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The Abyss (1989) James Cameron Algo Pasa En Las Vegas - What Happens in Vegas
Abyss - The Abyss (1989) James Cameron Algo pasa en Las Vegas - What Happens in Vegas... (2008) Tom Vaughan Alien, el octavo pasajero - Alien (1979) Ridley Scott Amadeus - Amadeus (1984) Milos Forman Amarcord (Mis recuerdos) (modelo 1 portada) - Amarcord (1973) Federico Fellini Amarcord (Mis recuerdos) (modelo 1 pag. 2 y 3) - Amarcord (1973) Federico Fellini Amarcord (Mis recuerdos) (modelo 2) - Amarcord (1973) Federico Fellini Annie Hall - Annie Hall (1977) Woody Allen Apolo 13 (Apolo XIII) - Apollo 13 (1995) Ron Howard Asesinato en el Orient Express (portada) - Murder on the Orient Express (1974) Sidney Lumet Asesinato en el Orient Express(páginas 2 y 3) - Murder on the Orient Express (1974) Sidney Lumet Babe, el cerdito valiente - Babe (1995) Chris Noonan Babel - Babel (2006) Alejandro G. Iñárritu Batman (portada) - Batman (1989) Tim Burton Batman (páginas 2 y 3) - Batman (1989) Tim Burton Batman y Robin - Batman & Robin (1997) Joel Schumacher La bella y la bestia - Beauty and the Beast (1991) Gary Trousdale, Kirk Wise Bitelchús (portada) - Beetlejuice (1988) Tim Burton Bitelchús (páginas 2 y 3) - Beetlejuice (1988) Tim Burton Caracter - Karakter (1997) Mike van Diem Casablanca - Casablanca (1943) Michael Curtiz Casanova - Il Casanova di Federico Fellini (1976) Federico Fellini El cazador - The Deer Hunter (1978) Michael Cimino Contact - Contact (1997) Robert Zemeckis Las cosas que nunca mueren - Blue Sky (1994) Tony Richardson Cumbres borrascosas - Wuthering Heights (1939) William Wyler Chinatown - Chinatown (1974) Roman Polanski De -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Italian Cinema As Literary Art UNO Rome Summer Study Abroad 2019 Dr
ENGL 2090: Italian Cinema as Literary Art UNO Rome Summer Study Abroad 2019 Dr. Lisa Verner [email protected] COURSE DESCRIPTION: This course surveys Italian cinema during the postwar period, charting the rise and fall of neorealism after the fall of Mussolini. Neorealism was a response to an existential crisis after World War II, and neorealist films featured stories of the lower classes, the poor, and the oppressed and their material and ethical struggles. After the fall of Mussolini’s state sponsored film industry, filmmakers filled the cinematic void with depictions of real life and questions about Italian morality, both during and after the war. This class will chart the rise of neorealism and its later decline, to be replaced by films concerned with individual, as opposed to national or class-based, struggles. We will consider the films in their historical contexts as literary art forms. REQUIRED TEXTS: Rome, Open City, director Roberto Rossellini (1945) La Dolce Vita, director Federico Fellini (1960) Cinema Paradiso, director Giuseppe Tornatore (1988) Life is Beautiful, director Roberto Benigni (1997) Various articles for which the instructor will supply either a link or a copy in an email attachment LEARNING OUTCOMES: At the completion of this course, students will be able to 1-understand the relationship between Italian post-war cultural developments and the evolution of cinema during the latter part of the 20th century; 2-analyze film as a form of literary expression; 3-compose critical and analytical papers that explore film as a literary, artistic, social and historical construct. GRADES: This course will require weekly short papers (3-4 pages, double spaced, 12- point font); each @ 20% of final grade) and a final exam (20% of final grade). -
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 .......................... -
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 -
COM 221: Introduction to Film Dr. Neuendorf Sample Final Exam #1 PRINT NAME: SS
1 COM 221: Introduction to Film Dr. Neuendorf Sample Final Exam #1 PRINT NAME:_____________________________ SS#:______________________________________ CSU ID#:__________________________________ Multiple Choice/T-F--Indicate one letter on your opscan/scantron answer sheet: 1. The annual Cleveland Film Festival features American films not produced by major commercial studios, as well as films made in such countries as Poland, New Zealand, and Zimbabwe. Most of the Festival films, then, could be considered: a. Bollywood films b. Second City Cinema c. indies and Third Cinema d. New Wave Cinema and Race Movies 2. Our ability to use the auteur theory, as well as to analyze genre and conduct formalistic analyses of the mise-en- scene, is largely due to the work of six young men writing in a film journal in the 1950's. They all studied films of all types at their local cinematheque before trying to make films themselves. When they finally did make films, the works were heralded as being inventive and eclectic. These men have been called: a. the German Expressionists b. the French Dadaists c. the Italian Neorealists d. the French New Wave 3. In films such as Contact, What Dreams May Come, and Mighty Joe Young, some of the special visual effects include images that have been created electronically, without hand drawings, and without models constructed. That would indicate what type of animation? a. computer animation b. stop-motion animation c. cel animation d. multiplane animation 4. The 1994 film The Crow (D: Alex Proyas), starring the late Brandon Lee, a young rock musician rises from the grave and seeks vengeance with the aid of a spectral crow. -
Persons Nominated for Foreign Language (Non-English) Performances
PERSONS NOMINATED FOR FOREIGN LANGUAGE (NON-ENGLISH) PERFORMANCES * Denotes winner [Updated thru 88th Awards (2/16)] 1961 (34th) * Sophia Loren – Actress, Two Women [Italian] 1962 (35th) Marcello Mastroianni – Actor, Divorce - Italian Style [Italian] 1964 (37th) Sophia Loren – Actress, Marriage Italian Style [Italian] 1966 (39th) Anouk Aimee – Actress, A Man and a Woman [French] Ida Kaminska – Actress, The Shop on Main Street [Czech] 1972 (45th) Liv Ullmann – Actress, The Emigrants [Swedish] 1974 (47th) Valentina Cortese – Supporting Actress, Day for Night [French] * Robert De Niro – Supporting Actor, The Godfather Part II [Italian] 1975 (48th) Isabelle Adjani – Actress, The Story of Adele H. [French] 1976 (49th) Marie-Christine Barrault – Actress, Cousin, Cousine [French] Giancarlo Giannini – Actor, Seven Beauties [Italian] Liv Ullmann – Actress, Face to Face [Swedish] 1977 (50th) Marcello Mastroianni – Actor, A Special Day [Italian] 1978 (51st) Ingrid Bergman – Actress, Autumn Sonata [Swedish] 1986 (59th) * Marlee Matlin – Actress, Children of a Lesser God [American Sign Language] 1987 (60th) Marcello Mastroianni – Actor, Dark Eyes [Italian] 1988 (61st) Max von Sydow – Actor, Pelle the Conqueror [Swedish] 1989 (62nd) Isabelle Adjani – Actress, Camille Claudel [French] 1990 (63rd) Gerard Depardieu – Actor, Cyrano de Bergerac [French] Graham Greene – Supporting Actor, Dances With Wolves [Lakota Sioux] 1992 (65th) Catherine Deneuve – Actress, Indochine [French] 1995 (68th) Massimo Troisi – Actor, The Postman (Il Postino) [Italian] 1998 (71st) * Roberto Benigni – Actor, Life Is Beautiful [Italian] Fernanda Montenegro – Actress, Central Station [Portuguese] 2000 (73rd) * Benicio Del Toro – Supporting Actor, Traffic [Spanish] 2004 (77th) Catalina Sandino Moreno – Actress, Maria Full of Grace [Spanish] 2006 (79th) Penélope Cruz – Actress, Volver [Spanish] Rinko Kikuchi – Supporting Actress, Babel [Japanese Sign Language] 2007 (80th) * Marion Cotillard – Actress, La Vie en Rose [French] © Academy of Motion Picture Arts and Sciences. -
Italian Film Club
Italian Film Club Fall 2015 Monday, September 21, 2015, 6 PM @ Language Center (THH 309) JOHNNY STECCHINO / JOHNNY TOOTHPICK Directed by Roberto Benigni, 1991 (122 min) This film follows the life of Dante, a school bus driver who bears a striking resemblance to Johnny Stecchino, an Italian mafioso who is wanted by Sicilian mobsters for treason and murder. The film’s plot begins to unravel when Dante meets Maria, Stecchino’s wife, who begins her plan into tricking mobsters to kill Dante, thinking he is Stecchino. The film takes several unexpected twists when Maria begins to fall for Dante, and it becomes clear that Dante cannot possibly be the cold blooded killer, Johnny Stecchino. Wednesday, October 7, 2015, 6 PM @ Language Center (THH 309) LA DOPPIA ORA / THE DOUBLE HOUR Directed by Giuseppe Capotondi, 2009 (102 min) In this thriller, a chambermaid, Sonia, and an ex-cop, Guido, meet at a speed dating event. They strike up a friendship, and spend some time together after the event. As they part, Guido notices that the time is 23:23 - a double hour, when the hour and minute are the same. He believes that at such times, one may make a wish and it will be granted - although he admits to Sonia that it doesn’t always work. Yet later on, things suddenly take a dark turn during a romantic getaway. Wednesday, October 21, 2015, 6 PM @ Language Center (THH 309) MATRIMONIO All’ITALIANA / MARRIAGE, ITALIAN STYLE Directed by Vittorio De Sica, 1964 (102 min) Domenico, a successful businessman, begins an affair with Filumena, a prostitute with three secret children. -
Filmoterapija 2 Filmoterapevtska Praksa V Svetu in Pri Nas Ter Vpliv
Damijan Sever FILMOTERAPIJA 2: PREGLED FILMOTERAPEVTSKE KLINIČNE PRAKSE V SVETU IN PRI NAS S FILMOTERAPEVTSKIM PRAKTIKUMOM Stran: 1 Avtor: Damijan Sever, Ba. Pt. sci. Center za psihoterapijo Maribor, www.cpmb.si Januar 2012 FILMOTERAPIJA 2: PREGLED FILMOTERAPEVTSKE KLINIČNE PRAKSE V SVETU IN PRI NAS S FILMOTERAPEVTSKIM PRAKTIKUMOM KAZALO ČLANKA 0. UVOD 1. OSVEŽITEV PRVEGA ČLANKA FILMOTERAPIJA 1 ZAKAJ STA SI FILM IN PSIHOANALIZA LAHKO SORODNA MEDIJA? FILM IN NEZAVEDNO BREZČASNOST NEZAVEDNEGA KAKO JE S FILMSKO GLASBO? 2. KAJ PRAVIJO RAZLIČNI PSIHOLOŠKI STROKOVNJAKI O FILMOTERAPIJI? A. PREGLED FILMOTERAPEVTSKE KLINIČNE PRAKSE V SVETU IN PRI NAS 3. FILMOTERAPIJA NA HRVAŠKEM ALI LAHKO FILM UPORABIMO ZA RESNE TERAPEVTSKE NAMENE? KAKO DELUJE SKUPINSKA TERAPIJA S FILMOM? IZBOR TERAPEVTSKIH FILMOV KDO SO PRIMERNI PACIENTI? 4. FILMOTERAPIJA V AMERIKI Dr. GARY SOLOMON Dr. BIRGIT WOLZ E-MOTION PICTURE MAGIC - THE POWER OF FILM CINEMA THERAPY GROUPS ABOUT CREATING YOUR OWN CINEMA THERAPY SUPPORT GROUP 5. FILMOTERAPIJA NA SFU DUNAJ 6. "FILMOTERAPIJA" V SLOVENIJI FILMSKA ŠOLA VZGAJANJE POGLEDA V KAMNIŠKI KNJIŽNICI "DOGAJANJE" V MARIBORU 7. VPLIV SMEHA IN GLEDANJE KOMEDIJ ZA MENTALNO ZDRAVJE KORISTI SMEHA ZA ZDRAVJE ZGODOVINA SMEHA RAZISKAVE SMEHA V POVEZAVI Z MENTALNIM ZDRAVJEM 8. KAKO DELUJE INDIVIDUALNA FILMOTERAPIJA? KAKŠNE PREDNOSTI (KORISTI) IMA FILMOTERAPIJA ZA GLEDALCE? BIBLIOTERAPIJA (BT) VS FILMOTERAPIJA (FT) KJE VSE BI SE LAHKO UPORABLJALA FILMOTERAPIJA? 9. REZIME: KAKO KONKRETNO UPORABIM FILM ZA RAZISKOVANJE SEBE – B. FILMOTERAPEVTSKI PRAKTIKUM KAKO TOREJ DELUJE FILMOTERAPIJA? 10. FILMOTERAPEVTSKI OBRAZEC: POROČILO, ANALIZA IN PSIHOLOŠKA OCENA FILMA-Damijan Sever© 11. SEZNAM ZDRAVILNIH FILMOV UPORABNIH ZA FILMOTERAPIJO V PSIHOTERAPIJI-Damijan Sever© 1. KOMEDIJE O PSIHOANALIZI IN Z NJO POVEZANIMI TEMAMI - LET'S START THE PARTY 2. -
Johnny Stecchino with Roberto Benigni and Nicoletta Braschi Selected Filmography
Johnny Stecchino with Roberto Benigni and Nicoletta Braschi Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Film Works Discussed During the Event Life Is Beautiful (La vita è bella). Dir. Roberto Benigni, 1997, Italy. 116 mins. Production Co.: Cecchi Cori Group Tiger Cinematografica / Melampo Cinematografica. The Monster (Il mostro). Dir. Roberto Benigni, 1994, Italy, France. 112 mins. Production Co.: Canal Plus / IRIS Films / La Sept Cinéma / Melampo Cinematografica / Union Générale Cinématographique. Johnny Stecchino. Dir. Roberto Benigni, 1991, Italy. 102 mins. Production Co.: Cecchi Cori Group Tiger Cinematografica / Penta Film / Silvio Berlusconi Communications. The Little Devil (Il piccolo diavolo). Dir. Roberto Benigni, 1988, Italy. 101 mins. Production Co.: Yarno Cinematografica / Cecchi Gori Group Tiger Cinematografica / Reteitalia. The Great Dictator. Dir. Charles Chaplin, 1940, U.S.A. 125 mins. Production Co.: Charles Chaplin Productions. The Kid. Dir. Charles Chaplin, 1921, U.S.A. 68 mins. Production Co.: Charles Chaplin Productions. Roberto Benigni Filmography To Rome with Love. Dir. Woody Allen, 2012, U.S.A, Italy, Spain. 112 mins. Production Co.: Medusa Film / Gravier Productions / Perdido Productions / Mediapro. Amos Poe’s Divine Comedy (La commedia di Amos Poe). -
The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals. -
LS 180.01: Introduction to Film
University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi Fall 9-1-2000 LS 180.01: Introduction to Film Lynn Purl University of Montana, Missoula Follow this and additional works at: https://scholarworks.umt.edu/syllabi Let us know how access to this document benefits ou.y Recommended Citation Purl, Lynn, "LS 180.01: Introduction to Film" (2000). Syllabi. 5178. https://scholarworks.umt.edu/syllabi/5178 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Autumn 2000 Lynn Purl Liberal Studies 180 [email protected] Intro to Film Office: LA 155 M 1:10-4:00, UC Theatre 243 -5314 W 1:10-3:00, GBB L09 Home: 721-0517 Mailbox: Liberal Studies office, LA 101 Office hours: W 12:00-1:00,Th 2:00-3:30, and by appointment Course description:This course will serve as an introduction to basic concepts of film and film theory. The goal is to encourage you to become more sophisticated viewers and consumers of movies, with an ability to view films as art, as marketplace commodities, as technology, as historical documents, and as cultural and ideological forces. I also hope you will increase your ability to organize and articulate your insights, both in class discussions and in writing. Required text:Understanding Movies, eighth edition, by Louis Giannetti Course requirements:Quizzes, final, term paper, and discussion paragraphs, as well as regular attendance and participation.