BIEFF 2014 Catalogue
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Film Film Film Film
Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
Half a Century with the Swedish Film Institute
Swedish #2 2013 • A magazine from the Swedish Film Institute Film 50Half a century with the Swedish Film Institute CDirector Lisah Langsethe exploresc identityk issuesi nin Hotel g in www.sfi.se scp reklambyrå Photo: Simon Bordier Repro: F&B Repro: Factory. Bordier Simon Photo: reklambyrå scp One million reasons to join us in Göteborg. DRAGON AWARD BEST NORDIC FILM OF ONE MILLION SEK IS ONE OF THE LARGEST FILM AWARD PRIZES IN THE WORLD. GÖTEBORG INTERNATIONAL FILM FESTIVAL IS ALSO THE MAIN INDUSTRY WINDOW FOR NEW NORDIC FILM AND TALENT, FEATURING NORDIC FILM MARKET AND NORDIC FILM LAB. 1,000 SCREENINGS • 500 FILMS • 23 VENUES • 160,000 VISITS • WWW.GIFF.SE WELCOME Director, International Department Pia Lundberg Fifty and counting Phone +46 70 692 79 80 [email protected] 2013 marks the Swedish Film Institute’s various points in time. The films we support 50th anniversary. This gives us cause to look today are gradually added to history, giving back to 1963 and reflect on how society and that history a deeper understanding of the Festivals, features the world at large have changed since then. world we currently live in. Gunnar Almér Phone +46 70 640 46 56 Europe is in crisis, and in many quarters [email protected] arts funding is being cut to balance national IN THIS CONTEXT, international film festivals budgets. At the same time, film has a more have an important part to play. It is here that important role to play than ever before, we can learn both from and about each other. -
Moma EXHIBITION AUTOMATIC UPDATE EXPLORES the EVOLUTION OF
ROY ANDERSSON RETROSPECTIVE AT MOMA PRESENTS THE DIRECTOR’S SHORT FILMS, TELEVISION COMMERCIALS, AND THEATRICAL FEATURES Exhibition Includes World Premiere of Tomorrow’s Another Day—A Documentary Shot During the Production of Andersson’s Most Recent Film, You, the Living Filmmaker in Focus: Roy Andersson September 10–18, 2009 The Roy and Niuta Titus Theaters NEW YORK, August 7, 2009—The Museum of Modern Art presents Filmmaker in Focus: Roy Andersson, a retrospective of the full oeuvre of Roy Andersson (Swedish, b. 1943), covering four decades of work, from his school projects and short films to his television commercials and major feature films. This exhibition is part of the Filmmaker in Focus series at MoMA, which highlights the achievements of a director with an aesthetically and critically established career in filmmaking. The exhibition will be on view from September 10 through 18, 2009, in The Roy and Niuta Titus Theaters, and is organized by Jytte Jensen, Curator, Department of Film, The Museum of Modern Art. Andersson, who rarely travels, will introduce the first six screenings in the series, providing a unique opportunity to hear the director talk about his films outside of Sweden. Andersson’s earliest films, rarely shown school projects from the 1960s, are related thematically and stylistically to the films of the then-influential Czech New Wave. His first feature, which he presented as his thesis at the Swedish Film Institute, is A Swedish Love Story (1970). With the gorgeous Swedish summer as a backdrop, the film portrays the pure love that arises between the daughter of a refrigerator salesman and the son of a car mechanic, offering a glimpse into the lives and homes of the people of the Swedish Social Democracy during its heyday. -
Post-Cinematic Affect
Post-Cinematic Affect Steven Shaviro 0 BOO KS Winchester, UK Washington, USA r First published by 0-Books, 2010 O Books ls an imprint of John Hunt Publishing Ltd., The Bothy, Deershot Lodge, Park Lane, Ropley, CONTENTS Hants, S024 OBE, UK [email protected] www.o-books.com For distributor details and how to order please visit the 'Ordering' section on oUr website. Text copyright Steven Shaviro 2009 Preface vii ISBN: 978 1 84694 431 4 1 Introduction All rights reserved. Except for brief quotations in critical articles or reviews, no part of 1 this book may be reproduced in any manner without prior written permission from 2 Corporate Cannibal the publishers. 11 3 Boarding Gate The rights of Steven Shaviro as author have been asserted in accordance with the Copyright, 35 1988. 4 Designs and Patents Act Southland Tales 64 5 A CIP catalogue record for this book is available from the British Library. Gamer 93 6 Coda Design: Stuart Davies 131 Printed In the UK by CPI Antony Rowe Works Cited 140 Endnotes 153 We operate a distinctive and ethical publishing philosophy in all areas of its business, from its global network of authors to production and worldwide distribution. Preface This book is an expanded version of an essay that originally appeared in the online journal Film-Philosophy. Earlier versions of portions of this book were delivered as talks sponsored by the Affective Publics Reading Group at the University of Chicago, by the film and media departments at Goldsmiths College, Anglia Ruskin University, University of the West of England, and Salford University, by the "Emerging Encounters in Film Theory" conference at Kings College, by the Experience Music Project Pop Conference, by the Nordic Summer University, by the Reality Hackers lecture series at Trinity University, San Antonio, and by the War and Media Symposium and the Humanities Center at Wayne State University. -
Last Tango in Paris (1972) Dramas Bernardo Bertolucci
S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 . -
Durham E-Theses
Durham E-Theses Demonic ctions: cybernetics and postmodernism Brown, Alistair How to cite: Brown, Alistair (2008) Demonic ctions: cybernetics and postmodernism, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2465/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Brown 1 Demonic Fictions: Cybernetics and Postmodernism Alistair Brown Whilst demons are no longer viewed as literal beings, as a metaphor the demon continues to trail ideas about doubt and truth, simulation and reality, into post- Enlightenment culture. This metaphor has been revitalised in a contemporary period that has seen the dominance of the cybernetic paradigm. Cybernetics has produced technologies of simulation, whilst the posthuman (a hybrid construction of the self emerging from cultural theory and technology) perceives the world as part of a circuit of other informational systems. In this thesis, illustrative films and literary fictions posit a connection between cybernetic epistemologies and metaphors of demonic possession, and contextualise these against postmodern thought and its narrative modes. -
XVIII:9) Robert Altman, the LONG GOODBYE, 1973 112 Minutes
March 17, 2009 (XVIII:9) Robert Altman, THE LONG GOODBYE, 1973 112 minutes Directed by Robert Altman Screenplay by Leigh Brackett Based on the novel by Raymond Chandler Produced by Jerry Bick Original Music by John Williams Cinematography by Vilmos Zsigmond Film Editing by Lou Lombardo Film dedicated to Dan Blocker Elliott Gould..Philip Marlowe Nina Van Pallandt..Eileen Wade Sterling Hayden..Roger Wade Mark Rydell..Marty Augustine Henry Gibson..Dr. Verringer David Arkin..Harry Jim Bouton..Terry Lennox Warren Berlinger..Morgan Jo Ann Brody..Jo Ann Eggenweiler Stephen Coit..Det. Farmer Jack Knight..Mabel Vincent & Theo (1990), "Tanner '88" (1988), The Caine Mutiny Pepe Callahan..Pepe Court-Martial (1988), Aria (1987), Fool for Love (1985), Secret Vincent Palmieri..Vince Honor (1984), Streamers (1983), Come Back to the Five and Pancho Córdova..Doctor Dime, Jimmy Dean, Jimmy Dean (1982), Popeye (1980), HealtH Enrique Lucero..Jefe (1980), A Perfect Couple (1979), Quintet (1979), A Wedding Jack Riley..Lenny - Piano Player (1978), 3 Women (1977), Buffalo Bill and the Indians, or Sitting Ken Sansom..Colony guard Bull's History Lesson (1976), Nashville (1975), California Split Jerry Jones..Det. Green (1974), Thieves Like Us (1974), The Long Goodbye (1973), David Carradine..Dave Marlowe's Cellmate Images (1972), McCabe & Mrs. Miller (1971), Brewster McCloud Arnold Schwarzenegger..Hood in Augustine's office (1970), That Cold Day in the Park (1969), Countdown (1968), Pot au feu (1965), "Combat!" (1962-1963), "Bus Stop" (1961-1962), ROBERT ALTMAN (February 20, 1925, Kansas City, Missouri— "Bonanza" (1960-1961), "The Roaring 20's" (1960-1961), "U.S. November 20, 2006, Los Angeles, complications from leukemia) Marshal" (1959-1960), "Westinghouse Desilu Playhouse" (1960), has 89 directing and 40 writing credits. -
Modernism Revisited Edited by Aleš Erjavec & Tyrus Miller XXXV | 2/2014
Filozofski vestnik Modernism Revisited Edited by Aleš Erjavec & Tyrus Miller XXXV | 2/2014 Izdaja | Published by Filozofski inštitut ZRC SAZU Institute of Philosophy at SRC SASA Ljubljana 2014 CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 141.7(082) 7.036(082) MODERNISM revisited / edited by Aleš Erjavec & Tyrus Miller. - Ljubljana : Filozofski inštitut ZRC SAZU = Institute of Philosophy at SRC SASA, 2014. - (Filozofski vestnik, ISSN 0353-4510 ; 2014, 2) ISBN 978-961-254-743-1 1. Erjavec, Aleš, 1951- 276483072 Contents Filozofski vestnik Modernism Revisited Volume XXXV | Number 2 | 2014 9 Aleš Erjavec & Tyrus Miller Editorial 13 Sascha Bru The Genealogy-Complex. History Beyond the Avant-Garde Myth of Originality 29 Eva Forgács Modernism's Lost Future 47 Jožef Muhovič Modernism as the Mobilization and Critical Period of Secular Metaphysics. The Case of Fine/Plastic Art 67 Krzysztof Ziarek The Avant-Garde and the End of Art 83 Tyrus Miller The Historical Project of “Modernism”: Manfredo Tafuri’s Metahistory of the Avant-Garde 103 Miško Šuvaković Theories of Modernism. Politics of Time and Space 121 Ian McLean Modernism Without Borders 141 Peng Feng Modernism in China: Too Early and Too Late 157 Aleš Erjavec Beat the Whites with the Red Wedge 175 Patrick Flores Speculations on the “International” Via the Philippine 193 Kimmo Sarje The Rational Modernism of Sigurd Fosterus. A Nordic Interpretation 219 Ernest Ženko Ingmar Bergman’s Persona as a Modernist Example of Media Determinism 239 Rainer Winter The Politics of Aesthetics in the Work of Michelangelo Antonioni: An Analysis Following Jacques Rancière 255 Ernst van Alphen On the Possibility and Impossibility of Modernist Cinema: Péter Forgács’ Own Death 271 Terry Smith Rethinking Modernism and Modernity 321 Notes on Contributors 325 Abstracts Kazalo Filozofski vestnik Ponovno obiskani modernizem Letnik XXXV | Številka 2 | 2014 9 Aleš Erjavec & Tyrus Miller Uvodnik 13 Sascha Bru Genealoški kompleks. -
1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company. -
J'adore Violence Press Release
Press Release MAD SURVEYS CINEMA OF THE NEW FRENCH EXTREMITY WITH ‘J’ADORE VIOLENCE’ SERIES THIS FALL Series to highlight films by Luc Besson, Catherine Breillat, Leos Carax, Claire Denis, Christophe Honoré and François Ozon among others New York, NY (October 1, 2013) – This fall, the Museum of Arts and Design PRESS CONTACT profiles an important recent movement in French cinema with the series Claire Laporte/Carnelia Garcia J’Adore Violence: Cinema of the New French Extremity. Initially coined by Museum of Arts and Design critic James Quandt in 2004, the term “New French Extremity” came to refer 212.299.7737 to a group of loosely associated French directors, who at the turn of the [email protected] twenty-first century explored extremes of violence, sex and transgressions in films straddling the art-house and horror genres. MAD PRESS RESOURCES “The New French Extremity was a vital moment in recent cinematic history, image library when ‘art house’ and genre film directors began to meet in earnest to tackle release as .pdf taboos and extremes of contemporary life—looking into sex, death, and the love of watching violence, with films that explored what that meant for the human condition and society as a whole,” says Jake Yuzna, MAD’s MAD LINKS Director of Public Programs. “A group of French filmmakers—Luc Besson being a great example of that—were experimenting with a more Hollywood collections database approach to cinema at the same time, adding to the dialogue around what facebook constituted ‘French cinema’ and what would become of French cinema in youtube the decades to follow.” flickr twitter J’Adore Violence will present ten films, including some of the movement’s most seminal works like Claire Denis’ Trouble Every Day (2001), Catherine Breillat’s Romance (1999), Philippe Grandrieux’ Sombre (1998) or Bruno Dumont’s Twentynine Palms (2003) and some of its forerunners, such as Georges Franju’s dark fairy tale Eyes Without a Face (1962) and Luc Besson’s Le dernier combat (1983). -
Pressionism, and Neue Sachlichkeit
By Roy Andersson filmswelike “I have vampire teeth you can have at half price.” Jonathan from A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE Cast Holger Andersson (Jonathan), Nils Westblom (Sam), Charlotta Larsson (Limping Lotta), Viktor Gyllenberg (King Carl XII), Lotti Törnros (The Flamenco Teacher), Jonas Gerholm (The Lonely Colonel), Ola Stensson (The Captain/Barber), Oscar Salomonsson (The Dancer), Roger Olsen Likvern (Caretaker) Crew Director and Scriptwriter: Roy Andersson Production Cinematographers: István Borbás, Gergely Pálos Producer: Pernilla Sandström Music: Traditional Line Producer: Johan Carlsson Production Design: Ulf Jonsson, Julia Tegström, Nicklas Nilsson, Sandra Coproducers: Philippe Bober, Håkon Øverås Parment, Isabel Sjöstrand Executive Producers: Sarah Nagel, Isabell Wiegand Coordination and continuity: Jane Ljung Production Company: Roy Andersson Filmproduktion AB Costume: Julia Tegström In co-production with: 4 ½ Fiksjon AS, Essential Filmproduktion, Parisienne Make-up and Hair: Linda Sandberg de Production, Sveriges Television AB, Arte France Cinéma, ZDF/ Arte Sound: Robert Hefter FSS Supported by: Svenska Filminstitutet, Eurimages Council of Europe, Sound Mixer: Robert Hefter FSS, Owe Svensson FSS Nordisk Film- och TV Fond, Norska Filmfonden, Editing: Alexandra Strauss Film- und Medienstiftung NRW, Centre national du cinéma et de l’image Casting: Sophia Frykstam, Zora Rux, Katja Wik, Stig-Åke Nilsson, Andrea animée Eckerbom International Sales: Coproduction Office A PIGEON SAT ON A BRANCH REFLEC- TING ON EXISTENCE By Roy Andersson Sweden, Norway, France, Germany 2014 / 100 min. Synopsis Like a modern day Don Quixote and Sancho Panza, Sam and Jonathan, two traveling salesmen peddling novelty items, take us on a kaleidoscopic wandering through human destiny. It is a journey that unveils the beauty of single moments, the pettiness of others, the humor and tragedy hidden within us, life’s grandeur as well as the ultimate frailty of humanity.