Henri-Georges Clouzot 1907-1977 –
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Results 2017
RESULTS 2017 Results 2017 Films, television programs, production, distribution, exhibition, exports, video, new media May 2018 Results 2017 1. ELECTRONICS AND HOUSEHOLD SPENDING ON FILM, VIDEO, TV AND VIDEO GAMES .......................................................................................................................................... 4 2. CINEMA ................................................................................................................................... 12 2.1. Attendance at movie theaters ............................................................................................ 13 2.2. Distribution ........................................................................................................................ 36 2.3. Movie theater audiences .................................................................................................... 51 2.4. Exhibition ........................................................................................................................... 64 2.5. Feature film production ...................................................................................................... 74 3. TELEVISION ............................................................................................................................ 91 3.1. The television audience ..................................................................................................... 92 3.2. Films on television ............................................................................................................ -
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. -
Diriger Les Images Diriger Les Acteurs Réfléchir L'art
ans la mémoire cinéphile, le nom d’Henri-Georges L’ADRC DClouzot (1907-1977) est associé à cette “qualité fran- présente çaise” que contestèrent les futurs cinéastes de la Nouvelle en partenariat avec Vague. Pourtant, ses films continuent de fasciner. C’est ce La Cinémathèque que redisent les remakes qui en sont faits, les rediffusions française qui attirent une large audience. Il y a un mystère Clouzot, il y a un vertige et une folie qui n’appartiennent qu’à lui, et qui le ramènent sans cesse au même point (aveugle ?) : la recherche d’une forme idéale, une forme que l’artiste pourrait maîtriser totalement et qui deviendrait la figure même de la vérité. Cette ambition insen- sée, il l’a côtoyée dans ses portraits filmés de grands artistes comme Picasso, ou lors des projets réflexifs de sa dernière période. Mais elle est déjà présente dans le cinéma soi-disant classique qui l’a rendu célèbre, de L’Assassin habite au 21 aux Diaboliques, en passant par Le Salaire de la peur. Raconter le mystère Clouzot, c’est raconter un classicisme qui se met en crise : un démiurge qui atteint un tel degré de perfection et de contrôle qu’il finit par douter de ses pouvoirs. Un Mabuse contrarié, héritier de la grande tradition lan- gienne du réalisateur tout-puissant - et que sa démesure fait basculer bizarrement en pleine modernité. Une certaine damnation à laquelle s’expose l’artiste, dès lors qu’il se prend pour Dieu. Noël Herpe La Vérité DIRIGER LES IMAGES L’A SSASSIN HABITE AU 21 QUAI DES ORFÈVRES 1941 • 1h24 • Noir et DIRIGER LES ACTEURS 1947 • 1h47 • e cinéma où s’illustre Clouzot, c’est d’abord un cinéma efficace et blanc • Visa 774 • es débuts de Clouzot comme dramaturge et auteur de chansons, Noir et blanc • spectaculaire, qui se souvient du film criminel américain et de l’ex- Restauration : Gaumont L son amitié avec Louis Jouvet ou Pierre Fresnay l’ont amené à fré- Visa 5 526 • avec le soutien du CNC L pressionnisme allemand. -
Henri-Georges CLOUZOT HOMMAGE 1907 - 1977 110E ANNIVERSAIRE AU CINÉASTE NIORTAIS DE NAISSANCE
Henri-Georges CLOUZOT HOMMAGE 1907 - 1977 110e ANNIVERSAIRE AU CINÉASTE NIORTAIS DE NAISSANCE SEPT. 2017 MARS 2018 COMMUNAUTÉ D’AGGLOMÉRATION DU NIORTAIS « Les Diaboliques » Collection Isabelle Champion - Photo : Roger Corbeau INSTALLATION VIDÉO LE CLOUZOSCOPE .................................. 5 EXPOSITION HENRI-GEORGES CLOUZOT, UN RÉALISATEUR EN ŒUVRES .....6 VISITE GUIDÉE LES DIMANCHES AUX MUSÉES ......7 ATELIER FÊTE DE LA SCIENCE DÉCOUVERTE D’UNE ŒUVRE L’ART AU MENU VISITE DES COLLECTIONS SUIVIE D’UN ATELIER LES VACANCES AUX MUSÉES .......... 8 CINÉMA • LE SCANDALE CLOUZOT • RÉTROSPECTIVE DE LA FILMOGRAPHIE D’HENRI-GEORGES CLOUZOT ........... 9 « Les Espions » Collection Succession H.G. Clouzot/ Cinémathèque Française – © TF1 DROITS AUDIOVISUELS – Photo Walter Limot ACCROCHAGE/EXPOSITION GRUPPO MID ..........................................10 CONFÉRENCE Un projet coordonné par la Communauté d’Agglo- L’ART OPTIQUE ET CINÉTIQUE mération du Niortais en partenariat avec : la Ville de SELON CLOUZOT .................................. 11 Niort et les communes de Saint-Gelais, Saint Hilaire la Palud et Villiers-en-Plaine. CONFÉRENCE Avec la participation de : la Médiathèque Pierre- CLOUZOT-KARAJAN Moinot, le Musée Bernard d’Agesci, le Conservatoire STAGE DE RÉALISATION VIDÉO de danse et de musique Auguste-Tolbecque, l’Ecole FAIS TON CINÉMA d’arts plastiques Pablo-Picasso, le service culture COMMÉMORATION de la ville de Niort, le Moulin du Roc. POSE D’UNE PLAQUE Remerciements à : la Cinémathèque Française, COMMÉMORATIVE ............................12 -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
J'accuse… Henri-Georges Clouzot's Judging of Morality in La Vérité
J’accuse… Henri-Georges Clouzot’s Judging of Morality in La Vérité Ingrid Heidenrath S0947482 4 April 2017 MA Thesis Literary Studies: English Literature and Culture Leiden University Supervisor: Dr. Peter W.J. Verstraten Heidenrath 2 Table of Contents Introduction ............................................................................................................................ 3 PART ONE Mise en Scène: Shaping A Background to Henri-Georges Clouzot and Brigitte Bardot within the Context of French Cinema ........................................................... 10 1.1 Henri-Georges Clouzot .................................................................................................... 11 1.2 Brigitte Bardot ................................................................................................................. 13 1.3 Collaboration .................................................................................................................... 15 PART TWO Investigating La Vérité: A Discussion of Morality, Crime Passionnel and Clouzot’s Approach ........................................................................................................ 17 2.1 Theoretical Framework .................................................................................................... 18 2.1.1 Morality ......................................................................................................................... 18 2.1.2 Crime Passionnel ......................................................................................................... -
Le Mélodrame Français Programmation
LE MÉLODRAME FRANÇAIS PROGRAMMATION LE mélodrame français rétrospective 15 JUIN - 31 JUILLET EN PARTENARIAT AVEC LE CNC 43 UNE HISTOIRE DU MÉLODRAME FRANÇAIS Le mélodrame est un des genres les plus populaires du cinéma, à la fois produit d’une stratégie visant à conquérir le public féminin tout autant que manière privilégiée d’explorer les sentiments les plus exa- cerbés. Si le mélodrame hollywoodien et parfois italien jouit d’une aura cinéphilique importante, son équivalent français a toujours été plus problématique, conséquence d’une relation entre les genres et la ciné- matographie nationale moins immédiate qu’ailleurs. Il s’agira d’écrire, en une vaste programmation, une histoire du mélodrame français, constater qu’il a eu ses grands auteurs (Abel Gance, Jean Grémillon, Paul Vecchiali) et qu’il a traversé l’Histoire en subissant de nombreuses et passionnantes variations. Le mélodrame est un des grands genres de l’histoire du cinéma. Il occupe une place essentielle au sein d’importantes filmographies (les États-Unis, l’Italie, le Mexique, etc.). Il a souvent d’ailleurs été conçu par les produc- teurs comme des fictions destinées à un marché particulier, celui du public féminin. Le terme Women’s Picture, dénommant le mélodrame, désignait bien par ailleurs à la fois les sujets tout autant que les catégo- ries du public visé par l’industrie Hollywoodienne. Si l’on parcourt l’his- toire du cinéma français, on constate très vite que le mélodrame y est un genre problématique, dont la fortune a varié en fonction des époques. L’objet d’une programmation, certes non exhaustive, autour de l’évolu- tion du genre sera aussi une manière de voyager au travers du cinéma français, de ses affects, de ses fantasmes et de la manière dont il aura pris en compte l’expression même de ces sentiments, parfois extrêmes, qui nourrissent le mélo. -
La Vérité Web BR5
FILM AT REDCAT PRESENTS Sat Oct 12 |6:00 pm| Jack H. Skirball Series $10.00 [members $8.00] Henri-Georges Clouzot and the Aesthetics of the Sixties Reflections on La Vérité France, 1960, 35mm, 127 min. Program curated by Martha Kirszenbaum and Bérénice Reynaud In conversation with the joint exhibitions La Fin de la Nuit at Palais de Tokyo in Paris and The End of the Night at LACE in Los Angeles, this panel discussion on the controversial French auteur Henri-Georges Clouzot and his contribution to the aesthetics of the 1960s centers around a screening of his intriguing film, La Vérité (1960 Oscar nominee and Golden Globe winner for Best Foreign Language Film). A showcase for the alluring physical presence of the biggest French star of the time, Brigitte Bardot—who transforms from pouting sex kitten to grand tragedienne—La Vérité is loosely inspired by a notorious “crime of passion” case. With his stern and masterful direction of Bardot, Clouzot creates another unforgettable, yet contradictory, sexual icon for the Swinging Sixties. In person: curators Martha Kirszenbaum and Bérénice Reynaud, film scholar Janet Bergstrom, artist/filmmaker William E. Jones and CalArts Critical Studies faculty Christine Wertheim. 35mm print courtesy of Sony Pictures “In the midst of the ‘New Wave’ explosion, one of the most admirable French directors secured the services of a sex symbol, Brigitte Bardot, to portray a puritanical and hypocritical society, devoid of compassion for the monsters it had begotten. The remarkable precision and ruthless irony of the film allows French cinema’s most famous doll to distinguish herself in a beautiful dramatic performance.” – Critikat “A close look at La Vérité can put into play a frisson every bit as biting as those other works touted for avant-garde stardom. -
English Language Film Notes to Le Corbeau
The Guide to... Le CORBEAU (1943) In a small town, a town like any other, evil is at work. What’s it about? A dark and daring allegory about a nation under occupation, French classic Le Cor- beau was made when the country was being controlled by the Nazis – and has the distinction of having angered both ends of the political spectrum. In an unnamed small town, poison pen letters are being sent by someone calling themselves Le Cor- beau (“the raven”). Their main target is the seemingly respectable Dr Germain – but soon the net widens and neighbours and friends turn against each other as more and more secrets are dragged into the open. An anti-fascist film made in wartime by a French crew working for a Nazi-run production company, this compelling para- dox is now rated a masterpiece, but nearly cost its director his career… Who made it? Backstory Director Henri Georges Clouzot was France was occupied by the Nazis known as the “French Hitchcock” for his when the film was shot, influencing mastery of the thriller genre. Born in 1907, every practical and artistic decision he worked as a screenwriter for 10 years made. The production company, before making his first film as a director in Continental, was German run – so the 1942. He died in 1977. script was censored and the film-mak- Pierre Fresnay (Dr Germain) was born ers were accused of “collaboration” in Paris in 1897. Against the wishes of his for continuing to work on the project. parents, he decided to become an actor The subject matter mirrored the time and made his stage debut at the age of and place in which the film was be- 14. -
Summer Films at the National Gallery of Art
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: June 29, 2009 Summer Films at the National Gallery of Art Film still f rom Pandora and the Flying Dutchman (Albert Lewin, 1951, 35 mm, 122 minutes), at the National Gallery of Art on Friday , August 28, at 2:30 p.m. and Saturday , August 29, at 2:30 p.m. as part of the From Vault to Screen: New Preservation f ilm series. Image courtesy Photof est. This summer, the National Gallery of Art's film program provides a great variety of films combined with concerts and discussions. The six ciné-concerts feature films from the 1920s and 1930s combined with pianists and orchestras in live performance. July's Salute to Le Festival des 3 Continents highlights a collaborative effort between the National Gallery of Art, the Freer Gallery, and the French Embassy to bring avant-garde, classic, and new cinema from Asia, Africa, and Latin America to Washington audiences. The Gallery's annual showcase of recently restored and preserved films, From Vault to Screen, will focus on the collections of La Cinémathèque de Toulouse, Anthology Film Archives, and UCLA Film and Television Archive, among others. A highlight of this series will be the presentation of the restored Manhatta by Charles Sheeler and Paul Strand. This screening concludes with a discussion with Charles Brock, curator of American art, National Gallery of Art, and Bruce Posner, the film historian responsible for the restoration. -
The Oxford History of World Cinema EDITED by GEOFFREY NOWELL-SMITH
The Oxford History of World Cinema EDITED BY GEOFFREY NOWELL-SMITH OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries Published in the United States by Oxford University Press Inc., New York © Oxford University Press 1996 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 1996 First published in paperback 1997 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available ISBN 0-19-811257-2 ISBN 0-19-874242-8 (Pbk.) 7 9 10 8 6 Printed in Great Britain on acid-free paper by Butler & Tanner Ltd Frome and London I should like to dedicate this book to the memory of my father, who did not live to see it finished, and to my children, for their enjoyment. -
Henri-Georges Clouzot 1907-1977 the Wages of Fear 1953
Cannes Palme d’Or Winners 2018-2019 Henri-Georges Clouzot 1907-1977 The Wages of Fear 1953 Henri-Georges Clouzot Fiona Watson July 2005 Article sourced from Senses of Cinema:http://sensesofcinema.com/2005/great-directors/clouzot/ b. November 20, 1907, Niort, France d. January 12, 1977, Paris, France Darkness Visible You think that people are all good or all bad. You think that good means light and bad means night? But where does night end and light begin? Where is the borderline? Do you even know which side you belong on? – Dr Vorzet, Le Corbeau Anyone who can make Hitchcock uneasy deserves closer examination, and Hitchcock was nervous that Henri- Georges Clouzot might unseat him as “the master of suspense”. Although not as prolific, Clouzot’s is undoubtedly a comparable talent, and Wages Of Fear (1953) and Les Diaboliques (1955) regularly make it into lists of the greatest thrillers ever made. Born in Niort, France, in 1907, Clouzot was something of a child prodigy, giving piano recitals at the age of four and writing plays. He went on to study law and political science. Dogged by ill health, he spent four years in a TB sanatoria during the 1930s and described it as the making of him. “I owe it all to the sanatorium. It was my school. While resident there I saw how human beings worked.”1 Clouzot’s brush with mortality marked him permanently and is probably also responsible for his coal black, baleful sense of humour. Clouzot began as a director of dubbing in Berlin at UFA’s Neubabelsburg Studios between 1932 and 1938.