PDF of This Issue

Total Page:16

File Type:pdf, Size:1020Kb

PDF of This Issue AddDaw 1bday MIT's The Weather Oldest and Largest Today: Clear, windy, cold, 40°F (5°C) Tonight: Clear, cold, 25°F ( 5°C) \J Newspaper Tomorrow: Fair, light winds, 45°F (70C) Details, Page 2 Cambridge, Massachusetts 02139 Friday, March 10 1995 u.s.News Ranks Sloan School First Engineering rates first for 6th year By Jeremy Hylton honor for .the Institute. "It is very TECHNOLOGY DIRECTOR meaningful indeed that this kind of The School of Engineering, synergy can develop within a single which has headed U.S. News & institution," Vest said. World Report's annual survey of "America's future in the world graduate schools since the survey economy depends on innovation - was started six years ago, wi II share technological innovation and orga-. the limelight this year with the nizational innovation. They arc Sloan School of Management, increasingly linked:' Vest said. which was ranked as the top busi- In rankings of specific disci- ness school. plines, the Department of Econom- The rankings, announced yester- ics shared o. I with four other day, will be published in the maga- schools, six engineering programs SIIARON N. YOUNG PONG -- Tilt: TECH zine's March 13 issue. were ranked o. I, and the Depart- President Charles M. Vest, John B. Vander Sande, associate dean of engineering, Glen L. Urban, dean of At a press conference yesterday, ment of Political Science was the Sloan School of Management, and Professor Paul L. Joskow, head of the Department of Economics President Charles M. Vest said that ranked eighth. speak yesterday at a press conference about the annual U.S. News & World Report survey of graduate the No. I rankings in engineering - schools, which ranked Sloan and the SChool of Engineering first in .thelr fields. and management were a special Survey, Page II ,Plans to .MacGregor, Burton Housemasters to Leave By Jennifer Lane Being a housemaster "Clndheading a depart- should only do a job when you feel your best Renovate STAFF REPORTER ment require a lot of time and responsibilities, work is sti II ahead of you." MacGregor Hoosemasters Stephen J. Lip- and "it would be unfair to both the students and Lippard's time as MacGregor housemaster pard PhD '65 and Burton-Conner Housemas- the department if I tried to do both" Lippard has been a positive experience, said Anand R. Sr. House ters William L. Porter PhD '69 will step down said. "It would be pretty hard to be as conscien- Radhakrishnan '96, MacGregor House presi- from their positions at the end of the spring tious as I would like to be at both positions," dent. "Lippard was always on our side," on term. Lippard said. "It had to be one or the other." issues such as crowding and the closing of the Discussed Lippard will resign when he becomes head "Department heads have to respond to dining hall, Radhakrishnan said. "He alway of the chemistry department on July 1. He and unpredictable situations, much as a housemas- tried to help us out." By Ramy A. Arnaout his wife Judith have been housemasters at ter does," said Porter, who is a former head of "There are various ways that the housemas- EXECUTIVE EDITOR MacGregor for four years. the Department of Architecture. "You have to ter can be the students' advocate under difficult In the latest in a series of weekly Porter, a professor of architecture, and his be ready to jump into a situation at any time." circumstances," Lippard said. >meetings, residents and administra- wife Lynn have been at Burton for four years. "I had anticipated staying [on as housemas- Lippard said he was instrumental in bring- tors met last night to discuss plans They will resign to avoid paying large capital ter] a bit longer, but it wasn't something I for major Senior House renovations. gains taxes on a home they sold in Concord. wanted to do forever," Lippard said. "You Housemasters, Page 12 Announced last fall, the $9-12 million renovations will have important implications for Senior House residents .. Committee to Examine "We plan on gutting the whole house and starting from ground up," said newly electe.d Senior House .Campus Dining Semces President Samuel L. Johnson '96, who attended last night's meeting. By A. Arlf Husain customer," McBurney said. "Cus- One fundamental change wi II be STAFF REPORTER tomer comments, feedback, sugges- in the floor plan, which will have to In response to mounting student tions, gripes, or complaints are the be completely reworked in order to dissatisfaction with campus food medium in which information is make the dormitory handicapped- services, a new comm)ttee is being passed. The committee can and will accessible, Johnson said. The new established to develop a "strategic be the way to ensure that all such plan will probably include long plan for improving food services," information is gathered, communi- halls and a central elevator, he said. said John S. Hollywood '96, chair cated, and acted upon officially." Not all residents welcome the of the Undergraduate Association The Committee on Dining will proposed change, Johnson said. Committee on Student Life. examine all aspects of current food "There's a lot of people who like The committee will work with services, exploring options like re- [Senior House] just the way it is Aramark, MIT's contracted food opening some of the residence din- now. A lot of people live here service provider, to make major. ing halls, Hollywood said. bec~use it's not ... neat, fresh, sani- structural changes to food services, Re-opening dining halls would tary," he said. Hollywood said. not make sense financially unless a "That's one of my concerns - The formation of the Comm ittee mandatory meal plan is re-instated, th~t it's going to be like a hotel, on Campus Dining was suggested according to A sociate Director of with long halls and uniform rooms," after the preliminary findings of a Housif!g and Food Services John T. Johnson said. The change would be survey taken by the UA Committee Mac eill. Since many student are acceptable "as long as I can work on Student Life showed that only 4 opposed to a mandatory plan, Mac- out a way to preserve" the unique percent of respondents were satis- eill doe not believ.e reopening Senior House atmosphere, he said. fied with current offerings. dining halls is a viable solution. The major goals of the new com- "We have to figure out a way to Renovations, Page 13 mittee will be to give students a try and please everybody without voice in decisions and to make spe- making anyone required to have to cific suggestions for improvement, go back to their dorm for a meal," Hollywood said. Mac ei II said. The exact composition of the Hollywood hope the committee committee will be decided Monday, will be able to address the varied Hollywood said. Tentatively, the needs of tudents. committee will include Hollywood, "I'd like to ee cafeteria in the. Aramark General Manager Robert dorms," said ikhil . Batra '98. SHARON N. YOUNG PONG .- TIlE TECH McBurney, Assi tant General Man- Another student, Cui ling Gong Dabajlt Ghosh '97 contemplates what type of class ring he ager Elizabeth Emery, and represen- G liked the convenience of Lob- should purChase, while trying on one of the samples yesterday tatives from each dormitory. r I ,II afternoon. Jostens has been selling the rings In Lobby 10. "The critical factor here is the ---..;;~--------------------~--------------------=-:':"--~l.Page 2 THE TECH March 10, 199~ WORLD & NATION Dollar Resumes Downward Spiral LOS ANGELES TIMES Ways and Means Chainnan . WASHI GTO De pite the Clinton admini tration's renewed effort to bol ter the sagging dollar, the U.S. currency resumed its downward spiral Thurs- day, falling again t the Japane e yen, the Briti h pound and the Swi Presents Tax Cut Proposals franc and edging up only slightly against the Gennan mark. By Eric Pianin deliver long awaited middle-class- late this year, after they complete With his option limited, and timing considered crucial, Treasury THE WASHINGTON POST tax relief and bolster the economy. work on a long tenn deficit reduc- \ Secretary Robert E. Rubin declared, "This administration believe a WA III GTO "We have done exactly what we tion plan. "I'm opposed to doing strong dollar is in America's national interest." House Ways and Means Com- promised we would do - no ifs, taxes first when there's a lot of In the measured language of international finance, uch a tate- mittee Chairman Bill Archer, R- ands or buts," Archer told a cheer- skepticism about whether we will ment i considered powerful and represented the most forceful Tex., Thursday dismi sed a barrage ing gathering on Capitol Hill. "I see any deficit reduction at all," he defense the administration has offered ince Rubin issued a similar of Democratic and Senate GOP challenge the anti-growth Democ- said. statement when the tumble began last Friday. But it appeared to have warnings and presented a costly tax rats to stop throwing roadblocks in White House Chief of StafT Leon no impact on the course of the dollar, which fell once again after plan that include a 500-per-child the path of those who want to try a . E. Panetta, ticking off the business appearing to rally late Wednesday and early Thursday following an tax credit, a deep cut in the capital new way - those who see~ to help tax cuts in Archer's plan, said the increa e in . orne European interest rate. gains tax and a cornucopia of busi- our empl?,yees by helping our proposal to cut the capital gains tax By the end of trading Thur day one dollar was equal to 90.50 yen, ness and corporate tax breaks.
Recommended publications
  • Paris Cinema.1.1
    01 02 03 The New Wave Hotel 04 05 Roland-François Lack 06 07 08 09 The association of the French New Wave with the kind of movement through urban 10 space that has been called flânerie is a familiar one. A defamiliarising strategy in this 11 chapter, and in my research more broadly,1 is to examine and occupy the spaces in 12 which New Wave films come to rest, countering a general assumption that cinema is 13 always about movement. The hotel is a peculiarly cinematic stopping place because, it 14 has been argued, it is ‘always already in motion’, a ‘ceaseless flux of reservations, occu- 15 pations and vacancies’.2 By fixing exactly the locations of Paris hotels in New Wave films 16 and by looking closely at the contents of the rooms in those hotels, this chapter will try 17 to resist the appeal of such mobility and fix its gaze firmly on its object, unmoved. The 18 suggestion will be, finally, that the French New Wave is less a cinema of flânerie than 19 it is a cinema of stasis; is as much a cinema of interiors as it is a cinema of the street. 20 What, cinematically, is particular about the New Wave’s use of hotels? New Wave 21 hotels are places of passage, temporary stopping places that signify transience and, in 22 the end, mobility. In her study of cinematic flânerie, Suzanne Liandrat-Guigues defines 23 the cinematographic image as ‘passage’,3 and though she goes on to illustrate the point 24 through New Wave films that follow characters as they walk in streets, fixing on their 25 ‘singular mobility’, here we will be following the New Wave’s characters into spaces 26 where walking is restricted.
    [Show full text]
  • The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
    Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals.
    [Show full text]
  • THE DEATH of LOUIS XIV (La Mort De Louis XIV)
    THE DEATH OF LOUIS XIV (La Mort de Louis XIV) A film by Albert Serra France/Portugal/Spain 2016, 115 min., French with English subtitles Cannes Film Festival 2016, Official Selection, Special Screening Certificate and release date tbc FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel. 020 7833 8444 / [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] 1 Lower John Street W1F 9DT Tel: 020 3603 7577 www.newwavefilms.co.uk [email protected] SYNOPSIS August 1715. After going for a walk, Louis XIV feels a pain in his leg. The following days, the king continues fulfilling his duties and obligations, but his sleep is troubled and he has a serious fever. He barely eats and gets increasingly weaker. This is the start of the slow death of the longest serving King of France from gangrene, surrounded by his doctors and closest advisors, speaking in frantic, whispered tones about their options, in an era in which little is known of such illnesses. Albert Serra's new film, The Death of Louis XIV, is adapted from contemporary memoirs, especially those of the Duc de Saint Simon, and features Jean-Pierre Léaud as the Sun King. The cult actor, who worked with most of the major directors of the Nouvelle Vague after being discovered in Truffaut's The 400 Blows, plays the dying king who can barely move from his bed in the Château de Versailles. His relatives and his closest counsellors come in turns at his bedside, but he attends only a few meetings and can barely rule his kingdom.
    [Show full text]
  • Wprowadzenie Dyrektora Festiwalu
    WPROWADZENIE / INTRODUCTION WPROWADZENIE tworz¹c nasze narodowe wartoci. Patrz¹c szerzej staje siê ona w jakim stopniu oknem na wiat ze DYREKTORA FESTIWALU wzglêdu na specyfikê kultury ¿ydowskiej - wielu wybit- nych i wp³ywowych ludzi w wiecie ma swoje korzenie ¿ydowskie w³anie z Polski. Dlatego budowanie przeze Szanowni Pañstwo, mnie mostów jest tak znamienne i wa¿ne dla naszego kraju. Mosty miêdzy Poloni¹ oraz Poloni¹ ¿ydowsk¹ Pragnê serdecznie Pañstwa powitaæ na 5. edycji w wiecie s¹ tak samo wa¿ne jako mosty miêdzy Po- naszego Festiwalu oraz zachêciæ do ogl¹dania filmów lakami ró¿nych wyznañ, religii i to¿samoci w naszym festiwalowych w naszych trzech kinach w Warszawie: kraju. Jestem wiêc przekonany o autentycznej potrze- Silver Screen Mokotów przy ul. Pu³awskiej, Kinie bie naszej misji. Nonik, którym operujemy - film - jest Iluzjon przy ul. Narbutta i w Sali projekcyjnej Szko³y jednym z najbardziej uniwersalnych komunikatorów G³ównej Handlowej w Al. Niepodleg³oci w dniach od w wiecie, który pozwala na przeniesienie siê w ró¿ne 8 do 13 listopada 2007 roku. miejsca i prze¿ycie ró¿nych emocji. W³anie dlatego sztuka filmowa jest mi tak bardzo bliska a jej realizo- Pi¹ta edycja dedykowana jest Mistrzowi Andrzejowi wanie tak wa¿ne dla mnie i dla wszystkich innych Wajdzie, którego przegl¹d filmów pod has³em ceni¹cych sobie dobre festiwalowe kino. ANDRZEJ WAJDA - SZKIC DO PORTRETU odbêdzie siê w trakcie Festiwalu w Kinie Iluzjon wraz z wystaw¹ Jestemy jak na razie jedynym festiwalem w Polsce, plakatów i fotosów z filmów Mistrza. Honorowa Kamera którego nagrodzony 1.
    [Show full text]
  • 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.
    [Show full text]
  • The Adventures of Antoine Doinel
    The Adventures of Antoine Doinel Dir: Francois Truffaut, France, 1959, 1962, 1968, 1970 and 1979 A review by Richard Harrison, Norwich City College, UK May 5th, 2004 marks the sixtieth birthday of Jean-Pierre Leaud, perhaps the most famous juvenile in world cinema history. As Antoine Doinel, his rise from pre-pubescent adolescent to fully grown man across five Francois Truffaut films between 1959 and 1979 is chronicled in a luxurious five DVD set from the Criterion Collection. The 400 Blows (1959), Antoine And Colette (1962), Stolen Kisses (1968), Bed And Board (1970) and Love On The Run (1979) provide not only a detailed insight into the cycle’s eponymous star but also a semi- autobiographical portrait of their director. The five DVD set is well packaged, with each film having been painstakingly remastered. The picture quality is outstanding, and reveals the true beauty of the films (compare the films with the short clips that appear in the television show extracts). Antoine and Colette appears on the same disc as the The 400 Blows which enables the fifth disc to include Les Mistons (1957), a delightful short film which acts as precursor to the Doinel cycle, and a fascinating documentary piece Working With Francois Truffaut: Claude de Givray and Bernard Revon (1986). All the discs have extras of some sort, ranging from Brian Stonehill’s superb, friendly commentary that accompanies the The 400 Blows to newsreel footage of the 1959 and 1968 Cannes Film Festivals, and numerous television interviews with Francois Truffaut and Jean- Pierre Leaud. An informative and nicely illustrated seventy-two page booklet completes what is an essential purchase for any film enthusiast, and reveals why Truffaut’s premature death in 1984 was such a catastrophic loss, not only for the world in general but for cinema in particular.
    [Show full text]
  • NPF 2017 Hyperlinks.Pdf
    Polish Film Insitute ul. Krakowskie Przedmieście 21/23 00-071 Warsaw phone (+48 22) 42 10 130 fax (+48 22) 42 10 241 e-mail [email protected] www.en.pisf.pl facebook.com/InstytutFilmowy twitter.com/filmsfrompoland INTRODUCTION 3 Ladies and Gentlemen, allow me to present the latest edition of the New Polish Films catalogue, published annually by the Polish Film Institute as a showcase of the up­ coming months in Polish cinema. In this catalogue, we focus on a selection of feature films, some of which are sure to screen in competition and oth­ er notable sections at international film festivals. A few of these films have already been released on the domestic market, while others are still in production. I am sure that the coming months will bring a number of great encounters with Polish cinema. 2016 was an exceptionally successful year in Po­ photo by Marcin Kułakowski, Polish Film Institute lish cinema, as shown both by awards received by Polish films at international film festivals and by over 12 million admissions in cinemas across the nation. This excellent result is the outcome of an exceptional diversity of Polish films. Alongside blockbuster films and period pieces, audiences of­ ten chose to see original arthouse films, as well as films that do not shy away from social issues. The 2017 season will bring more of these films to the big screen. Among these are films by first­time directors and those by seasoned filmmakers who have gained acclaim among audiences and critics alike. Polish producers are increasingly involved in international minority co­productions, which is also reflected in this catalogue.
    [Show full text]
  • Directed by François Truffaut Written by François Truffaut Dialogue By
    February 19, 2008 (XVI:6) Mervyn LeRoy Gold Diggers of 1933 19 François Truffaut, 400 Blows 1959 (99 min) 11((((117(117minmin.)minutes) Directed by François Truffaut Written by François Truffaut Dialogue by Marcel Moussy Produced by François Truffaut Original Music by Jean Constantin Cinematography by Henri Decaë Film Editing by Marie-Josèphe Yoyotte Thanks André Bazin, Jean-Claude Brialy, Fernand Deligny, Alex Joffé, Jacques Josse, Suzanne Lipinska, Claire Mafféi, Jeanne Moreau, Claude Véga, Claude Vermorel, Annette Wademant Jean-Pierre Léaud...Antoine Doinel Claire Maurier...Gilberte Doinel Albert Rémy...Julien Doinel Guy Decomble...'Petite Feuille', the French teacher Georges Flamant...Mr. Bigey Patrick Auffay...René Daniel Couturier...Les enfants François Nocher...Les enfants Richard Kanayan...Les enfants Renaud Fontanarosa...Les enfants Michel Girard...Les enfants Henry Moati...Les enfants Bernard Abbou...Les enfants Jean-François Bergouignan...Les enfants Michel Lesignor...Les enfants Luc Andrieux Robert Beauvais...Director of the school Bouchon Christian Brocard Yvonne Claudie...Mme Bigey Marius Laurey Claude Mansard...Examining Magistrate Jacques Monod...Commissioner Pierre Repp...The English Teacher Henri Virlojeux...Night watchman Jean-Claude Brialy...Man in Street Jeanne Moreau...Woman with dog Philippe de Broca...Man in Funfair Jacques Demy...Policeman Jean Douchet...The Lover Marianne Girard Simone Jolivet Laure Paillette François Truffaut...Man in Funfair Cannes Film Festival 1959 Won Best Director François Truffaut Truffaut—400 Blows—2 François Truffaut (6 February 1932, Paris—21 October from silent films. (That's a shot where the screen seems to screw 1984,Paris, brain tumor) entered the film world as a writer—first down to circle one detail, before going to black).
    [Show full text]
  • WAŁĘSA. L’Uomo Della Speranza Di Andrzej Wajda
    Presenta: WAŁĘSA. L’uomo della speranza di Andrzej Wajda Uscita: 6 GIUGNO 2014 Distribuzione: Nomad Film Distribution Durata: 127’ Ufficio Stampa REGGI&SPIZZICHINO Communication [email protected] www. reggiespizzichino.com +39 06 97615933 Maya Reggi +39 347 6879999 Raffaella Spizzichino +39 338 8800199 1 CAST TECNICO regia Andr ze j Wajda sc eneggiatura Ja nu sz Gło wa ck i fotogra fia Pawe ł Edelm an, psc su pporto creativo / ca sting Ew a Brodzka su ono Ja cek Hamela make up Wald emar Pokromski Tom asz Matr asz ek cos tumi Magd alena Bi edrz ycka sc enogra fia Magd alena Dipont montaggio Graży na Gradoń, ps m Mil enia Fiedl er, psm musica Pawe ł Myk ietyn direttore di pro duzi one Pawe ł Gabryś direttore esecutivo Katarz yn a Fuk acz – Cebula Małgorzata Fogel Pawe ł Gabryś pr odutt ore Mi chał Kwieciński produzione Akson Studio co-produzione Orange Telewizja Polska S.A. National Center for Culture Canal + co-finanziatori Polish Film Ins titute sostenitori Energa; Saur Neptun film partner Danzia, città della Libertà patronato d’onore Bogdan Zdrojewski – Ministro della Cultura e dell’Eredità Nazionale media partner TVP Telewizja Polska distribuzione italiana NOMAD FILM Distributi on durata 127’ ufficio stampa italiano REGGI&SPIZZICHINO Communication CAST ARTISTICO ROBER T WI ĘCKIEWI CZ LECH WAŁĘSA AGN IESZKA GROCHOWSKA DANUTA WAŁĘSA ZBIGN IEW ZAM ACH OWSKI NAW IŚL AK CEZARY KOSI ŃSKI MA JC HR ZAK MA RI A ROSA RIA OM AGG IO OR IANA FA LL ACI MI ROSŁAW BAKA DIRETT ORE DEL CAN TIERE NAV AL E 1980 MA CIEJ STUHR PRETE SINOSSI BREVE La Nuova Europa ha le sue origini a Danzica! “Wałęsa.
    [Show full text]
  • V=Flawb1tmokq
    MITOCW | watch?v=flAwb1TmOkQ The following content is provided under a Creative Commons license. Your support will help MIT OpenCourseWare continue to offer high quality educational resources for free. To make a donation or view additional materials from hundreds of MIT courses, visit MIT OpenCourseWare at ocw.mit.edu. DAVID There are various kinds of neorealisms, flavors of neorealism-- an Italian flavor, a French THORBURN: flavor. There is a kind of tonal difference that's worth paying attention to. And I maybe I can capture it over-simply in two short clips for you. So the first clip I want to show you is from an Italian neorealist film, the last really powerful fully neorealist film that De Sica himself directed, a film called Umberto D, made in 1952. [VIDEO PLAYBACK] -[SPEAKING ITALIAN] DAVID And this is our hero, of course. THORBURN: -[SPEAKING ITALIAN] - - - - - - [MUSIC PLAYING] DAVID And compare this-- think about this scene and then compare t-- to the opening scene of The THORBURN: 400 Blows and you'll feel a difference in mood, I think. Even the music is a part of it. So he's in great despair here, and we in the audience know that. [MUSIC PLAYING] -[SPEAKING ITALIAN] - DAVID Random dialogue-- we don't even know who said that. THORBURN: [MUSIC PLAYING] Did you see how Umberto looked at the man who sat down next to him? I think the purpose of that close look was to make the audience look at him too, pay attention to him, even though he never says a word.
    [Show full text]
  • AFTERIMAGE (Powidoki) a Film by Andrzej Wajda
    Presents Poland’s Official Submission for Best Foreign Film 89th Academy Awards AFTERIMAGE (Powidoki) A film by Andrzej Wajda Poland / 2016 / Drama / Polish with English Subtitles 100 min / 2.35: 1 / Stereo 2.0 and 5.1 Surround Sound Opens May 19th at Lincoln Plaza Cinemas in New York Press Contacts: Sasha Berman | Shotwell Media | 310.450.5571 | [email protected] Genevieve Villaflor | tel: (212) 941-7744 x215 | [email protected] Assets: Official US Trailer: TBD Downloadable hi-res images: http://www.filmmovement.com/filmcatalog/index.asp?MerchandiseID=544 www.FilmMovement.com 1 FULL SYNOPSIS AFTERIMAGE looks at the last years of Władysław Strzemiński, Poland’s best-known interwar artist and a theoretician. The film opens with Strzemiński (brilliantly played by Polish superstar Boguslaw Linda), a controversial and visionary artist (who only started painting after he became a double amputee), working in his apartment, only to be interrupted by the unfurling of the Soviet flag outside his window. As Stalinism spread to Poland, the unbending Strzemiński refused to compromise his art for the sake of the preferred socialist realism style. He eventually became persecuted and expelled from his Chair at the Łodz Academy of Fine Arts, but the ever-compelling and charismatic teacher was surrounded by loyal students who emboldened him to fight against the Party while they themselves risked jail for publishing his book (posthumously). Strzemiński, who created the concept of Unism, was a co-founder of the constructivist group Blok and the founder of the Museum of Modern Art in Łodz. AFTERIMAGE refers to a series of late-1940s Solarist paintings by Strzemiński, who was friends with Marc Chagall, Alexander Rodchenko, Kazimir Malevich and was once married to the sculptor Katarzyna Kobro.
    [Show full text]
  • Truffaut and New Wave
    Quest Journals Journal of Research in Humanities and Social Science Volume 4 ~ Issue 9 (2016) pp: 06-12 ISSN(Online) : 2321-9467 www.questjournals.org Research Paper Truffaut and new wave Özden Toprak Received 10 August, 2016; Accepted 15 September, 2016 © The author(s) 2016. Published with open access at www.questjournals.org ABSTRACT: “New Wave” (La Nouvelle Vague) term first seen in L’Express indicates a movement which is prepared by different names collectively. The view of Alexandre Astruc sees cinema almost like a work of literature and his emphasis to cinema’s own language; Cahiers Du Cinema –a symbol of new movement- journal published by Andre Bazin and the discussions in this journal about the movement; Truffaut’s approach about director as an “auteur” makes a contribution to prepare the “New Wave”. Truffaut as an important figure of the movement defended that a film has to belong to the director and he insisted on the “personal” relationship between the director and the audience. Auteur theory utters the resemblances and similarities between the relations of “language and style” in literature and “type and auteur” in cinema. The 400 Blows of Truffaut is a first example of the cinema of the future and it is also a reflection of the theory to the practical area as Alexandre Astruc says as: “Director writes his film with his camera like an author makes with his pen…” In this article it will be tried to put forth the process of emergence of the “New Wave” with its background and the cinema of Truffaut’s place in this movement will be undertaken in the light of The 400 Blows.
    [Show full text]