Documentary films rock music hits,lightroom survival kit 6 update,higher education of emergency management in china - You Shoud Know

Wikipedia says that it doesn't have anything that exactly matches "beautiful_noise_(film)". 6Turner owns this station, but it is operated by Meredith Corporation under a local marketing agreement. 7HBO Latin America Group has distribution to networks owned by a joint venture of A&E Networks and Ole Communications. The documentary details the ambitious journey of an early Social Distortion and Youth Brigade and a small road crew as they tour across the U.S. Afro-Punk: The Rock is a documentary film directed by James Spooner, exploring race identity within the punk scene across America and abroad.
Brothers of the Head is a 2005 mockumentary featuring the story of Tom and Barry Howe, based on the 1977 novel of the same name by science fiction writer Brian Aldiss.
Border Radio is a 1987 independent film directed by Allison Anders, Dean Lent and Kurt Voss. Breaking Glass is a 1980 British film starring Hazel O’Connor, Phil Daniels and Jonathan Pryce. Control is a 2007 biographical film about the life of Ian Curtis, singer of the late-1970s English post-punk band Joy Division.
Dogs in Space centers on a group of young music fans sharing a house in the inner Melbourne suburb of Richmond. The Filth and the Fury is a 2000 rockumentary film about the Sex Pistols directed by Julien Temple.
The King of Punk documentary is directed and produced by Kenneth van Schooten and Julie van Schooten. New York Doll is a documentary based on the life of former New York Dolls member Arthur Kane.
The Punk Rock Movie was assembled from Super 8 camera footage shot by Don Letts, the disc jockey at The Roxy club during the early days of the UK punk rock movement. Rude Boy is a 1980 British film directed by Jack Hazan and David Mingay and filmed in 1978 and early 1979. What We Do Is Secret is a 2007 American biographical film about Darby Crash, singer of the late-1970s Los Angeles punk rock band the Germs.
The Conversations is a House feature in which Jason Bellamy and Ed Howard discuss a wide range of cinematic subjects: critical analyses of films, filmmaker overviews, and more.
Maybe that phenomenon is what inspires filmmakers to make concert documentaries in the first place: the challenge of simulating the feeling of being there.
To me, that's what makes Woodstock such a strong film, above and beyond the uneven quality of its music. In fact, the larger point of Woodstock isn't even a documentation of the festival so much as it is a (self-)celebration of the whole hippie generation.
EH: Yes, one of the most potent aspects of the film is the way it conveys the sense of awe that the performers, audience members, organizers and filmmakers all felt when confronted with that tranquil sea of humanity, everyone swaying in time to the music or merely nodding along on their own individual trips.
But these performances, like Hendrix's set, are exceptions that stand out for one reason or another from the general (and some might say generic) hippie rock coming from most of the rest of the acts.
As for my comments about Sly and the Family Stone and Sha-Na-Na, I didn't mean to imply that those acts are incidental, at least not within the film or even within the event as it was unfolding.
EH: One place we definitely agree is that much of the power of the musical performances in this film derives at least equally from the cinematic presentation of the music, rather than solely from the music itself. The use of split-screen is even more radical during the Who's performance, coupled with superimpositions and overlays so at times the image becomes nearly abstract, reveling in the interplay of colors and forms rather than presenting clear images of the action onstage. Crosseyed Heart finds Richards leaning on genre exercises, some of which are more successful than others. All this week we're predicting the winners in the so-called Big Four categories at the 57th Annual Grammy Awards. It has a better shot at reigniting Stefani's solo career than its rather bland predecessor did. Ed and I always love to see our conversations serve as the beginning of the discussion, so in addition to any further thoughts about the films we did include, I'd love to read more tributes to some of the other films we didn't discuss. I've long thought (and written elsewhere) that Stop Making Sense secretly benefits from the contrary interests of Byrne and Demme. I don't envy the weeding out that must have proceeded your final selection, but I hope it's not rude to put in a word for my own favorite concert film, Prince's Sign O the Times. And the transition to and ultimate breakout of "It" is one of my most treasured cinematic moments, full stop, the band coming out to the propulsive looped beat, their side-to-side shuffle ecstatic counterpoint to the vaguely sinister drum corps that marched onstage in the concert's opening, eponymous number. The only balm to such wrecked need, underlined by a beautiful zoom out that starts on Prince and ends with the entire band, is the beat, the music, the crowd that joins the pulse.
There was a Rolling Stone article around the time of its release, or maybe shortly after, that explained how the massive fame almost broke the band up.
I was present at a party on the upper west side when Wadleigh asked Marty and Thelma to edit Woodstock.
Edward, I must admit that I'm only familiar, for the most part, with U2 post-arena rock transformation, but of course every arena rock band, before they play arenas, necessarily plays small bars and college campuses. The thing to remember about U2 -- and this is what makes them absurd -- is that they are sincere.

But to criticize them for "slick arena rock" is to miss the point of Rattle and Hum: This was the moment when they arrived at that place -- when they first became an arena band. A documentary on the Woodstock Festival that took place in August 1969 at Bethel, New York, Woodstock is directed by Michael Wadleigh and was released in March 1970. Offering a close look at the Woodstock Music & Art Festival held in August 1969, the documentary takes its audience from the early preparation stage to the last cleanup after it has all ended. A film about not just the music, but also the place, the time and the people, Woodstock gets up close and personal with everything.
The film doesn’t follow the actual timeline of the music festival, however, it keeps the opening and closing act the same as in real life, with Richie Havens kick-starting the three days of music, and Jimi Hendrix ending them.
More resembling an art exhibition than a film, "The Never Ending Factory of the Duomo" is here to marry sights and sounds with devoutness and spirituality. Approaching his junior year at the University of Oregon, he spent the past few months attending about every concert that came his way in the Pacific Northwest. But I think the biggest reason my brother attends concerts is because he loves the energy of the live events, where he doesn't just hear the music but feels it, too. Woodstock is a fascinating film even if a lot of the music hasn't held up as well as the iconic status of the event itself. If the music was all there was, quite frankly I doubt the film would be admired except as a nostalgia trip for those who lived through the era, or those who only wish they had. Sly and the Family Stone deliver an exhilarating performance that takes full advantage of the crowd's overwhelming size, stirring up the audience into a funk sing-a-long, with Sly grinning the whole time as he frantically flips switches on his synthesizer or shouts exhortations into the mic. The other performances that are most memorable to me have more to do with the way they're filmed. At several points during this sequence, the frame is divided in two, with slightly different angles of singer Roger Daltry on each side of the split, and additional images of the other musicians superimposed within each half of the frame. And those moments, the times when the filmmakers create hazy patchworks of loose impressions rather than definitive portraits, are perhaps the images that best capture the feel of being there at an event like this. On stage there are numerous public address announcements about everything from bad drugs to missing persons to childbirth.
You might expect bitterness from this guy—cleaning toilets for kids who are suspicious of the military in which his son serves.
And I'm not sure the film itself contains the context of the band's prior career to a big enough degree to make that transformation a significant part of the film.
We knew from the start that there was no way we could cover all the "great" (or at least acclaimed) music documentaries with any depth without leaving things out.
Although, I could see how the film itself makes its own conclusions so obviously that it may not have been interesting enough for inclusion here. Edited by a group of filmmakers, including Martin Scorsese and Thelma Schoonmaker, the documentary is by far the most entertaining and well-made concert movie ever made. It includes interviews of the concertgoers, the producers of the festival, and the people working behind everything, as well as an intimate look at every musical act and unexpected incidents, like the arrival of National Guard helicopters, bringing food, clothes and medical assistance for what was declared a disaster area.
The short, 15-minute film discusses the sensitive subject of male suicide, which accounts for 76% of the total amount of suicides in Great Britain and is the number one cause of death among men under the age of 45. The concert at Woodstock has symbolic power, as a signifier for an entire generation and an entire outlook on life, out of all proportion to its musical power. In fact, there are long stretches of the film where I found myself waiting patiently through yet another drab musical performance, hoping that the film would take a detour away from the stage soon.
There's a utopian message at the core of Woodstock, projecting the idea that peace and freedom on a large scale are possible, even if only in a single fleeting context, in a single place at a single time.
More than one of the musicians seems stunned by what they see out in the crowd, by the enormity of it all and by the positivity emanating from all those people.
The performance is further enhanced by the late-night vibe, by the cool blue lights illuminating the musicians, making a neon glowing spectacle of it all. Though for the majority of the film the split-screen is effective because it allows us to keep one eye on stage and another eye on the crowd, or because it allows us to feel the wild diversity of everything happening off stage, this is a case where using both frames to capture the musicians is quite powerful. The pastiche editing during the Who and Ten Years After sets suggests a profound lack of a straightforward linear narrative for this event: instead there is a rush of fleeting impressions, images that might resonate for a moment before fading back into the general chaos, images so cluttered and frantic that the eye hardly knows where to look. Supplies are brought in by helicopter to serve what we're repeatedly told is an official disaster area. Prior to The Joshua Tree, U2 were similar to REM -- they were a critically acclaimed college radio band. So we narrowed our focus to the "rock" genre (without being too narrow about what that word means) and then tried to select a handful of films that represent several decades, several musical styles (within rock) and several cinematic approaches. A huge commercial and critical success, Woodstock received the Academy Award for Best Documentary Feature and two nominations for Best Sound and Best Editing.
So basically unless you were there, this film is the closest you will ever get to Woodstock.
Although clearly on the kids’ side, Woodstock still manages to not get in the way between the viewer and the view. It all centers around the record label that spawned these bands, Factory Records, and its impresario Tony Wilson (Steve Coogan), a man both ludicrous in his self-absorption and brilliant in his willingness to go out on a limb for bands he likes.
You can know every note and lyric of a band's work from listening to their albums, but somehow seeing them live makes us feel as if we know them better, or know them for the first time.

And in the case of the first film, Woodstock, the music might be the least interesting part of that experience, am I right? There's a sense running through the film that this was one time when the ideals of the era were enacted in reality, when an ethos of peace and love allowed half a million people to coexist, mostly happily and peacefully, in completely disorganized conditions for three days. You mentioned that it conveys the utopian message that peace and freedom are possible, and that's true. But when you think of Woodstock do you think of Sly and the Family Stone or, of all groups, Sha-Na-Na? But Woodstock is fascinating as a historical document, as a film that evokes the spirit of an era, as a film where the ideas are more important than the music.
It feels as if Havens is covered by multiple cameras, which of course is the norm in this film, but, nope, it's just one camera, and the result is surprisingly intimate. Though the split-screen technique sometimes does something as simple as showing both the musicians and the audience at the same time, more often it's used as an expressive device, multiplying the musicians the better to emphasize their emotional investment in their songs, or examining the stage from multiple perspectives at once to capture (or enhance) the vibrancy and excitement of the performers and the music.
There's a similar density and experimental sensibility in the Ten Years After segment, in which singer Alvin Lee often seems to be crooning to his own mirrored image, or else centered between distorted perspectives on the stage as a whole.
In that sense, Woodstock the film, though originally released only a year after the concert it documented, already accounted for nostalgia, for the blurring effects of memory. Yet for all the little poignant moments, I'd be remiss not to mention how funny Woodstock is. As such, Woodstock and its image of this era contrast strikingly against Gimme Shelter, another 1970 film about a hippie music festival. Point is: If they were only interested in producing slick arena rock, they would've continued with their Joshua Tree sound instead of chucking it out the window. Sure, Rattle and Hum might document that period in U2's career, but I didn't get much sense that the filmmakers were genuinely interested in exploring those ideas, beyond a passing comment one of the band members drops in an interview early on in the film. Even when they did those iPod commercials -- they weren't paid for it; it was publicity in kind for both U2 and Apple.
By including these films and not others, we aren't making any statement about how these films rank against other rock concert (or general music) documentaries that we didn't discuss. A bit of a shame, since John Fogerty’s act was exceptional and definitely worth a place in the film. That's not to say the music is necessarily unimportant, but oftentimes in this documentary, one senses that the music is an excuse for everything else that happens around it, the stuff that really matters.
That's the experience that Woodstock is all about, even more than whoever happens to be onstage. These two films, despite being made at more or less the same time and in similar circumstances, couldn't be more different.
Which isn't to say I think it's a great movie in any sense -- though I do appreciate the cinematography.
Wadleigh also interviews the locals, gathering their impressions about the festival and the young people who have overrun their town—surprisingly, most of the local old folks seem fairly open and positive towards the young hippies. It's fitting then that so much of the music footage captures musicians who seem to be more excited to play for that huge crowd than the crowd was excited to hear the music. The film again enhances the impact of this performance through the frenetic editing, with dancers leaping across the stage, bouncing in place, flying in alternately from the left and then from the right. Sing-a-longs might not always make for great art, the same way so many run-of-the-mill Hollywood comedies don't, but they do create a sense of togetherness, cheap though it might be. The effect, as Cocker flails his arms and screams, is that his performance seems somehow too passionate to be contained in just one shot, as if his voice is too big to come from just one man.
Having attended Obama's inauguration last year, I can somewhat identify with that feeling. The film as a whole, though, attempts to present an overall portrait of this scene and this event, and in that context it makes sense that the music, whatever one thinks of it all, is only one small part of this big cultural pivot point. It's also an eye-opener for just how badly the Woodstock Festival could have gone if things had been just slightly different. It captured a day in the life of Radio 3XY and was titled "A Beautiful Noise"Beautiful Noise Live Radio Ad - 04-01-11Radio commercial for Beautiful Noise Live! I walked down to the Mall that cold January morning to be part of history, and that in and of itself was memorable. I think there's an obvious connection between the dazed Woodstock producers enthusing about peace and love and the ineffectual attempts to defuse the violence at Altamont, as seen in Gimme Shelter. But, in the parlance of the film, no one thought the event was iconic because of how much they dug the music. I came for Obama's hope but left hopeful mostly because of the behavior of other average Americans. Time and again in Woodstock the hippies and event organizers who promised peace and music are just as blown away by the love and togetherness as any of the buttoned-up townsfolk.

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