Tom of Finland Jan

Total Page:16

File Type:pdf, Size:1020Kb

Tom of Finland Jan JAN 2018 GAZETTE ■ Vol. 46, No. 1 CHICAGO PREMIERE! Tom of Finland Jan. 5-18 Apocalypse Then: 164 N. State Street The Vietnam War on Film www.siskelfilmcenter.org CHICAGO PREMIERE! FILMMAKER VIA SKYPE! Tom2017, Dome Karukoski, Finland/Sweden, of 115 min. Finland With Pekka Strang, Lauri Tilkanen “One of the 10 best films of 2017... I hope it wins [the Oscar].”—John Waters TWO-WEEK RUN! This biopic explores the life behind the legend of Touko Laaksonen (Strang), who January 5—11 became world famous as Tom of Finland Fri., 1/5 at 6 pm; for his erotic drawings of hunky leather- Sat., 1/6 at 3 pm and 8 pm; clad men. The former army officer Sun., 1/7 at 5 pm; endures waves of 1950s-60s oppression Mon., 1/8 at 8 pm; that keep homosexuality illegal in Tue., 1/9 at 6 pm; Europe. His work reaches an apex in Wed., 1/10 at 8 pm; hedonistic Los Angeles, where acclaim Thu., 1/11 at 6 pm coincides with the challenge of the AIDS epidemic. Finland’s official 2018 January 12—18 Oscar submission. In Finnish, German, Fri., 1/12 at 7:45 pm; and English with English subtitles. DCP Sat., 1/13 at 8 pm; digital. (BS) Sun., 1/14 at 4:45 pm; Mon., 1/15 at 7:45 pm; On Sun., Jan. 7, director Dome Karukoski Tue., 1/16 at 7:45 pm; will be present via Skype for audience Wed., 1/17 at 7:45 pm; discussion. Thu., 1/18 at 6 pm The Thu., Jan. 11, screening is a Movie Club event (see p. 3). FIRST CHICAGO RUN! FILMMAKERS IN PERSON! God’sPRINCESS Own Country CYD 2017,2017, Francis Stephen Lee, Cone, UK, USA,104 min. 96 min. WithWith Josh Rebecca O’Connor, Spence, Alec Jessie Secareanu Pinnick, Malic White January 26— “An endearing, full-hearted comedy February 1 “Gorgeously shotof self-discovery and and mentorship engaging and Fri., 1/26 at 8 pm; froml ove.” beginning —Calum Marsh, to end...the Village Voice Sat., 1/27 at 3 pm; kind of gay film more people Sun., 1/28 at 5 pm; shouldIn this genial be making.” coming-of-age story, Cyd Mon., 1/29 at 7:45 pm; —Jude(Pinnick), Dry, an Indiewire adventurous sixteen-year- Tue., 1/30 at 8 pm; old and survivor of a childhood tragedy, Wed., 1/31 at 6 pm; Thecomes rugged to Chicago landscape to spend of North the summer Thu., 2/1 at 8:15 pm Yorkshirewith her auntframes Miranda a rough-edged (Spence), love a best- storyselling between author. two Chicago-based men faced with director a steepCone divide(HENRY of GAMBLE’S culture and BIRTHDAY resistance. JohnnyPARTY) (O’Connor), builds a warm, reluctant expansive, heir to and a hardscrabblegenerous world farm, around is prisoner his characters, to the needseach in of a the cycle land, of changehis ailing and father, discovery, and thefrom secret Cyd herself,that leads to herhim barista to drunken friend November 3—9 one-nightKatie (White), stands to stubbornlywith male strangers. celibate Fri., 11/3 at 8:15 pm; TheMiranda arrival with of Gheorge her host (Secareanu), of fascinating a Sat., 11/4 at 5:15 pm; skilledliterary Romanian friends. DCP hired digital. hand, (BS)brings a Sun., 11/5 at 3 pm; flood of resentment to the surface, but Tue., 11/7 at 6 pm; offersProducers a path Grace to redemptionHahn and actor when Malic the Wed., 11/8 at 8:15 pm; twoWhite young will be men present are thrown for audience together dis- Thu., 11/9 at 8:15 pm throughcussion on the Friday; harsh Hahncycle andof the producer seasons. DCPMadison digital. Ginsberg (BS) will be present on Saturday; and director Stephen Cone will be present on Wednesday and Thursday. 2 JAN 2018 164 North State Street. Tickets available at www.siskelfilmcenter.org. For more information, visit our website or call 312-846-2800. Gene Siskel Film Center MOVIE CLUB Everyone likes to talk about movies, so let’s keep the conversation going! Join us for the Gene Siskel Film Center Movie Club, which will include a post-screening conversation and a complimentary beverage. Thursday, January 11, 6:00 pm TOM OF FINLAND (See description on p. 2.) Facilitator TBD. FRIDAY 5 SATURDAY 6 2:00 LOVING VINCENT (Run), p. 4 3:00 TOM OF FINLAND (Run), p. 2 2:00 FACES PLACES (Run), p. 4 3:00 FACES PLACES (Run), p. 4 6:00 TOM OF FINLAND (Run), p. 2 4:45 WHITE SUN (Run), p. 5 6:00 WHITE SUN (Run), p. 5 5:15 LOVING VINCENT (Run), p. 4 7:45 FACES PLACES (Run), p. 4 6:30 BOBBI JENE (Stranger), p. 11 8:15 KEEP TALKING (Stranger), p. 11H 8:00 TOM OF FINLAND (Run), p. 2 8:30 WHITE SUN (Run), p. 5 TOM OF FINLAND, Jan. 5-18 DISCOUNT MATINEES FRIDAYS AT 2:00 PM! $8 GENERAL, $5 MEMBERS/STUDENTS SUNDAY 7 MONDAY 8 TUESDAY 9 WEDNESDAY 10 THURSDAY 11 12 13 3:00 LOVING VINCENT 6:00 LOVING VINCENT 6:00 TOM OF FINLAND 6:00 LOVING VINCENT 6:00 TOM OF FINLAND 2:00 ALL THE QUEEN’S HORSES (Run), p. 5 2:00 FOLLIES (NT Live), p. 9 (Run), p. 4 (Run), p. 4 (Run), p. 2 (Run), p. 4 (Run), p. 2 Movie Club 2:00 THE CRIME OF MONSIEUR LANGE (Run), p. 16 2:00 THE CRIME OF MONSIEUR LANGE (Run), p. 16 3:00 WHITE SUN (Run), p. 5 6:00 WHITE SUN (Run), p. 5 6:00 FACES PLACES (Run), 6:00 FACES PLACES (Run), 6:00 THE CRIME OF MONSIEUR LANGE (Run), p. 16 3:45 BIRDBOY (Run), p. 7 4:45 FACES PLACES (Run), 7:45 FACES PLACES (Run), p. 4 p. 4 6:00 WHITE SUN (Run), p. 5 6:00 TOKYO IDOLS (Stranger), p. 12 5:15 ALL THE QUEEN’S HORSES (Run), p. 5H p. 4 p. 4 7:45 LOVING VINCENT 7:45 WHITE SUN (Run), p. 5 7:45 LOVING VINCENT 7:45 TOM OF FINLAND (Run), p. 2 5:15 THE CHALLENGE (Stranger), p. 12 5:00 TOM OF FINLAND 8:00 TOM OF FINLAND (Run), p. 4 8:00 TOM OF FINLAND (Run), p. 4 7:45 BIRDBOY (Run), p. 7 6:45 BIRDBOY (Run), p. 7 (Run), p. 2H (Run), p. 2 8:15 BOBBI JENE (Stranger), (Run), p. 2 8:15 KEEP TALKING 8:00 TOM OF FINLAND (Run), p. 2 p. 11 (Stranger), p. 11H 8:15 THE CRIME OF MONSIEUR LANGE (Run), p. 16 14 15 16 17 18 19 20 3:00 ALL THE QUEEN’S 6:00 THE CRIME OF 6:00 THE CRIME OF 6:00 THE CRIME OF 6:00 TOM OF FINLAND 2:00 JANE (Run), p. 6 2:00 LA BELLE NOISEUSE (Special), p. 9 HORSES (Run), p. 5 MONSIEUR LANGE MONSIEUR LANGE MONSIEUR LANGE (Run), p. 2 2:00 LA BELLE NOISEUSE (Special), p. 9 3:00 BEUYS (Stranger), p. 12 3:00 THE CRIME OF (Run), p. 16 (Run), p. 16 (Run), p. 16 6:00 TOKYO IDOLS 6:00 JANE (Run), p. 6 5:15 THE SACRIFICE (Special), p. 8 MONSIEUR LANGE 6:00 THE CHALLENGE 6:00 BIRDBOY (Run), p. 7 6:00 BIRDBOY (Run), p. 7 (Stranger), p. 12 6:30 THE PASSION OF JOAN OF ARC (Run), p. 8 6:30 THE PASSION OF JOAN OF ARC (Run), p. 8 (Run), p. 16 (Stranger), p. 12 7:45 ALL THE QUEEN’S 7:45 ALL THE QUEEN’S 7:45 THE CRIME OF 7:45 THE SACRIFICE (Special), p. 8 8:00 JANE (Run), p. 6 4:45 TOM OF FINLAND 7:45 TOM OF FINLAND HORSES (Run), p. 5H HORSES (Run), p. 5H MONSIEUR LANGE 8:15 MY FRIEND DAHMER (Run), p. 7 8:15 MY FRIEND DAHMER (Run), p. 7 (Run), p. 2 (Run), p. 2 7:45 TOM OF FINLAND 7:45 TOM OF FINLAND (Run), p. 16 4:45 BIRDBOY (Run), 7:45 BIRDBOY (Run), p. 7 (Run), p. 2 (Run), p. 2 8:15 BIRDBOY (Run), p. p. 7 21 22 23 24 25 26 27 3:00 THE PASSION OF JOAN 6:00 THE PASSION OF JOAN 4:30 Oscar Nominations 6:00 MY FRIEND DAHMER 6:00 JANE (Run), p. 6 2:00 JANE (Run), p. 6 3:00 THE BREADWINNER (Run), p. 6 OF ARC (Run), p. 8H OF ARC (Run), p. 8 Panel (FREE!)H (Run), p. 7 6:00 THE PASSION OF JOAN 2:00 THE BREADWINNER (Run), p. 6 3:00 GOD’S OWN COUNTRY (Run), p. 2 3:00 JANE (Run), p. 6 6:30 THE SACRIFICE 6:00 JANE (Run), p. 6 6:30 THE SACRIFICE OF ARC (Run), p. 8 6:00 JANE (Run), p. 6 5:00 ALL THE RAGE (Special), p. 9H 5:00 NO DRESS CODE (Special), p. 8 6:00 BEUYS (Stranger), (Special), p. 8 7:45 NO DRESS CODE 6:00 SHADOWMAN (Stranger), p. 13 5:00 INDOCHINE (Apocalypse), p. 10 REQUIRED (Stranger), 7:45 JANE (Run), p. 6 p. 12 8:15 JANE (Run), p. 6 REQUIRED (Stranger), 8:00 ALL THE RAGE (Special), p. 9H 8:00 42 GRAMS (Stranger), p. 13H p. 12 8:00 THE PASSION OF JOAN p. 12 8:00 GOD’S OWN COUNTRY (Run), p. 2 8:00 JANE (Run), p. 6 5:00 MY FRIEND DAHMER OF ARC (Run), p. 8 8:00 MY FRIEND DAHMER (Run), p. 7 8:15 MY FRIEND DAHMER (Run), p.
Recommended publications
  • Full Dissertation
    UNIVERSITY OF CALIFORNIA SANTA! CRUZ ENCOUNTERING MEMORY AND TRAUMA: TRANSGENERATIONAL TRANSMISSION OF TRAUMA IN CAMBODIAN! AMERICANS A dissertation submitted in partial satisfaction! of the requirements for the degree of DOCTOR OF PHILOSOPHY! in! SOCIOLOGY! by! Yvonne Y.! Kwan June !2015 ! The Dissertation of Yvonne Y. Kwan is !approved: _________________________________ !Professor Dana Takagi, chair _________________________________ !Professor Hiroshi Fukurai _________________________________ ! Professor Kimberly Lau _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Table of Contents Table of Contents .........................................................................................................iii List of Figures ................................................................................................................v List of Tables .................................................................................................................vi Abstract .......................................................................................................................vii Acknowledgements ........................................................................................................ix Chapter 1: Introduction .................................................................................................1 Background ..............................................................................................................4 Critical
    [Show full text]
  • Delegates Guide
    Delegates Guide 15–20 March, 2019 Cultural Partners Supported by Friends of Qumra Media Partners Cover: ‘Six Months and One Day’, directed by Yassine Ouahrani 1 QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 13 Qumra Project Delegates 15 Industry Delegates 63 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Aya Al-Blouchi Quay Chu Anthea Devotta Mayar Hamdan Qumra Master Classes Development Qumra Industry Senior Qumra Shorts Coordinator Senior Coordinator Executive Coordinator Development Assistant Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Meriem Mesraoua Qumra Industry Qumra Talks Senior Qumra Pass Senior Grants Senior Coordinator Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Vanessa Paradis Majid Al-Remaihi Nina Rodriguez Alanoud Al Saiari Grants Coordinator Film Programming Qumra Industry Senior Qumra Pass Coordinator Assistant Coordinator Film Workshops & Labs Coordinator Wesam Said Rawda Al-Thani Jana Wehbe Ania Wojtowicz Grants Coordinator Film Programming Qumra Industry Senior Qumra Shorts Coordinator Assistant Coordinator Film Workshops & Labs Senior Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Head of Grants Qumra Industry Industry Advisor Manager Film Training Senior Manager 4 5 Qumra Masters Eugenio Caballero Kiyoshi Kurosawa In 2015 and 2016 he worked on the film ‘A at Cannes in 2003, ‘Doppelganger’ (2002), Monster Calls’, directed by J.A. Bayona, ‘Loft’ (2005), and ‘Retribution’ (2006), which earning him a Goya on his third nomination screened at that year’s Venice Film Festival.
    [Show full text]
  • 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
    [Show full text]
  • A Film by Catherine BREILLAT Jean-François Lepetit Présents
    a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”.
    [Show full text]
  • To Mark the 150Th Anniversary of the Birth of Matisse and the Upcoming
    To mark the 150th anniversary of the birth of Matisse and the upcoming exhibition of his work at the Pompidou Centre in Paris in 2020, this art documentary invites us to retrace the voyages Matisse made that influenced his art, especially his last trip to Polynesia in 1930, which took him to the threshold of contemporary art with the invention of his gouache-painted cut-outs. In 1930, at the age of 60, Matisse feels the call of the sea, the lure of elsewhere, one last time. He decides to embark on the longest possible journey: to the antipodes, to see Polynesia. The voyage to Tahiti takes several weeks, giving him time to look back on the distance he has travelled in his lifetime. He reflects on the many journeys that he, a man of the North searching for bright light and colours, has continually made throughout his life and career as a painter: to Corsica, Collioure and Nice, where he finally settled in 1917, but also to Algeria, Morocco and the United States. Each time, these trips have been a stepping stone to something else. His Corsican experience led him to Fauvism, his sojourn in Morocco to modern painting; Polynesia will permeate the last 25 years of his creative life and take him to the threshold of contemporary art. This lifelong artistic quest for other lights, colours and shapes has also, above all, been a search for himself that has driven him tirelessly and passionately to pursue the great journey of his life. Polynesia, the sea (1948) Note : The works presented in this dossier are all signed by Henri Matisse and their rights belong to Les Héritiers Matisse (© Succession H.
    [Show full text]
  • Interview Avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue
    Document generated on 09/26/2021 4:37 p.m. Protée Interview avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue Lumières Article abstract Volume 31, Number 3, hiver 2003 Among numerous anecdotes about what represents for us cult films like Le Mépris, À bout de souffle, Alphaville and Tirez sur le pianiste, Raoul Coutard – URI: https://id.erudit.org/iderudit/008441ar famous chief-operator of the “ nouvelle vague ”, photographer and director – DOI: https://doi.org/10.7202/008441ar evokes his work as a lighting engineer, and more particularly the technical and chemical constraints encountered during shooting. This highly technical See table of contents discussion points to, beyond the obvious limitations of the language to account for the light during shooting, how much the material constraints are generating meaningful and admirable luminous effects for their spectators. Publisher(s) Département des arts et lettres - Université du Québec à Chicoutimi ISSN 0300-3523 (print) 1708-2307 (digital) Explore this journal Cite this article Parais, P.-E. & Renoue, M. (2003). Interview avec Raoul Coutard. Protée, 31(3), 101–106. https://doi.org/10.7202/008441ar Tous droits réservés © Protée, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research.
    [Show full text]
  • Framing 'The Other'. a Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese.*
    Framing ‘the Other’. A critical review of Vietnam war movies and their representation of Asians and Vietnamese.* John Kleinen W e W ere Soldiers (2002), depicting the first major clash between regular North-Vietnamese troops and U.S. troops at Ia Drang in Southern Vietnam over three days in November 1965, is the Vietnam War version of Saving Private Ryan and The Thin Red Line. Director, writer and producer, Randall Wallace, shows the viewer both American family values and dying soldiers. The movie is based on the book W e were soldiers once ... and young by the U.S. commander in the battle, retired Lieutenant General Harold G. Moore (a John Wayne- like performance by Mel Gibson).1 In the film, the U.S. troops have little idea of what they face, are overrun and suffer heavy casualties. The American GIs are seen fighting for their comrades, not their fatherland. This narrow patriotism is accompanied by a new theme: the respect for the victims ‘on the other side’. For the first time in the Hollywood tradition, we see fading shots of dying ‘VC’ and of their widows reading loved ones’ diaries. This is not because the filmmaker was emphasizing ‘love’ or ‘peace’ instead of ‘war’, but more importantly, Wallace seems to say, that war is noble. Ironically, the popular Vietnamese actor, Don Duong, who plays the communist commander Nguyen Huu An who led the Vietnamese People’s Army to victory, has been criticized at home for tarnishing the image of Vietnamese soldiers. Don Duong has appeared in several foreign films and numerous Vietnamese-made movies about the War.
    [Show full text]
  • Gender and the Politics of Decolonization in Early 1960S French Cinema
    This is a repository copy of Gender and the politics of decolonization in early 1960s French cinema. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/142211/ Version: Accepted Version Article: Sharpe, M (2019) Gender and the politics of decolonization in early 1960s French cinema. Journal of European Studies, 49 (2). pp. 163-183. ISSN 0047-2441 https://doi.org/10.1177/0047244119837478 © 2019, The Author(s). This is an author produced version of an article published in the Journal of European Studies. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Gender and the politics of decolonization in early 1960s French cinema Erotophilic and politically sublimated are two barbs frequently mobilized to critique the imaginary of early 1960s French cinema. Erotophilic as, for the most part,
    [Show full text]
  • INTERNATIONAL CONFERENCE on PHILOSOPHY and FILM Thinking Reality and Time Through Film
    INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. …………………………………………………………………………….………….. 1 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. Thinking Reality and Time through Film Proceedings of the International Lisbon Conference on Philosophy and Film: PROGRAMME OVERVIEWS ABSTRACTS CV’S CONTACTS Edited by Susana Viegas …………………………………………………………………………….………….. 2 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. Thinking Reality and Time through Film Proceedings of the International Lisbon Conference on Philosophy and Film - 6-10 May of 2014 Conference Directors Christine Reeh José Manuel Martins Pedro Calafate Scientific Committee Christine Reeh Claudio Rozzoni José Manuel Martins Maria Teresa Teixeira Susana Viegas Toni Hildebrandt Organizing Comittee Ângela Marques Carla Simões Filipa Afonso Filipa Seabra Filipe Pinto Isabel Machado Joana Ferreira Held at the Faculty of Letters of the University of Lisbon, National Library, Portuguese Film Museum and the Goethe-Institut Lissabon. Organized by the Centro de Filosofia da Universidade de Lisboa in collaboration with C.R.I.M. Productions, and the Goethe Institut Lissabon. Sponsored by Fundação para a Ciência e a Tecnologia. …………………………………………………………………………….………….. 3 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….
    [Show full text]
  • The Missing Picture1
    THE MISSING PICTURE1 WRITTEN AND DIRECTED BY RITHY PANH Texte Christophe Bataille Produced by Catherine Dussart (CDP) and Bophana Production Rithy Panh Publisher Editions Grasset In Cambodia’s first Oscar-nominated film, Rithy Panh uses clay figures, archival footage and voice- over narration to tell a deeply personal story: “For many years, I have been looking for the missing picture: a photograph taken between 1975 and 1979 by the Khmer Rouge when they ruled over Cambodia...On its own, of course, an image cannot prove mass murder, but it gives us cause for thought, prompts us to meditate, to record History. I searched for it vainly in the archives, in old papers, in the country villages of Cambodia. Today I know: this image must be missing. I was not really looking for it; would it not be obscene and insignificant? So I created it. What I give you today is neither the picture nor the search for a unique image, but the picture of a quest: the quest that cinema allows.” ENGLISH COMMENTARY/VOICE OVER21 In the middle of life, childhood returns. The water is sweet, and bitter. 1 Courtesy of Editions Grasset and Catherine Dussart (CDP). The Missing Picture won the Un Certain Regard prize at the 2013 Cannes International Film Festival, the Grand Jury Award at the Cinemanila International Film Festival, and was nominated for Best Foreign Language Film at the 86th Academy awards (2014). In 2013 Rithy Panh was awarded Asian Filmmaker of the Year at the Busan International Film Festival. 2 English translation Letitia Farris Toussaint with the voice of Jean-Baptiste Phou.
    [Show full text]
  • 1 Rapport D'activité 2010
    Rapport d’activité 2010 RAPPORT D’ACTIVITÉ 2010 Rapport d’activité 2010 TABLE DES MATIERES Editorial ....................................................................................................................................................................... 3 I LES ACTIVITES PROPOSEES AU PUBLIC EN 2010..........................................................................................5 1 La programmation des films ................................................................................................................................ 6 2 Les expositions.................................................................................................................................................. 10 3 L’action culturelle............................................................................................................................................... 12 4 La Bibliothèque du film ...................................................................................................................................... 20 5 La Librairie et le restaurant................................................................................................................................ 22 6 Les invités de la Cinémathèque ........................................................................................................................ 23 II LES COLLECTIONS............................................................................................................................................25 1 Enrichissement
    [Show full text]
  • Venice Gap Financing-Market
    VENICE GAP – FINANCING MARKET BOOK OF PROJECTS FICTION AND DOCUMENTARY FEATURE FILMS VR, INTERACTIVE, WEB AND TV SERIES 01 – 03.09.2017 www.labiennale.org VENICE GAP– FINANCING MARKET BOOK OF PROJECTS FICTION AND DOCUMENTARY FEATURE FILMS VR, INTERACTIVE, WEB AND TV SERIES 74. Mostra Internazionale d’Arte Cinematografica Cinema Department Director Venice Gap-Financing Market La Biennale di Venezia Alberto Barbera VR, Interactive, Web and its collaborators and TV Series for Book of Projects The Venice Production Bridge welcomes the Cinema Department Valentina Bellomo th Managing Director Consultants Erika Giorgianni 47 selected teams and their projects to the 4 Luigi Cuciniello Lucas Rosant Elena Mantoan Eva Morsch Kihn Chiara Marin Venice Production Bridge Sara Mazzucchi edition of the Venice Gap-Financing Market Pascal Diot Collaborators Alessandro Mezzalira Savina Neirotti Violetta Bava Nikolas Montaldi Paolo Bertolin Since last year, the Venice Gap-Financing Market has expanded to host a larger number of projects [email protected] Matthieu Darras across different audiovisual forms. A total of 47 projects have been selected for this years' edition: www.labiennale.org Giacomo Durzi Francesco Giai Via feature fiction and documentary films, TV & web series and VR films. Elena Pollacchi Michel Reilhac Our hope was that this would bring variety, diversity, and the possibility for many decision makers that Liz Rosenthal were usually working only in one field to crossover to another, building bridges – as the new name of Jane Williams the Venice market suggests. We are proud to say that this has happened – and that in addition to the many feature films that in the past 3 years have closed their financing here in Venice and have then gone on to premiere at festivals worldwide, we can also celebrate the completion of documentaries, web series and virtual reality films.
    [Show full text]