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Deval. Le Maître D'orvès
Cet ouvrage est publié à l'occasion du centenaire de la naissance du peintre Pierre Deval (1897-1993), avec le concours : du conseil général du Var des amis de la vieille Valette et des sites de la galerie Michel Estades. La galerie Michel Estades présente en permanence des oeuvres de Deval. 18 rue Henri Seillon,, 83 000 Toulon Tél. 04 94 89 49 98 Malassis n 51 142 rue des Rosiers, 93400 Saint-Ouen Tél. 01 40 Il 32 60 - 1 CbMver/Hn* "La lecture à Orvès" - détail huile sur toile collection galerie Michel Estadcs Michèle Gorenc LedfBNès f� Temps Regard AUTRES TEMPS Ouvrage publié avec le concours du Conseil général du Var, des Amis de La Vieille Valette et des sites, de la Galerie Michel Estades. (Ç) Editions Autres Temps - 1997 Tous droits de traduction, adaptation et reproduction interdits ppur tous pays. à Philippe, Anne, Pierre, Jeanne, à Françoise, Oliver, Colin, Anthony, Kenneth, cet hommage à leur père et grand-père, pour le centième anniversaire de sa naissance. Remerciements Cette biographie a vu le jour grâce à l'appui de nombreuses personnes qui en ont facilité les recherches. D'abord Pierre Deval qui m'a fait partager ses souvenirs et a mis ses archives à ma disposition, Ses enfants, Philippe et Françoise, pour leur amical soutien, Alain Bitossi, président des Amis de La Vieille Valette et des Sites pour son aide constante et ses conseils avisés, Mmes Chemain et Dauphiné, MM. Chemain, Daspre et Dauphiné, professeurs des universités, pour leurs encouragements, MM. Bréon et Chanel, conservateurs des musées, pour leur solidarité, Mme Bronia Clair pour ses documents, Mme Prévot, bibliothécaire du Fonds Doucet, pour son accueil, Mme Chaney et ses enfants pour leur gentillesse et la qualité de leurs souvenirs, ainsi que tous les collectionneurs qui, dans l'anonymat, portent un amour commun à l'œuvre du maître d'Orvès. -
Reliures Originales Livres Illustrés Modernes Estampes Et Dessins
Reliures originales Livres illustrés modernes dont quelques ouvrages des Cent une Estampes et dessins originaux 125 Librairie Giraud-Badin 22, rue Guynemer 75006 Paris Tél. 01 45 48 30 58 - Fax 01 45 48 44 00 [email protected] - www.giraud-badin.com Exposition à la librairie Giraud-Badin du jeudi 3 novembre au jeudi 10 novembre tous les jours sauf le dimanche 6 novembre de 9 h à 13 h et de 14 h à 18 h (jusqu’à 16 h uniquement le jeudi 10 novembre) Exposition publique Salle Rossini pour les lots 1 à 183 uniquement le lundi 14 novembre de 10 h à midi Sommaire Première partie : Seconde partie : Reliures originales : nos 1 à 69 Reliures originales : nos 184 à 218 Livres illustrés modernes : nos 70 à 150 Livres illustrés modernes : nos 219 à 305 Les Cent une : nos 151 à 160 Estampes & dessins originaux : nos 306 à 319 Estampes & dessins originaux : nos 161 à 183 [Index des illustrateurs et des relieurs à la fin du catalogue] En couverture, reproduction du n° 72, Le Chef-d’Œuvre inconnu, illustré par Pablo Picasso. ALDE Maison de ventes spécialisée Livres-Autographes-Monnaies Reliures originales Livres illustrés modernes dont quelques ouvrages des Cent une Estampes et dessins originaux Vente aux enchères publiques Première partie le lundi 14 novembre 2016 à 14 h Salle Rossini 7, rue Rossini 75009 Paris Tél. : 01 53 34 55 01 Seconde partie du 3 au 15 novembre 2016 à 14 h vente en ligne uniquement sur drouotonline.com Commissaire-priseur Jérôme Delcamp ALDE Belgique ALDE Philippe Beneut Maison de ventes aux enchères Boulevard Brand Withlock, 149 1, rue de Fleurus 75006 Paris 1200 Woluwe-Saint-Lambert Tél. -
DESTINATION PROVENCE : Des Villes En Concurrence
17.03 > 14.04.18 > 17.03 ZIBELINE N°116 Mensuel culturel engagé du Sud-Est marionnettes Tricastin châteauvallon à Mougins danger en Liberté DESTINATION PROVENCE : des villes en concurrence 3€ L 11439 - 116 - F: 3,00 - RD CONTEXTE[ S ] 13 & 14 ART / TERRITOIRE AVRIL 2018 RENCONTRES & DÉBATS menés par Anne Quentin « Que faire quand la laïcité s’eff rite, que le racisme avance et que les problèmes sociaux s’aggravent ? Comment s’émanciper, grandir, rêver pour créer d’autres possibles ? De plus en plus de théâtres tentent de trouver de nouveaux ancrages à leur action pour que les lieux de l’art deviennent des lieux de vie, d’échange, de partage. CONTEXTE[S] réunit intellectuels, artistes, acteurs socio-culturels, enseignants et professionnels pour croiser points de vue et expériences et inventer ensemble des alternatives au prêt-à-consommer et au prêt-à-penser. Deux jours pour rebattre les cartes au Merlan qui fait le pari de son “contexte” pour irriguer son territoire et inventer d’autres voies à l’art. » Anne Quentin VENDREDI 13 AVRIL 14H30 ART / TERRITOIRE > TABLE 1 accueil > 14h VIVRE, RENCONTRER, INVESTIR Des habitants de Marseille et des artistes s’interrogent ensemble sur les réalités et la fonction d’un théâtre qu’ils côtoient de près ou de loin. Un temps pour faire vivre la rencontre en paroles, en récits ou témoignages autour d’un thème : le territoire peut-il réinventer l’art ? 16H30 ART / TERRITOIRE > TABLE 2 IRRIGUER, ENTREPRENDRE, AGIR Ils sont acteurs de leur territoire. Entrepreneurs, bailleurs, enseignants, travailleurs sociaux et culturels, traversent tout autant qu’ils participent du territoire. -
A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos. -
Writers' Correspondence Not Yet Entered Into the Repository June 2016 Maine State Library
Maine State Library Maine State Documents Maine Writers Correspondence Maine State Library Special Collections June 2016 Writers' Correspondence Not Yet Entered Into the Repository June 2016 Maine State Library Follow this and additional works at: http://digitalmaine.com/maine_writers_correspondence Recommended Citation Maine State Library, "Writers' Correspondence Not Yet Entered Into the Repository June 2016" (2016). Maine Writers Correspondence. 847. http://digitalmaine.com/maine_writers_correspondence/847 This Text is brought to you for free and open access by the Maine State Library Special Collections at Maine State Documents. It has been accepted for inclusion in Maine Writers Correspondence by an authorized administrator of Maine State Documents. For more information, please contact [email protected]. Maine Writer’s Correspondence Project Files not yet Digitized For more information or to obtain the contents of any of these folders please contact the Maine State Library referencedesk @ Maine.gov Entries include a typed letter of correspondence from the Maine State Adelaide V. Finch Library Entries include a brief biography, typed letters on personal and literary stationery, a card with the image of a covered bridge a short distance from potato houses, newspaper clippings, and a leaflet from the 1956 State of Adelbert M. Jakeman Maine Writers' Conference. Entries include a publisher advertisement clipping, a typed biography, a newspaper clipping of Bushnell's obituary with her photographic image, and Adelyn Bushnell a typed biographical letter Entries include brief biographical information and a typed biographical Agnes Cope Foote letter on Tory Row Bookshop, Cambridge, Massachusetts, stationery Entries include typed letters of correspondence from the Maine State Albert E. -
Bibliothèque De Flers Et À Divers
BEAUSSANT LEFÈVRE Commissaires-Priseurs Bibliothèque de Flers et à divers Alain NICOLAS Expert PARIS – DROUOT – 13 JUIN 2014 Ci-dessus : Voltaire, n° 203 En couverture : Mucha - Flers, n° 168 BIBLIOTHÈQUE DE FLERS et à divers VENDREDI 13 JUIN 2014 à 14 h Par le ministère de Mes Eric BEAUSSANT et Pierre-Yves LEFÈVRE Commissaires-Priseurs associés Assistés de Michel IMBAULT BEAUSSANT LEFÈVRE Société de ventes volontaires Siren n° 443-080 338 - Agrément n° 2002-108 32, rue Drouot - 75009 PARIS Tél. : 01 47 70 40 00 - Télécopie : 01 47 70 62 40 www.beaussant-lefevre.com E-mail : [email protected] Assistés par Alain NICOLAS Expert près la Cour d’Appel de Paris Assisté de Pierre GHENO Archiviste paléographe Librairie « Les Neuf Muses » 41, Quai des Grands Augustins - 75006 Paris Tél. : 01.43.26.38.71 - Télécopie : 01.43.26.06.11 E-mail : [email protected] PARIS - DROUOT RICHELIEU - SALLE n° 7 9, rue Drouot - 75009 Paris - Tél. : 01.48.00.20.20 - Télécopie : 01.48.00.20.33 EXPOSITIONS – chez l’expert, pour les principales pièces, du 5 au 10 Juin 2014, uniquement sur rendez-vous – à l’Hôtel Drouot le Jeudi 12 Juin de 11 h à 18 h et le Vendredi 13 Juin de 11 h à 12 h Téléphone pendant l’exposition et la vente : 01 48 00 20 07 Ménestrier, n° 229 CONDITIONS DE LA VENTE Les acquéreurs paieront en sus des enchères, les frais et taxes suivants : pour les livres : 20,83 % + TVA (5,5 %) = 21,98 % TTC pour les autres lots : 20,83 % + TVA (20 %) = 25 % TTC La vente est faite expressément au comptant. -
Dziga Vertov — Boris Kaufman — Jean Vigo E
2020 ВЕСТНИК САНКТ-ПЕТЕРБУРГСКОГО УНИВЕРСИТЕТА Т. 10. Вып. 4 ИСКУССТВОВЕДЕНИЕ КИНО UDC 791.2 Dziga Vertov — Boris Kaufman — Jean Vigo E. A. Artemeva Mari State University, 1, Lenina pl., Yoshkar-Ola, 424000, Russian Federation For citation: Artemeva, Ekaterina. “Dziga Vertov — Boris Kaufman — Jean Vigo”. Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 560–570. https://doi.org/10.21638/spbu15.2020.402 The article is an attempt to discuss Dziga Vertov’s influence on French filmmakers, in -par ticular on Jean Vigo. This influence may have resulted from Vertov’s younger brother, Boris Kaufman, who worked in France in the 1920s — 1930s and was the cinematographer for all of Vigo’s films. This brother-brother relationship contributed to an important circulation of avant-garde ideas, cutting-edge cinematic techniques, and material objects across Europe. The brothers were in touch primarily by correspondence. According to Boris Kaufman, dur- ing his early career in France, he received instructions from his more experienced brothers, Dziga Vertov and Mikhail Kaufman, who remained in the Soviet Union. In addition, Vertov intended to make his younger brother become a French kinok. Also, À propos de Nice, Vigo’s and Kaufman’s first and most “vertovian” film, was shot with the movable hand camera Kina- mo sent by Vertov to his brother. As a result, this French “symphony of a Metropolis” as well as other films by Vigo may contain references to Dziga Vertov’s and Mikhail Kaufman’sThe Man with a Movie Camera based on framing and editing. In this perspective, the research deals with transnational film circulations appealing to the example of the impact of Russian avant-garde cinema on Jean Vigo’s films. -
The Ideological Origins of the French Mediterranean Empire, 1789-1870
The Civilizing Sea: The Ideological Origins of the French Mediterranean Empire, 1789-1870 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Dzanic, Dzavid. 2016. The Civilizing Sea: The Ideological Origins of the French Mediterranean Empire, 1789-1870. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33840734 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Civilizing Sea: The Ideological Origins of the French Mediterranean Empire, 1789-1870 A dissertation presented by Dzavid Dzanic to The Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History Harvard University Cambridge, Massachusetts August 2016 © 2016 - Dzavid Dzanic All rights reserved. Advisor: David Armitage Author: Dzavid Dzanic The Civilizing Sea: The Ideological Origins of the French Mediterranean Empire, 1789-1870 Abstract This dissertation examines the religious, diplomatic, legal, and intellectual history of French imperialism in Italy, Egypt, and Algeria between the 1789 French Revolution and the beginning of the French Third Republic in 1870. In examining the wider logic of French imperial expansion around the Mediterranean, this dissertation bridges the Revolutionary, Napoleonic, Restoration (1815-30), July Monarchy (1830-48), Second Republic (1848-52), and Second Empire (1852-70) periods. Moreover, this study represents the first comprehensive study of interactions between imperial officers and local actors around the Mediterranean. -
From L'atalante to Young Adam Walter C
Southern Illinois University Carbondale OpenSIUC Articles Department of Cinema and Photography Spring 2011 A Dreary Life on a Barge: From L'Atalante to Young Adam Walter C. Metz Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/cp_articles Recommended Citation Metz, Walter C. "A Dreary Life on a Barge: From L'Atalante to Young Adam." Weber: The Contemporary West 27, No. 2 (Spring 2011): 51-66. This Article is brought to you for free and open access by the Department of Cinema and Photography at OpenSIUC. It has been accepted for inclusion in Articles by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Walter Metz A Dreary Life on a Barge: From L’Atalante to Young Adam Young Adam: The barge amidst the Scottish landscape PRELUDE While surfing around Netflix looking If there is anything further in spirit from for the name of the film in which Ewan L’Atalante—a romantic fairy tale about McGregor played James Joyce—Nora the enduring power of love—it must be (Pat Murphy, 2000)—I stumbled across Young Adam, a bitter tale of an astonish- Young Adam (David Mackenzie, 2003), ingly amoral drifter who kills one woman a film in which the young Obi-Wan plays and uses all of the others he encounters to a man who gets involved in a romantic quaff his ruthless sexual appetite. And yet, triangle aboard a river barge. Immedi- Mackenzie’s film—repeatedly and perhaps ately, I thought of L’Atalante (Jean Vigo, unavoidably—echoes scenes and situa- 1934), the most famous barge movie of tions from L’Atalante. -
Mathematics and Science: Last Essays
HENRI POINCARE Mathematics and Science: Last Essays (Dernieres Pensees) Translated from the French by JOHN W. BOLDUC State Teachers College at Westfield, Massachusetts Dover Publications, Inc., New York Copyright 1963 by Dover Publications, Inc Origmally published in French under the title of Demises Pensdes, copyright (P) 1913 by Ernest Flammanon All rights reserved under Pan American and Inter national Copyright Conventions. Published simultaneously in Canada by McClelland and Stewart, Ltd. Published in the United Kingdom by Constable and Company Limited, 10 Change Stieet, London, W.C.2. This Dover edition, firsL published in 1963, is a new English translation of the first edition of Demises Fences, published by Ernest Flammanon in 1913. This English translation is published by special arrangement with Ernest Flammarion. Library of Congress Catalog Card Number: 63-31678 Manufactured in the United Stales of America Dover Publications, Inc, i So Varick Street New York 14, N.Y. TRANSLATOR'S NOTE Just as the poet must seek the appropriate word to convey an idea with sufficient vigor and yet obtain the cadence and rhyme necessary for the finished product, so also the translator must achieve the proper expression in one language to convey accurately and with equal vigor the author's ideas as expressed in his original language. In this process the languages in the translator's mind tend to lose their identity and one language easily assumes the idiosyncrasies of the other. I am therefore particularly grateful to Dr. Wallace L. Goldstein for his assistance in indicating flaws in grammatical constructions which would have resulted from the merging of the two languages. -
The Yale University Jean Toomer Papers
The Yale University Jean Toomer papers http://webtext.library.yale.edu/xml2html/beinecke.TOOMER.con.html The Jean Toomer Papers contain correspondence; multiple drafts of unpublished books, essays, and other writings; and personal papers documenting the life of Jean Toomer. The papers span the years 1898-1963, but the bulk of the material dates from 1920-1954. Unfortunately, few manuscripts from Toomer's Harlem Renaissance period are preserved. Instead the papers are primarily drafts of his later, philosophical writings. Related papers written by his first wife, Margery Latimer, and transcripts of lectures given by his spiritual mentor, Georges Gurdjieff, as well as typescript drafts of Gurdjieff's Beelzebub's Tales to His Grandson can also be found in the collection. The Jean Toomer Papers were donated to The Beinecke Rare Book and Manuscript Library by Marjorie Content Toomer in 1980 and transferred to Yale in 1985-88 from Fisk University, where they had been on deposit since 1962. Most of the papers were stamped, numbered, labelled, and annotated with dates and names at Fisk University. Most drafts in the collection were written on highly acidic paper and are in poor condition. Preservation photocopies have been made of all fragile correspondence, notes, and final drafts. Newspaper clippings have also been copied. Series I,Correspondence (Boxes 1-10) is divided into two sections: Jean Toomer and Margery Latimer Toomer. The correspondence of Jean Toomer includes letters from Margery Latimer Toomer, as well as letters to and from Marjorie Content Toomer. Correspondence from his mother, Nina Pinchback Toomer, contains a transcript of her letter to Nathan Toomer in 1897 asking for a divorce (Box 8, folder 262).