DOCSLIB.ORG

Pieghevole Con 8 Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pieghevole Con 8 Film LÕINNOCENZA DEL PECCATO Anno 2007 Titolo Originale La fille coupŽe en deux Durata 115Õ - Origine FRANCIA - Genere DRAMMATICO Produzione ALICƒLƒO, RHïNE-ALPES CINƒMA, FRANCE 2 CINƒMA, INTEGRAL FILM, CANAL+, CINƒ CINƒMAS Distribuzione MIKADO - Data uscita 08-02-2008 - Regia Claude Chabrol Attori Ludivine Sagnier Gabrielle Deneige Beno”t Magimel Paul Gaudens Fran•ois BerlŽand Charles Saint-Denis Mathilda May Capucine Jamet Caroline Sihol Genevi•ve Gaudens Marie Bunel Marie Deneige Valeria Cavalli Dona Saint-Denis Etienne Chicot Denis Deneige Thomas Chabrol Lorbach Jean-Marie Winling GŽrard Brian•on Sceneggiatura Claude Chabrol, CŽcile Maistre - Fotografia Eduardo Serra - Musiche Matthieu Chabrol Montaggio Monique Fardoulis - Scenografia Fran•oise Beno”t-Fresco - Costumi Mic Cheminal - Effetti Guillaume Bauer Trama Una ragazza di provincia, che in tv presenta un programma sulle previsioni del tempo, si innamora di uno scrittore famoso e presuntuoso, ma sceglie poi di sposarsi con lo squilibrato erede di una famiglia di miliardari. Tuttavia per lei non sarˆ cos“ semplice... Critica Dalle note di regia: ÒLa perversitˆ • lÕarte di trasformare il bene in male.Ó ÒUn abile studio dei caratteri, un ritratto degli snob di provincia ricostruito con graffi amarissimi, una progressione drammatica che a poco a poco fa vincere il male: nei gesti, nei cuori. Con un linguaggio cinematografico duro e secco ma prodigo di immagini patinate quasi per beffa. Condividono i meriti gli interpreti, Ludivine Seigner, Beno”t Magimel, Fran•ois BerlŽand, un trio che sa di zolfo, spesso per˜ sfiorato da un sarcasmo dÕautore.Ó (Gian Luigi Rondi, ÔIl TempoÕ, 3 settembre 2007) Note - PRESENTATO FUORI CONCORSO ALLA 64A MOSTRA INTERNAZIONALE DÕARTE CINEMATOGRAFICA DI VENEZIA (2007) NELLA SEZIONE ÔVECCHI MAESTRIÕ. SIGNORINAEFFE Anno 2007 - Durata 95Õ Origine ITALIA - Genere DRAMMATICO Produzione DONATELLA BOTTI PER BIANCAFILM IN COLLABORAZIONE CON RAI CINEMA Distribuzione 01 DISTRIBUTION (2008) Data uscita 18-01-2008 Regia Wilma Labate Attori Filippo Timi Sergio Valeria Solarino Emma Sabrina Impacciatore Magda Fausto Paravidino Antonio Clara Bindi Nonna Martano Soggetto Wilma Labate, Francesca Marciano, Carla Vangelista Sceneggiatura Domenico Starnone, Wilma Labate, Carla Vangelista - Fotografia Fabio Zamarion Musiche Pasquale Catalano - Montaggio Francesca Calvelli - Scenografia Gian Maria Cau - Costumi Nicoletta Taranta Trama Torino, settembre 1980. Emma Martano, proveniente da una famiglia operaia di origine meridionale, ha davanti a sŽ un ottimo futuro: laureanda in matematica, ha giˆ un impiego nel settore informatico della Fiat ed • in procinto di sposare Silvio, un suo collega dirigente, vedovo con una bambina. Tuttavia, lÕondata di scioperi e gli scontri tra la classe operaia e i dirigenti della Fiat per scongiurare il licenziamento di quindicimila dipendenti, porteranno Emma a vivere esperienze lavorative e sentimentali che le faranno mettere in discussione i suoi progetti per il futuro. Critica ÒNella migliore tradizione del cinema italiano, Wilma Labate sceglie una storia privata per parlare di quella pubblica, stringe lÕobbiettivo sui personaggi per allargarlo sui paese. E ad ulteriore merito, decide di usare una giovane donna come perno dellÕintera costruzione narrativa e filmica. La stessa macchina da presa sembra muoversi assieme alle emozioni della giovane, alle sue impennate di passione, alla carnalitˆ dei suoi ventÕanni. Restano fuori terrorismo e pistole, ma trova invece corpo la fabbrica, anche se poco inquadrata. Quella delle presse, del rumore assordante, del grasso. La Fiat come cittadella medioevale del fordismo, con le sue scale, i passaggi, le gerarchie, i corridoi, i cancelli. Ancora pi• bella, lÕatmosfera umana che Labate riesce a ricreare, restituendoci unÕepoca oscura dove per˜ alla tavola della domenica sedevano famiglie assieme a sconosciuti e dove per le strade dÕItalia ci si amava felici, e con orgoglio. Per quellÕItalia, s“, che nostalgia ...Ó (Roberta Ronconi, ÔLiberazioneÕ, 18 gennaio 2008) IL MIO AMICO GIARDINIERE Anno 2007 Titolo Originale Dialogue avec mon jardinier Durata 109Õ Origine FRANCIA Genere COMMEDIA Tratto da romanzo omonimo di Henri Cueco Produzione LOUIS BECKER PER ICE3, K.J.B. PRODUCTION, STUDIO CANAL, FR2, RHïNE-ALPES CINƒMA, CANAL+, CINƒ CINƒMAS, CNC Distribuzione BIM Data uscita 23-11-2007 Regia Jean Becker Attori Daniel Auteuil Il pittore Jean-Pierre Darroussin Il giardiniere Fanny Cotten•on HŽl•ne Alexia Barlier Magda Hiam Abbass Moglie del giardiniere ƒlodie Navarre Carole Soggetto Henri Cueco (romanzo) Sceneggiatura Jean Becker, Jean Cosmos e Jacques Monnet Fotografia Jean-Marie Dreujou Montaggio Jacques Witta Scenografia ThŽr•se Ripaud Costumi Annie PŽrier Effetti Pascal Laurent Trama Un pittore affermato, stanco di vivere a Parigi e prossimo al divorzio, decide di trasferirsi in campagna nella casa di famiglia. LÕabitazione e il terreno sono in grave stato di abbandono e per questo il pittore, non avendo voglia nŽ tempo di occuparsene, decide di cercare un aiuto. La scelta cade direttamente sul primo candidato, un ex-ferroviere in pensione che • stato suo compagno di scuola. Le conversazioni e i giorni trascorsi con il suo amico giardiniere aiuteranno il pittore a ritrovare un mondo che credeva perduto per sempre. Critica ÒEÕ chiaro che quello che interessava al regista dei ÔRagazzi del MaraisÕ e, prima, dellÕÕEstate assassinaÕ era una prova di attori mattatori, capaci di rendere la complessitˆ, le sfumature di un rapporto quasi dÕamore inteso in senso di partecipazione, fedeltˆ, assimilazione dellÕaltrui filosofia. EÕ altrettanto chiaro che • questa la virt• del film in cui si parla di Botero, di Satie e si ascolta il coro del Nabucco, ma dove valgono le mezze tinte, le mezze parole, i mezzi sguardi di cui sono detentori straordinari due attori che modulano due ben note sensibilitˆ: Daniel Auteuil, certo, • lÕartista integrato ma sofferente della sua integrazione, vicino al divorzio; Jean-Pierre Darroussin, interprete magnifico che in Italia non • riconosciuto come merita, • lÕuomo semplice che si accontenta della pesca. E poichŽ entrambi sono anche simpatici • facile entrare in sintonia con questa parlatissima amicizia virile, genere principe del cinema che fu, anche se la storia vive meglio nella parte brillante, nel gusto della conversazione intelligente e casual delle cose della vita, tipica dello stile francese alla Sautet, che nel sentimentalismo coatto del finale spinge troppo su una telecomandata commozione.Ó (Maurizio Porro, ÔCorriere della SeraÕ, 23 novembre 2007) ÒGirato con una semplicitˆ che sconfina nel semplicistico per il modo ovvio in cui contrappone mondo rurale (autentico) e mondo cittadino (artefatto), il film si affida alla bravura di due interpreti che si amalgamano perfetta- mente rendendo credibile e sempre godibile il loro duetto.Ó (Lietta Tornabuoni, ÔLa StampaÕ, 23 novembre 2007) ÒAnche la cinepresa di Becker guarda con calma i suoi piccoli eroi quotidiani, che si chiamano a vicenda Delprato e Delquadro, lasciandoci il tempo di diventarne amici. Signorilmente, Auteuil si mette al servizio della finissima performance del giardiniere Darroussin.Ó (Roberto Nepoti, Ôla RepubblicaÕ, 23 novembre 2007) ÒOmicidi in provincia? Claude Chabrol. Compagnoni in campagna? Jean Becker. Dopo il successo de ÔI ragazzi del MaraisÕ, il regista un tempo anche cattivello (ÔLÕestate assassinaÕ, ÔOmicidio in paradisoÕ) spinge con ÔIl mio amico giardiniereÕ lÕacceleratore sui buoni sentimenti facendoci stare 110 minuti accanto al pittore (Daniel Auteuil) e al giardiniere (Jean-Pierre Darroussin), due ex compagni di scuola che non si vedono da quarantÕanni riuniti nello stesso orto dai casi della vita. Elogio della filosofia bucolica, inquadrature inondate di luce, il canto dei grilli in colonna sonora e due mostri della recitazione che si scambiano la palla con grazia. Vi siete innamorati dei non meglio definiti abitanti del fiume di ÔCentochiodiÕ del maestro Olmi? Allora troverete il pittore e il giardiniere degni della vostra simpatia e partecipazione emotiva. Viene voglia di andare a vivere con loro. Subito.Ó (Francesco Al˜, ÔIl MessaggeroÕ, 14 dicembre 2007) LÕASSASSINIO DI JESSE JAMES PER MANO DEL CODARDO ROBERT FORD Anno 2007 Titolo Originale The Assassination of Jesse James by the Coward Robert Ford Durata 155Õ Origine USA Genere DRAMMATICO, PSICOLOGICO, WESTERN Tratto da romanzo omonimo di Ron Hansen Produzione WARNER BROS. PICTURES, JESSE FILMS INC., SCOTT FREE PRODUCTIONS, PLAN B ENTERTAINMENT, ALBERTA FILM ENTERTAINMENT, VIRTUAL STUDIOS Distribuzione WARNER BROS. PICTURES ITALIA Data uscita 21-12-2007 Regia Andrew Dominik Attori Brad Pitt Jesse James Mary-Louise Parker Zeralda James Zooey Deschanel Dorothy Evans Casey Affleck Robert Ford Sam Rockwell Charley Ford Jeremy Renner Wood Hite Sam Shepard Frank James Ted Levine Sceriffo James Timberlake Garret Dillahunt Ed Miller Paul Schneider Dick Liddil Soggetto Ron Hansen Sceneggiatura Andrew Dominik Fotografia Roger Deakins Musiche Nick Cave, Warren Ellis Montaggio Dylan Tichenor Scenografia Patricia Norris Costumi Patricia Norris Effetti Dick Edwards, James Paradis, Tinsley Transfers Inc., Hatch Production Trama Il celebre fuorilegge americano Jesse James • sempre alla ricerca di un nuovo colpo da compiere e di un modo per sfuggire ai numerosi cacciatori di taglie che lo inseguono per intascare il lauto compenso messo in palio dalle autoritˆ. Jesse per˜ non si rende conto che la vera minaccia potrebbe nascondersi tra le fila dei suoi
Load more

Recommended publications
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • National Screen Institute–Canada ANNUAL REPORT 04| 05
    National Screen Institute – Canada ANNUAL REPORT 04| 05 measuringsuccessframebyframe! THE NATIONAL SCREEN INSTITUTE – CANADA (NSI) is pleased to present a record year of success in our 2004-2005 Annual Report. Our market-driven programs have led to employment for emerging talent by providing a competitive edge – over 80% of NSI graduates work in the industry! How do we do it? NSI seeks emerging and mid-career content creators with ideas and dreams that can be realized as award-winning and commercially successful fi lms and television productions. NSI delivers hands-on experience in developing and producing productions March 2 to 5, 2005 Winnipeg Tickets start at $7* For tickets, call 780-3333 or visit www.ticketmaster.ca Full Festival information at www.nsi-canada.ca or call 956-7800. *agency fee applies Event Partners Offi cial Media Sponsors that get noticed. NSI provides access to leading industry professionals who know what sells. NSI Table of Contents transforms career potential into a vibrant life in the 3 Profi le industry. This winning approach makes NSI the ideal 4 Message from the Chair choice for the most promising Canadian talent across 5 Message from the CEO the country. 7 NSI ZeD Drama Prize 9 NSI Aboriginal Youth Pilot Project For nearly 20 years, NSI has been delivering results by 11 NSI Features First offering professional development programs in close 15 NSI Totally Television consultation with the industry, and with an eye on 17 Spark Plug Program - Telefi lm Canada future trends. As one of four federally recognized and 19 NSI Global Marketing supported National Training Schools for emerging and 21 NSI Aboriginal Cultural Trade Initiative 23 NSI FilmExchange mid-career writers, directors and producers, NSI plays a 26 Filmmakers of Tomorrow leading role in preparing Canadian content creators for 29 Trendsetters viable and sustainable careers, without their having to 31 Globetrotters relocate to Toronto, Montreal or Vancouver for training.
    [Show full text]
  • Cuidados Paliativos E Terminalidade No Cinema
    SESSÃO AVERROES Cinema e Reflexão 2009 CINEMATECA BRASILEIRA Largo Senador Raul Cardoso, 207 Próximo ao metrô Vila Mariana, DETRAN e Instituto Biológico Informações: 11. 3512.6111 r 215 www.cinemateca.gov.br www.spinternacoes.com.br www.obore.com “O sofrimento somente é intolerável quando ninguém cuida”. Cicely Saunders 2 CUIDADOS PALIATIVOS E TERMINALIDADE NO CINEMA Esta é uma seleção de filmes que apresentam em seu enredo uma série de situações ligadas ao sofrimento das pessoas quando acometidas por doenças terminais, como o câncer, que é a mais comum, ou quando se encontram em condições de dependência total ou parcial dos cuidados da família ou de outros. Neles são relatados desde o diagnóstico e a comunicação da doença, as reações e mudanças provocadas na estrutura familiar, nos parentes e no próprio paciente, a evolução do tratamento, o sofrimento do paciente, o meio hospitalar, as despedidas e o fim. Nada melhor do que a arte - neste caso, o cinema - para provocar a reflexão e os estudos necessários para se humanizar situação tão sofrida e difícil de lidar, tanto pelos profissionais quanto pelos familiares e pelo paciente. Cada vez mais as artes vêm sendo utilizadas no ensino e no aprendizado das áreas do comportamento humano, nas escolas. Da mesma forma tem sido muito utilizada na terapêutica do sofrimento psíquico. Há muitos outros filmes, documentários, curtas que falam do assunto, esta é apenas uma pequena amostra do que pode ser encontrado nas vídeolocadoras e, portanto, fáceis de serem utilizados. Façam bom proveito! Kleber
    [Show full text]
  • Concevoir Et Animer Pour L'acceptation De Robots
    Concevoir et animer pour l’acceptation de robots zoomorphiques Adrien Gomez To cite this version: Adrien Gomez. Concevoir et animer pour l’acceptation de robots zoomorphiques. Art et histoire de l’art. Université Toulouse le Mirail - Toulouse II, 2018. Français. NNT : 2018TOU20048. tel- 02466318 HAL Id: tel-02466318 https://tel.archives-ouvertes.fr/tel-02466318 Submitted on 4 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Délivré par Université Toulouse – Jean Jaurès Adrien Gomez Le 30 Août 2018 Concevoir et Animer pour l’Acceptation de Robots Zoomorphiques École doctorale et discipline ou spécialité ED ALLPH@: Études audiovisuelles Unité de recherche LARA (Université Toulouse Jean Jaurès) – LIRMM (Université Montpellier) Directeur(s) de Thèse M. Gilles METHEL M. René Zapata Co-encadrant de Thèse M. Sébastien Druon Jury Chu-Yin Chen, Professeure, université Paris 8 Sylvie Lelandais, Professeure, Université Evry-Val d’Essonnes Gilles Methel, Professeur, Université Toulouse2-Jean Jaurès René Zapata, Professeur, LIRMM Montpellier Sébastien
    [Show full text]
  • BABEL and the GLOBAL HOLLYWOOD GAZE Deborah Shaw
    02_shaw:SITUATIONS 10/16/11 12:40 PM Page 11 BABEL AND THE GLOBAL HOLLYWOOD GAZE Deborah Shaw BABEL AND THE GLOBAL HOLLYWOOD GAZE n popular imaginaries, “world cinema” and Hollywood commercial cinema appear to be two opposing forms of filmic production obeying Idiverse political and aesthetic laws. However, definitions of world cin- ema have been vague and often contradictory, while some leftist discourses have a simplistic take on the evils of reactionary Hollywood, seeing it in rather monolithic terms. In this article, I examine some of the ways in which the term “world cinema” has been used, and I explore the film Babel (2006), the last of the three films of the collaboration between the Mexicans Alejandro González Iñárritu and screenwriter Guillermo Arriaga.1 Babel sets out to be a new sort of film that attempts to create a “world cinema” gaze within a commercial Hollywood framework. I exam- ine how it approaches this and ask whether the film succeeds in this attempt. I explore the tensions between progressive and conservative political agendas, and pay particular attention to the ways “other” cul- tures are seen in a film with “Third World” pretensions and U.S money behind it. I frame my analysis around a key question: does the Iñárritu-led outfit successfully create a paradigmatic “transnational world cinema” text that de-centers U.S. hegemony, or is this a utopian project doomed to failure in a film funded predominantly by major U.S. studios?2 I examine the ways in which the film engages with the tourist gaze and ask whether the film replaces this gaze with a world cinema gaze or merely reproduces it in new ways.
    [Show full text]
  • Download the Production Notes
    THIS MATERIAL IS ALSO AVAILABLE ONLINE AT http://www.bvpublicity.com © 2007 Buena Vista Pictures Marketing and Walden Media, LLC. All Rights Reserved. Disney.com/Terabithia BRIDGE TO TERABITHIA PRODUCTION NOTES “Just close your eyes and keep your mind wide open.” PRODUCTION NOTES —Leslie Deep in the woods, far beyond the road, across a stream, lies a secret world only two people on Earth know about—a world brimming with fantastical creatures, glittering palaces and magical forests. This is Terabithia, where two young friends will discover how to rule their own kingdom, fight the forces of darkness and change their lives forever through the power of the imagination. From Walt Disney Pictures and Walden Media, the producers of “The Chronicles of Narnia,” and based on one of the most beloved novels of all time, comes an adventurous and moving tale that explores the wonders of friendship, family and fantasy: BRIDGE TO TERABITHIA. The story begins with Jess Aarons (JOSH HUTCHERSON), a young outsider on a quest to become the fastest kid in his school. But when the new girl in town, Leslie Burke (ANNASOPHIA ROBB), leaves Jess and everyone else in her dust, Jess’s frustration with her ultimately leads to them becoming fast friends. At first, it seems Jess and Leslie couldn’t be more different—she’s rich, he’s poor, she’s from the city, he’s from the country—but when Leslie begins to open up the world of imagination to Jess, they find they have something amazing to share: the kingdom of Terabithia, a realm of giants, ogres and other enchanted beings that can only be accessed by boldly swinging across a stream in the woods on a strand of rope.
    [Show full text]
  • Joni Goes Postal
    JONI GOES POSTAL JOANNE WANNAN A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO September 2016 © Joanne Wannan, 2016 ii ABSTRACT Joni Goes Postal is a feature film comedic screenplay. The story tracks the emotional journey of Joni, a 34- year-old postal worker who discovers that her long-term boyfriend cheated on her. Stuck in a dead-end job, confronted with overwhelming feelings of anger, betrayal and loss, Joni is jolted out of complacency and forced to confront her own fears and insecurities as she struggles to find new meaning and purpose in her life. The story examines a break-up, and explores concepts of love, loss, grief, and obsession. iii ACKNOWLEDGEMENTS I would like to thank Colleen Wagner for her insight, guidance, encouragement, and endless notes. Colleen believed in this project from the start, and cheered me on when I wanted to throw in the towel. She taught me to trust my instincts and believe in myself as an artist. I am grateful to have had her as my thesis advisor. Many thanks to John Greyson for his patience and unwavering support, both during my time as a graduate student at York, and on this project. John helped me navigate the minefields of completing this thesis, with a keen sense of humour and a grounded perspective. Thanks to Kuowei Lee, to all my professors at York, and to my fellow screenwriters. I’d especially like to thank the other writers in my class - Mary, Meghan, and Samantha.
    [Show full text]
  • I Certify That the Thesis Entitled Twisted Things
    I certify that the thesis entitled Twisted Things: Playing with Time submitted for the degree of Doctor of Philosophy is the result of my own work and that where reference is made to the work of others, due acknowledgment is given. I also certify that any material in the thesis which has been accepted for a degree or diploma by any university or institution is identified in the text. ʹI certify that I am the student named below and that the information provided in the form is correctʹ Full Name: Virginia Stewart Murray Signed ..................................................................................…….… Date .................................................................................…….…… Twisted Things: Playing with Time by Virginia Stewart Murray (BA Dip Ed) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Deakin University January 2012 Table of Contents Volume One Creative Component Introduction to Thesis 1 Preface: Neither Fish nor Fowl 3 TWISTED THINGS 7 Volume Two Exegesis Playing with time: an exegesis in three chapters Introduction 127 Chapter One: On the Beach: A Contextual History Part 1 141 Part II 158 Chapter 2: Glamour and Celebrity: 1950s Australian Style 172 Chapter 3: The Role of the Unconscious: Playing with Time in Film 236 Camera Consciousness and Reterritorialisation in 12 Monkeys 249 Sheets of the Past in Jacob’s Ladder 257 Incompossible Worlds in Donnie Darko 264 Suddenly Thirty and the Peaks of the Present 269 Conclusion 280 Works Cited 287 Filmography 299 Works Consulted
    [Show full text]
  • Télécharger Au Format
    ÉDITO LE FESTIVAL DE TOUS LES CINÉMAS our sa 47e édition, le festival évolue tout en étant fidèle à son identité visuelle très identifiée, grâce aux magnifiques affiches peintes depuis 1991 par Stanislas Bouvier, qui s’est inspiré cette année de Little Big Man. Le festival change de nom. En substituant « Cinéma » à « film », le PFestival La Rochelle Cinéma (FEMA) réaffirme sa singularité et va à l’essentiel. Au-delà du 7e art, le mot cinéma désigne aussi la salle de projection, que nous fréquentons assidûment et que nous nous devons de défendre et de réinventer pour qu’elle demeure le lieu de (re)découverte des films. L’actualité de ces derniers mois nous a prouvé qu’il existe un besoin de se ras- sembler, d’échanger. Quoi de mieux qu’un festival pour se rencontrer ? Quoi de mieux que le cinéma pour déchiffrer l’état du monde ? Les films comme de multiples points de vue sur notre humanité. À commencer par notre film d’ouverture, It Must Be Heaven, dont le titre, quand nous connais- sons l’univers d’Elia Suleiman, paraît bien ironique. Il s’y met en scène avec son dito regard étonné et souvent amusé, dans un monde dévoré par la violence. La force É de son cinéma tient à la composition de ces plans séquences, qui font d’un détail —— tout un symbole. Quand il pose sa caméra place des Victoires à Paris, en direction de la Banque de France devant laquelle défilent lentement des chars de combat, tout est dit. Cette violence, Arthur Penn la dénonçait déjà en 1967 notamment dans Bonnie and Clyde avec la célèbre réplique « we rob banks » (nous dévalisons des banques) et le massacre final filmé au ralenti.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies The Representation of Hispanic masculinity in US cinema 1998-2008: Genre, Stardom and Machismo by Victoria Lynn Kearley Thesis for the degree of Doctor of Philosophy May 2014 UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Thesis for the degree of Doctor of Philosophy ABSTRACT The Representation of Hispanic masculinity in US cinema 1998-2008: Genre, Stardom and Machismo Victoria Lynn Kearley This thesis examines how the conventions of four distinct genres, the star personas of two key Hispanic male stars and conceptions of Hispanic men as 'macho' intersected in constructing images of Hispanic masculinity in Hollywood between the years 1998 and 2008. The work makes an original contribution to knowledge as the first extensive study of Hispanic masculinity in contemporary Hollywood and affording new insights into the way in which genre conventions and star personas contributed to these representations.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • Masculinity, Memory and the 1980S in British Cinema, 2005 – 2010
    The History Boys? : Masculinity, Memory and the 1980s in British Cinema, 2005 – 2010 Andy Pope The thesis is submitted in partial fulfilment of the requirements of the award of the degree of Doctor of Philosophy of the University of Portsmouth School of Media and Performing Arts – University of Portsmouth May 2015 Abstract This study will consider the function of cinema in British society’s ongoing relationship with the 1980s. Its focus on a key period of recent British film history acknowledges popular culture’s flourishing identification with this decade, reflected through a number of media including literature, music and fashion. I argue that with seventeen films set in the 1980s and produced between 2005 and 2010, British cinema is at the centre of this retrospective, providing a unique perspective on our relationship with the era. But what are the determinants of this mediated reminiscence and what does it say about the function of cinema in rendering the past? I contend that a key aspect of this channelling of popular and personal memory is the role of the writer and director. Nearly all male and mostly middle- aged, the films’ creative agents present narratives that foreground young male protagonists and specifically masculine themes. These thematic concerns, including patriarchal absence and homosocial groups, whilst anchored in the concerns of their 1980s socio-political landscape also highlight a contemporary need for the films’ authors to connect to a personal past. Through reference to sociological, cinematic and political discourse, amongst others, this study will also consider the role of memory in these films. It will contend that the films present a complex perspective of the 1980s, highlighting an ambivalent relationship with the period that transcends nostalgia.
    [Show full text]