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"'Last Tango' left me depleted and exhausted. Some of the pain I was experiencing was my very own. Thereafter I decided to make my living in a way that was less devastating emotionally." Thus Marlon Brando recalled, in his autobiography, making 'Last Tango in Paris'. Bernardo Bertolucci's graphic and harrowing account of sexual obsession, grief, psychic breakdown, and murder premiered in 1972 at the New York Film Festival. The print was escorted to the screening by armed guards. On the film's subsequent release in Italy, Bertolucci, Brando, co-star Maria Schneider, and producer Alberto Grimaldi were indicted on obscenity charges and found guilty. Controversy and censorship dogged the film, but it was a great commercial and critical success. Venerated 'New Yorker' critic Pauline Kael called 'Last Tango' "the most powerfully erotic movie ever made." David Thompson's fluent account of' Last Tango in Paris 'details the conception, production, and fortunes of the film. Drawing on a new and extensive interview with Bertolucci, Thompson shows how the film crystallized Bertolucci's interest in art, literature, and psychoanalysis, and how it was realized through the consummate skills of cast and crew. Ending with a discussion of how important this film is for an understanding of Brando, Schneider, and Jean-Pierre Leaud, Thompson unravels the brilliance of 'Last Tango in Paris' 'depiction of human behavior and emotion.
Ultimo tango a Parigi. --- David Thompson --- film --- filmgeschiedenis --- Bertolucci Bernardo --- Last Tango in Paris --- Brando Marlon --- Schneider Maria --- Bacon Francis --- 791.471 BERTOLUCCI --- Last tango in Paris (Motion picture) --- Dernier tango à Paris
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In Revisioning History thirteen historians from around the world look at the historical film on its own terms, not as it compares to written history but as a unique way of recounting the past. How does film construct a historical world? What are the rules, codes, and strategies by which it brings the past to life? What does that historical construction mean to us? In grappling with these questions, each contributor looks at an example of New History cinema. Different from Hollywood costume dramas or documentary films, these films are serious efforts to come to grips with the past; they have often grown out of nations engaged in an intense quest for historical connections, such as India, Cuba, Japan, and Germany. The volume begins with an introduction by Robert Rosenstone. Part I, "Contesting History," comprises essays by Geoff Eley (on the film Distant Voices, Still Lives), Nicholas B. Dirks (The Home and the World), Thomas Kierstead and Deidre Lynch (Eijanaika), and Pierre Sorlin (Night of the Shooting Stars). Contributing to Part II, "Visioning History," are Michael S. Roth (Hiroshima Mon Amour), John Mraz (Memories of Underdevelopment), Min Soo Kang (The Moderns) and Clayton R. Koppes (Radio Bikini). Part III, "Revisioning History" contains essays by Denise J. Youngblood (Repentance), Rudy Koshar (Hitler: A Film from Germany), Rosenstone (Walker), Sumiko Higashi (Walker and Mississippi Burning), and Daniel Sipe (From the Pole to the Equator).
Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Motion pictures and history --- #SBIB:309H1328 --- Films met een ideologische en spiegelfunctie --- #SBIB:309H1329 --- History and motion pictures --- Moving-pictures and history --- History --- Films met een informatieve functie (met inbegrip van de documentaire film) --- Motion pictures and history. --- Cinéma et histoire --- Animal Farm. --- Another Country. --- Barry Lyndon. --- Casablanca. --- Gilda. --- Heart of Spain. --- Holiday Camp. --- Kind of Loving. --- Last Tango in Paris. --- Life Is Sweet. --- Madonna and Child. --- Masterpiece Theater. --- Night of the Shooting Stars. --- One Way or Another. --- Other Francisco. --- Rain Man. --- Rybakov. --- Sid and Nancy. --- Star Trek. --- Three Daughters. --- Trip. --- Triumph of the Will. --- Vengeance Is Mine. --- White Mischief. --- Yojimbo. --- paisan. --- the Bodyguard.
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