The Red Turtle the Irish Film Institute

Total Page:16

File Type:pdf, Size:1020Kb

The Red Turtle the Irish Film Institute MAY 2017 THE RED TURTLE THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s national cultural institution for film. EXHIBIT It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the IFI Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. IFI FRENCH FILM CLUB MYSTERY MATINEE This month’s French Film Club screening – where IFI The IFI once again invites audiences to take a chance with and Alliance Française members pay just €7.50 per ticket – us on a Sunday afternoon, and to attend a screening of takes place on May 17th at 18.15. This month’s film is a film whose title will only be revealed when it appears François Ozon’s Frantz, a haunting elegy and poignant onscreen. Sometimes it will be a preview, but not always; commentary on Franco-German relations in the aftermath sometimes, it will be a title one might expect to see at the of World War I. See www.ifi.ie or ask at the IFI, but not always. IFI Box Office for further details. IFI EXPLORERS MANHATTAN Become an IFI Explorer and see the best in alternative Woody Allen’s classic Manhattan is our IFI Film Club choice cinema. Open to ages 15-18, this offer gives you a chance for May – join us for a discussion following the 18.30 to explore a world of cinema that’s unavailable in your screening on May 16th. The film is also our Feast Your Eyes local multiplex. Get your loyalty card and pay less for choice for May – enjoy a New York influenced main course more! Explorers can avail of €3 tickets to a range of films following the 18.40 screening on May 17th. throughout each month between 1pm & 6pm. Buy 3 Explorer tickets and get your fourth film FREE! Explorer tickets are not on sale online and must be bought in person at the IFI Box Office. www.ifi.ie/explorers 2 DIRECTOR’S NOTE This May the IFI unveils exciting new plans for the next five years. MAY AT THE IFI Red Turtle The For almost twelve months we have been busy at the IFI We believe that this year, the 25th anniversary of our developing a new strategy to drive the organisation for home here in Temple Bar, is the perfect time to publish our the next five years. Through the IFI Strategy 2017–2022, ambitious new plans for the future, and anticipate that our we wanted to ensure that the IFI continues to deliver world- most exciting times are yet to come. class programmes, and that it remains one of Ireland’s most effective and influential cultural organisations, attracting Later this month, we’re delighted to be unveiling the IFI a significant, loyal and engaged audience. Strategy 2017–2022. We hope you find our plans for the next five years as exciting as we do. A key component for us during this strategy development was to engage as many people as possible in a Ross Keane consultation process. With this in mind, we looked to our Director various constituencies for feedback and input. We included audiences through market research; we presented seven key questions to the IFI Council and sought their input through group sessions; the IFI Board and staff offered their unique insights into the process; and we participated in one-on- one meetings with many of our key partners, stakeholders and funders. This consultation process allowed us to examine what we do, how we do it, and why we do it. Through this process, key priorities for the organisation began to emerge, and what proved most interesting is that the same topics were highlighted by many of the groups and people we engaged with. This allowed us to form a very clear set of objectives for the future. From these priorities, we have been able to identify a key set of strategic outcomes which we aim to have achieved by 2022. 3 NEW RELEASES, IFI SEASONS & DOCS & IFI CLASSICS EVENTS CALENDAR CITIZEN JANE: OPENS MAY 5TH DATE SCREENING TIME BATTLE FOR THE CITY 2ND IFI CAFÉ BAR PUB QUIZ (FREE EVENT) 21.30 HARMONIUM OPENS MAY 5TH TUE 3RD WILD STRAWBERRIES & BEALTAINE: 11.00 THE JOURNEY OPENS MAY 5TH WED DARE TO BE WILD WITHOUT NAME OPENS MAY 5TH ACCESSIBLE SCREENING: LADY MACBETH* 18.30 FRANTZ OPENS MAY 12TH 5TH WITHOUT NAME + Q&A 18.15 MANHATTAN OPENS MAY 12TH FRI IN VIEW OPENS MAY 19TH 6TH IFI & IMMA: AS ABOVE, SO BELOW: WINGS OF DESIRE 16.00 SAT THE JOURNEY + Q&A 18.30 INVERSION OPENS MAY 19TH 7TH CITIZEN JANE + PANEL DISCUSSION 16.00 LA STRADA OPENS MAY 19TH SUN I AM NOT MADAME BOVARY OPENS MAY 26TH 9TH IRISH FOCUS: AMANDA COOGAN: 18.30 THE OTHER SIDE OF HOPE OPENS MAY 26TH TUE LONG NOW + Q&A 10TH IFI & IMMA: AS ABOVE, SO BELOW: 18.30 THE RED TURTLE OPENS MAY 26TH WED THE DOUBLE LIFE OF VÉRONIQUE 11TH CHINESE-LANGUAGE FILM FESTIVAL: 18.00 THU THE ASSASSIN + Q&A 12TH CHINESE-LANGUAGE FILM FESTIVAL: GET SOCIAL! FRI A TIME TO LIVE, A TIME TO DIE + Q&A 18.00 Excited about this month’s programme? So are we! SMALL TALK 21.15 13TH CHINESE-LANGUAGE FILM FESTIVAL: Tell your friends which film you’re planning to watch, SAT HOU HSIAO-HSIEN MASTER CLASS 12.00 share your movie reviews and show us your best pics THE BOYS FROM FENGKUEI 14.30 on Instagram, Twitter and Facebook! THE ROAD TO MANDALAY 18.00 14TH CHINESE-LANGUAGE FILM FESTIVAL: Join the IFI Community online: SUN A TOUCH OF ZEN 14.00 MYSTERY MATINEE 15.30 @IrishFilmInstitute @IFI_Dub CHINESE-LANGUAGE FILM FESTIVAL: A CITY OF SADNESS 17.30 @IrishFilmInstitute 16TH IFI FILM CLUB: MANHATTAN 18.30 TUE BETWEEN LAND AND SEA 18.30 linkedin.com/company/irishfilminstitute 17TH WILD STRAWBERRIES & BEALTAINE: BLOOD FRUIT 11.00 WED IFI FRENCH FILM CLUB: FRANTZ 18.15 IFI & IMMA: AS ABOVE, SO BELOW: IMAGES 18.30 FEAST YOUR EYES: MANHATTAN 18.40 Open Captioned screening 18TH NT LIVE: WHO’S AFRAID OF VIRGINIA WOOLF? 19.00 THU Audio Described screening 19TH IN VIEW + Q&A 18.30 FRI 20TH DUBLIN FEMINIST FILM FESTIVAL: 13.30 SAT WANDA + PANEL DISCUSSION * Denotes screenings which are open captioned and audio described. For more information on our Accessible Screenings, please visit 22ND THE BIGGER PICTURE: THE GO-BETWEEN 18.30 www.ifi.ie/accessible MON 23RD IRISH FOCUS: AMANDA COOGAN: LONG NOW 18.30 † The exclusivity status of films is correct at time of going to print TUE + SIGN LANGUAGE INTERPRETATION 24TH IFI & IMMA: AS ABOVE, SO BELOW: 18.30 WED THE HOLY MOUNTAIN 26TH WILD STRAWBERRIES & BEALTAINE: 11.00 FRI THE ANGELS’ SHARE TIMES 27TH IFI & AEMI PROJECTIONS: 13.30 SAT SCREENING X (CURATED BY PETER TAYLOR) For a breakdown of times and dates of IFI New 28TH IFI FAMILY: KUBO AND THE TWO STRINGS (3D) 11.00 Releases, IFI Docs & IFI Classics, check out our SUN ILF DUBLIN: A GRAIN OF TRUTH + Q&A 13.00 weekly schedule on www.ifi.ie/weekly-schedule 30TH IFI & IMMA: AS ABOVE, SO BELOW: 18.30 SHOPPING BAG SPIRITS + KENNETH ANGER or the IFI ads in The Irish Times on Fridays. TUE You can also sign up to receive our weekly ezine 31ST WILD STRAWBERRIES & BEALTAINE: 11.00 WED THE ANGELS’ SHARE by joining at www.ifi.ie/signup. IFI & IMMA: AS ABOVE, SO BELOW: WINTER LIGHT 18.30 4 MAY 2017 CITIZEN JANE: BATTLE FOR IFI DOC THE CITY OPENS MAY 5TH When journalist, author and activist World War II by gutting its community- Jane Jacobs wrote her seminal work centric, poorer neighbourhoods to FILM INFO: The Death and Life of Great American introduce monolithic rows of apartments. 92 mins, 2016, USA, Digital Cities in 1961, she helped to change Notes by David O’Mahony the way we consider urban living, Focusing on the time in the 1960s when viewing cities as holistic networks they clashed over Moses’s plan to cut PANEL DISCUSSION of people functioning as distinct yet expressways through Greenwich Village, After the 16.00 screening on connected communities. Soho and Little Italy, Matt Tyrnauer’s May 7th, join our discussion documentary presents these two with guests Councillor Ciarán Cuffe, Natalie de Róiste, City Diametrically opposed to her figures as antagonists locked in a heated Organiser Jane's Walk Dublin, thinking was Robert Moses, the ideological battle for the future of and Alan Mee, UCD School New York construction magnate New York. of Architecture, Planning and who transformed the city after Environmental Policy. HARMONIUM NEW RELEASE OPENS MAY 5TH A stranger’s unexpected arrival is the neatly attired yet slightly disquieting catalyst for a series of unwelcome man named Yasaka appears and FUCHI NI TATSU changes to Toshio’s quietly unremarkable Toshio immediately offers him a life in Kôji Fukada’s slow burn, job and lodgings with his family, EXCLUSIVELY AT IFI† Hitchcockian thriller that reworks much to their bemused chagrin. elements of the genre to winning effect. FILM INFO: 118 mins, 2016, Japan, Toshio shares his small apartment Before long however, Yasaka bonds Digital, Subtitled with his wife and harmonium-playing with Toshio’s wife and offers musical Notes by David O’Mahony daughter; they live above the machine instruction to his daughter, and workshop where he plies his trade. all appears well until a series of revelations take the narrative into The family appears contented if not a significantly darker territory in the film’s little distant.
Recommended publications
  • WEEK 30: Sunday, 21 July
    WEEK 30: Sunday, 21 July - Saturday, 27 July 2019 ALL MARKETS Start Consumer Closed Date Genre Title TV Guide Text Country of Origin Language Year Repeat Classification Subtitles Time Advice Captions Gorgeously animated, this wordless story about a stranded castaway pays Studio 2019-07-21 0600 Animation The Red Turtle tribute to what's most important in life: companionship, love, family, and the JAPAN No Dialogue-100 2016 RPT PG Ghibli stewardship of nature. One day, while spending the summer with her great aunt, Mary follows an odd cat into the nearby woods. There she stumbles upon flowers which hold a Studio 2019-07-21 0730 Fantasy Mary And The Witch's Flower strange, luminescent power that brings a broomstick to life - which then, in a JAPAN English-100 2017 RPT PG Ghibli heartbeat, whisks her above the clouds and off to a strange and secret place. It is here she finds Endor College - a school of magic! When master thief Lupin III discovers that the money he robbed from a casino is counterfeit, he goes to Cagliostro, rumoured to be the source of the forgery. Studio 2019-07-21 0930 Family The Castle Of Cagliostro There he discovers a beautiful princess, Clarisse, who's being forced to marry JAPAN English-100 1979 RPT PG Y Ghibli the count. In order to rescue Clarisse and foil the count, Lupin teams up with his regular adversary, Inspector Zenigata, and fellow thief Fujiko Mine. Set in Yokohama in 1963, this lovingly hand-drawn film centers on Umi (voiced by Sarah Bolger) and Shun (voiced by Anton Yelchin) and the budding romance that develops as they join forces to save their high school’s ramshackle Studio 2019-07-21 1130 Drama From Up On Poppy Hill clubhouse from demolition.
    [Show full text]
  • Download File
    Bergt 1 Siena Sofia Bergt Professor Insdorf Analysis of Film Language 26 February 2018 Colored Perspectives: Shading World War II Onscreen Films that deal with World War II—whether their narratives are concerned primarily with the war itself, the aura from which it emerged, or the ethos of its aftermath—have a particularly charged relationship to the presence or abjuration of color. As representations of a period that produced its own black-and-white archival footage, these worKs recKon with color not simply as an aesthetic choice, but also as a tool through which to define their own relationship to perspectival subjectivity and claims of historical authenticity. By examining the role of color in three vastly different World War II films— Andrzej Wajda’s black-and-white 1958 rendition of the war’s last 24 hours in “Ashes and Diamonds,” the Harlequin prewar chaos of Bob Fosse’s 1972 “Cabaret,” and the delicate balance of color and blacK-and-white characterizing the postwar divided Germany of Wim Wenders’ 1987 “Wings of Desire”—we may access a richer understanding, not simply of the films’ stylistic approaches, but also (and perhaps more significantly) of their relationship to both their origins and audience. Color, that is, acts in these three films as a chromatic guide by which to untangle each respective text’s taKe on both subjectivity and objectivity. Bergt 2 The best “entry point” into these stylistically and temporally distinct films’ chromatic motifs is through three strikingly analogous crowd scenes—each of which uses communal participation in a diegetically well-known song to highlight a moment of dramatic urgency or volatility.
    [Show full text]
  • P.O.V. a Danish Journal of Film Studies
    Institut for Informations og Medievidenskab Aarhus Universitet p.o.v. A Danish Journal of Film Studies Editor: Richard Raskin Number 8 December 1999 Department of Information and Media Studies University of Aarhus 2 p.o.v. number 8 December 1999 Udgiver: Institut for Informations- og Medievidenskab, Aarhus Universitet Niels Juelsgade 84 DK-8200 Aarhus N Oplag: 750 eksemplarer Trykkested: Trykkeriet i Hovedbygningen (Annette Hoffbeck) Aarhus Universitet ISSN-nr.: 1396-1160 Omslag & lay-out Richard Raskin Articles and interviews © the authors. Frame-grabs from Wings of Desire were made with the kind permission of Wim Wenders. The publication of p.o.v. is made possible by a grant from the Aarhus University Research Foundation. All correspondence should be addressed to: Richard Raskin Institut for Informations- og Medievidenskab Niels Juelsgade 84 8200 Aarhus N e-mail: [email protected] fax: (45) 89 42 1952 telefon: (45) 89 42 1973 This, as well as all previous issues of p.o.v. can be found on the Internet at: http://www.imv.aau.dk/publikationer/pov/POV.html This journal is included in the Film Literature Index. STATEMENT OF PURPOSE The principal purpose of p.o.v. is to provide a framework for collaborative publication for those of us who study and teach film at the Department of Information and Media Science at Aarhus University. We will also invite contributions from colleagues at other departments and at other universities. Our emphasis is on collaborative projects, enabling us to combine our efforts, each bringing his or her own point of view to bear on a given film or genre or theoretical problem.
    [Show full text]
  • Download PDF to Read Full Article from Apollo Magazine
    INTERVIEW I By Stuart Rowland In an exclusive celebrity interview for Apollo Executive Review, Stuart Rowlands talks to Michael I like to keep testing the waters… York “In late December 2007 I got back to Los If the answer is “YES!” to the question Angeles after filming in Russia, Germany, “do you want to act and you are aged Poland and Israel”, he remembers. “2008 ” got off to a quick start with the continued between 13 and 21, the National Youth narration of a new audio version of the entire Bible – a huge undertaking that would Theatre, Britain's Premiere youth theatre take most of the year to complete. This was followed by a recording of Alan Paton’s company, is just the place for you! extraordinary classic tale of apartheid in South Africa, Cry the Beloved Country. Next or a sixteen year old schoolboy from was a project very dear to my heart - Bromley, Kent, the school board performing with the Long Beach Opera Fnotice was a siren song to the start of company on a very daring double bill, a career that has spanned nearly 45 years Strauss Meets Frankenstein” . and shows absolutely no signs of slowing By March, Michael and his wife Pat were down. In fact Michael York has no plans to headed east to Maine where Pat, a celebrated retire. In late December, a few days before and published photographer, was shooting Christmas, he has finally returned to his renowned American ‘pop art movement home high in the Hollywood Hills above Los icon’ artist Robert Indiana for a new book.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • HOU HSIAO-HSIEN Retrospectiva in Filmoteca De Catalunya in Collaboration with the Asian Film Festival
    HOU HSIAO-HSIEN Retrospectiva in Filmoteca de Catalunya in collaboration with the Asian Film Festival. Barcelona With “The Assassin”, this director, representing the new wave of Taiwanese cinema, born in mainland China (Meixian, Guangdong, 1947), was for many of his current followers a big discovery, thanks to the Best Director Award that was granted in the edition of the Cannes Festival of 2015. This discovery was related to the background aesthetics that prevails in his filmography, with more than twenty titles, from his beginning, in 1980, when he made his debut feature, until nowadays. This retrospective traces the film-maker’s career from “The boys from Fengkuei” (1983), his fourth film, to “The Assassin” (2015). Hou Hisao-Hsien is now carrying out his newest project, and he will not be able to attend the presentation of his retrospective for this reason. In spite of being repeatedly awarded in festivals such as the ones held in Venice and in Cannes, his filmography is far from being known in the West as it would be expected of someone who is the author of films such as “A City of Sadness” (Leone d’Oro, in Venice, 1989), “the Puppetmaster” (Special Jury Prize, in Cannes, 1993) or “The Assassin”, already mentioned. In 1995, the San Sebastian Film Festival dedicated him a retrospective, but since then to date, Hou Hsiao-Hsien has made more than eight titles, few of which have been shown on the screens in Spain. The current retrospective of Filmoteca de Catalunya and Casa Asia will allow the audience to access some of the most outstanding films concerning the poetic that goes through them from beginning to end, as it is perceived in “Flowers of Shanghai” (1998), “Millenium Mambo” (2011), which has been so much compared to “In the Mood for Love” by Wong Kar-Wai, “Café Lumière” (2003), a homage to Yasujiro Ozu, or the three romantic tales of “three Times” (2005), among other titles, fifteen of which are now presented in Filmoteca also forming part of the program of the edition of “Asian Film Festival.
    [Show full text]
  • Intermedialtranslation As Circulation
    Journal of World Literature 5 (2020) 568–586 brill.com/jwl Intermedial Translation as Circulation Chu Tien-wen, Taiwan New Cinema, and Taiwan Literature Jessica Siu-yin Yeung soas University of London, London, UK [email protected] Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and film- makers. The films resulting from these collaborations repositioned Taiwan as a mul- tilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan. Keywords Taiwan – screenplay – film – allegory – cultural policy 1 Introduction We normally think of literature as circulating beyond the context in which it is written when it obtains national renown, which subsequently leads to interna- tional recognition through translation. In this article, I argue that the contem- porary Taiwanese writer, Chu Tien-wen (b. 1956)’s short stories and screenplays first attained international acclaim through the mode of intermedial transla- tion during the New Cinema period (1982–90) before they gained recognition © jessica siu-yin yeung, 2020 | doi:10.1163/24056480-00504005 This is an open access article distributed under the terms of the cc by 4.0Downloaded license.
    [Show full text]
  • Exploring Films About Ethical Leadership: Can Lessons Be Learned?
    EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging.
    [Show full text]
  • Ingmar Bergman Woche Im Abc Kino 12.07
    INGMAR BERGMAN WOCHE IM ABC KINO 12.07. – 18.07.2018 PERSONA – 100 Jahre Ingmar Bergman Do.,12.7.17:15/21:15 ABC SE 1966 – 85 Min – Mit Bibi Andersson, Liv Ullmann Liv Ullmanns Debüt bei Bergman. Sie spielt eine Bühnenschauspielerin, die beschließt, nicht mehr zu sprechen. „PERSONA entspringt einer persönlichen Erfahrung, einer Art von Wahrheitskrise. Ich dachte stets, die einzige Form von Wahrheit ist einfach Schweigen.“ (Ingmar Bergman) DAS SCHWEIGEN – 100 Jahre Ingmar Bergman Fr.,13.7.:17:15/21:15 ABC SE 1963 – 91 Min – Mit Ingrid Thulin, Gunnel Lindblom, Birger Malmstem Unzensiert und mit dem Prädikat „besonders wertvoll“ kam Bergmans freizügiges Drama über die sexuelle Liebe zweier Schwestern 1964 in die Kinos der Bundesrepublik. Der Skandal folgte prompt, aber auch ein unglaublicher Kassenerfolg. WILDE ERDBEEREN – 100 Jahre Ingmar Bergman Sa.,14.7.:17:15/21:15 ABC SE 1957 – 91 Min – Mit Bibi Andersson, Victor Sjöström, Ingrid Thulin Der Professor Isak Borg lebt nach dem Tod seiner Frau allein mit einer mürrischen alten Haushälterin. Nun hat seine Schwiegertochter bei ihm Zuflucht gesucht nach einem Streit mit ihrem Ehemann. In der Nacht träumt Professor Borg, wie er sich in einer geisterhaften Stadt verirrt und seinem eigenen Leichnam begegnet. Doch dann erinnert er sich an seine erste große Liebe: die wilden Erdbeeren HERBSTSONATE – 100 Jahre Ingmar Bergman So.,15.7.:17:15 ABC SE 1978 – 90 Min – Mit Ingrid Bergman, Liv Ullmann, Lena Nyman Jahrelang hat die gefeierte Star-Pianistin Charlotte Andergast (Ingrid Bergman) ihre Kinder für ihre Karriere vernachlässigt. Nun will sie sich mit ihrer ältesten Tochter Eva (Liv Ullmann) versöhnen und stattet ihr und ihrem Ehemann einen Besuch ab, voller Hoffnung, dass sich so etwas wie ein normal-familiäres Verhältnis wiederaufbauen lässt.
    [Show full text]
  • ALSO LIKE LIFE: the FILMS of HOU HSIAO-HSIEN New Addition: Hou Hsiao-Hsien in Conversation at BFI Southbank – Monday 14 September
    ALSO LIKE LIFE: THE FILMS OF HOU HSIAO-HSIEN New addition: Hou Hsiao-Hsien In Conversation at BFI Southbank – Monday 14 September Thursday 13 August 2015, London The BFI is delighted to announce that one of the leading figures of the Taiwanese New Wave Hou Hsiao-Hsien, whose latest film The Assassin won Best Director at this year’s Cannes Film Festival, will make a very rare visit to the UK to take part in an In Conversation event at BFI Southbank. The event, which takes place on Monday 14 September, is part of Also Life Life: The Films of Hou Hsiao- Hsien, a major retrospective celebrating Hou’s work, which takes place from 2 Sept – 6 Oct 2015 at BFI Southbank. Hou-Hsiao-Hsien has helped put Taiwanese cinema on the international map with work that explores the island’s rapidly changing present as well as its turbulent, often bloody past, and is one of the best examples in world cinema of a director who found his own distinctive style and voice while working on the job. The season will kick off with Cute Girl (1980), Cheerful Wind (1981) and The Green Green Grass of Home (1982), all starring Hong Kong pop star Kenny Bee; these early films offer a mixture of comedy and romance and begin to show Hou’s interest in Taiwan’s regional differences, a key theme of his later films. Hou’s other early films such as The Sandwich Man (1983) and The Boys from Fengkuei (1983) dramatised engaging life stories – including his own in The Time to Live and the Time to Die (1985).
    [Show full text]
  • "Deer Gods, Nativism and History: Mythical and Archaeological Layers in Princess Mononoke." Princess Mononoke: Understanding Studio Ghibli’S Monster Princess
    Niskanen, Eija. "Deer Gods, Nativism and History: Mythical and Archaeological Layers in Princess Mononoke." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. By Rayna Denison. London: Bloomsbury Academic, 2017. 41–56. Bloomsbury Collections. Web. 8 Oct. 2021. <http://dx.doi.org/10.5040/9781501329753.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 8 October 2021, 10:51 UTC. Copyright © Rayna Denison 2018. Released under a CC BY-NC-ND licence (https:// creativecommons.org/licenses/by-nc-nd/3.0/). You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 41 Chapter 2 D EER GODS, NATIVISM AND HISTORY: MYTHICAL AND ARCHAEOLOGICAL LAYERS IN PRINCESS MONONOKE E i j a N i s k a n e n I n Mononokehime ( Princess Mononoke , 1997) Hayao Miyazaki depicts the main character, Prince Ashitaka, as a son of the Emishi nation, one of Japan’s van- ished native tribes, who inhabited West- Northern Japan before the Eastern- Southern Yamato nation took control, starting in the area that is now the basis for modern Japan before claiming the entire country. Emishi, similar to the other native tribes of Northern Japan are oft en seen as non- civilized barbar- ians as opposed to the Yamato race. 1 Th ough Princess Mononoke is set in the Muromachi period (1333– 1573), when the Yamato society had conquered all the Northern tribes, the strong Emishi village of Princess Mononoke recalls Japan’s pre- historic times. In the fi lm’s settings and details one can fi nd numer- ous examples of Miyazaki’s interest in anthropology, archaeology, Shint ō and nativism.
    [Show full text]
  • Berlin 2019: the Once and Future Metropolis
    BERLIN 2019: THE ONCE AND FUTURE METROPOLIS URBANIZATION, CONFLICT & COMMUNITY What makes a city? Who decides how a city grows and changes, and what criteria do they use – should it be beautiful, efficient, sustainable, open, just? How do economic systems and political ideologies shape urban development? What is the “right to the city,” and what does it mean for city-dwellers to exercise it? These are just some of the questions we will seek to answer in this summer program in Berlin. Political graffiti in Kreuzberg, 2018. HISTORY, CHANGE & AGENCY QUICK FACTS This program will expose students to the dynamics of LOCATION: Berlin, Germany urban change in one of the most historically freighted and ACADEMIC TERM: Summer A Term 2019 contested cities in the world. They will come to understand ESTIMATED PROGRAM FEE: $4,500 the complex histories behind Berlin’s urban spaces, and the strategies adopted by local actors to deal with those CREDITS: 10 UW credits histories while finding agency to shape them for the future. PREREQUISITES: At least one of the following: CEP 200; URBDP 200 Students will experience first-hand how spaces have been or 300; BE 200; GEOG 276, 277, 301, 303 or 478; SOC 215 or 365; or defined by drivers like economic exigency, political ideology, permission of the instructor. violence, environmental conditions, and technological PROGRAM DIRECTOR: Evan H. Carver ([email protected]) development, and they will learn how contemporary challenges, including climate change, gentrification, and PROGRAM MANAGER: Megan Herzog ([email protected]) immigration butt up against competing ambitions for Berlin PRIORITY APPLICATION DEADLINE: January 31, 2019 to become a “global city” and for it to maintain its distinct INFORMATION SESSIONS: TBD.
    [Show full text]