DOCSLIB.ORG

European Foundation Joris Ivens

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
European Foundation Joris Ivens 4692-brochure-joris-ivens 13-11-2003 21:42 Pagina 1 FONDATION EUROPÉENNE EUROPESE STICHTING european foundation joris ivens newsmagazine - issue 9 - november 2003 Two new films of Ivens found in US Ephraim Smith Paul Strand and Joris Ivens: images with a shared mission Catherine Duncan, Marion Michelle, André Stufkens and Virgilio Tosi The genesis of Loin de Vietnam Ian Mundell Joris Ivens and the Indonesian revolution Gerda Jansen Hendriks 4692-brochure-joris-ivens 13-11-2003 21:42 Pagina 2 Colophon Publications on Joris Ivens European Foundation Joris Ivens Une Histoire de Vent (A Tale of the Wind) Sylvain De Bleeckere, 1997, KFL/KFA, Kok-Kampen. Europese Stichting Joris Ivens Paperback, 56 p., Dutch, 4,00 euro. Fondation Européenne Joris Ivens Europäische Stiftung Joris Ivens Office Inventory of the Joris Ivens Archives Kees Bakker, 1999, European Foundation Joris Ivens. Visiting adress Paperback, 106 p., English / Dutch Thorbeckestraat 75, Nijmegen (Inventaris van het Joris Ivens Archief), 12,00 euro. Mail adress P.O. Box 606 NL - 6500 AP Nijmegen, The Netherlands Kaze - The Wind, a Joris Ivens retrospective Kees Bakker (editor), 1999, Yamagata International Documentary Telephone: + 31 (0)24 388 87 74 Film Festival / European Foundation Joris Ivens. Fax: + 31 (0)24 388 87 76 Paperback, 80 p., English & Japanese, 12,00 euro. E-mail: [email protected] Internet: www.ivens.nl Archives Passages, Joris Ivens en de kunst van deze eeuw (Joris Ivens and the arts of this century) Het Archief, Centrum voor Stads- en Streekhistorie, Nijmegen André Stufkens (editor), 1999, Museum Het Valkhof / Municipal Archives Nijmegen European Foundation Joris Ivens. Mariënburg 27 (by appointment, Huub Jansen, coordinator Hard cover, 272 p., Dutch, 19,00 euro. archives, +31 (0)24 329 23 00) Board Joris Ivens and the Documentary Context Marceline Loridan-Ivens, president Kees Bakker (editor), 1999, Amsterdam University Press / Claude Brunel, vice-president European Foundation Joris Ivens. Dan van Golberdinge, treasurer Paperback and hardback, 320 p., English, 18,00 euro Members: (paperback), 32,00 euro (hard cover). Guusje ter Horst, burgomaster of Nijmegen José Manuel Costa Tineke de Vaal Marc Vernet Living Dangerously, a biography of Joris Ivens Hans Schoots, 2000, Amsterdam University Press. Comité d’Honneur Paperback and hardcover, 444 p., English / Dutch (‘Gevaarlijk leven’, 1995), 27,00 euro (paper back), 56,72 euro (hard back). Theo Angelopoulos / Tinto Brass / Jérôme Clément / Constantin Costa Gavras / Régis Debray / Jack Lang / Claude Lanzman Edgar Morin / Vincenzo Franco Porcelli / Ignacio Ramonet Edgar Reitz / Jean Rouch / Paolo Taviani / Frederick Wiseman Inventaris van de Hans Wegner Collectie Huub Jansen (editor), 2001, European Foundation Joris Ivens. Staff Paperback, 64 p., Dutch (English version coming soon), 12,00 euro. André Stufkens, director Huub Jansen, coordinator archives Bram Relouw, coordinator education and projects Poesie und Politik, Der Dokumentarfilmer Joris Ivens George Manders, co-worker photo archives (1898-1989) Jan-Pieter Barbian (editor), 2002, Wissenschaftverlag Collaborators with this issue Universität Trier, Cinémathèque Municipale de Luxembourg. Paperback, 123 p., German, 18,00 euro. Catherine Duncan, Gerda Jansen Hendriks, Marion Michelle Ian Mundell, Charles Musser, Leonie Redler, Ephraim Smith Virgillio Tosi Language editor: Andrew Sloan Cinema without Borders-the films of Joris Ivens André Stufkens (editor), 2002, European Foundation Joris Ivens. Design: Marleen de Betué, grafisch ontwerper BNO Paperback, 96 p., English, 15,00 euro. Print: Drukwerk Unlimited Cover photo Joris Ivens filming Hazel Parkinson during the shooting of POWER Joris Ivens, Cinema e Utopia AND THE LAND © Joris Ivens Archive / European Foundation Joris Virgilio Tosi, 2002, Bulzoni Editore, Ivens, Nijmegen Paperback, 244 p., Italian, 19,00 euro. Photo Dan van Golberdinge © Marion Michelle Photo Claude Brunel © Jean-Paul Dupuis Photo José Manuel Costa © André Stufkens Joris Ivens, Una storia di vento / a wind’s tale Photo Tineke de Vaal © Chiara Dalmaviva Marina Ganzerli (editor), 2002, Associazione Culturale Cinemambiente. The European foundation Joris Ivens is subsidised by the Paperback, 186 p., English & Italian, 25,00 euro. Netherlands Ministry of Education, Culture and Science, The Hague. 4692-brochure-joris-ivens 13-11-2003 21:42 Pagina 3 Two films of Ivens found In 1938, Pare Lorentz, the successful director of THE PLOW THAT BROKE THE PLAINS (1935) and THE RIVER (1936), was appointed head of the United States Film Service. A year later he asked Ivens to collaborate on a film about the rural electrification projects, commis- sioned by the Rural Electrification Administration (REA), part of the U.S. Department of Agriculture. In the beginning they used the wor- king title LAND AND POWER, referring to Buñuels LAND WITHOUT BREAD and to the double meaning of the word ‘power’. Firstly, power for electricity and, secondly, the power of farmers united in co- operatives to bring the all important electricity lines to their farms against the wishes of the pri- Frontispiece POWER AND THE LAND (1940) © REA vate electricity companies who tried to prevent co-operatives forming. The making of what eventually beca- me POWER AND THE LAND wasn’t without pro- blems. The first scripts written by Charles Walker were rejected. Pare Lorentz and Ed Locke wrote a much better outline, based on the ‘dawn to dusk’ concept, but forbid Ivens to present the most dramatic aspect of the film - the fight between the co-operatives and the private elec- Pare Lorentz, 1939 tricity companies. Ivens went to novelist John Steinbeck, who had just published THE GRAPES OF WRATH, to review the material and ended up Film historian Robert Sklar stated in proposing that he do the dialogues. Steinbeck ‘Film, an international history of the medium’, agreed to come on board, but Lorentz told Ivens Frontispiece BIP GOES TO TOWN (1940) © REA that POWER AND THE LAND was ‘perhaps the most that he hadn’t enough money to pay for this. effective film made to promote President Further problems arose after several weeks of Franklin D. Roosevelt’s New Deal policies’. As shooting in August and September 1939, when well as POWER AND THE LAND, which was seen by Ivens realised that the cameraman was not at least six million farmers, WORST OF FARM capable of capturing what he wanted. To solve DISASTERS and BIP GOES TO TOWN were used by this problem he asked well-known director of the REA to promote farmers’ co-operatives. photography Floyd Crosby (who had worked on TABU in 1931 and THE RIVER in 1937) to join the Dr. Ephraim K. Smith, Professor of crew. History at California State University, Fresno and an independent film producer1 is working on Originally Lorentz had only asked the a documentary on the Rural Electrification Dutchman to do the outside filming, but Ivens’ Administration. He found copies of WORST OF ambitions were much higher, especially as FARM DISASTERS and BIP GOES TO TOWN owned CCE by the grandchildren of Bip Parkinson. The Lorentz was fully occupied with developing E Frontispiece WORST OF FARM DISASTERS (1940) © REA HOMO! , so it was no surprise that Ivens became National Archives also keeps a silent copy of the overall director. He had wanted to produce a Helen van Dongen edited POWER AND WORST OF FARM DISASTERS. In the following arti- five reel documentary and shot enough footage THE LAND into a short documentary of 33 minu- cle Ephraim K. Smith explains about this disco- to realize this. However Lorentz, a producer who tes. But some of the sequences left over were very and the importance of this film and family. wanted ‘to have as little to do with the direction also used and edited into two spin-offs by Lora In association with the California State of the work of people of well-established reputa- Hays, the editor and assistant to Van Dongen at University, Fresno Foundation, Ephraim K. tion as humanly possible’ made Ivens limit the the Motion Picture Department of the Smith is looking for underwriters (and a possible length of the documentary to the agreed three Department of Agriculture. The scene of a fire in PBS or independent producer) to provide assi- reels, due to the limited budget. In a letter dated a neighbours barn was edited into a 6 minutes stance in expanding this ‘pilot’ documentary to November 20th 1939 (after filming was finished) documentary WORST OF FARM DISASTERS, to fifty-six minutes and to undertake the develop- Lorentz wrote to Ivens: ‘Mr. Flaherty who is doing show the dangers of old fashioned lighting by ment of a second documentary on private and a vast panoramic picture [THE LAND], has enough kerosine lamps in barns. This film also includes public rural electrification in the United States. material for twenty reels, but we are aiming there images of the famous bucket line, which Ivens for four or five reels, and hope to come down to used many times in his films to emphasize com- André Stufkens three, After all, if we did the history of the munity building and solidarity between workers. Mississippi Valley [THE RIVER] for over a century Another sequence, were young Bip Parkinson John Steinbeck, 1939 in three reels, I think we can do almost any visited a model milking house with electric government subject in like space or under’. equipment, was turned into a 10 minutes docu- Lorentz also expected venues to reject scree- mentary called BIP GOES TO TOWN. Ivens used ning a five reel documentary, requiring a limited this theme repeatedly, showing the generations length for their programme schedules. of the future discovering apparent technology of the future. The bucket brigade of farmers, set photo WORST OF ‘Bip’ Parkinson entering the modern milk factory, set FARM DISASTERS. Photo: Peter Sekaer, 1939 photo BIP GOES TO TOWN © REA 1 4692-brochure-joris-ivens 13-11-2003 21:42 Pagina 4 The Film and the Family that Helped Electrify the American Farm by Ephraim K.
Load more

Recommended publications
  • The Magazine
    in this edition : THE 3 Joris Ivens on DVD The release in Europe 6 Joris Ivens 110 Tom Gunning MAGAZINE 9 Politics of Documen- tary Nr 14-15 | July 2009 European Foundation Joris Ivens Michael Chanan ar ers y Jo iv r 16 - Ivens, Goldberg & n is n I a v the Kinamo e h n t Michael Buckland s 0 1 1 s110 e p u ecial iss 40 - Ma vie balagan Marceline Loridan-Ivens 22 - Ivens & the Limbourg Brothers Nijmegen artists 34 - Ivens & Antonioni Jie Li 30 - Ivens & Capa Rixt Bosma July 2009 | 14-15 1 The films of MAGAZINE Joris Ivens COLOPHON Table of contents European Foundation Joris Ivens after a thorough digital restoration Europese Stichting Joris Ivens Fondation Européenne Joris Ivens Europäische Stiftung Joris Ivens 3 The release of the Ivens DVD-box set The European DVD-box set release André Stufkens Office 6 Joris Ivens 110 Visiting adress Tom Gunning Arsenaalpoort 12, 6511 PN Nijmegen Mail 9 Politics of Documentary Pb 606 NL – 6500 AP Nijmegen Michael Chanan Telephone +31 (0)24 38 88 77 4 11 Art on Ivens Fax Anthony Freestone +31 (0)24 38 88 77 6 E-mail 12 Joris Ivens 110 in Beijing [email protected] Sun Hongyung / Sun Jinyi Homepage www.ivens.nl 14 The Foundation update Consultation archives: Het Archief, Centrum voor Stads-en Streekhistorie Nijmegen / Municipal 16 Joris Ivens, Emanuel Goldberg & the Archives Nijmegen Mariënburg 27, by appointment Kinamo Movie Machine Board Michael Buckland Marceline Loridan-Ivens, president Claude Brunel, vice-president 21 Revisit Films: José Manuel Costa, member Tineke de Vaal, member - Chile: Ivens research
    [Show full text]
  • UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Unstill Life: The Emergence and Evolution of Time-Lapse Photography Permalink https://escholarship.org/uc/item/2q89f608 Author Boman, James Stephan Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Unstill Life: The Emergence and Evolution of Time-Lapse Photography A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Media Studies by James Stephan Boman Committee in charge: Professor Janet Walker, Chair Professor Charles Wolfe Professor Peter Bloom Professor Colin Gardner September 2019 The dissertation of James Stephan Boman is approved. ___________________________________________________ Peter Bloom ___________________________________________________ Charles Wolfe ___________________________________________________ Colin Gardner ___________________________________________________ Janet Walker, Committee Chair March 2019 Unstill Life: The Emergence and Evolution of Time-Lapse Photography Copyright © 2019 By James Stephan Boman iii ACKNOWLEDGMENTS I would like to thank my friends and colleagues at UC Santa Barbara, including the fellow members of my cohort—Alex Champlin, Wesley Jacks, Jennifer Hessler, and Thong Winh—as well as Rachel Fabian, with whom I shared work during our prospectus seminar. I would also like to acknowledge the diverse and outstanding faculty members with whom I had the pleasure to work as a student at UCSB, including Lisa Parks, Michael Curtin, Greg Siegel, and the rest of the faculty. Anna Brusutti was also very important to my development as a teacher. Ross Melnick has been a source of unflagging encouragement and a fount of advice in my evolution within and beyond graduate school.
    [Show full text]
  • Ivens Magazine Blz18tm37.Pdf
    basin, Ivens yells: ‘We will shoot this scene again in half an June 15th – June 22nd 1956 Damme, Belgium June 25th - July 12th 1956, Mulde, Germany Gérard Philipe and Joris Ivens, hour! There is too much smoke, the horses do not cavort Part of the film crew travelled to Flanders, Bruges, in order On June 25th, Gérard Philipe and Joris Ivens arrived at film clips in East Germany enough and the bridge explosion is not as spectacular as it to add some authentic elements of the local colour to the Tempelhof airport in East Berlin together with the French from Les aventures de Till should be’ … The Dutch journalists could not believe what film. The shots of the actual canal and the opening scene in crew, after the press and hundreds of fans had been waiting l’Espiègle (The Adventures they saw. Their national history was being turned into a the dunes and the countryside were filmed there. And the there for hours. ‘Plenty of teen-agers came to see the ‘jeune of Till Eulenspiegel), 1956. film in the French Riviera by a‘ modest Dutchman’. They scene, in which the city of Damme goes up in flames. Mean- premier’ of the French film’, is what a journalist wrote, who © DEFA Stiftung wanted to know from Ivens how the collaboration was go- while, Ivens became continuously more concerned about was surprised that the fans were so hysterical. ing. ‘Gérard and I, we each direct certain fragments. He, for the direction in which the film was heading. ‘Attention que The last scenes in the GDR were all about the large-scaled instance, works a lot with the French actors, and does the l’action comique et dynamique ne domine pas, ou ébaufe la battles on the banks of the Scheldt between the Spaniards, work that requires the input of an experienced feature film situation serieuse.’, he wrote.24 After three months, he final- on the one hand, and the rebellions of the Geuzen army and man; I am responsible for the outside shoots and the action ly cut the knot and told DEFA that he wanted to back out of the mercenary army of the Prince of Orange on the other.
    [Show full text]
  • L'arte Di Fare Teatro Fra Intuizione E Ragione
    GIORGIO STREHLER ..................................................................................................................................................................................................................... L’arte di fare teatro fra intuizione e ragione testi di Alberto Bentoglio, Marco Blaser e Claudio Magris introduzione di Rita Levi Montalcini L’arte di fare teatro fra intuizione e ragione ..................................................................................................................................................................................................................... «Il teatro è l’attiva riflessione dell’uomo su se stesso»: una riflessione questa che un mae- stro, un regista quale Giorgio Strehler ha saputo conciliare al meglio con la sua vita. È riuscito, infatti, a contrapporre la vita alla scena, dove tutte le libertà sono possibili. La sua imponente produzione artistica è la testimonianza di una crescita culturale che vede unito il teatro italiano a quello della scena europea. La sua attività di cinquanta anni lo ha visto impegnato alla direzione del “Piccolo” di Milano da lui fondato nel 1947 con Paolo Grassi. Strehler è riuscito a sviluppare un lavoro teatrale legato al realismo poetico attraverso le opere di grandi autori, quali Shakespeare, Goldoni, Pirandello, Brecht, Bertolazzi, Cechov. Ha percorso non sol- tanto la strada del teatro con l’apporto di regista anche all’opera lirica, ma la sua conoscenza della musica ha fatto eccellere la sua “abilità” nell’aver saputo “svecchia- re” le arretrate tradizioni teatrali creando l’epifania di un metodo teatrale del tutto nuovo, offrendo agli spettatori di ogni estrazione sociale la proiezione di un calei- doscopio fantastico del mondo dell’arte, della poesia e della musica. Parole e musica hanno diretto la vita di A pagina I: Ritratto di Giorgio Giorgio Strehler così come egli stesso ha Strehler nel 1974. diretto la musica e il teatro. A sinistra: Una scena del Faust.
    [Show full text]
  • Moma's SECOND ANNUAL DOC MONTH LINE-UP FEATURES DOCUMENTARY FORTNIGHT, the 8TH ANNUAL INTERNATIONAL FESTIVAL of NONFICTION
    MoMA’s SECOND ANNUAL DOC MONTH LINE-UP FEATURES DOCUMENTARY FORTNIGHT, THE 8TH ANNUAL INTERNATIONAL FESTIVAL OF NONFICTION FILMS Doc Month Also Features a Retrospective of the Italian Filmmaking Team Angela Ricci Lucchi And Yervant Gianikian, Oscar-Nominated Documentaries from 1946-56, and 2009’s Oscar-Nominated Documentary Shorts DOC MONTH February 1–February 28, 2009 The Roy and Niuta Titus Theaters & The Celeste Bartos Theater PRESS SCREENINGS: Thursday, January 29, 11:00 a.m., The Roy and Niuta Titus Theater 1 Bachelorette, 34 (2007). Directed by Kara Herold. 30 min. California Company Town (2008). Directed by Lee Anne Schmitt. 76 min. Friday, January 30, 11:00 a.m., Titus Theater 1 My Daughter the Terrorist (2007). Directed by Beate Arnestad. 58 min. Neither Memory nor Magic (2007). Directed by Hugo Perez. 57 min. RSVP to [email protected] NEW YORK, January 22, 2009 —The Museum of Modern Art announces the line-up for Doc Month, an annual initiative that showcases the best of contemporary and classic nonfiction films each February. This year’s edition comprises four distinctively focused series. At the centerpiece is the Museum’s eighth annual international festival of nonfiction film, Documentary Fortnight (February 11–25), a juried festival of more than 50 contemporary films from around the globe that explore a wide range of topics. Other series include the Angela Ricci Lucchi and Yervant Gianikian Retrospective, with 22 short and nine feature-length documentaries directed by the Italian filmmaking team (February 2–28); Oscar’s Docs, 1946-56: Optimism and Adventure!, a selection of post-World War II short and feature-length narratives from the archive of the Academy of Motion Picture Arts and Sciences (February 2–9); and the 81st Academy-Nominated Documentary Shorts, featuring the 2009 nominees (February 15).
    [Show full text]
  • Clay Paky Illuminates Milan’S Piccolo Teatro
    Clay Paky illuminates Milan’s Piccolo Teatro | 1 Photo credits: Davide Barbetta Milan, Italy – the Piccolo Teatro in Milan was Italy’s first permanent theatre and was declared a theatre of major European importance by Ministerial Decree in 1991. It was founded in the immediate post-war period by Paolo Grassi, Giorgio Strehler, Mario Apollonio, Virgilio Tosi and Nina Vinchi. The “Piccolo” consists at present of three venues: the Sala Grassi, the 19th-century Teatro Fossati, which reopened in 1986 under the name Teatro Studio Melato, and the Teatro Strehler. The Teatro Studio Melato started life as an experimental theatre, a training ground for the young students from the Piccolo Theatre School, and home to the international master classes which are held there annually. Its circular design is greatly appreciated by directors from all over the world for the special relationship it allows actors to establish with their audience. The theatre was recently equipped with Clay Paky Alpha Profile 800s for the show “E io dico no: ogni notte ha un’alba” (And I say ‘no, every night has a dawn’). The lighting designer and lighting department manager Claudio De Pace explained how he made his choice: “I had recently used Clay Paky 700s in some shows staged outside our theatre, especially in conjunction with the Milan Furniture Fair for a production at the Teatro dell’Arte. I was very satisfied with their reliability and luminous efficiency. When it came to equipping the Teatro Clay Paky illuminates Milan’s Piccolo Teatro | 2 Piccolo with a new set of lights, I decided to do several tests on site with other brands, but in the end I opted for Alpha Profile 800s.
    [Show full text]
  • Helen Van Dongen:An Interview
    46 EDVARD MUNCH acter on the screen and the individual in the NOTES audience has the same intensity and jarring emo- tional effect that one experiences when peering 1. Gary Arnold, "Music Lovers," Washington Post, 25 February 1971, Section C, p. 14, cols 1-2. into the eyes of Munch's figures in such paintings 2. The film, which was originally a Norsk Rikstringkasting/ as The Voice, Self-Portrait with Burning Cigarette, Sveriges Radio production, has been shown on European tele- and most notably Death in the Sickroom, where vision in its original 31/2 hour version. The theatrical version presently being screened in the United States was trimmed by Munch's sister, Inger, stares directly out at Watkins the himself to 2 hours and 45 minutes. All references in viewer. this essay are to the original version. At present, Watkins is somewhat reluctant 3. Allto of Watkins's comments are from his unpublished writings discuss the possible impact of Edvard Munch or oninterview-discussions with the author. the genre of the biography film or all the complex 4. Reinhold Heller, Munch: The Scream (London: Allen Lane, 1973), pp. 36-7. reasons why he made the film, but he notes 5.that Nic. Stang, Edvard Munch (Oslo: Johan Grundt Tantum "if there is any 'reason' needed to justify the film-- Forlag, 1972), p. 73. it is because I knew, instinctively, that Edvard 6. Cited in Werner Timm, The Graphic Art of Edvard Munch Munch himself-despite endless hardship (London:and Studio Vista, 1973), pp. 29-30. 7. John Simon, "Suffering Artist, Smiling Dictator," New York, personal anguish, despite the acute repressiveness 13 September 1976, p.
    [Show full text]
  • Representaciones Fílmicas De Aparatos
    Representaciones fílmicas de R ESUMEN / El presente trabajo busca A BST R ACT / This paper seeks to aparatos, responder cómo se ha relacionado el answer how cinema has related itself cine con aparatos, juguetes y espectácu- to devices, toys and optical spectacles juguetes y los ópticos anteriores a la invención that preceded the invention of the espectáculos del cinematógrafo. Para dar respuesta cinematograph. To answer this ques- a esta pregunta se realizó el rastreo tion we tracked the appearance of ópticos anteriores de la aparición de cámaras obscuras, dark cameras, shadow shows, magic espectáculos de sombras, linternas lanterns, panoramas, flip books, thau- al cine: un mágicas, panoramas, filoscopios, tau- matropes, phenakistoscopes, zoetropes, matropos, fenaquistoscopios, zoótropos, praxinoscopes, optical theaters and recurso de praxinoscopios, teatros ópticos y otros other artifacts and optical spectacles autorreflexividad artefactos y espectáculos ópticos en 70 in 70 films from different countries películas de distintos países producidas produced between 1903 and 2017. metaficcional entre 1903 y 2017. Además se efectuó In addition to this, we carried out the el microanálisis formal de secuencias de formal microanalysis of sequences of cinco casos de estudio para estudiar la five case studies in order to study the R OCÍO G ONZÁLEZ función retórica y simbólica que desem- rhetorical and symbolic function that peñan en estos filmes dichos aparatos y these devices and shows perform in DE A R CE A R Z AVE espectáculos. Los resultados
    [Show full text]
  • Tesi Di Laurea In
    ALMA MATER STUDIORUM - UNIVERSITA' DI BOLOGNA FACOLTA' DI LETTERE E FILOSOFIA Corso di Laurea Magistrale in Cinema, televisione e produzione multimediale DOCUMENTARI NELLA RICERCA: IL CASO DEL REPARTO DI CINEMATOGRAFIA SCIENTIFICA DEL CNR DI BOLOGNA Tesi di laurea in FILOLOGIA DEL CINEMA Relatore: Prof. MICHELE CANOSA Presentata da: STEFANO PARISINI Correlatore: D.ssa CLELIA SEDDA Seconda Sessione Anno accademico 2011/2012 2 Con un'espressione sintetica si può dire che il cinema scientifico ci ha permesso di "vedere l'invisibile". Virgilio Tosi Ferdinando, ti vedo assai turbato, come sgomento: non aver paura. I giochi di magia son terminati. E come questa rappresentazione - un edificio senza fondamenta - così l’immenso globo della terra, con le sue torri ammantate di nubi, le sue ricche magioni, i sacri templi e tutto quello che vi si contiene è destinato al suo dissolvimento; e al pari di quell’incorporea scena che abbiam visto dissolversi poc’anzi, non lascerà di sé nessuna traccia. Siamo fatti anche noi della materia di cui son fatti i sogni; e nello spazio e nel tempo d’un sogno è racchiusa la nostra breve vita. William Shakespeare, La tempesta (Prospero: atto IV, scena I) 3 4 Sommario Sommario .......................................................... 5 1. INTRODUZIONE ................................................. 6 1.1 Una storia per raccontarne un’altra ........................ 6 1.2 Un consiglio per la ricerca ............................... 10 1.3 La cinematografia scientifica ............................. 13 1.4 Il documentario, questo sconosciuto ....................... 23 2. LA SPINTA PROPULSIVA DEGLI INIZI ............................ 27 3. AVANTI CON ENERGIA .......................................... 40 4. UN PERIODO DI ESPANSIONE .................................... 55 5. DECLINO ED EPILOGO .......................................... 63 Bibliografia ..................................................... 79 Schede dei film .................................................. 82 5 1.
    [Show full text]
  • Variations Et Continuité De L'arlequin, Serviteur De Deux Maîtres De
    Métamorphoser la reprise : variations et continuité de l’Arlequin, serviteur de deux maîtres de Giorgio Strehler Aude Astier Giorgio Strehler, au cours de ses cinquante années à la tête du Piccolo Teatro de Milan, a mis sept fois en scène, chaque fois de manière différente, Arlequin, serviteur de deux maîtres de Carlo Goldoni. Cette reprise, d’une durée inédite dans l’histoire du théâtre, s’est poursuivie après sa mort en 1997, L’Arlequin étant toujours à l’affiche du Piccolo Teatro en 2013. Cette persévérance dans un geste de reprise conduit à en interroger les raisons et à en déplier les variations. La reprise de l’Arlequin permet de renouer avec l’héritage de la Commedia dell’arte dans un geste de réappropriation qui dépasse la reconstitution pour mener une recherche sur l’essence du jeu et sur l’évolution d’un geste artistique au fil des ans qui provoque la métamorphose de la reprise et la confronte aux enjeux de la mémoire, de l’invention scénique et de la programmation. 24 juillet 1947 : la saison inaugurale du Piccolo Teatro de Milan, fondé quelques mois auparavant1, se clôt par la création d’une pièce de Carlo Goldoni, symbole de la refondation d’un répertoire italien qui ne délaisse pas les dialectes et renoue avec un sentiment de fierté nationale, nécessaire dans cette période de reconstruction d’une nation et d’un répertoire étouffés par les années de fascisme. Rebaptisée Arlequin, serviteur de deux maîtres, pour indiquer plus clairement au public son appartenance à la Commedia dell’arte et son caractère comique, Le serviteur de deux maîtres est la première pièce de Goldoni, écrite à partir du répertoire dell’arte.
    [Show full text]
  • New Findings and Perspectives Edited by Monica Dall’Asta, Victoria Duckett, Lucia Tralli Researching Women in Silent Cinema New Findings and Perspectives
    in Silent Cinema New Findings and Perspectives edited by Monica Dall’Asta, Victoria Duckett, lucia Tralli RESEARCHING WOMEN IN SILENT CINEMA NEW FINDINGS AND PERSPECTIVES Edited by: Monica Dall’Asta Victoria Duckett Lucia Tralli Women and Screen Cultures Series editors: Monica Dall’Asta, Victoria Duckett ISSN 2283-6462 Women and Screen Cultures is a series of experimental digital books aimed to promote research and knowledge on the contribution of women to the cultural history of screen media. Published by the Department of the Arts at the University of Bologna, it is issued under the conditions of both open publishing and blind peer review. It will host collections, monographs, translations of open source archive materials, illustrated volumes, transcripts of conferences, and more. Proposals are welcomed for both disciplinary and multi-disciplinary contributions in the fields of film history and theory, television and media studies, visual studies, photography and new media. http://creativecommons.org/licenses/by-nc-nd/3.0/us/ # 1 Researching Women in Silent Cinema: New Findings and Perspectives Edited by: Monica Dall’Asta, Victoria Duckett, Lucia Tralli ISBN 9788898010103 2013. Published by the Department of Arts, University of Bologna in association with the Victorian College of the Arts, University of Melbourne and Women and Film History International Graphic design: Lucia Tralli Researching Women in Silent Cinema: New Findings and Perspectives Peer Review Statement This publication has been edited through a blind peer review process. Papers from the Sixth Women and the Silent Screen Conference (University of Bologna, 2010), a biennial event sponsored by Women and Film History International, were read by the editors and then submitted to at least one anonymous reviewer.
    [Show full text]
  • Yasmina Reza
    5/13 NOVIEMBRE Edita Sevilla Festival de Cine Europeo 2010 Director Artístico Javier Martín-Domínguez Coordinadora de catálogo y documentación Blanca García Carrera Ayudante de catálogo y documentación Borja Moreno Traducción Deidre MacClowskey, Mathilde Grange Cesión de fotografías Danish Film Institute, European Foundation Joris Ivens, Fredy Fernández, Hugo Tillmans, José Haro, Lolo Vasco, Neos Zacher, Norwegian Film Institute, Per Arnesen, Petr Novák, Robin Skjoldborg, Sophie Baker, Spellbound Productions, Vicente Aranda, Vik Muniz Studio Un proyecto de Diseño y maquetación Leglez Publicidad Impresión J. de Haro Artes Gráficas, S.L. Depósito legal - ÍNDICE / TABLE OF CONTENTS CARTEL SEFF VII EDICIÓN / POSTER SEFF 10 VII EDITION ..................................15 PREMIOS 2010 / 2010 AWARDS ........................................................................... 17 JURADO / JURY ..................................................................................................... 27 SECCIÓN OFICIAL / OFFICIAL SECTION ................................................................ 35 SELECCIÓN EFA / EFA SELECTION ........................................................................67 EURIMAGES .......................................................................................................... 103 EURODOC ..............................................................................................................123 FIRST FILMS FIRST. PRIMERAS PELÍCULAS .......................................................155 SHORT MATTERS’
    [Show full text]