Edwardian Insects on Film

The earliest surviving celluloid film, and believed to be the second moving picture ever created, was shot by Louis Aimé Augustin Le Prince using the LPCCP Type-1 MkII single-lens camera. It was taken in the garden of Oakwood Grange, the Whitley family house in Roundhay, Leeds, West Riding of Yorkshire (UK), possibly on 14 October 1888. The film shows Adolphe Le Prince (Le Prince's son), Mrs. Sarah Whitley (Le Prince's mother-in-law), Joseph Whitley, and Miss Harriet Hartley walking around in circles, laughing to themselves, and staying within the area framed by the camera. The Roundhay Garden Scene was recorded at 12 frames per second and runs for 2.11 seconds.

A short documentary about the press of GoldenEye.

A 60-minute salute to American International Pictures. Entertainment lawyer Samuel Z. Arkoff founded AIP (then called American Releasing Corporation) on a $3000 loan in 1954 with his partner, James H. Nicholson, a former West Coast exhibitor and distributor. The company made its mark by targeting teenagers with quickly produced films that exploited subjects mainstream films were reluctant to tackle.

An episode of the television program Cinéastes de notre temps in which the director gives his first on-camera interview.

A documentary about the making of Jean-Pierre Melville's 1949 film "Le silence de la mer"

A behind-the-scenes documentary about director Michelangelo Antonioni as he's shooting his segment of The Three Faces, a vehicle for Soraya, the former empress of Persia. Featuring interviews with Monica Vitti, Tonino Guerra and more.

A scientist explains how the savagery and efficiency of the insect world could result in their taking over the world.

Nagisa Oshima interviews Akira Kurosawa, leading him to share his thoughts about filmmaking, his life and works, and numerous anecdotes relating to his films and his various film activities.

Directed and edited by Stanley Kubrick's daughter Vivian Kubrick, this film offers a look behind the scenes during the making of The Shining.

In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.

It's been 20 years since an Australian film has reached number one at the yearly Box Office and our films have consistently grossed under 5% for the years. So what can we do to make a change?