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La Construcción Histórica En La Cinematografía Norteamericana
Tesis doctoral Luis Laborda Oribes La construcción histórica en la cinematografía norteamericana Dirigida por Dr. Javier Antón Pelayo Facultad de Filosofía y Letras Departamento de Historia Moderna Universidad Autónoma de Barcelona 2007 La historia en la cinematografía norteamericana Luis Laborda Oribes Agradecimientos Transcurridos ya casi seis años desde que inicié esta aventura de conocimiento que ha supuesto el programa de doctorado en Humanidades, debo agradecer a todos aquellos que, en tan tortuoso y apasionante camino, me han acompañado con la mirada serena y una palabra de ánimo siempre que la situación la requiriera. En el ámbito estrictamente universitario, di mis primeros pasos hacia el trabajo de investigación que hoy les presento en la Universidad Pompeu Fabra, donde cursé, entre las calles Balmes y Ramon Trias Fargas, la licenciatura en Humanidades. El hado o mi más discreta voluntad quisieron que iniciara los cursos de doctorado en la Universidad Autónoma de Barcelona, donde hoy concluyo felizmente un camino repleto de encuentros. Entre la gente que he encontrado están aquellos que apenas cruzaron un amable saludo conmigo y aquellos otros que hicieron un alto en su camino y conversaron, apaciblemente, con el modesto autor de estas líneas. A todos ellos les agradezco cuanto me ofrecieron y confío en haber podido ofrecerles yo, a mi vez, algo más que hueros e intrascendentes vocablos o, como escribiera el gran bardo inglés, palabras, palabras, palabras,... Entre aquellos que me ayudaron a hacer camino se encuentra en lugar destacado el profesor Javier Antón Pelayo que siempre me atendió y escuchó serenamente mis propuestas, por muy extrañas que resultaran. -
Dossier Presse Joseph
Les Films de la Croisade en coproduction avec Iota Production et uFilm en association avec uFund avec la participation de France Télévisions Joseph l’insoumis Une fiction de 90’ inspirée de la vie du Père Joseph Wrésinski, fondateur d’ATD Quart Monde avec Jacques Weber, Anouk Grinberg Nicolas Louis, Patrick Descamps, Laurence Côte Salomé Stévenin, Anne Coesens, Isabelle de Hertogh Un film de Caroline Glorion Projet labellisé réalisé avec le soutien de : CNC, Région Aquitaine, Communauté Française de Belgique, Commission Européenne, Conseil Général de Gironde, Ville de Bordeaux, Ministère de la Santé et des Sports - Délégation à l’information et à la Communication, L’Acsé –Fonds Images de la Diversité, Observatoire National de la Pauvreté, Caisse des Dépôts, Fondation Bettencourt Schueller, Association Georges Hourdin, du Programme Media de l’Union Européenne, de Soficinéma 5 Développement et de TV5 Monde Joseph l’insoumis Le Rachaï Joseph l’insoumis Début des années 60, un bidonville aux portes de Paris. Une poignée de familles survivent sous des abris de fortune dans une misère effroyable et une violence quotidienne. Un homme, le Père Joseph Wrésinski, décide de s’installer au milieu de ceux qu’il appelle « son peuple ». Parmi ces familles, celle de Jacques. Sa vie va être transformée par sa rencontre avec le Père Joseph. La sienne mais la vie aussi de ceux qui vont rejoindre le combat de ce curé révolutionnaire. Un combat contre l’assistance et la charité qui dit-il « enfoncent les pauvres dans l’indignité Distribution artistique Joseph -
Download Persmap
PERSMAP - Herengracht 328 III - 1016 CE Amsterdam - T: 020 5308848 - F: 020 5308849 - email: [email protected] 38 TÉMOINS Een film van Lucas Belvaux Yvan Attal Sophie Quinton Nicole Garcia Wanneer Louise terugkomt van een zakenreis verneemt ze dat er een moord gepleegd is in haar straat. Niemand heeft iets gezien of gehoord, iedereen sliep. Lijkt het… Pierre, haar man, was aan het werk. Hij was op zee. Lijkt het… De politie start het onderzoek, maar ook de pers roert zich. Beetje bij beetje komt Louise erachter dat 38 mensen iets gehoord of gezien hebben en dat haar man wel eens één van hen zou kunnen zijn… Openingsfilm International Film Festival Rotterdam 2012 Speelduur: 99 min. - Land: België/ Frankrijk - Jaar: 2011 - Genre: Drama Release datum: 28 juni 2012 Distributie: Cinéart Meer informatie: Publiciteit & Marketing: Cinéart Janneke De Jong Herengracht 328 III 1016 CE Amsterdam Tel: +31 (0)20 5308848 Email: [email protected] Persmap en foto’s staan op: www.cineart.nl Persrubriek inlog: cineart / wachtwoord: film - Herengracht 328 III - 1016 CE Amsterdam - T: 020 5308848 - F: 020 5308849 - email: [email protected] CAST Pierre Morvand Yvan Attal Louise Morvand Sophie Quinton Sylvie Loriot Nicole Garcia Kapitein Léonard François Feroleto Anne Natacha Régnier Petrini Patrick Descamps Advocaat Didier Sandre Directeur Bernard Mazzinghi Groepsleider Laurent Fernandez Jonge politieagent Pierre Rochefort Gewelddadige man Philippe Résimont Getuigen Sébastien Libessart Dimitri Rataud Vincent Le Bodo Anne-Sophie Pauchet Chef van Louise Jean-Pierre -
Cronin Ing:Maquetación 3.Qxd
Alberto Enrique D’Ottavio Cattani J Med Mov 5 (2009): 59-65 JMM Archibald Joseph Cronin: a Writing-Doctor Between Literature and Film Alberto Enrique D’Ottavio Cattani1,2 1Cátedra de Histología y Embriología. Facultad de Ciencias Médicas. 2Consejo de Investigaciones de la Universidad Nacional de Rosario (Argentina). Correspondence: Alberto Enrique D’Ottavio Cattani, Matheu 371. 2000 Rosario, Santa Fe (Argentina). e-mail: [email protected] Received 1 October 2008; modified 18 March 2009; accepted 19 March 2009 Summary This paper broaches the subject of the life and numerous cinematographic and TV adaptations of the vast and controversial liter- ary work of Scottish doctor Archibald Joseph Cronin (1896-1981). Through it, we intend to stress the influence his books and/or the films based on them had on many young generations who, under their shelter, chose a career in medicine. Prize-winning writer and PhD, in his works -formally adorned with his great talent for description and observation- he intermingles naturalism, conflicting passions, medical situations and social criticism. Beyond all discussion about his literary career and his repercussion on film, his influence on those who embraced Medicine following in the steps of his characters, many of whom were nothing more than a reflection of himself, is unquestionable. Keywords: Cronin, Doctor, Writer, Film, Literature. To AJ Cronin, whose works strengthened my decision to become a doctor 19 July, 1896. An only child, his mother was Jessie Montgomerie and his father Patrick Cronin. In an Life and work of Archibald Joseph Cronin apparently paradoxical way, following the death of his father, who professed Catholicism, Archibald was The writer-doctors whose works have been raised as a Catholic by his Protestant mother. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
Toute La Mémoire Du Monde Toute La Mémoire Du Monde La Mémoire Toute Festival
TOUTE LA MÉMOIRE DU MONDE TOUTE LA MÉMOIRE DU MONDE LA MÉMOIRE TOUTE FESTIVAL FESTIVAL INTERNATIONAL 5ÈME DU FILM RESTAURÉ ÉDITION 1ER - 5 MARS À LA CINÉMATHÈQUE FRANÇAISE / FONDATION JÉRÔME SEYDOUX-PATHÉ / CHRISTINE 21 / LA FILMOTHÈQUE / MÉLIÈS Gremlins de Joe Dante 23 Durant cinq jours, le public est invité à assister à des projections de prestige en présence de comédiens et techniciens du cinéma, et découvrir des perles cachées. C’est aussi l’occasion de rencontrer des cinéastes de renom attentifs aux enjeux de patrimoine, la possibilité d’écouter des spécialistes des questions Grands Mécènes techniques et esthétiques liées au répertoire et à sa restauration. Le festival se de La Cinémathèque française propose d’être le grand rendez-vous annuel parisien consacré à la célébration du patrimoine cinématographique. JOE DANTE. PARRAIN DU FESTIVAL Après des débuts comme monteur, Joe Dante intègre la fameuse écurie de Roger Corman. Il y réalise entre autres Piranhas, parodie inspirée des Dents de la mer, remarquée par Spielberg qui, après Hurlements, lui propose de tourner Gremlins. Le triomphe commercial du film où Dante mêle le divertissement et la satire fait de lui l’un des cinéastes les plus importants de sa génération. Amis de La Cinémathèque française Cinéphile fervent, Joe Dante puise principalement dans la science-fiction, les films d’horreur et le fantastique pour développer une œuvre subversive et cri- tique envers l’Amérique et les valeurs qu’elle prétend incarner. WES ANDERSON. INVITÉ D’HONNEUR Sophistiquée et élégante, son œuvre frappe par son souci de la précision, dans l’écriture du scénario, la réalisation des décors et costumes, le choix des cadres En partenariat avec ou des effets visuels. -
4 Modern Shakespeare Festivals
UNIVERSIDAD DE MURCIA ESCUELA INTERNACIONAL DE DOCTORADO Festival Shakespeare: Celebrating the Plays on the Stage Festival Shakespeare: Celebrando las Obras en la Escena Dª Isabel Guerrero Llorente 2017 Page intentionally left blank. 2 Agradecimientos / Acknoledgements / Remerciments Estas páginas han sido escritas en lugares muy diversos: la sala becarios en la Universidad de Murcia, la British Library de Londres, el centro de investigación IRLC en Montpellier, los archivos de la National Library of Scotland, la Maison Jean Vilar de Aviñón, la biblioteca del Graduate Center de la City University of New York –justo al pie del Empire State–, mi habitación en Torre Pacheco en casa de mis padres, habitaciones que compartí con Luis en Madrid, Londres y Murcia, trenes con destinos varios, hoteles en Canadá, cafeterías en Harlem, algún retazo corregido en un avión y salas de espera. Ellas son la causa y el fruto de múltiples idas y venidas durante cuatro años, ayudándome a aunar las que son mis tres grandes pasiones: viajar, el estudio y el teatro.1 Si bien los lugares han sido esenciales para definir lo que aquí se recoge, aún más primordial han sido mis compañeros en este viaje, a los que hoy, por fin, toca darles las gracias. Mis primeras gracias son para mi directora de tesis, Clara Calvo. Gracias, Clara, por la confianza depositada en mí estos años. Gracias por propulsar tantos viajes intelectuales. Gracias también a Ángel-Luis Pujante y Vicente Cervera, quienes leyeron una versión preliminar de algunos capítulos y cuyos consejos han sido fundamentales para su mejora. Juanfra Cerdá fue uno de los primeros lectores de la propuesta primigenia y consejero excepcional en todo este proceso. -
Cinemateca Júnior
fevereiro 2013 RETRATOS DA INFÂNCIA | A INICIAÇÃO AO CINEMA: EXPERIÊNCIAS E REFLEXÕES ALAIN BERGALA / CRESCER NO CINEMA | MATINÉS DA CINEMATECA | O PRIMEIRO SÉCULO DO CINEMA | ANTE-ESTREIAS | O QUE QUERO VER | IN MEMORIAM: NAGISA OSHIMA, HARRY CAREY, JR., JEAN-HENRI ROGER | FOCO NO ARQUIVO | UMA QUESTÃO DE CARÁCTER | ESCOLHAS DE ALBERTO SEIXAS SANTOS | CINEMATECA JÚNIOR [2] Fevereiro 2013 | Cinemateca Portuguesa-Museu do Cinema CINEMATECA JÚNIOR CINEMATECA PORTUGUESA-MUSEU DO CINEMA Este mês, a Cinemateca Júnior propõe um jogo ao público mais crescido: ver dois fi lmes com o mesmo título, a RUA BARATA SALGUEIRO, 39 mesma história e as mesmas personagens, mas produzidos em épocas diferentes, com tecnologias diferentes e 1269 -059 LISBOA, PORTUGAL TEL. 213 596 200 | FAX. 213 523 180 sobretudo com “olhares” diferentes: KING KONG. Partimos ao encontro do “monstro” no dia 2, com a adaptação [email protected] ultra-espetacular realizada em 2005 por Peter Jackson, e no dia 16 vemos o clássico de 1933, considerado um dos WWW.CINEMATECA.PT fi lmes mais vistos de todos os tempos, marco incontornável do cinema fantástico. Destinadas ao público mais novinho, as outras duas sessões são de cinema de animação, o incontornável DUMBO, no dia 9, e a fábula mais famosa de Miyazaki, A PRINCESA MONONOKE, a 23. Nesse mesmo dia, às 11h30, a Cinemateca Júnior propõe um atelier matinal dedicado às Sombras Mágicas de Animais, onde todos os participantes (dos 5 aos 8 anos) podem criar uma sombra articulada e inventar uma história a partir da representação do mundo animal. O atelier requer marcação prévia até 19 de fevereiro para o e-mail cinemateca.jú[email protected]. -
4–21 August Gore 11–21 August Nziff.Co.Nz
DUNEDIN 4–21 AUGUST GORE 11–21 AUGUST NZIFF.CO.NZ 40TH DUNEDIN INTERNATIONAL FILM FESTIVAL 2016 Presented by New Zealand Film Festival Trust under the distinguished patronage of His Excellency Lieutenant General The Right Honourable Sir Jerry Mateparae, GNZM, QSO, Governor-General of New Zealand REGENT THEATRE RIALTO CINEMAS DUNEDIN SBS ST JAMES THEATRE GORE Director: Bill Gosden General Manager: Sharon Byrne Publicist (Dunedin): Hannah Molloy Festival Host (Dunedin): Joshua Thomas Publicity and Communications Manager: Rebecca McMillian Assistant to General Manager: Lisa Bomash Publicist (Auckland): Melanie Rae Programmer: Sandra Reid PROUDLY SUPPORTED BY Assistant Programmer: Michael McDonnell Animation Now Programmer: Malcolm Turner All Ages Programmer: Nic Marshall Incredibly Strange Programmer: Anthony Timpson Content Manager: Jule Hartung Materials and Content Assistant: Hedda ten Holder Publications Coordinator: Tim Wong Audience Development Coordinator: Cianna Canning Online Content Coordinator: Kailey Carruthers Guest Coordinator: Rachael Deller-Pincott Festival Accounts: Alan Collins Festival Interns: Rosie Jones, Collette Wright Technical Adviser: Ian Freer Publication Design: Ocean Design Group Publication Production: Greg Simpson Cover Design: Matt Bluett Cover Illustration: Tom Simpson, assisted by Sacha Lees Animated Title: Anthony Hore (designer), Aaron Hilton (animator), Tim Prebble (sound), Catherine Fitzgerald (producer) THE NEW ZEALAND FILM FESTIVAL TRUST Chair: Catherine Fitzgerald Trustees: Louise Baker, Tearepa Kahi, Robin Laing, Andrew Langridge, Jacquie Kean, Tanya Surrey, Chris Watson Financial Controller: Chris Prowse The New Zealand Film Festival Trust Box 9544, Marion Square Wellington 6141, New Zealand ph: (64 4) 385 0162 [email protected] PROUDLY SUPPORTED AND PRINTED BY Contact Jim Rendell ph: 0274 774026, (+64 9) 477 0115 [email protected] Bringing you the world on the big screen.. -
Annual Report 2003
NATIONAL GALLERY OF ART WASHINGTON, D.C. 2003 ANNUAL REPORT BOARD OF TRUSTEES (as of 30 September 2003) ART & EDUCATION TRUSTEES' COUNCIL Harvey S. Shipley Miller COMMITTEE (as of 30 September 2003) Diane A. Nixon Victoria P. Sant, Lucio A. Noto, John G. Pappajohn Chairman Chair Sally Engelhard Pingree Earl A. Powell III LaSalle D. Leffall Jr., Mitchell P. Rales Robert F. Erburu Vice-Chair Catherine B. Reynolds Julian Ganz, Jr. Heidi L. Berry Sharon Percy Rockefeller David 0. Maxwell W. Russell G. Byers Jr. Robert M. Rosenthal John C. Fontaine Calvin Cafritz Roger W. Sant Robert F. Erburu Victoria P. Sant Julian Ganz, Jr. Melvin S. Cohen B. Francis Saul II Chairman President FINANCE COMMITTEE William T. Coleman Jr. Thomas A. Saunders III Victoria P. Sant, Edwin L. Cox Albert H. Small Chairman Robert W. Duemling Michelle Smith John W. Snow, James T. Dyke Ruth Carter Stevenson The Secretary of the Treasury Barney A. Ebsworth Roselyne C. Swig Robert F. Erburu Mark D. Ein Frederick A. Terry Jr. Julian Ganz, Jr. Edward E. Elson Joseph G. Tompkins David 0. Maxwell Doris Fisher Ladislaus von Hoffmann John C. Fontaine Aaron I. Fleischman John C. Whitehead Juliet C. Folger John Wilmerding AUDIT COMMITTEE John C. Fontaine David 0. Maxwell John C. Fontaine William H. Rehnquist Nina Zolt The Chief Justice of Robert F. Erburu, Marina K. French the United States Chairman Morton Funger EXECUTIVE OFFICERS John W. Snow, Lenore Greenberg Victoria P. Sant The Secretary of the Treasury Rose Ellen Meyerhoff Greene President Julian Ganz, Jr. Frederic C. Hamilton Earl A. -
«Il Teatro Non Si Può Tradire» Profilo Di Gianna Giachetti
UNIVERSITA’ DEGLI STUDI DI FIRENZE FACOLTA’ DI LETTERE E FILOSOFIA Corso di Laurea in Progettazione e Gestione di Eventi e Imprese dell’Arte e dello Spettacolo Anno Accademico 2006-2007 Tesi in Storia del Teatro Contemporaneo «Il teatro non si può tradire» Profilo di Gianna Giachetti Relatrice Candidata Prof.ssa Teresa Megale Elena Bassanelli «… se ho un talento è quello di amare quel piccolo mondo racchiuso tra le spesse mura di questo edificio e soprattutto mi piacciono le persone che lavorano in questo mondo piccolo, fuori di qui c’è il mondo grande e qualche volta capita che il mondo piccolo riesca a rispecchiare il mondo grande tanto da farcelo capire un po’ meglio… in ogni modo riusciamo a dare a tutti coloro che vengono qui la possibilità se non altro per qualche minuto, per qualche secondo, di dimenticare il duro mondo che è là fuori… il nostro teatro è un piccolo spazio fatto di disciplina, coscienza, ordine e amore». Da Fanny e Alexander di Ingmar Bergman. INDICE PREMESSA 1 CAPITOLO PRIMO 3 IL PERCORSO ARTISTICO DALL’ACCADEMIA ALLA DURA SCUOLA DEL PALCOSCENICO 1.1 Gli studi e l’esordio sulla scena teatrale. 3 1.2 Orazio Costa maestro e regista. 5 1.3 Gli anni romani. 8 1.4 L’attrice ai Teatri stabili di Genova e Torino. 12 1.5 La breve stagione al Teatro Stabile di Palermo. 17 1.6 In scena con Giorgio De Lullo e Romolo Valli. 19 1.7 Nuovi ruoli e nuovi personaggi. 26 1.8 Lavorare con Tino Buazzelli. 31 1.9 Dopo il silenzio. -
Film and Tv Technician
Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from University of St Andrews Library & Centre for Film Studies Digitized by the Internet Archive in 2013 http://archive.org/details/filmtvtech23asso LM AND TV TECHNICIAN Association of Cinematograph, Television and allied Technicians PRICE 6d. FILM & TV TECHNICIAN January 1957 • NO NEED TO LOOK TWICE . ... once is sufficient to see the noticeable improvement in all films when masked printed by Colour Film Services Limited—Britain's biggest 16 mm Kodachrome laboratory. 22-25 PORTMAN CLOSE • BAKER STREET LONDON • W.l. Telephone: Hunter 0408-9 GDQGQG5QQGGQQQQGGQGGQQGQGCGQG!jGGQGQGGQGQGOGGGQQQGQQQDGDDQGGGQDDGQG!jDOOGC 41BIARY. January 1957 FILM & TV TECHNICIAN In view of the film legislation now before Parliament we print in plB*©^ of our usual editorial an article which has special bearing on the steps needed to protect British Films WHY WE NEED A QUOTA ACT THIS month and next will see However, the Quota Quickie was That is why the film legislation both Houses of Parliament once largely eliminated ten years later now before Parliament is so vital again discussing the film industry, when Parliament passed an amen- to every one of us who wants to and in particular the renewal for ded Act which imposed a minimum see an expanding film industry. ten of what is called another years It looks as if the Government is the Quota Act. By trying to rush its legislation Why do we need a Quota Act to through Parliament without ade- protect British Films? quate opportunity for amendment, Ralph Bond and many amendments are Surely, you may say, we have urgently needed to ensure that the been making films long enough in better for British films Britain not to need Parliamentary Act works during the next ten years.