DOCSLIB.ORG

BASED DISTRIBUTOR, ZEITGEIST FILMS Guy Maddin, Todd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MOMA PRESENTS MONTHLONG SERIES IN HONOR OF TWO DECADES OF NEW YORK– BASED DISTRIBUTOR, ZEITGEIST FILMS Guy Maddin, Todd Haynes, Bruce Weber, and Yvonne Rainer to Introduce Their Films during Opening Weekend Zeitgeist: The Films of Our Time June 26–July 23, 2008 The Roy and Niuta Titus Theatres NEW YORK, June 4, 2008—The Museum of Modern Art celebrates two decades of films distributed by New York–based Zeitgeist Films with the 20-title exhibition Zeitgeist: The Films of Our Time, June 26–July 23, 2008, in the Roy and Niuta Titus Theaters. Offering a fascinating snapshot of independent American and international film from the past 20 years, Zeitgeist: The Films of Our Time is a selection of works by critical figures in the company’s history and catalog. These range from artists the distributors embraced at early stages of their film careers, including Bruce Weber, Todd Haynes, Deepa Mehta, François Ozon, Olivier Assayas, and Guy Maddin, to established masters like Agnes Varda, Yvonne Rainer, Derek Jarman, and Jacques Demy. This monthlong exhibition includes several introductions and post-screening Q&A sessions with some of the filmmakers, along with appearances by Zeitgeist cofounders Nancy Gerstman and Emily Russo. Many of the directors whose early work Zeitgeist championed will be present to introduce their films: Careful (1992), introduced June 26 by Guy Maddin, who will also introduce Jacques Demy’s Les Parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964) the same night; Let’s Get Lost (1988), introduced June 27 by Bruce Weber; Poison (1991), introduced June 27 by Todd Haynes; Privilege (1990), introduced June 28 by Yvonne Rainer; Calendar (1993), introduced July 12 by Atom Egoyan; and Ballets Russes (2005), introduced July 19 by co-directors Dan Geller and Dayna Goldfine with dancer Freddie Franklin. The exhibition is organized by Rajendra Roy, The Celeste Bartos Chief Curator of Film, The Museum of Modern Art. In 1988, in a tiny office in New York, Russo and Gerstman launched Zeitgeist Films. The films and directors that they have consistently sought out and championed encompass the full spectrum of international cinematic innovation over the last 20 years, spanning many genres. Film lovers first, Russo and Gerstman have always dedicated themselves to the time-tested arthouse experience, with focused releases and a dedication to building audiences, reserving risk for their often audacious acquisition choices. “The phrase ‘tenacity of tasteful commerce’ best describes the spirit of Zeitgeist Films,” says Mr. Roy. “For 20 years, Emily and Nancy have proven to be both die-hard businesswomen and uncompromising connoisseurs of excellent cinema. The artists they have championed are visionaries that MoMA takes pride in exhibiting in their honor.” The Museum thanks Martin Scorsese, The George Eastman House, Bruce Weber, Eva Lindemann, and The Cinematheque Ontario for their assistance with this exhibition. ****************************************************************************** Please join us for the following press screenings in The Roy and Niuta Titus 2 Theater: Wednesday, June 11 10:00 a.m. Nirgendwo in Afrika (Nowhere in Africa). 2002. Directed by Caroline Link. 141 min. Thursday, June 12 10:00 a.m. Careful. 1992. Directed by Guy Maddin. 100 min. NEW PRINT R.S.V.P. to [email protected] or (212) 708-9847 ****************************************************************************** No. 60 Press Contacts: for MoMA: Paul Power, (212) 708-9847, [email protected] for Zeitgeist: Gary Springer, (212) 354-4660, [email protected] For high resolution images, please register at: www.moma.org/press Public Information: The Museum of Modern Art, 11 West 53 Street, New York, NY 10019 Hours: Wednesday through Monday: 10:30 a.m.-5:30 p.m. Friday: 10:30 a.m.-8:00 p.m. Closed Tuesday. Museum Admission: $20 adults; $16 seniors, 65 years and over with I.D.; $12 full-time students with current I.D. Free, members and children 16 and under. (Includes admittance to Museum galleries and film programs) Target Free Friday Nights 4:00-8:00 p.m. Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only) Subway: E or V train to Fifth Avenue/53rd Street Bus: On Fifth Avenue, take the M1, M2, M3, M4, or M5 to 53rd Street. On Sixth Avenue, take the M5, M6, or M7 to 53rd Street. Or take the M57 and M50 crosstown buses on 57th and 50th Streets. The public may call (212) 708-9400 for detailed Museum information. Visit us on the Web at www.moma.org SCREENING SCHEDULE ZEITGEIST: THE FILMS OF OUR TIME Thursday, June 26 6:00 The Heart of the World. 2000. Canada. Written, directed, photographed, and edited by Guy Maddin. With Leslie Bais, Shaun Balbar, Greg Klymkiw. Maddin’s brilliant, breathless parody of silent Soviet propaganda films won acclaim from audiences and critics alike when it premiered at the Toronto Film Festival in 2000. 6 min. Careful. 1992. Canada. Directed by Guy Maddin. Screenplay by Maddin, George Toles. With Kyle McCulloch, Gosia Dobrowolska, Sarah Neville. Set in a nineteenth-century mountain village, viewed through an expressionistic, color-saturated lens, Maddin’s parable of sexual repression advises caution despite the allure of sin. The threat of avalanches—both real and metaphorical—keeps the inhabitants of “Tolzbad” sage and silent. One incestuous dream sets off a chain reaction that ironically displays the dread results of not being…careful! 100 min. (Introduced by Maddin) 8:30 Les Parapluies de Cherbourg (The Umbrellas of Cherbourg). 1964. France. Written and directed by Jacques Demy. With Catherine Deneuve, Nino Castelnuovo, Anne Vernon. Demy’s 1964 Palme d’Or winner remains a masterwork of musical cinema. Brilliant color, effervescent songs with music by Michel Legrand, and the newly discovered 20-year-old Catherine Deneuve combine to stunning effect. This restoration, supervised by Demy’s widow and fellow Zeitgeist filmmaker Agnes Varda, returns one of the most beloved French films of all time to its original splendor. In French; English subtitles. 82 min. (Introduced by Guy Maddin) Friday, June 27 6:00 Let’s Get Lost. 1988. USA. Directed by Bruce Weber. Filmmaker and photographer Bruce Weber’s striking 1988 cinematic portrait of jazz icon Chet Baker remains as seductive as the subject himself. As much trouble as he was once beautiful (which is to say exceedingly so), Baker traversed a landscape of fame that saw him embody 1950s cool at the height of his talent as a jazz trumpeter and singer, before landing in the depths of alcoholism and drug abuse. With the alluring menace of a film noir, Let’s Get Lost tells a smoky tale of dangerous charm. 120 min. (Introduced by Bruce Weber) 8:30 Dottie Gets Spanked. 1994. USA. Written and directed by Todd Haynes. With Evan Bonifant, Barbara Garrick, Julie Halston. In this sly featurette, fans of Haynes’s much lauded Far from Heaven (2002) will find an early indication of his uncanny ability to capture suburban unease and buried, transgressive sexual desires. 30 min. Poison. 1991. USA. Written and directed by Todd Haynes, based on the novels of Jean Genet. With Edith Meeks, Millie White, Buck Smith. It’s hard to overstate the impact of Todd Haynes’s remarkable feature debut. Inspired by the writings of Genet, Poison rocked the independent film world when it won the Grand Jury Prize at Sundance and helped launch a decade-long wave of New Queer Cinema. The film was also attacked by the religious right, a headline-grabbing feat at a time when AIDS and gay activism were entering mainstream dialogues on a critical scale. A seminal work of artistic innovation, the film remains powerfully engaging today. 85 min. (Introduced by Todd Haynes) Saturday, June 28 7:00 Privilege. 1990. USA. Written and directed by Yvonne Rainer. With Rainer, Blaire Baron, Novella Nelson. The spectacularly talented Yvonne Rainer began her work as an artist in the world of dance. After choreographing over forty works, she turned her focus to cinema and directing. Privilege, her award-winning sixth feature film, tackles menopause with a keen eye, focusing on the experience from differing perspectives of origin and class. As in her dance pieces, risk is an essential component—appropriately so for a film that takes on sex, race, and ageism with wit and grace. 103 min. (Introduced by Rainer) Sunday, June 29 5:00 Les Parapluies de Cherbourg (The Umbrellas of Cherbourg). See Thursday, June 26, 8:30. Monday, June 30 8:30 The Heart of the World. Careful. See Thursday, June 26, 6:00. Wednesday, July 2 5:00 Dottie Gets Spanked. Poison. See Friday, June 27, 8:30. Thursday, July 3 5:30 Privilege. See Saturday, June 28, 7:00. Sunday, July 6 3:30 The Corporation. 2004. USA. Directed by Mark Achbar and Jennifer Abbott. This award-winning documentary integrates an exploration of corporate culture, its origins and possible future, with critical analysis and commentary from some of the most influential and polarizing contemporary thinkers, including Noam Chomsky, Michael Moore and Milton Friedman. Advertising, television news and industrial films combine to spectacularly entertaining effect. 145 min. Monday, July 7 5:30 The Corporation. See Sunday, July 6, 3:30. Wednesday, July 9 5:30 Fire. 1996. India/Canada. Directed by Deepa Mehta. With Karishma Jhalani, Ramanjeet Kaur, and Dilip Mehta. Director Mehta triumphs with this provocative and passionate story of love between two women in India. Traditional obligations to family collide with a tender awakening of unanticipated desire. The touchstone for controversy and debate in India and worldwide when it was released, FIRE remains a brave and pioneering work. In Hindi, Urdu, Gujarati, and Punjabi with English subtitles.
Recommended publications
  • Mutual Watching and Resistance to Mass Surveillance After Snowden

    Mutual Watching and Resistance to Mass Surveillance After Snowden

    Media and Communication (ISSN: 2183-2439) 2015, Volume 3, Issue 3, Pages 12-25 Doi: 10.17645/mac.v3i3.277 Article “Veillant Panoptic Assemblage”: Mutual Watching and Resistance to Mass Surveillance after Snowden Vian Bakir School of Creative Studies and Media, Bangor University, Bangor, LL57 2DG, UK; E-Mail: [email protected] Submitted: 9 April 2015 | In Revised Form: 16 July 2015 | Accepted: 4 August 2015 | Published: 20 October 2015 Abstract The Snowden leaks indicate the extent, nature, and means of contemporary mass digital surveillance of citizens by their intelligence agencies and the role of public oversight mechanisms in holding intelligence agencies to account. As such, they form a rich case study on the interactions of “veillance” (mutual watching) involving citizens, journalists, intelli- gence agencies and corporations. While Surveillance Studies, Intelligence Studies and Journalism Studies have little to say on surveillance of citizens’ data by intelligence agencies (and complicit surveillant corporations), they offer insights into the role of citizens and the press in holding power, and specifically the political-intelligence elite, to account. Atten- tion to such public oversight mechanisms facilitates critical interrogation of issues of surveillant power, resistance and intelligence accountability. It directs attention to the veillant panoptic assemblage (an arrangement of profoundly une- qual mutual watching, where citizens’ watching of self and others is, through corporate channels of data flow, fed back into state surveillance of citizens). Finally, it enables evaluation of post-Snowden steps taken towards achieving an equiveillant panoptic assemblage (where, alongside state and corporate surveillance of citizens, the intelligence-power elite, to ensure its accountability, faces robust scrutiny and action from wider civil society).
  • Download the List of History Films and Videos (PDF)

    Download the List of History Films and Videos (PDF)

    Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future.
  • Myth and Patriarchy in Deepa Mehta's Heaven on Earth

    Myth and Patriarchy in Deepa Mehta's Heaven on Earth

    223 Manjeet Roden: Deepa Mehta Myth and Patriarchy in Deepa Mehta’s Heaven on Earth Manjeet Ridon University of Nottingham _______________________________________________________________ This article analyses how Heaven on Earth (2008) uses Indian mythology to expose the reality of culturally driven violence against Sikh Punjabi women in Canada, occurring as a result of transnational marriages between diaspora-based Non-Resident Indian (hereafter NRI) men and Sikh Punjabi women. Referring to Bruce Lincoln’s theory of myth as ideology, I argue that the film explores how some of these women have experienced marginalisation and how a discourse of abuse can be challenged through myth. _____________________________________________________________ My analysis of Deepa Mehta’s Heaven on Earth (2008) focuses on the fictional depiction of a poor, working-class, first-generation Indian family, living in Brampton, Ontario, which provides a microcosm of the pressures and realities of everyday immigrant life affecting the family from within. The text represents the ancient Indian myth of the Sheesh Naag, the King Cobra, with the ability to shape-shift and transform into human form, to raise awareness about the issue of culturally driven violence against women in South Asian Canadian communities, which is on the increase in Canada’s immigrant communities (Papp) and, along with the incidence of gang rape,1 an even more alarming trend in India (Lakhani). Mehta’s interpretation of the myth is based on Naga-Mandala (1994), a popular play by Girish Karnad, a South Indian dramatist heavily influenced by ancient Indian mythology. Karnad’s play is a story about the mythical figure of a cobra, which, in human form, rescues a lonely bride from an abusive husband and empowers her through storytelling.
  • PACKING, UNPACKING, and REPACKING the CINEMA of GUY MADDIN George Melnyk University of Calgary

    PACKING, UNPACKING, and REPACKING the CINEMA of GUY MADDIN George Melnyk University of Calgary

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2011 REVIEW ESSAY: PACKING, UNPACKING, AND REPACKING THE CINEMA OF GUY MADDIN George Melnyk University of Calgary Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Melnyk, George, "REVIEW ESSAY: PACKING, UNPACKING, AND REPACKING THE CINEMA OF GUY MADDIN" (2011). Great Plains Quarterly. 2683. http://digitalcommons.unl.edu/greatplainsquarterly/2683 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. REVIEW ESSAY Playing with Memories: Essays on Guy Maddin. Edited by David Church. Winnipeg: University of Manitoba Press, 2009. xiii + 280 pp. Grayscale photography section, notes, filmography, bibliography, index. $29.95 paper. Into the Past: The Cinema of Guy Maddin. By William Beard. Toronto: University of Toronto Press, 2010. xii + 471 pp. Photographs, appendix, notes, bibliography, index. $85.00 cloth, $37.95 paper. Guy Maddin's "My Winnipeg." By Darren Wershler. Toronto: University of Toronto Press, 2010. 145 pp. Photographs, production credits, notes, bibliography. $45.00 cloth, $17.95 paper. My WinniPeg. By Guy Maddin. Toronto: Coach House Press, 2009. 191 pp. Photographs, film script, essays, interview, filmography, miscellanea. $27.95 paper. PACKING, UNPACKING, AND REPACKING THE CINEMA OF GUY MADDIN Guy Maddin is Canada's most unusual film­ director, allowed him to create a genuinely maker.
  • A Filmmakers' Guide to Distribution and Exhibition

    A Filmmakers' Guide to Distribution and Exhibition

    A Filmmakers’ Guide to Distribution and Exhibition A Filmmakers’ Guide to Distribution and Exhibition Written by Jane Giles ABOUT THIS GUIDE 2 Jane Giles is a film programmer and writer INTRODUCTION 3 Edited by Pippa Eldridge and Julia Voss SALES AGENTS 10 Exhibition Development Unit, bfi FESTIVALS 13 THEATRIC RELEASING: SHORTS 18 We would like to thank the following people for their THEATRIC RELEASING: FEATURES 27 contribution to this guide: PLANNING A CINEMA RELEASE 32 NON-THEATRIC RELEASING 40 Newton Aduaka, Karen Alexander/bfi, Clare Binns/Zoo VIDEO Cinemas, Marc Boothe/Nubian Tales, Paul Brett/bfi, 42 Stephen Brown/Steam, Pamela Casey/Atom Films, Chris TELEVISION 44 Chandler/Film Council, Ben Cook/Lux Distribution, INTERNET 47 Emma Davie, Douglas Davis/Atom Films, CASE STUDIES 52 Jim Dempster/bfi, Catharine Des Forges/bfi, Alnoor GLOSSARY 60 Dewshi, Simon Duffy/bfi, Gavin Emerson, Alexandra FESTIVAL & EVENTS CALENDAR 62 Finlay/Channel 4, John Flahive/bfi, Nicki Foster/ CONTACTS 64 McDonald & Rutter, Satwant Gill/British Council, INDEX 76 Gwydion Griffiths/S4C, Liz Harkman/Film Council, Tony Jones/City Screen, Tinge Krishnan/Disruptive Element Films, Luned Moredis/Sgrîn, Méabh O’Donovan/Short CONTENTS Circuit, Kate Ogborn, Nicola Pierson/Edinburgh BOXED INFORMATION: HOW TO APPROACH THE INDUSTRY 4 International Film Festival, Lisa Marie Russo, Erich BEST ADVICE FROM INDUSTRY PROFESSIONALS 5 Sargeant/bfi, Cary Sawney/bfi, Rita Smith, Heather MATERIAL REQUIREMENTS 5 Stewart/bfi, John Stewart/Oil Factory, Gary DEALS & CONTRACTS 8 Thomas/Arts Council of England, Peter Todd/bfi, Zoë SHORT FILM BUREAU 11 Walton, Laurel Warbrick-Keay/bfi, Sheila Whitaker/ LONDON & EDINBURGH 16 article27, Christine Whitehouse/bfi BLACK & ASIAN FILMS 17 SHORT CIRCUIT 19 Z00 CINEMAS 20 The editors have made every endeavour to ensure the BRITISH BOARD OF FILM CLASSIFICATION 21 information in this guide is correct at the time of GOOD FILMS GOOD PROGRAMMING 22 going to press.
  • Guy Maddin Y El Fin Del Cine: Donde Habitan Los Monstruos Raúl Hernández Garrido Raul@Hernandezgarrido.Com

    Guy Maddin Y El Fin Del Cine: Donde Habitan Los Monstruos Raúl Hernández Garrido [email protected]

    fre Guy Maddin y el fin del cine: donde habitan los monstruos RAúl HeRnández GARRido [email protected] Guy Maddin and the end of cinema: where the monsters dwell Abstract From 1985 Guy Maddin has created an exemplary filmography composed of thirteen films and almost forty shortfilms. By crisscrossing particular techniques of the silent cinema and primitive cinematographies with a very personal theme, he has disrupted the modes of narration and representation, as well as proposing a singular rewriting of the history of cinema. Key words : Silent cinema. Postclassical cinema. Avant-garde. Deconstruction. Simulacrum. Incest Resumen Desde 1985 Guy Maddin ha creado, a través de trece largometrajes y casi cuarenta cortometrajes, una filmogra - fía ejemplar en la que, cruzando técnicas propias de los filmes silentes y de cinematografías primitivas con una temática muy personal, convulsiona los modos de la narración y representación y propone una singular reescri - tura de la historia del cine. Palabras clave: Cine silente. Cine postclásico. Vanguardia. Deconstrucción. Simulacro. Incesto. ISSN. 1137-4802. pp. 107-121 Anclándose en un ya moribundo siglo XX, es en 1985 cuando la muy par - ticular filmografía del canadiense Guy Maddin, tan desigual como fascinan - te, arranca. Para comprender mejor su obra deberíamos volver la mirada a algunos años antes, cuando Maddin, a través de las series documentales de Kevin Brownlow ( Hollywood, 1980 ) descubre y empieza a ver películas silen - tes y a sentirse fascinado por su variedad de formas de expresión. Su primera película, de forma ejemplar, se llama The Dead Father , el padre muerto. The Dead Father (Guy Maddin, 1985) Raúl Hernández Garrido t& 10f8 Junto a la figura del Padre, muerto y sin embargo presente, molesto y penoso, autoritario pero no sujeto a una ley, muchas veces competidor o estúpido adversario del protagonista, otras convertido en un zombi sin voluntad, la personalidad fuerte de la Madre dominará su filmografía.
  • The Cutting Edge of French Cinema

    The Cutting Edge of French Cinema

    BACKWASH: THE CUTTING EDGE OF FRENCH CINEMA J’IRAI AU PARADIS CAR L’ENFER EST ICI , Xavier Durringer ( France, 1997 ) MA 6T VA CRACK-ER , Jean-Francois Richet ( France, 1997 ) LE PETIT VOLEUR , Érick Zonca ( France, 1998 ) L’HUMANITÉ , Bruno Dumont ( France, 1999 ) POLA X , Leos Carax ( France, 1999 ) RESSOURCES HUMAINES (Human Resources), Laurent Cantet ( France, 1999 ) À MA SOEUR! , Catherine Breillat ( France-Italy, 2000 ) PARIA , Nicolas Klotz ( France, 2000 ) SAINT-CYR , Patricia Mazuy ( France-Belgium, 2000 ) SELON MATTHIEU , Xavier Beauvois ( France, 2000 ) SOUS LE SABLE , François Ozon ( France-Belgium-Italy-Japan, 2000 ) ÊTRE ET AVOIR , Nicolas Philibert ( France, 2001 ) IRRÉVERSIBLE (Irreversible), Gaspar Noé ( France, 2001 ) LA CHATTE À DEUX TÊTES , Jacques Nolot ( France, 2001 ) LA VIE NOUVELLE , Philippe Grandrieux ( France, 2001 ) LE PACTE DES LOUPS , Christophe Gans ( France, 2001 ) LE STADE DE WIMBLEDON , Mathieu Amalric ( France, 2001 ) ROBERTO SUCCO , Cédric Kahn ( France-Switzerland, 2001 ) TROUBLE EVERY DAY , Claire Denis ( France-Japan, 2001 ) DANS MA PEAU , Marina De Van ( France, 2002 ) UN HOMME, UN VRAI , Jean-Marie Larrieu, Arnaud Larrieu ( France, 2002 ) CLEAN , Olivier Assayas ( France-UK-Canada, 2003 ) INNOCENCE , Lucile Hadzihalilovic ( France-UK-Belgium, 2003 ) L’ESQUIVE , Abdellatif Kechiche ( France, 2003 ) LE CONVOYEUR , Nicolas Boukhrief ( France, 2003 ) LES CORPS IMPATIENTS , Xavier Giannoli ( France, 2003 ) ROIS ET REINE , Arnaud Desplechin ( France-Belgium, 2003 ) TIRESIA , Bertrand Bonello ( France, 2003 ) DE BATTRE MON COEUR S’EST ARRÊTÉ (The Beat That My Heart Skipped), Jacques Audiard ( France, 2004 ) LES REVENANTS , Robin Campillo ( France, 2004 ) LES ANGES EXTERMINATEURS , Jean-Claude Brisseau ( France, 2005 ) VOICI VENU LE TEMPS , Alain Guiraudie ( France, 2005 ) À L’INTERIEUR , Alexandre Bustillo, Julien Maury ( France, 2006 ) AVIDA , Benoît Delépine, Gustave Kervern ( France, 2006 ) LES CHANSONS D’AMOUR , Christophe Honoré ( France, 2006 ) 24 MESURES , Jalil Lespert ( France-Canada, 2007 ) L’HISTOIRE DE RICHARD O.
  • The Feminine Eye: Lecture 5: WATER: 2006: 117M

    The Feminine Eye: Lecture 5: WATER: 2006: 117M

    1 The Feminine Eye: lecture 5: WATER: 2006: 117m: May 2: Women Directors from India: week #5 Mira Nair / Deepa Mehta Screening: WATER (Deepa Mehta, 2005) class business: last class: next week: 1. format 2. BEACHES OF AGNES 3. Fran Claggett 2 Women Directors from India: Mira Nair: [Ni-ar = liar] b. 1957: India: education: Delhi [Delly] University: India Harvard: US began film career as actor: then: directed docs 1988: debut feature: SALAAM BOMBAY! kids living on streets of Bombay: real homeless kids used won Camera d’Or: Cannes Film Festival: Best 1st Feature clip: SALAAM BOMBAY!: ch 2: 3m Nair’s stories: re marginalized people: films: focus on class / cultural differences 1991: MISSISSIPPI MASALA: interracial love story: set in US South: black man / Indian woman: Denzel Washington / Sarita Choudhury 2001: MONSOON WEDDING: India: preparations for arranged marriage: groom: Indian who’s relocated to US: Texas: comes back to India for wedding won Golden Lion: Venice FF 2004: VANITY FAIR: Thackeray novel: early 19th C England: woman’s story: Becky Sharp: Witherspoon 2006: THE NAMESAKE: story: couple emigrates from India to US 2 kids: born in US: problems of assimilation: old culture / new culture plot: interweaving old & new Nair: latest film: 2009: AMELIA story of strong pioneering female pilot: Swank 3 Deepa Mehta: b. 1950: Amritsar, India: father: film distributor: India: degree in philosophy: U of New Delhi 1973: immigrated to Canada: embarked on professional career in films: scriptwriter for kids’ movies Mehta: known for rich, complex
  • Network Review #37 Cannes 2021

    Network Review #37 Cannes 2021

    Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening
  • Roger Ebert's

    Roger Ebert's

    The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
  • 1 Professor Prageeta Sharma Film 381: Wednesday/Friday 10:40 Am-‐1:00Pm JRH

    1 Professor Prageeta Sharma Film 381: Wednesday/Friday 10:40 Am-‐1:00Pm JRH

    Professor Prageeta Sharma Film 381: Wednesday/Friday 10:40 am-1:00pm JRH 205 Office Hours: Thursday: 10am-12:30pm, LA 211 e-mail: [email protected] SOUTH ASIAN CINEMA AND TELEVISION: FROM THE APU TRILOGY TO SLUMDOG MILLIONAIRE AND THE MINDY PROJECT. “When I Was groWing up in the nineties, no one on my favorite shoWs ever looked like me.” -- Manori Ravindran There's been a recent revolution in mainstream moviemaking and American and Canadian television (although, it has happened much earlier for BBC). Outside of Bollywood’s narrative formulas, more and more South Asians and South Asian descent actors are populating the film and television industry. In addition to acting, they are producing, directing, writing scripts, and creating their own television shoWs. Even so, it is still difficult to unpack the racial stereotypes of Indians from the subcontinent: Are they edgy characters or unsettling, exaggerated portraits inconsistent with reality? What are our narrative discourses around the subcontinent and South Asian immigrant culture? What has it looked like and What does the 21st century South Asian media culture outside of India Want to accomplish? This class Will explore the representations of South Asians in filmmaking and television from mid-twentieth century to the present day. We will Watch Richard Attenborough’s Gandhi, several of Satyajit Ray's films and figure out hoW they differ from Merchant Ivory Productions. We Will discuss Peter Sellar’s character in The Party; We Will explore Hanif Kureishi's My Beautiful Laundrette, Jhumpa Lahiri & Mira Nair’s The Namesake, the Harold and Kumar trilogy and phenomenon, Gurinder Chadha’s Bend it Like Beckham, Danny Boyle’s Slumdog Millionaire, Salman Rushdie and Deepa Mehta’s Midnight Children, Umesh Shukla's Oh My God, and television shows and series like The Far Pavilions (1984), The Mindy Project, Parks and Recreation, Community, and The Good Wife to figure out the range in characters and over-arching themes for South-Asians today.
  • The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes

    The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes

    The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes by DANIEL STEINHART Abstract: Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood’s production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood’s global production work was promoted during a time of industry transition. aking-of documentaries have long made Hollywood’s flm production pro- cess visible to the public. Before becoming a staple of DVD and Blu-ray spe- M cial features, early forms of making-ofs gave audiences a view of the inner workings of Hollywood flmmaking and movie companies. Shortly after its formation, 20th Century-Fox produced in 1936 a flmed studio tour that exhibited the company’s diferent departments on the studio lot, a key feature of Hollywood’s detailed division of labor. Even as studio-tour short subjects became less common because of the restructuring of studio operations after the 1948 antitrust Paramount Case, long-form trailers still conveyed behind-the-scenes information. In a trailer for The Ten Commandments (1956), director Cecil B. DeMille speaks from a library set and discusses the importance of foreign location shooting, recounting how he shot the flm in the actual Egyptian locales where Moses once walked (see Figure 1).