David Holzman's Diary - Knowledge (XXG)

195:

have taped separately and added to the film later, such as radio broadcasts. David interviews some people and lets others talk freely to the camera. In a scene about one-third of the way into the film, his friend Pepe gives an extended monologue on his critical assessment of the diary as it is shaping up so far, namely that David is making "a very bad work of art." Saying, "Your life is not a very good script," Pepe recommends that David try harder to find what is truly interesting. If he's going to focus on himself—someone who "is not a good character" to watch—then maybe he should take more risks, expose his vulnerabilities—perhaps even try filming himself standing naked in front of the camera, for as long as it takes to find some interesting truths. (

586:

overt than in David's scene with the unnamed character dubbed by some as the "Thunderbird Lady." This extended scene of a woman—a self-proclaimed nude model—sitting in her car and talking boldly and crudely to the cameraman, mostly about sex—is just too extreme for an actual unmediated encounter, even on the streets of New York. Several critics noted her exaggerated performance for the camera, as well as the fact that she also altered what was going on behind the camera during this scene. L. M. Kit Carson reports that he "choked and dummied up" and "became so unnerved" at this bizarre interview situation that Michael Wadleigh had to take over and complete the interview for him, something barely noticeable in the final film.

560:

equipment, location filming, minimal editing, unknown actors, improvised dialogue, and highly personal subject matter, with the David character talking extensively about himself. Louise Spence and Vinicius Navarro identify some additional techniques: "the direct address to the camera, the wandering narrative, the visual and aural disorder (muddy sound and blurred focus), and the compulsive use of dates to describe the day's filming." Altogether, they write, this carefully crafted film violated "the contract that binds documentary filmmakers to their audiences;" it did a lot of work to "upset our faith in documentary representation and presumptions that are often associated with non-fiction cinema."

739:

permission, and thereby to potentially make those images public. Part of David's motivation for asserting this power, Latham writes, is that he is experiencing flipped gender roles, or "patriarchy in crisis." In an era when women (as well as people of color and members of the LGBT community) are gradually gaining some power in public spaces, David "represents the growing realization that male power over women is waning." Whereas Sandra, Penny, and the anonymous subway woman "are independent and associated with the outside man's world, David is comparatively needy, impotent, and isolated in his small inner world. is willing to indulge him, except she is too liberated and aggressive for David."

722:. And, as David Blakeslee writes, a lot of commercials, "Still capable after all these years, and even in this incomprehensibly compressed format of delivering their powerfully efficient subliminal messages." This blast of television images speaks to aspects of David's life including the multitudes of images coming to him (and us) daily; and his rather boring life, insular and filled with TV and radio broadcasts along with film. It may also refer to Godard's "24 frames per second," how each individual frame conveys meaning in itself and in relation to other frames, in this case with a total of about 3,600 consecutive frames. 346:'s was new and exciting, and when a lot of underground filmmakers were trying to use the medium in a more poetic way, as an exercise in different kinds of liberation—you know, from personal liberation to liberation from the classical forms of filmmaking. So there were a lot of alternatives to Hollywood moviemaking then. These movies were all trying to find a new way of looking at life. And I was a young, idealistic filmmaker dealing with these same questions. You know: what is one supposed to be trying to do in the movies and how ought one go about doing it? My film, 384:"was basically written (when it was written) on a scene by scene basis" with the actors involved. Other scenes were completely impromptu, such as the one with "the frank sexual talk from the lady in the Thunderbird–actually a transsexual who'd recently undergone a sex-change operation." David B. Lee describes this woman as actually a "pre-op transsexual," and more importantly notes that this is the only woman in the film who isn't victimized by David's camera; who instead openly engages with it, cracking bawdy jokes and even explicitly soliciting sex. 556:

screening were reportedly "outraged" at the film, which also was "booed at the 1968 San Francisco Film Festival when the end credits revealed it to be fiction." A college newspaper review noted a sense of "great shock" at having "thought we'd found a truth about life from a film of lived life; instead, we got that meaning from a piece of imaginative art." L. M. Kit Carson said that, given such reactions, when MoMA was to screen the film in 1968, the museum billed the film as a comedy rather than a documentary.

726:

film, poking into peoples' lives, David alienates and even endangers women and gets himself punched by a cop. As Jaime N. Christley observes, "we meet David in personal and professional freefall. Bad choices, bad pathology, and just plain bad luck coalesce into a black cloud that eventually consumes his life, and before the spare title cards indicate the film's conclusion, our hero will have lost his girlfriend, his camera and sound kit, and revealed himself to be a minor sociopath with major control issues."

688:

an "endless stream of Top Forty radio and a wondrous, hectic view of television." The Top Forty radio that David listens to includes news reports of war and social unrest along with popular music; and the "hectic view" refers to the sequence that David made by filming one frame from each shot from a whole evening's worth of network TV. Sitting all evening and clicking his camera once after every shot transition, David produced a two-and-a-half minute deluge of separate shots from a

380:, a mode of production defined not by genre but by a drastic lack of production resources along with a by-any-means-necessary mindset. The needed resources include money, equipment, facilities, and professional cast and crew; lacking them requires filmmakers to be very economical and creative, as with McBride and Carson's use of the $ 2,500 MoMA book money. Or with the writing of the film's dialogue. Film critic Jonathan Rosenbaum says the dialogue in 754:(1960) and their related issues. Jonathan Rosenbaum writes, for example, that these films examine "notions of the camera as a probing instrument, especially in relation to voyeurism and other forms of aggressive sexual appropriation as well as self-scrutiny." Other critics note the public-private irony of fashion model Penny being unwilling to appear in David's film; or that David is "naked to everyone, but invisible to himself." 203:

increasingly obsessed with filming Penny, without her permission, and even once when she's sleeping in the nude. In that particular moment, she wakes up and attacks him for this transgression, and breaks up with him; this is followed by several failed attempts to contact her, and his monologue praising masturbation. David also repeatedly films through the window of a woman across the street, whom he nicknames

684:

the lives of others, unfortunately often negatively. Film critic Chuck Kraemer captures some of this complexity when he writes that David is, "every down-and-out filmmaker struggling for a vision, every sensitive New Yorker overwhelmed by the city's visual fecundity, every young man suffering lost love, every inchoate artist trying to sort out his life, to explain himself to himself, and to the world."

611:

countering a documentary tradition in which human beings were primarily used to illustrate various social themes." Filmmakers including Richard Leacock, D.A. Pennebaker, Andrew Noren, and the Maysles brothers. Regarding the extent to which his film mocks such filmmakers, McBride says he was not criticizing specific works or people; instead, he was jabbing at ideas—popular ideas about film and truth:

162:. A feature-length film made on a tiny budget over several days, it is a work of experimental fiction presented as an autobiographical documentary. "A self-portrait by a fictional character in a real place—New York's Upper West Side," the film comments on the title character's personality and life as well as on documentary filmmaking and the medium of cinema more generally. In 1991, 762:

precursor of sorts to the 21st century phenomenon of YouTube vloggers who chronicle their lives to varying degrees of mundane detail, seeking to pull viewers into whatever fascinating experiences or excruciating dilemmas they think would hold their attention. Obviously, a lot has happened in the realm of personal public self-disclosure on film and video between 1967 and now."

451:. Regarding the MoMA screening, L. M. Kit Carson said the museum, "was not happy that we did not make the contracted book," until the film won awards at festivals. "Then the Museum arranged for a high-profile Special Screening of the mock-doc – the beginning of a film-series called CINEPROBE" and then added the film to its collection. 191:, he says he has decided to make a video diary to try to document and understand his life. After this introduction, what follows is a series of filmed diary entries that David makes over a period of several days, depicting his daily life, his surroundings, and his most personal thoughts and feelings. 761:

sometimes refer to how technology and culture have evolved since the 1960s, further blurring boundaries between private and public. For example, David Blakeslee writes that when he watched the film recently on the Vimeo website, he knew practically nothing about it, except that "it could be seen as a

683:

depicts complicated relations between art and life; how David's life motivates and shapes his art, and vice versa. How his social life, his daily life at home, his background in film—all shape his artistic energy and choices, with various affects. And, vice versa, how David's art shapes his life, and

568:

As soon as you start filming something, whatever happens in front of the camera is not reality any more. It becomes a work of art ... And you stop living somehow. And you get very self-conscious about anything you do. 'Should I put my hand here?' ... 'Should I place myself on this side of the frame?'

365:

Halfway through the book-writing, McBride says to me: "There is no Truth on Film. Basically as soon as you turn the camera on – everything changes – to not real – gets like unreal." So we decide it's more quote/unquote "un-truth-ful" to write this book – we decide not to write this book. We take the

194:

In some scenes, David goes around filming his neighborhood, from various people and historical buildings to spontaneous moments such as police officers helping an apparent robbery victim. This video is sometimes silent and at other times accompanied by dialogue or ambient sound, or sound that he may

687:

For David, art and life are fused in New York film culture. He is deeply immersed in films, constantly thinking about them, watching them, and quoting other people about them. Film is his obsession, but his daily life also includes radio and TV consumption. As Brody writes, David's city life depicts

509:

When I first got my 8mm sound camera, I'd carry it around like David Holzman and try to film everything I did and look at it. My friends and I had cameras all the time and we were all film directors. I filmed a whole section of my life—people I was going out with, my friends. I just shot everything.

496:

gradually became "a classic, shown in university classes and film classes" for reasons including its engagement with film theory and practice. In terms of film practice, it shows a young man using various newly available film technologies and innovative techniques, including "static long takes with

615:

There was this general feeling or idea that there was this kind of truth that could be revealed that had never been revealed before. This was very enticing to me, but at the same time it was also silly, the idea that there is some kind of objective truth that can be revealed. And so I got this idea

589:

David begins his diary by quoting Godard's famous statement that the medium of cinema is "truth twenty-four times a second." However, as Edward Copeland has observed, David does not mention that Godard's full quote ends with, "and every cut is a lie." Many writers have discussed the implications of

413:

It's kind of a complicated process, but we would go out and shoot something for somebody and if he had to shoot something on the following Monday, say, we'd keep the equipment over the weekend. So Mike's idea was, this movie you want to make, why don't we just use this free equipment we have on the

725:

David's life is shaped by images and popular culture, but he is not simply a passive consumer. He is an energetic and creative young filmmaker. Making films takes up a lot of his time, and affects his life, and those of other people, in various ways, not always with good results. While making his

563:

Further blurring lines between fiction and fact, this film explores how, even in actual documentaries, truth can be manipulated—consciously or unconsciously—before, during, and after filming. Vincent Canby wrote that the film "highlights questions we all have about the quality of truth that can be

418:

The choice of the Upper West Side location for the film came from McBride's own life experience: "I was born and raised there and I still lived there, not with my parents but I still lived in the neighborhood long after I left home and so these were the streets that I walked, these were the things

202:

Most often in the film, David sits at home talking to his Lavalier microphone and 16mm Éclair camera about topics important to him, from film theory to his girlfriend Penny, who is a fashion model. Over the several days of making his diary, and maybe following some of Pepe's advice, David becomes

182:

L. M. Kit Carson plays David, a young white man living alone in his modest studio apartment on Manhattan's West 71st Street during July 1967. The film begins without the conventional opening credits or music that would signify a professionally made documentary or fiction film. Instead, it's just

774:

was made by a small group of young and virtually unknown people who mostly continued to be unknown. This was the feature film debut for McBride and Carson; both of them continued to work over the years together or separately on some film and TV projects. Carson worked as a writer on the 1984 film

218:

David's diary project hits bottom after he leaves town for a day, to attend a family funeral, and returns to find all of his film equipment stolen. He reveals this in his last diary entry, which combines an audio recording of his voice with a series of photos David made of himself with rented or

585:

of documentary filmmaking, namely "the inevitable effect of the presence of an observer on the behavior of the observed." For better or worse, consciously or not, overtly or subtly, people often play to the camera, behaving differently than they otherwise would. Nowhere in this film is this more

478:

would be remembered as "the underground autobiographical cinema verité film of the sixties," and that "scholars of the nineties will revere it." Since then, the film has remained obscure to the general public while developing and maintaining a strong critical reputation, such that its ratings on

555:

This film's engagement with fact vs. fiction elicited some of its earliest and strongest critical reactions, namely from audience members who felt duped; angry that they were led to believe that David Holzman was an actual person and the film was a documentary. Viewers at the Flaherty Seminar

610:

as a satire of documentary films or filmmakers. For example, that the film "takes funny jabs" at the self-importance or seriousness of practitioners of the new "personal cinema." These were filmmakers who "established a new relationship with their subjects: intimate, revelatory and personal,

223:

takes a sudden unexpected turn. It displays a title card (still no sound) saying simply "DAVID HOLZMAN'S DIARY," followed by another card identifying L.M. Kit Carson as the actor playing him. Then some cards for the rest of the cast and the crew. The cards effectively acknowledge that the

559:

All this shock and anger may seem to be overreacting, but the film touched a nerve by being so convincing and waiting until the latest possible moment to reveal that it was all staged. The film was so convincing due to many techniques, including its consistent use of mobile camera and sound

738:

One key part of this film's engagement with art and life is its depiction of relations between public and private, relations that are gendered. As James Latham writes, David uses his film project partly to assert power over women; to spy on them, stalk them, and record them with or without

501:-like views of everyday grotesquerie." It shows David using these techniques in making a diary film, a format that is technically simple and affordable—a natural option for young creative filmmakers with limited resources. One such young filmmaker at the time was 670:

that were unusual at the time but have become more common, such as the direct address by characters to the camera, or the creative use of end credit sequences, usually in the form of entertaining behind-the-scenes outtakes captured while making fiction films.

602:

describes the film as, "One of cinema's most pointed statements about the impossibility of objectivity in film." Similarly, Justin Stewart calls the film "a hoaxed blast of 'reality' whose main subject is the impossibility of objective documentation."

302:

as Lulu. This is what David refers to in the beginning of his film when he cites "the famous Lulu's diary" as an inspiration for his work. Jaime N. Christley notes some other cinematic influences, saying that, "the real point of origin is either

564:

captured by the cinema verité camera," and about the "awful possibilities for distortion" via the editing process. In his critical monologue within the film, Pepe speaks to how the act of filming can change what's being filmed:

547:. Film critics, scholars, and fans also have written a lot about various aspects of the film, mostly its complicated relations between fact and fiction; between art and life; and between the public and private spheres. 219:

borrowed equipment. Disappointed and disillusioned, he says that this is the end of the film. The sound then stops and the image goes black for about ten seconds, seemingly the end of this diary film. But then

350:, was about this guy who makes a diary of his own life to try to find some truth that he can't perceive in real time. It was meant to be kind of an ironical formula, let's say, to explore a lot of those ideas. 1331: 1144: 289:

stands as one of the few American equivalents to the work which Godard was doing at the time." The French New Wave clearly was an inspiration for this film, but there were others as well. One influence was

361:, intended for him and McBride to research and write a book on cinema verité. After conducting several filmmaker interviews, they changed their minds and decided to do something better with the money: 183:

David at home saying plainly that he has recently lost his job and may soon be drafted into the military and sent to Vietnam. He does not identify the job in question, but his apartment décor and

294:, a book published in 1905 as a supposedly authentic diary of a prostitute named Thymian, but actually written by its "editor," Margarete Böhme; it was later adapted into a popular 1929 German 409:, and not simply as its cinematographer. According to McBride, Wadleigh was doing commercial work at the time, and took creative advantage of that situation to get resources for their film: 414:

weekends and shoot stuff. So that's what we did. We used leftover film stock. To process the film we would go to the lab under the aegis of some other project we were working on.

366:$ 2,500.00 book-advance – and over the 10-day Easter Break from college – we make a cinema-verite mock-documentary – we figure it's the strongest way to question cinema-verite: 2485: 1339: 1152: 215:. And, in another scene, he follows an anonymous woman out of the subway and onto the street, quietly stalking her until she turns around and tells him, "Beat it!" 440: 285:." Jaime Wolf writes that, "At once a fictional narrative within a recognizable documentary setting and a kind of essay on the conditions of filmmaking, 281:

Film critic Richard Brody writes that, "This ingenious, scruffy 1967 metafiction by Jim McBride is an exotic fruit grown in New York from the seed of the

2190:

Latham, James (Summer 2007). "'Your Life is Not a Very Good Script': David Holzman's Diary and Documentary Expression in Late-1960s America and Beyond".

2171:

Latham, James (Summer 2007). "'Your Life is Not a Very Good Script': David Holzman's Diary and Documentary Expression in Late-1960s America and Beyond".

2152:

Latham, James (Summer 2007). "'Your Life is Not a Very Good Script': David Holzman's Diary and Documentary Expression in Late-1960s America and Beyond".

967: 466:, for being "culturally, historically, or aesthetically significant." It has since had varying distribution on videotape, laserdisc, DVD, and online. 436: 357:

was filmed in about a week with borrowed equipment and a mere $ 2,500 budget. According to L.M. Kit Carson, the money came from a book advance from

2480: 2308:

essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010

2500: 2520: 2510: 2353: 2505: 2495: 1911: 489:

website says that "this provocative, endlessly self-conscious film today stands as one of the best independent films of the 1960s."

431:

was not distributed theatrically. However, it had early successes at film festivals, cinema clubs, and museums. It screened at the

857: 616:

to make a film about a guy who thought he could find out the truth about himself and about his life by filming it, and not succeed.

393: 326:, depending on where you draw the fault lines." James McBride identified his more immediate American context for making the film: 690: 187:

personality imply that it may have involved film. Sitting on a chair with film equipment and posters behind him, and quoting

2313: 702: 448: 1635:"The Dull and the Zippy David Holzman's Diary at Lowell Dining Hall, 8 p.m. Saturday and Dunster Dining Hall, 8 p.m. Sunday" 2530: 2525: 730:

likewise lauds the film for being "unafraid to present and implicitly criticize the more unpleasant sides of its 'hero.'"

447:, and Pesaro film festivals. It screened in 1968 at the Flaherty Seminar and the Museum of Modern Art, and in 1973 at the 444: 594:

for truth beyond the area of documentary film—for cinema and photographic media more generally. Emanuel Levy writes that

1073: 917: 2447: 2407: 2255: 2083: 811: 2515: 2490: 817: 662: 2439: 2423: 2346: 827:. Michael Wadleigh directed and was a cinematographer and writer for the Oscar-winning 1970 concert documentary 335: 1994: 943: 2057: 1634: 1021: 992: 750: 718: 626: 2415: 2391: 1445: 787: 782: 459: 432: 174:, being deemed "culturally, historically, or aesthetically significant" and recommended for preservation. 167: 1832: 898: 582: 1523: 1386: 624:

sometimes group the film with subsequent fiction films that likewise posed as documentaries, including

2339: 2127: 1859: 1332:"Hope for Film: David Holzman Was So Far Ahead Of The Parade You Might Have Missed He Was Leading It" 1145:"Hope for Film: David Holzman Was So Far Ahead Of The Parade You Might Have Missed He Was Leading It" 708: 497:

monologues; extended passages of black screen; fish-eye distortions; lateral travellings that offer

377: 358: 295: 1942: 1765: 1720: 1608: 1047: 2475: 2470: 2399: 799: 777: 523: 463: 171: 331: 199:

is one underground filmmaker from this time and place who had a lot of such nudity in his films.)

2229: 2102: 2020: 1708:

Canby, Vincent (9 December 1973). "Your Life Might Make a Good—or Bad—Movie". The New York Times.

1099: 696: 636: 322: 212: 902: 2309: 2289: 1397: 865: 631: 2326: 2211:"David Holzman's Diary/My Girlfriend's Wedding: Historical Artifacts of the Past and Present" 1497: 1202:"David Holzman's Diary/My Girlfriend's Wedding: Historical Artifacts of the Past and Present" 1176:"David Holzman's Diary/My Girlfriend's Wedding: Historical Artifacts of the Past and Present" 2431: 1818:"David Holzman's Diary (1968): Jim McBride's Impressive Directing Debut Starring Kit Carson" 1791: 1472:"David Holzman's Diary (1968): Jim McBride's Impressive Directing Debut Starring Kit Carson" 829: 823: 402: 343: 266: 208: 159: 76: 58: 48: 1817: 1471: 2300: 1968: 1919: 1885: 1845: 1305: 1279: 1253: 804: 480: 388: 339: 282: 188: 1420: 2294: 521:

has been referenced directly or indirectly in subsequent films including the 1969 drama

2383: 891: 713: 656: 502: 317: 2464: 835: 795: 578: 569:

And your decisions stop being moral decisions, and they become aesthetical decisions.

304: 299: 529: 387:

Earlier in the 1960s, McBride had attended NYU's film school, in the same class as

312: 237: 196: 147: 598:

is an example of "the impossibility of achieving complete objectivity on screen."

2317: 543:. In 2011, Kevin B. Lee made a two-part online documentary about the film titled 2363: 2331: 792: 744: 645: 498: 483:

are 91% approval among critics and 76% approval among audiences. Likewise, the

155: 30: 2321: 151: 869: 535: 308: 184: 224:

preceding was a work of fiction posing as an autobiographical documentary.

485: 2283: 2045:

Kraemer, Chuck (14 March 1973). "David Holzman's Diary". The Real Paper.

1409:

Kraemer, Chuck (14 March 1973). "David Holzman's Diary". The Real Paper.

427:

A highly unconventional film made completely outside the studio system,

166:

was included in the annual selection of 25 motion pictures added to the

1362: 419:

that I saw. was kind of my world and I wanted to share a little bit."

858:"Screen:' David Holzman Diary' Spoofs Cinema Verite (Published 1973)" 807: 2210: 1201: 1175: 1124:

McBride, James (September 1987). "Dialogue on Film: Jim McBride".

650: 1550:"Diary on David Holzman, Part 1: The Sons and Daughters of David" 666:. Other writings from recent years cite filmmaking techniques in 2335: 2327:

Richard Brody's take on the 1967 cult classic at The New Yorker

1572:"Diary on David Holzman, Part 2: Getting to the "Real" Stuff" 1571: 1549: 1228:"Diary on David Holzman, Part 2: Getting to the "Real" Stuff" 1227: 833:, and directed, wrote, and acted in the 1981 horror thriller 2322:

The entire movie officially posted by Kino Lorber on YouTube

272:

Additional Photography – Paul Goldsmith and Paul Glickman

742:

Many writers have noted the film's clear references to

712:, and a talk show; and then a late-night airing of the 401:, we were both working with the same cinematographer, 1074:"A Lost Girl, a Fake Diary, and a Forgotten Author" 131: 123: 115: 105: 82: 72: 64: 54: 44: 36: 26: 21: 890: 510:I directed the scenes, too. And it all came from 944:"U.S. FILM REGISTRY ADDS 25 'SIGNIFICANT' MOVIES" 573:Putting this differently, Jaime Wolf writes that 492:After its initial years on the festival circuit, 405:." It turns out that Wadleigh was key to making 1596:. New York: W.W. Norton & Co. p. 483. 815:, as well as episodes of the television shows 316:(which won the documentary Oscar for 1967) or 2347: 8: 1695:Crafting Truth: Documentary Form and Meaning 1680:Crafting Truth: Documentary Form and Meaning 2486:United States National Film Registry films 2354: 2340: 2332: 1693:Spence, Louise; Navarro, Vinicius (2011). 1678:Spence, Louise; Navarro, Vinicius (2011). 918:"DVD of the Week: 'David Holzman's Diary'" 458:was selected for preservation in the U.S. 18: 1745:Carson, L.M. Kit (1969). "A Voice-Over". 1659:Carson, L.M. Kit (1969). "A Voice-Over". 968:"Complete National Film Registry Listing" 1912:"Amusing cinéma vérité faux documentary" 2209:Rosenbaum, Jonathan (14 October 2006). 1697:. Rutgers University Press. p. 31. 1682:. Rutgers University Press. p. 31. 848: 2254:Blakeslee, David (28 September 2015). 2082:Blakeslee, David (28 September 2015). 1841: 1830: 1633:Kaplan, Martin H. (19 February 1971). 1498:"David Holzman's Diary by Jim McBride" 770:Typical for a small independent film, 654:." Jaime N. Christley groups it with 474:In 1973, Chuck Kraemer predicted that 7: 2228:Christley, Jaime N. (13 June 2011). 2101:Christley, Jaime N. (13 June 2011). 2019:Christley, Jaime N. (13 June 2011). 1098:Christley, Jaime N. (13 June 2011). 734:Relations Between Public and Private 1967:Stewart, Justin (31 January 2013). 1884:Stewart, Justin (31 January 2013). 1304:Stewart, Justin (31 January 2013). 1278:Stewart, Justin (31 January 2013). 1252:Stewart, Justin (31 January 2013). 330:I entered the world of movies when 251:Sandra's Boyfriend – Michael Levine 1524:"Guilty Pleasures: Brian De Palma" 1072:Gladysz, Thomas (26 August 2010). 679:Many writers have noted ways that 551:Relations Between Fact and Fiction 248:Woman on the subway – Fern McBride 14: 2056:Brody, Richard (26 August 2016). 1790:Copeland, Edward (29 July 2011). 1522:De Palma, Brian (May–June 1987). 1020:Brody, Richard (26 August 2016). 1910:Schwartz, Dennis (5 July 2011). 1330:Carson, L.M. Kit (7 June 2011). 1143:Carson, L.M. Kit (7 June 2011). 991:Mekas, Jonas (15 January 1970). 942:Kehr, Dave (26 September 1991). 694:newscast; then from episodes of 583:Heisenberg Uncertainty Principle 254:Max (Penny's agent) – Bob Lesser 233:David Holzman – L. M. Kit Carson 2058:"Movies: David Holzman's Diary" 1941:Wolf, Jaime (26 October 1994). 1764:Wolf, Jaime (26 October 1994). 1719:Wolf, Jaime (26 October 1994). 1607:Wolf, Jaime (26 October 1994). 1363:"National Film Registry Titles" 1046:Wolf, Jaime (26 October 1994). 1022:"Movies: David Holzman's Diary" 916:Brody, Richard (2 April 2013). 644:as, "much more convincing than 207:, after the title character in 2481:American black-and-white films 2256:"David Holzmans' Diary (1967)" 2084:"David Holzmans' Diary (1967)" 1570:Lee, Kevin B. (13 June 2011). 1548:Lee, Kevin B. (13 June 2011). 1226:B. Lee, Kevin (13 June 2011). 893:The Film Director as Superstar 675:Relations Between Art and Life 449:Whitney Museum of American Art 394:Who's That Knocking at My Door 1: 2501:Films directed by Jim McBride 1816:Levy, Emanuel (12 May 2012). 262:Writer-Director – Jim McBride 2521:1960s English-language films 2511:1968 directorial debut films 791:. McBride directed the 1987 606:Many writers have described 539:, and the 2002 comedy short 2506:American mockumentary films 2448:Meat Loaf: To Hell and Back 1592:Jacobs, Lewis, ed. (1968). 1496:Martin, Adrian (May 2003). 437:San Francisco Film Festival 2547: 2496:American docufiction films 1796:Edward Copeland's Tangents 856:Sayre, Nora (1973-12-07). 663:Exit Through the Gift Shop 527:, the 1974 comedy feature 2370: 2285:David Holzman's Diary 1916:Ozus' World Movie Reviews 1594:The Documentary Tradition 897:. Garden City, New York: 577:applies what film critic 1969:"Interview: Jim McBride" 1947:The Criterion Collection 1886:"Interview: Jim McBride" 1770:The Criterion Collection 1725:The Criterion Collection 1613:The Criterion Collection 1306:"Interview: Jim McBride" 1280:"Interview: Jim McBride" 1254:"Interview: Jim McBride" 1052:The Criterion Collection 757:More recent writings on 620:More recent writings on 533:, the 2001 comedy-drama 439:, and won awards at the 359:The Museum of Modern Art 292:The Diary of a Lost Girl 2230:"David Holzman's Diary" 2128:"David Holzman's Diary" 2103:"David Holzman's Diary" 2021:"David Holzman's Diary" 1995:"David Holzman's Diary" 1943:"David Holzman's Diary" 1860:"David Holzman's Diary" 1766:"David Holzman's Diary" 1721:"David Holzman's Diary" 1609:"David Holzman's Diary" 1446:"David Holzman's Diary" 1421:"David Holzman's Diary" 1100:"David Holzman's Diary" 1048:"David Holzman's Diary" 889:Gelmis, Joseph (1970). 691:Huntley-Brinkley Report 627:The Blair Witch Project 1840:Cite journal requires 1747:Film Library Quarterly 1661:Film Library Quarterly 1398:Kino Lorber Home Video 781:and on McBride's 1983 640:. Dave Kehr describes 618: 571: 545:Diary of David Holzman 516: 460:National Film Registry 433:New York Film Festival 416: 371: 368:David Holzman's Diary. 352: 245:Sandra – Louise Levine 168:National Film Registry 2376:David Holzman's Diary 2306:David Holzman's Diary 2296:David Holzman's Diary 2260:Criterion Reflections 2215:JonathanRosenbaum.net 2088:Criterion Reflections 1206:JonathanRosenbaum.net 1200:Rosenbaum, Jonathan. 1180:JonathanRosenbaum.net 1174:Rosenbaum, Jonathan. 772:David Holzman's Diary 759:David Holzman's Diary 681:David Holzman's Diary 668:David Holzman's Diary 642:David Holzman's Diary 622:David Holzman's Diary 613: 608:David Holzman's Diary 596:David Holzman's Diary 592:David Holzman's Diary 575:David Holzman's Diary 566: 519:David Holzman's Diary 512:David Holzman's Diary 507: 494:David Holzman's Diary 476:David Holzman's Diary 456:David Holzman's Diary 429:David Holzman's Diary 411: 407:David Holzman's Diary 399:David Holzman's Diary 391:. "When he was doing 382:David Holzman's Diary 374:David Holzman's Diary 363: 355:David Holzman's Diary 348:David Holzman's Diary 328: 287:David Holzman's Diary 221:David Holzman's Diary 164:David Holzman's Diary 143:David Holzman's Diary 22:David Holzman's Diary 2531:Self-reflexive films 2526:1960s American films 2408:Great Balls of Fire! 812:Great Balls of Fire! 709:The Dean Martin Show 470:Reception and legacy 378:guerrilla filmmaking 1639:The Harvard Crimson 1078:The Huffington Post 993:"Kodak Ghost Poems" 972:Library of Congress 464:Library of Congress 242:Pepe – Lorenzo Mans 172:Library of Congress 146:is a 1967 American 2362:Films directed by 948:chicagotribune.com 862:The New York Times 637:This is Spinal Tap 323:Land Without Bread 16:1967 American film 2516:1968 comedy films 2491:1967 comedy films 2458: 2457: 1922:on 29 August 2018 1000:The Village Voice 632:Christopher Guest 581:described as the 505:, who said that: 139: 138: 2538: 2356: 2349: 2342: 2333: 2316:, pages 619-620 2271: 2270: 2268: 2266: 2251: 2245: 2244: 2242: 2240: 2225: 2219: 2218: 2206: 2200: 2199: 2187: 2181: 2180: 2168: 2162: 2161: 2149: 2143: 2142: 2140: 2138: 2124: 2118: 2117: 2115: 2113: 2098: 2092: 2091: 2079: 2073: 2072: 2070: 2068: 2053: 2047: 2046: 2042: 2036: 2035: 2033: 2031: 2016: 2010: 2009: 2007: 2005: 1990: 1984: 1983: 1981: 1979: 1964: 1958: 1957: 1955: 1953: 1938: 1932: 1931: 1929: 1927: 1918:. Archived from 1907: 1901: 1900: 1898: 1896: 1881: 1875: 1874: 1872: 1870: 1856: 1850: 1849: 1843: 1838: 1836: 1828: 1826: 1824: 1813: 1807: 1806: 1804: 1802: 1787: 1781: 1780: 1778: 1776: 1761: 1755: 1754: 1742: 1736: 1735: 1733: 1731: 1716: 1710: 1709: 1705: 1699: 1698: 1690: 1684: 1683: 1675: 1669: 1668: 1656: 1650: 1649: 1647: 1645: 1630: 1624: 1623: 1621: 1619: 1604: 1598: 1597: 1589: 1583: 1582: 1580: 1578: 1567: 1561: 1560: 1558: 1556: 1545: 1539: 1538: 1536: 1534: 1519: 1513: 1512: 1510: 1508: 1493: 1487: 1486: 1484: 1482: 1467: 1461: 1460: 1458: 1456: 1442: 1436: 1435: 1433: 1431: 1417: 1411: 1410: 1406: 1400: 1395: 1389: 1384: 1378: 1377: 1375: 1373: 1358: 1352: 1351: 1349: 1347: 1338:. Archived from 1327: 1321: 1320: 1318: 1316: 1301: 1295: 1294: 1292: 1290: 1275: 1269: 1268: 1266: 1264: 1249: 1243: 1242: 1240: 1238: 1223: 1217: 1216: 1214: 1212: 1197: 1191: 1190: 1188: 1186: 1171: 1165: 1164: 1162: 1160: 1151:. Archived from 1140: 1134: 1133: 1121: 1115: 1114: 1112: 1110: 1095: 1089: 1088: 1086: 1084: 1069: 1063: 1062: 1060: 1058: 1043: 1037: 1036: 1034: 1032: 1017: 1011: 1010: 1008: 1006: 997: 988: 982: 981: 979: 978: 964: 958: 957: 955: 954: 939: 933: 932: 930: 928: 913: 907: 906: 896: 886: 880: 879: 877: 876: 853: 824:The Wonder Years 403:Michael Wadleigh 397:and I was doing 344:D. A. Pennebaker 336:Maysles brothers 257:Cop – Jack Baran 209:Luchino Visconti 160:L. M. Kit Carson 98: 96: 77:New Yorker Films 68:Michael Wadleigh 59:L. M. Kit Carson 49:Michael Wadleigh 19: 2546: 2545: 2541: 2540: 2539: 2537: 2536: 2535: 2461: 2460: 2459: 2454: 2366: 2360: 2301:Rotten Tomatoes 2280: 2275: 2274: 2264: 2262: 2253: 2252: 2248: 2238: 2236: 2227: 2226: 2222: 2208: 2207: 2203: 2189: 2188: 2184: 2170: 2169: 2165: 2151: 2150: 2146: 2136: 2134: 2126: 2125: 2121: 2111: 2109: 2100: 2099: 2095: 2081: 2080: 2076: 2066: 2064: 2055: 2054: 2050: 2044: 2043: 2039: 2029: 2027: 2018: 2017: 2013: 2003: 2001: 1992: 1991: 1987: 1977: 1975: 1966: 1965: 1961: 1951: 1949: 1940: 1939: 1935: 1925: 1923: 1909: 1908: 1904: 1894: 1892: 1883: 1882: 1878: 1868: 1866: 1858: 1857: 1853: 1839: 1829: 1822: 1820: 1815: 1814: 1810: 1800: 1798: 1792:"Mock 'n' Roll" 1789: 1788: 1784: 1774: 1772: 1763: 1762: 1758: 1744: 1743: 1739: 1729: 1727: 1718: 1717: 1713: 1707: 1706: 1702: 1692: 1691: 1687: 1677: 1676: 1672: 1658: 1657: 1653: 1643: 1641: 1632: 1631: 1627: 1617: 1615: 1606: 1605: 1601: 1591: 1590: 1586: 1576: 1574: 1569: 1568: 1564: 1554: 1552: 1547: 1546: 1542: 1532: 1530: 1521: 1520: 1516: 1506: 1504: 1495: 1494: 1490: 1480: 1478: 1476:EmanuelLevy.com 1470:Levy, Emanuel. 1469: 1468: 1464: 1454: 1452: 1444: 1443: 1439: 1429: 1427: 1425:Rotten Tomatoes 1419: 1418: 1414: 1408: 1407: 1403: 1396: 1392: 1385: 1381: 1371: 1369: 1360: 1359: 1355: 1345: 1343: 1342:on 11 June 2011 1329: 1328: 1324: 1314: 1312: 1303: 1302: 1298: 1288: 1286: 1277: 1276: 1272: 1262: 1260: 1251: 1250: 1246: 1236: 1234: 1225: 1224: 1220: 1210: 1208: 1199: 1198: 1194: 1184: 1182: 1173: 1172: 1168: 1158: 1156: 1155:on 11 June 2011 1142: 1141: 1137: 1123: 1122: 1118: 1108: 1106: 1097: 1096: 1092: 1082: 1080: 1071: 1070: 1066: 1056: 1054: 1045: 1044: 1040: 1030: 1028: 1019: 1018: 1014: 1004: 1002: 995: 990: 989: 985: 976: 974: 966: 965: 961: 952: 950: 941: 940: 936: 926: 924: 915: 914: 910: 888: 887: 883: 874: 872: 855: 854: 850: 845: 805:Jerry Lee Lewis 768: 736: 677: 553: 481:Rotten Tomatoes 472: 425: 389:Martin Scorsese 340:Richard Leacock 283:French New Wave 279: 230: 189:Jean-Luc Godard 180: 108: 101: 94: 92: 85: 17: 12: 11: 5: 2544: 2542: 2534: 2533: 2528: 2523: 2518: 2513: 2508: 2503: 2498: 2493: 2488: 2483: 2478: 2473: 2463: 2462: 2456: 2455: 2453: 2452: 2444: 2436: 2428: 2420: 2412: 2404: 2396: 2388: 2384:Glen and Randa 2380: 2371: 2368: 2367: 2361: 2359: 2358: 2351: 2344: 2336: 2330: 2329: 2324: 2319: 2303: 2292: 2279: 2278:External links 2276: 2273: 2272: 2246: 2220: 2201: 2182: 2163: 2144: 2119: 2093: 2074: 2062:The New Yorker 2048: 2037: 2011: 1999:Chicago Reader 1985: 1959: 1933: 1902: 1876: 1851: 1842:|journal= 1808: 1782: 1756: 1737: 1711: 1700: 1685: 1670: 1651: 1625: 1599: 1584: 1562: 1540: 1514: 1488: 1462: 1437: 1412: 1401: 1390: 1379: 1353: 1322: 1296: 1270: 1244: 1218: 1192: 1166: 1135: 1116: 1090: 1064: 1038: 1026:The New Yorker 1012: 983: 959: 934: 922:The New Yorker 908: 881: 847: 846: 844: 841: 818:Six Feet Under 767: 764: 735: 732: 714:Shirley Temple 676: 673: 552: 549: 503:Brian De Palma 471: 468: 424: 421: 334:work like the 278: 275: 274: 273: 270: 269:(now Wadleigh) 267:Michael Wadley 263: 259: 258: 255: 252: 249: 246: 243: 240: 234: 229: 226: 179: 176: 154:, directed by 137: 136: 133: 129: 128: 125: 121: 120: 117: 113: 112: 109: 106: 103: 102: 100: 99: 88: 86: 83: 80: 79: 74: 73:Distributed by 70: 69: 66: 65:Cinematography 62: 61: 56: 52: 51: 46: 42: 41: 38: 34: 33: 28: 24: 23: 15: 13: 10: 9: 6: 4: 3: 2: 2543: 2532: 2529: 2527: 2524: 2522: 2519: 2517: 2514: 2512: 2509: 2507: 2504: 2502: 2499: 2497: 2494: 2492: 2489: 2487: 2484: 2482: 2479: 2477: 2474: 2472: 2469: 2468: 2466: 2450: 2449: 2445: 2442: 2441: 2440:The Informant 2437: 2434: 2433: 2429: 2426: 2425: 2424:The Wrong Man 2421: 2418: 2417: 2413: 2410: 2409: 2405: 2402: 2401: 2397: 2394: 2393: 2389: 2386: 2385: 2381: 2378: 2377: 2373: 2372: 2369: 2365: 2357: 2352: 2350: 2345: 2343: 2338: 2337: 2334: 2328: 2325: 2323: 2320: 2318: 2315: 2311: 2307: 2304: 2302: 2298: 2297: 2293: 2291: 2287: 2286: 2282: 2281: 2277: 2261: 2257: 2250: 2247: 2235: 2231: 2224: 2221: 2216: 2212: 2205: 2202: 2197: 2193: 2186: 2183: 2178: 2174: 2167: 2164: 2159: 2155: 2148: 2145: 2133: 2129: 2123: 2120: 2108: 2104: 2097: 2094: 2089: 2085: 2078: 2075: 2063: 2059: 2052: 2049: 2041: 2038: 2026: 2022: 2015: 2012: 2000: 1996: 1989: 1986: 1974: 1970: 1963: 1960: 1948: 1944: 1937: 1934: 1921: 1917: 1913: 1906: 1903: 1891: 1887: 1880: 1877: 1865: 1861: 1855: 1852: 1847: 1834: 1819: 1812: 1809: 1797: 1793: 1786: 1783: 1771: 1767: 1760: 1757: 1752: 1748: 1741: 1738: 1726: 1722: 1715: 1712: 1704: 1701: 1696: 1689: 1686: 1681: 1674: 1671: 1666: 1662: 1655: 1652: 1640: 1636: 1629: 1626: 1614: 1610: 1603: 1600: 1595: 1588: 1585: 1573: 1566: 1563: 1551: 1544: 1541: 1529: 1525: 1518: 1515: 1503: 1499: 1492: 1489: 1477: 1473: 1466: 1463: 1451: 1447: 1441: 1438: 1426: 1422: 1416: 1413: 1405: 1402: 1399: 1394: 1391: 1388: 1383: 1380: 1368: 1364: 1357: 1354: 1341: 1337: 1333: 1326: 1323: 1311: 1307: 1300: 1297: 1285: 1281: 1274: 1271: 1259: 1255: 1248: 1245: 1233: 1229: 1222: 1219: 1207: 1203: 1196: 1193: 1181: 1177: 1170: 1167: 1154: 1150: 1146: 1139: 1136: 1131: 1127: 1126:American Film 1120: 1117: 1105: 1101: 1094: 1091: 1079: 1075: 1068: 1065: 1053: 1049: 1042: 1039: 1027: 1023: 1016: 1013: 1001: 994: 987: 984: 973: 969: 963: 960: 949: 945: 938: 935: 923: 919: 912: 909: 904: 900: 895: 894: 885: 882: 871: 867: 863: 859: 852: 849: 842: 840: 838: 837: 832: 831: 826: 825: 820: 819: 814: 813: 809: 806: 803:and the 1989 802: 801: 797: 796:neo-noir film 794: 790: 789: 784: 780: 779: 773: 765: 763: 760: 755: 753: 752: 747: 746: 740: 733: 731: 729: 723: 721: 720: 715: 711: 710: 705: 704: 699: 698: 693: 692: 685: 682: 674: 672: 669: 665: 664: 659: 658: 653: 652: 647: 643: 639: 638: 633: 630:and films by 629: 628: 623: 617: 612: 609: 604: 601: 597: 593: 587: 584: 580: 579:Andrew Sarris 576: 570: 565: 561: 557: 550: 548: 546: 542: 538: 537: 532: 531: 526: 525: 520: 515: 513: 506: 504: 500: 495: 490: 488: 487: 482: 477: 469: 467: 465: 461: 457: 452: 450: 446: 442: 438: 434: 430: 422: 420: 415: 410: 408: 404: 400: 396: 395: 390: 385: 383: 379: 375: 370: 369: 362: 360: 356: 351: 349: 345: 341: 337: 333: 332:cinema vérité 327: 325: 324: 319: 315: 314: 310: 306: 305:Peter Watkins 301: 300:Louise Brooks 297: 293: 288: 284: 276: 271: 268: 264: 261: 260: 256: 253: 250: 247: 244: 241: 239: 236:Penny Wohl – 235: 232: 231: 228:Cast and crew 227: 225: 222: 216: 214: 211:'s eponymous 210: 206: 200: 198: 192: 190: 186: 177: 175: 173: 169: 165: 161: 158:and starring 157: 156:James McBride 153: 150:, or work of 149: 145: 144: 134: 130: 126: 122: 119:United States 118: 114: 110: 104: 90: 89: 87: 81: 78: 75: 71: 67: 63: 60: 57: 53: 50: 47: 43: 40:James McBride 39: 35: 32: 31:James McBride 29: 25: 20: 2446: 2438: 2430: 2422: 2414: 2406: 2400:The Big Easy 2398: 2390: 2382: 2375: 2374: 2305: 2295: 2284: 2263:. Retrieved 2259: 2249: 2237:. Retrieved 2233: 2223: 2214: 2204: 2195: 2191: 2185: 2176: 2172: 2166: 2157: 2153: 2147: 2135:. Retrieved 2131: 2122: 2110:. Retrieved 2106: 2096: 2087: 2077: 2065:. Retrieved 2061: 2051: 2040: 2028:. Retrieved 2024: 2014: 2002:. Retrieved 1998: 1993:Kehr, Dave. 1988: 1976:. Retrieved 1973:Film Comment 1972: 1962: 1950:. Retrieved 1946: 1936: 1924:. Retrieved 1920:the original 1915: 1905: 1893:. Retrieved 1890:Film Comment 1889: 1879: 1867:. Retrieved 1863: 1854: 1833:cite journal 1821:. Retrieved 1811: 1799:. Retrieved 1795: 1785: 1773:. Retrieved 1769: 1759: 1750: 1746: 1740: 1728:. Retrieved 1724: 1714: 1703: 1694: 1688: 1679: 1673: 1664: 1660: 1654: 1642:. Retrieved 1638: 1628: 1616:. Retrieved 1612: 1602: 1593: 1587: 1575:. Retrieved 1565: 1553:. Retrieved 1543: 1531:. Retrieved 1528:Film Comment 1527: 1517: 1505:. Retrieved 1501: 1491: 1479:. Retrieved 1475: 1465: 1453:. Retrieved 1449: 1440: 1428:. Retrieved 1424: 1415: 1404: 1393: 1382: 1370:. Retrieved 1367:AMC Filmsite 1366: 1361:Dirks, Tim. 1356: 1344:. Retrieved 1340:the original 1335: 1325: 1313:. Retrieved 1310:Film Comment 1309: 1299: 1287:. Retrieved 1284:Film Comment 1283: 1273: 1261:. Retrieved 1258:Film Comment 1257: 1247: 1235:. Retrieved 1231: 1221: 1209:. Retrieved 1205: 1195: 1183:. Retrieved 1179: 1169: 1157:. Retrieved 1153:the original 1148: 1138: 1129: 1125: 1119: 1107:. Retrieved 1103: 1093: 1081:. Retrieved 1077: 1067: 1055:. Retrieved 1051: 1041: 1029:. Retrieved 1025: 1015: 1003:. Retrieved 999: 986: 975:. Retrieved 971: 962: 951:. Retrieved 947: 937: 925:. Retrieved 921: 911: 892: 884: 873:. Retrieved 861: 851: 834: 828: 822: 816: 810: 800:The Big Easy 798: 786: 785:of Godard's 778:Paris, Texas 776: 771: 769: 758: 756: 749: 743: 741: 737: 727: 724: 717: 707: 701: 695: 689: 686: 680: 678: 667: 661: 655: 649: 641: 635: 625: 621: 619: 614: 607: 605: 599: 595: 591: 588: 574: 572: 567: 562: 558: 554: 544: 541:Camera Noise 540: 534: 530:Yackety Yack 528: 524:Coming Apart 522: 518: 517: 511: 508: 493: 491: 484: 475: 473: 455: 453: 428: 426: 423:Distribution 417: 412: 406: 398: 392: 386: 381: 376:exemplifies 373: 372: 367: 364: 354: 353: 347: 329: 321: 313:The War Game 311: 291: 286: 280: 238:Eileen Dietz 220: 217: 204: 201: 197:Andrew Noren 193: 181: 163: 148:mockumentary 142: 141: 140: 107:Running time 84:Release date 2364:Jim McBride 2192:Post Script 2173:Post Script 2154:Post Script 793:New Orleans 751:Peeping Tom 748:(1954) and 745:Rear Window 719:Bright Eyes 646:Woody Allen 318:Luis Buñuel 45:Produced by 27:Directed by 2476:1968 films 2471:1967 films 2465:Categories 2416:Blood Ties 2392:Breathless 2314:0826429777 1502:Desistfilm 1387:Amazon.com 977:2020-09-25 953:2020-09-25 901:. p. 875:2020-12-29 843:References 788:Breathless 277:Production 152:metacinema 111:73 minutes 37:Written by 2432:Uncovered 1336:Indiewire 1149:Indiewire 1132:(10): 11. 899:Doubleday 870:0362-4331 830:Woodstock 766:Aftermath 703:Star Trek 454:In 1991, 309:docudrama 298:starring 265:Camera – 213:1965 film 185:cinephile 2198:(3): 29. 2179:(3): 29. 2160:(3): 29. 2132:TV Guide 1864:TV Guide 1753:(3): 22. 1667:(3): 20. 1450:TV Guide 728:TV Guide 634:such as 600:TV Guide 486:TV Guide 445:Brussels 441:Mannheim 435:and the 178:Synopsis 124:Language 55:Starring 657:Catfish 462:by the 342:'s and 170:of the 135:$ 2,500 127:English 116:Country 93: ( 2451:(2000) 2443:(1997) 2435:(1994) 2427:(1993) 2419:(1991) 2411:(1989) 2403:(1986) 2395:(1983) 2387:(1971) 2379:(1967) 2312: 2265:5 July 2239:5 July 2137:5 July 2112:5 July 2067:5 July 2030:5 July 2004:5 July 1978:5 July 1952:5 July 1926:5 July 1895:5 July 1869:5 July 1823:5 July 1801:5 July 1775:5 July 1730:5 July 1644:5 July 1618:5 July 1577:5 July 1555:5 July 1533:5 July 1507:5 July 1481:5 July 1455:5 July 1430:5 July 1372:6 July 1346:5 July 1315:5 July 1289:5 July 1263:5 July 1237:5 July 1211:5 July 1185:5 July 1159:5 July 1109:5 July 1083:5 July 1057:5 July 1031:5 July 1005:5 July 927:5 July 868: 836:Wolfen 808:biopic 783:remake 697:Batman 338:' and 205:Sandra 132:Budget 2234:Slant 2107:Slant 2025:Slant 1232:Vimeo 1104:Slant 996:(PDF) 716:film 651:Zelig 499:Arbus 2310:ISBN 2290:IMDb 2267:2018 2241:2018 2139:2018 2114:2018 2069:2018 2032:2018 2006:2018 1980:2018 1954:2018 1928:2018 1897:2018 1871:2018 1846:help 1825:2018 1803:2018 1777:2018 1732:2018 1646:2018 1620:2018 1579:2018 1557:2018 1535:2018 1509:2018 1483:2018 1457:2018 1432:2018 1374:2018 1348:2018 1317:2018 1291:2018 1265:2018 1239:2018 1213:2018 1187:2018 1161:2018 1111:2018 1085:2018 1059:2018 1033:2018 1007:2018 929:2018 866:ISSN 821:and 660:and 296:film 95:1967 91:1967 2299:at 2288:at 648:'s 320:'s 307:'s 2467:: 2258:. 2232:. 2213:. 2196:26 2194:. 2177:26 2175:. 2158:26 2156:. 2130:. 2105:. 2086:. 2060:. 2023:. 1997:. 1971:. 1945:. 1914:. 1888:. 1862:. 1837:: 1835:}} 1831:{{ 1794:. 1768:. 1749:. 1723:. 1663:. 1637:. 1611:. 1526:. 1500:. 1474:. 1448:. 1423:. 1365:. 1334:. 1308:. 1282:. 1256:. 1230:. 1204:. 1178:. 1147:. 1130:12 1128:. 1102:. 1076:. 1050:. 1024:. 998:. 970:. 946:. 920:. 864:. 860:. 839:. 706:, 700:, 536:CQ 443:, 2355:e 2348:t 2341:v 2269:. 2243:. 2217:. 2141:. 2116:. 2090:. 2071:. 2034:. 2008:. 1982:. 1956:. 1930:. 1899:. 1873:. 1848:) 1844:( 1827:. 1805:. 1779:. 1751:2 1734:. 1665:2 1648:. 1622:. 1581:. 1559:. 1537:. 1511:. 1485:. 1459:. 1434:. 1376:. 1350:. 1319:. 1293:. 1267:. 1241:. 1215:. 1189:. 1163:. 1113:. 1087:. 1061:. 1035:. 1009:. 980:. 956:. 931:. 905:. 903:5 878:. 514:. 97:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index