DOCSLIB.ORG

Melbourne Cinémathèque 2018 Screenings †

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Melbourne Cinémathèque 2018 Screenings † WEDNESDAY 7 FEBRUARY WEDNESDAY 14 FEBRUARY WEDNESDAY 21 FEBRUARY WEDNESDAY 28 FEBRUARY WEDNESDAY 7 MARCH WEDNESDAY 14 MARCH 7–21 FEBRUARY 28 FEBRUARY– MELBOURNE CINÉMATHÈQUE 2018 SCREENINGS JEANNE MOREAU: 14 MARCH WEDNESDAYS FROM 7PM* AT ACMI, FEDERATION SQUARE, MELBOURNE 2018 SCREENINGS * EXCEPT DURING THE PERIOD 27 MARCH – 16 APRIL. PLEASE CHECK THE THE FACE OF THE “I AM HERE AND I DON’T CALENDAR OR WEBSITE CAREFULLY. NOUVELLE VAGUE KNOW WHY”: THE FREE- PRESENTED BY THE MELBOURNE CINÉMATHÈQUE AND THE AUSTRALIAN CENTRE FOR THE MOVING IMAGE. FORM FILMMAKING OF CURATED BY THE MELBOURNE CINÉMATHÈQUE. 7:00PM 7:00PM 7:00PM 7:00PM 7:00PM 7:00PM JULES ET JIM LES AMANTS EVA SHADOWS FACES GLORIA SUPPORTED BY SCREEN AUSTRALIA, FILM VICTORIA AND THE CITY OF FRANÇOIS TRUFFAUT (1961) LOUIS MALLE (1958) JOSEPH LOSEY (1962) JOHN CASSAVETES JOHN CASSAVETES (1959) JOHN CASSAVETES (1968) JOHN CASSAVETES (1980) MELBOURNE ARTS GRANTS PROGRAM. 105 MINS – PG 90 MINS – M 107 MINS – PG 87 MINS – PG 130 MINS – M 123 MINS – PG Famously described by Orson Welles Truffaut once described Henri-Pierre Malle’s international breakthrough came Without a conventional narrative or Lauded as the archetypal Hollywood Three African-American siblings – two of This complex and truly spontaneous Financed by Columbia Pictures, this as “the greatest actress in the world”, Roché’s source novel as “the perfect with this sexually frank, often satirical, clearly motivated characters, Losey maverick, a pioneer of independent whom pass for white – negotiate issues chamber drama is Cassavetes at his most fascinating combination of gritty urban ANNUAL MEMBERSHIP Jeanne Moreau (1928–2017) is a true hymn to love and perhaps to life”, and second fiction feature that established presents a misanthropic vision of cinema who used his own money (not of identity in the milieu of New York’s jazz trenchant and affecting. Starring Lynn drama and well-worn crime genre clichés Admission for 12 months from date of purchase: icon of the French New Wave, defining his exquisite, supremely energetic and his thematic interest in conflicted sexuality and obsession, brilliantly to mention that of wife Gena Rowlands scene. Developed out of improvisations Carlin and veteran character actor John follows the burgeoning relationship that Full $165 / Conc. $145 (GST inclusive) coolness, female emancipation and highly cinematic adaptation is, along passions and the confrontation of desire. shot by regular Fellini and Antonioni and other high-profile friends and at Cassavetes’ acting workshop, famously Marley as a couple clinging to the last develops between an ex-mob mistress, sophistication throughout the late 1950s, with Godard’s Breathless, the most A tale of ennui and infidelity amongst the cinematographer Gianni di Venanzo. collaborators) to retain complete control re-shot and re-cut after a less-than-auspi- vestiges of a fractured marriage, its Gloria, and a young boy (the remarkable MINI MEMBERSHIP 1960s and early 1970s. With her expressive famous film of the nouvelle vague, affluent upper middle classes, it features Moreau fearlessly inhabits the sultry, over production – and, often, distribution cious premiere, the rawness, spontaneity deeply-etched tension is accentuated by John Adames) whose family have been yet enigmatic face, unfathomable sporting several of the most cherished a smouldering Moreau as the bored wife shameless gold digger who seduces, – of his singular, sadly truncated body of and unadorned love Cassavetes displays stark black-and-white cinematography murdered. The pair goes on the run as the Admission to 3 consecutive nights from date of purchase dark eyes, characteristic downturned scenes in cinema history. Set before, of a provincial newspaper publisher manipulates and torments a phoney work, John Cassavetes (1929–1989) can for his characters and the actors who and probing close-ups. Produced outside gangsters close in. Thanks to Cassavetes Full $31 / Conc. $26 (GST inclusive) mouth and sensual lips she embodied during and after World War I, the film who embarks on an affair with a young Welsh writer (Stanley Baker). Relying lay claim on several fronts to being the create them remains self-evident in this the Hollywood establishment, this study and a tour-de-force performance by Gena self-assuredness, uncompromising tells the modernity-fuelled story of stranger and is sexually and sensually on overt symbolism, Losey indulges in most influential post-war US filmmaker. seminal work of US independent cinema. of late 1960s American dissatisfaction Rowlands, the film goes well beyond its FRIENDS OF CINÉMATHÈQUE sensuality and a rebellious spirit. a love triangle between two friends reawakened. Winner of the Jury Prize at elaborate sets, flamboyant costumes and From the initial experimentation of The open-ended ambiguity of plot and and complacency was not only a clarion mainstream genre trappings, becoming Admission for 12 months from date of purchase: Beginning her career in theatre, Moreau (Oskar Werner and Henri Serre) and a Venice, this groundbreaking work was figurative objects to paint a picture of Shadows in the late 1950s, through character motivation heralds an call for independent filmmaking, but also a striking exploration of emotional Full: $290 / Concession: $260 (GST inclusive) performed with the Comédie-Française truly independent and mercurial woman. described by Truffaut as “the first night languid decadence in post-La dolce vita intermittent flirtations with Hollywood American New Wave which would an attack on the structural and aesthetic resilience, personal agency and the The Friends of Cinémathèque membership is a way for you to support and Théâtre National Populaire in the As Catherine, the uncontainable object of love in the cinema”. Italy. Based on James Hadley Chase’s to the astonishing achievements of his take another decade to crash onto conventions of classical cinema. With limits of one’s own humanity. the vitality of the Melbourne Cinémathèque, an independently organised, 1940s and early 1950s. After finding and subject of the titular characters’ 1945 bestselling novel and showcasing independent epics, he revolutionised Hollywood’s shores. Gena Rowlands and Seymour Cassel. 35mm print courtesy of the EYE Filmmuseum. not-for-profit organisation. In addition to annual membership you will receive: fame in Louis Malle’s Lift to the Scaffold affections, Moreau is a truly unforgettable a great jazz score by Michel Legrand. American cinema’s approach to acting, 35mm restored print courtesy of the UCLA Film and 35mm restored print courtesy of the UCLA Film and – following a series of often-undistin- force of life. writing, producing and, less famously, 35mm print courtesy of the EYE Filmmuseum. Television Archive. Television Archive. • 1 complimentary ticket for an ACMI programmed cinema session guished roles dating back to the late shooting and editing. Emerging from 35mm print courtesy of the British Film Institute. • 3 × single passes to bring a friend to a Cinémathèque screening 1940s – her film career unfolded like an the fervent New York acting scene of the any time in the calendar year honour roll for the greatest directors 1950s, Cassavetes advanced cinema’s • Discounted member prices for ACMI programmed cinema sessions and auteurs of the 1960s and ’70s. With a ongoing realist project by adding a • 15% discount at ACMI Cafe & Bar and the ACMI Shop fluid screen presence, Moreau played an Stanislavskian concern with individual • Exclusive invitations to cinema events, previews and screenings extraordinary array of characters without truth, and infusing the result with the • Subscription to the ACMI Film Member e-news ever being pigeonholed and while always spirit of free jazz. His films, often lazily • An ACMI Film Membership card that can be used to scan into demonstrating an empowered femininity. categorised as naturalistic, are highly Cinémathèque sessions. On screen she could be disdainful yet performative, radically shifting the sensitive, ferocious yet vulnerable, intense traditional focus of narrative cinema yet melancholic. Before her death in July away from plot and onto the moment-to- MEMBERSHIPS AVAILABLE AT: 2017, Moreau’s film career had spanned moment truths of his characters. Minor ACMI Tickets and Information Desk (03 8663 2583) over six decades, more than 130 films and cameos take centre stage; stunning 9:00PM 8:40PM 9:00PM 8:40PM 9:20PM 9:15PM Online at www.acmi.net.au (booking fees apply for online transactions) a host of lifetime achievement awards. structural pirouettes leave plotlines DIARY OF A CHAMBERMAID LA BAIE DES ANGES L’ADOLESCENTE LOVE STREAMS MINNIE AND MOSKOWITZ HUSBANDS This season focuses on Moreau’s key unresolved, or introduce major characters LUIS BUÑUEL (1964) JACQUES DEMY (1963) JEANNE MOREAU (1979) JOHN CASSAVETES (1984) JOHN CASSAVETES (1971) JOHN CASSAVETES (1970) Please note, membership does not ensure admission: members will only films from the decade 1958–1968, halfway through a film. Unexpected 98 MINS – M 90 MINS – UNCLASSIFIED 15 +* 90 MINS – UNCLASSIFIED 15 +* 141 MINS – M 114 MINS – M 131 MINS – M be admitted to cinema capacity. including her work with many of her ellipses take us across space and time most sympathetic directors, François Buñuel and co-writer Jean-Claude Moreau stars as an aging, impulsive Moreau’s second feature as director with little explanation, the director Winner of the Golden Bear at the Berlin Gena Rowlands and Seymour Cassel Cut down from an unmanageable FILM CLASSIFICATIONS:
Load more

Recommended publications
  • Film Rights Afm 2016
    FILM RIGHTS ION OF FRENCH BOOKS AFM 2016 T LOS ANGELES SELEC A DESIGNED BY Line Célo Mathieu Roger-Lacan PRINTED IN USA BY Printex PUBLISHED BY Office for Cultural Affairs and the Creative Industries Consulate General of France in Los Angeles 10390, Santa Monica Blvd Los Angeles CA 90025 [email protected] frenchculture.org THIS PUBLICATION IS SUPPORTED BY Institut français 2 Shoot the Book! L.A. SECOND EDITION Organized by the French Embassy’s Mission for Culture and Higher Education in the United States and the Institut français, Shoot the Book! LA is the US edition of Shoot the Book!, a collective endeavor of French publishers under the banner of the Société Civile des Editeurs de Langue Française (SCELF) and the Bureau Interna- tional de l’Edition Française (BIEF) launched at the Cannes Film Festival in 2014. Shoot the Book! L.A. was made possible thanks to the support of the SCELF, the CFC (Centre Français du droit de Copie) and the SOFIA (SOciété Française des Intérêts des Auteurs de l’écrit). Shoot the Book! comes to Los Angeles this year again. This second edition is de- signed as a platform to display a selection of titles from France’s front-line publi- shing houses, which have been selected by leading American film professionals for their potential as screen adaptations for film, television and other digital formats. Each book is presented in its main storylines, with a synthesis of key information and the person to contact if you would like to know more. The titles presented by re- presentatives for the Mediatoon Group (Dargaud and Dupuis), the Place des Édi- teurs Group (Belfond and Presses de la Cité), Denoël, Albin Michel and C.A.L.
    [Show full text]
  • The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Elliott, Patricia Ann, "The Dramaturgy of Edmond Rostand." (1968). LSU Historical Dissertations and Theses. 1483. https://digitalcommons.lsu.edu/gradschool_disstheses/1483 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microiilmed exactly as received 69-4466 ELLIOTT, Patricia Ann, 1937- THE DRAMATURGY OF EDMOND ROSTAND. [Portions of Text in French]. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE DRAMATURGY OF EDMOND ROSTAND A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy m The Department of Foreign Languages by Patricia Ann Elliott B.A., Catawba College, 1958 M.A., University of North Carolina at Chapel Hill, 1962 August, 1968 ACKNOWLEDGMENTS I wish to express my deep personal appreciation to Professor Elliott Dow Healy for his inspiration to me and guidance of my studies at Louisiana State University, and particularly for his direction of this dissertation. I am especially grateful to my parents for their encouragement throughout my studies.
    [Show full text]
  • Xx:2 Dr. Mabuse 1933
    January 19, 2010: XX:2 DAS TESTAMENT DES DR. MABUSE/THE TESTAMENT OF DR. MABUSE 1933 (122 minutes) Directed by Fritz Lang Written by Fritz Lang and Thea von Harbou Produced by Fritz Lanz and Seymour Nebenzal Original music by Hans Erdmann Cinematography by Karl Vash and Fritz Arno Wagner Edited by Conrad von Molo and Lothar Wolff Art direction by Emil Hasler and Karll Vollbrecht Rudolf Klein-Rogge...Dr. Mabuse Gustav Diessl...Thomas Kent Rudolf Schündler...Hardy Oskar Höcker...Bredow Theo Lingen...Karetzky Camilla Spira...Juwelen-Anna Paul Henckels...Lithographraoger Otto Wernicke...Kriminalkomissar Lohmann / Commissioner Lohmann Theodor Loos...Dr. Kramm Hadrian Maria Netto...Nicolai Griforiew Paul Bernd...Erpresser / Blackmailer Henry Pleß...Bulle Adolf E. Licho...Dr. Hauser Oscar Beregi Sr....Prof. Dr. Baum (as Oscar Beregi) Wera Liessem...Lilli FRITZ LANG (5 December 1890, Vienna, Austria—2 August 1976,Beverly Hills, Los Angeles) directed 47 films, from Halbblut (Half-caste) in 1919 to Die Tausend Augen des Dr. Mabuse (The Thousand Eye of Dr. Mabuse) in 1960. Some of the others were Beyond a Reasonable Doubt (1956), The Big Heat (1953), Clash by Night (1952), Rancho Notorious (1952), Cloak and Dagger (1946), Scarlet Street (1945). The Woman in the Window (1944), Ministry of Fear (1944), Western Union (1941), The Return of Frank James (1940), Das Testament des Dr. Mabuse (The Crimes of Dr. Mabuse, Dr. Mabuse's Testament, There's a good deal of Lang material on line at the British Film The Last Will of Dr. Mabuse, 1933), M (1931), Metropolis Institute web site: http://www.bfi.org.uk/features/lang/.
    [Show full text]
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • Gian Maria Volonte:Programme Notes.Qxd
    A Bullet for the General Italy | 1966 | 135 minutes Credits In Brief Director Damiano Damiani Considered by its director to be a political film rather than a western, this critique Screenplay Salvatore Laurani, Franco Solinas of US imperialism sees Volonte’s Mexican bandit Chuncho gradually become politically aware as a result of his manipulation by a US secret agent — a role Music Luis Bacalov played by Lou Castel, ironically another committed left-wing actor. Photography Antonio Secchi Cast Chuncho Gian Maria Volonté El Santo Klaus Kinski Adelita Martine Beswick Bill 'Niño' Tate Lou Castel While the Italian spaghetti westerns of the mid- 60s and 70s dealt with some minor political issues, mostly American capitalism, there was a separate subgenre of the spaghetti western called Zapata westerns that dared to go deeper. Zapata westerns were usually dealing directly with the Mexican Revolution of 1913 and were much more politically charged than the regular spaghetti westerns, which would often set the Mexican Revolution in the background. These Zapata westerns would usually be critical of US foreign policy, the Vietnam War, fascism, capitalism, and were usually made from a Marxist point of view. Perhaps one of the most popular and recognizable Zapata westerns aside from Sergio Leone’s Duck, You Sucker is the 1966 film A Bullet for the General, which was directed by Damiano Damiani. Relentlessly thrilling, refreshingly comical, and unafraid to embrace plenty of action, A Bullet for the General is not only the first Zapata western, but also one of the most fun spaghetti westerns out there. Beautifully shot, sharply written, and carried by unforgettable performances from Gian Maria Volonté, who found stardom through Leone’s A Fistful of Dollars and For a Few Dollars More, and Klaus Kinski, the man who played the creepiest Dracula the world has ever seen, A Bullet for the General is an epic and sweeping journey with a powerhouse climax.
    [Show full text]
  • TODD BERLINER Department of Film Studies (910)
    CURRICULUM VITAE TODD BERLINER Department of Film Studies (910) 962-3336 University of North Carolina Wilmington [email protected] 601 South College Road www.uncw.edu/toddberliner Wilmington, NC 28403-5950 CURRENT POSITION Professor, Department of Film Studies, University of North Carolina Wilmington. EDUCATION Ph.D. English, University of California at Berkeley, 1996. Dissertation: When Movies Grew Up: Hollywood Films of the 1970s B.A. Psychology and English, University of California at Berkeley, 1986; Highest Distinction in General Scholarship (summa cum laude); Phi Beta Kappa. FIELDS OF SPECIALIZATION Film aesthetics, style, and storytelling; entertainment cinema; American film history; Hollywood cinema; American independent cinema; American films of the 1970s. TEACHING Professor, Department of Film Studies, Univ. of North Carolina Wilmington, 2010-present. László Országh Chair in American Studies, Fulbright Scholars Distinguished Chair Award, Eötvös Loránd University, Budapest, Hungary, Spring 2012. Associate Professor, Department of Film Studies, UNCW, 2002-2010. Fulbright Professor, Hanoi University of Theater and Cinema, Fulbright Scholars Award, Vietnam, 2005-2006. Assistant Professor, Department of English, UNCW, 1996-2002. Selected Courses: American Cinema 1927-1960 Film Authors: Martin Scorsese American Cinema of the 1970s Film Styles & Genres: Film Noir American Cinema Since 1961 Film Styles & Genres: Hollywood Style Approaches to Film Aesthetics Hollywood Aesthetics The Cinematic Mind: Cognition and Film Introduction to Film Study Cognitive and Neoformalist Film Theories Storytelling in the Cinema Concepts in Film Theater and Cinema Film Authors: John Cassavetes Writing about Film ADMINISTRATION Associate Chair, Department of Film Studies, University of North Carolina Wilmington, 2014-2016. Department Chair and Founder, Department of Film Studies, University of North Carolina Wilmington, 2002-2005.
    [Show full text]
  • Kevin Jerome Everson Artist/Filmmaker Professor of Art/University of Virginia Mcintire Dept of Art
    Kevin Jerome Everson Artist/Filmmaker Professor of Art/University of Virginia McIntire Dept of Art Born 1965, Mansfield, Ohio USA Education: 1990 MFA, Ohio University, Athens, OH 1987 BFA, University of Akron, Akron, OH Awards and Fellowships 2011 Virginia Museum Fine Arts Professional Fellowship 2010-2011 2010 Erie, Best International Film, Images Film Festival, Toronto, Ontario Erie, Best Long Form Work, Migrating Forms, New York, New York Mid Atlantic-Grant (2009/10) in association with Hallwalls Contemporary Art Center, Buffalo NY residency/project 2005 Best Documentary Film, Spicebush, New York Underground Film Festival 2002 Jules Guerin /Metropolitan Museum of Art–Jacob H. Lazarus Rome Prize Fellowship at the American Academy, Rome Outstanding Alumnus, Ohio University College of Arts and Sciences 2001 Creative Capital Media Arts Fellowship 1996 John Simon Guggenheim Memorial Fellowship, photography 1995 Arts Midwest National Endowment of the Arts Regional Visual Artist Fellowship, photography Ohio Arts Council Individual Artist Fellowship, photography DVDs Broad Day and Other Times: Works by Kevin Jerome Everson, Video Data Bank, Chicago, Illinois, 2011 Solo Exhibitions and Solo Screenings 2012 Retrospective, Cinema du Reel in Nyon, Switzerland Chevelle, The Box, The Wexner Center of the Arts, Columbus, Ohio 2011 More Than That, Whitney Museum of American Art, New York, New York Quality Control, Views From the Avant-Garde, New York Film Festival, Lincoln Center, New York City Quality Control, International Film Festival Rotterdam,
    [Show full text]
  • Page 1 of 3 Moma | Press | Releases | 1998 | Gallery Exhibition of Rare
    MoMA | press | Releases | 1998 | Gallery Exhibition of Rare and Original Film Posters at ... Page 1 of 3 GALLERY EXHIBITION OF RARE AND ORIGINAL FILM POSTERS AT THE MUSEUM OF MODERN ART SPOTLIGHTS LEGENDARY GERMAN MOVIE STUDIO Ufa Film Posters, 1918-1943 September 17, 1998-January 5, 1999 The Roy and Niuta Titus Theater 1 Lobby Exhibition Accompanied by Series of Eight Films from Golden Age of German Cinema From the Archives: Some Ufa Weimar Classics September 17-29, 1998 The Roy and Niuta Titus Theater 1 Fifty posters for films produced or distributed by Ufa, Germany's legendary movie studio, will be on display in The Museum of Modern Art's Roy and Niuta Titus Theater 1 Lobby starting September 17, 1998. Running through January 5, 1999, Ufa Film Posters, 1918-1943 will feature rare and original works, many exhibited for the first time in the United States, created to promote films from Germany's golden age of moviemaking. In conjunction with the opening of the gallery exhibition, the Museum will also present From the Archives: Some Ufa Weimar Classics, an eight-film series that includes some of the studio's more celebrated productions, September 17-29, 1998. Ufa (Universumfilm Aktien Gesellschaft), a consortium of film companies, was established in the waning days of World War I by order of the German High Command, but was privatized with the postwar establishment of the Weimar republic in 1918. Pursuing a program of aggressive expansion in Germany and throughout Europe, Ufa quickly became one of the greatest film companies in the world, with a large and spectacularly equipped studio in Babelsberg, just outside Berlin, and with foreign sales that globalized the market for German film.
    [Show full text]
  • FIAF Supporters Partnership Programme
    FIAF Supporters Partnership Programme Exhibitors’ stands at the FIAF Congresses in Beijing (2012), Barcelona (2013), Skopje (2014) & Sydney (2015) WHAT IS FIAF? FIAF, the International Federation of Film Archives, brings together the world's leading film heritage institutions. Its affiliates are dedicated to the rescue, collection, preservation and screening of moving images, which are valued both as works of art and culture and as historical documents. When it was founded in 1938, FIAF had 4 members. Today it comprises 172 institutions in 80 countries - a reflection of the extent to which preservation of moving image heritage has become a world-wide concern. FIAF'S AIMS to uphold a code of ethics for film preservation and practical standards for all areas of film archive work; to promote the creation of moving image archives in countries which lack them; to seek the improvement of the legal context within which film archives carry out their work; to promote film culture and facilitate historical research on both a national and international level; to foster training and expertise in preservation and other archive techniques; to ensure the permanent availability of material from the collections for study and research by the wider community; to encourage the collection and preservation of documents and materials relating to the cinema; to develop cooperation between affiliates to ensure the international availability of films and documents. FIAF’S AFFILIATES There are two types of FIAF affiliates: FIAF Members are film archives and cinematheques which are actively engaged in film preservation activities and fully committed to the ideals described earlier. Current Members reflect a wide range of non-profit institutions, including government archives, independent foundations and trusts, self-contained cinematheques, museums and university departments.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • Film Schedule
    Spaghetti Westerns - Week 1 – January 5 Week 6 – February 8 Winter 2017 Course Intro: Identifying The Zapata Spaghetti Plot Genres Run Man, Run (Corri uomo corri) – Professor: Yuri M. Sangalli Sergio Sollima, 1968 Week 2 – January 11 ☎: 661.2111 ext. 86039 The Classic Western Week 7 – February 15 ✉: Please use OWL for all course Shane – George Stevens, 1958 The (Stylized) Italian Western correspondence and (Genre) History Once Upon a Time in the West (C’era Marking scheme: una volta il West) – S. Leone, 1968 Test - two hours, in class 15% Group presentation + report February 20-24 Reading Week (written/web-based) 15% Essay - 2500 words max. 25% Final exam – three hours 30% Class participation and attendance* 15% Week 9 – March 8 *attendance taken at each After the Italian Western: The screening and class Professional Plot The Wild Bunch – Sam Peckinpah, Students are expected to view 1969 films and complete readings Week 10 – March 15 before coming to class. Vengeance Plots and Urban Week 3 – January 18 Vigilantes: the Poliziesco The Samurai Film and the Revolver – Sergio Sollima, 1973 Peplum Adventure Film Yojimbo – Akira Kurosawa, 1961 Week 11 – March 22 Quentin Tarantino’s “Southern Week 4 – January 25 Western” The Servant of 2 Masters Plot Week 8 – March 1 Django Unchained – Quentin Django – Sergio Corbucci, 1966 The Meta Spaghetti Western: Tarantino, 2012 Genre Parody Week 12 – March 29 Week 5 – February 1 My Name Is Nobody (Il mio nome è Group presentations The Transitional Plot nessuno) – Tonino Valerii, 1973 The Good, the Bad and the Ugly (Il Week 13 – April 5 buono, il brutto e il cattivo) – Sergio March 2 – Test (2 hours) Group presentations Leone, 1966 Friday April 7 - Essay due .
    [Show full text]
  • The Broken Ideals of Love and Family in Film Noir
    1 Murder, Mugs, Molls, Marriage: The Broken Ideals of Love and Family in Film Noir Noir is a conversation rather than a single genre or style, though it does have a history, a complex of overlapping styles and typical plots, and more central directors and films. It is also a conversation about its more common philosophies, socio-economic and sexual concerns, and more expansively its social imaginaries. MacIntyre's three rival versions suggest the different ways noir can be studied. Tradition's approach explains better the failure of the other two, as will as their more limited successes. Something like the Thomist understanding of people pursuing perceived (but faulty) goods better explains the neo- Marxist (or other power/conflict) model and the self-construction model. Each is dependent upon the materials of an earlier tradition to advance its claims/interpretations. [Styles-studio versus on location; expressionist versus classical three-point lighting; low-key versus high lighting; whites/blacks versus grays; depth versus flat; theatrical versus pseudo-documentary; variety of felt threat levels—investigative; detective, procedural, etc.; basic trust in ability to restore safety and order versus various pictures of unopposable corruption to a more systemic nihilism; melodramatic vs. colder, more distant; dialogue—more or less wordy, more or less contrived, more or less realistic; musical score—how much it guides and dictates emotions; presence or absence of humor, sentiment, romance, healthy family life; narrator, narratival flashback; motives for criminality and violence-- socio- economic (expressed by criminal with or without irony), moral corruption (greed, desire for power), psychological pathology; cinematography—classical vs.
    [Show full text]