Melbourne Cinémathèque 2020 Screenings
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Before the Devil Knows You're Dead
Before the Devil Knows You’re Dead by Richard Combs ‘Last acts’ in the cinema can be a precarious business. Not just because film‐makers approaching the end of their careers may be beset by problems of failing health, failing inspiration or failing insurance, but because all the pitfalls of the movie business can make last acts as fragile an undertaking as first acts. Are we justified, then, in thinking that the last film a director makes – or a near‐to‐last film – will necessarily constitute a final statement, a summing up, a gathering together of the artistic experience of a lifetime in one culminating vision? In many cases, obviously not – last films can be as ad hoc, compromised, and a fortuitous grasping of commercial opportunity as a film made at any other stage of a career. But we persist in hoping that the culminating vision comes through. It’s the superstitious feeling that might gather round what anyone (even a film critic) suspects could be their final act, or a getting‐close‐to‐the‐end act: the hope that it will contain something special and retroactively confer significance and coherence on a lifetime of similar but helplessly scattered acts. First, an accounting of this terminal accounting. Only nine of the 19 films in our season were actually the last films made by their directors. The other 10 were followed by one, two, or – in the case of D.W. Griffith – something like a dozen films before their makers were done with the movies, or – again in Griffith’s case – the movies were done with them. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Melodrama, Sickness, and Paranoia: Todd Haynes and the Womanâ•Žs
University of Texas Rio Grande Valley ScholarWorks @ UTRGV Literatures and Cultural Studies Faculty Publications and Presentations College of Liberal Arts Winter 2016 Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film Linda Belau The University of Texas Rio Grande Valley Ed Cameron The University of Texas Rio Grande Valley Follow this and additional works at: https://scholarworks.utrgv.edu/lcs_fac Part of the Film and Media Studies Commons, and the Modern Literature Commons Recommended Citation Belau, L., & Cameron, E. (2016). Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film. Film & History: An Interdisciplinary Journal 46(2), 35-45. https://www.muse.jhu.edu/article/643290. This Article is brought to you for free and open access by the College of Liberal Arts at ScholarWorks @ UTRGV. It has been accepted for inclusion in Literatures and Cultural Studies Faculty Publications and Presentations by an authorized administrator of ScholarWorks @ UTRGV. For more information, please contact [email protected], [email protected]. Film & History 46.2 (Winter 2016) MELODRAMA, SICKNESS, AND PARANOIA: has so much appeal precisely for its liberation from yesterday’s film culture? TODD HAYNES AND THE WOMAN’S FILM According to Mary Ann Doane, the classical woman’s film is beset culturally by Linda Belau the problem of a woman’s desire (a subject University of Texas – Pan American famously explored by writers like Simone de Beauvoir, Julia Kristeva, Helene Cixous, and Ed Cameron Laura Mulvey). What can a woman want? University of Texas – Pan American Doane explains that filmic conventions of the period, not least the Hays Code restrictions, prevented “such an exploration,” leaving repressed material to ilmmaker Todd Haynes has claimed emerge only indirectly, in “stress points” that his films do not create cultural and “perturbations” within the film’s mise artifacts so much as appropriate and F en scène (Doane 1987, 13). -
Copyrighted Material
9781405170550_6_ind.qxd 16/10/2008 17:02 Page 432 INDEX 4 Little Girls (1997) 93 action-adventure movie 147, 149, 254, 339, 348, 352, 392–3, 396–7, 8 Mile (2002) 396–7 259, 276, 287–8, 298–9, 410 402–3 20th Century-Fox 21, 30, 34, 40–2, 73, actualities 106, 364, 410 Against All Odds (1984) 289 149, 184, 204–5, 281, 335 ACT-UP (AIDS Coalition to Unleash Agar, John 268 25th Hour, The (2002) 98 Power) 337, 410 Aghdashloo, Shohreh 75 27 Dresses (2008) 353 ADA (Americans with Disabilities Act) Ahn, Philip 130 28 Days (2000) 293 398–9, 410 AIDS 99, 329, 334, 336–40 48 Hours (1982) 91 Adachi, Jeff 139 AIDS Coalition to Unleash Power see 100-to-1 Shot, The (1906) 174 Adams, Evan 118–19 ACT-UP 300 (2007) 74, 298, 300 ADC (American-Arab Anti- AIM (American Indian Movement) 111, Discrimination Committee) 73–4, 116–17, 410 Abbott and Costello 268 410 Air Force (1943) 268 ABC 340 Addams Family, The (1991) 156 Akins, Zoe 388–9 Abie’s Irish Rose (stage) 57 Addams Family Values (1993) 156 Aladdin (1992) 73–4, 246 Abilities United Productions 384 Adiarte, Patrick 72 Alba, Jessica 76, 155, 159 ability 359–84, 410 adult Western 111, 410 Albert, Eddie 72 ableism 361, 381, 410 Adventures of Ozzie & Harriet, The (TV) Albert, Edward 375 Abominable Dr Phibes, The (1971) 284 Alexie, Sherman 117–18 365 Adventures of Priscilla, Queen of the Algie, the Miner (1912) 312 Abraham, F. Murray 75, 76 COPYRIGHTEDDesert, The (1994) 348 MATERIALAli (2001) 96 Academy Awards (Oscars) 29, 58, 63, Adventures of Sebastian Cole, The (1998) Alice (1990) 130 67, 72, 75, 83, 92, 93, -
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 .......................... -
![[Pennsylvania County Histories]](https://docslib.b-cdn.net/cover/6638/pennsylvania-county-histories-186638.webp)
[Pennsylvania County Histories]
HEFEI IENCE ^SVM^y fji 7%r COLLEIjTIONS y. ^ Digitized by the Internet Archive in 2018 with funding from This project is made possible by a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries https://archive.org/details/pennsylvaniacoun89unse A Page4 ' . s- p Page S . ; Page1 ■ | - - ' r u v w . _ ... Ml*. v w- XYZ .-Ml j|f • • MV-j | gaveno intimation of a desire to be in~ terviewed or remonstrated with, which 0:j ^lcrricli. motive they even had the bad taste to resent in a very unpleasant manner, did not improve as he had hoped, the writer’s health. So it come to pass that a short Oil- CITY CHROSICrafBS. time after the battle of Wilson’s Creek, he found himself at Cincinnati on board A Brief Compilation,* Incidental and of a river steamer bound for Pittsburg. Otherwise, From 1861 to Bate. At Maysviile a gentleman came on the r Written for the Derrick.] steamer who was en route for the Oil N this and the series of articles Country, where he had been engaged in to follow,the writer proposes to the development. He was a fluent talk¬ relate from the memory of him¬ er, and from him was gleaned the first self and others, such incidents general information in relation to the of the early history of Oil City, new discovery. Yet the revelation he as can be had and may be made was so wild and apparently impos¬ deemed of interest. -
Silence Studies in the Cinema and the Case of Abbas Kiarostami
SILENCE STUDIES IN THE CINEMA AND THE CASE OF ABBAS KIAROSTAMI by Babak Tabarraee M.A., Tehran University of Art, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) January 2013 © Babak Tabarraee, 2013 Abstract This thesis is an attempt to formulate a systematic framework for ‘silence studies’ in the cinema by defining silence in pragmatic terms and suggesting different forms of filmic silence. As an illustration of my model, I examine the variety of silences in the works of Abbas Kiarostami, a notable figure of Art Cinema. The analytical approach suggested here can further be applied to the works of many other Art Cinema auteurs, and, by extension, to other cinematic modes as well, for a better understanding of the functions, implications, and consequences of various forms of silence in the cinema. Chapter 1 provides a working and pragmatic description of silence, applicable to both film and other communicative forms of art. Chapter 2 represents a historical study of some of the major writings about silence in the cinema. Chapter 3 introduces, exemplifies, and analyzes the acoustic silences in the films of Kiarostami, including the five categories of complete , partial (uncovered; covered with noise, music, or perspective), character/dialogue , language , and music silences. Chapter 4 introduces the concept of meta-silence and its trans-sensorial perceptions in communication and in arts, and then defines the four categories of the visual , character/image , narrative , and political silences in Kiarostami’s oeuvre. -
Czechdocs2017-Web.Pdf
Dear friends of documentary fi lms, This catalogue and its online version at www.czechdocs.net contain the profi les of the most recent and upcoming documentaries in Czech production or co-production. Almost 20 of them have already had their premiere, the rest of them are in various stages of production and will be released by the end of 2018. In 2016, Czech documentaries were doing really well within the local distribution, 23 of them premiered in cinemas, and also abroad, as many of them were successfully presented and awarded at prestigious international fi lm festivals. Among the Czech docs screened abroad there were for example two fi lms by Helena Třeštíková: Mallory (at Hot Docs in Canada and Hong Kong IFF) and Doomed Beauty (Busan IFF). Other successful Czech representatives on the international scene were the co-production fi lm Under the Sun by Vitaly Mansky or 5 October by Martin Kollár (screened in Rotterdam). The Normal Autistic Film by Miroslav Janek, the Czech winner from Jihlava IDFF 2016, had its international premiere at DOK Leipzig, managed to get a sales agent and sell the rights to the U.S. distributor. Both Czech Film Center and Institute of Documentary Film continually make efforts to make Czech documentaries visible on the international scene. Czech documentaries are being presented at East Doc Platform in Prague within the Czech Docs… Coming Soon event, or at key international markets abroad – at IDFA, in Cannes, at Berlinale, in Clermont-Ferrand, or at goEAST within the delegations led by IDF and CFC representatives. Moreover, Czech Film Center becomes part of State Cinematography Fund, the main institution supporting the development and production of Czech fi lms in general. -
The Imaginal World and Modern Oblivion: Kiarostami's Zig-Zag1
Filozofski vestnik | Volume XXXVII | Number 2 | 2016 | 21–58 Joan Copjec* The Imaginal World and Modern Oblivion: Kiarostami’s Zig-Zag1 A1 zigzag path carved into a hill winds from base to crest, where it is crowned by a lushly-leafed tree standing solitary and upright like a kind of hieratic bouquet: this image recurs in three ¨lms – Where Is the Friend’s House? (1987); Life and Nothing More (1992); and Through the Olive Trees (1994) – which critics refer to as “the Koker trilogy,” simply because they are all set in the same location, the village of Koker in Northern Iran. Easily mistaken for a “found” image, part of the natural geography of the ¨lms’ actual setting, the recurrence of the image would seem to raise no questions nor require explanation. And yet there can be no confusing this image with natural geography, for as we learn from in- terviews, the ¨lms’ director, Abbas Kiarostami, did not just stumble upon this peculiar landscape while scouting locations. He had his ¨lm crew carve the pro- nounced zigzag path into the hill. An articial landscape, then, inserted by Kiarostami into the natural setting, it replicates, as it turns out, a miniature found in a manuscript executed at Shiraz in southern Persia at the end of the fourteenth century.2 In the miniature, just as in the Koker trilogy, a sinuous path curls up the side of a hill atop which sprouts a single, °owering tree. This miniature graces the cover of Spiritual Body and Celestial Earth, a book on Islamic philosophy in which the book’s author, the in°uential Iranologist, -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque A Dissertation Presented by Lilla T!ke to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature Stony Brook University May 2010 Copyright by Lilla T!ke 2010 Stony Brook University The Graduate School Lilla T!ke We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. E. Ann Kaplan, Distinguished Professor, English and Comparative Literary and Cultural Studies, Dissertation Director Krin Gabbard, Professor, Comparative Literary and Cultural Studies, Chairperson of Defense Robert Harvey, Professor, Comparative Literary and Cultural Studies and European Languages Sandy Petrey, Professor, Comparative Literary and Cultural Studies and European Languages Katie Trumpener, Professor, Comparative Literature and English, Yale University Outside Reader This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque by Lilla T!ke Doctor of Philosophy in Comparative Literature Stony Brook University 2010 The dissertation examines the legacies of grotesque comedy in the cinemas of Eastern Europe. The absolute non-seriousness that characterized grotesque realism became a successful and relatively safe way to talk about the absurdities and the failures of the communist system. This modality, however, was not exclusive to the communist era but stretched back to the Austro-Hungarian era and forward into the Postcommunist times. -
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production. -
Surrealism in and out of the Czechoslovak New Wave
Introduction Surrealism In and Out of the Czechoslovak New Wave Figure I.1 A poet’s execution. A Case for the Young Hangman (Případ pro začínajícího kata, Pavel Juráček, 1969) ©Ateliéry Bonton Zlín, reproduced by courtesy of Bonton Film. 2 | Avant-Garde to New Wave The abrupt, rebellious flowering of cinematic accomplishment in the Czechoslovakia of the 1960s was described at the time as the ‘Czech film miracle’. If the term ‘miracle’ referred here to the very existence of that audacious new cinema, it could perhaps also be applied to much of its content: the miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers. As we shall see, Surrealism was by no means the only avant-garde tradition to make a significant impact on this cinema. But it did have the most pervasive influence. This is hardly surprising, as Surrealism has been the dominant mode of the Czech avant-garde during the twentieth century, even if at certain periods that avant-garde has not explicitly identified its work as Surrealist. Moreover, the very environment of the Czech capital of Prague has sometimes been considered one in which Surrealism was virtually predestined to take root. The official founder of the Surrealist movement, André Breton, lent his imprimatur to the founding of a Czech Surrealist group when he remarked on the sublimely conducive locality of the capital, which Breton describes as ‘one of those cities that electively pin down poetic thought’ and ‘the magic capital of old Europe’.1 Indeed, it would seem a given that Czech cinema should evince a strong Surrealist tendency, especially when we consider the Surrealists’ own long-standing passion for this most oneiric of art forms.