Podcasts about Andrzej Wajda

Polish film director

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Andrzej Wajda

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Best podcasts about Andrzej Wajda

Latest podcast episodes about Andrzej Wajda

Toute une vie
Andrzej Wajda (1926-2016) : un artiste citoyen

Toute une vie

Play Episode Listen Later May 20, 2025 59:04


durée : 00:59:04 - Toute une vie - par : Dominique Prusak - Né en 1926 à la frontière lituanienne, résistant contre l'occupant nazi à 16 ans, étudiant aux Beaux-Arts de Cracovie puis à l'école de cinéma de Lodz, Andrzej Wajda n'a eu de cesse de chercher et de montrer la vérité dans un système totalitaire soumis au diktat de la censure et au dogme communiste. - réalisation : Anna Szmuc

The WatchTower Film Podcast
#129 Ashes and Diamonds | Ashes, Diamonds, and Post-War Vibes: Poland Gets Existential

The WatchTower Film Podcast

Play Episode Listen Later Apr 14, 2025 73:17


Foreign Film Month rolls on at The WatchTower Film Podcast with Ashes and Diamonds—the Polish post-war masterpiece that pairs existential dread with a killer pair of shades. We dig into director Andrzej Wajda's striking visuals, political tension, and the haunting performance at the heart of it all. Is it style over substance, or does it strike a perfect balance? Spoiler: it's both—and we've got thoughts.Grab a drink, dim the lights, and join us as we unpack this stylish, smoky slice of cinematic history.

Goście Dwójki
50 lat "Ziemi obiecanej" Andrzeja Wajdy. Muzeum Kinematografii zorganizowało wystawę

Goście Dwójki

Play Episode Listen Later Feb 12, 2025 16:14


Mija 50 lat od premiery "Ziemi obiecanej" Andrzeja Wajdy. To film, który wpisał się w kanon polskich produkcji. Opowieść oparta na powieści Władysława Reymonta nie jest jednak dokładnym odwzorowaniem lektury. O tym, co przy pracy nad filmem planował Andrzej Wajda, można przekonać się w Muzeum Kinematografii w Łodzi.

Pola Retradio en Esperanto
E_elsendo el la 30.12.2024

Pola Retradio en Esperanto

Play Episode Listen Later Dec 30, 2024 27:37


En la 1369-a E_elsendo el la 30.12.2024 ĉe www.pola-retradio.org: • Hodiaŭ ni proponas konatiĝi kun interesa kaj koninda loko en la sudokcidenta Pollando, Świeradów Zdrój. • En la kulturkoniko ni informas pri tri ekspozicioj: „Kisling. La brilo de Montparnaso” en Varsovio; pri ekspozicio dediĉita al Andrzej Wajda en Tokio kaj pri laŭvica ekspozicio dediĉita al samurajoj, ĉi-foje en Bydgoszcz. • La E-komunumaj informoj rilatas al tre sukcesa Lingva Festivalo en Moskvo komence de decembro; al informo el la listo uea-membroj pri ĉesigo de la ŝtataj ekzamenoj pri Esperanto en Hungario. • Muzike aŭdiĝas per eta fragmento la rusa E-kanto „Ni renkontiĝos”. „Ĉiam kun vi” el la jutuba kanalo Zenmuzik estas plia kanzono kreita de AI, kiun ni prezentas fragmente. Fine aŭdiĝas „Kanto por la Nova Jaro” de André el Kopenhago el suno.com. La programinformon akompanas interreta foto bildiganta la naturon ĉirkaŭ Świeradów Zdrój. • En unuopaj rubrikoj de nia paĝo eblas konsulti la paralele legeblajn kaj aŭdeblajn tekstojn el niaj elsendoj, kio estas tradicio de nia Redakcio ekde 2003. La elsendo estas aŭdebla en jutubo ĉe la adreso: https://www.youtube.com/results?q=pola+retradio&sp=CAI%253D I.a. pere de jutubo, konforme al individua bezono, eblas rapidigi aŭ malrapidigi la parolritmon de la sondokumentoj, transsalti al iu serĉata fragmento de la elsendo.

Rozmawiamy, czyli kultura i filozofia w Teologii Politycznej
„Reymont-reporter”. Drugi dzień VIII Festiwalu Teologii Politycznej

Rozmawiamy, czyli kultura i filozofia w Teologii Politycznej

Play Episode Listen Later Dec 10, 2024 87:33


Tegoroczna, ósma już edycja Festiwalu Teologii Politycznej odbywa się w setną rocznicę przyznania Literackiej Nagrody Nobla niezwykłemu pisarzowi minionego stulecia –nWładysławowi Reymontowi. Każdy dzień Festiwalu rozpocznie się o godzinie 18:00 w Domu Literatury na Krakowskim Przedmieściu 87/89. Władysław Reymont miał nieprzeciętną zdolność do malowania szerokich społecznych krajobrazów i zniuansowanych wizerunków bohaterów, organicznie wrośniętych w swój społeczno-kulturowy kontekst i realia epoki. Podczas pierwszego spotkania Festiwalu postawimy pytanie o to, jak rozwijał się pisarski warsztat Reymonta, jak fascynacja spirytyzmem przebijała się w twórczości młodego pisarza na przykładzie takich powieści jak „Wampir" czy „Marzyciel". Prześledzimy historię powstania pierwszych opowiadań i utworów Reymonta, które początkowo nie spotkały się z większym zainteresowaniem. Niezniechęcony poczuciem odrzucenia i skrajnej biedy, w której przyszło mu żyć, doskonalił swój warsztat pisarski wraz z kolejnymi podróżami wokół wsi i miast, które każdorazowo poszerzały jego wyobraźnię i poczynały rozbudzać zmysł polityczny. Wreszcie, przyjrzymy się okolicznościom, które doprowadziły do stopniowego odchodzenia pisarza od realizmu, którego szczyt osiągnął w Ziemi Obiecanej czy Chłopach. Po dyskusji wyświetlony będzie film „Ziemia obiecana" (reż. Andrzej Wajda). Fragmenty pism czyta: Andrzej Ferenc W spotkaniu udział wezmą:

Wszechnica.org.pl - Historia
973. Malarstwo polskie XIX wieku w filmowych kadrach Andrzeja Wajdy / Bożena Pysiewicz

Wszechnica.org.pl - Historia

Play Episode Listen Later Nov 30, 2024 68:30


Wykład Bożeny Pysiewicz, Muzeum Narodowe w Warszawie, 17 listopada 2020 [1h08min] https://wszechnica.org.pl/wyklad/malarstwo-polskie-xix-wieku-w-filmowych-kadrach-andrzeja-wajdy/ Jeden z najwybitniejszych polskich reżyserów w swojej twórczości często sięgał do dorobku innej z muz. Bożena Pysiewicz wskazuje w nagraniu wykładu cytaty malarskie pochodzące z dorobku polskich artystów z XIX wieku, które można odnaleźć w filmach Andrzeja Wajdy. Wykład towarzyszył wystawie „Polska. Siła obrazu” w Muzeum Narodowym Warszawie, na której prezentowana jest większość z omawianych dzieł. Cytaty malarskie, jakie Wajda umieścił w swoich filmach, mają różnorodny charakter. Część z nich to sceny wprost wzorowane na wybranych kompozycjach, bądź też odwołujące się do ich nastroju. Inne przybierają formę obrazów, które stanowią element scenografii. – Andrzej Wajda mówił, że jego marzeniem jest zrobić film bez dźwięku, z obrazów. A jednocześnie wspominał, że jeżeli ma problem w realizacji dzieła filmowego, to nie szuka rozwiązania w doświadczeniach reżyserskich, ale we wcześniejszych związanych ze studiami na krakowskiej Akademii Sztuki Pięknych [w latach 1946-49] – opowiada historyczka sztuki. Cytaty malarskie w filmach Andrzeja Wajdy W filmach reżysera można znaleźć odniesienia do prac Piotra Michałowskiego, Jana Matejki, Leona Wyczółkowskiego, Maksymiliana i Aleksandra Gierymskiego, Jacka Malczewskiego, Stanisława Wyspiańskiego, Konrada Krzyżanowskiego, Józefa Chełmońskiego czy Wojciech Kossaka. Kadry, które prezentuje prelegentka, pochodzą ze strony Filmoteki Narodowej – Instytutu Audiowizualnego: fototeka.fn.org.pl Zdjęcia większości pokazywanych przez historyczkę sztuki obrazów można znaleźć na stronie: cyfrowe.mnw.art.pl Warto również wybrać się na wirtualne zwiedzanie wystawy „Polska. Siła obrazu”: polskasilaobrazu.mnw.art.pl Zapraszamy do wysłuchania całego wykładu Bożeny Pysiewicz, gdzie wskazuje cytaty malarskie w filmach Andrzeja Wajdy. Bożena Pysiewicz - kustosz, Muzeum Narodowe w Warszawie, Muzealne Centrum Edukacji Szkolnej Znajdź nas: https://www.facebook.com/WszechnicaFWW1/ https://anchor.fm/wszechnicaorgpl---historia https://anchor.fm/wszechnica-fww-nauka https://wszechnica.org.pl/ #muzeum #muzeumnarodowe #malarstwo #kultura #sztuka #film #andrzejwajda #wajda #scenografia

Podcast Filmes Clássicos
Episódio #232 - Dicas Triplas do PFC #32

Podcast Filmes Clássicos

Play Episode Listen Later Nov 15, 2024 111:25


Adicionamos mais um áudio na galeria do "Dicas Triplas do PFC" e desta vez Fred e Alexandre recebem o crítico e jornalista Rafael Amaral, do blog "Palavras de Cinema", para conversar sobre três ótimos filmes de nacionalidades diversas. Do francês René Clément pegamos "O Sol Por Testemunha" (Plein Soleil, 1960), um dos filmes responsáveis por alavancar a carreira internacional de Alain Delon; na Itália seguimos com a dupla direção de Luigi Bazzoni e Franco Rossellini no longa "A Mulher do Lago" (La Donna del Lago, 1965), um dos precursores do subgênero giallo; e por fim concluímos na Polônia a nossa jornada ao lado de Andrzej Wajda, quando dirigiu o excelente "Sem Anestesia" (Bez znieczulenia, 1978), drama político disfarçado de uma história sobre um complicado divórcio entre um jornalista e sua esposa. Capítulos 00:00:00 Introdução 00:06:15 O Sol Por Testemunha 00:40:35 A Mulher do Lago 01:07:15 Sem Anestesia 01:30:20 Spoilers de "O Sol Por Testemunha" 01:35:50 Spoilers de "A Mulher do Lago" 01:43:00 Spoilers de "Sem Anestesia" ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br/ Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/

Goście Dwójki
Andrzej Wajda - weteran kina o energii chłopca

Goście Dwójki

Play Episode Listen Later Oct 19, 2024 96:03


- Był pierwszy na planie. Może kilka osób z obsługi technicznej pojawiało się przed nim, ale z ekipy, która rzeczywiście wchodziła na plan, żeby przygotować scenę, to on był od samego początku. Miał w sobie niezwykłą energię chłopca - mówił w Dwójce Maciej Cuske, współpracownik Andrzeja Wajdy.

Hírstart Robot Podcast
A 7 legjobb film a 2000-es évekből, amiről teljesen elfeledkezünk

Hírstart Robot Podcast

Play Episode Listen Later Jul 21, 2024 4:21


A 7 legjobb film a 2000-es évekből, amiről teljesen elfeledkezünk Joy     2024-07-20 19:34:00     Film Harry Potter Kevesebb hype-ot kaptak, mint mondjuk a Harry Potter vagy a Gyűrűk Ura, de mutatunk pár filmet, amit érdemes végigpörgetned nyáron. Pláne, ha egy kis nosztalgiára vágysz! Új horrorsorozaton dolgoznak a Stranger Things alkotói Hamu és Gyémánt     2024-07-21 04:38:01     Film Netflix Stranger Things A Netflixre 2016-ban robbant be a Stranger Things, ami pillanatok alatt a nézők egyik nagy kedvence lett. A sorozat rajongóinak most egy jó és egy rossz hírrel kell szolgáljunk. A rossz hír az, hogy a nem mindennapi alkotás ötödik, egyben utolsó évada jövőre bemutatásra kerül, így örökre el kell majd búcsúznunk a hawkinsi tinédzserektől. A jó hír v Alessandro Baricco Budapesten: Az élet egyik célja, hogy elengedjük a félelmeinket Könyves Magazin     2024-07-20 18:56:55     Zene Olaszország Fesztiválok Mesterséges intelligencia Zeneakadémia Szórakoztató egy órában volt része azoknak, akik ott voltak az ünnepelt olasz író, Alessandro Baricco első budapesti látogatásán, a Zeneakadémián tartott beszélgetésen. Sok minden szóba került a zenétől a mesterséges intelligencián és Nemecsek Ernőn át odáig, hogy régebben jobb volt-e gyereknek lenni, mint ma. Fotók: Felvégi Andrea / Fesztivál Akad Új a Netflixen: Erre az új romantikus vígjátékra könnyen rákattanhat a nagyközönség Mafab     2024-07-20 19:16:02     Film Párkapcsolat Netflix Ciprus Kellemes kis romantikus vígjáték érkezett a legnagyobb streaming szolgáltató kínálatába. Egy kis zene, egy kis Ciprus, egy kis szerelem. Nagyjából így lehetne összefoglalni a Kapj el, ha zuhanok című filmet, amelyet már most nézhetsz a Netflixen. Több mint ötszáz gyereket nemzett a donor 24.hu     2024-07-20 19:06:14     Film Hollandia Netflix Sperma A függőség sokféleképpen megmutatkozhat, egy rendkívül bizarr formájáról most a Netflix csinált dokumentumsorozatot: egy holland férfi abból űzött sportot, hogy spermadonorként több száz gyereket nemzett világszerte. Július 21-én történt kultura.hu     2024-07-21 00:02:00     Film USA Brad Pitt Michael Caine Juliette Binoche Juliette Binoche szerint Tarr Béla a valaha élt egyik legnagyobb filmrendező, Brad Pitt a Sátántangó után vált rajongójává. Az amerikai rendező Gus Van Sant ezt a filmet kockáról kockára újraforgatná színesben. Tarr Béla tavaly megkapta az Európai Filmdíj tiszteletbeli díját Manoel de Oliveira, Michel Piccoli, Sir Michael Caine, Andrzej Wajda és C Tarr Béla elmondta, miért hagyta el az országot és hogyan él most Librarius     2024-07-21 07:59:09     Film Humor Tarr Béla filmjeinek másik meglepő eleme a halálosan komor, kihalt fekete humor. Hangosan nevettem, amikor...   Hová tűnt a filmekből az izzadtság? NLC     2024-07-20 18:22:22     Film Chris Hemsworth A Furiosa sivatagban játszódik, szinte érezzük a nap erejét. A filmben Anya Taylor-Joy és Chris Hemsworth koszos és poros, de nem izzadt. A Top Gunban a nyolcvanas években minden karakterről dőlt a víz, a folytatás izzadást csak nyomokban tartalmaz. Hová tűnt az izzadás a filmekből és kik voltak régen a legizzadósabbak? Clint Eastwood gyászol Igényesférfi.hu     2024-07-21 09:04:19     Film Clint Eastwood A 94 éves, Oscar-díjas rendező és producer péntek hajnalban jelentette be a szomorú hírt egy hírlevélben. Ismét háromnapos ingyenes dzsesszfesztivált rendeznek Székesfehérváron HírTV     2024-07-21 09:24:07     Színpad Koncert Fejér Székesfehérvár Ismét megrendezik augusztus 8-10. között az Alba Regia Feszt jazzfesztivált, amely Székesfehérvár belvárosában két színpadon, ingyenes koncertekkel várja a jazz, pop, funky és világzene kedvelőit. Balázs Klári Korda Györgyről: "Nagyon hamar rájöttem, hogy a híre sokkal rosszabb, mint amilyen valójában" Story     2024-07-21 06:00:09     Bulvár Párkapcsolat Korda György Balázs Klári Kevesen tudják, hogy szerelmük hajnalán Klárika férjezett volt, Gyuri bácsi pedig nős, noha már régóta nem élt együtt a nejével. Ellenben másvalaki várta ­otthon… A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Hírstart Robot Podcast - Film-zene-szórakozás
A 7 legjobb film a 2000-es évekből, amiről teljesen elfeledkezünk

Hírstart Robot Podcast - Film-zene-szórakozás

Play Episode Listen Later Jul 21, 2024 4:21


A 7 legjobb film a 2000-es évekből, amiről teljesen elfeledkezünk Joy     2024-07-20 19:34:00     Film Harry Potter Kevesebb hype-ot kaptak, mint mondjuk a Harry Potter vagy a Gyűrűk Ura, de mutatunk pár filmet, amit érdemes végigpörgetned nyáron. Pláne, ha egy kis nosztalgiára vágysz! Új horrorsorozaton dolgoznak a Stranger Things alkotói Hamu és Gyémánt     2024-07-21 04:38:01     Film Netflix Stranger Things A Netflixre 2016-ban robbant be a Stranger Things, ami pillanatok alatt a nézők egyik nagy kedvence lett. A sorozat rajongóinak most egy jó és egy rossz hírrel kell szolgáljunk. A rossz hír az, hogy a nem mindennapi alkotás ötödik, egyben utolsó évada jövőre bemutatásra kerül, így örökre el kell majd búcsúznunk a hawkinsi tinédzserektől. A jó hír v Alessandro Baricco Budapesten: Az élet egyik célja, hogy elengedjük a félelmeinket Könyves Magazin     2024-07-20 18:56:55     Zene Olaszország Fesztiválok Mesterséges intelligencia Zeneakadémia Szórakoztató egy órában volt része azoknak, akik ott voltak az ünnepelt olasz író, Alessandro Baricco első budapesti látogatásán, a Zeneakadémián tartott beszélgetésen. Sok minden szóba került a zenétől a mesterséges intelligencián és Nemecsek Ernőn át odáig, hogy régebben jobb volt-e gyereknek lenni, mint ma. Fotók: Felvégi Andrea / Fesztivál Akad Új a Netflixen: Erre az új romantikus vígjátékra könnyen rákattanhat a nagyközönség Mafab     2024-07-20 19:16:02     Film Párkapcsolat Netflix Ciprus Kellemes kis romantikus vígjáték érkezett a legnagyobb streaming szolgáltató kínálatába. Egy kis zene, egy kis Ciprus, egy kis szerelem. Nagyjából így lehetne összefoglalni a Kapj el, ha zuhanok című filmet, amelyet már most nézhetsz a Netflixen. Több mint ötszáz gyereket nemzett a donor 24.hu     2024-07-20 19:06:14     Film Hollandia Netflix Sperma A függőség sokféleképpen megmutatkozhat, egy rendkívül bizarr formájáról most a Netflix csinált dokumentumsorozatot: egy holland férfi abból űzött sportot, hogy spermadonorként több száz gyereket nemzett világszerte. Július 21-én történt kultura.hu     2024-07-21 00:02:00     Film USA Brad Pitt Michael Caine Juliette Binoche Juliette Binoche szerint Tarr Béla a valaha élt egyik legnagyobb filmrendező, Brad Pitt a Sátántangó után vált rajongójává. Az amerikai rendező Gus Van Sant ezt a filmet kockáról kockára újraforgatná színesben. Tarr Béla tavaly megkapta az Európai Filmdíj tiszteletbeli díját Manoel de Oliveira, Michel Piccoli, Sir Michael Caine, Andrzej Wajda és C Tarr Béla elmondta, miért hagyta el az országot és hogyan él most Librarius     2024-07-21 07:59:09     Film Humor Tarr Béla filmjeinek másik meglepő eleme a halálosan komor, kihalt fekete humor. Hangosan nevettem, amikor...   Hová tűnt a filmekből az izzadtság? NLC     2024-07-20 18:22:22     Film Chris Hemsworth A Furiosa sivatagban játszódik, szinte érezzük a nap erejét. A filmben Anya Taylor-Joy és Chris Hemsworth koszos és poros, de nem izzadt. A Top Gunban a nyolcvanas években minden karakterről dőlt a víz, a folytatás izzadást csak nyomokban tartalmaz. Hová tűnt az izzadás a filmekből és kik voltak régen a legizzadósabbak? Clint Eastwood gyászol Igényesférfi.hu     2024-07-21 09:04:19     Film Clint Eastwood A 94 éves, Oscar-díjas rendező és producer péntek hajnalban jelentette be a szomorú hírt egy hírlevélben. Ismét háromnapos ingyenes dzsesszfesztivált rendeznek Székesfehérváron HírTV     2024-07-21 09:24:07     Színpad Koncert Fejér Székesfehérvár Ismét megrendezik augusztus 8-10. között az Alba Regia Feszt jazzfesztivált, amely Székesfehérvár belvárosában két színpadon, ingyenes koncertekkel várja a jazz, pop, funky és világzene kedvelőit. Balázs Klári Korda Györgyről: "Nagyon hamar rájöttem, hogy a híre sokkal rosszabb, mint amilyen valójában" Story     2024-07-21 06:00:09     Bulvár Párkapcsolat Korda György Balázs Klári Kevesen tudják, hogy szerelmük hajnalán Klárika férjezett volt, Gyuri bácsi pedig nős, noha már régóta nem élt együtt a nejével. Ellenben másvalaki várta ­otthon… A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

For Screen and Country
Ashes and Diamonds

For Screen and Country

Play Episode Listen Later Jun 10, 2024 92:02


We talked about Kanal so why not talk about another Wajda War™ film - Ashes and Diamonds. While this one focuses less on war itself and more of the implications of post-war and one's own morality, this is our podcast so don't tell us what to do, MOM!!! Ahem. Anyhoo, the fellas chat it up about this film and discuss the scene with very realistic (if not real?) drunk acting, the stark imagery particularly with religious symbols, the massive changes between this and the propagandistic source material, the Polish James Dean and much more. Next week: kill! kill! kill! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Ashes and Diamonds stars Zbigniew Cybulski, Ewa Krzyżewska, Wacław Zastrzeżyński, Adam Pawlikowski, Bogumił Kobiela, Stanisław Milski and Ignacy Machowski; directed by Andrzej Wajda. Learn more about your ad choices. Visit megaphone.fm/adchoices

Actorcast
Omar Sangare: Founder and Artistic Director of United Solo | Episode 094

Actorcast

Play Episode Listen Later Nov 14, 2023 34:52


For episode 094 of Actorcast we are joined by Omar Sangare. Omar is the Founder and Artistic Director of the United Solo Theatre Festival, the largest solo theatre festival in the world! I had the opportunity to work with the "King of Solo Theatre" himself and learned a lot about the processes involved with running a successful theatre organization in New York City. In this episode, we talk about how Omar began his acting career in Poland. We reflect on how the United Solo Theatre Festival has grown throughout the years. We also talk about why solo performance is such an important art form. To learn more about Omar and United Solo, please visit their website at https://unitedsolo.org/ and follow them on social media @unitedsolo. Omar Sangare graduated from the National Academy of Dramatic Art in Warsaw, Poland, where he studied with the Oscar-winning director, Andrzej Wajda. He was awarded a scholarship to The British American Drama Academy in Oxford, England. While there, he worked with Derek Jacobi, Alan Rickman, Michael Kahn, and Jeremy Irons. Omar holds many film, television, and radio credits. For his one-man drama “True Theater Critic,” he was voted The Best in Acting by The New York International Fringe Festival. The New York press acclaimed his lead part in the Arena Players Repertory Theater production of “Othello.” The New York Times wrote—“Omar Sangare was born to play Othello!” In 2011, he was selected by the U.S. Department of State for a video project that appeared as part of President Obama's trip to Poland. In 2012, he was named “Person of the Year” by nytheatre.com for “a significant contribution to the NYC theater landscape.” Omar is a founder and artistic director of UNITED SOLO, the world's largest solo theatre festival, a resident company at Theatre Row on 42nd Street in New York City. Currently, he serves as Chair of the Theatre Department at Williams College. Follow my work at ⁠https://patrick-mcandrew.com⁠ and @patrick.mcandrew

Diversity Stories
S03E35: Affect as Contamination

Diversity Stories

Play Episode Listen Later Nov 14, 2023 82:26


How do artists engage living bodies as creative material? How do they engage our ideas and assumptions of what we consider a body to be and what a body can do? How do they challenge the principles of what life is and the relations we take for granted?    For this podcast, we invited philosopher, researcher and labour organizer Mijke van der Drift to engage with Agnieszka Anna Wołodźko, lecturer and researcher teaching contemporary philosophy and art-science at AKI Academy of Art and Design ArtEZ. Thinking through the lens of contamination, Agnieszka's recently published book Affect as Contamination: Embodiment in Bioart and Biotechnology uses bioart projects as provocative case studies to rethink affect and bodily practices. Departing from her book, they reflect upon the desire for transformation and the need for its control in our daily infrastructures, ranging from biotechnology and pharmaceutical industries to food production and healthcare.    What ethical frameworks are needed to organize and guide our actions when confronted with hard questions and uncomfortable situations that come up when engaging living matter as a creative material? How do we recognize what needs to change and for whom? Can ethics and art prompt us to become more joyful and accountable to transformative processes of justice?   We invite you to listen to this conversation and reflect upon the risks involved when artists experiment with bodies and living matter, and to think through which ‘anchors' can orient us through the transformation that life inevitably begets.   Show notes   -       Marion Laval-Jeantet and Benoît Mangin, May the Horse live in me! https://dublin.sciencegallery.com/blood-1/may-the-horse-live-in-me-#:~:text=The%20performance%20May%20the%20Horse,an%20injection%20of%20horse%27s%20blood.   -       The Center For Genomic Gastronomy, Smog Tasting: Smog Synthesizer https://genomicgastronomy.com/work/2015-2/smog-synthesizer/   -       Adriana Knouf, Xenological Entanglements. 001a: Trying Plastic Variations https://tranxxenolab.net/projects/eromatase/ -       Be-wildering by Jennifer Willet & Kira O'Reilly, 2017, performance https://waag.org/en/event/performance-be-wildering-jennifer-willet-kira-oreilly/ -           -       Book Deleuze & Guattari, A Thousand Plateaus: Capitalism and Shizophrenia 1980   -       Bio artist Boo Chapple invited by Prof. Rob Zwijnenberg's honours class Who owns Life? at Leiden University     -       Baruch Spinoza, Ethics https://plato.stanford.edu/entries/spinoza/#Ethi   -       Špela Petrič, Confronting Vegetal Otherness: Skotopoiesis – semiotic triangle, 2015 https://www.spelapetric.org/scotopoiesis -          Sandilands, Catriona (2017), ‘Vegetate', in J. J. Cohen and L. Duckert (eds), Veer Ecology: A Companion for Environmental Thinking, Minneapolis: University of Minnesota Press, pp. 16–29. https://www.academia.edu/50082847/Vegetate     -       Marion Laval-Jeantet and Benoît Mangin, May the Horse live in me! https://dublin.sciencegallery.com/blood-1/may-the-horse-live-in-me-#:~:text=The%20performance%20May%20the%20Horse,an%20injection%20of%20horse%27s%20blood.   -       Donna Haraway, Response-ability in her book Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press Books, 2016. See lecture: https://www.youtube.com/watch?v=GrYA7sMQaBQ   -       Gilles Deleuze and Félix Guattari, What Is Philosophy? Translated by Graham Burchell and Hugh Tomlinson. London etc: Verso, 1994. See:  https://plato.stanford.edu/entries/deleuze/#WhatPhil   -       Jacques Ellul: Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/entries/technology/   -       Michel Serres, Birth of Physics, clinamen press 2000   -       The Center For Genomic Gastronomy   https://genomicgastronomy.com/work/2009-2/community-meat-lab/   -       Adriana Knouf, Xenological Entanglements. 001a: Trying Plastic Variations https://tranxxenolab.net/projects/eromatase/       -       Rossi Braidotti : https://rosibraidotti.com/ -          Lem, Stanisław (2012), Przekładaniec [Layer Cake]. Warszawa: Agora, e-book. Andrzej Wajda, (1968), Layer Cake, https://www.imdb.com/title/tt0063468/    -       Gilles Deleuze Difference and Repetition. Translated by Paul Patton. New York: Columbia University Press, 1995. See: https://plato.stanford.edu/entries/deleuze/#DiffRepe   -       Denise Ferreira da Silva, On difference without separability https://static1.squarespace.com/static/574dd51d62cd942085f12091/t/5c157d5c1ae6cf4677819e69/1544912221105/D+Ferreira+da+Silva+-+On+Difference+Without+Separability.pdf   -       Michel Foucault https://plato.stanford.edu/entries/foucault/   -       Immanuel Kant https://plato.stanford.edu/entries/kant/   -       Paul B. Preciado, Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era. Translated by Bruce Benderson. New York: The Feminist Press at CUNY, 2013   -       Dr Luciana Parisi https://scholars.duke.edu/person/Luciana.Parisi   -       The Commons https://www.newyorker.com/culture/essay/the-theft-of-the-commons     About   Agnieszka Anna Wołodźko, is a lecturer and researcher teaching contemporary philosophy and art-science relations at AKI Academy of Art and Design ArtEZ since 2017. At AKI, Artez she has founded a biolab space where she runs a BIOMATTERs, an artistic research programme that explores how to work with living matters through hands on engagement, where difficult philosophical, ethical and ecocritical questions are not only discussed but also tangibly faced. Her research focusses on post-humanism, ecocriticism, affect theory and new materialism at the intersection of art, ethics and biotechnology.   Her book Affect as Contamination. Embodiment in Bioart and Biotechnology is thus a result not only of her PhD research, but also her work as an experimentative educator, where next to analytical discussion on embodiment she reveals personal, intimate and often difficult because risky implications of being a body outside the possibility of innocence. Contamination equally in her writing and work as an educator, becomes  a way of thinking as well as a way of being that implies reimagination of not only what it means to be a body in the age of biotechnological manipulation, but also how to care and feel responsible when practicing embodiment.   Mijke van der Drift   Mijke van der Drift is a philosopher and educator working on ethics, trans studies, and anti-colonial philosophy. Mijke is a tutor at the Royal College of Art, London. Mijke's work has appeared in the Journal of Speculative Philosophy, the Journal of Aesthetics and Culture, in various independent publications as well as chapters in The Emergence of Trans (Routledge 2020), and The New Feminist Literary Studies Reader (Cambridge UP 2020). Van der Drift is founding member of the art collective Red Forest. They have made work for the Milano Triennale (2022), the Helsinki Biennale (2023) as part of their research into Extractivism, Fossil Fascism, and cultures of resistance. With Nat Raha, Mijke is writing Trans Femme Futures.      

For Screen and Country

Escape into the sewers this week with the bleak WWII film Kanal! The guys discuss the film's influence on modern cinema (including The Descent), the backlash to the film from the Polish government, Daisy's heroic character that may have inspired Ellen Ripley, the look and sound design of the sewer and much more.   Next week: Civil war! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Kanal stars Teresa Iżewska, Tadeusz Janczar, Wieńczysław Gliński, Tadeusz Gwiazdowski, Stanisław Mikulski and Emil Karewicz; directed by Andrzej Wajda. Is It Streaming? USA: Criterion Channel Canada: Criterion Channel UK: N/A Learn more about your ad choices. Visit megaphone.fm/adchoices

Scuttlebutt War Movie Review Podcast

We take to Warsaw's Sewers this week with Andrzej Wajda's 1957 Second World War epic, Kanal!Facebook - https://www.facebook.com/ScuttlebuttMovieReviewsInstagram- https://www.instagram.com/scuttlebuttreviews/?hl=enYoutube -https://www.youtube.com/channel/UCwbgZzUyQc--6MUwA_CtFvQPatreon -https://www.patreon.com/Scuttlebuttpodcast

More Than Meets the Eye
Episode 56 Ashes and Diamonds

More Than Meets the Eye

Play Episode Listen Later Jul 20, 2023 51:37


This week, Emma and Antonella discuss the 1958 Andrzej Wajda film, Ashes and Diamonds. You'll get the plot and a breakdown of the aesthetics and cinematography from the film you've never heard of, but should see! (Also, so obviously an Emma pick, she knows...) Hosted on Acast. See acast.com/privacy for more information.

The 80s Movies Podcast
Miramax Films - Part Two

The 80s Movies Podcast

Play Episode Listen Later Jul 14, 2023 32:38


On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

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The 80s Movie Podcast
Miramax Films - Part Two

The 80s Movie Podcast

Play Episode Listen Later Jul 14, 2023 32:38


On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

united states america american new york time new year california money canada world children new york city chicago australia europe english hollywood man los angeles france battle woman mexico passion french canadian new york times war ms green heart australian playing spanish dance er national south island witches quest broadway run sweden manhattan beatles buffalo universal bond flash burning incredible mtv academy awards denmark brazilian rock and roll senators stranger bj latino guerra roberts predator twist victorian nickelodeon top gun blockbuster variety bands solitude quebec beverly hills cannes nobel prize mad max grandmothers copenhagen penn harvey weinstein rub best picture moonlight hugh jackman loaded westside rotten tomatoes monty python lobster la la land audiences woody allen scandinavian aboriginal weinstein kevin bacon silk a24 blades francis ford coppola phil collins denis villeneuve amy winehouse new york magazine nineteen cin equalizer ex machina scarecrows robert eggers arcadia cannes film festival bergman duran duran wiz bette midler alex garland best actor lincoln center streamers spikes george miller gnome footloose criminal minds best director roger ebert miami vice death wish universal pictures gabriel garc movie podcast sydney morning herald stand by me gnomes fear the walking dead village voice ingmar bergman road warrior ohana christopher plummer metacritic robert altman richard dreyfuss raging bull jean luc godard boo boo barry jenkins tough guys peter frampton marisa tomei jonathan demme john huston spring breakers crime stories crocodile dundee edith piaf truffaut gus van sant cahiers great adventure colorado college miramax pete townshend big chill french riviera bling ring one hundred years french new wave piaf independent spirit awards best original screenplay brangelina all seasons sister sledge lawrence kasdan latin jazz henry thomas new york film festival daniel scheinert john sayles daniel kwan spanish harlem movies podcast danton best intentions best foreign language film lynn shelton lenny abrahamson claude lelouch french cinema andrea arnold rohmer playing for keeps gene siskel jake lamotta rumble fish trey edward shults atom egoyan mike newell arthur penn claude chabrol tony randall brian trenchard smith weinsteins bensonhurst jordano lesser god middleweight champion chabrol frank gorshin tom bosley michael lonsdale wayne wang miramax films andrzej wajda jacques rivette auteur theory irrational man paul mazursky entertainment capital beverly center prizzi new yawk patrick dewaere pernilla august cool change daniel salazar wallgren marcel cerdan world war ii france secret policeman diane kurys andrew sarris jack rollins best picture award hinton battle tomi ann roberts street playhouse vincent canby
Entourloupe dans l'azimut
DRS - Grand écart - Timsit / Wajda

Entourloupe dans l'azimut

Play Episode Listen Later Jun 18, 2023 58:23


Nous vous l'avions annoncé dans notre précédent épisode : Quasimodo d'el paris  est le film choisi par Antoine pour ce nouvel épisode DRS Grand écart. Et dans un style très différent, Stefan a lui choisi de faire découvrir à son compère Cendres et diamant d'Andrzej Wajda. Deux salles deux ambiances, mais une grande famille du Cinéma encore une fois réunie. Très bonne écoute à toutes et à tous. Entourloupement vôtre    00:00:00 Générique 00:06:10 Quasimodo d'El Paris, Patrick Timsit, 1999 00:32:22 Cendres et diamants, Andrzej Wajda, 1958

SBS Polish - SBS po polsku
Andrzej Wajda w najnowszej książce Macieja Karpińskiego...

SBS Polish - SBS po polsku

Play Episode Listen Later Jun 11, 2023 13:57


Maciej Karpiński, prozaik, scenarzysta filmowy, pedagog i wieloletni wspólpracownik Andrzeja Wajdy. Jest założycielem i prezesem Zarządu Gildii Polskich Scenarzystów Filmowych. Do roku 2005 sprawował funkcję dyrektora Festiwalu Polskich Filmów Fabularnych w Gdyni. W 2005 został pełnomocnikiem Dyrektora Polskiego Instytutu Sztuki Filmowej ds. promocji zagranicznej. Ostatnio wydał książkę pt „Pan Wajda... Portret z pamięci”...

Bad Podcast
Road To Cannes 1981 - L'esordio di Mann, la fine di Cimino e Possession... battuti dall'attualità

Bad Podcast

Play Episode Listen Later May 3, 2023 5:33


QUESTA È UNA PREVIEW! Il podcast completo è su BadTaste+ https://wp.me/pcLE6k-2C1h La terza puntata di Road To Cannes si occupa del 1981: edizione nella quale un film accettato in concorso a festival già iniziato sbaraglia la concorrenza, è L'uomo di ferro di Andrzej Wajda, instant film sui movimenti di Solidarnosc con forti legami con un altro film, più vecchio di Wajda. Tutto il giorno dopo dell'attentato a Karol Wojtyla. Un podcast a cura di Gabriele Niola e Bianca Ferrari, prodotto da Gabriele Niola, musiche di Le piccole morti.

Filmawka: Złodzieje Rowerów
POWTÓRKA Z HOLLAND #1: “Zdjęcia próbne” (1977)

Filmawka: Złodzieje Rowerów

Play Episode Listen Later Apr 26, 2022 57:53


Polskie kino i jego historia to mnóstwo intrygujących perspektyw i opowieści. W drugim sezonie “Powtórki z…” postaramy się je przed Wami ponownie odkryć. Witajcie w świecie “Powtórki z Holland”. Pomysł na drugi sezon narodził się przy okazji zeszłorocznego Festiwalu Polskich Filmów Fabularnych w Gdyni. To tam Agnieszka Holland została nagrodzona Platynowymi Lwami za całokształt twórczości. Wtedy zdecydowaliśmy, że to właśnie o jej filmach opowiemy, skupiając się na XX wieku.  Od “Zdjęć próbnych” do ‘Trzeciego cudu”, tydzień po tygodniu. Tak można byłoby streścić “Powtórkę z Holland”. W jej ramach usłyszycie o kinie moralnego niepokoju, studiach na FAMU, zagranicznych produkcjach czy też tłumaczeniu “Nieznośnej lekkości bytu” Milana Kundery. Pierwszy odcinek poświęcamy “Zdjęciom próbnym” a w nim – opowieść o cyklu “Sytuacje rodzinne”, czemu akurat Zespół Filmowy “X”, jak długa była kolejka na premierę dzieła i próba odpowiedzi na pytanie – skąd potrzeba autotematyzmu w kinie. SPIS TREŚCI 00:10 – 2:07 – Wprowadzenie 2:07 – 8:46 – W poszukiwaniu Zespołu 8:46 – 11:56 – Zespół filmowy “X” – Andrzej Wajda i Bolesław Michałek 11:56 – 16:07 – “Wieczór u Abdona” i adaptacje Iwaszkiewicza 16:07 – 29:37 – “Niedzielne dzieci” i cykl “Sytuacje rodzinne” 29:37 – 33:44 – Powstawanie scenariusza “Zdjęć próbnych” 33:44 – 44:37 – Omówienie “Zdjęć próbnych” 44:37 – 51:47 – Recepcja filmu 51:47 – 53:40 – Telewizja a kino moralnego niepokoju 53:40 – 54:33 – Andrzej Wajda o “Zdjęciach próbnych” 54:33 – Bibliografia i zakończenie Bibliografia zalecana jako uzupełnienie odcinka: Książki: – S.Bobowski, W poszukiwaniu siebie. Twórczość filmowa Agnieszki Holland, Wydawnictwo Uniwersytetu Wrocławskiego, 2001 – P. Bliński, Kinematograf o sobie, Wydawnictwo Uniwersytetu Gdańskiego, 2021 – Holland. Przewodnik Krytyki Politycznej, Warszawa 2012 – M.Hendrykowska, Kronika kinematografii polskiej 1895 – 1997, Ars Nova, 1999 – M.Jankun – Dopartowa, Gorzkie kino Agnieszki Holland, słowo/obraz/terytoria, 2000 – M.Kornatowska, Magia i pieniądze, Wydawnictwo Znak, 2012 – T.Lubelski, Historia kina polskiego 1895 – 2014, Universitas – K.Mąka – Malatyńska, Agnieszka Holland, Biblioteka Więzi, 2009 – K.Pasternak, Holland. Biografia od nowa, Wydawnictwo Znak, 2022 – A.Szczepańska, Do granic negocjacji. Historia zespołu filmowego “X” Andrzeja Wajdy (1972 – 1983), Universitas, 2017 Artykuły:  – J.Domaradzki, Film jest sztuką, “Film” 6/1973 – C.Dondziłło, Dzieci, rzeczy i szczęście, “Film” 13/1977 – B.Janicka, Miejsce w środku, “Kino” 3/1977 – H.Samsonowska, Rodzina – portret z natury, “Kino” 10/1977 – T.Sobolewski, Paweł odchodzi, “Film” 23/1977 – Wywiad o powstawaniu “Zdjęć próbnych” – prowadzenie B. Zagroba, “Film”, 5/1977 ︎ Podcast jest produkcją portalu Filmawka. Za przygotowanie merytoryczne oraz jego prowadzenie odpowiedzialny jest Maciej Kędziora, a za produkcję graficzną oraz dźwiękową odpowiadają Maja Głogowska oraz Szymon Pietrzak. Cykl jest całkowicie darmowy, publikowany co wtorek na platformach takich jak Spotify, iTunes, czy YouTube. Na okładce wykorzystaliśmy zdjęcia Agnieszki Holland dostępne w serwisie “Fototeka” Filmoteki Narodowej – Instytutu Audiowizualnego. W muzycznym wprowadzeniu do podcastu słychać fragment uwertury “Eros et Psyche” Lee Maddeforda oraz zapowiedź występu Agnieszki Holland przez dyrektora festiwalu w Rotterdamie. Zachęcamy do obserwowania nas na Spotify oraz do wystawienia pięciu gwiazdek na Apple Podcasts. To pozwala podcastowi piąć się do góry w rankingu. Cały projekt będzie dostępny również na naszym kanale YouTube!

F**k Your Opinion
Ep 58: F**k Kanal!

F**k Your Opinion

Play Episode Listen Later Mar 7, 2022 63:43


Join Sean and Giannis in the sewers as Sean and Giannis try to evade Nazis as they watch "Kanal".Support the show (https://www.patreon.com/fkyouropinionpodcast)

Kurbli
Kurbli - 2022.01.28. (Andrzej Wajda: Hamu és gyémánt)

Kurbli

Play Episode Listen Later Jan 29, 2022 30:01


A Kurbli bemutatja Andrzej Wajda Hamu és gyémánt című lengyel háborús filmdrámáját. A főszereplő Zbigniew Cybulski, Maciek figurájának megformálásával a második világháború utáni lengyel nemzedék hőse lett, amolyan kelet-európai James Dean.

Podcast de La Gran Evasión
352 - Danton - Andrzej Wajda - La gran Evasión

Podcast de La Gran Evasión

Play Episode Listen Later Jan 7, 2022 87:53


Robespierre y Danton, figuras principales en la Revolución Francesa, dos personalidades fuertes y diferentes protagonizan este pedazo de la historia dirigido por Andrzej Wajda. Los actores Gerard Depardieu y Wojciech Pszoniak dan vida a dos hombres que compartieron ideales revolucionarios hasta que sus posturas divergieron. A lo largo del metraje se suceden las rencillas, las intrigas y las discusiones de los miembros del Comité de Salud Pública, el exaltado Saint Just, mano derecha de Robespierre, o los partidarios de Danton, el Cordelier Camille Desmoulins, y su amada Lucille. Todos eran jacobinos, compartían objetivos e ideales, hoy están enfrentados a muerte. Corre 1794, el año segundo de la República. Tiempos de miedo y carestía, cualquier ciudadano puede ser señalado por no cumplir los dictados de la República. La Revolución es como Saturno, devora a sus propios hijos, Wajda pone en boca de Danton esta frase. El diputado de la Convención ha vuelto a París pidiendo mesura a una espiral de ejecuciones que él mismo empezó. El requisamiento del periódico, las detenciones arbitrarias. Ya le espeta Philippeaux a un aterrado Demoulins en su angustiosa espera, ante la certeza de que su cabeza va a caer también en la cesta, los mecanismos de la política no tienen nada que ver con la justicia. En su cita, Danton ofrece suculentos manjares a su invitado, Maximilien, no probará bocado. Es imposible el entendimiento entre el Incorruptible, y el bon vivant, impulsivo Georges. A Robespierre no le tiembla el pulso, no derramará el vino aunque la copa esté llena hasta el borde. Danton, lenguaraz, impulsivo, se caga en los comités, él conoce al pueblo bien, de cerca. Se siente siempre en el film de Wajda la confusión, la inseguridad, la improvisación de unos hombres superados por las circunstancias. El hambre en las calles, la corrupción del poder durante el Reinado del Terrorlos arrestados hacinados en la Conciergerie, prisión y pórtico de la guillotina. El acero del artefacto espera, cubierto aún, en el cadalso. Wajda quiere ser veraz y lo consigue, reproduce las tensiones de esos hombres, el miedo de Lucille, la esposa de Demoulins, la incertidumbre de la sirvienta de Maximilien, le dice que nunca le ha visto tan atormentado. Maxim se siente atrapado en un dilema sin solución, si gana el proceso de Danton, el pueblo se le echará encima, si pierde, también. Mientras decapitan a Danton y sus seguidores, Robespierre observa con ojos vidriosos al hermano de su sirvienta recitar los Derechos del Hombre, prescritos antes por Saint-Just, por Danton, por él mismo, inspirados por Rousseau. El niño recita la letanía de memoria y quizá el febril dictador, en su contradicción, recuerda su infancia en un colegio donde recitó un discurso de bienvenida al mismo rey Luis XVI. R G Esta noche Danton grita al verdugo que valdrá la pena mostrar su cabeza a ese pueblo que le adora… Con Zacarías Cotán, Salvador Limón y Raúl Gallego

Walkie-Talkie ft. Michał Walkiewicz
Jak pokochała film. Agnieszka Grochowska

Walkie-Talkie ft. Michał Walkiewicz

Play Episode Listen Later Jan 6, 2022 9:39


Michał Walkiewicz zaczyna od dobrych wiadomości: nie ma żadnych. Później próbuje podsumować Agnieszkę Grochowską. Ale czy zdąży w mniej niż godzinę? Aktorka jest twarzą dwóch dekad polskiego kina, więc będzie o czym rozmawiać. To rozmowa o nowych projektach, pracy na planach filmowych - polskich i zagranicznych, ale też wspomnienia z początków kariery. Pojawi się historia o angażu do Teatru Telewizji, który zaproponował jej Jan Englert jeszcze w czasie studiów (a krążyła plotka, że jeśli Englert kogoś wybiera, to ten ktoś niedługo…), o wejściu w świat, który wydawał się niedostępny i o pracy z legendami (Maja Komorowska, Andrzej Wajda, Zbigniew Zapasiewicz… Długo by wymieniać!). Jak do jej filmografii ma się komedia romantyczna „Tylko mnie kochaj”? Co nowego dla siebie odkryła po roli w „Jak pokochałam gangstera”? Jak odbierać słynne zakończenie filmu „Pręgi”? Zapraszamy na WALKIE-TALKIE.

Semi-Cinematic
Episode 9: Discoveries Part 1

Semi-Cinematic

Play Episode Listen Later Dec 24, 2021 87:11


Don't listen to Hunter, this is not episode eight. This is episode nine. This week, we talk about some of our most anticipated releases of 2022, what we've been watching recently, and then we review two of Hunter's favorite discoveries of the year. First, we learn how to pronounce Andrzej Wajda before we review his masterpiece, Kanal. In our second review, we continue to struggle with pronunciations of the names of the cast and crew of the legendary samurai film, The Sword of Doom. These are bleak films but it's a fun conversation we think you'll enjoy. You can follow us on Instagram: https://www.instagram.com/semi_cinematic Facebook: https://www.facebook.com/semicinematicpod https://twitter.com/semi_cinematic Semi Cinematic on Letterboxd: https://letterboxd.com/semicinematic/ Hunter on Letterboxd: https://letterboxd.com/huntertrobinson/ John on Letterboxd: https://letterboxd.com/aliasgenius/ Max on Letterboxd: https://letterboxd.com/maxmaniels/ email us at: semicinematicpod@gmail.com

Página 13 - Podcast
Martínez y Cavallo por la oscura historia real que plasma la recién estrenada “La casa Gucci”, y los 40 años de “El hombre de hierro” de Andrzej Wajda

Página 13 - Podcast

Play Episode Listen Later Nov 26, 2021 51:54


En una nueva edición del viernes de cine en Página 13, Iván Valenzuela conversó con Ascanio Cavallo y Antonio Martínez, sobre la codicia y el drama que conviven en “La casa Gucci”, película basada en una oscura historia real. Además, profundizaron en el aniversario número 40 de “El hombre de hierro”, de Andrzej Wajda.

Página 13 - Podcast
Martínez y Cavallo por la oscura historia real que plasma la recién estrenada “La casa Gucci”, y los 40 años de “El hombre de hierro” de Andrzej Wajda

Página 13 - Podcast

Play Episode Listen Later Nov 26, 2021 51:54


En una nueva edición del viernes de cine en Página 13, Iván Valenzuela conversó con Ascanio Cavallo y Antonio Martínez, sobre la codicia y el drama que conviven en “La casa Gucci”, película basada en una oscura historia real. Además, profundizaron en el aniversario número 40 de “El hombre de hierro”, de Andrzej Wajda.

Lost in Criterion
Spine 464: Danton

Lost in Criterion

Play Episode Listen Later Aug 6, 2021 89:20


Andrzej Wajda's Danton explores the French revolution through the Polish director's own experience under Soviet rule, a rule he saw as anti-worker and therefore anti-progress. Using the titular Danton and Robespierre, the film presents the tension of revolution, or perhaps violent revolution, if Wajda makes such a distinction, and particularly a revolution that seeks only to rotate who is in power instead of upturning power hierarchies. Revolutions that promise equality without upheaving power structures aren't revolutions. Equality must always broaden.

Lost in Criterion

Andrzej Wajda's Danton explores the French revolution through the Polish director's own experience under Soviet rule, a rule he saw as anti-worker and therefore anti-progress. Using the titular Danton and Robespierre, the film presents the tension of revolution, or perhaps violent revolution, if Wajda makes such a distinction, and particularly a revolution that seeks only to rotate who is in power instead of upturning power hierarchies. Revolutions that promise equality without upheaving power structures aren't revolutions. Equality must always broaden.

BASTA BUGIE - Cinema
FILM GARANTITI: Walesa, l'uomo della speranza (2013) - Storia romanzata di Lech Walesa e Solidarnosc

BASTA BUGIE - Cinema

Play Episode Listen Later Jul 16, 2021 7:28


TESTO DELL'ARTICOLO ➜ http://www.bastabugie.it/it/articoli.php?id=2955UOMO DELLA SPERANZA, IL FILM DI ANDRZEJ WAJDA SU LECH WALESA di Alessandra De Luca«Ho vissuto in Polonia l'occupazione nazista, la guerra, il regime comunista, l'affermarsi della libertà. Guardando i fatti della storia è sempre difficile separare colpevoli e innocenti, ma di una cosa sono certo: Lech Walesa è un indiscusso eroe dei nostri tempi. È stato il primo operaio a svolgere un ruolo determinante nella vita politica del nostro paese, che prima vedeva protagonisti solo intellettuali e aristocratici. Walesa ha capito che negoziare era meglio che ricattare e ha portato al successo l'intera Europa senza spargimenti di sangue». Ad affermarlo è il regista Andrzej Wajda, che ieri a Venezia ha presentato fuori concorso Walesa - Uomo della speranza , ritratto tra pubblico e privato del leader del sindacato Solidarnosc che ha capovolto l'ordine politico del dopoguerra europeo diventando simbolo della lotta per la democrazia. Dallo sciopero nel cantiere navale di Danzica nel 1970 all'elezione di Walesa alla Presidenza della Repubblica nel 1990, passando per l'introduzione della legge marziale in Polonia nel 1981 e l'assegnazione del Nobel per la Pace nel 1983 ritirato dalla moglie Danuta, il film ricostruisce la nascita della Nuova Europa utilizzando come griglia narrativa la celebre e profetica intervista che la giornalista Oriana Fallaci (interpretata da Maria Rosaria Omaggio), fece nel 1981 a un uomo tanto carismatico e coraggioso quanto controverso.«Walesa è il soggetto più difficile con il quale ho avuto a che fare durante i miei 55 anni di carriera cinematografica. Ammiro Lech da quando l'ho incontrato durante le trattative tra Solidarnosc e la Commissione Governativa e sono rimasto subito impressionato dalla sua lungimiranza, dalla lucidità con la quale valutava ciò che stava accadendo. Realizzare L'uomo di ferro nel 1981, film che ottenne un enorme successo in Polonia e che a Cannes vinse la Palma d'Oro, ha creato un rapporto ancora più forte con il movimento. Vorrei che questo film attirasse soprattutto i giovani. Quelli di una volta si facevano crescere i baffi per assomigliare a Lech, quelli di oggi non hanno idea di chi sia Walesa, un buon esempio per convincerli a partecipare attivamente alla nostra vita politica».Due scene nel film ci ricordano in modo particolare l'importanza che ebbe Karol Wojtyla nella lotta per la conquista della libertà: la famiglia Walesa in ginocchio davanti alle immagini televisive di papa Giovanni Paolo II in Polonia, nel 1979, visita che attirerà milioni di polacchi facendo crescere il ruolo della Chiesa Cattolica, e la firma delle trattative tra Solidarnosc, i comunisti e la Chiesa, firma per la quale Walesa utilizzò una grossa penna con le immagini del Santo Padre. «Solidarnosc non è stato il frutto delle conversazioni tra Walesa e Wojtyla, arrivato sulla scena quando il processo di rinnovamento era già in atto – spiega Wajda – ma la sua prima visita in Polonia dimostrò a tutti i cattolici polacchi che potevano sconfiggere la paura, che non avevano bisogno di alcun regime e che erano pronti per la libertà. Un evento che cambiò la mentalità dei miei connazionali e contribuì moltissimo al rafforzamento di Solidarnosc. In Wojtyla, che svolse un ruolo decisivo all'indomani dell'introduzione della legge marziale, il nostro paese aveva finalmente un rappresentante nel mondo molto più forte di qualunque politico a Mosca».Maria Rosaria Omaggio che sullo schermo fronteggia Walesa con pari carisma, aggiunge a proposito di Giovanni Paolo II: «Nulla mi ha spaventato nell'incarnare sullo schermo questa celebre giornalista, regina degli opposti. L'unico momento difficile è stato quando dovevo guardare una foto di Wojtyla vescovo esprimendo scetticismo e sfiducia: una scena che mi è costata una gran fatica visto l'amore che ho sempre provato per il futuro Pontefice».

Cinefilia & Companhia
Episódio 12 – Olhares sobre o Festival de Cannes

Cinefilia & Companhia

Play Episode Listen Later Jul 12, 2021 92:34


Com a realização do Festival de Cannes 2021, Hugo, Juliana e Henrique decidiram escolher três filmes vencedores da Palma de Ouro e discuti-los neste episódio. Começam com um debate a respeito da importância histórica do festival, além do que aguardam para a edição deste ano. A conversa prossegue com o bate-papo sobre os filmes “O homem de ferro”, de Andrzej Wajda, “Coração selvagem”, de David Lynch, e “Gosto de cereja”, de Abbas Kiarostami. Trata-se de filmes repletos de camadas e ousadia, o que pode indicar um certo “espírito do tempo” de quando foram premiados. O título deste episódio inaugura uma modalidade que terá outras ocorrências no podcast: os “Olhares” trarão um recorte referente ao tema escolhido. Por saberem que não é possível abordar o tema por completo, nossos cinéfilos direcionam o foco para alguns títulos, a fim de, por meio do aprofundamento daquele filme específico, permitir um lampejo de compreensão para todos – tanto ouvintes quanto os próprios participantes. ------------------------------------------------- Entre em contato com o Cinefilia & Companhia, e deixe seus comentários, elogios e opiniões sobre os filmes tratados. E-mail: cinefilia.companhia@gmail.com Instagram: @cinefiliaecompanhia ------------------------------------------------- Coordenação, Pauta e Apresentação: Henrique Pires, Hugo Harris e Juliana Varella Edição do episódio: Hugo Harris Edição de vídeos: Gabriel Almeida Artes gráficas: Joe Borges

The Film Programme
Iron Curtain Directors

The Film Programme

Play Episode Listen Later Jun 24, 2021 27:46


With Francine Stock What was it like working behind the Iron Curtain, when every dot and comma of a script had to be passed by the censor. Francine delves into the archives and hears from Milos Forman, Andrzej Wajda, Agnieszka Holland, Miklos Jancso, Jerzy Skolimowski, Krzysztof Zanussi, Jiri Menzel and Andrei Konchalovsky.

The Criterion Quest
Episode 282, 283, 284 & 285: Three War Films by Andrzej Wajda

The Criterion Quest

Play Episode Listen Later Jun 3, 2021 131:34


After abandoning the toxic relationships in Paris, Lee & Chris embark on an epic journey through war torn Poland, first encountering a boy wanting to make a stand, followed by a platoon doing what they can to survive before finally meeting a young man at a critical crossroad as the war draws to an end.

GHOST KINO
Episode 7: Ashes and Diamonds (1958)

GHOST KINO

Play Episode Listen Later May 24, 2021 55:56


Serious unity on this episode amongst Catholic potato eating peoples. The gang cannonballs into the pool of divergent ideologies that is known as Ashes and Diamonds, a 1958 film by Polish director Andrzej Wajda that examines the immediate interwar period following the end of WWII. We chat about the film's criticisms of hierarchy, how it can be viewed through an anarchist angle, and our mutual thirst for Zbigniew Cybulski (who was referred to as the “Polish James Dean” in his time). Also we're not doing Sálo or The Phantom Menace next week as a head's up bc we're not emotionally equipped to tackle either film.Follow the show on Instagram for more updates: https://www.instagram.com/ghostkinopodcast/

Criterion Creeps
Criterion Creeps Episode 241: Andrzej Wajda Three War Films

Criterion Creeps

Play Episode Listen Later Apr 8, 2021 207:09


In our 241st episode, we're talking spine #282-285 in the Criterion Collection: Andrzej Wajda's THREE WAR FILMS from 1955-58. Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined to see this podcast continue to exist as new laptops don't buy themselves: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, Google Play, and Stitcher!

Ryto allegro
Ryto allegro. Plėsti diskriminacijos suvokimo ribas: naujoji lygių galimybių kontrolierė Birutė Sabatauskaitė

Ryto allegro

Play Episode Listen Later Apr 2, 2021 96:38


„Literatūros ir meno“ apžvalga.Lietuvos dailininkų sąjungos Klaipėdos skyriaus Klaipėdos galerija pristato keramikės Kristinos Paulauskaitės-Ramonaitienės kūrybos parodą „(ne)LIESTI“. Autorė sako norinti, kad keramikos kūriniai būtų ne statiški, o patrauklūs visiems žiūrovams, ypač mažiesiems, kuriems svarbu klausyti, liesti, išgyventi.Eglės Baliutavičiūtės naujų knygų apžvalga: estų rašytojos Maarjos Kangro „Stiklo vaikas” ir Neringos Vaitkutės „Jeronimas Dryžius ir įsivaizduojamų draugų departamentas”.Muzikantas ir prodiuseris Viktoras Diawara įsteigė paramos fondą „Teriya“. Vienas pagrindinių fondo tikslų – Malyje įkurti kultūros centrą. Šia iniciatyva jis atiduoda pagarbą savo afrikietiškoms šaknims ir tėvui – garsiam Afrikos rašytojui Gaoussou Diawara.Darbą pradėjo naujoji lygių galimybių kontrolierė Birutė Sabatauskaitė. Kokiomis priemonėmis teisininkė ketina didinti visuomenės sąmoningumą ir suvokimą apie diskriminaciją?„4 milijonai”: pokalbis su Vokietijoje gyvenančia pianiste Guoda Gedvilaite.Pabaigus rodyti kino režisieriaus Andrzej Wajda filmų retrospektyvą, LRT PLIUS pradeda rodyti XXI a. skirtingų Lenkų kino režisierių darbus, sulaukusius didelio visuomenės dėmesio ne tik Lenkijoje, bet ir tarptautiniame kino kontekste.Dar viena naujiena LRT PLIUS eteryje – dokumentikos ciklas apie šiuolaikinio meno kūrėjus. Kiekvieną savaitę žiūrovai išvys vienas kitą papildančius „Vizionierių“ ir „Nuostabių minčių“ dokumentikos epizodus, supažindinsiančius su svarbiausiais Lietuvos ir užsienio šiuolaikinio meno kūrėjais.Ved. Indrė Kaminckaitė

The Moral Imagination
Ep. 31: Communism and Film: Deceit, Privacy, Art, and the Effects of Tyranny on the Soul, with Titus Techera and Flagg Taylor

The Moral Imagination

Play Episode Listen Later Mar 29, 2021 134:42


In this episode, I speak with Titus Techera and Flagg Taylor about several films that address communism and the effects of tyranny and deceit on the human soul. We discuss themes of courage, freedom, privacy, shame, the purpose and role of art, and how we can become comprised over time by assenting to falsehood. We discuss how these films portray the challenges for regular people and how the experience of living under communism has lessons for us today. We also discuss the question of art and its relation to beauty, truth, and morality. Films we discuss include Florian Henckel von Donnersmarck's "The Lives of Others", about the spying of East German Stasi, and "Never Look Away", about Nazi and Communist totalitarianism, eugenics, truth, and the role of art. We also discuss the brilliant Polish film by Andrzej Wajda, "Katyn", about the Soviet murder of 12,000 Polish army officers, "Mr. Jones", about the Ukrainian Genocide by the Soviet Union, and more. These films are morally serious and very important for many reasons, not only because they clearly present the evils of communism, but because they powerfully reveal the challenges of living under totalitarianism and make us wrestle with our own weaknesses and corruption. They don't let us off the hook easily or simplify the difficulties. They also challenge us to self-introspection. As a character in "Katyn" says, "What does it matter that you think differently, if you don't act or live differently?" Warning: these films are not for children. They have some disturbing scenes, and I discuss some of my critiques in the podcast. Visit https://themoralimagination.com/episodes/titus-techera-amp-flagg-taylor for show notes and resources.

ACFmovie podcast
ACF Europe #13 Afterimage

ACFmovie podcast

Play Episode Listen Later Mar 12, 2021 61:33


Titus & Flagg discuss Andrzej Wajda's last movie, a portrait of Poland's most famous painter, Wladyslaw Strzeminski, his struggle against Communism, how tyranny destroyed him, & his activity as a teacher.

WDR ZeitZeichen
Andrzej Wajda, poln. Filmregisseur (Geburtstag, 06.03.1926)

WDR ZeitZeichen

Play Episode Listen Later Mar 5, 2021 14:56


Der Pole Andrzej Wajda gehörte zu den bedeutendsten Filmregisseuren Europas. Seine Mutter arbeitete als Lehrerin und sein Vater als Berufsoffizier. Wajda wuchs im militärischen Milieu auf. Bei einer Massenexekution 1940 wurde sein Vater ermordet. Während der deutschen Besetzung schloss er sich mit 16 Jahren der polnischen Untergrundarmee an. Autor: Detlef Wulke

Criterion Channel Surfing
Criterion Channel Surfing, Episode 38: The Masters on Other Streaming Services

Criterion Channel Surfing

Play Episode Listen Later Feb 3, 2021 26:24


Josh is joined once again by critic Britt Coundiff to finish their conversation on “The Masters” – this time focusing on films from some of the greatest filmmakers in cinema that are available on other streaming services. Episode Links The Criterion Channel Club Facebook Group Ashes and Diamonds, Directed by Andrzej Wajda | Where to Watch … Continue reading "Criterion Channel Surfing, Episode 38: The Masters on Other Streaming Services" The post Criterion Channel Surfing, Episode 38: The Masters on Other Streaming Services appeared first on Cinema Cocktail.

Filmmaking Confidential

Marek Probosz is a preeminent film, television and stage actor in his native Poland, and likened across Eastern Europe as "the DeNiro of Poland,” Probosz has more than 50 starring roles to his credit. Many of his films have competed in key international festivals including Venice (Jerzy Skolimowski’s 30 Door Key, 1991), Cannes and Karlovy Vary (Jirí Svoboda’s award-winning End of the Lonely Farm Berghof, 1984) and San Sebastian (Frantisek Vlácil’s The Shadow of the Ferns, 1984). Probosz’s theatrical adaptation of Oscar Wilde’s Salome, which he wrote, directed and starred in, was cited by the Czech National Critics Poll as the No. 2 artistic event of 1986, after Sir Richard Attenborough’s Oscar-winning film Gandhi (1983) and ahead of Ingmar Bergman’s Oscar-winning Fanny and Alexander (1982).In 1987, Probosz came to the United States at the invitation of American Cinematheque. Since that time, he has collaborated with such Academy Award winners and nominees as F. Murray Abraham, Warren Beatty, Annette Bening, Don Cheadle, Katharine Hepburn; cinematographers Conrad Hall, Ryszard Lenczewski and Matthew Libatique; composer Jan A.P. Kaczmarek; directors Darren Aronofsky, Todd Field, Agnieszka Holland, Scott Silver and Andrzej Wajda; costume designer Theodor Pistek and art director Ewa Braun.Probosz’s film and television career spans roles in Polish, Czech, German, French, Italian and American productions and co-productions. In the United States, he most recently guest-starred on CBS' Scorpion. He has also had guest-starring roles on ABC’s Scandal, CBS’ Numbers, NBC’s JAG and USA’s Monk. He received strong reviews from The New York Times, The Hollywood Reporter and Variety for his portrayal of Roman Polanski in the 2004 CBS miniseries Helter Skelter.From 2004-2009, Probosz portrayed the first homosexual character featured on Polish national television, Grzegorz Gorski, in the highly rated Polish drama L Like Love. In 2006, Probosz starred as the Polish WWII hero Witold Pilecki in The Death of Captain Pilecki, which garnered the Special Jury REMI Award at the 2007 WorldFest-Houston International Independent Film Festival and had screenings at consulates, universities and embassies throughout the world. In 2012, he recorded the audiobook The Auschwitz Volunteer: Beyond Bravery, about Pilecki, for Audible.com, which received an IBPA Benjamin Franklin Silver Award in 2013 and a Prose Award in 2012.Probosz is the author of two books published in Poland: The novel Eldorado (2009) and Call Me When They Kill You (2011), a collection of short stories.In 2011, Probosz was awarded the Mortui Sunt Ut Liberi Vivamus Bronze Medal in London and the Gold Medal Knight of Humanity in Auschwitz for his portrayal of Witold Pilecki and in recognition of his outstanding services in sharing Pilecki’s ideals of heroism beyond religion, race and time around the world. In Spring 2017, Probosz starred as Pilecki in a multimedia stage production of The Auschwitz Volunteer at American Jewish University and UCLA.

Face2Face with David Peck
Propaganda, Oppression & Truth

Face2Face with David Peck

Play Episode Listen Later Aug 19, 2020 32:24


Agnieszka Holland’s and Face2Face host David Peck talk about her compelling and beautiful new film Mr. Jones, propaganda, polarization of the media, oppression, duty and responsibility and King Leopold’s Ghost.TrailerSynopsis:Agnieszka Holland’s thriller, set on the eve of WWII, sees Hitler’s rise to power and Stalin’s Soviet propaganda machine pushing their utopia to the Western world.Starring Peter Sarsgaard, James Norton and Vanessa Kirby this is an important and timeless story. It is history to be sure, but relevant today as it take on topics like the fake news, alternative realities, corruption of the media, cowardice of governments and indifference.An ambitious young journalist, Gareth Jones (Norton) travels to Moscow to uncover the truth behind the propaganda, but then gets a tip that could expose an international conspiracy, one that could cost him and his informant their lives. Jones goes on a life-or-death journey to uncover the truth behind the facade that would later inspire George Orwell’s seminal book Animal Farm.About the Director:Agnieszka Holland was born into an intellectual family in Warsaw, Poland. She graduated from FAMU, the Film and TV School of the Academy of Performing Arts in Prague in 1971. She returned to Poland and began her film career working with Krzysztof Zanussi as an assistant director, and joined the group of promising young Polish directors, the filmmakers of moral unrest, associated with her mentor, the acclaimed Polish filmmaker, Andrzej Wajda.Earlier in her career, she also directed in the theatre, sometimes with her husband, Laco Adamik. Her TV film debut was “An Evening at Abdon's"(1975) and her first feature film was Provincial Actors, one of the flagship pictures of the cinema of moral disquiet and the winner of the International Critics Prize at the Cannes Film Festival in 1980.Her films often continued to have political and/or Polish themes and earned a great deal of critical acclaim. Holland received an Academy Award nomination for best foreign language film for Angry Harvest. Subsequently she directed To Kill a Priestand Europa Europa, for which she won a Golden Globe and received her second Academy Award nomination for best screenplay.Agnieszka has also worked extensively in television. Holland directed Red Wind as part of the Fallen Angels limited series and several years later, she directed Shot in the Heart for HBO. She also directed numerous episodes of the lauded series, The Wire, created by David Simon, also for HBO. Her credits also include several acclaimed episodes of the AMC series, The Killing, as well as episodes of Cold Case.Holland’s body of work often reflects her Jewish and Catholic roots, dealing with issues of faith and mysticism. She often portrays people looking for a way out, striving for self-fulfillment, pursuing happiness and failing or being forced to settle for a dubious compromise and her work poses the question of how human beings morally deal with critical situations.Image Copyright and Credit: Film Produkcja and Agnieszka HollandF2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck’s podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Seasons: A Year of Movies
Seasons 32: Man of Marble

Seasons: A Year of Movies

Play Episode Listen Later Jul 19, 2020


Emma and Grace watched Andrzej Wajda’s Man of Marble the dehumanizing and humanizing process of filmmaking, the act of depicting labor on screen, and questions of what it means to watch a film that critiques non-capitalist societies. Emma makes a killer point about how abstract art is deployed in this film and Grace goes on a long tangent about Walter Benjamin.Follow Grace on Twitter @grace_machine Follow Emma on Twitter @uofwhales Follow the show @seasonsmoviepodPodcast art by Cecil Smith. Follow him on Instagram at @ cecil_smith_Email us questions at seasonspod@gmail.comNext movie is Norma Rae

Niech się kręci!
#3 Jarosław Kamiński - montaż

Niech się kręci!

Play Episode Listen Later Jan 21, 2020 47:45


Na czym polega montaż filmowy? Z kim pracuje montażysta? Jak wygląda ta praca na co dzień?I jak czerpać radość i satysfakcję z tego zawodu?Jarosław Kamiński - montażysta filmowy, wykładowca łódzkiej PWSFTviT, współzałożyciel Polskiego Stowarzyszenia Montażystów, członek Polskiej Akademii Filmowej, Europejskiej Akademii Filmowej oraz Amerykańskiej Akademii Sztuki i Wiedzy Filmowej.Zmontował niezliczoną ilość filmów fabularnych, dokumentalnych, seriali oraz spektakli telewizyjnych. Link do IMDb: https://www.imdb.com/name/nm0436722/Link do bazy FilmPolski.pl: http://www.filmpolski.pl/fp/index.php?osoba=1126491Nawiązując do naszej rozmowy (fragment 35:12), poniżej znajdziecie tytuły filmów polecanych przez Jarosława Kamińskiego:„All that jazz” reż. Bob Fosse, „Bal” reż. Ettore Scola,„Dawno temu w Ameryce” reż. Sergio Leone,„Fight Club” reż. David Fincher,„Idź i patrz” reż. Elem Klimow,„Magnolia” reż. Paul T. Anderson,„Memento” reż. Christopher Nolan,„Przełamując fale” reż. Lars von Trier,„Rozmowa” reż. Francis Ford Coppola,„Spragnieni miłości” reż. Wong Kar-Wai,„Szczęście ty moje” reż. Siergiej Łoźnica,„Taksówkarz” reż. Martin Scorsese,„Ziemia obiecana” reż. Andrzej Wajda.

USMARADIO
La pulsazione della memoria - Tadeusz Kantor | V episodio

USMARADIO

Play Episode Listen Later Jan 13, 2020 45:36


LA PULSAZIONE DELLA MEMORIA IL TEATRO DI TADEUSZ KANTOR
 5 audiodocumentari dedicati al grande regista polacco a cura di Paola Bianchi e Silvia Parlagreco traduzione dal polacco Daniela Fatone traduzione dal francese Ludmila Ryba
voce narrante Paola Bianchi produzione associazione culturale Agar
in collaborazione con Istituto Polacco di Roma; Cricoteka di Cracovia - Centro di Documentazione dell'Arte di Tadeusz Kantor; Polskie Radio - l'emittente radiofonica nazionale polacca. LA PULSAZIONE DELLA MEMORIA – IL TEATRO DI TADEUSZ KANTOR, ciclo di cinque audiodocumentari dedicati al teatro di Tadeusz Kantor, è stato realizzato in collaborazione con la Cricoteka di Cracovia, l'Istituto Polacco di Roma e Polskie Radio nel 2015. Il progetto mira a ricreare nell'immaginario degli ascoltatori la percezione fisica ed emotiva del teatro di Tadeusz Kantor. Considerata la lontananza temporale che ci divide dal teatro di Kantor che morì l'8 dicembre del 1990, l'impossibilità per altri autori di rimettere in scena i suoi spettacoli e la scarsità delle riprese filmiche dei primi spettacoli, il mezzo radiofonico va a colmare un vuoto ristabilendo un filo di connessione. Non solo, sotto il profilo emotivo, la trasmissione radiofonica si rivela persino più efficace della visione delle riprese video. Come la lettura di un libro, così l'ascolto per radio mette in moto senza barriere l'immaginazione e restituisce con maggiore potenza l'emozione e la commozione. Nella descrizione degli spettacoli si è cercato di dare in aggiunta le informazioni necessarie a collocare il periodo storico e a indicare le intenzioni sceniche dell'autore. In ognuna delle puntate si è riportata l'intervista di uno dei testimoni di quello stesso teatro. Sono due le autrici di questa ricostruzione sonora: > Paola Bianchi, coreografa e danzatrice, attiva sulla scena della danza contemporanea a partire dalla fine degli anni ottanta. Attenta alla teorizzazione delle pratiche corporee nel 2014 scrive Corpo Politico _ distopia del gesto, utopia del movimento, volume curato da Silvia Bottiroli e Silvia Parlagreco, pubblicato da Editoria & Spettacolo. www.paolabianchi.com > Silvia Parlagreco, ricercatrice e organizzatrice indipendente in ambito culturale e artistico, è da molti anni impegnata nello studio dell'opera degli artisti polacchi del Novecento, in particolare di Tadeusz Kantor e Andrzej Wajda. È curatrice di numerosi testi sulla loro opera, specie di traduzioni di testi autografi.

USMARADIO
La pulsazione della memoria - Tadeusz Kantor | IV episodio

USMARADIO

Play Episode Listen Later Jan 7, 2020 36:11


LA PULSAZIONE DELLA MEMORIA IL TEATRO DI TADEUSZ KANTOR
 5 audiodocumentari dedicati al grande regista polacco a cura di Paola Bianchi e Silvia Parlagreco traduzione dal polacco Daniela Fatone traduzione dal francese Ludmila Ryba
voce narrante Paola Bianchi produzione associazione culturale Agar
in collaborazione con Istituto Polacco di Roma; Cricoteka di Cracovia - Centro di Documentazione dell'Arte di Tadeusz Kantor; Polskie Radio - l'emittente radiofonica nazionale polacca. LA PULSAZIONE DELLA MEMORIA – IL TEATRO DI TADEUSZ KANTOR, ciclo di cinque audiodocumentari dedicati al teatro di Tadeusz Kantor, è stato realizzato in collaborazione con la Cricoteka di Cracovia, l'Istituto Polacco di Roma e Polskie Radio nel 2015. Il progetto mira a ricreare nell'immaginario degli ascoltatori la percezione fisica ed emotiva del teatro di Tadeusz Kantor. Considerata la lontananza temporale che ci divide dal teatro di Kantor che morì l'8 dicembre del 1990, l'impossibilità per altri autori di rimettere in scena i suoi spettacoli e la scarsità delle riprese filmiche dei primi spettacoli, il mezzo radiofonico va a colmare un vuoto ristabilendo un filo di connessione. Non solo, sotto il profilo emotivo, la trasmissione radiofonica si rivela persino più efficace della visione delle riprese video. Come la lettura di un libro, così l'ascolto per radio mette in moto senza barriere l'immaginazione e restituisce con maggiore potenza l'emozione e la commozione. Nella descrizione degli spettacoli si è cercato di dare in aggiunta le informazioni necessarie a collocare il periodo storico e a indicare le intenzioni sceniche dell'autore. In ognuna delle puntate si è riportata l'intervista di uno dei testimoni di quello stesso teatro. Sono due le autrici di questa ricostruzione sonora: > Paola Bianchi, coreografa e danzatrice, attiva sulla scena della danza contemporanea a partire dalla fine degli anni ottanta. Attenta alla teorizzazione delle pratiche corporee nel 2014 scrive Corpo Politico _ distopia del gesto, utopia del movimento, volume curato da Silvia Bottiroli e Silvia Parlagreco, pubblicato da Editoria & Spettacolo. www.paolabianchi.com > Silvia Parlagreco, ricercatrice e organizzatrice indipendente in ambito culturale e artistico, è da molti anni impegnata nello studio dell'opera degli artisti polacchi del Novecento, in particolare di Tadeusz Kantor e Andrzej Wajda. È curatrice di numerosi testi sulla loro opera, specie di traduzioni di testi autografi.

USMARADIO
La pulsazione della memoria - Tadeusz Kantor | III episodio

USMARADIO

Play Episode Listen Later Dec 27, 2019 40:10


LA PULSAZIONE DELLA MEMORIA IL TEATRO DI TADEUSZ KANTOR
 5 audiodocumentari dedicati al grande regista polacco a cura di Paola Bianchi e Silvia Parlagreco traduzione dal polacco Daniela Fatone traduzione dal francese Ludmila Ryba
voce narrante Paola Bianchi produzione associazione culturale Agar
in collaborazione con Istituto Polacco di Roma; Cricoteka di Cracovia - Centro di Documentazione dell'Arte di Tadeusz Kantor; Polskie Radio - l'emittente radiofonica nazionale polacca. LA PULSAZIONE DELLA MEMORIA – IL TEATRO DI TADEUSZ KANTOR, ciclo di cinque audiodocumentari dedicati al teatro di Tadeusz Kantor, è stato realizzato in collaborazione con la Cricoteka di Cracovia, l'Istituto Polacco di Roma e Polskie Radio nel 2015. Il progetto mira a ricreare nell'immaginario degli ascoltatori la percezione fisica ed emotiva del teatro di Tadeusz Kantor. Considerata la lontananza temporale che ci divide dal teatro di Kantor che morì l'8 dicembre del 1990, l'impossibilità per altri autori di rimettere in scena i suoi spettacoli e la scarsità delle riprese filmiche dei primi spettacoli, il mezzo radiofonico va a colmare un vuoto ristabilendo un filo di connessione. Non solo, sotto il profilo emotivo, la trasmissione radiofonica si rivela persino più efficace della visione delle riprese video. Come la lettura di un libro, così l'ascolto per radio mette in moto senza barriere l'immaginazione e restituisce con maggiore potenza l'emozione e la commozione. Nella descrizione degli spettacoli si è cercato di dare in aggiunta le informazioni necessarie a collocare il periodo storico e a indicare le intenzioni sceniche dell'autore. In ognuna delle puntate si è riportata l'intervista di uno dei testimoni di quello stesso teatro. Sono due le autrici di questa ricostruzione sonora: > Paola Bianchi, coreografa e danzatrice, attiva sulla scena della danza contemporanea a partire dalla fine degli anni ottanta. Attenta alla teorizzazione delle pratiche corporee nel 2014 scrive Corpo Politico _ distopia del gesto, utopia del movimento, volume curato da Silvia Bottiroli e Silvia Parlagreco, pubblicato da Editoria & Spettacolo. www.paolabianchi.com > Silvia Parlagreco, ricercatrice e organizzatrice indipendente in ambito culturale e artistico, è da molti anni impegnata nello studio dell'opera degli artisti polacchi del Novecento, in particolare di Tadeusz Kantor e Andrzej Wajda. È curatrice di numerosi testi sulla loro opera, specie di traduzioni di testi autografi.

USMARADIO
La pulsazione della memoria - Tadeusz Kantor | II episodio

USMARADIO

Play Episode Listen Later Dec 13, 2019 34:39


LA PULSAZIONE DELLA MEMORIA IL TEATRO DI TADEUSZ KANTOR
 5 audiodocumentari dedicati al grande regista polacco a cura di Paola Bianchi e Silvia Parlagreco traduzione dal polacco Daniela Fatone traduzione dal francese Ludmila Ryba
voce narrante Paola Bianchi produzione associazione culturale Agar
in collaborazione con Istituto Polacco di Roma; Cricoteka di Cracovia - Centro di Documentazione dell'Arte di Tadeusz Kantor; Polskie Radio - l'emittente radiofonica nazionale polacca. LA PULSAZIONE DELLA MEMORIA – IL TEATRO DI TADEUSZ KANTOR, ciclo di cinque audiodocumentari dedicati al teatro di Tadeusz Kantor, è stato realizzato in collaborazione con la Cricoteka di Cracovia, l'Istituto Polacco di Roma e Polskie Radio nel 2015. Il progetto mira a ricreare nell'immaginario degli ascoltatori la percezione fisica ed emotiva del teatro di Tadeusz Kantor. Considerata la lontananza temporale che ci divide dal teatro di Kantor che morì l'8 dicembre del 1990, l'impossibilità per altri autori di rimettere in scena i suoi spettacoli e la scarsità delle riprese filmiche dei primi spettacoli, il mezzo radiofonico va a colmare un vuoto ristabilendo un filo di connessione. Non solo, sotto il profilo emotivo, la trasmissione radiofonica si rivela persino più efficace della visione delle riprese video. Come la lettura di un libro, così l'ascolto per radio mette in moto senza barriere l'immaginazione e restituisce con maggiore potenza l'emozione e la commozione. Nella descrizione degli spettacoli si è cercato di dare in aggiunta le informazioni necessarie a collocare il periodo storico e a indicare le intenzioni sceniche dell'autore. In ognuna delle puntate si è riportata l'intervista di uno dei testimoni di quello stesso teatro. Sono due le autrici di questa ricostruzione sonora: > Paola Bianchi, coreografa e danzatrice, attiva sulla scena della danza contemporanea a partire dalla fine degli anni ottanta. Attenta alla teorizzazione delle pratiche corporee nel 2014 scrive Corpo Politico _ distopia del gesto, utopia del movimento, volume curato da Silvia Bottiroli e Silvia Parlagreco, pubblicato da Editoria & Spettacolo. www.paolabianchi.com > Silvia Parlagreco, ricercatrice e organizzatrice indipendente in ambito culturale e artistico, è da molti anni impegnata nello studio dell'opera degli artisti polacchi del Novecento, in particolare di Tadeusz Kantor e Andrzej Wajda. È curatrice di numerosi testi sulla loro opera, specie di traduzioni di testi autografi.

USMARADIO
La pulsazione della memoria - Tadeusz Kantor | I episodio

USMARADIO

Play Episode Listen Later Dec 9, 2019 35:38


LA PULSAZIONE DELLA MEMORIA IL TEATRO DI TADEUSZ KANTOR
 5 audiodocumentari dedicati al grande regista polacco  a cura di Paola Bianchi e Silvia Parlagreco traduzione dal polacco Daniela Fatone traduzione dal francese Ludmila Ryba
voce narrante Paola Bianchi produzione associazione culturale Agar
in collaborazione con Istituto Polacco di Roma; Cricoteka di Cracovia - Centro di Documentazione dell'Arte di Tadeusz Kantor; Polskie Radio - l'emittente radiofonica nazionale polacca. LA PULSAZIONE DELLA MEMORIA – IL TEATRO DI TADEUSZ KANTOR, ciclo di cinque audiodocumentari dedicati al teatro di Tadeusz Kantor, è stato realizzato in collaborazione con la Cricoteka di Cracovia, l'Istituto Polacco di Roma e Polskie Radio nel 2015. Il progetto mira a ricreare nell'immaginario degli ascoltatori la percezione fisica ed emotiva del teatro di Tadeusz Kantor. Considerata la lontananza temporale che ci divide dal teatro di Kantor che morì l'8 dicembre del 1990, l'impossibilità per altri autori di rimettere in scena i suoi spettacoli e la scarsità delle riprese filmiche dei primi spettacoli, il mezzo radiofonico va a colmare un vuoto ristabilendo un filo di connessione. Non solo, sotto il profilo emotivo, la trasmissione radiofonica si rivela persino più efficace della visione delle riprese video. Come la lettura di un libro, così l'ascolto per radio mette in moto senza barriere l'immaginazione e restituisce con maggiore potenza l'emozione e la commozione. Nella descrizione degli spettacoli si è cercato di dare in aggiunta le informazioni necessarie a collocare il periodo storico e a indicare le intenzioni sceniche dell'autore. In ognuna delle puntate si è riportata l'intervista di uno dei testimoni di quello stesso teatro. Sono due le autrici di questa ricostruzione sonora: > Paola Bianchi, coreografa e danzatrice, attiva sulla scena della danza contemporanea a partire dalla fine degli anni ottanta. Attenta alla teorizzazione delle pratiche corporee nel 2014 scrive Corpo Politico _ distopia del gesto, utopia del movimento, volume curato da Silvia Bottiroli e Silvia Parlagreco, pubblicato da Editoria & Spettacolo. www.paolabianchi.com > Silvia Parlagreco, ricercatrice e organizzatrice indipendente in ambito culturale e artistico, è da molti anni impegnata nello studio dell'opera degli artisti polacchi del Novecento, in particolare di Tadeusz Kantor e Andrzej Wajda. È curatrice di numerosi testi sulla loro opera, specie di traduzioni di testi autografi.

Toute une vie
Andrzej Wajda (1926-2016) : un artiste citoyen

Toute une vie

Play Episode Listen Later Nov 9, 2019 59:02


durée : 00:59:02 - Une vie, une oeuvre - par : Dominique Prusak - Né en 1926 à la frontière lituanienne, résistant contre l’occupant nazi à 16 ans, étudiant aux Beaux-Arts de Cracovie puis à l’école de cinéma de Lodz, Andrzej Wajda n’a eu de cesse de chercher et de montrer la vérité dans un système totalitaire soumis au diktat de la censure et au dogme communiste. - réalisation : Anna Szmuc

The Flick Lab
#66 - The Promised Land (1975) (Ziemia obiecana)

The Flick Lab

Play Episode Listen Later Nov 7, 2019 137:56


One of the most respected Polish films of all time, The Promised Land (Ziemia obiecana) is a film based on a book about the hardships during industrial revolution and capitalism in the Polish city of Łódź. How will two Finnish film podcast hosts see this classic film? Our Polish guest is Magda Hutny. Ziemia obiecana (1975). Directed by Andrzej Wajda. Starring Daniel Olbrychski, Wojciech Pszoniak, Andrzej Seweryn, Anna Nehrebecka. This episode is part of The Flick Lab International Cinema Challenge 2019. Join and find out more: https://bit.ly/2VCuD0L ICC2019 film 18 of 20. The Promised Land on IMDb The Flick Lab is a film podcast focused on world cinema, where two Finnish gentlemen with media background analyse one film every week in extreme detail, in English. New episode every Thursday. You can find The Flick Lab on iTunes, Spotify, Stitcher, or wherever you listen to your podcasts. You can also find the podcast on: Facebook Twitter Instagram YouTube Hosted by Karri Ojala and Henrik Telkki. Guest Magda Hutny. Audio production by Karri Ojala. The Flick Lab theme tune by Nick Grivell.

Army of Crime
017. Kanal + DC: The New Frontier

Army of Crime

Play Episode Listen Later Oct 11, 2019 42:16


This episode takes us into the reaches of outer space and the depths of the Warsaw sewer system. First we examine the acclaimed comic New Frontier by Darwyn Cooke that celebrates the Golden and Silver Ages of DC comics, followed by the film Kanal, a harrowing saga about the Polish resistance in the last days of the Warsaw Uprising, directed by Andrzej Wajda.    Music is by Free Rap Beats.    Find us on Twitter at @armyofcrime and @dustin44444 and on the web at armyofcrime.com.     Topics for this episode include Kanal, (available on streaming), New Frontier by Darwyn Cooke (available in digital or print), Army of Shadows directed by Jean-Pierre Melville (available on disc or digital), and Ashes and Diamonds directed by Andrzej Wajda (available in digital).

BASTA BUGIE - Comunismo
Va detto che il comunismo è un regime criminale... ce lo chiede l'Europa!

BASTA BUGIE - Comunismo

Play Episode Listen Later Oct 3, 2019 15:25


TESTO DELL'ARTICOLO ➜ http://www.bastabugie.it/it/articoli.php?id=5834VA DETTO CHE IL COMUNISMO E' UN REGIME CRIMINALE... CE LO CHIEDE L'EUROPA! di Stefano MagniIl 19 settembre scorso, nella disattenzione generale dei media, il Parlamento Europeo ha votato una risoluzione in cui sia il nazismo che il comunismo sono ritenuti ugualmente responsabili per lo scoppio della Seconda Guerra Mondiale. E in cui entrambi i regimi totalitari sono condannati come egualmente criminali. Dovrebbe essere una considerazione morale assodata e accettata da tutti e in effetti gli europarlamentari l'hanno votata con una maggioranza trasversale (fra cui anche gran parte degli eurodeputati del Pd, che almeno per metà è costituito dall'ex Pci). Ma, come tutti potevano scommettere, in Italia è scoppiata la polemica a sinistra sulla valutazione del passato recente, sul ruolo del comunismo nella guerra e nella liberazione.Se tuttora in articoli e saggi storici il Patto Ribbentrop-Molotov viene ridimensionato come "accordo tattico", voluto da Stalin e Hitler solo per prendere tempo e prepararsi alla guerra, il testo della risoluzione lo considera per quel che fu: un piano di spartizione "...dividendo l'Europa e i territori di Stati indipendenti tra i due regimi totalitari e raggruppandoli in sfere di interesse, il che ha spianato la strada allo scoppio della Seconda guerra mondiale". Si riconosce, nero su bianco che, solo l'Europa occidentale fu liberata alla conclusione del conflitto, ricostruita e rappacificata, "... mentre per mezzo secolo altri paesi europei sono rimasti assoggettati a dittature, alcuni dei quali direttamente occupati dall'Unione sovietica o soggetti alla sua influenza, e hanno continuato a essere privati della libertà, della sovranità, della dignità, dei diritti umani e dello sviluppo socioeconomico". Su quella occupazione e i suoi crimini non si è mai fatta giustizia. Recita il testo della risoluzione: "Considerando che, sebbene i crimini del regime nazista siano stati giudicati e puniti attraverso i processi di Norimberga, vi è ancora un'urgente necessità di sensibilizzare, effettuare valutazioni morali e condurre indagini giudiziarie in relazione ai crimini dello stalinismo e di altre dittature".LE VITTIME DEI REGIMI TOTALITARILa risoluzione mira a promuovere "la memoria delle vittime dei regimi totalitari, il riconoscimento del retaggio europeo comune dei crimini commessi dalla dittatura comunista, nazista e di altro tipo, nonché la sensibilizzazione a tale riguardo", perché "sono di vitale importanza per l'unità dell'Europa e dei suoi cittadini". Questa memoria dovrebbe essere comunemente condivisa, anche considerando il fatto che il 24 dicembre 1989 fu lo stesso Congresso dei deputati del popolo dell'Urss a condannare la firma del Patto Ribbentrop-Molotov, dopo mezzo secolo di negazionismo. Il testo invita gli Stati membri a un'opera di riscoperta della memoria storica volta a una "valutazione chiara e fondata su principi riguardo ai crimini e agli atti di aggressione perpetrati dai regimi totalitari comunisti e dal regime nazista".Viene istituita la giornata del 23 agosto (anniversario del Ribbentrop-Molotov) come Giornata europea di commemorazione delle vittime dei regimi totalitari. Mentre il 25 maggio diverrà Giornata internazionale degli eroi della lotta contro il totalitarismo. Il 25 maggio 1948, infatti, veniva fucilato dal regime comunista polacco Witold Pilecki, intellettuale polacco, ufficiale di cavalleria, che nel 1940 si fece volontariamente internare ad Auschwitz per documentarne gli orrori. Nel 1943 riuscì miracolosamente a evadere. Sopravvissuto alla persecuzione nazista, rimase vittima del totalitarismo successivo, quando provò ad infiltrarsi nella Polonia comunista. E venne fucilato, appunto, dai "liberatori" nel 25 maggio del 1948. La sua incredibile vicenda, che ora sarà festa europea, è narrata in italiano ne Il volontario di Marco Patricelli.UN ATTO DI GIUSTIZIAQuesta risoluzione è principalmente un atto di giustizia per i Paesi dell'Europa centro-orientale, che finora non hanno potuto partecipare, con pari dignità, alla memoria collettiva europea. Considerati "liberati" dal nazismo, al pari di tutti gli altri, nel 1945, le loro sofferenze sotto l'occupazione sovietica sono state finora snobbate.Eppure... la polemica è scoppiata soprattutto in Italia, dove la sinistra vive nel mito della liberazione dell'Europa ad opera del comunismo. Pietro Bartolo, eurodeputato del Pd, più noto come "il medico di Lampedusa" che soccorre gli immigrati, ha votato a favore, poi ha cambiato idea. "Ho deciso di cambiare il mio voto da positivo a contrario alla risoluzione sulla memoria europea", ha scritto senza dare troppe spiegazioni. I primi a reagire erano stati il senatore Francesco Laforgia e il deputato Luca Pastorino, entrambi di LeU, che parlano di: "pericolosa rilettura che finisce per sdoganare ideologie neo-fasciste". Giuliano Pisapia, già sindaco di Milano ed ora eurodeputato del Pd, ha scritto sulla sua pagina Facebook che in quel documento "ci sono frasi sbagliate e altre poco chiare". Massimiliano Smeriglio (Pd): "Non l'ho votato perché è un testo confuso e contraddittorio. Non l'ho votato perché non si costringe la storia dentro uno schema parlamentare al solo scopo di tirarla da tutte le parti per poi finire in uno strano ecumenismo". Pierfrancesco Majorino (Pd): "Dico che sono contro l'equiparazione banale tra comunismo e nazismo che fa piangere sul piano storico innanzitutto. E da ieri mi trovo a dover spiegare che però detesto lo stalinismo, i gulag, la repressione dell'Ungheria e compagnia terrificante. Tempi moderni".L'ITALIA NON È ANCORA STATA LIBERATA DAL COMUNISMOLe reazioni di questi politici della sinistra italiana, vanno ad aggiungersi a note ancor più dure ed editoriali di storici di professione e giornalisti. Così Emanuele Macaluso, ex direttore dell'Unità: "Quella risoluzione è semplicemente una vergogna", "i deputati europei del Pd che hanno votato a favore dovrebbero vergognarsi davvero". "Da David Sassoli mi sarei aspettato delle parole nette su quel tema e non balbettii o frasi accomodanti. Con quella Risoluzione si vuole dare un colpo alla Storia. Cancellarla. Devo ricordarlo io il ruolo che ha avuto l'esercito dell'Urss, l'Armata Rossa, nella liberazione dell'Europa da Hitler?" E infine l'Anpi, Associazione Nazionale Partigiani Italiani che esprime preoccupazione perché: "In un'unica riprovazione si accomunano oppressi ed oppressori, vittime e carnefici, invasori e liberatori, per di più ignorando lo spaventoso tributo di sangue pagato dai popoli dell'Unione Sovietica (più di 22 milioni di morti) e persino il simbolico evento della liberazione di Auschwitz da parte dell'Armata rossa. Davanti al crescente pericolo di nazifascismi, razzismi, nazionalismi, si sceglie una strada di lacerante divisione invece che di responsabile e rigorosa unità".Queste reazioni dimostrano solo che l'Italia non è ancora stata liberata dall'altro totalitarismo, non dalla sua memoria distorcente, non dalla sua mitologia. Non lo sarà finché i 20 milioni di morti uccisi dal regime di Stalin non avranno la stessa dignità e lo stesso diritto di essere ricordati rispetto ai 6 milioni di morti della Shoah provocati dal regime di Hitler. Eppure ora possiamo apertamente affermare che il comunismo fu un regime criminale. Ce lo chiede l'Europa.Nota di BastaBugie: una delle conseguenze del Patto Ribbentrop-Molotov, con cui comunisti e nazisti si spartirono la Polonia, fu lo sterminio degli ufficiali polacchi da parte dei sovietici avvenuto a Katyn. Non ci stancheremo mai di consigliare la visione del film kolossal "Katyn", il capolavoro di Andrzej Wajda.Per approfondimenti sul film Katyn clicca nel seguente linkhttp://www.filmgarantiti.it/it/edizioni.php?id=19Ecco qui sotto il trailer di "Katyn":https://www.youtube.com/watch?v=IjLw9iAPyxkIL PATTO RIBBENTROP-MOLOTOVL'autore del precedente articolo, Stefano Magni, nell'articolo seguente dal titolo "Ribbentrop-Molotov, 80 anni fa i totalitarismi si unirono" spiega che Germania e Unione Sovietica si spartirono tutta l'Europa orientale e baltica. Il Patto è rimasto per molto tempo segreto. Oggi è chiaro a tutti l'intento predatorio, su scala mondiale, dei due totalitarismi: nazionalsocialismo e comunismo.Ecco l'articolo pubblicato su La Nuova Bussola Quotidiana il 23 agosto 2019:Esattamente 80 anni fa, il 23 agosto 1939, veniva firmato il Patto Ribbentrop-Molotov. Vero atto di inizio della Seconda Guerra Mondiale, l'accordo era diviso in due parti. La prima, pubblica, impegnava per 10 anni Germania e Unione Sovietica a non dichiararsi guerra. La seconda, segreta ed emersa solo dopo la Perestrojka di Gorbachev, era un piano di spartizione di tutta l'Europa orientale e baltica da parte delle due potenze continentali. A quasi un secolo di distanza, quel Patto fra i due regimi totalitari europei è ancora una lezione molto amara, perché smaschera la vera natura dei regimi totalitari e ci ricorda quanto sia stata distorta, nei decenni successivi, la memoria collettiva sulla guerra mondiale.Il Patto ebbe come prima conseguenza la condanna della Polonia. Invasa a Ovest dalla Germania nazista dal 1 settembre e da Est dall'Urss (17 settembre) non ebbe più modo di difendersi. Le successive tre vittime del Patto furono le repubbliche di Lituania, Lettonia ed Estonia. La prima avrebbe dovuto essere annessa alla Germania, ma dopo l'invasione della Polonia gli accordi segreti vennero rivisti e, in cambio di un finanziamento, venne letteralmente venduta da Hitler all'Urss. Le tre piccole repubbliche del Baltico furono di fatto costrette a firmare trattati di "cooperazione" con l'Urss che vi installò basi militari. Nel giugno del 1940, mentre Hitler invadeva la Francia, quei trattati si trasformarono in un'annessione all'Urss. Poi fu il turno della Finlandia.

Cinema60
Ep #9 - Polish Arthouse Cinema in the 60s

Cinema60

Play Episode Listen Later Jun 11, 2019 95:04


In this episode, it's a veritable who's who of Polish arthouse cinema from the 1960s–including Andrzej Wajda, Roman Polanski, Wojciech Has, Jerzy Skolimowski and more.

DianaUribe.fm
Año 9 : Los ecos de la Revolución francesa

DianaUribe.fm

Play Episode Listen Later May 18, 2019 44:33


Con el Terror, la Revolución pasa a parecerse al dios Cronos “aquel que devora a sus propios hijos”. La “dictadura jacobina” casi acaba con los ideales revolucionarios, pero ni siquiera esta cruel etapa terminó con la lucha por los derechos y la búsqueda de la libertad que guiaron a los franceses. Incluso, la consecuencias de la revolución viajaron por el mundo y el tiempo hasta alcanzar la actualidad Notas del episodio: ¿Qué dice la letra de La «Marsellesa» ? Aquí la historia de uno de los himnos más famosos del mundo. Robespierre y el Terror. Aquí la película que recomendó Diana a lo largo de estos episodios «Danton» (1983) de Andrzej Wajda. Dos películas sobre el Marqués de Sade, la primera «Marat Sade » (1968). Y la segunda película que también trata algo sobre Sade y la Revolución «Quills» (2000). ¿Cómo Napoleón llegó a ser Emperador?. La campaña fracasada más «exitosa» de la historia, la expedición napoleónica en Egipto. Jorge Núñez nos cuenta sobre la relación que existió entre las Independencias de América Latina y la Revolución francesa.

ACFmovie podcast
ACF Europe #4 Katyn

ACFmovie podcast

Play Episode Listen Later Feb 26, 2019 51:18


Titus & Flagg Taylor discuss Katyn, the great Polish director Andrzej Wajda's fourth & last Oscar-nominated film--his story about honor & prudence, about faith & suffering--about the Nazi-Soviet dismemberment of Poland, the Soviet massacres at Katyn, & the subsequent totalitarian propaganda & the Polish struggle to remember & retain their national identity. It is also his own family story, since his father was murdered at Katyn.

Supporting Characters
Episode 39: Ela Bittencourt

Supporting Characters

Play Episode Listen Later Jul 23, 2018 165:36


Bill speaks to film critic Ela Bittencourt about her many pursuits, from past programming efforts like the Neither/Nor Polish retrospective at True/False Film Fest and the LGBTQ Brazil series at the Museum Of The Moving Image, to writing for publications like Slant and Film Comment and creating the website Lyssaria to call attention to the work of young filmmakers. Other topics include: Polish Cinema in the 1990s, hybrid documentaries, Andrzej Zulawski, the importance of good editors and the childhood experience of playing an extra in an Andrzej Wajda movie. Visit Ela Bittencourt's website, Lyssaria: www.lyssaria.com Read Ela Bittencourt in Reverse Shot: http://reverseshot.org/people/76/ela-bittencourt Read Ela Bittencourt on Mubi.com: https://mubi.com/notebook/posts/author/516  Read about the LGBTQ Brazil series: http://www.movingimage.us/programs/2018/07/28/detail/lgbtq-brazil/ Read about Ela Bittencourt’s upcoming screening at UnionDocs: https://uniondocs.org/event/a_opcao_ou_as_rosas_da_estrada/ Read Ela Bittencourt on COSMOS: http://www.bkmag.com/2016/02/18/say-goodbye-to-andrzej-zulawski-the-eternal-outsider-of-polish-cinema-at-film-comment-selects/ Watch a panel discussion with Ela Bittencourt, Nick Pinkerton and Adam Nayman at the 2014 True/False Film Fest: https://www.youtube.com/watch?v=JJu4RgIuyKY Read Ela Bittencourt in Artforum: https://www.artforum.com/contributor/ela-bittencourt Visit the True/False website, where you can download Ela Bittencourt's 2015 monograph on chimeric Polish Cinema of the '70s, '80s and '90s: https://truefalse.org/program/neither-nor

Accent On!
Kristof Konrad

Accent On!

Play Episode Listen Later Mar 12, 2018 55:00


Your host Ilona Europa interviewed Kristof Konrad who was was born in Poland and trained as an actor at the National Dramatic Academy in Warsaw, Poland (M.F.A. in Theatre) and the Alexander Fersen Academy in Rome, Italy. While in Poland, he studied and worked with theatre and film masters Jerzy Grotowski and Andrzej Wajda. Kristof is starring in Red SPARROW movie with #JENNIFERLAWRENCE #REDSPARROW . For the past ten years, Kristof has successfully worked as an actor in film and television in the United States and Europe. Some of his TV credits include: Scorpion, Zoo, Agents of S.H.I.E.L.D., House of Cards, Nikita, Scandal, Undercovers, E-Ring, Alias, The Unit, The Agency, JAG, Gilmore Girls, and many others. Some of his film credits include: Red Sparrow, Angels and Demons, Independence Day, Hotel California, Chernobyl Diaries, and Operation Samum. In the U.S., Kristof has worked with directors Kenneth Branagh, Francis Lawrence, Ron Howard, and Roland Emmerich. For a complete list of credits, visit his IMDB page. Kristof is also an acting coach, movement director, teacher of the Alexander Technique, and co-director of Alexander Techworks with Jean-Louis Rodrigue. imdb.com/name/nm0465311 spotlight.com/interactive/cv/1534-6725-8129 alexandertechworks.com

Lost in Criterion

Andrzej Wajda's second feature is a marked technical improvement from his first, and a much more crushing film.

Lost in Criterion
A Generation

Lost in Criterion

Play Episode Listen Later Mar 2, 2018 65:55


The first in an excursion through the War Film Trilogy of Polish director Andrzej Wajda.

Klassikern
"Affären Danton" och "Mordet på Marat" - franska revolutionen på scenen

Klassikern

Play Episode Listen Later Nov 25, 2017 9:45


Karsten Thurfjell tar sig an två verk ur världsdramatiken som kretsar kring den franska revolutionen: Stanisawa Przybyszewskas Affären Danton och Peter Weiss Mordet på Marat. Przybyszewska skrev sin mest känd pjäs Affären Danton 1929. Den handlar om den politiska kampen mellan Danton och Robespierre men urpremiären 1931 blev ingen större framgång. Przybyszewska återupptäcktes dock under 1960-talet och 1975 satte  Andrzej Wajda satte upp Affären Danton vid Allmänna teatern i Warszawa. Peter Weiss pjäs Mordet på Marat heter egentligen Jean Paul Marat förföljd och mördad så som det framställs av patienterna på hospitalet Charenton under ledning av herr de Sade och uruppfördes 1964. Det är ett drama om ett drama och utspelar sig 1808 på ett mentalsjukhus där patienterna sätter upp en pjäs om mordet på den revolutionären Marat 1793.

Klassikern
”Mordet på Marat” - franska revolutionen på scenen

Klassikern

Play Episode Listen Later Nov 25, 2017 9:45


Karsten Thurfjell tar sig an två verk ur världsdramatiken som kretsar kring den franska revolutionen: Stanisawa Przybyszewskas Affären Danton och Peter Weiss Mordet på Marat. Lyssna på alla avsnitt i Sveriges Radio Play. Przybyszewska skrev sin mest känd pjäs Affären Danton 1929. Den handlar om den politiska kampen mellan Danton och Robespierre men urpremiären 1931 blev ingen större framgång. Przybyszewska återupptäcktes dock under 1960-talet och 1975 satte Andrzej Wajda satte upp Affären Danton vid Allmänna teatern i Warszawa. Peter Weiss pjäs Mordet på Marat heter egentligen Jean Paul Marat förföljd och mördad så som det framställs av patienterna på hospitalet Charenton under ledning av herr de Sade och uruppfördes 1964. Det är ett drama om ett drama och utspelar sig 1808 på ett mentalsjukhus där patienterna sätter upp en pjäs om mordet på den revolutionären Marat 1793.

Better Than Speed
#1 Ashes and Diamonds

Better Than Speed

Play Episode Listen Later Oct 13, 2017 69:19


In this spectacular inaugural episode of Better Than Speed, your hosts David Holland, Daniel Morfesis, Jessica Schilling and Matthew Walden tackle the legendary Polish film Ashes and Diamonds, directed by cinema heavyweight Andrzej Wajda. If you'd like to watch Ashes and Diamonds too, you can find it streaming at http://filmstruck.com/ where they have a free 14-day trial. Make sure to join us next episode when we discuss DePalma's dark delicacy Blow Out. Will either of these movies receive a unanimous "Better Than Speed" rating? You'll have to listen to find out! Questions or comments? Contact us at betterthanspeed@gmail.com or on Twitter @BetterThanSpeed

One Week Only - Podcast
Episode 63 - Last Men In Aleppo

One Week Only - Podcast

Play Episode Listen Later May 19, 2017 52:32


Episode 62 of One Week Only! Conor is still abroad, speaking this time from a London hostel! Our key film this week is the documentary "Last Men in Aleppo" about the men of The White Helmets, the volunteer force in Syria who help the victims of the horrendous bombings of the ongoing Civil War. Capturing incredible footage of horrible scenes of carnage, the film transports you to a terrifying environment, which only highlights the stunning bravery of the White Helmets, and the sacrifices they make every day for their families and their city. (41:40) We also review the Danish period drama "The Commune" directed by Thomas Vinterberg (check out Carlos's interview with Vinterberg for MovieMaker Magazine) (3:25); the 2003 teen comedy "Burning Annie" that's getting a HD re-release, directed by Van Flesher (11:05); the Polish period biopic "Afterimage" about the famous avant-garde painter Wladyslaw Strzeminski, directed by Andrzej Wajda (21:55); and the Venice-winning drama "The Woman Who Left" from the Philippines, directed by Lav Dias (31:00). Hosted by Carlos Aguilar & Conor Holt. Music by Kevin MacLeod at www.incompetech.com

THE VIEW REVIEW PODCAST
THE VIEW REVIEW PODCAST - EPISODE 60 - "ASHES AND DIAMONDS"

THE VIEW REVIEW PODCAST

Play Episode Listen Later Feb 3, 2017 123:16


Så er vi klar med årets første episode af TVRP og det bliver i imponerende stil, da vi anmelder den visuelle polske klassiker ASHES AND DIAMONDS af Andrzej Wajda fra 1958! Vi vender filmen, skuespillerne og instruktøren bag denne perle! Film nævnt i denne episode: DON´T BREATH, IN A VALLEY OF VIOLENCE, ABSENTIA, THE BLACKCOATS DAUGHTER, JACK REACHER-NEVER GO BACK, LET´S BE EVIL, THE GIRL ON THE TRAIN, BEFORE I WAKE, ARRIVAL, THE AUTOPSY OF JANE DOE, WESTWORLD, DIRK GENTLY´S HOLISTIC DETECTIV AGENCYASH VS EVIL DEAD s2, THE DROP, CREED, OFFICE SPACE, AMERICAN ULTRA

From Our Own Correspondent Podcast

In a week of remembrance and recollection, Jannat Jalil explains how the French authorities - who are preparing to remember those killed in last November's Paris attacks - find other deaths on the capital's streets more than fifty years ago far more difficult to commemorate. Adam Easton in Warsaw reflects on how Poles saw their country's recent history in the life and work of one of their leading film directors, Andrzej Wajda, who died this week. Carrie Gracie in Beijing joins one of the Chinese Communist Party's new pilgrimage tours to revolutionary martyr sites from the civil war era of the twentieth century which President Xi Jinping wants party members to attend in order to rekindle ideological fervour. Robin Denselow reports on how Turkey's volatile political situation is having an effect on Islamic cooperation even at Sufi festivals, like the famous one he visited at Konya. And we remember Chris Simpson, a long-standing and distinguished contributor to "From Our Own Correspondent", who died suddenly this week. We hear again a characteristically witty and perceptive dispatch he recorded in the Central African Republic in 2010.

The No Film School Podcast
Indie Film Weekly 10.20.16: Filmmakers Tackle the US Political Circus

The No Film School Podcast

Play Episode Listen Later Oct 20, 2016 31:59


With less than three weeks left until Americans vote for their next president, Indie Film Weekly discusses the film world’s take on the craziest election cycle on record. No Film School co-hosts Emily Buder, Charles Haine and Liz Nord investigate how the far left, the far right, and several creators in between are using film to respond to both the candidates and the issues. We also cover the recent arrest of filmmakers and journalists attempting to film oil pipeline protests in North Dakota, the passing of Polish filmmaker Andrzej Wajda, and how Razer's purchase of THX gets us one step closer to standardized calibration. Our Ask No Film School question is twofold: we talk about the difference in ISO for still photography and video, and about making creative choices in your documentary. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. You can see all the links from this show in this week’s podcast post at nofilmschool.com.

Chassis
Chassis di domenica 16/10/2016

Chassis

Play Episode Listen Later Oct 16, 2016 42:20


In ricordo di Dario Fo con il musicista Gaetano Liguori. Interviste a Cristiano Bortone sul film "Caffè" e a Ivan Silvestrini su "2Night". Il ricordo di Marina Fabbri su Andrzej Wajda.

Chassis
Chassis di dom 16/10

Chassis

Play Episode Listen Later Oct 15, 2016 42:21


In ricordo di Dario Fo con il musicista Gaetano Liguori. Interviste a Cristiano Bortone sul film "Caffè" e a Ivan Silvestrini su "2Night". Il ricordo di Marina Fabbri su Andrzej Wajda.

Chassis
Chassis di dom 16/10

Chassis

Play Episode Listen Later Oct 15, 2016 42:21


In ricordo di Dario Fo con il musicista Gaetano Liguori. Interviste a Cristiano Bortone sul film "Caffè" e a Ivan Silvestrini su "2Night". Il ricordo di Marina Fabbri su Andrzej Wajda.

Front Row
One Night in Miami, Kate Tempest, Glam Rock, Remembering Andrzej Wajda

Front Row

Play Episode Listen Later Oct 10, 2016 28:28


Director Kwame Kwei-Armah and writer Kemp Powers discuss their new production of One Night in Miami, a fictional account of the night in 1964 when boxer Cassius Clay chose to celebrate his world heavyweight victory in a hotel room with activist Malcolm X, singer Sam Cooke and football star Jim Brown. Poet, rapper and writer Kate Tempest describes her new album Let Them Eat Chaos, the follow-up to her Mercury-shortlisted album Everybody Down. It's a long poem, written for live performance, which centres on seven residents of a London street all awake at 4:48am. The Oscar-winning Polish film director Andrzej Wajda has died at the age of 90. During the war he joined the Polish resistance, and then studied to be a painter, before entering the Lodz Film School. Wajda's films chart the history of Poland through the wartime Warsaw Uprising, the suppression of the Solidarity movement, the fall of Communism and joining the EU. Ian Christie, professor of Film and Media History, looks back at the director's career.Shock and Awe: A History of Glam Rock is music journalist Simon Reynolds's new book. He charts the outrageous styles, gender-fluid sexual politics and retro-future sounds that came to define the first half of the 1970s, from Bolan to Bowie and Suzi Quatro to Roxy Music.Presenter: John Wilson Producer: Angie Nehring.

Esteri
Esteri di lunedì 10/10/2016

Esteri

Play Episode Listen Later Oct 10, 2016 30:31


..1-Vertice Putin – Erdogan ad Istanbul. ..I due leader uniti su economia e affari ma finora divisi sulla questione siriana. ( Emanuele Valenti) ..2-Trump – Clinton: “Il dibattito più brutto di sempre”...La rassegna stampa di Esteri. ..3-Yemen, il giorno dopo il raid su un funerale. ..Sotto accusa l'Arabia Saudita e i suoi fornitori di armi. ..( Riccardo Noury Amnesty – Italia) ..4-Economia: Il Nobel 2016 assegnato a Oliver Hart e Bengt Holmstrom. “ meritano il premio per il loro contributo alla teoria dei contratti” si legge nella motivazione. ..( Intervista all'economista Andrea Fumagalli) ..5-Andrzej Wajda, una storia polacca. È morto a 90 anni il regista di cinema che raccontò le battaglie, le tragedie e le vittorie del proprio popolo. ( Marina Fabbri) ..6-Rubrica sportiva: al via i mondiali di ciclismo. Li ospita al Qatar nel mirino dei sindacati internazionali per le violazioni dei diritti dei lavoratori. ..( Dario Falcini)

qatar li istanbul yemen intervista sotto luned esteri rubrica andrzej wajda oliver hart andrea fumagalli emanuele valenti bengt holmstrom marina fabbri dario falcini
RRR FM: Plato's Cave
Plato's Cave - 10 October 2016

RRR FM: Plato's Cave

Play Episode Listen Later Oct 10, 2016 43:53


Under the Shadow, Chevalier and Winter at Westbeth are discussed, plus we pay tribute to Andrzej Wajda. With Thomas Caldwell, Cerise Howard and Alexandra Heller-Nicholas

Esteri
Esteri di lun 10/10

Esteri

Play Episode Listen Later Oct 9, 2016 30:31


..1-Vertice Putin – Erdogan ad Istanbul. ..I due leader uniti su economia e affari ma finora divisi sulla questione siriana. ( Emanuele Valenti) ..2-Trump – Clinton: “Il dibattito più brutto di sempre”...La rassegna stampa di Esteri. ..3-Yemen, il giorno dopo il raid su un funerale. ..Sotto accusa l'Arabia Saudita e i suoi fornitori di armi. ..( Riccardo Noury Amnesty – Italia) ..4-Economia: Il Nobel 2016 assegnato a Oliver Hart e Bengt Holmstrom. “ meritano il premio per il loro contributo alla teoria dei contratti” si legge nella motivazione. ..( Intervista all'economista Andrea Fumagalli) ..5-Andrzej Wajda, una storia polacca. È morto a 90 anni il regista di cinema che raccontò le battaglie, le tragedie e le vittorie del proprio popolo. ( Marina Fabbri) ..6-Rubrica sportiva: al via i mondiali di ciclismo. Li ospita al Qatar nel mirino dei sindacati internazionali per le violazioni dei diritti dei lavoratori. ..( Dario Falcini)

donald trump vladimir putin qatar clinton hart nobel li istanbul yemen intervista sotto esteri rubrica andrzej wajda wajda oliver hart andrea fumagalli emanuele valenti marina fabbri bengt holmstrom dario falcini
Esteri
Esteri di lun 10/10

Esteri

Play Episode Listen Later Oct 9, 2016 30:31


..1-Vertice Putin – Erdogan ad Istanbul. ..I due leader uniti su economia e affari ma finora divisi sulla questione siriana. ( Emanuele Valenti) ..2-Trump – Clinton: “Il dibattito più brutto di sempre”...La rassegna stampa di Esteri. ..3-Yemen, il giorno dopo il raid su un funerale. ..Sotto accusa l'Arabia Saudita e i suoi fornitori di armi. ..( Riccardo Noury Amnesty – Italia) ..4-Economia: Il Nobel 2016 assegnato a Oliver Hart e Bengt Holmstrom. “ meritano il premio per il loro contributo alla teoria dei contratti” si legge nella motivazione. ..( Intervista all'economista Andrea Fumagalli) ..5-Andrzej Wajda, una storia polacca. È morto a 90 anni il regista di cinema che raccontò le battaglie, le tragedie e le vittorie del proprio popolo. ( Marina Fabbri) ..6-Rubrica sportiva: al via i mondiali di ciclismo. Li ospita al Qatar nel mirino dei sindacati internazionali per le violazioni dei diritti dei lavoratori. ..( Dario Falcini)

donald trump vladimir putin qatar clinton hart nobel li istanbul yemen intervista sotto esteri rubrica andrzej wajda wajda oliver hart andrea fumagalli emanuele valenti l'arabia saudita marina fabbri bengt holmstrom dario falcini
Accent On!
POLISH FILM FESTIVAL LA Pt.1

Accent On!

Play Episode Listen Later Sep 27, 2016 55:00


ACCENT ON! with ILona Europa celebrates POLISH FILM FESTIVAL LA polishfilmla.org. Mark your calendar October 12 th for the Gala Opening of the Festival at the Egyptian Theater Our guests for this important hour is VLADEK JUSZKIEWICZ- Director of POLISH FILM FESTIVAL LA facebook.com/vladek.juszkiewicz ELIZABETH KANSKIE. polishfilmla.org/wocms.php?siteID=50 Elizabeth holds an MA degree in Applied Linguistics and is a translator in Polish, English, German and Spanish. She serves as a correspondent for Polish film-related magazines and as media is attending the majority of film festivals held in Los Angeles. ALICJA BACHLEDA polishfilmla.org/wocms.php?siteID=13&ID=275 -beautiful Actor, Singer,.Dancer. ALICJA was born in Tampico, Mexico in 1983. She studied at the National Ballet Academy in Cracow from 1989 to 1998, and at the National Academy of Music’s vocal department in Cracow from 1998 to 2000. Then she went to the Lee Strasberg Theatre Institute in New York in 2003. She had her feature debut in "PAN TADEUSZ" by Andrzej Wajda. In 2007 she recorded an album with songs by Wladyslaw Szpilman. JOANNA KRAWCZYK polishfilmla.org/wocms.php?siteID=13&ID=906 Born in 1994 in Krakow, Poland. Her passion of photography and visual arts came around middle school. At that time, she decided to come study in the United States. Joanna attended the International Baccalaureate program in Krakow, which gave her the opportunity to develop her passion of film and photography, as well as future studying abroad. Since Fall 2014 Joanna is attending New York Film Academy in Los Angeles, California in major of filmmaking. KAROLINA MIKOLAJCZAK writer/director/editor) polishfilmla.org/wocms.php?siteID=13&ID=886 An award-winning Polish musician/director/producer/editor. Karolina grew up in a Polish artistic environment where she discovered the magic of movie making. She made over 20 short movies

Accent On!
POLISH FILM FESTIVAL LA Pt.1

Accent On!

Play Episode Listen Later Sep 26, 2016 55:00


ACCENT ON! with ILona Europa celebrates POLISH FILM FESTIVAL LA polishfilmla.org. Mark your calendar October 12 th for the Gala Opening of the Festival at the Egyptian Theater Our guests for this important hour is VLADEK JUSZKIEWICZ- Director of POLISH FILM FESTIVAL LA facebook.com/vladek.juszkiewicz ELIZABETH KANSKIE. polishfilmla.org/wocms.php?siteID=50 Elizabeth holds an MA degree in Applied Linguistics and is a translator in Polish, English, German and Spanish. She serves as a correspondent for Polish film-related magazines and as media is attending the majority of film festivals held in Los Angeles. ALICJA BACHLEDA polishfilmla.org/wocms.php?siteID=13&ID=275 -beautiful Actor, Singer,.Dancer. ALICJA was born in Tampico, Mexico in 1983. She studied at the National Ballet Academy in Cracow from 1989 to 1998, and at the National Academy of Music’s vocal department in Cracow from 1998 to 2000. Then she went to the Lee Strasberg Theatre Institute in New York in 2003. She had her feature debut in "PAN TADEUSZ" by Andrzej Wajda. In 2007 she recorded an album with songs by Wladyslaw Szpilman. JOANNA KRAWCZYK polishfilmla.org/wocms.php?siteID=13&ID=906 Born in 1994 in Krakow, Poland. Her passion of photography and visual arts came around middle school. At that time, she decided to come study in the United States. Joanna attended the International Baccalaureate program in Krakow, which gave her the opportunity to develop her passion of film and photography, as well as future studying abroad. Since Fall 2014 Joanna is attending New York Film Academy in Los Angeles, California in major of filmmaking. KAROLINA MIKOLAJCZAK writer/director/editor) polishfilmla.org/wocms.php?siteID=13&ID=886 An award-winning Polish musician/director/producer/editor. Karolina grew up in a Polish artistic environment where she discovered the magic of movie making. She made over 20 short movies

Daughters of Darkness
I Can’t Be Close to You Without Suffering: The Cinema of Andrzej Żuławski, Part 1

Daughters of Darkness

Play Episode Listen Later Apr 24, 2016 77:53


In the fourth episode of Daughters of Darkness, Kat and Samm begin a four-part discussion of the career of Polish director Andrzej Zuławski. Meant to be a celebration of his life and incredible work, the episode begins with a brief discussion of his early years, particularly his training as an assistant director under Andrzej Wajda. This is followed by a discussion of his two short films for Polish television, The Story of Triumphant Love (1969) and Pavoncello (1969), two lesser seen and perhaps more conventional works, where he established a number of the themes he would use throughout his career: love triangles, troubled romance, hysterical women, literary source material, and dizzying staircase sequences. This is followed by a lengthy exploration of his first feature-length film, The Third Part of the Night (1971), which was co-written by Zuławski’s father, Mirosław, and is loosely based on the elder Zuławski’s experiences working in a typhus lab during the Nazi occupation. The episode wraps up with a look at The Devil (1972), Zuławski’s unhinged second feature, a film that was promptly banned by the communist government and resulted in Zuławski’s departure from Poland and relocation to France. Set during the period of German occupation in Poland in the late eighteenth century, the film follows the homeward odyssey of a troubled young man who is released from prison by a mysterious stranger.

The Institute of World Politics
Propaganda and Deception: A case study of Poland's anti-Communist insurgency, 1944-1963

The Institute of World Politics

Play Episode Listen Later Oct 9, 2015 37:56


During this year's annual Gen. Walter Jajko Kosciuszko Chair Military Lecture, Dr. Marek Chodakiewicz discussed the various ways in which the underground anti-communist insurgency in Poland fought against Communist forces in the wake of the Second World War, and in later years against the Nazi Germans and Soviet Communists. Dr. Chodakiewicz highlighted the response strategy used by the Communist Party, most notably the anti-insurgent communist deception and propaganda, an example of which was Andrzej Wajda's anti-Home-Army film called Ashes and Diamonds (1958). The film was screened after the professor's talk. To give historical context to the movie and reveal the true intentions behind the production of the film, which was commissioned by the Communist Party as a propaganda tool, Dr. Chodakiewicz discussed several means of propaganda used by the party. Using the words of Joseph Stalin, “The writer is the engineer of the human soul,” Dr. Chodakiewicz revealed the power of art and film and its ability to manipulate the human soul and mind when used accordingly. This event was sponsored by the Kosciuszko Chair of Polish Studies, and took place on September 25, 2015.

New Books in Polish Studies
Tom Junes, “Student Politics in Communist Poland: Generations of Consent and Dissent” (Lexington, 2015)

New Books in Polish Studies

Play Episode Listen Later Sep 26, 2015 68:31


In the conventional narratives of Communist Poland, and Eastern Europe more generally, student activism tends to get short shrift. While the role of students in 1956 is unavoidable and widely acknowledged, after that their role and their relationship to the society at large has been minimized. The famous Kuron-Modzielewski letter of 1964 is treated first and foremost as an intra-elite affair, while the failure of the student protests in 1968 to provoke a broader movement as well as students' subsequent lack of involvement in the protests of December 1970 have been taken as evidence of students' lack of connection to broader society. Only in the late 1970s did was that gap bridged, first with founding of KOR after the strikes of 1976 and then during the Solidarity era. This account has been pervasive since the 1970s, and even people with only passing knowledge of Polish history have been exposed to it through Andrzej Wajda's 1981 film “Man of Iron.” There the student turned factory worker Maciej Birkut recounts first being told by his father the former Stakhanovite turned worker activist that 1968 is not the right time to challenge the governments and then stands by in spite during the strikes of 1970 only to learn of his father's death. Yet as so often happens when a historian take up a topic that has become so engrained that most people do not even stop to question it. In his new book Student Politics in Communist Poland: Generations of Consent and Dissent (Lexington Books, 2015), Tom Junes reveals that received narrative to be a myth that bears only partial connection to the truth. Covering the development of student politics in Poland from 1946 until the end of Communism, Junes argues that there were 8 distinct generations of students during that period, beginning with the students of the immediate postwar period whose worldview was shaped by their pre-War and War experiences to the students of the 1980s who embraced Solidarity, but felt betrayed by the roundtable negotiations that brought an end to Communist rule in 1989. It is a scrupulously researched book drawing on oral history as well as conventional primary source documents, and it was a pleasure to speak with Junes recently about his research. Learn more about your ad choices. Visit megaphone.fm/adchoices

New Books in Eastern European Studies
Tom Junes, “Student Politics in Communist Poland: Generations of Consent and Dissent” (Lexington, 2015)

New Books in Eastern European Studies

Play Episode Listen Later Sep 26, 2015 68:31


In the conventional narratives of Communist Poland, and Eastern Europe more generally, student activism tends to get short shrift. While the role of students in 1956 is unavoidable and widely acknowledged, after that their role and their relationship to the society at large has been minimized. The famous Kuron-Modzielewski letter of 1964 is treated first and foremost as an intra-elite affair, while the failure of the student protests in 1968 to provoke a broader movement as well as students’ subsequent lack of involvement in the protests of December 1970 have been taken as evidence of students’ lack of connection to broader society. Only in the late 1970s did was that gap bridged, first with founding of KOR after the strikes of 1976 and then during the Solidarity era. This account has been pervasive since the 1970s, and even people with only passing knowledge of Polish history have been exposed to it through Andrzej Wajda’s 1981 film “Man of Iron.” There the student turned factory worker Maciej Birkut recounts first being told by his father the former Stakhanovite turned worker activist that 1968 is not the right time to challenge the governments and then stands by in spite during the strikes of 1970 only to learn of his father’s death. Yet as so often happens when a historian take up a topic that has become so engrained that most people do not even stop to question it. In his new book Student Politics in Communist Poland: Generations of Consent and Dissent (Lexington Books, 2015), Tom Junes reveals that received narrative to be a myth that bears only partial connection to the truth. Covering the development of student politics in Poland from 1946 until the end of Communism, Junes argues that there were 8 distinct generations of students during that period, beginning with the students of the immediate postwar period whose worldview was shaped by their pre-War and War experiences to the students of the 1980s who embraced Solidarity, but felt betrayed by the roundtable negotiations that brought an end to Communist rule in 1989. It is a scrupulously researched book drawing on oral history as well as conventional primary source documents, and it was a pleasure to speak with Junes recently about his research. Learn more about your ad choices. Visit megaphone.fm/adchoices

New Books in European Studies
Tom Junes, “Student Politics in Communist Poland: Generations of Consent and Dissent” (Lexington, 2015)

New Books in European Studies

Play Episode Listen Later Sep 26, 2015 68:31


In the conventional narratives of Communist Poland, and Eastern Europe more generally, student activism tends to get short shrift. While the role of students in 1956 is unavoidable and widely acknowledged, after that their role and their relationship to the society at large has been minimized. The famous Kuron-Modzielewski letter of 1964 is treated first and foremost as an intra-elite affair, while the failure of the student protests in 1968 to provoke a broader movement as well as students’ subsequent lack of involvement in the protests of December 1970 have been taken as evidence of students’ lack of connection to broader society. Only in the late 1970s did was that gap bridged, first with founding of KOR after the strikes of 1976 and then during the Solidarity era. This account has been pervasive since the 1970s, and even people with only passing knowledge of Polish history have been exposed to it through Andrzej Wajda’s 1981 film “Man of Iron.” There the student turned factory worker Maciej Birkut recounts first being told by his father the former Stakhanovite turned worker activist that 1968 is not the right time to challenge the governments and then stands by in spite during the strikes of 1970 only to learn of his father’s death. Yet as so often happens when a historian take up a topic that has become so engrained that most people do not even stop to question it. In his new book Student Politics in Communist Poland: Generations of Consent and Dissent (Lexington Books, 2015), Tom Junes reveals that received narrative to be a myth that bears only partial connection to the truth. Covering the development of student politics in Poland from 1946 until the end of Communism, Junes argues that there were 8 distinct generations of students during that period, beginning with the students of the immediate postwar period whose worldview was shaped by their pre-War and War experiences to the students of the 1980s who embraced Solidarity, but felt betrayed by the roundtable negotiations that brought an end to Communist rule in 1989. It is a scrupulously researched book drawing on oral history as well as conventional primary source documents, and it was a pleasure to speak with Junes recently about his research. Learn more about your ad choices. Visit megaphone.fm/adchoices

New Books in History
Tom Junes, “Student Politics in Communist Poland: Generations of Consent and Dissent” (Lexington, 2015)

New Books in History

Play Episode Listen Later Sep 26, 2015 68:56


In the conventional narratives of Communist Poland, and Eastern Europe more generally, student activism tends to get short shrift. While the role of students in 1956 is unavoidable and widely acknowledged, after that their role and their relationship to the society at large has been minimized. The famous Kuron-Modzielewski letter of 1964 is treated first and foremost as an intra-elite affair, while the failure of the student protests in 1968 to provoke a broader movement as well as students’ subsequent lack of involvement in the protests of December 1970 have been taken as evidence of students’ lack of connection to broader society. Only in the late 1970s did was that gap bridged, first with founding of KOR after the strikes of 1976 and then during the Solidarity era. This account has been pervasive since the 1970s, and even people with only passing knowledge of Polish history have been exposed to it through Andrzej Wajda’s 1981 film “Man of Iron.” There the student turned factory worker Maciej Birkut recounts first being told by his father the former Stakhanovite turned worker activist that 1968 is not the right time to challenge the governments and then stands by in spite during the strikes of 1970 only to learn of his father’s death. Yet as so often happens when a historian take up a topic that has become so engrained that most people do not even stop to question it. In his new book Student Politics in Communist Poland: Generations of Consent and Dissent (Lexington Books, 2015), Tom Junes reveals that received narrative to be a myth that bears only partial connection to the truth. Covering the development of student politics in Poland from 1946 until the end of Communism, Junes argues that there were 8 distinct generations of students during that period, beginning with the students of the immediate postwar period whose worldview was shaped by their pre-War and War experiences to the students of the 1980s who embraced Solidarity, but felt betrayed by the roundtable negotiations that brought an end to Communist rule in 1989. It is a scrupulously researched book drawing on oral history as well as conventional primary source documents, and it was a pleasure to speak with Junes recently about his research. Learn more about your ad choices. Visit megaphone.fm/adchoices

New Books Network
Tom Junes, “Student Politics in Communist Poland: Generations of Consent and Dissent” (Lexington, 2015)

New Books Network

Play Episode Listen Later Sep 26, 2015 68:31


In the conventional narratives of Communist Poland, and Eastern Europe more generally, student activism tends to get short shrift. While the role of students in 1956 is unavoidable and widely acknowledged, after that their role and their relationship to the society at large has been minimized. The famous Kuron-Modzielewski letter of 1964 is treated first and foremost as an intra-elite affair, while the failure of the student protests in 1968 to provoke a broader movement as well as students’ subsequent lack of involvement in the protests of December 1970 have been taken as evidence of students’ lack of connection to broader society. Only in the late 1970s did was that gap bridged, first with founding of KOR after the strikes of 1976 and then during the Solidarity era. This account has been pervasive since the 1970s, and even people with only passing knowledge of Polish history have been exposed to it through Andrzej Wajda’s 1981 film “Man of Iron.” There the student turned factory worker Maciej Birkut recounts first being told by his father the former Stakhanovite turned worker activist that 1968 is not the right time to challenge the governments and then stands by in spite during the strikes of 1970 only to learn of his father’s death. Yet as so often happens when a historian take up a topic that has become so engrained that most people do not even stop to question it. In his new book Student Politics in Communist Poland: Generations of Consent and Dissent (Lexington Books, 2015), Tom Junes reveals that received narrative to be a myth that bears only partial connection to the truth. Covering the development of student politics in Poland from 1946 until the end of Communism, Junes argues that there were 8 distinct generations of students during that period, beginning with the students of the immediate postwar period whose worldview was shaped by their pre-War and War experiences to the students of the 1980s who embraced Solidarity, but felt betrayed by the roundtable negotiations that brought an end to Communist rule in 1989. It is a scrupulously researched book drawing on oral history as well as conventional primary source documents, and it was a pleasure to speak with Junes recently about his research. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gość Krzysztofa Ziemca w RMF FM
17.01 Gość: Andrzej Wajda

Gość Krzysztofa Ziemca w RMF FM

Play Episode Listen Later Jan 17, 2015 9:49


Andrzej Wajda

Civilcinema
#175 Una generación (1955), Kanal (1956) y Cenizas y Diamantes (1958), de Andrzej Wajda

Civilcinema

Play Episode Listen Later May 18, 2014 91:24


Tres películas prácticamente consecutivas, en las que al menos podemos ver dos cosas: a) una evolución velocísima en cuanto a estilo visual del realizador polaco Andrzej Wajda, desde los clásicos soviéticos del cine mudo hasta los barrocos experimentos de Orson Welles; b) el desarrollo de tres aristas amargas en torno a la guerra y a la resistencia de los polacos contra los nazis, tres aristas que están lejos de la propaganda y la complacencia y que ya anuncian el éxodo de muchos polacos a Occidente y el malestar ante el comunismo que fue aplastado en 1968, en Praga. De esto y más hablamos en el podcast.

Masmorracine
Masmorra à Trois #4 – Trilogia da Guerra de Andrzej Wajda

Masmorracine

Play Episode Listen Later Nov 16, 2013 131:46


Voltando a série Trilogias, Angelica Hellish, Marcos Noriega e Douglas Fricke do Podtrash, trazem para vocês as impressões sobre a  sensacional Trilogia da Guerra dirigida pelo cineasta polonês Andrzej Wajda,  sinônimo de cinema político polonês desde os anos 50. Wajda iniciou sua trajetória nas telas em 1954, com "Geração". O filme já apresentava aspectos relacionados à realidade dura de seu país, num enredo sobre um grupo de resistentes que se voltam contra os alemães durante a invasão de Varsóvia em 1942. O longa formou a chamada "trilogia da guerra" com os igualmente fundamentais "Kanal" (1957) e "Cinzas e Diamantes" (1958). O cinema de Andrzej Wajda transita, dessa forma, entre a estética e a ética, investigando vários meandros e, no processo, transformando tudo em boa arte. Edição e trilha sonora realizada por Diego Pinto do Cine Desbravador (visite!) Nossos agradecimentos aos amigos do Randomcast : Valério Gamer pela arte do banner e Mey Linhares por emprestar a bela voz para a vinheta inicial desse projeto. Divulgue esse podcast. Divulgue bom cinema:  

Masmorra Cine
Masmorra à Trois #4 – Trilogia da Guerra de Andrzej Wajda

Masmorra Cine

Play Episode Listen Later Nov 16, 2013 131:46


Voltando a série Trilogias, Angelica Hellish, Marcos Noriega e Douglas Fricke do Podtrash, trazem para vocês as impressões sobre a  sensacional Trilogia da Guerra dirigida pelo cineasta polonês Andrzej Wajda,  sinônimo de cinema político polonês desde os anos 50. Wajda iniciou sua trajetória nas telas em 1954, com “Geração“. O filme já apresentava aspectos relacionados […] O post Masmorra à Trois #4 – Trilogia da Guerra de Andrzej Wajda apareceu primeiro em Masmorra Cine.

guerra trois gera voltando trilogia andrzej wajda masmorra wajda trilogias podtrash masmorra cine marcos noriega douglas fricke angelica hellish
Fred Polish Channel » FRED Polish Podcast
Robert Wiekiewicz – Walesa #Venezia70

Fred Polish Channel » FRED Polish Podcast

Play Episode Listen Later Sep 12, 2013 7:36


Andrzej Wajda, Actor, Walesa. Festival Section: Venice 70. Reporter: Marina Fabbri. The post Robert Wiekiewicz – Walesa #Venezia70 appeared first on Fred Polish Channel » FRED Polish Podcast. Robert Wiekiewicz – Walesa #Venezia70 was first posted on September 12, 2013 at 2:04 pm.©2015 "Fred Polish Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

Fred Polish Channel » FRED Polish Podcast
Andrzej Wajda – Walesa #Venezia70

Fred Polish Channel » FRED Polish Podcast

Play Episode Listen Later Sep 11, 2013 4:11


Andrzej Wajda, Director, Walesa. Festival Section: Venice 70. Reporter: Marina Fabbri. The post Andrzej Wajda – Walesa #Venezia70 appeared first on Fred Polish Channel » FRED Polish Podcast. Andrzej Wajda – Walesa #Venezia70 was first posted on September 11, 2013 at 10:05 pm.©2015 "Fred Polish Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm