Le Cinéaste John Mctiernan
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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Vivre Sa Vie Nathaniel Dorsky Kinorama Antichrist O Plano Frontal
TODA A POESIA QUE VINICIUS VIU NO CINEMA, POR CARLOS A. CALIL O BOLETIM DO ANO 35 N162 CINE CLUBE DE VISEU JUNHO 2019 2 EUROS QUADRIMESTRAL O INCONTORNÁVEL GODARD NA RETINA DE Vivre sa vie MARIA JOÃO MADEIRA ANA BARROSO NOS PASSOS DO CINEMA LUMINOSO DE Nathaniel Dorsky O NOVO PROJECTO DE EDGAR PÊRA É O MOTE PARA Kinorama UMA CONVERSA COM EDUARDO EGO DE LARS VON TRIER COMEMORA UMA DÉCADA E FILIPE VARELA Antichrist ESCREVE-NOS SOBRE ELE EM ‘NÓS POR CÁ’, FAUSTO CRUCHINHO REFLECTE SOBRE O plano frontal DISCURSO VISUAL E DISTORÇÃO DA REALIDADE em televisão POR MANUEL PEREIRA A retórica do poder JARMUSCH INSPIRA ANDRÉ RUIVO NO Dead Man SEU ‘OBSERVATÓRIO’ 162 VIVRE SA VIE NA RETINA DE MARIA JOÃO MADEIRA GRIFFITH DIZIA QUE ERA TUDO O QUE ERA PRECISO, GODARD CITA-O POR ESCRITO: A FILM IS A GIRL AND A GUN. Na capa, Charlotte Gainsbourg, num fotograma de Antichrist (Lars von Trier, 2009). Por causa de uma crónica, uma ilustração, um ensaio, mais cedo ou mais tarde o Argumento vai fazer falta. Assinaturas €10 5 EDIÇÕES HTTP://WWW.CINECLUBEVISEU.PT/ARGUMENTO-ASSINATURAS Colaboram neste número: MARIA JOÃO EDGAR ANA FILIPE FAUSTO MANUEL ANDRÉ MADEIRA PÊRA BARROSO VA R E L A CRUCHINHO PEREIRA RUIVO PROGRAMADORA DE ESTÁ A TERMINAR ANA BARROSO É ESTUDOU CINEMA, PROFESSOR AUXILIAR FORMADO EM ESTUDOS LICENCIADO EM DESIGN CINEMA, SOBRETUDO. KINORAMA — CINE- INVESTIGADORA NO FILOSOFIA E MATEMÁ- DA FACULDADE DE ARTÍSTICOS NA VA- DE COMUNICAÇÃO PELA MA FORA DE ÓRBI- CENTRO DE ESTUDOS TICA. REALIZOU DUAS LETRAS DA UNIVER- RIANTE DE ESTUDOS FBAUL E MESTRE EM TA, A SEQUELA DO ANGLÍSTICOS DA U.L. -
Artificial Intelligence, Ovvero Suonare Il Corpo Della Macchina O Farsi Suonare? La Costruzione Dell’Identità Audiovisiva Della Warp Records
Philomusica on-line 13/2 (2014) Artificial Intelligence, ovvero suonare il corpo della macchina o farsi suonare? La costruzione dell’identità audiovisiva della Warp Records Alessandro Bratus Dipartimento di Musicologia e Beni Culturali Università di Pavia [email protected] § A partire dai tardi anni Ottanta la § Starting from the late 1980s Warp Records di Sheffield (e in seguito Sheffield (then London) based Warp Londra) ha avuto un ruolo propulsivo Records pushed forward the extent nel mutamento della musica elettronica and scope of electronic dance music popular come genere di musica che well beyond its exclusive focus on fun non si limita all’accompagna-mento del and physical enjoinment. One of the ballo e delle occasioni sociali a esso key factors in the success of the label correlate. Uno dei fattori chiave nel was the creative use of the artistic successo dell’etichetta è stato l’uso possibilities provided by technology, creativo delle possibilità artistiche which fostered the birth of a di- offerte dalla tecnologia, favorendo la stinctive audiovisual identity. In this formazione di un’identità ben ca- respect a crucial role was played by ratterizzata, in primo luogo dal punto the increasing blurred boundaries di vista audiovisivo. Sotto questo profilo between video and audio data, su- un ruolo fondamentale ha giocato la bjected to shared processes of digital possibilità di transcodifica tra dati transformation, transcoding, elabora- audio e video nell’era digitale, poten- tion and manipulation. zialmente soggetti agli stessi processi di Although Warp Records repeatedly trasformazione, elaborazione e mani- resisted the attempts to frame its polazione. artistic project within predictable Nonostante la Warp Records abbia lines, its production –especially mu- ripetutamente resistito a ogni tentativo sic videos and compilations– suggests di inquadrare il proprio progetto arti- the retrospective construction of a stico entro coordinate prevedibili, i suoi consistent imagery. -
Retrospektive Viennale 1998 CESTERREICHISCHES FILM
Retrospektive Viennale 1998 CESTERREICHISCHES FILM MUSEUM Oktober 1998 RETROSPEKTIVE JEAN-LUC GODARD Das filmische Werk IN ZUSAMMENARBEIT MIT BRITISH FILM INSTITUTE, LONDON • CINEMATHEQUE DE TOULOUSE • LA CINl-MATHfeQUE FRAN^AISE, PARIS • CINIiMATHkQUE MUNICIPALE DE LUXEMBOURG. LUXEMBURG FREUNDE DER DEUTSCHEN KINEMATHEK. BERLIN ■ INSTITUT FRAN^AIS DB VIENNE MINISTERE DES AFFAIRES ETRANGERES, PARIS MÜNCHNER STADTMUSEUM - FILMMUSEUM NATIONAL FILM AND TELEVISION ARCHIVE, LONDON STIFTUNG PRO HEI.VETIA, ZÜRICH ZYKLISCHES PROGRAMM - WAS IST FILM * DIE GESCHICHTE DES FILMISCHEN DENKENS IN BEISPIELEN MIT FILMEN VON STAN BRAKHAGE • EMILE COHL • BRUCE CONNER • WILLIAM KENNEDY LAURIE DfCKSON - ALEKSANDR P DOVSHENKO • MARCEL DUCHAMP • EDISON KINETOGRAPH • VIKING EGGELING; ROBERT J. FLAHERTY ROBERT FRANK • JORIS IVENS • RICHARD LEACOCK • FERNAND LEGER CIN^MATOGRAPHE LUMIERE • ETIENNE-JULES MAREY • JONAS MEKAS • GEORGES MELIUS • MARIE MENKEN • ROBERT NELSON • DON A. PENNEBAKER • MAN RAY • HANS RICHTER • LENI glEFENSTAHL • JACK SMITH • DZIGA VERTOV 60 PROGRAMME • 30 WOCHEN • JÄHRLICH WIEDERHOLT • JEDEN DIENSTAG ZWEI VORSTELLUNGEN Donnerstag, 1. Oktober 1998, 17.00 Uhr Marrfnuß sich den anderen leihen, sich jedoch Monsigny; Darsteller: Jean-Claude Brialy. UNE FEMME MARIEE 1964) Sonntag, 4. Oktober 1998, 19.00 Uhr Undurchsichtigkeit und Venvirrung. Seht, die Rea¬ Mittwoch, 7. Oktober 1998, 21.00 Uhr Raou! Coutard; Schnitt: Agnes Guiliemot; Die beiden vorrangigen Autoren der Gruppe Dziga sich selbst geben- Montaigne Sein Leben leben. Anne Colette, Nicole Berger Regie: Jean-Luc Godard; Drehbuch: Jean-Luc lität. metaphorisiert Godaiti nichtsonderlich inspi¬ Musik: Karl-Heinz Stockhausen, Franz Vertov. Jean-Luc Godard und Jean-Pierre Gönn, CHARLOTTE ET SON JULES (1958) VfVRE SA VIE. Die Heldin, die dies versucht: eine MASCULIN - FEMININ (1966) riert, em Strudel, in dem sich die Wege verlaufen. -
Motion As the Connection Between Audio and Visuals
Motion as the Connection Between Audio and Visuals and how it may inform the design of new audiovisual instruments Niall Moody Centre for Music Technology University of Glasgow UK [email protected] ABSTRACT by an examination of how motion may connect the two do- While it is often claimed that any connection between visual mains, and a number of example mappings between audio art and music is strictly subjective, this paper attempts to and visuals are presented. prove that motion can be used to connect the two domains in a manner that, though not objective in the true sense of 2. A BRIEF HISTORY OF AUDIO-VISUAL the word, will nevertheless be perceived in a similar fashion RELATIONS by multiple people. The paper begins with a brief history of This section will present a brief overview of what the au- attempts to link audio and visuals, followed by a discussion thor feels are the most significant attempts to link audio of Michel Chion’s notion of synchresis in film, upon which and visuals, beginning with Father Louis-Bertrand Castel’s the aforementioned claim is based. Next is an examination original ‘colour organ’ from the mid-1700s. The section is of motion in both audio and moving images, and a prelim- subdivided into various subgenres of, or threads within, au- inary look at the kind of mappings which may be possible. diovisual art, though it should be noted that there is con- As this is all done with a view to the design of new musi- siderable overlap between these sections, and they are in no cal, or audiovisual, instruments, the paper finishes with a way intended as comprehensive categories. -
Jean-Luc Godard – Musicien
Jean-Luc Godard – musicien Jürg Stenzl Stenzl_Godard.indb 1 24.11.10 14:30 Jürg Stenzl, geb. 1942 in Basel, studierte in Bern und Paris, lehrte von 1969 bis 1991 als Musikhistoriker an der Universität Freiburg (Schweiz), von 1992 an in Wien und Graz und hatte seit Herbst 1996 bis 2010 den Lehrstuhl für Mu- sikwissenschaft an der Universität Salzburg inne. Zahlreiche Gastprofessuren, zuletzt 2003 an der Harvard University. Publizierte Bücher und über 150 Auf- sätze zur europäischen Musikgeschichte vom Mittelalter bis in die Gegenwart. Stenzl_Godard.indb 2 24.11.10 14:30 Jean-Luc Godard – musicien Die Musik in den Filmen von Jean-Luc Godard Jürg Stenzl Stenzl_Godard.indb 3 24.11.10 14:30 Gedruckt mit Unterstützung durch das Rektorat der Universität Salzburg, Herrn Rektor Prof. Dr. Heinrich Schmidinger. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ISBN 978-3-86916-097-9 © edition text + kritik im RICHARD BOORBERG VERLAG GmbH & Co KG, München 2010 Levelingstr. 6a, 81673 München www.etk-muenchen.de Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung, die nicht ausdrücklich vom Urheberrechtsgesetz zugelassen ist, bedarf der vorherigen Zustim- mung des Verlages. Dies gilt insbesondere für Vervielfältigungen, Bearbeitungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen -
Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations
Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations Stoffel Debuysere Proefschrift voorgelegd tot het behalen van de graad van Doctor in de kunsten: audiovisuele kunsten Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations Stoffel Debuysere Thesis submitted to obtain the degree of Doctor of Arts: Audiovisual Arts Academic year 2017- 2018 Doctorandus: Stoffel Debuysere Promotors: Prof. Dr. Steven Jacobs, Ghent University, Faculty of Arts and Philosophy Dr. An van. Dienderen, University College Ghent School of Arts Editor: Rebecca Jane Arthur Layout: Gunther Fobe Cover design: Gitte Callaert Cover image: Charles Burnett, Killer of Sheep (1977). Courtesy of Charles Burnett and Milestone Films. This manuscript partly came about in the framework of the research project Figures of Dissent (KASK / University College Ghent School of Arts, 2012-2016). Research financed by the Arts Research Fund of the University College Ghent. This publication would not have been the same without the support and generosity of Evan Calder Williams, Barry Esson, Mohanad Yaqubi, Ricardo Matos Cabo, Sarah Vanhee, Christina Stuhlberger, Rebecca Jane Arthur, Herman Asselberghs, Steven Jacobs, Pieter Van Bogaert, An van. Dienderen, Daniel Biltereyst, Katrien Vuylsteke Vanfleteren, Gunther Fobe, Aurelie Daems, Pieter-Paul Mortier, Marie Logie, Andrea Cinel, Celine Brouwez, Xavier Garcia-Bardon, Elias Grootaers, Gerard-Jan Claes, Sabzian, Britt Hatzius, Johan Debuysere, Christa -
XIV:10 CONTEMPT/LE MÉPRIS (102 Minutes) 1963 Directed by Jean
March 27, 2007: XIV:10 CONTEMPT/LE MÉPRIS (102 minutes) 1963 Directed by Jean-Luc Godard Written by Jean-Luc Godard based on Alberto Moravia’s novel Il Disprezzo Produced by George de Beauregard, Carlo Ponti and Joseph E. Levine Original music by Georges Delerue Cinematography by Raoul Coutard Edited by Agnès Guillemot and Lila Lakshamanan Brigitte Bardot…Camille Javal Michel Piccoli…Paul Javal Jack Palance…Jeremy Prokolsch Giogria Moll…Francesa Vanini Friz Lang…himself Raoul Coutard…Camerman Jean-Luc Godard…Lang’s Assistant Director Linda Veras…Siren Jean-Luc Godard (3 December 1930, Paris, France) from the British Film Institute website: "Jean-Luc Godard was born into a wealthy Swiss family in France in 1930. His parents sent him to live in Switzerland when the war broke out, but in the late 40's he returned to Paris to study ethnology at the Sorbonne. He became acquainted with Claude Chabrol, Francois Truffaut, Eric Rohmer and Jacques Rivette, forming part of a group of passionate young film- makers devoted to exploring new possibilities in cinema. They were the leading lights of Cahiers du Cinéma, where they published their radical views on film. Godard's obsession with cinema beyond all else led to alienation from his family who cut off his allowance. Like the small time crooks he was to feature in his films, he supported himself by petty theft. He was desperate to put his theories into practice so he took a job working on a Swiss dam and used it as an opportunity to film a documentary on the project. -
Alessandro Amaducci, Simone Arcagni-Music Video-Kaplan.Pdf
AperTO - Archivio Istituzionale Open Access dell'Università di Torino Music Video This is the author's manuscript Original Citation: Availability: This version is available http://hdl.handle.net/2318/23735 since Publisher: Kaplan Terms of use: Open Access Anyone can freely access the full text of works made available as "Open Access". Works made available under a Creative Commons license can be used according to the terms and conditions of said license. Use of all other works requires consent of the right holder (author or publisher) if not exempted from copyright protection by the applicable law. (Article begins on next page) 07 October 2021 ONE PM (2) collana diretta da Simone Arcagni © edizioni kaplan 2007 Via Saluzzo, 42 bis – 10125 Torino Tel. e fax 011-7495609 E-mail: [email protected] www.edizionikaplan.com isbn 978-88-89908-10-5 Alessandro Amaducci Simone Arcagni Music Video k a p l a n indice Premessa 7 Parte prima 9 1. La musica visiva: rock-movie, rockumentary e music video 11 1.1 Tre paradigmi del rock come immagine 11 1.1.1 Il “vecchio” Bill Haley... 11 1.1.2 ...il ciuffo di Elvis 12 1.1.3 ...la Beatlesmania 15 1.2 Il rock è immagine 20 1.2.1 Rockumentary 22 1.2.2 Rock-movie 25 1.2.3 Music video 29 1.3 Uno schema 33 2. Cinegenerazionevideoclip 38 2.1 Spettacolo, azione e tecnologia 39 2.2 Visioni d’autore surreali 42 2.3 Universo pop e postmoderno 44 2.4 Musical? 48 3. Nuove forme e territori del video musicale 51 3.1 Madonna e la performance nell’epoca di MTV 51 3.2 Prince 52 3.3 Michael Jackson 54 3.4 ...ancora Madonna 55 3.5 Dal video al cinema.. -
Final Commentary
University of Huddersfield Repository Rich, Jonathan Exploring the Synthesis of Musique Concrète and Visual Media in Popular Culture Original Citation Rich, Jonathan (2010) Exploring the Synthesis of Musique Concrète and Visual Media in Popular Culture. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/11887/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Exploring the Synthesis of Musique Concrète and Visual Media in Popular Culture Jonathan Rich A portfolio of original audiovisual work and commentary submitted to the University of Huddersfield in fulfilment of the requirements for Masters by Research. December 2010 Abstract This practice-based research project will examine the link between the contemporary genre of Musique Concrète and the visual medium, through a portfolio of audiovisual pieces. -
Six Films / Jean-Luc Godard
Phrases presents the spoken language from six films by Jean- Luc Godard: Germany Nine Zero, The Kids Play Russian, JLG / JLG, 2 x 50 Years of French Cinema, For Ever Mozart and In Praise of Love. Completed between 1991 & 2001, during what has been called Godard’s “years of memory,” these films and videos were made alongside and in the shadow of his major work from that time, his monumental Histoire(s) du cinema, complementing and extending its themes. Like Histoire(s), they offer meditations on, among other things, the tides of history, the fate of nations, the work of memory, the power of cinema, and, ultimately, the nature of love. Gathered here, in written form, they are words without images: not exactly screenplays, not exactly poetry, something else entirely. Godard himself described them enigmatically: “Not books. Rather recollec- tions of films, without the photos or the uninteresting details… Only the spoken phrases. They offer a little prolongation. One even discov- ers things that aren’t in the film in them, which is rather powerful for a recollection. These books aren’t literature or cinema. Traces of a film…” In our era of ubiquitous streaming video, ebooks, and social media, these traces of cinema raise compelling questions for the future of media, cinematic, literary, and otherwise. isbn 978–1–9406251–7–1 www.contramundum.net Translation © 2016 Stuart Kendall. Library of Congress For Ever Mozart, jlg/jlg, Cataloguing-in-Publication Data Les enfants jouent à la Russie, Godard, Jean-Luc, 1930– Allemagne neuf zéro, 2x50 ans de cinéma français and Eloge de [For Ever Mozart, jlg/jlg, . -
Composições De Modos De Viver Nas Fronteiras Entre Audiovisual, Arquivos Pessoais E Educação
UNIVERSIDADE DE SÃO PAULO FACULDADE DE EDUCAÇÃO INGRID RODRIGUES GONÇALVES Arquivo-vida na contemporaneidade: composições de modos de viver nas fronteiras entre audiovisual, arquivos pessoais e educação. São Paulo 2020 INGRID RODRIGUES GONÇALVES Arquivo-vida na contemporaneidade: composições de modos de viver nas fronteiras entre audiovisual, arquivos pessoais e educação. Versão corrigida Dissertação apresentada ao Programa de Pós-Graduação em Educação da Faculdade de Educação da Universidade de São Paulo para obtenção do título de Mestre em Educação. Área de concentração: Educação e Ciências Sociais: Desigualdades e Diferenças Orientadora: Profa. Dra. Cintya Regina Ribeiro São Paulo 2020 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação da Publicação Ficha elaborada pelo Sistema de Geração Automática a partir de dados fornecidos pelo(a) autor(a) Bibliotecária da FE/USP: Nicolly Soares Leite - CRB-8/8204 Gonçalves, Ingrid Rodrigues Ga Arquivo-vida na contemporaneidade: composições de modos de viver nas fronteiras entre audiovisual, arquivos pessoais e educação / Ingrid Rodrigues Gonçalves; orientadora Cintya Regina Ribeiro. -- São Paulo, 2020. 215 p. Dissertação (Mestrado - Programa de Pós-Graduação Educação e Ciências Sociais: Desigualdades e Diferenças) -- Faculdade de Educação, Universidade de São Paulo, 2020. 1. Educação. 2. Audiovisual. 3. Arquivos. 4. Digitalização. 5. Subjetividade. I. Ribeiro, Cintya Regina, orient. II. Título. FOLHA DE AVALIAÇÃO Nome: GONÇALVES, Ingrid Rodrigues Título: Arquivo-vida na contemporaneidade: composições de modos de viver nas fronteiras entre audiovisual, arquivos pessoais e educação. Dissertação apresentada ao Programa de Pós-Graduação em Educação da Faculdade de Educação da Universidade de São Paulo para obtenção do título de Mestre em Educação.