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PETER BLUM GALLERY CHRIS MARKER Born 1921, Neuilly-sur-Seine, France Died 2012, Paris, France SELECTED SOLO EXHIBITIONS 2019 Chris Marker: Cat Listening to Music. Video Art for Kids, Kunsthall Stavanger, Stavanger, Norway 2018 Chris Marker, Memories of the Future, BOZAR, Bruxelles, Belgium Chris Marker, Memories of the Future, Centre Pompidou, Paris, France Chris Marker, The 7 Lives of a Filmmaker, Cinémathèque Française, Paris, France Chris Marker: Koreans, Peter Blum Gallery at ADAA The Art Show, New York, NY 2016 DES (T/S) IN (S) DE GUERRE, Musée Zadkine, Paris, France 2014 Koreans, Peter Blum Gallery, New York, NY Crow’s Eye View: the Korean Peninsula, Korean Pavilion, Giardini di Castello, Venice, Italy Chris Marker: A Grin Without a Cat, Whitechapel Gallery, London, England; Kunstnernes Hus, Oslo, October 21, 2014 – January 11, 2015; Lunds Konsthall, Lund, February 7 – April 5, 2015 The Hollow Men, City Gallery Wellington, Wellington, New Zealand 2013 Chris Marker: Guillaume-en-Égypte, MIT List Visual Arts Center, Cambridge, MA & the Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA Memory of a Certain Time, ScotiaBank, Toronto, Canada Chris Marker, Atelier Hermès, Seoul, South Korea The “Planète Marker,” Centre de Pompidou, Paris, France 2012 Chris Marker: Films and Photos, Moscow Photobiennale, Moscow, Russia 2011 PASSENGERS, Peter Blum Gallery Chelsea / Peter Blum Gallery Soho, New York, NY Les Rencontres d'Arles de la Photographie, Arles, France PASSENGERS, Centre de la Photographie, Geneva, Switzerland -
A Gergely András: „Arab”
A.GERGELY ANDRÁS „ARAB” VILÁGZENE, AVAGY A RAÏ ZENEI SZCÉNÁJA (2/1.) A legkevésbé sem erőltethető, hogy a Parlando hasábjain bármily érdeklődési eltolódás következzen be a kortárs zenei műfajok, irányzatok vagy akár kultuszok területén. Ám abban a lehetséges bűvkörben, ahol a világ népeinek, kultúráinak, ezek keveredéseinek vagy konfliktusainak, az átvételek, divatok, kölcsönhatások rendszerének új jelenségeire is odafigyelhetünk, nem kevéssé érdemes észrevenni kultúrák, kultuszok és zenei beszédmódok között annak a műfaji jelenségnek születését és hatását, melyet a raï zenei világának nevezhetünk. Kérdés: érdemes-e itt valamiféle „ezoterikus” tüneményről elmélkedni? Kell-e egy bizonyos ideig tartó, de rövid korszaknál (újdonságerejénél fogva ugyan ható, ugyanakkor) nem zenetörténeti jelenségről ott szólani, ahol időt állóbbnak nevezhető alaptónus az uralkodó? Kell-e, s lehet- e a 21. század zenéjében föl-fölbukkanó hatásokra méltóképpen fölfigyelni, vagy megmarad mindez a divatkedvelők időleges horizontján valami alkalmi jelenségként, időleges folyamatként, esetleges szereplők tereként? S ha analógiákat keresünk: Bartók török gyűjtése, az amerikai zenei kultúra country- hagyományai, az indiai zenék évtizedeket átható fogyasztási kultúrája Európában, vagy akár a balkáni cigány népzene belopakodása a kortárs zenei gondolkodásba, vajon érdemi zenetudományi kérdésfeltevésekre is alkalmassá válik-e, kellő hatásuk pedig zenepedagógiai érdeklődésre is számot tarthat-e? Vagy, mindezek mellett és helyett, pusztán egy divatkorszak divatos zenéjéről van szó a raï esetében, mely érkezett is, múlik is, ezért legyinthetünk rá…? A megfontolásokat két dimenzióban próbálom tárgyalni. Először egy ismeretközlő, „népszerűsítő” áttekintés, publicisztikus mű ismertetésével, majd második körben egy térségi zenei övezet korszakos sodrásával igyekszem bemutatni egy szórakoztató (de nemcsak), divatos (de annál tradicionálisabb), térségi-tájegységi (ám akként a Mediterránum szinte egészét átható, Európa nyugati felén is széles sávban hódító) zenei jelenség mibenlétét. -
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. -
Hiroshima Mon Amour Di Alain Resnais (Francia-Giappone/1959, 92’)
dal 28 aprile nelle sale italiane Hiroshima mon amour di Alain Resnais (Francia-Giappone/1959, 92’) edizione restaurata versione originale francese con sottotitoli italiani Restaurato da Argos Films, Fondation Groupama Gan pour le Cinéma, Fondation Technicolor pour le Patrimoine du Cinéma, Fondazione Cineteca di Bologna, con il sostegno di Centre National du Cinéma et de l’Image Animée al laboratorio L’Immagine Ritrovata nel 2013. Color grading supervisionato da Renato Berta. Soggetto e sceneggiatura : Marguerite Duras Fotografia : Michio Takahashi, Sacha Vierny Montaggio : Jasmine Chasney, Henri Colpi, Anne Sarraute Interpreti : Emmanuelle Riva (Lei), Eiji Okada (Lui), Stella Dassas (Madre), Pierre Barbaud (Padre), Bernard Fresson (l’amante tedesco) Il Cinema Ritrovato. Al cinema Ufficio stampa Cineteca di Bologna Classici restaurati Andrea Ravagnan Materiali stampa in prima visione (+39) 0512194833 www.cinetecadibologna.it/areastampa (+39) 3358300839 www.ilcinemaritrovato.it settembre 2013 – giugno 2014 [email protected] Genesi di “un film che era impossibile prevedere rispetto a ciò che sapevamo già del cinema” (Jean-Luc Godard) Nella seconda metà degli anni Cinquanta, il mediometraggio di Alain Resnais, Notte e nebbia ( Nuit et brouillard , 1955), “immenso film di 30 minuti che andava rivelando a delle generazioni di adolescenti e di adulti l’orrore dei campi nazisti”, ottiene un grande successo internazionale. “È in seguito a questo film che Anatole Dauman , che l’aveva prodotto, propone a Resnais di girare un lungometraggio sull’altro orrore di questo secolo di ombre : la distruzione completa il 6 agosto 1945 della città di Hiroshima a causa di una bomba atomica americana. Una casa di produzione Giapponese, la Daiei, si unirà alla Argos Films per facilitare le riprese in Giappone. -
Miroir Du Cinéma, N° 2 (Mai 1962) Exclusif : Entretiens Avec Marker - Gatti
Miroir du Cinéma, n° 2 (mai 1962) Exclusif : entretiens avec Marker - Gatti Ils sont dignes d’être aimés (p. 1) Si errant les yeux grands ouvert au mitan d’une ruelle pavée de mauvaises intentions et peuplée des cauchemars d’un millier de bourgeois, je découvrais devant moi le dos de Marker sur le trottoir de droite et le dos de Gatti sur le trottoir de gauche (ou vice-versa, n’abusons pas), je ne m’étonnerais pas. Ces deux-là hantent tous les lieux, même abandonnés du diable, pourvu que l’on y croise des hommes. C’est peut-être Marker alors que je tenterais de joindre le premier... ou peut-être Gatti, ou plutôt, je gueulerais « à l’assassin », tel Roland. Car tous deux, en ces temps où il est plus prudent de gueuler « au feu » pour être secouru ; sont de ceux, rares qui assument toutes les victimes, de préférence avant qu’elles ne soient mortes. L’une, c’est le feu, l’autre, la flamme. Feu, froid ou flamme sombre, qu’importe pourvu que cela brûle... L’un dit « couilles », l’autre choisit ses mots, l’un c’est la coiffure-tempête, l’autre des yeux de chat, l’un les bégaiements de la violence, l’autre un saxo à peine ouvert, l’un des mains de bûcheron, l’autre un crâne bien astiqué... l’un est écorché à vif sous ses masques, l’autre déballe à la première connivence, l’un fait le hérisson, l’autre à toujours les tripes à l’air, l’un descend d’un balayeur antifasciste, l’autre d’une fausse légende viking.. -
Retrospektive Alain Resnais … Y K S I V a T S
Retrospektive Alain Resnais … y K S I V A T S u z n e t i e b r a h e r D n e d i e b s i a n s e R n i a l A Er hat nie »Cut« gerufen, erinnert sich Hervé de Luze, Film hinein, Montage ist gewissermaßen das Thema s i der seit 1997 den Schnitt besorgte bei den Filmen von seines Werks. In frühen Filmen über Kunst und Künst - a n s Alain Resnais, seit ON CONNAÎT LA CHANSON. Nie - ler wird die Einheit der Bilder aufgebrochen, im legen - e R mals »Cut«, wenn eine Aufnahme beendet war, immer dären NUIT ET BROUILLARD eine doppelte Realität des n i a nur »Collure«. Nicht Schneiden, wie bei allen anderen KZ Auschwitz aufgezogen, die barbarische in der Nazi - l A Filmemachern, sondern Kleben. Ein Cut, das klingt ein - zeit damals und die heute, im Museum der Erinnerung, 64 schneidend und dominant, es ist das Herrschaftssignal und beide wirken in gleicher Weise unfassbar, irreal. des Regisseurs, Zeichen, wie er die Wirklichkeit sich L’ANNÉE DERNIÈRE À MARIENBAD und HIROSHIMA unterteilt, wie er die Welt beherrscht und das fertige MON AMOUR, die ersten langen Filme, sind wie Exer - Produkt, seinen Film. Resnais dagegen hat seinen Fil - zitien der Montage, und an ihrer Puzzlehaftigkeit hat men alle Freiheit gelassen, statt Dominanz gab es Dis - die Filmkritik sich abgearbeitet damals, ihre Offenheit kretion, Höflichkeit, Freundlichkeit auf seinen Sets und war Lust und Qual zugleich. Der Terror des Politischen, im Schneideraum. Man hat immer wieder von dieser den Körpern der Liebenden eingeschrieben, die Liebe Aufmerksamkeit und Rücksicht gelesen in Zeugnissen auf der Flucht. -
Sommaire Catalogue National Octobre 2011
SOMMAIRE CATALOGUE NATIONAL OCTOBRE 2011 Page COMPACT DISCS Répertoire National ............................................................ 01 SUPPORTS VINYLES Répertoire National ............................................................. 89 DVD / HDDVD / BLU-RAY DVD Répertoire National .................................................... 96 L'astérisque * indique les Disques, DVD, CD audio, à paraître à partir de la parution de ce bon de commande, sous réserve des autorisations légales et contractuelles. Certains produits existant dans ce listing peuvent être supprimés en cours d'année, quel qu'en soit le motif. Ces articles apparaîtront de ce fait comme "supprimés" sur nos documents de livraison. NATIONAL 1 ABD AL MALIK Salvatore ADAMO (Suite) Château Rouge Master Serie(MASTER SERIE) 26/11/2010 BARCLAY / BARCLAY 20/08/2009 POLYDOR / POLYDOR (557)CD (899)CD #:GACFCH=ZX]\[V: #:GAAHFD=V^[U[^: Dante Zanzibar + La Part De L'Ange(2 FOR 1) 03/11/2008 BARCLAY / BARCLAY 19/07/2010 POLYDOR / POLYDOR (561)CD (928)2CD #:GAAHFD=VW]\XW: #:GAAHFD=W]ZWYY: Isabelle ADJANI Château Rouge Pull marine(L'ORIGINAL) 14/02/2011 BARCLAY / BARCLAY 08/04/1991 MERCURY / MERCURY (561)CD (949)CD #:GACFCH=[WUZ[Z: #:AECCIE=]Y]ZW\: ADMIRAL T Gibraltar Instinct Admiral 12/06/2006 BARCLAY / BARCLAY 19/04/2010 AZ / AZ (899)CD (557)CD #:GACEJI=X\^UW]: #:GAAHFD=W[ZZW^: Le face à face des coeurs Instinct Admiral(ECOPAK) 02/03/2004 BARCLAY / BARCLAY 20/09/2010 AZ / AZ (606)CD (543)CD #:GACEJI=VX\]^Z: #:GAAHFD=W^XXY]: ADAM & EVE Adam & Eve La Seconde Chance Toucher l'horizon -
Energy Security: Implications for U.S.-China-Middle East Relations
The James A. Baker III Institute for Public Policy of Rice University Energy Security: Implications for U.S.-China-Middle East Relations Is there an Arab Popular Culture? Susan Ossman Department of Anthropology, Rice University Prepared in conjunction with an energy conference sponsored by The Shanghai Institute for International Studies and The James A. Baker III Institute for Public Policy Rice University - July 18, 2005 This program was made possible through the generous support of Baker Botts L.L.P. THESE PAPERS WERE WRITTEN BY A RESEARCHER (OR RESEARCHERS) WHO PARTICIPATED IN A BAKER INSTITUTE RESEARCH PROJECT. WHEREVER FEASIBLE, THESE PAPERS ARE REVIEWED BY OUTSIDE EXPERTS BEFORE THEY ARE RELEASED. HOWEVER, THE RESEARCH AND VIEWS EXPRESSED IN THESE PAPERS ARE THOSE OF THE INDIVIDUAL RESEARCHER(S), AND DO NOT NECESSARILY REPRESENT THE VIEWS OF THE JAMES A. BAKER III INSTITUTE FOR PUBLIC POLICY. © 2004 BY THE JAMES A. BAKER III INSTITUTE FOR PUBLIC POLICY OF RICE UNIVERSITY THIS MATERIAL MAY BE QUOTED OR REPRODUCED WITHOUT PRIOR PERMISSION, PROVIDED APPROPRIATE CREDIT IS GIVEN TO THE AUTHOR AND THE JAMES A. BAKER III INSTITUTE FOR PUBLIC POLICY. Is there an Arab Popular Culture? A great deal of attention has been given in recent years to the way that Arab satellite television has emerged as a transnational political force. But very new commentators have bothered to study how this news is being received, how it shapes a nebulous "Arab" world or Arab community, and especially, to the fact that most of what is projected on satellite television is not news at all. From the beginning, soap operas, talk shows, music videos and serials have dominated most satellite programming. -
WILD Grasscert 12A (LES HERBES FOLLES)
WILD GRASS Cert 12A (LES HERBES FOLLES) A film directed by Alain Resnais Produced by Jean‐Louis Livi A New Wave Films release Sabine AZÉMA André DUSSOLLIER Anne CONSIGNY Mathieu AMALRIC Emmanuelle DEVOS Michel VUILLERMOZ Edouard BAER France/Italy 2009 / 105 minutes / Colour / Scope / Dolby Digital / English Subtitles UK Release date: 18th June 2010 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐Mail: [email protected] or FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films – [email protected] 10 Margaret Street London W1W 8RL Tel: 020 3178 7095 www.newwavefilms.co.uk WILD GRASS (LES HERBES FOLLES) SYNOPSIS A wallet lost and found opens the door ‐ just a crack ‐ to romantic adventure for Georges (André Dussollier) and Marguerite (Sabine Azéma). After examining the ID papers of the owner, it’s not a simple matter for Georges to hand in the red wallet he found to the police. Nor can Marguerite retrieve her wallet without being piqued with curiosity about who it was that found it. As they navigate the social protocols of giving and acknowledging thanks, turbulence enters their otherwise everyday lives... The new film by Alain Resnais, Wild Grass, is based on the novel L’Incident by Christian Gailly. Full details on www.newwavefilms.co.uk 2 WILD GRASS (LES HERBES FOLLES) CREW Director Alain Resnais Producer Jean‐Louis Livi Executive Producer Julie Salvador Coproducer Valerio De Paolis Screenwriters Alex Réval Laurent Herbiet Based on the novel L’Incident -
1 Nasser Al-Taee University of Tennessee, Knoxvi
Echo: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) Nasser Al-Taee University of Tennessee, Knoxville “In rai, there are always enemies, always problems.” Dijillai, an Algerian fan (Shade-Poulsen 124) 1. It is no coincidence that rai surged onto the Algerian popular music landscape during the 1980s, a time in which Islamic reformists brought about new challenges to the political, cultural, and artistic scenes in the developing country. [Listen to an example of rai.] Caught between tradition and modernization, and reacting to the failure of socialism and its inability to appeal to the majority of the Algerian masses, the country sank into a brutal civil war between the military- backed regime and Islamic conservatives demanding a fair democratic election. Algerian rai artists responded by expressing disenchantment with their country’s situation through a modernized genre largely based on its traditional, folk-based, sacred ancestor. In Arabic rai means “opinion,” a word reflecting the desire for freedom of speech and expression, values that have been subjected to extreme censorship by non-democratic Arab governments. Currently, rai is associated with an emerging youth culture and the new connotations ascribed to the genre reflect 1 Echo: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) tenets of liberalism that depart from the past. In its newly adopted form, rai represents an alternative mode of protest and liberation. 2. When new rai began to achieve popularity in Algeria and Europe in the late 70s and early 80s, rai artists and the conservative factions were at odds with each other because of their conflicting ideological positions. -
1 the French New Wave (Revisited)
The French New Wave (revisited) It doesn’t matter where you take things from, but where you take them to. Jean-Luc Godard Dr. Nicos Terzis, Adjunct Professor, Department of Graphic Design, School of Fine Arts, Technological Educational Institute of Athens, Athens, Greece Abstract: The proposed paper will attempt to delineate the history and the aesthetic characteristics of the French Nouvelle Vague, the most famous cinematic movement in history. The structure of the paper will mainly evolve around the following questions and topics: where did the name of the cinematic movement ―Nouvelle Vague‖ originate from? What kind of influences ―Nouvelle Vague‖ exerted on other film movements around the world? Which role did the Cinemathèque Française and Henri Langlois, its creator, play in the formation of the aforementioned cinematic movement? What role did the French film magazines of that period (e.g. Cahiers du Cinéma) play in the creation of this new wave? Who are the main representatives of the movement (Jean-Luc Godard, François Truffaut, Claude Chabrol, Eric Rohmer, Jacques Rivette) and the Left Bank directors: Alain Resnais, Chris Marker, Agnes Varda? Who are the Precursors of the Nouvelle Vague? What are the modernist aesthetic characteristics of this world’s most famous cinematic movement, in terms of form [mise en scene] & narrative structure [montage]? Phenomenology and diffused existentialism in the movements’ themes and characters. Keywords: Nouvelle Vague, Modernism, Montage, Auteur theory, Camera Stylo 1 Prologue ―Αgainst modern -
Rachid Taha Diwân Mp3, Flac, Wma
Rachid Taha Diwân mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Folk, World, & Country Album: Diwân Country: US Released: 1998 Style: Raï MP3 version RAR size: 1860 mb FLAC version RAR size: 1507 mb WMA version RAR size: 1727 mb Rating: 4.8 Votes: 607 Other Formats: ADX MP4 FLAC MOD DMF TTA AIFF Tracklist Hide Credits Ya Rayah 1 6:13 Written-By – Abderrahmane Amrani* Ida 2 5:56 Written-By – Rachid Taha Habina 3 7:27 Written-By – Farid El Atrache, Toufic Barakat* Bent Sahra 4 7:12 Written-By – Ahmed Khelifi Ach Adani 5 6:25 Written-By – Abderrahmane Amrani* El H'Mame 6 6:07 Written-By – Mohammed El Anka Enti Rahti 7 6:58 Written-By – Abderrahmane Amrani* Menfi 8 5:03 Written-By – Akli Yahiatene, Missoum Amraoui Bani Al Insane 9 4:32 Written-By – Boudjemaa Hgour* Malheureux Toujours 10 6:13 Written-By – Ahmed Soulimane, Benaceur Baghdadi Aiya Aiya 11 7:00 Written-By – Rachid Taha Companies, etc. Phonographic Copyright (p) – Barclay Copyright (c) – Barclay Made By – PMDC, USA Credits Engineer, Mixed By – Dave Pemberton, Pete Hoffmann* Flute – Aziz Ben Salem Oud – Kaseeme Jalanne (tracks: 11) Oud, Banjo, Vocals [Backing], Percussion [Additional] – Nabil Khalidi Percussion – Hossam Ramsy* Producer, Programmed By, Engineer, Mixed By, Guitar – Steve Hillage Strings – Bob Loveday, Geoffrey Richardson, Pete Macgowan* Vocals – Amina Alaoui Notes Printed in the U.S.A. Made in the U.S.A. CD released with a 12-page booklet in a standard jewel case Barcode and Other Identifiers Barcode (Printed): 7 314 539 953-2 1 Barcode (Scanned): 731453995321