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Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P. -
Perceptual Realism and Embodied Experience in the Travelogue Genre
Athens Journal of Mass Media and Communications- Volume 3, Issue 3 – Pages 229-258 Perceptual Realism and Embodied Experience in the Travelogue Genre By Perla Carrillo Quiroga This paper draws two lines of analysis. On the one hand it discusses the history of the This paper draws two lines of analysis. On the one hand it discusses the history of the travelogue genre while drawing a parallel with a Bazanian teleology of cinematic realism. On the other, it incorporates phenomenological approaches with neuroscience’s discovery of mirror neurons and an embodied simulation mechanism in order to reflect upon the techniques and cinematic styles of the travelogue genre. In this article I discuss the travelogue film genre through a phenomenological approach to film studies. First I trace the history of the travelogue film by distinguishing three main categories, each one ascribed to a particular form of realism. The hyper-realistic travelogue, which is related to a perceptual form of realism; the first person travelogue, associated with realism as authenticity; and the travelogue as a traditional documentary which is related to a factual form of realism. I then discuss how these categories relate to Andre Bazin’s ideas on realism through notions such as montage, duration, the long take and his "myth of total cinema". I discuss the concept of perceptual realism as a key style in the travelogue genre evident in the use of extra-filmic technologies which have attempted to bring the spectator’s body closer into an immersion into filmic space by simulating the physical and sensorial experience of travelling. -
General Interest
GENERAL INTEREST GeneralInterest 4 FALL HIGHLIGHTS Art 60 ArtHistory 66 Art 72 Photography 88 Writings&GroupExhibitions 104 Architecture&Design 116 Journals&Annuals 124 MORE NEW BOOKS ON ART & CULTURE Art 130 Writings&GroupExhibitions 153 Photography 160 Architecture&Design 168 Catalogue Editor Thomas Evans Art Direction Stacy Wakefield Forte Image Production BacklistHighlights 170 Nicole Lee Index 175 Data Production Alexa Forosty Copy Writing Cameron Shaw Printing R.R. Donnelley Front cover image: Marcel Broodthaers,“Picture Alphabet,” used as material for the projection “ABC-ABC Image” (1974). Photo: Philippe De Gobert. From Marcel Broodthaers: Works and Collected Writings, published by Poligrafa. See page 62. Back cover image: Allan McCollum,“Visible Markers,” 1997–2002. Photo © Andrea Hopf. From Allan McCollum, published by JRP|Ringier. See page 84. Maurizio Cattelan and Pierpaolo Ferrari, “TP 35.” See Toilet Paper issue 2, page 127. GENERAL INTEREST THE MUSEUM OF MODERN ART,NEW YORK De Kooning: A Retrospective Edited and with text by John Elderfield. Text by Jim Coddington, Jennifer Field, Delphine Huisinga, Susan Lake. Published in conjunction with the first large-scale, multi-medium, posthumous retrospective of Willem de Kooning’s career, this publication offers an unparalleled opportunity to appreciate the development of the artist’s work as it unfolded over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. The volume presents approximately 200 paintings, sculptures, drawings and prints, covering the full diversity of de Kooning’s art and placing his many masterpieces in the context of a complex and fascinating pictorial practice. -
Representing History and the Filmmaker in the Frame
REPRESENTING HISTORY AND THE FILMMAKER IN THE FRAME Trent Griffiths* Resumo: A presença do realizador no enquadramento representa uma relação única entre o documentário e a História em que o realizador se envolve na história social através da sua experiência pessoal e enquanto autor de uma representação. O realizador no enquadramento é, também, um representante do momento histórico, ao explorar de modo reflexivo o encontro com o processo de mediação e auto-representação que caracteriza a sociedade pós-moderna. Palavras-chave: subjetividade, auto-reflexividade, realizador no enquadramento. Resumen: La presencia del director en el encuadre representa una relación úni- ca entre el documental y la historia, en la cual el director se involucra en la historia social a través de su experiencia personal como autor de una representación. El director en el encuadre es también un representante del momento histórico, al explorar de modo reflexivo el encuentro con el proceso de mediación y auto-representación que caracteriza a la sociedad posmoderna. Palabras clave: subjetividad, auto-reflexividad, director en el encuadre. Abstract: The presence of the filmmaker as a subject in the documentary frame represents a unique relationship between documentary film and history, where the filmmaker engages with social history through their personal experience of authoring a representation of it. This paper explores how the tension between the filmmaker’s presence as an author and as a subject enacts a kind of self-reflexivity that recasts the possibilities of representing history through documentary film. Keywords: Subjectivity, self-reflexivity, filmmaker in the frame. Résumé: La présence du réalisateur dans l’image cinématographique témoigne d’une relation unique entre documentaire et histoire : le réalisateur s’engage dans l’his- toire sociale à travers d’une expérience personnelle et comme auteur d’une représen- tation. -
Paradoxes of the Nouvelle Vague
ARTICLES · Cinema Comparat/ive Cinema · Vol. I · No. 2. · 2013 · 77-82 Paradoxes of the Nouvelle Vague Marcos Uzal ABSTRACT This essay begins at the start of the magazine Cahiers du cinéma and with the film-making debut of five of its main members: François Truffaut, Claude Chabrol, Eric Rohmer, Jacques Rivette and Jean-Luc Godard. At the start they have shared approaches, tastes, passions and dislikes (above all, about a group of related film-makers from so-called ‘classical cinema’). Over the course of time, their aesthetic and political positions begin to divide them, both as people and in terms of their work, until they reach a point where reconciliation is not posible between the ‘midfield’ film-makers (Truffaut and Chabrol) and the others, who choose to control their conditions or methods of production: Rohmer, Rivette and Godard. The essay also proposes a new view of work by Rivette and Godard, exploring a relationship between their interest in film shoots and montage processes, and their affinities with various avant-gardes: early Russian avant-garde in Godard’s case and in Rivette’s, 1970s American avant-gardes and their European translation. KEYWORDS Nouvelle Vague, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Claude Chabrol, François Truffaut, radical, politics, aesthetics, montage. 77 PARADOXES OF THE NOUVELLE VAGUE In this essay the term ‘Nouvelle Vague’ refers that had emerged from it: they considered that specifically to the five film-makers in this group cinematic form should be explored as a kind who emerged from the magazine Cahiers du of contraband, using the classic art of mise-en- cinéma: Eric Rohmer, Jacques Rivette, Jean-Luc scène rather than a revolutionary or modernist Godard, Claude Chabrol and François Truffaut. -
Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
1 COM 321, Documentary Form in Film & Television 1/15/14 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man, 1962 US Eyes, 1971 Mothlight, 1963 Bunuel, Luis Las Hurdes (Land Without Bread), Un Chien Andalou, 1928 (with Salvador Spain/France 1933 (mockumentary?) Dali) L’Age D’Or, 1930 The Discreet Charm of the Bourgeoisie, 1972 Cameron, James Expedition Bismarck, 2002 Titanic, 1997 US Ghosts of the Abyss, 2003 Avatar, 2009 Capra, Frank Why We Fight series, 1942‐44 Mr. Deeds Goes to Town, 1936 US Mr. Smith Goes to Washington, 1939 It’s a Wonderful Life, 1946 Chukrai, Grigori Pamyat, 1971 Ballad of a Soldier, 1959 Soviet Union Cooper, Merian C. Grass: A Nation’s Battle for Life, 1925 The Four Feathers, 1929 US (with Ernest B. Schoedsack) King Kong, 1933 Chang: A Drama of the Wilderness, 1927 (with Ernest B. Schoedsack) Demme, Jonathan Stop Making Sense, -
Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
1 COM 321, Documentary Form in Film, Television, & Interactive Media 1/27/17 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anderson, Paul Junun, 2015 Boogie Nights, 1997 Thomas There Will be Blood, 2007 The Master, 2012 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Antonioni, Ragazze in bianco, 1949 L’Avventura, 1960 Michelangelo Chung Kuo – Cina, 1972 La Notte, 1961 Italy L'Eclisse, 1962 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Berlinger, Joe Brother’s Keeper, 1992 Book of Shadows: Blair Witch 2, 2000 US The Paradise Lost Trilogy, 1996-2011 Facing the Wind, 2015 (all with Bruce Sinofsky) Berman, Shari The Young and the Dead, 2000 The Nanny Diaries, 2007 Springer & Pulcini, Hello, He Lied & Other Truths from Cinema Verite, 2011 Robert the Hollywood Trenches, 2002 Girl Most Likely, 2012 US American Splendor, 2003 (hybrid) Wanderlust, 2006 Blitz, Jeffrey Spellbound, 2002 Rocket Science, 2007 US Lucky, 2010 The Office, 2006-2013 (TV) Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man, -
Matter, Time, and the Digital: Varda's the Gleaners and I Homay King Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2007 Matter, Time, and the Digital: Varda's The Gleaners and I Homay King Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Film and Media Studies Commons Custom Citation King, Homay. "Matter, Time, and the Digital: Varda's The Gleaners and I." Quarterly Review of Film and Video 24, no. 5 (2007): 421-429, doi: 10.1080/10509200500536322. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/41 For more information, please contact [email protected]. 1 Homay King, “Matter, Time, and the Digital: Varda’s The Gleaners and I,” Quarterly Review of Film and Video v. 24, n. 5 (Fall 2007): 421-429. Matter, Time, and the Digital: Varda’s The Gleaners and I Homay King 1. Digitality and Matter Agnès Varda’s The Gleaners and I (2000) introduces us to all manner of people who gather the world's leftovers for reasons of survival, ethics, or simply pleasure. We meet homeless laborers, a chef who collects his own herbs, artists who sculpt from salvaged materials, a literacy instructor who lives off discarded produce at the outdoor market. Varda's subjects pick and collect a treasure-trove of under-utilized objects: unharvested wheat and figs, lost buttons, broken dolls, day-old loaves of bread, refrigerators, and odd-shaped fruit and vegetables. -
Film at Lincoln Center New Releases Series November 2019
Film at Lincoln Center November 2019 New Releases Parasite Synonyms Varda by Agnès Series Poetry and Partition: The Films of Ritwik Ghatak Jessica Hausner: The Miracle Worker Rebel Spirit: The Films of Patricia Mazuy Relentless Invention: New Korean Cinema, 1996-2003 Members save $5 Tickets: filmlinc.org Elinor Bunin Munroe Film Center 144 West 65th Street, New York, NY Walter Reade Theater 165 West 65th Street, New York, NY NEW RELEASES: STRAIGHT FROM SOLD-OUT SCREENINGS AT NYFF! Playing This Month Showtimes at filmlinc.org Members save $5 on all tickets! Neon Courtesy of Kino Lorber HELD OVER BY POPULAR DEMAND! HELD OVER BY POPULAR DEMAND! OPENS NOVEMBER 22 “A dazzling work, gripping from beginning to “Astonishing, maddening, brilliant, hilarious, “A fascinating, informative, and reflective end, full of big bangs and small wonders.” obstinate, and altogether unmissable.” swan song that gives Varda the final word.” –Time Out New York –IndieWire –Tina Hassannia, Globe and Mail Parasite Synonyms Varda by Agnès Dir. Bong Joon Ho, South Korea, 132m In Bong Dir. Nadav Lapid, France/Israel/Germany, Dir. Agnès Varda, France, 120m When Agnès Joon Ho’s exhilarating new film, a threadbare 123m In his lacerating third feature, director Varda died earlier this year at age 90, the world family of four struggling to make ends meet Nadav Lapid’s camera races to keep up with the lost one of its most inspirational cinematic gradually hatches a scheme to work for, and as adventures of peripatetic Yoav (Tom Mercier), radicals. From her neorealist-tinged 1954 fea- a result infiltrate, the wealthy household of an a disillusioned Israeli who has absconded to ture debut La Pointe Courte to her New Wave entrepreneur, his seemingly frivolous wife, and Paris following his military training. -
Truth, Lies, and Videotape: Documentary Film and Issues of Morality U2 Linc Course: Interdisciplinary Studies 290 Fall 2007, T/TH 12:45-3:15
Truth, Lies, and Videotape: Documentary Film and Issues of Morality U2 LinC Course: Interdisciplinary Studies 290 Fall 2007, T/TH 12:45-3:15 Instructor: Krista (Steinke) Finch Office: Art Office/ studio room 103 Office Hours: M, T, TH, W 11:30-12:30 or by appointment Phone: 861-1675 (art office) Email: [email protected] ***Please note that email is the best way to communicate with me COURSE DESCRIPTION: This course will explore issues of morality in documentary film as well provide a conceptual overview of the forms, strategies, structures and conventions of documentary film practice. Filmmaking is a universal language which has proven to be a powerful tool of communication for fostering understanding and change. For this course, students will study the history and theory of the documentary film and its relationship to topics and arguments about the social world. Students will be introduced to theoretical frameworks in ethics and media theory as a means to interpret and reflect upon issues presented in documentary film. Weekly screenings and readings will set the focus for debate and discussion on these specific issues. Students will also work in small groups to create short documentary films on particular subject of their own concern. Through hands on experience, students will learn the basics in planning, producing, and editing a documentary film while gaining an in depth insight into a particular issue through extensive research and exploration. The semester will culminate with a public presentation of the documentary films created during the course at the 2006 Student Film Festival in late April. GOALS: Students will: • understand the history of documentary film and be able to critically address media related arts in relationship to societal issues. -
French Culture, French Cinema (In English)
French Culture, French Cinema (in English) Class code CORE-UA9750002/DRLIT-UA9502002 Instructor Details Sam Azulys Email 1: [email protected] Email 2: [email protected] (always include “NYU” in the subject line) Class Details Expressive Culture: Film (in English) M 4 – 7 Room 4.08 Prerequisites This course is destined to students who don’t necessarily have a thorough knowledge in cinema. Class Description This course will allow students to become familiar with the methods and formal aspects of cinema. Students will discover French culture through the prism of cinema by underlining the specific dynamics by which cinema becomes the privileged witness of the profound transformations of mentalities and the upheavals that deeply changed the French society. By putting the films into their social, historical and philosophical context, the students will get to study, across a diverse range of examples, the relation existing between French films and French culture. It deals for example with the formal and thematic relationships among the Avant-garde artistic movements (futurism, cubism, expressionism, surrealism, etc.) and the cinematographic Avant-garde (Buñuel, L’Herbier, Cocteau), those between the cinema of Renoir and classical French theatre (Marivaux, Beaumarchais, Musset), the troubled period of the occupation and the filmmakers who deliberately chose to stay in France to work there (Clouzot, Carné) and the influence of Saint Germain des Prés’s existentialism (Sartre, Camus) on the Nouvelle Vague, etc. The students will thus discover that cinema is a cultural agent that reflects a period all the while produces a critical point view on said period. Also examined are the formal structure of French cinema, its stylistic choices and ways of expression shared with other artistic practices, in order to understand to what extend the « French cultural exception » contributed to its worldwide influence.