Nymphomaniac
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Print This Article
The Cinematic Bergson: From Virtual Image to Actual Gesture John Ó Maoilearca Journal of French and Francophone Philosophy - Revue de la philosophie française et de langue française, Vol XXIV, No 2 (2016) 203-220. Vol XXIV, No 2 (2016) ISSN 1936-6280 (print) ISSN 2155-1162 (online) DOI 10.5195/jffp.2016.777 www.jffp.org This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. This journal is operated by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program, and is co-sponsored by the University of Pittsburgh Press Journal of French and Francophone Philosophy | Revue de la philosophie française et de langue française Vol XXIV, No 2 (2016) | www.jffp.org | DOI 10.5195/jffp.2016.777 The Cinematic Bergson From Virtual Image to Actual Gesture John Ó Maoilearca Kingston University, London According to Gilles Deleuze “cinema is Bergsonian.”1 Despite the fact that Henri Bergson critiques the cinematographic mechanism in his magnum opus Creative Evolution2 (on account of its movement being one applied to still images rather than being immanent to them), Deleuze correctly realized how central the moving image nonetheless was to Bergson’s philosophy. Yet this was already clear in Bergson’s own testimonies: “When I first saw the cinematograph I realized it could offer something new to philosophy. Indeed we could almost say that cinema is a model of consciousness itself. Going to the cinema turns out to be a philosophical experience.”3 If Bergson’s relationship with the cinematic apparatus is ambivalent, (being a model of consciousness, but only in how it distorts the real), it remains to be seen in what manner his affirmative stance towards film should be understood. -
Theeditor-Epk.Pdf
Directed by Adam Brooks and Matthew Kennedy Written by Adam Brooks, Matthew Kennedy and Conor Sweeney Produced by Social Media sales Adam Brooks and Matthew Kennedy Twitter Producer’s Reps @theeditormovie Starring @astron6 Nate Bolotin Paz de la Huerta [email protected] Adam Brooks Facebook 310 909 9318 Facebook.com/editormovie Laurence R. Harvey Facebook.com/astron6 Mette-Marie Katz Samantha Hill [email protected] Udo Kier INTERWeb 323 983 1201 Jerry Wasserman www.theeditormovie.com Matthew Kennedy International Sales www.astron-6.com Conor Sweeney Dan Bern Paul Howell Tristan Risk CONTACT [email protected] Brett Donahue Kennedy/Brooks Inc. +44 (0)207 434 4176 738-3085 Pembina Hwy. Brent Neale Winnipeg MB R3T4R6 Sheila E. Campbell Kevin Anderson Matthew Kennedy Jasmine Mae [email protected] Tech Details Adam Brooks 99 min | Color | DCP | 2.39:1 | 5.1 | Canada | 2014 [email protected] LOGLINE A once-prolific film editor finds himself the prime suspect in a series of murders haunting a seedy 1970s film studio in this absurdist throwback to the Italian Giallo. SYNOPSIS Rey Ciso was once the greatest editor the world had ever seen. Since a horrific accident left him with four wooden fingers on his right hand, he’s had to resort to cutting pulp films and trash pictures. When the lead actors from the film he’s been editing turn up murdered at the studio, Rey is fingered as the number one suspect. The bodies continue to pile up in this absurdist giallo-thriller as Rey struggles to prove his innocence and learn the sinister truth lurking behind the scenes. -
Nature and the Feminine in Lars Von Trier's Antichrist
PARRHESIA NUMBER 13 • 2011 • 177-89 VIOLENT AFFECTS: NATURE AND THE FEMININE IN LARS VON TRIER’S ANTICHRIST Magdalena Zolkos [Of all my films] Antichrist comes closest to a scream. Lars von Trier INTRODUCTION / INVITATION: “THE NATURE OF MY FEARS”1 Lars von Trier’s 2009 film Antichrist, produced by the Danish company Zentropa, tells a story of parental loss, mourning, and despair that follow, and ostensibly result from, the tragic death of a child. The film stars two protagonists, identified by impersonal gendered names as She (Charlotte Gainsbourg) and He (Willem Dafoe). This generic economy of naming suggests that Antichrist, in spite of, or perhaps because of, the eschatological signification of its title, is a story of origins. Antichrist stages a quasi-religious return (within the Abrahamic tradition) to a lapsarian space where the myth of the female agency of the originary transgression,2 and the subsequent establishment of human separateness from nature, are told by von Trier as a story of his own psychic introspection. In the words of Joanne Bourke, professor of history at Birkbeck College known for her work on sexual violence and on history of fear and hatred, Antichrist is a re-telling of the ancient Abrahamic mythology framed as a question “what is to become of humanity once it discovers it has been expelled from Eden and that Satan is in us.”3 This mythological trope grapples with the other-than-human presence, as a demonic or animalistic trace, found at the very core of the human.4 At the premiere of Antichrist at the 2009 -
CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT I Love the August Festivals, Though Not As Much As I Love Cinema
3 AUG 18 6 SEP 18 1 | 3 AUG 18 - 6 SEP 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT I love the August festivals, though not as much as I love cinema. You? I usually take the opportunity when writing this column every August to grumble about how distracted potential cinema-goers appear to be by the world’s largest arts festival that takes place in our glorious (a word which currently also describes the weather!) city every year, but this year I’m seeing it as nothing more than a challenge. A challenge, dear reader, which I feel we have risen to in impressive style with a stunning array of great cinema, much of which is, as it happens, of a ‘one-off’ nature and will likely not come around again any time soon… That sounds like I’m trying to dragoon you into coming to the cinema in August (instead of going to the Tattoo, perhaps?), and conceivably I am, but try not to see it that way… Rather, I simply wouldn’t want you to miss out on any of the must-see cinema experiences contained within these pages. In any case, cinema is surely the best of all the art forms wouldn’t you say, as well as being one of the cheaper days/nights out? Beyond the form itself, with cinema, you rarely have to worry about not liking a film and it being apparent to the people who made it, because they’re generally not there in the room. -
Femininity and Gender in Lars Von Trier's Depression Trilogy
FEMININITY AND GENDER IN LARS VON TRIER’S DEPRESSION TRILOGY by Carles Pérez Gutiérrez B.A. (Universitat de Barcelona) 2018 THESIS/CAPSTONE Submitted in partial satisfaction of the requirements For the degree of MASTER OF ARTS in HUMANITIES in the GRADUATE SCHOOL of HOOD COLLEGE April 2020 Accepted: _______________________ _______________________ Robert Casas, Ph.D. Corey Campion, Ph.D. Committee Member Program Advisor _______________________ Didier Course, Ph.D. Committee Member _______________________ April M. Boulton, Ph.D. Dean of the Graduate School _______________________ Aaron Angello, Ph.D. Capstone Advisor STATEMENT OF USE AND COPYRIGHT WAIVER I do authorize Hood College to lend this Thesis (Capstone), or reproductions of it, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. ii CONTENTS STATEMENT OF USE AND COPYRIGHT WAIVER ...………………………….. ii ABSTRACT ………………………………………………………………………… iv ACKNOWLEDGEMENTS …………………………………………………………. v CHAPTER 1: INTRODUCTION ………………………….………………………... 2 CHAPTER 2: ANTICHRIST ………………………………………………...……… 9 CHAPTER 3: MELANCHOLIA …………………………………….…………….. 36 CHAPTER 4: NYMPHOMANIAC ……………………………………..…………. 57 CHAPTER 5: CONCLUSION ………………………………………...…………… 82 BIBLIOGRAPHY AND FILMOGRAPHY ……………………………………….. 86 iii ABSTRACT Both praised and criticized, Lars von Trier’s Depression Trilogy—a film trilogy that includes Antichrist (2009), Melancholia (2011), and Nymphomaniac (2013)— provides an exploration of femininity and gender roles. This study explores how von -
Netanyahu Formally Denies Charges in Court
WWW.JPOST.COM THE Volume LXXXIX, Number 26922 JERUSALEFOUNDED IN 1932 M POSTNIS 13.00 (EILAT NIS 11.00) TUESDAY, FEBRUARY 9, 2021 27 SHVAT, 5781 Eye in the sky A joint goal Feminist religious art IAI unveils aerial Amos Yadlin on the need to When God, Jesus surveillance system 6 work with Biden to stop Iran and Allah were women Page 6 Page 9 Page 16 How did we miss Netanyahu formally denies charges in court Judges hint witnesses to be called only after election • PM leaves hearing early the exit • By YONAH JEREMY BOB two to three weeks to review these documents before wit- Prime Minister Benjamin nesses are called, that would ramp? Netanyahu’s defense team easily move the first witness fought with the prosecution beyond March 23. ANALYSIS on Monday at the Jerusalem Judge Rivkah Friedman Feld- • By YONAH JEREMY BOB District Court over calling man echoed the prosecution’s witnesses in his public cor- arguments that the defense A lifetime ago when living ruption trial before the March had between one to two years in northern New Jersey, I 23 election. to prepare for witnesses. But often drove further north for It seemed that the judges ultimately the judges did not work. were leaning toward calling seem anxious to call the first Sometimes the correct exit the first witness in late March witness before March 23. was small and easy to miss. or early April, which they A parallel fight between the But there were around five would present as a compro- sides was the prosecution’s or so exits I could use to avoid mise between the sides. -
Contemporary World Cinema Brian Owens, Artistic Diretor – Nashville Film Festival
Contemporary World Cinema Brian Owens, Artistic Diretor – Nashville Film Festival OLLI Winter 2015 Term Tuesday, January 13 Viewing Guide – The Cinema of Europe These suggested films are some that will or may come up for discussion during the first course. If you go to Netflix, you can use hyperlinks to find further suggestions. The year listed is the year of theatrical release in the US. Some films (Ida for instance) may have had festival premieres in the year prior. VOD is “Video On Demand.” Note: It is not necessary to see any or all of the films, by any means. These simply serve as a guide for the discussion. You can also use IMDB.com (Internet Movie Database) to search for other works by these filmmakers. You can also keep this list for future viewing after the session, if that is what you prefer. Most of the films are Rated R – largely for language and brief nudity or sexual content. I’ve noted in bold the films that contain scenes that could be too extreme for some viewers. In the “Additional works” lines, those titles are noted by an asterisk. Force Majeure Director: Ruben Östlund. 2014. Sweden. 118 minutes. Rated R. A family on a ski holiday in the French Alps find themselves staring down an avalanche during lunch. In the aftermath, their dynamic has been shaken to its core. Currently playing at the Belcourt. Also Available on VOD through most services and on Amazon Instant. Ida Director: Pawel Pawlikowski. 2014. Poland. 82 minutes. Rated PG-13. A young novitiate nun in 1960s Poland, is on the verge of taking her vows when she discovers a dark family secret dating back to the years of the Nazi occupation. -
Dogme95, Lars Von Trier, and the Cinema of Subversion?
40 Reconsidering The Idiots TIM WALTERS Reconsidering The Idiots: Dogme95, Lars von Trier, and the Cinema of Subversion? Art is not a mirror to reflect reality, but a hammer when viewed in light of its counter-hegemonic aspira- with which to shape it. —Bertolt Brecht tions. As a finished product, The Idiots is an uneasy synthesis Sheds are bourgeois crap. —Stoffer, The Idiots that attempts to locate an elusive sense of the “real” in late capitalist (film) culture, one in which the spassing (or sustained faking of mental disability) on the part of sing Lars von Trier’s controversial The the film’s characters is ideologically reflected by the Idiots (1998) as a starting point, I intend to seemingly amateurish precepts of its construction. In examine the compelling ways in which the this respect, The Idiots is unlike the other Dogme films. U infamous Dogme95 manifesto aims to ad- Although these works all tend to be technically quite dress and correct the failings of contemporary film. The oppositional or at least adventurous, they nevertheless Idiots is a remarkable and provocative materialist cri- maintain a rigid split between form and content and tique of modern culture in its own right, but its mean- therefore offer very little sustained political critique of ing is significantly complicated by its centrality to the the ideology of mainstream society or cinema. My otherwise celebrated output of the Dogme95 move- argument is that The Idiots is the only recent counter- ment. It received virtually none of the critical acclaim, hegemonic film work that is demonstrably radical both financial success, or festival awards garnered by the other in its form and its content and, moreover, in its brilliant major Dogme films such as Mifune (1999) and The Cel- and playful deconstruction of these categories. -
Lars Von Trier: the Impossibility of the Good As a Work
TYLER TRITTEN Alberts-Ludwigs-Universität Freiburg LARS VON TRIER: THE IMPOSSIBILITY OF THE GOOD AS A WORK any philosophers have paid a great deal of attention to Plato’s assertion in the sixth Book of The Republic that ‘the Good is not essence, but far Mexcee ds essence in dignity and power’1. Now, one can only understand a philosopher by meeting her where she begins. F.W.J. von Schelling once wrote: ‘If one wants to honor a philosopher, then one must grasp him here, in his fundamental thought, where he has not yet gone on to the consequences. … The true thought of a philosopher is precisely his fundamental thought from which he proceeds’2 What is true of the philosopher is also true of the film director, who often becomes entranced and traumatized by one image3 that never releases its grip. This article will show that the one constant pervading the films of Danish filmmaker Lars von Trier is the impossibility of the Good as a work, i.e. as a ‘good work’ accomplished by the autonomy of the agent. In short, this work aims to show that von Trier criticizes any conception of the Good as a work wrought by and appropriable by an agent, and instead offers an account of the Good as something that can only occur through self-effacing, self-sacrificial patients who become transparencies for the operativity of the Good itself Von Trier regularly depicts characters - at least when they are men - who attempt to enact the Good as a work of their own and yet find themselves unable to do so, at least not by means of their own agency. -
Constraints in Film Making Processes Offer an Exercise to the Imagination - a Pleading Based on Experiences from Denmark
Constraints in Film Making Processes Offer an Exercise to the Imagination - A Pleading Based on Experiences from Denmark Heidi Philipsen Ph.D., Assistant Professor University of Southern Denmark Email: [email protected] Abstract What does the use of constraints offer filmmakers? A screenwriter from The National Film School of Denmark suggests: “I love constraints [..]. I think that’s a great relief, because it offers an exercise to your imagination” (Philipsen 2005: 211). This article hopes to illuminate methods for fostering creativity based on two case studies from The National Film School of Denmark and The Video Clip Cup 2007. In scrutinising these studies I intend to describe what seems to best facilitate flow experiences in film making, and I reflect upon what "individual, team, and institutional scaffolding" can offer a creative film making process as educational techniques. I will outline elements essential to getting into the flow of the film process through the help of constraints and collaboration. Moreover, I focus on the consequences of authorial action. And finally my findings are applied to the work of two professional Danish film makers, Lars von Trier and Jørgen Leth. Keywords: Media, creativity, learning, scaffolding, National Film School of Denmark Introduction I would like filmmakers interested in thinking "outside the box" to recognize that they can benefit from being placed "inside a box." In others words, to work with the help of the didactic tool "scaffolding," which in short is defined as support through constraints applied at different levels (Wood, Bruner and Ross 1976). The scaffolding employed at The National Film School of Denmark helps the students to cope with the pressure of creating film, find inspiration, and attain a flow experience (Csikszentmihaly 1996). -
Uk / 2018 / 1.66 / 5.1
HIGH LIFE 110 min / Germany – France – USA – Poland – UK / 2018 / 1.66 / 5.1 EVA DIEDERIX [email protected] SILVIA SIMONUTTI [email protected] FANNY BEAUVILLE [email protected] OLPHA BEN SALAH [email protected] PHOTOS AND PRESS KIT CAN BE DOWNLOADED FROM https://www.wildbunch.biz/movie/high-life/ Deep space. Monte and his daughter Willow live together aboard a spacecraft, in complete isolation. A man whose strict self-discipline is a shield against desire, Monte fathered her against his will. His sperm was used to inseminate the young woman who gave birth to her. They were members of a crew of prisoners – death row inmates. Guinea pigs sent on a mission. Now only Monte and Willow remain. Through his daughter, he experiences the birth of an all-powerful love. Together, father and daughter approach their destination – the black hole in which time and space cease to exist. How did High Life come about? A while back, an English producer asked me if I wanted to participate in a collection of films called Femmes Fatales. At first, I wasn’t that interested, but after thinking it over, I agreed. The project took ages to get off the ground. There was no money. It took 6 or 7 years to hammer out a coproduction: France, Germany, Poland and eventually America. During that time, I went to England and the States to meet with actors. The actor I dreamed of for the lead role of Monte was Philip Seymour Hoffman, because of his age, his weariness – but he died mid- route.