DOCSLIB.ORG

Absurd Black Humour As Social Criticism in Contemporary European Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Absurd Black Humour As Social Criticism in Contemporary European Cinema This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from 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. Absurd Black Humour as Social Criticism in Contemporary European Cinema Eszter Simor Doctor of Philosophy The University of Edinburgh 2019 Submitted in satisfaction of the requirements for the degree of PhD in Film Studies at the University of Edinburgh This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (PhD) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from 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. TABLE OF CONTENTS Acknowledgements i Declaration of Own Work iii Abstract iv Lay Summary v INTRODUCTION The Absurd and the Critique of Neoliberalism in Cinema 1 Literature Review 4 The Absurd 4 Three Theories of Humour 6 Comedy as a Genre: The Slapstick and the Screwball 12 Comedy as a Mode: Irony 18 Different Forms of Ironic Expression: Pastiche, Parody and Satire 21 Surrealist Cinema and the Blackness of the Absurd 23 Ironic Expression 25 Defining European Cinema 32 Crisis as Critique of Capitalism 38 Neoliberalism and the Absurd 40 Summary of Chapters 46 CHAPTER 1 Absurd Sexuality: Irony, Sexism and Magic in Paolo Sorrentino’s The 52 Great Beauty (2013) and Youth (2015) Irony 55 Being and Having a Body 60 Sexism 64 Magic 72 CHAPTER 2 Absurd Politics: Crisis and Magic as Subversive Political Engagement in 77 The Killing of a Sacred Deer (2017) and other Yorgos Lanthimos Films Ironic Pretence 78 Absurd Word 80 “Don’t You understand? It’s a Metaphor” 81 Crisis in Greek Cinema 84 Critique of Capitalism 87 The Myth of Nationalism 88 The Ironies of Capitalist Realism and Disaster Capitalism 91 The Sorcerer’s Magic 97 Supernatural Politics 98 CHAPTER 3 Absurd Identity: Excessive Human, Lacking Animal in Nicolette 100 Krebitz’s Wild (2016) and Julia Ducournau’s Raw (2016) The Absurd as the Gap Between “Being” and “Having” a Body 104 Being a Body: The Hubris of Human Animal in Raw 105 Having a Body: The Excessive Human in Wild 112 Pleasure and Enjoyment 116 Lack and Excess 116 Being and Having a Body: The Comparison of the Two Films 123 CHAPTER 4 Absurd Death: Suicide as an Existentialist Motif in Jessica Hausner’s 125 Amour Fou (2014) and Ildikó Enyedi’s On Body and Soul (2018) Absurdity and Suicide 128 “Does the Absurd Dictate Death?”: Camus on Suicide 131 Authenticity 137 An Existentialist Reading of Amour Fou and On Body and Soul Through the 138 Representation of Suicide Unsatisfactory Solutions 171 CHAPTER 5 Humour, Politics and the Absurd in Toni Erdmann (Maren Ade, 2016) 173 Humour as “Anti-social”, “Irrational” and as a “Pressure Valve” 176 Genres of Comedy 184 Anxieties about Globalisation 198 “Mosaic” Identities 201 “Don’t Lose the Humour” 203 A New Comic Mode: Awkwardness 205 CONCLUSION The Absurd as Social Criticism 215 The Deadpan as a Political Act 217 The Solution of Critical Analysis 221 Can the Absurd Be Funny? 223 Happiness Is a Fantasy 225 Concluding the Conclusion 226 Bibliography 227 Filmography 244 Acknowledgments I am immensely grateful to my supervisor Dr David Sorfa, whose expertise was instrumental in writing this thesis. Our discussions had an invaluable impact on my academic work and I truly appreciate the time, insight and expert knowledge Dr Sorfa contributed to this project. I am thankful for all the professional help, for being treated as a colleague and for all the opportunities to take part in extracurricular programs. Whether I needed assistance with thesis writing, conference papers, academic articles or talks, Dr Sorfa was always there to help. I am also truly grateful for the opportunity to teach Introduction to European Cinema, which was an invaluable career experience. I could not have imagined a more excellent mentor. I am grateful to my other supervisors Dr Daniel Yacavone and Dr Jamie Chambers, and examiners Dr Pasquale Iannone and Dr Charlotte Gleghorn, for their expert comments and suggestions on this thesis. To AHRC Doctoral Training Partnership Studentship for their generous scholarship funding. To Dr András Bálint Kovács for the film studies knowledge I gained during my Master’s Program at the ELTE. To Attila Varró for suggesting that I pursue a PhD program at The University of Edinburgh. To my Houston mentor and fellow film-lover Marian Luntz for her friendship and indefatigable professional support. To Dr Karen Fang for her kindness and for allowing me to partake in her academic endeavours. To Dr Owen Evans and Studies in European Cinema for publishing my paper. To the Film-Philosophy journal and its conferences for the stimulating readings and talks. To Gusztáv Schubert and Filmvilág for the opportunity to publish and be a film journalist. To my fellow researchers in Edinburgh, especially to my good friends Chantal Bertalanffy, Erden Göktepe and Ian Anderson. I am not only grateful for their friendship and support but also for the exhilarating talks and provocative ideas that shaped this work. Huge thanks to Chantal for all the love, the unforgettable Arthur’s Seat walks and for organizing a festival together; to Erden for always being there and taking care of me; to Ian for his excellent sense of humour and for the fun times we had, especially when we all gathered at his house. To Marianna Pavan, the kindest flatmate. To Aran Ward Sell for his help in finalizing this project. To Inciting Sparks for providing a platform to share ideas and for giving me new friends. To everybody who took part and supported News From Home Film Festival by coming to our events, with a special mention to Richard Elliott for his hard work. To all the scholars and academics I read with great interest, especially Dr Todd McGowan, whose work heavily influenced this thesis. To all my favourite film directors (included in this work or not) for instilling in me the love of cinema. i I am immensely and unequivocally grateful to my parents, for always supporting me on every ambitious project I ever set out do (including this PhD). To my Dad for encouraging me and providing the means for me to entirely devote myself to my work; and to my Mum for being endlessly curious in providing feedback and for inspiring the ideas underpinning this thesis. To my brother, Ádám, for always keeping my spirits up with his good humour and for visiting me every year I spent in Edinburgh (the most of anyone!). To my good friend, Emma Janda for giving me the kindest presents and always warming my heart. To my cousin, Tamás Kasik, for inspiring me with his kindness, perseverance and creativity. To my grandparents, for always being proud of me regardless of what I do. To all my family members and friends in Hungary, The United States and France. Végtelen és teljesszívű hálával tartozom szüleimnek, amiért mindig és minden módon támogattak bármilyen ambiciózus projektbe fogtam (beleértve ezt a doktorit). Apukámnak amiért bátorított és lehetővé tette, hogy ennek a munkának szenteljem magam; és Anyukámnak amiért határtalan érdeklődésével mindig az elsőszámú főszerkesztőm, valamint az ötletért, ami ezt a dolgozatot inspirálta. Testvéremnek, Ádámnak, amiért humorával mindig feldobja a kedvem és amiért minden évben meglátogatott Edinburghban (ő a legtöbbször!). Kedves barátnőmnek, Janda Emmának, amiért a legaranyosabb ajándékokkal mindig megmelengeti a szívem. Unokatestvéremnek, Kasik Tominak, aki kedvességével, kitartásával és kreativitásával inspirál. Nagyszüleimnek, amiért mindig büszkék rám, bármit is csinálok. Az összes családtagomnak és barátomnak Magyarországon, Amerikában és Franciaországban. To my husband Walter, with all of my love and all of my gratitude, always. Thank you for always believing in me and for laughing with me while watching the most absurd films. A heartfelt thank you for everything words cannot express. I could not have done it without you. Thank you. ii Declaration of Own Work I declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or processional qualification except as specified. A version of Chapter 1 was published in Studies in European Cinema as “Irony, Sexism and Magic in Paolo Sorrentino’s films” in October 2017. Signature: Eszter Simor, 10 December 2019 iii Abstract This thesis investigates how contemporary European art cinema establishes an absurd worldview to express social criticism that can be read as evidence of – as well as a response to – European socio-political crises.
Load more

Recommended publications
  • Anthology of Black Humour Pdf Free Download
    ANTHOLOGY OF BLACK HUMOUR PDF, EPUB, EBOOK Andre Breton,Mark Polizzotti | 356 pages | 01 Feb 2009 | Telegram Books | 9781846590740 | English | London, United Kingdom Anthology of Black Humour PDF Book By signing up, you agree to our Privacy Notice. Redirected from Black humour. From the sublime to the surreal. The term became globally used since then. Forthcoming Books. Rating details. Jacqueline Lamba wife Elisa Breton wife. It came out again in , to almost complete silence - presumably Breton was considered pretty much vieux jeu by then. Popular themes of the genre include death, violence, discrimination , disease , and human sexuality. Literature in Translation. There are more than just the usual suspects here. Andre Breton , the founder and principal theorist of the Surrealist movement, is one of the major literary figures of the past century. Showing City Lights Spotlight. For example:. Want to Read Currently Reading Read. Neruda, Pablo. There are no discussion topics on this book yet. A study published in the journal Cognitive Processing [40] concludes that people who appreciate dark humor "may have higher IQs, show lower aggression, and resist negative feelings more effectively than people who turn up their noses at it. It was reprinted in after Breton's return from exile, with a few additions. J:J Aronson Inc. Anthology of Black Humour Writer Alcalay, Ammiel. An anthology wherein the biographic information provided by Breton tends to be more blackly comic than the selections he includes. Thomas De Quincey. Ryan Garns rated it liked it Nov 26, Charles Cros. Alessandro M. Forthcoming Books. View 2 comments. Comic work based on subject matter that is generally considered taboo.
    [Show full text]
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • FILM DOC 72 Indesign
    PERIODICO DI INFORMAZIONE CINEMATOGRAFICA Anno 15 N.72 Marzo - Aprile 2007 TARIFFA REGIME LIBERO: “POSTE ITALIANE S.P.A. - S.P.A. ITALIANE “POSTE LIBERO: REGIME TARIFFA GENOVA” DCB - 70% - POSTALE ABBONAMENTO IN SPEDIZIONE Ricordo di Lele Luzzati Riscoperte le Silly Symphonies Hollywood le anime del mito Tutto il cinema di Olmi U R C I T I O C Cinema L d'essai ASSOCIAZIONE I E GENERALE ITALIANA G U R DELLO SPETTACOLO SERVIZIO SPETTACOLO DELEGAZIONE REGIONALE LIGURE Questa pubblicazione, ideata nel quadro della collaborazione tra Regione Liguria - Servizio Spettacolo - e la Delegazione Regionale Ligure dell’AGIS, contie- ne i programmi delle sale del Circuito Ligure Cinema d’Essai e viene distribuita gratuitamente, oltre che in dette sale, anche nei circoli cultura- li e in altri luoghi d’in- contro e di spettacolo FILM D.O.C. In questo numero Periodico di informazione cinematografica 3 Luzzati e il cinema 12 Occhio ai Film D.O.C. - Fac 4-5 FESTIVAL: 14 I REGISTI 29 - Ermanno Olmi www.filmdoc.it Berlino - Il Cairo - Courmayeur - Trieste 16 Un figlioccio d’arte del grande Visconti la rivista è visibile sul sito 6 E la città del cinema si scoprì ecologica 17 Libri & Riviste e scaricabile in formato pdf 7 Su e giù per L.A. vetrina di miti 18 La posta di D.O.C. Holiday - Quiz Anno 15 - Numero 72 8 Quel Saladino così feroce 19 LIGURIA D’ESSAI - Programmi e notizie Marzo - Aprile 2007 9 Il cinema italiano ama gli attori francesi Genova città personaggio nel film di Soldini 10 Percorsi sonori - Profili: Michael Nyman 20 Il cinema all’Università c/o A.G.I.S.
    [Show full text]
  • Estaba En Casa, Pero... Screenbox
    ESTABA EN CASA, PERO... SCREENBOX FICHA NÚM. 2.286 T.O.: ICH WAR ZUHAUSE, ABER NACIONALIDAD: ALEMANIA-SERBIA Estreno Screenbox: 04-09-2.020 DURACIÓN: 105’ Estreno España: 04-09-2.020 AÑO: 2.019 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA Mutter Astrid: Maren Eggert FILMOGRAFÍA DE LA Phillip: Jakob Lassalle DIRECTORA: Flo: Clara Möller ANGELA SCHANELEC (Aalen, Lars: Franz Rogowski Alemania, 14-02-1.962) -Estaba en Casa, Pero... (2.019) FICHA TÉCNICA -Der traumhafte Weg (2.016) Directora: Angela Schanelec -Orly (2.010) Guion: Angela Schanelec -Nachmittag (Tarde) (2.007) Productora: Angela Schanelec -Marseille (2.004) Fotografía: Ivan Markovic -Mein langsames Leben (2.001) Montaje: Angela Schanelec -Plätze in Städten (1.998) -Das Glück meiner Schwester SINOPSIS (1.995) Astrid vive en Berlín junto a sus dos hijos, Flo y Phillip. Tras la PREMIOS Y PRESENCIA EN muerte de su esposo, un famoso FESTIVALES (selección) director teatral, intenta recompo- -Festival de Cine de Berlín: Premio ner su vida y sobrellevar su ausen- a la Mejor Directora (2.019) cia. En la intimidad, la familia libra -Festival de Cine de San Sebastián: una lucha cotidiana en donde las Premio Zabaltegi-Tabakalera (2.019) actividades más simples se con- -Festival de Cine de Mar del Plata: vierten en retos inesperados: la Premio a la Mejor Directora de la compra de una bicicleta, un baño Sección Competencia Internacional en la piscina o una representación (2.019) escolar de Hamlet. El frágil equi- -German Film Critics Association librio se derrumba cuando Phillip Awards: Premio al Mejor Montaje se escapa de casa..
    [Show full text]
  • How Does Context Shape Comedy As a Successful Social Criticism As Demonstrated by Eddie Murphy’S SNL Sketch “White Like Me?”
    The University of Maine DigitalCommons@UMaine Honors College 5-2012 How Does Context Shape Comedy as a Successful Social Criticism as Demonstrated by Eddie Murphy’s SNL Sketch “White Like Me?” Abigail Jones Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Jones, Abigail, "How Does Context Shape Comedy as a Successful Social Criticism as Demonstrated by Eddie Murphy’s SNL Sketch “White Like Me?”" (2012). Honors College. 58. https://digitalcommons.library.umaine.edu/honors/58 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HOW DOES CONTEXT SHAPE COMEDY AS A SUCCESSFUL SOCIAL CRITICISM AS DEMONSTRATED BY EDDIE MURPHY’S SNL SKETCH “WHITE LIKE ME?” by Abigail Jones A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Communications) The Honors College University of Maine May 2012 Advisory Committee: Nathan E. Stormer, Professor of Communication, Advisor Kristin M. Langellier, Professor of Communication Sandra Hardy, Associate Professor of Theater Mimi Killinger, Honors College Rezendes Preceptor for the Arts Adam Kuykendall, Marketing Manager for the School of Performing Arts Abstract This thesis explores the theory of comedy as social criticism through an interpretive investigation. For comedy to be a potent criticism it is important for the audience to understand the context surrounding the sketch. Without understanding the context the sketch still has the ability to be humorous, but the critique is harder to acknowledge.
    [Show full text]
  • Copyright by Deborah Helen Garfinkle 2003
    Copyright by Deborah Helen Garfinkle 2003 The Dissertation Committee for Deborah Helen Garfinkle Certifies that this is the approved version of the following dissertation: Bridging East and West: Czech Surrealism’s Interwar Experiment Committee: _____________________________________ Hana Pichova, Supervisor _____________________________________ Seth Wolitz _____________________________________ Keith Livers _____________________________________ Christopher Long _____________________________________ Richard Shiff _____________________________________ Maria Banerjee Bridging East and West: Czech Surrealism’s Interwar Experiment by Deborah Helen Garfinkle, B.A., M.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 2003 For my parents whose dialectical union made this work possible ACKNOWLEDGEMENTS I would like to express heartfelt thanks to my advisor Hana Pichova from the University of Texas at Austin for her invaluable advice and support during the course of my writing process. I am also indebted to Jiří Brabec from Charles University in Prague whose vast knowledge of Czech Surrealism and extensive personal library provided me with the framework for this study and the materials to accomplish the task. I would also like to thank my generous benefactors: The Texas Chair in Czech Studies at the University of Texas at Austin, The Graduate School of the University of Texas at Austin, The Fulbright Commission and the American Council of Learned Societies without whom I would not have had the financial wherewithal to see this project to its conclusion. And, finally, I am indebted most of all to Maria Němcová Banerjee of Smith College whose intelligence, insight, generosity as a reader and unflagging faith in my ability made my effort much more than an exercise in scholarship; Maria, working with you was a true joy.
    [Show full text]
  • 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
    [Show full text]
  • FOR IMMEDIATE RELEASE Award-Winning Comedian Steven
    Media Contact: Ashlee Hurley Director of Marketing and Sales 717-724-3879 [email protected] FOR IMMEDIATE RELEASE Award-Winning Comedian Steven Wright Comes to Whitaker Center this fall Deadpan Comic Brings his Signature Style to Harrisburg’s Sunoco Performance Theater Harrisburg, PA- Whitaker Center, in association with SLP Concerts, welcomes comedian Steven Wright to the Sunoco Performance Theater stage on Saturday, November 5 at 8:00pm. Academy Award winning, Emmy- and Grammy-nominated comedian Steven Wright continually sells out theaters internationally with his skewed comedic view of the world. Since his “Tonight Show” debut, which caused such a stir that Johnny Carson invited him back to perform again within a week, the deadpan surrealist master has pushed the comedic boundaries in film, television and the live stage. With an Oscar-winning short film, a 2014 Emmy nomination as a Producer on the hit FX series Louie, two Grammy-nominated CD’s, three critically acclaimed hour specials and countless appearances on TV and in film Wright is a prototype comedian that others continually try to follow. Tickets go on sale this Friday, August 19 at 10:00am at whitakercenter.org, ticketmaster.com, and the Whitaker Center Box Office. Tickets range from $39.60-$64.50. For tickets and more information, please visit whitakercenter.org or call the Whitaker Center Box Office at 717-214-ARTS. Whitaker Center for Science and the Arts is a non-profit center for the arts, education, entertainment and cultural enrichment located in the heart of Harrisburg’s vibrant downtown. Whitaker Center is home to Sunoco Performance Theater, Harsco Science Center and Select Medical Digital Cinema featuring a four story premium large format theater with a recently upgraded 4K digital projection system.
    [Show full text]
  • Course Outline
    Prof. Fatima Naqvi German 01:470:360:01; cross-listed with 01:175:377:01 (Core approval only for 470:360:01!) Fall 2018 Tu 2nd + 3rd Period (9:50-12:30), Scott Hall 114 [email protected] Office hour: Tu 1:10-2:30, New Academic Building or by appointment, Rm. 4130 (4th Floor) Classics of German Cinema: From Haunted Screen to Hyperreality Description: This course introduces students to canonical films of the Weimar, Nazi, post-war and post-wall period. In exploring issues of class, gender, nation, and conflict by means of close analysis, the course seeks to sensitize students to the cultural context of these films and the changing socio-political and historical climates in which they arose. Special attention will be paid to the issue of film style. We will also reflect on what constitutes the “canon” when discussing films, especially those of recent vintage. Directors include Robert Wiene, F.W. Murnau, Fritz Lang, Lotte Reiniger, Leni Riefenstahl, Alexander Kluge, Volker Schlöndorff, Werner Herzog, Wim Wenders, Rainer Werner Fassbinder, Andreas Dresen, Christian Petzold, Jessica Hausner, Michael Haneke, Angela Schanelec, Barbara Albert. The films are available at the Douglass Media Center for viewing. Taught in English. Required Texts: Anton Kaes, M ISBN-13: 978-0851703701 Recommended Texts (on reserve at Alexander Library): Timothy Corrigan, A Short Guide to Writing about Film Rob Burns (ed.), German Cultural Studies Lotte Eisner, The Haunted Screen Sigmund Freud, Writings on Art and Literature Siegfried Kracauer, From Caligari to Hitler Anton Kaes, Shell Shock Cinema: Weimar Cinema and the Wounds of War Noah Isenberg, Weimar Cinema Gerd Gemünden, Continental Strangers Gerd Gemünden, A Foreign Affair: Billy Wilder’s American Films Sabine Hake, German National Cinema Béla Balász, Early Film Theory Siegfried Kracauer, The Mass Ornament Brad Prager, The Cinema of Werner Herzog Eric Ames, Ferocious Reality: Documentary according to Werner Herzog Eric Ames, Werner Herzog: Interviews N.
    [Show full text]
  • Julianne Moore Stephen Dillane Eddie Redmayne
    JULIANNE MOORE STEPHEN DILLANE EDDIE REDMAYNE ELENA ANAYA Directed By Tom Kalin UNAX UGALDE Screenplay by Howard A. Rodman Based on the book by Natalie Robins & Steven M. L. Aronson BELÉN RUEDA HUGH DANCY Julianne Moore, Stephen Dillane, Eddie Redmayne Elena Anaya, Unax Ugalde, Belén Rueda, Hugh Dancy CANNES 2007 Directed by Tom Kalin Screenplay Howard A. Rodman Based on the book by Natalie Robins & Steven M.L Aronson FRENCH / INTERNATIONAL PRESS DREAMACHINE CANNES 4th Floor Villa Royale 41 la Croisette (1st door N° 29) T: + 33 (0) 4 93 38 88 35 WORLD SALES F: + 33 (0) 4 93 38 88 70 DREAMACHINE CANNES Magali Montet 2, La Croisette, 3rd floor M : + 33 (0) 6 71 63 36 16 T : + 33 (0) 4 93 38 64 58 E: [email protected] F : + 33 (0) 4 93 38 62 26 Gordon Spragg M : + 33 (0) 6 75 25 97 91 LONDON E: [email protected] 24 Hanway Street London W1T 1UH US PRESS T : + 44 (0) 207 290 0750 INTERNATIONAL HOUSE OF PUBLICITY F : + 44 (0) 207 290 0751 info@hanwayfilms.com CANNES Jeff Hill PARIS M: + 33 (0)6 74 04 7063 2 rue Turgot email: [email protected] 75009 Paris, France T : + 33 (0) 1 4970 0370 Jessica Uzzan F : + 33 (0) 1 4970 0371 M: + 33 (0)6 76 19 2669 [email protected] email: [email protected] www.dreamachinefilms.com Résidence All Suites – 12, rue Latour Maubourg T : + 33 (0) 4 93 94 90 00 SYNOPSIS “Savage Grace”, based on the award winning book, tells the incredible true story of Barbara Daly, who married above her class to Brooks Baekeland, the dashing heir to the Bakelite plastics fortune.
    [Show full text]
  • FLM302 Reading German Film 3 Module Outline 2019-20
    FLM302: READING GERMAN FILM 3: CONTEMPORARY GERMAN CINEMA Course Outline, 2019-2020 Semester A 15 credits Course Organiser Dr Alasdair King [email protected] Arts 1: 2.08 Office hours: Wednesday 11-1 Timetable Screenings: Tuesday 10-12, Arts 1 G.34 Lectures: Tuesday 1-2, Bancroft G.07 Seminars: Thursday 2-3, Arts 2 3.17 Course Description This module will allow students to analyse various aspects of German film culture in the new millennium. It explores developments in recent German filmmaking in the context of the increasing globalisation of media industries and images and in the context of contemporary cinema’s relationship to other media forms. Stu- dents will explore the dynamics of recent German cinema, including its successes at major award ceremonies and at film festivals, its relationship to Hollywood and to other international cinemas, its distinct approach to questions of the audience, of auteurism and of production, and to transnational images, particularly con- cerning the emergence of Turkish-German filmmaking. Students will also address the representation of politics, terrorism, history, heritage and the national past, the engagement with issues of performance, gender and sexuality, the use of genre and popular commercial film styles, and the re-emergence of a ‘counter cinema’ in the work of the ‘Berlin School’ and after. Seminar work on current trends will allow students to work independently to research an individual case study of a chosen film and its significance to contemporary German cinema. Recommended Reading Abel, M (2013) The Counter-Cinema of the Berlin School. Rochester, NY: Camden House.
    [Show full text]
  • 89Th Annual Academy Awards® Oscar® Nominations Fact
    ® 89TH ANNUAL ACADEMY AWARDS ® OSCAR NOMINATIONS FACT SHEET Best Motion Picture of the Year: Arrival (Paramount) - Shawn Levy, Dan Levine, Aaron Ryder and David Linde, producers - This is the first nomination for all four. Fences (Paramount) - Scott Rudin, Denzel Washington and Todd Black, producers - This is the eighth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013) and The Grand Budapest Hotel (2014). This is the first nomination in this category for both Denzel Washington and Todd Black. Hacksaw Ridge (Summit Entertainment) - Bill Mechanic and David Permut, producers - This is the first nomination for both. Hell or High Water (CBS Films and Lionsgate) - Carla Hacken and Julie Yorn, producers - This is the first nomination for both. Hidden Figures (20th Century Fox) - Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, producers - This is the fourth nomination in this category for Donna Gigliotti, who won for Shakespeare in Love (1998). Her other Best Picture nominations were for The Reader (2008) and Silver Linings Playbook (2012). This is the first nomination in this category for Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi. La La Land (Summit Entertainment) - Fred Berger, Jordan Horowitz and Marc Platt, producers - This is the first nomination for both Fred Berger and Jordan Horowitz. This is the second nomination in this category for Marc Platt. He was nominated last year for Bridge of Spies. Lion (The Weinstein Company) - Emile Sherman, Iain Canning and Angie Fielder, producers - This is the second nomination in this category for both Emile Sherman and Iain Canning, who won for The King's Speech (2010).
    [Show full text]