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Michel GALABRU Philippe CAUBÈRE Reliaient
salle popesco MICHEL PHILIPPE GALABRU CAUBÈRE A partir du 21 septembre du mardi au samedi à 19h matinée dimanche 17h prix des places de 25 à 45 euros JULES& MARCEL (hors frais de réservations) d’après la correspondance de Jules RAIMU et Marcel PAGNOL Un spectacle créé au festival avec Jean-Pierre BERNARD de la correspondance de Grignan adaptation Pierre TRÉ-HARDY Cohen/Cosmos © Photo Serge Mise en espace Jean-Pierre BERNARD LOCATION 0 892 222 333* / FNAC 0 892 68 36 22* 19h MAGASINS FNAC - www.fnac.com / RÉSATHÉÂTRE 0 892 707 705* CONTACT PRESSE : Pierre Cordier, assisté de Guillaume Andreu CARREFOUR, AGENCES ET POINTS DE VENTE HABITUELS Tél. 01 43 26 20 22 - Fax : 01 43 29 54 59 - [email protected] /mn RCS PARIS B 572 123 792 - Licence 750 2656 - Saison 2010 - Photo Serge Cohen/Cosmos B 572 123 792 - Licence 750 2656 Saison 2010 Photo Serge RCS PARIS € www.theatremarigny.fr *0,34 JULES& MARCEL« Il est fâcheux d’être fâchés » Note d’intention Origine du spectacle Le spectacle « Mon cher Jules, il faut que tu sois bougrement fâché avec moi pour ne pas répondre à une lettre injurieuse qui n’avait d’autre but que Il s’agit d’une lecture de lettres échangées entre l’écrivain Michel Galabru, Nicolas Pagnol (petit fils de Marcel Pagnol) de commencer une dispute…». Ces correspondances entre Raimu et Marcel Pagnol tissent ainsi la toile de leur éternelle amitié, mêlée de mauvaise foi tru- Marcel Pagnol et Raimu, son ami et acteur fétiche. Le et Isabelle Nohain Raimu (petite fille de Raimu) étaient culente, de fâcheries épiques, d’admiration réciproque, de pudeur, d’humour, de souvenirs, de secrets… et de savoureuses envolées, drôles, fraîches et vives thème central est « le Cinéma », passion qui a relié ces venus assister, en août 2006, à une adaptation de la trilo- comme l’eau des sources de leur Provence. -
Using Multimedia to Teach French Language and Culture APPROVED
Copyright by Florence Marie Lemoine 2012 The Report Committee for Florence Marie Lemoine Certifies that this is the approved version of the following report: Using Multimedia to Teach French Language and Culture APPROVED BY SUPERVISING COMMITTEE: Supervisor: Carl Blyth Elaine Horwitz Using Multimedia to Teach French Language and Culture by Florence Marie Lemoine, B.A. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2012 Dedication To all French learners, may you have fun along the process of learning this language! Acknowledgements I would like to thank all of you who have made this career switch to French teaching possible, in particular my professors at UT - Dr. Blyth, Dr. Horwitz, Dr. Sardegna, Dr. Pulido, Dr. Schallert, and Dr. Tissières - and all my friends in Foreign Language Education. I also wish to thank my husband Roland and my two sons Théo and Marius for their help and support during the past two years. v Abstract Using Multimedia to Teach French Language and Culture Florence Marie Lemoine, M.A. The University of Texas at Austin, 2012 Supervisor: Carl Blyth In order for the study of French to survive in American higher education, it will be necessary to adopt a pedagogy that motivates learners as well as teaches them both language and culture. I argue that the judicious use of visual materials (film, video and graphic novels) is ideal for this undertaking. I further assert—based upon numerous sources from fields such as Second Language Acquisition, cognitive psychology, anthropology and sociolinguistics--that language and culture are inseparable, and that visual materials provide the necessary context to facilitate the teaching of both. -
MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda
PRESS PACK CANNES CLASSICS OFFICIAL SELECTION 2015 MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda Thursday 21 May 2015 at 5pm, Buñuel Theatre Raimu and Pierre Fresnay in Marius by Marcel Pagnol (1931). Directed by Alexander Korda. Film restored in 2015 by the Compagnie Méditerranéenne de Films - MPC and La Cinémathèque Française , with the support of the CNC , the Franco-American Cultural Fund (DGA-MPA-SACEM- WGAW), the backing of ARTE France Unité Cinéma and the Archives Audiovisuelles de Monaco, and the participation of SOGEDA Monaco. The restoration was supervised by Nicolas Pagnol , and Hervé Pichard (La Cinémathèque Française). The work was carried out by DIGIMAGE. Colour grading by Guillaume Schiffman , director of photography. Fanny by Marcel Pagnol (Directed by Marc Allégret, 1932) and César by Marcel Pagnol (1936), which complete Marcel Pagnol's Marseilles trilogy, were also restored in 2015. "All Marseilles, the Marseilles of everyday life, the Marseilles of sunshine and good humour, is here... The whole of the city expresses itself, and a whole race speaks and lives. " René Bizet, Pour vous , 15 October 1931 SOGEDA Monaco LA CINÉMATHÈQUE FRANÇAISE CONTACTS Jean-Christophe Mikhaïloff Elodie Dufour Director of Communications, Press Officer External Relations and Development +33 (0)1 71 19 33 65 +33 (0)1 71 1933 14 - +33 (0)6 23 91 46 27 +33 (0)6 86 83 65 00 [email protected] [email protected] Before restoration After restoration Marius by Marcel Pagnol (1931). Directed by Alexander Korda. 2 The restoration of the Marseilles trilogy begins with Marius "Towards 1925, when I felt as if I was exiled in Paris, I realised that I loved Marseilles and I wanted to express this love by writing a Marseilles play. -
Spring 2019 Film Calendar
National Gallery of Art Film Spring 19 I Am Cuba p27 Special Events 11 A Cuba Compendium 25 Janie Geiser 29 Walt Whitman Bicentennial 31 The Arboretum Cycle of Nathaniel Dorsky 33 Roberto Rossellini: The War Trilogy 37 Reinventing Realism: New Cinema from Romania 41 Spring 2019 offers digital restorations of classic titles, special events including a live performance by Alloy Orchestra, and several series of archival and contem- porary films from around the world. In conjunction with the exhibition The Life of Animals in Japanese Art, the Gallery presents Japanese documentaries on animals, including several screenings of the city symphony Tokyo Waka. Film series include A Cuba Compendium, surveying how Cuba has been and continues to be portrayed and examined through film, including an in-person discussion with Cuban directors Rodrigo and Sebastián Barriuso; a celebra- tion of Walt Whitman on the occasion of his bicen- tennial; recent restorations of Roberto Rossellini’s classic War Trilogy; and New Cinema from Romania, a series showcasing seven feature length films made since 2017. Other events include an artist’s talk by Los Angeles-based artist Janie Geiser, followed by a program of her recent short films; a presentation of Nathaniel Dorsky’s 16mm silent The Arboretum Cycle; the Washington premieres of Gray House and The Image Book; a program of films on and about motherhood to celebrate Mother’s Day; the recently re-released Mystery of Picasso; and more. 2Tokyo Waka p17 3 April 6 Sat 2:00 La Religieuse p11 7 Sun 4:00 Rosenwald p12 13 Sat 12:30 A Cuba Compendium: Tania Libre p25 2:30 A Cuba Compendium: Coco Fusco: Recent Videos p26 14 Sun 4:00 Gray House p12 20 Sat 2:00 A Cuba Compendium: Cuba: Battle of the 10,000,000 p26 4:00 A Cuba Compendium: I Am Cuba p27 21 Sun 2:00 The Mystery of Picasso p13 4:30 The Mystery of Picasso p13 27 Sat 2:30 A Cuba Compendium: The Translator p27 Films are shown in the East Building Auditorium, in original formats whenever possible. -
A Mode of Production and Distribution
Chapter Three A Mode of Production and Distribution An Economic Concept: “The Small Budget Film,” Was it Myth or Reality? t has often been assumed that the New Wave provoked a sudden Ibreak in the production practices of French cinema, by favoring small budget films. In an industry characterized by an inflationary spiral of ever-increasing production costs, this phenomenon is sufficiently original to warrant investigation. Did most of the films considered to be part of this movement correspond to this notion of a small budget? We would first have to ask: what, in 1959, was a “small budget” movie? The average cost of a film increased from roughly $218,000 in 1955 to $300,000 in 1959. That year, at the moment of the emergence of the New Wave, 133 French films were produced; of these, 33 cost more than $400,000 and 74 cost more than $200,000. That leaves 26 films with a budget of less than $200,000, or “low budget productions;” however, that can hardly be used as an adequate criterion for movies to qualify as “New Wave.”1 Even so, this budgetary trait has often been employed to establish a genealogy for the movement. It involves, primarily, “marginal” films produced outside the dominant commercial system. Two Small Budget Films, “Outside the System” From the point of view of their mode of production, two titles are often imposed as reference points: Jean-Pierre Melville’s self-produced Silence of 49 A Mode of Production and Distribution the Sea, 1947, and Agnes Varda’s La Pointe courte (Short Point), made seven years later, in 1954. -
Mary in Film
PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas -
A Certain Tendency of the French Cinema Francois Truffaut
A CERTAIN TENDENCY OF THE FRENCH CINEMA FRANCOIS TRUFFAUT These notes have no other object than to attempt to define a certain tendency of the French cinema - a tendency called "psychological realism" - and to sketch its limits. If the French cinema exists by means of about a hundred films a year, it is well understood that only ten or twelve merit the attention of critics and cinephiles, the attention, therefore of "Cahiers." These ten or twelve films constitute what has been prettily named the "Tradition of Quality"; they force, by their ambitiousness, the admiration of the foreign press, defend the French flag twice a year at Cannes and at Venice where, since 1946, they regularly carry off medals, golden lions and grands prix. With the advent of "talkies," the French cinema was a frank plagiarism of the American cinema. Under the influence of Scarface, we made the amusing Pepe Le Moko. Then the French scenario is most clearly obliged to Prevert for its evolution: Quai Des Brumes (Port Of Shadows) remains the masterpiece of poetic realism. The war and the post-war period renewed our cinema. It evolved under the effect of an internal pressure and for poetic realism - about which one might say that it died closing Les Portes De La Nuit behind it - was substituted psychological realism, illustrated by Claude Autant-Lara, Jean Dellannoy, Rene Clement, Yves Allegret and Marcel Pagliero. SCENARISTS' FILMS If one is willing to remember that not so long ago Delannoy filmed Le Bossu and La Part De L'Ombre, Claude Autant-Lara Le Plombier Amoureux and Lettres D Amour, Yves Allegret La Boite Aux Reves and Les Demons De L’Aube, that all these films are justly recognized as strictly commercial enterprises, one will admit that, the successes or failures of these cineastes being a function of the scenarios they chose, La Symphonie Pastorale, Le Diable Au Corps (Devil In The Flesh), Jeux Interdits (Forbidden Games), Maneges, Un Homme Marche Dans La Ville, are essentially scenarists' films. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Print Catalogue
ORPHÉE | ORPHEUS | ORFEUS Directed by Jean Cocteau Starring : Jean Marais, François Périer, María Casarès, Marie Déa, Roger Blin, Juliette Greco 1950 | 91’ | B&W | OV French | Fantasy | DCP Film restored in 2008 Subtitles : English, German, Finnish Rights : International (except for UK, USA & Anglophone Canada) Once again Jean Cocteau updates a classic to a compelling modern allegory. Jean Marais is Orpheus, a poet in search of inspiration. Marie Déa is radiant as Eurydice. María Casarès is Death, the imperious and se- ductive princess, whose glove-clad hand ripples though a mirror, leading Orpheus to another world. “If a poet has a dream, it is not of becoming famous, but of being believed.” - Jean Cocteau Cannes Film Festival, Cannes Classics, 2008 LA PISCINE | THE SWIMMING POOL DER SWIMMING POOL Directed by Jacques Deray Starring : Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin 1968 | 120’ | Colour | OV French | Crime, Drama | DCP Film restored in 2008 Subtitles : English, German, Dutch Rights : International (except USA, Canada, Italy, Russia, Japan, Ex-USSR, Dutch-speaking territories) Jean-Paul and Marianne spend lazy holidays at their villa in idyllic Southern France. However when Harry and his attractive young daughter Penelope show up, the dreamy summer days are suddenly filled with unspoken tension and jealousy. The shimmering swimming pool becomes the scene of a crime of passion. * Music by Michel Legrand 2 LA BANDERA | ESCAPE FROM YESTERDAY KOMPANIE DER VERLORENEN Directed by Julien Duvivier Starring : Jean Gabin, Anabella, Robert Le Vigan 1935 | 100’ | B&W | OV French | French classic | DCP Film restored in 2006 Subtitles : English, German Rights : International Jean Gabin is unforgettable as a French Legionnaire relentlessly pursued by his criminal past – and a fellow soldier who seems to know a little too much about him… Sent to the frontline, the two men come to terms with their courage in the face of danger. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Studying Film with André Bazin
BLANDINE JORET FILM THEORY IN MEDIA HISTORY STUDYING FILM WITH ANDRÉ BAZIN BLANDINE JORET STUDYING FILM WITH ANDRÉ BAZIN ANDRÉ WITH FILM STUDYING Studying Film with André Bazin Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship. Combining the book form with open access online publishing the series reaches the broadest possible audience of scholars, students, and other readers with a passion for film and theory. Series editors: Prof. Dr. Vinzenz Hediger (Goethe University Frankfurt, Germany), Weihong Bao (University of California, Berkeley, United States), Dr. Trond Lundemo (Stockholm University, Sweden). Editorial Board Members: Dudley Andrew, Yale University, United States Raymond Bellour, CNRS Paris, France Chris Berry, Goldsmiths, University of London, United Kingdom Francesco Casetti, Yale University, United States Thomas Elsaesser, University of Amsterdam, the Netherlands Jane Gaines, Columbia University, United States Andre Gaudreault, University of Montreal, Canada Gertrud Koch, Free University of Berlin, Germany John MacKay, Yale University, United States Markus Nornes, University of Michigan, United States Patricia Pisters, University of Amsterdam, the Netherlands Leonardo Quaresima, University of Udine, Italy David Rodowick, University of Chicago, United States Philip Rosen, Brown University, United States Petr Szczepanik, Masaryk University Brno, Czech Republic Brian Winston, Lincoln University, United Kingdom Film Theory in Media History is published in cooperation with the Permanent Seminar for the History of Film Theories. -
French 1789 Ariane Mnouchkine 1973 DVD French 1789 153 Min
FORM SUBJECT Title DIRECTOR(S) DATE TIME AT French 1789 Ariane Mnouchkine 1973 DVD French 1789 153 min. VHS French 3 Men and a Cradle Coline Serreau 1985 100 min. VHS French 8 Women François Ozon 2002 111 min. DVD French Last Year at Marienbad Alain Resnais 1961 94 min. DVD French Tale of Springtime, AEric Rohmer 1990 107 min. VHS French Very Long Engagement, AJean‐Pierre Jeunet 2004 133 min. DVD French Alfred Jarry: Ubu Roi 1975 97 min. DVD French Amélie Jean‐Pierre Jeunet 2001 122 min. DVD French Astérix & Obélix: Mission Cléopâtre Alain Chabat 2002 107 min. DVD French Au Revoir les Enfants Louis Malle 1987 103 min. VHS French Autumn Tale Eric Rohmer 1998 110 min. VHS Avant Garde and Experimental Films: Un Chien Andulou, Regen, Uberfall, Hearts of Age, Ballet French Mechanique Luis Buñuel, et al. 1924 ‐ 19374 min. VHS French Beauty and the Beast Gary Trousdale, Kirk Wise 1991 90 min. DVD French Beauty and the Beast Jean Cocteau 1946 93 min. DVD French Black Robe Bruce Beresford 1991 101 min. DVD French Blue Krzysztof Kieslowski 1993 98 min. VHS French Brotherhood of the Wolf Christophe Gans 2001 144 min. DVD French Carmen Francesco Rosi 1984 151 min. VHS French Challenges of French Proununciation 2002 DVD French Charles Pathe/Coast to Coast 1991 60 min. VHS French Children of Paradise Marcel Carné 1945 190 min. DVD French Noël en France VHS French Claire's Knee Eric Rohmer 1970 106 min. VHS French Colonel Chabert Yves Angelo 1994 111 min. VHS French Cross My Heart Jacques Fansten 1990 105 min.