As Pinturas do Meu Irmão Júlio

Adapted from the multi-award winning BBC1 series, Planet Dinosaur 3D recreates the lost world of the dinosaurs in a groundbreaking stereoscopic production. This is one of the most ambitious animated programmes ever attempted for broadcast TV, recreating every detail of these extraordinary animals in an entirely digital production that stretches the boundaries of broadcast 3D with a scale and ambition normally reserved for Hollywood feature films. Planet Dinosaur 3D is a thrilling and immersive journey into a lost world. Pulling together cutting edge research from around the world this programme uses the latest, stunning fossil evidence to chart the rise and fall of the 'Ultimate Killers'; from the iconic Spinosaurus, the largest predator ever to walk the Earth, to Microraptor and the feathered, flying dinosaurs from China. At last, thanks to the advances in technology, and for the first time ever, these monsters can be experienced in all their full, magnificent wonder.

Close up we see pistons move up and down or side to side. Pendulums sway, the small parts of machinery move. Gears drive larger wheels. Gears within gears spin. Shafts turn some mechanism that is out of sight. Screws revolve and move other gears; a bit rotates. More subtle mechanisms move other mechanical parts for unknown purposes. Weights rise and fall. The movements, underscored by sound, are rhythmic. Circles, squares, rods, and teeth are in constant and sometimes asymmetrical motion. These human-made mechanical bits seem benign and reassuring.

Travellers, nomads and salesmen make their way along a dam next to the Nile.

“This view was taken upon Mr. McKinley's lawn at his home in Canton, Ohio. Mr. McKinley appears walking across the lawn in company with his Secretary, who hands him a telegram, which he reads with apparent satisfaction. The characteristic walk and gestures of Mr. McKinley will be noted with interest by his friends.” (AMB Picture Catalogue)

With a crowded arena in the background, a stationary camera records a bull charging a picador astride his horse. An attendant on foot throws stones at the rump of the horse to get it to move. Various toreadors run past the bull to try to get him to charge or at least run about.

Dutch documentary filmmaker Joris Ivens follows the course of the famous wind as it originates in the Alps and finds its way to the Mediterranean Sea. Natural sounds and creative camera work provide a mood film showing the effect of the fury of the wind on the life of southern France.

The two inventors of the Bioskop, a sort of magic lantern that projected images so fast as to give the illusion of movement, bow to the camera at both sides of an empty screen. The scene was shown in continuity, at the end of the session, as if the producers and directors of the session were beading the public a farewell.

A young woman dancer with large, flowing robes, swirls round herself quickly, making her light robe flow around her like a butterfly's wings.

[…] by shooting the fish in a globular bowl, the Lumières effectively use a fisheye lens, which offers distortions. The history of cinema has witnessed a struggle between the objective and subjective camera and the optically distorting lenses like the fisheye lens has been a powerful tool for the subjective camera. Here it is at the start.

The Hefbrug may not be a remarkably beautiful bridge, but through a mix of close-ups, long shots, bird’s eye views and low angles, Joris Ivens conveys a sense of the bridge’s structure, its intricate mechanisms and ways of operating, the way it fits into the overall transport infrastructure and therefore the immense importance of this bridge for the whole city of Rotterdam.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

This short is one of Paramount's "Popular Science" series (number L6-5, or the fifth one of the 1946-47 production season) and begins by showing moon rockets, weighing 30 tons, a flight in the ionosphere, with mounted color cameras recording pictures hundreds of miles above the earth. Coming back to earth, it discourses on modern bathroom fixtures, and then demonstrates a one-man hay-bailer.

The Boxing Kangaroo is an 1896 British short black-and-white silent documentary film, produced and directed by Birt Acres for exhibition on Robert W. Paul’s peep show Kinetoscopes, featuring a young boy boxing with a kangaroo. The film was considered lost until footage from an 1896 Fairground Programme, originally shown in a portable booth at Hull Fair by Midlands photographer George Williams, donated to the National Fairground Archive was identified as being from this film.

Intended as a publicity film for Chrysler, Rhythm uses rapid editing to speed up the assembly of a car, synchronizing it to African drum music. The sponsor was horrified by the music and suspicious of the way a worker was shown winking at the camera; although Rhythm won first prize at a New York advertising festival, it was disqualified because Chrysler had never given it a television screening. P. Adams Sitney wrote, “Although his reputation has been sustained by the invention of direct painting on film, Lye deserves equal credit as one of the great masters of montage.” And in Film Culture, Jonas Mekas said to Peter Kubelka, “Have you seen Len Lye’s 50-second automobile commercial? Nothing happens there…except that it’s filled with some kind of secret action of cinema.” - Harvard Film Archive

This is another short, simple dance number. It’s quite stunning and unusual though with a bat turning into a woman who proceeds to give us a skirt dance before disappearing into thin air. The dance is mesmerising with the skirt stunningly changing colour throughout the film.

A street scene with a government building in the background.

This bicycle-safety film shows children what can happen when bicycles are driven carelessly and recklessly.

Nazi Third Reich propaganda film that used architecture as a statement about "racial accomplishment," and so called "racial superiority." Hitler claimed that between 1934 and 1940, the Nazi rule of Germany had produced architectural uniqueness, and this film was produced to shown to attempt to validate that. The opening montage gives a survey of earlier Gothic and Baroque structures in the country as an example of "architectural superiority" that the German race was said to be the sole inventor of; then moves on to deride the recent construction of the Bauhaus school (with a racially motivated score of Jazz music) and an example of German "architectural decay." Then proceeds to show off buildings constructed by the Nazi and an architectural revival, to "last 1000 years," Film also spends a great of time dwelling on massive and "busy" monuments that had been erected all over the county.

Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.

Take a technological thrill ride The Magic of Flight takes you on a technological thrill ride faster, higher and wider than modern science or even your imagination! Relive the first flight of the Wright Brothers, then soar with the Blue Angels as they defy the laws of gravity. Narrated by Tom Selleck.