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Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
Another Round
Presents ANOTHER ROUND A film by Thomas Vinterberg 116 mins, Denmark, 2020 Language: Danish with English subtitles Official Selection: Cannes 2020 and TIFF 2020 Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com LOG LINE Another Round is a fun, moving, life-affirming and thought-provoking drama about friendship, freedom, love – and alcohol. SYNOPSIS There’s a theory that we should be born with a small amount of alcohol in our blood, and that modest inebriation opens our minds to the world around us, diminishing our problems and increasing our creativity. Heartened by that theory, Martin and three of his friends, all weary high school teachers, embark on an experiment to maintain a constant level of intoxication throughout the workday. If Churchill won WW2 in a heavy daze of alcohol, who knows what a few drops might do for them and their students? Initial results are positive, and the teachers’ little project turns into a genuine academic study. Both their classes and their results continue to improve, and the group feels alive again! As the units are knocked back, some of the participants see further improvement and others go off the rails. It becomes increasingly clear that while alcohol may have fueled great results in world history, some bold acts carry consequences. DIRECTOR’S INTENT THOMAS VINTERBERG “I never drink before breakfast.” The quote is from Churchill, who helped to defeat the Germans and win World War II, while under the excessive and constant influence of alcohol. -
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. -
Quepasa.Osu.Edu
Volume 26 • Number 1 • Autumn 2017 quepasa.osu.edu Making Space for Latinx Scholarship and Community Spotlight on Latin American Film Studies Esquina de los editors Who We Are Quiénes somos What We Do Reyna Esquivel-King, Editor Ece Karaca, Art Director LATIN AMERICAN CINEMA Jacob N. Farr, Staff Writer Reyna Esquivel-King, Editor Yolanda Zepeda, Managing Director This is my first year editing Contributors at ¿Que Pasa, Ohio State?. This year Latino/as have been at the Cristina Rivera forefront of political debate. Evelin Nunez-Rodriguez Hispanics tend to be negatively Frederick Aldama mis-represented. However, Glen Martínez this is not new. My research on J. Marcela Hernández the history of Mexican cinema Joel Wainwright connects to a broader discussion Joclyn Cabanas of what it means and looks like to Johana Coronado be Latino/a in the United States. John Cruz Jumarie Figueroa In this issue, we decided to Laura Podalsky highlight Latin American Liane Dávila-Martin Cinema. Since the silent film Marlene Pérez era, Latino/a directors, actors, and producers have participated Nicole Espinoza in the cultivation in the images of race. Through film, we can see how Latino/as describe themselves and create a dialogue over Olivia Cosentino the construction of race and self. The stories and articles here The Office of Diversity and Inclusion connect to the theme of identity. publishes ¿Qué Pasa, Ohio State? each Our collage for this issue is a collection of Latin American Films autumn and spring semester. ¿Qué from various countries and time periods. The movies discuss Pasa, Ohio State? is proud to celebrate the achievements of Latinx in a variety diverse topics including, poverty, class, sexuality, gender, and of disciplines: art, politics, science, colonialism. -
Shalacos Jorge Washington Abalos Ilustraciones De Alvaro Izurieta
Shalacos Jorge Washington Abalos Ilustraciones de Alvaro Izurieta PDF created with pdfFactory Pro trial version www.pdffactory.com Colección Juvenilia © 1975 by Editorial Losada S. A. Edición digital de urijenny ([email protected]) PDF created with pdfFactory Pro trial version www.pdffactory.com Índice I...................................................................................................................................6 Viaje........................................................................................................................7 Llegada.................................................................................................................10 El paisaje..............................................................................................................11 Eros pedagógico..................................................................................................14 II................................................................................................................................15 Atardecer..............................................................................................................16 Un riel, una campana...........................................................................................18 Cielo estrellado....................................................................................................19 Imasi maria sima..................................................................................................20 El nido de catas...................................................................................................22 -
Folklore Puntano
FOLKLORE PUNTANO JESUS LIBERATO TOBARES (Año 1997) INDICE PRECURSORES PUNTANOS.......................................................... 3 DE LA INVESTIGACION FOLKLORICA.......................................... 3 FOLKLORE ESPIRITUAL................................................................. 6 FOLKLORE POETICO................................................................... 6 ADIVINANZAS ............................................................................. 10 ROMANCES ................................................................................. 14 RELACIONES .............................................................................. 16 REFRANES .................................................................................. 17 DESTRABALENGUAS ................................................................ 18 FOLKLORE NARRATIVO............................................................... 20 LEYENDAS .................................................................................. 20 EL CUENTO .................................................................................... 24 LOS NARRADORES.................................................................... 28 USOS Y COSTUMBRES................................................................. 31 LAS NOVENAS ............................................................................ 31 EL CASAMIENTO ........................................................................... 35 CREENCIAS Y SUPERSTICIONES ............................................ 35 LA CEREMONIA -
![Animation! [Page 8–9] 772535 293004 the TOWER 9> Playing in the Online Dark](https://docslib.b-cdn.net/cover/9735/animation-page-8-9-772535-293004-the-tower-9-playing-in-the-online-dark-289735.webp)
Animation! [Page 8–9] 772535 293004 the TOWER 9> Playing in the Online Dark
9 euro | SPRING 2020 MODERN TIMES REVIEW THE EUROPEAN DOCUMENTARY MAGAZINE CPH:DOX THESSALONIKI DF ONE WORLD CINÉMA DU RÉEL Copenhagen, Denmark Thessaloniki, Greece Prague, Czech Paris, France Intellectually stimulating and emotionally engaging? [page 10–11] THE PAINTER AND THE THIEF THE PAINTER HUMAN IDFF MAJORDOCS BOOKS PHOTOGRAPHY Oslo, Norway Palma, Mallorca New Big Tech, New Left Cinema The Self Portrait; Dear Mr. Picasso Animation! [page 8–9] 772535 293004 THE TOWER 9> Playing in the online dark In its more halcyon early days, nature of these interactions. ABUSE: In a radical the internet was welcomed Still, the messages and shared psychosocial experiment, into households for its utopi- (albeit blurred for us) images an possibilities. A constantly are highly disturbing, the bra- the scope of online updating trove of searchable zenness and sheer volume of child abuse in the Czech information made bound en- the approaches enough to sha- Republic is uncovered. cyclopaedia sets all but obso- ke anyone’s trust in basic hu- lete; email and social media manity to the core («potential- BY CARMEN GRAY promised to connect citizens ly triggering» is a word applied of the world, no longer seg- to films liberally these days, Caught in the Net mented into tribes by physical but if any film warrants it, it is distance, in greater cultural un- surely this one). Director Vit Klusák, Barbora derstanding. The make-up artist recog- Chalupová In the rush of enthusiasm, nises one of the men and is Czech Republic, Slovakia the old truth was suspended, chilled to witness this behav- that tools are only as enlight- iour from someone she knows, ened as their users. -
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a_f_JahrAnmeldeNr WETTBEWERB VICTORIA Sebastian Schipper Selbstverloren tanzt die junge Spanierin Victoria durch die Berliner Deutschland 2015 Szene. Vor einem Club lernt sie vier Kumpel kennen, die sich als Son- 140 Min. · DCP · Farbe ne, Boxer, Blinker und Fuß vorstellen. Schnell kommt man ins Gespräch. Sonne und Victoria interessieren sich füreinander und setzen sich bei Regie Sebastian Schipper erster Gelegenheit von der Gruppe ab. Ihr zarter Flirt wird jedoch jäh Buch Sebastian Schipper, Olivia Neergaard-Holm, Eike Schulz von den anderen unterbrochen, denn für die Kumpel ist diese Nacht Kamera Sturla Brandth Grøvlen noch lange nicht zu Ende. Um eine alte Schuld zu begleichen, müssen Musik Nils Frahm sie ein krummes Ding durchziehen. Weil einer von ihnen zu betrunken Annika Nagel Foto: Sound Design Fabian Schmidt ist, soll ausgerechnet Victoria die Rolle der Fahrerin übernehmen. Aus Ton Magnus Pflüger Geboren 1968 in Hannover. Spiel wird plötzlich Ernst. Production Design Uli Friedrichs Schauspielausbildung an der Otto Falckenberg Nach eigenem Drehbuch skizziert Schauspieler und Regisseur Kostüm Stefanie Jauss Schule, München, anschließend zwei Jahre Sebastian Schipper die Geschichte einer atemlosen Nacht in den Stra- Maske Fay Hatzius lang Ensemblemitglied bei den Münchner ßen der Metropole. Die Kamera verknüpft die vergehende Zeit und Regieassistenz Ires Jung Kammerspielen. Als Schauspieler trat er in Casting Suse Marquardt, Lucie Lenox Filmen von Sönke Wortmann, Tom Tykwer, die zahlreichen Schauplätze nahtlos miteinander und bezieht den Zu- schauer unmittelbar ins Geschehen ein. Mit der verwegenen Truppe Produktionsleitung Steffen Leiser Romuald Karmakar und Anthony Minghella Produzenten Jan Dressler, blickt man von Hochhausdächern über die Stadt, flaniert über men- auf. Sein Regiedebüt ABSOLUTE GIGANTEN, Sebastian Schipper, David Keitsch, für das er wie bei allen seinen Regiearbeiten, schenleere Bürgersteige und versteckt sich in abgelegenen Hinterhö- Anatol Nitschke, Catherine Baikousis, auch das Drehbuch schrieb, wurde mit dem fen. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Course Outline
Prof. Fatima Naqvi German 01:470:360:01; cross-listed with 01:175:377:01 (Core approval only for 470:360:01!) Fall 2018 Tu 2nd + 3rd Period (9:50-12:30), Scott Hall 114 [email protected] Office hour: Tu 1:10-2:30, New Academic Building or by appointment, Rm. 4130 (4th Floor) Classics of German Cinema: From Haunted Screen to Hyperreality Description: This course introduces students to canonical films of the Weimar, Nazi, post-war and post-wall period. In exploring issues of class, gender, nation, and conflict by means of close analysis, the course seeks to sensitize students to the cultural context of these films and the changing socio-political and historical climates in which they arose. Special attention will be paid to the issue of film style. We will also reflect on what constitutes the “canon” when discussing films, especially those of recent vintage. Directors include Robert Wiene, F.W. Murnau, Fritz Lang, Lotte Reiniger, Leni Riefenstahl, Alexander Kluge, Volker Schlöndorff, Werner Herzog, Wim Wenders, Rainer Werner Fassbinder, Andreas Dresen, Christian Petzold, Jessica Hausner, Michael Haneke, Angela Schanelec, Barbara Albert. The films are available at the Douglass Media Center for viewing. Taught in English. Required Texts: Anton Kaes, M ISBN-13: 978-0851703701 Recommended Texts (on reserve at Alexander Library): Timothy Corrigan, A Short Guide to Writing about Film Rob Burns (ed.), German Cultural Studies Lotte Eisner, The Haunted Screen Sigmund Freud, Writings on Art and Literature Siegfried Kracauer, From Caligari to Hitler Anton Kaes, Shell Shock Cinema: Weimar Cinema and the Wounds of War Noah Isenberg, Weimar Cinema Gerd Gemünden, Continental Strangers Gerd Gemünden, A Foreign Affair: Billy Wilder’s American Films Sabine Hake, German National Cinema Béla Balász, Early Film Theory Siegfried Kracauer, The Mass Ornament Brad Prager, The Cinema of Werner Herzog Eric Ames, Ferocious Reality: Documentary according to Werner Herzog Eric Ames, Werner Herzog: Interviews N. -
(500) Days of Summer 2009
(500) Days of Summer 2009 (Sökarna) 1993 [Rec] 2007 ¡Que Viva Mexico! - Leve Mexiko 1979 <---> 1969 …And Justice for All - …och rättvisa åt alla 1979 …tick…tick…tick… - Sheriff i het stad 1970 10 - Blåst på konfekten 1979 10, 000 BC 2008 10 Rillington Place - Stryparen på Rillington Place 1971 101 Dalmatians - 101 dalmatiner 1996 12 Angry Men - 12 edsvurna män 1957 127 Hours 2010 13 Rue Madeleine 1947 1492: Conquest of Paradise - 1492 - Den stora upptäckten 1992 1900 - Novecento 1976 1941 - 1941 - ursäkta, var är Hollywood? 1979 2 Days in Paris - 2 dagar i Paris 2007 20 Million Miles to Earth - 20 miljoner mil till jorden 1957 20,000 Leagues Under the Sea - En världsomsegling under havet 1954 2001: A Space Odyssey - År 2001 - ett rymdäventyr 1968 2010 - Year We Make Contact, The - 2010 - året då vi får kontakt 1984 2012 2009 2046 2004 21 grams - 21 gram 2003 25th Hour 2002 28 Days Later - 28 dagar senare 2002 28 Weeks Later - 28 veckor senare 2007 3 Bad Men - 3 dåliga män 1926 3 Godfathers - Flykt genom öknen 1948 3 Idiots 2009 3 Men and a Baby - Tre män och en baby 1987 3:10 to Yuma 2007 3:10 to Yuma - 3:10 till Yuma 1957 300 2006 36th Chamber of Shaolin - Shaolin Master Killer - Shao Lin san shi liu fang 1978 39 Steps, The - De 39 stegen 1935 4 månader, 3 veckor och 2 dagar - 4 Months, 3 Weeks and 2 Days 2007 4: Rise of the Silver Surfer - Fantastiska fyran och silversurfaren 2007 42nd Street - 42:a gatan 1933 48 Hrs. -
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production.