Catalogue RAPPENEAU
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
The Art of David Lynch
The Art of David Lynch weil das Kino heute wieder anders funktioniert; für ei- nen wie ihn ist da kein Platz. Aber deswegen hat Lynch ja nicht seine Kunst aufgegeben, und nicht einmal das Filmen. Es ist nur so, dass das Mainstream-Kino den Kaperversuch durch die Kunst ziemlich fundamental abgeschlagen hat. Jetzt den Filmen von David Lynch noch einmal wieder zu begegnen, ist ein Glücksfall. Danach muss man sich zum Fernsehapparat oder ins Museum bemühen. (Und grimmig die Propaganda des Künstlers für den Unfug transzendentaler Meditation herunterschlucken; »nobody is perfect.«) Was also ist das Besondere an David Lynch? Seine Arbeit geschah und geschieht nach den »Spielregeln der Kunst«, die bekanntlich in ihrer eigenen Schöpfung und zugleich in ihrem eigenen Bruch bestehen. Man er- kennt einen David-Lynch-Film auf Anhieb, aber niemals David Lynch hat David Lynch einen »David-Lynch-Film« gedreht. Be- 21 stimmte Motive (sagen wir: Stehlampen, Hotelflure, die Farbe Rot, Hauchgesänge von Frauen, das industrielle Rauschen, visuelle Americana), bestimmte Figuren (die Frau im Mehrfachleben, der Kobold, Kyle MacLachlan als Stellvertreter in einer magischen Biographie - weni- ger, was ein Leben als vielmehr, was das Suchen und Was ist das Besondere an David Lynch? Abgesehen Erkennen anbelangt, Väter und Polizisten), bestimmte davon, dass er ein paar veritable Kultfilme geschaffen Plot-Fragmente (die nie auflösbare Intrige, die Suche hat, Filme, wie ERASERHEAD, BLUE VELVET oder die als Sturz in den Abgrund, die Verbindung von Gewalt TV-Serie TWIN PEAKS, die aus merkwürdigen Gründen und Design) kehren in wechselnden Kompositionen (denn im klassischen Sinn zu »verstehen« hat sie ja nie wieder, ganz zu schweigen von Techniken wie dem jemand gewagt) die genau richtigen Bilder zur genau nicht-linearen Erzählen, dem Eindringen in die ver- richtigen Zeit zu den genau richtigen Menschen brach- borgenen Innenwelten von Milieus und Menschen, der ten, und abgesehen davon, dass er in einer bestimmten Grenzüberschreitung von Traum und Realität. -
Télécharger Le Rapport D'activité 2020
Rapport d’activité 2020 0 Rapport d’activité 2020 1 Rapport d’activité 2020 RAPPORT D’ACTIVITÉ 2020 2 Rapport d’activité 2020 AVANT PROPOS……………………………………………………………………………………………………………….…5 2020 EN QUELQUES CHIFFRES………………………………………………………………………………………………..6 LA CINÉMATHÈQUE REMERCIE SES PARTENAIRES ET MÉCÈNES………………………………………………..….7 ILS SONT VENUS……………………………………………………………………………………………………………….…8 1 L’OFFRE AU PUBLIC ......................................................................................................................................... 12 1.1 LES EXPOSITIONS .............................................................................................................................................. 13 1.1.1 Vampires, de Dracula à Buffy ....................................................................................................................... 13 1.1.2 Louis de Funès.............................................................................................................................................. 14 1.2 LE MUSÉE DE LA CINÉMATHÈQUE ................................................................................................................... 17 1.2.1 Les derniers mois du musée « Passion Cinéma » ........................................................................................ 17 1.2.2 Les travaux pour le Musée Méliès................................................................................................................. 18 1.3 LES STUDIOS PÉDAGOGIQUES ....................................................................................................................... -
Production Designer Jack Fisk to Be the Focus of a Fifteen-Film ‘See It Big!’ Retrospective
FOR IMMEDIATE RELEASE PRODUCTION DESIGNER JACK FISK TO BE THE FOCUS OF A FIFTEEN-FILM ‘SEE IT BIG!’ RETROSPECTIVE Series will include Fisk’s collaborations with Terrence Malick, Brian De Palma, Paul Thomas Anderson, and more March 11–April 1, 2016 at Museum of the Moving Image Astoria, Queens, New York, March 1, 2016—Since the early 1970s, Jack Fisk has been a secret weapon for some of America’s most celebrated auteurs, having served as production designer (and earlier, as art director) on all of Terrence Malick’s films, and with memorable collaborations with David Lynch, Paul Thomas Anderson, and Brian De Palma. Nominated for a second Academy Award for The Revenant, and with the release of Malick’s new film Knight of Cups, Museum of the Moving Image will celebrate the artistry of Jack Fisk, master of the immersive 360-degree set, with a fifteen-film retrospective. The screening series See It Big! Jack Fisk runs March 11 through April 1, 2016, and includes all of Fisk’s films with the directors mentioned above: all of Malick’s features, Lynch’s Mulholland Drive and The Straight Story, De Palma’s Carrie and Phantom of the Paradise, and Anderson’s There Will Be Blood. The Museum will also show early B- movie fantasias Messiah of Evil and Darktown Strutters, Stanley Donen’s arch- affectionate retro musical Movie Movie, and Fisk’s directorial debut, Raggedy Man (starring Sissy Spacek, Fisk’s partner since they met on the set of Badlands in 1973). Most titles will be shown in 35mm. See below for schedule and descriptions. -
The Straight Story: "And You'll Find Happy Times"
THE STRAIGHT STORY brother Henry. (In the film, Lynch changed the name of Straight's brother to Lyle.)' Where's the Lynchian twist? Well, it isn't that Alvin's brother Lyle CHAPTER TWO (Harry Dean Stanton) has recently suffered a serious stroke and that Alvin fears that if he doesn't act quickly, he and his brother may never have THE STRAIGHT STORY: time and space here on Earth to get past their hostility. That's the sort of plot complication that raises the stakes in many an ordinary Hollywood "AND YOU'LL FIND movie. And it isn't that Alvin Straight makes this trip of more than 300 miles on a small John Deere riding mower attached to a primitive trailer HAPPY TIMES" he has thrown together out of scrap wood to tote his provisions along with him. What Alvin decides to do in order to get to Lyle is only a matter of common sense. Alvin, who can't walk without the aid of two canes and There's a whole theory ... called decoherence. Which is the business of is legally blind, no longer has a driver's license. There is no bus or train explaining how classical-looking phenomena arise under the appropriate that can get him from Laurens to Mt. Zion, and there is no one to drive circumstances from an underlying quantum mechanical set of laws .... him there. So he takes the mechanically improbable yet strategically logi DAVID ALBERT, APPENDIX II, "PARTICLES AND HUMAN BEINGS" cal step of using a riding mower-which he can legally drive-for heavy duty transportation, far beyond what it was made to stand. -
LISTE DES AUTOGRAPHES D'odette LAURE Marcel
aller à l'accueil de l'Association de la Régie Théâtrale LISTE DES AUTOGRAPHES D'ODETTE LAURE Marcel ACHARD Guy BONTEMPELLI Bernard ALANE Héléna BOSSIS Roland ALEXANDRE Alphonse BOUDARD Louis AMADE Micheline BOUDET Marcel AMONT Jacques BOURGEAT Michèle ANDRE Philippe BOUVARD ARLETTY Jean-pierre BOUVIER Kitty ARNAUD André BREFORD Sophie ARTUR Jean-claude BRIALY Jeanne AUBERT Nicole CALFAN Marcelle AUCLAIR Odette CAPGRAS Jacqueline AUDRY Francis CARCO Jacqueline AURIOL Pierre CARDIN Germaine AZIS Roger CAREL Geneviève BAILAC Mona CARLE Charly BAILLY Jean CARMET Jean BARDECHE Marguerite CARRE Pierre BARLATIER Dany CARREL Louis BARRIER Maurice CARRERE Marie BELL Anne-Marie CARRIERE Jenny BELLAY Jean CARTIER Pierre BELLEMARE Jacqueline CARTIER Macha BERANGER Pauline CARTON Geneviève BERNARD Mathilde CASADESSUS André BERNHEIM Marguerite CASSAN Gabriel BERTRAND Jean-pierre CASSEL Louis BESSIERES Paulette CASTELLE Maurice BESSY Jean-Roger CAUSSIMON Bernard BILLAUD Mme CHABAN DELMAS Robert BILLET François CHALAIS Jane BIRKIN François CHANTENAY Marie BIZET Robert CHARROUX Gérard BLANC Roger de la CHAVONNERIE Annick BLANCHETEAU Leïla CHELLABI Dirk BOGARDE Jean-Laurent COCHET Marc BONEL Michelle COLIN Lou BONNIN Erik COLIN Luisa COLPEYN Jean DONGUES Jean COSMOS Jean-pierre DORIAN Henri CREMIEUX Françoise DORNER Régine CRESPIN Françoise DORNER Jeannine CRESPIN Marianne DOUMENS Denise de CROY Michel DRUCKER Jean-Louis CURTIS Ruth DUBACH Jean D'ESTREE Pierre DUDAN Marie DAEMS Frédéric DUPONT Alex DAHN Michel DURAND Mony DALMES Jean DURKHEIM DAMIA Béatrix -
ROGÉRIO FERRARAZ O Cinema Limítrofe De David Lynch Programa
ROGÉRIO FERRARAZ O cinema limítrofe de David Lynch Programa de Estudos Pós-Graduados em Comunicação e Semiótica Pontifícia Universidade Católica de São Paulo (PUC/SP) São Paulo 2003 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC/SP Programa de Estudos Pós-Graduados em Comunicação e Semiótica O cinema limítrofe de David Lynch ROGÉRIO FERRARAZ Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutor em Comunicação e Semiótica – Intersemiose na Literatura e nas Artes, sob a orientação da Profa. Dra. Lúcia Nagib São Paulo 2003 Banca Examinadora Dedicatória Às minhas avós Maria (em memória) e Adibe. Agradecimentos - À minha orientadora Profª Drª Lúcia Nagib, pelos ensinamentos, paciência e amizade; - Aos professores, funcionários e colegas do COS (PUC), especialmente aos amigos do Centro de Estudos de Cinema (CEC); - À CAPES, pelas bolsas de doutorado e doutorado sanduíche; - À University of California, Los Angeles (UCLA), por me receber como pesquisador visitante, especialmente ao Prof. Dr. Randal Johnson, supervisor de meus trabalhos no exterior, e aos professores, funcionários e colegas do Department of Spanish and Portuguese, do Department of Film, Television and Digital Media e do UCLA Film and Television Archives; - A David Lynch, pela entrevista concedida e pela simpatia com que me recebeu em sua casa; - Ao American Film Institute (AFI), pela atenção dos funcionários e por disponibilizar os arquivos sobre Lynch; - Aos meus amigos de ontem, hoje e sempre, em especial ao Marcus Bastos e à Maite Conde, pelas incontáveis discussões sobre cinema e sobre a obra de Lynch; - E, claro, a toda minha família, principalmente aos meus pais, Claudio e Laila, pelo amor, carinho, união e suporte – em todos os sentidos. -
Mark Kermode
MARK KERMODE HATCHET JOB LOVE MOVIES, HATE CRITICS PICADOR First published 2013 by Picador First published in paperback 2013 by Picador This edition first published 2014 by Picador an imprint of Pan Macmillan, a division of Macmillan Publishers Limited Pan Macmillan, 20 New Wharf Road, London N1 9RR Basingstoke and Oxford Associated companies throughout the world www.panmacmillan.com ISBN 978-1-4472-3053-3 Copyright © Mark Kermode 2013 The right of Mark Kermode to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. ‘Those top ten films of all time as voted by the nation’s most irritating film critics.’ Reproduction by kind permission of PRIVATE EYE magazine – www.private-eye.co.uk 9 8 7 6 5 4 3 2 1 A CIP catalogue record for this book is available from the British Library. Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. -
Šablona -- Závěrečná Práce
Ohebnost zvuku ve filmové tvorbě Davida Lynche Ann Kuznetzova Bakalářská práce 2020 ABSTRAKT Tato práce se zaměřuje na analýzu zvukové tvorby Davida Lynche, především filmové, na příkladu jeho audiovizuálních děl Mazací hlava, Příběh Alvina Straighta, Inland Empire a jejich srovnání. Zabývá se způsobem ztvárnění idejí a určením charakteru zvukové tvorby Davida Lynche. Hlavním cílem je zjistit, do jaké míry je podstatná a v čem spočívá její určující dominantní vlastnost – ohebnost, a také prozkoumat vliv jiných druhů umění, osob, prostředí a událostí, které tvůrce dovedly k vlastnímu uměleckému sebevyjádření prostřednictvím zvuku. Obsahuje také rozhovor se zvukovým inženýrem Johnem Neffem, který se podělil o svoji zkušenost ze spolupráce s Lynchem. Klíčová slova: David Lynch, filmový zvuk, filmová hudba, Mazací hlava, Příběh Alvina Straighta, Inland Empire, Angelo Badalamenti, Alan Splet, Dean Hurley, John Neff ABSTRACT This Bachelor thesis focuses on the soundtrack in the cinematography of David Lynch with its primary goal of analyzing and comparing films of his authorship, in particular Eraserhead, The Straight Story, and Inland Empire. This thesis examines David Lynch’s creative process and establish the essence of his sound design. The aim is to determine wherein lies – and how major of a role plays – the dominant characteristic of David Lynch’s work, its versatility, as well as to explore how the environment, society, and different fields of art influenced the filmmaker in his own artistic expression through the language of sound. To further help answering those questions, an interview with a sound engineer, John Neff, was conducted, in which he talked about his experience of collaborating with David Lynch on several projects. -
The Architecture of David Lynch Shannon Blake Skelton, [email protected]
The architecture of David Lynch Shannon Blake Skelton, [email protected] Volume 6.1 (2017) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2017.157 | http://cinej.pitt.edu Book Review Richard Martin, The architecture of David Lynch. London: Bloomsbury, 2014. 234 pp. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. The architecture of David Lynch Shannon Blake Skelton Abstract: This book review considers Richard Martin’s 2014 The Architecture of David Lynch. The reviewer commends the author on the work’s intelligence and insightful considerations of Lynch’s use of space, place and architecture in his films. The book analyzes Lynch’s depictions of towns and cities, domicile spaces, roads and highways, performative spaces, and rooms. The final chapter recontextualizes Lynch’s Inland Empire within theories of space, place and architecture. With an impressive bibliography and 62 color plates of film stills, reproductions of paintings, and photographs of filming locations, the book is an important contribution to Lynch scholarship and engages film scholars to consider the dynamics of space, place and architecture in cinema. Keywords: Cinema, David Lynch, Architecture, Space, Design From the industrially ravaged neighborhood of Eraserhead and Joseph Merrick’s architectural models in The Elephant Man to the deceptively benign small town of Blue Velvet’s Lumberton, the mills of Twin Peaks and the sinister, liminal spaces of Los Angeles in Lost Highway and Mulholland Drive, David Lynch’s films work as unique explorations of place, space and architecture. -
Coco-Before-Chanel-Presskit-French
HAUT ET COURT, CINÉ @ et WARNER BROS. PICTURES présentent Avec AUDREY TAUTOU BENOÎT POELVOORDE, ALESSANDRO NIVOLA, MARIE GILLAIN et EMMANUELLE DEVOS Un fi lm de ANNE FONTAINE SORTIE : MERCREDI 22 AVRIL 2009 Durée : 1h50 www.cocoavantchanel.fr DISTRIBUTION PRESSE Warner Bros. Pictures France André-Paul Ricci/ Contact presse : Eugénie Pont Tony Arnoux 115/123, av. Charles de Gaulle 6, place de la Madeleine 92525 Neuilly sur Seine 75008 Paris Tél. : 01 72 25 00 00 Tél. : 01 49 53 04 20 email : [email protected] SYNOPSIS Une petite fi lle du centre de la France, placée dans un orphelinat avec sa sœur, et qui att end en vain tous les dimanches que son père vienne les chercher. Une chanteuse de beuglant à la voix trop faible, qui aff ronte un public de soldats éméchés. Une petite couturière destinée à refaire des ourlets dans l’arrière- boutique d’un tailleur de province. Une apprentie-courtisane au corps trop maigre, qui trouve refuge chez son protecteur Etienne Balsan, parmi les cocott es et les fêtards. Une amoureuse qui sait qu’elle ne sera « la femme de personne », pas même celle de Boy Capel, l’homme qui pourtant l’aimait aussi. Une rebelle que les conventions de l’époque empêchent de respirer, et qui s’habille avec les chemises de ses amants. C’est l’histoire de Coco Chanel, qui incarna la femme moderne avant de l’inventer. ENTRETIEN AVEC ANNE FONTAINE - Pourquoi vous êtes-vous intéressée au personnage de s’il était possible de s’en tenir à la première période de Gabrielle Chanel ? sa vie, aux années d’apprentissage, à ce qui s’était passé J’ai eu la chance très jeune de rencontrer Lilou Mar- avant que Chanel ne comprenne elle-même son fulgu- quand qui fut la plus proche collaboratrice de Chanel rant destin. -
FAUTEUIL D'o DP27/12/0517:39Page1 Photos Téléchargeables Sur
FAUTEUIL D'O_DP 27/12/05 17:39 Page 1 ALAIN SARDE PRÉSENTE CÉCILE DE FRANCE I VALÉRIE LEMERCIER I ALBERT DUPONTEL CLAUDE BRASSEUR I DANI I CHRISTOPHER THOMPSON UN FILM DE DANIELE THOMPSON POUR PHOTOS GRAVELINES JEANNICK ET E. DE LA HOSSERAYE/H&K Photos téléchargeables sur WWW.MARSDISTRIBUTION.COM FAUTEUIL D'O_DP 27/12/05 17:39 Page 3 ALAIN SARDE PRÉSENTE CÉCILE DE FRANCE I VALÉRIE LEMERCIER I ALBERT DUPONTEL CLAUDE BRASSEUR I DANI I CHRISTOPHER THOMPSON UN FILM DE DANIÈLE THOMPSON PRESSE : MOTEUR ! DOMINIQUE SEGALL I FABIEN BARON 20, RUE DE LA TRÉMOILLE I 75008 PARIS [email protected] AVEC DANS LE RÔLE DE VALENTINE LAURA MORANTE I SYDNEY POLLACK I SUZANNE FLON DISTRIBUTION : MARS DISTRIBUTION 1, PLACE DU SPECTACLE I 92863 ISSY-LES-MOULINEAUX CEDEX 09 TÉL. : 01 71 35 11 03 I FAX : 01 71 35 11 88 UN SCÉNARIO DE DANIÈLE THOMPSON ET CHRISTOPHER THOMPSON www.fauteuilsdorchestre.com PRODUIT PAR CHRISTINE GOZLAN FAUTEUIL D'O_DP 27/12/05 17:39 Page 5 L’HISTOIRE Elle triomphe à la télé ; elle est célèbre, populaire, adorée ! Pourtant, elle ne rêve que cinéma intimiste et reconnaissance intello : Catherine tourne la nuit son 100ème épisode, répète le jour une pièce à la comédie des Champs-Élysées. Elle est surmenée, mais la première est le 17, il faut être à la hauteur pour jouer Feydeau même si on préfère Sartre ! Pianiste surdoué, adulé, surbooké ; le 17, Jean-François jouera Beethoven à côté : la plus belle salle du monde, les meilleurs musiciens, le public le plus raffiné... Pourtant il ne rêve que solitude, liberté et d'un public ignorant et naïf.