Bamcinématek Presents a Three-Film Retrospective of Jonathan Glazer, Apr 1—3

Total Page：16

File Type：pdf, Size：1020Kb

MEDIA ALERT BAMcinématek presents a three-film retrospective of Jonathan Glazer, Apr 1—3 Glazer in person for a sneak preview of his newest film, Under the Skin The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Mar XX, 2014—From Tuesday, April 1 through Thursday, April 3, BAMcinématek presents a three-film retrospective of Jonathan Glazer. After a nine-year break from the big screen, the British director—who went from commercial and music video visionary (Massive Attack, Blur, Radiohead, and Jamiroquai, to name a few) to gutsy iconoclast—returns this spring with his most audacious movie yet. His films reveal a master of style and mood who is unafraid to go bold. Opening the series on Tuesday, April 1 at 7:30pm is a sneak preview of Glazer’s anticipated new film Under the Skin (2014) based on the acclaimed science fiction novel by Michel Faber (The Crimson Petal and the White). Starring Scarlett Johansson as an alien seductress on a corporate- led mission to eliminate hitchhikers, this “hypnotically beautiful” (Jon Frosch, The Atlantic), moody thriller will be followed by a Q&A with Jonathan Glazer. Also screening as part of the program is Glazer’s stylish take on the gangster crime drama, Sexy Beast (2001—Apr 2 at 4:30, 7, 9:30pm), an “immensely pleasurable, genre-defying first feature” (Amy Taubin, The Village Voice) that garnered Ben Kingsley an Oscar nomination for Best Supporting Actor. Closing the series is the controversial Birth (2004—Apr 3 at 4:30, 7, 9:30pm), about a woman (Nicole Kidman) who is convinced that her deceased husband has returned as a 10-year-old boy. An inscrutable mystery about death and reincarnation, Glazer’s sophomore feature is by turns “spellbinding and heartbreaking, a delicate chamber piece with the large, troubled heart of an opera” (A.O. Scott, The New York Times). Birth and Sexy Beast will each screen with shorts programs highlighting Glazer’s award-winning commercial and music video work, Sneak preview of Under the Skin courtesy A24. For press information, please contact Lisa Thomas at 718.724.8023 / [email protected] Hannah Thomas at 718.724.8002 / [email protected] .

Copy Link

Recommended publications

WTC SUMMER HOMEWORK Read Charting the History of British Music Video (MM66), by Emily Caston. (BELOW) Answer the Following Quest
WTC SUMMER HOMEWORK Read Charting the History of British Music Video (MM66), by Emily Caston. (BELOW) Answer the following questions, drawing on the article for information and ideas. 1. According to the article’s writer, Emily Caston, how significant was MTV in the development of British music video production? 2. What criteria did Emily Caston and her team use for selecting music videos for their 6-DVD box set? What are your thoughts about the criteria? What music videos do you know that you would include in such a selection? 3. Bohemian Rhapsody is often quoted as being the first British music video. The article argues otherwise. Why is that? Why was ‘Bo-Rhap’ not included in the box set? 4. The box set is made up of six different categories: performance; concept; dance; stories; wit; portraits. If you were putting together a selection of videos, what categories would you choose to use? 5. The article ends by noting that videos are now consumed by millions globally, ‘uncurated on mobile platforms’. What might be the significance of a curated collection in light of these consumption patterns? Curating your own collection Imagine that you have been given the chance to curate a selection of music videos to represent your experience of secondary school, from the moment you joined until the end of Year 11. Select five videos that you want to include in your selection. Outline in writing what is significant about each video, both as an art form in its own right, and in relation to your time at secondary school.
[Show full text]
Bridging Resources for Year 11 Applicants: Media Studies St John Rigby College Gathurst Rd, Orrell, Wigan WN5 0LJ 01942 214797
Bridging Resources for Year 11 Applicants: MEDIA STUDIES St John Rigby College Media Studies In Media, you will study a range of print and audio-visual products, including advertising, television, radio, film, newspapers and magazines, games and online media. The tasks below focus on some of these media types to give you some knowledge of them before beginning the course. We also have an online learning area with lots of fun and interesting tasks. If you would like access to this, please email us for login information. If you have any questions or would like more information about the course, please do get in touch! Simon Anten- Head of Media - [email protected] Catherine Strong- Media Teacher - [email protected] Music Video From its beginnings, music video has been an innovative and experimental form. Many a successful film director has either made their name as a music video director or still uses the form to experiment with editing, photography and post production effects. Watch the following two videos by British film directors: Radiohead’s “Street Spirit” (Jonathan Glazer 1995) and FKA Twigs’ “tw-ache” (Tom Beard 2014). What are your thoughts about both videos? In what ways might they be seen as experimental (as well as weird, intriguing and exciting)? How do they create an impact? How do they complement or challenge the music? Who is the target audience for each video? (It can be useful to read the comments on YouTube to get a sense of people’s reactions to them, but don’t do this if you’re sensitive to bad language!) Is there anything distinctly British about either or both of them? Comparing a director’s video and film output Jonathan Glazer directed Radiohead’s “Street Spirit” just a few years before directing his first feature, the brilliant Sexy Beast (2000), starring Ben Kingsley and Ray Winstone.
[Show full text]
Empathy and Becoming Human in Jonathan Glazer's Under the Skin
Special Issue – Philosophy of Film Without Theory ‘The flesh is weak.’ Empathy and becoming human in Jonathan Glazer’s Under the Skin Author Affiliation Colin Heber-Percy United Kingdom Abstract: Jonathan Glazer’s 2013 film Under the Skin offers an unsettling med- itation on humanness through the eyes of an alien predator. This essay reflects on Glazer’s film by drawing it into conversation with the later phenomenology of Maurice Merleau-Ponty, with Heidegger, Martin Buber, and with a number of earlier Greek thinkers who together point us towards a more complex and shared definition of ‘contemplation’ or theory. The paper asks: do films watch us as much as we watch films? Through an ex- ploration of the notion of the mask as a means both of disguise and of disclosure, the paper questions to what extent all human relations are masked, screened. So, Glazer’s film can be viewed as an exercise in re-imagining the role of the screen, © Aesthetic Investigations Vol 3, No 2 (2021), 347-364 ‘The flesh is weak.’ turning us from viewers to viewed. This implication of the audience in the film’s scope leads to a concluding focus on empathy as the essential sharedness of human (and therefore of cinematic) experience. In 1909 in Paris, a poet and artist by the name of Max Jacob struggles to make ends meet by giving piano lessons, earning just enough to make the rent and buy bread. Max attends classes at the École Coloniale where the other students mistake him for someone who comes there to sell pencils.
[Show full text]
THE WHITE STRIPES – the Hardest Button to Button (2003) ROLLING STONES – Like a Roling Stone (1995) I AM – Je Danse Le
MICHEL GONDRY DIRECTORS LABEL DVD http://www.director-file.com/gondry/dlabel.html DIRECTOR FILE http://www.director-file.com/gondry/ LOS MEJORES VIDEOCLIPS http://www.losmejoresvideoclips.com/category/directores/michel-gondry/ WIKIPEDIA http://es.wikipedia.org/wiki/Michel_Gondry PARTIZAN http://www.partizan.com/partizan/home/ MIRADAS DE CINE 73 http://www.miradas.net/2008/n73/actualidad/gondry/gondry.html MIRADAS DE CINE 73 http://www.miradas.net/2008/n73/actualidad/gondry/rebobineporfavor1.html BACHELORETTE - BJORK http://www.director-file.com/gondry/bjork6.html THE WHITE STRIPES – The hardest button to button (2003) http://www.director-file.com/gondry/stripes3.html ROLLING STONES – Like a Roling Stone (1995) http://www.director-file.com/gondry/stones1.html I AM – Je danse le mia (1993) http://www.director-file.com/gondry/iam.html JEAN FRANÇOISE COHEN – La tour de Pise (1993) http://www.director-file.com/gondry/coen.html LUCAS - Lucas With the Lid off (1994) http://www.director-file.com/gondry/lucas.html CHRIS CUNNINGHAM DIRECTORS LABEL DVD http://www.director-file.com/cunningham/dlabel.html LOS MEJORES VIDEOCLIPS http://www.losmejoresvideoclips.com/category/directores/chris-cunningham/ POP CHILD http://www.popchild.com/Covers/video_creators/chris_cunningham.htm WEB PERSONAL AUTOR http://chriscunningham.com/ WIKIPEDIA http://es.wikipedia.org/wiki/Chris_Cunningham ARTFUTURA http://www.artfutura.org/02/arte_chris.html APHEX TWIN – Come to Daddy (1997) http://www.director-file.com/cunningham/aphex1.html SPIKE JONZE WEB PERSONAL http://spikejonze.net/
[Show full text]
Alien Flytrap
Out of Hours film alien flytRap loose adaptation of Michel Faber’s cult love, sampling the delights humanity has to Under the Skin novel Under The Skin invites us to do just offer (ok, cake, sex, and Scarlett Johansson Directed by Jonathan Glazer that, to look dispassionately at humanity in exploring her nude body at any rate) before all our bestial savagery and loving, glorious patriarchal society brutally reasserts its “O wad some Pow’r the giftie gie us, To see compassion from the perspective of Scarlett power over her. oursels as ithers see us!” Johansson’s alien siren as she hunts and In almost every scene, Johansson is To A Louse — Robert Burns, 1786 renders into meat any man foolish enough wonderful, her alien Venus Flytrap a sexy, to follow her home thinking he’s in for the almost serene presence, an unfeeling, There’s just not enough poetry in these night of his life. We see ourselves as she remote ideal of voluptuous femininity, pages so it’s appropriate, given Under The sees us and what she sees is often as self- capable of great cruelty (though never Skin’s west of Scotland setting and its deluded as the young woman Burns’ louse through malice) and compassion, whose subject matter — in the guise of a beautiful, has chosen for its nest. exposure to humanity baffles and infects enigmatic woman, an extraterrestrial Inducing an almost trance-like state her, her flowering sense of self ultimately (Scarlett Johansson) cruises the streets of of creeping horror and wonder through pruned as she gropes towards discovery.
[Show full text]
Hyperreality in Radiohead's the Bends, Ok Computer
HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________
[Show full text]
A Blend of Sound and Image-The Music Video
DOI: 10.2478/v10319-012-0002-2 A BLEND OF SOUND AND IMAGE- THE MUSIC VIDEO ELIZA CLAUDIA FILIMON University of Timişoara Email: [email protected] Abstract: The focus of this paper is first of all the issue of authorship in music videos, with reference to the division of tasks between the musician and the director. Secondly, a non-narrative musical piece in analysed - The Chemical Brothers’ Star Guitar - in relation to the narrative video created by Michel Gondry to enrich its meanings and better convey the intended message of the musicians. Keywords: authorship, musical message, video message 1. Introduction Literary critical studies have constantly been holding authorship theories under scrutiny, from voices hailing the paramount role an author has to theoretical studies committing the author to invisibility. Roland Barthes boldly denounced the limiting status of the author in the interpretation of a text, stating the necessity of abandoning the creative voice entirely: “The birth of the reader must be at the cost of the death of the Author” (qtd. in Caughie 1981:213). Michael Foucault distinguished himself from Barthes by tackling the problem from another angle. By separating the indicative and designative functions of the author’s name, he investigated the discourses surrounding and attached to the author’s name. Extending his theories of discourses from The Order of Things and The Archaeology of Knowledge, Foucault considered author as a product of discursive practices, instead of a creative subject. “In undertaking an internal and architectonic analysis of a work and in delimiting psychological and biographical references, suspicions arise concerning the absolute nature and creative role of the subject.” (qtd.
[Show full text]
Film Studies A-Level
Preparing for A level – Study Support Pack – Summer 2020 Subject: Film Studies A-level The aim of this pack is to help you bridge the gap between GCSE and A level. It is specific to one of the many A level subjects that are taught at The Bedford Sixth Form and we encourage you to work through all the relevant packs for the subjects that you would like to study. www.bedfordsixthform.ac.uk 1 Introduction So you want to study film? This pack is designed to get you familiar with some of the approaches to studying films that we use at A-level. They include: • Analysis of film form including: o Aesthetic o Narrative • Exploration of a film’s context including: o Social o Political o Cultural o Historical o Institutional To support your work through this booklet, you will need to access the short film The Fall by Jonathon Glazer (2019). At the time of writing, it is hosted by the BBC on their iPlayer and should be available for another 5 months. It is likely to be freely available via other on-line hosts. Just search for ‘The Fall Jonathan Glazer’. Before you watch the film, please read this extract from a newspaper article about its unusual release. The Americas with Simon Reeve is an amiable travelogue in which a dishy documentarian gads about the US. This Sunday night he was in California, examining giant redwoods and Beyoncé’s mansion. At 10pm, the credits rolled and, abruptly, BBC Two plunged us into hell. For five minutes before the start of Live at the Apollo, the channel screened a new short film in which a masked mob hang a man in a forest.
[Show full text]
Spike Jonze Cast: Joaquin Phoenix
1Her (2013) “Anybody who falls in love is a freak.” Major Credits: Writer and Director: Spike Jonze Cast: Joaquin Phoenix (Theodore Twombly), Scarlett Johansson (Samantha), Amy Adams (Amy), Rooney Mara (Catherine),Olivia Wilde (Blind Date), Portia Doubleday (Isabella) Cinematography: Hoyte Van Hoytema Production Design: K.K. Barrett Music: Arcade Fire, Karen O, The Breeders Production Background: Following the themes of his first two movies—the nature of human consciousness and the necessity of change—Her is the first film Jonze wrote on his own. (His third feature, Where the Wild Things Are, was co-written with Dave Eggers). It is an excellent example of global cinema, having been shot in Los Angeles and Shanghai and employing a digitally constructed environment that is a mélange of the two cities. Her belongs to the tradition of science fiction but is set in the near future and is relatively unique in being neither utopian nor dystopian in its representation of life perhaps twenty years from now. In fact, much of its success can be attributed to how familiar this future world seems. Her owes as much to the genre of romantic comedy as it does to science fiction. Samantha is a “rebound” girlfriend, a fill-in for Theo’s true love Catherine, and perhaps a transition to his “gal pal” Amy. Reviewers have yet to notice how much the film is indebted to Woody Allen’s Annie Hall (1977): the opening close-up of Phoenix directly addressing the camera; his occupation as a writer, his people-watching observations to Samantha in the mall; her eagerness for new experiences that provoke his jealousy; the theme that “love fades.” Jonze shot the entire film with Samantha Morton as the voice of OS1.
[Show full text]
Under the Skin Production Notes
UNDER THE SKIN PRODUCTION NOTES A film by Jonathan Glazer Running time: 107 minutes FilmNation Press Contacts: Selena Saldana, [email protected]. +1-917-484-8914 Sarah Jarvis, [email protected], +1-917-484-8916 SYNOPSIS: UNDER THE SKIN is the story of an alien in human form. Part road movie, part science fiction, part real, it’s a film about seeing our world through alien eyes. Into the Unknown: The Making Of UNDER THE SKIN From Book to Script In the space of 12 years and three feature films, Jonathan Glazer has established himself as a director of style and innovation. His debut, Sexy Beast, invigorated the British gangster movie by infusing a tense London heist story with dark shades of Jacobean tragedy, a feat achieved largely by the unexpected and inspired casting of Sir Ben Kingsley as the film's sociopathic villain. The follow-up, Birth, took similar liberties, this time with the ghost story, starring Nicole Kidman as a woman who believes her late husband has been reincarnated as young boy. So it is perhaps significant that Under the Skin, which began development even before Birth, is another reinvention of genre. Based on Michel Faber's 2000 novel of the same name, it tells the story of a predatory female who cruises the streets of Scotland looking for men to seduce. Faber's novel is paced thoughtfully and slowly, until it is revealed that the heroine is an alien, looking for suitable specimens that can be turned into a type of meat, to be sent back to her starving homeland.
[Show full text]
The Feminine Sublime in 21St Century Surrealist Cinema
Wright State University CORE Scholar Browse all Theses and Dissertations Theses and Dissertations 2016 The Feminine Sublime in 21st Century Surrealist Cinema Abigail Sorensen Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/etd_all Part of the Arts and Humanities Commons Repository Citation Sorensen, Abigail, "The Feminine Sublime in 21st Century Surrealist Cinema" (2016). Browse all Theses and Dissertations. 1501. https://corescholar.libraries.wright.edu/etd_all/1501 This Thesis is brought to you for free and open access by the Theses and Dissertations at CORE Scholar. It has been accepted for inclusion in Browse all Theses and Dissertations by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. THE FEMININE SUBLIME IN 21ST CENTURY SURREALIST CINEMA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Humanities By ABIGAIL SORENSEN B.A., Wright State University, 2013 2016 Wright State University 2 ABSTRACT Sorensen, Abigail. M. Hum. Humanities Department, Wright State University, 2016. The Feminine Sublime in 21st Century Surrealist Cinema. This thesis will examine how the characters in three contemporary surrealist films, Mulholland Dr. (2001), Under the Skin (2013), and Melancholia (2011), experience the sublime. In each film, the female characters are marked by the “otherness” of femininity along with the consequential philosophical and social alienation due to their marginalized roles within the patriarchal structure. Their confrontations with the otherness of sublimity are disparate from their male counterparts, whose experiences are not complicated by patriarchal oppression. The sublimity the characters are faced with forces them to recognize their subjugated social positioning.
[Show full text]
Music Video Auteurs: the Directors Label Dvds
i Music Video Auteurs: The Directors Label DVDs and the Music Videos of Chris Cunningham, Michel Gondry and Spike Jonze. by Tristan Fidler Bachelor of Arts (With First Class Honours), UWA ’04. This thesis is presented for the degree of Doctor of Philosophy of the University of Western Australia. English, Communication and Cultural Studies. 2008 ii MUSIC VIDEO AUTEURS ABSTRACT Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
[Show full text]