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The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
CUBA EN LA ENCRUCIJADA Igualitarismo Versus Liberalismo
CUBA EN LA ENCRUCIJADA Igualitarismo versus liberalismo Ignasi Pérez Martínez documentos Serie: América Latina Número 9. Cuba en la encrucijada. Igualitarismo versus liberalismo © Ignasi Pérez Martínez © Fundació CIDOB, de esta edición Edita: CIDOB edicions Elisabets, 12 08001 Barcelona Tel. 93 302 64 95 Fax. 93 302 21 18 E-mail: [email protected] URL:http://www.cidob.org Depósito legal: B-20.689-2004 ISSN: 1697-7688 Imprime: Cargraphics S.A. Barcelona, noviembre de 2005 CUBA EN LA ENCRUCIJADA Igualitarismo versus liberalismo Ignasi Pérez Martínez* Noviembre de 2005 *Departamento de Derecho Constitucional y Ciencia Política. Universitat de Barcelona Este documento pretende analizar la actual situación de radicalización en el panorama político cubano como consecuencia de la consolidación de las dos posturas aparentemente más importantes en el escenario político de este país, las cuales están clara y antagónicamente enfrentadas entre sí: la liberal (conservadora y plutocrática) y la igualitarista (autoritaria y autocrática). Las eminentes contradicciones metodológicas e ideológicas de ambas, así como la nula intención de acercamiento y/o pacto entre ellas, nos inducen a pensar que un futuro político en manos de alguna de las dos, sin otra pre- sencia alguna, puede acarrear consecuencias nefastas para el futuro político y social de la isla. Este trabajo no se podría haber realizado sin el valiosísimo apoyo de Carles Ramió, quien a pesar de mi juventud confió en mis capacidades; a la dedi- cación (tan ilusionante) y laborioso seguimiento de Cesáreo Rodríguez Aguilera de Prat, al apadrinamiento en sociedad del ilustre y harto recono- cido Salvador Giner, a los siempre oportunos comentarios y alientos frater- nales de Lucas Krotsch y, en especial, a la continua y perseverante instrucción del vehemente, cabal y paciente intelectual, maestro y amigo Rafael Martínez (ni decir se tiene). -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Julianne Moore Stephen Dillane Eddie Redmayne
JULIANNE MOORE STEPHEN DILLANE EDDIE REDMAYNE ELENA ANAYA Directed By Tom Kalin UNAX UGALDE Screenplay by Howard A. Rodman Based on the book by Natalie Robins & Steven M. L. Aronson BELÉN RUEDA HUGH DANCY Julianne Moore, Stephen Dillane, Eddie Redmayne Elena Anaya, Unax Ugalde, Belén Rueda, Hugh Dancy CANNES 2007 Directed by Tom Kalin Screenplay Howard A. Rodman Based on the book by Natalie Robins & Steven M.L Aronson FRENCH / INTERNATIONAL PRESS DREAMACHINE CANNES 4th Floor Villa Royale 41 la Croisette (1st door N° 29) T: + 33 (0) 4 93 38 88 35 WORLD SALES F: + 33 (0) 4 93 38 88 70 DREAMACHINE CANNES Magali Montet 2, La Croisette, 3rd floor M : + 33 (0) 6 71 63 36 16 T : + 33 (0) 4 93 38 64 58 E: [email protected] F : + 33 (0) 4 93 38 62 26 Gordon Spragg M : + 33 (0) 6 75 25 97 91 LONDON E: [email protected] 24 Hanway Street London W1T 1UH US PRESS T : + 44 (0) 207 290 0750 INTERNATIONAL HOUSE OF PUBLICITY F : + 44 (0) 207 290 0751 info@hanwayfilms.com CANNES Jeff Hill PARIS M: + 33 (0)6 74 04 7063 2 rue Turgot email: [email protected] 75009 Paris, France T : + 33 (0) 1 4970 0370 Jessica Uzzan F : + 33 (0) 1 4970 0371 M: + 33 (0)6 76 19 2669 [email protected] email: [email protected] www.dreamachinefilms.com Résidence All Suites – 12, rue Latour Maubourg T : + 33 (0) 4 93 94 90 00 SYNOPSIS “Savage Grace”, based on the award winning book, tells the incredible true story of Barbara Daly, who married above her class to Brooks Baekeland, the dashing heir to the Bakelite plastics fortune. -
Uncut! First Time In
45833_AFI_AGS 3/30/04 11:38 AM Page 1 THE AMERICAN FILM INSTITUTE GUIDE April 23 - June 13, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10 AFIPREVIEW UNCUT! FIRST TIME IN DC! GODZILLA!GODZILLA! Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial, Three by Alfred Hitchcock, Natalie Wood Tribute MC5*A TRUE TESTIMONIAL POINT OF ORDER A STREETCAR NAMED DESIRE CITY LIGHTS GODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE PHOTO NEEDED WORD WARS 45833_AFI_AGS 3/30/04 11:39 AM Page 2 Features 2, 3, 4, 7, 13 2 POINT OF ORDER MEMBERS ONLY SPECIAL EVENT! 3 MC5 *A TRUE TESTIMONIAL, GODZILLA GODSEND MEMBERS ONLY 4WORD WARS, CITY LIGHTS ●M ADVANCE SCREENING! 7 KIRIKOU AND THE SORCERESS Wednesday, April 28, 7:30 13 WAR AND PEACE, BLOWUP When an only child, Adam (Cameron Bright), is tragically killed 13 Two by Tennessee Williams—CAT ON A HOT on his eighth birthday, bereaved parents Rebecca Romijn-Stamos TIN ROOF and A STREETCAR NAMED DESIRE and Greg Kinnear are befriended by Robert De Niro—one of Romijn-Stamos’s former teachers and a doctor on the forefront of Filmfest DC 4 genetic research. He offers a unique solution: reverse the laws of nature by cloning their son. The desperate couple agrees to the The Greatest Generation 6-7 experiment, and, for a while, all goes well under 6Featured Showcase—America Celebrates the the doctor’s watchful eye. Greatest Generation, including THE BRIDGE ON The “new” Adam grows THE RIVER KWAI, CASABLANCA, and SAVING into a healthy and happy PRIVATE RYAN young boy—until his Film Series 5, 11, 12, 14 eighth birthday, when things start to go horri- 5 Three by Alfred Hitchcock: NORTH BY bly wrong. -
Feathered Films at the Scranton Cultural Center
EVERHART MUSEUM NATURAL HISTORY, SCI E N C E & A R T 1901 Mulberry Street, Scranton, PA 18510 [tel] 570-346-7186 [fax] 570-346-0652 [web] www.everhart-museum.org For Immediate Release Press Photographs are Available Upon Request Contact: Lauren White at 570-346-7186 Or via [email protected] FEATHERED FILMS Presented by the Everhart Museum of Natural History Science & Art in collaboration with the Scranton Cultural Center at the Masonic Temple and the Lackawanna County Library System Scranton – February 7, 2008: The Everhart Museum is pleased to collaborate with the Scranton Cultural Center at the Masonic Temple and the Lackawanna County Library System to present FEATHERED FILMS, a bird-themed film series being shown in conjunction with the Everhart Museum’s current exhibit, Flocks & Feathers: Birds in Science, Culture and Art. The Museum began its centennial year earlier this month by highlighting avian creatures, the foundation of its permanent collections donated by its founder, Dr. Isaiah Fawkes Everhart in 1908. This collaborative film series is one of several programs designed to complement the Everhart Museum’s temporary and permanent bird exhibits. All films in the series will be shown at the Scranton Cultural Center at the Masonic Temple. Admission is free and open to the public; however please note that the content of some films may not be suitable for a younger audience. The schedule is as follows: February 16th at 3:00 pm: The Birds (1963). Not rated, but does contain violence. Some scenes may be too intense for young children. The residents of Bodega Bay are suddenly confronted with a malicious, full-scale attack by birds of all shapes and sizes. -
Bam 2016 Annual Report
BAM 2016 2 1ANNUAL REPORT 0 6 BAM’s mission is to be the home for adventurous artists, audiences, and ideas. 3—6 Community, 31–33 GREETINGS DanceMotion USASM, 34–35 Chair Letter, 4 Visual Art, 36–37 President & Executive Producer’s Letter, 5 Membership, 38 BAM Campus, 6 Membership, 37—39 7—35 40—47 WHAT WE DO WHO WE ARE 2015 Next Wave Festival, 8–10 BAM Board, 41 2016 Winter/Spring Season, 11–13 BAM Supporters, 42–45 Also On Stage, 14 BAM Staff, 46–47 BAM Rose Cinemas, 15–20 48—50 First-run Films, 16 NUMBERS BAMcinématek, 17–18 BAM Financial Statements, 49–50 BAMcinemaFest, 19 HD Screenings, 20 51—55 BAMcafé Live, 21–22 THE TRUST BAM Hamm Archives, 23 BET Chair Letter, 52 Digital Media, 24 BET Donors, 53 Education & Humanities, 25–30 BET Financial Statements, 54–55 2 TKTKTKTK Cover: Urban Bush Women in Walking with ‘Trane| Photo: Julieta Cervantes Greetings GREETINGS 3 TKTKTKTK 2016 Winter/Spring | Royal Shakespeare Company in Henry IV Part I | Photo: Richard Termine Change is anticipated, expected, welcomed. — Alan H. Fishman Dear Friends, As you all know, and perhaps celebrated (!), Anne Bogart, Ivo van Hove, Long time trustee Beth Rudin Dewoody As I end my leadership role, I want to I stepped down as chairman of this William Kentridge, and many others. became an honorary trustee. Mark Jackson express my thanks to all I have met and miraculous institution effective December and Danny Simmons, both great trustees, worked with along the way. Together we have 31, 2016. -
Cuba in the Time of Coronavirus: Exploiting a Global Crisis
Cuba in the time of coronavirus: exploiting a global crisis Part I: Pandemic as opportunity April 7, 2020 If any country was ready for the global pandemic, it was Cuba … but not how one would expect. Its regime has responded to the coronavirus crisis by kicking into high gear to reap economic and political gain while attempting to enhance its international image, blame the United States for its problems, and erode its economic sanctions. This time, however, its usual trade-off of repressing its people for external gain is looking like a riskier gamble. Photo: CubaDebate.com In early to mid-March 2020, as most countries took increasingly drastic measures to contain the spread of coronavirus, the Cuban government was striking deals to hire out its indentured doctors, hype its questionable medications, and lure tourists while ignoring the cost to its own population. Its huge state apparatus instantly deployed its arsenal of asymmetrical weapons ¾intelligence and propaganda¾ that are the hallmark of its unique brand of soft power.1 It has proven quite effective to “alter the behavior of others to get what it wants”2 in the world stage and it has an uncanny ability to use its people as political and economic weapons. Although the 61-year old Communist regime rules over a repressed and impoverished people and a tiny, bankrupt economy, it has carefully crafted a fake narrative of Cuba as a “medical powerhouse” and “the world’s 1 Joseph Nye, a political scientist and former Clinton administration official, coined the post-Cold War concept of “soft power in a 1990 Foreign Policy piece. -
Tribeca Film in Partnership with American Express Presents with Film 4, UK Film Council, Scottish Screen and Wild Bunch a Bluel
Tribeca Film in Partnership with American Express presents with Film 4, UK Film Council, Scottish Screen and Wild Bunch a blueLight, Fidelite Films, Studio Urania production NEDS Winner – Best Film, Evening Standard British Film Awards Winner – Golden Shell for Best Film, San Sebastian Film Festival Winner – Silver Shell for Best Actor, Conor McCarron San Sebastian Film Festival Winner- Young British Performer of the Year, Conor McCarron London Film Critics’ Circle Awards US Premiere Tribeca Film Festival 2011 Available on VOD Nationwide: April 20-June 23, 2011 May 13, 2011- Los Angeles June 17, 2011 – Miami Available August 23 on DVD PRESS CONTACTS Distributor: Publicity: ID PR Tammie Rosen Dani Weinstein Tribeca Film Sara Serlen 212-941-2003 Sheri Goldberg [email protected] 212-334-0333 375 Greenwich Street [email protected] New York, NY 10013 150 West 30th Street, 19th Floor New York, NY 10001 1 SYNOPSIS “If you want a NED, I‟ll give you a fucking NED!” Directed by the acclaimed actor/director Peter Mullan (MY NAME IS JOE, THE MAGDALENE SISTERS) NEDS, so called Non-Educated Delinquents, takes place in the gritty, savage and often violent world of 1970‟s Glasgow. On the brink of adolescence, young John McGill is a bright and sensitive boy, eager to learn and full of promise. But, the cards are stacked against him. Most of the adults in his life fail him in one way or another. His father is a drunken violent bully and his teachers – punishing John for the „sins‟ of his older brother, Benny – are down on him from the start. -
Italia En Directo Francesco Rosi En Conversación Con Curzio Maltese Entrevista PUBLICADA EN EL NÚMERO 6/2012 DE LA REVISTA MICROMEGA
Italia en directo FRANCESCO ROSI EN CONVERSACIÓN CON CURZIO MALTESE ENTREVISTA PUBLICADA EN EL NÚMERO 6/2012 DE LA REVISTA MICROMEGA. (C) MICROMEGA - WWW.MICROMEGA.NET IMÁGENES CEDIDAS POR EL MUSEO NAZIONALE DEL CINEMA (TORINO), ARCHIVO ROSI osi R rchivo A azionale del Cinema – N osi. Coll. Museo R Francesco Francesco Ha vivido casi un siglo de historia italiana y buena parte de ella ha quedado retratada en sus grandes películas –de El desafío a Le mani sulla città, de Cristo se paró en Éboli a Excelentísimos cadáveres, de Lucky Luciano a El caso Mattei– inaugurando el filón del filme-encuesta. Heredero del gran cine neorrealista, uno de los más grandes cineastas italianos de todos los tiempos se explica y reflexiona sobre la Italia de ayer y de hoy. 10minv25_rosi.indd 79 28/12/15 12:56 80 MINERVA 25.15 CURZIO MALTESE: Cuando vuelvo a ver tus películas pienso que los mucho tiempo. No tendría sentido repetirse. Hay que caminar problemas de nuestro país no han cambiado mucho. Al contrario, al- hacia delante. Hay que intentar comprender cómo se puede salir gunos de los que había en los años sesenta, cuando empezaste a hacer de este abismo al que hemos llegado. cine, han empeorado. Es como observar la génesis de todo lo que ha ocurrido en Italia, como si hubieras filmado su decadencia progresiva. CM: Sin embargo, existía también esperanza y el compromiso por salir de esa situación. Hoy solo hay resignación, incluso en la mirada FRANCESCO ROSI: La corrupción de las instituciones en Italia de las mejores películas del cine italiano sobre los fenómenos socia- comenzó hace mucho tiempo. -
La Nascita Dell'eroe
Programma del CORSO 1) PARTE GENERALE - “Slide del Corso” - Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, pp. 127-303 (si trova su Feltrinelli a 8,99 e in ebook) 2) APPROFONDIMENTO (A SCELTA) DI DUE TRAI SEGUENTI LIBRI: - Mariapia Comand, Commedia all'italiana, Il Castoro - Ilaria A. De Pascalis, Commedia nell’Italia contemporanea, Il Castoro - Simone Isola, Cinegomorra. Luci e ombre sul nuovo cinema italiano, Sovera - Franco Montini/Vito Zagarrio, Istantanee sul cinema italiano, Rubbettino - Alberto Pezzotta, Il western italiano, Il Castoro - Alfredo Rossi, Elio Petri e il cinema politico italiano, Mimesis Edizioni - Giovanni Spagnoletti/Antonio V. Spera, Risate all'italiana. Il cinema di commedia dal secondo dopoguerra ad oggi, UniversItalia 3) CONOSCENZA DI 15 FILM RIGUARDANTI L’ARGOMENTO DEL CORSO Sugli autori o gli argomenti portati, possono (non devono) essere fatte delle tesine di circa 10.000 caratteri (spazi esclusi) che vanno consegnate SU CARTA (e non via email) IMPROROGABILMENTE ALMENO UNA SETTIMANA PRIMA DELL’ ESAME Previo accordo con il docente, si possono portare dei testi alternativi rispetto a quelli indicati INDIRIZZO SUL SITO: http://www.lettere.uniroma2.it/it/insegnamento/storia-del- cinema-italiano-2017-2018-laurea-triennale ELENCO DEI FILM PER L’ESAME (1) 1) Indagine su un cittadino al di sopra di ogni sospetto (1970) o Todo Modo (1976) di Elio Petri 2) Il conformista (1970) o L’ultimo imperatore (1987) di Bernardo Bertolucci 3) Cadaveri eccellenti (1976) di Francesco Rosi 4) Amici miei (1975) di Mario Monicelli 5) C’eravamo tanto amati (1974) o Una giornata particolare (1977) di Ettore Scola 6) Borotalco (1982) o Compagni di scuola (1984) di Carlo Verdone 7) Nuovo Cinema Paradiso (1988) o Una pura formalità (1994) di Giuseppe Tornatore. -
Julio Medem's Caótica Ana and New Spanish Media(Tion)
Studies in 20th & 21st Century Literature Volume 33 Issue 2 Identities on the Verge of a Nervous Article 6 Breakdown: The Case of Spain 6-1-2009 Spain, Reincarnated: Julio Medem’s Caótica Ana and New Spanish Media(tion) in the World Susan Martin-Márquez Rutgers University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Martin-Márquez, Susan (2009) "Spain, Reincarnated: Julio Medem’s Caótica Ana and New Spanish Media(tion) in the World," Studies in 20th & 21st Century Literature: Vol. 33: Iss. 2, Article 6. https://doi.org/10.4148/2334-4415.1703 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Spain, Reincarnated: Julio Medem’s Caótica Ana and New Spanish Media(tion) in the World Abstract Spanish director Julio Medem’s visually stunning yet controversial 2007 film Chaotic Ana was panned for its ostensibly Manichaean treatment of gender relations and its crudely scatological ending, both of which have distracted attention from the work’s fascinating incursions into global politics. While the film’s complex layering of hawk and dove imagery figures centuries of male violence against women, it is also imbricated with an extended meditation on the divergent roles of the United States and Spain on the contemporary world stage.