DOCSLIB.ORG

April 7 -13 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
April 7 -13 2019 April 7 -13 2019 GENERAL INFORMATION INFORMATIONS GÉNÉRALES Table of contents Sommaire ENGLISH FRANÇAIS CONGRESS VENUES SCREENINGS CONTACTS FOREWORD 4 AVANT-PROPOS 48 LIEUX DU CONGRÈS PROJECTIONS CONTACTS SCHEDULE 6 GRILLE HORAIRE 50 Congress & Symposium Free tickets available every day Chicca Bergonzi SYMPOSIUM 8 SYMPOSIUM 52 Congrès & Symposium from 12:30 p.m. at the cash desk Deputy Director, Congress Manager 2nd CENTURY FORUM 14 2nd CENTURY FORUM 58 Casino de Montbenon of the Cinémathèque suisse, M: + 41 79 239 89 56 Allée Ernest-Ansermet 3 Casino de Montbenon. [email protected] SCREENINGS 16 PROJECTIONS 60 Billets gratuits disponibles tous les 1003 Lausanne EXHIBITORS 28 EXPOSANTS 72 jours à partir de 12 h 30 à la caisse de Giovanna Panese Opening Party la Cinémathèque suisse, Casino de Congress Coordinator CULTURAL VISITS AND EXCURSIONS 32 VISITES CULTURELLES ET EXCURSIONS 76 Soirée d’ouverture Montbenon. M: + 41 79 384 06 14 Musée Olympique [email protected] Quai d’Ouchy 1 Cinématographe – Casino de Montbenon 1006 Lausanne Allée Ernest-Ansermet 3 Ludivine Menoud 1003 Lausanne Deputy Coordinator Visit of the new Research and Archives M: + 41 79 744 55 81 CASINO DE MONTBENON—GROUND FLOOR Centre of the Cinémathèque suisse Cinéma Capitole [email protected] REZ-DE-CHAUSSÉE Visite du nouveau Centre Avenue du Théâtre 6 de recherche et d’archivage 1005 Lausanne fiaf2019.ch de la Cinémathèque suisse Chemin de la Vaux 1 1303 Penthaz ACCESS ACCÈS Congress Main Hall Café Closing Party Lieu principal du congrès Soirée de clôture Congress Pass holders have access to all Symposium and 2nd Century Forum sessions. ECAL – Ecole cantonale Badges are required for entry to all sessions and lunches. d’art de Lausanne Cultural visits and excursions are open by reservation only. Avenue du Temple 5 Les accrédités au congrès ont accès à toutes les sessions du Symposium Exhibitors Room Salon Salle Paderewski 1020 Renens et du 2nd Century Forum. Salon des exposants Main Entrance Les badges sont nécessaires pour accéder à toutes les sessions et aux déjeuners. Les visites culturelles et les excursions sont ouvertes sur réservation uniquement. Cash desk Billetterie WI-FI ACCESS PUBLIC TRANSPORT TAXI ACCÈS WI-FI TRANSPORTS PUBLICS TAXI CASINO DE MONTBENON—BASEMENT FLOOR ÉTAGE INFÉRIEUR Free Internet access at the Casino de If you are staying in a hotel, ask for the 0844 814 814 Montbenon. In addition, the City of Lau- LAUSANNE TRANSPORT CARD, which www.taxiservices.ch sanne offers you “Lausanne Freespot by entitles you to use public transport for 0844 810 810 / +41 21 653 13 13 Citycable”, a free public WI-FI Network in free during your stay. www.taxiphone.ch the busiest places of the city center and tl Live the official application of public 0844 907 907 the edge of the lake. transport in the Lausanne region shows www.allotaxi.ch Salle des Fêtes Accès Internet gratuit au Casino de you the next departures. Montbenon. En outre, la Ville de Lau- Si vous résidez dans un hôtel, n’oubliez Coffee Break / Lunch sanne vous offre « Lausanne Freespot pas de demander la LAUSANNE TRANS- Pause café / Déjeuner stage by Citycable », un réseau Wi-Fi public PORT CARD qui vous offre la gratuité des transports publics durant votre séjour. gratuit dans les lieux les plus fréquentés EMERGENCY NUMBERS tl Live, l’application officielle des Trans- Screenings du centre-ville et du bord du lac. NUMÉROS D’URGENCE ports publics de la région lausannoise Projections WC vous indique les prochains départs. 117 Police WC Cinématographe www.t-l.ch 118 Fire 144 Ambulance FIAF 2019 Foreword Dear FIAF Friends and Colleagues, 2019 also marks an important milestone for Cinémathèque suisse: the official opening of Welcome! our new Penthaz Archives and Research Centre, Cinémathèque suisse is happy to welcome you located just fifteen kilometres from the city, in the to Lausanne, Switzerland, for the 75th congress Vaud countryside, and which will hold all of our of our federation. Located on the shores of Lake important film (from nitrate to digital) and non­film Léman, the largest lake in Western Europe, and collections. Participants in the congress will have surrounded by vineyards, Lausanne is the capital the opportunity to visit the completed site before of the Canton of Vaud, one of the 26 cantons that its official inauguration, planned for September! make up the Swiss Confederation. Capital of the We hope you will enjoy meeting in our region, which, Olympic Games, site of the headquarters of the in addition to being the home of many great Swiss IOC and of several international sports federa­ artists (from writer Charles­Ferdinand Ramuz to tions, Lausanne is also a very cinematic city, filmmaker Jean­Luc Godard, by way of painter bringing together the only film department in Félix Vallotton), was also a land of welcome for French­speaking Switzerland (UNIL), a film school great names in music (Igor Stravinsky), literature (ECAL), the Fondation Olympique pour l’Héritage (Lord Byron), painting (Gustave Courbet) and, of et la Culture (member of FIAF since 2017), several course, film, including Charles Chaplin (who now film festivals, and Cinémathèque suisse, the has his official museum near Vevey, Chaplin’s national film archive. World), Audrey Hepburn, and James Mason. This will be the third time, after 1954 and 1979, The entire Cinémathèque suisse team and all of that Lausanne hosts FIAF. And it will be the first its partners have come together to host you in the time that the Casino de Montbenon, which has best way possible and wish you a wonderful visit. been the administrative headquarters of our insti­ tution since 1981, will bring together delegates Frédéric Maire from audiovisual archives from around the world. Director, Cinémathèque suisse Image: Jean­Luc Bideau in La Salamandre, Alain Tanner, 1971 4 5 75th congress All events take place at the Casino de Montbenon Detailed programme of the For full screenings programme Schedule except those highlighted in red Symposium pages 8-13 see pages 16-27 SATURDAY 6 SUNDAY 7 MONDAY 8 TUESDAY 9 WEDNESDAY 10 THURSDAY 11 FRIDAY 12 SATURDAY 13 8:30 - 17:30 Registration Desk Open at Casino de Montbenon 8:30 - 17:30 Registration Desk Open at Casino de Montbenon 8:30 - 12:30 Registration Desk Executive Committee Executive Committee 09:00 Welcome Speech 09:00 Symposium 9:00 2nd Century Forum 9:00 General Assembly 9:00 General Assembly Cultural Visits and FIAF Com missions and FIAF Com missions and Opening Remarks Geopolitical Working Globally in and Excursions Meetings Meetings Considerations Tandem with Professional 09:15 Symposium Organizations to Achieve a Chaplin’s World Possible Futures our Common Goals Museum and the of the Film Archive vineyards in the Lavaux 10:30 Coffee Break 10:30 Coffee Break 10:30 Coffee Break 10:30 Coffee Break 10:30 Coffee Break Region (UNESCO World Heritage Site) 11:00 Symposium 11:00 Symposium 11:00 2nd Century Forum 11:00 General Assembly 11:00-13:00 General History Lessons Restoration: Ethics The Heritage Film, Assembly b H.R. Giger Museum, and Practices a “New” Market? New Executive the village of Gruyère and Committee Meeting the Maison Cailler Cho- 12:45 Lunch 12:45 Lunch 12:45 Lunch 12:45 Lunch colate Factory in Broc 13:00 Leisure Time 13:45 Cataloging c Lichtspiel / Kinemathek Casino de Montbenon 14:00 Symposium 14:00 Symposium and Documentation 14:00 General Assembly Bern and Bern Old City 14:00-17:00 Registration New Challenges, Film Programming Commission Workshop Desk Open New Frontiers and Circulation 14:30 Technical Commission Workshop 15:00 Kleine Freiheit 15:00 Visages 15:00 Derborence 15:00 Il Bacio di Tosca 15:00 Programme 15:00 La Petite Dame d’enfants “Lausanne” du Capitole 15:15 Programming and 15:30 Coffee Break 15:30 Coffee Break Access to Collections 15:30 Coffee Break (Leisure Time) Commission Workshop 16:00 Symposium 16:00 Symposium 16:00 General Assembly Specialized Archives The Community 16:30 Shuttle Bus of Film Archives to Penthaz Penthaz 17:30 Closing Remarks 17:00 Visit of the 17:00 Regional 17:45 End of the First Day 17:45 End of the New Research and Group Meetings of the Symposium Symposium Archives Centre of the Olympic Museum Cinémathèque suisse 18:00- 22:00 Registration 18:00 Reception 18:00 Official Photo of Desk Open offered by Université the 75th FIAF Congress de Lausanne (UNIL) 18:00 Private Visit to 18:30 Programme 18:30 Beyond the Bolex 18:30 Programme 18:30 Palaver, Palaver. 18:30 Cinema Futures the Olympic Museum 18:30 Chronique “Swiss animation “Tableaux vivants” Eine Schweizer Herbst- paysanne en Gruyère and rarities” 20:00 Penthaz Reception chronik 20:00 Opening ECAL—Ecole cantonale Reception and Dinner Cinéma Capitole d’art de Lausanne 20:00 Cocktail Reception 19:00 Closing Reception 21:00 Cinema Futures 21:00 L’Inconnu 21:00 Le Fou 21:00 La Salamandre 21:00 Die Vier im Jeep 21:00 Les Arpenteurs de Shandigor 22:30 Shuttle Bus from ECAL to City Centre 00:00 Shuttle Bus from ECAL to City Centre 6 7 Symposium Introduction From the Past to the Future of Film Archives Film archives are currently in a phase of transition, due in particular SYMPOSIUM ORGANIZATION to the use of digital technologies at every level of their activity. The Cinémathèque suisse and Department of Film History and Aesthetics of the generalization of new techniques for restoring works, and new ways Université de Lausanne (UNIL) of distributing, promoting, cataloging, and managing these objects has important repercussions for the work of archivists in every field. EXPERT COMMITTEE This transformation is so important that it may eventually affect the Chicca Bergonzi very mission of film archives and the form they take.
Load more

Recommended publications
  • De Alberto Cavalcanti
    A poesia da cidade moderna: uma leitura de “Rien que les Heures” (1926), de Alberto Cavalcanti A poesia da cidade moderna: uma leitura de “Rien que les Heures” (1926), de Alberto Cavalcanti1 Danielle Crepaldi Carvalho Doutoranda | Universidade Estadual de Campinas [email protected] Resumo Alberto Cavalcanti foi um dos artistas de vanguarda de maior projeção na Paris dos anos de 1920. Depois de quatro anos trabalhando como cenógrafo e diretor assistente em produções ficcionais cinematográficas francesas, dirigiu aquela que é tida por muitos teóricos do assunto como sua obra-prima: “Rien que les heures” (1926). O “documentário romanesco”, como o diretor o classifica, dialoga estreitamente com seus textos teóricos sobre o “medium” escritos dos anos 1920 a 1950 e posteriormente inseridos no volume “Filme e Realidade” (1953). Neste artigo, proponho-me a discutir tal diálogo, bem como a pensar no lugar que o filme ocupa no interior da produção cinematográfica de vanguarda. Palavras-chave Alberto Cavalcanti, Rien que les heures, cinema de vanguarda. 1 Introdução Nos anos de 1920, o artista carioca Alberto Cavalcanti era figura proeminente do movimento vanguardista europeu. Mesmo vivendo na França à época, não deixou de contribuir com o Modernismo brasileiro, chegando a enviar aos paulistas da “Klaxon” a ilustração que comporia um dos números do mensário (KLAXON, 15 jul. 1922, n. 3). No além-mar, teve invulgar import}ncia como teórico e pr|tico do cinema da “opacidade”, 1Agradeço imensamente à orientadora Profª.drª. Miriam Viviana Gárate, pela leitura da primeira versão deste trabalho e pelas sugestões que muito me ajudaram na preparação de sua versão final.
    [Show full text]
  • Coal Face, Um Filme De Alberto Cavalcanti
    UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS MODERNAS PROGRAMA DE PÓS-GRADUAÇÃO EM LÍNGUA INGLESA E LITERATURAS INGLESA E NORTE-AMERICANA Coal Face, um filme de Alberto Cavalcanti Carla Dórea Bartz Dissertação apresentada ao Programa de Pós- Graduação em Língua Inglesa e Literaturas Inglesa e Norte-Americana, da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para obtenção de título de Mestre em Letras. Orientador: Prof. Dr. John Milton São Paulo 2003 2 Aos meus pais Helena e Hilbert 3 Agradecimentos Esta dissertação foi escrita com o apoio do Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Eu gostaria de agradecer a preciosa e inestimável ajuda do meu orientador Prof. John Milton e da Profa. Maria Silvia Betti, da Profa. Maria Rosaria Fabris e do Prof. Ismail Xavier. Um agradecimento especial a Francisco Ramalho de Mendonça Júnior, José Eduardo de O. Mattos e Eliana Costa. Também agradeço os amigos da Conexão Médica, em especial, Durval Fuentes, Alexandre Igor Moreira Fernandes, Samuel Molinaro Cavalli, Fábio Renato da Costa e Rudy Neder Rocha. Agradeço também o apoio e a compreensão de Hilbert Bartz, Helena Conceição Costa Bartz, Alexander Ricardo Bartz e Gilbert Alfredo Bartz. Gostaria de agradecer a ajuda do Bristish Film Institute, da Cinemateca Brasileira, da Escola de Comunicação e Artes e do Serviço de Pós-Graduação da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Por fim, agradeço também o homem que possibilitou este trabalho: Alberto Cavalcanti.
    [Show full text]
  • A Supercut of Supercuts: Aesthetics, Histories, Databases
    A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide.
    [Show full text]
  • Universidade Estadual De Campinas Instituto De Artes
    UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES TANIA ARRAIS DE CAMPOS O Affaire Cavalcanti: Um produtor de cinema no Brasil nos anos 1950 The Affaire Cavalcanti: A film producer in Brazil in the 1950’s CAMPINAS 2019 TANIA ARRAIS DE CAMPOS O Affaire Cavalcanti: Um produtor de cinema no Brasil nos anos 1950 The Affaire Cavalcanti: A film producer in Brazil in the 1950’s Dissertação apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Mestra em Multimeios. Dissertation presented to the Institute of Arts of the University of Campinas in partial fulfillment of the requirements for the degree of Master in Multimedia. Orientador: Noel dos Santos Carvalho Este trabalho corresponde à versão final da dissertação defendida pela aluna Tania Arrais de Campos, e orientada pelo Prof. Dr. Noel dos Santos Carvalho. CAMPINAS 2019 Agência de fomento e nº de processo: CAPES – 001 Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Campos, Tania Arrais de, 1993- C157a CamO Affaire Cavalcanti : Um produtor de cinema no Brasil nos anos 1950 / Tania Arrais de Campos. – Campinas, SP : [s.n.], 2019. CamOrientador: Noel dos Santos Carvalho. CamDissertação (mestrado) – Universidade Estadual de Campinas, Instituto de Artes. Cam1. Cavalcanti Alberto de Almeida, 1897-1982. 2. Diretores e produtores de cinema. 3. Política no cinema. I. Carvalho, Noel dos Santos, 1962-. II. Universidade Estadual de Campinas. Instituto
    [Show full text]
  • Song of Ceylon, Sound and Documentary Filmmaking Jamie Sexton, University of Wales, Aberystwyth, UK
    The Audio-Visual Rhythms of Modernity: Song Of Ceylon, Sound and Documentary Filmmaking Jamie Sexton, University of Wales, Aberystwyth, UK With the introduction of sound in Britain a looming possibility in the late 1920s, previously held hopes for a co-ordination between the independent and mainstream spheres, leading to a progressive and technically sophisticated cinema, were shattered. In 1927, Close Up editor Kenneth MacPherson wrote that independent and commercial spheres would grow closer together, and feed off of each other, leading to a point where "the power of film will be immense beyond prediction." (MacPherson, 1927: 14) Just over a year later, when sound films were becoming more regularly produced, MacPherson claimed that sound was a "monstrosity… descending full speed upon us." (MacPherson, 1928: 8) In the early 1920s until 1928, at least in Britain, intellectual film writers were interested in both mainstream and independent films; after the introduction of sound, hostility towards the commercial cinema became more marked. The introduction of sound had, contrary to many wishes, increased the demarcation between commercial and independent filmmaking (the latter being made without synchronised sound for a long period). The lack of any sustained, experimental uses of sound in filmmaking was one of the many factors that led to the demise of Close Up, due to the editorial team's increasing pessimism about the artistic status of the medium. Yet ideas about "alternative" uses of sound were kept current within two journals that emerged within the 1930s: Cinema Quarterly (1932-1936), which was closely connected with the British documentary film movement, and Film/ Film Art (1933-1937), a journal more connected to independent activity outside the documentary film movement, but nevertheless sharing a number of similarities to Cinema Quarterly.
    [Show full text]
  • 1 the Communicating Village: Humphrey Jennings And
    THE COMMUNICATING VILLAGE: HUMPHREY JENNINGS AND SURREALISM NEIL GEORGE COOMBS A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy January 2014 1 Acknowledgments. With thanks to my supervisors Dr David Sorfa and Dr Lydia Papadimitriou for their support during the process of writing this thesis. 2 Abstract This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943).
    [Show full text]
  • Memory of the World Register
    MEMORY OF THE WORLD REGISTER Film Collection of Jugoslovenska Kinoteka (Serbia) Ref N° 2010-68 PART A – ESSENTIAL INFORMATION 1 SUMMARY The nominated documentary heritage is the Film Collection of Jugoslovenska Kinoteka (National Film Archive of Republic Serbia). It is the most comprehensive film collection in this part of Europe, containing over 95 000 film prints of various national productions, of all genres, silent and sound, black & white and color, both nitrate and acetate. This collection is continuously added to by means of exchange with foreign archives and by putting into deposit copies of the newly made domestic films. Around 85% of the entire film collection consists of foreign film material, which makes our archive particularly interesting for film archivists and researchers from all over the world – so far, numerous unique copies of the films produced by major world cinematography have been found in our archive. Most of these master-pieces had been considered forever lost, until they were discovered in the film collection of Jugoslovenska Kinoteka. 2 DETAILS OF THE NOMINATOR 2.1 Name (person or organization) Jugoslovenska Kinoteka (National Film Archive of Republic Serbia) 2.2 Relationship to the documentary heritage nominated Jugoslovenska Kinoteka (official title since 1952) is the national film library of the Republic of Serbia, founded in 1949, as The Central Film Archives of the Yugoslav Film Library. Since 1949, it has been a primary and «roof» film archiving institution in Yugoslavia / Serbia. Jugoslovenska Kinoteka is one of the founders and a permanent member of FIAF (International Federation of Film Archives). It takes part in the activities of FIAF since 1951.
    [Show full text]
  • Films of Alberto Cavalcanti Museum Program Spans Four Decades
    vi^ The Museum of Modern Art NO. 153 FOR IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart THE FILMS OF ALBERTO CAVALCANTI MUSEUM PROGRAM SPANS FOUR DECADES A comprehensive retrospective of more than 40 years of film production by Alberto Cavalcanti, a versatile and prolific filmmaker known primarily by film connoisseurs, will begin January 6 at The Museum of Modern Art. A producer and writer as well as a director, Cavalcanti has worked in France, England, East Germany, Brazil, Rumania, Israel and the United States during the course of his career and has made films in the experimental, documentary and narrative modes. Mr. Cavalcanti will be present at a showing of three of his earlier films—"La Petite Lilie" with Jean Renoir, "Rien que les Heures," and the rare avant-garde short "Pett and Pott"—on Thursday, January 6, at 8:00 pm, when he will address the Museum audience. Alberto Cavalcanti was born in Rio de Janiero, Brazil, in 1897. Studying architecture and law in Switzerland, Cavalcanti came to Paris in the 1920s and shortly became part of the group of young avant-garde artists centered around Marcel I'Herbier. Cavalcanti*s initial ventures into film were as a set designer and one of his earliest sets was for I'Herbier's 1924-26 film "Feu Mathias Pascal." This film, which features the noted Soviet actor Ivan Mozhukin, will open the Museum series on January 6 at 2:00 pm. Cavalcanti soon began to make his own films, one of the best known of which is "Rien que les Heures." This film of one day in Paris, made in 1926, was the first "city" film, and was seen by Dziga Vertov before he made his own "Man With a Movie Camera." Among the other films from the director's years in France is "En Rade," a rare subjective narrative from 1927 which has never been shown publicly in the United States.
    [Show full text]
  • Ealing Studios with Major New Project Ealing: Light & Dark
    BFI SHEDS NEW LIGHT ON EALING STUDIOS WITH MAJOR NEW PROJECT EALING: LIGHT & DARK London - Wednesday 19th September 2012 For the first time in a generation the BFI will present a major project celebrating the ŚŝƐƚŽƌŝĐŽƵƚƉƵƚŽĨŽŶĞŽĨƌŝƚĂŝŶ͛ƐďĞƐƚůŽǀĞĚĂŶĚŵŽƐƚŝŶĨůƵĞŶƚŝĂůƐƚƵĚŝŽƐǁŝƚŚĂƚǁŽ month retrospective at BFI Southbank Ealing: Light and Dark from 22 October to 30 December 2012. This is a chance to enjoy the great classics and comedies but also to discover the little known and unheralded more serious side of Ealing Studios during ƚŚĞ ϭϵϰϬ͛Ɛ ĂŶĚ ϱϬ͛Ɛ, with its rich vein of challenging, provocative and sometimes subversive films, often surprisingly radical in their implications. The project will include a national re-release of It Always Rains On Sunday (1947) and a new digital clean-up of the neglected They Came to a City, a major new book of essays Ealing Revisited, and special guests and events including an exhibition of ĂůŝŶŐ ƉŽƐƚĞƌƐ͕ ƐƚŝůůƐ ĂŶĚ ŵĞŵŽƌĂďŝůŝĂ ĚƌĂǁŶ ĨƌŽŵ ƚŚĞ &/ EĂƚŝŽŶĂů ƌĐŚŝǀĞ͛Ɛ ƌŝĐŚ holdings and a new collection in the BFI Mediatheques. A parallel season celebrating director Alexander Mackendrick will feature all of his Ealing films from October 22 to November 30 at BFI Southbank. Ealing Studios has a unique place in the history of British cinema and it has become a byword for a certain type of British whimsy and eccentricity. But the studio's films boasted a surprising variety. Many of the films of Ealing rank among the undisputed classics of the period, among them Dead of Night, The Blue Lamp, The Cruel Sea, The Man in the White Suit and Passport to Pimlico.
    [Show full text]
  • Os Efeitos Da Trajetória Europeia No Cinema Brasileiro De Alberto Cavalcanti TANIA ARRAIS DE CAMPOS1
    Os efeitos da trajetória europeia no cinema brasileiro de Alberto Cavalcanti TANIA ARRAIS DE CAMPOS1 Após três décadas de trabalho no campo cinematográfico europeu, o produtor e cineasta Alberto Cavalcanti retornou ao fim de 1949 ao seu país de origem, o Brasil. A mudança não foi espontânea, decorreu do convite para assumir o cargo de Produtor-Geral da então recém criada Companhia Cinematográfica Vera Cruz, localizada em São Bernardo do Campo, uma promessa de industrialização do cinema no Brasil pela burguesia paulistana, a qual idealizava os moldes de produção e realização fílmica europeus. A escolha de tal nome para o cargo parecia ideal naquele momento ao considerar a carreira que Cavalcanti consolidara anteriormente na França e depois na Inglaterra. A empreitada brasileira durou pouco, tanto para o produtor, que deixou seu posto de trabalho em 1953, quanto para a Companhia, a qual interrompeu seus trabalhos em 1954 devido à falência. Após algumas tentativas de retomar sua carreira cinematográfica no país em outras produtoras menores, nas quais conseguiu realizar alguns filmes, o diretor retornaria para a Europa ainda em 1954, onde percorreu diversos países a fim de novas realizações. Ainda que tenha conseguido finalizar um ou outro filme neste período, a carreira de Cavalcanti decai consideravelmente, de modo que jamais participaria de tantas produções cinematográficas, ainda que tivesse experiência em diversas funções, quanto o havia feito durante suas fases francesa e inglesa nos anos de 1920, 30 e 40. Nascido em 1897 no Rio de Janeiro, com família de origem nordestina – alagoana por parte de pai, pernambucana pela mãe -, Alberto Cavalcanti teve uma infância através da qual as análises a respeito de sua trajetória de vida buscam se justificar.
    [Show full text]
  • REDISCOVERING FRENCH FILM PART II Continues with Classics from Silent and Sound Eras
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART #15 ENTRANCE AT 18 WEST 54 STREET for immediate release February 1983 REDISCOVERING FRENCH FILM PART II CONTINUES WITH CLASSICS FROM SILENT AND SOUND ERAS REDISCOVERING FRENCH FILM PART II, The Museum of Modern Art's comprehensive survey of French film history from 1895 to 1960, will continue in March and April with classics from the end of the silent era and the beginning of the age of sound. Screenings in the retrospective, which will run over several months and will comprise some 150 films, are held in the Roy and Niuta Titus Theater 2. In March, some of the most significant films to be shown include five by Jean Epstein, demonstrating the remarkable range of his interests, from surrealism (La Glace a Trois Faces, La Chute de la Mai son Usher) and bitter social satire (L'Affiche) to folkore and ethnography (Finis Terrae, Mor'Vran). Also scheduled are two extremely rare silent features by Jean Renoir, Le Tournoi and Tire-au-Flanc, and Marcel L'Herbier's legendary epic study of international finance, L'Argent. At the end of the month, REDISCOVERING FRENCH FILM will feature both the silent (1925) and sound (1932) versions of Poil de Carotte, Julien Duvivier's classic study of childhood loneliness. April's programming will focus on one of the most fascinating periods of French film history--the sudden transition from silent films to sound during the late 1920s.
    [Show full text]
  • Dead of Night
    DEVIL’S ADVOCATES DEVIL’S ADVOCATES is a series of books devoted to exploring the classics of horror cinema. Contributors to the series come from the fields of teaching, academia, journalism and fiction, but all have one thing in common: a passion for the horror film and a desire to share it with the widest possible audience. ‘The admirable Devil’s Advocates series is not only essential – and fun – reading for the serious horror fan but should be set texts on any genre course.’ Dr Ian Hunter, Reader in Film Studies, De Montfort University, Leicester ‘Auteur Publishing’s new Devil’s Advocates critiques on individual titles… offer bracingly fresh perspectives from passionate writers. The series will perfectly complement the BFI archive volumes.’ Christopher Fowler, Independent on Sunday ‘Devil’s Advocates has proven itself more than capable of producing impassioned, intelligent analyses of genre cinema…quickly becoming the go-to guys for intelligent, easily digestible film criticism.’ HorrorTalk.com ‘Auteur Publishing continue the good work of giving serious critical attention to significant horror films.’ Black Static DevilsAdvocatesbooks DevilsAdBooks ALSO AVAILABLE IN THIS SERIES Antichrist Amy Simmons Black Sunday Martyn Conterio Carrie Neil Mitchell The Curse of Frankenstein Marcus K. Harmes The Descent James Marriot Halloween Murray Leeder Let the Right One In Anne Billson Nosferatu Cristina Massaccesi Saw Benjamin Poole The Silence of the Lambs Barry Forshaw Suspiria Alexandra Heller-Nicholas The Texas Chain Saw Massacre James Rose The Thing Jez Conolly Witchfinder General Ian Cooper FORTHCOMING Cannibal Holocaust Calum Waddell Frenzy Ian Cooper Near Dark John Berra Psychomania I.Q.
    [Show full text]