Literature, Music and Film
Every year, hundreds of new titles are published in Esperanto along with music. Also, many Esperanto newspapers and magazines exist.
Monato is a general news magazine "like a genuinely international Time or Newsweek", but written by local correspondents. A magazine for the blind, Aŭroro, has been published since 1920.
Esperanto can be heard in television and radio broadcasts and on the internet. There are currently radio broadcasts from China Radio International, Melbourne Ethnic Community Radio, Radio Habana Cuba, Radio Audizioni Italiane (Rai), Radio Polonia, Radio F.R.E.I. and Radio Vatican. Internacia Televido, an internet television channel, began broadcasting in November 2005.
Historically most of the music published in Esperanto has been in various folk traditions; in recent decades more rock and other modern genres has appeared.
In 1964, Jacques-Louis Mahé produced the first full-length feature film in Esperanto, entitled Angoroj. This was followed in 1965 by the first American Esperanto-production: Incubus, starring William Shatner. Several shorter films have been produced since. As of July 2003, the Esperanto-language Wikipedia lists 14 films and 3 short films.
In 2011, Academy Award-nominated director Sam Green (The Weather Underground), released a new documentary about Esperanto titled The Universal Language (La Universala Lingvo.) This 30-minute film traces the history of Esperanto.
Read more about this topic: Esperanto Culture
Famous quotes containing the words music and/or film:
“While the music is performed, the cameras linger savagely over the faces of the audience. What a bottomless chasm of vacuity they reveal! Those who flock round the Beatles, who scream themselves into hysteria, whose vacant faces flicker over the TV screen, are the least fortunate of their generation, the dull, the idle, the failures . . .”
—Paul Johnson (b. 1928)
“Film is more than the twentieth-century art. It’s another part of the twentieth-century mind. It’s the world seen from inside. We’ve come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film.... You have to ask yourself if there’s anything about us more important than the fact that we’re constantly on film, constantly watching ourselves.”
—Don Delillo (b. 1926)