our season on the awesome movie year of 1987 features our foreign film pick, Abbas Kiarostami's Where Is the Friend's House?. Written and directed by Abbas Kiarostami and starring Babak Ahmadpour, Ahmed Ahmadpour and Khodabaksh Defai, Where Is the Friend's House? is the first movie in Kiarostami's acclaimed Koker trilogy.The contemporary reviews quoted in this episode come from Gemma Files in Eye Weekly, Jonathan Rosenbaum in the Chicago Reader (https://chicagoreader.com/arts-culture/where-is-my-friends-house/), and Dennis Schwartz in Ozus World Movie Reviews (https://dennisschwartzreviews.com/whereismyfriendshouse/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1987 installment, featuring Jason's personal pick, Rob Reiner's The Princess Bride.

Danny Wu is a Canadian filmmaker from Vancouver, British Columbia. He is best known for the films Square One, a film about the Michael Jackson allegations, and his current film, American: An Odyssey to 1947. The latter which was placed on Jonathan Rosenbaum's list for "best films of 2022."   American: An Odyssey to 1947, follows the rise and fall of Orson Welles, while interweaving stories of diverse individuals amidst the backdrop of the Great Depression, World War II, and the dropping of the atomic bomb.   Director Danny Wu sheds light on the defining moments that shaped the destinies of the subjects, and the nation's collective consciousness in 1947. A riveting film indeed. . #filmmaking #filmmaker #filmdocumentary #history #orsonwelle #hiroshima #atomicbomb #pearlharbor #japaneseinterment #1947 #historylesson #jimcrow #hollywood #citizenkane 

Danny Wu is a Canadian filmmaker from Vancouver, British Columbia. He is best known for the films Square One, a film about the Michael Jackson allegations, and his current film, American: An Odyssey to 1947. The latter which was placed on Jonathan Rosenbaum's list for "best films of 2022."   American: An Odyssey to 1947, follows the rise and fall of Orson Welles, while interweaving stories of diverse individuals amidst the backdrop of the Great Depression, World War II, and the dropping of the atomic bomb.   Director Danny Wu sheds light on the defining moments that shaped the destinies of the subjects, and the nation's collective consciousness in 1947. A riveting film indeed. . #filmmaking #filmmaker #filmdocumentary #history #orsonwelle #hiroshima #atomicbomb #pearlharbor #japaneseinterment #1947 #historylesson #jimcrow #hollywood #citizenkane 

Danny Wu is a Canadian filmmaker from Vancouver, British Columbia. He is best known for the films Square One, and American: An Odyssey to 1947. The latter which was placed on Jonathan Rosenbaum's list for "best films of 2022."AMERICAN: An Odyssey to 1947 screened at the Austin Film Festival, and the It's All True International Documentary Festival. In a review by David Walsh for WSWS, he describes that “In a short period of time, he has developed an important understanding of some of the most vexing problems of the mid-20th century.” Walsh claimed the film as evidence that “a new generation of artists, free from the cynicism and many of the prejudices of the past several decades, is emerging.”During the pandemic, Wu stayed in Chengdu with his family and created a 22-minute short program titled “My Life in China during the Pandemic.” The project was subsequently broadcast by CNN affiliate N1http://american1947.com The Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors. We also offer advertising. Please see our website for complete details.http://douglascolemanshow.com If you have a comment about this episode or any other, please click the link below. https://ratethispodcast.com/douglascolemanshowPlease help The Douglas Coleman Show continue to bring you high quality programs like this. Go to our Fundrazer page.https://fnd.us/e2CLX2?ref=sh_eCTqb8

This week we're excited to present a conversation with director Todd Haynes. Haynes's new film, May December, will make its North American premiere as the Opening Night selection of the 61st New York Film Festival on September 29th. In this archival conversation with Haynes, the director discusses his mid-90s classic, Safe, starring his May December and Far From Heaven leading actress, Julianne Moore. While Haynes shot Safe in 1994, he set it at the height of the AIDS epidemic seven years earlier. The unnamed disease at the center of this indelible, shuddering movie—widely considered one of Haynes's masterpieces—has taken on new, unexpected meanings since the film's release, and yet much of what makes Safe revelatory to watch is the uncanny precision of its setting, look, and tone. Carol (Julianne Moore), whose mysterious breakdown from perfect housewife to cloistered invalid drives the movie's plot, is a character couldn't live anywhere but suburban L.A. in the late '80s—a landscape Haynes captures in a strange, piercing, hyperreal light. Jonathan Rosenbaum called Safe “the most provocative American art film of the year” in 1995. It's hard to imagine any movie topping it were it released now. This conversation was moderated by NYFF Artistic Director, Dennis Lim.

On an all-star episode of 70 Movies We Saw in the 70s, Jim Healy and Scooter McCrae join Scott and Ben for an apocalyptic assault on John Boorman's one-of-a-kind dystopian sex/death romp, Zardoz! Listen along as the quartet analyzes everything from Sean Connery's speedo-loincloth to Sean Connery's bearded ponytail. Hold on to your headphones as we careen down memory lane with tales of close encounters with John Boorman, Jonathan Rosenbaum, and the Coen Brothers. Break out the green bread, this one's a doozy!

Access this entire 84 minute episode (and additional monthly bonus episodes) by becoming a Junk Filter patron! Over 30% of episodes are exclusively available to patrons of the show. https://www.patreon.com/posts/132-rising-sun-84172029 I'm joined by Aden Jordan, a grant writer based in Southern California and patron of the podcast, to discuss Philip Kaufman's 1993 deeply strange and lurid murder mystery Rising Sun, based on the bestseller by Michael Crichton, starring Sean Connery and Wesley Snipes as special agents brought in to investigate the murder of a sex worker at a Japanese corporation based in Los Angeles on the eve of its acquisition of an American microchip firm. Although based on a novel that also served as Crichton's jeremiad about the danger to the United States posed by Japan's dominance over the world economy and American real estate, Kaufman complicated matters (and alienated Crichton from the project) by pushing against the source material's agenda, most notably by casting a black movie star as the protagonist and giving the most racist dialogue to the most unpleasant characters (with an uncredited script polish by David Mamet). But Kaufman makes his own mistakes in terms of tempering the film's racial politics. Rising Sun is a complex text that still speaks to contemporary concerns: its depiction of the surveillance state, American Anti-Asian paranoia in the culture, and manipulation of the truth through digital trickery. But it's also a very bizarre exercise in style, an Ambient Noir where vibes and postmodern touches clash against the plot and intentions of the source material and perhaps indicate the director's true feelings for the project. Coming soon to the podcast: a sidebar series throughout the summer on NBC's Miami Vice. Trailer for Rising Sun (Philip Kaufman, 1993) Jonathan Rosenbaum's review of Rising Sun for the Chicago Reader, August 13, 1993

Luke & Mike are heating up! Mike is fooling himself thinking he has time for a sweet gaming PC. Luke prefers Android. Your hosts know pain. Norm MacDonald puts it succinctly and clearly when it comes to why people take their own lives. This year's Oscars were not a focus for the boys after last year's legendary live moment of slappity-slap chaos, Your emails are ALWAYS a focus of the show. Mr. Pink wants to understand what "lived experience" means. Might it just be a talking point? Jon Favreau has come a long way since Swingers. Hollywood's mainstream trash machine is money driven. Did you know that?! This week's secret emailer wants to know if he did the right thing when it comes to allowing his students to choose whether they participate in the Pledge of Allegiance. Mike loved the documentary Val which reminded him of how much he loved 1997's The Saint. Jack Warden was a real character. Problem Child till holds up. Danny brings it with his very own poem for the 95th episode of the show! Luke takes a moment to read a piece from Movie Wars by Jonathan Rosenbaum. Small Soldiers versus Saving Private Ryan from 1998 is the topic. David Cross and Mr. Show had a an influence on the underrated Small Soldiers. Pretty neat! Finally, Luke & Mike talk about the Silicon Valley Bank run and why the economic system in the United States is a total shell game. It generally always has been and continues to be. Don't be fooled folks! Protect ya neck! The fellas close the show with Wu-Tang Clan's C.R.E.A.M.. We love you all! Email this talk show at isitsafepod@gmail.com

There were approx 15000 plus films (15858) submitted to Sundance 2023. More than half of them were made by first-time directors. There were 4,061 feature-length films,1,662 were from the U.S., and 2,399 were international. Out of this, only 101 feature films had to be selected for the final competition section of the festival. With this rush for making a movie, what are the chances that a worthy film will go unnoticed? Our guest for this episode is Film critic Jonathan Rosenbaum. Mr.Rosenbaum was the head film critic for The Chicago Reader from 1987 to 2008. He has published and edited numerous books about cinema and has contributed to such notable film publications as Sight and sound, Cahiers du cinéma, and Film Comment. Regarding Mr. Rosenbaum, French New Wave director Jean-Luc Godard said, "I think there is a very good film critic in the United States today, a successor of James Agee, and that is Jonathan Rosenbaum. He's one of the best; we don't have writers like him in France today. He's like André Bazin."Digs:1) 40 years plus in the landscape of movie-making- what are the most significant changes besides the OTT?2) Being a part of Sight and sound polls of the best 100 films- what are the criteria for choosing the best for 100-plus years?3) 15000 plus films got submitted to Sundance, what defines a movie being selected, and with the rush, how many worthy films can go unnoticed? Chances are many!!4) When we say South Asian Cinema what are the few things that come to your mind?5) David Cronenberg's Spider and the times of piecing together- Cinema.6) On Godard and A Woman is a Woman. 7) On the adaptation of literary works (Dostoevsky and Chekhov) for films like Winters Sleep- what does the future hold?Enjoy!! TUNE IN. Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization.The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state. See omnystudio.com/listener for privacy information.

Columna dedicada a la crítica de cine y a “En defensa de los spoilers” (2006), texto de Jonathan Rosenbaum (1943) que se encuentra en su libro “Adiós al cine, bienvenida la cinefilia. La cultura cinematográfica en transición”.

Conrado and Rachel are joined by Dylan Cuellar, co-host of the Great Movies podcast, to talk about GERTRUD, the final film by legendary Danish filmmaker Carl Theodor Dreyer. We talk about impenetrable performances, impeccable camera movements, transcendental ways of looking at love, and great last films. The Jonathan Rosenbaum essay mentioned in this episode: https://jonathanrosenbaum.net/2021/06/gertrud-as-nonnarrative-the-desire-for-the-image/ Follow Dylan on Twitter: https://twitter.com/DylanCuellar7 Listen to Dylan on The Great Movies Pod: https://podcasts.apple.com/us/podcast/the-great-movies-pod-a-retrospective-film-review-show/id1507636360 Follow us on itunes and leave you ratings and reviews: https://podcasts.apple.com/us/podcast/the-criterion-project/id1479953904 Follow us on anchor https://anchor.fm/criterionproject Follow our twitter at https://twitter.com/criterionpod Check out Conrado's webseries WORMHOLES on youtube https://www.youtube.com/channel/UC51Tg9gR5mXxEeaansRUYRw Follow Conrado's blog cocohitsny.wordpress.com/ Follow Conrado on Letterboxd https://letterboxd.com/cofalco21/ Listen to Conrado's other podcasts like Foreign Invader and Movie Marriage: https://podcasts.apple.com/us/podcast/foreign-invader/id1552560225 Rachel's Patreon: https://www.patreon.com/hallmarkies Follow Rachel's blog at rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Listen to Rachel's Reviews on Itunes: https://itunes.apple.com/us/podcast/rachels-reviews/id1278536301?mt=2 Listen to Hallmarkies Podcast at https://podcasts.apple.com/us/podcast/hallmarkies-podcast/id129672828 Our intro is written by Michael Lloret: https://www.michael-lloret.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/criterionproject/support

THE TRUMAN SHOW (1998) is widely remembered as a prescient film that anticipates the rise of social media and reality TV. But how accurate was its forecast, really? And what, exactly, was it saying? And hey—did the audience watch Truman go to the bathroom? We investigate. "The Audience is Us" by Jonathan Rosenbaum: https://jonathanrosenbaum.net/2021/07/the-audience-is-us/Michael and Us is a podcast about political cinema and our crumbling world hosted by Will Sloan and Luke Savage. See acast.com/privacy for privacy and opt-out information.

THE TRUMAN SHOW (1998) is widely remembered as a prescient film that anticipates the rise of social media and reality TV. But how accurate was its forecast, really? And what, exactly, was it saying? And hey - did the audience watch Truman go to the bathroom? We investigate. "The Audience is Us" by Jonathan Rosenbaum - https://jonathanrosenbaum.net/2021/07/the-audience-is-us/

A Serious Disc Agreement is the only "serious" podcast on the Australian Internet about "Movie Disc Culture."Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) are expanding their IMPRINT COMPANION podcast to include the best physical media releases worldwide. For this episode, Blake and Alexei discuss Bill Duke's incredible Deep Cover from the Criterion Collection and have a general "Criterion Catch-Up" on the first batch of UHDs.Deep CoverFilm noir hits the mean streets of 1990s Los Angeles in this stylish and subversive underworld odyssey from veteran actor-director Bill Duke. Laurence Fishburne stars as Russell Stevens, a police officer who goes undercover as “John Hull,” the partner of a dangerously ambitious cocaine trafficker (Jeff Goldblum), in order to infiltrate and bring down a powerful Latin American drug ring operating in LA. But the further Stevens descends into this ruthless world of money, violence, and power, the more disillusioned he becomes—and the harder it is to make out the line between right and wrong, crime and justice. Steeped in shadowy, neon-soaked atmosphere and featuring Dr. Dre's debut solo single, Deep Cover is an unsung gem of the nineties' Black cinema explosion that delivers a riveting character study and sleek action thrills alongside a furious moral indictment of America and the devastating failures of the war on drugs.DIRECTOR-APPROVED SPECIAL EDITION FEATURESNew 4K digital restoration, with 2.0 surround DTS-HD Master Audio soundtrack on the Blu-rayNew interview with director Bill DukeAFI Conservatory seminar from 2018 featuring Duke and actor Laurence Fishburne, moderated by film critic Elvis MitchellNew conversation between film scholars Racquel J. Gates and Michael B. Gillespie about Deep Cover's place within both the Black film boom of the early 1990s and the noir genreNew conversation between scholar Claudrena N. Harold and professor, DJ, and podcaster Oliver Wang about the film's title track and its importance to the history of hip-hopTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by GillespieNew cover illustration by Ngabo “El'Cesart” DesireCitizen KaneIn the most dazzling debut feature in cinema history, twenty-five-year-old writer-producer-director-star Orson Welles synthesized the possibilities of sound-era filmmaking into what could be called the first truly modern movie. In telling the story of the meteoric rise and precipitous fall of a William Randolph Hearst–like newspaper magnate named Charles Foster Kane, Welles not only created the definitive portrait of American megalomania, he also unleashed a torrent of stylistic innovations—from the jigsaw-puzzle narrative structure to the stunning deep-focus camera work of Gregg Toland—that have ensured that Citizen Kane remains fresh and galvanizing for every new generation of moviegoers to encounter it.SPECIAL FEATURESNew 4K digital restoration, with uncompressed monaural soundtrackIn the 4K UHD edition: One 4K UHD disc of the film presented in Dolby Vision HDR and three Blu-rays with the film and special featuresThree audio commentaries: from 2021 featuring Orson Welles scholars James Naremore and Jonathan Rosenbaum; from 2002 featuring filmmaker Peter Bogdanovich; and from 2002 featuring film critic Roger EbertThe Complete “Citizen Kane,” (1991), a rarely seen feature-length BBC documentaryNew interviews with critic Farran Smith Nehme and film scholar Racquel J. GatesNew video essay by Orson Welles scholar Robert CarringerNew program on the film's special effects by film scholars and effects experts Craig Barron and Ben BurttInterviews from 1990 with editor Robert Wise; actor Ruth Warrick; optical-effects designer Linwood Dunn; Bogdanovich; filmmakers Martin Scorsese, Henry Jaglom, Martin Ritt, and Frank Marshall; and cinematographers Allen Daviau, Gary Graver, and Vilmos ZsigmondNew documentary featuring archival interviews with WellesInterviews with actor Joseph Cotten from 1966 and 1975The Hearts of Age, a brief silent film made by Welles as a student in 1934Television programs from 1979 and 1988 featuring appearances by Welles and Mercury Theatre producer John HousemanProgram featuring a 1996 interview with actor William Alland on his collaborations with WellesSelection of The Mercury Theatre on the Air radio plays featuring many of the actors from Citizen KaneTrailerEnglish subtitles for the deaf and hard of hearingPLUS: Deluxe packaging, including a book with an essay by film critic Bilge EbiriNew Cover by Mike McQuadeMenace II SocietyDirectors Albert and Allen Hughes and screenwriter Tyger Williams were barely into their twenties when they sent shock waves through American cinema and hip-hop culture with this fatalistic, unflinching vision of life and death on the streets of Watts, Los Angeles, in the 1990s. There, in the shadow of the riots of 1965 and 1992, young Caine (Tyrin Turner) is growing up under the influence of his ruthless, drug-dealing father (Samuel L. Jackson, in a chilling cameo) and his loose-cannon best friend, O-Dog (Larenz Tate), leading him into a spiral of violent crime from which he is not sure he wants to escape, despite the best efforts of his grandparents and the steadfast Ronnie (Jada Pinkett). Fusing grim realism with a propulsively stylish aesthetic honed through the Hughes brothers' work on rap videos, Menace II Society is a searing cautionary tale about the devastating human toll of hopelessness.DIRECTOR-APPROVED SPECIAL EDITION FEATURESNew 4K digital restoration of the directors' cut of the film, supervised by cinematographer Lisa Rinzler and codirector Albert Hughes, with 7.1 surround DTS-HD Master Audio soundtrackIn the 4K UHD edition: One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special featuresOriginal 2.0 surround soundtrack, presented in DTS-HD Master AudioTwo audio commentaries from 1993 featuring directors Albert and Allen HughesGangsta Vision, a 2009 featurette on the making of the filmNew conversation among Albert Hughes, screenwriter Tyger Williams, and film critic Elvis MitchellNew conversation among Allen Hughes, actor and filmmaker Bill Duke, and MitchellInterview from 1993 with the directorsDeleted scenesFilm-to-storyboard comparisonTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by film critic Craig D. LindseyNew cover by Sister HydeBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au _______One Heat Minute ProductionsWEBSITE: oneheatminute.comPATREON: One Heat Minute Productions PatreonTWITTER: @OneBlakeMinute & @OHMPodsMERCH: http://tee.pub/lic/41I7L55PXV4Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

W roku 1985 w “Jeune Cinema” tak pisano o Caraxie: “Nie obawiajcie się: w filmie Caraxa wydarzeń jest bardzo mało i zawsze możecie zrobić to co reszta sali, czyli się zdrzemnąć” (tłum. P.Kopański). Patrząc na reakcję po Anette można zaryzykować, że w Caraxowym świecie niewiele się zmieniło. My natomiast zaryzykujemy i w podcaście zastanowimy się czy przypadkiem jego najnowszy musical – nawiązujący również do wcześniejszej twórczości, nie jest najbardziej przystępnym dziełem artysty. Spróbujemy odpowiedzieć również na pytania: czym jest (bądź był) filmowy neobarok, jaka jest poetyka autorska twórcy Złej krwi i Holy Motors, a także jak jego styl ewoluował przez lata. Naszym gościem jest Sebastian Smoliński – doktorant Amerykanistyki Uniwersytetu Warszawskiego, krytyk filmowy, laureat konkursu imienia Krzysztofa Mętraka, współpracownik Tygodnika Powszechnego. ︎ Tutaj znajdziesz wszystkie nasze teksty wokół Annette. ︎ A tutaj poprzedni odcinek podcastu. Bibliografia zalecana jako uzupełnienie odcinka: – Tadeusz Lubelski, “Od Rohmera do Collarda, czyli krótki przewodnik po francuskim kinie”, Film na świecie 2/1993 – Raphael Bassan, “Filmowy neobarok (Beineix-Besson-Carax)” (tłum. Piotr Kopański), z  Film na świecie 2/1993 – Carl-Johan Malmberg, “Miłość do ostatniego spojrzenia” (tłum. P. Kopański) z  Film na świecie 2/1993 – Antoni Michnik, “Anette: Operowy kosmos Caraxa i Braci Sparx”, Krytyka Polityczna – John Hoberman i Jonathan Rosenbaum, “Midnight Movies: Seans o północy” (tłum. M.Oleszczyk) Będziemy wdzięczni za wszystkie “follow” na Spotify oraz za każde 5 gwiazdek na Apple Podcasts. To pozwala podcastowi piąć się do góry w rankingu. Podcast możecie też odsłuchać bezpośrednio z naszej strony:

"I now find Cruise tolerable only when he's in a movie that undercuts or ridicules his narcissism-- as EYES WIDE SHUT did and as this movie does even more noticeably." Jonathan Rosenbaum is not nice to Tom Cruise... but he's not wrong here. FOR THAT... you must listen to one host (Dave) as he clearly makes poor dating decision one after the other and did not learn a SINGLE THING from Cameron Crowe's masterpiece VANILLA SKY. The lessons, such as they are: Cameron Diaz brings sustenance (and sex!) Penelope Cruze brings cute banter See which one you can survive on in the wilderness (or a desolate Times Square) This is the single greatest film that has, or will EVER, appear on this feed. You are welcome. Subscribe on Apple Podcasts/Spotify Twitter @offscreendeath Instagram @theoffscreendeath Letterboxd: @daveagiannini and @projectingfilm Artwork by Nathan Thomas Milliner Music by Joplin Rice Find out more at https://offscreendeath.pinecast.co This podcast is powered by Pinecast.

"Both lovers are duplicitous creeps -- in a perverse way they're made for each other." Jonathan Rosenbaum of the Chicago Reader sounds fun at parties... but he's not wrong about Kate Hudson and Matthew McConaughey in HOW TO LOSE A GUY IN 10 DAYS. He's just wrong about how enjoyable it is to see Ms. Hudson take a wrecking ball to a man that one host calls "too pretty" and the other thinks is too picky about names for his penis. It's clearly an episode about CLASSIC CINEMA and as such we eventually work our way around to the Best Picture snub that this film received for the 2004 Academy Award ceremony and if a sprinkle of Kathryn Hahn is ever enough. Also Katherine Heigl. Romcom talk is pointless without paying respect to The Queen. Even if she is not in this movie. Enjoy! Subscribe on Apple Podcasts/Spotify Twitter @offscreendeath Instagram @theoffscreendeath Letterboxd: @daveagiannini and @projectingfilm Artwork by Nathan Thomas Milliner Music by Joplin Rice Find out more at https://offscreendeath.pinecast.co This podcast is powered by Pinecast.

In which celebrated film critic and author Jonathan Rosenbaum stops by to talk about ENCHANTED DESNA (1964) and film criticism in general. Bonus: One of his students joins us! (Warning: contains spoilers and some content may be triggering.)

"One of the earliest film critics I ever read was Pauline Kael , who was an enormous influence on so many of us in the 70s. I would literally read all of her reviews for films as I watched them in theaters, comparing notes. I Lost It At The Movies was a late 70s favorite and I could recite whole passages of her prose from memory at that time. Yet this was only a prelude to further developments, even changes of heart. In the beginning of the early 80s I had not yet discovered the great Manny Farber, nor our guest Jonathan Rosenbaum . I think my first encounter with Rosenbaum was through a now classic book on Jacques Rivette from the 1970s but that I was to read only later, in the 1980s. (I was not that precocious as child - Kael was about my limit.) I was so hungry to read anything about Rivette that it was inevitable I would discover Rivette: Texts and Interviews (BFI, 1977). This in turn led me to realize what an unusually diverse thinker Rosenbaum truly was. Like Farber, Rosenbaum is adamant that criticism is an art form and he treats it as such, in attitude as well as in the prose style that is reflective of his whole attitude. In this sense he also follows Henry James. One of the hallmarks of a great critic, and not merely a good or competent one is if you can tolerate reading them when their opinions or verdicts are contrary to your own. For example, I certainly don't agree with Rosenbaum about Tarantino just as I strongly disagreed with Kael about Tarkovsky and Cassavetes. I think there is room, and room should be made, for both Quentin Tarantino and Kelly Reichardt. I might be unusual in this sense. I told Rosenbaum at the outset of this episode that "he really gets inside of the movie". If any of us "gets inside" of an artwork, really inside of it, we will grow and expand as people. One of the blocks to doing this is too much extraneous stuff that gets in the way. I appreciate that Rosenbaum can talk as freely and knowledgeable about McCoy Tyner and Billie Holiday as much as Jerry Lewis, Pedro Costa, or Anna Biller and Guy Maddin. He is good friends with filmmaker Mark Rappaport who was also friends of my late father, Rosenbaum has always championed the underrated or unknown, like our very first guest on this podcast, Jon Jost . Sometimes the personal and artistic commingle and this is where a culture can really develop. It was heartening to hear him say cinephilia is living and living well. As he continues to teach into the future I hope others, too, become cinephiles.” Jonathan’s Bio: Jonathan Rosenbaum was film critic for the Chicago Reader from 1987 to 2008. His books include CINEMATIC ENCOUNTERS 2 (2019), CINEMATIC ENCOUNTERS (2018), GOODBYE CINEMA, HELLO CINEPHILIA (2010), THE UNQUIET AMERICAN (2009), DISCOVERING ORSON WELLES (2007), ESSENTIAL CINEMA (2004), MOVIE MUTATIONS (coedited with Adrian Martin, 2003), ABBAS KIAROSTAMI (with Mehrnaz Saeed-Vafa, 2003, 2018), MOVIE WARS (2000), DEAD MAN (2000), MOVIES AS POLITICS (1997), PLACING MOVIES (1995), THIS IS ORSON WELLES by Orson Welles and Peter Bogdanovich (edited, 1992), GREED (1991), MIDNIGHT MOVIES (with J. Hoberman, 1983), and MOVING PLACES (1980). He has taught at State University of New York at Stony Brook, New York University, the School of Visual Arts (in New York), the University of California branches at Berkeley, San Diego, and Santa Barbara, the University of Chicago, the University of St. Andrews (in Scotland), the School of the Art Institute of Chicago, KinoKlub Split (in Croatia), and FilmFactory (in Sarajevo). He maintains a web site archiving most of his work at jonathanrosenbaum.net . Visit our show Facebook page for more extensive links to Jonathan’s beautiful work. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/mitch-hampton/message Support this podcast: https://anchor.fm/mitch-hampton/support

for our penultimate episode of 2020, be prepared to hear the phrases "greatest film of all time" and "pauline kael" too many times as we reflect on sam's first viewing of CITIZEN KANE at the PCC and netflix's MANK renders emmett considerably upset. we also approached fragments of o. welles' filmography from TOO MUCH JOHNSON to F FOR FAKE and discussed a couple of critical debates about KANE's authorship. bibliography below: 'Too Much Johnson', National Film Preservation Foundation, https://www.filmpreservation.org/preserved-films/lost-and-found-mercury-theater-films Bazin, Andre, "Orson Welles: a Critical View" (trans. Jonathan Rosenbaum, New York, 1978). Carringer, R.L., ‘The Scripts of “Citizen Kane”’, in Critical Inquiry Vol 5. No. 2 (1978), 369-400. Cousins, Mark 'The Story of Film: An Odyssey' (2011) Kael, Pauline, ‘Raising Kane’ in The Citizen Kane Book (New York, 1971). Mulvey, Laura, "BFI Classics: Citizen Kane" (London, 1992). Rosenbaum, Jonathan, ‘I Missed It at the Movies: Objections to ‘Raising Kane’’ in Film Comment, Spring 1972, reprinted in "Discovering Orson Welles" (Berkeley, 2007). 'Sartre and Borges on Welles', The Paris Review https://www.theparisreview.org/blog/2014/08/12/sartre-and-borges-on-welles/ soundtrack features phil graves’ renditions of: ‘the union forever’ by the white stripes ‘citizen kane suite’ by bernard hermann & ‘three keys for the large door’ by phil graves

Bill speaks to Gary Tooze about his home video review site, DVDBeaver, now in its 18th year. They discuss his experiences with film, from encountering Charlie Chaplin on television and renting 35mm Basil Rathbone movies with his father to creating the Listserv discussion group that evolved into his website. Topics discussed include audio commentaries, the 4K UHD format, David Cronenberg, nostalgia, Jonathan Rosenbaum, content warnings, Jesús Franco, Tim Lucas, contemporary pop culture in James Bond movies, online negativity, DETOUR and the pleasures of simple storytelling.   Visit DVDBeaver: http://www.dvdbeaver.com   Read the DVDBeaver Top 100 desert island discs list: http://www.dvdbeaver.com/film/top100.htm   Visit the DVDBeaver Patreon page: https://www.patreon.com/dvdbeaver   Read the DVDBeaver analysis of Universal's 4K Ultra HD edition of VERTIGO: http://www.dvdbeaver.com/film9/blu-ray_review_127/vertigo_4K_UHD.htm  

Celebrated as one of Jean-Luc Godard's favorite American film critics, Jonathan Rosenbaum has had an esteemed career as a writer of weekly film columns, books, academic analyses, and autobiography via film (an inspiration for this very podcast). On today's episode we discuss why film culture is more connected now via the Internet than it ever was even in France in the 1970s, being an extra on a Robert Bresson film, his consulting contribution to Orson Welles's posthumous output through his friendship with Oja Kadar, his continued belief in the importance of film lists, and his influential tenure at the Chicago Reader until leaving in 2008.Rosenbaum still writes about film on his website, and his most recent book is Cinematic Encounters 2: Portraits and Polemics.

No less than Jean-Luc Godard called Jonathan Rosenbaum the best living American film critic, and for decades his hugely influential writing has been political, internationally conscious, skeptical of received wisdom, and enormously curious about forms of cinema beyond mainstream. Our own Will Sloan talks to Rosenbaum to discuss his career, his politics, and how the cinematic landscape has changed since the ‘90s. A Rosenbaum Reading List: List-o-Mania - https://www.chicagoreader.com/chicago/list-o-mania/Content?oid=896619 Stupidity as Redemption (Forest Gump) - https://www.jonathanrosenbaum.net/2019/03/stupidity-as-redemption/ Cutting Heroes Down to Size (Small Soldiers and Saving Private Ryan) - https://www.jonathanrosenbaum.net/2018/12/cutting-heroes-down-to-size/ In Dreams Begin Responsibilities (Eyes Wide Shut) - https://www.jonathanrosenbaum.net/2020/02/in-dreams-begin-responsibilities/ The World According to Harvey and Bob - https://www.chicagoreader.com/chicago/the-world-according-to-harvey-and-bob/Content?oid=887735 Declaration of Independents: Hardly Working - https://www.jonathanrosenbaum.net/2020/05/hardly-working-2/ Good Morning: Structures and Strictures in Suburbia - https://www.criterion.com/current/posts/4543-good-morning-structures-and-strictures-in-suburbia His 20th Century (Godard's Histoire[s] du Cinema) - https://www.jonathanrosenbaum.net/2018/07/his-20th-century/

We're experiencing a break in reality! Alternate universe podcast, Make it Long, is in your feeds! Ryder Sutton and Jason Jezek discuss "Benchwarmers 2: Breaking Balls" from director Jonathan Rosenbaum!   Addition Music: https://freemusicarchive.org/music/The_Ghost_in_Your_Piano/

Our name is The Avid Indoorsmen. You've heard our podcast. Prepare to enjoy yourself! Our good buddy @PeterHollens wanted to come on the podcast and he optioned for us to talk about The Princess Bride which took absolutely no convincing whatsoever. We're so happy he chose this and it has recently been added to Disney + if you're looking for something fun to watch while social distancing!Before we chat with Peter we start this episode discussing the last movies we've watched, what we've been streaming and our favorite quarantine meals.Had such a fun time reminiscing about how much we loved this film as kids and breaking down how wonderful it is and how it still holds up!We end this episode playing a movie game called Taglines and our Patrons get to hear us draft our Top 5 Favorite Films Featuring Pro Wrestlers!Hope you're all staying safe and healthy out there and enjoying these social distancing sessions!2:18 Killing Them Softly5:02 Jumanji: The Next Level6:57 Too Hot To Handle9:25 Succession11:49 Buegs' Favorite Quarantine Meal12:30 Revival https://www.revivalrestaurants.com/16:35 Plugarooni's 17:18 patreon.com/theavidindoorsmen 19:10 @PeterHollens www.youtube.com/peterhollens24:54 The Princess Bride Plot Synopsis25:14 Rotten Tomatoes25:52 Jeff Andrew from TimeOut26:21 Jonathan Rosenbaum from The Chicago Reader26:50 Buegs' Hot Take28:47 Rob's Hot Take31:28 Peter's Hot Take34:11 The Dude Award37:42 Mandy Patinkin gets so excited when a news anchor that he's doing an interview with has to leave because his wife is going into labor. https://youtu.be/8taJx6jqd1440:08 The Tucci Award48:12 The Dingus54:20 Show Me The Money1:01:32 Buegs' Boo Hoo Moments1:03:13 Movie Trivia1:10:51 The Princess Bride1:13:18 Tagline Game1:26:09 Top 5 Favorite Movies Featuring Pro Wrestlers

It’s goodbye for real this time as the boys discuss the controversial animated film that began life as a script by Jacques Tati. American critics generally welcomed Sylvain Chomet’s The Illusionist in 2010. Based on a script by Tati and featuring his likeness, the film earned an Academy Award nomination, several Annie Award nominations and, best of all, a Golden Globe nomination. Purists and members of Tati’s family were decidedly less fond of the film. Jonathan Rosenbaum and Roger Ebert both received emails from one of Tati’s grandchildren calling The Illusionist an affront to his legacy and “a sabotage” of his original script. Tune in to this week’s Reel Rap to hear Shane and Bennett discuss that legacy, wonder aloud about that original script and express mixed feelings about Chomet’s film.

Rui Alves de Sousa worked with writing, comedy, podcasts, music, movies and television. He wrote about Cinema, Books and Theater on the websites “Espalha-Factos”,  “Máquina de Escrever”, and currently is one of the writers of the online film magazine "Take Cinema Magazine". He also collaborated in several initiatives of other publications and blogs spread around the corners of the national internet. During School and University, Rui hosted the amateur talk-show “A Shot in the Dark” (“Um Lance No Escuro”), which had 60 episodes recorded over 3 years (2013-2016), and which were interviewed several directors, writers, musicians, actors, and even a clown. He collaborated in other university radio shows as a speaker, criative writer and producer. Since January 2017 he presents the weekly podcast “On The Edge of the Abyss”, also an interview show that had some international guests on it, like director Fred Schepisi, actor Greg Sestero, film critic Jonathan Rosenbaum and author Antonio Altarriba. Rui still has time for other things: he did amateur theater in school and returned to it recently, he made short films and many shows as a stand up comedian, performing in portuguese and in english at various sessions in Lisbon. Rui worked on a bookshop and also was a member of the organization of the Lisbon Book Fair in 2016. After that, he worked for almost two years as the A & R Assistant of Universal Music Portugal. After that, he joined the team of a portuguese talk-show on the TV channel "RTP África". Now, he's working with the film production company JumpCut, from the portuguese director Miguel Gonçalves Mendes (author of the documentary "José & Pilar", about our Literature Nobel Prize José Saramago).  Support us on Patreon: www.Patreon.com/12minconvosListen to another #12minconvo

Einzelgespräch mit Hal Hartley zu «The Girl From Monday» , geführt von Michel Bodmer (stellvertretender Leiter des Filmpodiums Zürich) am Sundance Festivals 2005. Statt Filmen wollen wir Ihnen während der Corona-bedingten Schliesslung des Filmpodiums online andere Aspekte der Filmkultur vermitteln. In seiner rund 35-jährigen Tätigkeit als Filmkritiker hat Michel Bodmer, stellvertretender Leiter des Filmpodiums, Dutzende von Interviews mit Filmschaffenden aus aller Welt und verschiedener Generationen geführt, teils in Form von sogenannten round tables bzw. Gruppeninterviews mit anderen Journalistinnen und Journalisten, teils in Form von one-on-ones bzw. Einzelinterviews. Von der Tonqualität sind diese teils über 30 Jahre alten Aufnahmen unterschiedlich; die Fragen versteht man in der Regel weniger gut als die Aussagen der Interviewten, die denn auch wichtiger sind. In einzelnen Fällen können die Gespräche mit Transkripten ergänzt werden. Wir hoffen, dass Sie trotz dieser Einschränkungen an den Gesprächen, die wir Ihnen nach und nach als Podcasts zum Privatgenuss anbieten, Gefallen finden. Die Rechte an der Reproduktion (auch in Auszügen) und der Weiterverbreitung (geschweige denn «viral» ...) sind vorbehalten. «Hal Hartleys exzentrischer, lustiger und sexy Film The Girl from Monday ist ein Science-Fiction-Thriller, der für die heutige Welt genauso relevant sein könnte wie Masculin Féminin Mitte der 1960er-Jahre – Hartley nennt ihn einen ‹Pseudo-Science-Fiction-Film über die Art und Weise, wie wir jetzt leben›. Er hat zwei sympathische Heldinnen. Das ‹Mädchen› des Titels sieht aus wie eine erwachsene Frau (gespielt vom gespenstischen brasilianischen Model Tatiana Abraços), obwohl sie eigentlich eine namenlose Ausserirdische aus der fernen Konstellation Monday ist – Teil einer körperlosen kollektiven Entität, die eine menschliche Gestalt angenommen hat. Die andere ist die mutige Managerin Cecile, die sich zur Widerstandskämpferin gewandelt hat. Der Held, Jack Bell, gibt sich als Manager aus, ist aber Teil desselben Kollektivs – ein Ausserirdischer auf Irrwegen, und das Mädchen wurde losgeschickt, um ihn zurückzuholen. (...) The Girl from Monday, poetische Satire und Genreparodie, malt sich eine Zukunft aus, in der eine Revolution, die ein Unternehmen namens MMM (Major Multimedia Monopoly) an die Macht brachte, zu einer ‹Diktatur des Konsumenten› geführt hat. Verfügbares Einkommen ist die wichtigste revolutionäre Tugend, jeder Einzelne gilt als ‹Investition mit Wachstumspotenzial›, und ‹die sexuell aktivsten und sexuell verfügbarsten Erwachsenen geben am meisten Geld aus›. Jeder hat am Handgelenk einen Barcode eintätowiert, und wenn zwei Personen sich für Sex entscheiden, scannen sie an einem Geldautomat-ähnlichen Gerät ihre Barcodes ein und erhöhen ihre jeweilige Bonität durch diese ‹Investition› ineinander. Dieser sozial korrekte Sex stärkt auch die Gesamtwirtschaft. (...) Wie in vielen von Hartleys früheren Werken werden die Dialoge in einem entspannten, trocken-komischen Tonfall gesprochen, der die oft überdrehte Bildebene verankert und einen ruhigeren, distanzierteren Blickwinkel vermittelt, von dem aus man die Handlung betrachten kann. Vor allem ist Hartleys verspielter Sinn für das Absurde, wenn er sich das Verhältnis von Konsumdenken und Sex vorknöpft, mehr philosophisch als politisch, nicht so sehr verzweifelt wie grimmig amüsiert – und deswegen nachdenklicher.» (Jonathan Rosenbaum, chicagoreadercom, 14.4.2005)

Welcome to our brand-new movie podcast! In this episode, Elise Moore and David Fiore ramble on about their respective lives cinematic and present impressionistic lists of their characteristic enthusiasms. Last, but not least, we sketch out the shape of ‘casts to come. Among the topics covered here:  our not being a David Lynch podcast, RCA Videodiscs, Canadians watching New England PBS stations, Xanadu, The Lady in the Lake, reading about movies you fear you’ll never see, The Strawberry Blonde, The Private Lives of Elizabeth and Essex, Bette Davis in general, Stanley Cavell, Ray Carney, Jonathan Rosenbaum, and the great Jerry Lewis. Time Codes: 0h 1m 00s:   Dave and Elise’s Nitrate Nativities 1h 16m 33s: 4 Impressionistic lists 1h 57m 35s: Coming attractions   *Read Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre

On today's show:On Thursday night, the United States pulled back from the brink of war with Iran, according to a report by The New York... [[ This is a content summary only. Visit my website for full links, other content, and more! ]]

As we keep trudging along on our journey to watch all of Quentin Tarantino's movies, we've reached his 3rd written and directed film, Jackie Brown. Both of us had never seen this highly-rated flick so we'll be breaking down Jackie Brown with fresh eyes.Before we get into that we'll start it off by chatting about the last movies we've ingested, what we're streaming on the inter-webs and our most delicious meals of late.Our first female-led Tarantino film features Pam Grier as well as Samuel L. Jackson in this crime thriller. We had fun talking about all the things we enjoyed and disliked on this one. This episode ends with us playing our Blast From the Past Movie Game and then our Patrons get to hear us break down our Top 5 Favorite Films Featuring Flight Attendants. Hope you all are enjoying our Inglorious Podcasts and have fun listening to us chat about Jackie Brown!Enjoy!1:37 Long Shot4:11 The Emperors New Groove5:33 There's Something About Mary7:27 Veep Season 710:25 Buegs' Favorite Meal11:45 Kramurczuk Sausage Company13:30 Manny's Steak House13:47 @AvidIndoorzmen Plugs14:30 www.patreon.com/theavidindoorsmen16:40 Coming Attractions: STRIPES and Kill Bill Vol.117:34 Jackie Brown Plot Synopsis18:18 Rotten Tomatoes18:38 Jay Carr from The Boston Globe19:10 Jonathan Rosenbaum from The Chicago Reader19:42 Buegs' Hot Take21:48 Rob's Hot Take26:08 The Dude Award29:21 The Tucci Award35:50 Favorite Scene (Sophie's Choice)45:24 Show Me The Money 49:40 Buegs' Boo Hoo Moments50:22 Movie Trivia55:35 Judgement Day58:25 Blast From the Past Movie Game1:09:12 Top 5 Films Featuring Flight Attendantswww.patreon.com/theavidindoorsmen www.theavidindoorsmen.comwww.facebook.com/theavidindoorsmen Twitter: @AvidIndoorzmenInstagram: @TheAvidIndoorsmen

On today's show: A new Trump administration strategy on immigrationFilm critic Jonathan Rosenbaum on French filmWeekend Passport with... [[ This is a content summary only. Visit my website for full links, other content, and more! ]]

In episode five of the Cineversary podcast, the spotlight shines on "Touch of Evil," Orson Welles' 1958 film noir classic, which marks a 60th anniversary this year. Host Erik Martin interviews Jonathan Rosenbaum, former head critic of the Chicago Reader, author of several books on cinema, and consultant on the 1998 re-editing of Touch of Evil and on the 2018 completion of Welles’ movie The Other Side of the Wind. Together, they discuss why "Touch of Evil" is worth celebrating all these years later, its cultural impact and legacy, what we can learn from the picture today, how it has stood the test of time, and more. Learn more about the Cineversary podcast at www.tinyurl.com/cineversarypodcast, like us on Facebook at www.facebook.com/cineversarypodcast, and email show comments or suggestions to cineversegroup@gmail.com.

Bill speaks with critic and author Alexandra Heller-Nicholas about her many pursuits, from co-founding Fiend Magazine and writing books like RAPE-REVENGE FILMS and FOUND FOOTAGE HORROR FILMS to editing for Senses Of Cinema and co-curating the Pioneering Women program on Australian women filmmakers of the 1980’s and 1990’s. Topics covered include: Carol Clover, Plato’s Cave, date movies, masks, MEGAN IS MISSING, writing and editing tips, Hal Hartley, THE STENDHAL SYNDROME, Graveyard Shift Sisters and the predatory behavior of Pepé Le Pew. Visit Alexandra Heller-Nicholas’s official site: Alexandra Heller-Nicholas   Visit Alexandra Heller-Nicholas’s site Generation Starstruck, focusing on Australian women’s filmmaking made between 1980-1999: https://generationstarstruck.tumblr.com/   Visit Alexandra Heller-Nicholas’s Amazon author page: https://www.amazon.com/Alexandra-Heller-Nicholas/e/B0050PI6V0/ref=sr_ntt_srch_lnk_1?qid=1520336609&sr=8-1   Watch this panel on cinephilia, featuring Alexandra Heller-Nicholas, Jonathan Rosenbaum, David Jenkins, Conor Bateman and Cerise Howard: https://www.youtube.com/watch?v=XyCOFM66Ns8   Visit the online film journal Senses Of Cinema: http://sensesofcinema.com/ Hear Alexandra Heller-Nicholas on The Cinephiliacs: http://www.thecinephiliacs.net/2017/03/episode-90-alexandra-heller-nicholas-ms.html Buy the Region B Arrow Video edition of Brian De Palm’s CARRIE, featuring audio commentary by Alexandra Heller-Nicholas and Lee Gambin: https://www.arrowfilms.com/product-detail/carrie-blu-ray/FCD1686 Read Daphne du Maurier’s THE BLUE LENSES: http://moellerlit.weebly.com/uploads/1/0/2/4/10248653/shorts_--_the_blue_lenses_dumaurier.pdf Read a roundtable discussion conducted by Alexandra Heller-Nicholas on LOST GIRLS: https://fourthreefilm.com/2017/05/lost-girls-a-jean-rollin-roundtable/ Read Alexandra Heller-Nicholas on Andrzej Zulawski: https://overland.org.au/2016/02/andrzej-zulawski-and-the-powerlessness-of-language/ Read Alexandra Heller-Nicholas' celebrated essay on MAD MAX: FURY ROAD: https://overland.org.au/2015/05/furious-and-furiosa/ Hear Alexandra Heller-Nicholas on the Plato’s Cave radio program: https://www.rrr.org.au/program/plato-s-cave/ Visit the official site of Graveyard Shift Sisters: http://www.graveyardshiftsisters.com

We’ve been compiling this episode for about 6 months now and we’ve conducted interviews in New York, Bristol, The Shetland Islands and via Skype. We hope our delve into film criticism is worth the wait. Thank you firstly to our participants, so generous with their time and thoughts. A huge thank you also to our roving reporter Charlotte Crofts for the amazing interview with Tara Judah featured in the episode, and others we couldn’t manage to get in. Thank you finally to our listeners who suggested this episode. The wealth of material we got was overwhelming so look out for all the interviews being uploaded in January while we are on our winter break. That should keep you going in the cold winter months. Participants Tara Judah https://tarajudah.com/ @midnightmovies Sam Fragoso http://talkeasypod.com/ @SamFragoso Simran Hans https://www.theguardian.com/profile/simran-hans @heavier_things Ashley Clark http://www.bfi.org.uk/people/ashley-clark  @_Ash_Clark Violet Lucca https://www.filmcomment.com/author/vlucca/ @unbuttonmyeyes Mark Kermode https://www.theguardian.com/profile/markkermode @KermodeMovie Prof. Linda Ruth Williams https://humanities.exeter.ac.uk/film/staff/lwilliams/ @lindaruth1 Tom Shone http://tomshone.blogspot.co.uk/ @Tom_Shone Roll of Honour All the critics given shout outs across our interviews... Sophie Mayer, Alexandra Heller-Nicholas, Cerise Howard, Emma Westwood, Thomas Caldwell, Josh Nelson, Jack Sargeant, Dana Linssen, Kees Driessen, Rüdiger Suchsland, Adrian Martin, Catherine Grant, Cristina Alvarez Lopez, Kevin B. Lee, Michael Wood, Jonathan Rosenbaum, Robin Wood, Victor Perkins, David Bordwell, Kristin Thompson, Hadley Freeman, Marina Hyde, Ren Zelen, Christina Newland, Molly Haskell, Ashley Clark, James Baldwin, Graham Greene, Cahiers Critics, Bogdanovich & Schrader, Toby Hazlet, Violet Lucca, Doreen St. Felix, Jia Tolentino, Vinson Cunningham, Hilton Als, Wendy Ide, Simran Hans, Guy Lodge, Pauline Kael, Kim Newman, Roger Ebert, Andrew Sarris, Alan Jones, J Hoberman, Anne Billson, Kate Muir, Kay Austin Collins, Ira Madison, Alyssa Wilkinson, Scott Tobias, Keith Phipps, Tasha Robertson, Tim Grierson, Anjelica Jade, Nathan Heller, Jeremy O’Harris, Hunter Harris, Wesley Morris, Nick Pinkerton, Eric Hynes, Badlands Film Collective, AO Scott, Anthony Lane, David Edelstein, Elvis Mitchell, Amy Taubin,  Christian Lorentzen, Senses of Cinema, Four Columns and Reverse Shot. The incidental music for this episode is from Giorgio Gaslini's score for Antonioni's La Notte.

Bill talks to film journalist, special effects supervisor, podcaster and award-winning home video supplements producer Heather Buckley. They discuss her path from writing for Dread Central to co-producing the forthcoming feature film THE RANGER. Other topics include: J. Hoberman and Jonathan Rosenbaum’s book MIDNIGHT MOVIES, punk rock, Martin Scorsese, applying a DIY ethic to working in corporate advertising, social media, the abuse of power in film culture, UNFORGIVEN, Michael Felsher and how hanging a poster of a character from Clive Barker’s NIGHTBREED can inadvertently result in one’s own exorcism.   Read about Heather Buckley’s film and supplementary feature credits on her Internet Movie Database page: http://www.imdb.com/name/nm6286333/   Read Heather Buckley in Fangoria: http://www.fangoria.com/new/author/heather-buckley/   Read Heather Buckley in Diabolique: https://diaboliquemagazine.com/author/heatherbuckley/   Read Heather Buckley in Dread Central, Vulture and Chemistry World: https://muckrack.com/heather-buckley/articles   Listen to the Mass Hypnosis podcast: http://masshypnosisnow.com/   Listen to the Bonus Material podcast: https://www.stitcher.com/podcast/the-bonus-material-podcast   Watch Heather Buckley’s interview with Tobe Hooper: https://www.youtube.com/watch?v=U6DYEhl5Wy8&t=85s   Listen to Heather Buckley discuss LEATHERFACE: THE TEXAS CHAINSAW MASSACRE III on Scream Addicts: http://www.screamaddicts.com/leatherface-tcm-iii-with-film-journalistproducer-heather-buckley/   Follow Heather Buckley on Twitter: https://twitter.com/_heatherbuckley

Bill talks to author and film critic Jonathan Rosenbaum about some of his many endeavors in film culture, including books like MOVING PLACES and MOVIE WARS, his tenure as principal film reviewer at the Chicago Reader, and his involvement in multiple Orson Welles-related projects, ranging from THIS IS ORSON WELLES to THE OTHER SIDE OF THE WIND. Other topics include: Critical interactivity, identity politics in film criticism, André Téchiné, film culture in New York and Paris in the late '60s, confusing Art with Class, audio commentaries, TWIN PEAKS, hate mail, film festivals and how plagiarism can be a positive thing if your ideas are important.     Visit Jonathan Rosenbaum’s official website: https://www.jonathanrosenbaum.net/   Hear Jonathan Rosenbaum on The Projection Booth: http://projection-booth.blogspot.com/2016/06/episode-277-celine-and-julie-go-boating.html   Jonathan Rosenbaum on THE SUN SHINES BRIGHT and GERTRUD https://www.youtube.com/watch?v=z1lfa-Xr9zI   Jonathan Rosenbaum on SATANTANGO https://vimeo.com/56355775   Jonathan Rosenbaum’s 1000 Essential Films: https://www.jonathanrosenbaum.net/2004/03/1000-favorites-a-personal-canon/ https://www.jonathanrosenbaum.net/2004/03/1000-favorites-a-personal-canon-part-two/   1000 Favorites (A Personal Canon), part three | Jonathan Rosenbaum

Starring an early career Johnny Depp with a rogue's gallery of great American and British character actors, Jim Jarmusch's 1995 DEAD MAN is one of the coolest, independentest movies around. In this episode, your hosts discuss: the widely divergent critical reactions, the similarly divisive Neil Young soundtrack, the influences of English poet William Blake and surrealist Henri Michaux, and your hosts' differing thoughts on Western films. Plus, the greatness of Tommy Boy. Film links: Dead Man on IMDb Dead Man on Wikipedia Roger Ebert 1 1/2 star Dead Man review Owen Gleiberman C-minus Dead Man review Jonathan Rosenbaum in Chicago Reader Rosenbaum on Dead Man in Cineaste Dead Man in AV Club's New Cult Canon Slant on Dead Man Film School Rejects on Dead Man Greil Marcus loves Dead Man AO Scott video essay on Dead Man Jarmusch Lincoln Center Dead Man Q&A Briana Berg on William Blake and Henri Michaux Chinmayi Sharma on William Blake and Dead Man Robert Christgau on Neil Young's discography Gunfighter Nation by Richard Slotkin Show links: Subscribe: Apple Podcasts Archives: enterthevoid.fm Follow us: Facebook + Twitter

Starring an early career Johnny Depp with a rogue's gallery of great American and British character actors, Jim Jarmusch's 1995 DEAD MAN is one of the coolest, independentest movies around. In this episode, your hosts discuss: the widely divergent critical reactions, the similarly divisive Neil Young soundtrack, the influences of English poet William Blake and surrealist Henri Michaux, and your hosts' differing thoughts on Western films. Plus, the greatness of Tommy Boy. Film links: Dead Man on IMDb Dead Man on Wikipedia Roger Ebert 1 1/2 star Dead Man review Owen Gleiberman C-minus Dead Man review Jonathan Rosenbaum in Chicago Reader Rosenbaum on Dead Man in Cineaste Dead Man in AV Club's New Cult Canon Slant on Dead Man Film School Rejects on Dead Man Greil Marcus loves Dead Man AO Scott video essay on Dead Man Jarmusch Lincoln Center Dead Man Q&A Briana Berg on William Blake and Henri Michaux Chinmayi Sharma on William Blake and Dead Man Robert Christgau on Neil Young's discography Gunfighter Nation by Richard Slotkin Show links: Subscribe: Apple Podcasts Archives: enterthevoid.fm Follow us: Facebook + Twitter

Jimmy got so many great interviews at Heroes Con that he had to do a special just for your listening pleasure! He talked to Brockon McKinney (Amerikarate), Jamar Nicholas (Fist, Stick, Knife, Gun), Jason Porath (Rejected Princesses), Jonathan Rosenbaum (ZomB and VampR), Matthew D. Smith (Amazing Age) and Marcus Williams (Tuskegee Heirs). Listen in to hear all about the work from these talented writers/artists! Leave your iTunes comments! 5 stars and nothing but love! Also, get a hold of us!   Thanks for listening! Come back next week for more Heroes Con interviews! 

Dedicated listeners of The Cinephiliacs may be familiar with the phrase, "And then I discovered Jonathan Rosenbaum's writing," as countless cinephiles have been inspired by his many words in the Chicago Reader and beyond. Thus, this latest episode of the podcast interviews the man who championed films beyond the canon, exploring cinema through an essayistic, often deeply personal love for the movies. Jonathan discusses his upbringing in Alabama, seeing the French New Wave from the front lines, a short dip into academia, and his role in looking at the strange world of taste culture and its ties to the Hollywood industry. Then, the two dive into the recently restored mammoth of a film that has been waiting to enter the canon: Jacques Rivette's 13 hour Out 1. They discuss this work of connections in post-May '68 Paris that may or may not be a secret Balzac-influenced conspiracy, engaging the viewer to find the fiction in the documentary and the documentary in the fiction. 0:00-2:48 Opening3:20-11:31 Establishing Shots - Reviews from AFI Fest12:17-1:02:55 Deep Focus - Jonathan Rosenbaum1:03:48-1:05:28 Mubi Sponsorship1:06:32-1:31:10 Double Exposure - Out 1 (Jacques Rivette)1:31:14-1:33:59 Close / Outtakes

Tonight’s program “Orson Around,” is a glimpse at the life and movies of Orson Welles. This conversation took place in the breakfast room at the Grant Street Inn in Bloomington earlier in the year during the week that Indiana University hosted a Welles Symposium to celebrate his centenary. Yes, Orson Welles was born 100 years …

What is the "work" of film criticism? That question takes center stage in a lively new episode of the podcast, in which Peter travels to Toronto, Canada to talk movies with critic and writer Calum Marsh. Calum traces his cinephilia to his VHS and DVD days in suburban England, eventually developing via the influence of rigorous Jonathan Rosenbaum, and then swinging to an attempt to understand how film criticism can work more similarly to the great literary critics. They talk the beauty of Blackhat and the Kim's Video generation, but most of all they discuss prose and its function in describing a visual medium. They then top it off with a look at Whit Stillman's wondrous nostalgia critique, The Last Days of Disco, using Stillman's own novelization of his work as an examination of the different worlds of cinema and literature. 0:00-1:53 Opening2:37-9:38 Establishing Shots - Gems from UCLA's Festival of Preservation10:23-59:27 Deep Focus - Calum Marsh1:00:04-1:02:16 Mubi Sponsorship - Travel Plans and Broken Specs1:03:43 -1:26:57 Double Exposure - The Last Days of Disco (Whit Stillman)1:27:01-1:28:58 Close / Outtake

Orson Welles's follow-up to Citizen Kane adapted Booth Tarkington's Pulitzer prize-winning novel about industrial progress and the loss of innocence set against a tumultuous family, the Ambersons.

"Erasing History: Antiquities Looting, Scholarly Forgeries, and a Way to Stop Them" by Jonathan Rosenbaum, President Emeritus and Professor Emeritus of Jewish Studies, Gratz College; Visiting Scholar, University of Pennsylvania, 2011-2012

Colin Marshall talks to Jonathan Rosenbaum, former Chicago Reader film critic, advocate of international cinema, and author of books on Orson Welles, Abbas Kiarostami, and Jim Jarmusch’s Dead Man. In his latest, Goodbye Cinema, Hello Cinephilia: Film Culture in Transition, he examines the way serious engagement with film has changed over the decades, what new experiences it has brought to enthusiasts and critics, and what possibilities it has opened for cinematic artists.