Hervé Schneid ACE Editor

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Hervé Schneid ACE Editor For all commercial enquiries please contact Andrew Naylor Herve has worked with such directors as Philippe André, Chico Bialas, John Boorman, Vincent de Brus, Sébastien Chantrel, Etienne Chatilliez, Stéphane Clavier, Louis Pascal Couvelaire, Andrew Douglas, Jean-Teddy Filipe, Alain Franchet, Howard Guard, Eric de la Hosseraie, Jean-Pierre Jeunet, Phil Joanou, Roland Joffé, Diane Kurys, Kristian Levring, Peter Lindbergh, Enda MacCallion Agents Lynda Mamy Assistant Eliza McWilliams [email protected] 020 3214 0999 Credits Film Production Company Notes NERUDA Participant Media Dir: Pablo Larraín 2016 Prod: Peter Danner, Fernanda Del Nido, Juan Pablo García ONE WILD MOMENT La Petite Reine Dir: Jean-François Richet 2015 Prod: Thomas Langmann A TALE OF LOVE AND DARKNESS Handsomecharlie Films Dir: Natalie Portman 2014 Prod: Natalie Portman ZAYTOUN Bedlam Productions Dir: Eran Riklis 2012 Prod: Gareth Unwin, Frederick A. Ritzenberg BLACK GOLD Quinta Communications Dir: Jean-Jacques Annaud 2010 Prod: Tarak Ben Ammar United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes MICMACS A TIRE-LARIGOT Epithete Films/ Warner Bros Dir: Jean-Pierre Jeunet 2009 Prods: Frederic Brillon Gilles Legrand PUBLIC ENEMY NUMBER 1 Canal Plus Dir: Jean-Pierre Jeunet 2008 Prods: Frederic Brillon Gilles Legrand KILLER INSTINCT Canal Plus Dir: Jean-Francois Richet 2008 Prod: Thomas Langmann IGOR Exodus Film Group Dir: Anthony Leondis 2007 Prod: Jean-Luc De Fanti John D. Eraklis GOODBYE BAFANA Little Bird/Banana Films Dir: Bille August 2006 Prod: Jean-Luc Van Damme ZIDANE Palomar Pics/Anna Lenna Dir: Douglas Gordon & 2005 Films Philippe Parreno Prod: Sigurjon Sighvatsson Anna Vaney Victorien Vaney UN LONG DIMANCHE DE Warner Brothers Dir: Jean-Pierre Jeunet FIANCAILLES (A VERY LONG Prod: Gail Mutrux ENGAGEMENT) 2003 MICHEL VAILLANT Luc Besson/Europa Films Dir: Louis Pascal Couvelaire 2002 SANSA ARTE Dir: Siegfried 2001 AMELIE UGC (ACE, BAFTA & Cesar Dir: Jean-Pierre Jeunet 2000 nominations) THE MAN WHO CRIED Working Title/ Adventure Dir: Sally Potter 1999 Pictures/ Canal Plus EAST-WEST UGC Dir: Régis Wargnier 1999 LOUISE (take 2) Canal Plus Dir: Siegfried 1998 ALIEN RESURRECTION Twentieth Century Fox Dir: Jean-Pierre 1997 Jeunet THE TANGO LESSON Sony Pictures Classics Dir: Sally Potter 1997 THE BRAVE American Vision/Recorded Dir: Johnny Depp 1996 Picture Company CITY OF LOST CHILDREN Sony Pictures Classics Dirs: Jean-Pierre Jeunet 1995 Marc Caro United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes A LA CAMPAGNE M6 Films Dir: Manuel Poirier 1995 THE BROWNING VERSION Paramount Pictures Dir: Mike Figgis 1994 L'OMBRE DU DOUTE TF1 Dir: Aline Issermann 1993 ORLANDO Pyramide Films Dir: Sally Potter 1993 LA PETITE AMIE D'ANTONIO Pyramide Films Dir: Manuel Poirier 1993 APRES L'AMOUR TF1 Films Dir: Diane Kurys 1992 DELICATESSEN Miramax Films César for Best Dirs: Jean-Pierre 1992 Editing 1992 Jeunet Marc Caro EUROPA Nordisk Film Dir: Lars Von Trier 1991 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].

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La Concepción De La Ciudad En La Obra De Jean-Pierre Jeunet
La concepción de la ciudad en la obra de Jean-Pierre Jeunet María RUISÁNCHEZ ORTEGA Máster Universidad Complutense de Madrid [email protected] RESUMEN Esta investigación profundiza en el tratamiento que da Jeunet a la ciudad a lo largo de su obra. Pese a similitudes latentes en todas sus películas, podemos dividir éstas en dos grandes grupos, las de la primera etapa en las que encontraríamos Delicatessen y La ciudad de los niños perdidos, películas que fantasean con una ciudad inexistente y futurista. Por tanto, imaginaria. En contraposición con las de la segunda etapa, en las que tenemos un París claramente reconocible, eso sí, no exento de toques fantasiosos, marca de la casa. De este periodo serían Amélie y Largo domingo de noviazgo. En definitiva, con este trabajo comparativo se podrá conocer el espectro del imaginario de Jeunet desde su ciudad más irreal, imaginada e inventada, La ciudad de los niños perdidos, al polo más crudo y realista en Largo domingo de noviazgo. Por lo que podríamos encontrar en Jeunet una tendencia creciente hacia el realismo o el retrato. Palabras clave: Jean-Pierre Jeunet, París, Delicatessen, Amélie, La ciudad de los niños perdidos, Largo domingo de noviazgo. ABSTRACT This research goes deeply into the town’s treatment given by Jeunet all through his work. Despite the latent similarities found in all his films, it’s possible to split them into two main groups: those which belong to his first phase, such as Delicatessen and The City of Lost Children, and present inexistent and futuristic cities, becoming imaginary; in contrast to those which belong to his second phase, such as Amélie and A Very Long Engagement, both set in a dreamy Paris, showing Jeunet’s hallmark.
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Paris in Cinema
Radboud University Faculty of Arts Master Creative Industries Master Thesis Supervisor: Dr. Christophe van Eecke Second reader: Dr. László Munteán Paris in cinema - The representation of Paris in the films An American in Paris by Vincente Minnelli, Playtime by Jacques Tati and Le fabuleux destin d'Amélie Poulain by Jean-Pierre Jeunet Marie Rode Student number: 1010570 Table of Contents A. Summary .............................................................................................................................. 2 B. Introduction ......................................................................................................................... 3 I. Literature Review: Paris' role in cinema and media tourism .................................................... 7 C. Main Part ........................................................................................................................... 12 I. Film Analysis An American in Paris ........................................................................................... 12 1. Approach and background ............................................................................................ 12 2. Narrative ....................................................................................................................... 14 3. Characters ..................................................................................................................... 21 4. Film finale ....................................................................................................................
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DP Caro Jeunet.Pdf
Dossier de presse Vernissage presse : 7 septembre, 9h30-13h EDITORIAL Accueillir le duo Caro/Jeunet à la Halle Saint Pierre est une évi- dence. Bien sûr il y a Montmartre indissociable des pérégrina- tions sentimentales d’Amélie Poulain, et Alien la créature bio- mécanique du dessinateur H.R. Giger à qui la Halle consacra une rétrospective en 2005. Il y a aussi des artistes emblématiques de la Halle Saint Pierre que Jeunet découvrit au fi l de notre program- mation : l’electromécanomaniaque Gilbert Peyre et son esthé- tique foraine, Ronan-Jim Sevellec et ses cabinets de curiosités miniature à l’élégance fanée ou encore Jéphan de Villiers et son petit peuple imaginaire nostalgique des civilisations perdues. Leurs œuvres et les objets « fétiches » des fi lms des deux réa- lisateurs ne forment qu’un même monde ouvrant de nouvelles voies vers l’imaginaire. Dans ce monde onirique et fantastique où les limites de l’impossible sont toujours repoussées, le rêve enfantin côtoie le conte noir, l’absurde et le cocasse le réalisme poétique. Martine Lusardy Directrice de la Halle Saint Pierre Commissaire de l’exposition Image tirée du fi lm Le Fabuleux Destin d’Amélie Poulain 1 MARC CARO « Si singulier il y a, il me semble que l’association bicéphale que nous avons constitué avec Jean-Pierre Jeunet fut l’une des choses les plus singulière du paysage cinématographique fran- çais. Deux cinéastes visuels qui renouent avec les origines du Cinématographe... Pour ma part, notre filiation revendiquée avec Meliès et l’art forain, trouve naturellement sa place à la Halle Saint Pierre qui a toujours sut accueillir ceux qui marchent en dehors des clous..
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Brazil (1985 Film)
Brazil (1985 film) Brazil is a 1985 dystopian[9] science fiction film[10] directed by Terry Gilliam and written by Gilliam, Charles McKeown, and Tom Stoppard. The film stars Jonathan Pryce and features Robert De Niro, Kim Greist, Michael Palin, Katherine Helmond, Bob Hoskins and Ian Holm. The film centres on Sam Lowry, a man trying to find a woman who appears in his dreams while he is working in a mind-numbing job and living in a small apartment, set in a dystopian world in which there is an over-reliance on poorly maintained (and rather whimsical) machines. Brazil's satire of bureaucratic, totalitarian government is reminiscent of George Orwell's Nineteen Eighty-Four[11][12][13] and has been called Kafkaesque[14] and absurdist.[13] Sarah Street's British National Cinema (1997) describes the film as a "fantasy/satire on bureaucratic society"; and John Scalzi's Rough Guide to Sci-Fi Movies (2005) describes it as a "dystopian satire". Jack Mathews, a film critic and the author of The Battle of Brazil (1987), described the film as "satirizing the bureaucratic, largely dysfunctional industrial world that had been driving Gilliam crazy all his life".[15] The film is named after the recurrent theme song, Ary Barroso's "Aquarela do Brasil", known simply as "Brazil" to British audiences, as performed by Geoff Muldaur.[16] Though a success in Europe, the film was unsuccessful in its initial North America release. It has since become a cult film. In 1999, the British Film Institute voted Brazil the 54th greatest British film of all time.
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Magisterarbeit Aliénor Didier
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DÉCEMBRE 2015 PROGRAMME NO 78 CARREFOUR DU CINÉMA D’ANIMATION — Forumdesimages.Fr CYCLE C’EST MAGIQUE
DÉCEMBRE 2015 PROGRAMME NO 78 CARREFOUR DU CINÉMA D’ANIMATION — forumdesimages.fr CYCLE C’EST MAGIQUE... 01 44 76 63 00 100% DOC FESTIVALS • CARREFOUR DU CINÉMA D’ANIMATION TOUTE L’ANNÉE e 13 édition du 3 au 6 décembre 2015 • REPRISE DU PALMARÈS DU FESTIVAL AU FORUM PREMIERS PLANS D’ANGERS, 28e édition 11 février 2016 • REPRISE DU PALMARÈS DU FESTIVAL INTERNATIONAL DU COURT MÉTRAGE DES IMAGES e DE CLERMONT-FERRAND, 38 édition 21 février 2016 • SÉRIES MANIA, saison 7 CYCLES RENDEZ-VOUS du 15 au 24 avril 2016 • C’EST MAGIQUE… • LA MASTER CLASS • REPRISE DE LA QUINZAINE du 9 décembre 2015 au 10 janvier 2016 selon l’actualité cinématographique DES RÉALISATEURS, 48e édition du 26 mai au 5 juin 2016 • LIBERTÉ, ÉGALITÉ, FRATERNITÉ ? • LES COURS DE CINÉMA du 13 janvier au 28 février 2016 les vendredis à 18h30 • TRÈS COURT INTERNATIONAL e • MANGER ! entrée libre FILM FESTIVAL, 18 édition du 10 au 12 juin 2016 du 2 mars au 14 avril 2016 • LA BIBLIOTHÈQUE DU CINÉMA • L’ANNÉE 36 FRANÇOIS-TRUFFAUT • REPRISE DU FESTIVAL INTERNATIONAL du 4 au 27 mai 2016 chaque bimestre - entrée libre DU FILM D’ANIMATION D’ANNECY les 29 et 30 juin 2016 • LA PEAU e du 15 juin au 24 juillet 2016 • CINÉMA AU CLAIR DE LUNE, 16 édition JEUNE PUBLIC du 29 juillet au 14 août 2016 • CINÉKIDS 100 % DOC les mercredis et dimanches après-midi e • PROJECTIONS 100 % DOC • FESTIVAL TOUT-PETITS CINÉMA, 9 édition chaque mardi du 20 au 28 février 2016 ABONNEZ-VOUS ! • ÉCLAIRAGES VOIR DÉTAILS P. 43 le deuxième jeudi du mois entrée libre SALLE DES • DOCUMENTAIRE SUR GRAND ÉCRAN chaque premier mardi du mois COLLECTIONS • CINÉMA DU RÉEL, 38e édition POUR EXPLORER SUR ÉCRANS INDIVIDUELS du 18 au 27 mars 2016 LES 8 500 FILMS DE PARIS AU CINÉMA ET LES AUTRES COLLECTIONS DU FORUM DES IMAGES PROGRAMME DU FORUM DES IMAGES Publication du Forum des images, institution subventionnée par la ville de Paris.
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Master Class with Film Title Designer Karin Fong: Selected Filmography 1
Master Class with Film Title Designer Karin Fong: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. *title sequence available to view online at The Art of the Title (http://www.artofthetitle.com) †title sequence available to view online at Watch the Titles (http://www.watchthetitles.com/designers/karin_fong) Works mentioned or discussed during the master class Where in the World is Carmen Sandiego? (1991-1996). 5 seasons. 295 episodes. Directors: Dana Calderwood and Hugh Martin, U.S.A. Originally aired on PBS. Production Co.: Public Broadcasting Service (PBS) / Télé-Québec / SDA Productions Ltée / WQED. (Title Designer unknown) *Delicatessen. Dir. Marc Caro and Jean-Pierre Jeunet, 1991, France. 99 minutes. Production Co.: Constellation / Union Générale Cinématographique (UGC) / Hachette Première / Sofinergie Films / Sofinergie 2 / Investimage 2 & 3 / Fondation GAN pour le Cinéma / Victoires Productions. (Title Designer, Marc Bruckert) *†Dead Man on Campus. Dir. Alan Cohn, 1998, U.S.A. 96 minutes. Production Co.: Paramount Pictures / MTV Productions / Pacific Western. (Title Designer, Karin Fong) Bedazzled. Dir. Harold Ramis, 2000, U.S.A. and Germany. 93 minutes. Production Co.: Twentieth Century Fox Film Coporation / Regency Enterprises / KirchMedia.
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Resurrecting the Alien Director: Jean-Pierre Jeunet in Hollywood
CORE Metadata, citation and similar papers at core.ac.uk Provided by Stirling Online Research Repository Resurrecting the Alien Director: Jean-Pierre Jeunet in Hollywood Elizabeth Ezra The fourth film in the Alien quartet, directed by French filmmaker Jean- Pierre Jeunet, has had a somewhat different reception from the other films in the series. Alien Resurrection did poorly at the box in both Britain and the United States, where critical reaction, too, was much less enthusiastic than toward the previous Alien films. In short, Jeunet’s film has been largely dismissed by English-speaking fans and critics of the previous films in the series. What is it about this film that has provoked such scorn? Was it poorly directed, or was it some other aspect of the film that rubbed Anglo-American critics and audiences the wrong way? This essay will suggest that the anxieties that the film elicited among critics actually mirror some of the themes played out within the film. In this film, Ripley, played as ever by Sigourney Weaver, has been recreated out of a fragment of DNA retained from her body at the time of her death two hundred years earlier (in this, the film reveals intertextual references to both Jurassic Park and another English-language film made by Jeunet’s compatriot Luc Besson, The Fifth Element [1997]). But this is not the only resurrection to which Alien Resurrection bears witness. In addition to the resurrection of Ripley and her alien offspring, there is also that of the Alien series itself, which viewers were led to believe had ended when the central character plunged to her death at the end of the third film.
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Alien: the Terror Begins When the Crew of the Spaceship Nostromo
Alien: The terror begins when the crew of the spaceship Nostromo investigates a transmission from a desolate planet and makes a horrifying discovery, a life form that breeds within a human host. Now the crew must fight not only for its own survival, but for the survival of all mankind. Aliens: Sigourney Weaver returns as Ripley, the only survivor from mankind's first encounter with the monstrous Alien. Her account of the Alien and the fate of her crew are received with skepticism, until the mysterious disappearance of colonists on LV-426 lead her to join a team of high-tech colonial marines sent in to investigate... Alien 3: Lt. Ripley (Sigourney Weaver) is the lone survivor when her crippled spaceship crash lands on Fiorina 161, a bleak wasteland inhabited by former inmates of the planet's maximum security prison. Ripley's fears that an Alien was aboard her craft are confirmed when the mutilated bodies of ex-cons begin to mount. Without weapons or modern technology of any kind, Ripley must lead the men into battle against the terrifying creature. And soon she discovers a horrifying fact about her link with the Alien, a realisation that may compel Ripley to try destroying not only the horrific creature, but herself as well. Alien Resurrection: Ellen Ripley (Sigourney Weaver) died fighting the perfect predator. Two hundred years and eight horrific experiments later, she's back. A group of scientists have cloned her, along with the alien queen inside her, hoping to breed the ultimate weapon. But the resurrected Ripley is full of surprises for her "creators", as are the aliens.
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Robbie Mcallister (Leeds Trinity University, England, UK)
Reengineering Modernity: Cinematic Detritus and the Steampunk Blockbuster Robbie McAllister (Leeds Trinity University, England, UK) Abstract: This article focuses on a wave of contemporary films that envision neo-Victorian pasts, presents, and futures where historical progress is reordered by the anachronistic presence of steampunk- machinery. As the inventors of steampunk fiction scavenge their worlds for the mechanical debris needed to construct their patchwork machines, the genre’s films similarly restructure pop-cultural icons of modernity: reengineering textual and mechanical histories for contemporary purposes. I consider how steampunk’s mainstream emergence coincides with dramatic shifts in cinema’s own industrial identity and has been used to mythologise the technological fears and fetishisms of twenty-first-century progress. Keywords: blockbuster, cinema, Hollywood, modernity, neo-Victorian, steampunk, technology. ***** The word steampunk was first coined in the April 1987 edition of the science-fiction magazine Locus. Writing to the editor, author K. W. Jeter playfully designated himself (alongside fellow writers Tim Powers and James Blaylock) as propagators of a literary trend: creators of science- fantasy fictions that utilise historically-disjointed nineteenth-century technologies and settings (Jeter 1987: 57). Yet, the term steampunk has developed far beyond its literary origins, gaining mainstream acceptance, affiliation with a variety of media, and a status as one of the most widely discussed ‘new’ aesthetic styles and subcultures to have emerged in the late twentieth and early twenty-first centuries. What unites steampunk across various media is its retro-futuristic vision of Victorian life where industrial progress has careened wildly off its historical track, transformed by anachronistic machinery.1 Through the movement’s “unexpected intrusion of the modern into the historical” (van Riper 2013: 255), steampunk has developed a particularly notable presence within contemporary cinema, Neo-Victorian Studies 11:1 (2018) pp.
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50 Years of Memories: Highlights from the History of the Chicago International Film Festival
FOR IMMEDIATE RELEASE: Nick Harkin/Carly Leviton Carol Fox and Associates 773.327.3830 x 103/104 [email protected] [email protected] 50 YEARS OF MEMORIES: HIGHLIGHTS FROM THE HISTORY OF THE CHICAGO INTERNATIONAL FILM FESTIVAL 1964 Michael Kutza, age 22, is determined that Chicago should be a home for the appreciation of international film. Legendary Chicago Sun-Times columnist Irv Kupcinet is an early supporter, and introduces him to the recently widowed silent screen comedienne Colleen Moore Hargrave, then living in Chicago, who opens many doors for Kutza among Hollywood elite and Chicago society. Kutza founds Cinema/Chicago, the organization that presents the Chicago International Film Festival. 1965 The first Chicago International Film Festival debuts at the original Carnegie Theatre at Rush & Oak Street on November 9. Eight films are shown in the feature category, chosen from more than 300 entries from 15 nations. Other categories included Religious Films, Experimental Films, Industrial Films, Short Subjects, Educational Films, Television Commercials, Documentaries and Cartoons. In its inaugural year, the Festival honors King Vidor in a ceremony attended by Bette Davis, and Stanley Kramer gives a public talk, offering advice to student filmmakers. The first Gold Hugo for feature film goes to “The Lollipop Cover.” Short films by the soon- to-be-legendary director William Friedkin are presented. 1966 In 1966, Kutza announces that the Festival is open to “Adults Only” to avoid having to obtain approval for his programming from the Chicago Censor Board, a civic group made up of policemen’s widows that rated films for local audiences. The board is ultimately dissolved by the U.S.
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EPITHETE FILMS and TAPIOCA FILMS
1 A Sony Pictures Classics Release MICMACS A film by JEAN-PIERRE JEUNET Starring DANY BOON ANDRE DUSSOLLIER OMAR SY DOMINIQUE PINON JULIE FERRIER NICOLAS MARIE MARIE-JULIE BAUP MICHEL CREMADES YOLANDE MOREAU and JEAN-PIERRE MARIELLE Script JEAN-PIERRE JEUNET – GUILLAUME LAURANT Dialogue GUILLAUME LAURANT Running time: 104 min. East Coast Publicity West Coast Publicity Distributor IHOP Block Korenbrot Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan 110 S. Fairfax Ave, #310 Lindsay Macik 853 7th Avenue, Suite 1005 Los Angeles, CA 90036 550 Madison Ave New York, NY 10019 323-634-7001 tel New York, NY 10022 212-265-4373 tel 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax 2 SYNOPSIS First it was a mine that exploded in the middle of the Moroccan desert. Years later, it was a stray bullet that lodged in his brain... Bazil doesn't have much luck with weapons. The first made him an orphan, the second holds him on the brink of sudden, instant death. Released from the hospital after his accident, Bazil is homeless. Luckily, our inspired and gentle-natured dreamer is quickly taken in by a motley crew of junkyard dealers living in a veritable Ali Baba's cave. The group‟s talents and aspirations are as surprising as they are diverse: Remington, Calculator, Buster, Slammer, Elastic Girl, Tiny Pete and Mama Chow. Then one day, walking by two huge buildings, Bazil recognizes the logos of the weapons manufacturers that caused all of his misfortune. He sets out to take revenge, with the help of his faithful gang of wacky friends.
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