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Michel GALABRU Philippe CAUBÈRE Reliaient
salle popesco MICHEL PHILIPPE GALABRU CAUBÈRE A partir du 21 septembre du mardi au samedi à 19h matinée dimanche 17h prix des places de 25 à 45 euros JULES& MARCEL (hors frais de réservations) d’après la correspondance de Jules RAIMU et Marcel PAGNOL Un spectacle créé au festival avec Jean-Pierre BERNARD de la correspondance de Grignan adaptation Pierre TRÉ-HARDY Cohen/Cosmos © Photo Serge Mise en espace Jean-Pierre BERNARD LOCATION 0 892 222 333* / FNAC 0 892 68 36 22* 19h MAGASINS FNAC - www.fnac.com / RÉSATHÉÂTRE 0 892 707 705* CONTACT PRESSE : Pierre Cordier, assisté de Guillaume Andreu CARREFOUR, AGENCES ET POINTS DE VENTE HABITUELS Tél. 01 43 26 20 22 - Fax : 01 43 29 54 59 - [email protected] /mn RCS PARIS B 572 123 792 - Licence 750 2656 - Saison 2010 - Photo Serge Cohen/Cosmos B 572 123 792 - Licence 750 2656 Saison 2010 Photo Serge RCS PARIS € www.theatremarigny.fr *0,34 JULES& MARCEL« Il est fâcheux d’être fâchés » Note d’intention Origine du spectacle Le spectacle « Mon cher Jules, il faut que tu sois bougrement fâché avec moi pour ne pas répondre à une lettre injurieuse qui n’avait d’autre but que Il s’agit d’une lecture de lettres échangées entre l’écrivain Michel Galabru, Nicolas Pagnol (petit fils de Marcel Pagnol) de commencer une dispute…». Ces correspondances entre Raimu et Marcel Pagnol tissent ainsi la toile de leur éternelle amitié, mêlée de mauvaise foi tru- Marcel Pagnol et Raimu, son ami et acteur fétiche. Le et Isabelle Nohain Raimu (petite fille de Raimu) étaient culente, de fâcheries épiques, d’admiration réciproque, de pudeur, d’humour, de souvenirs, de secrets… et de savoureuses envolées, drôles, fraîches et vives thème central est « le Cinéma », passion qui a relié ces venus assister, en août 2006, à une adaptation de la trilo- comme l’eau des sources de leur Provence. -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda
PRESS PACK CANNES CLASSICS OFFICIAL SELECTION 2015 MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda Thursday 21 May 2015 at 5pm, Buñuel Theatre Raimu and Pierre Fresnay in Marius by Marcel Pagnol (1931). Directed by Alexander Korda. Film restored in 2015 by the Compagnie Méditerranéenne de Films - MPC and La Cinémathèque Française , with the support of the CNC , the Franco-American Cultural Fund (DGA-MPA-SACEM- WGAW), the backing of ARTE France Unité Cinéma and the Archives Audiovisuelles de Monaco, and the participation of SOGEDA Monaco. The restoration was supervised by Nicolas Pagnol , and Hervé Pichard (La Cinémathèque Française). The work was carried out by DIGIMAGE. Colour grading by Guillaume Schiffman , director of photography. Fanny by Marcel Pagnol (Directed by Marc Allégret, 1932) and César by Marcel Pagnol (1936), which complete Marcel Pagnol's Marseilles trilogy, were also restored in 2015. "All Marseilles, the Marseilles of everyday life, the Marseilles of sunshine and good humour, is here... The whole of the city expresses itself, and a whole race speaks and lives. " René Bizet, Pour vous , 15 October 1931 SOGEDA Monaco LA CINÉMATHÈQUE FRANÇAISE CONTACTS Jean-Christophe Mikhaïloff Elodie Dufour Director of Communications, Press Officer External Relations and Development +33 (0)1 71 19 33 65 +33 (0)1 71 1933 14 - +33 (0)6 23 91 46 27 +33 (0)6 86 83 65 00 [email protected] [email protected] Before restoration After restoration Marius by Marcel Pagnol (1931). Directed by Alexander Korda. 2 The restoration of the Marseilles trilogy begins with Marius "Towards 1925, when I felt as if I was exiled in Paris, I realised that I loved Marseilles and I wanted to express this love by writing a Marseilles play. -
Liste-Electorale-Cncc-College-Non-Eip-200730.Pdf
LISTE DES ELECTEURS 1 COLLEGE NON EIP ELECTIONS DU CONSEIL NATIONAL Dépouillement le mercredi 30 septembre 2020 NOM PRENOM 2 ADRESSE2 ABADIE Anne-Laure 38 rue de Langelle 65100 Lourdes ABADIE Sandrine 1220, avenue de l'europe 82000 Montauban ABASTADO David 71 avenue Victor Hugo 75116 Paris ABAZ Didier 25, bis avenue Marcel Dassault 31500 Toulouse ABBO André 28, rue Colonel Colonna D'ornano BP 44 20180 Ajaccio Cedex 1 ABDELLAOUI Noureddine 1 Rue Du Docteur Gey 60110 Meru ABDERRAHMANE Zohra 9 rue Tronchet 69006 Lyon ABEHSERA Cedric 7 Rue Chateaubriand 75008 Paris ABEHSERA Laurent 9 Rue Moncey 75009 Paris ABEHSSERA Albert 112 bis rue Cardinet 75017 Paris ABEILLE Jean-Michel 9, Rue d'arcole 13006 Marseille ABEL Edith 18 rue de l'ours 68200 Mulhouse ABERGEL Alain 143 Rue De La Pompe 75116 Paris ABERGEL Laurent 9 rue Pyramide 75001 Paris ABERGEL Prosper 75/79 rue Rateau Bat H3 93120 La Courneuve ABETTAN Elisabeth 32, rue Berzelius 75017 Paris ABHAY Mélanie 67 Rue Jean de la Fontaine 75016 Paris ABITBOL Ilan 87, rue Marceau Bâtiment BP 176 93100 Montreuil ABITBOL Luc 12 rue La Boétie 75008 Paris ABITBOL Michaël 45 avenue Charles de Gaulle 92200 Neuilly Sur Seine ABJEAN Patrick 13 rue Lebrun Malard 56230 Questembert ABOU Hamidou 4, rue du Fer à Moulin 75005 Paris ABOUKAD Soufyane 10, route d'espagne 31100 Toulouse ABOULKER Guillaume 100 rue de Commandant Rolland 13008 Marseille ACCARDI Frédéric 46 Boulevard Exelmans 75116 Paris ACCIAIOLI Jean Charles 321, boulevard Mège Mouries 83300 Draguignan ACCOSSATO-ARANCIO Céline 3319 Route des Escaillouns 06390 Berre Les Alpes ACH Yves Alain 31 Rue Du Theatre 75015 Paris ACHARD DE LA VENTE Guillain 29 Bis rue de la Prairie 78120 Rambouillet ACHDJIAN Chahé 146 A, rue Galliéni 92100 Boulogne-Billancourt ACHTE Stéphane 184 rue Sadi Carnot 59320 Haubourdin ACIER Roger 21 Avenue de Messine 75008 Paris ACKER Romain 6 rue Pierre Gilles de Gennes 76130 Mont Saint Aignan ACQUAVIVA Robert 480, Avenue du Prado B.P. -
Spring 2019 Film Calendar
National Gallery of Art Film Spring 19 I Am Cuba p27 Special Events 11 A Cuba Compendium 25 Janie Geiser 29 Walt Whitman Bicentennial 31 The Arboretum Cycle of Nathaniel Dorsky 33 Roberto Rossellini: The War Trilogy 37 Reinventing Realism: New Cinema from Romania 41 Spring 2019 offers digital restorations of classic titles, special events including a live performance by Alloy Orchestra, and several series of archival and contem- porary films from around the world. In conjunction with the exhibition The Life of Animals in Japanese Art, the Gallery presents Japanese documentaries on animals, including several screenings of the city symphony Tokyo Waka. Film series include A Cuba Compendium, surveying how Cuba has been and continues to be portrayed and examined through film, including an in-person discussion with Cuban directors Rodrigo and Sebastián Barriuso; a celebra- tion of Walt Whitman on the occasion of his bicen- tennial; recent restorations of Roberto Rossellini’s classic War Trilogy; and New Cinema from Romania, a series showcasing seven feature length films made since 2017. Other events include an artist’s talk by Los Angeles-based artist Janie Geiser, followed by a program of her recent short films; a presentation of Nathaniel Dorsky’s 16mm silent The Arboretum Cycle; the Washington premieres of Gray House and The Image Book; a program of films on and about motherhood to celebrate Mother’s Day; the recently re-released Mystery of Picasso; and more. 2Tokyo Waka p17 3 April 6 Sat 2:00 La Religieuse p11 7 Sun 4:00 Rosenwald p12 13 Sat 12:30 A Cuba Compendium: Tania Libre p25 2:30 A Cuba Compendium: Coco Fusco: Recent Videos p26 14 Sun 4:00 Gray House p12 20 Sat 2:00 A Cuba Compendium: Cuba: Battle of the 10,000,000 p26 4:00 A Cuba Compendium: I Am Cuba p27 21 Sun 2:00 The Mystery of Picasso p13 4:30 The Mystery of Picasso p13 27 Sat 2:30 A Cuba Compendium: The Translator p27 Films are shown in the East Building Auditorium, in original formats whenever possible. -
A Mode of Production and Distribution
Chapter Three A Mode of Production and Distribution An Economic Concept: “The Small Budget Film,” Was it Myth or Reality? t has often been assumed that the New Wave provoked a sudden Ibreak in the production practices of French cinema, by favoring small budget films. In an industry characterized by an inflationary spiral of ever-increasing production costs, this phenomenon is sufficiently original to warrant investigation. Did most of the films considered to be part of this movement correspond to this notion of a small budget? We would first have to ask: what, in 1959, was a “small budget” movie? The average cost of a film increased from roughly $218,000 in 1955 to $300,000 in 1959. That year, at the moment of the emergence of the New Wave, 133 French films were produced; of these, 33 cost more than $400,000 and 74 cost more than $200,000. That leaves 26 films with a budget of less than $200,000, or “low budget productions;” however, that can hardly be used as an adequate criterion for movies to qualify as “New Wave.”1 Even so, this budgetary trait has often been employed to establish a genealogy for the movement. It involves, primarily, “marginal” films produced outside the dominant commercial system. Two Small Budget Films, “Outside the System” From the point of view of their mode of production, two titles are often imposed as reference points: Jean-Pierre Melville’s self-produced Silence of 49 A Mode of Production and Distribution the Sea, 1947, and Agnes Varda’s La Pointe courte (Short Point), made seven years later, in 1954. -
Jean Gabin Inconnu DUMÊMEAUTEUR
Jean Gabin inconnu DUMÊMEAUTEUR Alors raconte… Franck Fernandel, éditions Menges, 1978. Elvis Presley ciné-memories, éditions Horus, 1980. Les Grandes Heures de l’Olympia, éditions Gérard Cottreau, 1979. Chuck Berry, éditions Horus, 1980. Fernandel, éditions Lefeuvre, 1981. Trente ans de séries télévisées, éditions PAC, 1984. Trente ans de cinéma musical, éditions PAC, 1985. Rock Story, éditions PAC, 1985. Silence, on chante, éditions PAC, 1986. Michel Serrault, éditions PAC, 1987. Alain Bashung, Seghers, 1987. Fernandel, l’accent du soleil, Stock, 1991. Bourvil inconnu, Stock, 1992. Louis de Funès, une légende, Anne Carrière, 1993. Télé Feuilletons, Ramsay, 1993. Jean Marais, Anne Carrière, 1995. Pagnol inconnu, Michel Lafon/La Treille, 1999. Les Plus Belles Répliques de Fernandel, éditions du Rocher, 2005. Les Plus Belles Répliques de Jacques Villeret, éditions du Rocher, 2005. Les Plus Belles Répliques de Bourvil, éditions du Rocher, 2006. Jean Poiret, Michel Serrault, La cage aux rôles, éditions Alphée, 2009. Pagnol, Raimu, l’histoire vraie, éditions Alphée, 2010. Le Splendid, histoire inachevée, éditions Alphée, 2010. Pagnol inconnu, Flammarion, 2011. Louis de Funès, l’Oscar du cinéma, Flammarion, 2011. Yé-yé, idoles ou has-been, éditions Vaillant, 2013. Jean-Jacques Jelot-Blanc Jean Gabin inconnu Flammarion © Flammarion, 2014. ISBN : 978-2-0812-8623-8 « Le cinéma, ça fatigue. C’est pas un métier, tout juste une profession. Le métier de comédien, oui c’est un travail, mais enfin faut pas en faire un monde ! » Jean Gabin à André Brunelin PROLOGUE Un peu avant neuf heures du matin, ce lundi 15 novembre 1976, le monde du cinéma a perdu sa plus prestigieuse étoile : Jean Gabin est mort. -
French Film Series to Conclude with Works from Final Period of the Classic Tradition
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART ENTRANCE at 18 W. 54 #42 FOR IMMEDIATE RELEASE FRENCH FILM SERIES TO CONCLUDE WITH WORKS FROM FINAL PERIOD OF THE CLASSIC TRADITION In its final months, REDISCOVERING FRENCH FILM PART II, The Museum of Modern Art's comprehensive survey of French film history, will screen classics from the 1940s and • 50s, then pause to look back at the very beginnings of the long tradition of French filmmaking. The schedule for August begins with a look at the French cinema at the time of the Occupation and features two rare films of the liberation: Le Six Juin a l'Aube, a documentary made by the great feature film director Jean Gremillon, and Rene Clement's La Bataille du Rail. Also scheduled in August are two of the most striking French films noirs of the postwar period, Clouzot's Quai des Qrfevres and Yves All^gret's De'dee d'An vers, Simone Signoret's star-making vehicle. In September, the schedule will focus on the films of the 1950s, during the last flowering of the classic tradition before the tumult of the New Wave. Among the highlights are two film adaptations of Emile Zola's scathing social fiction—Julien Duvivier's Pot-Bouille and Marcel Carne*' s updated Therese Raquin—plus La Marie du Port, a rarely seen Carrie vehicle for France's most durable male star, Jean Gabin. Many of the most prominent French films of the '50s retreated into an acid-tinged nostalgia for the past; such resplendent examples of this tendency as Max Ophuls's La Ronde and Le Plaisir, Rene Clair's Les Grandes Manoeuvres and Les Belles-de-Nuit, and Jean Renoir's French Can-can are scheduled. -
Fljc Jhmflau Gfaf Records —Bridge E EIGHT PAGES
Stage—Screen—Music Stamps—Camera—Art Books—Radio fljc Jhmflau gfaf Records —Bridge E EIGHT PAGES. WASHINGTON, D. C., MARCH 31, 1957 TODAY'S SCHEDULES ' *** * Gary fKm*• m Gabby Cooper Admits IS! vmEk. JhHMHQI 40'Jrr STAGE HK;« aj Hal.:lbßjeM j|S jQ ARENA—Three One Act Plays: “Bedtime Story.” "Portrait of HHg j § MB jfl^Bßa| a Madonna" and ‘Man of Destiny"; 8 pm. NATIONAL—Dark. “Hotel Paradiso” resumes tomorrow. His Taciturnity Just a Hoax CATHOLIC UNIVERSITY—Dark. “Don Camillo" By n ‘ resumes JAMES BACON ¥ 1 la" tomorrow. HaHni¦HEMP f s t# | pKa m m m -M _>a^BHBK'W^.VI 'i -a • ¦'.. HOLLYWOOD (ff). Let’s i 1 HI iJHn 11 »5l ;M|i||§# lw • SCREEN explode one of the most fa- AMBASSADOR—“Giant"; 1:15, p.m. mous of all Hollywood myths. 4:50 and 8:30 The myth—or good-natured CAPITOL—“Heaven Knows, Mr. Allison”; 1:30, 3:40, 5:45, * hoax—concerns Gary Coop- 7:50 and 9:55 p.m. , er's long publicized reputation COLONY—“The King and I”; 2, 4:25. 6:45 and 9:15 p.m. as a “yep" or “nope” yokel UMj/mJ jp***~f COLUMBIA—“The River’s Edge”; 1:40, 3:40, 6:45, 7:45 and who grunts in monosyllables. s 1 9:45 p.m. Actually, those who know Coop DUPONT—"GoId of Naples”; 1:25, 3:25, 5:30, 7:35, 9:40 p.m. best would put him on any list of the most sophisti- KElTH'S—"Tattered Dress”; 1:45, 3:45, 5:50, 7:50, 9:55 p.m. -
Women in Silent Cinema
ANNETTE FÖRSTER WOMEN IN THE SILENT CINEMA Histories of Fame and Fate FRAMING FILM EYE FILMMUSEUM WOMEN IN THE SILENT CINEMA FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States ANNETTE FÖRSTER WOMEN IN THE SILENT CINEMA Histories of Fame and Fate AMSTERDAM UNIVERSITY PRESS Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Top: Nell Shipman in baree, son of kazan (fragment, see page 329) Middle: Musidora, publicity portrait (fragment, see page 136) Bottom: Adriënne Solser in an unidentified film (fragment, see page 98) Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. -
Etienne Daho Visite Jeanne Moreau À Avignon - RD
01.03.2019 ZIBELINE 08.02 > CULTURE LOISIRS TÉLÉ ciné L’hebdo Cult’ 21-22-23 2€50 Etienne Daho visite Jeanne Moreau à Avignon - RD 2,50 Les engagements de Renaud Muselier F: - 21 pour la culture L 18754 sommaire 21 22 23 politique culturelle (P.4-9) Le Cube du Théâtre Vitez Cité Queer (P.10-11) Les engagements de Renaud Muselier pour la culture Phia Ménard à Marseille, Berre et Vitrolles La Déviation, un lieu à défendre La Nuit des idées à la Maison Jean Vilar Avignon, ville d'exception(s) événements (P12-21) Étienne Daho à la Maison Jean Vilar Le Café Zimmermann a 20 ans Festival Mars en Baroque Entretien avec Christian Ubl Festival Les Suds en hiver La fin de l’homme rouge d’Emmanuel Meirieu Ceci n’est pas ! À l’ombre de... de la Cie Lunasol Saison Sèche - Cie Non Nova © Jean-Luc Beaujault (Une nuit) de la Cie Folie kilomètre CRITIQUES (P.22-31) Festival Parallèle, BIAC, le Merlan, la Criée, l’Espace Julien, le Mucem, le Fest’Hiver, le Théâtre Durance, Cie La Hurlante à Montpellier, Opéra de Toulon, Festival de Toulon, La Seyne-sur-Mer, le Liberté au programme de la semaine Spectacle vivant (P.32-43) Musiques (P.43-46) Arts Visuels (P.48-50) Farci.e, Sorour Darabi © Mehrdad Motejalli ARTS VISUELS (P. 51-52) Muséonérique au Muséum d’Histoire Naturelle Cinq, Sophie Calle CONSEILS TÉLÉVISION (P.54-55) CINÉMA (P.56-59) Événements : Festival La Première fois, Cycle Almodovar au Mucem Critiques : Une intime conviction, La chute de l’empire américain PHILOLITTÉ (P.43-47) Livres de la semaine : Algeroid, Mauvais œil, Du Big Foot au Yeti, anthropologie de l'imaginaire Philo Kakou Chapelle de la Vieille Charité à Marseille, Feuilleton littéraire de Mathilde Ramadier, Rachel, Monique, Sophie Calle deuxième épisode © Nathalie Ammirati edito Carence d’humanité a menace de disparition d’un journal d’euros lui a été retiré quand d’autres accédaient à n’est jamais une bonne nouvelle. -
FRENCH FILMS of the 30S and 40S to BE SCREENED AS Moma RETROSPECTIVE RESUMES
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART ENTRANCE at 18 W. 54 #29 FOR IMMEDIATE RELEASE FRENCH FILMS OF THE 30s AND 40s TO BE SCREENED AS MoMA RETROSPECTIVE RESUMES REDISCOVERING FRENCH FILM PART II, The Museum of Modern Art's in-depth survey of French film history from 1895 to I960, will resume on May 20 after a three-week pause. The early part of the next months' schedule includes two of the best-known films in the series—Jean Renoir's Boudu Sauve des Eaux (1932) and Jean Vigo's L'Atalante (1934)— and concludes with the first feature film directed by Robert Bresson, Les Anqes du Peche (1943). In between, the Museum will screen a wealth of films of exceptional interest and rarity. Among the highlights scheduled for June are two very rare films by Max Ophuls: La Tendre Ennemie (1936), an enchantingly caustic ghost story, and Le Roman de Werther (1938), an adaptation of the novel by Goethe. Also in June are two films by the masterful Jacques Feyder— Les Gens du Voyage (1937), featuring Francoise Rosay, and La Loi du Nord (1939), with Michelle Morgan—and Marcel L'Herbier's sumptuous evocation of eighteenth-century court life and theatrical intrigues, Adrienne Lecouvreur (1938). July's schedule brings us into what was probably the most turbulent decade of modern French history—from the years just before the out break of World War II through the Occupation and the early postwar era.