I Drink, I Gamble and I Write...: ‘The Making of Barfly’”
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BARBET SCHROEDER VEGA FILM Et LES FILMS DU LOSANGE Présentent
Un film de BARBET SCHROEDER VEGA FILM et LES FILMS DU LOSANGE présentent MARTHE KELLER MAX RIEMELT amnesia UN FILM DE BARBET SCHROEDER Avec la participation de PRESSE : TONY ARNOUX / ANDRÉ-PAUL RICCI BRUNO GANZ 6 place de la Madeleine – 75008 Paris Tel : 01 49 53 04 20 Port. Tony Arnoux : 06 80 10 41 03 assisté de Gustave Schaïmi : 06 50 05 75 35 [email protected] DISTRIBUTION : LES FILMS DU LOSANGE (RÉGINE VIAL / ALEXANDRA LEDUC / CAMILLE VERRY / GREGORY PETREL) 22 avenue Pierre 1er de Serbie - 75012 Paris Tél. : 01 44 43 87 15 / 16 / 17 www.filmsdulosange.fr Photos & dossier de presse téléchargeables sur www.filmsdulosange.fr SORTIE LE 19 AOÛT 2015 SUISSE - FRANCE • 2015 • 1H30 • 1.85 - 2K • COULEUR • SON 5.1 • VISA N°139 604 Ibiza. Début des années 90, Jo a vingt ans, il vient de Berlin, il est musicien et veut faire partie de la révolution électronique qui commence. Pour démarrer, l’idéal serait d'être engagé comme DJ dans le club L'Amnesia. Martha vit seule, face à la mer, depuis quarante ans. Une nuit, Jo frappe à sa porte. La solitude de Martha l'intrigue. Ils deviennent amis alors que les mystères s'accumulent autour d'elle : ce violoncelle dont elle ne joue plus, cette langue allemande qu'elle refuse de parler… Alors que Jo l'entraîne dans le nouveau monde de la musique techno, Martha remet en question ses certitudes… amnesia - 3 - (Les propos qui suivent sont tirés d’un entretien recueilli par Émilie Bickerton) le choix de martha omment une femme qui n’a jamais rien vu sans être une victime. -
Two Excerpts from Ham on Rye by Charles Bukowski
Two excerpts from Ham on Rye by Charles Bukowski Excerpt one, Chapter 19, Pages 82-84 One day Mrs. Fretag gave us an assignment. “Our distinguished President, President Herbert Hoover, is going to visit Los Angeles this Saturday to speak. I want all of you to go hear our President. And I want you to write an essay about the experience and about what you think of President Hoover’s speech.” Saturday? There was no way I could go. I had to mow the lawn. I had to get the hairs. (I could never get all the hairs.) Almost every Saturday I got a beating with the razor strop because my father found a hair. (I also got stropped during the week, once or twice, for other things I failed to do or didn’t do right.) There was no way I could tell my father that I had to go see President Hoover. So I didn’t go. That Sunday I took some paper and sat down to write about how I had seen the President. His open car, trailing flowing streamers, had entered the football stadium. One car, full of secret service agents, went ahead and two cars followed close behind. The agents were brave men with guns to protect our President. The crowd rose as the President’s car entered the arena. There had never been anything like it before. It was the President. It was him. He waved. We cheered. A band played. Seagulls circled overhead as if they too knew it was the President. And there were skywriting airplanes too. -
AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques. -
The Autobiographical Fiction of Charles Bukowski Daniel Bigna A
Life on the Margins: The Autobiographical Fiction of Charles Bukowski Daniel Bigna A Thesis submitted in fulfilment of the requirements for the degree of Master of Arts School of Humanities and Social Sciences University of New South Wales at the Australian Defence Force Academy 2005 ACKNOWLEDGEMENTS I would like to thank my supervisors Susan Lever, Heather Neilson and Jeff Doyle for invaluable guidance and support, and Fiona, Simon and Jamie for infinite patience and encouragement. I hereby declare that this submission is my own work and to the best of my knowledge it contains no material previously published or written by another person, nor material which to a substantial extent has been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicity acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged. TABLE OF CONTENTS Introduction. 1 Chapter One - Bukowski in Context. 24 Chapter Two – The Development of Bukowski’s Alternative Literary 48 Aesthetic in the novels Post Office , Factotum and Women. Chapter Three - Ham on Rye - The Troubled Birth of an Artist. 89 Chapter Four - Hot Water Music - The Grotesque and 108 the Artist Demystified. Chapter Five - Hollywood - A Non-Conformist in a Strange World. -
Of Gods and Men
A Sony Pictures Classics Release Armada Films and Why Not Productions present OF GODS AND MEN A film by Xavier Beauvois Starring Lambert Wilson and Michael Lonsdale France's official selection for the 83rd Academy Award for Best Foreign Language Film 2010 Official Selections: Toronto International Film Festival | Telluride Film Festival | New York Film Festival Nominee: 2010 European Film Award for Best Film Nominee: 2010 Carlo di Palma European Cinematographer, European Film Award Winner: Grand Prix; Ecumenical Jury Prize - 2010Cannes Film Festival Winner: Best Foreign Language Film, 2010 National Board of Review Winner: FIPRESCI Award for Best Foreign Language Film of the Year, 2011 Palm Springs International Film Festival www.ofgodsandmenmovie.com Release Date (NY/LA): 02/25/2011 | TRT: 120 min MPAA: Rated PG-13 | Language: French East Coast Publicist West Coast Publicist Distributor Sophie Gluck & Associates Block-Korenbrot Sony Pictures Classics Sophie Gluck Ziggy Kozlowski Carmelo Pirrone 124 West 79th St. Melody Korenbrot Lindsay Macik New York, NY 10024 110 S. Fairfax Ave., Ste 310 550 Madison Avenue Phone (212) 595-2432 Los Angeles, CA 90036 New York, NY 10022 [email protected] Phone (323) 634-7001 Phone (212) 833-8833 Fax (323) 634-7030 Fax (212) 833-8844 SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may. -
NEW from “Barbet Schroeder Has Made Yet Another Compelling Documentary That Demands to Be Seen.”
NEW FROM “Barbet Schroeder has made yet another compelling documentary that demands to be seen.” “GENUINELY HORRIFYING!” – Film Comment “There’s an ever-present sense of rage and despair burbling beneath the placid surface of Barbet Schroeder’s film.” – Slant Magazine WINNER! OFFICIAL SELECTION FREEDOM AWARD CANNES, CPH:DOX BEST DOCUMENTARY LOCARNO INTERNATIONAL FILM FESTIVAL, JERUSALEM FILM FESTIVAL TELLURIDE FILM FESTIVAL Barbet Schroeder is one of the world’s most accomplished and prolific directors of our time. Some of his most popular films includeSingle White Female, Kiss of Death, and Murder by Numbers. He has been nominated for the Academy Award for Best Director, and for the Palme d’Or for his 1987 film Barfly starring Mickey Rourke and Faye Dunaway “This is an important documentary that Evil comes in many forms. In Myanmar, it manifests in the casual racism and Islamophobia of influential, charismatic Burmese Buddhist monk not only illuminates the rank underbelly Ashin Wirathu. Through interviews with international journalists and of Theravada Buddhism in Myanmar, but community leaders who protest against Wirathu’s views, activist footage also captures one of the first major tests of Rohingya persecutions, and through powerful storytelling, acclaimed faced by the new political order.” director Barbet Schroeder (Reversal of Fortune, Koko: A Talking Gorilla, and Barfly) slowly, but inexorably, builds his case. Perhaps most damning – The New York Review of Books of all are the interviews with the man himself; couching his rhetoric in nationalist fervor. THE VENERABLE W. A film by Barbet Schroeder • From Distrib Films • An Icarus Films Release Established in 2013, Distrib Films brings the latest 2017 • 100 min • Color • in English, French, Spanish, Burmese (with English subtitles) • Not Rated SRP: $26.98 • UPC # 8-545-6500316-3 French and European movies to the US. -
Mise En Page 1
THE CULT MOVIE FROM 1969 FOR THE FIRST TIME IN RESTORED VERSION! tefan is a young student looking for adventure and hoping to find himself. SMaking his journey towards the sun he hitch-hikes from Germany to Paris, where he meets a young American drifter, Estelle, who introduces him to drugs. In their pursuit of powerful emotions and experiences, the young lovers go to Ibiza where they live out their dangerous passion. As prisoners of their hopeless love affair and also of drug addiction and a former friend of Estelle’s, the only end possible for them is a tragic one... 2015 A film by BARBET PRESS QUOTES ON THE FILM’S RELEASE IN 1969 CAST SCHROEDER Estelle MIMSY FARMER • Stephan KLAUS GRUNBERG • Charlie MICHEL CHANDERLI “EXTRAORDINARY BRILLANCE IN Wolf HEINZ ENGELMAN • Cathy LOUISE A POWERFUL COMPELLING TRAGEDY.” WINK • Salesman GEORGES MONTANT “NEW YORK HERALD TRIBUNE” “AN EXTRAORDINARILY INTELLIGENT AND BEAUTIFUL FILM. CREW THE FILMMAKER’S EYE HAS TAKEN INTO ACCOUNT THE INCREDIBLE INTERPLAY OF SURFACE AND DEPTH, USING THE IRONY OF SETTING Screenplay and dialogue PAUL GEGAUFF, AND SITUATION WITH RARE COMPASSION.” BARBET SCHROEDER • From a original story 6 2 “THE EAST VILLAGE OTHER” by BARBET SCHROEDER • Music PINK FLOYD 1 4 5 9 D.O.P NESTOR ALMENDROS • Editor DENISE 9 3 1 0 “A FILM OF INTELLIGENCE AND, EVEN RARER, GRACE. DE CASABIANCA • Script MONIQUE c i h p a M A VERY BEAUTIFUL, VERY ROMANTIC MOVIE.” GIRAUDY • Sound effects ROBERT POURET r G u n si o i “THE NEW YORK TIMES” Production crew CARLOS DURAN, MICHEL t c s P e G I CHANDERLI, -
Pressbook Vénérablew. ENGLISH 2017-Compressed
A FILM BY BARBET SCHROEDER LES FILMS DU LOSANGE and BANDE À PART FILMS present CREDITS Director of photography VICTORIA CLAY MENDOZA Editing NELLY QUETTIER Music JORGE ARRIAGADA A FILM BY Small Buddhist voice BULLE OGIER Mix FLORIAN EIDENBENZ BARBET SCHROEDER Produced by MARGARET MENEGOZ (Paris) and LIONEL BAIER (Lausanne) A Swiss-French coproduction LES FILMS DU LOSANGE ET BANDE À PART FILMS In coproduction with ARTE FRANCE CINEMA, RTS – RADIO TÉLÉVISION SUISSE, SRG SSR France, Switzerland • 1h40 • Color • 1.85 • Sound 5.1 With the participation of ARTE FRANCE, CINE + With the support of CENTRE NATIONAL DU CINEMA ET DE L’IMAGE ANIMEE, OFFICE FEDERAL DE LA CULTURE (DFI- SUISSE), CINEFOROM, LOTERIE ROMANDE Photos and press pack can be downloaded at Distribution France & International sales LES FILMS DU LOSANGE www.filmsdulosange.fr SYNOPSIS n Burma, the “Venerable Wirathu” is a highly respected and influential IBuddhist monk. Meeting him amounts to traveling to the heart of everyday racism and observing how Islamophobia and hate speech lead to violence and destruction. Yet this is a country in which 90% of the population has adopted Buddhism as a faith: a religion based on a peaceful, tolerant and non-violent way of life. 4 5 BARBET SCHROEDER (In conversation with Emilie Bickerton) THE ORIGIN OF THE FILM. lurches into fanaticism and extremism. In fact, For me, Buddhism is an atheist religion, Buddhist beliefs and ideas have touched without a God, and which allows for Western minds since a few philosophers in pessimism. This idea has always fascinated the middle of the nineteenth century read its me, so much so that in 1961 when I was 21, I went key texts, such as Schopenhauer, who was one of on a long trip to the historic locations of the Buddha, all the first to discover them, in 1814, during his time staying the way to Sri Lanka. -
WC Fields and Charles Bukowski As
"TOO MANY OLIVES IN MY MARTINI": W.C. FIELDS AND CHARLES BUKOWSKI AS POSTMODERN CARNIVAL KINGS David Camak Pratt A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2008 Committee: Jeffrey Brown, Advisor Marilyn Motz © 2008 David Camak Pratt All Rights Reserved iii ABSTRACT Jeffrey Brown, Advisor In the early history of America, constant, steady drinking brought the carnivalesque into official life such that the carnival and the official, as Bakhtin describes these terms, were intertwined. As hard alcohol, binges and drunkenness flourished in America, official life separated from carnival life. Temperance and prohibition movements that rose to significance in the early nineteenth century successfully marginalized the use of alcohol and also the alcoholic carnival. As the American alcoholic carnival diminished as a part of lived experience, it continued on in the mediated form that is its primary embodiment today. W.C. Fields and Charles Bukowski are two particularly successful purveyors of the mediated alcoholic carnival, Fields as an actor and screenwriter and Bukowski as a writer of poetry, stories, novels, and one screenplay. Bukowski’s mostly autobiographical texts often detail the steps his character, Henry Chinaski, takes to ensure he is able to drink and write, to the exclusion of most other considerations. A Fields character tries harder than Chinaski to succeed according to American middle-class standards, but first has to deal with the distaste he inspires as an alcoholic eccentric. Bukowski/Chinaski, by defining his own terms for success, stands largely outside of American hegemonic culture, criticizing the American Dream and American notions of alcoholism. -
Charles Bukowski - Ham on Rye
Charles Bukowski - Ham on rye - 1/211 The first thing I remember is being under something. It was a table, I saw a table leg, I saw the legs of the people, and a portion of the tablecloth hanging down. It was dark under there, I liked being under there. It must have been in Germany. I must have been between one and two years old. It was 1922. I felt good under the table. Nobody seemed to know that I was there. There was sunlight upon the rug and on the legs of the people. I liked the sunlight. The legs of the people were not interesting, not like the tablecloth which hung down, not like the table leg, not like the sunlight. Then there is nothing . then a Christmas tree. Candles. Bird ornaments: birds with small berry branches in their beaks. A star. Two large people fighting, screaming. People eating, always people eating. I ate too. My spoon was bent so that if I wanted to eat I had to pick the spoon up with my right hand. If I picked it up with my left hand, the spoon bent away from my mouth. I wanted to pick the spoon up with my left hand. Two people: one larger with curly hair, a big nose, a big mouth, much eyebrow; the larger person always seeming to be angry, often screaming; the smaller person quiet, round of face, paler, with large eyes. I was afraid of both of them. Sometimes there was a third, a fat one who wore dresses with lace at the throat. -
Masaryk University the Portrayal of Women in Charles Bukowski's Work
Masaryk University Faculty of Education Department of the English Language and Literature The Portrayal of Women in Charles Bukowski's Work Bachelor thesis Brno 2019 Supervisor: Mgr. Barbora Kašpárková Author: Natálie Hlavatá I hereby declare that I worked on my bachelor thesis independently and that I used only the sources listed in the bibliography. I agree with keeping this work in the library of Masaryk University at the Faculty of Education for study purposes. …………………………………………………… Natálie Hlavatá Acknowledgements: I would like to express my very great appreciation to my supervisor Mgr. Barbora Kašpárková for her valuable advice, patience and understanding for my writing tempo. Additionally, I would like to thank my family and friends for their support and to Charles Bukowski for being authentic. Abstract: The main aim of the bachelor thesis is to provide an analysis of the portrayal of women in selected novels written by a controversial author Charles Bukowski. The analysis deals mainly with description, sexual objectification and position of female characters in novels Women (1978), Ham on Rye (1982), Hollywood (1989) with a special reference to possible differentiation in illustration of female characters considering the time gap in publishing the works and also author's personal life that is inherently connected to his writing and time period he lived in. Key words: Bukowski; Beat generation; women; sexual objectification; description of women; position of women Anotace: Hlavním cílem této bakalářské práce je poskytnutí analýzy vyobrazení žen ve vybraných dílech kontroverzního autora Charlese Bukovského. Analýza se zabývá především popisem, sexuální objektifikací a pozicí ženských postav v románech Ženy, Šunkový nářez a Hollywood, s ohledem na možnou odlišnost ve vyobrazení žen vzhledem k časovému odstupu ve vydání jednotlivých děl a také na autorův osobní život neodmyslitelně spjatý s jeho tvorbou a dobou ve které žil. -
Bamcinématek Presents the US Theatrical Premiere of Jacques Rivette’S Through-The-Looking Glass Thriller Le Pont Du Nord, Mar 22—28
BAMcinématek presents the US theatrical premiere of Jacques Rivette’s through-the-looking glass thriller Le Pont du Nord, Mar 22—28 One week only! New 35mm print! “The most alive movie I saw at the festival. Leaves me with a whole album of indelible images and unnerving emotions.”—Jonathan Rosenbaum, 1981 New York Film Festival The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Feb 28, 2013—From Friday, March 22, through Thursday, March 28, BAMcinématek presents the US theatrical premiere run of Jacques Rivette’s Le Pont du Nord (1981), screening in a new 35mm print. A puzzle, a hallucinatory cinephilic fever dream, and a spellbinding, through-the-looking glass thriller as only French New Wave titan Rivette could make, Le Pont du Nord plays like the darker, conspiracy theory-obsessed cousin of the director’s beloved Céline and Julie Go Boating. This tale of two women follows ex-con Marie (Bulle Ogier), just out of prison, and Baptiste (Ogier’s real-life daughter Pascale, who died two years later at the age of 25), who embark on a surreal, labyrinthine odyssey through a wintry Paris. The film is replete with mysterious clues, codes, traps, and spies and unfolds as “underworld and wonderland merge in the open air; joyous whimsy blurs with justified worry; and Rivette risks exploring the scarifying powers of fantasy and paranoia with a panning, punning documentary eye” (Paul Taylor, Time Out London). Rivette, in collaboration with Bulle and Pascale Ogier as well as Oscar-nominated screenwriter Suzanne Schiffman, made Le Pont du Nord on a shoestring budget with a largely improvised script.