Podcasts about moving image

Send us a text In this episode, Dr. Eeks is joined by neuroscientist Dr. Dwayne Godwin and cartoonist Dr. Jorge Cham, the creative duo behind Out of Your Mind, a book that makes neuroscience both fun and digestible—perfect for Nerds and Nerd Nots alike (yes, that's my podcast tagline). They kick things off with love—what it is, why we fall for some people and not others, and whether science could create a love potion that turns romance into a biochemical hostage situation. From love, they move to hate and how some people actually get addicted to hate. They'll also discuss AI—whether it could ever develop consciousness and what that might mean for humanity—before diving into addiction and the ongoing debate over how much of it is choice versus biology. They'll talk about happiness, whether money can actually buy it, and a bizarre true medical case of a man who, after a brain surgery gone wrong, was left permanently stuck in the present moment.  Finally, they'll explore what happens when we die and whether the authors ever get existentially bummed out thinking about how fragile and robotic we really are. If you like science with a side of humor and deep, slightly absurd questions, this episode is for you. Dr. Dwayne Godwin is a neuroscientist, educator, and professor in the Department of Translational Neuroscience at Wake Forest University School of Medicine. His research focuses on abnormal brain rhythms, exploring calcium channel function, epilepsy, and traumatic brain injury to develop potential treatments for neurological diseases. Beyond the lab, he is passionate about science outreach, co-creating Mind in Pictures for Scientific American Mind and contributing to blogs for the Society for Neuroscience and the Museum of the Moving Image. Dr. Jorge Cham is a Daytime Emmy-nominated, best-selling cartoonist and the creator of PHD Comics, a popular online comic strip about academia. He is the co-creator, Executive Producer, and Creative Director of Elinor Wonders Why, a top-rated PBS Kids animated series. Cham has co-authored several popular science books, including We Have No Idea: A Guide to the Unknown Universe and Frequently Asked Questions about the Universe, as well as the children's book Oliver's Great Big Universe. He also co-hosts and co-creates the hit podcast Daniel and Jorge Explain the Universe. Originally from Panama, Cham earned his Ph.D. in robotics from Stanford University and was a researcher at Caltech.You can contact Dr. Eeks at bloomingwellness.com.Follow Eeks on Instagram here.Or Facebook here.Or X.On Youtube.Or TikTok.SUBSCRIBE to her monthly newsletter here.Support the show

Mike welcomes Eric Hynes and Edo Choi, curators of First Look 2025 at the Museum of the Moving Image, running running March 12-16 in Astoria, New York. Now in its 14th year, the festival remains a vital showcase for bold, boundary-pushing cinema from around the world.This year's lineup includes 38 films—20 features and numerous shorts—spanning 21 countries, with three world premieres and 24 U.S. or North American premieres. Each evening culminates in a Showcase Screening at MoMI's Sumner Redstone Theater. The festival opens with the U.S. premiere of Durga Chew-Bose's Bonjour Tristesse, a contemporary take on the classic novel, and closes with Giovanni Tortorici's Diciannove, an intimate portrait of a young man's journey across Italy.Mike, Eric, and Edo dive into the festival's mission of discovery, its rigorous selection process, and the importance of in-person filmmaker appearances. They also highlight First Look's unique inclusion of work-in-progress screenings and discussions, offering a behind-the-scenes look at emerging cinematic voices. Whether you're attending or just love adventurous filmmaking, this episode provides an insightful preview of what makes First Look a can't-miss event for cinephiles.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Mike welcomes Eric Hynes and Edo Choi, curators of First Look 2025 at the Museum of the Moving Image, running running March 12-16 in Astoria, New York. Now in its 14th year, the festival remains a vital showcase for bold, boundary-pushing cinema from around the world.This year's lineup includes 38 films—20 features and numerous shorts—spanning 21 countries, with three world premieres and 24 U.S. or North American premieres. Each evening culminates in a Showcase Screening at MoMI's Sumner Redstone Theater. The festival opens with the U.S. premiere of Durga Chew-Bose's Bonjour Tristesse, a contemporary take on the classic novel, and closes with Giovanni Tortorici's Diciannove, an intimate portrait of a young man's journey across Italy.Mike, Eric, and Edo dive into the festival's mission of discovery, its rigorous selection process, and the importance of in-person filmmaker appearances. They also highlight First Look's unique inclusion of work-in-progress screenings and discussions, offering a behind-the-scenes look at emerging cinematic voices. Whether you're attending or just love adventurous filmmaking, this episode provides an insightful preview of what makes First Look a can't-miss event for cinephiles.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Senior Curator of Film at the Museum of the Moving Image, Eric Hynes, is my guest in the first segment. Eric and I discuss the Museum's upcoming First Look festival to take place Wednesday, March 12th through Sunday, March 16th. First Look, MoMI's annual festival showcasing adventurous new cinema, returns for its 14th edition, offering a diverse slate of major New York premieres, work-in-progress screenings and sessions, gallery installations, and fresh perspectives on the art and process of filmmaking. This year's festival introduces New York audiences to more than three dozen works from around the world, encompassing feature and short films; fiction and nonfiction; performances and experiments. The guiding ethos of First Look is openness, curiosity, discovery, aiming to expose audiences to new art, artists to new audiences, and everyone to different methods, perspectives, interrogations, and encounters. For five consecutive days the festival takes over MoMI's two theaters, as well as other rooms and galleries throughout the Museum—with in-person appearances and dialogue integral to the experience. Each night concludes with one of five selected Showcase Screenings in MoMI's Sumner Redstone Theater.  In my segment I am joined by the film producer Jack Piatt and singer songwriter journeyman Chris Smither. They are part of the team behind a new short film, "The Singers" which premieres this weekend at SxSW. "The Singers" is a genre-bending film adaptation of a 19th-century short story written by Ivan Turgenev, in which a lowly pub full of downtrodden men connect unexpectedly through an impromptu sing-off. The film explores the complexities of masculinity and the power of vulnerability through art. Chris Smither makes his acting debut in this film directed by Sam Davis.

Ep. 304: Eric Hynes on True/False 2025: WTO/99, A Body to Live In, Resurrection, Kouté vwa, The Undergrowth Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The True/False Film Festival brings outstanding nonfiction films and filmmakers to Columbia, Missouri, each year, attracting world premieres and also curating from Sundance, IDFA, Berlin, and beyond. I sat down in Columbia with fellow True/False-goer Eric Hynes, senior curator of film at Museum of the Moving Image, to exchange some highlights from our time at the 2025 edition. Films discussed include: Resurrection (directed by Hu Sanshou), A Body to Live In (Angelo Madsen), WTO/99 (Ian Bell), The Undergrowth (Macu Machin), and Kouté vwa (Listen to the Voices) (Maxime Jean-Baptiste). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

On this episode we take you to New York's Museum of the Moving Image for Clayography in Motion: Adam Elliot's Memoir of a Snail where the director talks about his Oscar nominated film. Then we'll take you to DCTV's Firehouse Cinema for a special screening of two documentary shorts from POV, the longest-running PBS series, Until He's Back, a documentary about the migrant crisis in Europe and A Swim Lesson, a profile of swimming instructor Bill Marsh  featuring directors Jacquelin Baylon and Will McCormack - moderated by POV shorts producer Opal Bennet. 

Ep. 293: Eric Hynes on Mad Bills to Pay, The Perfect Neighbor, Rebuilding, Seeds Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest Sundance 2025 podcast, I spoke with Eric Hynes, curator of film at the Museum of the Moving Image, with whom I kicked off this edition's podcasts. This time we talked about a mix of films, both fiction and documentary, prize-winners and not: Rebuilding (directed by Max Walker-Silverman and starring Josh O'Connor), The Perfect Neighbor (Geeta Gandbhir), Mad Bills to Pay (Joel Alfonso Vargas), and Seeds (Brittany Shyne). Stay tuned for more! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 289: Eric Hynes on Sundance 2025: Preview and 2000 Meters to Andriivka Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 2025 edition of the Sundance Film Festival has begun, and I kick things off with curator Eric Hynes of the Museum of the Moving Image. We talk about where Sundance's evolving plans for the future, we trade a few titles we're anticipating in the lineup, and finally we talk about a film that premiered on the first night. That would be 2,000 Meters to Andriivka, the bold new documentary from Mstyslav Chernov, whose 20 Days in Mariupol won an Academy Award (and who has been a guest on this podcast). Much more is to come, so don't be a stranger! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

In this episode of The Filmumentaries Podcast, I sit down with cinema historian and walking tour guide, Nigel Smith. Nigel is the creator of Memory Palaces, a website project dedicated to exploring and preserving the stories of London's cinemas—both those still standing and those long forgotten. Join me and Nigel as we discuss:Nigel's early love of cinema, sparked by watching Superman II as a child.The evolution of his passion from movies to the buildings that housed them.The rich history of London's cinema culture, including iconic locations like the West End's movie palaces and quirky cinemas like the Prince Charles.Fascinating discoveries from Nigel's research, such as a Camden cinema run by a medium who let spirits dictate the programming.The enduring importance of community in cinema-going, from bustling matinees of the past to modern film clubs like Tufnell Park Film Club.Nigel also shares anecdotes from his popular walking tours, where participants bring their own memories to add to the tapestry of London's cinematic past. Whether it's the glamour of West End premieres or the humble beginnings of Victorian-era musicals, Nigel's storytelling brings the history of cinema to life in a truly unique way.For more on Nigel's work and how to join one of his walking tours, visit Memory Palaces.Links and Recommendations:Learn about Nigel's walking tours: Memory PalacesVisit the Cinema Museum in London: cinemamuseum.org.ukExplore the Kent Museum of the Moving Image: kentmomi.orgListen in for a fascinating conversation about the intersections of cinema, architecture, and community.All my links

Episode 93 with Jacob Rosenberg, skateboarder and filmmaker from Palo Alto, California.Together we discussed his life and career, from crossing paths with Mike Ternasky at summer skate camp in the late 80's to working on the “Recording the ride” exhibition at the Museum of Moving Image (which opened in September 2024), releasing his new photo book “Right before my eyes” and everything in between through surprise questions from friends of his.(00:13) – Intro (01:25) – Stephanie Person(06:51) – Eddie Elguera (10:04) – Mark Whiteley(14:57) – Jeremy Wray(19:29) – Aaron Artis(22:56) – Colin McKay (24:09) – Pat Channita(27:47) – Brendan Spohn (34:52) – Aaron Meza(36:54) – Rick Ibaseta(40:17) – Ryan Fabry (42:51) – Tony Ferguson(46:35) – Greg Carroll(50:47) – Greg Hunt (01:01:02) – Bret Anthony Johnston (01:03:48) – Pete Thompson (01:08:12) – Anthony Pappalardo(01:14:02) – Tim Anderson(01:18:44) – Justin Girard(01:21:54) – Colin Kennedy(01:25:19) – Ronnie Bertino (01:28:49) – Will Harmon(01:30:09) – Damian Siguenza(01:35:02) – Pat Duffy(01:39:51) – Eric Swisher(01:45:01) – James Kelch(01:48:44) – Andrew Huberman(01:53:00) – Joseph Ternasky(01:59:05) – Ty Evans(02:04:57) – Michaela Ternasky Holland(02:07:41) – ConclusionFor more information and resources: https://linktr.ee/beyondboardsHosted by Ausha. See ausha.co/privacy-policy for more information.

Growing up in Northern California, Jacob Rosenberg developed his passion for video and film as a skateboarder in the early 1990s, making acclaimed videos for Plan B Skateboards under the mentorship of the late founder Mike Ternasky. Upon his graduation from Emerson College, Rosenberg began his professional career directing music videos, short films, and commercials where he has directed and produced talent names such as LeBron James, Quincy Jones, Snoop Dogg, and Latto. Rosenberg served for a decade as a partner at the independent studio Bandito Brothers, spearheading forward-thinking digital workflows as their CTO and in-house director. He contributed expertise to productions such as Avatar and Act of Valor as well as numerous documentaries including Shine A Light and S.O.P.. In 2012, Rosenberg's directorial debut, Waiting for Lightning, premiered at SXSW, going on to be released by Samuel Goldwyn Films. The documentary feature painted an intimate portrait of childhood friend and skateboard legend Danny Way, who in 2005 attempted to jump the Great Wall of China on a skateboard. With a penchant for telling deeply human stories, Rosenberg's documentaries range on subjects from land speed racing to skateboarding, photography, technology, and the world of magician Franco Pascali. His award-winning broadcast work has included campaigns for Ford, INFINITI, HUMMER, NBA, MLB, Royal Caribbean, Burger King, Beats, Advil, Intel, and countless others. Rosenberg's latest works include co-curating a first-of-its-kind museum exhibit on the emergence of skateboard videos in the 1990s at The Museum of the Moving Image in Queens, as well as his first photo book RIGHT BEFORE MY EYES, documenting a decade of Bay Area hip-hop and skate culture. The book focuses on Jacob's story, coming up as a filmmaker for Plan B and then a photographer for the rap collective Hieroglyphics—which culminated in filming, editing, and directing their first group music video “You Never Knew” in 1998. Topics Discussed In This Episode: Jacob speaks about his new book, Right Before My Eyes (00:09:32) Magic, childlike curiosity, and the film “The Red Balloon” (00:13:19) Jacob shares his experience creating “Waiting For Lightning,” a documentary about skateboarder Danny Way (00:18:51) Jacob reflects on how creative pursuits helped him navigate childhood trauma (00:22:08) Finding acceptance through skateboarding (00:29:52) Jacob opens up about childhood trauma and how it fostered his ability to empathize with others (00:38:14) Yoshino shares how teaching boxing to kids highlights their natural embrace of diversity, connecting it to skateboarding's cultural inclusivity (00:40:42) Jacob reflects on how childhood influences like Star Wars and Public Enemy shaped his creativity (00:52:09) Jacob recounts meeting his mentor, Mike Ternasky (Co-Founder of Plan B and H Street Skateboards), at a skate camp in 1988 (00:58:04) How authenticity and small acts of kindness create meaningful connections (01:04:56) The conversation explores empathy as a counter to divisiveness in politics and mass media (01:07:46) Yoshino reflects on experiencing racism while traveling (01:18:15) Jacob discusses creating Plan B's iconic skate videos: Questionable, Virtual Reality, and Secondhand Smoke (01:21:54) Jacob highlights a museum exhibit celebrating 1990s skateboarding videos as cultural and documentary art (01:32:10) Joan Scheckel and her embodied storytelling technique (01:35:36) The importance of open-hearted living and artists staying fearlessly present during turbulent times (01:41:53) Yoshino and Jacob admire the subtle storytelling in Wim Wenders' Perfect Days (01:51:07) Jacob discusses his book Right Before My Eyes, chronicling his growth as a filmmaker and skateboarding's evolution from 1988 to 1998 (01:58:28) Yoshino and Jacob explore how modern technology overwhelms and disconnects, emphasizing slowing down and finding grounding in nature and analog experiences (02:03:57) artistdecoded.com jacobrosenberg.tv/shop instagram.com/jacobrosenberg    

In this conversation, Peter Bauman (Editor-in-Chief at Le Random) interviews Regina Harsanyi and Jon Ippolito, two digital curators and experts in digital art's preservation. Harsanyi is the Associate Curator of Media Arts at the Museum of the Moving Image and an independent advisor on preventive conservation for variable media arts. Ippolito is a new media artist, writer and former curator at the Solomon R. Guggenheim Museum. He is also a professor of new media at the University of Maine, where he founded the Graduate Digital Curation Program. The conversation covers the complexities of digital art preservation, especially concerning blockchain and AI-based works. Links: https://transfergallery.com/data-trust/ https://dweb.grayarea.org https://DigitalCuration.UMaine.edu Chapters [00:00:04] Introduction to Digital Preservation [00:01:50] The Financial Reality of Digital Preservation [00:05:25] Industry-wide Challenges in Preservation [00:10:52] Variable Media: Why Preservation Matters [00:14:22] Legacy, Ethics, and Artistic Intent in Preservation [00:27:12] The Role of Museums and Institutional Standards [00:38:30] Blockchain Robustness as Storage Mechanism [00:43:15] Copyright Challenges in Blockchain-based Art [00:54:30] Strategies for Digital Preservation [01:04:02] Digital Conservation's Component Parts [01:13:40] Educational Resources for Collectors and Artists

Bajo el contexto inicial de las artes plásticas se produce de modo natural la traslación, o mejor la ampliación, al arte de la música. Como en otras artes, también en la creación musical se impone esa idea del ‘menos es más'. Aquí, más que de un estilo hablamos de una filosofía._____Has escuchadoThe Descending Moonshine Dervishes (1975) / Terry Riley. Kuckuck (1992)The Electric Harpsichord (1976) / Catherine Christer Hennix. Die Schachtel (2010)Music for 18 Musicians. Section IIIA (1976) / Steve Reich. Ensemble Links; Rémi Durupt, director. Kairos (2020)Strumming for harpsichord (1977) / Charlemagne Palestine. San Francisco Conservatory of Music. Sub Rosa (2010) Trio for strings (1958-2015) / La Monte Young. The Theatre of Eternal Music (Charles Curtis, violonchelo; Reynard Rott, violonchelo; Erik Carlson, violín y viola; Christopher Otto, violín y viola). Dia Art Foundation (2021)_____Selección bibliográficaBERNARD, Jonathan W., “Minimalism, Postminimalism, and the Resurgence of Tonality in Recent American Music”. American Music, vol. 21, n.º 1 (2003), pp. 112-133*BOON, Marcus, “Catherine Christer Hennix, the Practice of Music and Modal Ontology”. En: Practical Aesthetics. Editado por Bernd Herzogenrath. Bloomsbury, 2021BOUTWELL, Brett, “Terry Jennings, the Lost Minimalist”. American Music, vol. 32, n.º 1 (2014), pp. 82-107*CARL, Robert, Terry Riley's In C. Oxford University Press, 2009COLE, Ross, “‘Sound Effects (O.K., Music)': Steve Reich and the Visual Arts in New York City, 1966-1968”. Twentieth-Century Music, vol. 11, n.º 2 (2014), pp. 217-244*CURESES, Marta, “Literatura y ciencia en la composición minimalista: hacia una teoría del azar controlado”. Actio nova: revista de teoría de la literatura y literatura comparada, n.º 3 (2019), pp. 424-455*EATON, Rebecca M. Doran, “Marking Minimalism: Minimal Music as a Sign of Machines and Mathematics in Multimedia”. Music and the Moving Image, vol. 7, n.º 1 (2014), pp. 3-23*ÉTIENNE, Yvan (ed.), Phill Niblock: Working Title. Les Presses du Réel Edition, 2012FINK, Robert, “(Post-)minimalism 1979-2000: The Search for a New Mainstream”. En: The Cambridge Companion to Twentieth-Century Music. Editado por Mervyn Cooke. Cambridge University Press, 2008*GANN, Kyle, “Reconstructing November”. American Music, vol. 28, n.º 4 (2010), pp. 481-491*GANN, Kyle y Keith Potter (eds.), The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2013IGES, José, “Grupos minimalistas españoles: música contemporánea”. Ritmo, vol. 53, n.º 532 (1983), pp. 35-37*JEAN-FRANCOIS, Isaac, “Julius Eastman: The Sonority of Blackness Otherwise”. Current Musicology, vol. 106 (2020), pp. 9-35*JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage. Zone, 2008*KOTZ, Liz, Words to Be Looked At: Language in 1960s Art. MIT Press, 2007LEVAUX, Christophe, We Have Always Been Minimalist: The Construction and Triumph of a Musical Style. University of California Press, 2020*LEVINE PACKER, Renée y Mary Jane Leach (eds.), Gay Guerrilla: Julius Eastman and His Music. University of Rochester Press, 2015MAY, Thomas (ed.), The John Adams Reader: Essential Writings on an American Composer. Amadeus, 2006MERTENS, Wim, American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Khan & Averill, 1983MOWERY, Janice, “Meredith Monk: Between the Cracks”. Perspectives of New Music, vol. 51, n.º 2 (2013), pp. 79-100*NACENTA, Lluís, “Minimalismes”. Catalunya música: revista musical catalana, n.º 311 (2010), pp. 12-13NICKELSON, Patrick, “Transcription, Recording, and Authority in ‘Classic' Minimalism”. Twentieth Century Music, vol. 14, n.º 3 (2018), pp. 361-289*POTTER, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge University Press, 2000*SCHWARZ, K. Robert, Minimalists. Phaidon, 1996STRICKLAND, Edward, Minimalism: Origins. Indiana University Press, 1991*TARUSKIN, Richard, “A Harmonious Avant-Garde? - Minimalism: Young, Riley, Reich, Glass; Their European Emulators”. En: Music in the Late Twentieth Century. Oxford University Press, 2009*TOOP, David, Océano de sonido: palabras en el éter, música ambient y mundos imaginarios. Traducción de Tadeo Lima. Caja Negra, 2016*WLODARSKI, Amy Lynn, “The Testimonial Aesthetics of Different Trains”. Journal of the American Musicology Society, vol. 63, n.º 1 (2010), pp. 99-142* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

EPISODE 120: Segun Akinola is a British-Nigerian composer for film and television who has strengthened many projects with his musical acumen. He is most known for his music in the three series of Doctor Who starring the first female Doctor, Jodie Whittaker. A BAFTA Breakthrough Brit 2017, Segun's other work includes scoring Sundance 2019 favourite and World Soundtrack Award nominee The Last Tree, BAFTA-nominated director Ursula Macfarlane's (Untouchable) feature The Lost Sons, Apple TV+ feature 9/11: Inside The President's War Room, ITV drama Stephen which was executive-produced by Paul Greengrass, multimedia feature A Moving Image, BBC's landmark series Black and British: A Forgotten History and more. His work has screened at acclaimed festivals like Sundance, the BFI London Film Festival, SXSW Film Festival, LA Film Festival, BlackStar Film Festival and many others. He has recently scored Milli Vanilli biopic Girl You Know It's True from Academy Award-winning producers Quirin Berg and Max Wiedemann (The Lives of Others), the BBC's Agatha Christie adaptation Murder Is Easy and a documentary series for producer Richard Brown (True Detective). segunakinola.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

Steve and Paul sit down with Cinder Chou (Writer/Director) and Kerry Lacy (actor) about their feature film Artist Unknown.Cinder Chou is a Taiwanese American writer, director, and producer originally from the oft-maligned state of New Jersey and currently resides in Brooklyn. An early love for comic books turned into a passion for visual storytelling. Her work explores themes of otherness through a comedic and surreal style. Cinder's early career as a production coordinator (The Big Sick, Jack Ryan, Red Oaks) gave her the professional know-how to launch her own films. Her work has screened at many festivals in the U.S. Artist Unknown is her debut feature film and has won numerous awards, including the Jury Award at the Art of Brooklyn Film Festival, Best Feature at the Broad Humor Film Festival, and Best Narrative Feature at the Artists Forum Festival of the Moving Image. Kerry Lacy was raised in Malibu, California, by two professional actors and fell in love with acting at a young age. Her childhood was spent in theaters and television studios, and dinner table conversations included lessons on comedic timing and notes on dialects and accents. Kerry studied Tang Soo Do for twelve years, earning her third-degree black belt and working as an instructor before moving to New York City, where she studied acting at NYU's Tisch. She is a graduate of The New School, where she studied film, fine arts, and Spanish. In addition to acting, she is also an artist and DJ based in New York City. Artist Unknown is Kerry's first leading role in a feature and she has been nominated for the Iris Prize Best Female Performance and won Outstanding Performance in a Feature Film at Art of Brooklyn Film Festival.Cinder's Website: https://www.cinderama.com/Cinder's IMDB: https://www.imdb.com/name/nm3364818/Cinder's Instagram: https://www.instagram.com/cinderblockade/Kerry's IMDB: https://www.imdb.com/name/nm7466039/?ref_=tt_rv_t0 Kerry's Website: https://www.kerrylacy.com/ Kerry's Instagram: https://www.instagram.com/kerry_lacy/Kerry's short film Viola: https://vimeo.com/225143857 Artist Unknown IMDB: https://www.imdb.com/title/tt24329424/reference/ Artist Unknown Instagram: https://www.instagram.com/artistunknownfilm/ Artist Unknown Trailer: https://vimeo.com/843981392Do you listen to our show as an audio podcast? Give video a try. Subscribe to our YouTube channel for the video version with awesome behind the scenes pics and video! https://www.youtube.com/@FilmFightsFriendsPod?sub_confirmation=1Dig the show? Consider supporting our Patreon. There are some cool perks! Patreon: http://patreon.com/FilmFightsFriendsPodJoin our...

We're taking a trip to the Peoria Riverfront Museum to tour The Jim Henson Exhibition: Imagination Unlimited featuring the work of the creative genius and Disney Legend, Jim Henson. The exhibit has Muppets, puppets, character sketches, storyboards, scripts, photos, film and tv clips, behind-the-scenes footage, iconic costumes, and interactive experiences. The exhibition was developed by Museum of the Moving Image in New York. We'll speak with Organizer Wendell Walker and Jim Henson fan and expert, Nate Downs. The exhibition is in Peoria, IL at the Peoria Riverfront Museum till Jan. 5, 2025. Go to peoriariverfrontmuseum.org for more information. We'd love to hear from you! You can email or send us a recorded audio message at podcast@thehyperionhub.com. Find us on social media. The Hyperion Hub is not affiliated with the Walt Disney Company or its subsidiaries.  https://www.facebook.com/profile.php/?id=100063622463796 https://www.instagram.com/hyperion_hub/ https://twitter.com/i/flow/login?redirect_after_login=%2FHubHyperion

Ep. 271: Eric Hynes on Conclave, Friendship, Tata, The Last Republican, Winter in Sokcho (Toronto) Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. So it turns out I had another Toronto International Film Festival episode up my sleeve, with Eric Hynes, Curator of Film at Museum of the Moving Image. We talk about the Ralph Fiennes elect-a-pope movie, Conclave (directed by Edward Berger); the Tim Robinson comedy, Friendship (directed by Andrew DeYoung); an intriguing pair of documentaries, Tata (directed by Lina Vdovîi and Radu Ciorniciuc) and The Last Republican (Steve Pink); and Platform selection Winter in Sokcho (Koya Kamura). Last but not least, we take another look at Joshua Oppenheimer's The End. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Editor - Jessica Baclesse REZ BALL editor, Jessica Baclesse says she got the job for the film through a chance encounter with a not-so-stranger across a crowded room.  Random or not, Jess already had plenty of editing experience under her belt, including time logged cutting a big sports movie with Michael B. Jordan's directorial debut, CREED III (2023). REZ BALL was directed by Sydney Freeland and co-written by Freeland and Sterlin Harjo (RESERVATION DOGS).  It tells the story of the Chuska Warriors, a Native American high school basketball team from New Mexico who, after losing their star player, must band together to keep their quest for a state championship alive. Jessica Baclesse Jessica Baclesse is an award-winning film editor working in features, television and commercials. In addition to editing Creed III with Tyler Nelson, she was an additional editor on Marvel's 2021 television series Loki, directed by Kate Herron, and a pre-production editor on The Falcon and the Winter Soldier. Baclesse's work on Nike's 2020 You Can't Stop Us received an Emmy for Outstanding Commercial, a Cannes Grand Prix Lion and an AICP Award for Best Editing Montage.  Jess has also edited global commercial campaigns, including Instagram's Get Into What You Love, which was nominated for a Webby Award for Best Use of Video or Moving Image in Advertising. Baclesse received her MFA in Film from Columbia University and has edited many critically renowned narrative shorts that have been featured at festivals such as Slamdance, LA Film Festival, and Palm Springs International Film Festival. Editing Rez Ball In our discussion with REZ BALL editor Jessica Baclesse, we talk about: The importance of understanding geographical isolation Following the "How to..." from Hoosiers Letting the kids lead you to the story LeBron James, technical advisor Going to "sheep camp" The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Ep. 270: First-Person 1990s Documentary at MOMI with Jeff Reichert and Asha Phelps: Personal Belongings and Beyond Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The documentary work that bloomed in the 1990s, partly thanks to new technologies, has a raw immediacy that's a pleasure to re-encounter on the big screen. Thanks to a new series starting this weekend at the Museum of the Moving Image, you can, and I sat down with the co-programmers, Jeff Reichert and Asha Phelps, about the series and its sampling of candid, complicated stories (with almost comically understated titles). Films discussed include: Personal Belongings (directed by Steven Bognar), Papapapá (Alex Rivera), The Tourist (Robb Moss), Vintage: Families of Value (Thomas Allen Harris), Finding Christa (Camille Billops and James Hatch), Troublesome Creek: A Midwestern (Jeanne Jordan and Steven Ascher), Family Gathering (Lise Yasui), and Moment of Impact, from Julia Loktev, whose latest, My Undesirable Friends, is premiering in the New York Film Festival. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 267: Venice 2024: Edo Choi on Pavements, Familiar Touch, Mistress Dispeller, Israel Palestine doc, plus Joker 2 Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 81st Venice Film Festival is underway, and I'm podcasting from the Lido about the latest movies to screen. This time I chatted with Edo Choi of the Museum of the Moving Image who is writing up a couple of films for Reverse Shot. Titles discussed include: Pavements (directed by Alex Ross Perry), Familiar Touch (Sarah Friedland), Mistress Dispeller (Elizabeth Lo), Israel Palestine on Swedish TV (1958-1989) (Göran Hugo Olsson), and, before we had to run off, a smidgen from me on Joker: Folie à Deux (Todd Phillips). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Kim Nelson is an Associate Professor of Film at the University of Windsor, and also the Director of the Humanities Research Group and the Live Doc Project. Originally from Vancouver, she has been based in Windsor since 2005. She has a BA in Film from UBC and an MFA in Film from York University. Her work spans fiction and documentary. Her interests include women's rights and equality, colonialism and conflict, and the environment.Her documentaries have been presented at festivals and campuses across Canada, the US, and Europe. She is a co-editor of The Routledge Companion to History and the Moving Image, and the author of Making History Move: Five Principles of the Historical Film. Recently, she has also become a co-host of Moving Histories, a podcast that explores the films that connect us all with history.  https://www.thekimnelson.com/https://www.rutgersuniversitypress.org/making-history-move/9781978829770/

A LOT OF SPOILERS HEREINAll The President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. To celebrate the forthcoming 50th Anniversary of The Parallax View, the Editor at Large for Roger Ebert Dot Com | T.V and Film critic at Vulture | bookstore owner Matt Zoller Seitz joins me to talk about what he considers to be the very best exemplar of paranoia cinema.Matt is also hosting an upcoming screening of THE PARALLAX VIEW on June 29 at The Texas Theatre. ABOUT MATT ZOLLER SEITZMatt Zoller Seitz is the Editor at Large of RogerEbert.com. He is also the TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism. His writing on film and television has appeared in The New York Times, Salon.com, The New Republic and Sight and Sound. Seitz is the founder and original editor of the influential film blog The House Next Door, now a part of Slant Magazine, and the co-founder and original editor of Press Play, an IndieWire blog of film and TV criticism and video essays.A Brooklyn-based writer and filmmaker, Seitz has written, narrated, edited or produced over a hundred hours' worth of video essays about cinema history and style for The Museum of the Moving Image, Salon.com and Vulture, among other outlets. His five-part 2009 video essay Wes Anderson: The Substance of Style was spun off into the hardcover book The Wes Anderson Collection. This book and its follow-up, The Wes Anderson Collection: Grand Budapest Hotel were New York Times bestsellers. Other Seitz books include Mad Men Carousel: The Complete Critical Companion, The Oliver Stone Experience, and TV (The Book). He is currently working on a novel, a children's film, and a book about the history of horror, co-authored with RogerEbert.com contributor Simon Abrams.Dealer in new & used books about the arts: Full inventory here.Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Michael and David speak of many things ... part of the reason they always seem to have so much fun. Among other things Michael speaks of how he manages to invite "the muses" and keeps his art both open and discreet at the same time.  He also speaks of his work as musical composer for the brand new Disney series, Star Wars: The Acolyte.  I always have speaking with Michael: our times always feel rich and multi-dimensional.2023 Pulitzer Prize-winning and Emmy- and Grammy-nominated composer Michael Abels is best known for his genre-defying scores for the Jordan Peele films GET OUT, US and NOPE.  The score for US won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, multiple critics awards, and was named “Score of the Decade” by The Wrap.  Both US and NOPE were shortlisted for the Oscar for Best Original Score.  In 2022, Abels' music was honored by the Vancouver International Film Festival, the Middleburg Film Festival, and the Museum of the Moving Image.  NOPE was awarded Best Score for a Studio Film by the Society of Composers & Lyricists.  Other recent projects include the films BAD EDUCATION, NIGHTBOOKS, and the docu-series ALLEN v. FARROW.  Current releases include CHEVALIER (Toronto Intl Film Festival) and LANDSCAPE WITH INVISIBLE HAND (Sundance 2022), his second collaboration with director Cory Finley.  Upcoming projects include THE BURIAL (Amazon), and a series for Disney Plus.Abels' creative output also includes many concert works, including the choral song cycle AT WAR WITH OURSELVES for the Kronos Quartet, the Grammy-nominated ISOLATION VARIATION for Hilary Hahn, and OMAR, an opera co-composed with Grammy-winning recording artist Rhiannon Giddens.  The New York Times named OMAR one of the 10 Best Classical Performances of 2022 and said, “What Giddens and Abels created is an ideal of American sound, an inheritor of the Gershwins' “Porgy and Bess” but more honest to its subject matter, conjuring folk music, spirituals, Islamic prayer and more, woven together with a compelling true story that transcends documentary.”Abels other concert works have been performed by the New York Philharmonic, the Chicago Symphony, the Los Angeles Master Chorale and many others.  Some of these pieces are available on the Cedille label, including DELIGHTS & DANCES, GLOBAL WARMING and WINGED CREATURES.  Recent commissions include EMERGE for the National Symphony and Detroit Symphony, and a guitar concerto BORDERS for Grammy-nominated artist Mak Grgic.Abels is co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media.https://michaelabels.com/

Ep. 250: Cannes 2024: Eric Hynes on Caught by the Tides, Apprendre, Cannes Classics (Brocka, Bellocchio, Insta-Wiseman) Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode from the 2024 Cannes Film Festival, I bring back Eric Hynes, curator of film at Museum of the Moving Image, to discuss two essential highlights of this year's edition—Jia Zhangke's Caught by the Tides and Claire Simon's Apprendre—and restorations from Cannes Classics: Lino Brocka's Bona, Marco Bellocchio's Slap the Monster on Page One, and Frederick Wiseman's Law and Order. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

A fat suit is a custom-made costume with one goal: to make an actor appear fat without them actually having to be fat. It's typically a unitard filled with mattress foam and other wiggly, jiggly bits—but it's also so much more than that, an embodiment of all our cultural hang-ups about fatness. In today's episode we're going to consider the fat suit from all angles: how it's made, how it's changed, and why it continues to exist. You'll hear from Dawn Dininger, Royce Best, Amy Farrell, Hazel Cills, Mia Mask, and Matthew Mungle. This episode was written and produced by Katie Shepherd. It was edited by Willa Paskin. Decoder Ring is also produced by Evan Chung and Max Freedman. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. We had mixing help from Kevin Bendis. Special thank you to: Mike Marino, Jacqui Lucey, Gina Tonic, Kate Young, Barbara Miller and The Museum of the Moving Image. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices

A fat suit is a custom-made costume with one goal: to make an actor appear fat without them actually having to be fat. It's typically a unitard filled with mattress foam and other wiggly, jiggly bits—but it's also so much more than that, an embodiment of all our cultural hang-ups about fatness. In today's episode we're going to consider the fat suit from all angles: how it's made, how it's changed, and why it continues to exist. You'll hear from Dawn Dininger, Royce Best, Amy Farrell, Hazel Cills, Mia Mask, and Matthew Mungle. This episode was written and produced by Katie Shepherd. It was edited by Willa Paskin. Decoder Ring is also produced by Evan Chung and Max Freedman. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. We had mixing help from Kevin Bendis. Special thank you to: Mike Marino, Jacqui Lucey, Gina Tonic, Kate Young, Barbara Miller and The Museum of the Moving Image. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices

A fat suit is a custom-made costume with one goal: to make an actor appear fat without them actually having to be fat. It's typically a unitard filled with mattress foam and other wiggly, jiggly bits—but it's also so much more than that, an embodiment of all our cultural hang-ups about fatness. In today's episode we're going to consider the fat suit from all angles: how it's made, how it's changed, and why it continues to exist. You'll hear from Dawn Dininger, Royce Best, Amy Farrell, Hazel Cills, Mia Mask, and Matthew Mungle. This episode was written and produced by Katie Shepherd. It was edited by Willa Paskin. Decoder Ring is also produced by Evan Chung and Max Freedman. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. We had mixing help from Kevin Bendis. Special thank you to: Mike Marino, Jacqui Lucey, Gina Tonic, Kate Young, Barbara Miller and The Museum of the Moving Image. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ep. 243: Cannes 2024: Eric Hynes on Megalopolis, plus Napoleon and The Girl With the Needle Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival is officially underway, and no film was more highly anticipated than Francis Ford Coppola's Megalopolis. To get the very latest, I connected with Eric Hynes, curator of film at the Museum of the Moving Image, fresh from a press screening of the movie, which has loomed over Cannes' opening days this year. He shared his initial thoughts about Megalopolis, which stars Adam Driver as a would-be visionary city planner, and about another competition title, The Girl with the Needle (Magnus von Horn), and a Cannes Classics selection, Abel Gance's Napoleon. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 240: Caroline Golum on Quebec-Core, Ghosts of Mars, The Feeling That the Time for Doing Something Has Passed, Borzage's Man's Castle Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Filmmaker and self-described “rep rat” Caroline Golum returns to the podcast after far too long to discuss highlights from recent viewing! These include: Au clair de la lune (1983, Andre Forcier) from the “Quebec-Core” series at Anthology Film Archives; couples viewing Ghosts of Mars (2001, The Great John Carpenter); new release The Feeling That the Time for Doing Something Has Passed (Joanna Arnow); and My Morning with Magic Mike (John Wilson, visiting Mike Kuchar), which was available for the blink of a week on Le Cinéma Club. I also shout-out Museum of the Moving Image's discovery-laden Hiroshi Shimizu series (e.g. Children of the Beehive, 1948) and, also from Quebec-Core, Mireille Dansereau's Dream Life (1972). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Welcome to Light On Light Through, Episode 381, a special Saturday episode of this podcast, in which Captain Phil and I talk about the Philip K. Dick Film Festival going on today at the Musuem of the Moving Image in Astoria, Queens; a panel I'll be moderating there at 2:40 this afternoon on the Anatomy of a Feature Winning Script; my novel It's Real Life: An Alternate History of The Beatles which has just been published and for which no movie or TV script has yet been written (but a radio play has been adapted from the first chapter, see the links below); Philip K. Dick; and much more. The Philip K. Dick Film Festival It's Real Life: An Alternate History of The Beatles novel It's Real Life the radio play    

How to Lose a Guy in 10 Days, like many Rom-Coms, is set in New York City. It's got fire escapes, taxi cabs, and a dramatic Manhattan Bridge scene. In order to understand this film, we have to understand: What is it about New York that is so ripe for romance? And what parts of the city are highlighted in this movie and why?To help us answer those questions, we're joined by Eric Hynes, the Curator of Film at the Museum of the Moving Image in New York. Hosted on Acast. See acast.com/privacy for more information.

Without Your Head Horror Podcast with Dylan Greenberg, Amanda Flowers, Mr. Lobo and Jac Bernhard talking their new film SPIRIT RISER premiering Saturday, Mar 30, 2024 at 6:00 p.m. at The Museum of the Moving Image! https://movingimage.org/event/spirit-riser #SpiritRiser #DylanGreenberg #AmandaFlowers #MrLobo #JacBernhard #WithoutYourHead --- Send in a voice message: https://podcasters.spotify.com/pod/show/withoutyourhead/message Support this podcast: https://podcasters.spotify.com/pod/show/withoutyourhead/support

LoVid is a NY-based interdisciplinary artist duo working collaboratively since 2001. LoVid's practice focuses on aspects of contemporary society where technology seeps into human culture and perception. Throughout their interdisciplinary projects over two decades, LoVid has maintained their signature visual and sonic aesthetic of color, pattern, and texture density, with disruption and noise. LoVid's work captures an intermixed world layered with virtual and physical, materials and simulations, connection and isolation.LoVid's process  includes home-made analog synthesizers, hand-cranked code, and tangible materials; their videos, textile works, performances, net-art, installations, and NFTs have been exhibited worldwide for over two decades. LoVid's work has been presented internationally at venues including: Museum of Modern Art (MoMA), Standard Vision X Vellum LA, Wave Hill, Brookfield Arts, RYAN LEE Gallery, Art Blocks Curated, Postmasters Gallery, bitforms Gallery, Honor Fraser Gallery, Unit London, http://Verse.work, http://Expanded.Art, Art Dubai, New Discretions, And/Or Gallery, Klaus von Nichtssagend Gallery, Anthology Film Archives, Issue Project Room, The Science Gallery Dublin, The Jewish Museum, The Kitchen, Daejeon Museum, Smack Mellon, Netherland Media Art Institute, New Museum, and ICA London. LoVid's projects have received grants and awards from organizations including: The Robert Rauschenberg Foundation, Graham Foundation, UC Santa Barbara, Signal Culture, Cue Art Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, http://Turbulence.org, New York Foundation for the Arts, Lower Manhattan Cultural Center, Experimental TV Center, NY State Council of the Arts, and Greenwall Foundation.LoVid's videos are distributed by EAI and their work is in the collection of the Whitney Museum, The Museum of Moving Image, The Parrish Museum, Thoma Foundation, Watermill Center, Butler Institute of American Art, Heckscher Museum, NFT Museum of Digital Art, Museum of Nordic Digital Art, and more.

Filmmaker DAN LAM joins the show to share his reactions to the Museum of the Moving Image's rep film series WELCOME TO THE MACHINE which acts as a companion to David Levine's holographic film DISSOLUTION that was on display at the museum for the last several months.WELCOME TO THE MACHINE is programmed by David Levine and Sonia Epstein (Curator of Science & Technology, MoMI).The film series concludes with the NY Premiere of KNIT'S ISLAND during FIRST LOOK 2024 at MoMI on Saturday March 16. Get your tickets HERE! Follow Dan on Letterboxd! Support this show by subscribing to the Substack newsletter!Follow Marquee Mixtape on Instagram, Letterboxd, Threads, and Bluesky!Credits: Produced by Alec Rodriguez, original artwork by Cristina Montes, original music by Jeremy Bullen.

This episode in being reaired in honour of Linda White who passed away at the end of February. To me Linda was a colleague and friend. I learned so much from her and I am certain you will as well. _____Today on the Take on Board podcast, I'm speaking with Linda White.Linda describes herself as having done heaps, she rarely says no, and she firmly believes you are never to old learn new things.She's on the National Executive for the Australian Labor Party, the executive of the Australian Council of Trade Unions, the National Executive of the Australian Services Union. And she's also on the board of the Chifley Research Centre, the Australian Centre for the Moving Image, the MCG Trust, and the Portable Long Service Leave governing board.She was formerly on the board of Legal Super, the Royal Botanic Gardens, 200 Gertrude Street, Footscray Community Legal Service and the Australian Social Inclusion board.Being on high-profile boards means dealing with media scrutiny. Linda explains to Helga how this can help a board stay focused and how one of the best chairs she ever worked with made his impact on her.Boards Linda is on:National Executive for the Australian Labor Party Australian Council of Trade Unions Australian Services Union Chifley Research Center Australian Center for the Moving ImageMCG Trust Portable Long Service Leave Upcoming TOB EventsAll eventsYou might want to:Join the Take on Board Facebook communityJoin the Take on Board LinkedIn communityFollow along on TwitterWork with meJoin the Take on Board: Kickstarter group programJoin the Take on Board: Accelerator group programFind out more about meContact me Hosted on Acast. See acast.com/privacy for more information.

Mike talks with Edo Choi (Associate Curator of Film & First Look Senior Programmer) and Sonia Shechet Epstein (Curator of Science and Technology & First Look Exhibitions and Film Programmer) of the Museum of the Moving Image about the 2024 First Look film festival.For the official First Look 2024 website visit: https://movingimage.org/series/firstlook2024/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Ep. 232: Eric Hynes on First Look and True/False 2024: Flying Lessons, There Was, There Was Not, Knit's Island, Achilles Welcome to The Last Thing I Saw with your host, Nicolas Rapold. As I did last year, I joined forces with Eric Hynes, curator of film at Museum of the Moving Image, for a double discussion, covering True/False, the Missouri nonfiction film festival, and MoMI's own annual First Look showcase in New York. We discuss titles including: Flying Lessons (directed by Elizabeth Nichols), Magic Mountain (Mariam Chachia & Nik Voigt) Knit's Island (Ekiem Barbier, Guilhem Causse, Quentin L'helgoualc'h), A Photographic Memory (Rachel Elizabeth Seed), Achilles (Farhad Delaram), Spermworld (Lance Oppenheim), I Like It Here (Ralph Arlyck), Obsolete (Sumira Roy), and There Was, There Was Not (Emily Mkrtichian). Listeners will find that many movies discussed on here and in previous episodes can be seen in First Look at MoMI (March 13 to 17). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

In this episode, Payton dives into the case of Joan and John Hill, a glamorous couple at the height of Houston society, who become entangled in one of the city's most notorious murder mysteries in the 1960s. Social media and more: https://linktr.ee/intothedarkpod Case Sources: Blood and Money by Thomas Thompson ABC13 - https://abc13.com/texas-true-crime-river-oaks-murder-mystery-joan-robinson-hill-john/13235480/ Texas Archive of the Moving Image - https://texasarchive.org/2015_02478 San Antonio Express News - https://www.expressnews.com/news/article/joan-hill-poisoned-eclair-17872258.php PBS - https://www.pbs.org/wgbh/pages/frontline/shows/mexico/etc/cali.html  New York Daily News - https://www.nydailynews.com/2015/05/30/texas-doctor-who-killed-wife-with-poisoned-pastry-was-eventually-gunned-down-in-murder-for-hire-as-sordid-story-later-became-made-for-tv-movie-starring-sam-elliott-and-farrah-fawcett/ Casemine - https://www.casemine.com/judgement/us/5914c4f2add7b049347d0da0 UPI - https://www.upi.com/Archives/1980/11/24/Blood-money-and-toxic-shock/8198343890000/ Johns Hopkins Medicine - https://www.hopkinsmedicine.org/health/conditions-and-diseases/toxic-shock-syndrome-tss The National Library of Medicine - https://pubmed.ncbi.nlm.nih.gov/6306933/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to Light On Light Through, Episode 376, in which I interview Dan Abella in George's Cafe in Manhattan about The Mind Revolution Experience (March 14, 7-9pm at The Producer's Club, 358 W. 44th Street, NYC) and the upcoming Philip K. Dick Film Festival (April 4-7, Musuem of the Moving Image, and other places in NYC). more about The Mind Revolution Experience here more about the PKD Film Festival here more about my novel, It's Real Life: An Alternate History of The Beatles -- that I'll be doing a reading from at the PKD Film Festival -- here

We're back with another new movie: 2024's first major wide release Argylle! But who is the real Agent Argylle? Find out in our spoiler-filled discussion of Matthew Vaughn's flop!   Also discussed this week: 1992's cult artifact The Lawnmower Man. This film screened at the Museum of the Moving Image earlier this month, and we not only watched this movie but also it's sequel Lawnmower Man 2: Beyond Cyberspace (alternate subtitle: Jobe's War,) the 1987 Dollar Baby short film adaptation, and the season six episode of Community "Lawnmower Maintenenance and Postnatal Care" that spoofs elements of the 1992 movie. Discussion topics include:    Why has Ariana Debose's career since winning an Oscar consisted of a string of disappointing roles in box office bombs? Why did Matthew Vaughn spoil this movie's twist on Twitter, years before it was shooting? Did the sequel to Lawnmower Man invent the term "jacking off to VR?"   All this and much, much more in the episode!   If you wanna find the audio-only version of this episode, it's available here   Follow the show on social as well! Instagram     TikTok     Letterboxd   Promotional artwork by Lily Steinberg   Logo design by Kristen Eng

Ep. 222: Sundance '24: Eric Hynes on Union, Sasquatch Sunset, Good One, Eno Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For my latest episode on Sundance Film Festival 2024, I reconvened with Eric Hynes, curator of film at the Museum of the Moving Image. He had seen more movies, I had seen more movies, and so we talked about some highlights: Union (Stephen Maing and Brett Story), Sasquatch Sunset (David and Nathan Zellner), Good One (India Donaldson), Eno (Gary Hustwit), and Nocturnes (Anupama Srinivasan and Anirban Dutta). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 219: Sundance 2024 with Eric Hynes: Preview, Power, Black Box Diaries Welcome to The Last Thing I Saw with your host, Nicolas Rapold. January is here and it's time for the 2024 Sundance Film Festival. To kick off this year's suite of episodes, I am delighted to join forces again with Sundance stalwart Eric Hynes, curator of film at the Museum of the Moving Image. We discuss the latest edition of the festival, which is celebrating its 40th anniversary this year, and we sample a few films that screened early on. Films discussed include: Power (directed by Yance Ford), Black Box Diaries (Shiori Ito), and Agent of Happiness (Arun Bhattarai and Dorottya Zurbó). Check back for more reports from snowy-but-not-oppressively-so Park City! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Curator Matthew Barrington marks 220 years since the Haitian Revolution, the only successful slave uprising, unreeling how resistance continues with a series of films, from the first zombie horrors, to contemporary Caribbean and diasporic documentaries. The Caribbean island of Haiti is often reduced to binary representations, of the 18th century Haitian Revolution and its iconic leader, Toussaint Louverture, or environmental disasters, with the earthquake of 2010. But resistance has long been central to Haitian identities and the popular imagination - past and present. Since 1492, when Christopher Columbus arrived on Hispaniola, now Haiti and the Dominican Republic, Spanish, Dutch, English, and French colonists all attempted to ‘settle' the land. The Revolution was the first and only successful uprising of self-liberated slaves against French colonial rule in the island region of Saint-Domingue, a rebellion that still resounds across the islands and diasporas today - whether in the words of Naomi Osaka, or filmmakers like Esery Mondesir, who say ‘we've been screaming Black Lives Matter (#BLM) for over 200 years'. Marking 220 years since the Revolution, and formation of the first independent Black republic on 1 January 1804, Barbican Cinema curator Matthew Barrington shares some of the ways Haiti is depicted on screen. We cover 70 years of films, travelling from ‘exotic' plantations to more everyday scenes, starting with Victor Halperin's White Zombie (1932), which birthed the horror genre. Drawing on Bela Lugosi's portrayal of factory owner Murder Legendre, and own othering, we discuss how such movies often sensationalised local spiritual practices as ‘superstitions', and reinforced racial and gender hierarchies with their Western European-centric gaze. But they can also be read more subversively, in relation to colonialism, as evidence of forced labour, slavery, and capitalist extraction. We find similar tropes in gothic and body horrors, from vampires to killer plants, and connect with post-colonial landscapes across the Caribbean like Cuba. Contemporary filmmakers also grapple with the ‘ghosts' of colonialism and capitalism. Matthew explains how the continued extraction of wealth from the islands, many of which were forced to pay reparations to their former enslavers, has perpetuated political instability, forcing many into exile or to migrate for economic opportunities. He shares classic films by Raoul Peck and Arnold Antonin, connecting with Third Cinema, and more experimental works by award-winning makers like Miryam Charles and Gessica Généus. Exploring the occupation and ongoing intervention by the US, and the dictatorship of Jean-Claude Duvalier in the 1970s and 1980s, we see how the distance of diasporas often creates the conditions for rebellion, protest, and radical community-building today, as well as pluralising perspectives of well-known landscapes, like New York City. Finally, we discuss the importance of art, visual culture, and Carnival in the context of this ongoing underdevelopment and high illiteracy rates in Haiti, and how public institutions like the National Portrait Gallery will mark this vital anniversary. Visions of Haiti ran at the Barbican Cinema in London throughout October 2023. WITH: Matthew Barrington, film curator and researcher. Matthew is the Manager of the Birkbeck Institute for the Moving Image in London, a programmer for the Essay Film Festival and the London Korean Film Festival, and has worked with the Open City Documentary Festival. He is also a curator of cinema at the Barbican Centre, including the series, Visions of Haiti. ART: ‘White Zombie, Victor Halperin (1932) (EMPIRE LINES x Visions of Haiti, Barbican Cinema)'. SOUNDS: ‘White Zombie, Victor Halperin (1932)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Ep. 214: Eric Hynes on award-winner "1489" and more documentary highlights at IDFA + bonus selections with Edo Choi Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. A special double episode wraps up our coverage of notable new nonfiction at the International Documentary Film Festival Amsterdam. Eric Hynes, curator of film at the Museum of the Moving Image, discusses the IDFA Best Film award-winner, Shoghakat Vardanyan's 1489, a harrowing and personal look at a family looking for a son missing in military action, and we cover other highlights including A Picture to Remember (Olga Chernykh), Chasing the Dazzling Light (Yaser Kassab), The Last (Sebastian Peña Escobar), and Behind Closed Doors (João Pedro Bim). And then, the podcast concludes with a quick bonus track: a chat with recent guest Edo Choi about a few more IDFA docs—Limitation, The Clinic, World Is Family, and Danger Zone. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

On this episode of Austin Culture Club, Rubin, Mary, Joey, and Julian are joined in studio by staff members Elizabeth and Ari from the Texas Archive of the Moving Image!

Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.“I've been President now for more than 15 years, and we've created I think six new interdisciplinary colleges in that period. There were two when I started, and they had been there for 50 years, but we've created a College of the Environment, a College of Film and the Moving Image, a College of Education, College of Integrated Sciences, College of East Asian Studies, and a College of Design and Engineering, the newest one. And I love these things because they bring different disciplines. In the College of the Environment, you can have a biologist, a dancer, an anthropologist, and an economist, and they're all worrying about a certain problem in environmental studies, but they come at it from different perspectives, and they join together in their work. That's extremely exciting.”https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Michael S. Roth is President of Wesleyan University. His books include Beyond the University: Why Liberal Education Matters and Safe Enough Spaces: A Pragmatist's Approach to Inclusion, Free Speech, and Political Correctness on College Campuses. He's been a Professor of History and the Humanities since 1983, was the Founding Director of the Scripps College Humanities Institute, and was the Associate Director of the Getty Research Institute. His scholarly interests center on how people make sense of the past, and he has authored eight books around this topic, including his latest, The Student: A Short History.“I've been President now for more than 15 years, and we've created I think six new interdisciplinary colleges in that period. There were two when I started, and they had been there for 50 years, but we've created a College of the Environment, a College of Film and the Moving Image, a College of Education, College of Integrated Sciences, College of East Asian Studies, and a College of Design and Engineering, the newest one. And I love these things because they bring different disciplines. In the College of the Environment, you can have a biologist, a dancer, an anthropologist, and an economist, and they're all worrying about a certain problem in environmental studies, but they come at it from different perspectives, and they join together in their work. That's extremely exciting.”https://www.wesleyan.edu/academics/faculty/mroth/profile.htmlhttps://yalebooks.yale.edu/book/9780300250039/the-student/www.wesleyan.eduhttps://twitter.com/mroth78www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Ep. 211: Edo Choi on Killers of the Flower Moon, Janet Planet, All of Us Strangers, Kevin Jerome Everson Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. Martin Scorsese's Killers of the Flower Moon is finally out in theaters, and it's one of the films I discussed with Edo Choi, associate curator of the Museum of the Moving Image. We chatted on campus at Lincoln Center while attending the New York Film Festival, and the titles in our conversation included: Scorsese's Killers of the Flower Moon, playwright-turned-filmmaker Annie Baker's Janet Planet, Andrew Haigh's All of Us Strangers, and new work by Kevin Jerome Everson and James Benning. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 206: Eric Hynes on Toronto 2023: The Pigeon Tunnel, The Holdovers, The Peasants, American Fiction, Gonzo Girl Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. As the fall season kicks off, I have a few more titles—some slated for release in the coming months, others yet to be distributed—plucked from the ranks of the Toronto International Film Festival. I talked with Eric Hynes, curator of film at Museum of the Moving Image, about Errol Morris's The Pigeon Tunnel, Alexander Payne's The Holdovers, Cord Jefferson's American Fiction, Patricia Arquette's Gonzo Girl, and The Peasants, from Dorota Kobiela and Hugh Welchman. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Insulin Maker Eli Lilly Finally Caps The Drug's Cost In 1923, drug manufacturer Eli Lilly became the first company to commercialize insulin. Since then, its cost has skyrocketed. But this week, the company announced that it is capping the cost of insulin at $35. This comes as a huge relief to many Americans, since insulin has become the face of pharmaceutical price gouging. Over the last 20 years, the price of insulin has grown by six times, making this essential, life-saving drug unaffordable to many who need it. Purbita Saha, deputy editor at Popular Science, joins Ira to talk about this announcement and other science news of the week. They chat about a new at-home test for COVID-19 and the flu, how the bird flu outbreak is faring, what we learned from NASA's DART mission, and why scientists are growing a mushroom computer.   It's Spacetime And Science Season At The Oscars The Academy Awards are almost upon us, airing March 12. Movie buffs may have already seen many of the nominated films. But for science geeks, there's another form of criteria for what films go on the top of their watchlist: Do these movies include science? This year, a whole bunch of Oscar nominees are driven by science as part of the plot. The Best Picture category has three: the multiverses in “Everything Everywhere All at Once,” the water-based society in “Avatar: The Way of Water,” and the gravity-defying aerial stunts in “Top Gun: Maverick.” The Documentary Feature Film category is also ripe for science analysis: “Fire of Love” follows the love story between two French volcanologists, “All That Breathes” follows brothers who run a bird hospital in Delhi, and “All the Beauty and the Bloodshed” spotlights Nan Goldin's advocacy against the opioid-creating Sackler family. Ira is joined by Sonia Epstein, curator of science and technology at the Museum of the Moving Image in Queens, New York, to discuss these films and more—including science-oriented films that were snubbed from this years' awards.   The Lasting Allure Of Shackleton's ‘Endurance' There are few stories about heroic survival equal to Sir Ernest Shackleton's Antarctic rescue of his crew, which turned disaster into triumph. In August of 1914, 28 men set sail from England to the South Pole. Led by Shackleton himself, the group hoped to be the first to cross Antarctica by foot. However, their ship, the Endurance, became stuck in ice. It sank to the bottom of the frigid Antarctic waters, leaving most of the men stranded on a cold, desolate ice floe. Shackleton, with five of his crew, set out in a small boat to bring help from hundreds of miles away. Finally, after many months of fighting the cold, frostbite and angry seas, Shackleton was able to rescue all his men with no loss of life. Over the years, there have been many attempts to find the Endurance shipwreck. None were successful until a year ago, when the wreck was located for the first time since it sank back in 1915. Ira is joined by Mensun Bound, maritime archeologist and the director of exploration on the mission that found the Endurance. His new book, The Ship Beneath the Ice, is out now.   Transcripts for each segment will be available the week after the show airs on sciencefriday.com.