Cinema Studies

Filmed along Australia’s breathtakingly beautiful Hawkesbury River, Anna Reeves’ deliciously surprising film is a comedy about love, community and freshly shucked oysters.

Animated hosts Professor Edward A. Elderberry and his disciple Horace, introduce clips from 160 films from 26 countries, and discuss the most significant animated films of the past 100 years.

This video examines the production of Haskell Wexler's classic film, a docu-drama set amidst the street riots at the 1968 Democratic National Convention in Chicago, and the film's social and aesthetic importance in American cinema.

The Long Road, examines the development of new forms of representation, repression against filmmakers, and the emergence of a new women's cinema.

Explores the movement's origins, traces the evolution of its theoretical and esthetic positions, and focuses on the development of cinema in Cuba and Nicaragua.

Profiles actor, comedian, impersonator and variety performer Sid Raymond, in the process challenging the assumption that celebrity defines success.

This documentary, hosted and narrated by Burt Lancaster, examines the effects of the highly publicized investigation of the motion picture industry by the House Committee on Un-American Activities (HUAC), which began in 1947.

A documentary about women in the film business and how they balance children, love lives and career—or how they don't.

Features interviews with retired artists' film and theater actors and actresses, set designers, cinematographers, casting directors, script supervisors, and so on—who reside in the Motion Picture Country Home in Los Angeles or in the Performing Arts Lodge in Toronto.

In a Los Angeles film studio, the cameras roll on an X-rated film, and in the director's chair sits a woman. In New York and San Francisco, companies created by women market hard-core videos to the female consumer.

In 1985, Monica Frota, an independent Brazilian filmmaker, collaborated with the Kayapo people of the Brazilian rain forest to develop Mekaron Opoi D'joi (He Who Creates Images), the first Kayapo media project.

Examines Puerto Rico's `Operation Bootstrap,' the highly vaunted economic development plan undertaken in the 1950s to provide a role model for economic development throughout Latin America.

This video is based on the travel films of Caroline Wagner, a New York amateur filmmaker, whose peripatetic travels took her on over a hundred voyages around the world, her hand-cranked 16mm movie camera always in hand, from 1939 until the mid- Sixties.

In October 1947, screenwriter Gordon Kahn was one of those subpoenaed to appear before the House on Un-American Activities Committee which was investigating `communist subversion' of the film industry.

In 1993, Mieko Ouchi, a half-white, half-Japanese actress, began researching a documentary about her Japanese immigrant grandfather. Shortly thereafter, she was cast to star in The War Between Us, a feature film on the WWII internment of Japanese-North Americans, thus re-enacting a key episode in her own community's history.

This video chronicles the career of the Budapest-born Stefan Lorant (1901-1997), one of the twentieth century's most influential photo editors and a pioneer in photojournalism.

Offers a fascinating overview of artistic activity in Croatia during the recent war in the former Yugoslavia, revealing the diversity and vitality of its artists as well as how their work was profoundly influenced by the conflict.

This fascinating and entertaining documentary celebrates the work of Reynold Brown, one of the most acclaimed movie poster artists of the Fifties and early Sixties, whose work colorfully encapsulated the nation's postwar social climate.

This cinema-verite documentary explores the realities of life as a classical musician through the story of Hexagon, a newly-formed chamber ensemble. The documentary chronicles their challenging first year and a half, from the group's seemingly casual first rehearsal to its high-pressure launching into the mainstream of the classical music scene.

One day, on a whim, Marc decides to shave off the mustache he’s worn all of his adult life. He waits patiently for his wife’s reaction, but neither she nor his friends seem to notice. Stranger still, when he finally tells them, they all insist he never had a mustache. Is Marc going mad? Is he the victim of some elaborate conspiracy? Or has something in the world’s order gone terribly awry?