The Illusionist
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The Brock Review Volume 10 (2008) © Brock University Greenscape as Screenscape: The Cinematic Urban Garden 1 Nina Gerlach Ruprecht-Karls-Universität Heidelberg Abstract : The relationship between city and garden appears in many feature films in order to visualize narrative dualisms. In particular, the character of the boundary - as a fundamental medial characteristic of gardens - determines the meaning of the represented space. According to the Western representation of ideal places and the historically-developed antagonism of city and garden, the boundary defines the latter as the diametrically opposed utopian antithesis to urban life. This antagonism is used, for example, in The Garden of the Finzi-Continis (1970) in the political context of World War II, or as in Being There (1979), embedded in a philosophical discourse centered on Voltaire and Sartre. The dystopian city of Los Angeles in Ridley Scott’s Blade Runner (1982) lacks space not only for gardens, but for any natural environment in general. The only garden that remains, exists as a kind of Paradise Lost , a placeless topos with a unicorn, banished into and limited by the world of imagination of the protagonist. As this example indicates, the cinematic garden and particularly the more specialized topic of the relationship between the garden and the city within cinema is still an under-examined realm of the research of garden history.2 In cinematic genres where the city is usually presented as the essential character -- such as in Neorealism, Film Noir, and dystopian science fiction -- garden space is hardly discovered. 3 These types of films frequently transport an extremely negative connotation of the city. -
Sidvd504 Musicspectr
Music Spectrum Page 5 of 23 death: “Dear God, take him, take them, take anyone, the stillborn, the newborn, the NorthernBlue infirm, take anyone, take people from Pittsburgh, Pennsylvania, just spare me.” Most of us 95North Reco wouldn’t say it out loud, but Morrissey outs our true sinister thoughts that pass through Or Music our brains. Palm Pictures Parasol Planetary Gro The Smiths: Under Review, An Provident Lab Independent Critical Analysis Righteous Ba The traditional topics in any Smiths Rhino biography are all covered here: the band Rough Trade name, traditional four piece lineup, Runway Netw ambiguous nature of Morrissey’s Ryko Music sexuality, being a household name in the Salt Lady Re UK (but not the U.S.), “Suffer Little Sanctuary Re Children” (Moors murders), album sleeves, singles slump, role of Mike Joyce Sounds Fami and Andy Rourke, reluctance to do videos Special Ops M in MTV era, Craig Gannon, and the split. Team Clermo However, while some of the information Theory 8 Rec may not be new, because The Smiths: Telarc Under Review, An Independent Critical Analysis is a video documentary, it is a comforting Transmit Sou companion for any Smiths fan or seeker. TVT Records Unschooled Having never attended a Smiths Convention http://www.musicconventions.com/, and Vanguard Re having very few close friends who are Smiths fans, sitting and watching so many writers, Wampus Rec musicians, and people in the circle discuss what the Smiths meant and mean is like Warp Record discovering that you’re not alone. Others have also spent hours thinking about why this Wind-up Rec band affected them so much. -
Aztec Camera: Discography Albums Articles Audio B-Sides Discography Guestbook Tabs Images Info Links Search Home
Aztec Camera: Discography albums articles audio b-sides discography guestbook tabs images info links search home Discography & Videography Thanks to Phillip Gauthier, Roger Boge and the Aztec Camera Information Service. Just Like Gold January 1981 Just Like Gold ( Lyrics | Audio ) Postcard Catalog # 81-3 U.K. 7 inch We Could Send Letters ( Lyrics ) Mattress of Wire May 1981 ( Sleeve ) Postcard Catalog # 81-8 ( Lyrics | Audio ) U.K. 7 inch Mattress of Wire Lost Outside the Tunnel ( Lyrics ) Pillar to Post September 1982 ( Sleeve ) Rough Trade # RT 112 ( Lyrics ) U.K. 7 inch Pillar to Post Queens Tattoos ( Lyrics ) http://www.aoinfo.com/aztec/html/disc.htm (1 of 14) [1/29/2000 5:34:54 PM] Aztec Camera: Discography Rough Trade # RT 112P [ picture disc ] U.K. 7 inch Oblivious January 1983 Oblivious ( Lyrics ) Rough Trade # RT 122 U.K. 7 inch Orchid Girl ( Lyrics ) Rough Trade # RT 122T Oblivious (remix) Sire # 020219 Orchid Girl U.K. 12 inch Haywire ( Lyrics ) Walk Out to Winter April 1983 Walk Out to Winter ( Lyrics ) Rough Trade # RT 132 U.K. 7 inch Set the Killing Free ( Lyrics ) Rough Trade # RT 132T Walk Out to Winter (extended remix) U.K. 12 inch Set the Killing Free High Land, Hard Rain April 1983 U.K. LP Rough Trade # 47 See ( Info ) for track listings, lyrics, performers, etc. ( Info ) U.S. LP Sire U.K. CD Rough Trade CD adds the following tracks: U.S. CD Sire Haywire, Orchid Girl and Queens Tattoos Oblivious (second release) October 1983 Oblivious (remix) WEA # AZTEC 1 U.K. -
Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
The Triplets of Belleville Online Resources
BENOÎT CHAREST’S THE TRIPLETS OF BELLEVILLE Links to resources and lesson plans related to Benoît Charest’s film score for The Triplets of Belleville. Alexei Nechytaylo: Triplets of Belleville: Portfolio http://www.alexeinechytaylo.com/triplets.html Alexei painted a large proportion of the backgrounds for the film. He also executed the hand painted CG textures. AllMusic: The Triplets of Belleville (Original Soundtrack) / Belleville Rendez-Vous (Original Soundtrack) http://www.allmusic.com/album/the-triplets-of-belleville-mw0000695725 http://www.allmusic.com/album/belleville-rendez-vous-original-soundrack-mw0000460108 Soundtrack for Sylvain Chomet's film "Les Triplettes de Belleville" (2003). Music composed by Benoît Charest. Animation Studio Pascal Blais: La Vieille Dame et les Pigeons - Sylvain Chomet http://www.penguinreaders.com/pdf/downloads/par/level2/TN-TheSecretGarden.pdf Sylvian Chomet’s first animated film, “Old Lady and the Pigeons” (1997) English with french subtitles Animation World Network: Sylvain Chomet’s The Triplets of Belleville http://www.awn.com/animationworld/sylvain-chomet-s-triplets-belleville Philippe Moins uncovers the animated manifesto behind Sylvain Chomet’s The Triplets of Belleville, and the directors future plans and desires. Benoît Charest http://www.benoitcharest.com/ Official website for Benoît Charest, Musician and composer / Musicien et compositeur Bulb: Ben Charest: How music can set you free https://www.bulbapp.com/u/ben-charest-how-music-can-set-you-free Featuring conceptual sketches and models and SoundCloud recordings of invented instruments for Charest’s Mars et Avril. Cartoon Brew: A Behind-The-Scenes Look At Sylvain Chomet’s ‘Simpsons’ Opening http://www.cartoonbrew.com/tv/a-behind-the-scenes-look-at-sylvain-chomets-simpsons-opening-98434.html A making-of video of the French Simpson family, courtesy of the production company that produced the opening, London-based th1ng Common Sense Media: The Triplets of Belleville https://www.commonsensemedia.org/movie-reviews/the-triplets-of-belleville Rated: PG-13. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Bread Loaf School of English2016
BREAD LOAF SCHOOL 2016 COURSE OF ENGLISH CATALOG SUMMER 2016 1 SUMMER 2016 SESSION DATES VERMONT READ THE Arrival and registration . June 21 Classes begin . June. 22 Classes end . August. 2 Commencement . August. 6 WORLD At Bread Loaf, we engage and inspire innovative thinkers who, NEW MEXICO Arrival and registration . June 18–19 through the interpretation of literary and critical texts, Classes begin . June. 20 contribute creative thought, write persuasive and original arguments, Classes end . July . 28 and use relevant emerging technologies to develop effective Commencement . July. 30 teaching and learning practices. OXFORD Arrival . June 27 Registration . June . 28 Classes begin . June. 29 IN A WHOLE Classes end . August. 5 Commencement . August. 6 NEW WAY 2 BLSE SUMMER 2016 1 WELCOME TO BREAD LOAF WHERE YOU'LL FIND ■ A community of engaged students eager to immerse themselves in rigorous graduate study with leading faculty from eminent colleges and universities across the U .S . and U .K . ■ The opportunity to work closely with faculty and fellow students . ■ Innovative, place-based learning oppor- tunities at three culturally distinctive campuses . IMMERSIVE UNIQUE INNOVATIVE The six-week summer schedule allows working Courses at Bread Loaf’s three campuses in Students have access to major libraries; state- ■ A one-of-a-kind chance to refresh and professionals to pursue graduate education. Vermont, New Mexico, and Oxford, England, of-the-art digital tools for research, writing, and recharge your imagination in a collabo- The full-time residential experience encourages link education to place and give students unpar- teaching; and membership in the nationally rative environment for six uninterrupted students to immerse themselves in curricular alleled access to diverse cultural experiences. -
Les Triplettes De Belleville (The Triplets of Belleville) That Later Became the TRIPLETS of BELLEVILLE for the English Version
THE TRIPLETS OF BELLEVILLE 2004 Academy Award Nominee - Best Animated Feature Film, Best Song 2003 Telluride Film Festival 2003 Toronto International Film Festival 2003 Boston Film Festival 2003 Chicago International Film Festival 2003 AFI Film Festival A Sony Pictures Classics Release 80 minutes, Rated PG-13 by the MPAA EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS SHANNON TREUSCH MELODY KORENBROT CARMELO PIRRONE 850 SEVENTH AVENUE, ZIGGY KOSLOWSKI ANGELA GRESHAM SUITE 1005 8271 MELROSE AVENUE, 550 MADISON AVENUE, NEW YORK, NY 10024 SUITE 200 8TH FLOOR PHONE: (212) 445-7100 LOS ANGELES, CA 90046 NEW YORK, NY 10022 FAX: (212) 445-0623 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (323) 655-7302 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com Synopsis Adopted by his grandmother, Madame Souza, Champion is a lonely little boy. Noticing that the lad is never happier than on a bicycle, Madame Souza puts him through a rigorous training process. Years go by and Champion becomes worthy of his name. Now he is ready to enter the world-famous cycling race, the Tour de France. However during this cycling contest two mysterious men in black kidnap Champion. Madame Souza and her faithful dog Bruno set out to rescue him. Their quest takes them across the ocean to a giant megalopolis called Belleville where they encounter the renowned "Triplets of Belleville," three eccentric female music-hall stars from the ‘30s who decide to take Madame Souza and Bruno under their wing. Thanks to Bruno's brilliant sense of smell, the brave duo are soon on to Champion's trail. -
Dossier De Presse RELATIONS PRESSE
RELATIONS PRESSE Alice Dekker Dossier de presse Tél. 06 16 58 21 60 [email protected] Avec le parrainage exceptionnel de Pierre Richard Illustration David Merveille Du 29 avril au 1er octobre, Sainte-Sévère-sur-Indre, le village de Jour de fête, célèbre les 70 ans du film de Jacques Tati Programme 2017 Pierre Richard, parrain des 70 ans Sainte-Sévère célèbre les 70 ans de Jour de fête Grand admirateur de Jacques Tati, très inspiré, lui Sous le parrainage exceptionnel de Pierre Richard aussi, par le cinéma burlesque, Pierre Richard s’est et en présence de Jérôme Deschamps toujours plu à interpréter des personnages rêveurs et gaffeurs. On aura d’ailleurs la chance de revoir, 29 avril 30 avril le samedi 30 avril, le Distrait, film de1970 dont il • 14h Ouverture par les Diablotins Sévérois • 14h ouverture par les Diablotins Sévérois est acteur et réalisateur. L’on pourra également as- (société musicale) • 15h au Cinémobile, sister à la projection du documentaire de Jérémie en présence de Pierre Richard: Bruno Tocaben • 15 h inauguration du manège sous le parrainage Paris pieds nus, un film réalisé par Dominique Abel et Imbert et Yann Marchet, Pierre Richard, l’art du exceptionnel de Pierre Richard Fiona Gordon. Compte tenu du faible nombre de places, our célébrer le soixante-dixième anniversaire déséquilibre, consacré à l’interprète du Grand Blond • à 16h et 18h, au Cinémobile, projection de deux il est conseillé de réserver du tournage de Jour de fête de Jacques Tati, avec une chaussure noire. Et, cerise sur le gâteau, on versions de Jour de fête (version noir et blanc de 1949 et • 16h30 salle Sophie Tatischeff, À l’américaine, P le célèbre comédien français Pierre Richard pourra découvrir, en première exclusivité dans la version couleur de 1995) documentaire de Stéphane Goudet nous fera l’honneur de parrainer l’événement. -
Simon Travers Roddy
Simon Travers www.stackhousejones.com Roddy Frame, the Prophets and Brexit. I was a remainer. The night after the vote, I was out at an open mic night on Mutley Plain. I drank Old Rosie cider and struggled to remember my words. Walking home, my sadness was that Brexit felt like divorce. I had my headphones with me, so I found 'Over My Head' by Aztec Camera on You Tube. You probably won't know this song. It's from an album called Stray that came out in October 1990. I may be making this up, but I think I bought that album on a French exchange trip. I definitely remember hearing the lead single 'Good Morning Britain' on the video jukebox they had on the ferry. I put 'Epic' by Faith No More on the video jukebox. I was very rock at the time and heroically hopeless at talking to girls. But 'Over My Head' is not very rock. It's Roddy Frame's attempt at a jazz standard ballad. It's the wrong song on the wrong album; the follow up album that didn't sell as well; the album that in hindsight, comes nowhere close to Hats by The Blue Nile which came out a year before. Yet, it is a part of the soundtrack of my life, a song that in my head signifies divorce. When my mum and dad separated finally the following summer of 1991, my mum said that we should have one more family meal before my dad left home, an orderly retreat. -
Janus Films Presents
JANUS FILMS PRESENTS NEW 35MM PRINTS – NEW RESTORATION! http://www.janusfilms.com/hulot Director: Jacques Tati JANUS FILMS Country: France Sarah Finklea Year: 1953 Ph: 212-756-8715 Run time: 88 minutes [email protected] B&W / 1.37 / mono / unrated M. HULOT’S HOLIDAY SYNOPSIS While on holiday at a seaside resort, Monsieur Hulot – Jacques Tati’s endearing, pipe-smoking clown – finds his presence provoking one catastrophe after another. A wildly funny satire of vacationers determined to enjoy themselves, the first entry in the Hulot series includes a series of brilliantly choreographed sight gags about boats, dogs, tennis, and other hazards of leisure. Janus Films is proud to present this masterpiece of gentle slapstick in a new restoration. The restoration of M. Hulot's Holiday, fully funded and managed by Fondation Groupama Gan and Thomson Foundation with Les Films de Mon Oncle (rights owners), has been made at Technicolor Creative Services (Thomson) in Los Angeles with the support of Cinémathèque française. M. HULOT’S HOLIDAY ABOUT THE RESTORATION from American Cinematographer, September 2009 issue This year’s Festival de Cannes saw the début of a newly restored edition of M. Hulot’s Holiday (Les Vacances de Monsieur Hulot), the wistful comedy written and directed by Jacques Tati, who also stars as the nearly silent title character, who goes to a seaside resort for an odd, surreal, slightly melancholy holiday. Tati himself revisited the movie several times over the course of two and a half decades. M. Hulot’s Holiday was originally shot in 1951/1952, in Saint-Marc-sur- Mer, a small French resort on the coast of the Atlantic.