Risultati ricerca

Abstract/Sommario: Le Portrait de Dorian Gray (1945) est le deuxième des dix films réalisEs par Albert Lewin. C'est l'adaption la plus connue et la plus réussie du roman d'Oscar Wilde et un exemple exacerbé de la mise en scène holliwoodienne classique. L'étude ici proposée est une analyse iconologique détaillée du film, visant à montrer comment, tout en étant un parfait produit de studio (tendance << film cultivé >>), le film de Lewin est aussi une oeuvre singulière travaillée par une obsession d'artiste ...; [Leggi tutto...] Le Portrait de Dorian Gray (1945) est le deuxième des dix films réalisEs par Albert Lewin. C'est l'adaption la plus connue et la plus réussie du roman d'Oscar Wilde et un exemple exacerbé de la mise en scène holliwoodienne classique. L'étude ici proposée est une analyse iconologique détaillée du film, visant à montrer comment, tout en étant un parfait produit de studio (tendance << film cultivé >>), le film de Lewin est aussi une oeuvre singulière travaillée par une obsession d'artiste. En particulier, il s'agit de montrer que la <> extraordinairement ciselée de Lewin y est entièrement pensée sur le modele pictural, non pas au sens où on y trouve nombre de citations de tableaux (on a trop souvent réduit Lewin à cet aspect référentie) mais au sens où c'est une profonde conception << picturale >> de l'image, de l'espace, de la profondeur, du cadre, du point de vue, de la figuration, du montage, de la narration qui régit le mode meme de << penser le cinéma >> d'Albert Lewin.

Abstract/Sommario: À quoi ressemblent les coulisses d'une cinémathèque ? Peu ont eu la chance de les découvrir. 75 000 Films est un voyage très personnel à travers ce territoire inconnu, guidé par les photos de Xavier Harcq, Jimmy Kets et Marie-Françoise Plissart et par les textes de David Bordwell, Eric de Kuyper et Dominique Païni. Six points de vue différents sur une cinémathèque : ses activités, son rôle, ses espaces, ses femmes et ses hommes, et les gestes de ceux qui font en sorte que les films - c ...; [Leggi tutto...] À quoi ressemblent les coulisses d'une cinémathèque ? Peu ont eu la chance de les découvrir. 75 000 Films est un voyage très personnel à travers ce territoire inconnu, guidé par les photos de Xavier Harcq, Jimmy Kets et Marie-Françoise Plissart et par les textes de David Bordwell, Eric de Kuyper et Dominique Païni. Six points de vue différents sur une cinémathèque : ses activités, son rôle, ses espaces, ses femmes et ses hommes, et les gestes de ceux qui font en sorte que les films - cette "matière dont sont faits les rêves" - puissent vivre pour toujours.

Abstract/Sommario: Premio ​​Luois Delluc 1983, A nos amours ha rivelato al pubblico la personalità decisa di Sandrine Bonnaire e sancito il tardivo riconoscimento di Maurice Pialat, della sua arte così come del suo carattere. Della linea di Jean Renoir, ad esempio, Maurice Pialat ha mantenuto la predisposizione a catturare l'imprevisto durante le riprese. Per Alain Philippon è addirittura una delle prime singolarità del cinema e della sua arte, più che mai da ricercare in termini di metodo. Perché ciò ch ...; [Leggi tutto...] Premio ​​Luois Delluc 1983, A nos amours ha rivelato al pubblico la personalità decisa di Sandrine Bonnaire e sancito il tardivo riconoscimento di Maurice Pialat, della sua arte così come del suo carattere. Della linea di Jean Renoir, ad esempio, Maurice Pialat ha mantenuto la predisposizione a catturare l'imprevisto durante le riprese. Per Alain Philippon è addirittura una delle prime singolarità del cinema e della sua arte, più che mai da ricercare in termini di metodo. Perché ciò che si svolge in A nos amours è prima di tutto il confronto del "progetto film" con la realtà delle sue riprese. Un confronto che fa di quest'opera capitale un'opera in continua evoluzione, che si scopre lentamente nella stessa continuità della sua elaborazione.

Abstract/Sommario: Una ex fotografa di guerra e suo marito medico sono coinvolti in una rivolta quando gli abitanti di un villaggio andino sfogano la loro infelicità per la contaminazione di una vicina miniera. - A former war photographer and her physician husband are caught up in a riot when locals in an Andean village vent their unhappiness with contamination from a nearby mine.

Abstract/Sommario: The 1940s and 1950s can be considered the heyday of the experimental art film. In that era, leading filmmakers such as Luciano Emmer, Alain Resnais, and Henri-Georges Clouzot presented the art documentary as a truly experimental genre that enabled them to combine cinematic experiments with artistic profundity. Also Belgian filmmakers such as Charles Dekeukeleire, André Cauvin, Henri Storck, Paul Haesaerts, and Luc de Heusch made important contributions to the development of the art fil ...; [Leggi tutto...] The 1940s and 1950s can be considered the heyday of the experimental art film. In that era, leading filmmakers such as Luciano Emmer, Alain Resnais, and Henri-Georges Clouzot presented the art documentary as a truly experimental genre that enabled them to combine cinematic experiments with artistic profundity. Also Belgian filmmakers such as Charles Dekeukeleire, André Cauvin, Henri Storck, Paul Haesaerts, and Luc de Heusch made important contributions to the development of the art film. While some of their films demonstrated that cinema could become a useful tool for art analysis, other focused on the representation of artists such as Picasso, Magritte, Delvaux, Alechinksky and Dotremont at work.

Abstract/Sommario: Non si può spiegare l'attrazione delle nuvole, l'attrazione per il loro processo di formazione, per la loro realtà fisica, per il loro aspetto mutevole, per l'enigma della loro scomparsa e per la loro geometria capricciosa. Hanno alimentato la curiosità sin dagli inizi dell'umanità; occupano otticamente l'ozio, disturbano l'instancabile gusto del "bel tempo"; possono distrarre dal soggetto centrale di un dipinto o dall'abilità del personaggio centrale di un film. Sono indubbiamente leg ...; [Leggi tutto...] Non si può spiegare l'attrazione delle nuvole, l'attrazione per il loro processo di formazione, per la loro realtà fisica, per il loro aspetto mutevole, per l'enigma della loro scomparsa e per la loro geometria capricciosa. Hanno alimentato la curiosità sin dagli inizi dell'umanità; occupano otticamente l'ozio, disturbano l'instancabile gusto del "bel tempo"; possono distrarre dal soggetto centrale di un dipinto o dall'abilità del personaggio centrale di un film. Sono indubbiamente legati all'ossessione meteorologica: sapere "come sarà il tempo" fa parte della propensione all'organizzazione, alla programmazione quotidiana. Si dilettano per la seduzione dell'instabilità dei loro contorni e delle loro ventosità in incessante metamorfosi o si preoccupano per il presagio di perturbazioni tempestose? "Senza alcuna descrizione, direttamente, una nuvola ci attrae, un'altra ci atterra" dice Gaston Bachelard. Attraverso lo studio di sequenze prese in prestito da una dozzina di film classici o moderni, Dominique Païni si sforza di osservare l'uso narrativo e drammaturgico delle nuvole da parte di Dreyer, Ford, Van Sant, Bergman, Renoir o Godard, e l'apparizione di una torbida ossessione nel contemporaneo spettatore. [trad. nostra]

Abstract/Sommario: The 1940s and 1950s can be considered the heyday of the experimental art film. In that era, leading filmmakers such as Luciano Emmer, Alain Resnais, and Henri-Georges Clouzot presented the art documentary as a truly experimental genre that enabled them to combine cinematic experiments with artistic profundity. Also Belgian filmmakers such as Charles Dekeukeleire, André Cauvin, Henri Storck, Paul Haesaerts, and Luc de Heusch made important contributions to the development of the art fil ...; [Leggi tutto...] The 1940s and 1950s can be considered the heyday of the experimental art film. In that era, leading filmmakers such as Luciano Emmer, Alain Resnais, and Henri-Georges Clouzot presented the art documentary as a truly experimental genre that enabled them to combine cinematic experiments with artistic profundity. Also Belgian filmmakers such as Charles Dekeukeleire, André Cauvin, Henri Storck, Paul Haesaerts, and Luc de Heusch made important contributions to the development of the art film. While some of their films demonstrated that cinema could become a useful tool for art analysis, other focused on the representation of artists such as Picasso, Magritte, Delvaux, Alechinksky and Dotremont at work.

Abstract/Sommario: In a scenic Belgian village, nature is turning its back on man. How will the locals cope with this new reality?

Abstract/Sommario: The 1940s and 1950s can be considered the heyday of the experimental art film. In that era, leading filmmakers such as Luciano Emmer, Alain Resnais, and Henri-Georges Clouzot presented the art documentary as a truly experimental genre that enabled them to combine cinematic experiments with artistic profundity. Also Belgian filmmakers such as Charles Dekeukeleire, André Cauvin, Henri Storck, Paul Haesaerts, and Luc de Heusch made important contributions to the development of the art fil ...; [Leggi tutto...] The 1940s and 1950s can be considered the heyday of the experimental art film. In that era, leading filmmakers such as Luciano Emmer, Alain Resnais, and Henri-Georges Clouzot presented the art documentary as a truly experimental genre that enabled them to combine cinematic experiments with artistic profundity. Also Belgian filmmakers such as Charles Dekeukeleire, André Cauvin, Henri Storck, Paul Haesaerts, and Luc de Heusch made important contributions to the development of the art film. While some of their films demonstrated that cinema could become a useful tool for art analysis, other focused on the representation of artists such as Picasso, Magritte, Delvaux, Alechinksky and Dotremont at work.

Abstract/Sommario: The 1940s and 1950s can be considered the heyday of the experimental art film. In that era, leading filmmakers such as Luciano Emmer, Alain Resnais, and Henri-Georges Clouzot presented the art documentary as a truly experimental genre that enabled them to combine cinematic experiments with artistic profundity. Also Belgian filmmakers such as Charles Dekeukeleire, André Cauvin, Henri Storck, Paul Haesaerts, and Luc de Heusch made important contributions to the development of the art fil ...; [Leggi tutto...] The 1940s and 1950s can be considered the heyday of the experimental art film. In that era, leading filmmakers such as Luciano Emmer, Alain Resnais, and Henri-Georges Clouzot presented the art documentary as a truly experimental genre that enabled them to combine cinematic experiments with artistic profundity. Also Belgian filmmakers such as Charles Dekeukeleire, André Cauvin, Henri Storck, Paul Haesaerts, and Luc de Heusch made important contributions to the development of the art film. While some of their films demonstrated that cinema could become a useful tool for art analysis, other focused on the representation of artists such as Picasso, Magritte, Delvaux, Alechinksky and Dotremont at work.

Abstract/Sommario: The FIAF Moving Image Cataloguing Manual is the result of many years of labor and collaboration with numerous professionals in the moving image field. It addresses the changes in information technology that we've seen over the past two decades, and aligns with modern cataloguing and metadata standards and concepts such as FRBR (Functional Requirements for Bibliographic Records), EN 15907, and RDA (Resource Description and Access). The manual is designed to be compatible with a variety ...; [Leggi tutto...] The FIAF Moving Image Cataloguing Manual is the result of many years of labor and collaboration with numerous professionals in the moving image field. It addresses the changes in information technology that we've seen over the past two decades, and aligns with modern cataloguing and metadata standards and concepts such as FRBR (Functional Requirements for Bibliographic Records), EN 15907, and RDA (Resource Description and Access). The manual is designed to be compatible with a variety of data structures, and provides charts, decision trees, examples, and other tools to help experts and non-experts alike in performing real-world cataloguing of moving image collections.

Abstract/Sommario: Set in the frozen steppes of Mongolia, a young nomad confronted with his destiny after animals fall victim to a plague which threatens to eradicate nomadism.

Abstract/Sommario: Desperate to return home from a state visit to Istanbul when his country suffers its worst-ever political crisis, but unable to fly due to a solar storm, the King of the Belgians finds himself on a tumultuous road trip across the Balkans.

Abstract/Sommario: Cet ouvrage reconsidère le Mélodrame à partir de cette idée en proposant un nouveau sous-genre, le Mélodrame Maléfique, qui s'articule autour d'un personnage principal : l'héroïne maléfique. Emblématique de l'état d'esprit qui règne aux Etats-Unis dans les années 1940 et qui implique la nécessité de dénoncer tous les comportements anti-américains, l'héroïne maléfique est l'illustration parfaite de la prédétermination narrative et stylistique du Mélodrame.

Abstract/Sommario: Dans le premier volume, publié par l'Association en 1999, la Putain P est une femme enfant qui fait l'apprentissage de la maternité après avoir cherché l'homme. A présent, la Putain P veut se marier mais cela va l'emmener en voyage entre le blanc et le noir, entre la mort et la vie.
Comme s'il s'agissait de saisir dans sa toile un indicible secret, comme s'il s'agissait de s'enfoncer plus profondément dans le mystère, Anke Feuchtenberger trace un parcours d'ombres. C'est cette attenti ...; [Leggi tutto...] Dans le premier volume, publié par l'Association en 1999, la Putain P est une femme enfant qui fait l'apprentissage de la maternité après avoir cherché l'homme. A présent, la Putain P veut se marier mais cela va l'emmener en voyage entre le blanc et le noir, entre la mort et la vie.
Comme s'il s'agissait de saisir dans sa toile un indicible secret, comme s'il s'agissait de s'enfoncer plus profondément dans le mystère, Anke Feuchtenberger trace un parcours d'ombres. C'est cette attention particulière tant aux traits, aux matières qu'aux mots et aux noms qui confère à la Putain P son caractère poétique et hypnotique.