CHAPTER I INTRODUCTION 1.1. Background of Study Literature and Physical Environment Are Important Parts That Are Related to Thin
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Country of My Skull
20042170 27.01.2004 13:13 Uhr Seite 24 Wettbewerb/IFB 2004 COUNTRY OF MY SKULL COUNTRY OF MY SKULL COUNTRY OF MY SKULL Regie:John Boorman Großbritannien/Irland 2003 Darsteller Langston Whitfield Samuel L.Jackson Länge 100 Min. Anna Malan Juliette Binoche Format 35 mm, 1:1.85 De Jager Brendan Gleeson Farbe Dumi Menzi Ngubane Jack Marlon Nick Boraine Stabliste Edward Morgan Lionel Newton Buch Ann Peacock, Anderson Sam Ngakane nach dem Buch von Antjie Krog Kamera Seamus Deasy Schnitt Ron Davis Ton Brendan Deasy Caoimhe Doyle Production Design Derek Wallace Art Director Emilia Roux- Weavind Ausstattung Graeme Blem Fred Du Preez Kostüm Jo Katsaras Maske Allan A.Apone Samuel L. Jackson, Juliette Binoche Leo von Solms Regieassistenz Diana Keam Casting Moonyeen Lee COUNTRY OF MY SKULL Janet Meintjies 1995 reist Langston Whitfield nach Südafrika, um für die Washington Post Herstellungsltg. Michael L.Games über die Wahrheitskommissionen zu berichten. Aufgabe dieser Kommissio- Aufnahmeleitung Jacob Morgan Pather nen ist die Offenlegung der Verbrechen des Apartheidregimes. Dabei geht Produktionsltg. Genevieve le Cordier Produzenten Robert Chartoff es nicht nur um die Aufklärung von zum Teil brutalen Verbrechen, sondern Mike Medavoy vor allem auch um die Gegenüberstellung der Täter mit ihren Opfern. In John Boorman den Kommissionssitzungen treffen die Peiniger von einst auf Frauen und Kieran Corrigan Männer, die durch sie kaum Vorstellbares erdulden mussten. Auge in Auge Lynn Hendee stehen sie sich gegenüber und tragen zusammen, was während der Apart- Executive Producers Chris Auty Sam Bhembe heid passierte. Jenseits aller Straftatbestände geht es dabei auch um ein Jamie Brown Gespräch zwischen Opfer und Täter, um ein Verstehen dessen, was kaum Neil Pepow oder gar nicht zu verstehen ist. -
Read Ebook {PDF EPUB} Money Into Light the Emerald Forest a Diary by John Boorman Money Into Light: the Emerald Forest a Diary by John Boorman
Read Ebook {PDF EPUB} Money into light The Emerald Forest a diary by John Boorman Money into light: The Emerald Forest a diary by John Boorman. Director, Producer, Actor. John Boorman was born in Shepperton, Middlesex on 18 January 1933. After the Blitzed childhood he evoked in Hope and Glory (1997), national service and a spell in dry-cleaning, he progressed from journalism into television, eventually becoming the head of the BBC 's Bristol- based Documentary Unit in 1962. His first feature, Catch Us If You Can (1965), an attempt to repeat the success of A Hard Day's Night (d. Richard Lester, 1964), is handicapped by the fact that the Dave Clark Five are infinitely less interesting, musically and as screen personalities, than The Beatles . However, within the format of the UK pop musical, the film shows traces of a distinct directorial personality. As the group make their way West, Boorman catches glimpses of interesting, unusual English landscapes: considering that he would specialise in alien or alienating worlds, it is intriguing that even at this early stage, he was casting his eye around for the fantastical among the greenery. Boorman was drawn to for the opportunity to make larger-scale cinema and in Point Blank (1967), a potent distillation of a Richard Stark novel, brought a stranger's vision to the decaying fortress of Alcatraz and the proto-hippy world of San Francisco. After Point Blank , Boorman re-teamed with Lee Marvin (partnered with Toshiro Mifune ) for the robinsonade of Hell in the Pacific (US, 1968), a war movie with a slightly too fable-like gimmick: the relationship of nations encapsulated by two representative soldiers stranded together on an island and forced to put aside war to survive. -
John Boorman
13/15 John Boorman BFI Southbank to honour the director with a BFI Fellowship on 25 March followed by a career retrospective throughout April On 25 March John Boorman will be presented a BFI Fellowship – the highest accolade that the nation’s leading organisation for film can award. To mark the occasion he will be interviewed by Michel Ciment, on-stage at BFI Southbank, to launch a major retrospective of his work and to celebrate his recent 80th birthday. There will also be an Extended Run and nationwide release of Point Blank (1967) and an exhibition of artefacts from Boorman’s personal archive, on display in the Mezzanine – including a dress worn by Helen Mirren in Excalibur (1981). To complement this season there will be an exclusive run of Me and Me Dad (2011), an intimate insight of life in the Boorman family, directed by John’s daughter Katrine Boorman (who will appear in conversation on 27 March, following a preview of her film). According to Philip French, John Boorman is ‘one of the greatest filmmakers this country has produced’. He began his career as a documentary director for the BBC with Citizen 63 (BBC, 1963) and The Newcomers (BBC, 1964), and this season will feature these early works and follow his varied filmmaking career to date. His first feature film, Catch Us If You Can (1965), was a showcase for the Dave Clark Five and caught the attention and support of Pauline Kael. It was followed by The Quarry: Portrait of a Man as a Parylsed Artist (BBC, 1966), inspired by Fellini’s 8½ and events in Boorman’s own life. -
Leo the Last ’ 1970 Le Regard Du Prince Grande-Bretagne, 1970,104 Minutes Luc Chaput
Document généré le 2 oct. 2021 08:51 Séquences La revue de cinéma Leo the Last ’ 1970 Le regard du prince Grande-Bretagne, 1970,104 minutes Luc Chaput Numéro 209, septembre–octobre 2000 URI : https://id.erudit.org/iderudit/48800ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Chaput, L. (2000). Compte rendu de [Leo the Last ’ 1970 : le regard du prince / Grande-Bretagne, 1970,104 minutes]. Séquences, (209), 18–18. Tous droits réservés © La revue Séquences Inc., 2000 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Tt^A 30 ANS SORTAIT. Leo«t T Le regard du prince L'expression par la forme eo the Last : chez John Boorman, ce sont vraiment les d'Andrzej Wajda. Il avait besoin de cet acteur pour ancrer du côté de images qui portent le poids de sa pensée. On avance en l'Europe centrale ce récit où même Saragosse, ville espagnole, se trou L regardant et l'œil est ravi. Il faut le dire hautement, ve mythifiée en pays dont le prince et Laszlo sont exilés. -
Foret D'emeraude.Indd
La Forêt d’émeraude The Emerald forest de John Boorman FFICHE FILM Fiche technique Grande-Bretagne - 1985 - 1h55 Réalisateur : John Boorman Scénario : Rospo Pallenberg Image : Philippe Rousselot Musique : Brian Gascoigne Interprètes : Powers Boothe (Bill Markham) Meg Foster (Jean Markham) Charley Boorman Résumé aux dernières lumières du couchant, dans (Tomme) le luxuriant entrelacs doré. L’eau, ouvrant Rui Polonah Alors qu’il construit un immense barrage, par endroit des clairières de lumière, se (Wanadi) un ingénieur perd son fils en pleine jungle transformant ailleurs en d’étouffants maré- amazonienne. Après dix ans de recherches, cages. Les couleurs qui cachent ou qui il apprend qu’un jeune Blanc vit au milieu révèlent, scintillent ou se fondent : la forêt d’une tribu d’Indiens, les «Invisibles». Il d’émeraude s’ouvre, se referme, ses verts part à sa rencontre. (…) et ses bleus composent une parfaite unité, étrange, sans repères mais sans hostili- té. Il est question, dans le dernier film de Critique Boorman, d’un Monde qui rétrécit, d’un monde au cœur du monde dont le péri- Le vallonnement des fûtaies à perte d’hori- mètre s’amenuise. D’un monde que nous zon, et comme dans un doux cauchemar la réduisons à néant, ignorants qu’il est de rivière cernée de végétation qui s’enfonce la vie même, notre vie peut-être. Par là La L E F R A N C E www.abc-lefrance.com 1 D O C U M E N T S Forêt d’émeraude est proche d’Excali- en particulier Louisiana Story, ou le parti-pris astucieux, sur lequel repose bur bien davantage que de Délivrance, Tabou de Murnau, dont on retrouve les toute la réussite du film. -
The Geography of Learning: Creating the World Through Film and Literature
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 2003 Volume I: Geography through Film and Literature The Geography of Learning: Creating the World through Film and Literature Curriculum Unit 03.01.06 by Sandra K. Friday Rationale Horrified by how little my at-risk high school students at the Wilbur Cross Annex know about the whereabouts of almost everything , from local to global, I am challenged to find creative and effective ways to illuminate the world. Relying on film , literature , maps , field trips , and creative arts activities , it is my intention to hook my students and "wind them in" to the geography of learning. For my unit, I have chosen the title "The Geography of Learning: Creating the World through Film and Literature" because, through the various mediums -- film, television, literature, maps, and of course through actual physical contact -- we all create our own geography of the world by the extent of our exposure to it and our ability to imagine it. Some people have created for themselves a world the size of a walnut, while others create a world that is continuously expanding. Unfortunately, most of my students have secured themselves in a walnut, or at best a coconut, where they have learned to navigate or, as they say, "maintain." To venture outside seems risky, unpredictable and unnecessary. Having achieved a level of comfort through familiarity within their limited geography, they stay, more or less, inside "the hood," fearful of the unfamiliar and unknown that lies beyond. Through field trips, film, literature, and creative arts activities, I hope to present opportunities for my students to create a broader view of the geography of the world. -
2006 Environmental Film Festival Guide
14TH ANNUAL MARCH 16 – 26, 2006 100 documentary, feature, animated, archival, experimental and children’s films Most screenings include discussion and are FREE Special Pre-Festival Event on February 6 WWW.DCENVIRONMENTALFILMFEST.ORG Phone: 202.342.2564 Fax: 202.789.0777 Email: [email protected] STAFF WELCOME to the 14th Annual Artistic Director & Founder: Flo Stone Environmental Film Festival Managing Director: Helen Strong The human race is challenged more than ever before to demonstrate our mastery – Associate Director: not over nature but of ourselves. Annie Kaempfer — Rachel Carson, The Silent Spring Associate Director & Children's Program: Coinciding with the arrival of spring in the nation’s capital, the 2006 Environmental Film Festival Mary McCracken celebrates the beauty and significance of our environment while promoting advocacy for its Associate Director: responsible stewardship. Whether we recognize it or not, environment is pervasive and plays a Georgina Owen central role in our daily lives, health and future. Program Assistant: Andy Fernandez Collaborating with over 50 local, national and international organizations, the Festival presents Festival Interns: Katherine Collins 100 outstanding films from around the world for 11 days in March. From 23 countries, the films Maribel Guevara include 45 premieres and promise to expand and challenge our understanding of life on earth. David Van Dusen Dedicated to diversity, these environmental screenings and discussions reflect the astonishing Development Consultant: variety of our planet. Through the opportunity to experience documentaries, features, animation, Janet S. Curtis archival and children’s films, we encourage audiences to explore our world. Website: Free Range Graphics At the 2006 Festival, 46 filmmakers will be present to speak about their work. -
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience. -
Filmmaking with John Boorman
FILMMAKING WITH JOHN BOORMAN Course Overview This intensive one-week course, led by award-winning, world-famous British director and screenwriter John Boorman, will guide you through the skills necessary to direct a feature film. This practical, hands-on, immersive course in directing and contemporary filmmaking will bring you through the creative process from script to screen. You will learn the art of screenwriting, storyboarding, scheduling, casting, directing, lighting, camera work, sound recording and digital editing. At this end of this course you will have the necessary skills to make a short film for your business or for pleasure and will have made a short film to take away for your showreel or portfolio. John Boorman © Irish Film School 2019 PROGRAMME www.irishfilmschool.com Page 1 of 8 Tutor’s Biography A highly acclaimed British director, John Boorman is also known as one of the commercial mainstream's most independently-minded filmmakers. He has been quoted as saying "filmmaking is the process of turning money into light and then back into money again," an epigram whose simplicity has in many ways defined the trajectory of his career. Boorman has also produced most of his own films and is regarded by film bonders as a highly responsible producer who always brings a film in on - or more usually under - budget with very high production values. Film Career Boorman’s Hollywood directing debut was with cult classic Point Blank (1967), which The Sunday Times has named as one of the ten best thrillers of all time. His first prize at the Cannes International Film Festival was for Best Direction on Leo the Last (1970) starring Marcello Mastroianni. -
LES FILMS La Forêt D’Émeraude
26 JOHN BOORMAN JOHN BOORMAN JOHN RÉTROSPECTIVE 1ER – 25 JUIN PROGRAMMATION Délivrance 27 UN ROMANTIQUE SCEPTIQUE Venu de l’école anglaise du documentaire, John Boorman a rompu avec cette tradition pour s’attaquer à tous les genres cinématographiques, qu’il a l’ambi- tion de renouveler de fond en comble. Mais chez lui, le désir d’aventure et d’un ailleurs idyllique peut se révéler illusoire. Né en 1933 à Chepperton, près des célèbres studios de la banlieue londonienne, John Boorman est issu d’une famille protestante d’origine écossaise et néerlandaise et fut néanmoins élevé chez les jésuites pendant la guerre. Fréquentant les cinémas populaires puis le National Film Theatre (la cinémathèque anglaise), il se passionne très jeune pour le septième art et s’exerce comme critique de cinéma pour la radio et un journal féminin. Après son service militaire, il entre en 1955 comme assistant monteur à la télévision qui allait devenir florissante dans les années 60 permettant à de nombreux cinéastes britanniques de faire leur début. Il acquiert une première notoriété en 1963, à Bristol, où il dirige trois épisodes sur six de la série « Citizen 63 », portraits d’un homme d’affaires, d’une lycéenne et d’un savant. L’année suivante, c’est encore dans le documentaire qu’il s’illustre avec The Newcomers – qui suit un couple de Bristol, la naissance de leurs jumeaux et leur vie quotidienne en six épisodes de trente minutes. Il devient vite conscient des limites du genre documentaire et des risques qu’il fait courir aux personnes qu’il filme. -
Point Blank–Catch Us If You Can (1965)
JOHN BOORMAN (18 January 1933, London, England) directed only one film before Point Blank–Catch Us if You Can (1965). Before that, he directed the television series "The Newcomers." His most recent film is Country of My Skull (2004). Some of the others are The Tailor of Panama (2001), The General (1998), Beyond Rangoon (1995), Hope and Glory (1987), The Emerald Forest (1985), Excalibur (1981), Exorcist II: The Heretic (1977), Zardoz (1974), Deliverance (1972), and Hell in the Pacific (1968). In 1998 he did a tv bio, "Lee Marvin: A Personal Portrait." LEE MARVIN (19 February 1924, New York, New York—29 August 1987, Tucson, Arizona, heart attack) acted in 43 films and numerous TV programs. His last film was The Delta Force (1986). Some of the others were Gorky Park (1983), The Big Red One (1980), Great Scout and Cathouse Thursday (1976), The Klansman (1974), The Iceman Cometh (1973), Emperor of the North Pole (1973), Prime Cut (1972), Monte Walsh (1970), Paint Your Wagon (1969), Hell in the Pacific (1968), Sergeant Ryker (1968), The Dirty Dozen (1967), The Professionals (1966), Ship of Fools (1965), The Killers (1964), The Man Who Shot Liberty Valance (1962), 14 FEBRUARY 2006, XII:7 and The Caine Mutiny (1954). He appeared in nearly all the major television JOHN BOORMAN: Point Blank 1967. 92 min. dramatic series in the 1950s and 1960s. He won an Oscar for his portrayal of Lee Marvin...Walker twin brothers, one a falling-down drunk, the other a dapper gunslinger with a Angie Dickinson...Chris silver nose, in Cat Ballou (1965). -
Texte Intégral (PDF)
Document généré le 30 sept. 2021 11:08 Séquences La revue de cinéma Bandes annonces Robert-Claude Bérubé Numéro 152, juin 1991 URI : https://id.erudit.org/iderudit/50305ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce document Bérubé, R.-C. (1991). Bandes annonces. Séquences, (152), 11–12. Tous droits réservés © La revue Séquences Inc., 1991 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ BANDES ANNONCES Musicalité authentique, vraisemblablement Invisible Man. Il semble que le sujet Rodney E. Grant qui campait Wind sera traité avec un grain d'humour Après avoir été Danton pour in His Hair dans Dances with puisque l'acteur engagé pour jouer Andrzej Wajda, avant d'être Wolves. l'homme invisible n'est autre que Christophe Colomb pour Ridley Chevy Chase. Scott, Gérard Depardieu campera Excentricité un autre personnage historique, un Criminalité peu moins connu celui-là, le Le cinéaste canadien David musicien Martin Marais, qui oeuvra Cronenberg a trouvé une nouvelle Le comédien canadien Eugene à la cour de Louis XIV à la fin du source d'inspiration pour ses Levy que l'on a vu notamment XVIIe siècle, dans un film d'Alain visions bizarres, le roman The dans Splash, où il était le savant Corneau, Tous les matins du Naked Lunch de l'écrivain maniaque décidé à étudier la américain William Burroughs.