FAREWELL a Film by Christian Carion
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What Is Counterintelligence? and How Lessons on Counterintelligence Might Enrich Their Courses
Association of Former Intelligence Officers From AFIO's The Intelligencer 7700 Leesburg Pike, Suite 324 Journal of U.S. Intelligence Studies Falls Church, Virginia 22043 Web: www.afio.com , E-mail: [email protected] Volume 20 • Number 2 • $15 single copy price Fall/Winter 2013 ©2013, AFIO measure what an adversary knows about us? How do we determine whether or not we are successful in keeping our secrets and projecting the image we wish Guide to the Study of Intelligence to project? How do we know what and whom to trust?3 This article is a short cut to some basic concepts about counterintelligence: what it is and is not. Educa- tors in history, government, political science, ethics, law and cognitive psychology should consider whether What is Counterintelligence? and how lessons on counterintelligence might enrich their courses. Recommended additional readings are suggested in the footnotes. A Guide to Thinking A general introductory course on U.S. counter- and Teaching about CI intelligence should have five key learning objectives: Understanding the meaning of counterintelli- gence, its place within intelligence studies, and by Michelle K. Van Cleave its role in international relations as an instrument of statecraft.4 Understanding the difference between tactical WHY STUDY COUNTERINTELLIGENCE? and strategic CI,5 the difference between CI and security,6 and the range of foreign intelligence he study of “counterintelligence” is rare in aca- 3. Consider for example the deception paradox: “Alertness to demia. While modern courses on international deception presumably prompts a more careful and systematic relations often include intelligence, they usually review of the evidence. -
Deception, Disinformation, and Strategic Communications: How One Interagency Group Made a Major Difference by Fletcher Schoen and Christopher J
STRATEGIC PERSPECTIVES 11 Deception, Disinformation, and Strategic Communications: How One Interagency Group Made a Major Difference by Fletcher Schoen and Christopher J. Lamb Center for Strategic Research Institute for National Strategic Studies National Defense University Institute for National Strategic Studies National Defense University The Institute for National Strategic Studies (INSS) is National Defense University’s (NDU’s) dedicated research arm. INSS includes the Center for Strategic Research, Center for Complex Operations, Center for the Study of Chinese Military Affairs, Center for Technology and National Security Policy, Center for Transatlantic Security Studies, and Conflict Records Research Center. The military and civilian analysts and staff who comprise INSS and its subcomponents execute their mission by conducting research and analysis, publishing, and participating in conferences, policy support, and outreach. The mission of INSS is to conduct strategic studies for the Secretary of Defense, Chairman of the Joint Chiefs of Staff, and the Unified Combatant Commands in support of the academic programs at NDU and to perform outreach to other U.S. Government agencies and the broader national security community. Cover: Kathleen Bailey presents evidence of forgeries to the press corps. Credit: The Washington Times Deception, Disinformation, and Strategic Communications: How One Interagency Group Made a Major Difference Deception, Disinformation, and Strategic Communications: How One Interagency Group Made a Major Difference By Fletcher Schoen and Christopher J. Lamb Institute for National Strategic Studies Strategic Perspectives, No. 11 Series Editor: Nicholas Rostow National Defense University Press Washington, D.C. June 2012 Opinions, conclusions, and recommendations expressed or implied within are solely those of the contributors and do not necessarily represent the views of the Defense Department or any other agency of the Federal Government. -
„Für Rockmusiker Untypisch“ Hochglanzmagazinen
Szene Kultur FILM Corbijn: Alle wichtigen Fotos, die Joy Di- vision zeigen, sind schwarzweiß. Die Ar- tikel über sie erschienen nicht in bunten „Für Rockmusiker untypisch“ Hochglanzmagazinen. Die Band ist musik- geschichtlich wegweisend, doch kommer- Der niederländische Fo- keinen Ausweg mehr und nahm sich das ziell erfolgreich war sie nie, wohl auch, tograf und Regisseur Leben. Für einen Rockmusiker war er weil Curtis schon mit 23 Jahren starb. Anton Corbijn, 52, über untypisch, weil er sich nach geordneten SPIEGEL: Neben dem großartigen briti- Rock’n’Roll-Klischees, die Verhältnissen sehnte. schen Hauptdarsteller Sam Riley spielen britische Musiker-Legen- SPIEGEL: In einer Einstellung lassen Sie Alexandra Maria Lara und Herbert Grö- de Ian Curtis und seinen Curtis in einer Lederjacke mit der Auf- nemeyer mit. Haben Sie eine Vorliebe Film „Control“ schrift „Hate“ über die Straße gehen, … für deutsche Schauspieler? SPIEGEL: Herr Corbijn, in „Control“ erzählen Sie die Geschichte des 1980 verstorbenen Sängers Ian Curtis und seiner Band Joy HOLLAND.HOOGTE / LAIF HOLLAND.HOOGTE Division – ohne Drogen- exzesse oder Sexorgien. Haben Sie die Rock’n’Roll-Klischees be- wusst vermieden? Corbijn: Ja, die haben mich nicht interes- siert. Natürlich haben die Musiker da- mals Drogen genommen, und Sex mit ihren Groupies hatten sie auch. Doch ich wollte den Zuschauer an dem Drama eines Mannes teilnehmen lassen, der ein begnadeter Künstler war, aber an Epilep- sie litt und immer mehr zerrissen wurde von der Liebe zu zwei Frauen. Eine uni- versale Geschichte, die in der Musikwelt spielt. PICTURES CAPELIGHT SPIEGEL: Sie kannten Ian Curtis persön- Darsteller Riley, Lara in „Control“ lich, haben ihn Ende der siebziger Jah- re fotografiert. -
BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
The Commutation Test and Chris Bacon's Score for Source Code As
The Commutation Test and Chris Bacon’s Score for Source Code as a Framework for Film Music Pedagogy Aaron Ziegel, Towson University he cinema, whether experienced at the neighborhood multiplex or streamed at home, is arguably the medium through which today’s col- lege-age Americans are most likely to encounter newly composed sym- Tphonic music. Given the ubiquity of the film-viewing experience, students are often eager to learn the tools and methodologies that can equip them to criti- cally assess and more fully comprehend the function of music in movies. The filmSource Code (2011), directed by Duncan Jones and scored by Chris Bacon, provides a particularly effective starting point through which this process can begin.1 This article will discuss the pedagogical potential found in the film’s main titles and the impact of applying a commutation test to this sequence. Although here I address one specific example, the methodology of the commu- tation test is easily adaptable to other circumstances, as the theoretical foun- dation will make clear. While variations on the commutation test are a regular occurrence in many film music classrooms, this essay aims to present an intro- ductory primer that may be of use to instructors interested in an entry point for incorporating film music studies into their teaching. With that in mind, the appendix presents one suggestion for how to create film clips for classroom use. The value of this classroom activity extends beyond providing students with an engaging and memorable learning experience. By situating this analysis I wish to express my gratitude to the many students at Towson University whose feedback and enthusiastic classroom participation, along with suggestions from the anonymous reviewers, helped me to refine the pedagogical approach described in this essay. -
Catalogue-2018 Web W Covers.Pdf
A LOOK TO THE FUTURE 22 years in Hollywood… The COLCOA French Film this year. The French NeWave 2.0 lineup on Saturday is Festival has become a reference for many and a composed of first films written and directed by women. landmark with a non-stop growing popularity year after The Focus on a Filmmaker day will be offered to writer, year. This longevity has several reasons: the continued director, actor Mélanie Laurent and one of our panels will support of its creator, the Franco-American Cultural address the role of women in the French film industry. Fund (a unique partnership between DGA, MPA, SACEM and WGA West); the faithfulness of our audience and The future is also about new talent highlighted at sponsors; the interest of professionals (American and the festival. A large number of filmmakers invited to French filmmakers, distributors, producers, agents, COLCOA this year are newcomers. The popular compe- journalists); our unique location – the Directors Guild of tition dedicated to short films is back with a record 23 America in Hollywood – and, of course, the involvement films selected, and first films represent a significant part of a dedicated team. of the cinema selection. As in 2017, you will also be able to discover the work of new talent through our Television, Now, because of the continuing digital (r)evolution in Digital Series and Virtual Reality selections. the film and television series industry, the life of a film or series depends on people who spread the word and The future is, ultimately, about a new generation of foreign create a buzz. -
Cci3 Literature 1421 Projective Identification
CCI3 LITERATURE PROJECTIVE IDENTIFICATION WITH THE ROMA PEOPLE IN BALKAN FILMS Puskás-Bajkó Albina, PhD Student, ”Petru Maior” University of Tîrgu Mureș Abstract: In the cinema of the Balkans Roma people are present at every step. As these films were not directed by Roma specialists, one has the tendency to ask the question: how true are these figures to the real Roma nature and behaviour? And very important: what can we account this ongoing interest in Gipsy culture and life for? Is it curiosity about what seems to otherwise be despised by people or could it possibly be the so-called “projective identification”, an expression extensively used by Jacques Lacan in psychoanalysis? The figure of the Gipsy is omnipresent in the history of Balkan cinema. The first ever Balkan film, shown in foreign countries too was about them: In Serbia: A Gypsy Marriage (1911), the first ever Gypsy film to enter and win an international film festival was from the former Yugoslavia: I Even Met Happy Gypsies (1967), directed by Aleksander Petrovic. It won the “Grand Prix Special”. The image of the Gipsy was, however presented by the non-Roma film-directors in these films. “Rather than being given the chance to portray themselves, the Romani people have routinely been depicted by others. The persistent cinematic interest in “Gypsies” has repeatedly raised questions of authenticity versus stylization, and of patronization and exoticization, in a context marked by overwhelming ignorance of the true nature of Romani culture and heritage. ” Dina Iordanova, Cinematic Images of Romanies, in Framework, Introduction, no. 6 Keywords: Projection, Balkans, Romani, film, foreign, mentality. -
Emir Kusturica and the No Smoking Orchestra
07-14 Kusturica:Gp 3.qxt 6/30/10 10:50 AM Page 1 Sponsor Welcome to Lincoln Center Festival 2010. We have searched the world to bring you some of the best the performing arts have to offer. Over the 18 days of this month’s Festival, we present 45 performances by artists and ensembles from 12 countries, and expand our venues to include a new site on Governors Island. The Lincoln Center Festival opened with the wel come back the Bill T. Jones/Arnie Zane North American premiere of Musashi , a lavish Dance Company. Bill has never been one to shy Noh-inspired drama. Yukio Ninagawa directed away from difficult subjects, and his Fondly Do the late Hisashi Inoue’s reworking and revital - We Hope… Fervently Do We Pray is an inspiring ization of a traditional Japanese tale based on and emotionally wrenching work. Dancer and the life of a real samurai warrior. choreographer Saburo Teshigawara, who made his Lincoln Center Festival debut in 2006, brings If we had a musical survivors series, it would back his laser-like focus for the compelling one- undoubtedly include three groups making man tour-de-force Miroku , and Pichet Klunchun Festival debuts this month: The Blind Boys of brings his brilliant company from Bangkok for Alabama, Orchestre Poly-Rythmo de Cotonou, Chui Chai . The title, meaning “transformation,” and Emir Kusturica and The No Smoking is as much a metaphor for Pichet’s own mod - Orchestra. The Blind Boys have inspired musi - ernization of Thai classical dance as it is a cians and music lovers of all tastes for decades, description of the Ramayana, an Indian epic on and over three nights we’ll celebrate their con - which it is based. -
Considering the Creation of a Domestic Intelligence Agency in the United States
HOMELAND SECURITY PROGRAM and the INTELLIGENCE POLICY CENTER THE ARTS This PDF document was made available CHILD POLICY from www.rand.org as a public service of CIVIL JUSTICE the RAND Corporation. EDUCATION ENERGY AND ENVIRONMENT Jump down to document6 HEALTH AND HEALTH CARE INTERNATIONAL AFFAIRS The RAND Corporation is a nonprofit NATIONAL SECURITY research organization providing POPULATION AND AGING PUBLIC SAFETY objective analysis and effective SCIENCE AND TECHNOLOGY solutions that address the challenges SUBSTANCE ABUSE facing the public and private sectors TERRORISM AND HOMELAND SECURITY around the world. TRANSPORTATION AND INFRASTRUCTURE Support RAND WORKFORCE AND WORKPLACE Purchase this document Browse Books & Publications Make a charitable contribution For More Information Visit RAND at www.rand.org Explore the RAND Homeland Security Program RAND Intelligence Policy Center View document details Limited Electronic Distribution Rights This document and trademark(s) contained herein are protected by law as indicated in a notice appearing later in this work. This electronic representation of RAND intellectual property is provided for non-commercial use only. Unauthorized posting of RAND PDFs to a non-RAND Web site is prohibited. RAND PDFs are protected under copyright law. Permission is required from RAND to reproduce, or reuse in another form, any of our research documents for commercial use. For information on reprint and linking permissions, please see RAND Permissions. This product is part of the RAND Corporation monograph series. RAND monographs present major research findings that address the challenges facing the public and private sectors. All RAND mono- graphs undergo rigorous peer review to ensure high standards for research quality and objectivity. -
EN LA VÍA LÁCTEA on the Milky Road (V.O.S.E.)
Sinopsis Primavera en tiempos de guerra. Cada día, un lechero atra- viesa el frente en burro, esquivando las balas para llevar su preciada mercancía a los soldados. Bendecido por la suerte en su misión, amado por una hermosa aldeana, un futuro apacible parece esperarle… hasta que la llegada de una misteriosa mujer italiana da un vuelco a su vida. Así comienza una historia de amor prohibido y apasionado que sumergirá a ambos en una serie de aventuras fantásticas y peligrosas. El destino los ha unido, y nada ni nadie parece poder detenerlos. EN LA VÍA LÁCTEA On the Milky Road (V.O.S.E.) Notas del director Ficha técnica Para mí, el cine sigue siendo una experiencia y un trabajo Dirigida por ...... EMIR KUSTURICA tan intenso como la primera vez. Con esta película viajo a Escrita por ...... EMIR KUSTURICA Venecia, al igual que hice cuando estaba empezando, con Productores ...... PAULA VACCARO 27 años. Lo increíble del cine es que nunca se sabe nada; es como empezar de cero. Me hacía ilusión llegar a este nuevo ...... EMIR KUSTURICA punto con En la vía láctea, ya que me daba miedo todo lo que ...... LUCAS AKOSKIN tuve que descubrir en mi primera película, ¿Te acuerdas de ...... ALEX GARCÍA Dolly Bell? Productores ejecutivos ...... ALEX GARCÍA He dirigido un cuento de hadas moderno y, al mismo tiempo, ...... PILINA GONZÁLEZ ha sido tan emocionante como todas las películas que he ...... GUILLERMO ARRIAGA realizado. En esta película, descubrí la belleza, y descubrí BSO ...... STRIBOR KUSTURICA mundos intensos, humanos. En la vía láctea nace de numero- sas capas de mi propia vida. -
Farewell [Blu-Ray]
Farewell [Blu-ray] Product Information Income Rank: #118520 around Dvd and blu-ray Released on: 2011-04-12 Rating: Unrated Volume of cds: One particular Models: AC-3, Blu- ray, Dolby, Known as, NTSC, Subtitled, Vast screen Unique terminology: People from france Subtitled in: Language Named throughout: Uk Range of cds: One Measurements: .40" they would x Several.30" n a 7.75" m,.Something like 20 excess fat Going time period: 113 units "Farewell" (L'affaire Good bye) is actually a Cold Showdown espionage thriller encouraged by the real-life the event of Vladmir Vetrov, some sort of KGB police officer whom, inside the Eighties, gifted france household intellect company DST referred to as regarding KGB real estate agents in the West who have been linked to business as well as engineering espionage. Whilst you will discover clear characteristics around Vetrov's narrative and therefore from the figures from the picture (e.h. Vetrov approved data through a French electrical engineer connected with his friend), Vetrov was a large amount extra foolhardy, and inebriated, as compared with her similarity within the movie, which was some sort of dangerous flaw. Representative Religious Carion modified a movie script coming from Serguei Kostine's nonfiction publication "Bonjour Adios: L . a . verit� en el tau pe fran�aise du KGB.Inch In 1981, the The french language electrical engineer wor king in Moscow, Pierre Froment (Guillaume Canet), may get deeper on the espionage business when compared with he supposed if a like with the French safety measures company DST sets them talking to the high-ranking KGB official who wishes to move techniques. -
L'affaire Farewell (2009) Un Film Di Spionaggio Realistico E Anti-James Bond, Storicamente Interessante Ma Un Po' Troppo Didascalico
L'Affaire Farewell (2009) Un film di spionaggio realistico e anti-James Bond, storicamente interessante ma un po' troppo didascalico. Un film di Christian Carion con Emir Kusturica, Guillaume Canet, Alexandra Maria Lara, Ingeborga Dapkunaite, Oleksiy Gorbunov, Dina Korzun, Philippe Magnan, Niels Arestrup, Fred Ward, David Soul. Genere Thriller durata 113 minuti. Produzione Francia 2009. Matteo Treleani - www.mymovies.it Mosca, primi anni '80. Un colonnello del KGB deluso dal sistema decide di far passare in occidente alcune informazioni di grande importanza. Contatta un ingegnere francese che lavora a Mosca, Pierre Froment. In breve tempo i servizi segreti francesi prendono in mano l'affare, Mitterand e Reagan stessi entrano in campo. Le informazioni dimostrano che una grande rete di spionaggio permette ai Sovietici di conoscere le ricerche scientifiche e militari dell'Ovest. Alla fonte moscovita delle informazioni verrà dato il nome in codice "Farewel". Tratto da una storia vera, 'L'affaire Farewell' sembra un film di spionaggio d'altri tempi. Emir Kusturica riveste i panni del colonnello del KGB e Guillaume Canet quelli dell'ingegnere diventato spia per caso e controvoglia, per la seconda volta dopo Espion(s) (e per la seconda volta viene da dubitare della sua aderenza alla parte). Christian Carion vuole mettere in luce, con un'atmosfera opprimente, il rapporto tra l'interesse privato e quello pubblico. Tra la vita di famiglia di Pierre Froment, messa in pericolo dai fatti che gli sono piombati addosso e la possibilità di contribuire al crollo dell'Unione Sovietica. Certo, in questo dichiarato anti-James Bond, avremmo apprezzato qualche ellisse, a fronte di un racconto fin troppo didascalico.