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Cinéma et psychanalyse
Film review: Bright Star | Film
Deeply felt and intelligent … Abbie Cornish and Ben Whishaw in Bright Star Bright Star Production year: 2009 Countries: France, Other English-language, Rest of the world, UK, USA Cert (UK): PG Runtime: 119 mins Directors: Jane Campion Cast: Abbie Cornish, Ben Whishaw, Kerry Fox, Paul Schneider, Thomas Sangster More on this film "The beginning of your poem has something very perfect," says Keats's lover, Fanny Brawne, of his Endymion – before complaining that the rest of it isn't nearly as good. Tactfully, Jane Campion allows us to understand that this is not so much a criticism of Keats's poetry but his life, in fact all our lives. They are finest at the beginning and careless youth is an Endymion moment, a blaze of perfection and rightness, destined to decay with adulthood's compromises and responsibilities.Cela s'appelle un plan d'ensemble. Une vue générale de ce qui semble être une de ces petites maisons, rares, confortables, que l'on trouve dans Paris , un de ces lieux d'habitation rénovés et habités par ceux qui transforment progressivement la capitale en ville de province. Ce plan d'ensemble, interminable et sur lequel s'inscrit le générique du nouveau film de Michael Haneke, est en fait un plan tourné en vidéo et envoyé aux habitants de la maison sous la forme de cassettes déposées anonymement devant leur porte. Ces habitants sont un couple avec un enfant : Georges (Daniel Auteuil), journaliste littéraire à la télévision, son épouse (Juliette Binoche), qui travaille dans une maison d'édition, et Pierrot, leur fils adolescent.
Caché-les-racines-historiques-de-la-barbarie
"Nothing evokes the end of the world more than a man running straight ahead on a beach ... cocooned in the solitary sacrifice of his energy ... In a sense, he spews himself out ... He has to attain the ecstasy of fatigue, the "high" of mechanical annihilation." "To eat is to appropriate by destruction; it is at the same time to be filled up with a certain being." In the opening sequence of Mary Harron's 2000 film, American Psycho , based on the 1991 novel by Bret Easton Ellis, red sauce which first appears to be blood drips, then runs, over a white background. A butcher knife elegantly cuts into meat on an artfully prepared plate.
Anorexic Logic: On American Psycho
Anthropologists argue that across most cultures, conventional definitions of feminine modesty and a contrived sense of innocence even among women who are clearly adult and experienced causes those women who do laugh freely and openly in public to be regarded and judged as “loose,” “sexually promiscuous,” and “lacking in self-discipline .” Making a joke is read, in other words, as making a pass—which might account for women's hesitation to make many jokes around men. Initiating humor is the first taboo broken—with that one gone, we can assume other barriers are meant to fall. As scholar Judith Wilt has argued, there is a certain kind of women's humor “tumbles over the edge of myth into madness, " the place where comedy ceases to offer comfort and becomes murderous, violent , apocalyptic.
Is Women's Humor Still Taboo? Then Why Are Men Nervous Around Laughing Women?
Dai corti ai lunghi. Dai documentari ai lungometraggi, questo è Ermanno Olmi. Un'altalena costruita su un albero degli zoccoli che invita gli spettatori a guardare oltre la siepe del loro giardino, a sbirciare il lavoro del contadino che guarda il grano maturare o dell'operaio nella fabbrica che compie azioni meccaniche con sforzo e sacrificio, ma pur sempre cantando la pace sia quella della natura, sia quella dell'uomo dietro i paraventi. Origini e formazione Nato da una famiglia contadina e profondamente cattolica nella provincia di Bergamo, Olmi rimane orfano di padre durante la Seconda Guerra Mondiale. Dopo aver frequentato il liceo scientifico e poi quello artistico (senza portare a termine gli studi), si trasferisce giovanissimo a Milano per iscriversi all'Accademia d'Arte Drammatica, seguendo però i corsi di recitazione.
Ermanno Olmi - Corriere della Sera
Lars von Trier, the Danish director of "Breaking the Waves," "Dancer in the Dark," and "Dogville" returns with a strange and brilliant meta-film. In 2000, he challenged his mentor, the veteran filmmaker Jorgen Leth, to a one-of-a-kind director's game: von Trier would give Leth rules, or obstructions, by which Leth would have to remake his own 1967 short film "The Perfect Human"--five times. The first film, according to von Trier's rules, has to be composed of shots no longer than 12 frames and must be filmed in Cuba, without a set. Fast forward to Havana: Leth has found a solution to the difficulties and is making his film with confidence. With satanic glee, von Trier comes up with an even more constraining set of obstructions, clearly taking pleasure in torturing his former teacher.
The Five Obstructions - Lars von Trier - Review
4 Naruse de plus, vus en juillet. Comment dit-on youpi en japonais ? Epouse (Tsuma, 1953) Portrait de couple avec épouse frustrée et mari infidèle. Sujet récurrent chez Naruse, avec une attention particulière portée à la femme.
Mikio Naruse
A Closed Door That Leaves Us Guessing
So, that's a director. You, who are beginning to make films, you must keep a bit of The Tramp in you, and you must have begun already to have a bit of A Countess from Hong Kong in you too. You must always have the extreme youth of The Tramp that wants to speak against society, that we're on the street, that we have the sky and belong to mankind, and you must have begun already to have a bit of A Countess from Hong Kong , being very old and a bit bitter. That, in order to say as he does in that film, that society has let go of him, that it doesn't take an interest in him any more.There is nobody now alive who has seen anything like the complete version of Erich von Stroheim's Greed . Yet many good judges still regard the bleeding remains of the film as one of the greatest ever made. They are almost certainly right. But then Stroheim , better known to film-goers for his acting as Gloria Swanson's butler in Billy Wilder's Sunset Boulevard, was one of the most extraordinary film-makers of all time. Greed was to have been the culmination of his career - an adaptation of Frank Norris's tragic tale of McTeague who, after losing his livelihood because of a rival's machinations, becomes a drunk and murders his wife. He kills his nemesis Marcus but is bound to the corpse by handcuffs.
Erich von Stroheim: Greed | Film
Why 3D doesn't work and never will. Case closed.
Wikipedia writes: "Murch is widely acknowledged as the person who coined the term Sound Designer, and along with colleagues developed the current standard film sound format, the 5.1 channel array, helping to elevate the art and impact of film sound to a new level. "Apocalypse Now" was the first multi-channel film to be mixed using a computerized mixing board." He won two more Oscars for the editing and sound mixing of "The English Patient." "He is perhaps the only film editor in history," the Wikipedia entry observes, "to have received Academy nominations for films edited on four different systems: • "Julia" (1977) using upright Moviola • "Apocalypse Now" (1979), "Ghost" (1990), and "The Godfather, Part III" (1990) using KEM flatbed • "The English Patient" (1996) using Avid. • "Cold Mountain" (2003) using Final Cut Pro on an off-the shelf PowerMac G4.
9 Things Every Entrepreneur Needs to Learn From Woody Allen
Editor’s note: James Altucher is an investor, programmer, author, and entrepreneur. He is Managing Director of Formula Capital and has written 6 books on investing. His latest book is I Was Blind But Now I See . You can follow him @jaltucher . I hate Woody Allen. Here’s why.Famous Film Directors, a Comprehensive Website Directory Registi famosi; Berühmte regisseure; Réalisateurs célèbres; Directores de cine To view webpages without leaving this website click here Academy Award and Cannes Film Festival Winners Academy Awards database of past winners and nominees. AMPAS
Film Directors
Il était une fois le cinéma - La passion du cinema
ll était une fois le cinéma, la passion du Cinéma Comme tout domaine sujet à la passion, le cinéma excite les discussions et les débats, parfois improbables, parfois passionnants. Il y a maintes façons d’aimer et de parler du cinéma. La nôtre en est une parmi d’autres, et nous n’aurons jamais la prétention d’affirmer qu’elle est l’unique voie de salut. Il était une fois le cinéma n’est pas un magazine en ligne "engagé" qui défendrait un type de cinéma en particulier.Discipline, née dans les années 1960, dont l’activité consiste, pour l’analyse du cinéma, dans l’importation et l’exercice des notions et des méthodes de la sémiologie et de la linguistique : code, message, sous-code, énoncé, syntagme, paradigme, signifiant, signifié, articulation, etc. Les thèses fondamentales de la sémiologie du cinéma s’appuient sur ces constatations : – Le cinéma n’est pas une langue, pas même un espéranto, dans la mesure où il est multicodique (même si les théories montagistes du cinéma se sont faites sur le modèle d’une syntaxe cinématographique, de même que la codification traditionnelle des mouvements d’appareil). Il est une sorte de langage, à condition de ne pas s’en tenir à une définition du langage comme « système de signes destinés à la communication » : la signification, la signifiance débordent le domaine du signe et de la communication.
[Cours en ligne] Sémiologie du Cinéma | La Lettre à Jal
En avril 1962, François Truffaut adresse une longue lettre à Alfred Hitchcock : " Cher monsieur Hitchcock... Au cours de mes discussions avec des journalistes étrangers et surtout à New York, je me suis rendu compte que l'on se fait souvent une idée un peu superficielle de votre travail. D'autre part, la propagande que nous avons faite aux Cahiers du cinéma était excellente pour la France, mais inadéquate pour l'Amérique, car trop intellectuelle.