Richard Sammel | Biography
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5.3 Post-Cinematic Atavism
5.3 Post-Cinematic Atavism BY RICHARD GRUSIN In June 2002, for a plenary lecture in Montreal at the biennial Domitor conference on early cinema, I took the occasion of the much-hyped digital screening of Star Wars: Episode II–Attack of the Clones (George Lucas, 2002) to argue that in entering the 21st century we found ourselves in the “late age of early cinema,” the more than century-long historical coupling of cinema with the sociotechnical apparatus of publicly projected celluloid film (“Remediation”). Two years later, in a lecture at a conference in Exeter on Multimedia Histories, I developed this argument in terms of what I called a “cinema of interactions,” arguing that cinema in the age of digital remediation could no longer be identified with its theatrical projection but must be understood in terms of its distribution across a network of other digitally-mediated formats like DVDs, websites, games, and so forth—an early call for something like what now goes under the name of “platform studies” (“DVDs”). In his recent book on “post-cinematic affect” Steven Shaviro has picked up on this argument in elaborating his own extremely powerful reading of the emergence of a post-cinematic aesthetic (70). I want to return the favor here to take up what I would characterize as a kind of “post-cinematic atavism” that has been emerging in the early 21st century as a counterpart to the aesthetic of post-cinematic affectivity that Shaviro so persuasively details. Sometimes considered under the name of “slow cinema” or “the new silent cinema” (or, as | 1 5.3 Post-Cinematic Atavism Selmin Kara puts it, “primordigital cinema”), post-cinematic atavism is not limited to art- house or independent films. -
Guillermo Del Toro’S Bleak House
GuillermoAt Home With Monstersdel Toro By James Balestrieri Guillermo del Toro’s Bleak House. Photo ©Josh White/ JWPictures.com. LOS ANGELES, CALIF. — The essence of “Guillermo del Toro: At Home With Monsters,” the strange and wonderful exhibition at the Los Angeles County Museum of Art (LACMA) through November 27, is this: Guillermo del Toro, born in 1964, is a major writer and director whose films include Cronos (1993), The Devil’s Backbone (2001), Hellboy (2004), Pan’s Labyrinth (2006), Pacific Rim (2013) and Crimson Peak (2015). He is a master who creates worlds that embrace horror, science fiction, fantasy and fairy tales. He insists that, as fantastic as they are, these worlds are located and grounded beside, beneath and in the real world, our world — a world, he might argue, that we merely imagine as real. The membrane separating these worlds is thin, porous and portal-ridden. The worlds are distorted reflections of one another. This distortion becomes the occasion for his ideas and art. Page from Notebook 2 by Guillermo del Toro. Leather-bound notebook, ink on paper, 8 by 10 by 1½ inches. Collection of Guillermo del Toro. ©Guillermo del Toro. Photo courtesy Insight Editions. Jointly organized by LACMA with the Minneapolis Institute of Art and the Art Gallery of Ontario, this first retrospective of the filmmaker’s work arrays sculpture, paintings, prints, photography, costumes, ancient artifacts, books, maquettes and film to create a complex portrait of a creative genius. Roughly 60 of the 500 objects on view are from LACMA’s collection. More belong to the artist. -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
Dedicato a Morando Morandini Incontri
dedicato a Morando Morandini La crème de la crème Cosa dire di questa edizione di Cannes, annunciata in pompa magna per caso (e il fiuto) hanno aiutato a selezionare film dall’interessante in su, anche festeggiare il suo settantesimo compleanno? Per lo meno che ha avuto alti perché a quelli del concorso si sono aggiunte molte opere delle altre sezioni, e bassi, anche perché festival di soli capolavori ormai esistono solo nella quest’anno di ottimo livello. Tra gli appuntamenti da non perdere ci sono si- fantasia di pochi visionari. Eppure la fortuna di una manifestazione come curamente i film italiani – L’ i n t r u s a di Di Costanzo e Dopo la guerra della Zam- quella organizzata dall’AGIS lombarda e dal Comune di Milano con la colla- brano – poi il Grand Prix Speciale della Giuria 120 battements par minute e il borazione del Corriere della Sera è di poter scegliere presentando solo una Premio della Giuria Loveless, e dalla Quinzaine il Garrel de L’Amant d’un jour. selezione di film – la crème de la crème - e in questo modo evitando titoli Ma le belle sorprese non si fermano qui. poco o niente interessanti. Una bella differenza dai poveri critici costretti per dodici giorni a sorbirsi tutto quello che c’era in cartellone! A Milano, invece, il Paolo Mereghetti Incontri Mercoledì 14 giugno | ore 18.00 | Sala Buzzati Corriere della Sera Giovedì 22 giugno | ore 20.10 | Anteo spazioCinema Paolo Mereghetti e Bruno Fornara presentano il programma della manifestazione. In occasione della proiezione di CUORI PURI, in un’edizione appositamente predisposta Saranno presenti Leonardo Di Costanzo, Bruno Oliviero e Carlotta Cristiani, per favorire la partecipazione anche degli spettatori con disabilità uditive e visive, rispettivamente regista, sceneggiatore e montatrice del film L’ I N T R U S A . -
Editor Recommended Texts Here Are Some Ideas for Texts and Films That
Editor recommended texts Here are some ideas for texts and films that our language editors have recommended. These are just suggestions though so if there is a particular author or film you would rather look at, you may do so! English translations can be found in libraries and online bookstores but we encourage giving the texts in their original versions a go too - especially for 6th form submissions! Many of the films can be found online (Amazon, Mubi, Youtube, Netflix) or can be bought on DVD. FRENCH o TEXTS: Monsieur Ibrahim et les fleurs du coran, Eric Schmitt Stupeur et tremblements, Amélie Nothomb Le Petit Prince, Antoine de Saint Exupéry Boule de Suif, Guy de Maupassant Oran, langue morte Assia Djebar (collection of short stories) Le Silence de la mer, Vercors (Jean Bruller) (A-level) Candide, Voltaire (A-Level) o FILMS: Entre les murs, Laurent Cantet (15) https://www.imdb.com/title/tt1068646/ Portrait de la jeune fille en feu, Céline Sciamma (15) https://www.imdb.com/title/tt8613070/ Stupeur et tremblements, Alain Corneau (12A) https://www.imdb.com/title/tt0318725/ Les misérables (2019), Ladj Ly (15) https://www.imdb.com/title/tt10199590/?ref_=tt_pg Amélie, Jean-Pierre Jeunet (15) https://www.imdb.com/title/tt0211915/?ref_=tt_pg Populaire, Régis Roinsard (12A) https://www.imdb.com/title/tt2070776/ Les Choristes, Christophe Barratier (12A) https://www.imdb.com/title/tt0372824/?ref_=fn_al_tt_1 Kirikou et les bêtes sauvages, Michel Ocelot, Bénédicte Galup (U) https://www.imdb.com/title/tt0455142/?ref_=fn_al_tt_1 -
The Honorable Mentions Movies – LIST 3
The Honorable mentions Movies – LIST 3: 1. Modern Times by Charles Chaplin (1936) 2. Pinocchio by Hamilton Luske et al. (1940) 3. Late Spring by Yasujirō Ozu (1949) 4. The Virgin Spring by Ingmar Bergman (1960) 5. Charade by Stanley Donen (1963) 6. The Soft Skin by François Truffaut (1964) 7. Who's Afraid of Virginia Woolf? by Mike Nichols (1966) 8. Dog Day Afternoon by Sidney Lumet (1975) 9. Love Unto Death by Alain Resnais (1984) 10. Kiki's Delivery Service by Hayao Miyazaki (1989) 11. Bram Stoker's Dracula by Francis Ford Coppola (1992) 12. Léon: The Professional by Luc Besson (1994) 13. Princess Mononoke by Hayao Miyazaki (1997) 14. Fight Club by David Fincher (1999) 15. Rosetta by Jean-Pierre Dardenne, Luc Dardenne (1999) 16. The Ninth Gate by Roman Polanski (1999) 17. O Brother, Where Art Thou? by Ethan Coen, Joel Coen (2000) 18. The Return Andrey Zvyagintsev (2003) 19. The Sea Inside by Alejandro Amenábar (2004) 20. Broken Flowers by Jim Jarmusch (2005) 21. Climates by Nuri Bilge Ceylan (2006) 22. The Prestige by Christopher Nolan (2006) 23. The Class by Laurent Cantet (2008) 24. Mother by Bong Joon-ho (2009) 25. Shutter Island by Martin Scorsese (2010) 26. The Tree of Life by Terrence Malick (2011) 27. The Artist by Michel Hazanavicius (2011) 28. Melancholia by Lars von Trier (2011) 29. Hugo by Martin Scorsese (2011) 30. Twice Born by Sergio Castellitto (2012) 31. August Osage county by John Wells (2013) 32. 12 Years a Slave by Steve McQueen (2013) 33. The Best Offer by Giuseppe Tornatore (2013) 34. -
Visit Imdb.Com for Up-To-The-Minute Academy Award Updates, and View
NOMINEES FOR THE 84th ANNUAL ACADEMY AWARDS Best Motion Picture of the Year Best Animated Feature Film Best Achievement in Sound Mixing The Artist (2011): Thomas Langmann of the Year The Girl with the Dragon Tattoo (2011): David Parker, The Descendants (2011): Jim Burke, Alexander Payne, A Cat in Paris (2010): Alain Gagnol, Jean-Loup Felicioli Michael Semanick, Ren Klyce, Bo Persson Jim Taylor Chico & Rita (2010): Fernando Trueba, Javier Mariscal Hugo (2011/II): Tom Fleischman, John Midgley Extremely Loud and Incredibly Close (2011): Scott Rudin Kung Fu Panda 2 (2011): Jennifer Yuh Moneyball (2011): Deb Adair, Ron Bochar, The Help (2011): Brunson Green, Chris Columbus, Puss in Boots (2011): Chris Miller David Giammarco, Ed Novick Michael Barnathan Rango (2011): Gore Verbinski Transformers: Dark of the Moon (2011): Greg P. Russell, Hugo (2011/II): Graham King, Martin Scorsese Gary Summers, Jeffrey J. Haboush, Peter J. Devlin Midnight in Paris (2011): Letty Aronson, Best Foreign Language Film War Horse (2011): Gary Rydstrom, Andy Nelson, Tom Stephen Tenenbaum of the Year Johnson, Stuart Wilson Moneyball (2011): Michael De Luca, Rachael Horovitz, Bullhead (2011): Michael R. Roskam(Belgium) Best Achievement in Sound Editing Brad Pitt Footnote (2011): Joseph Cedar(Israel) The Tree of Life (2011): Nominees to be determined In Darkness (2011): Agnieszka Holland(Poland) Drive (2011): Lon Bender, Victor Ray Ennis War Horse (2011): Steven Spielberg, Kathleen Kennedy Monsieur Lazhar (2011): Philippe Falardeau(Canada) The Girl with the Dragon Tattoo -
Reading for Fictional Worlds in Literature and Film
Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo -
The Ghost Is Just a Metaphor: Guillermo Del Toro's Crimson Peak
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The ghost is just a metaphor: Guillermo del Toro’s Crimson Peak, nineteenth-century female gothic, and the slasher Evangelia Kindinger NECSUS 6 (2), Autumn 2017: 55–71 URL: https://necsus-ejms.org/the-ghost-is-just-a-metaphor- guillermo-del-toros-crimson-peak-nineteenth-century-female- gothic-and-the-slasher/ Keywords: final girl, Guillermo del Toro, horror-ghost film, nine- teenth-century gothic A brief overview of American film and television since the 1990s affirms Ma- ría del Pilar Blanco and Esther Peeren’s conclusion: ‘It seems that ghosts are everywhere these days.’[1] With the release of Crimson Peak in 2015, Mexican filmmaker Guillermo del Toro did not only add another horror movie to his oeuvre,[2] but as a horror-ghost film[3] Crimson Peak joins a long list of cine- matic representations of ghosts. It also displays del Toro’s unique style, his vision of movies as ‘durchkonzipierte und bis ins letzte Detail kontrollierte Gesamtkunstwerke [conceptualised and detailed, total works of art]’.[4] Set in Buffalo, New York, around 1900, the film introduces Edith Cushing, the young, white, upper-class daughter of industrial mogul Carter Cushing, who spends her time writing ghost stories and trying to get them pub- lished.[5] When English baronet Thomas Sharpe and his sister Lucille arrive in Buffalo to find investors for Thomas’ clay mining invention, Edith falls in love with him. Her father is very suspicious of the siblings and after black- mailing them to leave Buffalo following the revelation that Thomas is already married, he is killed by an unknown figure in black who is later revealed as Lucille. -
The National Bank of Indianapolis Summer Nights Film Series Returns to Newfields 6/4 Tickets Go on Sale May 21 for Members, May 28 for Public
FOR IMMEDIATE RELEASE Images available upon request. The National Bank of Indianapolis Summer Nights Film Series returns to Newfields 6/4 Tickets go on sale May 21 for members, May 28 for public INDIANAPOLIS, May 17, 2021–The beloved summer tradition, The National Bank of Indianapolis Summer Nights Film Series returns to Newfields on Fridays and select Saturdays this June, July and August. Over the summer, 14 films will be shown —everything from classic black-and-white films to modern blockbusters. “Supporting the Summer Nights Film Series is a way for us to give back to our city, and to support our community in an engaging and meaningful way,” said Ann Merkel, senior vice president and chief market development officer at The National Bank of Indianapolis. “We dedicate our resources to activities that create a stronger community and enhance the quality of life for all who live here. We are pleased to be celebrating 10 years as the title sponsor of this beloved program.” New this year and to maintain a safe social distance and reduced capacity in The Amphitheater, Summer Nights tickets will be sold as boxed seating that can accommodate one to four individuals. Each box will be seven feet by eight feet and be spaced six feet apart from others. For everyone’s health and safety, the boxes will be sold at a fixed price with a maximum of four tickets. Tickets go on sale for members on May 21 at 11 a.m. and for the public on May 28 at 11 a.m. Ticket boxes of four are $36 for members and $48 for public. -
PDF Download Guillermo Del Toro Cabinet of Curiosities
GUILLERMO DEL TORO CABINET OF CURIOSITIES: MY NOTEBOOKS, COLLECTIONS, AND OTHER OBSESSIONS PDF, EPUB, EBOOK Guillermo del Toro,Marc Zicree | 263 pages | 16 May 2014 | HarperCollins Publishers Inc | 9780062082848 | English | New York, United States Guillermo del Toro Cabinet of Curiosities: My Notebooks, Collections, and Other Obsessions PDF Book Everything there has a story, some of which are detailed here in the book, but I want more , dammit. Enlarge cover. Like you do. To see what your friends thought of this book, please sign up. Return to the wizarding world and discover how director David Yates and producer David Heyman brought J. Return to the wizarding world and discover how director David Yates and producer David Heyman Indeed, well over two- thirds of my notes were from his comments. This collection is basically a "Guillermo del Toro's brain" collage, discussing his films, the elaborate, gorgeous notebooks he has kept throughout his career, and his mansion of a wunderkammer, or dream house, or memory room, or cabinet of curiosities. Alas, it has never happened. More Details An awesome insight into the workings of one of the most creative minds in the business. For fans of Jason Reynolds and Kwame Alexander, a poignant and timely novel about race, class, and second chances. No trivia or quizzes yet. He is one of my favourite directors across all genres and this book is amazing. For a book about del Toro it certainly isn't a load of bull. Ratings and Reviews Write a review. But my point is, this is a very specific book for a very specific sort of reader and movie-fan. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter