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For millions of American kids growing up in the late 1960s, it was a thrill to run home from school and flip on the TV in time to hear the creepy theremin music at the beginning of Dark Shadows. A soap opera with a vampire! There was something strangely subversive about it.

On a sunny July morning in 1966, two of the 20th century’s greatest artists–Duke Ellington and Joan Miró–met in the medieval village of St. Paul de Vence in the south of France.

Earlier this week we brought you rare recordings of Sigmund Freud and Jorge Luis Borges speaking in English. Today we present a remarkable series of recordings of the great Russian novelist Leo Tolstoy reading a passage from his book, Wise Thoughts for Every Day, in four languages: English, German, French and Russian.

Jacques Tati was the gentle poet of French cinema. His comedies, including Mon Oncle and Mr. Hulot’s Holiday, are less about hilarity than what Roger Ebert calls “an amused affection for human nature.

On December 7, 1938, a BBC radio crew visited Sigmund Freud at his new home at Hampstead, North London. Freud had moved to England only a few months earlier to escape the Nazi annexation of Austria. He was 81 years old and suffering from incurable jaw cancer. Every word was an agony to speak.

Last month we reported on Yale’s addition of seven new online courses to its growing roster of free offerings. Now we’ve learned that Yale is inaugurating a new series of books based on its popular open courses.

Drink our coffee. Or else. That’s the message of these curiously sadistic TV commercials produced by Jim Henson between 1957 and 1961.
Henson made 179 ten-second spots for Wilkins Coffee, a regional company with distribution in the Baltimore-Washington D.C.

Alfred Hitchcock once said that all art is emotion, and that the task of the filmmaker is to use the tools of his medium to manipulate the audience’s emotional experience.

The image of Clark Gable and Vivien Leigh together in Gone with the Wind is so firmly established in the iconography of popular culture that it seems almost impossible to imagine anyone else as Rhett Butler and Scarlett O’Hara.
Producer David O.

Man Ray was one of the leading artists of the avant garde of 1920s and 1930s Paris. A key figure in the Dada and Surrealist movements, his works spanned various media, including film. He was a leading exponent of the Cinéma Pur, or “Pure Cinema,” which rejected such “bourgeois” conceits as character, setting and plot.