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Kabuki Techniques

Two of the greatest stars of Japan’s kabuki theater reveal what has only rarely been seen: the actual acting techniques used in this most difficult and splendid of theater forms. Onoe Shoroku II and Onoe Baiko VII discuss and demonstrate their craft in conversation with the well-known author of works on Asian arts, Faubion Bowers. Includes film of great kabuki performances of the past. These great kabuki actors make the mechanics of theater kata (poses) clear and show some of the gestures and nuances of body language that communicate specific emotions and situations. Baiko, a famous player of women’s roles, performs a classic woman’s speech in full costume and heavy white-face make-up, and then does the same scene again in plain face and simple clothes. He shows how the Japanese fan speaks in its own language. He and Shoroku act out a fight scene; Shoroku demonstrates one of kabuki’s elaborate exit walk sequences, and compares different ways of making stylized gestures.

Kabuki Techniques

NR 1969
The Last Fistful of Land

'L'ultimo pugno di terra' (The Last Fistful of Land) is a 1966 documentary film directed by Fiorenzo Serra about the anguish and instability of the lower classes in a destitute Sardinia. Originally commissioned by the Sardinian regional government as a celebratory piece on the 'miraculous' effects of the 'Piano di Rinascita della Sardegna' (Sardinia's Rebirth Plan), the film instead shows an island still 'standing still in time', barely affected by the painful oxymoron of the inevitable changes taking place.

The Last Fistful of Land

9.0 1966
Sad-Is-Fiction

Sad-is-fiction, Fredi M. Murer’s third artist film, takes as its subject the Zurich-based painter and poet Alex Sadkowsky. “Modern man leans neither to the right nor to the left; he just keeps walking” runs the start of the programmatic introduction – and, for the rest of the film, Sadkowsky does just that. He wanders through aeroplanes and through London, and leaps across rocky landscapes. Whenever he feels lonely, he carries with him an “animal metaphysicum”, which originated in his paintings. Sad-is-fiction portrays Sadkowsky as a visionary dreamer who – although he is in fact a father, artist, lover and, above all, a man with, to put it mildly, a gift of the gab – resists being pigeonholed in any way. In Sad-is-fiction,Murer works for the first time with direct sound and, for the first time, employs a colleague in the shape of cameraman Fritz E. Maeder.

Sad-Is-Fiction

NR 1969
Black Week in Nimba

The Liberian American Swedish Mining Company (LAMCO) was a mining company that mined iron-ore in northern Liberia at the Nimba massif. About 15,000 Swedes worked for Lamco and the project was cited as a successful example of international cooperation. But in this film the Swedish TV viewers were presented a very different picture. The film broke with the conventional African portrayal and the Swedes in Liberia were portrayed as colonial-era heirs. The film was supplemented with a debate.

Black Week in Nimba

NR 1966
Harlem Theater

HARLEM, USA: in the aftermath of Martin Luther King’s murder, German filmmaker Klaus Wildenhahn turned his 16mm camera on the New Lafayette Theatre as its players rehearsed scenes, ran public workshops and conducted exercises in uptown Manhattan. New Lafayette (or NLT) had been founded by actor-director Robert Macbeth the previous year, with the aim of producing theater for black people, by black people, to reflect the experiences and vernacular of the Harlem community. Within the Black Arts Movement, NLT would become a significant institution: it published the journal Black Theatre, and employed a host of talents – including the Black Panthers’ Minister of Culture, Ed Bullins, and the great pianist Junior Mance, both of whom appear in Wildenhahn’s film as resident collaborators.

Harlem Theater

7.0 1969
Eichmann and the Third Reich

Released during the trial of Adolf Eichmann, this documentary uses archival footage and contemporary interviews to examine the crimes of the Third Reich and the bureaucratic machinery behind the Holocaust. Directed by Erwin Leiser, the film situates Eichmann’s prosecution within a broader historical context, confronting German audiences with visual evidence of antisemitism, deportation, and mass murder, including commentary from figures such as Fritz Bauer.

Eichmann and the Third Reich

9.0 1961
Oslofilm: Framhuset 25 år

A film made for the 25th anniversary of the Fram Museum. The museum is home to the ship Fram, which was used by Roald Amundsen, Fridtjof Nansen, and Otto Sverdrup on their legendary polar expeditions. // Oslofilm was a series of public information films about life in and around Oslo, produced between 1940 and 1980. Funded by the state, the films offer valuable insight into postwar Norwegian society. A wide range of Norwegian filmmakers contributed to the productions, resulting in a rich variety of styles and expressions. Several of the films also possess notable cinematic qualities, standing out as more than just informational material. The Oslofilms represent a unique and important chapter in Norwegian film history.

Oslofilm: Framhuset 25 år

NR 1961
Il male di San Donato

In Montesano, Salento, during the festivities held in August in honour of Saint Donatus, patron saint of epileptics and the mentally ill, the power of collective suggestion causes strange phenomena and rituals to occur. Luigi Di Gianni, master of anthropological documentary, films the worshippers with Dionysian force as they writhe and scream as if in a pagan rite, showing how the content of the Catholic liturgy succumbs to the primitive passion of popular religiosity.

Il male di San Donato

NR 1965
From Greece

The first part of this film is devoted to the Greek resistance against fascism and the civil war for independence. While the voice-over recites facts and names, photos take us into the past and the everyday lives of the people. The second part takes us to Greece in 1965, where the masses are protesting against the removal of the liberal Georgios Papandreou. – Two years later the military junta seized power in Greece. When Filmecho/Filmwoche called the film “communist”, it was doomed. It was rarely shown and originated the stigma that ultimately made it impossible for Peter Nestler to continue to work in Germany.

From Greece

7.0 1966
Salmon in Laxá

A promotional documentary made for ABU fishing gear manufacturers from Svängsta, Sweden. Every year, ABU awards a number of prizes for the largest fish caught with ABU equipment. This prize consists of a trip to a famous fishing area. This year, it was a seven-day trip to Iceland, including three days' fishing at Laxá, and a visit to both the north and south of the country. The film follows the prize winners from the time they board the airplane at Kastrup airport until they leave Iceland, after a short but memorable visit.

Salmon in Laxá

NR 1969
Douglas Point Nuclear Power Station

The success of this first full-scale nuclear power station on the shores of Lake Huron has shown the way for the economic large-scale production of electricity from uranium. This film describes the plant at Douglas Point, Ontario, and the process by which the uranium atom is split, employing heavy water with a special property, deuterium, giving the name CANDU (Canada Deuterium Uranium) to the Canadian system of atomic energy production. Produced for the NFB by Crawley Films Ltd. for Atomic Energy of Canada Limited.

Douglas Point Nuclear Power Station

NR 1968
An Engineer's Assistant

"In my filmography, An Engineer’s Assistant (1963) is called my “first film.” This PR film on the safety of the Japanese National Railways was designed to be “self-criticism” after the big accident on the Joban line at Mikawashima Station, which had occurred in 1962. Right after the events back then, the responsibility for the accident was considered to be negligence of the engineer and the engineer’s assistant. The topic of this project was the promotion of a new device to avoid accidents. However, I had seen that the true cause of the accident was a congested service schedule, and I consciously placed emphasis on the depiction of the actual work of the engineer and his assistant, and of those who had chosen the route and were responsible for safety on the line on which the accident took place."

An Engineer's Assistant

5.5 1964