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Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
89Th Annual Academy Awards® Oscar® Nominations Fact
® 89TH ANNUAL ACADEMY AWARDS ® OSCAR NOMINATIONS FACT SHEET Best Motion Picture of the Year: Arrival (Paramount) - Shawn Levy, Dan Levine, Aaron Ryder and David Linde, producers - This is the first nomination for all four. Fences (Paramount) - Scott Rudin, Denzel Washington and Todd Black, producers - This is the eighth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013) and The Grand Budapest Hotel (2014). This is the first nomination in this category for both Denzel Washington and Todd Black. Hacksaw Ridge (Summit Entertainment) - Bill Mechanic and David Permut, producers - This is the first nomination for both. Hell or High Water (CBS Films and Lionsgate) - Carla Hacken and Julie Yorn, producers - This is the first nomination for both. Hidden Figures (20th Century Fox) - Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, producers - This is the fourth nomination in this category for Donna Gigliotti, who won for Shakespeare in Love (1998). Her other Best Picture nominations were for The Reader (2008) and Silver Linings Playbook (2012). This is the first nomination in this category for Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi. La La Land (Summit Entertainment) - Fred Berger, Jordan Horowitz and Marc Platt, producers - This is the first nomination for both Fred Berger and Jordan Horowitz. This is the second nomination in this category for Marc Platt. He was nominated last year for Bridge of Spies. Lion (The Weinstein Company) - Emile Sherman, Iain Canning and Angie Fielder, producers - This is the second nomination in this category for both Emile Sherman and Iain Canning, who won for The King's Speech (2010). -
German Films Quarterly 2 · 2004
German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS. -
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H-9005:H_ 30.01.2011 15:24 Uhr Seite 398 Berlinale 2011 Agnieszka Holland Hommage BITTERE ERNTE Armin Mueller-Stahl ANGRY HARVEST AMERE RECOLTE Bundesrepublik Deutschland 1985 Länge 105 Min. Format 35 mm, 1:1.37 Farbe Stabliste Regie Agnieszka Holland Buch Paul Hengge Agnieszka Agnieszka Holland Holland, nach dem Roman Biografie von Hermann Geboren am 28.11.1948 in Warschau. H. Field, Stanislaw Regiestudium an der Prager Film hoch - Mierzenski schule FAMU. In den 70er Jahren Kamera Jozef Ort-Snep Regis seurin an polnischen Theatern Kameraassistenz Christian Karp und beim Polnischen Fernsehen, Schnitt Barbara Kunze Regie assistentin bei Krzysztof Zanussi, Ton Gunther Kortwich Drehbücher für Andrzej Wajda. 1980 Elisabeth Trissenaar, Armin Mueller-Stahl Foto: Deutsche Kinemathek Musik Jörg Straßburger erster internationaler Kinoerfolg mit Bauten Werner Schwenke AKTORZY PROWINCJONALNI (PRO- Ausstattung Holger Scholz VINZSCHAUSPIELER). 1981 Emigration BITTERE ERNTE Kostüm Hannelore Wessel nach Paris. Hat seither Filme in Oberschlesien, 1943. Nachdem die Jüdin Rosa aus einem Güterzug und Regieassistenz Dorota Paciarelli Frankreich, Deutschland und den damit der Deportation in ein KZ entkommen ist, findet sie Unterschlupf bei Herstellungsltg. Peter Hahne USA realisiert. dem Bauer Leon. Er pflegt die verstörte Frau gesund. Doch Rosa weiß nicht, Produzent Artur Brauner wie sie ihren Retter einschätzen soll. Denn Leon ist zwar ein hilfsbereiter Co-Produzent Klaus-Dieter Biography Lehmann Born in Warsaw on 28.11.1948, she Mann, aber auch ein Kriegsgewinnler, -
Melbourne Cinémathčque | October 5
Melbourne Cinémathèque | October 5 - 19: ANGRY HARVEST - THE FILMS OF AGNIESZKA HOLLAND * * * The Melbourne Cinémathèque - Dedicated to screening rare & significant films from the history of international cinemaLike 766 HOME ABOUT SCREENINGS CTEQ ANNOTATIONS TICKETING & VENUE MEDIA & SUPPORT CONTACTS SPECIAL SEASONS OTHER SCREENINGS October 5 - 19 ANGRY HARVEST: THE FILMS OF AGNIESZKA HOLLAND Agnieszka Holland (1948-) was born to Jewish & Catholic heritage in the year that Stalinism seized the political reigns in Poland. Her mixed cultural heritage has affected a fearless honesty in Holland's beliefs & has provided much of the political force behind her filmmaking. Denounced by some as an anti-Semite but also honoured by Jewish associations, Holland's dissidence suggests a struggle with morality that most certainly stemmed from her parents: her mother, a Catholic, fought in the 1944 Warsaw Uprising & her father served in the Soviet Union's Red Army. Graduating from the Prague film academy in the early 1970s, she worked as an assistant director for Krzysztof Zanussi and Andrzej Wajda before starting her own directing career in the mid-'70s. Her intimate, committed & often critical work focused on both the world of art (filmmaking, theatre) & the daily grind of people in contemporary Poland. In 1981, after 2 of her key films were banned in her own country (Fever & A Lonely Woman), Holland escaped the political turmoil in Poland & went into exile in France, where she was able to continue making bold films with her trademark dark humour. Her often- gentle observations of the human condition & relationships are powerfully contrasted with an unapologetic desire to present everything as she sees it, without hesitation. -
Quarterly 2 · 2008
German Films Quarterly 2 · 2008 AT CANNES Un Certain Regard WOLKE 9 by Andreas Dresen Cinéfondation GESTERN IN EDEN by Jan Speckenbach Critics’ Week DAS FREMDE IN MIR by Emily Atef PORTRAITS 90 Years of ARRI, Directors Pepe Danquart & Sylke Enders, Producer 23|5 Film, and Actor Andreas Schmidt GERMAN FILMS AND IN THE OFFICIAL PROGRAM OF In Competition In Competition In Competition PALERMO SHOOTING DELTA WALTZ WITH BASHIR by Wim Wenders by Kornél Mundruczó by Ari Folman Producer: Neue Road Movies/Berlin German Co-Producer: German Co-Producer: Razor Film/Berlin World Sales: HanWay Films/London Essential Filmproduktion/Berlin World Sales: The Match Factory/Cologne World Sales: Coproduction Office/Paris Un Certain Regard Cinéfondation Atelier TULPAN GESTERN IN EDEN WOMB by Sergey Dvortsevoy THE OTHER DAY IN EDEN by Benedek Fliegauf by Jan Speckenbach German Co-Producer: Pandora Film/Cologne German Producer: Razor Film/Berlin World Sales: The Match Factory/Cologne Producer/World Sales: Deutsche Film- & Fernsehakademie (dffb)/Berlin Directors’ Fortnight Critics’ Week Critics’ Week SALAMANDRA DAS FREMDE IN MIR DER KLOANE by Pablo Aguero THE STRANGER IN ME by Emily Atef THE RUNT by Andreas Hykade German Co-Producer: Rohfilm/Leipzig & Berlin Producer: NiKo Film/Berlin Producer/World Sales: World Sales: Bavaria Film Studio Film Bilder/Stuttgart International/Geiselgasteig CO-PRODUCTIONS THE CANNES FILM FESTIVAL 2008 In Competition Un Certain Regard Un Certain Regard LE SILENCE DE LORNA WOLKE 9 O’ HORTEN by Jean-Pierre & Luc Dardenne CLOUD 9 by Andreas Dresen by Bent Hamer German Co-Producers: Mogador Film/ Producer: Rommel Film/Berlin German Co-Producer: Pandora Film/Cologne Frankfurt-Berlin & Gemini Film/Cologne World Sales: The Match Factory/Cologne World Sales: The Match Factory/Cologne World Sales: Celluloid Dreams/Paris All photos courtesy of not contractual. -
Indelible Shadows Film and the Holocaust
Indelible Shadows Film and the Holocaust Third Edition Annette Insdorf published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Annette Insdorf, 1983, 1989, 2002, 2003 Foreword to 1989 edition C Elie Wiesel This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First edition published 1983 by Random House Second edition published 1989 by Cambridge University Press Reprinted 1990 Third edition first published 2003 Printed in the United States of America Typefaces Minion 10/12 pt. and Univers67 System LATEX2ε [TB] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Insdorf, Annette. Indelible shadows : film and the Holocaust / Annette Insdorf. – 3rd ed. p. ; cm. Includes bibliographical references and index. ISBN 0-521-81563-0 – ISBN 0-521-01630-4 (pb.) 1. Holocaust, Jewish (1939–1945), in motion pictures. I. Title. PN1995.9.H53 I57 2002 791.43658 – dc21 2002023793 ISBN 0 521 81563 0 hardback ISBN 0 521 01630 4 paperback Contents Foreword by Elie Wiesel page xi Preface xiii Introduction xv I Finding an Appropriate Language 1. -
Titel Kino 2-2000
EXPORT-UNION OF GERMAN CINEMA 2/2000 At the Cannes International Film Festival: THE FAREWELL by Jan Schütte LOST KILLERS by Dito Tsintsadze NO PLACE TO GO by Oskar Roehler VASILISA by Elena Shatalova THE TIN DRUM – A LONE VICTOR On the History of the German Candidates for the Academy Award »SUCCESS IS IN THE DETAILS« A Portrait of Producer Kino Andrea Willson Scene from “THE FAREWELL” Scene from Studio Babelsberg Studios Art Department Production Postproduction Studio Babelsberg GmbH August-Bebel-Str. 26-53 D-14482 Potsdam Tel +49 331 72-0 Fax +49 331 72-12135 [email protected] www.studiobabelsberg.com TV SPIELFILM unterstützt die Aktion Shooting Stars der European Filmpromotion www.tvspielfilm.de KINO 2/2000 German Films at the 6 The Tin Drum – A Lone Victor 28 Cannes Festival On the history of the German candidates for the Academy Award 28 Abschied for Best Foreign Language Film THE FAREWELL Jan Schütte 11 Stations Of The Crossing 29 Lost Killers Portrait of Ulrike Ottinger Dito Tsintsadze 30 Die Unberührbare 12 Souls At The Lost-And-Found NO PLACE TO GO Portrait of Jan Schütte Oskar Roehler 31 Vasilisa 14 Success Is In The Details Elena Shatalova Portrait of Producer Andrea Willson 16 Bavarians At The Gate Bavaria Film International 17 An International Force Atlas International 18 KINO news 22 In Production 22 Die Blutgräfin 34 German Classics Ulrike Ottinger 22 Commercial Men 34 Es geschah am 20. Juli Lars Kraume – Aufstand gegen Adolf Hitler 23 Edelweisspiraten IT HAPPENED ON JULY 20TH Niko von Glasow-Brücher G. W. -
Absurd Black Humour As Social Criticism in Contemporary European Cinema
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Absurd Black Humour as Social Criticism in Contemporary European Cinema Eszter Simor Doctor of Philosophy The University of Edinburgh 2019 Submitted in satisfaction of the requirements for the degree of PhD in Film Studies at the University of Edinburgh This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (PhD) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. -
Nga | Viewing History Through the Filmmaker's Lens
VIEWING HISTORY THROUGH THE FILMMAKER'S LENS Agnieszka Holland, lecture delivered Sunday, December 1, 2013 National Gallery of Art When I was thirteen years old, I became fascinated with ancient Rome. The impulse for that was a highly suggestive Polish TV adaptation of Billy Wilder's The Ides of March. I desperately wanted to enter this intense world, and so I decided that I must have reincarnated many times and that in ancient Rome I had been Brutus, with all his complexity and remorse, only to return in the Renaissance, but not as Michelangelo or Leonardo, but as an unknown friend of the latter (who, by the way, had a mysterious, dangerous relationship with Buonarotti). I even kept diaries as these pretended incarnations of mine. I was also convinced that one of my incarnations lived in occupied Poland during the Second World War, but this seemed to painful to write about. It wasn't until years later that this subject came back to me. I don't really believe in films describing historical events that happened ages ago. The stronger the remoteness, the more arbitrarily a filmmaker has to present it. This engenders a certain risk of falling into the most commonly encountered kind of kitsch: simplification, anachronisms, and overt aestheticization. The easiest step is to imitate the external time indicators (though even this requires intuition, knowledge, and diligence), such as costumes, props, and architectural details. The most difficult task is to discover the sense of inner truth, which makes the story deeply rooted in the historical context but at the same time doesn't make it look like some history manual article. -
The Third Reich in East German Film
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2013 The Third Reich in East German Film: Defa, Memory, and the Foundational Narrative of the German Democratic Republic Jaimie Kicklighter University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the European History Commons, and the Film and Media Studies Commons Kicklighter, Jaimie, "The Third Reich in East German Film: Defa, Memory, and the Foundational Narrative of the German Democratic Republic" (2013). Masters Theses 1911 - February 2014. 1051. Retrieved from https://scholarworks.umass.edu/theses/1051 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE THIRD REICH IN EAST GERMAN FILM: DEFA, MEMORY, AND THE FOUNDATIONAL NARRATIVE OF THE GERMAN DEMOCRATIC REPUBLIC A Thesis Presented by JAIMIE L. SQUARDO KICKLIGHTER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2013 Department of History THE THIRD REICH IN EAST GERMAN FILM: DEFA, MEMORY, AND THE FOUNDATIONAL NARRATIVE OF THE GERMAN DEMOCRATIC REPUBLIC A Thesis Presented by JAIMIE L. SQUARDO KICKLIGHTER Approved as to style and content by: _______________________________________ Jon Berndt Olsen, Chair _______________________________________ Skyler Arndt Briggs, Member ____________________________________ Marla Miller, Graduate Program Director, Department of History ABSTRACT THE THIRD REICH IN EAST GERMAN FILM: DEFA, MEMORY, AND THE FOUNDATIONAL NARRATIVE OF THE GERMAN DEMOCRATIC REPUBLIC DEGREE DATE JAIMIE L. -
Quarterly 2 · 2010
German Films Quarterly 2 · 2010 IN CANNES: UN CERTAIN REGARD THE CITY BELOW by Christoph Hochhaeusler LIFE, ABOVE ALL by Oliver Schmitz PORTRAITS Directors Brigitte Bertele & Robert Thalheim, Collina Film Production, Actor Volker Bruch In Competition MY JOY by Sergei Loznitsa German Producer: ma.ja.de fiction/Leipzig World Sales: Fortissimo Film Sales/Amsterdam In Competition LA PRINCESSE DE MONTPENSIER by Bertrand Tavernier German Producer: Pandora Film/Cologne World Sales: StudioCanal/Paris In Competition TENDER SON – THE FRANKENSTEIN PROJECT by Kornél Mundruczó German Producer: Essential Filmproduktion/Berlin World Sales: Coproduction Office/Paris In Competition TOURNÉE by Mathieu Amalric German Producer: Neue Mediopolis Filmproduktion/Leipzig World Sales: Le Pacte/Paris In Competition UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES by Apichatpong Weerasethakul German Producers: Geissendoerfer Film- und Fernsehproduktion & The Match Factory/Cologne World Sales: The Match Factory/Cologne Out of Competition THE AUTOBIOGRAPHY OF NICOLAE CEAUSESCU by Andrei Ujicaˇ German Producer: Neue Mira Filmproduktion/Bremen World Sales: Mandragora International/Paris Out of Competition CARLOS THE JACKAL by Olivier Assayas German Producer: Egoli Tossell Film/Halle World Sales: StudioCanal/Paris Un Certain Regard AURORA by Cristi Puiu German Producer: Essential Filmproduktion/Berlin World Sales: Coproduction Office/Paris GERMAN FILMS AND CO-PRODUCTIONS 2010 FILM FESTIVAL THE CANNES AT Un Certain Regard THE CITY BELOW by Christoph Hochhaeusler Producer: Heimatfilm/Cologne