Ghost stories have been around forever, and will haunt us long after we are ghosts. Before film, most apparitional tales came from novels or short stories. Yes, there were oral traditions of the spooky place down the block or the hitchhiker on a lost highway, but usually someone put it down in a book. Some of the greatest films about hauntings originate as full cinema creations, with a director’s dark vision on the screen, others come from true cases or urban legends. These ghost stories are novel ideas.
This is by no means a complete list. Almost every Edgar Allan Poe film adaptation has a spectral presence; Charles Dickens’ nighttime visitors in A Christmas Carol are only ghosts of presents we wrap for seasonal coverage; director Lew Allen’s 1944 horror feature The Uninvited isn’t here because I haven’t read Dorothy Macardle’s Uneasy Freehold (1941), which it was...
This is by no means a complete list. Almost every Edgar Allan Poe film adaptation has a spectral presence; Charles Dickens’ nighttime visitors in A Christmas Carol are only ghosts of presents we wrap for seasonal coverage; director Lew Allen’s 1944 horror feature The Uninvited isn’t here because I haven’t read Dorothy Macardle’s Uneasy Freehold (1941), which it was...
- 10/31/2022
- by David Crow
- Den of Geek
In a letter dated June 1, 1962, the newly formed Film-Makers’ Cooperative offered their first list of films that were available to rent. Fourteen filmmakers were represented.
The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The meetings were organized by Jonas Mekas and Lew Allen; and included New York City-based filmmakers such as Robert Frank, Shirley Clarke, Adolfas Mekas, Ben Carruthers, Peter Bogdanovich and others. These informal meetings would eventually coalesce into the formation of the New American Cinema Group.
On September 30, 1960, Jonas Mekas presented The First Statement of the New American Cinema Group manifesto. One of the items in the manifesto stated that filmmaker Emile de Antonio was entrusted with the task of forming the distribution center, although there’s no record of de Antonio’s actual involvement beyond that.
The distribution center...
The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The meetings were organized by Jonas Mekas and Lew Allen; and included New York City-based filmmakers such as Robert Frank, Shirley Clarke, Adolfas Mekas, Ben Carruthers, Peter Bogdanovich and others. These informal meetings would eventually coalesce into the formation of the New American Cinema Group.
On September 30, 1960, Jonas Mekas presented The First Statement of the New American Cinema Group manifesto. One of the items in the manifesto stated that filmmaker Emile de Antonio was entrusted with the task of forming the distribution center, although there’s no record of de Antonio’s actual involvement beyond that.
The distribution center...
- 4/1/2018
- by Mike Everleth
- Underground Film Journal
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