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Ken Walters Group

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Anatoly Seleznev
Anatoly Seleznev

Titanic Full Movie Part 1 Tagalog Version Movies __LINK__


Films in the Philippines derive income mainly from theatrical exhibitions as revenues from home video, television broadcast rights and merchandising share a small portion of the studio earnings. Even more, unlike in the United States and other territories, gross receipts of movies in the country were not officially disclosed in detail through the years. Third-party organizations that focus on box-office statistics were not present in the industry until the website Box Office Mojo started providing comprehensive weekly performance of releases in 2007. Although the website is a reliable source, it does not summarize the highest grosses of all time for the reason that its scope is limited to the Metro Manila Film Festival, an annual event during December to January.




Titanic Full Movie Part 1 Tagalog Version Movies



Cameron promised he'd unveil the next generation of 3-D in "Avatar." I'm a notorious skeptic about this process, a needless distraction from the perfect realism of movies in 2-D. Cameron's iteration is the best I've seen -- and more importantly, one of the most carefully-employed. The film never uses 3-D simply because it has it, and doesn't promiscuously violate the fourth wall. He also seems quite aware of 3-D's weakness for dimming the picture, and even with a film set largely in interiors and a rain forest, there's sufficient light. I saw the film in 3-D on a good screen at the AMC River East and was impressed. I might be awesome in True IMAX. Good luck in getting a ticket before February.


Amber works as a writer and digital publisher full-time and fell in love with stories and imagination at an early age. She has a Humanities and Film Degree from BYU, co-created The Silver Petticoat Review, contributed as a writer to various magazines, and has an MS in Publishing from Pace University, where she received the Publishing Award of Excellence and wrote her thesis on transmedia, Jane Austen, and the romance genre. Her ultimate dreams are publishing books, writing and producing movies, traveling around the world, and forming a creative village of talented storytellers trying to change the world through art.


This fourteen-minute black-and-white silent documentary salutes the "good natured Germans or Hollanders" of Cologne, Minnesota as photographed by local amateur filmmakers Esther and Raymond Dowidat. Cologne, population 350, is located southwest of Minneapolis in the midst of dairy farms. When "examined more closely, the town is really quaint and picturesque" we're told by Esther's handwritten "diary" which serve as the film's narration. It stands out not because its subject matter is particularly unique, but because it exhibits a cinematic sophistication and artistry not usually found in home movies, while capturing a distinct flavor of time and place.Expanded essay by Scott Simmon for the National Film Preservation Foundation (NFPF) (PDF, 316KB)View this film at National Film Preservation Foundation External


Produced in between "The Godfather" and "The Godfather Part II," and in part an homage to Michelangelo Antonioni's "Blow-Up," this film represented a return to small-scale art films for director Francis Ford Coppola. Sound surveillance expert Harry Caul (Gene Hackman) is hired to track a young couple (Cindy Williams and Frederic Forrest), taping their conversation as they walk through San Francisco's crowded Union Square, but he soon suspects that his client plans to murder the couple. "The Conversation" earned Coppola Oscar nominations for Best Picture and Best Screenplay, but lost out in both categories to his own "The Godfather Part II." A critical but not commercial success, "The Conversation" has since earned the reputation as one of the artistic high points of the decade and of Coppola's career. Its atmosphere of paranoia and loner protagonist reflected a movement in the early '70s toward darker movies, and its audiotape storyline reflects an era rocked the Watergate scandal.Expanded essay by Peter Keough (PDF, 485KB)


The Barstow family films a memorable home movie of their trip to Disneyland. Robbins and Meg Barstow, along with their children Mary, David and Daniel were among 25 families who won a free trip to the newly opened Disneyland in Anaheim, Calif., as part of a "Scotch Brand Cellophane Tape" contest sponsored by 3M. Through vivid color and droll narration ("The landscape was very different from back home in Connecticut"), we see a fantastic historical snapshot of Hollywood, Beverly Hills, Catalina Island, Knott's Berry Farm, Universal Studios and Disneyland in mid-1956. Home movies have assumed a rapidly increasing importance in American cultural studies as they provide a priceless and authentic record of time and place.Expanded essay by Liz Coffey (PDF, 307KB)


One of the earliest film recordings and the oldest surviving copyrighted motion picture, Edison Kinetoscopic Record of a Sneeze (Jan. 7, 1894) is commonly known as "Fred Ott's Sneeze" or simply "The Sneeze." W. K. L. Dickson, who led Thomas Edison's team of inventors, took the images of fellow engineer Ott enacting a snuff-induced sneeze. In March 1894, Harper's Weekly magazine, which requested the pictures, published a sequence of still images taken from the film. "The Sneeze" became synonymous with the invention of movies although it was not seen as a moving picture until 1953 when 45 frames were re-animated on 16 mm film. The full 81 frames published in Harper's Weekly were never seen as a movie until 2013 when the Library of Congress made a 35 mm film version. In this new complete version, Fred Ott sneezes twice. Video clip from the Library of Congress Inventing Entertainment: The Early Motion Pictures and Sound Recordings of the Edison Companies.


"The Exorcist" is one of the most successful and influential horror films of all time. Its influence, both stylistically and in narrative, continues to be seen in many movies of the 21st century. Adapted from the popular novel by William Peter Blatty inspired by an actual case from the 1940s, the film version centers on a young girl (14-year-old Linda Blair) who falls victim to fits and bizarre behavior. The girl's actress-mother (Ellen Burstyn) calls in a young priest (Jason Miller) who becomes convinced that the girl is possessed by the Devil. They summon a veteran exorcist (Max von Sydow) and both the priest and the girl suffer numerous horrors during their struggles with the demon (voiced by Mercedes McCambridge). The sound work earned Robert Knudson and Christopher Newman an Oscar, and the opening piano solo of Mike Oldfield's debut album "Tubular Bells" became forever associated with the film.


For three decades, Dallas native Melton Barker and his company traveled through the southern and central sections of the United States filming local children acting, singing and dancing in two-reel narrative films, all of which Barker titled "The Kidnappers Foil." Barker recognized that many people enjoyed seeing themselves, their children and their communities on film. Since home movies were an expensive hobby, he developed a business to provide them. Other itinerant filmmakers produced similar fare, but Barker appears to have been the most prolific. Enlisting local movie theaters and newspapers to sponsor and promote the productions, Barker auditioned children and offered "acting lessons" to the most promising for a fee of a few dollars. He then assembled 50 to 75 would-be Shirley Temples and Jackie Coopers, ages 3 to 12, to act out the melodramatic story: a young girl is kidnapped from her birthday party and eventually rescued by a search party of local kids. After the "rescue," the relieved townsfolk would celebrate with a party where the budding stars showcased their musical talents. A few weeks after filming, the town would screen the 15- to 20-minute picture to the delight of the local audience. Most prints of these films no longer exist, although some have been discovered in vintage movie houses or local historical societies. The Texas Archive of the Moving Image holds a collection of these itinerant films and hosts Internet resources for those who appeared in them as children.


In this film directed by Alexander Hall from a Damon Runyon story, Shirley Temple stars as a little girl whose father leaves her as a marker for a $20 bet. When Temple's father never returns (desperate for the bet to pay off, he kills himself when it doesn't), the bookie and confirmed bachelor (Adolphe Menjou) is stuck with the precocious moppet. Not surprisingly, she wins over the hearts of all the race-track ruffians, including Menjou's tough guy partner (Charles Bickford) and his moll (Dorothy Dell). In her first starring role (she'd already amassed 24 credits in short films and bit parts by this time), the six-year-old Temple would become and household name and the biggest child star the world had ever seen. One of the most popular stars of the 1930's, the revenue from her movies was instrumental in saving Fox Studio from bankruptcy.Expanded essay by John F. Kasson (PDF, 381KB)


After two previous film versions of Dashiell Hammett's detective classic "The Maltese Falcon," Warner Bros. finally captured the true essence of Hammett's story in 1941 by wisely adhering to the original as faithfully as possible. John Huston, a screenwriter making his directorial debut, was the catalyst for its success, and Humphrey Bogart as Sam Spade provided the film's heart and soul, earning him stardom for his effort. A hard-boiled often unscrupulous San Francisco private eye, Spade gets drawn into a series of intrigues and double-crosses by client Mary Astor who, along with partners Peter Lorre and Sydney Greenstreet, are in search of a jewel-encrusted statuette shaped like a falcon. Among the most influential movies to emerge from the Hollywood studio system, "The Maltese Falcon" is as significant in some ways as its contemporary "Citizen Kane" for its contribution to establishing an entirely new style of storytelling that would become identified as "film noir." Expanded essay by Richard T. Jameson (PDF, 437KB)


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