DOCSLIB.ORG

VOLUME I · Nº 2 · 2013 Editor: Gonzalo De Lucas (Universitat Pompeu Fabra)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VOLUME I · Nº 2 · 2013 Editor: Gonzalo De Lucas (Universitat Pompeu Fabra) VOLUME I · Nº 2 · 2013 Editor: Gonzalo de Lucas (Universitat Pompeu Fabra). Associate Editor: Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, USA), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, USA), Haden Guest (Harvard University, USA), Tom Gunning (University of Chicago, USA), John MacKay (Yale University, USA), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Gilberto Perez (Sarah Lawrence College, USA), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, USA), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Yuri Tsivian (University of Chicago, USA), Vicente Sánchez Biosca (Universitat de València, Spain), Jenaro Talens (Université de Genève, Switzerland and Universitat de València, Spain), Michael Witt (Roehampton University, United Kingdom). Editorial Team: Francisco Javier Benavente (Universitat Pompeu Fabra), Alejandro Montiel (Universitat de València), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Glòria Salvadó (Universitat Pompeu Fabra). Executive Issue Editor: Francisco Algarín Navarro (Universitat Pompeu Fabra). Editorial Assistants: Núria Aidelman (Universitat Pompeu Fabra), Margarida Carnicé (Universitat Pompeu Fabra), Albert Elduque (Universitat Pompeu Fabra), Endika Rey (Universitat Pompeu Fabra), Helena Vilalta (Universitat Pompeu Fabra). Contributors: Miguel Armas, Peter von Bagh, Javier Bassas Vila, Alfonso Crespo, Fernando Ganzo, Xavier Garcia Bardon, Pierre Léon, Miguel Marías, David Phelps, Marcos Uzal. Translators: Francisco Algarín Navarro, Javier Bassas Vila, Albert Elduque, Fernando Ganzo, Lupe Núñez-Fernandez, Endika Rey, Alex Reynolds, Helena Vilalta. Original design and layout: Pau Masaló. Special Thanks:Miguel Armas, Álvaro Arroba, Nicole Brenez, Bernard Eisenschitz, Fernando Ganzo, Miguel García, Flo Jacobs, Ken Jacobs, Alexandra Jordana, Pierre Léon, David Phelps, Jackie Raynal, Gina Telaroli, Marta Verheyen. Manager: Aitor Martos. Publisher: Colectivo de Investigación Estética de los Medios Audivisuales (CINEMA), Universitat Pompeu Fabra (UPF). This issue has been funded with the economic support of the Ministerio de Economía y Competitividad, through OCEC Project (Observatory on Contemporary European Cinema), with reference number HAR2009-11786. Place of publication: Universitat Pompeu Fabra. Departamento de Comunicación. Campus de la Comunicación – Poblenou. Roc Boronat, 138 08018, Barcelona (Spain). E-mail: [email protected]. Website: www.upf.edu/comparativecinema Cinema Comparat/ive Cinema, Volume 1, Nº 2, «Forms in revolution», Barcelona, 2013. Legal Deposit: B.29702-2012. ISSN: 2014-8933. Some rights are reserved. Published by Universitat Pompeu Fabra and the Observatory of European Contemporary Cinema under a Creative Commons License (Attribution – NonCommercial – ShareAlike 3.0 Unported). Cover image: Deux ou trois choses que je sais d’elle (Jean-Luc Godard, 1967) Introduction Cinema Comparat/ive Cinema is a biannual publication founded in 2012. It is edited by Colectivo de Investigación Estética de los Medios Audiovisuales (CINEMA) at the Universitat Pompeu Fabra (UPF), and focuses on comparative cinema and the reception and interpretation of film in different social and political contexts. Each issue investigates the conceptual and formal relationships between films, material processes and production and exhibition practices, the history of ideas and film criticism. Cinema Comparat/ive Cinema addresses an original area of research, developing a series of methodologies for a comparative study of cinema. With this aim, it also explores the relationship between cinema and comparative literature as well as other contemporary arts such as painting, photography, music or dance, and audio-visual media. Cinema Comparat/ive Cinema is published in three languages: Catalan, Spanish and English. The issues come out in June and December. At least half of the articles included in the journal are original texts, of which at least 50% are written by authors external to the publishing organisation. The journal is peer-reviewed and uses internal and external evaluation committees. Finally, each issue of the journal is complemented by documentary materials and texts published online, which facilitate and enrich the topics studied in each volume, thus establishing links between longer research projects and monographic focuses throughout this process. Summary Editorial by Gonzalo de Lucas / 7 FILMS UNDER DISCUSSION. INTERVIEWS The Power of Political, Militant, ‘Leftist’ Cinema. Interview with Jacques Rancière by Javier Bassas Vila / 9 A French Roman. A Story about the Influence of Soviet Avant-Garde on Cahiers du Cinéma and the Later Rediscovery of Nicolas Ray. An Interview with Bernard Eisenschitz by Fernando Ganzo / 18 A conversation with Jackie Raynal by Pierre Léon (in collaboration with Fernando Ganzo) / 29 Interview with Ken and Flo Jacobs. Part 1: Interruptions by David Phelps / 42 ARTICLES EXPRMNTL: an Expanded Festival. Programming and Polemics at EXPRMNTL 4, Knokke-le-Zoute, 1967 by Xavier Garcia Bardon / 53 The Wondrous 60s: an e-mail exchange between Miguel Marías and Peter von Bagh by Miguel Marías and Peter von Bagh / 65 Paradoxes of the Nouvelle Vague by Marcos Uzal / 77 REVIEWS Glòria Salvadó Corretger. Espectres del cinema portuguès contemporani: Història i fantasmes en les imatges by Miguel Armas / 83 Rithy Panh (in collaboration with Christophe Bataille). La eliminación by Alfonso Crespo / 85 EDITORIAL · Cinema Comparat/ive Cinema · Vol. I · No. 2. · 2013 · 7-8 Editorial. Forms in Revolution Gonzalo de Lucas In a recent interview, Brian Eno reminisced classical, modern, experimental, documentary, his idea, in relation to the digital, that the and without the need to separate them in such problems or imperfections of a medium end up strict categories, as it would happen later on and becoming its most characteristic form: ‘when until the present day. you distort something digitally it sounds ‘wrong’ in traditional terms. But that glitch, those little During the years before May 68, in an arc tics, are the character of this new digital world; that could be traced between 1963 and 67, if we they are its sonic form, if you like. Distortion is take as a reference the two key editions of Knokke always the signature of things. If you see a 1930s of that decade, cinema experienced a formal photograph and it has grain, what it shows doesn’t revolution in which aesthetics and politics were in matter much; you know its origin because of its sync. Just before entering academic departments, physical aspect. Each era shows its personality cinema declared itself anti-academic and anti- through what is wrong’. (GALINDO, 2012: 25). canonical, a thought to be continuously discussed and experienced. It is not surprising then, that In the 1960s, the awareness of the those were untameable years, and that they also possibilities of distortion was expanded in represent a distortion for any honest attempt at a relation to photosensitive film, 16mm in lineal order. particular. In that time, more perhaps than in any other period, cinema expressed itself through After that would come all the conquests of distortions, through what was ‘wrong’, recording academic regulation that would culminate in and amplifying the margins and defects of the cinema festivals as we know them today. In 1976, medium itself, such as the grain of the film or the precisely during his anti-cours for Canadian noise of direct sound, and hence working on its television, Langlois already warned: ‘There are matter. In Hollywood, the old masters explored two film-makers that today represent what I call the shadows, and in New York luminosity, until cinema in freedom. (…) One day I listened to they blinded the images. Picasso explain to someone, when talking about Van Gogh: “He is the man who taught us to paint It was a period brimming with formal badly”. Well, the man who taught us to make films inventions that would result in the germ of badly is called Andy Warhol. (…) If you watch the stylistic findings of successive decades: the closely a film by Godard, or one by Warhol, you descent of the sacred to worldly life (in Buñuel, will see that they are both completely immersed Oliveira, Pasolini and later Garrel), would only in life. This is what I call cinema in freedom. A be an example. Inventions in all the cinemas and cinema that is not afraid of breaking something places: the old and the new, here and elsewhere, and to show it’. (LANGLOIS, 2006: 259). • LANGLOIS, Henri (2006), «Le cinéma en liberté. GALINDO, Bruno (2012). «Brian Eno. Brian the Brian». Warhol / Godard». In Jean-Luc Godard. Documents. En Rockdelux, nº311, November, p.25. París. Centre Pompidou. 7 FILMS UNDER DISCUSSION / INTERVIEWS · Cinema Comparat/ive Cinema · Vol. I · No. 2. · 2013 · 9-17 The Power of Political, Militant, ‘Leftist’ Cinema. Interview with Jacques
Load more

Recommended publications
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge
    Centre for Research in the Arts, Social Sciences and Humanities Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge Invited speakers CHARLOTTE BRUNSDON (Film Studies, University of Warwick) TERESA CASTRO (Universite Sorbonne Nouvelle - Paris 3) RICHARD COYNE (Architectural Computing, Edinburgh College of Art), ROLAND-FRANÇOIS LACK and (French Studies, UCL) STEVE PILE (Human Geography, The Open University) ANDREW PRESCOTT (Digital Humanities, King’s College London) MARK SHIEL (Film Studies, King’s College London) PETER VON BAGH (Film Historian and Director, Helsinki) Conveners FRANÇOIS PENZ (University of Cambridge) RICHARD KOECK (University of Liverpool) ANDREW SAINT (English Heritage) CHRIS SPEED (Edinburgh College of Art) www.crassh.cam.ac.uk/events/2473 Battersea Power Station and Nine Elms, 1966, Aerofilms Collection, English Heritatge 1966, Aerofilms and Nine Station Elms, Power Battersea Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) Acknowledgements Supported by the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH), the Architecture Department, both at the University of Cambridge and the Arts and Humanities Research Council (AHRC). Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) | Alison Richard Building | 7 West Road Cambridge CB3 9DT | UK | www.crassh.cam.ac.uk Cinematic Urban Geographies Cinematic Urban Geographies 3 & 4 October 2013 at CRASSH (SG1&2) Conveners François Penz (Architecture Department, University of Cambridge) Co-Conveners Richard Koeck (School of Architecture, University of Liverpool) Chris Speed (Edinburgh College of Art) Andrew Saint (English Heritage) Summary The Cinematic Urban Geographies conference aims to explore the di!erent facets by which cinema and the moving image contribute to our understanding of cities and their topographies.
    [Show full text]
  • 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.
    [Show full text]
  • HORSE MONEY a Film by Pedro Costa
    A CINEMA GUILD RELEASE HORSE MONEY A film by Pedro Costa 104 minutes / 2014 / 1.1:33 / HD / Not Rated In Portuguese with English Subtitles HORSE MONEY Synopsis Pedro Costa's latest film, a follow‐up to his renowned COLOSSAL YOUTH, follows Costa regular Ventura on an odyssey that is part horror film, part fever dream, and utterly unique. The time is now, a numbing and timeless present of hospital stays, bureaucratic questioning, and wandering through remembered spaces… and suddenly it is also then, the mid ’70s and the time of Portugal's Carnation Revolution, when Ventura got into a knife fight with his friend Joaquim. HORSE MONEY is a self‐reckoning, a moving memorialization of lives in danger of being forgotten, as well as a piercingly beautiful work of modern cinema. HORSE MONEY Pedro Costa Bio Born in Lisbon, Costa left his course of studies in History to attend classes taught by the poet and filmmaker Antonio Reis at the Lisbon Film School. His first film, O SANGUE (BLOOD), had its world premiere at the Venice Film Festival in 1989. CASA DE LAVA, his second feature, shot in Cabo Verde, was shown in Cannes, Un Certain Regard, in 1994. His other features include BONES, IN VANDA’S ROOM, and COLLOSAL YOUTH (currently available in the US as a box set from the Criterion Collection), NE CHANGE RIEN, and WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the work of Daniele Huillet and Jean‐Marie Straub. Recently he directed the SWEET EXORCIST, a segment of the omnibus feature CENTRO HISTORICO with Manoel de Oliveira, Aki Kaurismaki and Victor Erice.
    [Show full text]
  • A Mode of Production and Distribution
    Chapter Three A Mode of Production and Distribution An Economic Concept: “The Small Budget Film,” Was it Myth or Reality? t has often been assumed that the New Wave provoked a sudden Ibreak in the production practices of French cinema, by favoring small budget films. In an industry characterized by an inflationary spiral of ever-increasing production costs, this phenomenon is sufficiently original to warrant investigation. Did most of the films considered to be part of this movement correspond to this notion of a small budget? We would first have to ask: what, in 1959, was a “small budget” movie? The average cost of a film increased from roughly $218,000 in 1955 to $300,000 in 1959. That year, at the moment of the emergence of the New Wave, 133 French films were produced; of these, 33 cost more than $400,000 and 74 cost more than $200,000. That leaves 26 films with a budget of less than $200,000, or “low budget productions;” however, that can hardly be used as an adequate criterion for movies to qualify as “New Wave.”1 Even so, this budgetary trait has often been employed to establish a genealogy for the movement. It involves, primarily, “marginal” films produced outside the dominant commercial system. Two Small Budget Films, “Outside the System” From the point of view of their mode of production, two titles are often imposed as reference points: Jean-Pierre Melville’s self-produced Silence of 49 A Mode of Production and Distribution the Sea, 1947, and Agnes Varda’s La Pointe courte (Short Point), made seven years later, in 1954.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • Filmfestival Rotterdam Op Naar Miljoen Bezoekers?
    Colofon Eindredactie Paul Verstraeten Met bijdragen van Simon Field, Sandra den Hamer, Mirjam Klootwijk, Geert Hoeven, Carlie Janszen, Femke Wolting Fotografie André Bakker, Cynthia van Elk Vormgeving Publish, Amsterdam / Jan Pieter Ekker Druk Tripiti, Rotterdam Omslag Max Kisman Het Jaarverslag is een uitgave van de Stichting Film Festival Rotterdam Kruiskadehof 36b Postbus 21696 3001 AR Rotterdam telefoon 010 411 80 80 fax OIO 413 51 32 e-mail [email protected] Vooraf Citaten uit de media 3 Awards 4 Festivai in cijfers 5 Inleiding 6 1 Programma 1.1 Tiger Awards competitie 9 1.2 Hubert Bals Fonds Oogst 9 1.3 Hoofdprogramma 9 1.4 The Cruel Machine 10 1.5 Exploding cinema 11 1.6 Film-makers in Focus 12 1.7 Italian Exploitation 12 1.8 Dutch Perspective 12 1.9 Critics’Choice 12 2 Festival als evenement 2.1 Samenwerkingsverbanden en co-producties 13 2.2 Gasten 14 2.3 Opening en sluiting 14 2.4 Lezingen, talkshows en introducties 14 3 CineMart 3.1 Inleiding 15 3.2 Werving en selectie projecten 15 3.3 Programma CineMart 16 3.4 CineMart Consultancy Service 16 3.5 Industry Office 17 3.6 CineMart USA 17 3.7 Resultaten en reacties 17 4 Hubert Bals Fonds 4.1 Inleiding 19 4.2 Jaaroogst 1998 19 4.3 Hubert Bals Fonds Conferentie 19 4.4 Geselecteerde projecten 97/98 20 4.5 Distributie 20 4.6 Overige activiteiten en samenwerking 21 5 Communicatie & Marketing 5.1 Kaartverkoop en publiekssamenstelling 22 5.1.1 Inleiding 22 5.1.2 Toegangsprijzen en kaartenbeleid 22 5.1.3 Resultaten publieksonderzoek 23 5.2 Media en promotionele acties 25 5.2.1 Inleiding 25 5.2.2
    [Show full text]
  • 1 Evolving Authorship, Developing Contexts: 'Life Lessons'
    Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009).
    [Show full text]
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • A Review of Horse Money [Cavalo Dinheiro], Directed by Pedro Costa (Portugal, 2014)
    A Review of Horse Money [Cavalo Dinheiro], directed by Pedro Costa (Portugal, 2014). Ivan Cerecina University of Sydney Even among the diverse field of entries at the 2015 Melbourne International Film Festival, Horse Money remained a unique propo- sition. Although director Pedro Costa has made no secret of his key influences over the years, Horse Money strikes one as a film that shows the director working through a very personal set of aesthetic and phil- osophical preoccupations.1 While those who have followed Costa’s filmography in recent years will note the many continuities between Horse Money and the Portuguese director’s previous films (both in terms of casting and the broad subjects his films tackle), Horse Money also signals a few key departures from the director’s previous work, testifying to the evolving nature of his artistic vision. Given Horse Money’s inventiveness, it is worth reflecting on Cos- ta’s career in order to better understand what is distinctive about this new work and the fresh challenges it poses to viewers familiar with the director’s oeuvre. Over the years, Costa’s craft has developed into its current, singular form through several incremental shifts in approach, Philament 22: Precarity philamentjournal.com 123 124 Philament 22: Precarity with each new film seeming to expand on a discovery made in the last. These discoveries have been technological — as when Costa embraced the switch from analogue to digital film in the early 2000s — as well as related to questions of aesthetics, attitude, and the approach subject matter. Often, as inIn Vanda’s Room (2000), Costa’s technological and aesthetic approaches have been closely interrelated; there, we saw the convergence of a more intimate attitude towards representing others that was made possible by the artisanal, low-budget production model of early digital filmmaking.2 It was before the 2000s, however, that Costa confirmed his cinephile credentials in his first two features,O Sangue (1989) and Casa de Lava (1995).
    [Show full text]
  • SON 509 S. X-XXV Neu SON
    SON 509_S.XXVI-XL_neu_SON 509 18.02.2015 08:24 Seite XXVI XXVI Introduction Hanns Eisler composed the film music for Nuit et brouillard – d’Ulm in Paris. On 10 November 1954, the day the exhibition “Night and fog” – in the few weeks between late November opened, its two curators – the historians Olga Wormser and and mid-December 1955. Nuit et brouillard was the first com- Henri Michel – mentioned in a radio interview4 that they were prehensive documentary film about the Nazi concentration planning a film about the concentration camp system. camps.1 It was directed by Alain Resnais and the commentary According to Wormser, it would “only contain purely histori- was by the writer Jean Cayrol, who had himself been a prisoner cal documents that are absolutely confirmed by all our experi- in the concentration camp of Mauthausen/Gusen. This short ence with this subject”.5 Wormser and Michel had been film Nuit et brouillard is underlaid throughout its 30 minutes researching the topic of deportation and concentration camps by both Eisler’s music and the commentary, which was spoken for several years. In 1940–41, Wormser had worked in the by the actor Michel Bouquet. The title of the film refers to the Centre d’information sur les prisonniers de guerre (“Centre of “order of the Führer” of the same name from 1941, according information on prisoners of war”) and in September 1944 had to which the Resistance fighters captured in France, Belgium, been employed in the Commissariat aux Prisonniers, Déportés the Netherlands and Norway were placed under the special et Réfugiés (“Commissariat for prisoners, deportees and jurisdiction of the “Reich” in order for them to disappear refugees”, PDR) of the provisional government of the French without trace in prisons and concentration camps in a “cloak Republic under Minister Henri Frenay – this was the board and dagger” operation (in German: “bei Nacht und Nebel”, concerned with registering, returning and resettling deported literally “in night and fog”).2 people and POWS.
    [Show full text]
  • 1948-04-09, [P ]
    Friday, April 9, 1948 fOLEDO UNION JOURNAL Page Five Gab Fetd! Van Votes Story of Radio Bing Shares Scene Industry to Be i With Canine Star Brought to Screen HOLLYWOOD—A whistler and his dog turned a bend on “Radio Cavalcade,” the story the road to Mt. Edith Cavell in Jasper National Park, Alberta, of the growth of the nation’s Canada, and although the whistler is perhaps the most famous radio industry from its crystal­ man in the show world, at least half the 300 spectators had their ------------- I eyes on the dog. set beginning to its present vital Gloria Henry to Plav ' status, will be brought to the J • the dog Buttons, a seven-year- screen by Columbia Pictures In ‘Texas Sandman’ Lead . movie veteran, half fox- association with Jerrold T. terrier and half undetermined. Brandt. A film treatment la in Gloria Henry, soon to be seen It was a location scene in the as Gene Autry’s leading lady in Canadian Rockies for Para­ preparation y Emmet Lavery. the Western star’s first color pic­ mount’s "The Emperor Waltz,” The four chief networks leading ture, "The Strawberry Roam,” their cooperation to the film will continue her Western career produced by Charles Brackett as the feminine lead in “Texas and directed by Billy Wilder, have formed an advisory com­ Sandman,” Columbia action and supposed to take place in mittee headed by Justin Miller, musical which headlines the! Vienna and the Tyrol of 1901. president to the National As­ Hoosier Hot Shots. The Texas Jasper was the closest the Oscar- sociation of Broadcasters.
    [Show full text]