DOCSLIB.ORG

New Releases Limited Runs Camps

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Releases Limited Runs Camps July Wild at Heart SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5 6 1:15 PM THE PLAY HOUSE PRECEDED BY THE HIGH SIGN AND THE GOAT BUSTER KEATON MULHOLLAND DRIVE 3:30 PM THE LOWER DEPTHS 1:00 PM 3:30 PM 6:00 PM JEAN RENOIR ENTRE LA MER ET L’EAU DOUCE PIERROT LE FOU SEE THE NORTH TIFF TRIVIA SHOWDOWN GODARD IN THE ’60S 5:45 PM 3:15 PM YOUTH FILM INTENSIVE 6:15 PM 6:30 PM THE ELEPHANT MAN AWAY FROM HER LA GRANDE ILLUSION UNE FEMME EST UNE FEMME DAVID LYNCH SEE THE NORTH JEAN RENOIR 6:30 PM GODARD IN THE ’60S 8:35 PM 5:35 PM NANA WITH LIVE 6:30 PM 9:15 PM 8:45 PM TWO OR THREE THINGS RHYMES FOR YOUNG GHOULS PIANO ACCOMPANIMENT LA MARSEILLAISE WEEKEND ERASERHEAD I KNOW ABOUT HER SEE THE NORTH JEAN RENOIR JEAN RENOIR GODARD IN THE ’60S DAVID LYNCH GODARD IN THE ’60S 7 8 9 10 11 12 13 2:00 PM BLUE VELVET LAURA SPECIAL SCREENINGS 2:00 PM THE DEVIL IS A WOMAN 4:00 PM 4:00 PM DIETRICH & VON STERNBERG 6:25 PM 6:30 PM MOROCCO ALPHAVILLE DIETRICH & VON STERNBERG GODARD IN THE ’60S 4:00 PM UNE FEMME MARIÉE FILM FARM: 25 YEARS OF THE PICNIC ON THE GRASS GODARD IN THE ’60S MOUNT FOREST INDEPENDENT 6:15 PM 6:30 PM JEAN RENOIR 9:00 PM IMAGING RETREAT PROGRAMME 2 PIERROT LE FOU THE STRAIGHT STORY WAVELENGTHS GODARD IN THE ’60S DAVID LYNCH 6:15 PM FILM FARM: 25 YEARS OF THE WILD AT HEART 6:30 PM MOUNT FOREST INDEPENDENT 9:15 PM 9:00 PM 9:00 PM WITH ALICIA FLETCHER VIVRE SA VIE IMAGING RETREAT PROGRAMME 1 BANDE À PART LOST HIGHWAY SHORT FILMS BY DAVID LYNCH DAVID LYNCH SCREENWRITING INTENSIVE GODARD IN THE ’60S WAVELENGTHS GODARD IN THE ’60S DAVID LYNCH DAVID LYNCH 14 15 16 17 18 19 20 1:30 PM 6:30 PM DISHONORED ROADS IN FEBRUARY DIETRICH & VON STERNBERG HIROSHIMA MON AMOUR ALAIN RESNAIS 3:00 PM 2:00 PM 3:45 PM 7:00 PM LAURA THE ELEPHANT MAN WEEKEND SPECIAL SCREENINGS DAVID LYNCH GODARD IN THE ’60S LULU WANG ON THE FAREWELL 6:15 PM 4:45 PM 4:45 PM 6:15 PM SPECIAL EVENT CHRISTOPHER HOUSE ON MURIEL MEMBER MEET-UPS: ALAIN RESNAIS LOST HIGHWAY 8:45 PM LAST YEAR AT MARIENBAD BEFORE SUNSET DAVID LYNCH ALAIN RESNAIS 6:30 PM A FAMILY SUBMERGED 8:00 PM 6:15 PM TWO OR THREE THINGS 9:15 PM PRECEDED BY WHERE 9:00 PM DO THE RIGHT THING: BEFORE SUNSET I KNOW ABOUT HER HEIMA WITH SOFIA BOHDANOWICZ DUELLE 30TH ANNIVERSARY SPECIAL SCREENINGS EDITING INTENSIVE GODARD IN THE ’60S SEE THE NORTH MDFF SELECTS SPECIAL SCREENINGS SPECIAL SCREENINGS 21 22 23 24 25 26 27 1:00 PM TOUCH OF EVIL 1:30 PM DIETRICH & VON STERNBERG 11:00 AM SEVEN SINNERS 3:35 PM TOUCH OF EVIL DIETRICH & VON STERNBERG DIETRICH & VON STERNBERG LA GUERRE EST FINIE 4:00 PM ALAIN RESNAIS 4:00 PM ANIMAL INSTINCTS 5:15 PM HIROSHIMA MON AMOUR SHORT CUTS ALAIN RESNAIS MEMBER MEET-UPS: 6:45 PM TWIN PEAKS: FIRE WALK 6:15 PM 6:30 PM LAST YEAR AT MARIENBAD WITH ME MON ONCLE D’AMERIQUE PROVIDENCE ALAIN RESNAIS ALAIN RESNAIS ALAIN RESNAIS 6:45 PM 6:30 PM 9:15 PM DENNIS LIM ON JE T’AIME, JE T’AIME 6:30 PM 9:00 PM 9:15 PM COLIN GEDDES PRESENTS: TWIN PEAKS: FIRE WALK WITH ME PRECEDED BY LA JETÉE STAVISKY IDLEWILD ERASERHEAD POLICE STORY 2 DAVID LYNCH ACTING ON CAMERA INTENSIVE ALAIN RESNAIS ALAIN RESNAIS BOOSIE FADE FILM CLUB DAVID LYNCH KINOVORTEX 28 29 30 31 1:00 PM UNDERWORLD WITH LIVE PIANO ACCOMPANIMENT DIETRICH & VON STERNBERG 3:15 PM SHORT FILMS BY ALAIN RESNAIS ALAIN RESNAIS 6:00 PM 6:30 PM 6:30 PM DUNE MÉLO L’AMOUR À MORT DAVID LYNCH ALAIN RESNAIS ALAIN RESNAIS Camps New Releases Limited Runs YOUTH FILM INTENSIVE ROADS IN FEBRUARY MULHOLLAND DRIVE JULY 2–26 OPENS JULY 19 OPENS JULY 5 SCREENWRITING INTENSIVE BLUE VELVET JULY 8–12 OPENS JULY 12 EDITING INTENSIVE JULY 15–19 ACTING ON CAMERA INTENSIVE JULY 22–26 CANADA’S TOP TEN August Hiroshima mon amour SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 MUSEO 1:00 PM PEYTON PLACE SPECIAL SCREENINGS 4:00 PM TOUCH OF EVIL 4:15 PM DIETRICH & VON STERNBERG TOUCHEZ PAS AU GRISBI JACQUES BECKER 6:30 PM 6:30 PM LE TROU 6:30 PM CASQUE D’OR JACQUES BECKER HIROSHIMA MON AMOUR JACQUES BECKER ALAIN RESNAIS 9:15 PM 9:00 PM TWIN PEAKS: 9:00 PM WILD AT HEART FIRE WALK WITH ME LOST HIGHWAY DAVID LYNCH DAVID LYNCH DAVID LYNCH 4 5 6 7 8 9 10 1:15 PM THE ELEPHANT MAN DAVID LYNCH 1:00 PM WITNESS FOR 4:00 PM 4:00 PM THE PROSECUTION CASQUE D’OR ANTOINE ET ANTOINETTE DIETRICH & VON STERNBERG JACQUES BECKER JACQUES BECKER 3:45 PM 6:30 PM 6:30 PM 6:15 PM MONTPARNASSE 19 MURIEL JULES ET JIM ELEVATOR TO THE GALLOWS JACQUES BECKER ALAIN RESNAIS JEANNE MOREAU JEANNE MOREAU 6:20 PM 6:30 PM 6:30 PM 9:00 PM 9:00 PM 8:30 PM THE STRAIGHT STORY WILD GRASS GOUPI MAINS ROUGES CACHÉ ERASERHEAD WILD AT HEART DAVID LYNCH ALAIN RESNAIS JACQUES BECKER SPECIAL SCREENINGS DAVID LYNCH DAVID LYNCH 11 12 13 14 15 16 17 1:30 PM FALBALAS JACQUES BECKER COLD CASE HAMMARSKJÖLD 1:00 PM 4:15 PM THE LAST COMMAND SPICE IT UP THE LOVERS DIETRICH & VON STERNBERG JEANNE MOREAU 3:00 PM 6:15 PM 4:00 PM 6:30 PM RENDEZVOUS IN JULY SALT OF THIS SEA JULES ET JIM 3000 NIGHTS JACQUES BECKER ARAB WOMEN FILMMAKERS JEANNE MOREAU ARAB WOMEN FILMMAKERS 5:30 PM 6:30 PM 6:30 PM 9:10 PM 6:30 PM 9:00 PM LAST YEAR AT MARIENBAD ÉDOUARD ET CAROLINE DIARY OF A CHAMBERMAID MDFF PRESENTS SPICE IT UP WHERE DO WE GO NOW? COLIN GEDDES PRESENTS: ROAR ALAIN RESNAIS JACQUES BECKER JEANNE MOREAU MDFF SELECTS ARAB WOMEN FILMMAKERS KINOVORTEX 18 19 20 21 22 23 24 1:15 PM 1:00 PM RANCHO NOTORIOUS THE SCARLET EMPRESS DIETRICH & VON STERNBERG DIETRICH & VON STERNBERG 3:30 PM 3:40 PM MADEMOISELLE LES LIAISONS DANGEREUSES JEANNE MOREAU JEANNE MOREAU 4:00 PM 4:15 PM JULES ET JIM 6:15 PM MEMBER MEET-UPS: JEANNE MOREAU OBSCURE BEFORE MIDNIGHT ARAB WOMEN FILMMAKERS 6:30 PM 6:30 PM 5:30 PM 6:30 PM COMING FORTH BY DAY THE BRIDE WORE BLACK 7:00 PM TWIN PEAKS: THE RETURN BAY OF ANGELS WITH NOURHAN HESHAM JEANNE MOREAU KASI LEMMONS ON EVE’S BAYOU DAVID LYNCH JEANNE MOREAU ARAB WOMEN FILMMAKERS SPECIAL EVENT 9:00 PM 5:45 PM 6:30 PM 8:30 PM 9:00 PM JE T’AIME, JE T’AIME 8:45 PM BEFORE MIDNIGHT A PERFECT DAY HOUSE IN THE FIELDS THE TIES THAT BIND PRECEDED BY LA JETÉE MON ONCLE D’AMERIQUE SPECIAL SCREENINGS ARAB WOMEN FILMMAKERS ARAB WOMEN FILMMAKERS SHORT CUTS ALAIN RESNAIS ALAIN RESNAIS 25 26 27 28 29 30 31 1:00 PM DESTRY RIDES AGAIN DIETRICH & VON STERNBERG 3:20 PM 4:15 PM DIALOGUE OF THE CARMELITES THE LOVERS JEANNE MOREAU JEANNE MOREAU 6:00 PM 6:30 PM 6:30 PM 6:30 PM BLOODY BEANS MODERATO CANTABILE NATHALIE GRANGER SOLEIL O ARAB WOMEN FILMMAKERS JEANNE MOREAU JEANNE MOREAU SPECIAL SCREENINGS 6:30 PM 8:00 PM THE DOCKS OF NEW YORK WITH 6:30 PM 8:45 PM 8:45 PM 9:00 PM LA TRUITE LIVE PIANO ACCOMPANIMENT SHEREEN EL FEKI ON RED SATIN ELEVATOR TO THE GALLOWS DESERT HEARTS DAZED AND CONFUSED JEANNE MOREAU DIETRICH AND VON STERNBERG ARAB WOMEN FILMMAKERS JEANNE MOREAU SPECIAL SCREENINGS SPECIAL SCREENINGS New Releases MUSEO OPENS AUG 2 COLD CASE HAMMARSKJÖLD OPENS AUG 16 SPICE IT UP OPENS AUG 16.
Load more

Recommended publications
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • Last Year at Marienbad Redux
    FOR IMMEDIATE RELEASE: Last Year at Marienbad redux Allan Sekula and Noël Burch. Still from Reagan Tape, 1981, single-channel video, color, sound, 10 min. 39 sec., edition of 5 © Allan Sekula and Noël Burch, Courtesy of the artists and Christopher Grimes Gallery, Santa Monica September 12 – October 26, 2013 Opening Reception: Thursday, September 12, 6-8 pm EFA Project Space Curated by James Voorhies th nd produced by Bureau for Open Culture 323 West 39 Street, 2 floor New York, NY 10018 between 8th and 9th Avenues Participating Artists and Writers: Jennifer Allen, Keren Cytter, Tacita Dean, Jessamyn Fiore, Dan Fox, Gallery Hours: Wed through Sat, 12-6 pm Jens Hoffmann, Iman Issa, David Maljković, Ján T. 212-563-5855 x 244 Mančuška, Gordon Matta-Clark, Josh Tonsfeldt, Allan [email protected] Sekula & Noël Burch, and Maya Schweizer www.efanyc.org /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Last Year at Marienbad redux is an exhibition, public program and publication that together examine how fictional narratives develop over time to form accepted knowledge of people, places, events and things. Inspired by the unconventional cinematic techniques such as nonlinear narrative and repetitive language used in the 1961 film Last Year at Marienbad (directed by Alain Resnais, with screenplay by Alain Robbe-Grillet), the exhibition Last Year at Marienbad redux features works of art that deploy these and other devices⎯⎯editing, character development, plot, mise-en-scène and montage⎯⎯to disrupt, challenge and conflate what is understood as fact and fiction. The project explores how memory, meaning and, ultimately, an understanding of reality are shaped. Last Year at Marienbad redux will bring together work by nine international contemporary artists whose practices engage with the technical and conceptual qualities of cinema.
    [Show full text]
  • Josef Von Sternberg, L'américain
    CINÉMA PROGRAMME Programmation de films muets en ciné-concert Visites Centre de recherche • Galerie des collections Visites guidées • Galerie des appareils Fondation Jérôme Seydoux-Pathé Josef von Sternberg, l’américain du 25 septembre au 18 octobreN°09 2019 73 avenue des Gobelins, 75013 Paris - 01 83 79 18 96 / www.fondation-jeromeseydoux-pathe.com Josef von Sternberg, l’américain du 25 septembre au 18 octobre 2019 La Fondation Jérôme Seydoux-Pathé revient sur les premiers pas de la carrière de Josef von Sternberg et plonge dans l'univers de ses films muets, d'une rare intensité. Cycle proposé et conçu par Théo Esparon, historien et programmateur, doctorant à l’Université Paris-Nanterre. Loin d’être seulement l’immigré autrichien sévère que l’on a bien voulu décrire, Josef von Sternberg fit ses premiers pas dans les studios de Fort Lee où il travaille avec les réalisateurs Emile Chautard et Maurice Tourneur. Après quelques épisodiques voyages à Londres, Berlin et Vienne, il réalise son premier film « The Salvation Hunters » en 1925, Theun Ring film © British écrit Film comme Institute une fable qui plonge dans la boue du port de San Pedro. C’est Chaplin qui, le premier, applaudit son travail ; il l’invite à écrire un scénario pour Mary Pickford et produit son film suivant, le seul pour lequel il n’est ni acteur ni réalisateur, « A Woman of The Sea ». Le premier film est abandonné et le second sera finalement détruit. La carrière de Sternberg, émaillée de faux départs, éclaire une histoire méconnue du cinéma. Elle naît dans le berceau cosmopolite de New York, se poursuit vers l’Ouest, croise la création de la Metro-Goldwyn-Mayer et le montage de la « Symphonie nuptiale » (« The Wedding March », 1928) d’Erich von Stroheim et s’assoit enfin à la Paramount avec l’immense succès des « Nuits de Chicago » (« Underworld », 1927).
    [Show full text]
  • JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
    The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress.
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • The Techniques of Realism and Fantasy for the Expression of the Political in French Cinema from Its Origins to the New Wave
    THE EXPRESSION OF THE POLITICAL IN FRENCH CINEMA THE TECHNIQUES OF REALISM AND FANTASY FOR THE EXPRESSION OF THE POLITICAL IN FRENCH CINEMA FROM ITS ORIGINS TO THE NEW WAVE By FRANCES OKSANEN, B. A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University October 1990 MASTER OF ARTS (1990) McMASTER UNIVERSITY (French) Hamilton~ Ontario TITLE: The Techniques of Realism and Fantasy for the Expression of the Political in French Cinema from its Origins to the New Wave AUTHOR: Frances Oksanen, B. A. (McMaster University) SUPERVISOR: Professor John Stout NUMBER OF PAGES: v, 167. ii .... '. ABSTRACT This study examines the relationship between film techniques and politics in French cinema. The first filmmakers established the basic techniques of cinema, using realism to record events, and fantasy to create amusements. Narrative film developed as a combination of these techniques. Cinema of the twenties was closely associated with the European art movements of Dadaism, Surrealism and Expressionism. By the thirties, the political polarisation and the threat of a second World War caused filmmakers to project political opinions and to portray societal problems. Narrative film became an important means of influencing public opinion, although not always in the directions intended. With the New Wave, autobiographical content and a return to early film techniques made narrative film both personal and traditional. The directors solidified the reputation of French cinema as topical, socially relevant, and politically involved. iii ACKNOWLEDGEMENTS I would like to thank my supervisor, Professor John C. Stout for his advice through the course of my research, and Professor Charles E.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • The Creative Process
    The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis­ cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other.
    [Show full text]
  • Hiroshima Mon Amour Di Alain Resnais (Francia-Giappone/1959, 92’)
    dal 28 aprile nelle sale italiane Hiroshima mon amour di Alain Resnais (Francia-Giappone/1959, 92’) edizione restaurata versione originale francese con sottotitoli italiani Restaurato da Argos Films, Fondation Groupama Gan pour le Cinéma, Fondation Technicolor pour le Patrimoine du Cinéma, Fondazione Cineteca di Bologna, con il sostegno di Centre National du Cinéma et de l’Image Animée al laboratorio L’Immagine Ritrovata nel 2013. Color grading supervisionato da Renato Berta. Soggetto e sceneggiatura : Marguerite Duras Fotografia : Michio Takahashi, Sacha Vierny Montaggio : Jasmine Chasney, Henri Colpi, Anne Sarraute Interpreti : Emmanuelle Riva (Lei), Eiji Okada (Lui), Stella Dassas (Madre), Pierre Barbaud (Padre), Bernard Fresson (l’amante tedesco) Il Cinema Ritrovato. Al cinema Ufficio stampa Cineteca di Bologna Classici restaurati Andrea Ravagnan Materiali stampa in prima visione (+39) 0512194833 www.cinetecadibologna.it/areastampa (+39) 3358300839 www.ilcinemaritrovato.it settembre 2013 – giugno 2014 [email protected] Genesi di “un film che era impossibile prevedere rispetto a ciò che sapevamo già del cinema” (Jean-Luc Godard) Nella seconda metà degli anni Cinquanta, il mediometraggio di Alain Resnais, Notte e nebbia ( Nuit et brouillard , 1955), “immenso film di 30 minuti che andava rivelando a delle generazioni di adolescenti e di adulti l’orrore dei campi nazisti”, ottiene un grande successo internazionale. “È in seguito a questo film che Anatole Dauman , che l’aveva prodotto, propone a Resnais di girare un lungometraggio sull’altro orrore di questo secolo di ombre : la distruzione completa il 6 agosto 1945 della città di Hiroshima a causa di una bomba atomica americana. Una casa di produzione Giapponese, la Daiei, si unirà alla Argos Films per facilitare le riprese in Giappone.
    [Show full text]
  • Dussollier Hands Baer
    PHOTOS ARNAUD BORREL / ILLUSTRATION OLIVIER AND MARC-ANTOINE COULON DUSSOLLIER JEAN-LOUIS LIVI JEAN-LOUIS ANDRE A FILM BY MARC A FILMBY PRESENTS HANDS DUGAIN MARINA ND MARC-ANTOINE COULON A PHOTOS ARNAUD BORREL / ILLUSTRATION OLIVIER PHOTOS ARNAUD BORREL / ILLUSTRATION EDOUARD BAER R O GN: DIMITRI SIMON F SI L DE A N I G I R O JEaN-LouiS Livi PRESENTS aNdRE MaRiNa EDOUARd DUSSOLLIER HANDS BAER (UNE EXECUTION ORDINAIRE) a FiLM BY MaRC DUGAIN STudioCaNaL iNTERNaTioNaL MaRkETiNg 1, place du Spectacle 92863 issy-les-Moulineaux Cedex 9 France Phone: +33 1 71 35 11 13 RUNNING TIME : 1h45 www.studiocanal.com FRENCH RELEASE DATE: FEBRUARY 3, 2010 STaLiN To aNNa : “doN’T FoRgET YouR HaNdS, i WiLL CoME WiTH MY PaiN.” Fall 1952. A young urologist and healer who works in a hospital in the Moscow suburbs is desperate to fall pregnant by her husband, a disillusioned doctor who is only surviving because of the love binding him to his wife. To her great terror, she is secretly called upon to look after Stalin who is sick and who has just fired his personal physician. The dictator worms his way into their relationship and creates a relationship with the young woman involving a tangle of secrets and manipulation. By turns friendly and perverse, the monster reveals his skills in the art of terror as never seen before. STaLiN : “i’vE goTTEN Rid oF EvERYoNE WHo WaS iNdiSPENSaBLE. SiNCE THEN, THEY’vE SHoWN ME THaT THEY WEREN’T.” I TERVIEW WITH marc dugain Your book, “The Officers’ Ward” was adapted for the screen in 1991 AN ORDINARY EXECUTION is about the last days of Stalin and covers by François Dupeyron.
    [Show full text]
  • Final Weeks of Popular Jean Renoir Retrospective at the Museum of Modern Art
    The Museum of Modern Art For Immediate Release November 1994 FINAL WEEKS OF POPULAR JEAN RENOIR RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Museum of Modern Art's popular retrospective of the complete extant work of director Jean Renoir (1894-1979), one of cinema's great masters, continues through November 27, 1994. Presented in commemoration of the centenary of the director's birth, the exhibition comprises thirty-seven works, including thirty-three films by Renoir and a 1993 BBC documentary about the filmmaker by David Thompson. Twenty-three of the works by Renoir have been drawn from the Museum's film archives. Many of the remaining titles are also from the Cinematheque frangaise, Paris, and Interama, New York. The son of the Impressionist painter Pierre-Auguste Renoir, Jean Renoir produced a rich and complex oeuvre that mined the spectacle of life, in all its fascinating inconstancy. In 1967 he said, "I'm trying to discover human beings, and sometimes I do." Although critics and scholars disagree on how to categorize Renoir's films -- some believe that his work can be divided into periods, while others argue that his films should be viewed as an indivisible whole -- there is no dissent about their integrity. His works are unfailingly humane, psychologically acute, and bursting with visual and aural moments that propel the narratives. - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Highlights of the second half of the program include a new 35mm print of La Bete humaine (The Beast in Man, 1938), a powerful adaptation of a novel by Emile Zola, previously available in the United States only in 16mm.
    [Show full text]
  • Retrospektive Alain Resnais … Y K S I V a T S
    Retrospektive Alain Resnais … y K S I V A T S u z n e t i e b r a h e r D n e d i e b s i a n s e R n i a l A Er hat nie »Cut« gerufen, erinnert sich Hervé de Luze, Film hinein, Montage ist gewissermaßen das Thema s i der seit 1997 den Schnitt besorgte bei den Filmen von seines Werks. In frühen Filmen über Kunst und Künst - a n s Alain Resnais, seit ON CONNAÎT LA CHANSON. Nie - ler wird die Einheit der Bilder aufgebrochen, im legen - e R mals »Cut«, wenn eine Aufnahme beendet war, immer dären NUIT ET BROUILLARD eine doppelte Realität des n i a nur »Collure«. Nicht Schneiden, wie bei allen anderen KZ Auschwitz aufgezogen, die barbarische in der Nazi - l A Filmemachern, sondern Kleben. Ein Cut, das klingt ein - zeit damals und die heute, im Museum der Erinnerung, 64 schneidend und dominant, es ist das Herrschaftssignal und beide wirken in gleicher Weise unfassbar, irreal. des Regisseurs, Zeichen, wie er die Wirklichkeit sich L’ANNÉE DERNIÈRE À MARIENBAD und HIROSHIMA unterteilt, wie er die Welt beherrscht und das fertige MON AMOUR, die ersten langen Filme, sind wie Exer - Produkt, seinen Film. Resnais dagegen hat seinen Fil - zitien der Montage, und an ihrer Puzzlehaftigkeit hat men alle Freiheit gelassen, statt Dominanz gab es Dis - die Filmkritik sich abgearbeitet damals, ihre Offenheit kretion, Höflichkeit, Freundlichkeit auf seinen Sets und war Lust und Qual zugleich. Der Terror des Politischen, im Schneideraum. Man hat immer wieder von dieser den Körpern der Liebenden eingeschrieben, die Liebe Aufmerksamkeit und Rücksicht gelesen in Zeugnissen auf der Flucht.
    [Show full text]