1. 1st Aug 2014

    Notes: 3

    Dick Smith (1922-2014)

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    Museum of the Moving Image mourns the passing of master makeup artist Dick Smith (1922-2014). Smith’s pioneering work on such films as Little Big ManThe ExorcistAmadeusThe Godfather, and many more, forever changed the way special-effects makeup is created and applied. Smith’s legacy will endure through the work of the many special effects makeup artists to whom he was a generous mentor.

    Read more about Dick Smith and the examples of his work in the Museum’s collection here.

     
  2. 15th May 2014

    Notes: 7

    The great Tanaka Kinuyo (in top photo, with Toshiro Mifune) in Kenji Mizoguchi’s The Life of Oharu (Saikaku Ichidai Onna) (1952). Photos courtesy of Janus Films. 

     
  3. 10th May 2014

    Notes: 10

    Takako Irie in White Threads of the Waterfall a.k.a. The Water Magician (Taki no Shiraito) (1933. Dir. Kenji Mizoguchi)

    Takako Irie in White Threads of the Waterfall a.k.a. The Water Magician (Taki no Shiraito) (1933. Dir. Kenji Mizoguchi)

     
  4. 2nd May 2014

    Notes: 5

    Jean-Luc Godard on Kenji Mizoguchi’s Ugetsu

    imageKenji Mizoguchi on the set of Ugetsu

    "…Ugetsu Monogotari is Kenji Mizoguchi’s masterpiece, and one which ranks him on equal terms with Griffith, Eisenstein, and Renoir. 

    The art of Kenji Mizoguchi is to prove that real life is at one and the same time elsewhere, and yet here, in its strange and radiant beauty.” 

    -Jean-Luc Godard (Arts, 5-12 February 1958, trans. Tom Milne)

     
  5. 1st May 2014

    Notes: 1

    Check out our trailer for Mizoguchi at Museum of the Moving Image. The 30-film retrospective of the great Japanese director runs May 2 through June 8, 2014 http://bit.ly/QhiGdK

     
  6. 29th Apr 2014

    Notes: 2

    Mizoguchi, a 30-film retrospective of the great Japanese director, runs May 2 through June 8, 2014. Our brochure opens up to reveal this poster! http://bit.ly/QhiGdK

    Mizoguchi, a 30-film retrospective of the great Japanese director, runs May 2 through June 8, 2014. Our brochure opens up to reveal this poster! http://bit.ly/QhiGdK

     
  7. 29th Oct 2013

    Notes: 16

    "There was a wonderful sense of revolution and innovation in the studio in Queens."—Gloria Swanson, on the Astoria studio, subject of a new exhibition now on view at Museum of the Moving Image
Swanson is seen here in her backstage “bungalow” during production of The Humming Bird (1924) with director Sidney Olcott (standing) and co-star Edward Burns (in uniform). 

    "There was a wonderful sense of revolution and innovation in the studio in Queens."—Gloria Swanson, on the Astoria studio, subject of a new exhibition now on view at Museum of the Moving Image

    Swanson is seen here in her backstage “bungalow” during production of The Humming Bird (1924) with director Sidney Olcott (standing) and co-star Edward Burns (in uniform). 

     
  8. 22nd Sep 2013

    Notes: 3

    Photo: John Barrymore and Carole Lombard in Twentieth Century (1934). Courtesy of Sony Repertory.
If film critics Andrew Sarris and Molly Haskell didn’t exist, Howard Hawks would have had to invent them; a garrulous, witty cinephile who became a paragon in his field, a woman who could match him insight for insight, and distinguish herself in an enclosed, nearly all-male world. Chief Curator David Schwartz interviewed them about Hawks in 2008 for Moving Image Source:

[Schwartz] Howard Hawks is a great example of a director who was rescued by film critics. SARRIS: Well, by the French!Could you talk about how that happened? Hawks was successful as a director in Hollywood, but not really known. SARRIS: He was successful, but he wasn’t prestigious. HASKELL: Wasn’t taken seriously. SARRIS: I think he was only nominated for one Oscar, for Sergeant York. And he never won an Oscar, of course. The first time I heard about him was when my friend Eugene Archer, went to Paris in the 1950s on a Fulbright. He wrote me a letter and said, “Who the hell is Howard Hawks?” He had signed a contract for a book that he was going to do about six directors: Elia Kazan, John Ford, George Stevens, and so on. The Cahiers people said, “Ugh! What about Howard Hawks and Hitchcock?”

Read the full conversation here. The Museum’s complete Hawks retrospective continues through November 10.

    Photo: John Barrymore and Carole Lombard in Twentieth Century (1934). Courtesy of Sony Repertory.

    If film critics Andrew Sarris and Molly Haskell didn’t exist, Howard Hawks would have had to invent them; a garrulous, witty cinephile who became a paragon in his field, a woman who could match him insight for insight, and distinguish herself in an enclosed, nearly all-male world.

    Chief Curator David Schwartz interviewed them about Hawks in 2008 for Moving Image Source:

    [Schwartz] Howard Hawks is a great example of a director who was rescued by film critics.

    SARRIS: Well, by the French!

    Could you talk about how that happened? Hawks was successful as a director in Hollywood, but not really known.

    SARRIS: He was successful, but he wasn’t prestigious.

    HASKELL: Wasn’t taken seriously.

    SARRIS: I think he was only nominated for one Oscar, for Sergeant York. And he never won an Oscar, of course. The first time I heard about him was when my friend Eugene Archer, went to Paris in the 1950s on a Fulbright. He wrote me a letter and said, “Who the hell is Howard Hawks?” He had signed a contract for a book that he was going to do about six directors: Elia Kazan, John Ford, George Stevens, and so on. The Cahiers people said, “Ugh! What about Howard Hawks and Hitchcock?”

    Read the full conversation here. The Museum’s complete Hawks retrospective continues through November 10.

     
  9. 13th Sep 2013

    Notes: 100

    Louise Brooks and Victor McLaglen in A Girl in Every Port (Howard Hawks, 1928). Showing Sunday, September 13, 2013, 6:00 p.m. with live music by Donald Sosin

    Louise Brooks and Victor McLaglen in A Girl in Every Port (Howard Hawks, 1928). Showing Sunday, September 13, 2013, 6:00 p.m. with live music by Donald Sosin

     
  10. 10th Sep 2013

    Notes: 3

    It’s our birthday!

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    On September 10, 1988, Museum of the Moving Image opened its doors to the public. At the time, years before the promise of the Internet and digital media were captured in the now-quaint phrase “Information Superhighway,” the idea of a museum, built on an historic site for movie production, that would take a unified view of the disparate worlds of film, television, and video games, seemed as audacious as it was unprecedented. There was, simply, no museum like it in the world. It was an innovative blend of a science museum, an art museum, a technology museum, and a history museum, with a unique mix of artifacts, commissioned artworks, interactive experiences (at the time employing such now-arcane technology as laserdisc players, slide projectors, and electronic synthesizers), and video clips.

    From its earliest days, the Museum has been committed to being at once forward-looking, reflecting a subject matter that is defined by innovation, and to being rooted in history, always remembering that the latest advances are part of a continuum. Today’s YouTube videos of adorable cats were preceded by short films of boxing cats shown in the 1890s on Thomas Edison’s Kinetoscopes. Today’s big-screen blockbusters have their roots in Edwin S. Porter’s still-thrilling 1903 film The Great Train Robbery.

    Read more from Carl Goodman, the Museum’s Executive Director, on the occasion of our 25th Anniversary.