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Cinephilia Or the Uses of Disenchantment 2005
Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life. -
Executive Producer)
PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime). -
ENGL A270 | HISTORY of FILM Fall 2021 | Tuesday & Thursday, 4:55-6
ENGL A270 | HISTORY OF FILM Fall 2021 | Tuesday & Thursday, 4:55-6:10PM Bobet 216 Instructor: Mike Miley | [email protected] | 504.865.2286 Office hours: T/Th 4:15-4:45 PM, 6:15-7:15 PM and by appointment Course Description History of Film is an introduction to the rich and troubling history, impact, and legacy of the motion picture as a commercial narrative art form. The course begins with the creation of the medium in the 1890s and travels around the globe to reach our extremely uncertain and precarious present. Although the medium has developed tremendously throughout the decades due to advancements in style, technology, production, and exhibition, the course will strive to create a sense of continuity, showing how films speak to the legacy of cinema by pointing out the ways in which films influence each other and respond to films of the past. The course will pay particular attention to films and filmmakers who divert from or critique the dominant narratives and forms of film and film history to provide students with a fuller picture of cinema’s capabilities. The goal of the course is not only to educate students on the major figures and developments in cinema but also to expose them to the dynamic field they participate in as spectators and creators to give them the necessary context for a creative and compassionate life in the field. Students who successfully complete the course will be able to demonstrate their knowledge of major events, figures, and films in the history of cinema and will be comfortable with writing about film as a narrative art. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Randy Finch Film Department, University of Central Florida, Orlando, FL 32816 Phone 407-823-6111 Email: [email protected]
Randy Finch Film Department, University of Central Florida, Orlando, FL 32816 Phone 407-823-6111 Email: [email protected] EDUCATION 1987 Juris Doctor FORDHAM UNIVERSITY SCHOOL OF LAW 1978 Bachelor of Arts HARVARD COLLEGE Psychology and Social Relations Cum Laude PROFESSIONAL EXPERIENCE TEACHING 2006-present Associate Professor, UNIVERSITY OF CENTRAL FLORIDA 2005-2006 Visiting Associate Professor, UNIVERSITY OF CENTRAL FLORIDA FILM/TELEVISION PRODUCED FEATURE LENGTH CREDITS 1997-1999 Producer, OUTSIDE PROVIDENCE (Miramax Films) Developed screenplay from Peter Farrelly’s coming-of- age novel. Produced the movie with a cast including Alec Baldwin, Shawn Hatosy and Amy Smart, and negotiated sale to Miramax. 1994-1997 Producer, THE SUBSTANCE OF FIRE (Miramax Films) Developed screenplay from Jon Robin Baitz’s play. Structured the deals including equity financing and, assembled cast including Sarah Jessica Parker, Ron Rifkin, Timothy Hutton and Tony Goldwyn. Produced film and negotiated sale to distributor. 1993-1994 Executive Producer, FEDERAL HILL (Miramax/Trimark Films) Negotiated rights acquisition and sale of independent film. Orchestrated worldwide festival campaign. Winner Critic’s Award and Audience Award at 1994 Deauville Film Festival. 1990-1991 Producer, CAROLINA SKELETONS (NBC) Developed teleplay from David Stout’s Edgar Award winning novel. Stars; Louis Gossett Jr., Bruce Dern & Melissa Leo. 1987-1988 Associate Producer, MILES FROM HOME (Cinecom) Developed screenplay for Gary Sinises’s film directing debut. Cast included Richard Gere, Helen Hunt, Brian Dennehy, and John Malkovich. THEATER SELECTED PRODUCED CREDITS 1995 Director, THE ENGAGEMENT (Workhouse Theater, NY, NY) Directed the premiere of Richard Vetere’s comic play at off-off- Broadway venue. 1994-1995 Co-Producer, NEW YORK STAGE AND FILM Produced plays summer seasons at Vassar College Poughkeepsie, NY, including new work by John Patrick Shanley (author of MOONSTRUCK and DOUBT) and Steve Martin. -
Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood Pdf, Epub, Ebook
EASY RIDERS, RAGING BULLS: HOW THE SEX, DRUGS AND ROCK AND ROLL GENERATION SAVED HOLLYWOOD PDF, EPUB, EBOOK Peter Biskind | 512 pages | 26 Apr 1999 | SIMON & SCHUSTER | 9780684857084 | English | New York, United States Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood PDF Book My impression of this documentary wasn't so great due to the fact of already seeing and knowing a similar themed work a few years ago called "A Decade Under the Influence" , directed by Ted Demme and Richard LaGravenese, which was a better project for numerous reasons. Why do people go see them? The book is hefty with gossip of all kinds, which is too bad because he's talking about the revolution in films in the 60's to early 80's. It is chock full of interviews and choice information about the time period 60's's in American cinema that changed everything, for a lot better and some for not. Beatty likes to fuck alot. Biskind's book disappointed me tremendously. Return to the Books Home Page. Assassinations, cultural domination, drugging, spying, provocation: Talk about taking the fight to your opponents—the American people—and crippling them for generations! But in the kind of popularized pseudohistory ''Easy Riders, Raging Bulls'' exemplifies, anecdotes are valued above all else, bitchy gossip is privileged, dysfunction is automatically more fascinating than artistic success, aggrieved former friends and former lovers are granted the license to settle scores sometimes anonymously , documentation is disdained and historical analysis must be squeezed into the narrative quickly, so as not to disrupt the dishing. -
Scorses by Ebert
Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press. -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both. -
Lecture 2 1970S Hollywood.Pdf
FILM IN THE 1970s THE FILM SCHOOL GENERATION AND THE BIRTH OF THE NEW HOLLYWOOD ROGER CORMAN - Born in 1926 - Known as “King of the Bs” – his best-known film is The Little Shop of Horrors (1962) - Made many low-budget exploitation films, and used the profits to finance and distribute prestigious films – many of them directed by his protégés, who went on to become some of the most influential directors of the 1970s and beyond - Honorary Academy Award in 2009 “for his rich engendering of films and filmmakers” PETER BOGDANOVICH - Born in 1939 - Film programmer at MoMA, wrote about film for Esquire; worked with Orson Welles, John Ford, and other classic Hollywood directors - 1971 – directed The Last Picture Show – followed up with successes What’s Up, Doc?, Paper Moon - Later films didn’t fulfill his early promise, but he continues to be an influential voice on the subject of film history FRANCIS - Born in 1939 FORD - MFA from UCLA (1966) – first major COPPOLA director to graduate from a prominent university film program - Screenwriter – Patton – won first Oscar - 1969 – established American Zoetrope with his protégé George Lucas - 1972 – The Godfather - 1974 – The Godfather Part 2 and The Conversation MARTIN SCORSESE - Born in 1942 - B.S. (1964) and M.A. (1968) from NYU - Worked with Corman; and, as his student project, edited Woodstock (1970) - Rose to fame in 1973 – Mean Streets – not a commercial hit, but had a dynamic style, and set a template for character types and themes and settings he would return to throughout his career GEORGE LUCAS - Born in 1944 - USC graduate – won 1965 National Student Film Festival with THX-1138 - Apprenticed with Coppola, and later collaborated with him - First major success – American Graffiti (1973) - Invested those profits into Lucasfilm, Ltd. -
Module Definition Form (MDF)
Module Definition Form (MDF) Module code: MOD004643 Version: 3 Date Amended: 28/Oct/2015 1. Module Title Scriptwriting 2a. Module Leader 2b. Department 2c. Faculty Judy Forshaw Department of English and Media Faculty of Arts, Law and Social Sciences 3a. Level 3b. Module Type 6 Standard (fine graded) 4a. Credits 4b. Study Hours 30 300 5. Restrictions Type Module Code Module Name Condition Courses to which this module is restricted: None LEARNING, TEACHING AND ASSESSMENT INFORMATION 6a. Module Description You will be introduced to the scope and conventions of script writing across a range of forms – film, television, radio and gaming – through analysis of a diverse range of classic and contemporary examples. The creative process is examined, from the collection of ideas at the notebook stage, to the creation of a treatment, to the production and editing of a finished script. You will be required to engage in this process by maintaining a reading journal and writer’s notebook where you will record your responses to material viewed and listened to, and created; thereby encouraging the integration of viewing/listening and writing. Material studied may include screenplays by Paul Schrader, Charlie Kaufman, Sophia Coppola, Quentin Tarantino, Aaron Sorkin and Paul Thomas Anderson. Television series may include, Breaking Bad, Mad Men, The Killing, House of Cards and The Returned. Audio material may include selected Afternoon Plays and radio comedy series. Writing exercises focus on practical writing techniques such as writing an effective treatment or outline, and exploring the different techniques needed for different broadcast mediums. Seminar workshops are based around the reading and writing exercises prepared each week. -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
RSVP by May 3Rd to the Jewish Federation At
S D I P A g R 0 r h 1 t o D 2 0 . 1 8 2 y s N r r a , d s A i y r e e R a v p i b n a G M n r m A F le d u f • Raf n O N ing ! a 0 t t , i h r xc ig 7 N E N 5 g y 7 er O 1 v h 5 I E s es T i , iz e r r P A a w m R y I e M u j / E a l y . 2 n - D 6 o , a w E V s F s w 2 i 010 N H w S I North W E J Sunday, May 2 nd ELI & BEN rd R Monday, May 3 CAMERA OBSCURA A Tuesday, May 4 th F SPRING OF 1941 Wednesday, May 5 th O WHITE BALANCE H MIDDLE EASTERN DINNER S ADAM RESURRECTED Thursday, May 6 th E NORA’S WILL Admission: $ 6.00 per film H Flex pass tickets (eight admissions): $ 36.00 available at the Jewish Federation until April 30th T This program is sponsored by the Jewish Federation of Grand Rapids, Celebration! Cinema, the Rosenzweig-Coopersmith Foundation and private donors. See information on pages 6-7 INTERNATIONAL NEWS . JDC P ROGRAMS The American Jewish Joint Distribution Committee By partnering with local municipalities and organizations around the world, JDC provides critical and innovative services such as relief and welfare, Jewish education, community and leadership development, and non-sectarian aid for the world’s most vulnerable populations in over 70 countries.