McCay - The Flying House 1921.mov Bernard Welt 2010-02-11 | Winsor McCay's 1921 animated short "The Flying House" - based on his "Dreams of the Rarebit Fiend" comic striop.
Im an English teacher . . . Bernard Welt 2025-09-22 | "I'm an English teacher . . ." Fry & Laurie on the interpretation of modern verse.
HOME SCHOOL - Queering the Distance May 14 2020 Bernard Welt 2020-05-22 | Revolve/Homeschool hosted Southern Equality Studios for a discussion with artists and audiences in Western North Carolina and around the country: How are artists and arts organizations meeting the challenges of COVID-19 and social isolation? What are our special concerns, responsibilities, and opportunities? With Liz Hamilton and Al Murray of Southern Equality StudiosandChelsea Dobert-Kehn: Artist, Editor and Content Creator at Queer Appalachia and Electric Dirt Steven Evans: Executive Director, FotoFest (Houston) Annie Flanagan: Photojournalist Andy Johnson: Artist and art historian, Director of Gallery 102 at the George Washington University Hunter O’Hanion: Director, The Stonewall Museum and Archives; Founding Director, the Leslie-Lohman Museum of Artand Bernard Welt, Professor Emeritus, the Corcoran College of the Arts and Design at the George Washington University; Vice-Principal, Home School Thanks to all our guests and everyone who signed on to listen, and to the supporters who make Revolve possible. Home School is our response to the challenge of advancing art and ideas while our physical space is closed. We intend to continue the conversation, regardless of our patrons' current financial resources. Find us at: http://www.revolveavl.org/home-school
Fury - Fritz Lang,1936 - Justice Bernard Welt 2020-02-16 | At the end of the film, Spencer Tracy tells the judge how he lost faith in the fairness and decency of his fellow citizens.
MTMTS Lous Place Bernard Welt 2020-02-15 | "Ted: I am not turning this kind of bar into that kind of bar."
1 Power of Dreams 1 REM sleep 9 min Bernard Welt 2018-12-18 | From the documentary Power of Dreams. This excerpt represents the view that REM sleep more or less = dreaming and vice-versa, which has since been challenged. But it's a good short intro to the discovery of REM and its impact.
The Big Snooze 6 Falling Bernard Welt 2018-11-15 | 1946 Warner Bros Looney Tunes cartoon featuring Bugs Bunny invading the dream of Elmer Fudd, turning it into a nightmare. Excerpt 6 shows the very common dream theme of falling
The Big Snooze 5 Cross dressing, pursuit Bernard Welt 2018-11-15 | 1946 Warner Bros Looney Tunes cartoon featuring Bugs Bunny invading the dream of Elmer Fudd, turning it into a nightmare. Excerpt 5 shows the theme of transformation of gender, or cross-dressing, accompanied by pursuit and sexual threat.
The Big Snooze 4 Punning on a sexual theme Bernard Welt 2018-11-15 | 1946 Warner Bros Looney Tunes cartoon featuring Bugs Bunny invading the dream of Elmer Fudd, turning it into a nightmare. Excerpt 4 shows punning on a sexual theme. This is the most "Freudian" moment in the cartoon, as it proposes that dream imagery may derive from the transformation of sexual ideas. As far as I've been able to tell, this is the most open reference to rabbits' notorious capacity for reproduction in the Bugs Bunny cartoons.
The Big Snooze 3 Paralysis Bernard Welt 2018-11-15 | 1946 Warner Bros Looney Tunes cartoon featuring Bugs Bunny invading the dream of Elmer Fudd, turning it into a nightmare. Excerpt 3 shows the theme of paralysis, helplessness. Sometimes the sensation of paralysis is accompanied by rationalizing imagery, offering for an explanation for immobility.
The Big Snooze 2 Nudity Bernard Welt 2018-11-15 | 1946 Warner Bros Looney Tunes cartoon featuring Bugs Bunny invading the dream of Elmer Fudd, turning it into a nightmare. Excerpt 2 shows the theme of embarrassment at being nude or inappropriately dressed.
The Big Snooze 1 The Shared Dream Bernard Welt 2018-11-15 | 1946 Warner Bros Looney Tunes cartoon featuring Bugs Bunny invading the dream of Elmer Fudd, turning it into a nightmare. Excerpt 1 shows the motif of the shared dream, especially important in folklore of India.
BW Third Thursday Poetry October 18, 2018 Bernard Welt 2018-10-31 | Third Thursday reading in Takoma Park MD Oct 18 2018 with Clare Banks and Terence Winch. This is just my part. Includes reading of "I stopped writing poetry . . . " which appeared in The Best American Poetry 2001.Full video can be found at: youtube.com/watch?v=RsTDQHM2DiE&t=719s
Bernard Welt Getting the News from Poetry 9 20 2018 Bernard Welt 2018-09-23 | Performed a new untitled piece at "Getting the News from Poems," a reading at Busboys and Poets 450 K St NW DC September 20 2018, under the auspices of meltedaway.comThanks to http://ligoranoreese.net and busboysandpoets.comfor inviting me and hosting. Casey Smith made the video recording.
Peter de Rome Underground 1973 Bernard Welt 2015-06-23 | TUESDAY JUNE 23 7:30-9:00 pmThe Pleasure GardenQueer Visionary Films of the ‘60s and ‘70s@ REVOLVE ASHEVILLE122 RIVERSIDE DRrevolveavl@gmail.co 240.298.9575ConfessionsQueer cinema has filtered autobiographical impulses in an expressionist mode. The films of Curt McDowell, James Broughton, Fred Halsted, and Peter de Rome laid gay sexual life bare—but often in a context of lyricism, fantasy, and seductive humor.
The Bed Broughton 1968 Bernard Welt 2015-06-23 | TUESDAY JUNE 23 7:30-9:00 pmThe Pleasure GardenQueer Visionary Films of the ‘60s and ‘70s@ REVOLVE ASHEVILLE122 RIVERSIDE DRrevolveavl@gmail.co 240.298.9575ConfessionsQueer cinema has filtered autobiographical impulses in an expressionist mode. The films of Curt McDowell, James Broughton, Fred Halsted, and Peter de Rome laid gay sexual life bare—but often in a context of lyricism, fantasy, and seductive humor.
Les.Vampires - Louis Feuillade,1915 Part 2 The Ring That Kills (13 min). Bernard Welt 2012-02-01 | Serials kept the cinema audience returning from week to week to see how an exciting story developed and turned, in 10-15-minute installments. "Les Vampires" is one of the most successful examples in film history. (The "vampires" of the title are a criminal gang, not the vampires of Dracula, Twilight, or True Blood.) The conventions are borrowed from 19th-century stage melodrama (as in Griffith's 2-reelers): increasingly bizarre and arcane ways to endanger the heroes and the innocent, cliff-hangers that pose apparently inescapable threats, conspiracies that draw stark lines between good and evil, depravity and innocence.The posters for Feuillade's serials, including Fantomas and Judex, are a major contribution to French and international popular art in the early 20th-century, and are quoted in the work of Braque, Picasso, and Margritte.Feuillade was criticized for making his criminal villains appear glamorous. He tried a serial focused on a police detective, but the villains continued to be more interesting than the good guys--another great cinematic tradition.The figure in bat costume in this episode is said to have inspired Bob Kane to create the Bat-Man.
Dr Strangelove - Mandrake and Ripper Bernard Welt 2012-02-01 | The plotting, dialogue, and performances in Dr. Strangelove are so extraordinary that we may overlook other aspects of filmmaking. Note how camera angles, lighting, pictorial composition, soundtrack and quality, and cuts control our response to this crucial scene.
from Winsor McCay and His Animated Pictures (1911) Bernard Welt 2012-01-28 | This clip shows:--McCay's incredibly fluency with line and volume in animation--McCay's interest in blending live-action animation so as to increase the viewer's awareness of the illusion rather than decreasing it--the magnitude of McCay's influence on classic cartooning.
Onesime Horloger 1912 Bernard Welt 2012-01-27 | This great comic, little known in the United States, must also have thought profoundly about film and society. The physical comedy in the 8-minute short depends entirely on speeded-up motion. But the idea suggests the filmmakers' awareness that, as early as 1912, people are already noticing how easy it is to confuse the representations of cinema with the reality of life; and how modern cultures depend on frantic rhythms better suited to machines than to humans.
The General (1926) - Scene for shot by shot analysis Bernard Welt 2012-01-27 | Look at this extended scene shot by shot (from Johnnie's entry through the window to Annabel's removal from the room). Consider:-How point of view is established and information is conveyed to viewer-How separate shot spaces are unified to create one imaginary space in the viewer's mind only (Inside/Outside; Table/under table)-How the device of the peephole allows Johnnie (and the audience, through his POV) to get information, and also the idealization of the beloved according to accepted convention-How a silent film scene is enriched by the inference of sound--as when Johnnie suppresses a sneeze, or when he recognizes Annabel's voice.This shows how cinema creates an imaginary space in the viewer's mind--uniting the space of separate shots. This space is not topographical so much as psychological and emotional -- symbolic as well as representative in its essential function. It includes significantly what the viewer infers and imagines--for example, sounds in a silent film.Shots are used to show characters' POVs as well as that of a disembodied POV observer [extra-diegetic; i.e., outside the story] --and crucially, to represent characters' inner states. Fluid shifts of POV--as when we see things Johnnie cannot (but infers from what he hears)--and violations of Realism--as when the cigarette burn just happens to frame Annabel, or when Annabel doesn't notice Johnnie under the table--demonstrate that the function of shot set-ups and editing is not "to show a scene," but to create a total experience that is imaginary, fusing information and emotional aura.
Colby Keller Interview - 5-5-2011.mov Bernard Welt 2011-05-09 | Slideshow: Colby Keller interviewed by Bernard Welt - last session for Spring 2011, Sex in American Cinema course, Dept. of Arts and Humanities, Corcoran College of Art and Design
From Arsenic and Old Lace 1944 Bernard Welt 2011-02-19 | This clip offers a great example of how Code restrictions could bring out the best in filmmakers. The use of the tree to screen a kiss from the viewer intensifies the sexual charge of the scene--along with Cary Grant's performance as a man who can't wait to get down to business.
The Sheik (1921) - with Rudolph Valentino Bernard Welt 2011-02-06 | The plot of "The Sheik" is very different from that of "Our Modern Maidens," but the mixed message about women and sexuality is the same. Lady Diana Mayo (Agnes Ayres) is admired for her independence, high spirit and modern ideas, but when she is kidnapped by an Arab sheik, Ahmed Ben Hassan (Rudolph Valentino), she finds herself falling under the spell of his exotic masculinity. In the popular novel on which the film is based, Lady Diana learns to appreciate the sheik only after he takes her by force; in the film, he restrains himself and wins her with his consideration and respect for her. (When the film was re-released during the Code years, a scene of attempted rape had to be cut.)Even so, the character of the sheik is recast for the film as the child of European parents, adopted by an Arab sheik; anti-miscegenation laws of the time would have precluded scenes suggesting romance and kisses between a European lady and an Arab man. The film was banned in Kansas City all the same. "The Sheik" was crucial to Valentino's career as the greatest male sex symbol of the time--and created a huge backlash among American men, who boycotted the film and railed against the "effeminacy" of his screen image. He died at 31 in 1926, setting off a mass outpouring of grief among American women that was a significant moment in the history of Hollywood's power over the public imagination.
Power of Dreams - Native American dream Bernard Welt 2010-11-22 | A dream therapy session with Dr. Edwin Stronglegs Richardson, working with a Hopi dreamer.
Hitchcock - Spellbound dream sequence Bernard Welt 2010-10-02 | This excerpt includes the Salvador Dali dream sequence but puts it in context: Gregory Peck's character suffers from amnesia, and Ingrid Bergman has brought him to her own analyst and mentor. "JB" (Peck) recounts a dream which the two analysts examine for clues to a murder mystery. The film as a whole makes an appealing but illegitimate analogy between psychoanalysis and solving a mystery which proved to be central to the appeal of psychoanalysis in popular culture.
