June 28, 2017 Learning Support Services Room 259 DUTCH FILMS
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TORONTO INTERNATIONAL FILM FESTIVAL SELEZIONE UFFICIALE 2006 Un Film Di PAUL VERHOEVEN UN KOLOSSAL BELLICO in CUI SUCCEDE DAVVERO OGNI COSA
presenta un film di PAUL VERHOEVEN TORONTO INTERNATIONAL FILM FESTIVAL SELEZIONE UFFICIALE 2006 un film di PAUL VERHOEVEN UN KOLOSSAL BELLICO IN CUI SUCCEDE DAVVERO OGNI COSA. RITMO DA GRAN SPETTACOLO DI VITA E MORTE. (CORRIERE DELLA SERA) MOLTO SPETTACOLARE (LA STAMPA) GIRATO BENISSIMO, GRANDE RITMO, NON ANNOIA MAI (IL MESSAGGERO) IMMAGINI FORTI E DI GRANDE VALORE FIGURATIVO (IL TEMPO) TRADIZIONALE E INNOVATIVO. BELLO. (IL GIORNALE) VERHOEVEN AUTENTICA FORZA VISIONARIA (IL MANIFESTO) 10 MINUTI DI APPLAUSI AL FESTIVAL DI VENEZIA PREMIO ARCA CINEMAGIOVANI MIGLIOR FILM Dutch Film Festival PREMIO MIGLIOR FILM PREMIO MIGLIOR REGISTA PREMIO MIGLIORE ATTRICE Platinum Award MASSIMO CAMPIONE DI INCASSI IN OLANDA Oscar 2007 MIGLIOR FILM STRANIERO CANDIDATO UFFICIALE PER L’ OLANDA CAST ARTISTICO RachelSteinn/Ellis De Vries CARICE VAN HOUTEN Ludwig Müntze SEBASTIAN KOCH Hans Akkermans THOM HOFFMAN Ronnie HALINA REIJN Ufficiale Franken WALDEMAR KOBUS Gerben Kuipers DEREK DE LINT GeneraleSS Käutner CHRISTIAN BERKEL VanGein PETER BLOK Rob MICHIEL HUISMAN Tim Kuipers RONALD ARMBRUST voci italiane RachelSteinn/Ellis De Vries CHIARA COLIZZI Ludwig Müntze LUCA WARD Hans Akkermans MASSIMO LODOLO Ronnie LAURA BOCCANERA Ufficiale Franken MASSIMO CORVO Gerben Kuipers GINO LA MONICA dialoghi e direzione del doppiaggio MASSIMO CORVO stabilimento di doppiaggio TECHNICOLOR SOUND SERVICES CAST TECNICO regia: PAUL VERHOEVEN storia originale: GERARD SOETEMAN sceneggiatura: GERARD SOETEMAN direttore della fotografia: PAUL VERHOEVEN luci: KARLWALTER LINDENLAUB, ACS, -
Spetters Directed by Paul Verhoeven
Spetters Directed by Paul Verhoeven Limited Edition Blu-ray release (2-disc set) on 2 December 2019 From legendary filmmaker Paul Verhoeven (Robocop, Basic Instinct) and screenwriter Gerard Soeteman (Soldier of Orange) comes an explosive, fast-paced and thrilling coming- of-age drama. Raw, intense and unabashedly sexual, Spetters is a wild ride that will knock the unsuspecting for a loop. Starring Renée Soutendijk, Jeroen Krabbé (The Fugitive) and the late great Rutger Hauer (Blade Runner), this limited edition 2-disc set (1 x Blu-ray & 1 x DVD) brings Spetters to Blu-ray for the first time in the UK and is a must own release, packed with over 4 hours of bonus content. In Spetters, three friends long for better lives and see their love of motorcycle racing as a perfect way of doing it. However the arrival of the beautiful and ambitious Fientje threatens to come between them. Special features Remastered in 4K and presented in High Definition for the first time in the UK Audio commentary by director Paul Verhoeven Symbolic Power, Profit and Performance in Paul Verhoeven’s Spetters (2019, 17 mins): audiovisual essay written and narrated by Amy Simmons Andere Tijden: Spetters (2002, 29 mins): Dutch TV documentary on the making of Spetters, featuring the filmmakers, cast and critics of the film Speed Crazy: An Interview with Paul Verhoeven (2014, 8 mins) Writing Spetters: An Interview with Gerard Soeteman (2014, 11 mins) An Interview with Jost Vacano (2014, 67 mins): wide ranging interview with the film’s cinematographer discussing his work on films including Soldier of Orange and Robocop Image gallery Trailers Illustrated booklet (***first pressing only***) containing a new interview with Paul Verhoeven by the BFI’s Peter Stanley, essays by Gerard Soeteman, Rob van Scheers and Peter Verstraten, a contemporary review, notes on the extras and film credits Product details RRP: £22.99 / Cat. -
Staging the Urban Soundscape in Fiction Film
Echoes of the city : staging the urban soundscape in fiction film Citation for published version (APA): Aalbers, J. F. W. (2013). Echoes of the city : staging the urban soundscape in fiction film. Maastricht University. https://doi.org/10.26481/dis.20131213ja Document status and date: Published: 01/01/2013 DOI: 10.26481/dis.20131213ja Document Version: Publisher's PDF, also known as Version of record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
This Cannot Happen Here Studies of the Niod Institute for War, Holocaust and Genocide Studies
This Cannot Happen Here studies of the niod institute for war, holocaust and genocide studies This niod series covers peer reviewed studies on war, holocaust and genocide in twentieth century societies, covering a broad range of historical approaches including social, economic, political, diplomatic, intellectual and cultural, and focusing on war, mass violence, anti- Semitism, fascism, colonialism, racism, transitional regimes and the legacy and memory of war and crises. board of editors: Madelon de Keizer Conny Kristel Peter Romijn i Ralf Futselaar — Lard, Lice and Longevity. The standard of living in occupied Denmark and the Netherlands 1940-1945 isbn 978 90 5260 253 0 2 Martijn Eickhoff (translated by Peter Mason) — In the Name of Science? P.J.W. Debye and his career in Nazi Germany isbn 978 90 5260 327 8 3 Johan den Hertog & Samuël Kruizinga (eds.) — Caught in the Middle. Neutrals, neutrality, and the First World War isbn 978 90 5260 370 4 4 Jolande Withuis, Annet Mooij (eds.) — The Politics of War Trauma. The aftermath of World War ii in eleven European countries isbn 978 90 5260 371 1 5 Peter Romijn, Giles Scott-Smith, Joes Segal (eds.) — Divided Dreamworlds? The Cultural Cold War in East and West isbn 978 90 8964 436 7 6 Ben Braber — This Cannot Happen Here. Integration and Jewish Resistance in the Netherlands, 1940-1945 isbn 978 90 8964 483 8 This Cannot Happen Here Integration and Jewish Resistance in the Netherlands, 1940-1945 Ben Braber Amsterdam University Press 2013 This book is published in print and online through the online oapen library (www.oapen.org) oapen (Open Access Publishing in European Networks) is a collaborative initiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. -
Programme Cinéma De Septembre
01/09 > 28/09 2021 Cinéma Jacques Tati Calendrier du 1er au 7 septembre mer 1er jeu 2 ven 3 sam 4 dim 5 lun 6 mar 7 Drive My Car 14h - - 17h45 - 17h15 - De bas étage 17h15 14h15 19h 14h 19h - 21h La Terre des hommes 19h 16h 14h30 15h45 17h - 14h La Loi de Téhéran 20h45 18h - 21h 20h45 - - True Mothers - - 16h20 - - - 18h20 Benedetta - - 20h45 - 14h30 - 16h Spetters - 20h30 - - - - - Robocop - - - - - 20h30 - du 8 au 14 septembre mer 8 jeu 9 ven 10 sam 11 dim 12 lun 13 mar 14 Serre-moi fort 16h30 14h 17h15 21h 17h 14h 14h 20h30 18h30 21h - 21h 18h30 19h Une histoire d’amour 18h30 - 19h 19h 19h - 21h et de désir True Mothers - 16h - - - 16h - Benedetta Drive My Car - - 14h - - - 15h50 de Paul Verhoeven Le Genou d’Ahed - - - 15h30 - - - France, 2021, couleur, 2h Benedetta - - - - 14h30 - - avec Virginie Efira, Charlotte Rampling, Daphné Patakia, Basic Instinct - 20h30 - - - - - Olivier Rabourdin, Lambert Wilson Showgirls - - - - - 20h30 - en compétition au Festival de Cannes qFeu aux épîtres La Vie de château 15h15 - - 11h 11h - - du 3 au 27 septembre du 15 au 21 septembre mer 15 jeu 16 ven 17 sam 18 dim 19 lun 20 mar 21 ème Le Genou d’Ahed 16h45 16h30 14h 19h 16h30 18h30 15h50 Au XVII siècle, alors que la peste aux alentours de l’année 1623. Là, sœur 20h45 - 21h - 20h30 - 21h se propage en Italie, la très jeune Benedetta Carlini donnerait du fil à retordre à Serre-moi fort 18h45 14h30 16h 14h15 18h30 16h30 14h Benedetta Carlini rejoint le couvent de ses inquisiteurs, cracherait du sublime et du - 18h30 19h15 21h - - 17h45 Pescia en Toscane. -
Oprichtingsleden
Oprichtingsleden De 232 oprichtingsleden van de Dutch Academy For Film op 24 juni 2013: Robert Alberdingk Thijm / Peter Alderliesten / Willeke van Ammelrooy / Harry Ammerlaan / Threes Anna / Urszula Antoniak / John Appel / Barry Atsma / Peter de Baan / Dragan Bakema / Marc Bechtold / Rudolf van den Berg / Marlou van den Berge / Ike Bertels / Ingeborg Beugel / Willem de Beukelaar / Ger Beukenkamp / Antoinette Beumer / Theo Bierkens / Marc van de Bijl / Marnie Blok / Anneke Blok / Peter Blok / Wilant Boekelman / Leo de Boer / Pieter Walther Boer / Menno Boerema / Marjoleine Boonstra / Marion Boot / Paul van de Bos / Tamara Bos / Colette Bothof / Daniel Bouquet / Nouchka van Brakel / Barbara Bredero / Pieter Jan Brugge / Peter Brugman / Elsje de Bruin / Erik de Bruyn / Guur Buddenberg / Job ter Burg / Richard Claus / Paul Cohen / Antoin Cox / Ton Crone / Carine Crutzen / Roel van Dalen / Deborah van Dam / Roy Dames / Danniel Danniel / Victor Dekker / Peter Delpeut / Jacob Derwig / Arno Dierickx / Jose van Doorn / Wilbert van Dorp / Anna Drijver / Andre van Duren / Simone van Dusseldorp / Don Duyns / Cecile van Eijk / Jan Eilander / Tom Erisman / Michiel van Erp / Tom Fassaert / Bruno Felix / Peter Flamman / Pieter Fleury / Simone Galavazi / Winnie Gallis / Marco van Geffen / Guido van Gennep / Frans van Gestel / Ramon Gieling / Goert Giltay / Marc Glynne / Petra Goedings / Carin Goeijers / Annemiek van Gorp / Jessica Gorter / Job Gosschalk / Jeanette Groenendaal / Rimko Haanstra / Norbert ter Hall / Rutger Hauer / Hans Heijnen / Matthijs -
Starship Troopers “Le Futurestmaintenant”,Pourraitêtreladevise De CRITIQUE Se Dressecontrel’Espècehumaine
STARSHIP TROOPERS DE PAUL VERHOEVEN FICHE TECHNIQUE USA - 1997 - 2h15 fi che fi lm che fi fi Réalisateur : Paul Verhoeven Scénario : Ed Neumeier d’après le roman de Robert A. Heinlein Montage : Mark Goldblatt Caroline Ross Musique : Basil Poledouris Au XXIVème siècle, une fédération musclée fait régner sur Terre l’ordre et la vertu… exhortant sans relâche la jeu- nesse à la lutte, au devoir, à l’abnégation et au sacrifice de SYNOPSIS soi. Mais aux confins de la galaxie, une armée d’anarchistes Interprètes : se dresse contre l’espèce humaine. Casper Van Dien (Johnny Rico) CRITIQUE Dina Meyer “Le futur est maintenant”, pourrait être la devise de (Dizzy Flores) Starship Troopers, film de science-fiction extrême qui Denise Richards relègue Le Jour le plus long au rang de promenade cham- (Carmen Ibanez) pêtre. Dans ce monde futuriste, où la Terre est devenue un Jake Busey régime fasciste, des étudiants de bonne famille, tout droit sortis d'un épisode de Beverly Hills, n'ont qu'un seul rêve : (Ace Levy) intégrer la glorieuse armée de la Fédération, chargée de Michael Ironside faire régner l'ordre sur la galaxie. Mais nous ne sommes (Jean Rasczak) pas dans Star Trek, et l'interdiction d'ingérence n'a pas droit de cité. Aussi, quand les dirigeants découvrent qu'une peuplade d'arachnides déverse sur notre planète une horde de météores, il ne leur en faut pasplus pour 1 titiller la fibre ultra-nationaliste si les valeurs morales du « plus à Philip K. Dick, auteur du Maître de leurs compatriotes et déclen- jamais ça » étouffaient toute vel- du haut château, pendant litté- cher une guerre des étoiles parti- léité critique sur la résurgence raire de Starship Troopers, qui culièrement violente, sans passer d'un fascisme bien pensant ? Il imaginait la victoire écrasante de par la case diplomatie. -
Using Films to Teach Comparative Law
Working Paper Series Villanova University Charles Widger School of Law Year 2008 Peasants, Tanners, and Psychiatrists: Using Films to Teach Comparative Law Joseph W. Dellapenna Villanova University School of Law, [email protected] This paper is posted at Villanova University Charles Widger School of Law Digital Repository. http://digitalcommons.law.villanova.edu/wps/art115 Peasants, Tanners, and Psychiatrists: Using Films to Teach Comparative Law Joseph W. Dellapenna Table of Contents I. Introduction II. Selecting the Films III. The Films A. The Return of Martin Guerre B. Dingaka C. The Story of Qiu Ju D. A Question of Silence E. The Conviction F. The Red Corner I. INTRODUCTION The last four decades have seen the emergence of the “law and literature” movement. 1 Although numerous stories in the common law world turn on the trial of cases, 2 many studies in the law and literature vein use stories that do not take place in a courtroom, and often do not even involve a lawyer, to illuminate significant features of the law or its 1 See, e.g., KIERAN DOLIN , A CRITICAL INTRODUCTION TO LAW AND LITERATURE (2007). The movement emerged as a major force through the work of James Boyd White, most significantly with JAMES BOYD WHITE , THE LEGAL IMAGINATION : STUDIES IN THE NATURE OF LEGAL THOUGHT AND EXPRESSION (1973). This line of thought about law has evolved in many directions and now has too many permutations to allow summary in a footnote. It has had a major impact on jurisprudence generally through Ronald Dworkin’s building his theories of law around law as a multi-generational narrative. -
CURA- TING CRI- TIQUE: 02 Issue # 09/11 : Curating Critique CONTENTS
Issue # 09/11 Freely distributed, non - commercial, digital publication CURA- TING CRI- TIQUE: 02 Issue # 09/11 : Curating Critique CONTENTS / 5 FOREWORD MARIANNE EIGENHEER 7 CURATING CRITIQUE – AN INTRODUCTION DOROTHEE RICHTER AND BARNABY DRABBLE 11 MERZ-THINKING – SOUNDING THE DOCUMENTA PROCESS BETWEEN CRITIQUE AND SPECTACLE SARAT MAHARAJ 19 CURATORIAL CRITICALITY – ON THE ROLE OF FREELANCE CURATORS IN THE FIELD OF CONTEMPORARY ART BEATRICE VON BISMARCK 24 EXPERIMENTS ALONG THE WAY –I AM A CURATOR AND SUPPORT STRUCTURE PER HÜTTNER AND GAVIN WADE IN AN INTERVIEW WITH BARNABY DRABBLE 29 WORDS FROM AN EXHIBITION RUTH NOACK AND ROGER M. BUERGEL 32 FALSE ECONOMIES – TIME TO TAKE STOCK REBECCA GORDON NESBITT 39 GOING BEYOND DISPLAY – THE MUNICH KUNSTVEREIN YEARS MARIA LIND IN AN INTERVIEW WITH PAUL O’NEILL 43 THE CURATORIAL FUNCTION – ORGANIZING THE EX/POSITION OLIVER MARCHART 03 Issue # 09/11 : Curating Critique 47 EXHIBITIONS AS CULTURAL PRACTICES OF SHOWING: PEDAGOGICS DOROTHEE RICHTER 53 CURATING ART AFTER NEW MEDIA – ON TECHNOLOGY, TRANSPARENCY, PRESERVATION AND PLAY BERYL GRAHAM AND SARAH COOK IN AN INTERVIEW WITH BARNABY DRABBLE 59 PRODUCING PUBLICS – MAKING WORLDS! ON THE RELATIONSHIP BETWEEN THE ART PUBLIC AND THE COUNTERPUBLIC MARION VON OSTEN 68 ‘WE WERE NOBODY. WE WERE NOTHING’: SOUNDING MODERNITY & ‘MEMORIES OF UNDERDEVELOPMENT’ SARAT MAHARAJ AND GILANE TAWADROS 72 EASY LOOKING – CURATORIAL PRACTICE IN A NEO-LIBERAL SOCIETY UTE META BAUER IN AN INTERVIEW WITH MARIUS BABIAS 78 THE WHITE WALL – ON THE PREHISTORY OF THE ‘WHITE CUBE’ WALTER GRASSKAMP 04 Issue # 09/11 : Curating Critique CURATING CRITIQUE MARIANNE EIGENHEER, EDITOR BARNAY DRABBLE, DOROTHEE RICHTER, GUEST EDITORS The reader presents a cross-section of the voices that populate the ongoing debate about, on the one hand, how and in what terms curating functions as a critical cultural practice, and on the other, what methodologies and histories exist with which we can critically analyse curatorial work today. -
Appendix 1: Selected Films
Appendix 1: Selected Films The very random selection of films in this appendix may appear to be arbitrary, but it is an attempt to suggest, from a varied collection of titles not otherwise fully covered in this volume, that approaches to the treatment of sex in the cinema can represent a broad church indeed. Not all the films listed below are accomplished – and some are frankly maladroit – but they all have areas of interest in the ways in which they utilise some form of erotic expression. Barbarella (1968, directed by Roger Vadim) This French/Italian adaptation of the witty and transgressive science fiction comic strip embraces its own trash ethos with gusto, and creates an eccentric, utterly arti- ficial world for its foolhardy female astronaut, who Jane Fonda plays as basically a female Candide in space. The film is full of off- kilter sexuality, such as the evil Black Queen played by Anita Pallenberg as a predatory lesbian, while the opening scene features a space- suited figure stripping in zero gravity under the credits to reveal a naked Jane Fonda. Her peekaboo outfits in the film are cleverly designed, but belong firmly to the actress’s pre- feminist persona – although it might be argued that Barbarella herself, rather than being the sexual plaything for men one might imagine, in fact uses men to grant herself sexual gratification. The Blood Rose/La Rose Écorchée (aka Ravaged, 1970, directed by Claude Mulot) The delirious The Blood Rose was trumpeted as ‘The First Sex Horror Film Ever Made’. In its uncut European version, Claude Mulot’s film begins very much like an arthouse movie of the kind made by such directors as Alain Resnais: unortho- dox editing and tricks with time and the film’s chronology are used to destabilise the viewer. -
Bad Lawyers in the Movies
Nova Law Review Volume 24, Issue 2 2000 Article 3 Bad Lawyers in the Movies Michael Asimow∗ ∗ Copyright c 2000 by the authors. Nova Law Review is produced by The Berkeley Electronic Press (bepress). https://nsuworks.nova.edu/nlr Asimow: Bad Lawyers in the Movies Bad Lawyers In The Movies Michael Asimow* TABLE OF CONTENTS I. INTRODUCTION .............................................................................. 533 I. THE POPULAR PERCEPTION OF LAWYERS ..................................... 536 El. DOES POPULAR LEGAL CULTURE FOLLOW OR LEAD PUBLIC OPINION ABOUT LAWYERS? ......................................................... 549 A. PopularCulture as a Followerof Public Opinion ................ 549 B. PopularCulture as a Leader of Public Opinion-The Relevant Interpretive Community .......................................... 550 C. The CultivationEffect ............................................................ 553 D. Lawyer Portrayalson Television as Compared to Movies ....556 IV. PORTRAYALS OF LAWYERS IN THE MOVIES .................................. 561 A. Methodological Issues ........................................................... 562 B. Movie lawyers: 1929-1969................................................... 569 C. Movie lawyers: the 1970s ..................................................... 576 D. Movie lawyers: 1980s and 1990s.......................................... 576 1. Lawyers as Bad People ..................................................... 578 2. Lawyers as Bad Professionals .......................................... -
A Prisoner's Conviction: Time, Space, and Morality in W.F. Hermans's The
A Prisoner’s Conviction: Time, Space, and Morality in W.F. Hermans’s The Darkroom of Damocles and Harry Mulisch’s The Assault Marc VAN ZOGGEL Huygens Instituut voor Nederlandse Geschiedenis Introduction: Time, Space, and the Prison Narrative In his landmark essay “Forms of Time and of the Chronotope in the Novel” (1938-1939), Russian literary critic Mikhail Bakhtin coined the concept of the ‘chronotope’ (literally, ‘time space’) in order to capture “the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature” (Bakhtin 84). The chronotope, in other words, serves to describe the transformation of the physical notions of time and space into the artistic, i.e. literary categories of form and substance: In the literary artistic chronotope, spatial and temporal indicators are fused into one carefully thought-out, concrete whole. Time, as it were, thickens, takes on flesh, becomes artistically visible; likewise, space becomes charged and responsive to the movements of time, plot and history. This intersection of axes and fusion of indicators characterizes the artistic chronotope. (ibid.) Bakhtin envisages the chronotope as a central concept in what he calls the discipline of ‘historical poetics’. For example, in his discussion of ancient Greek romances – semi- historical adventure stories – Bakhtin shows how prison scenes are instrumental in the deceleration and freezing of plot movement: “Captivity and prison presume guarding and isolating the hero in a definite spot in space, impeding his subsequent spatial movement toward his goal, that is, his subsequent pursuits and searches and so forth” (Bakhtin 99; italics in original). The prison thus plays a vital role in the semi-fictional biographies presented in these stories.