Dissertação Nanna Pôssa

Total Page:16

File Type:pdf, Size:1020Kb

Dissertação Nanna Pôssa UNIVERSIDADE FEDERAL DA BAHIA FACULDADE DE COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO E CULTURA CONTEMPORÂNEAS NANNA PÔSSA BONES Refletir o real: uma análise da obra dos irmãos Dardenne Salvador 2011 NANNA PÔSSA BONES Refletir o real: uma análise da obra dos irmãos Dardenne Dissertação apresentada ao Programa de Pós-Graduação em Comunicação e Cultura Contemporâneas, Faculdade de Comunicação, Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Mestre em Comunicação. Orientador: Prof. Dr. José Francisco Serafim Salvador 2011 2 3 AGRADECIMENTOS Gostaria de registrar minha sincera gratidão: à Cláudia, minha mãe, pelo companheirismo, pela ajuda super dedicada na leitura e tradução dos intermináveis livros em francês e pela revisão crítica de todo o trabalho; ao professor Francisco Serafim, pela orientação e pela paciência em me acompanhar durante as diversas etapas acadêmicas; ao professor Wilson Gomes, pela enorme contribuição na minha formação como um todo; à professora Carmem Jacob, pelos ensinamentos e por ter me iniciado na leitura de Bourdieu; ao Thiago, pelo amor e dedicação; à querida Titia (Luzia), pela cuidadosa revisão e ao Jorelho, pela disponibilidade; ao Marcelo, meu pai, e Angela, pelo apoio e carinho; aos amigos queridos pela torcida, estímulo e momentos de descontração, em especial a Alice, por estar sempre online para as minhas dúvidas de francês e a Maria, por ajudar a me concentrar nesta reta final; aos colegas dos grupos de pesquisa “Pepa” e “Nanook”, especialmente a Cristiano, pelas horas gastas no “disk SOS academia”, a Ana Camila, pela atenciosa leitura, a Fábio, pela cumplicidade, a Júlio, pela motivação e a Bamba, Sandra, Emília, Carol(s), Guilherme e Ludmila, pelo diálogo durante o percurso; aos demais professores, funcionários e colegas do Programa de Pós Graduação em Comunicação e Cultura Contemporâneas, por juntos construírem este frutífero ambiente de pesquisa; ao Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq), que viabilizou esta pesquisa com a oferta de bolsa durante os dois anos nos quais realizei o mestrado. 4 Ce qui importe pour un film, c’est d’arriver à reconstruire de l’expérience humaine […] Je voudrais que nous arrivions à faire un film qui soit une poignée de main. Luc Dardenne, 1991 5 RESUMO Jean-Pierre e Luc Dardenne podem ser enquadrados em uma nova geração de cineastas que questiona a herança do cinema realista. Por meio de estratégias que rompem determinadas convenções cinematográficas, eles conseguiram destacar-se como autores que realizam obras nas quais a ética e a estética estão entrelaçadas, através de um realismo sensorial . O objetivo do presente trabalho foi investigar a construção deste universo ficcional. Para isso, realizou-se, em um primeiro momento, uma análise contextual da trajetória dos diretores e, posteriormente, a análise interna do filme A promessa. Portanto, duas perspectivas metodológicas foram adotadas. Para as questões contextuais, foi necessário recorrer às discussões sobre a autoria no cinema, do surgimento da questão, com a politique des auteurs , ao estudo sociológico de Pierre Bourdieu. Pela trajetória dos realizadores – desde seus primeiros vídeos militantes até o filme A promessa – foi possível observar as diversas posições que ocuparam no campo do audiovisual até conseguirem prestígio e serem considerados autores. No que diz respeito às propriedades materiais do filme e aos desafios de uma análise interna, adotou-se a perspectiva da Poética do cinema , método desenvolvido e discutido no Laboratório de Análise Fílmica (Facom – Ufba), que objetiva identificar no filme o modo com que a obra prevê os efeitos de natureza sensorial, comunicacional e emocional a serem apreciados pelo espectador. Por meio da análise de A promessa, obra que foi fundamental para que os Dardenne se consolidassem no campo do cinema, foi possível concluir que a principal novidade é a contaminação da ficção por uma estética realista que se aproxima sensorialmente do espectador. O uso de elementos como imagens instáveis, ausência de música pós-sincronizada e plano-sequência está destinado a ampliar as angústias psicológicas do personagem e evitar o maniqueísmo para conduzir o público a uma reflexão sobre a realidade contemporânea. Palavras-chave: Cinema; Dardenne; Autoria; Realismo; Análise Textual; Crítica e interpretação; Poética; Arte e comunicação. 6 ABSTRACT Jean-Pierre and Luc Dardenne can be fit into a new generation of filmmakers who questions the legacy of realist cinema. With strategies that break certain cinematic conventions, they managed to stand out as authors who perform works in which ethics and aesthetics are interwoven through the sensuous realism. The aim of this study was to investigate the construction of this fictional universe. For this, there was, at first, a contextual analysis of the trajectory of the directors and later the internal review of the film La Promesse. Therefore, two methodological perspectives were adopted. For the contextual issues, it was necessary to refer to discussions of authorship in cinema, from the emergence of the issue, with the politique des auteurs, to the sociological study of Pierre Bourdieu. Through the trajectory of the filmmakers - from their early militant videos until the movie La Promesse - it was possible to observe the various positions they occupied in the audiovisual field until they conquered prestige and were considered authors. As for the material properties of the film and the challenges of an internal analysis, it was adopted the perspective of the Poetics of Cinema, a method developed and discussed in the Filmic Analysis Laboratory - at Faculty of Communication / Federal University of Bahia (Facom / UFBa) -, which aims to identify, in the movie, how the work foresees the effects of sensuous, communication and emotional nature to be appreciated by the viewer. Through the analysis of La Promesse, a work that was essential for the Dardenne to be solidified in the field of cinema, it was concluded that the main novelty is the contamination of fiction by a realistic aesthetic that approaches to the viewer in a sensuous way.The use of elements such as unstable images, absence of post-synchronized music and sequence-shot is designed to expand the character's psychological distress and avoid Manichaeism to lead the public to reflect on contemporary realities. Keywords: Cinema; Dardenne; Authorship; Realism; Textual Analysis, Criticism and interpretation, Poetics, Art and Communication. 7 LISTA DE IMAGENS Frames do filme A promessa Imigrantes chegam à Bélgica escondidos em um caminhão cegonha 85 Igor prepara os certificados de residência para entregar aos estrangeiros 85 A forma de se vestir de Assita: bebê nas costas e sobreposições de tecidos 88 Plano-sequência de Igor roubando a carteira da senhora 93 Caminhoneta de Roger e caminhão com imigrantes correm por Seraing 97 A apresentação de Assita 97 Na paisagem industrial, Assita pega um ninho de andorinha 98 Igor e Roger cobram dos imigrantes o aluguel 101 Primeira ocularização interna : a curiosidade de Igor 103 Segunda ocularização interna: Igor confere se o dinheiro foi entregue 106 Exemplos de planos de deslocamentos de Igor pela cidade 108 Igor, após o acidente, promete a Hamidou cuidar de sua esposa e filho 115 Igor e Roger ocultam, com cimento, o corpo de Hamidou 117 Igor encontra o rádio de Hamidou em um cômodo da casa branca 117 Igor e seu pai trocam olhares de cumplicidade no karaoquê 119 Roger, Maria, Igor e uma garota divertem-se cantando Marina, Marina 119 Igor e Roger limpam o cimento e o sangue de Hamidou, antes de dormir 122 O anel de Igor: no início do filme, quando ele ganha, e no final, quando ele vende 126 A estatueta africana assume posição de destaque na trama 126 Plano-sequência no qual Igor conta a verdade para Assita 127 8 SUMÁRIO Introdução 10 1. Do contexto ao texto: reflexões sobre o método 18 1.1. Autoria enquanto estratégia de legitimação 21 1.2. A Poética como metodologia de análise 23 1.3. A experiência e o cinema 26 1.4. Modos de leitura 28 1.5. O Leitor modelo 30 1.6. O papel do analista 32 2. O universo fílmico dos irmãos Dardenne 37 2.1. O vídeo militante 38 2.2. Os primeiros documentários 44 2.3. Vídeo, cinema e teatro: entrando na ficção 56 2.4. Um novo começo: o controle do processo criativo 69 3. A ficção através do realismo sensório 74 3.1. A promessa 82 Considerações finais 132 REFERÊNCIAS BIBLIOGRÁFICAS 141 REFERÊNCIAS FILMOGRÁFICAS 151 ANEXO A – Filmografia dos Dardennne 155 9 Introdução Luc e Jean-Pierre Dardenne são diretores belgas que começaram como documentaristas, migrando depois para a produção de ficções. Os últimos cinco filmes dos irmãos Dardenne, A promessa (1996), Rosetta (1999), O filho (2002), A criança (2005) e O silêncio de Lorna (2008) apresentam muitos pontos em comum e soluções válidas para uma análise. Conseguiram criar (ou recriar) narrativas simples que produzem grande impacto nos espectadores. Boa parte dos efeitos de suas obras é embasada em um realismo sensorial , através de planos-sequência que perseguem de perto os personagens. São filmes nos quais a ética e a estética estão entrelaçadas, objetivando provocar a reflexão sobre o mundo contemporâneo. Os diretores podem ser enquadrados em uma nova geração de cineastas que questionam a herança do cinema realista. A contaminação da ficção por uma estética que muitas vezes é associada ao documentário amador amplia a credibilidade dos universos construídos pela dramatização, tensionando também a distinção entre estes dois gêneros. Não se trata, no entanto, de um retorno absoluto ao realismo de André Bazin, ou de um cinema que se baseia na questão da indicialidade do dispositivo. O uso de elementos realistas, além de aumentar a verossimilhança das histórias, fez com que os Dardenne se destacassem no campo cinematográfico e se consagrassem como autores. Os dois irmãos, que assinam juntos a produção, direção e roteiro, constroem dramas político-sociais associados a dramas psicológicos sobre a solidão e a melancolia contemporâneas.
Recommended publications
  • 25 Years of Media Investing in Creativity, Building the Future 1 - 2 December 2016, Bozar, Brussels
    25 YEARS OF MEDIA INVESTING IN CREATIVITY, BUILDING THE FUTURE 1 - 2 DECEMBER 2016, BOZAR, BRUSSELS #MEDIA25 “Oh how Shakespeare would have loved cinema!” Derek Jarman, filmmaker and writer “‘Culture’ as a whole, and in the widest sense, is the glue that forms identity and that determines the soul of Europe. And cinema has a privileged position in that realm… Movies helped to invent and to perpetuate the ‘American Dream’. They can do wonders for the image of Europe, too.” Wim Wenders, filmmaker “The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate.” Werner Herzog, filmmaker “You don’t make a movie, the movie makes you.” Jean-Luc Godard, filmmaker “A good film is when the price of the dinner, the theatre admission and the babysitter were worth it.” Alfred Hitchcock, filmmaker The 25th anniversary of MEDIA The European Commission, in collaboration with the Centre for Fine Arts (BOZAR), is organising a special European Film Forum (EFF) to celebrate the 25th anniversary of the MEDIA programme, which supports European audiovisual creations and their distribution across borders. Over these 25 years, MEDIA has been instrumental in supporting the audiovisual industry and promoting collaboration across borders, as well as promoting our shared identity and values within and outside Europe. This special edition of the European Film Forum is the highlight of the 25th anniversary celebrations. On the one hand, it represents the consummation of the testimonials collected from audiovisual professionals from across Europe over the year.
    [Show full text]
  • Juliette Binoche Charles Berling Jérémie Renier Olivier Assayas
    MK2 presents Juliette Charles Jérémie BINOCHE BERLING RENIER A film by Olivier ASSAYAS photo : Jeannick Gravelines MK2 presents I wanted, as simply as possibly, to tell the story of a life-cycle that resembles that of the seasons… Olivier Assayas a film by Olivier Assayas Starring Juliette Binoche Charles Berling Jérémie Renier France, 35mm, color, 2008. Running time : 102’ in coproduction with France 3 Cinéma and the participation of the Musée d’Orsay and of Canal+ and TPS Star with the support of the Region of Ile-de-France in partnership with the CNC I nt E rnationa L S A LE S MK2 55 rue Traversière - 75012 Paris tel : + 33 1 44 67 30 55 / fax : + 33 1 43 07 29 63 [email protected] PRESS MK2 - 55 rue Traversière - 75012 Paris tel : + 33 1 44 67 30 11 / fax : + 33 1 43 07 29 63 SYNOPSIS The divergent paths of three forty something siblings collide when their mother, heiress to her uncle’s exceptional 19th century art collection, dies suddenly. Left to come to terms with themselves and their differences, Adrienne (Juliette Binoche) a successful New York designer, Frédéric (Charles Berling) an economist and university professor in Paris, and Jérémie (Jérémie Renier) a dynamic businessman in China, confront the end of childhood, their shared memories, background and unique vision of the future. 1 ABOUT SUMMER HOURS: INTERVIEW WITH OLIVIER ASSAYAS The script of your film was inspired by an initiative from the Musée d’Orsay. Was this a constraint during the writing process? Not at all. In the beginning, there was the desire of the Musée d’Orsay to associate cinema with the celebrations of its twentieth birthday by offering «carte blanche» to four directors from very different backgrounds.
    [Show full text]
  • DP BCN Inter
    WHITE AS SNOW Blue Monday Productions presents in co-production with MK2, Need Productions, Rhône-Alpes Cinéma and RTBF in collaboration with Canal+, Cinécinéma, TPS Star, Centre National de la Cinématographie, Région Rhône-Alpes, Région Provence Alpes Côte d'Azur in association with La Banque Postale Image 2, Cofinova 5, Cofinova 6, Soficinema 5, Belgacom and the support of Tax Shelter ING Invest and Procirep - Angoa Agicoa and the MEDIA Programme of the European Commission WHITE AS SNOW ACHRISTOPHE BLANC FILM Production company: Blue Monday Productions - Production year: 2009 Running time: 114 MINUTES - Language: French - Format: 35mm/Cinemascope/2:35 CREW CAST Director - CHRISTOPHE BLANC Maxime - FRANÇOIS CLUZET Screenplay - CHRISTOPHE BLANC and ROGER BOHBOT Grégoire - OLIVIER GOURMET In collaboration with BÉRYL PEILLARD Michèle - LOUISE BOURGOIN Director of photography - LAURENT BRUNET Abel - JONATHAN ZACCAÏ Assistant director - Frédéric GOUPIL Simon - BOULI LANNERS Sound - OLIVIER HESPEL Matti - PERTTI KOIVULA Sound Editor - BENOÎT GARGONNE Jukka - ILKKA KOIVULA Sound mix - STÉPHANE THIEBAUT Markku - KAI LEHTINEN Producer - BERTRAND GORE Timo - LAURI UUSITALO Associate producers - NATHALIE MESURET, MARIN KARMITZ, Camille - SACHA QUEILLE NATHANAËL KARMITZ, CHARLES GILLIBERT, DENIS DELCAMPE Nicole - JENNY BELLAY and ARLETTE ZYLBERBERG Romuald - GRÉGORY MONTEL Casting director - AURÉLIE GUICHARD Stéphane - HABIB SABOUR Editor - GUY LECORNE Franz - JÜRGEN ZWINGEL Production design - FRANCOIS GIRARD Werner - TIBO VANDENBORRE Production manager - Philippe HAGEGE Jonvelle - SERGE SWYSEN Composer - KRISHNA LEVY Indra - ALESKSANDRA KEDZIERSKA SYNOPSIS Everything is going great for Maxime: his luxury car dealership is booming, his house is magnificent, and his young wife is drop dead gorgeous. All of that changes when his partner is murdered by a group of Finnish gangsters, who threaten Maxime with the worst if he doesn't pay off his partner's enormous debt.
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]
  • Celebrating Forty Years of Films Worth Talking About
    2 NOV 18 6 DEC 18 1 | 2 NOV 18 - 6 DEC 18 88 LOTHIAN ROAD | FILMHOUSEcinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT Move over, Braveheart! Last month saw the culmination of our 40th anniversary celebrations here at Filmhouse, and it has been hugely interesting time (for me at any rate!) comparing the us of now with the us of then. I’ve thoroughly enjoyed spending time talking to Filmhouse’s first Artistic Director, Jim Hickey, and finding out in more detail than I knew what myriad ways the business of running Filmhouse has stayed the same and the as many ways it has not (one of these days I’ll write it all down and you can find out how interesting it is for yourselves!). UK film distribution itself has changed immeasurably – the dawn of the multiplex in the latter half of the 1980s saw to that. Back in 1978, Filmhouse itself was part of a sort of movement that saw the birth of a number of similar venues around the UK whose aim was to show a kind of cinema (predominantly foreign language) that simply was not catered for within mainstream film exhibition. Despite 40 years having passed and much having changed, the notion of an audience-driven, ‘curated’ cinema like Filmhouse remains something of a film exhibition anomaly; and something Jim Hickey wrote 30+ years ago rings just as true today as it did then: “But best of all, the new cinemas are being run by those who care about audiences as well as the films that they have paid to watch.” Now, we’ve got a bit of a first for you in November, for we have metaphorically got into bed with Netflix to give one of their films a hugely deserved, exclusive, short run in a cinema – namely David Mackenzie’s splendidly entertaining Robert the Bruce epic, Outlaw King.
    [Show full text]
  • SHSU Video Archive Basic Inventory List Department of Library Science
    SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.
    [Show full text]
  • Dardenne Brothers Interviewed by Perry Ogden for Film Ireland
    The Dardenne brothers interviewed by Perry Ogden for Film Ireland If you want to see the purest and most distilled cinema being made today then look no further than the Dardenne Brothers. Well versed in the films of Rosselini, Fassbinder, Loach, Kieslowski, Oshima, Cassavetes and early Scorcese, they are in the company of Francis Ford Coppola and Emir Kusturica as the only directors to have won the Palm D’Or twice. Initially based in the French speaking Belgian city of Liege, they started out in the mid-seventies working with Armand Gatti, the socially commited Belgian playwright and filmmaker, before making their own videos and documentaries on local social issues. They came to Derry in 1981with Gatti (Jean-Pierre as first assistant cameraman and Luc as first assistant director) to work on the feature ‘The Writing on the Wall’ and made their own first feature ‘Falsch’ three years later. But it was no easy route into feature films as they struggled to establish their own personal vision. It wasn’t until ‘La Promesse’ (The Promise) in 1996, which was filmed in Seraing – a post industrial town south west of Liege where they have made all their films since - that they found their own gritty, yet poetic, realist style and finally broke through onto the world stage. Since then they have made ‘Rosetta’ which won the Palm D’Or and Best actress for Emilie Dequeenne at Cannes in 1999, ‘Le Fils’ (The Son) which won best actor at Cannes for Olivier Gourmet in 2002 and ‘L’Enfant’ (The Child) which won the Palm D’or at Cannes last year.
    [Show full text]
  • Cinéma Du Nord
    A North Wind THE NEW REALISM OF THE FRENCH- WALLOON CINÉMA DU NORD A DISSERTATION SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY NIELS NIESSEN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ADVISER: CESARE CASARINO NOVEMBER, 2013 © Niels Niessen, 2013 i ACKNOWLEDGMENTS Ideas sometimes come in the middle of the night yet they are never fully one’s own. They are for a very large part the fruits of the places and organizations one works or is supported by, the communities one lives in and traverses, and the people one loves and is loved by. First of all, I would like to acknowledge the support I received from the following institutions: the American Council of Learned Societies, the Huygens Scholarship Program of the Dutch government, the Prins Bernard Cultuurfonds (The Netherlands), and, at the University of Minnesota, the Center for German & European Studies (and its donor Hella Mears), the Graduate School (and the Harold Leonard Memorial Fellowship in Film Study), as well as the Department of Cultural Studies and Comparative Literature. As for my home department, I could not have wished for a warmer and more intellectually vibrant community to pursue my graduate studies, and I express my gratitude to all who I have worked with. A special word of thanks to my academic adviser, Cesare Casarino, who has taught me how to read many of the philosophies that, explicitly or implicitly, have shaped my thinking in the following pages, and who has made me see that cinema too is a form of thought.
    [Show full text]
  • This Is a List of the Titles and Classmarks of the Library's DVD Collection As of November 2018 for Quick Reference. the Colle
    St John’s College Library DVD Collection This is a list of the titles and classmarks of the Library’s DVD collection as of November 2018 for quick reference. The collection can be browsed in the AV Room on the First Floor, and current availability can be found via the online catalogue. The collection is constantly being updated so for the most up to date titles, please search the online catalogue. The first section of this guide is organised alphabetically by title. The second section is organised by language/country. Title Call Number 8 1/2 DVD ITA.ott.fel 8 1/2 DVD ITA.ott.fel 36 DVD FRE.tre.mar 1871 DVD ENG.eig.mcm 1984 DVD ENG.nin.rad 2046 DVD CHI.twe.won 10 Cloverfield Lane DVD ENG.ten.tra 10 things I hate about you DVD ENG.ten.jun 1000 Dollari sul nero = Blood at Sundown DVD ITA.mil.sir 10000 dollari per un massacro = $10000 blood money DVD ITA.die.gue 12 years a slave DVD ENG.twe.mcq 20,000 days on Earth DVD ENG.twe.for 2001 : a space odyssey DVD ENG.two.kub 28 days later DVD ENG.twe.boy 2point4 children the complete series three DVD ENG.two.mar 3 godfathers DVD ENG.thr.for 45 years DVD ENG.for.hai 47 ronin DVD JAP.shi.ich 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 60s collection DVD FRE.god.god 8 women DVD FRE.hui.ozo A beautiful mind DVD ENG.bea.how A bit of Fry and Laurie the complete fourth series DVD ENG.bit.spi A bronx tale DVD ENG.bro.den A bullet for the general DVD ITA.qui.dam A Christmas tale a film by Arnaud Desplechin.
    [Show full text]
  • Open Letter to the Members of the European Parliament Regarding the Report on Enforcement of Intellectual Property Rights in the Internal Market (2009/2178(INI))
    Open letter to the Members of the European Parliament regarding the report on enforcement of intellectual property rights in the Internal Market (2009/2178(INI)) 5th July 2010 Dear Members of the European Parliament, You will soon be asked to cast your vote on Mrs Gallo’s report regarding the enforcement of intellectual property rights in the internal market. Whereas some voices have loudly criticised Mrs Gallo’s report and refute the consequences of piracy on creative works, we would like to give our full support to the text adopted in the legal affairs committee on 1st June and which will be soon debated in the European Parliament plenary. We believe that Mrs Gallo’s report is a balanced one. It encompasses compromises between different political approaches on crucial provisions. It does not call for the criminalisation of Internet users nor for the implementation of the French graduated response all over Europe. Conversely, it recognises that solutions should be found both in the development of legal online offers and in awareness-raising campaigns and asks for an objective, independent impact assessment before any additional legislative proposal. Today, creators no longer want to be held hostage to a fruitless and ideological debate on whether piracy should be treated differently from counterfeiting. It is of utmost importance that their creation should be valued, be it online or off-line, in their home country or abroad. As underlined in Mrs Gallo’s report, copyright is an enabler, helping creators earn a living and disseminating their works. Consequently, fair remuneration for all creators should be one of the first concerns of those who call for a European online market of quality and culturally diverse content.
    [Show full text]
  • Zoom Mai/Juin 2011
    mai / juin n° 1 GRAND ÉCRAN ZOOMLe magazine de l’actualité cinématographique du multiplex Libourne CCINÉINÉ DDÉBATÉBAT ATTACATTAC CCapitalismapitalism : A LLoveove SStorytory eenn VVOO CCINÉINÉ TTAPASAPAS LLAA MMOVIDAOVIDA EElsalsa eett FFredred eenn VVOO PPORTRAITORTRAIT BBOBINESOBINES DDEE CCINÉPHILESINÉPHILES WWoodyoody AAllenllen TThehe TTreeree OOff LLifeife eenn VVOO MAGAZINE GRATUIT [L’ÉDITO] DE LA RÉDACTION SOMMAIRE Votre [MAI / JUIN] Nouveau magazine... C’est arrivé prés de chez vous Nous profitons de ce premier numéro ZOOM pour remercier l’ensemble Lors de l’avant-première avec Daniel Auteuil [03] 3du public de sa fidélité ; la Mairie, les associations, les écoles, les Ciné Tapas La Movida libournaise collèges et les lycées de Libourne qui régulièrement nous contactent pour Elsa et Fred de Marcos Carneval (en VO) [03] offrir un autre regard sur le cinéma. Festival de Cannes Notre volonté depuis presque huit ans est de vous proposer une grande Le festival en date - Sélection officielle 2011 [04] diversité de programmes. Ciné Débat ATTAC en libournais Nous sommes très heureux de participer avec vous à la vie associative et Capitalism : A Love Story de Michael Moore [05] culturelle de notre ville. Arrêt sur image Où Va La Nuit avec Yolande Moreau [06] Événements Comme vous l’avez constaté, depuis déjà quelques mois la projection Opéra: La traviata - Ballet: La Bayadère [07] numérique s’est installée dans votre cinéma libournais, quatre salles en sont Portrait maintenant équipées et d’ici quelques mois, elles le seront toutes. Woody
    [Show full text]
  • Filmographie
    1 Les films sont classés par ordre chronologique de leur sortie en salles * signale les productions belges réalisées par des cinéastes français Toto le héros Jaco Van Dormael, 1991 "C'est l'histoire d'un type à qui il n'est jamais rien arrivé." Un vieillard vivant dans un hospice est persuadé que son voisin et lui ont été échangés à la naissance… Un puzzle cohérent et maîtrisé, César du meilleur film étranger 1992 Vidéothèque Marguerite Duras VAN C'est arrivé près de chez vous Rémy Belvaux, 1992 Un tueur raconte ses crimes à une équipe de télévision… Un film iconoclaste et cynique, parodie du cinéma direct et des "reality-shows", comédie qui vire au malaise. Vidéothèque Marguerite Duras BEL Le huitième jour Jaco Van Dormael, 1995 Quand Harry rencontre Georges, une personne handicapée mentale atteinte de trisomie 21. Prix d'interprétation masculine du Festival de Cannes pour Daniel Auteuil et Pascal Duquenne au festival de Cannes 1996. Vidéothèque Duras Audiodescription fiction VAN 2 La promesse Jean-Pierre et Luc Dardenne, 1996 Igor, 15 ans, trempe dans les combines de son père, qui exploite de la main d'œuvre émigrée. Jusqu'au jour où un travailleur africain mourant lui fait une demande… Une plongée réaliste, voire documentaire, dans un monde où l'homme exploite l'homme. Vidéothèque Marguerite Duras DAR Ma vie en rose Alain Berliner, 1997 Ludovic, un petit garçon de sept ans, est persuadé d'être une fille. Ses rêveries l'emmènent dans un monde idéalisé à l'esthétique très kitsch. Vidéothèque Marguerite Duras BER Rosetta Jean-Pierre et Luc Dardenne, 1999 Chaque jour, Rosetta part au front à la recherche d'un travail, d'une place.
    [Show full text]