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DEMAIN on DEMENAGE Panorama Special MORGEN ZIEHEN WIR UM TOMORROW WE MOVE Regie:Chantal Akerman
20042534 27.01.2004 13:37 Uhr Seite 114 IFB 2004 DEMAIN ON DEMENAGE Panorama Special MORGEN ZIEHEN WIR UM TOMORROW WE MOVE Regie:Chantal Akerman Belgien/Frankreich 2003 Darsteller Charlotte Sylvie Testud Länge 112 Min. Catherine Aurore Clément Format 35 mm, 1:1.85 Popernick Jean-Piere Marielle Farbe Schwangere Frau Natacha Régnier Monsieur Delacre Lucas Belvaux Stabliste Madame Delacre Dominique Reymond Buch Chantal Akerman Michele Elsa Zylberstein Eric de Kuyper Makler Gilles Privat Kamera Sabine Lancelin Madame Dietrich Anne Coesens Schnitt Claire Atherton Monsieur Dietrich Christian Hecq Schnittassistenz Sophie Bonnard Madame Charpentier Laëtitia Reva Ton Pierre Mertens Ehemann der Mischung Thomas Gauder Schwangeren Olivier Ythier Ausstattung Christian Marti Monsieur Charpentier Georges Siatidis Kostüm Nathalie de Roscoat Madame Lavazza Valerie Bauchau Maske Sophie Benaïche Dame in der Agentur Catherine Aymerie Regieassistenz Olivier Bouffard Pierre Nicolas Majois Casting Richard Rousseau Gerda Diddens Produktionsltg. Antoine Beau Sylvie Testud Jacqueline Louis Aufnahmeleitung Antoine Moussault Marianne Lambert MORGEN ZIEHEN WIR UM Produzenten Paulo Branco Charlotte ist jung und ledig.Sie versucht, sich als freie Autorin durchs Leben Marilyn Watelet zu schlagen,indem sie Bücher auf Anfrage schreibt.Es sind erotische Roma- Redaktion Arlette Zylberberg, ne, die sie verfasst – wobei sie sich allerdings in ihrer Lebensführung nicht RTBF im geringsten von deren Inhalten infizieren lässt. Charlotte wohnt in einem Co-Produktion Gemini Films,Paris zweigeschossigen Apartment, in dem eine produktive Unordnung herrscht Produktion und in dem sie völlig abschalten kann. Paradise Films Doch eines Tages stirbt ihr Vater und das verändert ihr Leben total. Denn 29,rue de la Sablonnière kurz darauf steht mit Sack und Pack ihre Mutter vor der Tür.Catherine ist von B-1000 Bruxelles Beruf Klavierlehrerin. -
PIONEERS: FIRST WOMEN FILMMAKERS Distribuidora: Kino Lorber Zona
PIONEERS: FIRST WOMEN Idle Wives (Lois Weber, 1916, 23:5’) FILMMAKERS * Too Wise Wives (Lois Weber, 1921, 69:5’) Distribuidora: Kino Lorber What Do Men Want? (Lois Weber, 1921, 40:75’) Zona: Región 1 Lois Weber documentary, 12’ Contenido: seis discos en DVD (con contenidos adicionales en Blu-ray*) más un libreto ilustrado DVD 3 / Pioneers of Genre de 76 páginas * Hazards of Helen, Ep. 09: «Leap From the Wa- ter Tower» (Helen Holmes, 1915, 11’) DVD 1 / Alice Guy-Blaché Hazards of Helen, Ep.13: «The Escape on the Mixed Pets (Alice Guy-Blaché, 1911, 14:1’) Fast Freight» (Helen Holmes, 1915, 11:25’) Tramp Strategy (Alice Guy-Blaché, 1911, 12’) Hazards of Helen, Ep. 26: «The Wild Engine» (Helen Holmes, 1915, 10:5’) Greater Love Hath No Man (Alice Guy-Blaché, 1911, 16:25’) * The Purple Mask, Ep. 5: «Part 1» (Grace Cu- nard, 1917, 13’) Algie the Miner (Alice Guy-Blaché, 1912, 10’) The Purple Mask, Ep. 12: «Vault of Mystery» Falling Leaves (Alice Guy-Blaché, 1912, 11:75’) (Grace Cunard, 1917, 19:5’) The Little Rangers (Alice Guy-Blaché, 1912, 11:5’) The Purple Mask, Ep. 13: « The Leap» (Grace Canned Harmony (Alice Guy-Blaché, 1912, 16’) Cunard, 1917, 10:5’) A Fool and His Money (Alice Guy-Blaché, 1912, A Daughter of “The Law” (Grace Cunard, 1921, 10:75’) 21:75’) The High Cost of Living (Alice Guy-Blaché, 1912, Eleanor’s Catch (Cleo Madison, 1916, 13:25’) 14:5’) ‘49 - ‘17 (Ruth Ann Baldwin, 1917, 70:25’) * The Coming of Sunbeam (Alice Guy-Blaché, Caught in a Cabaret (Mabel Normand, 1914, 1913, 11:25’) 23:5’) * Burstup Homes’ Murder Case (Alice -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
89Th Annual Academy Awards® Oscar® Nominations Fact
® 89TH ANNUAL ACADEMY AWARDS ® OSCAR NOMINATIONS FACT SHEET Best Motion Picture of the Year: Arrival (Paramount) - Shawn Levy, Dan Levine, Aaron Ryder and David Linde, producers - This is the first nomination for all four. Fences (Paramount) - Scott Rudin, Denzel Washington and Todd Black, producers - This is the eighth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013) and The Grand Budapest Hotel (2014). This is the first nomination in this category for both Denzel Washington and Todd Black. Hacksaw Ridge (Summit Entertainment) - Bill Mechanic and David Permut, producers - This is the first nomination for both. Hell or High Water (CBS Films and Lionsgate) - Carla Hacken and Julie Yorn, producers - This is the first nomination for both. Hidden Figures (20th Century Fox) - Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, producers - This is the fourth nomination in this category for Donna Gigliotti, who won for Shakespeare in Love (1998). Her other Best Picture nominations were for The Reader (2008) and Silver Linings Playbook (2012). This is the first nomination in this category for Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi. La La Land (Summit Entertainment) - Fred Berger, Jordan Horowitz and Marc Platt, producers - This is the first nomination for both Fred Berger and Jordan Horowitz. This is the second nomination in this category for Marc Platt. He was nominated last year for Bridge of Spies. Lion (The Weinstein Company) - Emile Sherman, Iain Canning and Angie Fielder, producers - This is the second nomination in this category for both Emile Sherman and Iain Canning, who won for The King's Speech (2010). -
Alice Guy Blaché
Alice Guy Blaché Also Known As: Alice Blache, Alice Guy, Alice Guy-Blaché Lived: July 1, 1873 - March 24, 1968 Worked as: assistant director, co-director, co-producer, co-screenwriter, director, film company owner, lecturer, producer, screenwriter, secretary, writer Worked In: France, United States by Alison McMahan From 1896 to 1906 Alice Guy was probably the only woman film director in the world. She had begun as a secretary for Léon Gaumont and made her first film in 1896. After that first film, she directed and produced or supervised almost six hundred silent films ranging in length from one minute to thirty minutes, the majority of which were of the single-reel length. In addition, she also directed and produced or supervised one hundred and fifty synchronized sound films for the Gaumont Chronophone. Her Gaumont silent films are notable for their energy and risk-taking; her preference for real locations gives the extant examples of these Gaumont films a contemporary feel. As Alan Williams has described her influence, Alice Guy “created and nurtured the mood of excitement and sheer aesthetic pleasure that one senses in so many pre-war Gaumont films, including the ones made after her departure from the Paris studio” (57). Most notable of her Gaumont period films is La Vie du Christ (1906), a thirty-minute extravaganza that featured twenty-five sets as well as numerous exterior locations and over three hundred extras. In early 1907, Guy resigned her position as head of Gaumont’s film production arm in Paris although she did not end her business relationship with Gaumont. -
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. -
THE SOLAX FILMS of ALICE GUY BLACHÉ Filmography by Alison Mcmahan September, 2009
THE SOLAX FILMS OF ALICE GUY BLACHÉ Filmography by Alison McMahan September, 2009 This is an updated and revised version of the Filmography that first appeared in Alison McMahan, Alice Guy Blaché: Lost Visionary of the Cinema (New York and London: Continuum 2002). This filmography is based on those by Anthony Slide and Victor Bachy. In addition I have gone back to original sources (especially The Moving Picture World , The Moving Picture News , and Alice Guy Blaché’s papers in the Roberta Blaché Collection). We know that Alice Guy supervised the production of all the Solax films and that she directed the majority of them. She had three directors working under her supervision at Solax: Wilbert Melville, Edward Warren and Edgar Lewis. Herbert Blaché also contributed (for an extended discussion of this, see Chapter 5). When a specific director is listed in any documentation, the name of the director is given here. The Moving Picture News , Vol. IV, No. 24, June 17, 1911, p. 9, notes that Mr. Wilbert Melville, the “managing director” of the Solax Company, had the idea to have a regular release of military pictures, (which began with “Across the Mexican Line” on April 28 th , though this particular film was probably directed by Guy, as it had been announced before the military series was announced) and wrote and directed “practically all of them.” We can therefore credit him with the direction of most of the military films released from May 12, 1911, onwards. The fact that Melville had been a Captain in the Spanish American War lent credibility to the Solax claim for accuracy in the military depictions. -
Essential Deren Collected Writings on Film 1St Edition Download Free
ESSENTIAL DEREN COLLECTED WRITINGS ON FILM 1ST EDITION DOWNLOAD FREE Maya Deren | 9780929701653 | | | | | PDF Download With over 30, translations, including everyday idioms and expressions, Essential Dutch Dictionary is the perfect tool to support your Dutch learning. A great collection of Maya Deren's writings. The surviving fragments reveal themes that recur throughout Deren's films: the artist's role, the influence of nature, and a fascination with ritual. Add to Basket Used Softcover. The limited specialization of being only one thing—"Be yourself! Matt rated it Essential Deren Collected Writings on Film 1st edition was amazing Jan 24, This is a fascinating book. More information about this seller Contact this seller 1. At Land shows Deren Essential Deren Collected Writings on Film 1st edition across a dining table, oblivious to the diners. Get A Copy. DIVLogical, developmental presentation includes all the necessary tools for speech and comprehension and features numerous shortcuts and timesavers. Regarded as one of the founders of the postwar American independent cinema, Maya Deren was a poet, photographer, ethnographer and filmaker. Return to Book Page. By the way, this undeniable shortcoming of geology was one of the essential points leading to the initiation of rock mechanics. In Ritual in Transfigured Time Deren experiments with slowed footage of two wind-swept women immersed Essential Deren Collected Writings on Film 1st edition ritualized wool looming. It takes a few different forms, but generally involves skepticism. Download our mobile app for on-the-go access to the Jewish Virtual Library. Seller Inventory MV. Zamyslov, Dokl. Our BookSleuth is specially designed for you. -
Download Detailseite
H-9005:H_ 30.01.2011 15:24 Uhr Seite 398 Berlinale 2011 Agnieszka Holland Hommage BITTERE ERNTE Armin Mueller-Stahl ANGRY HARVEST AMERE RECOLTE Bundesrepublik Deutschland 1985 Länge 105 Min. Format 35 mm, 1:1.37 Farbe Stabliste Regie Agnieszka Holland Buch Paul Hengge Agnieszka Agnieszka Holland Holland, nach dem Roman Biografie von Hermann Geboren am 28.11.1948 in Warschau. H. Field, Stanislaw Regiestudium an der Prager Film hoch - Mierzenski schule FAMU. In den 70er Jahren Kamera Jozef Ort-Snep Regis seurin an polnischen Theatern Kameraassistenz Christian Karp und beim Polnischen Fernsehen, Schnitt Barbara Kunze Regie assistentin bei Krzysztof Zanussi, Ton Gunther Kortwich Drehbücher für Andrzej Wajda. 1980 Elisabeth Trissenaar, Armin Mueller-Stahl Foto: Deutsche Kinemathek Musik Jörg Straßburger erster internationaler Kinoerfolg mit Bauten Werner Schwenke AKTORZY PROWINCJONALNI (PRO- Ausstattung Holger Scholz VINZSCHAUSPIELER). 1981 Emigration BITTERE ERNTE Kostüm Hannelore Wessel nach Paris. Hat seither Filme in Oberschlesien, 1943. Nachdem die Jüdin Rosa aus einem Güterzug und Regieassistenz Dorota Paciarelli Frankreich, Deutschland und den damit der Deportation in ein KZ entkommen ist, findet sie Unterschlupf bei Herstellungsltg. Peter Hahne USA realisiert. dem Bauer Leon. Er pflegt die verstörte Frau gesund. Doch Rosa weiß nicht, Produzent Artur Brauner wie sie ihren Retter einschätzen soll. Denn Leon ist zwar ein hilfsbereiter Co-Produzent Klaus-Dieter Biography Lehmann Born in Warsaw on 28.11.1948, she Mann, aber auch ein Kriegsgewinnler, -
Melbourne Cinémathčque | October 5
Melbourne Cinémathèque | October 5 - 19: ANGRY HARVEST - THE FILMS OF AGNIESZKA HOLLAND * * * The Melbourne Cinémathèque - Dedicated to screening rare & significant films from the history of international cinemaLike 766 HOME ABOUT SCREENINGS CTEQ ANNOTATIONS TICKETING & VENUE MEDIA & SUPPORT CONTACTS SPECIAL SEASONS OTHER SCREENINGS October 5 - 19 ANGRY HARVEST: THE FILMS OF AGNIESZKA HOLLAND Agnieszka Holland (1948-) was born to Jewish & Catholic heritage in the year that Stalinism seized the political reigns in Poland. Her mixed cultural heritage has affected a fearless honesty in Holland's beliefs & has provided much of the political force behind her filmmaking. Denounced by some as an anti-Semite but also honoured by Jewish associations, Holland's dissidence suggests a struggle with morality that most certainly stemmed from her parents: her mother, a Catholic, fought in the 1944 Warsaw Uprising & her father served in the Soviet Union's Red Army. Graduating from the Prague film academy in the early 1970s, she worked as an assistant director for Krzysztof Zanussi and Andrzej Wajda before starting her own directing career in the mid-'70s. Her intimate, committed & often critical work focused on both the world of art (filmmaking, theatre) & the daily grind of people in contemporary Poland. In 1981, after 2 of her key films were banned in her own country (Fever & A Lonely Woman), Holland escaped the political turmoil in Poland & went into exile in France, where she was able to continue making bold films with her trademark dark humour. Her often- gentle observations of the human condition & relationships are powerfully contrasted with an unapologetic desire to present everything as she sees it, without hesitation. -
San Francisco Cinematheque Program Notes
San Francisco Cinematheque Program Notes 1997 From the collection of the n z m o Prelinger v .Library t p San Francisco, California 2007 San Francisco Cinematheque 1997 Program Notes San Francisco Cinematheque 480 Potrero Avenue San Francisco, California 94110 Telephone: 415 558 8129 Facsimile: 415 558 0455 Email: [email protected] www.sfcinematheque.org San Francisco Cinematheque Director Steve Anker Associate Director Joel Shepard Associate Director/ Curator Irina Leimbacher Interim Managing Director Elise Hurwitz Program Note Book Producer Targol Mesbah Program Note Editors/ Coordinators Jeff Lambert Irina Leimbacher Steve Polta Smith Patrick Board of Directors Stefan Ferreira Oliver Marina McDougall Kerri Condron Sandra Peters Linda Gibson Julia Segrove-Jaurigui Elise Hurwitz Laura Takeshita Wendy Levy Program Co-Sponsers Castro Theatre San Francisco International Gay and Cine Accion Lesbian Film Festival National Asian American San Francisco International Film Telecommunications Association Festival (NAATA) San Francisco Museum of Modern Art New Langton Arts The Spiros Vyronis Center for the Pacific Film Archive Study of Hellenism Proyecto Contrasido por Vida Temenos, Inc. Roxie Theatre Verba Buena Center for the Arts San Francisco Art Institute Guest Curators and Co-Curators Robert Beavers Eduardo Morell and Mark Wilson Bruce Cooper Bruce and Amanda Posner Kathy Geritz Charlotte Pryce Jerome Hiler Janelle Rodriguez Ed Jones Daniel Schott and Charles Lofton Wendy Levy and Jay Rosenblatt Jerry Tartaglia Aline Mare Timoleon Wilkins -
Introdução Nas Últimas Três Décadas, O Cinema (A Produção Audiovisual
DOI: hr.v23i1.51438 DOSSIÊ UMA OUTRA HISTÓRIA: A “ESQUECIDA” NAÇÃO DO CINEMA DAS MULHERES (AN)OTHER HISTORY: THE “FORGOTTEN” NATION OF WOMEN’S CINEMA Sandra de Souza Machado [email protected] RESUMO: A produção audiovisual mundial é historicamente marcada pelo silenciamento em relação às mulheres e, em casos extraordinários como o da primeira produtora e diretora da História do Cinema, Alice Guy‐Blaché, pela omissão, proposital ou não, de historiadores e da crítica especializada. Somente ao longo das últimas duas ou três décadas, tem havido o esforço, especialmente por parte das críticas e teóricas feministas do cinema, no sentido de resgatar a história das produções audiovisuais das mulheres e os novos sentidos e pontos de vista que elas têm estabelecido nas produções, tanto para as grandes bilheterias como nos cinemas independentes e/ou autorais. Este artigo analisa as cineastas que formam pedras fundamentais das teorias e da história dos cinemas, com novos dados e estatísticas divulgados por institutos relacionados às mulheres no âmbito audiovisual. PALAVRAS CHAVE: História, Mulheres, Cinema. ABSTRACT: Worldwide audiovisual production has been historically marked by silencing women, even in extraordinary cases such as the first producer and director in film history: Alice Guy‐Blaché. Deliberate or not, historians and specialized critics omitted her name from film industry’s landmarks. Only over the last two or three decades, there has been an effort, especially by feminist film critics and theoreticians, to rescue the history of women's audiovisual productions and the new meanings and points of view they have established in film, both for the box office and the independent or authorial production.