Podcasts about andr bazin

In this episode, I spoke with film critic Jonathan Rosenbaum about his latest book "Travel In The Cities of Cinema". Jonathan Rosenbaum stands as one of the most eminent film critics in the English-speaking world. After working for Sight and Sound and Monthly Film Bulletin in London in the 1970s, he served for two decades as chief film critic for theChicago Reader. Hailed as "one of the best" by Jean-Luc Godard, who compared him to James Agee and André Bazin, Rosenbaum is known for his incisive, thought-provoking polemics, which have inspired generations of writers while reshaping how we think about cinema.

Buy Travels in the Cities of Cinema: Conversations with Ehsan Khoshbakht here. Jonathan Rosenbaum stands as one of the most eminent film critics in the English-speaking world. After working for Sight and Sound and Monthly Film Bulletin in London in the 1970s, he served for two decades as chief film critic for the Chicago Reader. Hailed as “one of the best” by Jean-Luc Godard, who compared him to James Agee and André Bazin, Rosenbaum is known for his incisive, thought-provoking polemics, which have inspired generations of writers while reshaping how we think about cinema. Distinguished by his equal investment in both contemporary cinema and film history, his work offers a rich dialogue between the past and present of moving images. In this wide-ranging conversation with film scholar Ehsan Khoshbakht, Rosenbaum reminisces about his childhood in Florence, Alabama, where his family ran a chain of cinemas, and follows that journey to New York, Paris, London and Chicago. Each city marks a chapter in his evolution as a critic, filled with encounters and experiences that together reveal the life of an indefatigable cinephile and cultural commentator. “An engaging history of the esteemed critic's career and a survey of the cinephilic landscape. Rosenbaum proves a frank, expansive interviewee, telling curator Ehsan Khoshbakht about his childhood in Alabama and his work as a critic in Paris, New York, London, Chicago and elsewhere.” — Pamela Hutchinson, Sight and Sound Learn more about your ad choices. Visit megaphone.fm/adchoices

The sixth episode of our season on the awesome movie year of 1941 features Josh's personal pick, Preston Sturges' Sullivan's Travels. Written and directed by Preston Sturges and starring Joel McCrea and Veronica Lake, Sullivan's Travels was one of two Sturges films released in 1941.The contemporary reviews quoted in this episode come from Bosley Crowther in The New York Times (https://www.nytimes.com/1942/01/29/archives/comic-tour-in-sullivans-travels-on-the-paramounts-screen-a-yank-on.html), Variety, and André Bazin in L'Écran Français.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comSubscribe on Patreon to support the show...

durée : 00:53:56 - Les Nuits de France Culture - par : Albane Penaranda - En 2012, dans le troisième volet d'une série de "La fabrique de l'histoire" consacrée à la cinéphilie, Emmanuel Laurentin et Anaïs Kien reviennent, en compagnie de l'historien Frédéric Gimello-Mesplomb sur l'événement que fut le Festival du film maudit de Biarritz en 1949. - réalisation : Virginie Mourthé - invités : Frédéric Gimello-Mesplomb Professeur des universités en sociologie de la culture

durée : 01:01:21 - Les Nuits de France Culture - par : Albane Penaranda - En 1988, la personnalité d'André Bazin est évoquée par Agnès Varda, Jean Narboni, Jean Collet, Jacques Doniol-Valcroze et Jean-Charles Tacchella dans une émission en deux parties de la collection "Profils perdus". - réalisation : Virginie Mourthé - invités : Agnès Varda Cinéaste, photographe et plasticienne (1928-2019); Jean Narboni Historien, théoricien et critique de cinéma

durée : 00:59:26 - Les Nuits de France Culture - par : Albane Penaranda - L'émission "Profils Perdus" en 1988 propose un hommage au critique de cinéma et pionnier de la Nouvelle Vague, André Bazin. - réalisation : Virginie Mourthé

El lenguaje cinematográfico nació como discurso de odio, con “El nacimiento de la Nación”. Y también como propaganda política. La entrevista de Yuyito a Milei en el contexto de la historia del cine de propaganda política. Griffith, Eisenstein, Riefenstahl, Solanas-Gettino, González y el recuerdo de André Bazin y Cahiers du Cinema.   Apertura de Pablo Marchetti del programa 1161 de AUNQUE ES DE NOCHE (11-11-2024) AUNQUE ES DE NOCHE. De lunes a viernes de 14 a 16:20 AM (hora Argentina) por Radio AUNQUE FM (www.aunquefm.com). Con Pablo Marchetti y Laura Szerman. Diseño sonoro: Charly Escalante. Mensajes a nosoypablomarchetti@gmail.com  Mirá, escuchá y leé todo lo que hago, acá www.pablomarchetti.com

„Wenn der liebe Gott sich im Himmel langweilt, dann öffnet er das Fenster und betrachtet die Boulevards von Paris“, meinte Heinrich Heine. Aber auch als Flaneur oder auf einer Brücke über der Seine kann der Paris-Liebhaber eintauchen in das einzigartige Lebensgefühl dieser Stadt. Mit Texten von Kurt Tucholsky, Jean Dréjac, Heinrich Heine, André Bazin, Rainer Maria Rilke, Erich Kästner und Gérard de Nerval und Musik von Hubert Giraud, Daniel Janin und Erik Satie.

Jak pisze teoretyk kina André Bazin, fotografia „uwolniła sztuki plastyczne od obsesji podobieństwa” i tym samym utorowała drogę nowym formom wypowiedzi artystycznych. Formom, które po wielu dekadach zmian nierzadko stawiają opór poznawczy. Komunikują się z widzem nieoczywistym językiem, wymagają wysiłku i ciekawości w odbiorze.  O tym, polecając teksty kultury, piszę w felietonie À propos sztuki współczesnej. Zuzanna Kowalczyk Wersję audio czyta Magdalena Celmer. Materiał powstał we współpracy z Audioteką.  --- Słuchaj więcej materiałów audio w stałej, niższej cenie. Wykup miesięczny dostęp online do „Pisma”. Możesz zrezygnować, kiedy chcesz. https://magazynpismo.pl/prenumerata/miesieczny-dostep-online-audio/

durée : 00:38:00 - Les Nuits de France Culture - par : Philippe Garbit - Pour accompagner cette Nuit André Bazin, Hervé Joubert-Laurencin, directeur de l'édition de l'intégralité des écrits d'André Bazin et Marianne Dautrey réalisatrice avec lui du documentaire "Bazin roman", sont au micro d'Albane Penaranda dans ce deuxième temps d'un entretien en trois parties. - invités : Marianne Dautrey Journaliste, traductrice, éditrice à l'Institut National d'Histoire de l'Art; Hervé Joubert-Laurencin Professeur en études cinématographiques à l'université de Paris Nanterre, codirecteur du département des arts du spectacle et de l'unité de recherches "HAR", traducteur et spécialiste de l'œuvre de Pier Paolo Pasolini

durée : 00:04:59 - Les Nuits de France Culture - par : Philippe Garbit - Troisième et dernier temps de l'entretien avec Hervé Joubert-Laurencin, directeur de l'édition de l'intégralité des écrits d'André Bazin et Marianne Dautrey réalisatrice avec lui du documentaire "Bazin roman". Cette Nuit se termine avec la voix de François Truffaut évoquant André Bazin. - invités : Hervé Joubert-Laurencin Professeur en études cinématographiques à l'université de Paris Nanterre, codirecteur du département des arts du spectacle et de l'unité de recherches "HAR", traducteur et spécialiste de l'œuvre de Pier Paolo Pasolini; Marianne Dautrey Journaliste, traductrice, éditrice à l'Institut National d'Histoire de l'Art

durée : 00:22:54 - Les Nuits de France Culture - par : Philippe Garbit - En 1952, sur la Chaîne Nationale, André Bazin, co-fondateur des "Cahiers du cinéma", publication qui allait s'imposer comme l'un des grands titres des revues artistiques et intellectuelles, participe à un débat de la "Tribune de Paris" autour de la question : "Le film sur l'art trahit-il l'art ?" - invités : Fernand Léger Peintre; André Bazin Critique de cinéma, cofondateur de la revue les Cahiers du cinéma; Henri Martini; Emmanuel Berl Journaliste, essayiste, historien (1892-1976); André Chamson Auteur; Jean Grémillon

durée : 00:50:54 - Les Nuits de France Culture - par : Philippe Garbit - Dans "Le cinéma des cinéastes", Jean Narboni présente la biographie d'André Bazin écrite par l'universitaire américain Dudley Andrew alors que "Les Cahiers du cinéma" se préparent à rendre hommage à André Bazin, vingt-cinq ans après sa disparition survenue en 1958. - invités : Jean Narboni Historien, théoricien et critique de cinéma; Caroline Champetier Directrice de la photographie

durée : 00:21:16 - Les Nuits de France Culture - par : Philippe Garbit - André Bazin, professeur à l'Institut des Hautes Études Cinématographiques, l'IDHEC, est invité en 1948 dans l'émission "Tribune de Paris" à débattre du renouvellement de l'art avec le philosophe Gabriel Marcel et le zoologiste suisse Adolf Portmann. - invités : André Bazin Critique de cinéma, cofondateur de la revue les Cahiers du cinéma

durée : 01:01:19 - Les Nuits de France Culture - par : Philippe Garbit - En 1988, la personnalité d'André Bazin est évoquée par Agnès Varda, Jean Narboni, Jean Collet, Jacques Doniol-Valcroze et Jean-Charles Tacchella dans une émission en deux parties de la collection "Profils perdus". - invités : Agnès Varda Cinéaste, photographe et plasticienne (1928-2019); Jean Narboni Historien, théoricien et critique de cinéma

durée : 00:53:54 - Les Nuits de France Culture - par : Philippe Garbit - En 2012, dans le troisième volet d'une série de "La fabrique de l'histoire" consacrée à la cinéphilie, Emmanuel Laurentin et Anaïs Kien reviennent, en compagnie de l'historien Frédéric Gimello-Mesplomb sur l'événement que fut le Festival du film maudit de Biarritz en 1949. - invités : Frédéric Gimello-Mesplomb Professeur des universités en sociologie de la culture

durée : 00:12:48 - Les Nuits de France Culture - par : Philippe Garbit - Le cinéphile André Bazin s'adresse au cœur de l'été 1949, sur les ondes de la RDF, à propos de la santé économique des ciné-clubs en France et du "Festival du film maudit" dont il est l'un des initiateurs. - invités : André Bazin Critique de cinéma, cofondateur de la revue les Cahiers du cinéma

durée : 00:19:55 - Les Nuits de France Culture - par : Philippe Garbit - L'émission "Tribune de Paris : Les hommes, les événements, les idées à l'ordre du jour" propose un débat en 1946 sur le thème : "Le cinéma, instrument de culture populaire". - invités : André Bazin Critique de cinéma, cofondateur de la revue les Cahiers du cinéma; Georges Sadoul Historien et critique de cinéma (1904-1967)

durée : 00:59:24 - Les Nuits de France Culture - par : Philippe Garbit - L'émission "Profils Perdus" en 1988 propose un hommage au critique de cinéma et pionnier de la Nouvelle Vague, André Bazin.

durée : 00:20:47 - Les Nuits de France Culture - par : Philippe Garbit - On est en 1976, l'année de "L'Argent de poche", au micro de Claude-Jean Philippe, François Truffaut raconte ses années d'après-guerre, une période de fréquentation intense des ciné-clubs, années bénies des cinéphiles, et se souvient notamment de sa rencontre avec André Bazin. - invités : François Truffaut cinéaste, scénariste et acteur

durée : 00:44:59 - Les Nuits de France Culture - par : Philippe Garbit - Hervé Joubert-Laurencin, le directeur de l'édition de l'intégralité des écrits du critique et historien du cinéma André Bazin, nous accompagne pour cette nuit d'archives "André Bazin, la conscience critique". Premier volet d'un entretien en trois parties. - invités : Hervé Joubert-Laurencin Professeur en études cinématographiques à l'université de Paris Nanterre, codirecteur du département des arts du spectacle et de l'unité de recherches "HAR", traducteur et spécialiste de l'œuvre de Pier Paolo Pasolini

durée : 00:59:05 - Les Nuits de France Culture - par : Albane Penaranda - Notre visite dominicale dans les archives de l'Ina. Pour annoncer la Nuit d'archives : "André Bazin, la conscience critique".

In dieser Folge sprechen wir mal über Filmtheorie. Was ist das eigentlich und wie hat das angefangen, dass sich theoretisch mit Filmen beschäftigt wurde? Dazu hat Christian sich Jens Bonnemann eingeladen. Er unterrichtet Bildtheorie und Phänomenologie an der Universität Jena und hat 2019 "Filmtheorie: Eine Einführung" bei Springer veröffentlicht. Im Buch schlägt er den großen Bogen von Hugo Münsterberg über Béla Balázs, Sergej Eisentein, Rudolf Arnheim, André Bazin, Siegfried Kracauer, Christian Metz, Gilles Deleuze, David Boardwell und Kristin Thompson zu Vivian Sobchak. Wir fragen uns, welche Fragen, diese Denker*innen umgetrieben haben und wieso sie aus so unterschiedlichen Richtungen auf den Film blicken – und ob es stimmt, dass ein guter Film ein Film ist, der besonders filmisch ist!

durée : 00:22:00 - Les Nuits de France Culture - par : Philippe Garbit - André Bazin, professeur à l'Institut des Hautes Études Cinématographiques, l'IDHEC, est invité dans l'émission "Tribune de Paris" à débattre du renouvellement de l'art avec le philosophe Gabriel Marcel et le zoologiste suisse Adolf Portmann. - invités : André Bazin

There were approx 15000 plus films (15858) submitted to Sundance 2023. More than half of them were made by first-time directors. There were 4,061 feature-length films,1,662 were from the U.S., and 2,399 were international. Out of this, only 101 feature films had to be selected for the final competition section of the festival. With this rush for making a movie, what are the chances that a worthy film will go unnoticed? Our guest for this episode is Film critic Jonathan Rosenbaum. Mr.Rosenbaum was the head film critic for The Chicago Reader from 1987 to 2008. He has published and edited numerous books about cinema and has contributed to such notable film publications as Sight and sound, Cahiers du cinéma, and Film Comment. Regarding Mr. Rosenbaum, French New Wave director Jean-Luc Godard said, "I think there is a very good film critic in the United States today, a successor of James Agee, and that is Jonathan Rosenbaum. He's one of the best; we don't have writers like him in France today. He's like André Bazin."Digs:1) 40 years plus in the landscape of movie-making- what are the most significant changes besides the OTT?2) Being a part of Sight and sound polls of the best 100 films- what are the criteria for choosing the best for 100-plus years?3) 15000 plus films got submitted to Sundance, what defines a movie being selected, and with the rush, how many worthy films can go unnoticed? Chances are many!!4) When we say South Asian Cinema what are the few things that come to your mind?5) David Cronenberg's Spider and the times of piecing together- Cinema.6) On Godard and A Woman is a Woman. 7) On the adaptation of literary works (Dostoevsky and Chekhov) for films like Winters Sleep- what does the future hold?Enjoy!! TUNE IN. Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization.The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state. See omnystudio.com/listener for privacy information.

Roberto De Gaetano"Critica del visuale"Orthotes Editricehttps://orthotes.comLo sviluppo di un pensiero critico è la condizione per contrastare il pericolo del consenso generalizzato e totalizzante. Il rischio maggiore nelle democrazie attuali. La critica è la pratica che articola il campo della discussione pubblica in posizioni distinte, evitando uniformità e conformismi. L'eclissi oggi del pensiero critico è stata anticipata dalla crisi della critica in ambito artistico e cinematografico. Il presente volume, attraversando i momenti più alti della riflessione novecentesca sulla critica, sia in prospettiva filosofica (Walter Benjamin) che letteraria (Northrop Frye), giunge a pensare, attraverso due grandi critici cinematografici come André Bazin e Serge Daney, da un lato il rilievo e dall'altro l'attuale crisi della critica cinematografica, ritrovandone una delle ragioni maggiori nell'uso imperante e totalizzante di una nozione-mondo come quella di “visuale”. Che uniforma singolarità, empiricità, esteticità delle opere, trasformandole in meri indicatori di dinamiche sociali e culturali. L'eclissi della critica nel dominio del visuale non è un destino, ma è lo stato in cui è approdata una certa prospettiva ideologico-teorica. Il presente volume indica i segni e gli atti per una possibile inversione di tendenza, e per ricollocare il pensiero e la pratica della critica al centro della riflessione teorica, della discussione pubblica e dell'operato culturale.Roberto De Gaetano insegna Discipline Cinematografiche a "La Sapienza" - Università di Roma. Tra le sue più recenti pubblicazioni: La potenza delle immagini (2012), Lessico del cinema italiano. Forme di rappresentazione e forme di vita (3 volumi, 2014-2016), Il cinema e i film. Le vie della teoria in Italia (2017), Cinema italiano: forme, identità, stili di vita (2018, Premio Limina), Le immagini dell'amore (2022). Ha fondato nel 2006 il quadrimestrale «Fata Morgana» e nel 2017 la rivista di critica «Fata Morgana Web».IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it

„Wenn der liebe Gott sich im Himmel langweilt, dann öffnet er das Fenster und betrachtet die Boulevards von Paris“, meinte Heinrich Heine. Aber auch als Flaneur oder auf einer Brücke über der Seine kann der Paris-Liebhaber eintauchen in das einzigartige Lebensgefühl dieser Stadt. Mit Texten von Kurt Tucholsky, Jean Dréjac, Heinrich Heine, André Bazin, Rainer Maria Rilke, Erich Kästner und Gérard de Nerval und Musik von Hubert Giraud, Daniel Janin und Erik Satie. Sprecher: Antje Rennicke und Stefan Evertz.

Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition.  Arranged chronologically, Hollywood Sports Movies and the American Dream (Oxford UP, 2022) tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial. In this conversation with host Annie Berke, Dr. Grant Wiedenfeld explains his personal and familial connections to the book's subject matter, discusses why Hollywood sports films don't always have (or need) a "happy ending," and explains how the genre functions as a "civic screen" for the American public in the decades following the Vietnam War. Grant Wiedenfeld earned a PhD from Yale University in Comparative Literature and Film & Media Studies. He taught courses on sports and cinema in Yale's English Department and Film Studies Program before being hired at Sam Houston State University, where he is currently Associate Professor of Media and Culture. Previous publications include studies of Gustave Flaubert, D.W. Griffith, and André Bazin. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition.  Arranged chronologically, Hollywood Sports Movies and the American Dream (Oxford UP, 2022) tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial. In this conversation with host Annie Berke, Dr. Grant Wiedenfeld explains his personal and familial connections to the book's subject matter, discusses why Hollywood sports films don't always have (or need) a "happy ending," and explains how the genre functions as a "civic screen" for the American public in the decades following the Vietnam War. Grant Wiedenfeld earned a PhD from Yale University in Comparative Literature and Film & Media Studies. He taught courses on sports and cinema in Yale's English Department and Film Studies Program before being hired at Sam Houston State University, where he is currently Associate Professor of Media and Culture. Previous publications include studies of Gustave Flaubert, D.W. Griffith, and André Bazin. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition.  Arranged chronologically, Hollywood Sports Movies and the American Dream (Oxford UP, 2022) tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial. In this conversation with host Annie Berke, Dr. Grant Wiedenfeld explains his personal and familial connections to the book's subject matter, discusses why Hollywood sports films don't always have (or need) a "happy ending," and explains how the genre functions as a "civic screen" for the American public in the decades following the Vietnam War. Grant Wiedenfeld earned a PhD from Yale University in Comparative Literature and Film & Media Studies. He taught courses on sports and cinema in Yale's English Department and Film Studies Program before being hired at Sam Houston State University, where he is currently Associate Professor of Media and Culture. Previous publications include studies of Gustave Flaubert, D.W. Griffith, and André Bazin. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition.  Arranged chronologically, Hollywood Sports Movies and the American Dream (Oxford UP, 2022) tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial. In this conversation with host Annie Berke, Dr. Grant Wiedenfeld explains his personal and familial connections to the book's subject matter, discusses why Hollywood sports films don't always have (or need) a "happy ending," and explains how the genre functions as a "civic screen" for the American public in the decades following the Vietnam War. Grant Wiedenfeld earned a PhD from Yale University in Comparative Literature and Film & Media Studies. He taught courses on sports and cinema in Yale's English Department and Film Studies Program before being hired at Sam Houston State University, where he is currently Associate Professor of Media and Culture. Previous publications include studies of Gustave Flaubert, D.W. Griffith, and André Bazin. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition.  Arranged chronologically, Hollywood Sports Movies and the American Dream (Oxford UP, 2022) tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial. In this conversation with host Annie Berke, Dr. Grant Wiedenfeld explains his personal and familial connections to the book's subject matter, discusses why Hollywood sports films don't always have (or need) a "happy ending," and explains how the genre functions as a "civic screen" for the American public in the decades following the Vietnam War. Grant Wiedenfeld earned a PhD from Yale University in Comparative Literature and Film & Media Studies. He taught courses on sports and cinema in Yale's English Department and Film Studies Program before being hired at Sam Houston State University, where he is currently Associate Professor of Media and Culture. Previous publications include studies of Gustave Flaubert, D.W. Griffith, and André Bazin. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition.  Arranged chronologically, Hollywood Sports Movies and the American Dream (Oxford UP, 2022) tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial. In this conversation with host Annie Berke, Dr. Grant Wiedenfeld explains his personal and familial connections to the book's subject matter, discusses why Hollywood sports films don't always have (or need) a "happy ending," and explains how the genre functions as a "civic screen" for the American public in the decades following the Vietnam War. Grant Wiedenfeld earned a PhD from Yale University in Comparative Literature and Film & Media Studies. He taught courses on sports and cinema in Yale's English Department and Film Studies Program before being hired at Sam Houston State University, where he is currently Associate Professor of Media and Culture. Previous publications include studies of Gustave Flaubert, D.W. Griffith, and André Bazin. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition.  Arranged chronologically, Hollywood Sports Movies and the American Dream (Oxford UP, 2022) tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial. In this conversation with host Annie Berke, Dr. Grant Wiedenfeld explains his personal and familial connections to the book's subject matter, discusses why Hollywood sports films don't always have (or need) a "happy ending," and explains how the genre functions as a "civic screen" for the American public in the decades following the Vietnam War. Grant Wiedenfeld earned a PhD from Yale University in Comparative Literature and Film & Media Studies. He taught courses on sports and cinema in Yale's English Department and Film Studies Program before being hired at Sam Houston State University, where he is currently Associate Professor of Media and Culture. Previous publications include studies of Gustave Flaubert, D.W. Griffith, and André Bazin. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition.  Arranged chronologically, Hollywood Sports Movies and the American Dream (Oxford UP, 2022) tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial. In this conversation with host Annie Berke, Dr. Grant Wiedenfeld explains his personal and familial connections to the book's subject matter, discusses why Hollywood sports films don't always have (or need) a "happy ending," and explains how the genre functions as a "civic screen" for the American public in the decades following the Vietnam War. Grant Wiedenfeld earned a PhD from Yale University in Comparative Literature and Film & Media Studies. He taught courses on sports and cinema in Yale's English Department and Film Studies Program before being hired at Sam Houston State University, where he is currently Associate Professor of Media and Culture. Previous publications include studies of Gustave Flaubert, D.W. Griffith, and André Bazin. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms.

Paola Malanga"Il cinema di Truffaut"Prefazione di Paolo MereghettiBaldini + Castoldihttps://www.baldinicastoldi.it/François Truffaut: il giovane cinefilo che, all'inizio degli anni Cinquanta, inventa un nuovo modo di fare critica, scoprendo Hitchcock e il cinema americano; il regista che inaugura la Nouvelle Vague con I quattrocento colpi; e soprattutto l'artista che sa trasformare il personale in universale, e rivolgersi a tutti gli spettatori, ma parlando a uno a uno, confidenzialmente.I suoi film, al contrario di quelli di molti suoi compagni d'avventura, restano, inattaccabili dal tempo che passa, e il vuoto che ha lasciato alla sua morte, nel 1984, è uno dei più lancinanti nel cinema contemporaneo.Paola Malanga ci racconta un Truffaut a tutto tondo, maestro di insolenza e di tenerezza, capace di amori dissennati e di odi furibondi, e allo stesso tempo ricostruisce un'intera epoca, quella dei «Cahiers du cinéma» di André Bazin e della Cinémathèque di Henri Langlois, sullo sfondo della guerra d'Algeria e del Maggio '68. Senza rinunciare a un'analisi dettagliata film per film, chiedendosi ogni volta le ragioni di successi e flop, capolavori e mezzi fallimenti. Che è l'unico modo per rendere giustizia a un uomo che Gérard Depardieu ha descritto con queste parole: «Era un ribelle, un estremista in tutto. Ed era generoso sempre dieci secondi in anticipo sulla generosità degli altri, come Platini sul pallone. Con un'eleganza folle». Fa bene rivedere i suoi film, fa bene ripassare la sua vita. Perché sia i film che la vita di François Truffaut ci ricordano che è sempre possibile sottrarsi a destini decisi da altri – la società, gli algoritmi, il sistema del consenso, la logica del consumer – per scrivere la propria storia.La riedizione di questo libro, uscito per la prima volta nel 1996, è rivolta non solo a chi sente la mancanza di Truffaut, ma anche e soprattutto a chi non lo conosce. Nella speranza che i giovani di oggi e di domani possano trovare in lui un compagno segreto per portare alla luce e far avverare anche i sogni che sembrano impossibili. O almeno provarci.Paola Malanga è nata a Milano nel 1966. Critico e giornalista di cinema, ha collaborato con il Dizionario dei film di Paolo Mereghetti, «Vivi Milano – Corriere della Sera», «Ciak», Radio3 ed è stata tra i fondatori di «Duel». Nel 1998 ha pubblicato Marco Bellocchio. Catalogo ragionato. Dal 2000 lavora a Rai Cinema, dove attualmente è vicedirettore.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

durée : 00:50:59 - Les Nuits de France Culture - L'émission "Le cinéma des cinéastes", à l'occasion de la parution d'une biographie d'André Bazin de Dudley Andrew recevait Jean Narboni qui en avait été à l'initiative, alors que "Les Cahiers du cinéma" se préparaient à rendre hommage à André Bazin, vingt-cinq ans après sa disparition. "Comment cacher la joie que cette biographie d'André Bazin par Dudley Andrew m'a donnée ? J'ai lu ce livre comme un roman dans lequel je savais que tout était vrai. Bien qu'il n'y ait pas eu énormément d''événement' dans la trop courte vie d'André Bazin, c'était, vous le découvrirez, une personnalité, un personnage. On peut tout à fait imaginer une fiction développée autour de ce personnage de Bazin : un homme célèbre par sa bonté." * C'était ce que François Truffaut écrivait dans la préface de la traduction française de la biographie d'André Bazin écrite par l'universitaire américain Dudley Andrew, qu'éditaient conjointement, en 1983, les Cahiers du Cinéma et la Cinémathèque française. Dans Le Cinéma des cinéastes, à l'occasion de cette parution, Claude-Jean Philippe et Caroline Champetier recevaient Jean Narboni qui en avait été à l'initiative. Jean Narboni :  André Bazin ne pouvait pas supporter que quelque chose soit figé, qu'il y ait des images pieuses... Il a toujours aimé ce qui était équivoque, ambiguë, c'est-à-dire vivant. Par Claude-Jean Philippe et Caroline Champetier Le cinéma des cinéastes - Jean Narboni à propos de la biographie d'André Bazin par Dudley Andrew (1ère diffusion : 17/04/1983) Indexation web : Odile Joëssel, Documentation de Radio France Archive Ina-Radio France

durée : 00:19:59 - Les Nuits de France Culture - L'émission "Tribune de Paris : Les hommes, les événements, les idées à l'ordre du jour" proposait un débat en 1946 sur le thème : "Le cinéma, instrument de culture populaire" (1ère diffusion : 19/07/1946). Engagé à la Libération dans le grand mouvement de l'Éducation Populaire, c'était en en tant que directeur des Jeunesses Cinématographiques de l'organisation "Travail et Culture" qu'André Bazin était invité en 1946 dans l'émission Tribune de Paris sur la Chaîne Nationale.  Il était invité avec Pierre Kast, Roger Leenhardt et Georges Sadoul, à répondre à cette question : le cinéma peut-il être un moyen de diffusion de la culture ?  * Avec André Bazin (directeur du ciné-club de Travail et Culture), Pierre Kast (de la Cinémathèque française), Pierre Gérin (directeur de l'Institut des Hautes Etudes Cinématographiques), Roger Leenhardt (critique et metteur en scène), Georges Sadoul, Claude Souef (secrétaires de la Fédération des ciné-clubs) et Jean-Paul Vidal (directeur de la revue "L'Ecran français"). Production : Paul Guimard Tribune de Paris : Les hommes, les événements, les idées à l'ordre du jour - Le cinéma, instrument de culture populaire (1ère diffusion : 19/07/1946) Indexation web : Sandrine England, Documentation sonore de Radio France Archive Ina-Radio France

durée : 00:49:59 - Les Nuits de France Culture - A l'occasion des vingt-cinq ans des Cahiers du Cinéma, Claude-Jean Philippe recevait en mai 1976 dans l'émission "Le Cinéma des cinéastes", l'une des plumes historiques de la célèbre revue. Un certain Maurice Schérer, plus connu sous le nom d'Éric Rohmer. Au micro du producteur Claude-Jean Philippe, le cinéaste Eric Rohmer remonte aux origines de sa passion pour le cinéma et de sa carrière de critique. Jeune khâgneux récitant du Racine et du Corneille au milieu des années 1930, et lecteur fervent de L'Ecran français, Eric Rohmer déroule la chronologie de ses textes publiés dans La Revue du cinéma (1928-1949), la Gazette du cinéma (1950), puis aux Cahiers du cinéma (revue créée en 1951) dont il fut le rédacteur en chef de 1957 à 1963.  * Marcel Carné est un cinéaste authentique. Dans le Paris de l'après-guerre, Eric Rohmer découvre les films classiques américains, des comédies musicales ou encore M. le maudit de Fritz Lang. Mais il se souvient en particulier de Quai des Brumes de Marcel Carné, vu dans un cinéma de quartier : "un film qui a déclenché en moi l'amour du cinéma".  C'est en 1948 qu'Éric Rohmer commence son parcours de critique, avec un article théorique sur la couleur au cinéma, proposé à Jean George Auriol, fondateur de la Revue du cinéma, bientôt suivi d'un autre article sur le cinéma comme art de l'espace.  Nous pensions que le cinéma était un art qui se définissait avant tout par la mise en scène plutôt que par son idéologie ou sa rhétorique. Remarqué pour la qualité de ses articles, Eric Rohmer rencontre André Bazin, grande figure de la critique cinématographique française de l'époque. Rohmer rejoint alors le mouvement Objectif 49, un ciné-club parisien d'avant-garde créé par André Bazin, Roger Leenhardt et Jean Cocteau, où l'on diffuse et où l'on débat de films maudits ou inédits, ainsi que ceux de maîtres du Septième Art, tels que Sergueï Eisenstein ou Michelangelo Antonioni. Un lieu fréquenté par des écrivains et des cinéastes et par une nouvelle vague de jeunes gens passionnés, futurs collaborateurs des Cahiers : François Truffaut, Jean Douchet, Alexandre Astruc, Jacques Rivette ou Jean-Luc Godard. Pour moi, Jean Renoir est le plus grand des cinéastes. Au cour de cette communauté de critiques, explique Éric Rohmer, "nous pensions que le cinéma était un art qui se définissait avant tout par la mise en scène plutôt que par son idéologie ou sa rhétorique". Adepte de la simplicité et d'une forme de "superficialité profonde" (une expression d'André Bazin), Éric Rohmer considère le cinéaste à l'égal d'un peintre, d'un musicien, d'un écrivain ou d'un poète. Le mot "réalisateur" étant selon lui, du  "jargon administratif".  Pour moi, déclare Rohmer, "Jean Renoir est le plus grand des cinéastes".  S'il fallait que j'emporte un film sur une île déserte, ce serait "Le Petit Théâtre de Jean Renoir".  Il y a dans ce film, tout le cinéma, passé, présent et à venir.  Par Claude-Jean Philippe  Le cinéma des cinéastes - Eric Rohmer, à l'occasion des 25 ans des Cahiers du cinéma (1ère diffusion : 02/05/1976) Rédaction web : Sylvain Alzial, Documentation Sonore de Radio France Archive Ina-Radio France

durée : 00:50:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "Le cinéma des cinéastes", à l'occasion de la parution d'une biographie d'André Bazin de Dudley Andrew recevait Jean Narboni qui en avait été à l'initiative, alors que "Les Cahiers du cinéma" se préparaient à rendre hommage à André Bazin, vingt-cinq ans après sa disparition. - réalisation : Virginie Mourthé - invités : Jean Narboni Historien, théoricien et critique de cinéma; Caroline Champetier Directrice de la photographie

Tap-dancing, anti-authoritarian, religious penguins? Join Mon and Nick as they descend down the rabbit hole of George Miller's best film series, connecting it to the highly inferior* Mad Max series, penguin boobs and the Teenage Mutant Ninja Turtles. *Please don't kill me Billy, I was being sarcastic Warning: References to suicide, but this time they're not jokes. If you're in Australia, the number to Lifeline is 13 11 14. Hosts: Monica Ouk, Nicholas Arnott Editor: Monica Ouk Works Cited: George Miller Interview on Mad Max: Fury Road “On the politiques des auteurs” – André Bazin, 1957 , Precious Bodily Fluids How Generation Gaps Work. HowStuffWorks Our society is obsessed with masculinity, and it's making me tired , Dejan Jotanovic Masculine traditions still rule in study of Australian men, Televangelists: Last Week Tonight with John Oliver (HBO) Anti-Religious Symbolism in Happy Feet Institutions of the Offensive, Domestic Sources of Dispute Initiation in Authoritarian Regimes - Brain Lai and Dan Slater. NRSV Catholic Edition Bible. Happy Feet: The Movie Storybook See omnystudio.com/listener for privacy information.

As a PhD candidate at the School of Oriental and African Studies (SOAS), Rakesh Sengupta researched early Indian cinema. His essay 'Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies', published in the Dec 2018 issue of Bioscope [no. 9.2] won the Best Journal Article by Screenwriting Research Network and also received High Commendation for Screen's Annette Kuhn Debut Essay Prize. On today's episode, we talk about the way in which the lack of script archives dictated the methods of research, how the vocation of screenwriting propelled fantasies of self-improvement and socioeconomic ascendancy in the 1930s and 1940s and the way in which the study of early cinema has been revitalised in the contemporary context of OTT and web programming. We also have some lovely anecdotes about serendipitous discoveries of forgotten Indian cinema scripts in other corners of the world. Click here to access the Image+ Guide & view the material being discussed in the podcast: https://sites.google.com/view/artalaap-podcast-resources/episode-9. Credits: Producer: Tunak Teas Design & artwork: Mohini Mukherjee Marketing: Dipalie Mehta Musical arrangement: Jayant Parashar Images: Rakesh Sengupta Additional support: Kanishka Sharma, Amy Goldstone-Sharma, Raghav Sagar, Shalmoli Halder, Arunima Nair Audio courtesy: Vernouillet by Blue Dot Sessions [CC BY-NC 4.0] References: Ashish Rajadhyaksha, 'The Phalke Era: Conflict of Traditional Form and Modern Technology', The Journal of Arts and Ideas, 1987. Kaushik Bhaumik, 'The Emergence of the Bombay Film Industry, 1913-1936', D. Phil Diss., University of Oxford, 2001. Priya Jaikumar, 'Cinema at the End of Empire', Duke University Press, 2006. Debashree Mukherjee, 'Notes on a Scandal: Writing Women's Film History Against an Absent Archive', Bioscope: South Asian Screen Studies' [Vol. 4.1], pp. 9-30, Jan. 2013. Bombay Hustle: Making Movies in a Colonial City',Columbia University Press, 2020. 'Somewhere Between Human, Nonhuman and Woman: Shanta Apte's Theory of Exhaustion', Feminist Media Histories [Vol. 6.1], pp. 21- 51, 2020. Tom Gunning, 'The Cinema of Attractions', Amsterdam University Press, 2006. André Gaudreault and Phillipe Marion, 'The Cinema as a Model for the Genealogy of Media', Convergence: The International Journal of Research into New Media Tecnologies [8.4], pp. 12-18, Dec. 2002. Ravi Vasudevan, 'The Melodramatic Public: Film Form and Spectatorship in Indian Cinema', Palgrave Macmillan US, 2010. Rachel Dwyer, 'Filming the Gods: Religion and Indian Cinema', Routledge, 2006. Rosie Thomas, 'Bombay Before Bollywood: Film City Fantasies', SUNY Press, 2015. Sudhir Mahadevan, 'A Very Old Machine: The Many Origins of the Cinema in India', SUNY Press, 2015. André Bazin, 'What Is Cinema?', trans. Hugh Gray, University of California Press, 1967. Stephen Hughes, 'The Production of the Past: Early Tamil Film History as a Living Archive', Bioscope: South Asian Screen Studies, pp. 71-80, June 2013. Ravikant, 'Words in Motion Pictures: A Social History of the Language of Hindi Cinema (c. 1931 till present)', Unpublished diss., University of Delhi, 2015. Henry Jenkins, 'Converge Culture: Where Old and New Media Collide', NYU Press, 2006. Virchand Dharamsey, 'Light of Asia: Indian Silent Cinema', 1912-1934, eds. Suresh Chabria, Paolo Cherchi Usai, Niyogi Books, 1994.

durée : 00:12:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Ciné-club - André Bazin, à propos des ciné-clubs et du "Festival du Film Maudit", une émission diffusée la première fois le 21 juillet 1949 sur les ondes de la RDF. - réalisation : Virginie Mourthé - invités : André Bazin

Anima Verde: Come funzione e come segnalare, ecco il primo sito in Italia per denunciare i maltrattamenti sugli animali + Lucie Medici: "Tag_ Closet Confidential" + "❤Vizi & Abitudini Maschili ❤_)" + Giorgio Cerquetti - IL POTERE DELLA MENTE POSITIVA + Antonietta Laterza: Due carrozzine sono troppe a Sanremo + Radionotizie. 50 + Per una storia della critica cinematografica in Italia: 20 novembre 2006 - QUESTIONE DI STILE Approcci alla critica cinematografica INCONTRI a cura di Rinaldo Censi Jean-Luc Godard: "Ai 'Cahiers' ci consideravamo tutti come futuri registi. Frequentare cine-club e la cineteca significava già pensare in termini di cinema e pensare al cinema. Scrivere significava già fare cinema: tra lo scrivere e il girare c'è solo una differenza quantitativa, e non qualitativa. Il solo vero critico è stato Andrè Bazin. Gli altri, Sadoul, Balàzs o Pasinetti, sono storici o sociologi, non critici". Un altro critico, caro allo stesso Godard, Serge Daney: "Il cinema non è immagini, ma inquadrature. L'inquadratura è un blocco indivisibile di immagine e tempo. (...) Forse un giorno sarà possibile dire: del cinema conservo solo il ricordo delle inquadrature. Del cinema mi hanno interessato solo le inquadrature. Il resto, che esiste e esisteva senza di me, può continuare senza di me ed io senza di lui". Ecco due dichiarazioni perentorie, che fanno problema. La 'critica cinematografica' dunque. Jean-Luc Godard, Serge Daney, Andrè Bazin, Franòois Truffaut, Jacques Rivette, ma anche Manny Farber, Jonas Mekas, Enzo Ungari, Herman G. Weinberg. La critica cinematografica? Una sua possibile storia lungo i cento anni di immagini in movimento. Fare critica pensando già di fare film. Oppure: di un film trattenere solo il respiro delle inquadrature. Ma insomma, la critica? Prevede un metodo, un breviario? No. Una disciplina? Come rendere il respiro delle inquadrature? Come trasferire ciò che vediamo, ciò che ci colpisce, ciò che ci indispone, là sulla carta? Cosa accade tra la ricezione e la scrittura? Una questione di produzione di forme. Questione di stile, soprattutto. E oggi tutto questo ha ancora senso? Tutti temi che verranno affrontati in compagnia di ospiti autorevoli. lun 20.11.06, h 19 - Auditorium Per una storia della critica cinematografica in Italia Presentazione del libro di Claudio Bisoni, La critica cinematografica. Metodo, storia e scrittura (Archetipo, 2006). Interviene Alberto Pezzotta (Corriere della Sera, ViviMilano, 'Brancaleone'). lun 27.11.06, h 19 - Auditorium Dialogo intorno a un dizionario del cinema: 'Il Mereghetti' Incontro con Paolo Mereghetti. Interverrà Giacomo Manzoli (Università di Bologna). gio 30.11.06, h 19 - Auditorium Conservare, mostrare: la cineteca come 'spazio critico' Incontro con Gian Luca Farinelli (direttore della Cineteca del Comune di Bologna), Stefano Boni (Museo Nazionale del Cinema, Torino). lun 11.12.06, h 17,30 - Auditorium Che cos'è un autore? Incontro con Guglielmo Pescatore (Università di Bologna), in occasione della pubblicazione del suo ultimo libro, L'ombra dell'autore (Carocci, 2006). Interverrà Franco La Polla (Università di Bologna). gio 14.12.06, h 19 - Auditorium Quale futuro per la critica cinematografica? Incontro con Roy Menarini (Università di Udine), Emiliano Morreale ('Brancaleone'), Vincenzo Buccheri (Universita di Pavia). lun 18.12.06, h 19 - Auditorium Tele-visioni: la critica cinematografica alla prova dei mezzi di comunicazione Incontro con Enrico Ghezzi e Donatello Fumarola ('fuoriorario' - Rai 3). + Il Libro di Krishna 09 --- Send in a voice message: https://anchor.fm/radiovrinda/message Support this podcast: https://anchor.fm/radiovrinda/support

Foi uma nova estética de cinema criada na França, em 1958, como reação contrária às superproduções hollywoodianas da época, encomendadas pelos grandes estúdios.A contraproposta eram filmes mais pessoais e baratos – o chamado “cinema de autor”. Seus principais representantes eram jovens críticos, reunidos ou inspirados pela revista Cahiers du cinéma (“cadernos de cinema”), criada pelo teórico André Bazin e considerada a bíblia da crítica à sétima arte. Depois de muito resenharem filmes alheios, eles arregaçaram as mangas e fizeram os seus. Em comum, tinham o desejo por autonomia criativa, mas cada um retratou suas próprias questões pessoais e cotidianas.

An exploration of the philosophical dimension of Alfred Hitchcock's classics (including Rear Window, Vertigo and Psycho) with renowned philosopher Robert Pippin (University of Chicago). Further Reading (direct links at anchor.fm/dphi): Alfred Hitchcock, Robert Pippin, François Truffaut, André Bazin, Douglas Sirk, Cahiers du Cinéma, French New Wave, Stanley Cavell, Henry James, Plato's theory of foms, Pauline Kael, The Lady Eve, Jean Renoir, James Stewart, Grace Kelly, Raymond Burr, Henry Fonda,

Hosts John Cribbs and Christopher Funderburg turn their attention to one of the most mysterious films from the golden age of Jean Renoir's filmmaking career: 1932's La Nuit du Carrefour. Despite being championed by André Bazin and described by Jean-Luc Godard as “the only great French detective film,” this film remains possibly the most obscure work produced by Renoir in the 1930's. Adapted from a book by the punishingly prolific Belgian crime novelist Georges Simenon, the film serves as the first cinematic depiction of the author's wildly popular Inspector Maigret - a character who appeared in 75 novels and 28 short stories in addition to innumerable films and tv adaptations. The conversation considers the strange place of the film in Renoir's body of work, the synergy of Simenon and Renoir's artistic sensibilities, and how to tell who will be the villain in any given Renoir film just by looking at them. The Pink Smoke site: www.thepinksmoke.com Support our Patreon: www.patreon.com/thepinksmoke The Pink Smoke on Twitter:
 twitter.com/thepinksmoke Christopher Funderburg on Twitter: twitter.com/cfunderburg John Cribbs on Twitter: twitter.com/TheLastMachine Intro music: Unleash the Bastards / “Tea for Two” Outro music: Marcus Pinn / “Vegas”

Temporada 5 | Episódio 1: Este episódio faz parte da temporada História do Cinema e apresenta dois momentos iniciais: os filmes mudos e a chegada do som. Para estudar cada um dos momentos históricos no Brasil, consulte a playlist do Canal Brasil: https://www.youtube.com/playlist?list=PLgQt5LQ22wjVdtxxdW9Re3HMH_9Ns-SRB Oi, eu sou a Lully! Talvez você me conheça do YouTube, eu já faço conteúdo pra internet sobre cinema há 9 anos Me encontre nas redes sociais: no Twitter e Instagram sou @lullylucky Assine o podcast pra receber notificação dos próximos episódios Material original publicado em 13 de dezembro de 2017: https://www.youtube.com/watch?v=bmBuPPuAjWo Confira o YouTube do Canal Brasil, é graças a ele que este conteúdo está aqui! http://www.youtube.com/CanalBrasil LINKS E MATERIAL EXTRA: Chegada do Trem à Estação: https://www.youtube.com/watch?v=RP7OMTA4gOE Viagem à Lua: https://www.youtube.com/watch?v=1rPQEsqhgA8 Teóricos citados que criticavam o uso de som no cinema: Rudolf Arnheim e Hugo Münsterberg André Bazin - grande teórico do cinema, super importante para diversos momentos históricos Manifesto do Som: Eisenstein, Alexandrov e Pudovkin: https://academic.csuohio.edu/kneuendorf/c49415/DOC-5.pdf (Sobre a chegada da cor) Vox: How Technicolor Changed Movies - https://www.youtube.com/watch?v=Mqaobr6w6_I Livro citado: Fernando Mascarello - História do Cinema Mundial: https://www.estantevirtual.com.br/livros/fernando-mascarello/historia-do-cinema-mundial/3428814772 --- Send in a voice message: https://anchor.fm/labcine/message

durée : 00:25:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - En 1952, sur la Chaîne Nationale, André Bazin, co-fondateur des "Cahiers du cinéma", publication qui allait s'imposer parmi les revues artistiques et intellectuelles, participe à un débat de la "Tribune de Paris" autour de la question : "Le film sur l'art trahit-il l'art ?" - réalisation : Virginie Mourthé - invités : Fernand Léger peintre; André Bazin

durée : 00:50:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "Le cinéma des cinéastes", à l'occasion de la parution d'une biographie d'André Bazin de Dudley Andrew recevait Jean Narboni qui en avait été à l'initiative, alors que "Les Cahiers du cinéma" se préparaient à rendre hommage à André Bazin, vingt-cinq ans après sa disparition. - réalisation : Virginie Mourthé - invités : Jean Narboni Historien, théoricien et critique de cinéma; Caroline Champetier Directrice de la photographie

durée : 00:53:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - En 2012, dans le troisième volet d'une série de "La Fabrique de l'histoire" consacrée à la cinéphilie, Emmanuel Laurentin et Anaïs Kien revenaient, en compagnie de l'historien Frédéric Gimello-Mesplomb, sur l'événement que fut le "Festival du Film Maudit de Biarritz" en 1949. - réalisation : Virginie Mourthé - invités : Frédéric Gimello-Mesplomb Professeur des universités en sociologie de la culture

durée : 00:22:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - André Bazin, professeur à l'Institut des Hautes Études Cinématographiques, l'IDHEC, est invité dans l'émission "Tribune de Paris" à débattre du renouvellement de l'art avec le philosophe Gabriel Marcel et le zoologiste suisse Adolf Portmann. - réalisation : Virginie Mourthé - invités : André Bazin

durée : 01:04:59 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - En 1988, la personnalité d'André Bazin était évoquée par Agnès Varda, Jean Narboni, Jean Collet, Jacques Doniol-Valcroze et Jean-Charles Tacchella dans une émission en deux parties de la collection "Profils perdus". Deuxième volet. - réalisation : Virginie Mourthé - invités : Agnès Varda Cinéaste, photographe et plasticienne (1928-2019); Jean Narboni Historien, théoricien et critique de cinéma; Alain Resnais Réalisateur; Jean-Charles Tacchella Cinéaste français né le 23 septembre 1925.

durée : 00:38:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Nuit André Bazin - Entretien 2/3 avec Hervé Joubert-Laurencin, directeur de l'édition de l'intégralité des écrits d'André Bazin aux éditions Macula, et Marianne Dautrey réalisatrice avec lui du documentaire "Bazin roman". Entretien 2/3 par Albane Penaranda. - réalisation : Virginie Mourthé - invités : Marianne Dautrey journaliste, traductrice, éditrice à l'Institut National d'Histoire de l'Art; Hervé Joubert-Laurencin professeur en études cinématographiques à l'université de Paris Nanterre, codirecteur du département des arts du spectacle et de l'unité de recherches "HAR", traducteur et spécialiste de l’œuvre de Pier Paolo Pasolini

durée : 00:04:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Nuit André Bazin - Entretien 3/3 avec Hervé Joubert-Laurencin, directeur de l'édition de l'intégralité des écrits d'André Bazin aux éditions Macula, et Marianne Dautrey réalisatrice avec lui du documentaire "Bazin roman". Cette Nuit se termine avec la voix de FrançoisTruffaut évoquant André Bazin. - réalisation : Virginie Mourthé - invités : Hervé Joubert-Laurencin professeur en études cinématographiques à l'université de Paris Nanterre, codirecteur du département des arts du spectacle et de l'unité de recherches "HAR", traducteur et spécialiste de l’œuvre de Pier Paolo Pasolini; Marianne Dautrey journaliste, traductrice, éditrice à l'Institut National d'Histoire de l'Art

durée : 00:59:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "Profils Perdus" (épisode 1) sur André Bazin, avec les témoignages de Jean et Françoise Burgaud, de Jean Collet et de Jean-Charles Tachella et avec les voix de François Truffaut, Jean-Luc Godard, et André Bazin. - réalisation : Virginie Mourthé - invités : François Truffaut; Jean-Luc Godard Réalisateur; André Bazin

durée : 00:12:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Ciné-club - André Bazin, à propos des ciné-clubs et du "Festival du Film Maudit", une émission diffusée la première fois le 21 juillet 1949 sur les ondes de la RDF. - réalisation : Virginie Mourthé - invités : André Bazin

durée : 00:19:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "Tribune de Paris : Les hommes, les événements, les idées à l'ordre du jour" proposait un débat en 1946 sur le thème : "Le cinéma, instrument de culture populaire" (1ère diffusion : 19/07/1946). - réalisation : Virginie Mourthé - invités : André Bazin; Georges Sadoul historien et critique de cinéma (1904-1967)

durée : 00:20:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - "Le cinéma des cinéastes - François Truffaut parle de ses premières années de cinéphile" : c'était en 1976, l'année de "L'Argent de poche", au micro de Claude-Jean Philippe, Truffaut racontait ses années d'après-guerre et notamment sa rencontre avec André Bazin. - réalisation : Virginie Mourthé - invités : François Truffaut

durée : 00:44:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Nuit André Bazin - Entretien 1/3 avec Hervé Joubert-Laurencin. Le directeur de l'édition de l'intégralité des écrits du critique et historien du cinéma aux éditions Macula nous accompagne pour cette nuit d'archives autour de Bazin. Entretien 1/3 par Albane Penaranda. - réalisation : Virginie Mourthé - invités : Hervé Joubert-Laurencin professeur en études cinématographiques à l'université de Paris Nanterre, codirecteur du département des arts du spectacle et de l'unité de recherches "HAR", traducteur et spécialiste de l’œuvre de Pier Paolo Pasolini

Original Date: October 17, 2016The great film theorist André Bazin described the genre of the movie western as “the American film par excellence.” Your friends in podcasting could not agree more! That’s why on this week’s show (their 2nd of 10 “Top Ten” shows commemorating this, the 10th year of YOUR Chillpak Hollywood Hour), Dean and Phil count down their Top Ten All Time Westerns.What films will make the list? What films won’t? Will Dean have difficulty numbering 10 to 1?These questions and many more will be answered during the next 75 minutes. Enjoy!

Temporada 2 | Episódio 14: Este episódio faz parte da temporada Observando Cinema e vai te levar por reflexões sobre o papel do crítico, do youtuber de cinema e sobre o que significa a moda de fazer vídeos com "final explicado". Oi, eu sou a Lully! Talvez você me conheça do YouTube, eu já faço conteúdo pra internet sobre cinema há 9 anos Me encontre nas redes sociais: no Twitter e Instagram sou @lullylucky Assine o podcast pra receber notificação dos próximos episódios Material original publicado em 23 de janeiro de 2019: https://youtu.be/a2so9-O0U0I LINKS: Vídeo do Arthur Tuoto sobre Final Explicado - https://www.youtube.com/watch?v=f6hXiVmjhy8 Texto do Paul Shrader - https://www.indiewire.com/2018/11/paul-schrader-moviegoers-dont-take-films-seriously-1202024149/ Quem foi André Bazin? - https://www1.folha.uol.com.br/ilustrissima/2018/04/entenda-por-que-andre-bazin-que-faria-cem-anos-foi-crucial-para-o-cinema.shtml --- Send in a voice message: https://anchor.fm/labcine/message

durée : 01:04:59 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - En 1988, la personnalité d'André Bazin était évoquée par Agnès Varda, Jean Narboni, Jean Collet, Jacques Doniol-Valcroze et Jean-Charles Tacchella dans une émission en deux parties de la collection "Profils perdus". - réalisation : Virginie Mourthé - invités : Agnès Varda Cinéaste, photographe et plasticienne (1928-2019); Jean Narboni Historien, théoricien et critique de cinéma; Alain Resnais Réalisateur; Jacques Doniol-Valcroze Réalisateur, acteur et scénariste français (1920-1989)

durée : 00:24:59 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - En 1976, Eric Rohmer et Jacques Doniol-Valcroze racontaient la naissance des "Cahiers du cinéma" dans l’émission "Revues et corrigés". - réalisation : Virginie Mourthé - invités : Eric Rohmer; Jacques Doniol-Valcroze Réalisateur, acteur et scénariste français (1920-1989)

Una noche al raso bajo los cielos de París, ese París que tantos autores han retratado, René Clair, Godard, Rivette, Chabrol, Garrel, Vigo, Rohmer, Varda...Y Truffaut en su primer largometraje, dedicado a su mentor André Bazin que murió durante los días que se rodaba. Los 400 golpes de Antoine Doinel, el niño desertor de mirada huidiza y lector de Balzac. Jean Pierre Léaud es Antoine, y Antoine es Truffaut, el chaval en fuga del colegio, de la familia, del reformatorio. Corre sin mirar atrás en uno de los finales más bellos de la historia del invento de los Lumière. Truffaut y sus coetáneos de la Nueva Ola francesa reinventaban el cine a finales de los años 50. Doinel finge la muerte de su madre. Huye de los problemas conyugales. Que duro es dormir en el pasillo de casa, con una madre que lo ignora, un padrastro que le abofetea Esa noche va a dormir en la calle, como un vagabundo, se lavará la cara en una fuente, desayunará con tragos largos de leche robada. La adolescencia, el desconsuelo y la rabia de un niño al que no han sabido querer. Un aula lúgubre en la escuela con pupitres de madera y maestro con regla y borrador arrojadizo. Antoine hace novillos con su amigo René, se sienten libres en sus aventuras de infancia, van al cine, a la feria, cometen fechorías. Reflejo de la propia infancia del autor, el escritor Marcel Moussy le ayudó a organizar el guion, a suavizar un poco la melancolía, a convertir su confesión en cine eterno. Doinel mira a la cámara, el fatalismo de un crío que pasa la noche en el calabozo de una comisaría nos mira cara a cara. La verdad del cine de Truffaut, la frescura, el realismo. El plano inicial de los barrios de París, la Torre Eiffel filmada desde abajo, la fotografía sobria y elegante de Henri Decaë ilumina los espacios de forma naturalista. Con ese travelling final de un pequeño que huye de los golpes, de las patadas, de los castigos, sin resuello, como los personajes de Al final de la escapada de Godard. Se confunden las notas de la partitura de Jean Constantin con las pisadas sobre la arena, al fondo el mar, el objetivo se acerca a su abandono, y la imagen se congela. Raúl Gallego Esta noche giramos y giramos en la atracción de feria detrás de la gran evasión... José Miguel Moreno, Gervi Navío, Zacarías Cotán y Raúl Gallego.

This Friday, our career-spanning Agnès Varda retrospective kicks off here at Film at Lincoln Center and continues through January 6 with Rosalie Varda in person. To celebrate the series, we’re sharing a conversation with the French New Wave pioneer from our archives. In 2015, she joined us for our annual Art of the Real festival and participated in a special Q&A with programmer Rachael Rakes. They discussed her enormously influential feature debut La Pointe Courte, directed when she was just 25 years old, and which many critics and scholars now consider as the first proper entry in what would become the Nouvelle Vague. Besides sharing fascinating anecdotes from the making of the film, Varda also told stories of her interactions with other icons of French cinema like Alain Resnais, Francois Truffaut, and André Bazin. See showtimes and get tickets for the retrospective at filmlinc.org/varda This podcast is brought to you by Film at Lincoln Center.

durée : 00:30:03 - Les Nuits de France Culture - Mauriac et Cie croquent la télé 2/5 : -André Bazin, -Le mystère de la télégénie, -Sacha Guitry, du cinéma à la tv, -Sincérité et liberté, -L'érotisme très sublimé du mythe de la princesse, -Les variétés et l'abêtissement (1ère diff : du 02 au 06/08/2010)

Le Roi Lion 2019 Le remake du Roi Lion de 1994 a beaucoup fait jasé depuis l'annonce il y a déjà quelques années du projet monumental. En voyant l'ampleur novatrice des technologies d'animation que Disney prévoyait mettre en marche, il est peu surprenant que le public et la critique puissent se montrer réticent. Plusieurs détracteurs jugent le film trop drabe ou simplement inapproprié par rapport à ses origines en deux dimensions beaucoup plus caricaturales et légères. Je ne partage absolument pas cette opinion. De mon côté, il est d'une évidence sans nom que la version de 2019 est un chef-d'oeuvre non seulement d'animation, mais de cinéma en général. Le film brise de nombreuses barrières et nous pousse à réévaluer nos définitions du cinéma qu'on tenait pour acquises depuis trop longtemps. En me basant sur un important texte de Lev Manovich, « What is Digital Cinema », j'explique comment le film de Favreau est un game changer historique. TABLE DES MATIÈRES 00:51 .......... Note sur 10. 03:12 .......... Pourquoi est-ce si bon? 04:31 .......... Lev Manovich : introduction. 05:40 .......... Lev Manovich : 4 caractéristiques du cinéma digital. 11:09 .......... Le loop de l'histoire du cinéma. 14:04 .......... La musique originale du Roi Lion : Hans Zimmer est un génie. 16:25 .......... André Bazin, ben oui toujours. 20:11 .......... Hollywood, c'est une criss de business pis c'est ben correct + Sommaire analyse filmique. 24:54 .......... Chronique baseball.

This week on The Spectator Film Podcast… Bicycle Thieves (1948) 6.7.19 Featuring: Austin, Maxx Commentary track begins at 18:20 — Notes — We watched the Criterion Collection release of Bicycle Thieves for the show this week. It’s a wonderful release full of bonus features and essays and the bluray looks incredible. Bicycle Thieves is also available on The Criterion Channel. ‘Bicycle Thieves: Ode to the Common Man’ by Charles Burnett for The Current — Here’s a link to an insightful essay on Bicycle Thieves from filmmaker Charles Burnett. This essay was included in the original CC DVD release of Bicycle Thieves, but was cut from the Bluray. ‘Bicycle Thieves: A Passionate Commitment to the Real’ by Godfrey Cheshire from The Current — Here’s another essay that accompanies the Criterion Collection release of the film. Bicycle Thieves by Robert S.C. Gordon — Here’s the BFI film classics book on Bicycle Thieves, and it’s as informative and intelligent as you’d expect. Highly recommend for anyone looking for a primer on this monolithic film. André Bazin and Italian Neorealism by André Bazin — Here’s a link to a collection of André Bazin’s writing on Neorealism. Bazin produced some fantastic writing on film and his thoughts on the neorealist movement are not to be missed. Vittorio De Sica: Contemporary Perspectives edited by Howard Curle and Stephen Snyder — Here’s a wonderful collection of essays that cover Vittorio De Sica’s entire career, not merely limiting itself to his path as a director but also dedicating space to examine his acting career. Highly recommended. A History of Italian Cinema by Peter Bondanella — This book is a wonderful tour of the progression of Italian cinema throughout the 20th century. It works as both an introduction and re-examination, and anyone looking to learn more about Italian cinema will enjoying starting with this book.

Bauke Kok spreekt met docent Mediastudies Blandine Joret over filmcriticus André Bazin, zijn sociale opvatting over realisme en wat die kan betekenen voor Virtual Reality. De column is van Aafke Kok, die wel wat minder realistische films zou willen.

"Vértigo" por Juan Ramón López “Vértigo, De entre los muertos” no fue en su momento precisamente un éxito. Se estrenó en 1958 y ha ido creciendo embotellada en su formato de Vistavisión como los grandes vinos. Mejorando con el paso de los años y aún hoy en día parece pertenecer a otra época no concreta. Su fama y prestigio como obra maestra absoluta ha ido creciendo, estando considerada en las últimas tres décadas como la mejor película de la historia, compartiendo ese podium con “Ciudadano Kane” y “Centauros del desierto”. Una obra de arte desde los créditos iniciales de Saul Bass y esas espirales que brotan del ojo que se tiñe de rojo para introducirnos en la obsesión de su protagonista Scottie Ferguson interpretado por James Stewart, en su último trabajo con el maestro del suspense que nunca estuvo del todo convencido de su papel. Hitch quería un actor más joven y el fracaso inicial de la película lo adujeron a que Stewart era muy mayor para Kim Novak. No obstante, la película ha crecido tan poderosamente cómo las inolvidables imágenes que la bañan, algunas de las más icónicas de la historia del cine, descubriendo nuevos matices en cada nuevo visionado. Una historia atemporal de obsesión, amor, tragedia y misterio. Una historia de erotismo y necrofilia sobre la mujer que nunca existió. La introducción, nudo y desenlace de un crimen perfecto. Elevada a los altares de las obras maestras eternas por la perfecta dirección de Alfred Hitchcock, la maravillosa música de Bernard Herrmann, la cuidada fotografía de Robert Burks y las inolvidables interpretaciones de James Stewart y Kim Novak. Su banda sonora es el más claro ejemplo de perfecta fusión entre música e imagen. El filósofo Eugenio Trías decía estar “colgado” por “Vértigo”, su película favorita que había visto más de 100 veces y de la que realizó el magnífico ensayo “Vértigo y pasión”. Pero sobretodo dos jóvenes críticos de Cahiers du Cinema, Claude Chabrol y Éric Rohmer fueron los primeros en catalogar en su libro “Hitchcock” al maestro del suspense no sólo como un gran director sino como un verdadero autor. Algo que la crítica hasta ese momento se negaba a reconocer. Hoy en día sigue siendo uno de los libros básicos sobre Hitchcock, probablemente a la misma altura que “El cine según Hitchcock”, ese memorable libro de entrevistas diseñado por François Truffaut, gran admirador de Hitch y otro compañero de fatigas de Chabrol y Rohmer en la época gloriosa de Cahiers du Cinema. Truffaut se obsesionó con revaluar la carrera del maestro del suspense para demostrar a la crítica americana y a la suya propia encabezada por André Bazin que Hitchcock era todo un maestro a la altura de Bergman y Fellini. En este programa número 9 de Cinemasmusic hemos rendido todo un homenaje a este clásico inmortal y a su fascinante banda sonora. Quiero dar las gracias a todo el equipo por su esfuerzo, especialmente a Miguel Casares y su inmensa labor de edición y montaje. Y como no, a las colaboraciones especiales de Gerardo Sánchez (Director de Días de Cine) y David Serna (Periodista, experto crítico de bandas sonoras y colaborador en Scoremagacine). Así mismo, quiero expresar mi agradecimiento a Raúl Alda por la cesión de audio del especial del 50 aniversario de “Vértigo” para Días de cine. Gracias a todos y que disfrutéis de este “vertiginoso” programa. Tracklist: 1. Prelude and Rooftop (4:35) 2. Scotty Trails Madeline (8:22) - "El Acomodador" con Ali Trujillo 40:03 3. Carlotta's Portrait (2:34) - "Cuaderno de cine" con Fernando Alonso Barahona 48:56 4. The Bay (3:08) - "Dirigido por" con César Bardés 1:00:58 5. By the Fireside (3:39) - "Conexión Berlín" con Celia Martínez 1:13:26 6. The Forest (3:25) - "Grandes esperanzas" con Alma López 1:25:03 - Psicosis (B.Herrmann) (1960) 7. The Beach (3:27) - "Al límite" con Fran Beltrán 1:40:56 8. The Dream (2:42) - "El buzón del oyente" con Francisco Torrecillas 1:47:09 9. Farewell and The Tower (6:42) - "La butaca salvaje" con Norberto Piñar 1:57:18 10. The Nightmare and Dawn (4:10) - "El rincón del coleccionista" con Miguel Casares 2:08:27 - The Past / The Girl (Vértigo; B.Herrmann; Varese Sarabande VSD-5759) - "Bonus track" con Miguel Casares 2:15:19 - Main title from Diabolique (R.Edelman) (1996) - "Días de Vértigo" con Gerardo Sánchez 2:20:15 11. The Letter (3:53) - Reportaje 50 aniversario de Vértigo (Días de cine) con Raúl Alda 2:33:33 12. Goodnight and The Park (3:08) - "La firma invitada" con David Serna 2:41:58 13. Scene d'Amour (5:09) 14. The Necklace, The Return and Finale (7:47)

In this episode of IN THE CROSSHAIRS, we’ll be exploring the ethics of adaptation using the writings of famous French film theorist and critic André Bazin. Kevin MacLeod - “Aurea Carmina - Full Mix” Licensed under Creative Commons Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/by/3.0/ Kevin MacLeod - “Thatched Villagers” Licensed under Creative Commons Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/by/3.0/ Fleslit - “ps3dayz” Licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/

The Real of Reality | International Conference on Philosophy and Film Wed, 02.11.2016 – Sun, 06.11.2016 ZKM_Media Theater, ZKM_Lecture Hall, ZKM_Media Lounge, ZKM_Cube Film is not representational, but, as Stanley Cavell, the American pioneer of philosophy of film claims, presentational. My paper proceeds on Cavell’s puzzling statement that a photographic image (which constitutes the film image) presents us “with the things themselves” and not with any kind of similarity or representation, therefore concluding that we “do not know” how to “place a photograph (…) ontologically” (in: The World Viewed). His observation actually cuts back to André Bazin, who claims about the photographic image: “the photographic image is the object itself, (…) it shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.” (in: What is Cinema?) This famous quote of Bazin is often interpreted in two ways: firstly as if reproduction would give the model an indexical reference or, secondly, as if reproduction would be an entity identical to its model. I will argue that both readings miss the point. Even if it was not the first intention of disclosure for Bazin, “to be the model” is referred to as something, which can be shared by transfer of reality. This “transference of reality from the thing to its reproduction” further presupposes, without reflecting on it, an equalization of being and reality, two distinct terms, which usually incorporate different meanings reflected by the division between ontology and metaphysics, between the inquiry into being and about the fundamental nature of reality. In some contexts “reality” designates “the world” in which entities are; Martin Heidegger states that “being-in” is the way in which being is, it always is a “being-in-the-world” (in: Being and Time). I propose to ask, in a Heideggerian way, for the being of objects in film and in the world and furthermore, building on Heidegger’s complex conception of “presence of what is present”, to ask for a ‘real of reality’, which is shared by beings and can be the transferred into the photograph: a kind of essence of reality, which makes the being of the photograph real–it is not fictitious and it is not an illusion. International Conference on Philosophy and Film Photography and film in particular paved the way for complex philosophical questions regarding the nature of reality and its mechanical reproduction. What does film reproduce and how can we grasp this element, which has the transactive ability to form reality although originating in reality? This shaping takes palce through a complex interaction of image, action and narration and tends to permeate reality completely. It is an inconspicuous process that already affects our everyday life profoundly and is based on a revolution of the real. What does film show? Do we have access to reality that is not based on images or narrations? And what can film and its analysis contribute to philosophical debates on the real? These are questions we are asking to engage in a dialogue between philosophy and film. For five days, one hundred and fifty philosophers, media scholars and filmmakers will connect philosophical theory with cinematic practice and open up new ideas and concepts. To accompany the program, there will be film screenings of documentaries of the invited filmmakers. The participation at the conference is also possible without the presentation of a paper. The conference will be held in English.

The Real of Reality | International Conference on Philosophy and Film Wed, 02.11.2016 – Sun, 06.11.2016 ZKM_Media Theater, ZKM_Lecture Hall, ZKM_Media Lounge, ZKM_Cube The debate about whether films can do philosophy has focused predominantly on narrative fiction films. In this talk, I consider documentary as a film genre whose philosophical significance has been underappreciated. I argue that documentary films are capable of doing philosophy albeit in a distinctive manner. In making my case, I invoke the thesis I put forward in Thinking On Screen (2007) that films can do philosophy by addressing a philosophical problem that is also discussed by philosophers. My example of a film that does this is The Third Man (Reed, 1947) which, I argue, illustrates and supplements claims made by Aristotle in regard to the issue of how to dissolve a friendship ethically. To adapt this account to documentary films, I consider The Act of Killing (Oppenheimer, 2012). I argue that the film addresses the issue of how people can perform evil actions, an issue theorized by Hannah Arendt in Eichmann in Jerusalem (1964) through the concept of the banality of evil. The distinctive feature of a documentary film’s philosophical contribution is that, whereas a fiction film usually does philosophy by means of a thought experiment, a documentary can support a thesis by means of providing actual evidence to support it. In so doing, documentaries rely on film’s distinctive manner of presenting reality on screen, a feature of film emphasized by André Bazin and others. International Conference on Philosophy and Film Photography and film in particular paved the way for complex philosophical questions regarding the nature of reality and its mechanical reproduction. What does film reproduce and how can we grasp this element, which has the transactive ability to form reality although originating in reality? This shaping takes palce through a complex interaction of image, action and narration and tends to permeate reality completely. It is an inconspicuous process that already affects our everyday life profoundly and is based on a revolution of the real. What does film show? Do we have access to reality that is not based on images or narrations? And what can film and its analysis contribute to philosophical debates on the real? These are questions we are asking to engage in a dialogue between philosophy and film. For five days, one hundred and fifty philosophers, media scholars and filmmakers will connect philosophical theory with cinematic practice and open up new ideas and concepts. To accompany the program, there will be film screenings of documentaries of the invited filmmakers. The participation at the conference is also possible without the presentation of a paper. The conference will be held in English.

Qu'est ce qu'un auteur de jeux vidéo ? Quelles grandes thématiques les obsèdent ?Comment s'organise le droit d'auteur dans le jeu vidéo ? Autant de questions auxquelles nous ne répondrons pas dans cette émission ! Dans cette 46ème émission, nous nous intéresserons à la façon dont le milieu vidéoludique perçoit l'auteur, nous observerons son évolution au cours de ces 37 dernières années. Avant d'être cette évidence partagée par nombre d'intellectuels, la notion d'auteur est une pure construction naissant timidement au cours du XIIIème siècle et s'imposant définitivement au cours du XIXème siècle. Au moyen âge, en littérature, l'auteur est limité, il est comme élu par les instances religieuses. Il ne suffit pas d'écrire un ouvrage pour devenir auteur, il faut des qualités bien particulières. Au XIXème siècle, l'auteur tue Dieu. Sainte Beuve, critique littéraire, conçoit toute une théorie pour analyser l'intention de l'écrivain, relier biographie et œuvre... En peinture, on chasse la moindre signature sur chaque tableau... L'auteur est loué et même si des Mallarmé, des Proust fin XIXème/début XXème ou plus encore Michel Foucault et Roland Barthes (avec leur théorie sur la mort de l'auteur dans les années 1960) tentent d'endiguer la portée de cette notion, elle perdure encore à notre époque. Poursuivons avec le cinéma -plus proche des jeux vidéo- où la notion est extrêmement solide. En 1948, Astruc écrit un article fondateur, « La caméra stylo » qui établit le cinéaste comme auteur et inspire un groupe de critiques exerçant aux Cahiers du Cinéma. Les « Jeunes Turcs » (les Truffaut, Godard et Chabrol... futurs réalisateurs de la Nouvelle Vague), comme surnommé par André Bazin, premier rédacteur en chef des Cahiers, défendaient une notion d'auteur maximisée et dénommée politique des auteurs. En délimitant un corpus précis, constitué aussi bien de cinéastes art et essai que de cinéastes hollywoodiens, cette « politique » fonde son propos sur l'amour éprouvé pour un auteur. Truffaut disait qu'un mauvais film réalisé par un auteur valait mieux qu'un bon film créé par un réalisateur extérieur au corpus. Qu'en est il du jeu vidéo ? Si cette notion occupe peu de place dans les débats quotidiens, elle a tout de même creusé son trou au fil des ans. Nous retracerons son essor en partant des années 80 et 90, âge obscur où la figure de l'auteur se fait discrète. Nous traiterons de la seconde période -du milieu des années 90 jusqu'à la fin des années 2000- où elle prend son envol : le milieu professionnel et le public caractérisent dès lors plusieurs visages. Troisièmement, nous verrons comment, dès la fin des année 2000, la figure de l'auteur se diversifie, s'impose chez une poignée d'intellectuels et de développeurs, mais aussi la façon dont elle est freinée par les logiques du monde vidéoludique. Sources : Qu'est ce qu'un auteur ? http://www.fabula.org/compagnon/auteur.php Next Generation : https://archive.org/details/next-generation-magazine Playstation Magazine : http://abandonware-magazines.org/affiche_mag.php?mag=103 « The lord of game developers » : http://www.salon.com/2000/05/05/molyneux/ Games Magazine : http://www.games-magazine.fr/ The auteur movement : https://www.youtube.com/watch?v=XUWFH17Q3Aw — Générique de l’émission : Lukhash – Beginning of Anxiety. Jingles utilisés : Mdk, Tommy Tallarico, Prologue / Policenauts, Kukeika Club, Old L.A 2040 / Super Meat Boy, Danny Baranowsky, The Battle of Lil' Slugger / Fable 3, Russel Shaw, Reaver Mansion Générique de fin : The Bedquilt Ramblers - Long Journey Home (Kentucky Route Zero) Illustration : Peter Molyneux © Tous Droits Réservés

Dave and Alonso share their thoughts about Meryl Streep's hair choices and the shocking deathbed confession of André Bazin. Follow us on Twitter and Instagram @linoleumcast, like our Facebook page, leave us a glowing iTunes review, buy our extra episodes, housequake!   Dave's streaming pick of the week: A SUMMER'S TALE (CONTE D'ÉTÉ)   Alonso's DVD pick of the week: GODS AND MONSTERS

Legendary French filmmaker Agnès Varda, who will be a recipient of an honorary Palme d'Or at Cannes, is the focus of this week's episode. The director stopped by the Film Society during our second annual Art of the Real festival, during which she was honored with a sidebar retrospective entitled The Actualities of Agnès Varda. Art of the Real is founded on the most expansive possible view of documentary film, and the selections from Varda's work showed the director's repeated interest in the boundary between fiction and nonfiction. Even in her fictions films, she always incorporated elements of the real. Following a screening of her seminal debut, LA POINTE COURTE, Agnès Varda joined festival co-programmer Rachel Rakes for a Q&A. Besides sharing fascinating anecdotes from the making of the film, Varda also told stories of her interactions with other icons of French cinema like Alain Resnais, Francois Truffaut, and André Bazin. This podcast is brought to you by The Film Society of Lincoln Center. Film Lives Here. www.filmlinc.com