Movies on Youtube:
Brief Encounter (1945, David Lean)
Opening Night (1977, John Cassavetes)
Close Up (1990, Abbas Kiarostami)
Taste of Cherry (1997, Abbas Kiarostami)
The Song of Sparrows (2008, Majid Majidi)
Russian Ark (2002, Alexander Sokurov)
Dreams (1990, Akira Kurosawa)
Dersu Uzala (1975, Akira Kurosawa)
The Idiot (1951, Akira Kurosawa)
Drunken Angel (1948, Akira Kurosawa)
Tokyo Story (1953, Yasujirō Ozu)
Early Summer (1951, Yasujirō Ozu)
Late Spring (1949, Yasujirō Ozu)
The Flavor of Green Tea over Rice (1952, Yasujirō Ozu)
Good Morning (1959, Yasujirō Ozu)
An Autumn Afternoon (1962, Yasujirō Ozu)
Sword for Hire (1952, Inagaki Hiroshi)
Rebecca (1940, Alfred Hitchcock)
Thunderbolt (1929, Josef von Sternberg)
Larceny (1948, George Sherman)
Among the Living (1941, Stuart Heisler)
Andrei Rublev (1966, Andrei Tarkovsky)
Mirror (1975, Andrei Tarkovsky)
Solaris (1972, Andrei Tarkovsky)
Ivan’s Childhood (1962, Andrei Tarkovsky)
Aguirre, the Wrath of God (1972, Werner Herzog)
Fitzcarraldo (1982, Werner Herzog)
Medea (1969, Pier Paolo Pasolini)
Medea (filmed stageplay)
Is It Easy To Be Young? (1986, Juris Podnieks)
We’ll Live Till Monday (1968, Stanislav Rostotsky)
Ordinary Fascism (aka Triumph Over Violence) (1965, Mikhail Romm)
Battleship Potemkin (1925, Sergei Eisenstein)
The Third Man (1949, Carol Reed)
Johnny Come Lately (1943, William K. Howard)
Mister 880 (1950, Edmund Goulding)
Beethoven’s Eroica (2003, Simon Cellan Jones)
Katyn (2007, Andrzej Wajda)
Lemony Snicket’s A Series of Unfortunate Events (2004, Brad Silberling)
Mean Girls (2004, Mark Waters)
The Neverending Story (1984, Wolfgang Petersen)
The NeverEnding Story II: The Next Chapter (1990, George T. Miller)
The Thief and the Cobbler (Richard Williams)
Osmosis Jones (2001, myriad directors)
Megamind (2010, Tom McGrath)
Ghost in the Shell (1995, Mamoru Oshii)
Ghost in the Shell 2: Innocence (2004, Mamoru Oshii)
Steamboy (2004, Katsuhiro Otomo)
Badlands (1973), Terrence Malick
Wargames (1983, John Badham)
By the White Sea (2022, Aleksandr Zachinyayev)
White Moss (2014, Vladimir Tumayev)
The Theme (1979, Gleb Panfilov)
The Duchess (2008, Saul Dibb)
Bed and Sofa (1927, Abram Room)
Fate of a Man (1959, Sergei Bondarchuk)
Ballad of a Soldier (1959, Grigory Chukhray)
Uncle Vanya (1970, Andrey Konchalovskiy)
An Unfinished Piece for Mechanical Piano (1977, Nikita Mikhalkov)
Family Relations (1981, Nikita Mikhalkov)
The Seagull (1970, Yuli Karasik)
My Tender and Affectionate Beast (1978, Emil Loteanu)
Dreams (1993, Karen Shakhnazarov & Alexander Borodyansky)
The Vanished Empire (2008, Karen Shakhnazarov)
Winter Evening in Gagra (1985, Karen Shakhnazarov)
Day of the Full Moon (1998, Karen Shakhnazarov)
Zero Town (1989, Karen Shakhnazarov)
The Girls (1961, Boris Bednyj)
The Diamond Arm (1969, Leonid Gaidai)
Operation Y and Shurik’s Other Adventures (1965, Leonid Gaidai)
Ivan Vasilievich Changes Profession (1973, Leonid Gaidai)
Unbelievable Adventures of Italians in Russia (1974, Eldar Ryazanov & Franco Prosperi)
Office Romance (1977, Eldar Ryazanov)
Carnival Night (1956, Eldar Ryazanov)
Hussar Ballad (1962, Eldar Ryazanov)
Kin-dza-dza! (1986, Georgiy Daneliya)
The Most Charming and Attractive (1985, Gerald Bezhanov)
Autumn (1974, Andrei Smirnov)
War and Peace: Part 1 (1966, Sergei Bondarchuk)
War and Peace: Part 2 (1966, Sergei Bondarchuk)
War and Peace: Part 3 (1967, Sergei Bondarchuk)
War and Peace: Part 4 (1967, Sergei Bondarchuk)
The Red Tent (first half) (1969, Mikhail Kalatozov)
The Red Tent (second half) (1969, Mikhail Kalatozov)
Sherlock Holmes: The Hound of the Baskervilles (1939, Sidney Lanfield)
The Adventures of Sherlock Holmes (1939, Alfred L. Werker)
Sherlock Holmes and the Voice of Terror (1942, John Rawlins)
Sherlock Holmes and the Secret Weapon (1943, Roy William Neill)
Sherlock Holmes in Washington (1943, Roy William Neill)
Sherlock Holmes Faces Death (1943, Roy William Neill)
Sherlock Holmes: The Spider Woman (1944, Roy William Neill)
Sherlock Holmes: The Scarlet Claw (1944, Roy William Neill)
Sherlock Holmes: The Pearl of Death (1944, Roy William Neill)
Sherlock Holmes: The House of Fear (1945, Roy William Neill)
Sherlock Holmes: The Woman in Green (1945, Roy William Neill)
Sherlock Holmes: Pursuit to Algiers (1945, Roy William Neill)
Sherlock Holmes: Terror by Night (1946, Roy William Neill)
Sherlock Holmes: Dressed to Kill (1946, Roy William Neill)
If any of the links don’t work, try looking up the film in this playlist: link
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It's interesting to me how much people struggle to intuit differences of scale. Like, years of geology training thinking about very large subjects, and I'm only barely managing it around the edges.
The classic one is, of course, the mantle- everybody has this image of the mantle as a sort of molten magma lake that the Earth's crust is floating on. Which is a pedagogically useful thing! Because the intuitions about how liquids work- forming internal currents, hot sections rising, cool sections sinking, all that- are all dynamics native to the Earth's mantle. We mostly talk about the mantle in the context of those currents, and how they drive things like continental drift, and so we tend to have this metaphor in mind of the mantle as a big magma lake.
The catch, of course, is that the mantle is a solid, not magma. It's just that at very large scales, the distinction between solids and liquids is... squirrely.
When cornered on this, a geologist will tell you that the mantle is 'ductile'. But that's a lie of omission. Because it's not that the mantle is a metal like gold or iron, what we usually think of when we talk about ductility. You couldn't hammer mantle-matter in to horseshoes or nails on an anvil. It's just a rock, really. Peridotite. Chemically it's got a lot of metal atoms in it, which helps, but if you whack a chunk of it with a hammer you can expect about the same thing to happen as if you whacked a chunk of concrete. Really, it's just that any and every rock is made of tons and tons of microcrystal structures all bound together, and the boundaries between these microcrystals can shift under enormous pressure on very slow timescales; when the scope of your question gets big enough, those bonds become weak in a relative sense, and it becomes more useful to think of a rock as more like a pile of gravel where the pebbles can shift and flow around one another.
The blunt fact is, on very large scales of space and of time, almost everything other than perfect crystals start to act kind of like a liquid- and a lot of those do as well. When I made a study of very old Martian craters, I got used to 'eyeballing' the age based on how much the crater had subsided, almost exactly like the ways that ripples in the surface of water gradually subside over time when you throw a rock in to a lake. Just, you know. Slower.
But at the same time, these things are more fragile than you'd believe, and can shatter like glass. The surface of the Earth is like this, too. Absent the kind of overpressures that make the mantle flow like it does, Earth's crust is still tremendously weak relative to many of the planet-scale forces to which it is subject- I was surprised, once, when a professor offhandedly described the crust as having a tensile strength of 'basically zero;' they really thought of the surface as a delicate filigreed bubble of glass that formed like a thin shell, almost too thin to mention, on the outside of a water droplet. On human scales, liquid is the thing that flows, and solid is the thing that breaks. But once stuff gets big or slow or both, the distinction between a solid and a liquid is more that a liquid is the thing that doesn't shatter when it flows. And it all gets really, really vague, which I suppose you'd expect when you get this far outside the contexts in which our languages were crafted.
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