Podcasts about red hollywood

This episode is a slight departure for this season—and we had fun with it. Rather than taking on a film directed by a blacklisted director, as usual, we're discussing a groundbreaking video essay about blacklisted directors. Thom Andersen's Red Hollywood (1996) discusses several of the directors and films we've discuss so far on the podcast. Andersen's goal in the film is to curate a list of overlooked films and demonstrate the bold themes that many of these directors were attempting to inject into some of them, much of which was later used as evidence against them in future HUAC hearings. The film features interviews with Abraham Polonsky, Ring Larnder, Jr., Paul Jarrico, and Alfred Levitt. Andersen (b. 1943) is the originator of the term "film gris," or socially conscious crime pictures from 1947 to 1952. He is perhaps most renowned for his experimental video essay Los Angeles Plays Itself (2003).    *Fact checking ourselves: —Tim implies that Kafka (yes, Kafka) is Germany, but in fact he only wrote in German. He was from Prague of course.  —Jason says that he lived in communes for 15 years, but actually it was about ten (oops).  We hope you enjoy!      

** Director Billy Woodberry Talks The LA Rebellion, Red Hollywood and Bless Their Little Hearts ** "How does Shakespeare start a riot?": "Disaster At The Astor." ** Plus...Corporate Media Watch On Israel...News From Strange Places...

Paul Pacelli hit on a vast array of topics to start off a new week on "Connecticut Today." First, Paul gave his thoughts on folks who say they'll refuse to take the coronavirus vaccine, due to blatant misinformation (0:47). Next, noted law enforcement attorney Lance LoRusso chimed in on some of the latest developments with police, locally and nationally (7:48). Following Governor Ned Lamont's address to the media about the first Covid-19 vaccinations (18:16), Paul chatted with author Chris Fenton about his new book, "Feeding The Dragon: Inside the Trillion Dollar Dilemma Facing Hollywood, the NBA & American Business," which looks at the film and sports industries giving China preferential treatment and the intricacies of doing business in China (33:56). Image Credit: Getty Images

In 1950, a 200-page-long directory called "Red Channels " was published in America. It was a list of people working in the media who were suspected of being Communists or Communist sympathisers. It ruined careers and sent actors, writers and directors into exile. Most of the people named in it are no longer alive. But Vincent Dowd has been speaking to former Hollywood actress Marsha Hunt who is still with us, aged 102. PHOTO: Marsha Hunt in 1938 (Getty Images)

Slow Writing: Thom Andersen on Cinema (Visible Press) Slow Writing is a collection of articles by Thom Andersen that reflect on the avant-garde, Hollywood feature films, and contemporary cinema. His critiques of artists and filmmakers as diverse as Yasujirō Ozu, Nicholas Ray, Andy Warhol, and Christian Marclay locate their work within the broader spheres of popular culture, politics, history, architecture, and the urban landscape. The city of Los Angeles and its relationship to film is a recurrent theme. These writings, which span a period of five decades, demonstrate Andersen’s social consciousness, humour and his genuine appreciation of cinema in its many forms. Thom Andersen’s films include the celebrated documentary essays Eadweard Muybridge, Zoopraxographer (1975), Red Hollywood (1996), Los Angeles Plays Itself (2003), and The Thoughts That Once We Had (2015). Of the thirty-four texts included in the book, six are hitherto unpublished; others have been revised or appear in different versions to those previously available. Praise for Slow Writing “There are few writers and few filmmakers who make me rethink what cinema is more than Thom Andersen. Sometimes this is a matter of introducing fresh perspectives, such as making cinema and architecture more mutually interactive. It’s always a political matter of figuring out just who and where we are, and why.”----- Jonathan Rosenbaum “In his disarmingly plainspoken introduction, Thom Andersen more or less apologizes for not becoming a film critic, and for not delivering a manifesto. Slow Writing shows us just how terrific a critic he hasn’t (mostly) bothered to be. This book belongs on a very small and special shelf of the most incisive and ungrandiose books by artists.”----- Jonathan Lethem Thom Andersen has lived in Los Angeles for most of his life. His knowledge of and enthusiasm for the city has deeply informed his work, not least his widely praised study of its representation in movies, Los Angeles Plays Itself (2003), which was voted one of the 50 Best Documentaries of All Time in a Sight & Sound critics’ poll. Andersen made his first short films and entered into the city’s film scene as a student of USC and UCLA in the 1960s. His hour-long documentary Eadweard Muybridge, Zoopraxographer (1974) was realised under an AFI scholarship and has lately been restored by the UCLA Film and Television Archive. His research into the victims of the Hollywood Blacklist, done in collaboration with film theorist Noël Burch, produced the video essay Red Hollywood (1996) and book Les Communistes de Hollywood: Autre chose que des martyrs (1994). Andersen’s recent films include Reconversão (2012) on the work of Portuguese architect Eduardo Souto de Moura, and The Thoughts That Once We Had (2015), a personal history of cinema loosely inspired by Gilles Deleuze. A published writer since 1966, Andersen has contributed to journals such as Film Comment, Artforum, Sight and Sound and Cinema Scope. He has taught at the California Institute of the Arts since 1987, and was previously on faculty at SUNY Buffalo and Ohio State University. Also a respected film curator, he has acted as programmer for Los Angeles Filmforum and curated thematic retrospectives for the Viennale. Slow Writing: Thom Andersen on Cinema is the first collection of his essays.  Tosh Berman is a writer and poet.  His two books are Sparks-Tastic (Rare Bird) and a book of poems, The Plum in Mr. Blum's Pudding (Penny-Ante Editions).  He is also the publisher and editor of his press, TamTam Books, which published the works of Boris Vian, Serge Gainsbourg, Guy Debord, Jacques Mesrine, Ron Mael & Russell Mael (Sparks) Gilles Verlant, and Lun*na Menoh. 

This time, we get promoted to PRESIDENT OF THE UNITED STATESLoose Canons Ep. 130 Red Hollywood

Here's what YouTube TV REALLY means. And...Is Martin Scorcese too risky for Hollywood? Fugetaboutit! Plus, movie theaters are really in the SEAT business, and the limits of asking your friends to try a podcast. Brand Authority Tom Asacker and Media Strategist Mark Ramsey go inside what's really happening in media.

Tyler and David talk about what they've seen recently, including Red Hollywood and Cinderella.

Inez Jasper is a multiple award-winning indie pop musician from the Skowkale First Nation near Chilliwack. The public health nurse and mother of two dropped into Scene & Heard studio to talk about her just released second album Burn Me Down, the burgeoning Aboriginal music scene in Canada, Red Hollywood and more.

Colin Marshall sits down in Silver Lake with Thom Andersen, professor at the California Institute of the Arts' School of Film/Video and director of films including Red Hollywood, the new Reconversion, and the well-known documentary Los Angeles Plays Itself, on the truth and falsity of the city's representation in motion pictures. They discuss The Fast and the Furious shooting on his street; the end of the current era of impressive car chases crafted by Nicolas Winding Refn and Quentin Tarantino; H.B. Halicki's original Gone in 60 Seconds, and the importance of its literalism regarding greater Los Angeles' South Bay; how rarely mainstream cinematic interest looks beyond white people of "immodest means," and what the films that do go beyond them achieve (such as the creation of detective films that actually involve detecting); Killer of Sheep, Boyz n the Hood, and the differences between garden-variety "gang movies" and those that truthfully deal with survival; the questions to do with the black population, bank bailouts, and the destruction of the working class he believes movies could address but rarely do; how much more interesting reality is than our imaginations, which by now have long since filled up with junk; Los Angeles as a representational battleground, and the way filmmakers have an alibi here not to do important work; the native's lack of advantage in understanding this city, and the outsider's advantage in making it strange again, as seen in Zabriskie Point, The Outside Man, Model Shop, and Point Blank; the changes in Los Angeles, how they vanish in comparison to the changes in major Asian cities, and how they have for the most part taken place among the people rather than in the infrastructure; the racism of Crash versus the naïveté of Falling Down; his continuing fascination with the Los Angeles wherein people struggle to make a living; and what fillms and books can to do change minds, given that they so often make minds in the first place.