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BIS-1280 Booklet X.Pdf-3D4912.Pdf
BIS-CD-1280 STEREO D D D Total playing time: 78'20 BRAGA, Antônio Francisco (1868-1945) 1 Cauchemar (1895) (OSESP Editora) World Première Recording 7'06 Musicological revision by Rubens Ricciardi Jupyra (1899) (OSESP Editora) World Première Recording 70'26 Opera in one act. Libretto: Luiz Gastão de Escragnolle Doria (Italian text: A. Menotti-Buja) Musicological revision by Rubens Ricciardi from the autograph kept at the Universidade Federal do Rio de Janeiro 2 Coro interno Varia l’amor come la luna varia… 1'17 3 Preludio 5'20 Atto unico 63'37 4 Scena I JUPYRA: Migrante, morente, risale pallente… 3'59 5 Scena II QUIRINO: Io t’ho seguita!… 9'31 6 Scena III CARLITO: Sciagurato!… 0'56 7 Scena IV CARLITO: Perchè sei qui?… 11'43 8 Scena V CARLITO: L’uccel di paradiso… 13'54 9 Scena VI JUPYRA: Vendetta!… 2'14 10 Scena VII QUIRINO: Allontanar lo vidi e a te ritorno io fò… 4'51 11 Scena VIII CARLITO: Amor, sei desta? Affacciati!… 4'51 12 Scena IX JUPYRA: Tua nemica son io!… 8'24 13 Scena X QUIRINO: Vendicata tu sei!… 3'14 Eliane Coelho, soprano (Jupyra); Rosana Lamosa, soprano (Rosalia); Mario Carrara, tenor (Carlito); Phillip Joll, baritone (Quirino); Coro da Orquestra de São Paulo; choral direction: Naomi Munakata Orquestra de São Paulo (leader: Cláudio Cruz) conducted by John Neschling Francisco Braga and his opera Jupyra and principal conductor. By that time he had already Antônio Francisco Braga was born in Rio de Janeiro on composed all his major scores. 15th April 1868. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Andrei Kravchuk's the Italian
CHAPTER 34 SUFFER THE CHILDREN: ANDREI KRAVCHUK’S THE ITALIAN Most of the best films about children are about boys: Shoeshine (1946), Germany, Year Zero (1947), and Bicycle Thieves (1948), for instance. Moreover, most of the best films about children were made by Italian neorealists, as well as by directors following their socially as well as politically realistic example, from Luis Buñuel with Los Olvidados (1951) and René Clément with Forbidden Games (1952), to Hector Babenco’s Pixote (1981), Mira Nair’s Salaam Bombay! (1988), Gianni Amelio’s Stolen Children (1992), Samira Makhmalbaf’s The Apple (1998), and Bertrand Tavernier’s It All Started Here (1999). Now we can add a Russian to this list of Latin Americans, Frenchmen, Italians, Indians, and Iranians, makers all of “children’s films.” His name is Andrei Kravchuk, and his film is called The Italian (2005), in seeming homage to neorealism’s country of origin. (Kravchuk was preceded in this style and genre by at least one fellow Russian, Vitaly Kanevski, with his 1989 film Freeze. Die. Come to Life.) Figure 93. Andrei Kravchuk: The Italian, 2005 (Russia) 313 Chapter 34 One of the questions that attends The Italian and the rest of the above-named films is less why they are about children (that’s easy: often one can see a war- torn, religiously-divided, or economically-distressed society more clearly, more freshly, through the eyes of its youngest members) than how those children gave the performances they did. For, however lovely among film’s powers its relationship to children may be (not children in the audience but those on screen), that relationship is also quizzical. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Musical Form in Non-Narrative Video
MUSICAL FORM IN NON-NARRATIVE VIDEO by Ellen Irene Sebring Bachelor of Music Indiana University SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN VISUAL STUDIES at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY September 1986 Copyright @ 1986 Massachusetts Institute of Technology Signature of Author E_ Ellen Irene Sebring Department of Architecture /'j.J f. June 17, 1986 Certified by Otto Piene, Professor of Visual Design Thesis Supervisor Accepted by -' Nicholas Negroponte Chairman, Departmental Committee on Graduate Students Rotch R ~ MusIcAL FORM IN NON-NARRATIVE VIDEO by Ellen Irene Sebring Submitted to the Department of Architecture on June 17, 1986 in partial fulfillment of the requirements for the degree of Master of Science in Visual Studies. Abstract "Musical Form in Non-Narrative Video" explores musical structure as a model for visual form over time, specifically in the creation of artistic video. Video is a medium in which sound and image coexist at the source as electronic signals, offering new possibilities of abstract synesthesia. Forms in which neither sight nor sound dominants facilitate a sensory experience of the content. A musical model for abstract form supports an effort to free video from the forward-impelled, linear narrative; to create a form which can be experienced many times on multiple levels. Musical parameters such as meter, dynamics and motivic development are correlated to visual parameters. Their application in my own videotapes is analyzed. Experimental form-generated pieces are outlined. "Aviary" and "Counterpoint" are video scores which present two different approaches to music- image composition. -
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MoMA CELEBRATES THE 75th ANNIVERSARY OF THE NEW YORK FILM CRITICS CIRCLE BY INVITING MEMBERS TO SELECT FILM FOR 12-WEEK EXHIBIITON Critical Favorites: The New York Film Critics Circle at 75 July 3—September 25, 2009 The Roy and Niuta Titus Theaters & The Celeste Bartos Theater NEW YORK, June 19, 2009 —The Museum of Modern Art celebrates The New York Film Critics Circle’s (NYFCC) 75th anniversary with a 12-week series of award-winning films, from July 3 to September 25, 2009, in The Roy and Niuta Titus Theaters. As the nation‘s oldest and most prestigious association of film critics, the NYFCC honors excellence in cinema worldwide, giving annual awards to the ―best‖ films in various categories that have all opened in New York. To mark the group‘s milestone anniversary, each member of the organization was asked to choose one notable film from MoMA‘s collection that was a recipient of a NYFCC award to be part of the exhibition. Some screenings will be introduced by the contributing film critics. Critical Favorites: The New York Film Critics Circle at 75 is organized by Laurence Kardish, Senior Curator, Department of Film, in collaboration with The New York Film Critics Circle and 2009 Chairman Armond White. High-resolution images are available at www.moma.org/press. No. 58 Press Contacts: Emily Lowe, Rubenstein, (212) 843-8011, [email protected] Tessa Kelley, Rubenstein, (212) 843-9355, [email protected] Margaret Doyle, MoMA, (212) 408-6400, [email protected] Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. -
Listagem Dos Filmes Brasileiros Lançados Comercialmente Em Salas De Exibição 1995 a 2019 Ano De Lançamento Certificado De Pr
Listagem dos Filmes Brasileiros Lançados Comercialmente em Salas de Exibiçã o 1995 a 2019 Ano de Certificado de Produto Título Direção Gênero Empresa Produtora Brasileira Majoritária UF Empresa Produtora Minoritária Brasileira UF Distribuidora Máximo de Salas Público Renda (R$) Lançamento Brasileiro (CPB) 1995 B0400064200000 A Causa Secreta Sérgio Bianchi Ficção Agravo Produções Cinematográficas SP - - RioFilme ND 3.000 15.000,00 1995 B0500310700000 Carlota Joaquina, Princesa do Brazil Carla Camurati Ficção Copacabana Filmes e Produções RJ - - Elimar 33 1.286.000 6.430.000,00 1995 B0500264600000 Carmen Miranda - Bananas is my Business Helena Solberg Documentário Radiante Filmes RJ - - RioFilme ND 15.470 90.000,00 1995 - Cinema de Lágrimas Nelson Pereira dos Santos Ficção Meta Vídeo Produções RJ - - RioFilme ND 1.575 7.500,00 1995 B0300012900000 Efeito Ilha Luiz Alberto Pereira Ficção Lapfilme SP - - RioFilme ND 3.000 15.000,00 1995 B0500311400000 Louco por Cinema André Luiz Oliveira Ficção Asacine Produções DF - - RioFilme ND 12.991 60.000,00 1995 B0700675000000 Menino Maluquinho - O Filme Helvécio Ratton Ficção Grupo Novo de Cinema e TV RJ - - S. Ribeiro/RioFilme 31 397.023 1.532.509,00 1995 B1101392800000 O Mandarim Julio Bressane Ficção Julio Bressane RJ - - RioFilme ND 7.616 35.000,00 1995 B0500309200000 O Quatrilho Fábio Barreto Ficção Filmes do Equador RJ - - S. Ribeiro 64 1.117.154 4.513.302,00 1995 B0500434300000 Perfume de Gardênia Guilherme de Almeida Prado Ficção Star Filmes SP - - RioFilme ND 9.077 55.000,00 1995 - Super Colosso Luiz Ferré Ficção Play Vídeo Produções para Cinema e Televisão SP - - Paris 216 154.762 506.027,00 1995 B0500277600000 Sábado Ugo Giorgetti Ficção Iguana Filmes SP - - Mais Filmes ND 155.000 906.750,00 1995 B0500310300000 Terra Estrangeira Daniela Thomas/Walter Salles Ficção Videofilmes RJ - - RioFilme ND 112.840 500.000,00 1995 B0400073200000 Yndio do Brasil Sylvio Back Documentário Usina de Kyno RJ - - RioFilme ND 3.000 15.000,00 B0400061500000/ B0400085400000/ 1996 A Felicidade É.. -
Cronologia Delle Attività Dal 1976
CCB - Cronologia delle attività dal 1976 CCB Circolo del cinema di Bellinzona c/o Michele Dell'Ambrogio Via San Gottardo 105A CH-6517 ARBEDO www.cicibi.ch [email protected] Cronologia delle attività dal 1976 pag 1/213 CCB - Cronologia delle attività dal 1976 Sommario 1976.....................................................................................................................................4 1977.....................................................................................................................................6 1978.....................................................................................................................................8 1979...................................................................................................................................11 1980 - 1981........................................................................................................................14 1982...................................................................................................................................15 1983...................................................................................................................................18 1984...................................................................................................................................21 1985...................................................................................................................................24 1986...................................................................................................................................28 -
Neorealism, History, and the Children's Film: Vittorio De Sica's
Neorealism, History, and The Children’s Film: Vittorio de Sica’s The Children Are Watching Us reconsidered BERT CARDULLO Yale University Abstract Vittorio De Sica used a child protagonist for the first time, not in his neorealist masterpiece Shoeshine (1946), but in his first truly serious film, The Children Are Watching Us (1943), which examines the impact on a young boy’s life of his mother’s extramarital affair with a family friend. The Children Are Watching Us proved to be a key work, thematically as well as stylistically, in De Sica’s directing career. In its thematic attempt to reveal the underside of Italy’s moral life, this film was indicative of a rising new vision in Italian cinema. And in exhibiting semi-documentary qualities by being shot partially on location, as well as by using nonprofessional actors in some roles, The Children Are Watching Us was a precursor of the neorealism that would issue forth after the liberation of occupied Rome. Keywords: Vittorio De Sica; The Children Are Watching Us; Italian neorealism; children’s films; Shoeshine; Bicycle Thieves. Where children are concerned, two myths predominate on film: that of the original innocence of children, an innocence that only becomes sullied by contact with the society of grown-ups; and that of the child-as-father-to-the-man, of childhood as a prelude to the main event of adulthood. Among films of the first kind, Jean Benoît- Levy’s La maternelle (1932), Louis Daquin’s Portrait of Innocence (1941), Kjell Grede’s Hugo and Josephine (1967), Jilali Ferhati’s Reed Dolls (1981), and Bahman Ghobadi’s Turtles Can Fly (2004) deserve special mention. -
Harmony Korine Harmony
HARMONY KORINE HARMONY KORINERÉTROSPECTIVE DE FILMS / EXPOSITION / EN PRÉSENCE DE L’ARTISTE 6 OCTOBRE - 5 NOVEMBRE 2017 Dossier Icône : 4 COULEURS UTILISÉES 1 2 3 4 Cyan Magenta Yellow Black 47, avenue Montaigne - 93160 Noisy-le-Grand - Tél +33 (0)1 48 15 16 95 [email protected] • http://iconebox.wetransfer.com • www.icone-brandkeeper.com AVANT-PROPOS SOMMAIRE • Avant-propos de Serge Lasvignes, p. 3 Le cinéaste allemand, Werner Herzog, à qui nous avons rendu hommage en 2008, évoquait au sujet de Harmony Korine et de ses débuts au cinéma qu’il était « l’avenir du cinéma américain ». • Entretien avec Harmony Korine, p. 5 Vingt ans plus tard, après cinq longs métrages et une vingtaine de courts métrages, clips et • Événements, p. 7 publicités, pour la plupart inédits en France, la richesse de l’œuvre de Korine résonne plus que jamais avec cette déclaration. • Films programmés, p. 9 • Exposition, p. 10 Cinéaste et artiste, Harmony Korine a construit tout au long de ces années une œuvre artistique foisonnante : il pratique en parallèle la peinture, le dessin, la photographie et l’écriture. • Les longs métrages, p. 14 Le succès polémique de sa première collaboration en tant que scénariste avec Larry Clark, • Les courts et moyens métrages, p. 19 pour le film Kids (1995), le fait connaître à l’âge de dix-huit ans. Le portrait cru qu’il y dresse d’une jeunesse américaine désaxée devient un de ses thèmes de prédilection. S’ensuit une • Clips, p. 22 carrière cinématographique mouvementée et remarquable inaugurée par deux films qu’il réalise, • Publicités, p. -
Branding Latin America Film Festivals and the International Circulation of Latin American Films
Branding Latin America Film Festivals and the International Circulation of Latin American Films Laura Rodríguez Isaza Submitted in accordance with the requirements for the degree of Doctor in Philosophy The University of Leeds School of Modern Languages and Cultures Centre for World Cinemas October, 2012 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others . This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement . Except where otherwise noted, t his work is licensed under a Creative Commons Attribution -Non Commercial- Share Alike 2. 0 UK: England & Wales (CC BY -NC-SA 2.0). Full license conditions available at http://creativecommons.org/licenses/by -nc-sa/2.0/uk/ © 2012 The University of Leeds and Laura Rodríguez Isa za Acknowledgements I am indebted to many people for their support and encouragement to go throughout the different stages of this research. First of all, I would like to thank my supervisors at the Centre for World Cinemas of the University of Leeds without whose backing this research would not have been possible. I am especially indebted to Lúcia Nagib for her committed mentorship and encouragement to continue despite my frequent blockages. Her extensive knowledge and academic rigour enriched this research through a constant ex-change of ideas that helped me not only to express my arguments more clearly on paper but to develop further my thinking about the complexities of cinema as an object of study. -
Edinburgh Research Explorer
Edinburgh Research Explorer A star is born Citation for published version: Gleghorn, C 2016, A star is born: The rising profile of the non-professional actor in recent Brazilian cinema. in T Bergfelder, L Shaw & JL Vieira (eds), Stars and Stardom in Brazilian Cinema. Berghahn Books, New York; Oxford, pp. 210-226. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Stars and Stardom in Brazilian Cinema Publisher Rights Statement: This chapter appears in a larger collection published by Berghahn Books (http://www.berghahnbooks.com/title/BergfelderStars). General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 A star is born: the rising profile of the non-professional actor in recent Brazilian cinema Charlotte Gleghorn Introduction In the history of world cinemas many directors have used non-professional actors in fictional feature films, notably Vittorio de Sica and Roberto Rossellini during the Italian neorealist movement of the 1940s and early 1950s. The New Latin American Cinema of the 1960s and 1970s, in particular the Brazilian Cinema Novo, remained committed to the central tenets of Italian neorealism in its attempts to convey the region’s social injustices.