In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Contenido proporcionado por Mike Cavaliere & Brian McMillan, Mike Cavaliere, and Brian McMillan. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Mike Cavaliere & Brian McMillan, Mike Cavaliere, and Brian McMillan o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
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1953: Time Flies in TOKYO STORY
Manage episode 355256116 series 2865408
Contenido proporcionado por Mike Cavaliere & Brian McMillan, Mike Cavaliere, and Brian McMillan. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Mike Cavaliere & Brian McMillan, Mike Cavaliere, and Brian McMillan o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
Ranking No. 4 on the British Film Institute's recently released Greatest Films of All Time poll was director Yasujirō Ozu's "Tokyo Story" (1953), which plays as a meditation on time and generational divides, set during a parents' trip to Tokyo to visit their adult children.
In this episode, Mike and Brian discuss Ozu's visual approach and whether or not a film can be shot "objectively;" they talk pre- and post-war sensibilities; growing apart; trauma-bonding; and the disapointments that come with being stuck in transitional periods of familial or cultural change.
Want to choose an movie for a future episode? BECOME A PATRON.
Agree or disagree with our takes? EMAIL bestpicturethis@gmail.com.
130 episodios
Compartir
Manage episode 355256116 series 2865408
Contenido proporcionado por Mike Cavaliere & Brian McMillan, Mike Cavaliere, and Brian McMillan. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Mike Cavaliere & Brian McMillan, Mike Cavaliere, and Brian McMillan o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
Ranking No. 4 on the British Film Institute's recently released Greatest Films of All Time poll was director Yasujirō Ozu's "Tokyo Story" (1953), which plays as a meditation on time and generational divides, set during a parents' trip to Tokyo to visit their adult children.
In this episode, Mike and Brian discuss Ozu's visual approach and whether or not a film can be shot "objectively;" they talk pre- and post-war sensibilities; growing apart; trauma-bonding; and the disapointments that come with being stuck in transitional periods of familial or cultural change.
Want to choose an movie for a future episode? BECOME A PATRON.
Agree or disagree with our takes? EMAIL bestpicturethis@gmail.com.
130 episodios
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In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
…
continue reading
Determining if all these so called classic films are indeed just that.
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continue reading
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continue reading
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