Oliver Stone Et Woody Allen Sèment Le Bonheur Sur La Croisette

Culture / Culture FESTIVAL DE CANNES Oliver Stone et Woody Allen sèment le bonheur sur la Croisette Les deux cinéastes américains, Oliver Stone et Woody Allen, qui ont présenté leur dernier film, respectivement, Wall Street : l'argent ne dort jamais, suite du filmWall Street, sorti en 1988, et You will meet a tall dark stranger, les deux présentés en Hors Compétition, ont ravi la vedette aux cinéastes en lice pour la plus haute distinction du festival : la Palme d'or. Commençons par Oliver Stone. Fidèle à lui-même, et toujours à l'avant-garde, il a exploré et dénoncé la dictature impitoyable de l'argent, imposée par les spéculateurs et grands banquiers de Wall Street. “Aléa moral, subprimes, intérêt, taux, bulle…” sont autant de mots barbares qui reviennent sans cesse dans le film. Pour rendre accessible ce monde complexe, il a imaginé une trame narrative simple et captivante. Il a mis en scène un jeune trader qui tente d'alerter le monde au sujet des dangers irréversibles de la spéculation financière. Dans le même temps, il cherche à venger la mort de son mentor, ruiné et poussé au suicide. L'une des remarques importantes que l'on puisse souligner est l'omniprésence des écrans, télévision et ordinateurs compris, quasiment propulsés au rang de personnages. Une présence qui permet la dénonciation de la sainte alliance entre le monde de la communication et celui de la finance qui rend le monde réduit à des bulles éphémères, davantage fragile et instable. Certains ont reproché au film sa fin quelque peu heureuse à la manière d'un conte. Certes, l'argument tient la route, mais là où certains voient légèreté, d'autres lisent l'optimisme indispensable en temps de crise. De son côté, son compatriote Woody Allen s'est lancé dans l'analyse psychologique des personnages, notamment l'impact de la vieillesse sur les comportements. Sur un fond de musique agréable, les personnages suivent des trajectoires tortueuses et imbriquées. Alfie (Anthony Hopkins), apeuré par sa vieillesse agissante, quitte son épouse Helena (Gemma Jones), pour épouser une jeunette de petite vertu (Lucy Punch). Alors qu’Helena noie sa peine chez une voyante qui lui prédit une rencontre avec un bel inconnu, sa fille Sally (Naomi Watts) traverse une crise conjugale... Trempé dans la culture anglaise, à l'instar de William Faulkner, le cinéaste new-yorkais met en scène plusieurs personnages évoluant comme dans un conte, imaginé pour illustrer une pensée du démiurge anglais, William Shakespeare : “La vie est un récit conté par un idiot, plein de bruit et de fureur, et qui ne signifie rien.” Tous les personnages s'efforcent de donner un sens à leur vie. Mais ils ne peuvent empêcher le ridicule et l’insignifiance de leur choix. Cela donne des situations hilarantes et cocasses..

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The Cinema of Oliver Stone
Interviews Stone on Stone Between 2010 and 2014 we interviewed Oliver Stone on a number of occasions, either personally or in correspondence by email. He was always ready to engage with us, quite literally. Stone thrives on the cut- and- thrust of debate about his films, about himself and per- ceptions of him that have adorned media outlets around the world throughout his career – and, of course, about the state of America. What follows are transcripts from some of those interviews, with- out redaction. Stone is always at his most fascinating when a ques- tion leads him down a line of theory or thinking that can expound on almost any topic to do with his films, or with the issues in the world at large. Here, that line of thinking appears on the page as he spoke, and gives credence to the notion of a filmmaker who, whether loved or loathed, admired or admonished, is always ready to fight his corner and battle for what he believes is a worthwhile, even noble, cause. Oliver Stone’s career has been defined by battle and the will to overcome criticism and or adversity. The following reflections demonstrate why he remains the most talked about, and combative, filmmaker of his generation. Interview with Oliver Stone, 19 January 2010 In relation to the Classification and Ratings Administration Interviewer: How do you see the issue of cinematic censorship? Oliver Stone: The ratings thing is very much a limited game. If you talk to Joan Graves, you’ll get the facts. The rules are the rules.
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It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse.
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The Cinema of Oliver Stone
Conclusion Although we are clearly overreaching, it’s too easy to talk about the USA losing its grip because we happen to be rooting for another approach. It’s not going to go away that easily. This empire is Star Wars in the ‘evil empire’ sense of the words … We are virtually becoming a tyranny against the rest of the world. It’s not evident to people at home, because they don’t see the consensus in the media and they don’t see the harm the USA does abroad. We are not in decline. We are decayed and corrupt and immoral, but not in decline. The USA exerts its will in Europe, Asia, much of the Middle East, and still much of Latin America. The recent revela- tions that the NSA’s and the UK’s surveillance programmes are linked is big news.1 Oliver Stone has been a fixture in the Hollywood landscape since his Oscar- winning script for Midnight Express (Alan Parker, 1978). That high-profile foothold gave him the opportunity to build slowly towards his ambition of capturing on film what he had lived through in Vietnam during 1967 and 1968. The young Yale man who had entered the army was a cerebral romantic in search of adventure; but his experience, not just of combat but also of his return to a country that was already openly divided about the war, altered his perspective and the direction of his life. Enrolment at film school under the GI Bill seemed to offer a way of expressing his anger and disillusionment, and the same determination that had kept him alive in South-East Asia now drove him on to try and tell something of that experience on film.
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Arthur Penn's Bonnie and Clyde
Arthur Penn’s Bonnie and Clyde Edited by LESTER D. FRIEDMAN Syracuse University PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarco´n 13, 28014 Madrid, Spain ᭧ Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United States of America Typeface Stone Serif 10/14 pt. System DeskTopPro/UX [BV] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication data Arthur Penn’s Bonnie and Clyde / edited by Lester D. Friedman. p. cm. – (Cambridge ﬁlm handbooks series) Filmography: p. Includes bibliographical references and index. ISBN 0-521-59295-X – ISBN 0-521-59697-1 (pbk.) 1. Bonnie and Clyde (Motion picture) I. Friedman, Lester D. II. Series. PN1997.B6797 1999 791.43'72 – dc21 98-32173 CIP ISBN 0 521 59295 X hardback ISBN 0 521 59697 1 paperback LESTER D. FRIEDMAN Introduction ARTHUR PENN’S ENDURING GANGSTERS HISTORICAL PERSPECTIVES: COUNTERCULTURAL CINEMA Boy meets girl in small-town Texas. Their crime spree begins as girl goads boy into robbing a grocery store; they speed out of town in a stolen car, spirits high.
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Free Markets on Film: Hollywood and Capitalism
Free Markets on Film: Hollywood and Capitalism Robert Formaini Federal Reserve Bank of Dallas A wonderful example of the power of capitalism to create markets, and to transform an existing undertaking while creating fabulous wealth in the process, is the rise of the American film industry. Today, Hollywood makes films that generate in excess of seven billion dollars at the primary box office alone, then earn additional monies from video tapes, television rights, and foreign distribution. Despite the protectionist and censorial policies of many nations, America's film industry easily dominates the world's film production and distribution industry, and those who produce and work in the film industry are extremely well-compensated for their efforts. Given this, one might *The opinions expressed in this article are solely those of the author and are not necessarily shared by either the Federal Reserve Bank of Dallas or the Federal Reserve System. expect - a priori - that the film industry would be one of the most effective educational instruments for promoting the free market. But one would, alas, be quite mistaken. For Hollywood, from its earliest time right through to the present, is a single economic point-of-view town, and that viewpoint is, generally, anti-capitalist. Even so a few films which portray free enterprise either accurately, or at least with some affection and/or respect, sometimes in spite of the writers/directors' intentions. In this endeavor, I cannot be even close to exhaustive, nor will everyone agree with my choices and/or the reasons for those choices. I hope, however, that teachers of the principles of the market society will consider using some of these films in class to provoke discussion, or just to show students something that cuts against Hollywood=s relentlessly anti-capitalist zeitgeist.
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Through the Hollywood Lens: the Vietnam War
Osher Lifelong Learning Institute at W&M Summer 2020 Through the Hollywood Lens: The Vietnam War Scott A. Langhorst, Ph.D. First Lieutenant 4th Battalion, 9th Infantry Regiment 25th Division Tay Ninh, Vietnam (1969-70) Using Zoom tools - reminder • Use the menu bar (mouse over bottom/top of screen) to appear • Use icons to on menu bar open tools (click “on” click “off”) • Use “chat box” to ask questions or make comments • Use “participant” list for raising hand or other gestures • Make the session interactive by using the Zoom tools © Scott A. Langhorst, Ph.D. 1 Osher Lifelong Learning Institute at W&M Summer 2020 Questions or comments from last week? Cao Dai Temple Tay Ninh Apocalypse Now (1979) • Directed by Francis Ford Coppola • Vietnam adaptation of Joseph Conrad’s “Heart of Darkness” • Won 2 Oscars (Cinematography and Sound), nominated for 6 other Oscars, including Best Picture • Vietnam sequences filmed in the Philippines • Storyline: An allegory about the elements of the human psyche, and the struggle to maintain balance and sanity in the horrendous conditions of war. Captain Willard is assigned to assassinate a “mad” Colonel Kurtz and must complete a perilous journey up a river into the wild depths of Vietnam. © Scott A. Langhorst, Ph.D. 2 Osher Lifelong Learning Institute at W&M Summer 2020 What the movie got right • Visually stunning movie, visceral images • The “horror” of war • “…In this war, things get confused out there.” (LTG Corman) • Over-the-top battalion commander LTC Bill Kilgore (Robert Duvall) – yes, there were a few like him • Steaks and beer (and lobster) for unit stand-downs • “Round eyes” (e.g., Playboy Bunnies) in the most unlikely places • Effectiveness of M-79 “blooper” in skilled hands • Brown water Navy also played an important role in Vietnam What the movie got wrong • Too much dramatic license with storyline and allegory about journey “up the river” as a descent into an uncivilized hell • Very unlikely that Col.
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2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
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`JFK': Conspiracy in the Cross Hairs Oliver Stone's Riveting, Controversial Saga of the Kennedy Assassination
ENTERTAINMENT/THE ARTS /TV LISTINGS CALENDAR ilos Angeles egimee fJOK-: A relentless indictment of the Warren Commission - New Orleans District Attorney Jim Garrison (portrayed by Kevin Costner) makes courtroom Surtirribtron"In'I MOVIE REVIEW `JFK': Conspiracy in the Cross Hairs Oliver StOne's Riveting, Controversial Saga of the Kennedy Assassination • Tailor-made for an increasingly cynical nation by a the national consciousness. shredding our will to believe, By KENNETH TURAN 'skillful director working at the peak of his craft, "JFK" as Albert Einstein once put it, that God does not play - TISIP S FILM (KITH: provocatively posits a conspiracy so vast the heavens dice with the universe. Trying to mend that tear are a' id he or didn't he'. Only Oliver Stone knows for can barely contain it. But in its zealous rush to accuse all whole range of conspiracy theorists and assassination sure. Or so he'd have you believe. .- .. and sundry,. it undercuts its effectiveness and ends up buffs, writers of upwards of 600 books ( not to mention D . Disturbing, infuriating yet undeniably effec-: not playing fair with its -audience. finally committing newsletters with names like the Grassy Knoll Gazette), rive, less a motion picture than an impassibnecC insistent some of the same sins it is so quick to pin on everyone all intent on proving there was a plan after all. if only we - 3-hour-and-7 -minute information barrage, Stone's had the wit to read the signs. "JFK" (citywide) is a relentless indictment of the Events like Kennedy's Nov. 22. 1963; assaslination..
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The Philosophy of the Coen Brothers
University of Kentucky UKnowledge American Popular Culture American Studies 12-12-2008 The Philosophy of the Coen Brothers Mark T. Conard Marymount College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Conard, Mark T., "The Philosophy of the Coen Brothers" (2008). American Popular Culture. 5. https://uknowledge.uky.edu/upk_american_popular_culture/5 conard_coen_dj2:Layout 1 9/29/08 6:18 PM Page 1 CONARD (continued from front flap) FILM/PHILOSOPHY THE PHILOSOPHY OF systems. The tale of love, marriage, betrayal, and divorce THE PHILOSOPHY OF in Intolerable Cruelty transcends the plight of the charac- “The Philosophy of the Coen Brothers offers a very ters to illuminate competing theories of justice. Even in smart, provocative, and stylishly written set of lighter fare, such as Raising Arizona and The Big Lebowski, essays on the films of the Coen brothers. The THE COEN the comedy emerges from characters’ journeys to the volume makes a convincing case for reading their brink of an amoral abyss. However, the Coens often films within a wide array of philosophical contexts knowingly and gleefully subvert conventions and occa- and persuasively demonstrates that the films of sionally offer symbolic rebirths and other hopeful out- BROTHERS the Coen brothers often implicitly and sometimes comes.
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Works Cited – Films
Works cited – films Ali (Michael Mann, 2001) All the President’s Men (Alan J Pakula, 1976) American Beauty (Sam Mendes, 1998) American History X (Tony Kaye, 1998) American Psycho (Mary Harron, 2000) American Splendor (Shari Springer Berman and Robert Pulcini, 2003) Arlington Road (Mark Pellington, 1999) Being There (Hal Ashby, 1980) Billy Elliott (Stephen Daldry, 2000) Black Christmas (Bob Clark, 1975) Blow Out (Brian De Palma, 1981) Bob Roberts (Tim Robbins, 1992) Bowling for Columbine (Michael Moore, 2002) Brassed Off (Mark Herman, 1996) The Brood (David Cronenberg, 1979) Bulworth (Warren Beatty, 1998) Capturing the Friedmans (Andrew Jarecki, 2003) Control Room (Jehane Noujaim, 2004) The China Syndrome (James Bridges, 1979) Chinatown (Roman Polanski, 1974) Clerks (Kevin Smith, 1994) Conspiracy Theory (Richard Donner, 1997) The Conversation (Francis Ford Coppola, 1974) The Corporation (Jennifer Abbott and Mark Achbar, 2004) Crumb (Terry Zwigoff, 1994) Dave (Ivan Reitman, 1993) The Defector (Raoul Lévy, 1965) La Dolce Vita (Federico Fellini, 1960) Dr Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964) Evil Dead II (Sam Raimi, 1987) 201 Executive Action (David Miller, 1973) eXistenZ (David Cronenberg, 1999) The Exorcist (William Friedkin, 1973) Fahrenheit 9/11 (Michael Moore, 2004) Falling Down (Joel Schumacher, 1993) Far From Heaven (Todd Haynes, 2002) Fight Club (David Fincher, 1999) The Firm (Sydney Pollack, 1993) The Fly (David Cronenberg, 1986) The Forgotten (Joseph Ruben, 2004) Friday the 13th
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101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
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Auteur Film Directors As Contemporary Shamans
Jung Journal Culture & Psyche ISSN: 1934-2039 (Print) 1934-2047 (Online) Journal homepage: https://www.tandfonline.com/loi/ujun20 Auteur Film Directors as Contemporary Shamans Cathleen Rountree Ph.D. To cite this article: Cathleen Rountree Ph.D. (2008) Auteur Film Directors as Contemporary Shamans, Jung Journal, 2:2, 123-134, DOI: 10.1525/jung.2008.2.2.123 To link to this article: https://doi.org/10.1525/jung.2008.2.2.123 Published online: 01 Feb 2013. Submit your article to this journal Article views: 284 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ujun20 FILM into and a means of arming other realities. Auteur Film Directors When using the medium of film to shift attention from a consensus reality, directors as Contemporary as shamans expand their consciousness and the consciousness of their community by oering Shamans blueprints for spiritual development. Jacques Maritain describes this process of creative intuition as e imagination is not a state: it is the Human Existence itself. [e] soul spiritual unconscious, [which] plays —William Blake (Bachelard 1988) an essential part in the genesis of poetry [art] and poetic inspiration. us a place is prepared You are a paje [shaman] like me. in the highest parts of the soul, in the primeval —An Amazonian shaman to director trans-lucid night where intelligence stirs the John Boorman, during the lming of images under the light of the Illuminating Emerald Forest (1985) Intellect, for the separate Muse of Plato to descend into man, and dwell within him, and become a part of our spiritual organism.
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