Carl Theodor Dreyer and Ordet : My Summer with the Danish Filmmaker Pdf, Epub, Ebook
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Copenhagen Business School
Copenhagen Business School 2021-22 DENMARK A University of Richmond Exchange Program http://www.cbs.dk/en/international- opportunities/international-students *Most of the information in this booklet has been copied from the website listed above. May 27, 2021 This document represents the most accurate information available at the time of publication. Statements contained herein are not contractual obligations, and verbal or other representations that are inconsistent with or not contained within the document are not binding. The University of Richmond reserves the right to change, without specific notice, programs and the conditions under which they are offered. Students must be aware that not all circumstances are predictable and that one must take self-responsibility very seriously. The University, its agents, and employees cannot be held responsible for the actions of the host institution or of the student. 2 CONTACT NAMES & IMPORTANT NUMBERS Richmond Amy Bergmann, Study Abroad Advisor Work: (804) 289-8817 Home: (804) 233-7313 Fax: (804) 289-8904 E-mail: [email protected] Website: https://studyabroad.richmond.edu/ Dr. Tom Cossé, Associate Dean of International Business Tel: 804-289-8572 Fax: 804-287-1924 Email: [email protected] Copenhagen Business School The International Office Porcelaenshaven 18A DK-2000 Frederiksberg Denmark [email protected] / [email protected] Tel: 011-45-3815-3006 (Reception) Fax: 011-45-3815-3825 Mr. Tom Dahl-Østergaard, Head of International Office [email protected] (Primary CBS contact for UR students) Ms. Anette Hove-Cox, E-mail: [email protected] NOTE: The office is physically located in the building at Porcelaenshaven 18A on the CBS campus in the Copenhagen suburb of Frederiksberg. -
Summaries: Charles J
1 Gilles Deleuze – The Deleuze Seminars (deleuze.cla.purdue.edu), summaries: Charles J. Stivale Cinema: The Classification of Signs and Time, November 2, 1982 to June 7, 1983 (23 Sessions) In the second year of Deleuze's consideration of cinema and philosophy, he commences the year by explaining that whereas he usually changes topics from one year to the next, he feels compelled to continue with the current topic and, in fact, to undertake a process of "philosophy in the manner of cows, rumination... I want entirely and truly to repeat myself, to start over by repeating myself." Hence, the 82-83 Seminar consists in once again taking up Bergson's theses on perception, but now with greater emphasis on the aspects of classification of images and signs drawn from C.S. Peirce. This allows Deleuze to continue the shift from considering the movement-image, that dominated early 20th century cinema, toward a greater understanding of the post-World War II emphasis on the time-image. Cinema 2.1 - November 2, 1982 After defining at length his conception of the new Seminar – exceptionally (for Deleuze) on the same topic as previously – in terms of a “rumination” on many of the topics and concepts discussed in 1981-82, Deleuze also proposes to maintain (indeed, to strongly request) a seminar of reduced size but provides no viable means by which students would “choose” to go to some other philosophy class. However, in response to his opening remarks on course reorganization, Deleuze devotes nearly an hour several students’ questions and objections, most notably discussing the notion of “speaking” (in a class, in society) as well as its dangers. -
January 13, 2009 (XVIII:1) Carl Theodor Dreyer VAMPYR—DER TRAUM DES ALLAN GREY (1932, 75 Min)
January 13, 2009 (XVIII:1) Carl Theodor Dreyer VAMPYR—DER TRAUM DES ALLAN GREY (1932, 75 min) Directed by Carl Theodor Dreyer Produced by Carl Theodor Dreyer and Julian West Cinematography by Rudolph Maté and Louis Née Original music by Wolfgang Zeller Film editing by Tonka Taldy Art direction by Hermann Warm Special effects by Henri Armand Allan Grey…Julian West Der Schlossherr (Lord of the Manor)…Maurice Schutz Gisèle…Rena Mandel Léone…Sybille Schmitz Village Doctor…Jan Heironimko The Woman from the Cemetery…Henriette Gérard Old Servant…Albert Bras Foreign Correspondent (1940). Some of the other films he shot His Wife….N. Barbanini were The Lady from Shanghai (1947), It Had to Be You (1947), Down to Earth (1947), Gilda (1946), They Got Me Covered CARL THEODOR DREYER (February 3, 1889, Copenhagen, (1943), To Be or Not to Be (1942), It Started with Eve (1941), Denmark—March 20, 1968, Copenhagen, Denmark) has 23 Love Affair (1939), The Adventures of Marco Polo (1938), Stella Directing credits, among them Gertrud (1964), Ordet/The Word Dallas (1937), Come and Get It (1936), Dodsworth (1936), A (1955), Et Slot i et slot/The Castle Within the Castle (1955), Message to Garcia (1936), Charlie Chan's Secret (1936), Storstrømsbroen/The Storstrom Bridge (1950), Thorvaldsen Metropolitan (1935), Dressed to Thrill (1935), Dante's Inferno (1949), De nåede færgen/They Caught the Ferry (1948), (1935), Le Dernier milliardaire/The Last Billionaire/The Last Landsbykirken/The Danish Church (1947), Kampen mod Millionaire (1934), Liliom (1934), Paprika (1933), -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Metaphysics – Transcendence – Atheism
"IMAGES" 2021, Vol. XXX, No. 39 METAPHYSICS – TRANSCENDENCE – ATHEISM A product of the nineteenth century, the cinematic arts were born to capture the very material reality present in front of the lens. Erwin Panofsky called this reality “profilmic,” while André Bazin argued that recording the existence of material objects on film fulfilled what he called mankind’s “mummy complex,” the desire to immortalize fleeting entities in the form of images. With time, film outgrew this initial function and began making attempts to depict spiritual realities as well (with films by Carl Theodor Dreyer, Ingmar Bergman, Andrei Tarkovsky, Krzysztof Zanussi, and other artists). First coined by American director and film theorist Paul Schrader to describe the work of Dreyer, Bresson, and Ozu, the phrase “transcendental style” (itself a misnomer, as the term “transcendent style” would be much more fitting here) was soon picked up by fellow authors, who used it to interrogate the transcendent in the work of the three aforementioned directors and other filmmakers (vide: Seweryn Kuśmierczyk’s essay on Tarkovsky and the rich body of literature written on the director). A counterstrain, however, coalesced around neoformalist and cognitivist David Bordwell, who contended that the particular “parametric form,” its style autonomous and autotelic, compelled critics to seek within it a metaphysics that he did not believe could be found in the work of Ozu, Dreyer, or Bresson—a position he elaborated on extensively in his monographs on the work of the former two and essays on films by the latter. Recent Bresson scholarship (vide: Colin Burnett’s monograph) has questioned the validity of this “Schraderian” option even further. -
Lesbianism and the Uncanny in Sheridan Le Fanu's Carmilla
Lesbianism and the Uncanny in Sheridan Le Fanu’s Carmilla Sergio Ramos Torres Trabajo de Fin de Grado en Estudios Ingleses Supervised by Constanza del Río Álvaro Diciembre 2016 Universidad de Zaragoza 0 Contents Introduction 2 1. The vampire in literature and popular culture 5 1.1 Female vampires 10 2. Lesbianism and the uncanny in Carmilla 13 2.1 Contextualisation 13 2.2 Lesbianism and the Uncanny in Carmilla 16 Conclusion 23 Works Cited 25 1 Introduction The figure of the vampire has been present in most cultures, and the meanings and feelings these supernatural creatures represent have been similar across time and space. For human beings they have been a source of fear and superstition, their significance acquiring religious connotations all over the world. The passing of time has modified this ancient horror and the myth has changed little by little, most of the time being softened, giving birth to diverse conceptions and representations that differ a lot from the evil spawn – originating in myth, legend and folklore – that ancient people were afraid of. These creatures have been represented not as part of the human being, but as a nemesis, as the “other”, and as something that is dead but, at the same time, alive, threatening the pure existence of the human by disrupting the carefully constructed borders that civilization has erected between the self and the other, the human and the animal, between life and death. They are, like Rosemary Jackson said, “our relation to death made concrete” (68) and thus, they “disrupt the crucial defining line which separates real life from the unreality of death” (69). -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Submarino a Film by Thomas Vinterberg 01 Submarino Submarino
SUBMARINO A FILM BY THOMAS VINTERBERG 01 SUBMARINO SUBMARINO INTRODUCTION SUBMARINO is the story of two down-and-out brothers haunted by a tragic childhood. Troubled ex-con Nick fights painful memories and loneliness to try and reconnect with his brother, a struggling single father and heroin addict... From the acclaimed director of FESTEN (THE CELEBRATION), DEAR WENDY and IT’S ALL ABOUT LOVE. 02 03 SUBMARINO SUBMARINO SYNOPSIS Not yet out of elementary school, Nick and his younger brother have already been hardened by Nick communicates more easily with his ex-girlfriend’s brother Ivan. He opens up about having poverty, abuse and alcohol. But these two tough boys still find joy in their newborn baby brother. been recently released from prison for his brutal random violence when Ana broke up with him They gladly make up for the shortcomings of their neglectful alcoholic mother and give the infant two years ago. Nick has a soft spot for sex-obsessed overweight Ivan, down-and-out himself and in the loving care which all children deserve. Although shortlived, this glimmer of hope will haunt need of mental help. But Nick’s compassion misjudges the reality of Ivan’s illness... them well into adulthood... Nothing is more important to Nick’s brother than his six-year-old son Martin. No matter how much It’s winter and 30-something Nick is living alone in a gloomy tenement shelter. Moody and he loves his son, being a responsible father isn’t easy for a junkie. Despite the fact that he could anguished, Nick has difficulty controlling his anger. -
2. the Slow Pulse of the Era: Carl Th. Dreyer's Film Style
2. THE SLOW PULSE OF THE ERA: CARL TH. DREYER’S FILM STYLE C. Claire Thomson Introduction The very last shot of Carl Th. Dreyer’s very last film, Gertrud (1964), devotes forty-five seconds to the contemplation of a panelled door behind which the eponymous heroine has retreated with a wave to her erstwhile lover. The camera creeps backwards to establish Dreyer’s valedictory tableau on which it lingers, immobile, for almost thirty seconds: the door and a small wooden stool beside it. The composition is of such inert, grey geometry that, in its closing moments, this film resembles nothing so much as a Vilhelm Hammershøi painting, investing empty domestic space with the presences that have passed through its doors and hallways. If, in this shot, the cinematic image fleetingly achieves the condition of painting, it is the culmination of a directorial career predicated on the productive tension between movement and stillness, sound and silence, rhythm and slowness. At the end of Gertrud, where the image itself slows into calm equilibrium, we witness the end point of an entropic career. As Dreyer’s film style slowed, so, too, did his rate of production. The intervals between his last four major films – the productions that write Dreyer into slow cinema’s prehistory – are measured in decades, not years: Vampyr (1932), Vredens Dag (Day of Wrath, 1943), Ordet (The Word, 1955), Gertrud (1964).1 Studios were reluctant to engage a director who made such difficult films so inefficiently or, rather, made such slow films so slowly. The fallow periods between feature films, however, obliged Dreyer to undertake other kinds of work. -
Carl Theodor DREYER (1889-1968)
CARLDREYER Çeviren: İng. Ok. A. Fikret IŞIKYAKAR Carl Theodor DREYER (1889-1968) 50 yıldan fazla bir zaman dilimi içerisinde film sanatına bü• yük katkıları olan Danimarkah yönetmen C.T. Dreyer, tiyatro eleştdrmerıliğinden sonra 1912 de senaryo yazarı olarak sinemaya geçti. Zola ve Balzac'tan yaptığı uyarlarnalardan sonra yönetmen• Iiğe başladı. 1920'de ilk filmi Praesiderıten (Başkan)'ı çevirdi. Bu filmde D.W.GriHith'e ve onun ünlü filmi Intolerance'a (Hoşgörü süzlük) duyduğu aşırı hayranlığın izleri açıktır. 1921'de yaptığı Blade af Satans Bağ' (Satan'ın Kitabından Yapraklar) yine Grif rith'e bir öykünmedir. Berlin'e gitti. «Kammerspielfilmulerden sa yılan Die Gezeichneten'I (Birbiııinizi sevmiz. 1922) çevirdi. Dani marka'ya döndü. Du Skal aere din husturu (Evin Efendisi) dan sorıra yaptığı, ülmograüsırunve sinema dünyasının başyapıtların dan olan La Passion de Jeanne D'are (Jandark'ın Tutkusu) adlı mm bu dönemdendir (1928). Duygu ve düşünceleri görselleştlrme deki olağanüstü başarısı, yakın çekimleri (close-ups) , tonlamayı ve tartımı büyük bir ustalıkla kullanması özelliklerindendır. İlk sesli filmini 1932'de yaptı (Vampyr) . 1955'te çevirdiği Ordet (Söz• cük), ile aşkın doğasının incelenmesi ve görsel durağanlığıyla Or- 212 det'in biçimci ve tematık bir uzantısı olan son filmi Gertrude (1964) diğer önemli filmleridir. Sanatsal bütünlüğü, sorumluluğu ve tavrından hiç ödün vermeyaşı kırkbeş yıllık yönetmenlik yaşa mında yalnızca öndört film çevirdiğinden de bellidir. Aşağıda, bu büyük sinemacı ile «Chaiers du Cinema» derglsın den Michael Delahaye'in 1965 te yaptığı bir söyleşinin çevirisini sunuyoruz. CAHIERS : Filminiz her şeyden çok yaşam ile bir anlaşma, neşeye doğru bir gelişme biçiminde görünüyor. CARL DREYER : Bu belkide, kadınlar olsun erkekler olsun, beni kişisel olarak ilgalendirmeyen insanlarla hiç ilişkim olmama sındandır. -
Reviews of Dreyer's VAMPYR [Taken from the Amazon.Com Web Page for the Movie; Remember That for the Most Part These Reviewers Are Not Scholars]
Reviews of Dreyer's VAMPYR [taken from the amazon.com web page for the movie; remember that for the most part these reviewers are not scholars] Editorial Reviews Amazon.com In this chilling, atmospheric German film from 1932, director Carl Theodor Dreyer favors style over story, offering a minimal plot that draws only partially from established vampire folklore. Instead, Dreyer emphasizes an utterly dreamlike visual approach, using trick photography (double exposures, etc.) and a fog-like effect created by allowing additional light to leak onto the exposed film. The result is an unsettling film that seems to spring literally from the subconscious, freely adapted from the Victorian short story Carmilla by noted horror author Joseph Sheridan Le Fanu, about a young man who discovers the presence of a female vampire in a mysterious European castle. There's more to the story, of course, but it's the ghostly, otherworldly tone of the film that lingers powerfully in the memory. Dreyer maintains this eerie mood by suggesting horror and impending doom as opposed to any overt displays of terrifying imagery. Watching Vampyr is like being placed under a hypnotic trance, where the rules of everyday reality no longer apply. As a splendid bonus, the DVD includes The Mascot, a delightful 26-minute animated film from 1934. Created by pioneering animator Wladyslaw Starewicz, this clever film--in which a menagerie of toys and dolls springs to life--serves as an impressive precursor to the popular Wallace & Gromit films of the 1990s. --Jeff Shannon Product Description: Carl Theodor Dreyer's eerie horror classic stars Julian West as a visitor to a remote inn under the spell of an aged, bloodthristy female vampire.