DOCSLIB.ORG

BAFTA David Lean Lecture: Yorgos Lanthimos 2 February 2018, Princess Anne Theatre, BAFTA 195 Piccadilly, London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BAFTA David Lean Lecture: Yorgos Lanthimos 2 February 2018, Princess Anne Theatre, BAFTA 195 Piccadilly, London BAFTA David Lean Lecture: Yorgos Lanthimos 2 February 2018, Princess Anne Theatre, BAFTA 195 Piccadilly, London Anne Morrison: Hello, my name’s Anne Morrison and I’d like to wish you all a very very warm [Laughter] welcome to this year’s David Lean Lecture. This event is named after BAFTA’s founder David Thank you all for coming, I hope you don’t Lean, and is generously supported by the mind me sitting, but I just didn’t want to be David Lean Foundation. Last year was BAFTA’s behind a podium, pretending this is a lecture. 70th Anniversary, and David Lean was appointed the very first Chair in 1947, when the [Laughter] academy was created. Now if you look on the wall outside the theatre, you’ll see his name So yes, thank you for coming here today, and right at the top of the list of Chairs, and as a I’d like to thank BAFTA of course and the David more recent Chair, I’m down the bottom, Lean Foundation for this honour, there have usually behind a table of some sort. been some great filmmakers here before me that have appeared here and I’m hugely [Laughter] honoured to be part of this. I did say that I really don’t want to give a lecture, and I’ve AM: But as somebody who has been involved never thought of myself as someone who can with BAFTA for a long time now, it gives me do that, on any occasion, for any subject. But I enormous pleasure to see how Lean’s legacy thought what I could do here today is, um, if as a pioneering filmmaker, and his passion for we assume that some of my work is of interest… sharing his expertise, is passed on every year through these lectures. It’s an opportunity for [Laughter] directors with an exceptional body of work to explore the craft of directing, and give to us a YL: …is to first acknowledge certain common rare insight into their vision. By doing this, they experiences that we all may have, and inspire others. common cultural influences in popular culture that we have all been exposed to; but also in Yorgos Lanthimos is undeniably one of the most addition to that, share with you some of my exciting filmmakers of our generation. His experience that might be more foreign to you, unique vision and daring choices has made his just because of where I come from or the films some of the most anticipated - making us particular circumstances of my life. So basically laugh, cry, and yes, sometimes cover our eyes, yes, tonight I just want to share bits and pieces at the absurdity and the horror of life; pretty that have somehow shaped my view on things, much all at the same time. His filmography and have shaped my sensibilities over the includes Kinetta, Dogtooth, Alps, and last year, years. But of course, as with many of my films, The Killing of a Sacred Deer. In the BAFTA Film I’m not really going to draw conclusions for you Awards in 2016, his film The Lobster was in the end, you’ll have to figure out for nominated for the Alexander Korda Award for yourselves what all of these things mean if you Outstanding British Film, an award named after put them together. another founder of BAFTA. So following the lecture, Yorgos will be joined on stage by So yes, I’m going to start by saying that I grew producer Tanya Seghatchian for a question up in Greece, for those of you who don’t know. and answer session, and then you too will have I was a teenager during the 80s and during the the opportunity to ask some questions. 90s, but mostly during the 80s. During that time there was a lot of discotheques where I come But before all that, let’s have a reminder of from, but also many people who listened to some of Yorgos’s work. heavy metal music, and I was one of them, and there were the cool people that listened [Clip plays] to New Wave - which we listen to now, us that came in later. When I went to the cinema I, like AM: And now it gives me great pleasure to most of the people around the world, would welcome Yorgos Lanthimos to the stage. watch films like Back To The Future, Indiana Jones, Top Gun, Airplane, Dirty Dancing, [Applause] Ghostbusters, E.T., Goonies, Rocky, Jaws, Flashdance - and those last three you probably Yorgos Lanthimos: Thank you. I heard the music might have guessed if you’ve seen a film of from behind the door, I thought I was in the mine titled Dogtooth. But what I was obsessed wrong theatre. But I think this is us. with, was Bruce Lee films. It’s my oldest and 1 BAFTA David Lean Lecture: Yorgos Lanthimos strongest memory of cinema, watching Enter after watching the same film for a week, two the Dragon, which in Greece was very times every evening. So, I got over that. inappropriately called ‘The Yellow Asian from Hong Kong’. So I don’t know if watching films in that situation had any effect in how I perceived the [Laughter] films, but that’s where I discovered the films of John Cassavetes and Robert Bresson, who are YL: So um, the title is still the same. I looked it two of my favourite filmmakers. But I mentioned up. So I’d like to share the first clip with you, them, and I’d like to share two clips of their which is one of my films that showcased that films with you, just because they appear to be, kind of influence. their approach in filmmaking, seems to be so antithetical, and it’s hard to believe that [Clip plays] someone can equally like both, but I assume why I like them is they move me equally by [Applause] using completely different means of reaching the exact same core. So I’d like to show you a YL: So I didn’t make a full on karate film in the couple of clips, they’re basically treating the end, but this is what I got. One other interesting same situation, or a similar situation, in a very thing about showing this right now, which I different manner. didn’t realise in the beginning, is how differently films are seen within different periods of time [Clips play] and within the context of its era, because this used to be funny also because Prince was alive YL: So yes. I don’t know how to comment on when we first made this film, and unfortunately these things, and if I had my way, I would just since then he’s passed away, so I guess the be showing you clips all night, and then you’d scene changed somewhat, over the years. have to figure it out. Anyway, I think some things put together next to each other, just So the other wonderful thing about Greece, reveal a lot of things - and that is true for an where I come from, there’s a lovely cultural individual film as well. You gather all the phenomenon which are the open air cinemas, elements, and you put them next to each and during the 80s again and 90s, there used other, and it all makes sense. So I hope this way to be many more than the ones that exist now, we can communicate. So, moving on. but there’s still quite a few - there used to be like two or three cinemas in every During the time I was growing up in Greece - so neighbourhood, open air cinemas, and some back to that - there weren’t many young of them are quite peculiar in the sense that people making films in Greece, and there they’re little plots that are surrounded by tall weren’t many people making films in general. apartment buildings. And the back of the So in order to study film, I had to find an apartment buildings has the balconies of its excuse, because people would be worried if I apartments, so when you go into this open air told them that I wanted to make films in cinema you would be surrounded by people in Greece during the 80s and the 90s. So what I their apartments, and there would be laundry told people, and myself as well, that I wanted drying on the balconies, and people in their to study film in order to do TV commercials, underwear just hanging out in the back of their which made sense, that I would be able to apartment; there would be mops and buckets make a living, and everybody would be happy stored there. and not worry about me. So it’s quite a surreal experience to enter in [Laughter] that kind of cinema, where there’s a whole world that you can observe beyond the YL: So I did just that, and I was very lucky that screen. This is not something I actually noticed because during the 90s and the early 2000s back then, to me back then that was just a advertising in Greece was booming, I was able normal thing, that’s how open air cinemas to become very confident technically, and I were, you could just see people taking a was able to partly finance the films that I made shower at the same time. I was jealous of them in Greece because there was no, and still is no because they could see the films that were great industry in Greece, and there’s no playing in the cinema for free every night.
Load more

Recommended publications
  • Sundance Institute Presents Institute Sundance U.S
    1 Check website or mobile app for full description and content information. description app for full Check website or mobile #sundance • sundance.org/festival sundance.org/festival Sundance Institute Presents Institute Sundance The U.S. Dramatic Competition Films As You Are The Birth of a Nation U.S. Dramatic Competition Dramatic U.S. Many of these films have not yet been rated by the Motion Picture Association of America. Read the full descriptions online and choose responsibly. Films are generally followed by a Q&A with the director and selected members of the cast and crew. All films are shown in 35mm, DCP, or HDCAM. Special thanks to Dolby Laboratories, Inc., for its support of our U.S.A., 2016, 110 min., color U.S.A., 2016, 117 min., color digital cinema projection. As You Are is a telling and retelling of a Set against the antebellum South, this story relationship between three teenagers as it follows Nat Turner, a literate slave and traces the course of their friendship through preacher whose financially strained owner, PROGRAMMERS a construction of disparate memories Samuel Turner, accepts an offer to use prompted by a police investigation. Nat’s preaching to subdue unruly slaves. Director, Associate Programmers Sundance Film Festival Lauren Cioffi, Adam Montgomery, After witnessing countless atrocities against 2 John Cooper Harry Vaughn fellow slaves, Nat devises a plan to lead his DIRECTOR: Miles Joris-Peyrafitte people to freedom. Director of Programming Shorts Programmers SCREENWRITERS: Miles Joris-Peyrafitte, Trevor Groth Dilcia Barrera, Emily Doe, Madison Harrison Ernesto Foronda, Jon Korn, PRINCIPAL CAST: Owen Campbell, DIRECTOR/SCREENWRITER: Nate Parker Senior Programmers Katie Metcalfe, Lisa Ogdie, Charlie Heaton, Amandla Stenberg, PRINCIPAL CAST: Nate Parker, David Courier, Shari Frilot, Adam Piron, Mike Plante, Kim Yutani, John Scurti, Scott Cohen, Armie Hammer, Aja Naomi King, Caroline Libresco, John Nein, Landon Zakheim Mary Stuart Masterson Jackie Earle Haley, Gabrielle Union, Mike Plante, Charlie Reff, Kim Yutani Mark Boone Jr.
    [Show full text]
  • Ruth Prawer Jhabvala's Adapted Screenplays
    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
    [Show full text]
  • Das Februar-Programm Im Kino Im Kesselhaus
    www.kinoimkesselhaus.at PRESSEINFORMATION DAS FEBRUAR-PROGRAMM IM KINO IM KESSELHAUS ⋅ FILMGESPRÄCHE: THE END OF MEAT (1.2. Kooperation mit Attac Krems), LIFE GUIDANCE (23.2. Regisseurin Ruth Mader zu Gast) ⋅ CINEZONE (15.2.) – Film/Live-Remix: TRAINS OF THOUGHTS / Konzert: SOFA SURFERS ⋅ MALEN IN DER FILMBAR nach der Kinderkino-Vorstellung (12.2.) ⋅ FILMFRÜHSTÜCK MIT DJ MARKY MUSHROOM (18.2.) ⋅ KINDERTHEATER: KLUPPE WÄSCHEKIND (25.2.) ⋅ SPIELFILME: DAS LEUCHTEN DER ERINNERUNG (31.1.-4.2. / 11.+25.2), WONDER WHEEL (7.-11.2.), DJANGO (8.-11.2.), DER ANDERE LIEBHABER (16.-18.2.), THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (22.-28.2.), DIE DUNKELSTE STUNDE (21.-28.2.) u.v.m. Kino im Kesselhaus, Dr.-Karl-Dorrek-Straße 30, A-3500 Krems, Tickets/Informationen: Tel. 02732/90 80 00 www.kinoimkesselhaus.at → PRESSETEXT ALS PDF : http://www.kinoimkesselhaus.at/de/presse/1802_KINO_IM_KESSELHAUS_KREMS.pdf → PRESSEFOTOS : https://celum.noeku.at/pindownload/login.do?pin=9OHM6 Die SPIELFILME des Februarspielplans stehen ganz im Zeichen großen SchauspielerInnen-Kinos: Helen Mirren und Donald Sutherland reisen in DAS LEUCHTEN DER ERINNERUNG (31.1.-4.2. / 11.+25.2. Filmfrühstück) mit einem alten Wohnmobil durch ihre Vergangenheit. Paolo Virzì erzählt in seinem tragikomischen Roadmovie vom Ende eines erfüllten gemeinsamen Lebens. Gary Oldman ist die Rolle des Winston Churchill in Joe Wrights elektrisierendem politischen Thriller DIE DUNKELSTE STUNDE (21.-28.2.) förmlich auf den Leib geschrieben. Frances McDormand spielt in der klugen pechschwarzen Tragikomödie THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (22.-28.2.) eine Frau, die den Tod ihrer Tochter rächen will. Sie wurde für ihre Darstellung mit dem Golden Globe ausgezeichnet.
    [Show full text]
  • THE LOBSTER Diretto Da Yorgos Lanthimos
    THE LOBSTER Diretto da Yorgos Lanthimos distribuzione: uscita: 16 ottobre 2015 Ufficio Stampa: Studio PUNTOeVIRGOLA www.studiopuntoevirgola.com cast tecnico Diretto da Yorgos Lanthimos Scritto da Yorgos Lanthimos e Efthimis Filippou Direttore della Fotografia Thimios BAKATAKIS Scenografie Jacqueline Abrahams Montaggio Yorgos Mavropsaridis Costumi Sarah Blenkinsop Casting Jina Jay Una Produzione Element Pictures e Scarlet Films Prodotto da Ed Guiney, Lee Magiday, ceci, Dempsey e Yorgos Lanthimos Produttori Esecutivi Andrew Lowe, Tessa Ross e Sam Lavender Co-Prodotto da Christos V. Konstantakopoulos, Leontine Petit, Carole Scotta, Joost De Vries and Derk-Jan Warrink durata 118 cast artistico David Colin Farrell La Donna Miope Rachel Weisz La Donna che Sanguina dal Naso Jessica Barden Olivia Colman Manager dell’Hotel Ashley Jensen La donna dei biscotti Ariane Labed La domestica Angeliki Papoulia La Donna Spietata John C. Reilly L’Uomo col Difetto di Pronuncia Léa Seydoux Il capo dei solitari Michael Smiley Il Nuotatore Solitario Ben Whishaw L’Uomo Zoppo 2 sinossi The Lobster è una storia d’amore ambientata in un futuro prossimo, dove i Single, secondo quanto stabiliscono le regole della Città, vengono arrestati e trasferiti nell’Hotel, dove sono obbligati a trovarsi un partner entro 45 giorni. Se falliscono vengono trasformati in un animale a loro scelta e liberati nei Boschi. Un uomo disperato fugge dall’Hotel e va nei Boschi, dove vivono i Solitari; lì s’innamorerà, trasgredendo alle regole. il making of di The Lobster The Lobster è il primo film in lingua inglese di Yorgos Lanthimos, la cui seconda pellicola, Kynodontas, ha vinto numerosi premi internazionali, tra cui il premio ‘Un Certain Regard’ a Cannes.
    [Show full text]
  • GSU President to Become a Paid Role
    FR IDAY, 3RD NOVEMBER, 2017 – Keep the Cat Free – ISSUE 1674 Felix The Student Newspaper of Imperial College London NEWS Event cancelled after speaker accused of rape PAGE 4 MUSIC Our guide to October’s best music releases PAGE 12 From this year onwards, the GSU President will earn £10,000 per year. // Stewart Oak FILM GSU President to become a paid role NEWS Students’ Union”, would Shamso spoke of the postgraduate representa- committee, the majority see the GSU President re- difficulties he had faced tion at Imperial”. He told of whom were voted in Fred Fyles ceiving an annual stipend as a result of taking on Felix that the President last month, the President Editor-in-Chief of £10,000. The money the GSU President role: is “placed under huge should “further student-re- would be funded by Im- “Spending a large amount amounts of pressure, not lated policy and influence The count-down perial’s Education Office, of my time on enriching only having to lead and decisions for the benefit The Graduate Students and would not come from the life of postgraduate motivate a committee of of Imperial College’s of best actresses Union President will be the Union itself. The po- students at Imperial has elected students, but also Postgraduate students”, begins paid an annual stipend sition would be part-time, had a costly effect on the having to deliver the PG “ensure that decisions and PAGE 20 in contrast to the seven progression of my PhD re- voice and opinion at many achievements of the GSU of £10,000, funded by paid sabbatical positions search...I will most likely College committees, some are clearly communicated the Graduate School.
    [Show full text]
  • Crònica D'un Any 2018 Anna Bayó Jordi Camps Antía Gómez Ramon
    Crònica d’un any 2018 Anna Bayó Jordi Camps Antía Gómez Ramon Girona Christian G. Carlos Ingrid Guardiola Imma Merino Salvador Montalt Àngel Quintana Carles Ribas Blanché Jep Soler 18 Marta Sureda Guillem Terribas Paco Vilallonga CRÒNICA DEL DIVUITÈ ANIVERSARI El Truffaut, una relíquia Sabeu si algú ha calculat i seqüenciat les pel·lícules projectades en aquell espai que va ser el cinema Modern? I quantes pel·lícules s’hi han presentat des que va néixer el Truffaut? El Truffaut és una relíquia. I és testimoni real d’un espai real de quan les ficcions cinematogràfiques només es podien veure en una sala pública envoltada de més públic. Ara en restauren el reliquiari. Tornarà igual que com el vam deixar. Només en variaran els accessos i el complex edifici que l’acull. Des de la primavera del 2019 viu un exili en una sala de la plaça Jordi de Sant Jordi. No recordo si ho vaig veure en una pel·lícula, en un documental, en un reportatge escrit o hi vaig ser personalment: als Estats Units hi ha moltes sales de cinema bellíssimes reconvertides en esglésies per a predicadors apocalíptics. Si més no, en conserven l’ordre de les butaques. Arreu del món han desaparegut moltes sales i multisales pioneres. Hi han aixecat pisos, hi han posat tallers, s’han reconvertit en grans magatzems i botigues i, on han tingut més sort, l’Ajuntament se les ha quedat per posar una sala polivalent, un teatre o un auditori. El cinema Truffaut va ser l’única sala de Girona on es va projectarRoma , d’Alfonso Cuarón, la pel·lícula més popular del 2018, estrenada en una plataforma digital amb milers de títols.
    [Show full text]
  • Cinema 11 Journal of Philosophy and the Moving Image Revista De Filosofia E Da Imagem Em Movimento
    CINEMA 11 JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO FILM AND ETHICS edited by CINEMA E ÉTICA editado por Patrícia Castello Branco Susana Viegas CINEMA 11 EDITORS Patrícia Silveirinha Castello Branco (IFILNOVA) Sérgio Dias Branco (University of Coimbra/CEIS20) Susana Viegas (IFILNOVA/Deakin University) EDITORIAL ADVISORY BOARDD. N. Rodowick (University of Chicago) Francesco Casetti (Catholic University of the Sacred Heart/Yale University) Georges Didi-Huberman (School for Advanced Studies in the Social Sciences) Ismail Norberto Xavier (University of São Paulo) João Mário Grilo (Nova University of Lisbon/IFILNOVA) Laura U. Marks (Simon Fraser University) Murray Smith (University of Kent) Noël Carroll (City University of New York) Patricia MacCormack (Anglia Ruskin University) Raymond Bellour (New Sorbonne University - Paris 3/CNRS) Stephen Mulhall (University of Oxford) Thomas E. Wartenberg (Mount Holyoke College) INTERVIEWS EDITOR Susana Nascimento Duarte (School of Arts and Design, Caldas da Rainha/IFILNOVA) BOOK REVIEWS EDITOR Maria Irene Aparício (Nova University of Lisbon/IFILNOVA) CONFERENCE REPORTS EDITOR William Brown (University of Roehampton) ISSN 1647-8991 CATALOGS Directory of Open Access Journals (DOAJ) Emerging Sources Citation Index, Clarivate Analytics (ESCI) Web of Science TM European Reference Index for the Humanities and the Social Sciences (ERIH PLUS) Regional Cooperative Online Information System for Scholarly Journals from Latin America, the Caribbean, Spain and Portugal
    [Show full text]
  • KINOPROGRAMM Januar | 2018
    Luitpoldstr. 25 | Bamberg | Tel. 2 70 24 Untere Königstr. 34 | Bamberg | Tel. 2 67 85 KINOPROGRAMM januar | 2018 EINE REISE DURCH DAS LEBEN | 47:;B7>>23A;=</BA LIEBER LEBEN LA MÉLODIE THE KILLING OF A SACRED DEER ENGLISH CINEMA LIEBER LEBEN THE KILLING OF A SACRED DEER STAR WARS: EPISODE VIII – Ben ist jung, schlagfertig, Deutsche Fassung | Engl. OmU. nur am Mi., 10.1., um 20:40 Uhr im Odeon. DIE LETZTEN JEDI sportlich und extrem witzig. Regisseur Yorgos Lanthimos hat mit seinen drei bisherigen Filmen „Dogtooth“, Die Saga geht weiter und bleibt Nach einem Unfall sitzt er „Alpen“ und „The Lobster“ bewiesen, das er ein absoluter Ausnahmeregisseur ein Muss und sei es wegen plötzlich im Rollstuhl... Wun- ist. Für seinen neuen packenden und irritierenden Film wurde der Grieche bei der viel zu früh verstorbenen, derbares modernes franzö- den Filmfestspielen von Cannes mit dem Preis für das beste Drehbuch ausge- wunderbaren Prinzessin Leia, sisches Kino: Ein filmischer zeichnet. In bester „Shining”-Manier erzählt er mit Nicole Kidman und Colin Carrie Fisher. Der letzte Jedi, Glücksfall, dem eine seltene Balance aus Farrell in den Hauptrollen, angelehnt an die griechische Mythologie, eine absurde Rachege- Luke Skywalker, selbst nicht Heiterkeit und berechtigter Schwermut ge- schichte. „Meisterhaft! […] Ein Muss für jeden, der sich für mutiges Filmemachen interes- unerfahren in der Komplexität von Meister- lingt und der in jedem einzelnen Moment siert. Der griechische Regisseur bestätigt seine Position als einer der derzeit wichtigsten Schüler-Beziehungen, nimmt sich der Aus- die Echtheit einer wahren Geschichte atmet! Filmemacher weltweit.” (The Hollywood Reporter) bildung der jungen Rey an.
    [Show full text]
  • Cinema 11 Journal of Philosophy and the Moving Image Revista De Filosofia E Da Imagem Em Movimento
    CINEMA 11 JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO FILM AND ETHICS edited by CINEMA E ÉTICA editado por Patrícia Castello Branco Susana Viegas CINEMA 11 EDITORS Patrícia Silveirinha Castello Branco (IFILNOVA) Sérgio Dias Branco (University of Coimbra/CEIS20) Susana Viegas (IFILNOVA/Deakin University) EDITORIAL ADVISORY BOARDD. N. Rodowick (University of Chicago) Francesco Casetti (Catholic University of the Sacred Heart/Yale University) Georges Didi-Huberman (School for Advanced Studies in the Social Sciences) Ismail Norberto Xavier (University of São Paulo) João Mário Grilo (Nova University of Lisbon/IFILNOVA) Laura U. Marks (Simon Fraser University) Murray Smith (University of Kent) Noël Carroll (City University of New York) Patricia MacCormack (Anglia Ruskin University) Raymond Bellour (New Sorbonne University - Paris 3/CNRS) Stephen Mulhall (University of Oxford) Thomas E. Wartenberg (Mount Holyoke College) INTERVIEWS EDITOR Susana Nascimento Duarte (School of Arts and Design, Caldas da Rainha/IFILNOVA) BOOK REVIEWS EDITOR Maria Irene Aparício (Nova University of Lisbon/IFILNOVA) CONFERENCE REPORTS EDITOR William Brown (University of Roehampton) ISSN 1647-8991 CATALOGS Directory of Open Access Journals (DOAJ) Emerging Sources Citation Index, Clarivate Analytics (ESCI) Web of Science TM European Reference Index for the Humanities and the Social Sciences (ERIH PLUS) Regional Cooperative Online Information System for Scholarly Journals from Latin America, the Caribbean, Spain and Portugal
    [Show full text]
  • Download a PDF Version of This News Release
    FOR IMMEDIATE RELEASE Media Contact: December 7, 2015 Elizabeth Latenser 435.658.3456 [email protected] SUNDANCE INSTITUTE COMPLETES FEATURE FILM LINEUP FOR 2016 SUNDANCE FILM FESTIVAL Premieres, Documentary Premieres, Spotlight, Sundance Kids and Special Events: Bright Stars, New Stories and Fest Favorites Round Out Robust Festival Program (L-R) 11.22.63, Credit: Alex Dukay; Sundance Film Festival, Credit: Jemal Countess; Eagle Huntress, Credit: Asher Svidensky. Park City, UT — Sundance Institute today completed its feature film lineup for the 2016 Sundance Film Festival with the highly anticipated narratives, documentaries, episodic work and events in the Premieres, Documentary Premieres, Spotlight, Sundance Kids and Special Events sections. The Festival takes place January 21-31 in Park City, Salt Lake City, Sundance and Ogden, Utah. Among the films that have premiered in these sections in recent years are Boyhood, Brooklyn, Twenty Feet from Stardom, Life Itself, The End of the Tour, Mistress America, Frank, Going Clear: Scientology and the Prison of Belief, Shaun the Sheep and The Jinx: The Life and Deaths of Robert Durst. John Cooper, Director of the Sundance Film Festival, said, “The Sundance Film Festival is truly a place for discovery. We have seen an increase in younger audiences in recent years, showing that the next generation of independent film fans is culturally adventurous and drawn to the diverse lineup we offer each year.” Trevor Groth, Director of Programming for the Sundance Film Festival, said, “Many of our selections this year reveal that what resides at the core of captivating stories are fascinating, and at times heroic, characters. In shining light on these people, independent filmmakers are doing what they've always done best: connecting the dots of human existence with a deeply charged emotional current.” In addition to those announced today, selections for the U.S.
    [Show full text]
  • Web File March:April 2020
    VOL. 13 ISSUE 2 Hours: (203) 734-1492 March - April 2020 Mon. - Thurs. 10 a.m. - 8 p.m. (203) 732-2913 FAX Sat. - Sun. 1 p.m. - 5 p.m. Privately Funded (Open Sat. & Sun. all year) 307 Hawthorne Avenue Derby, Connecticut 06418 www.derbynecklibrary.org email: [email protected] Derby Neck Library A Regional Library Currents Over a century of service to the Valley Community The Kerry Boys Return to the Derby Neck Library The Valley Counts! By April 1, 2020, every home will receive an invitation to participate in the 2020 Census. You will have three options for responding. All of them are easy: Online, Phone, and by Mail. The 2020 Census marks the first time you will be invited to respond online – even on your mobile device. The online form is available in many different languages. Visit 2020CENSUS.GOV for more information about responding online. The Census is very to easy to fill out. It’s only 9 questions and only one needs to be filled out per household. Each Census invitation that you receive in the mail has a PIN number specific to the address and you need this PIN to assist in filling out the Census online or by phone. What will I need to fill out the Census? Your PIN# Connecticut’s premier Irish balladeers, the The person in the housing unit who fills out the Census (Person 1) provides the Kerry Boys, will return to the Derby Neck Library on Saturday, March 21 at 2:00 pm for following information about each household member: a performance in recognition of St.
    [Show full text]
  • Neuerwerbungsliste Juli 2021 Film
    NEUERWERBUNGSLISTE JULI 2021 FILM (Foto: Moritz Haase / Olaf Janson) Zentral- und Landesbibliothek Berlin Stiftung des öffentlichen Rechts Inhaltsverzeichnis Unser Filmbestand 3 Unsere Empfehlung 7 Unsere Veranstaltungen 9 Neu im Regal 12 Film 5 Stummfilme 12 Film 7 Fernsehserien 13 Film 10 Tonspielfilme 17 Film 20 Animationsfilme 42 Film 27 Animation. Anime Serien 43 K 400 Kinderfilme 44 Ju 400 Jugendfilme 46 Sachfilme nach Fachgebiet 48 Allgemeine Hinweise 53 Seite 2 von 57 Stand vom: 30.07.2021 Neuerwerbungen im Fachbereich Film Unser Filmbestand Die Cinemathek der ZLB bietet den größten, allgemein zugänglichen Filmbestand in einer öffentlichen Bibliothek Deutschlands. Der internationale und vielsprachige Filmbestand umfasst alle Genres: Spielfilme, auch Stummfilme, Fernsehserien, Kinder- und Jugendfilme, Musikfilme und Bühnenaufzeichnungen, Animations- und Experimentalfilme, sowie Dokumentarfilme zu allen Fächern der Bibliothek. Mehr als 65.000 Filme auf über 50.000 DVDs und über 6.000 Blu-ray Discs sind frei zugänglich aufgestellt und ausleihbar. Aus dem Außenmagazin können 20.000 Videokassetten mit zum Teil seltenen Filmen bestellt werden. Seite 3 von 57 Stand vom: 30.07.2021 Neuerwerbungen im Fachbereich Film Sie haben einen Film nicht im Regal gefunden? Unsere Filme sind nach den Anfangsbuchstaben der Regie und die Serien nach dem Originaltitel sortiert. Sachfilme befinden sich häufig am Ende des Regals des passenden Fachbereichs. Es lohnt sich immer auch eine Suche über unseren Bibliothekskatalog. Denn ein Teil unseres Angebotes steht für Sie in unseren Magazinen bereit. Sie können diese Medien über Ihr Bibliothekskonto bestellen und in der Amerika-Gedenkbibliothek oft bereits nach 30-45 Minuten abholen. Wussten Sie schon? Es stehen für Sie in beiden Häusern der ZLB speziell eingerichtete Arbeitsplätze mit 27"-Monitoren, an denen Filme in verschiedenen Formaten vor Ort angesehen werden können.
    [Show full text]