DOCSLIB.ORG

07 Juillet 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
07 Juillet 2014 REVUE DE PRESSE 25e FESTIVAL INTERNATIONAL DE CINÉMA — MARSEILLE 01 — 07 JUILLET 2014 1 REVUE 2014 DE PRESSE SOMMAIRE PRESSE INTERNATIONALE 03 PRESSE NATIONALE 45 •KINEMA JUNPO - JAPON - SEPTEMBRE 04 •DÉBORDEMENT – 14/09 46 •SIGH&SOUND - ROYAUME-UNI – 05 •DÉBORDEMENT – 20/08 47 SEPTEMBRE •LACAN QUOTIDIEN – 10/08 51 •COBRA - BELGIQUE – 25/09 06 •MEDIAPART - 10/08 54 •BROOKLIN RAIL – ÉTATS-UNIS - 04/09 07 •CHRONICART - 31/07 56 •CINERGIE – BELGIQUE - AOÛT 09 •LA VIE MANIFESTE - 30/07 58 •INTERFERENCE - ALLEMAGNE – 31/07 10 •CHRONICART - 28/07 59 •ARTECHOCK – ALLEMAGNE - 31/07 12 •ACCRÉDS - 28/07 61 • FILM LOUNGE - ROYAUME-UNI - 27/07 14 •LE MONDE - 09/07 63 •THE DAILY STAR (LEBANON) - LIBAN - 24/07 17 •CRITIKAT - 08/07 64 •UNION OF BILGARIAN JOURNALIST – 19 •ACCRÉDS - 08/07 65 BULGARIE - 19/07 •ACCRÉDS - 07/07 66 •THE HOLLYWOOD REPORTER - 20 •ACCRÉDS - 04/07 67 ÉTATS-UNIS - 16/07 •ACCRÉDS - 03/07 69 •A CUARTA PAREDE – ESPAGNE - 15/07 21 •MEDIAPART - 02/07 71 •DANAS - BOSNIE-HERZÉGOVINE - 14/07 23 •ACCRÉDS - 26/06 73 •MUBI - ROYAUME-UNI - 14/07 24 •TELERAMA.FR - 13/06 74 •DOC ALLIANCE FILMS - 27 •LES INROCKS - 26/05 75 RÉPUBLIQUE TCHÈQUE - 14/07 •ACCRÉDS - 14/02 76 •THE HOLLYWOOD REPORTER - 28 •ACCRÉDS - 12/02 78 ÉTATS-UNIS - 12/07 •CINE CRITICA WEB - ITALIE- 09/07 29 •THE HOLLYWOOD REPORTER - 31 PRESSE RÉGIONALE 80 ÉTATS-UNIS - 09/07 •GROLSCH FILM WORKS - CANADA - 08/07 32 •LA MARSEILLAISE – 09/07 81 •A CUARTA PAREDE - ESPAGNE - 07/07 33 •LA PROVENCE - 07/07 82 •FILMUFORIA - ROYAUME-UNI - 07/07 35 •BABEL MED - 05/07 83 •THE HOLLYWOOD REPORTER - 36 •LA PROVENCE - 05/07 85 ÉTATS-UNIS - 06/07 •LA MARSEILLAISE - 04/07 86 •THE HOLLYWOOD REPORTER - 37 •ZIBELINE - 04/07 87 ÉTATS-UNIS - 06/07 •ZIBELINE - 03/07 88 •FILMUFORIA - ROYAUME-UNI - 05/07 38 •LA MARSEILLAISE - 02/07 89 •GROLSCH FILM WORKS - CANADA - 04/07 39 •ZIBELINE - 01/07 90 •FILMUFORIA - ROYAUME-UNI - 03/07 40 •LA PROVENCE - 01/07 91 • HEINRICH BÖLL STIFTUNG - LIBAN - 24/07 41 •8E ART - ÉTÉ 92 •IL MANIFESTO - ITALIE - 02/07 42 •MARSEILLE L’HEBDO - 26/06 94 •ATUAL - PORTUGAL - 28/06 43 •VENTILO - 25/06 97 •ZIBELINE - 19/06 98 •LA PROVENCE - 05/06 100 •LA MARSEILLAISE - 04/06 101 •CÉSAR - JUIN 102 2 REVUE 2014 DE PRESSE PRESSE INTERNATIONALE 3 REVUE 2014 DE PRESSE PRESSE INTERNATIONALE KINEMA JUNPO 1/2 septembre JAPON 4 REVUE 2014 DE PRESSE PRESSE INTERNATIONALE SIGH&SOUND septembre, ROYAUME UNI 5 REVUE 2014 DE PRESSE PRESSE INTERNATIONALE (EN LIGNE) COBRA 25 septembre → www.cobra.be BELGIQUE FILM BEFORE WE GO Kunstenfestivaldesarts 2010) en Samen voeren ze een ontroer- documentaires (onder meer ‘Vous end duet op, de danseres met etes servis’ uit 2010). De zin voor een lichaam als getraind wer- theater zit ook in deze film. kinstrument en de patiënt wiens Maar anders dan bij zijn vorige lichaam vervormd is door pijn en werk komt de camera ongenadig verworden tot last. “De film is met dicht bij de protagonisten, vooral een erg klein budget gemaakt”, als hij hen toont in de intimiteit zegt Leon, “omdat verschillende van hun badkamer of slaapkamer. subsidiecommissies het thema Van ongemakkelijk dichtbij filmt afwezen.” Is het wel ethisch om hij wat ziek zijn betekent: ondraa- mensen te filmen op het einde glijke pijn bij het opstaan, een van hun leven, zelfs als ze daar Before we go pijnpomp voor Lidia, een voed- bewust mee instemmen?, vroe- ingssonde bij Noël, lichamelijke gen ze me.” Lidia geeft daar haar Drie mensen die dicht bij De dood creatief benaderen aftakeling bij Michel. Maar eens in eigen antwoord op, nadat ze de het einde van hun leven staan, Al enkele jaren geeft de regis- de imposante gebouwen van De ruwe montage gezien heeft. “Ik enkele bekende dansers/choreo- seur er workshops waarin hij Munt krijgen ze hun waardigheid heb mijn eenzaamheid gedeeld,” grafen/musici/acteurs én de uit- mensen een videodagboek terug, worden ze hoofdrolspelers, zegt ze hem. “Remember me, gebreide coulissen van de Munt. laat opnemen, voor familie of die ook de dansers en acteurs remember me, but ah, forget my Ziedaar de ingrediënten van de vrienden die ver weg wonen. confronteren met hun eigen fate” zingt een sopraan in de film, documentaire van Brusselaar Toen hij aan een aantal patiënten sterfelijkheid. We zien hen aan een vertolking van Dido’s Lament Jorge Leon. Hij maakt er een voorstelde om mee te werken aan het werk in de ingewanden van De van Purcell. Lidia woonde vorige melancholische en ontroerende een filmproject over de dood, was Munt, de naai en kledingateliers week de avant-première bij in film mee, over menselijkheid, hun respons bijzonder groot. “Ik – met rijen en rijen schoenen in Bozar. Noël was er niet meer bij. lichamelijkheid en dood. Maar voelde bij de deelnemers een alle maten -, in ateliers waar afgi- Hij overleed in februari en heeft misschien vooral nog over het groot verlangen om zichzelf uit etsels worden vervaardigd, in de de afgewerkte film niet meer leven. De film won twee prijzen te drukken en niet vanuit een materiaaldepots. “Ik wilde plek- gezien. op het FID Marseille. verlangen om een laatste getui- ken tonen die zich in de periferie Veerle de Vos genis achter te laten”, zegt de van de Munt bevinden, weg van regisseur, “maar vanuit creatief het grote podium, daar waar het ‘Before we go’ begint met een oogpunt: het was voor hen een echte werk plaatsvindt.” bijzonder sterke openingsscène. manier om de dood te benaderen, Vanuit het rijkelijk beschilderde dat wat ons allen bang maakt Ontroerend duet plafond van de Muntschouwburg en waarover niemand iets weet Een van de pakkendste scenes daalt een reusachtige kroon- omdat niemand ooit die grens in de film is de ontmoeting tus- luchter naar beneden. De scène heeft overgestoken.” sen Lidia en de Amerikaanse wordt gadegeslagen door de choreografe en danseres Meg figuur van de dood. Het is Simone Intieme benadering Stuart, die net zoals de andere Aughterlony, een Nieuw-Zee- In plaats van het palliatief kunstenaars geheel onbezol- landse danseres en choreografe, centrum koos Jorge Léon de digd aan het project deelnam. gehuld in een zwart beschilderd Muntschouwburg als werk- pak. Simone is één van de kun- plek. Een plek waar de dood stenaars die regisseur Jorge Léon geen taboe is, maar een erep- naar de Munt heeft gehaald. De laats krijgt op het podium. “De echte hoofdrolspelers zijn Lidia, Muntschouwburg is voor mij de Michel en Noël, drie mensen die plek bij uitstek waar de trage- dicht bij hun levenseinde staan. die wordt uitgebeeld en ik wou Twee van hen ontmoette Leon in hen die ideale plek gunnen.(…) Topaz, het palliatief dagcentrum Mijn project werd er niet alleen voor terminaal zieken van dokter aanvaard, het werd met open Wim Distelmans in Wemmel. armen verwelkomd.” Jorge Léon maakte eerder al theat- ervoorstellingen (‘Deserve’, 6 REVUE 2014 DE PRESSE PRESSE INTERNATIONALE (EN LIGNE) BROOKLYN RAIL 1/2 04 septembre → www.brooklynrail.org ÉTATS-UNIS FILM AGAINST THE PRESENT SELECTIONS FROM FID MARSEILLE 2014 identity. Azari is aided by a basic homes, the film constructs an primer decades old, with images almost metonymic nostalgia for of both Khomeini and the Shah, a lost homeland, invested in dev- but still in use today and a char- astated apartments and salvaged ismatic tutor, himself an Iranian heirlooms. exile, standing at the blackboard, and the two work in consort: the The winner of the festival’s books crude yet vividly colored International Competition, Our icons of families and flags and Terrible Country, begins with its bread and tea pots, seem plainly, co-director Ziad Homsi, a jour- telegraphically legible, but soon nalist, quite literally putting down become murkier, as Azaris tutor camera to pick up a weapon—to Letters to Max integrates them into a lesson aid the Free Syrian Army in lib- about Iran before and after the erating in Douma from Assad’s Much of this year’s 25th anni- you there?” “What should I film?” revolution. There is nostalgia for regime. But the film’s real focus versary edition of FID Marseille “Are you done with politics?”—to the wine of Shiraz and the early is Homsi’s friend and mentor, the took place at the city’s new which Max responds in meander- days of the revolution, but more writer and political dissonant Yas- MuCEM, the Museum for Euro- ing voiceover. The images that importantly there are the lessons sin al-Haj Saleh, whom we first pean and Mediterranean Cultures, accompany Max’s responses which follow from a seamless meet helping neighbors to clear situated right on the sea itself— at first seem similarly aimless, morphology. An image of bread rubble from the streets of his such that filmgoers jumped from capturing odd moments and suggests its lack, a lack of work, city. For al-Haj Saleh, Douma is dark theater to theater, with architectural curios, ruins, lei- humiliation; an image of a tree “a place where life and death are bouts of blinding sunlight and sure sites, and local activities, suggests hanging, execution. in close proximity”: citizens grow beautiful breezes in between. In but soon these images accumu- Images become words, words vegetables next to refrigerators contrast to its European holiday late into something more than become script, script becomes holding the bodies of martyrs. It surroundings, FID is not sum- the merely touristic. But Baude- historiography. But Azaris lin- is a place of deep precarity, and mertime Cannes; there’s no red laire, as in many of his films, per- guistic naïveté, her beginning soon he must leave, accompa- carpet, no interminable lines, forms a subtle pirouette, using again from scratch, holds other nied by Homsi and camera across few press conferences, and little the collision of sound and image possibilities, too.
Load more

Recommended publications
  • A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator Airic Hughes University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 7-2015 A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator Airic Hughes University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the African American Studies Commons, African History Commons, American Film Studies Commons, and the American Literature Commons Recommended Citation Hughes, Airic, "A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator" (2015). Theses and Dissertations. 1317. http://scholarworks.uark.edu/etd/1317 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Airic Hughes University of Arkansas Bachelor of Arts in History and African and African American Studies, 2011 July 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. __________________ Dr. Calvin White Thesis Director __________________ __________________ Dr. Pearl Ford Dowe Dr. James Gigantino Committee Member Committee Member Abstract: Oscar Micheaux was a luminary who served as an agent of racial uplift, with a unique message to share with the world on behalf of the culturally marginalized African Americans. He produced projects that conveyed the complexity of the true black experience with passion and creative courage. His films empowered black audiences and challenged conventional stereotypes of black culture and potential.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • Helden. Heroes. Héros. 2
    1 Animals: Projecting the Heroic helden. across Species Entangled Agency: Heroic Dragons and Direwolves in Game of Thrones Stefanie Lethbridge heroes. Dogs and Horses as Heroes: Animal (Auto)Biographies in England, 1751-1800 Angelika Zirker Die Heroisierung von Kriegspferden und ihre Funktion im Hinblick auf héros. Heroisierungsprozesse in der mili- tärischen Erinnerungskultur der Napoleonischen Kriege im 19. Jahrhundert E-Journal Kelly Minelli “Famous”, “Immortal” – and zu Kulturen Heroic? The White Whale as Hero in Herman Melville’s Moby-Dick des Heroischen. Klara Stephanie Szlezák Widerspruch mit der Zunge einer Hündin. Tierlicher Antiheroismus in Blondi von Michael Degen Tina Hartmann Animal Survival and Inter-Species Heroism in Werner Herzog’s Grizzly Man Tom Chadwick Können Tiere Helden sein? Anthropozentrischer und zoozentrischer Anthropomorphismus in Gabriela Cowperthwaites Blackfish Claudia Lillge Edited by Marie-Luise Egbert and Ulrike Zimmermann Volume 3 (2018) Special Issue helden. heroes. héros. 2 Contents Editorial Marie-Luise Egbert and Ulrike Zimmermann . 3 Entangled Agency: Dragons and Direwolves in Game of Thrones Stefanie Lethbridge . 7 Dogs and Horses as Heroes: Animal (Auto)Biographies in England, 1751-1800 Angelika Zirker . 17 „God’s humbler instrument of meaner clay, must share the honours of that glorious day .“ Die Heroisierung von Kriegspferden und ihre Funktion im Hinblick auf Heroisierungsprozesse in der militärischen Erinnerungskultur der Napoleonischen Kriege im 19 . Jahrhundert Kelly Minelli . 27 “Famous”, “Immortal” – and Heroic? The White Whale as Hero in Herman Melville’s Moby-Dick Klara Stephanie Szlezák . 41 Widerspruch mit der Zunge einer Hündin . Tierlicher Antiheroismus in Blondi von Michael Degen Tina Hartmann . 49 “Let’s have some fucking water for these animals .” Animal Survival and Inter-Species Heroism in Werner Herzog’s Grizzly Man Tom Chadwick .
    [Show full text]
  • Wolves & B'cntry Cover
    Wolverhampton Cover Online.qxp_Birmingham Cover 28/06/2016 09:06 Page 1 Your FREE essential entertainment guide for the Midlands ISSUE 367 JULY 2016 Wolverhampton ’ MAMMA MIA! WEST END SHOW AT THE WhatFILM I COMEDY I THEATRE I GIGS I VISUAL ARTS I EVENTSs I FOOD On wolverhamptonwhatson.co.uk HIPPODROME inside: Yourthe 16-pagelist week by week listings guide Doreen’s grand night out! youtube sensation on tour LFEST F/P July.qxp_Layout 1 22/06/2016 13:01 Page 1 Contents July Region Shropshire/Staffs.qxp_Layout 1 22/06/2016 17:05 Page 1 July 2016 Contents Guys And Dolls - gangsters, gamblers and nightclub singers at the Grand page 30 Rebecca Vaughan Patrick Monahan Mamma Mia! the list talks about her one-woman aiming to break down West End musical continues at Your 16-page shows for Dyad Theatre stereotypes across the region The Hippodrome week-by-week listings guide page 8 page 27 page 28 page 51 inside: 4. First Word 11. Food 14. Music 26. Comedy 28. Theatre 37. Film 40. Visual Arts 43. Events @whatsonwolves @whatsonstaffs @whatsonshrops Wolverhampton What’s On Magazine Staffordshire What’s On Magazine Shropshire What’s On Magazine Managing Director: Davina Evans [email protected] 01743 281708 ’ Sales & Marketing: Lei Woodhouse [email protected] 01743 281703 Chris Horton [email protected] 01743 281704 Whats On Matt Rothwell [email protected] 01743 281719 MAGAZINE GROUP Editorial: Lauren Foster [email protected] 01743 281707 Sue Jones [email protected] 01743 281705 Brian O’Faolain [email protected] 01743 281701 Abi Whitehouse [email protected] 01743 281716 Ryan Humphreys [email protected] 01743 281722 Adrian Parker [email protected] 01743 281714 Contributors: Graham Bostock, James Cameron-Wilson, Heather Kincaid, Adam Jaremko, David Vincent Publisher and CEO: Martin Monahan Accounts Administrator: Julia Perry [email protected] 01743 281717 This publication is printed on paper from a sustainable source and is produced without the use of elemental chlorine.
    [Show full text]
  • Case 8-15-71074-Reg Doc 953 Filed 10/09/17 Entered 10/09/17 18:11:49
    Case 8-15-71074-reg Doc 953 Filed 10/09/17 Entered 10/09/17 18:11:49 UNITED STATES BANKRUPTCY COURT EASTERN DISTRICT OF NEW YORK ----------------------------------------------------------------- x In re : : Chapter 11 FEDERATION EMPLOYMENT AND GUIDANCE : SERVICE INC. d/b/a FEGS,1 : Case No. 15-71074 (REG) : Debtor. : : ---------------------------------------------------------------- x AFFIDAVIT OF SERVICE State of California ) ) ss County of Los Angeles ) I, Darleen Sahagun, being duly sworn, depose and says: 1. I am employed by Rust Consulting/Omni Bankruptcy, located at 5955 DeSoto Avenue, Suite 100, Woodland Hills, CA 91367. I am over 18 years of age and am not a party to this above-captioned adversary proceeding. 2. On October 6, 2017, I caused to be served the: a. Plan of Liquidation Under Chapter 11 of the Bankruptcy Code of Federation Employment and Guidance Service, Inc. d/b/a/ FEGS [Docket No. 949], (the “Plan”), b. Disclosure Statement on Plan of Liquidation Under Chapter 11 of the Bankruptcy Code of Federation Employment and Guidance Service, Inc. d/b/a/ FEGS [Docket No. 950], (the “Disclosure Statement”), c. Motion for Entry of an Order, (I) Approving Disclosure Statement; (II) Scheduling Hearing on Confirmation of the Plan; and (III) Approving Related Procedures and Relief [Docket No. 951], (the “Motion”), d. Notice of Hearing on Motion for Entry of an Order, (Approving Disclosure Statement; (II) Scheduling Hearing on Confirmation of the Plan; and (III) Approving Related Procedures and Relief [Docket No. 952], (the “Notice”). By causing true and correct copies to be served (i) via email to the parties listed in Exhibit A, (ii) via first class mail to the parties listed in Exhibit B, and (iii) via overnight mail by placing the documents in a sealed envelope, affixing a pre-paid air bill, and delivering envelopes to an overnight courier location in Los Angeles, California to the parties listed on the Service List in Exhibit C attached hereto: I.
    [Show full text]
  • Reverse Shot
    Projections 2014 By Genevieve Yue | November 14, 2014 PART OF SERIES Festival Dispatch Persistence of Vision by Genevieve Yue This year marked the debut of the Projections program at the New York Film Festival. In many ways it was a continuation of the previous seventeen years of the NYFF’s Views from the Avant-Garde showcase, a weekend-long program of experimental film that had been widely regarded as the most important festival of its kind in North America. At Projections, amid the newer, noticeably younger crowd, there were still many familiar faces from the experimental film world, from Ken Jacobs, who flashed his always mischievous grin, to Lewis Klahr, who gave a heartfelt admission to a packed theater that this gathering remained the highlight of his year. The program, organized by Gavin Smith, Aily Nash, and Dennis Lim, was announced as “an international showcase of artists’ film and video work,” in contrast to Views’ emphasis on “avant-garde” or “experimental” film. Though the renaming of the program, and a handful of terms used to describe it, may seem like a subtle shift, it resituates the festival firmly in the domain of contemporary visual art. The practice of avant-garde film, which has had a long and durable history in New York especially, may persist at Projections, but at least in name, its tradition as a relatively autonomous third term between commercial filmmaking and the art world seems to have been muted. The change may have been inevitable, if gradual and somewhat difficult to perceive. Views incorporated the moving image work of artists from the start, and over the years, many of its regular filmmakers have migrated to the spaces of galleries and museums.
    [Show full text]
  • Major Film Programs, Highlighted Events, and Exhibition Overview at Museum of the Moving Image in April 2019
    CALENDAR ADVISORY MAJOR FILM PROGRAMS, HIGHLIGHTED EVENTS, AND EXHIBITION OVERVIEW AT MUSEUM OF THE MOVING IMAGE IN APRIL 2019 A summary of the Museum's programs and exhibitions in April is included below. They include limited theatrical engagements of Diane, Babylon, and Black Mother; Havana Film Festival New York screenings; a series of Latin American sci-fi films co-presented with the Queens Museum; and the first part of See It Big! Action. In April, the Museum will also host the Theorizing the Web conference on April 12 and 13. Program schedules and tickets are available online at www.movingimage.us. MAJOR PROGRAMS AND FILM SERIES Penny Lane Is Her Real Name: a complete retrospective APRIL 5–7, 2019 (Penny Lane in person on April 6 & 7) The first complete retrospective of acclaimed documentary filmmaker Penny Lane, this weekend series opens with a screening of Banksy’s Exit Through the Gift Shop, a film that had a profound impact on Lane. She will appear in person with all screenings of her films, including a program of shorts, the features Our Nixon, Nuts!, and The Pain of Others, culminating with a preview screening of her new film Hail Satan?, an entertaining, provocative, and timely look at The Satanic Temple's battle for religious freedom and personal expression. Organized by Curator-at-Large David Schwartz. Press release | Schedule & Tickets NEW RELEASE Diane, directed by Kent Jones and starring Mary Kay Place APRIL 6–7, 2019 Built around an extraordinary, fearless performance from Mary Kay Place, the narrative debut from Kent Jones (Hitchcock/Truffaut) is a profound, beautifully human portrait of a woman rifling through the wreckage of her life in search of redemption.
    [Show full text]
  • Diplomarbeit | Afroamerikanische Darsteller in Der Stummfilm-Ära
    DIPLOMARBEIT Titel der Diplomarbeit „Afroamerikanische Darsteller in der Stummfilm-Ära“ Verfasserin Claudia Witzmann angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, Oktober 2010 Studienkennzahl lt. A 317 Studienblatt: Studienrichtung lt. Theater, Film- und Medienwissenschaft Studienblatt: Betreuer: Univ.- Prof. Dr. Christian Schulte 1 Danksagung Ich danke allen, die zur Entstehung dieser Arbeit beitragen haben, im Besonderen meinem Betreuer Univ.-Prof. Dr. Christian Schulte, für seine geduldige und hilfreiche Art und für die anregenden und präzisen Diskussionen sowie viele wertvolle Verbesserungsvorschläge. Ein großes Danke gebührt auch Professor Robert Sklar von der New York University für seine Unterstützung und für die Hilfe bei der Beschaffung schwer erreichbarer Literatur und die Betreuung meiner wissenschaftlichen Forschungen. Außerdem möchte ich den Mitarbeitern des Schomburg Center for Research in Black Culture, New York sowie Mag. Andreas Zednicek für eine aufmerksame Erstlektüre danken. Ich möchte auch all jenen Professorinnen und Professoren danken die im Laufe meines Studiums ein Interesse an Cultural Studies in mir geweckt haben. Ein besonderer Dank gilt abschließend auch meinen Eltern, die mich zu einem neugierigen und interessierten Menschen erzogen haben. Ohne die Unterstützung all dieser Personen und noch vieler weiterer, die hier nicht gesondert erwähnt wurden, wäre diese Arbeit nicht zustande gekommen. 2 Inhaltsverzeichnis 1 Einleitung .....................................................................................................................7
    [Show full text]
  • Public Events April 2018
    Public Events April 2018 1 Subscribe to this publication by emailing Shayla Butler at [email protected] Table of Contents Overview Highlighted Events ................................................................................................. 3 Earth Month .......................................................................................................... 5 Youth Summer Camps .......................................................................................... 6 Neighborhood and Community Relations 1603 Orrington Avenue, Suite 1730 Northwestern Events Evanston, IL 60201 Arts www.northwestern.edu/communityrelations Music Performances ..................................................................................... 16 Exhibits ......................................................................................................... 18 Theatre ......................................................................................................... 20 Alan Anderson Film ............................................................................................................... 21 Executive Director [email protected] Living 847-467-5762 Leisure and Social ........................................................................................ 22 Norris Mini Courses Around Campus ARTica (art studio) To receive this publication electronically Norris Outdoors every month, please email Shayla Butler at Northwestern Music Academy [email protected] Religious Services ........................................................................................
    [Show full text]
  • Report No Available from Descriptors Abstract
    DOCUMENT RESUME ED 373 127 UD 030 023 AUTHOR Ham, Debra Newman, Ed.; And Others TITLE The African-American Mosaic. A Library of Congress Resource Guide for the Study of Black History and Culture. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0800-X PUB DATE 93 NOTE 319p. AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, DC 20402. PUB TYPE Historical Materials (060) Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS *Bibliographic Records; Black Culture; *Black History; *Civil Rights; Civil War (United States); Library Guides; *Library materials; *Racial Relations; Slavery; *United States History; User Needs (Information); World War I; World War II IDENTIFIERS *African Americans; Library of Congress ABSTRACT This book presents a broad survey of the Library of Congress's holdings concerning the history and culture of black Americans in the United States. It provides titles of bibliographies, other guides, aids to finding materials, and individual items. This guide, which is arranged chronologically, discusses Library of Congress collections in three main parts: Part 1, "African-Americans in the Antebellum Period," includes materials about: slavery; free blacks; and abolitionists' antislavery movements, and sectional controversy. Part 2, "Emancipation and Beyond," begins with the Civil War, moves into the Reconstruction era, (which includes materials dating to approximately 1880) ,and ends with what is called the Booker T. Washington era, which spans the years from 1880 to approximately 1915. Part 3, "And the Pursuit of Happiness," discusses: World War I and Postwar Society; the Depression, the New Deal, and World War II; and the Civil Rights era.
    [Show full text]
  • Programma 2014 / Lo Schermo Dell'arte 2014
    Lo schermo dell’arte Film Festival - settima edizione Firenze, 12 – 16 novembre 2014 Cinema Odeon, Villa Romana, Institut français, Palazzo dell’Arte dei Giudici e Notai, Le Murate. Progetti Arte Contemporanea PROGRAMMA Mercoledì 12 novembre 2014 Villa Romana ore 10-13; 14-17 Visio Artists Presentation Gli artisti partecipanti al workshop presentano la propria pratica artistica Villa Romana ore 11-17 Visio Screening Program Programma di proiezioni dei video degli artisti partecipanti al workshop Cinema Odeon ore 18 Cinema d’artista Watermark di Jennifer Baichwal e Edward Burtynsky, Canada, 2013, 90min Lingua inglese; sottotitoli inglese, italiano Secondo la peculiare formula ideata dalla pluripremiata filmmaker Baichwal e dal noto fotografo Burtynsky, questo travolgente progetto cinematografico sull'acqua unisce storie da tutto il mondo e eccezionali riprese aeree che testimoniano l'impatto sul paesaggio determinato dall'intervento umano. According to the peculiar formula devised by prize-winning filmmaker Baichwal and wellknown photographer Burtynsky, this overwhelming cinematographic project on water combines stories from around the world with exceptional aerial footage and bears witness to the impact on the landscape caused by human intervention. ore 21 Sguardi Cutie and the Boxer di Zachary Heinzerling, USA, 2013, 82min Lingua inglese; sottotitoli italiano Prima italiana alla presenza dell’autore Innamorati da quarant'anni, lo stravagante boxer painter Ushio Shinohara e la mite Noriko (sua moglie e assistente) condividono da sempre una quotidianità difficile. La dinamica della loro vita in coppia improvvisamente cambia quando, dal pennello di Noriko, scaturiscono i personaggi autobiografici di Cutie e Bullie. Candidato all’Oscar 2014 per il Miglior Documentario. In love for over 40 years, extravagant painter Ushio Shinohara and his timid wife and assistant Noriko have shared a difficult day-to-day existence.
    [Show full text]
  • Screening Spaces
    Screening Spaces Series Editor Pamela Robertson Wojcik Department of Film, Television, and Theatre University of Notre Dame Chicago , USA Screening Spaces is a series dedicated to showcasing interdisciplinary books that explore the multiple and various intersections of space, place, and screen cultures. More information about this series at http://www.springer.com/series/14491 Michael Lawrence • Karen Lury Editors The Zoo and Screen Media Images of Exhibition and Encounter Editors Michael Lawrence Karen Lury School of Media, Film and Music School of Culture and Creative Arts University of Sussex University of Glasgow Brighton , UK Glasgow , UK Screening Spaces ISBN 978-1-137-54342-4 ISBN 978-1-137-53561-0 (eBook) DOI 10.1057/978-1-137-53561-0 Library of Congress Control Number: 2016948111 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication.
    [Show full text]