Brice Dellsperger BODY DOUBLE
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BRICE DELLSPERGER Solitaires
**click here to access to the french version** BRICE DELLSPERGER Solitaires Exhibition from June 20 to July 30, 2020 43, rue de la Commune de Paris F-93230 Romainville For his new solo sow at Air de Paris, Brice Dellsperger presents two new films «Body Double 36» and «Body Double 37». «My Body Double videos are like doubles of movie sequences from the 70s or 80s: the title refers to Brian de Palma’s film (Body Double, 1984). To this day the series includes forty films with various running times, where the obsessive motif is the body of the double in mainstream movies. Following a rigorous but emancipating process, each selected scene is re-enacted by a single transvestite actor or actress, a super character who interprets all the parts by becoming double.» By appropriating the linear/ authoritarian form of a movie, the Body Double films aim at disrupting normative sexual genres through the means of a camp aesthetic.» Body Double 36 (2019) After Perfect (James Bridges, 1985) with Jean Biche. Aerobics were the fashion in the 80s! James Bridges’ Perfect was released in 1985. The film superficially describes human relationships in a gym club in Los Angeles, seen through the eyes of a journalist (John Travolta) who is beguiled by an androgynous gym coach (Jamie Lee Curtis). Studies on the postmodern body in contemporary American society are linked to the context of the 80s, a period which recognized an ideal body-object caught up by the AIDS epidemic. The identification of the HIV virus had a major influence on the perception and representation of bodies and sexuality. -
Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides, -
Brice Dellsperger Body Double
Brice Dellsperger Body Double Curated by Selva Barni - Fantom Oct 24th — Nov 30th, 2018 Marsèlleria Via Paullo, 12/A Milan GROUND FLOOR 1. Body Double 10 Reprise of Brian de Palma's Obsession, 1997 1’ 27’’, loop With Dominique, Jean-luc Verna, Joy Falquet 2. Love/pursuit Body Double 3 Reprise of Brian de Palma's Body Double, 1995 1 1’50’’, loop With Brice Dellsperger Body Double 28 Reprise of Thomas Carter's Miami Vice Pilot (Brother's Keeper), 2013 2’46’’, loop With Brice Dellsperger 5 4 2 3. Despair 3 Body Double 21 Reprise of Roger Avary's The Rules of Attractions featuring V/VM's GROUND FLOOR sound design, 2005 19’56’’, loop With Lili Laxenaire, Joy Falquet, Sophie Lesné, Jean-Luc Verna, Carey Jeffries, William Carnimolla, Morgane Rousseau, Eva Carlton, Mercedes, Gwen Roch', Denis d'Arcangelo 4. Chases Body Double 4 Reprise of Alfred Hitchcock's Psycho as Donna Summer in Bad Girls, 1996 6’4’’, loop With Brice Dellsperger Body Double 5 Reprise of Brian de Palma's Dressed To Kill in Disneyland, 1996 5’40’’, loop With Brice Dellsperger Body Double 15 Reprise of Brian de Palma's Dressed to Kill, 2001 8’37’’, loop With Brice Dellsperger 5. Dead Star Body Double 26 Adaptation of Kenneth Anger's Hollywood Babylon I/II with Dead Can Dance's The Host Of Seraphim as a soundtrack, 2011 6’8’’, loop With Constance Legeay, Charleyne Boyer, Anita Gauran marselleria.org/body_double BASEMENT 6. Body Double 32 Reprise of Brian De Palma's Carrie, 2017 10’11’’ ca., loop 6 Music Didier Blasco With Alex Wetter BASEMENT FIRST FLOOR 7. -
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JULY 2021 1THURSDAY 2FRIDAY DAYTIME THEME: DAYTIME THEME: TCM BIRTHDAY TRIBUTE: WILLIAM WYLER KEEPING THE KIDS BUSY PRIMETIME THEME: PRIMETIME THEME: SELVIS FRIDAY NIGHT NEO-NOIR Seeing Double 8:00 PM Harper (‘66) 8:00 PM Kissin’ Cousins (‘64) 10:15 PM Point Blank (‘67) 10:00 PM Double Trouble (‘67) 12:00 AM Warning Shot (‘67) 12:00 AM Clambake (‘67) 2:00 AM Live A Little, Love a Little (‘68) 3SATURDAY 4SUNDAY DAYTIME THEME: DAYTIME THEME: SATURDAY MATINEE HAPPY INDEPENDENCE DAY PRIMETIME THEME: PRIMETIME THEME: GABLE GOES WEST HAPPY INDEPENDENCE DAY 8:00 PM The Misfits (‘61) 8:00 PM Yankee Doodle Dandy (‘42) 10:15 PM The Tall Men (‘55) 10:15 PM 1776 (‘72) JULY JailhouseThes Stranger’s Rock(‘57) Return (‘33) S STAR OF THE MONTH: Elvis 5MONDAY 6TUESDAY 7WEDNESDAY P TCM SPOTLIGHT: Star Signs DAYTIME THEME: DAYTIME AND PRIMETIME THEME(S): DAYTIME THEME: MEET CUTES DAYTIME THEME: TY HARDIN TCM PREMIERE PRIMETIME THEME: SOMETHING ON THE SIDE PRIMETIME THEME: DIRECTED BY BRIAN DE PALMA PRIMETIME THEME: THE GREAT AMERICAN MIDDLE TWITTER EVENTS 8:00 PM The Bonfire of the Vanities (‘90) PSTAR SIGNS Small Town Dramas NOT AVAILABLE IN CANADA 10:15 PM Obsession (‘76) Fire Signs 8:00 PM Peyton Place (‘57) 12:00 AM Sisters (‘72) 8:00 PM The Cincinnati Kid (‘65) 10:45 PM Picnic (‘55) 1:45 AM Blow Out (‘81) (Steeve McQueen – Aries) 12:45 AM East of Eden (‘55) 4:00 AM Body Double (‘84) 10:00 PM The Long Long Trailer (‘59) 3:00 AM Kings Row (‘42) (Lucille Ball – Leo) 5:15 AM Our Town (‘40) 12:00 AM The Bad and the Beautiful (‘52) (Kirk Douglas–Sagittarius) -
Production Designer Jack Fisk to Be the Focus of a Fifteen-Film ‘See It Big!’ Retrospective
FOR IMMEDIATE RELEASE PRODUCTION DESIGNER JACK FISK TO BE THE FOCUS OF A FIFTEEN-FILM ‘SEE IT BIG!’ RETROSPECTIVE Series will include Fisk’s collaborations with Terrence Malick, Brian De Palma, Paul Thomas Anderson, and more March 11–April 1, 2016 at Museum of the Moving Image Astoria, Queens, New York, March 1, 2016—Since the early 1970s, Jack Fisk has been a secret weapon for some of America’s most celebrated auteurs, having served as production designer (and earlier, as art director) on all of Terrence Malick’s films, and with memorable collaborations with David Lynch, Paul Thomas Anderson, and Brian De Palma. Nominated for a second Academy Award for The Revenant, and with the release of Malick’s new film Knight of Cups, Museum of the Moving Image will celebrate the artistry of Jack Fisk, master of the immersive 360-degree set, with a fifteen-film retrospective. The screening series See It Big! Jack Fisk runs March 11 through April 1, 2016, and includes all of Fisk’s films with the directors mentioned above: all of Malick’s features, Lynch’s Mulholland Drive and The Straight Story, De Palma’s Carrie and Phantom of the Paradise, and Anderson’s There Will Be Blood. The Museum will also show early B- movie fantasias Messiah of Evil and Darktown Strutters, Stanley Donen’s arch- affectionate retro musical Movie Movie, and Fisk’s directorial debut, Raggedy Man (starring Sissy Spacek, Fisk’s partner since they met on the set of Badlands in 1973). Most titles will be shown in 35mm. See below for schedule and descriptions. -
Understanding Steven Spielberg
Understanding Steven Spielberg Understanding Steven Spielberg By Beatriz Peña-Acuña Understanding Steven Spielberg Series: New Horizon By Beatriz Peña-Acuña This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Beatriz Peña-Acuña Cover image: Nerea Hernandez Martinez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0818-8 ISBN (13): 978-1-5275-0818-7 This text is dedicated to Steven Spielberg, who has given me so much enjoyment and made me experience so many emotions, and because he makes me believe in human beings. I also dedicate this book to my ancestors from my mother’s side, who for centuries were able to move from Spain to Mexico and loved both countries in their hearts. This lesson remains for future generations. My father, of Spanish Sephardic origin, helped me so much, encouraging me in every intellectual pursuit. I hope that contemporary researchers share their knowledge and open their minds and hearts, valuing what other researchers do whatever their language or nation, as some academics have done for me. Love and wisdom have no language, nationality, or gender. CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Spielberg’s Personal Context and Executive Production Chapter Two .............................................................................................. 19 Spielberg’s Behaviour in the Process of Film Production 2.1. -
Professors Explore Foreign Policy, Election Tryouts Commence To
THE INDEPENDENT TO UNCOVER NEWSPAPER SERVING THE TRUTH NOTRE DAME AND AND REPORT SAINT Mary’s IT ACCURATELY V OLUME 50, ISSUE 127 | WEDNESDAY, APRIL 20, 2016 | NDSMCOBSERVER.COM P rofessors explore foreign policy, election ND Votes “Pizza, Pop and Politics” hosts discussion on foreign policy issues in the presidential election By LUCAS MASIN-MOYER issues, ” Desch said. N ews Writer Desch said this change in sentiment was largely due ND Votes hosted their final to “war weariness” and said installment of “Pizza, Pop, American voters are much and Politics” on Tuesday night more skeptical of involvement with Michael Desch, professor in foreign conflicts. of political science, and Mary “American voters are asking Ellen O’Connell, the Robert and the question, ‘What’s in it for Marion Short Professor of Law us?’ They want to be persuaded and research professor of in- that, if we go abroad in search ternational dispute resolution, of a monster, these are mon- speaking on issues of foreign sters that is in the interest of the policy related to the 2016 U.S. United States to slay,” he said. presidential election. Desch also touched upon the Desch began by speaking on seeming continuity between domestic public sentiment on candidates of the major parties United States foreign policy. on issues of foreign policy. “The message in 2014 and “Clinton and Cruz both be- 2015 is that there is a signifi- lieve that the United States GRACE TOURVILLE | The Observer cant uptick in the public’s pri- Michael Desch speaks Tuesday night in the Geddes Coffeehouse at the final “Pizza, Pop and Politics,” oritization of domestic political see POLICY PAGE 5 hosted by ND Votes. -
Rétrospective – Le Secret
Rétrospective – Le Secret Blow out, de Brian de Palma USA – 1981 – 1h47 - Couleur Fiche pédagogique rédigée par Sébastien Perreux Scénario : Brian de Palma Image : Vilmos Zsigmond Montage : Paul Hirsch Musique : Pino Donaggio Interprètes : John Travolta, Nancy Allen, John Lithgow Synopsis Jack est preneur de son dans le cinéma, et cherche un cri effroyable pour le film d’horreur sur lequel il travaille. Une nuit, alors qu’il capte des bruits dans la nature, il assiste à un accident de voiture dont il enregistre chaque détail sonore. Voyant que la voiture passe à travers la balustrade d’un pont et tombe à l’eau, il se jette au secours des passagers. Puis le lendemain, en écoutant l’enregistrement de l’accident de la veille, il se rend compte que le hasard n’y est sûrement pour rien. Avant la projection Biographie *Cinéaste américain né en 1940 d’origine italienne comme beaucoup d’autres grands réalisateurs de cette époque (Scorsese, Coppola…), même si ses origines n’auront pas autant d’importance dans son œuvre que pour ses contemporains. *C’est un adolescent plutôt doué, même plus, qui témoigne de vraies aptitudes pour les sciences et se lance dans l’invention de petites machines, encouragé en cela par des parents assez exigeants du point de vue de l’éducation. *A noter, trois chocs vécus dans sa jeunesse, tous essentiels dans la construction de sa personnalité : *Choc intime, personnel. Un épisode de sa jeunesse, moins anecdotique qu’il n’y paraît et dont on trouve des traces dans sa filmographie lorsque le jeune Brian découvrit sa mère inanimée, après qu’elle eut tenté de mettre fin à ses jours, du fait des infidélités à répétition du père. -
NEO-NOIR / RETRO-NOIR FILMS (1966 Thru 2010) Page 1 of 7
NEO-NOIR / RETRO-NOIR FILMS (1966 thru 2010) Page 1 of 7 H Absolute Power (1997) H Blondes Have More Guns (1995) H Across 110th Street (1972) H Blood and Wine (1996) H Addiction, The (1995) FS H Blood Simple (1985) h Adulthood (2008) H Blood Work (2002) H Affliction (1997) H Blow Out (1981) FS H After Dark, My Sweet (1990) h Blow-up (1967).Blowup H After Hours (1985) f H Blue Desert (1992) F H Against All Odds (1984) f H Blue Steel (1990) f H Alligator Eyes (1990) SCH Blue Velvet (1986) H All the President’s Men (1976) H Bodily Harm (1995) H Along Come a Spider (2001) H Body and Soul (1981) H Ambushed (1998) f H Body Chemistry (1990) H American Gangster (2007) H Body Double (1984) H American Gigolo (1980) f H Bodyguard, The (1992) H Anderson Tapes, The (1971) FSCH Body Heat (1981) S H Angel Heart (1987) H Body of Evidence (1992) f H Another 48 Hrs. (1990) H Body Snatchers (1993) F H At Close Range (1986) H Bone Collector, The (1999) f H Atlantic City (1980) H Bonnie & Clyde (1967) f H Bad Boys (1983) F H Border, The (1982) F H Bad Influence (1990) F H Bound (1996) F H Badlands (1973) H Bourne Identity, The (2002) F H Bad Lieutenant (1992) H Bourne Supremacy, The (2004) h Bank Job, The (2008) H Bourne Ultimatum, The (2007) F H Basic Instinct (1992) H Boyz n the Hood (1991) H Basic Instinct 2 (2006) H Break (2009) H Batman Begins (2005) H Breakdown (1997) F H Bedroom Window, The (1987) F H Breathless (1983) H Before the Devil Knows You’re Dead (2007) H Bright Angel (1991) H Best Laid Plans (1999) H Bringing Out the Dead (1999) F H Best -
(XXXIII: 11) Brian De Palma: the UNTOUCHABLES (1987), 119 Min
November 8, 2016 (XXXIII: 11) Brian De Palma: THE UNTOUCHABLES (1987), 119 min. (The online version of this handout has color images and hot url links.) DIRECTED BY Brian De Palma WRITING CREDITS David Mamet (written by), Oscar Fraley & Eliot Ness (suggested by book) PRODUCED BY Art Linson MUSIC Ennio Morricone CINEMATOGRAPHY Stephen H. Burum FILM EDITING Gerald B. Greenberg and Bill Pankow Kevin Costner…Eliot Ness Sean Connery…Jimmy Malone Charles Martin Smith…Oscar Wallace Andy García…George Stone/Giuseppe Petri Robert De Niro…Al Capone Patricia Clarkson…Catherine Ness Billy Drago…Frank Nitti Richard Bradford…Chief Mike Dorsett earning Oscar nominations for the two lead females, Piper Jack Kehoe…Walter Payne Laurie and Sissy Spacek. His next major success was the Brad Sullivan…George controversial, ultra-violent film Scarface (1983). Written Clifton James…District Attorney by Oliver Stone and starring Al Pacino, the film concerned Cuban immigrant Tony Montana's rise to power in the BRIAN DE PALMA (b. September 11, 1940 in Newark, United States through the drug trade. The film, while New Jersey) initially planned to follow in his father’s being a critical failure, was a major success commercially. footsteps and study medicine. While working on his Tonight’s film is arguably the apex of De Palma’s career, studies he also made several short films. At first, his films both a critical and commercial success, and earning Sean comprised of such black-and-white films as Bridge That Connery an Oscar win for Best Supporting Actor (the only Gap (1965). He then discovered a young actor whose one of his long career), as well as nominations to fame would influence Hollywood forever. -
Vengeance Is Ours: Safe Spaces and Critical Empathy in Horror Films David S
Bridgewater State University Virtual Commons - Bridgewater State University Honors Program Theses and Projects Undergraduate Honors Program 5-8-2018 Vengeance is Ours: Safe Spaces and Critical Empathy in Horror Films David S. Hooker Follow this and additional works at: http://vc.bridgew.edu/honors_proj Part of the Film and Media Studies Commons Recommended Citation Hooker, David S.. (2018). Vengeance is Ours: Safe Spaces and Critical Empathy in Horror Films. In BSU Honors Program Theses and Projects. Item 282. Available at: http://vc.bridgew.edu/honors_proj/282 Copyright © 2018 David S. Hooker This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Vengeance is Ours Safe Spaces and Critical Empathy in Horror Films David S. Hooker Submitted in Partial Completion of the Requirements for Departmental Honors in English Bridgewater State University May 8, 2018 Dr. John Mulrooney, Thesis Advisor Prof. Evan Dardano, Committee Member Prof. Nicole Williams, Committee Member Hooker 1 Abstract Many genres of film seek to bring viewers to heightened emotional states, perhaps this is most true of horror films. Although often displaying extreme violence, such films paradoxically provide openings for critically empathetic viewings which allow viewers with diverse backgrounds and experiences to identify with victims and survivors and transcend elements of subjective identity. This project analyzes the capacity of horror films, including those of William Friedkin, David Cronenberg, Brian DePalma and others, to offer viewers space in which to be critically empathetic. Regarding gender issues in the genre as outlined by such scholars as Carol J. Clover, and the emerging scholarship on critical empathy, such as that of Todd DeStigter, this project offers new ways of thinking about horror both on screen and off. -
Factfile: Gce As Level Moving Image Arts the Influence of Alfred Hitchcock’S Cinematic Style
FACTFILE: GCE AS LEVEL MOVING IMAGE ARTS THE INFLUENCE OF ALFRED HITCHCOCK’S CINEMATIC STYLE The influence of Alfred Hitchcock’s Cinematic Style Learning outcomes Students should be able to: • explain the influence of Hitchcock’s cinematic style on the work of contemporary filmmakers; and • analyse the cinematic style of filmmakers who have been influenced by Hitchcock. Course Content Alfred Hitchcock’s innovative approach to visual In the 1970’s, as his career was coming to an storytelling and the central themes of his work have end, Hitchcock was a seminal influence on the had a profound influence on world cinema, shaping young directors of the New Hollywood, including film genres such as crime and horror and inspiring Steven Spielberg, Francis Ford Coppola, Martin generations of young directors to experiment with Scorsese and Brian De Palma. Over the past four film language. decades, this influence has expanded greatly with Hitchcock’s body of work functioning as a virtual In Paris in the 1960’s, French New Wave directors, film school for learning the rules of the Classical Francois Truffaut and Claude Chabrol embraced Hollywood Style, as well as how to break them. The Hitchcock’s dark vision of criminality, while in director’s influence is so far-reaching, that the term London, young Polish director Roman Polanski ‘Hitchcockian’ is now universally applied in the created a terrifying Hitchcockian nightmare in his analysis of contemporary cinema. The directors of debut film, Repulsion (1965). the New Hollywood drew inspiration from a wide range of Hitchcock’s techniques. 1 FACTFILE: GCE AS LEVEL MOVING IMAGE ARTS / THE INFLUENCE OF ALFRED HITCHCOCK’S CINEMATIC STYLE Martin Scorsese through an automated car factory in which the film’s hero is encased in a newly-built vehicle.