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Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Haunting the Beach in the Films of François Ozon
ORE Open Research Exeter TITLE The possibilities of a beach: queerness and Francois Ozon's beaches AUTHORS Handyside, Fiona JOURNAL Screen DEPOSITED IN ORE 21 May 2013 This version available at http://hdl.handle.net/10871/9549 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication The possibilities of a beach: queerness and François Ozon’s beaches FIONA HANDYSIDE The assertion that François Ozon’s films are part of ‘a new queer cinema’ has become a commonplace of academic writing about the director.i Equally, recent criticism of the films has been unable to ignore the insistence with which they return to a beach setting, to the extent that the Guardian’s film critic, Peter Bradshaw, labelled it his ‘signature location’, conferring the beachscape the role of auteurist sign in Ozon’s filmography.ii Of his eleven feature films released since 1998’s Sitcom, four have heavily featured the beach (Sous le sable/Under the Sand [2001] 5x2; [2005]; Le Temps qui reste/Time to Leave [2006]; Le Refuge/The Hideaway [2009]). Furthermore, two of his shorts (one of which is rather more medium length, with a running time of an hour) also make use of the beach as a key site for the playing out of their stories (Une robe d’été/A Summer Dress [1996]; Regarde la mer/See The Sea [1997]). -
MEDIATECA/Publicación Mensual ESCUELA INTERNACIONAL DE CINE Y TELEVISIÓN
Año: 01 No. 01 Noviembre 2007 MEDIATECA/Publicación Mensual ESCUELA INTERNACIONAL DE CINE Y TELEVISIÓN BIOFILMOGRAFÍAS TRADUCCIONES Michael Winterbottom 04 Dos miradas a la violencia Ray Harryhausen 06 en el cine surcoreano 12 Ricardo Aronovich: Desde el nordeste brasileño... 33 NUEVAS ADQUISICIONES 36 enfoco / MEDIATECA EICTV travelling BIOFILMOGRAFÍAS Michael Winterbottom 04 Ray Harryhausen 06 panorámica 09 PROGRama DE PROYECCIONES zoom in TRADUCCIONES Director Dos miradas a la violencia Luciano Castillo en el cine surcoreano: Park Chan-Wook y Editor Kim Jee-Won 12 Alberto Ramos La nueva ola francesa: Coordinación editorial su influencia y decadencia 15 Maykel Rodríguez Ponjuán Joel del Río El sexo, la violencia y el poder en la famila 18 Diseño Liset Vidal de la Cruz La entrevista con Godard: Eloy R. Hernández Dubrosky “Soy un hombre de la imagen.” 22 Colaboradores Invadida por los recuerdos Teresa Díaz, Mizraim López Jorge Molina, Lisbet Paz del pasado de Alemania 24 Aida María Rodríguez y Jorge Iglesias El actor de carácter Corrección de estilo como estrella de cine 26 Tula Ortiz Dramatizando lo que los Secretaria de redacción historiadores no mencionan 29 Magaly Pérez Ricardo Aronovich: Impresión desde el nordeste brasileño Rigoberto Hernández y Rubiel Manresa hasta la Francia de Proust 33 Imprenta EICTV trailer Enfoco es una publicación de la Dirección de cultura de la EICTV NUevaS ADQUISICIONES 36 Director de Cultura Edgar Soberón Torchia 2 Año 1 / No. 01 / Noviembre 2007 NOTA EDITORIAL «El cine es un flujo rítmico de imágenes, un movi- miento», declaró alguna vez Ingmar Bergman, cineasta desaparecido en julio de 2007, seguido a pocas horas por el deceso de esos otros cineastas esenciales que siguen siendo Michelangelo Antonioni y Robert Altman. -
Pobierz Pressbook
RICKY W KINACH 27 listopada 2009 DYSTRYBUCJA W POLSCE ul. Zamenhofa 1, 00-153 Warszawa tel.: (+4822) 536 92 00, fax: (+4822) 635 20 01 e-mail: [email protected] http://www.gutekfilm.com.pl Ricky re żyseria François Ozon scenariusz François Ozon na podstawie opowiadania Rose Tremain zdj ęcia Jeanne Lapoirie muzyka Philippe Rombi efekty specjalne Pascal Molina dźwi ęk Brigitte Taillandier scenografia Katia Wyszkop kostiumy Pascaline Chavanne wyst ępuj ą Sergi Lopez Paco Alexandra Lamy Katie Jean-Claude Bolle-Reddat Arthur Peyret Ricky Melusine Mayance Lisa Andre Wilms Doctor producent Claudie Ossard Chris Bolzli produkcja Francja koprodukcja Włochy Francja/Włochy rok produkcji: 2009 czas trwania: 90 min. 35 mm – 1.85:1 – Dolby Digital 2 Kiedy Katie, zwyczajna kobieta, poznała Paco, zwyczajnego m ęż czyzn ę, wydarzyło si ę co ś magicznego i cudownego: zakochali si ę w sobie. A owocem ich miło ści jest nadzwyczajne dziecko: Ricky. Zwyczajne spotkanie dwojga ludzi staje si ę pocz ątkiem niezwykłej historii … Katie, jest samotn ą matk ą, na co dzie ń pracuj ącą w fabryce. Pewnego dnia na jej drodze staje Paco. Zakochuj ą si ę w sobie niemal od pierwszego wejrzenia. Wkrótce potem na świat przychodzi Ricky. I gdy wydaje si ę, że ich szcz ęś ciu ju ż nic nie mo że przeszkodzi ć, nagle okazuje si ę, że chłopiec jest do ść niezwykłym dzieckiem. Miło ść Katie i Paco zostaje wystawiona na prób ę… GŁOSY PRASY Elementy składaj ące si ę na typowe „kino społeczne” Ozon układa jednak inaczej., błyskotliwie graj ąc z naszym poczuciem prawdopodobie ństwa. -
The Refuge I E C Am De B Ach LOÏC LALLEMAND - N Athal © PHOTOS : for EUROWIDE & FOZ Present the Refuge a Film by François Ozon
FOR © PHOTOS : LOÏC LALLEMAND - NathalIE CAMIDEBACH The refuge EUROWIDE & FOZ present The refuge a film by François Ozon with Isabelle Carré Louis-Ronan Choisy Pierre Louis-Calixte Melvil Poupaud Length: 90 minutes World Sales Le Pacte 5, rue Darcet - 75017 Paris Tel: +331 44 69 59 55 Fax: +331 44 69 59 42 Elisabeth Perlié (head of International Sales) +336 63 86 77 02 [email protected] Nathalie Jeung (International Sales) +336 60 58 85 33 [email protected] International Press Magali Montet Tel: +336 71 63 36 16 [email protected] In association with Coficup - a fund operated by BACKUP FILMS Mousse and Louis are young, beautiful, rich and in love. But drugs have invaded their lives. One day they overdose, and Louis dies. Mousse survives, but soon learns she’s pregnant. Feeling lost, she runs away to a house far from Paris. Several months later, Louis’ brother joins her in her refuge. Interview with François Ozon Pregnancy A year ago, an actress friend of mine called to give me some good news: she was pregnant. Two days later, I called her and proposed we do a film inspired by her pregnancy. At first she was delighted, but a week later she pulled out. This was her second child, she knew what she was in for and didn’t feel capable of being both an actress and pregnant. Disappointed, I was about to scrap the project when my casting director Sarah Teper informed me: «There are three pregnant actresses in Paris right now, and one of them is Isabelle Carré.» My enthusiasm immediately returned. -
Nyff Official Selection Isabelle Huppert Will Blow Your Mind Again
ANNOUNCEMENT OFFICIAL SELECTION COMPLETED AT WAR RADIANCE UNTIL THE BIRDS RETURN STÉPHANE BRIZÉ P. 05 NAOMI KAWASE P. 22 KARIM MOUSSAOUI P. 33 RAMEN SHOP APRIL’S DAUGHTER VR CONTENT ERIC KHOO P. 07 MICHEL FRANCO P. 23 MK2 VR P. 35 SORRY ANGEL CHATEAU CHRISTOPHE HONORÉ P. 09 MODI BARRY & CÉDRIC IDO P. 24 CATALOGUE FOCUS SHOOTING NOW FAITHFULL JACQUES DEMY P. 36 SANDRINE BONNAIRE P. 25 ASH IS PUREST WHITE AGNÈS VARDA P. 37 UPCOMING JIA ZHANGKE P. 10 ABBAS KIAROSTAMI P. 38 COLD WAR MARIA BY CALLAS DAVID LYNCH P. 39 PAWEL PAWLIKOWSKI P. 11 TOM VOLF P. 27 CHARLES CHAPLIN P. 40 OFFICIAL SELECTION AMANDA MIKHAËL HERS P. 28 CLASSIC US ANIMATION P. 41 A SEASON IN FRANCE MAHAMAT-SALEH HAROUN P. 13 THE TROUBLE WITH YOU PIERRE SALVADORI P.29 IF YOU SAW HIS HEART JOAN CHEMLA P. 15 P.E.A.R.L. ELSA AMIEL P. 30 THE HOUSE BY THE SEA PINK FLAMINGO ROBERT GUÉDIGUIAN P. 17 VIRGINIE SAUVEUR P. 31 M ERNESTO SARA FORESTIER P. 19 JUNJI SAKAMOTO P. 32 MRS. HYDE SERGE BOZON P. 21 ANNOUNCEMENT AT WAR STÉPHANE BRIZÉ After promising 1100 employees that they would protect their jobs, the managers of a factory decide to suddenly close up shop. Laurent takes the lead in a fight against this decision. VINCENT LINDON Delivery 2018 – France – Drama – French Production: Nord-Ouest Films Stéphane Brizé reteams with Vincent Lindon after Cannes award winning THE MEASURE OF A MAN, sold in 50+ territories. “HE WHO FIGHTS, CAN LOSE. HE WHO DOESN’T FIGHT, HAS ALREADY LOST” BERTOLT BRECHT 05 ANNOUNCEMENT RAMEN SHOP ERIC KHOO Masato, a young ramen chef, leaves his hometown in Japan to embark on a culinary journey to Singapore to find out the truth about his past. -
No Vember/De Cember 20 18
NOV/DEC 2018 NOVEMBER/DECEMBER 2018 NOVEMBER/DECEMBER Christmas atCINEMASTERS: GFT BILLY WILDER PETERLOO | WIDOWS | NAE PASARAN SUSPIRIA | SHOPLIFTERS | OUTLAW KING FRENCH FILM FESTIVAL | AFRICA IN MOTION THE OLD MAN AND THE GUN | UTØYA | SQIFF GLASGOWFILM.ORG | 0141 332 6535 12 ROSE STREET, GLASGOW, G3 6RB CONTENTS 3 Days in Quiberon 23 Possum + Q&A 21 White Christmas 17 Access Film Club: Blindspotting 28 Science Fair 21 CINEMASTERS: BILLY WILDER Scottish Animation: Access Film Club: Home Alone 28 7 The Apartment 15 Stories Brought to Life Anna and the Apocalypse + short 23 Double Indemnity 15 Shoplifters 22 Archive Film, Propaganda and The Private Life of Sherlock Holmes - 5 15 Spanish Civil War Sorry to Bother You 23 35mm Bad Reputation 20 Super November + Q&A 7 Some Like It Hot 15 Becoming Animal + Q&A 6 Suspiria 22 Sunset Boulevard 15 Been So Long + Q&A 6 Three Identical Strangers 23 COMEDY GENIUS Blue Black Permanent 24 Utøya - July 22 20 9 to 5 25 Blueprint: Scottish Independent Shorts 8 Visible Cinema: It’s A Wonderful Life 28 Shaun of the Dead 25 Calibre + Q&A 5 Visible Cinema: RCS Curates: Widows 28 South Park Sing-a-long - 35mm 25 21 Disobedience 23 Widows DID YOU MISS 22 The Wild Pear Tree 23 Distant Voices, Still Lives Black 47 25 20 Wildlife 22 Don’t Worry, He Won’t Get Far on Foot BlacKkKlansman 25 6 A Woman Captured + Q&A 5 Evelyn + Discussion C’est la vie 25 20 The Workshop 22 An Evening with Beverley Luff Linn Cold War 25 @glasgowfilm 24 Worlds of Ursula K Le Guin 7 The Evil Dead ESTONIA NOW Fahrenheit 11/9 20 AFRICA -
Hliebing Dissertation Revised 05092012 3
Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee. -
2019 Sponsorship Program a Week of Film and Series Premieres in Hollywood
2019 SPONSORSHIP PROGRAM A WEEK OF FILM AND SERIES PREMIERES IN HOLLYWOOD We are proud to introduce the 23rd COLCOA FESTIVAL SPONSORSHIP PROGRAM COLCOA (City Of Light, City Of Angels) is the most comprehensive Festival dedicated to French films and series worldwide. This cultural event, presented by SACEM, the DGA, the WGA West, and the MPA, will celebrate its 23rd edition at the Directors Guild of America’s theaters in Hollywood, September 23rd to 28th, 2019. With 85 films (including 80 premieres), 23,000 attendees in 2018, and an occupancy rate of 92%, the festival has become a mainstay cultural event in the U.S. COLCOA is a destination for brands to achieve consumer marketing objectives that only a Los Angeles based entertainment platform can offer. In 2019, COLCOA will continue to find new ways to connect with audiences in Los Angeles, nationwide, and around the globe. We look forward to engaging with our partners, new and returning, for COLCOA 2019. Please visit our website at www.colcoa.org, and contact us for more details. Very sincerely, Francois Truffart Anouchka van Riel Festival Director Festival Deputy Director [email protected] [email protected] 1/ TABLE OF CONTENT 1/ Festival Presentation 3/ Sponsoring Presentation 6/ A Powerful Marketing Tool 7/ 2018 Key Figures 8/ A Steady Growth 9/ Talent at COLCOA 12/ A Unique Educational Program 13/ Recent Media Coverage and Advertisement 14/ Recent Partners 16/ 2019 Sponsorship Opportunities Program – Overview 17/ Discounted Publicity 20/ 2019 Digital Sponsorship 23/ 2019 Sponsorship Benefits Program 2/ COLCOA FRENCH FILM FESTIVAL A WEEK OF FILM AND SERIES PREMIERES IN HOLLYWOOD COLCOA FRENCH FILM FESTIVAL was founded in 1997 by The Franco-American Cultural Fund, a unique collaborative effort of the Directors Guild of America, the Motion Picture Association, the Writers Guild of America West, and France’s Society of Authors Composers and Publishers of Music (SACEM). -
Celebrating Forty Years of Films Worth Talking About
2 NOV 18 6 DEC 18 1 | 2 NOV 18 - 6 DEC 18 88 LOTHIAN ROAD | FILMHOUSEcinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT Move over, Braveheart! Last month saw the culmination of our 40th anniversary celebrations here at Filmhouse, and it has been hugely interesting time (for me at any rate!) comparing the us of now with the us of then. I’ve thoroughly enjoyed spending time talking to Filmhouse’s first Artistic Director, Jim Hickey, and finding out in more detail than I knew what myriad ways the business of running Filmhouse has stayed the same and the as many ways it has not (one of these days I’ll write it all down and you can find out how interesting it is for yourselves!). UK film distribution itself has changed immeasurably – the dawn of the multiplex in the latter half of the 1980s saw to that. Back in 1978, Filmhouse itself was part of a sort of movement that saw the birth of a number of similar venues around the UK whose aim was to show a kind of cinema (predominantly foreign language) that simply was not catered for within mainstream film exhibition. Despite 40 years having passed and much having changed, the notion of an audience-driven, ‘curated’ cinema like Filmhouse remains something of a film exhibition anomaly; and something Jim Hickey wrote 30+ years ago rings just as true today as it did then: “But best of all, the new cinemas are being run by those who care about audiences as well as the films that they have paid to watch.” Now, we’ve got a bit of a first for you in November, for we have metaphorically got into bed with Netflix to give one of their films a hugely deserved, exclusive, short run in a cinema – namely David Mackenzie’s splendidly entertaining Robert the Bruce epic, Outlaw King. -
LEVER DE RIDEAU DP ANG.Indd
FOZ presents WORLD SALES: CELLULOID DREAMS IN PARIS 2, RUE TURGOT - 75009 PARIS T: +33 1 4970 0370 F: + 33 1 4970 0371 [email protected] www.celluloid-dreams.com IN CANNES 2 LA CROISETTE - 3RD FLOOR - 06400 CANNES T: +33 4 9298 9650 F: +33 4 9298 9648 LOUIS GARREL VAHINA GIOCANTE MATHIEU AMALRIC INTERNATIONAL PRESS: CELLULOID DREAMS 2 LA CROISETTE - 4TH FLOOR - 06400 CANNES A CURTAIN RAISER T: +33 4 9298 9155 F: +33 4 9298 9648 A FILM BY FRANÇOIS OZON MAGALI MONTET E: [email protected] M: +33 6 7163 3616 GORDON SPRAGG E: [email protected] M: +33 6 7525 9791 From “Un incompris” by Henry de Montherlant MONTHERLANT ABOUT HIS PLAY “UN INCOMPRIS” “Madame Mary Morgan, manager of the Saint-Georges Theatre, which was going to put on “Fils de Personne” for the first time, asked me to write a curtain raiser, without which the evening would be a bit short. I consequently wrote “Un Incompris”, which went on before “Fils de Personne” at the dress rehearsal. But the next day, a decree was issued ordering theatres to close at ten in the evening (it was during German occupation), and “Un Incompris”, put on in the provinces and abroad, was never staged in Paris. I was interested in making “Un Incompris” a sort of counterpart to “Fils de Personne”, a counterpart drawing on caricature. Bruno separates from Rosette, while still loving her the way Georges separates from Gillou, while still loving him; and both of them do it in the name of principle. -
Festival Internacional De Cine De Huesca 2006 Huesca International Film Festival 2006 Patrocinadores Sponsors
FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 PATROCINADORES SPONSORS EDITA FUNDACIÓN FESTIVAL DE CINE DE HUESCA IMPRIME ARPI, ZARAGOZA año 2006 DEPOSITO LEGAL ????????????? 2 FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 3 ENTIDADES DE COOPERACIÓN COOPERATING ORGANISATIONS PATROCINADORES SPONSORS Gobierno de Aragón Caja Inmaculada Ayuntamiento de Huesca Diputación Provincial de Huesca Programa MEDIA PLUS de la Unión Europea Ministerio de Cultura – ICAA INSTITUTO DE ESTUDIOS ALTOARAGONESES Fundación Anselmo Pié Sopena Diputación de Huesca RENFE Iberia ENTIDADES DE COOPERACIÓN COOPERATING ORGANISATIONS Agencia Española de Cooperación Internacional. Ministerio de Asuntos Exteriores Instituto de Estudios Altoaragoneses Heraldo de Aragón Diario del Altoaragón New York Film Academy EL FESTIVAL INTERNACIONAL DE CINE DE HUESCA FORMA PARTE DE: COORDINADORA EUROPEA HUESCA INTERNATIONAL FILM FESTIVAL IS A MEMBER OF: DE FESTIVALES DE CINE 4 FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 5 ENTIDADES COLABORADORAS DEPENDENCIAS SITES COLLABORATING ORGANISATIONS Academy of Motion Pictures Art and Sciences Alameda Films Altavista Films Asociación OFICINA PERMANENTE DEL FESTIVAL, SECRETARÍA Y DIRECCIÓN de Vecinos del barrio de San José Auto Cuatro, S. A. Ayuntamiento de Zaragoza PERMANENT OFFICE, SECRETARIAT AND ADDRESS Boutique Micaela Centro de Arte y Naturaleza (CDAN) Centro Cultural El Matadero Cineteca Nacional de México Cobega, S. A. Coca-Cola Elías Querejeta PC Escuela de Festival de Cine de Huesca. Arte de Huesca Escuela Internacional de Cine y Televisión de San Antonio de los Baños C/ del Parque, 1, 2o piso (Círculo Oscense).