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Célia Maki Tomimatsu.Pdf
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PROGRAMA DE ESTUDOS PÓS-GRADUADOS EM COMUNICAÇÃO E SEMIÓTICA O cinema que convoca os sentidos da vida Uma análise do conceito de Ikigai (razão de viver) na filmografia de Hirokazu Koreeda Tese de Doutorado apresentada à Banca Examinadora da PUC de São Paulo como parte da exigência para a obtenção do título de Doutora em Comunicação e Semiótica. Orientadora: Profa. Dra. Christine Greiner CÉLIA MAKI TOMIMATSU São Paulo 2017 2 Banca Examinadora _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ São Paulo, ______ de _____________________ de 2017. 3 RESUMO O objetivo desta pesquisa é analisar como o cineasta japonês Hirokazu Koreeda transforma o conceito de ikigai (生きがい) em um recurso comunicacional que afeta o público japonês e as plateias internacionais, na medida em que convoca a vida na sua singularidade cotidiana e não necessariamente a partir de grandes acontecimentos. Embora ikigai seja um termo de difícil tradução, tem sido considerado por pesquisadores de áreas diversas como razão de viver. O corpus principal da tese é composto por quatro filmes: A luz da ilusão (1995), Depois da vida (1999), Tão distante (2001) e Seguindo em frente (2008). Em todos eles, há um destaque para os questionamentos sobre a vida, a morte e, sobretudo, a memória como interação humana entre dos personagens. Isso porque, além dos diálogos, o silêncio e as imagens das lembranças expressam a razão de viver de cada um deles. No que se refere ao quadro teórico, relacionamos bibliografias sobre ikigai de Mieko Kamiya (2004a, 2004b) com os escritos do próprio Hirokazu Koreeda (2001, 2004, 2008, 2016a, 2016d), bem como suas entrevistas, nas quais o autor interpreta ikigai de um modo complexo e elucida a sua inserção no cinema japonês contemporâneo. -
DREW Deascentis
DREW DeASCENTIS SELECTED CREDITS ASSASSINATION NATION (2018) MIRACLES FROM HEAVEN (2016) LOOPER (2012) THE BROTHERS BLOOM (2008) BRICK (2005) BIOGRAPHY Drew DeAscentis is an accomplished music editor known for films such as ‘Miracles from Heaven’, ‘Looper’, ‘Assassination Nation’ and ‘The Brothers Bloom’. FILM CREDITS Hypnotized (2019) El Dia del Temblor (2017) Music Editor Music Editor Directed by Juan Curi (composer, Carlo Siliotto) | Directed by Kuno Becker (composer, Carlo AG Studios Siliotto) | Teté Films, Videocine Rattlesnake (2019) We Don’t Belong Here (2017) Music Editor Music Editor Directed by Zak Hilditch (composer, Ian Directed by Peer Pederson (composer, Michael Hultquist) | Campfire, Netflix Yezerski) | Bright Space Struggle: The Life and Lost Art of Szukalski Lea to the Rescue (2016) (2018) Music Editor Music Editor Directed by Nadia Tass (composer, Kenneth Directed by Ireneusz Dobrowolski (composer, Burgomaster) | Martin Chase Productions Amotz Plessner) | Film Street, Netflix Time Toys (2016) The Great Buster (2018) Music Editor Music Editor Directed by Mark Rosman (composer, Kenneth Directed by Peter Bogdanovich | Cohen Media Burgomaster) | Madalyn Productions Group Miracles from HeaVen (2016) Assassination Nation (2018) Music Editor Music Editor Directed by Patricia Riggen (composer, Carlo Directed by Sam Levinson (composer, Ian Siliotto) | Columbia Pictures Hultquist) | Bron Studios, Neon Jackie & Ryan (2014) The Boxcar Children: Surprise Island Music Editor (2018) Directed by Ami Canaan Mann (composer, Nick Music -
The Wall, Released 40 Years Ago, Is Considered by Many to Be One of the Best Albums in Rock History
Movies: Knives Out Books: The Hero by Lee Child Music: Thanks for the Dance by Leonard Cohen F&B: Chinese wine, Long Dai Macau Daily Times | Edition 3427 | 29 Nov 2019 The shadow of The Wall ‘The Wall, released 40 years ago, is considered by many to be one of the best albums in rock history. But it marked the last time the core members of Pink Floyd would record an album together X2 PÁTIO DA ILUSÃO illusion DRIVE IN Jake Coyle, AP Film Writer N NIVES UT A I ‘K O ,’ PHOTO AP WHODUNIT FOR THE TRUMP ERA ian Johnson’s “Knives Out” nothing better. And “Knives Out,” unravels not just a good ol- while it takes a little while to find Rd-fashioned murder mystery but its stride, sticks the landing, right the very fabric of the whodunit, up to its doozy of a last shot. The pulling at loose threads until it whodunit turns out not only to has intricately, devilishly woven still have a few moves left but to together something new and ex- be downright acrobatic. ceedingly delightful. The film begins like many befo- For all the detective tales that re it: with a dead body that needs dot television screens, the Aga- accounting for. Harlan Thrombey tha Christie-styled whodunit has (Christopher Plummer), a bes- gone curiously absent from mo- tselling mystery writer, is fou- vie theaters. The nostalgia-dri- nd with his throat cut in a small ven “Murder on Orient Express” upstairs room in his sprawling From left: Daniel Craig Chris Evans, Noah Segan and Lakeith Stanfield in a scene from “Knives Out” (2017), popular as it was, didn’t Victorian mansion. -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. 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 author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both. -
Zeughauskino: Kinematografie Heute: Japan
KINEMATOGRAFIE HEUTE: JAPAN Seit Jahren eine der größten Filmproduktionen der Welt ist dem japanischen Kino eine einzigartige Vielfalt und Kraft eigen: ein Reichtum fiktionaler Formen, der aus der Geschichte des japani- schen Films wie auch aus den gesellschaftlichen Verwerfungen der Gegenwart schöpft; eine lebendige Dokumentarfilmkultur, die klas- sischen Anliegen und Arbeitsweisen folgen kann, die aber auch moderne und hybride Formen kennt, und schließlich natürlich ein Kino des animierten Films, das weltweit einzigartig ist. In mancher Hinsicht dem europäischen oder westlichen Kino ähnlich, hat das japanische Filmschaffen auch Filmsprachen und Bilderwelten her- vorgebracht, die hierzulande nicht entstehen: Die Vorführung eines japanischen Films kann zu einem atemberaubenden Erlebnis werden. Die Filmreihe KINEMATOGRAFIE HEUTE: JAPAN, die das zeitgenössi- sche japanische Kino der letzten vier Jahre vorstellt, ermöglicht eine Vielzahl dieser Erlebnisse. Eine Filmreihe anlässlich des Jubiläums »150 Jahre Japan – Deutsch- land«, mit freundlicher Unterstützung der Botschaft von Japan. Kūki Ningyō Air Doll J 2009, R: Hirokazu Koreeda, D: Doona Bae, Arata, Itsuji Itao, Jō Odagiri, 125’ | 35 mm, OmeU Das Kino kann beschrieben werden als eine Apparatur, die tote, erstarrte Bilder durch Bewegung dynamisiert und zum Leben erweckt. Vielleicht sind auch deshalb Erzählungen über künstliches Leben seit jeher ein privilegier- tes Sujet des Mediums. Hirokazu Koreeda schließt an diese Tradition an, bedient sich insbesondere bei Ernst Lubitschs Stummfilmklassiker Die Pup- pe und fügt ihr eine eigenwillige Variante hinzu: Zum Leben erweckt wird hier eine Sexpuppe. Koreeda nimmt diese absurde Prämisse wortwörtlich, ohne dass Air Doll deswegen zum Exploitationfilm werden würde. Statt des- sen erzählt der Film die Subjektkonstitution eines sich seiner eigenen Funk- tion bewussten Sexspielzeugs als modernes Märchen. -
Rupert Everett ~ 36 Screen Credits
Rupert Everett ~ 36 Screen Credits Look at that lip. Hauteur, condescension, disdain writ large. "I am a very limited actor. There's a certain amount I can do and that's it," said Everett in 2014. Maybe so, but - see My Best Friend's Wedding, An Ideal Husband, Separate Lies or Unconditional Love - how well he does it. Born in Burnham Deepdale, Norfolk on 29 May 1959 the second son of parents Anthony and Sara, RUPERT JAMES HECTOR EVERETT is of English, Scottish, Irish and more distant German and Dutch ancestry. His father, who died in 2009, was a Major in the British Army who later worked in business. When he was six, Rupert was taken into Braintree for his first trip to a cinema. There was a long queue, the child was typically fretful and the grown-ups thought about leaving, but finally decided not to: And so my mother bought the fateful tickets and unknowingly guided me through a pair of swing doors into the rest of my life ... ... Those huge curtains silently swished open and Mary Poppins sprang across the footlights and into my heart. After preliminary instruction from a governess, Everett was educated at Far- leigh House School, Andover from seven to thirteen then at Ampleforth College, Yorkshire from thirteen to sixteen, at which point he absconded to London to become an actor. After two years of living the bohemian life to the full (if not excess), he won a coveted place at the Central School of Speech and Drama, but after attending for two tempestuous and more or less unrewarding years was told not to return for a third. -
Cineclubuned 24.Pdf
Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07 -
Sherborne School and the Oscars
‘And the Academy Award goes to…’ Sherborne School and the Oscars Sherborne School is currently making its presence felt on the big screen. Not only has the School recently provided the set for two new films, The Imitation Game (2014) and Far from the Madding Crowd (2015), but two Old Shirburnian actors can currently be seen in two hugely successful films, Hugh Bonneville (d 1977-1981) in Paddington (2014) and Charlie Cox (c 1996-2001) in The Theory of Everything (2014). And, of course, Benedict Cumberbatch, himself the son of an Old Shirburnian, is portraying Old Shirburnian Alan Turing (h 1926-1931) in The Imitation Game (2014). The 87th Academy Award nominations for the 2015 Oscars see The Imitation Game (2014) with eight nominations, including Best Picture and Best Actor, and The Theory of Everything (2014) with one nomination for Best Picture. But we will have to wait until 22 February 2015 to find out who will win a coveted Oscar. Jeremy Irons (b 1962-1966) is the only Old Shirburnian to date known to have won an Oscar. This was for his portrayal of Claus von Bülow in Reversal of Fortune (1990) in which he starred alongside Glenn Close. However, with a number of new films in the pipe line - La Corrispondenza (2015), High-Rise (2015), Batman v Superman: Dawn of Justice (2016), and Race (2016) – he will no doubt be adding a few more awards to his mantelpiece in the future. It was while he was at Sherborne that Irons first took to the stage, appearing as Mr Puff in the 1966 production of The Critic. -
10-Fr-736-Booklet-W.O. Crops
CARLISLE PRINCE OF FLOYD PLAYERS an oPera in two acts Phares royal Dobson shelton Kelley riDeout harms eDDy fr esh ! MILWAUKEE SYMPHONY ORCHESTRA WILLIAM BOGGS , CONDUCTOR FROM THE COMPOSER it is with great pleasure and pride that i congratulate the Florentine opera and soundmirror on this beautiful recording. it is the culmination of all the hard work and love that many people poured into making this opera a success. From its very beginning, Prince of Players has been a joy for me. back in 2011, i was flipping through tV channels and stopped on an interesting movie called staGe beauty, based on Jeffery hatcher’s play “the compleat Female stage beauty” and directed by sir richard eyre. the operatic potential struck me immediately. opera deals with crisis, and this was an enormous crisis in a young man’s life. i felt there was something combustible in the story, and that’s the basis of a good libretto. i always seek great emotional content for my operas and i thought this story had that. it is emotion that i am setting to music. if it lacks emotion, i know it immediately when i try to set it to music: nothing comes. From the story comes emotion, from the emotion comes the music. Fortunately for me, the story flowed easily, and drawing from the time-honored dramatic cycle of comfort, disaster, rebirth, i completed the libretto in less than two weeks. in 2013, the houston Grand opera commissioned Prince of Players as chamber opera, to be performed by its hGo studio singers, and staged by the young british director, michael Gieleta. -
Catalogo Catalogue 2019.Pdf
IN UN MONDO CHE CAMBIA, PUOI AMARE IL CINEMA FESTA DEL CINEMA DI ROMA DA UN’ALTRA PROSPETTIVA. 17-27 Ottobre 2019 PRODOTTO DA MAIN PARTNER Promosso da Partner Istituzionali Messaggio pubblicitario con finalità promozionale. WE LOVE CINEMA In collaborazione con BNL Main Partner della Festa del Cinema di Roma, dal 17 al 27 ottobre. Seguila da un altro punto di vista, su welovecinema.it e con la nostra app. by BNL - BNP PARIBAS welovecinema.it Sponsor Uffi ciali Auto Uffi ciale La banca per un mondo che cambia Partner Partner Tecnico Main Media Partner TV Uffi ciale Media Partner Sponsor FOOD PROMOTION & EVENTS MANAGEMENT Sponsor Tecnici PRODUZIONI E ALLESTIMENTI L'APP DELLA REGIONE LAZIO CON SCONTI E PROMOZIONI PER I GIOVANI DAI 14 AI 29 ANNI su cinema, eventi, libri, concerti, teatro, sport, turismo, pub e ristoranti SCARICA L’APP DAGLI STORE SCOPRI DI PIÙ NELLO SPAZIO DELLA REGIONE LAZIO ALLA FESTA AUDITORIUM PARCO DELLA MUSICA VIVILE STAGIONI DELLE ARTI CONCERTI FESTIVAL RASSEGNE VIALE PIETRO DE COUBERTIN • 00196 ROMA INFO: 06 8024 1281 • BIGLIETTERIA: 892 101 (SERVIZIO A PAGAMENTO) PROGRAMMAZIONE E BIGLIETTI SU AUDITORIUM.COM Siamo con il CINEMA ITALIANO ovunque voglia arrivare. cinecittaluce.it festadelcinema_165 X240 .indd 1 18/09/19 09:20 esecutivo-pagina-cinema.pdf 1 17/09/2019 09:47:37 C M Y CM MY CY CMY K Lavoriamo ogni giorno per valorizzare il set più bello del mondo. Mazda CX-30 Cat FestaCinema 165x240.indd 1 01/10/19 10:13 SIAE_per_FestaCinemaRoma_2019_165x240.pdf 1 10/09/19 11:47 SOGNI IDEE ARTE EeMOZIONI 14A EDIZIONE | 14TH EDITION -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
A Film by Hirokazu Kore-Eda (Nobody Knows)
Mar del Plata Tokyo Film Festival, Film Festival, GOLDEN BLUE RIBBON AWARD ASTOR Best Film Best Director San Sebastián Film Festival, CEC AWARD Best Film still walking a film by hirokazu kore-eda (nobody knows) Starring: Hiroshi Abe, Yui Natsukawa, You, Kazuya Takahashi, Shohei Tanaka, Kirin Kiki, Yoshio Harada, Ryôga Hayashi, Yui Natsukawa; Cinematography: Yutaka Yamazaki; Production Design: Toshihiro Isomi, Keiko Mitsumatsu; Lighting: Eiji Oshita; Music: Gontiti; Sound: Yutaka Tsurumaki, Shuji Ohtake; Costume Stylist: Kazuko Kurosawa; Production: TV Man Union; Editing: Hirokazu Kore-eda; Screenplay: Hirokazu Kore-eda; Direction: Hirokazu Kore-eda still_walking_vs.indd 1 31.3.2009 14:53:18 Uhr STILL WALKING Aruitemo, aruitemo – Hirokazu Kore-eda, Japon 2008 La famille Yokoyama se réunit pendant une belle et chaude journée d’été, pour commémorer, comme chaque année, la mort tragique du fils aîné, décédé quinze ans plus tôt en sauvant un enfant de la noyade. Dans la spacieuse maison familiale, qui fut autrefois aussi le cabinet médical du père, rien ne semble avoir bougé. L’accueil de la mère est toujours aussi généreux et réconfortant, à l’image du festin délicatement préparé par la mère pour ses enfants et ses petits-enfants. Pourtant, les uns et les autres ont imperceptiblement changé avec le temps passé … Hirokazu Kore-eda s’est fortement inspiré de sa propre histoire familiale pour réaliser ce subtil mélange d’humour, de chagrin et de mélancolie où les membres d’une famille japonaise ordinaire expriment leur amour, leurs ressentiments, laissant aussi entrevoir les secrets que chacun porte en lui-même. La vie et la mort – la vie et l’amour Fiche technique « Dans ce film, plus que dans tous les Still Walking est certainement l’œuvre la Réalisation: Hirokazu Kore-eda autres, je crois que je suis arrivé à plus personnelle du cinéaste japonais Hirokazu Scénario: Hirokazu Kore-eda dessiner l’être humain et son comporte- Kore-eda, si fortement liée qu’elle est à Image: Yutaka Yamazaki ment d’une façon spéciale et nuancée.