Podcasts about marienbad

Send us a textIn today's episode, I interview Lauren Melinda, the director of the short film "Before You." The film tells the story of a young couple dealing with the loss of a pregnancy while simultaneously expressing joy about an upcoming birth.Listen to hear about the film's basis in Lauren's own experience of loss, the importance of looking back on difficult memories while also looking for the positives in life, and how she and her crew went about putting together some incredible practical effects shots in the film.Books mentioned in this episode include:The Anxious Generation: How the Great Rewiring of Childhood Is Causing an Epidemic of Mental Illness by Jonathan HaidtFilms and TV shows mentioned in this episode include:"Before You" directed by Lauren MelindaEchoes directed by Lauren MelindaLegends of Tomorrow (series)Last Year at Marienbad directed by Alain ResnaisLola Montes directed by Max OphulsEternal Sunshine of the Spotless Mind directed by Michel GondryThe Double Life of Veronique directed by Krzysztof KieslowskiMuriel's Wedding directed by P. J. HoganI Am Love directed by Luca GuadagninoAmelie directed by Jean-Pierre Jeunet"I Could Dom" directed by Madison HatfieldSatisfaction directed by Alex BurunovaFollow Lauren on Instagram @laurenmelindafilm and the film @beforeyouthefilm. You can also follow her production company on Instagram @simbelleproductions and on YouTube @SimbelleProductions.

BIBLIOTECA SUBMERSA é a nova série de episódios do Podcast da Raphus Press, uma ironia bastante séria com o conceito de canônico e marginal, de popular e elitista, de aceito e não aceito, a partir das obras de autores que, aparentemente, tinham alguma influência (ou relevância) de certas obras ou autores no passado e que, hoje, parecem ausentes das livrarias, cadernos culturais, canais de vídeo na Internet. Nossa inspiração é Jorge Luis Borges e uma conhecida citação de Virginia Woolf: “Livros usados são selvagens, destituídos; surgem em grandes bandos de penas variadas e possuem certo encanto que falta aos volumes domesticados de uma biblioteca.”Episódio de hoje: As descrições hipnóticas, alucinatórias de Jean RicardouObras citadas: “Descrição de um striptease”, Jean Ricardou (Contravento Editorial, 2025); “Projeto para uma Revolução em Nova Iorque”, Alain Robbe-Grillet (Ed. Americana, 1975); “O Ano passado em Marienbad”, Alain Robbe-Grillet (Nova Fronteira, 1988); “Communication Measures to Bridge Ten Millenia”, Thomas A. Sebeok (Office of Nuclear Waste Isolation, 1984).Conheça “Senhor Morfeu, Envenenador Público e Outros Textos”, de Roger-Gilbert Lecomte: https://www.catarse.me/morfeuEntre para a nossa sociedade, dedicada à bibliofilia maldita e ao culto de tenebrosos grimórios: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html).Nosso podcast também está disponível nas seguintes plataformas:- Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs- Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4- Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus.Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.Nossos livros também estão no Sebo Clepsidra: https://seboclepsidra.lojaintegrada.com.br/buscar?q=Raphus+Press

Film critic Tim Lucas

Cinema60 is back with a ghost guest in order to highlight some notable opinions on film. Dwight Macdonald, a celebrity film critic of the ‘50s and ‘60s who is now more remembered as a cultural critic and political pundit, had a lot to say about the dumbing down of high art to appeal to middlebrow tastes. Championing films that challenged audiences, he famously took on Alain Resnais' Last Year at Marienbad as one of the most difficult films to ever be embraced by American audiences. While he does not consider the film one of his favorites, he admires its techniques and ambitions. He would use it as a touchstone through his career to describe the type of film that pushes boundaries of what cinema can do and engages on a higher level. In this episode, Bart and Jenna respond to Macdonald, muse on the actual difficulty of such a film and use his word to illustrate their own mission statement.The following film is discussed:•Last Year at Marienbad (1961) L'année dernière à Marienbad Directed by Alain Resnais Starring Delphine Seyrig, Giorgio Albertazzi, Sacha PitoëffText discussed:• On Movies (1969) by Dwight McdonaldOther films mentioned:• Citizen Kane (1941) Directed by Orson Welles Starring Orson Welles, Joseph Cotten, Dorothy Comingore• Children of Paradise (1945) Les enfants du paradis Directed by Marcel Carné Starring Arletty, Jean-Louis Barrault, Pierre Brasseur• Hiroshima Mon Amour (1959) Directed by Alain Resnais Starring Emmanuelle Riva, Eiji Okada, Stella Dassas• Breathless (1960) À bout de souffle Directed by Jean-Luc Godard Starring Jean-Paul Belmondo, Jean Seberg, Jean-Pierre Melville• La Dolce Vita (1960) Directed by Federico Fellini Starring Marcello Mastroianni, Anita Ekberg, Anouk Aimée• Jules & Jim (1962) Directed by François Truffaut Starring Jeanne Moreau, Oskar Werner, Henri Serre

For over more than five decades the Serbian conceptual and performance artist Marina Abramović has used her own body as her artistic medium, exploring the human condition in works that are often feats of endurance, exhaustion and pain. From her earliest works such as Rhythm 0, in which Abramović invited audiences to freely interact with her however they chose, to her long-durational work The Artist is Present, she has put herself in danger at the mercy of audiences all in the name of art. Abramović talks to John Wilson about her unhappy childhood in the former Yugoslavia with strict parents who had both been war heroes. She recalls how at age 14, a dangerous game of Russian roulette led her to Dostoevsky's novel The Idiot and how the book and its author's life sparked her creative imagination. She also reveals how two films, Alain Resnais' enigmatic 1961 French New Wave classic Last Year at Marienbad, and Pier Paolo Pasolini's 1968 movie Teorema, starring Terence Stamp, have inspired aspects of her work. Producer: Edwina Pitman

DFF-Sammlungskuratorin Isabelle Bastian stellt ein Objekt aus dem Besitz Volker Schlöndorffs vor: ein Requisit aus dem französischen Filmklassiker L'ANNÉE DERNIÈRE À MARIENBAD (Letztes Jahr in Marienbad. FR/IT 1961. R: Alain Resnais), das zugleich ein persönliches Erinnerungsstück an einen Schauspielstar ist.

Julia Holter's could be in the realm of contemporary classical music, experimental pop, and ambient music. Often dreamy and elusive, her songs defy easy description. As likely to work with adventurous rockers as with contemporary classical musicians, Holter has an unusually keen ear for unexpected sounds. Take her song, “Evening Mood,” where hazy layers of vocals swirl over a rhythm section that seems more about the feeling of movement than the actual sound of it – and it turns out the basis of the song is a heavily processed heartbeat. Her latest record, built around the waterlike flow of the body's internal sound world, is called Something in the Room She Moves. Julia Holter and her band play new music, in-studio. Set list: 1. Spinning 2. Marienbad 3. Talking to the Whisper

Vi har pratat om ettorna på bästalistorna från IMDb, Letterboxd och Sight and Sound. Nu tar vi oss an en annan topplista, nämligen Krilles egna topp 100-lista. En lista som uppdateras varje år och som senaste åren haft Wong Kar-wais mästerverk In the Mood for Love i topp. Tycker Krille om den lika mycket efter att ha sett den ännu en gång och håller Hille och Felix med om att det åtminstone är en av tidernas bästa filmer? Hille och Felix har även kollat på varsin film från listan som de inte sett tidigare och båda valde franskt. Felix valde actionpackade The Wages of Fear från 1953 medan Hille spanade in den surrealistiska Last Year in Marienbad från 1961. Båda två fick även i uppdrag att välja sina tre favoriter från Krilles lista som visade sig inte vara helt lätt.

Velkommen til Filmfeber - podcasten som dekker alt av ulike sjangere og epoker i filmhistorien. Den franske nybølges Alain Resnais' to første poetiske, beundringsverdige og tidvis vanskelige langfilmer står på plakaten denne gangen. God lytting!

Our Alternate Oscars episodes, based on Danny Peary's fantastic 1992 book of the same name, have always been among our most popular. Over the course of the podcast, we've covered the 1930's, 1950's, 1970's, 1980's, 1990's, and the 2000's. Comparing what films actually won Best Picture to what we believe should have won is always a fun challenge, and it has given us a chance over the years to open or reopen some doors for our listeners to movies that are overlooked and forgotten. When we came to the 1950's episode, in an (eerily prophetic) split decision, we chose to include only English-language works, since the sheer volume of brilliant films from around the world in that decade would overwhelm both us and you, dear listeners. As we approached the 1960's for this episode, however, we reasoned that the relative lack of great American films from the decade suggested that this time around, we should open our tent to the entire world. We could not stand idly by, for instance while "A Man for All Seasons", lovely though it is, walked away with Best Picture in the year of films like "Persona", "Masculin/Feminin" and "Blow-Up". Our worries about the length of the episode, however, turned out to be justified and then some; therefore, we needed to split the episode into two parts. So with that, we are thrilled to present our first episode(s) since our triumphant, celebratory live recording of Episode 50 in March: thus Episodes 51A (1960-1964) and 51B (1965-1969), Alternate Oscars: The 1960's Edition. There were a couple of things that really hit us as we were creating this entry in the Vintage Sand catalogue. The first is that an unexpectedly high number of our choices were, in fact, American films, suggesting that while common wisdom avers that Hollywood suffered a creative decline in the 60's, there were a lot of great things happening just below the surface that were, unwittingly perhaps, paving the way for the revolution of the American New Wave that would come in the early 1970's. And the deeper we dove into the cinema of the 60's, we came to really understand the fundamental difference between those works and film today. Simply put, it was a time when directors really seemed to trust their audience's intelligence and imagination. This is most obvious in structurally elliptical puzzle films like Resnais' "Last Year at Marienbad", Buñuel's "The Exterminating Angel", Antonioni's "L'Avventura" and "Blow-Up", Bergman's "Persona" and even Kubrick's "2001: A Space Odyssey". But in ways big and small, and in terms both of performance and filmmaking technique, there is in 60's film a refreshing absence of rat-on-the-balcony-rail-at-the-end-of-"Departed" heavy-handedness that seems to be a common thread in the work of even our greatest directors today. So with all this in mind, strap in and join us for our odyssey through 60's cinema. It promises to be highly irregular, Dave…

Our Alternate Oscars episodes, based on Danny Peary's fantastic 1992 book of the same name, have always been among our most popular. Over the course of the podcast, we've covered the 1930's, 1950's, 1970's, 1980's, 1990's, and the 2000's. Comparing what films actually won Best Picture to what we believe should have won is always a fun challenge, and it has given us a chance over the years to open or reopen some doors for our listeners to movies that are overlooked and forgotten. When we came to the 1950's episode, in an (eerily prophetic) split decision, we chose to include only English-language works, since the sheer volume of brilliant films from around the world in that decade would overwhelm both us and you, dear listeners. As we approached the 1960's for this episode, however, we reasoned that the relative lack of great American films from the decade suggested that this time around, we should open our tent to the entire world. We could not stand idly by, for instance while A Man for All Seasons, lovely though it is, walked away with Best Picture in the year of films like Persona, Masculin/Feminin and Blow-Up. Our worries about the length of the episode, however, turned out to be justified and then some; therefore, we needed to split the episode into two parts. So with that, we are thrilled to present our first episode(s) since our triumphant, celebratory live recording of Episode 50 in March: thus Episodes 51A (1960-1964) and 51B (1965-1969), Alternate Oscars: The 1960's Edition. There were a couple of things that really hit us as we were creating this entry in the Vintage Sand catalogue. The first is that an unexpectedly high number of our choices were, in fact, American films, suggesting that while common wisdom avers that Hollywood suffered a creative decline in the 60's, there were a lot of great things happening just below the surface that were, unwittingly perhaps, paving the way for the revolution of the American New Wave that would come in the early 1970's. And the deeper we dove into the cinema of the 60's, we came to really understand the fundamental difference between those works and film today. Simply put, it was a time when directors really seemed to trust their audience's intelligence and imagination. This is most obvious in structurally elliptical puzzle films like Resnais' Last Year in Marienbad, Buñuel's The Exterminating Angel, Antonioni's L'Avventura and Blow-Up, Bergman's Persona and even Kubrick's 2001: A Space Odyssey. But in ways big and small, and in terms both of performance and filmmaking technique, there is in 60's film a refreshing absence of rat-on-the-balcony-rail-at-the-end-of-Departed heavy-handedness that seems to be a common thread in the work of even our greatest directors today. So with all this in mind, strap in and join us for our odyssey through 60's cinema. It promises to be highly irregular, Dave…

In this episode of the Granta Podcast, we speak to the novelist and critic Lauren Oyler, author of No Judgement (2024) and Fake Accounts (2024), about living in Berlin, the boundary between our private and public selves, and the trajectory of autofiction. We also discuss Oyler's essay, ‘Last Week at Marienbad', which appeared in Granta 165: Deutschland. You can read ‘Last Week at Marienbad' here.Follow these links to subscribe to the podcast on Spotify and Apple Podcasts.Leo Robson is a cultural journalist whose work has appeared in the London Review of Books, the New Yorker, and the New Left Review, among other publications. His first novel will be published in 2024. Josie Mitchell is online editor at Granta. 

durée : 01:00:53 - Les Nuits de France Culture - par : Albane Penaranda - Par Colette fellous - Avec Alain Robbe-Grillet (écrivain et cinéaste), Alain Resnais (cinéaste) et Zdenek Bicek (professeur) - Réalisation Marie-Ange Garrandeau

Kirchgeßner, Kilianwww.deutschlandfunk.de, Tag für Tag

Kirchgessner, Kilianwww.deutschlandfunkkultur.de, Studio 9

Once again, Cinema60 communes with the dead in order to highlight some notable opinions on film. Tonight's ghost guest is Susan Sontag and her seminal Sight and Sound review on Ingmar Bergman's Persona. Known primarily as an author, filmmaker and intellect, in the 1960s Sontag was just beginning her illustrious career as a writer – her essay “Notes on ‘Camp'” helped to define the camp aesthetic to the public at large. Simiarly, her 1967 review of Persona has endured throughout the ages, rising above other contemporary voices to help audiences (old and new alike) better derive meaning from Bergman's rather abstract film. In this episode, Bart and Jenna use Sontag's article as a sounding board to dissect Bergman's filmmaking and explore the depths of Persona. Easy enough for Bart, who likely would have chosen this film himself if the episode had been about his favorite ‘60s pick. Meanwhile, Jenna muses on the idea that all cinema must have a “point” – even if sometimes the point is that there is no point. The following film is discussed:• Persona (1966) Directed by Ingmar Bergman Starring Bibi Andersson, Liv Ullmann, Margaretha KrookAlso mentioned:• Journey to Italy (1954) Viaggio in Italia Directed by Roberto Rossellini Starring Ingrid Bergman, George Sanders, Maria Mauban• L'avventura (1960) Directed by Michelangelo Antonioni Starring Monica Vitti, Gabriele Ferzetti, Lea Massari• Last Year at Marienbad (1961) L'année dernière à Marienbad Directed by Alain Resnais Starring Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoëff• Through a Glass Darkly (1961) Såsom i en spegel Directed by Ingmar Bergman Starring Harriet Andersson, Gunnar Björnstrand, Max von Sydow• The Man Who Shot Liberty Valance (1962) Directed by John Ford Starring James Stewart, John Wayne, Vera Miles• Winter Light (1963) Nattvardsgästerna Directed by Ingmar Bergman Starring Ingrid Thulin, Gunnar Björnstrand, Gunnel Lindblom• The Silence (1963) Tystnaden Directed by Ingmar Bergman Starring Ingrid Thulin, Gunnel Lindblom, Birger Malmsten• Hour of the Wolf (1968) Vargtimmen Directed by Ingmar Bergman Starring Max von Sydow, Liv Ullmann, Gertrud Fridh• Shame (1968) Skammen Directed by Ingmar Bergman Starring Liv Ullmann, Max von Sydow, Sigge Fürst• Duet for Cannibals (1969) Duett för kannibaler Directed by Susan Sontag Starring Adriana Asti, Lars Ekborg, Gösta Ekman• The Passion of Anna (1969) En passion Directed by Ingmar Bergman Starring Liv Ullmann, Bibi Andersson, Max von Sydow• Brother Carl (1971) Bröder Carl Directed by Susan Sontag Starring Geneviève Page, Gunnel Lindblom, Keve Hjelm• The Point (1971) Directed by Fred Wolf Starring Ringo Starr, Mike Lookinland, Lennie Weinrib• Promised Lands (1974) Directed by Susan Sontag• Inland Empire (2006) Directed by David Lynch Starring Laura Dern, Justin Theroux, Jeremy Irons

No episódio de hoje falamos sobre o filme O Ano Passado em Marienbad, clássico de 1961 dirigido por Alain Resnais. Vencedor do Leão de Ouro no Festival de Veneza, essa obra desafia a lógica da estrutura narrativa convencional. Acompanhe nosso bate-papo onde Gabriel Campos, Estevan Mazzuia, Juliana Inglesi e Gabriel Escudero tentam decifrar os mistérios e os múltiplos sentidos da trama. --- Send in a voice message: https://podcasters.spotify.com/pod/show/fagulha-cineclube/message

V Mariánských Lázních začíná 13. července Marienbad Film Festival zaměřený na experimentální a nezávislou filmovou tvorbu. Letos se přehlídky zúčastní 200 hostů, včetně zahraničních účastníků z celého světa.Všechny díly podcastu Náš host můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Marienbad Film Festival letos opět představí snímky, které diváci a divačky běžně v kině neuvidí. Poosmé uvádí filmy experimentálního charakteru, kombinující různé žánry, techniky a umělecké přístupy. Co nás letos v Mariánských lázních čeká prozradili programový ředitel festivalu Tomáš Vobořil s dramaturgem Jiřím Angerem a svůj poslední film Signatury některých věcí představil vizuální umělec Zdeněk Baladrán. Připravila Agáta Hrnčířová.

Marienbad Film Festival letos opět představí snímky, které diváci a divačky běžně v kině neuvidí. Poosmé uvádí filmy experimentálního charakteru, kombinující různé žánry, techniky a umělecké přístupy. Co nás letos v Mariánských lázních čeká prozradili programový ředitel festivalu Tomáš Vobořil s dramaturgem Jiřím Angerem a svůj poslední film Signatury některých věcí představil vizuální umělec Zdeněk Baladrán. Připravila Agáta Hrnčířová.Všechny díly podcastu ArtCafé můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

durée : 01:05:00 - Les Nuits de France Culture - par : Albane Penaranda - Par Colette fellous - Avec Alain Robbe-Grillet (écrivain et cinéaste), Alain Resnais (cinéaste) et Zdenek Bicek (professeur) - Réalisation Marie-Ange Garrandeau

This week we get into that particular kind of surrealist madness only French cinema can capture. From the overwrought 60s stylisation of Last Year at Marienbad to modern masterpiece Holy Motors, care of 70s standouts Celine and Julie Go Boating and The Discreet Charm of the Bourgeoisie - if nothing else, we're giving tops marks for the titles.Films referenced:Last Year at Marienbad (1961) dir. by Alain Resnais The Discreet Charm of the Bourgeoisie (1972) dir. by Luis BunuelCeline & Julie Go Boating (1974) dir. by Jacques RivetteHoly Motors (2012) dir. by Leos CaraxSources and resources:Film Art: An Introduction by David Bordwell and Kristen Thompson  - the analysis that kickstarted James' love of French Films - comes highly recommendedSacha Vierny (the cinematographer on Last Year at Marienbad)'s obituary by Michael Brooke Pauline Kael's review of Last Year at MarienbadPauline Kael's review of the Discreet Charm of the BourgeoisieThe Triumph of ‘Céline and Julie Go Boating' by Kristen Yoonsoo Kim for thenation.comInterview with Holy Motors director Leos Carax by Eric Kohn for IndieWire-----------If you love what we do, please like, subscribe and leave a review!Produced and edited by Lily AustinMusic and sound by James BrailsfordLogo design by Abby-Jo SheldonFollow usEmail us

For our Paramount 1942 episode, we hit the road with a comedy with a lot on its mind, Preston Sturges' Sullivan's Travels, and a comedy without any mind, the Hope/Crosby road movie Road to Morocco. We debate just how much deep thinking a comedy should do and consider what kind of thinking comedy itself can do without any help from an auteur. We also isolate some of the unusual features of the Hope/Crosby double act that lend Road to Morocco an invigorating unpleasantness. And then, in our Fear and Moviegoing in Toronto segment, we start off the TIFF Cinematheque Delphine Seyrig retrospective with a feminist documentary directed by the actress, Be Pretty and Shut Up!, and a couple of mind-bending European art films about the leisure class, Marguerite Duras' India Song and Alain Resnais' Last Year at Marienbad.  Time Codes: 0h 01m 00s:      SULLIVAN'S TRAVELS [dir. Preston Sturges] 0h 35m 39s:      ROAD TO MOROCCO [dir. David Butler] 0h 55m 34s:      FEAR & MOVIEGOING IN TORONTO – Delphine Seyrig series at TIFF: Sois belle et tais-toi (1981), India Song (1975) and L'année dernière à Marienbad (1961)   Studio Film Capsules provided by The Paramount Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join!         

On this very special episode of Apocalypse Video....it's a FILMVERSATION! That's right. Your favorite high-minded pretentious jerks Mike and Nick are ready to talk about serious "films” and how they're smarter than you because they made it through both Stalker AND Last Year in Marienbad. Join Mike, Nick, Dave, Ryan, and Jackie as we dive into the career of who was arguably the brightest star to ever shine in Hollywood....Marilyn Monroe! The gang bookends her career focusing on an early highlight, Niagara (1953) and a later career masterpiece, Some Like It Hot (1959). Is it Apocalypse Video? Is it Filmversation? Has Crazy Dave finally gone too far? TUNE IN TO FIND OUT! Be sure to rate, review and subscribe wherever you get your podcasts. You can also Follow Us on Twitter, Like Us on Facebook, or shoot us an email at apocalypsevideopod@gmail.com. Got a movie you'd like us to watch? Hit us up and we'll talk about it on the show! Don't forget to also check out Filmversation, available wherever you get your podcasts in the wasteland! This is Mike - Shift Leader at Apocalypse Video, and Co-Host of the superior film podcast, Filmversation - signing off.

"Le Classico" de Sébastien Ministru : "Cent ans de solitude" de Gabriel García Márquez. À Macondo, petit village isolé d'Amérique du Sud, l'illustre famille Buendia est condamnée à cent ans de solitude par la prophétie du gitan Melquiades… Dans un tourbillon de révolutions, de guerres civiles, de fléaux et de destructions, elle vit une épopée mythique, à la saveur inoubliable, qui traverse les trois âges de la vie : naissance, vie et décadence… Ce roman époustouflant est un chef-d'œuvre du XXe siècle. Spéciale Barbara, dont on célèbre les 25 ans de la mort aujourd'hui. On en parle avec Joël July, auteur du livre "Barbara : L'intégrale des chansons" (L'Archipel). Dis quand reviendras-tu ?, Nantes, Une petite cantate, Le Mal de vivre, Marienbad, Sid'amour à mort… Quatre décennies durant, sur la scène de L'Écluse, de Bobino ou du Châtelet, Barbara (1930-1997) a promené sa « plus belle histoire d'amour » et chanté sans fausse pudeur les moindres tourments de sa vie. « Si j'ai pu toucher les gens, c'est sans doute parce que les histoires que je chante sont “sorties” de moi, qu'elles me sont arrivées », disait-elle. Car Barbara (1930-1997) mettait sa propre vie en scène chaque fois que le rideau se levait. Elle qui se défendait d'être poète aura révélé, disque après disque, une plume à la fois énigmatique et limpide, au charme sans pareil. Sont ici rassemblées les cent cinquante chansons qu'elle enregistra de 1957 à 1996. Barbara en a signé seule le plus grand nombre. D'autres, écrites pour elle ou avec sa collaboration, notamment par Georges Moustaki, Rémo Forlani ou Luc Plamondon, appartiennent à son univers. Ce recueil inclut quelques textes introuvables : présentation de spectacles, brouillons annotés de sa main, ébauches pour l'opéra Lily Passion, strophes inédites de Nantes, Perlimpinpin ou L'Aigle noir, transcriptions d'interviews radiophoniques… Une chronologie détaillée, une discographie, une bibliographie, des études sur son art poétique, musical et scénique complètent cet ouvrage. "Inspiré de faits réels" de Franck Istasse : Bob et Bobette et Goldorak qui s'inspirent de George Adamski, un « contacté » des années 50...

Spéciale Barbara, dont on célèbre les 25 ans de la mort aujourd'hui. On en parle avec Joël July, auteur du livre "Barbara : L'intégrale des chansons" (L'Archipel). Dis quand reviendras-tu ?, Nantes, Une petite cantate, Le Mal de vivre, Marienbad, Sid'amour à mort… Quatre décennies durant, sur la scène de L'Écluse, de Bobino ou du Châtelet, Barbara (1930-1997) a promené sa « plus belle histoire d'amour » et chanté sans fausse pudeur les moindres tourments de sa vie. « Si j'ai pu toucher les gens, c'est sans doute parce que les histoires que je chante sont “sorties” de moi, qu'elles me sont arrivées », disait-elle. Car Barbara (1930-1997) mettait sa propre vie en scène chaque fois que le rideau se levait. Elle qui se défendait d'être poète aura révélé, disque après disque, une plume à la fois énigmatique et limpide, au charme sans pareil. Sont ici rassemblées les cent cinquante chansons qu'elle enregistra de 1957 à 1996. Barbara en a signé seule le plus grand nombre. D'autres, écrites pour elle ou avec sa collaboration, notamment par Georges Moustaki, Rémo Forlani ou Luc Plamondon, appartiennent à son univers. Ce recueil inclut quelques textes introuvables : présentation de spectacles, brouillons annotés de sa main, ébauches pour l'opéra Lily Passion, strophes inédites de Nantes, Perlimpinpin ou L'Aigle noir, transcriptions d'interviews radiophoniques… Une chronologie détaillée, une discographie, une bibliographie, des études sur son art poétique, musical et scénique complètent cet ouvrage.

Das Falkensteiner Spa Resort Marienbad weiß Eindruck zu schinden: Imposant ragt die sandfarbene, historische Jugendstil-Villa aus dem 19. Jahrhundert am hügeligen Waldrand empor. Die wunderschöne Innenstadt des geschichtsträchtigen tschechischen Kurbads ist nur einen kleinen Fußweg entfernt und doch weit genug weg, um abseits des Trubels seine Ruhe zu haben. 164 Zimmer verteilen sich über den Komplex mit den über die Jahrhunderte erweiterten Flügeln.

Mike and Nick delve into one of the enigmatic filmmakers of the French New Wave.Hiroshima Mon Amour (1959) and Last Year at Marienbad (1961) both use imaginative techniques to explore memory and reality. Find out what the duo has to say about these two films and the filmmaker.

We strongly recommend watching À Bout De Souffle before listening to the episode - for many reasons that we get into in the episode, but mainly because it changed cinema forever. You can rent it on BFI player.Films and TV shows referenced: À Bout De Souffle (1960) dir. by Jean-Luc GodardLast Year in Marienbad (1961) dir. by Alain ResnaisPractical Magic (1998) dir. by Griffin DunneSouthland Tales (2006) dir. by Richard KellyDonnie Darko (2001) dir. by Richard KellyLe Mépris (1963) dir. by Jean-Luc GodardBande à part (1964) dir. by Jean-Luc GodardAlphaville (1965) dir. by Jean-Luc GodardTangerine (2015) dir. by Sean BakerFollowing (1998) dir. by Christopher NolanWhen Harry Met Sally (1989) dir. by Rob Reiner Reservoir Dogs (1992) dir. by Quentin Tarantino Pulp Fiction (1994) dir. by Quentin Tarantino Mean Girls (2004) dir. by Mark WatersEuphoria (2019) created by Sam LevinsonBreathless (1983) dir. By Jim McBrideOther sources:Rubin Safaya, ‘À Bout de Souffle', cinemalogue.com Jacqueline Wallace, ‘À Bout de Souffle by Jean-Luc Godard: How did it reinvent modern cinema?', the-artifice.comBuy the New York Herald Tribune shirtEditing and production by Lily Austin, original theme music by James Brailsford. Thank you to Abby-Jo Sheldon for our logo.-----------If you love what we do, please like, subscribe and leave a review!Produced and edited by Lily AustinMusic and sound by James BrailsfordLogo design by Abby-Jo SheldonFollow usEmail us

We go as French as one can possibly go without actually moving to Paris on this episode of Repertory Screenings, and come out the other side divided on the whole experience. Also apologies for some audio weirdness, we're still working through a problem with recording.Send us any email questions and comments about the movies we cover or movies in general to abnormalmappingpodcast@gmail.com! Also, we're a patreon supported show, please go to patreon.com/abnormalmapping to see our many shows and support us.Next Time on Repertory Screenings:Viridiana

In this episode we talk about Last Year at Marienbad. Let us know what you guys think. Link is below for all our social media. https://linktr.ee/silverscreenvideo Thanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast or Twitter @SilverVideo --- Send in a voice message: https://anchor.fm/silverscreenvideo/message Support this podcast: https://anchor.fm/silverscreenvideo/support

[Mature themes and violence] A modernization of the story "Hop-Frog" by Edgar Allen Poe, turning it into a 1980s frat house horror movie. A bunch of pranksters find out the joke's on them. Written and produced by Julie Hoverson Cast List Frogger - Brian Lomatewama Lydia - Megan Lane Rex - James Turpin Deanna - Chandra Wade Uno - Justin Charles Buzz - Lothar Tuppan Trey - Danar Hoverson Lucky - Cary Ayers June - Kate Waterous Lisa - Melissa Pang Bob - James Sedgwick Fred - Jonathon del Arroz Dora - Melissa Bartell Kathy - Suzanne Dunn Music by Persson (available on Jamendo)  Editing and Sound:   Julie Hoverson Thanks to Glen Hallstrom for sound assistance Cover Design:  Dennis Hager "What kind of a place is it? Why it's a college locker room, in the classic era of frat-house prank films, can't you tell?" ****************************************************************** POE-etic Justice Loosely adapted from the story "Hop-Frog" by Edgar Allen Poe by Julie Hoverson (19nocturne@live.com) Cast: [Opening credits - Olivia] Frogger Lydia Tripp Deanna Dora Bob, Fred, Kathy, June FRATS: Rex Mason, fraternity head, etc. Uno Buzz Trey Lucky OLIVIA      Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a college campus in the nostalgic era of screwball hijinks films, can't you tell?  MUSIC LYDIA     (Quotes from the original story) I never knew anyone so keenly alive to a joke as the king was. He seemed to live only for joking. To tell a good story of the joke kind, and to tell it well, was the surest road to his favor. Thus it happened that his seven ministers were all noted for their accomplishments as jokers. AMB     LOCKER ROOM UNO     Man!  Did you see the look on his face! BUZZ     Like he'd never seen it bald before. FRATS      [Hearty laugh] TREY     That was you guys?  Oh, man.  FROGGER     [muttered] It's gonna itch. UNO     [less chummy] What? FROGGER     [laughs unconvincingly] When the hair grows back.  It itches like a sonofabitch. TREY, UNO, BUZZ     [chuckle] UNO     [pretend serious] And Frogger would know! TREY, UNO, BUZZ     [laugh hysterically] REX     Cut him some slack, dudes.  Frogger's our pal.  He's a funny guy. MUSIC LYDIA     About the refinements, or, as he called them, the 'ghost' of wit, the king troubled himself very little. He had an especial admiration for breadth in a jest, and would often put up with length, for the sake of it. MUSIC REX     Are they gonna get here soon? BUZZ     If Studs and Lucky got everything right. REX     Cool, then.  This is gonna be a laugh riot. BUZZ     When the froshes come walking into the rooms, each thinking they're gonna "get a little", oh yeah. REX     Got someone with a tapedeck in each bathroom? BUZZ     Too right!  We had to borrow an extra one from Delta pi, but that's cool.  It was Deanna made the tapes anyway. REX     Frogger, what'd you get her to say? FROGGER     [sigh, then, putting on a matching tone]  I gave her this script.  Should be funny as hell. BUZZ     Here!  "oh, good!  You got my note!  I hope you don't mind that I'm a little... kinky.  [laughing and having a hard time reading]  I want you to undress and [collapses] REX     What? BUZZ     Gimme a minute!  [laughing, deep breath] undress and put on my underwear.  It's right there on the bed.  BUZZ and REX     [hysterical fit] REX     Not laughing, Frogger? FROGGER     Just saving it til I see their faces. REX     [agreeing chuckle]  That'll be boss.  Hey, you're into all that educated stuff.  What's up with this Woody Allen guy?  BUZZ     That's that little Jewish nerd, right? REX     This chick I was with last week says he's all hilarious, but I watched this movie - well, some of it, I was mostly macking on another hottie, and it was all like whining. FROGGER     You want the brainhead answer or the real life one? REX     Hit me with the smart one. FROGGER     Woody Allen specializes in observational humor - looking at the angst and neuroses inherent in modern life and stepping aside and commenting on them.  BUZZ     [elaborate yawn] FROGGER     But mostly it is just whining. REX     [laughs]  I knew it! SOUND     DISTANT DOOR OPENS BUZZ     Shh!  Here they come! MUSIC LYDIA     I believe the name 'Hop-Frog' was not that given to the dwarf by his sponsors at baptism, but it was conferred upon him, by general consent of the several ministers. MUSIC AMB     PARTY REX     Grab me a brewski Frogger. FROGGER     No problemo. DEANNA     Why "Frogger"?  I mean, that's not like his real name, right? REX     Duh.  You just gotta see him cross a street sometime.  Freaking funny. DEANNA     Why do keep a little toad like that around?  Did you like lose a bet? REX     Nah.  Frogger's pretty frosty, for a complete nerd.  He comes up with some truly awesome pranks.  DEANNA     He would have to.  Just looking at him is like visual herpes. REX     Nah, the guys like having him around, cuz next to a mini weenie like that, we all look like kielbassas.  Not that I don't look good anyway. DEANNA     [chuckles seductively] Yeah, takes a whole can of vienna sausage to measure up to one ball park frank. REX     Plumps when you get it hot, babe. FROGGER     Your beer.  And a cocktail for you. DEANNA     [cold] Thanks. REX     Cool.  Hop along now, dude.  My term paper is due tomorrow. DEANNA     See, that's where it's so much harder to be a girl than a guy. REX     Why?  DEANNA     No matter how smart she was, I couldn't keep a dog like that around.  We'd get a rep.   MUSIC LYDIA     I am not able to say, with precision, from what country Hop-Frog originally came. It was from some barbarous region, however, that no person ever heard of - a vast distance from the court of our king. Hop-Frog, and a young girl very little less dwarfish than himself, had been forcibly carried off from their homes. MUSIC AMB     OUTSIDE LYDIA     Hiya, Tim! FROGGER     [warm] Hey Lydia. LYDIA     You, um, doing anything tonight? FROGGER     Me?  No.  Did you need some help with something? LYDIA     Me?  No.  I was thinking there's a showing of L'annee Derniere a Marienbad in Culver Hall tonight.  And after what you said about the surrealists [falters] I thought maybe-- FROGGER     Like a date? LYDIA     [backing off]  Maybe.  [covering] Or as friends.  I mean, you don't have to pay or anything. FROGGER     No, no!  I'd love to.  I'm just surprised you'd still speak to me.  LYDIA     Because you hang out with the jackasses?  Nah.  I understand.  I wouldn't mind getting on someone's good side.  FROGGER     [deep] It's not worth it.  Really. LYDIA     But I'm lucky - I don't do anything that makes me a target.  Back in Fulton County, I hated being invisible.  Here, though?  It's a blessing. FROGGER     Even in Fulton, I didn't have much of a choice.  Gotta run now.  Rex is planning a big party for the long weekend.  LYDIA     He needs help? FROGGER      Mostly he just wants people to give him ideas that he can take credit for later. MUSIC LYDIA     The king was sitting at his wine; but the monarch appeared to be in a very ill humor. He knew that Hop-Frog was not fond of wine, for it excited the poor cripple almost to madness; and madness is no comfortable feeling. But the king loved his practical jokes, and took pleasure in forcing Hop-Frog to drink. MUSIC ALL FRATS     Chug! Chug! Chug! Chug! FROGGER     [drinking, gasping] REX     Awesome. FROGGER     [coughing] BUZZ     Weenie. ALL FRATS     [laugh] FROGGER     [barely contained anger]  Keep 'em coming. ALL FRATS     [approval] REX     Take a breather, dude.  Mellow out first.  Besides, before you kiss the sky, we need your brain. FROGGER     [breathing deep, trying not to get sick]  What do you expect it to do? ALL      [laugh] REX     We heard that Epsilon Omega is having a toga party. ALL     Toga! Toga! Toga! Toga! REX     Shh!  We're pissed we didn't think of it first.  UNO     Very pissed. REX     Since we don't want to look like copycatting dildoes, we need to come up with a better party.  TREY     And quick - it has to be Friday. LUCKY     Their party is Saturday. BUZZ     And it has to be awesome. UNO     And chicks have to be nearly naked. REX     Well? FROGGER     Hmm.  Garden of Eden. BUZZ     We don't want any bible crap-- FROGGER     You wanted less clothes than togas. UNO     That's the dumbest-- REX     Hold on.  Are we talking fig leaves and stuff?  [considering] Hmm... UNO     I ain't gluing nothing to MY Johnson. FROGGER     Paint the bikini? TREY     What? FROGGER     Get a bunch of tempera paint, have everyone arrive in bikinis, lay out a bunch of tarps and paint each other.  REX     You mean paint ON each other, right? FROGGER     Duh.  I would suggest finger painting. REX     [considering] Yeah. FROGGER     And then everyone has to shower off... REX     [up]  Yeah!  That is so boss!  Half naked chicks, AND you get to put your hands all over them.  Frogger, you are the MAN. MUSIC LYDIA     On some grand state occasion-I forgot what-the king determined to have a masquerade.  Hop-Frog, in especial, was so inventive in the way of getting up pageants, suggesting novel characters, and arranging costumes, for masked balls, that nothing could be done, it seems, without his assistance. MUSIC AMB     OUTSIDE LYDIA     Hey Tim! FROGGER     Lydia!  Hey. LYDIA     [amused] Is this your idea? FROGGER      What? SOUND     PAPER FROGGER     "you are cordially invited to a bikini painting party--"  Uh, no.  LYDIA     Hmm.  Well, someone invited me. FROGGER     [up] No!  I mean, don't come.  Those guys are dicks, and-- LYDIA     I wasn't planning to, unless you were asking. FROGGER     Good. LYDIA     I'm not much for drinking - or being around a bunch of drunks. FROGGER     Good! LYDIA     I suppose... I suppose you're kind of stuck there? FROGGER     I have to be there for a while.  Until everyone's drunk enough that I can slip out. LYDIA     Let's meet up later, then.  SOUND     SHE WALKS AWAY LYDIA     [calling back] Maybe I'll even let you paint me. FROGGER     I-- uh-- okay. TREY     Dude.  FROGGER     [gasp of shock] TREY     Nice little number.  I bet you get her out of the glasses and baggy sweater and she's a total fox. FROGGER     [desperately lying]  Nah.  She's got no tits at all.  Just tissue. TREY     Damn.  Chicks are such fakers. FROGGER     [relieved sigh] MUSIC LYDIA     Hereupon the dwarf laughed (the king was too confirmed a joker to object to any one's laughing). Moreover, he avowed his perfect willingness to swallow as much wine as desired. The monarch was pacified. SOUND     PARTY, LOTS OF LAUGHING, DISCO MUSIC REX     Ni-i-ice.  Blondes look good in green. JUNE     [GIGGLES] REX     But are you a natural blonde? JUNE     Only my bikini knows. REX     Maybe it will tell me later... JUNE     [giggles] REX     See ya.  Hey Frogger.  I notice your hands are clean. FROGGER     Just - um- came from the bathroom. REX     Hmm.  Beauty idea about giving each guy a different color and starting a contest to see what girl can get the most colors. FROGGER     Deanna's got quite a rainbow going. REX     Is that a crack? FROGGER     Huh?  No - just admiration. REX     Ah, new guests.  Gotta mingle. LISA     [giggle] Oh, look at you!  Are you someone's little brother? FROGGER     You ever hear the phrase "Say Hello to my leetle friend"? LISA      Yeah? FROGGER     That's me. LISA     [wide-eyed] You said that? FROGGER     [sighs] No that's Scarface.  I'm "the leetle friend". LISA     [giggles] LYDIA     [off, calling]  Oh, there he is! FROGGER     Oh shit.  Excuse me. MUSIC LYDIA     There was a dead silence for about half a minute, during which the falling of a leaf, or of a feather, might have been heard. MUSIC FROGGER     [hurried, whispered] What are you doing here? LYDIA     Didn't you call?  Dora, at the dorm said-- FROGGER     No, I didn't.  You need to get out of here. LYDIA     [puzzled, but laughing]  Why?  It looks kind of fun. FROGGER     [frustrated noise]  No!  They're gonna-- BUZZ     I see someone wearing too much clothes! LYDIA     Huh? LUCKY     Did you bring your bathing suit, foxy lady? FROGGER     She's not here for the party.  It's a mistake. LYDIA     [annoyed] No it's not.  TREY     Is this cuz of what you said about her?     FROGGER     Just drop it.  You gotta go. LYDIA     [sharp] What did you say? FROGGER     Nothing.  C'mon, let's bail. TREY     He said you got no boobs under there. LYDIA     What?  What is wrong with you?  God, Tim, I thought you were my friend. FROGGER     Lydia!  Don't!  I can explain-- TREY     Want to prove him wrong? BUZZ     Of course, if you don't have a suit‑‑ SOUND     RUSTLING LYDIA     Actually, I only have a one-piece. FROGGER     Don't! LYDIA     Chill out. SOUND     RUSTLING AS SHE TAKES OFF HER TOP ALL FRATS     [approving noises] TREY     [walking away] Why don't I start - I am curious.  And I'm yellow. FROGGER     [weak] No... REX     C'mon dude.  Bottoms up. SOUND     RATTLE OF ICE IN GLASS MUSIC LYDIA     Poor fellow! his large eyes gleamed, rather than shone; for the effect of wine on his excitable brain was not more powerful than instantaneous. He placed the goblet nervously on the table, and looked round upon the company with a half-insane stare. They all seemed highly amused at the success of the king's 'joke.' MUSIC SOUND     PAINT SLOSH LYDIA     [laughing uncomfortably] That's cold! TREY     I could warm you up a bit.  Maybe a hot shower.  I'll scrub your back. LYDIA     [uncomfortable] I didn't say stop. TREY     I haven't seen you at one of these before.  What are you, a hermit? LYDIA     Just busy studying. TREY     [suggestive] Do you study... anatomy? LYDIA     I'm an english major. TREY     This--[he's painting on her] is the bicep... LYDIA     Yeah, I know.  TREY     And this-- is the [drawn out] pec-to-ral... LYDIA     [gasp of shock]  I think I'm - out of my depth.  I should go. TREY     Nonsense.  There's seven more colors to go.  Everybody wants to get his hands on you. LYDIA     No. No, look, this was a bad idea. TREY     This-- is the gluteus maximus. LYDIA     Stop! SOUND     SLAPPING NOISE TREY     Oh come on.  You don't want to leave this masterpiece unfinished, do you? LYDIA     Let go of me! REX     [overplayed] OK, what's going on? TREY     Models.  They're so high strung. REX     You should have a drink.  Frogger did. LYDIA     I just want to go. REX     [raising his voice]  Hear that everyone?  She just wants to go. ALL     [everyone laughing] DEANNA     Who does she think she is? ALL     [more laughing, mostly guys] SOUND     POUNDING ON A DOOR FROGGER     [in closet]  Stop!  No! REX     You know, these picnic bottles were a really good idea. SOUND     SQUIRTS PAINT LYDIA     [surprised shriek] ALL     [laugh]       LYDIA     [crying] Stop! REX     Well, being the king, I had her first.  Who's next? BUZZ     I got red, how bout I KETCHUP! [squirting] ALL     [laughing] FROGGER     [in closet]  Nooooo! MUSIC LYDIA     The tyrant seemed quite at a loss what to do or say - how most becomingly to express his indignation. At last, he pushed the girl violently from him, and threw the contents of the brimming goblet in her face. MUSIC SOUND     BREATHING IN A CLOSED SPACE.  OCCASIONAL THUMPS AS FROGGER BEATS HIS HEAD AGAINST THE WALL; the party has run down SOUND     DOOR OPENS REX     Damn.  Almost forgot about you.  C'mon out.  Everyone's all gone home. SOUND     FROGGER SCRAMBLES TO HIS FEET, THUMP AS HE SLAMS REX AGAINST THE WALL REX     Unh! FROGGER     You bastard!  You sonofabitch! REX     C'mon dude.  It was just a joke.  No big deal. SOUND     DRINKS FROM A BOTTLE REX     Here.  mellow out. SOUND     OFFERS THE BOTTLE FROGGER     No big deal?  You- you--! REX     Have a drink and get frosty, dude.  Or I might forget I have a big paper coming up and that you need fingers if you're gonna write it for me. SOUND     FROGGER SNATCHES THE BOTTLE, DRINKS DEEP REX     There you go.  That's a pal. SOUND     FROGGER THROWS THE BOTTLE ACROSS THE ROOM, BOTTLE SMASHES REX     [laughs heartily]  Yeah!  You cool? FROGGER     [grim, teeth gritted] I'm completely frozen. MUSIC LYDIA     Hop-Frog endeavored, as usual, to get up a jest in reply to these advances from the king; but the effort was too much. MUSIC SOUND     SHOWER RUNNING SOUND     PHONE RINGS, DISTANT, IS PICKED UP DORA     Yello?  [up]  Lydia! LYDIA     [yelling, still upset] I'm in the shower! SOUND     A MOMENT, THEN POUNDING ON THE DOOR DORA     It's that guy you like.  He wants to talk. LYDIA     Tell him to sit on it! MUSIC LYDIA     "The beauty of the game," continued Hop-Frog, "lies in the fright it occasions among the women." MUSIC TREY     Man, he went total meltdown. BUZZ     His eyes were all bugging out. UNO     Gets all squeaky, like a little bitty piggie. REX     Shh,  Here he comes.  [up]  Frogger, my man.  Have a brewski - we need you at the top of your game tonight. FROGGER     Whatever.  [drinks] REX     Jeez, check out Mr. Dickweed.  He needs to mellow out.  Bring on Mr. Cuervo.  SOUND     LIQUID POUR FROGGER      Just tell me what you need. REX     Nuh-uh.  Not until you got a good buzz.  [serious]  Drink. FROGGER     [sighs] MUSIC LYDIA     "What do you mean by that? Ah, I perceive. You are Sulky, and want more wine. Here, drink this!" and the king poured out another goblet full and offered it to the cripple, who merely gazed at it, gasping for breath. MUSIC REX     I don't know how we didn't hear about it sooner, but Epsilon Omega is doing this medival banquet thing - and it's tonight!  It's sposed to be totally off the hook, with jousting and shit. FROGGER     [muttered] Jousting's on horseback. UNO     We gotta DO something!  BUZZ     We gotta get in there and mess with them! LUCKY     Epsilon Omega are such douches, we gotta show em up! REX     But see, they won't let anyone in that ain't in a costume.  YOU need to get us in there. FROGGER     You can't just rent some stuff? UNO     All the shops are sold out! TREY     We're like the only ones on the entire campus that didn't get an invite! LUCKY     The pussies! REX     And we gotta show them up at their own damn game!  So it's got be really really medival.  Come on! UNO     And frogger, man, you're the king of this crap - the bikini painting party was completely the bomb! FROGGER     [grim]  That.  Right.  Pour me another one. MUSIC LYDIA     The monarch was pacified; and having drained another bumper with no very perceptible ill effect, Hop-Frog entered at once, and with spirit, into the plans for the masquerade. MUSIC FROGGER     There is this thing-- BUZZ     Yeah? FROGGER     Something really authentic and medival-- LUCKY     Dude!  Just spit it out! FROGGER     I'm assuming you don't want to be lepers-- TREY     Like the cat?  I'd rather be a tiger. FROGGER     No!  Leper.  Like all grody zombie-looking people. REX     We could do that. FROGGER     But this will be better. REX     Yeah? TREY     Dude, zombies are medival? FROGGER     [sigh]  No.  No zombies.  And it has to be a costume we can put together really fast. REX     Duh.  Party's tonight. FROGGER     Back in the olden days, they had all sorts of weird party stuff they did.  And one of them was something called the eight chained orangutangs.  BUZZ     Orangutangs?  Man they rock!  [makes farting sound]  That's like Clyde in Every which way but loose, eh?  ALL     [start making monkey noises] FROGGER     It does take eight guys, though... REX     No problemo.  There's five of us here, plus Ricky, Finn, and uh - Marco. FROGGER     [dark] Exactly the ones I'd'a suggested. MUSIC LYDIA     "The chains are for the purpose of increasing the confusion by their jangling. You are supposed to have escaped, en masse, from your keepers. Your majesty cannot conceive the effect produced, at a masquerade, by eight chained ourang-outangs!" MUSIC ALL     [making monkey noises] FROGGER     BUT we have to get you dressed up!  Come on! REX     [commanding] Shut up!  Listen to Frogger.  Save the monkey shit for later. LUCKY     Yeah, man - monkeys throw their shit.  We should have something to throw! BUZZ     I'm calling the costume shop. FROGGER     You can't. BUZZ     Who says? FROGGER     You want to be all historical, right? REX     Duh. FROGGER     OK, well they didn't have snazzy costumes way back when. TREY     What did they do? FROGGER     Covered themselves in tar, then rolled in flax. BUZZ     What the hell is flax? FROGGER     Fibers.  Looks like hair. LUCKY     Tar is gross.  It never comes off. FROGGER     You do it OVER clothes.  Like a track suit. TREY     You expect us to get all tarred up and roll around in hair?  You're a complete-- REX     Genius.  We break into the party like this, and those dicks at Epsilon Omega will never be able to live it down. MUSIC LYDIA     The king and his ministers were first encased in tight-fitting stockinet shirts and drawers. They were then saturated with tar. A long chain was now procured. First, it was passed about the waist of the king, and tied, then about another of the party, and also tied; then about all successively, in the same manner, making a circle. MUSIC SOUND     CLANKING, SHUFFLING FEET ALL FRAT     [muffled giggling] SOUND     PASSING A BOTTLE REX     Shh.  Watch out for the post, dumbass!  TREY     There's a buttload of posts in an old warehouse. UNO     Man, it's kind of cold. FROGGER     [dark] Don't worry - you'll be warm later. SOUND     MORE CLANKING FROGGER     I checked out the layout earlier.  They've got a horseshoe of tables surrounding the middle of the room, with knights and wenches and all seated on the outside.  You should go round the outside of the room first, making trouble- TREY     Grabbing chicks - "not my fault!  Orangutans like boobies!" BUZZ     Beep-beep. FROGGER     [exasperated] Yeah.  [up]  But then get to the center of the room, and I'll come in and get the crowd going. REX     Dude, you are truly the man. SOUND     DOOR OPENS, CLANKING STARTS LOUD ALL FRATS     [monkey noises] SOUND     [distant screams] MUSIC LYDIA     The eight ourang-outangs, taking Hop-Frog's advice, waited patiently until midnight before making their appearance. No sooner had the clock ceased striking, however, than they rushed, or rather rolled in, all together-for the impediments of their chains caused most of the party to fall, and all to stumble as they entered. MUSIC SOUND     WALKIE TALKIE NOISE FROGGER     [hushed] Ok, they're in.  Wait for my signal. SOUND     CRACKLE OF STATIC LYDIA     [almost unrecognizable, on air] Gotcha. FROGGER     We've got about five minutes... MUSIC LYDIA     The excitement among the masqueraders was prodigious, and filled the heart of the king with glee. As had been anticipated, there were not a few of the guests who supposed the ferocious-looking creatures to be beasts of some kind in reality, if not precisely ourang-outangs. MUSIC SOUND     [screams, laughing, monkey noises - behind doors] SOUND     DOOR CRASHES OPEN FROGGER     [squeaky british "jester" voice] Good folk! SOUND     [some quieting, ape noises still going on] SOUND     MICROPHONE SQUELCH FROGGER     Good people! SOUND     [quiet] FROGGER     Good people!  I spy beasts in our midst! FRATS     [ape noises] CROWD     [ripple of laughter] FROGGER     they must have escaped from a keeper! REX     Dude, is that my mister microphone? FROGGER     [not on mike] Shh. [on mike, playing it big] It speaks!  Perhaps it is merely a man in a fabulous costume? FRATS     [hooting monkey noises] SOUND     CROWD APPLAUDS FROGGER     Leave them to me!  I fancy I know them.  If I can only get a good look, I can soon tell who they are! SOUND     CHAIN RATTLES FROGGER     Look at these muscles.  If not a beast, then a beast of a man, don't you think? FRATS     [very butch monkey noises] FROGGER     Perhaps there is someone here who can help me identify them.  You, Milady? NOTE     [frogger is using the mike on the people he's talking with, but the frats are just yelling] SOUND     SLOW MACHINE NOISE SNEAKS IN THROUGHOUT, A BIT OF CHAINS, TOO DORA     Me? FROGGER     I think you know that big one in front.  Do you not? LUCKY     [chuckling] Oh, yeah, she knows me.  If you know what I mean. DORA     [furious] He got me drunk and took topless pictures of me, that he posted all over the dorm! LUCKY     What's a dog like her doing at an Epsilon party? DORA     You ... you bastard! FROGGER     That's a big clue, but I still don't quite recognize them.  Maybe you, sir? BOB     [stuttring]  They - all of them - cornered me in the locker room and pelted me with jockstraps! BUZZ     Dude, it was a joke! BOB     Every day?  For a semester!  It wasn't funny! TREY     It was to us. FROGGER     And you, fair maiden? KATHY     [crying]  They tied me up and covered me in dip at one of their parties. UNO     What's so bad about that? KATHY     I got a rash!  And a yeast infection! REX     Okay, we're out of here.  This ain't funny any more. SOUND     CHAINS RATTLE, A COUPLE OF STEPS FRATS     [reaction noises - ugh, hey, whoa! - as they trip, get pulled up short] UNO     What the crap? REX     The chains're caught on something.  Frogger!  Help us out here. FROGGER     [annoucning] How blind they are, eh, gentle folks? SOUND     APPLAUSE MUSIC LYDIA     With the rapidity of thought, he had inserted the hook from which the chandelier had been wont to depend; and, in an instant, by some unseen agency, the chandelier-chain was drawn so far upward as to take the hook out of reach, and, as an inevitable consequence, to drag the ourang-outangs together in close connection. MUSIC SOUND     MORE CHAINS, STRUGGLES BUZZ     We're stuck! REX     The chains got caught on that hook thing!  Can you reach it? TREY     Give me a boost! SOUND     MACHINE NOISE, HOOK RAISING REX     What the crap? UNO     We're chained at the waist, dumbass, how far you think you're gonna get climbing? FROGGER     Little do they know that this party was thrown in their [sour] honor.  Is it not ironic that they were so caught up in their own amusement they didn't recognize a single one of the people they've wronged? REX     You are so dead, you little shitball.  The minute we get out of here, your life will go to hell. FROGGER     My life has been hell, you evil douchbags!  You think I liked being your little funny guy - your jester?  You think I helped you because I thought it was fun?  Every joke I helped with was like ground glass in my soul, and I still feel like I should be hanging up there with you.  [to crowd]  One more notch, and they'll be on tiptoe.  What do you think? CROWD     [roars approval] FROGGER     It's not as funny when you're the butt of the joke, is it? UNO     Dude, just cut it out.  We've learned our lesson, and shit. man. FROGGER     Lets see what the crowd thinks!  CROWD     [booo] FROGGER     Sorry.  Can't let it go just yet.  How about you, milord?  What's your beef? SOUND     HAND OVER THE MIKE NOISE FRED     [not on mike] They're gonna bury us. FROGGER     [not on mike] Not a problem.  C'mon.  Think of it as group therapy. SOUND     MIKE UNCOVERED FRED     [quick, ashamed] They duct taped my - my butt. FROGGER     [sincere] I'm very sorry. SOUND     CROWD SUBDUED APPLAUSE SOUND     ANOTHER CRANK OF CHAIN FRATS     [whoa!  They've been pulled off the ground] MUSIC LYDIA     The jester suddenly uttered a shrill whistle; and the chain flew violently up - dragging with it the dismayed and struggling ourang-outangs, and leaving them suspended in mid-air. MUSIC FROGGER     Ah, ha! I begin to see who these "people" are now!  But it's so dark in here.  Give me a tiki torch, someone. DORA     Here. FRED     Watch out - they'll kick you! FROGGER     They could.  But then they'll start swinging.  It's not fun, hung up by your waist, is it? UNO     You little shit! TREY     Your ass is grass, man. SOUND     STRUGGLING, CHAIN CREAKING, SWINGING FROGGER     [to the crowd]  How many of us have been hung like this - by you, or those like you? CROWD     [agrees] FROGGER     [over elaborate]  Watch out!  Don't swing too close to the fire! SOUND     FIRE CATCHES WITH A WHOOMPH FRATS     [screaming] CROWD     [screams] FROGGER     Whoops! MUSIC LYDIA     "I now see distinctly." he said, "what manner of people these maskers are. They are a great king and his seven privy-councillors, - a king who does not scruple to strike a defenceless girl and his seven councillors who abet him in the outrage. As for myself, I am simply Hop-Frog, the jester-and this is my last jest." MUSIC AMB     OUTSIDE, NIGHT SOUND     DISTANT FIRE TRUCKS LYDIA     I can't even feel sorry for them. FROGGER     Nope. LYDIA     It helps, to know I'm not alone. FROGGER     You should never feel alone.  I'm here. LYDIA     I mean, that they hurt lots of people. FROGGER     [self-loathing] And I helped.  Too many times.  LYDIA     They would have done it anyway. FROGGER     I can't forgive myself. LYDIA     Could I? FROGGER     Could you what? LYDIA     Could I forgive you? FROGGER     [a bit teary] That would be a good start. MUSIC LYDIA     It is supposed that Trippetta, stationed on the roof, had been the accomplice of her friend in his fiery revenge, and that, together, they effected their escape. MUSIC THE END ...

Letztes Jahr in Marienbad aus dem Jahre 1961 von Alain Resnais ist schwer in kurze Worte zu fassen. Worum, geht es in diesem Film? Auf dem Papier ist die Story sehr simpel. Ein Mann versucht in einem mondänen Hotel eine Frau davon zu überzeugen, dass sie sich letztes Jahr kennengelernt und geliebt haben. Ob er ihr in der Erinnerung auf die Sprünge helfen kann, bleibt offen. 1,5 Stunden lang. Wenn man die Frage “Worum geht es in diesem Film?” jedoch ernsthaft beantworten möchte, gerät man unweigerlich ins straucheln. Die Dialoge und Monologe des Films scheinen nicht den wesentlichen Teil der Handlung zu tragen. Vielleicht nichtmal die handelnden Figuren. Es ist eher die Art der Inszenierung, der Erzählung, wenn man sie so nennen will. Soweit mein Gestrauchel. Plor, worum geht es in diesem Film?

We're back from a short hiatus to talk about this classic comedy and the myth of a charming new york apartment. The cinema! Also, Em refuses to engage on saying something that drives Jackson crazy. Check out the latest Ornate Stairwells for more.Send us any email questions and comments about the movies we cover or movies in general to abnormalmappingpodcast@gmail.com! Also, we're a patreon supported show, please go to patreon.com/abnormalmapping to see our many shows and support us.Next Time on Repertory Screenings:Last Year at Marienbad

durée : 00:13:30 - Les Nuits de France Culture - Dans ce deuxième temps de la série "Entretiens avec" consacrée en 1975 à Alain Robbe-Grillet, il est question du film primé à la Mostra de Venise en 1961, "L'Année dernière à Marienbad" dont l'écrivain était le scénariste. - invités : Alain Robbe-Grillet

durée : 00:31:30 - Les Nuits de France Culture - Alain Robbe-Grillet était l'invité de l'émission "Défendez-vous" à la fin de l'année 1961 pour répondre aux critiques autour du film "L'Année dernière à Marienbad" d'Alain Resnais dont il était le scénariste. Il s'explique sur ses choix narratifs et espère que le film rencontrera son public. - invités : Alain Robbe-Grillet

La puntata 422 vede, sul finire dell'estate, Giorgio e Romina in conduzione a parlare di elementi chimici e giochi.Facendo seguito a un'email di un nostro ascoltatore, Giorgio ci racconta la storia della scoperta del plutonio. Questo elemento, prodotto per la prima volta durante la Seconda Guerra Mondiale, vede il suo debutto con gli esperimenti che porteranno alle bombe atomiche. Tuttavia, c'è molto di più da raccontare, soprattutto del rapporto con il suo cugino naturale: l'uranio.Nell'intervento esterno Marco intervista Valentina Penza dell DIp . Fisica dell' Univ di Tor Vergata che ci parla delle attività solari passate, presenti e future e dell'effetto che hanno sul clima.Al ritorno in studio, dopo una funerea barza matematica, Romina ci parla del gioco del Nim. Il gioco appare in un film degli anni Sessanta, l'anno scorso a Marienbad ed è possibile trovare una strategia per essere sicuri di vincere. Pronti a sfidare i vostri amici e colleghi?

O destino do bibliófilo é terrível: tudo o que toca se transforma naquilo que ele tanto preza, O LIVRO. Filmes, música, mesmo objetos cotidianos se convertem em grimórios malditos, em manuscritos perdidos, nas formas retangulares, divididas em páginas preenchidas por caracteres compreensíveis ou não. Esse destino terrível, contudo, reserva algo como um “plot twist”: ao transformar todos objetos em livros, extrai disso um estranho, requintado deleite — a transfiguração dos prosaicos e tenebrosos objetos de consumo em algo diferente, singular, cuja essência é outra. Mesmo que tudo isso dure apenas um instante, vale a pena. RARIDADES INUSUAIS, nova série do podcast da Raphus Press, celebra tais transformações. Objetos de hoje: “Picnic at Hanging Rock”, dir.: Peter Weir (edição em blu-ray da Criterion); “Picnic at Hanging Rock”, Joan Lindsay (Penguin Books); “Last Year at Marienbad”, dir.: Alain Resnais (edição em blu-ray da Criterion); “O Ano Passado em Marienbad“, Alain Robbe-Grillet (Nova Fronteira, 1988); “The Wages of Fear”, dir.: Henri-Georges Clouzot (edição em blu-ray da Criterion); “Sorcerer”, dir.: William Friedkin (edição em blu-ray da Warner Home Video). Apoie “Emissários Sombrios”, Segunda Época: https://www.catarse.me/emissarios_segunda_epoca. Esta série não seria possível sem o apoio dos leitores de nossa editora na campanha recorrente RES FICTA, que traz periodicamente aos leitores surpresas magníficas, impressas ou em formato digital. Link: https://www.catarse.me/res_ficta Nosso podcast também está disponível nas seguintes plataformas: - Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs - Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4 - Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus. Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.

Dětství prožila v Mariánských Lázních v domě, kde Richard Wagner sbíral inspiraci pro operu Lohengrin. Architekturu studovala v Praze a v Miláně, češtinu učila v Pensylvánii a teď se vrací ke kořenům: posledních sedm let v Mariánkách objevuje pozapomenutá místa a pořádá v nich festival experimentálního filmu Marienbad Film Festival. Hostem Ondřeje Cihláře byla ve Vizitce Zuzana Stejskalová.

This week we watched Last Year at Marienbad, an absolute puzzler. Can we make any sense of it? find out! Thanks for listening !

On this episode of They Live By Film, Adam, Chris, and Zach discuss two of cinema's most enigmatic works, Alain Resnais' Last Year in Marienbad, and David Lynch's Mulholland Dr.! www.theylivebyfilm.com https://www.patreon.com/theylivebyfilm Adam's Letterboxd: https://letterboxd.com/TheOwls23/ Zach's Letterboxd: https://letterboxd.com/dharmabombs/ Chris' subreddit: https://www.reddit.com/r/personalhistoryoffilm/ www.instagram.com/theylivebyfilm/

Heute stehen wir mit Claudia Peschel-Wacha im Volkskundemuseum Wien. Dort zeigt sie uns ein persönliches Andenken, das es in den Inventar des Museums geschafft hat: einen Kurbecher. Der erzählt uns nicht nur einiges über die Kurorte der ehemaligen K u. K Monarchie, sondern auch über die Liebessorgen eines Herren mit dem Namen Johann Wolfgang von Goethe. Besucht unsere Website: www.immuseum.at

THERE - Yet More UNESCO We finish off the UNESCO listings for CZ with the most recent additions, all in Bohemia, three of which are shared with other countries. Delve into the history of mining, horses, forests and spas, and get some great weekend getaway ideas. See a images of these places in the video version of this episode.  Like what we do? Then buy us a beer or three via our Buy Me a Coffee page! SECTIONS 01:40 - Erzgebirge/Krušnohoří (Ore Mountains) Mining Region - Jáchymov, money, radium, pits and more 07:55 - Landscape for Breeding and Training of Ceremonial Carriage Horses at Kladruby nad Labem - The Great Pardubice Steeplechase, a historical stud farm and more in the area 10:36 - Ancient and Primeval Beech Forests of the Carpathians and Other Regions of Europe - Jizera Mountains, Ještěd, the Long waterfall, Jablonec nad Nisou, Liberec, Frýdlant 16:33 - The Great Spa Towns of Europe 17:41 - Mariánské Lázně (Marienbad), the Boheminium 21:43 - Karlovy Vary (Karlsbad), drinks and spa wafers, Loket 25:49 - Františkovy Lázně (Franzenbad) 28:52 - The Bohemian Spa triangle area - forests, lookouts, botanical gardens, geological parks, chateaus, the Spiral Tower of Krásno, Cheb (Eger) 30:52 - A quick recap of all 16 CZ UNESCO sites Music by Fanette Ronjat More Info: THERE - 6 UNESCO Sites in CZ THERE - 6 More UNESCO Sites GLUG - The Oldest Pub in Prague GLUG - A Czech Beer Primer GLUG - In Czecho Veritas (Czech wine country & culture) GLUG - That's the Spirit(s) Erzgebirge/Krušnohoří German website Jáchymov official website Radium Palace Red Tower of Death website Jáchymov to Boží Dar area Wolf Pit Video about the Ice Pit and the Wolf Pit Pardubice website Pardubice tourism Pardubice Brewery Grand Pardubice Steeplechase: the world's toughest horse race  Kladruby Stud Farm Kladruby info and video Jizera Mountains Ještěd ski area Hotel and Restaurant Ještěd The Long Waterfall of Černá Desná Prezidentská chata  Visit Jizera Mountains for Glass-making, Awesome Cities & Nature (1 Hour From Prague) Jablonec website Fragile Beauty in Jablonec Palace Plus glass Liberec tourism Centrum Babylon Aquapark Liberec Zoo IQLANDIA interactive science museum Frýdlant website Antonie Spa Hotel Mariánské Lázně website Boheminium miniatures park  Karlovy Vary tourism website KV Christmas House Karlovy Vary International Film Festival Loket website Františkovy Lázně website SOOS Geologic Park Easier to read SOOS webpage Spiral Tower of Krásno Cheb website For events in Prague, go to the Facebook page The Prague Haps  Follow us on social for extras: Facebook Twitter YouTube Instagram Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of the 2021 Silver Davey Award and AVA Gold Award, the 2020 Communicator Award of Excellence and on numerous top 10 podcast lists, about orgaznational communications. CONSPIRACY CLEARINGHOUSE - A rather skeptical look at conspiracies and mysteries. Each episode will examine conspiracy theories, most of which are not true, a few of which might be a little bit true and even a couple that turned out, in fact, to be true. This is the podcast that dares to look behind the curtain that's behind the curtain.

You've been invited to a listening platform...you've been to this podcast before...we agreed to return...but what is going on? We still don't know but enjoy our discussion on Last Year at Marienbad discussing it!

Show Notes & Links: Azhur Saleem debuts as DW director Alain Resnais made Last Year at Marienbad  Satsumas are rare in Oz We do love Ruth Doctor (fugitive) & Jo Martin  Though this is not really an example of Ebert's law The Weeping Angels were introduced in Blink...  In which we learn the Angels have the phone box We don't know much about the Mouri  Bell does not have a tamagotchi  Hopefully, one day, people will need COVID explained  The YW was *almost* on board with The Timeless Child    We are also at handwavium.net & on Twitter @handwavium

Alain Resnais's Last Year at Marienbad is an obviously influential movie that's nearly impossible to describe. Adam thinks it's a ghost story. Pat thinks it's an examination of the epistemological crisis. Both or neither are probably true. Truth is a game, and the game is rigged against you.

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Sponsored by 20 Minute Daf. Check out 20minutedaf.com for a clear and concise daily daf yomi shiur.   As the Yeshiva in Kletzk grew, a building was built and dedicated and Rav Aharon had to travel to the United States to fundraise. Aside from being the youngest and yet one of the most prominent Roshei Yeshiva at the time, he also rose to be among the leadership of the Polish Agudas Yisroel, participating in the third Knessia Gedolah in Marienbad in 1937.  With the outbreak of the War, Kletzk fled to Vilna along with most other Yeshivas at the time. Ultimately settling in Yanova, with the Soviet takeover of the Baltic States in the summer of 1940 the Yeshiva dispersed to several Lithuanian shtetls with Rav Aharon and the largest group in Salock. By the end of 1940 the Sovietization of Lithuania made it difficult to maintain the continuation of the Yeshiva. Rav Aharon felt that he'd be able to accomplish more from the outside headed out of the Soviet Union in February 1941, arriving in Penn Station in New York City in April of that year. Though he threw himself full time into the rescue work of the Vaad Hatzalah, Rav Aharon emerged as an overall rabbinical leader on the American Orthodox scene. In 1942 Rav Nosson Wachtfogel along with a group of like minded friends, founded a kollel in White Plains, NY, eventually inviting Rav Aharon Kotler to serve as its head. With the move a year later to the resort town of Lakewood, New Jersey the American Torah world would be transformed forever.   Subscribe To Our Podcast on:   PodBean: https://jsoundbites.podbean.com/   Follow us on Twitter or Instagram at @Jsoundbites You can email Yehuda at yehuda@yehudageberer.com

French Month continues with a look at Alain Renais's Last Year at Marienbad (1961). Based on a script by Alain Robbe-Grillet, the film tells the tale of three characters, M, A, and X, as they wander the halls and grounds of a vast hotel in Marienbad. What are their relationships? What are they doing in Marienbad? How does this film take apart everything that we think we know about narrative storytelling? We'll try to figure some of that out as we go along.Jim Vendiola and Samm Deighan join Mike to discuss this challenging film.Learn more about your ad choices. Visit megaphone.fm/adchoices