“Afin D'être En Pleine Possession De Ses Moyens
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Ce Numéro Contient Deux Places De Cinéma a Tarif Réduit
CE NUMÉRO CONTIENT DEUX PLACES DE CINÉMA A TARIF RÉDUIT IIFR.50 (Pholo Ut a) IVAN MOSJOUKINE et BRIGITTE HELM dans « Manolescu », le prochain film dans lequel nous reverrons le grand artiste russe, dont nous publions les «Souvenirs de Théâtre et de Cinéma». Le Numéro : 1 fr. 50 9E ANNÉE. — N°3 32-33 (3™° trimestre) 9-16 Août 1929 H y Pour votre maquillage, plus besoin de vous % adresser à l'étranger. * Pour le cinéma, le théâtre et la ville vous fournira Ides fards et grimes de qualité exceptionnelle à des prix inférieurs à tous autres. e cou une Un seul essai vous convaincra. * En vente dans toutes les bonnes parfu- ABONNEMENTS Directeur-Rédacteur en chef : ABONNEMENTS ÉTRANGER 99 Rue du FAUBOURG S'HONORf meries. FRANCE ET COLONIES JEAN PASCAL Un an 70 fr. Pays ayant adhéré à la Un an . .80fr. ret-ÉPHONe êirsfes 63 72 Six mois 38 fr. Convention de Stockholm. Six mois.44 fr* Les abonnements partent du 1er de chaque mois BUREAUX: 3, rue Rossini, Paris-9* cinéma depuis 6 ans Pays n'ayant m adhéré („„„„,, . dans même place, Paiement par chèque ou mandat-carte Tél. : Provence 82-45 et 83-94 90fr connaissant à fond Excellent opérateur Chèque postal Télégr. : Cinémagazi-108 ConventionVstockholm.(Silmoi,,48,r* Professionnelle d'opérateurs ci- métier, montage appareils Power, Ernemann, Gau- N° 309.08 nématographiques de France. mont, Pathé et réparations d'appireils, Ve" références, ECOLE Vente, achat de tout matériel. accepterait bonne place sérieuse province ou étranger. Écrire André GAUTHIER, fg Montmartre, PARIS (9"). Établissements Pierre POSTOLLEC 66, rue de Bondy, Paris (Nord 67-52) AVIS IMPORTANT MADIAPCC légaux, toutes situât., part, honor. -
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film -
Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures. -
Ladislaw Starewicz: Ein filmo-Bibliographisches Verzeichnis 2012
Repositorium für die Medienwissenschaft Katja Bruns Ladislaw Starewicz: Ein filmo-bibliographisches Verzeichnis 2012 https://doi.org/10.25969/mediarep/12767 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Bruns, Katja: Ladislaw Starewicz: Ein filmo-bibliographisches Verzeichnis. Hamburg: Universität Hamburg, Institut für Germanistik 2012 (Medienwissenschaft: Berichte und Papiere 135). DOI: https://doi.org/10.25969/mediarep/12767. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0135_12.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 135, 2012: Ladislaw Starewicz. Redaktion und Copyright dieser Ausgabe: Katja Bruns. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0135_12.pdf Letzte redaktionelle Änderung: 9.3.2012. Ladislaw Starewicz: Ein filmo-bibliographisches Verzeichnis Zusammengestellt von Katja Bruns Inhalt: Starewicz war Kind polnischer Eltern, die aus Litau- 1. Biographie en stammten. Seine Mutter starb 1886. Er wuchs bei 2. Filmographie seinen Großeltern -
Les Avatars Cinématographiques Du Michel Strogoff De Joseph N. Ermolieff
Submitted September 21, 2014 Published January 2, 2015 Proposé le 21 septembre 2014 Publié le 2 janvier 2015 Les avatars cinématographiques du Michel Strogoff de Joseph N. Ermolieff Philippe Burgaud Abstract Jules Verne's novels were often adapted for the cinema, but some adaptations of Michael Strogoff deserve a special mention. The producer J.N. Ermolieff had the good idea to make several versions with the same actor in the role of Michael Strogoff, and even a version in which, with another actor, he reused the footage of battle scenes or movements of crowds of the first version. This set of four versions represent a curiosity produced in the thirties and forties. Being the first speaking version of this novel, the French and German versions of Michael Strogoff were followed by an American version and finally by a Mexican version. Many advertisements and newspaper articles (ads and reports) accompanied the release of the films in many countries. Résumé Les romans de Jules Verne ont souvent été adaptés au cinéma, mais certaines adaptations de Michel Strogoff méritent une mention spéciale. Le producteur J.N. Ermolieff eut la bonne idée de réaliser plusieurs versions avec le même acteur dans le rôle de Michel Strogoff, et même une version dans laquelle, en changeant d'acteur, il réutilisait les séquences des scènes de batailles ou des mouvements de foules de la première version. Cet ensemble de quatre versions constitue une curiosité produite dans les années trente et quarante. Pour une première version parlante de ce roman, un Michel Strogoff en français et en allemand sera suivi par une version américaine et finalement par une version mexicaine. -
Dogs in Space Tail Credits
Title: For Christine Introducing MICHAEL HUTCHENCE as Sam SASKIA POST as Anna DEANNA BOND as The Girl NIQUE NEEDLES as Tim TONY HELOU as Luchio CHRIS HAYWOOD as Chainsaw Man Also with Anthony Peter Walsh Clare Laura Swanson Grant Adam Briscomb Leanne Sharon Jessop Nick Edward Clayton-Jones Mark Martii Coles Charles Chuck Meo Jenny Caroline Lee Barbara Fiona Latham Erica Stephanie Johnson Barry Gary Foley Lisa Glenys Osborne Anna's Girlfriends Allanah Hill Robyn McLellan Skinhead Troy Davies Leanne's Brothers John Murphy Troy Davies Owen Roberson Stacey Helen Phillips Chainsaw Woman Kelly Hoare Chainsaw Baby Robyn Lowenstein The Dealer Robert Ratti Sam's Mother Barbara Jungwirth Hardcore Hippie Beamish Elliot Policemen Noel Pennington Ted Fahrner Grant's Girls Michelle Bennett Lian Lunson Crazy George George Maleckas Pierre Hugo Race Terry Towelling Man Joe Camilleri Sales People Liz Meyers Tim McLaughlan Mount Waverley Mum Lillian Wilson Champion Girls Emma Di Clario Sybil Gibb TV Interviewer Helen Gianevsky Anna's Mum Jean Osborne Countdown Announcer Gavin Wood 3RRR D. J. Bohdan and Martha Butler, Kate Doherty, Harriet Freeman, Kelly Gallagher, Angela Howard, Tim Millikan, Marie Hoy, John Murphy, Sarah Newsome, Ollie Olsen, Miriam Smith, Miles Standish and Noah Taylor THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo John Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John -
From Shadow Citizens to Teflon Stars
From shadow citizens to teflon stars cultural responses to the digital actor L i s a B o d e A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy September 2004 School of Theatre, Film and Dance University of New South Wales Abstract This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky’s reading of the cinematographic image in terms of “cursed grey shadows,” to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image’s unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of “being human” is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: “dummy,” “siren,” “doppelgänger” and “resurrection.” These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent. -
Dogs in Space Music Credits
THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo Johnn Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John Murphy Danila Stirpe James Rogers Jules Taylor Ollie Olsen 'Primitive Calculators' 'Marie Hoy & Friends' Terry Dooley Marie Hoy Denise Grant Loki Stuart Grant Tim Millikan David Light John Murphy Ollie Olsen Musical Director Ollie Olsen Strange Noises John Murphy Music Research Bruce Milne Music Recorded at Richmond Recorders by Tony Cohen Music mixed at A.A.V. by Ross Cockle "Rooms for the Memory" Remixed by Nick Launay 'Shivers Video Clip' directed by Paul Goldman and Evan English 3RRR I.D. Written & Produced by Martin Armiger Sung by Jane Clifton THE MUSIC 'Dog Food' Performed by Iggy Pop, James Osterman Music (BMI), Administered by Bug Music Group, (P) 1980, Arista Records Inc., Courtesy of Arista Records 'Frankie Teardrop' Courtesy of Stamphyl Revega 'Dogs in Space' Written by Sam Sejavka and Mike Lewis 'Win/Lose' Written by Ollie Olsen, Performed by Whirlywirld, Courtesy of Missing Link Records 'True Love' Performed by The Marching Girls, Courtesy of Missing Link Records 'Sky Saw' Written by Brian Eno, Courtesy of E.G. Records Ltd. and E.G. Music Ltd. 'Skullbrains' Written by Marcus Bergner and Marie Hoy 'Shivers' Written by Roland S. Howard, Performed by Boys Next Door Courtesy of Mushroom Records 'Diseases' Composed by Thrush and The C...s 'Pumping Ugly Muscle' Composed by The Primitive Calculators 'Window to the World' Written by Ollie Olsen, Performed by Whirlywirld 'Happy Birthday' and 'Mr. -
The Art of the Metropolitan Museum of New York
tCbe Hrt of tbe flftetiopoUtan fIDuseum 3Bg tbe Same Butbor 2L XTbe art of tbe IRetberlanb (Balleriea Being a History of the Dutch School of Painting Illuminated and Demonstrated by Critical Descriptions of the Great Paintings in the many Galleries With 48 Illustrations. Price, $2.00 net £ L. C. PAGE & COMPANY New England Building, Boston, Mass. GIBBS - C HANNING PORTRAIT OF GEORGE WASHINGTON. By Gilbert Stuart. (See page 287) fje gtrt of iWetcopolitany 3*1 it scnut of 3Ul” Motfe & Giving a descriptive and critical account of its treasures, which represent the arts and crafts from remote antiquity to the present time. ^ By David C. Preyer, M. A. Author of “ The Art of the Netherland Galleries,” etc. Illustrated Boston L. C. Page & Company MDCCCC1 X Copyright, 1909 By L. C. Page & Company (incorporated) All rights reservea First Impression, November, 1909 Electrotyped and Printed at THE COLONIAL PRESS C.H . Simonas Sr Co., Boston U.S.A. , preface A visit to a museum with a guide book is not inspiring. Works of art when viewed should con- vey their own message, and leave their own im- pression. And yet, the deeper this impression, the more inspiring this message, the more anxious we will be for some further information than that conveyed by the attached tablet, or the catalogue reference. The aim of this book is to gratify this desire, to enable us to have a better understanding of the works of art exhibited in the Metropolitan Museum, to point out their corelation, and thus increase our appreciation of the treasures we have seen and admired. -
Casanova , D’Alexandre Volkoff
Macro: El Casanova , d’Alexandre Volkoff Lleida (dilluns, 14/01/2013). Zoom: Agramunt (dv, 18/01), Mollerusa (dj, 24/01), Cervera (dj, 31/01), Almacelles (dv 22/02). Casanova Casanova (França, 1927), Alexandre Volkoff seva dona, l'actriu Nathalie Kovanko, i del grup de teatre del seu cunyat, 35mm, 128’, B/N i C amb tintats, virats i estergits, VMP, IE. Boris Fastovitch, s’unirà a l’equip més tard en el decurs de l’any 1919. Producció: Ciné- Alliance, Societé des Cinéromans, Les Films de France Tot demostrant l’increïble esperit emprenedor que els anima, Protazanov, Productor: Noë Bloch i Gregor Rabinovitch. Guió: Norbert Falk, Ivan Volkoff i Mosjoukine, tot just van desembarcar a Istanbul comencen el Mosjoukhin i Alexandre Volkoff. FotografiFotografia:a:a:a: Fédote Bourgasoff, Léonce- rodatge de la primera pel·lícula de l’emigració russa, L’Angoissante aventure , Henri Burel i Nikolai Toporkoff. Muntatge: Renée Lichtig. Direcció que van elaborar al llarg de les diferents etapes del seu exili vers la França, artística: Noë Bloch i Lochakoff. Vestuari: Boris Bilinsky Ajudant de amb les seves escales a Atenes, Gènova i Marsella, que serveixen com a teló direcció: Anatole Litvak. Música: George Delerue (versió restaurada). de fons de la intriga del film. Restauració i producció de la versió: Cinémathèque Française (1985). La pel·lícula es va acabar a París, al pintoresc estudi de Montreuil IntèIntèrprets:rprets: Ivan Mosjoukhin ( Casanova ), Suzanne Bianchetti ( Caterina II ), (anteriorment Pathé-Zecca), carrer del Sergent Bobillot, que Charles Pathé va Diana Karenne ( Maria Mari ), Nina Kochitz ( comtessa Vorontzoff ), Olga posar a la seva disposició. -
Sisters Leave for Thailand
• • • Grateful Dead review pages 8-9 VOL. XIV, NO. ~i2 an independent student newspaper serving notre dame and saint mary's THURSDAY, NOVEMBER 1), 1979 Tw-o campus groups tnobilize in Cambodian refugee aid effort Two campus organizations have mobilized Murphy held the organizational meeting of the efforts in an attempt to provide spiritual and sec last evening, and he stated that over 200 financial support for the perishing Cambodian people attended. "We were really informally masses. organized," Murphy explained, "but now we've One group. the Students Concerned for got manpower and we've got committees." Cambodia, has p'lanned a campus-wide dinner Murphy said that the SCC has contacted fast an<i a free Nazz concert to be held on Catholic Relief Services in New York in order to Monday. Nov. 19. The committee has also e-armark funds for the six Holv Cross Sisters who planned to hold direct collectio·ns, both at the recently departed for Thailan'd to serve as nurses dining halls and before the Clemson game. for the Cambodian refugees. Another organization, represented by Keenan The SCC is now printing banners a*1 poster;; rector Fr. Richard Convers, has coordinated an which will publicize the atrocity of the Cambo effort called the ''Cambodian Response'' which dian situation. '·All the overhead is coming our will employ dormitory residents in door-to-door of our pockets," Murphv observed. "bur.we're solicitation for contributions. Conyer's group trying to get money from the alumni ami has also scheduled collections from campus students.'' organizations and a mass to be celebrated by Fr. -
A Novel Elysium by Evan Crichton Anderson a PROJECT Submitted To
A Novel Elysium by Evan Crichton Anderson A PROJECT submitted to Oregon State University University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Arts in English (Honors Associate) Presented May 27, 2014 Commencement June 2014 1 AN ABSTRACT OF THE THESIS OF Evan Crichton Anderson for the degree of Honors Baccalaureate of Arts in English presented on May 27, 2014 . Title: A Novel Elysium . Abstract approved: ______________________________________________ Steven Kunert As a metafictional work of science fiction literature, A Novel Elysium explores the timelessness of both the human mind and its literary surroundings, comparing the self-awareness of its characters to the sometimes tragic or empowering metaphysical realizations of human beings. Within this framework, any concrete place or time is unimportant; temporal and physical locations are created by the relations of the characters to their world and also by the relations of the readers to this text. The subjects are art, intention, pleasure, perception, and existence, and each character comes to know these or become undone by them at the conclusion of A Novel Elysium , just as the reader comes to realize they are being directly addressed, rather than shown an unrelated fictional tale. Drawing on the full imaginative and mnemonic powers of its characters, the work abounds with references both to other literary classics and to itself, creating a semi-circular dialectic about the perceived relationships between past, present, future,