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The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
AST4220: Cosmology I
AST4220: Cosmology I Øystein Elgarøy 2 Contents 1 Cosmological models 1 1.1 Special relativity: space and time as a unity . 1 1.2 Curvedspacetime......................... 3 1.3 Curved spaces: the surface of a sphere . 4 1.4 The Robertson-Walker line element . 6 1.5 Redshifts and cosmological distances . 9 1.5.1 Thecosmicredshift . 9 1.5.2 Properdistance. 11 1.5.3 The luminosity distance . 13 1.5.4 The angular diameter distance . 14 1.5.5 The comoving coordinate r ............... 15 1.6 TheFriedmannequations . 15 1.6.1 Timetomemorize! . 20 1.7 Equationsofstate ........................ 21 1.7.1 Dust: non-relativistic matter . 21 1.7.2 Radiation: relativistic matter . 22 1.8 The evolution of the energy density . 22 1.9 The cosmological constant . 24 1.10 Some classic cosmological models . 26 1.10.1 Spatially flat, dust- or radiation-only models . 27 1.10.2 Spatially flat, empty universe with a cosmological con- stant............................ 29 1.10.3 Open and closed dust models with no cosmological constant.......................... 31 1.10.4 Models with more than one component . 34 1.10.5 Models with matter and radiation . 35 1.10.6 TheflatΛCDMmodel. 37 1.10.7 Models with matter, curvature and a cosmological con- stant............................ 40 1.11Horizons.............................. 42 1.11.1 Theeventhorizon . 44 1.11.2 Theparticlehorizon . 45 1.11.3 Examples ......................... 46 I II CONTENTS 1.12 The Steady State model . 48 1.13 Some observable quantities and how to calculate them . 50 1.14 Closingcomments . 52 1.15Exercises ............................. 53 2 The early, hot universe 61 2.1 Radiation temperature in the early universe . -
The Polish Studies Center Newsletter, 2015.Pdf
(-IJJF'JE'GFJK>F'L' HMN1OM>NHJM>F'(NPDH1( *+&, "') '"- ( , ' . & ) % , $ / # " " ! ! & Te Polish Studies . + !"#$%&'()"$*+,-(#)$ $ & ) 0 . 5 . 0 & " * 4 . & $ 1 %$ .#/+#0$1#2)'#++#0 , /'&)2"3 Center Newsletter ,6789:;6<=>"?@AA Indiana$$$$3/-(4/4$5/(6#0)(+7$8$9'&&:(/;+&/<$3/-(4/4$$$$$$$$$$*=0(/;$>?@> University • Bloomington, Indiana Spring 2015 J9?&'%# S8(U&)'# Y)?79R)'# Q96R)6# !"#$%&'#!''()* ZR<>''>U96#89#J9?>"U#>'#;)F#5)>" + 5&6)7896:'#;98)<99= !"#$%&#'()*%#'+,-,*+.%/)+'%01%(")% U(6><&?&8I#>"U#8%)&6#><&?&8I#89#U)>?#F&8%# 23"00.%01%4.05+.%+'6%7'()*'+(#0'+.% 7%>"O)#>"U#)79"9R&7#>"U#O)9V9?&8&7>?# ;>8>?&)#@&'8)6>A&7%B 2(,6#)$%+'6%10*8)*%92%:85+$$+60*% 7%>??)"O)'#&"#6)7)"8#I)>6'\ C>669??#&"#D6>=EF, (0%;0.+'6<%=))%>)#'$()#'<%6#$3,$$)6%(")% !(-0'';&2)'7"*#+'8"*'%28'&2%'62+,' ')&%23"00.<%"#$%8)80*#)$%01%?+*$+&<% )&,6'2%'+*/24#,'2%')&,8'2/,C''' G&??#H9%"'89"#F&"'# +'6%(")%3"+..)'-)$%+'6%0@@0*(,'#(#)$% D,2.'FE0'!8:'#&RV968>"8#89#"98)#8%>8# - $6>"'>8?>"8I=#J6&K) 1+3#'-%;0.+'6%(06+AB%!"#$%#'()*C#)&%#$%+% J9?>"U#%>'#>#%&'896&7>??I#?9"OB'8>"UB D6KI'K89L#M>"(''&# (*+'$3*#@(<%)6#()6%10*%.)'-("%+'6%3.+*#(A% &"O#86>U&8&9"#9L#'(VV968&"O#U)R976>7IX# . 5A%79%;0.#$"%2(,6#)$B %(R>"#6&O%8'X#>"U#)_(>?&8I\#Q>R9('B N&A)'#H96O)"')"#P)78(6) ly in American history, Kościuszko J9?&'%#Q&?R#S)6&)'#>8# !"#$%&'()*+$,%'-,.),/0'12%),/.' V?>I)U#>#69?)#&"#8F9#6)A9?(8&9"'X#>"U# / 1*/"3,'&2%'4,,.'".'3,"3#,5%'6$.+%' &"#%&'#?>'8#F&??#>"U#8)'8>R)"8#%)#?)L8# 8%)#!T#C&")R> $.'2'728')&2)'&2%.5)'4,,.'9,#)'$.'2' money to support Thomas Jeferson’s J&78(6)#G99=#+32,B+32- 7&$#,:';&2)'<$.+'"9'/"#,'+"'8"*' L6))U#'?>A)'X#F%&7%#&'#'9R)8%&"O#8%>8# 0 %,,'!"#2.+'2.+'!"#$%&'2/,2'%)*+$,%' Jeferson never executed. -
Andrew Sarris and Pauline Kael: the Duel for the Soul of American Film Criticism
1 Andrew Sarris and Pauline Kael: The Duel For the Soul of American Film Criticism By Inge Fossen Høgskolen i Lillehammer / Lillehammer University College Avdeling for TV-utdanning og Filmvitenskap / Department of Television and Film Studies (TVF) Spring 2009 1 2 For My Parents 2 3 ”When we think about art and how it is thought about […] we refer both to the practice of art and the deliberations of criticism.” ―Charles Harrison & Paul Wood “[H]abits of liking and disliking are lodged in the mind.” ―Bernard Berenson “The motion picture is unique […] it is the one medium of expression where America has influenced the rest of the world” ―Iris Barry “[I]f you want to practice something that isn’t a mass art, heaven knows there are plenty of other ways of expressing yourself.” ―Jean Renoir “If it's all in the script, why shoot the film?” ―Nicholas Ray “Author + Subject = Work” ―Andrè Bazin 3 4 Table of Contents Preface and Acknowledgements p. 6. Introduction p. 8. Defining Art in Relation to Criticism p. 14. The Popular As a Common Ground– And an Outline of Study p. 19. Career Overview – Andrew Sarris p. 29. Career Overview – Pauline Kael p. 32. American Film Criticism From its Beginnings to the 1950s – And a Note on Present Challenges p. 35. Notes on Axiological Criticism, With Sarris and Kael as Examples p. 41. Movies: The Desperate Art p. 72. Auteurism – French and American p. 82. Notes on the Auteur Theory 1962 p. 87. "Circles and Squares: Joys and Sarris" – Kael's Rebuttal p. 93. -
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JRFM JOURNAL RELIGION 2019 FILM 05/02 MEDIA JRFM JOURNAL FOR RELIGION, FILM AND MEDIA 2019 05/02 Alexander D. Ornella (ed.) Apocalyptic Imaginings Licensed under Creative Commons CC BY-NC JRFM JOURNAL FOR RELIGION, FILM AND MEDIA CHIEF EDITORS Stefanie Knauss Daria Pezzoli-Olgiati Villanova University University of Munich (LMU) Christian Wessely University of Graz EDITORIAL BOARD Bärbel Beinhauer-Köhler Philippe Bornet University of Marburg University of Lausanne Natalie Fritz Anna-Katharina Höpflinger Catholic Media Center Zurich University of Munich (LMU) Marie-Therese Mäder Alexander D. Ornella University of Munich (LMU) University of Hull ADVISORY BOARD Freek Bakker Chris Deacy Utrecht University University of Kent Cristiana Facchini Peter Hasenberg University of Bologna Catholic Film Commission Germany Theresia Heimerl Julia Helmke University of Graz University of Erlangen Syed Adnan Hussain Athina Karatzogianni Saint Mary´s University of Halifax University of Leicester Gerhard Larcher Markus Leniger University of Graz Cath. Academy Schwerte Walter Lesch Marek Lis Université Catholique de Louvain University of Opole Clive Marsh Charles Martig University of Leicester Catholic Media Center Zurich Marcello Neri Margaret Olin University of Flensburg Yale University Florence Pasche-Guignard Sofia Sjö University of Fribourg Åbo Akademi University Joachim Valentin Paola von Wyss-Giacosa University of Frankfurt University of Zurich Elie Yazbek Reinhold Zwick Saint-Joseph University of Beirut University of Münster CONTACT Institut für Fundamentaltheologie / JRFM Heinrichstrasse 78/B/1, A-8010 Graz, Austria e-mail: [email protected] www.jrfm.eu JRFM JOURNAL FOR RELIGION, FILM AND MEDIA JRFM is a peer-reviewed, open-access, online publication. It offers a platform for scholarly research in the broad field of religion and media, with a particular interest in audiovisual and interactive forms of communication. -
Innovations at Cannes
Innovations at Cannes By Ron Holloway Fall 2000 Issue of KINEMA CANNES: INNOVATIONS IN THE CERTAIN REGARD, DIRECTORS’ FORTNIGHT AND CRITICS WEEK For the third year in a row, an entry in Un Certain Regard was awarded the increasingly important prize of the Fondation GAN pour le cinéma (worth FF 200,000 in French distribution aid) by an independent international jury. Consequently this Cannes sidebar is now viewed by many as a ”backup festival” to the Competition in the official program. For the second year in a row under the new management ofMarie- Pierre Macia, the Quinzaine des Réalisateurs (Directors’ Fortnight) continued to distance itself from the prior policies of Pierre-Henri Deleau (three decades on the job) by formulating a programming image that was even more actor-and-personality oriented than last year’s event. And for the first time in 16 years, the Semaine de la critique (Critics Week) finds itself under new management: José María Riba was elected by the Paris-based critics to replace Jean Roy on the job. UN CERTAIN REGARD VIEWS Two years ago, in 1998, the Fondation GAN pour le cinéma awarded its prize for the first time to Darezhan Omirbaev’s Tuer à gages (Killer, Kazakhstan-France). In 1999, it went to Jasmin Dizdar’s Beautiful People (UK). This year, the jury, headed by actress Jane Birkin, gave its prize to Rodrigo Garcia’s Things You Can Tell Just by Looking at Her (USA), a collection of five vignettes about intertwined relationships shared by a group of men and women. Herewith some random comments on seven other films from around the world that were selected for programming in the Certain Regard, regarded by many festival directors as a fertile hunting-ground for entries to programme in their own competitions: Le premier du nom (First of the Name, France-Switzerland), Sabine Franel Sabine Franel, better known as a film editor, has collaborated in the past with Portuguese master Mañoel de Oliveira (Les Cannibales, 1988 Cannes entry), João Canjo, Claude Weisz, and Emil Weisz. -
PDF of the Notes
Notes __________________________________ These notes aspire neither to completeness nor to the naming of the first respective orig- inator of a thought or a theory. Since this work is more a research report than an academic treatise, such aspirations would actually be neither required nor useful. However, should we have violated any rights of primogeniture, this did not happen intentionally and we hereby apologize beforehand, and promise to mend our ways. We also would like to express our gratitude in advance for any references, tips, or clues sent to us. For abbreviations of collected editions and lexicons, journals and serials, monographs and terms see Ziegler & Sontheimer (1979). For the Greek authors’ names and titles see Liddell & Scott (1996) and for the Latin ones Glare (1996). The Gospel texts translated into English were quoted on the basis of the King James Ver- sion of 1611. In some cases the Revised Standard Version of 1881 and the New American Bible of 1970 were relied on. These three translations often differ from each other considerably. Although they all, even the Catholic one, make use of the original languages rather than the Vulgate as a basis for translation, they have the tendency to read the text of the New Testament according to the current interpreta- tion and to amalgamate it with the Old, so that in critical points the newer transla- tions are overtly conflicting with the Greek original text, arbitrarily interpreting e. g. thalassa, properly ‘sea’, as lake, Christos, ‘Christ’, as Messiah, adapting the orthog- raphy of the proper names in the New Testament to those in the Old, e.g. -
Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Content
Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Content Introduction 5 Lithuania and Poland. Neighbourship in Filmic Form in the Cinema of the 1960s 6 A Short Review of Lithuanian Cinema 12 Feature Film after 1990: Generation Change, New Aspects and Challenges 18 Raimundas Banionis: Film Plots Dictated by Reality 22 Algimantas Puipa: My Work Starts Where the Novel Ends 26 Gytis Lukšas: I Measure My Life in Films 30 Valdas Navasaitis: Everything Is a Private Matter 34 Audrius Juzėnas: Evil Is Not an Abstraction; It Influences Our Destinies 38 Kristijonas Vildžiūnas: Finding Historical Truths 42 Kristina Buožytė: Film Is the Door to a Specific World 46 Ignas Jonynas: I Belong to a Generation Very Rich with Experience 48 Šarūnas Bartas’ Films 52 Šarūnas Bartas: The Philosopher of Lithuanian Cinema 54 Jonas Mekas’ Diary Films 60 Documentary Film after 1990 64 Audrius Stonys: Showing the Invisible 70 Arūnas Matelis: Films Emerge from Sensations 74 Janina Lapinskaitė: Heroes Carry Their Sadness Along with Them 78 Julija and Rimantas Gruodis: We Are Trying to Walk on the Bright Side of Life 82 Giedrė Žickytė: Film Is an Emotion 86 Index 89 Introduction ver the past decade, Lithuanian cinema of Lithuanian filmmakers is also pursuing new has experienced a period of intense opportunities and original forms of expression. change. The production of films in Films by such female film directors as Alantė OLithuania has been on the increase, as has the Kavaitė, Kristina Buožytė and Giedrė Žickytė audience’s interest in films produced domestically. -
Martin Scorsese Presents: Masterpieces of Polish Cinema Throughout North America
INTRODUCTION In December 2011, filmmaker Martin Scorsese traveled to Poland to accept an honorary doctor- al degree from The Polish National Film, Television, and Theatre School in Łódź. There, Mr. Scors- ese met with Jędrzej Sabliński (a digital restoration expert, now with DI Factory), and reviewed a list of new digital restorations of Polish films. In the months following this visit, with the help of The Film Foundation, the two men came up with the idea of a North American tour of a series of restored Polish cinema classics. From an extensive catalogue of digitally restored films, Mr. Scorsese chose twenty-one masterpieces. The Film Foundation executive director, Margaret Bodde then worked with Mr. Sabliński to develop the program and recommended Milestone Films as the North American distributor for the series. Milestone will be touring the 21-film retrospective Martin Scorsese Presents: Masterpieces of Polish Cinema throughout North America. Premiering in New York City at the Film Society of Lincoln Center on February 5th, 2014, the series features films from some of Poland’s most accom- plished and lauded filmmakers, spanning the period from 1957–1987. Curated by Mr. Scorsese, each film has been digitally re-mastered and brilliantly restored on newly subtitled DCPs. The program was created and organized by Mr. Scorsese’s non-profit organization, The Film Foundation. 3 BIST, SIMPORE, TEMPORE, A STATEMENT FROM MARTIN SCORSESE Um volum, audae laccae seque natur, comnis ducienimus excest rendercillam laccupi endicit In 2011, I had the opportunity to visit the Polish National Film School in Łódź, Poland, at the atusda vitisitatur rentem vent. -
RITROVATI E RESTAURATI Recovered and Restored
RITROVATI E RESTAURATI Recovered and Restored Programma a cura di / Programme curated by Gian Luca Farinelli, Peter von Bagh e Guy Borlée 132 GRAND TOUR D’ITALIE: IL ‘DAL VERO’ DEI PRIMI ANNI DIECI GRAND TOUR D’ITALIE: ACTUALITY FILMS FROM THE EARLY 1910S Programma a cura di / Programme curated by Andrea Meneghelli Questo programma, dedicato al ‘dal lare che le avanguardie già bramano di century transforms the itinerary of intel- vero’ italiano dei primi anni Die- incendiare), al tempo stesso conosce lectual and human growth once satis- ci, mi piace pensare sia una sorta di l’estasi impaziente del futuro: l’arditi- fied by the Grand Tour in a convenient ode al movimento. Un viaggio che smo degli eroi dell’aviazione, l’obietti- tourist outing. Film revolutionized the tende sempre alla ripartenza, dove il vo puro della velocità nelle invenzioni adventure of travelling by making it an fine sembra essere non tanto l’arrivo, ingegneristiche. L’ultimo movimento adventure of viewing. A mobile view by quanto piuttosto l’attraversare. Forse che evochiamo è una specie di vertigi- definition that multiplies its routes with anche per il destino morfologico e sto- ne, che ancora una volta affonda in un the help of various means: trains, boats, rico che caratterizza l’Italia, percorrere contrasto: tra l’Italia di oggi e quella and tripods cameras rest on to show off il paese a bordo di questi film signi- di un secolo fa, sul crocevia tra l’ine- their panoramic potential… Travel in fica affacciarsi a esperienze e paesaggi vitabile cambiamento e la colpevole time or, better still, through time. -
Hrvatski Filmski Ljetopis God
hrvatski filmski ljetopis god. 16 (2010) broj 64, zima 2010. Hrvatski filmski ljetopis utemeljili su 1995. Hrvatsko društvo filmskih kritičara, Hrvatska kinoteka i Filmoteka 16 Utemeljiteljsko uredništvo: Vjekoslav Majcen, Ivo Škrabalo i Hrvoje Turković Časopis je evidentiran u FIAF International Index to Film Periodicals i u Arts and Humanities Citation Index (A&HCI) Uredništvo / Editorial Board: Nikica Gilić (glavni urednik / editor-in-chief) Krešimir Košutić (novi filmovi i festivali / new films and festivals) Bruno Kragić Jurica Starešinčić Tomislav Šakić (izvršni urednik / managing editor) Hrvoje Turković (odgovorni urednik / supervising editor) Suradnici/Contributors: Ana Brnardić (lektorski savjeti / proof-reading) Juraj Kukoč (kronika/chronicles) Sandra Palihnić (prijevod sažetaka / translation of summaries) Duško Popović (bibliografije/bibliographies) Anka Ranić (UDK) Dizajn i priprema za tisak / Design and pre-press: Barbara Blasin Naslovnica / Front cover: Glave, serija od 12 fotografija (Tom Gotovac, 1971) Stražnje korice / Back cover: Glave, serija od 12 fotografija (Tom Gotovac, 1971) Nakladnik/Publisher: Hrvatski filmski savez Za nakladnika / Publishing Manager: Vera Robić-Škarica ([email protected]) Tisak / Printed By: Tiskara C.B. Print, Samobor Adresa/Contact: Hrvatski filmski savez (za Hrvatski filmski ljetopis), HR-10000 Zagreb, Tuškanac 1 Tajnica redakcije: Vanja Hraste ([email protected]) telefon/phone: (385) 01 / 4848771 telefaks/fax: (385) 01 / 4848764 e-mail uredništva: [email protected] / [email protected] www.hfs.hr/ljetopis Izlazi tromjesečno u nakladi od 1000 primjeraka Cijena: 50 kn / Godišnja pretplata: 150 kn Žiroračun: Zagrebačka banka, 2360000-1101556872, Hrvatski filmski savez (s naznakom “za Hrvatski filmski ljetopis”) Hrvatski filmski ljetopis is published quarterly by Croatian Film Association Subscription abroad: 60 € / Account: 2100058638/070 S.W.I.F.T.