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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
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. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
Steve Mcqueen – Filmaker and Director
Steve McQueen – filmaker and director Steven Rodney McQueen CBE (born 9 October 1969) is a British film director, producer, screenwriter, and video artist. For his 2013 film, 12 Years a Slave, a historical drama adaptation of an 1853 slave narrative memoir, he won an Academy Award, BAFTA Award for Best Film, and Golden Globe Award for Best Motion Picture – Drama, as a producer, and he also received the award for Best Director from the New York Film Critics Circle. McQueen is the first black filmmaker to win an Academy Award for Best Picture. McQueen is known for his collaborations with actor Michael Fassbender, who has starred in three of McQueen's feature films as of 2018. McQueen's other feature films are Hunger (2008), a historical drama about the 1981 Irish hunger strike, Shame (2011), a drama about an executive struggling with sex addiction and Widows (2018), a heist film about a group of women who vow to finish the job when their husbands die attempting to do so. McQueen was born in London and is of Grenadianand Trinidadian descent. He grew up in Hanwell, West London and went to Drayton Manor High School. In a 2014 interview, McQueen stated that he had a very bad experience in school, where he had been placed into a class for students believed best suited "for manual labour, more plumbers and builders, stuff like that." Later, the new head of the school would admit that there had been "institutional" racism at the time. McQueen added that he was dyslexic and had to wear an eyepatch due to a lazy eye, and reflected this may be why he was "put to one side very quickly". -
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. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
Guide to the Papers of the Capri Community Film Society
Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline. -
Abbas Kiarostami and Film-Philosophy, by Mathew Abbott
Abbas Kiarostami and Film-Philosophy, by Mathew Abbott. Edinburgh University Press, 2016, 176 pages. Kelly Houck Mathew Abbott’s book, beautifully adorned with a now iconic still from The Wind Will Carry Us (Bād mā rā khāhad bord, 1999), explores the late Iranian filmmaker Abbas Kiarostami’s later films through the framework of film-as-philosophy. The book offers an analysis of cinema as a medium of serious philosophical production through a chronological case study of Kiarostami’s films, beginning in the introduction with Taste of Cherry (Ta’m-e gīlās, 1997). Abbott draws on the work of philosophers ranging from Ludwig Wittgenstein to Noël Carroll, as well as Middle Eastern scholars such as Hamid Dabashi, to investigate the real theoretical work Kiarostami’s films accomplish. Throughout the text he weaves two major threads of inquiry: what happens to reality when we screen it, and how film creates problems of knowledge. Abbott argues that film does not merely illustrate preexisting philosophical ideas, instead, cinema carries out a specific kind of thinking. The book’s primary concern lies in the philosophical problems, questions and abstractions that Kiarostami’s films formulate, complicate, and negotiate. The central problem Abbott explores is Kiarostami’s characteristic technique of interrupting the viewer’s relationship with the film, and how these moments of interruption function. The author investigates how the filmmaker harnesses technology and directorial techniques to confuse, but ultimately reinforce, the relationship of the spectator to the screened image. Abbott argues that these moments, where the filmmaker abruptly disorients the viewer and upsets their claims to knowledge, rather than separate the viewer from the film, actually pull the viewer in further. -
A Film by Catherine BREILLAT Jean-François Lepetit Présents
a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”. -
Dussollier Hands Baer
PHOTOS ARNAUD BORREL / ILLUSTRATION OLIVIER AND MARC-ANTOINE COULON DUSSOLLIER JEAN-LOUIS LIVI JEAN-LOUIS ANDRE A FILM BY MARC A FILMBY PRESENTS HANDS DUGAIN MARINA ND MARC-ANTOINE COULON A PHOTOS ARNAUD BORREL / ILLUSTRATION OLIVIER PHOTOS ARNAUD BORREL / ILLUSTRATION EDOUARD BAER R O GN: DIMITRI SIMON F SI L DE A N I G I R O JEaN-LouiS Livi PRESENTS aNdRE MaRiNa EDOUARd DUSSOLLIER HANDS BAER (UNE EXECUTION ORDINAIRE) a FiLM BY MaRC DUGAIN STudioCaNaL iNTERNaTioNaL MaRkETiNg 1, place du Spectacle 92863 issy-les-Moulineaux Cedex 9 France Phone: +33 1 71 35 11 13 RUNNING TIME : 1h45 www.studiocanal.com FRENCH RELEASE DATE: FEBRUARY 3, 2010 STaLiN To aNNa : “doN’T FoRgET YouR HaNdS, i WiLL CoME WiTH MY PaiN.” Fall 1952. A young urologist and healer who works in a hospital in the Moscow suburbs is desperate to fall pregnant by her husband, a disillusioned doctor who is only surviving because of the love binding him to his wife. To her great terror, she is secretly called upon to look after Stalin who is sick and who has just fired his personal physician. The dictator worms his way into their relationship and creates a relationship with the young woman involving a tangle of secrets and manipulation. By turns friendly and perverse, the monster reveals his skills in the art of terror as never seen before. STaLiN : “i’vE goTTEN Rid oF EvERYoNE WHo WaS iNdiSPENSaBLE. SiNCE THEN, THEY’vE SHoWN ME THaT THEY WEREN’T.” I TERVIEW WITH marc dugain Your book, “The Officers’ Ward” was adapted for the screen in 1991 AN ORDINARY EXECUTION is about the last days of Stalin and covers by François Dupeyron.