Abbas Kiarostami's Koker Trilogy
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Coming-Of-Age Film in the Age of Activism
Coming-of-Age Film in the Age of Activism Agency and Intersectionality in Moonlight, Lady Bird, and Call Me By Your Name 29 – 06 – 2018 Supervisor: Anne Salden dr. M.A.M.B. (Marie) Lous Baronian [email protected] Second Reader: student number: 11927364 dr. A.M. (Abe) Geil Master Media Studies (Film Studies) University of Amsterdam Acknowledgements First and foremost, I would like to thank Marie Baronian for her first-rate supervision and constant support. Throughout this process she inspired and encouraged me, which is why she plays an important part in the completion of my thesis. I would also like to thank Veerle Spronck and Rosa Wevers, who proved that they are not only the best friends, but also the best academic proof-readers I could ever wish for. Lastly, I would like to express my gratitude towards my classmate and dear friend Moon van den Broek, who was always there for me when I needed advice (or just a hug) during these months, even though she had her own thesis to write too. Abstract The journey of ‘coming of age’ has been an inspiring human process for writers and filmmakers for centuries long, as its narrative format demonstrates great possibilities for both pedagogy and entertainment. The transformation from the origins of the genre, the German Bildungsroman, to classic coming-of-age cinema in the 1950s and 1980s in America saw few representational changes. Classic coming-of-age films relied heavily on the traditional Bildungsroman and its restrictive cultural norms of representation. However, in the present Age of Activism recent coming-of-age films seem to break with this tendency and broaden the portrayal of identity formation by incorporating diversity in its representations. -
Reframe and Imdbpro Announce New Collaboration to Recognize Standout Gender-Balanced Film and TV Projects
FOR IMMEDIATE RELEASE Media Contacts: June 7, 2018 For Sundance Institute: Jenelle Scott 310.360.1972 [email protected] For Women In Film: Catherine Olim 310.967.7242 [email protected] For IMDbPro: Casey De La Rosa 310.573.0632 [email protected] ReFrame and IMDbPro Announce New Collaboration to Recognize Standout Gender-balanced Film and TV Projects The ReFrame Stamp is being Awarded to 12 Films from 2017 including Everything, Everything; Girls Trip; Lady Bird; The Post; and Wonder Woman Los Angeles, CA — ReFrame™, a coalition of industry professionals and partner companies founded by Women In Film and Sundance Institute whose mission is to increase the number of women of all backgrounds working in film, TV and media, and IMDbPro (http://www.imdbpro.com/), the leading information resource for the entertainment industry, today announced a new collaboration that leverages the authoritative data and professional resources of IMDbPro to recognize standout, gender- balanced film and TV projects. ReFrame is using IMDbPro data to determine recipients of a new ReFrame Stamp, and IMDbPro is providing digital promotion of ReFrame activities (imdb.com/reframe). Also announced today was the first class of ReFrame Stamp feature film recipients based on an extensive analysis of IMDbPro data on the top 100 domestic-grossing films of 2017. The recipients include Warner Bros.’ Everything, Everything, Universal’s Girls Trip, A24’s Lady Bird, Twentieth Century Fox’s The Post and Warner Bros.’ Wonder Woman. The ReFrame Stamp serves as a mark of distinction for projects that have demonstrated success in gender-balanced film and TV productions based on criteria developed by ReFrame in consultation with ReFrame Ambassadors (complete list below), producers and other industry experts. -
Silence Studies in the Cinema and the Case of Abbas Kiarostami
SILENCE STUDIES IN THE CINEMA AND THE CASE OF ABBAS KIAROSTAMI by Babak Tabarraee M.A., Tehran University of Art, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) January 2013 © Babak Tabarraee, 2013 Abstract This thesis is an attempt to formulate a systematic framework for ‘silence studies’ in the cinema by defining silence in pragmatic terms and suggesting different forms of filmic silence. As an illustration of my model, I examine the variety of silences in the works of Abbas Kiarostami, a notable figure of Art Cinema. The analytical approach suggested here can further be applied to the works of many other Art Cinema auteurs, and, by extension, to other cinematic modes as well, for a better understanding of the functions, implications, and consequences of various forms of silence in the cinema. Chapter 1 provides a working and pragmatic description of silence, applicable to both film and other communicative forms of art. Chapter 2 represents a historical study of some of the major writings about silence in the cinema. Chapter 3 introduces, exemplifies, and analyzes the acoustic silences in the films of Kiarostami, including the five categories of complete , partial (uncovered; covered with noise, music, or perspective), character/dialogue , language , and music silences. Chapter 4 introduces the concept of meta-silence and its trans-sensorial perceptions in communication and in arts, and then defines the four categories of the visual , character/image , narrative , and political silences in Kiarostami’s oeuvre. -
“A Single-Shot Masterpiece.”
JANUARI 2020 ZED SPRAK MET Fabrice du Welz ZED SPRAK MET Willem Wallyn “We zijn allemaal wel wat prutsers.” EINDEJAARSLIJSTJES De beste films van 2019 Onze vrouw op IDFA Blue Monday movies 1917 Filmanjaro “A single-shot masterpiece.” Muidhond, THE GUARDIAN de nieuwe film van Patrice Toye Cinema ZED-STUK Cinema ZED-Vesalius Naamsestraat 96 A. Vesaliusstraat 9c 3000 Leuven 3000 Leuven SCHEMAP. 301 Word lid van Club ZED Hou je van film? Hou je van een regelmatig avondje uit naar de bioscoop? Wil je graag alles weten over de komende releases, evenementen en belangrijke filmmakers? Dan is Club ZED iets voor jou. DE VOORDELEN Maandelijks het ZED magazine in je brievenbus Maandelijks 2 tickets voor een film naar keuze uit deze maandprogrammatie Een Club ZED kortingskaart die je recht geeft op het kortingstarief voor alle bijkomende tickets PRIJS € 18 per maand € 100 per 6 maand HOE GAAT HET IN ZIJN WERK? MELD JE AAN OP CINEMAZED.BE/CLUBZED. Leden ontvangen naast het ZED Magazine maandelijks 2 unieke ticket-codes. Deze codes kunnen online of aan de balie omgewisseld worden voor filmtickets naar keuze. Deze codes zijn enkel geldig voor voorstellingen van de lopende maand- programmatie. De minimale duur van een abonnement is 3 maanden en kan te allen tijde opgezegd worden. 2 Met in- of uitleiding Met live begeleiding Onuitgegeven ontdekking Alle films zijn Nederlands ondertiteld, tenzij anders aangegeven. INHOUD Recente releases Play it Again Sam Blue Monday 4 1917 14 Little Joe 20 The Irishman 27 Singin’ in the Rain 5 Ghost Tropic Muidhond -
The Imaginal World and Modern Oblivion: Kiarostami's Zig-Zag1
Filozofski vestnik | Volume XXXVII | Number 2 | 2016 | 21–58 Joan Copjec* The Imaginal World and Modern Oblivion: Kiarostami’s Zig-Zag1 A1 zigzag path carved into a hill winds from base to crest, where it is crowned by a lushly-leafed tree standing solitary and upright like a kind of hieratic bouquet: this image recurs in three ¨lms – Where Is the Friend’s House? (1987); Life and Nothing More (1992); and Through the Olive Trees (1994) – which critics refer to as “the Koker trilogy,” simply because they are all set in the same location, the village of Koker in Northern Iran. Easily mistaken for a “found” image, part of the natural geography of the ¨lms’ actual setting, the recurrence of the image would seem to raise no questions nor require explanation. And yet there can be no confusing this image with natural geography, for as we learn from in- terviews, the ¨lms’ director, Abbas Kiarostami, did not just stumble upon this peculiar landscape while scouting locations. He had his ¨lm crew carve the pro- nounced zigzag path into the hill. An articial landscape, then, inserted by Kiarostami into the natural setting, it replicates, as it turns out, a miniature found in a manuscript executed at Shiraz in southern Persia at the end of the fourteenth century.2 In the miniature, just as in the Koker trilogy, a sinuous path curls up the side of a hill atop which sprouts a single, °owering tree. This miniature graces the cover of Spiritual Body and Celestial Earth, a book on Islamic philosophy in which the book’s author, the in°uential Iranologist, -
(LACMA) Hosted Its Ninth Annual Art+Film Gala on Saturday, November 2, 2019, Honoring Artist Betye Saar and Filmmaker Alfonso Cuarón
(Los Angeles, November 3, 2019)—The Los Angeles County Museum of Art (LACMA) hosted its ninth annual Art+Film Gala on Saturday, November 2, 2019, honoring artist Betye Saar and filmmaker Alfonso Cuarón. Co-chaired by LACMA trustee Eva Chow and actor Leonardo DiCaprio, the evening brought together more than 800 distinguished guests from the art, film, fashion, and entertainment industries, among others. This year’s gala raised more than $4.6 million, with proceeds supporting LACMA’s film initiatives and future exhibitions, acquisitions, and programming. The 2019 Art+Film Gala was made possible through Gucci’s longstanding and generous partnership. Additional support for the gala was provided by Audi. Eva Chow, co-chair of the Art+Film Gala, said, “I’m so happy that we have outdone ourselves again with the most successful Art+Film Gala yet. It was such a joy to celebrate Betye Saar and Alfonso Cuarón’s incredible creativity and passion, while supporting LACMA’s art and film initiatives. I couldn’t be more grateful to Alessandro Michele, Marco Bizzarri, and everyone at Gucci—our invaluable partner since the first Art+Film Gala—and to Anderson .Paak and The Free Nationals for making this evening one to remember.” “I’m deeply grateful to our returning co-chairs Eva Chow and Leonardo DiCaprio for helping us set another Art+Film Gala record,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “We honored two incredibly powerful artistic voices this year. Betye Saar has helped define the genre of Assemblage art for nearly seven decades, and recognition of her as one of the most important and influential artists working today is long overdue. -
Marco Movies
Movies starting Thursday, December 26 www.FMBTheater.com America’s Original First Run Food Theater! We recommend that you arrive 30 minutes before ShowTime. “Star Wars: The Rise of Skywalker” Rated PG-13 Run Time 2:15 Starring Daisy Ridley, Adam Driver, Carrie Fisher and Mark Hamill Start 2:15 5:35 8:15 End 4:30 7:50 11:00 Rated PG-13 for sci-fi violence and action. “Little Women” Rated PG-13 Run Time 2:15 Starring Saoirse Ronan, Emma Watson and Meryl Streep Start 2:40 5:40 8:35 End 4:55 7:55 11:50 Rated PG for thematic elements and brief smoking. “Cats” Rated PG Run Time 1:45 Starring Judy Dench, Jennifer Hudson, Taylor Swift and James Corden Start 2:30 5:50 8:45 End 4:15 7:35 10:30 Rated PG for some rude and suggestive humor. “Jumanji: The Next Level” Rated PG-13 Run Time 2:05 Starring Dwayne Johnson, Kevin Hart, Nick Jonas and Danny DeVito Start 2:50 5:50 8:35 End 4:55 7:55 10:40 Rated PG-13 for adventure action, suggestive content and some language. *** Prices *** Matinees $11.00 (3D $13.00) Adults $13.50 (3D $15.50) Seniors and Children under 12 $11.00 (3D $13.00) Visit Beach Theater at www.fmbtheater.com facebook.com/BeachTheater Star Wars: The Rise of Skywalker (PG-13) • Daisy Ridley • Adam Driver • Carrie Fisher • Mark Hamill • Lucasfilm and director J.J. Abrams join forces once again to take viewers on an epic journey to a galaxy far, far away with Star Wars: The Rise of Skywalker, the riveting conclusion of the seminal Skywalker saga, where new legends will be born and the final battle for freedom is yet to come. -
Reportto the Community
REPORT TO THE COMMUNITY Public Broadcasting for Greater Washington FISCAL YEAR 2020 | JULY 1, 2019 – JUNE 30, 2020 Serving WETA reaches 1.6 million adults per week via local content platforms the Public Dear Friends, Now more than ever, WETA is a vital resource to audiences in Greater THE WETA MISSION in a Time Washington and around the nation. This year, with the onset of the Covid-19 is to produce and hours pandemic, our community and our country were in need. As the flagship 1,200 distribute content of of new national WETA programming public media station in the nation’s capital, WETA embraced its critical role, of Need responding with enormous determination and dynamism. We adapted quickly intellectual integrity to reinvent our work and how we achieve it, overcoming myriad challenges as and cultural merit using we pursued our mission of service. a broad range of media 4 billion minutes The American people deserved and expected information they could rely to reach audiences both of watch time on the PBS NewsHour on. WETA delivered a wealth of meaningful content via multiple media in our community and platforms. Amid the unfolding global crisis and roiling U.S. politics, our YouTube channel nationwide. We leverage acclaimed news and public affairs productions provided trusted reporting and essential context to the public. our collective resources to extend our impact. of weekly at-home learning Despite closures of local schools, children needed to keep learning. WETA 30 hours programs for local students delivered critical educational resources to our community. We significantly We will be true to our expanded our content offerings to provide access to a wide array of at-home values; and we respect learning assets — on air and online — in support of students, educators diversity of views, and families. -
Judy Turns the Objectifying Male Gaze Back on Itself
JUDY O’BRIEN [Maureen O’Hara] (dancing onstage, dress straps rip-male audience members taunt) Go ahead and stare. I'm not ashamed. Go on, laugh; get your money's worth. Nobody's going to hurt you. I know you want me to tear my clothes off so you can look your 50 cents' worth. Fifty cents for the privilege of staring at a girl the way your wives won't let you. What do you suppose we think of you up here? (camera pans l to r well-heeled and ashamed male in tuxedos and reproving female audience members) With your silly smirks your mothers would be ashamed of. It's a thing of the moment for the dress suits to come and laugh at us too. We'd laugh right back at you, only we're paid to let you sit there...and roll your eyes, and make your screamingly clever remarks. What's it for? So you can go home when the show's over, strut before your wives and sweethearts... and play at being the stronger sex for a minute? I'm sure they see through you just like we do. From Dance, Girl, Dance (Dorothy Arzner,1940) Tess Slesinger & Frank Davis (screenplay) Vicki Baum (story) Judy turns the objectifying male gaze back on itself. First 4 have a Hollywood/family connection: Dorothy Arzner’s family owned a Hollywood restaurant frequented by actors and directors Ida Lupino came from a family of British actors Penny Marshall’s Mom was a tap dance teacher, her Dad a director of industrial films and older brother Gary, a TV series creator and successful film director. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations
Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations Stoffel Debuysere Proefschrift voorgelegd tot het behalen van de graad van Doctor in de kunsten: audiovisuele kunsten Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations Stoffel Debuysere Thesis submitted to obtain the degree of Doctor of Arts: Audiovisual Arts Academic year 2017- 2018 Doctorandus: Stoffel Debuysere Promotors: Prof. Dr. Steven Jacobs, Ghent University, Faculty of Arts and Philosophy Dr. An van. Dienderen, University College Ghent School of Arts Editor: Rebecca Jane Arthur Layout: Gunther Fobe Cover design: Gitte Callaert Cover image: Charles Burnett, Killer of Sheep (1977). Courtesy of Charles Burnett and Milestone Films. This manuscript partly came about in the framework of the research project Figures of Dissent (KASK / University College Ghent School of Arts, 2012-2016). Research financed by the Arts Research Fund of the University College Ghent. This publication would not have been the same without the support and generosity of Evan Calder Williams, Barry Esson, Mohanad Yaqubi, Ricardo Matos Cabo, Sarah Vanhee, Christina Stuhlberger, Rebecca Jane Arthur, Herman Asselberghs, Steven Jacobs, Pieter Van Bogaert, An van. Dienderen, Daniel Biltereyst, Katrien Vuylsteke Vanfleteren, Gunther Fobe, Aurelie Daems, Pieter-Paul Mortier, Marie Logie, Andrea Cinel, Celine Brouwez, Xavier Garcia-Bardon, Elias Grootaers, Gerard-Jan Claes, Sabzian, Britt Hatzius, Johan Debuysere, Christa -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard