DOCSLIB.ORG

Box Office Du Cinéma Français En Espagne En 1997

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Box Office Du Cinéma Français En Espagne En 1997 Box Office du cinéma français en Espagne en 1997 9/26/21 5:56:30 PM Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 Statistics for French films (theatrical release) - Spain Release details - 1997 Film title Box Office Admissions Number of Sales agents Local (€) prints distributors 1 The Fifth 5,004,479.22 1,509,272 0 Gaumont Columbia Element TriStar 2 The 1,067,974.02 296,040 0 STUDIOCANAL Alta Films Chambermaid of the Titanic 3 Breaking the 667,862.88 203,047 0 TrustNordisk Golem Waves Distribución 4 A Couch in New 439,722.72 121,647 0 StudioCanal Tripictures York Films Limited 5 Dobermann 380,476.94 122,140 0 The Bureau Sogepaq SA Sales 6 The Adventures 361,823.98 132,458 0 Kushner-locke Lider Films of Pinocchio international 7 The Swindle 349,860.89 94,561 0 mk2 films Wanda Films 8 The Truce 335,203.58 95,680 0 Wide Telegroup 9 Didier 306,802.18 92,652 0 Pathé Films Laurenfilm 10 Captain Conan 273,133.15 75,103 0 Tamasa Vértigo Films Distribution 11 A Summer In La 269,365.25 68,299 0 Vértigo Films Goulette 12 The Apartment 192,359.45 50,644 0 STUDIOCANAL Alta Films 13 Kolya 186,861 52,185 0 Portobello Buena Vista pictures International - Espagne 14 Le Roman d'un 186,779.32 52,751 0 STUDIOCANAL Civite jeune homme pauvre 15 Nirvana 180,545.3 52,973 0 Capitol Films Hilo Vision 16 The Pillow Book 141,433.5 36,215 0 Iberoamericana Films 17 Baby Deal 136,792.27 49,504 0 Laurenfilm 18 Thieves 133,903.92 38,308 0 Tamasa Vértigo Films Distribution 19 Family 117,934.46 31,725 0 Tamasa Vértigo Films Resemblances Distribution 20 Pereira 117,608.11 38,186 0 Vértigo Films Declares 21 The Ogre 114,868.22 33,635 0 Sogepaq SA 22 My Favorite 111,098.41 28,321 0 Tamasa Vértigo Films Season Distribution 23 The Promise 97,372.41 26,961 0 Vértigo Films 24 Elective 93,234 28,670 0 United Affinities International Picture - UIP (Espagne) Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 25 Microcosmos 71,592.58 23,528 0 France tv Alta Films distribution 26 Western 69,663.31 18,468 0 Tamasa Tripictures Distribution 27 Ridicule 69,227.78 21,166 0 Sogepaq SA 28 A Self Made 64,776.41 17,362 0 Tamasa Alta Films Hero Distribution 29 Yes 61,592.7 22,470 0 Gaumont Tripictures 30 The Jaguar 59,007.6 20,973 0 Gaumont Laurenfilm 31 After Love 54,157.94 15,381 0 StudioCanal Cine Company Films Limited 32 Three Lives and 45,891.61 13,167 0 The Bureau Laurenfilm Only One Death Sales 33 Bernie 40,744 10,549 0 The Bureau Alta Films Sales 34 Bambola 40,047.2 18,247 0 Warner Sogefilms 35 Party 37,930.95 9,702 0 Gemini Films Wanda Films 36 The Silences of 37,648.82 9,372 0 Fortissimo Cine Company the Palace Films 37 Beaumarchais, 32,774.11 10,118 0 Tamasa Sogepaq SA the Scoundrel Distribution 38 Life in Red 31,460.4 9,535 0 StudioCanal Jose Frade PC Films Limited 39 Fourbi 30,505 8,125 0 Alta Films 40 Ulysses' Gaze 28,665.34 9,662 0 Cine Company 41 Stealing Beauty 27,404.55 11,000 0 STUDIOCANAL United International Picture - UIP (Espagne) 42 The 25,828.04 7,185 0 Alta Films Apprentices 43 The Man Who 25,303.8 7,224 0 mk2 films Espectarama Loved Women S.A. 44 The 24,075.3 6,168 0 StudioCanal Cine Company Groundhogs Films Limited 45 A Chef in Love 23,974.43 5,960 0 Alta Films 46 Belle Verte 21,981.07 6,379 0 STUDIOCANAL Cinemussy S.L. 47 Happiness is in 19,684.95 8,232 0 Tamasa Cinemussy the Field Distribution S.L. 48 Ponette 15,309.77 5,953 0 Tamasa Vértigo Films Distribution 49 Marie-Louise ou 13,890 3,702 0 Sherlock Media la permission 50 What a Drag ! 13,600.21 6,254 0 Tamasa Cine Company Distribution 51 El Che 12,750.76 3,174 0 Cinétévé Sogepaq SA 52 The Eighth Day 11,571.42 5,370 0 Tamasa Sogepaq SA Distribution 53 The Second 11,029.92 3,901 0 The Works NC (Espagne) Time Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 54 Take Me Away 10,757.25 2,680 0 Celluloid Sherlock Media Dreams, The Bureau Sales 55 Beyond the 10,462.65 3,791 0 Pathé Films Alta Films Clouds 56 Scent of Deceit 10,276.65 2,564 0 Pyramide Sherlock Media International 57 The Guardian 8,595.6 3,194 0 Gaumont Tripictures Angels 58 Hate 7,646.1 2,343 0 Tamasa Golem Distribution Distribución 59 French Twist 6,088.86 3,111 0 Pathé Films Cine Company 60 Total Eclipse 4,396.8 1,444 0 Capitol Films United International Picture - UIP (Espagne) 61 Two Dads and 4,289.98 2,520 0 Tamasa Sogepaq SA One Mom Distribution 62 Up, Down, 3,575.55 1,222 0 Cine Company Fragile 63 Don't Forget 3,385.65 1,152 0 The Bureau Cine Company You're Going to Sales Die 64 Hercule et 3,218.4 1,078 0 STUDIOCANAL Sogepaq SA Sherlock 65 Cemetary Man 3,165.9 949 0 Tamasa Impacto Films Distribution 66 La Cérémonie / 2,105.25 1,056 0 mk2 films Wanda Films A Judgment in Stone 67 A Summer's 2,039.25 647 0 Les Films du Musidora Tale Losange 68 Underground 1,613.85 481 0 TF1 Studio Cinemussy S.L. 69 Jane Eyre 1,346.1 641 0 Warner Bros. Sociedad (France) Estatal Quinto Cente 70 A French 1,316.25 1,042 0 StudioCanal Cinemussy Woman Films Limited S.L. 71 Celestial 1,293.6 640 0 Gaumont Sogepaq SA Clockwork 72 Madame 886.2 262 0 Idéale Audience Wanda Films Butterfly International 73 Hey Cousin ! 563.7 147 0 Playtime Golem Distribución 74 Nelly and Mr 221.4 123 0 STUDIOCANAL Vértigo Films Arnaud 75 Colonel Chabert 144 48 0 Tamasa Warner Distribution Sogefilms 76 My Man 142.8 49 0 Tamasa Vértigo Films Distribution Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 French films acquired (production year : 1997) Film title Film export Local distributor Production status companies/International distributors Artemisia Orange Studio Cine Company Film acquired Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 Market development Year Admissions Admissions Box office for Box office for Number of Average (all to French films of all French films screens ticket price nationalities) films nationalities (€) (€) (€) 2019 104,900,000 3,612,966 614,700,000 20,874,365 3,695 5.86 2018 98,901,738 3,000,557 585,738,852 17,846,294 3,589 5.92 2017 99,983,223 4,336,130 591,715,219 25,398,984 3,625 5.92 2016 102,107,567 2,357,579 602,992,885 13,714,565 3,567 5.91 2015 96,190,949 3,690,910 575,433,804 22,144,214 3,590 5.98 2014 87,664,895 4,852,142 516,721,843 29,297,577 3,691 5.89 2013 78,700,000 2,050,501 506,300,000 13,106,286 3,908 6.4 2012 94,200,000 6,761,695 624,200,000 43,442,048 4,003 6.6 2011 98,300,000 4,325,456 635,800,000 27,322,101.0 4,044 6.5 4 2010 101,600,000 4,396,898 662,300,000 27,079,130 4,080 6.5 2009 110,000,000 3,275,496 675,000,000 19,360,833.8 4,082 6.1 7 2008 107,800,000 3,863,770 619,300,000 22,313,588 4,140 5.7 2007 116,900,000 4,030,637 643,740,032 22,017,465 4,296 5.5 2006 121,700,000 4,842,339 636,200,000 25,259,222 4,299 5.23 2005 126,000,000 7,527,241 627,299,968 37,927,531 4,401 5 2004 143,900,000 2,591,262 681,600,000 12,844,971 4,390 4.8 2003 137,500,000 3,708,424 639,430,016 17,432,787 4,253 4.65 2002 140,720,000 5,881,935 625,900,032 26,330,506 4.45 2001 145,053,860 5,659,861 24,848,102.2 3,760 710 3 2000 135,390,513 2,679,128 11,881,265.3 3,527 660 2 1999 131,348,075 6,376,929 5,407,143.07 29,309,914.5 3,343 628.13 6 1998 112,100,000 1,422,329 9,389,623.2 2,997 595.57 1997 105,000,000 3,680,488 12,377,116.9 2,584 560 5 1996 104,300,000 4,064,896 13,203,543.7 1,807 560 3 1995 94,600,000 4,124,878 5,916,003.73 13,175,677.1 2,090 510 2 1994 89,100,000 2,882,394 3,668,065.2 8,684,687.4 1,930 6.85 1993 87,700,000 1,171,052 11,564,983.4 3,680,187.33 1,791 470 4 1992 83,300,000 0 11,847,273.0 0 1,807 23.66 5 Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 1991 79,000,000 0 5,320,226.36 0 1,806 11.21 1990 78,500,000 0 169.78 0 1,773 0 Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 Market share for French films, filtered by distributor - 1997 Distributor Number of films Total admissions Market share (%) released 1 Columbia TriStar 1 1,509,272 0 2 Alta Films 9 423,184 0 3 Vértigo Films 10 313,028 0 4 Golem Distribución 3 205,537 0 5 Sogepaq SA 9 199,841 0 6 Laurenfilm 4 176,296 0 7 Tripictures 4 165,779 0 8 Lider Films 1 132,458 0 9 Wanda Films 4 105,581 0 10 Telegroup 1 95,680 0 11 Hilo Vision 1 52,973 0 12 Civite 1 52,751 0 13 Cine Company 8 52,322 0 14 Buena Vista 1 52,185 0 International - Espagne 15 United International 3 41,114 0 Picture - UIP (Espagne) 16 Iberoamericana Films 1 36,215 0 17 Warner Sogefilms 2 18,295 0 18 Cinemussy S.L.
Load more

Recommended publications
  • It 2.007 Vc Italian Films On
    1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute.
    [Show full text]
  • BORSALINO » 1970, De Jacques Deray, Avec Alain Delon, Jean-Paul 1 Belmondo
    « BORSALINO » 1970, de Jacques Deray, avec Alain Delon, Jean-paul 1 Belmondo. Affiche de Ferracci. 60/90 « LA VACHE ET LE PRISONNIER » 1962, de Henri Verneuil, avec Fernandel 2 Affichette de M.Gourdon. 40/70 « DEMAIN EST UN AUTRE JOUR » 1951, de Leonide Moguy, avec Pier Angeli 3 Affichette de A.Ciriello. 40/70 « L’ARDENTE GITANE» 1956, de Nicholas Ray, avec Cornel Wilde, Jane Russel 4 Affiche de Bertrand -Columbia Films- 80/120 «UNE ESPECE DE GARCE » 1960, de Sidney Lumet, avec Sophia Loren, Tab Hunter. Affiche 5 de Roger Soubie 60/90 « DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE» 1967, de Jean Luc Godard, avec Marina Vlady. Affichette de 6 Ferracci 120/160 «SANS PITIE» 1948, de Alberto Lattuada, avec Carla Del Poggio, John Kitzmille 7 Affiche de A.Ciriello - Lux Films- 80/120 « FERNANDEL » 1947, film de A.Toe Dessin de G.Eric 8 Les Films Roger Richebé 80/120 «LE RETOUR DE MONTE-CRISTO» 1946, de Henry Levin, avec Louis Hayward, Barbara Britton 9 Affiche de H.F. -Columbia Films- 140/180 «BOAT PEOPLE » (Passeport pour l’Enfer) 1982, de Ann Hui 10 Affichette de Roland Topor 60/90 «UN HOMME ET UNE FEMME» 1966, de Claude Lelouch, avec Anouk Aimée, Jean-Louis Trintignant 11 Affichette les Films13 80/120 «LE BOSSU DE ROME » 1960, de Carlo Lizzani, avec Gérard Blain, Pier Paolo Pasolini, Anna Maria Ferrero 12 Affiche de Grinsson 60/90 «LES CHEVALIERS TEUTONIQUES » 1961, de Alexandre Ford 13 Affiche de Jean Mascii -Athos Films- 40/70 «A TOUT CASSER» 1968, de John Berry, avec Eddie Constantine, Johnny Halliday, 14 Catherine Allegret.
    [Show full text]
  • Introduction 1 Mimesis and Film Languages
    Notes Introduction 1. The English translation is that provided in the subtitles to the UK Region 2 DVD release of the film. 2. The rewarding of Christoph Waltz for his polyglot performance as Hans Landa at the 2010 Academy Awards recalls other Oscar- winning multilin- gual performances such as those by Robert de Niro in The Godfather Part II (Coppola, 1974) and Meryl Streep in Sophie’s Choice (Pakula, 1982). 3. T h is u nder st a nd i ng of f i l m go es bac k to t he era of si lent f i l m, to D.W. Gr i f f it h’s famous affirmation of film as the universal language. For a useful account of the semiotic understanding of film as language, see Monaco (2000: 152–227). 4. I speak here of film and not of television for the sake of convenience only. This is not to undervalue the relevance of these questions to television, and indeed vice versa. The large volume of studies in existence on the audiovisual translation of television texts attests to the applicability of these issues to television too. From a mimetic standpoint, television addresses many of the same issues of language representation. Although the bulk of the exempli- fication in this study will be drawn from the cinema, reference will also be made where applicable to television usage. 1 Mimesis and Film Languages 1. There are, of course, examples of ‘intralingual’ translation where films are post-synchronised with more easily comprehensible accents (e.g. Mad Max for the American market).
    [Show full text]
  • Babette's Feast
    “PLENTY OF FOOD FOR EVERYONE”: A BALTHASARIAN LOOK AT BABETTE’S FEAST JACQUES SERVA IS “Grace is not external to created being as love.” “Like at the wedding at Cana,” affirms an old man at the extrava- gant French dinner in Babette’s Feast, “the food is not important.”1 Yes, surely something more than drinking and eating is at stake in John 2:1–11. The same holds for the film itself, which, though it revolves around a seven-course meal offered to poor villagers, “is not a film about cooking,” nor is the dinner whatsoever “an end in itself,” as the Danish director Gabriel Axel makes clear in an interview.2 But does all this make food and wine irrelevant? 1. Hereafter, where quotations in this essay are not footnoted, they are tak- en from the English subtitles of Babette’s Feast, directed by Gabriel Axel (2007, Twentieth Century Fox Home Entertainment), DVD. Unless otherwise in- dicated, all citations in this essay are to works by Hans Urs von Balthasar (Freiburg: Johannes Verlag Einsiedeln), published in English by Ignatius Press (San Francisco). All citations to Balthasar’s books from Johannes Verlag are from the most recent editions. 2. Gabriel Axel, interview by Jill Forbes, “Axel’s Feast,” Sight and Sound 57, no. 2 (Spring 1988): 106–07. Communio 44 (Fall 2017). © 2017 by Communio: International Catholic Review 416 JACQUES SERVAIS If they point beyond themselves, do they therefore disappear? At Cana, the Lord uses them as “signs” to reveal “his glory” (Jn 2:11), but this glory appears less as a scalding light, as it were, than a flickering candle, almost hidden.
    [Show full text]
  • Costa-Gavras: a Retrospective
    The Museum of Modern Art For Immediate Release March 1990 COSTA-GAVRAS: A RETROSPECTIVE April 13 - 24, 1990 A complete retrospective of twelve feature films by Costa-Gavras, the Greek-born French filmmaker, opens at The Museum of Modern Art on April 13, 1990. Both thought provoking and entertaining, Costa-Gavras's suspenseful mysteries deal with compelling social issues and are often based on actual political incidents. His stories involve the motivations and misuses of power and often explore the concept of trust in personal and public relationships. His films frequently star such popular actors as Fanny Ardant, Jill Clayburgh, Jessica Lange, Jack Lemmon, Yves Montand (who stars in six of the films), Simone Signoret, Sissy Spacek, and Debra Winger. Opening with Z (1969), one of his best-known works, COSTA GAVRAS: A RETROSPECTIVE continues through April 24. New prints of Costa-Gavras's early French films have been made available for this retrospective. These include his first film, The Sleeping Car Murders (1965), a thriller about the hunt for a murderer on an overnight train; the American premiere of the original version of One Man Too Many/Shock Troops (1967), a story of resistance fighters who free a group of political prisoners from a Nazi jail; and Family Business (1986), a drama about the transformation of a family crime ring into the local affiliate of an international syndicate. Also featured are Z (1969), an investigation into the murder of a politician; State of Siege (1972), a fictionalized version of the 1970 kidnapping of an American diplomat in Uruguay; and Special Section -more- 11 West 53 Street, New York, N.Y.
    [Show full text]
  • Last Tango in Paris (1972) Dramas Bernardo Bertolucci
    S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 .
    [Show full text]
  • BABETTES GAESTEBUD (BABETTE's FEAST) Is a February
    BABETTES GAESTEBUD (BABETTE’S FEAST) is a February, 2015 LVCA dvd donation to the Ligonier Valley Library. Below is Kino Ken’s review of that dvd film. Denmark 1987 color 105 minutes live action feature drama in French, Danish, and Swedish with English subtitles Panorama Film International / Nordisk Film / Danish Film Institute Producers: Just Betzer, Bo Christensen, Benni Korzen, Pernille Siesbye 12 of a possible 20 points *** of a possible ***** Key: *indicates outstanding technical achievement or performance (j) designates juvenile performer Points: 0 Direction: Gabriel Axel 2 Editing: Finn Henrikson 1 Cinematography: Henning Kristiansen 2 Lighting: Michael Wils Jensen*, Jacob Marlow*, and Michael Sørensen* 1 Screenplay: Gabriel Axel based on the story from SKAEBNE-ANEKDOTER by Karen Blixen a.k.a. Isak Dinesen Script: Annemarie Aaes 1 Music: Per Norgaard, Wolfgang Amadeus Mozart Choreographer: Niels Bjørn Larsen 2 Production Designer: Sven Wichmann Set Decorator: Peter Obeling Johannsen Props: Ena Eisel*, Torben Bækmark Pedersen* Costume Designers: Annelise Hauberg, Karl Lagerfeld, Pia Myrdal Make-Up: Elisabeth Bukkehave, Sanne Dardanell, Grethe Holleufer, Birthe Lyngsoe, Bente Møller, Lydia Pujols, Aase Tarp 2 Sound: Michael Dela*, Carl Aage Hansen*, John Nielsen*, and Bjarne Risbjerg Sound Recording: Karen Bentzon* and Sonja Vesterholt* Narrator: Ghita Nørby Sound Mixer: Hans-Erik Ahrn* 1 Cast: Stéphane Audran (Babette Hersant), Bodil Kjer (Filippa, sister to Martine), Birgitte Federspiel (Martine, sister to Filippa), Jarl Kulle
    [Show full text]
  • Les Livres Les Films
    LES LIVRES LES FILMS Collections de la MEDIATHEQUE DE SAINT-RAPHAEL DOCUMENTS GENERAUX Le rire : essai sur la signification du comique, Henri Bergson Paris, Presses universitaires de France, coll. Bibliothèque de philosophie contemporaine, 1941 Ce livre comprend trois articles sur le rire ou plutôt sur le rire provoqué par le comique. Ils précisent les procédés de fabrication du comique, ses variations ainsi que l'intention de la société quand elle rit. Histoire des spectacles, Guy Dumur, dir. de publication Paris, Gallimard, coll. Encyclopédie de la Pléiade, 1965 Qu'il soit sacré ou profane, divertissant ou exaltant, que le public y joue un rôle ou, au contraire, se contente d'écouter, de regarder, le spectacle, sous toutes ses formes, fait partie de la vie, au point que nous pourrions difficilement concevoir une société où aucune liturgie, aucune fête, aucun jeu, aucune représentation ne viendrait rompre le rythme du quotidien et peut-être lui donner un sens (ou le dépasser) par le pouvoir en quelque sorte magique de l'illusion... Retrouver les origines et retracer l'histoire, dans les diverses civilisations, de ces manifestations artistiques où le singulier quelquefois se distingue mal du collectif dans la mesure où ils ne peuvent se passer l'un de l'autre ; franchir les distances que créent l'espace et le temps afin de discerner le jeu si compliqué des influences ; découvrir, dans les époques dites de transition, le moment où apparaît une forme nouvelle ; tenter de déterminer les modifications, positives ou négatives, de l'art… Résumé http://www.gallimard.fr Le cinéma comique : Encyclopédie du cinéma, vol.
    [Show full text]
  • Pdf 156.85 KB
    Clap de fin pour Mireille Darc Transcription Marie Casadebaig : Mireille Darc s'est éteinte la nuit dernière à Paris. L'actrice avait 79 ans. Nathalie Amar : Une coupe au carré blond platine, des pommettes hautes, elle était l'un des visages familiers du cinéma français des années 60 et 70. Ces derniers mois, elle avait été victime de plusieurs hémorragies cérébrales. Elle laisse, Isabelle Chenu, une filmographie impressionnante. Isabelle Chenu : « La grande sauterelle », c'est le surnom affectueux qui lui était resté après son rôle de femme libérée dans un film de Georges Lautner, metteur en scène avec lequel elle connaîtra ses heures de gloire. Il la fera tourner dans treize de ses films . Elle a fait partie des blondes fatales qui enflammèrent le cinéma français des années 60 aux années 90, et fut une muse pour des réalisateurs comme Édouard Molinaro et Yves Robert, qui lui donnera un de ses rôles les plus populaires dans Le grand blond avec une chaussure noire. C’était aux côtés de Pierre Richard en 1972. Une scène culte, où elle apparaît dans une robe de Guy Laroche échancrée jusqu'aux fesses, entérinera définitivement son statut de sex-symbol. Avec Alain Delon qui sera son compagnon pendant quinze ans elle jouera dans L'homme pressé, Mort d'un pourri ou Les seins de glace. Victime de graves problèmes de santé dans les années 80, Mireille Darc sera opérée à cœur ouvert par le professeur Cabrol. Mais le cinéma et la télévision, où elle jouera dans de multiples feuilletons télévisés très populaires, n'arrêteront jamais de lui faire les yeux doux.
    [Show full text]
  • L'eclettico Luigi Comencini, Regista-Architetto Italiano-Francese, Ha Attra- Versato La Storia Del Cinema Italiano Camaleontic
    06-De Luca_0Syrimis 2/10/14 10:28 AM Page 85 I BAMBINI E NOI : L’INFANZIA NEL CINEMA DI LUIGI COMENCINI GIOVANNA DE LUCA Riassunto : Padre per antonomasia dei bambini del cinema italiano, Luigi Comencini ha dedicato tredici film all’infanzia ripercorrendo l’evoluzione storico sociale del paese dal secondo dopoguerra fino agli anni 90. Questo saggio si propone di investigare, attraverso l’analisi di alcuni dei film più esemplari del regista, due temi ricorrenti del discorso comenciniano sull’in - fanzia: la coesistenza nel bambino di una dipendenza dall’adulto e un desi - derio di autonomia e l’esplorazione dell’ambiguo rapporto padre/figlio. L’eclettico Luigi Comencini, regista-architetto italiano-francese, ha attra - versato la storia del cinema italiano camaleonticamente, rappresentando con sguardo semplice e razionale la condizione umana soprattutto attra - verso i bambini, espressione artificiosa di quella umanità che era desidero - so di raccontare. Spaziando tra cinema-documentario, neorealismo rosa, commedia all’italiana e cinema dell’infanzia, Comencini è stato il regista italiano testimone delle diverse fasi e tendenze del cinema nazionale, riper - correndo l’evoluzione del Paese dal secondo dopoguerra fino agli anni 90. Il tema dell’infanzia in particolare ha un posizione rilevante nella copiosa produzione artistica del regista. Tra documentari, film televisivi e film per il grande schermo annotiamo: I bambini in città (1946), Heidi (1952), La Finestra sul luna park (1956), Incompreso (1967), Infanzia, vocazione e prime esperienze di Giacomo Casanova (1969), I bambini e noi (1970), Le avventure di Pinocchio (1972), Voltati Eugenio ( 1980), Cuore (1984), La sto - ria (1986), Un ragazzo di Calabria (1987), Tutti i bambini ..
    [Show full text]
  • A DRAMATIC FILM Les Options Possibles, Quel Que Soit Votre Moyen De Transport Preferred Means of Transport (On Foot, Bike, Train, Bus, Train, Tram)
    JOURNAL POWERED BY p.3 p.6 p.9 p.11 p.13 p.14 COMPÉTITION COMPÉTITION PROGRAMMATION MADE IN/WITH SÉLECTION OFFICIELLE COLLABORATIONS, OFFICIELLE DOCUMENTAIRE JEUNE PUBLIC LUXEMBOURG HORS COMPÉTITION EXPO, OFFICIAL DOCUMENTARY YOUNG AUDIENCES COURTS & OFFICIAL SELECTION & MUCH MORE… COMPETITION COMPETITION LONG-MÉTRAGES OUT-OF-COMPETITION LUXEMBOURG CITY FILM FESTIVAL 10E ÉDITION : 5 → 15.03.2020 POWERED BY 3 Le Jury International du Luxembourg City Film Festival, composé de personnalités du monde du cinéma, COMPÉTITION remettra le Grand Prix – by Orange au meilleur des dix OFFICIELLE films de la Compétition Officielle Made up of prominent figures from the world of cinema, OFFICIAL COMPETITION Luxembourg City Film Festival’s International Jury will award the Grand Prix – by Orange to one of the ten films shortlisted for the Official Competition. Avant-Première Avant-Première Kinepolis En présence d’invités / In the presence of guests Programmation détaillée / Entire programme www.luxfilmfest.luLa programmation reste soumise à modifications / The programme is subject to modification. Versions et sous-titres à confirmer / Versions et subtitles to be confirmed. © Jessica Forde, KG Productions KG © Jessica Forde, MASTERCLASS & RETROSPECTIVE © Limelite COSTA-GAVRAS © D.R. LuxFilmFest à l’honneur d’accueillir, pour LuxFilmFest is honoured to welcome one of ABOUT ENDLESSNESS (OM DET OÄNDLIGA) ATLANTIS BY ROY ANDERSSON BY VALENTYN VASYANOVYCH son cycle de rencontres, l’un des plus the greatest European filmmakers to its SE, DE, NO, 2019 — SWEDISH
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Misery Is the True Script For
    UNIVERSITY OF CALIFORNIA Los Angeles Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Christopher Burton White 2014 © Copyright by Christopher Burton White 2014 ABSTRACT OF THE DISSERTATION Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s by Christopher Burton White Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Thomas J. Harrison, Chair This dissertation fills a lacuna in the history of Italian cinema, formally analyzes a selection of significant film comedies from the 1950s, and challenges many of the assumptions that have been made about postWar Italian cinema. The conservative atmosphere of the fifties, the detrimental effects of censorship on Italian cinema, and the return of popular genres after the end of the widely-acclaimed neorealist period have led to assumptions about a limited engagement With contemporary Italian society in the motion pictures produced in Italy during the 1950s. While most critics and film historians vieW these years in Italian cinema as the disappointing aftermath of neorealism, a decade in Which conservative elements in Italian society pushed national cinema in the direction of facile optimism and escapism, this dissertation demonstrates that many comedies in fact engaged with Italian society, ii offering incisive critiques of contemporary Italy that pinpoint and satirize hypocrisy, inequality, and a host of other ills of the Italian republic in the 1950s. This study considers existing scholarship on Italian cinema and reevaluates films starring the popular Neapolitan actor Antonio De Curtis (Totò), Renato Castellani’s Due soldi di speranza (Two Cents Worth of Hope, 1952) and other examples of neorealismo rosa (rosy or pink neorealism), and the movies directed by Federico Fellini featuring Alberto Sordi, both in terms of aesthetics as well as subject matter.
    [Show full text]