This new documentary, Everybody Street illuminates the lives and work of New York’s iconic street photographers and the incomparable city that has inspired them for decades. The documentary pays tribute to the spirit of street photography through a cinematic exploration of New York City, and captures the visceral rush, singular perseverance and at times immediate danger customary to these artists.
Covering nine decades of street photography, Everybody Street explores the careers and influences of many notable photographers––a number of whom have never been documented, featuring: Bruce Davidson, Elliott Erwitt, Jill Freedman, Bruce Gilden, Joel Meyerowitz, Rebecca Lepkoff, Mary Ellen Mark, Jeff Mermelstein, Clayton Patterson, Ricky Powell, Jamel Shabazz, Martha Cooper, and Boogie, with historians Max Kozloff and Luc Sante.
Dir. Cheryl Dunn
Today In History
‘Maya Angelou, esteemed poet and activist, premiered Georgia, Georgia on this date March 10, 1972 and became the first Black woman to have a motion picture produced.’
(photo: Maya Angelou)
- CARTER Magazine
These are the big movies that changed how we thought about our government.
An LA Times study found that Academy Award voters are 94% Caucasian, 77% male and have a median age of 62. Men make up 90% of five branches from cinematography to writing, and of the 43 board governors, only six are women. It makes me wonder, if more young people were members of the Academy, might the Oscar nominations change?
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It’s easy to look back at a year of films and say that only the good films should have been made, but that’s like saying that venture capitalists should fund only the Twitters and Googles and not bother with anyone else. It just doesn’t work that way.
They’re kind of the big, lovable lunkhead in a high-school class full of pretentious strivers. You can sit back and look at the pretty dresses and wait for somebody to make a really unbalanced speech — or for McConaughey to make a speech that so perfectly captures his essence that he could probably now retire — because this ceremony asks for nothing more. It does not ask for respect, and doesn’t get any. For a show like Brooklyn Nine-Nine that’s good but not yet great, it’s a boost that might give it more space to grow, and it’s one more chance to cheer for Breaking Bad, and it’s a really good thing that 12 Years a Slave won that last award, because up until then, it was starting to look like the HFPA didn’t actually see it.
A few months ago, when I popped in Mary Poppins for the first time in decades, I expected to find it had only appreciated in value; after all, the other Julie Andrews singing spectacular from 1965, The Sound of Music, gets even better if you watch it again as a grown-up, since you’re more likely to fully appreciate the performances by Andrews, Christopher Plummer, and Eleanor Parker as the Baroness (not to mention that wonderfully tender ballad between the film’s two grown-up lovers, “Something Good”). The Sound of Music is sturdily structured and well-cast down to its smallest roles; rewatching it now, there’s really not a superfluous scene.
Not so much with Mary Poppins, y’all.
For better or worse, motion pictures acquire a certain reputation, particularly among those who were young when they were first released, and then nobody wants to rock the boat and say, “Actually, I think Gone with the Wind is racist and stupid,” or “Actually, I think Three Amigos is a comic masterpiece,” or “Actually, I don’t get Spinal Tap, Dad.” In fact, movies need to be periodically re-evaluated. And so, for the past year I have gone back and watched scores of films widely viewed as classics to see if they have stood the test of time. Happily, in an overwhelming number of cases they have. But in more than a handful of cases, they have not.
by Joe Queenan, The Guardian