By Steven Jay Schneider
With a couple of million copies bought all over the world in twenty-four languages, 1001 video clips you need to See ahead of You Die celebrates the nice and groundbreaking, vintage and cult, must-see video clips of all time and provides a treasure trove of incisive, witty and revealing insights into the realm of movie.
This newly revised and up-to-date edition of 1001 video clips is illustrated with 1000s of wonderful movie stills, pictures and poster artwork, bringing jointly the main major videos from all genres, from motion to Western, via animation, comedy, documentary, musical, noir, romance, mystery, brief and sci-fi.
The choice contains videos from over 30 nations and spans greater than a century of notable cinema. no matter if your ardour is rom-com or artwork condo, The Blue Angel or Blue Velvet, 1001 videos is the ebook for you.
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Additional resources for 1001 Movies: You Must See Before You Die (Updated Edition)
Silent Star, however, the ﬁlm serving as mold for First Spaceship, was exactly the opposite of a B movie. In 1960, East Germany’s state-owned studio DEFA (Deutsche Film-Aktiengesellschaft) and Poland’s Zespol Filmowy “pulled out all production stops for its ﬁrst science-ﬁction effort, delivering a quality product in 70mm ‘Totalvision’ format, four-track sound, and satiny Agfacolor…. When it premiered, … [Silent Star] had become the most expensive DEFA ﬁlm ever made” (Soldovieri, 1998: 385). According to ofﬁcial accounts, it attracted a sizeable 200,000 East German spectators in the ﬁrst thirteen weeks following its release (Soldovieri 1998).
While probably a virgin who has never gone to second base with her boyfriend Kevin, she is ready to go all the way with the rough and tumble bouncer at Club Scum. Daphne was a low-rent Madonna, with the same bad attitude and even a more garish taste in fashion. She was ripe for the picking when it came to choosing the character who would be the ﬁrst to battle a Hobgoblin. Thinking she hears her boyfriend’s van, she’s ambushed outside by a Hobgoblin with a clown horn. She struggles impatiently on the front lawn until one of the puppets tackles her to the ground, in a mind numbing struggle where it’s clear the puppet is completely lifeless and she’s doing all of its movements.
DIRECTORS wonder if, perhaps, our hosts have noticed, and if the director’s attempts at social commentary on the cheap have left him vulnerable to the barbs and taunts of their rifﬁng because the inherent contradictions in his ethics are just too good to pass up — the veneer of exploitation appears just a bit too thin. If the promise of cheap women and cheaper monsters is only designed to lure audiences to a thinly-veiled lecture on social ills, we might wonder if Corman’s got it coming. After all, at ﬁrst, and maybe second, glance, it would appear that the man who authored How I Made a Hundred Movies in Hollywood and Never Lost a Dime (1998) had priorities that lay elsewhere.