Revista Cinema Completa

Total Page:16

File Type:pdf, Size:1020Kb

Revista Cinema Completa Sumário Index Edição e Propriedade ta Rua de S. Catarina, Editorial 3 Editorial 730 - 2° Tras. 4000-446 Porto Portugal Cineclubismo Film Societies Tel/Fax - (351) 22 200 02 53 E-mail: [email protected] Eleições 2007-2009 6 FPCC Elections 2007-2009 PVP € 3,50 (Cineclubes € 3,00) Registo na DGCS nº 109120 Visita “surpresa” do Presidente 7 "Surprise" Visit to Portugal from the Depósito Legal n° 88347/95 Cultural da Federação Interna- Cultural President of the Interna- Os textos assinados são da res- cional de Cineclubes a Portugal tional Federation of Film Societies ponsabilidade dos respectivos au- tores e expressam a sua opinião. Notícias do access CINEMA 8 access CINEMA News Os restantes textos são da respon- sabilidade da Direcção da Revista. CINESUD: a alternativa 12 CINESUD: an alternative à distribuição comercial to commercial distribution Revista nº 36 Janeiro • Fevereiro • Março de 2007 O primeiro Cineclube Mexicano 16 The first Mexican Film Society Órgão da Federação Portuguesa de Cineclubes Cineclubes de todo o mundo 22 Film societies from around the world Director Honorário da FPCC: homenageiam Manoel de Oliveira pay homage to Manoel de Oliveira Henrique Alves Costa Director: João Paulo Macedo Memória Memory Direcção Executiva: Paulo Martins Produção e coordenação: Juan Carlos Arch 26 Juan Carlos Arch Patrícia Gilvaia Design gráfico e paginação: Tributo a Shohei Imamura 28 Tribute to Shohei Imamura Margarida Vilar de Macedo Tradução: Branca Sampaio Revisão: Manuel Montenegro, Festival Festival Patrícia Gilvaia, Paulo Martins Secretariado: Cristina Silva 54º Festival Internacional 37 54th San Sebastian de Cinema de San Sebastián International Film Festival Textos: Carlos M. Ferreira CINANIMA 2006 40 CINANIMA 2006 Firmina Lopes Gabriel Rodríguez Álvarez Isabel Santos O Cinema na corte do Faraó 42 Cinema at the Faraoh’s court Joana Azevedo João Filipe 36ª Edição Molodist 50 36th Edition of the Molodist João Monteiro e Pedro Souto João Paulo Macedo XIII Caminhos do Cinema 59 XIII Ways of the Portuguese Julio Lamaña i Orozco Português 2006 Cinema 2006 Luís Carneiro Ferreira Maretta Dillon / access cinema London’s FrightFest 2006 62 London’s FrightFest 2006 Paolo Minuto Premendra Mazumder Rwita Dutta Comentário Commentary Sofia Freitas The Departed: Entre Inimigos 66 The Departed Fotos: Capa: Babel, de Alejandro González- Uma história de violência: 70 A History of Violence: -Iñárritu, cortesia: Festival Interna- cional de S. Sebastián Contracapa: O filme americano 71 David Cronenberg’s Paris, Je T’Aime, vários autores, DR www.image.net de David Cronenberg American film FIKE Festival Internacional de S. Sebastián A propósito 73 A History of Violence Restantes fotos: Direitos Reservados d’Uma História de Violência Agradecimentos: José António Cunha, Marta Silva, Sofia Freitas Ensaio Essay Pré-Impressão e Impressão: O cinema como arte subversiva: 78 Film as a subversive art: Green Book Artes Gráficas, Lda. um caso de estudo indiano An Indian Case-Study R. Dr. Eduardo Santos Silva, 261 Tiragem: 1000 exemplares A Política sexual no cinema indiano 82 Sexual Politics in Indian cinema Publicação apoiada por: Leituras 86 Book Reviews CINEMA | 3 editorial Editorial A Revista CINEMA – enquanto órgão da FPCC – procura reflectir a filosofia e os interesses da Federa- ção e dos seus Associados. Mas nos dias que correm os Cineclubes e as demais Associações Culturais sem fins lucrativos não podem ignorar fenómenos tão importantes como a globalização – imposta nas nos- sas sociedades para o bem e para o mal – e a interde- pendência internacional de actividades e projectos. Editorial No seio da FICC – Federação Internacional de Cineclubes, novas dinâmicas estão a despontar: CI- CINEMA magazine – belonging to the Portuguese Fe- NESUD e MUNDOKINO (www.mundokino.net) são deration of Film Societies (PFFS) – tries to convey the fe- apenas duas faces de uma mesma realidade: uma di- deration’s and its associates’ philosophy and interests. nâmica cineclubista transcontinental. Neste número But nowadays film societies and other non-profitable as- apresentamos algumas linhas deste projecto e aguar- sociations can’t ignore important phenomena as globali- damos o seu desenvolvimento no qual a FPCC tam- sation – forced upon our society – and international cul- bém se encontra empenhada. tural interdependence. O número de artigos e colaboradores da CINE- Amid the International Federation of Film Societies MA também se alarga neste número numa dinâmica (IFFS) new projects are springing up: CINESUD and MUN- que pretendemos venha a constituir a marca da nos- DOKINO (www.mundokino.net) are just two faces of the sa Revista. O espaço está aberto aos que connosco same reality – transcontinental film society projects in quiserem participar na reflexão do Cinema e na di- which the PFFS is also involved. In this issue we display its vulgação da cultura cinematográfica. main aims and we’ll be waiting for further developments. No momento em que se inicia, também, um The number of articles and contributors has also risen novo mandato dos órgãos sociais da Federação Por- bringing about a new force that hopefully will keep us thri- tuguesa de Cineclubes, desafiamo-nos a dar à Revis- ving. CINEMA is open to all who wish to meditate about Ci- ta CINEMA a regularidade que tem faltado. Desafia- nema and to help promote cinematography. mos também todos os que colaboram com a Revista A new Executive Commission of the PFFS has just tak- CINEMA a empenharem-se connosco neste desafio. en over and our magazine’s regular release will be among Uma nota final sobre a publicação recente da re- our priorities. We challenge all those who work for the ma- gulamentação da Lei de Arte Cinematográfica e do gazine to keep up with us. Audiovisual, bem como da criação do Fundo de In- The recent Cinematography and Audiovisual Bill (Lei vestimento para o Cinema e Audiovisual (Decreto-Lei de Arte Cinematográfica e do Audiovisual) as well as the n.º 227/2006, de 15 de Novembro), que quase com- Fundo de Investimento para o Cinema e Audiovisual (de- pleta um ciclo iniciado há alguns anos de renovação cree 227/2006, November 15) deserve a final remark. The- do enquadramento jurídico Cinema em Portugal. Es- se two bills are meant to make a renewal of the cinema le- peramos que, também aqui, não fique o nosso país gislation in Portugal. Let's just hope that the audiovisual dotado de um excelente quadro legal mas que não se activities will benefit from the practical application of this traduza na prática numa nova realidade e em melho- new legislation. res condições de desenvolvimento das diferentes acti- These bills will be hailed if more (and better) films vidades abrangidas por este novo quadro legal. are produced. Saudar-se-á esta Lei do Cinema e o Fundo de In- The Cinema Bill will be hailed if the promotion of vestimento se tal resultar em mais (e melhores) filmes. films is not dependent on the market interests (for instan- Saudar-se-á esta Lei do Cinema se a lógica de pro- ce, if the film is something more than just a profitable pro- moção de Cinema não se resumir aos interesses de mer- duct) and if the promised improvement also includes the cado (por exemplo não olhando para o filme apenas real cinematography. como um produto que se compra e se vende) e se a me- If this comes true, the Portuguese film societies will be lhoria de condições que se apregoa se estender também defending and promoting GENUINE FILMS as they have à criação de uma verdadeira Cultura Cinematográfica. been doing over the last sixty years. Se tal se verificar, agora, como nos últimos sessen- ta anos, estarão os Cineclubes Portugueses na primeira linha da Defesa e Promoção de BOM CINEMA. João Paulo Macedo Presidente da FPCC CINEMA | 4 Assine já! E receba a sua revista CINEMA comodamente em sua casa. Preencha este cupão Dados Pessoais: (pode ser fotocopiado) e envie: Nome: _____________________________________________________________________ Por correio: Morada: ___________________________________________________________________ Revista Cinema – Assinaturas Cód. Postal: ___________________ Localidade: _______________________________ Federação Portuguesa de Cineclubes País: __________________________ Tel.: _______________________________________ Rua de Santa Catarina, 730 - 2° Tras. 4000-446 Porto E-Mail: _____________________________________________________________________ Portugal Formas de Pagamento: Por fax: Cheque nº _________________ Banco_____________________________________ (351) 22 200 02 53 Transferência bancária Valor: Portugal: 12,00€ Europa: 27,00€ Resto do Mundo: 36,00€ Por e-mail: E-mail: [email protected] Data: _________________________ Assinatura: _______________________________ cineclubismo Eleições 2007-2009 FPCC Elections 2007-2009 eve lugar no dia 11 de Novembro, no Au- T ditório da Biblioteca Municipal de Barcelos, a Assembleia Eleitoral da FPCC. O ZOOM – he Portuguese Federation of Film Societies CINECLUBE BARCELOS encarregou-se de toda a T (FPCC) Electoral Assembly was held on Novem- logística de preparação da Assembleia que decorreu ber 11, at the auditorium of Barcelo’s Municipal Library. com uma participação significativa dos represen- ZOOM – BARCELOS FILM SOCIETY was responsible for tantes dos cineclubes presentes. the logistics of the assembly in which a significant num- ber of representatives from film societies took part. Apenas se apresentou ao acto eleitoral uma úni- ca lista tendo sido eleitos os novos órgãos sociais da There was only a voting list and it was elected. The
Recommended publications
  • Copyrighted Material
    Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle
    [Show full text]
  • The Insect Woman – Contextualising Imamura (And The
    University of Gothenburg Faculty of Humanities The Insect Woman – Contextualising Imamura (and the Intricacies of Global Cinema Study) Bachelor’s thesis in film studies by Noak Snow Gröning Presented spring term 2018 Tutor: Anna Backman Rogers Course: FL1801 Index 1. Abstract 3 2. Introduction 4 3. Purpose, Issues and Demarcations 6 4. Further Context 9 5. Earlier Research and Fields of Study 10 6. Theoretical Frameworks 10 7. Materials and Methods 18 8. Disposition and Historical Context 19 9.1 Analysis – Story Summary 25 9.2 Analysis – Themes and Aesthetic 29 9.3 Analysis – The Insect Woman and Early Summer 32 10. Conclusion 36 11. References 39 2 1. Abstract This essay represents an attempt to further the understanding of the films by Japanese New Wave director Shohei Imamura through the use of post-colonial theory, and political and cultural contextualisation; it also offers discussion on the inherent issues of discussing non- Western cinema from a Western point-of-view, and how post-colonial theory can be used tentatively by Western writers to prevent the perpetuation of orientalism and the generalisation of non-Western cultures as a single entity simply titled ‘the Other’. This is done through an in-depth exploration of Western film theory’s problematic relationship to Asian cinema, along with disposition and historical contextualisation relevant to Imamura’s films and the Japanese New Wave movement of the 1960s. This is then followed by an analysis on Imamura’s sixth film, The Insect Woman, released in 1963, in which I implement post-colonial theory while also comparing it to Yasujiro Ozu’s 1951 motion picture Early Summer, a film which addresses similar themes but in widely different ways.
    [Show full text]
  • Shohei Imamura an Icarus Films Release
    A MAN VANISHES A film by Shohei Imamura An Icarus Films Release “Critic’s Pick! A mercurial mystery, a vertiginous drama and the very stuff of cinema.” -- Manohla Dargis, The New York Times Contact: (718) 488-8900 www.IcarusFilms.com Serious documentaries are good for you. LOGLINE When a seemingly contented businessman disappears without a trace, his fiancé goes to great lengths to find him in this gorgeously photographed black- and-white film from master director and two-time Palme d’Or winner Shohei Imamura. SYNOPSIS One of the most important and complex works by two-time Palme d’Or winning director Shohei Imamura, A Man Vanishes began as an investigation into one of the thousands of missing persons cases that occur in Japan each year. The film follows the case of Tadashi, a handsome businessman who has suddenly vanished. Imamura and his crew interview the man’s fiancée, Yoshie, who is desperately searching for him, and become increasingly involved in his life. But the “investigation” casts a shadow of doubt over the couple’s relationship, Tadashi’s business ventures, his relationship with Yoshie’s sister, and even the investigating film director, Imamura himself, who may not be what he seems to be. The film culminates in a stunning scene that explodes any stable sense of fiction and reality. Radical film in scope, technique, and aesthetic, A Man Vanishes is distills many of Imamura’s central themes and obsessions and make it an early example of what film historian Donald Ritchie called, “One of Imamura’s major themes: [the] confrontation of illusion with reality (and the resultant problem of telling which is which).” PRESS QUOTES A MAN VANISHES “Critic’s Pick! A mercurial mystery, a vertiginous drama and the very stuff of cinema.” –Manohla Dargis, The New York Times “The explosively provocative film progressively and aggressively blurs distinctions between documentary and fiction.
    [Show full text]
  • Cannes 2001 Report
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waterloo Library Journal Publishing Service (University of Waterloo, Canada) Cannes 2001 Report By Ron Holloway Fall 2001 Issue of KINEMA CANNES INTERNATIONAL FILM FESTIVAL 2001 Two events devotee of made the 54th Festival International du Film (9-20 May 2001) particularly memorable. The first was the news that, after 22 years as délégué général, Gilles Jacob stepped up to become Président while handing down the reins to Thierry Frémaux, the latter now divides his time between Cannes and duties as head of the Institute Lumière in Lyons. The other was the presence on the Croisette of seven previous Palme d’Or directors: Francis Ford Coppola (The Conversation, 1974, and Apocalypse Now, 1979), Ermanno Olmi (The Tree of Wooden Clogs, 1978), Shohei Imamura (The Ballad of Narayama, 1983, and The Eel, 1997), David Lynch (Wild at Heart, 1990), Joel and Ethan Coen (Barton Fink, 1991), and Abbas Kiarostami (The Taste of Cherries, 1997). One might add, too, that over the past quarter century each of their eight award-winning films helped considerably to set the tone and style of the world’s mostrevered film festival. Apocalypse Now Redux In the case of Apocalypse Now -- aka Apocalypse Now Redux, to denote a new version of an old film -- Francis Ford Coppola returned to Cannes with the completed version of his work-in-progress presented here 22 years ago. No less than 53 minutes were added to the re-edited 203-minute version, in addition to a re-mastered Technicolor transfer and a re-mastered soundtrack.
    [Show full text]
  • Arrow Video Channel Visits Tinsel Town!
    FOR IMMEDIATE RELEASE London UK, 26 November 2020 ARROW VIDEO CHANNEL VISITS TINSEL TOWN! THIS DECEMBER ON ARROW VIDEO CHANNEL: THE EXCLUSIVE PREMIERE OF THE ​ BLOODHOUND, CRONENBERG’S CRASH, JAPANESE NEW WAVE, KILLER KIDS, SNOWBOUND SHOCKERS AND MORE! ​ ARROW VIDEO CHANNEL is the passion-driven film platform giving film fans the opportunity to ​ watch a curated selection of movies that the Arrow Video brand is famous for. On December 1st, the Arrow Video Channel is premiering the brand new horror mystery from ​ ​ ​ ​ a devilishly talented debut director, The Bloodhound, as well as an unmissable selection of ​ ​ brand new additions to the channel. WATCH & SHARE THE DECEMBER TRAILER HERE ​ A creepy and intense story of the insidious and dangerous effects of isolation on a damaged mind, The Bloodhound, a remarkably assured first feature from writer/director Patrick Picard, ​ ​ is a unique and stylish take on Edgar Allan Poe’s gothic classic, The Fall of The House of Usher. ​ ​ ​ ​ Claustrophobic, Kubrickian, and elegantly constructed, The Bloodhound is as if Wes Anderson ​ ​ had made The Shining. Set in a single location - an elegant and foreboding house that recalls the ​ ​ architectural character of Parasite - the characters become bound within its glass walls. With ​ ​ touches of cult genre hits Ex Machina and After Midnight, The Bloodhound is short, sharp and ​ ​ ​ ​ ​ ​ highly unsettling - the perfect slow-burning chamber piece for the lockdown era. WATCH & SHARE THE BRAND NEW TRAILER HERE ​ You can see it on the Arrow Video Channel - the home for weird and wild cult classics, ​ ​ newly-restored gems, and genre favourites, available on Amazon Prime Video.
    [Show full text]
  • September 11
    11’09’’01 September 11 Ein Film von 11 Regisseuren Samira Makhmalbaf Claude Lelouch Youssef Chahine Danis Tanovic Idrissa Ouedraogo Ken Loach Alejandro González Inárritu Amos Gitaï Mira Nair Sean Penn Shohei Imamura Polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel: +43-1-581 39 00-20 Fax: +43-1-581 39 00-39 [email protected] www.verleih.polyfilm.at 1 Um das Ausmaß der Schockwelle zu dokumentieren, die der 11. September auslöste, Um die Resonanz auf die Ereignisse in aller Welt zu dokumentieren, Um die menschliche Dimension dieser Tragödie zu verdeutlichen, Um das Gefühl durch Verstand zu ergänzen, Um allen eine Stimme zu verleihen Künstlerischer Produzent Alain Brigand Séquence 19. Productions Titelmusik Alexandre Desplat Produktion Galatée Films Studio Canal Co-Produzent Jacques Perrin Nicolas Mauvernay Ausführender Produzent Jean de Trégomain Frankreich 2002 - 35mm - 130 min. – 1:1,85 – Dolby SR Ein kollektiver Film 11 Regisseure und Regisseurinnen aus verschiedenen Ländern und Kulturen 11 Visionen der tragischen Ereignisse, die am 11. September 2001 in New York City stattfanden 11 Blickwinkel, die dem individuellen Gewissen verpflichtet sind Völlige Freiheit im Ausdruck Der 11. September 2001 war ein Ereignis, das vorzustellen wir uns nie gewagt hätten. In Echtzeit drangen die Bilder von der Katastrophe in all ihrer Gewalt in unsere Wohnungen. Mit einem Schlag wurde Trauer universell. Wie konnte man kein Mitgefühl empfinden, wenn das Fernsehen das Leiden jener, die dem Tod ins Auge sahen, gleichzeitig in alle Winkel der Welt ausstrahlte? Um das weltumspannende Echo auf dieses Ereignis auf andere Art als durch diese entsetzlichen Bilder festzuhalten, wurde mir sehr bald klar, dass wir die Pflicht der Reflexion hatten.
    [Show full text]
  • World Experts Select Centre of Excellence on East Asia
    ISSN 1472-6653 December 2006 Number 13 World experts select Centre of Excellence on East Asia A joint bid by the School of East Asian Studies at the University of Sheffield and the Department of East Asian Studies at the University of Leeds to establish an international Centre of Excellence on East Asia has been successful. The bid was made in response to the organizing new research initiatives; Japanese imperialism. She joins the £25 million Language and Area Studies developing existing research through the cluster on East Asian identities and initiative launched jointly by the Higher appointment of research fellows; cultures. Education Funding Council, the providing young scholars with Economic and Social Research Council, postdoctoral fellowships; organizing Professor Glenn D. Hook of SEAS, the the Arts and Humanities Research conferences and workshops; and Director of the National Institute of Council and the Scottish Funding building up international networks to Japanese Studies and a member of the Council. These councils called on leading support the development of globally Executive Board of the White Rose East experts from East Asia and the United recognized research. Asia Centre, stressed the role the States as well as the United Kingdom Centre will play as a national resource: and other European countries to act as One of the first initiatives was the “the success of the bid is testimony to referees to help them to select the best selection of two White Rose Scholarship our track record as a leading trainer of bid to strengthen Britain’s research students through an open competition postgraduate research students and as a profile and specialization in Japanese in the summer of 2006.
    [Show full text]
  • Cinefiles Document #27323
    Document Citation Title Pigs, pimps and pornographers: the films of Shohei Imamura Author(s) James Quandt Source Cinematheque Ontario/a division of Toronto International Film Festival Group Date Type program note Language English Pagination 34-39 No. of Pages 6 Subjects Imamura, Shohei (1926-2006), Tokyo, Japan Film Subjects Jinruigaku nyumon (The pornographers), Imamura, Shohei, 1966 Ningen johatsu (A man vanishes), Imamura, Shohei, 1967 Kamigami no fukaki yokubo (The profound desire of the gods), Imamura, Shohei, 1968 Zegen (The pimp), Imamura, Shohei, 1987 Nippon sengoshi - Madamu Onboro no seikatsu (History of postwar Japan as told by a bar hostess), Imamura, Shohei, 1970 Eijanaika (So what), Imamura, Shohei, 1981 Buta to gunkan (Pigs and battleships), Imamura, Shohei, 1961 Akai satsui (Intentions of murder), Imamura, Shohei, 1964 Kuroi ame (Black rain), Imamura, Shohei, 1989 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) Fukushu suruwa ware ni ari (Vengeance is mine), Imamura, Shohei, 1979 Nusumareta yokujo (Stolen desire), Imamura, Shohei, 1958 Nishi Ginza Ekimae (Nishi Ginza Station), Imamura, Shohei, 1958 Nianchan (My second brother), Imamura, Shohei, 1959 Karayuki-san (Karuyuki-san, the making of a prostitute), Imamura, Shohei, 1975 Narayama bushi-ko (The ballad of Narayama), Imamura, Shohei, 1982 Nippon konchuki (The insect woman), Imamura, Shohei, 1963 Hateshinaki yokubo (Endless desire), Imamura, Shohei, 1958 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S.
    [Show full text]
  • AFI PREVIEW Is Published by the American Work; an Austrian Lay-About, Ducking Mount- 2006 Oscar Submission from Bulgaria for Film Institute
    CONTENTS OPENING NIGHT 2 20th Annual European Union Film HHHH Showcase Manoel de Oliveira in Person with The Best in European Cinema… CHRISTOPHER O J E without the jetlag T E D COLUMBUS, S E M L I O F J f THE ENIGMA E o T y E 7 18th Washington Jewish Film Festival s D e t S r E [Cristóvão u o M c L I The Original CHICAGO–with Live Music! F f Colombo— o Manoel de Oliveira y s e Music and Film: Terence Blanchard Live! t r u O Enigma] o c Thursday, November 1, 8:00 CHRISTOPHER COLUMBUS, THE ENIGMA 8 Rialto Redux: 10th Anniversary Portugal’s living cinematic legend Manoel de Oliveira dramatizes scholar Manuel Retrospective November 1 THROUGH 20 Luciano da Silva’s quest to prove that Christopher Columbus had a hidden identi- AFI presents the 20th annual European Union ty—the famous Italian was born in a small Portuguese town. Official Selection, 2007 10 A Man Vanishes: The Legacy of Film Showcase, a first-class selection of films Venice and Toronto Film Festivals. DIR/SCR Manoel de Oliveira, based on the book Shohei Imamura from EU member states including US pre- Christopher Columbus was Portuguese by Manuel Luciano da Silva and mieres, film festival award winners and box- Sílvia Jorge de Silva; PROD François d’Artemare. Portugal/France, 2007, color, 70 min. in English and Portugese with English subtitles. 11 Special Presentation: THE 400 office hits. BLOWS AFI thanks the cultural counselors of the EU ENCORE PRESENTATION: Sunday, November 4, 12:30 member states and the European Commission Mr.
    [Show full text]
  • Imamura Shōhei and the Ruse of Memory1
    Article The Never-Ending Pacific War: Imamura Shohei on the Ruse of Memory Mihalopoulos, Bill Available at http://clok.uclan.ac.uk/21642/ Mihalopoulos, Bill ORCID: 0000-0001-6112-6094 (2018) The Never-Ending Pacific War: Imamura Shohei on the Ruse of Memory. Japan Forum . ISSN 0955-5803 It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1080/09555803.2018.1442363 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk The Never-Ending Pacific War: Imamura Shōhei and the Ruse of Memory1* Bill Mihalopoulos In my work . I want to enter a character’s heart. I want to capture the smallest action, the finest nuance, the most intimate psychological expression because filmmakers must concern themselves with much more than facades. Shōhei Imamura (Imamura 1999:126) Imamura Shōhei (1926–2006) is an acclaimed Japanese director of commercial films, and regularly associated with one of the richly creative periods of Japanese cinema – the so called ‘new wave’ (nuberu bagu) of the 1960s.
    [Show full text]
  • Japanese Cinema: Texts and Contexts
    JAPANESE CINEMA: TEXTS AND CONTEXTS Japanese Cinema: Texts and Contexts includes twenty-four chapters on key films of Japanese cinema, from the silent era to the present day, providing a com- prehensive introduction to Japanese cinema history and Japanese culture and society. Studying a range of important films, from Late Spring, Seven Samurai and In the Realm of the Senses to Godzilla, Hana-Bi and Ring, the collection includes discus- sion of all the major directors of Japanese cinema including Ozu, Mizoguchi, Kurosawa, Oshima, Suzuki, Kitano and Miyazaki. Each chapter discusses the film in relation to aesthetic, industrial or critical issues and ends with a complete filmography for each director. The book also includes a full glossary of terms and a comprehensive bibliography of readings on Japanese cinema. Bringing together leading international scholars and showcasing pioneering new research, this book is essential reading for all students and general readers interested in one of the world’s most important film industries. Contributors: Carole Cavanaugh, Darrell William Davis, Rayna Denison, David Desser, Linda Ehrlich, Freda Freiberg, Aaron Gerow, Alexander Jacoby, D. P. Martinez, Keiko I. McDonald, Joan Mellen, Daisuke Miyao, Mori Toshie, Abé Mark Nornes, Alastair Phillips, Michael Raine, Donald Richie, Catherine Russell, Isolde Standish, Julian Stringer, Mitsuyo Wada-Marciano, Yomota Inuhiko, Mitsuhiro Yoshimoto. Alastair Phillips is Associate Professor in Film Studies at the University of Warwick. Julian Stringer is Associate Professor in Film Studies at the University of Nottingham. JAPANESE CINEMA: TEXTS AND CONTEXTS Edited by Alastair Phillips and Julian Stringer First published 2007 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016, USA Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2007.
    [Show full text]
  • A Few of My Favourite Classic Films
    A Few of My Favorite Classic Films Titles listed alphabetically within each section ANTICHRIST Lars von Trier 5 5 AUS DEM LEBEN DER MARIONETTEN Ingmar Bergman 5 5 BONNES FEMMES, LES Claude Chabrol 5 5 FRANCISCA Manoel de Oliveira 5 5 HADEWIJCH Bruno Dumont 5 5 HIROSHIMA MON AMOUR Alain Resnais 5 5 HUMANITÉ Bruno Dumont 5 5 INDIA SONG Marguerite Duras 5 5 LEAVING LAS VEGAS Mike Figgis 5 5 MÉPRIS, LE (CONTEMPT) Jean-Luc Godard 5 5 MULHOLLAND DRIVE David Lynch 5 5 СОЛЯРИС (SOLARIS) Andrei Tarkovsky 5 5 THOMAS L'IMPOSTEUR Georges Franju 5 5 THREE WOMEN Robert Altman 5 5 TIERRA Julio Medem 5 5 TROIS COURONNES DU MATELOT, LES Raúl Ruiz 5 5 TYSTNADE (THE SILENCE) Ingmar Bergman 5 5 UNBEKANNTE, DIE Frank Wysbar 5 5 ABRE LOS OJOS Alejandro Amanàbar 5 4 ANNÉE DERNIÈRE À MARIENBAD, L’ Alain Resnais 5 4 BÜCHSE DER PANDORA, DIE (PANDORA’S BOX) G.W. Pabst 5 4 DOLCE VITA, LA Federico Fellini 5 4 ECLISSE, L' (ECLIPSE) Michelangelo Antonioni 5 4 EYES WIDE SHUT Stanley Kubrick 5 4 FÄHRMANN MARIA Frank Wysbar 5 4 FALLING LESSONS Amy Halpern 5 4 FLANDRES Bruno Dumont 5 4 FRESH Boaz Yakin 5 4 GATOPARDO, IL Luchino Visconti 5 4 HÉLAS POUR MOI Jean-Luc Godard 5 4 HISTOIRE(S) DU CINÉMA Jean-Luc Godard 5 4 HORS SATAN Bruno Dumont 5 4 LIT DE LA VIERGE, LE Philippe Garrel 5 4 MELANCHOLIA Lars von Trier 5 4 NATTVARDSGÄSTERNA (WINTER LIGHT) Ingmar Bergman 5 4 NOTTE, LA Michelangelo Antonioni 5 4 ORDET Carl Th.
    [Show full text]