FILMS 2019-2020 CAROL, Todd Haynes DIAMANT NOIR, Arthur
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La Haine Cassandra Hoffman SUNY Geneseo
Proceedings of GREAT Day Volume 2010 Article 5 2011 La Haine Cassandra Hoffman SUNY Geneseo Follow this and additional works at: https://knightscholar.geneseo.edu/proceedings-of-great-day Creative Commons Attribution 4.0 License This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Hoffman, Cassandra (2011) "La Haine," Proceedings of GREAT Day: Vol. 2010 , Article 5. Available at: https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2010/iss1/5 This Article is brought to you for free and open access by the GREAT Day at KnightScholar. It has been accepted for inclusion in Proceedings of GREAT Day by an authorized editor of KnightScholar. For more information, please contact [email protected]. Hoffman: <i>La Haine</i> La Haine Submitted by: Cassandra Hoffman La Haine est un film du « cinéma de la banlieue » par Mathieu Kassovitz. Il a été crée en 1995. La mise au Mathieu Kassovitz est le réalisateur du point de ce film était la lutte de trois jeunes garçons qui film, mais il est aussi acteur, rédacteur et habitaient dans les banlieues de Paris pendant les scénariste. Kassovitz est le fils de Peter manifestations. Le réalisateur a dit, « Le film était Kassovitz, réalisateur français qui habitait à célèbre autour du monde parce qu’il représentait un Budapest pendant l’insurrection par les troupes problème international » (Kassovitz). Ce film montre soviétiques en 1956. Mathieu Kassovitz est né le bien les problèmes à cause de l’immigration, du 3 août 1967 à Paris. Kassovitz est le fondateur racisme, et de la brutalité des policiers qu’on peut voir à de MNP, une compagnie qui produit des films Paris aujourd’hui. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Cinéma Beur Versus Cinéma De Banlieue 108 2
Inhalt I. Einleitung 9 1. Ein neues Genre 9 2. Genrebegriffe 16 Exkurs: Prototypensemantik 20 3. Produktion und Rezeption 25 4. Genre beur 29 5. Interkulturelle Intertextualität – Vorbilder des cinéma 40 beur 1. Großbritannien 42 2. Deutschland 45 3. USA 50 II. Die Entwicklung des genre beur 57 III. Le thé au harem d’Archimède 67 1. „[...] a much needed personal exorcism“? 67 Synopsis 71 2. Original und Kopie 72 1. Peripherie und Zentrum 72 2. Interkulturelle Kinderbetreuung 76 3. Rassismus und seine kreative Nutzung 81 4. Der Beginn einer wunderbaren Freundschaft 87 5. Und wieder Truffaut 92 3. Prototypische Elemente 96 IV. La haine 99 1. Mathieu Kassovitz – Auf dem Weg nach Hollywood 99 2. Dekonstruktion von Stereotypen - Métisse 102 Synopsis 107 3. Die banlieue als mediales Konstrukt – La haine 108 1. Cinéma beur versus Cinéma de banlieue 108 2. Realität und Fiktion der banlieue 112 3. Die Vorstadt als Zoo 116 4. „Beurz ’n the Hood“? 121 5. Mediale Einflüsse und identitäre Entwicklung 127 4. Kritik am genre beur? 133 Inhalt V. L’autre côté de la mer 137 1. Engagiertes Kino 137 Synopsis 140 2. Die Konstruktion nationaler Zugehörigkeit und 142 Identität 1. Gaouris à vie 142 2. Probleme der Perspektive 147 3. Südfrankreich als Ort des métissage 151 3. Perspektivenwechsel 154 VI. Bye-bye 157 1. „Marseille c’est une ville à l’intersection“ 157 Synopsis 159 2. Kultureller und intertextueller Métissage 161 1. Topographische und kategoriale Schwierigkeiten 161 2. Das Meer als Projektionsfläche 164 3. „Beur pourri“ 173 4. Die Mean Streets von Marseille 180 5. -
Edinburgh University Press Post-Beur Cinema
1. INTRODUCTION: FROM IMMIGRANT CINEMA TO NATIONAL CINEMA Press In September 2010, Maghrebi-French filmmaker Rachid Bouchareb’s seventh feature film, Hors-la-loi, a gangster film set against the backdrop of the Algerian war for independence, was released across cinemas in France. Made for a budget of €20m, released onUniversity more than 400 prints and starring Jamel Debbouze – a French-born actor of Moroccan immigrant parents and one of French cinema’s biggest stars – Hors-la-loi enjoyed the kind of distribution and marketing conditions reserved for onlyCinema the most high-profile French main- stream productions. The film aimed to capitalise on the success of Bouchareb’s Second World War epic, Indigènes (2006), which attracted over three million spectators in France and received an Academy Award nomination for best foreign film (admittedly as an Algerian rather than French film). If Indigènes’ message to its French audience was simultaneously confrontational and con- ciliatory, holdingEdinburgh successive French governments to account for freezing the pensions of North African colonial soldiers at the same time as it argued for the rightful placePost-Beur of the French-born descendants of these colonial veterans in France, Hors-la-loi proved far more controversial. At the film’s premier in Cannes in May 2010, a group of protestors including veterans of the Algerian war, supporters of the far-right and harkis (Algerians who fought for the French in the war for independence) gathered on the Croisette to oppose what they saw as Hors-la-loi’s historical distortion of colonial history. Pressure was put on the organisers of the festival as well as French distributors and exhibitors to boycott the film that was attacked as ‘anti-French’ by Lionel Luca, a member of the centre-right UMP party (Jaffar 2010: 38). -
This Is a List of the Titles and Classmarks of the Library's DVD Collection As of November 2018 for Quick Reference. the Colle
St John’s College Library DVD Collection This is a list of the titles and classmarks of the Library’s DVD collection as of November 2018 for quick reference. The collection can be browsed in the AV Room on the First Floor, and current availability can be found via the online catalogue. The collection is constantly being updated so for the most up to date titles, please search the online catalogue. The first section of this guide is organised alphabetically by title. The second section is organised by language/country. Title Call Number 8 1/2 DVD ITA.ott.fel 8 1/2 DVD ITA.ott.fel 36 DVD FRE.tre.mar 1871 DVD ENG.eig.mcm 1984 DVD ENG.nin.rad 2046 DVD CHI.twe.won 10 Cloverfield Lane DVD ENG.ten.tra 10 things I hate about you DVD ENG.ten.jun 1000 Dollari sul nero = Blood at Sundown DVD ITA.mil.sir 10000 dollari per un massacro = $10000 blood money DVD ITA.die.gue 12 years a slave DVD ENG.twe.mcq 20,000 days on Earth DVD ENG.twe.for 2001 : a space odyssey DVD ENG.two.kub 28 days later DVD ENG.twe.boy 2point4 children the complete series three DVD ENG.two.mar 3 godfathers DVD ENG.thr.for 45 years DVD ENG.for.hai 47 ronin DVD JAP.shi.ich 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 60s collection DVD FRE.god.god 8 women DVD FRE.hui.ozo A beautiful mind DVD ENG.bea.how A bit of Fry and Laurie the complete fourth series DVD ENG.bit.spi A bronx tale DVD ENG.bro.den A bullet for the general DVD ITA.qui.dam A Christmas tale a film by Arnaud Desplechin. -
WIFF-2019-Program-FULL-1.Pdf
HOW TO WIFF 2 TICKET INFO 3 WHERE TO WIFF 4 WIFF VILLAGE/WIFF ALLEY 5 WHO WE ARE 6-7 SALUTE TO OUR SPONSORS 8-21 SPECIAL THANKS 22 A MESSAGE FROM VINCENT 23 A MESSAGE FROM LYNNE 24 A MESSAGE FROM THE MAYOR 25 FESTIVAL FACTS 26-27 MIDNIGHT MADNESS 28 SPECIAL SCREENINGS 29 WIFF PRIZE IN CANADIAN FILM 30 MARK BOSCARIOL 48-HOUR FLICKFEST 31 WIFF LOCAL 32 WOMEN OF WIFF 33 HOTDOCS SHOWCASE 34 SPOTLIGHT ON ARCHITECTURE 35 LES FILMS FRANCOPHONES 36 IN CELEBRATION OF MUSIC 37 TRIXIE MATTEL 38 LGBTQ2+ 39 SPOTLIGHT AWARD 40 TAKE IT FROM VINCENT 41 OPENING NIGHT FILM 42 CLOSING NIGHT FILM 43 FILM SYNOPSES 44-127 SCREENING CALENDAR 128-137 INDEX BY COUNTRY 138-139 1. PICK YOUR FILMS Films and showtimes can be found online at windsorfilmfestival.com, in the program book or at the box office. Film synopses are listed by title in alphabetical order, with their countries of origin noted. 2. TYPES OF TICKETS If you plan on seeing several films, consider a festival pass for an unlimited movie experience. Show your valid student card for discounted single tickets or festival passes. If you want to catch a show with a large group of 20+, our group sales packages will help you save. If tickets are sold out in advance a limited number of standby tickets will be available at the venue just before showtime. 3. BUY YOUR TICKETS Online – Purchase through your phone or computer by visiting our website. Print them off at home or bring them up on your mobile device. -
LA HAINE (1995) a Study Guide for Students of AS/A2 French Dir
LA HAINE (1995) A Study Guide for students of AS/A2 French Dir. Mathieu Kassovitz Written by Isabelle Vanderschelden, Manchester Metropolitan University (2006) LA HAINE (1995) A Study Guide for students of AS/A2 French C’est l’histoire d’un mec qui tombe d’un immeuble de 50 étages au fur et à mesure de sa chute il se répète sans cesse pour se rassurer: jusqu’ici tout va bien, jusqu’ici tout va bien, jusqu’ici tout va bien... mais l’important,c’est pas la chute… c’est l’atterrissage. Curriculum links: Multicultural France, young people, youth culture, urban lifestyle Social and cultural landscape: the French ‘banlieues’, the role of the police Main themes: identity quest; violence, youth culture; adolescence and difference. INTRODUCTION Dossier destiné aux étudiants de français de AS/A2 sur le film Français maintenant considéré comme un classique La Haine. Thèmes principaux : la vie dans la banlieue, la violence, l’exclusion sociale, la quête d’identité et la différence, les problèmes des jeunes, la culture urbaine… 1 LA HAINE (1995) A Study Guide for students of AS/A2 French AVANT LE FILM La banlieue dans le cinéma français Quelques définitions “Dans le mot « banlieue « il y a le mot exil: les banlieues sont, en général, forcément hors les villes, très exactement au « ban « des villes, distantes d’elles d’une lieue et plus. Si le mot date du Moyen Age, il est entré dans le vocabulaire courant bien plus tard; et on a parlé d’abord de « faubourgs «, de périphéries, on allait sur les fortifs, on évitait la « zone «, on dansait dans les guinguettes au bord de la Marne. -
Paris in Cinema
Radboud University Faculty of Arts Master Creative Industries Master Thesis Supervisor: Dr. Christophe van Eecke Second reader: Dr. László Munteán Paris in cinema - The representation of Paris in the films An American in Paris by Vincente Minnelli, Playtime by Jacques Tati and Le fabuleux destin d'Amélie Poulain by Jean-Pierre Jeunet Marie Rode Student number: 1010570 Table of Contents A. Summary .............................................................................................................................. 2 B. Introduction ......................................................................................................................... 3 I. Literature Review: Paris' role in cinema and media tourism .................................................... 7 C. Main Part ........................................................................................................................... 12 I. Film Analysis An American in Paris ........................................................................................... 12 1. Approach and background ............................................................................................ 12 2. Narrative ....................................................................................................................... 14 3. Characters ..................................................................................................................... 21 4. Film finale .................................................................................................................... -
El Odio Sugerencias Para Una "Lectura" En Clave Pedagógica
ARCHIVO FÍLMICO PEDAGÓGICO El odio Sugerencias para una "lectura" en clave pedagógica Por Evangelina Canciano SINOPSIS Tras una noche de disturbios en un barrio marginal de las afueras de París, tres amigos adolescentes, Vinz, Said y Hubert (un judío, un árabe inmigrante y un boxeador ama- teur marroquí, respectivamente), afrontan la muerte de un amigo árabe a manos de la policía. El deambular por la ciudad, la violencia entre bandas y los conflictos con la policía son las constantes en veinticuatro FICHA TÉCNICA horas de la vida de estos jóvenes. TÍTULO: La Haine DIRECCIÓN: Mathieu Kassovitz El odio es el segundo film de Mathieu Kassovitz. En 1995, cuando PRODUCCIÓN: contaba veinticinco años, lo consagró como algo más que una pro- Christophe Rossignon mesa entre los cultores del cine social, actualmente una legión entre GUIÓN: los jóvenes franceses. El guión está basado en un hecho real y fil- Mathieu Kassovitz mado en blanco y negro, con una exquisitez de encuadres. FOTOGRAFÍA: Comparte muchos rasgos con la llamada vanguardia francesa con- Pierre Aim temporánea. MÚSICA: —"¿Escuchaste del que se lanzó desde un rascacielos? Mientras Carter Burwell caía, se repetía para tranquilizarse:... ‘Hasta aquí todo bien’. ‘Hasta MONTAJE: aquí todo bien". No importa cómo se cae... sino cómo se hace tie- Mathieu Kassovitz / Scott Stevenson rra". ESCENOGRAFÍA: Así comienza El odio (La haine), con la narración en off de esta Philippe Chiffre anécdota ilustrada con imágenes que muestran el enfrentamiento INTÉRPRETES: entre manifestantes y policías en una zona marginal de la ciudad Vincent Cassel, Hubert Kounde, Saïd de París. De este enfrentamiento, resultan varios heridos y un Taghmaoui, Benoît Magimel, Abdel muerto: Abel Ichacha, un amigo de Hubert, Vinz y Sayid, tres jóve- Ahmed, Ghili Santo, Heloise Rauth, nes que viven en el Proyecto Muguets y para quienes éste no será Rywka Wajsbrot, Oiga Abrego. -
The Representation of North African Immigrants in French and Spanish Film
Connecticut College Digital Commons @ Connecticut College Toor Cummings Center for International Studies CISLA Senior Integrative Projects and the Liberal Arts (CISLA) 2020 The Representation of North African Immigrants in French and Spanish Film Julie Blazar Follow this and additional works at: https://digitalcommons.conncoll.edu/sip Recommended Citation Blazar, Julie, "The Representation of North African Immigrants in French and Spanish Film" (2020). CISLA Senior Integrative Projects. 3. https://digitalcommons.conncoll.edu/sip/3 This Honors Paper is brought to you for free and open access by the Toor Cummings Center for International Studies and the Liberal Arts (CISLA) at Digital Commons @ Connecticut College. It has been accepted for inclusion in CISLA Senior Integrative Projects by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. The Representation of North African and Sub-Saharan African Immigrants in French and Spanish Cinema By: Julie Blazar, Connecticut College 1 TABLE OF CONTENTS TABLE OF CONTENTS 2 Acknowledgements 4 Part 1: The Representation of North African and Sub-Saharan African Immigrants in Spanish Migration Cinema 7 North African Migration to Spain: Conquest, “Convivencia” and Sea Crossings 7 Spanish Migration Cinema: “Road Movies,” Border Crossings and Adopted Community 9 Chapter 1: Immigration, Erasure and the Landscape through Chus Gutiérrez’s Poniente 11 Poniente and the -
Le Programme June – July 2018 02 Contents/Highlights
Le Programme June – July 2018 02 Contents/Highlights Ciné Lumière 3–19 Les Salons en Musique 20 Talks 21–23 Kids & Families 24 Ismael's Ghosts Meet the Author: Amélie De Gaulle, A Certain Idea of 1 -14 June Nothomb France p.3 11 June 18 June We Support 25 p.21 p.22 We Recommend 26 Edinburgh Festivals 27 French Courses 29 La Médiathèque/Culturethèque 30 La Fête des mères + Q&A with Simone Veil, une histoire Tartuffe General Information 32–35 actress Audrey Fleurot française 25 May - 28 July 24 June 26 June p.25 p.8 p.8 Theatre Royal Haymarket front cover image: Amant Double by François Ozon Programme design by dothtm Ciné Lumière New Releases Ismael's Ghosts Amant Double The Ciambra Les Fantômes d'Ismaël L'Amant double A Ciambra FRA | 2017 | 114 mins | dir. Arnaud Desplechin, with Mathieu FRA/BEL | 2017 | 107 mins | dir. François Ozon, with Marine ITA/FRA/BRA/DEU/SWE/USA | 2017 | 108 mins | dir. Jonas Amalric, Marion Cotillard, Charlotte Gainsbourg | cert. 15 Vacth, Jérémie Renier, Jacqueline Bisset | cert. 18 | in French Carpignano, with Pio Amato, Koudous Seihon, Damiano in French with EN subs with EN subs Amato | cert. 15 | in Italian with | EN subs Film director Ismaël Vuillard (Mathieu Amalric) still Marine Vacth (Jeune et Jolie) plays Chloé, a young woman Jonas Carpignano’s The Ciambra offers a rarely seen mourns the death of his wife Carlotta, twenty years who falls in love with her psychoanalyst, Paul (Jérémie on screen immersion in a small Romani community in earlier, even though he has started his life over again with Renier). -
Les Débuts Du Réalisateur Mathieu Kassovitz : Problèmes Sociaux Et Portrait Des Années 1990 Dans La Comédie Romantique Métisse Et Le Film De Banlieue La Haine
Vernacular: New Connections in Language, Literature, & Culture Volume 1 Article 4 2016 Les débuts du réalisateur Mathieu Kassovitz : problèmes sociaux et portrait des années 1990 dans la comédie romantique Métisse et le film de banlieue La Haine. Joanna Merkel University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/vernacular Part of the French and Francophone Literature Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Merkel, Joanna (2016) "Les débuts du réalisateur Mathieu Kassovitz : problèmes sociaux et portrait des années 1990 dans la comédie romantique Métisse et le film de banlieue La Haine.," Vernacular: New Connections in Language, Literature, & Culture: Vol. 1 , Article 4. Available at: https://trace.tennessee.edu/vernacular/vol1/iss1/4 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Vernacular: New Connections in Language, Literature, & Culture by an authorized editor. For more information, please visit https://trace.tennessee.edu/vernacular. INTRODUCTION : Cet essai examine les deux premiers films tournés par Mathieu Kassovitz, un réalisateur français peu conventionnel et à la carrière inégale. Métisse, sorti sur les écrans en 1993 est son premier film, une comédie romantique mettant en scène un trio amoureux sur fond d’antagonismes socio- culturels. Deux ans après ce succès, pour lequel il fut nommé pour deux Césars (meilleur premier film et meilleur espoir masculin), il tourne La Haine en 1995 qui a grandement précipité l’émergence du cinéma de banlieue.