Krzysztof Zanussi on “European East of West”: Selected Bibliography 1

Total Page:16

File Type:pdf, Size:1020Kb

Krzysztof Zanussi on “European East of West”: Selected Bibliography 1 Krzysztof Zanussi on “European East of West”: Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. The Films of Krzysztof Zanussi Coates, Paul. The Red and the White: The Cinema of People's Poland. London: Wallflower, 2005. Cooper, Sarah. “Living on: from Kieslowski to Zanussi.” in After Kiésowski: The Legacy of Krzysztof Kiésowski. Steven Woodward (ed.). Detroit: Wayne State University Press, 2009. D'Agostini, Paolo. Krzysztof Zanussi. Firenze: La nuova Italia, 1980. Danks, Adrian. “Back to the Old House: Krzysztof Zanussi’s Family Life.” Senses of cinema 57 (December 2010). Accessed June 5, 2014. http://sensesofcinema.com/2010/cteq/back-to-the-old-house- krzysztof-zanussi%E2%80%99s-family-life/ Falkowska, Janina. Andrzej Wajda: History, Politics, and Nostalgia in Polish Cinema. New York: Berghahn Books, 2007. ---, and Marek Haltof. The New Polish Cinema. Trowbridge: Flick Books, 2003. Ford, Charles, and Robert M. Hammond. Polish Film: A Twentieth Century History. Jefferson, N.C: McFarland & Co, 2005. Grzelecki, Stanisław, and Alicja Helman. Twenty Years of Polish Cinema: Film 1947-1967. Warsaw: Art and Film Publishers, 1969. Haltof, Marek. Historical Dictionary of Polish Cinema. Lanham, MD: Scarecrow Press, 2007. ---. Polish National Cinema. New York: Berghahn Books, 2002. Kuc, Kamila. “The Elusive Trap or Freedom?: Krzysztof Zanussi’s International Coproductions.” in Polish Cinema in a Transnational Context. Ewa Mazierska and Michael Goddard (eds). Rochester, NY: University of Rochester Press, 2014. Mazierska, Ewa, and Elżbieta Ostrowska. Women in Polish Cinema. New York: Berghahn Books, 2006. 1 Krzysztof Zanussi on “European East of West”: Selected Bibliography ---, and Michael Goddard. Polish Cinema in a Transnational Context. Rochester, NY: University of Rochester Press, 2014. Michałek, Bolesław, and Frank Turaj. “Krzysztof Zanussi: the Cinema of Intellectual Inquiry.” in The Modern Cinema of Poland. Bloomington: Indiana University Press, 1988. Werner, Mateusz. Polish Cinema Now!: Focus on Contemporary Polish Cinema. London: John Libbey Publishing, 2010. Werner, Mateusz, and Lech Kurpiewski. Young Polish Cinema. Warsaw: Adam Mickiewicz Institute, 2007. Woodward, Steven. After Kiésowski: The Legacy of Krzysztof Kiésowski. Detroit: Wayne State University Press, 2009. Interviews with Krzysztof Zanussi Cass, Mary V. “Krzysztof Zanussi, Polish film maker.” Zadok Perspectives no. 118 (Autumn 2013): 12-13. Eisner, Ken. “Krzysztof Zanussi gets metaphysical.” Straight.com (May 20, 2014). Accessed June 5, 2014. http://www.straight.com/movies/647781/krzysztof-zanussi-gets-metaphysical Pearse, Gregory and Maria Wagner. “Zanussi at Rice: A Film-Interview.” Cinema Seekers (May 2, 2007). Accessed June 5, 2014. http://www.cinemaseekers.com/Zanussi/zan5.html Pietraksik, Zdzislaw. “Applause for a Donkey: An interview with Krzysztof Zanussi.” Performing Arts Journal 12.2/3 (1990): 21-28. Pollard, Gary. “The Works: An Interview with Polish film director Krzysztof Zanussi.” The Works (April 4, 2010). Accessed June 5, 2014. https://www.youtube.com/watch?v=m2S_DtZ4d28 Sedia, Giuseppe. “’The Zespol System assured a partial autonomy to our cineastes’: an interview with Krzysztof Zanussi.” Film International (May 1, 2011). Accessed June 5, 2014. http://filmint.nu/?p=1760 Weiss, Jason and Krzysztof Zanussi. "The Workings of a Pure Heart: an Interview with Krzysztof Zanussi." Cineaste 11.2 (1981): 23-27. 2 Krzysztof Zanussi on “European East of West”: Selected Bibliography Authored by Krzysztof Zanussi Zanussi, Krzysztof, and Iga Czarnawska. Krzysztof Zanussi: Sylwetka Artysty. Warszawa: Oficyna Wydawniczo-Poligraficzna “Adam”, 2008. ---, and Charles S. Kraszewski. In Full Gallop: And Six Other Screenplays. Lehman, PA: Libella Veritatis, 2001. Zanussi, Krzysztof. "A Birthday or a Funeral?" The Unesco Courier 48.7 (1995): 9. ---. The Cinema Militants Lecture 1993: Is There Progress? Utrecht: Dutch Film Days Foundation, 1994. ---. Cultural Identity Versus European Demands: Sources of Inspiration Lecture, 30 May 1993, Amsterdam. Amsterdam: Sources, 1993. ---. Wherever You Are: A Film. Calcutta: Seagull, 1992. Zanussi, Krzysztof, Michel Estève, and Ireneusz Dembowski. Krzysztof Zanussi. Paris: Minard, 1987. Zanussi, Krzysztof and Mariia Racheva. The Cinema of Ideas, Krzysztof Zanussi. Boston: Museum of Fine Arts, 1985. Zanussi, Krzysztof, and Michael Schmid-Ospach. Max Frisch, Blaubart: Ein Buch Zum Film Von Krzysztof Zanussi. Frankfurt am Main: Suhrkamp, 1985. Zanussi, Krzysztof, and Giorgio Origlia. Zanussi: Sei Film. Bologna: CSEO biblioteca, 1979. Zanussi, Krzysztof. Scenariusze Filmowe. Warszawa: Iskry, 1978. Zanussi, Krzysztof, and Edward Żebrowski. Nowele Filmowe. Warszawa: Wydawnictwa Artystyczne i Filmowe, 1976. Polish Cinema – General Coates, Paul. The Red and the White: The Cinema of People's Poland. London: Wallflower, 2005. Falkowska, Janina. Andrzej Wajda: History, Politics, and Nostalgia in Polish Cinema. New York: Berghahn Books, 2007. ---, and Marek Haltof. The New Polish Cinema. Trowbridge: Flick Books, 2003. 3 Krzysztof Zanussi on “European East of West”: Selected Bibliography Ford, Charles, and Robert M. Hammond. Polish Film: A Twentieth Century History. Jefferson, NC: McFarland & Co, 2005. Grzelecki, Stanisław, and Alicja Helman. Twenty Years of Polish Cinema: Film 1947-1967. Warsaw: Art and Film Publishers, 1969. Haltof, Marek. Polish National Cinema. New York: Berghahn Books, 2002. ---. Historical Dictionary of Polish Cinema. Lanham, Md: Scarecrow Press, 2007. Hill, Geoffrey. Illuminating Shadows: The Mythic Power of Film. Boston: Shambhala, 1992. Koj, A, and Piotr Sztompka. Images of the World: Science, Humanities, Art. Kraków: Jagiellonian University, 2001. Mazierska, Ewa, and Elżbieta Ostrowska. Women in Polish Cinema. New York: Berghahn Books, 2006. Mazierska, Ewa, and Michael Goddard. Polish Cinema in a Transnational Context. , 2014. Michałek, Bolesław, and Frank Turaj. The Modern Cinema of Poland. Bloomington: Indiana University Press, 1988. Racheva, Maria, and Krzysztof Zanussi. The Cinema of Ideas, Krzysztof Zanussi. Boston: Museum of Fine Arts, 1985. Weiss, Jason, and Krzysztof Zanussi. "The Workings of a Pure Heart: an Interview with Krzysztof Zanussi." Cinéaste 11.2 (1981): 23-27. Werner, Mateusz. Polish Cinema Now!: Focus on Contemporary Polish Cinema. London: John Libbey Publishing, 2010. ---, and Lech Kurpiewski. Young Polish Cinema. Warsaw: Adam Mickiewicz Institute, 2007. Woodward, Steven. After Kieślowski: The Legacy of Krzysztof Kieślowski. Detroit: Wayne State University Press, 2009. Zanussi, Krzysztof, Zdzislaw Pietrasik, Elzbieta Matynia, and Richard Adams. “Applause for a Donkey: an Interview with Krzysztof Zanussi by Zdzislaw Pietrasik.” Performing Arts Journal. 12 (1990): 21- 28. Zanussi, Krzysztof. "A Birthday or a Funeral?" The Unesco Courier 48.7 (1995): 9. 4 Krzysztof Zanussi on “European East of West”: Selected Bibliography ---. The Cinema Militans Lecture 1993: Is There Progress? Utrecht: Dutch Film Days Foundation, 1994. ---, and Krzysztof Zanussi. Wherever You Are: A Film. Calcutta: Seagull, 1992. Soviet Cinema – General Bahun, Sanja, and John Haynes. Cinema, State Socialism and Society in the Soviet Union and Eastern Europe, 1917-1989: Re-visions. New York: Routledge, 2014. Eaton, Katherine B. Enemies of the People: The Destruction of Soviet Literary, Theater, and Film Arts in the 1930s. Evanston: Northwestern University Press, 2002. Faraday, George. Revolt of the Filmmakers: The Struggle for Artistic Autonomy and the Fall of the Soviet Film Industry. University Park: Pennsylvania State University Press, 2000. Gillespie, David C. Early Soviet Cinema: Innovation, Ideology and Propaganda. London: Wallflower, 2000. Haynes, John. New Soviet Man: Gender and Masculinity in Stalinist Soviet Cinema. Manchester: Manchester University Press, 2003. Kaganovsky, Lilya. How the Soviet Man Was Unmade: Cultural Fantasy and Male Subjectivity Under Stalin. Pittsburgh: University of Pittsburgh Press, 2008. Karriker, Alexandra H. Turmoil on the Screen: Shifting Perspectives in Soviet and Post-Communist Cinema. Morgantown: Dept. of Foreign Languages, West Virginia University, 1993. Kenez, Peter. Cinema and Soviet Society from the Revolution to the Death of Stalin. London: I.B. Tauris, 2001. Lawton, Anna. The Red Screen: Politics, Society, Art in Soviet Cinema. London: Routledge, 1992. Miller, Jamie. Soviet Cinema: Politics and Persuasion Under Stalin. London: I.B. Tauris, 2010. Taylor, Richard, and Ian Christie. Inside the Film Factory: New Approaches to Russian and Soviet Cinema. London: Routledge, 1991. Vatulescu, Cristina. Police Aesthetics: Literature, Film, and the Secret Police in Soviet Times. Stanford: Stanford University Press, 2010. 5 Krzysztof Zanussi on “European East of West”: Selected Bibliography Widdis, Emma. Visions of a New Land: Soviet Film from the Revolution to the Second World War. New Haven: Yale University Press, 2003. Woll, Josephine. Real Images: Soviet Cinema and the Thaw. London: I.B. Tauris, 2000. 6 .
Recommended publications
  • Polish Cinema 2008
    New Polish Films: WITH SENSE AND SENSIBILITY Andrzej Wajda’s School: THE MASTER AND HIS TRAINEES “Peter and the Wolf”: SECOND OSCAR FOR A FILM MADE IN SE-MA-FOR STUDIO Russia, Afghanistan and Belarus: IN POLISH DOCUMENTARIES „PETER AND THE WOLF” Polish Cinema 2008 THE TRAGEDY OF PRISONERS OF WAR, THE MISERY OF THEIR FAMILIES ANDRZEJ WAJDA’S “KATYŃ” Polish Cinema 2008 editorial “Kino” monthly , a journal providing a perceptive and original insight into various aspects of the film industry, has accompanied Polish cinema for over forty years now. In line with this tradition, in this special English language issue, we present a selection of articles published in “Kino” in the last year. They include reviews, interviews, as well as articles concerning the history of Polish cinema and opinion columns. However, we focus on the most interesting Polish feature films (of which 41 have been made there between the beginning of 2007 and May 2008), as well as documentary and animated films of the last year. Some of them could be seen at various international festivals, where they received numerous awards. The most prestigious award, an Oscar, came to the short animated film, “Peter and the Wolf”, which is a British-Polish co-production, directed by Suzie Templeton and made in the Studio Se-Ma-For in Łódź. On the other hand, the most awarded Polish film was “Tricks” by Andrzej Jakimowski, which till April 2008 received 12 awards, including at the festivals in Gdynia, Venice, Tokyo, Mannheim, Sao Paulo and Miami. However, what counts more than awards is the fact that Polish viewers have regained pleasure in watching Polish films.
    [Show full text]
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • Festival Centerpiece Films
    50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E.
    [Show full text]
  • Political Film
    PSC255/FS 256B Political Film Lattimore 201 Professor Hauser [email protected] W 7:00-10 PM Harkness 101 Spring 09 Office hours: Tuesday 11 AM-1 PM Or by appointment, tel: #5-1677 Special screenings Mondays 7: 00 PM Lattimore 201 Cinema, according to Lenin, the “most important art,” was not to be a bourgeois entertainment. It has functioned instead as a tool of self-conscious state propaganda. Similar function was assigned to cinema in the Nazi state with its racist myths. Both totalitarian systems monopolized information and politicized and policed all aspects of life. Following 1945, Eastern European states in the Soviet sphere of influence adhered to state monopoly on information, preventive censorship, and control over all political and cultural policies. This course will focus on study of films representing and “explaining” World War II. The films we will discuss in their historical context. The purpose of the course is to show how the form and content of films changes dependent on the political times and aims of the producers. We will examine film as the dominant form of expression under total state patronage of the arts, and as an expression of and a tool for creating collective memory and national and gender identity. Participation: All students are required to attend each class and to view the films during the additional screenings. Students, who do not attend classes without a serious and explicit reason, cannot expect to pass this class--regardless of how well they would do in other course requirements. Additionally, attendance and participation account for 10 percent of the grade.
    [Show full text]
  • Black Nights Stars Programme
    %ODFN 1RYHPEHU 1LJKWV ,QGXVWU\#7DOOLQQ %DOWLF(YHQW 6WDUV Black Nights Stars is designed to support young actors from ‘It was a tremendously gratifying experience to serve on the the Baltic Sea region, to make their next steps into the in- BLACK NIGHT STARS Jury to select stellar talent from the ternational arena by connecting them to key international Baltics. Though all unique, they share an amazing presence, film professionals, such as casting directors, casting agents, an unexpected force, mystery, soulful beauty, fierce inten- producers and the press and acquire various practical skills sity, intricate sensuality, and deepness which feels unique needed in their future international careers. to their countries and still universal in their sincerity. It is of great value to the film industry to discover these marvellous The five-day online event, highlights the emerging talent of and fresh artists who will shine, not just in their country, but eight young actors and actresses, all selected by an interna- internationally. To bring them to the film industry’s atten- tional jury of experts, based on their first feature films and TV tion so they can further enrich our experience as audiences roles. The program consists of masterclasses, workshops and and bring us closer together is a treasure’. networking events with international casting professionals from Europe and the USA and focuses on the future of cast- Lina Todd, Lina Todd Casting Agency, New York ing and auditioning online, presenting oneself at industry and media events, how to make your best Self Video and about ‘Black Nights Stars is a wonderful way to celebrate local Intimacy in Front of the Camera.
    [Show full text]
  • Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
    List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
    [Show full text]
  • List of Films Considered the Best
    Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics.
    [Show full text]
  • EFA Board Initiates Letter for Immediate Release of Oleg Sentsov
    press release EFA Board Initiates Letter for Immediate Release of Oleg Sentsov European Filmmakers Express Shock About Trial of Ukrainian Filmmaker Facing Up to 20 Years in Jail In light of tomorrow’s resumption of the trial against Oleg Sentsov - who faces up to 20 years in prison – the Board of the European Film Academy calls for an immediate release of the Ukrainian filmmaker. Although the prosecution’s main witness has retracted his statement, the accusation of having committed “crimes of a terrorist nature” is being upheld and the trial continues. An illustrious group of European film professionals has signed a letter to Russian authorities calling for the charges to be dropped and the filmmaker – who has now been imprisoned for well over a year – to be released and rehabilitated. The Polish Film Academy is the first of national film academies supporting the EFA initiative. The full text of the letter is: To Vladimir Vladimirovich Putin - President of Russia Sergey Evgenyevich Naryshkin – Chairman of the State Duma of the Russian Federation Alexander Wassiljewitsch Bortnikow - Director of the FSB Vladimir Aleksandrovich Kolokoltsev - Russian Minister of Internal Affairs Yuriy Yakovlevich Chaika - Prosecutor General From the moment when we learned that the Ukrainian filmmaker Oleg Sentsov was arrested by the Federal Security Service of the Russian Federation (FSB) in his house in Simferopol on 11 May 2014, we have been deeply worried. We have followed the proceedings from a trial repeatedly being postponed until over one year later when it finally opened in Rostov-on-Don. Having observed the trial and especially the fact that the key witness for the prosecution has retracted his testimony as “given under pressure and duress”, we are shocked that the accusation of Oleg Sentsov having committed “crimes of a terrorist nature” is still being upheld.
    [Show full text]
  • Krzysztof Zanussi
    KRZYSZTOF ZANUSSI Film director, scriptwriter, producer. He studied physics at Warsaw University (1955-59) and philosophy at Jagiellonian University (1959-62). Graduated from directing department of Lodz film school in 1967. Taking an active part in the amateur film movement he made 11 motion pictures, 9 of which gained various awards. Since 1980 artistic director and then president of Tor Film Production. From 1971 to 1983 he was vice-chairman of the Polish Filmmakers Association. Has lectured at numerous universities, including Lodz film school, National Film School in England, Columbia University in New York, Yale University, Cambridge University, University of California (Berkeley), Rice University (Houston). For over 20 has master classes for the students of Moscow Higher Courses of Script Writers and Directors, for over 30 years teaches at the University of Silesia. Mr. Zanussi is also a theater director staging drama and opera performances in Milan, Palermo, Bonn, Cracow, Bremen, Basel, Syracuse, Kiev, Novosibirsk and Rome – to mention some major ones. Among his many prestigious prizes and distinctions are: the Cavalier’s Cross of the Order of Polonia Restituta, the Cavalier de L’Ordre des Arts et Lettres (France), the David di Donatello Award Itly), the Commander’s Cross of the Order of Merit to Lithuania, the Order of Jaroslav the Wise conferred by the President of Ukraine. He has published many books: On Editing an Amateur Film (Warsaw, 1968), Discussing Amateur Film (Warsaw, 1978), as well as four volumes of Film Scripts (Italy, Germany, Hungary), Time to Die (Warsaw, 1999; Russia, Bulgaria, Italy, Ukraine), Between a Funfair and Salon (Warsaw, 1999), Bigos Will Last in the European Family (Warsaw, 2003; Russia), A Portrait of the Artist (Warsaw, 2008), Life Strategies - How to Eat Your Cake and Have It (Poznan, Kiev 2015).
    [Show full text]
  • Cinque Novembre Ore 18.00 — Galleria Nazionale D'arte Antica In
    Premi cinque novembre ore 18.00 Vittorio— G alleDria Nazioneale d 'ArSte Antica iin cPalaazzo Barbe2rin — Salo0ne di Piet1ro da4 Cortona a h p l A o i d u t S : a p m a t s e e n o i z a n i g a p m I o n a g a P con il contributo o t T r e ACCADEMIA DEL CINEMA ITALIANO b l A : ASSOCIAZIONE CULTURALE PANGEA a SOTTO L’ALTO PATRONATO DEL c i f a ASSOCIAZIONE AMICI DI VITTORIO DE SICA r G PRESIDENTE DELLA REPUBBLICA Presidente GIAN LUIGI RONDI DIREZIONE GENERALE PER IL CINEMA BIOGRAFIE ESSENZIALI LUCA BIGAZZI LIONELLO CERRI MARCO GIALLINI ALBA ROHRWACHER AMEDEO SALFA SYDNEY SIBILIA ALESSANDRO BENETTON o r a C i D e p p e s u i G : i d o t o F GIANLUCA FARINELLI GUIDO STRAZZA DUCCIO TROMBADORI LAURA DELLI COLLI PAOLO MEREGHETTI SIMONE CASAVECCHIA ELISABETTA SGARBI ROBERTO VECCHIONI GERARDO MAROTTA FRANCESCA BENDETTI ASCANIO CELESTINI EMMA DANTE FABIOLA GIANOTTI WALTER VELTRONI ETTORE SCOLA most Blue , 2000, di Alex Infascelli; Tre punto sei , 2014, scritto insieme a Valerio Attanasio e Andrea Ga - CINEMA ITALIANO 2001, di Nicola Rondolino, Non ti muovere , 2004, rello, prodotto dalla Fandango di Domenico Procac - di Sergio Castellitto; Io, loro e Lara , 2009, di Carlo Ver - ci, dalla Ascent Film di Matteo Rovere e da RAICine - luca biGazzi ► done, Ciak d’oro; La bellezza del somaro , 2010, di ma. Grande successo in sala, apprezzamenti dalla cri - Direttore della fotografia Sergio Castellitto; Posti in piedi in paradiso , 2012, di tica.
    [Show full text]
  • Space In-Between: Masumura Yasuzo, Japanese New Wave, And
    SPACE IN-BETWEEN: MASUMURA YASUZO, JAPANESE NEW WAVE, AND MASS CULTURE CINEMA by PATRICK ALAN TERRY A THESIS Presented to the Department of East Asian Languages and Literatures and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2011 THESIS APPROVAL PAGE Student: Patrick Alan Terry Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of East Asian Languages and Literatures by: Prof. Steven Brown Chair Dr. Daisuke Miyao Advisor and Richard Linton Vice President for Research and Graduate Studies/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2011 ii © 2011 Patrick Alan Terry iii THESIS ABSTRACT Patrick Alan Terry Master of Arts Department of East Asian Languages and Literatures June 2011 Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema Approved: ________________________________________________ Dr. Daisuke Miyao During the early stage of Japan’s High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave’s central position through the career of Daiei Studios’ director, Masumura Yasuzo.
    [Show full text]
  • Krzysztof Zanussi – Lifetime Achievement Award at TIFF Special Screenings
    Krzysztof Zanussi – Lifetime Achievement Award at TIFF Special screenings Renowned Polish director, screenwriter and producer Krzysztof Zanussi will receive the Lifetime Achievement Award at the 13th edition of the Transilvania International Film Festival (May 30-June 8). The filmmaker will be celebrated during the closing gala and via a special screening of his feature film debut, which launched him full throttle in the world of cinema in 1969 – The Structure of Crystal. On Sunday, June 8, Zanussi will hold a master class for film enthusiasts. Born on June 17, 1939, in Warsaw, Krzysztof Zanussi studied physics, philosophy and cinema at the famous Łódź school. His graduation short film, The Death of a Provincial (1966) won the Golden Lion in Venice. He directed over 40 feature films and documentaries for cinema and television, most of them multi-awarded in various festivals. The aforementioned feature film debut in earned him awards in Mar del Plata and Valladolid as well as the full appreciation of international film critics. Then came films such as The Illumination (1973) – Golden Leopard and the FIPRESCI Award in Locarno, A Woman’s Decision (1975) – The OCIC Award at the Berline, Spirala (1978) – the Ecumenical Jury Prize in Cannes, The Constant Factor (1980) – The Best Director Award and the Ecumenical Jury Prize in Cannes, Imperative (1982) – The Pasinetti Award and the Grand Jury Prize in Venice, A Year of the Quiet Sun (1984) – the Golden Lion in Venice and a Golden Globe nominee, or Persona non grata (2005), selected in the official Venice competition. Krzysztof Zanussi is teaching at the Silesian University in Katowice and at the European Graduate School in Switzerland and he's the manager of the TOR Studios in Poland.
    [Show full text]