GME News
Looking ahead to the fall semester, GME would like to remind you of some of our popular titles that can be utilized for thematic teaching purposes, while also preparing you for a selection of new titles from Kino Lorber, Re:voir, Index Edition, Edition Filmmuseum, and others, soon to be released as downloadable DSL files and Disk/DSL bundles through GME Streamline.
Read MorePhotographer Raimondo Borea covered a wide range of subjects, from iconic celebrity and historic figures captured during his tenure as the set photographer on Firing Line, The Today Show, and The Tonight Show, to candid portraits of orphaned and homeless war children housed in the Boys’ Towns of Italy, and to his work with the photographic group the Circle of Confusion, with its focus on social documentary.
Read More“Masterpiece of masterpieces!” (Jonathan Rosenbaum), LAST YEAR AT MARIENBAD (France, 1961), directed by Alain Resnais, with a screenplay by Alain Robbe-Grillet, “is a sustained mood, an empty allegory, a choreographed moment outside time, and a shocking intimation of perfection.” (J. Hoberman). A hypnotically beautiful puzzle box of a film, LAST YEAR AT MARIENBAD is one of the most influential in the history of cinema.
Read MoreFor many years Rose Lowder has been developing an exceptional technique of weaving together images gathered frame- by-frame to form scintillating patterns of light. By oscillating the focal plane of photographs shot in the same place over time, her layered tapestries produce a new relationship between filmed reality and filmic image.
Read MoreAdvertised as “the first million-dollar movie” when it was released in 1922, Erich von Stroheim’s FOOLISH WIVES offered American audiences a sweeping vision of European decadence, unforgettably embodied by the director himself in his starring performance as Count Sergius Karamzin, a phony Russian aristocrat who bilks the naïve tourists of Monte Carlo with the help of his two dubious “cousins” (Mae Busch and Maude George). Marking the film’s centennial, this will be the New York premiere of a major new restoration of this silent classic, produced by MoMA and the San Francisco Silent Film Festival.
Read MorePaul Clipson’s cinema is one of eternal recurrence. Subjects continually repeat themselves: bridges, buildings, fences, gratings, trains, airplanes, trees, suns, leaves, grass, eyes, power lines, and especially bodies of water. Clipson creates layered superimpositions of these objects through rewinding the camera and re-exposing the film stock from another iteration of the subject.
Read MoreGME is pleased to announce a special free stream for the month of August of this musical with music, musicians, muses and fish… On a giant ferry, two mermaids (Tony Conrad and Genesis P-Orridge) play violin to attract the fish from the sea, when suddenly a giant fish with 30 dancers in its stomach lands on board.
Read MoreThe Utopian Avant-Garde: Soviet Film Posters of the 1920s explores the origins, high points, and eventual demise of this golden age of Soviet graphic design, a revolutionary, though doomed visual language that for a short time represented the explosion of dynamic, innovative filmmaking in the new Socialist society. Gartenberg Media distributes several of the milestone Soviet films which are well represented in this exhibition, including KINO-EYE (1924), BATTLESHIP POTEMKIN (1926), A SIXTH PART OF THE WORLD (1926), and TURKSIB (1929).
Read MoreHenri Storck (Ostend 1907 - Brussels 1999) lived through the whole history of cinema, passing from silent to sound, and from experimental to lyrical documentary. He is recognised as a pioneer of Belgian cinema and a key figure in documentary. An eyewitness of his times, he made socially engaged films, but also poetic and experimental short films, films on art and a fiction feature. His body of work consists of 70 films, including a series of accounts, presented on this Blue-ray/DVD edition, on his native city of Ostend of which he was the chronicler and which remained, for him, the Queen of beaches.
Read More1962 to 1964 was a pivotal moment in the evolution of American arts and culture, especially in New York City. These years, crucial to the development of Pop, Minimalism, and performance, saw the emergence of a new generation of radical artists, as well as venues that gave their iconoclastic work a home and a context. Movies, meanwhile, were undergoing a transformation of their own: the rise of a truly independent cinema, of works unencumbered by the medium’s aesthetic conventions and commercial imperatives.
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