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Apichatpong Weerasethakul
UNKNOWN FORCES: APICHATPONG WEERASETHAKUL April 18 – June 17, 2007 hold of and ask what I should do. I am consulting a fortune teller now for what the next film should be. She told me the main character (light skin, wide forehead), the locations (university, sports stadium, empty temple, mountain), and the elements (the moon and the water). RI: The backdrops of much of your work accentuate feelings of aloneness and isolation from others. Films like Tropical Malady (2004) and Worldly Desires (2005) traverse remote recesses of distant, even enchanted jungles. In FAITH (2006), you leave earth entirely in search of greater solitude in outer space. You seem interested in or at least drawn to obscure or enigmatic sites that have been left relatively unexplored, untouched, unimagined… AW: That’s what I got from the movies. When you are in a dark theater, your mind drifts and travels. In my hometown when I was growing up, there was nothing. The movie theater was a sanctuary where I was mostly addicted to spectacular and disaster films. Now, as a filmmaker, I am trying to search for similar feelings of wonder, of dreams. It’s quite a personal and isolated experience. Tropical Malady is more about a journey into one’s mind rather than Apichatpong Weerasethakul a real jungle. Or sometimes it is a feeling of “watching” movies. RI: Can you speak about your use of old tales and mythologies in your work? What significance do they hold for you? AW: It’s in the air. Thailand’s atmosphere is unique. It might be hard to understand for foreigners. -
Rule and Foundational Documents
Rule and Foundational Documents Frontispiece: facsimile reproduction of a page—chapter 22, “Rules Concern- ing the Good Order and Management of the Institute”—from the Rule of the Brothers of the Christian Schools, the 1718 manuscript preserved in the Rome archives of the Institute. Photo E. Rousset (Jean-Baptiste de La Salle; Icono- graphie, Boulogne: Limet, 1979, plate 52). Rule and Foundational Documents John Baptist de La Salle Translated and edited by Augustine Loes, FSC, and Ronald Isetti Lasallian Publications Christian Brothers Conference Landover, Maryland Lasallian Publications Sponsored by the Regional Conference of Christian Brothers of the United States and Toronto Editorial Board Luke Salm, FSC, Chairman Paul Grass, FSC, Executive Director Daniel Burke, FSC William Mann, FSC Miguel Campos, FSC Donald C. Mouton, FSC Ronald Isetti Joseph Schmidt, FSC Augustine Loes, FSC From the French manuscripts, Pratique du Règlement journalier, Règles communes des Frères des Écoles chrétiennes, Règle du Frère Directeur d’une Maison de l’Institut d’après les manuscrits de 1705, 1713, 1718, et l’édition princeps de 1726 (Cahiers lasalliens 25; Rome: Maison Saint Jean-Baptiste de La Salle, 1966); Mémoire sur l’Habit (Cahiers lasalliens 11, 349–54; Rome: Maison Saint Jean-Baptiste de La Salle, 1962); Règles que je me suis imposées (Cahiers lasalliens 10, 114–16; Rome: Maison Saint Jean-Baptiste de La Salle, 1979). Rule and Foundational Documents is volume 7 of Lasallian Sources: The Complete Works of John Baptist de La Salle Copyright © 2002 by Christian Brothers Conference All rights reserved Printed in the United States of America Library of Congress Control Number: 2002101169 ISBN 0-944808-25-5 (cloth) ISBN 0-944808-26-3 (paper) Cover: Portrait of M. -
Statistical Yearbook 2019
STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema -
The Abyss (1989) James Cameron Algo Pasa En Las Vegas - What Happens in Vegas
Abyss - The Abyss (1989) James Cameron Algo pasa en Las Vegas - What Happens in Vegas... (2008) Tom Vaughan Alien, el octavo pasajero - Alien (1979) Ridley Scott Amadeus - Amadeus (1984) Milos Forman Amarcord (Mis recuerdos) (modelo 1 portada) - Amarcord (1973) Federico Fellini Amarcord (Mis recuerdos) (modelo 1 pag. 2 y 3) - Amarcord (1973) Federico Fellini Amarcord (Mis recuerdos) (modelo 2) - Amarcord (1973) Federico Fellini Annie Hall - Annie Hall (1977) Woody Allen Apolo 13 (Apolo XIII) - Apollo 13 (1995) Ron Howard Asesinato en el Orient Express (portada) - Murder on the Orient Express (1974) Sidney Lumet Asesinato en el Orient Express(páginas 2 y 3) - Murder on the Orient Express (1974) Sidney Lumet Babe, el cerdito valiente - Babe (1995) Chris Noonan Babel - Babel (2006) Alejandro G. Iñárritu Batman (portada) - Batman (1989) Tim Burton Batman (páginas 2 y 3) - Batman (1989) Tim Burton Batman y Robin - Batman & Robin (1997) Joel Schumacher La bella y la bestia - Beauty and the Beast (1991) Gary Trousdale, Kirk Wise Bitelchús (portada) - Beetlejuice (1988) Tim Burton Bitelchús (páginas 2 y 3) - Beetlejuice (1988) Tim Burton Caracter - Karakter (1997) Mike van Diem Casablanca - Casablanca (1943) Michael Curtiz Casanova - Il Casanova di Federico Fellini (1976) Federico Fellini El cazador - The Deer Hunter (1978) Michael Cimino Contact - Contact (1997) Robert Zemeckis Las cosas que nunca mueren - Blue Sky (1994) Tony Richardson Cumbres borrascosas - Wuthering Heights (1939) William Wyler Chinatown - Chinatown (1974) Roman Polanski De -
[Pennsylvania County Histories]
HEFEI IENCE ^SVM^y fji 7%r COLLEIjTIONS y. ^ Digitized by the Internet Archive in 2018 with funding from This project is made possible by a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries https://archive.org/details/pennsylvaniacoun89unse A Page4 ' . s- p Page S . ; Page1 ■ | - - ' r u v w . _ ... Ml*. v w- XYZ .-Ml j|f • • MV-j | gaveno intimation of a desire to be in~ terviewed or remonstrated with, which 0:j ^lcrricli. motive they even had the bad taste to resent in a very unpleasant manner, did not improve as he had hoped, the writer’s health. So it come to pass that a short Oil- CITY CHROSICrafBS. time after the battle of Wilson’s Creek, he found himself at Cincinnati on board A Brief Compilation,* Incidental and of a river steamer bound for Pittsburg. Otherwise, From 1861 to Bate. At Maysviile a gentleman came on the r Written for the Derrick.] steamer who was en route for the Oil N this and the series of articles Country, where he had been engaged in to follow,the writer proposes to the development. He was a fluent talk¬ relate from the memory of him¬ er, and from him was gleaned the first self and others, such incidents general information in relation to the of the early history of Oil City, new discovery. Yet the revelation he as can be had and may be made was so wild and apparently impos¬ deemed of interest. -
Title Call # Category
Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine -
Downloaded As A
Programme £2 2 3 Welcome 02 WELCOME Welcome to the 20th Keswick Film Festival To have reached this milestone is 04 OUR GUESTS testament to the hard work and commitment of a lot of people, involved not only in the Festival but also in the 08 THIS YEAR’S FILMS Keswick Film Club. The only reason that we are able to have this wonderful weekend of cinematic over-indulgence is because the Film Club is doing what it does best, year in and year out. So, to all those people who over 20 Contents years have sat through (and chaired) committee meetings, put up posters, introduced films, booked films, designed 15 PROGRAMME a website, distributed leaflets, worked the Box Office, counted votes or filed annual returns, we are in your debt. 39 TICKETS Here’s to the next 20 years! & TRAVEL Ticket costs, discounts, Ian Payne booking information, and Festival Director public transport details Please note: We want to make sure that everyone gets to see the films they want to see. However buying a Festival Pass does not guarantee entry into a screening. If there is a film you particularly want to see, you must book a seat (free of charge) to guarantee entry by contacting the Theatre Box Office. You can do this, either by phone or in person. As usual and due to the smaller capacities in the Studio, all films in the Studio must be booked in advance. 4 5 OUR GUESTS James Gardner Mike Tweddle Jellyfish – Thursday 28th February Sparrowhawk – Friday 1st March Farm, having numerous hit singles/ and Sunday 3rd March Starting with a background in punk albums both in Britain and Europe. -
Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
The 21St Hamptons International Film Festival Announces Southampton
THE 21ST HAMPTONS INTERNATIONAL FILM FESTIVAL ANNOUNCES SOUTHAMPTON OPENING, SATURDAY’S CENTERPIECE FILM AUGUST: OSAGE COUNTY, SPOTLIGHT AND WORLD CINEMA FILMS INCLUDING LABOR DAY, HER, THE PAST AND MANDELA: LONG WALK TO FREEDOM WILL FORTE TO JOIN BRUCE DERN IN “A CONVERSATION WITH…” MODERATED BY NEW YORK FILM CRITICS CIRCLE CHAIRMAN JOSHUA ROTHKOPF Among those expected to attend the Festival are: Anna Paquin, Bruce Dern, Ralph Fiennes, Renee Zellweger, Dakota Fanning, David Duchovny, Helena Bonham Carter, Edgar Wright, Kevin Connolly, Will Forte, Timothy Hutton, Amy Ryan, Richard Curtis, Adepero Oduye, Brie Larson, Dane DeHaan, David Oyelowo, Jonathan Franzen, Paul Dano, Ralph Macchio, Richard Curtis, Scott Haze, Spike Jonze and Joe Wright. East Hampton, NY (September 24, 2013) -The Hamptons International Film Festival (HIFF) is thrilled to announce that Director Richard Curtis' ABOUT TIME will be the Southampton opener on Friday, October 11th and that Saturday's Centerpiece Film is AUGUST: OSAGE COUNTY directed by John Wells. As previously announced, KILL YOUR DARLINGS will open the Festival on October 10th; 12 YEARS A SLAVE will close the Festival; and NEBRASKA is the Sunday Centerpiece. The Spotlight films include: BREATHE IN, FREE RIDE, HER, LABOR DAY, LOUDER THAN WORDS, MANDELA: LONG WALK TO FREEDOM, THE PAST and CAPITAL.This year the festival will pay special tribute to Oscar Award winning director Costa-Gavras before the screening of his latest film CAPITAL. The Festival is proud to have the World Premiere of AMERICAN MASTERS – MARVIN HAMLISCH: WHAT HE DID FOR LOVE as well as the U.S Premiere of Oscar Winner Alex Gibney’s latest doc THE ARMSTRONG LIE about Lance Armstrong. -
Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
JK Assinou O Decreto
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Support Staff Association Naenabership Drive Takes Off Future
' ' • . ' . I . • . • · . I • : I ,, . , /,, //,,,,~ody Support staff SIXlH ANNUAL AIM4RDS FOR association naenabership CRFATIVE WORK IN lFIE ARTS 1980-81 drive takes off • • ., f , . • . By Mark Gerson attempt to form a CSN-affiliated union Nearly 300 members of the four weeks ago. university's support staff have joined At an informatin meeting held in H- CUNASA, the Concordia University 937 on March 11, 100-or-so staffers, Non-Academic Staff Association, since mostly from Sir George, were im a general mailing went out to all pressed with the importance of Concordia staff less than three weeks becoming actively involved in ago as part of a membership drive. CUNASA. CUNASA organizers estimate that "The 1976 attempt to form an there are somewhere in the neigh association failed due to the apathy of bourhood of 900 support staff members," said France Pelletier, a members in the university community, program advisor in Fine Arts. She and Academic Vice-Rector Graham warned the audience that if CUNASA Mai-tin has indicated that the ad meets a similar fate, the union ministration will likely recognize the organizers would return. association once it has signed 50 per Pelletier admitted, however, that cent plus one, or approximately 450 of unionization was not out of the them. question and, although the current Staff overwhelmingly rejected an See Association page 2 Future for n on-· · francophone. youths exanained By Beverley Smith First p,rize for Barry Blitt's p~ster in the Fifth Annual Arts Fes tival, Winners named, Students at Concordia are either not Non-Frc!_ncophone Youth." see story page 5.