Vampyr (Dir. Carl Theodore Dreyer, 1932) (Screening format – not known, 75mins) (Technically, Dryer’s first sound film but with very little dialogue and extensive use made of inter-titles) Staying at a country inn, Allan Grey scoffs at the notion of supernatural death before being forced to believe that there may be things beyond his understanding. The skills of director and cameraman induce a similar confusion on the part of those watching, as we encounter one of cinema’s great nightmares. Dreyer offers few explanations for the phenomena on screen: strange and frightening things may just happen. Vampyr opened to a generally negative reception from audiences and critics. Dreyer edited the film after its German premiere and it opened to more mixed opinions at its French debut. The film was long considered a low point in Dreyer’s career, but modern critical reception to the film has become much more favorable with critics praising the film’s disorienting visual effects and atmosphere. Find out more at Wikipedia With live musical accompaniment by Minima and Stephen Horne. Cube Cinema, Bristol Link
Battle of the Somme (Dir.Geoffrey Malins, 1916) (Screening format – not known, 77mins) The Battle of the Somme gave its 1916 audience an unprecedented insight into the realities of trench warfare, controversially including the depiction of dead and wounded soldiers. It shows scenes of the build-up to the infantry offensive including the massive preliminary bombardment, coverage of the first day of the battle (the bloodiest single day in Britain’s military history) and depictions of the small gains and massive costs of the attack. The Battle of the Somme remains one of the most successful British films ever made. It is estimated over 20 million tickets were sold in Great Britain in the first two months of release, and the film was distributed world-wide to demonstrate to allies and neutrals Britain’s commitment to the First World War. It is the source of many of that conflict’s most iconic images. It was made by British official cinematographers Geoffrey Malins and John McDowell. Though it was not intended as a feature film, once the volume and quality of their footage had been seen in London, the British Topical Committee for War Films decided to compile a feature-length film. Find out more at Wikipedia Presented by Bristol Remembering The Real World War One, Bristol Festival of Ideas and Bristol 2014 with live musical accompaniment by distinguished pianist Stephen Horne and percussionist Martin Pyne. Followed by a panel discussion between David Miller, Professor Of Sociology, University of Bath; Humberto Perez-Blanco, Senior Lecturer in Film Studies at UWE and June Hannam, Professor Emeritus of Modern British History, UWE. Chaired by Andrew Kelly, director of Bristol Festival of Ideas and Bristol 2014. Watershed Cinema, Bristol Link
Il Cinema Ritrovato – In Search Of Colour (Dir. Various, 1908-17) (Screening format – DCP) A historic programme of striking short films curated by II Cinema Ritrovato festival and restored by L’Immagine Ritrovata labs. This collection showcases Kinemacolor and the Pochoir colour technique, which employed elaborate stencils to add precise colour detail to two-tone Kinemacolor prints. Patented in England, this short-lived commercial film format produced a series of absolutely spectacular films, a strikingly colourful chapter from the mostly black and white days of early cinema. Films being screened include; Coiffures et types de Hollande (France, 1910, 3mins, Pathé); Rapsodia Satanica (Dir Nino Oxilia, Italy, 1915-17, 45mins); The Harvest (UK, 1908, 6mins)L’inaugurazione del campanile di San Marco (Italy, 1912, 12mins); Plotoni nuotatori della IIl divisione cavalleria comandata da S.A.R. il conte di torino (Dir. Luca Comerio, Italy, 1912, 9mins); and Fording The River (UK, 1910 3mins). Presented as part of the Cinema Rediscovered Season. Introduced by Cinema Ritrovato festival director and film expert Gian Luca Farinelli. With live piano accompaniment by John Sweeney. Watershed Cinema, Bristol Link
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