Jacques Vergès, the Devil's Advocate
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Strand Releasing presents CECILE DE FRANCE - PATRICK BRUEL - LUDIVINE SAGNIER JULIE DEPARDIEU - MATHIEU AMALRIC A SECRET A FILM BY CLAUDE MILLER Based on the Philippe Grimbert novel "Un Secret" (Grasset & Fasquelle), English translation : "Memory, A Novel" (Simon and Schuster) Winner : 2008 César Award for Julie Depardieu (Best Actress in a Supporting Role) Grand Prix des Amériques, 2007 Montreal World Film Festival In French with English subtitles 35mm/1.85/Color/Dolby DTS/110 min NY/National Press Contact: LA/National Press Contact: Sophie Gluck / Sylvia Savadjian Michael Berlin / Marcus Hu Sophie Gluck & Associates Strand Releasing phone: 212.595.2432 phone: 310.836.7500 [email protected] [email protected] [email protected] [email protected] Please download photos from our website: www.strandreleasing.com/pressroom/pressroom.asp 2 CAST Tania Cécile DE FRANCE Maxime Patrick BRUEL Hannah Ludivine SAGNIER Louise Julie DEPARDIEU 37-year-old François Mathieu AMALRIC Esther Nathalie BOUTEFEU Georges Yves VERHOEVEN Commander Beraud Yves JACQUES Joseph Sam GARBARSKI 7-year-old Simon Orlando NICOLETTI 7-year-old François Valentin VIGOURT 14-year-old François Quentin DUBUIS Robert Robert PLAGNOL Hannah's mother Myriam FUKS Hannah's father Michel ISRAEL Rebecca Justine JOUXTEL Paul Timothée LAISSARD Mathilde Annie SAVARIN Sly pupil Arthur MAZET Serge Klarsfeld Eric GODON Smuggler Philippe GRIMBERT 2 3 CREW Directed by Claude MILLER Screenplay, adaptation, dialogues by Claude MILLER and Natalie CARTER Based on the Philippe -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
Algerian War of Independence - France
Joint Crisis: Algerian War of Independence - France JHUMUNC 2017 1 Joint Crisis: Algerian War of Independence - France Topic A: The Grand Ensemble and the Algerian War Topic B: Domestic Challenges and the Challenge to French Identity Overview committee and its legislative board, the The French-Algerian War occurred Algerian cabinet. between 1954-1962, spanning the Fourth and Fifth Republics of France. The war was Parliamentary Procedure not limited to conflict between French For this committee, we will follow colonial authorities and Algerian standard parliamentary procedure. We will nationalists, but also involved civil divide on remain in moderated caucus, unless a the Algerian front between populations of motion for an unmoderated caucus is different cultural backgrounds, religions, motioned and approved. Standard voting and ideologies toward the future of the state. procedure will be observed, and any This committee opens in 1955 and serves as differences regarding procedures will be the managerial body of the French subject to the decision of the chair and dais government, the French Cabinet, with Rene staff. Gustav Coty as the director, who will be represented by the chair. Delegates are responsible for evaluating domestic and Delegate Biographies foreign challenges simultaneously. Part of Maurice Bougrès-Maunoury the committee will revolve around growing Maunoury played an important role resistance in the French colony of Algeria, as the leader in the French Resistance, a while another segment will address the movement to interfere with the Nazi internal challenges faced by the French occupation of France. Following the end of government, which affect the future World War II, Borges served as minister for structure of the government and all of several different seats including defense, France. -
Read Book Lenins Tomb: the Last Days of the Soviet Empire
LENINS TOMB: THE LAST DAYS OF THE SOVIET EMPIRE PDF, EPUB, EBOOK David Remnick | 22 pages | 01 Oct 2001 | Random House USA Inc | 9780679751250 | English | New York, United States Lenins Tomb: the Last Days of the Soviet Empire PDF Book Remnick writes after lunching with Ms. The crowds were so dense and chaotic that some people were trampled underfoot, others rammed against traffic lights, and still others choked to death. Mikhail Kalinin tomb. The body lies in a glass case with dim lights. Khrushchev followed by reading a decree ordering the removal of Stalin's remains. Stalin's own grandson, Yevgeny Djugashvili, asked Mr. It's as if the regime were guilty of two crimes on a massive scale: murder and the unending assault against memory. After years of blind obedience and misery, the Soviet people seem to awaken from a miserable dream in the late s and early s. Konstantin Chernenko tomb. It's an absolutely unprecedented, wacky, counterproductive request. Yet even the brief minute or so that visitors are allotted with Lenin leaves a lasting impression. The bodies of Kim and Mao do not look mach different from Lenin although they were embalmed years later. Here is Nina Andreyeva, the famous Stalinist of Leningrad still unrepentant , whose article in the hard-line newspaper Sovetskaya Rossiya, "I Cannot Betray My Principles," seemed a harbinger of a reaction against perestroika. Remnick intrudes a little too much for my taste. Pyongyang is build as a showcase for the North Korean regime, this guide lists many of the giant communist monuments and architecture. -
The Phenomenological Aesthetics of the French Action Film
Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema. -
Quelques Réflexions Autour De La Littérature-Mesrine Benoît Denis
Document generated on 09/28/2021 3:05 a.m. Études françaises Faire de sa vie une oeuvre d’art paralittéraire Quelques réflexions autour de la littérature-Mesrine Benoît Denis Les exceptions françaises (1958-1981) Article abstract Volume 47, Number 1, 2011 Shot down on the Day of the Dead in 1979 by the anti-gang brigade of Commissioner Broussard, gangster Jacques Mesrine has long made headlines URI: https://id.erudit.org/iderudit/1002521ar and is currently a mythic figure. One of the reason for this posterity is DOI: https://doi.org/10.7202/1002521ar doubtless due to the gangster’s capacity to place himself in the center of an intense textual production, the core being his own autobiography, significantly See table of contents titled L’instinct de mort (1974). Mesrine’s trajectory, devised by the protagonist as a choice turning his life into a destiny whose end is immediately known, and the constant staging of himself that accompanies it, submits fully to a pre-existing collective narrative, a vast paraliterary intertext that Foucault Publisher(s) calls the “monotonous saga of major criminals.” The aim of this contribution is Les Presses de l’Université de Montréal to show that in the specific circumstances of the Giscardian and Pompidolian years, the “Mesrine-novel” mobilizes two opposing figures : that of the “outlaw,” presented as the ultimate incarnation of the romantic adventurer, ISSN and that of the “public enemy,” which transforms individual revolt into a 0014-2085 (print) political cause. 1492-1405 (digital) Explore this journal Cite this article Denis, B. (2011). Faire de sa vie une oeuvre d’art paralittéraire : quelques réflexions autour de la littérature-Mesrine. -
French Combatants' Memoirs of the Algerian War, 1954-1988
LE SILENCE DE LA GUERRE? FRENCH COMBATANTS' MEMOIRS OF THE ALGERIAN WAR, 1954-1988. Anndal G. Narayanan A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History. Chapel Hill 2012 Approved by: Donald Reid Lloyd Kramer Christopher Lee ©2012 Anndal G. Narayanan ALL RIGHTS RESERVED ii ABSTRACT ANNDAL NARAYANAN: Le silence de la guerre? French combatants' memoirs of the Algerian War, 1954-1988 (Under the direction of Donald Reid) Fifty years after the cessation of hostilities, the memory of the Algerian War of Independence (1954-1962) remains an open wound in French society. From the time of the war itself, French veterans of Algeria sought to find their voice in a society largely indifferent to them and their experiences. This thesis examines the evolving memory of the Algerian War among French veterans who wrote wartime memoirs, and seeks the relationship of these narratives with the wider French collective memory of the Algerian War, by closely following the constructed figure of the combatant. This study finds that French veterans' narratives of Algeria, while all expressing various kinds of victimhood, evolved in time from the political to the personal, encouraged by governmental amnesties that depoliticized the memory of the war and contributed to the impossibility of a general collective memory of the Algerian War in France. iii To the memory of Mr. Donald Hall, who taught me the importance of reading, writing, and teaching history. iv ACKNOWLEDGEMENTS I would like to thank my adviser, Dr. -
Deuxième Secrétaire De La Conférence Le Procès De Mesrine, L
1 RENTREE SOLENNELLE DE LA CONFERENCE DU STAGE 21 NOVEMBRE 2003 DISCOURS DE M. SÉBASTIEN BONO Deuxième Secrétaire de la Conférence Le Procès de Mesrine, l’homme que vous aimerez détester A Mme Stéphane Haziza, Aux Seconds Secrétaires, A la promotion 2003 de la Conférence Il y a les hommes que l’on aime. Il y a les hommes que l’on déteste. Et puis, il y a l’homme que vous aimerez détester. Mais cet homme-là, comment l’imaginez-vous ? Sur la photo de son passeport, Porte-t-il la barbiche des grands soirs, cheveux en bataille sur blouson de cuir noir ? Serait-il bien plus haïssable crâne chauve, tempes chenues, lunettes aux carreaux clairs sur complet bleu ? Le voyez-vous plutôt bacchantes élégantes, cheveux bruns coupés ras, mâchoires volontaires sur col roulé de laine sombre ? Aurait-il davantage le faciès d’un impresario argentin. Fumant cigarillo, cheveux gominés tombant sur le cou, chemise blanche, cravate de soie havane et argent ? Vous le voulez… libre, col ouvert, ténébreux, moustache broussailleuse, épaisse, généreuse, gauloise qui ne connaît pas le feu du rasoir ? L’imaginez-vous plutôt furtif et fugitif dans le brouillard, en gabardine, col relevé. Impression d’élégance, noir et blanc, impeccable et insaisissable ? Méfiez-vous… Méfiez-vous… Méfiez-vous encore et toujours ! 2 Car l’homme que vous aimerez détester a tous ces visages. Il a vos gestes, vos traits, vos manies. Il peut voir le monde par cent yeux à la fois mais il n’est pas de votre monde. Il appartient à l’autre partie de l’humanité, Terra incognita, celle de l’ombre, de la face cachée de ces mille visages… Vous, Monsieur le Maire de Paris1, Mesdames et messieurs les Magistrats, Monsieur le Bâtonnier, Mesdames et Messieurs, Mes Chers confrères, Et vous, amis, Vous savez, qu’il n’est pas besoin de juges pour que deux avocats qui prennent la parole, choisissent leur camp et tentent de vous convaincre de leur parti. -
Glasnost, Perestroika and the Soviet Media Communication and Society General Editor: James Curran
Glasnost, Perestroika and the Soviet Media Communication and Society General editor: James Curran Social Work, the Media and Public Relations Bob Franklin and Dave Murphy What News? The Market, Politics and the Local Press Bob Franklin and Dave Murphy Images of the Enemy: Reporting the New Cold War Brian McNair Pluralism, Politics and the Marketplace: The Regulation of German Broadcasting Vincent Porter and Suzanne Hasselbach Potboilers: Methods, Concepts and Case Studies in Popular Fiction Jerry Palmer Glasnost, Perestroika and the Soviet Media Brian McNair London and New York First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2006. “ To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to http://www.ebookstore.tandf.co.uk/.” Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 © 1991 Brian McNair All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data McNair, Brian Glasnost, perestroika and the Soviet media. – (Communication and scoiety). 1. Soviet Union. Mass media I. Title II. Series 302.230947 Library of Congress Cataloging in Publication Data McNair, Brian Glasnost, perestroika and the Soviet media / Brian McNair. -
Perestroika and the Decline of Soviet Legitimacy
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-1993 Contracts in Conflict: erP estroika and the Decline of Soviet Legitimacy Karl Glenn Hokenmaier Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the European History Commons, and the Political Science Commons Recommended Citation Hokenmaier, Karl Glenn, "Contracts in Conflict: erP estroika and the Decline of Soviet Legitimacy" (1993). Master's Theses. 775. https://scholarworks.wmich.edu/masters_theses/775 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. CONTRACTS IN CONFLICT: PERESTROIKA AND THE DECLINE OF SOVIET LEGITIMACY by Karl Glenn Hokenmaier A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Political Science Western Michigan University Kalamazoo, Michigan August 1993 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CONTRACTS IN CONFLICT: PERESTROIKA AND THE DECLINE OF SOVIET LEGITIMACY Karl Glenn Hokenmaier, M.A. Western Michigan University, 1993 Gorbachev’s perception of the Soviet Union’s socio-economic crisis and his subsequent actions to correct the economy and reform the political system were linked with attempts to renegotiate the social contract between the state and the Soviet people. However, reformulation of the social contract was incompatible with the conditions of a second arrangement between the leadership and the nomenklatura-the Soviet ruling class. -
History 38: Russia in the Twentieth Century Spring 2010
HISTORY 38: RUSSIA IN THE TWENTIETH CENTURY SPRING 2010 Bob Weinberg Trotter 218 Office Hours: T/TH 1-2 328-8133 W: 1-3 rweinbe1 This course focuses on the major trends and events in Russian history during the twentieth century. Topics include the collapse of the Romanov dynasty, the Bolshevik seizure of power, the fate of the communist revolution, the rise of Stalin, the establishment of the Stalinist system, World War II, de-Stalinization, and the collapse of the Soviet Union. We shall pay particular attention to the interaction between social and economic forces and political policies and explore how the regime’s ideological imperatives and the nature of society shaped the contours of Russia in the twentieth century. Readings include primary documents, historical monographs, oral histories, and literature. Two Six-Page Papers (25 percent each) Final Examination (15 percent) Twelve-Page Research (25 percent) Class Attendance and Active Participation (10 percent) All students are expected to read the College’s policy on academic honesty and integrity that appears in the Swarthmore College Bulletin. The work you submit must be your own, and suspected instances of academic dishonesty will be submitted to the College Judiciary Council for adjudication. When in doubt citing sources, please check with me. I will not accept late papers and will assign a failing grade for the assignment unless you notify me and receive permission from me to submit the paper after the due date. Finally, students are required to attend class on a regular basis in order to pass the course. All documents and articles are on Blackboard (BB). -
Alexander Merkushev at a Moscow Itself
TheJoan Shorenstein Barone Center PRESS. POLITICS . PUBLIC POLICY . HarvardUniversity JohnF. KennedySchool ofGovernment INrnooucrroN I met Alexander Merkushev at a Moscow itself. It deservesa wide readership,not because dinner party hosted by Ann Blackman of Time Merkushev is one of Russia'stop journalists, the and Michael Putzel of the AssociatedPress in big name whose views command attention, but October, 1989. At the time, Merkushev was rather becausehe representsa new generationof Editor of the English languageservice of Tass, Soviet journalist who is beginning to grapple the official Soviet news agency. He spokewith with such conceptsas truth, responsibility, fluency and a quiet self-confidencebut without candor, courage/all within the broaderframe- the bravadoof other young Soviet journalists, work of a society struggling to move from many of whom, in their suddenembrace of dictatorship to democracy. It is an incredibly glasnost,went from one extreme to the other, difficult journey-one that may never be fin- discardingtheir recent allegianceto the socialist ished, despiteheroic efforts by thousands,even system and espousinga stylish denunciation of millions, of Merkushevs. everything from Stalinism to a planned economy As we sat down for our farewell lunch, I with an enthusiasm they mistook for wisdom. recalledthe question I had posedto Sashain Over caviar and vodka, late into the night, we Moscow. Would his answer be the same? discussedthe wonder of Gorbachevand Would he still bow beforethe Party? Sasha's perestroikaand the problems of moving a stag- eyescrinkled in a way reminiscent of a character nant society into the uncharted vibrancy of the out of Chekhov, ateat, a certain sadness,lurking 1990s.