DOCSLIB.ORG

Boletín De Sumarios

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boletín De Sumarios BOLETÍN DE SUMARIOS Esta nueva entrega del Boletín de Sumarios recoge 69 nuevos números, correspondientes a 35 títulos distintos, recibidos en la Biblioteca durante los meses de abril, mayo y junio de 2017. Ordenados alfabéticamente, los títulos van seguidos de los números recibidos que, mediante enlaces, permiten acceder a los sumarios correspondientes. Si desea consultar alguna de estas revistas, puede hacerlo en la Sala de Lectura de la Biblioteca de Cultura. La mayoría de ellas se encuentra también en la Biblioteca Nacional. Si usted se encuentra fuera de Madrid, puede dirigirse a la Red de Bibliotecas de su Comunidad. Confiamos en que la información que ofrecen estos boletines sea de utilidad y rogamos remitan cualquier sugerencia sobre este servicio al buzón [email protected] Secretaría General Técnica Subdirección General de Documentación y Publicaciones ADE Teatro. N. 165 (2017) Arte, individuo y sociedad. Vol. 29, n. 1, 2 (2017) * Publicación electrónica Barcarola. N. 85/86 (2016-2017) BJC Boletín de Jurisprudencia Constitucional. Índices (2015); n. 412, 413, 414, 415, 416 (2016) Boletín de ANABAD. Vol. LXVI, n. 4 (2016) Caimán: cuadernos de cine. N. 56, 57, 58, 59, 60, 61 (2017) Ciervo, El. N. 761 (2017) Creative Industries Journal. Vol. 10, n. 1 (2017) Cuadernos Hispanoamericanos. N. 801, 802, 803 (2017) Cultural Trends. Vol. 26, n. 1 (2017) Dirigido por.... N. 476, 477, 478 (2017) Documentación de las Ciencias de Información. Vol. 39 (2016) * Publicación electrónica EPI: El profesional de la información. Vol. 26, n. 2, 3 (2017) * Publicación electrónica Ínsula. N. 843, 844, 845, 846 (2017) International Journal of Cultural Policy. Vol. 23, n. 1, 2, 3, 4 (2017) International Journal of Cultural Property. Vol. 24, n. 1 (2017) Journal of Cultural Economics. Vol. 41, n. 1, 2 (2017) Library Hi Tech. Vol. 35, n. 2 (2017) Minerva. N. 28 (2017) Museum International. N. 271-272 (2016) Ópera Actual. N. 201, 202, 203 (2017) PH Investigación. N. 7 (2016) * Publicación electrónica © Biblioteca de Cultura – Ministerio de Educación, Cultura y Deporte Plaza del Rey, s/n. – 28004 Madrid – Telf. 917017213 [email protected] NIPO: 030-15-015-4 Reis: Revista Española de Investigaciones Sociológicas. N. 158 (2017) Revista de Administración Pública. N. 202 (2017) Revista de Derecho Comunitario Europeo. N. 56 (2017) Revista de Occidente. N. 429 (2017) Revista Española de Derecho Administrativo. N. 183 (2017) Revista Española de Derecho Constitucional. N. 109 (2017) Revista PH. N. 91 (2017) * Publicación electrónica Ritmo. N. 906, 907, 908 (2017) Rural History. Vol. 28, n. 1 (2017) Scherzo. N. 328, 329, 330 (2017) Sociedad Geográfica Española. N. 57 (2017) Temas para el debate. N. 263, 265 (2016); n. 266-267 (2017) Trama & Texturas. N. 32 (2017) © Biblioteca de Cultura – Ministerio de Educación, Cultura y Deporte Plaza del Rey, s/n. – 28004 Madrid – Telf. 917017213 [email protected] NIPO: 030-15-015-4 ADE TEATRO REVISTA DE LA ASOCIACIÓN DE DIRECTORES DE ESCENA DE ESPAÑA Nº 165 Abril-junio 2017 EDITORIALES Declaración de ADE sobre las funciones ENTREVISTA CON CARME PORTACELI del director de escena...................................…. 3 “Quiero que Madrid tenga el mejor teatro Mensaje para el Día Mundial del Teatro 2017, del mundo hecho entre todos”, una entrevista por Isabelle Hupert............................................ 3 de Rosa Briones................................................ 64 Declaración de la Asociación de Críticos de Teatro de Turquía para el Día Mundial del TEXTO TEATRAL Teatro 2017....................................................... “La mujer rechazada”: la misoginia en la El genio, por Juan Antonio Hormigón................ 5 sociedad occidental, por Evelio Miñano Emergentes en emergencia: la osadía de 5 Martínez........................................................... 72 querer hacer teatro en España, Louise Doutreligne, femme de théâtre, por Pedro Casas, Manu Bañez, Paola T. y por Evelio Miñano............................................ 75 Patricia Benedicto.........................................…. 6 La mujer rechazada o Hipótesis en Eduardo Alonso, Premio de Honra Buenos Aires, de Louise Doutreligne............... 76 “Marisa Soto” 2017............................................ 7 Más reflexiones sobre patrocinio empresarial ENTREVISTA CON GEORGES LAVAUDANT y teatro (II), por Alberto Fernández Torres........ 8 El archipiélago teatral ecléctico de Georges El triunfo de los mediocres, por David Jiménez 11 Lavaudant, una entrevista de Irène Sadowska.. 87 PREMIOS ADE NOTAS DE DIRECCIÓN Crónica de los Premios ADE 2016. “Estado de gracia”, creencias y libertades, Treinta años premiando la profesionalidad, por Eduardo Alonso........................................... 93 por Alberto Fernández Torres....................….... 13 Un Jardiel pirandelliano: “Jardiel, un escritor de Discurso del Secretario General de la ADE ida y vuelta”, por Ernesto Caballero y en el Acto de Entrega de Premios ADE 2016, Ramón Paso...................................................... 98 por J. A. Hormigón............................................. 24 “Don Quijote” de Kerala. Entre Cervantes Premio ADE de Dirección 2016: Alfonso Zurro, y el Teatro Kathakali, por Ignacio García entrevista de José Gabriel López Antuñano...... 29 y Mónica de la Fuente........................................ 104 Premio “Adolfo Marsillach” 2016: José María Valle-Inclán en Lavapiés, por Aitana Galán....... 112 Labra, entrevista de Salomé Aguiar.................. 31 Premio “José Luis Alonso” para jóvenes IDEOLOGÍA, DRAMATURGIA directores 2016: Mikolaj Bielski por Y TECNOLOGÍA EN EL TEATRO “El éxtasis de los insaciables”, entrevista de Ideología y techné en las “Comedias Bárbaras” Carlos Rodríguez.......................................….... de Valle-Inclán, por Manuel F. Vieites.................. 119 Premio de Honor de la ADE 2016: 33 Ideología.Técnica y tecnología, por Jorge Eines. 134 Jaime Azpilicueta, entrevista de La pedagogía teatral en Alemania. ¿Ensayar José Gabriel López Antuñano........................... 36 en vez de educar?, por Friedhelm Roth-Lange..... 143 Premio “Joseph Caudí” de Escenografía 2016: Curt Allen Wilmer, entrevista de PANORAMA IBEROAMERICANO 38 Carlos Rodríguez............................................... Festivales en la República Argentina durante Premio “Adrià Gual” de Figurinismo 2016: el año 2016, por Ana Seoane.................................152 40 María Araujo, entrevista de Carlos Rodríguez.. Festival Internacional Santiago a Mil 2017, Premio “Rogelio de Egusquiza” de Iluminación una oferta con dos programas, 2016: Florencio Ortiz, entrevista de por Osvaldo Obregón..............................................163 Salomé Aguiar................................................... Festival Iberoamericano de Teatro de Cádiz 42 Premio “Leandro Fernández de Moratín” para 2016. Una apuesta por la igualdad y el estudios teatrales 2016: Rodolfo Cardona. diálogo, por Carmen Márquez Montes....................172 Agradecimiento, por Rodolfo Cardona.............. Abel González Melo. ¿Cómo captar lo real y Premio “María Martínez Sierra” de traducción 44 trasladarlo al escenario?, una entrevista teatral 2016: Mª Yolanda Fernández Suárez, de Irène Sadowska............................................... 182 Entrevista de Rosa Briones............................... 45 Foro Internacional de Creadores Escénicos DeamaFest, por José Gabriel López de Antuñano.............................................................. 186 TEATRO POLACO CONTEMPORÁNEO LIBROS…............................................................... 188 250 + I. El teatro polaco contemporáneo, NOTICIAS ADE.................................................... 197 por Dariusz Kosniski.....................................…. 49 AGENDA….............................................................197 NOTICIAS ASOCIADOS.....................................198 Arte, Individuo y Sociedad Vol 29, No 1 (2017) Tabla de contenidos Artículos Antecedentes de la escultura del “Studio Glass PDF Movement” en el vidrio artístico soplado del período 1800-1950 María Ángeles Villegas-Broncano, Jorge Alberto 9-22 Durán-Suárez, Antonio Sorroche-Cruz El campo del arte en disputa: posicionamientos PDF contemporáneos y convocatorias artísticas en el Ecuador en la década del noventa Manuel Kingman, Pamela Cevallos 23-37 El Museo Thyssen-Bornemisza: evaluando sus PDF programas educativos para enseñar arte Roser Calaf Masachs, Sue Gutiérrez Berciano 39-56 Talento y sensibilidad artística: los usos dramáticos del PDF (English) arte en la creación de personajes de Woody Allen Pablo Echart 57-70 La diversidad corporal en la danza contemporánea: PDF una mirada retrospectiva al siglo XX María Paz Brozas-Polo, Miguel Vicente Pedraz 71-87 Tecnologías de diseño y fabricación digital de bajo PDF coste para el fomento de la competencia creativa Alejandro Bonnet, Cecile Meier, J. Luis Saorín, 89-104 Jorge de la Torre, Carlos Carbonell Jugando con la ciudad: street art y videojuegos PDF (English) Israel Márquez, Susana Tosca 105-120 La magia de los aparatos: una obra de proyección de PDF “luces” del Colectivo Taller de Diseño Integrado en el Chile de 1970 Mónica Salinero, Stella Salinero 121-136 Consideraciones sobre la elección, definición y PDF problematización del tema de investigación en el campo de las Bellas Artes Alfonso del Río-Almagro 137-151 Lo útil, lo inútil y la utilidad de lo inútil. El souvenir como PDF objeto marginal entre Arte y Diseño C. Andrés Petit-Laurent, Eugenio
Load more

Recommended publications
  • Certain Women
    CERTAIN WOMEN Starring Laura Dern Kristen Stewart Michelle Williams James Le Gros Jared Harris Lily Gladstone Rene Auberjonois Written, Directed, and Edited by Kelly Reichardt Produced by Neil Kopp, Vincent Savino, Anish Savjani Executive Producers Todd Haynes, Larry Fessenden, Christopher Carroll, Nathan Kelly Contact: Falco Ink CERTAIN WOMEN Cast (in order of appearance) Laura LAURA DERN Ryan JAMES Le GROS Fuller JARED HARRIS Sheriff Rowles JOHN GETZ Gina MICHELLE WILLIAMS Guthrie SARA RODIER Albert RENE AUBERJONOIS The Rancher LILY GLADSTONE Elizabeth Travis KRISTEN STEWART Production Writer / Director / Editor KELLY REICHARDT Based on stories by MAILE MELOY Producers NEIL KOPP VINCENT SAVINO ANISH SAVJANI Executive Producers TODD HAYNES LARRY FESSENDEN CHRISTOPHER CARROLL NATHAN KELLY Director of Photography CHRISTOPHER BLAUVELT Production Designer ANTHONY GASPARRO Costume Designer APRIL NAPIER Casting MARK BENNETT GAYLE KELLER Music Composer JEFF GRACE CERTAIN WOMEN Synopsis It’s the off-season in Livingston, Montana, where lawyer Laura Wells (LAURA DERN), called away from a tryst with her married lover, finds herself defending a local laborer named Fuller (JARED HARRIS). Fuller was a victim of a workplace accident, and his ongoing medical issues have led him to hire Laura to see if she can reopen his case. He’s stubborn and won’t listen to Laura’s advice – though he seems to heed it when the same counsel comes from a male colleague. Thinking he has no other option, Fuller decides to take a security guard hostage in order to get his demands met. Laura must act as intermediary and exchange herself for the hostage, trying to convince Fuller to give himself up.
    [Show full text]
  • New Films from Germany
    amherstcinema FEB - APR 28 Amity St. Amherst, MA 01002 • www.amherstcinema.org • 413.253.2547 2020 See something different! In addition to the special events in this newsletter, Amherst Cinema shows current-release film on four screens every day. Visit amherstcinema.org and join our weekly e-newsletter for the latest offerings. films of Kelly Reichardt In anticipation of the March 2020 opening of her new movie, FIRST COW, Amherst Cinema is pleased to present four films from the back catalog of director Kelly Reichardt. Reichardt's dramas are small-scale symphonies; alchemical transmogrifications of the ordinary into gripping cinematic experiences. Often collaborating with the same creatives across multiple pictures, such as actor Michelle Williams and writer Jonathan Raymond, Reichardt's films turn the WENDY AND LUCY lens on those in some way at the margins of American communities. Be it a woman living out of her car in WENDY AND LUCY, a group of lost 1840s pioneers in MEEK'S CUTOFF, a reclusive ranch hand in CERTAIN WOMEN, or a hand-to-mouth ex-hippie in OLD JOY, Reichardt's characters, regardless of life circumstances, are deeply and richly human. There may be no other living filmmaker who so fully realizes Roger Ebert's assertion that "movies are the most powerful empathy machine in all the arts." All of which is to say nothing of her films' painterly cinematography, naturalistic and immersive sound design, and Reichardt's knack of scouting the perfect space for every scene, often in the wilds of the Pacific Northwest. Reichardt and her work have been honored at the Cannes Film Festival, the Venice Film Festival, the BFI MEEK'S CUTOFF London Film Festival, the Film Independent Spirit Awards, and more.
    [Show full text]
  • Night Moves Instrueret Og Skrevet Af Kelly Reichardt
    ANGEL FILMS PRÆSENTERER Night Moves Instrueret og skrevet af Kelly Reichardt 112 minutter Kontakt:(Peter(Sølvsten(Thomsen,([email protected]( 1 Night Moves Dansk synopsis: En spændingsfyldt fortælling om de tre passionerede miljøaktivister, Josh (Jesse Eisenberg), Dena (Dakota Fanning) og Harmon (Peter Sarsgaard), der sammen planlægger en bombeaktion mod en dæmning. Aktionen lykkes, men ikke uden uforudsete konsekvenser – konsekvenser som skal vise sig at blive skæbnesvanger for de tre aktivister. Josh, Dena og Harmon vender tilbage til deres hverdag i forsøget på at holde lav profil, men begynder hurtigt at mærke det psykiske pres af deres store hemmelighed. Efterhånden som paranoia og mistillid kryber ind i de sammensvornes hoveder, begynder idealismens skyggesider at vise sig. Gennem Kelly Reichardts særegne stil og atmosfære, stiller NIGHT MOVES skarpt på spørgsmålet om, hvorvidt terrorhandlinger kan retfærdiggøres, så længe bevæggrunden herfor er sympatisk, eller om al terror leder til umoralsk fanatisme? Kontakt:(Peter(Sølvsten(Thomsen,([email protected]( 2 NIGHT MOVES ABOUT THE STORY Kelly Reichardt’s suspense thriller NIGHT MOVES follows three passionate environmentalists whose homegrown plot to Blow up a controversial dam unravels into a journey of douBt, paranoia and unintended consequences. Set against the ravishing, threatened natural Beauty of Oregon, the film tracks step-By- relentless-step as quiet organic farmer Josh (Jesse EisenBerg, THE SOCIAL NETWORK), high society dropout Dena (Dakota Fanning, WAR OF THE WORLDS, the TWILIGHT saga) and adrenaline-driven ex-Marine Harmon (Peter Sarsgaard, BLUE JASMINE, “The Killing”) prepare, carry out and then experience the shocking fallout of what they hoped would Be an attention-grabBing act of sabotage.
    [Show full text]
  • Crystal Moselle
    un film de – een film van CRYSTAL MOSELLE USA – 105 MIN. SYNOPSIS NL Camille is 18 jaar en dol op skateboarden. Dat vindt haar moeder maar niks, en na een blessure moet Camille beloven om nooit meer te skaten. Geen denken aan - de passie is te groot! Via Instagram komt Camille in contact met ‘The Skate Kitchen’, meisjes die stuk voor stuk ‘leven om te skaten’. Ze voelt zich meteen welkom bij de groep en dankzij hun wilde levensstijl gaat er een nieuwe wereld voor haar open. Wanneer haar moeder gaat dwarsliggen, loopt Camille weg van huis en trekt in bij een van haar nieuwe vriendinnen. Tot de liefde hun fragiele band onder druk zet. FR A New-York, la vie de Camille, une adolescente solitaire et introvertie va radicalement changer en intégrant un groupe de jeunes filles skateuses appelé Skate Kitchen. Cette bande éprise de liberté et sa rencontre avec un jeune skateur énigmatique vont l’éloigner de sa mère avec qui elle s’entend de moins en moins. ENG A teen girl gets on the ride of her life when she joins all-girl New York skateboard collective Skate Kitchen and falls for a mysterious guy in the scene. INTERVIEW WITH DIRECTOR CRYSTAL MOSELLE Skate Kitchen is a real skateboarding collective, and the cast is made up of real skateboarders. How did you meet them? I was on the train and I was listening to them just chat, and they were super interesting and they had skateboards, and I asked them, “Would you guys want to do like a video project, something?” We exchanged numbers and when we met up we just started hanging out and chatting.
    [Show full text]
  • Film Matters Magazine
    5/30/2020 The 50-Year Road Trip: Kelly Reichardt on Night Moves - MovieMaker Magazine MOVIEMAKING MOVIE NEWS FESTIVALS LATEST ISSUE PODCASTS The 50-Year Road Trip: Kelly Reichardt on Night Moves Latest DIRECTING MOVIE NEWS By Film Distribution Vet Liz Josh Ralske Manashil Explores the Future Published on June 20, 2014 of a Post-Pandemic Film Industry SHARE BY LIZ MANASHIL MAY 29, 2020 TWEET COMMENT The multi- award- winning Kelly Reichardt has produced work of such MOVIE NEWS routinely Everything You Need to Know superb quality About HBO Max — Including that it eluded Why It’s Not Available on Roku me until or Amazon Fire TV Sponsored by Sperry The 50-Year Road Trip: Kelly Reichardt on Night Moves Introducing the PLUSHWrecenAVEtly Collection how BY LOREE SEITZ MAY 29, 2020 far outside SHARE TWEOurET all-new PLUSHWAVE technology puts ultra-cushioning on your feet. A light fit design with flex grip stands up to LEARN MORE twhateverhe the day brings your way. https://www.moviemaker.com/the-50-year-road-trip-kelly-reichardt-on-night-moves/ 1/41 5/30/2020 The 50-Year Road Trip: Kelly Reichardt on Night Moves - MovieMaker Magazine mainstream she’s considered. TO TOP She’s justly revered by discerning ¤lm critics and festival programmers, and these days, thanks in part to Michelle Williams’ outstanding work in Wendy & Lucy Instagram and Meek’s Cuto¡, A-list actors are eager to work with her. And yet, as you’ll read below, there’s a disheartening precariousness to her ¤lmmaking career. Will Night Moves change that? It’s another thought- provoking, engaging, and beautifully rendered ¤lm, and features wonderfully true- to-life performances from Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard.
    [Show full text]
  • International & Festivals
    COMPANY CV – INTERNATIONAL & FESTIVALS INTERNATIONAL CAMPAIGNS / JUNKETS / TOURS (selected) Below we list the key elements of the international campaigns we have handled, but our work often also involves working closely with the local distributors and the film-makers and their representatives to ensure that all publicity opportunities are maximised. We have set up face-to-face and telephone interviews for actors and film-makers, working around their schedules to ensure that the key territories in particular are given as much access as possible, highlighting syndication opportunities, supplying information on special photography, incorporating international press into UK schedules that we are running, and looking at creative ways of scheduling press. THE AFTERMATH / James Kent / Fox Searchlight • International campaign support COLETTE / Wash Westmoreland / HanWay Films • International campaign BEAUTIFUL BOY / Felix van Groeningen / FilmNation • International campaign THE FAVOURITE / Yorgos Lanthimos / Fox Searchlight • International campaign support SUSPIRIA / Luca Guadagnino / Amazon Studios • International campaign LIFE ITSELF / Dan Fogelman / FilmNation • International campaign DISOBEDIENCE / Sebastián Lelio / FilmNation • International campaign THE CHILDREN ACT / Richard Eyre / FilmNation • International campaign DON’T WORRY, HE WON’T GET FAR ON FOOT / Gus Van Sant / Amazon Studios & FilmNation • International campaign ISLE OF DOGS / Wes Anderson / Fox Searchlight • International campaign THREE BILLBOARDS OUTSIDE EBBING, MISSOURI /
    [Show full text]
  • Meek's Cutoff
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 18 | 2019 Guerre en poésie, poésie en guerre Neo Frontier Cinema: Rewriting the Frontier Narrative from the Margins in Meek’s Cutoff (Kelly Reichardt, 2010), Songs My Brother Taught Me (Chloe Zhao, 2015) and The Rider (Chloe Zhao, 2017) Hervé Mayer Electronic version URL: http://journals.openedition.org/miranda/16672 DOI: 10.4000/miranda.16672 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Hervé Mayer, “Neo Frontier Cinema: Rewriting the Frontier Narrative from the Margins in Meek’s Cutoff (Kelly Reichardt, 2010), Songs My Brother Taught Me (Chloe Zhao, 2015) and The Rider (Chloe Zhao, 2017)”, Miranda [Online], 18 | 2019, Online since 16 April 2019, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/16672 ; DOI: https://doi.org/10.4000/miranda.16672 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Neo Frontier Cinema: Rewriting the Frontier Narrative from the Margins in Mee... 1 Neo Frontier Cinema: Rewriting the Frontier Narrative from the Margins in Meek’s Cutoff (Kelly Reichardt, 2010), Songs My Brother Taught Me (Chloe Zhao, 2015) and The Rider (Chloe Zhao, 2017) Hervé Mayer 1 The myth of the American frontier has provided the United States with a national mythology since the late 19th century, and has been explored most directly on screen in the genre of the Western.1 According to this mythology, the frontier is a cultural metaphor designating the meeting point between civilized territories and the savage wilderness beyond.
    [Show full text]
  • To Download Press Cv
    CONSULTANTS Launched in early 2010, WOLF is a boutique PR and Marketing firm specialised in helping filmmakers effectively communicate and achieve their vision. Through many years experience working for sales agents and producers, launching hundreds of films, we understand the demands of the market and offer an intelligent, fast, no-nonsense creative service. In our fragmented industry we‘re here to help join the dots. Marketing and communications are an integral part of the storytelling process, and our approach encompasses the entire production cycle: from overcoming initial obstacles to getting a new project noticed to preparing completed films for launch at major international film festivals. What‘s unique about WOLF is that we‘re hands-on designers, marketing consultants and international publicists all rolled into one, with an intimate knowledge of all the major festivals and markets. Our expertise and flexibility help directors, producers, sales agents and other partners around the world create effective strategies tailored to each project‘s needs, giving the film the best possible start on the way to finding its audience. Recent highlights of WOLF‘s slate as International Publicists include UNDINE by Christian Petzold (Silver Bear for Best Actress, Berlin 2020), MARTIN EDEN by Pietro Marcello (Platform Prize, TIFF 2019 & Coppa Volpi, Venice 2019), BABYTEETH by Shannon Murphy (Marcello Mastroianni Award, Venice 2019), THE CLIMB by Michael Angelo Covino, (Jury Coup de Coeur, Cannes Un Certain Regard 2019), SO LONG, MY SON by Wang Xiaoshuai (Silver Bears for Best Actor & Best Actress, Berlin 2019), BORDER by Ali Abbasi (Un Certain Regard Prize, Cannes 2018), WOMAN AT WAR by Benedikt Erlingsson (SACD Award, Cannes Critics‘ Week 2018), TOUCH ME NOT by Adina Pintilie (Golden Bear & Best First Feature, Berlin 2018), CUSTODY by Xavier Legrand (Best Director & Best First Feature, Venice 2017) and VR projects by Baobab Studios and director Eric Darnell (MADAGASCAR).
    [Show full text]
  • Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
    Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] ​ www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, ​ 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE
    [Show full text]
  • 57Th New York Film Festival September 27- October 13, 2019
    57th New York Film Festival September 27- October 13, 2019 filmlinc.org AT ATTHE THE 57 57TH NEWTH NEW YORK YORK FILM FILM FESTIVAL FESTIVAL AndAnd over over 40 40 more more NYFF NYFF alums alums for for your your digitaldigital viewing viewing pleasure pleasure on onthe the new new KINONOW.COM/NYFFKINONOW.COM/NYFF Table of Contents Ticket Information 2 Venue Information 3 Welcome 4 New York Film Festival Programmers 6 Main Slate 7 Talks 24 Spotlight on Documentary 28 Revivals 36 Special Events 44 Retrospective: The ASC at 100 48 Shorts 58 Projections 64 Convergence 76 Artist Initiatives 82 Film at Lincoln Center Board & Staff 84 Sponsors 88 Schedule 89 SHARE YOUR FESTIVAL EXPERIENCE Tag us in your posts with #NYFF filmlinc.org @FilmLinc and @TheNYFF /nyfilmfest /filmlinc Sign up for the latest NYFF news and ticket updates at filmlinc.org/news Ticket Information How to Buy Tickets Online filmlinc.org In Person Advance tickets are available exclusively at the Alice Tully Hall box office: Mon-Sat, 10am to 6pm • Sun, 12pm to 6pm Day-of tickets must be purchased at the corresponding venue’s box office. Ticket Prices Main Slate, Spotlight on Documentary, Special Events*, On Cinema Talks $25 Member & Student • $30 Public *Joker: $40 Member & Student • $50 Public Directors Dialogues, Master Class, Projections, Retrospective, Revivals, Shorts $12 Member & Student • $17 Public Convergence Programs One, Two, Three: $7 Member & Student • $10 Public The Raven: $70 Member & Student • $85 Public Gala Evenings Opening Night, ATH: $85 Member & Student • $120 Public Closing Night & Centerpiece, ATH: $60 Member & Student • $80 Public Non-ATH Venues: $35 Member & Student • $40 Public Projections All-Access Pass $140 Free Events NYFF Live Talks, American Trial: The Eric Garner Story, Holy Night All free talks are subject to availability.
    [Show full text]
  • Certain Women (2016) “How Are You? How Are You
    Certain Women (2016) “How are you? How are you?” / “I'm just fine. I'm just fine.” Major Credits Director: Kelly Reichardt Screenplay: Kelly Reichardt, based on three short stories by Maile Meloy Editor: Kelly Reichardt Cinematography: Christopher Blauvelt Cast: Laura Dern (Laura), Michelle Williams (Gina), Kristen Stewart (Elizabeth Travis), Lily Gladstone (The Farmer), Jared Harris (Mr. Fuller), Rene Auberjonois (Albert) Production Background Kelly Reichardt had previously directed several admired independent films, principally Old Joy (2006) and Wendy and Lucy (2008), which had starred Michelle Williams. To this point, her films have all been small budget projects that have been distributed principally at film festivals and art house venues. Certain Women was her first work to earn more than $1 million at the box office. Williams, Laura Dern, and Kristen Stewart are all highly respected actors who have transcended the label of “movie stars” (Stewart, in particular, has worked hard to be taken seriously following her early success in the Twilight franchise). Their performances here are excellent, yet it is the newcomer, Lily Gladstone, who arguably steals the show. Reichardt has acquired the reputation of being a “minimalist” filmmaker. Her plots are simple (Wendy and Lucy, for example, consists entirely of a young woman searching for her lost dog), the dialogue is extremely spare (long stretches of Certain Women could be watched with the sound turned off), music remains largely absent, the meaning opaque. Cinematic Qualities 1. Long takes: Reflecting her training as a photographer, Reichardt generally prefers sustained shots that emphasize composition within the frame rather than montage sequences.
    [Show full text]
  • A Film by KELLY REICHARDT Starring MICHELLE WILLIAMS World
    A film by KELLY REICHARDT Starring MICHELLE WILLIAMS World Premiere in Cannes 2008 — Un Certain Regard International Press World Sales Lucius BARRE MEMENTO FILMS INTERNATIONAL [email protected] Riviera Booth E.8 t: +1 917 353 22 68 t: +33 6 59 54 24 45 May 13-30: 06-7744-8524 [email protected] SYNOPSIS Wendy Carroll is driving to Ketchikan, Alaska, in hopes of a summer of lucrative work at the Northwestern Fish Cannery, and the start of a new life with her dog, Lucy. When her car breaks down in Oregon, however, the thin fabric of her financial situation comes apart, and she confronts a series of increasingly dire economic decisions, with far-ranging repercussions for herself and her dog. Wendy and Lucy addresses issues of sympathy and generosity at the edges of American life, revealing the limits and depths of people's duty to each other in tough times. E-MAIL TO THE PRODUCER Neil, how are you today? I enjoyed reading "Wendy and Lucy" and thought I'd send off some random-ish thoughts. Read when you have some time. I like films that show affection (at least some) for all their characters. I imagine that if Kelly delivers this one in her quiet style, she'll be adding powerful dramatic irony to the sadness, alienation and loss that permeate the story. The script could be read simply as a story illustration of that iconic American sound, the train whistle. The soundtrack of mourning. The siren of passing hope in the night that better things wait somewhere, anywhere that is not here, another place we could just maybe start again.
    [Show full text]