Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Fotografie

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Ter gelegenheid van de honderdste verjaardag van zijn geboorte brengt Cinematek hulde aan Jacques Ledoux, de conservator dankzij wie het Koninklijk Belgisch Filmarchief een internationaal gerenommeerde instelling is geworden. Jacques Ledoux, geboren in 1921, heeft een van 's werelds belangrijkste filmverzamelingen en filmdocumentatie opgebouwd. Met de dagelijks vertoningen in het Filmmuseum heeft hij films uit de vergetelheid en van de ondergang gered. Zich bewust van de historische rijkdom van de 7e kunst, zal hij ook een belangrijke motor zijn van nieuwe creaties. Dit boek bundelt exclusieve getuigenissen die in 2021 werden verzameld bij historici zoals David Bordwell, Kristin Thompson of Bernard Eisenschitz en voormalige medewerkers van het Filmarchief. Een getuigenis van Paul Davay en een transcriptie van een interview met Jacques Ledoux, beide nog niet eerder gepubliceerd, vervolledigen dit werk, samen met de heruitgave van een biografische notitie van Gabrielle Claes. Het boek is rijkelijk geïllustreerd met archiefbeelden.

Royal Belgian Film Archive (Brussels, Belgium) --- Ledoux, Jacques --- Motion picture film collections --- Ledoux Jacques --- film --- filmgeschiedenis --- België --- filmarchieven --- musea --- 791.43 --- filmcollecties --- Film collections --- Film libraries --- Motion picture collections --- Motion picture libraries --- Moving-picture film collections --- Special libraries --- Film archives --- Silberberg, Jacques --- Jasil, Jacques --- Anniversaries, etc. --- Cinémathèque royale de Belgique --- Koninklijk Belgisch Filmarchief --- Royal Film Archive of Belgium --- Cinémathèque royale (Belgium) --- Belgium. --- Royal Belgian Film Archive --- Cinematek --- Cinémathèque de Belgique

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

I grew up in Belgium with a Chinese Grandmother born in Yixing, a small town two hours West of Shanghai. In 1929 my Grandmother left Shanghai by boat to study in Europe, where she met my Russian Grandfather. Growing up, it was fascinating listening to all the stories related to my family in China. After graduating from the Agnès Varda School of Photography in Brussels, it was the right time to visit my relatives in the Far East. In March 1985, I boarded a plane to Hong Kong and traveled for six weeks around China, falling in love straight away with Shanghai. The meals cooked by my Grandaunt are to this day the best Chinese meals I have ever eaten. In December 2019, I completed my 9th photo trip to Shanghai, walking through the city for over 15 months in total. Yes, by walking over and over the same neighborhoods and photographing the same street corners and Lilongs, I was able to build an extensive portfolio covering all the changes happening in these dynamic neighborhoods. From a still sleepy town in the eighties to one of the most vibrant world metropolises today, I covered many of those changes over a period of 35 years. Nothing compares to Shanghai, The Bund remains as attractive as ever. Jerome De Perlinghi

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

A portrait is not a photo of a woman or a man. It is something else. Something more. The extra is the photographer. The one who leads this strange, unusual ritual, that of the portrait celebration. A portrait is an encounter between the one who makes the photo and the one who poses. In the end, it is not the image of this woman or man that appears, but the image of the relationship that arose between one world, the photographer's, in the shadows, and another world, the sitter's, in the light. The framing, the moment, the light, the technical equipment of cameras and films, all are selected by the photographer. And directing the actor is, here again, the photographer's responsibility. Jérôme De Perlinghi, through the festivals of Deauville, Montreal and elsewhere, the backstage area of the Cinematek in Belgium, his encounters with cinema, has been able to impose, with great kindness and infinite determination, his world on those who were willing to spend a few minutes with him - or to be more precise, in front of him, between his canvas, his spotlight and his Yashica 6X6. He was able to seduce them with his honesty and a certain pugnacity, but without ever attempting to flatter or deceive them. With him, each sitter knew where they were going, accepted to play this game, this power struggle, and forget their image to build with Jérôme another image: unique, different and free.