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LA DERNIÈRE CORVÉE NOUVELLE RESTAURATION EN 4K - 40ÈME ANNIVERSAIRE Le Mardi 21 Avril À 17H30, Salle Buñuel
JACK NICHOLSON LA DERNIÈRE CORVÉE NOUVELLE RESTAURATION EN 4K - 40ÈME ANNIVERSAIRE le mardi 21 avril à 17h30, salle Buñuel « LA #!! DE MARINE NE VA PAS DONNER À UN PAUVRE !!@ DE GOSSE HUIT ANS DE #@! DE PRISON SANS QUE JE LUI FASSE VIVRE LE #@!! DE MOMENT DE SA VIE. » La Dernière corvée de Sony Pictures est sélectionné au programme de Cannes Classics, 66ème Festival de Cannes. En Compétition pour la Palme d’Or en 1974 et lauréat du Prix d’interprétation masculine pour Jack Nicholson, le film sera en première mondiale dans sa version restaurée en 4K. La Dernière corvée sort en salle le 13 novembre. Année : 1974 Durée : 104 minutes Couleur Nouvelle restauration numérique Pour des photos, des clips, des entretiens et toutes autres demandes : Presse française : Stéphane Ribola Tél 06 11 73 44 06 Email [email protected] Programmation : Van Papadopoulos Tél 09 52 58 89 53 Email [email protected] COLUMBIA PICTURES PRESENTS JACK NICHOLSON IN “THE LAST DETAIL” WITH OTIS YOUNG RANDY QUAID CLIFTON JAMES CAROL KANE MUSIC by JOHNNY MANDEL based ON THE NOVEL by DARRYL PONICSAN SCREENplay by ROBERT TOWNE produced by GERALD AYRES DIRECTED by HAL ASHBY AN ACROBAT FILM A B-P ASSOCIATES feature SYNOPSIS Deux officiers durs à cuire et de carrière dans la marine américaine, Buddusky (Jack Nicholson) et Mulhall (Otis Young), sont affectés à la conduite du marin Larry Meadows (Randy Quaid) de la base navale de Norfolk jusqu’à la prison de Portsmouth où il doit être incarcéré pour huit ans. En route, un lien d’amitié se tisse entre les deux officiers et le jeune marin et Buddusky est déterminé à lui faire vivre des moments inoubliables sur le chemin de la prison. -
Tape ID Title Language Type System
Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year -
Diciembreenlace Externo, Se Abre En
F I L M O T E C A E S P A Ñ O L A Sede: Cine Doré C/ Magdalena nº 10 c/ Santa Isabel, 3 28012 Madrid 28012 Madrid Telf.: 91 4672600 Telf.: 91 3691125 Fax: 91 4672611 (taquilla) [email protected] 91 369 2118 http://www.mcu.es/cine/MC/FE/index.html (gerencia) Fax: 91 3691250 MINISTERIO DE CULTURA Precio: Normal: 2,50€ por sesión y sala 20,00€ abono de 10 PROGRAMACIÓN sesiones. Estudiante: 2,00€ por sesión y sala diciembre 15,00€ abono de 10 sesiones. 2009 Horario de taquilla: 16.15 h. hasta 15 minutos después del comienzo de la última sesión. Venta anticipada: 21.00 h. hasta cierre de la taquilla para las sesiones del día siguiente hasta un tercio del aforo. Horario de cafetería: 16.45 - 00.00 h. Tel.: 91 369 49 23 Horario de librería: 17.00 - 22.00 h. Tel.: 91 369 46 73 Lunes cerrado (*) Subtitulaje electrónico DICIEMBRE 2009 Monte Hellman Dario Argento Cine para todos - Especial Navidad Charles Chaplin (I) El nuevo documental iberoamericano 2000-2008 (I) La comedia cinematográfica española (II) Premios Goya (y V) El Goethe-Institut Madrid presenta: Ulrike Ottinger Buzón de sugerencias Muestra de cortometrajes de la PNR Las sesiones anunciadas pueden sufrir cambios debido a la diversidad de la procedencia de las películas programadas. Las copias que se exhiben son las de mejor calidad disponibles. Las duraciones que figuran en el programa son aproximadas. Los títulos originales de las películas y los de su distribución en España figuran en negrita. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Two-Lane Blacktop 1971, AEB
Two-Lane Blacktop 1971, AEB urreko mendeko hirurogeiko hamarkada izan zen ordura arte Estatu Ba- Z: Monte Hellman; G: Rudy Atuetako eta munduko zinemaren patua gidatu zuten konpainia handien Wurlitzer, Will Corry (Historia: Will negozioaren puntu kritikoenetako bat. AEBko zinema-aretoen okupazioak Corry); Pr: Universal Pictures; M: sekulako beherakada izan zuen: 1930. urtean 110 milioi ikusle izan zituzten, Billy James; A: Jack Deerson; A: eta, berrogeita hamarreko hamarkadaren amaieran, 40 milioi izan ziren. Bi- James Taylor, Warren Oates, Laurie garren Mundu Gerra amaitu eta hurrengo urteetan ispilatze labur bat egon Bird, Dennis Wilson, David Brake; zen, sarreren salmenta bidezko diru-bilketak kopuru historikoak lortu zitue- Kolorea, 101 min. DCP nean, eta ikusleen kopurua 100 milioi pertsonakoa zen urtean. Une horretatik aurrera, ordea, parametro ekonomiko guztiek beherakada argi bat utzi zuten agerian. Arrazoi ugari zeuden horretarako, konplexuak: hasteko, 1948an, Es- tatu Batuetako Auzitegi Gorenak monopolioen aurkako epaia eman zuen, eta Hollywoodeko Major deritzenei integrazio bertikalaren politika alde batera uzteko betebeharra ezarri zien: politiko horien bidez, zinema-prozesu osoa kontrola zezaketen, estudioetako ekoizpenetik aretoetako erakusketara arte. Hala ere, mutazio garrantzitsuenak Estatu Batuetako gizarteak izan zi- tuen aldaketa soziologikoen ondorio izan ziren, bereziki biztanleria-nukleo garrantzitsuak hiri handietako periferiako egoitza-eremuetara iristen hasi zirenean; ondorioz, husten ari ziren hiri-zentroetan kokatutako “zinema-jau- regiak” publiko potentzialik gabe gelditu ziren, eta ezin ziren modu errenta- garrian ordezkatu aldirietan kokatutako drive-in deritzenengatik. Hori guz- tia gutxi balitz, entretenitzeko modu berri bat heldu zen: telebista. Horrek aukera ematen zuen ikus-entzunezko edukiak kontsumitzeko etxean bertan, sarrerarik ordaindu gabe, eta XX. mendean zehar hainbat belaunaldiren iru- diteria herrikoiaren oinarrizko iturria kontrolatu zuenaren arerio bihurtu zen. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Les Bad Boys De L'ouest : Brando, Nicholson Et Le Western
Document generated on 10/01/2021 5:32 p.m. 24 images Les Bad Boys de l’Ouest Brando, Nicholson et le Western Bruno Dequen Western – Histoires parallèles Number 186, March 2018 URI: https://id.erudit.org/iderudit/87969ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Dequen, B. (2018). Les Bad Boys de l’Ouest : Brando, Nicholson et le Western. 24 images, (186), 18–19. Tous droits réservés © 24/30 I/S, 2018 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/ DOSSIER — WESTERN – Histoires parallèles LES BAD BOYS DE L’OUEST BRANDO, NICHOLSON ET LE WESTERN par Bruno Dequen Le Western n’est pas le premier genre qui vient en tête à la mention des noms de Marlon Brando et Jack Nicholson. Pourtant, ils en ont tous deux réalisé un, et The Missouri Breaks demeure le seul film dans lequel ils ont partagé l’affiche. Critiquées ou ignorées à l’époque de leurs sorties, les incursions des deux monstres sacrés au Far West font partie des propositions les plus originales du genre et mettent en valeur la relation complexe qu’entretenaient les deux légendes d’Hollywood avec leur art. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
September 23-29, 2019 Wheeler Opera House | Aspen Isis Theatre | Aspen Crystal Theatre | Carbondale
September 23-29, 2019 Wheeler Opera House | Aspen Isis Theatre | Aspen Crystal Theatre | Carbondale @aspenfilm #filmfest40 aspenfilm.org 2 Filmfest 2019 Official Program Guide | aspenfilm.org welcome LIFETIME ACHIEVEMENT AWARD ASPEN FILM LIFETIME ACHIEVEMENT AWARD Hello and welcome to our 40th anniversary Filmfest! TO BOB RAFELSON FOR EXCELLENCE IN THE CINEMATIC ARTS I am gratified to be heading into my third consecutive year with Aspen Film. It is incredible that this organization has been creating inspiring cinematic experiences The tradition of Aspen Film began 40 years ago when our founder, in Aspen and beyond for four decades now. And it’s all thanks to you, our incredi- Ellen Hunt, had a vision for a small-scale but inspiring festival emphasiz- ble members, patrons and audiences. Thank you for supporting us and our mission ing an independent spirit. In its early days, Aspen Filmfest focused on to enlighten, enrich, educate and entertain through film! the work of American independent directors, but soon broadened its lineup to include the work of ground-breaking foreign directors as well. We’re incredibly proud of this year’s program, which focuses very much on family, Four decades later, we continue to showcase work from world-class artistry, perseverance and change-making, particularly in the face of adversity. independent filmmakers. The characters and subjects in our slate of 23 films are all heroes in their own To commemorate our 40th anniversary, we are presenting our first-ever right, illuminating new ways of helping, healing and enlightening a community or Aspen Lifetime Achievement Award for Excellence in the Cinematic the world in general. -