Watch Online Eric Hobsbawm: The Consolations of History, a Documentary Exploring the Life & Work of the Influential Historian

Cour­tesy of The Lon­don Review of Books, you can now watch Eric Hob­s­bawm: The Con­so­la­tions of His­to­ry:

In this doc­u­men­tary, Antho­ny Wilks traces the con­nec­tions between the events of Eric Hob­s­bawm’s life and the his­to­ry he told, from his teenage years in Ger­many and his com­mu­nist mem­ber­ship, to the jazz clubs of 1950s Soho and the mak­ings of New Labour, tak­ing in Ital­ian ban­dits, Peru­vian peas­ant move­ments and the devel­op­ment of nation­al­ism in the mod­ern world, with help from the assid­u­ous obser­va­tions of MI5. The film fea­tures con­tri­bu­tions from Frances Stonor Saun­ders, Richard J. Evans, John Foot, Ste­fan Colli­ni, Mar­lene Hob­s­bawm and Don­ald Sas­soon, as well as Hob­s­bawm him­self in exten­sive archive footage.

To learn more about Hob­s­bawm, read the 2019 New York­er pro­file “Eric Hob­s­bawm, the Com­mu­nist Who Explained His­to­ry.”

The film will be added to our list of online doc­u­men­taries and our larg­er col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

5 Free Online Cours­es on Marx’s Cap­i­tal from Prof. David Har­vey

Marx­ism by Ray­mond Geuss: A Free Course

Hear Theodor Adorno’s Avant-Garde Musi­cal Com­po­si­tions

Muhammad Ali Explains Why He Refused to Fight in Vietnam: “My Conscience Won’t Let Me Go Shoot My Brother… for Big Powerful America” (1970)

In April of 1967, Muham­mad Ali arrived at the U.S. Armed Forces Exam­in­ing and Entrance Sta­tion in Hous­ton, Texas. “Stand­ing beside twen­ty-five oth­er nerve-racked young men called to the draft,” writes David Rem­nick at The New York­er, Ali “refused to respond to the call of ‘Cas­sius Clay!’” Offered the choice of going to Viet­nam or to jail, he chose the lat­ter “and was sen­tenced to five years in prison and released on bail.” Ali lost his title, his box­ing license, his pass­port, and — as far as he knew at the time — his career. He was new­ly mar­ried with his first child on the way.

When Ali refused to go to Viet­nam, he was “already one of America’s great­est heavy­weights ever,” notes USA Today. “He’d won an Olympic gold medal for the Unit­ed States in Rome when he was just 18 and four years lat­er, against all odds, defeat­ed Son­ny Lis­ton to win his first title as world cham­pi­on.” Ali, it seemed, could do no wrong, as long as he agreed to play a role that made Amer­i­cans com­fort­able. He refused to do that too, becom­ing a Mus­lim in 1961, chang­ing his name in 1964, and speak­ing out in his inim­itable style against racism and Amer­i­can impe­ri­al­ism.

Ali stood on prin­ci­ple as a con­sci­en­tious objec­tor at a time when resist­ing the Viet­nam War made him extreme­ly unpop­u­lar. Sports Illus­trat­ed called him “anoth­er dem­a­gogue and an apol­o­gist for his so-called reli­gion” and pro­nounced that “his views of Viet­nam don’t deserve rebut­tal.” Tele­vi­sion host David Susskind called him “a dis­grace to his coun­try” and even Jack­ie Robin­son felt Ali was “hurt­ing… the morale of a lot of young Negro sol­diers over in Viet­nam.”

Robin­son gave voice to a sen­ti­ment one hears often from crit­ics of polit­i­cal­ly out­spo­ken ath­letes: “Cas­sius has made mil­lions of dol­lars off of the Amer­i­can pub­lic, and now he’s not will­ing to show his appre­ci­a­tion to a coun­try that’s giv­ing him, in my view, a fan­tas­tic oppor­tu­ni­ty.” But the coun­try also gave Ali the oppor­tu­ni­ty to take his case to the Supreme Court, as his lawyer told Howard Cosell in the ABC news seg­ment at the top. “Ali had no inten­tion of flee­ing to Cana­da,” DeNeen L. Brown writes at The Wash­ing­ton Post, “but he also had no inten­tion of serv­ing in the Army.”

Ali strung togeth­er a liv­ing giv­ing speak­ing engage­ments at anti-war events around the coun­try for the next few years as he fought the ver­dict. It was hard­ly the liv­ing he’d made as cham­pi­on. But “my con­science won’t let me go shoot my broth­er, or some dark­er peo­ple, or some poor hun­gry peo­ple in the mud for big pow­er­ful Amer­i­ca,” he said. “And shoot them for what? They nev­er called me [the N word], they nev­er lynched me, they didn’t put no dogs on me, they didn’t rob me of my nation­al­i­ty, rape and kill my moth­er and father…. Shoot them for what? How can I shoot them poor peo­ple? Just take me to jail.”

Ali remained promi­nent­ly in the pub­lic eye through­out his appeal. He had become a “fix­ture on the TV talk show cir­cuit in the pre­ca­ble days of the 1960s and ‘70s,” writes Stephen Battaglio in a LA Times review of the recent doc­u­men­tary Ali & Cavett. He remained so dur­ing his hia­tus from box­ing thanks in no small part to Dick Cavett, who had Ali on fre­quent­ly for every­thing from “seri­ous dis­cus­sions of race rela­tions in the U.S. to play­ful con­fronta­tions aimed at pro­mot­ing fights.” Cavett’s show “pro­vid­ed a com­fort zone for Ali, espe­cial­ly before he became a beloved fig­ure.” And it gave Ali a forum to counter pub­lic slan­der. In the clip above from 1970, he talks about how his sac­ri­fices made him a cred­i­ble role mod­el for trou­bled young peo­ple.

He seems at first to com­pare him­self to ear­ly Amer­i­can pio­neers, Japan­ese kamikaze pilots, and the first astro­nauts when Cavett asks him about the pos­si­bil­i­ty of going to jail, but his point is that he thinks he’s pay­ing a small price com­pared to what oth­ers have giv­en up for progress — “We’ve been in jail 400 years,” he says. “The sys­tem is built on war.” The fol­low­ing year, the Supreme Court would dis­miss the case against him, swayed by the argu­ment that Ali opposed all war, not just the war in Viet­nam. He saw Cavett as a wor­thy spar­ring part­ner, help­ing the late-night host earn a place on Nixon’s list of ene­mies. It would become a place of hon­or in the com­ing years as Ali won back his career, his rep­u­ta­tion, and his title in the “Rum­ble in the Jun­gle” four years lat­er, and the Viet­nam War became a cause for nation­al shame.

Relat­ed Con­tent: 

Muham­mad Ali Gives a Dra­mat­ic Read­ing of His Poem on the Atti­ca Prison Upris­ing

“Muham­mad Ali, This Is Your Life!”: Cel­e­brate Ali’s Life & Times with This Touch­ing 1978 TV Trib­ute

When Jack John­son, the First Black Heavy­weight Cham­pi­on, Defeat­ed Jim Jef­fries & the Footage Was Banned Around the World (1910)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

How the Internet Archive Has Digitized More than 250,000 78 R.P.M. Records: See the Painstaking Process Up-Close

In the his­to­ry of record­ed music, no medi­um has demon­strat­ed quite the stay­ing pow­er of the phono­graph record. Hear­ing those words, most of us envi­sion a twelve-inch disc designed to play at 33 13 rev­o­lu­tions per minute, the kind still man­u­fac­tured today. But like every oth­er form of tech­nol­o­gy, that famil­iar vinyl LP did­n’t appear ex nihi­lo: on its intro­duc­tion in 1948, it was the lat­est in a series of phono­graph records of dif­fer­ent sizes and speeds. The first dom­i­nant record for­mat spun at 78 r.p.m., a speed stan­dard­ized in the mid-1920s, though the discs them­selves (made of rub­ber, shel­lac, or oth­er pre-vinyl mate­ri­als) had been in pro­duc­tion since the end of the 19th cen­tu­ry and remained in pro­duc­tion until the 1950s.

The half-cen­tu­ry of the “78” adds up to quite a lot of music, most of which has long been inac­ces­si­ble to non-anti­quar­i­ans. Enter the his­tor­i­cal­ly mind­ed tech­nol­o­gists of the Inter­net Archive, who since 2016 have been work­ing with media preser­va­tion com­pa­ny George Blood LP to dig­i­tize, pre­serve, and make avail­able, as of this writ­ing, more than 250,000 such records.

The process involves much more than play­ing them all into a com­put­er, due not least to the toll the past cen­tu­ry or so has tak­en on the discs’ sur­faces. “Each record is cleaned on a machine that sprays dis­tilled water onto its sur­face,” writes The Verge’s Kait Sanchez. “A lit­tle vac­u­um arm then sucks up the water, along with what­ev­er dirt and nas­ti­ness has built up in the record’s grooves.”

“The discs are then pho­tographed, and the pho­tos are ref­er­enced to pull info from the discs’ labels and add it to the archive’s data­base by hand.” There fol­lows the actu­al dig­i­ti­za­tion, which records each disc with four styli at once: since 78s nev­er had stan­dard­ized groove sizes, “record­ings tak­en with var­i­ous sty­lus tips will each sound slight­ly dif­fer­ent,” but for any record in the George Blood Col­lec­tion the lis­ten­er can choose which of the four they’d pre­fer to lis­ten through. You can see each step of the process in the video at the top of the post, part of a Twit­ter thread recent­ly post­ed by the Inter­net Archive. There the Archive notes that, “after scan­ning 250,000 sides, we’ve found 80% of these 78s were pro­duced by the ‘Big Five’ labels” — Colum­bia, RCA Vic­tor, Dec­ca, Capi­tol and Mer­cury — “but along the way, we’ve uncov­ered 1700 oth­er music labels and some pret­ty beau­ti­ful pic­ture discs.”

You can look at — and more to the point, lis­ten to — every­thing in the the George Blood Col­lec­tion here, which is a sub­set of the Inter­net Archive’s larg­er col­lec­tion of dig­i­tized 78 records as well as the cylin­ders that 78s whol­ly dis­placed as a con­sumer for­mat. As the Inter­net Archive’s Twit­ter thread reminds us, “from 1898–1950, this was THE way music was record­ed & shared.” In oth­er words, if your par­ents were lis­ten­ing to music in that peri­od — or maybe your grand­par­ents, great-grand­par­ents, or great-great grand­par­ents — 78s were their MP3s, their Spo­ti­fy, their Youtube. We descend as lis­ten­ers from enthu­si­as­tic buy­ers of 78s, and now, thanks to the Inter­net Archive and its col­lab­o­ra­tors, we can enjoy a large and ever-increas­ing pro­por­tion of their entire world of record­ed music for free.

via The Verge

Relat­ed Con­tent:

Mas­sive Archive of 78RPM Records Now Dig­i­tized & Put Online: Stream 78,000 Ear­ly 20th Cen­tu­ry Records from Around the World

25,000+ 78RPM Records Now Pro­fes­sion­al­ly Dig­i­tized & Stream­ing Online: A Trea­sure Trove of Ear­ly 20th Cen­tu­ry Music

The Inter­net Archive Is Dig­i­tiz­ing & Pre­serv­ing Over 100,000 Vinyl Records: Hear 750 Full Albums Now

The Boston Pub­lic Library Will Dig­i­tize & Put Online 200,000+ Vin­tage Records

The Ground­break­ing Art of Alex Stein­weiss, Father of Record Cov­er Design

How the Inter­net Archive Dig­i­tizes 3,500 Books a Day–the Hard Way, One Page at a Time

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear the First Japanese Visitor to the United States & Europe Describe Life in the West (1860–1862)

“Oh, would some Pow­er give us the gift / To see our­selves as oth­ers see us!” wrote poet Robert Burns. “It would from many a blun­der free us, And fool­ish notion.” I can­not vouch for a being blun­der-free, but read­ing his­tor­i­cal accounts of our nation from for­eign vis­i­tors does help to increase our world­ly per­spec­tive, and hope­ful­ly ques­tion what often we take for grant­ed. The 19th cen­tu­ry was a par­tic­u­lar­ly ripe time for the nar­ra­tives, as ocean­ic com­merce (and on its tail tourism) was mak­ing the world small­er than ever before.

The YouTube chan­nel Voic­es of the Past has been bring­ing a lot of these sto­ries to life over the last few years, with new trans­la­tions of for­eign texts, dra­mat­ic read­ings, and thought­ful image pre­sen­ta­tions to reveal the world to us as new and won­drous as it was to the orig­i­nal writ­ers. The video above and the one below take us on trips to the Unit­ed States and Great Britain by some of the first ever Japan­ese trav­el­ers to step onto West­ern soil.

For over 200 years, 1600 — 1868, Japan had remained iso­lat­ed from much of the world, a time known as the Edo Peri­od (named after the capi­tol) or the Toku­gawa Peri­od (named after the shogu­nate). With­in this hot­house, it devel­oped much of the tra­di­tion­al cul­ture that we know today—the tea cer­e­mo­ny, haiku, wood­block prints—and the cap­i­tal Edo (now Tokyo) grew from a fish­ing vil­lage to a major city. When Com­modore Matthew C. Per­ry land­ed in 1853 to get Japan to open up to trad­ing, the coun­try knew its time in iso­la­tion was at an end. The tech­nol­o­gy they saw on the Amer­i­can ships was advanced enough they knew they’d have to catch up or be dom­i­nat­ed.

Both videos con­cern Fukuza­wa Yukichi, one of the founders of mod­ern Japan. An author, jour­nal­ist, founder of Keio Uni­ver­si­ty, and cre­ator of the first Eng­lish-Japan­ese dic­tio­nary, he was also a main pro­po­nent of mod­ern reform. (He’s also the face on Japan’s 10,000 yen note).

In Fukuzawa’s retelling, you can hear how his encoun­ters with Dutch and Eng­lish trades­men made him insa­tiably curi­ous to learn the lan­guage he could not under­stand. After the Japan­ese gov­ern­ment bought a ship from the Dutch, nam­ing it the Kan­rin Maru, Fukuza­wa and a crew of 96 men (a minor­i­ty being Amer­i­can), land­ed in San Fran­cis­co in 1860, the first Japan­ese diplo­mat­ic mis­sion to Amer­i­ca. Tech­ni­cal­ly they did not stay in San Fran­cis­co, but in a naval hotel on Mare Island, 23 miles north east of the city. Fukuza­wa takes note of the abun­dance of car­pet and rugs in many of the offi­cial buildings—such fab­ric was so expen­sive in Japan that he had only seen it used as hand­bags and such—and the Amer­i­can desire to walk on it with their street shoes. Even more amaz­ing: ice cubes. He also notes some­thing that hasn’t changed since his time: the amount of waste in the streets, and the high cost of goods in Cal­i­for­nia.

Fukuza­wa likens his experience—warm hos­pi­tal­i­ty mixed with his own embar­rass­ment of an unfa­mil­iar­i­ty with for­eign mores—with the “shy, self-con­scious blush­ing bride.”

The most impor­tant pur­chase Fukuza­wa made on his trip was a Webster’s Dic­tio­nary, which would help him write his own Eng­lish-Japan­ese ver­sion when he returned. Two years after his Amer­i­can trip, he once again set out on a diplo­mat­ic mis­sion, this time to Europe. He and his co-patri­ots would be away from Japan for a whole year, tak­ing in France, the Unit­ed King­dom, the Nether­lands, Prus­sia, Rus­sia, and Por­tu­gal. This trip is dif­fer­ent in its aware­ness of pol­i­tics. Men­tion is made of Napoleon III (well admired) and the rise of Prus­sia. He is suit­ably baf­fled by Britain’s Par­lia­ment (as are most Amer­i­cans these days watch­ing it on CSPAN), but comes away with a strong con­vic­tion in inde­pen­dent thought and democ­ra­cy that would begin to change Japan through his influ­ence.

We have men­tioned Voic­es of the Past pre­vi­ous­ly, and you can find all sort of accounts of ear­ly inter­na­tion­al trav­el­ers. Fukuzawa’s accounts are some of the best, as his down-to-earth voice feels less for­eign than the Eng­lish speak­ers he meets.

Relat­ed Posts:

A Beau­ti­ful New Book of Japan­ese Wood­block Prints: A Visu­al His­to­ry of 200 Japan­ese Mas­ter­pieces Cre­at­ed Between 1680 and 1938

A Japan­ese Illus­trat­ed His­to­ry of Amer­i­ca (1861): Fea­tures George Wash­ing­ton Punch­ing Tigers, John

Adams Slay­ing Snakes & Oth­er Fan­tas­tic Scenes

The Entire His­to­ry of Japan in 9 Quirky Min­utes

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

The Isolator: A 1925 Helmet Designed to Eliminate Distractions & Increase Productivity (Created by SciFi Pioneer Hugo Gernsback)

The anti-dis­trac­tion device is the mod­ern mouse­trap: build a bet­ter one, and the world will beat a path to your door. Or so, at least, will the part of the world engaged in the pur­suits we’ve broad­ly labeled “knowl­edge work.” Even among the knowl­edge work­ers who’ve spent most of the past year in pan­dem­ic-prompt­ed iso­la­tion, many still feel besieged by unend­ing claims on their atten­tion. Laments at hav­ing been ren­dered unpro­duc­tive by con­stant dis­trac­tion go back at least to medieval times, but the pro­posed solu­tions to this long-stand­ing prob­lem change with — and reflect — the times. Take the “Iso­la­tor,” the for­mi­da­ble-look­ing wear­able machine above that debuted on the cov­er of July 1925’s Sci­ence and Inven­tion mag­a­zine.

“Per­haps the most dif­fi­cult thing that a human being is called upon to face is long, con­cen­trat­ed think­ing,” writes inven­tor Hugo Gerns­back in the accom­pa­ny­ing arti­cle. “Most peo­ple who desire thus to con­cen­trate find it nec­es­sary to shut them­selves up in an almost sound­proof room in order to go ahead with their work, but even here there are many things that dis­tract their atten­tion.”

Even absent such nui­sances as “street nois­es” and the “tele­phone bell,” the mind seeks out its own dis­trac­tions as if nat­u­ral­ly com­pelled: “You will lean back in your chair and begin to study the pat­tern of the wall­pa­per, or you will see a fly crawl along the wall, or a win­dow cur­tain will be mov­ing back and forth, all of which is often suf­fi­cient to turn your mind away from the imme­di­ate task to be per­formed.”

Gerns­back­’s solu­tion involves a large hel­met, lined with cork and cov­ered in felt, with a baf­fle for breath­ing and glass eye­holes to see through. Paint­ed black but for two thin bands, the eye­holes make it “almost impos­si­ble to see any­thing except a sheet of paper in front of the wear­er. There is, there­fore, no opti­cal dis­trac­tion here.” To pre­vent drowsi­ness, “the writer intro­duced a small oxy­gen tank, attached to the hel­met. This increas­es the res­pi­ra­tion and livens the sub­ject con­sid­er­ably.” And so we arrive at the set­up pic­tured below, orig­i­nal­ly cap­tioned, “The author at work in his pri­vate study aid­ed by the Iso­la­tor. Out­side nois­es being elim­i­nat­ed, the work­er can con­cen­trate with ease upon the sub­ject at hand.” The Iso­la­tor’s patent appears just above, one of 80 for var­i­ous inven­tions that Gerns­back held in his life­time.

What­ev­er the device con­tributed to Gerns­back­’s pro­duc­tiv­i­ty, there can be no ques­tion that the man got a lot done. Not just a con­trib­u­tor to Sci­ence and Inven­tion but also its pub­lish­er, he over­saw a small media empire whose oth­er peri­od­i­cals includ­ed Every­day Sci­ence and Mechan­ics, Sci­en­tif­ic Detec­tive Month­ly, the sin­is­ter-sound­ing Tech­noc­ra­cy Review, and Amaz­ing Sto­ries, which launched in 1926 as the first mag­a­zine devot­ed entire­ly to sci­ence fic­tion (or “sci­en­tific­tion,” as Gerns­back called it). For his advance­ment of the genre he was hon­ored by the World Sci­ence Fic­tion Society’s Annu­al Achieve­ment Awards, bet­ter known as the “Hugos.” Pulp-fic­tion­al though the Iso­la­tor may have looked in 1925 (as indeed it looks now), it rep­re­sents a gen­uine effort to alle­vi­ate with tech­nol­o­gy a both­er­some aspect of the human con­di­tion — and a prece­dent for the new-and-improved iso­la­tion hel­mets engi­neered for the even more dis­tract­ing world in which we live a cen­tu­ry on.

Relat­ed Con­tent:

How to Focus: Five Talks Reveal the Secrets of Con­cen­tra­tion

The Ben­e­fits of Bore­dom: How to Stop Dis­tract­ing Your­self and Get Cre­ative Ideas Again

The Case for Delet­ing Your Social Media Accounts & Doing Valu­able “Deep Work” Instead, Accord­ing to Com­put­er Sci­en­tist Cal New­port

Pico Iyer on “the Art of Still­ness”: How to Enrich Your Busy, Dis­tract­ed Life by Unplug­ging and Stay­ing Put

Medieval Monks Com­plained About Con­stant Dis­trac­tions: Learn How They Worked to Over­come Them

What Hap­pens When You Spend Weeks, Months, or Years in Soli­tary Con­fine­ment

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Story of the Rolling Stones: A Selection of Documentaries on the Quintessential Rock-and-Roll Band

The Rolling Stones define the rock-and-roll band, as they have for near­ly six decades now. Exact­ly how they’ve done so is thor­ough­ly doc­u­ment­ed, not least by the band’s own expan­sive and still-grow­ing cat­a­log of songs and albums (all of which I hap­pen to have spent the last few months lis­ten­ing through). But the sto­ry of the Stones con­tin­ues to com­pel, told and re-told as it is in every form of media pro­duced by each era through which the band has passed: books, arti­cles, pod­casts, and also the sort of doc­u­men­taries we’ve col­lect­ed here today. Some were orig­i­nal­ly pro­duced for tele­vi­sion; oth­ers, like Watch­Mo­jo’s “The Rolling Stones: The Sto­ry & the Songs” above, for the inter­net. Each of them address­es the same ques­tion: how did a cou­ple of blues-obsessed lads from Kent come to run the biggest rock group in the world?

Even when straight­for­ward­ly pre­sent­ed, as in the Biog­ra­phy broad­cast above, the his­to­ry of the Rolling Stones con­sti­tutes a pop-cul­tur­al thrill ride. It begins, by most accounts, with for­mer class­mates Mick Jag­ger and Kei­th Richards bump­ing into each oth­er at a train sta­tion in 1961. Their shared inter­est in music, and espe­cial­ly Amer­i­can blues, inspired them to put a band togeth­er.

Before long, Jag­ger and Richards’ Blues Boys made the acquain­tance of anoth­er band, Blues Incor­po­rat­ed, whose mem­bers includ­ed Bri­an Jones, Ian Stew­art and Char­lie Watts. Though Watts would­n’t join up until lat­er, the oth­er four con­sti­tut­ed most of the first line­up of the Rolling Stones, who made their debut at Lon­don’s Mar­quee Club in July 1962.

You can see a great deal of archive footage depict­ing the Stones in their ear­ly years in the doc­u­men­tary above, Rolling Stones: Rock of Ages. The title implies an obvi­ous and much-repeat­ed joke about the once-rebel­lious young­sters’ insis­tence on rock­ing into rel­a­tive­ly advanced age. But onstage — and the live per­for­mance has always been essen­tial to their appeal, more so even than their albums — they remain very much the same band once pro­mot­ed with the ques­tion “Would you let your sis­ter go with a Rolling Stone?” That line was only one of the strate­gies used by its author, the Stones’ first man­ag­er Andrew Loog Old­ham, to launch his boys into world­wide pop­u­lar­i­ty by fram­ing them as the brash oppo­site of the Bea­t­les — to whom, despite their con­sid­er­able musi­cal dif­fer­ences, one can hard­ly avoid mak­ing ref­er­ence in the sto­ry of the Stones.

Though the bands became fast friends in real life, the press of the 1960s could­n’t resist craft­ing a rival­ry, as recount­ed in The Bea­t­les vs. The Rolling Stones, the Canal+ doc­u­men­tary above. What­ev­er com­pe­ti­tion exist­ed between them (or with Amer­i­can bands like the Beach Boys) only encour­aged them to make their music more pow­er­ful and dis­tinc­tive. This they did in the face of count­less per­son­al and pro­fes­sion­al set­backs, which for the Stones includ­ed the loss of found­ing mem­ber Bri­an Jones and the vio­lent Alta­mont Free Con­cert, wide­ly inter­pret­ed as the end of the utopi­an 1960s. As prod­ucts and sur­vivors of that era, the Stones also remain embod­i­ments of its insou­ciant ambi­tion. “For my gen­er­a­tion, what was hap­pen­ing and the feel­ing in the air was: it’s time to push lim­its, says no less a sur­vivor than the sub­ject of Kei­th Richards: The Ori­gin Of The Species. “The world is ours now, and you can rise or fall on it.”

Relat­ed Con­tent:

A Visu­al His­to­ry of The Rolling Stones Doc­u­ment­ed in a Beau­ti­ful, 450-Page Pho­to Book by Taschen

Watch the Rolling Stones Write “Sym­pa­thy for the Dev­il”: Scenes from Jean-Luc Godard’s ’68 Film One Plus One

Revis­it the Infa­mous Rolling Stones Free Fes­ti­val at Alta­mont: The Ill-Fat­ed Con­cert Took Place 50 Years Ago

The Rolling Stones at 50: Mick, Kei­th, Char­lie & Ron­nie Revis­it Their Favorite Songs

Watch the Rolling Stones Play “You Can’t Always Get What You Want” While Social Dis­tanc­ing in Quar­an­tine

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

What Makes Citizen Kane a Great Film: 4 Video Essays Revisit Orson Welles’ Masterpiece on the 80th Anniversary of Its Premiere

To under­stand why Cit­i­zen Kane has for so long been referred to as the “great­est film of all time,” sim­ply watch any film made before it. Glib though that often-made pre­scrip­tion may sound, it gets at a truth about Orson Welles’ tale of the rise and fall of an Amer­i­can media mag­nate, his first and by far his most high­ly regard­ed pic­ture, now just days from the eight­i­eth anniver­sary of its pre­miere. “Its impact on cin­e­ma was so pro­found, and its tech­niques became so ubiq­ui­tous, that its once-rad­i­cal ideas now seem com­mon­place,” says the nar­ra­tor of the Youtube series One Hun­dred Years of Cin­e­ma, whose episode on the year 1941 could hard­ly have focused on any oth­er movie.

Among Cit­i­zen Kane’s most vis­i­ble inno­va­tions is cin­e­matog­ra­ph­er Gregg Toland’s use of deep focus, which allows Welles and his col­lab­o­ra­tors to make con­stant nar­ra­tive use of every visu­al detail. This encour­ages the audi­ence to “read the whole frame at once, much in the same way that one would read a paint­ing, each lay­er adding an ele­ment to the sto­ry.”

More sub­tly, “what sep­a­rat­ed Citi­zen Kane from the kind of films that pre­ced­ed it was the over­all ambiva­lence of its tone. It’s a film about one of the wealth­i­est, most suc­cess­ful men in the world, and yet per­me­at­ing the entire film is the gloom of fail­ure.” The lega­cy of these and oth­er dar­ing artis­tic choic­es man­i­fest in the work of sub­se­quent gen­er­a­tions of direc­tors, includ­ing such names cit­ed in the brief Fan­dor video essay above as Quentin Taran­ti­no, Mar­tin Scors­ese, Wes Ander­son, and Steven Spiel­berg.

“The cre­ators of Cit­i­zen Kane had the free­dom to play and inno­vate,” says Michael Aran­da in the episode of Crash Course Film Crit­i­cism above. “Many of their tech­ni­cal exper­i­ments changed the way film was being used as a sto­ry­telling medi­um — which, arguably, could be anoth­er way to define ‘great­ness.’ ” Welles him­self put it dif­fer­ent­ly: “There is a great gift that igno­rance has to bring to any­thing. That was the gift I brought to Kane, igno­rance.” Of course, he had the good excuse of being 25 years old, although already more than estab­lished on the stage and the radio. When Hol­ly­wood came call­ing, he brought his cre­ative­ly spir­it­ed Mer­cury The­atre Play­ers with­in to make use of the rel­a­tive­ly vast pro­duc­tion resources avail­able at RKO Pic­tures. One of Welles’ col­lab­o­ra­tors in par­tic­u­lar has recent­ly been back in the pub­lic eye: Her­man J. Mankiewicz, who’d pre­vi­ous­ly writ­ten scripts for Welles’ Camp­bell Play­house series on CBS Radio.

David Fincher’s bio­graph­i­cal dra­ma Mank, which won a cou­ple of Acad­e­my Awards last week­end, tells the sto­ry of the trou­bled screen­writer’s involve­ment with Cit­i­zen Kane. Orig­i­nal­ly writ­ten by Fincher’s father, Mank drew its first inspi­ra­tion from “Rais­ing Kane,” a 1971 essay by New York­er film crit­ic Pauline Kael that famous­ly depict­ed Mankiewicz, not Welles, as Cit­i­zen Kane’s pri­ma­ry author. Sub­se­quent schol­ar­ship, as explained in the Roy­al Ocean Film Soci­ety video above, has revealed that Kael was labor­ing under a mis­ap­pre­hen­sion (if not a grudge). But the fact remains that all the par­tic­i­pants in Cit­i­zen Kane did their bit to great­ly advance the medi­um of cin­e­ma, and for the young Welles the pic­ture became proof of his artis­tic matu­ri­ty: a mas­ter­piece, in the orig­i­nal sense.

Relat­ed Con­tent:

Orson Welles Explains Why Igno­rance Was His Major “Gift” to Cit­i­zen Kane

Jorge Luis Borges Reviews Cit­i­zen Kane — and Gets a Response from Orson Welles

Jean-Paul Sartre Reviews Orson Welles’ Mas­ter­work (1945): “Cit­i­zen Kane Is Not Cin­e­ma”

When Ted Turn­er Tried to Col­orize Cit­i­zen Kane: See the Only Sur­viv­ing Scene from the Great Act of Cin­e­mat­ic Sac­ri­lege

How Orson Welles’ F for Fake Teach­es Us How to Make the Per­fect Video Essay

What Makes Ver­ti­go the Best Film of All Time? Four Video Essays (and Mar­tin Scors­ese) Explain

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch Colorized 1940s Footage of London after the Blitz: Scenes from Trafalgar Square, Piccadilly Circus, Buckingham Palace & More

“Reg­u­lar fea­tures of the time: neat­ly swept-up piles of glass, lit­ter of stone and splin­ters of flint, smell of escap­ing gas, knots of sight­seers wait­ing at the cor­dons.”

– George Orwell

What was it like to live in Lon­don dur­ing and after the Blitz? George Orwell’s note­books from the time con­tain a “fas­ci­nat­ing account of every­day life in Lon­don dur­ing the Sec­ond World War,” full of jour­nal­is­tic detail, the British Library writes. In Orwell’s esti­ma­tion, the city was riv­en with class divides. “Despite his crit­i­cism of Stal­in­ism, Orwell remained a con­vinced social­ist all his life.” He believed the war could only be won if it turned into a rev­o­lu­tion. “When you see how the wealthy are still behav­ing, in what is man­i­fest­ly devel­op­ing into  a rev­o­lu­tion­ary war,” he wrote in a diary entry that would become the 1941 essay The Lion and the Uni­corn, “you think of St. Peters­burg in 1916.”

Orwell may have been wrong about the rev­o­lu­tion, but he report­ed hon­est­ly on much of what was hap­pen­ing in Lon­don. Mean­while, the Min­istry of Infor­ma­tion pro­duced a short pro­pa­gan­da film in 1940 for the Amer­i­can pub­lic called “Lon­don Can Take It.” The tone was in keep­ing with the “Keep Calm and Car­ry On” ethos we asso­ciate with Britain in the peri­od. A com­pan­ion film, “Britain Can Take It,” sim­i­lar­ly sold the “illu­sion of social uni­ty,” Craig Stew­art Hunter writes, “cre­at­ed by the use of films and oth­er media to por­tray pos­i­tive morale.” (View many more British WWII pro­pa­gan­da films here.) These did not account for “grow­ing dis­en­chant­ment in urban areas, which found them­selves ‘unable to take it,’ so to speak.”

Peter Watts writes in The Guardian about once-vibrant city blocks that were demol­ished by the fire­bomb­ing, then lat­er turned into park­ing garages. Many of these neigh­bor­hoods were then, in the 1960s, fold­ed into mas­sive estate hous­ing projects with “high-rise tow­ers nobody want­ed to live in,” says Peter Larkham, pro­fes­sor of plan­ning at Birm­ing­ham School of the Built Envi­ron­ment. Could Lon­don take it? It depend­ed on which Lon­don one meant, in the long run. But dur­ing the war itself, there was per­haps more social cohe­sion than Orwell was will­ing to grant, giv­en that some­thing like one in every six Lon­don­ers suf­fered home­less­ness dur­ing the bomb­ing cam­paign and over 40,000 civil­ians lost their lives.

The degree of Britain’s nation­al uni­ty dur­ing the war remains “a con­tin­u­ing his­to­ri­o­graph­i­cal debate,” writes Hunter, ever since” the gen­er­a­tion of his­to­ri­ans born after the war… have been able to write with more crit­i­cal detach­ment.” And since most every­one alive then is no longer, ideas about what it felt like to be in Lon­don dur­ing WWII will change as his­to­ri­ans view the source mate­r­i­al dif­fer­ent­ly over time.

But thanks to pho­tog­ra­phy and film from the peri­od, we’ll always have a fair­ly good idea of what Lon­don looked like dur­ing the war, though we’ll have to make do, until the AI “becomes more mature,” as the poster of the video com­pi­la­tion above notes, with infe­ri­or col­oriza­tion tech­niques. (Yes, they know, the bus­es should be red.)

The var­i­ous scenes have been motion-sta­bi­lized, slight­ly speed-cor­rect­ed, enhanced and col­orized by means of sophis­ti­cat­ed Arti­fi­cial Intel­li­gence soft­ware. 

The film shows remark­able scenes of bomb dam­age, close up film­ing of the release of bar­rage bal­loons, anti-air­craft gun posi­tions, traf­fic at Trafal­gar Square, Pic­cadil­ly Cir­cus, mil­i­tary parades in front of Buck­ing­ham Palace, beau­ti­ful scenes of the Thames dur­ing day­time and at dusk, Water­loo Sta­tion, and much more.

Most of the film dates from late 1943, but some of the footage of Water­loo sta­tion and Pic­cadil­ly Cir­cus comes from the late 1930s and it ends with a minute of VE day on 8 May 1945. All of the footage comes from the Prelinger Archives. Can we see nation­al uni­ty in the crowds of peo­ple going about their busi­ness amidst a city full of arma­ments and rub­ble? Is it vis­i­ble to the naked eye? See time­stamped descrip­tions of the loca­tion and action in each clip at the video’s YouTube page here.

Relat­ed Con­tent: 

WWII Britain Revis­it­ed in 120 Short Films, Now Free on the Web

Dra­mat­ic Col­or Footage Shows a Bombed-Out Berlin a Month After Germany’s WWII Defeat (1945)

How to Behave in a British Pub: A World War II Train­ing Film from 1943, Fea­tur­ing Burgess Mered­ith

The Old­est Known Footage of Lon­don (1890–1920) Fea­tures the City’s Great Land­marks

How the Fences & Rail­ings Adorn­ing London’s Build­ings Dou­bled (by Design) as Civil­ian Stretch­ers in World War II

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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