Hommage À John Boorman
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
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. -
Análise Do Filme “Excalibur, a Espada Do Poder” Conservatism in the Cinema of the 1980S: Analysis of the Film “Excalibur, the Sword of Power”
Revista do Corpo Discente do Programa de Pós-Graduação em História da UnB EM TEMPO DE HISTÓRIAS | Brasília-DF | n. 37 | p. 634-653 | jul./dez. 2020. ISSN 2316-1191 _________________________________________________________________________________________________________ Recebido em 11/05/2020 Aceito em 20/07/2020 DOI: 10.26512/emtempos.v1i37.31456 DOSSIÊ Conservadorismo no Cinema dos anos 1980: análise do Filme “Excalibur, a Espada do Poder” Conservatism in the Cinema of the 1980s: analysis of the Film “Excalibur, the Sword of Power” Ramiro Paim Trindade Junior Mestrando em História na UFSM orcid.org/0000-0002-9825-3158 [email protected] RESUMO: Buscamos aqui discutir as representações dos personagens principais do filme “Excalibur, a Espada do Poder” (Excalibur, 1981, John Boorman), com o objetivo de identificar os discursos que carregam, e elucidar como foram adaptados pela década de 1980 e como isso pode nos ajudar a entender esse contexto. Ademais, trabalhamos também com os conceitos de Medievalidades e Reminiscências Medievais, para destacar como a Idade Média foi retratada em nossa fonte. Nesse sentido, utilizamos o livro “A Morte de Artur”, base do roteiro, a fim de tornar claras as escolhas efetuadas na adaptação cinematográfica. Por conta disso, percebemos que a película de 1981 apresenta uma exaltação clara dos seus personagens masculinos e uma depreciação das protagonistas femininas. Esses aspectos são, em grande medida, resultado da influência de visões conservadoras e reacionárias da época, conforme explicaremos a seguir. PALAVRAS-CHAVES: Cinema. Representação. Conservadorismo. ABSTRACT: We seek here to discuss the representations of the main characters of the film “Excalibur, a Espada do Poder” (Excalibur, 1981, John Boorman), with the aim of identifying the discourses they carry, and elucidating how were adapted by the 1980s and how it can help us understand this context. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
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. -
ECHOES of MYTH the FEATURE FILMS of JOHN BOORMAN by PETER WILTON JOHNSON M.A. the University of British Columbia, 1984 a THESIS
ECHOES OF MYTH THE FEATURE FILMS OF JOHN BOORMAN By PETER WILTON JOHNSON M.A. The University of British Columbia, 1984 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Theatre We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, 1984 © Peter Wilton Johnson, 1984 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 7 DE-6 (3/81) ii ABSTRACT All eight feature films (1965-1981) of John Boorman were viewed and analyzed according to Auteur Theory. The recondite themes and motifs found throughout his work revealed a preoccupationwwith character and events in the Grail legend. Thematically, Boorman's rendering of the Arthurian protagonist revealed him in the modern context of the private eye, the soldier, the defrocked priest, the displaced aristocrat, and the wilderness adventurer. Merlin figures, and women figures intrinsic to the Grail legend appear in all his work. Aesthetically Boorman's feature films are veiled allegories of the Arthurian quest. -
Me and Me Dad a Portrait of John Boorman Directed by His Daughter Katrine Boorman
Me and me Dad A portrait of John Boorman directed by his daughter Katrine Boorman Now approaching his 80th year the brilliant and inspiring director John Boorman is one of the last great mavericks, having directed over 17 films including Point Blank, Excalibur and Deliverance, made numerous documentaries and written several books. ‘Me and me Dad’ is a revealing study of this difficult, charismatic and elusive man by one who should know him best: his daughter Katrine. Katrine, who previously had never held a camera, follows and films her father over a period of four years. Throughout, John attempts to control the entire process. He offers up a crash course masterclass in directing films. With her father as her teacher Katrine creates an intimate and surprising journey. Vulnerable, cross, funny, nostalgic, wild and wise, Boorman chronicles his adventures in Hollywood but he also talks with great honesty about his childhood, his marriages, his passion for nature, his need for danger and why film is the only thing he ever truly loved. What begins as a study of Boorman becomes the story of the Boorman family. A vivid narrative of a perfectly imperfect family emerges and we see the chaos and difficulties his chosen path imposed on those closest to him. A funny and honest history is told by one of film’s true Screening: survivors, ‘Me and me Dad’ is a portrait of one of the most 8pm 21st May influential British filmmakers of the last 40 years. But most of Palais des Festivals, all it is a story of a father and daughter finding their way back Salle Buñuel to each other through the language of film. -
Magazine Media
SEPTEMBER 2009: DRAMA MM M M MediaMagazine edia agazine Menglish and media centre issue 29 | septemberM 2009 Reading Red Riding Bond and beyond Learning to Tweet Representations in TV drama Drama in the news english and media centre andmedia english The webisode story 2009 |september 29 ssue | i MM MM MediaMagazine is published by the English and Media Centre, a non-profit making organisation. editorial The Centre publishes a wide range of classroom materials and runs For those of you just starting out, welcome to the wonderful courses for teachers. If you’re world of Film and Media Studies; for those of you returning for studying English at A Level, look out an A2 year, welcome back, hopefully with the results you wanted; for emagazine, also published by and for everyone, welcome to the first of this year’s editions of the Centre. MediaMagazine. The English and Media Centre This issue explores the theme of Drama from a wide range of 18 Compton Terrace perspectives. Starting with the basics, Mark Ramey considers the London N1 2UN differences between the experiences of theatre and cinema, and asks what makes a Telephone: 020 7359 8080 drama cinematic, while Nick Lacey explores some of the essential differences – and Fax: 020 7354 0133 similarities – between the big and small screen with a study of State of Play from Email for subscription enquiries: TV drama to Hollywood blockbuster. Stephen Hill takes a historical approach to the [email protected] development of TV drama in its social and historical context, and demonstrates its Managing Editor: Michael Simons changing technologies and representations through analysis of Mike Leigh’s iconic 70s comedy of manners Abigail’s Party. -
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.