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Marlen Khutsiev's Films
FC_72-77_MarlenKhutsiev.qxp_072FC 21/12/2016 03:06 Page 72 BREAKING THE ICE Unsung maestro Marlen Khutsiev channeled the joys and the anxieties roiling within the Soviet soul BY NATHAN DUNNE !" | F ILM COMMENT | January-February 2017 FC_72-77_MarlenKhutsiev.qxp_072FC 21/12/2016 03:06 Page 73 n the second half of marlen khutsiev’s 1965 drama I Am Twenty, a group of students at a party dance gaily among potatoes that have fallen to the floor. Characters are often seen dancing in Khutsiev’s 1960s films, yet this particu- lar scene exemplifies the youthful break of the Khrushchev Thaw from the previous generation’s hardships during World IWar II. Like his fellow revelers, the protagonist of I Am Twenty, Sergei (Valentin Popov), is free of the embittered wartime strug- gle endured by his mother, who had worked night shifts and for- aged for potatoes during the day. Without the pressure of food shortages, this new generation is free to celebrate peacetime with a fond embrace of jazz and Parisian chansons. In I Am Twenty, characters seem to drift effortlessly along pavements, buoyed by the optimism of their youth in the manner of Godard’s Breathless, and yet with a more pronounced sense of lyricism and even expressionism. Of all the major directors that emerged during the Khrushchev Thaw after Stalin’s death, when repression and censorship of artists was relaxed, Khutsiev is perhaps the least well-known outside Russia. He came from a generation that included Andrei Tarkovsky, Sergei Parajanov, Vasiliy Shukshin, Elem Klimov, and Kira Muratova, who together might be called the Soviet New Wave. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
OIL MILL GAZETTEER Official Organ of the National Oil Mill Superintendents’ Association
OIL MILL GAZETTEER Official Organ of the National Oil Mill Superintendents’ Association. VOL. X V Ii., NO. 10. WHARTON, TEXAS, APRIL, 1916. PRICE TEN CENTS From Secretary-Treasurer Morris It is unnecessary for me to go into details vention, and certainly hope I will succeed much concerning our next convention, for President better. Leonard’s letter in the March issue was to the Let everybody boost for the convention and point and brings out in full everything connect be sure to be on hand yourself. Yours to ed with our next meeting. However, I want to serve, F. P. MORRIS, impress upon the minds of all members that in Secretary-Treasurer. order to succeed as we have planned, you must * * * attend. Let’s make this our banner meeting BIG FIRE LOSS AT TYLER year. I have letters from superintendents from California to North Carolina expressing their Tyler, Texas, March 17.— The Tyler Oil desire to be there, and if nothing prevents, you Company and the Tyler Ice Company suffered a will see them. Now then, let’s all who live, fire loss last night of between $25,000 and closer be on hand. The meeting has been ad $30,000. The oil company lost its big seed house, vertised throughout all cotton growing states, in which there was no seed, and its hull house, and I will continue to do so from now until the in which was stored a large quantity of hulls. convention meets. If President Leonard and The damage to the walls of the large mill build myself, assisted very ably by our never tiring ing will amount to several thousand dollars. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
Indian Artists
CONTENTS 03. Editorial 04 Contemporary Korean Music: Black String live at Chennai, Kochi and Kolkata 07 Hamlet-Avataar at the Seoul Performing Arts Festival 08 Calligraphy and Painting Exhibitions at The Gallery @ InKo Centre 10 Choreography residency at Hongeun Art Space in Seoul, Korea 11 Heart of Matter Happiness Conversations- Edition 2 12 Emerging Canvas-3: an Indo-Korean Young Artists’ Exhibition. 14 Two Indian students at The King Sejong 3rd Tae Hon Festival Institute Learners’programme A unique Taekwondo Fellowship Tournament in South India 15 The 3rd TaeHon Festival 16 Contemporary Korean Films at The Third Eye Asian Film Festival, Mumbai 17 Trending @ InKo Centre 28, 29 November 2015 The tournament aims to celebrate the spirit of taekwondo as both sport and philosophy and we welcome applications in the Sub-Junior, Junior and Senior categories. For further enquiries, please contact InKo Centre - +91 44 24361224 / 9940139100 or write to [email protected] 18 Newspicks Designed by Studio RDA © InKo Centre. All right reserved. If you wish to reproduce any material published here, kindly contact us at [email protected] EDITORIAL If cultural engagement is primarily a sensory connect, then it presupposes that it is the synthesis of perception and feeling that creates meaning. We perceive and feel or vice versa, simultaneously, with reason and logic kicking in only much later in the process. It is possible for adults, as well as for children, to receive any number of sensory impressions and be none the richer. Sense impressions are not enough by themselves, for the mind needs education and training to be able to discriminate and appreciate, to distinguish, to categorize and to relate new information to what one already knows. -
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production. -
Marco Bellocchio (Writer-Director) Feature Filmography
Massimo’s idyllic childhood was shattered by the mysterious death of his mother. As he prepares to sell his parents’ apartment, he is haunted by his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds… Synopsis Turin, 1969. Nine-year-old Massimo’s idyllic childhood is shattered by the mysterious death of his mother. The young boy refuses to accept this brutal loss, even if the priest says she is now in Heaven. Years later in the 90s, adult Massimo has become an accomplished journalist. After reporting on the war in Sarajevo, he begins to suffer from panic attacks. As he prepares to sell his parents’ apartment, Massimo is forced to relive his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds… Marco Bellocchio (writer-director) Feature Filmography 2016 – FAI BEI SOGNI (SWEET DREAMS) 2015 – SANGUE DEL MIO SANGUE (BLOOD OF MY BLOOD) From teenage rebellion to religious From the 80s on, Bellocchio’s films 2012 – BELLA ADDORMENTATA (DORMANT BEAUTY) institutions to political subversion, have often focused on coming to 2010 – SORELLE MAI (THE MAI SISTERS) the films of Italian director Marco terms with a personally and politi- 2009 – VINCERE Bellocchio have explored the social cally turbulent past. He has ques- 2006 – IL REGISTA DI MATRIMONI (THE WEDDING DIRECTOR) and political contradictions of his tioned ideologies and moral issues 2003 – BUONGIORNO, NOTTE (GOOD MORNING, NIGHT) country. His prolific 50-year career and fought to make sense of his 2002 – L‘ORA DI RELIGIONE (aka IL SORRISO DI MIA MADRE - MY MOTHER‘S SMILE) has been closely intertwined with characters’ motives. -
JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history. -
Análisis Fílmico De Tag De Sion Sono: Feminae in Fabula
Análisis fílmico de Tag de Sion Sono: feminae in fabula Versión abreviada de Trabajo Final de Máster (Universitat Oberta de Catalunya), tutorizado por el profesor Jordi Codó Sabrina Vaquerizo González Introducción Licenciada en Traducción e Interpretación, Universidad Autónoma de Barcelona; Máster en Edición, Estoy en el cine. Asisto a la proyección de la película. Universitat Oberta de Catalunya; Asisto. Igual que la comadrona que asiste a un Máster en Estudios Asiáticos, con parto y que, por eso mismo, asiste a la parturienta. especialización en Economía, Lengua Me hallo presente en la película según la doble y Política japonesa, Universitat Oberta modalidad (única sin embargo) del ser testigo y del de Catalunya; Máster Universitario ser-ayudante: miro, y ayudo. Al mirar la película, la de China y Japón contemporáneos; Universidad Oberta de Catalunya. ayudo a vivir, puesto que vivirá en mí y puesto que para esto se ha realizado: para que la mire, es decir Interesada en la representación de para que consiga su ser únicamente a través de la las feminidades y masculinidades en mirada. (Metz, 2001, p.95) la cultural visual y el cine japonés; redactora en Asiateca.net. Con esta metáfora Christian Metz hace hincapié en cómo el sujeto construye y da vida al significado del texto fílmico a través de la mirada. Sujeto y objeto están inexorablemente unidos por el placer escópico porque el cine es un objeto escópico. Lo curioso de la cita es que el sujeto de esta mirada constructora sea una comadrona, una mujer; cuando ya por aquel entonces las teóricas feministas reclamaban que tanto la mujer como la espectadora femenina, se encontraban en el cine clásico en una posición cero, en un espacio de no significado. -
Arabian Nights
produced by O Som e a Fúria, Shellac Sud, Komplizen Film, Box Productions in co-production with Agat Films et Michel Merkt arabian nights a film by miguel g<mes arabian nights In Portugal — a European country in crisis — a film director proposes to build fictional stories from the miserable reality he is immersed in. However, failing to find meaning in his work, he cowardly runs away and leaves the beautiful Scheherazade to stand in his shoes. She will require enthusiasm and courage so as not to bore the King with sad stories of this country. As nights go past, restlessness leads to desolation and in turn to enchantment! Therefore Scheherazade organises the stories she tells the King in three volumes. She begins like this: “It hath reached me, O auspicious King, that in a sad country among all countries...”. v>lume 1 the restless one 2h05 – DCP – 2:40 scope – 16mm, 35 mm – color – sound 5.1 In which Scheherazade tells of the restlessness that befell the country: Portugal, France, Germany, Switzerland – 2015 “It hath reached me, O auspicious King, that in a sad country among all countries, where people dream of mermaids and whales, and cast Crista Alfaiate, Adriano Luz, Américo Silva, Rogério Samora, Carloto Cotta, Fernanda Loureiro unemployment is spreading. In certain places, forests burn into the night despite the falling rain; men and women long to set out to sea in the middle of Winter. Sometimes there are animals that talk although it is highly improbable that they are listened to. In this country, where things are not what they appear to be, men of power promenade on camels and hide permanent and shameful erections; they await the moment when taxes are collected so they can pay a certain wizard whom…” And seeing the morning break, Scheherazade fell silent. -
Tarkovsky's Legacy. Tarkovskian Inspirations in Contemporary Cinema
Marina Pellanda Tarkovsky’s legacy Tarkovskian inspirations in contemporary cinema THE STORY ACCORDING TO TARKOVSKY In his Répertoire, French writer Michel Butor imagined all men to be „continu- ously immersed like in a washtub“ in stories (Butor 1960, 1). Everything that is „other than us“, wrote the author, is known to us not because we have seen it but because someone has told us about it, with the configurations of meaning that make every narrated event something to communicate to others. In order to ex- ist, the story must allow itself first to be indiscriminately fragmented, and then forcibly reassembled. If we agree with Butor that narration seems to engulf us like water in a wash- tub, it is also true that every story remains essentially impossible to tell: as an in- tegral part of nature surrounding us, it is intolerant of any form of manipulation, since every manipulation is a meaningful organization of the awareness of time. Chained to the „present“ that is brought to life in every story, the imagination seems prevalently to be subject to a time that, along the lines of Schiller, we might define as „extraneous time“ (cfr. Morelli 1995, 13); nevertheless, it is often true that the user – be he a spectator or a reader – is allowed to proceed at an uneven pace through the event in which he is partaking, thereby tailoring the experi- ence to his own subjective needs. When this happens – for example in Sterne’s Tristram Shandy gentleman, or Joyce’s Ulysses or in the films of Russian director Andrei Tarkovsky who, while at the very back of a long shot and still out of focus, is slowly moving towards these pages – a standardization occurs that for some may be the emblem of an authentic waste of time, whereas for more insight- 549 Marina Pellanda ful eyes, it appears as a concession: the author grants the reader or spectator, the right to experience his own excursions through time. -
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12 JUL | Sex Fri | 16h00 4 pm Mon Cas My Case, 1986 VISITAS ORIENTADAS GUIDED TOURS FR | 88 min. 14 JUL | Dom Sun | 12h00 12 pm 14 JUL | Dom Sun | 16h00 4 pm Por By António Preto Amor de Perdição Doomed Love, 1978 PT | 261 min. 29 SET | Dom Sun | 12h00 12 pm Por By Regina Guimarães 16 JUL | Ter Tue | 16h00 4 pm A Caixa The Box, 1994 13 OUT | Dom Sun | 12h00 12 pm PT | 96 min. Por By Nuno Grande 17 JUL | Qua Wed | 16h00 4 pm 27 OUT | Dom Sun | 12h00 12 pm O Gebo e a Sombra Gebo and the Shadow, 2012 Por By Ricardo Vieira Lisboa FR | 95 min. 18 JUL | Qui Thu | 16h00 4 pm PROGRAMAÇÃO DE CINEMA Porto da Minha Infância Porto of My Childhood, 2001 CINEMA PROGRAMME PT | 60 min. 25, 27 JUN | Ter, Qui Tue, Thu | 15h00 3 pm 19 JUL | Sex Fri | 16h00 4 pm 26, 28 JUN | Qua, Sex Wed, Fri | 17h00 5 pm Je rentre à la maison I’m Going Home, 2001 29 JUN | Sáb Sat | 16h00 4 pm FR, EN | 89 min. 30 JUN | Dom Sun | 18h00 6 pm Visita ou Memórias e Confissões, 1982 21 JUL | Dom Sun | 16h00 4 pm Visit, or Memories and Confessions, 1982 A Divina Comédia The Divine Comedy, 1991 PT | 68 min. PT | 140 min. 25, 27 JUN | Ter, Qui Tue, Thu | 17h00 23 JUL | Ter Tue | 16h00 4 pm 26, 28 JUN | Qua, Sex Wed, Fri | 15h00 O Velho do Restelo The Old Man from Belém, 29 JUN | Sáb Sat | 18h00 6 pm 2014 30 JUN | Dom Sun | 16h00 4 pm PT | 19 min.