Notre Dame Scholastic, Vol. 105, No. 23 -- 22 May 1964
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Last Year at Marienbad Redux
FOR IMMEDIATE RELEASE: Last Year at Marienbad redux Allan Sekula and Noël Burch. Still from Reagan Tape, 1981, single-channel video, color, sound, 10 min. 39 sec., edition of 5 © Allan Sekula and Noël Burch, Courtesy of the artists and Christopher Grimes Gallery, Santa Monica September 12 – October 26, 2013 Opening Reception: Thursday, September 12, 6-8 pm EFA Project Space Curated by James Voorhies th nd produced by Bureau for Open Culture 323 West 39 Street, 2 floor New York, NY 10018 between 8th and 9th Avenues Participating Artists and Writers: Jennifer Allen, Keren Cytter, Tacita Dean, Jessamyn Fiore, Dan Fox, Gallery Hours: Wed through Sat, 12-6 pm Jens Hoffmann, Iman Issa, David Maljković, Ján T. 212-563-5855 x 244 Mančuška, Gordon Matta-Clark, Josh Tonsfeldt, Allan [email protected] Sekula & Noël Burch, and Maya Schweizer www.efanyc.org /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Last Year at Marienbad redux is an exhibition, public program and publication that together examine how fictional narratives develop over time to form accepted knowledge of people, places, events and things. Inspired by the unconventional cinematic techniques such as nonlinear narrative and repetitive language used in the 1961 film Last Year at Marienbad (directed by Alain Resnais, with screenplay by Alain Robbe-Grillet), the exhibition Last Year at Marienbad redux features works of art that deploy these and other devices⎯⎯editing, character development, plot, mise-en-scène and montage⎯⎯to disrupt, challenge and conflate what is understood as fact and fiction. The project explores how memory, meaning and, ultimately, an understanding of reality are shaped. Last Year at Marienbad redux will bring together work by nine international contemporary artists whose practices engage with the technical and conceptual qualities of cinema. -
THE MIAMI* HURRICANE Editor Business Manoger It's ^Morally Right' 1
Committee recommends $11.50 under grad actipi\^^ee By JIM HOLLANDER Optional fee recommendations are $15.85 for law stu The second motion stateslthat no students should p. \ fldltor dents, $26.20 for undergraduates and $25.65 for grads. Op for the amortization of "a |iversttj^ig#7K.lldirg The Blue Ribbon Activity Fee Review Committee has tional activities include SAFAC, SEC, Carni Gras and Lec by way of a mandatory fee." The third motion stales that completed its negotiations and has sent a recommendation ture Series. the principle of equality dot not exist between under- graduate, law and grad students. to the Board of Trustees proposing that undergraduates In its final report, the conclusion of seven meetings LIBRARY .g, pay a mandatory activity fee of 111.50 Undergraduates between undergraduate, law and graduate representatives presently pay a mandatory fee of $11.60 with two "unbiased" faculty members, the committee Gardner, who opposed all the motions and recommen The committee also proposed thai day law students makes three broad recommendations based on three suc dations, has filled a minority report His grievances in pay a mandatory fee of $10.50, evening lavs students pay cessfully passed motions. clude the apparent contradiction between the motion stat $5.25 and graduate students pay $11.75. All other fees are The first motion states that the activity fee shall ing no students should pay for a university building and to be considered optional, according lo Ihe committee's have a mandatory nature and an optional nature to be ap the inclusion in all the mandatory fee schedules of the report. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Memory and Film
MEMORY AND FILM Cinema is obsessed with memory. Time, memory and the past are thematic threads which run through the whole range of film, persistently recurring in national cinemas across the international spectrum. From the popularist mainstream to the obscurest avant-garde – from Steven Spielberg to Andrey Tarkovsky, Alfred Hitchcock to Jean Cocteau, David Lynch to Wong Kar-Wai – it’s difficult to think of a major film artist who hasn’t explored the theme of time, memory and the past. The medium exhibits properties which makes a focus on memory attractive to cinema. The frisson of film, its actuality quality, its ability to pinpoint a moment of time visually and aurally with a visceral immediacy difficult for other mediums. Yet also the sweep of cinema, its ability to move through time and space with the momentum of montage and the evocation of flashback. Cinema can give us an entire life in a few seconds. The fleeting mental images cinema is able to summon – the pictures in the fire – resemble the process of recall itself. Cinema is protective of memory and its veracity. Many films harbour deep suspicion of experiments with memory –Eternal Sunshine of the Spotless Mind (Condry, 2004) and Minority Report (Spielberg, 2002) are examples. I can only think of one movie which guardedly approves of experiments with memory and recall 2 being of potential benefit to mankind – Wim Wenders’ Until the End of the World (1991). Living vicariously through the recall of others is negatively portrayed in dystopian post-apocalyptic narratives such as Blade Runner (Scott, 1982), Strange Days (Bigelow, 1995) and Johnny Mnemonic (Longo, 1996). -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Hiroshima Mon Amour and L'annee Derniere a Marienbad: Meaning Conveyed Through Cinematic Organization
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 7-2-1997 Hiroshima mon amour and L'Annee derniere a Marienbad: Meaning Conveyed through Cinematic Organization Ellen Leigh Agee Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the French and Francophone Language and Literature Commons Let us know how access to this document benefits ou.y Recommended Citation Agee, Ellen Leigh, "Hiroshima mon amour and L'Annee derniere a Marienbad: Meaning Conveyed through Cinematic Organization" (1997). Dissertations and Theses. Paper 5210. https://doi.org/10.15760/etd.7086 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THESIS APPROVAL The abstract and thesis of Ellen Leigh Agee for the Master of Arts in French were presented July 2, 1997, and accepted by the thesis cormnittee and the department. COMMITTEE APPROVALS: ·-)rie Terdal Representative of the Office of Graduate Studies DEPARTMENT APPROVAL: Louis Elteto, Chair Department of Foreign Languages and Literatures * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ACCEPTED FOR PORTLAND STATE UNIVERSITY BY THE LIBRARY on MljJ/ft/? ABSTRACT An abstract of the thesis of Ellen Leigh Agee for the Master of Arts in French presented July 2, 1997. Title: Hiroshima mon amour and L'Annee derniere a Marienbad: Meaning Conveyed Through Cinematic Organization. This thesis examines how the cinematic organization of film is used to convey meaning. Hiroshima mon amour (1959) and L'Annee derniere a Marienbad (1961) I two films directed by Alain Resnais, are used as models for this purpose. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
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