Camille Claudel 1915’ Stars Juliette Binoche - Nytimes.Com
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James Ivory in France
James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind. -
Over His Long Career, the Icon of American Cinema Defined a Style of Filmmaking That Embraced the Burnished Heights of Society, Culture, and Sophistication
JAMES IVORY OVER HIS LONG CAREER, THE ICON OF AMERICAN CINEMA DEFINED A STYLE OF FILMMAKING THAT EMBRACED THE BURNISHED HEIGHTS OF SOCIETY, CULTURE, AND SOPHISTICATION. BUT JAMES IVORY AND HIS LATE PARTNER, ISMAIL MERCHANT, WERE ALSO INVETERATE OUTSIDERS WHOSE ART WAS AS POLITICALLY PROVOCATIVE AS IT WAS VISUALLY MANNERED. AT AGE 88, THE WRITER-DIRECTOR IS STILL BRINGING STORIES TO THE SCREEN THAT FEW OTHERS WOULD DARE. By CHRISTOPHER BOLLEN Photography SEBASTIAN KIM JAMES IVORY IN CLAVERACK, NY, FEBRUARY 2017. COAT: JEFFREY RUDES. SHIRT: IVORY’S OWN. On a mantle in James Ivory’s country house in but also managed to provoke, astonish, and seduce. the depths of winter. It just got to be too much, and I IVORY: I go all the time. I suppose it’s the place I love IVORY: I saw this collection of Indian miniature upstate New York sits a framed photo of actress In the case of Maurice, perhaps because the film was remember deciding to go back to New York to work most in the world. When I went to Europe for the paintings in the gallery of a dealer in San Francisco. Maggie Smith, dressed up in 1920s finery, from the so disarmingly refined and the quality of the act- on Surviving Picasso. first time, I went to Paris and then to Venice. So after I was so captivated by them. I thought, “Gosh, I’ll set of Ivory’s 1981 filmQuartet . By the fireplace in an ing and directing so strong, its central gay love story BOLLEN: The winters up here can be bleak. -
SMALL CRIMES DIAS News from PLANET MARS ALL of a SUDDEN
2016 IN CannES NEW ANNOUNCEMENTS UPCOMING ALSO AVAILABLE CONTACT IN CANNES NEW Slack BAY SMALL CRIMES CALL ME BY YOUR NAME NEWS FROM NEW OFFICE by Bruno Dumont by E.L. Katz by Luca Guadagnino planet mars th Official Selection – In Competition In Pre Production In Pre Production by Dominik Moll 84 RUE D’ANTIBES, 4 FLOOR 06400 CANNES - FRANCE THE SALESMAN DIAS NEW MR. STEIN GOES ONLINE ALL OF A SUDDEN EMILIE GEORGES (May 10th - 22nd) by Asghar Farhadi by Jonathan English by Stephane Robelin by Asli Özge Official Selection – In Competition In Pre Production In Pre Production [email protected] / +33 6 62 08 83 43 TANJA MEISSNER (May 11th - 22nd) GIRL ASLEEP THE MIDWIFE [email protected] / +33 6 22 92 48 31 by Martin Provost by Rosemary Myers AN ArtsCOPE FILM NICHolas Kaiser (May 10th - 22nd) In Production [email protected] / +33 6 43 44 48 99 BERLIN SYNDROME MatHIEU DelaUNAY (May 10th - 22nd) by Cate Shortland [email protected] / + 33 6 87 88 45 26 In Post Production Sata CissokHO (May 10th - 22nd) [email protected] / +33 6 17 70 35 82 THE DARKNESS design: www.clade.fr / Graphic non contractual Credits by Daniel Castro Zimbrón Naima ABED (May 12th - 20th) OFFICE IN PARIS MEMENTO FILMS INTERNATIONAL In Post Production [email protected] / +44 7731 611 461 9 Cité Paradis – 75010 Paris – France Tel: +33 1 53 34 90 20 | Fax: +33 1 42 47 11 24 [email protected] [email protected] Proudly sponsored by www.memento-films.com | Follow us on Facebook NEW OFFICE IN CANNES 84 RUE D’ANTIBES, 4th FLOOR -
Patrice Chéreau. Cineasta Del Corpo Retrospettiva
Patrice Chéreau. Cineasta del corpo Retrospettiva 16 - 21 febbraio 2010 Cinema Gnomo Milano Iniziativa promossa dal Comune di Milano A cura di Pier Giorgio Carizzoni Organizzata dall’ Associazione Culturale Dioniso Con il patrocinio del Centre Culturel Français de Milan Media partner: Rai Radio Tre Martedì 16 febbraio 2010 si inaugura al Cinema Gnomo di Milano la prima retrospettiva italiana di Patrice Chéreau, celebre regista francese di teatro e di cinema, al quale il Comune di Milano rende omaggio fino a domenica 21 febbraio con la proiezione dei 10 lungometraggi da lui diretti dal 1975 a oggi. L’iniziativa, curata da Pier Giorgio Carizzoni e organizzata dall’Associazione Culturale Dioniso con il patrocinio del Centre Culturel Français de Milan e la collaborazione di Rai RadioTre, si svolge in concomitanza con la presenza a Milano di Chéreau per la regia lirica dell’opera “Da una casa di morti” di Leoš Janá ček, al Teatro alla Scala dal 28 febbraio. Chéreau ha diretto nei suoi film alcuni dei più grandi attori del cinema europeo: Isabelle Huppert, Valeria Bruni Tedeschi, Jean-Louis Trintignant, Isabelle Adjani, Daniel Auteuil, Charlotte Gainsbourg, Simone Signoret, Charlotte Rampling, Jean-Hugues Anglade. Dalla sua filmografia emerge il profilo di un autore che sa esplorare con notevole vigore espressivo i volti e i corpi dei suoi personaggi, indagando in profondità nei risvolti più intimi e nascosti dell’animo umano, senza compiacimenti né rassicurazioni. Circa la metà dei film in programma, irreperibili in Italia, sono presentati in versione originale con sottotitoli in italiano. La rassegna si inaugura martedi 16 con la proiezione di Persécution (ore 18:30, replica domenica 21 ore 21:15, versione originale con sottotitoli in italiano), ultimo film diretto dal regista, presentato al Festival del cinema di Venezia 2009 e alla “Panoramica” milanese in anteprima assoluta, che racconta l’infelicità di un uomo perseguitato e persecutore, amante geloso e infedele fagocitato dal suo stesso narcisismo. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Où Sont Les Femmes? Francine Laurendeau
Document généré le 25 sept. 2021 06:13 Séquences La revue de cinéma Où sont les femmes? Francine Laurendeau Numéro 198, septembre–octobre 1998 URI : https://id.erudit.org/iderudit/49167ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Laurendeau, F. (1998). Où sont les femmes? Séquences, (198), 10–12. Tous droits réservés © La revue Séquences Inc., 1998 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ I E S T I V A L S CANNES 98 Où sont les remmes? as un seul film réalisé par une ans, Samira Makhmalbaf. Pendant le tournage femme, cette année, parmi les du film Silence, où elle est l'assistante de son P vingt-deux longs métrages de la com père (Mohsen Makhmalbaf, on l'aura deviné), pétition officielle, la plus prestigieuse et la elle est frappée par un fait divers situé dans un plus visible, donc la plus exposée des sections quartier pauvre de Téhéran. Un homme âgé du Festival de Cannes. -
Who's Who at the Rodin Museum
WHO’S WHO AT THE RODIN MUSEUM Within the Rodin Museum is a large collection of bronzes and plaster studies representing an array of tremendously engaging people ranging from leading literary and political figures to the unknown French handyman whose misshapen proboscis was immortalized by the sculptor. Here is a glimpse at some of the most famous residents of the Museum… ROSE BEURET At the age of 24 Rodin met Rose Beuret, a seamstress who would become his life-long companion and the mother of his son. She was Rodin’s lover, housekeeper and studio helper, modeling for many of his works. Mignon, a particularly vivacious portrait, represents Rose at the age of 25 or 26; Mask of Mme Rodin depicts her at 40. Rose was not the only lover in Rodin's life. Some have speculated the raging expression on the face of the winged female warrior in The Call to Arms was based on Rose during a moment of jealous rage. Rose would not leave Rodin, despite his many relationships with other women. When they finally married, Rodin, 76, and Rose, 72, were both very ill. She died two weeks later of pneumonia, and Rodin passed away ten months later. The two Mignon, Auguste Rodin, 1867-68. Bronze, 15 ½ x 12 x 9 ½ “. were buried in a tomb dominated by what is probably the best The Rodin Museum, Philadelphia. known of all Rodin creations, The Thinker. The entrance to Gift of Jules E. Mastbaum. the Rodin Museum is based on their tomb. CAMILLE CLAUDEL The relationship between Rodin and sculptor Camille Claudel has been fodder for speculation and drama since the turn of the twentieth century. -
Rodin Biography
Contact: Norman Keyes, Jr., Director of Media Relations Frank Luzi, Press Officer (215) 684-7864 [email protected] AUGUSTE RODIN’S LIFE AND WORK François-Auguste-René Rodin was born in Paris in 1840. By the time he died in 1917, he was not only the most celebrated sculptor in France, but also one of the most famous artists in the world. Rodin rewrote the rules of what was possible in sculpture. Controversial and celebrated during his lifetime, Rodin broke new ground with vigorous sculptures of the human form that often convey great drama and pathos. For him, beauty existed in the truthful representation of inner states, and to this end he often subtly distorted anatomy. His genius provided inspiration for a host of successors such as Henri Matisse, Constantin Brancusi and Henry Moore. Unlike contemporary Impressionist Paul Cézanne---whose work was more revered after his death---Rodin enjoyed fame as a living artist. He saw a room in the Metropolitan Museum of Art in New York dedicated to his work and willed his townhouse in Paris, the Hôtel Biron, to the state as a last memorial to himself. But he was also the subject of intense debate over the merits of his art, and in 1898 he attracted a storm of controversy for his unconventional monument to French literary icon Honoré de Balzac. MAJOR EVENTS IN RODIN’S LIFE 1840 November 12. Rodin is born in Paris. 1854 Enters La Petite École, a special school for drawing and mathematics. 1857 Fails in three attempts to be admitted at the prestigious École des Beaux-Arts. -
Es Un Proyecto De
ES UN PROYECTO DE: festivalcinesevilla.eu Es un proyecto de: Alcalde de Sevilla Presidente del ICAS Juan Ignacio Zoido Álvarez Teniente Alcalde Delegada de Cultura, Educación, Deportes y Juventud Vicepresidenta del ICAS María del Mar Sánchez Estrella Directora General de Cultura María Eugenia Candil Cano Director del Festival de Cine Europeo de Sevilla José Luis Cienfuegos PROGRAMA DE MANO Edición y textos: Elena Duque Documentación: Antonio Abad Textos música: Tali Carreto Diseño e impresión: Avante de Publicidad (www.avantedepublicidad.com) Maquetación: Páginas del Sur UNA PUBLICACIÓN DEL ICAS Instituto de la Cultura y de las Artes de Sevillla Depósito Legal: SE 2038-2013 PRESENTACIÓN SECCIÓN OFICIAL 5 Las obras clave del 2013, el mejor cine europeo reconocido internacionalmente. LAS NUEVAS OLAS (FICCIÓN+NO FICCIÓN) 15 Los nuevos valores y las miradas singulares del cine europeo contemporáneo más refrescante. RESISTENCIAS 29 Cine español estimulante y combativo, producciones independientes que plantan cara a la crisis con ímpetu creativo. SELECCIÓN EFA 35 Las películas prenominadas a los premios de la European Film Academy, MARÍA DEL MAR SÁNCHEZ ESTRELLA sello de calidad indiscutible. TENIENTE ALCALDE DELEGADA DE CULTURA, EDUCACIÓN, DEPORTES Y JUVENTUD VICEPRESIDENta DEL ICAS SPECIAL SCREENING 43 Proyecciones especiales que acercan a Sevilla películas imperdibles. Hablar de Sevilla en otoño es hacerlo de cine europeo. De audacia SEFF PARA TODA LA FAMILIA 47 creativa, de tradición y de futuro, de apuesta por el talento y de Cine para pequeños y mayores, una selección de lo mejor del cine familiar europeo. comunión entre los sevillanos y sus espacios culturales. Y es así SEFF JOVEN 51 porque el Festival de Cine Europeo ha conseguido lo que el Ayun- El ritmo, el ardor y la fuerza de los años del frescor. -
Lo Sguardo (Dis)Umano Di Bruno Dumont
Lo sguardo (dis)umano di Bruno Dumont Alberto Scandola «La cinematografia – ha dichiarato Bruno Dumont – è disumana. […] È la materia delle nostre vite, è la vita stessa, presente e rappresentata»1. Sin dagli esordi (L’età inquieta, 1997), Bruno Dumont ha posto al centro della sua attenzione l’umano e soprattutto le sue derive verso l’animale, il selvaggio, il bestiale. Liberi di non significare altro che loro stessi e il loro opaco Dasein, i corpi di questo cinema abitano luoghi dove – penso a L’humanité (1999) – il visibile altro non è che il riflesso dell’invisibile e l’immagine sembra lottare contro il suono. Conflitti come quello tra i volumi e i rumori (l’ansimare dettagliato di un corpo ripreso in campo lunghissimo, per esempio), frequenti soprattutto nella prima fase della produzione, sono finalizzati a evidenziare la testura di un dispositivo a cui l’autore da sempre affida una precisa funziona catartica: Bisogna sviluppare il sistema immunitario dello spettatore, biso- gna mettergli il male. Costui svilupperà naturalmente gli anticorpi. È lo spettatore che deve svegliarsi, non il film. Per me un film non è molto importante. Ciò che è importante è cominciare; poi tocca allo spettatore terminare2. Per poter «terminare», però, bisogna innanzitutto riuscire a guardare. Guardare immagini che, nel disperato tentativo di catturare le vita, offrono 1 B. Dumont in Ph. Tancelin, S. Ors, V. Jouve, Bruno Dumont, Éditions Dis Voir, Paris 2001, p. 12. Nostra traduzione. 2 B. Dumont in A. Scandola, Un’estetica della rivelazione. Conversazione con Bruno Du- mont, in Schermi D’Amore dieci+1, a cura di P. -
146 Auguste Rodin Which the Carnal Act Seems Close at Hand
146 Auguste Rodin which the carnal act seems close at hand. As Rodin proclaimed, 1. William Harlan Hale, The World of Rodin, 1840–1917 (Time-Life 4 1840 – 1917 french “I have unbounded admiration for the nude. I worship it,” Jeune International, Nederland nV, 1962 [1972]), 9. fille au serpent (circa 1885) typifying sculpture of this nature.5 At 2. Hale, “A Trio of Humiliations,” World of Rodin, 113–39. Jeune fille au serpent just over a foot tall (15 3/4 x 5 7/8 x 6 3/4 inches), and with a loose 3. Quoted in Ian Chilvers, A Dictionary of Twentieth-Century Art bronze sculpture, signed and inscribed serpentine line running right through the piece, Jeune fille au (Oxford: Oxford University Press, 1998), 524. No. 5 / © by musée Rodin 1969 / Georges serpent likely has key historical significance with respect to how 4. Quoted in “Auguste Neyt, Model for ‘The Age of Bronze,’ Rudier Fondeur Paris Rodin’s sculpture sought to “give life” (Pygmalion-style) to clay, [photo by] Gaudenzio Marconi (1842–1885),” Musée Rodin, 15 3/4 × 5 7/8 × 6 3/4 in, 40 × 14.9 × 17.1 cm a founding theory since antiquity. This little piece foresees how para. 1, http://www.musee-rodin.fr/en/collections/photographies/ Provenance the sculptor’s work would eventually look—a far more curvaceous, auguste-neyt-model-age-bronze. Musée Rodin, Paris flowing and expressive art form, created in an era of late-century 5. For other casts of this work, see Antoinette Le Normand-Romain, Dominion Gallery, Montreal Symbolism,6 as opposed to more passive ideals of human beauty The Bronzes of Rodin: Catalogue of Works in the Musée Rodin (Paris: Acquired from the above by Augustus in earlier neoclassicism. -
BRENTANO STRING QUARTET Mark Steinberg, Violin Serena Canin, Violin Misha Amory, Viola Nina Lee, Cello With
Wednesday, February 18, 2015 at 7:30PM Richardson Auditorium in Alexander Hall BRENTANO STRING QUARTET Mark Steinberg, Violin Serena Canin, Violin Misha Amory, Viola Nina Lee, Cello with JOYCE DIDONATO, Mezzo-soprano MARC-ANTOINE CHARPENTIER (1643-1704) Suite for Strings in D Minor, H. 545 Prélude 1 Prélude 2 Sarabande Gigue angloise Gigue francoise Passecaille CLAUDE DEBUSSY (1862-1918) String Quartet in G Minor, Op. 10 Animé et très décidé Assez vif et bien rythmé Andantino doucement espressif Très modéré —INTERMISSION— JAKE HEGGIE (b. 1961) Camille Claudel: Into the Fire, texts by Gene Scheer (2011) Prelude: Awakening Rodin La Valse Shakuntala La petite châtelaine The Gossips L’age mûr Epilogue: Jessie Lipscomb visits Camille Claudel, Montdevergues Asylum, 1929 The Brentano String Quartet appears by arrangement with David Rowe Artists. ABOUT THE ARTISTS PRINCETON UNIVERSITY CONCERTS 2014-15 SEASON ABOUT THE BRENTANO QUARTET ince its inception in 1992, the Brentano String Quartet has appeared throughout Sthe world to popular and critical acclaim. For 14 years, the Brentano Quartet was Princeton’s first and only Quartet-in-Residence. In July 2014 we bid them a bittersweet goodbye as they succeeded the Tokyo String Quartet as Artists-in-Residence at Yale University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. In recent seasons, the Quartet has traveled widely, appearing all over the United States and Canada, in Europe, Japan and Australia. It has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York City; the Library of Congress in Washington, DC; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House.