Ifs Spring 2015
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Café Society
Presents CAFÉ SOCIETY A film by Woody Allen (96 min., USA, 2016) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia CAFÉ SOCIETY Starring (in alphabetical order) Rose JEANNIE BERLIN Phil STEVE CARELL Bobby JESSE EISENBERG Veronica BLAKE LIVELY Rad PARKER POSEY Vonnie KRISTEN STEWART Ben COREY STOLL Marty KEN STOTT Co-starring (in alphabetical order) Candy ANNA CAMP Leonard STEPHEN KUNKEN Evelyn SARI LENNICK Steve PAUL SCHNEIDER Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON, p.g.a. STEPHEN TENENBAUM, p.g.a. EDWARD WALSON, p.g.a. Co-Producer HELEN ROBIN Executive Producers ADAM B. STERN MARC I. STERN Executive Producer RONALD L. CHEZ Cinematographer VITTORIO STORARO AIC, ASC Production Designer SANTO LOQUASTO Editor ALISA LEPSELTER ACE Costume Design SUZY BENZINGER Casting JULIET TAYLOR PATRICIA DiCERTO 2 CAFÉ SOCIETY Synopsis Set in the 1930s, Woody Allen’s bittersweet romance CAFÉ SOCIETY follows Bronx-born Bobby Dorfman (Jesse Eisenberg) to Hollywood, where he falls in love, and back to New York, where he is swept up in the vibrant world of high society nightclub life. Centering on events in the lives of Bobby’s colorful Bronx family, the film is a glittering valentine to the movie stars, socialites, playboys, debutantes, politicians, and gangsters who epitomized the excitement and glamour of the age. Bobby’s family features his relentlessly bickering parents Rose (Jeannie Berlin) and Marty (Ken Stott), his casually amoral gangster brother Ben (Corey Stoll); his good-hearted teacher sister Evelyn (Sari Lennick), and her egghead husband Leonard (Stephen Kunken). -
Filmprogramm Oktober 2019 Rex Tone →3 Hal Hartley
Filmprogramm Oktober 2019 Rex Tone →3 Hal Hartley: Pionier des Independent-Films →4 REX Kids →13 Premieren: For Sama / Aquarela →15 So Long, My Son / Welcome to Sodom →19 Easy Love →20 Agenda →16/17 10 →21 Festivalfilme / Rex nuit Filmgeschichte →22 Berner filmPremiere →24 19 100 Jahre Bauhaus →25 Uncut / Kino und Theater →26/27 Shnit im Rex →28 www.rexbern.ch Editorial Von Thomas Allenbach Die Behauptung mag verwegen klingen, sie sei trotzdem gewagt: Im Okto- ber können Sie im REX den Film mit der besten Tanzszene der 1990er-Jahre sehen. Pulp Fiction? The Big Lebowski? Scent of a Woman? Sollten Sie unser Programm nach diesen Titeln durchforsten, werden Sie nicht fündig. Der Film heisst Simple Men, gedreht hat ihn der US-Amerikaner Hal Hartley, und der Song dazu stammt von Sonic Youth («Cool Thing» vom Album «Goo»). Falls Ihre Neugier geweckt ist: Die Szene können Sie sich auf Youtube Hier kommt die Nacht: anschauen (www.youtube.com/watch?v=Vgb8CyrgppI). Ich bin mir ziem- In der DJ-Reihe REXtone lich sicher, dass Sie danach unbedingt den ganzen Film sehen wollen – und spielen einmal im Monat ausgewählte DJs Obskuri- nach Simple Men gleich noch alle anderen Filme des Regisseurs, der in den täten, Raritäten und 1990er-Jahren zu den Helden des Independent-Kinos zählte und um den Popularitäten aus ihren es nach der Jahrtausendwende still geworden ist. Was hat Hartley seither weiten Archiven. Songs, die eine Einladung an die gemacht? Er ist unter anderem dabei, sich die Rechte an seinen Filmen Geselligkeit und Neugier- zurückzukaufen, diese zu restaurieren und neu zu untertiteln und sich so de sind und die zuweilen die Kontrolle über sein Oeuvre zu sichern. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
FFF 2004 Program.Qxd 2/20/13 11:18 AM Page 1 2013 FFF8.5X11 Fff2004program.Qxd2/20/1311:18Ampage2 1
2013 FFF 8.5x11_FFF 2004 program.qxd 2/20/13 11:18 AM Page 1 2013 FFF 8.5x11_FFF 2004 program.qxd 2/20/13 11:18 AM Page 2 DAN FRANCIS PHOTOGRAPHY 1 2013 FFF 8.5x11_FFF 2004 program.qxd 2/20/13 11:18 AM Page 3 ONCE UPON A TIME, MOTION PICTURES WERE ENORMOUS THINGS. Massive amounts of 35mm film were packed neatly in unwieldy padlocked metal cans and sent to a world’s worth of neighborhood cinemas. During my tenure at a local multiplex, a particularly long movie about a boy wizard resulted in a particularly massive film print. I managed to get this print halfway up a particularly steep staircase before tumbling bow-tie first down to what I feared was my doom but was, in fact, a conveniently placed pile of industrial sized bags of Orville Redenbacher. After that, I left it to our fearless projectionists to struggle them up the stairs to dimly lit projection booths. There, hunched over miles of celluloid, they would work into the wee hours of the morning – steady hands and bleary eyes assembling a new adventure. Such was the weight of storytelling. And the enormity of it made sense to me. Should one be able to lose the life and times of Charles Foster Kane if it slides down into that little space between the entertainment center and the wall? Emily Beck FARGO THEATRE Should the battle against an evil galactic empire be shipped in a standard packing envelope lined with those delicious little bubbles? Executive Director Isn’t it only fitting that the epic journey to return The One Ring (back to the fiery chasm from whence it came) be so enormous it could topple a teenager in an usher’s tuxedo made entirely of polyester? But the world turned. -
Newsletter 12/10 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 12/10 DIGITAL EDITION Nr. 275 - Juli 2010 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 12/10 (Nr. 275) Juli 2010 editorial Hallo Laserdisc- und DVD- Fans, liebe Filmfreunde! Wer bislang geglaubt hat, dass es sich bei Ihrem geschätzten LASER HOTLINE Team um unzerstörbare Arbeitsroboter handelt, den dürfen wir jetzt mal wieder eines Besse- ren belehren: unsere Kolumnistin Anna muss zur Zeit leider das Bett hüten. Somit müssen unsere Leser in dieser Ausgabe auf Annas Ge- spräch mit Hollywood verzichten. Denn mit Fieber im Körper Ach Du dickes Ei! schreibt es sich bekanntlich relativ Eine solch originelle Verpackung gab es nicht einmal zu schlecht. Wir wünschen ihr von DVD-Zeiten - die ALIEN ANTHOLOGY „Egg“-Box in dieser Stelle aus alles Gute und limitierter Auflage kostet EUR 179,90 alsbaldige Genesung. Als kleinen Trost für alle Kolumnenfans haben wir uns aber ein “Special” einfallen lassen, das sich natürlich längst nicht so spannend liest wie Annas Wer auf die höllisch teure Sammleredition in kleine Geschichten, dafür aber Spezialverpackung keinen Wert legt, dem bietet die Fox eine umso mehr Appetit macht auf ein „Basic“-Variante (links im Bild) zum Preis von EUR 69,90 Ereignis, das im Oktober von sich Reden machen wird. Dann wird es nämlich zum ersten Mal die gesam- te ALIEN ANTHOLOGY auf Blu-ray zu kaufen geben. Alle Infos zu dieser Veröffentlichung finden Sie in unserem “Special” auf den folgenden Seiten. -
L'homme Irrationnel Irrational Man
L'homme irrationnel Irrational Man Écrit et réalisé par / Written and directed by Woody Allen GRAVIER PRODUCTIONS PRÉSENTE / PRESENTS EN ASSOCIATION AVEC / IN ASSOCIATION WITH PERDIDO PRODUCTIONS L'homme irrationnel Irrational Man Écrit et réalisé par / Written and directed by Woody Allen DISTRIBUTION MARS DISTRIBUTION 66, rue de Miromesnil Jamie Blackley 75008 Paris Tél. : 01 56 43 67 20 Joaquin Phoenix [email protected] Parker Posey Emma Stone CANNES BUREAU DE PRESSE / PRESS OFFICE Hôtel Martinez Room 107 Tél. : 04 97 97 77 15 INTERNATIONAL PRESS HYPERACTIVE PUBLICITY Caroline Turner [email protected] Judith Daniel [email protected] SORTIE LE 14 OCTOBRE ATTACHÉS DE PRESSE FRANCE INTERNATIONAL RELEASE DATES ON REQUEST Jean-Pierre Vincent Virginie Picat DURÉE / LENGTH : 1H36 [email protected] Tél. : 04 93 06 43 98 / 04 93 06 43 99 Synopsis Professeur de philosophie, Abe Lucas est un homme dévasté sur le plan affectif, qui a perdu toute joie de vivre. Il a le sentiment que quoi qu’il ait entrepris - militantisme politique ou enseignement - n’a servi à rien. Peu de temps après son arrivée dans l’université d’une petite ville, Abe entame deux liaisons. D’abord, avec Rita Richards, collègue en manque de compagnie qui compte sur lui pour lui faire oublier son mariage désastreux. Ensuite, avec Jill Pollard, sa meilleure étudiante, qui devient aussi sa meilleure amie. Si Jill est amoureuse de son petit copain Roy, elle trouve irrésistibles le tempérament torturé et fantasque d’Abe, comme son passé exotique. Et tandis que les troubles psychologiques de ce dernier s’intensifient, Jill est de plus en plus fascinée par lui. -
HENRY FOOL USA 1997 137 Min. Farbe
HENRY FOOL USA 1997 137 Min. Farbe OmU Verleih : polyfilm, Wien Hal Hartley pur: klug, zynisch, komisch, und eine Spur tragisch. In Henry Fool trifft schräge Tristesse auf gerissene Durchtriebenheit, sind die Menschen weder schwarz noch weiß, sie fluchen, trinken, leben, lieben, atmen, hintergehen einander und versuchen dem täglichen Einerlei etwas Lust abzuringen. Simon ist einsam, verklemmt, scheu und arbeitet bei der städtischen Müllabfuhr. Die paar Dollar, die er damit verdient, muß er mit seiner manisch depressiven Mutter und der nymphomanischen Schwester teilen. Im Keller haust Henry, Biertrinker, Kettenraucher, Egomane, selbsternannter Literat und Frauenbetörer. Das schlichte Gegenteil von Simon. Henry schreibt - wahrscheinlich seit Jahren - seine Memoiren, ein Gekritzel, das dereinst die Welt erschüttern soll, so epochal, das auch Henry daran zerbrechen wird. Henry hält Simon zum Schreiben an und dieser landet mit der Unverfrorenheit des Anfängers einen Bestseller, der im Internet veröffentlicht wird und ihn über Nacht zum Star macht. PALME FÜR DAS BESTE DREHBUCH in Cannes 1998 Hal Hartley über Henry Fool: "Ich wollte eine Geschichte über Ehrgeiz, Talent und Einfluss machen. (...) Mich beschäftigte folgende Frage: Was passiert, wenn dein wichtigster Einfluss jemand ist, für den du dich eigentlich schämst, den als Vorbild anzuerkennen dir peinlich ist. (...) 'Faust' und 'Kaspar Hauser' waren Quellen. Ich habe sie nicht vollständig übernommen, aber bei der Lektüre erschienen sie mir als hilfreiche Startpunkte für meine Charaktere. Ich wollte, dass sie mythische, weit angelegte Charaktere werden, alle Komplexitätsschichten sollten intakt sein. (...) Ich habe mich auch auf das Verhältnis zwischen Joyce und Beckett bezogen - ohne mich wirklich genau an das zu halten, was ich darüber wusste." STAB Produzenten : Keith Abell Jerome Brownstein Thierry Cagianut Hal Hartley Larry Meistrich Daniel J. -
Honing Their Craft
Jacob J.Lew will take part in the Jerusalem Post Annual Conference. Did you save your seat? Click Here Like 443k 0 search 06.01.2015 | 14 Sivan, 5775 HCGiogeuhrr mRst ceEcahpionIlooan FoBrtv f Mlte‘iei :Pc“rsn dMC sAtoDSngsutrsnairt, iede tlsgukIBa’se'iin rsis nwciyMedl H molbgti y iGnsoihanu geem vantpdcRhrirev pesu iPambHrsbe irmsfbnr Mca usoiaedbgchaitnr afuoi oMn uap kehnrFodb irt eoicMl cii,n Msnld asopI ao irlstmSi a nuntrlHsto abdgesait ebgsvei dnmle hinausmrt tonCsieter dondeieuce rfermot ,drf anounored in cGeldaiqezunaati elSwidmttyhr Gia opitetn h,oc r ewdrhmd rar,oso eatatntcsranda'ekstt vc Fe- dmcaktGMh Ihteom nseiharq'drncsaeozuaue rtaBnwrpeas id w nelilS maenitgiittotntrgysar h eS i sonmpbi henfy,e le mo aywidJmnvorieogesevewn sses' streht ,o mt”c Kosednaeeyts swseitth HamaDsju rludersgaieedg ehartnsd CiHrcaamssaisa nle laedaedresr Jerusalem Post >> Israel News >> Culture >> Honing their craft CULTURE By HANNAH BROWN \ 05/30/2015 22:47 Honing their craft Remembering the dismembered culture of Polish Jewry In pictures: Rape culture protested in Jerusalem's fo... 4 4 The TLV International Student Film Festival brings together film students from all over the world, as well as veteran directors who give workshops. converted by Web2PDFConvert.com 4 4 US indie filmmaker Hal Hartley. (photo credit:Courtesy) The 17th TLV International Student Film Festival, which opens today and runs until June 6 at the Tel Aviv Cinematheque, is different from all the other film festivals in Israel because “it was initiated by the students of Tel Aviv University, and its prime goal is to bring students and their films from all over the world to Israel,” says Talia Bernstein, who, along with Roni Shamis, is the festival’s co-director. -
Fay Grim' Hal Hartley Takes Familiar Faces in a Totally Different Direction
MOVIE REVIEW 'Fay Grim' Hal Hartley takes familiar faces in a totally different direction. By Kevin Crust Times Staff Writer May 18, 2007 Hal Hartley's dark comedy "Henry Fool" was an indie masterpiece that effectively and accessibly meshed Hartley's literary influences with his specific minimalist style and some of the most memorable characters of the last decade. Now, Hartley takes the characters he created for that world and launches them into a surprisingly different direction in "Fay Grim," a worthy follow-up and rare art house sequel. "Fool," released in 1998, was a leap forward for Hartley, building on his quirkier early work and taking it to a more substantial place. Featuring stage actors James Urbaniak and Thomas Jay Ryan as Simon Grim and Henry Fool, respectively, the film turned on the awakening of garbage man Simon's hidden poetic talents that bloomed under the urging of the Faustian drifter, Henry, whose lowly status and appearance belied his epic braggadocio. The Beckettesque duo, along with Parker Posey as Simon's sister Fay, who becomes the title character in the new movie, gave physical life to Hartley's complex and unabashedly intelligent characters. When we last saw our antiheroes, Simon had won the Nobel Prize for his profane and controversial poetry, Henry had fled murder charges by allegedly going to Stockholm using Simon's passport, and Fay was left with a young son after Henry had impregnated and married her seven years earlier. The handwritten, multipart opus Henry had been flouting, "The Confessions of Henry Fool," was largely thought to be a horrible novel, literary excrement perpetuated by a vulgar man with a vivid imagination. -
Book Reviews – February 2014
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Book Reviews – February 2014 Table of Contents Watching the World: Screening Documentary and Audiences By Thomas Austin A Journey through Documentary Film By Luke Dormehl American Documentary Film: Projecting the Nation By Jeffrey Geiger A Review by Douglas C. MacLeod Jr. ............................................................. 6 Performance in the Cinema of Hal Hartley By Steven Rawle Hal Hartley By Mark L. Berrettini A review by Jennifer O'Meara..................................................................... 14 Hunting the Dark Knight: Twenty-First Century Batman By Will Brooker The James Bond Phenomenon: A Critical Reader Edited by Christoph Lindner A Review by Matthew Freeman .................................................................. 21 Film and Female Consciousness: Irigaray, Cinema and Thinking Women By Lucy Bolton Civilized Violence: Subjectivity, Gender and Popular Cinema. By David Hansen-Miller A Review by Katherine Whitehurst.............................................................. 28 1 Book Reviews New Takes in Film-Philosophy Edited by Havi Carel and Greg Tuck Deleuze and Cinema: The Film Concepts By Felicity Colman Deleuze and World Cinemas By David Martin-Jones A Review by Sergey Toymentsev ............................................................... 35 The British Film Institute, the Government and Film Culture, 1933-2000 edited by Geoffrey Nowell-Smith and Christophe Dupin J. Edgar Hoover Goes to the Movies: The FBI -
Marginality and the Films of Hal Hartley
The Repetition of Difference: Marginality and the Films of Hal Hartley NEWCAOTLE UNIVErOITY LIDRAfY 200 13901 0 'The\ Lb8L,Jo Lesley Deer PhD Thesis September 2000 Centre for Research into Film The University of Newcastle upon Tyne But you know, everyone really only makes one film in his life, and then he breaks it up into fragments and makes it again with just a few little variations each time. Jean Renoir' 'From preface to Flirt screenplay (Hartley 1996: vii). ACKNOWLEDGEMENT I wish gratefully to acknowledge the Arts and Humanities Research Board of the British Academy for assisting the production of this thesis with a Postgraduate Studentship. Thank you to my supervisor, Prof Phil Powrie, for keeping me on track, to Prof. Keith Reader for mentoring my teaching, and to all of the staff connected to the University of Newcastle upon Tyn&s Centre for Research into Film. Thanks also go to Paul Bishenden, Mike Heath, Celia Shephard, and my family, for their help and support. ABSTRACT THE REPETITION OF DIFFERENCE: MARGINALITY AND THE FILMS OF HAL HARTLEY Hal Hartley is prominent within the recent rise of the independent film-making movement in America. This thesis is centred around the issues of repetition, difference and marginality which characterise his films. Marginality inhabits Hartley's position as an American independent who makes a European art-house style of film. He is an auteur who articulates his influences through his reference to Godard. Marginality is also the dominant characteristic of those who people Hartley's films. Difference, which is marginality pushed to its greatest extent, is further imposed upon Hartley's characters. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright There’s a Problem with the Connection: American Eccentricity and Existential Anxiety Kim Wilkins 305165062 A thesis submitted in fulfilment of the degree of Doctor of Philosophy. University of Sydney. 1 I hereby declare that, except where indicated in the notes, this thesis contains only my own original work. As I have stated throughout this work, some sections of this thesis have been published previously. A version of Chapter Two features in Peter Kunze’s collection The Films of Wes Anderson: Critical Essays on an Indiewood Icon, published by Palgrave Macmillan in 2014, and Chapter Three was published under the title ‘The sounds of silence: hyper-dialogue and American Eccentricity’ as an article in New Review of Film and Television Studies no.