This legendary fight was filmed on March 17, 1897, using 63mm film that produced an aspect ratio of about 1.75:1. Using three adjacent cameras, Enoch Rector recorded the entire fight, simultaneously creating the world's first known feature film, as the resulting footage lasted over 90 minutes in length. About a quarter of the film survives today.
James J. CorbettHimselfBob FitzsimmonsHimselfBilly MaddenHimself - Sullivan's ManagerGeorge SilerHimself - RefereeJohn L. SullivanHimself - Master of Ceremonies
Photo sequence of the rare transit of Venus over the face of the Sun, one of the first chronophotographic sequences. In 1873, P.J.C. Janssen, or Pierre Jules César Janssen, invented the Photographic Revolver, which captured a series of images in a row. The device, automatic, produced images in a row without human intervention, being used to serve as photographic evidence of the passage of Venus before the Sun, in 1874.
Documentary focusing on the film careers F.W. Murnau, Frank Borzage and William Fox and their impact on the history of cinema.
The last remaining film of Le Prince's LPCCP Type-1 MkII single-lens camera is a sequence of frames of his son, Adolphe Le Prince, playing a diatonic button accordion. It was recorded on the steps of the house of Joseph Whitley, Adolphe's grandfather.
Morning reveals New York harbor, the wharves, the Brooklyn Bridge. A ferry boat docks, disgorging its huddled mass. People move briskly along Wall St. or stroll more languorously through a cemetery. Ranks of skyscrapers extrude columns of smoke and steam. In plain view. Or framed, as through a balustrade. A crane promotes the city's upward progress, as an ironworker balances on a high beam. A locomotive in a railway yard prepares to depart, while an arriving ocean liner jostles with attentive tugboats. Fading sunlight is reflected in the waters of the harbor. The imagery is interspersed with quotations from Walt Whitman, who is left unnamed.
Documentary about making cheese in the Netherlands.
The moving camera shapes the screen image with great purposefulness, using the frame of a window as fulcrum upon which to wheel about the exterior scene. The zoom lens rips, pulling depth planes apart and slapping them together, contracting and expanding in concurrence with camera movements to impart a terrific apparent-motion to the complex of the object-forms pictured on the horizontal-vertical screen, its axis steadied by the audience's sense of gravity. The camera's movements in being transferred to objects tend also to be greatly magnified (instead of the camera the adjacent building turns). About four years of studying the window-complex preceded the afternoon of actual shooting (a true instance of cinematic action-painting). The film exists as it came out of the camera barring one mechanically necessary mid-reel splice
"This is a kid who just said it. I'm the greatest - and he said it with poetry. And I don't mean just the poems that he wrote but with the poetic energy, the poetic spirit" - James Earl Jones. Through the eys of the world is a unique account of one of the great icons of the 20th century, told by family, friends and fans from all over the world.
Chuck Wepner is a liquor salesman from Bayonne, N.J., who drives a Cadillac with “Champ” vanity plates. A former New Jersey State Heavyweight Boxing Champion, he took abuse from Sonny Liston, got his nose broken by Muhammad Ali, and inspired Sylvester Stallone to write “Rocky” which won three Academy Awards. Wepner was left out of the “Rocky” glory, and his career took turn after strange turn as he worked to stay in the spotlight: he went on to fight Andre the Giant as “The Assassin” and boxed a 900 pound bear. Twice.
The epic story of the Russian Civil War (1918-21): the White Terror, the counterrevolutionary uprisings, the guerrilla war, the Kolchak front, the Wrangel front and the Kronstadt rebellion. Chaos and violence, devastation and death.
The mute documentary-experimental film "Ten Minutes of Silence" is a film expression of the trends embodied in the painting "Black Square" by Malevich and J. Cage in music.
Born and Bred is a feature-length documentary film chronicling the lives of a new generation of young boxers fighting for their place in the American boxing capital of Los Angeles.
Arrival in the Bronx is shown with a view from an elevated train as it enters the city. Then follows a montage of sights from the Bronx. Many typical neighborhood activities are shown, along with scenes from many local businesses.
“This view was taken upon Mr. McKinley's lawn at his home in Canton, Ohio. Mr. McKinley appears walking across the lawn in company with his Secretary, who hands him a telegram, which he reads with apparent satisfaction. The characteristic walk and gestures of Mr. McKinley will be noted with interest by his friends.” (AMB Picture Catalogue)
Silent documentary short showcasing a fashion show in the late twenties set at the Côte d'Azur.
At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton
Photographer Bruce Weber profiles boxer Andy Minsker, including his pro career and family relations, and the boys' boxing club Minsker runs.
A father, a mother and a baby are sitting at a table, on a patio outside. Dad is feeding Baby her lunch, while Mum is serving tea.
Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a pick. When the wall hits the ground, a cloud of white dust whirls up. Three workers continue the demolition of the wall with picks.
This film shows the leaders of organizations that emerged after the Russian Revolution. It is the fragment of ‘Anniversary of the Revolution’ made by Vertov in 1918.