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WORLD CINEMA Streaming Video Collection WORLD CINEMA Streaming Video Collection More than 480 classic and contemporary More than 745 classic feature films from Africa, and contemporary Asia, Europe, Latin feature films from America, the Caribbean, Africa, Asia, Europe, the Middle East, and Latin America, the the United States. Caribbean, the Middle East, and North America. This unique collection includes the best of the silent • Unlimited access from any location— era, groundbreaking international directors, American on campus or off and European masterpieces from the mid-20th century, • Public performance rights award-winning contemporary films from Global Lens, • Citations in MLA, Chicago, and and films from Africa and the African diaspora from APA formats ArtMattan Productions. The collection shines a light on • Easily embed videos into Blackboard, the history of cinema while also providing a glimpse Moodle, or other CMSs into the cultures and issues of countries around the • Includes masterpieces and award world—making it useful beyond film studies depart- winners directed by: ments by bringing value to programs in area studies, Fritz Lang Ousmane Sembène political science, history, Georges Méliès Federico Fellini world languages, and more. Jean Renoir Roberto Rossellini All foreign language films Luis Buñuel Zhang Yimou are accompanied by English Akira Kurosawa King Hu subtitles. Using Films Yasujiro Ozu Glauber Rocha On Demand’s Custom Sergei Eisenstein Yilmaz Güney Segment tool, faculty Alfred Hitchcock Satyajit Ray and students may create Ida Lupino Roy William Neill customized segments of Michael Powell Mahamat Saleh specific scenes from a film, Dana Rotberg Haroun which can be embedded, Frank Capra …and many more! shared, and saved. Some World Cinema titles contain mature themes or content; viewer discretion is advised. CALL: (800) 322-8755 EMAIL: [email protected] FREE TRIAL: www.Infobase.com/Trial FAX: (646) 349-9687 www.Infobase.com 0319 Contact us for a FREE TRIAL today! WORLD CINEMA Streaming Video Collection “ These richly diverse films...can enhance classes that reach Indian film—14 films by Satyajit Ray far beyond cinema studies...a powerful pedagogic resource (including Pather Panchali, The World of Apu, Aparajito, and The Big City), as well for educating a 21st-century student body.” as films by Adoor Gopalakrishnan, Partho Jerry W. Carlson, Ph.D., Sen-Gupta, and Rajesh Shera. Professor of Comparative Literature & Film Studies, The City College & Graduate Center, CUNY Chinese-language film—the 1993 Cannes Palme d’Or winner Farewell My Concubine (Chen Kaige), Spring in a Small Highlights include: Town (Fei Mu), films by King Hu (Dragon Gate Inn, Touch of Zen, The Fate of Lee German film—Fritz Lang’s Metropolis and Khan, and Raining in the Mountain), M, Josef Von Sternberg’s The Blue Angel, Zhang Yimou’s most famous films (The Walter Ruttmann’s Berlin: Symphony of a Story of Qiu Ju, Red Sorghum, and Ju Metropolis, multiple films by F. W. Murnau Dou), as well as films by Tsai Ming-Liang and G. W. Pabst (including Pandora’s Box Soviet, Eastern European, and (The River and Vive L’Amour). and Diary of a Lost Girl), as well as films Central Asian film—10 films by Sergei Latin American film—classics from by Paul Leni, Robert Siodmak, and Robert Eisenstein (including Battleship Potemkin, Wiene. Glauber Rocha (Black God, White Devil; October, Strike, and Ivan the Terrible), Antonio Das Mortes; and Entranced French film—Georges Méliès’s seminal and award-winning contemporary films Earth), 12 of Luis Buñuel’s Mexico-based work A Trip to the Moon, as well as films from Kyrgyzstan, Kazakhstan, Tajikistan, productions (including Cannes Palme by Jean Renoir (Rules of the Game and Yugoslavia, Bosnia, Croatia, Albania, d’Or winner Viridiana, The Exterminating Diary of a Chambermaid), Luis Buñuel’s Serbia, Macedonia, and Georgia Angel, and Simon of the Desert), and France-based work (including An (including When Father Was Away award-winning films by directors from Andalusian Dog, Tristana, and The on Business, Fine Dead Girls, and A Mexico, Brazil, Columbia, Argentina, Golden Age), and René Clair (The Million). Wonderful Night in Split.) Uruguay, Peru, Cuba, Chile, and Ecuador. Japanese film—16 films by Akira British film—the pre-Hollywood work Turkish and Middle Eastern film—seven Kurosawa (including Rashomon, Drunken of major British directors like Alfred films by Turkish director Yilmaz Güney Angel, and Stray Dog), 21 films by Hitchcock (including The 39 Steps, The (including Cannes Palme d’Or winner Kenji Mizoguchi (including The Story of Lady Vanishes, and The Man Who Knew The Way a.k.a. Yol, and Hope a.k.a. Umut) the Last Chrysanthemums, Sansho the Too Much) and Michael Anderson as well as award-winning films from Iran, Bailiff, and Ugetsu), 16 films by Yasujiro (1984 and The Naked Edge). Iraq, Lebanon, Egypt, Israel, and Palestine Ozu (including Tokyo Story; I Was Born, African film—Cairo Station by Youssef (including The Kite, The White Meadows, But…; and Late Spring), and films by Chahine, six films by Ousmane Sembène and Toll Booth). contemporary directors such as Juzo Itami (including Black Girl a.k.a. La Noire and Kazuyoshi Okuyama. de…, and The Curse a.k.a. Xala), two American film—multiple titles from films by Flora Gomes (Those Whom Buster Keaton (including The General Death Refused and Tree of Blood), and and Steamboat Bill Jr.), D. W. Griffith acclaimed contemporary films. (including The Birth of a Nation and Italian film—classics from Vittorio De Intolerance), Charlie Chaplin, and others Sica (including The Bicycle Thief and representing the best of early American Two Women), Federico Fellini (including cinema, plus films by Douglas Sirk, Alfred La Dolce Vita and Variety Lights), and Hitchcock, Frank Capra, Ida Lupino, Roberto Rossellini (including Paisan; Caribbean film—contemporary films Orson Welles, Busby Berkeley, and more Rome, Open City; and Journey to Italy), from Curaçao, Cuba, Haiti, and Trinidad covering the golden age of Hollywood. as well as films by Luchino Visconti, and Tobago distributed by ArtMattan Michelangelo Antonioni, and Giuseppe Productions, a leading distributor of films De Santis. from the African diaspora. CALL: (800) 322-8755 EMAIL: [email protected] FREE TRIAL: www.Infobase.com/Trial FAX: (646) 349-9687 www.Infobase.com 0319.
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  • APARAJITO (THE UNVANQUISHED) 1956 Satyajit Ray
    HUMANITIES INSTITUTE Stuart Blackburn, Ph.D. APARAJITO (THE UNVANQUISHED) 1956 Satyajit Ray Bengali language OVERVIEW Aparajito is the second part of the Apu trilogy, based on the novels by Bibhutibhushan Bandyopadhyay. The first part (Pather Panchali) concludes with Apu (aged about six or seven) and his parents leaving their village in Bengal. This second part traces the story of Apu’s growth from a school boy to young man at college in Calcutta (with two different actors playing him in those two stages of life). Since his father dies early on, the core of the story is the heart-rending relationship between Apu and his mother. As with Pather Panchali, there is pathos with two key deaths, but there is also hope for Apu’s future. The movie is structured in three sections, moving from the city to the village and back to the city, and each one represents a crucial stage in the development of Apu as a young man. CULTURAL SIGNIFICANCE Within India, Aparajito did not achieve the same success as the first section of the trilogy (Pather Panchali). One reason for this was that Ray deliberately darkened the mood, and deviated from the source- novel, by showing the complexity of the mother-son relationship, which is arguably the cornerstone of Indian society. Instead of being filled with pure devotion to one’s mother, Apu is indirectly, though not intentionally, responsible for her death. Over time, however, Indian audiences have come to agree with international critics, that this is another Ray masterpiece. Although not at poetic as Pather Panchali, it has an edge as it charts the progress of its hero, like a classic coming-of- age novel.
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  • East-West Film Journal, Volume 3, No. 2
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  • Pather Panchali Aparajito the World of Apu Trois Couleurs: Bleu
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    International Journal of Humanities and Social Science Research International Journal of Humanities and Social Science Research ISSN: 2455-2070; Impact Factor: RJIF 5.22 www.socialsciencejournal.in Volume 3; Issue 5; May 2017; Page No. 45-48 Portrayal of environment in cinema: A comparative study of ‘Pather panchali’ & ‘Dreams’ Ram Prakash Dwivedi Department of Hindi journalism & Mass Communication, Dr. B.R. Ambedkar College, University of Delhi, New Delhi, India Abstract Satyajit Ray (1921-1992) and Akira Kurosawa (1910-198) are the world-famous filmmakers. Coincidentally, they were contemporary and friends. They were also sources of inspiration for each other. Their films are a landmark example of creative cine-language. In most of their movies, nature and the environment are as important as the human characters. Rather, the human being is guided by the nature to act upon. Their movies incorporate nature as an essential component for human activities. Portrayal of nature, in Ray’s movies, is different from that of Kurosawa. To Ray’s films environment and nature comes as part of daily life or seasonal change, whereas Kurosawa represents nature as phenomena like rain, volcanic eruptions, tsunami and earthquakes. This difference is the result of separate geographical conditions of India and Japan. Japan is environmentally very sensitive country, whereas India, due to its larger landmass, does not feel such sensitivity. Pather Panchali (1955) is considered as a masterpiece of parallel cinema and reflects reality. The film was made with on location shooting technique. This film, therefore, depicts the nature and environment of Bengal. In Dreams (1990) imagination is more important than reality.
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  • Artist Recreates Satyajit Ray S Film Posters on 100Th Birth Anniversary
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  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
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  • Intermedialtranslation As Circulation
    Journal of World Literature 5 (2020) 568–586 brill.com/jwl Intermedial Translation as Circulation Chu Tien-wen, Taiwan New Cinema, and Taiwan Literature Jessica Siu-yin Yeung soas University of London, London, UK [email protected] Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and film- makers. The films resulting from these collaborations repositioned Taiwan as a mul- tilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan. Keywords Taiwan – screenplay – film – allegory – cultural policy 1 Introduction We normally think of literature as circulating beyond the context in which it is written when it obtains national renown, which subsequently leads to interna- tional recognition through translation. In this article, I argue that the contem- porary Taiwanese writer, Chu Tien-wen (b. 1956)’s short stories and screenplays first attained international acclaim through the mode of intermedial transla- tion during the New Cinema period (1982–90) before they gained recognition © jessica siu-yin yeung, 2020 | doi:10.1163/24056480-00504005 This is an open access article distributed under the terms of the cc by 4.0Downloaded license.
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  • Satyajit Ray
    AU CINÉMA LE 9 DÉCEMBRE 2015 EN VERSION RESTAURÉE HD Galeshka Moravioff présente LLAA TTRRIILLOOGGIIEE DD’’AAPPUU 3 CHEFS-D’ŒUVRE DE SATYAJIT RAY LLAA CCOOMMPPLLAAIINNTTEE DDUU SSEENNTTIIEERR (PATHER PANCHALI - 1955) Prix du document humain - Festival de Cannes 1956 LL’’IINNVVAAIINNCCUU (APARAJITO - 1956) Lion d'or - Mostra de Venise 1957 LLEE MMOONNDDEE DD’’AAPPUU (APUR SANSAR - 1959) Musique de RAVI SHANKAR AU CINÉMA LE 9 DÉCEMBRE 2015 EN VERSION RESTAURÉE HD Photos et dossier de presse téléchargeables sur www.films-sans-frontieres.fr/trilogiedapu Presse et distribution FILMS SANS FRONTIERES Christophe CALMELS 70, bd Sébastopol - 75003 Paris Tel : 01 42 77 01 24 / 06 03 32 59 66 Fax : 01 42 77 42 66 Email : [email protected] 2 LLAA CCOOMMPPLLAAIINNTTEE DDUU SSEENNTTIIEERR ((PPAATTHHEERR PPAANNCCHHAALLII)) SYNOPSIS Dans un petit village du Bengale, vers 1910, Apu, un garçon de 7 ans, vit pauvrement avec sa famille dans la maison ancestrale. Son père, se réfugiant dans ses ambitions littéraires, laisse sa famille s’enfoncer dans la misère. Apu va alors découvrir le monde, avec ses deuils et ses fêtes, ses joies et ses drames. Sans jamais sombrer dans le désespoir, l’enfance du héros de la Trilogie d’Apu est racontée avec une simplicité émouvante. A la fois contemplatif et réaliste, ce film est un enchantement grâce à la sincérité des comédiens, la splendeur de la photo et la beauté de la musique de Ravi Shankar. Révélation du Festival de Cannes 1956, La Complainte du sentier (Pather Panchali) connut dès sa sortie un succès considérable. Prouvant qu’un autre cinéma, loin des grosses productions hindi, était possible en Inde, le film fit aussi découvrir au monde entier un auteur majeur et désormais incontournable : Satyajit Ray.
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  • Nobility Or Utility? Zamindars, Businessmen, and Bhadralok As Curators of Theindiannationinsatyajitray’S Jalsaghar ( the Music Room)∗
    Modern Asian Studies 52, 2 (2018) pp. 683–715. C Cambridge University Press 2017. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0026749X16000482 First published online 11 December 2017 Nobility or Utility? Zamindars, businessmen, and bhadralok as curators of theIndiannationinSatyajitRay’s Jalsaghar ( The Music Room)∗ GAUTAM GHOSH The Chinese University of Hong Kong, Shenzhen, China Email: [email protected]; [email protected] Abstract The Bengali bhadralok have had an important impact on Indian nationalism in Bengal and in India more broadly. Their commitment to narratives of national progress has been noted. However, little attention has been given to how ‘earthly paradise’, ‘garden of delights’, and related ideas of refinement and nobility also informed their nationalism. This article excavates the idea of earthly paradise as it is portrayed in Satyajit Ray’s 1958 Bengali film Jalsaghar, usually translated as The Music Room. Jalsaghar is typically taken to depict, broadly, the decadence and decline of aristocratic ‘feudal’ landowners (zamindars) who were granted their holdings and, often, noble rank, such as ‘Lord’ or ‘Raja’, during Mughal or British times, representing the languid past of the nobility, and the ascendance of a ∗ Parts of this article were presented by invitation at the Asian Studies Centre, Oxford University; the South Asian Studies Centre, Heidelberg University, and the Borders, Citizenship and Mobility Workshop at King’s College London. Portions were also presented for the panel ‘Righteous futures: morality, temporality, and prefiguration’ organized by Craig Jeffrey and Assa Doron for the 2016 Australian Anthropological Society Meetings.
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  • APARAJITO/THE UNVANQUISHED (1956) 110 Min
    3 October 2006 XIII:5 APARAJITO/THE UNVANQUISHED (1956) 110 min. Produced, written and directed by Satyajit Ray Based on the novel by Bibhutibhushan Bandyopadhyay Original Music by Ravi Shankar Cinematography by Subrata Mitra Film Editing by Dulal Dutta Kanu Bannerjee ... Harihar Ray Karuna Bannerjee ... Sarbojaya Ray Pinaki Sengupta ... Apu (young) Smaran Ghosal ... Apu (adolescent) Santi Gupta ... Ginnima Ramani Sengupta ... Bhabataran Ranibala ... Teliginni Sudipta Roy ... Nirupama Ajay Mitra ... Anil Charuprakash Ghosh ... Nanda Subodh Ganguli ... Headmaster Mani Srimani ... Inspector Hemanta Chatterjee ... Professor Kali Bannerjee ... Kathak Kalicharan Roy ... Akhil, press owner Kamala Adhikari ... Mokshada Lalchand Banerjee ... Lahiri K.S. Pandey ... Pandey Meenakshi Devi ... Pandey's wife Anil Mukherjee ... Abinash Harendrakumar Chakravarti ... Doctor Bhaganu Palwan ... Palwan SATYAJIT RAY (2 May 1921, Calcutta, West Bengal, British India—23 April 1992, Calcutta, West Bengal, India) directed 37 films. He is best known in the west for the Apu Trilogy— Apur Sansar/The World of Apu (1959), Aparajito/The Unvanquished (1957), and (his first film) Pather Panchali/Song of the Road (1955) and for Jalsaghar/The Music Room (1958). His last films were Agantuk (1991), Shakha Proshakha (1990), Ganashatru/An Enemy of the People (1989), Sukumar Ray (1987), Ghare-Baire/The Home and the World (1984) and Heerak Rajar Deshe/The Kingdom of Diamonds (1980). He was given an honorary Academy Award in 1992. SUBRATA MITRA (12 October 1930, Calcutta, West Bengal, India—7 December 2001) shot 17 films, 10 of them for Ray, including all three Apu films, Jalsaghar/The Music Room (1958) and Parash Pathar/The Philosopher’s Stone (1958). His last film was New Delhi Times (1986).
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