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The Brock Review Volume 10 (2008) © Brock University Greenscape as Screenscape: The Cinematic Urban Garden 1 Nina Gerlach Ruprecht-Karls-Universität Heidelberg Abstract : The relationship between city and garden appears in many feature films in order to visualize narrative dualisms. In particular, the character of the boundary - as a fundamental medial characteristic of gardens - determines the meaning of the represented space. According to the Western representation of ideal places and the historically-developed antagonism of city and garden, the boundary defines the latter as the diametrically opposed utopian antithesis to urban life. This antagonism is used, for example, in The Garden of the Finzi-Continis (1970) in the political context of World War II, or as in Being There (1979), embedded in a philosophical discourse centered on Voltaire and Sartre. The dystopian city of Los Angeles in Ridley Scott’s Blade Runner (1982) lacks space not only for gardens, but for any natural environment in general. The only garden that remains, exists as a kind of Paradise Lost , a placeless topos with a unicorn, banished into and limited by the world of imagination of the protagonist. As this example indicates, the cinematic garden and particularly the more specialized topic of the relationship between the garden and the city within cinema is still an under-examined realm of the research of garden history.2 In cinematic genres where the city is usually presented as the essential character -- such as in Neorealism, Film Noir, and dystopian science fiction -- garden space is hardly discovered. 3 These types of films frequently transport an extremely negative connotation of the city. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Bread Loaf School of English2016
BREAD LOAF SCHOOL 2016 COURSE OF ENGLISH CATALOG SUMMER 2016 1 SUMMER 2016 SESSION DATES VERMONT READ THE Arrival and registration . June 21 Classes begin . June. 22 Classes end . August. 2 Commencement . August. 6 WORLD At Bread Loaf, we engage and inspire innovative thinkers who, NEW MEXICO Arrival and registration . June 18–19 through the interpretation of literary and critical texts, Classes begin . June. 20 contribute creative thought, write persuasive and original arguments, Classes end . July . 28 and use relevant emerging technologies to develop effective Commencement . July. 30 teaching and learning practices. OXFORD Arrival . June 27 Registration . June . 28 Classes begin . June. 29 IN A WHOLE Classes end . August. 5 Commencement . August. 6 NEW WAY 2 BLSE SUMMER 2016 1 WELCOME TO BREAD LOAF WHERE YOU'LL FIND ■ A community of engaged students eager to immerse themselves in rigorous graduate study with leading faculty from eminent colleges and universities across the U .S . and U .K . ■ The opportunity to work closely with faculty and fellow students . ■ Innovative, place-based learning oppor- tunities at three culturally distinctive campuses . IMMERSIVE UNIQUE INNOVATIVE The six-week summer schedule allows working Courses at Bread Loaf’s three campuses in Students have access to major libraries; state- ■ A one-of-a-kind chance to refresh and professionals to pursue graduate education. Vermont, New Mexico, and Oxford, England, of-the-art digital tools for research, writing, and recharge your imagination in a collabo- The full-time residential experience encourages link education to place and give students unpar- teaching; and membership in the nationally rative environment for six uninterrupted students to immerse themselves in curricular alleled access to diverse cultural experiences. -
Dossier De Presse RELATIONS PRESSE
RELATIONS PRESSE Alice Dekker Dossier de presse Tél. 06 16 58 21 60 [email protected] Avec le parrainage exceptionnel de Pierre Richard Illustration David Merveille Du 29 avril au 1er octobre, Sainte-Sévère-sur-Indre, le village de Jour de fête, célèbre les 70 ans du film de Jacques Tati Programme 2017 Pierre Richard, parrain des 70 ans Sainte-Sévère célèbre les 70 ans de Jour de fête Grand admirateur de Jacques Tati, très inspiré, lui Sous le parrainage exceptionnel de Pierre Richard aussi, par le cinéma burlesque, Pierre Richard s’est et en présence de Jérôme Deschamps toujours plu à interpréter des personnages rêveurs et gaffeurs. On aura d’ailleurs la chance de revoir, 29 avril 30 avril le samedi 30 avril, le Distrait, film de1970 dont il • 14h Ouverture par les Diablotins Sévérois • 14h ouverture par les Diablotins Sévérois est acteur et réalisateur. L’on pourra également as- (société musicale) • 15h au Cinémobile, sister à la projection du documentaire de Jérémie en présence de Pierre Richard: Bruno Tocaben • 15 h inauguration du manège sous le parrainage Paris pieds nus, un film réalisé par Dominique Abel et Imbert et Yann Marchet, Pierre Richard, l’art du exceptionnel de Pierre Richard Fiona Gordon. Compte tenu du faible nombre de places, our célébrer le soixante-dixième anniversaire déséquilibre, consacré à l’interprète du Grand Blond • à 16h et 18h, au Cinémobile, projection de deux il est conseillé de réserver du tournage de Jour de fête de Jacques Tati, avec une chaussure noire. Et, cerise sur le gâteau, on versions de Jour de fête (version noir et blanc de 1949 et • 16h30 salle Sophie Tatischeff, À l’américaine, P le célèbre comédien français Pierre Richard pourra découvrir, en première exclusivité dans la version couleur de 1995) documentaire de Stéphane Goudet nous fera l’honneur de parrainer l’événement. -
Janus Films Presents
JANUS FILMS PRESENTS NEW 35MM PRINTS – NEW RESTORATION! http://www.janusfilms.com/hulot Director: Jacques Tati JANUS FILMS Country: France Sarah Finklea Year: 1953 Ph: 212-756-8715 Run time: 88 minutes [email protected] B&W / 1.37 / mono / unrated M. HULOT’S HOLIDAY SYNOPSIS While on holiday at a seaside resort, Monsieur Hulot – Jacques Tati’s endearing, pipe-smoking clown – finds his presence provoking one catastrophe after another. A wildly funny satire of vacationers determined to enjoy themselves, the first entry in the Hulot series includes a series of brilliantly choreographed sight gags about boats, dogs, tennis, and other hazards of leisure. Janus Films is proud to present this masterpiece of gentle slapstick in a new restoration. The restoration of M. Hulot's Holiday, fully funded and managed by Fondation Groupama Gan and Thomson Foundation with Les Films de Mon Oncle (rights owners), has been made at Technicolor Creative Services (Thomson) in Los Angeles with the support of Cinémathèque française. M. HULOT’S HOLIDAY ABOUT THE RESTORATION from American Cinematographer, September 2009 issue This year’s Festival de Cannes saw the début of a newly restored edition of M. Hulot’s Holiday (Les Vacances de Monsieur Hulot), the wistful comedy written and directed by Jacques Tati, who also stars as the nearly silent title character, who goes to a seaside resort for an odd, surreal, slightly melancholy holiday. Tati himself revisited the movie several times over the course of two and a half decades. M. Hulot’s Holiday was originally shot in 1951/1952, in Saint-Marc-sur- Mer, a small French resort on the coast of the Atlantic. -
Exposition & Soirée Rencontre Exceptionnelle
16/ 4 14/ 6 Exposition & Soirée rencontre exceptionnelle Du 16 avril au 14 juin 2014, YellowKorner rend hommage à Jacques Après une large recherche des meilleurs éléments originaux à Tati en exposant des photographies extraites de ses plus grands films travers les archives personnelles de Jacques Tati, les réseaux de grâce auxquels il a su s’imposer parmi les cinéastes burlesques les cinémathèques, les Archives françaises du film et les différents stocks plus originaux et les plus inventifs de sa génération. Éditée d’après les des laboratoires, chaque film a été numériquement restauré avec les éléments originaux restaurés photochimiquement et numériquement, meilleurs outils actuels. Tout en veillant à respecter les montages, cette sélection exceptionnelle de prises de vues révèle certaines des les formats, la qualité de l’image et le travail extraordinairement scènes les plus marquantes de sa filmographie, souvent devenues minutieux du son, les restaurations ont permis de stabiliser l’image, cultes aujourd’hui. de nettoyer tous les défauts, tâches, rayures et éclats liés au vieillis- Si la sortie de Jour de fête en 1949 enthousiasme tout d’abord sement de la pellicule et de retrouver la colorimétrie originale. le public par son caractère novateur, ce sont Les Vacances de Le patrimoine de Jacques Tati n’a jamais été aussi accessible et Monsieur Hulot (1952) et Mon Oncle (1958) qui permettront à Tati vivant qu’aujourd’hui avec une large diffusion en festivals internatio- de recueillir de nombreuses distinctions en France et dans le monde naux, des évènements culturels réguliers et de nouvelles créations entier (Oscar du meilleur film étranger en 1959). -
Mise En Page 1
mars 2014 La lettre n° 240 R D - ) 9 0 0 2 ( s e l l o f s e b r e H s e d e g a n r u o t e l t n a d n e p s i a n s e R n i a l A e s i e a e u i FILMS AFC SUR LES ÉCRANS > p. 2 ACTIVITÉS AFC > p. 4 ç q h i n p h a r a s p r F r a g r u ÇÀ ET LÀ > p. 7 et 16 à 21 FESTIVALS > p. 8 à 10 n o e g t o t i o o c t t e h a a i r i p c m TECHNIQUE > p. 11 à 15 NOS ASSOCIÉS > p. 25 à 27 d o a é l s s n s i e e C d d A PRESSE > p. 28 À VOIR, À LIRE ET À ENTENDRE > p. 30 SUR LES ÉCRANS : Revue Lumières, Diplomatie , Les Cahiers de l’AFC de Volker Schlöndorff, photographié par Michel Amathieu AFC Des directeurs Avec André Dussollier, Niels de la Arestrup, Burghart Klaußner Sortie le 5 mars 2014 photographie Diplomatie , de Volker Schlöndorff parlent de cinéma, a été présenté en projection privée leur métier AFC –CST, le 6 mars dernier à l'Espace Cardin. http://www.afcinema.com/-Lumieres-magazine-.htm l Un week-end à Paris , de Roger Michell, photographié par Nathalie Durand AFC Avec Jim Broadbent, Lindsay Duncan, Jeff Goldblum Sortie le 5 mars 2014 [ p. -
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. -
World Cultural Review 100
Vol-1; Issue-4 January - February 2020 Delhi RNI No.: DELENG/2019/78107 WORLD CULTURAL REVIEW www.worldcultureforum.org.in 100 OVER A ABOUT US World Culture Forum is an international Cultural Organization who initiates peacebuilding and engages in extensive research on contemporary cultural trends across the globe. We firmly believe that peace can be attained through dialogue, discussion and even just listening. In this spirit, we honor individuals and groups who are engaged in peacebuilding process, striving to establish a boundless global filmmaking network, we invite everyone to learn about and appreciate authentic local cultures and value cultural diversity in film. Keeping in line with our mission, we create festivals and conferences along with extensively researched papers to cheer creative thought and innovation in the field of culture as our belief lies in the idea – “Culture Binds Humanity. and any step towards it is a step towards a secure future. VISION We envisage the creation of a world which rests on the fundamentals of connected and harmonious co-existence which creates a platform for connecting culture and perseverance to build solidarity by inter-cultural interactions. MISSION We are committed to providing a free, fair and equal platform to all cultures so as to build a relationship of mutual trust, respect, and cooperation which can achieve harmony and understand different cultures by inter-cultural interactions and effective communications. RNI. No.: DELENG/2019/78107 World Cultural Review CONTENTS Vol-1; Issue-4, January-February 2020 100 Editor Prahlad Narayan Singh [email protected] Executive Editor Ankush Bharadwaj [email protected] Managing Editor Shiva Kumar [email protected] Associate Ankit Roy [email protected] Legal Adviser Dr. -
Newsletter Été 2009
Bulletin Culturel July - August 2009 focus DJ Medhi The Cinematheque Ontario presents The New Wave UNIVERSAL CODE EXHIBITION AT THE POWER PLANT Gabriel Orozco, Black Kites Perspective Summer paths lead you through meadows, marshlands and marches. Get rid of the astrolab, forget about GPS, whatever the compass : in such a mess, where is Contents the satellite bending over ? Time spend to cook is pure happiness. During harsh winter, Amélie Nothomb PAGE 4 - Festival shared with us her admiration for her sister Juliette’s recipes : « to please me, PAGE 5 - Exhibitions [she] cooks up, with a lot of humor, theorically freakish dishes, at the end I enjoy PAGE 6 - Theater them so much. Green tea chesnut spread is my favorite, but overall, sweet tooth obliged, is the Mont Fuji cake which remembers me about my descent… »* PAGE 7 - Music Power Plant invites artists dealing with beginnings to end mysteries, the Cine- PAGE 9 - Cinema matheque offers on-going images’ feast. DJ Medhi and M83 go electro. Joël Savary, Attaché Culturel * « La cuisine d’Amélie, 80 recettes de derrière les fagots » by Juliette Nothomb. July 2009 Monday Tuesday Wednesday Thursday Friday Saturday Sunday 12 3 4 5 CINEMA CINEMA CINEMA - A woman is a - Alphaville The Nun woman - Jules and Jim - Breathless 6 7 8 9 10 11 12 CINEMA CINEMA CINEMA The sign of Leo Pierrot le fou - To live her life - And God created woman 13 14 15 16 17 18 19 CINEMA CINEMA CINEMA THEATER THEATER - Band of Out- Les bonnes Bob le flam- Je serais tou- Je serais tou- siders femmes beur jours là .. -
Jour De Fête De Jacques Tati
Jour de Fête de Jacques Tati Générique Jacques Tati Quelques caractéristiques du cinéma de Tati L’école du regard Le comique de Tati Le Film La question de la couleur Genèse du film Les personnages Structure dramatique Le son La musique Les dialogues Analyse de séquences Le vol du frelon L'installation du mât Document réalisé par Laurent Godel – [email protected] 1 Générique Durée 1h19 ( en 1949 : 1h16) Sortie le 4 mai 1949 et le 11 janvier 1995 Scénario de Jacques Tati et Henri Marquet Restauré en 1994 par Sophie Tattischeff, fille de Tati et François Ede, le chef-opérateur de l’époque. Jacques Tati Né le 9 octobre 1907. Père d’origine russe. Jacques Tati est passionné de rugby. Premières pantomimes de 1930 à 1934 qui deviendront en 1935 un spectacle : Les Impressions sportives. Au cinéma il débute en écrivant et en interprétant en 1932 Oscar champion du monde. puis avec le clown Rhum On demande une brute 1934, Gai dimanche 1935, Soigne ton gauche 1936 réalisé par René Clément. En 1943, il s’installe près de Sainte-Sévère-sur Indre avec son ami Henri Marquet. De là nait le scénario de L’école des facteurs (1946) que Tati va réaliser. Vrai succès qui obtint le prix Max Linder en 1949. En 1947, il débute son premier long métrage, extension de ce court-métrage précédent. Le film ne sera distribué qu’en 1949. Tati réalise 6 longs métrages : Jour de fête 1949 Les vacances de Monsieur Hulot 1953 Mon oncle 1958 Playtime 1967 Trafic 1971 Parade 1974 On retrouve dans Les vacances de Monsieur Hulot tout l’art de Tati de fondre son héros théorique parmi les anonymes, de donner la possibilité à chaque personnage d’occuper l’espace le temps d’un gag.