Howard Curle recently called my attention to an interesting on-line presentation posted by the San Francisco Silent Film Festival about a number of early films, many by Georges Méliès, which have been reconstituted from flipbooks from the late 1800s in which a series of photos printed from the films create a simulation of cinematic movement. In this guest post, Howard provides an introduction to this fascinating discovery.
Guest contributor Howard Curle examines The Net (1953), a little-known film by Anthony Asquith which combines elements of science fiction and Cold War thriller with a drama about a troubled marriage. Howard finds stylistic links which hearken back to Asquith’s brilliant silent films from the late ’20s.
Guest blogger Howard Curle continues his investigation of the silent Weimar feature Harbour Drift (1929) through a look at the film’s producer Willi Munzenberg and the film’s critical reception.
Guest blogger Howard Curle discovered a fascinating, previously unknown film and filmmaker at the 2014 San Francisco Silent Film Festival: Harbour Drift by Leo Mittler.
Howard Curle recalls another formative experience with William K Everson’s class at NYU in the ’70s; The Sound Barrier, a key film in David Lean’s career
Guest blogger Howard Curle follows up his previous account of William K. Everson’s class on British Cinema at New York University with an in-depth look at one of the movies Everson introduced him to: John Baxter’s Love on the Dole (1941). John Baxter & Love on the Dole (1941) By Howard Curle One of the […] Read More
When my friend Howard Curle offered to write a guest post for my blog, I was happy to accept. Howard has taught film here in Winnipeg for many years, initially at the University of Manitoba and now at the University of Winnipeg, and we occasionally get together to watch and discuss movies from my collection […] Read More
Kenneth George Godwin, Film Editor
I have been editing a wide range of film and video projects, both documentary and drama, for two-and-a-half decades. I started at the Winnipeg Film Group, cutting on Steenbeck 16mm flatbeds, adopted Avid in 1995, and have used FinalCut Pro quite extensively over the past ten years. Projects I have worked on have screened – and won awards – at festivals around the world.read more >>
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