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A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture
Cinema of the Self: A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture Milosz Paul Rosinski Trinity Hall, University of Cambridge June 2017 This dissertation is submitted for the degree of Doctor of Philosophy Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. The dissertation is formatted in accordance to the Modern Humanities Research Association (MHRA) style. This dissertation does not exceed the word limit of 80,000 words (as specified by the Modern and Medieval Languages Degree Committee). Summary This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. -
Richard Linklater
8 Monday April 22 2013 | the times arts artscomedy DESPINA SPYROU; GRAEME ROBERTSON “Studioshave financedfourofmy [23]films.Idon’thave aproblemwith Find thenextbig thing Theone-nightstand Hollywood,butthe airwe breathe hereisn’tpermeatedbybusiness. My familylifeishere.” Linklateris unmarried(“Iam Go to Edinburgh anti-institutionalineveryareaofmy life”).He andTina,hispartnerof andjoin thepanel thatsparked aclassic 20years,have threemuch-cherished daughters—19-year-oldLorelei, an actress,and the8-year-old“fascinating” that decides who identicaltwinsCharlotte andAlina. “That’s abig gapbetweenchildren,”he is thestand-up ThedirectorRichard Linklater tells Tim Teeman says.“Tinasaid:‘I wantmorekidsand ifyoudon’tI’ll gohave themwith comedianof2013 thebittersweet story of abrief encounterwitha someoneelse’,” Linklaterlaughs. He quotesastatisticthat70 percentof oyouwant togo tothe strangerthatgaveusBeforeSunrise andits sequels marriedmen and72percentofmarried EdinburghFestivalFringefor women havestrayed.Isheoneofthe afortnight andstay there hosewhoracefor chanceonenight inVienna.Lehrhaupt, monogamousones?“No, of coursenot!” free?Thinkyoucouldhandle theexitasamovie’s Linklaterrevealsforthefirsttime,was heroars.“Anyonewhowantsto bewith D morethan 100hours of closingcredits rollwill thewoman with“crazy, cute,wonderful mehastoacceptthecomplexityofbeing comedyintwoweeks?Thenyouhave miss,at theendof We talked energy”hemetonenight inOctober ahuman.Itrynotto live inastraitjacket. whatittakesto beaFoster’sEdinburgh RichardLinklater’s aboutart, 1989who inspiredthefilms.“What -
URMC V123no109 20150220.Pdf (6.062Mb)
THE ROCKY MOUNTAIN theweekender Friday, February 20, 2015 FIRST ANNUAL OSCARS EDITION CSU alumnus nominated for an Oscar for his work on short animated film ‘The Dam Keeper’ McKenna Ferguson | page 10 To sum up: quick summaries of the eight Best Picture nominations Arts & Entertainment Desk | page 8 & 9 ‘Boyhood’: Overrated or a new classic? Aubrey Shanahan | page 4 Morgan Smith | page 4 “Why are they even called the ‘Oscars’?” A brief historical timeline of Hollywood’s biggest night Aubrey Shanahan | page 3 abbie parr and kate knapp COLLEGIAN 2 Friday, February 20, 2015 | The Rocky Mountain Collegian collegian.com THE ROCKY MOUNTAIN Follow @CollegianC COLLEGIAN on Twitter for the COLLEGIAN PHOTOSHOP OF THE WEEK latest news, photos Lory Student Center Box 13 and video. Fort Collins, CO 80523 This publication is not an offi cial publication of Colorado State University, but is published by Follow our an independent corporation using the name ‘The collegiancentral Rocky Mountain Collegian’ pursuant to a license Instagram for the granted by CSU. The Rocky Mountain Collegian is a 8,000-circulation student-run newspaper intended latest photos. as a public forum. It publishes fi ve days a week during the regular fall and spring semesters. During the last eight weeks of summer Collegian distribution drops to 3,500 and is published Like Collegian weekly. During the fi rst four weeks of summer the Central on Facebook Collegian does not publish. for the latest news, Corrections may be submitted to the editor photos and video. in chief and will be printed as necessary on page two. -
An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence
An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence INTERNATIONAL CENTER FOR TRANSITIONAL JUSTICE An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence RESEARCH REPORT Acknowledgments The International Center for Transitional Justice (ICTJ) acknowledges the support of the UK Department for International Development, which funded this research and publication. ICTJ and the authors of the report also gratefully acknowledge all of those who generously gave their time to be interviewed for this report and contributed their experiences and insights. About the Authors Cilina Nasser wrote sections V through XII of this report and led the development of the Introduction and Recommendations. Nasser is a Beirut-based independent researcher and expert on human rights who also works on transitional justice issues. She has worked extensively on investigating human rights abuses and violations of international humanitarian law, primarily in Syria, but also in other countries in the Middle East and North Africa region, such as Yemen, Libya, and Saudi Arabia. She was a researcher at Amnesty International focusing on countries in crisis and conflict from 2009 to 2015 and, before that, a journalist who covered major events in Lebanon. Zeina Jallad Charpentier wrote sections III, XIII, and XIV of this report. Jallad Charpentier is a legal consultant, researcher, and lecturer in law, whose work focuses on the intersection between international law, human rights law, social mobility, access to justice and resilience of disenfranchised populations, refugees, and impact litigation. She has worked in the United States, Tunisia, Morocco, Egypt, Jordan, Lebanon, Palestine, and Turkey. -
Everyday Transcendence: Contemporary Art Film and the Return to Right Now
Wayne State University Wayne State University Dissertations January 2019 Everyday Transcendence: Contemporary Art Film And The Return To Right Now Aaron Pellerin Wayne State University Follow this and additional works at: https://digitalcommons.wayne.edu/oa_dissertations Part of the Film and Media Studies Commons Recommended Citation Pellerin, Aaron, "Everyday Transcendence: Contemporary Art Film And The Return To Right Now" (2019). Wayne State University Dissertations. 2333. https://digitalcommons.wayne.edu/oa_dissertations/2333 This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. EVERYDAY TRANSCENDENCE: CONTEMPORARY ART FILM AND THE RETURN TO RIGHT NOW by AARON PELLERIN DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2019 MAJOR: ENGLISH (Film and Media Studies) Approved By: _________________________________________ Advisor Date _________________________________________ _________________________________________ _________________________________________ _________________________________________ © COPYRIGHT BY AARON PELLERIN 2019 All Rights Reserved DEDICATION For Sue, who always sees the magic in the everyday. ii ACKNOWLEDGEMENTS I‘d like to thank my committee, and in particular my advisor, Dr. Steve Shaviro. His encouragement, his insightful critiques, and his early advice to just write were all instrumental in making this work what it is. I likewise wish to thank Dr. Scott Richmond for the time and energy he put in as I struggled through the middle stages of the degree. I am also grateful for a series of challenging and exciting seminars I took with Steve, Scott, and also with Dr. -
Sony Pictures Classics Acquires Sundance Favorite Before Midnight
SONY PICTURES CLASSICS ACQUIRES SUNDANCE FAVORITE BEFORE MIDNIGHT NEW YORK (January 25, 2013) - Sony Pictures Classics announced today that they have acquired all North American and UK rights to Richard Linklater’s BEFORE MIDNIGHT, the third installment to BEFORE SUNRISE and BEFORE SUNSET, starring Ethan Hawke and Julie Delpy. Like BEFORE SUNSET, the third film is written by Academy Award® nominees Linklater, Hawke and Delpy. Premiering to critical acclaim in the Premieres Section on Sunday evening at the Sundance Film Festival, BEFORE MIDNIGHT has been one of the most talked about films at the festival. The film is produced by Linklater, Christos V. Konstantakopoulos and Sara Woodhatch and executive produced by Jacob Pechenik, Martin Shafer, Liz Glotzer, and John Sloss. The deal was negotiated by SPC and Cinetic Media on behalf of the filmmakers. In BEFORE MIDNIGHT, we meet Celine and Jesse 9 years on. Almost 2 decades have passed since that first meeting on a train bound for Vienna, and we now find them in their early 40's in Greece. Before the clock strikes midnight, we will again become part of their story. "In 1991 we were in Sundance with SLACKER and we witnessed the birth of a major American filmmaker. At Sundance 2013 with BEFORE MIDNIGHT, we have further confirmation that Richard Linklater is a film master at the peak of his form. This one has it all as entertainment and as a work of cinematic art. It is a perfect movie made by not one but three auteurs, Rick, Ethan Hawke, and Julie Delpy. This movie will be incredibly successful around the world. -
Safeguarding Digital Democracy Digital Innovation and Democracy Initiative Roadmap
DIDI Roadmap March 2020 | No. 4 Safeguarding Digital Democracy Digital Innovation and Democracy Initiative Roadmap Karen Kornbluh and Ellen P. Goodman with contributions by Eli Weiner Washington, DC Ankara Belgrade Berlin Brussels Bucharest Paris Warsaw DIDI Roadmap March 2020 | No. 4 The Digital Innovation and Democracy Initiative The Digital Innovation and Democracy Initiative works to foster innovation and ensure that technology strengthens Table of Contents democracy. DIDI leverages GMF’s transatlantic network and network of senior fellows to promote strategies for reforming policies for the digital age. 3 Executive summary Authors 8 Introduction Karen Kornbluh, former U.S. Ambassador to the Organiza- tion for Economic Cooperation and Development, is Senior 10 Politically motivated Fellow and Director of the Digital Innovation and Democracy disinformation campaigns Initiative at the German Marshall Fund of the United States. Ellen P. Goodman is a professor at Rutgers Law School, where 27 After tech utopianism she is co-director and co-founder of the Rutgers Institute for Information Policy & Law at Rutgers Law School, and Non-Resident Senior Fellow at the German Marshall Fund. 30 Policy roadmap for safeguarding digital democracy Eli Weiner is a research assistant with the Digital Innovation and Democracy Initiative at the German Marshall Fund of the United States. Karen Kornbluh & Ellen P. Goodman 2 DIDI Roadmap March 2020 | No. 4 Even before a global pandemic hit, the Bulletin of Atomic Scientists announced that the Doomsday Clock had advanced for the first time ever to 100 seconds before midnight. The Bulletin cited “information warfare” as a “threat multiplier” that is reducing trust and corrupting the information ecosystem needed for democratic debate. -
The Fate of the Couple in Modern Cinema by Dylan Caskie Senior
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository The Fate of the Couple in Modern Cinema By Dylan Caskie Senior Honors Thesis Department of English & Comparative Literature University of North Carolina at Chapel Hill 03/27/2018 Approved: _______________ Dr. Rick Warner, Thesis Advisor Dr. Gregory Flaxman, Reader Dr. Shayne Legassie, Reader Acknowledgements I would like to thank my advisor, Dr. Rick Warner, for his undying commitment to my thesis and for pushing me to work harder than I ever have before; this thesis would not be possible without him. Thanks also to Dr. Gregory Flaxman and Dr. Shayne Legassie for their willingness to read and evaluate my thesis. Lastly, thanks to my dear friends for their support and my friend, Grace Han, for her help in coming up with the idea for this thesis in the first place. This thesis is dedicated to my parents, Mark & Pat, who raised me and helped me get to where I am today – thanks for introducing me to the movies. Table of Contents Introduction: A Couple Ahead of Its Time.….….………….….….…….…01 Chapter 1: Couples Lost in Time..………………….…….……….….……07 Chapter 2: Navigating Replayed Time….…….……….………….…….….27 Chapter 3: The Ticking Clock and Passing Moment…….…………...……47 Afterword: The Gates of Love, Opened…………..………………….…….63 Filmography…………………………….…………...…………….……….67 Bibliography……………………………….………………….……………70 1 INTRODUCTION A Couple Ahead of Its Time It would be misleading to consider classical Hollywood cinema without some reference to the romantic couple, a thematic and narrative staple embodied in the genres of romantic melodrama and romantic comedy. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Review by Kim Wilkins University of Oslo
POST-PRINT Review By Kim Wilkins University of Oslo Rob Stone’s Before the End intelligently illustrates—and lays bare—the deep emotional investment in Jesse and Céline’s romantic connection maintained by many fans of Richard Linklater’s Before trilogy since the two alighted from a train in Vienna twenty-five years ago. Characteristic of transformative fanfiction, Before the End demonstrates this investment by offering an insightful imagining of Jesse and Céline in our current pandemic moment: the two are geographically separated, connected to one another—and their fanbase—only by the technological affordances of digital communication. Although Stone never addresses why this once-idealised romantic couple is separated—perhaps by inopportune but unintended circumstance, perhaps by design—the video implies a tension between the Before trilogy’s ethos: the attempt at true interpersonal connection and the wounds inflicted and revealed as part of such an asymptotic endeavour. Stone’s use of jump-cuts, freeze frames, and pixilation intrude on the intimate—but distanced—exchange, halting its flow in a manner both isomorphic with the reality of videocalls—ever more present in our current pandemic situation—and visualising the fissures and ruptures endemic to effortful interpersonal understanding. As both a work of, and a comment on, fanfiction, Stone’s use of footage from the TIFF Originals’ Stay-at-Home Cinema series is illuminating. In their respective interviews, Delpy and Hawke are asked to respond to the construction and trajectories of their characters and the role that the Before series plays in fans' lives. Often, at times, these actors are in essence talking about—but, of course, never to— one another, while fans’ comment in the chat sidebar in ways that both conflate and separate character and actor (“Are Céline and Jesse still together?”/“I love you, Ethan Hawke”). -
How-Movies-Help-Make-The-World
y friend the architect Colin Fraser Wishart says that the purpose of his craft is to help people live better. There’s beautiful simplicity, but also Menormous gravity in that statement. Just imagine if every public building, city park, urban transportation hub, and home were constructed with the flourishing of humanity - in community or solitude - in mind. Sometimes this is already the case, and we know it when we see it. Our minds and hearts feel more free, we breathe more easily, we are inspired to create things - whether they be new thoughts of something hopeful, or friendships with strangers, or projects that will bring the energy of transformation yet still into the lives of others. If architecture, manifested at its highest purpose, helps We comprehend...that nuclear power is us live better, then it is also easy to spot architecture that is divorced from this purpose. a real danger for mankind, that over- In our internal impressions of a building or other space made to function purely within crowding of the planet is the greatest the boundaries of current economic mythology - especially buildings made to house the so-called “making” of money - the color of hope only rarely reveals itself. Instead we danger of all. We have understood that are touched by melancholy, weighed down by drudgery, even compelled by the urge to the destruction of the environment is get away. But when we see the shaping of a space whose stewards seem to have known another enormous danger. But I truly that human kindness is more important than winning, that poetry and breathing matter believe that the lack of adequate beyond bank balances and competition (a concert hall designed for the purest reflection imagery is a danger of the same of sound, a playground where the toys blend in with the trees, a train station where the magnitude. -
1 E-Revista De Estudos Interculturais Do CEI – ISCAP N.º 4, Maio De
E-Revista de Estudos Interculturais do CEI – ISCAP N.º 4, maio de 2016 ALGUMAS NOTAS SOBRE VIENA, PARIS, UMA ILHA NA GRÉCIA E DOIS AMANTES José Duarte FLUL/CEAUL/FCT [email protected] Resumo O presente artigo pretende analisar três filmes de Richard Linklater: Before Sunrise, 1995, Before Sunset, 2004 e Before Midnight, 2013 que se debruçam sobre a história de um casal ao longo de dezoito anos. Para além de assinalar alguns dos aspectos mais relevantes de cada narrativa, a análise proposta debruça-se essencialmente na viagem feita pelos dois personagens – Jesse e Céline – e nos vários locais dos diferentes filmes e os seus significados. Deste modo, o objectivo deste estudo é analisar o modo como Viena (Sunrise), Paris (Sunset) ou uma ilha na Grécia (Midnight) simbolizam três momentos distintos na relação de Jesse e Céline, funcionando também os locais como personagens que envolvem e caracterizam os dois amantes. Key-words: Richard Linklater; Viena; Paris; Grécia; Cinema; Espaço; Viagem. “Maybe I only exist in your mind, but still just as real as anything else.” Waking Life, 2001 – Richard Linklater O cinema de Richard Linklater Conhecido cineasta Americano, mas bastante influenciado pelo cinema europeu – em particular pela Nouvelle Vague – Richard Linklater é um realizador que procura explorar os pequenos momentos da vida diária nos seus filmes. Quer através de um registo mais próximo do realista, quer pela sua obsessão com o espaço e as palavras, Linklater, como nota Mayshark (2007: 15/16), mostra um verdadeiro interesse nos personagens que habitam os seus filmes. 1 Oscilando entre o cinema de autor e Hollywood, Linklater ficou conhecido por filmes como Slacker (1991), obra em que explora a cidade de Austin, local onde desenvolveu a sua educação cultural, através de personagens marginais que circulam pela cidade sem qualquer propósito.