So you’ve probably seen this already, even though it was only posted six days ago. Since when it has clocked up more than 3.7 million YouTube views. Yes, it’s the video illustrating part of the audio recording of the late David Foster Wallace‘s famous commencement address, ‘This is water’.
The film was created by the Los Angeles production house The Glossary, and the story behind its making is interesting too. In a Q&A with Adweek’s David Griner, the team admit that they did not clear copyright before they went ahead.
We had little to no budget for this project and we knew that the publishing house was going to be really skeptical of our little company’s request to utilize [DFW’s] work. We had faith in our vision for the video and that once it was complete they would see that this was something made with the best intentions in mind. We are in no way making any money directly from this video; it was purely a passion project. While we had high hopes for this, we could have never seen all of this attention coming. Sometimes it’s better to ask for forgiveness than permission.
Has there ever been a better time to love the cinema? Sure, it would have been cool to hang out on the Left Bank in ’56 and argue about Ray and Fuller with Jean-Luc, Francois and the gang. And I would dearly like to have shared a pint with documentary makers John Grierson, Basil Wright, Paul Rotha and Humphrey Jennings at a Soho hostelry in the late 1930s (assuming, of course, that they were talking to each other). But if what you care about is actually watching films, then with the DVDs available today and with streaming and specialist cinemas and TV channels and festivals, access to an astounding range of films has never been easier. That said, there are still some areas of film history that are far less well-served than others – and for me one of these is French silent cinema of the 1920s. Which is why it is particularly good news that the 4th Fashion in Film Festival, which opens tonight, is devoted to the work of Marcel L’Herbier. Here’s the slinky, sensuous trailer.
Back in 2009 we ran a blog post that was based on an article in the New York Times which claimed that the ‘latest digital fad [is] a chain-letter-cum-literary exercise called “25 Random Things About Me”.’ For a while it was big on Facebook, and this was the only excuse the Times needed for its pop psychology: ‘…why this particular distraction has suddenly become a phenomenon is anyone’s guess. For most, it seems to be a creative way to indulge in social networking without coming off as needy or shamelessly self-absorbed.’ The world has moved on a bit since then, as there have been some changes too at Illuminations. Nonetheless, absolved from neediness or self-obsession, we are delighted to offer today the 2013 version of 25 Random Things About Illuminations. read more »
Recently I sat in a viewing theatre with half a dozen other researchers and watched a truly remarkable 1965 television documentary called Walk Down Any Street. Directed for Associated-Rediffusion by Charlie Squires, the film is a clear-eyed and sympathetic verité portrait of a working-class family in Bermondsey. There are just four extended sequences – a funeral, a 21st birthday party, a hospital birth and a christening – and each is dispassionately observed at considerable length with minimal music that is not from the world of the film and with no voice-over after an opening introduction. I had never heard of the film before, I can find nothing about it online, and I don’t believe there is any critical writing about it in any book or article (I should be delighted to be disabused of this). The film is astonishing, both as film-making and as social history, but just as astonishing is its almost total obscurity. Welcome to the terra incognita of television archives. read more »
Yesterday was Karl Marx’s birthday and today is a holiday that more or less coincides with one on 1 May that in some eighty countries celebrates International Workers’ Day. On Friday last Illuminations said farewell, after more than a decade’s service, to its Sony DSR-500WS camera, a part of which you can see above (the whole is below). Significant as this event was for us, it is perhaps not obviously connected with celebrations of socialism around the world. But let me tell you a story that brings the two together. read more »
Yesterday at BFI Southbank I saw a fine (although a touch short of immaculate) 35mm print of John Schlesinger’s 1967 Far from the Madding Crowd. Marred by inconsistency in its central performances, this is nonetheless a magnificent film in many ways, with breathtaking 70mm Panavision and Technicolor cinematography from Nic Roeg. But my pleasure was almost spoiled by the opening BFI corporate animation, which I assume to be new, with the Institute’s logo and the tagline ‘Film Forever’. Aaaaaarrrgggghhhh!
Whose ignorant and insulting idea was it to define our central body dedicated to the moving image in a way that excludes most television and all video and digital creation. Why does the BFI feel that it must take refuge in such a retro attitude? How, for example, when the BFI celebrates itself with such an alliteration, are we going to tackle the questions that Luke McKernan raises in his excellent post What is restoration? Luke makes some fundamental points about the low cultural status and lack of glamour associated with video restoration (such as that undertaken recently by the BFI on the BBC’s 1970s series Nationwide, above). But what the heck, eh, BFI? Who gives a f*** in a world of ‘Film Forever’?
Our colleague Todd MacDonald offers another selection of videos that caught his eye during the past week. His selection also appears on his personal blog.
Todd MacDonald: The long awaited new album from Bonobo emerged very recently along with the first promo for single ‘First Fires’ – and I love it. Great job by Young Replicant who are also responsible for the equally impressive video ‘Chained’ by The xx which is also hosted on their site via the link above.
Upstage there is a set with an enclosed room and other smaller spaces, including two booths like those used for sound recording. The room is dressed as a kitchen, with walls which have extensive glass panelling allowing the audience to see inside. Downstage there are elements of furniture, a table for sound effects, and video cameras, monitors and lights. This is the setting for Katie Mitchell and Leo Warner’s astonishing Fraulein Julie, originally staged at Schaubuhne Berlin and at the Barbican only until tomorrow. (I started this post on Tuesday night but it’s been a crazily busy week, so apologies for the tardiness of its appearance.) Over 80 taut minutes, the actors and creatives make and mix a live “film” after Strindberg’s play, with live sound effects and music. The appeal is both to the mind and to the heart, with an experience embedded in the late 19th century but also acutely, precisely of now. Yet for me this bold, sometimes breathtaking experiment brought to mind nothing so much as live television drama as it used to be made in the studio twenty.thirty, even fifty years ago. read more »
This is both irresistible and a touch magical: an eight-minute video courtesy of The Criterion Collection with Martin Scorsese talking about and demo-ing the recent restoration of Laurence Olivier’s 1955 Richard III(above). Shot in VistaVision and Technicolor, the film had been chopped about and was suffering significant colour deterioration, but thanks to an army of experts (and our own BFI National Archive) it can now be seen pretty much as Larry intended – and that version was released on Blu-ray and DVD by Criterion this past week. Do also read Amy Taubin’s new essay on the film …and then explore my other links from the past week, noting my thanks for recommendations to @brainpicker, @jackshebang, @KeyframeDaily and @scrnddct.
We are delighted to feature another selection of videos compiled by our colleague Todd MacDonald, which he is also presenting every week on his own blog.
Todd MacDonald: I’ve got some good’uns this week and I even had to leave a few out of the line-up for fear of overload. The five here are the best that I’ve enjoyed this week including work by Lonely Leap, Callum Cooper and Mark Bader.
First, we go to the birthplace of John Wyver, the man behind Illuminations, to Whitstable for a seaside story about the Whelkman.
