Renault, Official Partner of the 2019 Cannes Film Festival

Total Page:16

File Type:pdf, Size:1020Kb

Renault, Official Partner of the 2019 Cannes Film Festival COMMUNIQUÉ DE PRESSE 2019­05­13 RENAULT, OFFICIAL PARTNER OF THE 2019 CANNES FILM FESTIVAL Renault is partnering the world­famous Cannes Film Festival for the 36th consecutive year since 1983. The special relationship illustrates Renault’s commitment to the cinema for over 120 years. With a jury chaired by Mexican filmmaker Alejandro González Iñarritu, the 72nd Cannes Film festival will feature, among others, the latest film by Claude Lelouch, The Best Years of a Life, starring an Alpine A110. The official fleet of the 2019 Cannes Film Festival, comprising nearly 300 Renault vehicles including 200 Espace Initiale Paris and 60 Talisman, will transport the guests, jury members and partners throughout the two­ week event. Boulogne­Billancourt, Tuesday, May 13, 2019 – The Cannes Film Festival is joining forces with Renault once again for the 72nd edition of the event, taking place between May 14 and 25, 2019. The official fleet will be made up 300 Renault vehicles, of which 200 Renault Espace and 60 Talisman. The line­up will be rounded out by a full­electric “image” fleet with Renault ZOE and Twizy. Renault will organize over 20,000 rides to film viewings and interviews, from the airport to the Croisette and to the feet of the red carpet. The cinema offers unrivaled international media visibility worldwide, be it in China, Brazil, India, Latin America or Russia. It is a true asset for the Renault brand and our vehicles, through which we can showcase our technology and our refined design in media around the world, said Claude Hugot, Director of Public Relations at Groupe Renault. Every year some 40 Renault vehicles feature in 200 TV shows and films, including recently in the French series Baron Noir and Dix pour Cent and the films Woman at War by Benedikt Erlingsson and Vision by Naomi Kawase. The Alpine A110 in Claude Lelouch’s new film This year, the Alpine A110 played a fantastic role in The Best Years of a Life, the latest film by Claude Lelouch with Jean­Louis Trintignant and Anouk Aimée, presented outside of competition and released in cinemas on May 22. Lelouch is a film legend and the only French director to have won the Palme d’Or and the Oscar for best foreign­language film for A Man and a Woman in 1966, said Claude Hugot. Renault, a partner to cinema for over 120 years The story goes back to 1898, when the Lumière brothers set up their first film studios near the Renault factory on Île Seguin in Boulogne­Billancourt. As a result of the close ties forged by the two families, Renault became the preferred partner of actors and directors. Renault’s Voiturettes appeared in the first ad films and later in films by the likes of Georges Méliès, Julien Duvivier, Jacques Tati, Claude Sautet, Steven Spielberg, James Cameron and Wim Wenders. Today, in addition to Cannes, Renault is a partner of Unifrance, the Ateliers de Beaune workshops and France’s César film awards, as well as the festivals of Deauville, Lyon Lumière, Alpe d’Huez, Cabourg and Angoulême. Cannes 2019: Almodóvar, Tarantino, Dolan, Loach and the Dardenne brothers in competition The 72nd Cannes Film festival promises to be an excellent edition, with Alejandro González Iñárritu chairing the jury and French actor Édouard Baer hosting the awards ceremony. Pedro Almodóvar will be representing Pain and Glory, while the films in competition include the highly awaited Once Upon a Time in Hollywood by Quentin Tarantino, Matthias & Maxime by Xavier Dolan, The Young Ahmed by Jean­Pierre and Luc Dardenne, and Sorry We Missed You by Ken Loach, as well as Parasite by Bong Joon­Ho, Mektoub, My Love: Intermezzo by Abdellatif Kechiche and A Hidden Life by Terrence Malick. Pour Plus D'informations: Amélie LE GALL Attachée de presse corporate +33 (0)1 76 84 94 06 amelie.le­[email protected] GROUPE RENAULT PRESS OFFICE Tel.: +33 (0)1 76 84 63 36 [email protected] Sites web: www.media.renault.com ­ www.group.renault.com Follow us on Twitter : @Groupe_Renault COMMUNIQUÉ DE PRESSE 2019­05­13 RENAULT, OFFICIAL PARTNER OF THE 2019 CANNES FILM FESTIVAL Renault is partnering the world­famous Cannes Film Festival for the 36th consecutive year since 1983. The special relationship illustrates Renault’s commitment to the cinema for over 120 years. With a jury chaired by Mexican filmmaker Alejandro González Iñarritu, the 72nd Cannes Film festival will feature, among others, the latest film by Claude Lelouch, The Best Years of a Life, starring an Alpine A110. The official fleet of the 2019 Cannes Film Festival, comprising nearly 300 Renault vehicles including 200 Espace Initiale Paris and 60 Talisman, will transport the guests, jury members and partners throughout the two­ week event. Boulogne­Billancourt, Tuesday, May 13, 2019 – The Cannes Film Festival is joining forces with Renault once again for the 72nd edition of the event, taking place between May 14 and 25, 2019. The official fleet will be made up 300 Renault vehicles, of which 200 Renault Espace and 60 Talisman. The line­up will be rounded out by a full­electric “image” fleet with Renault ZOE and Twizy. Renault will organize over 20,000 rides to film viewings and interviews, from the airport to the Croisette and to the feet of the red carpet. The cinema offers unrivaled international media visibility worldwide, be it in China, Brazil, India, Latin America or Russia. It is a true asset for the Renault brand and our vehicles, through which we can showcase our technology and our refined design in media around the world, said Claude Hugot, Director of Public Relations at Groupe Renault. Every year some 40 Renault vehicles feature in 200 TV shows and films, including recently in the French series Baron Noir and Dix pour Cent and the films Woman at War by Benedikt Erlingsson and Vision by Naomi Kawase. The Alpine A110 in Claude Lelouch’s new film This year, the Alpine A110 played a fantastic role in The Best Years of a Life, the latest film by Claude Lelouch with Jean­Louis Trintignant and Anouk Aimée, presented outside of competition and released in cinemas on May 22. Lelouch is a film legend and the only French director to have won the Palme d’Or and the Oscar for best foreign­language film for A Man and a Woman in 1966, said Claude Hugot. Renault, a partner to cinema for over 120 years The story goes back to 1898, when the Lumière brothers set up their first film studios near the Renault factory on Île Seguin in Boulogne­Billancourt. As a result of the close ties forged by the two families, Renault became the preferred partner of actors and directors. Renault’s Voiturettes appeared in the first ad films and later in films by the likes of Georges Méliès, Julien Duvivier, Jacques Tati, Claude Sautet, Steven Spielberg, James Cameron and Wim Wenders. Today, in addition to Cannes, Renault is a partner of Unifrance, the Ateliers de Beaune workshops and France’s César film awards, as well as the festivals of Deauville, Lyon Lumière, Alpe d’Huez, Cabourg and Angoulême. Cannes 2019: Almodóvar, Tarantino, Dolan, Loach and the Dardenne brothers in competition The 72nd Cannes Film festival promises to be an excellent edition, with Alejandro González Iñárritu chairing the jury and French actor Édouard Baer hosting the awards ceremony. Pedro Almodóvar will be representing Pain and Glory, while the films in competition include the highly awaited Once Upon a Time in Hollywood by Quentin Tarantino, Matthias & Maxime by Xavier Dolan, The Young Ahmed by Jean­Pierre and Luc Dardenne, and Sorry We Missed You by Ken Loach, as well as Parasite by Bong Joon­Ho, Mektoub, My Love: Intermezzo by Abdellatif Kechiche and A Hidden Life by Terrence Malick. Pour Plus D'informations: Amélie LE GALL Attachée de presse corporate +33 (0)1 76 84 94 06 amelie.le­[email protected] GROUPE RENAULT PRESS OFFICE Tel.: +33 (0)1 76 84 63 36 [email protected] Sites web: www.media.renault.com ­ www.group.renault.com Follow us on Twitter : @Groupe_Renault.
Recommended publications
  • Beneath the Surface *Animals and Their Digs Conversation Group
    FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you.
    [Show full text]
  • Layout Version Gerlach
    The Brock Review Volume 10 (2008) © Brock University Greenscape as Screenscape: The Cinematic Urban Garden 1 Nina Gerlach Ruprecht-Karls-Universität Heidelberg Abstract : The relationship between city and garden appears in many feature films in order to visualize narrative dualisms. In particular, the character of the boundary - as a fundamental medial characteristic of gardens - determines the meaning of the represented space. According to the Western representation of ideal places and the historically-developed antagonism of city and garden, the boundary defines the latter as the diametrically opposed utopian antithesis to urban life. This antagonism is used, for example, in The Garden of the Finzi-Continis (1970) in the political context of World War II, or as in Being There (1979), embedded in a philosophical discourse centered on Voltaire and Sartre. The dystopian city of Los Angeles in Ridley Scott’s Blade Runner (1982) lacks space not only for gardens, but for any natural environment in general. The only garden that remains, exists as a kind of Paradise Lost , a placeless topos with a unicorn, banished into and limited by the world of imagination of the protagonist. As this example indicates, the cinematic garden and particularly the more specialized topic of the relationship between the garden and the city within cinema is still an under-examined realm of the research of garden history.2 In cinematic genres where the city is usually presented as the essential character -- such as in Neorealism, Film Noir, and dystopian science fiction -- garden space is hardly discovered. 3 These types of films frequently transport an extremely negative connotation of the city.
    [Show full text]
  • Cedric Jimenez
    THE STRONGHOLD Directed by Cédric Jimenez INTERNATIONAL MARKETING INTERNATIONAL PUBLICITY Alba OHRESSER Margaux AUDOUIN [email protected] [email protected] 1 SYNOPSIS Marseille’s north suburbs hold the record of France’s highest crime rate. Greg, Yass and Antoine’s police brigade faces strong pressure from their bosses to improve their arrest and drug seizure stats. In this high-risk environment, where the law of the jungle reigns, it can often be hard to say who’s the hunter and who’s the prey. When assigned a high-profile operation, the team engages in a mission where moral and professional boundaries are pushed to their breaking point. 2 INTERVIEW WITH CEDRIC JIMENEZ What inspired you to make this film? In 2012, the scandal of the BAC [Anti-Crime Brigade] Nord affair broke out all over the press. It was difficult to escape it, especially for me being from Marseille. I Quickly became interested in it, especially since I know the northern neighbourhoods well having grown up there. There was such a media show that I felt the need to know what had happened. How far had these cops taken the law into their own hands? But for that, it was necessary to have access to the police and to the files. That was obviously impossible. When we decided to work together, me and Hugo [Sélignac], my producer, I always had this affair in mind. It was then that he said to me, “Wait, I know someone in Marseille who could introduce us to the real cops involved.” And that’s what happened.
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • East-West Film Journal, Volume 3, No. 2
    EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad­ uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi­ ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa­ nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9).
    [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]
  • Festival Centerpiece Films
    50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E.
    [Show full text]
  • La Vida De Adèle
    LA VIDA DE ADÈLE BLUE IS THE WARMEST COLOR Título original/Original title: LA VIE D'ADÈLE Otros títulos/Other titles: LA VIE D'ADÈLE CHAPITRES 1 ET 2 (España/Spain 10%Financiera-Francia/France 70%- Bélgica/Belgium 20%) Dirigido por/Directed by ABDELLATIF KECHICHE Productoras/Production Companies: VERTIGO FILMS, S.L. (10% Financiera) Carranza, 25, 7º. 28004 Madrid. Tel.: 91 524 08 19. Fax: 91 523 27 19. www.vertigofilms.es ; [email protected] WILD BUNCH, S.A. 99 rue de la Verrerie. 75004 Paris. (Francia) Tel.: + 33 1 53 01 50 20. Fax: + 33 1 53 01 50 49. www.wildbunch.biz ; [email protected] QUAT'SOUS FILMS. France. (Francia) SCOPE PICTURES. (20%) Belgium. (Bélgica) Con la participación de/With the participation of: FRANCE 2 CINÉMA, RTBF - RADIO TÉLÉVISION BELGE, CANAL+, CINÉ+, FRANCE TELEVISIONS. Director: ABDELLATIF KECHICHE. Producción/Producers: VINCENT MARAVAL, BRAHIM CHIOUA, ABDELLATIF KECHICHE. Producción ejecutiva/Executive Producers: ALCATRAZ FILMS, OLIVIER THERY LAPINEY, LAURENCE CLERC. Coproducción/Co-producers: GENEVIÈVE LEMAL, ANDRÉS MARTÍN. Dirección de producción/Line Producer: DIANA ANGULO. Guión/Screenplay: GHALYA LACROIX, ABDELLATIF KECHICHE. BASADA EN EL CÓMIC "EL AZUL ES UN COLOR CÁLIDO" DE JULIE MAROH / BASED ON THE COMIC BOOK "LE BLEU EST UNE COULEUR CHAUDE" BY JULIE MAROH - ÉDITIONS GLÉNAT Fotografía/Photography: SOFIAN EL FANI. Dirección artística/Production Design: JULIA LEMAIRE. Vestuario/Costume Design: PALOMA GARCIA MERTENS. Montaje/Editing: ALBERTINE LASTERA, CAMILLE TOUBKIS, JEAN- Web: www.lavidadeadele.es/ MARIE LENGELLÉ, GHALYA LACROIX. Montaje de sonido/Sound Design: PATRICK HUBARD. Sonido/Sound: JÉRÔME CHENEVOY. Sonido directo/Sound Mixers: FABIEN POCHET, ROLAND VOGLAIRE. Mezclas/Re-recording Mixer: JEAN-PAUL HURIER, YOANN NALLET.
    [Show full text]
  • Tribute To... Award Goes to French Film Director Claire Denis Important Exponent of Contemporary European Cinema
    Media Release Tribute to... Award Goes to French Film Director Claire Denis Important exponent of contemporary European cinema Zurich, September 29, 2014 This year’s Zurich Film Festival A Tribute to... award goes to the French screenwriter and film director Claire Denis. This will be the first time that a female French filmmaker has received a ZFF award. Claire Denis will collect the Golden Eye in person during the Award Night at Zurich Opera House on October 4. A retrospective comprising six representative productions offers a comprehensive insight into her work. The French filmmaker Claire Denis has enriched contemporary cinema with her idiosyncratic works for over 25 years. This former assistant of such director greats as Costa-Gavras, Jacques Rivette, Jim Jarmusch and Wim Wenders has traversed conventional formal and narrative boundaries to develop her own highly individualistic visual language. Claire has long been regarded as one of the most important exponents of European cinema. Close links with Africa Claire Denis is a maker of feature, documentary and short films. There are biographical reasons why her cinematographic works share strong links with the African continent: Born in 1948, Claire Denis grew up the daughter of a colonial administrator in various African countries. Her semi-autobiographical debut film CHOCOLAT (1988) was set in Cameroon, her best-known work, BEAU TRAVAIL (1999), is a Foreign Legion drama set in Djibouti, and she returned to Africa again in 2009 with her drama WHITE MATERIAL. Denis’ interests lie with the legacy of colonialism and being a foreigner, not only in foreign lands, but also in one’s own country.
    [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]
  • 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.
    [Show full text]