Ginger & Rosa DIRECCIÓN: Sally Potter FOTOGRAFÍA
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Selected Academic Bibliography Career Overviews
Updated: August 2015 Sally Potter: Selected Academic Bibliography Career Overviews: Books The second, longer annotation for each of these books is quoted from: Lucy BOLTON, “Catherine Fowler, Sally Potter and Sophie Mayer, The Cinema of Sally Potter” [review] Screen 51:3 (2010), pp. 285-289. Please cite any quotation from Bolton’s review appropriately. Catherine FOWLER, Sally Potter (Contemporary Film Directors series). Chicago: University of Illinois, 2009. Fowler’s book offers an extended and detailed reading of Potter’s early performance work and Expanded Cinema events, staking a bold claim for reading the later features through the lens of the Expanded Cinema project, with its emphasis on performativity, liveness, and the deconstruction of classical asymmetric and gendered relations both on-screen and between screen and audience. Fowler offers both a career overview and a sustained close reading of individual films with particular awareness of camera movement, space, and performance as they shape the narrative opportunities that Potter newly imagines for her female characters. “By entitling the section on Potter’s evolution as a ‘Search for a “frame of her own”’, Fowler situates the director firmly in a feminist tradition. For Fowler, Potter’s films explore the tension for women between creativity and company, and Potter’s onscreen observers become ‘surrogate Sallys’ in this regard (p. 25). Fowler describes how Potter’s films engage with theory and criticism, as she deconstructs and troubles the gaze with her ‘ambivalent camera’ (p. 28), the movement of which is ‘designed to make seeing difficult’ (p. 193). For Fowler, Potter’s films have at their heart the desire to free women from the narrative conventions of patriarchal cinema, having an editing style and mise- en-scene that never objectifies or fetishizes women; rather, Fowler argues, Potter’s women are free to explore female friendships and different power relationships, uncoupled, as it were, from narratives that prescribe heterosexual union. -
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Panorama/IFB 2005 YES Whereas at one time he removed shrapnel from bodies, sewed up wounds Filmografie and saved lives, he now finds himself cutting up dead animals for a lavish 1979 THRILLER dinner. Nevertheless, his memories of war in the Middle East persist to this Kurzfilm YES 1983 THE GOLD DIGGERS YES day. These memories soon become their common ground – for her knowl- Kurzfilm Regie: Sally Potter edge of religious conflict in Northern Ireland means that she too is no 1986 THE LONDON STORY stranger to civil war. He lives the life of an exile in a tiny apartment – far TEARS, LAUGHTER, FEARS AND away from his culture, his family and his home. Although her surroundings RAGE may be a good deal more luxurious than his, she too lives a kind of private TV-Dokumentarserie 1988 I AM AN OX, I AM A HORSE, I AM Großbritannien/USA 2004 Darsteller exile, alone and lonely. A MAN, I AM A WOMAN Frau Joan Allen A passionate affair ensues; but all too soon their love affair is overshadowed Dokumentarfilm Länge 95 Min. Mann Simon Abkarian by events in the world at large. The religion he believed to have left behind 1992 ORLANDO (ORLANDO) Format 35 mm, 1:1.85 Anthony Sam Neill along with the world he was forced to renounce years ago, begins to take 1997 THE TANGO LESSON Farbe Putzfrau Shirley Henderson on an importance that even outweighs his need for sex and love. (TANGO LESSON) Tante Sheila Hancock 2000 THE MAN WHO CRIED Stabliste Kate Samantha Bond (IN STÜRMISCHEN ZEITEN) Buch Sally Potter Grace Stephanie Leonidas YES 2004 YES Kamera Alexei Rodionov Billy Gary Lewis C’est une Américaine originaire d’Irlande du Nord. -
Cosmopolitan Ethics and the Limits of Tolerance: Representing the Holocaust in Young Adult Literature
COSMOPOLITAN ETHICS AND THE LIMITS OF TOLERANCE: REPRESENTING THE HOLOCAUST IN YOUNG ADULT LITERATURE Rachel L. Dean-Ruzicka A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2011 Committee: Dr. Beth Greich-Polelle, Advisor Dr. Nancy W. Fordham Graduate Faculty Representative Dr. Kimberly Coates Dr. Vivian Patraka © 2011 Rachel L. Dean-Ruzicka All Rights Reserved iii ABSTRACT Beth Greich-Polelle, Advisor This dissertation critically evaluates the concepts of tolerance and toleration and how these two ideas are often deployed as the appropriate response to any perceived difference in American culture. Using young adult literature about the Holocaust as a case study, this project illustrates how idealizing tolerance merely serves to maintain existing systems of power and privilege. Instead of using adolescent Holocaust literature to promote tolerance in educational institutions, I argue that a more effective goal is to encourage readers’ engagement and acceptance of difference. The dissertation examines approximately forty young adult novels and memoirs on the subject of the Holocaust. Through close readings of the texts, I illustrate how they succeed or fail at presenting characters that young adults can recognize as different from themselves in ways that will help to destabilize existing systems of power and privilege. I argue this sort of destabilization takes place through imaginative investment with a literary “Other” in order to develop a more cosmopolitan worldview. Using the theories of Judith Butler, Kwame Anthony Appiah, and Gerard Delanty I contended that engagement with and appreciation of difference is possible when reading young adult Holocaust literature. -
Moma Sally Potter
MoMA CELEBRATES FOUR-DECADE CAREER OF SALLY POTTER WITH A TWO- WEEK RETROSPECTIVE OF HER DIVERSE, INDEPENDENT FILMS Exhibition Includes the Premiere of Potter’s Digitally Remastered Film, Orlando (1992), and Her Most Recent Feature, RAGE (2009) Sally Potter July 7–21, 2010 The Roy and Niuta Titus Theaters NEW YORK, June 8, 2010—A retrospective of the films of British director Sally Potter (b. 1949) at The Museum of Modern Art from July 7 through 21, 2010, celebrates her distinct, independent vision, showing all her feature films, documentaries, and shorts, and a selection of her experimental works made between the early 1970s and the present. Potter has consistently kept a radical edge in her filmmaking work, beginning with avant-garde short films and moving on to alternative dramatic features that embrace music, literature, dance, theater, and performance. Potter typically works on multiple elements of her films, from script and direction to sound design, editing, performance, and production. Her films elegantly blend poetry and politics, giving voice to women’s stories and romantic liaisons and exploring themes of desire and passion, self- expression, and the role of the individual in society. Considered together in this retrospective, Potter’s films reveal the common thread of transformation that runs through her work—in terms both of her characters’ journeys and her own ability to transcend genre and work with cutting- edge film forms. Sally Potter is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art. The opening night, Wednesday, July 7, at 8:00 p.m., is the U.S. -
A Film by Sally Potter
Official Selection Toronto International Film Festival Telluride Film Festival Mongrel Media presents YES A film by Sally Potter with Joan Allen, Simon Abkarian, Sam Neill and Shirley Henderson (UK/USA, 95 minutes) Distribution 1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com Publicity Bonne Smith Star PR Tel: 416-488-4436 Fax: 416-488-8438 E-mail: [email protected] High res stills may be downloaded from http://mongrelmedia.com/press.html CONTENTS MAIN CREDITS 3 SHORT SYNOPSIS 4 LONG SYNOPSIS 4-5 SALLY POTTER ON YES 6-10 SALLY POTTER ON THE CAST 11 ABOUT THE CREW 12-14 ABOUT THE MUSIC 15 CAST BIOGRAPHIES 16-18 CREW BIOGRAPHIES 19-21 DIRECTOR’S BIOGRAPHY 22 PRODUCERS’ BIOGRAPHIES 23 GREENESTREET FILMS 24-25 THE UK FILM COUNCIL 26 END CREDITS 27-31 2 GREENESTREET FILMS AND UK FILM COUNCIL PRESENT AN ADVENTURE PICTURES PRODUCTION IN ASSOCIATION WITH STUDIO FIERBERG A FILM BY SALLY POTTER Y E S Written and directed by SALLY POTTER Produced by CHRISTOPHER SHEPPARD ANDREW FIERBERG Executive Producers JOHN PENOTTI PAUL TRIJBITS FISHER STEVENS CEDRIC JEANSON JOAN ALLEN SIMON ABKARIAN SAM NEILL SHIRLEY HENDERSON SHEILA HANCOCK SAMANTHA BOND STEPHANIE LEONIDAS GARY LEWIS WIL JOHNSON RAYMOND WARING Director of Photography ALEXEI RODIONOV Editor DANIEL GODDARD Production Design CARLOS CONTI Costume Design JACQUELINE DURRAN Sound JEAN-PAUL MUGEL VINCENT TULLI Casting IRENE LAMB Line Producer NICK LAWS 3 SHORT SYNOPSIS YES is the story of a passionate love affair between an American woman (Joan Allen) and a Middle-Eastern man (Simon Abkarian) in which they confront some of the greatest conflicts of our generation – religious, political, and sexual. -
Feminist Phenomenology and the Films of Sally Potter
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-prints Repository Chapter 11 Feminist Phenomenology and the Films of Sally Potter Kate Ince 1 Sally Potter’s place in British cinema is uncontested, as a recent retrospective organised by the British Film Institute shows.1 Since her debut with the half-hour Thriller in 1979, she has carved out a place for herself as one of our leading independent filmmakers, but success has often not come easily: the highly crafted experimentalism of Thriller met with acclaim, but her similarly styled first feature The Gold Diggers (1983) failed to find much appreciation, and she struggled for nine years to be able to complete Orlando (1992), her adaptation of Virginia Woolf’s 1928 Orlando: A Biography.2 With Orlando Potter was carried by the spirit of the shift in women’s filmmaking from experimentalism and explicitly political reflection on representation towards narrative pleasure, while still giving an undeniably feminist twist to Woolf’s story of time-travel and gender-bending from the seventeenth to the twentieth centuries. The feminist political drive that had marked all her films up to 1992 was maintained by Potter’s own performance in the allegory of gender relations built into her next film The Tango Lesson (1997), but has been much less evident subsequently, in The Man Who Cried (2000) and Yes (2005). Other kinds of politics have marked Potter’s filmmaking in the 2000s, although in her most recent production Rage (2009), anti-capitalism might be said to be just as evident as in The Gold Diggers. -
From Paragone to Symbiosis. Sensations of In-Betweenness In
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 17 (2019) 23–44 DOI: 10.2478/ausfm-2019-0013 From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s The Tango Lesson Judit Pieldner Sapientia Hungarian University of Transylvania (Cluj-Napoca, Romania) E-mail: [email protected] Abstract. Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by Erin Brannigan (2011), the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a tableau moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.1 Keywords: Sally Potter, dancefilm, intermediality, cine-choreography, tableau vivant, in-betweenness. Interpretive Approaches to Sally Potter’s The Tango Lesson The Tango Lesson (1997), a highly personal declaration of love to dance and film allows a glimpse at both sides of the camera by employing the filmmaker Sally as the protagonist, a fictitious counterpart of the real-life Sally Potter. The film starts with Sally caught in the middle of a creative crisis in her London home as she is working on the scenes of a film project entitledRage . -
TCA's Media Library
TCA’s Media Library DVDs and books can be checked out for 2 WEEKS AT A TIME. MAXIMUM OF 2 ITEMS (DVDs or books) checked out per member at any time. You MUST VERIFY your TCA membership before checking out any DVD or book. Contact a BOARD MEMBER to check out DVDs or books: Iolene Brown Patti Brown Everett Farr Bert Ibarra Linda Smith Sue Thorson Jin Wu Vivien Young When returning DVDs or books, have a board member sign off on the date you returned the items you borrowed. Thanks. Tango Club of Albuquerque Video Rentals – Complete List V1 - El Tango Argentino - Vol 1 Eduardo and Gloria A famous dancing and teaching couple have developed a series of tapes designed to take a dancer from neophyte to accomplished intermediate in salon-style Tango. (This is not the club-style Tango Eduardo sometimes teaches in workshops.) The first tape covers the basics including the proper embrace and elementary steps. The video quality is high and so is the instruction. The voice over is a bit dramatic and sometimes slightly out of synch with the steps. The tapes are a somewhat expensive for the amount of material covered, but this is a good series for anyone just starting in Tango. V2 - El Tango Argentino - Vol 2 Eduardo and Gloria A famous dancing and teaching couple have developed a series of tapes designed to take a dancer from neophyte to accomplished intermediate in salon-style Tango. (This is not the club-style Tango Eduardo sometimes teaches in workshops.) The second and third videos cover additional steps including complex figures and embellishments. -
News Release
News Release Friday 12 April 2019 National Portrait Gallery Unveils Newly Commissioned Portraits of Leading Film Directors Portraits of Amma Asante, Paul Greengrass, Asif Kapadia, Ken Loach, Sam Mendes, Nick Park, Sally Potter, Sir Ridley Scott and Joe Wright go on display for first time Images clockwise from top left: (29:04:37) Ridley Scott by Nina Mae Fowler, 2018-19; (39:44:02) Sam Mendes by Nina Mae Fowler, 2018-19; (01:44:48) Sally Potter by Nina Mae Fowler, 2018-19; (00:21:22) Joe Wright by Nina Mae Fowler, 2018-19. All works © National Portrait Gallery. Photographed by Douglas Atfield The National Portrait Gallery, London, has unveiled a major new commission of portrait drawings of some of the UK’s leading film directors by London-born artist Nina Mae Fowler. The portraits have gone on public display for the first time in a new display Luminary Drawings: Portraits of Film Directors by Nina Mae Fowler (12 April – 1 October 2019). Fowler’s work often investigates fame, desire and our relationship with cinema. For the commission, she invited directors Amma Asante, Paul Greengrass, Asif Kapadia, Ken Loach, Sam Mendes, Nick Park, Sally Potter, Sir Ridley Scott and Joe Wright to choose a film of particular significance to them. During the sittings, Fowler projected the film of their choice, and recorded their reactions on camera and through loose sketches, with their faces lit only by the light of the screen in an otherwise darkened space. Images L-R: (20:30:17) Ken Loach by Nina Mae Fowler, 2018-19; (01:40:25) Amma Asante by Nina Mae Fowler, 2018-19. -
The Guardian Interview
8/12/2015 Sally Potter: 'I dreamed about the nuclear threat most nights' | Film | The Guardian Sally Potter: 'I dreamed about the nuclear threat most nights' Ginger & Rosa, which charts the friendship of two teenage girls in postwar London, draws on the film-maker's own memories of the Cuban missile crisis Catherine Shoard Thursday 4 October 2012 20.30 BST ou would never call Sally Potter a ginge. Not just because you wouldn't dare. Or Y because it would be like squirting ketchup over a slice of Poilane, or programming a double bill of The Tango Lesson and StreetDance 2 3D. You wouldn't even risk "strawberry blonde". The famed Potter mane is a big mingle of lemon and silver and cinnamon, which shimmers, Titian-ish. Yet there is little doubt that she is, in some sense, Ginger, the carrot-topped hero of her new film. Ginger & Rosa is about baby-boomer best buddies, born on the same day, whose friendship in postwar London comes under strain when Rosa (Alice Englert) starts shagging Ginger's glamorous academic dad (Alessandro Nivola), freshly separated from her housewife mum (Christina Hendricks, doing downtrodden). The plot might not be autobiography, but Ginger's activist roots, social conscience, poetic heart, and parts of that barnet, are all Potter. "Every story to some degree has to draw on personal experience," she says. "Magpie-like, you scavenge, and then you transform until it is its own world. But I did grow up during the Cuban missile crisis. I was on Aldermaston marches from the age of 10, I was very, very aware of the nuclear threat and I grew up in a leftwing, outsider, academic milieu. -
Le Paris • Arthouse Piccadilly • Morgental • Riff Raff • Uto
o ie ews nr. 63 3 4 2001 zeitung für den nstudiofilm im arthouse alba • arthouse commercio • • v / / marthouse movie 1+2 • arthouse nord-süd • arthouse le paris • arthouse piccadilly • morgental • riff raff • uto derder neueneue filmfilm vonvon sally potter mitmit christina ricci undund johnny depp thethe man man whowho cried cried VORpremieren:lunch-kino im arthouse montag-freitag (ohne sa/so) 12.15 uhr le paris the man who cried Sally Potter ist eine der faszinierendsten Filmemacherinnen unserer zuspitzenden Umfeld. Der Krieg wird dabei zum lebensbestimmenden Zeit. Ihre Filme «Orlando» und «Tango Lesson» haben es innert Kürze Verhängnis, das Suzy erst vom Vater, später von ihrem Geliebten, vom Geheimtipp auf die internationalen Hitlisten geschafft, wo als- dem Zigeuner César, trennt. Opern-Arien und Zigeunermelodien kom- bald auch THE MAN WHO CRIED erscheinen dürfte. Potters neuster mentieren die Ereignisse und vermitteln Einblick in die Seelen der Film überzeugt durch eine so sensible wie ergreifende Geschichte. Protagonisten. Diese sind mit Christina Ricci, Johnny Depp, Cate Blan- Diese folgt dem Lebensweg des chett, John Turturro und Harry Dean jüdischen Mädchens Fegele, welches Stanton hochkarätig besetzt. THE MAN kurz vor dem ersten Weltkrieg in Russ- WHO CRIED wühlt auf, berührt und land seine Familie und in Folge davon tröstet. Dies ganz im Sinne Sally Pot- seine Stimme verliert. Fegele wird zu ters, die meint: «Ich hoffe, dieser Film Pflegeeltern nach England gebracht kann Stimme für diejenigen sein, die und fortan Suzy genannt. Sie kommt zur Stille verdammt wurden (und noch als junge Frau nach Paris. Sie entdeckt immer werden). Der Film soll um die das Wunder des Gesangs und die Lie- Verschwundenen trauern und voller be, entkommt aber nicht ihrer Sehn- Freude die Überlebenden feiern.» sucht nach der Heimat: THE MAN WHO Regie: Sally Potter. -
JUNE-JULY 2013 Download
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY JUNE 18 JUNE 19 & 20 (7:15 & 8:50) (7:00 only) June–JULY 2013 CINECENTA.COM “EFFERVESCENT!” DOLBY STEREO Variety JUNE 21 & 22 (7:00 & 9:40) JUNE 16 & 17 (7:15 & 9:00) Robert Wise & Jerome Robbins THE PLACE BEYOND THE PINES veryone is welcome at Cinecenta! We are a non-profit division USA, 1961, 152 min. Director: Derek Cianfrance USA, 2013, 141 min; 14A of the University of Victoria Students’ Society, conceived as an FIGHT LIKE SOLDIERS, DIE LIKE CHILDREN A New York street take on Shakespeare’s Romeo and Cast: Ryan Gosling, Bradley Cooper, Eva Mendes inexpensive alternative for students, the University community and june–july 2013 Director: Patrick Reed Canada, 2012, 83 minutes; PG Juliet that feels as contemporary now as it did on its ITALY: LOVE IT OR LEAVE IT the public. The theatre is in the Student Union Building at UVic. initial release. Natalie Wood and Richard Beymer are Directors: Luca Ragazzi & Gustav Hofer An ambitious epic that expands into a wondrously widescreen tale of fathers, sons and the legacy of sins that E star-crossed lovers in what remains one of the boldest Fresh from this year’s Hot Docs festival in Toronto and DOXA in Vancouver comes an absorbing new documenta- are passed down through the generations. Ryan Gosling’s Luke leads a carnival group of daredevil motorcycle The following buses come to UVic: 4, 7, 11, 12, 13, 14, 15, 16, 26, 29, 33, 39, 51, UVSS Students $5.75 and most breathlessly dynamic musicals ever made.