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Images of Occupation in Dutch Film Wendy Burke
FRAMING WENDY BURKE FILM IMAGES OF OCCUPATION IN DUTCH FILM WENDY BURKE WENDY IMAGES OF OCCUPATION Memory, Myth, and the Cultural IN DUTCH FILM Legacy of War Images of Occupation in Dutch Film is the first book to examine Dr Wendy Burke is FILM IN DUTCH OF OCCUPATION IMAGES changing representations of the German wartime occupation of the Research Associate in Netherlands within Dutch feature films, with an emphasis on films Culture and Media at made a generation later, between 1962 and 1986. It explores the King’s College London. evolving role played by film within Dutch cultural memory and asks Her research considers film to what extent film can represent and assimilate the experiences and other media from an and collective legacies of war. As Dutch public opinion towards the interdisciplinary perspective with a focus on history and bleaker aspects of the 1940-1945 occupation – Jewish persecution, representing the past, identity the enemy, deprivations, resistance and collabo ration – altered over and memory, and cultural the post-war decades, so too shifted the presence – or absence – of legacies of war, occupation these themes in subsequent films. The historical trajectory of Dutch and trauma. recovery and reconstruction: political, economic, and, most complex of all, psychological, came to be revealed, often unconsciously, in the films of the period. Through detailed analyses of seven key film texts, from 1962’sDE OVERVAL, to Paul Verhoeven’s 1977 film SOLDAAT VAN ORANJE and Fons Rademakers’ DE AANSLAG from 1986, this book offers insights into pre viously under- explored connections between filmic images of occupation and parallel shifts in society’s perceptions about the war at the times the films were made. -
Sfoglia Il Catalogo
1 Investimenti sostenibili. Allinea i tuoi interessi a quelli del pianeta. Paolo Tacchi Wealth Advisor Banca Generali 2 3 MAIN SPONSOR SPONSOR www.lucar.it PARTNERS connesso oltre lo schermo 4 5 LUCCA FILM FESTIVAL E EUROPA CINEMA 2019 Direttore Tecnico: Direttore Mostre: Responsabile Acquisizione Diritti e Movimentazione Federico Ghivizzani Alessandro Romanini Copie: Presidente: Assistenza Direzione Tecnica: Assistenza alla Direzione Mostre: Martino Martinelli Nicola Borrelli Gianluca Marzari, Dario Ricci, Gioele Morini, Stefania Fabiola Manfredi Acquisizione Diritti e Movimentazione Copie: Grondona Francesca Montagni (volontaria), Nicolò Marcheschi Vice Presidente: Direzione Effetto Cinema Notte: (stagista), Roberto Gugliotta (stagista), Sofia Nieri Stefano Giorgi Responsabili Gestione Spazi: Stefano Giuntini, Cristina Puccinelli (stagista) Valentina Vasta, Lucia Nieri, Erika Citti Produzione Esecutiva Effetto Cinema Notte: Comitato Artistico: Gestione Spazi: Beatrice Manigrasso (scenografie) Responsabili Sottitolatura Elettronica: Alessandro De Francesco, Alessandro Romanini, Alessandra Presti (stagista), Andrea Stocchi (volonta- Alessandro Di Giulio (responsabile produzione) Paolo Merli, Manuel Navati, Neon Video di Torino Cristina Puccinelli, Erika Citti, Nicolas Condemi, Federi- rio), Anna Di Iorio (stagista), Gaia Salvestrini (stagista), Nicola D’Olivo, Andrea Faina (produzione esecutiva) Sottotitolatura Elettronica in sala: co Salvetti, Federico Ghivizzani, Federico Lorenzi, Fran- Giulia Prete (volontaria), Ilaria Mongelluzzi (stagista), -
Programmheft Filmmuseum München
münchen Mittel Punkt Europa Deutsche Filme 2019 King Vidor Rob Houwer Film und Psychoanalyse Kevin Brownlow Radu Gabrea Vittorio De Sica Architekturfilmtage | Heft 38 Helena TreštikovᡠBetween Two Cinemas Willy Zielke Zuschauerkino Frühjahr 2020 Leading Women Eintrittspreise Ansonsten bitten wir um die Zusendung eines adres- 4 € (3 € für MFZ-Mitglieder). Ab 120 Minuten Film- sierten und mit 1,55 € frankierten DIN A5-Briefum- länge oder mit Gästen: 1 € Aufschlag. Ab 180 Minuten, schlages an die Adresse des Filmmuseums. WebCalen- mit Live-Musik oder bei 3D: 2 € Aufschlag. Die Kasse dar: tinyurl.com/fmm-cal1, Twitter: @filmmuseummuc. öffnet jeweils 60 Minuten vor und schließt 30 Minu- ten nach Beginn der Vorstellung. Bei allen öffentlichen Mitgliedschaft Veranstaltungen verbleibt ein Kartenkontingent für den Wer sich für die Arbeit des Filmmuseums interessiert, freien Verkauf an der Abendkasse. Die Vorstellungen kann Mitglied im Verein der Freunde des Filmmuseums beginnen pünktlich ohne Vorprogramm. München, dem Münchner Filmzentrum e.V. (MFZ) wer- den. Mitgliedsanträge sind an der Kinokasse erhältlich. Kartenreservierung Der Jahresbeitrag beträgt 20 € und berechtigt zum Kartenreservierungen sind bis zu vier Wochen im Vor- ermäßigten Eintritt ins Filmmuseum sowie zur Teil- aus möglich und können unter der Telefonnummer nahme an den Mitgliederversammlungen des MFZ, in 089/23396450 auf Band gesprochen werden. Vorbe- denen die Programmplanungen des Filmmuseums stellte Karten müssen bis 20 Minuten vor Vorstellungs- diskutiert und Projekte entwickelt werden. Weitere beginn an der Kasse abgeholt worden sein, ansonsten Informationen erhalten Sie unter Tel. 089 / 2713354 verfällt die Reservierung. und www.muenchner-filmzentrum.de. Kartenvorverkauf Barrierefreier Zugang Karten können bis zu vier Wochen im Voraus gekauft Der Kinosaal und die barrierefreie Toilette im Unterge- werden. -
Humour and Irony in Dutch Post-War Fiction Film FRAMING FILM
HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States PETER VERSTRATEN HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM AMSTERDAM UNIVERSITY PRESS This publication is made possible by grants from the Nederlands Filmfonds and the Netherlands Society of Cinematographers. Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Borgman © Drafthouse Films. Design: Brandon Schaefer. Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 943 0 e-isbn 978 90 4852 837 0 doi 10.5117/9789089649430 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) P. -
June 28, 2017 Learning Support Services Room 259 DUTCH FILMS
University of Wisconsin - Madison Rev: June 28, 2017 Learning Support Services Room 259 DUTCH FILMS ON VIDEO/DVD (Various distributors) TYPE OF PROGRAM: Dutch culture and civilization ; films ACCESSION DATE: Beginning August 1999 DESCRIPTION: A series of films either produced in Dutch countries, directed by Dutch directors, or about Dutch subjects: most are subtitled in English. VIDEOTAPES AND DVDs ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for preview purposes or to show in class. See the Media Catalog for films in other languages. AUDIENCE: Students of Dutch languages and literature. FORMAT: VHS ; NTSC ; DVD CONTENT CALL NUMBER Antonia’s Line DU2.001.015 1995. In Dutch with English subtitles. 102 min. Color. Directed by Marleen Gorris. In this recasting in a woman’s image of a story from the book of Genesis, an 88-yr.-old Dutchwoman recalls her past on the last day of her life, filled with colorful characters like a Russian midwife-undertaker, a Danish recluse, a mentally disabled girl, a village idiot and a mad Madonna who howls at the moon. The Assault DU2.001.001 1986. Holland. English dubbed. 126 min. Color. Directed by Fonz Rademakers. With Derek De Lint, Marc Van Uchelen. Epic tale of a young buy who witnesses the brutal massacre of his family in the final days of WWII. The only survivor, the nightmarish memory haunts him until he uncovers and faces the truth. De Bevrijding DU2.001.017 1989. DVD format (requires region free player.) Black Book DU2.001.040 DVD. -
RENCONTRES CINÉMA NÉERLANDAIS ET Outrages RÉVOLUTION SEXUELLE FILM + MASTER CLASS RÉTROSPECTIVE DE PALMA PAR DE PALMA ANIMÉE PAR BERNARD BENOLIEL 6 – 27 JUIN
BRIAN DE PALMA RENCONTRES CINÉMA NÉERLANDAIS ET Outrages RÉVOLUTION SEXUELLE FILM + MASTER CLASS RÉTROSPECTIVE DE PALMA PAR DE PALMA ANIMÉE PAR BERNARD BENOLIEL 6 – 27 JUIN À la suite de la projection de Outrages (Casualties of War) de Brian De Palma (Voir P.34). CETTE RÉTROSPECTIVE FAIT PARTIE D’OH ! PAYS-BAS : SAISON CULTURELLE NÉERLANDAISE EN FRANCE 2017-2018 « Quand vous faites un film, vous établissez des passerelles avec ce qui s’est fait avant vous. Autrement dit, vous mettez votre sensibilité et vos idées au service d’une scène ou d’une histoire qui a déjà été plus ou moins racontée. » Brian De Palma Bernard Benoliel est directeur de l’Action culturelle et éducative à La Cinémathèque française. sa 02 juin 14h30 A Tarifs : PT 13 €, TR 8 €, Libre Pass 6 €. Ouverture des ventes le 17 mai à 11h. Cette Master Class sera suivie à la librairie de la Cinémathèque, à partir de 18h, de la signature par Susan Lehman et Brian De Palma de Les Serpents sont-ils nécessaires ? (éditions Rivages). FILM + DISCUSSION À la suite de la projection de Phantom of the Paradise de Brian De Palma (Voir P.34). CINÉMA NÉERLANDAIS ET RÉVOLUTION SEXUELLE ET RÉVOLUTION NÉERLANDAIS CINÉMA Luc Lagier présentera Phantom of the Paradise, une projection suivie d’une discussion qui reviendra sur le film, le cinéaste et une œuvre intense et immense, une œuvre qui, de la fin des années soixante jusqu’à aujourd’hui, n’aura cessé de nous regarder… « L’idée du film m’est venue dans un ascenseur, en entendant une chanson des Beatles devenue de la « muzak » [musique d’ambiance]. -
Film in De 'Seventies'
‘Seventies’ in de film in de ‘Seventies’ Film in de ‘seventies’ ‘seventies’ Film in de Een onderzoek naar de filmvoorkeur van het Nederlandse bioscooppubliek in de jaren zeventig Aline Willemsen 3667294 Masterscriptie Film- en Televisiewetenschap Begeleider: J. Thissen 22/04/2014 Inhoudsopgave Introductie .......................................................................................................................... 4 Bestaand onderzoek ....................................................................................................... 5 Methode ......................................................................................................................... 8 Opbouw ......................................................................................................................... 11 1. Voorkeuren Nederlands bioscooppubliek .................................................................... 12 1.1 Nederlandse films in de hitlijsten ........................................................................... 12 1.2 New Hollywood & New New Hollywood ................................................................ 15 Conclusie ....................................................................................................................... 20 2. Nummer één films ........................................................................................................ 21 2.1 Seks en prostitutie .................................................................................................. 21 2.2 Een tragische -
KINO, KRIEG UND TULPEN DEUTSCH–NIEDERLÄNDISCHE Cinefestfilmbeziehungen Cinefest XVII
KINO, KRIEG UND TULPEN DEUTSCH–NIEDERLÄNDISCHE cinefestFILMBEZIEHUNGEN cinefest XVII. INTERNATIONALES FESTIVAL DES DEUTSCHEN FILM-ERBES KINO, KRIEG UND TULPEN DEUTSCH–NIEDERLÄNDISCHE FILMBEZIEHUNGEN HAMBURG KOMMUNALES KINO METROPOLIS NOVEMBER 2020 BERLIN DEUTSCHES HISTORISCHES MUSEUM, ZEUGHAUSKINO JANUAR 2021 UDINE/GORIZIA FILMFORUM MÄRZ 2021 PRAG NÁRODNÍ FILMOVÝ ARCHIV, KINO PONREPO cinefestWIESBADEN MURNAU-FILMTHEATER IMPRESSUM CINEFEST – XVII. INTERNATIONALES FESTIVAL DES DEUTSCHEN FILM-ERBES 33. INTERNATIONALER FILMHISTORISCHER KONGRESS HAMBURG – BERLIN – PRAG – UDINE – WIEN – WIESBADEN – ZÜRICH KINO, KRIEG UND TULPEN DEUTSCH-NIEDERLÄNDISCHE FILMBEZIEHUNGEN Träger CineGraph – Hamburgisches Centrum PARTNER für Filmforschung e. V., Hamburg Konzeption, Recherche Hans-Michael Bock, Bundesarchiv Amsterdam Eye Filmmuseum Erika Wottrich, Swenja Schiemann, Festivaldirektion Hans-Michael Bock Sandra den Hamer Rommy Albers, Ivo Blom Organisation Erika Wottrich Berlin Zeughauskino – Organisation Erika Wottrich, Swenja Schiemann Koordination Swenja Schiemann Deutsches Historisches Museum Technische Betreuung George Riley Konzeption Rommy Albers, Ivo Blom, Jörg Frieß, Cathrin Schupke Referenten Rommy Albers, Amsterdam Hans-Michael Bock, Swenja Schiemann, Hamburg Kinemathek Hamburg – Katja S. Baumgärtner, Berlin Erika Wottrich Metropolis Kino Ivo Blom, Amsterdam Beratung Petra Rauschenbach, Ralf Schenk, Martin Aust, Manja Malz, Kathinka Dittrich van Weringh, Köln Jörg Schöning, Michael Töteberg Thomas Pfeiffer, Michael Reckert, Karl Griep, Berlin -
Ÿþ2 2 0 2 3 T E X T . P D
Film Voices Interviews from Post Script EDITED BY Gerald Duchovnay FILM VOICES THE SUNY SERIES CULTURAL STUDIES IN CINEMA/VIDEO WHEELER WINSTON DIXON | EDITOR FILM VOICES ਗ Interviews from Post Script edited by G E R A L D D U C H O V N A Y STATE UNIVERSITY OF NEW YORK PRESS Published by State University of New York Press, Albany © 2004 State University of New York and Post Script, Inc. All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Marilyn P. Semerad Marketing by Anne M. Valentine Library of Congress Cataloging-in-Publication Data Duchovnay, Gerald, 1944– Film voices : interviews from Post Script / by Gerald Duchovnay. p. cm. — (SUNY series, cultural studies in cinema/video) Includes bibliographical references and index. ISBN 0-7914-6155-6 — ISBN 0-7914-6156-4 (pbk.) 1. Motion pictures—Production and direction. 2. Motion picture producers and directors—United States—Interviews. 3. Motion picture producers and directors—Interviews. I. Title. II. Series. PN1995.9.P7D76 2004 791.4302'3—dc22 2003066185 10 9 8 7 6 5 4 3 2 1 Dedicated to the Memory of Arthur Stander Charles Mazer Robert E. -
Humour and Irony in Dutch Post-War Fiction Film Framing Film
HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States PETER VERSTRATEN HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM AMSTERDAM UNIVERSITY PRESS This publication is made possible by grants from the Nederlands Filmfonds and the Netherlands Society of Cinematographers. Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Borgman © Drafthouse Films. Design: Brandon Schaefer. Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 943 0 e-isbn 978 90 4852 837 0 doi 10.5117/9789089649430 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) P. -
Film Facts and Figures of the Netherlands a Edition Summer 2007 B Filmfeiten En Cijfers Zomer 2007
FILM FACTS AND FIGURES OF THE NETHERLANDS A EDITION SUMMER 2007 B FILMFEITEN EN CIJFERS ZOMER 2007 BUDDHA’S LOST CHILDREN Film facts and figures OF THE NETHERLANDS NEDERLANDS FONDS VOOR DE FILM JAN LUYKENSTRAAT 2 WHEN WE ARE BIG / ALS WE GROOT ZIJN 07 CM AMSTERDAM THE NETHERLANDS PHONE (+3) (0)20 5707676 FAX (+3) (0)20 5707689 E-MAIL [email protected] WEBSITE WWW.FILMFONDS.NL Colophon DREAMING BY NUMBERS Introduction This publication contains an overview The Netherlands Film Fund is the Individual directors and screen- of the main facts and figures on the national agency responsable for writers can only apply without production, distribution and exhibition the support of filmproduction producers at the department of of movies in 2006 in the Netherlands. and cinema in the Netherlands. It the Experimental film (O&O) or the focuses on the quality and diversity commissioners artistic and com- Film Facts and Figures is published of feature films, documentaries, mercial film (intendant). Individu- annually by The Netherlands Film Fund. Filmfeiten en cijfers is een jaarlijkse shorts, animation en experimental als and organisations can receive uitgave van Het Nederlands Fonds voor films. The Fund’s operations cover grants for courses, workshops, FIGNER THE END OF A SILENT CENTURY de Film. participation in the development, publications and exhibitions. production, distribution and COMPILATION marketing. It is also in charge of The decision to support projects The Netherlands Foundation for Film promoting a good climate for the or persons is based on the quality Research / Professional School of the national movie industry. of script and film plan, the track Arts Utrecht (Lisa Janssen, Jeroen record of the professionals and the Margry), Maarten Wijdenes, Toine The Film Fund was founded in possibilities for screening. -
Filozofická Fakulta Univerzity Palackého V Olomouci Katedra
Filozofická fakulta Univerzity Palackého v Olomouci Katedra Nederlandistiky Studijní rok 2010/2011 PAUL VERHOEVEN. IK NEUK BETER DAN GOD! PAUL VERHOEVENS FILMCARRIÈRE TOT 1980. Bakalářská práce studia Nizozemštiny pro hospodářskou praxi PAUL VERHOEVEN. I FUCK BETTER THAN GOD! PAUL VERHOEVEN’S FILM CAREER TILL 1980 Pavel Valent Vedoucí práce: Mgr. Iwona Piotrowska Olomouc 2011 Prohlašuji, že jsem bakalářskou práci vypracoval samostatně s využitím uvedených pramenů a literatury. ..................................... Podpis autora práce 2 Dankbetuiging Graag wil ik mijn dank betuigen aan Mgr. Iwona Piotrowska. Ik wil haar bedanken voor haar intensieve begeleiding, waardevolle adviezen en geduld. 3 Inhoudsopgave: 1. Inleiding........................................................................................................................ 5 2. Paul Verhoevens filmcarrière tot 1967......................................................................... 8 2.1 Eén hagedis teveel (1960) .................................................................................... 12 2.2 Niets bijzonders (1961) en De lifters (1962). ....................................................... 13 2.3 Feest (1963).......................................................................................................... 14 2.4 Het Korps Mariniers (1965)................................................................................. 15 3. Floris (1969). Team Paul Verhoven en Gerard Soeteman ......................................... 17 4. Wat zien ik! (1971)