DOCSLIB.ORG

Catalogue-Fifib-2016.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue-Fifib-2016.Pdf Cinq ans : l'âge de déraison, des Five years : the age of ‘disreason‘, of transgressions, de tous les possibles, de la transgressions, of possibilities, of teen spirit fougue et des envies jamais assouvies. Si le and unfulfilled desires. If the fifib sounds like fifib porte un nom qui bégaie, il ne se laisse a stammer, it won’t feel intimidated by the pas impressionner par le monde qui l’entoure. surrounding world. It takes a hopeful look Il le regarde plein d'espoir. Un espoir porté at it. A hope shared by a rock-solid team and par une équipe soudée et des partenaires motivated sponsors and partners who share impliqués qui partagent une même passion, a common passion for cinema, whether it le cinéma, qu’il soit cette année en Algérie comes from Algeria or shows nothing but ou sur nos fesses. Cette porte merveilleuse, butts. Cinema, a fantastic door, to other vers d’autres vérités. Cinq ans de fifib, il fallait realities. To celebrate the first five years of mettre les bouchées doubles. Comptez donc the fifib, we had to come up with a serious avec nous : 5x2=10. Dix longs et dix courts show. Count with us : 5x10=10. 10 features métrages en compétition cette année. Une and 10 shorts in competition this year. A new nouvelle compétition " Contrebandes " pour competition " Contrebandes " for French les films français indépendants sans indie filmmakers without distribution deal. distributeurs. Un " Denis Côté + Arnaud A " Denis Côté + Arnaud des Pallières " , a des Pallières " , regards croisés entre deux double take on two fascinating directors. cinéastes passionnants. Et pour les 100 ans And for the 100th anniversary of the Dada du Dada et les 40 ans du Punk, les films movement and the 40th anniversary of vous paraîtront peut-être plus malpolis, plus the Punk movement, our films might seem énervés que d’habitude. Ça tombe bien : notre ruder, more outrageous than usual. Perfect parrain Olivier Assayas nous a concocté un timing : our godfather, Olivier Assayas, has programme " Cinéma + Punk " . Quand on curated a special section, " Cinema+Punk " . aime, on ne compte pas. " Nous avons cinq ans When you love, you don't count the dans les yeux / Cinq ans / Quelle surprise " , cost. " We've got five years, stuck on my eyes chantait le regretté David Bowie. / Five years, what a surprise " - David Bowie. — Johanna Caraire, Pauline Reiffers et Léo Soesanto ouverture / clôture ❞ 4 les prix ✯ 8 les jurys ✯ 9 compétition longs métrages ❤ 17 compétition contrebandes ✦ 29 compétition courts métrages ✧ 37 carte blanche Olivier Assayas ✍ 44 focus jeune cinéma algérien ⁝ 48 denis côté + arnaud des pallières ✚ 52 ✶ séances spéciales 55 premières fois ~ 72 fifib creation C 78 les nuits 86 le village ✯ 88 les lieux ✯ 93 le programme ✯ 94 l’équipe ✯ 97 les partenaires ✯ 98 les tarifs ✯ 100 ❞ ❞ OPENING NIGHT — CÉRÉMONIE + FILM D'OUVERTURE CLOSING NIGHT — CÉRÉMONIE + FILM DE CLÔTURE Jeudi 13 Octobre — Rocher de Palmer — 19.00 Mardi 18 Octobre — CGR Le Français — 19.00Ouazani ❣ En présence de Édouard Baer et Sabrina Ouazani (sous réserve) ❣ En présence de Arnaud des Pallières et de Solène Rigot ✶ Première Française ème Pour clore le fifib, laissez vous emporter par l'émouvant et très attendu Orpheline, présenté en première CLOSING NIGHT CLOSING OPENING NIGHT OPENING À l'occasion de la cérémonie d'ouverture de sa 5 édition, le fifib pousse une nouvelle fois les portes du Rocher française par le réalisateur Arnaud des Pallières et de l'une de ses extraordinaires comédiennes. de Palmer pour une soirée exceptionnelle Cinéma et Musique. — — Puis finissez en beauté au Village Mably avec l'atmosphère cosmique des sons de Polo & Pan. Ouvert la nuit ✶ Orpheline ÉDOUARD BAER ARNAUD DES PALLIÈRES SOIRÉE DE CLÔTURE DE SOIRÉE SOIRÉE D’OUVERTURE SOIRÉE ÉDOUARD BAER ARNAUD DES PALLIÈRES Édouard Baer fait Après des études de ses débuts en tant littérature, Arnaud des qu’animateur sur Radio Pallières intègre La fémis, Nova, puis sur Canal+. où il tourne ses premiers Au cinéma, il joue sous la films. Après une douzaine direction d'Alain Resnais de courts métrages, il (Les Herbes folles), passe au long en 1996 avec Bertrand Blier (Combien tu Drancy Avenir. Suivent des m’aimes ?), Alain Chabat films pour la télévision (Astérix et Obélix : Mission (Disneyland, mon vieux Cléopâtre), Samuel pays natal en 2002), des Benchetrit (J’ai toujours Luigi a une nuit pour sauver son théâtre. Une nuit pour regagner la confiance et le Quatre moments de quatre vies. Une petite fille de la campagne. Une adolescente longs métrages de fiction rêvé d’être un gangster) ou respect de son équipe et pour démontrer à la jeune stagiaire de Sciences Po, pétrie ballotée de fugue en fugue, d'homme en homme. Une jeune fille qui monte à Paris. (Adieu en 2004, Parc en encore Marjane Satrapi 2009) et un documentaire (Poulet aux prunes). En de certitudes, qu'il existe d'autres façons dans la vie d'appréhender les obstacles. La femme accomplie enfin, qui se croyait à l'abri de son passé. Ces personnages (Poussières d’Amérique en 2000, il écrit, réalise et Ouvert la nuit donne le ton idéal pour ouvrir le fifib 2016 : un joyeux tourbillon à composent une seule héroïne magnifique, incarnée par des actrices différentes 2011). En 2013, Michael produit son premier film l’énergie à la fois ounk et élégante, un parcours initiatique où le rire, souvent décalé, mais au même magnétisme. La démonstration éclatante qu’un personnage singulier Kohlhaas est sélectionné La Bostella, suivi en 2004 de en compétition au Festival Akoibon. Il est également n’exclut jamais les émotions les plus sincères. — Luigi has to save his theater est aussi pluriel. Un film de clôture idéal avec Adèle Haenel (bouclant la boucle de Cannes. Orpheline, son très prolifique au théâtre overnight. One night to get his team’s trust and respect back, and to prove to his avec notre première édition dont elle fut l'égérie), pour finir dans un tourbillon dernier film, s’intéresse où il joue, écrit et met en young intern, a Political Science student, so sure of how to deal with things, that d'émotions et nous faire un peu sentir orphelins du fifib... jusqu'en 2017.— Four life une fois de plus aux destins scène. Ouvert la nuit est son croisés d’hommes et de troisième long métrage. there are other ways to face obstacles. Open at Night sets the perfect tone to open moments in four life stories. A young girl in the countryside. A teenager who keeps femmes. our new edition : a delightful swirl with an energy both punk and elegant, a rite of running away, from one man to the other. A young woman who moves to Paris. RÉALISATEUR Édouard Baer passage where laughter is intertwined with the most sincere emotions. The accomplished woman at last, who thought she got away from her past. These RÉALISATEUR Arnaud des Pallières SCÉNARISTES characters form one magnificent protagonist, played by different actresses who Édouard Baer, Benoît Graffin SCÉNARISTES share the same magnetism. The radiant demonstration that a singular character Christelle Berthevas, ACTEURS FRA • 2016 • FICTION • 100 MIN • VO FRANÇAIS • COULEUR • DCP Arnaud des Pallières Édouard Baer, Sabrina is also plural. The ideal closing film, starring Adèle Haenel (we’re coming full Ouazani, Audrey Tautou, circle here, since she was the muse of our first edition), to end with a whirlwind of ACTEURS Christophe Meynet Adèle Haenel, Adèle emotions that will make us feel like the orphans of the festival. Exarchopoulos, Solène Rigot, PRODUCTION Gemma Arterton Les Films En Cabine PRODUCTION DISTRIBUTION FRA • 2016 • FICTION • 111 MIN • VO FRANÇAIS • COULEUR • DCP Les Films Hatari Le Pacte ☞ Détails concerts page 6 ☞ Détails concerts page 6 DISTRIBUTION Le Pacte © LE PACTE, PASCAL CHANTIER PASCAL © LE PACTE, - LES FILMS D’ICI, DR © LES FILMS HATARI 4 5 ❞ OPENING NIGHT - CONCERTS D'OUVERTURE Jeudi 13 Octobre — Rocher de palmer — 22.00 RESTAURATION SUR PLACE Taco del diablo — Cuisine mexicaine et californienne confectionnée maison à partir de produits frais et locaux. Mââ — Fusion entre cuisine vietnamienne, australienne et d’Asie du Sud-Est. Yuksek — DJ Set — 22.00 YUKSEK ouvrira un plateau musical des plus électriques. Il est l’un des DJ les plus reconnus de l'Hexagone à mi-chemin entre post disco, house et écriture pop. Au fil des années, Yuksek s’est forgé une solide réputation en tant qu'artiste. Il a travaillé aux côtés de grands noms de la musique électronique française, dont Justice, Daft Punk, Birdy Nam Nam ou Vitalic. Il fait désormais partie des petits prodiges de l'électro. — YUKSEK will open a special electric night. One of the most well known French DJs, with his post-disco/house/pop tunes, Yuksek has made himself a name as an artist over the years, and has collaborated with the key players of the French touch such as Justice, Daft Punk, Birdy Nam Nam and Vitalic. He's now undoubtedly one of the prodigies of the French electronic music scene. Danger — CONCERT — 23.30 Franck Rivoire aka DANGER est un plasticien, et un musicien incontournable de la scène électronique française. Un artiste phare de cette jeune génération de producteurs. Aujourd'hui reconnu en tant que musicien, il a d'abord fait ses armes comme graphiste. La dimension visuelle et narrative est primordiale dans son propos artistique. Il défend un univers scénarisé qui fait appel aux symboles et icônes de la génération nerd (du cinéma et du jeu vidéo). — Franck Rivoire aka DANGER is a major contemporary artist and electronic music composer, as well as an important artist of the new generation of music producers. If he's mostly known as a musician, he's also a graphic designer.
Load more

Recommended publications
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Ten Reasons to Love Or Hate Mexican Cinema
    Ten Reasons to Love or Hate phenomenon, the principal historian of Mexican Mexican Cinema silent cinema, Aurelio de los Reyes, writes without hesitation in 1977: This first Mexican cinema constituted Mexico's principal contribution to world cinema. As time Paulo Antonio Paranaguti went by, this cinema has become doubly important. Firstly, because it showed images of the Revolution that no literary practice could match. Secondly, because its faithfulness to the geographic and chronological sequence of events and its desire to record 'historical events' was a local vernacular form of presenting newsreels ... Allow me to use the first person to emphasise the particular importance of this volume. Although I am In face, during its initial nomadic phase, travelling Brazilian by birth, Mexican cinema interests me, noc camera operators carried the cinema all over Mexico . because of Latin American solidarity (which is all too These projectionist-operator s thus acquired ofcen reduced to a kind of sacrosanct rhetoric to important experience (decentralisation had not yet commemorate the dead) , buc for a series of reasons become fashionable). In 1910, on the eve of the lisced below that stir up the whole spectrum of armed insurrection against the dictatorship, emotions, ranging from delight to depression . production and exhibition were nationally controlled. The foreign presence was limited to a few I . Undoubtedly for the first time in Latin America, if distributors and to technological dependence . The not in the world, Mexico witnessed the birth of a film business enjoyed its first boom in 1906 with the contemporary political cinema directly Linked to major opening of the first real movie theatres.
    [Show full text]
  • Cinema 2: the Time-Image
    m The Time-Image Gilles Deleuze Translated by Hugh Tomlinson and Robert Caleta M IN University of Minnesota Press HE so Minneapolis fA t \1.1 \ \ I U III , L 1\) 1/ ES I /%~ ~ ' . 1 9 -08- 2000 ) kOTUPHA\'-\t. r'Y'f . ~ Copyrigh t © ~1989 The A't1tl ----resP-- First published as Cinema 2, L1111age-temps Copyright © 1985 by Les Editions de Minuit, Paris. ,5eJ\ Published by the University of Minnesota Press III Third Avenue South, Suite 290, Minneapolis, MN 55401-2520 f'tJ Printed in the United States of America on acid-free paper 1'::>55 Fifth printing 1997 :])'''::''531 ~ Library of Congress Number 85-28898 ISBN 0-8166-1676-0 (v. 2) \ ~~.6 ISBN 0-8166-1677-9 (pbk.; v. 2) IJ" 2. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or othenvise, ,vithout the prior written permission of the publisher. The University of Minnesota is an equal-opportunity educator and employer. Contents Preface to the English Edition Xl Translators'Introduction XV Chapter 1 Beyond the movement-image 1 How is neo-realism defined? - Optical and sound situations, in contrast to sensory-motor situations: Rossellini, De Sica - Opsigns and sonsigns; objectivism­ subjectivism, real-imaginary - The new wave: Godard and Rivette - Tactisigns (Bresson) 2 Ozu, the inventor of pure optical and sound images­ Everyday banality - Empty spaces and stilllifes - Time as unchanging form 13 3 The intolerable and clairvoyance - From cliches to the image - Beyond movement: not merely opsigns and sonsigns, but chronosigns, lectosigns, noosigns - The example of Antonioni 18 Chapter 2 ~ecaPitulation of images and szgns 1 Cinema, semiology and language - Objects and images 25 2 Pure semiotics: Peirce and the system of images and signs - The movement-image, signaletic material and non-linguistic features of expression (the internal monologue).
    [Show full text]
  • 300 Greatest Films 4 Black Copy
    The goal in this compilation was to determine film history's definitive creme de la creme. The titles considered to be the greatest of the great from around the world and throughout the history of film. So, after an in-depth analysis of respected critics and publications from around the globe, cross-referenced and tweaked to arrive at the ranking of films representing, we believe, the greatest cinema can offer. Browse, contemplate, and enjoy. Check off all the films you have seen 1 Citizen Kane 1941 USA 26 The 400 Blows 1959 France 51 Au Hasard Balthazar 1966 France 76 L.A. Confidential 1997 USA 2 Vertigo 1958 USA 27 Satantango 1994 Hungary 52 Andrei Rublev 1966 USSR 77 Modern Times 1936 USA 3 2001: A Space Odyssey 1968 UK 28 Raging Bull 1980 USA 53 All About Eve 1950 USA 78 Mr Hulot's Holiday 1952 France 4 The Rules of the Game 1939 France 29 L'Atalante 1934 France 54 Sunset Boulevard 1950 USA 79 Wings of Desire 1978 France 5 Seven Samurai 1954 Japan 30 Annie Hall 1977 USA 55 The Turin Horse 2011 Hungary 80 Ikiru 1952 Japan 6 The Godfather 1972 USA 31 Persona 1966 Sweden 56 Jules and Jim 1962 France 81 The Apartment 1960 USA 7 Apocalypse Now 1979 USA 32 Man With a Movie Camera 1929 USSR 57 Double Indemnity 1944 USA 82 Discreet Charm of the Bourgeoisie 1972 France 8 Tokyo Story 1953 Japan 33 E.T. the Extra-Terrestrial 1982 USA 58 Contempt (Le Mepris) 1963 France 83 The Seventh Seal 1957 Sweden 9 Taxi Driver 1976 USA 34 Star Wars Episode IV 1977 USA 59 Belle De Jour 1967 France 84 Wild Strawberries 1957 Sweden 10 Casablanca 1942 USA 35
    [Show full text]
  • LE JOLI MAI the LOVELY MONTH of MAY a Film by Chris Marker & Pierre Lhomme an Icarus Films Release │ 1963 │ France │ 145 Mins │ 1.66:1 │ B&W │ DCP
    LE JOLI MAI THE LOVELY MONTH OF MAY A film by Chris Marker & Pierre Lhomme An Icarus Films Release │ 1963 │ France │ 145 mins │ 1.66:1 │ B&W │ DCP “Mr. Marker has a penetrating camera and a penetrating mind. Both are employed with a searching persistence in this film, dissecting Paris, dissecting the people who live in Paris.” —Vincent Canby, The New York Times (1966) North American Theatrical Premiere Opens Sept. 13 at Film Forum, NYC; Sept. 20 at Laemmle’s Playhouse 7 and Royal Theaters, Los Angeles; Oct. 18 at Magic Lantern’s Carlton Cinema, Toronto; Oct. 27 at the Belcourt Theatre, Nashville; Nov. 8 at the Gene Siskel Film Center, Chicago; Nov. 9 at The Cinematheque, Vancouver; Nov. 15 at Landmark’s Opera Plaza and Shattuck Cinemas, San Francisco; Nov. 21 at O Cinema and Miami Beach Cinematheque, Miami; Dec. 6 at Landmark’s Kendall Square, Boston; and more! Icarus Films │ (718) 488-8900 │ 32 Court St. 21, Brooklyn, NY 11201 │ [email protected] ABOUT THE FILM Long unavailable in the U.S. and a major work in the oeuvre of filmmaker Chris Marker (1921-2012), LE JOLI MAI was awarded the International Critics Prize at the 1963 Cannes Film Festival and the “First Work” Prize at the 1963 Venice Film Festival. It premiered in North America in September 1963 at the first New York Film Festival. This restoration of LE JOLI MAI premiered at the Cannes Film Festival on May 16, 2013, 50 years after the film first premiered there. It was created according to the wishes of Marker, supervised by the film’s cinematographer and co-director, Pierre Lhomme (b.
    [Show full text]
  • Theater Casting Call for the Night Thoreau Spent in Jail
    Volume 71, WEATHER Mostly sunny this Number 40 Oktoberfest day. Don't Friday, forget to go out and play. High in the upper 70's or October 24,1975 low 80's. Duke University The Chronicle Durham, North Carolina Student Health deficit may result in cutbacks By Reiki Kehoe cover the deficit of Student Health, he raised the discussion of insurance The University administration may explained. coverage. If a student needs treatment be forced to cut back services offered The crux of the financial crisis, ac­ during non-operating hours, he must hy Student Health due to an increas- cording to Estes, lies in inadequate al- go to the emergency room where he ing deficit in funds being incurred by location of requested funds from the will be charged the standard $36 in­ University Health Services Clinic. University. Estes explained that un- itial registration fee. Naumann ex­ Student Health is one of several less immediate action is taken, the en- plained that the student's insurance services offered by the UHSC. each tire UHSC may be operating in a de- policy will only cover visits involving with its own separate budget. Student ficit possibly exceeding $100,000 by an accident and not "sickness visits" Health has been running a deficit for the end of the year. unless hospitalization on a ward is re- Pickens Building, the health services center, Is several years, according to Harvey The problem was presented to the quired. suffering from a common but serious disease. Estes, chairman of Community Health Student Health Advisory Committee This system was begun three years Ths patient may have restricted visiting hours in Sciences.
    [Show full text]
  • Ethics and Politics in New Extreme Films
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online ETHICS AND POLITICS IN NEW EXTREME FILMS Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy By Oliver Kenny Department of Film Queen Mary University of London I, Oliver Kenny, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the elec- tronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information de- rived from it may be published without the prior written consent of the author. Signature: Date: 20th December 2017 2 Abstract This thesis investigates a corpus of controversial, mainly European films from 1998 to 2013, to determine which features have led to their critical description as ‘new extreme’ films and according to what ethical framework ‘new extreme’ films operate.
    [Show full text]
  • ˙Ţ1 0 4 4 2 5 . P D
    French Cinema: A Student's Guide This page intentionally left blank French Cinema: A Student's Guide Phil Powrie and Keith Reader The authors and publishers would like to thank the following for permission to reproduce copyright illustrative material: bfi Collections 15, 25, 34, 43, 47, 50, 100, 111; bfi Stills, Posters and Designs 52; Ronald Grant Archive 32, 42, 94. Orders: please contact Bookpoint Ltd, 130 Milton Park, Abingdon, Oxon OX 14 4SB. Telephone: (44) 01235 827720. Fax: (44) 01235 400454. Lines are open from 9.00 - 6.00, Monday to Saturday, with a 24 hour message answering service. Email address: orders®bookpoint.co.uk British Library Cataloguing in Publication Data A catalogue record for this title is available from the British Library ISBN 0 340 760044 (PB) ISBN 0 340 760036 (HB) First Published 2002 Impression number 1098765432 1 Year 2007 2006 2005 2004 2003 2002 Copyright © Phil Powrie and Keith Reader 2002 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher or under licence from the Copyright Licensing Agency Limited. Further details of such licences (for reprographic reproduction) may be obtained from the Copyright Licensing Agency Limited, of 90 Tottenham Court Road, London W1P 9HE. Typeset by Phoenix Photosetting Printed in Great Britain for Hodder & Stoughton Educational, a division of Hodder Headline Plc, 338 Euston Road, London NW1 3BH by MPG Books Ltd Contents Introduction 1 1.
    [Show full text]
  • Pdf>, Accessed 10 December 2011
    FROM SELF-FULFILMENT TO SURVIVAL OF THE FITTEST This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. FROM SELF-FULFILMENT TO SURVIVAL OF THE FITTEST WORK IN EUROPEAN CINEMA FROM THE 1960S TO THE PRESENT EWA MAZIERSKA Berghahnonfilm This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. Published in 2015 by Berghahn Books www.berghahnbooks.com © 2015 Ewa Mazierska Open access ebook edition published in 2019 All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system now known or to be invented, without written permission of the publisher. Library of Congress Cataloging-in-Publication Data Mazierska, Ewa. From self-fulfilment to survival of the fittest: work in European cinema from the 1960s to the present / Ewa Mazierska. pages cm Includes bibliographical references and index. ISBN 978-1-78238-486-1 (hardback: alk. paper) -- ISBN 978-1-78238-487-8 (ebook) 1. Work in motion pictures. 2. Working class in motion pictures. 3. Motion pictures-- Europe--History--20th century. 4. Motion pictures--Europe--History--21st century. I. Title. PN1995.9.L28M39 2015 791.43’6553--dc23 2014029467 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-78238-486-1 hardback E-ISBN 978-1-78920-474-2 open access ebook An electronic version of this book is freely available thanks to the support of libraries working with Knowledge Unlatched.
    [Show full text]
  • The 42Nd Telluride Film Festival 2015
    THE NATIONAL FILM PRESERVE LTD. PRESENTS THE THIS FESTIVAL IS DEDICATED TO Peter von Bagh 1943–2014 THE NATIONAL FILM PRESERVE LTD. PRESENTS THE Julie Huntsinger | Directors Tom Luddy Rachel Kushner | Guest Director Mara Fortes | Curator Kirsten Laursen | Chief of Staff Brandt Garber | Production Manager Karen Schwartzman | SVP, Partnerships Erika Moss Gordon | VP, Filmanthropy & Education Melissa DeMicco | Development Manager Joanna Lyons | Events Manager Bärbel Hacke | Hosts Manager Shannon Mitchell | VP, Publicity Justin Bradshaw | Media Manager Lily Coyle | Assistant to the Directors Marc McDonald | Theater Operations Manager Lucy Lerner | SHOWCorps Manager Erica Gioga | Housing/Travel Manager Chapin Cutler | Technical Director Ross Krantz | Technical Wizard Barbara Grassia | Projection and Inspection Annette Insdorf | Moderator Mark Danner | Resident Curators Pierre Rissient Peter Sellars Paolo Cherchi Usai Publications Editor Jason Silverman (JS) Chief Writer Larry Gross (LG) Prized Program Contributors Sheerly Avni (SA), Serge Bromberg (SB), Paolo Cherchi Usai (PCU), Jesse Dubus (JD), Geoff Dyer (GD), Mara Fortes (MF), Scott Foundas (SF), Barry Jenkins (BJ), Rachel Kushner (RK), Nicholas O’Neill (NO), Todd McCarthy (TM), Errol Morris (EM), Caspar Llewellyn Smith (CLS), Milos Stehlik (MS), Fyodor Urnov (FU) Tribute Curator Short Films Curators Student Prints Curator Chris Robinson Bill Pence Gregory Nava Barry Jenkins 1 Guest Director The National Film Preserve, Ltd. Each year, Telluride’s Guest Director serves as a key collaborator in the A Colorado 501(c)(3) nonprofit, tax-exempt educational corporation Festival’s programming decisions, bringing new ideas and overlooked films. Past Guest Directors include Laurie Anderson, Geoff Dyer, Buck Henry, Guy Founded in 1974 by James Card, Tom Luddy and Bill & Stella Pence Maddin, Michael Ondaatje, Alexander Payne, B.
    [Show full text]
  • The Cinema of Jean Eustache
    Film Programs No Wave: The Cinema of Jean Eustache October 4, 2008 - October 22, 2008 “You have to record things; whether they’re pretty or not, they’re important.”—Jean Eustache The rigorous and pitilessly personal work of Jean Eustache (1938–1981) investigates and illustrates the mutual influence between cinema and life. “An ethnologist of his own reality” (Serge Daney), Eustache documented the The Mother and the Whore, October 4 archaic rituals of the French provinces and the mating habits of post-1968 Parisians with the same detached fascination. His experience was the raw material for narratives that are both unvarnished and tightly scripted, including the centerpiece of his career, The Mother and the Whore (1973), a scathing record of sexual misbehavior filmed in his own apartment. His approach explores and finally disregards the distinction between documentary and fiction; reality is just another genre. “I have no point of view; I am my point of view,” he said. And: “The films I made are as autobiographical as fiction can be.” Born in Pessac, near Bordeaux, and reared by his grandmother until being sent to live with his mother in coastal Narbonne—a shift depicted in My Little Loves (1975)—Eustache eventually made his way to Paris. There he began frequenting the offices of Cahiers du cinéma, where his wife was a secretary; the films of Cahiers editor Eric Rohmer were among Eustache’s early inspirations. Working alongside the New Wave, Eustache was never exactly a part of it; his status as a working-class provincial autodidact and his relentless skepticism about all faiths, including the creeds of bohemianism and progressive politics, marked him as a perennial outsider.
    [Show full text]
  • The Echo Maker Zachary Tavlin
    Transatlantica Revue d’études américaines. American Studies Journal 2 | 2016 Ordinary Chronicles of the End of the World Chroniques ordinaires de la fin du monde Electronic version URL: http://journals.openedition.org/transatlantica/8278 DOI: 10.4000/transatlantica.8278 ISSN: 1765-2766 Publisher AFEA Electronic reference Transatlantica, 2 | 2016, “Ordinary Chronicles of the End of the World” [Online], Online since 31 December 2016, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/ 8278; DOI: https://doi.org/10.4000/transatlantica.8278 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 TABLE OF CONTENTS Chroniques ordinaires de la fin du monde Introduction. Chronicles of the End of the World: The End is not the End Arnaud Schmitt The Ubiquity of Strange Frontiers: Minor Eschatology in Richard Powers’s The Echo Maker Zachary Tavlin Writing (at) the End: Thomas Pynchon’s Bleeding Edge Brian Chappell Apocalypse and Sensibility: The Role of Sympathy in Jeff Lemire’s Sweet Tooth André Cabral de Almeida Cardoso The Double Death of Humanity in Cormac McCarthy’s The Road Stephen Joyce « A single gray flake, like the last host of christendom » : The Road ou l’apocalypse selon St McCarthy Yves Davo Hors Thème L’usure iconique. Circulation et valeur des images dans le cinéma américain contemporain Mathias Kusnierz Actualité de la recherche Civilisation Colloque « Corps en politique » Université Paris-Est Créteil, 7-9 septembre 2016 Lyais Ben Youssef Colloque « Conflit, Pouvoir et Représentations » Université du Maine, 18 et 19 novembre 2016 Clément Grouzard One-day symposium “Mapping the landscapes of abortion, birth control and power in the United States since the 1960s”.
    [Show full text]