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Kubrick Film Streams Supporters Met Op
Film Streams Programming Calendar The Ruth Sokolof Theater . October – December 2008 v2.2 2001: A Space Odyssey 1968 MGM/Photofest Film Screams! October 3 – October 31, 2008 The Cabinet An American Werewolf of Dr. Caligari 1921 in London 1981 Bride of Frankenstein 1935 Evil Dead 2 1987 The Innocents 1961 Eyes Without a Face 1960 Les Diaboliques 1955 The Raven 1963 What better way to celebrate the Halloween and of little worth artistically, that’s hardly the case. The eight films in this month than with a horror series? While other series offer a glimpse of the richness and variety of the genre, in terms of genres, such as musicals and westerns, tend to its history, cultural significance, creative influence, and talent produced. wax and wane in interest over certain periods of Whether deathly terrifying or horribly silly, there is something here for time, horror has maintained a constant presence everyone to enjoy and appreciate. ever since the inception of cinema. And while the — Andrew Bouska, Film Streams Associate Manager and Series Curator genre often bears the stigma of being lowbrow See the reverse side of this newsletter for full calendar of films and dates. Great Directors: Kubrick November 1 – December 11, 2008 2001: A Space Odyssey 1968 Spartacus 1960 Dr. Strangelove 1964 Lolita 1962 The Killing 1956 Barry Lyndon 1975 A Clockwork Orange 1971 Full Metal Jacket 1987 Paths of Glory 1957 Eyes Wide Shut 1999 Almost a decade after his death, the great myth fiction (2001: A SPACE ODYSSEY) to period drama (BARRY LYNDON) to of Stanley Kubrick seems as mysterious as ever. -
Download Our Last Catalog for 2018/19
1 MIDNIGHT MARQUEE 2018/19 CATALOG The Perfect GIFTS for Your Favorite Movie Buff! Vol. 1 NEW COVER WE KNOW MOVIES! Midnight Marquee Press • 9721 Britinay Lane, Baltimore, MD 21234 2 A Letter from Gary and Sue Svehla of Midnight Marquee Press We would like to apologize to our many long time customers as well as to our many new ones for the lateness of this catalog and our slowness in get- ting your orders out. It’s been a rough several years as Sue has been facing medical challenges, but we have finally found a diagnosis and she is on a healing path. Of course we will try to get your orders out quickly, but we’re getting old and slow (not to mention forgetful) so— if you need your books quickly, please order them from AMAZON.com or OLDIES.com. Most of our books are now being converted to e-books by Bear Manor Media, so you can order those from Amazon.com. We thank you for your patience, your business and your friendship through the years. Gary and Sue Svehla Table of Contents 3 New Titles from MMP Payment: We accept 5 Brit Horrors all major credit cards, 12 Italian Horror checks, money orders 15 Biographies and Autobios and PayPal. 19 Musical Bios 20 MidMar’s Actors Series Shipping: We try to 21 Histories of Horror Films ship within 7 work- ing days, but it’s just the two of us and we’re 25 Histories of Sci-Fi Films getting old and slow. 26 Hooray for Hollywood— other genres If you need your order fast, PLEASE 28 Exploitation Horrors order from Amazon.com or Oldies.com Most books will arrive from Createspace— 29 Forgotten Horrors & DVDs, mags, bookplates, etc. -
Sculpting Women from Pygmalion to Vertigo to the Skin I Live In
1 This is an Accepted Manuscript of an article published by Taylor & Francis Group in Quarterly Review of Film and Video Sculpting Women from Pygmalion to Vertigo to The Skin I Live in They would be displeased to have anybody call them docile, yet in a way they are . They submit themselves to manly behavior with all its risks and cruelties, its complicated burdens and deliberate frauds. Its rules, which in some cases you benefited from, as a woman, and then some that you didn’t. -“Too Much Happiness”, Alice Munro (294) One day I'll grow up, I'll be a beautiful woman. One day I'll grow up, I'll be a beautiful girl. But for today I am a child, for today I am a boy. -“For Today I Am a Boy”, Antony and the Johnsons The two images below (Figure 1) are from key moments in Alfred Hitchcock’s Vertigo (1958) and Pedro Almodóvar’s La piel que habito (The Skin I Live in, 2011). It is possible that there is a conscious citation here on the part of Almodóvar, but in any case the parallels are striking, and they reveal a great deal about gender as it is constructed in the mid- 20th century and the early 21st. Both shots show a woman gazed at from behind, as she herself is gazing at artwork that is especially significant for her sense of self. In the larger context of the films, both women are haunted by idealized images of femininity, which are necessary to prop up the crumbling masculinity of men who want to reshape their clothes, hair and bodies. -
Classic Frenchfilm Festival
Three Colors: Blue NINTH ANNUAL ROBERT CLASSIC FRENCH FILM FESTIVAL Presented by March 10-26, 2017 Sponsored by the Jane M. & Bruce P. Robert Charitable Foundation A co-production of Cinema St. Louis and Webster University Film Series ST. LOUIS FRENCH AND FRANCOPHONE RESOURCES WANT TO SPEAK FRENCH? REFRESH YOUR FRENCH CULTURAL KNOWLEDGE? CONTACT US! This page sponsored by the Jane M. & Bruce P. Robert Charitable Foundation in support of the French groups of St. Louis. Centre Francophone at Webster University An organization dedicated to promoting Francophone culture and helping French educators. Contact info: Lionel Cuillé, Ph.D., Jane and Bruce Robert Chair in French and Francophone Studies, Webster University, 314-246-8619, [email protected], facebook.com/centrefrancophoneinstlouis, webster.edu/arts-and-sciences/affiliates-events/centre-francophone Alliance Française de St. Louis A member-supported nonprofit center engaging the St. Louis community in French language and culture. Contact info: 314-432-0734, [email protected], alliancestl.org American Association of Teachers of French The only professional association devoted exclusively to the needs of French teach- ers at all levels, with the mission of advancing the study of the French language and French-speaking literatures and cultures both in schools and in the general public. Contact info: Anna Amelung, president, Greater St. Louis Chapter, [email protected], www.frenchteachers.org Les Amis (“The Friends”) French Creole heritage preservationist group for the Mid-Mississippi River Valley. Promotes the Creole Corridor on both sides of the Mississippi River from Ca- hokia-Chester, Ill., and Ste. Genevieve-St. Louis, Mo. Parts of the Corridor are in the process of nomination for the designation of UNESCO World Heritage Site through Les Amis. -
Riccardo Freda’S I Vampiri (1957) and the Birth of Italian Horror
Northumbria Research Link Citation: Guarneri, Michael (2017) The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective. Palgrave Communications, 3 (1). p. 29. ISSN 2055-1045 Published by: Palgrave Macmillan URL: https://doi.org/10.1057/s41599-017-0030-3 <https://doi.org/10.1057/s41599-017- 0030-3> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/32602/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ARTICLE DOI: 10.1057/s41599-017-0030-3 OPEN The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective Michael Guarneri1 ABSTRACT Scholars tend to agree on Riccardo Freda’s I vampiri (1957) being the first Italian horror film. -
Fantasies of the Institution: the Films of Georges Franju and Ince's
Film-Philosophy 11.3 December 2007 Fantasies of the Institution: The Films of Georges Franju and Ince’s Georges Franju Michael du Plessis University of Southern California Kate Ince (2005) Georges Franju Manchester: Manchester University Press. ISBN 0719068282 172 pp. With the exception of Eyes Without a Face (Les yeux sans visage, 1960) and Blood of the Beasts (Le sang des bêtes, 1948), almost none of Georges Franju’s 14 short films and 8 features is currently available in the US on DVD or video, where he is now known only, if at all, as the director of a scandalously unwatchable documentary about the abattoirs of Paris and a moody (but supposedly minor) horror film about a deranged doctor who tries to graft a new face onto his disfigured daughter. Given the oblivion that surrounds this director in English-speaking countries, Kate Ince’s recent monograph on Franju in Manchester’s French Film Directors series (which includes studies of directors as varied as Georges Méliès, Jean Renoir, Marguerite Duras, and Claire Denis) serves, at the very least, as a new consideration of a significant figure in cinema history. Ince emphasises that Franju’s links to cinema as an institution go beyond his own films: he was a co-founder with Henri Langlois in 1936 of the Cinémathèque française and served as secretary of the Féderation Internationale des Archives du Film. While his involvement with the Cinémathèque may not have remained as central as it was at the beginning, Franju was made an honorary artistic director of the Cinémathèque in the last decade of his life (Ince, 2005, 1). -
The Jewel Eng PB
NICOLA GIULIANO FRANCESCA CIMA present THE JEWEL A FILM BY ANDREA MOLAIOLI An italo-french coproduction INDIGO FILM . BABE FILMS in collaboration with RAI CINEMA in collaboration with BIM DISTRIBUZIONE Italian release: march 4th 2011 ✎✎✎ world sales INTRAMOVIES SRL Via E. Manfredi 15, 00197 Rome, Italy +39 06 807 61 57 [email protected] press material www.intramovies.com - www.kinoweb.it - www.bimfilm.com credits not contractual THE JEWEL . Technical cast director ANDREA MOLAIOLI story and screenplay LUDOVICA RAMPOLDI GABRIELE ROMAGNOLI ANDREA MOLAIOLI Director of Photography LUCA BIGAZZI editor GIOGIO’ FRANCHINI art director ALESSANDRA MURA costume designer ROSSANO MARCHI music TEHO TEARDO music edited by INDIGO FILM srl fonico di presa diretta MARIO IAQUONE sound editor SILVIA MORAES first assistant director CINZIA CASTANIA casting ANNAMARIA SAMBUCCO organisation LUIGI LAGRASTA executive producers CARLOTTA CALORI VIOLA PRESTIERI Coproduced by FABIO CONVERSI Produced by NICOLA GIULIANO . FRANCESCA CIMA an italo - french coproduction INDIGO FILM . BABE FILMS in collaboration with RAI CINEMA in collaboration with BIM DISTRIBUZIONE with the support of the MINISTERO per i BENI e le ATTIVITÀ CULTURALI . DIREZIONE GENERALE PER IL CINEMA with the support of the EURIMAGES with the support of the FILM COMMISSION TORINO PIEMONTE with the participation CANAL+ e CINECINEMA Italian distribution International distribution nazionality ITALIAN year of production 2010 lenght 110’ format 35mm 1:2,35 credits not contractual THE JEWEL . Artistic cast TONI SERVILLO Ernesto Botta REMO GIRONE Amanzio Rastelli SARAH FELBERBAUM Laura Aliprandi LINO GUANCIALE Filippo Magnaghi FAUSTO MARIA SCIARAPPA Franco Schianchi LISA GALANTINI Secretary Carla VANESSA COMPAGNUCCI Barbara Magnaghi MAURIZIO MARCHETTI Giulio Fontana IGOR CHERNEVICH Igor Yashenko JAY O. -
"Gomorrah" & "Il Divo."
"Gomorrah" & "Il Divo." Italy Conquers Cannes Published on iItaly.org (http://www.iitaly.org) "Gomorrah" & "Il Divo." Italy Conquers Cannes Elsa Bazzini (May 27, 2008) At the 2008 Cannes Film Festival a new generation of Italan moviemakers show that Italian cinema is back with new ideas and interesting works. The grand prix this year went to Matteo Garrone’s Gomorrah while the jury prize was presented to Paolo Sorrentino’s Il Divo France may have won its first Palme d’Or since 1987 at this year’s Cannes Film Festival, but according to the Italian press the greatest winner was Italian cinema. Dubbed last year as “depressing” by Quentin Tarantino and left out of the main competition, it now seems that Italian movies – at least according to the French festival – are finally getting back on track. Indeed, the grand prix this year went to Matteo Garrone’s Gomorrah while the jury prize was presented to Paolo Sorrentino’s Il Divo. Page 1 of 2 "Gomorrah" & "Il Divo." Italy Conquers Cannes Published on iItaly.org (http://www.iitaly.org) Matteo Garrone’s first film Terra di mezzo won the special jury prize in Turin in 1996. His following films Guests (1998), Estate romana (2000), and The Embalmer [2] (2002) achieved moderate success, and in 2004 he presented First Love [3] at the Berlinale. Gomorrah is adapted from Roberto Saviano’s bestseller and presents a revealing picture of the organized crime network in Naples, the Camorra. Paolo Sorrentino has competed twice for the Palme d’Or, in 2004 with The Consequences of Love and in 2006 with The Family Friend. -
Bodies of Desire and Bodies in Distress
Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................ -
RICCARDO FREDA, UN MAESTRO DI CINEMA POPOLARE Riccardo Freda, Master of Popular Cinema
RICCARDO FREDA, UN MAESTRO DI CINEMA POPOLARE Riccardo Freda, Master of Popular Cinema Programma e note a cura di / Programme and notes curated by Emiliano Morreale 244 La grande stagione di Riccardo Freda comincia nell’imme- Riccardo Freda’s great period began immediately after the war diato dopoguerra, con i film d’avventura girati per la Lux di with the adventure films he made for Riccardo Gualino’s Lux Riccardo Gualino, e termina negli anni Sessanta inoltrati, and ended in the 1960s with Lo spettro. During that time the diciamo con Lo spettro. Anni in cui il regista si muove tra director worked on high-end productions and second-rate ones produzioni più ricche e altre di serie B, ma sempre secondo but always according to his creed of energy and speed. Film is un suo credo di energia e velocità. Il cinema è un’arte che si an art to be done in a hurry, as the director often said: “When fa in fretta: “Quando la lavorazione di un film dura troppo the production of a film takes too long, enthusiasm drags, and si perde d’entusiasmo, e il ritmo del film ne risente. L’ideale the film’s rhythm is affected by it. Ideally, you put a reel in the sarebbe di mettere la bobina nella macchina da presa, dare il camera, call action and never stop”. via all’azione, e non fermarsi più”. Averse to the quintessential Italian film genre, comedy, and a Lontano dal genere fondamentale del cinema italiano, sworn enemy of Neorealism, Freda always presented himself as la commedia, nemico giurato del neorealismo, Freda si è an ‘American-style’ director, a master of action movies, a creator sempre presentato come regista ‘all’americana’, maestro del of grand melodramas and even a pioneer of Italian horror film. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Luca Bigazzi Director of Photography
LUCA BIGAZZI DIRECTOR OF PHOTOGRAPHY FILM & TELEVISION THE NEW POPE Director: Paolo Sorrentino Production Company: HBO LORO Director: Paolo Sorrentino Production Company: Indigo Film THE YOUNG POPE Director: Paolo Sorrentino Production Company: HBO & Canal+ Official Selection, Venice Film Festival (2016) Nominated, Outstanding Cinematography For A Limited Series Or Movie, Emmy Awards (2017) VIVA LA SPOSA Director: Ascanio Celestini Production Company: Malia YOUTH Director: Paolo Sorrentino Production Company: Indigo Film Winner, Best Film, European Film Awards (2015) Winner, Best Director, European Film Awards (2015) Winner, Best Actor, European Film Awards (2015) Official Selection, Cannes Film Festival (2015) Official Selection, Toronto Film Festival (2015) Official Selection, London Film Festival (2015) THE GREAT BEAUTY Director: Paolo Sorrentino Production Company: Indigo Film Winner, Best Foreign Language Film, Academy Awards (2014) Winner, Best Foreign Language Film, BAFTA (2014) Official Selection, Cannes Film Festival (2013) LUX ARTISTS | 1 SHUN LI AND THE POET Director: Andrea Segre Production Company: Jolefilm THIS MUST BE THE PLACE Director: Paolo Sorrentino Production Company: Indigo Film Official Selection, Cannes Film Festival (2011) THE JEWEL Director: Andrea Molaioli Production Company: Indigo Film Nominated, Best Cinematography, David di Donatello Awards (2011) CERTIFIED COPY Director: Abbas Kiarostami Production Company: IFC Films Winner, Best Actress, Cannes Film Festival (2010) LO SPAZIO BIANCO Director: Francesca Comencini