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MR X - a Vision of Leos Carax a Film by Tessa Louise-Salomé
A PERSONAL, UNIQUE DOCUMENTARY ABOUT CULT FILMMAKER LEOS CARAX Following the releases of MAUVAIS SANG and BOY MEETS GIRL Carlotta Films US is proud to present : MR X - A Vision of Leos Carax A film by Tessa Louise-Salomé IN THEATERS AUGUST 15 2014 Director of Sales: Calantha Mansfield [email protected]/ 917.573.1851 A CARLOTTA FILMS US RELEASE carlottafilms-us.com “Leos Carax is a satellite that revolves around the sun, the moon, the solar system. He’s a shooting star of French cinema, yet he has this particularity of never burning out.” GILLES JACOB, president of the Cannes Film Festival In France, Leos Carax has long been branded as a mysterious, solitary filmmaker with an aversion to both the media and the public at large. Yet outside of his home country, his work takes precedence over this public image, and he is recognized as an icon of world cinema. Mr X tackles this complex artist—a cult figure from his first feature—by plunging the spectator into the poetic and visionary world of his films. By means of exclusive archival materials, interviews with his closest collaborators (such as Denis Lavant), and excerpts from his favorite films, this documentary attempts to put together a few pieces of the Carax puzzle. What emerges is an immersive and dreamlike portrait inspired by his singular artistic vision. Sit back and let yourself drift into the world of this unparalleled visual poet… “Tessa Louise-Salomé's documentary is an alluring if not especially illuminating tribute to singular filmmaker Leos Carax.” Guy LODGE TESSA LOUISE-SALOMÉ Tessa Louise-Salomé is a French producer, director, and editor born in 1980. -
SB Cities 062421 FNL Lorez.Pdf
Featuring the Weekly Newspapers of Hawthorne, Inglewood and Lawndale Hawthorne Press Tribune Lawndale Tribune AND LAWNDALE NEWS Herald Publications - El Segundo, Hawthorne, Lawndale & Inglewood Community Newspapers Since 1911 - (310) 322-1830 - Vol. 3, No. 25 - June 24, 2021 A New Era for U.S. Space Force’s Inside Space and Missile Systems Center This Issue Certified & Licensed Professionals ......................7 Classifieds ...........................2 Entertainment .....................2 Hawthorne ...........................3 Lawndale .............................4 Inglewood ............................5 A SpaceX Falcon 9 launch vehicle clears the lightning towers around Space Launch Complex-40 at Cape Canaveral Space Force Station after lifting off at 12:09 p.m. EDT (9:09 am. PDT) June 17, carrying the fifth Lockheed Martin-built Global Positioning Systems (GPS) III Space Vehicle (SV05) for the U.S. Space Force. For story, see yellow box below. Photo courtesy SpaceX. Legals ...................................6 Amber Meshack Connects the Pets .......................................8 South Bay Community to LAX Seniors .................................2 By Kiersten Vannest What HireLAX aims to do is to offer a Los Angeles International Airport (LAX) training program to people from all walks is the fourth busiest airport in the world. of life in the Los Angeles and South Bay Second only to Hartsfield-Jackson Atlanta area. This could be high school students International Airport, LAX is the busiest looking for an alternative to a four-year airport in the United States. Since its incep- college, people looking for new careers, or tion in 1928, LAX has evolved and grown even those with a past who are looking to to become California’s travel hub, a gateway begin a new venture. -
MAUVAIS SANG Un Film Deleos CARAX
TAMASA présente MAUVAIS SANG Un film deLEOS CARAX en version restaurée ö SORTIE LE 28 SEPTEMBRE 2016 ö France - 1986 - 2h05 ö Distribution TAMASA 5 rue de Charonne - 75011 Paris [email protected] - T. 01 43 59 01 01 www.tamasadiffusion.com Relations Presse Frédérique Giezendanner [email protected] - T. 06 10 37 16 00 Sous l’accablante chaleur dégagée par la comète de Halley, la population parisienne est frappée par un virus tuant ceux qui font l’amour sans s’aimer. Dès lors, deux bandes rivales vont se disputer le germe de ce virus qui devrait permettre de créer un vaccin et sauver la population ... UNE DÉFLAGRATION Qui a été adolescent et curieux de cinéma en 1986 se souvient forcément de la déflagration provoquée par Mauvais Sang, réalisé par un jeune homme à peine plus âgé, et qui ne ressemblait à aucun autre film français de l’époque, véritable antidote à l’académisme officiel, à « une certaine tendance » du cinéma réaliste et psychologique, tout autant qu’à l’esthétisme publicitaire de cette première moitié des années 80, qui voulait se faire passer pour une révolution audiovisuelle mais croulait déjà sous le ridicule. Mauvais Sang devint un signe de ralliement pour une nouvelle génération de cinéphiles, et pas seulement en France si on juge la postérité et l’influence quasi immédiate de Carax – son cinéma en général et Mauvais Sang en particulier – sur les quelques cinéastes du monde entier qui allaient éclairer la décennie suivante, de Wong Kar Wai à Hong Kong à Harmony Korine aux Etats- Unis. Dans un Paris imaginaire et caniculaire (le passage de la comète de Halley provoque une chaleur insupportable), au milieu d’un complot visant la possession d’un vaccin capable de vaincre un mystérieux virus (qui tue ceux qui font l’amour sans s’aimer, allusion ambiguë au sida), Boy meets girl (titre du premier long métrage de Carax). -
Leos Carax Chapter 2 116
Leos Carax Chapter 2 116 [This is a pre-publication version of chapter 2 of Leos Carax, by Fergus Daly and Garin Dowd] 2 Feux d’artifice: Les Amants du Pont-Neuf or the spectacle of vagrancy [D]o not allegory and the uncanny bring into play the same procedures: ambivalence, the double, the organic and non-organic, living/artificial body, fixation on sight and the anxiety of losing it, and above all dread of the fragmented body? (Buci-Glucksmann 1994: 166)1 Et n’oublions pas que si Carax donne parfois l’impression de faire un peu trop de cinéma dans ces films, c’est sans doute qu’il doit en faire à la place de tous les réalisateurs de sa génération qui n’en font pas assez. (Sabouraud 1991: 14)2 Between the completion of Mauvais Sang and the start of his next project Carax appeared in his second screen role, this time in the part of Edgar in Godard’s King Lear (1987). The circumstances whereby Godard came to sign a contract with the film’s Hollywood producers, Golan and Globus of Cannon, have become the stuff of legend, as has the story of how Norman Mailer stormed off the shoot and the part of Woody Allen as the Fool became limited to a few minutes of footage in the final cut. Of the roles taken by well-known non-actors (Mailer) or of actors also associated with other directorial projects (Allen) in the film, and whose names were deemed crucial by the producers, the role of Carax as Edgar is, paradoxically, the most integral. -
Holy Motors De Leos Carax, France-Allemagne, 2012, 115 Minutes Jacques Kermabon
Document generated on 10/01/2021 9:08 p.m. 24 images Pour la beauté du geste Holy Motors de Leos Carax, France-Allemagne, 2012, 115 minutes Jacques Kermabon Visages du politique au cinéma Number 158, September 2012 URI: https://id.erudit.org/iderudit/67649ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Kermabon, J. (2012). Review of [Pour la beauté du geste / Holy Motors de Leos Carax, France-Allemagne, 2012, 115 minutes]. 24 images, (158), 51–51. Tous droits réservés © 24/30 I/S, 2012 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CANNES Holy Motors de Leos Carax Pour la beauté du geste par Jacques Kermabon ous l’avons tant aimé, Leos Carax. Qualifié de Rimbaud du cinéma N français avec Boy meets girl, il n’a pas renié cette filiation avec le titre de son deuxième opus Mauvais sang. Après les démêlés de la production des Amants du Pont-Neuf et malgré les fulgurances de Pola X, on parlera plutôt de saison en enfer. On craignait un peu ce retour. Nous avions tort. -
De L'être / Mauvais Sang
Document generated on 09/28/2021 11:57 a.m. 24 images L’insoutenable « lourdeur » de l’être Mauvais sang Gérard Grugeau Number 33, Spring 1987 URI: https://id.erudit.org/iderudit/22135ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Grugeau, G. (1987). Review of [L’insoutenable « lourdeur » de l’être / Mauvais sang]. 24 images, (33), 57–58. Tous droits réservés © 24 images inc., 1987 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ MAUVAIS SANG L'insoutenable «lourdeur» de l'être Gérard Grugeau J'essaie de vivre ou, plutôt, j'essaie d'apprendre à vivre à la mort que ie porte en moi. Jean Cocteau u commencement était le mie, le STPA, tue tous ceux et celles nières paroles s'il se suicidait. «Ils verbe, non, au commence qui font l'amour sans amour. Deux étaient lourds, les hommes», répon A ment était l'image ... non, au bandes rivales se disputant le virus dit l'écrivain. Une phrase «lourde» de commencement était l'émotion.» qu'un laboratoire pharmaceutique a sens que tous les personnages de Cette petite phrase, qui semble se réussi à isoler. -
CAVE SPRING. GA., OCTOBER In
VOL. xxxi CAVE SPRING. GA., OCTOBER in. No. 1 was often busied in their behalf in efforts to secure for them gainful occupations and other relief for their various needs. One of his great achievements for them was securing an endowment for the Wes- ley Memorial hospital now at Emory University conditioned on the perpetual free use of a ward there by the deaf people of Georgia. It was also through his good offices that the Methodist Church of Georgia provided a minister specially for the deaf. It is likely that this beneficence will also con tinue in perpetuity to the deaf people of Georgia. For fifteen years Mr. Crusselle has been a mem ber of the Board of Trustees of the Georgia School for the Deaf and at the time of his death he was a member of the Executive Committee which meets every month to consider ways and means of pro moting the education of the three hundred deaf chil dren composing the body of pupils. He was second to no member of the Board of Trustees in his eager interest in everything and every body at the school. He endeared himself to us all. Officers, teachers and pupils alike learned to love him and alike we mourn his loss. Alike we tender to his wife and the other members of his family our profound sympathies. Mr. Crusselle having had the training and exper ience of the educator could fully sympathize with WILLIAM F. CRUSSELLE us as teachers of the deaf. He was himself unusually By .1. C HAKIMS endowed by nature and had spent much of his life in the school room. -
De L'être / Mauvais Sang
Document généré le 24 sept. 2021 11:02 24 images L’insoutenable « lourdeur » de l’être Mauvais sang Gérard Grugeau Numéro 33, printemps 1987 URI : https://id.erudit.org/iderudit/22135ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Grugeau, G. (1987). Compte rendu de [L’insoutenable « lourdeur » de l’être / Mauvais sang]. 24 images, (33), 57–58. Tous droits réservés © 24 images inc., 1987 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/ MAUVAIS SANG L'insoutenable «lourdeur» de l'être Gérard Grugeau J'essaie de vivre ou, plutôt, j'essaie d'apprendre à vivre à la mort que ie porte en moi. Jean Cocteau u commencement était le mie, le STPA, tue tous ceux et celles nières paroles s'il se suicidait. «Ils verbe, non, au commence qui font l'amour sans amour. Deux étaient lourds, les hommes», répon A ment était l'image ... non, au bandes rivales se disputant le virus dit l'écrivain. Une phrase «lourde» de commencement était l'émotion.» qu'un laboratoire pharmaceutique a sens que tous les personnages de Cette petite phrase, qui semble se réussi à isoler. -
The University of Chicago Cinema's Motion Forms: Film Theory, the Digital Turn, and the Possibilities of Cinematic Movement A
THE UNIVERSITY OF CHICAGO CINEMA’S MOTION FORMS: FILM THEORY, THE DIGITAL TURN, AND THE POSSIBILITIES OF CINEMATIC MOVEMENT A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY JORDAN SCHONIG CHICAGO, ILLINOIS DECEMBER 2017 The filmmaker considers form merely as the form of a movement. —Jean Epstein Contents LIST OF FIGURES iv ABSTRACT vi ACKNOWLEDGMENTS vii INTRODUCTION MOVING TOWARD FORM 1 CHAPTER 1 CONTINGENT MOTION Rethinking the “Wind in the Trees” from Flickering Leaves to Digital Snow 42 CHAPTER 2 HABITUAL GESTURES Postwar Realism, Embodied Agency, and the Inscription of Bodily Movement 88 CHAPTER 3 SPATIAL UNFURLING Lateral Movement, Twofoldness, and the Aspect-Perception of the Mobile Frame 145 CHAPTER 4 BLEEDING PIXELS Compression Glitches, Datamoshing, and the Technical Production of Digital Motion 202 CONCLUSION OPENING CINEPHILIA; or, Movement as Excess 263 BIBLIOGRAPHY 280 iii List of Figures Figure 1.1 Stills from A Boat Leaving Harbour (Lumière, 1895) and Rough Sea at Dover (Acres and Paul, 1895)………………………………………………………………………..64 Figure 1.2 A myriad of bubbles in Frozen (Buck and Lee, 2013)……………………………....79 Figure 1.3 A featureless character digs snow in a SIGGRAPH demo of Frozen’s physics engine …………………………………………………………………………………....80 Figure 1.4 Various blocks of snow collapse in a SIGGRAPH demo of Frozen’s physics engine …………………………………………………………………………………....80 Figure 2.1 Linear markings in Umberto D (De Sica, 1952)……………………………………104 -
Holocaust Reparationshunger
/ ^ X THE bserver OThe Independent Newspaper Serving Notre Dame and Saint Marys I OLUME 38 : ISSUE 128 TUESDAY, APRIL 20, 2004 NDSMCOBSERVER.COM C o u n c il o f R epresentatives Operation Group approves $357,000 budgetRice Bowl 2004-2005 Budget Allocation Organization requests exceed $668,000, raises over Office of the Treasurer/ Financial Management Board Class o f 2006 SUB allocation drops 16% to $179,000 $4,000 :2 W 3 -W 152,947 '"."..ZZZ""! 58,800 A copy of the budget alloca I $8,000 By MATT BRAMANTI tions obtained by The Observer Judicial Council Class of 2007 Senior Staff Writer reveals that funding requests far By LAURA VILIM 12003-04 'S1,985 200.3-04: SO exceeded the amount of money News W riter $ 2,000 M 8M *ei$7,5oo Members of the newly consti available. Student union organi Club Coordination Council Off-Campus Council tuted Council of Representatives zations requested about met Monday evening in $668,000, exceeding the final The results from the first #7,000 2003-04: $0 Operation Rice Bowl to be LaFortune to approve the budget by over 87 percent. 2004-05 |S7,500 E O 0 2 5 E H * * * $2,480 held on the Notre Dame Student Union’s annual budget One of the most notable Clubs and Organizations campus in recent years Student Union Senate and to ratify the nomination of changes in the budget was the show the program was 12003-04 1520,000 2003-04: N/A several newly appointed officials. drop in funding for the Student hugely successful in raising 2004-05 ■ ■ 5 2 5 ,0 0 0 $29,240 Student union treasurer Claire Union Board, student govern money for Catholic chari Class of 2005 Council t>f Representatives Fadel presented the budget, ment’s major programming body. -
Strategies of Digital Surrealism in Contemporary Western Cinema by à 2018 Andrei Kartashov Bakalavr, Saint Petersburg State University, 2012
Strategies of Digital Surrealism in Contemporary Western Cinema By ã 2018 Andrei Kartashov Bakalavr, Saint Petersburg State University, 2012 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Chair: Dr. Catherine Preston Dr. Ronald Wilson Margaret Jamieson Date Defended: 27 April 2018 ii The thesis committee for Andrei Kartashov certifies that this is the approved version of the following thesis: Strategies of Digital Surrealism in Contemporary Western Cinema Chair: Dr. Catherine Preston Date Approved: 27 April 2018 iii Abstract This thesis joins an ongoing discussion of cinema’s identity in the digital age. The new technology, which by now has become standard for moving images of any kind, has put into question existing assumptions and created paradoxes from a continuity between two different media that are, however, thought of as one medium. I address that problem from the perspective of surrealist film theory, which insisted on paradoxes and saw cinema as an art form that necessarily operated on contradictions: a quality that resonated with surrealism’s general aesthetic theory. To support my argument, I then analyze in some depth three contemporary works of cinema that possess surrealist attributes and employed digital technology in their making in a self-conscious way. Leos Carax’s Holy Motors, Pedro Costa’s Horse Money, and Seances by Guy Maddin, Evan Johnson and Galen Johnson all point to specific contradictions revealed by digital technology that they resolve, or hold in tension, in accordance with the surrealist notion of point sublime. -
Sparks - This Town Ain’T Big Enough for Both of Us Episode 211
Song Exploder Sparks - This Town Ain’t Big Enough for Both of Us Episode 211 Hrishikesh: You’re listening to Song Exploder, where musicians take apart their songs and piece by piece tell the story of how they were made. My name is Hrishikesh Hirway. (“This Town Ain’t Big Enough for Both of Us” by SPARKS) Russell: We're big, uh, cinema buffs, so I think we've always had this kind of rationale that in making pop songs, you're able to make the most elaborate movie in your own mind in a three-minute song. Hrishikesh: That’s Russell Mael. He and his brother Ron Mael are the legendary duo, Sparks, from Los Angeles. Over the last 50 years, they’ve released 25 albums. They’ve collaborated with Giorgio Moroder and Franz Ferdinand, and influenced bands like Joy Division, Faith No More, Björk, and countless others. There’s a new documentary about them called The Sparks Brothers made by one of my favorite directors, Edgar Wright. His films include Shaun of the Dead, Hot Fuzz, Baby Driver, and Scott Pilgrim vs the World. The new documentary premiered at Sundance this year, and comes out in theaters this Friday, June 18th. Here’s what Edgar Wright says in the intro of the film. Edgar: Sparks. How did this glam rock anomaly become a band with a career spanning 5 decades? How can Ron and Russell Mael be successful, underrated, hugely influential and overlooked all at the same time? And where does one even start with 25 studio albums and nearly 500 songs? Hrishikesh: We’re gonna start with just one song.