Podcast appearances and mentions of Kevin Brownlow

Magic Hour is an occasional Letterboxd series in which perfectly matched filmmakers have a conversation with each other. In this episode, Talk to Me directors Danny and Michael Philippou (of YouTube channel RackaRacka fame) get into the details of directing with Australian legend George Miller, creator of the Mad Max franchise and the Babe films. The trio talk editing, being twins, Buster Keaton, making Babe better, pure film language, building great action sequences, Australia's film history, great one-shot scenes, banging trailers, editing on the go and the great Margaret Sixel. Watch this conversation on our YouTube page. A note from the team: This interview was conducted during the 2023 WGA and SAG-AFTRA strikes in accordance with the DGA contract, which was ratified in June 2023. Without the labor of writers and actors currently on strike, many of the films we cover wouldn't exist. Sponsor: Talk to Me (A24) in theaters everywhere July 28th. Credits: Produced by Gemma Gracewood, edited by @CultPopture and slim. Production coordinator: Sophie Shin. Editorial producer: Brian Formo. With thanks to Courtney Mayhew and Ahi. Music from Junkie XL, Takara, and Sadistik. Films mentioned, Talk to Me, Mad Max, Mad Max 2, Mad Max: Fury Road, Furiosa, The General, Safety Last!, Ben-Hur, The French Connection, Bullitt, Duel, The Story of the Kelly Gang, Breaker Morant, Picnic at Hanging Rock, My Brilliant Career, Jedda, Nursery Rhymes, Babe, The Godfather: Part II, The Fabelmans Also mentioned: Kevin Brownlow's book on the silent screen, The Parade's Gone By.

Surprise! Paul Cuff returns to discuss something completely different: Abel Gance's 1927 epic NAPOLEON! We discuss our shared love of the film, our first experiences watching it, Abel Gance's subsequent career, and the history of the film's restoration. Gloria Mercer was our dialogue editor for this episode. NEXT WEEK: Bram Ruiter and Will Ross rejoin us to discuss Lubitsch's 1921 expressionist comic extravaganza, THE WILDCAT. WORKS CITED: A REVOLUTION FOR THE SCREEN: ABEL GANCE'S NAPOLEON by Paul Buff Paul Cuff's Commentary on the BFI Napoleon Blu-Ray NAPOLEON by Kevin Brownlow

For our final episode of 2021 we're going back to 1921 one more time for a look at American cinema 100 years ago! We discuss enduring classics like Charlie Chaplin's THE KID alongside other key comedies by the likes of Buster Keaton, Harold Lloyd and Max Linder, films by D.W. Griffith (ORPHANS OF THE STORM), Henry King (TOL'ABLE DAVID) and Lois Weber (THE BLOT), the star power of Mary Pickford, Douglas Fairbanks and Rudolph Valentino, left-wing filmmaking, the one supposedly ‘avant-garde' American film of 1921 (MANHATTA), a plethora of lost and forgotten films, 'international cinema' in the US and much more! Recommended reading includes: Kevin Brownlow, 'The Parades Gone By…' (1968) Ibid, 'Behind the Mask of Innocence' (1990) and there are quotes read out from Steven J. Ross, 'Working Class Hollywood: Silent Film and the Shaping of Class in America' (1998) Filmography: A Daughter of the Law (dir. Grace Cunard) A Sailor-Made Man (dir. Harold Lloyd and Fred C. Newmayer) Action (dir. John Ford) Dream Street (dir. D.W. Griffith) Hard Luck (dir. Buster Keaton and Edward F. Cline) I Do (dir. Harold Lloyd and Fred C. Newmayer) Manhatta (dir. Paul Strand and Charles Sheeler) Never Weaken (dir. Harold Lloyd and Fred C. Newmayer) Orphans of the Storm (dir. D.W. Griffith) Seven Years Bad Luck (dir. Max Linder) The Ace of Hearts (dir. Wallace Worseley) The Blot (dir. Lois Weber) The Boat (dir. Buster Keaton and Edward F. Cline) The Contrast (dir. Guy Hedlund) The Four Horsemen of the Apocalypse (dir. Rex Ingram) The Goat (dir. Keaton and Edward F. Cline) The Idle Class (dir. Chaplin) The Kid (dir. Chaplin) The Love Light (dir. Frances Marion) The Lucky Dog (dir. Jess Robins) The New Disciple (dir. Ollie Sellers) The Play House (dir. Keaton and Edward F. Cline) The Sheik (dir. George Melford) The Sky Pilot (dir. King Vidor) The Three Musketeers (dir. Fred Niblo) The Wallop (dir. John Ford) Tol'able David (dir. Henry King) The soundtrack includes covers of ‘100 Years Ago' by the Rolling Stones and ‘Lonesome Road Blues' from Emmett, and an accordion interpretation of ‘1921' by the Who from Sam. Subscribe to Film Graze on your podcast app of choice and please give us a positive rating/review if you enjoy the show. twitter.com/FilmGraze letterboxd.com/Film_Graze instagram.com/film.graze Produced by Sam Storey

In 1940 Britain was overrun and became just another country occupied by Nazi Germany. At least that's what happened in Kevin Brownlow and Andrew Mollo's 1964 film 'It Happened Here'. The film follows Pauline, a nurse as she is forced to choose between resistance and collaboration. Made over 8 years by two exceptionally young filmmakers 'It Happened Here' is an impressive and thought provoking film. In this week's episode we examine one of the most ambitious amateur films of its era and delve into the fascinating production, performances and story of 'It Happened Here'. Follow us on Twitter @FightingOnFilm and on Facebook. For more check out our website www.fightingonfilm.com Thanks for listening! 

Episode 26! (Brothers Grim Edition) First -> We bypass Newsworthy News (or lack thereof) and get to the Macabre Collections segment! We have been picking up all kinds of "prep" for the spooky season and want to share our recent digs! Lastly -> We offer our reaction review for the documentary Boris Karloff: The Man Behind the Monster, and we both offer our Top 3 lists for favorite Karloff performances! Intro/Outro - Fatal Follower "Karloff is best known for his role as “The Monster” in the classic horror films Frankenstein (1931), Bride of Frankenstein (1935) and Son of Frankenstein (1939). This documentary examines his extraordinary 60-year career in the entertainment industry, as well as his continuing influence as a horror icon. Directed by Thomas Hamilton (Leslie Howard: The Man Who Gave a Damn) and co-produced and co-written by Ron MacCloskey, the film provides a riveting depiction of Karloff and the genre he helped define through exclusive interviews with his daughter, Sarah Karloff, and filmmakers he influenced, including Peter Bogdanovich, Guillermo del Toro, Christopher Plummer, John Landis, Roger Corman and Kevin Brownlow. BORIS KARLOFF: THE MAN BEHIND THE MONSTER is a follow-up to the critically acclaimed 2010 biography "Boris Karloff: More Than A Monster," written by Karloff's official biographer Stephen Jacobs, who also serves as the film's historical consultant." -  Shout Studios! / Abramorama

When I write these, I never know just how long they will be. As it turns out, talking about a film that has had a huge impact on the development of film history, and made the world so much worse, is taking a lot of words. So, this is the second of what I hope to be three episodes on The Birth of a Nation. In this episode, we describe the plot of the movie in detail (though I still skipped a couple of things here and there for the sake of brevity, believe it or not), and talk about how the ideas present in the story interact with each other.The clip I play toward the end is from the 1993 Documentary D. W. Griffith: The Father of Film, directed by Kevin Brownlow and David Gill. You can contact me at historyoffilmpodcast@gmail.com, and you can visit the shows website: historyoffilmpodcast.com to view resources for each episode.

Monsieur Hulot is a car designer who takes a chaotic journey to an auto-show in Amsterdam to show off his prototype in this comic film from 1971. It's the last of Jacques Tati's films to feature Hulot, whose name is said to be inspired in part by the French name for Charlie Chaplin's character in The Tramp - Charlot, and whom Rowan Atkinson has cited as an influence on his comic creation Mr Bean. Matthew Sweet discusses Jacques Tati with fellow film historians Adam Scovell, Muriel Zagha and Phuong Le. Producer: Torquil MacLeod In the Free Thinking archives you can find Matthew discussing other classics such as Charlie Chaplin's City Lights https://www.bbc.co.uk/programmes/b03vd853 the career of Billy Wilder and his film Fedora https://www.bbc.co.uk/programmes/m000p1dx Laurel and Hardy's The Music Box https://www.bbc.co.uk/programmes/m0001xwd A long interview with Kevin Brownlow about restoring silent film classics https://www.bbc.co.uk/programmes/b07z7bn4

Les trois épisodes de la série Chaplin Inconnu, réalisés par David Gill et l’Oscarisé Kevin Brownlow, sont la plus belle série qui se puisse imaginer sur le cinéma. Trois heures de séquences coupées, d’images inconnues et inédites tournées par Chaplin, et invisibles depuis 70 ans. Les secrets de fabrication, des essais d’acteurs, des films d’amateurs…Grâce à 600 bobines abandonnées par Chaplin lors de son départ aux USA et miraculeusement conservées par un collectionneur, nous entrons sur le plateau du maître comme s’il nous y avait lui-même invité. Nous assistons aux répétitions, nous comprenons sa façon de travailler et d’inventer, nous partageons les doutes et le processus créatif du plus grand réalisateur de l’histoire du cinéma.Entre éclats de rire et moments de tendresse, cette série de légende - inédite en DVD et racontée par Pierre Tchernia - est l’événement de cette année du centenaire Chaplin.Une découverte prodigieuse qui éclaire le reste de son œuvre, mais surtout une joyeuse et formidable leçon de cinéma.Bonus :Interview du réalisateur Kevin Brownlow, l’histoire incroyable des images perdues de Chaplin (dans un livret de 16 pages), des séquences inédites et des scènes coupées de Charlot et le Comte (The Count, 1916), et l’Emigrant (1917), en version restaurée.VO et VFCoffret 2 DVD Pal Toutes Zones

In 1890, French inventor Louis Le Prince vanished just as he was preparing to debut his early motion pictures. He was never seen again. In this week's episode of the Futility Closet podcast we'll consider the possible causes of Le Prince's disappearance and his place in the history of cinema. We'll also reflect on a murderous lawyer and puzzle over the vagaries of snake milking. Intro: In 1826, schoolteacher George Pocock proposed a carriage drawn by kites. George Sicherman discovered an alternate pair of six-sided dice that produce the same probability distribution as ordinary dice. Sources for our feature on Louis Le Prince: Christopher Rawlence, The Missing Reel: The Untold Story of the Lost Inventor of Moving Pictures, 1990. Thomas Deane Tucker, The Peripatetic Frame, 2020. Adam Hart-Davis, ed., Engineers: From the Great Pyramids to the Pioneers of Space Travel, 2012. Jenni Davis, Lost Bodies, 2017. Charles Musser, "When Did Cinema Become Cinema?: Technology, History, and the Moving Pictures," in Santiago Hidalgo, ed., Technology and Film Scholarship: Experience, Study, Theory, 2018. Richard Howells, "Louis Le Prince: The Body of Evidence," Screen 47:2 (Summer 2006), 179–200. John Gianvito, "Remembrance of Films Lost," Film Quarterly 53:2 (1999), 39-42. Irfan Shah, "Man With a Movie Camera," History Today 69:1 (January 2019) 18-20. Violeta María Martínez Alcañiz, "The Birth of Motion Pictures: Piracy, Patent Disputes and Other Anecdotes in the Race for Inventing Cinema," III Congreso Internacional Historia, Arte y Literatura en el Cine en Español y Portugués, 2015. Atreyee Gupta, "The Disappearance of Louis Le Prince," Materials Today 11:7-8 (July-August 2008), 56. Justin McKinney, "From Ephemera to Art: The Birth of Film Preservation and the Museum of Modern Art Film Library," Art Documentation: Journal of the Art Libraries Society of North America 33:2 (September 2014), 295-312. Denis Pellerin, "The Quest for Stereoscopic Movement: Was the First Film Ever in 3-D?", International Journal on Stereo & Immersive Media 1:1 (2017). Ian Youngs, "Louis Le Prince, Who Shot the World's First Film in Leeds," BBC News, June 23, 2015. Kevin Brownlow, "The Inventor Vanishes," New York Times, Nov. 18, 1990. "How Is the Technology That Was Used to Reconstruct the Oldest Film in History?", CE Noticias Financieras, English ed., May 13, 2020. Chris Bond, "Leeds Celebrates Its Film Pioneer," Yorkshire Post, Oct. 24, 2017. Adrian Lee, "Whatever Happened to the True Father of Film?", [London] Daily Express, June 29, 2015. "Louis Le Prince: Time to Honour Cinema's Forgotten Pioneer," Yorkshire Post, Sept. 16, 2013. Troy Lennon, "Movie Pioneer Caught in a Disappearing Act," [Surry Hills, N.S.W.] Daily Telegraph, Oct. 14, 2008, 38. Kieron Casey, "The Mystery of Louis Le Prince, the Father of Cinematography," Science+Media Museum, Aug. 29, 2013. Listener mail: Agnes Rogers, How Come? A Book of Riddles, 1953. Wikipedia, "Lateral Thinking" (accessed July 25, 2020). Edward de Bono's website. Wikipedia, "Situation Puzzle" (accessed July 25, 2020). Paul Sloane, Lateral Thinking Puzzlers, 1991. This week's lateral thinking puzzle was contributed by listener Eric Ridenour. You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

With this year's Oscars imminent, Tom Holland and Iszi Lawrence meet the cineasts who help us understand history and the history of cinema. Hannah Grieg, historical consultant on the Oscar-winning film The Favourite, and the screenwriter of Churchill, Alex von Tunzelmann, discuss the portrayal of history on the big screen. Tom meets Kevin Brownlow, whose work finding and restoring film from the silent era earned him an Oscar in 2010. And Matthew Sweet tells the story of Vic Kinson, a bookkeeper from Derbyshire, who created the IMDB of his day. Produced by Craig Smith A Pier production for BBC Radio 4

This week on The Spectator Film Podcast… Sherlock Jr. (1924) 11.1.19 Featuring: Austin, Maxx Commentary Track begins at 10:58 — Notes — Sherlock Jr. (1924) — There’s the link to the Youtube version we watched for this episode. My Wonderful World of Slapstick by Buster Keaton — Here’s the link to Buster’s autobiography. Buster Keaton’s Sherlock Jr. Edited by Andrew Horton — This is the link to the wonderful essay collection we referenced during the episode. This is a truly wonderful collection of essays, with the highlights (for me) being the essays by Henry Jenkins and Kathleen Rowe Karlyn. Highly recommended for anyone interested in Buster Keaton’s work. We’ll include some relevant passages below: “‘This Fellow Keaton Seem to Be the Whole Show’: Buster Keaton, Interrupted Performance, and the Vaudeville Aesthetic” by Henry Jenkins “Vaudeville was streamlined, stripped down to those elements most likely to provoke emotion, building toward a ‘wow climax,’ a moment of peak spectacle calculated to ensure a final burst of applause. Performers often directly addressed the audience or crossed beyond the footlights. Making little attempt to preserve the invisible fourth wall that characterized theatrical realism, vaudeville performers foregrounded the process of performance, often in highly reflexive ways, as when the Keatons structured their performance around Buster’s perpetual disruption of his father’s act and included orchestra members and stagehands as part of the performance. Closely related to this reflexive quality in vaudeville performance was what Neil Harris calls the ‘operational aesthetic,’ a fascination with how things work, with the mechanics and technology of showmanship. Vaudeville was not about telling stories; it was about putting on a show and, more than that, it was about each performer’s individual attempt to stop the show and steal the applause. Vaudeville had little use for the trappings of theatrical realism; it was about the spectacular, the fantastic, and the novel. Vaudeville had little use for continuity, consistency, or unity; it was about fragmentation, transformation, and heterogeneity. The incorporation of this vaudeville tradition was what gave silent screen comedy its intensity and absorption; it was also what made the genre’s absorption into the mainstream of classical Hollywood cinema so problematic. Classical cinema, like theatrical realism, was in the business of telling stories, constructing characters, maintaining continuity, consistency, unity, causality and plausibility. Classical cinema, unlike vaudeville, sought to efface the mechanisms of its production, presenting itself as a coherent, self-contained world cut off from the realm of spectator experience” (36). “In fact, Keaton performs two types of tricks in Sherlock Jr. First, there are the tricks he performs for the camera, his pool table tricks, his acrobatic stunts… his motorcycle riding, his quick-change act, and his demonstration of stock comic turns, such as the sticky paper act or slipping on a banana peel. Here Keaton wants us to watch his performance unfold in continuous space and time so that there can be no escaping our awareness of his mastery. Second, there are the tricks Keaton performs with the camera, special effects such as the doubling of Keaton as he slips into dream or the transformation of the cast of Heart of Peals into their real-world counterparts or editing tricks such as the rapid transformation of space as Keaton struggles to get a foothold in the movie world. Here Keaton wants us to recognize that the camera can make us see things that could not possibly occur” (46-47). “The Detective and the Fool: Or, The Mystery of Manhood in Sherlock Jr.” by Kathleen Rowe Karlyn “The use of the detective as a model for the hero signals from the outset that this is a film about clues and about the necessity of reading the world and seemingly trivial details as signs, full of meaning. Among the most important of these concern gender, which the film shows to be a product of social codes, something to be studied and absorbed from the symbolic systems – such as those found in popular fiction and, more dramatically, cinema – that channel our desires and dreams into culturally appropriate directions. Indeed, the film derives much of its comedy from its satire of the infatuation of adolescents with screen idols – whether Mary Pickford, whose poster hangs in the theater lobby, or Rudolph Valentino, the model for the sheik, or John Barrymore, who played Holmes in a film two years before Sherlock Jr. And so the fake mustache suggests not only adult masculinity but its social construction and the fact that gender itself is less a biological condition than a social role, even disguise, that can be acquired by studying the clues and manuals our culture provides” (97-98). “The gendered relationships of the Holmesian universe might more accurately be explained… by the structure of desire Eve Sedgwick has described as homosocial, a term used in history and the social sciences to describe social bonds among people of the same sex…the real play of desire is often not male to female, but male to male. This desire may or may not be overtly sexual but it does involve eros of another kind – the drive to identify with and emulate an admired other… Yet those bonds exist within a logic of sameness rather than difference, a logic that, as Sedgwick explains, functions historically and politically as a kind of ‘social glue’ that fosters the maintenance and transferred of power in patriarchal society. Homosociality encompasses ‘male friendship, mentorship, entitlement, rivalry, and heter – and homosexuality,” attachments that link men together along a continuum of desire between homosocial and homosexual. This structure allows for heirarchy without difference, and it explains the relationships between men so familiar in Western literature and culture, beginning with the Socratic dialogues and including not only Watson’s relationship with Holmes but the boy’s with his fictional ideal” (106-07). [Between Men: English Literature and Male Homosocial Desire by Eve Sedgwick] “And so the boy’s dream might finally be understood as driven less by heterosexual desire for the girl than by homosocial for a boys-only club where no girls are allowed, a fantasy that combines the heightened drama and excitement of the action adventure film with the comfort of the buddy film. Thus, the dream re-creates a less sinister version of what Pleasure Island offered Pinocchio, or Never-Never Land offered Peter Pan and the Lost Boys, a space where they will never grow up and can always play with Pirates and Indians because Wendy remains in the background to mother them and Tinkerbell is only a tiny sprite” (107-08). “Similarly the Fool, a figure from literary and social history, resides on the margins of society. Yet whereas the detective is deadly earnest, if cynical, about the world he investigates and protects, the Fool mocks it and its pretensions. Whereas the detective soberly defends the foundations of society – including, as we have seen, the primacy of logos over pathos, male over female – the Fool opposes all that the social world deems serious. And while usually male like the classical detective, the Fool is often androgynous or hermaphroditic, encompassing both male and female traits. Like the detective, the Fool exists apart from marriage, the foundation of kinship systems and social order. But unlike the detective, he acts to destabilize rather than uphold the hierarchies on which that order rests” (109-110).   Buster Keaton: A Hard Act to Follow (1987) — Here’s the link to the first part of the documentary directed by Kevin Brownlow and David Gill. Recommended to anyone looking to learn more about Buster Keaton and his films. We’ll include the quote from Eleanor, Buster’s wife, below: “The train went out from under him. He rode the water tower down to the track. But he didn’t realize how much force that water had and it threw him against the railroad track with the back of his head. He had a terrible headache. I think they called off shooting for a few days anyway. Then he went back to work, and that was the end of that until about twelve or thirteen years later. He went in for a complete physical: X-rays and the whole lot. And the doctor said, ‘When did you break your neck?’ He said, ‘I never broke my neck.’ He said, ‘Yes, you did break your neck.’ Buster said, ‘Do you think it could have been when I hit my head against the railroad track?’ The doctor said, ‘Sounds reasonable to me.'” Greg Jennings (Broken Leg) scores on the saints — Buster Keaton broke his fuckin’ neck…  

Kevin Brownlow and Andrew Mollo's It Happened Here tells the story of Pauline, a nurse who lives in a world where the Nazis took over the UK during World War II. At first she goes along with the rule of the Reich until she witnesses -- and unwittingly participates in -- their cruelty, prompting her to join the British Resistance.Wynter Tyson and Caelum Vatnsdal join Mike to discuss alternate histories, Sinclair Lewis's It Can't Happen Here, and when fascist aliens took over the United States.This episode features the first part of our interview with cinematographer Peter Suschitzky.Learn more about your ad choices. Visit megaphone.fm/adchoices

Kevin Brownlow and Andrew Mollo’s It Happened Here tells the story of Pauline, a nurse who lives in a world where the Nazis took over the UK during World War II. At first she goes along with the rule of the Reich until she witnesses -- and unwittingly participates in -- their cruelty, prompting her to join the British Resistance. Wynter Tyson and Caelum Vatnsdal join Mike to discuss alternate histories, Sinclair Lewis's It Can't Happen Here, and when fascist aliens took over the United States.This episode features the first part of our interview with cinematographer Peter Suschitzky.

Kevin Brownlow and Andrew Mollo’s It Happened Here tells the story of Pauline, a nurse who lives in a world where the Nazis took over the UK during World War II. At first she goes along with the rule of the Reich until she witnesses -- and unwittingly participates in -- their cruelty, prompting her to join the British Resistance. Wynter Tyson and Caelum Vatnsdal join Mike to discuss alternate histories, Sinclair Lewis's It Can't Happen Here, and when fascist aliens took over the United States.This episode features the first part of our interview with cinematographer Peter Suschitzky.

Kevin Brownlow is the superhero of film historians, with an Oscar to prove it. Now you can hear his “origin story.” Fifty years ago his book The Parade’s Gone By offered a vivid portrait of the silent film era and its glories, influencing a generation of movie buffs and scholars (including Leonard). He held Leonard and Jessie spellbound as he recalled his first encounters with this medium and how he tracked down actors and directors who were still alive to tell their stories. Kevin’s own career is the stuff of legend by now, and we’re delighted that he was willing to share some of his amazing adventures with us.

In this episode, Hind Mezaina sits with Michelle Facey from Kennington Bioscope (http://www.kenningtonbioscope.com) who programmes regular screenings of silent films at The Cinema Museum in London (http://www.cinemamuseum.org.uk). Links to some of the references in the discussion: Kevin Brownlow - https://en.wikipedia.org/wiki/Kevin_Brownlow Napoleon by Abel Gance https://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/abel-gance-s-napoleon-monumental-restoration Silent Film Accompanists http://www.kenningtonbioscope.com/accompanists/4579544071 Dawson City: Frozen Time directed by Bill Morrison - https://www.kinolorber.com/film/view/id/2630 Michelle Facey on Twitter https://twitter.com/best2vilmabanky Kennington Bioscope on Twitter https://twitter.com/kenbioscope and on Facebook https://www.facebook.com/kenbioscope/ The Cinema Museum on Twitter https://twitter.com/CinemaMuseum and on Instagram https://www.instagram.com/the_cinema_museum Petition to save The Cinema Museum http://www.cinemamuseum.org.uk/2017/petition-to-save-the-cinema-museum/ BFI https://www.bfi.org.uk Silent London https://silentlondon.co.uk

Despite decades of censorship and neglect, Peter Watkins (http://pwatkins.mnsi.net/) has created a body of work that marks him out as one of the UK’s greatest filmmakers. Born in Surrey in 1935, Watkins began his career pioneering the ‘docu-drama’ in two works for the BBC: historical drama Culloden (1964) about the final battle in the Jacobite rebellion, and The War Game (1965), speculating about a nuclear attack on the UK. The BBC refused to broadcast the latter, and after his feature film Privilege (1968) had a poor commercial and critical reception, Watkins spent the rest of his career in exile. In his theoretical writing, teaching and filmmaking, Watkins has challenged the ‘monoform’ – a standardisation of Mass Audio-Visual Media that barrages its audience with a rapid flow of changing images and sounds, with the intention of preventing any real contemplation. Joining Juliet to discuss Watkins' work is Gareth Evans, former editor of Vertigo magazine and adjunct Moving Image Curator at Whitechapel Gallery. Watkins on the monoform and the global media crisis: https://www.closeupfilmcentre.com/library/documents/the-dark-side-of-the-moon-the-global-media-crisis/ SELECTED REFERENCES FILMS BY PETER WATKINS The Forgotten Faces (1960) - https://player.bfi.org.uk/subscription/film/watch-the-forgotten-faces-1961-online Culloden (1964) - https://www.youtube.com/watch?v=mkxW-nB0nNU The War Game (1965) - https://www.bbc.co.uk/iplayer/episode/p02zy7nt/the-war-game Privilege (1966) - https://player.bfi.org.uk/rentals/film/watch-privilege-1967-online The Gladiators (1969) - https://www.slantmagazine.com/film/review/the-gladiators Punishment Park (1971) - https://www.theguardian.com/theguardian/2005/jul/08/4 Edvard Munch (1974) - https://www.filmcomment.com/blog/art-of-the-real-edvard-munch-by-peter-watkins/ The Journey (1987) - https://www.youtube.com/watch?v=xsYLt9bSRbw The Freethinker (1992-94) - http://seul-le-cinema.blogspot.com/2012/01/freethinker.html La Commune (2000) - https://www.youtube.com/watch?v=LZ1S18jsyyw WILLIAM BLAKE, ‘Jerusalem’ Blowup (dir. Michelangelo Antonioni, 1966) BERTOLT BRECHT, The Days of the Commune (1955) - http://daysofthecommune.com/pages/play.html A Clockwork Orange (dir. Stanley Kubrick, 1971) GUY DEBORD, ATTILA KOTÁNYI & RAOUL VANEIGEM, ‘Thesis on the Paris Commune’ (1962) – http://www.bopsecrets.org/SI/Pariscommune.htm End of Days (dir. Peter Hyams, 1999) Future Revolutions: New Perspectives on Peter Watkins (2018) - https://wolfberlin.org/en/wolf-shop/book-new-perspective-on-peter-watkins-future-revolutions If … (dir. Lindsay Anderson, 1968) It Happened Here (dir. Kevin Brownlow & Andrew Mollo, 1965) - https://www.bfi.org.uk/news-opinion/news-bfi/interviews/it-happened-here-kevin-brownlow Jubilee (dir. Derek Jarman, 1978) V. I. LENIN, ‘Lessons of the Commune’ (1911) – https://www.marxists.org/archive/lenin/works/1908/mar/23.htm The Living Dead (dir. Adam Curtis, 1995) - https://www.youtube.com/watch?v=4xoM6-1SWl4 Manfred Mann KARL MARX, ‘The Civil War in France’ (1871) – https://www.marxists.org/archive/marx/works/1871/civil-war-france/index.htm Ralph Miliband - https://www.marxists.org/archive/miliband/index.htm The New Babylon (dir. Grigori Kozintsev & Leonid Trauberg, 1929) - https://www.youtube.com/watch?v=cyOhcTuFYe0 O Lucky Man! (dir. Lindsay Anderson, 1973) Stanisław Przybyszewski - https://en.wikipedia.org/wiki/Stanisław_Przybyszewski Role of a Lifetime (dir. Deimantas Narkevičius, 2003) - https://www.youtube.com/watch?v=69EREtDfYoM August Strindberg Threads (dir. Mick Jackson, 1984) West of the Tracks (dir. Wang Bing, 2002) - https://theartsofslowcinema.com/2017/05/16/west-of-the-tracks-wang-bing-2003/ Who is America? (TV series, 2018) ÉMILE ZOLA, La Débâcle (1892) - https://readingzola.wordpress.com/2014/01/14/la-debacle-the-downfall/

With Antonia Quirke. Antonia talks to Heathers director Michael Lehmann, as the dark high school comedy is back in cinemas for its 30th anniversary. Catherine Bray and Angie Errigo trace its influence, from Mean Girls to The Craft. Kevin Brownlow talks about the film he began as a 17 year old and finished 8 years later. It Happened Here, which imagined what would have happened if the Nazis had invaded Britain, was shot on Sundays with a cast of non-professional actors and passers-by, and was funded by the meagre wages from his lowly office job.

In Episode 7 of The Commentary Track, Frank Thompson talks with Kevin Brownlow

Matthew Sweet discusses Ingmar Bergman's Wild Strawberries with the writer Colm Toibin, the film critic Larushka Ivan-Zadeh and the Swedish Cultural Attaché Ellen Wettmark. Released in 1957 and inspired by Bergman's own memories of childhood holidays in a summerhouse in the north of Sweden, Wild Strawberries tells the story of elderly professor Isak Borg, who travels from his home in Stockholm to receive an honorary doctorate. On the way, he's visited by childhood memories. The film stars veteran actor and director Victor Sjostrom, Bibi Andersson and Ingrid Thulin. With additional contributions from the film historian Kevin Brownlow and Jan Holmberg from the Ingmar Bergman Foundation, which administers Bergman's archives.The BFI in London is running a season of Ingmar Bergman films until March 1st 2018 as part of the global celebrations of the centenary of world-renowned Swedish filmmaker Ingmar Bergman (1918 – 2007).A Matter of Life and Death: the Films of Ingmar Bergman has been republished with a new introduction by Geoff Andrew of the BFI. Wild Strawberries is being screened on 26 Feb, Newlyn Filmhouse; 8 March, Borderlines Film Festival; 11 March, Chapter Arts Centre. This programme was originally recorded in December 2015. Producer: Laura Thomas

Movie Meltdown - Episode 416 This week we welcome our special guest James Katz. James is the former President and founder of the Universal Pictures Classics Division. He has worked in many different areas over the years including - film distribution, publicity, marketing and working as a producer and as executive producer on several films. But more then anything, James has made a monumental impact on film history through his preservation and re-release of five Alfred Hitchcock’s films in the early 1980s. The success of those films led to other restorations classic films like Spartacus, My Fair Lady, and Lawrence of Arabia. So listen as we hear stories from his humble beginnings working as a photographer and creating press kits, all the way through his journey to eventually change the way studios view and care for their film libraries. And while we bend birches to and fro, we also bring up... Paul Bartel, color timing, he's really a chemist engineer film nerd, Herbert Coleman, 70mm, the last print that David Selznick approved, Loews in White Plains, Under the Volcano, that was something that played at the 1964 World's Fair, Jimmy Stewart, Technicolor, Singin' in the Rain, Kevin Brownlow, the studio system was a totally different atmosphere, Tab Hunter, no one really wants to know how the sausages are made, David Lean, To Be Alive, put something on the wire, Robert Frost, we found the soundtracks in a trash heap in Glen Glenn Sound in Hollywood, Douglas Sirk, east side or west side, put two or three photographs together... to tell a little story, film festivals, Merry Christmas, Mr. Lawrence, now... here we are today, you know, in the digital age - and I'm still talking about photochemical, Divine, some of the interpretations, David Merrick, money's falling out and money's coming in, Preston Sturges, Eating Raoul, sitting on the set of Vertigo, I Am Curious (Yellow), back then they didn't even have vaults, Lust in the Dust, newspapers, Zeffirelli's Traviata, there's trama and drama every day, Parade Magazine and pulling up in front of Scotty's apartment. "We... made people aware that in 100 years of the moving image... that a lot of it was deteriorating." For more on the Speed Art Museum, go to: http://www.speedmuseum.org/

1 hour, 53 minute version, first broadcast 6am, 24th September 2016 on Resonance FM in London. Every month, interesting people talk about the music, films and music for films which have shaped their lives. Tim Concannon, Roz Kaveney and Shruti Narayanswamy visit Chester Mews, Regent's Park, where a Nazi marching band from a parallel universe once walked past the door of Defence Minister John Profumo. Over eight years, directors Kevin Brownlow and Andrew Mollo made 'It Happened Here', a chillingly believable depiction of a Nazi dominated England and of the brutality of partisan resistance. Incredibly, given the nuance and sophistication of the film, they began it as teenagers, shooting on 16mm with volunteer extras, some of whom were real Blackshirts. The American trailer cost more than the entire budget of the actual movie. One of the favourite films of our guest Pat Mills, legendary comics author and editor of 'Battle' and '2000AD', the film's discussed in light of the clear and present dangers of national myths about two world wars. We ask the questions, and the question is: has it happened here? More... * Original broadcast, 1 hour version of the show https://soundcloud.com/the_beekeepers/music-for-films-it-happened-here-regents-park-with-pat-mills In the show, we give shout outs to our comrades in arms in radio and podcasting: * James DC, Atomic Bark https://atomicbark.wordpress.com/2013/05/21/pat-mills-mike-lake-interview-on-judge-dredd-2000ad-and-forbidden-planet/ * State of Theory podcast https://soundcloud.com/stateofthetheorypodcast/episode-4-fascism-in-the-21st-century-part-1 * The Scala London Underground Film Map 1916 – 2016 www.thebeekeepers.com/scalaunderground/ London’s radicals, underworlds and counter-cultures over a century of cinema, through a Tube map re-imagined as a film festival programmed by the legendary Scala cinema at Kings Cross.

How do you restore a silent film? Kevin Brownlow is in conversation with Matthew Sweet about his life's work documenting the early history of cinema and preserving many lost classics - including the culmination of a 50 year project which sees Abel Gance's 1927 epic Napoleon re-released in cinemas around the UK and on DVD. Described by Martin Scorsese as 'a giant among film historians', Brownlow received an Academy Honorary Award in 2010.As part of Southbank Centre's Film Scores Live, Carl Davis conducts the Philharmonia Orchestra in his score for Napoleon - the longest film score ever composed - alongside a screening of the new digital version of the BFI-Photoplay restoration which Kevin Brownlow has worked on. This event happens on Sunday November 6th.BBC Radio 3's Sound of Cinema broadcasts an interview with Carl Davis on Saturday October 29th.Producer: Craig Templeton Smith

We change things up by focusing on a boutique label, Twilight Time, that has found success through a unique business model. Mark and Aaron happen to be big fans, and feel that we have directly contributed towards some of their profits. We talk about the company, their business model, why they have succeeded, and we address some common critiques. We also review a few discs each, and finally count down our favorite Twilight Time titles. About Nick Redman: London-born Nick Redman, one of Hollywood's leading producers of movie music, is also an award-winning documentary filmmaker. An Academy Award nominee as producer of the 1996 Warner Brothers documentary, The Wild Bunch: An Album in Montage, he went on to write, produce, and direct A Turning of the Earth: John Ford, John Wayne and The Searchers (1998), which became a prize-winner at multiple film festivals. As a consultant to the Fox Music Group (ongoing since 1993), he has developed and overseen Hollywood's most comprehensive film music restoration program, personally producing more than 500 albums featuring the music of Alfred Newman, Bernard Herrmann, Jerry Goldsmith, John Williams, Rodgers and Hammerstein, Alex North, Hans Zimmer, James Horner, Michael Kamen and many more. His productions of the “Star Wars Trilogy” were certified Gold by the RIAA. In 2007, he produced and directed Becoming John Ford, a feature-length documentary for Twentieth Century Fox, which premiered as a special selection at the Venice International Film Festival. The film details the creative and fractious relationship between the brittle, contentious director and his mentor / boss, studio chief Darryl F. Zanuck. In his capacity as a film historian, he has presided over commentaries for dozens of DVDs. As producer and director, he has provided special materials—documentaries and commentaries—for numerous titles including Sam Peckinpah's Legendary Westerns Collection, honored by Entertainment Weekly as the Number One DVD boxed set of 2006. In 2011, he co-founded the independent label Twilight Time which releases classic films licensed from 20th Century Fox, Columbia/Sony, and MGM/UA on DVD and Blu-ray. Nick has been a member of BAFTA Los Angeles for many years and has conducted numerous interviews for screening Q&A's and the Heritage Archive, including Michael Apted, Malcolm McDowell, Sir Ben Kingsley, Ian McShane, Tilda Swinton, Kevin Brownlow and Millicent Martin. About Brian Jamieson: Jamieson first entered the film industry with the New Zealand branch of Warner Bros. in 1977. He was later transferred to the United Kingdom. After his success publicizing Steven Spielberg's Close Encounters of the Third Kind and Peter Yates' The Deep, he was named the International Publicist of the Year. He moved to the United States in 1984. During the 1980s, he was in charge of all the company's theatrical marketing in Latin America, the Far East, South Africa, Europe, Australia and New Zealand; he was later promoted to head of International Marketing and Publicity, which made him responsible for home video marketing internationally. He also collaborated with Stanley Kubrick to promote Full Metal Jacket; they continued to work together until Eyes Wide Shut, Kubrick's last film before his death in 1999. The Times Colonist called Jamieson a “respected film preservationist”. In his work at Warner Home Video, Jamieson shepherded the restorations of numerous classical films. In 2002, Jamieson helped produce Charlie: The Life and Art of Charles Chaplin, with Richard Schickel, which was shown at the 2003 Cannes Film Festival. Two years later, he collaborated with Schickel to reconstruct The Big Red One, by Sam Fuller. The two readded 47 minutes of previously cut material.The reconstruction won several awards, including the Seattle Film Critics Awards and the Los Angeles Film Critics Association Awards. He later released a reconstruction of Sam Peckinpah's 1969 film The Wild Bunch.

With Francine Stock Laszlo Nemes discusses Son Of Saul, his Oscar winning film about life and death in a Nazi concentration camp. Sir Christopher Frayling takes us behind the scenes of The Sound Barrier, David Lean's celebration of British engineering and innovation that was somewhat economical with the facts. 1916 was the year that the pictures got big, but with Snow White, Sherlock Holmes and special effects blockbusters taking over cinemas, what has really changed 100 years later. Historians Matthew Sweet and Kevin Brownlow explain.

Made by two teenagers in late 50s/early 60s Britain over 8 years on a minuscule budget, It Happened Here is both a remarkable achievement and a stark commentary on the nature of war and occupation with a relevance to both historical and modern times. Created and directed by Kevin Brownlow, and starring Pauline Jobson, Sebastian Shaw, and a fascinating cast of volunteers, extras, and members of the public (26.1MB, 1 hour 12 mins).Recorded Saturday 16 January 2016, edited by Garen Ewing.Purchase the DVD from Amazon UK: It Happened Here (1964).

Long As part of Radio 3's Northern Lights season, Matthew Sweet discusses Ingmar Bergman's Wild Strawberries with the writer Colm Toibin, the film critic Larushka Ivan-Zadeh and the Swedish cultural attache Ellen Wettmark. Released in 1957 and inspired by Bergman's own memories of childhood holidays in a summerhouse in the north of Sweden, Wild Strawberries tells the story of elderly professor Isak Borg, who travels from his home in Stockholm to receive an honorary doctorate. On the way, he's visited by childhood memories. The film stars veteran actor and director Victor Sjostrom, Bibi Andersson and Ingrid Thulin. With additional contributions from the film historian Kevin Brownlow and Jan Holmberg from the Ingmar Bergman Foundation, which administers Bergman's archives.

En este podcast solemos tratar de una película o de muchas películas, si es que son de un mismo realizador. Por primera vez hablaremos de dos obras de directores distintos, pero hay una buena razón para ello. Son dos cintas británicas estrenadas en la misma época y que se enfrentan con los fantasmas de las guerras pasadas, presentes y futuras, como en el cuento de Dickens. Flirteando visualmente con el periodismo y con el documental, estas películas de Peter Watkins y de Kevin Brownlow (con Andrew Mollo) producen extrañeza, inquietud, horror y no poca desconfianza hacia toda forma de autoridad. De esto y más hablamos en el podcast.

Charlie Chaplin's City Lights is ranked by The American Film Institute as one of the best American films ever made. To mark the centenary of Chaplin's iconic tramp character, Matthew Sweet discusses City Lights with comedian Lucy Porter, actor Paul McGann, film maker and historian Kevin Brownlow, and Chaplin's biographer David Robinson. Recorded in front of a live audience at the Watershed Arts Centre as part of the Bristol Slapstick Festival.

Dans son île perdue dans le Pacifique, le très distingué Comte Zaroff règne en maître absolu. Sa distraction favorite : la chasse. De nombreux survivants de naufrages fréquentent les murs du Comte mais les disparitions de certains d'entre eux durant la nuit sont inquiétantes…Avec : Fay Wray, Joel McCrea, Leslie Banks et Robert ArmstrongPeu de films possèdent un titre aussi beau et troublant que Les Chasses du comte Zaroff, qui condense en lui le mystère et la peur. Tourné en 1932 en parallèle avec King Kong avec une poignée de dollars par deux aventuriers – Ernest B. Schoedsack et Merian C. Cooper – Zaroff emprunte à Kong certains de ses décors, de son équipe technique et de ses acteurs comme Fay Wray, l'actrice principale. Et c'est Leslie Banks, star de Broadway, qui interprète un inimitable comte Zaroff, raffiné et sanguinaire.Zaroff, production 602 de RKO, servira de répétition générale et de réglage dans la façon d'utiliser et de filmer le vaste décor de la production 601, Kong. Le succès de Zaroff sera bien plus modeste que celui de King Kong. Mais la réputation de ce film fascinant n'a cessé depuis lors de s'exercer sur des générations de spectateurs.Maintes fois copié, ce film unique est l'un des tout premiers produits par la RKO. Il est présenté ici dans sa toute dernière restauration.En bonus (19mn) :Extrait de King Kong (1933), Interview de Merian C. Cooper par Kevin Brownlow, Introduction aux chasses du comte Zaroff, Galerie photo.Noir & Blanc - Version Originale Sous-titres Français.Combo BluRay - DVD Multizones

Kevin Brownlow is a film historian who focuses in particular on silent movies. He has written a number of books, including The Parade's Gone By (University of California Press, 1968), Hollywood – The Pioneers (Knopf, 1980). He started restoration of Napoleon by Abel Gance in 1968 and presented a third restored version of the film in 2000. In addition, he has made a number of documentaries on cinema and received an honorary Oscar in 2011 for his work.

Kevin Brownlow est historien du cinéma, particulièrement du cinéma muet. Il est notamment l'auteur de plusieurs ouvrages : La parade est passée, paru en 1968 (Actes-Sud/Institut Lumière, 2011), Hollywood - Les pionniers (Ramsay, 1999). Il a débuté la restauration du Napoléon d'Abel Gance en 1968, et en 2000 a présenté une troisième version restaurée du film. Il a aussi réalisé de nombreux documentaires sur le cinéma, et a reçu un Oscar d'honneur en 2011 pour l'ensemble de sa carrière.

Kevin Brownlow is a film historian who focuses in particular on silent movies. He has written a number of books, including The Parade's Gone By (University of California Press, 1968), Hollywood – The Pioneers (Knopf, 1980). He started restoration of Napoleon by Abel Gance in 1968 and presented a third restored version of the film in 2000. In addition, he has made a number of documentaries on cinema and received an honorary Oscar in 2011 for his work.

Kevin Brownlow est historien du cinéma, particulièrement du cinéma muet. Il est notamment l'auteur de plusieurs ouvrages : La parade est passée, paru en 1968 (Actes-Sud/Institut Lumière, 2011), Hollywood - Les pionniers (Ramsay, 1999). Il a débuté la restauration du Napoléon d'Abel Gance en 1968, et en 2000 a présenté une troisième version restaurée du film. Il a aussi réalisé de nombreux documentaires sur le cinéma, et a reçu un Oscar d'honneur en 2011 pour l'ensemble de sa carrière.