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Feature Films

NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
Homage to Piero Tosi (Costume Designer)

The Scenographer presents Homage to Piero Tosi (costume designer) When I arrive at the Gino Carlo Sensani costume department accompanied by a student of the National School of Cinema, it does not in the least surprise me that Tosi receives me whilst keeping his back to me, intent on making some adjustment to a student’s problematic sketch. He pronounces a rapid greeting then lets pass a perfect lapse of time, neither too extended nor too brief, before turning to face me. Thoroughbred of the stage and screen, director of himself and in part an incorrigible actor, with an acknowledged debt to Norma Desmond and to those who still know how to descend a staircase with an outstretched arm on the banister, prompting those in attendance to take off their hat. I have known Pierino for many years, less in person, more through the words and the verbal accounts of Fellini, which almost never coincided with those of Tosi, yet traced a portrait with indelible colours. There is also a vague suggestion of witchcraft, from the moment in which the man ceased to change, neither from within nor from without. No sign of ageing, of the passing of time, preserved in a bubble of glass. Immutable, this is how Pierino Tosi appears to me, though he has no need of these compliments, neither does he fish for them, with always a foot placed on that shadowy line beyond which it is so easy to vanish, to fade away. Our mutual long-term acquaintance with Fellini draws us inevitably back to that climate.
THE LEOPARD/IL GATTOPARDO (1963) Original 205Min, UK 195, US 165, Restored ?

6 December 2005, XI:15 LUCHINO VISCONTI (Count Don Lucino Visconti di Modrone, 2 November 1906, Milan—17 March 1976, Rome) wrote or co-wrote and directed all or part of 19 other films, the best known of which are L’Innocente 1976, Morte a Venezia/Death in Venice 1971, La Caduta degli dei/The Damned 1969, Lo Straniero/The Stranger 1967, Rocco e i suoi fratelli/Rocco and His Brothers 1960, Le Notti bianche/White Nights 1957, and Ossessione 1942. SUSO CECCHI D'AMICO (Giovanna Cecchi, 21 July 1914, Rome) daughter of screenwriter Emilio Cecchi, wrote or co-wrote nearly 90 films, the first of which was the classic Roma citt libera/Rome, Open City 1946. Some of the others: Panni sporchi/Dirty Linen 1999, Il Male oscuro/Obscure Illness 1990, L’Innocente 1976, Brother Sun, Sister Moon 1973, Lo Straniero/The Stranger 1967, Spara forte, pi forte, non capisco/Shoot Louder, I Don’t Understand 1966, I Soliti ignoti/Big Deal on Madonna Street 1958, Le Notti bianche/White Nights 1957, and Ladri di biciclette/The Bicycle Thieves 1948. PASQUALE FESTA CAMPANILE (28 July 1927, Melfi, Basilicata, Italy—25 February 1986, Rome) directed 45 films which we mention here primarily because the American and British release titles are so cockamamie, i.e., How to Lose a Wife and Find a Lover 1978, Sex Machine 1975, When Women Played Ding Dong 1971, When Women Lost Their Tails 1971, When Women Had Tails 1970, Where Are You Going All Naked? 1969, The Chastity Belt/On My Way to the Crusades, I Met a Girl Who...1969, and Drop Dead My Love 1966.
Houston LGBT History

THURSDAY, MARCH 17 ST. PATRICK'S DAY GREEN SPECIAL SO¢ GREEN _ PEPPERMINT~JL~ SCHNAPPS ~.,., I~ ;07 COLORADO • AUSTIN • 474-9667 COMING THURSDAY, MARCH 24 DOO-DAH-DAZ-DA Y THE BOATHOUSE AND DIRTY SALLY'S TURN-AROUND SWITCH NIGHT TWT MARCH 11- 17. 1983 TWT MARCH 11- 17. 1983 PAGE 3 PAGE 2 ~ __ (ONTENTS~_ IT'S OUR BIRTHDAY ... Volume 8,Number 51 March 11-17, 1983 AND YOU GET THE PRESENT!!! INFORMATION ENTERTAINMENT FEATURES In celebration of our 4th anniversary in HOUSTON and our 3rd in DALLAS 11 TWT NEWS 29 BOOKS HILL COUNTRY IT COULD HAPPEN 49 HIGHLIGHT DON BAKER'S ENDORSEMENTS .. TO YOU ... COMMUNITY REVIEWED BY JOIN NOW AND GET $100 OFF!!! 57 HOT TEA PRODUCTIONS DAVID FIELDS At the :fITNESS EXCHANGE we've just DOUBLED OUR :fREE WEIGHTS ANNIVERSARY MONTH ... and added two abdominal machines to our DOUBLE LINES O:f 91 CALENDAR 35 MOVIES 64 PHOTO NAUTILUS EQUIPMENT. 93 AUSTIN MAP LIANNA ESSAY 95 THE GUIDE REVIEWED BY Available also are Suntana, jacuzzi, sauna, juices, great music and more. ART TOMASZEWSKI & COVER 38 SHOWBIZ BOBBY RAYE WE'RE NOT GETTING OLDER, WE'RE GETTING BETTERI DEPARTMENTS PHOTOS BY JUMPING THE GUN JIM HAMILTON 21 COMMENT BY JACK VARSI PUBLIC FORUM 41 OSCAR CONTEST 25 PERSPECTIVE WIN $100! "HOUSTON STYLE" IS DUMB! BY GEORGE BARNHART 44 ENTERTAINMENT 63 SPORTS VOLLEYBALL DAY ... -TEXAS HOUSTON FESTIVAL, BY CHERYL CHAMBERLAIN THE STRAND ... 70 STARSCOPE BY ROB CLARK NEW MOON 77 CLASSIFIED ~ HOURS: MON-FRI 6AM-lOPM SAT IOAM-8PM SUN NOON-6PM Memberships reciprocal between Dallas and Houston.
La Répétition Et L'arrêt Dans Le Cinéma De Michelangelo Antonioni

La fêlurede la conscience de soi : la répétitionet l'arrêt dans le cinémade Michelangelo Antonioni Agathe Broc To cite this version: Agathe Broc. La fêlurede la conscience de soi : la répétitionet l'arrêtdans le cinémade Michelangelo Antonioni. Art et histoire de l'art. 2014. <dumas-01110023> HAL Id: dumas-01110023 https://dumas.ccsd.cnrs.fr/dumas-01110023 Submitted on 27 Jan 2015 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinéeau dépôtet àla diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiésou non, lished or not. The documents may come from émanant des établissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou étrangers,des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE DE PARIS 1 PANTHEON SORBONNE UFR D’ARTS PLASTIQUES ET DES SCIENCES DE L’ART MASTER DE CINEMA AGATHE BROC La fêlure de la conscience de soi La répétition et l'arrêt dans le cinéma de Michelangelo Antonioni Mémoire préparé sous la direction de José Moure Déposé en septembre 2014 UNIVERSITÉ DE PARIS I PANTHÉON-SORBONNE UFR D’ARTS PLASTIQUES ET DES SCIENCES DE L’ART MASTER DE CINÉMA AGATHE BROC La fêlure de la conscience de soi La répétition et l'arrêt dans le cinéma de Michelangelo Antonioni Mémoire préparé sous la direction de José Moure Déposé en septembre 2014 Agathe BROC Numéro étudiant : 10930190 Coordonnées : 0632099011 [email protected] Page 2 sur 158 Résumé du mémoire Le mémoire se donne pour objeCtiF de déCeler Ce qu’ont pu être les propositions Cinématographiques d’Antonioni dans l’histoire du Cinéma, au Cœur de la problématique du montage.
Comunicato Stampa

Comunicato stampa Informazioni generali Il Taormina BNL FilmFest 2005 si svolgerà dall’11 al 18 giugno 2005. La manifestazione - promossa e realizzata dal Comitato Taormina Arte presieduto dal sindaco di Taormina Aurelio Turiano, segretario generale Antonino Panzera - è prioritariamente sostenuta dall’Assessorato Turismo, Comunicazioni e Trasporti, nonché dagli Assessorati ai Beni Culturali, ambientali, P.I. e Agricoltura e Foreste della Regione Siciliana, dalla Direzione generale per il Cinema del Ministero per i Beni e le Attività Culturali, dal POR, dall’Azienda Autonoma Soggiorno e Turismo Taormina. Partner e main sponsor la Banca Nazionale del Lavoro, cui si aggiungono altri sponsor quali AirOne, Harry Winston, Land Rover e gli sponsor tecnici Videobank, Toshiba, Consorzio per le Autostrade Siciliane. Direttore artistico del Taormina BNL FilmFest è dal 1999 Felice Laudadio. Del Comitato di Direzione 2005 fanno parte Francesca Campagna, responsabile per le relazioni internazionali, il critico cinematografico Stefano Della Casa, già direttore del festival di Torino, e Patrizia Prosperi, segretaria generale della società Evento Spettacolo incaricata dell’organizzazione artistica. Consulente per la selezione film è il giornalista Marco Spagnoli. Responsabile della logistica Lucy Manenti, segreteria e coordinamento FIPRESCI Giorgia Zacchei, segreteria giurie Gaia Tridente, cerimoniale Francesca Pappalardo, catalogo generale a cura di Adele Ciampa. L’ufficio stampa del Comitato Taormina Arte è retto da Fabio Tracuzzi, l’ufficio stampa del festival da Olivia Alighiero e Flavia Schiavi di PUNTOeVIRGOLA. IL PROGRAMMA - Evento speciale. Domenica 12 giugno Il cinema italiano sarà ampiamente rappresentato a Taormina in occasione della cerimonia di consegna dei premi dell’ItaliaFilmFest 2005 – teletrasmessa dalla RAI - che si svolgerà nella serata di domenica 12 giugno.
IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna

XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian
Teater-Muusiko-Kino

ISSN 0207-6535 teater-muusiko-kino EESTI KULTUURIMINISTEERIUMI, EESTI HELILOOJATE LIIDU, EESTI KINOLIIDU. EESTI TEATRILIIDU AJAKIRI 4 Ш •': : I J^*"'""*4 л Ь ш XVIII AASTAKÄIK PEATOIMETAJA JURI ÄÄRMA, tel 44 04 72 MEIE KODULEHEKÜLJE INTERNETIS http://www.use.ee/tmk/ TOOB TEIENI TOIMETUS: Tallinn, Narva mnt 5 postiaadress 10505, postkast 3200 Faks 6 60 18 87 e-mail [email protected] Teatriosakonrd Margot Visnap ja Kadi Herkül, tel 44 40 80 Muusikaosakond % Saale Kareda ja Tiina Õun, tel 44 31 09 Filmiosakond Sulev Teinemaa ja Jaam Ruus, tel 43 77 56 Keeletoimetaja Kulla Sisask tel 6 41 82 74 Tehniline toimetaja Kaur Kareda, tel 6 44 54 68 Esikaanel: Korrektor Eesti pianismi lootus XXI sajandil — EMA I Solveig Kriggulson, tel 6 41 82 74 kursuse üliõpilane Äge Juurikas, konkurss- Infotöötleja festivali "Con brio '98" ülekaalukas võitja Pille-Triin Kareda, tel 44 47 87, 6 44 54 68 (žürii-, publiku- ja ETV preemia). Äge Fotokorrespondent Juurika varasemaist võitudest on säravaim Harri Rospu, tel 43 7756 esikohi (ja kõik eripreemiad) rahvus KUJUNDUS: MAI EINER, tel 6 41 82 74 vahelisel Stasys Vainiünase nimelisel noorte pianistide konkursil Vilniuses 1998. ' Harri Rospu foto festivalilt "Klaver '%" © "Teater. Muusika. Kino", 1999 Caryl Churchilli "Tipptüdrukud" Eesti Draa mateatris. Kersti Kreismann, Maria Avdjuško ja Viire Valdma. Mati Hiisi foto eorer-muusiko-kino /1999 SISUKORD TEATER VASTAB AIME UNT Lilian Vellerana TUTVUSTUSEKS: NOPPEID CARYL CHURCHILLI KUULSAMATEST NÄIDENDITEST Gerda Kordemets POST LAVAL EHK POSTFEM1NISM POSTMODERNIST LIKUS DRAMATURGIAS POSTSOTSIALISTLIKUL LAVAL ("Tipptüdrukud" Eesti Draamateatris) Jaanus Kulli PEER JA PROTASSOV TUULEVESKITE VASTU ("Peer Gynt" "Endlas" ja "Elav laip" "Ugalas") Jaak Rähesoo HOOAEG NEW YORGIS VIII MUUSIKA Mailis Põld VÕRDLUSVABALT (Festivalist "Klaver '98") Arne Mikk 70 AASTAT EVALD AAVA OOPERI "VIKERLASED" SÜNNIST Johannes Jürisson KUI HELILOOJA VILLEM KAPP OLEKS PÄEVIKUT PIDANUD Ivalo Randalu PERSONA GRATA.
100-Aastases Teatris

Eesti Draamateatri ajaleht nr 5, september 2010 Fotod: Peeter Laurits Rait Präätsa vitraazˇid Eesti Draamateatri ustel. 110000-aastases teatris MARI-LIIS LILL Draamateatri maja on sajandivanune, Draamateater ise vaid kümnendi võrra noorem. Keegi nagu ei lahkuks siit päriseks. Või päriselt. Mäletan, et päev enne, kui pidi ära Sajand – see on mõiste ajalooõpikust, see on kestvus, milleni enamik meist oma eluea saadetama varalahkunud näitlejat, peeti majas pidu. Kes sattusid tol õhtul üle suure jooksul ei küüni. Eriti teatris, kus elatakse küll väga mitut elu, aga mitte kuigi kaua. saali ukse vaatama, nägid äärmiselt ebareaalset pilti. Lava oli juba ärasaatmiseks valmis Muidu olekski ehk ebaõiglane. seatud – seal olid postamendid lilledele ja riidega kaetud alus kirstu jaoks. Aga et Enne mind on selles majas töötanud sajandi jagu inimesi. Kui selle peale mõelda, on tegemist oli ikkagi lavaga ning et samal ajal oli majas käimas meeleolukas tantsupidu, nende kohalolu tuntav. Räägitakse legende sellest, kuidas kunagi ammu veetis üks äsja mõjus see kõik lihtsalt... matusedekoratsioonina. Ja muutis selle lahkumise kuidagi teatrisse tulnud noor näitleja öö teatris – suure saali põrandal ja ihuüksi. Ikka selleks, vähem tõeliseks. Kohalolu aga tõelisemaks. et vanade olijatega paremini tuttavaks saada. Tänasel päeval ei ole selline tutvumisõhtu Peale selle on aeg-ajalt saalis vanade olijate naeru kuulda. Nad on kohal. enam võimalik – maja on öösiti valve all ja vanad olijad saavad rahulikult omi asju Ja on tajutav, et nad soovivad head. Tundub, et teispoolsuses ei ole konkurentsi. ajada. Seal on aega mõelda sellele, mis on tegelikult tähtis. Et mille nimel? See teatriajaloost Kohtumisi tuleb ette siiski. Ükskord näiteks ilmusid nad „Voldemari“ proovide ajal kuulus pealisülesanne, mis ometi ei ole aegunud.
Introduction

© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. INTRODUCTION d The Epic History of Italian Cinema D The history of Italian film is an epic that has guided and shaped the course of international cinema. It can be examined in terms of its uniqueness, but it should also be studied as part of the field of forces with which it has been compared since its beginnings. It has developed in a process that is at times slow, defensive, and regres sive, at times rapid and expansive. It encompasses many different histories that have influenced, affected, changed, and interacted within its fabric and shaped the context in which it has evolved. Today, Italian cinema can be studied in an entirely new way thanks to recent and effective developments in the field of cinema studies. It can be broken down and analyzed on a microcellular level, but it can also be observed from a panoramic viewpoint that makes it possible to focus on its many differ ent dimensions at the same time. Such perspective can put its history into a wider context thanks to the accessibility of information and images that was unimaginable a few decades ago. It is thus possible to follow its development parallel to and in view of its contacts with cinema from other countries. Until recently, silent films and early talkies were literally impossible to find after their initial commercial run. Now they are available in videocassette and DVD formats, and they can also be taped from public and private television channel broadcasts.
Jaan Rekkor, Tambet Tuisk and Märt Avandi Lead All-Star Estonian Cast • Crime Drama Is Directed by René Vilbre and Scrip

• Jaan Rekkor, Tambet Tuisk and Märt Avandi lead all-star Estonian cast • Crime drama is directed by René Vilbre and scripted by Birk Rohelend • ‘Who Shot Otto Mueller?’ will premiere exclusively on Viaplay An unprecedented line-up of Estonia’s top creative talents will partner with Nordic Entertainment Group (NENT Group), the Nordic region’s leading streaming company, to create the first-ever Estonian Viaplay Original. Helmed by award-winning director René Vilbre and written by Birk Rohelend, the tense crime drama ‘Who Shot Otto Mueller?’ stars Jaan Rekkor, Tambet Tuisk and Märt Avandi, and will premiere exclusively on NENT Group’s Viaplay streaming service in Estonia and across the Baltic region. René Vilbre’s recent credits include the blockbuster ‘Class Reunion’ trilogy, which are among the highest grossing films in Estonian cinema history. His next film, ‘Estonian Funeral’, will be released late summer. Birk Rohelend is a successful novelist and the creator of one of Estonia’s biggest TV series, ‘The Pillowclub’, currently in its 14th season, along with hit local dramas ‘The Trap’, ‘Wicked Girls’ and ‘Restart’. In the Viaplay Original ‘Who Shot Otto Mueller?’, a famous businessman and former Soviet wrestling star is found murdered in his manor on his 65th birthday. Detectives interrogate eight family members in turn, and dark truths about a successful and powerful man who once killed a wolf with his bare hands gradually come to light. Everyone has a story about Otto Mueller – and everyone has a motive. Filippa Wallestam, NENT Group Chief Content Officer: “This groundbreaking show says everything about Viaplay’s storytelling ambitions for Estonia.
Download the Cinema Reborn Catalogue

Cinema Reborn Melbourne Season 14 – 17 October 2021 A Celebration of Cinema’s Grand Heritage 1 Cinema Reborn The Films Aimless Bullet 5 Le Corbeau 8 Criss Cross 12 Filibus 20 Vintage Ads Four flms from CAAMA 23 Vintage Ads Le amiche 28 NFSA ONLINE EXHIBITION NFSA ONLINE EXHIBITION The Juniper Tree 36 Discover the National Film and Sound Archive of Australia’s collection of vintage The Leopard 41 Discover the National Film and Sound Archive of Australia’s collection of vintage Australian cinema, radio and television advertisements, which spans six decades, Australian cinema, radio and television advertisements, which spans six decades, Shadow Panic 45 two world wars and thirteen prime ministers. two world wars and thirteen prime ministers. Sons of Matthew 46 In these ads – dating from 1914 to 1969 – you’ll see iconic brands, hear familiar In these ads – datingjingles from and 1914 possibly to 1969 recognise – you’ll a few see famous iconic brands,faces. hear familiar jingles and possibly recognise a few famous faces. Cover photo: Te Leopard, courtesy Park Circus 2 NFSA.GOV.AU 3 NFSA.GOV.AU Tis page: Te Juniper Tree, courtesy Arbelos Films Cinema Reborn CINEMA Aimless Bullet Introduction by Tony Rayns restored the flm in 2014/15, the major challenge was to digitally erase those REBORN Te flm culture of South Korea was intrusive subtitles while returning the a virtual closed book until the end images to something like their original of military dictatorships and the sharpness and grading. Tey were not A message from the Organising Committee introduction of democratic reforms in able to mitigate all the damage or restore the early 1990s.