![Large Door](/img/default-banner.jpg)
- Видео 35
- Просмотров 195 936
Large Door
Добавлен 27 мар 2015
Large Door Productions made programmes for UK TV between 1982 and 1998. Founded by John Ellis, Keith Griffiths and Simon Hartog, Large Door produced 36 programmes in the Channel 4 'Visions' series about world cinema. Ellis and Hartog continued to work through the company making programmes on food, TV in Brazil and other subjects as well as cinema. Simon Hartog died in 1992 and John Ellis continued closed the company when he returned to full-time university teaching in 1998. Ellis is now Professor of Media Arts and Royal Holloway University of London.
Save York Gardens Battersea
BBC London News 11/05/2021. Save York Gardens, Battersea. Occupation in protest at the needless destruction of trees for an ill-planned development.
Просмотров: 271
Видео
Cinema as Foreign Exchange
Просмотров 4354 года назад
This 1984 Channel 4 documentary by Simon Hartog shows how cinema has been used very differently in three neighbouring African states with different colonial heritages: Zimbabwe, Mozambique and Madagascar. Mozambique used cinema newsreels as a crucial propaganda tool after the Portugese colonisers left. Madagascar boycotted US movies, so its screens were dominated by French, Indian and Hong Kong...
Visions1 no8 Syberberg's Parsifal and Ouagadougo's Fespaco Festival
Просмотров 1,3 тыс.5 лет назад
Off-air recording (including 1883 commercials and links) Hans-Jurgen Syberberg's film of Wagner's Parsifal examined by Keith Griffiths and the Brothers Quay with Syberberg interview and then... A report from the pan-African 1983 Fespaco film festival, including comments of critic/filmmaker Ferid Boughedir and prizewinning filmmaker Souleymane Cisse's Finye
3 Raymond Williams: A Tribute
Просмотров 9 тыс.5 лет назад
1988 obituary programme for the distinguished cultural critic Raymond Williams. Stuart Hall, Anthony Barnett, Terry Eagleton, Judith Williamson and Dafydd Elis Thomas discussed his legacy in this 30 minute studio discussion with extracts from Williams' own TV appearances. Directed by Don Coutts, produced by John Ellis. Large Door for Channel 4 tx 28 February 1988 21.55
Opening Up the Family Album ep 4
Просмотров 3257 лет назад
Based on the pioneering work of feminist photographer and theorist Jo Spence, this 4 part Channel 4 series from 1988 was directed by Nina Kellgren. This fourth episode, examining the relations between personal and public histories, features Maxine Walker, Stuart Hall, Maggie Murray, Thelma Reynolds, Sybil Phoenix, Ann Burrell and Allegra Damji. Produced by Large Door, this episode was first tra...
Opening Up the Family Album ep3
Просмотров 8747 лет назад
Based on the pioneering work of feminist photographer and theorist Jo Spence, this 4 part Channel 4 series from 1988 was directed by Nina Kellgren. This third episode, about using photos as therapy, features Jo Spence, Leah Thorn, Maxine Walker, Tessa Boffin, Claudio Solano, Martine Houghton, Stuart Liebermann, Linda Sole. Produced by Large Door, this episode was first transmitted on Tuesday 23...
Opening Up the Family Album ep 2
Просмотров 3617 лет назад
Based on the pioneering work of feminist photographer and theorist Jo Spence, this 4 part Channel 4 series from 1988 was directed by Nina Kellgren. This second episode, about the secrets and stories behind the seemingly innocuous family photos, features Jo Spence, Sybil Phoenix, Stan Grant, Nuala Campbell, Maggie Murray and Allegra Damji. Produced by Large Door, this episode was first transmitt...
Opening Up The Family Album ep 1
Просмотров 8247 лет назад
Based on the pioneering work of feminist photographer and theorist Jo Spence, this 4 part Channel 4 series from 1988 was directed by Nina Kellgren. This first episode, about having your photo taken by others, features Jo Spence, David Hevey, Claudio Solano, Leah Thorn, Dorothy Hoilett, Sybil Phoenix, Stan Grant, Nuala Campbell and Maxine Walker. Produced by Large Door, this episode was first tr...
Hindi Cinema 1983
Просмотров 11 тыс.7 лет назад
Channel 4's Visions series looks at popular Hindi cinema, its styles and major successes, including interviews with Raj Kapoor and Kamal Amrohi. Also shows how Hindi films were then circulating in Britain... including delivery of video cassettes by the milkman! largedoorltd.com/timeline-event/hindi-cinema/
Company of Wolves 17 October 1984
Просмотров 22 тыс.7 лет назад
Writer Angela Carter and director Neil Jordan discuss their newly released feature film 'A Company of Wolves'. Item from the Channel 4 Visions series produced by www.largedoor.ltd.com transmitted 17 October 1984
16mm crew prepares 4 screen MPEG4
Просмотров 608 лет назад
13 May 2015. David Whitson (camera), John Adderley (camera assistant), Bill Chesneau (sound), Alan Muhley (electrician), Ray Sutcliffe (director) take 21 minutes to set up an interior interview using a 16mm Eclair camera and Nagra tape sound recorder. They demonstrate how they used to work together in the late 1960s and 1970s to produce a standard TV product on film. This 4 screen version revea...
16mm crew prepares 4 screen MPEG4
Просмотров 688 лет назад
13 May 2015. David Whitson (camera), John Adderley (camera assistant), Bill Chesneau (sound), Tommy Moran (electrician), Ray Sutcliffe (director) take 21 minutes to set up an interior interview using a 16mm Eclair camera and Nagra tape sound recorder. They demonstrate how they used to work together in the late 1960s and 1970s to produce a standard TV product on film. This 4 screen version revea...
Now About This Policy
Просмотров 3038 лет назад
Mick Eaton directed and Alan Drury scripted this amusing and insightful view of the twists and turns of UK government film policies. Shot using the then-new video technique of blue screen studio, it features Geoffrey Keen (who played the Minister of Defence in six Bond films) as the hapless Minister, and Joan Blackham and Jack Elliott as the ineffectual civil servants. It was the first part of ...
A Dream from the Bath
Просмотров 6818 лет назад
Radical filmmaker Marc Karlin's personal view of British cinema, its past and future, its strengths and weaknesses. A film essay made for Channel 4's Visions series, shown as part of a programme on the politics of British cinema, 24 April 1984
Hong Kong Cinema: Film as a Way of Life. Visions, Channel 4, 8 June 1983
Просмотров 3,6 тыс.8 лет назад
The new generation of young filmmakers in Hong Kong 1983 prove that there is much more to Hong Kong cinema than kung fu.As broadcast, with interstitials
The Man Who Ruined the British Film Industry
Просмотров 14 тыс.8 лет назад
The Man Who Ruined the British Film Industry
Ghosts in the Machine, Frankfurt Film Museum 16 Jan 1985
Просмотров 4589 лет назад
Ghosts in the Machine, Frankfurt Film Museum 16 Jan 1985
Wendy Toye & Sally Potter (pt 2) 9 May 1984
Просмотров 5139 лет назад
Wendy Toye & Sally Potter (pt 2) 9 May 1984
Wendy Toye & Sally Potter, 9 May 1984 (pt1)
Просмотров 1,1 тыс.9 лет назад
Wendy Toye & Sally Potter, 9 May 1984 (pt1)
The ending of the film has always been a bir perplexing because if the message of the "dream" bulk of the film is the wolves are a primal force of repressed nature and being taught to fear them is a tool of sexual repression then why, upon "waking" (although it is clearly still a dreamlike state so let us say the hypnogogic portion of the dream) the girl screams as the wolves come in. So Angela is asked about this and her response is "ask Neil". Neil is asked about this and he says well a scream is very ambiguous; is it a scream of terror or excitement? We scream on a rollercoaster; is it the scream of an orgasm? Et cetera and watching that interview one thinks "oh, that's interesting. I didn't think of that. True, the nature of awe is it is both awe-ful and awe-some - terrifying AND exhilarating! I must look at that again" and immediately we see the clip and... ...nope, that is definitely terror. If you had wanted it to be ambiguous you should perhaps have mentioned that to the performer when directing! Because the performance is definitely one of terror! If his artistic intention had been for that to be ambiguous then he definitely stumbled there.
i once edited a 20 min shortmovie on a steenbeck. awesome experience.
Fraud
Dumb comments below. Gee, if you're an empty person these movies are boring. Empty comments ahead.
sou brasileiro
Bom pra você
so good
and who you think they ended up siding with..?
One factor Denis Forman does not mention was the untimely death of Arthur Rank's brother, who was running the family milling business. J Arthur had to drop everything to save it, which he did- building it into Ranks Hovis McDougall, a huge combine. But movies, which he had gone into as an idealistic hobby, require full-time commitment, esp. if you are jousting with Hollywood. Rank had to delegate the day-to-day business of producing, releasing, screening and exporting pictures, and it was the unimaginative petty despot Davis who got the job. The Rank Organisation, however, was a business, not a charity for 'creatives' nor a makework scheme for technicians nor the Arts Council. Its priority was profits for risk investors. Rank had been heavily attacked for overproducing during the 1948 crisis, using the real estate value of Odeon cinemas to collateralise risky films which lost so much. Davis cannot be blamed for derisking the slate... at a time when audiences were deserting in droves to stay home gawping at TV. You can blame him for not backing commercial television from the getgo, but neither did most UK media groups. Rank's rival, Associated British, only came in when the original pick for its franchise collapsed; for the first two years ITV bled money, and Forman's Granada only survived through a secret revenue-pooling deal. In short, the 1950s were a thoroughly perilous and confused period for all British mass media. It is doubtful if a few blockbuster hits from Rank, let alone more prestige product, would have turned the British 'industry' round. Davis's stake in Haloid, the photocopying company, did far more for the Organisation.
Thanks Esmee, this is a really valuable insight into Arthur Rank's involvement!
...e as cores do movimento LGVT sendo implantadas.kkkkk
Globo prevented this documentary in Brazil for years.
I love this movie and Angela Carter’s work. It’s like being told a really fucked up bedtime story.
Rank Stupidity.
Regina Duarte em Cuba! Hahahahahahahahaha
Please, what is the narrator saying at 18:28? "...of a Memphis/myths political and social change."? And at 18:33?
I've completed the English SDH, so I can help you :) "TV Globo's cameras have shown Brazil to the Brazilians for over 30 years of immense political and social change. Can Globo present a "common view" of this history?" (In Brazilian Portuguese, which I'm still working on: "As câmeras da TV Globo mostraram Brasil para os brasileiros por mais de 30 anos de imensa mudança política e social. Poderá a Globo mostrar algo que é "tudo a ver" com essa historia?")
Waiting on the sequel "up and down"
Nice! The link for part 1 doesn't work. Would it be possible to get a re-upload or be redirected to a working link? Thanks!
Tanto Brizola quanto essa versão old-school Lula fazem uma falta...
A globo não é santa, hoje de tornou uma emissora progressista, nessa época era boa, o documentário pode ter algumas bons bons pontos, porém é uma visão totalmente socialista, documentário chapa branca de social democrata inglês, fora que mostra ter uma certa inveja da globo, Brizola ou mesmo lula tem ideias canalhas!
RIP
Were there no competing studios? How can one man ruin an industry with competing players? Interesting documentary, but obviously very alarmist. No wonder it was on Channel 4.
Can someone who likes his Films please explain the appeal? For example, Wavelength 1967
it can't be explained. a lot of people are probably doing themselves a major disservice looking at his works as though they were "movies" instead of abstract art works. the aim of structural cinema is to use form to convey an idea instead of the substance, around which the form is merely a frame in a conventional film. some people get headaches from the audio of wavelength, while others find themselves hypnotized. personally, i have only seen wavelength and la region centrale (both on 16mm), and both times my mind entered an extremely meditative state that i thoroughly appreciated.
TV Bahía is not only that station. Is a network, a small regional network, so yep, those two broadcasters were and are part of TV Bahia. Perhaps, that's what Magalhaes is meaning: he only owns Network Bahía, not other networks outside of that.
Thanks. It's a very interesting documentary.
It would be a great feature film.
This is a wonderful video of Michael Snow, providing insight into his thinking and art.
Ridiculous films before RUclips: groundbreaking, inspirational, incredible, profound, wins awards at film festivals. Ridiculous films after RUclips: waste of time, horrible, stupid, dumb, wins awards at film festivals.
Idiot comment wtf are you think?
@@ihatefanserviceanime364 Negative replies on RUclips: What's grammar?
Thanks for uploading this! Seems like the best place to ask - does anyone remember a school's education program from year's ago (early 90's maybe) where George Fenton breaks down the music composition from the opening "descent into a dream" sequence? I've been searching for it for years! I'm positive I didn't dream it...
I found this film so erotica as a young teenager. Still do really. It's very special. Her writing is remarkable
Me too! Glad I’m not the only one 😅
Angela Carter is not without charm
I think soccer is okay. Seriously.
Better than filmora and Kinemaster !! The grand father of video editor...
important to note that both militaries and left wingers tortured and killed innocents...there was no good side...both were wrong, some of the left wingers said after years that they wanted to make a communist brazil...
"including 1883 commercials" - they didn't look that old to me. :) Thanks for the upload.
He has the honour of the worst film ever made. A genius of the worst.
I think that back-and-forth film might be the worst I think I would get me sick
@@curtissiebold4460 wavelength is pretty bad 👎
@@ultimatesunrise But It won’t get me a sick!
@@curtissiebold4460 The electronic droning soundtrack, though, becomes excruciating to my ears. This has made it one of of the more difficult films for me to endure aurally.
@@ultimatesunrise Far from bad stupid
John Davis' wikipedia page is waaaay too charitable considering what a jackass he was.
It's incredible how they made the nuke-shelter jingle without a sampler. It's quite rhythmic & peppy.
After 25:30 Paul is basically talking about streaming as we have it today
WOW!!!
WOW/////
1949/////
Wow, thanks so much for making this rare archival documentary public!
This is the best werewolf movie and the best fantasy horror film ever made. Sublime and beautiful, haunting, ominous and enchanting.
I love this film too, even though I always thought that the screaming bit at the end was out of place. Have you ever seen The Labyrinth? It is either making homage nods to this film, or just plain pinching ideas and musical styles.
@@Story-Voracious66 I'd probably be screaming to if i awakened to see a bunch of werewolves from my nightmares suddenly start breaking through the window, leaping into my bedroom and running through the house.
Yes, It is such a beautifully crafted British movie at its very best, but sadly it is mostly forgotten these days, it is very much the best werewolf movie I've ever seen.
if i can get their money
oh my god - premiere pro is much better haha
Showbiz. The emphasis is on the 'Biz' part.
"End of Part One" ?
I would like to translate this Doc in spanish
I'm doing Spanish subtitles for this :)
God bless Betty Box !! For all she did for British Cinema.
Although " J Arthur Rank " still has a legacy in rhyming slang. Very appropriate apparently. ?
It’s odd that he’s so against intertextuality considering the Bloody Chamber (especially the title tale) is full of it.
He's talking about Hollywood's non-stop celebratory self-suck, NOT what writers such as Carter do.
OMG this is so cool 😊