Patrice Chéreau. Cineasta Del Corpo Retrospettiva
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Le Chemin Des Etoiles
LE CHEMIN DES ETOILES 1.Pedro Almodovar 2004 27.Vanessa Redgrave 1992 44. Val Kilmer 2005 2. Pénélope Cruz 2006 28. Isabella Rosselini 1990 45. Pierre Richard 1985 3. Julie Andrews 1992 29. Ettore Scola 1988 46. Jean Rochefort 2003 4. Luc Besson 1988 30. Jean Louis Trintignant 1985 47. Richard Bohringer 1987 5. Claudia Cardinale 1993 31. Andrezj Wadja 1990 48. Micheline Presle 1987 6. Jean-Paul Belmondo 1988 32. Franco Zeffireli 1986 49. Anthony Quinn 1994 7. Charlotte Gainsbourg 1990 33. Jodie Foster 2001 50. Sidney Pollack 1986 8. Lars Von Trier 2003 34. Lambert Wilson 1987 51. Keanu Reeves 2003 9. Catherine Deneuve 1985 35. Sylvester Stallone 1993 52. Charlotte Rampling 1986 10. Sandrine Bonnaire 2006 36. Quentin Tarantino 2004 53. Gregory Peck 1989 11. Claude Chabrol 1985 37. Jack Nicholson 2002 54. Diane Kruger 2007 12. Kar-Wai Wong 2001 38. Sophia Loren 1989 55. Claude Lelouch 1986 13. Tim Burton 2006 39. David Lynch 1990 56. Michelangelo Antonioni 1977 14. Andrezj Zulawski 1990 40. Paul McCartney 2001 57. Nicole Kidman 2001 15. Johnny Hallyday 1986 41. Nicolas Cage 1990 58. Cameron Diaz 2002 16. Dennis Hopper 1991 42. Meryl Streep 1989 59. Nathalie Portman 2008 17.Angelina Jolie 2007 43. Liza Minelli 2005 60. Georges Lucas 2002 18. Vigo Mortensen 2005 61. Ewan Mac Gregor 2001 19. Michel Legrand 1987 62. Michel Piccoli 2007 20. Meg Ryan 2003 63. Tim Robbins 1992 21. Leonardo Dicaprio 2002 70. Ben 2004 64. Francesco Rosi 1990 22. Gérard Jugnot 1985 71. Michael Moore 2004 65. Claude Sautet 1990 23. -
James Ivory in France
James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind. -
Over His Long Career, the Icon of American Cinema Defined a Style of Filmmaking That Embraced the Burnished Heights of Society, Culture, and Sophistication
JAMES IVORY OVER HIS LONG CAREER, THE ICON OF AMERICAN CINEMA DEFINED A STYLE OF FILMMAKING THAT EMBRACED THE BURNISHED HEIGHTS OF SOCIETY, CULTURE, AND SOPHISTICATION. BUT JAMES IVORY AND HIS LATE PARTNER, ISMAIL MERCHANT, WERE ALSO INVETERATE OUTSIDERS WHOSE ART WAS AS POLITICALLY PROVOCATIVE AS IT WAS VISUALLY MANNERED. AT AGE 88, THE WRITER-DIRECTOR IS STILL BRINGING STORIES TO THE SCREEN THAT FEW OTHERS WOULD DARE. By CHRISTOPHER BOLLEN Photography SEBASTIAN KIM JAMES IVORY IN CLAVERACK, NY, FEBRUARY 2017. COAT: JEFFREY RUDES. SHIRT: IVORY’S OWN. On a mantle in James Ivory’s country house in but also managed to provoke, astonish, and seduce. the depths of winter. It just got to be too much, and I IVORY: I go all the time. I suppose it’s the place I love IVORY: I saw this collection of Indian miniature upstate New York sits a framed photo of actress In the case of Maurice, perhaps because the film was remember deciding to go back to New York to work most in the world. When I went to Europe for the paintings in the gallery of a dealer in San Francisco. Maggie Smith, dressed up in 1920s finery, from the so disarmingly refined and the quality of the act- on Surviving Picasso. first time, I went to Paris and then to Venice. So after I was so captivated by them. I thought, “Gosh, I’ll set of Ivory’s 1981 filmQuartet . By the fireplace in an ing and directing so strong, its central gay love story BOLLEN: The winters up here can be bleak. -
Virna Lisi 2016
OMAGGIO A Aprile – Maggio VIRNA LISI 2016 Il Circolo del Cinema di Locarno vi invita alla proiezione di 5 film Venerdì 29 aprile SIGNORE E SIGNORI, di Pietro Germi, 1965 Lunedì 02 maggio CASANOVA 70, di Mario Monicelli, 1965 Venerdì 13 maggio HOW TO MURDER YOUR WIFE (Come uccidere vostra moglie), di Richard Quine, 1965 Venerdì 20 maggio LA CICALA, di Alberto Lattuada, 1980 Lunedì 23 maggio LATIN LOVER, di Cristina Comencini, 2015 Aula Magna del Liceo Morettina ore 20:30 Virna Lisi, nome d’arte Virna Pieralisi (Ancona, 8 novembre 1936 – Roma, 18 dicembre 2014), è stata un’attrice italiana. Durante la sua carriera ha vinto numerosi premi cinematografici: 4 David di Donatello (di cui due alla carriera), 6 Nastri d’argento dal Sindacato Nazionale Giornalisti Cinematografici Italiani, due Globi d’oro (di cui uno alla carriera), tre Grolle d’oro (di cui una alla carriera) e un Ciak d’oro alla carriera. Al Fe-stival di Cannes 1994 vinse anche un Prix d’interprétation féminine per la sua interpretazione di Caterina de’ Medici ne La Regina Margot, per la quale vinse anche un Premio César per la migliore attrice non protagonista (diventando la prima attrice non francese a vincere quel premio). Recitò anche a Hollywood, debuttando nella commedia accanto a Jack Lemmon in Come uccidere vostra moglie (1965), ed è apparsa con Tony Curtis in Due assi nella manica (1966). Ha lavorato con Frank Sinatra in U-112 assalto al Queen Mary (1966), e in due film con Anthony Quinn, Il segreto di Santa Vittoria, diretto da Stanley Kramer, e il dramma di guerra La 25a ora. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Catalogue-2018 Web W Covers.Pdf
A LOOK TO THE FUTURE 22 years in Hollywood… The COLCOA French Film this year. The French NeWave 2.0 lineup on Saturday is Festival has become a reference for many and a composed of first films written and directed by women. landmark with a non-stop growing popularity year after The Focus on a Filmmaker day will be offered to writer, year. This longevity has several reasons: the continued director, actor Mélanie Laurent and one of our panels will support of its creator, the Franco-American Cultural address the role of women in the French film industry. Fund (a unique partnership between DGA, MPA, SACEM and WGA West); the faithfulness of our audience and The future is also about new talent highlighted at sponsors; the interest of professionals (American and the festival. A large number of filmmakers invited to French filmmakers, distributors, producers, agents, COLCOA this year are newcomers. The popular compe- journalists); our unique location – the Directors Guild of tition dedicated to short films is back with a record 23 America in Hollywood – and, of course, the involvement films selected, and first films represent a significant part of a dedicated team. of the cinema selection. As in 2017, you will also be able to discover the work of new talent through our Television, Now, because of the continuing digital (r)evolution in Digital Series and Virtual Reality selections. the film and television series industry, the life of a film or series depends on people who spread the word and The future is, ultimately, about a new generation of foreign create a buzz. -
Here Was Obviously No Way to Imagine the Event Taking Place Anywhere Else
New theatre, new dates, new profile, new partners: WELCOME TO THE 23rd AND REVAMPED VERSION OF COLCOA! COLCOA’s first edition took place in April 1997, eight Finally, the high profile and exclusive 23rd program, years after the DGA theaters were inaugurated. For 22 including North American and U.S Premieres of films years we have had the privilege to premiere French from the recent Cannes and Venice Film Festivals, is films in the most prestigious theater complex in proof that COLCOA has become a major event for Hollywood. professionals in France and in Hollywood. When the Directors Guild of America (co-creator This year, our schedule has been improved in order to of COLCOA with the MPA, La Sacem and the WGA see more films during the day and have more choices West) decided to upgrade both sound and projection between different films offered in our three theatres. As systems in their main theater last year, the FACF board an example, evening screenings in the Renoir theater made the logical decision to postpone the event from will start earlier and give you the opportunity to attend April to September. The DGA building has become part screenings in other theatres after 10:00 p.m. of the festival’s DNA and there was obviously no way to imagine the event taking place anywhere else. All our popular series are back (Film Noir Series, French NeWave 2.0, After 10, World Cinema, documentaries Today, your patience is fully rewarded. First, you will and classics, Focus on a filmmaker and on a composer, rediscover your favorite festival in a very unique and TV series) as well as our educational program, exclusive way: You will be the very first audience to supported by ELMA and offered to 3,000 high school enjoy the most optimal theatrical viewing experience in students. -
Fabrizio Costa
FABRIZIO COSTA IPC INTERNATIONAL FORMAZIONE Laurea in lettere moderne alla università La Sapienza di Roma, con specializzazione in “Storia Del Teatro e Dello Spettacolo”. CINEMA 2002 - "Storia di guerra e d'amicizia" - Regia. con Massimo Ranieri, Elena Sofia Ricci, Pietro Mannino Produzione Rai Fiction TELEVISIONE 2021 - "La Luce dei Tuoi Occhi" - Regia con Anna Valle Banijay Italia 2019 - "Non ho niente da perdere" - Regia con Carolina Crescentini, Edoardo Pesce, Sergio Assisi Pepito Produzioni 2019 - "L'amore, il sole e l'altre stelle" - Regia con Vanessa Incontrada, Ricky Memphis, Marco Bonini Pepito Produzioni 2019 - "Basta un paio di baffi" - Regia Pepito Produzioni 2018 - "L'allieva" - Regia Produzione Endemol 2017 - “Scomparsa” - Serie Tv - Regia Produzione Endemol 2016 - “Il mio vicino del piano di sopra” - Regia Produzione Pepito @IPC INTERNATIONAL SRL - P.IVA 11913411002 FABRIZIO COSTA IPC INTERNATIONAL 2016 - “Piccoli segreti, grandi bugie” - Regia Produzione Pepito 2015 - “La Catturandi” - Miniserie Tv - Regia Produzione Rodeo Drive 2014 - “La bella e la bestia” - Mini serie Tv - Regia Produzione Lux Vide 2014 - “Una villa per due” - Regia Produzione Pepito 2014 - “Una coppia modello” - Regia Produzione Pepito 2014 - “Una Ferrari pee due” - Regia Produzione Pepito 2013 - “La Tempesta” - Regia Prodotto da Pepito 2013 - “Rosso San Valentino” - Regia Prodotta Da Endemol Italia 2012 - “Il commissario Nardone” - Serie TV - Regia con Sergio Assisi Produzione Dap 2012 - " La vita che corre" - Regia Produzione Dap 2010 - “Donna Detective 2” - Serie TV - Regia con Lucrezia Lante Della Rovere, Kaspar Capparoni Produzione Endemol Italia e RAI Fiction Per RAI Uno 2008 - “Paolo VI” - Miniserie TV - Regia con Fabrizio Gifuni produzione LUX Vide per RAI Fiction @IPC INTERNATIONAL SRL - P.IVA 11913411002 FABRIZIO COSTA IPC INTERNATIONAL 2008 - “Don Matteo” - Regia di 9 episodi Con Terence Hill e Nino Frassica prodotto da LUX Vide per RAI Fiction 2007 - “Chiara e Francesco” Miniserie TV - Regia con Ettore Bassi, Maria P. -
Où Sont Les Femmes? Francine Laurendeau
Document généré le 25 sept. 2021 06:13 Séquences La revue de cinéma Où sont les femmes? Francine Laurendeau Numéro 198, septembre–octobre 1998 URI : https://id.erudit.org/iderudit/49167ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Laurendeau, F. (1998). Où sont les femmes? Séquences, (198), 10–12. Tous droits réservés © La revue Séquences Inc., 1998 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ I E S T I V A L S CANNES 98 Où sont les remmes? as un seul film réalisé par une ans, Samira Makhmalbaf. Pendant le tournage femme, cette année, parmi les du film Silence, où elle est l'assistante de son P vingt-deux longs métrages de la com père (Mohsen Makhmalbaf, on l'aura deviné), pétition officielle, la plus prestigieuse et la elle est frappée par un fait divers situé dans un plus visible, donc la plus exposée des sections quartier pauvre de Téhéran. Un homme âgé du Festival de Cannes. -
GIULIA E Giullaisj
Allegato C Formato europeo I per il curriculum i vitae l Informazìoni personalí Nome Silvia Napolitano Luogoedatadinascita 05/10/1950,Napoli i Esperienza lavorativa Attività didattica Incarichi ricoperti anno 2017 LABORATORIO DI SCRITTURA all'Università di Sassari anno 2008/2009 LABORATORIO DI SCRITTURA all'Università La Sapienza di . Roma i anno 2007/2008 LABORATORIO Dl SCRITTURA all'Llniversità La Sapienza di l Roma anno 2004/2005 LABORATORIO DI SCRITTURA al DAMS di Bologna l i , ;rÍnc;ali=l;;o;i-pe;Thªc'Ìnema l , rìlllll..{pdll lallìjll pbl Il blllle.llld l - soggetto e sceneggiatura: TRE MOGLI di Marco Risi con Jaja Forte e i l ì . -Francesca soggetto e D'Aloja sceneggiatura: TUTTI GLI UOMINI DI SARA di Gianpaolo Tescari con Nancy Brilli e Giulio Scarpati - sceneggiatura: IL Bl E IL BA di Maurizio Nichetti con Nino Frassica i - soggetto e sceneggiatura: GIULIA E GIULlAisj;p4di Peter del Monte con Kathleen Turner,- sceneggiatura: Stìng, Gabriel FLIRT Byrne di Roberío Russo con Monica Vitti e Jean Luc Bideau - sceneggiatura: GROG di Francesco Laudadio con Franco Nero, Franco -Javarorie, soggetto Sandrae sceneggiatura: Milo CARLOTTA di Stefano Rolla con Gastone Moschin e Silvia Pinal - soggetto e sceneggiatura' BUGIE BIANCHE::sQp4dí Stefano Rolla con Max Von l Í Sidow e Virna Lisi º - collaborazìone alla sceneggiatura (di Ro«:h:ìlfo Sonego) dell'episodio LE I . VACANZE INTELLIGENTI (del film 'DOVE VAI IN VACANZA?') di e con Alberto Sordi Principali lavorí per la televisíone - soggetto e sceneggiatura (con Maurizio di Giovanni e Francesca Panzarella) di l BASTARDI DI PIZZOFALCONE d: Carlo Carlel{sj;?pOn Alessandro Gassmann, serie- soggetto Rai Uno e sceneggiatura (con Franco Berniní) di ADRIANO OLIVETTI, LA FORZA DI UN SOGNO miniserie di Rai Uno di Michele Soavi con Luca Zingaretti- soggetto e sceneggiatura (con Andrea Purgatori e Stefano Voltaggio) di IL ' COMM?SSARIO NARDONE, seríe di Rai Uno di Fabrizio Costa con Sergio l 1. -
12 Jours L'atelier À Bras Ouverts Madame Hyde
GAUGUIN LE PETIT LOCATAIRE BARBARA 12 JOURS DEMAIN ET BONNE POMME ZOMBILLÉNIUM LES GRANDS ESPRITS VON ÉDOUARD DELUC VON NADÈGE LOISEAU VON MATHIEU AMALRIC VON RAYMOND DEPARDON TOUS LES AUTRES JOURS VON FLORENCE QUENTIN VON ARTHUR DE PINS & ALEXIS DUCORD VON OLIVIER AYACHE-VIDAL VON NOÉMIE LVOVSKY MIT VINCENT CASSEL, TUHEÏ ADAMS, MALIK ZIDI, MIT KARIN VIARD, PHILIPPE REBBOT, HÉLÈNE MIT JEANNE BALIBAR, MATHIEU AMALRIC, FRANKREICH. DOKUMENTARFILM. MIT CATHERINE DENEUVE, GÉRARD DEPARDIEU, MIT DEN STIMMEN VON EMMANUEL CURTIL, ALAIN MIT DENIS PODALYDÈS, ABDOULAYE DIALLO, PUA-TAÏ HIKUTINI, PERNILLE BERGENDORFF U. A. VINCENT, MANON KNEUSÉ, ANTOINE BERTRAND, VINCENT PEIRANI, AURORE CLÉMENT, GRÉGOIRE VERLEIH: AGORA FILMS. CHANTAL LADESOU, GRÉGOIRE LUDIG, GUILLAUME CHOQUET, KELLY MAROT, ALEXIS TOMASSIAN, MAT MIT LUCE RODRIGUEZ, NOÉMIE LVOVSKY, LÉA DRUCKER, PAULINE HURUGUEN, ALEXIS STELLA FENOUILLET, RAPHAËL FERRET U. A. COLIN U. A. 87 MIN. «GRANDE PREMIÈRE». DE TONQUÉDEC, FRANÇOISE LÉPINE U. A. BASTARD, EMMANUEL JACOMY U. A. MONCORGÉ, TABONO TANDIA U. A. FREIE ADAPTION NACH AUFZEICHNUNGEN VON MATHIEU AMALRIC, MICHA LESCOT, ELSA AMIEL, PAUL GAUGUIN. FRANKREICH. KOMÖDIE. FRANKREICH. DRAMA. ANAÏS DEMOUSTIER, INDIA HAIR U. A. FRANKREICH. KOMÖDIE. NACH DEN COMICS VON ARTHUR DE PINS. FRANKREICH. KOMÖDIE. FRANKREICH. BIOPIC. VERLEIH: IMPULS PICTURES. VERLEIH: JMH DISTRIBUTIONS. Nach ihrer Zwangseinweisung in die VERLEIH: PATHÉ FILMS. FRANKREICH, BELGIEN. ANIMATIONSFILM. FRANKREICH. DRAMA. «SECTION DÉCOUVERTE». VERLEIH: FRENETIC FILMS. 99 MIN. DEUTSCHSCHWEIZER -
Contemporary European Cinema
Contemporary European Cinema 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ CONTEMPORARY EUROPEAN CINEMA Contents Page IMPORTANT NOTE............................................................................................... 1 GENERAL INFORMATION.................................................................................... 2 APPROACHES TO RESEARCH, by Samantha Bakhurst .................................... 4 INTRODUCTION ................................................................................................... 6 NATIONAL CINEMAS • Books............................................................................................................... 8 • Journal Articles ................................................................................................ 17 THE INDUSTRY • Books............................................................................................................... 21 • Journal Articles ................................................................................................ 24 BOX OFFICE • Journal articles ................................................................................................ 28 FESTIVALS • Journal articles ................................................................................................ 31 TABLE ................................................................................................................... 35 WEB SITES ..........................................................................................................