How Westerns captured the American psyche and eventually bit the dust

A staple of American cinema since the release of the silent film The Great Train Robbery in 1903, the Western arguably became its defining genre with the release of Stagecoach in 1939 – the first of nine Western collaborations between the iconic duo of director John Ford and actor John Wayne. For the next several decades, Westerns evolved with the times, embracing an American mythos of freedom and opportunity before filmmakers such as Sergio Leone began using the language of the genre to reflect the more cynical mood of the Vietnam era. Part of a film-analysis series from the Museum of Modern Art (MoMA) in New York, this video essay by the US film critic Dave Kehr discusses how the Western helped to define the language of American film until modern filmmakers began adopting Western signifiers for shorthand, self-reference and parody, leaving the genre itself more or less in the dust.

A dreamy animated tale of grief, friendship and a road trip to David Hockney’s house

‘You were too young to lose your mum. And we were too young to be organising a funeral.’

When her friend’s mother died, the UK filmmaker Alice Dunseath and her friend set out on an unplanned road trip through Yorkshire, mostly because they didn’t know what else to do. The only destination they gave themselves was the house of the artist David Hockney, supposedly somewhere in the town of Bridlington. Dunseath’s brief animation echoes some of Hockney’s signature stylistic flourishes, including dreamlike landscapes and saturated colours, but her narration offers an arresting counterpoint to the images – a simple, aching account of how grief can both heighten and numb the senses, render words meaningful and meaningless, and make goals simultaneously important and absurd.

Who is ‘looting’ and who is ‘finding food’? How image gatekeepers shape the news

In August 2005, Alysia Burton Steele was just two months into her job as a photo editor on The Dallas Morning News when she decided to dispatch the photographer Irwin Thompson to New Orleans to document the impact of Hurricane Katrina. Her newspaper’s bold journalistic work went on to win a Pulitzer Prize for Breaking News Photography in 2006. In this short interview, Burton Steele describes how her team approached their coverage of the storm and its aftermath, and discusses the telling disparity between how news outlets presented African Americans and white people affected by the tragedy. This video is part of Topic’s Frame by Frame series, in which ‘celebrated photojournalists explore images of the people and events that helped shape the American experience, and discuss how working with photographs impacts them personally’.

When a deafblind woman from Denmark met a woman like her in Nepal

‘I dreamt I was the deafblind woman we visited … And there was no information, nothing, just isolation.’

Sensory experience, cultural differences and degrees of privilege collide in a meeting between two deafblind women: Dorte Eriksen from Denmark and Budhi Maya Gurung from Nepal. Commissioned by the Danish Deafblind Association to document a trip to help deafblind people in Nepal, the Mexican-Danish filmmaker Isabel Morales Bondy found herself filming the two women’s remarkable encounter. A Woman Like Me is assembled entirely without spoken words. Instead, viewers get to see as if through Eriksen’s eyes and hear only what the director does as witness to the women’s language of touch. Acknowledging the opacity of this experience, Morales Bondy chose not to subtitle the women’s meeting, prompting profound questions about language, communication and human connection. 

A quantum odyssey from the tip of a pen to the dark side of human knowledge

The classic short film Powers of Ten (1977) propelled viewers on a journey from a Chicago park into deep space and then back down to the scale of a single proton. In The Super Zoom, the Brazil-based graphic designer Pedro Machado’s visualisation dives even deeper into the realm of the subatomic and theoretical. While the original film by Charles and Ray Eames zoomed in to a scale of 10^-16 metres at most, Machado’s film draws on 40 years of quantum research – not to mention significant advances in 3D rendering technology – to drill down to the unfathomably small scale of 10^-33 metres, brushing up against the limits of human knowledge and imagination. The mindbending animation uses a framework of quantum gravity in which a gravitational field exists at these smallest conceivable scales.