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Jean-Louis Paillasson Clov Philippe Oscar Césaréo Odilon Louka Comtesse De Tilly Millette Entretien Avec Jean-Louis Millette Solange Lévesque
Document generated on 09/29/2021 7:49 p.m. Jeu Revue de théâtre Jean-Louis Paillasson Clov Philippe Oscar Césaréo Odilon Louka Comtesse de Tilly Millette Entretien avec Jean-Louis Millette Solange Lévesque Portraits Number 71, 1994 URI: https://id.erudit.org/iderudit/28873ac See table of contents Publisher(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (print) 1923-2578 (digital) Explore this journal Cite this document Lévesque, S. (1994). Jean-Louis Paillasson Clov Philippe Oscar Césaréo Odilon Louka Comtesse de Tilly Millette : entretien avec Jean-Louis Millette. Jeu, (71), 8–35. Tous droits réservés © Cahiers de théâtre Jeu inc., 1994 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Solange Lévesque Jean-Louis Paillasson Clov Philippe Oscar Césaréo Odilon Louka Comtesse de Tilly Millette Entretien avec Jean-Louis Millette Débuts Êtes-vous devenu comédien par hasard, ou si c'est une profession dont vous aviez toujours rêvé ? Jean-Louis Millette — Il y a cerrainemenr une sorre de hasard qui a joué, à tout le moins un concours de circonstances. J'étudiais au Collège Sainte-Marie, et je me dirigeais vers le droir. Au collège, on me faisait parfois lire des choses en public, et j'avais joué dans des pièces d'étudiants, mais sans penser sérieusement à devenir comédien. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue
ENS LOUIS LUMIERE La Cité du Cinéma, 20 rue Ampère, 93213, BP 12 La Plaine Saint-Denis Cedex, France Tél : 33 (0) 1 84 67 00 01 www.ens-louis-lumiere.fr Mémoire de fin d’études et de recherche Section Cinéma Promotion 2014 - 2017 Caractéristiques optiques de la prise de vue 65mm État des lieux des techniques à l’usage de ce format large de prise de vue Etienne SUFFERT Ce mémoire est accompagné de la partie pratique intitulée Caractéristiques et spécificités de la prise de vue en ARRI Alexa 65, essais et comparatifs optiques. Directeur de mémoire interne : Pascal MARTIN Coordinateur de mémoire et Président du Jury : David FAROULT Coordinatrice de la partie pratique (PPM) : Dominique TROCNET Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !2/!166 REMERCIEMENTS : Je tiens à remercier chaleureusement toutes les personnes qui de près ou de loin m’ont permis de réaliser ce mémoire et rendre possible sa partie pratique l’accompagnant. L’Ecole Nationale Supérieure Louis Lumière et en particulier : Pascal MARTIN Mon directeur de mémoire, pour ses conseils et son intérêt pour le sujet Tony GAUTHIER Pour son partage de connaissance et ses conseils Dominique TROCNET, Françoise BARANGER, John LVOFF Pour leur soutien administratif, leur compréhension et pour avoir rendu possible la réalisation de la PPM Laurent STEHLIN Pour son aide précieuse et ses conseils lors de l’élaboration de la PPM Didier NOVÉ, Arthur CLOQUET Pour l’accès et la réservation du matériel nécessaire à la PPM Alain SARLAT, Elena ERHEL Pour leur investissement et leur -
Walpole Public Library DVD List A
Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair, -
Newsletter 19/06 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 19/06 DIGITAL EDITION Nr. 190 - September 2006 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 19/06 (Nr. 190) September 2006 editorial Hallo Laserdisc- und DVD-Fans, sein, mit der man alle Fans, die bereits ein lich zum 22. Bond-Film wird es bestimmt liebe Filmfreunde! Vorgängermodell teuer erworben haben, wieder ein nettes Köfferchen geben. Dann Was gibt es Neues aus Deutschland, den ärgern wird. Schick verpackt in einem ed- möglicherweise ja schon in komplett hoch- USA und Japan in Sachen DVD? Der vor- len Aktenkoffer präsentiert man alle 20 auflösender Form. Zur Stunde steht für den liegende Newsletter verrät es Ihnen. Wie offiziellen Bond-Abenteuer als jeweils 2- am 13. November 2006 in den Handel ge- versprochen haben wir in der neuen Ausga- DVD-Set mit bild- und tonmäßig komplett langenden Aktenkoffer noch kein Preis be wieder alle drei Länder untergebracht. restaurierten Fassungen. In der entspre- fest. Wer sich einen solchen sichern möch- Mit dem Nachteil, dass wieder einmal für chenden Presseerklärung heisst es dazu: te, der sollte aber nicht zögern und sein Grafiken kaum Platz ist. Dieses Mal ”Zweieinhalb Jahre arbeitete das MGM- Exemplar am besten noch heute vorbestel- mussten wir sogar auf Cover-Abbildungen Team unter Leitung von Filmrestaurateur len. Und wer nur an einzelnen Titeln inter- in der BRD-Sparte verzichten. Der John Lowry und anderen Visionären von essiert ist, den wird es freuen, dass es die Newsletter mag dadurch vielleicht etwas DTS Digital Images, dem Marktführer der Bond-Filme nicht nur als Komplettpaket ”trocken” wirken, bietet aber trotzdem den digitalen Filmrestauration, an der komplet- geben wird, sondern auch gleichzeitig als von unseren Lesern geschätzten ten Bildrestauration und peppte zudem alle einzeln erhältliche 2-DVD-Sets. -
Master Class with Douglas Trumbull: Selected Filmography 1 the Higher Learning Staff Curate Digital Resource Packages to Complem
Master Class with Douglas Trumbull: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. * mentioned or discussed during the master class ^ special effects by Douglas Trumbull Early Special Effects Films (Pre-1968) The Execution of Mary, Queen of Scots. Dir. Alfred Clark, 1895, U.S.A. 1 min. Production Co.: Edison Manufacturing Company. The Vanishing Lady (Escamotage d’une dame au théâtre Robert Houdin). Dir. Georges Méliès, 1896, France. 1 min. Production Co.: Théâtre Robert-Houdin. A Railway Collision. Dir. Walter R. Booth, 1900, U.K. 1 mins. Production Co.: Robert W. Paul. A Trip to the Moon (Le voyage dans la lune). Dir. Georges Méliès, 1902, France. 14 mins. Production Co.: Star-Film. A Trip to Mars. Dir. Ashley Miller, 1910, U.S.A. 5 mins. Production Co.: Edison Manufacturing Company. The Conquest of the Pole (À la conquête de pôle). Dir. Georges Méliès, 1912, France. 33 mins. Production Co.: Star-Film. *Intolerance: Love’s Struggle Throughout the Ages. Dir. D.W. Griffith, 1916, U.S.A. 197 mins. Production Co.: Triangle Film Corporation / Wark Producing. The Ten Commandments. -
THTR 363 Syl-Fall
THTR 363: Introduction to Sound Design INSTRUCTOR: Richard K. Thomas, 494-8050 [email protected] OFFICE HOURS: Tuesday: 2:30 – 3:30 p.m., Thursday, 1:30 – 2:30 p.m. PAO 2184 CLASS SCHEDULE: Fall 2011 August 23 Intro to Course (Music As a Foundation, pp. 1 - 6) 25 Lecture: Music Language and Theatre (Music As a Foundation, pp. 6 - 25) 30 Music as a Foundation of Theatre: Origins September 1 Lecture: Primal Elements of Music (Music As a Foundation, pp. 25 – 45) 6 Lecture: Primal Elements of Music (Cont.) 8 Lecture: Primal Elements of Music (Cont.) 13 Lecture: Dramatic Time and Space 17 Lecture: The Function of the Soundscape 20 Group Presentations: General Overview of Design Elements 22 Group Presentations: General Overview of Design Elements (cont.) 27 Watch “More to Live For” in studio (No Rick) 29 No Class: Rick at IRT October 4 Color DVDʼs DUE 6 Color Projects DUE 11 Color (Cont) 13 Octoberbreak 18 Color Composition DUE 20. Time DVDʼs Due 25 Time Projects DUE 27 Time (Cont.) November 1 Time Composition DUE 3 Mass DVDʼs DUE 8 Mass Projects DUE 10 Mass (Cont.) 15 Mass Composition DUE THTR 363 Syllabus: Fall, 2011 Page 2 17 Space DVDʼs DUE 22 Space Projects DUE 24 THANKSGIVING BREAK 29 Space Compositions DUE December 1 Line DVDʼs DUE 6 Line Projects DUE 8 Line (Cont) Final Exam Period: Sonnet Projects Due NOTE: THIS SYLLABUS SUBJECT TO CHANGE!! Course Objectives: The purpose of this course is to introduce students to an aesthetic vocabulary of design elements that is useful in both visual and auditory design. -
Ultimate Movie Collectables London - Los Angeles
Ultimate Movie Collectables London - Los Angeles Prop Store - London Office Prop Store - Los Angeles Office Great House Farm 9000 Fullbright Ave Chenies Chatsworth, CA 91311 Rickmansworth USA Hertfordshire Ph: +1 818 727 7829 WD36EP Fx: +1 818 727 7958 UK Contact: Ph: +44 1494 766485 Stephen Lane - Chief Executive Officer Fx: +44 1494 766487 [email protected] [INTRODUCTION] Prop Store Office: London Prop Store Office: Los Angeles How do you best serve your greatest passion in life? the pieces that they sought, but also establish the standards for finding, You make it your business. acquiring and preserving the props and costumes used in Hollywood’s most beloved films. In 1998, UK native Stephen Lane did just that. Stephen’s love for movies led him ENTER: THE PROP STORE OF LONDON to begin hunting for the same props and Stephen and his team came to market already looking beyond the business costumes that were used to create his of simply collecting and selling movie props. Instead, the Prop Store team favorite films. It was the early days of the set out like a band of movie archaeologists, looking to locate, research internet and an entire world of largely and preserve the treasure troves of important artifacts that hid in dark, isolated collectors was just beginning to sometimes forgotten corners all over the world. And it’s now thanks to come together. As Stephen began making Stephen’s vision and the hard work of his dedicated team that so many of friends and connections all over the world— film history’s most priceless artifacts have found their way into either the relationships that continue today—he loving hands of private collectors or, as one of Stephen’s greatest movie realized that he was participating in the explosion of a hobby that would heroes would say, “into a museum!” soon reach every corner of the globe. -
REDLINE Partners ABOUT the FILM
Premiere at The 62nd Locarno International Film Festival © 2009 Katsuhito Ishii, GASTONIA, MADHOUSE / REDLINE Partners ABOUT THE FILM DIRECTOR: PRODUCTION YEAR: Takeshi KOIKE (Animatrix “World Record”) 2009 SCREENPLAY: WORLD PREMIERE: Katsuhito ISHII The 62nd Film Festival Locarno (“Shark Skin Man & Peach Hip Girl”, “Party 7”, etc.) Yoji ENOKIDO (“Neon Genesis Evangelion”, “Aim for the Top GunBuster2”) LENGTH: Yoshiki SAKURAI 101min (“Ghost in the Shell: Stand Alone Complex”) COLORS: ORIGINAL STORY: Color Katsuhito ISHII FORMAT: MUSIC: Digital Cinema / High Definition James SHIMOJI (“Party 7”, “Survive Style 5+”) SCREEN RATIO 1:1.85, SOUND 5.1ch (6 channel) SOUND: Noriyuki SAKAMOTO ANIMATION: MADHOUSE (“The Girl Who Leapt Through Time”, “Paprika”) © 2009 Katsuhito Ishii, GASTONIA, MADHOUSE / REDLINE Partners INTRODUCTION Katsuhito Ishii, the creative wizard, has teamed up with sprited animator Takeshi Koike as director, for the animation epic “REDLINE”. After 5 years of production, “REDLINE” will finally emerge in its entirety. “REDLINE” will be world premiered as part of Piazza Grande programming of Locarno International Film Festival. The world’s most enormous, finest open-air cinema Piazza Grande holds up to 10,000 audience. As a representative of Japanese animations, “REDLINE” will proudly demonstrate the potential and new possibilities of 2D animation, amidst the current prominence of 3D animation. In this year’s Locarno International Film Festival, the great retrospective event for Japanese established animations, entitled “MANGA IMPACT” will take place as well. “REDLINE” will be released theatrically Spring 2010 in Japan. © 2009 Katsuhito Ishii, GASTONIA, MADHOUSE / REDLINE Partners SYNOPSIS The toughest and the most destructive underground car race in the universe, REDLINE, has just begun! JP is a reckless driver oblivious to speed limits, and Sonoshee, one of his competitors with whom JP is secretly in love with, is a hot girl determined to do whatever it takes to stand on the winner’s podium. -
The Most Popular Canadian Films
Spring 2005 The Alliance of Canadian Cinema, Television and Radio Artists INSIDE: CANADIAN FEATURE FILMS 2005 Genie The race to get ahead – page 8 Awards Reflections on a dream role Thor Bishopric ack in 1984, I spent the whole summer end of May, I will preside over my last the country. Many of them feel more like Bworking on a feature film shot at an National Council meeting as ACTRA family members than employees. I have amusement park in Montreal. It was a President. I have served for six years – studied the operations of all of ACTRA’s great summer job. And it was an exciting believe it or not, the longest period in large, sister-organizations and I can assure time to be an actor as there was a fair office of a National President in ACTRA’s you without qualification, that we have the amount of capital flowing into our indus- history. The experience of leading this finest complement of staff of any performer try. It seemed Canadian movies were des- tined to break out. One afternoon on set, I mentioned to At the end of May, I will preside over my last National my co-star, (to this day one of Canada’s most successful performers) that there was Council meeting as ACTRA President. I have served for an ACTRA meeting that night and did he want to check it out with me. He didn’t six years – believe it or not, the longest period in miss a beat. “Thor, ACTRA meetings aren’t cool,” he said. -
Zu Ein Paar Filmen Robert Siodmaks
Der Blick ins Leere : zu ein paar Filmen Robert Siodmaks Autor(en): Göttler, Fritz Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 30 (1988) Heft 162 PDF erstellt am: 09.10.2021 Persistenter Link: http://doi.org/10.5169/seals-866778 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Retrospektive Der Blick ins Leere Zu ein paar Filmen Robert Siodmaks Alle Mann an Deck! Setzt alle Segel! Ein Mack Sennet vom film noir? Kommt näher, meine Freunde, kommt näher. Ihr seid zur letzten Fahrt des roten Korsaren geshanghait worden. Wenn's ums Kino ging, war Siodmak nicht zimperlich, er Ihr habt sie vor langer Zeit im Karibischen Meer hielt nichts von psychologischen Feinheiten und Details. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.