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Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
3D423bbe0559a0c47624d24383
BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong. -
BORSALINO » 1970, De Jacques Deray, Avec Alain Delon, Jean-Paul 1 Belmondo
« BORSALINO » 1970, de Jacques Deray, avec Alain Delon, Jean-paul 1 Belmondo. Affiche de Ferracci. 60/90 « LA VACHE ET LE PRISONNIER » 1962, de Henri Verneuil, avec Fernandel 2 Affichette de M.Gourdon. 40/70 « DEMAIN EST UN AUTRE JOUR » 1951, de Leonide Moguy, avec Pier Angeli 3 Affichette de A.Ciriello. 40/70 « L’ARDENTE GITANE» 1956, de Nicholas Ray, avec Cornel Wilde, Jane Russel 4 Affiche de Bertrand -Columbia Films- 80/120 «UNE ESPECE DE GARCE » 1960, de Sidney Lumet, avec Sophia Loren, Tab Hunter. Affiche 5 de Roger Soubie 60/90 « DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE» 1967, de Jean Luc Godard, avec Marina Vlady. Affichette de 6 Ferracci 120/160 «SANS PITIE» 1948, de Alberto Lattuada, avec Carla Del Poggio, John Kitzmille 7 Affiche de A.Ciriello - Lux Films- 80/120 « FERNANDEL » 1947, film de A.Toe Dessin de G.Eric 8 Les Films Roger Richebé 80/120 «LE RETOUR DE MONTE-CRISTO» 1946, de Henry Levin, avec Louis Hayward, Barbara Britton 9 Affiche de H.F. -Columbia Films- 140/180 «BOAT PEOPLE » (Passeport pour l’Enfer) 1982, de Ann Hui 10 Affichette de Roland Topor 60/90 «UN HOMME ET UNE FEMME» 1966, de Claude Lelouch, avec Anouk Aimée, Jean-Louis Trintignant 11 Affichette les Films13 80/120 «LE BOSSU DE ROME » 1960, de Carlo Lizzani, avec Gérard Blain, Pier Paolo Pasolini, Anna Maria Ferrero 12 Affiche de Grinsson 60/90 «LES CHEVALIERS TEUTONIQUES » 1961, de Alexandre Ford 13 Affiche de Jean Mascii -Athos Films- 40/70 «A TOUT CASSER» 1968, de John Berry, avec Eddie Constantine, Johnny Halliday, 14 Catherine Allegret. -
155-L Page CHAPTER XII the 123D Division
N SI 55 U.S. Army Forces Far East. Military History Section. Record of Opera- tions Against Soviet Russia on Northern and Western Fronts of Manchuria, and in Northern Korea (August 1945). Japanese monograph no. 155. 1950. Distributed by the Office of the Chief of Military History, Departmen t of the Army. SAI ACCESS NO r77 A N Ju:i 2 ZQO ACCESSION NO -~iili~asi~w(i~I1786 7 '' ~r9 r k-':: ~a~ -jgy "'; :r' i.i 'i JAPANESE MONOGRAPH NO. 155 Ate.1 +++"-.i ti.,<a.. .. , i4,e NO su w..w..v- RECORD OF OPERATIONS AGAINST SO VIET RUSSIA ON NORTHERN AND WESTEF:N FRONTS OF MANCHURIA, AND IN NORTHERN KOREA (AUGUST 1945) PREPARED BY- MILITARY HISTORY SECTION HEADQUARTERS, ARMY FORCES FAR EAST DISTRIBUTED BY OFFICE OF THE CHIEF OF MILITARY HISTORY DEPARTMENT OF THE ARMY This monograph may not be reproduced without the permission of the Office Chief of Militsry History Monograph No. 155 Editor's Preface This is the last in a series of three monographs' covering Japanese military activities in Manchuria from January 1943 to the end of WVorld War II hostilities, prepared by former commanders and staff officers of the Kwantung Army. The first (No. 138) deals with Kwantung Arm's wartime vigil throughout Manchuria in prepa- ration for operations. The second (No. 154) deals with actual military operations against Soviet forces on the eastern front. This monograph, No. 155, covers operations in the northern and western parts of Manchuria and also in northern Korea. Like No. 154, this monograph is actually a collection of closely related sub-monographs, each a separate--but by no means complete--study in itself. -
W Talking Pictures
Wednesday 3 June at 20.30 (Part I) Wednesday 17 June at 20.30 Thursday 4 June at 20.30 (Part II) Francis Ford Coppola Ingmar Bergman Apocalypse Now (US) 1979 Fanny And Alexander (Sweden) 1982 “One of the great films of all time. It shames modern Hollywood’s “This exuberant, richly textured film, timidity. To watch it is to feel yourself lifted up to the heights where packed with life and incident, is the cinema can take you, but so rarely does.” (Roger Ebert, Chicago punctuated by a series of ritual family Sun-Times) “To look at APOCALYPSE NOW is to realize that most of us are gatherings for parties, funerals, weddings, fast forgetting what a movie looks like - a real movie, the last movie, and christenings. Ghosts are as corporeal an American masterpiece.” (Manohla Darghis, LA Weekly) “Remains a as living people. Seasons come and go; majestic explosion of pure cinema. It’s a hallucinatory poem of fear, tumultuous, traumatic events occur - projecting, in its scale and spirit, a messianic vision of human warfare Talking yet, as in a dream of childhood (the film’s stretched to the flashpoint of technological and moral breakdown.” perspective is that of Alexander), time is (Owen Gleiberman, Entertainment Weekly) “In spite of its limited oddly still.” (Philip French, The Observer) perspective on Vietnam, its churning, term-paperish exploration of “Emerges as a sumptuously produced Conrad and the near incoherence of its ending, it is a great movie. It Pictures period piece that is also a rich tapestry of grows richer and stranger with each viewing, and the restoration [in childhood memoirs and moods, fear and Redux] of scenes left in the cutting room two decades ago has only April - July 2009 fancy, employing all the manners and added to its sublimity.” (Dana Stevens, The New York Times) Audience means of the best of cinematic theatrical can choose the original version or the longer 2001 Redux version. -
Dossier De Presse Lundi 2 Juillet 2018
DOSSIER de PRESSE Lundi 2 juillet 2018 Karin VIARD Présidente du jury Michel CÔTÉ Eye HAÏDARA Laurent HASSID Camélia JORDANA Thomas LILTI Raphaël PERSONNAZ Ludivine SAGNIER Karin VIARD Présidente Actrice de porcelaine » s’est imposée comme une actrice incontournable du cinéma français. Elle n’hésite pas à alterner les projets et les genres, passant du troublant Je suis un assassin de Thomas Vincent (2003) à la comédie populaire de François Ozon, Potiche (2010) ou au film moins médiatique mais à l’engagement artistique fort : Les Derniers jours du monde des frères Larrieu (2009). En 2011, Karin Viard joue dans la comédie aux millions d’entrées de Dany Boon Rien à déclarer puis incarne une © Gerard Giaume / H&K © Gerard mère de famille sourde et muette aux côtés de Louane et François Damiens dans La Famille Bélier d’Éric Lartigau, l’un des plus beaux succès cinéma de 2014. Les différents rôles de Karin Viard dessinent une multitude de portraits de femmes. Qu’elles soient émancipées, « Je n’imaginais pas faire autre chose que comédienne » ; fragiles, colorées, effacées, émouvantes, excessives ou c’est avec ambition et des rêves de comédie plein la libres, chacune d’elles nous plonge dans les méandres tête que la jeune Karin Viard quitte sa Normandie natale d’une féminité plurielle, jamais uniforme. Et les réalisateurs pour la capitale. À la fin des années 1980, elle rencontre et réalisatrices n’hésitent pas à lui confier de beaux rôles Étienne Chatiliez qui lui offre le rôle d’une rousse féminins : inspectrice d’une brigade de protection de pulpeuse dans Tatie Danielle. -
Revisiting Andrzej Wajda's Korczak (1990)
Studia Filmoznawcze 39 Wroc³aw 2018 Marek Haltof Northern Michigan University THE CASUALTY OF JEWISH-POLISH POLEMICS: REVISITING ANDRZEJ WAJDA’S KORCZAK (1990) DOI: 10.19195/0860-116X.39.4 Emblematic of Wajda’s later career is Korczak (1990), one of the most important European pictures about the Holocaust. Steven Spielberg1 More interesting than the issue of Wajda’s alleged an- ti-Semitism is the question of Korczak’s martyrdom. East European Jews have suffered a posthumous violation for their supposed passivity in the face of the Nazi death machine. Why then should Korczak be exalted for leading his lambs to the slaughter? It is, I believe, because the fate of the Orphan’s Home hypostatizes the extremity of the Jewish situation — the innocence of the victims, their utter abandonment, their merciless fate. In the face of annihilation, Janusz Korczak’ tenderness is a terrifying reproach. He is the father who did not exist. J. Hoberman2 1 S. Spielberg, “Mr. Steven Spielberg’s Support Letter for Poland’s Andrzej Wajda,” Dialogue & Universalism 2000, no. 9–10, p. 15. 2 J. Hoberman, “Korczak,” Village Voice 1991, no. 6, p. 55. Studia Filmoznawcze, 39, 2018 © for this edition by CNS SF 39.indb 53 2018-07-04 15:37:47 54 | Marek Haltof Andrzej Wajda produced a number of films dealing with the Holocaust and Polish-Jewish relationships.3 His often proclaimed ambition had been to reconcile Poles and Jews.4 The scriptwriter of Korczak, Agnieszka Holland, explained that this was Wajda’s “obsession, the guilt.”5 Given the above, it should come as no surprise that he chose the story of Korczak as his first film after the 1989 return of democracy in Poland. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
1 CHINESE CINEMA SURVEY: 1980–PRESENT FILM S142 / EALL S258 Instructor
CHINESE CINEMA SURVEY: 1980–PRESENT FILM S142 / EALL S258 Instructor: Xueli Wang Dates: Session B June 29th – July 31st Meeting Times: TTh 1:00-4:15pm Course Description: The past four decades have been extraordinarily fruitful for Chinese-language filmmaking. This course will survey key figures, movements, and trends in Sinophone cinema since 1980. Sessions will be structured around ten films, each an entry point into a broader topic, such as the Fifth and Sixth Generation directors; the Hong Kong New Wave; New Taiwan Cinema; martial arts film; commercial blockbuster; and independent documentary. Directors of interest include Jia Zhangke, Zhang Yimou, Ang Lee, Wong Kar-Wai, Ann Hui, Tsui Hark, Edward Yang, Hou Hsiao-Hsien, Tsai Ming-Liang, and Wang Bing. We will examine their films formally, through shot-by-shot analysis, as well as in relation to major social, political, and economic developments in recent Chinese history, such as Deng Xiaoping's economic reforms; the Hong Kong handover; the construction of the Three Gorges Dam; and the proliferation of migrant workers in megacities. We will also consider pertinent questions of propaganda and censorship; aesthetics and politics; history and memory; transnational networks and audiences; and what constitutes "Chineseness" in a globalized world. Screenings: Film screenings will take place during class. For most sessions, screenings will occur in the second half of class to be discussed next session; during some sessions, we may watch clips alternating with discussion. Requirements & Grading: Attendance & Participation: 15% Presentations: 20% Midterm Assignment: 25% Final Paper: 40% Assignments must be submitted by the due date. All late papers without legitimate excuse will be marked down ½ of a letter grade for each successive day they are not received (i.e. -
Organiza Patrocina Colabora
ORGANIZA PATROCINA COLABORA 1 AGRADECIMIENTOS AGRADECIMIENTOS GUADALUPE GALVÁN HAMPA STUDIO ADRIANA KRASOVA (CENTRO CHECO) HARDI VOLMER (OÜ NUKUFILM) ADRIENNE MICHEL-LONG HASN-GÜNTHER LÖFFLER (EMBAJADA DE ALEMANIA) ADRZEJ KLIMOWSKI HAZEL GRIAN (LICORICE FILM) ALBERTINA CARRI HILA RON (THE SAM SPIEGEL FILM & TV SCHOOL ALSIRA GARCÍA-MAROTO ISRAEL) ANA GONZALEZ (SHADOW MACHINE FILMS) INÉS GARCÍA (TNT) ANDREA ANSAREO ISABEL GRANDE (INSTITUTO CERVANTES) ANNE MARIE HARMS (DRAMATISKA INSTITUTE) ISOBEL PALOS (PARTIZAN) ANTONIO HENS XUAN ACOSTA JAN ERIK HOLST (NFI) BARBARA WOOD (TURSIMO DE IRLANDA) JASON TAMMEMAGI BARRY KELLY JAVIER BARCHÍN BEATRIZ CHAPAPRIETA (GRUPO CONSULTORES) JENNIFER KEEGAN BETTINA SCHWARZ (EUROPEAN FILMACADEMY) JEZ ALDIS BRENDAN MULDOWNEY JIM CULLEN BRIAN DURNIN JOÃO DE MELO (EMBAJADA DE PORTUGAL) CIARAN FOY JOHN CALLAGHAN CILEA MENESES JOHN HAYES CORKY QUARKENBUSH (SPACE BASS FILMS) JOHNNY O’REILLY CHAD MESERVE (LUDICROUS PRODUCTIONS) JORDAN GALLAND CHRISTIAN GUINOT (FESTIVAL DU COURT METRAGE DE JORGE SEGADO (NOTODOFILMFEST.COM) CLERMONT-FERRAND) JOSÉ ANTONIO HURTADO (IVAC) CHRISTOFFER OLOFFSON (UPPSALA INTERNATIONELLA JOSÉ MARIA DE CARVALHO (INSTITUTO CAMÕES) KORTFILMFESTIVAL) JUAN BOETA DAMON SYLVESTER KAREN WALL (REEL IRELAND) DARIO OLIVEIRO (CURTAS VILA DO CONDE) KEITH ALLAN & COURTNEY BRANCH DIANA RUMJAHN KEN WARDROP DON PORTOLESE KIERON J. WALSH EDITH PIEPERHOFF KIRSTI BAGGETHUN (EMBAJADA DE NORUEGA) EOIN RYAN LILIAN SALY (EMBAJADA DE FRANCIA) FADEL AKHAMLICH (EDITORIAL PEARSON) LORCAN FINNEGAN FILMOTECA DE CASTILLA -
From Real Time to Reel Time: the Films of John Schlesinger
From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative. -
Theatre.Com Rêve D’Automne
rêve d’automne texte Jon Fosse mise en scène David Géry 25 sept › 18 oct 2oo8 o1 53 o519 19 www.athenee- theatre.com Rêve d’automne Jon Fosse mise en scène : David Géry du jeudi 25 septembre au samedi 18 octobre 2008 mardi 19h, mercredi au samedi 20h matinées exceptionnelles : dimanche 5 octobre à 16h et samedi 18 octobre à 15h grande salle location : 01 53 05 19 19 – www.athenee-theatre.com plein tarif : de 30 € à 13 € tarif réduit* : de 24 € à 11 € *moins de 30 ans, plus de 65 ans, demandeurs d’emploi (sur présentation d’un justificatif) tarifs Jour J** et moins de 16 ans : de 15 € à 6,50 € **moins de 30 ans et demandeurs d’emploi (50% de réduction le jour-même, sur présentation d’un justificatif) carte athénée jeunes (10 € pour les moins de 30 ans) : de 15 € à 6,50 € Athénée Théâtre Louis-Jouvet square de l’Opéra Louis-Jouvet – 7 rue Boudreau – 75009 Paris M° Opéra, Havre-Caumartin RER A - Auber service de presse Athénée Théâtre Louis-Jouvet : Estelle Laurentin [email protected] – 01 73 79 65 07 / 06 72 90 62 95 service de presse Compagnie : Sabine Arman [email protected] - 01 44 52 80 80 / 06 15 15 22 24 1 Sommaire Distribution p.3 Résumé p.4 Tragi-comédie p.5 Biographies p.6 L’auteur Jon Fosse p.6 L’équipe artistique David Géry p.7 Jean Haas p.8 Dominique Fortin p.8 Cidalia da Costa p.8 Jean-Paul Dessy p.8 Les comédiens Irène Jacob p.9 Yann Collette p.9 Judith Magre p.9 Simon Eine p.9 Gabrielle Forest p.9 Tournée p.10 La saison 2008-2009 de l’Athénée p.11 2 Rêve d’automne Jon Fosse mise en scène David Géry traduction Terje