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Paris

Date produced: 1958

Filmmaker(s):

George F. Kiehl

Description:

"George Kiehl's visit to Paris took him to many of the places of interest in the visitor. His fast moving travelog takes us through the main streets and some of the old sophisticated areas. We begin with the landmark of the 1889 Exhibition, followed by fountains, facades, monuments of marble and bronze, parades, tired souls asleep on the street, art centers, castles, water excursions, and, not to forget, Moulin Rouge and other night spots with choice centers of attraction" PSA Journal, Nov. 1958, 48.


Paris

Date produced: 1929

Filmmaker(s):

Duncan MacD. Little


Parking on This Side

Date produced: 1950

Filmmaker(s):

Michel Sanouillet

Description:

"What would YOU think if you saw a youth lying on a snowy sidewalk pointing a camera up at a parking signs? No matter how crazy it sounds, this and other such peculiar antics on the part of University of Toronto students last year resulted in an Honourable Mention at the Canadian Film Awards. The name of the film in question: 'Parking on This Side.' Its producers: the members of the U. of T. Film Society. 'Parking', a short experimental film directed by Michel Sanouillet was the Society's major production last year and is bringing wide recognition to the U.T.F.S. among other universities and film makers across the continent" The Varsity.


Parks of Paradise

Date produced: 1943

Filmmaker(s):

Norris Smitley

Description:

"Parks of Paradise was originally intended as a 2000 foot pictorial travelog that would cover every national park and monument in the United States, but travel conditions enforced a limitation, so Norris Smitley has confined the scope to include only the national parks of the Southwest, permitting a more detailed presentation of the material used. Many unusual scenes of popular subjects are shown in the picture, which is further distinguished by beautiful color and meticulous cinematography." Movie Makers, Dec. 1943, 478.


Parody of Dorian Gray, The

Date produced:

Filmmaker(s):

Kenneth Anthony

Description:

"This experimental film by Kenneth Anthony (credited as Ken Anthony) is a twist on the novel The Picture of Dorian Gray by Oscar Wilde. The main character, a young man, has a portrait of himself in a contemporary style. Over the course of the film, images of traditional paintings begin appearing on his body, much to his concern. After he leaves, his female companion is chased by the portrait. As more images appear on his body, the young man decides to destroy the portrait. He fails, however, and turns into a work of contemporary art himself. He is sent to a gallery by the women in the film, all of whom fall in love with the portrait. The final shot indicates that the portrait may come to life" Texas Archive of the Moving Image.


Partial Denture

Date produced: 1932

Filmmaker(s):

S. H. McAfee

Description:

"Dr. McAfee presented technical subject in a manner that was interesting to the layman as well as the dentist. His photography was consistent and his continuity thorough." American Cinematographer, Dec. 1933, 342.


Passion’s Toll

Date produced: 1925

Filmmaker(s):

S. Winston Childs

Description:

An ailing man sends his daughter to investigate a failing gold mine. With the assistance of a love interest she meets along the way, the woman fights the corruption and danger she encounters at the mine.


Passionflower

Date produced: 1969

Filmmaker(s):

Matti Sokka

Description:

Passionflower is a Finnish entry by Matti Sokka of Helsinki, another "aftermath of the war" story about a widow and her emotional trials. It is in color and its 8 minutes tries to picture the futility of those who are left behind. Unusual camera angles, a little different story approach and exceptionally good exposure took this film out of the run-of-the-mill war story category," PSA Journal, Mar. 1970, 44.


Pathétique

Date produced: 1943

Filmmaker(s):

Herman Bartel

Description:

"Herman Bartei has, in Pathetique, made another contribution in the special field which he shares with Walt Disney and Leopold Stokowski — that of setting music to film. In this process, the music is the absolute, to which the footage must conform. While Disney achieves his conformity with drawings, Bartei uses actual cinematography of natural scenes. Mr. Bartel's absolute in this instance is the first movement of Tschaikowsky's Sixth — or Pathetique — Symphony, which is played from start to finish on double turntables, while the film sets forth what its maker feels is an interpretation in motion pictures of the music. The footage consists of autumn scenes, whose subject matter and tempo are varied to agree with the musical expression. The success or failure of this type of effort must depend upon the universality of the conviction of unity between musical and scenic episodes. Mr. Bartei reaches several high spots, notably one in which swirling crows against an angry sky are in very real harmony with the musical statement. Other scenes of autumn mist are very apposite to Tschaikowsky's phrases. The synthesis as a whole is both convincing and emotionally exciting." Movie Makers, Dec. 1943, 474.


Patria libre [Free Country]

Date produced: 1979

Filmmaker(s):

Sergio García Michel

Description:

"En Patria Libre, Sergio García documentó los primeros logros de la revolución sandinista en Nicaragua. [...] Se trataba de un documental convencional, con una voz off (leída por Felio Eliel) sobre un momento de frescura y esperanza por el triunfo del Frente Sandinista de Liberación Nacional. El arranque del documental con una serie de imágenes de Sandino en alto contraste que culminan en la foto de un adolescente guerrillero (mientras que en la banda sonora se escucha a Pablo Milanés cantar "Los caminos") preludian el tono que se desarrollará sobre el caso de la revolución sandinista" (Vázquez Mantecón, 2012.)

"In Patria Libre [Free Country], Sergio García documented the first achievements of the Sandinista Revolution in Nicaragua. It was a conventional documentary, with an off voice (read by Felio Eliel) about a moment of freshness and hope because of the triumph of the Sandinista National Liberation Front. The documentary begins with a series of highly contrasted images of Sandino that end with the picture of a guerrilla teenager (while the soundtrack plays "Los caminos" [The roads] by Pablo Milanés), which is a prelude to the tone that will be used to describe the Sandinista Revolution" (Vázquez Mantecón, 2012).


Total Pages: 293