Jason's Picks Vol. 1

Total Page：16

File Type：pdf, Size：1020Kb

☐ The Horse’s Mouth (1958) JASON’S PICKS VOL. 1 ☐ I Heart Huckabees (2004) ☐ In A Lonely Place (1950) ☐ The Jerk (1979) ☐ Jules et Jim (1962) ☐ Last Days of Disco (1998) ☐ Last Picture Show (1971) ☐ Live and Let Die (1973) ☐ Local Hero (1983) ☐ The Long Good Friday (1980) ☐ The Long Goodbye (1973) ☐ Lost In Translation (2003) ☐ 2001: A Space Odyssey (1968) ☐ The Master (2012) ☐ After Hours (1985) ☐ Melody (1971) ☐ Alfie (1966) ☐ Metropolitan (1990) ☐ Ali: Fear Eats the Soul (1974) ☐ Modern Romance (1981) ☐ Badlands (1973) ☐ Mon Uncle (1958) ☐ Barton Fink (1991) ☐ Monty Python & the Holy Grail (1975) ☐ Being There (1979) ☐ Moonrise Kingdom (2012) ☐ The Big Lebowski (1998) ☐ My Life as a Dog (1985) ☐ Blue Velvet (1986) ☐ My Man Godfrey (1936) ☐ The Blues Brothers (1980) ☐ North By Northwest (1959) ☐ Boogie Nights (1997) ☐ Opening Night (1977) ☐ Breathless (1960) ☐ Paris, Texas (1984) ☐ California Split (1974) ☐ The Purple Rose of Cairo (1985) ☐ Le Cerle Rouge (1970) ☐ Repo Man (1984) ☐ Charade (1963) ☐ Role Models (2008) ☐ Un Chien Andalou (1929) ☐ Rosemary’s Baby (1968) ☐ Chinatown (1974) ☐ The Rules of the Game (1939) ☐ City Lights (1931) ☐ Rushmore (1998) ☐ Claire’s Knee (1970) ☐ Safety Last (1923) ☐ The Conversation (1974) ☐ The Science of Sleep (2006) ☐ Cría Cuervos (1976) ☐ Something Wild (1986) ☐ Day For Night (1973) ☐ Spirit of the Beehive (1973) ☐ Do The Right Thing (1989) ☐ The Squid and the Whale (2005) ☐ Dog Day Afternoon (1975) ☐ Star Wars: The Return of the Jedi (1984) ☐ La Dolce Vita (1960) ☐ Step Brothers (2008) ☐ Don’t Look Now (1973) ☐ La Strada (1954) ☐ Dr. Strangelove (1964) ☐ Stranger Than Paradise (1984) ☐ Duck Soup (1933) ☐ Straw Dogs (1971) ☐ The Earrings of Madame de… (1953) ☐ Sullivan’s Travels (1941) ☐ Ed Wood (1994) ☐ Superbad (2007) ☐ E.T. The Extraterrestrial (1982) ☐ They All Laughed (1981) ☐ Evil Dead II (1987) ☐ The Thin Man (1934) ☐ The Fireman’s Ball (1967) ☐ The Third Man (1949) ☐ Fitzcarraldo (1982) ☐ Time Bandits (1981) ☐ Ghostbusters (1984) ☐ Twentieth Century (1934) ☐ A Glimpse Inside the Mind of Charles Swan III (2012) ☐ The Two of Us (1967) ☐ The Graduate (1967) ☐ Under the Roofs of Paris (1930) ☐ Greaser’s Palace (1972) ☐ Under the Volcano (1984) ☐ Hannah and Her Sisters (1986) ☐ Vertigo (1958) ☐ A Hard Day’s Night (1964) ☐ A Woman is a Woman (1961) ☐ Hard Eight (1996) ☐ Wild Strawberries (1957) ☐ Harold & Maude (1971) ☐ Withnail & I (1987) ☐ Head (1968) ☐ Young Frankenstein (1974) .

Copy Link

Recommended publications

H-France Review Vol. 19 (February 2019), No
H-France Review Volume 19 (2019) Page 1 H-France Review Vol. 19 (February 2019), No. 25 Prakash Younger, Boats on the Marne: Jean Renoir’s Critique of Modernity. Bloomington: Indiana University Press, 2017. xxv + 326 pp. $90.00 U.S. (cl). ISBN 978-0-253-02901-0; $38.00 U.S. (pb). ISBN 978-0-253- 02926-3. Review by Colin Davis, Royal Holloway, University of London. The back cover of Boats on the Marne describes the book as offering “an original interpretation of Jean Renoir’s celebrated films of the 1930s.” This is a bold promise given how intensely the films Renoir directed in the decade before the Second World War have been studied in both French- and English- language scholarship. The preface begins with a personal anecdote about the author’s first experience of the enigmatic power of La règle du jeu and his subsequent attempts to understand it. “Most of the critical consensus was in place,” he tells us, “[but] nobody seemed willing to take the final step and say…what the film was ultimately about” (p. xiv). Indeed, existing scholarship is accused of “unconscious evasiveness” (p. xvii). However, the introduction gives a more modest statement of the aims of the book: “This book does not purport to offer a better or more comprehensive account of Renoir’s films, French culture or politics in the 1930s, the philosophical legacies of Plato or Rousseau, or any of the other subjects it examines along the way, though it should, I hope, offer a different and liberating way of looking at all of these things….” (p.
[Show full text]
La Regle Du Jeu: the Rules of the Game Pdf, Epub, Ebook
LA REGLE DU JEU: THE RULES OF THE GAME PDF, EPUB, EBOOK V. F. Perkins | 96 pages | 04 Sep 2012 | British Film Institute | 9780851709659 | English | London, United Kingdom La Regle du Jeu: The Rules of the Game PDF Book All of which helps explain why, for such a great film, it isn't discussed as often as other great films. Things are definitely not going to end well…. This book analyses the supposed erosion of the authority of EU law from various perspectives: legislation, jurisprudence of national supreme and constituti Close Menu Search Criterion. Francis Willughby's Book of Games, published here for the first time, is a remarkable work and an invaluable resource for anyone with an interest in early Dalio, Carette, Toutain and Renoir are excellent. The Impact of Justice on the Roman Empire discusses ways in which notions, practice and the ideology of justice impacted on the Roman Empire through three The context: Jean Renoir , writer and director of Rules of the Game , was destined for fame. The backdrop in two examples: a mildly offensive black figurine widely collected in the s or Asian historical faces or artifacts, which two characters essentially pose with. We're about to get all French up in here. The photograph at the top is by Richard Avedon. Here are ten of his favorites. Meanwhile, the hired help have their own game of musical beds going on: a poacher is hired to work as a servant at the estate and immediately makes plans to seduce the gamekeeper's wife, while the gamekeeper recognizes him only as the man who's been trying to steal his rabbits.
[Show full text]
Downloaded from Manchesterhive.Com at 09/30/2021 06:14:40PM Via Free Access 82 Public History, Popular Memory
4 Raiding the archive: film festivals and the revival of Classic Hollywood Julian Stringer History becomes heritage in various ways. Artifacts become appropriated by particular historical agendas, by particular ideologies of preservation, by specific versions of public history, and by particular values about exhibition, design, and display. (Arjun Appadurai and Carol A. Breckenridge)1 Film Studies has to date paid too little attention to the role cultural institutions play in the transformation of cinema history into heritage. At the dawn of cinema’s second century, a range of organisational bodies – including museums and art galleries, the publicity and promotion industries, film journalism and publishing, as well as the academy – work to activate and commodify memory narratives concerning the movies’ own glorious and fondly recalled past. Such bodies serve different kinds of agendas, broadly identifiable as the commercial, the cultural and the educational (or a combination thereof). However, all help determine the specific shape of current thinking regarding cinema’s past, present and future. At a time when more films than ever before are being exhibited on a greater number of different kinds of screens than ever before, the cumulative effect of all this institutional activity is to create consen- sus around which films should be remembered and which forgotten. With so many ‘old’ and contemporary titles jockeying for position at the multiplex and the art cinema, on television and cable, video, DVD and the Internet, as well as in the classroom, the relatively small number of titles eventually sold, projected, written about, taught or revived, will be largely confined to those legitimised for one reason or another by these different kinds of organisational bodies.
[Show full text]
Lecture: Tuesday / Thursday 11:00 A.M.–12:15 P.M., Castellaw 101 Screening: Wednesday 6:00–10:00 P.M., Castellaw 101
Baylor University ● Dept. of Communication Studies, Film & Digital Media Division ● Spring 2011 Lecture: Tuesday / Thursday 11:00 a.m.–12:15 p.m., Castellaw 101 Screening: Wednesday 6:00–10:00 p.m., Castellaw 101 Professor: Dr. James Kendrick Office: Castellaw 119 Office Hours: Monday, Wednesday 12:00–2:00 p.m. All other times by appointment Phone: 710-6061 E-Mail: [email protected] Web Site: http://homepages.baylor.edu/james_kendrick COURSE DESCRIPTION This course offers an institutional, aesthetic, and cultural history of motion pictures across the world, starting with the invention of moving picture technologies in the late 19th century and concluding with the ever-rising dominance of the Hollywood blockbuster and the development of digital cinema in the 21st century. In studying the history of motion pictures, we will take into account not only the major figures who influenced their development both technologically and aesthetically, but also the cultural influences, politics, and economic factors that helped shape them. We will consider the development of motion pictures as a narrative form, cultural commodity, political object, art form, and avenue of escapist entertainment. One of the keys emphases in the class will be the historical intersections of various sites of cultural production (movies, television, advertising, censorship, political propaganda, etc.) and how they influence and shape each other. Because the breadth of international film history far exceeds what can be covered in a single semester, this course will focus most heavily on the history of film in the United States, although we also look at various historical moments in the Soviet Union, Japan, France, Germany, Italy, and Poland.
[Show full text]
The Mind-Game Film Thomas Elsaesser
9781405168625_4_001.qxd 8/10/08 11:58 AM Page 13 1 The Mind-Game Film Thomas Elsaesser Playing Games In December 2006, Lars von Trier’s The Boss of It All was released. The film is a comedy about the head of an IT company hiring a failed actor to play the “boss of it all,” in order to cover up a sell-out. Von Trier announced that there were a number of (“five to seven”) out-of-place objects scattered throughout, called Lookeys: “For the casual observer, [they are] just a glitch or a mistake. For the initiated, [they are] a riddle to be solved. All Lookeys can be decoded by a system that is unique. [. .] It’s a basic mind game, played with movies” (in Brown 2006). Von Trier went on to offer a prize to the first spectator to spot all the Lookeys and uncover the rules by which they were generated. “Mind-game, played with movies” fits quite well a group of films I found myself increasingly intrigued by, not only because of their often weird details and the fact that they are brain-teasers as well as fun to watch, but also because they seemed to cross the usual boundaries of mainstream Hollywood, independent, auteur film and international art cinema. I also realized I was not alone: while the films I have in mind generally attract minority audiences, their appeal manifests itself as a “cult” following. Spectators can get passionately involved in the worlds that the films cre- ate – they study the characters’ inner lives and back-stories and become experts in the minutiae of a scene, or adept at explaining the improbabil- ity of an event.
[Show full text]
300 Greatest Films 4 Black Copy
The goal in this compilation was to determine film history's definitive creme de la creme. The titles considered to be the greatest of the great from around the world and throughout the history of film. So, after an in-depth analysis of respected critics and publications from around the globe, cross-referenced and tweaked to arrive at the ranking of films representing, we believe, the greatest cinema can offer. Browse, contemplate, and enjoy. Check off all the films you have seen 1 Citizen Kane 1941 USA 26 The 400 Blows 1959 France 51 Au Hasard Balthazar 1966 France 76 L.A. Confidential 1997 USA 2 Vertigo 1958 USA 27 Satantango 1994 Hungary 52 Andrei Rublev 1966 USSR 77 Modern Times 1936 USA 3 2001: A Space Odyssey 1968 UK 28 Raging Bull 1980 USA 53 All About Eve 1950 USA 78 Mr Hulot's Holiday 1952 France 4 The Rules of the Game 1939 France 29 L'Atalante 1934 France 54 Sunset Boulevard 1950 USA 79 Wings of Desire 1978 France 5 Seven Samurai 1954 Japan 30 Annie Hall 1977 USA 55 The Turin Horse 2011 Hungary 80 Ikiru 1952 Japan 6 The Godfather 1972 USA 31 Persona 1966 Sweden 56 Jules and Jim 1962 France 81 The Apartment 1960 USA 7 Apocalypse Now 1979 USA 32 Man With a Movie Camera 1929 USSR 57 Double Indemnity 1944 USA 82 Discreet Charm of the Bourgeoisie 1972 France 8 Tokyo Story 1953 Japan 33 E.T. the Extra-Terrestrial 1982 USA 58 Contempt (Le Mepris) 1963 France 83 The Seventh Seal 1957 Sweden 9 Taxi Driver 1976 USA 34 Star Wars Episode IV 1977 USA 59 Belle De Jour 1967 France 84 Wild Strawberries 1957 Sweden 10 Casablanca 1942 USA 35
[Show full text]
Collection Prof
Jean Renoir In 1975 Jean Renoir was awarded an honorary Academy Award for his lifetime contribution to film. He is PROFILE COLLECTION considered one of the first great auteurs, a cinematic master whose distinctive style always contained a concern for human issues and a reverence for natural beauty. As the son of the great impressionist painter, Auguste Renoir, the filmmaker as a young man was encouraged to freely explore artistic and intellectual pursuits. He eventually chose ceramics, but during a long convalescence, developed a passion for film. He started his own production company in 1924, largely in order to launch the acting career of his wife, Catherine Hessling. His first film, LA FILLE DE L’EAU (1925) THE WHIRLPOOL OF FATE, and other silent films display early Erich von Stroheim plays Captain von Rauffenstein in Jean Renoir’s signs of what was to become characteristic of Renoir’s work-- anti-war masterpiece La Grande Illusion (1937). a sense of visual realism, the love of nature and the poetic representation of the physical MR. LANGE, LA BETE HUMAINE Hollywood a period of environment. Film theorist (1938) THE HUMAN BEAST, LA “unrealized works and Andre Bazin praised Renoir’s REGLE DU JEU (1939) THE unrealized hopes,” this film is a early works for their modest use RULES OF THE GAME and LA beautifully crafted story of a of camera movement and GRANDE ILLUSION (1937) THE migrant worker who tries to editing and emphasis on deep GRAND ILLUSION. Renoir lived start his own farm and who focus photography. Bazin in the United States in the faces enormous hardship.
[Show full text]
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
[Show full text]
Introduction 1 Sounding Fascism in Cinema
Notes Introduction 1. For an extensive analysis on the subject, the article “Music as Torture / Music as Weapon” in the Transcultural Music Review by Cusick traces the history of the research, and the use of sound (musical and non), for war; an extensive quote from her work demonstrates power’s appropriation of the sheer power of sound: “Acoustic weapons” have been in development by Department of Defense contractors since at least the 1997 creation of the Joint Non- Lethal Weapons Task Force, accounting for 1/3 of the Task Force’s budget in 1998–99. The earliest contract I know to have been let for such a weapon was on November 18, 1998, authorizing now- defunct Synetics Corporation to produce a tightly focused beam of infrasound—that is, vibration waves slower than 100 vps [vibrations per second]—meant to produce effects that range from “disabling or lethal.” In 1999, Maxwell Technologies patented a Hyper-Sonic Sound System, another “highly directional device . designed to control hostile crowds or disable hostage takers.” The same year Primex Physics International patented both the “Acoustic Blaster,” which produced “repetitive impulse waveforms” of 165dB, direct- able at a distance of 50 feet, for “antipersonnel applications,” and the Sequential Arc Discharge Acoustic Generator, which produces “high intensity impulsive sound waves by purely electrical means.” 1 Sounding Fascism in Cinema 1. All translations from Italian texts used in the work are mine. 2. Gentile’s “Fundamental Ideas,” second part of the “Doctrine of Fascism,” which appeared in the Enciclopedia Italiana in 1932, under the title Fascism, see web entry http://www.treccani.it/biblioteca/biblioteca_fonti.
[Show full text]
French Revolutions at the Movies
9781405139786_4_001.qxd 12/10/09 3:22 PM Page 23 1 FRANCE French Revolutions at the Movies 5 Birmingham 0 0 North ★Amsterdam The UNITED Ipswich Sea Utrecht Fishguard KINGDOM Hague France Rotterdam Cardiff Thames Maas Rhine London International boundary ★ NETHERLANDS ★ National capital Bristol Reading Oostende Railroad Dover Gent Antwerp Expressway Southampton Dunkerque Brighton Calais Road ★Brussels Plymouth Portsmouth Weymouth Lille BELGIUM Liège 050100 Kilometers Penzance Valenciennes Charleroi 50 English Channel Strait of Dover 050100 Miles 50 Lambert Conformal Conic Projection SP 36N /48 30 N Alderney Cherbourg LUX. Le Amiens CHANNEL ISLANDS ★ Luxembourg Mannheim Sark Havre Meu Guernsey Rouen Saarbrücken (U.K.) S Reims se GERMANY e Metz Karlsruhe Jersey Caen ine (U.K.) Stuttgart Paris e ★ hin ubo Châlons-sur- Nancy R an Brest D Marne Strasbourg Mase Ulm Troyes Marne lle Rennes Serne Lorient Freiburg Bodensee Le Mans Orléans Mullhouse Angers ne Belle-Île Saâ Basel Tours Dijon Zürich Vaduz Loir Besancon bs ★ St-Nazaire Nantes e ou AUS. Bourges D LIECH. ★ Bern Loire Île d’Yeu SWITZERLAND Inn Poitiers Lausanne Lake Geneva Île de Rè Saâne La Rochelle Ganeva Rhóne Clermont- Île d’Oléron Limoges Bergamo Ferrand Lyon Chambéry Milan Bay Gironde Saint- Po ITALY 45 of Turin 45 COPYRIGHTEDÉtienne MATERIAL Grenoble Piacenza Bordeaux Biscay Valence Alessandria Dordogne Genoa Lot hóne R Avignon Nimes Ligurian San MONACO Santander Toulouse Sea Sebastián Montpellier Nice Bayonne Pau Cannes Bilbao e nn Marseille Garo Gulf of Toulon Bastia Vitoria Pamplona R Perpignan Lion Burgos io Ebro Andorra ★ la Vella Port-Bou Corsica ANDORRA SPAIN Gerona Ajaccio Rio Duero Zaragoza Mediterranean Sea 0 5 Bonifacio 9781405139786_4_001.qxd 12/10/09 3:22 PM Page 24 24 NATIONS MAKE MOVIES FIGURE 1.1 From Rules of the Game aka La Règle du Jeu (Dir.
[Show full text]
Renoir in the '30S Instructor: Michael Fox Tuesdays, 10 Am-12:30 Pm
Renoir in the ‘30s Instructor: Michael Fox Tuesdays, 10 am-12:30 pm, Sept. 24-Oct. 29, 2019 [email protected] The greatest filmmaker in the world, according to both Orson Welles and Francis Truffaut, Jean Renoir began making movies in the silent era. With the introduction of sound, the writer, director and occasional actor embarked on his most productive and greatest period. The remarkable body of work he produced in the 1930s, from the still-innovative La Chienne through the reviled and rediscovered The Rules of the Game, encompasses melodrama, social realism, tragicomedy, historical epic and farce. This lecture and screening class explores the genius and contradictions of a humanist who combined effortless artistry with accessible social critique. The son of the great impressionist painter Pierre-Auguste Renoir, Jean Renoir made his mark in the early thirties with an anarchic send-up of the bourgeoisie (Boudu Saved From Drowning) and a popular-front Gorky adaptation (The Lower Depths). He closed the decade with two critical humanistic studies of French society—Grand Illusion (celebrated in its time) and The Rules of the Game (trashed by critics and audiences, and reassessed much later)—that routinely make the lists of the greatest movies ever made. After a brief, unfulfilling Hollywood stint during World War II, Renoir traveled to India to make his first Technicolor film, The River, and returned to Europe in the early fifties to direct three visually impressive explorations of theater, The Golden Coach, French Cancan and Elena and Her Men. After completing The Little Theater of Jean Renoir, comprised of three short films, in the late sixties, he dedicated himself to writing.
[Show full text]
LA GRANDE ILLUSION -- Background
LA GRANDE ILLUSION -- background The film was directed by Jean Renoir (1894-1979) second son of Pierre August Renoir, the famous painter. Jean Renoir grew up in Paris and Cagnes-sur-mer, a lovely small town near Nice on the Côte d’Azur. He attended boarding schools in France and university in Aix-en- Provence. Renoir did his military service beginning in 1913 in the cavalry, but during the war served in the Alpine infantry where he was twice wounded and then in the French air force as a reconnaissance pilot. After the war, though interested in many of the arts, Renoir turned to film. During a lifetime career beginning in the silent and ending in Hollywood, Renoir made 47 films. Several of these are classics: The Grand Illusion, The Rules of the Game, The Beast. The River. He wrote several novels and many essays of film criticism. He received many awards in France, Europe, and the U.S. The Grand Illusion was made in 1936-7 and released in 1937, just after the fall of the Popular Front government in France. It was banned almost immediately in Germany and later in Italy. In France it was tremendous hit, viewed by perhaps 12 million patrons. However, in 1940 the French Army had it banned “for the duration” because of what they regarded as its anti-war message. The film stars six outstanding actors of the time: Pierre Fresnay as de Boldieu, was an outstanding classical and stage actor. Jean Gabin as Marechal, was perhaps the greatest of the French male film actors of the 20th century, leagues better for range, characterization, and sheer magnetism than some later pretenders.
[Show full text]