Tom Luddy Program Notes, Correspondence, and Related Pacific Film Archive Material
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Hybrid Variations on a Documentary Theme
Hybrid variations on a documentary theme Robert Stam1 1 É professor transdisciplinar da Universidade de Nova York. Autor de diversos livros sobre cinema e literatura, cinema e estudos culturais, incluindo Brazilian cinema, Reflexivity in film and literature, Subversive pleasure, Tropical multiculturalism, Film theory: an introduction, Literature through film e François Truffaut and friends. Formado pela Universidade da Califórnia, Berkeley, também frequentou a Universidade de Paris III. Lecionou na Tunísia, na França e no Brasil (USP, UFF, UFMG) E-mail: [email protected] revista brasileira de estudos de cinema e audiovisual | julho-dezembro 2013 Resumo ano 2 número 4 Embora muitas vezes encarado como pólos opostos, o documentário e a ficção são, na verdade, teórica e praticamente entrelaçados, assim como a história e a ficção, também convencionalmente definidos como opostos, são simbioticamente ligados. O historiador Hayden White argumentou em seu livro Metahistory que a distinção mito/ história é arbitrária e uma invenção recente. No que diz respeito ao cinema, bem como à escrita, White apontou que pouco importa se o mundo que é transmitido para o leitor/espectador é concebido para ser real ou imaginário, a forma de dar sentido discursivo a ele através do tropos e da montagem do enredo é idêntica (WHITE, 1973). Neste artigo, examinaremos as maneiras que a hibridação entre documentário e ficção tem sido mobilizada como radical recurso estético. Palavras-chave Documentário, ficção, hibridização, sentido discursivo. Abstract Although often assumed to be polar opposites, documentary and fiction are in fact theoretically and practically intermeshed, just as history and fiction, also conventually seen as opposites, are symbiotically connected. -
Jeder Tag Ist Ein Geschenk«
»Jeder Tag ist ein Geschenk« Menschen | Zum Tod der großen Schauspielerin Jeanne Moreau 2003 hatte Jeanne Moreau (halb im Scherz) einen künstlerischen Wunsch geäußert, der sich allerdings nie erfüllt hat: »Shakespeares Lear. Den spiele ich, wenn ich achtzig bin!« Von PETER MOHR Mit dem ›Lear‹ ist es zwar nichts geworden, doch die Blitzlichter der Fotografen zog sie bis ins hohe Alter immer noch beinahe magisch an, wie etwa bei ihrem Kurzauftritt als Ehrengast bei der Europäischen Filmpreisgala im Jahr 2007 in Berlin. Sie war nicht nur eine der wirklich großen Schauspielerinnen, sondern war auch der Schwarm einer ganzen Männergeneration, ihr Name wird in einem Atemzug mit Marlene Dietrich und Greta Garbo genannt, vom liebeshungrigen Luder bis zur rachsüchtigen Ehefrau hat sie alles verkörpert, und ihre eigene Vita würde genug Stoff für einen abendfüllenden Kinofilm hergeben. Jeanne Moreau, die am 23. Januar 1928 in Paris als Tochter eines Hoteliers geboren und als 20-jährige bereits in die ehrwürdige Comédie-Française aufgenommen wurde, hat als Schauspielerin nicht nur die großen Regisseure, sondern auch als Privatperson viele Prominente fasziniert: Louis Malle, Orson Welles, John Frankenheimer, Jean-Louis Richard (aus der Ehe stammt Sohn Jérome, der heute ein erfolgreicher Maler ist), Modeschöpfer Pierre Cardin, der 14 Jahre jüngere Schriftsteller Peter Handke, und der Regisseur Tony Richardson (die Affäre führte zu seiner Scheidung von Vanessa Redgrave) waren ihre Lebensgefährten. Zwar hatte Jeanne Moreau Anfang der 1950er Jahre auf der Theaterbühne unter der Regie von Peter Brook in Tennessee Willliams‘ ›Die Katze auf dem heißen Blechdach‹ und an der Seite von Lino Ventura und Jean Gabin als Luder Josy in ›Wenn es Nacht wird in Paris‹ (1953) für Furore gesorgt, doch der große Durchbruch gelang ihr ausgerechnet unter der Regie eines Debütanten – in Louis Malles ›Fahrstuhl zum Schafott‹ (1957). -
Extreme Leadership Leaders, Teams and Situations Outside the Norm
JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader. -
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. -
Catalogo Giornate Del Cinema Muto 2011
Clara Bow in Mantrap, Victor Fleming, 1926. (Library of Congress) Merna Kennedy, Charles Chaplin in The Circus, 1928. (Roy Export S.A.S) Sommario / Contents 3 Presentazione / Introduction 31 Shostakovich & FEKS 6 Premio Jean Mitry / The Jean Mitry Award 94 Cinema italiano: rarità e ritrovamenti Italy: Retrospect and Discovery 7 In ricordo di Jonathan Dennis The Jonathan Dennis Memorial Lecture 71 Cinema georgiano / Georgian Cinema 9 The 2011 Pordenone Masterclasses 83 Kertész prima di Curtiz / Kertész before Curtiz 0 1 Collegium 2011 99 National Film Preservation Foundation Tesori western / Treasures of the West 12 La collezione Davide Turconi The Davide Turconi Collection 109 La corsa al Polo / The Race to the Pole 7 1 Eventi musicali / Musical Events 119 Il canone rivisitato / The Canon Revisited Novyi Vavilon A colpi di note / Striking a New Note 513 Cinema delle origini / Early Cinema SpilimBrass play Chaplin Le voyage dans la lune; The Soldier’s Courtship El Dorado The Corrick Collection; Thanhouser Shinel 155 Pionieri del cinema d’animazione giapponese An Audience with Jean Darling The Birth of Anime: Pioneers of Japanese Animation The Circus The Wind 165 Disney’s Laugh-O-grams 179 Riscoperte e restauri / Rediscoveries and Restorations The White Shadow; The Divine Woman The Canadian; Diepte; The Indian Woman’s Pluck The Little Minister; Das Rätsel von Bangalor Rosalie fait du sabotage; Spreewaldmädel Tonaufnahmen Berglund Italianamerican: Santa Lucia Luntana, Movie Actor I pericoli del cinema / Perils of the Pictures 195 Ritratti / Portraits 201 Muti del XXI secolo / 21st Century Silents 620 Indice dei titoli / Film Title Index Introduzioni e note di / Introductions and programme notes by Peter Bagrov Otto Kylmälä Aldo Bernardini Leslie Anne Lewis Ivo Blom Antonello Mazzucco Lenny Borger Patrick McCarthy Neil Brand Annette Melville Geoff Brown Russell Merritt Kevin Brownlow Maud Nelissen Günter A. -
JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress. -
James Ivory in France
James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Bucharest-Ilfov
Region in focus: Bucharest-Ilfov Bucharest-Ilfov Region, formed by Bucharest, Romania’s capital and Ilfov County – is located in the central part of the Romanian Plain in southern Ro- mania. Bucharest is the largest urban agglomeration of the country; its num- bers approaching 2 million inhabitants represents more than 85% from the total region’s population. Romanian legend says that the city of Bucharest was founded on the banks of the Dambovita River by a shepherd named Bucur, whose name literally means ”joy”. His flute playing reportedly dazzled the people and his hearty wine from nearby vineyards endeared him to the local traders, who gave his name to the place. Known for its wide, tree-lined boulevards, glorious Belle Époque buildings and a re- putation for the highlife (which in the 1900s earned its nickname of ”Little Paris”), Bucharest is today a bustling metropolis. For this reason film productions began shoo- ting in Bucharest and it did not take long for international producers and filming com- panies to discover and appreciate the rich historical heritage of the city. In fact, more than 200 productions have been filmed, entirely or partially in Bucha- rest and its surrounding areas, most of them in the last ten years. Renowned individu- als from the film industry have linked their professional activity to the town of Bucur. Photo: courtesy of Bucharest Ilfov Regional Development Agency Directors such as Costa-Gavras - Amen, Francis Ford Coppola - Youth Without Youth, Katja von Garnier - Blood and Chocolate, Klaus Menzel - What About Love and Tommy Wirkola - What Happened to Monday to name a few. -
Film Studies (FILM) 1
Film Studies (FILM) 1 FILM-115 World Cinema 3 Units FILM STUDIES (FILM) 54 hours lecture; 54 hours total This course will survey the historical, social, and artistic development FILM-100 Survey and Appreciation of Film 3 Units of cinema around the globe, introducing a range of international films, 54 hours lecture; 54 hours total movements, and traditions. This course is an introduction to the history and elements of filmmaking Transfers to both UC/CSU such as narrative, mise-en-scene, cinematography, acting, editing, and FILM-117 Director's Cinema 3 Units sound as well as approaches to film criticism. 54 hours lecture; 54 hours total Transfers to both UC/CSU This course examines the historical and artistic career of a seminal FILM-101 Introduction to Film Production 3 Units director in cinema history. Possible subjects include Martin Scorsese, 36 hours lecture; 54 hours lab; 90 hours total Alfred Hitchcock, Francis Ford Coppola, and Woody Allen. This course is designed to introduce you to the creative process Transfers to CSU only of filmmaking. We will study all aspects of production from the FILM-120 Horror Film 3 Units conceptualization of ideas and scripting, to the basic production 54 hours lecture; 54 hours total equipment and their functions, and finally the production and post- This course offers an in-depth examination of the popular horror film production processes. Assignments will emphasize visualization, through an analysis of its historical evolution, major theories, aesthetics shooting style, and production organization. Presentation of ideas in and conventions, and the impact of its role as a reflection of culture both the written word and visual media are integral to the production society. -
Famous People from Michigan
APPENDIX E Famo[ People fom Michigan any nationally or internationally known people were born or have made Mtheir home in Michigan. BUSINESS AND PHILANTHROPY William Agee John F. Dodge Henry Joy John Jacob Astor Herbert H. Dow John Harvey Kellogg Anna Sutherland Bissell Max DuPre Will K. Kellogg Michael Blumenthal William C. Durant Charles Kettering William E. Boeing Georgia Emery Sebastian S. Kresge Walter Briggs John Fetzer Madeline LaFramboise David Dunbar Buick Frederic Fisher Henry M. Leland William Austin Burt Max Fisher Elijah McCoy Roy Chapin David Gerber Charles S. Mott Louis Chevrolet Edsel Ford Charles Nash Walter P. Chrysler Henry Ford Ransom E. Olds James Couzens Henry Ford II Charles W. Post Keith Crain Barry Gordy Alfred P. Sloan Henry Crapo Charles H. Hackley Peter Stroh William Crapo Joseph L. Hudson Alfred Taubman Mary Cunningham George M. Humphrey William E. Upjohn Harlow H. Curtice Lee Iacocca Jay Van Andel John DeLorean Mike Illitch Charles E. Wilson Richard DeVos Rick Inatome John Ziegler Horace E. Dodge Robert Ingersol ARTS AND LETTERS Mitch Albom Milton Brooks Marguerite Lofft DeAngeli Harriette Simpson Arnow Ken Burns Meindert DeJong W. H. Auden Semyon Bychkov John Dewey Liberty Hyde Bailey Alexander Calder Antal Dorati Ray Stannard Baker Will Carleton Alden Dow (pen: David Grayson) Jim Cash Sexton Ehrling L. Frank Baum (Charles) Bruce Catton Richard Ellmann Harry Bertoia Elizabeth Margaret Jack Epps, Jr. William Bolcom Chandler Edna Ferber Carrie Jacobs Bond Manny Crisostomo Phillip Fike Lilian Jackson Braun James Oliver Curwood 398 MICHIGAN IN BRIEF APPENDIX E: FAMOUS PEOPLE FROM MICHIGAN Marshall Fredericks Hugie Lee-Smith Carl M.