Roberto Perpignani

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Roberto Perpignani Nasce a Roma il 20 aprile del 1941. Per cinque anni compie studi di pittura, ma grazie ad una singolare esperienza di lavoro indirizza definitivamente i suoi interessi verso il cinema. Per un anno intero, nel 1962, collabora al montaggio di vari lavori di Orson Welles Nella terra di Don Quijote (in Italia) e Il processo (a Parigi). L'anno successivo incontra Bernardo Bertolucci con il quale inizia una lunga collaborazione montando Prima della rivoluzione, La via del petrolio, Agonia ( Amore e Rabbia), Partner, La strategia del ragno e, in collaborazione con Franco Arcalli, Ultimo tango a Parigi. Nel ‘68 ha inizio la collaborazione con Paolo e Vittorio Taviani che è proseguita fno ad oggi senza interruzione montando Sotto il segno dello scorpione, San Michele aveva un gallo, Allonsanfàn, Padre padrone, Il prato, La notte di San Lorenzo, Kaos, Good morning Babilonia, Il sole anche di notte, Fiorile, Le affinità elettive, Tu ridi, Resurrezione, Luisa Sanfelice, La masseria delle allodole, Cesare deve morire, Maraviglioso Boccaccio e Una questione privata. Dal 1976 è docente coordinatore del Corso di Montaggio ed Edizione presso Il Centro Sperimentale di Cinematografia di Roma. Tra i riconoscimenti che gli sono stati attribuiti per il montaggio ci sono: il David di Donatello ‘83 per La notte di San Lorenzo di Paolo e Vittorio Taviani; il David di Donatello ‘95 per Il Postino di Michael Radford; la targa del Festival del Cinema Italiano ‘94 per Il Postino; ancora per Il Postino, The Time For Peace Award ’96, premio istituito in accordo con le Nazioni Unite; il Ciack d’Oro ‘89 per I ragazzi di via Panisperna di Gianni Amelio; Il premio Cinema e Società per Con gli occhi chiusi di Francesca Archibugi nel ‘94. ll David di Donatello 2012 e Il Nastro d'argento 2012 per Cesare deve morire di Paolo e Vittorio Taviani. Nell'anno 2014 il Centro Sperimentale di Cinematografia gli conferisce il Diploma Honoris Causa come riconoscimento dei tanti anni di ininterrotto insegnamento e del suo interesse per l'evoluzione della ricerca linguistica nelle forme comunicative. Dal 2006 è Presidente della Fidac, la Federazione che riunisce le Associazioni italiane delle professioni del Cinema e dell’Audiovisivo. .

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table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region.
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THESIS Final Version 20
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K51684-Prelims.qxd 10/18/05 5:12 PM Page i Fine Cuts This page intentionally left blank K51684-Prelims.qxd 10/18/05 5:12 PM Page iii Fine Cuts: The Art of European Film Editing Roger Crittenden AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier K51684-Prelims.qxd 10/18/05 5:12 PM Page iv Focal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP 30 Corporate Drive, Suite 400, Burlington, MA 01803 First published 2006 Copyright © 2006, Roger Crittenden. All rights reserved The right of Roger Crittenden to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publisher Permissions may be sought directly from Elsevier’s Science and Technology Rights Department in Oxford, UK: phone: (ϩ44) (0) 1865 843830; fax: (ϩ44) (0) 1865 853333; e-mail: [email protected].
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