June 2012 Anthology Film Archives Film Program, Volume 42 No
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
A Wishy-Washy, Sort-Of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-22-2014 12:00 AM A Wishy-Washy, Sort-of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic Amy Gaizauskas The University of Western Ontario Supervisor Christine Sprengler The University of Western Ontario Graduate Program in Art History A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Amy Gaizauskas 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Gaizauskas, Amy, "A Wishy-Washy, Sort-of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic" (2014). Electronic Thesis and Dissertation Repository. 2332. https://ir.lib.uwo.ca/etd/2332 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. A WISHY-WASHY, SORT-OF FEELING: EPISODES IN THE HISTORY OF THE WISHY-WASHY AESTHETIC Thesis Format: Monograph by Amy Gaizauskas Graduate Program in Art History A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Amy Gaizauskas 2014 Abstract Following Sianne Ngai’s Our Aesthetic Categories (2012), this thesis studies the wishy- washy as an aesthetic category. Consisting of three art world and visual culture case studies, this thesis reveals the surprising strength that lies behind the wishy-washy’s weak veneer. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Ikonografijos Publikacijų Sąrašas
1 IKONOGRAFIJOS PUBLIKACIJŲ SĄRAŠAS 2013 [Aktorius Donatas Banionis apdovanotas ordino "Už nuopelnus Lietuvai" Komandoro didžiuoju kryžiumi - nuotrauka, 2004] // Lietuvos garbės kodas. - Vilnius : Lietuvos rytas, 2013, p. 298. Budraitis, Juozas. Aktorius Donatas Banionis : [fotografija, Tokijas, 1975] / Juozas Budraitis // Lietuvos fotografija: vakar ir šiandien. - [20]13, p. 65. 2011 Aleksandravičius, Algimantas. Auktumas ir aktorius Donatas Banionis : [reportažinė nuotrauka] / Algimantas Aleksandravičius // Tai Lietuva. Lietuvos spaudos fotografija. - ISSN 1822- 2137. - 2011, p. 139. 2010 Dešimt [Vaizdo įrašas] : dokumentinis filmas / režisierius, operatorius Džiugas Katinas ; operatoriai :Karolis Jankus, Jonas Lozuraitis, Vilmantas Jankauskas. - Vilnius : [Lietuvos institutas], 2010. - 1 garso ir vaizdo diskas (DVD) (86min.) : skaitm., gars., spalv. (PAL). - Filme dalyvavo: Violeta Urmanavičiūtė, Vladimiras Tarasovas, Jonas Mekas, Valentinas Masalskis, Andrius Mamontovas, Vytautas Landsbergis, Oskaras Koršunovas, Sigitas Geda, Donatas Banionis, Audrys Juozas Bačkis. 2009 Zavadskis, Audrius. Aktorius Donatas Banionis filme "Niekas nenorėjo mirti" = Actor Donatas Banionis in the movie "Nobody wanted to die" : [fotografija, 1965] / Audrius Zavadskis. – Gretut. tekstas liet., angl. // Lietuvos fotografija: vakar ir šiandien. – ISSN 1648-567X. – [20]09, p. 236. 2007 Aleksandravičius, Algimantas. Actor Donatas Banionis, 2005 : [fotografija] / Algimantas Aleksandravičius // Shining / Algimantas Aleksandravičius. – [Vilnius] : Atviras [i.e. -
Piliečius Ugdančios Lietuvių Kalbos Ir Literatūros Pamokos
Jurga Dzikaitė Dainora Eigminienė Darius Kuolys Viktorija Šeina PILIEČIUS UGDANČIOS LIETUVIŲ KALBOS IR LITERATŪROS PAMOKOS Projekto „Kuriame Respubliką“ siūlomi papildomi lietuvių kalbos ir literatūros dalyko moduliai pilietiškumui ugdyti 2015 m. Leidinys parengtas įgyvendinant projektą „Kuriame Respubliką: visuomenės pilietinio veikimo kompetencijų ugdymas“ (projekto kodas VP1-2.2-ŠMM-10V-02-006), remiamą Europos Socialinio fondo ir Lietuvos Respublikos valstybės biudžeto lėšomis pagal Europos Komisijos Žmogiškųjų išteklių plėtros veiksmų programą. Leidinį parengė : Jurga Dzikaitė, Dainora Eigminienė, dr. Darius Kuolys, Viktorija Šeina. Projektą įgyvendino: Pilietinės visuomenės institutas. Projekto partneriai: Ateitininkų federacija, Pilietiškumo, demokratijos ir teisės programų centras, Švietimo centrų darbuotojų asociacija, VšĮ „Mes Darom“, Istorijos mokytojų asociacija, Lietuvos gimnazijų asociacija, Lietuvos pagrindinių mokyklų asociacija, Lietuvos kolegijų direktorių konferencija, Lietuvos moksleivių sąjunga, Nacionalinė jaunimo reikalų koordinatorių asociacija, Lietuvos vietos bendruomenių organizacijų sąjunga, asociacija „Lituanistų sambūris“, „Transparency International“ Lietuvos skyrius, Vilniaus bendruomenių asociacija, Rokiškio, Jonavos ir kitų savivaldybių jaunimo organizacijos „Apskritieji stalai“. © Pilietinės visuomenės institutas, 2015 m. Turinys Leidinio paskirtis ................................................................................................................... 4 Kalba ir literat ūra – bendruomen ės -
Animated Works by Nancy Andrews
FILM AT REDCAT PRESENTS Tue Mar 8 | 8:30 pm Jack H. Skirball Series $9 [students $7, CalArts $5] The Birdwoman and Her Dreams: Animated Works by Nancy Andrews World premiere and Los Angeles premieres With characters and stories synthesized from sources including history and autobiography, Nancy Andrews works in a hybrid form that combines research with storytelling, documentary, puppetry and vaudeville. The program presents the World Premiere of a Surprise Film along with two of her latest animated works. Inspired by classic "mad scientist" horror films and research into the physiology of insects, Behind the Eyes are the Ears (2010, 26 min.) features a soundtrack by Andrews and Zach Soares and mixes animation, live action and found footage to follow the revolutionary attempts of Dr. Sheri Myes to expand human perception and consciousness. On a Phantom Limb (2009, 35 min.), with music by John Cooper, invokes the realm of the invisible and takes as its starting point the filmmaker’s near-death experience during a harrowing surgical procedure. Andrews is the recipient of awards and grants from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts, among others. In person: Nancy Andrews “Nancy Andrews’s films are small treasures, finely crafted, exquisite in small details and as rare as they come. Her cinema is artisanal, beautiful in its homespuness, expressive in its miscellany of hand-made images, whether drawn, animated or acted, and sly in its humor.” www.redcat.org | 1 – Lawrence Kardish, The Museum of Modern Art “Behind the Eyes are the Ears embraces the full scope of the unknown—from the sinister to the rhapsodic… The now-familiar Rorschach is consumed/ subsumed by an unknown, other-dimensional entity growing inward from the sides of the screen—making the peripheral central, conflating analog and digital into a warm, comforting, enigmatic, oily stain of a talisman. -
André Breton Och Surrealismens Grundprinciper (1977)
Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8............................................................................................................................................... -
Cinema in Dispute: Audiovisual Adventures of the Political Names ‘Worker’, ‘Factory’, ‘People’
Cinema In Dispute: Audiovisual Adventures of the Political Names ‘Worker’, ‘Factory’, ‘People’ Manuel Ramos Martínez Ph.D. Visual Cultures Goldsmiths College, University of London September 2013 1 I declare that all of the work presented in this thesis is my own. Manuel Ramos Martínez 2 Abstract Political names define the symbolic organisation of what is common and are therefore a potential site of contestation. It is with this field of possibility, and the role the moving image can play within it, that this dissertation is concerned. This thesis verifies that there is a transformative relation between the political name and the cinema. The cinema is an art with the capacity to intervene in the way we see and hear a name. On the other hand, a name operates politically from the moment it agitates a practice, in this case a certain cinema, into organising a better world. This research focuses on the audiovisual dynamism of the names ‘worker’, ‘factory’ and ‘people’ in contemporary cinemas. It is not the purpose of the argument to nostalgically maintain these old revolutionary names, rather to explore their efficacy as names-in-dispute, as names with which a present becomes something disputable. This thesis explores this dispute in the company of theorists and audiovisual artists committed to both emancipatory politics and experimentation. The philosophies of Jacques Rancière and Alain Badiou are of significance for this thesis since they break away from the semiotic model and its symptomatic readings in order to understand the name as a political gesture. Inspired by their affirmative politics, the analysis investigates cinematic practices troubled and stimulated by the names ‘worker’, ‘factory’, ‘people’: the work of Peter Watkins, Wang Bing, Harun Farocki, Danièle Huillet and Jean-Marie Straub. -
New York, New York
EXPOSITION NEW YORK, NEW YORK Cinquante ans d’art, architecture, cinéma, performance, photographie et vidéo Du 14 juillet au 10 septembre 2006 Grimaldi Forum - Espace Ravel INTRODUCTION L’exposition « NEW YORK, NEW YORK » cinquante ans d’art, architecture, cinéma, performance, photographie et vidéo produite par le Grimaldi Forum Monaco, bénéficie du soutien de la Compagnie Monégasque de Banque (CMB), de SKYY Vodka by Campari, de l’Hôtel Métropole à Monte-Carlo et de Bentley Monaco. Commissariat : Lisa Dennison et Germano Celant Scénographie : Pierluigi Cerri (Studio Cerri & Associati, Milano) Renseignements pratiques • Grimaldi Forum : 10 avenue Princesse Grace, Monaco – Espace Ravel. • Horaires : Tous les jours de 10h00 à 20h00 et nocturne les jeudis de 10h00 à 22h00 • Billetterie Grimaldi Forum Tél. +377 99 99 3000 - Fax +377 99 99 3001 – E-mail : [email protected] et points FNAC • Site Internet : www.grimaldiforum.mc • Prix d’entrée : Plein tarif = 10 € Tarifs réduits : Groupes (+ 10 personnes) = 8 € - Etudiants (-25 ans sur présentation de la carte) = 6 € - Enfants (jusqu’à 11 ans) = gratuit • Catalogue de l’exposition (versions française et anglaise) Format : 24 x 28 cm, 560 pages avec 510 illustrations Une coédition SKIRA et GRIMALDI FORUM Auteurs : Germano Celant et Lisa Dennison N°ISBN 88-7624-850-1 ; dépôt légal = juillet 2006 Prix Public : 49 € Communication pour l’exposition : Hervé Zorgniotti – Tél. : 00 377 99 99 25 02 – [email protected] Nathalie Pinto – Tél. : 00 377 99 99 25 03 – [email protected] Contact pour les visuels : Nadège Basile Bruno - Tél. : 00 377 99 99 25 25 – [email protected] AUTOUR DE L’EXPOSITION… Grease Etes-vous partant pour une virée « blouson noir, gomina et look fifties» ? Si c’est le cas, ne manquez pas la plus spectaculaire comédie musicale de l’histoire du rock’n’roll : elle est annoncée au Grimaldi Forum Monaco, pour seulement une semaine et une seule, du 25 au 30 juillet. -
Faculty and Staff Activities 2014–2015
FACULTY AND STAFF ACTIVITIES 2014–2015 COOPER AT ARCHITECTURE Professor Diana Agrest’s film “The Making of an Avant- Assistant Professor Adjunct John Hartmann, co-founder Visiting Professor Joan Ockman was a co-editor for MAS: Garde: The Institute for Architecture and Urban Studies with Lauren Crahan of Freecell Architecture, spoke at The The Modern Architecture Symposia 1962-1966: A Critical Edition 1967-1984” was screened at the Graham Foundation, Hammons School of Architecture at Drury University as part (Yale University Press). The publication was reviewed in Princeton University, Cornell University, UC Berkeley of the 2014-2015 Lecture Series. Architectural Record. She was a presenter at The Building EDITED BY EMMY MIKELSON; DESIGN BY INESSA SHKOLNIKOV, CENTER FOR DESIGN AND TYPOGRAPHY; PHOTOGRAPHY BY JOÃO ENXUTO WITH SPECIAL ASSISTANCE FROM THE SCHOOL OF ARCHITECTURE ARCHIVE AND ELIZABETH O’DONNELL, ACTING DEAN ARCHIVE AND ELIZABETH O’DONNELL, ACTING FROM THE SCHOOL OF ARCHITECTURE WITH SPECIAL ASSISTANCE ENXUTO BY JOÃO DESIGN AND TYPOGRAPHY; PHOTOGRAPHY CENTER FOR SHKOLNIKOV, EDITED BY EMMY MIKELSON; DESIGN INESSA College of Environmental Design and followed by a panel Symposium held at Columbia University GSAPP. discussion with Agrest, Nicholas de Monchaux, Sylvia Lavin Director of the School of Architecture Archive, and Stanley Saitowitz, the 10th Annual Cinema Orange Film Steven Hillyer, co-produced Christmas Without Tears, Acting Dean and Professor Elizabeth O’Donnell was the Series, Newport Beach Film Festival at Orange County a four-city tour of holiday-themed variety shows hosted co-chair and delivered the introductory remarks for Museum of Art, the San Diego Design Film Festival, and Cite by Judith Owen and Harry Shearer, which included “The Sultanate of Oman: Geography, Religion and Culture” de l’Architecture in Paris, France, which was followed by a performances by Mario Cantone, Catherine O’Hara, held at The Cooper Union. -
Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)
Jennifer Wild, “‘Are You Afraid of the Cinema?’” AmeriQuests (2015) ‘Are you Afraid of the Cinema?’: Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930) In December 1928, the prolific “editor of the Surrealists,” La Librairie José Corti, launched the deluxe, illustrated journal Du Cinéma: Revue de Critique et de Recherches Cinématographiques.1 Its first issue, indeed its very first page, opened with a questionnaire that asked, “Are you afraid of the cinema?” (Fig. 1, 2) The following paragraphs describing the questionnaire’s logic and critical aims were not penned by the journal’s founding editor in chief, Jean- George Auriol (son of George Auriol, the illustrator, typographer, and managing editor of the fin-de-siècle journal Le Chat Noir); rather, they were composed by André Delons, poet, critic, and member of the Parisian avant-garde group Le Grand Jeu. “This simple question is, by design, of a frankness and a weight made to unsettle you. I warn you that it has a double sense and that the only thing that occupies us is to know which you will choose,” he wrote.2 1. Cover, Du Cinéma, No. 1. Pictured: a still from Etudes Sur Paris (André Sauvage, 1928) 2. Questionnaire, “Are You Afraid of the Cinema?” Du Cinéma, No. 1. 1 Unless otherwise noted, all translations are my own. 2 André Delons, “Avez-Vous Peur du Cinéma?” Du Cinéma: Revue de Critique et de Recherches Cinématographiques, 1st Series, no.1, (December 1928), reprint edition, ed. Odette et Alain Virmaux (Paris: Pierre Lherminier Editeur, 1979), 3. -
Jean Epstein Critical Essays and New Translations
FILM THEORY IN MEDIA HISTORY JEAN EPSTEIN CRITICAL ESSAYS AND NEW TRANSLATIONS EDITED BY SARAH KELLER & JASON N. PAUL AMSTERDAM UNIVERSITY PRESS Jean Epstein Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a his- torical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship. Combining the book form with open access online publishing the series reaches the broadest possible audience of scholars, stu- dents, and other readers with a passion for film and theory. Series editors: Prof. Dr. Vinzenz Hediger (Frankfurt), Dr. Trond Lundemo (Stock- holm), Prof. Dr. Oliver Fahle (Bochum). Film Theory in Media History is published in cooperation with the Permanent Semi- nar for the History of Film Theories. Jean Epstein Critical Essays and New Translations Edited by Sarah Keller & Jason N. Paul Amsterdam University Press This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initia- tive to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggre- gating peer reviewed Open Access publications from across Europe. -
Exploring Films About Ethical Leadership: Can Lessons Be Learned?
EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging.