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DVD Und Blu-Ray
kultur- und medienzentrum altes rathaus lü bbecke Neuerwerbungen DVD und Blu-ray Mediothek Lübbecke Juli 2016 – Dezember 2016 Mediothek Lübbecke, Am Markt 3, 32312 Lübbecke, Tel.: (05741) 276-401 Diese Liste ist als pdf-Datei unter: www.luebbecke.de/mediothek hinterlegt . 1 Mediothek Lübbecke Am Markt 3, 32312 Lübbecke Telefon: (0 57 41) 276-401 [email protected] Öffnungszeiten Montag: geschlossen Dienstag: 11:00 18:30 Uhr Mittwoch: 13:00 – 18:30 Uhr Donnerstag: 13:00 – 18:30 Uhr Freitag: 11:00 – 18:30 Uhr Samstag: 10:00 – 13:00 Uhr 2 DVD + Blu-ray A Royal Night Out - 2 Prinzessinnen. 1 Nacht. / Regie: Julian Jarrold. Drehb.: Trevor De Silva ... Kamera: Christophe Beaucarne. Musik: Paul Englishby. Darst.: Sarah Gadon ; Bel Powley ; Jack Reynor ... - Grünwald : Concorde Home Entertainment , 2016. - 1 DVD (ca. 94 Min.)FSK: ab 6. - Orig.: Großbritannien, 2015. - Sprache: Deutsch, Englisch Nach der bedingungslosen Kapitulation der deutschen Wehrmacht am 8. Mai 1945 wollen die beiden Töchter des britischen Königs an den Siegesfeiern teilnehmen. Als die Prinzessinnen Elizabeth und Margaret ihren Aufpassern entwischen und getrennt werden, beginnt eine Odyssee durch die Londoner Nacht, bei der Elizabeth zarte Bande mit einem jungen Soldaten knüpft. Furiose, einfallsreiche Screwball-Komödie, die auf höchst amüsante Weise ein „Was wäre wenn“-Szenario mit der britischen Königsfamilie entfaltet. Vor allem dank der fulminanten Hauptdarstellerin verbinden sich mit bemerkenswerter Leichtigkeit märchenhafte und realistische Elemente. - Ab 14. (Filmdienst) Blu-ray A war / Filmregisseur: Tobias Lindholm ; Drehbuchautor: Tobias Lindholm ; Bildregisseur: Magnus Nordenhof Jønck ; Musikalischer Leiter: Sune Rose Wagner ; Schauspieler: Pilou Asbæk, Tuva Novotny, Dar Salim [und andere] . - Berlin : Studiocanal GmbH, 2016. -
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The Cinematic Bergson: From Virtual Image to Actual Gesture John Ó Maoilearca Journal of French and Francophone Philosophy - Revue de la philosophie française et de langue française, Vol XXIV, No 2 (2016) 203-220. Vol XXIV, No 2 (2016) ISSN 1936-6280 (print) ISSN 2155-1162 (online) DOI 10.5195/jffp.2016.777 www.jffp.org This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. This journal is operated by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program, and is co-sponsored by the University of Pittsburgh Press Journal of French and Francophone Philosophy | Revue de la philosophie française et de langue française Vol XXIV, No 2 (2016) | www.jffp.org | DOI 10.5195/jffp.2016.777 The Cinematic Bergson From Virtual Image to Actual Gesture John Ó Maoilearca Kingston University, London According to Gilles Deleuze “cinema is Bergsonian.”1 Despite the fact that Henri Bergson critiques the cinematographic mechanism in his magnum opus Creative Evolution2 (on account of its movement being one applied to still images rather than being immanent to them), Deleuze correctly realized how central the moving image nonetheless was to Bergson’s philosophy. Yet this was already clear in Bergson’s own testimonies: “When I first saw the cinematograph I realized it could offer something new to philosophy. Indeed we could almost say that cinema is a model of consciousness itself. Going to the cinema turns out to be a philosophical experience.”3 If Bergson’s relationship with the cinematic apparatus is ambivalent, (being a model of consciousness, but only in how it distorts the real), it remains to be seen in what manner his affirmative stance towards film should be understood. -
Chinese, US Textile Companies Share Worldview
Tuesday, July 18, 2017 CHINA DAILY USA 2 ACROSS AMERICA Chinese, US textile companies share worldview By AMY HE in New York the center of textile and appar- clients are taking interest in our [email protected] el production in China, have designs — the newer, trendier their own exhibition area at the and unique designs,” he said. The Chinese and American Javits Center. Zhou said that the industry textile industries are collaborat- “Today, China is the US’ larg- is a tough one to work in now, ing more closely than ever as est trading partner—our bilat- as it recovers from a worldwide the US becomes a “key player eral trade, bilateral investment, slump the past few years. in the international strategy” of and people-to-people exchanges “We work with smaller China’s textile companies, said have all reached historic highs, brands now, collaborating with Xu Yingxin, vice-president of and in this connection, I think them directly, like with Jones the China National Textile and the textile industry has made big New York and Andrew Marc. Apparel Council. contributions to this growth,” The clients may order less prod- “The United States is not just said Zhang Qiyue, Chinese con- uct, but the prices of the pieces a key trading partner with Chi- sul general in New York. are higher, and so we’re earning na in the textile industry; it is “The textile cooperation has more profi t,” he said. also a key player in the interna- not just brought tangible ben- China Textiles Development tional strategy of China’s textile efi ts to our two peoples, it has Center, based in Beijing, is a industry,” Xu said on Monday also contributed to global eco- new participant to the textile at the opening ceremony of nomic growth,” she said. -
Tom Hanks Halle Berry Martin Sheen Brad Pitt Robert Deniro Jodie Foster Will Smith Jay Leno Jared Leto Eli Roth Tom Cruise Steven Spielberg
TOM HANKS HALLE BERRY MARTIN SHEEN BRAD PITT ROBERT DENIRO JODIE FOSTER WILL SMITH JAY LENO JARED LETO ELI ROTH TOM CRUISE STEVEN SPIELBERG MICHAEL CAINE JENNIFER ANISTON MORGAN FREEMAN SAMUEL L. JACKSON KATE BECKINSALE JAMES FRANCO LARRY KING LEONARDO DICAPRIO JOHN HURT FLEA DEMI MOORE OLIVER STONE CARY GRANT JUDE LAW SANDRA BULLOCK KEANU REEVES OPRAH WINFREY MATTHEW MCCONAUGHEY CARRIE FISHER ADAM WEST MELISSA LEO JOHN WAYNE ROSE BYRNE BETTY WHITE WOODY ALLEN HARRISON FORD KIEFER SUTHERLAND MARION COTILLARD KIRSTEN DUNST STEVE BUSCEMI ELIJAH WOOD RESSE WITHERSPOON MICKEY ROURKE AUDREY HEPBURN STEVE CARELL AL PACINO JIM CARREY SHARON STONE MEL GIBSON 2017-18 CATALOG SAM NEILL CHRIS HEMSWORTH MICHAEL SHANNON KIRK DOUGLAS ICE-T RENEE ZELLWEGER ARNOLD SCHWARZENEGGER TOM HANKS HALLE BERRY MARTIN SHEEN BRAD PITT ROBERT DENIRO JODIE FOSTER WILL SMITH JAY LENO JARED LETO ELI ROTH TOM CRUISE STEVEN SPIELBERG CONTENTS 2 INDEPENDENT | FOREIGN | ARTHOUSE 23 HORROR | SLASHER | THRILLER 38 FACTUAL | HISTORICAL 44 NATURE | SUPERNATURAL MICHAEL CAINE JENNIFER ANISTON MORGAN FREEMAN 45 WESTERNS SAMUEL L. JACKSON KATE BECKINSALE JAMES FRANCO 48 20TH CENTURY TELEVISION LARRY KING LEONARDO DICAPRIO JOHN HURT FLEA 54 SCI-FI | FANTASY | SPACE DEMI MOORE OLIVER STONE CARY GRANT JUDE LAW 57 POLITICS | ESPIONAGE | WAR SANDRA BULLOCK KEANU REEVES OPRAH WINFREY MATTHEW MCCONAUGHEY CARRIE FISHER ADAM WEST 60 ART | CULTURE | CELEBRITY MELISSA LEO JOHN WAYNE ROSE BYRNE BETTY WHITE 64 ANIMATION | FAMILY WOODY ALLEN HARRISON FORD KIEFER SUTHERLAND 78 CRIME | DETECTIVE -
Production Notes
A Film by John Madden Production Notes Synopsis Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers… Filmed on location in Tel Aviv, the U.K., and Budapest, the espionage thriller The Debt is directed by Academy Award nominee John Madden (Shakespeare in Love). The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize. The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait. At great risk, and at considerable personal cost, the team’s mission was accomplished – or was it? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands. -
Larry D. Horricks Society of Motion Picture Stills Photographers
Larry D. Horricks Society of Motion Picture Stills Photographers www.larryhorricks.com Feature Films: Spaceman of Bohemia – Netflix – Johan Renck Director Cast – Adam Sandler, Carey Mulligan Producers: Michael Parets, Max Silva, Ben Ormand, Barry Bernardi White Bird – Lionsgate – Marc Forster Director (Unit + Specials_ Cast: Gillian Anderson ,Helen Mirren, Ariella Glaser, Orlando Schwerdt Producers: Marc Forster, Tod Leiberman, David Hoberman, Raquel J. Palacio Oslo – Dreamworks Pictures / Amblin / HBO / Marc Platt Prods.– Bart Sher Director (Unit + Specials) Cast: Ruth Wilson, Andrew Scott, Jeff Wilbusch,Salim Dau, Producers: Steven Spielberg, Kristie Macosko Krieger, Marc Platt, Cambra Overend, Mark Taylor Atlantic 437 – Netflix. Ratpack Entertainment – Director Peter Thorwath Producers: Chritian Becker,Benjamin Munz The Dig – Netflix, Magnolia Mae Films – Simon Stone Director Cast: Ralph Fiennes, Carey Mulligan, Lily James, Ken Stott, Johnny Flynn Producers: Gabrielle Tana, Carolyn Marks Blackwood, Redmond Morris A Boy Called Christmas – Netflix – Gil Kenan Director (Unit + Specials) Cast: Sally Hawkins, Kristen Wiig,Maggie Smith, Jim Broadbent, Toby Jones, Michiel Huisman, Harry Lawful Producers: Graham Broadbent, Pete Czernin, Kevan Van Thompson Minamata - Metalwork Pictures /HanWay Films / MGM - Andrew Levitas Director (Unit + Specials) Cast: Johnny Depp, Bill Nighy, Minami, Hiro Sanada, Ryo Kase, Sato Tadenobu, Jun Kunimura Producers: Andrew Levitas,Gabrielle Tana, Jason Foreman, Johnny Depp, Sam Sarkar, Stephen Deuters, Kevan -
Year in Review
2015 Year in Review www.paulsoninstitute.org Our Mission Our mission is to strengthen U.S.-China relations by advancing sustainable economic growth and environmental protection in both countries. MESSAGE FROM THE CHAIRMAN CONTENTS Message from the Chairman Friends, Five years ago, we launched the Paulson Institute with the recognition that it would be difficult but vitally important to keep the U.S.-China bilateral relationship on an even keel to make progress toward solving the economic, environmental, national security and geopolitical challenges facing the world today. 2015 is a case in point, with the relationship stretched interests into complementary policies is not easy. Contents by tensions ranging from the South China Sea to the I see historic opportunities for the United States and cyber realm and through a growing sense by U.S. China to take concrete actions to address global businesses that they are encountering mounting problems: opportunities to collaborate on regulatory barriers in China. We’ve also seen some environmental solutions and new energy technologies, important bright spots, including a successful Paris on eliminating tariffs on environmental goods and 2 14 conference in December following a breakthrough services, and to develop new models for green A Letter from the Sustainable Economic U.S.-China climate change agreement, as well as the finance as China prepares to host the G-20 leaders Leadership Transition State Visit by President Xi Jinping to the United States meeting in September; opportunities to make our in September. economies more complementary—as each side 2016 is shaping up to be a difficult year, with the undertakes necessary restructuring—and to make global economy bogged down by slowing growth progress on or maybe even complete a Bilateral 4 28 in emerging markets and advanced industrial Investment Treaty; and above all, opportunities Promoting Stronger Harnessing the Power countries. -
Der Mittel Organigramm Wir Schauen Zurück Auf Das Jahr 2014, Das Vierte Seit Der Neuausrichtung Der Film- Und Medienstiftung NRW
JAHRES BERICHT 2014 Petra Müller Geschäftsführerin Film- und Medienstiftung NRW 3 Unternehmen Da sein, wo Aufgaben und Ziele Gesellschafter Finanzierung vorne ist Beteiligungen Aufsichtsrat Verwendung der Mittel Organigramm Wir schauen zurück auf das Jahr 2014, das vierte seit der Neuausrichtung der Film- und Medienstiftung NRW. Viel hat sich verändert in den vergangenen Jahren, viel ist erreicht. Stetig 6 auf Innovationskurs haben wir nun die notwendigen Strukturen Förderung etabliert und alle Instrumente in Einsatz gebracht, die uns eine Zahlen zukunftsorientierte Standortentwicklung ermöglichen. Förder-Highlights Kinofilme Da zu sein, wo vorne ist, wo neu gedacht und gestaltet wird – Fernsehen mit dieser Zielvorgabe wurden in der Film- und Medienstiftung Nachwuchs auch 2014 konsequent Ideen und Strategien entwickelt und Hörspiel Entscheidungen getroffen. Ob Film, Fernsehen, Games, Web oder Pilotförderprogramme crossmediale Inhalte – die Filmstiftung hat ihr audiovisuelles Feld MEDIA/Creative Europe Desk NRW erweitert, ihre innovativen Förderinstrumente ausgebaut und in Vernetzung, Präsentation und Marketing der standortprägenden 14 Medienbranchen investiert. Dazu gehörten Festival- und Messe- Standort auftritte ebenso wie die Entwicklung interaktiver Inhalte und Highlights 2014 junger TV-Formate, Europas erstes Stipendium für Webvideo- Events, Festivals, Kongresse, Messen Macher und das Wim Wenders Stipendium für innovatives Film- Internationale Präsentation schaffen. Nachwuchs Kommunikation Als der Filmherbst 2014 erstmals die Kino- -
PDF of This Issue
Add Date Today MIT’s The Weather Oldest and Largest Today: Cloudy, 65°F (18°C) Tonight: Showers, 58°F (14°C) Newspaper Tomorrow: Cloudy, 52°F (11°C) Details, Page 2 Volume 122, Number 45 Cambridge, Massachusetts 02139 Friday, October 4, 2002 Coop Removes ‘IHTFP’ Shirt from Display IFC Split By Marissa Vogt STAFF REPORTER Over Stiff A shirt bearing the letters “IHTFP” was recently removed from display at the MIT Coop store in the Student Center after Sanctions the store manager received a com- plaint reportedly originating from By Nathan Collins the Admissions Office. EXECUTIVE EDITOR The shirt was displayed in a With the vote split evenly, the highly-visible position in the store Interfraternity Council Presidents’ window. Council rejected a motion to pursue “We wanted people to know new hearings and stiffer sanctions that we had [the IHTFP shirt],” for four fraternities accused of alco- said store manager Barbara Boy- hol violations. ton. “Alumni are always looking The motion came after four fra- for it,” ternities received sanctions from an Boyton said that the request ad hoc panel composed of MIT came from someone who works in administrators and representatives the Student Center who had been of the IFC Judicial Committee that approached by a person in the have been described by IFC officials Admissions Office. The “IHTFP” as too lenient. phrase, this person said, represent- IFC President Andrew T. Yue ed a different imagine of MIT than ’03 confirmed that Alpha Tau they wanted to put forth to Omega, Kappa Sigma, Lambda Chi prospective students. Because of Alpha, and Theta Delta Chi fraterni- MATTHEW BROWN—THE TECH this, Boyton was asked to remove Melanie I. -
Dogme95, Lars Von Trier, and the Cinema of Subversion?
40 Reconsidering The Idiots TIM WALTERS Reconsidering The Idiots: Dogme95, Lars von Trier, and the Cinema of Subversion? Art is not a mirror to reflect reality, but a hammer when viewed in light of its counter-hegemonic aspira- with which to shape it. —Bertolt Brecht tions. As a finished product, The Idiots is an uneasy synthesis Sheds are bourgeois crap. —Stoffer, The Idiots that attempts to locate an elusive sense of the “real” in late capitalist (film) culture, one in which the spassing (or sustained faking of mental disability) on the part of sing Lars von Trier’s controversial The the film’s characters is ideologically reflected by the Idiots (1998) as a starting point, I intend to seemingly amateurish precepts of its construction. In examine the compelling ways in which the this respect, The Idiots is unlike the other Dogme films. U infamous Dogme95 manifesto aims to ad- Although these works all tend to be technically quite dress and correct the failings of contemporary film. The oppositional or at least adventurous, they nevertheless Idiots is a remarkable and provocative materialist cri- maintain a rigid split between form and content and tique of modern culture in its own right, but its mean- therefore offer very little sustained political critique of ing is significantly complicated by its centrality to the the ideology of mainstream society or cinema. My otherwise celebrated output of the Dogme95 move- argument is that The Idiots is the only recent counter- ment. It received virtually none of the critical acclaim, hegemonic film work that is demonstrably radical both financial success, or festival awards garnered by the other in its form and its content and, moreover, in its brilliant major Dogme films such as Mifune (1999) and The Cel- and playful deconstruction of these categories. -
Lars Von Trier: the Impossibility of the Good As a Work
TYLER TRITTEN Alberts-Ludwigs-Universität Freiburg LARS VON TRIER: THE IMPOSSIBILITY OF THE GOOD AS A WORK any philosophers have paid a great deal of attention to Plato’s assertion in the sixth Book of The Republic that ‘the Good is not essence, but far Mexcee ds essence in dignity and power’1. Now, one can only understand a philosopher by meeting her where she begins. F.W.J. von Schelling once wrote: ‘If one wants to honor a philosopher, then one must grasp him here, in his fundamental thought, where he has not yet gone on to the consequences. … The true thought of a philosopher is precisely his fundamental thought from which he proceeds’2 What is true of the philosopher is also true of the film director, who often becomes entranced and traumatized by one image3 that never releases its grip. This article will show that the one constant pervading the films of Danish filmmaker Lars von Trier is the impossibility of the Good as a work, i.e. as a ‘good work’ accomplished by the autonomy of the agent. In short, this work aims to show that von Trier criticizes any conception of the Good as a work wrought by and appropriable by an agent, and instead offers an account of the Good as something that can only occur through self-effacing, self-sacrificial patients who become transparencies for the operativity of the Good itself Von Trier regularly depicts characters - at least when they are men - who attempt to enact the Good as a work of their own and yet find themselves unable to do so, at least not by means of their own agency. -
Constraints in Film Making Processes Offer an Exercise to the Imagination - a Pleading Based on Experiences from Denmark
Constraints in Film Making Processes Offer an Exercise to the Imagination - A Pleading Based on Experiences from Denmark Heidi Philipsen Ph.D., Assistant Professor University of Southern Denmark Email: [email protected] Abstract What does the use of constraints offer filmmakers? A screenwriter from The National Film School of Denmark suggests: “I love constraints [..]. I think that’s a great relief, because it offers an exercise to your imagination” (Philipsen 2005: 211). This article hopes to illuminate methods for fostering creativity based on two case studies from The National Film School of Denmark and The Video Clip Cup 2007. In scrutinising these studies I intend to describe what seems to best facilitate flow experiences in film making, and I reflect upon what "individual, team, and institutional scaffolding" can offer a creative film making process as educational techniques. I will outline elements essential to getting into the flow of the film process through the help of constraints and collaboration. Moreover, I focus on the consequences of authorial action. And finally my findings are applied to the work of two professional Danish film makers, Lars von Trier and Jørgen Leth. Keywords: Media, creativity, learning, scaffolding, National Film School of Denmark Introduction I would like filmmakers interested in thinking "outside the box" to recognize that they can benefit from being placed "inside a box." In others words, to work with the help of the didactic tool "scaffolding," which in short is defined as support through constraints applied at different levels (Wood, Bruner and Ross 1976). The scaffolding employed at The National Film School of Denmark helps the students to cope with the pressure of creating film, find inspiration, and attain a flow experience (Csikszentmihaly 1996).