Sep 012011

by drmvm1

Movie-making Turks haven’t been shy about including earthy subjects or fleshy cinematic scenes in their films since as far back as the 1950′s. That’s when street-walking prostitutes, drug-dependent harem girls, topless damsels in distress, soapy half-naked bathers, sexually provocative belly dancers, and uninvited-lovemaking first began appearing in conventional Turkish moving-pictures.

The ‘intensity’ of erotic action in conventional Turkish films escalated in the 1960′s when ‘lite’ erotic opposite-sex scenes began to heat up. And in Atif Yilmaz’s otherwise conventional Iki Gemi Yanyana (Two Ships Side by Side), the first lesbian Turkish movie scene — a scorcher for its day, in which Suzan Avci and Sevda Nur french-kissed on camera — gave Turkish movie goers a shock when it was first shown in 1963.

Female cinematic sex-symbols during the ‘Age of the Turkish Vamp’ (1950s – 1960s) included Neriman Köksal (who made 177 films between 1950 to 1995), Funda Yanar [pictured on our website as a topless dancer in Büyük Sehrin Kanunu (Big City Law, 1965] and Leyla Sayar — who, in 1960, performed a memorably bold (we are told) strip-tease act in Atif Yilmaz’s Ölüm Perdesi (Death Curtain)…

But Leyla Hanim drew the line in 1972, when she realized the direction in which the seks filmleri furyasi (erotic films boom) would lead her. And after a short stint as a night club dancer, she quit the entertainment business altogether… opting instead for a simple, pious life.

In 1972, action-man Behçet Nacar’s Parcali Behçet (a movie made in a desperate attempt by film-makers to woo audiences away from their newly acquired home TVs and back to near-empty movie theaters seats) became the first Turkish film to be produced exclusively for purposes of eroticism.

And when Parcali Behçet attracted an overflow opening-day crowd of 7,000 to its initial showing in Konya (Mevlana’s ‘hometown’, in the heart of Turkish religious conservatism) Turkish film-makers took notice (and heart). Subsequently, when the film enjoyed a 6-month run, in two side-by-side theaters smack in middle of that fair city, well, film-makers believed they’d found the holy grail. And from that time through to 1979, the production of erotik Turkish films mushroomed.

The three most popular genres for legally produced Turkish erotik films between 1972 and 1978 were Comedy, Adventure, and Murder Mystery. And they all had a not-very-well-kept secret about them in common. The secret was that Turkish actors and actresses didn’t perform the sex-act for real. They only simulated it… Men wore underwear (briefs) and camera angles were chosen to cover up the fact — sometimes without much success. There are lots of flashes of men’s white briefs in the Turkish erotik films made between 1972 and 1978!

Any for-real sex that appeared in these films was performed by foreigners in parcalar (movie film clips) that were inserted at predictable intervals of the Turkish film. Sometimes these parcalar were made specifically for the Turkish film in which they appeared, but in most cases they were just crude cuts of foreign films — often entirely inappropriate (in focus or coloring) to the Turkish film.

That sort of erotik film-making subterfuge came to a screeching halt in 1979, when the first all-Turkish cast was filmed in the first-ever legally produced and distributed gloves-off pornographic Turkish film, Öyle Bir Kadin Ki (A Woman Like That) — directed by Naki Yurter, starring Zerrin Dogan and Levent Günsel in the leading female and male roles.

Öyle Bir Kadin Ki set the Turkish cinematic industry on fire — having even greater influence on immediate Turkish movie-making directions than Deep Throat had on American movie-making in 1972. ‘Kadin‘ knocked the financial stuffing out of its soft-core erotik (and conventional) rivals, and it had a profound effect (for a while) on the production of almost every Turkish film (erotic or conventional) that followed — opening a new chapter in the ‘History of the Turkish Cinema’…

[Click following to access a picture-laden HTML-version of The First All-Turkish No-Holds-Barred 'Erotik' Film -- A Woman Like That.]

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Feb 102011

Los Angeles, CA (PRWEB) June 28, 2006

Apple’s iPod and today’s cutting edge video technology is bringing major film stars directly to consumers in on-demand short films. You can now quickly download a short film and watch your favorite actors in superb sound and clarity. Shorts International has teamed with Apple and iTunes to bring hand picked short films to the fore of this great platform.

“The Death of Salvador Dali” brings the paranoiac, flamboyant Dali into the office and headspace of an unsuspecting Sigmund Freud. When the artist seeks Freud’s assistance to inject madness into his art, tables are turned and student becomes teacher. Through a series of visits by Dali’s friends, enemies, and muse, Freud is unwittingly subjected to chaos, deception, and guns.

The wonderfully sexy “Queen of Burlesque” Dita Von Teese plays Dali’s whip wielding wife Gala. Husband Marilyn Manson was instrumental in convincing Dita to play the role. In an amazing stroke of luck, the perfectly cast Dali is played by his namesake, Salvador Benavides.

Delaney Bishop masterfully creates a time and place of beauty, art, and humor. He first wrote a feature length Dali script while attending NYU film school. It later turned into a short and won Best Screenplay at Hypefest LA. With a Panavision grant, Bishop converted his home into a studio and shot the film entirely on 35mm. The film has gone on to screen at dozens of international film festivals and has won awards for Best Female Performance at the Beverly Hills film festival and Best Cinematography at the Aarhus film festival in Denmark.

Felix Brenner’s original soundtrack beautifully integrates Latin, Classical, and Electronic music to portray the wild and unpredictable Dali. There are romantic motifs with regal melodic passages rendered by piano, guitar, woodwinds and strings. Slightly edgy sections nicely match the films off-the-wall qualities. Brenner’s compositions can be both sumptuous and moody, making for a great listening experience. The soundtrack CD features key dialogue excerpts from the film.

“The surprise hit of the Silver Lake film festival” Entertainment Today, April 2006 cover story.

“Simply Dazzling. One of the best shorts I’ve seen this year, or last for that matter.” Cathy Ross, SXSW festival coordinator.

In an interview in the next issue of “Salvador Dali Collectors Quarterly”, Bishop reveals the likelihood of a feature length Dali movie by creators of the short.

“The Death of Salvador Dali” appears on iTunes alongside shorts featuring John Cleese, Jon Stewart, Gretchen Mol and the Academy Award nominees of 2005.

“The Death of Salvador Dali” is available for download exclusively on iTunes for $ 1.99. Also, look for the ShortsTV iTunes video podcast to see interviews with the filmmakers and star, Salvador Benavides.

The Soundtrack is available for download on iTunes or on CD at CDBaby.com.

www.DaliMovie.com

www.MySpace.com/DeathofDali

www.CDBaby.com/FelixBrenner

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Jan 282011

by mharrsch

In the 1880s, the American stage was dominated by ‘Vaudeville shows’ which was cherished by the residents of North America. Being the primitive genre of variety entertainment, these shows differed from burlesque or minstrelsy. But as entrepreneurs started experimenting with their movie-making skills, these shows lost all their glory.


In 1910, director D.W.Griffith and his troop started filming in downtown Los Angeles. While searching for a more apt location, they found it in a village miles northward — ‘Hollywood’. The first movie shot by Griffith in Hollywood was In Old California, a melodrama of California. Thorough research work identified a number of points which helped in establishing Hollywood movies. But it was Griffith’s ‘Birth of a Nation’ which was the pioneering movie.


Gradually, with the growth of Hollywood industry, films were exhibited in Nicholodeon halls. Ambitious people in the production side emerged as controlling heads of movie studios. They aided the internationalization of films to reduce American provincialism. In no time, the industry produced about 400 movies a year, with an audience of 9,00,00,000 Americans per week.


The American studios, however, confronted major difficulties when their sound productions were rejected in various foreign language markets. Also, the synchronization technique was too primitive. In the 1930s, parallel language versions of films were produced to provide a befitting solution to the problem. With rapid advancement of synchronization, dubbing also became more realistic.


During the Golden Age of Hollywood (1920-1950), the film industry was at the peak of its success. Adherence to the formula of western slapstick comedy was the formula and musical animated cartoon contributed to it. The same creative team worked on films made by the same studio.


The most renowned studios were Warner Bros., MGM, RKO, etc. Each studio had its own specialized characteristics, a trait not seen today. Yet, each film was unique in its own flavor, since the moviemakers were all artists and creative people. The release of classics that enriched the industry, were Wutheirng Heights, Gone with the Wind, Casablanca, and such other masterpieces. In the late 1940s, the separation of the production of films from their exhibition and the advent of television led to the decline of the studio system.


The postclassical cinema gave birth to directors from a new school of thought. They introduced new filming techniques and strategies and developed upon the prevailing ones. Films like Jaws, Godfather, Psycho, and other modern blockbusters have no doubt added a new dimension to Hollywood. With independent films, another new generation of moviemakers came forward with films which were often innovative, critical, unconventional, and contradictory. However, for their considerable financial success and crossover into popular culture, they have become a very influential part of the Hollywood mainstream films.


With the passage of generations, directors with their exclusive style and innovations have come up with intellectually stimulating and thought-provoking creations, making the history of Hollywood movies interesting as well as amazing.

Road to ‘Oz’ may lead Johnny Depp to Michigan
Michigan’s biggest Hollywood movie project yet — a $ 105-million production at a huge new studio in Pontiac — has won approval for a $ 40-million tax credit that alone comprises more than 60% of all credits for 26 projects approved in the last six months of 2010.

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