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The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
Classic Frenchfilm Festival
Three Colors: Blue NINTH ANNUAL ROBERT CLASSIC FRENCH FILM FESTIVAL Presented by March 10-26, 2017 Sponsored by the Jane M. & Bruce P. Robert Charitable Foundation A co-production of Cinema St. Louis and Webster University Film Series ST. LOUIS FRENCH AND FRANCOPHONE RESOURCES WANT TO SPEAK FRENCH? REFRESH YOUR FRENCH CULTURAL KNOWLEDGE? CONTACT US! This page sponsored by the Jane M. & Bruce P. Robert Charitable Foundation in support of the French groups of St. Louis. Centre Francophone at Webster University An organization dedicated to promoting Francophone culture and helping French educators. Contact info: Lionel Cuillé, Ph.D., Jane and Bruce Robert Chair in French and Francophone Studies, Webster University, 314-246-8619, [email protected], facebook.com/centrefrancophoneinstlouis, webster.edu/arts-and-sciences/affiliates-events/centre-francophone Alliance Française de St. Louis A member-supported nonprofit center engaging the St. Louis community in French language and culture. Contact info: 314-432-0734, [email protected], alliancestl.org American Association of Teachers of French The only professional association devoted exclusively to the needs of French teach- ers at all levels, with the mission of advancing the study of the French language and French-speaking literatures and cultures both in schools and in the general public. Contact info: Anna Amelung, president, Greater St. Louis Chapter, [email protected], www.frenchteachers.org Les Amis (“The Friends”) French Creole heritage preservationist group for the Mid-Mississippi River Valley. Promotes the Creole Corridor on both sides of the Mississippi River from Ca- hokia-Chester, Ill., and Ste. Genevieve-St. Louis, Mo. Parts of the Corridor are in the process of nomination for the designation of UNESCO World Heritage Site through Les Amis. -
Fantasies of the Institution: the Films of Georges Franju and Ince's
Film-Philosophy 11.3 December 2007 Fantasies of the Institution: The Films of Georges Franju and Ince’s Georges Franju Michael du Plessis University of Southern California Kate Ince (2005) Georges Franju Manchester: Manchester University Press. ISBN 0719068282 172 pp. With the exception of Eyes Without a Face (Les yeux sans visage, 1960) and Blood of the Beasts (Le sang des bêtes, 1948), almost none of Georges Franju’s 14 short films and 8 features is currently available in the US on DVD or video, where he is now known only, if at all, as the director of a scandalously unwatchable documentary about the abattoirs of Paris and a moody (but supposedly minor) horror film about a deranged doctor who tries to graft a new face onto his disfigured daughter. Given the oblivion that surrounds this director in English-speaking countries, Kate Ince’s recent monograph on Franju in Manchester’s French Film Directors series (which includes studies of directors as varied as Georges Méliès, Jean Renoir, Marguerite Duras, and Claire Denis) serves, at the very least, as a new consideration of a significant figure in cinema history. Ince emphasises that Franju’s links to cinema as an institution go beyond his own films: he was a co-founder with Henri Langlois in 1936 of the Cinémathèque française and served as secretary of the Féderation Internationale des Archives du Film. While his involvement with the Cinémathèque may not have remained as central as it was at the beginning, Franju was made an honorary artistic director of the Cinémathèque in the last decade of his life (Ince, 2005, 1). -
Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures. -
French Culture, French Cinema (In English)
French Culture, French Cinema (in English) Class code CORE-UA9750002/DRLIT-UA9502002 Instructor Details Sam Azulys Email 1: [email protected] Email 2: [email protected] (always include “NYU” in the subject line) Class Details Expressive Culture: Film (in English) M 4 – 7 Room 4.08 Prerequisites This course is destined to students who don’t necessarily have a thorough knowledge in cinema. Class Description This course will allow students to become familiar with the methods and formal aspects of cinema. Students will discover French culture through the prism of cinema by underlining the specific dynamics by which cinema becomes the privileged witness of the profound transformations of mentalities and the upheavals that deeply changed the French society. By putting the films into their social, historical and philosophical context, the students will get to study, across a diverse range of examples, the relation existing between French films and French culture. It deals for example with the formal and thematic relationships among the Avant-garde artistic movements (futurism, cubism, expressionism, surrealism, etc.) and the cinematographic Avant-garde (Buñuel, L’Herbier, Cocteau), those between the cinema of Renoir and classical French theatre (Marivaux, Beaumarchais, Musset), the troubled period of the occupation and the filmmakers who deliberately chose to stay in France to work there (Clouzot, Carné) and the influence of Saint Germain des Prés’s existentialism (Sartre, Camus) on the Nouvelle Vague, etc. The students will thus discover that cinema is a cultural agent that reflects a period all the while produces a critical point view on said period. Also examined are the formal structure of French cinema, its stylistic choices and ways of expression shared with other artistic practices, in order to understand to what extend the « French cultural exception » contributed to its worldwide influence. -
First Tango in Paris
Article announcing the imminent formation of FIAF in the British trade journal Today’s Cinema, 16 June 1938 JFP First Tango in Paris: ¯°.20 The Birth of FIAF, 1936-1938 88 Christophe Dupin Christophe Dupin: Senior Administrator of the International Federation of Film Archives and ¢lm historian (Brussels). “Only when lm archives of di±erent countries establish regular exchanges will one nally be able to know the true history of cinema.” Henri Langlois, 19361 Henri Langlois, 1936 1 Author’s note: The origins of this article can chives, and helped me complete the pre-war be found in my research on the history of picture. The fact that relatively little has been the British Film Institute, and in particular written about the origins and formation of my analysis of the tempestuous relationship FIAF, added to the upcoming celebration of between Ernest Lindgren and Henri Langlois, the 75th anniversary of the Federation in June two of the pioneers of the lm archive move- 2013, convinced me to interpret these fasci- ment. 2 During that research I became famil - nating pre-war archival records in an article iar with FIAF-related paper archives held by for the Journal of Film Preservation. the British Film Institute (which I also cata- logued) and the Cinémathèque francaise FIAF’s o¦cial date of birth is generally rec- (where I could rely on the generous support ognized as 17 June 1938, as con¢rmed by the of Laurent Mannoni). My subsequent appoint- date of the “Agreement for the International ment as FIAF Administrator gave me direct Federation of Film Archives” signed in Paris by access to the Federation’s own archival re- its four founder-members – the Cinémathèque cords in Brussels, documenting three-quar- française, Germany’s Reichsfilmarchiv, the ters of a century of the lm archive move- British Film Institute, and the Museum of Modern ment. -
Georges Méliès: Impossible Voyager
Georges Méliès: Impossible Voyager Special Effects Epics, 1902 – 1912 Thursday, May 15, 2008 Northwest Film Forum, Seattle, WA Co-presented by The Sprocket Society and the Northwest Film Forum Curated and program notes prepared by Spencer Sundell. Special music presentations by Climax Golden Twins and Scott Colburn. Poster design by Brian Alter. Projection: Matthew Cunningham. Mr. Sundell’s valet: Mike Whybark. Narration for The Impossible Voyage translated by David Shepard. Used with permission. (Minor edits were made for this performance.) It can be heard with a fully restored version of the film on the Georges Méliès: First Wizard of Cinema (1896-1913) DVD box set (Flicker Alley, 2008). This evening’s program is dedicated to John and Carolyn Rader. The Sprocket Society …seeks to cultivate the love of the mechanical cinema, its arts and sciences, and to encourage film preservation by bringing film and its history to the public through screenings, educational activities, and our own archival efforts. www.sprocketsociety.org [email protected] The Northwest Film Forum Executive Director: Michael Seirwrath Managing Director: Susie Purves Programming Director: Adam Sekuler Associate Program Director: Peter Lucas Technical Director: Nora Weideman Assistant Technical Director: Matthew Cunningham Communications Director: Ryan Davis www.nwfilmforum.org nwfilmforum.wordpress.com THE STAR FILMS STUDIO, MONTREUIL, FRANCE The exterior of the glass-house studio Méliès built in his garden at Montreuil, France — the first movie The interior of the same studio. Méliès can be seen studio of its kind in the world. The short extension working at left (with the long stick). As you can with the sloping roof visible at far right is where the see, the studio was actually quite small. -
Promo Screening
LINE-UP2013 AFM PATHÉ INTERNATIONAL 03 MARKET SCREENINGS WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 06/11 07/11 08/11 09/11 10/11 MANDELA: 8:30AM LONG WALK Broadway TO FREEDOM Cineplex 1 11AM PHILOMENA Broadway Cineplex 1 1PM QUAI D’ORSAY AMC Santa Monica 1 ROCK 1PM THE CASBAH AMC Santa Monica 7 3PM PALO ALTO AMC 3PM Double Tree 1 Santa Monica 7 5PM ATTILA MARCEL Laemmle Monica 1 03 Promo screening 2014 ESKWAD2014 - PATHÉ PRODUCTION - TF1 FILMS PRODUCTION - ACHTZEHNTE BABELSBERG FILM © Love Story LA BELLE ET LA BÊTE (BEAUTY AND THE BEAST) DIRECTOR CAST Christophe Gans (Silent Hill, Brotherhood of the Wolf) Vincent Cassel (Black Swan, Mesrine, Eastern Promises) Léa Seydoux (Inglorious Basterds, Mission: Impossible - Ghost Protocol, SCREENPLAY Midnight in Paris) Christophe Gans (Brotherhood of the Wolf) André Dussollier (A Very Long Engagment, Tell No One) Sandra Vo-Anh PRODUCER Richard Grandpierre (Brotherhood of the Wolf, Zulu) 1720. After the wreck of his ships, a financially-ruined merchant exiles himself in the countryside with his six children. Among them is Beauty, his youngest daughter, a joyful girl full of grace. One day, during an arduous journey, the merchant stumbles across the magical domain of the Beast, who sentences him to death for stealing a rose. Feeling responsible for the terrible fate which has befallen her family, Beauty decides to sacrifice herself and take her father’s place. At the Beast’s castle, it is not death that awaits Beauty, but a strange life in which fantastical moments mingle with gaiety and melancholy. Every night, at dinner, Beauty and the Beast sit down together. -
Jacques Gamblin
rtiste protéiforme, comédien et auteur, Jacques Gamblin a travaillé avec Claude Lelouch, Claude Chabrol, Bertrand Tavernier, Rémi Bezançon dans des films aussi différents que Tout ça pour ça, Pédale douce, Laissez- passer, Le Premier Jour du reste de ta vie, Le Nom des gens. On a Apu le voir dans De toutes nos forces de Nils Tavernier qu’il a retrouvé pour son nouveau long métrage L’incroyable histoire du facteur Cheval sorti en janvier 2019. Il y incarne avec force et émotion le rôle-titre de Joseph Ferdinand Cheval, homme rêveur et passionné. Jacques met élégance, humour, légèreté, poésie et sa sensibilité au service de créations théâtrales : Quincailleries (1991), Le Toucher de la hanche (1997), Entre courir et voler il n’y a qu’un pas papa (2004), Tout est normal mon cœur scintille (2011), Ce que le Djazz fait à ma Djambe en 2015 (DVD Productions du dehors/La Compagnie des Indes) ainsi que 1 heure 23’14’’et 7 centièmes avec le danseur Bastien Lefèvre pour laquelle il obtient en 2018 le Molière du comédien. Il signe avec Je parle à un homme qui ne tient pas en place son septième spectacle (nommé pour le Molière 2018 du « seul en scène ») dont le texte est aujourd’hui disponible aux éditions des Équateurs. Jacques s’implique dans de nombreux projets liés à l’environnement notamment auprès de la fondation Tara Expéditions qui organise à travers le monde des campagnes pour étudier l’impact des changements climatiques sur nos océans. En 2015, répondant à l’appel de la Maison des Écrivains et de la Littérature, il écrit Mon climat, un manifeste poétique où il fait part de ses espoirs et inquiétudes face aux questions environnementales. -
À Amiens, 50 Ans De Cinéma, 40 Ans De Festival, 20 Ans De Ciné St-Leu
SPÉCIAL CINÉ CRITIQUE NUMÉRO 1 / 1970-1980 1 SEPTEMBRE 2020 Ciné Critique À Amiens, 50 ans de cinéma, 40 ans de festival, 20 ans de ciné St-Leu 4 23 LES 400 COUPS FENÊTRE SUR COUR CINÉ CRITIQUE CINÉ-CLUBS À AMIENS 8 26 L’AVVENTURA LA MAISON L’ORIGINE D’UNE PASSION DE LA CULTURE 14 28 IL ÉTAIT UNE FOIS… L’HOMME À AMIENS À LA CAMÉRA TÉMOIGNAGES TOURNER DES FILMS À AMIENS 16 LES LUMIÈRES DE LA VILLE ALLER AU CINÉMA À AMIENS Ciné SPÉCIAL CINÉ CRITIQUE NUMÉRO 1 / 1970-1980 1 SEPTEMBRE 2020 Critique DIRECTRICE DE LA PUBLICATION RÉDACTION MAQUETTE ET MISE EN PAGE Sylviane Fessier Marcos Jean-Pierre Garcia, Jean-Pierre Bergeon, Wilhem Arnoldy, WAG&W Pascal Pouillot, Jean-Pierre Marcos, RESPONSABLE DE LA RÉDACTION IMPRESSION Sylviane Fessier Marcos, Anne Marie Poucet, Alexandre Levaray Imprimerie Leclerc, Abbeville (80) Alain Letrain, Jean-Marie Lhôte, Jean-Pierre COORDINATION DU PROJET Cordier, Alexandre Levaray, Philippe Barrier, Jean-Pierre Marcos Clement Lafite SECRÉTARIAT DE RÉDACTION PHOTOGRAPHIES Farida Lahsen Gilles Denoyelles, Michel Bridoux, Véronique PRODUCTION Lesperat-Héquet, Jean-Pierre Marcos, Gérard Association des journées Payen, Yves Faure cinématographiques d’Amiens PAGE 2 PAGE 3 Ciné Critique ÉDITORIAL / AMIENS, VILLE DE CINÉMA – La crise sanitaire nous a plongés dans une C’est d’abord un alignement entre les planètes Ce premier numéro remonte le temps pour situation inédite quant à la possibilité de fêter culturelles (dans la ville comme partout en couvrir les années soixante-dix jusqu’au début le 40e anniversaire du Festival Internationnal France). D’une Maison de la Culture toute des années quatre-vingt (et même avant !). -
N. 82 JUNIO 2008 No Es País Para Viejos
Bajo los adoquines, la playa LA FLORESTA • VENTURA MALL TUMBACO SUPERCINES LOS CEIBOS GYE N. 82 JUNIO 2008 Gangsters de ayer y hoy No es país para viejos Este mes presentamos una serie de películas del género gangster, pertenecientes a varias En el estado fronterizo de Tejas, en los años 80, un hombre encuentra cuerpos acribillados. Ahí épocas y estilos. Desde la clásica The Public Enemy (1931) hasta la muy reciente American empieza la crónica brillante de Joel y Ethan Coen, basados en el libro de Cormac McCarthy, No Gangster (foto), este género ha retratado a hampones de alto nivel, asesinos de conciencias es país para viejos. Este no es un filme policíaco o de suspenso: es una reflexión sobre el mal y variables y una sociedad en donde el crimen campea. Y hablando de gangsters, también la muerte, a través de un personaje crepuscular y atormentado, el sheriff Bell. (Foto cortesía ofrecemos una serie con las películas de Frank Sinatra. (Foto cortesía Consorcio Fílmico). Consorcio Fílmico) WWW.OCHOYMEDIO.NET VENTURA MALL TUMBACO LA FLORESTA SUPERCINES LOS CEIBOS GYE 2 EDITORIAL SUMARIO Eurocine 2008 ha concentrado el trabajo de todos en OCHOYMEDIO por los últimos tres meses. Las más de cuarenta películas que conforman la programación final llegan a las pantallas este mes. A eso sumamos la gentil entrega del distribuidor Marco Aguas de la película ganadora del Oscar, No es país para viejos, de los hermanos Coen, y de una muestra sobre esas fantásticas figuras del imaginario fílmico de todos los tiempos: los gangsters. ENTREVISTA Les Cahiers Hay que defender las películas que liberan 3 y combatir las películas que oprimen Jean-Michel Frodon, editor en jefe de Les Cahiers du cinéma habla de su famosa publicación y del cine de ayer y hoy. -
Boxoffice Barometer (April 15, 1963)
as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production.