DOCSLIB.ORG

Lo Que Queda Del Día

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lo Que Queda Del Día Lo que Queda del Día (THE REMAINS OF THE DAY) EN TORNO A LAS Nº 228 (ABRIL 2008) ÓPERAS SINOPSIS James Stevens es el perfecto mayordomo británico, un ideal que él lleva hasta el extremo al servicio de su señor, Lord Darlington, el cual ha sido captado por los nazis para intentar establecer una vía de co- municación con el gobierno británico. Emma Thompson es el ama de llaves de la mansión, una mujer joven y llena de vida que contempla horrorizada lo que sucede escaleras arriba. FICHA ARTÍSTICA James Stevens ..................................................... ANTHONY HOPKINS Mary Kenton ..........................................................EMMA THOMPSON Lord Darlington................................................................ JAMES FOX Charlie.......................................................................... BEN CHAPLIN Jack Lewis .......................................................CHRISTOPHER REEVE Reginald Cardinal.......................................................... HUGH GRANT FICHA TÉCNICA Duración....................... 134 min. Dirección ............... JAMES IVORY Fotografía .. T. PIERCE-ROBERTS Nacionalidad... EE. UU., R. Unido Productora ...........S. G. COMPANY Montaje .........ANDREW MARCUS Año de Producción .............. 1993 Productor..... ISMAEL MERCHANT Música ........ RICHARD ROBBINS (Color) ....JOHN CALLEY, MIKE NICHOLS Dir. Artística ......... JOHN RALPH Guión ...... R. PRAWER JHABVALA Vestuario.........JEANNE BEAVAN . (Basado en la novela de Kazuo Ishiguro) ........................... JOHN BRIGHT EL DIRECTOR: JAMES IVORY Nacido en Berkeley (California) el 7 de julio de 1928, en el seno de una familia bur- guesa y católica, James Francis Ivory estudió arquitectura y bellas artes en la Uni- versidad de Oregón. Su interés por el cine le lleva a París a principios de los años cincuenta para ingresar en la Escuela de Cinematografía, pero tras el inicio de la guerra de Corea regresa a California donde completaría sus estudios. Con el corto- metraje Venice: Theme and variations (1957), su práctica de fin de carrera rodada en Venecia, Ivory debuta como director y guionista en el género documental. Poco des- pués viaja a la India para rodar otro documental, The Sword and the flute (1959), y donde fundaría junto a Ismael Merchant la productora independiente Merchant- Ivory. En 1963 da el salto al largometraje de ficción con The householder, a la que seguirían títulos como The guru (1969), Salvajes (1972), Fiesta salvaje (1975), Rose- land (1977) y Las bostonianas (1984) entre otros. Con Una habitación con vistas (1985), Ivory obtiene el reconocimiento del público y la crítica internacional, éxito que repetiría con Regreso a Howards End (1992) –por la que recibiría una nomina- ción al Oscar al Mejor Director- y Lo que queda del día (1993). Entre sus últimos títulos destacan Sobrevivir a Picasso (1996) y Le divorce (2003) ILMOGRAFÍA RINCIPAL DEL IRECTOR ALARDONES F P D G 1963 The householder 1985 Una habitación con vistas (The householder) (A room with a view) 1965 Shakespeare wallah 1987 Maurice NATIONAL (Shakespeare wallah) (Maurice) BOARD OF 1968 The guru 1989 Esclavos en Nueva York REVIEW (The guru) (Slaves of New York) 1993 1970 Bombay talkie 1990 Esperando a Mr. Bridges (62ª Ed.) (Bombay talkie) (Mr. and Mrs. Bridges) 1972 Salvajes 1992 Regreso a Howards End (Savages) (Howards End) Mejor Actor 1975 Fiesta salvaje 1993 Lo que queda del día (Anthony Hopkins) (The wild party) (Remains of the day) 1977 Roseland 1995 Jefferson en Paris (Roseland) (Jefferson in Paris) COLABORA 1979 Los europeos 1996 Sobrevivir a Picasso (The europeans) (Surviving Picasso) 1980 Manhattan 1998 La hija de un soldado nunca llora (Jane Austen in Manhattan) (A soldier’s daughter never cries) 1984 Las bostonianas 2003 Le divorce (The bostonians) (Le divorce) COMENTARIO A finales de los años 40, en la campiña inglesa, la mansión Darling- mansión, es un simpatizante del movimiento Nazi, y usa su influen- ton Hall, morada del difunto Lord Darlington veinte años atrás, ha cia para promover los acuerdos políticos que los historiadores han sido vendida a un congresista americano retirado, Mr. Lewis (Chris- llamado “política de apaciguamiento”, promovida por el Primer Minis- topher Reeve). Al frente del servicio de la casa se encuentra Mr. Ste- tro británico Neville Chamberlain. Esta consistía en que, debido al vens (Anthony Hopkins), un mayordomo emocionalmente reprimido, temor de repetir los atroces acontecimientos transcurridos durante la quien ha pasado gran parte de su vida trabajando en Darlington Primera Guerra Mundial, Francia y Gran Bretaña actuaron con total Hall. Mr. Stevens recibe una carta de Miss Kenton (Emma Thomson), permisividad ante las acciones del Tercer Reich, las cuales desembo- Ama de Llaves de la mansión veinte años atrás. En dicha carta, Miss caron en la invasión de Polonia. En las reuniones celebradas en la Kenton revela que su matrimonio ha fracasado y que siente nostalgia mansión participa el futuro dueño de la mansión, Mr. Lewis, el cual por aquellos maravillosos días en los que ella trabajó en la casa. está en contra del apaciguamiento y se muestra a favor de la Realpo- Stevens decide viajar a visitar a Miss Kenton con la intención de litik o Política de la Realidad, que pretende una política exterior persuadirla para que vuelva al servicio de la Mansión. La película, basada en intereses prácticos, más que en la teoría o la ética. Lord que en un principio transcurre durante este viaje, en su mayor parte Darlington muere arruinado y acosado por la prensa debido a su se desarrolla en continuos flashbacks hacia el pasado de la mansión, papel en los acontecimientos previos a la Segunda Guerra Mundial. cuando Miss Kenton entra a trabajar en la mansión. Darlington Hall Esto supone un dilema y una prueba de lealtad para Stevens quien, es frecuentada por muchos políticos del periodo entre guerras, los durante su viaje, es preguntado sobre su procedencia de Darlington cuales deciden asuntos de estado importantes durante el transcurso Hall, lo que llega a negar en una ocasión. Esta compleja historia, de su visita a la mansión. Stevens, leal y perfeccionista, tranquilo y premiada por el mundo del cine, está basada en la novela del escritor eficiente, debe dirigir la casa de tal forma que la servidumbre sea británico-japonés Kazuo Ishiguro, del mismo título, que se refiere al casi invisible. Continuamente tiene desencuentros con Miss Kenton, ocaso del día, después de una jornada de trabajo, cuando una per- pero solo se permite demostrar un ligero descontento. Kenton es sona reflexiona sobre lo acontecido en la jornada. Esta parte del día igual de eficiente y de una voluntad férrea, pero menos atemperada. también es un símbolo del ocaso de la edad del hombre, cuando éste La relación entre ambos es normalmente cálida, incluso a veces hace una retrospectiva de su vida y la valora. Otro aspecto a desta- Kenton disfruta tomándole el pelo a Stevens, claro está, dentro de la car es la preservación de las formas y la etiqueta. Esto es lo que más formalidad y rectitud debidas. A medida que transcurre la película, impacta de esta historia que, sin embargo, en el libro es mucho más queda más patente que ella se ha enamorado de Stevens. Quizás el estricta y patente, empapada de los formalismos japoneses en el sentimiento es recíproco, pero el hermetismo de éste último no da libro, y relajada por la frescura de Emma Thompson en la película. lugar a indicios. Ella intenta derrumbar su coraza, pero su frialdad Desde luego, estamos ante un argumento complejo, en el que los emocional es infranqueable. Al margen de las historias personales personajes dan vida a una historia llena de matices y de tramas que que se relatan en esta película, sin duda el trasfondo en el que se se entrecruzan, formando un tapiz digno de decorar la mejor man- desarrollan es de carácter histórico. Lord Darlington, el dueño de la sión de la campiña británica. mansión SOBRE EL REPARTO ANTHONY HOPKINS EMMA THOMPSON Nacido el 31 de diciembre de 1937 en Port Talbot, West Glamorgan Hija de la actriz Phyllida Law y el director Eric Thompson, Emma (Gales), Philip Anthony Hopkins descubrió su pasión por la interpre- nació el 15 de abril de 1959 en Londres. Tras graduarse en filología tación durante su adolescencia, faceta que desarrollaría durante sus inglesa en la Universidad de Cambridge en 1980, la BBC la contrata estudios en el College Of Music and Drama de Cardiff y en la Royal para participar en el programa de humor Alfresco, junto a Stephen Academic of Dramatic Arts de Londres. Tras concluir sus estudios Fry y su entonces novio Hugh Laurie, al tiempo que debutaba en el Hopkins brilló con sus actuaciones teatrales con la National Theatre teatro con un papel principal en la obra Me and my girl en el West en el Old Vic. Aunque su debut cinematográfico se produce en 1967 End de Londres. En 1987, durante el rodaje de la serie de la BBC con The white bus de Lindsay Anderson, su primer papel importante Fortune of World, conoce a Kenneth Brannagh, actor y cineasta con en el cine fue al lado de Katharine Hepburn y Peter O'Toole en El el que formaría pareja profesional en los escenarios y con quien se león en invierno (1968), dirigida por Anthony Harvey. En los años casaría en 1989. Su debut en el cine se produce con The tall guy siguientes, Hopkins consolidaría una larga y prolífica carrera profe- (1989), una comedia romántica dirigida por Mel Smith, a la que sional en el teatro y la televisión sin abandonar el cine, donde apare- seguirían Enrique V (1989), Morir todavía (1991), Los amigos de cería en títulos como Chantaje a una esposa (1973), Las dos vidas de Peter (1992) y Mucho ruido y pocas nueces (1993), todas ella dirigi- Audrey Rose (1977), Un puente lejano (1977), El hombre elefante das por Brannagh. Su papel en Regreso a Howards End (1992) su- (1980) y Motín a bordo (1984). Sin embargo sería en 1991 cuando pondrá el espaldarazo definitivo a su carrera, obteniendo el Oscar, el Hopkins alcanzó la fama mundial al interpretar al Dr.
Load more

Recommended publications
  • Leslie Caron
    COUNCIL FILE NO. t)q .~~f7:; COUNCIL DISTRICT NO. 13 APPROVAL FOR ACCELERATED PROCESSING DIRECT TO CITY COUNCIL The attached Council File may be processed directly to Council pursuant to the procedure approved June 26, 1990, (CF 83-1075-81) without being referred to the Public Works Committee because the action on the file checked below is deemed to be routine and/or administrative in nature: -} A. Future Street Acceptance. -} B. Quitclaim of Easement(s). -} C. Dedication of Easement(s). -} D. Release of Restriction(s) . ..10 E. Request for Star in Hollywood Walk of Fame. -} F. Brass Plaque(s) in San Pedro Sport Walk. -} G. Resolution to Vacate or Ordinance submitted in response to Council action. -} H. Approval of plans/specifications submitted by Los Angeles County Flood Control District. APPROVAL/DISAPPROVAL FOR ACCELERATED PROCESSING: APPROVED DISAPPROVED* Council Office of the District Public Works Committee Chairperson 'DISAPPROVED FILES WILL BE REFERRED TO THE PUBLIC WORKS COMMITTEE. Please return to Council Index Section, Room 615 City Hall City Clerk Processing: Date notice and report copy mailed to interested parties advising of Council date for this item. Date scheduled in Council. AFTER COUNCIL ACTION: ___ -f} Send copy of adopted report to the Real Estate Section, Development Services Division, Bureau of Engineering (Mail Stop No. 515) for further processing. __ ---J} Other: . .;~ ';, PLEASE DO NOT DETACH THIS APPROVAL SHEET FROM THE COUNCIL FILE ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles California To the Honorable Council Of the City of Los Angeles NOV 242009 Honorable Members: C. D. No. 13 SUBJECT: Hollywood Boulevard and Vine Street - Walk of Fame Additional Name in Terrazzo Sidewalk- LESLIE CARON RECOMMENDATIONS: A.
    [Show full text]
  • 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.
    [Show full text]
  • Carol Ramsey
    CAROL RAMSEY Costume Designer Selected Features: DADDY’S HOME 2 - Paramount - Sean Anders, director CENTRAL INTELLIGENCE - New Line Cinema - Rawson Marshall Thurber, director DADDY’S HOME - Paramount - Sean Anders, director HORRIBLE BOSSES 2 - New Line Cinema - Sean Anders, director IDENTITY THIEF - Universal - Seth Gordon, director HORRIBLE BOSSES - New Line Cinema - Seth Gordon, director THE OTHER GUYS - Columbia/Mosaic - Adam McKay, director THE CITY OF YOUR FINAL DESTINATION - Merchant/Ivory - James Ivory, director DECK THE HALLS - 20th Century Fox - John Whitesell, director STICK IT - Disney - Jessica Bendinger, director MEET THE FOCKERS - Universal - Jay Roach, director DODGE BALL: A TRUE UNDERDOG STORY - Red Hour/Fox - Rawson Thurber, director SCARY MOVIE 3 - Dimension Films - David Zucker, director BAD BOYS 2 (shared credit) - Columbia - Michael Bay, director LE DIVORCE - Merchant-Ivory - James Ivory, director TUCK EVERLASTING - Disney/Beacon - Jay Russell, director A SOLDIER'S DAUGHTER NEVER CRIES - Merchant-Ivory - James Ivory, director JUNGLE 2 JUNGLE - Buena Vista - John Pasquin, director SURVIVING PICASSO - Warner Bros. - James Ivory, director THE SANTA CLAUSE - Hollywood Pictures - John Pasquin, director FOREIGN STUDENT - Universal - Eva Sereny, director DRAGON: THE BRUCE LEE STORY - Universal - Rob Cohen, director CROSSING THE BRIDGE - Outlaw Productions - Mike Binder, director DON’T TELL MOM THE BABYSITTER’S DEAD - Outlaw Productions – Stephen Herek, director MR. AND MRS. BRIDGE - Miramax - James Ivory, director KING OF
    [Show full text]
  • Americans in Paris, Fall 2010
    First-Year Seminar Fall 2010 Americans in Paris “America is my country and Paris is my hometown.” – Gertrude Stein Professor Suzanne Jones, Ryland Hall 307, 289-8307, email "[email protected]" Office Hours: TR 12-12:30, 2:45 – 3:15 p.m., and by appointment Course Description: American writers and artists – from Thomas Jefferson to Henry James, Edith Wharton to Ernest Hemingway, Scott Fitzgerald to Shay Youngblood – have viewed the French as a people who value art and creativity, the aesthete and the intellectual, more highly than Americans. Those Americans marginalized or discriminated against in the U.S., such as Josephine Baker and James Baldwin and a variety of jazz musicians, have judged Paris to be a place where they can live and love and create as they please. In this seminar we will discuss what Americans hope to find in Paris that they don’t find in the United States, we will locate where the Paris of their dreams departs from reality, and we will compare their quests across generations and demographic groups. We will also be on the lookout for how the writers’ narratives can sometimes be at odds with the structures, both film and fiction, that contain them. Throughout the semester we will attempt to think more complexly about American stereotypes of Paris and French people, both positive and negative; about why these stereotypes exist and what functions they serve for Americans. But we will also consider how Americans are perceived by the French and why, and the effects of misperceptions on both sides of the Atlantic.
    [Show full text]
  • Video-Windows-Grosse
    THEATRICAL VIDEO ANNOUNCEMENT TITLE VIDEO RELEASE VIDEO WINDOW GROSS (in millions) DISTRIBUTOR RELEASE ANNOUNCEMENT WINDOW DISNEY Fantasia/2000 1/1/00 8/24/00 7 mo 23 Days 11/14/00 10 mo 13 Days 60.5 Disney Down to You 1/21/00 5/31/00 4 mo 10 Days 7/11/00 5 mo 20 Days 20.3 Disney Gun Shy 2/4/00 4/11/00 2 mo 7 Days 6/20/00 4 mo 16 Days 1.6 Disney Scream 3 2/4/00 5/13/00 3 mo 9 Days 7/4/00 5 mo 89.1 Disney The Tigger Movie 2/11/00 5/31/00 3 mo 20 Days 8/22/00 6 mo 11 Days 45.5 Disney Reindeer Games 2/25/00 6/2/00 3 mo 8 Days 8/8/00 5 mo 14 Days 23.3 Disney Mission to Mars 3/10/00 7/4/00 3 mo 24 Days 9/12/00 6 mo 2 Days 60.8 Disney High Fidelity 3/31/00 7/4/00 3 mo 4 Days 9/19/00 5 mo 19 Days 27.2 Disney East is East 4/14/00 7/4/00 2 mo 16 Days 9/12/00 4 mo 29 Days 4.1 Disney Keeping the Faith 4/14/00 7/4/00 2 mo 16 Days 10/17/00 6 mo 3 Days 37 Disney Committed 4/28/00 9/7/00 4 mo 10 Days 10/10/00 5 mo 12 Days 0.04 Disney Hamlet 5/12/00 9/18/00 4 mo 6 Days 11/14/00 6 mo 2 Days 1.5 Disney Dinosaur 5/19/00 10/19/00 5 mo 1/30/01 8 mo 11 Days 137.7 Disney Shanghai Noon 5/26/00 8/12/00 2 mo 17 Days 11/14/00 5 mo 19 Days 56.9 Disney Gone in 60 Seconds 6/9/00 9/18/00 3 mo 9 Days 12/12/00 6 mo 3 Days 101.6 Disney Love’s Labour’s Lost 6/9/00 10/19/00 4 mo 10 Days 12/19/00 6 mo 10 Days 0.2 Disney Boys and Girls 6/16/00 9/18/00 3 mo 2 Days 11/14/00 4 mo 29 Days 21.7 Disney Disney’s The Kid 7/7/00 11/28/00 4 mo 21 Days 1/16/01 6 mo 9 Days 69.6 Disney Scary Movie 7/7/00 9/18/00 2 mo 11 Days 1212/00 5 mo 5 Days 157 Disney Coyote Ugly 8/4/00 11/28/00 3
    [Show full text]
  • The White Countess
    Mongrel Media Presents THE WHITE COUNTESS A Film By James Ivory (2005, USA, 135 minutes) Distribution 1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com Publicity Bonne Smith Star PR Tel: 416-488-4436 Fax: 416-488-8438 E-mail: [email protected] High res stills may be downloaded from http://www.mongrelmedia.com/press.html THE WHITE COUNTESS Brief Synopsis Shanghai, 1936 was a crossroads for political intrigue, refugees escaping turmoil, gathering military forces, international business, and underworld culture. Two people caught in this maelstrom forge a bond on the brink of the Japanese invasion: a beautiful Russian countess, reduced by circumstances to supporting her family as a bar girl and taxi dancer; and a blind former diplomat, devastated by the loss of his family in political violence and disillusioned by the world’s inability to make peace. The story revolves around “The White Countess,” the elegant nightclub created by the diplomat to shut out the chaos and tragedy that surround him. 2 Principal Cast Jackson Ralph Fiennes Sofia Natasha Richardson Aunt Sara Vanessa Redgrave Olga Lynn Redgrave Greshenka Madeleine Potter Uncle Peter John Wood Katya Madeleine Daly Matsuda Hiroyuki Sanada Samuel Allan Corduner Liu Luoyong Wang Principal Crew Director James Ivory Producer Ismail Merchant Original Screenplay Kazuo Ishiguro Co-Producer Paul Bradley Co-Producer Richard Hawley Director of Photography Christopher Doyle Music Richard Robbins Editor
    [Show full text]
  • Useful Cites/Sites
    Use of Videos and other Media in Family Law Naomi Cahn, GWU Law School 1) Why? a) It is fun, b) students may know (or not) the films, c) adds variety to the classroom d) helps students recognize and understand: i) varying familial relationships and their tensions ii) legal implications and perceptions e) provides evidence of cultural norms concerning the family 2) Why not? a) TECHNICAL issues b) Time-consuming to prepare c) Time-consuming in class d) Potentially trivializes the topic – too light-hearted 3) Whole films or shorter clips? a) If use the whole film, i) can stop and ask questions, or ii) discuss film later iii) either way, should help focus students on specific scenes b) If use shorter clips, then integrate into class i) Dramatize point already made ii) Focus questioning 4) Types of video a) Commercial movies b) Documentaries c) Specially made videos (by instructor, students, etc.) 5) Songs a) Background for each class b) Helps students see pervasiveness of family law issues in popular culture, examine images and stereotypes 6) Fair use? a) For suggested guidelines, see http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/chapter7/7- c.html#2 b) Your institution’s guidelines 39 Source List Family Law Movies Compiled by: Kasia Solon (GW), Barbara Glesner-Fines (UMKC), Nancy Ver Steegh (Wm. Mitchell), and Naomi Cahn (GW) Divorce The Awful Truth (1937) Cary Grant & Irene Dunne [custody of pet] Divorce American Style (1967) Dick Van Dyke and Debbie Reynolds Divorce Italian Style (1962) Marcello Mastroianni Le Divorce (2003)
    [Show full text]
  • Americans in Paris Syllabusv2
    First-Year Seminar Fall 2010 Americans in Paris “America is my country and Paris is my hometown.” – Gertrude Stein Professor Suzanne Jones, Ryland Hall 307, 289-8307, email "[email protected]" Office Hours: TR 12-12:30, 2:45 – 3:15 p.m., and by appointment Course Description: American writers and artists – from Thomas Jefferson to Henry James, Edith Wharton to Ernest Hemingway, Scott Fitzgerald to Shay Youngblood – have viewed the French as a people who value art and creativity, the aesthete and the intellectual, more highly than Americans. Those Americans marginalized or discriminated against in the U.S., such as Josephine Baker and James Baldwin and a variety of jazz musicians, have judged Paris to be a place where they can live and love and create as they please. In this seminar we will discuss what Americans hope to find in Paris that they don’t find in the United States, we will locate where the Paris of their dreams departs from reality, and we will compare their quests across generations and demographic groups. We will also be on the lookout for how the writers’ narratives can sometimes be at odds with the structures, both film and fiction, that contain them. Throughout the semester we will attempt to think more complexly about American stereotypes of Paris and French people, both positive and negative; about why these stereotypes exist and what functions they serve for Americans. But we will also consider how Americans are perceived by the French and why, and the effects of misperceptions on both sides of the Atlantic.
    [Show full text]
  • Ali Cherkaoui – First Assistant Director
    ALI CHERKAOUI – FIRST ASSISTANT DIRECTOR DGA Member (Southern California Qualification List : UPM) AFAR Member cell fr : + 33 6 17 33 11 00 — cell us : +1 415 425 1558 — cell ma : +212 6 61 74 63 80 www.alitronics.com — [email protected] — skype : ‘alitronics‘ Talent Agency Agency for the Performing Arts (APA) - 405 S Beverly Dr. - Beverly Hills, CA 90212 - USA +1 (310) 888 4200 phone / +1 (310) 888 4242 fax / production.apa-agency.com Representative : Julian SAVODIVKER : +1 (310) 888 4256 - [email protected] - FIRST ASSISTANT DIRECTOR - THE LAST DUEL (Feature) directed by Ridley SCOTT January/March 2020 : First Assistant-Director : France Produced by : (us) / PENINSULA FILM ROYAL ICE (fr) Cast : Matt DAMON, Adam DRIVER, Jodie COMER, Ben AFFLECK… Prep & Shoot in Dordogne, Occitanie, Bourgogne - France GUNPOWDER MILKSHAKE (Feature) directed by Navot PAPUSHADO March/ August 2019 : First Assistant-Director Produced by : THE PICTURE COMPANY (us) / STUDIOCANAL (uk) / STUDIO BABELSBERG (de) Cast : Karen GILLIAN, Lena HEADEY, Chloe COLEMAN, Angela BASSET, Michel YEOH, Carla GUGINO, Paul GIAMATTI Prep & Shoot in Berlin, Germany THE SPY (TV Series in 6 Episodes - Netflix / OCS ) directed by Gideon RAFF January / August 2018 : First Assistant-Director Produced by : LEGENDE FILMS / NETFLIX / OCS Cast : Sacha BARON COHEN, Noah EMMERICH, Hadar RATZON ROTEM, Alexander SIDDIG, Nassim LYES Prep & Shoot in Morocco ( Fes, Azrou & Casablanca) and Budapest, Hungary THE BREITNER COMMANDO (QU’UN SANG IMPUR..) (Feature) directed by Abdel-Raouf
    [Show full text]
  • Introduction: Depicting Love in Cinema
    Notes Introduction: Depicting Love in Cinema 1 . Mike Featherstone. ‘Love and Eroticism: An Introduction’ Theory, Culture and Society 15, no. 1 (1998): 2. 2 . David Bordwell, Janet Staiger and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985: 16. 3 . Kenneth MacKinnon. ‘Male Spectatorship and the Hollywood Love Story’ Journal of Gender Studies 12, no. 2 (2003): 125; James J. Dowd and Nicole R. Pallotta. ‘The End of Romance: Demystification of Love in the Post- Modern Age’ Sociological Perspectives 43, no. 4 (2000): 554. 4 . Stanley Cavell. Pursuits of Happiness: The Hollywood Comedy of Remarriage . Cambridge: Harvard University Press, 1981; Mark D. Rubinfeld. Bound to Bond: Gender, Genre and the Hollywood Romantic Comedy . Westport, Connecticut: Praeger, 2001; Tamar Jeffers McDonald. Romantic Comedy: Boy Meets Girl Meets Genre . London: Wallflower, 2007. 5 . See for example, McDonald. Romantic Comedy , the full title of whose monograph on the romantic comedy draws attention to the widely known structure of the genre. See also Stacey Abbott and Deborah Jermyn. ‘Introduction: A Lot Like Love’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn, 1–8. London: I. B. Tauris, 2009; Kristine Brunovska Karnick. ‘Commitment and Reaffirmation in Hollywood Romantic Comedy’ in Classical Hollywood Comedy , edited by Kristine Brunovska Karnick and Henry Jenkins, 123–146. New York: Routledge, 1995. It ought to be noted that this formula is a simplistic overview of the genre and elements, such as the genders, are interchangeable. The purpose here, however, is to illustrate the familiarity audiences have with the genre via this formula, which gives a basic illus- tration to the importance of companionate love.
    [Show full text]
  • Two Essays in Business Forecasting and Decision-Making
    TWO ESSAYS IN BUSINESS FORECASTING AND DECISION-MAKING Carmina Caringal Clarke Doctor of Philosophy, 2007 Australian Graduate School of Management University of New South Wales THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: CLARKE First name: CARMINA CARINGAL Other name/s: Abbreviation for degree as given in the University calendar: PH.D. School: AUSTRALIAN GRADUATE SCHOOL OF MANAGEMENT Faculty: AUSTRALIAN SCHOOL OF BUSINESS Title: TWO ESSAYS IN BUSINESS FORECASTING AND DECISION-MAKING Abstract 350 words maximum: (PLEASE TYPE) This dissertation is two essays in business decision-making. The first essay is motivated by recent field evidence suggesting significant reliance on conventional techniques (e.g. NPV and DCF) without assessment of the decision profile - its degree of uncertainty, ambiguity and knowledge distribution. However, without knowing the decision profile, the chosen decision might not be appropriate given the decision situation. Therefore, essay 1 develops a multi-faceted conceptualization of the decision profile and provides a prescriptive model for choosing appraisal methods based on this profile. Specifically, it prescribes the limited use of conventional methods to low ambiguity and uncertainty situations and using decision trees, real options, scenario planning and case-based methods as the level of uncertainty increases. In high ambiguity situations, however, the only viable approaches are case-based methods which do not have perfect information assumption that conventional alternative methods do. Case-based methods have been supported theoretically in case-based decisions and case-based reasoning literature but lags in its use in business decision-making. Possible reasons for this include a lack of concrete applications and developments of major concepts such as its case memory, similarity and prediction functions.
    [Show full text]
  • LE JOLI MAI the LOVELY MONTH of MAY a Film by Chris Marker & Pierre Lhomme an Icarus Films Release
    LE JOLI MAI THE LOVELY MONTH OF MAY A film by Chris Marker & Pierre Lhomme An Icarus Films Release “Mr. Marker has a penetrating camera and a penetrating mind. Both are employed with a searching persistence in this film, dissecting Paris, dissecting the people who live in Paris.” —Vincent Canby, The New York Times (1966) North American Theatrical Premiere Engagement Sept. 13 at Film Forum, NYC; Sept. 20 at Laemmle’s Playhouse 7 and Royal Theaters, Los Angeles; Oct. 15 at Magic Lantern’s Carlton Cinema, Toronto; Nov. 15 at Landmark’s Opera Plaza and Shattuck Cinemas, San Francisco; Dec. 6 at Landmark’s Kendall Square, Boston; and more. Icarus Films 1963, France, 145 mins. / 1.66:1 / B&W / DCP 32 Court Street, Floor 21 Brooklyn, NY 11201 USA Press Contact: Colin Beckett, [email protected] Tel 1.718.488.8900 Bookings Contact: Livia Bloom, [email protected] www.IcarusFilms.com ABOUT THE FILM Long unavailable in the U.S. and a major work in the oeuvre of filmmaker Chris Marker (1921-2012), LE JOLI MAI was awarded the International Critics Prize at the 1963 Cannes Film Festival and the “First Work” Prize at the 1963 Venice Film Festival. It premiered in North America in September 1963 at the first New York Film Festival. This restoration of LE JOLI MAI premiered at the Cannes Film Festival on May 16, 2013, 50 years after the film first premiered there. It was created according to the wishes of Marker, supervised by the film’s cinematographer and co-director, Pierre Lhomme (b.
    [Show full text]