Bruno Delbonnel A.S.C
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
L'a-Réalité Virtuelle / Existenz De David Cronenberg
Document généré le 26 sept. 2021 04:42 24 images L’a-réalité virtuelle eXistenZ de David Cronenberg Marcel Jean Stanley Kubrick Numéro 97, été 1999 URI : https://id.erudit.org/iderudit/24985ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Jean, M. (1999). Compte rendu de [L’a-réalité virtuelle / eXistenZ de David Cronenberg]. 24 images, (97), 50–51. Tous droits réservés © 24 images, 1999 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ e_X_lSten_^__ de David Cronenberg L'A-RÉALITÉ VIRTUELLE PAR MARCEL JEAN n ne s'étonnera guère de constater O que les personnages d'eXistenZ ont, dans le bas du dos, une sorte de prise élec trique (un «bioport») qui leur permet de se brancher directement aux jeux de réalité virtuelle qu'ils utilisent. En effet, les habitués de l'œuvre de Cronenberg savent que chez lui, tout passe par le corps. Il n'y a pas, chez l'auteut de Scanners, de sépararion entre le corps et l'esprit, de sorte qu'un jeu est néces sairement quelque chose de physique. -
P.O.V. a Danish Journal of Film Studies
Institut for Informations og Medievidenskab Aarhus Universitet p.o.v. A Danish Journal of Film Studies Editor: Richard Raskin Number 8 December 1999 Department of Information and Media Studies University of Aarhus 2 p.o.v. number 8 December 1999 Udgiver: Institut for Informations- og Medievidenskab, Aarhus Universitet Niels Juelsgade 84 DK-8200 Aarhus N Oplag: 750 eksemplarer Trykkested: Trykkeriet i Hovedbygningen (Annette Hoffbeck) Aarhus Universitet ISSN-nr.: 1396-1160 Omslag & lay-out Richard Raskin Articles and interviews © the authors. Frame-grabs from Wings of Desire were made with the kind permission of Wim Wenders. The publication of p.o.v. is made possible by a grant from the Aarhus University Research Foundation. All correspondence should be addressed to: Richard Raskin Institut for Informations- og Medievidenskab Niels Juelsgade 84 8200 Aarhus N e-mail: [email protected] fax: (45) 89 42 1952 telefon: (45) 89 42 1973 This, as well as all previous issues of p.o.v. can be found on the Internet at: http://www.imv.aau.dk/publikationer/pov/POV.html This journal is included in the Film Literature Index. STATEMENT OF PURPOSE The principal purpose of p.o.v. is to provide a framework for collaborative publication for those of us who study and teach film at the Department of Information and Media Science at Aarhus University. We will also invite contributions from colleagues at other departments and at other universities. Our emphasis is on collaborative projects, enabling us to combine our efforts, each bringing his or her own point of view to bear on a given film or genre or theoretical problem. -
72Nd CANNES FILM FESTIVAL « Pierre Angénieux Excellens In
Press Release – April 2019 72nd CANNES FILM FESTIVAL (May 14-25, 2019) « Pierre Angénieux ExcelLens in Cinematography » Tribute to Bruno Delbonnel (A.F.C. and A.S.C.) Friday, May 24, 2019 – 8pm Buñuel Theater, Palais des Festivals Since 2013, as an official partner of the Cannes Film Festival, Angénieux has been paying a tribute to a prominent director of photography during the « Pierre Angénieux ExcelLens in Cinematography » ceremony. This event turns the spotlight on worldwide masters of light, directors of photography, without whom cinema would not exist. After Philippe Rousselot (AFC*, ASC*) in 2013, Vilmos Zsigmond (HSC*, ASC) in 2014, Roger A. Deakins (BSC*, ASC) in 2015, Peter Suschitzky (ASC) in 2016, Christopher Doyle (HKSC*) in 2017 and Edward Lachman (ASC), it is Bruno Delbonnel’s turn to be honored in 2019, at the 72nd Cannes Film Festival, during an exceptional eveninG opened by Thierry Frémaux, presented by French journalist Pierre Zéni and in presence of some of his closest collaborators. Bruno Delbonnel is a world-renowned French director of photography. Born in Nancy in 1957, Bruno Delbonnel first studied philosophy, then graduated from ESEC in the camera and light section, before filming his first and only film at the age of 20 : a short film, Rare Realities. On this film, Jean-Pierre Jeunet was his assistant and Henri Alekan, his DOP… AlonGside the master of black and white photoGraphy, he discovered his passion for liGht was stronGer than directing. He then beGan workinG as a camera assistant during fifteen years for commercials and some feature films, then as a DOP. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
National Gallery of Art
ADMIION I FR DIRCTION 10:00 TO 5:00 National Gallery of Art Release Date: Jul 29, 2015 Summer Films at National Gallery of Art Include Albert Maysles Retrospective, Rare 35mm Prints from Italian Film Archives, Tribute to Titanus Studio, and Special Appearance by Indie Filmmaker Film still from Il idone Federico Fellini, 1955, to e screened as part of the series Titanus Presents: A Famil Chronicle of Italian Cinema, on August 23, National Galler of Art, ast uilding Auditorium. Image courtes of Titanus. Washington, DC—The National Galler of Art film program returns to its ast uilding Auditorium on August 1 with a triute to Alert Masles that focuses on his and his rother David's interest in art and performance and includes several screenings from Italian film archives shown in the Galler's annual summer preservation series dedicated this ear to the Italian film production house Titanus. Masles Films Inc.: Performing Vérité (some in original 16mm format) Through August 2 Alert Masles (1926–2015) and his rother David (1931–1987) expanded the artistic possiilities for direct cinema espousing "the ee of the poet" as a factor in shooting and editing cinema vérité. Their trademark approach—capturing action spontaneousl and avoiding a point of view—ecame, for a time, the ver definition of documentar. It is presented as a triute to Alert Masles, who died this ear in March. Masles often visited the National Galler of Art; his wife, Gillian Walker, was the daughter of former Galler director John Walker. The National Galler of Art extends a special thanks to Jake Perlin and Reekah Males for making the showing of the Masles films possile. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
THE LEOPARD/IL GATTOPARDO (1963) Original 205Min, UK 195, US 165, Restored ?
6 December 2005, XI:15 LUCHINO VISCONTI (Count Don Lucino Visconti di Modrone, 2 November 1906, Milan—17 March 1976, Rome) wrote or co-wrote and directed all or part of 19 other films, the best known of which are L’Innocente 1976, Morte a Venezia/Death in Venice 1971, La Caduta degli dei/The Damned 1969, Lo Straniero/The Stranger 1967, Rocco e i suoi fratelli/Rocco and His Brothers 1960, Le Notti bianche/White Nights 1957, and Ossessione 1942. SUSO CECCHI D'AMICO (Giovanna Cecchi, 21 July 1914, Rome) daughter of screenwriter Emilio Cecchi, wrote or co-wrote nearly 90 films, the first of which was the classic Roma citt libera/Rome, Open City 1946. Some of the others: Panni sporchi/Dirty Linen 1999, Il Male oscuro/Obscure Illness 1990, L’Innocente 1976, Brother Sun, Sister Moon 1973, Lo Straniero/The Stranger 1967, Spara forte, pi forte, non capisco/Shoot Louder, I Don’t Understand 1966, I Soliti ignoti/Big Deal on Madonna Street 1958, Le Notti bianche/White Nights 1957, and Ladri di biciclette/The Bicycle Thieves 1948. PASQUALE FESTA CAMPANILE (28 July 1927, Melfi, Basilicata, Italy—25 February 1986, Rome) directed 45 films which we mention here primarily because the American and British release titles are so cockamamie, i.e., How to Lose a Wife and Find a Lover 1978, Sex Machine 1975, When Women Played Ding Dong 1971, When Women Lost Their Tails 1971, When Women Had Tails 1970, Where Are You Going All Naked? 1969, The Chastity Belt/On My Way to the Crusades, I Met a Girl Who...1969, and Drop Dead My Love 1966. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
New Urban Cinema Bauwelt 36 | 2007 Stadtbauwelt 175 | 2007 65
64 Thema New Urban Cinema Bauwelt 36 | 2007 StadtBauwelt 175 | 2007 65 Mit dem Abschluss der Verträge über die Rückgabe der britischen Kronkolonie an die der Fernsehsender besaßen die Jungfilmer beachtliche Freihei- Die Abwendung von der Volksrepublik China kommt in dem Volksrepublik China wurde Hongkong Mitte der achtziger Jahre zum Objekt von Dreh- ten. Sie begannen früh in kulturell-politischen Beiträgen so- Filmschaffen einiger Regisseure ganz besonders in der Raum- ziale Themen wie Arbeitslosigkeit, Jugendfragen oder illegale und Architekturdarstellung zur Geltung. Ein wesentliches buchautoren und Regisseuren. Das „New Hongkong Cinema“ machte Raum und Archi- Einwanderung zu behandeln. Mit Beginn ihrer Kino-Karriere Beispiel hierfür ist Mak Tai-wais Film „The Wicked City“ (Yao- tektur zu seinem zentralen Thema, griff über diesen Umweg in die politische Debatte setzten die Regisseure des „New Hongkong Cinema“ die Aus- shou Dushi) aus dem Jahre 1992. Der von Tsui Hark produ- über die Zukunft der Stadt ein und wuchs so in den neunziger Jahren zu einem einandersetzung mit diesen Fragen fort. Nach den britisch-chi- zierte Film basiert auf einer japanischen Comicgeschichte. Die „New Urban Cinema“ heran. Sein erster Vertreter ist Wong Kar Wai, in dessen Werk nesischen Verträgen im Jahre 1984 wurde im „New Hongkong Handlung des Comics wird in Maks Film nach Hongkong ver- Cinema“ die Stadt Hongkong selbst zum Thema. Die damit legt; sie zeigt, wie die Stadt kurz vor der Souveränitätsüber- Hongkong letzten Endes stets die Hauptrolle spielt. einhergehende Suche nach einer eigenständigen Identität gabe 1997 von Monstern belagert wird. Das von I.M. Pei ent- führte insbesondere bei den Filmemachern der achtziger Jahre worfene Bürogebäude der „Bank of China“ ist das Hauptquartier zu einem „China syndrome“, wie es Stephen Teo bezeichnete. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
PRESALES LINE-UP 2021 ©Mastiff
C=0 M=56 Y=75 K=0 reservoir docs PRESALES LINE-UP 2021 ©Mastiff TEASER LEGACY Password: jazz By Manal Masri (filmmaker of the awardedLetters to a Serial Killer) Sweden • 90’ & 6X30’ 1 PRESALES LINE-UP 2021 • RESERVOIR DOCS Legacy The Scandinavian legacy of American jazz musicians Imagine that Drake, Kendrick Lamar, Beyonce and Cardi B all Production: moved to Scandinavia. They played gigs at local clubs and toured Mastiff school auditoriums all over their adopted countries, while finding In coproduction with partners and having children at the same time. SVT, DR, YLE Budget: This did happen, just in a previous era. From the late 1950s up to 591K€ the 1970s, some of the greatest African-American jazz musicians Expected delivery: moved to Sweden/Scandinavia, making new families and a lasting Winter 2021/2022 musical impression on the country. Assets already available: Teaser, Project description with Legacy is an account of their lives, their music and their families comprehensive cast (Quincy and their legacies. We follow their children, now grown, who share Jones, Clint Eastwood, …) their stories for the first time: about growing up with a world-fa- What we are looking for: mous father, yet getting teased at school about their dark skin. Presales (TV and all rights distribution deals), A European coproduction This series is as much a documentary about music as it is a por- partner, trait of how individual experiences of race, visions of society and a passionate US executive artistic dreams intersect, giving rise to an entirely new musical