Family in Films

Total Page：16

File Type：pdf, Size：1020Kb

Travail de maturité – ANGLAIS Sujet no 13 Family in Films “All happy families are all alike; every unhappy family is unhappy in its own way.” Anna Karenina, Leon Tolstoy. Whether dysfunctional, separated by exile, torn apart by history, laden with secrecy, crazy, loving, caring, smothering - and even perhaps happy, family is an endless source of investigation about human relations and social groups. In this research paper, you will be able to question Leon Tolstoy’s statement and explore how films envision new and older forms of families. Some examples of films relevant to this research paper: Festen (Thomas Vintenterberg, 1998) Parasite (Bong Joon-ho, 2019) L’Heure d’été (Olivier Assayas, 2008) Family Romance, LLC (Werner Herzog, 2019) Un conte de Noël (Arnaud Desplechin, Crooklyn (Spike Lee, 1994) 2008) Sorry, We Missed You (Ken Loach, 2019) La Fête de famille (Cédric Kahn, 2019) I, Daniel Blake ( Ken Loach, 2016) After the Storm (海よりもまだ深く, Umi yori Jungle Fever (Spike Lee, 1991) mo mada fukaku, Hirokazu Rodinný Film (Family Film, Olmo Omerzu, Kore-eda, 2016) 2015) Nobody Knows (誰も知らない, Dare mo So Long My Son (地久天长, Di jiu tian chang shiranai, Hirokazu Kore-eda, Wang Xiaoshuai, 2019) 2004) Still Life (三峡好人, Sānxiá hǎorén, Jia Like Father, Like Son (そして父になる, Zhangke, 2006) Soshite chichi ni naru, Hirokazu Amreeka (Cherien Dabis, 2009) Kore-eda, 2013) Tokyo Sonata (Kiyoshi Kurosawa, 2008) Our Little Sister (海街diary, Umimachi American Beauty (Sam Mendes, 1999) Diary, Hirokazu Kore-eda, 2015) The Royal Tenenbaums (Wes Anderson, Still Walking (歩いても歩いても, 2001) Aruitemo aruitemo, Hirokazu A History of Violence (David Cronenberg, Kore-eda, 2008) 2005) Shoplifters (万引き家族, Manbiki kazoku, Little Miss Sunshine (Valerie Faris, Hirokazu Kore-eda, 2018) Jonathan Dayton, 2006) Loveless (Nelyubov, Andreï Zviaguintsev, Mes voisins les Yamada (Isao Takahata, 2017) 1999) Boyhood (Richard Linklater, 2014) Winter’s Bones (Debra Granik, 2010) The Florida Project (Sean Baker, 2017) And many more… The subject requires a good mastery of both written and spoken English as the final document of about 20 pages will be presented in English. Anne-Catherine Jaboyedoff .

Copy Link

Recommended publications

“Aspects of Danish Cinema”
Programme of Danish Film Screenings at the Danish Institute at Athens 2018 “Aspects of Danish Cinema”. By Ioanna Athanassatou/Film Historic at the Greek Open University & the University of Athens Screening on the 26th of April 2018 Silent heart (2014) by Bille August In film screening programme of the last 2 years, we have had the chance to see I line of Danish movies from Carl Dreyer, Lars von Trier, Susanne Bier and Thomas Vinterberg. Today we have chosen to screen “Silent heart” - in Danish ”Stille hjerte” and in Greek “Αθόρυβη καρδιά” (2014) by Bille August, the fourth movie this year. Bille August is considered the total opposite to Lars Von Trier and Vinterberg with a great international reputation. The filmography of Bille August includes two movies that both were awarded with the Golden Palms in Cannes: “Pelle the Conqueror” (1988) and “The best intentions” (1992). In these movies, including today´s, the director is closer to the cinematic perception of Swedish director Ingmar Bergman (Valoukos 2003, page 630), avoiding formalistic searching, but focusing on the mental state of his heroes. When August directed the movie in 2014, he was inspired by the Scandinavian drama of Ibsen and Strindberg, but also by the philosophic/religious meditation of Søren Kierkegaard. “Silent heart” touches upon the very complex and emotional issue of euthanasia. It was awarded at International festivals and was admitted at the European Art House. The movie is about the family gathering of three generations, coming together for the weekend inorder to say their last goodbye to Esther (Ghita Nørby) – mother and grandmother – who is sick from the incurable disease, Amyotrophic Lateral Sclerosis.
[Show full text]
Dogme 95 and the Representation of Reality Zsolt Gyenge Moholy-Nagy University of Art and Design, Budapest (Hungary) Email: [email protected]
Acta Univ. Sapientiae, Film and Media Studies, 1 (2009) 6979 Illusions of Reality and Fiction or the Desired Reality of Fiction: Dogme 95 and the Representation of Reality Zsolt Gyenge Moholy-Nagy University of Art and Design, Budapest (Hungary) email: [email protected] Abstract. The paper identies a two channel strategy developed by the authors of the Danish Dogme lms having as goal the generation of the illusion of reality. The rst channel is aiming at the visual layer of the movies, which shows a rm decision to break with the style of the traditional ction lms. The second channel of this strategy is concerned with the narration of the lms. In this regard Dogme contrary to what had been declared in the Vow of Chastity chose one of the most popular lm and TV genres: melodrama. On the one hand Dogme lms created a highly self-reexive visual style and then they combined it on the other hand with a genre which calls for extreme audience identication. Documentarism and deeply conventionalized stories are put together in most Dogme lms to create the reality of ction. Movie is not an illusion states the Manifesto,1 and thus it makes us clear that the movement tries to say something about one of the major themes of cinema and lm theory (and of visual communication in general): the representation of reality. It is well known that the initiators of Dogme 952 1The two founding documents of the Dogme 95 are the Manifesto and the Vow of Chastity. Until recently they were to be found on the ocial website (www.dogme95.dk) of the movement, which in February 2009, during the nal revision of this paper, became unavailable.
[Show full text]
Quiet and Melancholy. This MUSIC Plays Over All of the Opening Scenes
We begin with MUSIC -- quiet and melancholy. This MUSIC plays over all of the opening scenes: EXTREME CLOSE UP The silent, slo-mo image of a Miss America being crowned. She cries and hugs the runners-up as she has the tiara pinned on her head. Then -- carrying her bouquet -- she strolls down the runway, waving and blowing kisses. INT. REC ROOM - DAY A six year old girl sits watching the show intently. This is OLIVE. She is big for her age and slightly plump. She has frizzy brown hair and wears black-rimmed glasses. She studies the show very earnestly. Then, using a remote, she FREEZES the image. Absently, she holds up one hand and mimics the waving style of the Miss America. She REWINDS the tape, and starts all over again. Again, Miss America hears her name announced, and once again breaks down in tears -- overwhelmed and triumphant. RICHARD (V.O.) There’s two kinds of people in this world: Winners...and Losers. INT. CLASSROOM - DAY RICHARD (45) stands in front of a white-board in a community college classroom. He wears khaki shorts, a golf shirt, sneakers. His peppy, upbeat demeanor just barely masks a seething sense of insecurity and frustration. There are eleven students in a room that could easily fit fifty. RICHARD If there’s one thing you take away from the nine weeks we’ve spent here together, it should be this: Winners and Losers. What’s the difference? 2. Richard turns with a pointer and enumerates his points, which are listed on the white board.
[Show full text]
BIS-1280 Booklet X.Pdf-3D4912.Pdf
BIS-CD-1280 STEREO D D D Total playing time: 78'20 BRAGA, Antônio Francisco (1868-1945) 1 Cauchemar (1895) (OSESP Editora) World Première Recording 7'06 Musicological revision by Rubens Ricciardi Jupyra (1899) (OSESP Editora) World Première Recording 70'26 Opera in one act. Libretto: Luiz Gastão de Escragnolle Doria (Italian text: A. Menotti-Buja) Musicological revision by Rubens Ricciardi from the autograph kept at the Universidade Federal do Rio de Janeiro 2 Coro interno Varia l’amor come la luna varia… 1'17 3 Preludio 5'20 Atto unico 63'37 4 Scena I JUPYRA: Migrante, morente, risale pallente… 3'59 5 Scena II QUIRINO: Io t’ho seguita!… 9'31 6 Scena III CARLITO: Sciagurato!… 0'56 7 Scena IV CARLITO: Perchè sei qui?… 11'43 8 Scena V CARLITO: L’uccel di paradiso… 13'54 9 Scena VI JUPYRA: Vendetta!… 2'14 10 Scena VII QUIRINO: Allontanar lo vidi e a te ritorno io fò… 4'51 11 Scena VIII CARLITO: Amor, sei desta? Affacciati!… 4'51 12 Scena IX JUPYRA: Tua nemica son io!… 8'24 13 Scena X QUIRINO: Vendicata tu sei!… 3'14 Eliane Coelho, soprano (Jupyra); Rosana Lamosa, soprano (Rosalia); Mario Carrara, tenor (Carlito); Phillip Joll, baritone (Quirino); Coro da Orquestra de São Paulo; choral direction: Naomi Munakata Orquestra de São Paulo (leader: Cláudio Cruz) conducted by John Neschling Francisco Braga and his opera Jupyra and principal conductor. By that time he had already Antônio Francisco Braga was born in Rio de Janeiro on composed all his major scores. 15th April 1868.
[Show full text]
Oscars and America 2011
AMERICA AND THE MOVIES WHAT THE ACADEMY AWARD NOMINEES FOR BEST PICTURE TELL US ABOUT OURSELVES I am glad to be here, and honored. I spent some time with Ben this summer in the exotic venues of Oxford and Cambridge, but it was on the bus ride between the two where we got to share our visions and see the similarities between the two. I am excited about what is happening here at Arizona State and look forward to seeing what comes of your efforts. I’m sure you realize the opportunity you have. And it is an opportunity to study, as Karl Barth once put it, the two Bibles. One, and in many ways the most important one is the Holy Scripture, which tells us clearly of the great story of Creation, Fall, Redemption and Consummation, the story by which all stories are measured for their truth, goodness and beauty. But the second, the book of Nature, rounds out that story, and is important, too, in its own way. Nature in its broadest sense includes everything human and finite. Among so much else, it gives us the record of humanity’s attempts to understand the reality in which God has placed us, whether that humanity understands the biblical story or not. And that is why we study the great novels, short stories and films of humankind: to see how humanity understands itself and to compare that understanding to the reality we find proclaimed in the Bible. Without those stories, we would have to go through the experiences of fallen humanity to be able to sympathize with them, and we don’t want to have to do that, unless we have a screw loose somewhere in our brain.
[Show full text]
Files/2014 Women and the Big Picture Report.Pdf>, Accessed 6 September 2018
The neuroscientific uncanny: a filmic investigation of twenty-first century hauntology GENT, Susannah <http://orcid.org/0000-0003-0091-2555> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26099/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26099/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. THE NEUROSCIENTIFIC UNCANNY: A FILMIC INVESTIGATION OF TWENTY-FIRST CENTURY HAUNTOLOGY Susannah Gent A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate Declaration I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University’s policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acknowledged. 4. The work undertaken towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy.
[Show full text]
Taking You Further Into Film 2020
2020 taking you further into film FILMSOCIETYWELLINGTON.NET.NZ Wellington Film Society WELCOME WELLINGTON FILM SOCIETY 2020 taking you further into film Welcome to Wellington Film Society’s 2020 season of classic and contemporary cinema from around the world and our own doorstep. Enjoy the big screen experience with us at The Embassy! • Exciting cinema that pushes the boundaries • See films you may never have heard of • Weekly screenings give you time to reflect • Guest speakers and Q&A with filmmakers • Exceptional value – a full membership subscription works out at under $4 a film (even less with discounted membership) • Great discounts at local cinemas (Roxy Cinema, The Embassy, Penthouse Cinema, all Lighthouse Cinemas), and the New Zealand International Film Festival 2020 – Wellington, 31 July–16 August The Wellington Film Society, now in its 74th year, is affiliated to the NZ Federation of Film Societies, New Zealand’s only alternative non-profit network of film exhibition. Members only Membership gives free access to all our films. The Wellington Film Society is open to everyone. However, we operate on a subscription basis to comply with conditions of distribution. Join online or by filling in the attached form. The Wellington Film Society is run on behalf of its members by a voluntary committee elected at the Annual General Meeting. We are a registered charitable entity under the Charities Act 2005 and have donee status approved by Inland Revenue. If you wish to give us extra financial support in our efforts to secure great films to screen, please use the ‘donation’ box on the application form and a receipt will be issued for you to claim with your tax return.
[Show full text]
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
[Show full text]
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
[Show full text]
Written by Thomas Vinterberg and Tobias Lindholm Starring: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe
A Samuel Goldwyn Films Release Directed by Thomas Vinterberg (THE HUNT, THE CELEBRATION) Written by Thomas Vinterberg and Tobias Lindholm Starring: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe US Press Contacts Cinetic Marketing and PR Julie Chappell Nico Chapin Lydia Snapper [email protected] [email protected] [email protected] 1 LOG LINE Another Round is a fun, moving, life-affirming and thought-provoking drama aBout friendship, freedom, love – and alcohol. SYNOPSIS Four friends, all teachers at various stages of middle age, are stuck in a rut. UnaBle to share their passions either at school or at home, they embark on an audacious experiment from an oBscure philosopher: to see if a constant level of alcohol in their Blood will help them find greater freedom and happiness. At first they each find a new-found zest, But as the gang pushes their experiment further, issues that have Been simmering for years come to a head and the men are faced with a choice: reckon with their Behavior or continue on the same course. Underscored By delicate and affecting camerawork, director Thomas Vinterberg's spry script, co-written with regular collaBorator ToBias Lindholm, uses this Bold premise to explore the euphoria and pain of an unBridled life. Playing a once Brilliant But now world- weary shell of a man, the ever surprising Mads Mikkelsen delivers a fierce and touching performance. 2 DIRECTOR’S INTENT THOMAS VINTERBERG “I never drink before breakfast.” The quote is from Churchill, who helped to defeat the Germans and win World War II, while under the excessive and constant influence of alcohol.
[Show full text]
Lewisville ISD 2017 Support Staff Summer Conference
Lewisville ISD 2017 Support Staff Summer Conference Friday, July 14 #lisdlearns 7:45 a.m. – 8:00 a.m. Registration & Packet Pick-Up 8:00 a.m. – 8:10 a.m. Welcome 8:20 a.m. – 9:35 a.m. Session 1 9:45 a.m. – 11:00 a.m. Long Session 1 & 2 Session 2 11:00 a.m. – 11:35 a.m. Lunch & Door Prizes! 11:45 a.m. – 1:00 p.m. Session 3 1:10 p.m. – 2:25 p.m. Long Session 3 & 4 Session 4 2:25 p.m. – 2:30 p.m. Turn in Survey for Credit NOTES: * You must attend all day to receive credit. * If a session is full, you will need to find another session to attend. * You will receive a sticker for each session you attend. Place each sticker on your survey. * At the end of each session, fill out what you learned and that you will use moving forward on your notes sheet. * Turn in your finished survey to your last presenter before leaving the conference. Long Sessions: 2 hours 30 min Title Movie Inspired Title Handout Room # Battling Behavioral Issues The Good, the Bad and the Ugly Page 8 Library Google Drive & Docs DRIVING miss Google Page 6 E212- Cart G207- Cart Google Forms Lights, Camera, Action with Google Forms Page 7 E209- Cart Munis - Morning Only Show me the MONEY Page 7 E238-LAB NEW! Multi - Generations in the Back to the Future Page 6 F205 Workplace - Afternoon only NEW! True Colors Inside Out Page 4 F211 Short Sessions: 1 hour 15 min Title Movie Inspired Title Handout Room # NEW! Strategies for Student Success Subt itles are my Language Lifeline Page 5 E203 NEW! Hook kids into learning Pirates of the Classroom Page 5 E214 NEW! Keeping
[Show full text]
1 STANFORD FALL 2012 COURSE INFO/SYLLABUS: Thatʼs A
STANFORD FALL 2012 COURSE INFO/SYLLABUS: Thatʼs a Great Idea for a Movie: The Making of a Strong Screenplay Required Texts: 1. Robert McKee Story: Substance, Structure, Principles 2. Lajos Egri The Art of Dramatic Writing 3.Linda Seger Making a Good Script Great 4. Michael Arndt Little Miss Sunshine Shooting Script 5. David Small Imogeneʼs Antlers 6. Annie Proux, Larry McMurty, Diana Ossana Brokeback Mountain: Story to Screenplay 7.Screenwriting software. Final Draft is considered the standard in screenwriting software, but retails for $150 or more. Celtx is an open-source program that is free and recommended. It can be found online at versiontracker.com. Note: Other materials will include a combination of online resources and uploaded reading, such as scripts. The films assigned for viewing are available on demand at either Amazon.com or Netflix. Note on the required texts: I will select excerpts from each text. You will not be required to read the above texts in anything close to their entirety (with the exception of the scripts and short stories). They are, however, a good foundation for your screenwriting instruction library and will be useful to you as you continue your journey beyond our ten weeks. Supplemental Reading: Each week, Iʼll provide additional reading or viewing related to the topic at hand. These selections are totally optional, and only in case youʼve finished the assignments and have the time or desire to explore further. 1 Syllabus In Brief: Week One: Screenplays & Ice Breakers: Introductions (10/01-10/07) Lajos Egri on Premise: The Art of Dramatic Writing pgs.
[Show full text]