New Releases New Releases
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Hollywood: Her Story February 2020 Enewsletter Oscar Wrap Up
Hollywood: Her Story February 2020 ENewsletter Oscar Wrap Up The Academy of Motion Picture Arts and Sciences has announced this year’s Oscar winners! Let’s take a look at how the women fared in this 92nd year of Oscar history. Let’s celebrate the women who took home the acting Oscars. Renee Zellweger has received four acting Oscar nominations, including two Oscar wins. She received the Best Actress Oscar this year for her performance as Judy Garland in Judy. After two other acting nominations, Laura Dern received the Best Supporting Actress award this year for Marriage Story. Kwak Sin Ae shared a Best Picture Oscar for Parasite, which won for Best Picture and for Best International Feature Film. Women have been historically strong in a number of categories. In Best Costume Design, Jacqueline Durran received her seventh nomination this year and her second Oscar win for Little Women. Anne Morgan and Vivian Baker shared their first Oscar for Best Makeup and Hairstyling for Bombshell. In Best Production Design, Barbara Ling and Nancy Haigh won for Once Upon a Time…in Hollywood. Nancy Haigh has another Oscar win and six other nominations under her belt. It can be argued that the biggest win of the evening was in the category ofB est Original Score. Only twelve women have received nominations in this category over the years. When Hildur Guðnadóttir won the Oscar for her musical score for Joker, she became the fourth woman to win in this category. It should be noted that a woman conducted the orchestra, the first time in the history of the Oscar ceremonies, to present the musical scores for these Oscar nominees. -
The Color of Money”
David Alciatore, PhD (“Dr. Dave”) ILLUSTRATED PRINCIPLES “Billiards on the Big Screen – The Color of Money” Note: Supporting narrated video (NV) demonstrations, high-speed video (HSV) clips, and technical proofs (TP) can be accessed and viewed online at billiards.colostate.edu. The reference numbers used in the article (e.g., NV A.7) help you locate the resources on the website. If you don’t have access to the Internet, or if you have a slow connection (e.g., a modem), you may want to view the resources from a CD-ROM instead. To order one, send a check or money order (payable to David Alciatore) for $21.45 (includes S&H) to: Pool Book CD; 626 S. Meldrum St.; Fort Collins, CO 80521. The CD-ROM is compatible with both PCs and MACs. This is the second article in my “Billiards on the Big Screen” series, where I illustrate and describe interesting shots from movies with major billiards themes. Last month, I presented some shots from the classic billiards flick: “The Hustler.” By the way, if you want to refer back to any of my previous articles and online resources, you can access them online at billiards.colostate.edu. This month’s article deals with the huge box-office success: “The Color of Money.” In my next two articles, I will show shots from “Pool Hall Junkies” and “Donald in Mathmagic Land.” ”The Color of Money” (1986, Touchstone Pictures) is the story of two hustlers who teach each other a few things about pool and life. Fast Eddie Felson (played by Paul Newman), a seasoned hustler, discovers Vincent (played by Tom Cruise), an immature and young hustler with great talent and potential. -
Anamcara: a Way for Marriage
ANAMCARA: A WAY FOR MARRIAGE KENNETH R. NEILSON B.A., University of Manitoba, 1978 B.S.L., Canadian Nazarene College, 1978 M.A., Eastern Nazarene College, 1994 Thesis Submitted in partial fulfillment of the requirements for the degree of Doctor of Ministry Acadia Divinity College Acadia University Spring Convocation 2016 © by KENNETH R. NEILSON 2016 This thesis by Kenneth R. Neilson was defended successfully in an oral examination on 15 March 2016. The examining committee for the thesis was: Dr. Anna Robbins, Chair Dr. Charles S. Pottie-Pâté, SJ, External Examiner Dr. John Stewart, Internal Examiner Dr. John Sumarah, Supervisor Dr. John McNally, DMin Program Director This thesis is accepted in its present form by Acadia Divinity College, the Faculty of Theology of Acadia University, as satisfying the thesis requirements for the degree of Doctor of Ministry. ii I, Kenneth R. Neilson, hereby grant permission to the University Librarian at Acadia University to provide copies of my thesis, upon request, on a non-profit basis. Kenneth R. Neilson Author Dr. John Sumarah Supervisor 15 March 2016 Date iii Table of Contents Abstract vii Acknowledgements viii Dedication ix Approval to Reproduce Copyright Material x Introduction 1 Description of Ministry Context 3 Statement of the Problem, Thesis Statement and Thesis Questions 3 Chapter 1 Biblical Foundation 5 A Foundation from the Gospel of John 6 The Early Christian Communities 17 A Learning Community 19 A Loving Community 20 A Worshipping Community 22 An Evangelistic Community 25 Marriage as a Witness 27 Chapter 2 Historical and Theological Perspectives and Practices of Anamcara 35 Origins of the Celtic People and their Religion 38 Celtic Religion 41 Celtic Christianity - the Influence of the Gospel 43 St. -
Isaac Asimov's Super Quiz
PAGE 6A WEDNESDAY, JULY 7, 2021 TIMES WEST VIRGINIAN ADVICE Dear Mayo Clinic Q and A: Simplify health Annie Annie Lane goals for success Syndicated Columnist that includes things such as: every other day with a meal. This can be By Cynthia Weiss – Ridding homes of any desserts, candy, something you can easily manage and Mayo Clinic News Network soda and processed food. feel successful with. Just remember not Dear Mayo Clinic: I am a mom of three – Promising to buy and eat only whole to overload it with dressing. Or instead of kids under 10, and I have struggled with foods made from scratch. grabbing a handful of chips for a snack, Twin brothers weight loss for years. I am challenged – Going to the gym five or more days a grab an apple or a cheese stick. Consider the between family and work obligations to week and working out for an hour each time. same substitutions for your children so you maintain a healthy lifestyle. I always start – Hiring a life coach to help get their life won’t be tempted. can’t get along off strong, but then I get overwhelmed and together. Over time, one change will lead to stop. Last month, despite trying to eat right – Reducing work stress. another. As you implement healthy things Dear Annie: I come from a big family. I and working out daily, I gained weight after Does this sound familiar? into your routine, you will build more have seven brothers and two sisters, and I’m two weeks instead of losing it. -
Bruce Jackson & Diane Christian Video Introduction to This Week's Film
April 28, 2020 (XL:13) Wes Anderson: ISLE OF DOGS (2018, 101m) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Bruce Jackson & Diane Christian video introduction to this week’s film (with occasional not-very-cooperative participation from their dog, Willow) Click here to find the film online. (UB students received instructions how to view the film through UB’s library services.) Videos: Wes Anderson and Frederick Wiseman in a fascinating Skype conversation about how they do their work (Zipporah Films, 21:18) The film was nominated for Oscars for Best Animated Feature and Best Original Score at the 2019 Academy Isle of Dogs Voice Actors and Characters (8:05) Awards. The making of Isle of Dogs (9:30) CAST Starting with The Royal Tenenbaums in 2001, Wes Isle of Dogs: Discover how the puppets were made Anderson has become a master of directing high- (4:31) profile ensemble casts. Isle of Dogs is no exception. Led by Bryan Cranston (of Breaking Bad fame, as Weather and Elements (3:18) well as Malcolm in the Middle and Seinfeld), voicing Chief, the cast, who have appeared in many Anderson DIRECTOR Wes Anderson films, includes: Oscar nominee Edward Norton WRITING Wes Anderson wrote the screenplay based (Primal Fear, 1996, American History X, 1998, Fight on a story he developed with Roman Coppola, Club, 1999, The Illusionist, 2006, Birdman, 2014); Kunichi Nomura, and Jason Schwartzman. Bob Balaban (Midnight Cowboy, 1969, Close PRODUCERS Wes Anderson, Jeremy Dawson, Encounters -
Rétrospective Chantal Akerman 31 Janvier – 2 Mars 2018
Rétrospective Chantal Akerman 31 janvier – 2 mars 2018 AVEC LE SOUTIEN DE WALLONIE-BRUXELLES INTERNATIONAL ET LE CONCOURS DU CENTRE WALLONIE BRUXELLES Héritière à la fois de la Nouvelle Vague et du cinéma underground américain, l’œuvre de Chantal Akerman explore avec élégance les notions de frontière et de transmission. Ses films vont de l’essai expérimental (Hotel Monterey), aux récits de la solitude (Jeanne Dielman), en passant par des comédies à l’humour triste (Un divan à New York) et les somptueuses adaptations de classiques littéraires (Proust pour La Captive). CONFÉRENCE et DIALOGUES “CHANTAL AKERMAN : L’ESPACE PENDANT UN CERTAIN TEMPS” PAR JÉRÔME MOMCILOVIC je 01 fév 19h Chantal Akerman a dit souvent son étonnement face à cette formule banale, qui nous vient parfois pour exprimer le plaisir pris un film : ne pas voir le temps passer. De l’appartement du premier film (Saute ma ville, 1968) a celui du dernier (No Home Movie, 2015), des rues traversées par la fiction (Toute une nuit) a celles longées par le documentaire (D’Est), ses films ont suivi une morale rigoureusement inverse : regarder le temps, pour mieux voir l’espace, et nous le faire habiter ainsi en compagnie de tous les fantômes qui le hantent. A la suite de la conférence, à 21h30, projection d’un film choisi par le conférencier : News from Home. Jerome Momcilovic est critique de cinema, responsable des pages cinéma du magazine Chronic’art. Il est l’auteur chez Capricci de Prodiges d’Arnold Schwarzenegger (2016) et, en février 2018, d’un essai sur le cinema de Chantal Akerman Dieu se reposa, mais pas nous. -
National Gallery of Art Winter 09 Film Program
NATIONAL GALLERY OF ART WINTER 09 FILM PROGRAM 4th Street and Constitution Avenue NW, Washington, DC Mailing address 2000B South Club Drive, Landover, MD 20785 BARCELONA MASTERS: JOSÉ LUIS TEUVO TULIO: THE REBEL SET: GUERÍN NORTHERN FILM AND THE AND PERE IN THE REALM TONES BEAT LEGACY PORTABELLA OF OSHIMA and the City, In the City of Sylvia and the City, Helsinki), calendar page page four Helsinki), (National Audiovisual Archive, page three page two page one cover Of Time and the City The Way You Wanted Me Wanted You The Way The Sign of the Cross The Sign of the Cross WINTER09 Of Time and the City A Town of Love and Hope A Town Pere Portabella (Helena Gomà, Barcelona), Pere details from Song of the Scarlet Flower (Strand Releasing) (Strand Releasing) (Photofest/Paramount) (National Audiovisual Archive, Helsinki), (National Audiovisual Archive, (Photofest) In the City of Sylvia (National Audiovisual Archive, (National Audiovisual Archive, Song of the Scarlet Flower (José Luis Guerín) Of Time Les Lutins du Court-Métrage: New Shorts from France Friday February 13 at 1:00 Film Events Five new examples from France illustrate the beauty and versatility of the short- film form: 200,000 Fantômes (Jean-Gabriel Périot, 2007, 10 minutes); La dernière journée (Olivier Bourbeillon, 2007, 12 minutes); Mic Jean-Louis (Kathy Sebbah, The Sign of the Cross 2007, 26 minutes); Pina Colada (Alice Winocour, 2008, 15 minutes); and L’Enfant Introduction by Martin Winkler borne (Pascal Mieszala, 2007, 15 minutes). Saturday January 3 at 2:30 Ciné-Concert: Show Life British playwright Wilson Barrett’s Victorian melodrama was the source for Stephen Horne on piano Cecil B. -
Mor Chantal Akerman, Figura Clau Del Cinema Experimental Dels Setanta
Cultura i Mitjans | foto_esteveplantada_Esteve Plantada | Actualitzat el 07/10/2015 a les 12:22 Mor Chantal Akerman, figura clau del cinema experimental dels setanta La cineasta belga ha mort a París als 65 anys | El festival de Locarno va viure l'estrena del seu darrer film, "No home movie" Chantal Akerman, en una imatge d'arxiu Chantal Akerman (http://www.imdb.com/name/nm0001901) (Brusel·les, 1950) va decidir acabar amb la seva vida a París, la ciutat on residia, aquest darrer dilluns. Tenia 65 anys i era una de les grans figures del cinema experimental dels setanta. Destacada per l'ús de crus i llargs plans seqüència, la cineasta belga va provar de captar les arestes de la condició femenina, lligada a una intensa reflexió sobre la identitat. De fet, la figura de la seva mare (morta el 2014 i present com a reflexió a No home movie) va planar sempre per la seva obra, com a jueva polonesa que va sobreviure a Auschwitz. Deutora de l'art d'avantguarda, les pel·lícules d'Akerman sempre van intentar trencar els preceptes del cinema clàssic, ja fos fent esclatar la linealitat de la narració, qüestionant els propis traumes o seguint la tradició dels particulars retrats cinematogràfics que van practicar autors com Philippe Garrel o Andy Warhol. La seva proposta va viure una època creativa daurada entre els setanta i els vuitanta, alimentada pel contacte que va establir a Nova York amb personalitats com Michael Snow o Jonas Mekas. Una filmografia amb més de 40 títols El seu debut va ser el curtmetratge Saute ma ville (1968), quan només tenia disset anys, el https://www.naciodigital.cat/noticia/96023/mor-chantal-akerman-figura-clau-cinema-experimental-dels-setanta Pagina 1 de 2 preludi d'una obra que, anys després, seguiria mostrant una gran inquietud per no deixar indiferent. -
Unseen Femininity: Women in Japanese New Wave Cinema
UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA by Candice N. Wilson B.A. in English/Film, Middlebury College, Middlebury, 2001 M.A. in Cinema Studies, New York University, New York, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Candice N. Wilson It was defended on April 27, 2015 and approved by Marcia Landy, Distinguished Professor, Film Studies Program Neepa Majumdar, Associate Professor, Film Studies Program Nancy Condee, Director, Graduate Studies (Slavic) and Global Studies (UCIS), Slavic Languages and Literatures Dissertation Advisor: Adam Lowenstein, Director, Film Studies Program ii Copyright © by Candice N. Wilson 2015 iii UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA Candice N. Wilson, PhD University of Pittsburgh, 2015 During the mid-1950s to the early 1970s a subversive cinema, known as the Japanese New Wave, arose in Japan. This dissertation challenges critical trends that use French New Wave cinema and the oeuvre of Oshima Nagisa as templates to construct Japanese New Wave cinema as largely male-centered and avant-garde in its formal aesthetics. I argue instead for the centrality of the erotic woman to a questioning of national and postwar identity in Japan, and for the importance of popular cinema to an understanding of this New Wave movement. In short, this study aims to break new ground in Japanese New Wave scholarship by focusing on issues of gender and popular aesthetics. -
It's Not Just an Image
and geographical surroundings. The most obvious example of this approach may be found in News From Home (1976), in which shots of mostly empty New York streets are accompanied on the soundtrack by the director reading excerpts of letters from her mother back in Bel It’s Not Just gium. Whether in “fiction” films like Jeanne Dielman, 23 Quai du Commerce, 10800 Bruxelles (1975) or Toute Une Nuit (1982) or diaristic films such as Je tu il elle (1974) or Hotel Monterey (1972), Akerman manages to consistently integrate different, yet complementary, ways of seeing into each film. The installation is divided into three sections. In the first, the spectator enters a an Image room in which the film D ’Est is projected continuously. In the second, twenty-four television monitors, divided into eight triptychs, fragment various sequences from the film. In the last room, a single monitor features a shot moving down a winter street, at night, with Akerman’s voice reading from a biblical text in Hebrew as well as selections from her own notes in En glish and French. The installation is, to use Akerman’s own term, a “translation” of many of the ele A Conversation with ments of the film into another context. In fact, one is struck by the filmmaker’s description of these elements—faces, streets, cars, food, and so on—as a kind of anthology, an attempt to describe a place in which she is a visitor. “I’d like to shoot everything.” But it was not that simple. Before any footage for DEst was shot, Akerman made a Chantal Akerman trip to Russia, where despite the obvious differences of language and culture, she felt “at home.” She attributed this to her personal history: Her parents had emigrated from Poland to Belgium, where she grew up. -
De L'autre Côté
GRAND FORMAT De l’autre côté Réalisé par Chantal Akerman Coproduction : ARTE France, AMIP (2002 – 1h39) En sélection officielle – Festival de Cannes 2002 22.15 Lundi 16 décembre 2002 Contact presse : Céline Chevalier / Nadia Refsi / Rima Matta - 01 55 00 70 41 / 23 / 40 / [email protected] Retrouvez les dossiers de presse en ligne sur www.artepro.com “Parce qu’il y en a qui ont tout et d’autres rien. Voilà De l’autre côté la vie du clandestin.” Documentaire de Chantal Akerman (Un Mexicain) Francisco, Reymundo et les autres sont mexicains. En quête “J’ai peur des d’une vie meilleure, ils veulent passer “de l’autre côté”, aux Mexicains qui arrivent ici en États-Unis. Mais la fuite vers l’eldorado tourne souvent mal. masse. Ils peuvent Un documentaire poignant, dernier volet d’un triptyque de faire pareil [que le Chantal Akerman commencé avec D’Est (1993) et Sud (1999). 11 septembre]. Ils peuvent prendre le “De l’autre côté” : dès 14 ans, ils ont tous ces mots à la bouche. Le pouvoir d o c u m e n t a i re retrace les parcours de migrants mexicains qui se et faire beaucoup heurtent à une frontière américaine extrêmement bien gardée. Fuyant la de dégâts.” pauvreté, ils butent sur les technologies les plus sophistiquées qu’utilise (Une femme rancher) le service d’immigration américain pour les arrêter – des militaires parlent de “guerre quotidienne”. Des panneaux surgissent le long de la frontière : “Halte à la montée du crime !”, “Nos propriétés et notre environnement sont dévastés par l’invasion”… Repoussés en Californie, les candidats à l’émigration tentent leur chance ailleurs, en Arizona, région désertique et montagneuse où le voyage est d’autant plus périlleux.