Art film part of the REWIND + PLAY, An Anthology of Early British Video Art box-set.
A mother home alone with her baby goes to sleep in her room next to a video monitor peeking in on her child. She is awoken in the middle of the night by a phone call with a man on the other end claiming to be calling from inside her baby's room.
Dan Kashwood, the Hall Monitor of Rocky Mountain High School, maintains law and order with excessive force and a .44 Magnum. But now a mysterious student is killing the football team - one player at a time. Now it's up to Dan to apprehend the murderer before the team ends up playing their next big game at the morgue.
A neglectful mother overhears her husband on the telephone at their workplace talking with their babysitter. She discovers they are having an affair and are going to have a baby. She concocts an evil plan to win back her husband and remove the girl and baby. Two men are hired to kill the girl and hold the son hostage in order for her to play the hero and reclaim her husband. The plan hits a snag when the criminals enter the wrong apartment.
Despite the baby monitor, mom does not hear the sound coming from the child's closet. When she finally investigates, we gain a shockingly new perspective.
Camera, Monitor, Frame is the first installment of Takahiko Iimura's "Video Semiotics Triptych" (the other two works are Observer/Observed, made in 1975, and Observer/Observed/Observer, made in 1976). The work analyzes the fundamental components of video: the camera, the monitor, and the frame, focusing on the role of each within a system of video as analogous to the functions of vision and speech.
Peter Blake explores his passion for pop icons, Peter Phillips is featured with his cool companions, Derek Boshier voices his concerns with the American influence on British life and culture, and Pauline Boty, Britain's great female pop art painter who was to die only four years later, performs in a short dramatic dream piece.
M.A.M.O.N. (Monitor Against Mexicans Over Nationwide) is a satirical fantasy sci-fi short film that explores with black humor and lots of VFX the outrageous consequences of Donald Trump´s plan of banning immigration and building an enormous wall on the Mexico - US border.
Earthlings chafe at the peace established by a benevolent alien race and set about to rebel.
An international team sets off on an extraordinary scientific adventure to the Russel Glacier. Their mission is to conduct studies on the texture of the ice. With the results the scientists hope to find out more about glacial change and thus draw further conclusions about global climate. Join us on a journey to the beautiful tundra of Greenland.
After escaping an abusive husband, Anna and her 8 year old son move to a secret location in a giant apartment building. Terrified that her ex-husband will find them she buys a baby monitor to keep in her son's room at all times. But strange noises echo in the baby monitor from elsewhere in the building. Reliving the nightmare she recently escaped, Anna will need to figure out what's real and what isn't before she loses her sanity and her child.
Monitor was an NBC newsmagazine series in 1983. NBC News created this series as a platform to possibly challenge the success of CBS's 60 Minutes. After being initially broadcast on Saturdays at 10 P.M. Eastern time, the show was moved to Sundays at 7 P.M. Eastern time, going head-to-head with "60", and renamed First Camera. Production was based in Washington, DC, with offices in the Tenley Circle area immediately east of NBC's Nebraska Avenue studios. Lloyd Dobyns, the shows host, appeared in a stark white modernistic set. In the absence of a theme composed especially for the show, producers opted to use the opening minute of "Piano Concerto No. 1 In D-Flat Major, Op. 10: I Allegro brioso" by Sergei Prokofiev, feeling that it added gravitas to the show—something they hoped would set them apart from ABC's lightweight 20/20. In test audiences, the show did not test well, but producers refused to change the format. The first episode featured an extended story on Bobby Czyz, a light heavyweight boxer from New Jersey. The show placed last in its time period in national ratings in its debut and was one of the least-watched programs in all of prime time.
Monitor was a BBC arts programme that was launched on 2 February 1958 and ran until 1965. Huw Wheldon was the first editor from 1958 to 1965. He was also the principal interviewer and anchor. Wheldon set about moulding a team of talents, including John Schlesinger, Ken Russell, Patrick Garland, David Jones, Humphrey Burton, John Berger, Peter Newington, Melvyn Bragg, Nancy Thomas and Alan Tyrer. Monitor ranged in subject over all the arts. The hundredth programme was a film directed by Ken Russell and written by Wheldon, the celebrated Elgar. The Elgar film was innovative because it was the first time that an arts programme showed one long film about an artistic figure instead of short items, and also it was the first time that re-enactments were used. Prior to this, only photos or location shots had been used in programmes. Russell however still met resistance from Wheldon in allowing actors to play the subjects of his films. The Elgar film includes sequences of the young composer riding his bicycle on the Malvern Hills accompanied by Elgar's Introduction & Allegro for Strings. Russell had a particular empathy with Elgar's music because, like the composer, he was a Catholic. Wheldon's Monitor lasted until he had "interviewed everyone I am interested in interviewing", and he was succeeded by Jonathan Miller for the series' last season.
Elgar is a drama documentary made in 1962 by the British director Ken Russell. Made for BBC Television's long-running Monitor programme, it dramatised in vigorous style the life of the archetypically English composer Edward Elgar. The film had the effect of establishing Russell as a major directorial talent, and spawned a series of dramatised biographies of composers by Russell, both for cinema and television. Elgar became "one of the most popular films of its kind ever shown on TV, and contributed to a marked revival of interest in the composer's music." The film was narrated by Huw Wheldon. It was selected by the British Film Institute as one of the 100 Greatest British Television Programmes.