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XXX TENTOONSTELLING FILMPROGRAMMA XXX THEMA’S IN HET DE FILMS VAN WERK VAN SCORSESE SCORSESE PAGINA 2 & SCORSESE KIEST PAGINA 2-3 PAGINA 4-7 The Scorsese Times SPECIALE UITGAVE BIJ MARTIN SCORSESE – THE EXHIBITION | TENTOONSTELLING EN FILMPROGRAMMA | 25 MEI T/M 3 SEPTEMBER, 2017 De films Martin Scorsese in EYE Filmmuseum van Martin volledig aan Scorsese is gewijd, laat AMSTERDAM zien dat zijn werk buitengewoon Scorsese persoonlijk is en tegelijkertijd De eerste grote over- getuigt van een grondige kennis van EYE vertoont alle 24 speelfilms van en liefde voor de cinema. Scorsese en een selectie van zijn zichtstentoonstelling Met acht Academy Award-nomina- belangrijkste documentaires en kor- over Martin Scorsese is ties voor Beste Regisseur is Scorsese te films op het grote doek. De films de meest genomineerde filmmaker worden merendeels op originele na Berlijn, Parijs, in de geschiedenis van de Oscars. 35mm-prints vertoond, afkomstig uit Melbourne en New York De films van Scorsese vormen in veel de collectie van EYE en van Neder- opzichten een spiegel van de Ameri- landse distributeurs. Digitale restau- nu in Amsterdam te zien. kaanse samenleving en hebben zich raties van The Last Waltz (1978, 2K), diep in het collectieve geheugen van The King of Comedy (1982, 4K) en Scorsese is een van de belangrijkste het publiek verankerd. The Age of Innocence (1993, 4K) zijn Amerikaanse filmregisseurs van de Bijzonder aan de films van exclusief bij EYE te zien. Vanaf 6 juli afgelopen vijftig jaar en regisseur Scorsese is dat deze een duidelijke zijn drie van Scorseses bekendste van klassiekers als Taxi Driver, invloed van de Europese auteurs- films opnieuw te zien in EYE en de Raging Bull en The Wolf of Wall cinema en het landelijke bios copen: Taxi Driver Street. Opgegroeid als zoon van Ita- klassieke (1976, 4K), Raging Bull (1980, 2K) liaanse immigranten in Little Italy in The exhi­ Hollywood- en Goodfellas (1990, 4K). New York, schetst Martin Scorsese bie tion is also in repertoire (1942) in zijn films een enerverend English and verraden. beeld van dit hechte milieu waarin most films in Scorsese heeft familie, geloof en vertrouwen cen- zich altijd uit- traal staan. In deze wereld speelt de the programme voerig verdiept Italiaanse maffia een prominente are English in de geschie- rol. Schuld en boete lopen dan ook spoken or with denis van de als een rode draad door het oeuvre English cinema en van Scorsese. De relaties van zijn maakt zich met personages – vaak met hoofdrollen subtitles. For zijn eigen Film voor soulmates Robert De Niro en detailed Foundation Leonardo DiCaprio – zijn getekend information sterk voor het door wantrouwen, angst en verraad. behoud van het Boks-shorts Raging Bull, 1980. Kostuum- please visit ontwerp: Richard Bruno. © Theater- Geweld speelt een centrale rol, net internationale kunst Kostümausstattung GmbH als de zoektocht naar spiritualiteit. eyefilm.nl/en/ filmerfgoed. Deze eerste tentoonstelling die Scorsese De tentoon- stelling Portret Martin York New Scorsese: Brigitte Lacombe, Martin Scorsese – The Exhibition belicht Scorseses inspiratiebronnen “Soms moet je wat verder zijn en presenteert een helder beeld van Scorsese in je leven om helemaal de de directe relatie tussen zijn leven en nuance te kunnen vatten van werk. Op grote projectieschermen films die je lang geleden voor zijn fragmenten uit zijn films te zien kiest te midden van ruim 400 objecten en het eerst zag. Wat geldt voor documenten, waaronder nooit eer- Op verzoek van EYE stelde Martin ons als individuele film­ der getoonde foto’s, scripts en story- Scorsese een filmprogramma samen bezoekers, geldt ook voor de boards uit het privé-archief van uit de collecties van EYE en de door Martin Scorsese en Robert De Niro. Scorsese geleide Film Foundation. wereld in het algemeen. Die Ook zijn er kostuum­­ontwerpen, kos- Het programma geeft blijk van verandert ook, en soms klopt tuums van Sandy Powell en originele Scorseses grenzeloze passie voor het, zeker bij visionaire films, setfoto’s van Brigitte Lacombe te cinema, van Amerikaanse film noir dat ze moeten wachten tot het bewonderen. Grote projecties tonen en Europese klassiekers tot Japanse fragmenten uit ruim 30 films van meesterwerken en wereldcinema hun tijd is.”– Martin Scorsese Scorsese. Verder zijn er fragmenten uit landen als Cuba en de Filipijnen. te zien uit documentaires die Scorse- De selectie laat zien welke films Tentoonstelling se heeft gemaakt over de geschiede- hem als filmmaker hebben geïnspi- en fi lmprogramma nis van de film. Bij een aantal high- reerd en onderstreept de gedeelde lights is een gesproken toelichting missie van EYE en The Film Foun- van Scorsese te beluisteren. In een dation: om films te behouden, te res- aparte ruimte wordt aandacht taureren en te vertonen op groot geschonken aan muziek. De muziek Martin Scorsese en Leonardo DiCaprio tijdens de opnames van The Aviator, 2004 doek. Het merendeel van The Film heeft altijd een cruciale rol gespeeld Foundation-restauraties is voor het in het oeuvre van Scorsese. Hij werk- eerst in Nederland te zien, waaron- te intensief samen met prominente der Marlon Brando’s cultwestern filmcompo- EYE en Scorsese One-Eyed Jacks (4K-restauratie) en nisten zoals de aanstekelijke Marokkaanse “Mijn hele Bernard Herr- Martin Scorsese en EYE kruisten al eerder elkaars wegen. Twee jaar muziekdocumentaire Trances (El leven draaide mann en Philip geleden schreef de regisseur een enthousiast voorwoord over de vroege hal). Scorsese koos uit de EYE-col- Martin om films en Glass en maak- kleurenfilmcollectie van EYE voor het boekFantasia of Color in Early Cinema, lectie een aantal lang niet vertoonde religie. Dat is te daarnaast gepubliceerd door EYE en Amsterdam University Press. In 2005 sprak klassiekers van door hem geliefde ScorseseThe Exhibition legendarische Scorsese bij de DVD van de door EYE gerestaureerde Rudolf Valentino-film regisseurs als Michael Powell (I 25 mei – 3 sep 2017 alles. Anders documentaires Beyond the Rocks (1922) een videoboodschap in. Maar het allermooist is Know Where I’m Going), Roberto niets.”– Martin over The Rol- misschien wel dat Scorseses filmHugo (2011) een fragment bevat uit de Rossellini (Paisà) en de Chinese EYE Filmmuseum Scorsese ling Stones en door EYE gerestaureerde Georges Méliès-filmLes quatre cent farces du regisseur Tian Zhuang zhuang (The Amsterdam Bob Dylan. diable uit 1906. Hugo is ook deze zomer weer te zien in EYE, in 3D. Blue Kite). EYE Filmmuseum, IJpromenade 1, 1031 KT Amsterdam * Open van 10.00-01.00 uur, tentoonstelling open van 10.00-19.00 uur * eyefilm.nl * Voor het meest actuele programma zie eyefilm.nl/scorsese 2 | 25 MEI - 3 SEPTEMBER, 2017 THE SCORSESE TIMES, EDITIE AMSTERDAM TENTOONSTELLING Thema’s in het werk van Scorsese De tentoonstelling is In latere films, zoalsThe Age of haallijnen vaak gedreven worden Innocence (1993) en Gangs of New door geweld en wreedheid, worden onderverdeeld in een York (2002), heeft Scorsese zich de films van Scorsese toch geken- aantal secties en thema’s beziggehouden met de geschiedenis merkt door een zekere luchtigheid. van de stad in de negentiende eeuw. Dat komt zowel door zijn produc- die het oeuvre van Daarvoor liet hij het historische tiestijl als door het virtuoze hand- Scorsese kenmerken: New York herleven door uitgebreide werk van zijn cameramensen. sets te bouwen of door te filmen op Scorsese vindt de juiste verbeelding Familie, Broers, Man en authentiek ogende locaties buiten voor elke scène: frequente verande- vrouw, Eenzame helden, Manhattan. ringen in snelheid, tegengestelde bewegingen tussen camera en New York, Cinefiel, Cinefiel hoofdpersoon, en lange tracking Camera, Montage, De eerste bioscoopbeelden die Mar- shots met de steadicam worden tin Scorsese zich kan herinneren, gebruikt om de dramaturgie van de Filmerfgoed en Muziek. waren die van een western met Roy films te ver- Rogers en zijn paard Trigger. Zijn sterken. Familie eerste Italiaanse films zag hij later “Ik groeide op Ondanks het Martin Scorsese groeide op in de op een kleine zwart-wittelevisie die in New York geweld en de jaren vijftig in Little Italy, een wijk zijn ouders in 1948 hadden aange- in de Lower brutaliteit, die in New York. Niet alleen hij en zijn schaft. Zijn vader ging ook vaak met East Side als vaak ten broer woonden daar met hun hem naar de bioscoop, waar de jon- grondslag lig- ouders, maar ook de rest van de ge Martin gefascineerd raakte door Italiaanse – gen aan Scor- familie: grootouders, ooms en tan- de grote Hollywoodklassiekers. eigenlijk meer seses plots, tes, neven en nichten. Die uitgebrei- Scorsese bezit een enorme kennis als Siciliaanse kenmerken de Italiaanse familie was, naast de van de filmgeschiedenis, die hij – Amerikaan.” zijn films zich katholieke kerk en de ruige wereld vaak laat doorschemeren in zijn door een licht- van de straatbendes, van cruciale eigen films. Voor de 100ste geboor- – Martin voetige invloed op hem en zijn werk. tedag van film in 1995 heeft Scorse- Scorsese beweeglijk- Gedurende bijna dertig jaar per- se de documentaire A Personal heid. sonifieerde zijn moeder, Catherine Journey with Martin Scorsese Scorsese, de typisch Italiaanse Through American Movies gemaakt. Montage ‘mama’ in zijn films, meestal in klei- In 2001 toont hij zijn visie op de Ita- Scorsese besluit al tijdens de produc- ne rolletjes. Scorsese liet ook gere- liaanse cinema met Il Mio Viaggio in tiefase via storyboards over de exac- geld zijn vader Charles en andere Italia. te visuele opbouw van de film, frame familieleden als figuranten opdra- voor frame. Hij bepaalt hier niet ven. In 1974 maakte hij over zijn Martin Scorsese met zijn ouders in Queens, New York. Privé-foto, 1947 alleen de camerabewegingen, maar © Collectie Martin Scorsese, New York Camera ouders de bekroonde documentaire Martin Scorsese componeert zijn ook de volgorde van de beelden. Hij Italianamerican, het exemplarische films tot in detail. Het ritme van de plant de complexe structuur van zijn verhaal van een twintigste-eeuwse neemt hij echter definitief afstand Eenzame helden individuele scènes wordt bepaald films als een architect.
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  • 1 Evolving Authorship, Developing Contexts: 'Life Lessons'

    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).
  • Portraits of America DEMOCRACY on FILM

    Portraits of America DEMOCRACY on FILM

    The Film Foundation’s Story of Movies Presents With support from AFSCME A PROFESSIONAL DEVELOPMENT WORKSHOP ON FILM AND VISUAL LITERACY FOR CLASSROOM EDUCATORS ACROSS ALL DISCIPLINES, GRADES 5 – 12 Portraits of America DEMOCRACY ON FILM 2018 WORKSHOPS August 6 & 7 Breen Center for the Performing Arts, 2008 W 30th Street, Cleveland, OH 44113 August 14 & 15 Lightbox Film Center inside International House Philadelphia 3701 Chestnut Street Philadelphia, PA 19104 October 3 & 4 Detroit Institute of Arts, 5200 Woodward Ave., Detroit, MI 48202 WHO & WHAT This FREE two-day seminar introduces educators to an interdisciplinary curriculum that challenges students to think contextually about the role of film as an expression of American democracy. SCREENING AND DISCUSSION ACTIVITIES FOCUS ON STRATEGIES TO: N Increase civic engagement by developing students’ critical viewing and thinking skills. N Give students the tools to understand the persuasive and universal language of moving images, a significant component ofvisual literacy. N Explore the social issues and diverse points of view represented in films produced in different historical periods. MORNING AND AFTERNOON WORKSHOPS FOCUS ON LEARNING HOW TO READ A FILM, PRINCIPLES OF CINEMA LITERACY, AND INTERPRETING FILM IN HISTORICAL/CULTURAL CONTEXTS. N Handout materials include screening activities and primary source documents to support and enhance students’ critical thinking skills. N Evening screenings showcase award-winning films, deemed historically and culturally significant by the Library of Congress National Film Registry. N Lunch is provided for registered participants. HOW & WHEN TO REGISTER CLASSROOM CAPACITY IS LIMITED, SO EARLY REGISTRATION IS ENCOURAGED. Continuing Education Credits may be supported by local school districts for this program.