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Dilili À Paris · Générique Complet · 1/8
auteur graphiste réalisateur Dilili à Paris · Générique complet · 1/8 Toutes les personnes qui ont fait ce film ont bien pensé à leurs petites filles : Ysé, Yona, Violette, Vanny-Ella, Uma, Tiana-Lys, Thalia, Tessa, Sonia, Soline, Shelbia-Clémentine, Sabrina, Rose, Prunelle, Norah, Noémie, Ninon, Natalia, Nastasja, Moïra, Martine, Marine, Maia, Maëly, Luna, Lucie, Luce, Louise, Louisa, Llanka, Liv, Lillie, Lilas, Leya, Léone, Léna, Léanne, Léa, Laura-May, Julie, Josiane, Jeanne, Janyce, Janna, Jade, Jacqueline, Iris, Gisèle, Garance, Gabrielle, Fleur, Eva, Esther, Elsa, Elise, Elisabeth, Electra-Sol, Dora, Delphine, Clémence, Cléa, Christine, Chloé, Charlotte, Céline, Capucine, Brune, Bérénice, Azenor, Aurore, Anouk, Anne-Laure, Anna, Anaé, Ambre, Aline, Alice, Aditi, Adèle, Abigail et toutes les autres. Un film de Michel Ocelot Scénario, scénarimage, modèles, image, réalisation Produit par Christophe Rossignon et Philip Boëffard Musique Gabriel Yared Producteurs associés Ève François Machuel et Pierre Guyard Co-produit par Patrick Quinet, Philippe Sonrier et Rodolphe Chabrier Coproducteurs Stéphane Célérier et Valérie Garcia, Vincent Maraval et Brahim Chioua, Olivier Père et Rémy Burah, Sonja Ewers et Reik Möller, Arlette Zylberberg, Philippe Logie Productrice exécutive Ève François Machuel 1er assistant réalisation et directeur technique : Jean-Claude Charles 1er assistant réalisation, développement : Éric Serre Superviseur général : Malek Touzani Directeur de la post-production : Julien Azoulay Superviseur technique : Flavio Perez Supervision -
Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
ANIMATION in MOROCCO: NEW GENERATIONS Whilst It Is Possible
ANIMATION IN MOROCCO: NEW GENERATIONS Whilst it is possible to catch a glimpse of animation in the Moroccan film Ali Zaoua: Prince of the Streets (2000) by Nabil Ayouch, the popularity that this film garnered with international audiences is not true for most of contemporary Moroccan animation. Where there has been attention and discussion directed at Moroccan film (Orlando, 2013, 2011, Carter, 2009, Dwyer, 2007, Hennebelle, 1976), it was hard to come by evidence of discourses in academic literature on Moroccan animation.1 Filmmaking in Morocco occurred as far back as the early 1900’s, with the establishment of the Centre Cinematographique Marocain in 1944 and the production of two Moroccan post-colonial feature-length films made in 1968 (Carter, 2009). This history has contributed to the visibility and support that Moroccan cinema has garnered on local and international platforms. Nevertheless the same was not visible in the case of animation, resulting here in a sporadic collection of accounts that are by no means a comprehensive narrative of the existence and development of this form in Morocco. As other accounts of the animated form have demonstrated (Wells, 1997, Pilling, 1998), this peripheral status is not unique to Moroccan animation. The outlying position of animation in relation to film, for example, has resulted in the tardy establishment of the field of animation studies within discourses on the moving image in Europe and America. However, in the case of animations produced outside of these geographies (Bendazzi, 1994) the condition is compounded further and animation studies scholars can only offer piecemeal narratives and brief glimpses of animations from further afield. -
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 -
Uncut! First Time In
45833_AFI_AGS 3/30/04 11:38 AM Page 1 THE AMERICAN FILM INSTITUTE GUIDE April 23 - June 13, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10 AFIPREVIEW UNCUT! FIRST TIME IN DC! GODZILLA!GODZILLA! Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial, Three by Alfred Hitchcock, Natalie Wood Tribute MC5*A TRUE TESTIMONIAL POINT OF ORDER A STREETCAR NAMED DESIRE CITY LIGHTS GODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE PHOTO NEEDED WORD WARS 45833_AFI_AGS 3/30/04 11:39 AM Page 2 Features 2, 3, 4, 7, 13 2 POINT OF ORDER MEMBERS ONLY SPECIAL EVENT! 3 MC5 *A TRUE TESTIMONIAL, GODZILLA GODSEND MEMBERS ONLY 4WORD WARS, CITY LIGHTS ●M ADVANCE SCREENING! 7 KIRIKOU AND THE SORCERESS Wednesday, April 28, 7:30 13 WAR AND PEACE, BLOWUP When an only child, Adam (Cameron Bright), is tragically killed 13 Two by Tennessee Williams—CAT ON A HOT on his eighth birthday, bereaved parents Rebecca Romijn-Stamos TIN ROOF and A STREETCAR NAMED DESIRE and Greg Kinnear are befriended by Robert De Niro—one of Romijn-Stamos’s former teachers and a doctor on the forefront of Filmfest DC 4 genetic research. He offers a unique solution: reverse the laws of nature by cloning their son. The desperate couple agrees to the The Greatest Generation 6-7 experiment, and, for a while, all goes well under 6Featured Showcase—America Celebrates the the doctor’s watchful eye. Greatest Generation, including THE BRIDGE ON The “new” Adam grows THE RIVER KWAI, CASABLANCA, and SAVING into a healthy and happy PRIVATE RYAN young boy—until his Film Series 5, 11, 12, 14 eighth birthday, when things start to go horri- 5 Three by Alfred Hitchcock: NORTH BY bly wrong. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Azur Et Asmar
Cahier de notes sur ... Azur et Asmar Michel Ocelot Ce « Cahier de notes sur… » est édité par l’association Les enfants de cinéma dans le cadre d’École et cinéma, dispositif d’éducation au cinéma soutenu par le ministère de la Culture et de la Communication (Centre national du cinéma et de l’image animée), le ministère de l’Éducation nationale, de l’Enseignement supérieur et de la Recherche (Direction générale de l’enseignement scolaire) et de Réseau Canopé (réseau de création et d’accompagnement pédagogiques). Il est possible de consulter des éléments complémentaires sur la plateforme Nanouk, outil numérique pédagogique dédié au travail sur le cinéma dans les classes de l’école primaire. Nanouk regroupe des documents pédagogiques et des extraits de films du catalogue « École et cinéma ». Elle offre aux enseignants et à leurs élèves la possibilité de travailler à partir de ces extraits vidéo. Nanouk présente plusieurs enjeux pédagogiques : faciliter une approche pédagogique du cinéma grâce à la mise en réseau d’extraits de films vus en salle de cinéma, développer la sensibilité artistique des enfants et poser les jalons d’une culture cinématographique, impulser une démarche pédagogique qui privilégie l’approche sensible et personnelle du spectateur tout en travaillant les notions de cinéma. Pour s’inscrire : www.nanouk-ec.com AZUR ET ASMAR-OK AM:LEMONDEVIVANT - 3 24/08/09 18:26 Page 1 Azur et Asmar Michel Ocelot France, 2006, couleur Sommaire Générique, résumé, note sur l’auteur ...................... 2 Autour du film ..............................................................3 Le point de vue de Bernard Genin : Avoir le temps de faire court ............................................6 Déroulant .....................................................................16 Analyse d'une séquence ......................................... -
Princes Et Princesses
princes2:princes2 3/08/09 13:58 Page 1 Princes et Princesses Michel Ocelot, France, 2000, couleurs Sommaire Générique, résumé .................................................... 2 Biofilmographie .................................................... 3/6 Autour du film........................................................ 4/7 Le point de vue de Xavier Kawa-Topor : L’ombre amoureuse ou la petite fabrique des images.... 8/16 Déroulant ............................................................ 17/23 Une image-ricochet .................................................. 24 Promenades pédagogiques .............................. 25/29 Bibliographie ........................................................... 30 Annexe ...................................................................... 31 Ce Cahier de notes sur… Princes et Princesses a été réalisé par Xavier Kawa-Topor. Il est édité dans le cadre du dispositif École et Cinéma par l'association Les enfants de cinéma. Avec le soutien du Centre national de la Cinématographie, ministère de la Culture et de la Communication, et la Direction générale de l’enseignement scolaire, le SCÉRÉN-CNDP, ministère de l'Éducation nationale. princes2:princes2 3/08/09 13:58 Page 2 2 — Générique - résumé Générique Résumé Princes et Princesses, Michel Ocelot, À la tombée de la nuit, entre des immeubles d’une ville moderne, France, 2000 une fille et un garçon se rejoignent dans la salle d’un cinéma abandonné. 70 minutes, animation, couleurs. Avec la complicité de l’ancien projectionniste et sous l’œil attentif -
Recommended Reading
RECOMMENDED READING The following books are highly recommended as supplements to this manual. They have been selected on the basis of content, and the ability to convey some of the color and drama of the Chinese martial arts heritage. THE ART OF WAR by Sun Tzu, translated by Thomas Cleary. A classical manual of Chinese military strategy, expounding principles that are often as applicable to individual martial artists as they are to armies. You may also enjoy Thomas Cleary's "Mastering The Art Of War," a companion volume featuring the works of Zhuge Liang, a brilliant strategist of the Three Kingdoms Period (see above). CHINA. 9th Edition. Lonely Planet Publications. Comprehensive guide. ISBN 1740596870 CHINA, A CULTURAL HISTORY by Arthur Cotterell. A highly readable history of China, in a single volume. THE CHINA STUDY by T. Colin Campbell,PhD. The most comprehensive study of nutrition ever conducted. ISBN 1-932100-38-5 CHINESE BOXING: MASTERS AND METHODS by Robert W. Smith. A collection of colorful anecdotes about Chinese martial artists in Taiwan. Kodansha International Ltd., Publisher. ISBN 0-87011-212-0 CHINESE MARTIAL ARTS TRAINING MANUALS (A Historical Survey) by Brian Kennedy and Elizabeth Guo CHRONICLES OF TAO, THE SECRET LIFE OF A TAOIST MASTER by Deng Ming-Dao. Harper San Francisco, Publisher ISBN 0-06-250219-0 (Note: This is an abridged version of a three- volume set: THE WANDERING TAOIST (Book I), SEVEN BAMBOO TABLETS OF THE CLOUDY SATCHEL (Book II), and GATEWAY TO A VAST WORLD (Book III)) CLASSICAL PA KUA CHANG FIGHTING SYSTEMS AND WEAPONS by Jerry Alan Johnson and Joseph Crandall. -
The Transnational Sound of Harpo Marx
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo. -
LACMA Public Programs September 2014
Music, Film, and Education ^ LACMA Public Programs September 2014 Talk: The Art of Wine: Wine in Music: An Afternoon with the Ahn Outdoor Session: Photography Family Dynamic: Ingrid Calame the Age of Expressionism Sook Sun Ensemble at LACMA and Shelby Roberts with Willa TALKS & COURSES Symposium: Locating Expressionism Saturday, September 6 | 10 am –4 pm Sunday, September 7 | 10 am –4 pm Free and open to the public Noted art historians and scholars convene in this two-day symposium on the occasion of the exhibition Expressionism in Germany and France: From Van Gogh to Kandinsky to shed new light on the extraordinary response of artists in Germany and France to key developments in modern art in the early 20th century. For the first time in a major museum exhibition, LACMA presents Expressionism not as a distinctly German style, but as an international movement in which artists responded with various aesthetic approaches to the work of modern masters. The German side of the story has been less well known in the United States until just recently, and LACMA's groundbreaking exhibition provides visitors and scholars alike an opportunity to explore the nuances of the interrelationship between a group of artists that includes not just Van Gogh and Kandinsky, but Henri Matisse, Georges Braque, Andre Derain, Erich Heckel, Ernst Ludwig Kirchner, and many others. Sponsored by the museum and the Historians of German and Central European Art, topics presented explore in depth the relationship between French art and Germany artists, Cubism's impact, and the impact of non-Western art on European art from this era. -
PREVIEW PRESS CONFERENCE FIRST HIGHLIGHTS of VIENNALE 2018 OCTOBER 25—NOVEMBER 8 Vienna, August 24, 2018
VIENNA INTERNATIONAL FILM FESTIVAL PREVIEW PRESS CONFERENCE FIRST HIGHLIGHTS OF VIENNALE 2018 OCTOBER 25—NOVEMBER 8 Vienna, August 24, 2018 Dear ladies and gentlemen, We are pleased to inform you about the current state of preparations for the Viennale 2018. This year, the Viennale will take place from October 25 to November 8. The existing documents present the first preview, as well as already established points of the program from the 56th edition of the Viennale. We also introduce the poster subject of the festival and the Retrospective. Continuously updated information can be found on our website www.viennale.at/en; press material and photos to download at www.viennale.at/en/press/download. Viewing Options With immediate efect, a selection of films from this year’s festival can be viewed for press purposes. Upon request, we can provide DVDs or links for viewing. For members of our long-term partner Festival Scope, there are many films available for viewing on their portal, www.pro.festivalscope.com For any further questions, please contact us. With kindest regards, The Viennale Press Team [email protected] Fredi Themel +43/1/526 59 47-30 Birgit Ecker +43/1/526 59 47-33 Zorah Zellinger +43/1/526 59 47-20 Accreditations, from August 25: Zorah Zellinger +43/1/526 59 47-20 [email protected] (Accreditation applications accepted until October 5) www.viennale.at/en/press/accreditation VIENNALE – Vienna International Film Festival Siebensterngasse 2, 1070 Vienna • T +43/1/526 59 47 • F +43/1/523 41 72 [email protected] • www.viennale.at