I Morti Non Muoiono – Pressbook Italiano
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«Punch-Drunk Love», Anderson Da Palma
lunedì 20 maggio 2002 in scena 21 Provo a scrivere in un quarto d’ora. Al termine del quale sarò la forza del «documento» (dopo quell’immagine che si polverizzò forse (ovvero: indubitabilmente) di quindici minuti più vec- schermo colle in diretta sotto gli occhi di tutti) e la leggerezza dell’astrazione chio.˘ Riviste le due ore di quel capolavoro assoluto che è Playti- L’EQUIVOCO animata. Troppi conclamati «documentari» quest’anno a Can- me di Tati, qui omaggiato in 70millimetri, appare chiaro invece nes, spesso modesti, mentre tutti i film di una qualche intensità o quanto il più semplice e atroce specifico filmico, l’essere il cinema DELLA REALTÀ interesse (il tailandese Blissfully Yours, il messicano Japon,un un insaccato di tempo, un ammasso di rocchetti temporali, coreano..) giocano lo stesso gioco (magari triste, magari mostran- confermi solo l’inganno della durata (compresa quella della Enrico Ghezzi do il desiderio tenero crudele inane faticoso intralciato nel sesso nostra vita), resa materiale e come sottratta alla funzione di di corpi anziani) di Playtime, rivelano il sequestro del (nostro?) respiro dell’allucinazione (ottica) primaria che è lo spazio. Il capitolo ultimopresente della saga lucasiana. Statico, surplace, chiusi sempre dentro lo stesso fotogramma, dentro l’angusta e «tempo» concedendo allo spazio tutto il tempo, lasciando all’im- film che tra 67 e 68 (in coppia col successivo Hollywood Party di fatto di spazi meticolosamente analizzati, langhianamente im- bellissima ampiezza del settanta millimetri, prateria obbligata magine la possibilità di scompigliare l’attualità con il suo tempo Edwards) segnò il punto più radicale e anarchico di distruzione prigionati e imprigionanti, Playtime, immagine situazionista dove ogni sconfinamento è l’ingresso nella stessa riserva. -
Faculty Film Festival TUESDAY, OCTOBER 25, Gaines Theater, 6:30PM : CRUMB
5/11/2015 Christopher Newport University Mail Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm Susan Barber <[email protected]> Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm 1 message Personal Announcement Do Not Reply Tue, Oct 25, 2011 at <[email protected]> 10:50 AM ReplyTo: [email protected] To: [email protected], [email protected], [email protected] Dear Faculty, Students, and Staff: Reminder: Crumb, Tonight, 6:30pm, Gaines! Come check out Terry Zwigoff's compelling documentary about countercultural icon, Robert Crumb, whose graphic comix in the 1960s introduced one of the most talented comic artists of the 20th century to the world. Through an exploration of his life and backgroundwarts and all, the film supports the connection between artistic expression and basic human survival. Follow this link to the IMDB and see below for our original blurb! CNU @ the Movies: Faculty Film Festival TUESDAY, OCTOBER 25, Gaines Theater, 6:30PM : CRUMB Terry Zwigoff, 1994, featuring Robert Crumb. This film launched the directorial career of Terry Zwigoff ("Ghost World," "Bad Santa," "Art School Confidential") and is often referred to as one of the best documentaries ever made. The father of underground comics, Robert Crumb is a beguiling combination of madness and artistic genius, at once the strangest person you might ever meet and probably the funniest. "Crumb" juxtaposes his heartbreaking family story with his remarkable artistic achievement, treating you to Crumb's incredible and hilarious https://mail.google.com/mail/u/0/?ui=2&ik=283ac54fb8&view=pt&cat=Archives&search=cat&th=1333b8fbda00abf7&siml=1333b8fbda00abf7 1/2 5/11/2015 Christopher Newport University Mail Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm vision, wit and wisdom all the while. -
Wenders Has Had Monumental Influence on Cinema
“WENDERS HAS HAD MONUMENTAL INFLUENCE ON CINEMA. THE TIME IS RIPE FOR A CELEBRATION OF HIS WORK.” —FORBES WIM WENDERS PORTRAITS ALONG THE ROAD A RETROSPECTIVE THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ROAD THE AMERICAN FRIEND / THE STATE OF THINGS / PARIS, TEXAS / TOKYO-GA / WINGS OF DESIRE DIRECTOR’S NOTEBOOK ON CITIES AND CLOTHES / UNTIL THE END OF THE WORLD ( CUT ) / BUENA VISTA SOCIAL CLUB JANUSFILMS.COM/WENDERS THE GOALIE’S ANXIETY AT THE PENALTY KICK PARIS, TEXAS ALICE IN THE CITIES TOKYO-GA WRONG MOVE WINGS OF DESIRE KINGS OF THE ROAD NOTEBOOK ON CITIES AND CLOTHES THE AMERICAN FRIEND UNTIL THE END OF THE WORLD (DIRECTOR’S CUT) THE STATE OF THINGS BUENA VISTA SOCIAL CLUB Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this retrospective of twelve of his films—from early works of the New German Cinema Alice( in the Cities, Kings of the Road) to the art-house 1980s blockbusters that made him a household name (Paris, Texas; Wings of Desire) to inquisitive nonfiction looks at world culture (Tokyo-ga, Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world. Booking: [email protected] / Publicity: [email protected] janusfilms.com/wenders BIOGRAPHY Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New German Cinema in the 1970s and is considered to be one of the most important figures in contemporary German film. -
Exploring Ghost Worlds: a Review of the Daniel Clowes Reader
Johnston, P 2013 Exploring Ghost Worlds: A Review of The Daniel Clowes THE COMICS GRID Reader. The Comics Grid: Journal of Comics Scholarship, 3(1): 7, pp. 1-5, Journal of comics scholarship DOI: http://dx.doi.org/10.5334/cg.ag REVIEW Exploring Ghost Worlds: A Review of The Daniel Clowes Reader The Daniel Clowes Reader, Ken Parille, Softcover: 360 pages, Colour and black & white, Fantagraphics, 2013, ISBN: 9781606995891 Paddy Johnston* Daniel Clowes is undoubtedly one of the most influen- tial and prolific cartoonists working today, with a career spanning many decades. The Daniel Clowes Reader (Parille 2013) comes at the perfect time – when interest in Clowes from scholars and critics is at a high, but in which he is still perhaps given less critical attention than his peers Chris Ware, Art Spiegelman, and Marjane Satrapi, all of whom are cited twice as often as Clowes despite his large canon of significant works in comics. With recent books being published on Chris Ware by The University Press of Mississippi and the forthcoming Art Spiegelman collec- tion from Drawn and Quarterly, more significant focused, monographic books are emerging in comics and comics criticism, and The Daniel Clowes Reader is a more than wel- come addition to this emergence. Rather than providing an exhaustive chronological ret- rospective, as it would be tempting to do with such a vol- ume, the book is organised into three sections based on distinct areas of discussion which provide thematic arcs: section one explores Girls and Adolescence, focusing on Clowes’ landmark graphic novel Ghost World; section two explores Boys and Post-Adolescence using some of Clowes’ short stories from Eightball; and section three explores the broader and more fluid areas of Comics, Artists and Audiences, including Clowes’ illustrated manifesto, “Mod- ern Cartoonist,” which originally accompanied Eightball #18 as an attached pamphlet in 1997. -
Las Adaptaciones Cinematográficas De Cómics En Estados Unidos (1978-2014)
UNIVERSITAT DE VALÈNCIA Facultat de Filologia, Traducció i Comunicació Departament de Teoria dels Llenguatges i Ciències de la Comunicació Programa de Doctorado en Comunicación Las adaptaciones cinematográficas de cómics en Estados Unidos (1978-2014) TESIS DOCTORAL Presentada por: Celestino Jorge López Catalán Dirigida por: Dr. Jenaro Talens i Dra. Susana Díaz València, 2016 Por Eva. 0. Índice. 1. Introducción ............................................................................................. 1 1.1. Planteamiento y justificación del tema de estudio ....................... 1 1.2. Selección del periodo de análisis ................................................. 9 1.3. Sinergias industriales entre el cine y el cómic ........................... 10 1.4. Los cómics que adaptan películas como género ........................ 17 2. 2. Comparación entre los modos narrativos del cine y el cómic .......... 39 2.1. El guion, el primer paso de la construcción de la historia ....... 41 2.2. La viñeta frente al plano: los componentes básicos esenciales del lenguaje ........................................................................................... 49 2.3. The gutter ................................................................................. 59 2.4. El tiempo .................................................................................. 68 2.5. El sonido ................................................................................... 72 3. Las películas que adaptan cómics entre 1978 y 2014 ........................... 75 -
Woody Harrelson, Daniel Clowes, and Our Favorite Films of Sundance 2017 A.A
Woody Harrelson, Daniel Clowes, and our favorite films of Sundance 2017 A.A. Dowd Wilson (Photo: Sundance) Can a film be both bitterly, bitingly misanthropic and kind of cuddly? Wilson (Grade: B) gives it a good college try. The film is based on the 2010 graphic novel by Daniel Clowes, who helped adapt some of his earlier works into a pair of big-screen comedies, Ghost World and Art School Confidential. With Wilson, he’s again translated one of his prickly studies of modern alienation to the screen, but without Terry Zwigoff—a kindred spirit of despair and bilious humor—behind the camera. Instead, the project has been helmed by Craig Johnson, director of the recent Sundance favorite The Skeleton Twins, and one can often sense it being pulled in divergent directions, toward the acid wit of its creator and toward something a little more charitable, a little more Fox Searchlight-friendly. An uptick in humaneness, and in palatability, was possibly inevitable; behavior that readers can stomach from a drawing, frozen in ink, might be a tougher sell in flesh-and-blood form. Johnson’s strongest move was securing Woody Harrelson for the title role, an incorrigible windbag who lacks social boundaries, a filter between his mind and motor-mouth, and just about anyone willing to put up with him for longer than a few minutes. Harrelson doesn’t shy away from Wilson’s obnoxiousness—this is a guy who plants himself next to strangers on an empty bus, then berates them when they don’t share his anticonformist worldview—but he does sand down some of his edges, lending an oddly likable quality to his gregarious assholery. -
Chester Brown Mary Wept Over the Feet of Jesus
DRAWN & QUARTERLY SPRING 2016 CHESTER BROWN MARY WEPT OVER THE FEET OF JESUS CHESTER BROWN MARY WEPT OVER THE FEET OF JESUS THE IDIOSYNCRATIC MASTER CHESTER BROWN CONTINUES HIS THOUGHTS ON SEX WORK The iconoclastic and bestselling cartoonist of Paying for It: A Comic- Strip Memoir About Being a John returns with a polemical interpreta- tion of the Bible that will be one of the most controversial and talked- about graphic novels of 2016. Mary Wept over the Feet of Jesus is the retelling in comics form of nine biblical stories that present Chester Brown’s fascinating and startling thesis about biblical representations of prostitution. Brown weaves a connecting line between Bathsheba, Ruth, Rahab, Tamar, Mary of Bethany, and the Virgin Mother and reassesses the Christian moral code by examining the cultural impli- cations of the Bible’s representations of sex work. Mary Wept over the Feet of Jesus is a fitting follow-up to Brown’s sui generis graphic memoir Paying for It, which was reviewed twice in the New York Times and hailed by sex workers for Brown’s advocacy for the decriminalization and normalization of prostitution. Brown approaches the Bible as he did the life of Louis Riel, making these stories compellingly readable and utterly pertinent to a modern audience. In classic Chester Brown fashion, he provides extensive handwritten endnotes that delve into the biblical lore that informs Mary Wept Over the Feet of Jesus. praise for chester brown “I regard Paying For It, as simply, or not so simply, the most recent in a series of totally -
Farocki/Godard. Film As Theory
FILM CULTURE IN TRANSITION FAROCKI/ GODARD FILM AS THEORY volker pantenburg Farocki/Godard Farocki/Godard Film as Theory Volker Pantenburg Amsterdam University Press The translation of this book is made possible by a grant from Volkswagen Foundation. Originally published as: Volker Pantenburg, Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard, transcript Verlag, 2006 [isbn 3-899420440-9] Translated by Michael Turnbull This publication was supported by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie of the Bauhaus-Universität Weimar with funds from the German Federal Ministry of Education and Research. IKKM BOOKS Volume 25 An overview of the whole series can be found at www.ikkm-weimar.de/schriften Cover illustration (front): Jean-Luc Godard, Histoire(s) du cinéma, Chapter 4B (1988-1998) Cover illustration (back): Interface © Harun Farocki 1995 Cover design: Kok Korpershoek, Amsterdam Layout: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 891 4 e-isbn 978 90 4852 755 7 doi 10.5117/9789089648914 nur 670 © V. Pantenburg / Amsterdam University Press B.V., Amsterdam 2015 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. -
Films in the AMC A
Films in the AMC "O" (Tim Blake Nelson, 2001, USA, 90 min) “O” (Othello) (2001,J.Hartnett/J. Stiles/M. Phifer; 90 min.) 11'09"01 - September 11 (Ken Loach et al., USA, 2002, 123 min.) 12 Angry Men (Sidney Lumet, 1957, USA, 92 min.) 12 Years a Slave (Steve McQueen, 2013, USA, UK, 134 min.) 2001: A Space Oddisey (Stanley Kubrick, 1968, USA, 141min.) 2012 (Roland Emmerich, 2009, USA, 158 min) 21 Grams (Alejandro González Iñárritu, 2003, USA, 120 min.) 25th hour (Spike Lee, 2002, USA, 129 min. - German Title: 25 Stunden) 32A (Marian Quinn, 2007, IRL, 89 min.) 500 years later (Owen Alik Shahadah, 2005, UK/USA, 106min.) 7 Zwerge Part 1 + 2 (Sven Unterwaldt) 8 Mile (Curtis Hanson, 2002, USA, 106 min.) A brief history of time (Errol Morris, 1991, UK/Japan; USA, 80min.) German Title: Eine A kurze Geschichte der Zeit. Based on the book by Stephen Hawking A Cat in Paris (Felicioli; Gagnol, 62 min.) A Collection of 2005 Academy Award Nominated Short Films (5 Live Action Short Films and 3 Animated Short Films) A Day Without A Mexican (Sergio Arau, 2004, USA, 100min.) A Midsummernight's Dream (Michael Hoffman, 1999, Italy/UK/USA, 115 min.) A Street Cat Named Bob (Spottiswoode, 2016, 99 min.) A Streetcar Named Desire (Elia Kazan, 1951, USA, 120 min.) A Thousand Acres (Jocelyn Moonhouse, 1997, USA, 101min.) (Loosely based on King Lear) A United Kingdom (Asante, 106 min.) A Way of Life (Amma Asante, 2004, UK, 87 min.) About a Boy (Chris Weitz, 2002, GB, 97 min.) About Schmidt (Alexander Payne, 2002, USA, 120 min.) Acadie Liberté (Tim Radford, 1993, Canada/USA, -
Disstext 13. April Ohne Einstellungsgrafik
Grenzüberschreitungen: Zum Verhältnis von Bild und Musik in Jim Jarmuschs DEAD MAN Inauguraldissertation zur Erlangung eines Grades des Doktors der Philosophie im Fachbereich Sprach- und Kulturwissenschaften der Johann-Wolfgang-Goethe-Universität zu Frankfurt am Main vorgelegt von Simon Kopp aus Heidelberg 2006 (Einreichungsjahr) 2010 (Erscheinungsjahr) ______________________________________________ 1. Gutachterin: Prof. Dr. Regine Prange 2. Gutachter: Prof. Dr. Henry Keazor Tag der mündlichen Prüfung: 30.11.2006 Danksagung Mein Dank geht an alle Personen, die die vorliegende Arbeit in den unterschiedlichsten Funktionen begleitet und zur Entstehung beigetragen haben. Herauszuheben sind die Betreuer der Arbeit, Prof. Regine Prange und Prof. Henry Keazor, denen ich für Anleitung, Rat und Vertrauen danken möchte. Regine Prange möchte ich dabei ausdrücklich für die grundlegende Idee danken, den Fokus auf den Einsatz von Musik bei Jarmusch zu legen. Ebenfalls danken möchte ich Prof. Linda Maria Koldau und Prof. Adolf Nowak, die im Rahmen der Disputation wertvolle Hinweise zur weiteren Ausarbeitung gegeben haben. Von Henning Engelke und Bodo Winterroth kamen während der Ausarbeitung der Arbeit ebenfalls wichtige Anregungen, für die ich mich bedanken möchte, wie auch bei Gero Schneider und Tobias Scholz sowie dem Graduiertenkolleg „Psychische Energien bildender Kunst“. In erster Linie gebührt jedoch meinen Eltern Dank, ohne deren Unterstützung diese Arbeit nicht möglich gewesen wäre. 1. Einleitung .................................................................................................................................. -
Film Per Genere 2019
Titolo colloc genere 10 canoe V HEER Avventura 10.000 A.C. V EMMERICH Avventura 127 ore V BOYLE Avventura Alex Rider V SAX Avventura All is lost V CHANDOR Avventura Amazzonia V RAGOBERT Avventura Apocalypto V GIBSON Avventura Apollo 13 V HOWARD Avventura Black Sea V MACDONALD Avventura Bring me the head of Alfredo Garcia V PECKINPAH avventura Buffalo 66 V GALLO Avventura Bugsy V LEVINSON Avventura Cacciatore bianco, cuore nero V EASTWOOD Avventura Civiltà perduta V GRAY Avventura Detective Dee e il mistero della fiamma fantasma V HARK Avventura Due fratelli V ANNAUD Avventura El abrazo de la serpiente V GUERRA Avventura Everest V KORMAKUR Avventura Fallen V HICKS Avventura Gold V GAGHAN Avventura Heart of the Sea V HOWARD Avventura I pirati di Tortuga V WEBB Avventura I tre moschettieri 3D V ANDERSON Avventura Iguana V HELLMAN Avventura Il covo dei contrabbandieri V LANG Avventura Il covo dei contrabbandieri V LANG Avventura Il grande Nord V VANIER Avventura Il ladro di Bagdad V WALSH Avventura Il mistero dei templari [2 dvd] V TURTELTAUB Avventura Il segreto di Green Knowe V FELLOWES Avventura Indiana Jones e i predatori dell'arca perduta V SPIELBERG Avventura Indiana Jones e il regno del teschio di cristallo V SPIELBERG Avventura Indiana Jones e il regno del teschio di cristallo V SPIELBERG Avventura Indiana Jones e il tempio maledetto V SPIELBERG Avventura Indiana Jones e l'ultima crociata V SPIELBERG Avventura King Kong V JACKSON Avventura La foresta di smeraldo V BOORMAN Avventura La mummia V KUTZMAN Avventura La mummia : il ritorno V SOMMERS Avventura La mummia La tomba dell'imperatore Dragone V COHEN Avventura La nave delle donne maledette V MATARAZZO Avventura La Regina d'Africa V HUSTON Avventura La selva dei dannati V BUNUEL Avventura La tenda rossa V KALATOZOV Avventura L'imperatore del nord V ALDRICH Avventura Lo straordinario viaggio di T.S. -
CSLP Annual Meeting Minutes Friday, April 21, 2006 Chauncey Conference Center, Princeton, New Jersey 8:00 Pm, EDT
CSLP Annual Meeting Minutes Friday, April 21, 2006 Chauncey Conference Center, Princeton, New Jersey 8:00 pm, EDT Children’s Manual Julie Tomlianovich began with discussion on the Paws, Claws, Scales & Tales manual. Many felt that it would be hard to comment on it before it had been used. Julie announced that at Wednesday’s meeting there was a discussion about gathering manual feedback at the end of the summer rather than just before the Annual Meeting. This would also allow us to consolidate some of our surveying for opinions. She distributed a handout summarizing all of the comments she had received so far. Children’s Program Themes After requesting email submissions for theme wording for 2008, she was able to get feedback on the top choices. They were: - Catch the Reading Bug (19 votes) - What’s the BZZZ @ your library (15 votes) - Backyard Safari (14 votes) - Wings, Stings & Leggy Things (10 votes) - Don’t Bug Me, I’m Reading (10 votes) - Buggy for Books (9 votes) - Book a Backyard Safari (8 votes) - Bug Out @ your library (7 votes) - Buggin’ Out @ your library (7 votes) - Bee a Reader! (6 votes) - The Good, the Bad & the Buggly (6 votes) - Get Bitten by the Book Bug @ your library (5 votes) - Inspect Your World @ your library (5 votes) - Let the Book Bugs Bite (5 votes) The question came up about how easy any of these would be to translate. Barb Huntington (WI) said that she will check with a translator afterward. Bonnie Kunzel (NJ) reminded the group that last year, we decided that we would not worry about how to translate a theme—that would be left up to the discretion of the translator.