Japanese Cartoons from the 1920s and 30s Reveal the Stylistic Roots of Anime

Those who have become inter­est­ed in Japan in the past twen­ty years have done so, like­ly as not, because of Japan­ese ani­ma­tion, best known by the Japan­ese term “ani­me.” And why not? Japan’s take on the car­toon has at this point evolved so high and so dis­tant from its west­ern coun­ter­parts that you some­times can’t help star­ing, trans­fixed. Even the word “car­toon” now seems too friv­o­lous to apply. Roll the clock back eighty or nine­ty years, and Japan­ese ani­ma­tion looks decid­ed­ly more… car­toon­ish. But even then, you can eas­i­ly see an excit­ing­ly dif­fer­ent aes­thet­ic in play. First behold the short above, which since its 1933 pro­duc­tion has become a sur­pris­ing­ly pop­u­lar watch on Youtube. Seem­ing­ly influ­enced by the Amer­i­can ani­ma­tion of the time, this fable of fox ver­sus rac­coon still gar­ners acclaim with its craft. Acclaim from com­menters, any­way: “Much smoother than the cur­rent ani­mes,” writes one. “Not only the qual­i­ty. Sto­ry is also fun­ny and peace­ful.”

Go back a few years fur­ther, to 1929, and you find a strik­ing­ly more for­eign view­ing expe­ri­ence in The Stolen Lump. Tak­ing the form of a stan­dard live-action silent pic­ture, with inter­ti­tles and every­thing, the film adapts a fairy tale about an old man who hap­pens upon a pack of ten­gu. He asks these super­nat­ur­al crea­tures to remove what looks like a goi­ter from his face, but when they do, he inspires jeal­ousy in his vil­lage. Final­ly, for an offer­ing that will seem mod­ern by com­par­i­son, watch Pri­vate Norakuro, from 1935, below. It orig­i­nal­ly appeared as just one sto­ry, in one medi­um of sev­er­al, of the prat­fall-heavy mil­i­tary adven­tures of the tit­u­lar anthro­po­mor­phic pup­py. Cre­ator  Sui­hō Tagawa drew the humor from his own time in the Impe­r­i­al Japan­ese Army, to the delight of Japan­ese read­ers and view­ers. The delight last­ed up until World War II, any­way, when the coun­try stopped look­ing so kind­ly on mil­i­tary satire. But Norakuro would soon emerge from retire­ment, going on to star in major ani­mat­ed films and serve as a mas­cot of the Japan Self Defense Force.

Relat­ed con­tent:

The Ear­ly Days of Ani­ma­tion Pre­served in UCLA’s Video Archive

The Best Ani­mat­ed Films of All Time, Accord­ing to Ter­ry Gilliam

Ger­tie the Dinosaur: The Moth­er of all Car­toon Char­ac­ters

Lots of Free Ani­mat­ed Films in our col­lec­tion of 500 Free Movies Online

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Richard Feynman Talks Physics with Fred Hoyle in Take the World From Another Point of View, 1973

The famous Amer­i­can physi­cist Richard Feyn­man used to take hol­i­days in Eng­land. His third wife, Gweneth Howarth, was a native of West York­shire, so every year the Feyn­man fam­i­ly would vis­it her home­town of Rip­pon­den or the near­by ham­let of Mill Bank.

In 1973 York­shire pub­lic tele­vi­sion made a short film of the Nobel lau­re­ate while he was there. The result­ing film, Take the World From Anoth­er Point of View, was broad­cast in Amer­i­ca as part of the PBS Nova series. The doc­u­men­tary fea­tures a fas­ci­nat­ing inter­view, but what sets it apart from oth­er films on Feyn­man is the inclu­sion of a live­ly con­ver­sa­tion he had with the emi­nent British astro­physi­cist Fred Hoyle.

A native York­shire­man, Hoyle did ground­break­ing the­o­ret­i­cal work on the syn­the­sis of ele­ments in stars and was a lead­ing pro­po­nent of the Steady State the­o­ry of cos­mol­o­gy. In the film, the British astro­physi­cist and the Amer­i­can par­ti­cle physi­cist walk down to the local pub, Rip­pon­den’s his­toric Old Bridge Inn, for a live­ly con­ver­sa­tion on physics and the nature of sci­en­tif­ic dis­cov­ery. You can read along with a tran­script of the film at the Cal­tech Web site.

Relat­ed Con­tent:

Richard Feyn­man Presents Quan­tum Elec­tro­dy­nam­ics for the Non­Sci­en­tist

‘The Char­ac­ter of Phys­i­cal Law’: Richard Feyn­man’s Leg­endary Lec­ture Series at Cor­nell, 1964

Richard Feyn­man Enthu­si­as­ti­cal­ly Explains How to Think Like a Physi­cist in His Series Fun to Imag­ine (1983)

Making The Planet of the Apes: Roddy McDowall’s Home Movies and a 1966 Makeup Test

By most accounts, when Rod­dy McDowall appeared on The Car­ol Bur­nett Show in full Plan­et of the Apes make­up, the host was gen­uine­ly fright­ened, a tes­ta­ment to the extra­or­di­nary work of leg­endary, Oscar-win­ning make­up artist John Cham­bers (who as Ben Affleck’s new film Argo reveals, also did work for the CIA). The hand­some char­ac­ter-actor McDowall spent a good por­tion of his film career in make­up, most mem­o­rably as the char­ac­ters Cor­nelius, Cae­sar, and Galen (on the 1974 TV show) of the Plan­et of the Apes series. A home movie buff and pho­tog­ra­ph­er, McDowall doc­u­ment­ed the lengthy process of his Apes’ make­up (above), applied here by artist Don Cash and his assis­tants. Shot and edit­ed by McDowall, and set to excerpts from the dra­mat­ic Jer­ry Gold­smith Apes score, the film also includes a quick shot of Mau­rice Evans in the first minute, game­ly smok­ing a cig­a­rette in full Dr. Zaius make­up.

The Plan­et of the Apes fran­chise is one of the most suc­cess­ful and long-run­ning sci-fi series of all time. Adapt­ed from a 1963 nov­el by French writer Pierre Boulle, the orig­i­nal 1968 film spawned four sequels, Tim Burton’s 2001 remake, the 2011 pre­quel Rise of the Plan­et of the Apes, and its sequel, the upcom­ing Dawn of the Plan­et of the Apes, slat­ed for the spring of 2014. Then, of course, there’s a world of mer­chan­dise, com­ic books, and a car­toon series. The longevi­ty of the series is due in no small part to Chamber’s remark­ably durable visu­al real­iza­tion of Boulle’s premise. How­ev­er, few peo­ple know how much dif­fer­ent the film might have looked had it stayed true to the aes­thet­ic of a 1966 stu­dio pitch/makeup test. In the video right above, set up in the first few min­utes with hand-drawn stills and voice-over nar­ra­tion, Charleton Hes­ton plays Thomas (lat­er changed to Tay­lor), Edward G. Robin­son is Dr. Zaius, James Brolin is Cor­nelius and Lin­da Har­ri­son is Zira (lat­er played by Kim Hunter). This film shows a much more advanced, sci­en­tif­ic ape soci­ety than the result­ing first film, lim­it­ed by bud­get con­cerns, would be able to.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Le Blog de Jean-Paul Sartre Discovered

Wednes­day, 22 July, 1959: 10:50 A.M.

This morn­ing over break­fast S. [short for Simone]. asked me why I looked so glum.

“Because,” I said, “every­thing that exists is born for no rea­son, car­ries on liv­ing through weak­ness, and dies by acci­dent.”

“Jesus,” S. said. “Aren’t you ever off the clock?”

Thurs­day, 16 July, 1959: 7:45 P.M.

When S. returned this after­noon I asked her where she had been, and she said she had been in the street.

“Per­haps,” I said, “that explains why you look ‘rue’-ful.”

Her blank stare only rein­forced for me the futil­i­ty of exis­tence.

*  *  *  *  *
Find more blog posts full of com­ic exis­ten­tial angst over at The New York­er, and then, if you want to get seri­ous and bone up on Jean-Paul Sartre’s exis­ten­tial­ist phi­los­o­phy, check out these fine resources:

Sartre, Hei­deg­ger, Niet­zsche: Three Philoso­phers in Three Hours (BBC doc­u­men­taries)

Wal­ter Kaufmann’s Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960, Audio)

75 Free Phi­los­o­phy Cours­es from Great Uni­ver­si­ties

Sartre’s famous lec­ture Exis­ten­tial­ism is a Human­ism (1946) that oth­er­wise appears in our col­lec­tion of Free eBooks.

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An Acoustic History of Punk Rock Sheds Light on NYC’s Lower East Side (NSFW)

With elec­tric­i­ty just restored to low­er Man­hat­tan and sub­ways still sig­nif­i­cant­ly dis­abled six days after Hur­ri­cane Sandy, it seems a fit­ting time for an unplugged His­to­ry of Punk Rock and Its Devel­op­ment on the Low­er East Side, 1950 to 1975.

This neigh­bor­hood salute comes cour­tesy of anti-folk hero/comic book writer Jef­frey Lewis, who was­n’t born until late in the peri­od he describes, but he’s got tons of street cred, hav­ing grown up with­out a TV in one of the very build­ings whose dark­ened stair­wells have dom­i­nat­ed recent head­lines. The clip was orig­i­nal­ly avail­able as a mini cd, pack­aged with FUFF #1, one of Lewis’ com­ic books. Here, he deliv­ers the goods in one cat­er­waul­ing, NSFW, eight-minute take, accom­pa­ny­ing him­self on a stick­er cov­ered acoustic gui­tar. The break­neck, charm­ing­ly off-key primer name checks every­one from The Holy Modal Rounders and the Fugs to Pat­ti Smith and Richard Hell, with son­ic exam­ples of their work crammed between instruc­tive rhyming recita­tive.

To whit:

In ’71, Lester Bangs first writes the word ‘punk’
to describe ’60s enthu­si­as­tic teenage rock junk
’72, Lenny Kaye puts out the ’60s Garage comp. ‘Nuggets’
and coins the phrase ‘punk-rock’ in the lin­er notes of it
Though punk-rock would soon come to mean some­thing dif­fer­ent
from what Lester and Lenny thunk
(They meant raw 60s punk songs)

Even if you’re still pissed about that John Var­vatos bou­tique open­ing in the build­ing that once housed CBG­Bs, please con­sid­er mak­ing a dona­tion to help New York­ers clob­bered by Hur­ri­cane Sandy. Espe­cial­ly if Lewis’ trib­ute has expand­ed your men­tal pic­ture of who an elder­ly per­son on today’s Low­er East Side might be.

Those with the pow­er to do so can down­load FUFF #1 in dig­i­tal form, and lis­ten to the His­to­ry of Punk Rock on the Low­er East Side via leg­endary New Jer­sey radio sta­tion WFMU.

Relat­ed Con­tent: 

Take a Vir­tu­al Tour of CBGB, the Ear­ly Home of Punk and New Wave

The Clash: West­way to the World

The Talk­ing Heads Play CBGB, the New York Club that Shaped Their Sound (1975)

- Ayun Hal­l­i­day is the author of the Zinester’s Guide to NYC.

The Rijksmuseum Puts 125,000 Dutch Masterpieces Online, and Lets You Remix Its Art

The Rijksmu­se­um in Ams­ter­dam is one of the grand Euro­pean muse­ums. Home to many of the Dutch mas­ters (Rembrandt’s Night Watch, which seems to glow from its cen­ter, and Vermeer’s Milk­maid, to name just a few), the muse­um is locat­ed on the city’s Muse­umplein, sur­round­ed by the small­er Vin­cent Van Gogh muse­um and mod­ern Stedelijk.

All those mas­ter­pieces are now avail­able for close-up view online at the Rijksmu­se­um’s dig­i­tized col­lec­tion. Users can explore the entire col­lec­tion, which is hand­i­ly sort­ed by artist, sub­ject, style and even by events in Dutch his­to­ry. The new dig­i­tal archive has all the same great learn­ing poten­tial as any oth­er online col­lec­tion. It’s search­able, as is the muse­um’s library.

But the Dutch are a whim­si­cal peo­ple, so it seems right that, in dig­i­tiz­ing its col­lec­tion, the muse­um went a step fur­ther than fur­ther. Not only can users cre­ate their own online gal­leries from select­ed works in the museum’s col­lec­tion, they can down­load Rijksmu­se­um art­work for free to dec­o­rate new prod­ucts. (Note: users will need to cre­ate a free account to get start­ed.)

By vis­it­ing the muse­um’s Rijksstu­dio, art lovers can cre­ate their own “sets” of Rijksmu­se­um works. Sets can include images of just flow­ers (think of the lus­cious ros­es and tulips in Dutch still life paint­ings of the 1600s), faces appear­ing in por­traits, or paint­ings of Ams­ter­dam itself through the ages. Just select a work of art and drop it into your own image col­lec­tion. Then use these select­ed images to cre­ate your own per­son­al­ized prod­ucts. From tat­toos to wall­pa­per to scoot­ers (yes, scoot­ers) to smart phone skins. Unusu­al yet every­day items of all shapes and sizes can now bear the image of gor­geous art. The art is free and the object could be as sim­ple as a T‑shirt.

All of this can be done with the bless­ings and sup­port of the muse­um, which pro­vides links to sites that offer var­i­ous forms of print­ing on demand.

What bet­ter way to make the col­lec­tion acces­si­ble to the pub­lic? Some might say it is sac­ri­lege to put Rembrandt’s face on the side of a van; the Rijksmu­se­um encour­ages it. None of the artists are alive any­way to claim copy­right infringe­ment, now are they?

Relat­ed Con­tent:

Rembrandt’s Face­book Time­line

Google “Art Project” Brings Great Paint­ings & Muse­ums to You

16th-Cen­tu­ry Ams­ter­dam Stun­ning­ly Visu­al­ized with 3D Ani­ma­tion

Kate Rix writes about dig­i­tal media and edu­ca­tion. Read more of her work at and thenifty.blogspot.com.

13 Lectures by The Great Courses

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Note: The free lec­tures by The Great Cours­es have been tak­en offline. But no wor­ries, you can find over 33,000 hours of free lec­tures from top uni­ver­si­ties in our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties. They’ll keep you busy for years to come.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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!

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Russell Brand and Tracey Ullman Sing the Wonders of “Asstrology” in Eric Idle’s What About Dick?

Mon­ty Python alum­nus and Spa­malot cre­ator Eric Idle’s new musi­cal What About Dick? tells the sto­ry of the “birth of a sex toy invent­ed in Shag­is­tan in 1898 by Deep­ak Obi Ben Kings­ley” (Eddie Izzard). It’s also about the decline of the British Empire as told by a piano (Idle). Oh, there’s quite a bit more, but I won’t rehearse the plot—let’s get right to a clip, shall we? In the above num­ber, “What About Asstrol­o­gy,” Aunt Mag­gie (Tracey Ull­man) and the young Dick (Rus­sell Brand), who live togeth­er in an Edwar­dian nov­el, sing about her meta­phys­i­cal tal­ent for read­ing the future on people’s bums. The exchange begins: “What is it exact­ly that you do?” to which Ull­man responds in Cock­ney, “I’m an aaassss read­er.” Then they launch into song. Yes, it’s as ridicu­lous as it sounds, and as fun­ny (if that’s what you’re into), and par­takes of the Pythons’ unique abil­i­ty to skew­er the pre­ten­sions of reli­gion, new age goofi­ness, and hocus pocus of all kinds with clas­sic music hall humor and flat­u­lence jokes.

So mark your cal­en­dars: this Novem­ber 13 is “Dick Day,” when What About Dick? is avail­able for dig­i­tal down­load, and you’ll want to get your hands on it (sor­ry). Idle ratch­ets up his pro­fane silli­ness with a cast “you’ll nev­er see… togeth­er again doing some­thing like this.” Idle has assem­bled the finest minds of British com­e­dy for a show he calls “Oscar Wilde on acid or like Down­ton Abbey, only fun­nier”: Brand, Ull­man, Idle, Bil­ly Con­nol­ly, Tim Cur­ry, Eddie Izzard, Jane Leeves, Jim Pid­dock, and Sophie Win­kle­man. If this cast doesn’t make you shoot out of your chair and yell Hooray for Dick! or some­thing like that, you’re clear­ly not the prop­er audi­ence for this show.

Go ahead, watch the trail­er right above and vis­it the offi­cial site for updates and more awk­ward, off-col­or Britishisms.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Filmmaker Errol Morris Gives Us “11 Excellent Reasons Not to Vote?”

All through­out this inter­minably long pres­i­den­tial elec­tion cycle, which has been going on since at least 2010, I’ve had a laser-like focus on polit­i­cal news. You might even call it a death grip. Because I’m a pol­i­tics junkie. It’s a dis­ease, I know, I rec­og­nize I need help, and I’ll get it—after Novem­ber 6th. As a pol­i­tics junkie, I am sub­ject to a cer­tain severe irri­ta­tion: pro­found exas­per­a­tion with those myth­i­cal beasts called “unde­cid­ed vot­ers,” who are even more galling than third par­ty vot­ers are to hyper-par­ti­sans. “What?” I shout at the radio, when one of these cryp­to-zoo­log­i­cal crea­tures calls in. “You dream­ers, you obliv­i­ous block­head­ed dream­ers!” I shout, and oth­er things. Yes, in my mania, I’ve shout­ed these things at the radio, because how can peo­ple not have made up their minds months ago, been glued to inter­net news and opin­ion for hours, pored over minis­cule pol­i­cy details, destroyed their eye­sight, col­lapsed their spine under the weight of civic duty? How, indeed. But per­haps (and every pol­i­tics junkie fears this pos­si­bil­i­ty), the unde­cid­ed vot­ers aren’t idiots—perhaps they’re thought­ful, kind, trust­ing, tru­ly… dare I say it, inde­pen­dent….

Now with all of our weird vit­ri­ol direct­ed at the “unde­cid­eds,” preter­nat­u­ral­ly myopic junkies lose sight of a bloc with the pow­er to bend, break, or shat­ter the scales altogether—non-voters. In a nation that has expend­ed tril­lions of dol­lars, thou­sands of lives, and quite a lot of inter­na­tion­al good will to give oth­ers the right to vote in Iraq, Libya, Afghanistan, we make a pret­ty poor show­ing at the polls every four years, with rough­ly half of us declin­ing to exer­cise our fun­da­men­tal right to vote for our lead­ers. Think about that: half. Fifty per­cent of Amer­i­cans: when women only won the right in 1920 and after amend­ing the Con­sti­tu­tion. When African Amer­i­cans fought for a hun­dred years and only ful­ly won the right in 1965 with the Vot­ing Rights Act. These are significant–if sig­nif­i­cant­ly belated—achievements, and, to be sure, they’re the rea­son so many peo­ple trea­sure their vote as a pre­cious token of polit­i­cal auton­o­my. But non-vot­ers are an invis­i­ble enig­ma: no one talks much about the appalling­ly low turnout in this coun­try, except to men­tion it in pass­ing. So doc­u­men­tary film­mak­er Errol Mor­ris (The Thin Blue Line, The Fog of War), provo­ca­teur and social crit­ic, decid­ed to dis­cuss the issue with over 50 peo­ple under the age of 40. The result is the short film above, teas­ing­ly titled “11 Rea­sons Not to Vote?”

What Mor­ris found con­founds the faithful—the junkies scowl­ing into their micro­fiche read­ers. Non-vot­ers, and the unde­cid­ed, can take a larg­er view; as Mor­ris points out in his accom­pa­ny­ing New York Times essay, non-vot­ers not only com­ment on the fact that no major par­ty can­di­date has dis­cussed issues so many peo­ple care about—poverty, cli­mate change, the drug war, the dys­func­tion­al prison system—but non-vot­ers real­ize that if no one’s talk­ing, noth­ing will be done. Some of them may be cyn­i­cal, but many more may just­ly say they’re real­ists. Per­haps it’s us, the vot­ers, who are dream­ers.

The 11 rea­sons Mor­ris gives, with tongue lodged in cheek, are as fol­lows (with my explana­to­ry gloss­es in paren­the­ses):

  1. You can’t depend on demigods (Hint: politi­cians aren’t demigods, even when they seem so)
  2. Like jazz, apa­thy is an Amer­i­can art form (slack, an appro­pri­ate response to polit­i­cal fun­da­men­tal­ism?)
  3. Flori­da (deba­cle, year 2000)
  4. The Elec­toral Col­lege (does any­one under­stand this thing?)
  5. Missed entre­pre­neur­ial oppor­tu­ni­ties (one vote, one price)
  6. Poten­tial extra­di­tion (absen­tee bal­lot if under ren­di­tion?)
  7. Awk­ward fam­i­ly din­ners (vot­ing out of spite for fam­i­ly mem­bers)
  8. Traf­fic (acci­dents on the way to polls can­celed out by dat­ing oppor­tu­ni­ties at the polls)
  9. Forced analo­gies (warn­ing: involves foot­ball)
  10. Overzeal­ous advo­cates (car­rots and sticks)
  11. Mas­culin­i­ty is under­ap­pre­ci­at­ed (The Man: stick it to him)

I come away from Morris’s exer­cise sub­dued, not cured, but per­haps ready to wean myself away enough to look at why we make elec­tions mat­ter so much, when they seem to do so lit­tle for so many. That said, how­ev­er, I’m still going to vote. The com­ment that struck me more than any oth­er was this: “If you don’t vote, you can­cel your own vote.” Mor­ris replies, “that’d be stu­pid.” And it would be, I think, damn it all.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Watch Steven Spielberg’s Rarely Seen 1968 Film, Amblin’

In 1968, Steven Spiel­berg was 21 years old and the hip­pie coun­ter­cul­ture was swirling all around, but his mind was focused on one thing only: mak­ing movies.

Spiel­berg had been crank­ing out 8mm films since he was 12 years old, and he had been hang­ing around the sound stages and edit­ing rooms of Uni­ver­sal Pic­tures as an unpaid clerk and errand boy since the sum­mer after his junior year in high school, absorb­ing every­thing he could about the process of film­mak­ing. He hoped some­one would give him a chance to direct a project–any project. He tried to gen­er­ate inter­est by tak­ing his child­hood films around to pro­duc­ers. “I would bun­dle the pic­tures in a brief­case and lit­er­al­ly car­ry my pro­jec­tor over to some­body’s office,” Spiel­berg told Enter­tain­ment Week­ly last year. “It was like I was a very young Willy Loman; box­ing up my wares and going from stu­dio office to stu­dio office. Not a lot, but maybe 10 per­cent of the pro­duc­ers that I tried to get to see my films did see my films.”

Spiel­berg real­ized he need­ed some­thing more pro­fes­sion­al to show. He found a busi­ness­man to finance a 35mm short film. Denis C. Hoff­man, who ran an opti­cal effects house called Cine­fx, read a script Spiel­berg had writ­ten and agreed to give the young man $10,000 to make the film , so long as it fea­tured music by a band he man­aged, called Octo­ber Coun­try. The film was to be called Amblin’.

“It was going to be a tone poem about a boy and a girl who meet in the desert, hitch­hik­ing their way to the Pacif­ic Ocean,” Spiel­berg told EW. “Very sim­ple sto­ry. I wrote it in a day.” Spiel­berg asked Richard Levin, a young man work­ing at the Bev­er­ly Hills library, to play the male lead. He found the female lead, Pamela McMyler, in a direc­to­ry of actors. The sto­ry is told in pic­tures and sound effects, with no dia­logue. Spiel­berg would lat­er dis­miss Amblin’ as lit­tle more than a “Pep­si com­mer­cial,” but the film clear­ly shows Spiel­berg’s gift for visu­al sto­ry­telling. His ear­ly men­tor at Uni­ver­sal Pic­tures, Chuck Sil­vers, said of his reac­tion to Amblin’: “I looked at what I still feel is the per­fect motion pic­ture.”

Although Spiel­berg would go on to name his film and tele­vi­sion com­pa­ny Amblin Enter­tain­ment, he’s not all that fond of Amblin’ the film. “I can’t look at it now,” he said in 1978. “It real­ly proved how apa­thet­ic I was dur­ing the Six­ties. When I look back at that film, I can eas­i­ly say, ‘No won­der I did­n’t go to Kent State,’ or ‘No won­der I did­n’t go to Viet­nam or I was­n’t protest­ing when all my friends were car­ry­ing signs and get­ting clubbed in Cen­tu­ry City.’ I was off mak­ing movies, and Amblin’ is the slick by-prod­uct of a kid immersed up to his nose in film.”

Relat­ed Con­tent:

Watch Steven Spielberg’s Debut: Two Films He Direct­ed as a Teenag­er

Ter­ry Gilliam: The Dif­fer­ence Between Kubrick (Great Film­mak­er) and Spiel­berg (Less So)

Steven Spiel­berg on the Genius of Stan­ley Kubrick

Troma Entertainment, the Maker of Acclaimed B‑Movies, Puts 150 Free Films on YouTube

It all began in 1974. That’s when Tro­ma Enter­tain­ment began pump­ing out schlocky, low-bud­get B‑films that some­how gar­ner the respect of seri­ous cineast­es. As you may know, Tro­ma’s films often fea­ture sex, gore, and graph­ic vio­lence. They also seem cus­tom made for the low-def, pell-mell world of YouTube. Which brings me to my point: Tro­ma has put over 150 movies from its back cat­a­logue on a new YouTube chan­nel, giv­ing users every­where free access to their dis­tinc­tive low­brow films.

The col­lec­tion includes Can­ni­bal! The Musi­cal, the first fea­ture film cre­at­ed by South Park cre­ators Trey Park­er and Matt Stone. But let’s not over­look these hon­or­able men­tions: The Bat­tle of Love’s Return where Oliv­er Stone made his act­ing debut; Night­beast, which fea­tures music writ­ten by JJ Abrams; and Tromeo and Juli­et, the well-reviewed 1996 film that lured in view­ers by promis­ing “Body Pierc­ing, Kinky Sex, Dis­mem­ber­ment, The Things That Made Shake­speare Great!”

The Tro­ma cat­a­logue also offers some clas­sic films, includ­ing the 1932 film White Zom­bie with Bela Lugosi and No Sub­sti­tute For Vic­to­ry!, a pro­pa­gan­dis­tic pro-Viet­nam War doc­u­men­tary host­ed by John Wayne. Select films from the Tro­ma YouTube col­lec­tion will find their way onto our list of 500 Free Movies Online.

Thanks go to Car­los S. for flag­ging these for us.

Relat­ed Con­tent:

21 Free Hitch­cock Movies Online

John Wayne: 25 Free West­ern Films on the Web

Tarkovsky Films Now Free Online

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