Claudia Cardinale
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FLM302 Reading German Film 3 Module Outline 2019-20
FLM302: READING GERMAN FILM 3: CONTEMPORARY GERMAN CINEMA Course Outline, 2019-2020 Semester A 15 credits Course Organiser Dr Alasdair King [email protected] Arts 1: 2.08 Office hours: Wednesday 11-1 Timetable Screenings: Tuesday 10-12, Arts 1 G.34 Lectures: Tuesday 1-2, Bancroft G.07 Seminars: Thursday 2-3, Arts 2 3.17 Course Description This module will allow students to analyse various aspects of German film culture in the new millennium. It explores developments in recent German filmmaking in the context of the increasing globalisation of media industries and images and in the context of contemporary cinema’s relationship to other media forms. Stu- dents will explore the dynamics of recent German cinema, including its successes at major award ceremonies and at film festivals, its relationship to Hollywood and to other international cinemas, its distinct approach to questions of the audience, of auteurism and of production, and to transnational images, particularly con- cerning the emergence of Turkish-German filmmaking. Students will also address the representation of politics, terrorism, history, heritage and the national past, the engagement with issues of performance, gender and sexuality, the use of genre and popular commercial film styles, and the re-emergence of a ‘counter cinema’ in the work of the ‘Berlin School’ and after. Seminar work on current trends will allow students to work independently to research an individual case study of a chosen film and its significance to contemporary German cinema. Recommended Reading Abel, M (2013) The Counter-Cinema of the Berlin School. Rochester, NY: Camden House. -
Visualizing Levinas:Existence and Existents Through Mulholland Drive
VISUALIZING LEVINAS: EXISTENCE AND EXISTENTS THROUGH MULHOLLAND DRIVE, MEMENTO, AND VANILLA SKY Holly Lynn Baumgartner A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2005 Committee: Ellen Berry, Advisor Kris Blair Don Callen Edward Danziger Graduate Faculty Representative Erin Labbie ii © 2005 Holly Lynn Baumgartner All Rights Reserved iii ABSTRACT Ellen Berry, Advisor This dissertation engages in an intentional analysis of philosopher Emmanuel Levinas’s book Existence and Existents through the reading of three films: Memento (2001), Vanilla Sky (2001), and Mulholland Drive, (2001). The “modes” and other events of being that Levinas associates with the process of consciousness in Existence and Existents, such as fatigue, light, hypostasis, position, sleep, and time, are examined here. Additionally, the most contested spaces in the films, described as a “Waking Dream,” is set into play with Levinas’s work/ The magnification of certain points of entry into Levinas’s philosophy opened up new pathways for thinking about method itself. Philosophically, this dissertation considers the question of how we become subjects, existents who have taken up Existence, and how that process might be revealed in film/ Additionally, the importance of Existence and Existents both on its own merit and to Levinas’s body of work as a whole, especially to his ethical project is underscored. A second set of entry points are explored in the conclusion of this dissertation, in particular how film functions in relation to philosophy, specifically that of Levinas. What kind of critical stance toward film would be an ethical one? Does the very materiality of film, its fracturing of narrative, time, and space, provide an embodied formulation of some of the basic tenets of Levinas’s thinking? Does it create its own philosophy through its format? And finally, analyzing the results of the project yielded far more complicated and unsettling questions than they answered. -
The Image of Rebirth in Literature, Media, and Society: 2017 SASSI
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Society for the Academic Study of Social Imagery School of Communication 2017 The mI age of Rebirth in Literature, Media, and Society: 2017 SASSI Conference Proceedings Thomas G. Endres University of Northern Colorado, [email protected] Follow this and additional works at: http://digscholarship.unco.edu/sassi Part of the Film and Media Studies Commons, History Commons, and the Rhetoric and Composition Commons Recommended Citation Endres, Thomas G., "The mI age of Rebirth in Literature, Media, and Society: 2017 SASSI Conference Proceedings" (2017). Society for the Academic Study of Social Imagery. 1. http://digscholarship.unco.edu/sassi/1 This Conference Proceeding is brought to you for free and open access by the School of Communication at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Society for the Academic Study of Social Imagery by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. THE IMAGE OF REBIRTH in Literature, Media, and Society 2017 Conference Proceedings Society for the Academic Study of Social Imagery Edited by Thomas G. Endres Published by University of Northern Colorado ISSN 2572-4320 (online) THE IMAGE OF REBIRTH in Literature, Media, and Society Proceedings of the 2017 Conference of the Society for the Academic Study of Social Imagery March 2017 Greeley, Colorado Edited by Thomas G. Endres University of Northern Colorado Published -
The Apology | the B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero Scene & Heard
November-December 2017 VOL. 32 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 6 IN THIS ISSUE One Week and a Day | Poverty, Inc. | The Apology | The B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero scene & heard BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Learn more about Baker & Taylor’s Scene & Heard team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications Experience KNOWLEDGEABLE Baker & Taylor is the Full-time staff of A/V catalogers, most experienced in the backed by their MLS degree and more than 43 years of media cataloging business; selling A/V expertise products to libraries since 1986. 800-775-2600 x2050 [email protected] www.baker-taylor.com Spotlight Review One Week and a Day and target houses that are likely to be empty while mourners are out. Eyal also goes to the HHH1/2 hospice where Ronnie died (and retrieves his Oscilloscope, 98 min., in Hebrew w/English son’s medical marijuana, prompting a later subtitles, not rated, DVD: scene in which he struggles to roll a joint for Publisher/Editor: Randy Pitman $34.99, Blu-ray: $39.99 the first time in his life), gets into a conflict Associate Editor: Jazza Williams-Wood Wr i t e r- d i r e c t o r with a taxi driver, and tries (unsuccessfully) to hide in the bushes when his neighbors show Editorial Assistant: Christopher Pitman Asaph Polonsky’s One Week and a Day is a up with a salad. -
Regard Et Prédation Dans Film De Samuel Beckett De La Fable À La Structure Llewellyn Brown
Document generated on 10/02/2021 3:45 a.m. Études françaises Regard et prédation dans Film de Samuel Beckett De la fable à la structure Llewellyn Brown Le regard et la proie Article abstract Volume 54, Number 2, 2018 If the problematic of the gaze is capital in Beckett’s work, it is in his only film – with its rhematic title – that it becomes the thrust of a pursuit. In discovering a URI: https://id.erudit.org/iderudit/1050587ar new medium, he resumes an earlier setup involving the representation of DOI: https://doi.org/10.7202/1050587ar “traversable space:” that of the quest. The recourse to the famous actor Buster Keaton is part of this choice that makes of the film a fable. If a “theoretical” See table of contents (Berkeley) background is exploited by Beckett, the gaze is read here as an object, as theorized by Lacan, who contends that each one is subjected to an all-seeing gaze, before being constituted as a subject. Beckett considers the camera as a penetrating and impersonal agent. In Film, we see the reality constituted by the Publisher(s) imaginary give way to the intrusion of this gaze. In the absence of an original Les Presses de l’Université de Montréal assent of the Other, the Beckettian subject remains irremediably split, a fact that allows, in this film, to make the gaze a “character” in its own right: the Eye of the camera, which pursues the character, called Object (O). The former is subjectivity ISSN devoid of visible form, the latter is visibility devoid of interiority. -
Press Information September | October 2016 Choice of Arms The
Press Information September | October 2016 Half a century of modern French crime thrillers and Samuel Beckett and Buster Keaton 's collaboration of the century in the year of 1965; the politically aware work of documentary filmmaker Helga Reidemeister and the seemingly apolitical "hipster" cinema of the Munich Group between 1965 and 1970: these four topics will launch the 2016/17 season at the Austrian Film Museum. Furthermore, the Film Museum will once again take part in the Long Night of the Museums (October 1); a new semester of our education program School at the Cinema begins on October 13, and the upcoming publications ( Alain Bergala's book The Cinema Hypothesis and the DVD edition of Josef von Sternberg's The Salvation Hunters ) are nearing completion. Latest Film Museum restorations are presented at significant film festivals – most recently, Karpo Godina's wonderful "film-poems" (1970-72) were shown at the Cinema Ritrovato festival in Bologna – the result of a joint restoration project conducted with Slovenska kinoteka. As the past, present and future of cinema have always been intertwined in our work, we are particularly glad to announce that Michael Palm's new film Cinema Futures will have its world premiere at the Venice Film Festival on September 2 – the last of the 21 projects the Film Museum initiated on the occasion of its 50th anniversary in 2014. Choice of Arms The French Crime Thriller 1958–2009 To start off the season, the Film Museum presents Part 2 of its retrospective dedicated to French crime cinema. Around 1960, propelled by the growth spurt of the New Wave, the crime film was catapulted from its "classical" period into modernity. -
Ottawa Jewish Bulletin Inside
- - SOLD OUT! THANK YOU - - JNF OTTAWA NEGEV DINNER OCT. 15 SJCC trip to Israel Ken SCHACHNOW GUEST SPEAKER DENNIS PRAGER Shawna Dolansky will lead Sales Representative SUPPORTING AUTISM RESEARCH IN ISRAEL DIRECT: 613.292.2200 12-day tour of Israeli archeological OFFICE: 613.829.1818 POLAND-ISRAEL MISSION OCT. 18-NOV. 3 EMAIL: [email protected] KELLERWILLIAMS VIP REALTY www.kenschachnow.com [email protected] 613-798-2411 and historic sites > p. 15 Brokerage, Independently Owned And Operated Ottawa Jewish Bulletin OCTOBER 12, 2015 | 29 TISHREI 5776 ESTABLISHED 1937 OTTAWAJEWISHBULLETIN.COM | $2 Holocaust Education Month to be launched with special concert at National Gallery World-renowned violinist, pianist to perform BY HANNAH BERDOWSKI include some Russian music in the olocaust Education Month will program. be launched Sunday, “Prokofi ev wrote music inspired by November 1, 7 pm, at the Jewish music. He was very concerned HNational Gallery of Canada about the whole Jewish situation,” said with “A Night to Remember,” a special Stroke. concert “in memory of those who Drucker described Prokofi ev’s work as perished” and “in honour of those who sombre. “It’s a magnifi cent and strong survived.” piece of music.” The concert, presented by Jewish He said the Bach and Brahms compos- Family Services (JFS) and Jewish itions they will perform were chosen to Federation of Ottawa, will feature world provide a balance to the Prokofi ev and renowned violinist Eugene Drucker and are a “sublimely moving, spiritual, pianist Marija Stroke, both children of elevating kind of music.” Holocaust survivors. Proceeds from the As children of Holocaust survivors, event will support JFS programs for Drucker and Stroke both said they are Russian Jewish seniors in Ottawa. -
Detective Novels, the Nazi Past, and Holocaust Impiety
genealogy Article Detecting the Past: Detective Novels, the Nazi Past, and Holocaust Impiety Christine Berberich School of Area Studies, History, Politics and Literature, University of Portsmouth, Portsmouth PO1 3AS, UK; [email protected] Received: 1 October 2019; Accepted: 4 December 2019; Published: 7 December 2019 Abstract: Crime writing is not often associated with Holocaust representations, yet an emergent trend, especially in German literature, combines a general, popular interest in crime and detective fiction with historical writing about the Holocaust, or critically engages with the events of the Shoah. Particularly worthy of critical investigation are Bernhard Schlink’s series of detective novels focusing on private investigator Gerhard Selb, a man with a Nazi background now investigating other people’s Nazi pasts, and Ferdinand von Schirach’s The Collini Case (2011) which engages with the often inadequate response of the post-war justice system in Germany to Nazi crimes. In these novels, the detective turns historian in order to solve historic cases. Importantly, readers also follow in the detectives’ footsteps, piecing together a slowly emerging historical jigsaw in ways that compel them to question historical knowledge, history writing, processes of institutionalised commemoration and memory formation, all of which are key issues in Holocaust Studies. The aims of this paper are two-fold. Firstly, I will argue that the significance of this kind of fiction has been insufficiently recognised by critics, perhaps in part because of its connotations as popular fiction. Secondly, I will contend that these texts can be fruitfully analysed by situating them in relation to recent debates about pious and impious Holocaust writing as discussed by Gillian Rose and Matthew Boswell. -
Le Memorie Di Un Film Notfilm Di Ross Lipman
Venezia Arti [online] ISSN 2385-2720 Vol. 26 – Dicembre 2017 [print] ISSN 0394-4298 Le memorie di un Film Notfilm di Ross Lipman Martina Zanco Abstract It’s been five decades since Film was first shown at the 26th edition of the Venice International Film Festival. Yet the 1965 short film, directed by Alain Schneider and based on the only script written for the big screen by Samuel Beckett, enjoys a new wave of interest. Digitally restored in 4k by filmmaker, archivist, preservationist and performer Ross Lipman, Film has began to tour the world once again, showing in many theaters, festivals and Cinematheques thanks to the tireless work of newly founded distribution company Reading Bloom and, well established, Milestone Films. This has re-opened discussion on the enigmatic short feature that, inspired from the metaphysical doctrine of irish philosopher George Berkeley, esse est percipi, sees an ‘Object’ (that is, the main character portrayed by Buster Keaton ) shadowed by an ‘Eye’. The main interest though, is in part due to the kino-essay, which is not a simple documentary, by Ross Lipman. In Notfilm, a documentary showed after Film at every screening, the director shows us the unseen cuts, unreleased material, photos, notes and audio recordings he rediscovered during the restoration process of the short film that raise an array of new, challenging questions (is Beckett Keaton alter ego?). Furthermore, this cine-essay seems to have another hidden layer, seemingly more ambitious and personal, that tries to go beyond Film itself. This is an aspect that, I think, is worth investigating. -
2016 Film Festival Programme
TAKE THE FORM OF COMMODITIES, VANISHES THEREFORE, SO SOON AS WE COME TO OTHER FORMS OF PRODUCTION THE FORM OF COMMODITIES, VANISHES TAKE SURROUNDS THE PRODUCTS OF LABOUR AS LONG THEY OF COMMODITIES, ALL THE MAGIC AND NECROMANCY THAT THE WHOLE MYSTERY k k belfast Belfast Film Festival film festival 14th-23rd April 2016 16 OUR FUNDERS ACCOMMODATION OFFICIAL MEDIA PARTNER PARTNERS OFFICIAL DRINKS SPONSOR VENUE PARTNERS INTRODUCTION The 16th Belfast Film Festival like any self-loathing teenager – has attitude! It is packed with premieres, guests, documentaries, shorts and much more. This year we present our biggest programme ever, with more than 133 films and events from 30 countries around the world. We welcome as our special guest, a man who is arguably the greatest living British filmmaker, Terence Davies. Belfast Film Festival is delighted to be honouring Terence with our Outstanding Contribution to Cinema award. Programme highlights include Stephen Frears’ hilarious new feature starring Hugh Grant with Meryl Streep as ‘Florence Foster Jenkins’; the Oscar-nominated must-see Turkish film ‘Mustang’; a 6 hour marathon watch with ‘Arabian Nights’, the mastery of Alan Clarke; the brilliant Icelandic tale ‘Virgin Mountain’, and the 2016 Oscar Winner Son of Saul. We have an exciting celebration of the artistry of sound in film in partnership with SARC; films on 1916; discussions; music; fancy dress; film installations, and a plethora of new talent in our short film and NI Independents sections; And perhaps most exciting of all we have a programme of new film showcasing more female directors than ever before. Michele Devlin. -
Windsor International Film Festival
WINDSOR INTERNATIONAL FILM FESTIVAL 2015 The Windsor International Film Festival (WIFF) is a cultural, not-for-profit organization whose mission is to recognize and celebrate the art of cinema by showcasing Canadian and international films and filmmakers. Through its exhibition, education, and community development programs, WIFF builds audiences for Canadian content and talent, provides training opportunities for emerging filmmakers, and promotes the creative economy of Windsor and Southwestern Ontario. WINDSOR INTERNATIONAL FILM FESTIVAL BOARD OF DIRECTORS Angela Kaye | Mike Lesperance (Acting Vice-Chair) | Mori McIntosh | Kim Nelson | Pat Papadeas Priyanka Philip | Lynne Watts (Chair) | Martha Winterbottom (Treasurer). HONORARY WIFF AMBASSADORS Mark Boscariol, Nick Cacciato, Peter Coady, Denise Deziel, Debra Henderson, Michael Reboulis & Lou Tortola WINDSOR INTERNATIONAL FILM FESTIVAL Executive Director: Vincent Georgie Managing Directors: Leo Novakovic and Hilary Pontini Technical Director: Sung Min Bae Administrative Manager: Michael Ruffolo Sponsorship Coordinator: Katharen Bortolin Box Office Coordinator: Jen Holson Volunteer Coordinators: Amy Fleming and Eric Freeze Program Manager, 48 Hour FlickFest: Svjetlana Oppen Program Book Editor: Angela Kaye Print Traffic Coordinator: Alan Bull Graphic Design & Layout: Dave Houle WINDSOR INTERNATIONAL FILM FESTIVAL P.O. Box 591 | Station A | Windsor, ON | N9A 6M6 windsorfilmfestival.com Photo: Nick Brancaccio/Windsor Star Brancaccio/Windsor Nick Photo: WIFF 2015: Time to Binge-Watch Over the past year, what has really struck me, is just how anticipated WIFF is to our beloved audience. I realized that as much as our audience is beloved to us, WIFF is beloved to them. Throughout the year, every time I would receive an email suggesting a new film, get stopped as I am shopping with an inquiry about how the festival is going, even (unforgettably) listening to an hour’s worth of WIFF feedback from a passionate fan on a flight from Toronto to Windsor, all I could keep thinking was “they wish it was November, already. -
VENICE & TORONTO LINE Up
2014 VENICE CONTACT Dirk Schürhoff [email protected] VENICE & Toronto LINE UP +49 170 638 4806 TORONTO CONTACT Dirk Schürhoff [email protected] +49 170 638 4806 Thorsten Ritter [email protected] +49 172 858 7014 Tassilo Hallbauer [email protected] +49 176 1031 2646 King Ballroom Hyatt Regency Hotel 370 King St. West Mezzanine Level (German Films Stand) HEAD OFFICE BETA CINEMA GmbH Gruenwalder Weg 28d D-82041 Oberhaching Phone +49 89 673469 - 828 Fax +49 89 673469 - 888 www.betacinema.com OFFICIAL selection THE farewell partY by Sharon Maymon page 4 and Tal Granit LABYRINTH OF LIES by Giulio Ricciarelli page 5 toUR DE force by Christian Zübert page 6 GOMORRAH by Stefano Sollima page 7 Upcomings GEORG ELSER by Oliver Hirschbiegel page 9 THE HAPPY PRINCE by Rupert Everett page 10 walter by Anna Mastro page 11 GHOST HUNTERS ON ICY trails by Tobi Baumann page 12 WE ARE YOUNG. WE ARE strong. by Burhan Qurbani page 13 Kafka‘S THE BUrrow by Jochen Alexander Freydank page 14 WRECKED by Sönke Wortmann page 15 THE little MEDIC by Peter Claridge page 16 For further information, including trailers, please visit our website www.betacinema.com VENICE & SCREENING SCHEDULE VENICE & toronto toronto VENICE THE farewell partY Wednesday Aug 27th 10:00 p.m. Sala Perla 2 P&I Friday Aug 29th 5:00 p.m. Sala Perla WORLD PREMIERE Friday Sep 5th 10:00 p.m. Sala Perla 2 PUBLIC toronto THE farewell partY Saturday Sep 6th 7:00 p.m. Scotiabank 10 P&I Sunday Sep 7th 4:30 p.m.