How Does It Feel? Scorsese Contemplates Art Through Music and Sound in Life Lessons
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Café Society
Presents CAFÉ SOCIETY A film by Woody Allen (96 min., USA, 2016) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia CAFÉ SOCIETY Starring (in alphabetical order) Rose JEANNIE BERLIN Phil STEVE CARELL Bobby JESSE EISENBERG Veronica BLAKE LIVELY Rad PARKER POSEY Vonnie KRISTEN STEWART Ben COREY STOLL Marty KEN STOTT Co-starring (in alphabetical order) Candy ANNA CAMP Leonard STEPHEN KUNKEN Evelyn SARI LENNICK Steve PAUL SCHNEIDER Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON, p.g.a. STEPHEN TENENBAUM, p.g.a. EDWARD WALSON, p.g.a. Co-Producer HELEN ROBIN Executive Producers ADAM B. STERN MARC I. STERN Executive Producer RONALD L. CHEZ Cinematographer VITTORIO STORARO AIC, ASC Production Designer SANTO LOQUASTO Editor ALISA LEPSELTER ACE Costume Design SUZY BENZINGER Casting JULIET TAYLOR PATRICIA DiCERTO 2 CAFÉ SOCIETY Synopsis Set in the 1930s, Woody Allen’s bittersweet romance CAFÉ SOCIETY follows Bronx-born Bobby Dorfman (Jesse Eisenberg) to Hollywood, where he falls in love, and back to New York, where he is swept up in the vibrant world of high society nightclub life. Centering on events in the lives of Bobby’s colorful Bronx family, the film is a glittering valentine to the movie stars, socialites, playboys, debutantes, politicians, and gangsters who epitomized the excitement and glamour of the age. Bobby’s family features his relentlessly bickering parents Rose (Jeannie Berlin) and Marty (Ken Stott), his casually amoral gangster brother Ben (Corey Stoll); his good-hearted teacher sister Evelyn (Sari Lennick), and her egghead husband Leonard (Stephen Kunken). -
Album Review: Bon Iver's 22, a Million
Album Review: Bon Iver’s 22, a Million 22, a Million, the newest album by American indie folk band Bon Iver, leaves the listener with an overarching question: Is there any border left between acoustic and electronic music? Although ambiguous as to which category it falls into, Bon Iver manages to respect both genres with a rich, homogenous mixture of experimental and traditional instrumentation. However, the album is a motley of songs that—both individually and as a group—build to nowhere, like a fleeting thought that crosses the mind at one point, but leaves no lasting impression. Founded in 2007 by singer/songwriter Justin Vernon, Bon Iver has been the vanguard of the indie folk/experimental genre. Vernon—a Wisconsin native with deep ties to the American wilderness—is undeniably influenced by a guitar-and-voice acoustic sound that is reminiscent of childhood campfires, roasting s’mores, and long silences between experienced fishermen. Tracks like “29 #Strafford APTS” and “00000 Million” have obvious connections to the folk genre: banjo, acoustic guitar, three and four-part vocal harmonizing, and chatter and laughter among musicians before the start of the song. These elements anchor the album, preventing it from straying too far from the group’s previous releases. During the five-year gap between the album Bon Iver and 22, a Million, Bon Iver evidently delved into the uncharted territory of experimental music. The use of synthesizers, vocal filtration, extensive sampling, and static-ridden beats establishes a distinctive atmosphere of digital haziness, a complementary frame for Vernon’s midwestern accent-tinged voice. -
Scorses by Ebert
Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press. -
"Erase Me": Gary Numan's 1978-80 Recordings
Ought: The Journal of Autistic Culture Volume 2 Issue 2 Article 4 June 2021 "Erase Me": Gary Numan's 1978-80 Recordings John Bruni [email protected], [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/ought Part of the Critical and Cultural Studies Commons, Disability Studies Commons, and the Music Commons Recommended Citation Bruni, John (2021) ""Erase Me": Gary Numan's 1978-80 Recordings," Ought: The Journal of Autistic Culture: Vol. 2 : Iss. 2 , Article 4. Available at: https://scholarworks.gvsu.edu/ought/vol2/iss2/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Ought: The Journal of Autistic Culture by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. “Erase Me”: Gary Numan’s 1978-80 Recordings John Bruni ary Numan, almost any way you look at him, makes for an unlikely rock star. He simply never fits the archetype: his best album, both Gin terms of artistic and commercial success, The Pleasure Principle (1979), has no guitars on it; his career was brief; and he retired at his peak. Therefore, he has received little critical attention; the only book-length analysis of his work is a slim volume from Paul Sutton (2018), who strains to fit him somehow into the rock canon. With few signposts at hand—and his own open refusal to be a star—writing about Numan is admittedly a challenge. In fact, Numan is a good test case for questioning the traditional belief in the authenticity of individual artistic genius. -
ROBERT GREENHUT Producer
ROBERT GREENHUT Producer TRUST - Millennium - David Schwimmer, director PICASSO & BRAQUE GO TO THE MOVIES - Independent - Arne Glimcher, director BROOKLYN’S FINEST - Warner Bros. - Antoine Fuqua, director AUGUST RUSH - Warner Bros. - Kirsten Sheridan, director FIND ME GUILTY - Yari Film Group - Sidney Lumet, director STATESIDE - First Look Films - Reverge Anselmo, director THE BLACK KNIGHT - 20th Century Fox - Gil Junger, director WHITE RIVER KID - Independent - Arne Glimcher, director WITH FRIENDS LIKE THESE - Independent - Phillip Frank Messina, director THE PREACHER’S WIFE - Buena Vista - Penny Marshall, director EVERYONE SAYS I LOVE YOU - Miramax - Woody Allen, director MIGHTY APHRODITE - Miramax - Woody Allen, director BULLETS OVER BROADWAY - Miramax - Woody Allen, director RENAISSANCE MAN - Buena Vista - Penny Marshall, director WOLF (Executive) - Columbia - Mike Nichols, director MANHATTAN MURDER MYSTERY - TriStar - Woody Allen, director HUSBANDS AND WIVES - TriStar - Woody Allen, director SHADOWS AND FOG - Orion - Woody Allen, director A LEAGUE OF THEIR OWN - Columbia - Penny Marshall, director REGARDING HENRY (Executive) - Paramount - Mike Nichols, director ALICE - Orion - Woody Allen, director QUICK CHANGE - Warner Bros. - Howard Franklin, Bill Murray, directors POSTCARDS FROM THE EDGE (Executive) - Columbia - Mike Nichols, director CRIMES AND MISDEMEANORS - Orion - Woody Allen, director NEW YORK STORIES - Touchstone - Woody Allen, director WORKING GIRL - 20th Century Fox - Mike Nichols, director BIG - 20th Century Fox - Penny -
Louder Than War Favourites
Albums of the Year 2018 : The Top 25 Ged Babey 9 December, 2018 As voted for by 30 of our writers, here are the Top 25 Albums of 2018. The Number One received more than twice the votes as the second place. The next ten were hotly contested with the narrowest of margins, and the rest got the same number of votes -so are in random order to be frank. But… Every one is a winner! 2018 was a great year for music and the Number 1 is no surprise… ONE IDLES Joy As An Act of Resistance (Partisan) Punk Rock reinvented and not wearing a mask of masculinity or yoke of tradition, but a wicked smile and its broken heart exposed but still beating in its chest. Punk rock which instead of calling for Anarchy and saying I Don’t Care is shouting UNITY! and LOVE IS ALL. Reviewed here by Ged Babey IDLES - DANNY NEDELKO TWO The Blinders Columbia (Modern Sky) This power trio, this band of very modern troubadours, this enlightened youth, deliver an album so explosive, so perfect, it defies any attempt at categorisation. There are odd time signatures, indefinite song structures but the tracks ebb and flow beautifully. Columbia as an album is a single piece of art as a concept. Listen, track by track, join up the dots, get the message loud and clear – England is indeed dreaming. Reviewed here by Nigel Carr The Blinders - L’etat C’est Moi [Music Video] THREE ILL : We Are ILL (Box Records) All-woman five-piece… currently based in Manchester, who highlight that quality music does not have to mean an emulation of that which has gone before. -
Satya 13 Ram Gopal Varma, 1998
THE CINEMA OF INDIA EDITED BY LALITHA GOPALAN • WALLFLOWER PRESS LO NOON. NEW YORK First published in Great Britain in 2009 by WallflowerPress 6 Market Place, London WlW 8AF Copyright © Lalitha Gopalan 2009 The moral right of Lalitha Gopalan to be identified as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act of 1988 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transported in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of both the copyright owners and the above publisher of this book A catalogue record for this book is available from the British Library ISBN 978-1-905674-92-3 (paperback) ISBN 978-1-905674-93-0 (hardback) Printed in India by Imprint Digital the other �ide of 1 TRUTH l Hl:SE\TS IU\ffi(W.\tYEHl\"S 1 11,i:1111111,1:11'1111;1111111 11111111:U 1\ 11.IZII.IH 11.1\lli I 111 ,11 I ISll.lll. n1,11, UH.Iii 236 24 FRAMES SATYA 13 RAM GOPAL VARMA, 1998 On 3 July, 1998, a previously untold story in the form of an unusual film came like a bolt from the blue. Ram Gopal Varma'sSatya was released all across India. A low-budget filmthat boasted no major stars, Satya continues to live in the popular imagination as one of the most powerful gangster filmsever made in India. Trained as a civil engineer and formerly the owner of a video store, Varma made his entry into the filmindustry with Shiva in 1989. -
New York Stories De Martin Scorsese, Francis Ford Coppola Et Woody Allen Michel Beauchamp
Document generated on 09/27/2021 5:31 p.m. 24 images New York vu par… New York Stories de Martin Scorsese, Francis Ford Coppola et Woody Allen Michel Beauchamp Cinéma d’animation Number 43, Summer 1989 URI: https://id.erudit.org/iderudit/22936ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Beauchamp, M. (1989). Review of [New York vu par… / New York Stories de Martin Scorsese, Francis Ford Coppola et Woody Allen]. 24 images, (43), 76–77. Tous droits réservés © 24 images inc., 1989 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ NEW YORK STORIES DE MARTIN SCORSESE, FRANCIS FORD COPPOLA ET WOODY ALLEN Le peintre Lionel Dobie (Nick Nolte) en compagnie de son assistante /amante Paulette (Rosanna Arquette). NEW YORK VII PAR.. par Michel Beauchamp ew York, Scorsese, Coppola et tème et en renverser les valeurs. Il pousse d'un orchestre qui accompagne le célé- Allen. C'est l'affiche la plus presti à son terme la logique du désir qui lui est brissime flûtiste. Seule échappée dans le N gieuse que pouvait offrir le cinéma chère et se rend aux confins du rêve, là où réel, un clochard enfoui sous un amas de américain pour donner toutes ses chances disparaît le désir. -
Celebrity and Authorial Integrity in the Films of Woody Men %Y
CELEBRITY AND AUTHORIAL INTEGRITY IN THE FILMS OF WOODY ALLEN BY FAYE MCINTYRE A Thesis Submitted to the Facul@ of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Department of English University of Manitoba Winnipeg, Manitoba (c) January, 200 1 National Library BibIiothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON Ki A ON4 Ottawa ON KI A ON4 Canada Canada rour rïk vom rbw~ Our fi& Notre rtifBrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lïbrary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seU reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantid extracts fÏom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES *f *f * COPYRIGHT PERMISSION PAGE Celebrity and Authorial Integrity in the Films of Woody Men %Y Faye McIntyre A Thesis/Practicum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulNlment of the requirements of the degree of Doctor of Philosophy FAYE MCINTYRE O 2001 Permission has been granted to the Library of The University of Manitoba to Iend or seU copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis/practicum and to lend or sell copies of the film, and to Dissertations Abstracts International to publish an abstract of this thesis/practicum. -
Maurice Merleau-Ponty: Phenomenology of Perception
Phenomenology of Perception ‘In this text, the body-organism is linked to the world through a network of primal significations, which arise from the perception of things.’ Michel Foucault ‘We live in an age of tele-presence and virtual reality. The sciences of the mind are finally paying heed to the centrality of body and world. Everything around us drives home the intimacy of perception, action and thought. In this emerging nexus, the work of Merleau- Ponty has never been more timely, or had more to teach us ... The Phenomenology of Perception covers all the bases, from simple perception-action routines to the full Monty of conciousness, reason and the elusive self. Essential reading for anyone who cares about the embodied mind.’ Andy Clark, Professor of Philosophy and Director of the Cognitive Science Program, Indiana University Maurice Merleau-Ponty Phenomenology of Perception Translated by Colin Smith London and New York Phénomènologie de la perception published 1945 by Gallimard, Paris English edition first published 1962 by Routledge & Kegan Paul First published in Routledge Classics 2002 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor and Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1945 Editions Gallimard Translation © 1958 Routledge & Kegan Paul All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
THE SEMINAR of JACQUES LACAN the Logic of Phantasy
16.11.1966 I 1 THE SEMINAR OF JACQUES LACAN BOOK XIV The logic of phantasy 1966-1967 Translated by Cormac Gallagher from unedited French manuscripts FOR PRIVATE USE ONLY 16.11.1966 I 2 Seminar 1: Wednesday 16 November 1966 Today I am going to throw out some points that are rather in the nature of a promise. “Logic of phantasy”, I entitled, this year, what I count on being able to present to you about what is required at the point that we are at on a certain path. A path which implies, I will recall it forcefully today, this sort of very special return that we have already seen, last year, inscribed in the structure and which is properly speaking fundamental in everything that Freudian thinking uncovers. This return is called repetition. To repeat is not to find the same thing again, as we will articulate later, and contrary to what is believed, it is not necessarily to repeat indefinitely. We will come back then to themes that I have in a certain fashion already situated for a long time. It is, moreover, because we are at the moment of this return and of its function, that I believed I could no longer put off presenting to you in a unified way what up to now I thought necessary as a minimal indication of this journey, namely, this volume that you already find within hand‟s reach. It is because this year it will no doubt be possible for us to study in depth the function of this relation to writing - which after all, in a certain way, I forced myself up to the present if not to avoid, at least to delay - that here again I believed I could take this step. -
Introduction."
O’Brien, Catherine. "Introduction." : . London: Bloomsbury Academic, 2018. 1–12. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781350003309.0005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 12:51 UTC. Copyright © O’Brien 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Introduction A statue of a Madonna and Child in a New York kitchen appears in the opening shot of Martin Scorsese’s Who’s That Knocking at My Door (1967–9); and the final image ofSilence (2016) is of a handmade crucifix glowing in the flames of a crematory fire in seventeenth-century Japan. It is inarguable that there is a Catholic dimension to Scorsese’s filmography that can be traced from the Marian icon in his first full-length feature right through to his movie about Jesuit priests that was released around fifty years later. With due respect paid to the scale of the task, the following chapters engage with that particular cinematic trajectory and take seriously the oft-quoted words of the director himself: ‘My whole life has been movies and religion. That’s it. Nothing else.’ Scorsese was born in 1942, educated by the Sisters of Charity and received his religious instruction before the mood of aggiornamento that was heralded by Pope John XXIII’s instigation of Vatican II (the Second Vatican Council of 1962– 5), which was an effort to modernize the Catholic Church. Indeed, religion(s) played a role in the young boy’s life, even down to the fact that his father Charles earned pragmatic money by lighting the stoves for his Jewish neighbours on the Sabbath.