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Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19. -
Losing Willwalking a Tightrope to Fame
A&E [email protected] thursday, 29 november, 2007 Social Losing Will walking a tightrope to fame intercourSe Joe Vanderhelm talks botched audio, improvising scripts, and hoping that his locally filmed Grant MacEwan/University of Alberta Big Band Concert flick—complete with Edmonton scenery and music—has enough pull to reach cult status Monday, 3 December at 7:30pm John L Haar Theatre (10045 155 Street) filmpreview Performing together on the same stage, the Grant Losing Will MacEwan big band and the University of Alberta Runs 7–9 December big band will combine this coming Monday, creat- Directed by Mike Robertson and Arlen Konopaki ing a band the size of which can’t be described with Starring Arlen Konopaki, Joe Vanderhelm, and a simple adjective like big. Rather, it would require a Julian Faid conglomeration of descriptors, like “ginormous” or Metro Cinema “hugelarge.” Conducted by professors Raymond Baril and Dr Tom Dust, the humungollossal group will play BRYAN SAUNDERS a wide selection of jazz standards and should provide Arts & Entertainment Staff an entertaining night for fans of the genre. As Joe Vanderhelm, one of the stars of Highwire Films’ Losing Will, puts it, producing a local Trooper independent movie is a lot like walking on a Thursday, 29 November at 8pm tightrope. Century Casino (13103 Fort Road) “When you think of [a] high-wire act, there’s the chance of falling and the chance of failure, Here they come, classic rock group Trooper, driving in a but that always just makes it all the more inter- bright white sports car on their way through Edmonton. -
Cinematic Hamlet Arose from Two Convictions
INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films. -
THE “TENET” THEORY Written by Esmarelda Villalobos
THE “TENET” THEORY Written by Esmarelda VillaLobos WARNING: MAJOR SPOILERS AHEAD. “Tenet” begins with an attack on the arts. It is the first event in the film, right out of the gate, that sets the tone for the rest of the movie. In fact, in this film there are multiple attacks on art, but in the first few minutes of this topsy-turvy ride, we as the audience witness some kind of terrorist attack that occurs during the preparations for an orchestral performance somewhere in Russia, which, given the number of public shootings and horrific terrorist attacks that have plagued the world throughout the last decade, is not that far of a stretch from the truth. The first line of the film is “Time to wake up the Americans” to which we are now introduced to John David Washington’s character as The Protagonist. Through a series of what seems to be party-switching and criss-crossery (if that’s even a word), John David Washington is eventually caught. While under capture and interrogation, The Protagonist decides to sacrifice his own life for the good of the cause and swallow a cyanide pill given to him by the CIA. Cut to black. When we as the audience come back, John David Washington is in a hospital bed on a very large ship, somewhere beyond the sea. Now, on first viewing if you are to watch this film, you believe everything that is said – the cyanide pill is a fake, his taking it was a test to see if he would sacrifice himself in order to avoid torture and potentially give up secrets – which he did. -
A Pinewood Dialogue with Kenneth Branagh and Michael Caine
TRANSCRIPT A PINEWOOD DIALOGUE WITH KENNETH BRANAGH AND MICHAEL CAINE The prolific and legendary actor Michael Caine starred in both the 2007 film version of Sleuth (opposite Jude Law) and the 1972 version (opposite Laurence Olivier). In the new version, an actors’ tour de force directed by Kenneth Branagh and adapted by playwright Harold Pinter, Caine took the role originally played by Olivier. A riveting tale of deception and deadly games, this thriller about an aging crime novelist and a young actor in love with the same woman is essentially about the mysteries of acting and writing. In this discussion, Branagh and Caine discussed their collaboration after a special preview screening. A Pinewood Dialogue following a screening BRANAGH: Rubbish, of course. Rubbish. of Sleuth, moderated by Chief Curator David Schwartz (October 3, 2007): SCHWARTZ: Well, we’ll see, we’ll see. Tell us about how this project came about. It’s an interesting MICHAEL CAINE: (Applause) pedigree, because in a way, it’s a new version, an Good evening. adaptation, of a play. It seems like it’s going to be a remake of the film, but Harold Pinter, of course, KENNETH BRANAGH: Good evening. is the author here. DAVID SCHWARTZ: Welcome and congratulations BRANAGH: As you may have seen from the credits, on a riveting, very entertaining movie. one of the producers is Jude Law. He was the one who had the idea of making a new version, BRANAGH: Thank you. and it was his idea to bring onboard a man he thought he’d never get to do it, but Nobel Prize- CAINE: Thank you. -
Widescreen Weekend 2008 Brochure (PDF)
A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom. -
The Troubled Man: a Kurt Wallander Mystery Pdf, Epub, Ebook
THE TROUBLED MAN: A KURT WALLANDER MYSTERY PDF, EPUB, EBOOK Henning Mankell,Laurie Thompson | 512 pages | 16 Feb 2012 | Vintage Publishing | 9780099548409 | English | London, United Kingdom The Troubled Man: A Kurt Wallander Mystery PDF Book In addition, he is also a father, husband and a son. Kurt Wallander by Henning Mankell. Wallander is unhappy for some weeks, and then he decides he will always be unhappy. Wallender is here to make them complete so that you stay up all night reading. Nimmy March. So the villain can't be a woman working for the KGB, can it? Both said the world was still a comprehensible place. This might be because she was the only human character in the entire book. Account Options Sign in. Written by don minifie The pace of The Troubled Man is significantly slower than the previous Wallander stories, with several chapters between murders. The detective's popularity is unparalleled, and Mankell has sold more than 30 million books worldwide. James Lee Burke, sadly, is a category two man. For an enhanced browsing experience, get the IMDb app on your smartphone or tablet. Sten Norlander Barnaby Kay Of more interest in this episode, perhaps, is Wallander's gradually deteriorating state of mind. Dagens Nyheter. Edit Cast Episode cast overview, first billed only: Terrence Hardiman Did You Know? October Charity: The Mustard Seed. The ending is predictable, but engaging nonetheless; and is followed by a denouement in which Wallander empties his office desk and communicates with his deceased father David Warner. There are significant changes to Wallander's life. -
Kvarterakademisk
kvarter Volume 07 • 2013 akademiskacademic quarter Porous Borders Crossing the Boundaries to ‘Eastern Europe’ in Scandinavian Crime Fiction Anna Estera Mrozewicz PhD, Assistant Professor at the Department of Film, Television and New Media at the Adam Mickiewicz University in Poznań, Poland and pursued post-doctoral studies at the Department of Scandina- vian Studies and Linguistics, University of Copenhagen (2010– 2012). Her current research project investigates the concept of ‘East- ern Europe’ in Scandinavian film, literature and visual arts. Abstract In Scandinavian crime fiction, an implicit dynamics is noticeable between the adjacent worlds: Scandinavia and ‘Eastern Europe’. The author of the article approaches their relation using the two interrelated concepts of border and boundary (Casey, 2011). While borders are fixed and established by conventional agreements, boundaries are natural, perforated, and undermine the impenetra- bility of the border. Accordingly, two main strands are discernible within the representations of ‘Eastern Europe’ in Scandinavian crime fiction: a ‘border perspective’ and a ‘boundary perspective’. The first strand is rooted in the old world with pronounced nation- al divisions, while the other anticipates a globalised world, involv- ing a dynamic view of the relation between the neighbours across the Baltic. As the article attempts to demonstrate, the border/bound- ary distinction can be fruitfully applied to the analysis of the Scan- dinavian discourse on ‘Eastern Europe’ with all its implications. Keywords border/boundary, Scandinavian crime fiction, ‘Eastern Europe’, adjacency, suppression, neighbour. Volume 07 350 Porous Borders kvarter Anna Estera Mrozewicz akademiskacademic quarter The drama of crossing borders The acts of crossing borders between ‘Eastern Europe’1 and Scandi- navia are typically represented as accompanied by strong affect and fear – especially in crime fiction. -
Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P. -
The Life and Films of the Last Great European Director
Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN Macnab-05480001 macn5480001_fm May 19, 2009 11:55 Geoffrey Macnab writes on film for the Guardian, the Independent and Screen International. He is the author of The Making of Taxi Driver (2006), Key Moments in Cinema (2001), Searching for Stars: Stardom and Screenwriting in British Cinema (2000), and J. Arthur Rank and the British Film Industry (1993). Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN The Life and Films of the Last Great European Director Geoffrey Macnab Macnab-05480001 macn5480001_fm May 8, 2009 9:23 Sheila Whitaker: Advisory Editor Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2009 Geoffrey Macnab The right of Geoffrey Macnab to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84885 046 0 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress -
Den Skalliga Primadonnan
EN FILM AV FREDRIK EGERSTRAND & TINTIN ANDERZON DEN SKALLIGA PRIMADONNAN KIMREGI FREDRIK EGERSTRAND RESEARCH, INTERVJUER TINTIN ANDERZON PRODUCENT FREDRIK EGERSTRAND KLIPP BJÖRN LINDGREN FOTO CONNY FRIDH MUSIK JUKKA RINTAMÄKI PER STÖRBY JUTBRING MED KIM ANDERZON JOHAN RABAEUS JUDITH HOLLANDER KRISTER HENRIKSSON LASSE NAUMBURG PETER KNEIP ANNMARIE KASTRUP UTAS TINTIN ANDERZON BJÖRN GRANATH GERT FYLKING BJÖRN GEDDA OLLE REMAEUS ANNIKA RÄNGE TED ÅSTRÖM ERIK APPELGREN LOTTIE EJEBRANT LASSE KÄLLENIUS TOMAS NORSTRÖM M FL 2A FOTO JULIA STANISLAWSKA LUKAS EISENHAUER JIMMY SVENSSON GUSTAF THÖRN MUSIKALISK LEDNING LOUISE HAMMAR 2A LJUD LARS WIGNELL LJUDLÄGGNING OSKAR LINDBERG/SVENSKA GRAMMOFONSTUDION POST CEO CLAS HAKERÖD GRADING/ONLINE NIKOLAI WALDMAN PR EBBA LINDQUIST PRODUCERAD AV EGERSTRAND&BLUND I SAMPRODUKTION MED FILM I VÄST SVERIGES TELEVISION CAN FILM DISTRIBUTION FOLKETS BIO FOLKETSBIO.SE KIMFILM.SE Det här är filmen om skådespelerskan Kim Anderzon. Älskad och hyllad för sina roller på teater och film var hon feministisk förebild som blev en av vår tids största skådespelare som skapade sig ett liv där teatern stod över både relationer och familj. Och så kom cancern. Men livet måste levas, till varje pris. Och föreställningen ska spelas, kväll efter kväll. Kim varvar föreställ- ningar med klinikbesök i Tyskland, men kroppen orkar till slut inte mer. Dagen innan hon gick in i koma, firade hon sitt liv med en stor fest. Eller som hon själv sade i sitt tal vid sin ankomst till festen: ”Det här är alltså en minnesstund, fast liket lever”. Hon gjorde sitt livs sista föreställning den kvällen. Med svart humor och mänsklig värme var hon magnifik. Efter en magisk kväll åkte hon hem och somnade in för evigt. -
De Vanligaste Skåde Spelarna I Svenska Filmer
April 2018 Presskit: Svensk film i siffror De vanligaste skåde spelarna i svenska filmer Mikael Persbrandt är den skådespelare som medverkat i flest filmer under de senaste åren. Filmen Gossip är den film där de mest frekventa skådespelarna strålar samman. Vi har analyserat rollbesättningen i svenska biofilmer historiskt. De samtida skådespelarna har dock inte mycket att sätta emot Wiktor ”Kulörten” Anderssons meritlista med 170 filmer. Sammanfattning Topp 26: mest förekommande skådespelare 1997–2017 ● Flest filmer de senaste 20 åren har Mikael Persbrandt gjort. Namn Antal filmer Namn Antal filmer Pernilla August är kvinnan som förekommer i flest filmer, 23 stycken. Mikael Persbrandt 33 Björn Granath 18 ● Sedan 1963, starten av filmavtalet, toppas listan av Per Oscarson Leif Andreé 29 Björn Kjellman 18 och Gösta Ekman med 44 filmer var. Kjell Bergqvist 26 Erik Johansson 18 ● Mest sedda skådespelare på svenska biografer sedan 1905 är Göran Forsmark 26 Sten Ljunggren 17 Wiktor ”Kulörten” Andersson med 170 filmer på sin meritlista. Mikael Nyqvist 25 Rolf Lassgård 17 Peter Andersson 24 Lennart Jähkel 17 ● Den film som innehåller de mest frekvent använda skådespelare de senaste 20 åren är Colin Nutleys Gossip. Pernilla August 23 Torkel Petersson 17 Sverrir Gudnason 21 Magnus Krepper 17 Jonas Karlsson 21 Reine Brynolfsson 17 Lena Endre 20 Maria Lundqvist 17 Marie Richardsson 19 Krister Henriksson 17 Ia Langhammer 19 Mats Blomgren 17 Peter Haber 18 Chatarina Larsson 17 Filmer med flest antal skådespelare Mikael Persbrandt är den mest anlitande svenska från topplistan skådespelaren Film Antal skådespelare Antal filmer Gossip 7 5 Familjehemligheter 6 4 Tre solar 6 Män som hatar kvinnor 5 3 Någon annanstans i Sverige 5 2 Vägen ut 5 Om jag vänder mig om 5 1 Den utvalde 5 0 Underbar och älskad av alla 5 2011 2012 2013 2010 1997 1998 1999 2001 2007 2002 2004 2009 2006 2005 2008 Livet är en schlager 5 2000 Mun mot mun 5 Mikael Persbrandt toppar listan.