the clock is an art installation by video artist christian marclay .

it is a looped 24-hour montage that functions as a clock .

its scenes are selected from cinema and television history , with real-time references to the time of day .

marclay developed the idea for the clock while working on his 2005 piece screen play .

with the support of the white cube gallery , he assembled a team to find footage , which he edited together over the course of three years .

marclay debuted the clock at white cube 's london gallery in 2010 .

the work garnered critical praise , winning the golden lion at the 2011 venice biennale .

its six editions were purchased by major museums , allowing it to attract a widespread following .

the clock ( 2010 film )

christian _ marclay _ the _ clock _ 2010 _ a3 _ 1 _ web . jpg
it’s in the film of 2010 that the big world - saving stakes come to the forefront . and the film updates that final message , too :
christian marclay ’s acclaimed installation the clock 2010 has captivated audiences across the world from new york to moscow .
62 ) in may 2010 drew barrymore was announced as the director of a loose sequel to the film , surrender dorothy .
admission to the clock during regular museum hours , the clock is included in the price of museum admission .
——— . “michael snow : screen writing . ” switch 3 , spring 2010 , 8–15 .
international astronomical union 2012 , iau astronomy for development strategic plan 2010–2012 . urltoken , june 2013
the fertility clock was developed as an educational element for the film “my future baby : breakthroughs in modern fertility” .
sitney , p . adams . “structural film . ” film culture 47 ( summer 1969 ) : 1–10 .
stanton did voice work for the johnny depp animated film “rango” in 2011 . in a 2010 episode of nbc’s “chuck , ” stanton reprised his “repo man” character .
“i am” ( national award winner for best hindi language film and lyrics ) is their 3rd feature film as producers . the film project is one of india’s largest crowd sourced films with 400 co producers from 40 cities across the world . i am had its canadian premier at the “vancouver international film festival ’2010” . i am was also officially selected at guggenheim berlin’ 2010 , 59th valladolid film festival , spain 2011 and won the netpac award for best in asian cinema and special jury mention at the 15th international film festival of kerala 2010 , winner best film at the london asian film festival and continues its festival screenings . i am deals with issues and dilemmas that bruise the modern indian society . after a successful release in india , i am was released in france in 2012 by epicenter distribution .
the film doesn ' t say , but from earlier statements , chris nolan declared that the film is supposed to be contemporary .
christian marclay . video still from the clock . 2010 . single - channel video with sound , 24 hours . © christian marclay . courtesy paula cooper gallery , new york
christian marclay , the clock ( 2010 ) . single - channel video installation . duration : 24 hours . courtesy white cube , london and paula cooper gallery , new york
producers 4th feature film project “chauranga” directed by bikas ranjan mishra , winner grand jury prize for best feature at iffla ‘2015 ( indian film festival of los angeles ‘2015 ) , winner best film at mami ‘2014 ( mumbai international film festival’2014 ) , winner incredible india award at film bazaar 2011 & goteborg international film festival script development fund as the best co production market project . the project was also selected for paris project 2012 . the film had its uae premier at the diff ‘2014 ( dubai international film festival 2014 ) as part of world cinema . in 2015 , the film was officially selected at nyff ‘2015 ( new york film festival ‘2015 ) . official selection , goteborg international film festival ( 2016 ) and cinemasia film festival , amsterdam , ( 2016 ) .
there is only one opening credit , the film ' s title , which does not appear until nearly 15 minutes into the film .
owen , don , dir . toronto jazz . national film board of canada , 1964 . 16mm film , 27 min .
motion picture film stills or motion picture footage from films in moma ' s film collection cannot be licensed by moma / scala . for licensing motion picture film footage it is advised to apply directly to the copyright holders . for access to motion picture film stills please contact the
national research council 2010 , new worlds , new horizons in astronomy and astrophysics . washington , dc : the national academies press
image : christian marclay , details from the clock , 2010 , single - channel video , variable dimensions 16 : 9 , purchased with funds provided by steve tisch through 2011 collectors committee , the clock © christian marclay , courtesy paula cooper gallery , new york .
69 ) the observer music monthly voted it the greatest film soundtrack of all time .
he knows too much : the plot of the first film is driven by this .
64 ) the film was deemed
culturally significant
by the united states library of congress , which selected it for preservation in the national film registry in 1989 .
scarface writer oliver stone wrote the film while battling his own addiction to cocaine .
the film of the book : the movie was based on a comic book of the same name .
the first work to be presented in this space in 2014 is the clock ( 2010 ) by multidisciplinary artist christian marclay ( b . 1955 , san rafael , california ) , an artist known since the late 1970s for his exploration of the intersections between visual art , sound , film , and performance .
christian marclay : the clock courtesy the artist and paula cooper gallery , new york .
, called “the clock” the “ultimate work of appropriation art . ” rosalind e . krauss , the eminent art historian , hailed marclay’s transformation of “the reel time of film into the real
——— . “michael snow . ” in 100 video artists , edited by rosa olivares , 370 . madrid : exit publicaciones , 2010 .
boyd , d . ( 2010 ) .
making sense of privacy and publicity
. sxsw . austin , texas , march 13 .
copenhagen contemporary is delighted to bring swiss - american artist and composer christian marclay’s the clock ( 2010 ) to scandinavia for the first time . this video installation is recognised as a contemporary masterpiece and won the golden lion at the 2011 venice biennale .
a 24 - hour montage of film clips showing the measurement of time , christian marclay’s the clock has hooked viewers in london and new york . he talks to jonathan romney
70 ) on the rotten tomatoes website , 100 % of critics give the film positive reviews .
the clock is a major cinematic work by new york–based artist christian marclay . winner of the golden lion award at the 2011 venice biennale , the clock samples thousands of excerpts from the history of film that indicate the passage of time—from clock towers to wristwatches to buzzing alarm clocks—that the artist has edited together to unfold on the screen in real time as a 24 - hour montage .
corrects chess clock story : was 7 minutes , not 3 . had borrowed from lds member in area ; when he died , wife sent royal the chess clock .
33 ) a recycled bit of score from the film marie antoinette ( 1938 ) can be heard during the castle escape film – the music for both films was composed by herbert stothart .
: just about everyone in the film under the age of forty . they look at moses and the other
beginning december 21 , the museum will provide updates on visiting the clock , including live reports on the queue , via twitter ( @ theclockatmoma ) . tweet about the clock using the hashtag # theclockatmoma .
in a new report , the cdc says u . s . doctors are prescribing fewer opioids than they were in 2010 , but that overall rates remain high .
bbc news at ten article on christian marclay ' s the clock - a 24 hour film , featuring in the british art show at new exchange , nottingham and the white cube in london .
movies : christian marclay ' s ' the clock ' runs at lacma for . . .
christian marclay : the clock
through june 2 at sfmoma , s . f .
for the new report , cdc researchers analyzed opioid prescribing patterns in the u . s . from 2006 to 2015 , including county - level prescribing from 2010 through 2015 .
whitelaw , anne , brian foss , and sandra paikowsky , eds . the visual arts in canada : the twentieth century . don mills : oxford university press , 2010 .
whereas benjamin franklin said that “time is money , ” marclay says in the clock that “time is meaning . ” whether we get a little or a lot of it , the clock reminds us that time is man - made and that , ultimately , we rule it rather than it rules us . stop watching the clock and watch the clock , if you can .
timepieces of all kinds are the stars of the christian marclay video “the clock , ” at the paula cooper gallery .
warning : spoiler alert ! this infographic contains details about the new space film
interstellar .
21 ) in their 2007 list , the afi ranked it as the 10th greatest film of all time .
65 ) in june 2007 , the film was listed on unesco ' s memory of the world register .
marclay spent three years assembling “the clock , ” a twenty - four - hour video collage .
( 1 ) wallace wh , kelsey tw . human ovarian reserve from conception to the menopause . plos one . 2010 jan 27 ; 5 ( 1 ) : e8772 .
however they often appear in film adaptations entitled ' alice in wonderland ' or variations thereof .
20 ) the film is rated no 1 on the afi ' s 2008 list of the 10 greatest fantasy films .
for the clock , the artist edited thousands of film and television clips to form a 24 - hour montage which unfolds in real time . while constructed from a dizzying variety of periods , contexts , and film genres whose storylines seem to have shattered into a multitude of narrative shards , the clock uncannily proceeds at a unified pace as if re - ordered by the latent narrative of time itself .
[ image : christian marclay . detail of the clock . 2010 . single - channel video with sound , 24 hours . © christian marclay . courtesy paula cooper gallery , new york , and white cube , london . photo : todd - white photography . ]
alice sees iracebeth running in the direction of the heavy clock and tries to prevent a tragedy from happening .
34 ) to show dorothy ' s house falling from the sky , a miniature house was dropped onto a sky painting on the stage floor , then the film reversed to make it appear the film was falling towards the camera .
back to one podcast : keith poulson on developing as an actor in the ny indie film scene .
it was al pacino who first came up with the idea to remake howard hawks original 1932 film .
amidst an old london clock shop , a small , quirky mantle clock comes to the aide of the store ' s more expensive clocks when a thief breaks in and threatens to steal them away .
christian marclay’s epic video collage , ‘the clock’ , used thousands of film clips to hypnotic – and retina - searing – effect . will his new work also be a sight for sore eyes ?
the repetition of images is a defining characteristic of surrealist art . bunuel merely transfers this to the film medium .
there are no critic reviews yet for girl clock . keep checking rotten tomatoes for updates !
last month culture monster reported that the l . a . county museum of art was working to acquire christian marclay’s 2010 video hit “the clock , ” a 24 - hour - long movie - montage that museum director michael govan called a “virtual history
of film . now the acquisition is a done deal , thanks to an annual fundraising event at the museum known as collectors committee weekend .
wormhole travel across the universe and supergiant black holes are just some of the wonders seen in the film
interstellar .
to enjoy special access to christian marclay : the clock and other benefits , become a member today .
despite its miami setting , most of the film was shot in los angeles . the miami tourist board declined the request to film there , as they feared the themes of drugs and gangsters would deter holiday - makers from visiting .
, 1964 , directed by don owen , 16mm film , black and white , 27 min .
winner of the golden lion award at the 2011 venice biennale , christian marclay’s the clock is a cinematic tour de force that unfolds on the screen in real time through thousands of film excerpts that form a 24 - hour montage . appropriated from the last 100 years of cinema’s rich history , the film clips chronicle the hours and minutes of the 24 - hour period , often by displaying a watch or clock . the clock incorporates scenes of everything from car chases and board rooms to emergency wards , bank heists , trysts , and high - noon shootouts .
quite possibly the only critical piece you ' ll ever read on christian marclay ' s
the clock .
the fertility clock provides a simple graphic that can be used to estimate the monthly chance of having a baby .
you might argue that that’s what 2001 is about , in the end , but i don’t think you can say that 2001 ‘s view of its mystery monolith aliens is all - the - way positive ; certainly , there’s no scene where a monolith explains , in subtitle , that they are saving humanity because they need humanity’s help in 3000 years . ( a nihilist would argue that 2001 is about how earth is a laboratory and we’re the lab rats . ) maybe you think 2010 is clearer in its intentions than 2001 — in which case , maybe those good intentions are just vastly less interesting . maybe 2010 makes you feel better than 2001 because everyone in 2010 is nice . ( even hal is nice in 2010 ) .
sfmoma features the world’s most elaborate timepiece , a supercut of film history that works also as a watch .
inception is based on a screenplay by british filmmaker christopher nolan , who also produced and directed the film .
: marvin starts the film by warning frank someone is coming after them , then apparently blowing himself up .
the data used to create the fertility clock was taken from landmark works in the fields of population research and developmental biology .
the rates depicted on the fertility clock estimate the experience for most women . as with all biological systems exceptions do exist .
8 . narrative devices veteran actor burgess meredith in the obsolete man is tied to a post . next to him is a bomb attached to a clock . when the clock strikes twelve , it will explode .
an ode to time and cinema , christian marclay’s the clock ( 2010 ) is a contemporary masterpiece comprised of thousands of fragments from television and film history—creating a 24 - hour video shown in real time . at any given moment , the work displays the accurate time on screen , blurring the line between its fictional clips and reality . synchronized to the local time zone , the clock literally becomes a functioning timepiece . every clip in the film shows a clock , mentions the time of day in the dialogue , or represents a metaphor of time . from big ben to jack nicholson , viewers can recognize iconic movies , actors , and clips from a century of films . the museum first screened the work in 2011 following its joint acquisition by the mfa and the national gallery of canada .
, frank mentions how the mission they performed in moldova at the end of the first film made marvin a national hero there .
richard misek is a film theorist and montagist . his essay film rohmer in paris ( 2013 ) has screened at over twenty film festivals on five continents , and at venues including the national gallery of art ( washington d . c . ) , the bfi and barbican ( london ) , and the museum of moving image and anthology film archives ( new york ) . he is currently principal investigator on the arhc project , ‘the audiovisual essay : a digital methodology for film and media studies’ . he lectures in digital arts at the university of kent . urltoken
47 ) the stage version of the wizard of oz returns to london ' s west end in february 2011 . the role of dorothy was decided by bbc talent show over the rainbow , which aired in spring 2010 .
in 2005 they independently produced the path breaking film , “my brother nikhil” directed by onir , which dealt with the stigma of hiv and homosexuality for first time in india . the film premiered at “frameline” ( san francisco ) followed by winning at montreal ( image + nation film festival ) & 20th milan international lgbt festival . the film successfully released in march 2005 by india’s biggest privately owned studio , “yash raj films” . my brother nikhil is considered a landmark film in indian cinema . producers 2nd feature film , “sorry bhai ! ” directed by onir was released in november 2008 and starred shabana azmi , boman irani , sanjay suri , sharman joshi and chitrangda singh . the film was acquired and released by mumbai mantra ( entertainment division of the industrial group mahindra’s ) .
the clock , which took three years to make , has become the art world ' s most talked - about film project since it debuted in 2010 , and unsurprisingly , it ' s divided audiences . his worst critics have derided the clock as a
gimmick ,
but even marclay ' s detractors credit his resolve to complete the project , which required thousands of hours to sift through potential scenes . but the film ' s success — it won the venice biennale ' s top prize in 2011 , and has since screened to standing - room - only crowds around the world — has brought renewed attention to marclay ' s other projects .
when “the clock , ” first shown in london in 2010 , made its new york debut at the paula cooper gallery in chelsea in the winter of 2011 people waited in line for hours in the bitter cold to see it . last summer at the venice biennale it was a big draw , winning the golden lion award for best artwork . the film has also been shown in seoul , moscow , paris , boston , los angeles and ottawa .
called “an abundant , magnificent work” ( financial times ) and “utterly transfixing” ( huffington post ) , the clock is marclay’s most ambitious moving - image project to date , garnering rave reviews from critics and the public alike since its premiere in 2010 , and subsequent presentations at a host of venues worldwide .
indeed , the clock attempts to submit cinematic time to clock time through the coincision of subject matter ( clocks , nothing but clocks , visualizing clock time ) with a context which makes possible durational , internal , ( cinematic ) time . marclay seems to be suggesting ( consciously or not ) that there is no possible escape from clock time , so why not embrace it . enjoy your symptoms , pace zizek .
i had seen parts of “the clock” when it opened at london’s white cube gallery four years earlier . marclay’s 24 - hour video installation instantly became the cultural talk of the town . it even made the bbc’s ten o’clock news , the straight - talking nightly bulletin that gives short shrift to the flaky experiments of contemporary art . but the allure of “the clock” was irresistible .
arthur c . clarke wrote the book 2010 in 1982 . the book is more austere , clinical , less dramatic , and better . it ends with a message from the monoliths , via hal , to humanity :
has been viewed with critical acclaim at venues around the world since premiering at white cube , london in 2010 . it was jointly acquired by the national gallery of canada and the museum of fine arts , boston .
the film ' s abstractness permitted many interpretations . in the midwest , for instance , cooper was seen as a symbol of eisenhower working against the communist threat , a view eisenhower himself presumably adopted with his numerous white house screenings of the film .
a three - minute clip of clock on youtube comes with the plea only to watch it from four minutes past noon – and to wait , patiently clock - watching , if that point in the day has passed .
71 ) the film is at no 10 on the bfi ' s list of the 50 films you should see by the age of 14 .
the clock first premiered in london in 2010 and has since been exhibited worldwide in more than twenty venues , including the centre pompidou , paris ( 2011 ) ; museum of modern art , new york ( 2012 ) ; san francisco museum of modern art ( 2013 ) ; and guggenheim bilbao ( 2014 ) .
the film exhibits loss of nerve in other ways . the wally created by eugenides was no looker ; but the film only hints at this by clothing bateman , an attractive man , in unfortunate knitwear . thus the story’s entire point is effectively jettisoned .
sometimes the time is just glimpsed in the background of a shot , irrelevant to the action and sometimes the time gives a sharp stab or poke to the dialogue : particularly with scenes in which time is running out . the clock is , unexpectedly , quite a sensual , sexy film , in that the late morning stretch features plenty of shots of people in bed , waking up , embracing and then realising that these are forbidden pleasures – forbidden by the clock . (
what ' s the time ? is that the time ?
etc ) the time is an alarm clock , a constant silently pinging alarm clock .
a most useful work of art , clock 2010 , made by christian marclay by editing together thousands of clips of clocks , watches and time checks from films so that they tell the actual time as the video runs for 24 hours , has been acquired jointly by the tate , the centre pompidou in paris and the israel museum in jerusalem .
of course
the clock
would speak to a generation weaned on appropriation by hip - hop and youtube .
entry to the clock is on a first - come , first - served basis . wait times may apply .
there are brief periods of nudity and strong language during the clock . visitors bringing children should use their discretion .
lieblingswitze - büchlein goes biennale : 5 . 11 min of 24 h video
the clock
by christian marclay
there are brief periods of nudity and strong language during the clock . visitors bringing children should use their discretion .
thus “the clock” is also a 24 - hour valentine to the movies . it samples film from around the world and throughout the last century , from silent movies to the present . it is like a history of film for our add times , or the greatest movie trailer ever made , as well as the ultimate work of appropriation art , a genre that owes so much to the movies .
68 ) the pairing of the 1973 pink floyd music album the dark side of the moon with the visual portion of the film produces moments where the film and the album appear to correspond with each other in a music video - like experience . this juxtaposition has been called dark side of the rainbow .
marclay doesn ' t consider himself a film buff , and while making
the clock
the last thing he wanted to do was go to the movies . instead , he took up yoga . after the obsessive demands of
the clock ,
he ' s now working on a couple of short video projects that are
very modest in scale .
casually stepping out of a car while it ' s doing a donut automatically qualifies your film for this .
snow , michael . “hollis frampton interviewed by michael snow . ” film culture , spring 1970 , 6–12 .
( 2010 ) is an ode to time and cinema , comprised of thousands of fragments from a vast range of films that create a 24 - hour , looped , single - channel video .
christian marclay’s 24 - hour video installation the clock will go on show at tate modern for three months , starting in september 2018 . released in 2010 , marclay’s montage features of thousands of real - time film and television clips , acting as a fully functioning time piece . the exhibit will be free and can be accessed during tate modern opening hours and via monthly 24 - hour screenings , exact dates to be confirmed soon .
daniel herbert is an associate professor in screen arts and cultures at the university of michigan . his research examines the relationships between the media industries , geography , and cultural identities . he is author of videoland : movie culture at the american video store ( uc press , 2014 ) . his essays appear in canadian journal of film studies , creative industries journal , film quarterly , millennium film journal , and quarterly review of film and video , as well as in several edited collections .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
despite its now iconic status , the film was slaughtered by critics upon release , due to its graphic violence , foul language and drug use . one person who sung the film ' s praises from the start , however , was actor eddie murphy .
the overall amount of opioids prescribed in the u . s . dropped 18 percent , from a peak of 782 mmes — morphine milligram equivalents — per capita in 2010 to 640 mmes per capita in 2015 , the researchers found .
in a new report , the cdc says u . s . doctors are prescribing fewer opioids than they were in 2010 , but that overall rates remain high . donald gruener / istockphoto / getty images hide caption
still from christian marclay’s the clock , 2010 . single channel video ( color , sound ) . edward linde fund . jointly owned by the museum of fine arts , boston , and the national gallery of canada . © the artist . photo : todd - white art photography . courtesy white cube , london and paula cooper gallery , new york .
the enduring allure of the film that catapulted bill forsyth into the british film industry elite has surprised no one so much as its stars , most of whom were in their teens when they made it . many of the cast had worked with forsyth through the glasgow youth theatre before , and expected no more than the distinct lack of interest that met their first film together , that sinking feeling .
10 : 04 p . m . : lightning strikes the clock tower in
back to the future
( 1985 ) .
the clock reflects a western world of total control and administration : time is the mechanism that binds one to a rational order .
“i’ve done ‘the clock’ twice ? ” marclay said , laughing . “well , that proves that i’m too swiss . ”
9 . control in drawing a connection between time on screen and time in everyday life , the video reminds us , if reminding was ever needed , that we are conditioned by the clock , that our days are marked and measured . we watch the clock and the clock watches us . the clock is a dictator and the ultimate panopticon . our daily and lived relation to the clock can be aggressive or passive : we might punch the clock at work but in so doing , we are kept in line by systems of regulation and labour that demands our time . in the clock a recurring trope of the bedside stand with a ringing ‘alarm’ clock repeats across numerous settings . early mornings become hectic as time rings down like a hammer and repeated images of the time roust a sleepy subject to life , to work , and to responsibility . if the bedside stand is littered with cigarette butts , drugs or alcohol , we suspect that the subject will awake impaired and suffer from some sort of anxiety for sleeping in or for sleeping with the wrong person . in a culture of rationalized labour and incessant performance demands , the clock reminds us again and again of who we are and who we must become when the world is watching and the clock is ticking .
this summer at lacma , christian marclay ' s cinematic artwork
the clock
( 2010 ) , a 24 - hour - long compilation of thousands of film and tv clips , will offer remembrances of hollywood matinees past . his mash - up , sampled from across all film and tv genres , and spanning many cultures and eras , consists almost entirely of images and dialogue that depict or allude to the passage of time : close - ups of wristwatches , dramatic shots of big ben , pans of clock faces in grand central station , images of train timetables and airline departure schedules , and countless sequences of people waiting around or rushing off to fateful rendezvous .
running gag : throughout most of the film , han keeps demanding that frank return his private plane after he steals it .
he showed me some “drafts . ” putting on black spectacles , he loaded final cut pro . film clips were
an assemblage of time - related movie moments that had its debut in london in autumn 2010 , mr . marclay’s “clock” is already a popular classic . it is also a functioning timepiece ; a highly compressed , peripatetic history of film and film styles ; an elaborate , rhythmic musical composition ; and a relentlessly enthralling meditation on time as an inescapable fact of both cinematic artifice and everyday life . perhaps the ultimate validation of appropriation art , it thoroughly demonstrates how existing works of art — in this case films — become raw material for new ones .
christian marclay–the clock is organized by sabine breitwieser , chief curator , with martin hartung , curatorial assistant , department of media and performance art . the clock was acquired by moma in 2011 as a promised gift from the collection of jill and peter kraus .
some sequences in “the clock” were inevitable—at noon , “high noon . ” but marclay’s video rendered even that material strange . in fred zinnemann’s film , the fateful hour is preceded by a gallery of anxious faces intercut with a pendulum clock . “it’s condensed in the actual film , ” marclay explained . “i put all of that back into real time . ” his video upended a central illusion of film . theorists like henri bergson had dilated on the falseness of cinematic “duration”—the way that , say , the swirl of a long drunken evening can be captured in a set piece lasting three minutes . marclay made the same point , but viscerally .
above : still from christian marclay’s the clock , 2010 . single channel video ( color , sound ) . edward linde fund . jointly owned by the museum of fine arts , boston , and the national gallery of canada . © the artist . photo : todd - white art photography . courtesy white cube , london and paula cooper gallery , new york .
the clock is now showing at the hayward gallery in london as part of the british art show 7 and is soon moving on to glasgow and then plymouth . the london showings finish this weekend , when the clock has a special late - night opening until 1am . generally , gallery opening times permit visitors only to experience the
daylight
part of the clock . the night - time stretch promises a special intensity .
extended to december 31 , 2011 . a compelling new work created by world - renowned artist christian marclay , the clock ( 2010 ) , an ode to time and cinema , comprises thousands of fragments from a range of films that create a 24 - hour , looped , single - channel video . the clock tells the accurate time at any given moment , and wherever it is screened it is synchronized to the local time zone , so that it is literally a working time piece . the clock , a recent museum acquisition , screens to coincide with the opening of the mfa’s new linde family wing for contemporary art .
19 ) the song over the rainbow came in at no 1 on the american film institute ' s 2004 list of the 100 greatest songs in american films .
* moma acquired a copy of “the clock” for its permanent collection . it did not buy one , as originally stated .
schuchat says it ' s enough for
every american [ to ] be medicated around the clock for three weeks .
36 ) the film is meant to be one of the most watched in the western world , partly because of its heavy presence on tv schedules .
the film ' s wormhole is 1 . 25 miles ( 2 kilometers ) in diameter and 10 billion light - years long .
the acceleration i felt happened because each clip seemed to offer a surcharge of virtual potential ripe for actualization , but almost always impeded by the incursion of the next clip , equally alive with possibility . after 20 minutes , i had been fully indoctrinated into clock time . ( notice how this short circuiting takes place while you’re slowly synching up your internal clock with the onscreen clock . )
clock time is intrinsically associated with labour , work time . this is steven shaviro speaking about tehching hsieh ‘s one - year performance 1980 - 1 , which constituted of the punching of a time clock every hour on the hour for an entire year :
christian marclay : the clock is organized by the san francisco museum of modern art . lead corporate support is generously provided by the charles schwab corporation .
66 ) last year the san francisco chronicle devoted a film section front page to the film , in which mick lasalle declared that the film ' s
entire sequence , from dorothy ' s arrival in oz to her departure on the yellow brick road , has to be one of the greatest in cinema history — a masterpiece of set design , costuming , choreography , music , lyrics , storytelling and sheer imagination .
more simply , clock time is external ( something imposed on our bodies and minds ) , while duration is internal .
offers guests unique and popular entertainment experiences . its renowned theme parks feature some of the world’s most thrilling film and tv based attractions .
in 2001 , the fate of the world wasn’t at stake . actually , in that sense , contemporary semi - serious sci - fi is much closer in spirit to the film 2010 , an oddly endearing bad sequel which tries hard to crush everything interesting about 2001 with retroactive coherence . 2010 explains , in numbing detail , why hal went crazy — it wasn’t his fault , and the once - mad computer nobly sacrifices itself to save humanity . literally , all humanity : by the end of 2010 , the u . s . and the ussr are at a state of high tension , and the threat of nuclear war looms large . the monoliths , previously an unknowable outside force , reveal themselves as helpful parental figures . they transform jupiter into a star , which makes the moon europa into a new vibrant planet . back home on earth , the americans and the soviets see two suns in the sky – and declare general peace .
, artistic director of pages unbound , film critic for classical 96 . 3 fm and an adjunct professor at ryerson university .
marclay and his team cleverly appropriate the working methods of post - production experts on a film crew . the clock is brilliantly edited : scenes have been chosen by marclay for maximum effect and cut with great delicacy , both in each ”intro” to a scene and its “extro . ” the punch line—where’s the clock ? —is used very well , and when there is no clock , marclay and crew have devised montage sequences of people running upstairs or through a crowd—cut / cut / cut—to a final point when a timepiece does make an appearance .
( 2010 ) is a unique and compelling work created by world - renowned sound and video artist christian marclay . the work is an ode to time and cinema , and is comprised of thousands of fragments from a vast range of films that create a 24 - hour , looped , single - channel video . marclay compiled thousands of film clips of wristwatches , clock towers , sundials , alarm clocks , and countdowns , each of which illustrate every minute in a 24 - hour period .
it’s obvious , of course , where this film is going , but the unpromising - looking vehicle proved an unexpected pleasure to travel in .
usually , when a movie’s good enough , the audience loses track of the time . the clock invites viewers to zone out , but constantly reminds them exactly what time it is . drowning in the current of scenes and events , it’s easy to forget about many things , but time is not one of them . “ the clock really is a clock , ” breitweiser , the curator , told me . “everyone is watching the time go by . ”
in the film , cobb pulled a
mr . charles
on fischer due to the time constraints . what exactly is
mr . charles
?
this summer the city that never sleeps will have another glimpse of an artwork that doesn’t relent much either : “the clock , ” a spellbinding , time - telling 24 - hour wonder of film and sound montage by christian marclay , the polymath composer , collagist , video artist and pioneer turntablist .
in the switch , it’s finally happened again . jason bateman , funny , charming and quick with repartee , acquits himself splendidly . it’s the rest of the film that’s the problem .
a 24 - hour - long meditation on the nature and artifice of time ,
the clock
consists of thousands of film ( and to a lesser degree , television ) clips that feature clocks , watches and other timepieces , edited together so that the time you see on screen reflects the current time .
beginning december 21 , the museum will provide updates on visiting the clock , including live updates on the queue , via urltoken and moma’s twitter account , @ museummodernart .
lead corporate support for christian marclay : the clock is provided by the charles schwab corporation . additional support for the exhibition is provided by lionel conacher and joan dea .
but individual donors also stepped forward to fund particular artworks that moved them . with marclay ' s “the clock , ” hollywood film producer and new york giants chairman steve tisch , who became a lacma trustee last year , pledged the $ 467 , 500 needed to buy the work before voting began .
' the clock ' is at the power plant in toronto until november 25 , and at moma , new york , from december 21 until january 21 .
precision f - strike : cooper gets one towards the end , especially noticeable as there honestly isn ' t much swearing in the film up until that point .
the film on the waterfront ( 1954 ) was partially intended as director elia kazan and writer budd schulberg ' s justification for cooperating with huac . the film ' s hero , played by marlon brando , wrestles with the question of whether to tell the police the names of the criminals operating on the docks , eventually determining that it would be immoral not to do so .
the black hole ' s complex appearance in the film is due to the image of the accretion disc being warped by gravitational lensing into two images : one looping over the black hole and the other under it .
it never really did , although the film ' s cult status has arguably grown in the last 10 years : as he has become more elusive , so forsyth ' s legend has fortified . there was a palpable thrill in the air when the film ' s leads – sinclair , grogan , robert buchanan and dee hepburn – posed for photographs at the glasgow film theatre on sunday , together again for the first time since they made the film . but there was also something bittersweet about watching this frozen elegy for youthful innocence and optimism in a room with its now forty - something stars , a heart - jolting reminder that even daft , dreamy wee boys who have to be home by 11 o ' clock grow into older , wiser , more melancholy men .
thus film and television history is co - opted into a promiscuously goofy hellzapoppin’ - esque collage . but the clock is also a film of considerable philosophical density . it invites us to examine the way time – or the effect of time – is created and structured in film . we become aware of different intensities of film time . there are moments of heightened tension ( ‘hot’ time , you might say ) in which events happen , or are keenly anticipated : notably the run - up to midday , a moment awaited in the clock by a heteroclite mob including moritz bleibtreu , gene hackman and , of course , gary cooper in high noon . then there are the slow , seemingly vacant moments – ‘cool’ time – in which characters lounge around or emerge from late slumber ( 3pm , we learn , is a prime waking hour for artists and drunks ) . we too become acutely aware of time in the outside world ; emerging from the clock , you can expect your sense of the passing minutes to be curiously heightened for a good hour or so .
sanjay suri served as a jury member at mami festival , 2012 ( mumbai academy of moving images ) and as muhr arab feature jury at the ( diff ) dubai international film festival , 2013 . onir served as a jury member for selection of india’s entry for foreign film category at the oscars .
when he finally saw the finished product at the 1981 london film festival , however , sinclair was
mortified
. he thought he looked terrible and gangly ( it suddenly dawned on him why forsyth had
made me exaggerate all those stretches and lunges when he was filming me exercising
) , and he feared his performance
ruined the film
. grogan was a little more level - headed , recognising the film ' s charms , and its
smart , progressive view of a girl ' s world
. but even after the film was greeted rapturously , all involved thought the fuss would soon die down .
17 ) the production costs came in at $ 2 , 777 , 000 – a vast sum for the time . on initial release , the film only earned $ 3m .
there is still a process of editing involved – many of the film clips are leftovers from the gargantuan catalogue that he and his assistants formed whilst working on the clock . it begins with a silent loop showing a disembodied hand , index finger tapping the velvet pile of a curtain , over and over . this is typical marclay – his eye for banal visual oddities was the making of the clock , and indeed all his other video works , which are photographic in a way .
incredibly obvious bomb : marvin drives the secret service in the direction he wants by charging towards them while strapped with dynamite and a ridiculously large micky mouse clock .
rt @ cairoscene : our resident film critic and cinephile @ waelkhairy88 gives his # oscar2016 predictions . brace yourself leo . urltoken 2 years ago
but that interpretation is only obvious if you know the film ' s background , and even then it ' s not inescapable . none of the contemporary reviews i can find describe the film as having any political component at all . ( here is the new york times review , which does allude to the question of whom to credit for the film ' s excellence ; here is variety ' s review . ) in the book showdown at high noon : witch - hunts , critics , and the end of the western , jeremy byman writes :
many non - astronomers also engaged with astronomy during the international year of astronomy 2009 ( iya2009 ) , the largest education and public outreach event in science . the iya2009 reached upwards of eight hundred million people , through thousands of activities , in more than 148 countries ( iau , 2010 ) .
some ten thousand clips were collected for marclay’s video . “putting the clips back into real time , ” he said , exposed “how film is constructed . ”
marclay’s monstrous creation needed a title . he thought of a few of his usual puns : “time piece , ” “clock work . ” then he and burnett discussed the matter , and decided that the work was too grand to be trivialized with wordplay . better , marclay decided , to call it “the clock . ”
this precision yields several extraordinary effects , some of which may be fully evident only to a hypothetical viewer watching the film in its 24 - hour entirety . ( there have been 24 - hour screenings , but to marclay’s knowledge , the longest stint by any viewer has been eight hours . ) one effect is a strangely addictive , mesmeric quality ; the first time i visited the clock , two hours slipped by like a breath . as happens when you watch any involving film , you lose your immediate sense of duration , and yet – here’s the wonderful paradox – the clock constantly reminds you of the exact time . your watching time is metered by the piece itself .
one of the visual pleasures of the clock is that marclay and his team took a euro - centric approach to their film materials . while there are plenty of clips with bette davis and other hollywood notables , the viewer is offered a pleasing variety of films from germany and france—with no subtitles ! —and england . we’re likely to be transported in film clips from berlin during the cold war to post - blitz - bombed london to an antic parisian nightclub—and then to a hollywood studio .
since it premiered at their mason’s yard site in 2010 , the work has been showing almost continuously : in new york , yokohama , jerusalem , plymouth , venice , los angeles , sydney , boston , paris , and zurich . it’s about to open in toronto , but for the first time , marclay isn’t going . having rigorously attended its every installation , he decided to step back and let assistant paul anton smith take over . “it had stopped me from doing other things” he says . “i had a couple of small shows but it was the clock and still the clock and the swiss guy who made the clock – ha ha” he says wearily . “at last it’s taking on a life of its own and freeing me to focus on other things . ”
2 . anxiety the clock references the cinematic past through the recycling of known films . as viewers , we look for anchor points or moments of identification in the montage of clocks appearing before us . for cinephiles , to identify a known actor or the film from which the fragment of time is detached is to locate oneself as an informed viewer in a structure of familiar territory . as comforting as this is , the linear structure of the work and the rapid exchange of one temporal reference by another reminds one that time never stops . expectation comes to propel the film forward from one clip to another . the expectation is that a reference to time will be found embedded in the next clip . a ‘where’s waldo’ of time ensues as we are conditioned by the film to look for clocks . finding the temporal signifier resolves the expectation but this resolution is short - lived , replaced immediately with the expectation that the next scene will provide another image of time . viewers are kept continually in a state of perpetual and anxious receptivity . the film’s oscillation between anticipation and resolution burns out the continuous punctuality of our attention span . the clock is relentless .
44 ) lux radio theater broadcast a 60 - minute cbs radio adaptation of the movie on christmas day 1950 with judy garland reprising her film role as dorothy .
49 ) the film won two oscars for best original score and best original song , and was nominated for best art direction , best cinematography and best effects .


thaaiku oru thaalaattu ( english : lullaby to the mother ) is a 1986 indian tamil film , directed by balachandra menon and produced by k. r. gangadharan .

the film stars sivaji ganesan , padmini , visu and pandiyan in lead roles .

the film had musical score by ilayaraja .

the film was a remake of director 's own malayalam film oru painkilikatha .

thaaiku oru thaalaattu

thaaiku oru thaalaattu mp3 songs download thaaiku oru thaalaattu tamil movie mp3 songs download : : tamilmusiq . net
arariro padiyatharo | thaaiku oru thaalaattu | k . j . yesudas | sivaji ganesan
arariro padiyatharo | thaaiku oru thaalaattu | k . j . yesudas | sivaji ganesan - youtube
mix - arariro padiyatharo | thaaiku oru thaalaattu | k . j . yesudas | sivaji ganesan
is a tamil drama movie , directed by balu mahendra . the cast of thaaiku oru thaalaattu includes sivaji ganesan , padmini .
thaaiku oru thaalaattu is a 1986 indian tamil film , directed by balachandra menon and produced by k . r . gangadharan .
we don ' t have enough data to suggest any movies based on thaaiku oru thaalaattu . you can help by rating movies you ' ve seen .
thaaiku oru thaalaattu is a 1986 indian tamil film , directed by balachandra menon and produced by k . r . gangadharan . the film stars sivaji ganesan , . . .
movie title - - - thaaiku oru thaalaattu unknown facts imdb rating and complete report cast - - sivaji ganesan sujatha visu below actors passed away - - sujatha died on 06 - apr - 2011 padmini ramachandran died on 25 - sep - 2006 sivaji ganesan died on 21 - jul - 2001 movie details - - music by - ilayaraja produced by - k . r . gangadharan
thaikku oru thalaatu is a 1986 indian tamil film , directed by balachandra menon and produced by k . r . gangadharan . the film stars sivaji ganesan , padmini , pandiyarajan , sujatha , ilavarasi . . . see full summary »
thaiku oru thalatu is a tamil movie , directed by balachandra menon , starring shivaji ganeshan , padmini , pandiarajan , sujatha along with others . here , on the movie page , you will find every thing that you need to know . watch the latest songs videos in full hd right here on gomolo . we recommend you to start with thaiku oru thalatu trailer to get a hang of the movie . check out what others are saying about the movie on twitter .
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kokila ( shoba ) , a medical college student lives with her father , an engineer and her mother in a home in madras . a house maid ( roja ramani ) who is very close to the family also lives with them . as kokila ' s father travels a lot and his wife suffering from health problems , they decide to keep a paying guest . vijayakumar ( kamal haasan ) , a . . .
motor sundaram pillai , starring sivaji ganesan , major sundarrajan and sowkar janaki . changes were made to the local version , with the second wife being the first wife
moondram pirai starring by kamal haasan and sridevi kappor . he movie begins with a young girl bhagyalakshmi ( sridevi ) who meets with an accident thus succumbing to amnesia . this condition makes her lose her memory of her entire teenage and adulthood leaving her as a physically grown up woman but with the memory and intelligence of a se . . .
arun ( ramesh arvind ) , bored of his wife ' s ( leelavathi ) looks and weighty appearance , meets priya and develops an affair with her . but his wife has other plans .
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trippy indie madeline ' s madeline is the movie that lakeith stanfield and boots riley from sorry to bother you want to see the most .
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quite a well - made film , though it has its share of cliches . sivaji does a good job , finally realising that his
good - for - nothing
son is the only one who truly loves him ( the first of the many cliches ) . the screenplay is taut , which makes this one worth a dekko . great song in aaraariro paadiyathaaro ( ilayaraja , of course ) .
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unrestricted public exhibition throughout india , suitable for all age groups . films under this category should not upset children over 4 . such films may contain educational , social or family - oriented themes . films under this category may also contain fantasy violence and / or mild bad language .
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hardwood is a 2005 short documentary film about canadian director hubert davis ' relationship to his father , former harlem globetrotters member mel davis .

through interviews with his mother , his father 's wife , his half-brother , and mel davis himself , hubert davis explores why mel made the decisions that he did , and how that has affected his life .

hardwood was met with high critical acclaim and received an academy award for documentary short subject nomination .

it also aired on pbs as part of its point of view series in 2005 .

hardwood ( film )

urltoken trailer for the film
hardwood
was accepted into
on the lot
. the film is now complete and playing film festivals .
since the film ' s premiere at hot docs 2004 , hardwood has garnered multiple awards and international critical acclaim . the film has screened at over 20 films festivals throughout canada and the us .
awards for hardwood include best documentary at the world wide short film festival , best short documentary at the big sky documentary film festival , jury ' s choice award at the black maria film + video festival and four awards at the yorkton short film and video festival ( including a craft award for best ( non - dramatic ) direction and the coveted golden sheaf of excellence award for the top film of 2004 ) .
hardwood
was also part of last year ' s official selection at the infact film series in los angeles .
davis’s first film , hardwood , was nominated for an academy award for best short documentary . he received the don haig award at the hot docs festival for invisible city . davis also directed the short film aruba , the 2016 doc giants of africa and most recently the documentary short rivolta .
a film about the director ' s relationship with his father who was a team member of the harlem globetrotters .
the film also features never - seen - before dramatic archival material discovered in private and public archives in israel and europe .
hardwood became a reality for me in 2000 when i read hubert ' s first funding proposal . it was seven oversized pages , each with a black and white photo or two and a few lines written beneath , describing the film . hubert ' s proposal was simple , elegant and poignant , so reflective of his completed film . all through the process of making
hardwood ,
hubert kept me involved . he asked me for feedback on what he wrote , got me to set up shoots in vancouver and chicago and research archival footage , and then he sent me rough cuts as he went through the process of editing
hardwood .
as a retired documentary filmmaker , i was deeply honored my son asked me to work on his first film .
currently on tour throughout the us with the film , brody explained how the unrehearsed words he spoke from the heart upon beating the soviets are about much more than just basketball . his “on the map” phrase entered the israeli vernacular because it resonated far beyond the hardwood court .
hardwood began as an opportunity for me to support my brother hubert in his dream of becoming a filmmaker . the
hardwood experience ,
as i have now begun to affectionately describe the process of participating in the making and showing of hardwood , has been therapeutic and enlightening . as i contemplated organizing public showings of hardwood in atlanta , a close friend and mentor told me that
our people ( black ) need this ; if one person decides to reconnect with their family , then sharing your family ' s story will be worth it .
he was right !
read the full text of the poem » he shares in the film ,
there are some things i had to figure out .
‘the film reflects a period of history that is still with so many israelis as they go to sleep and wake up every day . it’s something they tell their kids and grandkids about’
as a human and civil rights activist for over a decade i have never experienced more
intimate public discussions
than the ones that hubert and i engaged in after we premiered hardwood in atlanta community settings . sons , mothers , fathers and daughters openly cried in describing how they
needed this
because now they can talk about what has happened in their own families . there is a universal message that hardwood offers to families of all races . but in a time when 70 percent of african - american children are born out of wedlock , and are twice as likely as white children to experience divorce , hardwood can become a powerful tool in the process of reconnecting and repairing our communities , family by family .
while the surprise 1977 victory and brody’s remarks are legendary among israelis of all ages , this astounding sporting accomplishment is little known across the atlantic . menkin , a lifelong maccabi tel aviv fan , decided it was time that americans became familiar with this miracle on hardwood .
menkin originally made a film about the story for israeli television , but realized after meeting executive producers nancy spielberg and roberta grossman — the team behind “above and beyond” — that there could be a possibility of expanding it into a feature aimed at american audiences .
i am currently living in toronto with my wife . i have recently completed production on my second short film , a drama called aruba , under the banner of my production company , shine . i also have a documentary in development called the invisible city about racial profiling .
hardwood is a personal journey by director hubert davis , the son of former harlem globetrotter mel davis , who explores how his father ' s decisions affected his life and those of his extended family . elegantly structured into three chapters entitled
love ,
recollection
and
redemption ,
davis uses personal interviews , archival footage and home movies to delve into his father ' s past in the hope of finding a new direction for his own . at its core , hardwood is about the power of redemption and the healing of the bonds between fathers and sons .
obviously , the highlight of the year was when hardwood was nominated for an academy award in 2005 for best documentary short subject . the best part of the experience was being able to share it with my family , who joined my wife kelly and me on the red carpet . i think the honor of being nominated was very validating for my family in having the courage to tell our story . the whole experience has brought me closer to my family and has given me a better insight into them as people . making hardwood has taught me so much about myself and has been the most rewarding professional experience of my life .
“the film reflects a period of history that is still with so many israelis as they go to sleep and wake up every day . it’s something they tell their kids and grandkids about . so much has happened in the world since then , but israel has stood strong throughout , ” brody said .
menkin is pleased with the release of “on the map” just in time for the 40th anniversary of the game - changing championship . but more importantly , he is happy that he was able to get the film done while most of the former players are still able to recount their experiences for the camera .
“above and beyond , ” is a 2014 film about american and other foreign former wwii airmen who volunteered to fight for israel in the 1948 war of independence and contribute to the nascent israeli air force . menkin saw a parallel in the maccabi team that won the european championship . it consisted mainly of american players recruited to elevate the team’s playing .
hardwood was presented to me as a request to participate in a project that would help bring closure to our family regarding the past . i was reluctant at first , not eager to relive the events that caused me so much pain and anguish , but i agreed after much urging from my son , mawuli . i hoped that this would finally put the matter to rest .
in addition to brody , menkin got the full participation of the other surviving american - born members of the 1976 - 1977 maccabi tel aviv team , many of whom played numerous seasons with the team and ended up settling in israel and marrying israeli women . the film also features interviews with israeli former maccabi tel aviv star miki berkovich , former nba commissioner david stern , and american basketball icon bill walton , among others .
as for me , i recently celebrated my tenth wedding anniversary with my wife , jana , and our two sons kobie ( 7 ) and khari ( 5 ) by renewing our vows on a cruise with family and friends . we now live in atlanta , georgia , where i have my own law practice , mawuli davis & associates . i am currently the co - chair of the atlanta chapter of the national coalition of blacks for reparations in america ( n ' cobra ) and of the state bar of georgia young lawyers division ' s minorities in the profession committee . i have been a youth basketball coach for both of my sons ' basketball teams for the last four years . i am looking forward to continuing to facilitate community discussions about the
hardwood experience
with the hope that every family will find the courage to tell their story , and as hubert states in hardwood ,
forever change the pattern
of their lives .
participating in hardwood on a personal level was also rewarding . answering hubert ' s questions as he delved into our past allowed me to go where i hadn ' t been in a very long time — to the beginning of my relationship with his father , when i was so very young . a time filled with joy and pain . i wanted hubert to know why i made the decisions i did in my life and his sensitive face showed he understood , and that comforted me . it is deeply gratifying now to witness how hubert ' s touching and honest story of our family is inspiring others to re - examine their family ' s relationships .
i ' m often asked how i feel about my life being exposed in hardwood . my life has always been an open book . friends and family met mel in vancouver in the 60s . they knew i visited him on the road through the years . and everyone knew mel was married when i was pregnant with hubert . mel asked me to have his child and i said yes . it wasn ' t an easy decision to defend . my only regret was hurting mary etta . as the years passed i tried to talk myself out of my relationship with mel , to no avail . mel was my rock . one of the happiest days of my life was the day i married mel , 25 years after i met him .
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mel is my steady companion and best friend now . i support him as he works with young people , teaching them about life through basketball . i visit family and friends . my passion is the natural world around me and i try to spend a few hours of each day just enjoying it . any spare time is divided between working to save a small
nature
park in vancouver and writing a book with mary etta exploring our parallel lives with mel .
i found that , while talking about the events that happened 20 years ago , i was still connected to the past by the present and the future . reliving those years has brought me to an understanding of a history that began long before my failed marriage . in telling the story , i was forced to relive it , reexamine it and experience it from a different perspective . many things i did not know were revealed and the origin of certain behaviors were made understandable .
if , by telling my story and that of my family — and i mean my extended family although it ' s not the
traditional
family — perhaps other families can face their past and move ahead to the future .
i am now a retired public school teacher and catholic school principal , living a life filled with children , grandchildren , volunteerism , church and other activities . i have no regrets about the past , because if it had been any different , i would not be who i am today and i would not have my son and grandchildren . . . my family .
harry and the hendersons official trailer # 1 - m . emmet walsh movie ( 1987 ) hd
davis , a member of the legendary harlem globetrotters , had two families — one in chicago and one in vancouver . his canadian son , hubert , takes a personal look at his father’s life . nominated for an oscar .
jude ( leblanc ) is a nurse and single mom struggling with health issues while trying to raise her son , ciel ( gordon ) .
renee ghert - zand is a reporter and feature writer for the times of israel .
miki berkovich ( left ) and tal brody after final game against varese , april 1977 . ( shmuel rahmani )
‘s earliest memories is being taken by his father out into the streets of tel aviv on february 17 , 1977 . there they joined the huge crowds celebrating the
basketball team’s victory against cska ( red army moscow ) in the semi - finals of the european championship . menkin , who was seven at the time , was one of 150 , 000 ecstatic revelers crammed that night into what is now rabin square .
menkin , now 46 , has never forgotten that euphoric moment and was recently compelled to memorialize it through his new documentary , “on the map . ”
it was an israel from a bygone era . in a deep economic recession , the country was still reeling from the yom kippur war and the 1972 munich olympic massacre of israeli athletes by palestinian terrorists . the cold war was raging , and young israel was boycotted and ostracized by much of the world .
maccabi tel aviv’s against - all - odds defeat of an enemy superpower’s mighty team electrified the nation . this was the same soviet team that ( controversially ) beat the heretofore undefeated us team at the 1972 munich olympics leading no one to bet on maccabi .
in a post - game interview , maccabi tel aviv’s american - born team captain tal brody conveyed the nation’s mood and aspirations . “we are on the map , and we are going to stay on the map — not just in sports , but in everything ! ” he exclaimed exuberantly in broken hebrew .
less than two months later , in a slim one - point victory , maccabi tel aviv beat the highly favored italian champions mobilgirgi varese in belgrade , yugoslavia , to win the european cup finals . ( the el al plane that brought the israeli players to the match required special permission to land in yugoslavia , which did not have diplomatic relations with israel . )
israelis celebrate in the streets of tel aviv after maccabi tel aviv’s victory over cska moscow , february 1977 . ( shmuel rahmani )
it was a turning point for israeli basketball , and israeli sports in general . since then , maccabi has made it all the way to another 17 european championship final games and won five of them .
“americans all know about the ‘miracle on ice’ – the unexpected us victory over the ussr in hockey at the 1980 olympics , but they don’t know about the amazing thing that maccabi tel aviv did just three years earlier , ” menkin told the times of israel from los angeles , where he is now based .
brody , from trenton , new jersey , had come to israel in 1965 to play in the maccabiah games . asked by moshe dayan and others to stay for at least a year to play with maccabi tel aviv , brody — picked 12th in that year’s nba draft by the baltimore bullets — decided to give up a career in the nba to play in israel .
“after that first year , i was sold , ” brody told the times of israel by phone from his home in tel aviv about his decision to stay on long term in israel .
he ended up leaving for a couple of years when he was drafted for us military service , but returned and made aliya to israel in 1970 . ( he also served in the idf . )
maccabi tel aviv 1977 european champions reunite . back row : moti aresti , lou silver , aulcie perry , shuki schwartz ; front row : miki berkovich , tal brody , aryeh davidesco , ruti klein ( widow of coach ralph klein ) . ( avner gera )
“we found footage shot behind the scenes at the games , which was really unusual for the 1970s , ” menkin noted .
“with [ coach ] ralph klein and [ player ] jim boatwright having passed away , i knew that we had to get moving on this project , ” the director said .
brody , who is now a goodwill ambassador for israel , is confident that american audiences introduced now to this amazing sports story will appreciate it as much as israelis who experienced the thrill of victory four decades ago .
“on the map” opens in los angeles on november 25 and in new york on december 9 .
i got over my blind allegiance , and now stick by israel ' s side , through thick and thin .
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