Cinémagazine 1934 N°28, 25/10/1934
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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. -
Marcel L'herbier: Dossier (Fashion in Film, London, 2014
MARCEL L’HERBIER: DOSSIER EDITED BY CAROLINE EVANS & MARKETA UHLIROVA MARCEL L’HERBIER: DOSSIER Caroline Evans & Marketa Uhlirova We thank all the dossier contributors for accepting our invitation to immerse themselves in, and generate new insights into the cinema of Marcel L’Herbier. We are extremely grateful to Marie-Ange L’Herbier and Mireille Beaulieu for giving us access to a wealth of illustrations from the Marcel L’Herbier Estate and for their generous advice. We would also like to thank Lobster Films and Marie-Françoise Osso for their kind permission to use illustrations from L’Inhumaine and Le Parfum de la dame en noir respectively. Many thanks also to Mileva Stupar for her extremely helpful assistance when researching in the Marcel L’Herbier archive at the Bibliothèque nationale de France. Grateful thanks also to Les Diktats in France and Judy Willcocks at The Central Saint Martins Museum and Study Collection for generously helping to source information and images. Finally, a huge thanks to Caitlin Storrie for designing this beautiful dossier. This research and publication was partially funded by Central Saint Martins Research Fund, for which we would like to thank Professor Janet McDonnell and her team. Published by Fashion in Film, London, June 2014 Last updated June 2014. Downloadable from www.fashioninfilm.com. Not for resale. Cite as: Evans, Caroline and Marketa Uhlirova, eds., Marcel L'Herbier: Dossier (Fashion in Film, London, www.fashioninfilm.com), 2014. This edition © Caroline Evans and Marketa Uhlirova. Individual essays © the contributors Designed by Caitlin Storrie Cover image: Le Vertige, Marcel L’Herbier, 1926, © Marie-Ange L’Herbier, courtesy Bibliothèque du Film (BIFI), Paris. -
Mai 2007 Paul Leni
Festival d’Anères un festival de cinéma muet dans les Hautes-Pyrénées les chefs-d’oeuvre du cinéma muet avec un accompagnement musical en direct ent rée libre Luigi Romano Borgnetto 9 ème éd José Leitão de Barros ition Sergei Eisenstein 23 au 27 Vincenzo Denizot Harry Beaumont mai 2007 Fred Newmeyer Cinéma muet & Piano parlant Ernst Lubitsch Henri Fescourt M ário Peixoto Jean Epstein Harold Lloyd Florian Rey Harry Hoyt Paul Hurst Sam Taylor Paul Leni Ted Wilde Bienvenue au Festival d’Anères La neuvième édition ! Chaque année, avec la même impatience, nous attendons ce moment, et le plaisir de nous retrouver à Anères. Neuf ans déjà que revient ce rendez-vous autour du cinéma muet, autour de la musique, autour du spectacle bel et bien vivant, neuf ans que nous y croyons, que grâce à vous le cinéma muet redevient d’actualité, et que nous vous en remercions avec une nouvelle édition. Profitons donc de l’instant présent mais notons déjà dans nos agendas que l’année prochaine, du 7 au 11 mai 2008, nous soufflerons notre 10ème bougie ! Joyeux anniversaires... Avec ses 111 ans et demi, le cinéma muet se porte bien et nous le fêterons cette année en remontant aux sources, celles des frères Lumière et du 28 décembre 1895. Nous vous proposerons en effet au début de chaque séance la projection d’une “vue” Lumière des débuts du cinéma et d’une autre vue, contemporaine, réalisée par de jeunes apprentis cinéastes en hommage aux premiers films. Quant à ce visage dont la fraîcheur illustre notre affiche de 2007, c’est celui de Marie Glory, l’héroïne de Monte-Cristo, qui vient de fêter il y a quelques semaines ses 102 printemps. -
OCTOBER 23, 1936 5 Cents the Copy GUTSTADT BANQUET B'nai B'rith Head SELECT PLAY for Arab Boycott of MONDAY EVENING REPERTORY SHOW •
Temple Beth-!':L Broad & Glenham Stn . Providence, R. I . THE JEWISH HERALD Vol. XII, No. 7 PROVIDENCE, R. I., FRIDAY, OCTOBER 23, 1936 5 Cents the Copy GUTSTADT BANQUET B'nai B'rith Head SELECT PLAY FOR Arab Boycott of MONDAY EVENING REPERTORY SHOW • Anti-Defamation Leader to "The Small Miracle" Chosen Jew1sh Shops Seen Address B'nai B'rith by Repertory Players Here Tomorrow Report Strike Will Continue On New Paths To Mark Historic Occasion Election of Officers, Committee Reports on Program; Baptists, Quakers, Jews Will Hold Special Exercises at A. Epstein to Speak Temple Emanu-EI :-: ------------ The Annual i\leeting of the Jewish wi ll be Abraham Epstein. the cxccu :-: ------------ H_ome fo r the r\g.cd of l~ hoclc Island tivc Secretary of the American Asso The only Jewish religious obscrv- title. Temple Speaker ;v_1 II b~ held on Suoday .afterno_o 1~. a~ ~iation of Social Security. Mr. Epstein ancc i11 conncctio11 with the Hhodc lfobbi Goldman will bring the c:.:cs -.:W o clock at the Hom~. 99 Hd_h, idc 1s the o ut sta nding authority on old age lsland Tcrccutcuary to be held in this ciscs to a close with a brief address 0 11 a\·em1c. Samuel ~•f. M_ag1d, yrcs1dent pensions and is responsible for o ld city will take place at Temple Emami- the s11bjcct "Religion Faces its Fourth ~~e;~~~c~omc wil l deliver lus annual age pension legislation in this country. El 17riday evening, October 30, at 8:15 Cen tury in Rho de Island''. The following chairmen will then He is also author of several \'Olt1mcs s~c~~i~~ ~r ::~~ c~~~~::ty~;.-~'.)halli Eve After this service a reception is be- present their reports : i\ l rs. -
Catalogo Giornate Del Cinema Muto 2016
ASSOCIAZIONE CULTURALE Chiba, Max Laiguillon, Eric Lange (Lobster Films); “LE GIORNATE DEL CINEMA MUTO” Lenny Borger. Germania: Thilo Gottschling, Andreas Lautil, Soci fondatori Matteo Lepore (ARRI Media GmbH); Karl Griep, Paolo Cherchi Usai, Lorenzo Codelli, Evelyn Hampicke, Egbert Koppe, Julika Kuschke Piero Colussi, Andrea Crozzoli, Luciano De (Bundesarchiv-Filmarchiv, Berlin); Hans-Michael Giusti, Livio Jacob, Carlo Montanaro, Mario Bock (CineGraph, Hamburg); Dirk Foerstner, Quargnolo†, Piera Patat, Davide Turconi† Martin Koerber (Deutsche Kinemathek, Presidente Berlin); Anke Mebold, Michael Schurig, Thomas Livio Jacob Worschech (Deutsches Filminstitut – DIF); Direttore emerito Andreas Thein (Filmmuseum Düsseldorf); David Robinson Stefan Drössler (Filmmuseum München); Ralf Forster (Filmmuseum Potsdam); Anke Wilkening Direttore (Friedrich-Wilhelm-Murnau-Stiftung); Christiane Jay Weissberg Reuter (Spielzeugmuseum der Stadt Tübingen); Lea-Aimee Frankenbach; Jeanpaul Goergen; Ringraziamo sentitamente per aver collaborato Megumi Hayakawa; Martin Loiperdinger. al programma: Giappone: Hisashi Okajima, Akira Tochigi Argentina: Fernando Martín Peña (Filmoteca (National Film Center of The National Museum of Buenos Aires); Paula Félix-Didier, Leandro Listorti Modern Art, Tokyo); Hiroshi Komatsu; (Museo del Cine Pablo C. Ducros Hicken, Buenos Johan Nordström. Aires). Italia: Flavia Barretti, Andrea Meneghelli, Australia: Joel Archer (Golden Oldies Cinema, Davide Pozzi, Elena Tammaccaro (Cineteca di Brisbane); Sally Jackson, Meg Labrum, Michael -
Eliane Tayar
Eliane Tayar Lived: July 18, 1904 - September 6, 1986 Worked as: assistant director, co-director, director, documentary maker, extra, film actress, film critic, journalist, screenwriter Worked In: France by Laura Vichi Although Eliane Tayar is undoubtedly a fascinating figure, she is a relative footnote in any study of the silent film era, having made her first appearance as a film actress at the end of the 1920s. Daughter of Salomon Tayar, a Libyan stockbroker of Caucasic origins, and of Jeanne Monteauzé, a French woman, she had a difficult childhood. She lost her mother when she was six years old and grew up in a convent until the age of seventeen, marrying soon after in 1921. It may be that she established contacts in the cinema world through her first husband, Fraisse Zamisky, who was probably introduced to her by her father, and who was a banker and owner of the celluloid factory Anel et Fraisse. Tayar’s father died in 1922 and Zamisky, who was addicted to gambling, killed himself in 1923 after filing for bankruptcy (Mazet 2000, 14). At nineteen years old, Tayar was both orphan and widow. She had a younger sister, Henriette, who studied fine arts starting in 1930 and most likely introduced Eliane into the Parisian artistic milieu. Practically speaking, Tayar was a self-taught woman. Keen on reading and history, she was acquainted with several important intellectuals of her time, including Louis-Ferdinand Céline whom she met in 1930, together with film critic Aimée Barancy, on the houseboat “Le Malamoa,” which was the painter Henri Mahé’s studio. -
Collection Prof
Jean Renoir In 1975 Jean Renoir was awarded an honorary Academy Award for his lifetime contribution to film. He is PROFILE COLLECTION considered one of the first great auteurs, a cinematic master whose distinctive style always contained a concern for human issues and a reverence for natural beauty. As the son of the great impressionist painter, Auguste Renoir, the filmmaker as a young man was encouraged to freely explore artistic and intellectual pursuits. He eventually chose ceramics, but during a long convalescence, developed a passion for film. He started his own production company in 1924, largely in order to launch the acting career of his wife, Catherine Hessling. His first film, LA FILLE DE L’EAU (1925) THE WHIRLPOOL OF FATE, and other silent films display early Erich von Stroheim plays Captain von Rauffenstein in Jean Renoir’s signs of what was to become characteristic of Renoir’s work-- anti-war masterpiece La Grande Illusion (1937). a sense of visual realism, the love of nature and the poetic representation of the physical MR. LANGE, LA BETE HUMAINE Hollywood a period of environment. Film theorist (1938) THE HUMAN BEAST, LA “unrealized works and Andre Bazin praised Renoir’s REGLE DU JEU (1939) THE unrealized hopes,” this film is a early works for their modest use RULES OF THE GAME and LA beautifully crafted story of a of camera movement and GRANDE ILLUSION (1937) THE migrant worker who tries to editing and emphasis on deep GRAND ILLUSION. Renoir lived start his own farm and who focus photography. Bazin in the United States in the faces enormous hardship. -
The Museum of Modern Art Celebrates Vienna's Rich
THE MUSEUM OF MODERN ART CELEBRATES VIENNA’S RICH CINEMATIC HISTORY WITH MAJOR COLLABORATIVE EXHIBITION Vienna Unveiled: A City in Cinema Is Held in Conjunction with Carnegie Hall’s Citywide Festival Vienna: City of Dreams, and Features Guest Appearances by VALIE EXPORT and Jem Cohen Vienna Unveiled: A City in Cinema February 27–April 20, 2014 The Roy and Niuta Titus Theaters NEW YORK, January 29, 2014—In honor of the 50th anniversary of the Austrian Film Museum, Vienna, The Museum of Modern Art presents a major collaborative exhibition exploring Vienna as a city both real and mythic throughout the history of cinema. With additional contributions from the Filmarchiv Austria, the exhibition focuses on Austrian and German Jewish émigrés—including Max Ophuls, Erich von Stroheim, and Billy Wilder—as they look back on the city they left behind, as well as an international array of contemporary filmmakers and artists, such as Jem Cohen, VALIE EXPORT, Michael Haneke, Kurt Kren, Stanley Kubrick, Richard Linklater, Nicholas Roeg, and Ulrich Seidl, whose visions of Vienna reveal the powerful hold the city continues to exert over our collective unconscious. Vienna Unveiled: A City in Cinema is organized by Alexander Horwath, Director, Austrian Film Museum, Vienna, and Joshua Siegel, Associate Curator, Department of Film, MoMA, with special thanks to the Österreichische Galerie Belvedere. The exhibition is also held in conjunction with Vienna: City of Dreams, a citywide festival organized by Carnegie Hall. Spanning the late 19th to the early 21st centuries, from historical and romanticized images of the Austro-Hungarian empire to noir-tinged Cold War narratives, and from a breeding ground of anti- Semitism and European Fascism to a present-day center of artistic experimentation and socioeconomic stability, the exhibition features some 70 films. -
LE MONDE/PAGES<UNE>
www.lemonde.fr 57e ANNÉE – Nº 17535 – 7,50 F - 1,14 EURO FRANCE MÉTROPOLITAINE DIMANCHE 10 - LUNDI 11 JUIN 2001 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI L’Irlande Deux semaines de congé pour les pères rejette massivement b Lionel Jospin annonce, lundi, l’instauration d’un « congé de paternité » de quatorze jours, rémunéré le traité de Nice à 100 % du salaire b Son coût est évalué à 700 millions de francs, financé par la branche famille de la sur l’élargissement Sécurité sociale b Il s’agit de renforcer l’égalité entre hommes et femmes, à la maison comme au travail A L’OCCASION de la conférence réforme, elle devrait « provoquer des de la famille, qui s’ouvre lundi évolutions en profondeur des compor- de l’Union 11 juin à Paris, le premier ministre, tements » dans la famille et l’entrepri- Lionel Jospin, devait annoncer une se. La ministre déléguée à la famille POUR LE CINQUIÈME référen- mesure spectaculaire : la création et à l’enfance espère que les entrepri- dum national à propos de l’Europe, d’un congé de paternité. A la naissan- ses permettront à leurs salariés l’Irlande a, pour la première fois, ce de leur enfant, les pères pourront d’ajouter les deux semaines de ce SAMUEL BOLLENDORFF/L’ŒIL PUBLIC vendredi 8 juin, dit « non », par cesser leur travail pendant quatorze congé de paternité aux jours déga- 54 % des suffrages contre 46 %, reje- jours, en percevant 100 % de leur gés par la réduction du temps de tra- ENQUÊTE tant ainsi le traité de Nice sur l’élar- salaire. -
Trib07061937018.Pdf
] 8 ::k CHICAGO TUESDA ·Y. .TUL Y 6. 1937. g: Zi --p U!J (/)JllJiM and tBJl£IllllfllJt" By Louise Bargelt and Fielding James IN "TOWN TO SEE 1 CAt--lIT IF [Copyr!l:'ht: 1937: By Chlcal"o Tribune·N. Y. ~ewB Synd ••Ine.) T!4E dRESSMAKER. 'Iou RIGHT -n-\ls WOUq::>N'T MIND OOZING Mlt--JO"Te. SYNOPSIS. BUT ,/ou 011 hI. return trom abroad 1J:lchael Eden. neir to mllltons, postpones his marrtaze to ME OpWN "THEREt WOULD btharine McCann becauee his toster tather, John Millis, tells Michael hi. toster mother ~. l-fou~ CAN TAKE :J8 ill and need, him. Kathaflne's roommate. Joan. 18 engaged to Michael'H friend, Terry THE Cp...R J>ewton. From all BIdeB Katharine Ia warned to break Michael away trom John Millis. ,~ j J\[ilJis UkB Michael to sign a will making him Michael's heir. Michael signs expecting to NINp.... <l:.an::e the will after his marrtaze to KatharIne. Mrs. Millis attempts sUicide when she fliscovers her husband flirting with her nurse, Michael rescues her and asrccs to take her •.",ay from Ml1li. without telling anyone where they are l:oinlr. INSTALMENT xx. SHADOWED. Michael stared at Mrs. Millis confusedly. She seemed pleased. ••You don't mind that we are being shadowed?" he asked. U I shouldn't have been much flattered if John had let me walk out on him without showing at least that much interest:' Michael drew 8 deep breath. "Perhaps 1 have misunderstood," he said patiently. ••Perhaps we are just playing a little game of hide and seek with-with father? Perhaps, when he has been duly disciplined, we are going back home?" There was no answer . -
1937-05-18 [P B-18]
Whiteman Will Comb in City Fast Fun in a French Farce Garbo, Topless Room, iCTfiMflm For Music Museum Items Joins Sun Worshipers Orchestra Leader Wants Complete Display Spying Correspondent, Star Takes to Heels of American Melodies, From Columbus on Set, Adding to Favorite Form Through George Gershwin. of Exercise. BY JAY CARMODY. BY SHEILAH GRAHAM. YOU see a corpulent gentleman with pink cheeks and Bond street May 18 (N.A.N.A.).—Greta Garbo has Joined the sun clothes walking along the boulevards ringing a bell and crying out worshipers. Her special roofless bungalow. In which she spends the old music or "Any manuscripts instruments today?" it won't be lunch hour baring her epidermis to the sun, adjoins the "Madame Paul Whiteman. Mr. Whiteman use Raves! IP does not that technique in collect- Walev.ska” company on 14. This information was stumbled Washington HOLLYWOOD, stage items for his music but the ing museum, Just same, he wants any items across accidentally by your correspondent when strolling through the Metro- that fit into such a treasure house. will He be combing the National Capital Goldwyn-Mayer grounds. Suddenly, the door of the topless room opened and week between for them next sessions*: Garbo, her hair done up in fanciful ♦>- “Directed with skill—finely acted.”—Net- of a baton for Thea- waving Capitol ringlets, a large, masculine-cut coat ton B. Post. “CO YOU wouldn't bite, huh? Well, is hoping this will occur In her next Bell, ter audiences. wrapped about her, the famous feet June 14 may have been important flicker, “Danger—Love at Work.” The Whiteman Museum of Ameri- covered with ten- “Lost Horizon among best of screen in yeaw gone by, but that’s nothing ran Music is one of the jazz king's nis socks and to in his- Two dancers under contract to a achievements.”—Jay Carmody, Star. -
French Film Series to Conclude with Works from Final Period of the Classic Tradition
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART ENTRANCE at 18 W. 54 #42 FOR IMMEDIATE RELEASE FRENCH FILM SERIES TO CONCLUDE WITH WORKS FROM FINAL PERIOD OF THE CLASSIC TRADITION In its final months, REDISCOVERING FRENCH FILM PART II, The Museum of Modern Art's comprehensive survey of French film history, will screen classics from the 1940s and • 50s, then pause to look back at the very beginnings of the long tradition of French filmmaking. The schedule for August begins with a look at the French cinema at the time of the Occupation and features two rare films of the liberation: Le Six Juin a l'Aube, a documentary made by the great feature film director Jean Gremillon, and Rene Clement's La Bataille du Rail. Also scheduled in August are two of the most striking French films noirs of the postwar period, Clouzot's Quai des Qrfevres and Yves All^gret's De'dee d'An vers, Simone Signoret's star-making vehicle. In September, the schedule will focus on the films of the 1950s, during the last flowering of the classic tradition before the tumult of the New Wave. Among the highlights are two film adaptations of Emile Zola's scathing social fiction—Julien Duvivier's Pot-Bouille and Marcel Carne*' s updated Therese Raquin—plus La Marie du Port, a rarely seen Carrie vehicle for France's most durable male star, Jean Gabin. Many of the most prominent French films of the '50s retreated into an acid-tinged nostalgia for the past; such resplendent examples of this tendency as Max Ophuls's La Ronde and Le Plaisir, Rene Clair's Les Grandes Manoeuvres and Les Belles-de-Nuit, and Jean Renoir's French Can-can are scheduled.