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درخت گلابی
directed by Dariush Mehrjui, 1939-; performed by Mohammad Reza Shaban-Noori, fl. 1998, Golshifteh Farahani, 1983- and Homayoun Ershadi, 1947- (Iran: Privately Published), 1 hour 35 mins
After suffering a serious seizure that has affected his memory, Mahmoud, a famous novelist and political writer, seeks out the solace of the country estate where he lived as a young boy in order to regain his ability to write. As he reconnects with familiar surroundings, the house in which he lived and the pear t...
Sample
directed by Dariush Mehrjui, 1939-; performed by Mohammad Reza Shaban-Noori, fl. 1998, Golshifteh Farahani, 1983- and Homayoun Ershadi, 1947- (Iran: Privately Published), 1 hour 35 mins
Description
After suffering a serious seizure that has affected his memory, Mahmoud, a famous novelist and political writer, seeks out the solace of the country estate where he lived as a young boy in order to regain his ability to write. As he reconnects with familiar surroundings, the house in which he lived and the pear tree that once bore fruit, but which is now barren, memories of his childhood infatuation for his cousin, M, begin to surface. Flashing...
After suffering a serious seizure that has affected his memory, Mahmoud, a famous novelist and political writer, seeks out the solace of the country estate where he lived as a young boy in order to regain his ability to write. As he reconnects with familiar surroundings, the house in which he lived and the pear tree that once bore fruit, but which is now barren, memories of his childhood infatuation for his cousin, M, begin to surface. Flashing back to the summer he spent with his cousin, the middle-aged Mahmoud becomes once again the awkward youth of his past, and M, becomes the high-spirited girl who shared his love of poetry and games. But, his joyous reverie is overshadowed by the fact that his beloved M, has died, a fact he discovered during his time in jail as a political prisoner. Like the pear tree of his childhood, Mahmoud is filled with a feeling of barrenness that he cannot shake. Awards/Festivals: Silver Hugo Best Film Chicago International Film Festival 1998; Crystal Simorgh Best Actress & Cinematography 1998 International Competition Fajr Film Festival 1998; Singapore International Film Festival 1999.
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Date Written / Recorded
2009-10-21
Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Mohammad Reza Shaban-Noori, fl. 1998, Golshifteh Farahani, 1983-, Homayoun Ershadi, 1947-
Author / Creator
Dariush Mehrjui, 1939-, Mohammad Reza Shaban-Noori, fl. 1998, Golshifteh Farahani, 1983-, Homayoun Ershadi, 1947-
Date Published / Released
1998
Publisher
Privately Published
Topic / Theme
Memories
Copyright Message
Copyright © 1998 Used by permission of Dariush Mehrjui.
Awards Event
Fajr International Film Festival, Chicago International Film Festival
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زندان زنان
directed by Manijeh Hekmat, 1962-; performed by Pegah Ahangarani, fl. 2001-2012, Roya Taymourian, 1959- and Roya Nonahali, 1961- (Iran: Iranian Independents), 1 hour 41 mins
Tahereh comes aboard this women's prison as the new warden. Tough and determined to get the prison into shape, she takes a harsh stance and believes that she can break each and every one of her inmates into submission. In particular, Mitra, who is in jail for having killed her abusive stepfather. Over the cours...
Sample
directed by Manijeh Hekmat, 1962-; performed by Pegah Ahangarani, fl. 2001-2012, Roya Taymourian, 1959- and Roya Nonahali, 1961- (Iran: Iranian Independents), 1 hour 41 mins
Description
Tahereh comes aboard this women's prison as the new warden. Tough and determined to get the prison into shape, she takes a harsh stance and believes that she can break each and every one of her inmates into submission. In particular, Mitra, who is in jail for having killed her abusive stepfather. Over the course of seventeen years, new inmates come and go, and the relationship between Mitra and Tahereh evolves. And through the life story of e...
Tahereh comes aboard this women's prison as the new warden. Tough and determined to get the prison into shape, she takes a harsh stance and believes that she can break each and every one of her inmates into submission. In particular, Mitra, who is in jail for having killed her abusive stepfather. Over the course of seventeen years, new inmates come and go, and the relationship between Mitra and Tahereh evolves. And through the life story of each inmate, their bonds, and their differences, we see a microcosm of the Iranian society in its post-revolution years. This is the debut feature film of Manijeh Hekmat, an industry veteran. Her daughter Pegah Ahangarani participates in the film playing the parts of Pegah, Sahar and Essy. Awards/Festivals: Amnesty International - DOEN Award, Rotterdam International Film Festival; Ecumenical Jury Award - Special Mention, Fribourg International Film Festival; Tribeca Film Fesstival; Gijon International Film Festival; Hawaii International Film Festival; Venice Film Festival; Bratislava International Film Festival; Vancouver International Film Festival.Singapore International Film Festival.
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Date Written / Recorded
2009-11-12
Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Pegah Ahangarani, fl. 2001-2012, Roya Taymourian, 1959-, Roya Nonahali, 1961-
Author / Creator
Manijeh Hekmat, 1962-, Pegah Ahangarani, fl. 2001-2012, Roya Taymourian, 1959-, Roya Nonahali, 1961-
Date Published / Released
2002
Publisher
Iranian Independents
Topic / Theme
Prisons, Relationships
Copyright Message
Copyright © 2002 Used by permission of Iranian Independents.
Awards Event
International Film Festival Rotterdam, Busan International Film Festival, Hawaii International Film Festival, Gijón International Film Festival, Fribourg International Film Festival, Chicago International Film Festival, International Film Festival Bratislava
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香魂女
directed by Xie Fei, 1942-; performed by Baoguo Chen, fl. 1981-2010, Yujuan Wu, 1965- and Gaowa Siqin, 1949- (China: Privately Published), 1 hour 45 mins
The men in a rural Chinese village make secret plans to watch sex and action films from Hong Kong. As the story unfolds it becomes clear that the little village can provide more scandalous and juicy materials than any filmmaker can dream up. The story centers around Xiang, her lazy and abusive alcoholic husband,...
Sample
directed by Xie Fei, 1942-; performed by Baoguo Chen, fl. 1981-2010, Yujuan Wu, 1965- and Gaowa Siqin, 1949- (China: Privately Published), 1 hour 45 mins
Description
The men in a rural Chinese village make secret plans to watch sex and action films from Hong Kong. As the story unfolds it becomes clear that the little village can provide more scandalous and juicy materials than any filmmaker can dream up. The story centers around Xiang, her lazy and abusive alcoholic husband, and their mom-and-pop sesame oil making business.
Date Written / Recorded
2009-10-19
Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Baoguo Chen, fl. 1981-2010, Yujuan Wu, 1965-, Gaowa Siqin, 1949-
Contributor
Xie Fei, 1942-
Author / Creator
Xie Fei, 1942-, Baoguo Chen, fl. 1981-2010, Yujuan Wu, 1965-, Gaowa Siqin, 1949-
Date Published / Released
1993
Publisher
Privately Published
Topic / Theme
Chinese, Marriage, Relationships, Town life
Copyright Message
Copyright © 1993 Used by permission of Xie Fei.
Awards Event
Chicago International Film Festival, Berlin International Film Festival
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Forbidden City, USA
directed by Arthur Dong, 1953-; produced by Arthur Dong, 1953-, DeepFocus Productions (DeepFocus Productions, 1989), 57 mins
It was the swinging 30s. The big bands of the 40s. It was San Francisco night life – Baghdad by the Bay. And the crowds were packing the nation’s premiere all-Chinese nightclub, Forbidden City. Like the Cotton Club of Harlem which featured America’s finest African American entertainers, Forbidden City gained...
Sample
directed by Arthur Dong, 1953-; produced by Arthur Dong, 1953-, DeepFocus Productions (DeepFocus Productions, 1989), 57 mins
Description
It was the swinging 30s. The big bands of the 40s. It was San Francisco night life – Baghdad by the Bay. And the crowds were packing the nation’s premiere all-Chinese nightclub, Forbidden City. Like the Cotton Club of Harlem which featured America’s finest African American entertainers, Forbidden City gained an international reputation with its unique showcase of Chinese American performers in eye-popping all-American extravaganzas.Part Tha...
It was the swinging 30s. The big bands of the 40s. It was San Francisco night life – Baghdad by the Bay. And the crowds were packing the nation’s premiere all-Chinese nightclub, Forbidden City. Like the Cotton Club of Harlem which featured America’s finest African American entertainers, Forbidden City gained an international reputation with its unique showcase of Chinese American performers in eye-popping all-American extravaganzas.Part That’s Entertainment and part PBS, Forbidden City, U.S.A. captures this little-known chapter of entertainment history and takes it center stage, featuring a cast of original nightclub performers. “The Chinese Sinatra”, “the Chinese Sophie Tucker”, and the “Chinese Sally Rand” are just some of the spirited personalities that strut their stuff and share triumphant and often side-splitting tales of adventures in the cabarets of yesteryear.Everyone knew about Chinese laundries and cooks. But a Chinese tap dancer? A Chinese jazz crooner? And for a Chinese girl to bare her legs in public? It was considered immoral by elders in the culturally isolated Chinatowns of the 1930s-40s.Forbidden City, U.S.A. looks beyond the cartoon characters of Rodgers and Hammerstein’s Broadway musical, Flower Drum Song (which was loosely based on the Forbidden City nightclub), to show a generation of Asian American pioneers who fought cultural barriers and racism to pursue their love of American song and dance. For the first time ever, original recordings and film performances long buried in studio vaults and private collections are highlighted alongside real life stories in this groundbreaking film.From ballroom dancers to bubble dancers, from “Some of These Days” to “How High the Moon,” it’s all here…with a new slant!
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Field of Study
American History
Content Type
Documentary
Contributor
Arthur Dong, 1953-, DeepFocus Productions
Author / Creator
Arthur Dong, 1953-
Date Published / Released
1989
Publisher
DeepFocus Productions
Topic / Theme
Dancers, Entertainment industry, Bars and saloons, Music hall (performance type), Stereotypes, Swing, Traditional Big Band, World War II, 1939-1945, African Americans, Americans, Chinese
Copyright Message
Copyright © 1989 DeepFocus Productions
Awards Event
International Documentary Association Awards, Chicago International Film Festival
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The Cycle = دایره مینا
directed by Dariush Mehrjui, 1939-; performed by Fourouzan, fl. 1964-1978, Ezzatolah Entezami, 1924- and Saeed Kangarani, 1954- (Iran: Privately Published), 1 hour 38 mins
Dariush Mehrjui took the title of his 1973 film from a line by the medieval Persian mystic poet Hafiz: 'Because of the cycle of the universe, my heart is bleeding.' This bleeding is both literal and figurative: A rural young man, Ali, and his ailing father become a part of in the corrupt and unsanitary 'free mark...
Sample
directed by Dariush Mehrjui, 1939-; performed by Fourouzan, fl. 1964-1978, Ezzatolah Entezami, 1924- and Saeed Kangarani, 1954- (Iran: Privately Published), 1 hour 38 mins
Description
Dariush Mehrjui took the title of his 1973 film from a line by the medieval Persian mystic poet Hafiz: 'Because of the cycle of the universe, my heart is bleeding.' This bleeding is both literal and figurative: A rural young man, Ali, and his ailing father become a part of in the corrupt and unsanitary 'free market' blood industry when they come to Tehran's main hospital to seek a cure for the father. The young man becomes involved with a worldl...
Dariush Mehrjui took the title of his 1973 film from a line by the medieval Persian mystic poet Hafiz: 'Because of the cycle of the universe, my heart is bleeding.' This bleeding is both literal and figurative: A rural young man, Ali, and his ailing father become a part of in the corrupt and unsanitary 'free market' blood industry when they come to Tehran's main hospital to seek a cure for the father. The young man becomes involved with a worldly and tolerant nurse (played by a sex symbol and movie star of the Pahlavi era, Fourouzan), and survives by becoming part of the black market working out of the hospital. Mehrjui said that he wanted to show 'a human society of vultures, dedicating themselves eagerly to engulfing the lives of others.' The screenplay was written by Mehrjui's frequent collaborator, Ghoran Hossein Sai'edi, a doctor who ran a free clinic who was later imprisoned and tortured under the Shah's regime. Though the Government Ministry of Culture funded the film, it was not immediately released in Iran due to the medical establishment's objections. It was awarded the International Critics' prize in Berlin and the Antenne 2 Grand Prize in Paris. It was finally shown in 1977 in Iran, and was instrumental in the foundation of the Blood Transfusion Organization of Iran. It was not seen in the U.S. until the day after the Islamic Revolution took control of the country. Mehrjui was a favorite filmmaker of the Ayatollah, but he struggled with the religious government's strictures. Awards/Festivals: FIPRESCI Prize Cinema of New Forum & OCIC Award Cinema of New Form Berlin International Film Festival 1978; Toronto International Film Festival 1978; Chicago International Film Festival 1978.
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Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Fourouzan, fl. 1964-1978, Ezzatolah Entezami, 1924-, Saeed Kangarani, 1954-
Author / Creator
Dariush Mehrjui, 1939-, Fourouzan, fl. 1964-1978, Ezzatolah Entezami, 1924-, Saeed Kangarani, 1954-
Date Published / Released
1975
Publisher
Privately Published
Topic / Theme
Public health
Copyright Message
Copyright © 1975 Used by permission of Dariush Mehrjui.
Awards Event
Chicago International Film Festival, Berlin International Film Festival
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The Distance = Dooratwa
directed by Buddhadeb Dasgupta, 1944-; produced by Buddhadeb Dasgupta, 1944-; performed by Ajoy Banerjee, fl. 1969-1987, Mamata Shankar, fl. 1997-2011 and Pradip Mukherjee, fl. 1976-2015 (Privately Published, 1979), 1 hour 31 mins,
Source: www.imdb.com
Source: www.imdb.com
Dooratwa is a feature film directed by Buddhadeb Dasgupta about a Calcutta college teacher and former revolutionary who marries a young woman but then leaves her when he learns that his wife is a single mother.
Sample
directed by Buddhadeb Dasgupta, 1944-; produced by Buddhadeb Dasgupta, 1944-; performed by Ajoy Banerjee, fl. 1969-1987, Mamata Shankar, fl. 1997-2011 and Pradip Mukherjee, fl. 1976-2015 (Privately Published, 1979), 1 hour 31 mins,
Source: www.imdb.com
Source: www.imdb.com
Description
Dooratwa is a feature film directed by Buddhadeb Dasgupta about a Calcutta college teacher and former revolutionary who marries a young woman but then leaves her when he learns that his wife is a single mother.
Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Ajoy Banerjee, fl. 1969-1987, Mamata Shankar, fl. 1997-2011, Pradip Mukherjee, fl. 1976-2015
Contributor
Buddhadeb Dasgupta, 1944-, Ain Rasheed Khan, fl. 1989-1997, Mahmud Mirza, fl. 1979
Author / Creator
Buddhadeb Dasgupta, 1944-, Ajoy Banerjee, fl. 1969-1987, Mamata Shankar, fl. 1997-2011, Pradip Mukherjee, fl. 1976-2015
Date Published / Released
1979-10
Publisher
Privately Published
Topic / Theme
Infidelity, Marriage, Pregnancy, Single mothers
Copyright Message
Copyright © 1978 by Buddhadeb Dasgupta
Awards Event
Nantes Three Continents Festival, Chicago International Film Festival
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شاعر زباله ها
directed by Mohammad Ahmadi, fl. 2010-2012; performed by Leila Hatami, 1972-, Mohammad Eskandari, fl. 1971-2005 and Saber Abbar, fl. 2005-2013 (Iran: Iranian Independents), 1 hour 17 mins
After administering rigorous examinations in science, religion and politics, the Iranian government assigns a handful of men from the nation's unemployed millions to the undignified job of street-cleaning. The crew is made up of ambitious young dreamers, including a pilot who stares into the sky and a musician who...
Sample
directed by Mohammad Ahmadi, fl. 2010-2012; performed by Leila Hatami, 1972-, Mohammad Eskandari, fl. 1971-2005 and Saber Abbar, fl. 2005-2013 (Iran: Iranian Independents), 1 hour 17 mins
Description
After administering rigorous examinations in science, religion and politics, the Iranian government assigns a handful of men from the nation's unemployed millions to the undignified job of street-cleaning. The crew is made up of ambitious young dreamers, including a pilot who stares into the sky and a musician who conducts over an orchestra of trash. One, a childlike poet, assembles scraps of a beautiful widow's unsent letters and reads of her lo...
After administering rigorous examinations in science, religion and politics, the Iranian government assigns a handful of men from the nation's unemployed millions to the undignified job of street-cleaning. The crew is made up of ambitious young dreamers, including a pilot who stares into the sky and a musician who conducts over an orchestra of trash. One, a childlike poet, assembles scraps of a beautiful widow's unsent letters and reads of her lonely hopelessness. To comfort her, he anonymously mails her the discarded poems of a renowned poet, accompanied by anonymous love letters in his own hand. As the two trade words--his in blank envelopes, hers in the trash--his care for this sorrowful woman grows into quiet love. But how could she ever fall for a destitute trashman? A tender, beautiful film, Poet of the Wastes is an eloquent prayer to the uplifting power of literature and simple acts of love. Awards: Won 2006 African, Asian and Latin American Film Festival "City of Milan" Prize, Won 2006 Reel World International Film Festival Outstanding International Feature award, Won 2006 Molodist International Film Festival Ecumenical Award, Won 2006 Didar Film Festival Best Film.
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Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Leila Hatami, 1972-, Mohammad Eskandari, fl. 1971-2005, Saber Abbar, fl. 2005-2013
Author / Creator
Mohammad Ahmadi, fl. 2010-2012, Leila Hatami, 1972-, Mohammad Eskandari, fl. 1971-2005, Saber Abbar, fl. 2005-2013
Date Published / Released
2005
Publisher
Iranian Independents
Topic / Theme
Poverty, Relationships, Religion
Copyright Message
Copyright © 2005 Used by permission of Iranian Independents.
Awards Event
Busan International Film Festival, Montréal World Film Festival, Chicago International Film Festival
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Highlands Trilogy, 1, First Contact
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 1 (New York, NY: Filmakers Library, 1983), 52 mins
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New...
Sample
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 1 (New York, NY: Filmakers Library, 1983), 52 mins
Description
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Ston...
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. The Papuans tell how they thought the white men were their ancestors, bleached by the sun and returned from the dead. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold. First Contact is one of those rare films that holds an audience spellbound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there. College Adult This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold. First Contact is one of those rare films that holds an audience spell-bound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-, James Leahy, Daniel Leahy, 1912-1991, Richard Oxenburgh, fl. 1969-1982
Author / Creator
Bob Connolly, 1945-, Robin Anderson, 1948-2002
Date Published / Released
1983
Publisher
Filmakers Library
Series
Highlands Trilogy
Speaker / Narrator
Richard Oxenburgh, fl. 1969-1982
Person Discussed
Daniel Leahy, 1912-1991, James Leahy, Michael Leahy, 1901-1979
Topic / Theme
Papua New Guinean, Imperialism, Tribal and national groups, Cultural identity, Intercultural communication, Cultural change and history, Gold mines and mining, Anthropology, Cultural adaptation, Ethnography, Ethnic Studies, Papua New Guineans
Copyright Message
Copyright © 1983. Used by permission of Filmakers Library. All rights reserved.
Awards Event
San Francisco International Film Festival, American Film Festival, Cinéma du Réel Film Festival, Chicago International Film Festival, Academy Awards
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Highlands Trilogy, 1, First Contact: Filmmaker Interviews
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 1 (New York, NY: Filmakers Library, 1983), 38 mins
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New...
Sample
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 1 (New York, NY: Filmakers Library, 1983), 38 mins
Description
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Ston...
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. The Papuans tell how they thought the white men were their ancestors, bleached by the sun and returned from the dead. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold. First Contact is one of those rare films that holds an audience spellbound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there. College Adult This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold. First Contact is one of those rare films that holds an audience spell-bound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there.
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Field of Study
Anthropology
Content Type
Interview
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-, James Leahy, Daniel Leahy, 1912-1991, Peter Thomson
Author / Creator
Bob Connolly, 1945-, Robin Anderson, 1948-2002
Date Published / Released
1983
Publisher
Filmakers Library
Series
Highlands Trilogy
Person Discussed
James Leahy, Daniel Leahy, 1912-1991, Peter Thomson, Michael Leahy, 1901-1979
Topic / Theme
Papua New Guinean, Imperialism, Tribal and national groups, Cultural identity, Intercultural communication, Cultural change and history, Gold mines and mining, Anthropology, Cultural adaptation, Ethnography, Ethnic Studies, Papua New Guineans
Copyright Message
Copyright © 1983. Used by permission of Filmakers Library. All rights reserved.
Awards Event
San Francisco International Film Festival, American Film Festival, Cinéma du Réel Film Festival, Chicago International Film Festival, Academy Awards
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Seventh Horse Of The Sun
directed by Shyam Benegal, 1934-; performed by Raghuvir Yadav, 1957- and Rajit Kapoor, fl. 1993-2012 (India: National Film Development Corporation Ltd), 2 hours 9 mins
During his free time in the afternoons, Manek entertains his friends in his house with stories. Love stories of three women from his past -- Jamuna, a middle-class girl, is in love with her lower-caste neighbor, Tanna, but eventually marries a rich, kindly man; Lily, an educated girl ends up marrying Tanna and re...
Sample
directed by Shyam Benegal, 1934-; performed by Raghuvir Yadav, 1957- and Rajit Kapoor, fl. 1993-2012 (India: National Film Development Corporation Ltd), 2 hours 9 mins
Description
During his free time in the afternoons, Manek entertains his friends in his house with stories. Love stories of three women from his past -- Jamuna, a middle-class girl, is in love with her lower-caste neighbor, Tanna, but eventually marries a rich, kindly man; Lily, an educated girl ends up marrying Tanna and resents being in her marriage; Satti, an impoverished girl, dreams of love but is sold by her adopted father to a repulsive and much olde...
During his free time in the afternoons, Manek entertains his friends in his house with stories. Love stories of three women from his past -- Jamuna, a middle-class girl, is in love with her lower-caste neighbor, Tanna, but eventually marries a rich, kindly man; Lily, an educated girl ends up marrying Tanna and resents being in her marriage; Satti, an impoverished girl, dreams of love but is sold by her adopted father to a repulsive and much older man. Each story is told separately but linked together by connecting incidents, which are told from different angles, creating a tapestry of characters and experiences, and an interesting construct for the film. This film is based on Dharmavir Bharati's novel of the same title. Awards/Festivals: Best Actor Award, International Film Festival of India; Best Hindi Film, National Awards; Asia Pacific Film Festival; Singapore Film Festival; Hongkong Film Festival; Jerusalem Film Festival; Vancouver Film Festival; Chicago Film Festival 1994; London Film Festival; Cairo Film Festival.
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Date Written / Recorded
2011-03-24
Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Raghuvir Yadav, 1957-, Rajit Kapoor, fl. 1993-2012
Author / Creator
Shyam Benegal, 1934-, Raghuvir Yadav, 1957-, Rajit Kapoor, fl. 1993-2012
Date Published / Released
1992
Publisher
National Film Development Corporation Ltd
Topic / Theme
Relationships, Social classes
Copyright Message
Copyright © 1992 Used by permission of National Film Development Corporation.
Awards Event
National Film Awards (India), Chicago International Film Festival
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