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Envoi Du 16 Novembre 2019-Fi19764067.Pdf
LA NOUVELLE VAGUE 1959 https://youtu.be/_U6IqRDMekU https://youtu.be/jgDQTvcN0E0 https:// youtu.be/VCodM7DLEqg LES 400 COUPS de François TRUFFAUT (France – 1959) Images : Henri DECAE Filmographie sélective 1949 : Le Silence de la mer, de Jean-Pierre Melville 1950 : Les Enfants terribles, de Jean-Pierre Melville 1955 : Bob le flambeur, de Jean-Pierre Melville 1958 : Ascenseur pour l'échafaud, de Louis Malle Le Beau Serge, de Claude Chabrol Les Amants, de Louis Malle 1959 : Les Cousins, de Claude Chabrol Les Quatre Cents Coups, de François Truffaut 1960 : Plein Soleil, de René Clément Les Bonnes Femmes, de Claude Chabrol 1961 : Léon Morin, prêtre, de Jean-Pierre Melville 1962 : Vie privée, de Louis Malle Les Dimanches de Ville d'Avray, de Serge Bourguignon 1963 : L'Aîné des Ferchaux, de Jean-Pierre Melville 1964 : Week-end à Zuydcoote, de Henri Verneuil Henti DECAE 1965 : Le Corniaud, de Gérard Oury (1915 – 1987) Viva María!, de Louis Malle 1967 : La Nuit des généraux (The Night of the Generals), d'Anatole Litvak 1967 : Le Voleur, de Louis Malle Le Samouraï, de Jean-Pierre Melville 1969 : Le Clan des Siciliens, de Henri Verneuil 1970 : Le Cercle rouge, de Jean-Pierre Melville 1971 : La Folie des grandeurs, de Gérard Oury 1973 : Les Aventures de Rabbi Jacob, de Gérard Oury 1974 : La Moutarde me monte au nez, de Claude Zidi 1975 : La Course à l'échalote, de Claude Zidi 1977 : Mort d'un pourri, de Georges Lautner 1978 : Ils sont fous ces sorciers, de Georges Lautner 1979 : Flic ou voyou, de Georges Lautner 1980 : Le Guignolo, de Georges Lautner -
The Alien Tort Statute and the Law of Nations Anthony J
The University of Chicago Law Review Volume 78 Spring 2011 Number 2 @2011 by The University of Chicago ARTICLES The Alien Tort Statute and the Law of Nations Anthony J. Bellia Jrt & Bradford R. Clarktt Courts and scholars have struggled to identify the original meaning of the Alien Tort Statute (A TS). As enacted in 1789, the A TS provided "[that the district courts ... shall ... have cognizance ... of all causes where an alien sues for a tort only in violation of the law of nations or a treaty of the United States." The statute was rarely invoked for almost two centuries. In the 1980s, lower federal courts began reading the statute expansively to allow foreign citizens to sue other foreign citizens for all violations of modern customary international law that occurred outside the United States. In 2004, the Supreme Court took a more restrictive approach. Seeking to implement the views of the First Congress, the Court determined that Congress wished to grant federal courts jurisdiction only over a narrow category of alien claims "correspondingto Blackstone's three primary [criminal] offenses [against the law of nations]: violation of safe conducts, infringement of the rights of ambassadors, and piracy." In this Article, we argue that neither the broaderapproach initially endorsed by t Professor of Law and Notre Dame Presidential Fellow, Notre Dame Law School. tt William Cranch Research Professor of Law, The George Washington University Law School. We thank Amy Barrett, Tricia Bellia, Curt Bradley, Paolo Carozza, Burlette Carter, Anthony Colangelo, Michael Collins, Anthony D'Amato, Bill Dodge, Rick Garnett, Philip Hamburger, John Harrison, Duncan Hollis, Bill Kelley, Tom Lee, John Manning, Maeva Marcus, Mark McKenna, Henry Monaghan, David Moore, Julian Mortenson, Sean Murphy, John Nagle, Ralph Steinhardt, Paul Stephan, Ed Swaine, Jay Tidmarsh, Roger Trangsrud, Amanda Tyler, Carlos Vizquez, Julian Velasco, and Ingrid Wuerth for helpful comments. -
Le Chemin Des Etoiles
LE CHEMIN DES ETOILES 1.Pedro Almodovar 2004 27.Vanessa Redgrave 1992 44. Val Kilmer 2005 2. Pénélope Cruz 2006 28. Isabella Rosselini 1990 45. Pierre Richard 1985 3. Julie Andrews 1992 29. Ettore Scola 1988 46. Jean Rochefort 2003 4. Luc Besson 1988 30. Jean Louis Trintignant 1985 47. Richard Bohringer 1987 5. Claudia Cardinale 1993 31. Andrezj Wadja 1990 48. Micheline Presle 1987 6. Jean-Paul Belmondo 1988 32. Franco Zeffireli 1986 49. Anthony Quinn 1994 7. Charlotte Gainsbourg 1990 33. Jodie Foster 2001 50. Sidney Pollack 1986 8. Lars Von Trier 2003 34. Lambert Wilson 1987 51. Keanu Reeves 2003 9. Catherine Deneuve 1985 35. Sylvester Stallone 1993 52. Charlotte Rampling 1986 10. Sandrine Bonnaire 2006 36. Quentin Tarantino 2004 53. Gregory Peck 1989 11. Claude Chabrol 1985 37. Jack Nicholson 2002 54. Diane Kruger 2007 12. Kar-Wai Wong 2001 38. Sophia Loren 1989 55. Claude Lelouch 1986 13. Tim Burton 2006 39. David Lynch 1990 56. Michelangelo Antonioni 1977 14. Andrezj Zulawski 1990 40. Paul McCartney 2001 57. Nicole Kidman 2001 15. Johnny Hallyday 1986 41. Nicolas Cage 1990 58. Cameron Diaz 2002 16. Dennis Hopper 1991 42. Meryl Streep 1989 59. Nathalie Portman 2008 17.Angelina Jolie 2007 43. Liza Minelli 2005 60. Georges Lucas 2002 18. Vigo Mortensen 2005 61. Ewan Mac Gregor 2001 19. Michel Legrand 1987 62. Michel Piccoli 2007 20. Meg Ryan 2003 63. Tim Robbins 1992 21. Leonardo Dicaprio 2002 70. Ben 2004 64. Francesco Rosi 1990 22. Gérard Jugnot 1985 71. Michael Moore 2004 65. Claude Sautet 1990 23. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress. -
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. -
CLASSICAL MUSIC in CINEMA the Purpose of the Course Will Be To
CLASSICAL MUSIC IN CINEMA The purpose of the course will be to explore and understand the use of classical music in art movies starting with The Birth of a Nation in 1915 up until today. Films will be screened partially, and musical extracts will discussed. The 12 week lectures start with a historical introduction into the utilisation of classical music in the early era of cinema. Diegetic and non-diegetic music and their particular use will then be discussed. A discussion on the effect of leitmotivs and classical music as a device supporting the narrative will follow. After this three-week introduction, we will explore classical music used as leitmotiv and supporting narrative, then films on opera and opera in films, and the use of classical music in period movies. We will then examine the way how specific pieces of music have added to some of the greatest dramas and films of the past. Finally, the course will conclude with a discussion of auteur cinema and cover how seven essential directors have used music in their films; Bunuel, Bresson, Bergman, Pasolini, Kubrick, Godard, Tarkovsky and Fassbinder. Extracts from almost 100 films are intended to be shown and discussed. There will be no requirement for pre-lecture reading, screening or preparation. However, attendance will be obligatory, since grades will only be based on attendance, performance in class and homework in the form of essays. Screenings of assignments will be made in class. Week 1 (9 February 2015): General introduction Features D.W. Griffith’s The Birth of a Nation [1915] Sergei Eisenstein’s Battleship Potemkin [1925] Fritz Lang’s Metropolis [1927] David Lean’s Brief Encounter [1945] Giuseppe Tornatore’s Cinema Paradiso [1988] Luc Besson’s Leon [1994] Readings [None. -
12 Big Names from World Cinema in Conversation with Marrakech Audiences
The 18th edition of the Marrakech International Film Festival runs from 29 November to 7 December 2019 12 BIG NAMES FROM WORLD CINEMA IN CONVERSATION WITH MARRAKECH AUDIENCES Rabat, 14 November 2019. The “Conversation with” section is one of the highlights of the Marrakech International Film Festival and returns during the 18th edition for some fascinating exchanges with some of those who create the magic of cinema around the world. As its name suggests, “Conversation with” is a forum for free-flowing discussion with some of the great names in international filmmaking. These sessions are free and open to all: industry professionals, journalists, and the general public. During last year’s festival, the launch of this new section was a huge hit with Moroccan and internatiojnal film lovers. More than 3,000 people attended seven conversations with some legendary names of the big screen, offering some intense moments with artists, who generously shared their vision and their cinematic techniques and delivered some dazzling demonstrations and fascinating anecdotes to an audience of cinephiles. After the success of the previous edition, the Festival is recreating the experience and expanding from seven to 11 conversations at this year’s event. Once again, some of the biggest names in international filmmaking have confirmed their participation at this major FIFM event. They include US director, actor, producer, and all-around legend Robert Redford, along with Academy Award-winning French actor Marion Cotillard. Multi-award-winning Palestinian director Elia Suleiman will also be in attendance, along with independent British producer Jeremy Thomas (The Last Emperor, Only Lovers Left Alive) and celebrated US actor Harvey Keitel, star of some of the biggest hits in cinema history including Thelma and Louise, The Piano, and Pulp Fiction. -
L'ivresse Du Pouvoir
W-2254_K 30.01.2006 0:56 Uhr Seite 24 Berlinale 2006 L’IVRESSE DU POUVOIR Wettbewerb GEHEIME STAATSAFFÄREN COMEDY OF POWER Regie: Claude Chabrol Frankreich/Deutschland 2006 Darsteller Jeanne Charmant Isabelle Huppert Länge 108 Min. Humeau François Berléand Format 35 mm, 1:1.85 Sibaud Patrick Bruel Farbe Philippe Charmant Robin Renucci Erika Maryline Canto Stabliste Félix Thomas Chabrol Buch Odile Barski Boldi Jean-François Balmer Claude Chabrol Martino Pierre Vernier Kamera Eduardo Serra Descarts Jacques Boudet Kameraführung Michel Thiriet Holéo Philippe Duclos Schnitt Monique Fardoulis Martino Pierre Vernier Ton Pierre Lenoir Me Parlebas Jean-Christophe Mischung Tierry Lebon Bouvet Musik Mathieu Chabrol René Lange Roger Dumas Musikalische Urkundsbeamter Yves Verhoeven Leitung Laurent Petitgirard Szenenbild Françoise Benoit- Fresco Ausstattung Catherine Pierrat Kostüm Mic Cheminal Isabelle Huppert Regieassistenz, Casting Cécile Maistre Produktionsltg. Michel Jullien GEHEIME STAATSAFFÄREN Aufnahmeleitung Thierry Magniez Die Richterin Jeanne Charmant erhält den Auftrag, einen sehr komplexen Produzent Patrick Godeau Fall zu untersuchen und zu entwirren. Es geht dabei um Veruntreuung und Co-Produzent Alfred Hürmer Zweckentfremdung öffentlicher Finanzmittel und letztendlich um die Ankla- Ausführende ge gegen den Vorstandsvorsitzenden eines mächtigen Industriekonzerns. Produzentin Françoise Galfre Co-Produktion France 2 Cinéma, Je weiter sie mit ihren Untersuchungen vorankommt und je tiefer ihre Fra- Paris gen dringen, umso bewusster wird sie -
Quand Tu Descendras Du Ciel
Quand tu descendras du ciel Deutscher Titel: Vom Himmel hoch Kinostart in Frankreich: 2003 Kinostart in Belgien: 2003 Kinostart in Deutschland: 2004 Land: Frankreich/Belgien Regie, Buch: Éric Guirado Darsteller/innen: Benoît Giros, Serge Riaboukine, Ludmila Ruoso, Jean-François Gallotte Kamera: Thierry Godefroy Schnitt: Ludo Troch, Christian Cuilleron Ton: Philippe Mouisset Musik: Philippe Poirier, Sylvain Freyermuth Produktion: BFC Productions, Canal+, Harpo Films, Need Productions, Rhône-Alpes Cinéma Produzenten: Jean-Fabrice Barnault, Victorien Vaney, Christophe di Sabatino Deutscher Verleih: Kairos Filmverleih Länge: 100 Minuten Format: 35 mm Genre: Drama Preise: Filmfest Braunschweig 2003 (Publikumspreis), Filmfest Angers 2003 (Publikumspreis) Synopsis Jérôme verlässt kurz vor Weihnachten den hochverschuldeten Bauernhof seiner Eltern, um in der Großstadt Arbeit zu suchen. Er freundet sich mit dem stolzen und exzentrischen Stadtstreicher „La Chignole“ an, der den ganzen Tag vor einem Fernsehgeschäft sitzt und sich ‚Stummfilme‛ ansieht. Bald findet Jérôme auch eine Arbeit, die ihm Spaß macht: Er schmückt Weihnachtsbäume in der Stadt. Doch dann kommt eine Anweisung von oben – Bettler werden nicht mehr vor den weihnachtlichen Schaufenstern geduldet. Nun müssen Jérôme und sein Kollege Lucien Obdachlose einsammeln und sie gegen ihren Willen irgendwo auf freiem Feld aussetzen. Als sich Jérôme auch noch in die junge Journalistin Marthe verliebt, die von den skandalösen Praktiken der Stadtverwaltung Wind bekommen hat, gerät er zwischen alle Fronten: Wie soll er zwischen Arbeit, Freundschaft und Liebe entscheiden? Vom Himmel hoch verbindet die Kritik an der Gesellschaft mit Witz, Poesie und Lebensfreude. Regisseur: Éric Guirado Éric Guirado wurde am 16. September 1968 in Lyon geboren. Er arbeitete zunächst als Journalist und dann als Regisseur und Drehbuchautor von Dokumentar- und Kurzfilmen. -
Dussollier Hands Baer
PHOTOS ARNAUD BORREL / ILLUSTRATION OLIVIER AND MARC-ANTOINE COULON DUSSOLLIER JEAN-LOUIS LIVI JEAN-LOUIS ANDRE A FILM BY MARC A FILMBY PRESENTS HANDS DUGAIN MARINA ND MARC-ANTOINE COULON A PHOTOS ARNAUD BORREL / ILLUSTRATION OLIVIER PHOTOS ARNAUD BORREL / ILLUSTRATION EDOUARD BAER R O GN: DIMITRI SIMON F SI L DE A N I G I R O JEaN-LouiS Livi PRESENTS aNdRE MaRiNa EDOUARd DUSSOLLIER HANDS BAER (UNE EXECUTION ORDINAIRE) a FiLM BY MaRC DUGAIN STudioCaNaL iNTERNaTioNaL MaRkETiNg 1, place du Spectacle 92863 issy-les-Moulineaux Cedex 9 France Phone: +33 1 71 35 11 13 RUNNING TIME : 1h45 www.studiocanal.com FRENCH RELEASE DATE: FEBRUARY 3, 2010 STaLiN To aNNa : “doN’T FoRgET YouR HaNdS, i WiLL CoME WiTH MY PaiN.” Fall 1952. A young urologist and healer who works in a hospital in the Moscow suburbs is desperate to fall pregnant by her husband, a disillusioned doctor who is only surviving because of the love binding him to his wife. To her great terror, she is secretly called upon to look after Stalin who is sick and who has just fired his personal physician. The dictator worms his way into their relationship and creates a relationship with the young woman involving a tangle of secrets and manipulation. By turns friendly and perverse, the monster reveals his skills in the art of terror as never seen before. STaLiN : “i’vE goTTEN Rid oF EvERYoNE WHo WaS iNdiSPENSaBLE. SiNCE THEN, THEY’vE SHoWN ME THaT THEY WEREN’T.” I TERVIEW WITH marc dugain Your book, “The Officers’ Ward” was adapted for the screen in 1991 AN ORDINARY EXECUTION is about the last days of Stalin and covers by François Dupeyron. -
Bertrand Tavernier's Coup De Torchon
N AHEM Y OUSAF A Southern Sheriff’s Revenge: Bertrand Tavernier’s Coup de Torchon This essay traces the story of a Texan small-town sheriff as first told and reworked by the American pulp fiction writer Jim Thompson in The Killer Inside Me (1952) and Pop. 1280 (1964), and transformed by French film director Bertrand Tavernier when he transposes this par- ticular ‘Southern’ sheriff’s story to colonial Senegal in 1938 in Coup de Torchon (Clean Slate, 1980). To begin, this essay considers why Thompson shifts his story from the American ‘West’ in the 1950s to the American ‘South’ in the 1960s before examining in some detail the ways in which Tavernier’s cross-cultural and trans-generic remake of Pop. 1280 successfully interrogates southern tropes in non-southern settings. The image of the Southern sheriff in twentieth-century fiction and film accrued mainly negative connotations, by focusing on the stakes sheriffs had in white supremacy and in maintaining a segregated sta- tus quo, or exploring their limited efforts to move beyond being either ineffectual or corrupt – or both. In novels such as Erskine Caldwell’s Trouble in July (1940) and Elizabeth Spencer’s The Voice at the Back Door (1956), for example, the small-town sheriff is mired in a moral dilemma. Spencer created Mississippi sheriff Duncan Harper while living in Italy. Thrust into office by the dying incumbent, he struggles against racist crimes that have been ignored in the past, the repercus- sions of which threaten the present. He dies having made a racially liberal plea to the town that after his death may choose to deem him merely eccentric.