DOCSLIB.ORG

Journal of Film Preservation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Journal of Film Preservation Journal of Film Preservation Contributors to this issue... Ont collaboré à ce numéro... Han participado en este número... Journal 81 11/2009 JESPER ANDERSEN of Film Programmer at the Danish Film Institute / Archive and Cinematheque (Copenhagen) Preservation MICHELLE AUBERT Ancienne Conservatrice Films aux Archives française du film-CNC, Bois d’Arcy (Estoublon) CAMILLE BLOT-WELLENS Directrice des Collections Films, Cinémathèque française (Paris) NINO DZANDZAVA Assistant at the Film Heritage Protection and Archive EILEEN BOWSER Department of the Georgian National Film Center FIAF Honorary Member (New York) (Tbilisi) MICHEL CADÉ CATHERINE HULIN Président de l’Institut Jean Vigo (Perpignan) Conseillère juridique à la Cinémathèque française (Paris) la de Revista Internacional Federación Fílmicos Archivos de PAOLO CHERCHI USAI CLYDE JEAVONS Director of the Haghefilm Foundation (Amsterdam) Archive Consultant to the London Film Festival (London) ROBERT DAUDELIN WOLFGANG KLAUE Rédacteur en chef du Journal of Film Preservation Former Director of the Staatliches Filmarchiv der DDR (Montréal) (East Berlin) Published by the the by Published Federation International Archives Film of CHRISTIAN DIMITRIU ÉRIC LE ROY Executive Publisher and Member of the Editorial Board Chef du Service accès, valorisation et enrichissement des of the Journal of Film Preservation (Brussels) collections, Archives françaises du film-CNC (Paris - Bois d’Arcy) DONALD McWILLIAMS Filmmaker (Montréal) JON WENGSTRÖM Revue de la Fédération Fédération la de Revue Internationale Film du Archives des Curator of the Archival Film Collection, Svenska Filminstitutet (Stockholm) 81 • FIAF 11/2009 • Interview with Eileen Bowser • Catalogue Albatros • Jerzy Toeplitz 100th Anniversary • La Guerra filmada November / novembre / noviembre 2009 81 Editorial 2 Lest we forget… Wolfgang Klaue Berlin - Die Sinfonie der Grosstadt, Walter Ruttmann, Germany, 1927. Open Forum Courtoisie de la Cinémathèque Suisse, Lausanne. 5 Showing a Film Is not Enough – On Cinematheques in Western Europe and North America Jesper Andersen FIAF Awards Martin Scorsese (2001) Manoel de Oliveira (2002) Historical Column / Chronique historique / Columna histórica Ingmar Bergman (2003) 25 Eileen Bowser – A Life Between Film History, MoMA and FIAF Geraldine Chaplin (2004) Christian Dimitriu Mike Leigh (2005) Hou Hsiao-Hsien (2006) 47 Le Catalogue Albatros à la Cinémathèque française Peter Bogdanovich (2007) Camille Blot-Wellens, Catherine Hulin Nelson Pereira dos Santos (2008) Rithy Panh (2009) 57 Four City Films Donald McWilliams Illustration credits and special thanks to: Archives françaises du film - CNC, Paris British Film Institute, National Archive, London News from the Archives / Nouvelles des archives / Noticias de Cinémathèque française / Musée du los archivos Cinéma, Paris et Marie-Ange L’Herbier 64 Tbilisi: The Georgian Film Heritage Protection and Archive Cinémathèque québécoise, Montréal Cinémathèque suisse, Lausanne et Department André Chevailler, Lausanne Nino Dzandzava Cinematek, Brussels Danish Film Institute, Copenhagen FIAF Archives, Bruxelles and In Memoriam Christian Dimitriu 66 Anita Falk (1958-2009) Filmoteka Narodowa, Warszawa Jon Wengström Svenska Film Institut - Kinematheket, Stockholm 68 Francis Lacassin (1931-2008) Éric Le Roy Fédération Internationale des Archives du Film - FIAF Rue Defacqz 1 1000 Bruxelles / Brussels Belgique / Belgium Tel: +32 2 538 3065 Fax: +32 2 534 4774 E-mail: [email protected] Journal of Film Preservation JournalJournal ofof FilmFilm PreservationPreservation Half-yearly / Semi-annuel ISSNISSN 1609-26941609-2694 Copyright FIAF 20092008 Publications / Publications / Publicaciones FIAF Officers 71 Stagestruck Filmmaker: D.W. Griffith and the American Theatre President / Présidente Eva Orbanz Eileen Bowser Hisashi Okajima Secretary General / Secrétaire générale Meg Labrum Meg Labrum 73 What Is Cinema? Treasurer / Trésorier Treasurer / Trésorier A new translation for André Bazin’s Qu’est-ce que le cinéma? Patrick Loughney Patrick Loughney Paolo Cherchi Usai Comité de rédaction ComitéEditorial de rédaction Board 76 La Corse, les Corses et le Cinéma. Chief EditorEditorial / Rédacteur Board en chef 50 ans de cinéma parlant. 1929-1980 Chief EditorRobert / Rédacteur Daudelin en chef Michelle Aubert Robert Daudelin EB Members / Membres CR EB MembersMary Lea / Membres Bandy CR DVDs Eileen Bowser 78 Treasures IV – American Avant-Garde Film, 1947-1986 PaoloChristian Cherchi Dimitriu Usai Christian Dimitriu Paolo Cherchi Usai Jan Christopher Horak EricÉric Le Roy Hisashi Okajima 80 Svenska Stumfilmsklassiker (Swedish Silent Film Classics) Clyde Jeavons Correspondents/Correspondants Thomas Christensen Paolo Cherchi Usai Hervé Dumont 83 Tout Ruttmann Thomas Christensen Robert Daudelin Ray Edmondson StevenClyde Jeavons Higgins PatrickClyde Loughney Jeavons 85 La Guerra filmada RogerPaul Smither Read Michel Cadé Roger Smither Résumés EileenRésumés Bowser 88 Markens Grøde RobertEileen Daudelin Bowser Éric Le Roy ChristianRobert Daudelin Dimitriu ChristianM. Beatrice Dimitriu Lenzi AnaSever Cristina J. Voicu Iriarte 90 Publications Received at the Secretariat / Publications reçues au M. Beatrice Lenzi Secrétariat / Publicaciones recibidas en el Secretariado Éditeur / ExecutiveAna Useros Publisher ChristianSever J. Dimitriu Voicu 94 FIAF Bookshop / Librairie FIAF / Librería FIAF Editorial Assistants Éditeur / Executive Publisher Catherine Surowiec Christian Dimitriu Baptiste Charles Editorial Assistants CatherineSever J. SurowiecVoicu Baptiste Charles Graphisme / Design Meredith Spangenberg ImprimeurImprimeur // PrinterPrinter Artoos - Brussels Lest We Forget… Wolfgang Klaue Editorial Jerzy Toeplitz would have been 100 in November 2009. Among the current generation of archivists, Jerzy Toeplitz aurait eu cent ans le few are left who knew 24 novembre. Wolfgang Klaue, qui him. We last saw him at fut président de la FIAF de 1979 à the FIAF Congress in Los 1985 et qui l’a bien connu, profite de Angeles in 1995. This was l’occasion pour rappeler l’extraordinaire his last meeting with old carrière du professeur Toeplitz et friends from the now sa contribution hors du commun à large FIAF family. He died l’histoire de la FIAF. a few weeks later. Les premiers écrits de Jerzy Toeplitz sur le cinéma datent de 1928. Dans les Jerzy Toeplitz was born années 30, il participe aux activités du on 24 November 1909 groupe polonais Start dont il est l’un in Kharkov, Ukraine, and des fondateurs, mettant de l’avant un engagement social dans la critique. studied law in Warsaw. Travaillant à Londres de 1934 à 1937, il From 1928 to 1934 he échappe ainsi à l’occupation allemande contributed articles on de son pays. film to various Polish Fondateur et recteur de l’école newspapers and in de cinéma de Lodz, titulaire de 1930 became a founder la chaire Histoire et Théorie du member of Start, a grouping of left-wing intellectuals committed to social cinéma à l’Académie polonaise des criticism in the cinema. From 1934 to 1937 he worked in his cousin’s film Sciences, conseiller cinéma auprès du gouvernement polonais, éditeur company in London and by good fortune survived the German occupation d’une revue théorique et auteur d’une of Poland. histoire générale du cinéma en six In 1946 Toeplitz attended the first FIAF Congress after the Second World War. volumes, Jerzy Toeplitz était également bien connu des téléspectateurs At that time he headed up the overseas department of the state cinema de son pays jusqu’à ce que son agency Film Polski and, with others, conceived the idea of a film archive in gouvernement (en 1968) lui retire Warsaw. From 1948 to 1972 – for 24 years – he was President of FIAF. At that toutes ses responsabilités. Polyglotte time the statutes did not limit the term of office, as they do now. Toeplitz (il parlait couramment six langues et was an unusually creative personality and today the list of his positions, se débrouillait très bien dans plusieurs functions, and academic achievements still seems extraordinary. He was autres), il enseigna aux États-Unis et en Belgique, fut professeur invité dans co-founder and rector of the film school in Łódź, head of the history and plusieurs autres pays et, à l’invitation theory of cinema department at the Polish Academy of Science, publisher du gouvernement australien, créa of a film theory journal, adviser on cinema to Polish government ministers, l’Australian Film and Television School a familiar figure on television, member of a multiplicity of national and en 1973. international committees and organizations, and author of a six-volume En 1946, alors qu’il dirige le service history of world cinema. He had teaching posts in the USA and Belgium international de Film Polski, Toeplitz and was a guest lecturer in many other countries. He founded and headed qui, avec quelques autres, travaillait à the Australian Film and Television School, spoke six languages fluently and un projet d’archives du film à Varsovie, could read and make himself understood in several others. participe au congrès de la FIAF. En 1948 il est élu président de la FIAF, un The period of his presidency of FIAF was a complicated one in several poste qu’il occupera durant 24 ans, à respects. It was the time of the Cold War between East and West, which une époque où aucune limite de temps n’était associée à cette fonction. naturally cast its shadow over FIAF; but it was also a time of internal conflict, thanks to the resignation of the Cinémathèque française and the Doté d’un talent de
Load more

Recommended publications
  • Hybrid Variations on a Documentary Theme
    Hybrid variations on a documentary theme Robert Stam1 1 É professor transdisciplinar da Universidade de Nova York. Autor de diversos livros sobre cinema e literatura, cinema e estudos culturais, incluindo Brazilian cinema, Reflexivity in film and literature, Subversive pleasure, Tropical multiculturalism, Film theory: an introduction, Literature through film e François Truffaut and friends. Formado pela Universidade da Califórnia, Berkeley, também frequentou a Universidade de Paris III. Lecionou na Tunísia, na França e no Brasil (USP, UFF, UFMG) E-mail: [email protected] revista brasileira de estudos de cinema e audiovisual | julho-dezembro 2013 Resumo ano 2 número 4 Embora muitas vezes encarado como pólos opostos, o documentário e a ficção são, na verdade, teórica e praticamente entrelaçados, assim como a história e a ficção, também convencionalmente definidos como opostos, são simbioticamente ligados. O historiador Hayden White argumentou em seu livro Metahistory que a distinção mito/ história é arbitrária e uma invenção recente. No que diz respeito ao cinema, bem como à escrita, White apontou que pouco importa se o mundo que é transmitido para o leitor/espectador é concebido para ser real ou imaginário, a forma de dar sentido discursivo a ele através do tropos e da montagem do enredo é idêntica (WHITE, 1973). Neste artigo, examinaremos as maneiras que a hibridação entre documentário e ficção tem sido mobilizada como radical recurso estético. Palavras-chave Documentário, ficção, hibridização, sentido discursivo. Abstract Although often assumed to be polar opposites, documentary and fiction are in fact theoretically and practically intermeshed, just as history and fiction, also conventually seen as opposites, are symbiotically connected.
    [Show full text]
  • Of Time, Dissonance and the Symphonic-Poetic City Les Roberts, University of Liverpool
    Published in Eselsohren: Journal of the History of Art, Architecture and Urbanism, 2 (1-2): 87-104 (2015). Of Time, Dissonance and the Symphonic-Poetic City Les Roberts, University of Liverpool The „time‟ of Terence Davies‟s celebrated cine-poem Of Time and the City (2008) can in one sense be characterised as linear inasmuch as it accords with a biographical period – the 1940s to 1970s – that maps on to the history of a specific place: the port-city of Liverpool in the north west of England. The duration of the seventy-five minute film is thus homologous to that of the director‟s own time growing up on post-war Merseyside, from his birth in 1945 until 1973 when he moved away from the city. In other words, the film tells a story that unfolds as a linear narrative: a time-line of geobiographical memory. But the „time‟ of Of Time and the City also conveys a different temporal geography, one that works against the linearity of narrative form. Time in this other sense is poetically woven from the fluid and contingent temporalities of Terence Davies‟s Liverpool: a city reassembled from the excavatory fragments of an archaeology of memory. It is as fitting to describe Of Time and the City as a „symphony‟ as it is for other classics of the genre, such as Walter Ruttman‟s Berlin: Symphony of a Great City (1927) or Dziga Vertov‟s Man with a Movie Camera (1929). However, the film‟s rich orchestration of archival memory (around 85% of the film consists of archive material) and its dissonant poetics of everyday time map out the contours of what might better be described as a „symphonic-poetic city‟.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • BORSALINO » 1970, De Jacques Deray, Avec Alain Delon, Jean-Paul 1 Belmondo
    « BORSALINO » 1970, de Jacques Deray, avec Alain Delon, Jean-paul 1 Belmondo. Affiche de Ferracci. 60/90 « LA VACHE ET LE PRISONNIER » 1962, de Henri Verneuil, avec Fernandel 2 Affichette de M.Gourdon. 40/70 « DEMAIN EST UN AUTRE JOUR » 1951, de Leonide Moguy, avec Pier Angeli 3 Affichette de A.Ciriello. 40/70 « L’ARDENTE GITANE» 1956, de Nicholas Ray, avec Cornel Wilde, Jane Russel 4 Affiche de Bertrand -Columbia Films- 80/120 «UNE ESPECE DE GARCE » 1960, de Sidney Lumet, avec Sophia Loren, Tab Hunter. Affiche 5 de Roger Soubie 60/90 « DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE» 1967, de Jean Luc Godard, avec Marina Vlady. Affichette de 6 Ferracci 120/160 «SANS PITIE» 1948, de Alberto Lattuada, avec Carla Del Poggio, John Kitzmille 7 Affiche de A.Ciriello - Lux Films- 80/120 « FERNANDEL » 1947, film de A.Toe Dessin de G.Eric 8 Les Films Roger Richebé 80/120 «LE RETOUR DE MONTE-CRISTO» 1946, de Henry Levin, avec Louis Hayward, Barbara Britton 9 Affiche de H.F. -Columbia Films- 140/180 «BOAT PEOPLE » (Passeport pour l’Enfer) 1982, de Ann Hui 10 Affichette de Roland Topor 60/90 «UN HOMME ET UNE FEMME» 1966, de Claude Lelouch, avec Anouk Aimée, Jean-Louis Trintignant 11 Affichette les Films13 80/120 «LE BOSSU DE ROME » 1960, de Carlo Lizzani, avec Gérard Blain, Pier Paolo Pasolini, Anna Maria Ferrero 12 Affiche de Grinsson 60/90 «LES CHEVALIERS TEUTONIQUES » 1961, de Alexandre Ford 13 Affiche de Jean Mascii -Athos Films- 40/70 «A TOUT CASSER» 1968, de John Berry, avec Eddie Constantine, Johnny Halliday, 14 Catherine Allegret.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • 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.
    [Show full text]
  • September – October 2011 at BFI Southbank
    PRESS RELEASE July 2011 11/58 September – October 2011 at BFI Southbank Ken Loach, Maya Deren, Terrence Malick, Edward Yang x Ken Loach In celebration of Ken Loach’s 75th birthday, BFI Southbank will host the most comprehensive season ever of this provocative filmmaker’s output, including the premiere of his film for Save the Children, from 1969. A selection of his early work for television will screen in BFI Mediatheques across the country and an exhibition of his scripts and correspondence, taken from Loach’s paper archive which he has recently donated to the BFI, will be displayed on the Mezzanine x Extended Run: West Side Story (Dir, Robert Wise and Jerome Robbins, 1961) The release of this newly restored digital presentation will mark the 60th anniversary of this ten times Oscar-winning musical and herald the BFI Southbank MGM Musicals season (November – December) x Terrence Malick A rare opportunity to view each of Malick’s breathtaking feature films in this season, including Badlands (1974) and the recent Tree of Life (2011) x Extended Run: Days of Heaven (Dir, Terrence Malick, 1978) 2 – 12 Sept Malick has overseen the digital restoration of his seminal film, famously shot at ‘magic hour’ by Haskell Wexler and Nestor Almendros, with a soundtrack by Ennio Morricone x Being with a Friend: The Films of Edward Yang Best known for A One and a Two… (2000), Yang was a masterful director with an acute understanding of the lives of people, often combining sensitivity and satire to moving effect x Maya Deren One of experimental cinema’s most visionary and inspiring filmmakers and writers is celebrated 50 years after her death.
    [Show full text]
  • Charles Musser Mailing Address
    11/2/15 Vita Charles Musser-1 Charles Musser mailing address: Box 820 Times Square Station, NY. NY. 10108 Yale tel: 203-432-0152; Yale FAX: 203-432-6764 Cell: 917-880-5321 Email: [email protected] Professional website: http://www.charlesmusser.com/ Education: Yale University, B.A., 1975, Major: Film and Literature New York University, Ph.D., October 1986, Dept. of Cinema Studies Academic Experience: 2000-present: Professor: Yale University. Film & Media Studies, American Studies and Theater Studies. Co-chair, Film Studies Program (to July 2008). Acting Chair, Theater Studies Program, Spring 2013; Director Yale Summer Film Institute. Summer 2012: Visiting Professor: Stockholm University. 1995-2000: Assoc. Prof.: Yale University. American Studies and Film Studies. Director of Undergraduate Studies, Film Studies Program. 1992-1995: Asst. Prof.: Yale University. American Studies and Film Studies. Director of Undergraduate Studies, Film Studies Program. 1985-1995: co-chair: University Seminar, Columbia, on Cinema and Interdisciplinary Interpretation. 1991-1992: Visiting Asst. Prof.: UCLA. Dept. of Film and Television. 1988-1992: Adjunct Asst. Prof.: Columbia University. Film Division, School of the Arts. Spring 1990: Visiting Asst. Prof: New York University. Department of Cinema Studies. 1987-Fall 89: Adjunct Asst. Prof.: New York University. Department of Cinema Studies. Fall 1988: Visiting Adjunct: State University of New York- Purchase. Film Department. Spring 1987: Visiting lecturer: Yale University. College seminar. Curatorial Experience: 2014-present: co-founder NHdocs: the New Haven Documentary and co-director: Film Festival. Over the course of a long weekend, the festival features documentaries from the Greater New Haven Area. In 2015, we screened 23 shorts and features.
    [Show full text]
  • First Tango in Paris
    Article announcing the imminent formation of FIAF in the British trade journal Today’s Cinema, 16 June 1938 JFP First Tango in Paris: ¯°.20 The Birth of FIAF, 1936-1938 88 Christophe Dupin Christophe Dupin: Senior Administrator of the International Federation of Film Archives and ¢lm historian (Brussels). “Only when lm archives of di±erent countries establish regular exchanges will one nally be able to know the true history of cinema.” Henri Langlois, 19361 Henri Langlois, 1936 1 Author’s note: The origins of this article can chives, and helped me complete the pre-war be found in my research on the history of picture. The fact that relatively little has been the British Film Institute, and in particular written about the origins and formation of my analysis of the tempestuous relationship FIAF, added to the upcoming celebration of between Ernest Lindgren and Henri Langlois, the 75th anniversary of the Federation in June two of the pioneers of the lm archive move- 2013, convinced me to interpret these fasci- ment. 2 During that research I became famil - nating pre-war archival records in an article iar with FIAF-related paper archives held by for the Journal of Film Preservation. the British Film Institute (which I also cata- logued) and the Cinémathèque francaise FIAF’s o¦cial date of birth is generally rec- (where I could rely on the generous support ognized as 17 June 1938, as con¢rmed by the of Laurent Mannoni). My subsequent appoint- date of the “Agreement for the International ment as FIAF Administrator gave me direct Federation of Film Archives” signed in Paris by access to the Federation’s own archival re- its four founder-members – the Cinémathèque cords in Brussels, documenting three-quar- française, Germany’s Reichsfilmarchiv, the ters of a century of the lm archive move- British Film Institute, and the Museum of Modern ment.
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • Cineclubuned 24.Pdf
    Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07
    [Show full text]
  • Perspectives Documentaires En Education
    ENSEIGNANTS À L'ÉCRAN Une filmographie de 289 titres Jacques Wallet A l'occasion du colloque organisé par l'INRP sur Les images publiques des enseignants, en cette année où l'on fête le centenaire du cinéma, une recherche documentaire a été conduite sur l'image des enseignants français dans les films de fiction depuis le début du siècle, grâce au partenariat avec les Archives du film du Centre national de la cinématographie à Bois d'Arcy. Ce travail a été mené dans le cadre du service des Rencontres audiovisuelles (département Ressources et communication) par Jacques Wallet, enseignant à l'IUFM de Versailles, associé aux recherches de l'INRP, avec l'aide de Sophie- Charlotte Magnard, stagiaire, pour les recherches filmiques et de Monique Theye, ingénieur d'études à l'INRP, qui a complété la filmographie et en a assuré la relecture et le secrétariat de rédaction. Les actes du colloque suscité sont parus dans Recherche et formation, n° 20, 1995 sous le titre "Images publiques des enseignants" et paraîtront également dans le n° 21 de 1996 sous le titre "Images des enseignants dans les médias". uand j'ai commencé ce travail, mes compétences dans ce domaine se limitaient à une réflexion sur le mode de production et d'écriture des films réalisés dans des classes à des fins de formation profession¬ nelle. Traquer "l'image de l'enseignant" dans les films de fiction s'est révélé à l'usage un atout précieux pour mieux comprendre les richesses mais aussi les limites des films institutionnels qui participent à la formation des maîtres et des documentaires "grand public" diffusés à la télévision.
    [Show full text]