Les Blank Burden of Dreams
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Blues in the 21St Century
Blues in the 21 st Century Myth, Self-Expression and Trans-Culturalism Edited by Douglas Mark Ponton University of Catania, Italy and Uwe Zagratzki University of Szczecin, Poland Series in Music Copyright © 2020 by the Authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019951782 ISBN: 978-1-62273-634-8 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image by Jean-Charles Khalifa. Cover font (main title): Free font by Tup Wanders. Table of contents List of Figures vii List of Tables ix Preface xi Acknowledgements xix Part One: Blues impressions: responding to the music 1 1. -
Les Blank Und Das Cinéma Vitalité. Mit Filmographie Und Bibliographie 2017
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Les Blank und das cinéma vitalité. Mit Filmographie und Bibliographie 2017 https://doi.org/10.25969/mediarep/12808 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Les Blank und das cinéma vitalité. Mit Filmographie und Bibliographie. Westerkappeln: DerWulff.de 2017 (Medienwissenschaft: Berichte und Papiere 173). DOI: https://doi.org/10.25969/mediarep/12808. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0173_17.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 173, 2017: Les Blank. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff, Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0173_17.pdf. Letzte Änderung: 10.05.2017. Inhalt: Hans J. Wulff: Les Blank und das cinéma vitalité [1] Hans J. Wulff u. Ludger Kaczmarek: Les Blank: Filmografie [4]. Über (und mit) Les Blank [31]. Literatur [32] Les Blank und das cinéma vitalité Les Blank (* 27.11.1935 in Tampa, Florida; † 7.4.2013 in Berkeley, Kalifornien) studierte an der Tulane University in New Orleans Englische Sprache. Unter dem Eindruck des Ingmar-Bergman-Films Det sjunde inseglet (Das siebente Siegel, 1957) begann er eine Ausbildung zum Schauspieler und Dreh- buchautor, bevor er die Filmschule an der University of Southern California besuchte. -
2Nd International Folk Music Film Festival Catalogue 2012
Dedications The 3 days of International Folk Music Film Festival –Nepal 2012 will each be dedicated to different people who have devoted a considerable portion of their life’s work to the promotion, documentation and preservation of traditional musicians and associated artists, their music and music culture. They are John Baily and Veronica Doubleday, UK, Les Blank, USA and Ramsaran Darnal (1937–2011) from Nepal. John Baily & Veronica Doubleday, Ethnomusicologists, Musicians and Writers, husband and wife John and Veronica frequently perform together in concert and often with noted Afghan musicians. They have dedicated their life’s work to the people and music of Afghanistan and have supported Afghan musicians and their families throughout the prolonged conflicts. John Baily, Emeritus Professor, Goldsmiths, London University, began his ethnomusicological work in Afghanistan in 1973 also becoming a skilled musician particularly on the Afghan rubab and dutar. Prior to this he had learnt tabla with Krishna Govinda on an extended visit to Kathmandu in 1971. From 1984-5 John trained in anthropological filmmaking and directed the award-winning film Amir: An Afghan Refugee Musician’s life in Peshawar, Pakistan. He is the author of many articles and book chapters and has recently published Songs from Kabul: The Spiritual Music of Ustad Amir Mohammed. John is presently helping to develop The Afghanistan National Institute of Music. Veronica Doubleday, visiting lecturer, the University of alone from Folk Alliance International and from the International Brighton. Veronica’s ethnomusicological work focuses on Afghan Documentary Association. music, women’s music and gender issues and she has published Native filmmaker, Samrat Kharel, has written, “Les Blank’s films many articles on these subjects. -
The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA)
Recordings at Risk Sample Proposal (Fourth Call) Applicant: The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project: Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Portions of this successful proposal have been provided for the benefit of future Recordings at Risk applicants. Members of CLIR’s independent review panel were particularly impressed by these aspects of the proposal: • The broad scholarly and public appeal of the included filmmakers; • Well-articulated statements of significance and impact; • Strong letters of support from scholars; and, • A plan to interpret rights in a way to maximize access. Please direct any questions to program staff at [email protected] Application: 0000000148 Recordings at Risk Summary ID: 0000000148 Last submitted: Jun 28 2018 05:14 PM (EDT) Application Form Completed - Jun 28 2018 Form for "Application Form" Section 1: Project Summary Applicant Institution (Legal Name) The Regents of the University of California, Berkeley Applicant Institution (Colloquial Name) UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project Title (max. 50 words) Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Project Summary (max. 150 words) In conjunction with its world-renowned film exhibition program established in 1971, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) began regularly recording guest speakers in its film theater in 1976. The first ten years of these recordings (1976-86) document what has become a hallmark of BAMPFA’s programming: in-person presentations by acclaimed directors, including luminaries of global cinema, groundbreaking independent filmmakers, documentarians, avant-garde artists, and leaders in academic and popular film criticism. -
The Werner Herzog Collection 18 Films on Blu-Ray and DVD
The Werner Herzog Collection 18 films on Blu-ray and DVD Presented in two formats – an 8-disc Blu-ray box set and a 10-disc DVD box set – The Werner Herzog Collection is released by the BFI on 28 July 2014. Containing 18 films by the visionary German filmmaking legend, the collection includes such classics of world cinema as Nosferatu the Vampyre, Aguirre, Wrath of God and Fitzcarraldo, as well as a number of Herzog's acclaimed, but rarely seen short films. Extensive extras include Jack Bond's long-unseen South Bank Show portrait of Herzog (1982), Les Blank's classics Werner Herzog Eats His Shoe (1980) and Burden of Dreams (1982), feature-length director commentaries, original trailers, stills galleries and an extensive contextualising booklet. The films The Unprecedented Defence of the Fortress Deutschkreuz (1967) | Last Words (1968) | Precautions Against Fanatics (1969) | Handicapped Future (1970) | Fata Morgana (1971) | Land of Silence and Darkness (1971) | Aguirre, Wrath of God (1972) | The Enigma of Kaspar Hauser (1974) | The Great Ecstasy of Woodcarver Steiner (1975) | Heart of Glass (1976) | How Much Wood Would a Woodchuck Chuck (1976) | Stroszek (1977) | Nosferatu, the Vampyre (1979) | Woyzeck (1979) | Huie's Sermon (1980) | God's Angry Man (1980) | Fitzcarraldo (1982) | Cobre Verde (1987) Special features All films presented in High Definition Alternative German and English versions of Nosteratu, the Vampyre Full-length audio commentaries with Werner Herzog on selected titles Alternative German and English language audio -
20. Internationales Forum 51
20. internationales forum 51 des jungen films berlin 1990 «SSS y AI ETE AU BAL /1 WENT TO THE DANCE der Cajuns gespielte Musik, der Zydeco, ist eine Verbindung von Cajun-Musik und Blues. The Cajun and Zydeco Music of Louisiana Cajuns, die Nachkommen der 1755 von den Briten aus Akadien Ich ging zum Tanz vertriebenen französischen Siedler, die sich in den fruchtbaren Sumpf gebieten (Bayous) Süd-Louisianas niederließen. Die heute rund 250.000 Cajuns, die eine weitgehend in sich geschlossene Land USA 1989 Volksgruppe bilden, sprechen einen Dialekt aus altertümlichem Produktion Brazos Films, Flower Films Französisch, vermischt mit englischen, spanischen und india (El Cerrito, Kalifornien) nischen Elementen. (Brockhaus' Enzyklopädie des Wissens) Regie Les Blank, Chris Strachwitz nach dem Buch 'Cajun Music: A Reflection of a People* von Ann Allen Savoy Zu diesem Film J'AI ETE AU BAL ist ein abendfüllender Dokumentarfilm über Kamera Les Blank, Susan Kell die Cajun- und Zydeco-Musik aus dem Südwesten Louisianas in Ton Maureen Gosling Vergangenheit und Gegenwart. Chris Strachwitz, Chris Simon Konzertaufhahmen, Photos und historische Filmausschnitte Erzähler/Berater Barry Jean Ancelet werden mit Berichten und Erzählungen zu einem stimmungsvol Michael Doucet len Porträt verwoben. Ann Allen Savoy Schnitt Maureen Gosling Produzenten Les Blank, Chris Strachwitz Les Blank über die Vorgeschichte des Films Assoziierter Produzent Chris Simon Als ich 1970 entdeckte, daß mein erster ganz und gar unabhängig Musik/Mitwirkende produzierter Film The Blues Accordiri -
Toledoam.Pdf
The University of Toledo Department of Theatre presents Mindscreen Thursday, October 16 Sunday, November 2 The Toledo Media Project Myth, Dream and Language as Models for Film Fall 1980 Max Reinhardt and William Dieterle, Edwin S . Porter, The Life of an American Although film's inventors intended the medium to replicate our A Midsummer Night's Dream (1935) Fireman (1902) Exhibition Schedule visual perception of the material world, many filmmakers from G .W. Pabst, Secrets of a Soul the earliest times have been impressed by its strong imagistic The only sound film by the genius of the German theater. Max (Geheimnisse Thursday, October2 MARK RAPPAPORT* quality and turned instead to dreams and myth as visual re Reinhardt . was made in collaboration with his disciple William Finer Seele, Germany, 1926) Thursday, October 9 Winsor McCoy Program and The sources for the new medium In these immaterial images . they Dieterle, a former actor. Though it captures much of the spirit Adventures of Prince Achmed" discovered an organization and meaning which eventually leads of Shakespeare's play . the text is heavily edited to allow full Fireman is a famous early film which reconstructs a primitive Thursday, October 16 A Midsummer Night's Dream back to language, that central phenomenon of human experience. rein to Reinhardt's famous production effects . In one narrative around a rescue scene. It is also one of the first films Sunday, October i9 LES BLANK' Freud continually used cinematic terms such as "projection" sequence . for example . the fairy king's cape grows from con- to include a dream sequence . -
MAUREEN GOSLING Producer/Director
Maureen Gosling, Filmmaker [email protected] MAUREEN GOSLING Producer/Director MAUREEN GOSLING has been a documentary filmmaker for more than thirty years and is best known for her twenty-year collaboration with acclaimed independent director, Les Blank. Gosling has also been sought after as an editor, working with such directors as Jed Riffe, Tom Weidlinger, Amie Williams, Shakti Butler (The Way Home), Ashley James (Bomba: Dancing the Drum) and Pam Rorke Levy (San Francisco’s Neighborhoods: The Mission District). Her work has often focused on themes of people and their cultural values, music as cultural expression and the changing gender roles of men and women. Her films have been seen in countless film festivals around the world, on national public and cable television, on television in Europe, Australia and Asia, and have been distributed widely to educational institutions. Gosling’s own film, Blossoms of Fire, a feature documentary filmed and edited completely on 16mm, represents her debut as a Producer/Director. The film is a celebratory tribute to the Isthmus Zapotec people of southern Oaxaca, Mexico. Blossoms of Fire, an Intrépidas Productions release, has garnered rave reviews, charming audiences from San Diego to Marseille. The film won the Coral Award for Best Documentary by a Non-Latino Director at the Havana International Film Festival and was broadcast on HBO Latino. As a director/producer, Maureen Gosling is developing two new film projects. Bamako Chic, The Women Cloth Dyers of Mali, co-produced with Maxine Downs, explores through the stories of five women, the cultural significance of textiles and cloth to West Africans and the impact that global economic policies, such as micro-credit programs, have on Malian womens’ lives. -
The Sound of Ethnic America: Prewar “Foreign-Language” Recordings & the Sonics of Us Citizenship
THE SOUND OF ETHNIC AMERICA: PREWAR “FOREIGN-LANGUAGE” RECORDINGS & THE SONICS OF US CITIZENSHIP Mathew R. Swiatlowski A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of American Studies in the College of Arts & Sciences Chapel Hill 2018 Approved by: Jocelyn R. Neal Sharon P. Holland Timothy Marr Michael Palm Andrea Bohlmam © 2018 Mathew R. Swiatlowski ALL RIGHTS RESERVED ii ABSTRACT Mathew R. Swiatlowski: The Sound of Ethnic America: Prewar “Foreign-Language” Records and the Sonics of US Citizenship (Under the direction of Jocelyn R. Neal) This dissertation explores the juncture of sound and citizenship to consider how the boundaries of nation are maintained at both geospatial and cultural borders. Specifically, the project concerns “foreign-language” recordings made by US recording companies prior to World War II (hereafter, prewar). With the onset of war in Europe in 1914, “foreign-language” recordings were increasingly cut domestically, featuring vernacular performers of the Great Wave of immigration that brought Hungarian, Syrian, Ukrainian, Turkish, Polish, Mexican, Chinese, and Japanese peoples, alongside a host of other nationalities, to the US beginning in the latter half of the nineteenth century. Initially marketed to specific immigrant populations in the US, these recordings eventually became the province of postwar record collectors and the reissue music market by the 1970s. The narrative of the project draws much of its power by connecting their discrete moments of circulation with the political realities that shaped their audition. As such, the project examines the interplay between, what I call, the “national vernacular imaginary” and state policy in regards to immigration and citizenship. -
COM 321, Documentary Form in Film & Television
1 COM 321, Documentary Form in Film & Television Spring 2014 Extra Credit Viewing Opportunities All due at the Final Exam or earlier You may receive up to 2% extra credit for each documentary viewed and analyzed (up to 4% for selected films showing at the Cleveland Cinematheque or the Cleveland Museum of Art, if a ticket stub is attached), to a maximum total of 10%. Documentaries must be from the attached list of approved documentaries. However, there may be additions made later in the term, including some additional Cinematheque or Cleveland Museum of Art viewings. You may propose films or other moving image presentations (e.g., TV, online) to add to the list; if you wish to do so, please write me a note. If approved, I need to extend the offer to the rest of the class. For each documentary viewed, you need to do a little research. Use the Katz Film Encyclopedia or similar source to learn about the main "players" involved in the documentary--the producer(s), director, writer(s), DP/cinematographer (IMDb is not sufficient for such biographical info). The Katz book is available in the MU 107 projection booth. Use your textbooks, too! Wikipedia should be fairly reliable for these tasks as well. After viewing the documentary, complete a 2-page typed, double-spaced report, addressing the following issues: 1. Analyze the contributions of the main creative personnel (again, producer, director, writer, DP) with regard to this doc. How does this doc fit into their full careers, and the typical documentary role(s) that they tend to play? 2. -
Museum to Present Complete Films of Les Blank, Independent Documentary Filmmaker
The Museum of Modern Art 50th Anniversary •JO MUSEUM TO PRESENT COMPLETE FILMS OF LES BLANK, INDEPENDENT DOCUMENTARY FILMMAKER The Department of Film of The Museum of Modern Art will present a retrospective of the works of Les Blank, an unorthodox and committed filmmaker. This retrospective, including all Blank's 16 mm. films from 1960 to 1979, will open on June 25, when the filmmaker will arrive here from his West Coast home and studio to make a personal appearance in the Museum's auditorium. At the 6:00 p.m. showing, he will intro duce a two-year work-in-progress titled "Garlic Is As Good As Ten Mothers." Blank delves into the history, folklore, and other aspects of garlic and people. In this film he departs somewhat from the music that has been the subject of his other films. The filmmaker's interest in food and his love of music combine to express his impressions of an America with a diversity of sub cultures. He celebrates the ethnic sounds and tastes of the America that is rapidly vanishing. Blank hopes to preserve on film deeply rooted traditions not always visible, and according to Larry Kardish, Associate Curator in the Department of Film, he does so with " a rough lyricism". According to one critic, Jay Cocks, "Blank's movies are excursions ****************************** * NOTE TO PRESS: For advance showing of any Les Blank * * films, requests should be directed to Pamela Sweeney, * * Department of Public Information, (212) 956 - 7501. * ****************************** 11 West 53 Street, New York, N.Y. 10019, 212-956-6100 Cable: Modernart NO. -
Werner Herzog,Conquest of the Useless: Reflections from the Making of Fitzcarraldo Harpercollins Publishers, 2009 $14.99 (Hardcover)
Heather Blackmore Book Review: Werner Herzog,Conquest of the Useless: Reflections from the Making of Fitzcarraldo HarperCollins Publishers, 2009 $14.99 (hardcover) Conquest of the Useless is a detailed, yet decidedly Conquest of the Useless contains chronicles of idiosyncratic account of the events surrounding many specific production challenges, including the the production of Werner Herzog’s iconic 1982 replacement of the original cast—Jason Robards, film Fitzcarraldo. Unlikely to surprise anyone who left due to health issues, and Mick Jagger, familiar with Herzog’s work, the book is far whose touring schedule did not permit him to wait from a traditional production history, containing while a replacement was found—after shooting instead the director’s private journals and musings was already well under way. Extraordinary from 1979-1981 during the epically lengthy and organizational and physical challenges also plagued trouble-ridden production. Herzog’s preface to the the production, which included hundreds of local book informs the reader that “these texts are not extras, a notoriously difficult lead actor in Klaus reports on the actual filming—of which little is Kinski (who replaced Robards), and the movement said. Nor are they journals, except in a very general of a 320-ton steamship over a mountain in the sense. They might be described instead as inner Amazon rainforest. Accounts of these events are landscapes, born of the delirium of the jungle. hardly new, however. Most of them have already But even that may not be entirely accurate—I am been reported elsewhere, including in Les Blank’s not sure.”1 Despite this characteristically oblique 1982 documentary Burden of Dreams, for which declaration, the book is not merely the stream-of- Blank spent months alongside Herzog’s crew in consciousness mediation of an artist in an abyss.