500 Classic Films ______
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9 SETTIMANE E ½ ALLA CASA DEL CINEMA 11 Luglio – 12 Settembre Sala Deluxe E Teatro All’Aperto Ore 21
9 SETTIMANE e ½ ALLA CASA DEL CINEMA 11 luglio – 12 settembre Sala Deluxe e Teatro all’aperto ore 21 Ingresso gratuito consentito fino ad esaurimento posti Largo Marcello Mastroianni, 1 - 00197 Roma (a 50 metri da Porta Pinciana e da Via Veneto) Info tel. 060608 www.casadelcinema.it www.060608.it In caso di pioggia le proiezioni previste al Teatro all’aperto si terranno nella Sala Deluxe Il programma può subire variazioni LUNEDI 11 LUGLIO | SALA DELUXE Buon compleanno a…FRANCO GIRALDI ore 16.30 LA GIACCA VERDE Italia, 1969, 103’ ore 19 GLI ORDINI SONO ORDINI Italia, 1972, 110’ LUNEDI 11 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema SHAKESPEARE IN LOVE di John Madden USA, 1998, 123’ (v.o. con sottotitoli) MARTEDI 12 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota ROMA di Federico Fellini Italia, 1972, 120’ MERCOLEDI 13 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota SOTTO IL SOLE DI ROMA di Renato Castellani Italia, 1948, 104’ GIOVEDI 14 LUGLIO ORE 21 | SALA DELUXE Omaggio a Nino Rota GIOVANI MARITI di Mauro Bolognini Italia, Francia, 1958, 98’ DOMENICA 17 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota ASSASSINIO SUL NILO di John Guillermin Death on the Nile GB, 1978, 140’ LUNEDI 18 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema PROSPERO’S BOOK di Peter Greenaway L’ultima tempesta GB, Olanda, Fr, Giappone, Ita, 1991, 124’ (v.o. con sottotitoli) MERCOLEDI 20 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota VITA DA CANI di Steno e Mario Monicelli Italia, 1950, 90’ GIOVEDI 21 LUGLIO ORE 21 | SALA DELUXE Omaggio a Nino Rota MIO FIGLIO PROFESSORE di Renato Castellani Italia, 1946, 85’ DOMENICA 24 LUGLIO ORE 21 | TEATRO ALL’APERTO Buon compleanno a…ERMANNO OLMI IL MESTIERE DELLE ARMI Italia, Fr, Ge, 2000, 100’ LUNEDI 25 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema LOVE’S LABOUR’S LOST di Kenneth Branagh Pene d’amor perdute GB, 1999, 95’ (v.o. -
Main Screen: 1100 Seats (To Run Only 35Mm Film Prints)
Location: Chandan Cinema, Juhu Main Screen: 1100 Seats (to run only 35mm film prints) Show Time 1st Show 2nd Show 3rd Show 4th Show 5th Show Date/Day 10.00 am 12.30 Noon 3.30 pm 5.30 pm 8.00 pm 21-10-.2010 No shows No shows No shows At: 7.00 p.m. Opening Function followed by the Inaugural Film Thursday THE SOCIAL NETWORK Dir.: David Fincher (USA / 2010 /35mm / Col. / 120’) 22-10-2010 10:30 am Inauguration of To start show by 1:30 p.m. POETRY ON THE PATH (NA PUTU) UNITED RED ARMY Friday Japanese Cinema followed by SUBMARINO Dir.: Lee Chang-dong Dir.: Jasmila Zbanic (Bosnia and Dir.: Kôji Wakamatsu ABOUT HER BROTHER (OTÔTO) Dir.: Thomas Vinterberg (South Korea / 2010 / 35mm / Col. / 139’) Herzegovina-Austria-Germany- (Japan / 2007 / 35mm / Col. / 190') Dir.: Yôji Yamada (Denmark-Sweden / 2010 / 35mm / Col. / Croatia / 2010 / 100’) (Japan / 2010 / 35mm / 35mm / 105') 126’) WC WC WC CJC CJC 23-10-2010 HOLD ME TIGHT (HOLD OM UNDERTOW (CONTRACORRIENTE) HONEY (BAL) R SANDCASTLE Saturday MIG) Dir.: Javier Fuentes-León Dir.: Semih Kaplanoglu Dir.: Michael Noer & Tobias Lindholm Dir.: Boo Junfeng Dir.: Kaspar Munk (Peru-Colombia/ 2009 / 35mm / Col. / (Turkey-Germany / 2010 / 35mm / Col. / 103') (Denmark / 2010 / 35mm / Col. / 90’) (Singapore / 2010 / 35mm / Col. / 92') (Denmark / 2010 / 35mm / Col. / 80') 100’) ATC WC WC IC-Presentation IC-Presentation 24-10-2010 ON TOUR (TOURNÉE) BUNRAKU MUNDANE HISTORY OUTRAGE CATERPILLAR Sunday Dir.: Mathieu Amalric Dir.: Guy Moshe Dir.: Anocha Suwichakornpong Dir.: Takeshi Kitano Dir.: Kôji Wakamatsu (France / 2010 / 35mm / Col. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
Smoothing the Wrinkles Hollywood, “Successful Aging” and the New Visibility of Older Female Stars Josephine Dolan
Template: Royal A, Font: , Date: 07/09/2013; 3B2 version: 9.1.406/W Unicode (May 24 2007) (APS_OT) Dir: //integrafs1/kcg/2-Pagination/TandF/GEN_RAPS/ApplicationFiles/9780415527699.3d 31 Smoothing the wrinkles Hollywood, “successful aging” and the new visibility of older female stars Josephine Dolan For decades, feminist scholarship has consistently critiqued the patriarchal underpinnings of Hollywood’s relationship with women, in terms of both its industrial practices and its representational systems. During its pioneering era, Hollywood was dominated by women who occupied every aspect of the filmmaking process, both off and on screen; but the consolidation of the studio system in the 1920s and 1930s served to reduce the scope of opportunities for women working in off-screen roles. Off screen, a pattern of gendered employment was effectively established, one that continues to confine women to so-called “feminine” crafts such as scriptwriting and costume. Celebrated exceptions like Ida Lupino, Dorothy Arzner, Norah Ephron, Nancy Meyers, and Katherine Bigelow have found various ways to succeed as producers and directors in Hollywood’s continuing male-dominated culture. More typically, as recently as 2011, “women comprised only 18% of directors, executive producers, cinematographers and editors working on the top 250 domestic grossing films” (Lauzen 2012: 1). At the same time, on-screen representations came to be increasingly predicated on a gendered star system that privileges hetero-masculine desires, and are dominated by historically specific discourses of idealized and fetishized feminine beauty that, in turn, severely limit the number and types of roles available to women. As far back as 1973 Molly Haskell observed that the elision of beauty and youth that underpins Hollywood casting impacted upon the professional longevity of female stars, who, at the first visible signs of aging, were deemed “too old or over-ripe for a part,” except as a marginalized mother or older sister. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Self/Other Representations in Aleksei Balabanov's 'Zeitgeist Movies'
SELF/OTHER REPRESENTATIONS IN ALEKSEI BALABANOV‟S „ZEITGEIST MOVIES‟: FILM GENRE, GENRE FILM AND INTERTEXTUALITY Florian Weinhold School of Languages, Linguistics and Cultures A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 2 Contents ABSTRACT……………….……………………………..….............…............... 6 DECLARATION………………………………………………….......................7 COPYRIGHT STATEMENT.....……………………………………................. 7 THE AUTHOR...………………………………………………….......................8 ACKNOWLEDGEMENTS…………………………..………....…................... .9 Chapter 1: Introduction..............................………………………......……........11 1.1 Background, Rationale, Aim and Structure of the Introduction…………. 11 1.2 Why Balabanov?…………………………………..…….…….................. 13 1.3 Why Balabanov‟s „Genre Films‟?………………………..………............ 16 1.4 Balabanov‟s Genre Films in Russian and Western Criticism..................... 19 1.5 Contributions of the Study......................………………………………… 28 1.6 Aim, Objectives and Research Questions of the Thesis..............…........... 29 1.7 Primary Sources………….......................................................................... 31 1.8 Structure of the Thesis................................................................................ 32 Chapter 2: Methodology.......................................................................................35 2.1 Introduction...........................………………….......................................... 35 2.2 Why Genre?……………………………………...................……............ -
Mary in Film
PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas -
Representation and Meaning of the Dacha in Contemporary Russian Films VOL
ESSAY Representation and Meaning of the Dacha in Contemporary Russian films VOL. 113 (MARCH 2021) BY MAXIM PLOKHIKH Despite its transition to a service economy and its heavy reliance on natural resources, modern-day Russia is still influenced by ways of life originating with the rural population and its centuries-long traditions. The social and political transformations of the 20th century have caused major ruptures in the standard of living of many Russians. The overthrow of Tsarism, the rise and fall of Communism, and the economic growth that has followed each of these ruptures, have led to the growth of urban populations and the gradual extinction of villages. Still, the rural reality has retained some of its grip on local culture. The phenomenon of the dacha occupies a special place within these transformations, as dachas are usually understood as houses where urban folks can spend time away from city life and out in the countryside.1 From an anthropological standpoint, the so-called “dachniki” are remarkable in that they carry over the peculiarities of dacha culture – chief among them the temporary change of patterns of behavior linked to urban life – into the present. The characteristic behavior of the dachniki chiefly relates to routine chores: planting seasonal agricultural products, repairing or rebuilding household items and the property itself, removing all kinds of garbage and waste, and so on. Filmmakers recognizing the charm of and mystery behind dachas have tried to capture it in one way or another in Soviet and post-Soviet films. Both classics of the Soviet era and films of narrower outreach and ambition have been shot around the image of the dacha. -
Shakespeare Cinema: Romeo & Juliet
SHAKESPEAREONFILM SHAKESPEARE CINEMA: ROMEO & JULIET PART ONE SHAKESPEARE IN PERFORMANCE - THEN AND NOW Act One, Scene One Enter Sampson and Gregory, with swords and bucklers, of the house of Capulet. The first instructions given in ROMEO AND JULIET to the actors are very brief: “Two actors enter’. But what do they enter? A house? A street? A tavern? Is it important for us to know? For Shakespeare’s audience it would not have been important. From what the Chorus has already said they would know that the play was set in Verona and so they would have an idea of the general location of the play. The two actors would have entered onto a stage. And that was all. No backdrops, no complicated scenery. Just a stage, probably bare. It is perhaps difficult for us to understand that audiences would accept this because we are so used to seeing television and film where directors try to make settings as realistic as possible. Our visual expectations when we go to see a play are very different from those of audiences 400 years ago. RESEARCH TASK Find a drawing of the original Globe Theatre. How is it different from a modern theatre? What sort of costumes did the actors in Shakespeare’s time use when they were performing? What sorts of people used to go to the theatre in Shakespeare’s time? Today, we expect ‘realistic’ performances of Shakespeare’s plays - if it says in the text that ROMEO AND JULIET takes place in Verona, then what do we expect? Probably Italian style town settings and carefully designed house interiors. -
THE MUSEUM of MODERN ART If WEST 53 STREET, NEW YORK 19, N
THE MUSEUM OF MODERN ART If WEST 53 STREET, NEW YORK 19, N. Y. TftfPHONI: CIRCLE 5-8900 FOR RELEASE: kl May 1, 1955 No SCHEDULE OF EXHIBITIONS AND EVENTS MUSEUM HOURS: ADMISSION: Weekdays 12 - 7 p.*.(») Adults 60fi Sundays 1 - 7 p.m. Children 20/£ Note: Full releases on each exhibition are available five days before the opening. Photographs are available on request, MAY OPENINGS AND EVENTS f May fc RODIN S MONUMENT TO BALZAC on view in the Museum garden. A gift to the Museum by friends of the late Curt Valentin. May 11 - Aug.7 THE NEW DECADE: 22 EUROPEAN PAINTERS AND SCULPTORS. 85 paintings and sculptures selected by Andrew Carnduff Ritchie, Director of the Museum's Department of Painting and Sculpture. The exhibition will open concurrently with the Whitney Museum's exhibition: The New Decade: 35 American Painters and Sculptors.(Press preview: May 10 '- 1-5 p.m.) (third floor) May 17 & 18 ** THE STORY OF APU AND DUTGA - World Premiere of a feature film of (sold out for Bengal village life, produced by Satyajit Ray of Calcutta, 1955. May 17th eve.) The last of "The Living Arts of India"series of evenings to be presented by the Museum's Junior Council in connection with the 8:30 p.m. in the exhibition, "Textiles and Ornamental Arts of India," currently Auditorium on view in the Museum's first floor galleries. Admission: Members and Students - $2.25, Non-members - $3.00 May 25 - Sept. 5 PAINTINGS FROM PRIVATE COLLECTIONS. An exhibition of approximately 100 important paintings from the collections of friends of the Museum, planned to complement the "Paintings from the Museum Collection" exhibition with which the Museum's 25th Anniversary celebration opened. -
'National Cinema'
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 18 September 2018 doi:10.20944/preprints201809.0339.v1 Peer-reviewed version available at Arts 2018, 7, 87; doi:10.3390/arts7040087 Introduction. The Misleading Discovery of Japanese ‘National Cinema’. Marcos P. CENTENO MARTÍN1 Birkbeck, University of London [email protected] Abstract: The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the World and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text andproduction- based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality. Keywords: National Cinema; Transnational Japanese Film; taiyōzoku; mukokuseki;’kimono effect’; youth icons; postwar film festivals. 1 Lecturer in Japanese Studies, Birkbeck, University of London. -
The Russian Cinematic Culture
Russian Culture Center for Democratic Culture 2012 The Russian Cinematic Culture Oksana Bulgakova Follow this and additional works at: https://digitalscholarship.unlv.edu/russian_culture Part of the Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, and the Slavic Languages and Societies Commons Repository Citation Bulgakova, O. (2012). The Russian Cinematic Culture. In Dmitri N. Shalin, 1-37. Available at: https://digitalscholarship.unlv.edu/russian_culture/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Russian Culture by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. The Russian Cinematic Culture Oksana Bulgakova The cinema has always been subject to keen scrutiny by Russia's rulers. As early as the beginning of this century Russia's last czar, Nikolai Romanov, attempted to nationalize this new and, in his view, threatening medium: "I have always insisted that these cinema-booths are dangerous institutions. Any number of bandits could commit God knows what crimes there, yet they say the people go in droves to watch all kinds of rubbish; I don't know what to do about these places." [1] The plan for a government monopoly over cinema, which would ensure control of production and consumption and thereby protect the Russian people from moral ruin, was passed along to the Duma not long before the February revolution of 1917.