Wilbert Ubbens Kommunikationshistorische
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Peindre Pour Le Cinéma Une Histoire Du Matte Painting Réjane Hamus-Vallée
PU DU SEPTENTRION VIENT DE PARAITRE Peindre pour le cinéma Une histoire du Matte Painting Réjane Hamus-Vallée Présent depuis les débuts du cinématographe et traversant toute l’histoire du cinéma, le Matte Painting permet de combiner en un même plan large un décor réel et son prolongement sous forme d’une peinture, qu’elle soit réalisée avec des pinceaux sur du verre ou créée numériquement. Son agencement avec d’autres plans est si parfait que le spectateur en est rarement conscient. L’illusion est ainsi Peindre pour le cinéma complète pour le serment du Jeu de paume de Napoléon d’Abel Gance (1927), Une histoire du la façade de l’Inquirer de Citizen Kane d’Orson Welles (1940), la visite d’un Matte Painting musée est-berlinois du Rideau déchiré d’Alfred Hitchcock (1965), la forêt du Retour du Jedi (Richard Marquand, 1983) ou celle d’Avatar (James Cameron, Réjane Hamus- Vallée 2008)… Arts du spectacle — Images et sons Cet ouvrage propose une histoire de cette technique, de ses ancêtres directs à ses différentes technologies cinématographiques. Il analyse la façon dont les matte painters ont cherché et cherchent toujours à introduire ce décor truqué Collection en harmonie avec l’esthétique de la mise en scène. Ainsi, par l’étude du Matte Arts du spectacle - Images et sons Painting, c’est le rôle des effets spéciaux au cinéma qui est questionné, au moment où le numérique renouvelle les enjeux même de l’illusion cinématographique. Caractéristiques L'auteur ISBN 978-2-7574-1381-4 Réjane Hamus-Vallée est maîtresse de conférences, habilitée à diriger des Format 16x24 recherches au sein du département Sociologie de l’Université d’Évry Val Nb pages 300 d’Essonne, où elle dirige le Master Image et société. -
36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18)
36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18) • No children are allowed. • Unified prices for all tickets: 20 EGP. • 50% discount for students of universities, technical institutes, and members of artistic syndicates, film associations and writers union. • Booking will open on Saturday, November 8, 2014 from 9am- 10pm. • Doors open 15 minutes prior to screenings • Doors close by the start of the screenings • No mobiles or cameras are allowed inside the screening halls. 1 VENUES OF THE FESTIVAL Main Hall – Cairo Opera House 1000 seats - International Competition - Special Presentations - Festival of Festivals (Badges – Tickets) Small Hall – Cairo Opera House 340 seats - Prospects of Arab Cinema (Badges – Tickets) - Films on Films (Badges) El Hanager Theatre - El Hanager Arts Center 230 seats - Special Presentations - Festival of Festivals (Badges – Tickets) El El Hanager Cinema - El Hanager Arts Center 120 seats - International Cinema of Tomorrow - Short films Competition - Student Films Competition - Short Film classics - Special Presentations - Festival of festivals (Badges) Creativity Cinema - Artistic Creativity Center 200 seats - International Critic’s Week - Feature Film Classics (Badges) El Hadara 1 75 seats - The Greek Cinema guest of honor (Badges) 2 El Hadara 2 75 seats - Reruns of the Main Hall Screenings El Hanager Foyer- El Hanager Arts Center - Gallery of Cinematic Prints Exhibition Hall- El Hanager Arts Center - Exhibition of the 100th birth anniversary of Barakat El- Bab Gallery- Museum of Modern Art - -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations. -
The Films of Theo Angelopoulos: a Voyage in Time
The Films of Theo Angelopoulos: A Voyage in Time Evangelos Makrygiannakis Thesis submitted for the degree of Doctor of Philosophy The University of Edinburgh 2008 Abstract This thesis provides a critical enquiry into the films of Theo Angelopoulos. Dividing his films into two periods—the one running through the seventies and the other starting with the advent of the eighties—I will examine the representation of history in the first period of Angelopoulos and the metaphor of the journey in his subsequent films. Furthermore, I will trace the development of an aesthetic based on long takes which evokes a particular sense of time in his films. This aesthetic, which is based on the internal rhythm of the shot, inscribes a temporality where past, present, and future coexist in a contemporaneous image. Being free from the requirements of an evolving plot, this image is an autonomous image which allows the passing of time to be felt. Autonomy, which I will define after philosopher Cornelius Castoriadis as an immanent movement towards change, can be also used to describe the process of changing oneself or a given society from within. In exploring the resonances autonomy has, I will make a connection between the social and the cinematic; an attempt which is informed by what Angelopoulos’ films do of their own accord. In this way, I will suggest that Angelopoulos is important not only for the history of film but also for one’s modus vivendi. iii iv Acknowledgements I would like to deeply thank my supervisors, the late Professor Dietrich Scheunemann, Professor Martine Beugnet and Professor John Orr, for all their precious feedback and support throughout the years. -
A Retrospective of Greek Film April 23 - June 14, 1993
The Museum of Modern Art For Immediate Release March 1993 CineMythology: A Retrospective of Greek Film April 23 - June 14, 1993 The first film exhibition to provide an overview of the history of Greek cinema is presented at The Museum of Modern Art from April 23 to June 14, 1993. CineMythology: A Retrospective of Greek Film, composed of forty-five films, reveals a cinema with a strong sense of social awareness. Thematically, it draws on distinctly Greek sources, including mythology and classical drama; questions of national identity, displacement and immigration; and the transformation of an agrarian society into a modern industrial one. During the opening weekend of the exhibition, Melina Mercouri and Irene Papas introduce films in which they star. On Friday, April 23, at 6:00 p.m., Ms. Mercouri and director Michalis Cacoyannis introduce Stella (1955). On Saturday, April 24, at 5:00 p.m., Ms. Papas and Mr. Cacoyannis introduce Electra (1962). On Sunday, April 25, at 2:00 p.m., Ms. Mercouri introduces Never on Sunday (1960). Other programs feature appearances by directors Costas Ferris, Nikos Koundouros, Nicos Papatakis, Pantelis Voulgaris, and Costas Vrettakos. While Greek cinema is clearly a part of a European tradition, it possesses a distinct style with periods of excellence often interrupted by turbulent political events. The early developments of Greek cinema, late in comparison to Europe and the United States, exhibit unique qualities. Social Decay (1931, Stelios Tatasopoulos) is informed by a distinct political and social awareness, and Daphnis and Chloe (1931, Oresits Laskos) is closely tied - more - 11 West 53 Street, New York, N.Y. -
The Colonels' Dictatorship and Its Afterlives
This is a postprint version of the following published document: Antoniou, D., Kornetis, K., Sichani, A.M. and Stefatos, K. (2017). Introduction: The Colonels' Dictatorship and Its Afterlives. Journal of Modern Greek Studies, 35(2) pp. 281-306. DOI: 10.1353/mgs.2017.0021 © 2017 by The Modern Greek Studies Association Introduction: The Colonels’ Dictatorship and Its Afterlives Dimitris Antoniou, Kostis Kornetis, Anna-Maria Sichani, and Katerina Stefatos A half century after the coup d’état of 21 April 1967, the art exhibition docu- menta 14 launched its public programs in Athens by revisiting the Colonels’ dictatorship. The organizers chose the former headquarters of the infamous military police (EAT/ESA) to host the “exercises of freedom,”1 a series of walk- ing tours, lectures, screenings, and performances that examined resistance, torture, trauma, and displacement in a comparative perspective. The initia- tive was met with mixed feelings, and its public discussion raised import- ant questions about the past. Why is it urgent today to revisit the junta as a period of acute trauma? Can we trace the roots of Greece’s current predicament to its non-democratic past? What remains unsaid and unsayable about the dictatorship and its enduring legacies?2 While the junta has been a favorite subject for public history (broadly understood here to include literature, film, personal testimonies, and so on), research on it has remained on the margins. Initially, it was marked by sporadic attempts to respond to the pressing public interest to understand the dictator- ship as a contemporary phenomenon (Tsoucalas 1969; Clogg and Yannopoulos 1972; Poulantzas 1976; Mouzelis 1978) and, most importantly, to explain how the Colonels came to power and why they managed to govern Greece for seven years. -
Cultural Neighbourhoods and Coproductions in South East Europe and Beyond 4Th Conference on Contemporary Greek Film Cultures
Cultural Neighbourhoods and Coproductions in South East Europe and Beyond 4th Conference on Contemporary Greek Film Cultures Eleni Sideri (ed.) θεσσαλονίκη 2021 © 2021 University of Macedonia Press ISBN: 978-618-5196-58-5 The University of Macedonia Press 156 Egnatia st, 546 36 Thessaloniki, Greece T +30 2310 891.743 F +30 2310 891.731 E [email protected] W www.uom.gr/uompress/ Production editing: University of Macedonia Press Acknowledgment I would like to express my gratitude to Fotini Tsibiridou, Head of the Department of Balkan, Slavic and Oriental Studies and Director of the Lab/Cultures-Borders-Gender, to Tonia Ka- zakopoulou, University of Reading and Contemporary Greek Film Cultures. Furthermore, I would like to thank Anna Moumtzoglou and Elina Kapetanaki from the Lab/Cul- tures-Borders-Gender and Stathis Tsakidis from the IT centre of the University of Macedonia as well as the Scientific and Or- ganizing Committees Effie Voutira, Nikolaos Liazos, Gergana Doncheva, Evgenia Giannouri, Stefania Filipova- Mertzimeki I would like to thank all the participants in the conference, those who manage to be with us in August (see https://contem- porarygreekfilmcultures4.blogspot.com/2020/03/) but also, those who initially agreed but due to COVID-19, could not be with us in the end as well as the contributors to this volume. Μoreover, I would like to thank the anonymous reviewers for offering fruitful comments on the papers on this volume. Finally, I am indebted to the Research Committee of the University of Macedonia to support the conference as well as the publication of this volume. -
Newsletter 06/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 06/07 DIGITAL EDITION Nr. 203 - März 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 06/07 (Nr. 203) März 2007 editorial Hallo Laserdisc- und DVD-Fans, spielsweise den von uns in einer vori- liebe Filmfreunde! gen Ausgabe angesprochenen BUBBA Wir gehen zum Es ist vollbracht! In einer harten HO-TEP. So, aber jetzt räumen wir WIDESCREEN Nachtschicht ist es uns gelungen, Aus- das Feld um noch rechtzeitig unsere WEEKEND gabe 203 unseres Newsletters noch Koffer zu packen und Ihnen genügend rechtzeitig vor unserer Abreise nach Gelegenheit zu geben, sich durch die nach Bradford! Bradford unter Dach und Fach zu brin- Massen von amerikanischen Releases gen. Und wie bereits angekündigt ent- zu wühlen. Übrigens gelten für alle hält diese Ausgabe nur die amerikani- Vorankündigungen selbstverständlich Daher bleibt unser schen Releases, die für die nächsten wieder unsere Pre-Order-Preise, sofern Geschäft in der Zeit vom Wochen angekündigt sind. Wer also uns Ihre Bestellung spätestens eine 15. März 2007 nur an deutscher DVD-Kost interes- Woche vor dem amerikanischen Erst- siert ist, der darf diesen Newsletter verkaufstag vorliegt. Noch Fragen? Ab bis einschließlich getrost beiseite legen. Es sei denn, Sie dem 22. März sind wir wieder in ge- 21. März 2007 möchten jetzt schon wissen, was wir wohnter Weise für Sie da. zukünftig als deutsche Veröffentlichun- geschlossen. gen erwarten dürfen. Denn die Erfah- Ihr LASER HOTLINE Team rung lehrt uns, dass die Amerikaner Wir bitten um Beachtung meist nur ein paar Wochen früher mit den Titeln auf den Markt stürmen als und danken für Ihr die europäischen Vermarkter. -
Chalkou, Maria (2008) Towards the Creation of 'Quality' Greek National Cinema in the 1960S
Chalkou, Maria (2008) Towards the creation of 'quality' Greek national cinema in the 1960s. PhD thesis. http://theses.gla.ac.uk/1882/ Copyright and moral rights for this thesis are retained by the author 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 Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] TOWARDS THE CREATION OF ‘QUALITY’ GREEK NATIONAL CINEMA IN THE 1960S by Maria Chalkou Submitted in fulfillment of the requirements for the Degree of PhD Department of Theatre, Film & Television Studies Faculty of Arts University of Glasgow Supported by the State Scholarship Foundation of Greece (I.K.Y.) 6 December 2008 CONTENTS ABSTRACT (1) INTRODUCTION (2-11) 1. THE ORIGINS OF NEK: SOCIOPOLITICAL, CULTURAL, LEGISLATIVE AND CINEMATIC FRAMEWORK, AND THE NATIONAL CINEMA DEBATE (12-62) 1.1 The 1960s: the sociopolitical and cultural framework (13-20) 1.2 The commercial film industry and the development of two coexisting and intersecting film cultures (20-27) 1.3 The state’s institutional and financial involvement in cinema: the beginning of a new direction (27-33) 1.4 The public debate over a ‘valued’ Greek national cinema (34-63) a. -
Preprint 2 RELACIÓN SIMBIÓTICA ENTRE PINTURA Y CINE EN EL
REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA E-ISSN 2172-0150 Nº 16 (2018) Recibido 03-08-2017 / Aceptado 01-12-2017 Publicado 29/01/2018 Preprint 22/02/2014 Publicado 22/01/2014 RELACIÓN SIMBIÓTICA ENTRE PINTURA Y CINE EN EL MATTE PAINTING SYMBIOTIC RELATIONSHIP BETWEEN PAINTING AND CINEMA IN MATTE PAINTING Darío Lanza Vidal Universidad Rey Juan Carlos y Transforming Arts Institute de España [email protected] Resumen: Abstract: En el presente artículo queremos poner In this paper we want to focus on a nuestra atención en un particular particular resource of the recurso de la construcción cinematographic construction, matte cinematográfica, el matte painting, un painting, a special effect that very few efecto especial que en pocas ocasiones times has received sufficient attention ha recibido suficiente atención por by theoretical investigations but which parte de investigaciones de carácter nevertheless appears as a particularly teórico pero que sin embargo se suggestive subject in which the synergy presenta como una materia between the pictorial and the film is particularmente sugestiva en la que se used for the elaboration of a hybrid recurre a la sinergia entre lo pictórico y image resulting from the symbiotic lo fílmico para la elaboración de una collaboration between both media. imagen híbrida producto de la Throughout this article we will see how colaboración simbiótica entre ambos in a shot with matte painting we can medios. A lo largo del presente artículo find a complex dialogue between comprobaremos cómo en un plano con painting and cinema, a relationship of matte painting se activa un complejo mutual contributions where painting diálogo entre pintura y cine, una contributes incorporating everything relación de aportes mutuos donde la that the camera fails to portray and film pintura contribuye incorporando todo provides a certificate of reality to the aquello que la cámara no alcanza a painted image. -
From Absence to Trauma: a Study on the Representation Of
From Absence to Trauma: A Study on the Representation of the Occupation and the Civil War in Greek Films of the Period 1946-1989 by Dimos Dimoulas A dissertation submitted to the Department of Translation and Intercultural Studies, School of English, Faculty of Philosophy, In fulfillment of the requirements for the degree of Doctor of Philosophy Aristotle University of Thessaloniki, Greece June 2017 ii iii ACKNOWLEDGMENTS I would have never been able to complete my dissertation without the guidance of my advisor, help from my friends, and support from my family. It is my great pleasure to acknowledge people who have given me guidance, help and encouragement. Firstly, I would like to express my gratitude to my advisor Professor Michalis Kokkonis for the continuous support of my Ph.D. study and related research, for his caring, personal attention, motivation, ample knowledge and for providing me an excellent atmosphere of doing research. His guidance helped me in all the time of research and writing of this thesis. Professor Kokkonis also helped me to develop my background in film theory and history, opening new horizons for me. Each of the members of my Dissertation Committee has provided me extensive personal and professional guidance and taught me a great deal about both scientific research and life in general. I would especially like to thank Professor Yiorgos Kalogeras. Working with Professor Kalogeras has been a pleasure and a privilege; he patiently corrected my writing and his help has been invaluable and much appreciated. My sincere thanks goes to Assistant Professor Eleftheria Thanouli her insightful comments and encouragement, her advice and feedback but also for the hard question which incented me to widen my research from various perspectives.