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5.3 Post-Cinematic Atavism
5.3 Post-Cinematic Atavism BY RICHARD GRUSIN In June 2002, for a plenary lecture in Montreal at the biennial Domitor conference on early cinema, I took the occasion of the much-hyped digital screening of Star Wars: Episode II–Attack of the Clones (George Lucas, 2002) to argue that in entering the 21st century we found ourselves in the “late age of early cinema,” the more than century-long historical coupling of cinema with the sociotechnical apparatus of publicly projected celluloid film (“Remediation”). Two years later, in a lecture at a conference in Exeter on Multimedia Histories, I developed this argument in terms of what I called a “cinema of interactions,” arguing that cinema in the age of digital remediation could no longer be identified with its theatrical projection but must be understood in terms of its distribution across a network of other digitally-mediated formats like DVDs, websites, games, and so forth—an early call for something like what now goes under the name of “platform studies” (“DVDs”). In his recent book on “post-cinematic affect” Steven Shaviro has picked up on this argument in elaborating his own extremely powerful reading of the emergence of a post-cinematic aesthetic (70). I want to return the favor here to take up what I would characterize as a kind of “post-cinematic atavism” that has been emerging in the early 21st century as a counterpart to the aesthetic of post-cinematic affectivity that Shaviro so persuasively details. Sometimes considered under the name of “slow cinema” or “the new silent cinema” (or, as | 1 5.3 Post-Cinematic Atavism Selmin Kara puts it, “primordigital cinema”), post-cinematic atavism is not limited to art- house or independent films. -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
Dedicato a Morando Morandini Incontri
dedicato a Morando Morandini La crème de la crème Cosa dire di questa edizione di Cannes, annunciata in pompa magna per caso (e il fiuto) hanno aiutato a selezionare film dall’interessante in su, anche festeggiare il suo settantesimo compleanno? Per lo meno che ha avuto alti perché a quelli del concorso si sono aggiunte molte opere delle altre sezioni, e bassi, anche perché festival di soli capolavori ormai esistono solo nella quest’anno di ottimo livello. Tra gli appuntamenti da non perdere ci sono si- fantasia di pochi visionari. Eppure la fortuna di una manifestazione come curamente i film italiani – L’ i n t r u s a di Di Costanzo e Dopo la guerra della Zam- quella organizzata dall’AGIS lombarda e dal Comune di Milano con la colla- brano – poi il Grand Prix Speciale della Giuria 120 battements par minute e il borazione del Corriere della Sera è di poter scegliere presentando solo una Premio della Giuria Loveless, e dalla Quinzaine il Garrel de L’Amant d’un jour. selezione di film – la crème de la crème - e in questo modo evitando titoli Ma le belle sorprese non si fermano qui. poco o niente interessanti. Una bella differenza dai poveri critici costretti per dodici giorni a sorbirsi tutto quello che c’era in cartellone! A Milano, invece, il Paolo Mereghetti Incontri Mercoledì 14 giugno | ore 18.00 | Sala Buzzati Corriere della Sera Giovedì 22 giugno | ore 20.10 | Anteo spazioCinema Paolo Mereghetti e Bruno Fornara presentano il programma della manifestazione. In occasione della proiezione di CUORI PURI, in un’edizione appositamente predisposta Saranno presenti Leonardo Di Costanzo, Bruno Oliviero e Carlotta Cristiani, per favorire la partecipazione anche degli spettatori con disabilità uditive e visive, rispettivamente regista, sceneggiatore e montatrice del film L’ I N T R U S A . -
Editor Recommended Texts Here Are Some Ideas for Texts and Films That
Editor recommended texts Here are some ideas for texts and films that our language editors have recommended. These are just suggestions though so if there is a particular author or film you would rather look at, you may do so! English translations can be found in libraries and online bookstores but we encourage giving the texts in their original versions a go too - especially for 6th form submissions! Many of the films can be found online (Amazon, Mubi, Youtube, Netflix) or can be bought on DVD. FRENCH o TEXTS: Monsieur Ibrahim et les fleurs du coran, Eric Schmitt Stupeur et tremblements, Amélie Nothomb Le Petit Prince, Antoine de Saint Exupéry Boule de Suif, Guy de Maupassant Oran, langue morte Assia Djebar (collection of short stories) Le Silence de la mer, Vercors (Jean Bruller) (A-level) Candide, Voltaire (A-Level) o FILMS: Entre les murs, Laurent Cantet (15) https://www.imdb.com/title/tt1068646/ Portrait de la jeune fille en feu, Céline Sciamma (15) https://www.imdb.com/title/tt8613070/ Stupeur et tremblements, Alain Corneau (12A) https://www.imdb.com/title/tt0318725/ Les misérables (2019), Ladj Ly (15) https://www.imdb.com/title/tt10199590/?ref_=tt_pg Amélie, Jean-Pierre Jeunet (15) https://www.imdb.com/title/tt0211915/?ref_=tt_pg Populaire, Régis Roinsard (12A) https://www.imdb.com/title/tt2070776/ Les Choristes, Christophe Barratier (12A) https://www.imdb.com/title/tt0372824/?ref_=fn_al_tt_1 Kirikou et les bêtes sauvages, Michel Ocelot, Bénédicte Galup (U) https://www.imdb.com/title/tt0455142/?ref_=fn_al_tt_1 -
The Honorable Mentions Movies – LIST 3
The Honorable mentions Movies – LIST 3: 1. Modern Times by Charles Chaplin (1936) 2. Pinocchio by Hamilton Luske et al. (1940) 3. Late Spring by Yasujirō Ozu (1949) 4. The Virgin Spring by Ingmar Bergman (1960) 5. Charade by Stanley Donen (1963) 6. The Soft Skin by François Truffaut (1964) 7. Who's Afraid of Virginia Woolf? by Mike Nichols (1966) 8. Dog Day Afternoon by Sidney Lumet (1975) 9. Love Unto Death by Alain Resnais (1984) 10. Kiki's Delivery Service by Hayao Miyazaki (1989) 11. Bram Stoker's Dracula by Francis Ford Coppola (1992) 12. Léon: The Professional by Luc Besson (1994) 13. Princess Mononoke by Hayao Miyazaki (1997) 14. Fight Club by David Fincher (1999) 15. Rosetta by Jean-Pierre Dardenne, Luc Dardenne (1999) 16. The Ninth Gate by Roman Polanski (1999) 17. O Brother, Where Art Thou? by Ethan Coen, Joel Coen (2000) 18. The Return Andrey Zvyagintsev (2003) 19. The Sea Inside by Alejandro Amenábar (2004) 20. Broken Flowers by Jim Jarmusch (2005) 21. Climates by Nuri Bilge Ceylan (2006) 22. The Prestige by Christopher Nolan (2006) 23. The Class by Laurent Cantet (2008) 24. Mother by Bong Joon-ho (2009) 25. Shutter Island by Martin Scorsese (2010) 26. The Tree of Life by Terrence Malick (2011) 27. The Artist by Michel Hazanavicius (2011) 28. Melancholia by Lars von Trier (2011) 29. Hugo by Martin Scorsese (2011) 30. Twice Born by Sergio Castellitto (2012) 31. August Osage county by John Wells (2013) 32. 12 Years a Slave by Steve McQueen (2013) 33. The Best Offer by Giuseppe Tornatore (2013) 34. -
Press Kit the CAPTAIN Film by Robert
Press kit THE CAPTAIN DER HAUPTMANN – Original title Written and directed by Robert Schwentke Produced by Filmgalerie 451 Saarbrücker Straße 24, 10405 Berlin Tel. +49 (0) 30 - 33 98 28 00 Fax +49 (0) 30 - 33 98 28 10 [email protected] www.filmgalerie451.de In co-production with Alfama Films and Opus Film THE CAPTAIN / DER HAUPTMANN directed by Robert Schwentke World Premiere at Toronto International Film Festival — Special Presentations Screening dates Press & Industry 1 09/07/17 3:00PM Scotiabank 14 (307) DCP 4K (D-Cinema) Public 1 09/09/17 3:15PM TIFF Bell Lightbox DCP 4K (D-Cinema) Cinema 1 (523) Public 2 09/11/17 4:15PM Scotiabank 10 (228) DCP 4K (D-Cinema) Press & Industry 2 09/13/17 11:30AM Scotiabank 8 (183) DCP 4K (D-Cinema) Public 3 09/16/17 3:30PM Scotiabank 14 (307) DCP 4K (D-Cinema) Press contact in Toronto Sunshine Sachs: Josh Haroutunian / [email protected] o: 323.822.9300 / c: 434.284.2076 Press photos Press photos you will get on our website (press) with the password: willkommen www.filmgalerie451.de World Sales Alfama Films www.alfamafilms.com Table of contents – Synopsis short – Synopsis long – Biography Robert Schwentke – Filmography Robert Schwentke – Director’s statement – Interview with director Robert Schwentke about THE CAPTAIN – Film information – Credits – About the Cast – Background information THE CAPTAIN – Willi Herold, a German life — The true story behind THE CAPTAIN – Nazi perpetrator, center-stage — by Olaf Möller 2 THE CAPTAIN / DER HAUPTMANN directed by Robert Schwentke Synopsis short In the last, desperate moments of World War II, a young German soldier fighting for survival finds a Nazi captain’s uniform. -
Visit Imdb.Com for Up-To-The-Minute Academy Award Updates, and View
NOMINEES FOR THE 84th ANNUAL ACADEMY AWARDS Best Motion Picture of the Year Best Animated Feature Film Best Achievement in Sound Mixing The Artist (2011): Thomas Langmann of the Year The Girl with the Dragon Tattoo (2011): David Parker, The Descendants (2011): Jim Burke, Alexander Payne, A Cat in Paris (2010): Alain Gagnol, Jean-Loup Felicioli Michael Semanick, Ren Klyce, Bo Persson Jim Taylor Chico & Rita (2010): Fernando Trueba, Javier Mariscal Hugo (2011/II): Tom Fleischman, John Midgley Extremely Loud and Incredibly Close (2011): Scott Rudin Kung Fu Panda 2 (2011): Jennifer Yuh Moneyball (2011): Deb Adair, Ron Bochar, The Help (2011): Brunson Green, Chris Columbus, Puss in Boots (2011): Chris Miller David Giammarco, Ed Novick Michael Barnathan Rango (2011): Gore Verbinski Transformers: Dark of the Moon (2011): Greg P. Russell, Hugo (2011/II): Graham King, Martin Scorsese Gary Summers, Jeffrey J. Haboush, Peter J. Devlin Midnight in Paris (2011): Letty Aronson, Best Foreign Language Film War Horse (2011): Gary Rydstrom, Andy Nelson, Tom Stephen Tenenbaum of the Year Johnson, Stuart Wilson Moneyball (2011): Michael De Luca, Rachael Horovitz, Bullhead (2011): Michael R. Roskam(Belgium) Best Achievement in Sound Editing Brad Pitt Footnote (2011): Joseph Cedar(Israel) The Tree of Life (2011): Nominees to be determined In Darkness (2011): Agnieszka Holland(Poland) Drive (2011): Lon Bender, Victor Ray Ennis War Horse (2011): Steven Spielberg, Kathleen Kennedy Monsieur Lazhar (2011): Philippe Falardeau(Canada) The Girl with the Dragon Tattoo -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
Labyrinth of Lies
Presents Labyrinth of Lies Directed by Giulio Ricciarelli 123 Mins | Germany | Language: German Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com 1 LABYRINTH OF LIES Starring Johann Radmann ALEXANDER FEHLING Thomas Gnielka ANDRE SZYMANSKI Marlene Wondrak FRIEDERIKE BECHT Simon Kirsch JOHANNES KRISCH Erika Schmitt HANSI JOCHMANN Otto Haller JOHANN VON BULOW Walter Friedberg ROBERT HUNGER-BUHLER Hermann Langbein LUKAS MIKO Fritz Bauer GERT VOSS Filmmakers Director GIULIO RICCIARELLI Screenplay ELIZABETH BARTEL GIULIO RICCIARELLI Producers ULI PUTZ SABINE LAMBY JAKOB CLAUSSEN Cinematography MARTIN LANGER ROMAN OSIN Editing ANDREA MERTENS Set Design MANFRED DORING Costume Design AENNE PLAUMANN Original Sound GUNTHER GRIES Sound Mix FRIEDRICH M. DOSCH Casting AN DORTHE BRAKER LOGLINE Frankfurt 1958: nobody wants to look back to the time of the National Socialist regime. Young public prosecutor Johann Radmann comes across some documents that help initiate the trial against some members of the SS who served in Auschwitz. But both the horrors of the past and the hostility shown towards his work bring Johann close to a meltdown. It is nearly impossible for him to find his way through this maze; everybody seems to have been involved or guilty. SHORT SYNOPSIS Germany 1958. Reconstruction, economic miracle. Johann Radmann (Alexander Fehling) has just recently been appointed Public Prosecutor and, like all beginners, he has to content himself with boring traffic offenses. When the journalist Thomas Gnielka (André Szymanski) causes a ruckus in the courthouse, Radmann pricks up his ears: a friend of Gnielka's identified a teacher as a former Auschwitz guard, but no one is interested in prosecuting him. -
Post-Cinematic Atavism 2016
Repositorium für die Medienwissenschaft Richard Grusin Post-Cinematic Atavism 2016 https://doi.org/10.25969/mediarep/13472 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Grusin, Richard: Post-Cinematic Atavism. In: Shane Denson, Julia Leyda (Hg.): Post-Cinema. Theorizing 21st-Century Film. Falmer: REFRAME Books 2016, S. 646–665. DOI: https://doi.org/10.25969/mediarep/13472. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 5.3 Post-Cinematic Atavism BY RICHARD GRUSIN In June 2002, for a plenary lecture in Montreal at the biennial Domitor conference on early cinema, I took the occasion of the much-hyped digital screening of Star Wars: Episode II–Attack of the Clones (George Lucas, 2002) to argue that in entering the 21st century we found ourselves in the “late age of early cinema,” the more than century-long historical coupling of cinema with the sociotechnical apparatus of publicly projected celluloid film (“Remediation”). Two years later, in a lecture at a conference in Exeter on Multimedia Histories, I developed this argument in terms of what I called a “cinema of interactions,” arguing that cinema in the age of digital remediation could no longer be identified with its theatrical projection but must be understood in terms of its distribution across a network of other digitally-mediated formats like DVDs, websites, games, and so forth—an early call for something like what now goes under the name of “platform studies” (“DVDs”). -
5.3 Post-Cinematic Atavism
5.3 Post-Cinematic Atavism BY RICHARD GRUSIN In June 2002, for a plenary lecture in Montreal at the biennial Domitor conference on early cinema, I took the occasion of the much-hyped digital screening of Star Wars: Episode II–Attack of the Clones (George Lucas, 2002) to argue that in entering the 21st century we found ourselves in the “late age of early cinema,” the more than century-long historical coupling of cinema with the sociotechnical apparatus of publicly projected celluloid film (“Remediation”). Two years later, in a lecture at a conference in Exeter on Multimedia Histories, I developed this argument in terms of what I called a “cinema of interactions,” arguing that cinema in the age of digital remediation could no longer be identified with its theatrical projection but must be understood in terms of its distribution across a network of other digitally-mediated formats like DVDs, websites, games, and so forth—an early call for something like what now goes under the name of “platform studies” (“DVDs”). In his recent book on “post-cinematic affect” Steven Shaviro has picked up on this argument in elaborating his own extremely powerful reading of the emergence of a post-cinematic aesthetic (70). I want to return the favor here to take up what I would characterize as a kind of “post- cinematic atavism” that has been emerging in the early 21st century as a counterpart to the aesthetic of post-cinematic affectivity that Shaviro so persuasively details. 646 Post-Cinema Atavism Sometimes considered under the name of “slow cinema” or “the new silent cinema” (or, as Selmin Kara puts it, “primordigital cinema”), post- cinematic atavism is not limited to art-house or independent films. -
Press-Release-Films
FRENCH CULTURE IN THE UNITED STATES HIGHER EDUCATION, ARTS, FRENCH LANGUAGE For Immediate Release The 5th Annual Films on the Green Festival A series of free French screenings adapted from French and American literature in NYC parks Screening of “Two Days in Paris” (Deux Jours à Paris) by Julie Delpy at Columbia University, 2011 New York, May 2, 2012—The Cultural Services of the French Embassy and the City of New York Parks & Recreation announce the return of its popular free outdoor series of French screenings. For the fifth consecutive year, Films on the Green will present French films in New York City parks in June and July, as well as a special screening at Columbia University in September. The 2012 Films on the Green Festival will feature 8 free French screenings all adapted from French and American literature. Through an array of different cinematic genres – thriller, comedy, drama, romance and musical, the 2012 line-up includes films adapted from a wide range of literary styles – fairy tale (“Donkey Skin”), poetry (“The Snows of Kilimanjaro”) and graphic novel (“Persepolis”) – and highlights how great French directors like François Truffaut, Jacques Demy or Costa-Gavras have adapted works of literature. The series begins on Friday June 1st in Central Park with the screening of the comedy “OSS 117: Cairo, Nest of Spies” by the 2012 Oscar winning director of “The Artist,” Michel Hazanavicius. The film stars the talented Bérénice Bejo Press Contact: Kathryn Hamilton Tel: (646) 316 6926 — [email protected] FRENCH CULTURE IN THE UNITED STATES HIGHER EDUCATION, ARTS, FRENCH LANGUAGE and 2012 Oscar winning actor Jean Dujardin who plays a James Bond-type with rather unorthodox methods.