LE DESTIN De Youssef Chahine (1997, 2H12)
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Katalog Dwa Brzegi 2009:Layout 1.Qxd
katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 1 katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 2 Sponsor Generalny Sponsorzy Oficjalny Oficjalny Hotel Samochód Festiwalu Festiwalu PRZYJACIELE FESTIWALU Partnerzy 2 FRIENDS FESTIVAL’S Organizatorzy Kazimierz Dolny Patronat Medialny katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 3 FILM AND ART FESTIVAL TWO RIVERSIDES Kazimierz Dolny Janowiec n/ Wisłą Festiwal Filmu i Sztuki DWA BRZEGI katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 4 katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 5 Spis treści | Content Przyjaciele Festiwalu | Festival’s Friends 2 Kto jest kto | Who Is Who 6 Wstęp | Foreword 9 FILM Świat pod namiotem | World Under Canvas 12 Dokument | Documentary 30 Na krótką metę | In the Short Run 38 Serial animowany | Animated Series 78 Na krótką metę na Zamku w Janowcu | In the Short Run (Screenings In the Castle in Janowiec) 80 Muzyka, moja miłość | Music My Love 84 Pokaz specjalny | Special Screening 90 Krystyna Janda. I Bóg stworzył aktorkę | And the God Created an Actress 92 Kocham kino | I Love Cinema 98 Wielkie kino na Małym Rynku | Great Cinema on Small Market Square 106 Retrospektywa Pawła Kłuszancewa | Retrospective of Pawel Klushantsev 112 W hołdzie Janowi Machulskiemu | Tribute to Jan Machulski 120 Dzień z Piotrem Szulkinem | A Day with Piotr Szulkin 122 Krótka retrospektywa Bruno Baretto | A Short Retrospective of Bruno Baretto 126 Lekcje kina | Cinema Lessons 128 Video • 130 TEATR | THEATRE CONTENT Krystyna Janda. I Bóg stworzył -
Like Someone in Love
1 MK2 & Eurospace present A film by Abbas Kiarostami INTERNATIONAL PRESS INTERNATIONAL SALES Vanessa Jerrom & Claire Vorger MK2 11 rue du Marché Saint-Honoré - 75001 Paris (France) 55 rue Traversière - 75012 Paris (France) Email: [email protected] Juliette Schrameck - [email protected] Cell: +33 6 14 83 88 82 (Vanessa Jerrom) Dorothée Pfistner - [email protected] Cell: +33 6 20 10 40 56 (Claire Vorger) Victoire Thevenin - [email protected] In Cannes : Five Hotel 1 rue Notre-Dame - 06400 Cannes France Photos and presskit can be downloaded on www.mk2pro.com 2 3 synopsis An old man and a young woman meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty-four hours bears no relation to the circumstances of their encounter. 4 5 new awakening Without doubt, there was an underlying sense of gnawing depravity that surfaced in Certified Copy and took me by surprise. I was sure that I already had a good understanding of the work of this film-maker that I have been lucky enough to come across so often in the past 25 years. So I was not expecting his latest film to outstrip the already high opinion I have of his work. Some people like to feel that they can describe and pigeonhole his films as ‘pseudo-simplistic modernism’. But Abbas’ films have never failed to surprise and now here, not for the first time, is a new wake-up call, for me, and I am sure many others. -
Westminsterresearch Power, Arab Media Moguldum & Gender Rights
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Power, Arab media Moguldum & gender rights as entertainment in the Middle East El Mkaouar, L. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Dr Loubna El Mkaouar, 2016. 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] POWER, ARAB MEDIA MOGULDUM & GENDER RIGHTS AS ENTERTAINMENT IN THE MDDLE EAST Loubna El Mkaouar A thesis submitted in partial fulfilment of the requirements of the University of Westminster, For the degree of Doctor of Philosophy Communication and Media Research Institute University of Westminster April 2016 1 Abstract Discourse is a giant field of research and gender related rights are still a disputed area of thinking. Thus, when Arab transnational satellite televisions produce dialogues, images, stories and narratives about the disputed “universal” gender rights in the Middle East, the big questions remain how and why. According to De Beauvoir (1949), one becomes woman and to Butler (1990) one is not born a gender at all but is “done” and “undone” to become one via discourse. Islamic feminism speaks of a cultural/religious specificity in defending women rights and even gender diversity based on new Quranic interpretations. -
Cgcinéma Presents
CGCINÉMA PRESENTS A FILM BY OLIVIERASSAYAS PHOTO © CAROLE BÉTHUEL CGCINÉMA PRESENTS JULIETTEBINOCHE KRISTENSTEWART CHLOË GRACEMORETZ A FILM BY OLIVIERASSAYAS 123 MIN – COLOr – 2.35 – DOLBY SRD 5.1 – 2014 PHOTO © CAROLE BÉTHUEL At the peak of her international career, Maria Enders (Juliette Binoche) is asked to perform in a revival of the play that made her famous twenty years ago. But back then she played the role of Sigrid, an alluring young girl who disarms and eventually drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena. She departs with her assistant (Kristen Stewart) to rehearse in Sils Maria; a remote region of the Alps. A young Hollywood starlet with a penchant for scandal (Chloë Grace Moretz) is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an ambiguously charming woman who is, in essence, an unsettling reflection of herself. SYNOPSIS 3 DIRECTOr’snote PHOTO © CAROLE BÉTHUEL © CAROLE PHOTO DIRECTOr’snote This film, which deals with the past, our relationship to our own past, long time. and to what forms us, has a long history. One that Juliette Binoche Writing is a path, and this one is found at dizzying heights, of time and I implicitly share. suspended between origin and becoming. It is no surprise that it We first met at the beginning of both our careers. Alongside André inspired in me images of mountainscapes and steep trails. There Téchiné, I had written Rendez-vous, a story filled with ghosts where, at needed to be Spring light, the transparency of air, and the fogs of age twenty, she had the lead role. -
| Generational Frontiers |
CON L’ADESIONE DEL PRESIDENTE DELLA REPUBBLICA Fondazione Ente dello Spettacolo via G. Palombini, 6 - 00165 Roma - Tel. +39.06.96519200 - Fax +39.06.96519220 [email protected] - www.tertiomillenniofilmfest.org | GENERATIONAL FRONTIERS | CON IL SOSTEGNO DI: IN COLLABORAZIONE CON: SPONSOR: 14 PROGRAMMA | PROGRAMME | Cinema Sala Trevi - Vicolo del Puttarello, 25 - Roma | | GENERATIONAL FRONTIERS | dicembre | december 2010 dicembre | december 2010 08 EVENTO SPECIALE | SPECIAL EVENT 09 VARIAZIONI SUL TEMA | 16.30 VARIATIONS ON THE THEME Intonazija. Sergej Slonimskij, kompositor 16.30 dicembre | december 2010 di | by Aleksandr Sokurov | 45’ Park Mark EVENTO SPECIALE | SPECIAL EVENT di | by Baktash Abtin | 42’ 07 EVENTO SPECIALE | SPECIAL EVENT Introduce | Introducing by Federico Pontiggia 16.30 17.30 Intonazija. Boris Averin, filolog Intonazija. Vladimir Yakunin, president OAO EVENTO SPECIALE | SPECIAL EVENT di | by Aleksandr Sokurov | 33’ Rossijskie železnye dorogi 18.15 EVENTO SPECIALE | SPECIAL EVENT di | by Aleksandr Sokurov | 45’ Intonazija. Boris Averin, filolog di | by Aleksandr Sokurov | 33’ 17.00 EVENTO SPECIALE | SPECIAL EVENT Intonazija. Arsen Kanokov, 18.30 EVENTO SPECIALE | SPECIAL EVENT president respubliki Kabardino-Balkaria WEDNESDAY Intonazija. Valerij Zor’kin, predsedatel’ 19.00 di | by Aleksandr Sokurov | 41’ | Konstituzionnogo suda Rossijskoj Federazii Intonazija. Arsen Kanokov, 18.00 di | by Aleksandr Sokurov | 50’ president respubliki Kabardino-Balkaria THURSDAY di | by Aleksandr Sokurov | 41’ Incontro con | Meeting with TESTIMONIANZE | PERSONAL STORIES | | Ornella Muti e | and Andrea Facchinetti 20.00 20.00 20.00 La morte rouge Incontro con | Meeting with TUESDAY Incontro con | Meeting with Aleksandr Sokurov di | by Víctor Erice | 32’ Mahamat-Saleh Haroun | 2010 | | | e presentazione del libro | and book presentation: Introduce | Introducing by Alberto Barbera Modera | Chairman Valerio Sammarco Osservare l’incanto. -
0X0a I Don't Know Gregor Weichbrodt FROHMANN
0x0a I Don’t Know Gregor Weichbrodt FROHMANN I Don’t Know Gregor Weichbrodt 0x0a Contents I Don’t Know .................................................................4 About This Book .......................................................353 Imprint ........................................................................354 I Don’t Know I’m not well-versed in Literature. Sensibility – what is that? What in God’s name is An Afterword? I haven’t the faintest idea. And concerning Book design, I am fully ignorant. What is ‘A Slipcase’ supposed to mean again, and what the heck is Boriswood? The Canons of page construction – I don’t know what that is. I haven’t got a clue. How am I supposed to make sense of Traditional Chinese bookbinding, and what the hell is an Initial? Containers are a mystery to me. And what about A Post box, and what on earth is The Hollow Nickel Case? An Ammunition box – dunno. Couldn’t tell you. I’m not well-versed in Postal systems. And I don’t know what Bulk mail is or what is supposed to be special about A Catcher pouch. I don’t know what people mean by ‘Bags’. What’s the deal with The Arhuaca mochila, and what is the mystery about A Bin bag? Am I supposed to be familiar with A Carpet bag? How should I know? Cradleboard? Come again? Never heard of it. I have no idea. A Changing bag – never heard of it. I’ve never heard of Carriages. A Dogcart – what does that mean? A Ralli car? Doesn’t ring a bell. I have absolutely no idea. And what the hell is Tandem, and what is the deal with the Mail coach? 4 I don’t know the first thing about Postal system of the United Kingdom. -
Network Films: a Global Genre?
Network Films: a Global Genre? Vivien Claire Silvey December 2012 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University. ii This thesis is solely my original work, except where due reference is given. iii Acknowledgements I am extremely grateful for all the time and effort my dear supervisor Cathie Summerhayes has invested throughout this project. Her constant support, encouragement, advice and wisdom have been absolutely indispensable. To that master of words, puns and keeping his hat on during the toughest times of semester, Roger Hillman, I extend profound gratitude. Roger‟s generosity with opportunities for co-publishing, lecturing and tutoring, and enthusiasm for all things Turkish German, musical and filmic has been invaluable. For all our conversations and film-loans, I warmly say to Gino Moliterno grazie mille! I am indebted to Gaik Cheng Khoo, Russell Smith and Fiona Jenkins, who have provided valuable information, lecturing and tutoring roles. I am also grateful for the APA scholarship and for all the helpful administration staff in the School of Cultural Inquiry. At the heart of this thesis lies the influence of my mother Elizabeth, who has taken me to see scores of “foreign” and “art” films over the years, and my father Jerry, with whom I have watched countless Hollywood movies. Thank you for instilling in me a fascination for all things “world cinema”, for your help, and for providing a caring home. To my gorgeous Dave, thank you for all your love, motivation, cooking and advice. I am enormously honoured to have you by my side. -
Catalogue of the African Studies Library Film Collection in UCT Libraries Special Collections
Catalogue of the African Studies Library Film Collection in UCT Libraries Special Collections Any queries regarding the ASL film collection please contact Bev Angus ([email protected]) Updated:June 2015 Introduction In film, as with all other African Studies material in Special Collections, we collect comprehensively on South and Southern Africa and we are also committed to strengthening and broadening our film coverage of the rest of Africa to meet existing needs and to create new opportunities for research. Film is a powerful and accessible medium for conveying the stories and images of Africa, past and present. The African continent has a long and proud tradition of film-making, and has produced many film-makers of international renown. Our collection contains documentaries, television series and feature films made by both African and international film-makers. Besides supporting the teaching and research programmes of the University of Cape Town, the African Studies Library makes provision for the preservation of the films in the collection. Please note: The films in the ASL are primarily for viewing by members of the University of Cape Town community. For a collection of African films with public access see the Western Cape Provincial Library Service collection at http://cplweb.pals.gov.za Tips on searching the collection: To facilitate searching, click the binoculars in the toolbar. Select Use Advanced Search Options. If you know the title of the film, enter the exact title in the box and select Match Exact Word or Phrase in the dropdown box e.g. “Cry the Beloved Country” For a keyword search where the exact title is unknown or you are searching around a particular topic, enter appropriate keywords in the box provided, then select Match any of the Words in the drop-drown box below e.g. -
To View This Issue Please Click This Link
May - July 2008 page 1 www.bibalex.org/alexmed/ May - July 2008 page 2 Good Food Ends with Good Talk Alexandria’s Inaugural International Food Fair Edward Lewis the Mediterranean—is an ambitious attempt to exploit Alexandria’s rich and diverse cuisine, whilst highlighting the city’s multicultural character. It is hoped that by stressing the variety of cuisine in addition to the shared traditions of neighboring regions, the project will celebrate both diversity and collective traits of the Euro- Med. The International Food Fair, the first of three of the project’s deliverables, was held over two days and hailed a success, primarily due to the contribution and effort made by the different communities of Alexandria and the professional establishments involved. The first day saw a wide range of mezza, main courses, sweets and beverages displayed under a large white At first, food may seem an unlikely means by which tent set in the magnificent setting of the Villa Antoniadis, to encourage intercultural dialogue and exchange. itself a true example of Alexandrian cosmopolitanism It seems too simple, too ‘ordinary’ a subject with and diversity. A British subject who hailed from the which to tackle such a daunting task as uniting Greek island of Lemnos, Sir John Antoniadis was an countries and bringing people together within the Alexandrian and a generous patron of the city and its Euro Mediterranean Region. Yet the more one thinks Greek community. In the mid-nineteenth century, he about food, the more one realizes that it is in fact the developed a garden estate which was to become the perfect vehicle with which to do exactly that. -
Downloading, Or Streaming Them on Mobile Devices
UCLA UCLA Previously Published Works Title “Parasite Cinema,” Image and Narrative, special issue on Artaud and Cruelty, 17.5 (2016), 66-79 Permalink https://escholarship.org/uc/item/32j321fb Authors Ravetto-Biagioli, K Beugnet, M Publication Date 2019-10-18 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Martine Beugnet and Kriss Ravetto-Biagioli Parasite Cinema Abstract In Theatre and its Double Artaud explored how the plague communicates beyond simple contact, bringing death to those it touches, but also bringing fear, images, and the imagination, which transforms social rela- tions, disorganising society and producing absurd anti-social actions. In this essay we would like to relate the emergence of a parasite-cinema, one that expresses itself through predatory forms of capture and communica- tion, where images pullulate out of control (but do not destroy the body of the host), to Artaud’s understanding of plague as a proliferation of communication. Résumé Dans Le Théâtre et son double Artaud analyse la manière dont la peste communique au-delà du seul contact physique, apportant la mort à ceux qu’elle touche, mais apportant aussi la peur, des images et l’imagination qui transforme les rapports sociaux, désorganisant la société et produisant des comportements absurdes anti-so- ciaux. Dans cet essai nous nous proposons de mettre en rapport la conception artaudienne de la peste comme forme proliférante de communication avec l’émergence d’une nouvelle forme de cinéma, le cinéma parasite, qui s’exprime à travers des formes prédatrices de capture et de communication, des images qui pullulent en dehors de tout contrôle (mais sans détruire le corps de celui qui les accueille). -
Lebenslinien
02/2020 KINO KULTUR HAUS WEIBLICH & WIDERSTÄNDIG FILMAUTORINNEN IM EUROPA DER 60ER- UND 70ER-JAHRE YOUSSEF CHAHINE | KÄTHE KRATZ INHALT 06 36 58 24 INHALT AUSSTELLUNG VORANKÜNDIGUNG: KINO WELT WIEN | AB 5.3. 04 RETROSPEKTIVEN WEIBLICH & WIDERSTÄNDIG | 7.2.–3.3. 06 YOUSSEF CHAHINE | 13.2.–28.2. 24 KÄTHE KRATZ | 20.2.–4.3. 36 KINOSTART DIE MELANCHOLIE DER MILLIONÄRE | 6.2.–4.3. 48 REIHEN KINDER KINO KLASSIKER | 8.2.–1.3. 50 LIVING COLLECTION | 10.2. 52 SECOND LIFE | 11.2.–3.3. 54 JÜDISCHER FILMCLUB WIEN | 12.2. 56 WILD FRIDAY NIGHT | 14.2. 58 SPECIALS FILMFRÜHSTÜCK | 9.2. 60 ALBERT MEISL | 4.3. 62 SATYR FILMWELT 64 CLUB 67 SPIELPLAN 68 PROGRAMM 6.2.–4.3.2020 EDITORIAL ie 1960er- und 1970er-Jahre: Zeiten des Aufbruchs, Umbruchs, der kleinen und großen Revolutionen auf den D Straßen, und natürlich auch im Kino. Wellen der Erneuerung schwappten durch Europas Filmlandschaften. Doch neben den Godards, Truffauts, Fassbinders und Kluges war hier – weiblich und widerständig – auch eine junge Generation von Autorinnen am Werk, die sich gesellschaftlichen Konventionen ebenso widersetzte wie männ lichen Wahrnehmungsweisen und Machtstrukturen. Wir holen die – in ihrer Gesamtheit bis- her kaum beachteten – Filmpionierinnen aus dem Schatten ihrer berühmten Kollegen und widmen Varda, Chytilová, Mészáros & Co die erste Retro spektive im Februar. Eine Fort- setzung quasi in österreichischer Fassung bilden die Arbeiten von Käthe Kratz, einer weiteren Vorkämpferin hinter der Kamera, die ihrerseits die Genera tionen prägte. Und auch er sprengte mit seinen Filmen Regeln, brach Tabus, trat Widerständen und Zensur zum Trotz für Toleranz und Welt- offenheit in seiner Heimat ein. -
Historical Dictionary of Middle Eastern Cinema
Historical Dictionaries of Literature and the Arts Jon Woronoff, Series Editor 1. Science Fiction Literature, by Brian Stableford, 2004. 2. Hong Kong Cinema, by Lisa Odham Stokes, 2007. 3. American Radio Soap Operas, by Jim Cox, 2005. 4. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. 5. Fantasy Literature, by Brian Stableford, 2005. 6. Australian and New Zealand Cinema, by Albert Moran and Errol Vieth, 2006. 7. African-American Television, by Kathleen Fearn-Banks, 2006. 8. Lesbian Literature, by Meredith Miller, 2006. 9. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. 10. British Radio, by Seán Street, 2006. 11. German Theater, by William Grange, 2006. 12. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. 13. Sacred Music, by Joseph P. Swain, 2006. 14. Russian Theater, by Laurence Senelick, 2007. 15. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. 16. Postmodernist Literature and Theater, by Fran Mason, 2007. 17. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. 18. Australian Radio and Television, by Albert Moran and Chris Keat- ing, 2007. 19. Polish Cinema, by Marek Haltof, 2007. 20. Old Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. 21. Renaissance Art, by Lilian H. Zirpolo, 2008. 22. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. 23. American Theater: Modernism, by James Fisher and Felicia Hardi- son Londré, 2008. 24. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. 25. Horror Cinema, by Peter Hutchings, 2008. 26. Westerns in Cinema, by Paul Varner, 2008. 27. Chinese Theater, by Tan Ye, 2008.