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Sexo, Amor Y Cine Por Salvador Sainz Introducción
Sexo, amor y cine por Salvador Sainz Introducción: En la última secuencia de El dormilón (The Sleeper, 1973), Woody Allen, desengañado por la evolución polí tica de una hipotética sociedad futura, le decí a escéptico a Diane Keaton: “Yo sólo creo en el sexo y en la muerte” . Evidentemente la desconcertante evolución social y polí tica de la última década del siglo XX parecen confirmar tal aseveración. Todos los principios é ticos del filósofo alemá n Hegel (1770-1831) que a lo largo de un siglo engendraron movimientos tan dispares como el anarquismo libertario, el comunismo autoritario y el fascismo se han desmoronado como un juego de naipes dejando un importante vací o ideológico que ha sumido en el estupor colectivo a nuestra desorientada generación. Si el siglo XIX fue el siglo de las esperanzas el XX ha sido el de los desengaños. Las creencias má s firmes y má s sólidas se han hundido en su propia rigidez. Por otra parte la serie interminable de crisis económica, polí tica y social de nuestra civilización parece no tener fin. Ante tanta decepción sólo dos principios han permanecido inalterables: el amor y la muerte. Eros y Tá natos, los polos opuestos de un mundo cada vez má s neurótico y vací o. De Tánatos tenemos sobrados ejemplos a cada cual má s siniestro: odio, intolerancia, guerras civiles, nacionalismo exacerbado, xenofobia, racismo, conservadurismo a ultranza, intransigencia, fanatismo… El Sé ptimo Arte ha captado esa evolución social con unas pelí culas cada vez má s violentas, con espectaculares efectos especiales que no nos dejan perder detalle de los aspectos má s sombrí os de nuestro entorno. -
Transformations of Queer Iberian Cinema a Dissertation SUBMITTED
Living and Dying for the Plural: Transformations of Queer Iberian Cinema A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Scott Michael Ehrenburg IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advisers: William Viestenz & Ofelia Ferrán March 2017 © Scott Michael Ehrenburg 2017 Acknowledgements This dissertation would not have been realized without the help of so many wonderful people. First and foremost, I would like to thank my advisors, Bill Viestenz and Ofelia Ferrán, for serving as encouraging, deliberate, and thoughtful interlocutors throughout my time in graduate school. I sincerely thank Nicholas Spadaccini for his committement to mentoring me about the profession as well as allowing me to serve as a member of the Hispanic Issues team. I am grateful to Jigna Desai for being so generous with her time in helping shape my work in a way that truly crosses disciplinary divides. I would also like to acknowledge the sustained funding by the Department of Spanish and Portugese Studies, particulary during the summer months, which was vital for my timely progress toward degree. I am thankful for being the recpient of Hella Mears Fellowship for German and European Studies, which provided generous funding needed for me to complete this dissertation. I must recognize all of my teachers, professors, and instructors throughout the years. All of you have informed the kind of educator I have become and will continue to be. Thank you so much, Katie Levin and the Center for Writing! You provided me with hundreds of hours of non-judgmental support in a space that was safe and comfortable. -
Festival Centerpiece Films
50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E. -
Le Programme October – November 2017 02 Contents/Highlights
Le Programme October – November 2017 02 Contents/Highlights Ciné Lumière 3–17 Performances & Talks 18–20 Projet Lumière(s) 20 61st BFI London Film Festival Tribute to Jeanne Moreau 25th French Film Festival South Ken Kids Festival 22 5 – 15 Oct 19 Oct – 17 Dec 2 – 9 Nov p.6 pp.16-17 pp.9-13 Kids & Families 23 We Support 24 We Recommend 25 French Courses 27 South Ken Kids Festival Impro! Suzy Storck La Médiathèque / Culturethèque 28 13 – 19 Nov 18 Nov 26 Oct – 18 Nov p.22 p.18 Gate Theatre p.24 General Information 29 front cover image: Redoubtable by Michel Hazanavicius Programme design by dothtm Ciné Lumière New Releases Le Correspondant In Between On Body and Soul FRA/BEL | 2016 | 85 mins | dir. Jean-Michel Ben Soussan, Bar Bahar Teströl és lélekröl with Charles Berling, Sylvie Testud, Jimmy Labeeu, Sophie PSE/ISR/FRA | 2016 | 102 mins | dir. Maysaloun Hamoud, with HUN | 2017 | 116 mins | dir. Ildikó Enyedi, with Géza Mousel | cert. tbc | in French with EN subs Mouna Hawa, Sana Jammelieh, Shaden Kanboura | cert. 15 Morcsányi, Alexandra Borbély, Zoltán Schneider | cert. 18 in Hebrew & Arabic with EN subs in Hungarian with EN subs Malo and Stéphane are two students who are kind of losers and have just started high school. Their genious Winner of the Young Talents Award in the Women in Marking a singular return for Hungarian writer-director plan to become popular: to host a German exchange Motion selection in Cannes this year, In Between follows Ildikó Enyedi after an 18-year gap, On Body and Soul tells student with a lot of style, preferably a hot girl. -
{Dоwnlоаd/Rеаd PDF Bооk} the Fashion of Film: How Cinema Has
THE FASHION OF FILM: HOW CINEMA HAS INSPIRED FASHION PDF, EPUB, EBOOK Amber Jane Butchart | 224 pages | 08 Sep 2016 | Octopus Publishing Group | 9781784721763 | English | London, United Kingdom 25 Most Iconic Fashion Moments In Film However, since then various factors have enriched and diversified fashion's interaction with film. First, there was—in the wake of Audrey Hepburn 's successful collaboration with the then young and relatively unknown Paris couturier Hubert de Givenchy from Sabrina onward—the growing use of fashion as opposed to costume design on a number of key movies. Third and a far more contemporary factor is the rise in celebrity culture and a burgeoning interest in movie stars, what they wear both on and off the screen. From the s through the s, relatively few fashion designers demeaned themselves by working for moving pictures. It was Givenchy's collaboration with Hepburn that changed everything. Called in reputedly at Hepburn's behest, Givenchy's first film costumes were the ball gowns in Sabrina. The details of this story are muddled because Givenchy's account of his input in the film at times directly contradicts the version proffered by the film's overall costume designer, Edith Head. Head, who had designed the costumes for Hepburn's Oscar- winning role as the princess in Roman Holiday just the previous year, was clearly hurt by the star's—and director's—decision to acquire an actual Paris wardrobe for Sabrina. In The Dress Doctor , Head comments: "I had to console myself with the dress, whose boat neckline was tied on each shoulder—widely known and copied as 'the Sabrina neckline'" Head and Ardmore , p. -
Remembrance of Things Past: Shakespeare’S Comedies on French Television
Remembrance of Things Past: Shakespeare’s Comedies on French Television Sarah HATCHUEL and Nathalie VIENNE -GUERRIN This essay explores how Shakespeare’s comedies were adapted, appropriated and transformed by French television, with a focus on the early days of television. The first striking fact is that, if one is to except stage productions that were filmed and then broadcast, Shakespeare has not been adapted for French television since 1980. In other words, it has been twenty-eight years since a Shakespeare play was last translated, directed and performed for the exclusive benefit of TV viewers. Shakespeare on French television is not our contempor- ary 1. Through the documentary research for this essay, we went back to a time when the mingling of Shakespeare with television seemed to be less daunting and more economically viable than it is today. From the end of the fifties to the seventies, French television offered a substantial cycle: Twelfth Night was directed by Claude Loursais in 1957, then by Claude Barma in 1962; Othello (dir. Claude Barma) appeared on the TV screens in 1962, soon to be followed by Much Ado About Nothing (dir. Pierre Badel), The Merry Wives of Windsor (dir. Roger Iglesis) and The Taming of the Shrew (dir. Pierre Badel) in 1964, by King Lear (dir. Jean Kerchbron) in 1965, and by Antony and Cleopatra (dir. Jean Prat) in 1967. The seventies saw the broadcast of Measure for Measure (dir. Marcel Bluwal, 1971), As You Like It (dir. Agnès Delarive, 1972) and Romeo and Juliet (dir. Claude Barma, 1973). This cycle of French TV Shakespeare stopped short in 1980 _____ 1. -
Welt of DRAGON GATE Unter Eigentümlich Anmutendes Bewusst- Verleihung Am 14.2
24 DER TAGESSPIEGEL BERLINALE NR. 21 232 / MITTWOCH, 1. FEBRUAR 2012 25 DAS HAUPTPROGRAMM DES FESTIVALS 24 Filme im Wettbewerb, außer Konkurrenz und in Sondervorführungen LES ADIEUX À LA REINE WETTBEWERB Von Müttern, Leibärzten Letztes Jahr raste Diane Kruger (Foto, AUSSER KONKURRENZ Hier vor allem tummeln sich Stars. Ovationen rechts) als furchtlose Taxifahrerin Früh und Kindersoldaten: 18 Filme, darunter drei deutsche, durch den Wettbewerbsthriller In Hollywood- und Martial-Arts-Produktionen – „Unknown Identity“. Jetzt kommt die und konkurrieren um den Goldenen Bären Blick in 35-Jährige als Königin Marie und in Historienfilmen, die im Kostümrausch schwelgen übt Antoinette zurück in den Berlinale- Palast. Benoît Jacquots Eröffnungs- GNADE die film spielt im Juli 1789 während des EXTREMELY LOUD AND Oasen Zum dritten Mal nach „Der freie Wille“ und Ausbruchs der Französischen Revolu- INCREDIBLY CLOSE sich „This is Love“ spielt Jürgen Vogel die Haupt- tion. Am Hof Ludwig XVI. in Versailles Stephen Daldry („The Hours“) hat den gleich- rolle in einem Drama von Matthias Glasner. macht sich Nervosität breit. Auch namigen Roman von Jonathan Safran Foer Ein EHRENBÄR Zentrale Themen sind wieder Schuld, Marie Antoinette trifft Vorkehrungen verfilmt: Es geht um den neunjährigen Oskar RETROSPEKTIVE für Meryl Streep, Sühne und Vergebung. Vogel verkörpert für den Ernstfall: Sie befiehlt der ihr Schnell (Thomas Horn, Foto rechts). Dessen „Meschrabpom – den deutschen Ingenieur Niels, der zusam- nahe stehenden Vorleserin Sidonie Vater (Tom Hanks, links) kommt beim Angriff drei Berlinale-Kameras, men mit seiner Frau Maria und dem gemein- Laborde, in ihren Kleidern in eine auf das World Trade Center am 11. September Die rote Traumfabrik“ samen Sohn im norwegischen Hammerfest Kutsche zu steigen und davonzufah- 2001 ums Leben. -
Rated Equis: American Reactions to the Films of Pedro Almodóvar
Rated Equis: American Reactions to the Films of Pedro Almodóvar Honors College Thesis Catherine Wheeler Advisor: Tina Escaja Spanish Department University of Vermont Introduction Sweet heart of mine suddenly attacked. All for loving more than the permissible. All because a cigar sits in a mouth And dampens in its succulent silks. Because a provocative T-shirt points out On his chest, the sculpted shield, And a vigorous arm peeks from the smallest sleeve. All because some legs, some perfect legs, In the tightest pants, separate in front of me. They separate. -Ana Rossetti, “Chico Wrangler” (Translated Catherine Wheeler) Pedro Almodóvar, now the world’s most celebrated Spanish film director since Luis Buñuel, has been hailed as the poster boy for the Madrid movida, an “anything goes” cultural movement that immediately followed the death of Francisco Franco in 1975. The movida has been called an attempt to unify all people regardless of birthplace, politics, economics, and sexual identity, while in practice it pertained mostly to the middle and upper classes. After nearly forty years of extreme conservatism under Franco’s regime, the youth of Madrid reacted to its newfound creative and sexual liberty with unparalleled gusto. The movida emphasized a reversal of traditional gender roles, sexual experimentation, and drug use. By its end in the mid 1980s, politicians had embraced the movida as Madrid’s new, post-fascism identity (Stapell). This political institutionalization of an originally pseudo anarchistic movement signified the death of the period of extreme self-liberation. The movida petered out by the mid 1980s, largely due to the spread of AIDS and movida members’ rampant drug use. -
Alice T at Eternity's Gate
3 DAYS IN QUIBERON (3 Tage in Quiberon) Germany, Austria, France • Director: Emily Atef • 115m • German, French, English with subtitles Romy Schneider rocketed to teen movie stardom in the 1950s playing Sissi, the future Austrian Empress Elisabeth. But fame brought with it a turbulent life, one Schneider candidly recounted to France’s Stern magazine in 1981. Filmmaker Emily Atef reconstructs the circumstances surrounding that interview in this powerful black-and-white docudrama featuring an unforgettable turn from Marie Bäumer as the ill-fated actress. THU. 10/18, 8:15 PM FRI. 10/19, 7:45 PM _____________________________________________________________________________________________ ALICE T Romania, France, Sweden • Director: Radu Muntean • 105m • Romanian with subtitles Teenage Alice is at war with the world around her, not least with her embattled mother Bogdana—acting out and lying almost pathologically. When Bogdana learns of Alice’s pregnancy, it might be just the opportunity for them to reshape their own relationship. From Romanian maverick Muntean (Tuesday, After Christmas) comes this unyielding, complex character study that draws out the drama of everyday life. SAT. 10/13, 5:30 PM SUN. 10/14, 12:15 PM THU. 10/18, 1:00 PM ____________________________________________________________________________________________ AT ETERNITY’S GATE U.S., France • Director: Julian Schnabel • 111m From Academy Award®-nominee Julian Schnabel (The Diving Bell and the Butterfly, Before Night Falls, Basquiat), At Eternity's Gate is a journey inside the world and mind of a person who, despite skepticism, ridicule, and illness, created some of the world’s most beloved and stunning works of art. This is not a forensic biography, but rather scenes based on Vincent van Gogh’s (Academy Award®-nominee Willem Dafoe) letters, common agreement about events in his life that present as facts, hearsay, and moments that are just plain invented. -
Classic French Film Festival 2013
FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series Webster University’s Winifred Moore Auditorium, 470 E. Lockwood Avenue June 13-16, 20-23, and 27-30, 2013 www.cinemastlouis.org Less a glass, more a display cabinet. Always Enjoy Responsibly. ©2013 Anheuser-Busch InBev S.A., Stella Artois® Beer, Imported by Import Brands Alliance, St. Louis, MO Brand: Stella Artois Chalice 2.0 Closing Date: 5/15/13 Trim: 7.75" x 10.25" Item #:PSA201310421 QC: CS Bleed: none Job/Order #: 251048 Publication: 2013 Cinema St. Louis Live: 7.25" x 9.75" FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series The Earrings of Madame de... When: June 13-16, 20-23, and 27-30 Where: Winifred Moore Auditorium, Webster University’s Webster Hall, 470 E. Lockwood Ave. How much: $12 general admission; $10 for students, Cinema St. Louis members, and Alliance Française members; free for Webster U. students with valid and current photo ID; advance tickets for all shows are available through Brown Paper Tickets at www.brownpapertickets.com (search for Classic French) More info: www.cinemastlouis.org, 314-289-4150 The Fifth Annual Classic French Film Festival celebrates St. Four programs feature newly struck 35mm prints: the restora- Louis’ Gallic heritage and France’s cinematic legacy. The fea- tions of “A Man and a Woman” and “Max and the Junkmen,” tured films span the decades from the 1920s through the Jacques Rivette’s “Le Pont du Nord” (available in the U.S. -
Chapter 11), Making the Events That Occur Within the Time and Space Of
CHAPTER I INTRODUCTION: IN PRAISE OF BABBITTRY. SORT OF. SPATIAL PRACTICES IN SUBURBIA Kenneth Jackson’s Crabgrass Frontiers, one of the key histories of American suburbia, marshals a fascinating array of evidence from sociology, geography, real estate literature, union membership profiles, the popular press and census information to represent the American suburbs in terms of population density, home-ownership, and residential status. But even as it notes that “nothing over the years has succeeded in gluing this automobile-oriented civilization into any kind of cohesion – save that of individual routine,” Jackson’s comprehensive history under-analyzes one of its four key suburban traits – the journey-to-work.1 It is difficult to account for the paucity of engagements with suburban transportation and everyday experiences like commuting, even in excellent histories like Jackson’s. In 2005, the average American spent slightly more than twenty-five minutes per day commuting, a time investment that, over the course of a year, translates to more time commuting than he or she will likely spend on vacation.2 Highway-dependent suburban sprawl perpetually moves farther across the map in search of cheap available land, often moving away from both traditional central 1 In the introduction, Jackson describes journey-to-work’s place in suburbia with average travel time and distance in opposition to South America (home of siestas) and Europe, asserting that “an easier connection between work and residence is more valued and achieved in other cultures” (10). 2 One 2003 news report calculates the commuting-to-vacation ratio at 5-to-4: “Americans spend more than 100 hours commuting to work each year, according to American Community Survey (ACS) data released today by the U.S. -
Costa-Gavras: a Retrospective
The Museum of Modern Art For Immediate Release March 1990 COSTA-GAVRAS: A RETROSPECTIVE April 13 - 24, 1990 A complete retrospective of twelve feature films by Costa-Gavras, the Greek-born French filmmaker, opens at The Museum of Modern Art on April 13, 1990. Both thought provoking and entertaining, Costa-Gavras's suspenseful mysteries deal with compelling social issues and are often based on actual political incidents. His stories involve the motivations and misuses of power and often explore the concept of trust in personal and public relationships. His films frequently star such popular actors as Fanny Ardant, Jill Clayburgh, Jessica Lange, Jack Lemmon, Yves Montand (who stars in six of the films), Simone Signoret, Sissy Spacek, and Debra Winger. Opening with Z (1969), one of his best-known works, COSTA GAVRAS: A RETROSPECTIVE continues through April 24. New prints of Costa-Gavras's early French films have been made available for this retrospective. These include his first film, The Sleeping Car Murders (1965), a thriller about the hunt for a murderer on an overnight train; the American premiere of the original version of One Man Too Many/Shock Troops (1967), a story of resistance fighters who free a group of political prisoners from a Nazi jail; and Family Business (1986), a drama about the transformation of a family crime ring into the local affiliate of an international syndicate. Also featured are Z (1969), an investigation into the murder of a politician; State of Siege (1972), a fictionalized version of the 1970 kidnapping of an American diplomat in Uruguay; and Special Section -more- 11 West 53 Street, New York, N.Y.