Haute Couture
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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 .......................... -
Télécharger Le Rapport D'activité 2020
Rapport d’activité 2020 0 Rapport d’activité 2020 1 Rapport d’activité 2020 RAPPORT D’ACTIVITÉ 2020 2 Rapport d’activité 2020 AVANT PROPOS……………………………………………………………………………………………………………….…5 2020 EN QUELQUES CHIFFRES………………………………………………………………………………………………..6 LA CINÉMATHÈQUE REMERCIE SES PARTENAIRES ET MÉCÈNES………………………………………………..….7 ILS SONT VENUS……………………………………………………………………………………………………………….…8 1 L’OFFRE AU PUBLIC ......................................................................................................................................... 12 1.1 LES EXPOSITIONS .............................................................................................................................................. 13 1.1.1 Vampires, de Dracula à Buffy ....................................................................................................................... 13 1.1.2 Louis de Funès.............................................................................................................................................. 14 1.2 LE MUSÉE DE LA CINÉMATHÈQUE ................................................................................................................... 17 1.2.1 Les derniers mois du musée « Passion Cinéma » ........................................................................................ 17 1.2.2 Les travaux pour le Musée Méliès................................................................................................................. 18 1.3 LES STUDIOS PÉDAGOGIQUES ....................................................................................................................... -
LISTE DES AUTOGRAPHES D'odette LAURE Marcel
aller à l'accueil de l'Association de la Régie Théâtrale LISTE DES AUTOGRAPHES D'ODETTE LAURE Marcel ACHARD Guy BONTEMPELLI Bernard ALANE Héléna BOSSIS Roland ALEXANDRE Alphonse BOUDARD Louis AMADE Micheline BOUDET Marcel AMONT Jacques BOURGEAT Michèle ANDRE Philippe BOUVARD ARLETTY Jean-pierre BOUVIER Kitty ARNAUD André BREFORD Sophie ARTUR Jean-claude BRIALY Jeanne AUBERT Nicole CALFAN Marcelle AUCLAIR Odette CAPGRAS Jacqueline AUDRY Francis CARCO Jacqueline AURIOL Pierre CARDIN Germaine AZIS Roger CAREL Geneviève BAILAC Mona CARLE Charly BAILLY Jean CARMET Jean BARDECHE Marguerite CARRE Pierre BARLATIER Dany CARREL Louis BARRIER Maurice CARRERE Marie BELL Anne-Marie CARRIERE Jenny BELLAY Jean CARTIER Pierre BELLEMARE Jacqueline CARTIER Macha BERANGER Pauline CARTON Geneviève BERNARD Mathilde CASADESSUS André BERNHEIM Marguerite CASSAN Gabriel BERTRAND Jean-pierre CASSEL Louis BESSIERES Paulette CASTELLE Maurice BESSY Jean-Roger CAUSSIMON Bernard BILLAUD Mme CHABAN DELMAS Robert BILLET François CHALAIS Jane BIRKIN François CHANTENAY Marie BIZET Robert CHARROUX Gérard BLANC Roger de la CHAVONNERIE Annick BLANCHETEAU Leïla CHELLABI Dirk BOGARDE Jean-Laurent COCHET Marc BONEL Michelle COLIN Lou BONNIN Erik COLIN Luisa COLPEYN Jean DONGUES Jean COSMOS Jean-pierre DORIAN Henri CREMIEUX Françoise DORNER Régine CRESPIN Françoise DORNER Jeannine CRESPIN Marianne DOUMENS Denise de CROY Michel DRUCKER Jean-Louis CURTIS Ruth DUBACH Jean D'ESTREE Pierre DUDAN Marie DAEMS Frédéric DUPONT Alex DAHN Michel DURAND Mony DALMES Jean DURKHEIM DAMIA Béatrix -
N° 175 Septembre 2020
La Lettre eNTRETIEN CROISÉ ENTRE MARIE-CHRISTINE DESANDRÉ ET FRANÇOIS AYMÉ LA CST DÉMÉNAGE ! INTERVIEW D’YVES ANGELO, CHEF OPÉRATEUR DE POLICE, D’ANNE FONTAINE DOSSIER : « DÉPOSEZ VOS ARCHIVES ! » SEPTEMBRE 2020 INTERVIEW DE LUC BÉRAUD, AUTEUR DES LUMIÈRES DE LHOMME HOMMAGE À ANNICK MULLATIER N° 175 La Lettre N° 175 SOMMAIRE LA CST est la première association de techniciens du cinéma et de l’audiovisuel ASSOCIATIF 4 française. Interview croisée M.C. Dessandré – F. Aymé Née en 1944, Elle promeut l’excellence tech- Retours d’expériences COVID / La CST déménage nique qui permet l’aboutissement de la vision L'Abominable : laboratoire cinématographique de l’équipe artistique et garantit que cette vi- L'association EVE œuvre pour l'égalité femme- sion est correctement restituée sur l’écran pour homme / Café technique sur l'IMF l’ensemble des spectateurs. La CST organise les groupes de travail d’où émergeront les bonnes TECHNIQUE 26 pratiques professionnelles qui deviendront des Filmer en huis-clos : entretien avec Yves recommandations techniques, voire même Angelo, chef-opérateur de Police d'Anne Fontaine des normes ou standards. La CST accompagne Conception et exécution des costumes dans le également les salles de cinéma qui souhaitent cinéma français entre 1945 et 1959 : interview de proposer une expérience optimale à leurs Myriam Fouillet / Quelle place pour les archives spectateurs. À ce titre, elle assure la Direction audiovisuelles ? / Spatialisation du son au cinéma technique de plusieurs festivals, dont le Festival International du Film de Cannes. ÉVÉNEMENTS 44 Enfin, la CST est la maison des associations Lhomme en lumières : interview de Luc Béraud de cinéma avec aujourd’hui 18 associations membres. -
UNSTITCHING the 1950S FILM Á COSTUMES: HIDDEN
1 UNSTITCHING THE 1950s FILM Á COSTUMES: HIDDEN DESIGNERS, HIDDEN MEANINGS Volume I of II Submitted by Jennie Cousins, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Film Studies, October 2008. This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. …………………………………. 2 Abstract This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinoline, and accessories, is explored in order to determine an ideological pattern (based in each costumier’s individual design methodology) from which the fabric of this thesis may then be cut. In so doing, the way in which film costume speaks as an independent producer of cinematic meaning may then be uncovered. By viewing costume design as an autonomous ideological system, rather than a part of mise-en- scène subordinate to narrative, this fabric-centric enquiry consolidates Stella Bruzzi’s insightful exploration of film costume in Undressing Cinema, Clothing and Identity in the Movies (1997). -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................ -
In Her Own Words: Works by Exceptional Women
london Peter Harrington ININ HERHER OWN WORDS WORKS BY EXCEPTIONAL WOMEN ur first catalogue focussed on women spans the Others have been overlooked despite brilliant contributions Ocenturies from Sappho to Maya Angelou, showcasing the to their fields. Early works by Joan Robinson (122 and 123) and work of exceptional women in many different fields. Rosa Luxemburg (96) are well-known to economists, but less These were women who pushed legal, intellectual, and well-known are those by Helen Makower (97) and S. F. Porter physical boundaries. Millicent Fawcett Garrett signed our (118). Rosalind Franklin and Jocelyn Bell were both denied copy of Women’s Victory in July 1928, the same month the Equal Nobel prizes, despite playing crucial roles in the discovery of the Franchise Act gave British women electoral equality with men structure of DNA and radio pulsars respectively (70 and 22). In (item 66). Maria Gaetana Agnesi’s Analytical Institutions is the the suffrage movement, the works of Christabel (109) and Sylvia first advanced mathematics book by a woman (1). Trailblazers Pankhurst (110) sit alongside work by their exiled sister, Adela such as Fanny Parks, “characterized by remarkable physical (108), comparatively overlooked, yet no less fierce a Pankhurst stamina” (112), Amelia Edwards, who carried out the first for it. general archaeological survey of Egypt’s ruins (60), and Lady Within the catalogue, works on paper appear alongside items Hester Stanhope, “Queen of the Desert” (144), cleared the way in different media. Amelia Earhart’s Fun of It, inscribed (59), for later intrepid travellers such as Gertrude Bell (21) and Freya complements the pearl carried on the maiden voyage of the Stark (145). -
Filmographie Des Œuvres D'alexandre Dumas Père
FILMOGRAPHIE LES ŒUVRES D’ALEXANDRE DUMAS PERE ADAPTEES A L’ECRAN Constituée par Uwe Jacobs SOMMAIRE ABREVIATIONS page 2 Le chevalier de Maison-Rouge page 2 Le collier de la Reine page 3 Les compagnons de Jéhu page 7 Le comte de Monte-Cristo page 8 La dame de Monsoreau page 24 Les frères corses page 25 Kean page 29 Mémoires d'un médecin page 33 La reine Margot page 34 Robin des bois page 37 Salteador page 38 Souvenirs d'une favorite page 39 La tour de Nesle page 42 Les Trois Mousquetaires-Trilogie- page 46 La Tulipe noire page 76 ABREVIATIONS ESTIMATION (par Uwe Jacobs) DDD : hautement dumasien DD : moyennement dumasien D : médiocrement dumasien sans : non acceptable * : dumasien seulement par le titre DISTRIBUTION P : production producteur, directeur de production, producteur exécutif, éditeur R : réalisateur assistant-réalisateur, direction artistique, direction technique, direction couleurs S : scénario dialogues I : interprètes O : opérateur montage, opérateur cadreur, conseil couleurs, décors, meubles, équipement, technique, costumes, coiffures, maquillage, chorégraphie, escrimeurs, effets spéciaux, script, sons LE CHEVALIER DE MAISON ROUGE 12 Fra. LE CHEVALIER DE MAISON-ROUGE DDD France 1912 P Pathé Frères R Albert Capellani I Marie-Louise Derval M. Dorival M. Escoffier Paul Capellani Henry Krauss Rolla Norman 53 Ital. IL CAVALIERE DI MAISON ROUGE DDD Italie 1953 R Vittorio Cottafavi I Renée Saint-Cyr ........... Marie Antoinette Alfred Adam ......................... Dixmer Yvette Lebobn .............. sa femme Margot Armando Francioli ...... le capitaine Lindey Marcel Perez .............. le gardien Simon Annie Ducaux Jean Desailly LE COLLIER DE LA REINE 09 Fra. LE COLLIER DE LA REINE DDD France 1909 P Meliès/Louis Feuillade 12 Fra. -
Chapter 1 1850-1890: the Dawn of Modern Clothing
Chapter 1 1850-1890: The Dawn of Modern Clothing This Teacher’s Guide, compiled with the assistance of Stephanie Kramer, is designed to provide you with a summary of the key points in the development of fashion during the period/decade covered in this chapter. It also provides a concise survey of the significant designers of the time, essay and discussion questions, and further reading and research suggestions. Objective The main objective of this chapter is to study the development of fashion during the second half of the 19th century, particularly the establishment of those aspects of the fashion system that are still in place today. Fashion in this period reflected the latest developments in engineering, chemistry, and communication and witnessed development of the role of the “fashion designer.” Key Teaching Points The following teaching points have been arranged thematically and highlight the important topics that need to be covered in order to meet the main objective of the chapter. Social and Economic Background • Britain o reign of Queen Victoria (1837-1901); stress on propriety and etiquette o rapid industrialization o expanding overseas empire • United States o impact of Civil War (1861-1865) on global trade o emergence as industrial power • France o reestablishment of court during Second Empire (begins 1852, ends with Franco-Prussian war 1870) o transformation of Paris into fashionable modern city • Japan o opens borders (1853-1854) o goods enter the Western market and impact Western tastes The Arts • Orientalism and Academic -
VA14 Couture
Couture Dresses for princesses Christian Dior’s New Look seemed to symbolise the arrival of a brave new fashion world when it hit the catwalk in 1947. But as the V&A’s new blockbuster reveals, couture’s post-war golden age marked the last blast of an old aristocratic order before the fashion revolution of the 1960s. Suzy Menkes reports Left: Pierre Balmain, early 1950s, white silk organza, feathers and rhinestones. Right: Cristobal Balenciaga, c.1955, scarlet silk and silk taffeta. Both © V&A Images 38 V&A Magazine Winter 2007 www.vam.ac.uk V&A Magazine Winter 2007 39 Right: Christian Dior Couture with his house model Renee, c.1957, photographed by Henry Clarke © Condé Nast Archive/Corbis, all rights reserved. Below: Zémire modelled by Renee, Paris, 1954, photographed by Regina Relang © V&A Images. Facing page: coats by Molyneux and Hardy Amies, worn by Barbara Goalen and Wenda Parkinson (née Rogerson), 1948 © Norman Parkinson Archive, London The dress is Red Riding Hood scarlet, its gleaming satin skirt spreading under an elongated jacket. It speaks of glamour and dash, of history and haute elegance. And who could have believed that this Christian Dior gown was made while Paris was still licking the wounds of war? Or that the magisterial ensemble had been fished out of a damp cellar seeping with water from the River Seine? Zémire, the V&A’s historic Dior find from 1954, is the star of ‘The Golden Age of Couture’. But the new exhibition has a subtext: ‘Paris and London 1947-1957’. In its sober tweed suits, its twirling, wasp-waist dresses and its substantial, sculpted undergarments, it is designed to get under the skin of those clothes whose firm silhouettes identified the post-war period – on both sides of the channel. -
Fonds Roger Vitrac
aller à l'accueil de l'Association de la Régie Théâtrale Roger Vitrac 1899-1952 Auteur dramatique, poète, journaliste Grand admirateur de Lautréamont et d’Alfred Jarry, il participe dès 1917 aux premières manifestations dadaïstes. Il devient l’ami d’André Breton et rejoint le mouvement surréaliste qu’il quittera en 1926. Avec Antonin Artaud, il fonde le théâtre Alfred Jarry. La plus fameuse de ses pièces demeure Victor ou les enfants au pouvoir, créée en 1928 à la Comédie des Champs-Elysées. C’est la reprise de cette pièce dans une mise en scène de Jean Anouilh au Théâtre de l’Ambigu en 1962 qui le révèle véritablement au grand public avec le triomphe personnel du jeune Claude Rich dans le rôle titre. Vitrac (Roger). – Théâtre . Paris, Gallimard. 4 vol. in-8°. A.R.T.627 761 T. 1 –Victor ou les enfants au pouvoir. Le Coup de Trafalgar. Le Camelot. -1978.304 p. T. 2 -Les Mystères de l’amour. Les demoiselles du large. Le Loup-Garou. T. 3 - Le peintre. Mademoiselle piège. Entrée libre. Poison. L’Ephémère. La Bagarre. Médor. -1964. 256 p. T. 4 – La Croisière oubliée. Le Sabre de mon père. Le condamné.- 1964. 239 p. Vitrac (Roger).- Le Destin change de chevaux. Précédé de Roger Vitrac et l’expérience du théâtre d’Alfred Jarry par Jean-Pierre Han. Mortemart, Rougerie,1980. In-8°,142 p. A.R.T. 627 767 Vitrac (Roger).- Connaissance de la mort. Présentation de Jean-Pierre Han. Mortemart, Rougerie, 1992. In-8°, 159 p. Exemplaire numéroté (14) A.R.T. -
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