M2600 Masculin-Feminin (France/Sweden, 1966)

Total Page:16

File Type:pdf, Size:1020Kb

M2600 Masculin-Feminin (France/Sweden, 1966) M2600 MASCULIN-FEMININ (FRANCE/SWEDEN, 1966) Credits: director/writer, Jean-Luc Godard ; stories, Guy de Maupassant.. Cast: Jean-Pierre Leaud, Chantal Goya, Marlene Jubert, Michel Debord. Summary: Comedy/melodrama set in contemporary Paris. Godard’s inquiry into 1960s youth culture mixing politics, romance and comedy. A journalist has an affair with a would-be rock star. Includes a scene of self-immolation to protest the war in Vietnam. Albera, Francois. “Masculin-feminin” Travelling J (Laussane) 16 (Apr 1967), p. 51-8. Arnaud, Andre. “Copians flashes” Salut les copians (Jul 1966) [Reprinted in Cahiers du cinema 195 (Jul 1966)] Baroncelli, Jean de. [Masculin-feminin] Le monde (Apr 23, 1966) Biggs, Melissa E. French films, 1945-1993 : a critical filmography of the 400 most important releases Jefferson, N.C. : McFarland, 1996. (p. 176) Billard, Pierre. “About Masculine-feminine” in Masculine-feminine: a film by Jean- Luc Godard New York : Grove, 1969. (p. 187-288) Bjorkman, Stig. “Masculin-feminin” in The films of Jean-Luc Godard New York : Praeger, 1970. (p. 119-22) Blum, Peter (see under Ehrenstein, David) Bory, Jean-Louis. “Ils tuent pour vous” Le nouvel observateur (Dec 14, 1966), p. 50- 51. Burton, Scott. “The film we secretly wanted to live: A study of Masculin-feminin” in Jean-Luc Godard: a critical anthology (edited by Toby Mussman) New York : Dutton, 1967. (p. 261-73) Butler, Jeremy G. “Masculin-feminin” Magill’s survey of cinema. Foreign language films Englewood Cliffs, N.J. : Salem Press, 1986. (v. 4, p. 1976-81) “C rating: National Catholic Office for Motion Pictures” Catholic film newsletter 37/2 (Oct 20, 1966) Casty, Alan. “Masculin-feminin” Film quarterly 20/4 (summer 1967), p. 57-60. Cervoni, Albert. “Masculin-feminin” France nouvelle 1072 (May 4, 1966), p. 24-5. Chapier, Henri. [Masculin-feminin] Combat (Apr 24, 1966) [Translated in Billard] Chauvet, Louis. [Masculin-feminin] Le figaro (Apr 26, 1966) [Translated in Billard] “Cinema : ... A great bad director : Masculine-feminine” Time 88/15 (Oct 7, 1966), p. C12-120. Collet, Jean. [Masculin-feminin] Signes du temps (Jun 1966) _________. “Masculin-feminin” Telerama (Jun 1966), p. 72. _________. “Masculin-feminin de Jean-Luc Godard” Etudes 325 (Jul 1966), p. 91-2. Crist, Judith. “Just run-of-Godard-mill” World journal tribune (Sep 19, 1966) _________. [Masculin-feminin] New York tribune (Sep 19, 1966) [Reprinted in Billard] Crowther, Bosley. [Masculin-feminin] New York times (Sep 19, 1966), p. 57. Dadoun, Roger. [Masculin-feminin] Preuves 179 (Jan 1966) Daix, Pierre. “Jean-Luc Godard: ‘Ce que j’ai a dire’” Les lettres francaises 1128 (Apr 21-27, 1966), p. 16-17. Dauman, Anatole. Anatole Dauman: pictures of a producer London : BFI Pub., 1992. Dauphin, Laurent. “Masculin-feminin” Vietnam war feature filmography (1992 draft) [GB] (p. 247-8) and Vietnam war films [GB] (Entry 364) Delahaye, Michel. “Jean-Luc Godard et l’enfance de l’art” Cahiers du cinema 179 (Jun 1966), p. 65-70, 77. Desclercs, Joannick. Masculin-feminin. Paris : Institut des Hautes Etudes Cinematographiques, [n.d.] Dupeyron, Georges. “Le cinema” Europe 44/449 (Sep 1966), p. 243-44. Ehrenstein, David and Blum, Peter. “Two or three things we know about Godard” December 10/1 (1968), p. 164-73. Esteve, Michel. “Notes sur la festival de Venise” Etudes 327 (Nov 1967), p. 528-31. Faurecasten, Jean. “Masculin-feminin” Telecine 129 (Jun-Jul 1966), p. 3-14. The Films of Jean-Luc Godard (edited by Ian Cameron) New York : Praeger, 1970. (p. 119-30) Focus on Godard [edited by Royal S. Brown] Englewood Cliffs, N.J. : Prentice-Hall, 1972. (p. 69-72) French, Phillip. “On being young in Paris” The observer (Jun 25, 1967), Review. Giannetti, Louis D. “Godard’s Masculin-feminin: the cinematic essay” in his Godard and others: essays on film form Rutherford, N.J. : Fairleigh Dickinson Univ. Press, 1974, c1975. (p. 19-59) Godard, Jean-Luc. “Masculin-feminin” [screenplay in French] Filmcritica n.187 (Mar 1968), p. 173-85 and 189 (May-Jun 1968), p. 306-14. ______________. Masculine-feminine: a film by Jean Luc-Godard [translation of the screenplay] New York : Grove Press, 1969. (p. 187-88) ______________. Shooting notes for Masculin-feminin (1966) [Excerpted in Billard] “Godard in Gotham” Variety (Oct 4, 1968), p. 15. Goldmann, Annie. Cinema et societe moderne: le cinema de 1968 a 1968: Godard, Antonioni, Resnais, Robbe-Grillet Paris : Editions Anthropos, 1971. (p. 150- 55) ______________. “Jean-Luc Godard: Un nouveau realisme” Nouvelle revue francaise 14/165 (Sep 1, 1966), p. 558-65. Green, James Ronald. Political evolution in five films of Jean-Luc Godard Thesis (Ph.D.)--State University of New York at Buffalo, 1972. Guarino, Ann. [Masculin-feminin] Daily news (New York) (Sep 20, 1966) [Reprinted in Billard] Gubern, Roman. Godard polemico Barcelona : Tusquets Editorial, 1969. Hartung, Phillip T. “Lexicon of youth: The screen” Commonweal 85 (Oct 7, 1966), p. 21-22. Hatch, Robert. “Films” Nation 203/11 (Oct 10, 1966), p. 366. Haudiquet, Phillipe. “Masculin-feminin” Image et son 195 (Jun 1966), p. 106-7. Haycock, Joel. “The sign of the sociologist: Show and anti-show in Godard’s ‘Masculin feminin’” Cinema journal 29/4 (1990), p. 51-74. Hillier, Jim. “Masculin-feminin” in The films of Jean-Luc Godard New York : Praeger, 1970. (p. 123-30) Ibberson, Jack. “Masculin-feminin, France/Sweden, 1966” Monthly film bulletin 34/403 (Aug 1967), p. 122. Jean-Luc Godard: a critical anthology [edited by Toby Mussman] New York : Dutton, 1968. (p. 261-73) Kael, Pauline. “Youth is beauty” New republic 155 (Nov 19, 1966), p. 24-30. [Reprinted in her Kiss kiss, bang bang Boston : Little, Brown, 1968 (p. 127- 30); New York : Bantam, 1969 (p. 155-59); also in Renaissance of the film (edited by Julius Bellone) New York : Collier-Macmillan, 1970 (p. 166-72)] Labro, Phillippe. “One evening, in a small cafe” [interview with Godard during the filming of Masculin-feminin] Le nouveau Candide (Jan 17, 1966) [Translated in Billard] Lachize, Samuel. [Masculin-feminin] L’humanite (Apr 27, 1966) Lanning, Michael Lee. Vietnam at the movies [GB] (p. 268-9) Lesage, Julia. Jean-Luc Godard: a guide to references and resources Boston : G.K. Hall, 1979. Martell, Luigi. [Masculin-feminin] Cinema and film 1/1 (winter 1966), p. 39-42. “Masculine feminine” American Film Institute catalog [GB] (Entry F6.3125) [Masculin-feminin] Daily cinema n.9390 (Jul 3, 1967), p. 10. [Masculin-feminin] Film francais n.1146 (May 20, 1966), p. 15. [Masculin-feminin] Hollywood reporter 192/44 (Oct 13, 1966), p. 6. [Masculin-feminin] Kine weekly n.3116 (Jul 1, 1967), p. 28. [Masculin-feminin] Tablet 221 (Jul 1, 1967), p. 727. [Masculin-feminin] Times [London] (May 10, 1966), p. 6. [Masculin-feminin] Times [London] (Jun 22, 1967), p. 8. “Masculin-feminin (The children of Marx and Coca-Cola)” Filmfacts 9/19 (Nov 1, 1966), p. 237-39. “Masculine feminine” Motion picture guide (edited by Jay Robert Nash and Stanley Ralph Ross) Chicago : Cinebooks, 1985. (v. 5, p. 1895) Masculine-feminine: a film by Jean-Luc Godard (edited by Pierre Billard) New York : Grove Press, 1969. “Masters and mavericks” Newsweek 68/14 (Feb 14, 1966), p. 94. Matharan de Potenze, Sylvia. “Masculino-feminina (Masculin-feminin, Francia- Suecia, 1966)” Criterio 90/1525 (Jun 8, 1967) Mauriac, Claude. “L’ecran miroir: Masculin-feminin” Le figaro litteraire (Apr 28, 1966), p. 14. [Translated in Focus on Godard (edited by Royal S. Brown) Englewood Cliffs, N.J. : Prentice Hall, 1972] Milne, Tom. “Masculin-feminin” Sight and sound 36/1 (winter 1966/67), p. 44-5. [Reprinted in Billard] Monaco, James. The new wave New York : Oxford Univ. Press, 1976. (p. 167-72) Parinaud, Andre. “Spectacles: Jean-Luc Godard” [interview with Godard] Arts-loisirs (Apr 5, 1966) Petrowski, Minou. [Masculin feminin] Take one 1/1 (Sep-Oct 1966), p. 26-7. Phillipe, Pierre. “Masculin-feminin” Cinema 66 107 (Apr 1966), p. 116-17. Polt, Harriet R. “Masculin-feminin” Film society review (Feb 1968), p. 15-17. Roud, Richard. “The films of Jean-Luc Godard: a lecture” [transcript] (Jan 31, 1968) New York : Museum of Modern Art. ___________. “Masculin-feminin: Two (pre + re) views” Sight and sound 35/3 (summer 1966), p. 113-116. Sadoul, Georges. Dictionary of films [trans., edited and updated by Peter Morris] Berkeley : Univ. of California Press, 1972. (p. 212) _____________. “Godard ne passera pas” Les lettres francaises 1130 (May 5-11, 1966), p. 38. Salachas, Gilbert. “Masculin-feminin” Telecine 128 (May-Jun 1966), p. 56-57. Salgues, Yves. [Jean-Luc Godard as seen by Chantal Goya] 24 heures (Dec 29, 1966) [Translated by Billard] Sarris, Andrew. “Films” Village voice (Oct 6, 1966) [Reprinted, Film culture 42 (fall 1966), p. 10-11; and in Billard] Simon, John. Private screenings New York : Macmillan, 1967. (p. 255, 279-82, 286, 293-5) Skorman, Richard. “Masculin-feminin” in his Off-Hollywood movies : a film lover’s guide New York : Harmony Books, 1989. (p. 214-15) Tournes, Andree. “Les fioretti de Saint Jean-Luc” Jeune cinema 21 (Mar 1967), p. 20-21. Vianey, Michel. En attendant Godard Paris : Bernard Grasset, 1966. [Excerpted in “Waiting for Godard” Harper’s bazaar (Jun 1967), p. 58-62] Weightman, John. “Whatever happened to Godard?” Encounter 33/3 (Sep 1969), p. 56-9. Winsten, Archer. [Masculin-feminin] New York post (Sep 19, 1966) [Reprinted in Billard] Zanelli, Dario. “I festival dell’estate: Berlino” Bianco e nero 28/9-10 (Sep-Oct 1966), p. 81-82. .
Recommended publications
  • Eric Rohmer's Film Theory (1948-1953)
    MARCO GROSOLI FILM THEORY FILM THEORY ERIC ROHMER’S FILM THEORY (1948-1953) IN MEDIA HISTORY IN MEDIA HISTORY FROM ‘ÉCOLE SCHERER’ TO ‘POLITIQUE DES AUTEURS’ MARCO GROSOLI ERIC ROHMER’S FILM THEORY ROHMER’S ERIC In the 1950s, a group of critics writing MARCO GROSOLI is currently Assistant for Cahiers du Cinéma launched one of Professor in Film Studies at Habib Univer- the most successful and influential sity (Karachi, Pakistan). He has authored trends in the history of film criticism: (along with several book chapters and auteur theory. Though these days it is journal articles) the first Italian-language usually viewed as limited and a bit old- monograph on Béla Tarr (Armonie contro fashioned, a closer inspection of the il giorno, Bébert 2014). hundreds of little-read articles by these critics reveals that the movement rest- ed upon a much more layered and in- triguing aesthetics of cinema. This book is a first step toward a serious reassess- ment of the mostly unspoken theoreti- cal and aesthetic premises underlying auteur theory, built around a recon- (1948-1953) struction of Eric Rohmer’s early but de- cisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. ISBN 978-94-629-8580-3 AUP.nl 9 789462 985803 AUP_FtMh_GROSOLI_(rohmer'sfilmtheory)_rug16.2mm_v02.indd 1 07-03-18 13:38 Eric Rohmer’s Film Theory (1948-1953) 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.
    [Show full text]
  • MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join Our Four-Person Panel As They Discuss the Not-For-Profit Filmmaking Going on in the Area
    MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join our four-person panel as they discuss the not-for-profit filmmaking going on in the area. It’s your chance to help make movies! See you at The Neville Public Museum! Wednesday, September 21 • THE RETURN (Russia, 2003) Directed by Andrei Zvyagintsev Winner of the Golden Lion at the 2003 Venice Film Festival, “The Return” is a magnificent re-working of the prodigal son parable, this time with the father returning to his two sons after a 12 year absence. Though at first ecstatic to be reunited with the father they’ve only known from a photograph, the boys strain under the weight of their dad’s awkward and sometimes brutal efforts to make up for the missing years. In Russian with English subtitles. Presenter to be announced Wednesday, October 12 • BRIGHT FUTURE (Japan, 2003) Directed by Kiyoshi Kurosawa Called by the New York Times a Japanese David Lynch, Kurosawa’s film is about two young friends who work at a hand-towel factory and raise deadly jellyfish. A casual visit by their boss unleashes a serious of events which change the two friends lives forever. One of the pleasures of this slow, suspenseful film is how casually Kurosawa tosses in ideas about contemporary life, the state of the family, the place of technology, all while steadily shredding your nerves. In Japanese with English subtitles. Presented by Ben Birkinbine, Green Bay Film Society Wednesday, October 19 • OSCAR-NOMINATED AND OSCAR-WINNING SHORT FILMS Once again we present a series of the best of live-action and animated short films from around the world.
    [Show full text]
  • 2019 Annual Report 2019 in Pullquotes
    2019 Annual Report 2019 in pullquotes “Indefatigable.” — Ray Pride, Newcity “A small but mighty organization of cinephiles that exists to maintain, restore, and preserve cinematic treasures on film.” — Lisa Trifone, Third Coast Review “Wonderfully eclectic taste and a real talent for unearthing obscurities.” — Nina Metz, Chicago Tribune Screenings The Chicago Film Society presented 64 individual film programs in 2019, with 60 feature films and 81 short films screened. Total attendance was 6,960 across 5 venues. 3 programs featured visiting filmmakers: Sean Baker, director of The Florida Project (2017) Nicolas Rey, member of the Paris artist-run film lab L'Abominable Tim Hunter, screenwriter of Over the Edge (1979) 14 programs featured the Chicago premieres of new prints or restorations: Computer Chess (2013) — new print comissioned by CFS False Faces (1932) Rock 'n' Roll High School (1979) Fragment of an Empire (1929) The Editor's Notebook (1950) — new restoration by CFS Finishing School (1934) Trust (1990) — new print comissioned by CFS Transatlantic (1931) Bridges-go-round (1958) The Florida Project (2017) Old Boyfriends (1979) Queen of Diamonds (1991) The Signal Tower (1924) New Orleans Street Parade (1968) We had some of our best-attended shows ever in 2019, including The Florida Project with Sean Baker in person, and a rare screening of the 1931 Chicago city symphony World City in its Teens: A Report on Chicago. Film writing Having a distinctive program booklet — and distinctive, informative style of writing film descriptions — is crucial to the Film Society's identity. By establishing that there are people thoughtfully working behind the scenes to program the movies, we prepare our audience to think of films in new contexts.
    [Show full text]
  • Guide to the Papers of the Capri Community Film Society
    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
    [Show full text]
  • Configuring the Demos
    CONFIGURING THE DEMOS: CINEMA, THE GLOBAL DIGITAL CONFIGURING THE DEMOS ECONOMY, AND THE CRISIS OF DEMOCRACY is made possible through the generous support of the Deutsche Forschungs- An international conference organized by the Cluster of Excellence “The Formation gemeinschaft, the Vereinigung der Configuring of Normative Orders” and Department of Theatre, Cinema and Media Studies at Freunde und Förderer der Goethe-Uni- Goethe University Frankfurt. versität and the Stiftung zur Förderung der internationalen Beziehungen der According to political theorist Claude Lefort, power in a monarchy is invested in Goethe-Universität. the Demos the body of the king, while in a democracy, power is an empty space: The empty space of the office, filled by a succession of office holders taking turns according to the rhythms of electoral politics, but also the public space in which the demos, the people as the source of power, manifests itself and takes shape. Cinema, the “democractic emblem” (Alain Badiou), is one such space in which the demos configures itself, on screen and in the audience. It is a form of public poetry (Martha Nussbaum), dramatizing the conflicts and articulating the promises, but also the pathologies of modern democratic polities. But how does democracy relate to cinema in a moment of the supposed crisis of democracy? Cinema, the Global Digital Economy, With a focus on three case studies of relatively new players in the global cultural economy, all of which combine the emergence of a popular cinema with the consol- idation of liberal democracy – India, Nigeria and South Korea –, this conference and the Crisis of Democracy explores how cinema, and particularly popular cinema, configures the demos in modern democracies by articulating and dramatizing the conflicts and crises of democratic polities, while developing a significant appeal beyond the geographical International Conference and political boundaries of these polities thanks to digital distribution networks.
    [Show full text]
  • Pacific Film Archive
    Lee Amazonas • GUERRILLA CINEMATHEQUE COMES OF AGE: THE PACIFICE FILM ARCHIVE GUERRILLA CINEMATHEQUE COMES OF AGE THE PACIFIC FILM ARCHIVE Lee Amazonas This whole thing is put together with spit, chewing gum, good intentions, coop- eration from the film community and overhead paid by the Museum. I’m not over-budget or under-budget because I haven’t got a budget. —Pacific Film Archive founder Sheldon Renan in a February 1971 interview FOR AN INSTITUTION WITH SUCH A JERRY-BUILT INCEPTION, the Pacific Film Archive (PFA) has not done too badly for itself as it progresses through its fourth decade of exist- ence. The numbers tell a small part of the story: a permanent collection of over 10,000 films and videos (stored in temperature- and humidity-controlled vaults); a study center whose holdings include more than 7,600 books on film history, theory, criticism, and reference, 150 international film periodical titles, over 95,000 clipping files, 36,000 film stills, and 7,500 posters; and an exhibition program of approximately 500 film presentations each year serving an audience of over 50,000 viewers from the Berkeley campus and around the Bay Area. Beyond statistics, it is the magnificent array of programs the Pacific Film Archive of- fers that provides a broader understanding of this vital institution. Many audience members and professionals throughout the film archive com- munity would agree that the exhibition program at PFA is among the most richly varied and com- prehensive shown anywhere, presenting avant- garde and experimental film, classic Hollywood, international cinema (from Iran to Finland to China to Brazil), video art, silent film, ethno- graphic film, and more.
    [Show full text]
  • Classic French Film Festival 2013
    FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series Webster University’s Winifred Moore Auditorium, 470 E. Lockwood Avenue June 13-16, 20-23, and 27-30, 2013 www.cinemastlouis.org Less a glass, more a display cabinet. Always Enjoy Responsibly. ©2013 Anheuser-Busch InBev S.A., Stella Artois® Beer, Imported by Import Brands Alliance, St. Louis, MO Brand: Stella Artois Chalice 2.0 Closing Date: 5/15/13 Trim: 7.75" x 10.25" Item #:PSA201310421 QC: CS Bleed: none Job/Order #: 251048 Publication: 2013 Cinema St. Louis Live: 7.25" x 9.75" FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series The Earrings of Madame de... When: June 13-16, 20-23, and 27-30 Where: Winifred Moore Auditorium, Webster University’s Webster Hall, 470 E. Lockwood Ave. How much: $12 general admission; $10 for students, Cinema St. Louis members, and Alliance Française members; free for Webster U. students with valid and current photo ID; advance tickets for all shows are available through Brown Paper Tickets at www.brownpapertickets.com (search for Classic French) More info: www.cinemastlouis.org, 314-289-4150 The Fifth Annual Classic French Film Festival celebrates St. Four programs feature newly struck 35mm prints: the restora- Louis’ Gallic heritage and France’s cinematic legacy. The fea- tions of “A Man and a Woman” and “Max and the Junkmen,” tured films span the decades from the 1920s through the Jacques Rivette’s “Le Pont du Nord” (available in the U.S.
    [Show full text]
  • The Cahiers Du Cinema and the French Nouvelle Vague
    Journalists turned Cinematographers: The Cahiers du Cinema and the French Nouvelle Vague An Honors Thesis (HONRS 499) By Rebecca 1. Berfanger Ball State University Muncie, Indiana December 2000 Graduation: December 2000 ~eoll T'leSfS l-D ;:,147/1 Abstract ,z..tf - ~OO(., Journalists turned cinematographers: Cahiers du Cinema and the Nouvelle Vague is a "rA7 reflection of the so called French ''New Wave" cinema and how the Cahiers, one of the most influential film magazines of any language, has helped to shape modem cinema in some way. It reflects the age-old conflict between movie studios and independent filmmakers, where content and substance are judged against big name stars and pay checks. The four directors specifically mentioned in this paper are among the most influential as they were with the magazine early on and made movies in the late 1950s to the early 1970s, the height of the ''New Wave." Truff'aut has always captured themes of childhood and innocence, Godard has political themes (while claiming to be "unpolitical"), Resnais made documentaries films based on literature, and Rohmer demonstrated provincial life and morals. - Acknowledgements I had more than a few helpers with this project. I would like to thank Richard Meyer for being my first advisor and helping me focus on the subject with ideas for references and directors. I would also like to thank every French teacher I have had at Ball State who has furthered my appreciation of the French language and French culture, what this paper is more or less all about. I would especially like to thank James Hightower, my second and final advisor for all of his support and encouragement from beginning to end by loaning me his books and editing capabilities.
    [Show full text]
  • Alexander Valley Film Festival October 20 - 23, 2016
    THE SECOND ANNUAL ALEXANDER VALLEY FILM FESTIVAL OCTOBER 20 - 23, 2016 BROUGHT TO YOU BY Dear Friends, Supporters, and Fellow Movie Lovers, On behalf of the Alexander Valley Film Society (AVFS) Board of Directors, our filmmakers, and our sponsors, welcome to the 2nd Annual Alexander Valley Film Festival (AVFF)! We can’t wait to share this year’s Festival with you. 2016 served as our first full year of cultural and educational programming. Through the generous support of our Donors, Sponsors, Members, and Volunteers, we amassed an impressive collection of accomplishments in service to our community: ● 2,000+ hours of volunteer service logged, AV ● 800+ people attended the two AVFS Drive-Ins, ● 150+ films screened for the 2nd Annual Film Festival, FILM ● 47 meetings held (and counting) of the Jr. Film Society FESTIVAL made up of students in Northern Sonoma County, ● 23 Jr. Film Society Students headed to the city for the San Francisco AV International Film Festival, ● 20 Students from across Sonoma County attended a summer documentary FILM filmmaking workshop with 3 visiting Bay Area filmmakers, ● 14 screenings of independent or classic films held in Cloverdale and SOCIETY Healdsburg as part of the Monthly Screening Series, ● 6 students concluded a documentary for the Cloverdale Chamber of Commerce, and ● 1 new ongoing series: Out in Alexander Valley: Celebrating LGBT Stories. With all of these exciting developments, it was fitting that our second year Festival theme evolved into “Bringing the World to the Community, and the Community to the World.” This motif 2016 ALEXANDER VALLEY FILM FESTIVAL highlights our commitment to the diversity within our community and beyond.
    [Show full text]
  • Informative Presentations Are Held Wednesday Evenings in Murch Auditorium
    Lecture Series & Book Clubs The Cleveland Museum of Art Art and Fiction Book Club http://www.clevelandart.org/learn/adult.aspx This structured look at art history through both historical fiction and narrative nonfiction is a collaboration between the museum’s Education Department and the Ingalls Library. This bi-monthly book club features lectures and gallery talks with art historians and a book discussion with a librarian. Cleveland Botanical Garden Garden Book Club http://www.cbgarden.org/Events/2012BookClubMtg.html Join the Garden Book Club for a bi-monthly discussion on a featured book from the Eleanor Squire Library. Future book club selections are geared to members' interest and the wide and wonderful world of the garden. The book club typically meets on Saturday afternoons. Martin Luther King Public Library Men's Book Club http://www.cpl.org/EventsClasses/EventsByBranchResults.aspx?FilterLocations=18&btsubmit= Find+Events Men in this group engage in a lively and awareness-raising discussion of books that examine our society from various perspectives and meet monthly. Examples of some books that have been read and discussed this year include: Never Would Have Made It by Melvin Childs; Panther Baby by Jamal Joseph and The Last Narco: Inside the Hunt for El Chapo, the World's Most Wanted Drug Lord by Malcolm Beith. Case Western Reserve University Baker-Nord Center for the Humanities http://humanities.case.edu/index.php The Baker-Nord Center for the Humanities is dedicated to celebrating, supporting, and invigorating the humanities and the arts at Case Western Reserve University and throughout greater Cleveland.
    [Show full text]
  • Jmackcv321.Pdf
    773.595.2312 [email protected] ____________________________________________________________________________________________________Jodie Mack education: 2007 MFA, Film/Video/New Media School of the Art Institute of Chicago 2004 BA, Summa cum laude: Film and Media Studies University of Florida professional experience: 2015- Associate Professor of Film and Media Studies, Dartmouth College—Hanover, NH 2010-15 Assistant Professor of Film and Media Studies, Dartmouth College—Hanover, NH 2009-10 Adjunct Faculty in Moving Image, University of Illinois at Chicago—Chicago, IL 2008-10 Adjunct Faculty in the College of Digital Media, DePaul University—Chicago, IL Faculty in Animation, California State Summer School for the Arts—Valencia, CA 2007-9 Student Activities Coordinator, Television Department: Columbia College Chicago—Chicago, IL 2006-10 Adjunct Faculty, Early College Program: School of the Art Institute of Chicago—Chicago, IL 2005-7 Distribution Assistant, Video Data Bank—Chicago, IL Teaching Assistant, School of the Art Institute of Chicago—Chicago, IL 2004-5 Instructor, Schools Uniting Neighborhoods—Portland, OR films and videos: 2019 Wasteland No. 2: Hardy, Hearty (6m40s, 16mm, color, silent) 2018 The Grand Bizarre (61m, 16mm, color, sound) Hoarders Without Borders (4m45s, 16mm, color, silent) 2017 Wasteland No. 1: Ardent, Verdant (4m30s, 16mm, color, silent) Goody Goody (3m, super 16mmà DV, color, sound) 2016 Curses (4m45s, digital video, color, sound) 2015 Something Between Us (10m, 16mm, color, sound) 2014 Razzle Dazzle (5m, 16mm,
    [Show full text]
  • MSP FILM SOCIETY ANNOUNCES OPENING NIGHT FILM and WOMEN in FILM INITIATIVE at the 38Th MINNEAPOLIS ST
    Contact: Kelly Nathe Publicity Manager [email protected] 612.331.7563 For immediate release: MSP FILM SOCIETY ANNOUNCES OPENING NIGHT FILM AND WOMEN IN FILM INITIATIVE AT THE 38th MINNEAPOLIS ST. PAUL INTERNATIONAL FILM FESTIVAL MINNEAPOLIS – February 26, 2019. The MSP Film Society announces the award-winninG Yuli as the Opening Night Film of the 38th Minneapolis St. Paul International Film Festival, which runs April 4 – 20, 2019. Festival Passes and 6-packs are on sale now at mspfilm.orG, with individual ticket sales opening to MSP Film Society Members on March 14 and to the public on March 21. Yuli is a dazzling dramatization of the early life and work of leGendary Cuban dancer Carlos Acosta. Inspired by Acosta’s 2007 memoir No Way Home, which detailed his rise from the streets of Havana to the heiGhts of classical ballet. The film was helmed by the distinGuished Basque director Icíar Bollaín and adapted for the screen by her frequent collaborator Paul Laverty. Special guest Santiago Alfonso, the acclaimed Cuban choreographer, dancer, and actor, will be in attendance for MSPIFF’s Opening Night festivities, which include the presentation of Yuli at St. Anthony Main Theatres on Thursday, April 4, 2019, at 7pm, and a party to follow at Jefe Urban Hacienda, featurinG live music by celebrated Afro- Caribbean ensemble Malamanya. Tickets to the OpeninG NiGht Film include entrance to the party. The MSP Film Society also announces the expansion of their WOMEN & FILM INITIATIVE for the 38th Minneapolis St. Paul International Film Festival and the launch of a new Fiscal Sponsorship Program for local women filmmakers, which will charGe a mere 1.9% fee, instead of the industry standard of 5- 10%.
    [Show full text]