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Robert De Niro's Raging Bull
003.TAIT_20.1_TAIT 11-05-12 9:17 AM Page 20 R. COLIN TAIT ROBERT DE NIRO’S RAGING BULL: THE HISTORY OF A PERFORMANCE AND A PERFORMANCE OF HISTORY Résumé: Cet article fait une utilisation des archives de Robert De Niro, récemment acquises par le Harry Ransom Center, pour fournir une analyse théorique et histo- rique de la contribution singulière de l’acteur au film Raging Bull (Martin Scorcese, 1980). En utilisant les notes considérables de De Niro, cet article désire montrer que le travail de cheminement du comédien s’est étendu de la pré à la postproduction, ce qui est particulièrement bien démontré par la contribution significative mais non mentionnée au générique, de l’acteur au scénario. La performance de De Niro brouille les frontières des classes de l’auteur, de la « star » et du travail de collabo- ration et permet de faire un portrait plus nuancé du travail de réalisation d’un film. Cet article dresse le catalogue du processus, durant près de six ans, entrepris par le comédien pour jouer le rôle du boxeur Jacke LaMotta : De la phase d’écriture du scénario à sa victoire aux Oscars, en passant par l’entrainement d’un an à la boxe et par la prise de soixante livres. Enfin, en se fondant sur des données concrètes qui sont restées jusqu’à maintenant inaccessibles, en raison de la modestie et du désir du comédien de conserver sa vie privée, cet article apporte une nouvelle perspective pour considérer la contribution importante de De Niro à l’histoire américaine du jeu d’acteur. -
Industry Guide Focus Asia & Ttb / April 29Th - May 3Rd Ideazione E Realizzazione Organization
INDUSTRY GUIDE FOCUS ASIA & TTB / APRIL 29TH - MAY 3RD IDEAZIONE E REALIZZAZIONE ORGANIZATION CON / WITH CON IL CONTRIBUTO DI / WITH THE SUPPORT OF IN COLLABORAZIONE CON / IN COLLABORATION WITH CON LA PARTECIPAZIONE DI / WITH THE PARTICIPATION OF CON IL PATROCINIO DI / UNDER THE PATRONAGE OF FOCUS ASIA CON IL SUPPORTO DI/WITH THE SUPPORT OF IN COLLABORAZIONE CON/WITH COLLABORATION WITH INTERNATIONAL PARTNERS PROJECT MARKET PARTNERS TIES THAT BIND CON IL SUPPORTO DI/WITH THE SUPPORT OF CAMPUS CON LA PARTECIPAZIONE DI/WITH THE PARTICIPATION OF MAIN SPONSORS OFFICIAL SPONSORS FESTIVAL PARTNERS TECHNICAL PARTNERS ® MAIN MEDIA PARTNERS MEDIA PARTNERS CON / WITH FOCUS ASIA April 30/May 2, 2019 – Udine After the big success of the last edition, the Far East Film Festival is thrilled to welcome to Udine more than 200 international industry professionals taking part in FOCUS ASIA 2019! This year again, the programme will include a large number of events meant to foster professional and artistic exchanges between Asia and Europe. The All Genres Project Market will present 15 exciting projects in development coming from 10 different countries. The final line up will feature a large variety of genres and a great diversity of profiles of directors and producers, proving one of the main goals of the platform: to explore both the present and future generation of filmmakers from both continents. For the first time the market will include a Chinese focus, exposing 6 titles coming from China, Hong Kong and Taiwan. Thanks to the partnership with Trieste Science+Fiction Festival and European Film Promotion, Focus Asia 2019 will host the section Get Ready for Cannes offering to 12 international sales agents the chance to introduce their most recent line up to more than 40 buyers from Asia, Europe and North America. -
Ten Volumes of Italian Diplomatic Documents on Armenians Soon To
SEPTEMBER 21, 2019 Mirror-SpeTHE ARMENIAN ctator Volume LXXXX, NO. 10, Issue 4603 $ 2.00 NEWS The First English Language Armenian Weekly in the United States Since 1932 INBRIEF Statue of Armenian Ten Volumes of Italian Diplomatic Documents Genocide missionary On Armenians Soon to be Completed Will Be Erected in Canada ond and third series, directed by Marta By Aram Arkun Petricioli of the University of Florence, will YARMOUTH, Canada (PanARMENIAN.Net) — A be complete soon, when volume ten is pub- series of activities honoring Canadian nurse and Mirror-Spectator Staff lished. The first series requires more time humanitarian Sara Corning, who helped rescue and financial resources because most docu- and care for thousands of orphans during the MILAN, Italy — In the scholarly world, ments are handwritten and take more time Armenian Genocide of 1915-1923, took place the serious major projects can take years to for transcription. All the documents pub- weekend of September 14-15 in Yarmouth, Canada, complete. It took more than 20 years to lished are from the Italian Foreign Ministry including the unveiling of a bronze statue of publish two series of volumes of the Italian archives and are reproduced in their entire- Corning. archival series Documenti Diplomatici ty. The only changes made concern spelling Born in the village of Chegoggin, Nova Scotia, Italiani sull’Armenia [Italian Diplomatic and style. Canada, in 1872, Corning made it her life’s mission Documents on Armenia], and this does not Each volume is edited by a young schol- to help others. In her mid-twenties, she moved to include prior planning and preparation ar, and contains an introduction about the the United States for training and worked in New time. -
9783631815052.Pdf
Inclusión, integración, diferenciación IMAGES OF DISABILITY / IMÁGENES DE LA DIVERSIDAD FUNCIONAL Literature, Scenic, Visual, and Virtual Arts / Literatura, artes escénicas, visuales y virtuales Edited by Susanne Hartwig and Julio Enrique Checa Puerta VOLUME 2 Susanne Hartwig (ed.) Inclusión, integración, diferenciación La diversidad funcional en la literatura, el cine y las artes escénicas Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available online at http://dnb.d-nb.de. Unterstützt durch den Publikationsfonds der Universität Passau El libro ha sido publicado gracias al apoyo del programa Hispanex ISSN 2569-586X ISBN 978-3-631-79803-4 (Print) • E-ISBN 978-3-631-81505-2 (E-Book) E-ISBN 978-3-631-81506-9 (EPUB) • E-ISBN 978-3-631-81507-6 (MOBI) DOI 10.3726/b16655 Open Access: This work is licensed under a Creative Commons Attribution NonCommercial NoDerivatives 4.0 unported license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/ © Susanne Hartwig Peter Lang GmbH International Academic Publishers Berlin 2020 Peter Lang – Berlin · Bern · Bruxelles · New York · Oxford · Warszawa · Wien www.peterlang.com Contenido Susanne Hartwig Introducción: los mundos posibles y la inclusión de la diversidad funcional ................................................................................................................. 9 I. Inclusión en el escenario Julio -
First Man the Irish Film Institute
OCTOBER 2018 FIRST MAN THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s EXHIBIT national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the IFI Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. IFI FRENCH FILM FESTIVAL Place publique MYSTERY MATINEE The IFI’s flagship festival, the IFI French Film Festival, This month’s secret screening, for which tickets cost just €5, will return for its 19th edition from November 14th to 25th. will take place at 13.00 on Sunday 14th. Sometimes it will Highlights of this year’s festival include Agnès Jaoui’s latest be a preview, but not always; sometimes, it will be a title one Place publique, Stéphane Brizé’s At War, and Gilles Lellouche’s might expect to see at the IFI, but not always. Join us for this hilarious Sink or Swim. Full festival details will be available month’s screening, and expect the unexpected! Previous from www.ifi.ie/frenchfest. surprise screenings have included a preview of Greta Gerwig’s Lady Bird and Alexander Payne’s Citizen Ruth. WINE TASTING FEAST YOUR EYES AND TAPAS Every month we pair a new release with a specially Join us at the IFI Café Bar for a night of classic wine tasting devised main course from the IFI Café Bar kitchen. This on Thursday, October 4th at 19.30. For just €20 learn how month’s film choice will be the 18.30 screening of Matteo to tell your Rueda from Rioja, all paired with Lamb Sausage, Garrone’s Italian crime drama Dogman on Wednesday Salmon and Crab Roulade, and Durrus Cheese with Pickled 24th. -
6523 Papadimitriou & Grgic.Indd
CONTEMPORARY BALKAN CINEMA 66523_Papadimitriou523_Papadimitriou & GGrgic.inddrgic.indd i 001/10/201/10/20 33:27:27 PPMM Traditions in World Cinema General Editors Nordic Genre Film Linda Badley (Middle Tennessee State Tommy Gustafsson and Pietari Kääpä (eds) University) Contemporary Japanese Cinema Since R. Barton Palmer (Clemson University) Hana-Bi Adam Bingham Founding Editor Chinese Martial Arts Cinema (2nd edition) Steven Jay Schneider (New York University) Stephen Teo Titles in the series include: Slow Cinema Tiago de Luca and Nuno Barradas Jorge Traditions in World Cinema Expressionism in Cinema Linda Badley, R. Barton Palmer and Steven Jay Olaf Brill and Gary D. Rhodes (eds) Schneider (eds) French Language Road Cinema: Borders, Japanese Horror Cinema Diasporas, Migration and ‘New Europe’ Jay McRoy (ed.) Michael Gott New Punk Cinema Transnational Film Remakes Nicholas Rombes (ed.) Iain Robert Smith and Constantine Verevis (eds) African Filmmaking Coming of Age in New Zealand Roy Armes by Alistair Fox Palestinian Cinema New Transnationalisms in Contemporary Nurith Gertz and George Khleifi Latin American Cinemas Czech and Slovak Cinema Dolores Tierney Peter Hames Celluloid Singapore: Cinema, Performance and The New Neapolitan Cinema the National Alex Marlow-Mann Edna Lim American Smart Cinema Short Films from a Small Nation: Danish Claire Perkins Informational Cinema 1935–1965 C. Claire Thomson The International Film Musical Corey Creekmur and Linda Mokdad (eds) B-Movie Gothic: International Perspectives Justin D. Edwards and Johan -
Your LIFF 2018 Guide
Welcome Welcome to your LIFF 2018 Guide. The global programme of the 32nd Leeds International Film Festival is all yours for exploring! You can find over 350 feature films, documentaries and shorts from 60 countries across five major programme sections: Official Selection, Cinema Versa, Fanomenon, Time Frames and Leeds Short Film Awards. You have over 300 eye-opening screenings and events to choose from at many of the city’s favourite venues and whether you want to see 6 or 60, we have great value passes and ticket offers available. We hope you have a wonderful experience at LIFF 2018 with 1000s of other film explorers! Contents LIFF 2018 Catalogue In the LIFF 2018 Catalogue you can Tickets / Map 4 discover more information about every Schedule 6 film presented in the programme. The Partners 11 catalogue will be available for FREE from Leeds Town Hall from 1 November, but Official Selection 14 there will be a limited supply so pick up Cinema Versa 34 your copy early!! Fanomenon 52 LIFF 2018 Online Time Frames 70 Leeds Short You can find the full LIFF 2018 programme online at leedsfilmcity.com where you 0113 376 0318 Film Awards 90 can also access the latest news including BOX OFFICE Index 100 guest announcements and award winners. To receive LIFF 2018 news first, join us on social media @leedsfilmfest and with # L I FF2018. Leeds International Screendance Competition Screendance Leeds International 3 Leeds Town Hall City Varieties Venues The Headrow, Leeds LS1 3AD Swan St, Leeds LS1 6LW Hyde Park Picture House Belgrave Music Hall 73 Brudenell -
Literary Miscellany
Literary Miscellany A Selection from Recent Acquisitions and Stock Including Prose and Poetry from the 17th - 20th Centuries Association Copies and Letters Fine Printing, Illustrated Books, Film Material, And Varia of Other Sorts Catalogue 306 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. -
The Armenian Mirror-Spectator Wishes All Document Their Readers a Merry Christmas and a Happy New Year
DECEMBER 27, 2014 MirTHErARoMENr IAN -Spe ctator Volume LXXXV, NO. 24, Issue 4369 $ 2.00 NEWS IN BRIEF The First English Language Armenian Weekly in the United States Since 1932 Official 1915 Merry Christmas! WATERTOWN — The staff of the Armenian Mirror-Spectator wishes all Document their readers a Merry Christmas and a Happy New Year. Our next issue will be Swept Under that of January 10, 2015. The Carpet Armenian President ISTANBUL (Agos) — Journalist Murat Speaks of Challenges, Bardakçi announced this week that a Turkish Historical Society (TTK) official Opportunities Ahead removed “dispatch registers” kept after the YEREVAN (ArmeniaNow) — Some of the current deportation law was issued in 1915 from year’s difficulties and uncertainties that have objec - the Ottoman archives, and hid them in the tive reasons are likely to continue in Armenia in archive of another institution. 2015, President Serge Sargisian said on December According to Bardakçi, this was done not 22 during a reception for the business community. by official procedure, but was the outcome At the same time, he spoke about new opportu - of an individual’s interference. Even the nities offered by Eurasian integration as Armenia newly changed administration of the prepares to enter the new economic grouping of Russia, Belarus and Kazakhstan on January 1. “Any state, any economy, even the most powerful economies like the United States or the European Union, can always encounter difficulties. In coun - Aram Satyan at Erevan Chorale and Orchestra Christmas Concert tries like ours these difficulties may happen more often,” said Sargisian. Aram Satyan President of Armenian Genocide Centennial to Composers Union Visits Boston Be Commemorated in WATERTOWN, Mass. -
Touch in the Helping Professions
TOUCH IN THE HELPING PROFESSIONS Touch in the Helping Professions.indd 1 18-03-06 11:00 Page left blank intentionally Touch in the Helping Professions.indd 2 18-03-06 11:00 TOUCH IN THE HELPING PROFESSIONS Research, Practice and Ethics EDITED BY Martin Rovers, Judith Malette and Manal Guirguis-Younger University of Ottawa Press 2017 Touch in the Helping Professions.indd 3 18-03-06 11:00 The University of Ottawa Press gratefully acknowledges the support extended to its publishing list by Canadian Heritage through the Canada Book Fund, by the Canada Council for the Arts, by the Ontario Arts Council, by the Federation for the Humanities and Social Sciences through the Awards to Scholarly Publications Program, and by the University of Ottawa. Copy editing: Michael Waldin Proofreading: Thierry Black Typesetting: Édiscript enr. Cover design: Édiscript enr. Library and Archives Canada Cataloguing in Publication Touch in the helping professions: research, practice, and ethics / edited by Martin Rovers, Judith Malette and Manal Guirguis-Younger. Includes bibliographical references and index. Issued in print and electronic formats. ISBN 978-0-7766-2755-7 (softcover). ISBN 978-0-7766-2756-4 (PDF). ISBN 978-0-7766-2757-1 (EPUB) ISBN 978-0-7766-2758-8 (Kindle) 1. Touch—Therapeutic use. I. Rovers, Martin, 1949-, editor II. Malette, Judith, 1963-, editor III. Guirguis-Younger, Manal, 1967-, editor IV. Title. V. Title. RC489.T69T54 2018 615.8’22 C2018-901015-0 C2018-901016-9 The use of the term “therapeutic touch” used in this book refers to touch within a psychotherapeutic relationship and does not refer to the registered intellectual property of Therapeutic Touch® which is a therapeutic practice and modality used in clinical practice that does not necessarily require physical touch. -
Gegen Die Wand
ABSTRACT Title of Thesis: FATIH AKIN’S LOVE, DEATH, AND THE DEVIL TRILOGY: A TRIAD OF CROSS- CULTURAL TALES Abigail Margaret Trozenski, Master of Arts, 2017 Thesis Directed By: Dr. Hester Baer, Germanic Studies Tracing Fatih Akin’s directorial oeuvre, this thesis focuses on Akin’s films Gegen die Wand (Head-On, 2004), Auf der anderen Seite (The Edge of Heaven, 2007), and The Cut (2014), which comprise the Love, Death, and the Devil trilogy. Emphasizing the tropes of mobility and language, I specifically trace the thematic and cinematic links between the films as they draw upon concepts of hybridity and migration. FATIH AKIN’S LOVE, DEATH, AND THE DEVIL TRILOGY: A TRIAD OF CROSS-CULTURAL TALES by Abigail Margaret Trozenski Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2017 Advisory Committee: Associate Professor Hester Baer, Chair Professor Peter Beicken Associate Professor Julie Koser © Copyright by Abigail Margaret Trozenski 2017 Dedication To Reagan Murphy and Brittany Meyer ii Table of Contents Dedication ..................................................................................................................... ii Table of Contents ......................................................................................................... iii List of Figures .............................................................................................................. iv Chapter 1: Fatih Akin and his -
Visual Absurdity in Raging Bull
Visual Absurdity in Raging Bull Todd Berliner University of North Carolina at Wilmington Preprint of Chapter in Raging Bull: A Cambridge Film Handbook. Ed. Kevin Hayes. Cambridge, U.K. and New York: Cambridge University Press, 2005. Visually, Raging Bull is almost an artistic fiasco. The film’s visual style seems often on the point of falling to pieces. The last fight scene, for instance—in which Sugar Ray Robinson incessantly pummels an exhausted Jake La Motta—depicts images so ludicrous that it’s a wonder that viewers can make sense of it. One shot bizarrely shows a punch from the perspective of Robinson’s glove as it approaches La Motta’s face. Seconds later, one of Robinson’s blows causes liquid to spray out of La Motta’s head, as though from a sprinkler, and splatter a crowd of onlookers with what looks like a bucket- load of blood. At one point Robinson winds up for a punch in a ridiculously awkward stance, his arm and shoulder stretched in the air behind him, standing like a third-grader pretending to be a fighter: The shot appears more strange because of slow motion cinematography and the curious emergence of smoke surrounding Robinson’s body. Such absurd and implausible images permeate the film, especially its fight sequences. In the pages that follow, I shall set about demonstrating that Raging Bull’s visual incoherence and intermittent absurdity are integral to its success as a film and one of the primary reasons that critics and audiences find the film so compelling.1 Before I do, however, I want to illustrate director Martin Scorsese’s commitment to the film by discussing the care with which he constructed its eccentric visual style.