Cinéa N°45, 17/03/1922
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Programación Enlace Externo, Se Abre
abril 2017 Jirí Menzel, la risa en el alambre Maya Deren, la cámara creativa Autorretratos del otro Cineastas frente a frente Cincuenta años sin Edgar Neville Louis Delluc, fiebre por el cinematógrafo 1 sábado 2 domingo 17:30 - Sala 1 • Filmoteca Junior 17:30 - Sala 1 • 3XDOC Hugo (La invención de Hugo, Martin Scor- Eich Hifsakti L’fahed V’lamadeti Las sesiones anunciadas pueden sufrir cam- sese, 2011). Int.: Asa Butterfield, Chloë Gra- L’ehov et Arik Sharon (How I Learned to bios debido a la diversidad de la procedencia ce Moretz, Ben Kingsley, Sacha Baron Cohen, Overcome My Fear and Love Arik Sharon, Avi de las películas programadas. Christopher Lee. EE. UU. 35 mm. VOSE. 126’ Mograbi, 1997). Israel. AD. VOSE*. 61’ «La portentosa secuencia de apertura de esta pe- Las copias que se exhiben son las de mejor lícula define los dos ejes sobre los que se vertebra 19:30 - Sala 1 • Jirí Menzel, la risa en el alambre calidad disponibles. Las duraciones que figu- su poderosa poética: movimiento y tiempo. O sea, Ostre sledované vlaky (Trenes riguro- ran en el programa son aproximadas. cine. Es hermoso que, en su intento de hacer cine samente vigilados, Jirí Menzel, 1966). Int.: infantil, Scorsese haya filmado una carta de amor a la Václav Neckár, Josef Somr, Vlastimil Brodský, infancia del cine, un encendido elogio a sus motores Vladimír Valenta, Alois Vachek. Checoslova- Los títulos originales de las películas y los de atávicos, demostrando que el cine de atracciones del quia. DCP. VOSE*. 93’ su distribución en España figuran en negrita. -
Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures. -
E Press Kit This Brunner.Pdf
Media Release Under the Influence of Claude, Vincent, Paul… and the others The impact of Impressionist painting on early French cinema Matthias Brunner’s film installation has been created for the Fondation Beyeler on the occasion of its “Monet” exhibition. It lasts 30 minutes and is accompanied by Arvo Pärt’s Symphony No. 4. There is virtually no film genre more closely linked with the fine arts than is the Impressionist cinema of the 1920s with French Impressionist painting. From a purely stylistic viewpoint, film pioneers and iconic directors like Abel Gance, Jean Epstein, Germaine Dulac and Louis Delluc were strongly influenced by 19th century Impressionist painting. Numerous other major artists like Man Ray, who later made a name for himself as a Surrealist, and directors like Jean Vigo and Jean Renoir, who were representatives of poetic Realism, were marked by French Impressionism in their early works. Impressionism thus became a gateway leading to later radical changes in the language of film. Anyone who misses the colors of Impressionist painting in the cinema of those early years is more than compensated by the refined film technique, which is characterized by, for example, rapid montages, time lapses, blurring, double exposures and light reflections. Up until today, the dialog between film and painting can possibly best be grasped through the work of Jean-Luc Godard, whose films abound in quotations from painting and art history. Of particular note are foreign directors such as Sergei Eisenstein and G.V. Aleksandrov, who made Romance sentimentale in France, as well as another Russian, Dimitri Kirsanoff, who directed the legendary Franco-Swiss co-production Rapt, based on a work by the French-speaking Swiss novelist Charles-Ferdinand Ramuz, and Alberto Cavalcanti, the Brazilian director of Rien que les heures who lived in Paris. -
Movement and Photogénie As Aesthetic Categories of the Poetic Avant-Garde
32 winter 2021 no. 23 Cinepoetry? Movement and Photogénie as Aesthetic Categories of the Poetic Avant-garde Joanna Orska ORCID: 0000-0001-5065-6719 It would have been strange if in an epoch when the popular art par excellence, the cinema, is a book of pictures, the poets had not tried to compose pictures for meditative and refined minds which are not content with the crude imaginings of the makers of films. (…) [O]ne can predict the day when, the photograph and the cinema having become the only form of publication in use, the poet will have the freedom heretofore unknown. G. Apollinaire, The New Spirit and the Poets1 The relations between avant-garde poetry and silent film, on which I shall focus, have been to a certain extent analyzed by Polish scholars. However, mainly film and culture studies schol- ars have examined this fascinating and complex issue, often from a historical or documentary 1 Guillaume Apollinaire, Selected Wwritings of Guillaume Apollinaire (New York: New Directions, 1971), 228. theories | Joanna Orska, Cinepoetry? Movement and Photogénie as Aesthetic Categories… 33 perspective, drawing on structuralism and semiotics.2 Two complementary anthologies of film of the interwar period, by Jadwiga Bocheńska and Marcin Giżycki, respectively, which in- clude numerous texts written by poets who were inspired by artistic cinema (and I will mostly refer to artistic cinema in my article), have played an invaluable role in this regard.3 The Polish avant-garde had an acute “film awareness.”4 Although Polish cinema of the interwar period mostly specialized in popular productions, especially melodramas and patriotic dramas, Polish audiences also watched experimental and avant-garde silent films from all around the world. -
Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994. -
Jean Epstein and Photogenie
Jean Epstein and Photogénie narrative avantgarde film theory and practice in late silentera French cinema. Submitted by Robert James Farmer to the University of Exeter as a dissertation towards the degree of MA in Film Studies by Distance Learning September 2010 I certify that all material in this dissertation that is not my own work has been identified and that no material is included for which a degree has previously been conferred upon me Signed:……………………………………… Date:……………………................... 19,737 words Jean Epstein and Photogénie: Title Page 1 Abstract In 1921 Editions de la Sirène published Jean Epstein’s first book, Bonjour Cinema, a collection of writings which included the articles Magnification, and The Senses I (b). In both of these articles Epstein refers to photogénie, a term which he also used in many of his later writings on film, and which he made the central topic of two articles, one in 1924, On Certain Characteristics of Photogénie, and one in 1935, Photogénie and the Imponderable. Photogénie was an important concept for Epstein, although it was not only he that wrote about it. The term also appears in articles by Louis Delluc, Léon Moussinac, Ricciotto Canudo, Henri Fescourt and Jean‐Louis Bouquet, all published in France between 1920 and 1925. However, as silent cinema gave way to sound cinema the term faded from use, with only Epstein retaining his commitment to the term. When photogénie is written about today it is generally referred to as a mysterious, elusive, enigmatic, ineffable or indefinable term that refers to the magic of cinema, the essence or nature of cinema, and the power that cinema has to transform the everyday into something special. -
Albuquerque Morning Journal, 01-17-1922 Journal Publishing Company
University of New Mexico UNM Digital Repository Albuquerque Morning Journal 1908-1921 New Mexico Historical Newspapers 1-17-1922 Albuquerque Morning Journal, 01-17-1922 Journal Publishing Company Follow this and additional works at: https://digitalrepository.unm.edu/abq_mj_news Recommended Citation Journal Publishing Company. "Albuquerque Morning Journal, 01-17-1922." (1922). https://digitalrepository.unm.edu/ abq_mj_news/449 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Albuquerque Morning Journal 1908-1921 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. X CITY CITY EDITION ALBUQU EBQUE MOBNING JOURNAJ EDIT50N fop.ty-- i year New 17, 1922 Dull): bj Carrier or Alull h:,c a Month VOI,. t LXXII.irNo. 17. Albuquerque, Mexico, Tuesday, January Single (iiii ;(. FOUR PLAH PARLEYS !l I YARHEST IM MOMAia . SECOND UNITED STATES fcABIBET BEJUlS MADE SENATE TO VOTE wv A m imsawu noil A MM FQH0ES COPPER MINES-RESUM- RBUCKLE TIL SETS PICE FOR to high mm 1,000 MAIL WORK TODAY TO PLAGE eksywe . Mm SERVICE i (llv The A.Mirinlpit rri',l Butte, Mont., Jan. 16. Four FINALLY CHOSEN REST OF WORLD mines of tile Anaconda Copper FARMER ON THE AY D1SPU THEFTJ 1ST Mining company resumed op- : 1 - - A erations today with full shifts 'i f h aggregating about 2,000 mon, and other properties in this Provisional Agreement Is Two Alternates Are Select- 10 Boston Police Nab Man Try- district Increased their forces. RESER1EIB! to Submit Griev- ed to Fill the Places of to Obtain a Loan on The Butte and Superior mines Reached i ' ing and the Clark properties will ances to Regional Meet- Any of the Jurors Inca- j Bonds Stolen in Los An- continue to arid workmen, it America Has Been Permittee lit' was announced. -
In Pursuit of the Cinematic: Film Theory in the Silent Era
Faculteit Letteren en Wijsbegeerte Bachelorscriptie Taal- en Letterkunde Bachelor Engels-TFL In Pursuit of the Cinematic: Film Theory in the Silent Era Ella Diels Promotor: Prof. Dr. Tom Paulus Assessor: Prof. Dr. Paul Pelckmans Universiteit Antwerpen Academiejaar 2013-2014 2 Table of Contents Introduction........................................................................................................................................4 A history of the medium .................................................................................................................4 A history of the industry ..................................................................................................................5 A history of film theory and criticism ...............................................................................................6 Early Film Theory: General ..................................................................................................................7 Two Tendencies in Early Film Theory: A New Art or on a Par with Tradition?.......................................9 Medium Specificity ........................................................................................................................... 10 The ‘Realism versus Creativity’ -Debate ............................................................................................ 14 Realism ............................................................................................................................................. 15 Early -
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998, -
Cinéa N°18, 09/09/1921
un franc j Numéro des Interprètes français [ on franc -F Hebdomadaire Illustré A; 4; 4: ABONNEMENTS : Louis DELLUC et A. ROUMANOFF, Éditeurs I an 45fr. - 6 mois25 fr. ... .. .. Le Numéro 1 fr. Numéro 18 10, Rue de l'Élysée, Paris - Tél. : Élys. 58-84 van □ aele Il sera un grand premier rôle de nos écrans. Il s'est révélé avec La Croisade, Narayana, Ames siciliennes, La Montée vers l'Acropole. Il s'impose avec ses créations nouvelles de Fïevre, Pour une Nuit d'Amour, Les Roquevillard. Il est 1 homme fort, lucide, ardent, bien vivant, avec une âme nette et des yeux clairs, l'homme dont notre cinéma avait besoin. un ffianc Numéro des Interprètes français | un franc 4 Ce en manteau velours de laine beige avec col et grands parements de taupe recouvre une robe en tissu lamé noir et or ornée de motifs et rehaussée d'une longue ceinture noire en jais. G1NA PALERME et ROLLA NORMAN La robe et le manteau sortent de la dans une des plus jolies scènes de L'Eternel MAISON CLÉ Féminin, le grand film de Roger Lion que nous aurons bientôt le plaisir de voir à l'écran. 392-394-396, Rue Saint-Honoré cinéa 3 ■ ■ | M PROGRAMMES M ! ! DES CINÉMAS DE PARIS I | du Vendredi 9 au Jeudi 15 Septembre ae ARRONDISSEMENT sine, documentaire. — Raspoutine, grande série Salle Marivaux, 15, boulevard des dramatique. Italiens. — Mathias Sandorf,9e épisode. — 7e ARRONDISSEMENT Les actualités. — Le méchant homme, comé¬ Cinéma Récamier, 3, rue Récamier. — die. — Le Lys de la vie, d'après le conte de Actualités, — L'Affaire du train 24, 2= épi¬ S. -
Impressionism 1 Impressionism
Impressionism 1 Impressionism Impressionism was a 19th-century art movement that began as a loose association of Paris-based artists whose independent exhibitions brought them to prominence in the 1870s and 1880s. The name of the movement is derived from the title of a Claude Monet work, Impression, Sunrise (Impression, soleil levant), which provoked the critic Louis Leroy to coin the term in a satiric review published in Le Charivari. Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes, open composition, emphasis on the accurate Claude Monet, Impression, soleil levant depiction of light in its changing qualities (often accentuating the (Impression, Sunrise), 1872, oil on canvas, Musée effects of the passage of time), ordinary subject matter, the inclusion of Marmottan movement as a crucial element of human perception and experience, and unusual visual angles. The emergence of Impressionism in the visual arts was soon followed by analogous movements in other media which became known as Impressionist music and Impressionist literature. Impressionism also describes art created in this style, but outside of the late 19th century time period. Overview Radicals in their time, early Impressionists broke the rules of academic painting. They began by giving colours and shades freely brushed, primacy over line, drawing inspiration from the work of painters such as Eugène Delacroix. They also took the act of painting out of the studio and into the modern world. Previously, still lifes and portraits as well as landscapes had usually been painted indoors.[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air. -
Major Film Theorists
MAJOR FILM THEORISTS Henri-Louis Bergson (French: [bɛʁksɔn]; 18 October 1859 – 4 January 1941) was a French philosopher, inFluential especially in the First halF oF the 20th century and aFter WWII in continental philosophy. Bergson is known For his inFluential arguments that processes oF immediate experience and intuition are more signiFicant than abstract rationalism and science For understanding reality. His book Matter and Memory (1896) has been cited as anticipating the development oF Film theory during the birth oF cinema. Bergson commented on the need For new ways oF thinking about movement, and coined the terms "the movement-image" and "the time-image". However, in his 1906 essay L'illusion cinématographique (in L'évolution créatrice; English: The cinematic illusion in Creative Evolution), he rejects Film as an exempliFication oF what he had in mind. Gilles Deleuze Cinéma I and Cinema II (1983– 1985), the philosopher Gilles Deleuze took Matter and Memory as the basis oF his philosophy oF film and revisited Bergson's concepts, combining them with the semiotics oF Charles Sanders Peirce. Germaine Dulac (French: [dylak]; born Charlotte Elisabeth Germaine Saisset-Schneider; 17 November 1882 – 20 July 1942)[2] was a French Filmmaker, Film theorist, journalist and critic. She was born in Amiens and moved to Paris in early childhood. A Few years aFter her marriage she embarked on a journalistic career in a Feminist magazine, and later became interested in Film. With the help oF her husband and Friend she Founded a Film company and directed a Few commercial works beFore slowly moving into Impressionist and Surrealist territory.