![]() ![]() I saw a lovely new subtitled print in NYC last summer surely you can get your hands on that. You can't seriously plan on a DUBBED version of "Day for Night"!! Especially not as a 25th Anniversary special. Please tell me it's a typo in your calendar. On, the museum received and passed on to me for response the following e-mail message from a member who lived in another state and had perused the May-June film calendar in both hard copy and on the World Wide Web: As one would expect, the clientele for this and other film series at the Dryden Theatre was a mix of buffs and aficionados, professors and students, and regulars with relatively high amounts of cultural capital. As is evident from the titles in the list, the series leaned heavily toward European art cinema, which has not only produced a high proportion of such metafilms, but has always been one of the mainstays of contemporary international film archive exhibition. Henry Jaglom, US, 1992), and Irma Vep (dir. Woody Allen, US, 1980), Venice/Venice (dir. François Truffaut, France/Italy/ United Kingdom, 1973), Stardust Memories (dir. Jean-Luc Godard, Switzerland/France, 1996), La Nuit américaine (dir. Jean-Luc Godard, France/Italy/US, 1963), For Ever Mozart (dir. Federico Fellini, Italy/France, 1963), Le Mépris (dir. The choices were eclectic and based on a series of factors, including relevance to the subject, print availability and condition, and frequency of exhibition: The Big Knife (dir. One of the series I put together, "Soon to Be a Major Motion Picture," comprised eight feature films on the subject of filmmaking and was scheduled over the months of May and June 1998. As programmer I was responsible for conceptualizing film series and securing film titles for several hundred screenings in the museum's on-site Dryden Theatre. Alfred Behrens, "New European Film and Modernity,", 1986įrom September 1995 to December 1998, I worked as the film programmer at George Eastman House/International Museum of Photography and Film, located in Rochester, New York. Without the consequence of a thoroughly watered-down Euro-film. It has to be possible to think of a European film. In Italy, every day the people are becoming more deaf at an alarming rate. The dubbed cinema is the cinema of lies, mental laziness and violence, because it gives no space to the viewer and makes him still more deaf and insensitive. In a dubbed film, there is not the least rapport between what you see and what you hear. Internationalism, Coproduction, and Polyglot European Art Cinemaĭubbing is not only a technique, it's also an ideology. In lieu of an abstract, here is a brief excerpt of the content: ![]()
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