Title list of the Harlock Prize

This is the list of titles and links for the preview and the download of the films which take part to the Rimusicazioni Contest in the “Harlock Prize” category, updated 06/16/2016.
This films were selected in collaboration with the Belgian Cinematek and the Cineteca MNC – Italian National Cinema Museum Film Archive.
With the download link of the film you can get a mp4 low quality video file of the film. If your work will be selected we will send you a high definition video file.This list is only a first version. It will be updated with other titles. So, stay tuned!


Films provided by the Cinematek of Bruxelles (www.cinematek.be)


Histoire de detective (Charles Dekeukeleire, Belgium 1929, b&w, 50’) Worried by her husband’s continuous absences, a woman hires a detective to follow him. At first the film seems to be structured in a classic way, all the more so when Charles Dekeukeleire inserts titles informing us of the latest developments in the plot. Yet this only serves to create a narrative pretext for interrupting the plot itself in favour of pure cinema. As an investigative tool, the detective uses photographic material: thus, the camera becomes the central character and its subjectivity the real subject of the film. Title graphics by the artist Victor Servranckx.



Impatience (Charles Dekeukeleire, Belgium 1928, b&w, 36’) An experimental film with elements of Futurism, a drama with four characters (The Mountain, The Motorcycle, The Woman, Abstract Blocks). The mechanical body, i.e. the motorbike, is strongly associated with the female body, first dressed and then nude. Dekeukeleire exchanges the roles of the two characters, inventing a striking motorbike-woman/woman-motorbike. These two characters, the motorbike and the woman, then interact with the mountain and the abstract geometric blocks, as if to suggest analogies between humanity and the animal, vegetable and mechanical worlds.



Les aventures du baron du Crac (Emile Cohl, France 1910, b&w, 2’ 02”) Emile Cohl is considered to be the inventor of animation: in 1908 he made his first “animated cartoon”, Fantasmagorie, with 700 drawings for two minutes running time. Here Cohl had already developed his own personal style of animation, in which anything can change into something else, going beyond the notions of reality and logical sequence.



Bandits en automobile (Victorin-Hippolyte Jasset, France 1912, b&w toned, 28’) The criminal saga of Bruno the bandit and his band, and his arrest by the police. In the spring of 1912, the exploits of the Bonnot band stunned all of France. Even before the arrest and death of Jules Bonnot, the film company Eclair decided to make a film about the band of criminals.



Nog zoo dom niet (unknown, b&w, 2’ 50”) Commercial for Sickesz, a Dutch brand of chocolate. Animation.



Colonel Heeza Liar foils the enemy (John Randolph Bray, USA 1915, b&w, 4’ 31′′) Colonel Heeza Liar is the protagonist of the first animated series to feature a recurrent character. This cartoon is an example of animation used as propaganda, before the United States’ entry into the First World War. In this episode, Colonel Liar appears as a war journalist. He scans the battlefield, managing to avoid cannonballs while interviewing French officers.



The Midnight Ride of Bud (L’etendard de la révolte) (Frank Moser, USA 1920, b&w toned, 5’ 47”) In this animation, little kids Bud and Susie steal a cake and try to avoid being punished by their parents. Then they declare war on their parents and get up to all kinds of mischief.



Le tonneau inépuisable (Pathé Frères, France 1907, colour, 4’ 42′′) Two young girls and their magic barrel, from which live animals and sumptuous clothes miraculously appear in a glorious spectacle of “special effects”.



Types de macédoniens (unknown,1912-1914)Rare colour-tinted images of Greece, cityscapes, scenes of daily life, Albanian weddings and Orthodox funerals.



Saïda a enlevé Manneken Pis (Alfred Machin, Belgium 1913, b&w, 8’) Saïda, a cheetah, escapes from a fairground attraction and makes off with the Manneken Pis, the small bronze statue which is a symbol of the independence of Brussels. The police give chase but Saïda is a ferocious animal.



Les merveilles de l’Hindoustan (Radios 1914, b&w toned, 6’ 40”) A series of views of particularly significant places in India: Calcutta, Delhi, Benares, the Ganges, the Taj Mahal and a smiling Tamil dancer.



L’ascension de la Pyramide de “Chéops” par S.A.R. le Prince Léopold (Tullio Chiarini, Egypt 1923, b&w toned, 6’ 34′′) During his visit to Cairo in 1923, Prince Leopold of Belgium climbed the Pyramid of Cheops. The film was shot by Tullio Chiarini, an Italian photographer, director of photography and correspondent in Cairo and Alexandria.



Comment sont soignés nos blessés de guerre (unknown, b&w, 7’ 50”) A report on the rehabilitation of war-wounded and disabled soldiers from the First World War.



Je vais me faire raser (Alfred Machin, Belgium 1914, b&w, 12’) A married man wants to start an affair with his barber’s daughter. However, the barber knows how to defend his daughter’s virtue.



Gypsy maids (unknown, USA 1911, b&n, 11’ 33′′) Two gypsy girls are singing and dancing in a park. One of them is noticed by a man who begins to court her and invites her for a boat-ride on the lake. But their meeting is discovered by the girl’s father who, in his terrible rage, drags her onto a bridge and throws her into the water. The lover calls the police, has the father arrested and saves the gypsy girl.



Edgar’s Hamlet (E. Mason Hopper, USA 1920, b&w, 21’ 35′′) In this light comedy, Edgar and his schoolmates put on a version of Shakespeare’s Hamlet such as the townsfolk have never seen.



Lovemania (Al St. John, USA 1924, b&w, 23’ 02′′) An unusual farce which combines the fast action and emotions of slapstick with the surprises one would expect of a farce.



Kid Tricks (Charles Lamont, USA 1927, b&w, 22’ 22′′) Big Boy (called Doublemètre in the French version) is a charming little scoundrel in adult clothes who, in a series of acts of mischief, gags and special effects, brings his parents, until then separated, back together.



Films provided by Cineteca MNC – Italian National Cinema Museum Film Archive of Torino. ( www.museocinema.it)


La guerra e il sogno di Momi (Segundo de Chomòn, screenplay by G. Pastrone, Italy 1917, 41’) One of the first Italian films to use animation techniques for special effects. A film suspended between reality and a dream-world. Little Momi’s father has gone to the war. Momi’s grandfather reads him one of his father’s letters, with stories of battles. When the child then falls asleep, he dreams fantasies of arms and fighting, up to the final triumph.



Lulù (Segundo De Chomón, 1923, colour, 8’ 04”) A divertissement in stop-motion by the special effects maestro Segundo de Chomón: a rare and perhaps unique case in the output of the “special effects wizard”, the protagonists are exclusively animated puppets. This little film was created by Segundo de Chomón in 1923 in his private workshop, with the help of his wife and son, without any production structure. It was never given a regularly distribution.



I parassiti della rana (G. M. Attilio Palazzolo, Italy 1913, b&w, 3’ 40” ) A scientific documentary with captions: parasites seen through a microscope.



La paura degli aeromobili nemici (André Deed, photography Segundo de Chomón, Italy 1915, b&w, 17’ 30′′) On the first night of his honeymoon, Cretinetti is in the grip of neurosis from his fear of an air-raid.



Polidor vuole suicidarsi (Ernesto Maria Pasquali, Italy 1912, b&w toned, 13’ 10”) Polidor (Ferdinand Guillaume) is weighed down with debts and decides to end it all. But it is not so simple.



Come fu che l’ingordigia rovinò il natale a Cretinetti (Italy 1910, b&w toned, 13’) André Deed – André Chapais’ pseudonym – plays Cretinetti, an energetic idiot and hyperactive agitator, the star of a series of short films. Starting in 1908 for Itala Film from Turin, the “Cretinetti” series was his most popular creation. In this short, he not only destroys a house decorated for Christmas, but Father Christmas as well.



Fricot e l’estintore (Ernesto Vaser, Italia, 1913, b&w, 5’ 28′′) A classic example of a demolition comedy, in this short Fricot tests a fire extinguisher. With the excuse of preventing fires, he soaks everyone with jets of water. When, in the end, he does actually find himself having to deal with a fire in a bedroom, the extinguisher is empty.



La vita negli abissi del mare. Gruppo di pesci (Edoardo Bosio, Italy 1914, b&w, 6’ 14”) Documentary about fish, shot in various habitats.



La vita negli abissi del mare. Gruppo dei molluschi (Edoardo Bosio, Italy 1914, b&w, 7’ 52”) Documentary about molluscs, shot in various habitats.