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Pandemic Picks “Streaming Deep-Cuts” I return often to these words from late film critic Roger Ebert: “We all are born with a certain package. We are who we are: where we were born, who we were born as, how we were raised. We're kind of stuck inside that person, and the purpose of civilization and growth is to be able to reach out and empathize a little bit with other people. And for me, the movies are like a machine that generates empathy. It lets you understand a little bit more about different hopes, aspirations, dreams and fears. It helps us to identify with the people who are sharing this journey with us.” I’ve made selections a bit off the “trending” beaten path of your various streaming platforms. I hope you find these particular passageways to empathy as deep and rewarding as I do. ——— 1. The Straight Story (1999, dir. David Lynch) Streaming on Disney+ An elderly man takes the driver’s seat of his riding lawnmower on three-hundred mile mission of reconciliation with his dying brother. The film follows the meditative and deliberate pace of its subject; often content to sit and dwell, and inviting you to do so as well, allowing the passing moments of grace to quiet your own internal noise. 2. A Serious Man (2009, dir. Joel & Ethan Coen) Streaming on Netflix The Coen Brothers often wrestle with the existential and theological in their work, perhaps never more so than with this darkly-comic film, which has become somewhat ignored in the company of their most popular (Fargo, The Big Lebowski, No Country For Old Men) but is my personal favorite. Larry Gopnik is an “ordinary” man whose life begins to unravel beyond his control, evoking the biblical story of Job; made to wrestle with the mystery of suffering and being met with more questions than answers. Not the most reassuring film, but one which feels very timely in this season. 3.The Tree of Life (2011, dir. Terrence Malick) Streaming on HBO Now Poetic, prayerful, and cinematically grand, Malick’s camera sweeps from the beginnings of Creation itself, and throughout the history of humanity, all through the prism of a young boy and his family in 1950’s small-town Texas. From the womb to eternity, it’s less a describable narrative than something to simply experience, to behold. 4. If Beale Street Could Talk (2018, dir. Barry Jenkins) Streaming on Hulu Love bears all things, believes all things, hopes all things, endures all things. (1 Corinthians 13:7) A young love is put to aching test in the face of racism and injustice in this adaptation of the James Baldwin novel. Facing charges in innocence, Fonny and Tish persevere in pain, while never relinquishing their dignity and hope. The photography, and particularly the score, are among the most stunning in recent years. 5. Leave No Trace (2018, Dir. Debra Granik) Streaming on Amazon Prime A veteran suffering PTSD and his young daughter live off-the-grid in the forests of the Pacific Northwest. When they are discovered, their self-sufficient existence is challenged, leading their bond toward an inevitable turning point. Humane and melancholic, the film explores the essential nature of human contact and connection; something extremely present on our minds right now. .

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Kvarterakademisk
kvarter Volume 18. Spring 2019 • on the web akademiskacademic quarter From Wander to Wonder Walking – and “Walking-With” – in Terrence Malick’s Contemplative Cinema Martin P. Rossouw has recently been appointed as Head of the Department Art History and Image Studies – University of the Free State, South Africa – where he lectures in the Programme in Film and Visual Media. His latest publications appear in Short Film Studies, Image & Text, and New Review of Film and Television Studies. Abstract This essay considers the prominent role of acts and gestures of walking – a persistent, though critically neglected motif – in Terrence Malick’s cinema. In recognition of many intimate connections between walking and contemplation, I argue that Malick’s particular staging of walking characters, always in harmony with the camera’s own “walks”, comprises a key source for the “contemplative” effects that especially philo- sophical commentators like to attribute to his style. Achieving such effects, however, requires that viewers be sufficiently- en gaged by the walking presented on-screen. Accordingly, Mal- ick’s films do not fixate on single, extended episodes of walk- ing, as one would find in Slow Cinema. They instead strive to enact an experience of walking that induces in viewers a par- ticular sense of “walking-with”. In this regard, I examine Mal- ick’s continual reliance on two strategies: (a) Steadicam fol- lowing-shots of wandering figures, which involve viewers in their motion of walking; and (b) a strict avoidance of long takes in favor of cadenced montage, which invites viewers into a reflective rhythm of walking. Volume 18 41 From Wander to Wonder kvarter Martin P.
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FILM REVIEW Moonlight, Directed by Barry Jenkins, USA, Altitude Films
INTERNATIONAL JOURNAL OF JUNGIAN STUDIES, 2018 VOL. 10, NO. 1, 83–89 FILM REVIEW Moonlight, directed by Barry Jenkins, USA, Altitude Films, 2016, 1 hour 55 minutes Spring is often synonymous with Oscar season, but it is some considered reflection on the 2017 Best Picture that is necessary one year on. If it is news to you that Moonlight won the Oscar last year, then you are not alone. It is certainly among the least-marketed Oscar winners in recent decades. If you do know about the film, it is likely that it is in the context of its two-way fight for the prize with another more popular film, or perhaps from news coverage of a dramatic mishap on Oscars’ night. The film was the modern musical La La Land and the mix-up was the result of the wrong envelope being given and that the film’s name being read out instead of the winner Moonlight. A male employee from PricewaterhouseCooper’s – who administer the envelopes – is thought to have mistakenly given a duplicate Best Actress envelope (already won by Emma Stone for La La Land) to Warren Beatty. In a familiar commentary on the expectations social media places on creative industries personnel, it is possible the employee, Brian Cullinan, could have been distracted by his Tweeted picture of Stone moments before handing over the envelope. The event overshadowed much mainstream serious discussion of the film and did little to tempt staunch supporters of La La Land to see it. There are films that are designed to win Oscars and appeal to the middle-range, but it is difficult to suggest Moonlight is one of them, even with some of its missed opportunities to push the envelope of homosexual encoun- ters than those previously seen on mainstream US silver screens.
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The Forgiving Blue
THE FORGIVING BLUE Lynn Fong nterspersed in the gentle lapping of ocean waves, a few tense notes of a violin crescendo as Chiron, the protagonist of Barry Jenkins’s film Moonlight , learns to swim. The water is a soft turquoise. The camera bobs along with it, pulled up and down Iand sometimes partially obscured by the waves. We, the audience, are right there with little Chiron as he experiences the waters of Miami for the first time. Juan, Chiron’s newfound, unlikely mentor, is hold - ing up Chiron’s small head while he teaches him to float. “You’re in the middle of the world,” Juan tells Chiron. The two are framed only by the turquoise water and a light blue sky. Juan demonstrates arm movements: “Go like this,” he instructs, “more athletic.” Chiron mimics him as he learns to paddle. Finally, Juan releases Chiron so he can swim on his own. “Go,” Juan says, and Chiron begins paddling by himself. Then, Chiron is alone. The music slows and fades away. He is indeed in the middle of the world as he swims, unaccompanied, unafraid, and free. Moonlight , which won the Academy Award for Best Picture in 2017, is a coming-of-age story. More specifically, it documents three stages in the life of Chiron, a young, gay black man growing up in an impoverished area of Miami. Even more specifically, the film offers an empathetic lens into the most intimate, defining moments of Chiron’s life: learning how to swim, putting a blanket on his drugged- out mother, reuniting with someone he’s loved after years of estrange - ment.
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Address Terms Used in Barry Jenkins' the Moonlight Movie
ADDRESS TERMS USED IN BARRY JENKINS’ THE MOONLIGHT MOVIE; A SOCIOLINGUISTIC ANALYSIS A THESIS BY: ANDRE ADHYTAMA REG. NO. 140705035 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA ADDRESS TERMS USED IN BARRY JENKINS’ THE MOONLIGHT MOVIE; A SOCIOLINGUISTIC ANALYSIS A THESIS BY ANDRE ADHYTAMA REG. NO. 140705035 SUPERVISOR CO-SUPERVISOR Dr. Deliana, M.Hum. Dr. Masdiana Lubis M.Hum. NIP. 1951117 198303 2 002 NIP. 19570626 198303 2 001 Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra from Department of English DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for the Sarjana Sastra examination. Head, Secretary, Prof. T. Silvana Sinar, M.A., Ph.D Rahmadsyah Rangkuti, M.A., Ph.D NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002 UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan. The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on 30th January 2019. Dean of Faculty of Cultural Studies University of Sumatera Utara Dr. Budi Agustono, MS NIP. 19600805 198703 1 001 Board of Examiners Rahmadsyah Rangkuti, M.A Ph.D ____________________ Dr. Muhizar Muchtar, M.S ____________________ Dr.
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Film Suggestions to Celebrate Black History
Aurora Film Circuit I do apologize that I do not have any Canadian Films listed but also wanted to provide a list of films selected by the National Film Board that portray the multi-layered lives of Canada’s diverse Black communities. Explore the NFB’s collection of films by distinguished Black filmmakers, creators, and allies. (Link below) Black Communities in Canada: A Rich History - NFB Film Info – data gathered from TIFF or IMBd AFC Input – Personal review of the film (Nelia Pacheco Chair/Programmer, AFC) Synopsis – this info was gathered from different sources such as; TIFF, IMBd, Film Reviews etc. FILM TITEL and INFO AFC Input SYNOPSIS FILM SUGGESTIONS TO CELEBRATE BLACK HISTORY MONTH SMALL AXE I am very biased towards the Director Small Axe is based on the real-life experiences of London's West Director: Steve McQueen Steve McQueen, his films are very Indian community and is set between 1969 and 1982 UK, 2020 personal and gorgeous to watch. I 1st – MANGROVE 2hr 7min: English cannot recommend this series Mangrove tells this true story of The Mangrove Nine, who 5 Part Series: ENOUGH, it was fantastic and the clashed with London police in 1970. The trial that followed was stories are a must see. After listening to the first judicial acknowledgment of behaviour motivated by Principal Cast: Gary Beadle, John Boyega, interviews/discussions with Steve racial hatred within the Metropolitan Police Sheyi Cole Kenyah Sandy, Amarah-Jae St. McQueen about this project you see his 2nd – LOVERS ROCK 1hr 10 min: Aubyn and many more.., A single evening at a house party in 1980s West London sets the passion and what this production meant to him, it is a series of “love letters” to his scene, developing intertwined relationships against a Category: TV Mini background of violence, romance and music.
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Anthropocenema: Cinema in the Age of Mass Extinctions 2016
Repositorium für die Medienwissenschaft Selmin Kara Anthropocenema: Cinema in the Age of Mass Extinctions 2016 https://doi.org/10.25969/mediarep/13476 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Kara, Selmin: Anthropocenema: Cinema in the Age of Mass Extinctions. In: Shane Denson, Julia Leyda (Hg.): Post-Cinema. Theorizing 21st-Century Film. Falmer: REFRAME Books 2016, S. 750– 784. DOI: https://doi.org/10.25969/mediarep/13476. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 6.2 Anthropocenema: Cinema in the Age of Mass Extinctions BY SELMIN KARA Alfonso Cuarón’s sci-fi thriller Gravity (2013) introduced to the big screen a quintessentially 21st-century villain: space debris. The spectacle of high- velocity 3D detritus raging past terror-struck, puny-looking astronauts stranded in space turned the Earth’s orbit into not only a site of horror but also a wasteland of hyperobjects,[1] with discarded electronics and satellite parts threatening everything that lies in the path of their ballistic whirl (see Figure 1). While the film made no environmental commentary on the long-term effect of space debris on communication systems or the broader ecological problem of long-lasting waste materials, it nevertheless projected a harrowing vision of technological breakdown, which found a thrilling articulation in the projectile aesthetics of stereoscopic cinema.
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Download Résumé
[email protected] www.kristinbye.com feature films: kristin Obit / EDITOR A documentary feature about life on the New York Times’ obituary desk. bye Directed by Vanessa Gould. (93 minutes / Kino Lorber) 2016 Tribeca International Film Festival (world premiere), Hot Docs Film Festival (int’l premiere) Rams / CONSULTING EDITOR A documentary feature about legendary German industrial designer Dieter Rams. Directed by Gary Hustwit. Stray Dog / ADDITIONAL EDITOR (in conjunction with The Edit Center) A documentary portrait of Ron “Stray Dog” Hall: Vietnam vet, biker and lover of small dogs. Directed by Debra Granik (Winter’s Bone). 2014 LA Film Festival, Jury Award Best Documentary Ivory Tower / ASSISTANT EDITOR A documentary feature that explores the cost and value of higher education in the United States. Directed by Andrew Rossi (Page One: Inside the New York Times) for CNN Films. 2014 Sundance Film Festival Ride, Rise, Roar / ASSISTANT EDITOR A David Byrne concert documentary feature. Directed by Hillman Curtis. 2010 SXSW and SilverDocs Film Festivals Inside Job / PRODUCTION ASSISTANT A documentary about the 2008 financial crisis. Directed by Charles Ferguson. 2010 Academy Award for Best Documentary Feature; Cannes, New York, Toronto International and Telluride Film Festivals short film clients (commercial & documentary): EDITOR: Bobbi Brown Cosmetics Razorfish Brooklyn Academy of Music (BAM) Revlon Daniel Libeskind R/GA Hillman Curtis Squarespace Knoll Steinway & Sons New York Times TED Nokia United Nations Prescriptives Cosmetics Whitney Museum of American Art Purpose World Health Organization short films (fiction): Drowned Lands Powerhouse Books graphic design: studio 209, inc. PORTLAND, OR / 1997– 2008 Co-founder and partner of graphic design studio in Portland, Oregon, specializing in print and interactive media for a diverse range of clients including Nike, Oregon Symphony, Portland Center Stage, Portland Trailblazers and the Robert Wood Johnson Foundation.
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Gus Van Sant Retrospective Carte B
30.06 — 26.08.2018 English Exhibition An exhibition produced by Gus Van Sant 22.06 — 16.09.2018 Galleries A CONVERSATION LA TERRAZA D and E WITH GUS VAN SANT MAGNÉTICA CARTE BLANCHE PREVIEW OF For Gus Van Sant GUS VAN SANT’S LATEST FILM In the months of July and August, the Terrace of La Casa Encendida will once again transform into La Terraza Magnética. This year the programme will have an early start on Saturday, 30 June, with a double session to kick off the film cycle Carte Blanche for Gus Van Sant, a survey of the films that have most influenced the American director’s creative output, selected by Van Sant himself filmoteca espaÑola: for the exhibition. With this Carte Blanche, the director plunges us into his pecu- GUS VAN SANT liar world through his cinematographic and musical influences. The drowsy, sometimes melancholy, experimental and psychedelic atmospheres of his films will inspire an eclectic soundtrack RETROSPECTIVE that will fill with sound the sunsets at La Terraza Magnética. La Casa Encendida Opening hours facebook.com/lacasaencendida Ronda de Valencia, 2 Tuesday to Sunday twitter.com/lacasaencendida 28012 Madrid from 10 am to 10 pm. instagram.com/lacasaencendida T 902 430 322 The exhibition spaces youtube.com/lacasaencendida close at 9:45 pm vimeo.com/lacasaencendida blog.lacasaencendida.es lacasaencendida.es With the collaboration of Cervezas Alhambra “When I shoot my films, the tension between the story and abstraction is essential. Because I learned cinema through films made by painters. Through their way of reworking cinema and not sticking to the traditional rules that govern it.
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Production Designer Jack Fisk to Be the Focus of a Fifteen-Film ‘See It Big!’ Retrospective
FOR IMMEDIATE RELEASE PRODUCTION DESIGNER JACK FISK TO BE THE FOCUS OF A FIFTEEN-FILM ‘SEE IT BIG!’ RETROSPECTIVE Series will include Fisk’s collaborations with Terrence Malick, Brian De Palma, Paul Thomas Anderson, and more March 11–April 1, 2016 at Museum of the Moving Image Astoria, Queens, New York, March 1, 2016—Since the early 1970s, Jack Fisk has been a secret weapon for some of America’s most celebrated auteurs, having served as production designer (and earlier, as art director) on all of Terrence Malick’s films, and with memorable collaborations with David Lynch, Paul Thomas Anderson, and Brian De Palma. Nominated for a second Academy Award for The Revenant, and with the release of Malick’s new film Knight of Cups, Museum of the Moving Image will celebrate the artistry of Jack Fisk, master of the immersive 360-degree set, with a fifteen-film retrospective. The screening series See It Big! Jack Fisk runs March 11 through April 1, 2016, and includes all of Fisk’s films with the directors mentioned above: all of Malick’s features, Lynch’s Mulholland Drive and The Straight Story, De Palma’s Carrie and Phantom of the Paradise, and Anderson’s There Will Be Blood. The Museum will also show early B- movie fantasias Messiah of Evil and Darktown Strutters, Stanley Donen’s arch- affectionate retro musical Movie Movie, and Fisk’s directorial debut, Raggedy Man (starring Sissy Spacek, Fisk’s partner since they met on the set of Badlands in 1973). Most titles will be shown in 35mm. See below for schedule and descriptions.
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Winter/Spring 2020 Calendar
WINTER/SPRING 2020 DIRECTORS MESSAGE As the calendar turns over from 2019 to 2020, never This season we also highlight UCLA’s Centennial has the Hammer’s imperative “to build a more just with a special exhibition that is the result of a world” felt more urgent. In the aftermath of the collaboration across disciplines at the university. impeachment hearings, the presidential election Inside the Mask highlights extraordinary objects lies ahead and the global climate crisis is upon us. from the collection of the Fowler Museum and is Holding firm to facts, actively participating in the co-organized by acclaimed theater director and democratic process, and taking action are critical UCLA professor Peter Sellars, and Hammer curator for all of us in 2020. I am proud of the programs and Allegra Pesenti. exhibitions here at the Hammer that bring clarity, As we head into the new year, I am pleased to perspective, and purpose to our understanding of welcome Larry Jackson, global creative director the many issues we all face. of Apple Music, to our Board of Directors; as well To that end, I am honored to say that the Hammer as two new members of our Board of Overseers, art will be a voting center in the Democratic primaries. collector and philanthropist Carla Emil and cohead Larry Jackson As you may have read, the process for voting in of the Motion Picture Group at Creative Artists California has changed: regardless of where you live Agency and collector Joel Lubin. Larry, Carla, and in Los Angeles, you can vote at any voting center— Joel will join our other board members to guide the polls will be open over multiple days.
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Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
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Lecture 2 1970S Hollywood.Pdf
FILM IN THE 1970s THE FILM SCHOOL GENERATION AND THE BIRTH OF THE NEW HOLLYWOOD ROGER CORMAN - Born in 1926 - Known as “King of the Bs” – his best-known film is The Little Shop of Horrors (1962) - Made many low-budget exploitation films, and used the profits to finance and distribute prestigious films – many of them directed by his protégés, who went on to become some of the most influential directors of the 1970s and beyond - Honorary Academy Award in 2009 “for his rich engendering of films and filmmakers” PETER BOGDANOVICH - Born in 1939 - Film programmer at MoMA, wrote about film for Esquire; worked with Orson Welles, John Ford, and other classic Hollywood directors - 1971 – directed The Last Picture Show – followed up with successes What’s Up, Doc?, Paper Moon - Later films didn’t fulfill his early promise, but he continues to be an influential voice on the subject of film history FRANCIS - Born in 1939 FORD - MFA from UCLA (1966) – first major COPPOLA director to graduate from a prominent university film program - Screenwriter – Patton – won first Oscar - 1969 – established American Zoetrope with his protégé George Lucas - 1972 – The Godfather - 1974 – The Godfather Part 2 and The Conversation MARTIN SCORSESE - Born in 1942 - B.S. (1964) and M.A. (1968) from NYU - Worked with Corman; and, as his student project, edited Woodstock (1970) - Rose to fame in 1973 – Mean Streets – not a commercial hit, but had a dynamic style, and set a template for character types and themes and settings he would return to throughout his career GEORGE LUCAS - Born in 1944 - USC graduate – won 1965 National Student Film Festival with THX-1138 - Apprenticed with Coppola, and later collaborated with him - First major success – American Graffiti (1973) - Invested those profits into Lucasfilm, Ltd.
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