Bojangles of Harlem from Swing Time (1936)

Swing Time is considered to be Astaire and Rogers’ best dance musical, featuring four dance routines that are each regarded as masterpieces of their kind. “Bojangles of Harlem” features a two-minute solo of Astaire dancing with his shadows which took three days to shoot. (via wiki)

Excerpt from a scene of Le far west, a movie by Jacques Brel where Brel himself excels at what he is best known for. The movie was selected at the Cannes festival in the year 1973. Archive from INA.

Life (1993)

Artavazd Ashoti Peleshyan (born November 22, 1938, Leninakan) is an Armenian director of film-essays, a documentarian in the history of film art and a film theorist. However his work unlike Maya Deren’s is not avant-garde nor tries to explore the absurd, is not really art for the art’s sake like Stan Brakhage’s but should be rather acknowledged as a poetic view on life embedded on film. In the words of the filmmaker Sergei Parajanov, his is “one of the few authentic geniuses in the world of cinema”. Renowned Master of the Armenian SSR arts title (1979).

He is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Characteristic to him is also the use of archive footage alongside with his own shots and, especially, fast intercutting between these two. Telephoto lens are often used to get “candid camera” shots of people engaging in mundane tasks.

His films are on the border between documentary and feature, rather reminding of the work of such avant-garde filmmakers as Bruce Connor than of any kind of conventional documentaries. Most of his films are short, the longest being 60 minutes and the shortest 6 minutes long. His films feature no dialogue; however, music and sound effects play nearly as important a role in his films as the visual images in contributing towards the artistic whole. Nearly all of his films were shot in black and white.

Already his student films he made while he was studying at VGIK were awarded several prizes. As for now, 12 films by Peleshyan are known to exist. The Beginning (Skizbe) (1967) is a cinematographical essay about the October Revolution of 1917. One of the unique visual effects used in this film is achieved by holding snippets of film still on one frame, then advancing only for a second or two until again pausing on another, resulting in a stuttering visual effect. Other important films by him are We (Menq) (1967, a poetically told history of Armenia and its people and Inhabitant (Obitateli) (1970), a reflection on the relationship between wildlife and humans. Artavazd Peleshian’s most brilliant film is “The Seasons” (1975), exquisitely cinematographed by another great Armenian documentarian Mikhail Vartanov (Vardanov) – it is an outstanding look at the contradiction and harmony between the humans and nature. http://www.parajanov.com/seasons.html

Peleshyan is also the author of a range of theoretical works, such as his 1988 book Moyo kino (My Cinema).

Being from a country far away from internationally significant cinema circles, Peleshyan’s efforts were never been properly recognized by world cinema until very recently. After the fall of Soviet Union, he has been able to make two more short films, Life (1993) and The End (1994). He is now living in Moscow. His most recent film was edited at the ZKM | Karlsruhe Film Institute in 2005-2006 and has not yet been released.(source wiki)

The complete Artavazd Peleshian’s filmography can be seen on UbuWeb.

In 1989, a collective of young artists gathered at a storefront health food cafe in South Central Los Angeles named “The Good Life”. Their mandate was to reject gang culture and expand the musical boundaries of hip hop. Directed by Ava DuVernay, THIS IS THE LIFE chronicles the little known story of “The Good Life” emcees, the alternative music movement they developed, and their worldwide influence on the artform.