Call Me by Your Name
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
L'évolution Du D-Cinéma Et Son Impact Sur L'argentique
L’évolution du D-cinéma et son impact sur l’argentique Julien de Sousa To cite this version: Julien de Sousa. L’évolution du D-cinéma et son impact sur l’argentique. Sciences de l’ingénieur [physics]. 2019. dumas-02442617 HAL Id: dumas-02442617 https://dumas.ccsd.cnrs.fr/dumas-02442617 Submitted on 16 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. De Sousa Julien Département Sciences, Arts et Techniques de l’Image et du Son (SATIS) Aix-Marseille Université Mémoire de Master « Cinéma Audiovisuel » L’évolution du D-cinéma et son impact sur l’argentique. Mémoire réalisé sous la direction de Frédéric Celly. Remerciements Je tiens à remercier mon directeur de mémoire Frédéric Celly pour avoir accepté de diriger mon mémoire et de m’avoir aidé tout au long de sa préparation. Je tiens également à remercier mes camarades de classe pour m’avoir aidé à peaufiner certaines parties par de nombreuses discussions sur le sujet. Je remercie de plus les différents chefs opérateurs qui m’ont permis de concrétiser ses écrits avec leurs nombreuses expériences de tournages, merci à vous Manu Dacosse, Yann Maritaud et Jérôme Carles. -
Engaging, Enriching, and Inspiring Community
Engaging, Enriching, 2017 - 2018 and Inspiring Community ANNUAL REPORT MISSION Dear Friends, STATEMENT It’s been quite a year for SBIFF – filled with enormous SUCCESS and TRANSFORMATION! Our mission is to engage, enrich, Alongside our many successes has been immense tragedy. The natural and inspire people through the disasters that swept through our community made it some of the most power of film. We celebrate Board of Directors tumultuous times for us. the art of cinema and provide Lynda Weinman During this time, we realized that the 33rd SBIFF was needed more than impactful educational President ever. For each of the 11 days of the Festival, we gathered, reflected, and processed while leaning on one another for strength. This message experiences for our local, Jeffrey Barbakow continues to echo in the feedback we receive – the Festival was a Chairman national and lifeline that unified our fragmented community. We feel very honored to global communities. Linda Armstrong have played this critical role. This experience has crystallized our mission Vice President Treasurer to serve through the power of film. Mimi deGruy As you read this report, you’ll learn about our successes and the impact Vice President Education we make on a year-round basis. Renovating Lynda & Bruce’s Riviera Theatre has been a thrill. Since the grand re-opening on September 13, Susan Eng-Denbaars 2017, we’ve been screening incredible films, including the documentary Vice President Secretary RBG, Academy Award winner Call Me By Your Name, Palme d’Or winner Tammy Hughes The Square, and a 4K restoration of Belle de Jour. -
In Production Preview 8 X 1 Hour Commissioned by &
In production preview LUCA GUADAGNINO’S WE ARE WHO WE ARE 8 x 1 hour Commissioned by & Could be nice to include the Walt Whitman poem that Caitlin reads out to the class, and that is repeated as a refrain throughout the show I am he that aches with amorous love Does the earth gravitate? Does not all matter, aching, attract all matter? A brand new exploration into the So the body of me, to all I meet, “True and Real. complex world of adolescence, friendship and first loves - a story about teenagers, or know Forever and ever” outsiders and embracing difference. I Am He That Aches with Love, Walt Whitman Sometimes, when she kisses me, I feel like she doesn’t know it’s me. She does’t acknowledge me FROM DIRECTOR and she’s kissing a mirror. MAGGIE LUCA GUADAGNINO Call Me By Your Name, I Am Love, Suspiria FRASER: Americans can only be happy in America MAGGIE: This is America STARRING “I’m always looking for stuff that means something” FRASER CHLOE SEVIGNY Queen & Slim, The Act, Kids, Boys “Have you ever really been in love with anyone? Do you know what it feels like?” BRITNEY Don’t Cry, Big Love “It’s exhausting to have to be his mother and father at the same time. To be everything all the JACK DYLAN GRAZER time.” SARAH IT, IT Chapter 2, Me Myself and I, Shazam “I’ve been a lot of things. And I stopped being a lot of things. Truth is sometimes I no longer know JORDAN KRISTINE SEAMON who I am.” JENNY KID CUDI FRASER: “Just because my moms are lesbians doesn’t mean I’m gay.” Westworld, How to Make it in America CAITLIN: “You don’t have to not-be-gay either.” ALICE BRAGA I Am Legend, Queen of the South CAITLIN: “Since you got here everything’s mixed up” FRANCESCA SCORSESE FRASER: “Mixed up good or mixed up bad?” The Departed, The Aviator CAITLIN: “Mixed up full of life” “True and Real. -
Maria Djurkovic Production Designer
MARIA DJURKOVIC PRODUCTION DESIGNER FILM & TELEVISION THE LITTLE DRUMMER GIRL Director: Park Chan-Wook Production Company: AMC Networks & BBC Nominated, Best Production Design, BAFTA Awards (2019) Official Selection, London Film Festival (2018) RED SPARROW Director: Francis Lawrence Production Company: Chernin Entertainment THE SNOWMAN Director: Tomas Alfredson Production Company: Working Title GOLD Director: Stephen Gaghan Production Company: Black Bear Pictures NEW WORLD (Pilot) Director: Gus Van Sant Production Company: HBO A BIGGER SPLASH Director: Luca Guadagnino Production Company: Frenesy Film Official Selection, Venice Film Festival (2015) Official Selection, London Film Festival (2015) LUX ARTISTS | 1 THE IMITATION GAME Director: Morten Tyldum Production Company: The Weinstein Co. Nominated, Best Production Design, Director & Picture, Academy Awards (2015) Nominated, Best Production Design & Film, BAFTA Awards (2015) Winner, Peoples Choice Award, Toronto Film Festival (2014) Official Selection, London Film Festival (2014) THE INVISIBLE WOMAN Director: Ralph Fiennes Production Company: BBC Films Official Selection, Toronto Film Festival (2013) TINKER TAILOR SOLDIER SPY Director: Tomas Alfredson Production Company: Working Title & Studio Canal Winner, Best Production Design, British Independent Film Awards (2014) Winner, Best Production Design, London Critics Circle Film Awards (2012) Winner, Best Production Design, European Film Awards (2012) Winner, Best Adapted Screenplay & British Film, BAFTA Awards (2012) Nominated, Best Production -
Love the Movie Read the Book
Love the movie? Read the book. (May contain spoilers)! ! When I first watched the Hunger Games in the theaters, I was surprised at how they portrayed Katniss in the movie. In the books, Katniss was way whinier, way more boy obsessed and far less brave. In fact, she made impulsive and rash decisions out of fear and was an unwilling martyr for her people. However, while munching on popcorn in the theaters, I observed Jennifer Lawrence’s portrayal of Katniss is seen to be much more akin to being the modern day Joan of Arc than her whiny teen image in the books.! This is why I always say, if you love the movie, go read the book. The book came first for a reason. It was successful first for a reason. Who knows how movies have butchered or altered the true thesis of the stories we so love?! ! There are so many reasons a book can be a delicious alternative to the film. More depth, more internal dialogue and greater understanding of the protagonist and his or her conflict.! ! Here’s a list of books that are almost a necessity to read if you loved the movie:! ! 1. Gone Girl GIF of throat slitting scene in Gone Girl So when I think of Gone Girl, the film, I picture the scene where Rosamund Pike pikes it to Neil Patrick Harris by gruesomely slitting his throat in an ultimate that girl cray move. Barney really got legend... wait for it... bloodied, legend-bloodied good, didn’t he? Most lay audiences see Gone Girl as the classic stalker woman gone mad scenario. -
Sundance Institute Presents Institute Sundance U.S
1 Check website or mobile app for full description and content information. description app for full Check website or mobile #sundance • sundance.org/festival sundance.org/festival Sundance Institute Presents Institute Sundance The U.S. Dramatic Competition Films As You Are The Birth of a Nation U.S. Dramatic Competition Dramatic U.S. Many of these films have not yet been rated by the Motion Picture Association of America. Read the full descriptions online and choose responsibly. Films are generally followed by a Q&A with the director and selected members of the cast and crew. All films are shown in 35mm, DCP, or HDCAM. Special thanks to Dolby Laboratories, Inc., for its support of our U.S.A., 2016, 110 min., color U.S.A., 2016, 117 min., color digital cinema projection. As You Are is a telling and retelling of a Set against the antebellum South, this story relationship between three teenagers as it follows Nat Turner, a literate slave and traces the course of their friendship through preacher whose financially strained owner, PROGRAMMERS a construction of disparate memories Samuel Turner, accepts an offer to use prompted by a police investigation. Nat’s preaching to subdue unruly slaves. Director, Associate Programmers Sundance Film Festival Lauren Cioffi, Adam Montgomery, After witnessing countless atrocities against 2 John Cooper Harry Vaughn fellow slaves, Nat devises a plan to lead his DIRECTOR: Miles Joris-Peyrafitte people to freedom. Director of Programming Shorts Programmers SCREENWRITERS: Miles Joris-Peyrafitte, Trevor Groth Dilcia Barrera, Emily Doe, Madison Harrison Ernesto Foronda, Jon Korn, PRINCIPAL CAST: Owen Campbell, DIRECTOR/SCREENWRITER: Nate Parker Senior Programmers Katie Metcalfe, Lisa Ogdie, Charlie Heaton, Amandla Stenberg, PRINCIPAL CAST: Nate Parker, David Courier, Shari Frilot, Adam Piron, Mike Plante, Kim Yutani, John Scurti, Scott Cohen, Armie Hammer, Aja Naomi King, Caroline Libresco, John Nein, Landon Zakheim Mary Stuart Masterson Jackie Earle Haley, Gabrielle Union, Mike Plante, Charlie Reff, Kim Yutani Mark Boone Jr. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
James Ivory in France
James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind. -
Eastwood, Dicaprio Try to Capture First FBI Director's Life in 'J. Edgar'
09 November 2011 | voaspecialenglish.com Eastwood, DiCaprio Try to Capture First FBI Director's Life in 'J. Edgar' AP From left, Leonardo DiCaprio, Armie Hammer and director Clint Eastwood at the premiere of "J. Edgar" last week in Los Angeles (You can download an MP3 of this story at voaspecialenglish.com) DOUG JOHNSON: Welcome to AMERICAN MOSAIC in VOA Special English. (MUSIC) I’m Doug Johnson. Today we play music from American Idol winner Scotty McCreery ... And we answer a question about American whiskey ... But first, it is history at the movie theater where a new film opens about former law enforcement chief J. Edgar Hoover. "J. Edgar" DOUG JOHNSON: The movie "J. Edgar" opens across America today. The film is about J. Edgar Hoover, the first director of the Federal Bureau of Investigation. Hoover was a complex and powerful man. He helped develop the FBI into an efficient and effective crime solving agency. However, in later years, many people 2 questioned the methods used by Hoover and his investigators. Bob Doughty tells more about the man and the movie. BOB DOUGHTY: Clint Eastwood directed the movie "J. Edgar." He grew up in the time when, in his words, "Hoover was always top cop." Eastwood said he had heard different stories about the former FBI director. Some of them were very critical. But Eastwood said anybody who stays in a job as long as Hoover did is going to create some enemies. J. Edgar Hoover was the leader of the FBI and the agency it developed from for almost fifty years. -
18 Jan 19 28 Feb 19
18 JAN 19 28 FEB 19 1 | 18 JAN 19 - 28 FEB 19 49 BELMONT STREET | BELMONTFILMHOUSE.COM What does it mean, ‘to play against type’? Come January/February you may find many examples. Usually it’s motivated by the opportunity to hold aloft a small gold-plated statue, but there are plenty memorable occasions where Hollywood’s elite pulled this trope off fantastically. Think Charlize Theron in Monster. Maybe Jim Carrey in Eternal Sunshine? Or Heath Ledger as Joker. These performances often come to dominate award season. Directors wrenching a truly transformative rendition out of their leads can be the difference between a potential big winner fading into obscurity, or being written into history. The class of 2019 appears particularly full of these turns. There might well be as much intrigue in figuring out which will be remembered, as in watching the performances themselves. ‘Unrecognisable as’ awards could go out to Margot Robbie as Elizabeth I in Mary Queen Of Scots; Melissa McCarthy in Can You Ever Forgive Me?; Nicole Kidman in Destroyer; Christian Bale as Dick Cheney in Vice. Others of course have been down this road before. Steve Carell has come a long, long way since Michael Scott and he looks tremendous in Beautiful Boy. And Matt Dillon, who we’ll see in The House That Jack Built, has always had a penchant for the slightly off-colour. There’s probably no one more off-colour than Lars von Trier. Screening for one night only. At Belmont Filmhouse we try to play against type as much as possible. -
The Reporter, November 24, 1980
City University of New York (CUNY) CUNY Academic Works The Reporter Archives 1980 The Reporter, November 24, 1980 How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_arch_reporter/254 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] WBMB: Elevator Horror The Holdups and Deadaebes. By DHYANA ZIEGLER In case you haven't noticed, the elevator situation at Baruch is horrendous. Students ·are shoved, or crammed into elevators like sarqines. -Long lines, such as the line in the Sound 26th Street building, extend as faras the local elevators. As a result, students are late for classes because they have to wait on these long lines. A few weeks ago, the Roving Reporter took a look at students' responses to the services ·offered at Baruch College, and ninety per cent of the comments concerned the of poor elevator service. Pinhas Friedenberg, Registrar, made must go up and down at the same time an effortto help combat the elevator horror because of the class schedule starting and by having some classes start 15 minutes ending classes at the same time. "We need after other classes, to cut down on. the more elevators, but I .guess it's too expen Baruch rush._ "It should have made things better sive. If they could stagger classes, it would just because of the schedule." But accord help alleviate problems," says Thompson. ing to students, the system has failed.· The elevator operators are literal by Phillip McConnell Friedenberg feels that the system should ly "catching hell" from students and fa work because students have more time in The list of student activities that the culty because the situation is just so between classes. -
2017 Producers Book Finalists
PRODUCERS BOOK & PRINT SOURCE LIST Pre-Festival Edition THE 2017 PRODUCERS BOOK A LETTER FROM THE SCREENPLAY & FILM COMPETITION DIRECTORS Hello! Each year, we prepare our annual Producers Book which contains loglines and contact information for the year’s top scripts in our various Script Competitions. Please feel free to reach out to any of the writers listed here to request a copy of their scripts. Also included is our Print Source List containing information for all films selected for the 2017 Festival. This year’s Semifinalists and Finalists were chosen from a field of 9,487 scripts entered in our Screenplay, Digital Series, Playwriting, and Fiction Podcast Competitions. Each year we are amazed by the professional quality and talent that we receive and this year wasn’t any different. The Competition is open to feature-length scripts in the genres of drama, comedy, sci-fi, and horror; teleplay pilots and specs, short scripts, stage plays, fiction podcast scripts, and digital series scripts. Year after year, our strive in programming the Austin Film Festival film slate is to discover and champion the writers and those who can translate amazing stories to the screen. We received over 5,000 film submissions this year and had the task of whittling it down to 182 films that embody our mission and passion for storytelling. It was a harrowing task, but it led to our strongest year of film yet. We’re so proud of this year’s diverse group of filmmakers and unique voices and can’t wait for these works to be seen, shared, and loved.