Eisenstein in Guanajuato
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Dear Friends, Contents
Dear Friends, This is a vibrant moment in Latvian film. from the 1960s to the present day, and who By Dita Rietuma, Riga, Latvia, was chosen as the host location is a past recipient of an EFA award. director of the of the 2014 European Film Academy awards Animation is also an essential part of National Film ceremony. 2014 was also marked as a time Latvian cinema – both puppet and illustrated Centre of Latvia when a new generation of directors came animation have been evolving in Latvia since into Latvian cinema. Many – journalists, the 1970s. 2014 saw two cardinally-different critics – are likening them to the French features: The Golden Horse, based on a New Wave of the 1960s, with their realistic, national classic, and Rocks in M y Pockets – an impulsive aesthetic and take on original, feministic and very personal view the zeitgeist of the time. Mother, I Love from director Signe Baumane, it is also You (2013) by Jānis Nords and Modris (2014) by Latvia’s contender for the Oscars. Juris Kursietis, have received awards and Latvia is open to collaboration, offering a recognition at the Berlinale and San multitude of diverse locations and several Sebastian festivals respectively. tax-rebate schemes, but most A strong documentary film tradition importantly – a positive and vital cinematic continues on in Latvia, and is embodied by environment. living legend, documentary filmmaker Ivars Discover Latvia, its films, filmmakers and Seleckis, whose career has spanned a period creative opportunities! 6 Contents Doing It Right. Overview 2 A Poetic Touch. Director Ivars Seleckis 8 From Behind the Listening Post. -
Rembrandt Self Portraits
Rembrandt Self Portraits Born to a family of millers in Leiden, Rembrandt left university at 14 to pursue a career as an artist. The decision turned out to be a good one since after serving his apprenticeship in Amsterdam he was singled out by Constantijn Huygens, the most influential patron in Holland. In 1634 he married Saskia van Uylenburgh. In 1649, following Saskia's death from tuberculosis, Hendrickje Stoffels entered Rembrandt's household and six years later they had a son. Rembrandt's success in his early years was as a portrait painter to the rich denizens of Amsterdam at a time when the city was being transformed from a small nondescript port into the The Night Watch 1642 economic capital of the world. His Rembrandt painted the large painting The Militia Company of Captain Frans Banning Cocq historical and religious paintings also between 1640 and 1642. This picture was called De Nachtwacht by the Dutch and The gave him wide acclaim. Night Watch by Sir Joshua Reynolds because by the 18th century the picture was so dimmed and defaced that it was almost indistinguishable, and it looked quite like a night scene. After it Despite being known as a portrait painter was cleaned, it was discovered to represent broad day—a party of musketeers stepping from a Rembrandt used his talent to push the gloomy courtyard into the blinding sunlight. boundaries of painting. This direction made him unpopular in the later years of The piece was commissioned for the new hall of the Kloveniersdoelen, the musketeer branch of his career as he shifted from being the the civic militia. -
The Leiden Collection Catalogue, 3Rd Ed
Govaert Flinck (Kleve 1615 – 1660 Amsterdam) How to cite Bakker, Piet. “Govaert Flinck” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/govaert- flinck/ (accessed September 27, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Govaert Flinck Page 2 of 8 Govaert Flinck was born in the German city of Kleve, not far from the Dutch city of Nijmegen, on 25 January 1615. His merchant father, Teunis Govaertsz Flinck, was clearly prosperous, because in 1625 he was appointed steward of Kleve, a position reserved for men of stature.[1] That Flinck would become a painter was not apparent in his early years; in fact, according to Arnold Houbraken, the odds were against his pursuit of that interest. Teunis considered such a career unseemly and apprenticed his son to a cloth merchant. Flinck, however, never stopped drawing, and a fortunate incident changed his fate. According to Houbraken, “Lambert Jacobsz, [a] Mennonite, or Baptist teacher of Leeuwarden in Friesland, came to preach in Kleve and visit his fellow believers in the area.”[2] Lambert Jacobsz (ca. 1598–1636) was also a famous Mennonite painter, and he persuaded Flinck’s father that the artist’s profession was a respectable one. Around 1629, Govaert accompanied Lambert to Leeuwarden to train as a painter.[3] In Lambert’s workshop Flinck met the slightly older Jacob Adriaensz Backer (1608–51), with whom he became lifelong friends. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
BAFTA a Life in Pictures: Peter Greenaway 13 April 2016 at Princess Anne Theatre, BAFTA, 195 Piccadilly, London 1
BAFTA A Life in Pictures: Peter Greenaway 13 April 2016 at Princess Anne Theatre, BAFTA, 195 Piccadilly, London Ian Haydn Smith: Good evening ladies what it should have been, how it should and gentlemen, my name’s Ian Haydn have you know organised its Smith and I’d like to welcome you to this perspectives differently. I don’t know, I Life in Pictures with Peter Greenaway. suppose there are many ways to define Film, art and literature, I think can have cinema as there are people in this as indelible an impact on youth as a audience. But I do feel you know very really great teacher. I say that because I disenchanted about the cinema we’ve used to steal a portable television set now got, but I think you know there’s no from my parents when I was young on a good moaning and complaining, we Monday night to take upstairs and have to do something about it, rather watch The Prisoner at nine o’clock, like Mr Eisenstein did in 1931. which, and Channel 4 had not been going that long. What I really relished IHS: And we’re going to come onto was an hour later at 10 o’clock, a whole Eisenstein a little late. I read one story series of American films from the 1970s, that you were an avid fan of The and I gorged on them. That season Seventh Seal, and watched it something ended, I had no awareness that it had like ten times over the course of one ended, and this film came on, I was week. -
NASSAU-THESIS-2013.Pdf
Copyright by David Eduardo Nassau 2013 The Thesis Committee for David Eduardo Nassau Certifies that this is the approved version of the following thesis : Sergey Eisenstein: the use of graphic violence in Strike and Potemkin APPROVED BY SUPERVISING COMMITTEE: Supervisor: Joan Neuberger Keith Livers Sergey Eisenstein: the use of graphic violence in Strike and Potemkin by David Eduardo Nassau, B.A International Relations Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2013 Dedication I dedicate this thesis to my father, the late Pedro Nassau (b. 22 July 1952-d. 28 May 2012), who always insisted that if I put my mind into something, I can accomplish anything. Nothing is beyond the realm of possibility. Eternal memory to him. Abstract Sergey Eisenstein: the use of graphic violence in Strike and Potemkin David Eduardo Nassau , M.A The University of Texas at Austin, 2013 Supervisors: Joan Neuberger Being a very prominent film director with several recognisable works, Sergey Eisenstein has been studied extensively from all angles. The aim of this dissertation is to analyse his first two movies, Strike and Battleship Potemkin, both of them stand out when seen in the context of 1920s cinema. Both films are known for introducing strong, graphic violence in cinema and at the same time the films shed light on sensitive social issues such as income disparity, government indifference as well -
Jaarverslag Kunst Kopen Met Ronald De Leeuw Puberen in De 17E Eeuw
OOG Tijdschrift van het Rijksmuseum nr.1/2008 Rijksmuseum het van Tijdschrift Oog in oog met kunst en geschiedenis OTijdschrift van het Rijksmuseumog nr.1/2008 PIERRE BOKMA ‘IK KIJK NIET MEER, IK ZIE’ Jaarverslag Kunst kopen met Ronald de Leeuw Puberen in de 17e eeuw VAN TEGENWOORDIG2007 2e JAARGANG nr.1/2008 € 5,75 1031114_coverdefnwZB.indd 1 29-01-08 17:43:48 1 Jaarverslag 2007 i Het Nieuwe Rijksmuseum: vergunningen luiden nieuwe fase in Op 13 december 2007 werd in de Philipsvleugel van het Rijks- gemeentelijke commissie voor Welstand en Monumenten is de Het museumgebouw en de tuin geboord. Daar lopen straks onzichtbaar de leidingen die het Rijksmuseum Amsterdam, het Instituut Collectie Nederland en museum de tentoonstelling Karel du Jardin geopend. Niet monumentenvergunning in 2007 verleend. Tegelijkertijd gaf het Meer dan 950.000 bezoekers kwamen in 2007 naar de presenta- klimaat in het museum regelen met lucht van de juiste tempe- de Universiteit van Amsterdam alle aanwezige kennis op het Het Nieuwe alleen hoofddirecteur Ronald de Leeuw hield een toespraak. Dagelijks Bestuur van Oud-Zuid ook de milieuvergunning af. Die tie in de Philipsvleugel van De Meesterwerken. Daar worden tijdens ratuur en vochtigheidsgraad. Die wordt aangevoerd vanuit een gebied van restauratie en conservering van (kunst)voorwerpen. Ook Egbert de Vries, voorzitter van het Dagelijks Bestuur van regelt aan welke voorwaarden het bouwplan moet voldoen op het de sluiting van het hoofdgebouw de topstukken uit de Gouden energiering die ondergronds rond het hoofdgebouw loopt. Cruz y Ortiz hebben vaak ontwerpen gemaakt voor bestaan- het Amsterdamse stadsdeel Oud-Zuid, kwam aan het woord. -
Festival Schedule
T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen. -
Rembrandt Remembers – 80 Years of Small Town Life
Rembrandt School Song Purple and white, we’re fighting for you, We’ll fight for all things that you can do, Basketball, baseball, any old game, We’ll stand beside you just the same, And when our colors go by We’ll shout for you, Rembrandt High And we'll stand and cheer and shout We’re loyal to Rembrandt High, Rah! Rah! Rah! School colors: Purple and White Nickname: Raiders and Raiderettes Rembrandt Remembers: 80 Years of Small-Town Life Compiled and Edited by Helene Ducas Viall and Betty Foval Hoskins Des Moines, Iowa and Harrisonburg, Virginia Copyright © 2002 by Helene Ducas Viall and Betty Foval Hoskins All rights reserved. iii Table of Contents I. Introduction . v Notes on Editing . vi Acknowledgements . vi II. Graduates 1920s: Clifford Green (p. 1), Hilda Hegna Odor (p. 2), Catherine Grigsby Kestel (p. 4), Genevieve Rystad Boese (p. 5), Waldo Pingel (p. 6) 1930s: Orva Kaasa Goodman (p. 8), Alvin Mosbo (p. 9), Marjorie Whitaker Pritchard (p. 11), Nancy Bork Lind (p. 12), Rosella Kidman Avansino (p. 13), Clayton Olson (p. 14), Agnes Rystad Enderson (p. 16), Alice Haroldson Halverson (p. 16), Evelyn Junkermeier Benna (p. 18), Edith Grodahl Bates (p. 24), Agnes Lerud Peteler (p. 26), Arlene Burwell Cannoy (p. 28 ), Catherine Pingel Sokol (p. 29), Loren Green (p. 30), Phyllis Johnson Gring (p. 34), Ken Hadenfeldt (p. 35), Lloyd Pressel (p. 38), Harry Edwall (p. 40), Lois Ann Johnson Mathison (p. 42), Marv Erichsen (p. 43), Ruth Hill Shankel (p. 45), Wes Wallace (p. 46) 1940s: Clement Kevane (p. 48), Delores Lady Risvold (p. -
"LUCCA MORTIS", NEW FILM for PETER GREENAWAY from 24 to 30 June the London Director Returns to Lucca Holding a Workshop on His Next Movie
"Lucca Experientia Artis and the Lucca Film Festival together for International Artistic Residences." "LUCCA MORTIS", NEW FILM FOR PETER GREENAWAY From 24 to 30 June the London director returns to Lucca holding a workshop on his next movie. (Lucca), 6 May - The new screenplay by Peter Greenaway is entitled "Lucca Mortis" and is the focus of the training course created by the director together with LEA - Lucca Experientia Artis, in collaboration with Lucca Film Festival - Europa Cinema. The idea of "Lucca Mortis" was born in 2013 as an evolution of the architectural cinema installation "The Towers / Lucca Hubris", created by Greenaway with the choreography of the dancer and author Roberto Castello and realized in Piazza San Francesco by the festival and the Fondazione Cassa di Risparmio di Lucca. After six years, thanks to the synergy between the art director of LEA Domenico Raimondi and the director Cristina Puccinelli, Greenaway returns to Lucca with a residential workshop open to 20 creative people in love with the seventh art. From 24 to 30 June, six days in close contact with the London director to closely study the stages of work that will lead to the realization of the movie: ranging from a screenplay that takes shape in the symbolic places of the city, which he himself defines a real "natural set", to the characters based on people who actually have lived and on the protagonists of Puccinian operas. Not only movie-lab activities, but also moments of conviviality to discover the inner creative imagination of Greenaway's genius in a Lucca that is the inspiring muse and film set full of charm and history. -
FICHA TÉCNICA Eisenstein En Guanajuato TÍTULO ORIGINAL
FICHA TÉCNICA Eisenstein en Guanajuato TÍTULO ORIGINAL: Eisenstein in Guanajuato DIRECCIÓN: Peter Greenaway PRODUCTORA:CoproducciónHolanda-México-Finlandia-Bélgica-Francia; Submarine / Fu Works / Climax Films GUIÓN: Peter Greenaway FOTOGRAFÍA: Reinier van Brummelen PAÍS: Holanda - México AÑO: 2015 GÉNERO: Drama DURACIÓN: 105 minutos IDIOMA: inglés / español PROTAGONISTAS: Elmer Bäck, Luis Alberti, Stelio Savante, Maya Zapata, Lisa Owen, Rasmus Slätis,Raino Ranta, Alan Del Castillo, Jakob Öhrman PREMIOS: 2015: Festival de Berlín: Sección oficial largometrajes a concurso SINOPSIS: Crónica sobre un periodo de la vida del director soviético Sergei Eisenstein, el que pasó en México, donde rodó, entre otros films, "¡Que viva México!". El director de “El Acorazado Potemkin” (1925) vivió más de un año (1931) allí para plasmar en celuloide su fascinación por el Día de Muertos y los ritos religiosos de la cultura popular mexicana. Sin embargo, la cinta quedó inconclusa, por lo que en 1979 Grigori Aleksandrov, a partir de los “storyboards” originales de Eisenstein, compiló “¡Que Viva México!, una aproximación al montaje que éste planeaba. (FILMAFFINITY) 1 Federación Internacional de Mujeres Universitarias Federación Mexicana de Universitarias Universidad Nacional Autónoma de México Museo de la Mujer Bolivia 17 Centro Histórico, Ciudad de México. Cine-Club de género27 de febrero de2018 Mtra. Delia Selene de Dios Vallejo♣♥ Esta película narra todo aquello a lo que se enfrentó el cineasta ruso luego de su autoexilio de su país; asimismo su paso por México, país cuya cultura y habitantes quedo encantado, razón por la cual se dio a la tarea de rodar la película titulada ¡Viva México!, dividida en seis episodios, a saber: ü Prólogo (también llamado Calavera), dedicado a David Alfaro Siqueiros.