Beta Noire @transilvane

ACE OF WANDS (1970): a beautiful title sequence for this children's classic about Tarot, a crime-fighting stage magician (eat your heart out, Paul Daniels). The theme song was by Status Quo member Andy Bown, and it reached no. 15 in the UK vinyl singles chart - in 2024!

Ron Cobb, “Skybox”

Just in case you never saw the ending to Ecco the Dolphin…

ちょ、なんなの！？この明菜ん… 十戒の明菜んがカッコ良すぎて気絶😇

This is real footage from 127 years ago. A family was performing their acrobatic act in Paris, in 1899, and someone was there to film it... What you are watching was captured by the Lumière brothers, Auguste and Louis, the two Frenchmen who pioneered cinema. Only a few years earlier, in December 1895, they had held the first public screening of projected film in history, using their invention, the Cinématographe. Now they were pointing their camera at the world around them, recording ordinary life as almost no one ever had before: workers leaving a factory, a train pulling into a station, and this, a family of acrobats throwing their bodies through the air. The performers were the Kremos, a celebrated troupe who had created their signature act just a few years before this film was made. They were what circus people call icarists, specialists in a breathtaking discipline where one performer lies on their back and launches another into the air with their feet, catching and re-launching them like a juggler using human beings instead of clubs. The family kept the act alive for generations. Their descendants were still performing, on stages around the world, more than a century after this film was made...

アトラスより1991年10月4日に発売されたPCエンジン用ゲームソフト『メソポタミア』 金子先生が自ら手がけたこの美しいドット絵、皆さんにもぜひ見ていただきたいです！

Kazuma Kaneko @kazumaKaneko666

22 hours ago

@Poltergeist0001 ゲーム内のドット絵も全部、僕ですよ。

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STANLEY KUBRICK waxing lyrical about the "visual poetry" of Michelob beer TV ads, calling them some of the most brilliant examples of film.

Jimi Hendrix, guitar god, with ‘Voodoo Child (Slight Return)’ then into Cream’s ‘Sunshine of Your Love’, a brief instrumental version that the broadcaster, the BBC, did not want him to play! But he did it anyway! Over 8 mins of Hendrix brilliance!🎸🙏 RIP, legend.

Amy Winehouse covering the ska classic 'Monkey Man' on Jools Holland’s New Year’s Eve Hootenanny, Dec 31 2006.

Interview with an 84-year-old farmer in New York, 1926. The farmer describes the change he’s seen over the years, and what life was like for a farmer in the Catskill Mountains of New York State during the early to mid 19th-century.

this has to be the coolest deleted scene ever

♡ @taesdawn26

2 days ago

post your favorite deleted scene from a film/tv series

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This version of story confuses several things. The Plaza Accord did not "break" Japan's development model. That model was already broken once very high investment rates no longer corresponded to the need for a massive rebuilding of infrastructure, housing stock and manufacturing capacity after the devastation of war. Japan's growth model, which was the right growth model after the war when it was severely underinvested in nearly every sector, had made itself (through its very success) obsolete by the 1970s, as Albert Hirschman explained would happen, although, he warned, policymakers would find it extremely difficult to change the model, and so would likely go on to create a very different and opposite set of imbalances. That is exactly what happened in Japan (and, indeed, in every country that followed the high-saving/high-investment development model), with the resulting overinvestment showing up clearly in the continued very-high investment share of GDP through the early 1990s (among the highest in history until China surpassed it in the mid 1990s) and, even more clearly, in the surge in the country's debt burden. The latter is key, because when nearly all debt creation is used to fund investment, as was the case in Japan, the country's debt burden cannot rise if the investment is on average productive for the economy. The fact that it rose so rapidly for so long is strong evidence of massive investment misallocation. That is why for years Tokyo had devalued its currency in real terms, which is just another way of saying that it forced up the value of the currencies of its trade partners. It did this to minimize the consequences of domestic overinvestment in manufacturing capacity (by exporting highly subsidized excess capacity) and to help mitigate the debt impact of its domestic overinvestment. That is also why to say the problem was the "sudden" revaluation of the yen misses the point. For nearly two decades Washington (and policymakers in many other capitals) had asked Tokyo for a gradual revaluation of the yen (i.e. it asked Japan to stop forcing the dollar to be overvalued), but as Tokyo was unable to embrace any meaningful appreciation of the yen as long as it refused to take the necessary steps to rebalance its domestic economy, this left the US with only two options. First, it could do nothing and suffer from the continued overvaluation of the dollar imposed on it by the Bank of Japan's currency policies. And second, because the US could not intervene directly in its currency the way Japan could, it could use the threat of tariffs (the standard alternative to currency devaluation) to force a near-term revaluation of the yen. It chose the latter, but revaluation rebalances the domestic economy by transferring income from manufacturers (net exporters) to households (net importers) thereby raising the household share of GDP. Tokyo, however, subsequently reversed this transfer by lowering interest rates and expanding investment lending, which transferred income back from households (net lenders to the banking system) to manufacturers (net borrowers). That is almost certainly why the Plaza Accord were ultimately so much more painful for Japan than for Germany – not because the Plaza Accord created the problem, but rather because Germany never suffered from nearly the same extent of overinvestment as Japan, and began to adjust after the revaluation, whereas Tokyo tried to put off adjustment for several years longer by igniting an asset bubble and exacerbating the investment bubble. Beijing is clearly determined to avoid the fate of Japan, but I worry that by misinterpreting what happened in Japan in the 1980s, it risks doing even worse than Japan did.

The China Academy @ChinaAcademyORG

2 days ago

1/7 Pettis and Setser are right that bad investment + debt matters. But this is a strawman. The Chinese Plaza lesson is not “one treaty cursed Japan.” It is: don’t let external pressure force a sudden currency move that breaks your developmental model.

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Philipp Otto Runge’s Farbenkugel (1810). The top two images show the surface of the sphere, while the bottom two show horizontal and vertical cross sections. From our selection of colour charts, wheels and tables through the centuries: publicdomainreview.org/collection/col…

Power Drift (1988) by Sega took the Super Scaler formula of Out Run and cranked it to eleven, throwing players onto rollercoaster-like tracks filled with massive jumps, steep drops, and impossible banking turns. Designed by Yu Suzuki and running on Sega's powerful Y-Board hardware, it remains one of the most visually impressive sprite-scaling racers of the arcade era.

This is real footage from 120 years ago. None of the people in it knew that the city around them had four days left... What you are watching is a cable car gliding down Market Street in San Francisco, filmed on the 14th of April, 1906. The camera was mounted on the front of the car, so you see the city exactly as it was: the crowds, the horse-drawn carriages, the early automobiles weaving through traffic, the men in hats, the great buildings rising on either side. An ordinary spring afternoon in a thriving American city. Four days later, on the morning of the 18th of April, a magnitude 7.9 earthquake struck. The shaking lasted under a minute, but it ignited fires that burned through the city for days... By the time it was over, more than 3,000 people were dead and roughly 80 percent of San Francisco had been destroyed. Almost every building you see in this footage was gone. And the film itself nearly went with it. The negative was placed on a train bound for New York on the 17th of April, the day before the earthquake. Had it left a single day later, it would have burned in the fire along with the studio that made it. This entire moving record of a lost city survives because of one day...

The effective way the clarinet player does a musical call and response to the singer is just mesmerizing. "Tu vuo' fa' l'americano" by Renato Carosone: cover by Hetty and the Jazzato Band, an Anglo-Italian jazz quintet.

We need a return to the 1980s power boardroom Insane aura

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theoldrobots.com '로보트'라는 말조차 구시대의 유물이 된 지금. '고물로봇들'은 1950년대부터 1990년대까지, 로봇이 바퀴 달린 플라스틱 몸과 동그란 눈을 가졌던 시절의 (거의) 모든 로봇들을 모아둔 웹사이트예요. 옛날 로봇들의 디자인에는 언젠가 로봇들이 우리의 집에 들어와 인간의 친구가 될 거라는 낙관이 느껴지는 듯합니다. 로봇 강아지와 집사 로봇, 코카콜라 로봇, 선생님 로봇까지. 미래가 되지 못한 미래들이 이토록 많았군요.

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Always thought it was cool that Spike Jonze did like a Busby Berkeley-on-skateboards thing edited to Bjork, in Hot Chocolate Still would love to see someone choreograph an even more complex/ambitious version though

Harry Eskin @harryeskin

6 days ago

They showed us this sequence in my first year of film school and it was one of the first things I remember truly blowing my mind back then

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