DOCSLIB.ORG

Octobre / Říjen 2010 41

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Octobre / Říjen 2010 41 s e octobre / říjen 2010 41 l l e v u o N Journal de l'Alliance française de Brno Noviny Francouzské Aliance v Brně Edito Chers membres et amis franco- Milí členové a přátelé fran- philes, couzské kultury, Et voilà, c'est la rentrée ; dés le a je to znovu tady, semestr 4 octobre les salles et couloirs začíná; počínaje 4. říjnem se de l'Alliance française de Brno učebny a chodby Francouzské vont se remplir d'étudiants de aliance znovu naplní studenty tous les âges, avides de všech věkových kategorií connaissance et de pratique de dychtícími po znalostech a la belle langue de Molière. zdokonalování se v krásném Molièrově jazyce. Les professeurs sont prêts et en pleine forme après des va- Učitelé jsou po zaslouženém cances bien méritées, et toute prázdninovém odpočinku při- l'équipe de l'Alliance vous pré- praveni a v plné formě a celý pare moult évènements franco- kolektiv Aliance pro vás chystá phones. spoustu frankofonních událostí. Au programme de ce mois V říjnovém programu figurují d'octobre, des films, des filmy, přednášky nebo knihy. conférences ou des livres. Svou činnost v říjnu na Alianci Le Ciné-café rouvre ses portes obnoví cyklem tří filmů Luca à l'Alliance avec la diffusion de Bessona také projekce Ciné-ca- trois films de Luc Besson en fé. Na listopad pak slibují re- octobre, suivie le mois suivant trospektivu věnovanou dílu d'une rétrospective en hom- slavného francouzského režisé- mage à Claude Chabrol, réali- ra tzv. nové vlny Clauda Cha- sateur emblématique de la brola, který opustil nejen « nouvelle vague » française, filmový svět 12. září 2010 ve disparu le 12 septembre 2010 à věku 80 let. l'âge de 80 ans. 1. listopadu budete v kině Art Le 1er novembre, vous pourrez moci shlédnout film Flandres également voir au Kino Art le režiséra Bruno Dumonta, který film Flandres, de Bruno Du- je příběhem o lásce a válce, lid- mont, une fable sur l'amour et skosti i bestialitě – pojmech tak la guerre, l'humanité et la protikladných a přitom tak bestialité – concepts antago- často vzájemně propojených... nistes et pourtant si souvent liés... Dále má Francouzská aliance to potěšení vám oznámit, že do L'Alliance a également le plai- Brna zavítá Eric Glover, no- sir de vous annoncer la venue à vinář pocházející z multikul- Brno d'Eric Glover, journaliste turního prostředí a hovořící polyglotte et multiculturel tra- několika jazyky, který pracuje vaillant au Courrier Internatio- pro časopis Courrier Internatio- nal, journal disponible à l'AF et nal. Tento titul je k zapůjčení v dont vous trouverez une pré- naší mediatéce a představíme sentation dans ces pages. Eric vám ho na stránkách tohoto Glover donnera deux čísla bulletinu. Eric Glover conférences à Brno, auxquelles bude mít v Brně dvě přednáš- vous êtes cordialement invités. ky, na které Vás tímto srdečně zveme. Et nous terminons cet édito en Konec tohoto editorialu využi- vous rappelant que vous pou- jeme k tomu, abychom vám vez suivre l'actualité de připomněli, že veškeré aktuální l'Alliance sur notre site internet informace o Alianci najdete na www.afbrno.cz, mais égale- www.afbrno.cz, ale také na Fa- ment sur Facebook (demandez cebooku (mezi přátele si stačí « Alliance-Française Brno » zařadit „Alliance Française Br- comme ami) ou encore en no“) nebo nově na Twitteru, suivant le fil @AF_Brno sur když budete sledovat odkaz Twitter. @AF_Brno. Nous vous souhaitons une Přejeme Vám příjemný vstup bonne rentrée, et une bonne do nového semestru a také pří- lecture. jemnou četbu. Nicolas Bitaudeau Nicolas Bitaudeau Mediathèque Sélection du Výběr měsíce mois La Guerre d'Alan Alanova válka Emmanuel Guibert Emmanuel Guibert L'Association 2004 L'Association 2004 Ce petit bijou du « roman gra- Tento poklad z kategorie „gra- phique séquentiel », autrement fického románu s posloup- appelé bande dessinée, est né ností“ nebo jinak řečeno de l'amitié entre Emmanuel komiksu, se zrodil z přátelství Guibert, jeune dessinateur fran- Emmanuela Guiberta, mladého çais, et Alan Ingram Cope, an- francouzského kreslíře, a býva- cien G.I. Américain installé en lého amerického vojáka žijící- France. ho ve Francii Alana Ingrama Copea. Pendant plusieurs années, le vieil homme a raconté sa vie de V průběhu několika let vy- soldat pendant la seconde právěl starý muž své příhody guerre mondiale au dessina- ze života vojáka bojujícího za teur. D'innombrables conversa- druhé světové války kreslíři a tions, appels téléphoniques, tyto nesčetné rozhovory, tele- échanges de lettres, ont fourni fonáty a dopisy poskytly námět la matière de l'histoire, ma- pro Guibertovo mistrné gra- gistralement servie par la tech- fické zpracování - střídmé a zá- nique graphique, à la fois roveň precizní. Alan je totiž précise et sobre, d'Emmanuel neobyčejný vypravěč. Když Guibert. Car Alan est un extra- vypráví své příhody, jeho ordinaire conteur. Lorsqu'il ra- myšlenky se odvíjí velmi přiro- conte sa vie, sa pensée se zeně. Příběhy tak nejsou vy- déroule naturellement ; právěny chronologicky, jde l'histoire suit ainsi un chemine- spíše o volné řazení vzpomí- ment non chronologique, mais nek: život v armádě, rodina, qui avance par associations kamarádi... Až ke konci války, d'idées : la vie à l'armée, la v roce 1945, se dostává do famille, les copains... Ce n'est Evropy. Od té chvíle jsme qu'à la fin de la guerre, en svědky jeho cesty zdevastova- 1945, qu'il part en Europe. On nou Francií, bleskového prů- suit dés lors sa traversée de la chodu Paříží, doprovázíme jej France dévastée, son passage při proniknutí do Německa, což éclair à Paris, sa percée en Al- ho nakonec zavede přes Plzeň lemagne qui l'emmènera jus- až do Československa, kon- qu'en Tchécoslovaquie, à krétně do Prahy. Prague en passant par Pilsen. Není to hrdinské vyprávění, Ce n'est pas un récit héroïque. spíše sled drobných příběhů, Plutôt une succession de petites dojmů či anekdot týkajících se histoires émouvantes, d'impres- přátelství, štěstí, neštěstí, sions, d'anecdotes, parlant různých setkání... Grafika d'amitié, de chance et de mal- střídá scenérie provedené s vel- chance, de rencontres... Le gra- kou přesností s přehlídkami phisme alterne décors d'une postaviček na bílém pozadí, grande précision et galeries de což vyprávění v žádném pří- personnages sur fond blanc, ce padě neochuzuje, právě naopak qui loin d'appauvrir le récit le jej činí naprosto plynulým. rend d'une fluidité totale. Alan Alan používá relativně nená- utilise un vocabulaire relative- ročný slovník, čímž tento ko- ment simple qui rend cette BD miks zpřístupňuje všem accessible à partir d'un petit ni- pokročilostem počínaje zák- veau de français, et le dessin ladní znalostí francouzštiny, a simple et détaillé plaira aux jednoduché, ale propracované néophytes comme aux incondi- obrázky se zalíbí jistě stejně tionnels du neuvième art. tak těm, kteří berou komiks do rukou poprvé, jako i věrným vyznavačům devátého umění. Ciné-Café Ouvert aux membres Vyhrazeno pro členy avec participation de 30 Kč účastnický poplatek 30 Kč Alliance française Francouzská aliance CYCLE « LUC BESSON » CYKLUS „LUC BESSON“ Le Ciné-café vous propose en Na začátku tohoto školního ro- ce début d'année de (re)décou- ku Vám nabízíme možnost vrir trois films de Luc Besson, poznat nebo si připomenout tři datant du début de sa carrière filmy Luca Bessona pocháze- de réalisateur, bien avant les jící z počátků jeho režisérské succès internationaux du Cin- dráhy, ty které vznikly dávno quième élément, de Jeanne před mezinárodně úspěšným d'Arc ou de la série (certes in- Pátým elementem, Johankou z égale) des Taxi. Arku nebo sérií Taxi. Au menu, Le Dernier Combat, Na programu je Poslední bitva, son premier long métrage en první dlouhometrážní černobílý noir et blanc, Subway un snímek, dále film Podzemka, v voyage dans le milieu interlope němž nahlédneme do pochyb- du métro parisien, et Nikita, ného prostředí pařížského me- film noir et violent annonçant tra a nakonec Brutální Nikita, le futur Léon. drsný krvák předznamenávající snímek Léon. Jeudi 7 octobre, 20h00 Čtvrtek 7. října, 20:00 hod. Le Dernier Combat (1983) Poslední bitva (1983) Durée : 90 min Délka: 90 min. Film muet Němý film Genre : science-fiction/post- Žánr: postapokalyptická sci-fi apocalyptique Festival d'Avoriaz 1983 : Prix Speciální cena poroty na spécial du Jury, Festival inter- Festivalu v Avoriaz 1983, spe- national de Bruxelles: Prix ciální cena kritiky na Meziná- spécial de la critique, Césars rodním festivalu v Bruselu, 1984: Nomination au César nominace na Césara v roce pour la meilleure première 1984 za nejlepší prvotinu œuvre Synopsis : Le film se déroule Děj: Děj filmu se odehrává po après une apocalypse nucléaire nukleární katastrofě. Několik ; les rares survivants sont en málo lidí, kteří přežili jsou majorité des hommes, les vesměs muži, ženy prakticky femmes ont pratiquement zmizely. Zdá se, že jsou po- disparu. Ils semblent n'avoir sedlí jedinou myšlenkou – vzá- qu'une seule obsession : jemně se pozabíjet nebo si s'entretuer ou asservir leur pro- druhé zotročit. Vůbec přitom chain. Aucun dialogue ne s'éta- spolu nemluví, protože tuto blit entre eux, ils ne savent plus schopnost ztratili. Hlavní parler. Le personnage princi- postava přežívající ve světě na- pal, survivant d'un monde à cházejícím se v agonii odchází l'agonie, part à la recherche de hledat svou ztracenou lidskost. son humanité perdue. Avec : Pierre Jolivet, Jean Hrají: Pierre Jolivet, Jean Bouise, Fritz Wepper, Jean Re- Bouise, Fritz Wepper, Jean Re- no no Jeudi 14 octobre, 20h00 Čtvrtek 14. října, 20:00 hod. Subway (1985) Podzemka (1985) Durée : 104 min Délka: 104 min. Français (sous-titré tchèque) Fr. znění s českými titulky Genre : polar dramatique Žánr: policejní drama César du meilleur acteur César pro nejlepšího herce (Christophe Lambert), meilleur (Christophe Lambert), nejlepší décor, meilleur son, Victoire de výprava, nejlepší zvuk, cena la meilleure musique de film Victoire za nejlepší filmovou (Eric Serra) hudbu (Eric Serra) Synopsis : Après avoir dérobé Děj: Fred (Christophe Lam- des documents compromet- bert) ukradl kompromitující tants, un homme se réfugie dokumenty a skrývá se ve fas- dans l'univers fascinant et agité cinujícím a rušném světě du métro parisien.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • A Film by Catherine BREILLAT Jean-François Lepetit Présents
    a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”.
    [Show full text]
  • The Phenomenological Aesthetics of the French Action Film
    Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema.
    [Show full text]
  • GAUMONT PRESENTS: a CENTURY of FRENCH CINEMA, on View Through April 14, Includes Fifty Programs of Films Made from 1900 to the Present
    The Museum of Modern Art For Immediate Release January 1994 GAUNONT PRESENTS: A CENTURY OF FRENCH CINEMA January 28 - April 14, 1994 A retrospective tracing the history of French cinema through films produced by Gaumont, the world's oldest movie studio, opens at The Museum of Modern Art on January 28, 1994. GAUMONT PRESENTS: A CENTURY OF FRENCH CINEMA, on view through April 14, includes fifty programs of films made from 1900 to the present. All of the films are recently restored, and new 35mm prints were struck especially for the exhibition. Virtually all of the sound films feature new English subtitles as well. A selection of Gaumont newsreels [actualites) accompany the films made prior to 1942. The exhibition opens with the American premiere of Bertrand Blier's Un deux trois soleil (1993), starring Marcello Mastroianni and Anouk Grinberg, on Friday, January 28, at 7:30 p.m. A major discovery of the series is the work of Alice Guy-Blache, the film industry's first woman producer and director. She began making films as early as 1896, and in 1906 experimented with sound, using popular singers of the day. Her film Sur la Barricade (1906), about the Paris Commune, is featured in the series. Other important directors whose works are included in the exhibition are among Gaumont's earliest filmmakers: the pioneer animator and master of trick photography Emile Cohl; the surreal comic director Jean Durand; the inventive Louis Feuillade, who went on to make such classic serials as Les Vampires (1915) and Judex (1917), both of which are shown in their entirety; and Leonce Perret, an outstanding early realistic narrative filmmaker.
    [Show full text]
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
    [Show full text]
  • AFI PREVIEW Is Published by the Age 46
    ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors.
    [Show full text]
  • Strong Women
    Strong Women 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ Strong Women CONTENTS IMPORTANT NOTE..............................................................................................................................1 INTRODUCTION: Accessing Research Materials..............................................................................2 APPROACHES TO RESEARCH, by Samantha Bakhurst ..................................................................4 STRONG WOMEN Introduction............................................................................................................................................6 GENERAL REFERENCES Books.....................................................................................................................................................8 Journal and Press Articles....................................................................................................................9 BIBLIOGRAPHIES • Fantasy/Sci-Fi..................................................................................................................................11 • Horror...............................................................................................................................................13 • Adaptations/Costume Dramas........................................................................................................15 • Contemporary Black/Asian Cinema................................................................................................17
    [Show full text]
  • EXE Sex Isé/DP-5Int.Qxd
    Jean-François Lepetit présente Anne Parillaud Grégoire Colin REC le nouveau film de Catherine Breillat avec Roxane Mesquida Ashley Wanninger Ouverture Quinzaine des Réalisateurs Cannes 2002 Jean-François Lepetit présente L es rapports d'une réalisatrice, Anne Parillaud, qui dirige deux comédiens dont elle a décidé d'obtenir le maximum pour Un film de Catherine Breillat une scène très difficile, une scène intime. Avec Anne Parillaud - Grégoire Colin Roxane Mesquida - Ashley Wanninger SORTIE FRANCE LE 5 JUIN 2002 Durée : 1 h 32 / Format : 1.85 / Son : Dolby SR / Visa : 103.693 www.sexiscomedy.com DISTRIBUTION FRANCE RELATIONS PRESSE FRANCE PRESSE INTERNATIONALE REZO FILMS A.S. COMMUNICATION ALIBI COMMUNICATIONS Paris : 29, rue du Faubourg Poissonnière Alexandra SCHAMIS et Blanche Aurore DUAULT Brigitta PORTIER 75009 Paris Paris : 11 bis, rue Magellan – 75008 Paris Village des rencontres du 7e art Tél. : 01 42 46 96 10 Tél. : 01 47 23 00 02 / Fax : 01 47 23 00 01 GRAND HÔTEL Fax : 01 42 46 96 11 e-mail : [email protected] Tél. : 04 93 99 80 68 e-mail : [email protected] Cannes : HÔTEL MARTINEZ Fax : 04 93 99 80 69 Cannes : 13, avenue Notre Dame des Pins Tél. direct : 04 97 97 76 59 / Fax direct : 04 93 94 94 39 Portable francais : 06 12 48 29 37 06400 Cannes Portable Alexandra SCHAMIS : 06 17 62 14 41 Portable int. : 0032 477 98 25 84 Tél. / Fax : 04 93 43 32 43 Portable Blanche Aurore DUAULT : 06 60 16 89 23 e-mail : [email protected] 2 Note d’intention « J'ai tout d'abord eu envie de faire UN FILM SUR LE CINÉMA, SUR Ce qu'il y a, c'est que le fond de lâcheté, ça les quitte pas, alors quand tu te mets à CE PROCESSUS MYSTÉRIEUX ET CE QU'ON APPELLE (À TORT) être dure avec eux, alors que t'as aucun moyen de pression et qu'en fait, c'est eux qui DIRIGER UN FILM OU DES ACTEURS.
    [Show full text]
  • Movie Museum APRIL 2012 COMING ATTRACTIONS
    Movie Museum APRIL 2012 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY Hawaii Premiere! Good Friday Passover Easter 2 Hawaii Premieres! RABBIT WITHOUT EARS THE WAY HUGO THE WAY SPLENDOR (2007-Germany) (2010-US/Spain) (2011) (2010-US/Spain) (1989-Italy/France) in German with English in widescreen 2D presentation in widescreen Italian w/Eng subtitles & w.s. subtitles & in widescreen in widescreen with Martin Sheen. with Marcello Mastroianni. Til Schweiger, Nora Tschirner. with Martin Sheen, Emilio Ben Kingsley, Asa Butterfield, 12:00 & 2:15pm only 12:30 & 8:30pm only 12, 2 & 4pm only Estevez, Deborah Kara Unger, Sacha Baron Cohen, Chloe ---------------------------------- ---------------------------------- ---------------------------------- Yorick van Wageningen, Grace Moretz, Ray Winstone. Hawaii Premiere! WHAT TIME IS IT? HUGO (2011) James Nesbitt. RABBIT WITHOUT EARS aka Che ora è? 2D in widescreen Directed by (2007-Germany) (1989-Italy/France) Ben Kingsley, Asa Butterfield, Directed and Co-written by Martin Scorsese. in German with English in Italian with English Sacha Baron Cohen. Emilio Estevez. subtitles & in widescreen subtitles & in widescreen Directed by Martin Scorsese. 12:00, 2:15, 4:30, 6:45 Til Schweiger, Nora Tschirner. with Marcello Mastroianni. 6:15 & 8:30pm only 12:30, 3, 5:30 & 8pm & 9:00pm 4:30, 6:30 & 8:30pm only 2:30, 4:30 & 6:30pm only 5 6 7 8 9 Hawaii Premiere! Hawaii Premiere! WAR HORSE THE SOMME MARTHA MARCY MAY WAR HORSE WHAT TIME IS IT? (2011) (2005-UK) MARLENE (2011) aka Che ora è? (2011) in widescreen in widescreen in widescreen Directed by (1989-Italy/France) narrated by Tilda Swinton. in widescreen with Jeremy Irvine, Peter Italian w/Eng subtitles & w.s.
    [Show full text]
  • Portrayal of the Disabled Body in Catherine Breillat's Abus
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by espace@Curtin ‘C’était moi mais ce n’était pas moi’: portrayal of the disabled body in Catherine Breillat’s Abus de faiblesse (2013) Kath Dooley [[email protected]] Department of Screen Arts, Curtin University, Kent St, Bentley WA 6102, Australia Writer/director Catherine Breillat's most recent film Abus de faiblesse (2013) explores an important moment of bodily transition: the change from able to disabled body. This semi-autobiographic film follows the story of film director, Maud (Breillat's alter ego), who forms a destructive relationship with a conman, Vilko, after she suffers a disabling stroke. This film shows consistency with Breillat's previous work in its exploration of the constructed nature of the female body onscreen. In the past the filmmaker has portrayed moments of trauma and transition (such as childbirth, loss of virginity or rape) to subvert processes of objectification. The article argues that Abus de faiblesse challenges and subverts representation of the post-menopausal and disabled body onscreen. The film interrogates binary oppositions such as able/disabled and independence/dependency to challenge representations of the disabled body as 'other'. With reference to scholarly work on disability (Mitchell and Snyder 2006) and the aging female body (Markson 2003; Ussher 2006) the article suggests that Maud's sadomasochistic relationship with Vilko is driven by a quest to retain her subjectivity after her stroke. The article demonstrates that the film dissects the feared and the unknown territory of the aging female body.
    [Show full text]
  • And the Winner Is: Inviting Hollywood Into the Neuroscience Classroom
    The Journal of Undergraduate Neuroscience Education (JUNE), Fall 2002, 1(1): A4-A17. And the Winner Is: Inviting Hollywood into the Neuroscience Classroom Eric P. Wiertelak Department of Psychology, Macalester College, Saint Paul, MN 55105 Both short excerpts from, and full-length presentation of neuroscience film series, features group discussion of feature films have been used with success in movies of perhaps more limited relevance to neuroscience. undergraduate instruction. Studies of such use of films has An additional goal of this article is provide the reader revealed that incorporation of film viewing within courses with initial resources for the selection of potential film titles can promote both content mastery and the development of for use in neuroscience education. Three extensive tables critical thinking skills. This article discusses and provides are included to provide a wide range of title suggestions examples of successful use of two methods that may be appropriate for use in activities such as the neuro-cinema, used to incorporate a variety of full-length feature films into the neuroscience film series, or for more limited use as neuroscience instruction. One, the "neuro-cinema" pairs short "clips" in classroom instruction. the presentation of a film featuring extensive neuroscience content with primary literature reading assignments, group Key Words: teaching methods; neuroscience education; discussion and writing exercises. The second, a Motion Pictures; films; movies. It is no secret that instructors across disciplines have long neuroscience education may also help students to made use of feature films and short "clips" from movies in recognize the many intellectual and vocational possibilities conjunction with classroom instruction.
    [Show full text]