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Final Weeks of Popular Jean Renoir Retrospective at the Museum of Modern Art
The Museum of Modern Art For Immediate Release November 1994 FINAL WEEKS OF POPULAR JEAN RENOIR RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Museum of Modern Art's popular retrospective of the complete extant work of director Jean Renoir (1894-1979), one of cinema's great masters, continues through November 27, 1994. Presented in commemoration of the centenary of the director's birth, the exhibition comprises thirty-seven works, including thirty-three films by Renoir and a 1993 BBC documentary about the filmmaker by David Thompson. Twenty-three of the works by Renoir have been drawn from the Museum's film archives. Many of the remaining titles are also from the Cinematheque frangaise, Paris, and Interama, New York. The son of the Impressionist painter Pierre-Auguste Renoir, Jean Renoir produced a rich and complex oeuvre that mined the spectacle of life, in all its fascinating inconstancy. In 1967 he said, "I'm trying to discover human beings, and sometimes I do." Although critics and scholars disagree on how to categorize Renoir's films -- some believe that his work can be divided into periods, while others argue that his films should be viewed as an indivisible whole -- there is no dissent about their integrity. His works are unfailingly humane, psychologically acute, and bursting with visual and aural moments that propel the narratives. - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Highlights of the second half of the program include a new 35mm print of La Bete humaine (The Beast in Man, 1938), a powerful adaptation of a novel by Emile Zola, previously available in the United States only in 16mm. -
In Search of the Lost Gesture
In Search of the Lost Gesture Núria Bou . Beginning from the importance that Jean Renoir and could read the face of the people onscreen: "In two minutes Roberto Rossellini conferred on the new television we knew who they were and I found that fascinating, I found technique of directors working closely with actors, I the show indecent, because it was almost an indiscretion, will then go on to look at the interpretation methods but the indecency came closer to discovering something the two European creators of realism and modernity about man than many films manage to do". practiced. From different theatrical processes, we These revealing, although very different, statements from discover the same humanist goal, where both artists the two big filmmakers of realism and modernity were tried to register the most essential (real) gestures of included in André Bazin's famous 1958 interview published the human being. Finally, we ask what has become of in the magazine France-Observateur. Both statements, this tradition in the current audiovisual landscape. before either Renoir or Rossellini had worked in television, can be established as clear premonitions of the significance that new television techniques would come to have in their later works. Effectively, in their work of trying "to put the "Modern society and modern art have completely destroyed public into contact with human beings" (RENOIR: 1993: man. Man no longer exists and television can help 132), television offered them a way of reaching more direct rediscover him. Television, an incipient art, has dared to go realist resolutions, as a new research tool for recording the in search of man". -
Renoir Père Et Fils
Renoir Père et fils Du 6 novembre au 27 janvier 2018 Musée d'Orsay, galerie Françoise Cachin, salles 67-69 1 rue de la Légion d'Honneur 75007 Paris Direction de la communication Amélie Hardivillier, directrice de la communication Contacts presse : Marie Dussaussoy Téléphone : 01 40 49 49 96 Courriel : [email protected] Louise Conesa Téléphone : 01 40 49 49 21 Courriel : [email protected] 1 2 Sommaire 1. Communiqué de presse 5 2. Press release 7 3. Parcours de l'exposition 9 4. Biographies 29 5. Liste des œuvres 33 6. Edition 61 7. Autour de l'exposition 63 8. Cycle – La Cinémathèque française 66 9. Visuels disponibles pour la presse 67 10. Mécènes de l’exposition 71 11. Partenaires médias 75 12. Informations pratiques 81 3 4 1. Communiqué de presse , , 1936 CCI, - © Eli Eli © Lotar CCI, - Une partie de campagne Photo Photo Centre© Pompidou, MNAM bromure d’argent, 9 12 cm,x Paris, Centre Renoir - Père et fils Musée d’Orsay, niveau 2 Tournage, du film de Jean Renoir, 1969) - Grand Palais image Centre/ Pompidou, MNAM Galerie Françoise Cachin - 6 novembre 2018 – 27 janvier 2019 . RMN Négatif monochrome souple au gélatino Pompidou, musée national d’art moderne, Dist LotarEli (1905 Cette exposition est organisée par les musées d’Orsay et de l’Orangerie, Paris, et la Fondation Barnes, Philadelphie, avec la collaboration de La Cinémathèque française, Paris. En 1979, Orson Welles saluait Jean Renoir qui venait de disparaître comme le plus grand réalisateur. Avec d’autres, tels Stroheim ou Chaplin, pour s’en tenir à une génération née à la fin du XIXe siècle au moment de l’invention du cinéma, Jean Renoir a contribué à faire de ce nouveau mode d’expression un art majeur, revendiquant pour le réalisateur un rôle d’auteur. -
New Releases Limited Runs Camps
July Wild at Heart SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5 6 1:15 PM THE PLAY HOUSE PRECEDED BY THE HIGH SIGN AND THE GOAT BUSTER KEATON MULHOLLAND DRIVE 3:30 PM THE LOWER DEPTHS 1:00 PM 3:30 PM 6:00 PM JEAN RENOIR ENTRE LA MER ET L’EAU DOUCE PIERROT LE FOU SEE THE NORTH TIFF TRIVIA SHOWDOWN GODARD IN THE ’60S 5:45 PM 3:15 PM YOUTH FILM INTENSIVE 6:15 PM 6:30 PM THE ELEPHANT MAN AWAY FROM HER LA GRANDE ILLUSION UNE FEMME EST UNE FEMME DAVID LYNCH SEE THE NORTH JEAN RENOIR 6:30 PM GODARD IN THE ’60S 8:35 PM 5:35 PM NANA WITH LIVE 6:30 PM 9:15 PM 8:45 PM TWO OR THREE THINGS RHYMES FOR YOUNG GHOULS PIANO ACCOMPANIMENT LA MARSEILLAISE WEEKEND ERASERHEAD I KNOW ABOUT HER SEE THE NORTH JEAN RENOIR JEAN RENOIR GODARD IN THE ’60S DAVID LYNCH GODARD IN THE ’60S 7 8 9 10 11 12 13 2:00 PM BLUE VELVET LAURA SPECIAL SCREENINGS 2:00 PM THE DEVIL IS A WOMAN 4:00 PM 4:00 PM DIETRICH & VON STERNBERG 6:25 PM 6:30 PM MOROCCO ALPHAVILLE DIETRICH & VON STERNBERG GODARD IN THE ’60S 4:00 PM UNE FEMME MARIÉE FILM FARM: 25 YEARS OF THE PICNIC ON THE GRASS GODARD IN THE ’60S MOUNT FOREST INDEPENDENT 6:15 PM 6:30 PM JEAN RENOIR 9:00 PM IMAGING RETREAT PROGRAMME 2 PIERROT LE FOU THE STRAIGHT STORY WAVELENGTHS GODARD IN THE ’60S DAVID LYNCH 6:15 PM FILM FARM: 25 YEARS OF THE WILD AT HEART 6:30 PM MOUNT FOREST INDEPENDENT 9:15 PM 9:00 PM 9:00 PM WITH ALICIA FLETCHER VIVRE SA VIE IMAGING RETREAT PROGRAMME 1 BANDE À PART LOST HIGHWAY SHORT FILMS BY DAVID LYNCH DAVID LYNCH SCREENWRITING INTENSIVE GODARD IN THE ’60S WAVELENGTHS GODARD IN THE -
Jean Renoir Papers= PASC.0105
http://oac.cdlib.org/findaid/ark:/13030/tf796nb4fk No online items Finding Aid for the Jean Renoir Papers= PASC.0105 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill, 1998. UCLA Library Special Collections Online finding aid last updated on 2019 September 16. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Jean Renoir PASC.0105 1 Papers= PASC.0105 Language of Material: English Contributing Institution: UCLA Library Special Collections Title: Jean Renoir papers Identifier/Call Number: PASC.0105 Physical Description: 56.5 Linear Feet113 boxes Date (inclusive): 1915-1987 Language of Material: Materials are in English. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Property rights to the physical objects belong to UCLA Library Special Collections. All other rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Jean Renoir papers (Collection PASC 105). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. -
The Presence of Jean Renoir ERNEST CALLENBACH and ROBERTA SCHULDENFREI 8
PER COPY $1.00 Q UART E RLY $4.00 PER YEAR FILM VOL. XIV, NO. 2-WINTER 1960 PUBLISHED BY THE UNIVERSITY OF EDITOR'S NOTEBOOK 2 CALIFORNIA PRESS ARTICLES The Presence of Jean Renoir ERNEST CALLENBACH AND ROBERTA SCHULDENFREI 8 Editorial and Classics Revisited: La Grande Illusion JAMES KERANS 10 sales office: Berkeley 4, An Interview with Sidney Lumet PETER BOGDANOVICH 18 California THE FESTIVAL SCENE- Berlin, Karlovy-Vary, Venice CYNTHIA GRENIER 24 London DAVIDSTEWART HULL 30 EDITOR THE ART FILM AND ITS AUDIENCES: I- Allies, Not Enemies PHILIP CHAMBERLIN Ernest Callenbach 36 FILM 40 ASSISTANT EDITOR REVIEWS Albert Johnson Dejeuner sur l'Herbe: GIDEON BACHMANN The Entertainer:ARLENE CROCE Los ANGELESEDITOR The Savage Innocents: DOUGLASCOX See You Tomorrow: NORMANC. MOSER Colin Young The Flute and the Arrow: ROGER SANDALL Macario: R. H. TURNER NEW YORK EDITORS The Ballad of a Soldier and A Stranger Knocks: ALBERTJOHNSON William Bernhardt Black Pearls and Be Good All Your Life: KENNETH J. LETNER and Cecile Starr Ein Mann geht durch die Wand: HARRIET R. POLT ROME EDITOR Romeo, Juliet, and Darkness: JOSEPHKOSTOLEFSKY MarvinGluck Era Notte a Roma: LETIZIA CIOTTI MILLER PARIS EDITOR Mein Kampf: CHRISTOPHER BISHOP Cynthia Grenier BOOK REVIEWS 56 Theory of Film and The Three Faces of the Film: ERNEST CALLENBACH ADVISORY Kino: DAVIDSTEWART HULL EDITORIALBOARD Andries Deinum ENTERTAINMENTS 61 August Frug6 Hugh Gray PRODUCTION REPORT 62 Paul Jorgensen Gavin Lambert THE COVER: Nadia Gray in Fellini's La Dolce Vita. Copyright 1960 by The Regents of the University of California. Views expressed in signed articles are those of the authors. -
71-7591 University Microfilms, a XEROX Company, Ann Arbor
71-7591 WEISS, Gene Stephen, 1940- THE ESTABLISHMENT OF A RATIONALE AND A SET OF CRITERIA FOR THE USE OF ART FILMS IN THE EDUCATIONAL CURRICULUM. The Ohio State University, Ph.D., 1970 Mass Communications University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 Gene Stephen Weiss ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE ESTABLISHMENT OF A PATIONALE AND A SET OF CRITERIA FOR THE USE OF ART FILMS IN THE EDUCATIONAL CURRICULUM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in.the Graduate School of The Ohio State University By Gene Stephen Weiss, B +A., M.A ****** The Ohio State University 1970 Approved by Adviser Department of Speech ACKNOWLEDGMENTS This study was made possible through the efforts of many individuals. Special appreciation is extended, first, to Dr. Richard Mall, Dr. James Golden, Professor Charles Csuri, and Dr. James Lynch for their extraordinary patience and encouragement. An added thank you goes to Mrs. Dorothy MacPherson, Director of the National Film Board of Canada, Mr. Jerome Hausman, Special Consultant to the Rockefeller Foundation, and Universal Education and Visual Arts, distri butors of the film Monet. Finally, the author would like to express a very special thank you to a former teacher and friend, Robert Gessner, who will always hold a unique place in his heart and mind. ii VITA February 3, 1940 Born-New York, New York 1961 ......... B.A., Brandeis University, Waltham, Massachusetts 1961-196 3 ..... Television Production Special ist, U. S. Army Signal Corps, Fort Monmouth, New Jersey 1965 ........ -
Fflielimit]) Iripoi
T" TMP t ,-•-.•. Duffey' Barbarism7 •> I HA1.", i- Quote Found on Tape by Jan Gimar A tape of last year's Duffey-Buckley whether the U.S. was keeping the "bar- debate has revealed that U.S..Senate can- barians at bay" in Vietnam. In the formal didate Joseph Duffey actually referred to debate, each speaker used the term once. "barbarism" on the part of the United • It,,was later, in .the question and answer States in Vietnam. period, that Buckley reacted to a question The tape supports the contention of about the October Moratorium by Duffey's opponent Lowell P. Weicker. elaborating on his original use of the term. Weicker, in a debate last Sunday, called on He claimed that the North Vietnamese used Duffey to explain why he branded the United barbaric tactics in destroying Hue or when States as barbarian during the debate last they "disemboweled a village chief." year. Duffey denied that he ever used the It was -in response to Buckley's term and challenged Weicker to reveal his elaboration that Duffey referred to source. American "barbarism." He then went on to Weicker produced a year-old issue of the say that the war was a terrible mistake and TRIPOD which carried a story of the the American people were ready to admit to debate. In a by-line article, Steven R. that mistake, although he did not carry the Pearlstein '73 wrote. "On.the subject of the" -!term-"barbarism" into his diagnosis of the Oct. 15 Moratorium, Duffey said it American mood. demonstrated that the South Vietnamese Weicker charged ;Duffey with doubtful and the U.S. -
Movie Title Movie Title Translations and Alternate Titles Director Type Genre Language This Life of Mine Wo Zhe Yi Bei Zi Hui Sh
Movie Title Translations and Movie Title Alternate Titles Director Type Genre Language This Life of Mine Wo zhe yi bei zi Hui Shi VHS Drama Chinese Life and Nothing More Zendegi va digar hich Abbas Kiarostami VHS Documentary Farsi Tam e guilass Taste of Cherry Abbas Kiarostami DVD Drama Farsi Where Is My Friend's House? Khane-ye doust kodjast? Abbas Kiarostami VHS Drama Farsi Jackal Nights Layali ibn awa Abdellatif Abdelhamid VHS Drama Arabic La vie sur terre Life on Earth Abderrahmane Sissako VHS Documentary French Abel Gance’s Napoleon n/a Abel Gance VHS History Silent Wheels of Fate n/a Abel Gance VHS Drama Silent Ta Dona Fire! Adama Drabo VHS Drama bambara Time For Revenge Tiempo de revancha Adolfo Aristarain VHS Drama Spanish Les gout̂ des autres The Taste of Others Agnes Jaoui DVD Comedy French Les fils du requin Son of the Shark Agnes Merlet VHS Drama French Jacquot n/a Agnes Varda VHS Drama French Vagabond Sans toit ni loi Agnes Varda VHS Drama French Cléo de 5 à 7 n/a Agnès Varda DVD Drama French Secret Garden, The n/a Agnieszka Holland VHS Fiction English Akahige Red Beard Akira Kurosawa DVD Drama Japanese Akira Kurosawa’s Dreams n/a Akira Kurosawa VHS Drama Japanese Akira Kurosawa’s High and low n/a Akira Kurosawa VHS Mystery Japanese Bad Sleep Well, The Warui yatsu hodo yoku nemuru Akira Kurosawa VHS Drama Japanese Dersu Uzala n/a Akira Kurosawa VHS Drama Russian DVD or Hidden Fortress, The Kakushi-toride no san-akunin Akira Kurosawa VHS Drama Japanese DVD or Ikiru n/a Akira Kurosawa VHS Drama Japanese Kagemusha, The Shadow -
Barnes Foundation Presents Major Exhibition Exploring Artistic Relationship Between Filmmaker Jean Renoir and Painter Pierre-Auguste Renoir
FOR IMMEDIATE RELEASE: BARNES FOUNDATION PRESENTS MAJOR EXHIBITION EXPLORING ARTISTIC RELATIONSHIP BETWEEN FILMMAKER JEAN RENOIR AND PAINTER PIERRE-AUGUSTE RENOIR RENOIR: FATHER AND SON/PAINTING AND CINEMA May 6 through September 3, 2018 Philadelphia, PA, January 17, 2018—Premiering May 6, 2018, at the Barnes Foundation— home to the world’s largest collection of paintings by Pierre-Auguste Renoir—is a major exhibition examining the artistic exchange between the renowned impressionist painter and his son, celebrated filmmaker Jean Renoir. Renoir: Father and Son/Painting and Cinema brings together over 120 works, including paintings, films, drawings, ceramics, costumes, photographs, and posters—many never before shown in the US—for an illuminating exploration of Pierre- Auguste’s role in his son’s oeuvre and the relationship between painting and cinema. The exhibition is curated by Sylvie Patry, Consulting Curator at the Barnes and Chief Curator/Deputy Director for Curatorial Affairs and Collections at the Musée d’Orsay, and is organized by the Barnes Foundation, Philadelphia, and the Musées d'Orsay et de l'Orangerie, Paris, in collaboration with La Cinémathèque française, Paris. Renoir: Father and Son/Painting and Cinema is sponsored by Comcast NBCUniversal, and is supported in part by an award from the National Endowment for the Arts. Acclaimed director Jean Renoir (1894–1979) is perhaps best known for such films as La Grande illusion (The Grand Illusion) (1937), Partie de campagne (A Day in the Country) (shot in 1936, released in 1946), and La Règle du jeu (The Rules of the Game) (1939), all of which are considered milestones in the history of 20th-century art. -
A SHORT HISTORY of FILM 00 Dixon FM I-Xxxviii 1/15/08 9:26 AM Page Ii 00 Dixon FM I-Xxxviii 1/15/08 9:26 AM Page Iii
00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page i A SHORT HISTORY OF FILM 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page ii 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page iii FILMA SHORT HISTORY OF WHEELER WINSTON DIXON & GWENDOLYN AUDREY FOSTER rutgers university press new brunswick, new jersey 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page iv Library of Congress Cataloging-in-Publication Data Dixon, Wheeler W., 1950– A short history of film / Wheeler Winston Dixon and Gwendolyn Audrey Foster. p. cm. Includes bibliographical references and index. ISBN 978–0-8135–4269–0 (hardcover : alk. paper)—ISBN 978–0-8135–4270–6 (pbk. : alk. paper) 1. Motion pictures—History. 2. Motion picture industry—History. I. Foster, Gwendolyn Audrey. II. Title. PN1993.5.A1D53 2008 791.43Ј7—dc22 2007022097 Copyright © 2008 by Wheeler Winston Dixon and Gwendolyn Audrey Foster All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or me- chanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway, NJ 08854–8099. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. Visit our Web site: http://rutgerspress.rutgers.edu Manufactured in the United States of America 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page v To the filmmakers, historians, and critics of the twenty-first century 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page vi 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page vii CONTENTS -
Soundings on Cinema : Speaking to Film and Film Artists
Soundings on Cinema Also in the series William Rothman, editor, Cavell on Film J. David Slocum, editor, Rebel Without a Cause Joe McElhaney, The Death of Classical Cinema Kirsten Thompson, Apocalyptic Dread Francis Gateward, editor, Seoul Searching Michael Atkinson, editor, Exile Cinema Soundings on Cinema Speaking to Film and Film Artists f Bert Cardullo STATE UNIVERSITY OF NEW YORK PRESS Published by State University of New York Press, Albany © 2008 State University of New York All rights reserved Printed in the United States of America Cover photo courtesy of Photofest. No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or other- wise without the prior permission in writing of the publisher. For information, contact State University of New York Press, Albany, NY www.sunypress.edu Production by Marilyn P. Semerad Marketing by Anne M. Valentine Library of Congress Cataloging-in-Publication Data Cardullo, Bert. Soundings on cinema : speaking to film and film artists / Bert Cardullo. p. cm. — (SUNY series, horizons of cinema) Includes index. ISBN 978-0-7914-7407-5 (hardcover : alk. paper) ISBN 978-0-7914-7408-2 (pbk. : alk. paper) 1. Motion pictures producers and directors—Europe—Interviews. 2. Motion pictures—Europe. I. Title. PN1998.2.C3643 2008 791.4302'3309224—dc22 2007030823 10987654321 Contents List