White Material : a Devastating, Intimate African Nightmare
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(POST)COLONIAL AFRICA by Katherine Lynn Coverdale the F
ABSTRACT AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA by Katherine Lynn Coverdale The focus of this thesis is aimed at two female French directors: Claire Denis and Mati Diop. Both auteurs utilize framing to create and subsequently break down ideological boundaries of class and race. Denis’ films Chocolat and White Material show the impossibility of a distinct identity in a racialized post-colonial society for someone who is Other. With the help of Laura Mulvey and Richard Dyer, the first chapter of this work on Claire Denis offers a case study of the relationship between the camera and race seen through a deep analysis of several sequences of those two films. Both films provide an opportunity to analyze how the protagonists’ bodies are perceived on screen as a representation of a racial bias held in reality, as seen in the juxtaposition of light and dark skin tones. The second chapter analyzes themes of migration and the symbolism of the ocean in Diop’s film Atlantique. I argue that these motifs serve to demonstrate how to break out of the identity assigned by society in this more modern post-colonial temporality. All three films are an example of the lasting violence due to colonization and its seemingly inescapable ramifications, specifically as associated with identity. AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Katherine Lynn Coverdale Miami University Oxford, Ohio 2020 Advisor: Dr. -
The Music of Relationality in the Cinema of Claire Denis
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Concert and disconcertion: the music of relationality in the cinema of Claire Denis https://eprints.bbk.ac.uk/id/eprint/40453/ Version: Full Version Citation: Brown, Geoffrey (2019) Concert and disconcertion: the music of relationality in the cinema of Claire Denis. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Concert and Disconcertion : the music of relationality in the cinema of Claire Denis Geoffrey Brown Thesis submitted for the degree of PhD in French 2019 Department of European Cultures and Languages Birkbeck, University of London 2 Declaration I declare that the work presented in this thesis is my own, and that this thesis is the one on which I expect to be examined. Geoffrey Brown 3 This thesis is dedicated to Agnès Calatayud, an inspirational teacher, who reconnected me to French cinema after a long carence, and who, crucially, first introduced me to the films of Claire Denis. 4 Abstract This thesis argues that the interest which the films of Claire Denis display in the ever-shifting modes of relations between people is illustrated through analysis of how music is used throughout her corpus of feature films. Denis draws on an extremely eclectic palette of musical styles, and the thesis proposes that these varying musical modalities are central to her treatment of relational issues, as are the ways in which she deploys her chosen musical selections. -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
Uk / 2018 / 1.66 / 5.1
HIGH LIFE 110 min / Germany – France – USA – Poland – UK / 2018 / 1.66 / 5.1 EVA DIEDERIX [email protected] SILVIA SIMONUTTI [email protected] FANNY BEAUVILLE [email protected] OLPHA BEN SALAH [email protected] PHOTOS AND PRESS KIT CAN BE DOWNLOADED FROM https://www.wildbunch.biz/movie/high-life/ Deep space. Monte and his daughter Willow live together aboard a spacecraft, in complete isolation. A man whose strict self-discipline is a shield against desire, Monte fathered her against his will. His sperm was used to inseminate the young woman who gave birth to her. They were members of a crew of prisoners – death row inmates. Guinea pigs sent on a mission. Now only Monte and Willow remain. Through his daughter, he experiences the birth of an all-powerful love. Together, father and daughter approach their destination – the black hole in which time and space cease to exist. How did High Life come about? A while back, an English producer asked me if I wanted to participate in a collection of films called Femmes Fatales. At first, I wasn’t that interested, but after thinking it over, I agreed. The project took ages to get off the ground. There was no money. It took 6 or 7 years to hammer out a coproduction: France, Germany, Poland and eventually America. During that time, I went to England and the States to meet with actors. The actor I dreamed of for the lead role of Monte was Philip Seymour Hoffman, because of his age, his weariness – but he died mid- route. -
BAM Presents Strange Desire: the Films of Claire Denis, Mar 29—Apr 9, the Largest-Ever US Retrospective Dedicated to the Celebrated French Filmmaker
BAM presents Strange Desire: The Films of Claire Denis, Mar 29—Apr 9, the largest-ever US retrospective dedicated to the celebrated French filmmaker February 20, 2019/Brooklyn, NY—From Friday, March 29 through Tuesday, April 9, BAM presents Strange Desire: The Films of Claire Denis, the most extensive retrospective ever presented in the US dedicated to Denis, a filmmaker consistently counted among the greatest living directors by filmmakers and critics alike. Denis’ work is a delicate balance of contradictions: her films are beloved, yet elusive; influential, yet singular; grounded in corporeality, but with a shifting relationship with time. Born in France, raised in colonial Africa where her father was a civil servant, and eventually returning to France as a teenager, Denis subtly explores race and colonial relationships, love and eroticism, the texture of bodies and environments, and the elasticity of time. Following the retrospective, BAM will screen Denis’ critically acclaimed new feature, the poetic science fiction film High Life (2019), starring Robert Pattinson, Juliette Binoche, Mia Goth, and André Benjamin. Denis will appear in person at BAM for a sneak preview show on April 3. The film opens in New York and Los Angeles on April 5. The series begins with Beau Travail (1999), Denis’ masterful update of Herman Melville’s Billy Budd, starring Denis Lavant and regular collaborator Grégoire Colin. A study of jealousy and obsession set among the existential ennui and empty rituals of the French Foreign Legion in Djibouti, Beau Travail captures Denis’ signature elliptical style and hypnotic rhythms. A balletic study of bodies in motion with an unforgettable final scene, Beau Travail is Denis’ most iconic and influential work. -
Foreign Bodies, Community and Trauma in the Films of Claire Denis
Foreign Bodies, Community and Trauma in the Films of Claire Denis:... http://www.screeningthepast.com/2013/09/foreign-bodies-community-... Kath Dooley … if my films have a common link, maybe it’s being a foreigner – it’s common for people who are born abroad – they don’t know so well where they belong. It’s not the kind of thing you find in literature, music or photography – being from abroad makes you look different. – Claire Denis [1] Having grown up in Africa as the daughter of a French civil servant, French writer/director Claire Denis was positioned as an outsider. Whereas this status was clearly marked by her skin colour in early life, returning to France as a teenager also presented challenges in terms of foreignness and identification – despite it being the country where she was born, and of which she is a citizen. Douglas Morrey posits that ‘in the filmmaking of Claire Denis, the body is the limit between sense and world. The body is always other – the means by which the other appears to me but also by which I am revealed to myself, as other’. [2] This statement has resonance not just for the director’s choice of themes, but also for her stylistic choices: the use of cinematography, sound and editing to explore the intersections of foreign bodies. Martine Beugnet makes the point that Denis’ ‘perception of the Other is always complex and ambiguous’, and is ‘that which spurs curiosity and creates desire’. [3] As such, rather than reinforcing binary oppositions that seek to stigmatise, the director is subtle in her questioning of the effects of dominant cultures in multicultural contexts. -
Beau Travail » De Claire Denis : Le Cadre Et Le Fantôme
RÉSISTANCE IDENTITAIRE DANS « BEAU TRAVAIL » DE CLAIRE DENIS : LE CADRE ET LE FANTÔME by Marie-Josée Guyon Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia May 2019 © Copyright by Marie-Josée Guyon, 2019 Dédicace : À Sandy et Felix ii TABLE DES MATIÈRES ABSTRACT ....................................................................................................................... v RÉSUMÉ .......................................................................................................................... vi LISTE DES ABRÉVIATIONS UTILISÉES ................................................................ vii REMERCIEMENTS ..................................................................................................... viii CHAPITRE 1 : INTRODUCTION ................................................................................. 1 CHAPITRE 2 : L’IMPOSSIBILITÉ D’UNE IDENTITÉ TOTALE À TRAVERS LA HANTISE DU CADRE PAR LE FANTOMAL .................................................... 17 2.1 Le cadre mortel : la figure spectrale ........................................................................... 18 2.1.1 Le double de Galoup : l‘image d‘un revenant ................................................ 18 2.1.2 Un cadre de vie : Légion et marranisme ......................................................... 21 2.1.3 La voix-off : un spectre qui hante ................................................................... 23 2.2 La frontière entre le réel et -
Claire Denis: Cinema I Territoris Del Cos
Tutor Dr. Joan Miquel Gual Bergas Art, Literatura i cultura contemporànies Universitat Oberta de Catalunya Treball Final de Màster en Humanitats Claire Denis: Cinema i territoris del cos Joan Batlle Vives Juny 2019 Claire Denis: Cinema i territoris del cos - 2 - Claire Denis: Cinema i territoris del cos “Un cuerpo es un conjunto de impulsos que se mantienen transitoriamente unidos. A ese tránsito es a lo que llamamos tiempo. La disfunción de un cuerpo o su desintegración conllevan una leve alteración del organismo ficcional, que de inmediato se restaura. Nadie hay detrás del proceso. Ningún ente lo conduce ni lo organiza.” Chantal Maillard. La compasión difícil. 2019, Pag 63 - 3 - Claire Denis: Cinema i territoris del cos ÍNDEX Abstract, paraules clau..................................................................... 5 Geografies del cos............................................................................ 6 Filosofia i cos................................................................................... 12 El cos colonial.................................................................................. 17 Relacions filials i cos....................................................................... 29 Canibalisme i cos............................................................................. 32 Alteritat, transplantament i cos........................................................ 37 Dansa i cos....................................................................................... 47 Amor i cos....................................................................................... -
Claire Denis Regis Dialogue Formatted
Claire Denis Dialogue with Eric Hynes, 2012 Eric Hynes: We’re at the Walker Art Center in Minneapolis for a Regis Dialogue with Claire Denis. Tonight’s program is called “Claire Denis: Unpredictable Universe,” and we’ll talk with Claire about her remarkable career as a film director. From her first film, Chocolat, to her latest, White Material, Denis has explored the human costs and political perversions of colonialism, inhabiting African landscapes with both a physical intimacy and psychic estrangement. Eric Hynes: And in films like Nénette et Boni, and 35 Shots of Rum, she approaches the domestic sphere with an equal degree of mystery and expansiveness, approaching the everyday with curiosity, sensuality, and rigorous humanity. And with her masterpieces Beau Travail and The Intruder, Denis pursued abstractive narratives of seductive tactility. They pulse, and breathe, and invite the viewer to inhabit them as much as see them. Eric Hynes: She shoots for that sweet spot with film form, contemplates consciousness where the advancing present instantly retreats to a remembered past, and where what’s literal overlaps with what’s imagined. I’m Eric Hynes, a New York– based writer and critic. Now, we’ll begin our Regis Dialogue with Claire Denis. Claire Denis: Good evening. Eric Hynes: Hello everybody. So, I think we’re actually going to start with a clip to begin things. Well, it’s actually the first sequence of Claire’s first film, Chocolat. Video: [foreign language] Eric Hynes: Well, before I even start then, do you feel a connection to the filmmaker still who made that? Claire Denis: Yes and no, because me, I’m not the same of course, and this country Cameroon is not the same either. -
April/May 2019 at BAM
April/May 2019 at BAM Mar 29—Apr 9 Strange Desire: The Films of Claire Denis In anticipation of her first English language feature, High Life, BAM proudly presents the largest US retrospective ever dedicated to the singular French filmmaker, whose films speak through movement, rhythm, and texture, in profound and empathetic studies of alienation, the ravages of colonialism, and the mysteries of love and desire. The series includes: Beau Travail (1999); Trouble Every Day (2001); Chocolat (1988); 35 Shots of Rum (2008); White Material (2009), Nenette and Boni (1996); I Can’t Sleep (1994); No Fear, No Die (1990); The Intruder (2004); Bastards (2013); Let the Sunshine In (2017); Jacques Rivette, le veilleur (1990); a program of short films; To the Devil (2011), screening with Voilà l'enchaînement (2014); The Breidjing Camp (2015); Towards Mathilde (2005), screening with Vers Nancy (2002); US Go Home (1994), screening with Claire Denis, The Vagabond (1996); and a special preview screening of High Life (2019) with Denis in person, prior to a full run following the series. Apr 10—18 The Anarchic Cinema of Věra Chytilová This series explores the work of the most radical director to emerge from the Czechslovak New Wave, Věra Chytilová (1929–2014). Known primarily in the US for her wild feminist classic Daisies, Chytilová left behind a rich body of rarely-screened, genre-spanning works, all infused with her defiantly anti- authoritarian, anti-patriarchal worldview and freewheeling visual style. The series includes: Something Different (1963); Journey (Blaževič, 2003); Family Film (Omerzu, 2015); Fruit of Paradise (1970); The Jester and the Queen (1982); Daisies (1966); Panelstory (1980); Wolf’s Hole (1987); The Inheritance or Fuckoffguysgoodday (1992); Ceiling (1962), screening with A Bagful of Fleas (1962) and Automat Svet (1966); Very Late Afternoon of the Faun (1983); The Apple Game (1977); Filthy (Nvotová,2017); Dreamers (Rudolfová, 2009); Traps (1998); Ban from Paradise (2001); and Pleasant Moments (2006). -
B Fi S O Uth Ba
THE GARDEN GLORIA BELL PLAYING THE BITCH WEIMAR CINEMA 1919–1933 THE ORIGINAL SIN OF CLAIRE DENIS BFI SOUTHBANK BFI JUNE 2019 “MAGISTERIAL…AN ASTONISHING LEAD PERFORMANCE FROM ZHAO TAO.” Giovanni Marchini Camia, Sight & Sound “Enthralling…one of the most inventive and ★★★★ engaged directors of the 21st century.” “A complex romantic tragedy… A.O. Scott, The New York Times an often glorious drama.” Peter Bradshaw, The Guardian “Further proof that Zhao Tao is one of the greatest actresses in the world.” David Ehrlich, Indiewire OFFICIAL SELECTION COMPETITION FESTIVAL DE CANNES 15 newwavefilms.co.uk IN CINEMAS & ON DEMAND 26 APRIL “MAGISTERIAL…AN ASTONISHING LEAD PERFORMANCE FROM ZHAO TAO.” Giovanni Marchini Camia, Sight & Sound THIS MONTH AT BFI SOUTHBANK Welcome to the home of great film and TV, with a world-class library, free exhibitions and Mediatheque and plenty of food and drink “Enthralling…one of the most inventive and ★★★★ engaged directors of the 21st century.” “A complex romantic tragedy… A.O. Scott, The New York Times an often glorious drama.” IN PERSON & PREVIEWS NEW RELEASES SEASONS Peter Bradshaw, The Guardian Talent Q&As and rare appearances, plus a chance The best new cinema for you to enjoy, with plenty of screening Carefully curated collections of film for you to catch the latest film and TV before dates to choose from and TV, which showcase an influential “Further proof that Zhao Tao is one of anyone else genre, theme or talent the greatest actresses in the world.” David Ehrlich, Indiewire OFFICIAL SELECTION COMPETITION -
Genre, Authorship and Contemporary Women Filmmakers
KATARZYNA PASZKIEWICZ GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Not for distribution or resale. For personal use only. Not for distribution or resale. For personal use only. GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Not for distribution or resale. For personal use only. Not for distribution or resale. For personal use only. GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Katarzyna Paszkiewicz Not for distribution or resale. For personal use only. Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Katarzyna Paszkiewicz, 2018 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 10/12.5pt Sabon by Servis Filmsetting Ltd, Stockport, Cheshire and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 2526 1 (hardback) ISBN 978 1 4744 2527 8 (webready PDF) ISBN 978 1 4744 2528 5 (epub) The right of Katarzyna Paszkiewicz to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Not for distribution or resale. For personal use only. CONTENTS List of Figures vi Acknowledgements viii Introduction: Impossible Liaisons? Genre and Feminist Film Criticism 1 1. Subversive Auteur, Subversive Genre 34 2.