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Le Métèque Est Arrivé
GEORGES MOUSTAKI e. Si je m'achète des chaussures trop petites, ce-n'est plus un drame » Chansons échoué dans l'île Saint-Louis, ven- C'est par curiosité encore qu'il deur de livres à domicile, barman, accepte de vivre l'aventure de la pigiste dans un quotidien du soir, célébrité. Il passe son index sur sa chanteur aux terrasses de cafés avant moustache : -« C'est une expérience de livrer à Piaf, Reggiani, Barbara, passionnante. » Il l'analyse et la juge, ses plus beaux sanglots, il a fait les comme si c'était un autre qui la beaux jours de la presse du cœur. vivait. Le Métèque Sa vie d' après le «Métèque » est Car la curiosité de Moustaki s'allie maintenant minutée dans son agenda. paradoxalement à une certaine dis- Les galas succèdent aux interviews, tance. Il est présent sans être concer- les enregistrements aux répétitions, la né. « Elle me reproche ma patience. est arrivé fête de e l'Huma » au bal, des sous- (« Elle » c'est Catherine Leforestier, officiers. L'année 1969 a été bien membre. privilégié de sa tribu, une remplie : deux 45 tours, un 33 tours voix de cristal et des yeux de por- * En un seul disque, enregistrés chez Polydor, des tour- celaine.) Appelez ça comme vous nées en province, au Benelux, en Georges Moustaki est passé du temps de vivre >> voulez : patience, indifférence, sa- Suisse, en Italie, une dizaine d'émis- gesse, paresse... » Sa voix est lasse. à la fièvre du succès. Il n'a pas sions de télévision, la musique de Il aligne paisiblement des coquilles trop souffert du voyage e Solo », de « la Fiancée du pirate », de noix sur la table. -
Nicolas Duvauchelle Sveva Alviti Riccardo Scamarcio
JULIEN MADON, LISA AZUELOS ET JÉRÔME SEYDOUX PRÉSENTENT SVEVA RICCARDO JEAN-PAUL NICOLAS ALVITI SCAMARCIO ROUVE DUVAUCHELLE UN FILM DE LISA AZUELOS PHOTO THIBAULT GRABHERR - CRÉDITS NON CONTRACTUELS PHOTO THIBAULT ALESSANDRO BORGHI VALENTINA CARLI BRENNO PLACIDO NIELS SCHNEIDER VITTORIO HAMARZ VASFI DAVIDE LORINO HAYDEE BORELLI AVEC LA PARTICIPATION DE VINCENT PEREZ ET PATRICK TIMSIT WWW.DALIDALEFILM.COM JULIEN MADON, LISA AZUELOS ET JÉRÔME SEYDOUX PRÉSENTENT SVEVA RICCARDO JEAN-PAUL NICOLAS ALVITI SCAMARCIO ROUVE DUVAUCHELLE UN FILM DE LISA AZUELOS DURÉE : 2H04 SORTIE LE 11 JANVIER DISTRIBUTION RELATIONS PRESSE PATHÉ DISTRIBUTION DOMINIQUE SEGALL COMMUNICATION 2, RUE LAMENNAIS 8, RUE DE MARIGNAN 75008 PARIS 75008 PARIS TÉL. : 01 71 72 30 00 TÉL. : 01 45 63 73 04 [email protected] MATÉRIEL TÉLÉCHARGEABLE SUR WWW.PATHEFILMS.COM LISA AZUELOS, POURQUOI UN FILM SUR DALIDA ? À dire vrai, je n’étais pas particulièrement fan de Dalida avant de commencer à travailler sur elle. On me l’a en quelque sorte mise sous le nez lorsqu’on m’a proposé le projet ! Dès que j’ai commencé à me documenter sur elle, j’ai senti une émotion très forte, et qui n’a fait que croître. Dalida n’est pas qu’une femme de records - artiste française la plus récompensée du show business, 170 millions de disques vendus, 2000 chan- sons enregistrées, 70 disques d’or etc... - c’est un person- nage hors du commun. Tous les gens célèbres n’ont pas eu un destin. Elle, si. QUE VOULEZ-VOUS DIRE ? Sa trajectoire est aussi lumineuse que tragique ! La vie de Dalida, c’est un roman, avec tous les ingrédients des séries les plus addictives. -
Viewed One of the First “Films Parlants” in 1930 in London
FROM GOLDEN AGE TO SILVER SCREEN: FRENCH MUSIC-HALL CINEMA FROM 1930-1950 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Rebecca H. Bias, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Judith Mayne, Advisor Professor Diane Birckbichler _________________________ Advisor Professor Charles D. Minahen Graduate Program in French and Italian Copyright by Rebecca H. Bias 2005 ABSTRACT This dissertation examines French music-hall cinema from 1930-1950. The term “music-hall cinema” applies to films that contain any or all of the following: music-hall performers, venues, mise en scène, revues, and music- hall songs or repertoire. The cinema industry in France owes a great debt to the music-hall industry, as the first short films near the turn of the century were actually shown as music-hall acts in popular halls. Nonetheless, the ultimate demise of the music hall was in part due to the growing popularity of cinema. Through close readings of individual films, the dynamics of music-hall films will be related to the relevant historical and cultural notions of the period. The music-hall motif will be examined on its own terms, but also in relation to the context or genre that underlies each particular film. The music-hall motif in films relies overwhelmingly on female performers and relevant feminist film theory of the 1970s will help support the analysis of female performance, exhibition, and relevant questions of spectatorship. Music-hall cinema is an important motif in French film, and the female performer serves as the prominent foundation in these films. -
The Germans in France During World War II: Defeat, Occupation, Liberation, and Memory UCB-OLLI Bert Gordon [email protected] Winter 2020
The Germans in France During World War II: Defeat, Occupation, Liberation, and Memory UCB-OLLI Bert Gordon [email protected] Winter 2020 Introduction Collaboration, Resistance, Survival: The Germans in France During World War II - Defeat, Occupation, Liberation, and Memory Shortly before being executed for having collaborated with Nazi Germany during the German occupation of France in the Second World War, the French writer Robert Brasillach wrote that “Frenchmen given to reflection, during these years, will have more or less slept with Germany—not without quarrels—and the memory of it will remain sweet for them.” Brasillach’s statement shines a light on a highly charged and complex period: the four-year occupation of France by Nazi Germany from 1940 through 1944. In the years since the war, the French have continued to discuss and debate the experiences of those who lived through the war and their meanings for identity and memory in France. On 25 August 2019, a new museum, actually a transfer and extension of a previously existing museum in Paris, was opened to commemorate the 75th anniversary of the liberation of the French capital. Above: German Servicewomen in Occupied Paris Gordon, The Germans in France During World War II: Defeat, Occupation, Liberation, and Memory Our course examines the Occupation in six two-hour meetings. Each class session will have a theme, subdivided into two halves with a ten-minute break in between. Class Schedule: 1. From Victory to Defeat: France emerges victorious after the First World War but fails to maintain its supremacy. 1-A. The Interwar Years: We focus on France’s path from victory in the First World War through their failure to successfully resist the rise of Nazi Germany during the interwar years and their overwhelming defeat in the Second. -
1 Biographie De Georges Brassens
1 Biographie de Georges Brassens Georges Brassens est né dans un quartier populaire du port de Cette (le nom de la ville n'est orthographié Sète qu’en 1928 ; un changement d'orthographe qu'il évoque dans la chanson Jeanne Martin). Dans la maison familiale il est entouré de sa mère Elvira († 1962), de son père Jean-Louis († 1965), de sa demi-sœur Simone (1912- 1994), née du premier mariage de sa mère, et de ses grands-parents paternels, Jules et Marguerite. Sa mère, dont les parents sont originaires de Marsico Nuovo dans la région de Basilicate en Italie du Sud, est une catholique d'une grande dévotion. Veuve de guerre, Elvira épouse Jean-Louis Brassens en 1919, un entrepreneur de maçonnerie. Le père de Georges est un homme paisible, généreux, libre-penseur, anticlérical et doté d'une grande indépendance d'esprit. Deux caractères très différents, qu'une chose réunit : le goût de la chanson. D’ailleurs, tout le monde chante à la maison. Sur le phonographe : les disques de Mireille, Jean Nohain, Tino Rossi ou Ray Ventura et ses Collégiens. SOMMAIRE 1 Biographie de Georges Brassens .............................................................................................. 100 1.1 Les années trente : Sète Biographie de Georges Brassens ................................................ 101 1.1.1 Alphonse Bonnafé Biographie de Georges Brassens ................................................. 102 1.1.2 Mauvaise réputation ................................................................................................... 102 1.2 Les années quarante -
Marianne Oswald Et La Critique Musicale : La Construction Du Personnage Artistique Depuis Ses Multiples Perspectives
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
Opéra Comique 18
1 2 PRESS RELEASE Paris invites you to enjoy the show! 1, 2, 3… More than 20 top Parisian show venues are offering you one free place for every ticket purchased. For the first time, from 30 October to 12 November, the most iconic Parisian show venues, in partnership with the Paris Convention and Visitors Bureau and Atout France, will be rolling out the red carpet to unveil their new line-up and add some extra sparkle to the capital at the start of autumn. All styles and genres are on the bill: music, ballet, theatre (with subtitles), circus, cabaret, and jazz ... In total, more than 2 600 free places will be on offer. The full line-up of shows, available to consult on the www.showtimeinparis.com website since 12 September, will be open for bookings on 18 September. An opportunity not to be missed to take full advantage of the Parisian performing arts scene and its world-renowned shows. With evenings out in the glittery atmosphere of cabarets, concerts at major concert halls with outstanding acoustics, the latest comedy shows … the widest choice is offered to the biggest audience. There is something for everyone — families, couples and friends, plus language is no barrier as all shows are either subtitled in English or are easily understandable by non- French speakers. Eurostar and Voyages-sncf.com are partners of this major event. In their promotion of this special offer on foreign markets, they will provide an additional editorial focus in their respective communications media and even original happenings in stations or on trains. -
Blackboards (Takhté Siah)
Blackboards (Takhté siah) Dir: Samira Makhmalbaf, Iran/Italy/Japan, 2000 A review by Brian Gibson, University of Alberta, Edmonton, Canada Recent Iranian films have each boasted a singular, breathtaking image: in Abbas Kiarostami's The Wind Will Carry Us (1999), a bone floating down a river in the climactic scene crystallizes the life-and-death dichotomy of the film; in Rakhshan Bani Etemad's Under The Skin of the City (2001), a son's future is blown away with the loss of drugs that drift into the wind like snowflakes; in Mohsen Makhmalbaf's Kandahar (2001), the sky is punctured by artificial limbs parachuting down to expectant amputees hopping towards them. Blackboards, Samira Makhmalbaf's Cannes Special Jury Prize-winning film, begins with a handheld camera shot of a mountain road. Then, around the corner of a cliff face, a group of men appears, trudging up the path, their heads and legs peeking out above and below large ebony rectangles. Looking like large black birds, their wings outstretched, they trudge towards the lens. The rectangles are large blackboards strapped to these itinerant teachers' backs, and even as they look for pupils in remote Iranian Kurdistan, they discuss why they became teachers and left shepherding, or exchange coffee and tea. Then the camera captures the austerely beautiful image of the men standing at a cliff edge, looking out at the valley below, the wind billowing through the pants of these crucified pedagogues. Suddenly they run, stopping to huddle beneath their boards by the roadside as a helicopter passes overhead. Far above, a flock of black birds circle and soar over mountain precipices. -
Th from Pa He Place O Fa Aternal H of Absent Thesis S Doctor Schoo
From Paternal Hegemony to the Ethics of Fraternity:: the Place of Absent Fathers in Le Jeune Cinéma Français ByB Eun-Jee Park Thesis submitted for the degree of Doctor of Philosophy (Integrated) School of Modern Languages Faculty of Humanities and Social Sciences Newcastle University NE1 7RU United Kingdom February 2011 1 Abstract In the 1990s a new generation of socially engaged filmmakers came to be known as le jeune cinéma français. Many of these filmmakers examined a whole range of social issues, with a particular aim of focusing on the representation of the French family. In these family portraits, the father, both as the traditional head of the family institution and as a stand-in for the State, is notably missing. This thesis inquires into the paternal absence in le jeune cinéma, and traces how the paternal crisis is related to the filmmakers’ practice of auteur cinema. The jeunes auteurs, rather than participating directly in political debate, make a case for cinema as a tool for an ethical engagement with the reality of those left behind by socio-economic change. Drawing on philosophical thinking developed by Emmanuel Levinas and Jacques Derrida, this thesis discusses the ways le jeune cinéma seeks to move away from the oedipal association of the father with the law, and thereby to articulate the recognition of an ethical fraternity as opening up to the care and hospitality towards the Other. This thesis outlines specific ideals of new paternal models that le jeune cinéma proposes. Starting with an Introduction which develops the points made above and sets out the theoretical framework, this study then moves on to consider six emblematic films which alter the way the father is conceived through diverse paternal reconfigurations. -
Rethinking <I>L'exception Culturelle</I> in French Music Then
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 Rethinking l'exception culturelle in French Music Then and Now: Language, Memory, and Political Order Melanie Ann LaFoy University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Audio Arts and Acoustics Commons, Ethnomusicology Commons, French and Francophone Language and Literature Commons, Musicology Commons, Music Performance Commons, and the Music Practice Commons Recommended Citation LaFoy, Melanie Ann, "Rethinking l'exception culturelle in French Music Then and Now: Language, Memory, and Political Order. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4050 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Melanie Ann LaFoy entitled "Rethinking l'exception culturelle in French Music Then and Now: Language, Memory, and Political Order." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in French. Anne-Hélène -
FRANCE in the Philips Line-Up, Catherine Sauvage, the Ideal Female Singer of Leo Ferre’S Compositions, Will Cut a 10-Inch Album Entirely Devoted to His New Songs
. — Colette Renard has a date with the mikes for a session in German. Brandin will adapt “Mon Homme Est Un Guignol” while Robin will be responsible for “Emmene-Moi.” Rocco Granata is preparing his version of “Carolina Dai” for the Vogue label. FRANCE In the Philips line-up, Catherine Sauvage, the ideal female singer of Leo Ferre’s compositions, will cut a 10-inch album entirely devoted to his new songs. Drejac, one of our really talented lyricists, will have a go at recording for Philips after having missed the boat on his Vega try. of the Festival are public the Results San Remo Song now knowledge and Rosita will wax four of the tunes from “Violettes imperiales” which has isic world is hard at work. The No. 1 song, “A1 Di La,” will be sub-published resumed its run at the Mogador. i Ricordi. will also release the record France by Recordi prize-winning by Los Alcarsons take the stage at the Bobino this month. As for Juliette joli. recordings tune are in offing; Luis . Other of the the Mariano (EMI) and Greco, her time is divided between film-making and her singing career. She oria Lasso, whose renewed contract with is not yet sure, will record EMI will face the public again at the Bobino beginning March 9. i e French version, “Par De La,” from the pen of Eddie Marnay. Les Trumpet Latest Fontana release—“Quatre Chants Religieux” by Johnny Mathis. Not iys will cut the orchestra issue. Ricordi’s Ariane Segal reports that 17 dif- much news from EMI Marouani reports that the Four Freshmen will do a rent records are already in the works! stint in Toul on March 8 with June Christy. -
Nicolas Duvauchelle Sveva Alviti Riccardo Scamarcio Jean-Paul Rouve
JULIEN MADON, LISA AZUELOS AND JÉRÔME SEYDOUX PRESENT SVEVA RICCARDO JEAN-PAUL NICOLAS ALVITI SCAMARCIO ROUVE DUVAUCHELLE DIRECTED BY LISA AZUELOS PHOTO THIBAULT GRABHERR - CRÉDITS NON CONTRACTUELS PHOTO THIBAULT ALESSANDRO BORGHI VALENTINA CARLI BRENNO PLACIDO NIELS SCHNEIDER VITTORIO HAMARZ VASFI DAVIDE LORINO HAYDEE BORELLI WITH SPECIAL APPEARANCES BY VINCENT PEREZ AND PATRICK TIMSIT WWW.DALIDA-LEFILM.COM JULIEN MADON, LISA AZUELOS AND JÉRÔME SEYDOUX PRESENT SVEVA RICCARDO JEAN-PAUL NICOLAS ALVITI SCAMARCIO ROUVE DUVAUCHELLE DIRECTED BY LISA AZUELOS DURATION: 2H04 DISTRIBUTION INTERNATIONAL SALES PATHÉ DISTRIBUTION PATHÉ INTERNATIONAL 2, RUE LAMENNAIS 75008 PARIS TÉL. : 01 71 72 30 00 ADDITIONAL MATERIAL IS AVAILABLE TO DOWNLOAD AT WWW.PATHEFILMS.COM FROM HER BIRTH IN CAIRO IN 1933 TO HER FIRST CONCERT AT THE OLYMPIA IN PARIS IN 1956; FROM HER MARRIAGE TO LUCIEN MORISSE, DIRECTOR OF THE NEWLY EMERGING EUROPE 1 RADIO TO THE HEIGHT OF THE DISCO SCENE; FROM HER JOURNEY OF DISCOVERY TO INDIA TO THE INTERNATIONAL SUCCESS OF GIGI L’AMOROSO IN 1974, DALIDA THE FILM, IS A TOUCHING AND TRAGIC PORTRAIT OF AN EMOTIONALLY COMPLEX WOMAN WHO WAS BORN TO BE A STAR. AN UNCONVENTIONAL MODERN WOMAN LIVING IN CONVENTIONAL TIMES. DESPITE HER TRAGIC DEATH IN 1987, DALIDA’S STAGE PRESENCE AND INCREDIBLE TALENT CONTINUE TO LIVE ON. WHY DID YOU DECIDE TO MAKE A FILM ABOUT DALIDA? To be honest, I wasn’t really a fan of Dalida’s before I began working on this film. In some ways, she was kind of thrust upon me! Saying that, as soon as I started researching her life, I felt an empathy with her, and, as time passed, the bond got stronger and stronger.