DOCSLIB.ORG

Maquetación 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Maquetación 1 Cine de verán mércores de xullo e agosto 2009 Xornalismo en 35 mm O xornalismo é unha profesión controvertida, chea de luces e sombras, de feitos heroicos e miserables que reflicten un modo de vida baseado nunhas crenzas non sempre loables. As noticias dos medios de comunicación son a miúdo a única verdade visible para a maioría da poboación: a prensa, a televisión, a Internet... entran nas nosas casas e convértense nos novos deuses que filtran a realidade. Os xornalistas teñen nas súas mans o poder, a capacidade de Xullo denunciaren as inxustizas ou de caeren na corrupción, de contaren os feitos obxectivamente ou de os manipularen até que se adapten Meet John Doe Mércores 1 ás súas necesidades. Este ciclo pretende amosar as dúas caras desta 1941 / Estados Unidos / Director: Frank Capra moeda con nove películas que evidencian as distintas formas de utilizar este poder. Ace in the Hole Mércores 8 Durante o mes de xullo, a primeira parte: cinco historias farannos 1951 / Estados Unidos / Director: Billy Wilder dubidar dos nosos sentidos, das noticias que nos chegan a diario e que debemos recibir con certa incredulidade. Frank Capra en Network Mércores 15 Meet John Doe fálanos dun personaxe inventado á medida para unha 1976 / Estados Unidos / Director: Sidney Lumet crónica; porén, o protagonista desta historia vai evolucionando até se converter nun exemplo de bos valores ao que lle acabamos por Absence of Malice Mércores 22 perdoar a súa mentira. En Ace in the Hole (tamén coñecida como 1981 / Estados Unidos / Director: Sydney Pollack The Big Carnival), de Billy Wilder, o personaxe perde a inocencia e vólvese desapiadado: Kirk Douglas interpreta un xornalista que Mad City Mércores 29 pon en perigo a vida dun home para manter unha exclusiva, 1997 / Estados Unidos / Director: Constantin Costa-Gravas mentres que Network, de Sidney Lumet, nos introduce no mundo da televisión, capaz de emitir un asasinato en directo para aumentar a audiencia, baixo a premisa de que o fin xustifica Agosto todos os medios. O ciclo continúa cunha película de Sydney Mércores 5 Pollack, Absence of Malice, que cuestiona a pertinencia de emitir Gentleman's Agreement certas noticias, e a necesidade de contrastar a información antes 1947 / Estados Unidos / Director: Elia Kazan de a emitir. Por último, Mad City, de Constantin Costa-Gavras cerra esta primeira parte retomando a idea de The Big Carnival: a dun Z Mércores 12 xornalista que mantén unha situación dramática para salvar unha 1969 / Francia-Alxeria / Director: Constantin Costa-Gravas carreira condenada ao esquecemento. Cry Freedom Mércores 19 En agosto buscaremos a esperanza, a vocación como arma social 1987 / Reino Unido / Director: Richard Attenborough para denunciar gobernos corruptos e situacións inxustas. Gentleman’s Agreement, de Elia Kazan, narra a historia dun The Life of David Gale Mércores 26 xornalista que se fai pasar por xudeu para denunciar a hipocrisía 2003 / Estados Unidos / Director: Alan Parker dunha sociedade aparentemente tolerante. No segundo filme deste bloque, Z, tamén de Costa-Gavras denuncia a corrupción Horario: 22:30 h política dun país que tenta de silenciar o asasinato dun Lugar: parque de San Domingos de Bonaval importante dirixente, mentres que Richard Attenborough, en Cry (no caso de mal tempo a proxección terá lugar no Freedom, relata a historia dun xornalista surafricano branco e a auditorio do CGAC) súa loita contra o apartheid. O ciclo remata con The Life of David Coordinación: Ana González Chouciño Gale, de Alan Parker, na que unha xornalista intenta demostrar a inocencia dun condenado á pena de morte. Son as dúas vertentes do xornalismo, que nos fan pensar, cando menos, na enorme influencia que os medios de comunicación CGAC exercen nas nosas vidas, no perigo de manipulación, pero tamén na CENTRO GALEGO DE ARTE CONTEMPORÁNEA capacidade de compromiso cunha sociedade que precisa dunha voz Rúa Ramón del Valle Inclán s/n, que poña en dúbida os poderes establecidos. 15704 Santiago de Compostela Tel.: 981 546 634 Ana González Chouciño www.cgac.org Travolta é un vixilante de museo que, desesperado porque foi Meet John Doe despedido, secuestra un grupo de nenos para tentar de recuperar o seu 1941, Estados Unidos / Director: Frank Capra / Guión: Robert Riskin / posto de traballo. Dustin Hoffman é un veterano reporteiro que Fotografía: George Barnes (B&W) / Montaxe: George Barnes / Música: Dimitri pretende conseguir unha crónica do suceso en primicia para recuperar Tiomkin / Xénero: comedia / Intérpretes: Gary Cooper, Barbara Stanwick / o seu prestixio perdido. O filme é unha aceda crítica do telelixo ou da Duración: 122 min / V.O.S. información a calquera prezo. Con clara inspiración en The Big Carnival Un magnate compra un xornal e despide a case todo o persoal. Ante de Billy Wilder, Costa-Gavras pon o dedo nunha dolorosa chaga da isto, unha das xornalistas decide escribir como último artigo unha falsa sociedade da información: a busca do morbo na pequena pantalla, a carta na que un desempregado ameaza con se guindar ao baleiro desde facilidade coa que os canallas se converten en heroes ou viceversa. o tellado da casa do concello no día de Nadal se os políticos non fan nada por combater a situación. A carta provoca un rebumbio tal que se Gentleman’s Agreement ven na obriga de contratar un vagabundo para que diga que el foi quen 1947, Estados Unidos / Director: Elia Kazan / Guión: Moss Hart / Fotografía: escribiu a carta. Pero as súas aparicións na radio teñen tal impacto que Arthur Miller (B&W) / Montaxe: Arthur Miller / Música: Alfred Newman / o dono do periódico decide empregar esa popularidade para os seus Xénero: drama / Intérpretes: Gregory Peck, Dorothy McGuire, John Garfield, escuros manexos políticos. Celeste Holm, Anne Revere, June Havoc, Albert Dekker, Jane Wyatt, Dean Stockwell / Duración: 118 min / V.O.S. Un escritor que está a traballar nun libro sobre o antisemitismo faise Ace in the Hole pasar por xudeu, sorprendéndose da cantidade de problemas que 1951, Estados Unidos / Director: Billy Wilder / Guión: Billy Wilder, Lesser implica profesar esa relixión e das reaccións dos amigos e dos Samuels, Walter Newman / Fotografía: Charles Lang Jr. (B&W) / Montaxe: compañeiros de traballo. Gentleman’s Agreement é válida como Arthur Schmidt / Música: Hugo Friedhofer / Xénero: drama / Intérpretes: Kirk testemuño da sociedade de Estados Unidos na posguerra, sempre Douglas, Jan Sterling, Robert Arthur, Porter Hall, Frank Cady, Richard Benedict, disposta a cuestionar a dobre moral e a intolerancia dos outros, pero Ray Teal, Lewis Martin, John Berkes, Frances Dominguez, Gene Evans, Harry reticente a admitir a propia: un presaxio da célebre caza de bruxas en Harvey, Frank Jaquet / Duración: 111 min / V.O.S. que pouco despois se vería tristemente implicado o propio Kazan. Charles Tatum é un xornalista sen escrúpulos que atravesa unha mala racha por causa da súa adicción ao alcol, e que se viu obrigado a Z traballar nun pequeno diario de Novo México. Cando un mineiro indio 1969, Francia-Alxeria / Director: Constantin Costa-Gavras / Guión: Jorge queda atrapado nun túnel, Tatum ve a oportunidade de volver ser Semprún / Fotografía: Raoul Coutard / Montaxe: Françoise Bonnot / Música: alguén no mundo do xornalismo dándolle espectacularidade ao caso e Alfred Newman / Xénero: drama / Intérpretes: Yves Montand, Jean-Louis delongando o rescate. Trintignant, Irene Papas, Jacques Perrin, François Périer, Pierre Dux, Charles Denner / Duración: 127 min / V.O.S. Network Nun país rexido por unha precaria democracia e dominado polas forzas 1976, Estados Unidos / Director: Sidney Lumet / Guión: Paddy Chayefsky / policiais e militares que pretenden erradicar calquera ameaza esquerdista, Fotografía: Owen Roizman / Montaxe: Owen Roizman / Música: Elliot Lawrence un deputado da oposición é asasinado no medio e medio da rúa cando / Xénero: drama / Intérpretes: Peter Finch, Faye Dunaway, William Holden, acaba de presidir un mitin de carácter pacifista. Encoméndaselle a Robert Duvall, Beatrice Straight, Wesley Addy, Ned Beatty, Arthur Burghardt, Bill instrución do caso a un maxistrado novo consciente de que se trata dun Burrows, Jordan Charney, Kathy Cronkite, Ed Crowley, Jerome Dempsey / crime político cometido por dous sicarios a soldo. Un ambicioso xornalista Duración: 121 min / V.O.S. emprega métodos pouco ortodoxos para acumular probas inculpatorias Unha análise sobre o poder da televisión, que retrata un mundo contra varios militantes dun partido de extrema dereita, mentres estes competitivo onde o éxito e as marcas de audiencia impoñen a súa derivan a responsabilidade cara a altos cargos da policía e do exército. ditadura. Howard Beale, veterano presentador dun informativo, é despedido cando baixa o nivel de audiencia do seu –anteriormente Cry Freedom exitoso– programa. En dúas semanas ten que abandonar a cadea pero, 1987, Reino Unido / Director: Richard Attenborough / Guión: John Briley / nunha reacción inesperada e ante o asombro de todos, anuncia que antes Fotografía: Ronnie Taylor / Montaxe: Lesley Walker / Música: George Fenton de que chegue ese momento se ha suicidar disparándose en directo. Este / Xénero: drama / Intérpretes: Kevin Kline, Penelope Wilton, Denzel feito sen precedentes provoca unha grande expectación entre os Washington, John Hargreaves, Zakes Moke, Ian Richardson, Alec McCowen, telespectadores e os propios compañeiros de Howard. Kevin McNally / Duración: 158 min / V.O.S. Esta película, baseada nun feito real, conta como cambia a vida dun Absence of Malice periodista
Load more

Recommended publications
  • Teaching Social Issues with Film
    Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. 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, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film
    [Show full text]
  • Journalismus Und Presse Im Film: Eine Filmographie 2003
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Journalismus und Presse im Film: Eine Filmographie 2003 https://doi.org/10.25969/mediarep/12817 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Journalismus und Presse im Film: Eine Filmographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 19). DOI: https://doi.org/10.25969/mediarep/12817. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0019_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 19, 2003: Journalismus und Presse im Film. ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21. Februar 2012. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0019_03.pdf Journalismus und Presse im Film: Eine Filmographie Zusammengestellt von Hans J. Wulff Das Genre der Medienfilme zeichnet eine Geschich- Gerade in der 1930er Jahren haben zahlreiche pro- te der Öffentlichkeitsverständnisse des 20. Jahrhun- fessionelle Zeitungsleute den Wechsel ins Drehbuch- derts nach – in mehrfacher Hinsicht: das Selbstver- gewerbe vollzogen. Damit mag zusammenhängen, ständnis von Journalisten betreffend, die oft implizi- daß der Zeitungsfilm eine Fülle von berufsspezifi- ten Vorstellungen über journalistische Ethik, über schen Problemen aufnahm und reflektierte.
    [Show full text]
  • Novidades Adultos 2014
    Los puentes de Madison = The bridges of Madison county / screenplay by Richard LaGravanese ; produced by Clint Eastwood and Kathleen Kennedy ; directed by Clint Eastwood. Ano de realización: 1995 Duración: 129 min. Localización: CINE 791-DM PUE [AUDV 19] Memorias de África = Out of Africa / directed by Sydney Pollack ; screenplay by Kurt Luedtke ; music by John Barry. Ano de realización: 1985 Duración: 154 min. Localización: CINE 791-DM MEM Lo que queda del día / una película de James Ivory ; screenplay by Ruth Prawer Jhabvala ; guión de Ruth Prawer Jhabvala ; música de Richard Robbins. Ano de realización: 1993 Duración: 129 min. Localización: CINE 791-DM LOQ Maridos y mujeres = Husbands and wives / una comedia escrita y dirigida por Woody Allen. Ano de realización: 1992 Duración: 103 min. Localización: CINE 791-C MAR Groundhog day = [Atrapado en el tiempo] / directed by Harold Ramis ; screenplay by Danny Rubin and Harol Rams ; produced by Trevor Albert and Harold Rams. Ano de realización: 1993 Duración: 97 min. Localización: CINE 791-C ATR La vida de Adèle / Abdellatif Kechiche. Ano de realización: 2013 Duración: 180 min. Localización: CINE 791-DM VID Los amantes del Círculo Polar / una película de Julio Medem. Ano de realización: 1998 Duración: 112 min. Localización: CINE 791-DM AMA Call me by your name / directed by Luca Guadagnino ; screenplay by James Ivory. Ano de realización: 2017 Duración: 127 min. Localización: CINE 791-DM CAL Midnight in Paris / escrita y dirigida por Woody Allen ; productores Letty Aronson, Stephen Tenenbaum, Jaume Roures. Ano de realización: 2011 Duración: 94 min. Localización: CINE 791-C MID El diario de Noa / dirigida por Nick Cassavetes ; guión de Jeremy Leven ; producida por Mark Johnson, Lynn Harris.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • Film, Philosophy Andreligion
    FILM, PHILOSOPHY AND RELIGION Edited by William H. U. Anderson Concordia University of Edmonton Alberta, Canada Series in Philosophy of Religion Copyright © 2022 by the authors. 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 otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Philosophy of Religion Library of Congress Control Number: 2021942573 ISBN: 978-1-64889-292-9 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: "Rendered cinema fimstrip", iStock.com/gl0ck To all the students who have educated me throughout the years and are a constant source of inspiration. It’s like a splinter in your mind. ~ The Matrix Table of contents List of Contributors xi Acknowledgements xv Introduction xvii William H.
    [Show full text]
  • Ruth Prawer Jhabvala's Adapted Screenplays
    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
    [Show full text]
  • SCRAPBOOK of MOVIE STARS from the SILENT FILM and Early TALKIES Era
    CINEMA Sanctuary Books 790 - Madison Ave - Suite 604 212 -861- 1055 New York, NY 10065 [email protected] Open by appointment www.sanctuaryrarebooks.com Featured Items THE FIRST 75 ISSUES OF FILM CULTURE Mekas, Jonas (ed.). Film Culture. [The First 75 Issues, A Near Complete Run of "Film Culture" Magazine, 1955-1985.] Mekas has been called “the Godfather of American avant-garde cinema.” He founded Film Culture with his brother, Adolfas Mekas, and covered therein a bastion of avant-garde and experimental cinema. The much acclaimed, and justly famous, journal features contributions from Rudolf Arnheim, Peter Bogdanovich, Stan Brakhage, Arlene Croce, Manny Farber, David Ehrenstein, John Fles, DeeDee Halleck, Gerard Malanga, Gregory Markopoulos, Annette Michelson, Hans Richter, Andrew Sarris, Parker Tyler, Andy Warhol, Orson Welles, and many more. The first 75 issues are collected here. Published from 1955-1985 in a range of sizes and designs, our volumes are all in very good to fine condition. Many notable issues, among them, those designed by Lithuanian Fluxus artist, George Macunias. $6,000 SCRAPBOOK of MOVIE STARS from the SILENT FILM and early TALKIES era. Staple-bound heavy cardstock wraps with tipped on photo- illustration of Mae McAvoy, with her name handwritten beneath; pp. 28, each with tipped-on and hand-labeled film stills and photographic images of celebrities, most with tissue guards. Front cover a bit sunned, lightly chipped along the edges; internally bright and clean, remarkably tidy in its layout and preservation. A collection of 110 images of actors from the silent film and early talkies era, including Inga Tidblad, Mona Martensson, Corinne Griffith, Milton Sills, Norma Talmadge, Colleen Moore, Charlie Chaplin, Lillian Gish, and many more.
    [Show full text]
  • Golden Globes Ballot Watch Live Sunday on Nbc Coverage Begins at 7Et/4Pt
    2016 GOLDEN GLOBES BALLOT WATCH LIVE SUNDAY ON NBC COVERAGE BEGINS AT 7ET/4PT Best Motion Picture, Best Actress Motion Picture, Best Actor Motion Picture, Best Motion Picture, Drama Drama Drama Musical or Comedy Carol Cate Blanchett, Carol Bryan Cranston, Trumbo The Big Short Mad Max: Fury Road Brie Larson, Room Leonardo DiCaprio, The Revenant Joy The Revenant Rooney Mara, Carol Michael Fassbender, Steve Jobs The Martian Room Saoirse Ronan, Brooklyn Eddie Redmayne, The Danish Girl Spy Spotlight Alicia Vikander, The Danish Girl Will Smith, Concussion Trainwreck Best Actress Motion Picture, Best Actor Motion Picture, Best Motion Picture, Best Motion Picture, Musical or Comedy Musical or Comedy Animated Foreign Language Jennifer Lawrence, Joy Christian Bale, The Big Short Anomalisa The Brand New Testament Melissa McCarthy, Spy Steve Carell, The Big Short The Good Dinosaur The Club Amy Schumer, Trainwreck Matt Damon, The Martian Inside Out The Fencer Maggie Smith, The Lady in the Van Al Pacino, Danny Collins The Peanuts Movie Mustang Lily Tomlin, Grandma Mark Ruffalo, Infinitely Polar Bear Shaun the Sheep Movie Son of Saul Best Supporting Actress, Best Supporting Actor, Best Director, Best Screenplay, any Motion Picture any Motion Picture Motion Picture Motion Picture Jane Fonda, Youth Paul Dano, Love & Mercy Todd Haynes, Carol Emma Donoghue, Room Jennifer Jason Leigh, The Hateful Eight Idris Elba, Beasts of No Nation Alejandro Iñárritu, The Revenant Tom McCarthy, Josh Singer, Spotlight Helen Mirren, Trumbo Mark Rylance, Bridge of Spies Tom
    [Show full text]
  • Catalogue-2020-21 Mise En Page 1
    2 Éditos p 4 L’association Cannes Cinéma p 8 Les Rencontres de Cannes p 14 Cannes Cinéphiles p 22 Cannes Écrans Juniors p 24 CANNESERIES p 26 Les événements spéciaux p 28 En avant les premières p 29 Regards sur... p 30 Semaine du Cinéma Italien de Cannes p 33 ACID POP p 35 Les Mercredis de l’image p 36 Les événements de la ville de Cannes avec Cannes Cinéma p 37 Les Jeudis de Cannes Cinéma p 39 Les Mercredis des petits p 43 Les Ciné-conférences avec Cannes Université p 49 Ciné voir et revoir avec le GIP Cannes Bel Âge p 52 Ciné-club avec le Film Club de Cannes p 62 Cannes Filmécole p 71 Les lieux de projection de Cannes Cinéma p 74 Calendrier des projections p 77 Remerciements p 82 3 4 Éditos Retrouvons le cinéma Que de jours, de semaines, de mois avons-nous été privés du plaisir des salles obscures par la pandémie du Covid-19. Aujourd’hui encore, malgré l’application de règles sanitaires plus souples, nous peinons parfois à franchir le seuil d’un cinéma. Et pourtant… Quoi de plus précieux et de plus nécessaire que d’échapper, l’espace de quelques heures, à un quotidien pesant en se laissant transporter par la magie d’un bon scénario ? Comme le disait le réalisateur François Truffaut : « Le cinéma est un mélange parfait de vérité et de spectacle ». C’est cette double réalité que nous recherchons en toute œuvre. Celle qui raconte à la fois le monde tel qu’il est et tel qu’il pourrait être, gardant les pieds sur terre et la tête dans les étoiles.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • Filmerzählung Sogar Dinge Im Raum Allein Durch Die Kraft Ihres Glaubens Bewegen
    Sucht Sehnsucht Erstarrung / Leblosigkeit Glauben / Vertrauen Hysterie / Manie Geduld / Leidensfähigkeit Ängste / Depressionen Freiheit / Verwirklichung Egoismus / Macht Liebe / Selbstlosigkeit Zwänge / Gewalt Sinnerfüllung / Kreativität 12 Monkeys Durch ihren ausbeuterischen, verbrecherischen Umgang mit der Na- tur hat sich die Menschheit fast endgültig selbst ausgerottet, auch wenn der entscheidende Auslöser für die Katastrophe die Tat eines verblendeten Psychopathen war. Aber es besteht kein Zweifel daran, daß unsere sinnentleerte, materia- listische Realität der Ursprung des Desasters ist. Klarsichtige, wie der manische Goines, der den Wahnsinn erkennt, werden weggesperrt, Wissenschaftler kurieren bis zuletzt nur an den Symptomen. Was uns in diesem Endzeitszenario Trost gewährt, ist nur die Musik - und am Ende die Liebe. _____________________________________________________________ USA 1995. R: Terry Gilliam. B: David und Janet Peoples, inspiriert von dem Film La Jetée von Chris Marker. K: Roger Pratt. S: Mick Audsley. M: Paul Buckmaster. D: Bruce Willis, Madeleine Stowe, Brad Pitt, Christopher Plummer u.a. 130 Min. 221 Sucht Sehnsucht Erstarrung / Leblosigkeit Glauben / Vertrauen Hysterie / Manie Geduld / Leidensfähigkeit Ängste / Depressionen Freiheit / Verwirklichung Egoismus / Macht Liebe / Selbstlosigkeit Zwänge / Gewalt Sinnerfüllung / Kreativität All die schönen Pferde Die Entwicklungsgeschichte zweier Jugendlicher, die in den Fünfziger Jahren von Texas nach Mexiko aufbrechen, um die Freiheit zu finden, und dabei Liebe, Tod, Gewalt, Schuld und Trennung erfahren. Durch die schicksalhafte Begegnung mit einem 14jährigen verwahr- losten Jungen, dem der Strudel der Gewalt, in den er geraten ist, zum tödlichen Verhängnis wird, geraten die Freunde selbst in Lebensge- fahr, der sie zuletzt nur durch Mut, Geduld und Gottvertrauen ent- kommen. Die Liebe des einen zerbricht an den Konventionen der feudalen mexi- kanischen Gesellschaft, aber das Wunder, sie erlebt zu haben, wird ihm für immer bleiben.
    [Show full text]
  • Your Cheatin' Art: Double Dealing in Cinematic Narrative
    Your Cheatin' Art: Double Dealing in Cinematic Narrative David H. Richter Narrative, Volume 13, Number 1, January 2005, pp. 11-28 (Article) Published by The Ohio State University Press DOI: 10.1353/nar.2005.0006 For additional information about this article http://muse.jhu.edu/journals/nar/summary/v013/13.1richter.html Access provided by City University of New York (7 Oct 2013 01:52 GMT) David H. Richter Your Cheatin’Art: Double Dealing in Cinematic Narrative Have you ever gone to a film showing and, as the end titles roll, heard from the hostile audience in different parts of the hall not only catcalls but the shouted word “cheat”? Obviously there is something here greater than mere disappointment. To claim that a film cheats is to imply that there is a tacit narrative contract between the film and the viewer, and that the film in some way breaches that contract. This essay explores a variety of film cheats, seeking not only to offer insight into the workings of particular films but also to identify kinds of cheating and, thus, some clauses in that contract between film and viewer. The essay takes its cues from my own re- sponses, those personally communicated to me,1 and ones I have found in published reviews, both professional pieces and amateurish displays on Internet message boards (i.e., I looked into those films that people told me “cheat big time”). But I must admit from the start that the question of cheating actually provokes a lot of dis- agreement in the real audience.
    [Show full text]