My Winnipeg Introduced by Guy Maddin Selected Filmography 1
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Redalyc.My Winnipeg La Imagen, El Lenguaje, La Memoria
Redalyc Sistema de Información Científica Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Delgado Chiaberto, Joanna; Bonilla García, Santiago My Winnipeg la imagen, el lenguaje, la memoria Revista Mexicana de Estudios Canadienses (nueva época), núm. 19, 2010, pp. 183- 190 Asociación Mexicana de Estudios sobre Canadá, A.C. Culiacán, México Disponible en: http://www.redalyc.org/src/inicio/ArtPdfRed.jsp?iCve=73920853010 Revista Mexicana de Estudios Canadienses (nueva época) ISSN (Versión impresa): 1405-8251 [email protected] Asociación Mexicana de Estudios sobre Canadá, A.C. México ¿Cómo citar? Número completo Más información del artículo Página de la revista www.redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto A la Guy MAddin Guy Maddin es distinguido y apreciado por su original re- creación de la estética del cine mudo y del primer cine sonoro. My Winnipeg Se le ha llamado el David Lynch canadiense por el carácter ex- LA IMAGEN, EL LENGUAJE, LA MEMORIA perimental y surrealista de sus trabajos. Joanna Delgado Chiaberto* y Santiago Bonilla García** This essay offers an analysis about the correspondence be- tween language, memory and image in Canadian filmmaker Guy Maddin’s film, My Winnipeg. It pretends to put on the spotlight the mechanisms, both cinematographic and discursive, that the director uses to evocate the past and to show a personal and unique vision of his native city by means of a filmic experiment. Sabemos que Guy Maddin na- santes de Canadá por sus nume- ció en Winnipeg el 28 de febre- rosas y particulares propuestas ro de 1956; que se tituló como a lo largo de los años. -
PACKING, UNPACKING, and REPACKING the CINEMA of GUY MADDIN George Melnyk University of Calgary
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2011 REVIEW ESSAY: PACKING, UNPACKING, AND REPACKING THE CINEMA OF GUY MADDIN George Melnyk University of Calgary Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Melnyk, George, "REVIEW ESSAY: PACKING, UNPACKING, AND REPACKING THE CINEMA OF GUY MADDIN" (2011). Great Plains Quarterly. 2683. http://digitalcommons.unl.edu/greatplainsquarterly/2683 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. REVIEW ESSAY Playing with Memories: Essays on Guy Maddin. Edited by David Church. Winnipeg: University of Manitoba Press, 2009. xiii + 280 pp. Grayscale photography section, notes, filmography, bibliography, index. $29.95 paper. Into the Past: The Cinema of Guy Maddin. By William Beard. Toronto: University of Toronto Press, 2010. xii + 471 pp. Photographs, appendix, notes, bibliography, index. $85.00 cloth, $37.95 paper. Guy Maddin's "My Winnipeg." By Darren Wershler. Toronto: University of Toronto Press, 2010. 145 pp. Photographs, production credits, notes, bibliography. $45.00 cloth, $17.95 paper. My WinniPeg. By Guy Maddin. Toronto: Coach House Press, 2009. 191 pp. Photographs, film script, essays, interview, filmography, miscellanea. $27.95 paper. PACKING, UNPACKING, AND REPACKING THE CINEMA OF GUY MADDIN Guy Maddin is Canada's most unusual film director, allowed him to create a genuinely maker. -
ANNUAL REPORT >> July 1, 2011 to June 30, 2012
ANNUAL REPORT >> July 1, 2011 to June 30, 2012 DIY Filmmaking for Women Workshop Participants CONTENTS Board of Directors / 2 Staff / 3 Strategic Development / 4 The Year in Review / 7 Juried Funding & Mentorship Awards / 9 Distribution around the World / 11 The Optical Printer Funders, Partners and Sponsors / 18 in the Production Centre ABOUT THE WINNIPEG FILM GROUP MISSION: The Winnipeg Film Group is an artist-run education, production, exhibition and distribution centre committed to promoting the art of cinema. VISION: The Winnipeg Film Group dares to be the Canadian vanguard in the creation and promotion of diverse cinematic forms, and to ignite a community of artistic exploration. OBJECTS: The Winnipeg Film Group was incorporated in 1974 “to encourage the production of films of a social, artistic and educational nature; to make such films; and to enhance the production and appreciation of film making.” VALUES: . ARTIST-RUN – promoting artistic excellence and achievement . DIVERSITY – reflective of our community . FILM – fostering the use and appreciation of motion picture film as an artistic medium, alongside supporting work in digital approaches . INDEPENDENCE – providing a platform of expression for a wide range of voices and approaches, supporting the filmmaker as an artistic creator . INNOVATION – fostering creativity and new directions and ideas www.gimmesometruth.ca www.winnipegcinematheque.com www.winnipegfilmgroup.com Annual Report – 2011/2012 1 BOARD OF DIRECTORS The Winnipeg Film Group’s board of directors is focused on organizational governance and oversight. As the Winnipeg Film Group is an artist-run centre, the majority of its board is made up of practicing independent filmmakers and curators. -
Guy Maddin Y El Fin Del Cine: Donde Habitan Los Monstruos Raúl Hernández Garrido [email protected]
fre Guy Maddin y el fin del cine: donde habitan los monstruos RAúl HeRnández GARRido [email protected] Guy Maddin and the end of cinema: where the monsters dwell Abstract From 1985 Guy Maddin has created an exemplary filmography composed of thirteen films and almost forty shortfilms. By crisscrossing particular techniques of the silent cinema and primitive cinematographies with a very personal theme, he has disrupted the modes of narration and representation, as well as proposing a singular rewriting of the history of cinema. Key words : Silent cinema. Postclassical cinema. Avant-garde. Deconstruction. Simulacrum. Incest Resumen Desde 1985 Guy Maddin ha creado, a través de trece largometrajes y casi cuarenta cortometrajes, una filmogra - fía ejemplar en la que, cruzando técnicas propias de los filmes silentes y de cinematografías primitivas con una temática muy personal, convulsiona los modos de la narración y representación y propone una singular reescri - tura de la historia del cine. Palabras clave: Cine silente. Cine postclásico. Vanguardia. Deconstrucción. Simulacro. Incesto. ISSN. 1137-4802. pp. 107-121 Anclándose en un ya moribundo siglo XX, es en 1985 cuando la muy par - ticular filmografía del canadiense Guy Maddin, tan desigual como fascinan - te, arranca. Para comprender mejor su obra deberíamos volver la mirada a algunos años antes, cuando Maddin, a través de las series documentales de Kevin Brownlow ( Hollywood, 1980 ) descubre y empieza a ver películas silen - tes y a sentirse fascinado por su variedad de formas de expresión. Su primera película, de forma ejemplar, se llama The Dead Father , el padre muerto. The Dead Father (Guy Maddin, 1985) Raúl Hernández Garrido t& 10f8 Junto a la figura del Padre, muerto y sin embargo presente, molesto y penoso, autoritario pero no sujeto a una ley, muchas veces competidor o estúpido adversario del protagonista, otras convertido en un zombi sin voluntad, la personalidad fuerte de la Madre dominará su filmografía. -
SISSY BOY SLAP PARTY Panorama/IFB 2005 Kurzfilm SISSY BOY SLAP PARTY SISSY BOY SLAP PARTY Regie: Guy Maddin
SISSY BOY SLAP PARTY Panorama/IFB 2005 Kurzfilm SISSY BOY SLAP PARTY SISSY BOY SLAP PARTY Regie: Guy Maddin Kanada 2004 Länge 6 Min. Format Digi Beta Farbe Stabliste Buch Guy Maddin Kamera Len Peterson Schnitt John Gurdebeke Sounddesign Russ Dyck Guy Maddin Musik Denis Frajerman The Zani Drummers Biografie Production Design Réjean Labrie Geboren am 28.2.1956 in Winnipeg. Früh- Produzenten Jody Shapiro kindliche Showbiz-Prägung nach einem Niv Fichman Huckepack-Ritt auf dem Rücken Bing Crosbys. Danach Ökonomiestudium, An- Produktion stellungen als Bankkassierer und Anstreicher. Rhombus Initiator der Winnipeg Film Group. Verfügt c/o Winnipeg Film Group seit seinen experimentellen Spielfilmen 304-100 Arthur Street TALES FROM THE GIMLI HOSPITAL und CDN-Winnipeg, Manitoba R3B 1H3 ARCHANGEL über eine stetig wachsende SISSY BOY SLAP PARTY Fangemeinde. Weltvertrieb Eine Sechs-Minuten-Studie über all das, was schief gehen kann, wenn Louis Winnipeg Film Group Biography Negin und seine Chippewa Sissy Boys versuchen, die Three Stooges mit 304-100 Arthur Street Born in Winnipeg on 28.2.1956, his fascina- Kenneth Angers Fliederbusch zu schmücken. Ursprünglich als vier Minuten CDN-Winnipeg, Manitoba R3B 1H3 tion for showbiz started in early childhood langer Kurzfilm zur traurigsten Musik der Welt geplant, hat diese längere Tel.: 204-925 34 52 after riding piggy-back on Bing Crosby’s Fax: 204-942 67 99 back. He later studied economics, and sub- Fassung Bestand als zeitloser Blick auf sehr menschliche Probleme. [email protected] sequently held down a succession of jobs, including that of bank clerk and painter and SISSY BOY SLAP PARTY Darsteller decorator. -
Roger Ebert's
The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked. -
2011 Fargo Film Festival Program
1 AROUND THE WORLD IN 11 YEARS... COMING FULL CIRCLE... Dear Fargo Film Festival Audiences, On March 1, 2001 an intrepid band of film lovers held our collective breaths as we waited for the press to show up for the opening press conference of our very first Fargo Film Festival. The press arrived as did award winning filmmakers Rob Nilson and John Hanson to celebrate the screening of their North Dakota-produced and Cannes Film Festival award winner, Northern Lights. On opening night, March 1, 2011, the Fargo Film Festival again celebrates North Dakota culture, history, and film making with The Lutefisk Wars and Roll Out, Cowboy. Over the years, our festival journey has circled the globe from Fargo to Leningradsky to Rwanda to Antarctica, all without leaving the cushy seats of our very own hometown Fargo Theatre. Some of you have been my traveling companions from the very Margie Bailly Emily Beck FARGO THEATRE FARGO THEATRE beginning of this 11 year cinematic tour. Including Fargo Film Festival 2011 Volunteer Spirit Award Winner, Marty Jonason. Executive Director Film Programmer My heartfelt thanks! Whether you are a long-time film traveler or just beginning your festival journey, “welcome aboard”. In 2012, Fargo Theatre Film Programmer Emily Beck will take over as your festival tour guide. You will be in very good hands. You’ll find me in the front row of the balcony “tripping out” on massive amounts of popcorn and movies, movies, movies. Margie Bailly EXECUTIVE DIRECTOR • HISTORIC FARGO THEATRE DAN FRANCIS PHOTOGRAPHY FARGO THEATRE STAFF: -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
From Weimar to Winnipeg: German Expressionism and Guy Maddin Andrew Burke University of Winnipeg (Canada) E-Mail: [email protected]
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 16 (2019) 59–79 DOI: 10.2478/ausfm-2019-0004 From Weimar to Winnipeg: German Expressionism and Guy Maddin Andrew Burke University of Winnipeg (Canada) E-mail: [email protected] Abstract. The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory about the apprehensions and anxieties of everyday social and political life. My Winnipeg (2006) rescores the city symphony to reveal how personal history and cultural memory combine to structure the experience of the modern metropolis, whether it is Weimar Berlin or wintry Winnipeg. In this paper, I explore the influence of German Expressionism on Maddin’s work as well as argue that Maddin’s films preserve and perpetuate the energies and idiosyncrasies of Weimar cinema. Keywords: Guy Maddin, Canadian film, German Expressionism, Weimar cinema, cinephilia. Any effort to catalogue completely the references to, and reanimations of, German Expressionist cinema in the films of Guy Maddin would be a difficult, if not impossible, task. From his earliest work to his most recent, Maddin’s films are suffused with images and iconography drawn from the German films of the 1920s. -
The Forbidden Room
© Galen Johnson The Forbidden Room Guy Maddin, Evan Johnson Producer David Christensen, Phoebe Greenberg, Penny Mancuso, A submarine in distress, a lumberjack who mysteriously appears to the Phyllis Laing. Production companies Phi Films (Montreal, crew – wasn’t he just in the dark forests of Holstein-Schleswig rescuing Canada); Buffalo Gal Pictures (Winnipeg, Canada); National the beautiful Margot from the claws of the Red Wolves? A neurosurgeon Film Board of Canada (Montreal, Quebec, Canada). Director who digs deeply into the brain of a manic patient; a murderer who pretends Guy Maddin, Evan Johnson. Screenplay Guy Maddin, Evan to be the victim of his own killings; a traumatised young woman „on the Johnson, Robert Kotyk. Director of photography Stephanie Deutsch-Kolumbianisch Express somewhere between Berlin and Bogota“; Weber-Biron, Ben Kasulke. Production design Galen Johnson. seductive skeletons, zeppelins colliding, and a hot bath that seems to have Set design Brigitte Henry, Chris Lavis, Maciek Szczerbowski. triggered the whole thing. Guy Maddin’s rampant, anarchic film, co-directed Costume Elodie Mard, Yso South, Julie Charland. Sound Simon by Evan Johnson, resembles an apparently chaotic, yet always significant Plouffe, David Rose, John Gurdebeke, Vincent Riendeau, Gavin eroto-claustrophobic nightmare that never seems to want to end, in which Fernandes. Editor John Gurdebeke. the plot, characters and locations constantly flow into one another in truly With Roy Dupuis, Clara Furey, Louis Negin, Céline Bonnier, enigmatic style. The countless fantastic plotlines are structured like the Karine Vanasse, Caroline Dhavernas, Paul Ahmarani, Mathieu intertwined arms of a spiral nebula – all of them inspired by real, imagi- Amalric, Udo Kier, Maria de Medeiros, Charlotte Rampling, nary and photographic memories of films from the silent era now lost, to Geraldine Chaplin. -
32E FESTIVAL INTERNATIONAL DU FILM DE LA ROCHELLE 25 JUIN – 5 JUILLET 2004
32e FESTIVAL INTERNATIONAL DU FILM DE LA ROCHELLE 25 JUIN – 5 JUILLET 2004 PRÉSIDENT Jacques Chavier DÉLÉGUÉE GÉNÉRALE Prune Engler DIRECTION ARTISTIQUE Prune Engler Sylvie Pras assistées de Sophie Mirouze ADMINISTRATION Arnaud Dumatin CHARGÉ DE MISSION LA ROCHELLE Stéphane Le Garff assisté d’Aurélie Morand CHARGÉ DE MISSION CHINE Feng Xu DIRECTION TECHNIQUE Pierre-Jean Bouyer COMPTABILITÉ Monique Savinaud PRESSE matilde incerti assistée de Hervé Dupont PROGRAMMATION VIDÉO en partenariat avec Transat Vidéo Brent Klinkum PUBLICATIONS Anne Berrou Caroline Maleville assistées d’Armelle Bayou MAQUETTE Olivier Dechaud TRADUCTIONS Brent Klinkum SITE INTERNET Nicolas Le Thierry d’Ennequin AFFICHE DU FESTIVAL Stanislas Bouvier PHOTOGRAPHIES Régis d’Audeville HÉBERGEMENT Aurélie Morand STAGIAIRES Clara de Margerie Marion Ducamp Cécile Teuma BUREAU DU FESTIVAL (PARIS) 16 rue Saint-Sabin 75011 Paris Tél. : 01 48 06 16 66 Fax : 01 48 06 15 40 Email : [email protected] Site internet : www.festival-larochelle.org BUREAU DU FESTIVAL (LA ROCHELLE) Tél. et Fax : 05 46 52 28 96 Email : [email protected] Avec la collaboration de toute l’équipe de La Coursive, Scène Nationale La Rochelle L’année dernière à La Rochelle Anja Breien Hommage Serge Bromberg Retour de flamme Régis d’Audeville 2 Photographies Luis Ortega La Caja negra Jacques Baratier Rien voilà l’ordre Djamila Sahraoui Algérie, la vie quand même et Algérie, la vie toujours L’année dernière à La Rochelle Gilles Marchand Qui a tué Bambi ? Nicolas Philibert Hommage, et les -
ERASERHEAD the David Lynch Files: Volume 1
ERASERHEAD The David Lynch Files: Volume 1 Kenneth George Godwin This book is for sale at http://leanpub.com/lynch This version was published on 2016-02-12 This is a Leanpub book. Leanpub empowers authors and publishers with the Lean Publishing process. Lean Publishing is the act of publishing an in-progress ebook using lightweight tools and many iterations to get reader feedback, pivot until you have the right book and build traction once you do. © 1981, 1982 and 2015 Kenneth George Godwin To David Lynch, whose first feature changed the course of my life. Contents Introduction .......................... 1 Eraserhead: An Appreciation ................ 5 Introduction Spike In the summer of 1980, David Lynch’s first feature, Eraserhead, showed up at what was at the time Winnipeg’s main repertory cinema, The Festival on Sargent Avenue. The theatre was run by Greg Klimkiw (later Guy Maddin’s original producer) whom I knew from our in-print rivalry as film reviewers for the two University student newspapers – Greg for the University of Manitoba’s Man- itoban, and me for the University of Winnipeg’s Uniter. Although we had occasionally tossed barbs at each other, there was no actual animosity and when Greg took over the Festival, he handed me a “free lifetime pass”. The initial booking for Eraserhead was just for a weekend. Having read something about it in the previous year or two, I was eager to see it and went with a friend to the first showing. I was hooked from the opening image, found myself sucked into a remarkably dense, sustained imaginary world every detail of which fascinated me.