1 Rapport D'activité 2010
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
A Film by Catherine BREILLAT Jean-François Lepetit Présents
a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”. -
Topaz (1969 Film) Actors List (Cast)
Topaz (1969 film) Actors List (Cast) John Forsythe https://www.listvote.com/lists/film/actors/john-forsythe-315217/movies Michel Subor https://www.listvote.com/lists/film/actors/michel-subor-561288/movies Sándor Szabó https://www.listvote.com/lists/film/actors/s%C3%A1ndor-szab%C3%B3-1293775/movies Ben Wright https://www.listvote.com/lists/film/actors/ben-wright-2895601/movies Tina Hedström https://www.listvote.com/lists/film/actors/tina-hedstr%C3%B6m-548189/movies Ann Doran https://www.listvote.com/lists/film/actors/ann-doran-450047/movies Abel Fernandez https://www.listvote.com/lists/film/actors/abel-fernandez-2821506/movies Carlos Rivas https://www.listvote.com/lists/film/actors/carlos-rivas-2939437/movies Lew Brown https://www.listvote.com/lists/film/actors/lew-brown-15462667/movies Philippe Noiret https://www.listvote.com/lists/film/actors/philippe-noiret-106482/movies Roberto Contreras https://www.listvote.com/lists/film/actors/roberto-contreras-691844/movies Alfred Hitchcock https://www.listvote.com/lists/film/actors/alfred-hitchcock-7374/movies Michel Piccoli https://www.listvote.com/lists/film/actors/michel-piccoli-295257/movies Dany Robin https://www.listvote.com/lists/film/actors/dany-robin-279382/movies Sonja Kolthoff https://www.listvote.com/lists/film/actors/sonja-kolthoff-4959435/movies Carlos Rivas https://www.listvote.com/lists/film/actors/carlos-rivas-2459757/movies Frederick Stafford https://www.listvote.com/lists/film/actors/frederick-stafford-670311/movies Gregory Gaye https://www.listvote.com/lists/film/actors/gregory-gaye-3116367/movies -
Newsletter 22/06 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 22/06 DIGITAL EDITION Nr. 193 - Oktober 2006 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 22/06 (Nr. 193) Oktober 2006 editorial Hallo Laserdisc- und DVD-Fans, diesem Sinne sind wir guten Mutes, unse- liebe Filmfreunde! ren Festivalbericht in einem der kommen- Kennen Sie das auch? Da macht man be- den Newsletter nachzureichen. reits während der Fertigstellung des einen Newsletters große Pläne für den darauf Aber jetzt zu einem viel wichtigeren The- folgenden nächsten Newsletter und prompt ma. Denn wer von uns in den vergangenen wird einem ein Strich durch die Rechnung Wochen bereits die limitierte Steelbook- gemacht. So in unserem Fall. Der für die Edition der SCANNERS-Trilogie erwor- jetzt vorliegende Ausgabe 193 vorgesehene ben hat, der darf seinen ursprünglichen Bericht über das Karlsruher Todd-AO- Ärger über Teil 2 der Trilogie rasch ver- Festival musste kurzerhand wieder auf Eis gessen. Hersteller Black Hill ließ Folgen- gelegt werden. Und dafür gibt es viele gute des verlautbaren: Gründe. Da ist zunächst das Platzproblem. Im wahrsten Sinne des Wortes ”platzt” der ”Käufer der Verleih-Fassung der Scanners neue Newsletter wieder aus allen Nähten. Box haben sicherlich bemerkt, dass der Wenn Sie also bislang zu jenen Unglückli- 59 prall gefüllte Seiten - und das nur mit zweite Teil um circa 100 Sekunden gekürzt chen gehören, die SCANNERS 2 nur in anstehenden amerikanischen Releases! Des ist. -
Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P. -
Martha P. Nochimson Associate Editor, Cineaste
Film-Philosophy, 13.1 April 2009 New York Film Festival 2008 Part II: Of Now, Passion, and the ‘We’ Martha P. Nochimson Associate Editor, Cineaste The films discussed here in Part II, each in its own way, play with the possibility that the ‘I’ may be a fiction, or simply a bundle of futile immediate desires that is - in basic ways that the individual tends to understand but dimly if at all - severely constrained by the continuities and systems of the ‘we’, of either the family, the community and society as a whole. Ironically, the more the viability of the discreet individual self is challenged by these films, the more each individual in them emerges in his or her fragile radiance and complexity. Happy-Go-Lucky Directed and written by Mike Leigh; edited by Jim Clark; cinematography by Dock Pope; produced by Simon Channing Williams; starring Sally Hawkins, Eddie Marsan, Alexis Zegerman. Color. 118 mins. UK 112 Nochimson, Martha P. (2009) ‘New York Film Festival 2008: Part II: Of Now, Passion, and the “We”’, Film-Philosophy, vol. 13, no. 1: pp. 112-123. <http://www.film-philosophy.com/2009v13n1/nochimson2.pdf>. ISSN: 1466-4615 online Film-Philosophy, 13.1 April 2009 Wendy and Lucy Directed y Kelly Reichardt; written by Kelly Reichardt and Jon Raymond; edited by Mike Burchett and Kelly Reichardt; cinematography by Sam Levy; produced by Neil Kopp et al; starring Michelle Williams, Will Patton Jr., and Walter Dalton. Color. 80 mins. USA The Windmill Movie Directed, written, and edited by Alexander Olch; cinematography Richard P. Rogers; produced by Susan Meiselas; starring Richard P. -
Festival Schedule
T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen. -
To Mark the 150Th Anniversary of the Birth of Matisse and the Upcoming
To mark the 150th anniversary of the birth of Matisse and the upcoming exhibition of his work at the Pompidou Centre in Paris in 2020, this art documentary invites us to retrace the voyages Matisse made that influenced his art, especially his last trip to Polynesia in 1930, which took him to the threshold of contemporary art with the invention of his gouache-painted cut-outs. In 1930, at the age of 60, Matisse feels the call of the sea, the lure of elsewhere, one last time. He decides to embark on the longest possible journey: to the antipodes, to see Polynesia. The voyage to Tahiti takes several weeks, giving him time to look back on the distance he has travelled in his lifetime. He reflects on the many journeys that he, a man of the North searching for bright light and colours, has continually made throughout his life and career as a painter: to Corsica, Collioure and Nice, where he finally settled in 1917, but also to Algeria, Morocco and the United States. Each time, these trips have been a stepping stone to something else. His Corsican experience led him to Fauvism, his sojourn in Morocco to modern painting; Polynesia will permeate the last 25 years of his creative life and take him to the threshold of contemporary art. This lifelong artistic quest for other lights, colours and shapes has also, above all, been a search for himself that has driven him tirelessly and passionately to pursue the great journey of his life. Polynesia, the sea (1948) Note : The works presented in this dossier are all signed by Henri Matisse and their rights belong to Les Héritiers Matisse (© Succession H. -
Interview Avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue
Document generated on 09/26/2021 4:37 p.m. Protée Interview avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue Lumières Article abstract Volume 31, Number 3, hiver 2003 Among numerous anecdotes about what represents for us cult films like Le Mépris, À bout de souffle, Alphaville and Tirez sur le pianiste, Raoul Coutard – URI: https://id.erudit.org/iderudit/008441ar famous chief-operator of the “ nouvelle vague ”, photographer and director – DOI: https://doi.org/10.7202/008441ar evokes his work as a lighting engineer, and more particularly the technical and chemical constraints encountered during shooting. This highly technical See table of contents discussion points to, beyond the obvious limitations of the language to account for the light during shooting, how much the material constraints are generating meaningful and admirable luminous effects for their spectators. Publisher(s) Département des arts et lettres - Université du Québec à Chicoutimi ISSN 0300-3523 (print) 1708-2307 (digital) Explore this journal Cite this article Parais, P.-E. & Renoue, M. (2003). Interview avec Raoul Coutard. Protée, 31(3), 101–106. https://doi.org/10.7202/008441ar Tous droits réservés © Protée, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. -
Framing 'The Other'. a Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese.*
Framing ‘the Other’. A critical review of Vietnam war movies and their representation of Asians and Vietnamese.* John Kleinen W e W ere Soldiers (2002), depicting the first major clash between regular North-Vietnamese troops and U.S. troops at Ia Drang in Southern Vietnam over three days in November 1965, is the Vietnam War version of Saving Private Ryan and The Thin Red Line. Director, writer and producer, Randall Wallace, shows the viewer both American family values and dying soldiers. The movie is based on the book W e were soldiers once ... and young by the U.S. commander in the battle, retired Lieutenant General Harold G. Moore (a John Wayne- like performance by Mel Gibson).1 In the film, the U.S. troops have little idea of what they face, are overrun and suffer heavy casualties. The American GIs are seen fighting for their comrades, not their fatherland. This narrow patriotism is accompanied by a new theme: the respect for the victims ‘on the other side’. For the first time in the Hollywood tradition, we see fading shots of dying ‘VC’ and of their widows reading loved ones’ diaries. This is not because the filmmaker was emphasizing ‘love’ or ‘peace’ instead of ‘war’, but more importantly, Wallace seems to say, that war is noble. Ironically, the popular Vietnamese actor, Don Duong, who plays the communist commander Nguyen Huu An who led the Vietnamese People’s Army to victory, has been criticized at home for tarnishing the image of Vietnamese soldiers. Don Duong has appeared in several foreign films and numerous Vietnamese-made movies about the War. -
Dossier De Presse 10E Semaine Du
e ÉDITION1 0 2013 14-19 JANVIER À PARIS 20-27 JANVIER PARTOUT EN FRANCE BRUXELLES GENÈVE MONTRÉAL QUÉBEC TÉLÉVISION Murmurer Bruit au travail au Bruit Attention Fichier son Niveau sonore Niveau MALENTENDANCE PROJECTION Amplication musique de Instrument Baladeur 3D expression SONORISATION Calme Otorhinololaryngologiste HAUT-PARLEUR Chaos MESURE Réverbération La voix au théâtre au voix La Bruit de fond THÉÂTRE Zone d’écoute TECHNOLOGIES MUSICIEN SONOGRAMME DÉCIBEL TÉLÉPHONE Repère sonore Repère Studio d’enregistrement Studio AUDIOPROTHÈSE Environnement CRIER Santé auditive cinéma au sonores niveaux Les Santé Bruit et violence dans les lieux publics Auditeur Espace public CASQUE Expression musicale et pédagogie et musicale Expression ORCHESTRE Silence diffusion et Enregistrement Sciences DIFFUSION Troubles auditifs +Lð BRUIT CINÉMA Le son spatialisé VACARME INTERNET RELATION IMAGE ET SON Réflexion PAYSAGE SONORE Bébé Qualité sonore Entente expression OUÏE APPAREILLAGE S’entendre Surdité SONNERIE LaVOIX AMPLIFICATION SemaineECHO Ingénieur du son Enregistrement et diffusion Bien-être La pédagogie de l’écoute HOMME OREILLES Audition MUSIQUE ALARME ENTENDRE HARMONIE BRUIT ENFANT ŒUVRE Clavier maître Ecoute Interaction desdu tout-petits avec Son leur environnement sonore CHANTER SOCIÉTÉ NATURE Violence RISQUES AUDITIFS MICROPHONE S’ÉCOUTER Sweetspot RADIO SON SPATIALISÉ Acoustique et environnement sonore MIXAGE VOISINAGE Correction acoustique isolation absorption MALAUDITION Les métiers du son Symphonie TRAITEMENT ACOUSTIQUE localisation CHORALE -
Gender and the Politics of Decolonization in Early 1960S French Cinema
This is a repository copy of Gender and the politics of decolonization in early 1960s French cinema. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/142211/ Version: Accepted Version Article: Sharpe, M (2019) Gender and the politics of decolonization in early 1960s French cinema. Journal of European Studies, 49 (2). pp. 163-183. ISSN 0047-2441 https://doi.org/10.1177/0047244119837478 © 2019, The Author(s). This is an author produced version of an article published in the Journal of European Studies. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Gender and the politics of decolonization in early 1960s French cinema Erotophilic and politically sublimated are two barbs frequently mobilized to critique the imaginary of early 1960s French cinema. Erotophilic as, for the most part,