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Les Blank Und Das Cinéma Vitalité. Mit Filmographie Und Bibliographie 2017
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Les Blank und das cinéma vitalité. Mit Filmographie und Bibliographie 2017 https://doi.org/10.25969/mediarep/12808 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Les Blank und das cinéma vitalité. Mit Filmographie und Bibliographie. Westerkappeln: DerWulff.de 2017 (Medienwissenschaft: Berichte und Papiere 173). DOI: https://doi.org/10.25969/mediarep/12808. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0173_17.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 173, 2017: Les Blank. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff, Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0173_17.pdf. Letzte Änderung: 10.05.2017. Inhalt: Hans J. Wulff: Les Blank und das cinéma vitalité [1] Hans J. Wulff u. Ludger Kaczmarek: Les Blank: Filmografie [4]. Über (und mit) Les Blank [31]. Literatur [32] Les Blank und das cinéma vitalité Les Blank (* 27.11.1935 in Tampa, Florida; † 7.4.2013 in Berkeley, Kalifornien) studierte an der Tulane University in New Orleans Englische Sprache. Unter dem Eindruck des Ingmar-Bergman-Films Det sjunde inseglet (Das siebente Siegel, 1957) begann er eine Ausbildung zum Schauspieler und Dreh- buchautor, bevor er die Filmschule an der University of Southern California besuchte. -
Org Ayuntamiento
Desde hace ya cinco años, Madrid cuenta con un Festival Internacional de Documentales que atrae a un gran número de espectadores y es, a la vez, foro y lugar de encuentro para los profesionales del género. Un género, el cine de no ficción, que abarca una enorme variedad de propuestas, desde las puramente estéticas e innovadoras, hasta las que promueven enfoques de mayor calado, que evidencian las más variadas realidades sociales, culturales, artísticas o medioambientales. 6 En su edición de 2008, y como ya es habitual, Documenta tiene su principal foco de interés en su Sección Oficial. En ella, junto a las proyecciones de películas en sus dos formatos, corto y largometraje, en los que prima la originalidad, habrá un concurso de reportajes, que valorará especialmente el tratamiento y la presencia de la actualidad. Pero, además, el festival se nutrirá de sus siempre enriquecedoras secciones informativas. En ellas, destaca el homenaje a la figura de Michelangelo Antonioni, el enigmático cineasta, escritor y pintor italiano, célebre autor de la trilogía La aventura, La noche y El eclipse, que tanto dio que hablar a los cinéfilos españoles a comienzos de los sesenta, y sorprendente creador, más tarde, de Blow-up. Antonioni fue un gran innovador del cine y cultivó el género documental, a pesar de que su obra en este campo es prácticamente desconocida. Para tratar de rescatar del olvido esta valiosa faceta, se proyectarán algunos de sus trabajos. Muy vinculado a la mejor etapa de Antonioni, se ha programado también otro ciclo retrospectivo, Recuerdos del 68, con películas que evocarán los movimientos sociales y políticos del período, así como los sucesos de Mayo del 68 en París, coincidiendo con su 40 aniversario. -
COURSE SCHEDULE Sfai San Francisco
COURSE SCHEDULE sfai san francisco. art. institute. Spring 2013 www.sfai.edu since 1871. TABLE OF CONTENTS SFAI Quad, 2012 Letter from Academic Affairs 2 Tuition and Fees 19 Academic Calendar 3 Academic Policy 22 Programs of Study 4 Undergraduate Curriculum 24 FEATURES Graduate Curriculum 37 Spring 2013 Reading List 6 Course Schedule Pathways to Study 7 43 Faculty-Led Program: Contemporary Vietnam 9 Course Descriptions 59 Radical Directing 10 Contact Information 106 Resources for Student Success 12 Campus Maps 107 Registration 15 COVER ART Hyeyoung Maeng MFA, Painting Big Bracelets, 2012 Mixed Media, dimension variable TABLE OF CONTENTS | 1 LETTER FROM ACADEMIC AFFAIRS Dear Students, This past April I delivered an artist’s talk at the School of Visual Arts in New York. I was both excited and terrifi ed at the prospect of sharing my own work with students from another art school; excited because I rarely get such an opportunity to trade in my administrative hat for my artistic one, and terrifi ed at the thought of sharing my personal motivations for—as well as the intentions behind—my work. As I conceptualized my talk, I realized that my trajectory as an artist has been largely formed by my 16 years of working at SFAI. My artistic and professional lives are inextricably linked. That paradigm structured my talk and I discussed my work in relationship to that of several of the artists that you will work with over the course of your studies at SFAI. In doing so, I felt simultaneously proud and confi dent. My fear subsided. -
Almanack DISTRIBUTION and Enthusiast David Lee Hoffman to the REMADE Remote Areas of China in Search of a Bay-Area Wide Compendium, by Ben Kinmont the Perfect Leaf
01 social, cultural and political devel- sampling of artists, organizations, cultures and spaces. Our library is TAKING SOME OF IT IN opment Center of the Periphery aims and venues who are more than an evolving public experiment that by Les Blank to assess where we as inhabitants familiar with the concept of the explores the changing relationship of the city stand at this point in “amateur”, though their dedica- between analog and digital cul- As a filmmaker, I view everything time in a globalized world and tion, passion, and creative out- tural resources. It’s visited annu- in the world around me as poten- how we can reclaim some of the put rivals those who have been ally by some 1,000 people, most tial subject matter for a film. I’m pioneering sprit of risk taking and deemed professional. Listen to seeking images, text or ideas to in- looking for things that manage social responsibility that has set poetry in a gay men’s bathhouse, corporate into their own work. We to retain a quality of inspiration San Francisco apart from most see art created by the develop- invite you to join us in a discussion that does not fade with time. In other American cities in the past. mentally disabled, watch old film that challenges many current ideas the past this has included music (Cont. on pg 2) reels in a warehouse, witness a play about the relationship between like Dizzy Gillespie’s bebop, Ry where no one has their lines mem- analog and digital cultures, and Cooder and various blues, Cuban, 03 orized, and listen to a man who has to become immersed in reservoirs Polish-American polka, Texas- AMATEUR NIGHT made his living by falsely claiming of little-known cultural materials. -
Gacetas, El Charro 6, Ediciones Anteriores
¡Todo lo que vas a ver es verdad! docsdf.org docsdf Año iv | Núm. 6 | Noviembre 2014 | Ejemplar gratuito. Prohibida su venta 9.º Festival Internacional de Cine Documental de la Ciudad de México • Oct 29 – Nov 9 | 2014 Abril Alzaga ueva Delhi.- ¿Para qué hacer un documental Brota magia y felicidad sobre la posible desaparición de una ciudad Nperdida en India? «Para dejar un testimonio de lo que somos, de cómo vivimos, de cómo disfru- en medio de la pobreza tamos la vida aquí y de lo que hacemos», respon- de el protagonista de este filme al entrevistador al Desafían niños, acróbatas y titiriteros a buldózeres inicio del mismo. Salta muy rápido la urgente nece- sidad de preservar en la memoria que existió la colo- nia de Kathputli: una comunidad que hace décadas se asentó cuando un grupo de titiriteros ambulantes establecieron sus tiendas de campaña en ese terreno y fue construyendo sus casas en lo que entonces eran las periferias de Nueva Delhi. El ambiente en dicha comunidad recuerda a una ciudad perdida de México, edificaciones improvi- sadas, con problemas de drenaje, hacinamiento y pobreza; aunque muy pronto descubrimos tras el lente de Joshua Cogan un centro de creación y arte popular de larga tradición y en los rostros de los artistas se logra capturar la pasión y orgullo por su forma de vida. Bajo la dirección de Jimmy Goldblum y Adam Weber, observamos un proyecto para construir ras- cacielos de lujo y un gran centro comercial dirigido a gente pudiente en donde se encuentra Kathputli, por lo que el gobierno de la ciudad ha decidido reu- bicar a sus habitantes en un complejo habitacional Tomorrow We Disappear | Jimmy Goldblum, Adam Weber | India, Estados Unidos | 2014 en otra zona de la urbe. -
Burden of Dreams Discussion Guide
www.influencefilmclub.com Burden of Dreams Discussion Guide Director: Les Blank Year: 1982 Time: 95 min You might know this director from these feature- length documentaries: All in this Tea (2007) Innocents Abroad (1991) J’ai été au bal (1989) Ry Cooder & The Moula Banda Rhythm (1988) In Heaven There is No Beer (1984) Chulas Fronteras (1976) A Poem is a Naked Person (1974) And more... FILM SUMMARY “Fitzcarraldo” is a classic film, not so much for its story or setting, but for its directorial ambition. Rather than using shortcuts a level-headed director would, Werner Herzog sought out the impossible, painstakingly turning it into reality. The documentary BURDEN OF DREAMS tracks the nearly five years it took to make the unreal real. Blood was shed, lives were indirectly lost, arguments erupted, equipment was shattered, friendships were strained, and dreams were doubted, even by Herzog: “I am running out of fantasy.” But somehow his great dream was completed and “Fitzcarraldo,” the story of a rubber baron intent to bring opera to the deepest Amazon jungle and hoist a giant of a ship over a mountain, hit the silver screen in 1982. BURDEN OF DREAMS does more than recount the trials Herzog and team encountered; it digs beneath the troubled surface and tells all. Speaking to both the western film team and the indigenous Peruvian people involved in the production, it shows how both sides endured for months on end in their makeshift film camps, how the local women made the homebrewed masato so their men could perform, how petulant Klaus Kinski remained his tumultuous self miles from home, how prostitutes sated the Western staff, and how the director himself swung up and down in his moods—kicking a soccer ball with the locals, standing knee-deep in stubborn mud, battling logistics with engineers, cameramen, and local friars. -
Download Press
Filmed and edited by Les Blank An ineffable mix of unbridled joy and vérité realism, A Poem Is a Naked Person presents the beloved singer-songwriter and Rock and Roll Hall of Famer Leon Russell as filmed by documentarian Les Blank between 1972 and 1974. Blank’s camera lets us into the world of Russell and his friends and fellow artists in and around hisrecording studio in northeast Oklahoma, capturing intimate, off-the-cuff moments and combining them with mesmerizing scenes of Russell and his band performing live. This singular film about an artistand his community never got an official theatrical release and has attained legendary status. Now, after more than forty years, it can finally be seen and heard in all its rough beauty. Filmed and edited by Les Blank Executive produced by Harrod Blank and Les Blank Films Produced by Denny Cordell, Leon Russell, Sound recording and assistant editing by Maureen Gosling Featuring Leon Russell Jim Franklin George Jones Willie Nelson U.S. • 1974, 2015 • 90 minutes • Color • 1.33:1 Press Contact: Ryan Werner Booking Inquiries: Janus Films [email protected] • 917-254-7653 [email protected] • 212-756-8761 A POEM IS A NAKED PERSON JANUS FILMS The Story of a Poem In 1972, musician Leon Russell was looking for a filmmaker to make a documentary about him, so he and his record producer, Denny Cordell, called the American Film Institute in Los Angeles to ask who might be a good fit. AFI suggested an exciting filmmaker named Les Blank, who had demonstrated his unique skill at documenting musicians with The Blues Accordin’ to Lightnin’ Hopkins (1968) and A Well Spent Life (1971). -
BAM/PFA Program Guide
2012 AUG L/ U J UC BERKELEY ART MUSEum & PacIFIC FILM ARCHIVE PROGRAM GUIDE BARRY MCGEe LUTZ BACHEr D-L AlVAREz SUMMER CINEMA ON CENTER STREEt ITALIAN LEADING LADIES LES BLANk uNIVERSAL PICTURES: CELEBRATING 100 YEARS COOL WORLd RAJ KAPOOr AlEXEI GUERMAN BAM/PFA 1 EXHIBITIONS & FILM SERIES Barry MCGee P. 4 LutZ BACher / MATRIX 242 P. 6 D-L ALVareZ / MATRIX 243 P. 7 AT the Edge: RECent ACQuisitions P.8 2 The Reading Room P. 9 Himalayan Pilgrimage: Liberation through sight P.9 Bellissima: Leading Ladies of the Italian SCreen P. 11 ALWays for Pleasure: The Films of Les Blank P. 14 The Eternal Poet: Raj Kapoor & the Golden Age of Indian Cinema P. 16 Cool World P. 18 Free Outdoor SCreening P. 20 A Theater Near You P. 21 Russian Inferno: The Films of Alexei Guerman P. 22 UniVersal PICtures: Celebrating 100 Years P. 24 Summer Cinema on Center Street P. 26 3 GET MORE Want the latest program updates and event reminders in your inbox? Sign up to receive our monthly e-newsletter, weekly film update, exhibition and program announcements, and/or L@TE event updates Cover Barry McGee: Untitled, 2005 (detail); acrylic on glass bottles, wire; dimensions at bampfa.berkeley.edu/signup. variable; Lindemann Collection, Miami Beach. Photo: Mariano Costa Peuser. Download a pdf version of this and previous issues of the Program Guide 1. The Birds, 8.18.12, p. 25 from our website, bampfa.berkeley.edu/programguide. 2. Ed Wood, 7.14.12, p. 18 Subscribe to the BAM/PFA events calendar in iCal, 3. -
Katalog 2007
DOK.. FEST 22. Internationales Dokumentarfilmfestival München 02. bis10. Mai 2007 THERE IS ONLY ONE TRUTH. LOOK THROUGH IT. ARRIFLEX 235 Ü>Þà *ÀiÃiÌ 7À Ã` Ì ØLiÀ nä ØÀà Õ` â> Ãi >iÀ>Ìi>à vØÀ -i ÛÀ "À̰ ÀV Û>ÌiÀ> âÕ ØLiÀâiÕ}i` }ØÃÌ}i *ÀiÃi° /iÃÌi -i Õð /i° ää{{ ä®Óä Ç{nÓ ÇnÇ i>\ }iÀ>Ã>iÃJ>«>ÀV Ûi°V ÜÜܰ>«>ÀV Ûi°V -i ÜÃÃi ÜvØÀ ÜÀ ÃÌi i DOK. FEST 22. Internationales Dokumentarfilmfestival München 02. bis 10. Mai 2007 Veranstalter Filmstadt München e.V. Internationales Dokumentarfilmfestival München e.V. zusammen mit Münchner Stadtbibliothek Am Gasteig, Filmmuseum München, Kulturreferat und Referat für Arbeit und Wirtschaft der Landeshauptstadt München Gefördert von der Bayerischen Staatskanzlei im Rahmen der Bayerischen Filmförderung, dem Auswärtigen Amt, dem Bayerischen Rundfunk und der Telepool GmbH 2 22. Internationales Dokumentarfilmfestival München 3 Kein DOK.FEST ohne Partner und Sponsoren! Wir danken allen Medienpartnern, Partnern und Sponsoren. 4 5 ARRIFLEX 235 UNLEASH YOUR IMAGINATION THE SMALLEST AND LIGHTEST MODERN 35MM PRODUCTION CAMERA AVAILABLE. arri.com Inhalt Partner und Sponsoren 4 Impressum 8 Danksagungen 11 Grußworte 15 Filmpreise 19 Jurys 20 Einleitung Introduction 25 Wettbewerb Competition 31 Internationales Programm International Programme 67 Horizonte Horizons 105 Neue Filme aus Bayern New Films from Bavaria 117 Specials 126 Register Index 133 7 Impressum DOK.FEST 22. Internationales Dokumentarfilmfestival München Festivalleitung Dr. Hermann Barth Katalogredaktion Hermann Barth, Ines Botzenhard, Rüdiger Dingemann, -
March 26-29 2015
March 26-29 2015 www.sebastopolfilmfestival.org Occidental Rd. Film FeStival at a GlaNCe Buy Tickets High School Rd. All tickets for regular screenings Healdsburg Ave. & special programs: $10 Laguna Parkway Map not Wallace Ave. to scale Johnson St. Johnson Opening Night & Reception: $30 advance, Rialto Main Street ® $35 day-of (depending on availability) 2 Cinemas Morris St. The McKinley St. 1. ONLINE www.brownpapertickets.com/producer/12556 Barlow Plaza Hopmonk 2. IN PERSON AtTavern Sebastopol Center for the Arts Brown St. Brown Depot St. Wilton Ave. 282 S. High St, Sebastopol. Tues-Fri, 10am-4pm, Sat 1-4pm. Highway 12 Call for additional box office hours. Florence Ave. Petaluma Blvd. Bodega Ave. 3. BY PHONE 707.829.4797 ($4 handling fee per order) S. Main Street Burnett St. Sebastopol Center for the Arts welcomes Sebastopol High St. 4. BUY AN ALL-ACCESS PASS No tickets necessary, includes filmmaker only th Center for events. $250 each. Supplies limited. Call 707.829.4797. you to the 8 Annual Sebastopol 2015 eveNtS the Arts 1 Willow St. Veterans Building Documentary Film Festival Discover Art and the artists of Sonoma Ive’s Park Ticket Policy CA is the largest regional arts center in County during open studio weekends! All tickets for regular screenings and special Tickets guarantee a seat until 15 minutes prior to California north of San Francisco and The diversity includes painters, sculptors, programs• are $10. Opening Night is $30 •the start of all films or presentations. Please arrive early. we’re delighted to present SDFF 2015 - potters, jewelers and more.