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https://thesubtimes.com/2024/01/21/lavinia-hart-actress-director-beloved-cousin-friend-leaving-lakewood-for-los-angeles/
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Lavinia Hart, actress, director, beloved cousin & friend, leaving Lakewood for Los Angeles – The Suburban Times
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https://thesubtimes.com/2024/01/21/lavinia-hart-actress-director-beloved-cousin-friend-leaving-lakewood-for-los-angeles/
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As a youngster my grandmother, Mary Lavinia Coker, traveled from Texas to New Mexico with her family in a covered wagon. As an adult she moved on to Oklahoma where she married and gave birth to twins, Lavinia and Virginia. Her husband abandoned her and the children and went to Hollywood, where he thought he would become a cowboy film star. He didn’t.
My grandmother left Oklahoma and moved to Missouri, where her brother, my uncle James, and my father Don Doman, Sr. were born. She married another man, Marshall Cummins, and gave birth to another daughter, Betty and then her only son James.
My father went to high school with Lavinia and Virginia and then along came World War II. My dad courted Lavinia but soon joined the Merchant Marine and sailed from his base in southern California to the South Pacific, transporting oil to our warships fighting the Japanese. I have my father’s ship’s log. I can tell you when my father was on leave and returned to Nevada, Missouri, to marry my mother. I was born nine months later.
My soon to be Uncle Randall Whitworth joined the army and fought the Germans in Italy. He did his boot camp at Fort Lewis and fell in love with the area. I was born in November just months after the end of WW2. Randall returned to Missouri and married Virginia and then they moved to Tacoma, near where his brother had a farm. Randall and Virginia gave birth to a daughter, Lavinia Lou Whitworth.
The migration to Washington State and Pierce County began at the end of the First World War. Ollie Whitworth and wife Sybil moved here from Missouri after WWI. Ollie told his cousin Oswald he should move to Puyallup for the wonderful dirt in the Puyallup Valley. Oswald and his wife Pauline followed suit and came out here to farm the soil. I remember fun times on the beach at Ocean Shores with the Whitworth family. Ollie and Sybil gave Lindy their upright piano after Lindy played made-up songs on it every time she visited them in Tacoma.
My father had no intentions of living in Pierce County. He wanted to move from Missouri to Southern California where he had enjoyed the weather during the war. We drove from Nevada to Tacoma so Lavinia and Virginia could see each other again and admire each other’s baby. Once reunited, there was no way the twins would be separated again. Luckily, my parents didn’t have much money, so my dad got a bookkeeping job and found a house to rent temporarily. We never moved to California. We lived in Tacoma and then moved to Lakewood and then to Ponders Corner.
Virginia’s new baby was named after my mother, Lavinia and nick-named Lindy or Lindy Lou. Lindy had three brothers but no sisters. I had two sisters, but no brothers. We grew up the best of friends and always had a shoulder to cry on . . . and someone to get in trouble with. In the early 1950’s we rode to Nevada in a Greyhound Bus with my mom to visit friends and relatives. Lindy and I slept on the screened porch. We weren’t used to the Missouri heat and bombarding insects. Each night we watched lightning and listened to thunder.
Back home and in school we were a year apart. Lindy attended Puyallup High School and I went to Clover Park. We compared notes and we even joined the Columbia Record Club together.
In my junior year at Clover Park, I signed up for classes in speech and drama, even joined the drama club. At our first drama meeting we had a speaker from the Clover Park Television Department. I signed up immediately and spent the rest of the year learning about video production and participating in anything involving recording I could find.
A friend had his own radio broadcast program via Clover Park Voc-Tech. I was interviewed a number of times as different people and once even hyped the production of “Most Happy Fella” as a character from the Clover Park all-school musical. I shared my experiences with Lindy.
In college I had drama/acting classes at Olympic College and the University of Puget Sound and enjoyed them, but didn’t go as far as Lindy. She left town, which broke her mother’s heart, and attended Central Washington University in Ellensburg. Before leaving she was a bridesmaid for the wedding of Margaret (Peggy) Harrington and me. Lindy loved the theater and learned all she could. Peggy and I drove over to Central to see her in a live production – Joan of Arc – and she was superb. She ended up a grade school teacher but one year was enough for her.
Lindy turned to acting and joined the always excellent productions at the fledgling Empty Space Theatre in Seattle. She blossomed and eventually moved to Detroit where she performed, directed and managed the Attic Theatre for nearly twenty years. In her spare time she did TV commercials. She received the Michiganian of the Year award (a very big deal in Michigan). She married fellow actor Harlen and had a baby girl, Jaime, who followed in Lindy’s acting footsteps, even when she was just a few years old. After the Attic Theare closed, Lindy then taught Acting and Directing at Detroit’s Wayne State University before retiring and moving to Lakewood with her college professor husband James Hart, who died during COVID. Last year she returned to Detroit to direct a special Shakespeare production.
Lindy traveled the world learning more and more about acting, directing, and production. Ocean Shores had been a favorite place for our families to campout in the early days. In our older days we preferred hotels. On one trip Lindy came to our hotel room . . . possibly looking for a bacon sandwich. Peggy and I love bacon sandwiches. I knew Lindy had just acted and played the part of the mean Violet in “August: Osage County” in Detroit. She was just sitting on the foot of our bed and I asked her to give us a sample and perform the scene where the mother, Violet, talked about being a teenager and wanting a pair of brown boots for Christmas. She received a pair of old work boots, complete with cow excrement. I had tears in my eyes and can still see her face in character. Vile, but perfectly done. It was a “wow” performance.
Peggy and I have been writing reviews of local theater productions from Olympia to Seattle for a number of years. Two years ago, we asked Lindy to join us. We’ve had a ball.
Lindy had never seen a “panto,” a pantomime, an annual Christmas show put on by British working men’s clubs for their kids. Some silliness and sly references go over the kid’s heads but the adults love them. We had been praising CenterStage in Federal Way for years for their hilarious, dumb and just plain funny pantos. We finally got Lindy to see the “Sleeping Beauty” panto at CenterStage this last November. It was more than two hours long and just plain fantastic. We saw it twice and would have liked to have seen it one more time . . . maybe two more. With Lindy we reviewed a number of Seattle plays, the Harlequin in Olympia, Lakewood Playhouse, Tacoma Musical Playhouse, Dukesbay Productions, and the one hundred plus year old Tacoma Little Theatre.
We feel it is a shame that Lindy is moving to Los Angeles to be closer to her show biz daughter Jaime. We are heart broken, but we understand. Jaime and her mother have a great time together and remain the best of friends. Jaime is a kick and we love her, too. She has done voice/over work, acted in numerous sitcoms (Mrs. Goldfeder in KC Undercover on the Disney Channel), and has been traveling across the U.S. teaching about delivery, timing, and more. She has been called a “legendary comedic character actress.” We have memories of many fun events and family parties. We will see Lindy more as time goes by, and we remain grand friends and relatives forever. Only our Uncle James, now living in Alaska, remains our connection to our far back history and memories . . . but don’t worry. He and his wife Natalie have lots of stories to tell and share as well as a large family.
|
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https://thewhitworthian.news/14251/news/whitworth-was-called-a-white-ghetto-in-1966-is-it-still-one-today/
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en
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Whitworth was called a “white ghetto” in 1966: Is it still one today?
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Whitworth University sign, Sunday, Oct. 8, 2023, in Spokane, Wash. | Caleb Flegel/The Whitworthian In the wake of the civil rights movement, a guest lecturer called Whitworth University a “white ghetto” for its complacency and lack of diversity. Almost 60 years later, conversations surrounding diversity are still prominent at the university. On Tuesday, Feb. 13,...
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en
|
/wp-content/uploads/2023/11/Whitworthian-Editable-Scalable-Logo-70x70.jpg
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The Whitworthian
|
https://thewhitworthian.news/14251/news/whitworth-was-called-a-white-ghetto-in-1966-is-it-still-one-today/
|
In the wake of the civil rights movement, a guest lecturer called Whitworth University a “white ghetto” for its complacency and lack of diversity. Almost 60 years later, conversations surrounding diversity are still prominent at the university.
On Tuesday, Feb. 13, Dr. Dale Soden gave a lecture in the Robinson Teaching Theater entitled “The History of Race at Whitworth.” Soden is a professor emeritus of history and was regarded as “Whitworth’s historian” by Joshue Orozco, vice president of Diversity, Equity and Inclusion. This lecture was the second of three educational lectures taking place for Black History Month this February.
Soden divided the lecture into four parts, or eras, of Whitworth history: the first era, 1890-1965: Exceptional Individuals and a Culture of Assimilation; the second era, 1965-1970: The Influence of Civil Rights and Black Revolution on Campus; the third era, 1970-2000: The Struggle to Become More Diverse at Whitworth and the fourth era, 2000-present: Act Six, Ongoing Struggles and Exceptional Leaders. For each of these eras, Soden highlighted influential members of the African American community throughout Whitworth’s history, including the first black Whitworth graduate in 1936 and influential black leaders in Whitworth’s community today.
In his section on the second era, 1965- 1970, Soden highlighted two particularly influential events that happened on campus during the 1966-1967 school year. The first was a talk given for Spiritual Emphasis Week in 1966 by lay theologian and attorney William Stringfellow, who called out Whitworth’s complacency in civil rights issue by calling the school a “white ghetto.” Stringfellow is quoted in the Winter 1967 Campanile Call as saying, “You are the educationally deprived. […] Just look at the churches you belong to now. Just look at the colleges you attend. Just look at the appalling complacency and apathy and silence and feigned non-involvement. […] Just look at that. And then, if you want to become very specific about it, look in the mirror.”
Stringfellow’s use of the term “ghetto” in this context refers to the segregated or uniform whiteness of Whitworth in 1966 and does not necessarily refer to poverty as the term is contemporarily understood. As the civil rights movement was beginning to take off, white students at Whitworth were turning a blind eye to the struggles of their black neighbors.
However, Stringfellow’s criticism of the university did not go unnoticed. In a Whitworthian publication from Dec. 14, 1966, student Ross Anderson wrote that “By awakening students, faculty and administration to the reality of Whitworth’s “white ghetto,” Stringfellow lit a fire of awareness and action in many people.”
Soden then pointed out a response from one of Whitworth’s six black students at the time. Student Jeff Tucker wrote a letter to the Whitworthian editor, which was published in the same 1966 publication. In his article titled “The White Fool’s Dream,” Tucker said that “Whitworth has a white problem. There are too many white students and not enough [black students]. Because of this, the few black [students] here suffer.” Tucker went on to say that “Each [black student] is put on display under the ‘we got some too’ slogan. Instead of being an individual, he is all [black students]. Tucker continued with “the [black students] at Whitworth [are] tolerated, but not accepted.”
Tucker used his experience as a black student at Whitworth to support Stringfellow’s call to support students of color. He said that as a Christian college, Whitworth should be especially focused on recruiting low-income minority groups and making room at Whitworth for them. “It’s one thing to help more [black students] get an education, but it’s another thing to make them feel really wanted,” said Tucker.
It is clear from both Stringfellow and Tucker’s writings that Whitworth was struggling to be a place of diversity during the 1960s. But what does the university look like now?
“My general takeaway [from the lecture] was that although Whitworth has come a long way regarding race relations, […] more work needs to be done before a sense of accomplishment can be felt on campus,” said Andrew Lubben, co-president of Whitworth’s Black Student Union (BSU). In response to Stringfellow’s “white ghetto” quote, “I found myself completely understanding what Stringfellow meant. As not only a student of Whitworth but a lifelong resident of Spokane, I resonated with his sentiment,” said Lubben.
However, even at a liberal arts school, “Students who do not study the humanities will miss out on that diverse learning experience that Stringfellow was criticizing Whitworth for not having,” said Lubben. Humanities and social science classes are at a unique advantage in that their disciplines often directly study race relations, while Science, Technology, Engineering and Math (STEM) classes are less likely to do so simply due to subject matter.
While students in STEM classes are not taught directly the history of race in classes, “diversity comes in different angles,” said Dr. Kamesh Sankaran, professor and chair of Whitworth’s engineering and physics departments. It is the “disciplines themselves [that] are cross-cultural,” said Sankaran. STEM departments differ from humanities departments in that they are universal. “Mathematics is mathematics all over the world,” said Sankaran. Humanities departments have a variety of different methodologies and interpretations that can change based on where in the world these topics are being studied.
Dr. Aaron Putzke, professor and chair of Whitworth’s biology department, supports Sankaran’s claim. Biology is “all about diversity, whether it’s plants or fish or humans,” said Putzke. The goal of a liberal arts university is “to create holistic thinkers,” said Putzke, which includes teaching about diversity within the STEM classrooms.
Returning to Lubben, STEM and humanities departments certainly have different ideas of what it looks like to teach diversity. However, it seems that almost all departments at Whitworth are taking steps to include diversity in the curriculum. As a liberal arts school, there is also space for students to take classes outside of their disciplines to glean knowledge about topics they feel are lacking in their own departments.
Soden’s lecture highlights important growth in Whitworth’s ability to address racial inequalities on campus. However, this does not mean that the conversation is over. As Lubben said, “Whitworth has come a long way regarding race relations, [but] there is still a general feeling among the staff and student body that more work needs to be done before a sense of accomplishment can be felt on campus.” What accomplishment looks like is different for everyone. But it seems safe to say that the university has moved away from Stringfellow’s “white ghetto” and pivoted toward a more diverse approach to education.
*The quotes have been altered to use appropriate language when referring to black students and other students of color.
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https://19january2021snapshot.epa.gov/greenpower/college-and-university-challenge
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College and University Challenge
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2016-02-03T15:03:44-05:00
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This EPA's Green Power Partnership Challenge tracks and recognizes U.S. colleges and universities recognizes the largest single green power users within each participating collegiate athletic conferences.
|
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|
https://19january2021snapshot.epa.gov/sites/all/themes/epa/favicon.ico
|
US EPA
|
https://19january2021snapshot.epa.gov/greenpower/college-and-university-challenge
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Throughout the 2018-19 academic year, EPA's Green Power Partnership tracked the collegiate athletic conferences with the highest combined green power usage in the nation. The College and University Green Power Challenge is open to any collegiate athletic conference in the United States.
On April 22, 2019, EPA concluded the Green Power Challenge and recognized the Champion Green Power Conference, as well as the largest individual green power users within each participating conference. The Champion Green Power Conference for the 2018-19 Challenge is the Big Ten Conference and the individual school using the most green power is the University at Buffalo, the State University of New York.
Interested in joining the 2019-20 Green Power Challenge? Check out our Steps to Join Green Power Partnership page for more information. To be listed, a conference must have at least two Green Power Partners and using an aggregate of at least 10 million kilowatt-hours (kWh) of green power across the conference.
This list is current as of April 22, 2019. This is the final update to the 2018-19 College and University Green Power Challenge. Thank you and congratulations to all participating schools!
Individual Conference Champions
The following colleges and universities were recognized as conference champions for using the most green power among the schools in their conference. EPA applauds these schools for taking a leadership role in their conference and in supporting a better environmental future:
School Partner kWh Conference Conference kWh University of Maryland 146,567,825 Big Ten Conference 515,597,364 University at Buffalo, the State University of New York 224,325,000 Mid-American Conference 284,864,865 Stanford University 159,626,907 Pac-12 Conference 283,370,301 University of Tennessee, Knoxville 158,044,000 Southeastern Conference 262,045,209 University of Oklahoma 135,692,000 Big 12 Conference 249,048,867 University of Pennsylvania 200,000,000 Ivy League 222,267,057 Georgetown University 159,499,000 Big East Conference 173,541,074 University of Virginia 70,936,294 Atlantic Coast Conference 143,740,477 Carnegie Mellon University 132,396,967 University Athletic Association 132,486,021 George Washington University 78,393,980 Atlantic 10 113,870,994 University of North Texas 107,250,000 Conference USA 112,875,000 University of Vermont 57,716,250 America East 107,975,250 Drexel University 87,766,000 Colonial Athletic Association 105,766,000 American University 59,476,806 Patriot League 101,253,633 Gettysburg College 20,000,000 Centennial Conference 85,216,600 Union College 21,045,061 Liberty League 68,905,814 Bentley University 25,000,000 Northeast-10 Conference 58,013,063 Santa Clara University 25,002,551 West Coast Conference 54,657,906 The Catholic University of America 37,881,775 Landmark Conference 48,881,775 Temple University 44,000,000 American Athletic Conference 44,450,000 St. Mary's College of Maryland 22,012,968 Capital Athletic Conference 38,796,968 Indiana University-Purdue University Indianapolis 20,296,566 Horizon League 38,679,958 Colby College 14,499,262 New England Small College Athletic Conference 38,583,098 University of Colorado Colorado Springs 19,538,465 Rocky Mountain Athletic Conference 37,571,940 Mercyhurst University 13,000,000 Pennsylvania State Athletic Conference 35,228,655 Southwestern University 18,153,095 Southern Collegiate Athletic Conference 31,706,952 Allegheny College 13,740,398 North Coast Athletic Conference 29,434,662 Whitman College 17,425,778 Northwest Conference 29,304,487 Emerson College 25,000,000 New England Women's and Men's Athletic Conference 27,325,399 University of Wisconsin - Stevens Point 25,749,090 Wisconsin Intercollegiate Athletic Conference 27,299,090 St. Olaf College 17,454,544 Minnesota Intercollegiate Athletic Conference 23,189,544 Lebanon Valley College 10,000,000 Middle Atlantic Conference 16,666,000 Rider University 13,500,000 Metro Atlantic Athletic Conference 16,485,458 Northern Arizona University 9,542,858 Big Sky Conference 15,743,195 Emory & Henry College 7,817,310 Old Dominion Athletic Conference 11,974,310
* Schools ranked by amount of green power used by entire athletic conference.
Collective Conference Champions
At nearly 516 million kWh, the Big Ten Conference topped the list with the largest total amount of green power used among all conferences and earned EPAâs recognition as the 2018-19 Collective Conference Champion. The contributing schools for this honor included:
Big Ten Conference School Green Power (kWh) % Green Power University of Maryland 146,567,825 53 Northwestern University 100,370,800 39 The Ohio State University 85,505,575 14 University of Wisconsin 64,424,214 14 University of Minnesota 57,800,000 16 University of Illinois at Urbana-Champaign 30,533,994 7 Michigan State University 17,400,000 7 University of Iowa 12,994,956 4
Competing Conferences
The following athletic conferences are participating in the 2018-19 College & University Green Power Challenge:
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Printable versions of final College & University Green Power Challenge rankings are also available.
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https://www.commonapp.org/explore/whitworth-university
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Apply to Whitworth University
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Becoming a Whitworth Pirate means joining a family. At Whitworth, you will find a caring Christian community ready to support you and mentor you, no matter your faith background. A place where you belong, and where you matter. A community set apart by the relationships we share, bound together through our mutual commitment to ask tough questions, engage diverse perspectives and search fearlessly for answers wherever they may be found. This is where the best learning happens. Through these connections and experiences, our graduates are equipped to become who they are meant to be, in their careers and in their communities, and throughout their lives.
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Students who haven't received their high school diploma, or taken any college courses since receiving their high school diploma, should submit the first-year application. Whitworth University seeks well-rounded, academically qualified students who are equipped to succeed in our challenging and supportive environment. It's free to apply to Whitworth. Student with transcripts from an accredited high school or college courses (i.e. Running Start) have the option not to submit test scores with their application. Student who have only attended non-accredited homeschool programs or who received competency-based grades with no cumulative GPA are required to submit a test scores.
Application deadlines:
Nov. 15 (Early Action I)
Jan. 15 (Early Action II)
March 1 (Regular Admission)
Students who have taken college courses after receiving their high school/secondary school diploma should submit the transfer application. Our transfer students come from two-year colleges, other private liberal arts colleges and larger public universities. But from the moment you arrive on campus you are a part of the Whitworth community, and we value your unique perspective and contributions to the classroom and to campus life.
Fall semester application deadlines:
Jan. 15 (Early Action I)
March 1 (Early Action II)
July 1 (Regular Admissions)
Spring semester application deadline:
Dec. 1
I attended Whitworth blindly. I had this special tug in my heart that at the time I did not know what it was. Maybe it was the trees, maybe it was the squirrels, but I later learned it was God pulling me to a place filled with people who know and love him as well. He led me 3,000 miles away from Hawaii to come to Whitworth, which I later found out has one of the top education programs in Washington.
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2016-09-19T14:00:41+00:00
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Whitworth University boasts a community of learning deeply rooted in Christianity which encourages students to explore their faith and help their community.
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College Magazine
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https://www.collegemagazine.com/colleges/whitworth-university/
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The Vibe
Scenic Suburban Heaven
What it Feels Like to Go Here
Whitworth University’s Instagram
If people go to college to find themselves, Whitworth University is where students find themselves in other people. Whitworth boasts a community of learning deeply rooted in Christianity and charity. They encourage students to explore their faith and contribute to their community. It’s a small enough campus that you can expect to run into your friends habitually in a small-town kind of way, but not so small as to feel limiting. At Whitworth, friendly students and professors want to help each other thrive.
Awesome Alumni
Several humanitarians studied at Whitworth University. Travis Hartanov cofounded Krochet Kids International, a nonprofit that teaches women in impoverished countries how to crochet and sells their signed products for them online. Jena Nardella, cofounder of Blood:Water, an organization that helps African communities combat HIV/AIDS and water crises, also once called Whitworth home. Whitworth University also produces many artists including Samoan novelist Sia Figiel, author of Where We Once Belonged, the first novel published by a Samoan woman in the U.S. Brian Fennell and Branden Cate of the Seattle-based indie rock band Barcelona also studied here. Singer-songwriter Sara Jackson-Holman, whose songs you heard on Grey’s Anatomy and Orange is the New Black, also attended this school.
Where We Hang
The campus features its own chapel for morning community service, held twice weekly. If you’d like to connect to a higher power through nature, explore Whitworth University’s 200-acre campus. It features many stately pines and open green spaces for students to relax in one of the most scenic areas of Washington State. A total of 76 lakes and rivers surround the area, including Lake Coeur d’Alene, where visitors can relax on the beach, swim and kayak. Plus, campus lies within miles of hiking and biking trails and a short hour-and-a-half drive drive from five major ski resorts. If you consider yourself more of a city slicker, hit up downtown Spokane with a bus ride. Here you can enjoy Broadway productions at the INB Performing Arts Center, listen to the Spokane Symphony at the Martin Woldson Theatre or rock out at the Knitting Factory Concert House.
Q&A
1. How much are students partying?
“Maybe I’m too much out of the party circle, but I don’t think we party that hard. I’ve heard of a few party houses. The only one I actually know the location of is now filled with people who do not plan to continue the house’s legacy,” said senior Lynn Dickerson.
2. What will you get in trouble for at your school?
“At Whitworth we have what’s called the Big 3. These are three rules to guide students to live healthy lives and safe lives while at Whitworth. … These rules apply to all students whenever on campus. But we also have what’s called the Little 3 which are fun traditions students try to complete before graduating including accidentally dropping and breaking a plate in our dining hall, getting hit in the head by a flying disk because so many people play disk golf on campus, and catching a virgin pinecone since we are known for our beautiful pine trees,” said Karlin Andersen, Whitworthian editor-in-chief.
3. How much sex are students having?
“Students are having sex. Cohab rules or not it happens. Is it all the time, every night, everywhere? No. I’d say at least a third of the students are getting around in the dorms. So perhaps not as much as a state school, but it defiantly still happens, it’s just generally a little more hush hush.” said recent grad Andrea Hunter.
4. What would you tell incoming freshman about your school?
“Buckle up and get your dance moves ready for Traditiation, the traditional ‘hazing’ Whitworth does. They go around campus and do crazy things like dorm-wide singing, dancing in front of the school and learning the dorm chants while dressed in costumes representing their dorms. It’s a good time, and it’s very amusing for upper classmen to witness each year,” said junior Hannah Jian Rzeszewicz.
5. How much does religion play a part in the college experience?
“It’s really as much as you want it, when it comes to religion. The Whitworth community is open and accepting of everyone. Professors do work their faith into their classes, which is a very cool part of Whitworth,” said sophomore Hunter Smit.
Overall Experience
“It’s a very underrated school because it is in Spokane which is also where Gonzaga University is, so it gets most of Spokane’s glory. Whitworth really is about community and how we can all grow together…It’s easy to say that about any school really but it’s genuinely how it is here, people want to learn and more importantly do it in a way where everyone can have fun.” – Klaus Hanley, Communications, Class of 2019
“I’d give Whitworth 4.5/5 stars because the classes are small, professors are highly engaged in student learning and getting to know students, and everyone is friendly. Sometimes if you’re not the most social person it can be exhausting, though, and it can also be tough constantly surrounded by overly-friendly people. It can also be tough being someone who isn’t Christian and being surrounded by people of strong faith, because it’s a way that 90 percent of the student body connects with one another.” – Hannah Jian Rzeszewicz, Pre-Dental, Class of 2018
“I have loved working on the Whitworthian since I have been a freshman, but I have been involved in many other on-campus publications and clubs as well. As Whitworth offers sports, over 50 clubs and student government or dorm leadership, it is hard for a student to get involved somewhere on campus while at Whitworth. Balancing school work and extracurricular activities can be challenging, but the extra parts is what makes Whitworth exciting.” – Karlin Andersen, Whitworthian Editor-in-Chief
“Great school, but probably not worth drowning in debt. Fun fact: it’s the ranked as the third friendliest campus in the U.S.” – Kamau Chege, Accounting and History, Class of 2018
“I would give it a 4/5 probably… There are a lot of opportunities for students in every direction: sports, entertainment, arts, cultural events. I think it’s wonderful. I love my professors and the class sizes. I also love the free (a college student’s favorite word) tutoring resources. The 4 versus 5 largely comes from how the environment can be if you aren’t a Christian. I have a lot of non-Christian friends who feel overloaded at times by the Christianess here. Of course we also knew about this when we chose to go here, in all fairness.” – Lynn Dickerson, Biology, Class of 2017
Top 3 Majors
1. Biology
2. English
3. Economics
Top 3 Most Popular Student Organizations
1. En Christo
En Christo has served disenfranchised members of their community for over 20 years. They provide sack lunches every Saturday and share the gospel with low-income and homeless citizens of Spokane. Club Treasurer Elaine Harris said an important part of the work involves conversing with the residents they serve. “It became more than just a service as personal relationships began to grow,” Harris said. “We want residents to know that they are cared for and that they aren’t forgotten,” Harris said.
2. Adopted Pirates of Whitworth
Adopted Pirates of Whitworth educates the community about the positive effects of adoption and foster care. President and club founder Hannah Rzeszewicz said children in foster care want and deserve a normal life. “We like to let people know how adoptees think about their pasts and how they deal with not knowing a part of who they are,” Rzeszewicz said. Every month the club hosts a foster parent support group. While the parents hold their meeting, club members play games and do arts and crafts with the kids.
3. Students for Life
Students for Life of America is one of the nation’s largest youth organizations advocating for the abolition of abortion. President Heidi Thom said the Whitworth branch plans to focus on educating and talking to the community this year. “We want to make people question what they really believe and why they believe it in regards to abortion,” Thom said.
Getting In
Whitworth University puts a high value in applicant’s academic rigor in their high school coursework. Applicants should pay special attention to the quality of their required writing sample. Applicants also need to submit a recommendation form along with their SAT or ACT superscore. With a GPA higher than a 3.0, you can do a phone interview in lieu of your scores. You may not want to do that though—Whitworth considers SAT and ACT scores when awarding academic scholarships. Whitworth admissions staff also pay special attention to an applicant’s participation in extracurricular, service and leadership activities and even considers the reputation of the student’s high school.
Stats
Location: Spokane, Washington
Tuition & Fees: $39,600 + $962
Total Cost on Campus: $51,732
Undergrads Enrolled: 2,685
Grads Enrolled: 306
Total Enrolled: 2,991
Acceptance percentage: 82.1% (Fall 2014)
Percent Admitted Who Enroll: 14.4%
Enrollment: 584 (Class of 2019)
Percentage of Male Students: 40.6% (2014)
Percentage of Female Students: 59.4% (2014)
Percentage Receiving Financial Aid: 98%
Percentage Receiving Federal Grants: 97%
Percentage Receiving Federal Loans: 64%
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dbpedia
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https://www.appily.com/colleges/whitworth-university-adult-degree-programs
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en
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Whitworth University-Adult Degree Programs
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Is Whitworth University-Adult Degree Programs - Spokane, WA right for you? Find out the details about getting into and attending Whitworth University-Adult Degree Programs - Spokane, WAwith tuition, financial aid, admissions, academics, and student life information available at Appily.com.
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https://www.appily.com/colleges/whitworth-university-adult-degree-programs
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The Whitworth University School of Continuing Studies is a Christian institution in Spokane dedicated to adult and working students. The School of Continuing Studies grants degrees in eight fields of study and features three certificate-granting programs. As a school of adult education, Whitworth makes courses available as evening classes with a reduced tuition rate and also offers accelerated 6-week classes. For students who do not wish to commute to campus, adult and continuing education courses are available in a hybrid online format.
Admissions
Key Admissions Stats
Institution Type
Private
Not for Profit
Presbyterian
Coed
Need Aware
This school may consider an applicant’s financial situation when deciding admission
Level of Institution
4 Year
Campus Setting
Suburb or town
0
100
100%
Acceptance Rate
Admissions Requirements
SAT
No
ACT
No
Transcript
No
Admitted Student Stats
Academics
Key Academic Stats
Highest Degree Offered
Bachelor's
Total Number of Students
227
Total Number of Undergrads
227
Academic Calendar
Semester
See your fit
Classroom Sizes
Student:Faculty Ratio
14:1
US National: 21:1
Tuition, Cost & Aid
Key Financial Stats
Tuition
In-State Tuition In-state tuition is the tuition charged by institutions to those students who meet the state's or institution's residency requirements. In-district tuition is the tuition charged by the institution to those students residing in the locality in which they attend school and may be a lower rate than in-state tuition if offered by the institution.
$13,440
Out-of-State Tuition Out-of-state tuition is the tuition charged by institutions to those students who do not meet the state’s or institution’s residency requirements. Out-of-district tuition is the tuition charged by the institution to those students not residing in the locality in which they attend school.
$13,440
Aid & Grants
Students Receiving Gift Aid Percent of undergraduate students awarded federal gift aid. Federal gift aid includes any grant or scholarship aid awarded, from the federal government, a state or local government, the institution, and other sources known by the institution.
49%
Students Receiving Grants Percent of undergraduate students awarded grant aid. Grant aid includes any grant or scholarship aid awarded, from the federal government, a state or local government, the institution, and other sources known by the institution.
49%
Student Loans
Average Debt at Graduation The median federal debt of undergraduate borrowers who graduated. This figure includes only federal loans; it excludes private student loans and Parent PLUS loans.
$20,500
Median Monthly Loan Payment The median monthly loan payment for student borrowers who completed, if it were repaid over 10 years at a 5.05% interest rate.
$248
Campus Life
Key Campus Stats
Student Gender
Male
Female
27%
73%
Size of Town
Suburb or town
LGBTQIA Student Resource Groups
No
On Campus Women's Center
No
Housing
On-campus living required of freshman
No
Athletics
Varsity Athletics Conference Primary
Not applicable
Campus Safety
24-HR security patrol
No
Campus emergency phones
No
After Graduation
Post Grad Stats
Average Salary
6 years after graduation
$48,000
What Students Are Saying
See All
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https://en.wikipedia.org/wiki/Mother!
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2015-10-14T02:40:05+00:00
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https://en.wikipedia.org/wiki/Mother!
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2017 film by Darren Aronofsky
Mother!Directed byDarren AronofskyWritten byDarren AronofskyProduced byStarringCinematographyMatthew LibatiqueEdited byAndrew Weisblum
Production
company
Distributed byParamount Pictures
Release dates
Running time
121 minutes[1]CountryUnited StatesLanguageEnglishBudget$30 million[2]Box office$44.5 million[3]
Mother! (stylized as mother!) is a 2017 American psychological horror[4] film written and directed by Darren Aronofsky, and starring Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Domhnall Gleeson, Brian Gleeson, and Kristen Wiig. Its plot, inspired by the Bible, follows a young woman whose tranquil life with her husband at their country home is disrupted by the arrival of a mysterious couple.
The film premiered on September 5, 2017, at the 74th Venice International Film Festival, where it was selected to compete for the Golden Lion. It was released in the United States by Paramount Pictures on September 15, 2017. The film grossed $44.5 million worldwide and received generally positive reviews from critics.
Plot
[edit]
In the burned-out remains of a large house, Him, an acclaimed poet struggling with writer's block, places a crystal object on a pedestal in his study, and the building morphs into a beautiful home in an edenic landscape. Mother, the poet's wife and muse, awakens in her bed and wonders aloud where Him is. While renovating the house, she occasionally visualizes a beating heart within its walls.
One day, a stranger called Man turns up at the house, claiming to be an orthopedic surgeon and asking for a room. That night, Man suffers from dry heaves and Mother observes a wound on his side. Man's wife, Woman, arrives the next day. Mother is increasingly frustrated by her guests, but Him begs her to let them stay, revealing that Man is actually a fan whose dying wish was to meet Him. However, when Man and Woman accidentally shatter the crystal object, Him becomes angry and boards up his study. Man and Woman's two sons arrive unexpectedly and fight over Man's will. Oldest Son wounds his brother, and then flees after having his head smashed against glass by Him, leaving a bloody gash in Younger Brother's head.
Him, Man, and Woman take the injured son to the hospital. Mother cleans up and notices strange damage to the house, including a fly, a frog, and blood that will not stop dripping. She follows the blood to a tank of heating oil hidden behind the basement walls. Him informs Mother that Younger Brother has died.
Mother and Him are roused that night when dozens of people arrive unannounced at the house to mourn the dead son. The visitors behave in rude and presumptuous ways that irritate Mother, and she snaps and orders everyone to leave when they break a sink, partially flooding the house. She berates Him for allowing so many people inside and ignoring her needs, but their argument leads to passionate lovemaking. The next morning, Mother announces she is pregnant, which elates Him and inspires him to start writing again.
Some time later, Mother prepares for the child's arrival and reads Him's beautiful new poem. Upon publication, it is acclaimed and sells well. In celebration, Mother prepares a big dinner, but a group of fans interrupt. Mother tries to lock the doors, but droves of fans pour inside and begin to wreak havoc, damaging the house. Him is oblivious, but a disoriented Mother watches helplessly as military forces turn up to battle members of the cult that has sprung up around Him; his publicist organizes mass executions. Mother goes into labor and Him reopens his study so she can give birth inside.
The havoc outside subsides. Him finds that the fans have left gifts and are waiting. Him tells Mother that his fans want to see their newborn son. She asks why he won't make them leave, and he says he doesn't want them to. She refuses to hand over the boy to Him. Eventually, she falls asleep, and Him takes the child outside to the crowd. They pass the baby around wildly until he is inadvertently killed. Mother finds people eating her son's mutilated corpse. Furious, she attacks them. They turn on her and beat her savagely until Him intervenes. He begs Mother to forgive them, but she runs down to the basement oil tank and ignites the oil, causing an explosion that incinerates the crowd and destroys the house.
Him is unscathed by the inferno, but Mother is horrifically burned. She asks him what he is, and he replies, "I am I" and Mother was "home". He asks for her love, and, when she agrees, reaches into her chest and removes her heart, which he tears open to reveal a new crystal object. He places it on the pedestal and the house is transformed back into a beautiful home. A new Mother appears in the bed and awakens, wondering aloud where Him is.
Cast
[edit]
Jennifer Lawrence as mother
Javier Bardem as Him
Ed Harris as man
Michelle Pfeiffer as woman
Brian Gleeson as younger brother
Domhnall Gleeson as oldest son
Jovan Adepo as cupbearer
Patricia Summersett as consoler
Emily Hampshire as fool
Luis Oliva as idler
Chris Gartin as adulterer
Stephen McHattie as zealot
Arthur Holden as lingerer
Kristen Wiig as herald
Scott Humphrey as abettor
Marcia Jean Kurtz as thief
Carolyn Fe as pilferer
Cristina Rosato as novitiate
Mizinga Mwinga as deputy
Amanda Warren as healer
Laurence Leboeuf as maiden
Sarah-Jeanne Labrosse as foremother
Themes
[edit]
In an interview, Lawrence stated that the film is an allegory and "depicts the rape and torment of Mother Earth ... I represent Mother Earth; Javier, whose character is a poet, represents a form of God, a creator; Michelle Pfeiffer is an Eve to Ed Harris's Adam, there's Cain and Abel and the setting sometimes resembles the Garden of Eden".[5]
Aronofsky said the exclamation mark in the title "reflects the spirit of the film", which ends with "a big exclamation point". He discussed the film's unusual choice of not capitalizing the letter 'm' in the title during a Reddit interview, saying: "To find out why there's a lowercase 'm', read the credits and look for the letter that is capitalised. Ask yourself what's another name for this character?" (In the credits, the characters' names are all shown in lowercase, except for Him.)[5]
Production
[edit]
Writing
[edit]
After 2014's Noah, Darren Aronofsky began working on a children's film. During that process, he came up with a new idea. He ended up writing the screenplay for Mother! in five days, much faster than his usual pace.[6] The film uses a dream-logic narrative, of which Aronofsky has noted: "if you try to unscrew it, it kind of falls apart ... it's a psychological freak-out. You shouldn't over-explain it."[7]
Casting
[edit]
Jennifer Lawrence was reportedly in talks to join the film by October 2015[8] and by January 2016, Javier Bardem was also in talks to star.[9] In March, it was announced Kristen Wiig had been cast in the film[10] and, by April, Domhnall Gleeson, Michelle Pfeiffer, Ed Harris and Brian Gleeson were added to the cast.[11] Sebastian Stan auditioned for Domhnall Gleeson's part, but "hyperventilated" during the audition due to a panic attack.[12] Lawrence was paid $15 million, while Harris and Pfeiffer earned $3 million and $5 million, respectively.[2]
Filming
[edit]
On a production budget of $30 million,[2] principal photography began in Montreal, Québec under the shooting title Day 6 from June to August 2016.[13] The cast first rehearsed for three months in a warehouse, during which time Aronofsky was able to "get a sense of movement and camera movement, and learn from that." Lawrence was reportedly quite relaxed through rehearsals; Aronofsky said that he "didn't get to know the character until we started shooting, and she showed up."[6]
Music
[edit]
Mother! was the first of Aronofsky's films without the involvement of composer Clint Mansell.[14] It initially had a score composed by Jóhann Jóhannsson, but after seeing the 90-minute score synced up with a rough cut of the film, Aronofsky and Jóhannsson agreed not to use it. They tried using the score at only a few moments, then a minimal version of the score with sound design by Craig Henighan, incorporating noises into the soundscape of the house. They ultimately decided the film worked best with no music.[15] Composer Ólafur Arnalds recounted the following story about this decision:
... he had spent a year writing the score for Darren Aronofsky's Mother! and at some point realised that the film was better with no music at all. He proceeded to convince Darren to delete everything. It takes a real, selfless artist to do that. To realise the piece is better without you. The most important part of creating art is the process, and Jóhann seemed to understand process. The score needed to be written first in order to realise that it was redundant. So in my view, Mother! still has a score by Jóhann. The score is just silence ... deafening, genius silence.[16]
Over the closing credits, the film features a cover of Skeeter Davis's "The End of the World" performed by Patti Smith.[17]
Release
[edit]
The film was originally scheduled to be released on October 13, 2017,[18] but was moved up to September 15.[19] It had its world premiere at the 74th Venice International Film Festival, where it was selected to compete for the Golden Lion;[20] premiered in London on September 6, 2017;[21] and was screened at the 2017 Toronto International Film Festival.[22][23]
Home media
[edit]
Mother! was released digitally on December 5, 2017, and on Ultra HD Blu-ray, Blu-ray, and DVD on December 19.[24]
Sydney mural controversy
[edit]
In September 2017, street art-based advertising agency Apparition Media painted over a mural in Sydney's Newtown neighbourhood with a mural promoting Mother! The original mural, "It's like a jungle sometimes", depicted the streets of Newtown as a jungle with the line referencing Grandmaster Flash and the Furious Five's song "The Message". It was painted in 2005 by artist Colin Bebe, who told the ABC that it represented a period of depression and suicidality.[25] Apparition Media painted over it without council permission, replacing it with a giant portrait of Jennifer Lawrence and the caption "#mothermovie." Much community outrage followed and within hours, the new mural had been graffitied by someone who added: "Fuck off! It really is a jungle sometimes. No respect!"[26] Apparition Media apologised and word of the incident also reached Aronofsky himself, who tweeted that he was "embarrassed and furious" and would pay for the mural to be restored.[27] The original mural was restored in December 2017.[28]
Reception
[edit]
Box office
[edit]
The film grossed $17.8 million in the United States and Canada and $26.7 million in other territories for a worldwide total of $44.5 million.[3]
In North America, the film was released alongside American Assassin and was projected to gross $12–14 million from 2,368 theaters in its opening weekend.[29] It made $700,000 from Thursday night previews, $3.1 million on its first day, and went on to open to just $7.5 million, finishing third at the box office. Deadline Hollywood attributed the film's underperformance to its controversial narrative, misleading advertisements, and "F" CinemaScore grade.[2] (as of April 2020 , it is one of only 22 films to receive such a rating).[30] Other publications wrote that the film's CinemaScore grade, which is rare, is typically associated with "a movie that goes out of its way to artfully alienate or confuse audiences."[31][32] In its second weekend, the film dropped 56.3% to $3.3 million, finishing sixth at the box office.[33]
Aronofsky responded to the film's CinemaScore rating by saying that Mother! was meant to be difficult viewing for audiences: "How if you walk out of this movie are you not going to give it an 'F'? ... We wanted to make a punk movie and come at you. And the reason I wanted to come is because I was very sad and I had a lot of anguish and I wanted to express it."[34]
Critical response
[edit]
Mother! received generally positive reviews from critics, who praised Aronofsky's direction and the performances, particularly those of Lawrence and Pfeiffer,[35][36][37] while its biblical allegories and depiction of violence was scrutinized by some media outlets.[38][39][40] The film received both boos and a standing ovation during its premiere at the Venice Film Festival.[41] On the review aggregator website Rotten Tomatoes, 68% of 377 critics' reviews are positive, with an average rating of 7/10. The website's consensus reads: "There's no denying that Mother! is the thought-provoking product of a singularly ambitious artistic vision, though it may be too unwieldy for mainstream tastes."[42] Metacritic, which uses a weighted average, assigned the film a score of 76 out of 100, based on 51 critics, indicating "generally favorable" reviews.[43] PostTrak reported filmgoers gave a 51% overall positive and a 33% "definite recommend".[2]
Owen Gleiberman of Variety, in a positive review of the film, called Mother! "a piece of ersatz humanity", and wrote: "By all means, go to Mother! and enjoy its roller-coaster-of-weird exhibitionism. But be afraid, very afraid, only if you're hoping to see a movie that's as honestly disquieting as it is showy."[44] Peter Travers of Rolling Stone awarded the film three and a half out of four stars, describing it and Aronofsky's direction as an "artist's cry from his own corrupt heart" and "a work of a visionary". He also praised the film's allegorical narrative and the performances of Lawrence, Bardem, and Pfeiffer, and said, positively, that the cinematography "always seems on the verge of exploding".[45] Writing for the Chicago Tribune, Michael Phillips said: "Darren Aronofsky delivers a damning critique of the artist/muse arrangement, even as he admits to its old-fashioned patriarchal simplicity." He also referred to the film and its script as "grandiose and narcissistic and, in quick strokes, pretty vicious," while drawing a similarity to Aronofsky's film Black Swan.[46]
Writing for The Guardian, Peter Bradshaw gave the film five stars, saying: "Darren Aronofsky's toweringly outrageous film leaves no gob unsmacked. It is an event-movie detonation, a phantasmagorical horror and black-comic nightmare that jams the narcosis needle right into your abdomen."[47] Ignatiy Vishnevetsky of The A.V. Club gave the film a B+, writing: "the filmmaking ranks as some of Aronofsky's most skillful".[48] Ben Croll of IndieWire gave the film an A−, noting: "Awash in both religious and contemporary political imagery, Darren Aronofsky's allusive film opens itself to a number of allegorical readings, but it also works as a straight-ahead head rush."[49] In an essay for The Hollywood Reporter, Martin Scorsese said: "It was so tactile, so beautifully staged and acted—the subjective camera and the POV reverse angles, always in motion ... the sound design, which comes at the viewer from around corners and leads you deeper and deeper into the nightmare ... the unfolding of the story, which very gradually becomes more and more upsetting as the film goes forward. The horror, the dark comedy, the biblical elements, the cautionary fable—they're all there, but they're elements in the total experience, which engulfs the characters and the viewers along with them. Only a true, passionate filmmaker could have made this picture, which I'm still experiencing weeks after I saw it."[50] Director William Friedkin praised the film.[51]
Rex Reed gave the film zero stars in The New York Observer, and wrote that, despite some good cinematography, "Nothing about Mother! makes one lick of sense as Darren Aronofsky's corny vision of madness turns more hilarious than scary. With so much crap around to clog the drain, I hesitate to label it the 'Worst movie of the year' when 'Worst movie of the century' fits it even better." Reed further dismissed other critics' positive reviews of the film as "equally pretentious" and "even nuttier than the film itself. ... they all insist Mother! is a metaphor for something, although they are not quite sure what it is."[52] Similarly, The New Republic's Jo Livingstone stated that the film has "no human center to hold it down."[53] Anthony Lane wrote in his review in New Yorker that "My patience was tested beyond repair, I am afraid, by the nimbus of nonsense."[54] In The Wall Street Journal, John Anderson said: "it achieves a level of excess that makes the whole enterprise increasingly cartoonish, rather than just awful."[55] Richard Roeper of the Chicago Sun-Times rated the film two out of four stars, writing that, while he appreciated Lawrence's performance, he questioned whether Aronofsky was mocking certain biblical passages featured in the film or presenting a commentary on an artistic process.[56] Writing for The Washington Post, Anne Hornaday gave the film two stars, saying: "Even Lawrence's magnetic powers can't keep Mother! from going off the rails, which at first occurs cumulatively, then in a mad rush during the film's outlandish climax."[57]
Stephen Whitty of the Newark Star Ledger wrote: "one part early Roman Polanski, one part pseudo Harold Pinter, and two parts apology-from-a-driven-artist. And none of it adds up. The feeble idea behind Mother! isn't strong enough to bear the weight of all the overwrought style he hangs on it. Unlike the mansion it's set in, it's a small, hammered-together thing, and it can't bear all this meaning and metaphor."[58] Chris Nashawaty of Entertainment Weekly said: "Darren Aronofsky's Mother! is Rosemary's Baby amped up into a fugue state of self-indulgent solipsism. He's an artist. And he really wants you to know that he's been thinking a lot about what that means. Unfortunately, his gaze is so deep into his own navel that it's just exasperating."[59] David Edelstein of New York magazine shrugged off the film and any talk of its craft, writing: "Most of the dialogue and effects are clunky, repetitive, second rate."[60]
Accolades
[edit]
The film's nominations at the 38th Golden Raspberry Awards received backlash from audiences and critics, especially Lawrence's nomination, whose performance was praised by critics.[61][62][63][64]
Award Date of ceremony Category Recipient(s) Result Ref. Alliance of Women Film Journalists January 8, 2018 Most Egregious Age Difference Between The Lead and The Love Interest Award Jennifer Lawrence & Javier Bardem Nominated [65] Actress Most in Need of a New Agent Jennifer Lawrence Nominated AWFJ Hall of Shame Award Darren Aronofsky Nominated Camerimage November 18, 2017 Golden Frog Matthew Libatique Nominated [66] Dorian Awards February 24, 2018 Supporting Film Performance of the Year – Actress Michelle Pfeiffer Nominated [67] Campy Flick of the Year Mother! Won Empire Awards March 18, 2018 Best Horror Mother! Nominated [68] Golden Raspberry Awards March 3, 2018 Worst Director Darren Aronofsky Nominated [69] Worst Actress Jennifer Lawrence Nominated Worst Supporting Actor Javier Bardem (also for Pirates of the Caribbean: Dead Men Tell No Tales) Nominated Golden Schmoes Awards March 4, 2018 Most Underrated Movie of the Year Mother! Nominated [70] Trippiest Movie of the Year Won Best Horror Movie of the Year Nominated Houston Film Critics Society Awards January 6, 2018 Best Poster Design Mother! Nominated [71] IndieWire Critics Poll December 19, 2017 Best Supporting Actress Michelle Pfeiffer 5th place[a] [72] Online Film Critics Society Awards December 28, 2017 Best Picture Mother! Nominated [73] Saturn Awards June 27, 2018 Best Horror Film Mother! Nominated [74] Venice Film Festival September 9, 2017 Golden Lion Mother! Nominated [75] Visual Effects Society Awards February 13, 2018 Outstanding Supporting Visual Effects in a Photoreal Feature Dan Schrecker, Colleen Bachman, Ben Snow, Wayne Billheimer & Peter Chesney Nominated [76]
Notes
[edit]
References
[edit]
|
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https://www.olhardecinema.com.br/en/film/il-etait-une-fois-beyrouth-histoire-dune-star/
|
en
|
Olhar de Cinema – Festival Internacional de Curitiba
|
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[
""
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[] |
2024-04-17T18:40:40+00:00
|
en
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Olhar de Cinema – Festival Internacional de Curitiba
|
https://www.olhardecinema.com.br/en/film/il-etait-une-fois-beyrouth-histoire-dune-star/
|
Yasmine and Leila are two young women from a generation born into war. At the age of 20, they pay a visit to a renowned film collector and archivist, where they discover a side of Lebanon they had never experienced before. Written by Jocelyne Saab herself, alongside Philippe Paringaux and Roland Paringaux, the film falls into a unique category of cinema that explores the art form itself, and, by extension, life itself. As they dive into a rich cinematic world, screening films becomes a way for Yasmine and Leila to rekindle their relationship with the war-torn city they have learned to call home. (C.A.)
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https://www.festival-cannes.com/en/f/les-invasions-barbares/
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en
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LES INVASIONS BARBARES
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[] |
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[
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] | null |
[] |
2023-03-11T18:10:37+00:00
|
Rémy, divorced and in his early fifties, is hospitalized. His ex-wife, Louise, asks their son Sébastien to come home from London where he now lives. Sébastien hesitates; he and his father haven't had much to say to one another for years now. He relents, however, and flies to Montreal to help his mother and support h
|
en
|
Festival de Cannes
|
https://www.festival-cannes.com/f/les-invasions-barbares/
|
Rémy, divorced and in his early fifties, is hospitalized. His ex-wife, Louise, asks their son Sébastien to come home from London where he now lives. Sébastien hesitates; he and his father haven’t had much to say to one another for years now. He relents, however, and flies to Montreal to help his mother and support his father. As soon as he arrives, Sébastien moves heaven and earth, brings his contacts into play and disrupts the system in every way possible to ease the ordeal that awaits Rémy. He also reunites the merry band that marked Rémy’s past around his father’s bedside: relatives, friends and former mistresses. What have they become in this age of “barbarian invasions”? Are the old irreverence, friendship and truculence still there? Do humor, hedonism and desire still inhabit their d
|
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| 55
|
https://en-academic.com/dic.nsf/enwiki/276656
|
en
|
Jesus of Montreal
|
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[] |
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[
""
] | null |
[] | null |
Infobox Film name = Jesus of Montreal image size = caption = director = Denys Arcand producer = Monique Létourneau writer = Denys Arcand narrator = starring = Lothaire Bluteau Catherine Wilkening Johanne Marie Tremblay music = Jean Marie Benoît…
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en
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https://en-academic.com/favicon.ico
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Academic Dictionaries and Encyclopedias
|
https://en-academic.com/dic.nsf/enwiki/276656
|
Infobox Film
name = Jesus of Montreal
image_size =
caption =
director = Denys Arcand
producer = Monique Létourneau
writer = Denys Arcand
narrator =
starring = Lothaire Bluteau
Catherine Wilkening
Johanne-Marie Tremblay
music = Jean-Marie Benoît
cinematography = Guy Dufaux
editing = Isabelle Dedieu
distributor = Koch-Lorber (Region 1 DVD)
released = 17 May, 1989 (France)
25 May, 1990 (USA)
runtime = 118 min.
country = flagicon|Canada Canada
flagicon|France France
language = French
budget =
gross =
preceded_by =
followed_by =
website =
amg_id =
imdb_id = 0097635
"Jesus of Montreal" (French: "Jésus de Montréal") is a 1989 film by Quebec film director Denys Arcand. It is currently distributed in North America by Koch-Lorber Films
Plot and allegory
The film revolves around a group of actors in Montreal hired to present a passion play, with an actor named Daniel playing the role of Christ. However, their interpretation of the life of Jesus is unconventional, and although the production becomes the toast of the city, the Catholic Church strongly objects to its biblical interpretation and attempts to stop the players.
The film is structured so that Daniel's story parallels that of Christ. In the opening scene, one actor points to Daniel, calling him "a much better actor", which echoes John the Baptist foretelling the arrival of Jesus the messiah. The first actor's head is later used in an advertisement, paralleling John the Baptist's beheading. The actors then gather for the Passion play, some of them leaving safe jobs to do so, recalling Jesus gathering the disciples. Daniel wrecks an advertising casting session, just as Jesus casts the money-lenders out of the Temple. His arrest and court appearance before an indecisive judge parallels Jesus' appearance before Pontius Pilate. The ambitious lawyer, who lays out a grand commercial career for Daniel, looking down from a skyscraper at the city, refers to the temptation of Christ by the devil atop a high pinnacle. Jesus' miracles, as well as his resurrection and ascension to Glory on the Father's right hand, are paralleled by Daniel becoming an organ donor, and the founding of the church becomes the plans for an experimental theatre company.
Awards
"Jesus of Montreal" won the Prize of the Ecumenical Jury at the Cannes Film Festival in 1989 and the Genie Award for Best Canadian Film of 1989. It has twice been placed second on the TIFF List of Canada's Top Ten Films of All Time, and was nominated for the 1989 Academy Award for Best Foreign Language Film.
Cast
* Lothaire Bluteau (Daniel)
* Catherine Wilkening (Mireille)
* Johanne-Marie Tremblay (Constance)
* Rémy Girard (Martin)
* Robert Lepage (René)
* Gilles Pelletier (Fr. Leclerc)
* Roy Dupuis (Marcel Brochu)
ee also
*Cinema of Quebec
*Culture of Quebec
*Dramatic portrayals of Jesus
*List of Quebec movies
*The Passion
External links
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https://www.tiktok.com/%40rosnykayiba_official/video/6983042910438706437%3Flang%3Den
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en
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Make Your Day
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0
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https://voltaic.ca/photographie-professionnelle/reserver-finissant/reserver-mcgill/graduation-pgss-mcgill/
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en
|
Reservation Graduation
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2024-05-30T17:37:30+00:00
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fr
| null |
What is the Voltaic experience?
Online Booking
Depending on available locations, you can select a date of your choice for your photo session.
Our availability is generally online one month in advance.
Registration Card
24 hours before your session, you will receive the registration form by email to fill out.
Complete it before you arrive at the studio and save your QR code!
Once at the studio, show us your registration card.
Photo Session
You can select the best shot for each of your photos.
The photographer will ask if you are satisfied with the result, then move on to the next pose.
Online Photo Gallery
After a period of about two weeks, you will receive a link to your photo gallery to download or purchase your photos.
Included in your session
Accessories specific to your institution
Advice from our photographers
Real-time photo display
Retouching
Photo archiving
Retouching
Voltaic constantly strives to raise industry standards while offering an unparalleled experience for each individual.
01
Cropping
02
Skin imperfections such as blemishes, pimples, oily skin, and scratches…
03
Teeth whitening
04
Special attention to requests made on-site or by email, some requests may be subject to additional fees.
Une question ?
Nous carburons avec vos projets hors de l’ordinaire
Quelle est votre idée géniale?
Services
Photo de finissant
Évènements
Portrait professionnel
Vidéo
Contact
(438) 833-8886
info@voltaic.ca
Studio de
MONTRÉAL
279 rue Sherbrooke ouest, Bureau 305, Montréal (Québec) H2X 1Y2
Studio de
QUÉBEC
2336 chemin Ste-Foy Suite 3800, Québec, Québec G1V 1S5
|
|||||||
1028
|
dbpedia
|
0
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|
https://www.festival-cannes.com/en/f/jesus-de-montreal/
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en
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JESUS DE MONTREAL
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2023-03-11T11:15:59+00:00
|
" Jesus of Montreal " refers to the Gospel according to St. Mark, advertising for eau de Cologne, the Brothers Karamazov, the dubbing of pornographic movies, the Big Bang, the formula for Coca-Cola Classic, Hamlet's soliloquy, the inconvenience of being born in Burkina-Faso, a Roman soldier by the name of Pantera, fasc
|
en
|
Festival de Cannes
|
https://www.festival-cannes.com/f/jesus-de-montreal/
|
” Jesus of Montreal ” refers to the Gospel according to St. Mark, advertising for eau de Cologne, the Brothers Karamazov, the dubbing of pornographic movies, the Big Bang, the formula for Coca-Cola Classic, Hamlet’s soliloquy, the inconvenience of being born in Burkina-Faso, a Roman soldier by the name of Pantera, fascist who are daily communicants, organ transplants and Paul Newman’s salad dressing. In short, it touches on everything is unavoidable.
|
|||
1028
|
dbpedia
|
3
| 82
|
https://variety.com/2005/film/awards/wah-wah-1200523743/
|
en
|
Wah
|
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[
"Derek Elley"
] |
2005-08-23T03:45:00+00:00
|
Richard E. Grant makes a socko debut as writer-director with semi-autobiographical dramedy of English colonial life in Swaziland seen through the eyes of a teenage boy. Flavorsome performances by a seasoned cast, held in check by Grant's traditional but well-crafted, always cinematic direction, make this a classy pickup for upscale auds.
|
en
|
Variety
|
https://variety.com/2005/film/awards/wah-wah-1200523743/
|
British thesp Richard E. Grant makes a socko debut as writer-director with “Wah-Wah,” a semi-autobiographical dramedy of English colonial life in Swaziland seen through the eyes of a teenage boy. Flavorsome performances by a seasoned cast, held in check by Grant’s traditional but well-crafted, always cinematic direction, make this a classy pickup for upscale auds Stateside, with broader appeal in European territories and those with an affinity for tales set in the British Commonwealth. Big-hearted pic proved a crowd-pleasing opener at the Edinburgh festival Aug. 17.
Grant grew up in South Africa, where he studied drama, and only came to London in 1984, two years before his movie debut in cult classic “Withnail and I.” With “Wah-Wah,” he clearly knows whereof he speaks and, as well as an obvious love for the African landscape and the various types that once peopled it, there’s the same talent for wry observation that marked his film diaries, “With Nails.”
Though the pic is set in a similar milieu as “White Mischief,” with colonials leading a charmed life of boozing and fornication, there’s an appealing lack of bitterness to Grant’s take on a later period. His characters evolve and forgive in a very human way rather than remaining locked into stereotypes.
In the summer of 1969, during the dying years of British colonial rule, 11-year-old Ralph Compton (Zachary Fox) accidentally sees his mother Lauren (Miranda Richardson) shagging his dad’s best friend. At a snooty cocktail party, Ralph’s dad Harry (Gabriel Byrne), who’s the well-liked minister for education, publicly berates his friend and embarrasses Lauren. Lauren walks out on her family next morning, and Harry hits the bottle.
To hide the pain and give his son a fresh start, Harry sends Ralph off to boarding school. On his return some two years later, Ralph (now played by Nicholas Hoult) finds his father a changed man, rangier and more relaxed — and married to a Yank, former air hostess Ruby (Emily Watson), whom he’s known for only six weeks.
Ralph, now a festering mass of teenage resentment, doesn’t take kindly at first to his brash young stepmom, despite her constant pricking of Brit pomposity. But when she dubs old-fashioned English phrases like “toodle-pip” and “hubbly-jubbly” as “wah-wah,” a secret language that marks her as an outsider, the kid starts to warm to her rebellious, emancipated spirit.
With the country on the cusp of independence, the ex-pat community decides to stage an amateur performance of “Camelot” as a parting gift to the Swazis. Helmer Grant’s experience as an actor shines through in the ensemble rehearsal scenes, with characters like the stuck-up Lady Hardwick (Celia Imrie, a tad over-ripe) played off against more down-to-earth Brits like Gwen Traherne (Julie Walters, terrific), the abandoned wife of Lauren’s lover.
By now, Harry is drinking more and more. He alienates Ralph and finally, Ruby, as well as imperiling his health. Then, as independence day approaches, Lauren returns, in an effort to reclaim her family.
Played a notch above emotional reality, but never tipping over into melodrama or pure comedy, the script juggles its characters with considerable skill as relationships shift and re-form. Above all, the film has a wonderful sense of ensemble in the portrayal of its inbred community, and the focus stays tight on the people rather than political events. Expectedly, events climax at the performance of “Camelot,” with a graceful coda that’s all the more moving for its simplicity.
It’s almost invidious to single out individual perfs, though Byrne gives a far more textured, committed one than usual, catching Harry’s quicksilver mood changes; Watson, sporting a convincing Yank accent, brings surprising depth to an initially caricatured role; and Richardson, as Lauren, also manages her switches from devoted mother to acid-tongued bitch with scary ease. Hoult grows into the role of the teenage Ralph, though the physical difference between him and the younger Fox is too great for such a short time away.
After the project was turned down by all sources of British public coin, Gallic money completed the package, resulting in a mixed Anglo-French crew whose work blends seamlessly. Widescreen lensing by Pierre Aim catches the amber quality of southern African light, and Isabelle Dedieu’s editing is as tight as a drum; production and costume design by Gary Williamson and Sheena Napier catch the period in a filmy way that matches the performances, and Patrick Doyle’s score supplies warm emotional accompaniment. Period songs (both 1960s and earlier) keep the pot bubbling.
For the record, the film is the first to be entirely shot in Swaziland.
|
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1028
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0
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https://www.facebook.com/groups/209789289416842/posts/did-anyone-participate-personally-in-the-construction-of-the-versailles-stake-ce/2111108452618240/
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en
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Facebook
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[] |
[
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de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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1028
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0
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https://www.rogerebert.com/cast-and-crew/isabelle-dedieu
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Isabelle Dedieu movie reviews & film summaries
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Isabelle Dedieu movie reviews & film summaries | Roger Ebert
|
en
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https://www.rogerebert.com/
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https://www.rogerebert.com/cast-and-crew/isabelle-dedieu
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1028
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dbpedia
|
1
| 0
|
https://en.wikipedia.org/wiki/Isabelle_Dedieu
|
en
|
Isabelle Dedieu
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
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[
"Contributors to Wikimedia projects"
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2017-04-19T21:55:34+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Isabelle_Dedieu
|
French film editor
Isabelle Dedieu (born 20 April 1956) is a French film editor who has worked in both French and Quebec films and has won both César Awards and Genie Awards.
Born in Paris,[1] she edited the 1986 French film Thérèse and won the César Award for Best Editing.[2] For French Canadian director Denys Arcand, she edited the 1989 film Jesus of Montreal and won the Genie Award for Best Editing.[3] She worked with Arcand again for other projects, including The Barbarian Invasions (2003), for which she was nominated for the Genie Award for Best Editing,[4] and the Jutra Award for Best Editing.[5]
Filmography
[edit]
Films include:[1]
Thérèse (1986)
Jesus of Montreal (1989)
Stardom (2000)
The Barbarian Invasions (2003)
Days of Darkness (2007)
Rafiki (2018)
|
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1028
|
dbpedia
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3
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|
https://cfe.tiff.net/canadianfilmencyclopedia/content/films/invasions-barbares
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en
|
Canadian Film Encyclopedia
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Les Invasions barbares, Denys Arcand’s enormously successful sequel to his iconic 1986 generational study Le Déclin de l’empire américain, follows the same group of lascivious, baby boomer intellectuals as they rally around their dying friend Rémy (Rémy Girard), a divorced history professor in his fifties who has lost none of his acid wit or mischievous charm despite his confinement to a Montreal hospital. Knowing Rémy has little time left, his ex-wife Louise (Dorothé Berryman) sends for their son Sébastien (Stéphane Rosseau), a wealthy international financier who immediately travels from London with his French fiancée Gaelle (Marina Hands).
Even though Sébastien and his father have not spoken for some time and do not get along ("he’s a puritanical capitalist and I’m a sensual socialist," Rémy barks), Sébastien nevertheless sets out to ease his father’s suffering as much as possible; he bribes the hospital staff and union delegates to set up Rémy in a private room on an abandoned floor and arranges for special tests at a private hospital in the United States. When the tests reveal that Remy’s condition leaves no hope for recovery, Sébastien gathers Rémy’s old group of friends who flock to his side to offer support, and in the process take a facetious, irreverent look at their own lives.
Meanwhile, in an attempt to assuage Rémy’s pain, Sébastien makes an arrangement with Nathalie (Marie-Josée Croze) – a heroin addict and the daughter of Rémy’s friend and former lover Diane (Louise Portal) – to help make his final days more bearable. As the end approaches, the entire group gathers at Pierre’s (Pierre Curzi) lakeside cottage for the final farewell.
Les Invasions barbares demonstrates that neither Arcand nor the characters have lost any of the wonderfully observed acerbic wit that made Le Déclin de l’empire américain so appealing; among the many subjects that get caught in Arcand’s deft satirical crossfire are Quebec’s health care system, the Catholic Church, labour unions, globalization and law and order, just to name a few. Deep and emotionally supple, the film is distinguished by Arcand’s acute and playful sense of history, his delicate insight into the characters and a host of top-notch performances from an especially talented cast. Particularly impressive are Girard, Rousseau (a well known Québécois comedian making an impressive dramatic debut) and Croze as the wounded and desolate Nathalie.
Arcand eschews easy sentimentality and shifts effortlessly between comedy and pathos as he wrestles with the faltering dreams of individuals and nations. Writing in Rolling Stone magazine, critic Peter Travers commented that Les Invasions barbares "moves you to laughter and tears without cheating to do it. The film stays emotionally focused and politically astute even as Arcand shifts from a dying man’s erotic fantasies to the aftermath of 9/11."
One of the most celebrated and widely praised Canadian features ever made, Les Invasions barbares grossed over $25 million worldwide and won a seemingly endless list of international awards and accolades, most notably the prizes for Best Screenplay (Arcand) and Actress (Croze) at the Festival de Cannes, three César Awards for Best Film, Director (Arcand) and Screenplay, an Academy Award® for Best Foreign Language Film and a nomination for Original Screenplay.
It was named Best Canadian Feature Film at the Toronto International Film Festival®, where it was the opening night Gala screening, received the Screen International Award at the European Film Awards, was named Best Film at numerous international film festivals from Bangkok, Thailand to Valladolid, Spain and was heralded as the Best Foreign Film of the year by numerous critics associations in the United States.
Les invasions barbares also won eight Jutra Awards, including those for Best Actress (Croze), Director, Screenplay and Film, and was nominated for ten Genie Awards. It was named one of Canada’s Top Ten of 2003 by an independent, national panel comprised of filmmakers, programmers, journalists and industry professionals.
|
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0
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|
https://collection.nfb.ca/film/jesus-de-montreal
|
en
|
Jésus de Montréal
|
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[] |
[
""
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[] | null |
Où il est question de l’évangile selon Saint-Marc, de la publicité des eaux de Cologne, des Frères Karamazov, du doublage des films d’Hamlet, de l’inconvénient d’être né au Burkina Faso, d’un soldat romain appelé Pantera, des fascistes qui communient tous les jours, des transplantations d’organes et de la vinaigrette de Paul Newman. Bref, de tout ce qui est incontournable.
|
en
|
/assets/public/favicon.ico
| null |
Coproduit par Max Films Inc. et Gérard Mital Productions en association avec l'ONF et avec la participation financière de Téléfilm Canada, la Société générale des industries culturelles - Québec, la Société de radio-télévision du Québec et Super-Écran (Premier Choix: TVEC Inc.) pour le Canada et avec la participation financière de la Sofica Sofinergie et le Ministère de la Culture et de la Communication (Centre National de la Cinématographie) pour la France.
Où il est question de l'évangile selon Saint-Marc, de la publicité des eaux de Cologne, des Frères Karamazov, du doublage des films d'Hamlet, de l'inconvénient d'être né au Burkina Faso, d'un soldat romain appelé Pantera, des fascistes qui communient tous les jours, des transplantations d'organes et de la vinaigrette de Paul Newman. Bref, de tout ce qui est incontournable.
|
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1028
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3
| 2
|
https://www.wikidata.org/wiki/Q3154901
|
en
|
Isabelle Dedieu
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
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""
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French film editor
|
en
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/static/apple-touch/wikidata.png
|
https://www.wikidata.org/wiki/Q3154901
|
French film editor
edit
|
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1028
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0
| 34
|
https://search.library.wisc.edu/catalog/9910021157302121
|
en
|
Jésus de Montréal = Jesus of Montreal
|
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[
""
] | null |
[] | null |
en
| null |
A Montreal shrine seeks to inspire its congregants by modernizing its staging of the Passion play. A promising cast of vibrant young actors are signed on - one fresh from perfume commercials, another from the pornographic film industry, and another who had an affair with the basilica's priest - quickly drive the production on to become a smash hit. But as the play enjoys the success, the actors become more and more challenged to separate their real lives from their lives onstage.
|
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|
3
| 61
|
https://www.ranker.com/list/list-of-famous-film-editors/reference%3Fpage%3D29
|
en
|
List of Famous Film Editors
|
https://imgix.ranker.com/list_img_v2/17137/337137/original/list-of-famous-film-editors-u4
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https://imgix.ranker.com/list_img_v2/17137/337137/original/list-of-famous-film-editors-u4
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[
""
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[
"Reference"
] |
2011-06-09T00:00:00
|
List of famous film editors, with photos, bios, and other information when available. Who are the top film editors in the world? This includes the most ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/list-of-famous-film-editors/reference
|
Bob Dylan, born Robert Allen Zimmerman on May 24, 1941, in Duluth, Minnesota, is an iconic figure in American music history. Known for his distinctive voice and thought-provoking lyrics, Dylan's influence extends beyond the realm of music, leaving an indelible mark on popular culture. Raised in a tight-knit Jewish community, he developed an interest in music at a young age, deriving inspiration from the likes of Elvis Presley and Jerry Lee Lewis. His love for music propelled him to drop out of the University of Minnesota in 1960, after which he moved to New York City to pursue a career in music. In the early years of his career, Dylan was recognized as a prominent figure in the folk music scene. His debut album, Bob Dylan, was released in 1962, followed by The Freewheelin' Bob Dylan in 1963, which included the iconic track "Blowin' in the Wind." The song became an anthem for civil rights and anti-war movements, solidifying Dylan's reputation as a songwriter who could encapsulate societal issues with profound lyricism. However, his decision to go electric with the album Bringing It All Back Home in 1965 sparked controversy among his folk purist fans but also broadened his appeal to a wider audience. Throughout his decades-long career, Dylan has been known for his versatility and innovation. He has explored various genres including rock, country, gospel, and blues, demonstrating his ability to reinvent himself and remain relevant. His exceptional songwriting skills earned him the Nobel Prize in Literature in 2016, making him the first musician to receive this prestigious award. His legacy continues to inspire generations of artists across different genres, solidifying his status as one of the most influential figures in music history.
James Cameron, renowned for his impressive contributions to the world of film, was born in Kapuskasing, Ontario, Canada, on August 16, 1954. He developed an early interest in storytelling and, after moving to California in his late teens, pursued a career in filmmaking. Drawing inspiration from his fascination with science fiction and technology, he embarked on what would become a remarkable journey in Hollywood. Cameron's career has been punctuated by a series of groundbreaking works that have etched his name into the annals of cinematic history. His first major success came in 1984 with the release of The Terminator, a film that displayed his aptitude for fusing compelling narratives with innovative visual effects. His genius was further illustrated in movies like Aliens (1986) and Titanic (1997), the latter of which became a cultural phenomenon and won 11 Academy Awards, including Best Picture and Best Director for Cameron. Beyond his directorial pursuits, Cameron has also made significant strides in advancing film technology. Notably, for his film Avatar (2009), he developed new methods in 3D cinematography that revolutionized the industry and set a new standard for visual effects in film. Equally noteworthy are his efforts in deep-sea exploration filmmaking, which saw him delve into uncharted territories of the ocean, encapsulating his insatiable curiosity and adventurous spirit. Over his illustrious career, James Cameron has proven himself not just as a masterful storyteller but also as a daring innovator, continually pushing the boundaries of what is possible in filmmaking.
Charlie Chaplin, born Charles Spencer Chaplin in London, England on April 16, 1889, emerged from a challenging upbringing to become an icon of the film industry. Both his parents were entertainers in the music hall tradition, but his father was absent for most of his life, and his mother battled mental health issues, leading to a childhood marked by poverty and hardship. Despite these circumstances, Chaplin's talent for performance revealed itself at an early age. He began performing professionally as a member of a juvenile group called The Eight Lancashire Lads and his career took off from there, ultimately leading him to the United States. In America, Chaplin found success in the burgeoning film industry. He signed a contract with Keystone Studios in 1913 and created his iconic character, "The Tramp," a year later. This character‚ a man of humble means and scruffy appearance with a heart of gold‚ resonated deeply with audiences around the world. During his time at Keystone, and later at Essanay, Mutual, and First National studios, he wrote, directed, and starred in dozens of films that showcased his gift for physical comedy and social satire. Chaplin's influence extended beyond his on-screen performances. In 1919, he co-founded United Artists studio with Mary Pickford, Douglas Fairbanks, and D.W. Griffith, allowing him greater control over his films. He remained politically and socially active throughout his life, using his platform to comment on the issues of the day. His film The Great Dictator (1940) was a bold satirical condemnation of Hitler and fascism. However, his political views also led to controversy and criticism, particularly during the era of McCarthyism. Despite the challenges, Charlie Chaplin's enduring legacy in the world of cinema is undeniable, leaving an undeniable mark on the art of filmmaking and comedy.
George Lucas, a pioneering figure in the world of cinema, is best known as the creator of two groundbreaking film franchises: Star Wars and Indiana Jones. Born on May 14, 1944, in Modesto, California, Lucas developed a passion for cars and motor racing which would eventually lead him to attend the University of Southern California's School of Cinematic Arts. There, he made several short films, including an award-winning student film titled THX-1138, which later became his debut feature film. Lucas rose to prominence with the release of American Graffiti in 1973, a nostalgic view of teenage life in the 1960s that was both critically acclaimed and commercially successful. However, it was the release of Star Wars in 1977 that catapulted Lucas to legendary status. The space opera became a worldwide pop-culture phenomenon and established Lucasfilm as a leading force in the film industry. With its sequel, The Empire Strikes Back, Lucas further demonstrated his storytelling prowess and innovative use of special effects. Beyond his directorial successes, Lucas is renowned for his significant contributions to the field of film technology. He founded Industrial Light & Magic (ILM) in 1975, a company that has since set new standards for creating visual effects. Additionally, Lucas played a key role in the development of the THX sound system, named after his first film, which aimed to maintain the highest quality sound reproduction in movie theaters. Despite his retirement from Lucasfilm in 2012, George Lucas's influence continues to resonate within the world of cinema.
Kevin Smith, born August 2, 1970, in Red Bank, New Jersey, is an acclaimed American filmmaker, actor, comedian, public speaker, comic book writer, author, and podcaster. He shot to fame with his low-budget independent film Clerks, which he directed, co-produced, and acted in. The film was highly successful and garnered immense critical acclaim, marking Smith's entry into the world of mainstream cinema. Clerks showcased his knack for crafting relatable characters coupled with humor rooted in pop culture references. His other noteworthy films include Mallrats, Chasing Amy, Dogma, and Jay and Silent Bob Strike Back, all of which feature his trademark style of storytelling. Smith's unique comedic lens extends beyond film as well. His popular podcast, 'SModcast', where he shares his views on various subjects, has a wide listener base and brought him recognition as a skilled podcaster. As a comic book writer, he has contributed to titles such as Daredevil and Green Arrow for Marvel and DC Comics respectively. His flair for blending humor and commentary has made him a favorite amongst readers.Smith's talent for public speaking has led him to tour colleges nationwide, where he performs Q&A sessions that are often packed with anecdotes and insights into his life and career. In addition to his diverse professional pursuits, Smith is also known for his charity work. He is actively involved in several philanthropic endeavors, particularly those supporting LGBT+ rights and animal welfare. Regardless of the medium he works in, Kevin Smith's irreverent humor, authentic storytelling, and affable personality continue to endear him to audiences worldwide. His creativity and versatility across different platforms demonstrate his stature as one of the most influential figures in contemporary entertainment.
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https://www.thespace.org/commission/meld-with-us-at-the-royal-albert-hall/
|
en
|
Meld with us at the Royal Albert Hall
|
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2016-06-21T14:53:17+00:00
|
Be at the heart of the experience.
|
en
|
The Space
|
https://www.thespace.org/commission/meld-with-us-at-the-royal-albert-hall/
|
Over the years I have composed some pieces where the building in which the performance takes place, assumes a role equal to that of the musicians. These buildings have been for example, abandoned factories just as much as concert venues.
Meld is the second piece I have written for the Albert Hall. All the musicians play throughout the whole hall. They also play while moving: some of them do carefully choreographed dances. Everything is very precisely organised and notated to the millisecond. This is not a random happening for the sake of it.
During its 40 odd minutes, the piece proceeds through sections that build only on the experience of the previous ones. This takes a certain time: those interested should watch the film to the end.
The inspiration for this approach comes from a deep fascination with film and montage. That is why I was so pleased The Space commissioned the film. Now the film is the ‘product’ – my work was just the acoustic version in the concert hall.
I was lucky enough to collaborate with the accomplished editor Isabelle Dedieu. She is the co-author. It was very significant how this film was put together: being abstract, music is less objective and tangible for an editor to work with. Through a process of painstaking selection and refinement, good editing continually keeps up the interest, while balancing and navigating the options available.
Isabelle Dedieu made it intelligible for a non-musical audience, in such a way that the viewer is able to be in all parts of the hall at once. She supported the narrative context of the composition without interfering with it, always juggling the different groups of peripatetic musicians that featured at any one moment. This is why the film becomes a new ‘art form’, not possible in the live musical performance alone. Alchemy. Plus we now enjoy the formal beauty resulting from the counterpoint between the rhythm of musical elements and the ‘silent’ rhythm of balanced changes of shot.
There were no chances to retake, and not every musician was filmed. Filming had to be always secondary to the requirements of performance. Although some of the musicians wear portable cameras, only film from normal cameras could be used.
Watching the extraordinary musicians of the Aurora Orchestra who give and show more than just playing their instrument, offers with cinema an added excitement and electricity. They present to camera as much as they are asked by the composer to do so to the audience.
|
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|
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0
| 62
|
https://www.etsmtl.ca/en/labs/gram/publications
|
en
|
Publications
|
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Plain-language articles GRAM makes regular contributions to Substance, a scientific news website that spotlights activities within the ÉTS community. Autres contributions Occlusion effect (en anglais) Double protection Scientific output The entire scientific output of GRAM, including scientific publications, patents, conference articles and proceedings, books, etc.: 2024 Florence Renaud, Ingrid Verduyckt, Tiffany Chang, Adriana Lacerda, Cecilia Borges, Annelies Bockstael, Rachel E....
|
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|
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|
ÉTS Montréal
|
https://www.etsmtl.ca/laboratoires/gram/publications
|
Rachel E. Bouserhal, Antoine Bernier, Jérémie Voix. 2019. « An in-ear speech database in varying conditions of the audio-phonation loop ». Journal of the Acoustical Society of America. vol. 145 , nº 2. p. 1069-1077.
Rachel E. Bouserhal, Jérémie Voix. 2019. « Spear: A speech database for the advancement of intra-aural wearable technology ». The 13th International Conference on Advances in Quantitative Laryngology, Voice and Speech Research (Montréal, QC, Canada, June 02-04, 2019)
Rachel Bouserhal, Milton Sarria-Paja, Patrick Cardinal, Jérémie Voix. 2019. « Classification of nonverbal human produced audio events: a pilot study ». Communication lors de la conférence : National Hearing Conservation Association Annual Conference 2019 ( Grapevine, TX, USA, Feb. 07-09, 2019 )
Allyson Goff, Elliot Drees, Antoine Bernier, Rachel Bouserhal, Jérémie Voix, Isabelle Cossette. 2019. « The influence of the isolation and occlusion effects on the classical singer's voice ». Affiche présentée lors de la conférence : CIRMMT-OICRM-BRAMS Student Symposium (COBS) ( Montreal, QC, Canada, May 9, 2019 )
Ingrid Verduyckt, Rachel Bouserhal, Adriana Lacerda, Tiffany Chang, Nibal Chahine, Cécilia Borges, Annelies Bockstael. 2019. « The potential of restorative spaces on noise-related wellbeing in schools ». Proceedings of the 23rd International Congress on Acoustics (Aachen, Germany, Sept. 09-13, 2019) p. 4115-4121. Deutsche Gesellschaft für Akustik e.V. (DEGA).
Jérémie Voix, Kévin Carillo, Jacob Bouchard-Roy, Hugo Saint-Gaudens, Gabrielle Crétot-Richert, Rachel Bouserhal. 2019. « Classe techno "Bruit": Acoustic workshop for high school students at Université du Québec (ÉTS) ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Ahmed Abbad, Noureddine Atalla, Morvan Ouisse, Olivier Doutres. 2019. « Numerical and experimental investigations on the acoustic performances of membraned Helmholtz resonators embedded in a porous matrix ». Journal of Sound and Vibration. vol. 459
Simon Benacchio, Olivier Doutres, Arthur Varoquaux, Éric Wagnac, Arnaud Le Troter, Virginie Callot, Franck Sgard. 2019. « Use of magnetic resonance image registration to estimate displacement in the human earcanal due to the insertion of in-ear devices ». The Journal of the Acoustical Society of America. vol. 146 , nº 4. p. 2452-2465.
Simon Benacchio, Bastien Poissenot-Arrigoni, Laurence Martin, Hugo Saint Gaudens, Franck Sgard, Olivier Doutres. 2019. « An artificial ear to assess objective indicators related to the acoustical comfort dimension of earplugs: comparison with attenuation and occlusion effect measured on subject ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Kevin Carillo, Olivier Doutres, Franck Sgard. 2019. « Fundamental mechanisms of the objective occlusion effect revisited using a finite element model of the outer ear ». Communication lors de la conférence : 2019 National Hearing Conservation Association Annual Conference (NHCA) ( Grapevine, TX, USA, Feb. 06-09, 2019 )
Kévin Carillo, Olivier Doutres, Franck Sgard. 2019. « Numerical investigation of the fundamental low frequency mechanisms of the objective occlusion effect: focus on the earcanal wall vibration ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Olivier Doutres. 2019. « Occupational noise source localization and hearing protection devices ». Communication lors de la conférence : Symposium on the material acoustics, technologies and industrialization (MATI) ( Nanjing, China, Oct. 24-25 2019 )
Olivier Doutres, Franck Sgard, Jonathan Terroir, Nellie Perrin, Caroline Jolly, Chantal Gauvin, Alessia Negrini. 2019. « A critical review of the literature on comfort of hearing protection devices: definition of comfort and identification of its main attributes for earplug types ». International Journal of Audiology. vol. 58 , nº 12. 10 p. p. 824-833.
Yu Luan, Franck Sgard, Simon Benacchio, Hugues Nélisse, Olivier Doutres. 2019. « A coupled finite element/transfer matrix method to simulate the insertion loss of earplugs in an acoustic test fixture ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Yu Luan, Franck Sgard, Simon Benacchio, Hugues Nélisse, Olivier Doutres. 2019. « A transfer matrix model of the IEC 60318-4 ear simulator: Application to the simulation of earplug insertion loss ». Acta Acustica united with Acustica. vol. 105 , nº 6. p. 1258-1268.
Laurence Martin, Alessia Negrini, Marc-André Gaudreau, Franck Sgard, Djamal Berbiche, Olivier Doutres. 2019. « Earplug personal attenuation rating (PAR) in noise-exposed workers: evolution over a five weeks follow-up ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Thomas Padois, Olivier Doutres, Hugues Nelisse, Franck Sgard. 2019. « Acoustic imaging using different weighting functions with the generalized cross correlation based on the generalized mean ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Thomas Padois, Olivier Doutres, Franck Sgard. 2019. « On the use of modified phase transform weighting functions for acoustic imaging with the generalized cross correlation ». Journal of the Acoustical Society of America. vol. 145 , nº 3. p. 1546-1555.
Thomas Padois, Olivier Doutres, Franck Sgard, Alain Berry. 2019. « Développement d’une antenne microphonique intégrant un système optique pour identifier la position des sources sonoresles plus bruyantes en milieu industriel ». «Rapports scientifiques» Institut de Recherche Robert-Sauvé en Santé et en Sécurité du Travail (IRSST). 70 p.
Thomas Padois, Olivier Doutres, Franck Sgard, Alain Berry. 2019. « Optimization of a spherical microphone array geometry for localizing acoustic sources using the generalized cross-correlation technique ». Mechanical Systems and Signal Processing. vol. 132 p. 546-559.
Thomas Padois, Simon Prenant, Valentin Rolland, Raef Chérif, Olivier Robin, Noureddine Atalla, Manuel Etchessahar, Richard Klop, Sebastien Laurier Chapleau, Thomas Dupont, Olivier Doutres. 2019. « Comparison of the reception plate method and the inverse force method for assessing the power of a dummy vibratory source ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Maxime Perna, Thomas Padois, Romain Dumoulin, Olivier Doutres, Thomas Dupont. 2019. « Noise from outdoor music activities: selected examples of regulations and recommendations ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Bastien Poissenot-Arrigoni, Simon Benacchio, Franck Sgard, Olivier Doutres. 2019. « An artificial ear to assess objective indicators related to the acoustical comfort dimension of earplugs: validation of a vibro acoustic model for insertion loss and occlusion effect assessment ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Simon Prenant, Valentin Rolland, Thomas Padois, Raef Chérif, Manuel Etchessahar, Richard Klop, Sebastien Laurier Chapleau, Thomas Dupont, Olivier Doutres. 2019. « Using transfer path analysis methods for assessing the velocity response on a plate generated by a dummy vibratory source ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Olivier Robin, Alain Berry, Celse Kafui Amédin, Noureddine Atalla, Olivier Doutres, Franck Sgard. 2019. « Laboratory and in situ sound absorption measurement under a synthetized diffuse acoustic field ». Building Acoustics. vol. 26 , nº 4. p. 223-242.
Hugo Saint-Gaudens, Hugues Nélisse, Franck Sgard, Frédéric Laville, Olivier Doutres. 2019. « Comparison of different excitations to assess the objective occlusion effect measured on human subjects ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Hugo Saint-Gaudens, Hugues Nélisse, Franck Sgard, Frédéric Laville, Olivier Doutres. 2019. « Investigating the effect of excitation type and sound attenuation on the occlusion effect induced by hearing protection devices ». Affiche présentée lors de la conférence : 2019 NHCA annual conference ( Grapevine, TX, USA, Feb. 06-09, 2019 )
Franck Sgard, Kévin Carillo, Olivier Doutres. 2019. « A 2D axisymmetric finite element model to assess the contribution of in-ear hearing protection devices to the objective occlusion effect ». InterNoise 2019 : Noise Control for a Better Environment (Madrid, Spain, June 16-19, 2019) p. 2494-2505. Institute of Noise Control Engineering.
Daniel Brooke, Olga Umnova, Philippe Leclaire, Thomas Dupont. 2019. « Acoustic metamaterial design for low frequency sound absorption in linear and nonlinear regimes ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Tenon Charly Kone, Raymond Panneton, Thomas Dupont. 2019. « Thermo-visco-acoustic metamaterials to damp acoustic modes in a complex geometry ». 26th International Congress on Sound and Vibration (ICSV) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Z. Nili Ahmadabadi, Raynald Guilbault, Frédéric Laville. 2019. « Nonlinear dynamic modeling of pneumatic nailing devices ». Mathematical and Computer Modelling of Dynamical Systems. vol. 25 , nº 2. p. 195-223.
Pierre Marcotte, Marc-André Gaudreau, Frédéric Laville, Thomas Padois. 2019. « Characterization of nail guns impact vibration ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Thomas Padois, Marc-André Gaudreau, Pierre Marcotte, Frédéric Laville. 2019. « Identification of noise sources using a time domain beamforming on pneumatic, gas and electric nail guns ». Noise Control Engineering Journal. vol. 67 , nº 1. p. 11-22.
Antoine Bernier, Jérémie Voix. 2019-03-26. « Active hearing protection device and method therefore ».
Fabien Bonnet, Hugues Nelisse, Marcos A. C. Nogarolli, Jérémie Voix. 2019. « An in-ear noise dosimetry method that excludes the sounds generated by individuals wearing earplugs: preliminary field study ». 26th International Congress on Sound and Vibration (ICSV) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Fabien Bonnet, Hugues Nélisse, Marcos A. C. Nogarolli, Jérémie Voix. 2019. « In-ear noise dosimetry under earplug: Method to exclude wearer-induced disturbances ». International Journal of Industrial Ergonomics. vol. 74 p. 139-148.
Fabien Bonnet, Hugues Nélisse, Marcos A.C. Nogarolli, Jérémie Voix. 2019. « An in ear noise dosimetry method that excludes the sounds generated by individuals wearing earplugs: Preliminary field study ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Nick Laperle, Jérémie Voix. 2019. « CHHA talks: our stores, our journeys, our future ». Communication lors de la conférence : 2019 CHHA Educational Conference and Trade Show ( Montréal, QC, Canada, May 30 - June 02, 2019 )
Vincent Nadon, Jeremie Voix. 2019. « Effects of noise exposure on hearing health evaluated through short interval otoacoustic emission monitoring: preliminary results ». 176th Meeting of Acoustical Society of America (Victoria, BC, Canada, Nov. 5-9, 2018) USA : AIP Publishing.
Vincent Nadon, Jérémie Voix. 2019-01-15. « Les émissions otoacoustiques : une mesure de la santé auditive ». Substance ÉTS. vol.
Vincent Nadon, Jérémie Voix. 2019-01-15. « Otoacoustic Emissions: an Objective Measure of Hearing Health ». Substance ÉTS. vol.
Hugues Nélisse, Fabien Bonnet, Marcos Nogarolli, Jérémie Voix. 2019. « A simple low-invasive method to assess sound pressure levels at the eardrum using dual-microphone measurements in the open or occluded ear ». INTER-NOISE 2019 MADRID : 48th International Congress and Exhibition on Noise Control Engineering (Madrid, Spain, June 16-19, 2019) p. 3556-3567. Institute of Noise Control Engineering.
Marcos A.C. Nogarolli, Fabien Bonnet, Hugues Nélisse, Jérémie Voix. 2019. « Design and laboratory validation of an in-ear noise dosimetry device ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV26) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Thibaut Peretti, Jérémie Voix. 2019. « Wireless communication stack for the connected worker 4.0 ». Affiche présentée lors de la conférence : École d’Été Industrie 4.0 = Summer School Industry 4.0 ( Montréal, QC, Canada, 26-28 août 2019 )
Valentin Pintat, Marie-Christine Larivière, Alexandre Lehmann, Jérémie Voix. 2019. « Preventing hearing loss in the young generation: meet the smart wearable sonoshirt ». Affiche présentée lors de la conférence : World Hearing Day ( Montreal, QC, Canada, Mar. 22, 2019 )
Francesco Tordini, Romain Dumoulin, Isabelle Cossette, Jérémie Voix. 2019. « The hearing-care platform : A set of tools for self-assessment of noise exposure ». Affiche présentée lors de la conférence : World Hearing Day 2019: Check your hearing! ( Montréal, QC, Canada, Mar. 22, 2019 )
Olivier Valentin, Mikaël Ducharme, Gabrielle Crétot-Richert, Hami Monsarrat-Chanon, Guilhem Viallet, Aidin Delnavaz, Jérémie Voix. 2019. « Validation and benchmarking of a wearable EEG acquisition platform for real-world applications ». IEEE Transactions on Biomedical Circuits and Systems. vol. 13 , nº 1. p. 103-111.
Olivier Valentin, Saumya Vij, Jeremie Voix. 2019. « Development of a real-time EOG-based acoustical beamformer algorithm for binaural hearing devices ». Canadian Acoustics - Acoustique Canadienne. vol. 47 , nº 2. p. 41-48.
G. Viallet, J. Voix. 2019. « An earcanal-sizing tool at the tip of your fingers ». Proceedings of the 26th International Congress on Sound and Vibration (ICSV) (Montreal, QC, Canada, July 07-11, 2019) Canadian Acoustical Association.
Jérémie Voix. 2019. « Acoustic workshop for high school students at Université du Québec (ÉTS) ». Communication lors de la conférence : Workshop on education in acoustics (CIRMMT) ( Montréal, QC, Canada, Mar. 21, 2019 )
Jérémie Voix. 2019. « Formation continue - Équipements de monitoring et protection auditive pour musiciens - École d'orthophonie et d'audiologie ». Communication lors de la conférence : Université de Montréal - Formation continue ( Montréal, QC, Canada, 11 déc. 2019 )
Jeremie Voix. 2019. « Hearing protectors fit-testing using smartphones: Preliminary data ». Canadian Acoustics - Acoustique Canadienne. vol. 47 , nº 3. p. 22-23.
Jérémie Voix. 2019. « ICA : early career opportunities in hearing and spoken language ». Communication lors de la conférence : 23rd International Congress on Acoustics (ICA) ( Aachen, Germany, Sept. 09-13, 2019 )
Jérémie Voix. 2019. « Révolution silencieuse : Ici même au Québec ». Travail et Santé. vol. 35 , nº 1. p. 36.
Jérémie Voix. 2019. « The connected protected worker at the age of IoT ». Communication lors de la conférence : École d’Été Industrie 4.0 = Summer School Industry 4.0 ( Montréal, QC, Canada, Aug. 26-28, 2019 )
Jérémie Voix. 2019. « The ear at the age of IoT ». Communication lors de la conférence : 23rd International Congress on Acoustics (ICA) ( Aachen, Germany, Sept. 03-19, 2019 )
Jérémie Voix. 2019. « The ear at the age of IoT ». Communication lors de la conférence : Japanese French Week on Mechatronics (JFWM 2019) ( Annecy, France, Sept. 12-16, 2019 )
Jérémie Voix. 2019. « The ear in the age of IoT ». Proceedings of the 23rd International Congress on Acoustics (Aachen, Germany, Sept. 09-13, 2019)
Jérémie Voix. 2019. « Votre président vieux de 2 ans vous parle... ». Canadian Acoustics = Acoustique canadienne. vol. 47 , nº 4. p. 3-4.
Jérémie Voix. 2019. « Worker's hearing protection at the age of IoT ». Communication lors de la conférence : École d’Été Industrie 4.0 = Summer School Industry 4.0 ( Montréal, QC, Canada, 26-28 août 2019 )
Jérémie Voix, Franck Sgard. 2019. « ICSV26: Montréal Bridges ». International Journal of Acoustics and Vibration. vol. 24 , nº 2. p. 198.
Jérémie Voix, Franck Sgard, Nathalie Dabin-Voix. 2019. « The 26th international congress on sound and vibration: Behind the scene = Le 26eme International Congress on Sound and Vibration: Derriere la scene ». Canadian Acoustics = Acoustique Canadienne. vol. 47 , nº 4. p. 35-46.
Jérémie Voix, Guilhem Viallet. 2019. « Earcanal sizing: what does your little finger tell you? ». Affiche présentée lors de la conférence : National Hearing Conservation Association Annual Conference 2019 ( Grapevine, TX, USA, Feb. 07-09, 2019 )
Rachel E. Bouserhal, Philippe Chabot, Milton Sarria-Paja, Patrick Cardinal, Jérémie Voix. 2018. « Classification of nonverbal human produced audio events: A pilot study ». 19th Annual Conference of the International Speech Communication (INTERSPEECH 2018) (Hyderabad, India, Sept. 02-06, 2018) p. 1512-1516. International Speech Communication Association.
Rachel Bouserhal, Milton Sarria-Paja, Patrick Cardinal, Jérémie Voix. 2018. « Classification of nonverbal human produced audio events: a pilot study ». Communication lors de la conférence : Workshop on machine hearing and learning ( Montreal, QC, Canada, Sept. 21, 2018 )
S. Benacchio, O. Doutres, A. Le Troter, A. Varoquaux, E. Wagnac, V. Callot, F. Sgard. 2018. « Estimation of the ear canal displacement field due to in-ear device insertion using a registration method on a human-like artificial ear ». Hearing Research. vol. 365 p. 16-27.
Simon Benacchio, Olivier Doutres. 2018. « Application of a registration method on magnetic resonance images to evaluate the displacement field of a human subject ear canal due to various earplug insertions ». Communication lors de la conférence : 175th Meeting of the Acoustical Society of America ( Minneapolis, MN, USA, May 7-11, 2018 )
Paolo Bonfiglio, Francesco Pompoli, Kirill V. Horoshenkov, Mahmud Iskandar B. Seth A. Rahim, Luc Jaouen, Julia Rodenas, François-Xavier Bécot, Emmanuel Gourdon, Dirk Jaeger, Volker Kursch, Maurizio Tarello, Nicolaas Bernardus Roozen, Christ Glorieux, Fabrizio Ferrian, Pierre Leroy, Francesco Briatico Vangosa, Nicolas Dauchez, Félix Foucart, Lei Lei, Kevin Carillo, Olivier Doutres, Franck Sgard, Raymond Panneton, Kévin Verdiere, Claudio Bertolini, Rolf Bär, Jean-Philippe Groby, Alan Geslain, Nicolas Poulain, Lucie Rouleau, Alain Guinault, Hamid Ahmadi, Charlie Forge. 2018. « How reproducible are methods to measure the dynamic viscoelastic properties of poroelastic media? ». Journal of Sound and Vibration. vol. 428 p. 26-43.
K. Carillo, O. Doutres, F. Sgard. 2018. « Experimental validation of an impedance tube measurement method for assessing earplugs insertion loss ». Communication lors de la conférence : NHCA 2018 : National Hearing Conservation Association Annual Conference ( Orlando, FL, USA, Feb. 15-17, 2018 )
K. Carillo, F. Sgard, O. Doutres. 2018. « Numerical study of the broadband vibro-acoustic response of an earmuff ». Applied Acoustics. vol. 134 p. 25-33.
Olivier Doutres, Franck C. Sgard, Simon Benacchio, Jonathan Terroir, Nellie Perrin, Nicolas Trompette, Alessia Negrini, Marc-André Gaudreau, Caroline Jolly, Alain Berry, Phillippe-Aubert Gauthier, Thomas Padois, Chantal Gauvin. 2018. « Earplug comfort: From subjective assessment on the field to objective measurement and simulation using augmented artificial heads ». Communication lors de la conférence : 175th Meeting of the Acoustical Society of America ( Minneapolis, MN, USA, May 7-11, 2018 )
Olivier Robin, Celse Kafui Amédin, Noureddine Atalla, Olivier Doutres, Franck Sgard. 2018. « Méthodologie innovante pour la caractérisation des matériaux acoustiques en laboratoire et étude de son applicabilité sur le terrain ». Montréal. «Rapports Scientifiques» IRSST. 119 p.
Franck Sgard, Simon Benacchio, Yu Luan, Huiyang Xu, Kevin Carillo, Olivier Doutres, Hugues Nelisse, Eric Wagnac, Jacques De Guise. 2018. « Vibroacoustic modeling of an in vivo human head wearing a hearing protection device using the finite element method ». Euronoise 2018 : Conference Proceedings : the 11th European Congress and Exposition on Noise Control Engineering (Heraklion, Crete - Greece, May 27-31, 2018) p. 899-906. EAA – HELINA.
Daniel Brooke, O. Umnova, A. S. Elliott, P. Leclaire, T. Dupont. 2018. « Interaction of high amplitude waves with acoustic metamaterials ». ACOUSTICS 2018 - ACWSTEG 2018 (Cardiff, UK, Apr. 23-24, 2018) p. 159-166. Institute of Acoustics.
T. Dupont, P. Leclaire, D. Brooke, O. Umnova, R. Panneton. 2018. « Étude du comportement acoustique de matériaux structurés perforés sous forts niveaux d’excitation acoustique ». Communication lors de la conférence : 14ème Congrès Français d'Acoustique ( Le Havre, France, 23-27 avril 2018 )
T. Dupont, P. Leclaire, O. Umnova, R. Panneton. 2018. « Perforated materials with periodically distributed annular cavities for low frequency acoustic absorption ». 47th International Congress and Exposition on Noise Control Engineering: Impact of Noise Control Engineering (Chicago, IL, USA, Aug. 26-29, 2018) Institute of Noise Control Engineering.
Thomas Dupont, Philippe Leclaire, Raymond Panneton, Olga Umnova. 2018. « A microstructure material design for low frequency sound absorption ». Applied Acoustics. vol. 136 p. 86-93.
Antoine Bernier, Jérémie Voix. 2018. « Advancements on an active hearing protection device for musicians ». Affiche présentée lors de la conférence : National Hearing Conservation Association ( Orlando, FL, USA, Feb. 15-17, 2018 )
Antoine Bernier, Jérémie Voix. 2018. « The ear beyond hearing: From digital earplugs to in-ear brain computer interfaces ». Communication lors de la conférence : 2018 National Hearing Conservation Association Conference ( Orlando, FL, USA, Feb. 15-17, 2018 )
Fabien Bonnet, Hugues Nélisse, Jeremie Voix. 2018. « Acoustical corrections to be used for improved in-ear noise dosimetry measurements ». The Journal of the Acoustical Society of America. vol. 143 , nº 3. p. 1910.
Fabien Bonnet, Hugues Nélisse, Jérémie Voix. 2018. « Effects of ear canal occlusion on hearing sensitivity: A loudness experiment ». Journal of the Acoustical Society of America. vol. 143 , nº 6. p. 3574-3582.
Fabien Bonnet, Hugues Nélisse, Jérémie Voix. 2018. « Loudness in the occluded ear canal: Are we again missing 6 dB? ». Communication lors de la conférence : National Hearing Conservation Association Annual Conference 2018 ( Orlando, FL, USA, Feb. 15-17, 2018 )
Johan Carioli, Aidin Delnavaz, Ricardo J. Zednik, Jérémie Voix. 2018. « Piezoelectric earcanal bending sensor ». IEEE Sensors Journal. vol. 18 , nº 5. p. 2060-2067.
Gabrielle Crétot-Richert, Guilhem Viallet, Olivier Valentin, Aidin Delnavaz, Jérémie Voix. 2018. « EARtrode : a custom-fitted in and around the ear platform for BCI applications ». Communication lors de la conférence : Lightning Talk-NeuroTechMTL Entrepreneurship Series: Applied Neuro Research ( Montreal, QC, Canada, Oct. 18, 2018 )
Romain Dumoulin, Francesco Tordini, Jeremie Voix, Isabelle Cossette. 2018. « A hearing-care toolkit for young musicians: Combined use of a noise dose measurement app and acoustical manekin ». The Journal of the Acoustical Society of America. vol. 144 , nº 3. p. 1929.
Tony Leroux, Chantal Laroche, Christian Giguère, Jérémie Voix. 2018. « Hearing Aid Use in Noisy Workplaces ». Montréal. «Studies and Research Projects» Institut de recherche Robert-Sauvé en santé et en sécurité du travail. 97 p.
Alexis Martin, Jérémie Voix. 2018. « In-ear audio wearable: Measurement of heart and breathing rates for health and safety monitoring ». IEEE Transactions on Biomedical Engineering. vol. 65 , nº 6. p. 1256-1263.
Vincent Nadon, Jérémie Voix. 2018. « Continuous monitoring of otoacoustic emissions : a tool to prevent hearing loss ». Communication lors de la conférence : National Hearing Conservation Association Annual Conference 2018 ( Orlando, FL, USA, Feb. 15-17, 2018 )
Guilhem Viallet, Jérémie Voix. 2018. « Numerical modeling of the ear canal: benefits and challenges ». Communication lors de la conférence : National Hearing Conservation Association Annual Conference 2018 ( Orlando, FL, USA, Feb. 15-17, 2018 )
Jérémie Voix. 2018. « Hearing protector fit-testing and the new ANSI S12.71 standard ». 25th International Congress on Sound and Vibration (ICSV) : Hiroshima Calling (Hiroshima, Japan, July 08-12, 2018) p. 2392-2399. International Institute of Acoustics and Vibration.
Jeremie Voix, Romain Dumoulin. 2018. « Inciting our children to turn their music down: The AYE concept ». The Journal of the Acoustical Society of America. vol. 144 , nº 3. p. 1929.
Jérémie Voix, Romain Dumoulin, Julia Levesque. 2018. « Inciting our children to turn their music down: the AYE concept proposal ». Canadian Acoustics - Acoustique Canadienne. vol. 46 , nº 4. p. 14-15.
Jérémie Voix, Jean-Nicolas Laperle, Jakub Mazur, Antoine Bernier. 2018-10-09. « Advanced communication earpiece device and method ».
Rachel E. Bouserhal, Annelies Bockstael, Ewen MacDonald, Tiago H. Falk, Jérémie Voix. 2017. « Modeling speech level as a function of background noise level and talker-to-listener distance for talkers wearing hearing protection devices ». Journal of Speech, Language, and Hearing Research. vol. 60 , nº 12. p. 3393-3403.
Rachel E. Bouserhal, Tiago H. Falk, Jérémie Voix. 2017. « In-ear microphone speech quality enhancement via adaptive filtering and artificial bandwidth extension ». Journal of the Acoustical Society of America. vol. 141 , nº 3. p. 1321-1331.
Rachel Bouserhal, Tiago H. Falk, Jérémie Voix. 2017. « Speech quality enhancement of in-ear microphone ». Affiche présentée lors de la conférence : Erasmus Mundus Auditory Cognitive Neuroscience Symposium 2017 ( Leipzig, Germany, Apr. 27-29, 2017 )
Simon Benacchio, Arthur Varoquaux, Arnaud Le Troter, Eric Wagnac, Olivier Doutres, David Bendahan, Virginie Callot, Franck C. Sgard. 2017. « MRI investigation of the ear canal deformation due to earplugs: A first step toward understanding wearing comfort ». Journal of the Acoustical Society of America. Communication lors de la conférence : 3rd Joint Meeting of the Acoustical Society of America and the European Acoustics Association ( Boston, MA, USA, June 25-29, 2017 ) p. 4024-4024.
P. Bonfiglio, F. Pompoli, K. V. Horoshenkov, M. I. B. S. A. Rahim, L. Jaouen, J. Rodenas, F.-X. Bécot, E. Gourdon, D. Jaeger, V. Kursh, M. Tarello, N. B. Roozen, C. Glorieux, F. Ferrian, P. Leroy, S. Berger, F. Briatico Vangosa, N. Dauchez, F. Foucart, L. Lei, K. Carillo, F. Sgard, O. Doutres, R. Panneton, K. Verdiere, C. Bertolini, R. Bär, J.-P. Groby, A. Geslain, N. Poulain, L. Rouleau, A. Guinault, H. Ahmadi, C. Forge. 2017. « Round Robin test on elastic properties of poro- and viscoelastic materials for vibro-acoustic applications ». Communication lors de la conférence : 5th Symposium on the Acoustics of Poro-Elastic Materials (SAPEM) ( Le Mans, France, Dec. 06-08, 2017 )
K. Carillo, O. Doutres, F. Sgard. 2017. « Simulation numérique de l'atténuation sonore d'un projecteur auditif de type casque anti-bruit ». Affiche présentée lors de la conférence : 39e Congrès de l'Association Québécoise pour l'Hygiène, la Santé et la Sécurité du Travail (AQHSST) ( Victoriaville, QC, Canada, 16-18 mai 2017 )
Kévin Carillo, Franck C. Sgard, Olivier Doutres. 2017. « Numerical prediction of the broadband sound attenuation of a commercial earmuff: Impact of the cushion modeling ». Journal of the Acoustical Society of America. Affiche présentée lors de la conférence : 3rd Joint Meeting of the Acoustical Society of America and the European Acoustics Association ( Boston, MA, USA, June 25-29, 2017 ) p. 3733-3733.
Olivier Doutres, Franck C. Sgard, Jonathan Terroir. 2017. « A review about hearing protection comfort and its evaluation ». Journal of the Acoustical Society of America. Communication lors de la conférence : 3rd Joint Meeting of the Acoustical Society of America and the European Acoustics Association ( Boston, MA, USA, June 25-29, 2017 ) p. 4025-4025.
Mohammad S. Gholami, Olivier Doutres, Noureddine Atalla. 2017. « Effect of microstructure closed-pore content on the mechanical properties of flexible polyurethane foam ». International Journal of Solids and Structures. vol. 112 9 p. p. 97-105.
Mohammad S. Gholami, Olivier Doutres, Noureddine Atalla. 2017. « Optimization of acoustic performance of highly porous polyurethane foam using micro-structural based model ». INTER-NOISE and NOISE-CON Congress and Conference Proceedings (NoiseCon17) (Grand Rapids, MI, USA, June 12-14, 2017) p. 1030-1037. Institute of Noise Control Engineering.
Thomas Padois, Olivier Doutres, Franck Sgard, Alain Berry. 2017. « Time domain localization technique with sparsity constraint for imaging acoustic sources ». Mechanical Systems and Signal Processing. vol. 94 p. 85-93.
Thomas Padois, Marc-André Gaudreau, Olivier Doutres, Franck C. Sgard, Alain Berry, Pierre Marcotte, Frédéric Laville. 2017. « Comparison of time domain noise source localization techniques: Application to impulsive noise of nail guns ». Journal of the Acoustical Society of America. Communication lors de la conférence : 3rd Joint Meeting of the Acoustical Society of America and the European Acoustics Association ( Boston, MA, USA, June 25-29, 2017 ) p. 3750-3750.
Thomas Padois, Franck Sgard, Olivier Doutres, Alain Berry. 2017. « Acoustic source localization using a polyhedral microphone array and an improved generalized cross-correlation technique ». Journal of Sound and Vibration. vol. 386 p. 82-99.
Olivier Robin, Celse Kafui Amedin, Alain Berry, Noureddine Atalla, Olivier Doutres, Franck Sgard. 2017. « Laboratory and in situ sound absorption measurement under a synthetized diffuse acoustic field: A case study on five materials ». Communication lors de la conférence : 5th Symposium on the Acoustics of Poro-Elastic Materials (SAPEM) ( Le Mans, France, Dec. 06-08, 2017 )
Franck Sgard, Hugues Nélisse, Simon Benacchio, Olivier Doutres, Thomas Padois, Marc-André Gaudreau. 2017. « A finite-element model to predict incidence dependent and diffuse field noise reduction based attenuation of earmuffs ». 24th International Congress on Sound and Vibration (ICSV) (London, United kingdom, July 23-27, 2017) International Institute of Acoustics and Vibration (IIAV).
Jonathan Terroir, Olivier Doutres, Franck Sgard. 2017. « Towards a "global" definition of the comfort of earplugs ». INTER-NOISE and NOISE-CON Congress and Conference (InterNoise17) (Hong Kong, China, Aug. 27-30, 2017) p. 108-114. Ingenta.
Thomas Dupont, Philippe Leclaire, Raymond Panneton, Olga Umnova. 2017. « Periodic resonance effect for the design of low frequency acoustic absorbers ». Communication lors de la conférence : 3rd Joint Meeting of the Acoustical Society of America and the European Acoustics Association (Acoustics ‘17) ( Boston, MA, USA, June 25-29, 2017 )
Philippe Leclaire, Alexandre Lardeau, Thomas Dupont, Alan Geslain, Raymond Panneton, Daniel Brooke, Olga Umnova. 2017. « Recent developments in the acoustical properties of perforated and porous materials containing dead-end pores ». 24th International Congress on Sound and Vibration (ICSV24) (London, United Kingdom, July 23-27, 2017) The International Institute of Acoustics and Vibration (IIAV).
Philippe Leclaire, Olga Umnova, Thomas Dupont, Raymond Panneton. 2017. « Low frequency and nonlinear acoustical behaviour of plates with perforations bearing periodically spaced flat resonators ». Communication lors de la conférence : 13th International Conference on Theoretical and Computational Acoustics ( Vienna, Asutria, July 30- Aug. 03, 2017 )
Zahra Nili Ahmadabadi, Frédéric Laville, Raynald Guilbault. 2017. « An empirical prediction law for quasi-static nail-particle board penetration resistance ». International Mechanical Engineering Congress and Exposition (IMECE 2017) (Tampa, FL, USA, Nov. 03-09, 2017) p. ASME. American Society of Mechanical Engineers (ASME).
Marc-André Gaudreau, Thomas Padois, Frédéric Laville, Pierre Marcotte. 2017. « Noise and vibration measurement of framing nailers: Development and validation of a mechanized test bench ». 46th International Congress and Exposition on Noise Control Engineering: Taming Noise and Moving Quiet (INTER-NOISE 2017) (Hong Kong, China, Aug. 27-30, 2017) p. 5382-5388. Institute of Noise Control Engineering.
Marc-André Gaudreau, Franck Sgard, Frédéric Laville, Hugues Nélisse. 2017. « A finite element model to improve noise reduction based attenuation measurement of earmuffs in a directional sound field ». Applied Acoustics. vol. 119 p. 66-77.
Marc Thomas, Frédéric Laville. 2017. « Simulation des vibrations mécaniques par Matlab, Simulink et Ansys ». 2e édition Québec ; Montréal : Presses de l'Université du Québec ; École de technologie supérieure. 700 p.
Olivier Valentin, Sasha M. John, Frédéric Laville. 2017. « Using auditory steady-state responses for measuring hearing protector attenuation ». Noise and Health. vol. 19 , nº 86. p. 1-9.
Olivier Valentin, Frédéric Laville. 2017. « Using auditory steady-state responses for measuring hearing protector occlusion effect ». Noise and Health. vol. 19 , nº 91. p. 278-285.
Fabien Bonnet, Jérémie Voix, Hugues Nelisse. 2017. « Loudness in the occluded ear canal: Are we again missing 6 dB? ». Canadian Acoustics = Acoustique Canadienne. vol. 45 , nº 3. p. 136-137.
Gabrielle Cretot-Richert, Stefan Debener, Marteen De Voos, Martin Bleichner, Jérémie Voix. 2017. « Closing the efferent auditory loop: audio and EEG-Recording wearable device for cognitive load measurements ». Affiche présentée lors de la conférence : 9th Speech in Noise Workshop (SPIN) ( Oldenburg, Germany, Jan. 5-6, 2017 )
Tony Leroux, Chantal Laroche, Christian Giguère, Jérémie Voix. 2017. « Utilisation des prothèses auditives en milieu de travail bruyant ». «Études et recherches» IRSST. 103 p.
Vincent Nadon, Annelies Bockstael, Dick Botteldooren, Jean-Marc Lina, Jérémie Voix. 2017. « Design considerations for robust noise rejection in otoacoustic emissions measured in-field using adaptive filtering ». Acta Acustica United with Acustica. vol. 103 , nº 2. 12 p. p. 299-310.
Vincent Nadon, Annelies Bockstael, Dick Botteldooren, Jérémie Voix. 2017. « Field monitoring of otoacoustic emissions during noise exposure: Pilot study in controlled environment ». American Journal of Audiology. vol. 26 , nº 3. p. 352-368.
Vincent Nadon, Jérémie Voix. 2017. « Continuous hearing health monitoring using otoacoustic emissions ». Affiche présentée lors de la conférence : Symposium EREST - Équipe de recherche en sécurité du travail ( Montreal, QC, Canada, 2017 )
Vincent Nadon, Jérémie Voix. 2017. « Real-time estimation of the passive attenuation for otoacoustic emission measurement probes ». The Journal of the Acoustical Society of America. vol. 141 , nº 5. p. 3732.
Vincent Nadon, Jérémie Voix. 2017. « Real-time estimation of the passive attenuation for otoacoustic emission measurement probes ». Affiche présentée lors de la conférence : 3rd Joint Meeting of the Acoustical Society of America and the European Acoustics Association (Acoustics '17 Boston) ( Boston, MA, USA, June 25-29, 2017 )
Olivier Valentin, Guilhem Viallet, Jérémie Voix. 2017. « Eartrodes: Towards a wireless in-ear custom-fitted brain computer interface ». Canadian Acoustics = Acoustique Canadienne. vol. 45 , nº 3. p. 142-143.
Guilhem Viallet, Jérémie Voix. 2017. « Soundproof enclosure for audio applications : Acoustic performance of various 3D printed materials ». FormNext 2017 (Francfort, Allemagne, Nov. 14-17, 2017)
Jérémie Voix. 2017. « Hearing protector fit-testing: Spectrum uncertainty budgets ». Canadian Acoustics = Acoustique Canadienne. vol. 45 , nº 3. p. 154-155.
Jérémie Voix. 2017. « The ear beyond hearing : from smart earplug to in-ear brain computer interfaces ». Communication lors de la conférence : 24th International Congress on Sound and Vibration (ICSV24) ( London, England, July 23-27, 2017 )
Jérémie Voix. 2017. « The ear beyond hearing: From smart earplug to in-ear brain computer interfaces ». 24th International Congress on Sound and Vibration (ICSV 24) (London, England, July 23-27, 2017)
Nicolas Dauchez, Olivier Doutres, Jean Michel Génevaux, Guy Lemarquand. 2008. « A new setup for measuring the mechanical properties of porous materials ». Acoustics '08 Paris : June 29 - July 4, 2008 ; abstracts (Paris, France, June 29-July 4, 2008) Société Française d'Acoustique.
Nicolas Dauchez, Olivier Doutres, Jean-Michel Génevaux, Guy Lemarquand. 2008. « A new set-up to measure the viscoelastic properties of porous media using a specific electrodynamic transducer ». SAPEM 2008 : Symposium on the Acoustics of Poro-Elastic Materials ; from concept to application and beyond ; 17 - 18 - 19 December 2008, Univ. of Brandford, UK (Bradford, UK, Dec. 17-19, 2008) University of Bradford.
O. Doutres, N. Dauchez, J. M. Génevaux, O. Dazel. 2008. « Validity of the one-dimensional limp model for porous materials ». Affiche présentée lors de la conférence : 12th International Student Conference on Electrical Engineering ( Prague, Czech Republic, May 15, 2008 )
O. Doutres, N. Dauchez, J. M. Génevaux, O. Dazel. 2008. « Validity of the one-dimensional limp model for porous media ». Acta Polytechnica. vol. 48 , nº 3. p. 61-65.
Olivier Doutres, Nicolas Dauchez, Jean Michel Génevaux, Olivier Dazel. 2008. « Investigation of the limp model validity for porous materials ». Acoustics '08 Paris : June 29 - July 4, 2008 ; abstracts (Paris, France, June 29-July 4, 2008) Société Française d'Acoustique.
Olivier Doutres, Nicolas Dauchez, Jean-Michel Genevaux, Guy Lemarquand. 2008. « On the use of a loudspeaker for measuring the viscoelastic properties of sound absorbing materials ». Journal of the Acoustical Society of America. vol. 124 , nº 6. p. EL335-EL340.
Rostand Tayong, Thomas Dupont, Marie-Annick Galland, Philippe Leclaire. 2008. « High sound pressure models for microperforated panels backed by an air cavity ». Communication lors de la conférence : Congrès Français d'Acoustique ( Paris, France, 29 juin - 04 juillet 2008 )
M.-A. Gaudreau, Frédéric Laville, Jérémie Voix, Hugues Nélisse. 2008. « État de l'art et perspectives sur la mesure des performances effectives des protecteurs auditifs en milieu de travail ». Revue Internationale sur l'Ingénierie des Risques Industriels. vol. 1 , nº 1. p. 65-85.
Marc-André Gaudreau, Frédéric Laville, Hugues Nelisse, Jérémie Voix. 2008. « Méthode de mesures terrain de l'atténuation F-MIRE de protecteurs auditifs durant un quart de travail ». Canadian Acoustics = Acoustique Canadienne. vol. 36 , nº 2. p. 3-10.
Louis Lefebvre, Frédéric Laville. 2008. « Noise source identification for mechanical systems generating periodic impacts ». Applied Acoustics. vol. 69 , nº 9. p. 812-823.
Hugues Nelisse, Marc-André Gaudreau, Jérémie Voix, Jérôme Boutin, Frédéric Laville. 2008. « Variability of hearing protection devices attenuation as a function of source location ». Communication lors de la conférence : Acoustics'08 ( Paris, France, June 29-July 4, 2008 )
Elliott H. Berger, Jérémie Voix, Lee D. Hager. 2008. « Methods of fit testing hearing protectors, with representative field test data ». ICBEN 2008 : the 9th Congress of the International Commuission on the Biological Effects of Noise : Noise as a Public Health Problem : Proceedings (Mashantucket, CT, USA, July 21-25, 2008) ICBEN.
Pierre Canetto, Jérémie Voix. 2008. « Hearing protectors “real world” performance and the European Directive 2003/10/EC ». Noise/News International. vol. 16 , nº 4. p. 134-138.
Jérémie Voix, Alberto Behar, Willy Wong. 2008. « The ANSI standard S12. 68-2007 method of estimating effective a-weighted sound pressure levels when hearing protectors are worn: A canadian perspective ». Canadian Acoustics = Acoustique Canadienne. vol. 36 , nº 3. p. 94-95.
Elliott Berger, Jean Jacques, Martin Liedtke. Jérémie Voix, P. Canetto. 2008. « Hearing Protectors “real world” performance and the European directive 2003/10/EC. Workshop held at INRS Paris July 4th, 2008 : Source Book ». 40 p.
Jérémie Voix, Cécile Le Cocq Jr, Lee D. Hager. 2008. « The healthy benefits of isolating earphones ». Proceedings of Meetings on Acoustics (France, Paris, June 29- July 4, 2008) Melville, NY, USA : Acoustical Society of America.
Jérémie Voix, Jean Zeidan. 2008. « A longitudinal statistical review of a dozen laboratory tests on an instantly custom-fitted earplug ». Institute of Noise Control Engineering of the USA - 23rd National Conference on Noise Control Engineering, NOISE-CON 08 and Sound Quality Symposium, SQS 08 (Dearborn, MI, USA, July 28-31, 2008) p. 728-737. Institute of Noise Control Engineering of the USA.
Olivier Doutres, Nicolas Dauchez, Jean-Michel Génevaux. 2007. « Porous layer impedance applied to a moving wall: Application to the radiation of a covered piston ». Journal of the Acoustical Society of America. vol. 121 , nº 1. p. 206-213.
Olivier Doutres, Nicolas Dauchez, Jean-Michel Génevaux, Olivier Dazel. 2007. « Validity of the limp model for porous materials: A criterion based on the Biot theory ». Journal of the Acoustical Society of America. vol. 122 , nº 4. p. 2038-2048.
Marc Thomas, Frédéric Laville. Ordre des ingénieurs du Québec, Commission de la santé et de la sécurité du travail du Québec, Équipe de recherche en sécurité du travail, Réseau de recherche en santé et en sécurité du travail du Québec. 2007. « Premier congrès international sur l'ingénierie des risques industriels : CIRI 2007 : Montréal (Québec) Canada, 17-18 et 19 décembre 2007 : actes ». Montréal : École de technologie supérieure. 656 p.
Marc-André Gaudreau, Frédéric Laville, Jérémie Voix, Hugues Nelisse. 2007. « Variabilité de l'atténuation des protecteurs auditifs mesurée par la méthode field-mire en fonction de la direction du son incident et des bruits du porteur ». Canadian Acoustics = Acoustique Canadienne. vol. 35 , nº 3. p. 80-81.
Cécile Le Cocq, Frédéric Laville, Christian Gargour. 2007. « Débruitage par ondelettes de la parole en milieu industriel ». Canadian Acoustics = Acoustique Canadienne. vol. 35 , nº 3. p. 112-113.
Cécile Le Cocq, Frédéric Laville, Christian Gargour. 2007. « La communication dans le bruit : un conflit entre santé et sécurité ». Sécurité des travailleurs et contrôle des risques industriels (Montréal, QC, Canada, 28 juin 2007) Montréal, QC, Canada : ÉTS.
Cécile LeCocq, Frédéric Laville, Christian Gargour. 2007. « Protéger l'audition tout en permettant la communication ». Premier Congrès international sur l'ingénierie des risques industriels : CIRI 2007 : Montréal (Québec) Canada, 17-18 et 19 décembre 2007 : actes (Montréal, QC, Canada, 17-19 de´c. 2007) Montréal, QC, Canada : Université du Québec, École de technologie supérieure.
Sylvie Nadeau, Stéphane Hallé, S. Déry, P. Doucet, R. Gilbert, L. Gratton, Anh Dung Ngô, Jean Arteau, Hakim Bouzid, J. Brousseau, J. Dessureault, F. Gauthier, Frédéric Laville, P. Le-Huy, Françoise Marchand, Yvan Petit, D. Rodier, Marc Thomas. 2007. « Vers l'intégration de connaissances en santé et sécurité du travail en formation universitaire (génie mécanique) - une collaboration unique ». 24e Congrès de l’Association Internationale de Pédagogie Universitaire (AIPU) (Montréal, QC, Canada, 16-18 mai 2007) p. 96-100. Association Internationale de Pédagogie Universitaire (AIPU).
Hugues Nélisse, Marc-André Gaudreau, Jérémie Voix, Frédéric Laville. 2007. « A preliminary study on the measurement of effective hearing protection device attenuation during a workshift ». Noise At Work 2007 : First European Forum on Efficient Solutions for Managing Occupational Noise Risks (Lille, France, July 3-5, 2007) p. 1295-1301.
Hugues Nélisse, Marc-André Gaudreau, Jérémie Voix, Frédéric Laville, Lee D. Hager. 2007. « Individual field fit testing of hearing protection devices ». Noise At Work 2007 : First European Forum on Efficient Solutions for Managing Occupational Noise Risks (Lille, France, July 3-5, 2007) p. 1231-1240.
Anh Dung Ngô, Stéphane Hallé, Sylvie Nadeau, P. Déry, P. Doucet, R. Gilbert, L. Gratton, Jean Arteau, Hakim Bouzid, J. Brousseau, P. Dessureault, F. Gauthier, Frédéric Laville, P. Le Huy, Françoise Marchand, Yvan Petit, D. Rodier, Marc Thomas. 2007. « Le défi de l'intégration des connaissances en santé et en sécurité du travail - génie mécanique ». Travail et Santé. vol. 23 , nº 4. p. 36-39.
Julie Séris, Christian Gargour, Frédéric Laville. 2007. « VAD INNES : a voice activity detector for noisy industrial environments ». IEEE International Midwest Symposium on Circuits and Systems (MWSCAS) (Montreal, Canada, Aug. 5-8, 2007) p. 377-380. Piscataway, NJ, USA : Institute of Electrical and Electronics Engineers.
Marc Thomas, Frédéric Laville. 2007. « Simulation des vibrations mécaniques par Matlab, Simulink et Ansys ». Éd. rev. et corr. Québec : Presses de l'Université du Québec. 702 p.
Elliott H. Berger, Jérémie Voix, Ron W. Kieper. 2007. « Methods of developing and validating a field-mire approach for measuring hearing protector attenuation ». 32nd Annual Conference of the National Hearing Conservation Association (Savannah, GA, USA, Feb. 15-17, 2007) National Hearing Conservation Association.
Lee D. Hager, Jérémie Voix. 2007. « Criteria for individual hearing protector fit testing protocol ». Communication lors de la conférence : 32nd Annual Conference of the National Hearing Conservation Association ( Savannah, GA, USA, Feb. 15-17, 2007 )
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Holozän
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Threatened by a storm, an old man is stuck in the Ticino mountains. In fear of losing his memory, he begins to collect things that should not be forgotten.
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https://ticinofilmcommission.ch/en/video/6ff6552faabb9c72d8a63ee2ac5ebbc1/holozan
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Director Heinz Bütler and the renowned music producer and founder of the famous record company ECM, Manfred Eicher, adapt Max Frisch's novel Der Mensch erscheint im Holozän (published in 1979). This "brilliant parable of unfathomable significance," as the New York Times calls it, tells the story of an old man (Erland Josephson) struggling against oblivion in a village in Ticino cut off from the rest of the world. He, Geiser, clips articles about earth history and geology, pinning note after note to the wall. By assembling these notes into his narrative, the film connects the history of humanity to individual decay. In the aged face of Bergman's immense actor Erland Josephson "one thinks one sees a mirror image of the haunting ancient landscape" (Frankfurter Allgemeine Zeitung). For the Neue Zürcher Zeitung, the film is "a masterpiece with compelling images of unique precision, a tone of pure sensational concision." Produced by Al Castello, the company set up by Bütler in Arzo, together with ECM and patron George Reinhardt, the film was shot between Iceland and the Onsernone Valley between March and April 1991. It was presented in competition at the Locarno International Festival in 1992, where it won the special jury prize.
Frédéric Maire, Director Cinémathèque Suisse
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BARBARIAN INVASIONS, THE – Dennis Schwartz Reviews
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BARBARIAN INVASIONS, THE (Invasions barbares, Les) (director/writer: Denys Arcand; cinematographer: Guy Dufaux; editor: Isabelle Dedieu; music: Pierre Aviat; cast: Rémy Girard (Rémy), Stéphane Rousseau (Sébastien), Dorothée Berryman (Louise), Louise Portal (Diane), Dominique Michel (Dominique), Yves Jacques (Claude), Marie-Josée Croze (Nathalie), Marina Hands (Gaëlle), Johanne Marie Tremblay (Sister Constance), Pierre Curzi (Pierre), Isabelle Blais (Sylvane); Runtime: 99; MPAA Rating: R; producers: Daniel Louis/Denise Robert; Miramax; 2003-Canada/France)
“I think before this filmmaker casts his barbarian stones, he should look at himself.“
Reviewed by Dennis Schwartz
Canadian director-screenwriter Denys Arcand (“Jesus of Montreal”/”The Decline of The American Empire”) creates a playful comedy-drama that is character driven and laced with recent liberal historical references and critiques of Canadian bureaucracy. The social satire is better at delivering its message about the flaws of the Canadian socialist health-care system and the dumbing-down of modern civilization then it is as an effective drama. It builds its tale around the generational conflict between the sensual socialist intellectual father and the rebellious puritanical capitalist son. The film’s main theme centers around an egotistical dying man who despondently thinks his life might be a failure, but now has the opportunity to take a new look at his life and his family. Arcand titled his film The Barbarian Invasions, which is a reference in part to a television analyst’s comments about the events of September 11, 2001. But the reference also refers to a world under attack from all directions by wars, epidemics, drugs, violence and the everyday assaults on the senses a world Arcand implores can only be lived in sanely through humor, tolerance, education, friendship and love. There’s no argument there.
The Barbarian Invasions can be seen as a sequel from 17 years beforeto Mr. Arcands popular The Decline of the American Empire (1986). With much of the same cast back from the earlier film playing the same Big Chill type of French-Canadian liberal intellectuals and sensualists, but who are now older and less sure they know everything but are still the same assholes glad to be waxing in nostalgia with their bellies full. They chatter giddily about their days as existentialists and Marxists-Leninists and deconstructionists and whatever the latest leftist rage is, as these well-to-do intellectuals are still convinced they are the elitists while self-congratulating themselves for their wishy-washy humanity. It was something to watch them take their bows for being such wonderful people and hear their smutty juvenile conversations about blowjobs, as they must have had a brain drain to forget that most ruined the lives of their children or gave them a bad childhood.
This populist work garnered two undeserved awards at the Cannes Film Festival of 2003 — Arcand for Best Screenplay and Marie-Josée Croze for Best Actress.
London-based millionaire international financier Sébastien (Stéphane Rousseau) receives an urgent call from his divorced mom Louise (Dorothée Berryman) that his libertine fiftysomething history professor father Rémy (Rémy Girard) is dying from terminal cancer. Relations have been strained not only between his caring mom and his skirt-chasing father, but also between father and son. Nevertheless Sébastien flies immediately to Montreal with his live-in art auctioneer yuppie ‘dream girl’ fiancee Gaëlle (Marina Hands). The straight-laced Sébastien also emails his longtime unseen sister Sylvane, who has lived in Australia for years, to tell her the news. But she can’t make it because she’s on a sea voyage in her yacht. Instead she sends heart-felt good wishes via video email messages to dad on Sébastien’s laptop, which makes dad well-up with soap opera-like tears.
Father and son’s first meeting is a bust, as the bald and puffy stubborn old-timer resists his athletically built son’s efforts to get him into a luxury hospital in the States. He boldly says I voted for Medicare and I’ll live by it. The hospital is a mess, as the machines are inadequate and it is so overcrowded there are patients sleeping in the hall. This doesn’t make sense to Sébastien since the floor below is empty. After mom gives him a pep talk that dad really cared for him and always made sure he would do well, the wheeler-dealer is shamed into action as he precedes to show that money talks. He quickly accesses the situation and muses since dad won’t take his generous offer for proper treatment, he’ll instead make his stay here as pleasant as possible. Sébastien bribes the babbling administrator to move his father to an empty room in the floor below and discovers the union really runs things, so he bribes them also to make sure he gets a private suite. Realizing no friends showed, the son contacts them and they come from all over the world to be with one of their own kind. Dad’s indifferent college students don’t visit, so the son bribes some of them with money to visit and say nice things. Pained to see his dad suffering needlessly, he learns heroin can ease the pain. Learning that one of his father’s old mistresses Diane has a daughter named Nathalie (Marie-Josée Croze) with drug connections, he convinces the attractive but troubled proofreader to buy the dope and administer it to his dad. When she tells him she’s a junkie and shouldn’t be trusted, he convincingly lets on that he trusts her.
All this tearjerker sentimentality leads to an assisted death scene in a lakeside cabin where family and friends gather to say goodbye to the lovable rascal. If that wasn’t enough of a phony heart-tugging scene, then the strained father and son relationship is resolved by a long embrace on dad’s deathbed. With dad gushing at what a wonderful son he has, the film couldn’t have gotten more down to the level of Love Story mawkishness.
If all this fake intellectualism that checkers the endless banal conversations among friends weren’t so shallow and all the many big themes attempted weren’t answered in such a half-assed sitcom way, this would still be a lousy film because the acting was terrible. These smug characters never for one second gained any sympathy from me, whether capitalist or leftist intellectual or hospital staff member. Even the kind-hearted Sister Constance on the hospital staff seemed unreal, especially when she’s so easily talked into administrating heroin to Rémy in an emergency situation. I think before this filmmaker casts his barbarian stones, he should look at himself.
REVIEWED ON 12/30/2003 GRADE: C –
Dennis Schwartz: “Ozus’ World Movie Reviews”
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https://letterboxd.com/editor/isabelle-dedieu/
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en
|
Films edited by Isabelle Dedieu
|
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] | null |
[] | null |
Films edited by Isabelle Dedieu
|
en
|
https://letterboxd.com/editor/isabelle-dedieu/
|
Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
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1028
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dbpedia
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3
| 76
|
https://www.quinzaine-cineastes.fr/en/director/claire-simon
|
en
|
Quinzaine des cinéastes
|
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[] |
[
""
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[] | null |
en
|
/imgs/favicons/apple-icon-57x57.png
|
Quinzaine des cinéastes
|
https://www.quinzaine-cineastes.fr/en/director/claire-simon
|
Born in London. She came to the cinema as an editor and at the same time made shorts independently. She discovered direct cinema technique at the Ateliers Varan and directed several prize-winning documentary films. in 1997, she presented her first feature film, Sinon, oui, at the Directors Fortnight. After some theater work, she returned to documentaries with 800 km de différence – romance et Mimi (Berlin Film Festival, 2003), which both enjoyed theatrical release. Her second fiction feature, Ça brûle, was shown in the Fortnight in 2006.
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dbpedia
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| 23
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https://www.tcm.com/tcmdb/person/47407%257C0/Isabelle-Dedieu
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en
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Not Available
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Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
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| 21
|
https://variety.com/1994/film/reviews/daudet-s-windmill-1200437628/
|
en
|
Daudet's Windmill
|
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[] |
[] |
[
""
] | null |
[
"Lisa Nesselson"
] |
1994-06-13T08:00:00+00:00
|
(International sales: MKL, Paris.) Produced, directed, written by Samy Pavel, based on "Letters From My Windmill" and "La Petite Chose," by Alphonse Daudet; camera (color, widescreen), Nino Celeste; editor, Isabelle Dedieu; music , Klaus Schulze; sound (Dolby), Suzanne Durand; assistant director, Stanley Mangenot; casting, Juliette Thierree. Reviewed at Club de l'Etoile screening room, Paris, March 24, 1994. Running time: 100 MIN.
|
en
|
Variety
|
https://variety.com/1994/film/reviews/daudet-s-windmill-1200437628/
|
(International sales: MKL, Paris.) Produced, directed, written by Samy Pavel, based on “Letters From My Windmill” and “La Petite Chose,” by Alphonse Daudet; camera (color, widescreen), Nino Celeste; editor, Isabelle Dedieu; music , Klaus Schulze; sound (Dolby), Suzanne Durand; assistant director, Stanley Mangenot; casting, Juliette Thierree. Reviewed at Club de l’Etoile screening room, Paris, March 24, 1994. Running time: 100 MIN.
With: Jean-Pierre Lorit, Irene Jacob, Louis Lalanne, Robert Ripa, Arnaud Olivari, Christophe Hennes.
“Daudet’s Windmill,” a fetchingly lensed anthology of tales from the fanciful works of 19th-century writer Alphonse Daudet, takes the Classics Illustrated approach to revered literature. Prospects beyond French-speaking territories and classrooms look slim.
Daudet (Jean-Pierre Lorit, looking like a cross between grunge and dandy) scratches the nib of his pen on parchment in extreme close-up, prompting reminiscences and flights of imagination.
At its best, film resembles Pier Paolo Pasolini’s omnibus pix, sans the lascivious edge. Pic’s most lyrical passages are Daudet’s visit to a friend’s elderly grandparents and an extended fantasy about a precocious infant king on his deathbed. Final tale about a priest’s nervous visit to hell is a stagy, kitschy vision of corny devils roasting a man on a spit.
Irene Jacob is a pale, fleeting presence as Daudet’s mother in childhood flashbacks.
Pavel and d.p. Nino Celeste — who worked wonders in 1990’s “The Van Gogh Wake” — obviously relish the opportunity to bring historic tableaux to life. But however lovely the widescreen provincial vistas, too many passages smack of didactic illustration.
|
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1028
|
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0
| 8
|
https://www.nytimes.com/1990/05/25/movies/review-film-a-modern-passion-play-in-montreal.html
|
en
|
Review/Film; A Modern Passion Play In Montreal
|
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"Caryn James",
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1990-05-25T00:00:00
|
Star of avant-garde Passion Play ironically fits the part.
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/1990/05/25/movies/review-film-a-modern-passion-play-in-montreal.html
|
Denys Arcand's intelligent, audacious ''Jesus of Montreal'' attempts to shake up stale religious assumptions, undermine religiosity with wit, and question the Gospels with a new reverence that springs from our modern, commercial world. Creating a band of actors hired to modernize a Passion play within the film, Mr. Arcand needs to balance satire and seriousness with the greatest daring and delicacy. And for the first hour, before it gives in to leaden, self-conscious Christ imagery, ''Jesus of Montreal'' succeeds.
The actor who is hired to play the lead and revise the Passion play at a Montreal shrine is a 30-year-old named Daniel (Lothaire Bluteau). From the start, he looks too traditional a Jesus, with a perpetual mournful expression in his wide brown eyes. The film works best when he still seems human, before Mr. Arcand merges Daniel with Christ.
Daniel finds four other actors in unlikely places. One actor is dubbing his voice on a pornographic film. An actress is having an affair with the priest who hired Daniel. And another actress named Mireille, who will become the Mary Magdalene figure, is filming a perfume commercial, draped in a couple of skimpy scarves. ''The unutterable lightness of being,'' says a voiceover on this commercial, a twist the advertisers want to be ''very Kundera.''
Here is the wit so evident in Mr. Arcand's ''Decline of the American Empire,'' the talky, lively work for which the Canadian writer and director is best known in this country. And he effectively sets up the disjunction between the insane modern world and a faith that needs to be revitalized. It doesn't even matter that the actors have transparently become a little band of disciples, following Daniel around while he seems always to be off in the shadows gazing at them with some terrible foreknowledge of tragedy. ''Jesus of Montreal'' has not yet gone haywire.
But as the film weaves in and out of the characters' lives and their new version of the Passion, Mr. Arcand loses the wily, contemporary grip that makes his material effective. ''Jesus of Montreal'' starts out as a mix of Martin Scorsese's historically set ''Last Temptation of Christ'' and ''The Ruling Class,'' a satire in which Peter O'Toole is an English aristocrat who believes he is Jesus. But midway through, it turns into ''The Greatest Story Ever Told'' set in urban Montreal.
The new Passion play, in which the actors roam around the grounds of the shrine, is not lively enough to draw much of a crowd. It suggests new historical possibilities - that Jesus was the illegitimate son of a Roman soldier - but it is essentially quite traditional. Daniel, his body covered with bloody makeup so it looks as if he has been scourged, hangs naked on a cross on top of a hill overlooking the glittering lights of Montreal.
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1
| 1
|
https://en.wikipedia.org/wiki/Jesus_of_Montreal
|
en
|
Jesus of Montreal
|
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2004-03-02T02:02:40+00:00
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en
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https://en.wikipedia.org/wiki/Jesus_of_Montreal
|
1989 Canadian film
Jesus of MontrealFrenchJésus de MontréalDirected byDenys ArcandWritten byDenys ArcandProduced byRoger Frappier
Pierre Gendron
Monique LétourneauStarringLothaire Bluteau
Catherine Wilkening
Johanne-Marie TremblayCinematographyGuy DufauxEdited byIsabelle DedieuMusic byYves LaferrièreDistributed byCineplex Odeon Films (Canada)
UGC Distribution (France)[1]
Release date
Running time
118 minutesCountriesCanada
FranceLanguagesFrench
EnglishBudget$4.2 million[2]Box officeC$3 million (Canada)[3]
Jesus of Montreal (French: Jésus de Montréal) is a 1989 Canadian comedy drama film written and directed by Denys Arcand, and starring Lothaire Bluteau, Catherine Wilkening and Johanne-Marie Tremblay. The film tells the story of a group of actors in Montreal who perform a Passion play in a Quebec church (the film uses the grounds of Saint Joseph's Oratory on Mount Royal), combining religious belief with unconventional theories on a historical Jesus. As the church turns against the main actor and author of the play, his life increasingly mirrors the story of Jesus, and the film adapts numerous stories from the New Testament.
The film came out to critical acclaim and won numerous awards, including the Genie Award for Best Picture and the Jury Prize at the 1989 Cannes Film Festival. The film was also nominated for the 1989 Academy Award for Best Foreign Language Film. Critics in the Toronto International Film Festival have regarded the film as one of the Top 10 Canadian Films of All Time.
Plot
[edit]
In Montreal, an unknown actor named Daniel is hired by a Roman Catholic pilgrimage's site ("le sanctuaire") to present a Passion play in its gardens. The priest, Father Leclerc, asks him to "modernize" the classic play the church has been using, which he considers dated. Despite working with material others consider to be clichéd, Daniel is inspired and carries out intensive academic research, consulting archaeology to check the historicity of Jesus and drawing on supposed information on Jesus in the Talmud, using the Talmud name Yeshua Ben Pantera for Jesus, whom he portrays. He includes arguments that the biological father of Jesus was a Roman soldier who left Palestine shortly after impregnating the unwed Mary. He assembles his cast, found from insignificant and disreputable backgrounds (one being a man who does pornographic voiceovers), and moves in with two of them, Constance and Mireille.
When the play is performed, the audience is thrilled; the show receives excellent reviews. Father Leclerc, however, regards it as controversial. He angrily distances himself from Daniel. The actor's life is further complicated when he attends one of Mireille's auditions. Mireille is told to remove her top, causing an outburst from Daniel in which he damages equipment and assaults a director, resulting in criminal charges. When the higher authorities of the Roman Catholic Church strongly object to his interpretation of Jesus and security forces stop a performance, the audience and actors oppose them and Daniel is injured in an ensuing accident.
Daniel is first taken by ambulance to an overrun Catholic hospital where he is neglected. He leaves and collapses on a Montreal Metro platform. The same ambulance takes him to the Jewish General Hospital. Despite immediate, skilled, and energetic efforts by the doctors and nurses, he is pronounced brain dead. His doctor asks for the consent of his friends, since he has no known relatives, to take his organs for donation, stating that they would have been able to save him if he had been brought in half an hour earlier. After his death, his eyes and heart are used to restore the health of other patients.
In the wake of his death, Daniel's friends start a theatre company to carry on his work.
Cast
[edit]
Actor Character Biblical analogue Lothaire Bluteau Daniel Coulombe Jesus Catherine Wilkening Mireille Mary Magdalene Johanne-Marie Tremblay Constance Mary, mother of Jesus Rémy Girard Martin Saint Peter Robert Lepage Rene Apostle Gilles Pelletier Father Leclerc Judas Iscariot (possible) Roy Dupuis Marcel Brochu — Yves Jacques Richard Cardinal Satan[10] Cédric Noël Pascal Berger John the Baptist Denys Arcand The Judge Pontius Pilate
Allegory
[edit]
Authors have written Jesus of Montreal has "many parallels" to the New Testament,[13] and "is so loaded with all sorts of fascinating allusions" between modern Quebec and the Gospels. Daniel is mainly known to the public through "hearsay", and is reported to have traveled to India and Tibet, reflecting "extra-biblical legends" about Jesus. The story begins when Daniel becomes a teacher to his actors, as Jesus was to his disciples. Another actor named Pascal Berger, played by Cédric Noël, praises Daniel as John the Baptist hailed Jesus. Pascal "loses his head" when an advertiser uses his photo to sell perfume, just as John the Baptist was beheaded.
Daniel's outburst in the audition scene evokes the Cleansing of the Temple.[17] In the subsequent criminal case, Daniel has a Pontius Pilate-like judge played by Arcand, and meets a lawyer, Richard Cardinal, played by Yves Jacques who – looking out over the city from a skyscraper – offers Daniel profit and fame, telling him "The city is yours," which is a reference to the Temptation of Christ.[10] After he is injured, Daniel is taken to the Jewish General Hospital. Arcand said this is a deliberate parallel with Jesus being a Jew "rejected by his own people," but Arcand depicted the hospital as efficient and better organized than other Montreal hospitals because he felt this was accurate. Scholar Jeremy Cohen tied the Jewish doctor's statement "we lost him" to the idea of Jewish deicide. At the end, Daniel's organs are donated to distant patients who speak various languages, echoing Jesus' miracles restoring sight to the blind and raising of the dead, as well as symbolizing his own resurrection and influence around the world. Daniel's "disciples" also continue his work after he dies, led by Martin, played by Rémy Girard, who is an analogue of Saint Peter, but under the guidance of Cardinal, suggesting that by institutionalizing their message it may become corrupted.
Production
[edit]
Development
[edit]
The idea for the film came to director Denys Arcand after an actor apologized for appearing with a beard at an audition at a Montreal conservatory, saying "I'm sorry, I'm Jesus."[23] The actor explained that he had the role of Jesus in a passion play at Saint Joseph's Oratory. Arcand went to see the play and recalls, "I saw actors in a mediocre production which received shouted applause from the tourists. I decided I had to make a film."[24] The actor also spoke to Arcand about the difficulties he and his friends had in the acting profession, taking undesirable roles in TV advertisements and pornographic films.
As a lapsed Catholic and self-proclaimed atheist, Arcand did not envision Jesus of Montreal as a religious film, adding, "In my film, the story of the Passion is a metaphor of an artist and his struggles and temptations."[2] He spent a year in 1987 writing the screenplay.[23] The film was made on a budget of $4.2 million,[2] with Arcand saying he got a "blank check" after his success with The Decline of the American Empire (1986).[23] This budget was unusually large for a Quebec film. The film received $500,000 from the National Film Board of Canada.
Casting
[edit]
Arcand saw actress Johanne-Marie Tremblay in Straight for the Heart (1988) and cast her as Constance, one of Daniel's actresses who takes him in to live with her.[28] She reprised her role as Constance in Arcand's later films The Barbarian Invasions (2003) and Days of Darkness (2007).
Robert Lepage, who played René, one of Daniel's "disciples", was a playwright and said that aside from TV and student films, Jesus of Montreal was his first major acting role. He said that the screenplay was complete and detailed, leaving less room for improvisation than he expected.
Filming
[edit]
The film was shot with mobile cameras on location in Montreal, which has many churches against its skyline and has been "a center of Catholicism since its beginnings". Arcand stated he often shot Montreal from a distance or from the air to represent God viewing the city.
He claimed that while French-Canadian churches in Montreal denied permission to shoot inside their buildings, an English-language Catholic church allowed the crew to use its space. He said this was because, although church members asked to see the screenplay, they could not read French and needed money from the rental.[2] Some scenes were shot near Saint Joseph's Oratory. A substantial amount of theatrical blood was required for the Passion play scenes.
Reception
[edit]
Box office
[edit]
In Canada, it won the Golden Reel Award, indicating the highest box-office performance of any Canadian film that year[34] with a gross of C$2.53 million in Canada.[35] It went on to gross C$3 million.[3] In English Canada, it was among only three Canadian films to gross over $500,000 between 1987 and 1990, along with Black Robe and Dead Ringers with a gross of C$747,000.[35]
Jesus of Montreal did not enjoy the degree of success in France as Arcand's prior The Decline of the American Empire (1986),[37] drawing an audience of 187,827 people, the eighth highest for a Quebec film to date. Generally, the film did not meet expectations in drawing audiences in countries with predominantly Roman Catholic populations, with Arcand claiming using the name Jesus in the title made the subject matter appear cliché.[39] In the U.S., Stephen J. Nichols referred to it as "not-very-popular" and said it was Martin Scorsese's The Last Temptation of Christ "to dominate the 1980s" in dramatic portrayals of Jesus.
Critical reception
[edit]
Jesus of Montreal enjoyed mostly positive review. The film has an approval rating of 69% on review aggregator website Rotten Tomatoes, based on 16 reviews, and an average rating of 6.8/10.[41]
Roger Ebert gave the film three and a half stars, calling Arcand "the best of the new generation of Quebec filmmakers", and saying "It's interesting the way Arcand makes this work as theology and drama at the same time", adding Lothaire Bluteau is perfectly cast.[17] Caryn James of The New York Times called the film "intelligent" and "audacious", particularly praising the first half "before it gives in to leaden, self-conscious Christ imagery".[42] Peter Travers of Rolling Stone wrote "Arcand has exposed a world that can't recognize its own hypocrisy or hear a voice in the wilderness".[43] Jonathan Rosenbaum called it a "must-see".[44] David Denby of New York, however, felt Jesus of Montreal was "smug from the beginning",[13] but the film was not boring thanks to Arcand's "theatricality and skill".[45] Entertainment Weekly gave the film a C−, questioning the controversy depicted in the film, saying "Hasn’t Canada, in the past 20 years, ever seen a single touring company of Jesus Christ, Superstar?" and claiming the film "flits between the smug and the ersatz mystical".[46] Hal Hinson of The Washington Post said the scenes where Daniel collects his actors are the best part of the film, but the rest is outdated.[47] In terms of religious response, Jesus of Montreal met "dead calm" on its release, in contrast to Scorsese's more controversial The Last Temptation of Christ.
Critics in the Toronto International Film Festival ranked the film second in the Top 10 Canadian Films of All Time in 1993 and 2004 and fourth in 2015.[50] In 2003, Rob Mackie of The Guardian called the film "thought-provoking and wickedly funny" and said "Lothaire Bluteau, makes a charismatic focus whose performance makes sense of the whole thing".[51] In 2010, British critic Mark Kermode named Bluteau as one of "The 10 best screen faces of Jesus," calling him "mesmerising" and praising the film as a "genuine masterpiece" and "real cinematic miracle".[52] In 2014, Marc-Andre Lussier of the Montreal-based La Presse called the film excellent.[53] E! Online named it the third best "Jesus-inspired" film, calling it "beautiful" and "inventive".[54]
In 2001, an industry poll conducted by Playback named it the sixth best Canadian film of the preceding 15 years.[55]
Accolades
[edit]
Jesus of Montreal won the Prize of the Ecumenical Jury at the 1989 Cannes Film Festival[56] and swept the 11th Genie Awards, winning 12 prizes,[57] including Best Motion Picture, Best Director for Arcand, and the Golden Reel Award. It was also nominated for the 1989 Academy Award for Best Foreign Language Film.[58]
Award Date of ceremony Category Recipient(s) Result Ref(s) Academy Awards 26 March 1990 Best Foreign Language Film Denys Arcand Nominated [58] BAFTA Awards 17 March 1991 Film Not in the English Language Nominated [59] Cannes Film Festival 11 – 23 May 1989 Jury Prize Won [56] Prize of the Ecumenical Jury Won Genie Awards 20 March 1990 Best Motion Picture Roger Frappier and Pierre Gendron Won [60] Best Direction Denys Arcand Won Best Actor Lothaire Bluteau Won Best Actress Catherine Wilkening Nominated Best Supporting Actor Rémy Girard Won Gilles Pelletier Nominated Best Supporting Actress Pauline Martin Nominated Johanne-Marie Tremblay Nominated Best Original Screenplay Denys Arcand Won Best Art Direction François Séguin Won Best Cinematography Guy Dufaux Won Best Costume Design Louise Jobin Won Best Editing Isabelle Dedieu Won Best Sound Patrick Rousseau, Adrian Croll, Hans Peter Strobl and Jo Caron Won Best Sound Editing Marcel Pothier, Laurent Lévy, Antoine Morin and Diane Boucher Won Best Original Score Yves Laferrière Won Golden Reel Award Denys Arcand Won Golden Globe Awards 20 January 1990 Best Foreign Language Film Nominated [61] National Board of Review 16 December 1990 Top Foreign Language Films Won [62] Seattle International Film Festival 1990 Best Picture Runner-up [63] Best Director Won Toronto International Film Festival 7 –16 September 1989 International Critics' Award Won [64]
See also
[edit]
List of submissions to the 62nd Academy Awards for Best Foreign Language Film
List of Canadian submissions for the Academy Award for Best Foreign Language Film
Christ Recrucified
Rang De Basanti, an Indian film inspired by Jesus of Montreal
References
[edit]
Bibliography
[edit]
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[] |
[] |
[
""
] | null |
[
"Victoria"
] |
2013-09-03T11:06:10+00:00
|
Opium. Even if you haven’t worn Opium yourself, just the name of this perfume by Yves Saint Laurent is enough to conjure its controversial and dramatic personality. Opium came out in 1977 and it marked a whole era with its spicy, fiery carnation scent. In the 1980s, when neither perfume nor hair could be too […]
|
en
|
https://boisdejasmin.com/site/wp-content/themes/boisdejasmin/favicon.ico?a=1
|
Bois de Jasmin
|
https://boisdejasmin.com/2013/09/yves-saint-laurent-opium-new-2009-reformulation-perfume-review.html
|
Opium. Even if you haven’t worn Opium yourself, just the name of this perfume by Yves Saint Laurent is enough to conjure its controversial and dramatic personality. Opium came out in 1977 and it marked a whole era with its spicy, fiery carnation scent. In the 1980s, when neither perfume nor hair could be too big, it held its own alongside Christian Dior Poison, Giorgio Beverly Hills and other heavy hitters.
My relationship with Opium and other big 1980s perfumes is ambivalent. I recognize their genius; I admire their boldness and verve. But whenever I wear Opium in all of its “pre-reformulation” spicy glory, it feels like I’m playing dress up. I can’t make it my own. But Yves Saint Laurent left us with no choice. In 2009, the house discontinued Opium and reintroduced a new version. The original formula of Opium contained so many ingredients considered allergenic that trying to save it was a losing battle.
I can’t imagine being in the shoes of perfumer Antoine Maisondieu, who was faced with the formidable task of reviving Opium. With half of its formula missing from the modern perfumer’s palette, recreating the spicy bite and smoldering sensation of the classical oriental is almost impossible. Maisondieu approached Opium not via the spice route but the incense road. He recomposed the fragrance based on the sticky, smoky interplay of opoponax, myrrh and sweet resins.
What you have is a voluptuous scent contrasting the richness of resins and woods with creamy jasmine. The subtle crunch of peppercorns is enough to give texture to the soft veil of Opium. Except for a flirtation with orange and pale carnation, the perfume hits one dark note after another–incense, amber, patchouli. Nevertheless, there is an opalescent, radiant sensation to Opium, and it doesn’t feel heavy and oppressive.
It also doesn’t smell particularly modern either, with neither cotton candy nor caramel offsetting the dryness of woods and balsams. Instead, the delicate sweetness in Opium comes from the opoponax and benzoin, two materials with a unique velvety sensation. As Opium settles into its incredibly longlasting drydown, it wears like soft velvet and smells like well-aged dry sherry and clove studded oranges. I wear it on summer evenings, enjoying its embrace against my sunwarmed skin, but my favorite occasion for Opium is a winter dinner for two in front of a fireplace. It’s the ultimate seductress.
I’m not going to compare and contrast the new Opium with its 1977 namesake. They’re so vastly different that such a discussion would be pointless. I think that the Yves Saint Laurent team made a mistake giving the new perfume the name of its magnificent predecessor because it only invites unfair comparisons. Seek it out if you love the darkness of amber, the pleasant roughness of woods, and fragrances that feel like experiences, not just nice scents. The new Opium deserves being loved on its own merits, rather than as a replacement for something that can’t be replaced.
Opium is available as the Eau de Parfum and Eau de Toilette. The EDP is heavier on powdery incense, amber and myrrh, while the EDT has a fresh citrusy top laced with sweet orange and pepper. They are not too different, but I prefer the EDT for the stronger contrast between the sparkling citrusy top and velvety, enveloping drydown. The EDP, on the other hand, places all of its accents on the powdery, warm finish.
|
||||
1028
|
dbpedia
|
0
| 4
|
https://www.myreviewer.com/DVD/80469/Jesus-Of-Montreal-Special-Edition-UK/80487/Review-by-Mark-Oates
|
en
|
Review of Jesus Of Montreal (Special Edition)
|
https://www.myreviewer.com/favicon.ico
|
https://www.myreviewer.com/favicon.ico
|
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[] |
[] |
[
""
] | null |
[] | null |
I reviewed this movie before and I called it a \'Blow-your-brains-out depressing Franco-Canadian arthouse melodrama about a group of actors staging a ...
|
/favicon.ico
| null |
4 / 10
|
||||
1028
|
dbpedia
|
3
| 56
|
https://watch.eventive.org/affc2020/play/5fb5c000262a24003ed6b4a3
|
en
|
Once Upon a Time in Beirut (كان يا مكان، بيروت)
|
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[] |
[] |
[
""
] | null |
[] | null |
Once Upon a Time in Beirut accounts for the reality of war and its destruction of memory through the annals of celluloid history, as two young women take their city back by reimagining Beirut through moving pictures, providing hope to a city in the midst of another rebuilding.
|
en
| null |
To celebrate their twentieth birthdays, Yasmine and Leila visit Mr. Farouk, a legendary cinephile and film collector in Beirut. Through his collection, they discover a Lebanon they have never seen before, and using cinema to engage the past, Jocelyne Saab’s film reflects on Beirut’s present––in 1994––through memory and archive, fact and fiction. The two heroines immerse themselves in over forty years of international, cinematographic images of Beirut, the real star of this film. Once Upon a Time in Beirut accounts for the reality of war and its destruction of memory through the annals of celluloid history, and Yasmine and Leila take their city back by reimagining Beirut through moving pictures, providing hope to a city in the midst of another rebuilding. Honoring the strength and resilience of Beirut in the wake of numerous tragedies and hopeful uprisings, we archive a moment in this city’s past with a nod to one of Beirut’s most iconic auteurs.
About the Filmmaker
Jocelyne Saab was a filmmaker, photographer, and journalist from Beirut. Born in 1948, she became a war reporter in 1973, covering the SWANA region and Middle East politics. In 1975, she directed her first feature film, a documentary released in Parisian cinemas called Lebanon in Turmoil. She covered the Lebanese war for fifteen years, during which she directed almost thirty films that screened on television and in many international festivals. Saab passed away in France in 2019, but the Association des Amis de Jocelyne Saab, along with numerous other international organizations, are working to preserve her impressive oeuvre.
|
||||||
1028
|
dbpedia
|
3
| 17
|
https://www.screendaily.com/reviews/rafiki-cannes-review/5129067.article
|
en
|
'Rafiki': Cannes Review
|
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] |
[] |
[] |
[
""
] | null |
[
"Allan Hunter",
"Amber Wilkinson",
"Ben Dalton",
"Lee Marshall"
] |
2018-05-09T15:06:00+00:00
|
Kenya’s first film at Cannes brings a fresh energy to its central lesbian love story
|
en
|
/magazine/dest/graphics/favicons/favicon-32x32.png
|
Screen
|
https://www.screendaily.com/reviews/rafiki-cannes-review/5129067.article
|
Dir.Wanuri Kahui . South Africa, Kenya, France, Netherlands, Germany, Norway. 2018. 82mins
Hailed as a breakthrough for African cinema and subsequently banned in its home country of Kenya, Rafiki generated a considerable weight of expectations ahead of its Cannes world premiere. The reality is a dynamic, smoothly-executed tale of impossible love that brings fresh energy to a subject that may seem overly familiar to western eyes. Slight but very likeable, it should become a festival fixture and find a ready audience among LGBTQ viewers and those supportive of rising stars in world cinema.
Reminiscent of the early work of Spike Lee
Wanuri Kahiu’s second feature reveals a lightness of touch in her approach to an adaptation of the prize-winning short story ’Jambula Tree’ by Monica Arac de Nyeko. Sharp editing and fluid camerawork help create a portrait of a Nairobi housing estate pulsing with life. As someone casually strums a guitar, others exchange gossip, play football, chop vegetables for a street market or string washing between houses. All human activity unfolds in plain view.
When teenager Kena (Samantha Mugatsia) breezes through the area on her skateboard, the film’s fizz and sense of community are reminiscent of the early work of Spike Lee. Once the story unfolds, it also reveals echoes of Hettie Macdonald’s Beautiful Thing (1996).
Considered one of the boys by Blacksta (Neville Misati) and his mates, the lean, willowy Kena is not like other girls. She plays on Blacksta’s football team and quietly scoffs at the idea that her big dreams are of a good husband, a solid marriage and a family. Lingering glances exchanged with Ziki (Sheila Munyiva) are the start of a dangerous friendship. Ziki is a riot of colour from the bubblegum pink of her nail vanish to the rainbow hues of her hair. The smouldering attraction between the two girls gradually ignites despite the prejudice and ignorance that surrounds them.
Rafiki tries to pack a lot into its modest running time as it addresses a range of social attitudes, political issues and family matters that threaten the happiness of these star-crossed lovers. The insulting language of casual homophobia is never challenged, the church preaches against same sex relationship and the girls are daughters of rival, image-conscious candidates in a local election. Kena’s father John (Jimmy Gathu) is one of the few adult figures sympathetic to the couple.
Rafiki also strives to weave in empowering notions as the girls discuss their hopes and dreams for a future in which they might travel the world and not settle for being a nurse, when they have the academic qualifications to be a doctor or a surgeon.
The central couple are very engaging and their relationship will win the hearts of inveterate romantics. Kahiu brings a soulful quality to the scenes between the girls as they go clubbing or find their own private romantic haven in an abandoned cvan decked out in candles and flowers.
Charismatic performances by Samantha Mugatsia and Sheila Munyiva make you believe in the characters and invest in the romance. When harsh reality inevitably intrudes on their dream love, the emotional impact is all the deeper.
|
||||
1028
|
dbpedia
|
0
| 15
|
https://www.themoviedb.org/person/38522-isabelle-dedieu%3Flanguage%3Den-US
|
en
|
Isabelle Dedieu
|
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[] |
[] |
[
"Movies",
"TV Shows",
"Streaming",
"Reviews",
"API",
"Actors",
"Actresses",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Teasers",
"Credits",
"Cast"
] | null |
[] | null |
Isabelle Dedieu is known as an Editor. Some of her work includes Die Invasion der Barbaren, Rafiki, Jesus von Montreal, An Eye for Beauty, Days of Darkness, Pesthauch des Bösen, Wah-Wah und Thérèse.
|
de
|
/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
|
The Movie Database
|
https://www.themoviedb.org/person/38522-isabelle-dedieu
|
You need to be logged in to continue. Click here to login or here to sign up.
|
||||
1028
|
dbpedia
|
2
| 6
|
https://letterboxd.com/film/jesus-of-montreal/
|
en
|
Jesus of Montreal (1989)
|
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A group of actors putting on an interpretive Passion Play in Montreal begin to experience a meshing of their characters and their private lives as the production takes form against the growing opposition of the Catholic church.
|
en
|
https://letterboxd.com/film/jesus-of-montreal/
|
My first Denys Arcand and such a great film. Why haven't I checked him out until now?. I found myself deeply moved by the end. A group of five actors (3 men and 2 women) stage a provocative and iconoclastic version of the traditional Passion Play and gradually their stories merge into a contemporary rendering of the disciples and Jesus in his final days.
This is not the gentle reverent Jesus but the angry radical Jesus who decried the social hierarchies of his time. In some ways it's similar to Pasolini's "The Gospel According to St. Matthew" but in a contemporary setting. Arcand (who wrote as well as directed) cuts between extended sequences of the performance - which is frankly…
Just when I thought the films in my Film & Religion class were getting worse every week, we ended up viewing the second best movie of the semester.
Jesus of Montreal follows an acting troupe working on a play about the life of Jesus. The film not only works as a clever satire, but also a sharply brilliant commentary on religion, theater, and even advertising. Maybe it's because we studied this film intensively and that usually heightens a film for me, but I really loved some things about this movie. The humor was alright in parts and wildly funny in others and the acting is good (though the lead guy gives a really great turn in the end), but the writing…
A film with layers as it manages to provide one of the best portrayals of Jesus Christ ever in the form of a Passion Play being put on within the world of the film as well as a narrative rooted with palpable emotions and a social commentary. We kind of get a double narrative here, because while we watch the Passion Play unfold, you forget for a moment that you’re actually watching a film about the actors’ struggle and the complicated relationship we have with art form.
Not only do you get to see this battle in the artist of whether to pursue the kind of work you’re passionate about or the more mainstream less substantial work that gets you…
A gentle, quiet natured man comes to town. We find out he is an actor. His history is somewhat unclear. He is contracted by a priest to update a version of the passion play that the priest had written 20 years ago. The play will be preformed on the church grounds.
The man gathers a cast consisting of a man who was working as a voiceover guy in the porn industry. A man doing voiceover for science documentaries. A woman working at a homeless shelter, and a beautiful female model working in the advertising industry.
This troupe writes and performs an avant-garde "new theater" presentation of the play. The audience loves it, the priest does not.
The priest has been…
|
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1028
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dbpedia
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1
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https://librarysearch.stthomas.edu/permalink/01CLIC_STTHOMAS/gcked6/alma991005692719703691
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en
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[
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en
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1028
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dbpedia
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3
| 26
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https://www.tcm.com/tcmdb/person/47407%257C0/Isabelle-Dedieu
|
en
|
Not Available
|
[
"https://prod-images.tcm.com/img/global/logo-WatchTCM-animated-singleplay.gif",
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[] |
[] |
[
""
] | null |
[] | null |
Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
|
en
|
/themes/custom/bogart/favicon.ico
|
Watch TCM
|
http://prod.tcm.com/unavailable/
|
Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH.
Watchlist and resume progress features have been disabled.
ACCEPT
|
||||
1028
|
dbpedia
|
0
| 24
|
https://www.rottentomatoes.com/celebrity/isabelle_dedieu
|
en
|
Isabelle Dedieu
|
[
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[] |
[] |
[
""
] | null |
[] | null |
Explore the filmography of Isabelle Dedieu on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/celebrity/isabelle_dedieu
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
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|
||||
1028
|
dbpedia
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3
| 71
|
https://www.latimes.com/archives/la-xpm-2006-may-12-et-wah12-story.html
|
en
|
An empire’s end, and childhood’s too
|
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[
""
] | null |
[
"Kevin Crust",
"www.latimes.com",
"kevin-crust"
] |
2006-05-12T00:00:00
|
Richard E. Grant's formative years in 1960s Swaziland provide the backdrop for the affecting 'Wah-Wah.'
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/archives/la-xpm-2006-may-12-et-wah12-story.html
|
Actor Richard E. Grant makes his feature writing-directing debut with the semiautobiographical drama “Wah-Wah,” which is both acidly funny and very moving. Described as a “coming of age at the end of an age” story, the film is set in late-1960s Swaziland on the verge of its independence.
The memories are more bitter than sweet for Grant, best known for roles in films such as “Withnail & I,” “The Age of Innocence” and “Gosford Park,” as he recalls the domestic turmoil growing up in the Southeast African British protectorate. Things almost immediately begin to go badly for his fictional proxy, Ralph Compton (Zachary Fox), son of the minister of education, when he inadvertently witnesses his mother, Lauren (Miranda Richardson), committing adultery in the front seat of a car.
Twelve-year-old Ralph is further traumatized and left alone with his father, Harry (Gabriel Byrne), when his mother leaves with her paramour, another member of the hypocritically judgmental British colony. Unable to cope with the loss of his wife, Harry packs Ralph off to boarding school and takes solace in alcohol.
Two years later, Ralph has sprouted into a lanky teen, now played by Nicholas Hoult, who taught Hugh Grant a thing or two in “About a Boy.” When Ralph returns home from school on a break, he discovers Harry has impetuously married again, to a loud American former air hostess named Ruby, played by the beguiling Emily Watson.
Ralph tries hard not to like Ruby but finds that she understands him far better than either of his parents, and they become necessary allies when Harry’s drinking turns him into a Jekyll and Hyde personality. By day, he is the charming backslapping politico, but at night, when the liquor cabinet opens, he’s a vicious drunk.
Ruby provides Grant the most ammunition with which to skewer the colonials. As an outsider, she brings a fresh perspective and leaps at every chance to point out their contradictions. It’s Ruby who mocks the upper-class slang that’s spoken, the “toodle-pips” and “hobbly-jobblys” that sound like so much “Wah-Wah” to her.
Against a certain nostalgia for a period when the sun was definitely setting on the empire, Grant balances a sharp satire of the “hoity-toity” Brits with a tender memoir of the dissolution of his family. His depiction of the cloistered social scene where adultery is rampant but a divorcee is shunned is tremendously engaging. In his writing, Grant makes use of the same keen sense of observation that made his published film diaries, “With Nails,” and novel, “By Design,” so amusing.
He also shows that his time on the sets of directors Bruce Robinson, Robert Altman, Francis Ford Coppola and Martin Scorsese, and others, was well spent. The film is crisply directed and well-paced, making good use of African panoramas to give the hothouse drawing room scenes space to breathe. And like many actors who turn to directing, Grant has assembled an excellent cast, which includes Julie Walters and Celia Imrie.
A wry and involving film, “Wah-Wah” is clearly a labor of love for both Grant and his cast. Grant opens up his life, not with embarrassment or explanation but with humanity and gratitude. Emotional, melodramatic and sentimental, the film unabashedly wears its heart on its sleeve, and is the better for it.
*
‘Wah-Wah’
MPAA rating: R for some language and brief sexuality
A Roadside Attractions and Samuel Goldwyn Films presentation. Writer-director Richard E. Grant. Producers Marie-Castille Mention-Schaar. Pierre Kubel and Jeff Abberley. Director of photography Pierre Aim. Editor Isabelle Dedieu. Costume designer Sheena Napier. Music Patrick Doyle. Production designer Gary Williamson. Running time: 1 hour, 37 minutes.
At selected theaters.
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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Recycled Poly(hydroxybutyrate-co-valerate) as Food Packaging: Effect of Multiple Melt Processing on Packaging Performance and Food Contact Suitability
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This study examines the opportunity of using recycled poly(hydroxybutyrate-co-valerate) (PHBV) as food packaging. The recyclability was evaluated by assess
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https://link.springer.com/article/10.1007/s10924-022-02600-4
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Plastic, with its unique set of properties (versatile, flexible, strong, cheap…) has become one of the most popular material since the second half of the 20th century. At the same time, this success is turning into an environmental and health disaster due to the plastic waste accumulation and the widespread diffusion of persistent plastic fine particles, even in living organisms [1]. Packaging is the largest end-use market segment, accounting for over 40% of total plastic usage [2]. These fossil-based materials are in ever-increasing demand due to their desirable thermomechanical and barrier properties, yet they are beyond the world’s capacity to handle. In 2019, 17.8 Mt of food and drink packaging were collected in Europe, with 18.5% landfilled, 39.5% incinerated and 42% down-cycled [3]. Landfill and incineration are still mainly used despite the Circular Economy Package adopted in 2017 by the European commission, which promotes a circular economy for plastics. In the frame of waste hierarchy, prevention should be considered as first priority, followed by preparing for re-use, materials recovery (mechanical and chemical recycling) and organic recycling. Energy recovery and disposal should be the last options envisaged [4]. Therefore, there is a gap between the current plastic waste management and the circular economy principles. This gap is even greater for alternative plastics, namely biobased and biodegradable plastics. These emerging plastics such as polylactic acid (PLA), polyhydroxyalkanoate (PHA) and polybutylene succinate (PBS) are increasingly entering the food packaging market thanks, in particular, to their deployment by major agri-business groups through a wide range of applications [5]. However, post-consumer biodegradable packaging are mainly directed towards the energy recovery lines (i.e. incineration) and are not recovered in an industrial composting facilities, as they cannot be assimilated to biowaste of natural origin according to many national standards. Yet, biobased and biodegradable plastics are likely to follow the different end-of-life options and should be incorporated in a hierarchal end-of-life system that prioritizes material recycling, leading to a recovery of economic value. LCA studies and techno-economic sustainability analysis (TESA) which are based on the assessment of mechanical recyclability, economic viability, common environmental/technico-economic sustainability criteria, confirm that the organic recycling of biodegradable and bio-based plastics should be only considered when mechanical and chemical recycling are not possible [6,7,8,9,10]. The mechanical recycling process consists in reprocessing the polymer waste, via a step of reshaping in the molten state, most often by extrusion. In the case of materials intended to food contact applications, specific requirements should be respected in order to ensure the safety of the recycled material. In EU, EFSA published in 2011, the criteria to be used to ensure the safety of food contact recycled PET, involving an additional decontamination step consisting in cleaning and heat treatment. This decontamination step should be extrapolated to all other recycled plastics intended for food contact applications [11].
From a technical point of view, several investigations have addressed the mechanical recyclability of some biobased and/or biodegradable plastics. These studies, mainly focused on thermomechanical reprocessing of PLA, concluded that the thermal and mechanical properties are altered beyond a certain number of cycles [12, 13]. Only Briassoulis et al. have employed Techno-economic sustainability analyses (TESA) to address the feasibility of recycling food packaging biomaterials in a closed-loop system [9]. Among the promising biopolymers, polyhydroxyalkanoates (PHAs) have received particular attention thanks to their biocompatibility and biodegradability under natural conditions [14, 15]. Recent studies (from 2010 to 2020) on the biodegradation of PHAs in soil and marine environments were compiled in the review by Meereboer et al. The authors showed that depending on the nature of the soil and the temperature and moisture conditions, PHAs can reach up to 80% degradation in 80 to 100 days [16]. This family of bio-polyesters of microbial origin contains several homo- and copolymers with varying thermal and mechanical characteristics. Polyhydroxybutyrate-co-valerate (PHBV) is one of these copolymers, which has a great potential. During the biotechnological production, feeding and nutrient ratios may impact the valerate content which can vary from 0 to 24% inducing a modulation of the mechanical properties and flexibility of the copolymer [17]. Overall, PHBV has mechanical properties close to polypropylene and polystyrene (in terms of strength and elasticity but not flexibility), barrier properties close to those of PET, and its compliance with food contact material regulations, make it a good candidate to replace conventional plastics in the rigid food packaging category [15, 18, 19].
Although PHBV is biodegradable, this end-of-life option does not necessarily have to be favoured and can fully co-exist with possible material recycling which allows a reduction of production costs and saving raw materials and carbon.
When considering the closed-loop mechanical recycling of PHBV for food contact applications. Two questions arise (1) how many processing cycles can PHBV withstand without losing its mechanical and barrier properties, and without producing any neo-formed chemicals (NIAS) that could migrate into food, inducing toxicity to the consumer. (2) is the mechanical recycling process capable of removing post-consumer contaminants due to previous packaging use or misuse, to comply with recycled packaging safety regulation. The second question involving the assessment of the decontamination efficiency through a challenge test will be the subject of a future work.
This study will focus on the effect of the multiple processing cycles on the evolution of the PHBV functional properties, as well as the formation of neo-formed chemicals.
Only very few studies investigated the modification of PHBV properties after reprocessing. Indeed, five cycles of extrusion followed by injection moulding at 170 °C [20] resulted in the maintenance of PHBV properties, except for a slight decrease in the fifth cycle. However, six cycles of extrusion at 180 °C led to thermal degradation of the polymer, reflected in a decrease in the molecular weight of PHBV and an increase in its crystallinity rate [21]. In the absence of a specific recommendation, PHBV-based materials are approved for food contact provided that the level of migration of crotonic acid, the main thermal degradation product of PHBV, does not exceed the permitted limit of 0.05 mg/kg food (CE/10/2011) [22].
The purpose of the present work is to investigate the functional properties of PHBV after several recycling loops, as well as the potential occurrence of crotonic acid at concentrations that may exceeds the recommended threshold. The integrated approach implemented in this study consists of monitoring the evolution of the structural characteristics of PHBV-based material (crystallinity rate and molecular weight of the polymer chains) in relation to the functional properties of the packaging (barrier and mechanical properties) throughout the reprocessing cycles and establishing an initial opinion on the opportunity of applying mechanical recycling in compliance with safety recommendations.
Materials
PHBV with 3 mol% of 3-hydroxyvalerate (HV) was purchased from Nature plast (France). It corresponds to the PHI003 commercial grade, a pure uncompounded powder produced from pure culture. According to the manufacturer, PHBV has the following properties: density = 1,25 g cm−3, Tm = 170–176 °C. Molecular weight of PHBV powder was measured and Mw > 1,100,000 g/mol. Boron nitride 98% was purchased from Merck. Crotonic acid (98%), ethanol (96%), acetic acid (> 99%) and poly(2,6-diphenyl-p-phenylene oxide) under the trade name of Tenax (60/80 mesh) were supplied from Sigma-Aldrich.
Reprocessing Cycles
PHBV powder was mixed with 0.5 wt% of Boron Nitride as a nucleating agent. To improve the mechanical properties of polymers, nucleating agents are often used, such as Hyperform HPN-20E used for HDPE, to reduce cycle time and improve blow moulding performance [23]. Then, the mixture was dried at 60 °C for 24 h prior to extrusion. Extrusion was carried out in a parallel twin screw microcompounder Process 11 (Thermoscientific), at 150 rpm with a uniform processing temperature of 180 °C from the feeding to the die. The residence time of PHBV in the extruder did not exceed 3 min. Four processing cycles were performed in order to simulate the mechanical recycling. After each cycle, the granulating process was carried out at room temperature and the granulated product was dried at 60 °C for 24 h. PHBV films with an average thickness of 300 μm were produced by thermocompression using a heated hydraulic press (20T, Pinette Emidecau Industries). About 6 g of pellets from each processing cycle were placed in a mould between two Teflon sheets and pressed with heating plates stabilized at 180 °C. The pressure was first set at 5 bars for 1 min, for melting the pellets, then progressively increased from 5 to 150 bars in 30 s before stabilization at 150 bars during 30 s. The resulting films were finally air cooled at room temperature.
After thermocompression of the PHBV films and before any characterization of the material, all samples were conditioned at a temperature of 25 °C and under an atmosphere with a relative humidity of 50% during 2 weeks in order to allow the secondary crystallization of PHBV [24].
Characterization Methods
Size Extrusion Chromatography (SEC)
SEC was used to determine the evolution of PHBV molecular weight throughout the reprocessing cycles. Samples were placed in sealed tubes and dissolved in a 95/5 Hexafluoro-2-propanol/Chloroform mixture at a concentration of 1 mg/mL−1. Gel permeation chromatography (GPC) measurements were performed by a HP 1100 Series equipped with a PL gel 5 μm Minimixed-C column. The instrument, provided with a refractive index and UV detectors, worked using chloroform as eluent. The calibration of the instrument was constructed with polystyrene standards. The sample analyses were performed in triplicates. The weight-average molecular weight (Mw) and number-average molecular weight (Mn) were obtained from the SEC analysis and the polydispersity index (PDI) was calculated as Mw/Mn, using the software Excel 2016.
Differential Scanning Calorimetry (DSC)
DSC analyses were carried out using a TA Instruments (Q200 modulated DSC, TA Instruments) calorimeter under a nitrogen atmosphere with a flow rate of 50 mL min−1 and a heating rate of 10 °C min−1. Around 8 mg of sample was used for each analysis and all experiments were done in duplicate. The samples were subjected to the following thermal schedule. First heating from − 30 to 200 °C, with stabilization for 3 min; then cooling down up to − 30 °C with again a stabilization for 3 min; followed by a second heating scan up to 200 °C.
The melt crystallization temperature (Tc) was determined from the cooling scan whereas the melting temperature (Tm) and the melting enthalpy (ΔHm) were obtained from the second heating scan after erasing the thermal history. Overall theoretical degree of crystallinity (Xc) was calculated from the melting enthalpy according to the following equation:
$$Xc~\left( \% \right) = ~\frac{{\Delta Hm}}{{\Delta H^\circ \left( {PHBV} \right)}}$$
where ΔH0 is the melting enthalpy of 100% crystalline PHBV, i.e. 109 J/g [25].
Thermal Gravimetric Analysis (TGA)
TGA was carried out using a Mettler apparatus (TGA2) equipped with a XP5U balance (precision of 0.0001 mg). Around 8 mg of sample were heated at 10 °C min−1 from 25 to 800 °C under nitrogen flow of 50 mL min−1. Three replicates were scanned for each sample. Mass loss and first derivative of mass loss were recorded as a function of temperature, and the maximum degradation temperature (Tdeg), corresponding to the temperature at which the degradation rate was maximum was measured.
Mechanical Properties
ISO½ samples were cut from the films obtained by thermocompression. Tensile properties of samples were measured using a tensile tester (Zwick BZ2.5/TN1S) with a cross-head speed of 1 mm min−1. Young’s modulus, elongation at break as well as tensile strength were calculated from strain-stress curves with the Matlab program, taking into account an effective cross section of 22 mm. Ten replicates were scanned for each reprocessing cycle.
Transfer Properties
The Oxygen permeability (PO2) of the reprocessed films was determined in triplicate at 23 °C and 50% relative humidity, using an O2 permeation chamber equipped with an integrated PSt6-type sensor (PreSens Precision Sensing GmbH). This system consists of two chambers separated by a grid where the film is placed with an open testing area of 1,26.10−3 m2. After applying nitrogen flesh on both sides of the film to remove the surrounding oxygen, the lower chamber was exposed to an oxygen flow of 50 mL min−1, while the upper chamber was hermetically closed. By permeation, the O2 molecules could pass through the film where the sensor stood. The system measured oxygen ingress in % for 5 days. PO2 (mol m/m2 s Pa) was calculated according to the following equation :
$$PO_{2} = ~\frac{{J~x~e}}{{A~x~\Delta P}}$$
where J (mol s−1) is the flux of gas passing through the film, e is the film thickness (m), A, the permeation area (m2) and ΔP, the differential partial pressure of the permeant gas across the film (Pa).
The water vapour permeability (Pwv) of films was determined according to a modified ASTM procedure (ASTM E96 – Standard test methods for water vapour transmission of materials). Analyses were conducted at 23 °C and a relative humidity gradient of 0 to 100% with five replicates per sample. Film samples, with 9,08 cm2 area were hermetically sealed in 50 mL glass permeation cells containing 40 mL of distilled water, and were placed in a desiccator containing silica gel, for 10 days. Pwv (mol m/m2 s Pa) was calculated according to the following equation :
$$P_{{wv}} = ~\frac{{J~x~e}}{{A~x~\Delta P}}$$
where J (mol s−1) is the flux of water vapour passing through the film, e is the film thickness (m), A, the permeation area (m2) and ΔP, the differential water vapour pressure between the cell and the desiccator (Pa).
Migration Tests
In order to evaluate the suitability for food contact of reprocessed PHBV, crotonic acid migration was assessed in three different food simulants following the recommendation of European regulation EU 10/2011 on plastic materials and articles intended to come into contact with food [22]. These are, 95% Ethanol to simulate fatty food, 3% acetic acid to simulate acidic food and Tenax as solid dry food simulant. The migration level of crotonic acid was measured by desorption tests. According to European standard EN 10/2011, films disks of 2.8 cm diameter were immersed in 95% ethanol or 3% acetic acid, with a surface/volume ratio of 6 dm2 L−1. In the case of Tenax, a film of 3 × 2 cm was placed into Petri dish and completely covered by the simulant (0.24 g corresponding to 4 g dm−1). All samples were stored at 40 °C for 10 days under magnetic stirring for liquid simulants.
Crotonic acid was quantified in each food simulant after 10 days of contact by means of UPLC-DAD analysis. For detection purposes, Ethanol 95% samples were concentrated 67 times. A standard addition procedure was applied to acetic acid 3% samples, since it cannot be easily evaporated. Tenax samples were submitted to an extraction with 5 ml methanol, during 4 days at 40 °C and under magnetic stirring. The extracts were subsequently concentrated five times. All the samples were then, injected in Acquity UPLC (Waters, Milford, MA) liquid chromatography system, equipped with a photodiode array detector (DAD). The Waters column was 100 mm × 2.1 mm, HSS T3, particles size was 1.8 μm. The solvent used were A (99. % H2O and 0.1% HCOOH v/v) and B (80% CH3CN; 19% H2O; 0.1% HCOOH) with a flow rate of 0.55 mL min−1. The injection volume was 2 µL and DAD was set at 210 nm in order to detect and quantify crotonic acid which was used as external standard.
Statistical Analysis
Statistical analyses and data visualization were performed in XLSTAT (Addinsoft, 2019). The variables were checked for normality (Shapiro-Wilk test). The significance of results was examined by one-way analysis of variance (ANOVA) followed by a Tukey test with a confidence interval of 95%. Then, the significant difference between the data had been defined.
Structural Properties
The evolution of the molecular weight (Mw), polydispersity and crystallinity parameters of PHBV during the processing cycles is shown in Table 1. Cycle 0 corresponds to the first extrusion cycle transforming PHBV powder into pellets.
As Mw of PHBV commercial powder is > 1,100,000 g/mol, it is worth to note that the first extrusion cycle (corresponding to cycle 0) induced the most dramatic degradation of the polymer, decreasing its molecular weight by almost 25%. Subsequently, PHBV Mw decreased with the number of processing cycles. At the end of the fourth cycle, PHBV polymer lost ~ 25% of its Mw. As previously described, the high temperatures and the shear stress that polymer undergone during the reprocessing result in a progressive chain scission, mainly attributed to the beta-elimination mechanism [26, 27]. The constant value of the polydispersity index (PDI) of the polymer observed over the five extrusion cycles supports the hypothesis of the random nature of the chain scission reactions in the polymer. The crystallinity parameters i.e. crystallization temperature (Tc), melting temperature (Tm) and crystallization rate (Xc) were respectively determined from cooling and second heating scans of PHBV films (visible in supporting data, Fig. S1). The crystallization rate of the polymer did not significantly evolve throughout the processing cycles. However, a slight increase in the crystallization temperature Tc was observed from the third cycle, indicating that the crystallization is occurring more easily when the number of cycles increases. An easier crystallization process is likely due to the reorientation of the polymer fragments after the chains scission [28, 29]. On the other hand, the crystallization rate as well as the melting temperature remained constant over the five processing cycles. Zembouai et al. [21] have observed an increase in crystallinity rate after processing PHBV with 3 wt% valerate content over six cycles of extrusion, while Zaverl et al. [20] described an opposite behaviour in the case of the copolymer exhibiting a valerate percentage of 14%, under similar processing conditions. Since these two studies also simulated the PHBV reprocessing via a polymer extrusion process, the crystallinity evolution is then likely due to the valerate content, in the absence of any nucleating agent. In our case, the use of boron nitride seems to govern the nucleation process, causing slight evolution in crystallization rate, Tm and Tc, despite the significant degradation of polymer chains. The melting temperature (Tm) remained almost constant, meaning that the fusion of crystalline fraction takes place in the same way over the reprocessing cycles. Polymer degradation should decrease the spherulites size, but the nucleation seems to be not affected by the polymer degradation in the presence of the nucleating agent [30]. This was confirmed by the constant shape of the unimodal melting peak indicating a relative stability of the distribution of the crystallite sizes [30]. The constant melting temperature at around 177 °C implies that the process temperature scale can be kept the same at 180 °C during the five cycles. Since the polymer degradation might be enhanced when its processing occurs higher from its melting temperature, the previously observed differences in polymer degradation cannot therefore be explained by differences in the melting temperature during the process [30].
The thermal gravimetric analysis (TGA) showed almost the same degradation maximum temperatures for samples of different reprocessing cycles with no significant change has been detected over the reprocessing cycles (visible in supporting data, Fig. S2. Previous studies reported the same trend in PHA or PLA reprocessing [20, 31]. This may be explained by the relative stability of the crystallinity degree [32].
These results showed that despite a significant decrease in the polymer molecular weight, the crystalline behaviour and the thermal stability have evolved very slightly over the processing cycle. This observation is consistent with studies focusing on the impact of reprocessing on the thermal behaviour of PHA [20, 21]. However, in the context of food packaging applications, functional properties (mechanical and barrier) as well as the safety of the reprocessed materials should be taken into account in order to ensure compliance with quality requirements and regulation.
Mechanical Properties
Figure 1 shows pictures of the film samples obtained over successive cycles and reveals that the reprocessed materials do not present any obvious visual changes. The macroscopic optical properties such as colour, opacity and smooth texture do not appear to be altered by the reprocessing.
The mechanical properties of the material reflect its ability to provide a high-performance packaging for food and define which types of packaging (bottles, trays, flexible bags, etc.) can be produced. Based on these tensile tests, the evolution of the mechanical properties of the materials over the processing cycles are summarized in Table 2, and the tensile stress vs. strain curves are shown in supporting data, Fig. S3.
These values confirm that PHBV can be considered as a brittle and stiff material, which exhibits low ductility due to its high crystallinity. Compared to other semi-crystalline polymers, mechanical properties of PHBV reflect a rigid and fragile behaviour from the first cycle. Over the processing cycles and especially after the third one, a slight increase in young’s modulus (~ 4.8%) and a decrease in both tensile strength (~ 8%) and strain at break (~ 25.2%) were observed. These variations indicate a reprocessing-induced embrittlement of PHBV. Most studies about reprocessing of biopolymers such as PLA, PBS or PHB reported that thermal reprocessing results in no or low influence on Young’s modulus, supposing that the value remains stable since the decrease of molecular weight is balanced by an increase of crystallinity [32, 33]. However, a gradual drop in the tensile strength and strain at break values are observed. In our case, the increase of crystallinity is less pronounced than the decrease of molecular weight, which may explain the slight variation of the Young’s modulus, but the decrease in tensile strength and strain at break revealed a decrease of mechanical properties, due to the polymer chain scission.
Yet, these modifications being limited, the reprocessed materials present sufficiently preserved performances for the targeted applications. In reality, the stiffness of PHBV limits its applications to the packaging of solid food, as trays or jars.
Transfer Properties
Oxygen and vapour permeability measurements are considered as indicator of barrier properties that reflect the effectiveness of the packaging in extending the shelf life of the packaged product. Figure 2 shows the evolution of the oxygen and water vapour permeability of PHBV films over the processing cycles, and demonstrates the lack of detrimental effect of the four successive reprocessing steps.
Oxygen permeability showed a slight downward trend although these variations are not significant. This is consistent with the slight increase of crystallinity (Table 1) as the permeation of molecules takes place in the amorphous phase. These values appear to be in agreement with previous measures reported on similar materials [34,35,36] and are characteristic of a good barrier material against gas and water vapour transfer, with low permeabilities (close to those of PET materials) [19]. A high variability of permeability measurements was observed which can be partially explained by the heterogeneity of the materials, induced during their thermoforming. It is worth noting that the small variation in material permeability (well below a factor of ten) does not impact the shelf life of the packaged food regardless of the system considered. Therefore, the reprocessing of PHBV did not have an influence on the performance of the packaging in terms of barrier properties.
Food Contact Suitability: Occurrence of Neo-formed Chemicals
As any material intended to come into contact with food, PHBV-based packaging must meet the inertness criteria defined in the European framework regulation (UE/1935/2004) and consequently must not transfer any substance that may present a danger for human health [22]. The issue of the suitability for food contact of a biosourced and biodegradable material such as PHBV cannot be raised on the same basis as a conventional plastic material since it is, in principle, free of additives. Therefore, compliance should be assessed on the unique basis of measuring the migration of non-intentionally added substances (NIAS). In the case of a compound present in the positive list of authorized substances (EU/10/2011), the migration of this substance must not exceed the specified specific migration limit that was set on the basis of toxicological data.
It is well-known that the thermomechanical degradation of PHVB obeys to random chain scission mechanism with crotonic acid (but-2-enoic acid) as one of the major low molecular weight degradation products [26, 27]. Crotonic acid is referenced in the positive list of authorized substances with a specific migration limit (SML) of 0.05 mg/kg food (CE/10/2011) [22]. As consequence and although food-grade PHBV contains in principle a concentration of crotonic acid below the permitted threshold [37], the production and release of crotonic acid in food over reprocessing cycles must be considered as a critical point of safety concern. All the more so as oligomers may migrate and be hydrolysed (in vivo or ex vivo) then further exposure could occur. As PHBV is a rigid and stiff material, its application is a priori limited to rigid packaging such as trays and jars, mainly dedicated to solid foodstuff (e.g. meat, cheese, yogurts or dry food). To simulate the foodstuff that could be packed in PHBV, three food simulants have been selected, namely, ethanol 95% for fatty food, acetic acid 3% for acid food and Tenax for dry food [22]. Table 3 summarizes the specific migration of crotonic acid in the different food simulants as function of processing cycle number.
Migration of crotonic acid in 95% ethanol, increased with the number of processing cycles, reaching 0.042 mg/Kg after the fourth cycle. However, in both 3% acetic acid and Tenax, the amount of crotonic acid was barely detectable by the methods used with values below of 0.01 mg/Kg in acetic acid 3% and less than 0.001 mg/Kg in tenax. These results indicate that crotonic acid resulting from the thermomechanical degradation of re-processed PHBV (see Table 1 for chain scission) is readily released in 95% ethanol, whereas it does not migrate into aqueous acetic acid and even less into solid food simulant. This is consistent with previous safety assessment of poly(hydroxybutyrate-co-hexanoate) (PHBH) from EFSA, where the overall migration and the specific migration of crotonic acid were evaluated in various food simulant [38, 39]. Overall migration was found to be higher in 95% ethanol while it was lower in 3% acetic acid and not detectable in tenax. These results confirm the conclusion of Angelier et al. (2020) [40] that, based on global migration measurements, contact with ethanol 95% constitutes the worst conditions of use for PHBV-based materials. In addition, EFSA has issued an opinion stating that EtOH 95% is not a suitable food simulant for such polar polymers and that migration into it should not be considered since it essentially gives total extraction [38].
From a regulatory stand-point, the specific migration of crotonic acid proves not exceed the specific migration limit of 0.05 mg/Kg in the three food simulants used in this study suggesting that, after four processing cycles, virgin PHBV (without additives) could be considered to have no health concerns. However, it is important to keep in mind that reprocessing of PHBV was conducted at laboratory small-scale and do not accurately reflect the industrial process conditions including, in particular, a potentially much longer residence time of the polymer in the extrusion chamber. As consequence, the values measured in food simulants must be regarded with care and attention as they could come alarmingly close to the SML after four processing cycles.
The assessment of the food contact suitability of PHA-based recycled materials is not currently covered by any EU directive or guidance from the European health authorities. For this reason, we need to be vigilant in assessing the risk associated with recycled PHBV materials by integrating the evaluation of neo-formed compounds and the evolution of inertness properties that evolve with the structural modifications generated by the thermal treatment cycles. We should not only apply the challenge test approach inspired by PET bottle-to-bottle recycling.
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https://robynsassenmyview.com/2019/08/28/in-love-under-a-dangerous-open-sky/
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en
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My View by Robyn Sassen and other writers
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2019-08-28T00:00:00
|
Rafiki, a lesbian love story in Kenya, directed by Wanuri Kahiu with cinematography by Christopher Wessels, tells of forbidden love onscreen and off
|
en
|
My View by Robyn Sassen and other writers
|
https://robynsassenmyview.com/2019/08/28/in-love-under-a-dangerous-open-sky/
|
THE COMPLEX AND oft blood-stained plight of people with sexual proclivities that digress from hetero-norms has waxed and waned for centuries all over the world. Queer people have alternatively been persecuted, raped, murdered and deemed illegal in society, as they have been embraced and lionised, before the circle turns again. But if you look at the legislation being ratified in various countries right now, and the LGBTIQA+ movement in other contexts, it’s clear that the pendulum still swings dizzily and a young black lesbian is still far from safe. Even on her own turf.
The Kenyan film Rafiki in both English and Swahili with English subtitles takes on all the issues relating to a homophobic society, but injects a bit of saccharine in the plot to make it palatable. It’s saccharine with an edge of scariness, however: this happy ending of the story was one of the reasons it was banned by the Kenyan government in 2018, on the charges that the work “promotes lesbianism” which is against the law in that country.
Like the stage production, No Easter Sunday for Queers, staged recently at the Market Theatre, and written by Koleko Putuma, there is a rich interweaving of not only the broader stretch of communal society, but of the church as well. There is true electricity between the quiet and doe-eyed Samantha Mugatsia as Kena opposite the vivacious Ziki (Sheila Munyiya), and the ripples in the community of the town of Slopes that their burgeoning sexual attraction garners.
Along the lines of Christiaan Olwagen’s Kanarie, the work is unrelenting in telling its tale, and pulls no punches in how it places Kena in a sexually ambiguous context in almost every frame. Yet, it does pull back on the horrors that young queer people can face at the hands of a mob. Given the situation in Kenya, that saccharine ending becomes a triumph in its own small way and a proverbial thumb in the eye for the establishment, giving lesbians a voice which is robust and outspoken, direct and real.
The story is loosely predictable but the quality of the cinematography nudges it up considerably as a work of great artistic merit. There are stills and moments which cast colours against one another, allow patterns to sway in the wind and embrace every bird that flies overhead that leaves you dizzy with its poetry. There’s an echo here with the way in which this film represents the idea of teen love with all its wild possibility and trembling passion, that is completely infectious.
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|||||
1028
|
dbpedia
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2
| 1
|
https://writerswithoutmoney.com/2016/01/03/jesus-of-montreal-1989/
|
en
|
Jesus of Montreal (1989)
|
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2016-01-03T00:00:00
|
I do not know if Jesus of Montreal is the best film about the life of Jesus ever made, but it's the best one I've ever seen. If the 1989 film by Canadian filmmaker Denys Arcand is far superior, not only to Mel Gibson's dreadful torture porn The Passion of the Christ, but also to…
|
en
|
Writers Without Money
|
https://writerswithoutmoney.com/2016/01/03/jesus-of-montreal-1989/
|
I do not know if Jesus of Montreal is the best film about the life of Jesus ever made, but it’s the best one I’ve ever seen. If the 1989 film by Canadian filmmaker Denys Arcand is far superior, not only to Mel Gibson’s dreadful torture porn The Passion of the Christ, but also to Martin Scorsese’s well-intentioned but ultimately flawed The Last Temptation of the Christ, then it has a lot to do with Lothaire Bluteau’s performance. Bluteau not only portrays Jesus. He embodies him, physically and spiritually, but the brilliance of Jesus of Montreal goes beyond Lothaire Bluteau. His co-stars Johanne-Marie Tremblay and Catherine Wilkening are almost as good. The writing, the cinematography, the score, the startlingly original concept behind the screenplay, everything about this film comes together to make it not only a profound exploration of the essence of Christianity, but probably the best movie of the 1980s.
That I have to give a “spoiler warning” about a movie that directly parallels the life of Christ, probably the most well-known story in history, will give you an idea of the inventive originality of Denys Arcand’s screenplay. Jesus of Montreal is a film you can watch over and over again, but it’s worth seeing it for the first time without knowing the various ways that Arcand re-stages the key events of the Gospels in Montreal in the 1980s. Perhaps the movie’s best scene, where Lothaire Bluteau flips over the tables of the money changers, reinvents the incident as a declaration of war of the avant guard against the degrading aesthetic of corporatized, mass culture. It also dramatizes the often hinted at romantic feelings between Jesus and Mary Magdalene in a way that’s not overtly sexual. In fact it’s the opposite. Jesus flies into a rage because he loves Mary, because he sees the idea of romantic love being bought and sold on the open market. Arcand manages to say in a few short minutes exactly what Martin Scorsese tried, and failed, to say in the three hours of the ongoing relationship between Willem Dafoe and Barbara Hershey in The Last Temptation of Christ. Indeed, to watch Jesus of Montreal right after you watch The Last Temptation of Christ feels a bit like going from the kind of ponderous Biblical epic Hollywood used to stage in the 1950s right to the French New Wave. It’s like seeing Breathless for the first time.
Jesus of Montreal opens in the middle of a play within a movie, a staging of a scene from Dostoevsky’s The Brother’s Karamazov. The audience is a caricature of the French Canadian bourgeois, cultural elite. The actor’s portrayal of Smerdyakov’s suicide is vivid and dramatic, as a staging of a suicide should be, but it also feels grotesque, overdone, kabuki-like. Arcand cranks up the sound so high, we almost feel relieved when the rope snaps his neck. After a woman in the audience remarks to her companion that she’d like to get the lead actor’s head for a TV commercial, a Biblically literate viewer will immediately recognize the allusion to Salome and John the Baptist, and probably notice how Arcand has set up the idea of the Roman occupation of Judea as the corporate mass culture that has colonized the minds of people in Quebec. “Here’s a better actor than I am,” the actor says, breaking off the conversation with the casting director to talk to Daniel Coulombe, Lothaire Bluteau, and reenacting the scene in the Gospels where John the Baptist passes the leadership of his movement onto Jesus.
Daniel Coulombe is a spare, intense 30-old-man with a subtle yet commanding presence. At one time a promising actor — he graduated first in his class as “the conservatory” — he disappeared for most of his 20s to travel in Asia. Now he has returned to Montreal to reestablish his career. He gets an opportunity to “start at the bottom” when and elderly priest named Father Leclerc, Gilles Pelletier, taps him to take over the passion play at the St. Joseph’s Oratory, an ethereal white cathedral modeled after The Sacré-Cœur Basilica in Paris and located on the commanding heights of Mont Royal, one of the highest places in the city of Montreal. While viewing videotapes of the old production of the passion play, Daniel notices Constance, a friend from acting school he immediately decides to bring over to the new one. Together they gather a gifted cast from the marginally employed bohemian community of the city, a man who does voice overs for pornographic films, another man who does narratives for a local planetarium, and, most important of all, Mireille, a young woman who works in advertising.
Mireille, the film’s Mary Magdalene played by Catherine Wilkening, is physically beautiful, but dead inside. Indeed, the first time we see her — she’s filming a perfume commercial — she quite literally looks like a zombie, sleepwalking through life as she hangs out of her skimpy clothes. Mireille, who’s in an abusive relationship with yet another casting director named Jerzy — he tells her she’d “give a paraplegic a hard on” but has contempt for her intelligence — surprisingly decides to sign on with Daniel Coulombe, to give up a potentially lucrative career for a part that pays almost nothing. Daniel, meanwhile, has rewritten the script of the passion play to put it more in line with the latest secular research on the life of the historical Jesus. Jesus is no longer the product of a virgin birth. He’s the illegitimate son of a single mother and a Roman soldier. There are long, educational passages about how the idea of “the Christ” was developed over time. Jesus, for example, was originally portrayed as a clean shaved youth. Only later, after Justinian became the emperor of the Byzantines, did artists begin to paint him with a beard, which was considered a sign of power in the Byzantine Empire. Daniel painstakingly studies the image of the cross, something the early Christians considered too horrifying to paint or discuss, only emerging as part of Christian iconography 500 years after the death of the historical Jesus.
The first production of Daniel Coulombe’s rewrite of the passion play is a smashing success. Coulombe, like a Catholic version of John Cassavetes, has allowed his actors to develop the script along with their performances. The results are startling. Mireille is transformed from an insecure young woman who thinks men see her as nothing but a sex object, to a genuine artist, confident in her abilities. Their little group has, in effect, become the mirror image of Jesus and the 12 apostles. They are not only dramatizing the Gospels. They are living the Gospels. Daniel’s portrayal of Jesus is so powerful that a woman in the audience, a black Haitian immigrant, tries to rush past the St. Joseph Oratory’s security staff to touch his cloak, precisely the way the non-Jewish woman in the Gospels broke through Jesus’ followers to touch his cloak, and be healed of her disease. The “Passion on the Mount” becomes the toast of Montreal. Even though the city’s bourgeois cultural establishment doesn’t fully understand what they have seen, they do understand that they have witnessed something of tremendous significance. It’s hard not to have the same impression. Arcand’s fictional passion play has a sombre, powerful beauty even for those of us who aren’t very religious. I was raised Christian, and I’ve studied the Bible and the history of Jesus, but I became thoroughly convinced as I was watching Jesus of Montreal that until Denys Arcand put the Gospels up on screen, I had never really understood what Christianity meant.
Unfortunately for Daniel Coulombe, Father Leclerc, who becomes the film’s Judas, understands all too well what he’s seen, that the real message of Christianity, at least before it was co-opted by the Roman Empire, was subversive, revolutionary. Daniel Coulombe, has not only made him insecure for his privileged position at a basilica in a major city — he’s terrified of ending up as the chaplain of a nursing home in Winnipeg — but that the established church is a fraud. The true spirit of the Christian religion is maintained, not by a hierarchy of priests, but by a poor artist and his bohemian followers. The Passion on the Mount has convinced Leclerc that he is a Pharisee and that Coulombe and his acting troupe are Jesus and the twelve apostles. Like Judas, therefore, he betrays the Christ, arranges for the Passion on the Mount to be shut down. For the film’s viewers, Leclerc’s betrayal is powerfully affecting. We want to see the Passion on the Mount again as badly as Daniel and his actors want to put it on again. For Daniel, Mireille, and Constance, the object isn’t to become rich and famous. Indeed, they don’t care if they completely destroy whatever careers they could have had in whatever mainstream culture Montreal has — which we’re told is a backwater compared to New York, Paris, or Los Angeles anyway — but to feel the emotions that putting on the passion play helps them experience. Money means nothing. Their little community, the mirror image of the small groups of social misfits who founded the Christian religion, means everything.
As Daniel and his actors fight the authorities at the St. Joseph’s Oratory to put on one more production of the Passion on the Mount, something quite magical happens. While doing the research for his screenplay, Daniel had met an otherworldly librarian, a woman with a far off look in her eyes and a passionate interest in his project, who had told him “you don’t come to Jesus. Jesus comes to you.” We begin to see that her prediction has come true. Daniel is no longer merely an actor. The spirit of Jesus himself seems to have entered his body, and he only half consciously begins to act out the journey Jesus took in the Gospels in secular, capitalist Montreal. Lothaire Bluteau is a small man, about 5’8” or 5’9” and all of 140 pounds, but he seems to embody an authority far beyond his size, or years. Indeed, when he chases the money changers out of the temple, attacks a group of cynical, and misogynistic advertising industry executives who have insulted Mireille we understand exactly why they run away. He’s not just an actor who has temporarily gone berserk. He’s the embodiment of a terrifying power, offended love transformed into indignation. When he’s arrested and hauled in front of a criminal court judge played by Arcand himself, we can’t but help see the historical Jesus testify before Pontius Pilate. When a smooth, corporate lawyer tries to tempt him with money and power in the mainstream media, we see Satan in the wilderness. After Daniel is quite literally martyred and resurrected in a way that Arcand manages to achieve with absolutely no appeal to the supernatural we get to see his followers, the early Christians, tempted, and corrupted, by the same smooth, corporate lawyer, no longer Satan, but now the Roman Empire.
Denys Arcand, however, ends the film with a glimpse of the kind of person he sees as the key to keeping the message of the early Christians alive, the marginal artist, the misfit who creates, not out of any desire for fame or money, but for spiritual enlightenment. The closing scene of Jesus of Montreal mirrors the opening scene. During the opening credits, we had seen two women, church musicians, singing the Stabat Mater inside the magnificent St. Joseph Oratory. The film closes with the same two women, still singing the Stabat Mater, only now in the street, continuing to practice their art outside of the institution that rejected, then finally destroyed Daniel Coulombe. The spirit of Christ has fallen from the Mount of St. Joseph’s only to be resurrected in the voices of two buskers in the Montreal subway. Denys Arcand, perhaps the greatest of all Christian filmmakers, has blessed and anointed the most marginal of all artists to carry on his legacy.
|
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1028
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dbpedia
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0
| 12
|
https://discover.salinapubliclibrary.org/Record/143705%3FsearchId%3D5390222%26recordIndex%3D2%26page%3D1
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en
|
Salina Public Library
|
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1028
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dbpedia
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3
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https://www.imdb.com/title/tt8286894/awards/
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en
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Rafiki (2018)
|
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"Using vibrant cinematography and the energetic rhythms of 90s house music to directly oppose its bleak setting of a grey post - Soviet era, the jury has selected the Belarussian film "Crystal Swan". This feature debut of young female director Darya Zhuk is made with talent and promising professional skills. Crystal Swan is a fascinating study of the post-communist youth."
"A marvelously vivid film filled with color and hope, Rafiki was initially banned in its native Kenya for its sensitive, gripping portrayal of two young women falling in love across boundaries of class, politics, and mobility. Its undying heart, however, cements its narrative vitality in a period global human rights retrenchment."
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Historiographical Approaches to Monasticism in the Long Twelfth Century (Chapter 34)
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To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.
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Hispanic Issues (HI) is a refereed book series in English touching on theoretical and methodological issues toward a reconfiguration of Hispanic and Lusophone cultural history and criticism. Since its inception in 1986, the series has been published by major scholarly presses, including Minnesota, Routledge, and, currently, Vanderbilt.
Volumes from Vanderbilt University Press
These volumes may be purchased directly from the Vanderbilt University Press.
Volume 42: Ethics of Life: Contemporary Iberian Debates
Edited by Katarzyna Beilin and William Viestenz
Introduction
Ethics of Life: Contemporary Iberian Debates
Katarzyna Beilin and William Viestenz
Part I. Genealogies of Ecological and Animal Rights Movements in Modern and Contemporary Iberia
The Environment in Literature and the Arts in Spain
Carmen Flys-Junquera and Tonia Raquejo
Nunca Máis: Ecological Collectivism and the Prestige Disaster
John H. Trevathan
Part II. Ecological Crisis and the Neoliberal Appropriation of Public Space
Tourism and Quality of Life at the End of Franco's Dictatorship
Eugenia Afinoguénova
Die and Laugh in the Anthropocene: Disquieting Realism and Dark Humor in Biutiful and Nocilla experience
Katarzyna Olga Beilin
Cultivating the Square: Trash, Recycling, and the Cultural Ecology of Post-Crisis Madrid
Matthew Feinberg and Susan Larson
Degrowth and Ecological Economics in Twenty-First-Century Spain: Toward a Posthumanist Economy
Luis I. Prádanos
Part III. Iberian Bio-Power: Life as a Political Matter
Reproductive Rights in Spain: From Abortion Tourism to Reproduction Destination
Pablo de Lora
Mar adentro and the Question of Freedom
Paul Begin
Still Different? Biotechnology, Politics, and Culture in Spain
Sainath Suryanarayanan and Katarzyna Olga Beiling
Part IV. Reassembling the Archive through the Concept of Life
Iberian Cultural Studies beyond the Human: Exploring the Life History of Marcos Rodríguez Pantoja in Spanish Anthropology and Popular Film
Daniel Ares López
The Bull Also Rises: The Political Redemption of the Beast in La pell de brau by Salvador Espriu
William Viestenz
Animals in Contemporary Spanish Newspapers
John Beusterien
Accounting for Violence, Counting the Dead: The Civil War and Spain's Political Present
Sebastiaan Faber
Afterword
Spain: Taking the Alternative?
Martín López-Vega and Luis Martín-Estudillo
Volume 41: In and Of the Mediterranean
Edited by Michelle M. Hamilton and Nuria Silleras-Fernandez
The Iberian Peninsula has always been an integral part of the Mediterranean world, from the age of Tartessos and the Phoenicians to our own era and the Union for the Mediterranean. The cutting-edge essays in this volume examine what it means for medieval and early modern Iberia and its people to be considered as part of the Mediterranean.
Introduction
Iberia and the Mediterranean: An Introduction
Michelle M. Hamilton and Nuria Silleras-Fernández
Christian-Muslim-Jewish Relations, Medieval “Spain,” and the Mediterranean: An Historiographical Op-Ed
Brian A. Catlos
The Role of Jews, Muslims, and Christians in Iberia in the Transmission of Knowledge about Islam to the Western World: A Comparative Perspective
Gerard Wiegers
The Princess and the Palace: On Hawwa’ bint Tashufin and Other Women from the Almoravid Royal Family
Manuela Marín
Medieval Mediterranean Travel as an Intellectual Journey: Seafaring and the Pursuit of Knowledge in the Libro de Apolonio
Nicholas M. Parmley
Between the Seas: Apolonio and Alexander
Simone Pinet
The Catalan Standard Language in the Mediterranean: Greece versus Sardinia in Muntaner’s Crònica
Vicente Lledó-Guillem
Empire in the old World: Ferdinand the Catholic and His Aspiration to Universal Empire, 1479–1516
Andrew W. Devereux
Singing the Scene of History in Fernão Lopes
Josiah Blackmore
The Most marueilous historie of the Iewes: Historiography and the “Marvelous” in the Sixteenth Century
Eleazar Gutwirth
Reading Amadís in Constantinople: Imperial Spanish Fiction in the Key of Diaspora
David A. Wacks
Apocalyptic Sealing in the Lozana Andaluza
Ryan D. Giles
Expanding the Self in a Mediterranean Context: Liberality and Deception in Cervantes’s El amante liberal
Luis F. Avilés
Intimate Strangers: Humor and the Representation of Difference in Cervantes’s Drama of Captivity
Barbara Fuchs
Afterword
Ebbs and Flows: Looking at Spain from a Mediterranean Perspective
Luis Martín-Estudillo and Nicholas Spadaccini
Volume 40: Coloniality, Religion, and the Law in the Early Iberian World
Edited by Santa Arias and Raúl Marrero-Fente
From postcolonial, interdisciplinary, and transnational perspectives, this collection of original essays looks at the experience of Spain's empire in the Atlantic and the Pacific and its cultural production.
Introduction
Negotiation between Religion and the Law
Santa Arias and Raúl Marrero-Fente
Part I. Politics
José de Acosta: Colonial Regimes for a Globalized Christian World
Ivonne del Valle
Conquistador Counterpoint: Intimate Enmity in the Writings of Bernardo de Vargas Machuca
Kris Lane
Voices of the Altepetl: Nahua Epistemologies and Resistance in the Anales de Juan Bautista
Ezekiel Stear
Performances of Indigenous Authority in Postconquest Tlaxcalan Annals: Don Juan Buenaventura Zapata y Mendoza’s Historia cronológica de la noble ciudad de Tlaxcala
Kelly S. McDonough
Part II. Religion
Translating the “Doctrine of Discovery”: Spain, England, and Native American Religions
Ralph Bauer
Narrating Conversion: Idolatry, the Sacred, and the Ambivalences of Christian Evangelization in Colonial Peru
Laura León Llerena
Old Enemies, New Contexts: Early Modern Spanish (Re)-Writing of Islam in the Philippines
Ana M. Rodríguez-Rodríguez
Art That Pushes and Pulls: Visualizing Religion and Law in the Early Colonial Province of Toluca
Delia A. Cosentino
Part III. Law
The Rhetoric of War and Justice in the Conquest of the Americas: Ethnography, Law, and Humanism in Juan Ginés de Sepúlveda and Bartolomé de Las Casas
David M. Solodkow
Human Sacrifice, Conquest, and the Law: Cultural Interpretation and Colonial Sovereignty in New Spain
Cristian Roa
Legal Pluralism and the “India Pura” in New Spain: The School of Guadalupe and the Convent of the Company of Mary
Mónica Díaz
Our Lady of Anarchy: Iconography as Law on the Frontiers of the Spanish Empire
John D. (Jody) Blanco
Afterword
Teleiopoesis at the Crossroads of the Colonial/Postcolonial Divide
José Rabasa
Volume 39: Poiesis and Modernity in the Old and New Worlds
Edited by Anthony J. Cascardi and Leah Middlebrook
This broad-ranging exploration argues that there was a special preoccupation with the nature and limits of poetry in early modern Spain and Europe, as well as especially vigorous poetic activity in this period. Contrary to what one might read in Hegel, the "prosification" of the world has remained an unfinished affair.
Introduction
Anthony J. Cascardi and Leah Middlebrook
Part I. Poiesis on the Threshold of Modernity
Poiesis and Modernity at the Turn of the Spanish Sixteenth Century: Luís Alfonso de Carvallo and the Cisne de Apolo (1602)
Leah Middlebrook
“Orphic Fictions”: Poesía and Poiesis in Cervantes
Anthony J. Cascardi
Spiders and Flies: Imagining "The World" in Early Modern European Natural Philosophy
Christopher Braider
Encyclopedism, Poiesis and Modernity
Marina S. Brownlee
From the Bibliotheca, to the Garden, and the Graveyard: Origins of the Poiesis of the Fantastic in Late Sixteenth-Century Miscellanea
David Castillo
Part II. Case Studies: Poesía and Poiesis
Writing Religion: Sacromonte and the Literary Conventions of Orthodoxy
Seth Kimmel
Scrutinizing Early Modern Warfare in Latin Hexameters: the Austrias Carmen of Joannes Latinus (Juan Latino)
Elizabeth R. Wright
Ribera’s Sagradas Poesías as Poiesis of Modernity in Colonial Potosí
Leonardo García Pabón
Part III. English and European Contexts
“A Super-Political Concernment”: Evolution and Revolution of Inward Light from Juan de Valdés to John Locke
Julian Jiménez Heffernan
Failed New World Epics in Baroque Italy
Nathalie Hester
How to Reconquer Poiesis? Florian’s Gonzalve de Cordoue ou Grenade Reconquise (1791)
Fabienne Moore
The Opacity of Language and the Transparency of Being: On Góngora's Poetics
William Egginton
Sense and Equivalence in Góngora and the Spanish Mystics: a Credit Crisis
Julio Baena
Afterword
Bradley J. Nelson
Volume 38: Spectacle and Topophila: Reading Early Modern and Postmodern Hispanic Cultures
Edited by David R. Castillo and Bradley J. Nelson
This volume explores the intersection between theories of the modern spectacle—from Jose Antonio Maravall's conceptualization of the spectacular culture of the baroque to the Frankfurt School's theorization of mass culture, to Baudrillard's notion of the simulacrum, to Guy Debord's understanding of the society of the spectacle—and the findings of the emerging fields of urban studies, landscape studies, and, generally speaking, studies of space.
Introduction
Modern Scenes/ Modern Sceneries
David R. Castillo and Bradley J. Nelson
Part I. Foundational Landscapes
Monumental Landscapes in the Society of the Spectacle: From Fuentovejuna to New York
David R. Castillo
“Granada”: Race and Place in Early Modern Spain
William Childers
Agi Morato’s Garden as Heterotopian Place in Cervantes’s Los baños de Argel
Moisés R. Castillo
Signs of the Times: Emblems of Baroque Science Fictions
Bradley J. Nelson
“The Knowledge of This People”: Mapping a Global Consciousness in Catalonia (1375–2009)
Colleen P. Culleton
Part II. Modern(ist) Sceneries
Topofilia Porteña: Imaging Buenos Aires and Modernity in (and around) the Journal Sur
Justin Read
Horacio Coppola: The Photographer’s Urban Fervor
David William Foster
Seeing “Spain” at the 1893 Chicago World (Columbian) Exhibition
Catherine Vallejo
Exhausted Cosmopolitanism in Zamacois’s Memorias de un vagón de ferrocarril
Robert A. Davidson
Part III. National Panoramas
Cultural Landscapes: Luis Cernuda’s Exiled Poetry
Goretti Ramírez
Francoist Spaces: Un hombre va por el camino (Manuel Mur Oti, 1948) and Surcos (José Antonio Nieves Conde, 1951)
Luis Mariano González
The Spectacle of a National Trauma: Gaze, Space, National identity, and Historical Memory in Democratic Spain
Carmen Moreno-Nuño
Afterword
Tom Conley
Volume 37: New Spain, New Literatures
Edited by Luis Martín-Estudillo and Nicholas Spadaccini
This volume, which includes essays on Catalonia, the Basque country, and Galicia, and literature written by African immigrants, focuses on issues of "difference" that are at the center of current debates in Spain and elsewhere—the emergence of minoritzed literatures, multilingualism and identity, new relationships between culture and institutions, the negotiation of historical memories, the connections between migrations and the redefinition of nationhood, and the impact of global trends on local symbolic systems.
Introduction
Contemporary Spanish Literatures: Enduring Plurality
Luis Martín-Estudillo and Nicholas Spadaccini
Part I. New Mappings/ New Cartographies
On Rivers and Maps: Iberian Approaches to Comparatism
Enric Bou
Peripheral Being, Global Writing: The Location of Basque Literature
Mari Jose Olaziregi
Galician Writing and The Poetics of Displacement: Ramiro Fonte’s A rocha dos proscritos
Kirsty Hooper
Memory and Urban Landscapes in Contemporary Catalan Theater
Jennifer Duprey
The New Capital of Spanish Literature: The Best Sellers
Maarten Steenmeijer
Part II. Institutions and Literatures
A Hispanist’s View of Changing Institutions, or About Insects and Whales
Randolph Pope
Political Autonomy and Literary Institutionalization in Galicia
Dolores Vilavedra
Tensions in Contemporary Basque Literature
Jon Kortazar
The Persistence of Memory: Antonio Gamoneda and the Literary Institutions of Late Modernity
Jonathan Mayhew
Part III. Challenging Identities
The Curse of the Nation. Institutionalized History and Literature in Global Spain
Gonzalo Navajas
Postmodernism and Spanish Literature
María del Pilar Lozano Mijares
African Voices in Contemporary Spain
Cristián Ricci
From Literature to Letters: Rethinking Catalan Literary History
Stewart King
The Space of Politics: Nation, Gender, Language and Class in Esther Tusquets’ Narrative
Laura Lonsdale
Afterword
Regarding the Spain of Others: Sociopolitical Framing of New Literatures/Cultures in Democratic Spain
Germán Labrador Méndez
Volume 36: Latin American Jewish Cultural Production
Edited by David William Foster
This collection of essays explores the significant contributions to cultural production and the arts, as well as the considerable presence in academic and intellectual circles of Jews in Latin America.
Introduction
Latin American Jewish Cultural Production
David William Foster
Part I. Latin American Jewish Identity
Notes Concerning Jewish Identity in Brazil: From Word to Image
Berta Waldman
“Israel”: An Abstract Concept or Concrete Reality in Recent Judeo-Argentinean Narrative?
Amalia Ran
Beyond Exotic: Jewish Mysticism and the Supernatural in the Works of Alejandro Jodorowsky
Ariana Huberman
Part II. The Literary Record
Writing on the Shoah in Brazil
Márcio Seligmann-Silva
Judaic Traces in the Narrative of Clarice Lispector: Identity Politics and Evidence
Naomi Lindstrom
Argentina’s Wandering Jews: Judaism, Loyalty, Text, and Homeland in Marcelo Birmajer’s Tres mosqueteros
Sarah Giffney
Part III. The Plastic Arts
Spectacle and Spirituality: The Cacophony of Objects, Nelson Leirner (b. 1932)
Laura Felleman Fattal
Text and the City: Design(at)ing Post-Dictatorship Memorial Sites in Buenos Aires
Janis Breckenridge
Part IV. Film and Photography
Mexican Women, Jewish Women: Novia que te vea from Book to Screen and Back Again
Ilene S. Goldman
Catastrophe and Periphery: July 18, 1994, and September 11, 2001, on Film
Hernán Feldman
Madalena Schwartz: A Jewish Brazilian Photographer
David William Foster
Afterword
Identifying Jewishness
Edward H. Friedman
Volume 35: Post-Authoritarian Cultures: Spain and Latin America's Southern Cone
Edited by Luis Martín-Estudillo and Roberto Ampuero
This volume explores the role played by culture in the transition to democracy in Latin America's Southern Cone (Argentina, Uruguay, Chile) and Spain, with a focus on opposing stances of acceptance and defiance by artists and intellectuals in post-authoritarian regimes.
Introduction
Consent and its Discontents
Luis Martín-Estudillo and Robert Ampuero
Part I. Contesting Power, Forging Commitment
Democratic Culture and Transition in Chile
Jorge Edwards
Writing from the Margins of the Chilean Miracle: Diamela Eltit and the Aesthetics and Politics of the Transition
Juliet Lynd
The Riders Get Off the Horse: David Viñas and the Demise of the Authoritarian Argentine Military
Hans-Otto Dill
A Journey through the Desert: Trends of Commitment in Contemporary Spanish Poetry
Luis Bagué Quílez
Part II. Interrogating Memories
Testimonial Narratives in the Argentine Post-Dictatorship: Survivors, Witness, and the Reconstruction of the Past
Ana Forcinito
Tejanos: The Uruguayan Transition Beyond
Gustavo A. Remedi
Dancing with Destruction: Pop Music during the Spanish Transition
Antonio Méndez-Rubio
Popular Filmic Narratives and the Spanish Transition
Germán Labrador Méndez
Part III. Looking In/Looking Out: Negotiating Identities
Staged Ethnicity, Acted Modernity: Identity and Gender Representations in Spanish Visual Culture (1968–2005)
Estrella de Diego
Creating a New Cohesive National Discourse in Spain after Franco
Carsten Humlebæk
Intellectuals, Queer Culture, and Post-Military Argentina
David William Foster
Some Notes on International Influences on Transition Processes in the Southern Cone
Heinrich Sassenfeld
Afterword
David William Foster
Volume 34: Spanish and Empire
Edited by Nelsy Echávez-Solano and Kenya C. Dworkin y Méndez
Essays in this volume deal with the historical, linguistic, and ideological legacy of the Spanish Empire and its language in the New World.
Introduction
Revisiting Spanish and Empire
Nelsy Echávez-Solano and Kenya C. Dworkin y Méndez
Part I. Imperial Legacy—Language and Power in the Spanish Colonial Sphere
Languages, Catholicism, and Power in the Hispanic Empire (1500–1770)
Juan R. Lodares
Echoes of the Voiceless: Language in Jesuit Missions in Paraguay
Fernando Ordóñez
Languages and Imperial Designs in the Andes
Juan C. Godenzzi
Part II. Language and Resistance—The Fight for National and Individual Identities
Exploring the Problematics of Non-Castilian Emigration to the Americas through la vida cuartizada of Joan/Juan Torrendell
Thomas Harrington
The Foxes by José María Arguedas: A Death Warrant for Perú’s Modern National Project
José Antonio Giménez Micó
Nuyorican Poetry, Tactics for Local Resistance
Susan M. Campbell
Latino, Latin American, Spanish American, North American, or All at the Same Time?
Edmundo Paz-Soldán
Part III. Spanish in the Era of Multiculturalism and Globalization
Language Imperialism and the Spread of Global Spanish
Clare Mar-Molinero
Signs of Empire in Mexican Graphic Narrative: A Research Agenda
Bruce Campbell
Spanish, English, or Spanglish? Truth and Consequences of U.S. Latino Bilingualism
John M. Lipski
Language and Empire: A Conversation with Ilan Stavans
Ilan Stavans and Verónica Albin
Afterword
Spanish among Empires
Luis Martín-Estudillo and Nicholas Spadaccini
Volume 33: Generation X Rocks: Contemporary Peninsular Fiction, Film, and Rock Culture
Edited by Christine Henseler and Randolph D. Pope
Essays in this volume explore the popular cultural effects of rock culture on high literary production in Spain in the 1990s.
Introduction
Generation X and Rock: The Sounds of a New Transition
Christine Henseler and Randolph D. Pope
Part I. Rocking the Academy: Generation X Narratives
A Distopian Culture: The Minimalist Paradigm in the Generation X
Gonzalo Navajas
The Pistols Strike Again! On the Function of Punk in the Peninsular “Generation X” Fiction of Ray Loriga and Benjamín Prado
Paul D. Begin
What We Talk About When We Talk about Dirty Realism in Spain
Cintia Santana
Part II. Can Anyone Rock Like We Do?: Sex, Drugs, and Rock & Roll, Then and Now
Can Anyone Rock Like We Do? Or, How the Gen X Aesthetic Transcends the Age of the Writer
Samuel Amago
Apocalypses Now: The End of Spanish Literature? Reading Payasos en la lavadora as Critical Parody
Luis Martín-Cabrera
Not Your Father’s Rock and Roll: Listening to Transitional/Eighties Writers and Generation X
Elizabeth Scarlett
Part III. Historias del Kronen on the Rocks
Between Rock and the Rocking Chair: The Epilogue’s Resistance in the Historias del Kronen
Randolph D. Pope
Realism on the Rocks in the Generational Novel: “Rummies,” Rhythm, and Rebellion in Historias del Kronen and The Sun Also Rises
Matthew J. Marr
Part IV. Rocking the Road with Ray Loriga
Reckless Driving: Speed, Mobility, and Transgression in the Spanish “Rock ‘n’ Road” Novel
Jorge Pérez
Television and the Power of Image in Caídos del cielo and La pistola de mi hermano by Ray Loriga
Kathryn Everly
Rocking around Ray Loriga’s Héroes: Vide-Clip Literature and the Televisual Subject
Christine Henseler
Part V. The Soundtrack of Gender: Violating Visions and the Psychological Power of Rock
Watching, Wanting, and the Gen X Soundtrack of Gabriela Bustelo’s Veo Veo
Nina Molinaro
Saved by Art: Entrapment and Freedom in Icíar Bollaín’s Te doy mis ojos
Linda Gould Levine
Afterword
The Moment X in Spanish Narrative (and Beyond)
Luis Martín-Estudillo
Volume 32: Reason and Its Others Italy, Spain, and the New World
Edited by David R. Castillo and Massimo Lollini
By exploring manifestations of normative and non-normative thinking in the geopolitical and cultural contexts of Early Modern Italy, Spain, and the American colonies, this volume hopes to encourage interdisciplinary discussions on the Early Modern notions of reason and unreason, good and evil, justice and injustice, center and periphery, freedom and containment, self and other.
Introduction: Reason and Its Others in Early Modernity (A View from the South)
David Castillo and Massimo Lollini
Part I. Of Walls and Windows: Containment Machines and the Drive Towards the Unknown
The Telescope in the Baroque Imagination
Andrea Battistini
Descartes in Naples: The Reception of Passions de l’âme
Silvia Contarini
Fernando de Herrera Invented the Internet: Technologies of Self-Containment in the Early Modern Sonnet
Leah Middlebrook
A Ritual Practice for Modernity: Baltasar Gracián’s Organized Body of Taste
Bradley Nelson
An Unreasonable Journey? The Place of Europe and Italy in Francesco Negri’s Viaggio settentrionale
Nathalie Hester
Baroque Sapphic Poetry: A Feminist Road Not Taken
Dianne Dugaw and Amanda Powell
Part II. Of Houses and Cities: Early Modern Spaces and the Aporias of Baroque Reason
The Foreigner and the Citizen: A Dialogue on Good Government in Spanish Naples
John A. Marino
The Baroque Public Sphere
William Childers
Reason’s Baroque House (Cervantes, Master Architect)
William Egginton
Spanish Mannerist Detours in the Mapping of Reason: Around Cervantes’ Novelas Ejemplares
Julio Baena
The Genealogy of the Sublime in the Aesthetics of the Spanish Baroque
Anthony J. Cascardi
Part III. The West Wing: America and the Frontiers of Reason
Sacrificial Politics in the Spanish Colonies
Fernando R. de la Flor
Bartolomé de las Casas on Imperial Ethics and the Use of Force
George Mariscal
Imperialism and Anthropophagy in Early Modern Spanish Tragedy: The Unthought Known
Margaret Greer
Reason and Utopia at the Imperial Borders: Modernity/Coloniality in the Jesuits’ Reducciones in Paraguay
Fernando Ordoñez
Universal History: Vico’s New Science between Antiquarians and Ethnographers
Giuseppe Mazzotta
Afterword: Reasoning the Other
Luis Martín-Estudillo and Nicholas Spadaccini
Volume 31: Hispanic Baroques: Reading Cultures in Context
Edited by Nicholas Spadaccini and Luis Martín-Estudillo
The essays focus on the Baroque as a concept and category of analysis which has been central to an understanding of Hispanic cultures during the last several hundred years.
Introduction: The Baroque and the Cultures of Crises
Nicholas Spadaccini and Luis Martín-Estudillo
Part I. The Baroque and Its Dark Sides
On the Notion of a Melancholic Baroque
Fernando R. de la Flor
Aesthetic Categories as Empire Administration Imperatives: The Case of the Baroque
Hernán Vidal
Part II. Baroque Anxieties and Strategies of Survival
Of Baroque Holes and Baroque Folds
William Egginton
Models of Subjectivity in the Spanish Baroque: Quevedo and Gracián
Fernando Ordóñez
Horror (Vacui): The Baroque Condition
David R. Castillo
Part III. Institutions of Subjectivities in Baroque Spain
From Hieroglyphic Presence to Representational Sign: An Other Point of View in the Auto Sacramental
Bradley J. Nelson
The Challenges of Freedom: Social Reflexivity in the Seventeenth-Century Spanish Literary Field
Carlos M. Gutiérrez
Revisiting the Culture of the Baroque: Nobility, City, and Post-Cervantine Novella
Nieves Romero-Díaz
Part IV. Strategies of Identity in the Colonial Context
Perspectives on Mestizaje in the Early Baroque: Inca Garcilaso and Cervantes
Silvia B Suárez
Freedom and Containment in Colonial Theology: Sor Juana’s Carta atenagórica
Paola Marín
Sleeping with Corpses, Eating Hearts, and Walking Skulls: Criollo’s Subjectivity in Antonio dela Calancha and Bartolomé Arzans de Orsúa y Vela
Leonardo García-Pabón
Part V. The Baroque and Its Transgressive Recyclings
Baroque/Neobaroque/Ultrabaroque: Disruptive Readings of Modernity
Mabel Moraña
Afterword: Redressing the Baroque
Edward H. Friedman
Volume 30: Ideologies of Hispanism
Edited by Mabel Moraña
Bringing together contributions from top specialists in Hispanic studies—both Peninsular and Latin American—this volume explores a variety of critical issues related to the historical, political, and ideological configuration of the field. Dealing with Hispanism in both Latin America and the United States, the volume's multidisciplinary essays range from historical studies of the hegemonic status of Castillian language in Spain and America to the analysis of otherness and the uses of memory and oblivion in various nationalist discourses on both sides of the Atlantic. Wide-ranging though they are, these essays are linked by an understanding of Hispanism as a cultural construction that originates with the conquest of America and assumes different intellectual and political meanings in different periods, from the time of national cultural consolidation, to the era of modernization, to the more recent rise of globalization.
Introduction
Mapping Hispanism
Mabel Moraña
Part I. Constructions of Hispanism: The Spanish Language and Its Others
Spanish in the Sixteenth Century: The Colonial Hispanization of Andean Indigenous Languages and Cultures
Lydia Fossa
The Pre-Columbian Past as a Project: Miguel León Portilla and Hispanism
Ignacio M. Sánchez-Prado
“La hora ha llegado”: Hispanism, Pan-Americanism, and the Hope of Spanish/American Glory (1938–1948)
Sebastiaan Faber
Part II. Consolidation and Transformations of Hispanism: Ideological Paradigms
Rapping on the Cast(i)le Gates: Nationalism and Culture-Planning in Contemporary Spain
Thomas Harrington
Beyond Castro and Maravall: Interpellation, Mimesis, and the Hegemony of Spanish Culture
Anthony J. Cascardi
Whose Hispanism? Cultural Trauma, Disciplined Memory, and Symbolic Dominance
Joan Ramon Resina
Part III. Latin Americanism and Cultural Critique
Latin America in the U.S. Imaginary: Postcolonialism, Translation, and the Magic Realist Imperative
Sylvia Molloy
Mules and Snakes: On the Neo-Baroque Principle of De-Localization
Alberto Moreiras
Keeping Things Opaque: On the Reluctant Personalism of a Certain Mode of Critique
Brad Epps
Part IV. Hispanism/LatinAmericanism: New Articulations
Xenophobia and Diasporic Latin Americanism: Mapping Antagonisms Around "the Foreign"
Idelber Avelar
Hispanism in an Imperfect Past and an Uncertain Present
Nicolas Shumway
Hispanism and Its Lines of Flight
Román de la Campa
Afterword
Nicholas Spadaccini
Volumes from Garland/Routledge
Volume 29: The State of Latino Theater in the United States: Hibridity, Transculturation, and Identity
Ed. Luis A. Ramos-García
This collection investigates the politics of cultural pluralism and identity construction within the increasingly outspoken Latino theater community in the United States. The essays reveal the nurturing relationships between people, theater, and culture that have allowed Chicano, Nuyorican/Puerto Rican, Cuban, Cuban-American, and other Latino artists to gain critical and professional respect in recent years. Works by influential writers, such as Rodrigo Duante, Cherrie Moraga, Javier Cardona, John Leguizamo, and José Rivera are analyzed in historical context, along with the trajectories of pioneering theater groups, including Pregones, The Puerto Rican Travelling Group, Teatro Campesino, Intar Theater, La Tea, and Repertorio Español.
Introduction
U.S.-Latino Theater: Confronting the Issues
Luis A. Ramos-García
Latino Theater in the United States: “The Importance of Being the Other”
Beatriz J. Rizk
Still Treading Water: Recent Currents in Chicano Theater
Marcos Martínez
Re-visiting Chicana Cultural Icons: From Sor Juana to Frida
Alberto Sandoval-Sánchez and Nancy Saporta Sternbach
From El Teatro Campesino to the Gay 1990s: Transformations and Fragments in the Evolution in Chicano/a Latina/o Theater and Performance Art
M. Teresa Marrero
The Encounter of Two Cultures in the Play Doña Rosita’s Jalapeño Kitchen (Or, the Representation of Cultural Hybridity)
Eduardo Cabrera
Nostalgia in Cuban Theater across the Shores
Patricia González
Transculturation and Its Discontents: Manuel Martín’s Union City Thanksgiving
Elsa M. Gilmore
Cuban Theater, American Stage: Before Exile
Kenya C. Dworkin y Méndez
When the Subaltern Is Politically Incorrect: A Cultural Analysis of the Performance Art of John Leguizamo
Gastón Adolfo Alzate
“Mirror, Mirror on the Wall”: Performing Racial and Gender Identities in Javier Cardona’s “You Don’t Look Like”
Jossianna Arroyo
Theory, Text, and Interpretation: Approaching José Rivera’s Marisol
Rosalina
Opening the Shaman’s Bag: Latino Theater, Mixed Audiences, and Tourist Logic
Tamara Underiner
Afterword
The Geopolitics of “Latino” Theater in the United States
(Schemata of Possible Criteria for a Theatrical Anthropology)
Hernán Vidal
Volume 28: Latin America Writes Back: Postmodernity in the Periphery. An Interdisciplinary Cultural Perspective
Ed. Emil Volek
After years of marginalization in the international debate on global change, Latin American scholars present their own response to the theories and practices of postmodernity in this collection of essays. The editor of this volume has assembled contributions across a range of interdisciplinary perspectives that illuminate contemporary Latin American culture by high-lighting from within many changes scarcely noticed in Europe and the U.S. Issues discussed in light of these recent changes include the notorious Latin American conflicts with modernity, the vexing problems of cultural identity, strategies of resistance to global trends, and the pervasive misconceptions about Latin American culture perpetuated within the United States and Europe. Together the essays clarify that Latin America is neither what is used to be nor what it is expected to be, but rather a new reality long overlooked by the world beyond.
Introduction
Is Changing Reality, Changing Paradigm: Who Is Afraid of Postmodernity?
Emil Volek
Part I. Macondo or Death, But Not Exactly: The Case of Unrequited Modernity That Does Not Go Away
Traditionalism and Modernity in Latin American Culture
José Joaquín Brunner
Modernity and Postmodernity in the Periphery
Jesús Martín Barbero
Communications: Decentering Modernity
Jesús Martín Barbero
Part II. Changing Identities, or “Where do we come from” and “Where we are going?”
The Challenges of Postmodernity and Globalization: Multiple or Fragmented Identities?
Fernando Ainsa
Postmodernism and Latin American Identity
Jorge Larraín
Latin American Identity—Dramatized
José Joaquín Brunner
Part III. Changing Realities, Politics, Arts: Strategies of/for Resistance
Autochthonous Cultures and the Global Market
Mario Roberto Morales
Post-Cities and Politics: New Urban Movements in the Two Americas
Armando Silva
Modern and Postmodern Aesthetics in Contemporary Argentine Theater (1985–1997)
Osvaldo Pelletieri
Polarized Modernity: Latin America at the Postmodern Juncture
Raúl Bueno
The Latin American Writer in These Postmodern Times
Abelardo Castillo
Part IV. Changing Cultural Dossier: Some Classic Texts from the 1990s
Variations on Postmodernity, or, What Does the Latin American Postboom Mean?
Mempo Giardinelli
Latin America and Postmodernity
Nelly Richards
Critique of Global Philosophy, Five Hundred Years Later
Rafael Ángel Herra
Cultural Topologies
Daniel Altamiranda and Hernán Thomas
Afterword
Postmodernity in the Periphery Is Not What You Think
Horacio Machín
Volume 27: Women's Narrative and Film in Twentieth-Century Spain
Ed. Ofelia Ferrán and Kathleen M. Glenn
This volume tracks the development of the feminine cultural tradition in Spain and shows how this tradition reshaped and defined Spanish national identity. Focusing on literature and film by Spanish women from the turn of the century to "Generation X," this collection of essays examines how concepts of gender and difference have shaped the individual, collective, and national identities of Spanish women. The contributors also examine mass media productions by women in Spain that significantly modified the meaning and representation of female sexuality, affected the representation of the female body, and prompted new attitudes toward feminism, nationalism, and gender relations.
Introduction
A World of Difference(s): Women’s Narrative and Film in Twentieth-Century Spain
Ofelia Ferrán and Kathleen M. Glenn
Part I. Pre-Civil War Spain
Contesting the Body: Gender, Language, and Sexuality
The Modern Woman at the Turn of the Century
Maryellen Bieder
Solitude in the City: Víctor Català with Mercè Rodoreda
Brad Epps
Women Novelists of the Vanguard Era (1923–1952)
Roberta Johnson
Part II. The Franco Era
Fictions of Equality: Rethinking Melodrama and Neorealism in Ana Mariscal’s Segundo López, aventurero urbano
Annabel Martín
Resemanticizing Feminine Surrender: Cross-Gender Identifications in the Writings of Spanish Female Fascist Activists
Jo Labanyi
Part III. The Transition to Democracy
Screening Room: Spanish Women Filmmakers View the Transition
Kathleen M. Vernon
Drawing Difference: The Women Artists of Madriz and the Cultural Renovations of the 1980s
Gema Pérez-Sánchez
Remapping the Left in Camino sin retorno: Lidia Falcon’s Feminist Project
Linda Gould Levine
Part IV. Democratic Spain
Female Visions of Basque Terrorism: Ander eta Yul by Ana Díez and Yoyes by Helena Taberna
María Pilar Rodríguez
When Norma Met Mar: Thelma and Louise on the Costa Brava
Emilie L. Bergmann
Gender Difference and the Metafictional Gaze in Marina Mayoral’s Dar la vida y el alma
Catherine G. Bellver
“El florecimiento caprichoso de un jacarandá”: Writing and Reading the Palimpsest in Cristina Fernández Cubas’s “Lúnula y Violeta”
Ofelia Ferrán
Part V. The End of a Century
Let’s Talk about Sex?: From Almudena Grandes to Lucía Etxebarria, the Volatile Values of the Spanish Literary Market
Silvia Bermúdez
Gender, Sexuality, and the Literary Market in Spain at the End of the Millennium
Akiko Tsuchiya
A World of Difference in Home-Making: The Films of Icíar Bollaín
Susan Martin-Márquez
Afterword
The Practice of Restitutional Feminist Criticism
Teresa M. Vilarós
Volume 26: Marriage and Sexuality in Medieval and Early Modern Iberia
Ed. Eukene Lacarra Lanz
This collection of essays examines the politics of gender and desire in premodern Iberia. The editor brings together a group of noted specialists in Arabic, as well as Castilian, Catalan, and other Romance languages, to investigate the changes that affected marriage and sexuality over the course of a millennium, from approximately 650 to 1650 A.D. The contributors utilize a variety of literary and philosophical texts, legal documents, and medical treatises to explore a broad range of topics, such as shrew taming, wedding rituals, wet-nursing, cross-dressing, sodomy, and moral pornography. The volume's interdisciplinary approach traces the origins and genealogies of the predominant discourses on these subjects that engaged the minds of medieval and premodern writers, moralist, politicians, and scientists alike.
Introduction
Eukene Lacarra Lanz
Part I. From Maidenhood to the Marriage State Domesticating Women
Marriage and Sexuality in Al-Andalus
Manuela Marín
Intimate Violence: Shrew Taming as Wedding Ritual in the Conde Lucanor
Louise O. Vasvári
The Consells-Consejos on Marriage and Their Broader Sentimental Context
Antonio Cortijo Ocaña
Part II. Playing the Game of Wife and Mother
Pawn or Player?: Violant of Bar and the Game of Matrimonial Politics in the Crown of Aragon (1380–1396)
Dawn Bratsch-Prince
Milking the Poor: Wet-nursing and the Sexual Economy of Early Modern Spain
Emilie L. Bergmann
Part III. Love and Sexuality Allegory of Society’s Corruption
Natural Love in Early Renaissance Spanish Theater: Serafina, an Anonymous Comedia of 1521
David R. Castillo
“Un engaño a los ojos”: Sex and Allegory in La Lozana andaluza
Manuel da Costa Fontes
Changing Boundaries of Licit and Illicit Unions: Concubinage and Prostitution
Eukene Lacarra Lanz
Part IV. Female Approaches to Power Revelation and “Moral Pornography”
Writing and Sodomy in the Inquisitorial Trial (1495-1496) of Tecla Servent
Ronald Surtz
“Moral Pornography”: Angela Carter and María de Zayas
Marina S. Brownlee
Afterword
Sexuality, Marriage, and Power in Medieval and Early Modern Iberia
Gwendolyn Barnes-Karol and Nicholas Spadaccini
Volume 25: Pablo Neruda and the U.S. Culture Industry
Ed. Teresa Longo
This collection gathers a diverse group of critical and poetic voices to analyze the politics of packing and marketing Chilean poet Pablo Neruda and Latin American poetry in general in the United States. The ground swell of enthusiasm in America, the contributors argue, has relied upon a vastly oversimplified, romanticized, and depoliticized interpretation of Neruda's celebrated poetry as panacea—offering healing visions of community, hope, and wonder. The essays rediscover the richness to be found in the work of Neruda and his peers as a challenge to their commodification and misrepresentation in the American literary marketplace. This volume refocuses the lens through which we read, translate and write about Neruda-and Latin American culture-in the United States.
Introduction
Poetry Like Wonder Bread
Teresa Longo
Part I. Reading Neruda
Pablo Neruda, Interpreter of Our Century
Giuseppe Bellini
Speak through my Words: the Poetics and Politics of Translating Neruda
Janice A. Jaffe
Pablo Neruda: Absence and Presence: the Photograph as Historical Referent
Patricia Santoro
Quests for Alternative Cultural Antecedents: The Indigenism of Pablo Neruda, Ernesto Cardenal, and Gary Snyder
Jill Kuhnheim
Part II. Neruda Reconfigured: Culture, History, Politics
Loving Neruda
Bruce Dean Willis
The De-Chileanization of Neruda in Il postino
Irene B. Hodgson
Buying into the Nerudian Condominium or Building Community: Border Culture Reclaims the Past for the New Century
Ann Marie Stock
The Poetics of Politics and the Politics of the Poet: Experience and Testimony in Pablo Neruda
Silvia N. Rosman
Part III. Linking Theory to Praxis: U.S. Latino Responses
Post Wonder Bread: Pablo Neruda in Centerfield?
Teresa Longo
“The Good Liar Meets his Executioners”: the Evolution of a Poem
Martín Espada
Pablo Neruda’s Dilemma
Julio Marzán
In Search of Literary Cojones: Pablo Neruda, U.S. Latino Poetry, and the U.S. Literary Canon
Marcos McPeek Villatoro
Afterword
Pablo Neruda (1904): A Centennial Greeting
René Jara
Volume 24: Iberian Cities
Ed. Joan Ramon Resina
Although Spanish and Portuguese literatures are rich sources of urban knowledge, compared to studies of cities like London, Paris, Vienna, or Rome, critical literary and cultural approaches devoted to modern Iberian cities have been notably scarce. Iberian Cites locates regional patterns of urbanization articulated in or around highly symbolic centers, calling attention to the extraordinary combination of factors, personal and collective, temporal and instantaneous, planned and coincidental, logical and ideological, virtual and representative, that make up the experience of the city. In this work, Joan Ramon Resina and a group of distinguished scholars from an array of disciplines remind readers that Hispania, the ancient geographic matrix of people of Iberia, is still a system of interrelated cultures.
Introduction
Joan Ramon Resina
Tough Beauty: Bilbao as Ruin, Architecture, and Allegory
Joseba Zulaika
Santiago de Compostela or the Obsession with Identity
Javier Gómez-Montero
A Walk about Lisbon
Miguel Tamen
Getting to Salamanca (and Away): One Approach, Nine Vistas, and a Retrospective that Does Not Take Place
Hans Ulrich Gumbrecht
Madrid’s Palimpsest: Reading the Capital against the Grain
Joan Ramon Resina
Madrid: From “Años de Hambre” to Years of Desire
Michael Ugarte
A Sad Diagnosis of a Sad Town: Granada and the Dream of the Recumbent Woman
Juan Carlos Rodríguez
Modern Spaces: Building Barcelona
Brad Epps
A Walk through Identity in the Gardens of Catalonia
Maria Jesús Buxó i Rey
Valencia: Cultural Spaces, Economics, and Territory
Rafael L. Ninyoles
Afterword
Wanderings
Jenaro Talens and Angela Vallvey
Volume 23: National identities and Socio-Political Changes in Latin America
Ed. Mercedes Durán-Cogan and Antonio Gómez-Moriana
In contrast to the dominant trends in Latin American Studies—which privilege either the literary, or the so called "areas studies," with its exclusive focus on political and economics issues—the basic assumption of this collective work is that the intricate web of discourse and other societal/symbolic practices in a given society results from, and nourishes, a complex dynamics of forces at play in the marketing of the Social. This dynamics, in its totality, constitutes a complex object of knowledge that this volume examines as a crossroads where historical contexts, economic and socio-political processes, and artistic representations interact.
Introduction
National Identities and Sociopolitical Changes in Latin America
Antonio Gómez-Moriana and Mercedes F. Durán-Cogan
The Concept of Identity
Jorge Larraín Ibañez
Towards the Sociogenic Principle: Fanon, Identity, the Puzzle of Conscious Experience, and What It Is Like to Be “Black”
Sylvia Wynter
Words and Images. Figurating and Dis-Figurating Identity
Mercedes F. Durán-Cogan
The Emergence of a Colonial (“Indian”) Voice: Inca Garcilaso and Guamán Poma
Antonio Gómez Moriana
Latin American Silver and the Early Globalization of World Trade
Dennis O. Flynn and Arturo Giraldez
Ethnic Identity and the Zapatista Rebellion in Chiapas
José Alejos García
The Indian Identity, the Existential Anguish and the Eternal Return (El tiempo principia en Xibalba, by Luis de Lión)
Tatiana Bubnova
Moors or Indians? Stereotype and the Crisis of (National) Identity in Ignacio Altamirano and Manuel de Jesús Galván
Isabel de Sena
Engendering the Nation, Nationalizing the Sacred: Guadalupismo and the Cinematic (Re)Formation of Mexican Consciousness
Elena Feder
The Rhetoric of Pathology: Political Propaganda and National Identity During the Military “Process” in Argentina
James R. Cisneros
National Identity and State Ideology in Argentina
Victor Armony
Caliban in Aztlan: From the Emergence of Chicano Discourse to the Plural Constitution of New Solidarities
José Antonio Giménez Micó
Between Iconography and Demonology: The Faces at the Fiesta of the Señor del Gran Poder
Marcelo Nusenovich
Valparaiso School of Architecture Dossier
Various Authors
Afterword
Latin American Identities and Globalization
Horacio Machín and Nicolas Spadaccini
Volume 22: Latin American Literature and the Mass Media
Ed. Debra Ann Castillo and José Edmundo Paz-Soldán
Examines Latin American literature in the context of a contemporary audiovisual culture in which mass media such as photography, film, and the Internet have threatened writing's "representational privilege" as a technology of information processing and storage.
Introduction: Beyond the Lettered City
Edmundo Paz-Soldán and Debra A. Castillo
Part I. Revisions
The Nineteenth-Century Novel: Toward a Public Sphere or a Mass Media?
Fernando Unzueta
Pancho Villa at the Movies: Cinematic Techniques in the Works of Guzmán and Muñoz
J. Patrick Duffey
The Avant-Garde and Cinematic Imaginary: Huidobro’s novella-film
Edmundo Paz-Soldán
The Modern Novel, the Media, and Mass Culture in Latin America
Ricardo Gutiérrez Mouat
Part II. Mass Culture
MEDIAted Memory: Writing, Photography, and Performativity in the Age of the Image
Luis Ernesto Cárcamo Huechante
Cortázar Under Exposure: Photography and Fiction in the City
Marcy E. Schwartz
Hybridity and Postmodernity in the Argentine Meta-Comic: The Bridge Texts of Julio Cortázar and Ricardo Piglia
Ellen McCracken
Comic Art at the Margins of Hierarchy: The Mexican Multicultural Expression of La Familia Burrón and Los Supermachos
Ana Merino
The Mexican Telenovela and its Foundational Fictions
Adriana Estill
Part III. Narrative Strategies in Our Fin de Siglo
Contesting the Lettered City: Cultural Mediation and Communicative Strategies in the Contemporary Chronicle in Mexico
Ignacio Corona
Deserted Cities: Pop and Disenchantment in Turn-of-the-Century Latin American Narrative
Ana María Amar Sánchez
In Search of Lost Time: Intellectuals, Media, and Narrative
Alfonsina Lorenzi
http:// www. LAlit. com
Debra A. Castillo
Part IV. The Digital World
The Lack of Materiality in Latin American Media Theory
Shirin Shenassa
Condiciones extremas: Digital Science Fiction from Colombia
Susana Pajares Tosca
Writing Communities on the Internet: Textual Authority and Territorialization
Carlos Jáuregui
Afterword
David William Foster
Volume 21: Charting Memory: Recalling Medieval Spain
Ed. Stacy N. Beckwith
Elaborates an interdiscursive picture of how medieval Spain has been remembered by various Arab, Jewish, and Hispanic peoples from 1492 to the present, foregrounding the constitutive roles of communities created through prayer, literary resonances, architecture, musical performance, and name giving, in shaping memories of medieval Spanish contexts as well as complex identities in the Balkans, the Near and Middle East, North Africa, Latin America, and the United States.
Introduction
Al-Andalus/Iberia/Sepharad: Memory among Modern Discourses
Stacy N. Beckwith
“We’ve Always Sung It That Way”: Re/Appropriation of Medieval Spanish Jewish Culture in a Galician Town
Judith R. Cohen
Crypto-Jewish Ballads and Prayers in the Portuguese Oral Tradition
Manuel da Costa Fontes
A Collusion of Gardens: Continuity of Memory
Libby Garshowitz and Stacy N. Beckwith
Al-Andalus and Memory: The Past and Being Present among Hispano-Moroccan Andalusians from Rabat
Beebe Bahrami
Voices from the Past: Judeo-Spanish (Ladino) Nicknames among the Israeli-Sephardic Jews from Salonika
Shmuel Refael
(Translated by Stacy N. Beckwith)
Spanish Balconies in Morocco: A Window on Cultural Influence and Historical Persistence in the Mallāh (Jewish) Community
Hsaïn Ilahiane
Memory: One Hundred Years of Solitude
Sultana Wahnón
(Translated by Stacy N. Beckwith)
Musical ’Membrances of Medieval Muslim Spain
Dwight F. Reynolds
“Al-Andalus Arising from Damascus”: Al-Andalus in Modern Arabic Poetry
Reuven Snir
American Sephardim, Memory, and the Representation of European Life
Jack Glazier
Afterword
Louise Mirrer
Volume 20: Culture and the State in Spain, 1550–1850
Ed. Tom Lewis and Francisco J. Sánchez
Examines the role of literature in the formation of cultural notions of 'state,' 'nation,' 'subject,' and 'citizen' in Spain from 1550 to 1850 and the relevance of these issues today in a new Spain—the Spain of nationalities—at the end of the millennium.
Introduction
Tom Lewis and Francisco J. Sánchez
Cristóbal de Villalón: Language, Education, and the Absolutist State
Malcolm K. Read
The Politics of Race, Ethnicity, and Gender in the Making of the Spanish State
Mary Elizabeth Perry
A Discourse on Wealth in Golden Age Literature
Francisco J Sánchez
Patronage, the Parody of an Institution in Don Quijote
Edward Baker
Printing and Reading Popular Religious Texts in Sixteenth-Century Spain
Sara T. Nalle
Emblematic Representation and Guided Culture in Baroque Spain: Juan de Horozco y Covarrubias
Bradley J. Nelson
Intellectuals, the State, and the Public Sphere in Spain: 1700–1840
José A. Valero
Constituting the Subject: Race, Gender, and Nation in the Early Nineteenth Century
Susan Kirkpatrick
Religious Subject-Forums: Nationalism, Literature, and the Consolidation of Moderantismo in Spain during the 1840s
Tom Lewis
Afterword
Back to the Future: Spain, Past and Present
David R. Castillo and Nicholas Spadaccini
Volume 19: Modernism and its Margins
Ed. Anthony Geist and José Monleón
Examines the prevailing notions that underlie most theoretical paradigms about modernism and how those paradigms fail to account for Spanish and, especially, Latin American expressions.
Introduction
Modernism and Its Margins: Rescrtipting Hispanic Modernism
Anthony L. Geist and José B. Monleón
Part I. The Problematics of Modernism
On Modernism from the Periphery
Carlos Blanco Aguinaga
The Industrial Imaginary of Modernity: The “Totalizing” Gaze
Iris M. Zavala
A Modernizing That Holds Us Back: Culture under the Neoconservative Regression
Néstor García Canclini
Rethinking the Theory of the Avant-Garde from the Periphery
George Yúdice
The Limits of Modernity in Latin American Poetry
Álvaro Salvador
“Seven Islands in Search of an Author”: The Canary Islands Avant-Garde
Jacqueline Cruz
Part II. Modernists from the Margins
Gender and Modernist Discourse: Emilia Pardo Bazán’s Dulce Dueño
Susan Kirkpatrick
Buñuel: A Cinematographic Impugnment of Modernity/Modernism/Avant-gardism and Other Options
Víctor Fuentes
Recycling the Popular: Lorca, Lorquismo, and the Culture Industry
Anthony L. Geist
Cultural Liaisons in American Literatures
Guido A. Podestá
Brazilian Modernism: An Idea Out of Place?
Randal Johnson
Counterhegemonic Subjectivities in César Vallejo and Oswald de Andrade
Leslie Bary
Borges: Tradition and the Avant-Garde
Beatriz Sarlo
“Dangerous Southern Islands”: Modern Aesthetics as Anaesthetics in Carpentier’s The Lost Steps and Borges’s “The South”
Santiago Colás
El siglo de las luces: Modernism and Epic
Neil Larsen
Afterword
A Design for Modernity in the Margins
René Jara
Volume 18: A Revisionary History of Portuguese Literature
Ed. Miguel Tamen and Elena Buescu
Explores the relationship between literary history and revisionism, focusing on topics such as Medieval history-writing, Baroque culture, Poetics in the Enlightenment, fin-de-siècle Decadence, Symbolism, and Contemporary Criticism.
Preface
Miguel Tamen and Helena C. Buescu
Introduction
Ghosts Revised: An Essay on Literary History
Miguel Tamen
Infractions of the Name-Hiding Rule in Galician-Portuguese Troubadour
João Dionísio
Belief in History
Teresa Amado
The Songs of Melancholy: Aspects of Mannerism in Camões
Vítor Aguiar e Silva
Baroque Literature Revised and Revisited
Margarida Vieira Mendes
Portuguese Poetics in the Eighteenth Century
Maria de Lourdes A. Ferraz
Socio-institutional Literary Practices in Portuguese Romanticism
Helena C. Buescu
Decadence and Fin-de-siècle Literature in Portugal
J. C. Seabra Pereira
Before the Barbarians
M. S. Lourenço
Fernando Pessoa’s Odd Epic
António M. Feijó
Notes for a Cartography of Twentieth-Century Portuguese Poetry
Manuel Gusmão
Contemporary Portuguese Fiction—Cases and Problems
Paulo Morão
Four Twentieth-Century Portuguese Critics
Victor Mendes
Afterword
Literary History: Are We Still Talking?
Helena C. Buescu
Volume 17: Cervantes and his Postmodern Constituencies
Ed. Anne J. Cruz and Carroll B. Johnson
Addresses the present status of Cervantes studies in light of the so-called culture wars fought between those who adhere to liberal-humanist and/or historicist readings and those whose work is guided by avant-garde, poststructuralist theory.
Introduction
Carroll B. Johnson
Part I. Cervantismo and the Crisis of Hispanism
Theory vs. the Humanist Tradition Stemming from Américo Castro
Anthony J. Close
Romance, Ideology, and Iconoclasm in Cervantes
Anthony J. Cascardi
Where Does the Novel Rise? Cultural Hybrids and Cervantine Heresies
Diana de Armas Wilson
Generational Conflicts within Hispanism: Notes from the comedia Wars
John J. Allen
Part II. Re/Visioning Cervantes Studies
Anatomy of Contemporary Cervantes Studies: A Romance of “Two Cities”
Charles D. Presberg
Cervantes and the Philological School
Pablo Jauralde Pou
The Politics of Identity and the Enigma of Cervantine Genealogy
Ellen Lokos
Cervantes and His Feminist Alliances
Anne J. Cruz
Rereading El amante liberal in the Age of Contrapuntal Sexualities
Adrienne L. Martín
The Jealous and the Curious: Freud, Paranoia and Homosexuality in Cervantine Poetics
Nicolás Wey-Gómez
Part III. The Future of Cervantes Studies
The Crisis of Hispanism as an Apocalyptic Myth
George Mariscal
The Ideologies of Cervantine Irony: Liberalism, Postmodernism and Beyond
Alison Parks Weber
"Cervantismo" as Social Praxis in the Neo-Post Age: Are We Kidding Ourselves?
James Iffland
Afterword
Cervantes and his Postmodern Constituencies
David Castillo and Nicholas Spadaccini
Volumes from the University of Minnesota Press
Volume 16: Modes of Representation in Spanish Cinema
Ed. Jenaro Talens and Santos Zunzunegui
A discussion of the range and depth of Spanish national cinema through a close reading of films from the Republican period, under Franco, in the transition period, and, more recently, under socialism.
Foreward
A Land Bred on Movies
Tom Conley
Introduction
History as Narration: Rethinking Film History from Spanish Cinema
Jenaro Talens and Santos Zunzunegui
Part I. Sampling the Difference: The Thirties
Benito Perojo’s La verbena de la Paloma
Román Gubern
The Referential Effect: Writing the Image of the War
Jenaro Talens
The Brigadier’s Crusade: Florián Rey’s Carmen, la de Triana
Juan-Miguel Company-Ramón
Part II. The Long and Winding Road: Spanish Cinema under Franco
Vida en Sombras: The Recusado’s Shadow in Spanish Postwar Cinema
Jesús González-Requena
Redundancy and Passion: Juan de Orduña and CIFESA
Francisco Llinás
Seeing beyond the Delicate: Luis García-Berlanda’s Novio a la vista
Stacy N. Beckwith
Between History and Dream: Víctor Erice’s El espíritu de la colmena
Santos Zunzunegui
Part III. The First Steps of Transition
Pastiche and Deformation of History in José-Luis Garci’s Asignatura pendiente
Oscar Pereira
Eyeing Our Collections: Selecting Images, Juxtaposing Fragments, and Exposing Conventions in the Films of Bigas Luna
Ann Marie Stock
Mother Country, Fatherland: The Uncanny Spain of Manuel Gutiérrez-Aragón
Teresa Vilarós
Images of War: Hunting the Metaphor
Antonio Monegal
Homosexuality, Regionalism, and Mass Culture: Eloy de la Iglesia’s Cinema of Transition
Paul Julian Smith
Part IV. The Socialist Decade
Sexual Revolution against the State? José Luis García Sánchez’s Pasodoble
Ricardo Roque-Baldovinos
A Search for Identity: Francisco Regueiro’s Padre nuestro
Andrés Moreno
What Did I Do to Deserve This? The “Mother” in the Films of Pedro Almodóvar
Lesley Heins Walker
Vicente Aranda’s Amantes: History as Cultural Style in Spanish Cinema
Marvin D’Lugo
Part V. Representations: Reshaping the Margins
Aimez-vous la representation? Notes on the Cinema of Pere Portabella and on Informe general
Casimiro Torreiro
Scripting a Social Imaginary: Hollywood in/and Spanish Cinema
Kathleen M. Vernon
Volume 15: Framing Latin American Cinema
Ed. Ann Marie Stock
Focuses on the critical constructions of Latin American Cinema, and the challenges those practices that reduce Latin American films to illustrations of U.S. and European film and cultural studies theories. It also provides insights into film industries in Cuba, Argentina, Colombia, Mexico, Guatemala, Brazil, and Venezuela.
Foreword
Ambrosio Fornet
Introduction
Through Other Worlds and Other Times: Critical Praxis and Latin American Cinema
Ann Marie Stock
High-Rise Apartments, Arcades, Cars, and Hoteles de citas: Urban Discourse and the Reconstruction of the Public/Private Divide in 1960s Buenos Aires
Laura Podalsky
Backwards Blindness: Brazilian Cinema of the 1980s
José Carlos Avellar
Recent Colombian Cinema: Public Histories and Private Stories
Ilene S. Goldman
When the Mountains Tremble: Images of Ethnicity in a Transcultural Text
Teresa Longo
How Real is Reel? Fernando de Fuentes’s Revolutionary Trilogy
John Mraz
Kiss of the Spider Woman, Novel, Play, and Film: Homosexuality and the Discourse of the Maternal in a Third World Prison
Patricia Santoro
Moving to Thought: The Inspired Reflective Cinema of Fernando Pérez
Beat Borter
Román Chalbaud: The “National” Melodrama on an Air of Bolero
Paulo Antonio Paranaguá
The Persistence of a Vision: Going to the Movies in Colombia
Gilberto Gómez Ocampo
Mexican Melodramas of Patriarchy: Specificity of a Transcultural Form
Julianne Burton-Carvajal
Queering the Patriarchy in Hermosillo’s Doña Herlinda y su hijo
David William Foster
Will There Be Latin American Cinema in the Year 2000? Visual Culture in a Postnational Era
Néstor García Canclini
Volume 14: Rhetoric and Politics. Gracian and the New World Order
Ed. Nicholas Spadaccini and Jenaro Talens
The work of the Spanish Jesuit Baltasar Gracián (whose Art of Wordly Wisdom has enjoyed considerable success in Europe and, recently, in the U.S.) becomes the starting point for a discussion on the political uses of rhetoric, from early modern times to the present.
Introduction
The Practice of Worldly Wisdom: Rereading Gracián and The New World Order
Nicholas Spadaccini and Jenaro Talens
Part I. The Politics of Modernity
At the Threshold of Modernity: Gracián’s El Criticón
Alban K. Forcione
On Power, Image, and Gracián’s Prototype
Isabel C. Livosky
Part II. Subjectivities
Saving Appearances: Language and Commodification in Baltasar Gracián
Malcolm K. Read
Surviving in the Field of Vision: The Building of a Subject in Gracián’s El Criticón
Luis F. Avilés
Gracián and the Emergence of the Modern Subject
William Egginton
Gracián and the Ciphers of the World
Jorge Checa
Part III. Representations
Gracián and the Art of Public Representation
David Castillo
Symbolic Wealth and Theatricality in Gracián
Francisco J. Sánchez
Gracián and the Scopic Regimes of Modernity
Oscar Pereira
Gracián and the Authority of Taste
Anthony J. Cascardi
Part IV. The Politics of Everyday Life
The Art of Worldly Wisdom as an Ethics of Conversation
Carlos Hernández-Sacristán
Gracián in the Death Cell
Michael Nerlich
Afterword
Constructing Gracián
Edward H. Friedman
Volume 13: Bodies and Biases
Ed. David William Foster and Roberto Reis
Analyzes different representations of sexualities in Hispanic (and Brazilian) cultures and literature, focusing on established canonical texts as well as on less consecrated literary writings, and other types of cultural practices and artifacts, including television, popular music, and pornography.
Introduction
The Age of Suspicion: Mapping Sexualities in Hispanic Literary and Cultural Texts
Dário Borim Jr. and Roberto Reis
The Sexual Economy of Miguel de Cervantes
Robert ter Horst
The Sinful Scene: Transgression in Seventeenth-Century Spanish Drama (1625–1685)
Javier Aparicio Maydeu
Desire and Decorum in the Twentieth-Century Colombian Novel
J. Eduardo Jaramillo Zuluaga
Representations of Family and Sexuality in Brazilian Cultural Discourse
Roberto Reis
The Body in Context: Don Quixote and Don Juan
James A. Parr
Popular Culture and Gender/Genre Construction in Mexican Bolero by Angeles Mastretta
Salvador A. Oropesa
Sexing the Bildungsroman: Las edades de Lulú, Pornography, and the Pleasure Principle
Silvia Bermúdez
El diario de José Toledo: A Queer Space in the World of Mexican Letters
Marina Pérez de Mendiola
Camilo’s Closet: Sexual Camouflage in Denevi’s Rosaura a las diez
Herbert J. Brant
Monobodies, Antibodies, and the Body Politic: Sara Levi Calderón’s Dos mujeres
Claudia Schaefer-Rodríguez
Not So Lonely: A Butch-Femme Reading of Cristina Peri-Rossi’s Solitario de amor
Mary S. Gossy
The Case for Feminine Pornography in Latin America
David William Foster
The Pornographic Subject of Los borbones en pelota
Lou Charnon-Deutsch
Codifying Homosexuality as Grotesque: The Writings of Virgilio Piñera
Ana García Chichester
Eroticism and Homoeroticism in Martín Fierro
Gustavo Geirola
Intricacies of Brazilian Gayness: A Cross-Cultural and Cross-Temporal Approach
Dário Borim Jr.
The Ecstasy of Disease: Mysticism, Metaphor, and AIDS in Las virtudes del pájaro solitario
Brad Epps
Afterword
Naomi Lindstrom
Volume 10: Latin-American Identity and Constructions of Difference
Ed. Amaryll Chanady
Latin American identity is viewed as a hybrid and heterogeneous cultural construction characterized by problems specific to post-colonial societies. Situating itself within the context of the most recent North American and European literary and cultural theories, it points to the lack of attention given to Latin American philosophical discourse by these institutions and the limitations of European narratological categories.
Introduction
Latin American Imagined Communities and the Postmodern Challenge
Amaryll Chanady
The Antinomies of Latin American Discourse of Identity and Their Fictional Representation
Fernando Aínsa
Leopoldo Zea’s Project of a Philosophy of Latin American History
Enrique Dussel
Modernity, Postmodernity, and Novelistic Form in Latin America
Françoise Perus
Identity and Narratives Fiction in Argentina: The Novels of Abel Posse
Blanca de Arancibia
The Construction and Deconstruction of Identity in Brazilian Literature
Zilá Bernd
A Nahuatl Interpretation of the Conquest: From the “Parousia” of the Gods to the “Invasion”
Enrique Dussel
On Writing Back: Alternative Historiography in La Florida del Inca
José Rabasa
The Opossum and the Coyote: Ethnic Identity and Ethnohistory in the Sierra Norte de Puebla (Mexico)
Pierre Beaucage
A Caribbean Social Imaginary: Redoubled Notes on Critical-Fiction against the Gaze of Ulysses
Iris M. Zavala
Afterword
Pastiche Identity, and Allegory of Allegory
Alberto Moreiras
Volume 9: Amerindian Images and the Legacy of Columbus
Ed. René Jara and Nicholas Spadaccini
Examines the constitution of an Amerinidan world born of resistance against European cultural imperialism. Literary critics, linguists, semioticians and historians argue that the images constructed by the Amerindians to confront the consequences of their encounter with the European cultural apparatus ensures the endurance of their own culture.
Introduction
The Construction of a Colonial Imaginary: Columbus’s Signature
René Jara and Nicholas Spadaccini
Word and Mirror: Presages of the Encounter
Miguel León-Portilla
De Bry’s Las Casas
Tom Conley
(Re)discovering Aztec Images
Eloise Quiñones Keber
Fantastic Tales and Chronicles of the Indies
Manuel Alvar
Reading in the Margins of Columbus
Margarita Zamora
To Read Is to Misread, To Write Is to Miswrite: Las Casas as Transcriber
David Henige
Loving Columbus
José Piedra
Fray Ramón Pané, Discoverer of the Taíno People
José Juan Arrom
Colonial Writing and Indigenous Discourse in Ramón Pané’s Relación acerca de las antigüedades de los indios
Santiago López Maguiña
When Speaking Was Not Good Enough: Illiterates, Barbarians, Savages, and Cannibals
Walter D. Mignolo
Colonial Reform or Utopia? Guaman Poma’s Empire of the Four Parts of the World
Rolena Adorno
Amerindian Image and Utopian Project: Motolinía and Millenarian Discourse
Georges Baudot
The Place of the Translator in the Discourses of Conquest: Hernán Cortés’s Cartas de relación and Roland Joffé’s The Mission
David E. Johnson
Other-Fashioning: The Discourse of Empire and Nation in Lope de Vega’s El Nuevo mundo descubierto por Cristóbal Colón
Allen Carey-Webb
Authoritarianism in Brazilian Colonial Discourse
Roberto Reis
Sor Juana Inés de la Cruz; or, The Snares of (Con)(tra)di(c)tion
Elena Feder
The Indian as Image and as Symbolic Structure: Bartolomé Arzán’s Historia de la Villa Imperial de Protosí
Leonardo García Pabón
Images of America In Eighteenth-Century Spanish Comedy
Benardita Llanos
Humboldt and the Reinvention of America
Mary Louise Pratt
Atahuallpa Inca: Axial Figure in the Encounter of Two Worlds
Marta Bermúdez-Gallegos
Art and Resistance in the Andean World
Teresa Gisbert
Saer’s Fictional Representation of the Amerindian in the Context of Modern Historiography
Amaryll Chanaday
An Image of Hispanic America from Spain of 1992
Angel López García
Volume 8: Culture and Control in Counter-Reformation Spain
Ed. Anne J. Cruz and Mary Elizabeth Perry
Explores the modes of repression and attempts at social control in Counter-Reformation Spain. Topics of discussion include theater, sermons, religious festivals, catechism, and inquisistorial blood statues.
Introduction
Culture and Control in Counter-Reformation Spain
Anne J. Cruz and Mary Elizabeth Perry
“Christianization” in New Castile: Catechism, Communion, Mass, and Confirmation in the Toledo Archbishopric, 1540–1650
Jean Pierre Dedieu
A Saint for All Seasons: The Cult of San Julián
Sara T. Nalle
Religious Oratory in a Culture of Control
Gwendolyn Barnes-Karol
The Moriscos and Circumcision
Bernard Vincent
Aldermen and Judaizers: Cryptojudaism, Counter-Reformation, and Local Power
Jaime Contreras
Magdalens and Jezebels in Counter-Reformation Spain
Mary Elizabeth Perry
La bella malmaridada: Lessons for the Good Wife
Anne J. Cruz
Saint Teresa, Demonologist
Alison Weber
Woman as Source of “Evil” in Counter-Reformation Spain
María Helena Sánchez Ortega
On the Concept of the Spanish Literary Baroque
John R. Beverley
Afterword
The Subject of Control
Anthony J. Cascardi
Volume 7: The Politics of Editing
Ed. Nicholas Spadaccini and Jenaro Talens
Examines the political context of textual editing in relation to the Spanish canon as well as literary areas that have been marginalized—for example, texts written by nineteenth-century Spanish women and twentieth-century Latin American poets.
Introduction
Textual Editing, the Writing of Literature, and Literary History
Nicholas Spadaccini and Jenaro Talens
Poema de mio Cid
Colin Smith
Critical Editions and Literary History: The Case of Don Juan Manuel
Reinaldo Ayerbe-Chaux
A National Classic: The Case of Garcilaso’s Poetry
Elias L. Rivers
The Art of Edition as the Techné of Mediation: Garcilaso’s Poetry as Masterplot
Iris M. Zavala
The Politics of Editions: The Case of Lazarillo de Tormes
Joseph V. Ricapito
Editing Theater: A Strategy for Reading, an Essay about Dramaturgy
Evangelina Rodríguez
Editing Problems of the Romancero: The Romantic Tradition
Pere Ferré
Toward a Feminist Textual Criticism: Thoughts on Editing the Work of Coronado and Avellaneda
Susan Kirkpatrick
Framing Contexts, Gendered Evaluations, and the Anthological Subject
Myriam Díaz-Diocaretz
Afterword
The Editor’s Eros
Tom Conley
Volume 6: Cervantes's Exemplary Novels and the Adventure of Writing
Ed. Michael Nerlich and Nicholas Spadaccini
Provides a philosophical, critical, and political reading of Cervantes's satirical novellas as they highlight the problem of language and communication.
Introduction
Juan Andrés to Alban Forcione. One the Critical Reception of the Novelas Ejemplares
Michael Nerlich
Cervantes’s Exemplary Subjects
Anthony J. Cascardi
Theater Within the Novel: “Mass” Audience and Individual Reader in La Gitanilla and Riconete y Cortadillo
Francisco J. Sánchez
The Function of Madness in El Licenciado Vidriera
Sybil Dümchen
Cervantes’s La fuerza de la sangre and the Rhetoric of Power
Edward H. Friedman
Cervantes’s La fuerza de la sangre and the Force of Negation
Dina De Rentiis
Dynamism and Spatial Structure in Las dos doncellas
Caroline Schmauser
Cervantes and the Dialogic World
Nicholas Spadaccini and Jenaro Talens
On the Philosophical Dimension of El casamiento engañoso and El coloquio de los perros
Michael Nerlich
Afterword
Exemplarity, Modernity, and the Discriminating Games of Reading
Alban K. Forcione
Volume 5: Ortega y Gasset and the Question of Modernity
Ed. Patrick H. Dust
Examines the work of Ortega y Gasset with respect to Modern and Post-modern culture, with particular emphasis on Technology and Reason.
Introduction
On Reading Ortega for Our Time
Patrick H. Dust
Ortega and Modernity
Ciriaco Morón Arroyo
Ortega’s Anti-Modernity in Epistemology and Metaphysics
Antón Donoso
Towards a Theory of the Body: Ortega and His Sources
Nelson Orringer
Ortega, Human Consciousness and Modernity: A Historical Perspective
Oliver H. Holmes
Hermeneutics and Reason: Dilthey, Ortega and the Future of Hermeneutics
Angel Medina
Ortega’s Velázquez and the Tropics of Modernity
Thomas Mermall
On Technology and Humanism (An Imaginary Dialogue between Ortega and Heidegger)
Pedro Cerezo Galán
Freedom, Power and Culture in Ortega y Gasset’s Philosophy of Technology
Patrick H. Dust
Ethics and the Problem of Modernity in the Meditations on Quijote
Jaime de Salas
The Revolt of the Masses: Ortega’s Critique of Modernity
Anthony J. Cascardi
Afterword
A Spanish Modernity?
Wlad Godzich
Volume 4: 1492–1992: Re/Discovering Colonial Writing
Ed. René Jara and Nicholas Spadaccini
Underscores the importance of writing as companion of empire, while at the same time highlighting its subversive power as a series of counter-narratives emerge to contest the tactics and values of the "victors."
Introduction
Allegorizing the New World
René Jara and Nicholas Spadaccini
Literacy and Colonization: The New World Experience
Walter Mignolo
Narration and Argumentation in the Chronicles of the New World
Antonio Gómez-Moriana
Silence and Writing: The History of Conquest
Beatriz Pastor
The Apprehension of the New in Nature and Culture: Fernando de Oveido’s Sumario
Stephanie Merrim
Arms, Letters and the Native Historian in Early Colonial Mexico
Rolena Adorno
Montaigne and the Indies: Cartographies of the New World
Tom Conley
Utopian Ethnology in Las Casas’s Apologética
José Rabasa
The Early Stages of Latin American Historiography
Beatriz González
Representing the Colonial Subject
Iris Zavala
The Inscription of Creole Consciousness: Fray Servando de Mier
René Jara
Appendix: Documenting the Conquest
The Charter of Admiral Colombia (17 April 1492)
Instructions from the Sovereigns to Columbus (29 May 1493)
Article of the Testament of the Queen Our Lady Isabella
Instruction from Diego Velázquez to Cortés (23 October 1510)
Against those who deprecate or contradict the Bull and Decree of Pope Alexander VI
Volume 3: The Crisis of Institutionalized Literature in Spain
Ed. Wlad Godzich and Nicholas Spadaccini
Studies the consequences of the institutionalization of literature in the nineteenth century, and advances the notion that literature as an institution is torn between the push for greater homogenization and a series of crises engendered by that very movement.
Introduction
The Course of Literature in Nineteenth-Century Spain
Wlad Godzich and Nicholas Spadaccini
The Crisis of a Literary Institution Seen from Within (On a Parallel Reception of Voltaire and Chateaubriand in Spain)
Michael Nerlich
The Collapse of Literature as Institutionalized Discourse: Espronceda’s El Diablo mundo
Jenaro Talens
The Space of Fiction and Reception of Don Quijote in Nineteenth-Century Spain
Luiz Costa Lima
The Power of the Word: Religious Oratory in Nineteenth-Century Spain
Gwendolyn Barnes
Galdós and the Generation of 1898
Domingo Ynduráin
Spanish Literature as a Historiographic Invention: The Case of the Generation of 1898
Antonio Ramos-Gascón
1900–1910: New Literature, New Publics
José-Carlos Mainer
Catalonian Modernism and Cultural Nationalism
Vicente Cacho Viu
Literature and the Birth of a Nation: The Case of Chile
René Jara
Lyric Poetry at the Turn of the Century: Rubén Darío and the Sign of the Swan
Iris Zavala
Appendix
The Mass Production of Theater in Nineteenth-Century Madrid
Nancy J. Membrez
Volume 2: Autobiography in Early Modern Spain
Ed. Nicholas Spadaccini and Jenaro Talens
Examines the "rise" of modern literature as articulated around the concept of autobiography. The essays deal with literary and historical production from the perspective of the reader as co-author/co-producer of meaning.
Introduction
The Construction of the Self. Notes on Autobiography in Early Modern Spain
Nicholas Spadaccini and Jenaro Talens
Narration and Argumentation in Autobiographical Discourse
Antonio Gómez-Moriana
A Clown at Court: Francesillo de Zúñiga’s Crónica burlesca
George Mariscal
A Methodological Prolegomenon to a Post-Modernist Reading of Santa Teresa’s Autobiography
Patrick Dust
Golden Age Autobiography: The Soldiers
Margarita Levisi
The Picaresque as Autobiography: Story and History
Edward Friedman
The Function of Picaresque Autobiographies: Toward a History of Social Offenders
Anthony N. Zahareas
Fortune’s Monster and Monarchy in Las relaciones de Antonio Pérez
Helen H. Reed
The Woman at the Border: Some Thoughts on Cervantes and Autobiography
Ruth El Saffar
Poetry as Autobiography: Theory and Poetic Practice in Cervantes
Jenaro Talens
Appendix
Curriculum vitae
Miguel de Cervantes Saavedra
Volume 1: The Institutionalization of Literature in Spain
Ed. Wlad Godzich and Nicholas Spadaccini
Focuses on literature as institutionalized practice between 1700 and 1830, examining its production/reception as part of the same process.
Introduction
From Discourse to Institution
Wlad Godzich and Nicholas Spadaccini
The Idea and Function of Education in Enlightenment Thought
José Antonio Maravall
In Moratín’s Café
Edward Baker
Managing Culture: Manolo and the Majos’ “Good Taste”
Steven Suppan
Audience Participation in an Eighteenth-Century Farce
Ronald W. Sousa
On Genius, Innovation and Public: The “Discurso crítico” of Tomás de Erauso y Zavaleta
Michael Nerlich
Censorship and the Creation of Heroes in the Discourse of Literary History
Hans Ulrich Gumbrecht
Textual Pluralities: Readings and Readers of Eighteenth-Century Discourse
Iris M. Zavala
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2023-08-21T17:00:57+00:00
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With your support, Sainte-Justine can think bigger, reach higher and do more. Thank you for helping us bring this mission to life.
|
en
|
CHU Sainte-Justine Foundation
|
https://www.fondationstejustine.org/en/about-us/annual-reports-and-financial-statements/2022-2023-annual-report/
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Foreword from the CEO and Board Chairs
Dear philanthropists, friends, and partners,
If I had to choose just one word to describe the past months by your side at the Foundation and CHU Sainte-Justine, it would be movement. Movement that is carrying us toward new horizons.
As the pandemic recedes, research projects are back on track, and researchers are making huge strides in a wide range of pediatric specialties. In hemato-oncology, for example, the support of invaluable partners and a historic gift from a couple with hearts of gold promise to accelerate breakthroughs, particularly in the area of targeted therapies, where major advances are already being made.
In neurodevelopment, the innovative work of Dr. Guillaume Dumas has also seen tremendous progress, leading, among other things, to the development of a video game that facilitates the assessment of various neurodevelopmental disorders. Eventually, families from all over Quebec will have access to this technology.
Beyond research, the entire Sainte-Justine community has continued to move forward on the path you have laid for us. In the early winter months, as an upsurge in respiratory viruses was casting a shadow over the emergency department, you illuminated the Tree of Lights with a record 680,000 bulbs, bringing a vital morale boost to children, families, and care teams alike.
Thousands of donors, partners, employees, and volunteers like you have joined us in shaping a brighter future. This year, a considerable $30.5 million in contributions has been paid out to Sainte-Justine, a powerful demonstration of the impact philanthropy can have on society.
“As I write this, the future looks bright. Our teams recently put the finishing touches on our Grow Beyond campaign, the largest fundraising campaign ever conducted by a single hospital in Quebec. Coincidentally, new seasoned leaders joined our ranks. Notably, the Foundation welcomed Pierre Pomerleau as its new Chair of the Board of Directors. He succeeds Jacynthe Côté, who spent her four years as Chair putting all her passion and expertise to work in support of the children and families of Sainte-Justine.”
Delphine Brodeur PRESIDENT AND CHIEF EXECUTIVE OFFICER, CHU SAINTE-JUSTINE FOUNDATION
Thanks to all of you, we reached new heights this year. Your generosity inspires us and drives us forward, and we’re more determined than ever to grow beyond together for children and families across Quebec.
Thank you from the bottom of our hearts!
Delphine Brodeur
President and
Chief Executive Officer
Jacynthe Côté
Outgoing Chair of the
Board of Directors
Pierre Pomerleau
Chair of the Board of Directors
List of Major Donors
The amounts in this section are determined by cumulative donations and/or pledges since April 1, 2018.
$40 million and more
Ms. Diane Blais and Mr. Michel Lanteigne
$30 million and more
Fondation Charles-Bruneau*
$25 million and more
Anonymous
$20 million and more
Opération Enfant Soleil
$5 million and more
Mirella and Lino Saputo Foundation
Leucan*
$4 million and more
Sibylla Hesse Foundation
$3 million and more
Fondation Marcelle et Jean Coutu
The Rossy Foundation
$2 million and more
National Bank of Canada*
BMO Financial Group*
Desjardins Group*
Power Corporation of Canada*
RBC Foundation
Thistledown Foundation
$1 million and more
Maryse and Jean-Claude Arpin
CIBC Bank*
The Claudine and Stephen Bronfman Family Foundation*
Paul Desmarais Jr., O.C., O.Q.*
Chrétien-Desmarais Family
Courtois Foundation
Pediatric Research Foundation
Fondation des Gouverneurs de l’espoir
Fondation J.A. DeSève
Howard and Rebecca Klein Family Foundation
Guy Laliberté Foundation*
Kloé Loiselle Family
Metro Inc.
Open Medicine Foundation Canada
The Cole Foundation
$500,000 and more
altona Diagnostics
Québec Blue Cross
Hewitt Foundation
Fondation J.-Louis Lévesque
Michelle Setlakwe and The Honorable Michael M Fortier, PC
André Imbeau*
iA Financial Group
Intact Financial Corporation
Rio Tinto
Sobeys Inc.
Anonymous
$200,000 and more
Larry Bélanger Family Foundation for Victoria (rare diseases) and their donors
Bell Canada
Catherine Malouin and Yanick Blanchard
Lucie and Pierre Boivin, O.C., C.Q.
Dan Charron Family
CN
Dion-Côté Family
Michelle and Jean-François de Grandpré
Energir*
Sun Life Financial
Fondation D’Amours
Fondation En Coeur
Gosselin Family Foundation
Marc and Sandra Bogos
Jamieson Wellness Inc.
Les Obstétriciens-Gynécologues du Centre S.E.N.C.
Pfizer Canada Inc.
Pomerleau
Jessica Welch and François-Charles Sirois
Société d’Anesthésie du CHU Sainte-Justine
Morris & Rosalind Goodman Family Foundation
Workleap
Anonymous
$100,000 and more
A. Lassonde Inc.*
Pierre Anctil
Jacques Audet
Axium Infrastructure
Luc Bachand and Nicole Colas*
Laurentian Bank of Canada*
Dr. Keith Barrington
Andrew Best
Hélène Sabourin and Robert Blain
Pierre Boivin
Dr. Rebecca Brocks
CDPQ
Radiologues associés du CHU Sainte-Justine
Colin and Belle MacDonald Charitable Foundation
Linda and Patrick Daoust
Richard Darveau and Carole Marcil
Dollarama LP
Dr. Geneviève Du Pont-Thibodeau
Dr. Laurence Ducharme-Crevier
Cogir Immobilier
Dr. Amélie Du Pont-Thibodeau
Dr. Guillaume Emériaud
Dr. Catherine Ann Farrell
Air Canada Foundation
Arh Healthcare Foundation
Fire Fighter’s Foundation for Major Burn Victims
Léger Family Foundation
Antony Gagnon and Hélène De Blois
Réseau Sélection Développement Inc.
Vidéotron
The Gustav Levinschi Foundation
Dr. Karen Harrington
Diane Dunlop-Hébert and Norman Hébert*
Dr. Philippe Jouvet
Dr. Jean-Sébastien Joyal
Georges Juneau
La Capitale Insurance and Financial Services
Trottier Family Foundation
Dr. Jacques Lacroix
Yves Lanthier
The Furniture Shop
Jean Coutu Group (PJC) Inc.
Esther Pigeon and Jean Leblond
Canada’s Children’s Hospital Foundations / CCHF
Les Restaurants McDonald du Canada Limitée
François Mercille
Dr. Géraldine Pettersen
Ariane Riou & Réal Plourde Foundation
PricewaterhouseCoopers (PwC) LLP, Canada*
Dr. François Proulx
Dr. Nadia Roumeliotis
The Sanfilippo Children’s Research Foundation
Valsoft Corporation Inc.
Stelpro
Sun Life Assurance Company of Canada
Squarepoint Foundation
Pierre Thabet
The Côté Sharp Family Foundation
Dr. Baruch Joseph Toledano
Dr. Marisa Tucci
Dr. Alexander Weil
5 anonymous
$50,000 and more
Dr. Fernando Alvarez
Dr. Ann Aspirot
Dr. Michael-Andrew Assaad
Baltic Club
TD Bank Financial Group
Dr. Marianne Beaudin Ouimet
Dr. Mona Beaunoyer
Fondation Famille Bertrand
Jean-Luc Binette
Bloomberg
Les entreprises Rémi C. Bouchard Inc
Dr. Philippe Campeau
Marie-Claude Benoit and Yves Chabot
René Champoux
Dr. Sylvain Chemtob
Fiera Capital Corporation
Dr. Antonio D’Angelo
Daoust Family
Dr. Marie-Ange Delrue
DePuy Synthes Spine, a unit of Johnson & Johnson Medical Products, a division of Johnson & Johnson Inc.
Dr. Colette Deslandres
Dr. Martha H. Dirks
Dr. Éric Drouin
Jessica Mercier and Étienne Dubuc
Fondation Amelia & Lino Saputo Jr.
Jacques and Michel Auger Foundation
Fondation Jean-Luc Gravel et Brigitte Breton
Fondation Lise et Richard Fortin
Paul-A. Fournier Foundation Fund at the Foundation of Greater Montréal
Fondation pour l’Épilepsie
Fondation Sami Fruits
St-Germain Kavanagh Foundation
Fonds Gabrielle Roy
Fonds philanthropique Antoine
Réal Gagnon
Cromwell
Gilles Mercille inc.
Glentel Inc.
Le Groupe Aldo inc.*
Dr.Ugur Halac
Dr. Pierre Hardy
HRS Global
Ivanhoé Cambridge Inc.
Dr. Sébastien Jacquemont
Dr. Prévost Jantchou
Dr. Annie Janvier
Jarislowsky Foundation
Dr. Aspasia Karalis
KPMG LLP
Louis-Thomas Labbé
Dr. Anne-Marie Laberge
Dr. Marie Laberge-Malo
Dr. Christian Lachance
Michael Lacroix
Dr. Michel Lallier
Dr. Chantale Lapierre
Dr. Anie Lapointe
Jean-Jacques Laurans
Dr. Emmanuelle Lemyre
Guy A. Lepage
Kristopher Letang and Catherine Laflamme
Dr. Gregory Lodygensky
Dr. Catalina Maftei
Dr. Valérie Marchand
McGill immobilier / Engel & Völkers
Dr. Jacques L. Michaud
Dr. Grant A. Mitchell
Dr. Ibrahim Mohamed
Dr. Ahmed Moussa
Nestlé Nutrition Institute
Dr. Anne Monique Nuyt
Dr. Antoine Payot
Dr. Nelson Piché
Julie and Pierre Pomerleau
Caroline Quach and Michel Jodoin
Dr. Jean Nicolas Racicot
Leslie Raenden
Eric Richer La Flèche and Michèle Plourde
François Rivest
Robert Ruel
Dr. Dickens St-Vil
Dr. Michaël Sauthier
Dr. Jean-François Soucy
Stikeman Elliott LLP
Marc Thériault
Dr. Céline Thibault
Dr. Sophie Tremblay
Dr. Stéphan Troyanov
Stella Vassallo
Dr. Andréanne Villeneuve
Zanmi Lasante Partners in Health
9 anonymous
$25,000 and more
9416-2732 Québec inc. / Garde-Malade
Stephane Achard
Alfar Capital Management Inc.
Dr. Nathalie Alos
American Iron & Metal Company inc.
Evelyn Andelfinger and Gregor U. Andelfinger
Antron Holdings Inc.
Dr. Michael Antony Arsenault
Marketing Association of Chevrolet-Buick-GMC of Québec Inc.
Dr. Julie Autmizguine
Scotiabank
BCF LLP
Behaviour Interactive inc.
Dr. Anne-Claude Bernard-Bonnin
Maxime Bertrand Gilbert
BFL Canada
Dr. Jean-Luc Bigras
Bitumar Inc.
Dr. Julie Blackburn
Borden Ladner Gervais LLP
Marcel Bourassa
Dr. Ariane Boutin
Dr. Christine Boutin
Dr. Benoît Carrière
Citco Canada Inc.
Claridge Inc.
Docteure Sylvestre et sa famille
Clinique Dentaire Antoine Sabeh
Cogeco Inc.
Overcome Syngap1
Paul Corriveau
Courchesne Larose Ltd and the Routhier Family
Dr. Barbara Joy Cummins McManus
Dr. Nagib Dahdah
Davies Ward Phillips & Vineberg LLP
The Estate of Édyth Champoux
Hélène and Dino Dello Sbarba
Dr. Marie-Pier Desjardins
Josée Desmarais
Michel Desmarais
Nektar Diamantopoulos
Dr. Lydia Di Liddo
Doggone Foundation
Jean E. Douville
Dr. Evelyne Doyon-Trottier
Dr. Olivier Drouin
Dr. Francine Ducharme
France-Élaine Duranceau and Luc Bernier
Dr. Ramy El Jalbout
Energy Valero Foundation of Canada*
Fidelity Investments Canada ULC
Fondation Denise et Robert Gibelleau
La Fondation du Grand défi Pierre Lavoie
Groleau & Doktorczyk Foundation
Fondation Jean-Meloche et Famille
Marisa Foundation
Simple Plan Foundation
The Vartan and Lise Toroussian Foundation
Fondation Yvan Morin
David Forest Financial Services Ltd.
Dr. Anne Fournier
Frisia Foundation
Nathalie Gagnon
Garaga Inc.
Garde-Malade
Dr. Patricia Garel and Dr. Laurent Garel
Dr. Nathalie Gaucher
Dr. France Gauvin
Gisèle Gendron
Dr. Serge Gouin
Dr. Jocelyn Gravel
Groupe Conseil Evolia inc.
Groupe Lune Rouge Inc.
Le Groupe de Sécurité Garda inc.
TMX Group
Guillevin International Co.
Habitations Atlas
Michael Hagn
Madeleine Hamon
Harmonic Fund Services Canada inc
Dr. Mélanie Henderson
Dr. Céline Huot
Richard Hylands
Laure and Guy Locas
Dr. Fatima Kakkar
Dr. Niina Kleiber
La Compagnie électrique Britton
Dr. Valérie Lamarre
Raymond Landry
Le Groupe Gaudreault Inc.
Dr. Marc H. Lebel
Dr. Francine Lefebvre
Francine Lefèbvre and Doctor Jean-Yves Legault
Ralik
Liaison Concept Inc.
Lumenpulse Group Inc.
Cindy Loewen
Dr. Anne Lortie
Dr. Nathalie Lucas
Dr. Philippe Major
Manulift E.M.I. LTD
Manulife Financial
Frederic Martel
Masson Ltd
McCarthy Tétrault Foundation*
Dr. Joaquim Mirò
Dr. Marie-Claude Miron
François Montigny and Stéphanie Parent
Morgan Stanley Services Canada Corporation
Paul Morimanno
Dr. Sarah Mousseau
Charles Nadeau, LL. B.
National Bank – Financial Markets
Dr. Cam-Tu Emilie Nguyen
Novo Nordisk Canada Inc.
Dr. Patricia Olivier
Osler, Hoskin & Harcourt LLP
Dr. Philippe Ovetchkine
Pembroke Management
Marc Pépin
Dr. Sébastien Perreault
PGA Tour – Presidents Cup
PUR Vodka
Dr. Marie-Josée Raboisson
Dr. Yasaman R. Shayan
Raymond Chabot Grant Thornton LLP
François Rivard and Isabelle Pépin
Alexis Rochette-Gratton
Dr. Elsa Rossignol
Dr. Marisol Sanchez
Dr. Rachel Scott
SNC-LAVALIN
Société de gestion Sogefor Inc.
J. Sonic Services Inc.
Dr. Constantin Stanciu
Structube
Alexandre Taillefer and Debbie Zakaib
Dr. Bruce Tapiero
TFI International Inc.
Ada and Samir Trak, Enertrak Inc.
TRIUM Office Furniture Inc.
TSX Inc.
TVA Publications Inc.
Williams-Sonoma Inc.
15 Anonymous
$10,000 and more
Dr. Sylvia Abadir
AEHEC / Comité Sport et Loisir
Dr. Stacey Ageranioti-Bélanger
Agropur
Nassiba Alami Laroussi
Alithya
Dr. Laurence Alix Séguin
Nayla Alsabeh
Dr. Devendra Amre
Ardene Foundation
Association de la Neurofibromatose du Québec
Association des dentistes vietnamiens du Canada
Québec Mining Association
Dr. Benoît Bailey
HSBC Bank Canada
National Bank – Private Wealth 1859
Banque Nationale Investissements
Dr. Julie Barsalou
Jonathan Bastien
Jacques Beauchamp
Dr. Laurence Beaulieu-Genest
Francine Descarries and Robert Bélanger
Dr. Céline Belhumeur
Dr. Wissal Ben Jimaa
Beneva Inc.
Dr. Geneviève Benoit
Karl Bernard
Dr. Denis Bérubé
François Bessette
Francine Bienvenu
Dr. Henrique Bittencourt
Dr. Ana Maria Blanchard
BMI Canada Inc.
Boivin Bougie Family
Claude-André Boivin
J.R. André Bombardier
Claire Bombardier Beaudoin and Laurent Beaudoin
Bombardier Inc.
Bombardier Recreational Products Inc.
Nicolas Bouchard
Bouchée Double
Frédéric Bourget
Jean-Francois Boursier
Ann Bouthillier and Daniel Lalonde
Dr. Renée Bouthillier
Roland Boutin
Claude Bouvier
BrainStorm Network / OneProvider
Dr. Félix Brassard
Labatt Brewing Company Limited
Brio Conseils Inc.
Hyundai de Lanaudière
Brivia Group inc.
Delphine Brodeur
Lyne Sheridan and Gilles Brouillard
Maxime Brousseau
Dr. Catherine Brunel-Giutton
Dr. Maria Buithieu
Juan Caceres
CAE Inc.
Café Saint-Henri
Canadian Pacific Kansas City Limited
Canderel Management Inc.
Dr. Marie-Andrée Cantin
Michèle Bélanger and Paul Carle
Dr. Lionel Carmant and Dr. Lucie Morin
Roberte Gagnon and Guy Caron
Ghislaine Castagner Carrière and Jacques Carrière
CDS Monitoring Inc
Fille d’Isabelle Cercle St-Léon
Dr. Nicholas Chadi
André B. Charron
Dr. Marie-Eve Chartier
Dr. Caroline Chartrand
Dr. Olivier Chémaly
Daniel Chevalier
Dr. Isabelle Chevalier
Stéphanie Couture and Nicolas Chevalier
Stéphane Chevigny
Vincent Chiara
Manon Chicoine
Dr. Lyne Chiniara
CHU Sainte-Justine
CIBC Children’s Foundation
Francine Clermont
Coast to Coast Against Cancer Foundation
Maud Cohen and Régis Bots
Yang Zhang and Don Coletti
Collège Sainte-Anne de Lachine
AbbVie Corporation
Katerine Rocheleau and Guy Côté, CFA
Lisette Côté Lavoie
Dr. Jérôme Coulombe
Martin Crête
Custom House Group
Dr. Sonia Dal-Pozzo-Nizard
Dr. Amélie Damphousse
Bernard Dansereau
Dr. Jean Jacques De Bruycker
Dr. Cheri Deal
Vincent (Nicolas) Delisle and Marie Lizotte
Delmar International Inc.
Deloitte
Olivier Desmarais
Sylvie Desrochers
Devimco Immobilier
Dr. Paola Diadori
Dillon Eustace Llp
Marcel A. Dion
Ghenima Djellout
John Dobson Foundation
Dr. Marie-Joëlle Doré-Bergeron
Charles Drouin
Jean-François Dubé and Julie Chartray
Steve G. Dugas
Grégoire Dumas
Isabel Dupont
Yvan Dupont
Dr. Michel Duval
Eisai Limited
EMD Serono Canada Inc.
Miracle RDR Maintenance Sercices LTD.
EY
Dr. Sandrine Essouri
Eurovia Québec CSP Inc.
Evercore Partners Canada LTD
Ferme Boulais 1979 inc.
Ferreira Café
Dr. Mélissa Fiscaletti
Jacques Foisy
Daniel Foliot
Fondation Christal de Roche
Fondation de Bienfaisance T.A. St-Germain
Fondation Denis Ouellet et Suzanne Fournier
CGI
Fondation Le Fil D’Ariane
Fondation Luc Maurice
Fondation Phila
Fondation ressources pour enfants diabétiques
TELUS Friendly Future Foundation
Fondation Thérèse et René Planiol
Fondation Yvon Boulanger
Diane Fontaine
Forage CBF
George Downing Drilling Limited
Éric Fortin
Dr. Jean-Yves Frappier
Gagné Family
Gabriel Gagnon
Mireille Clément and Marc Gagnon
Dr. Soren Gantt
Antonio Gatto
Claude Gauthier
Marie Gauthier and Denys Chouinard
Gedesco Inc. Yves Levasseur
Gestion Karmat
Pembroke Private Wealth Management
Dr. Jean-Bernard Girodias
GKC Architectes SENC
Dr. Panagiotis Glavas
Glentel Inc.
Gluskin Sheff + Associates Inc.
Véronique Papineau and Andrew Griffin
Dr. Guy Grimard
Patrice Groleau
Groupe Alpini de Montréal
Atwill-Morin Group Inc.
Groupe C. Laganière
Canam Group Inc.
Groupe Geyser Inc.
Lemur Groupe Inc.
Le Groupe Master
Petra Group Ltd.
Stingray Digital Media Group
WSP Canada Inc.
Paul M. Guyre
Jonathan Haber
Dr. Elie Haddad
Jean-Claude Heroux
Dr. Catherine Hervouet-Zeiber
Dr. Jade Hindié
Alexandre Hovette
Dr. Mathilde Hupin
IGS Management Inc.
Imperial Tobacco Canada
Scott Jackson
Dr. Olivier Jamoulle
Dr. Magdalena Jaworski
Manon Jolicoeur
Josée Moquin and François Joubert
Marlene and Joel King
Klennaxor
KPMG LLP
Kyard Capital Inc.
Dr. Hubert Labelle
Dr. Sophie Laberge
Dr. Mélanie Labrosse
Miguel Lacasse
Julie Lachance
Dany Lacroix and Véronique Jacob
Maxime Lacroix
Lallemand Inc.
Langlois Lawyers, LLP
Guillaume Laperrière
Dr. Anne-Laure Lapeyraque-Hubert
Annie Lapointe, CPA, CFA
Philippe Larocque
Dr. Guylaine Larose
Dr. Marie-Pier Larrivée
Jocelyn Laurin
Dr. Vincent-Philippe Lavallée
Lavery
Denis Leclerc
Dr. Claire Lefebvre
Jean-Francois Legault
Richard Legault
Lemay Co. inc.
Jacques Lépine
Les Chantiers Chibougamau Ltée
Les Chirurgiens Cardiaques & Associes S.E.N.C.
Les entreprises Dyavan inc.
Les Viandes Lacroix
Jean-Bruno Lessard and Lyn Brisebois
Pierre Letendre
Letko, Brosseau & Associates Inc.
Hélène Levac Hoffer
Dr. Arielle Lévy
Lindt & Sprüngli (Canada) Inc.
Dr. Catherine Litalien
Claire Trottier L’Italien
Little Yogi
Longbow Advantage Inc.
L’Oréal Canada Inc.
LSR GESDEV INC.
Dr. Thuy Mai Luu
MA Foundation
Ann MacDonald
Stéphane Mailhot
Dr. Despoina Manousaki
Dr. Maria Marano
Dr. Jacques-Édouard Marcotte
Dr. Marc-Antoine Marquis
Dr. Catherine C. McCuaig
McGill St Laurent
Mécanique Industrielle AMNC
Dr. Inge Meijer
Mercedes-Benz Canada
Danielle Mercier and Robert Richer
Metro Supply Chain Inc.
Metrobec
Canadel inc.
Martin Milette
Boa-Franc Inc.
Mohammed Kanwal Family Foundation
Jean Mongrain
Montreal Gateway Terminals Partnership
Francine Moquin
T.+ A. Morimanno
Dr. Francine Morin
Dr. Marie-Paule Morin
Ralf Mueller
Alex Vahé Nahabedian
Dr. Marie-Lyne Nault
Nathalie Pilon and Alain Néemeh
Neonatal-Perinatal Osce Education Fund
Dr. Bich Hong Nguyen
Dr. The Thanh Diem Nguyen
Dr. Uyen-Phuong Nguyen
Andrée-Anne Normand
Novacap Management inc.
Jean Novak*
Olympia Charitable Foundation
Osisko Gold Royalties LTD.
Ouvroir St-Sauveur
Marie-Yvonne Paint
Nathalie Palladitcheff
Line Dallaire and Justin Paquet
Dominique Paquet Ferron
Jean-Jacques Paquin
Dr. Stefan Parent
Dr. Brigitte Parisien
Nicolas Patard and Karine Faucher
Pearson Educational Foundation
Dr. Véronique Anne Pelletier
Dr. Karine Pépin
Stéphanie Dumoulin and Pierre-Olivier Perras
Frederick Perrault
Crevier
Dr. Véronique Phan
Pictet Canada L.P.
Pimco Canada Corp.
Planète Mazda
Suzanne Poisson
Dr. Maude Poitras
Marylou Poloniato
Pratt & Whitney Canada
Prince Logistique
Prisma Construction Inc.
Puremed Canada inc.
PVH Foundation
Québecor
Dr. Soha Rached-D’Astous
Ramacieri Soligo Inc.
Régulvar Inc.
Pierre-Edouard Rémy
Dr. Christian Renaud
RGA Life Reinsurance Compagny of Canada
Dr. Eliane Rioux Trottier
Tony Rizzo
Rodeo FX inc.
Louise Rondeau
Michael Ross
Louis Roy
Frédéric Ruel and Catherine Fauteux
Jeremy Rutman and Family
RYCOM Corporation
Dr. Sima Saleh
Sanimax
Sanofi
Saputo Inc.
Antony Sauvageau
Servier Canada Inc.
Sharethrough inc.
Family Simon
Mathieu Sirois
Smile Train inc.
Hélène Smith
Société des alcools du Québec
Société Immobilière Duguay
Soeurs de Saint-Paul-De-Chartres
Simon-Pierre Soucy
SS & C Technologies Canada Corp.
Roland Stringer
Supermarché IGA Gilles Bariteau inc.
Dr. Marie-Lou Tardif
TC Transcontinental
Dr. Pierre Teira
TELUS
Marie-Josée Tessier
TFI International Inc.
The Middlefield Charitable Foundation
Torys LLP
Dr. Geneviève Tourigny Ruel
Dr. Fabien Touzot
Dr. Thai Hoa Tran
Dr. Sze Man Tse
Dr. Jean Turgeon
Uni-Sélect Inc.
Intact Assurance & Univesta Assurances et services financiers
Uzinakod
TD Securities
Dr. Émilie Vallières
Eric Vallières
Dr. Nicolaas H. van Doesburg
Dr. Guy Van Vliet
Patrick Varin
Danielle J. Verreault
Dr. Kevin Vézina
Anne-Marie Vincent
Dr. Mélanie Vincent
George Vlismas
Zakuta Family Foundation
Zurich Canada Inc
30 anonymous
$5,000 and more
10826910 Canada Inc.
1832 Asset Management L.P.
6259570 Canada Ltée
Simon Abboud
Acier d’armature Ferneuf Inc.
WIRTH Steel
Airbus Canada Limited
Ajma Holdings Inc.
Alfid Services Immobiliers Ltée
Guy Allaire
Allard, Allard & Associés
Allianz Global Risk US Insurance Co
Allprime Properties Inc.
AlphaFixe Capital
Alumilex / Fraydun Foundation Inc.
Denise Angers
Antares Capital LP
Apex Fund Services
Apex Marketing Inc.
Dr. Valérie Arsenault
Arpotex
Ass. Sociale Culturelle Montallégro de Montréal Inc.
Assante Wealth Management
Atrium Innovations Inc.
Samuel Aubé
Auberge et Spa Le Nordik Inc.
Guy Aubin
Autocanada Inc.
Micheline and Raymond Bachand
Pascal Baillargé
Michel Baillargeon
Sophie Baillargeon*
Jean Baram
Caroline Barbir
Bayer Inc.
Pierre Beaudoin & Hélène Robitaille
Beaudoin Doray Tremblay
Monique Bédard
Dr. Marie-Claude Bélisle
Alain Bellemare
Claude Bellemare
Johanne Bellemare
Dr. Leila Ben Amor
Avi Benchimol
Dr. Mathieu Bergeron
Pierre Bergeron
Sylvain Bergeron
Alain Bernard
Lucie Bertrand
Béton Concept AM
Daniel Binette
Ala Birca Podubnaia
Caroline Biron
Ève-Lyne Biron B.Sc., M.B.A., ICD.D
Marc-André Blanchard
Nikolas Blanchette
Claudine Blondin-Bronfman
Hélène Bloxham
Stéfan Bodnar
Dr. Bernard Boileau
The Boiler Inspection and Insurance Company of Canada
Mathieu Boisvert
Catherine Boivin
Patrick Boivin
Christopher Bolash
Émilien Bolduc
Robert Bombardier
Yves Bonin
Boralex inc.
Jean Bouchard
Michel Boucher
Michelle and Raymond Boucher
Serge Boucher
Bouclair Inc.
Denis Boulais
Montréal Exchange
Bouthillette Parizeau
Stéphane Boutros
Eric Boyko
France and Eric Brat
Jacques Junior Bretoux
Broccolini
Hélène Brunelle
Nicolas Brunet and Tanya Karout
Jean Francois Bureau
Caisse d’économie Desjardins – Personnel du réseau de la santé
Caisse populaire Desjardins des Versants du Mont-Royal
Camexport Inc.
Canaccord Genuity
Canadian Tire Saint-Laurent
Can-Aqua International
Michel-Alexandre Cardin
Louis Philippe Carrière
Laurent Cecchini
Micheline Cecchini
Centre communautaire éducatif (CEC) Philos
CeraVe
Dominic Chalifoux
Therese Champagne
Pierre Marc Charron, CPA
Andrée Robert and Jacques Chartrand
Samir Chehab
CIMA+
J.M. Clément Ltée
Dr. Marie-José Clermont
COGECO inc.
Andrée and John Collyer
Comptoirs du Sud Inc.
Consortium M.R. Canada Ltée
Construction Siroy inc.
Cossette / K72
Lucie Morin and Robert Courteau Foundation
Elodie Couture
Création Vanaelle
Neil Cunningham
Marc D’Amour
Dr. Guy D’Anjou
Dr. Michèle David
Davies Ward Phillips & Vineberg
André de Bellefeuille
De Grandpré, Joli-Coeur, S.E.N.C.R.L.
Dr. Hélène Decaluwe
Pierre Delisle
Dr. Anne-Marie Demers
Jo Anne Demers
Dr. Julie Déry
Armand Des Rosiers
Roch DeSerres
Hélène Despatis
Gaetan Desroches
Dexcom (Canada) Inc.
Carole Dionne
Jean Dionne
Distributions Car-Tel Inc
Domtar
Ian Doran
Gisèle Doucet
Jean-Charles Doucet
Dream Industrial Mgmt Corp
Jean-Philippe Drolet
Catsima Inc.
François Dussault
Sarah Dussault
Ébénisterie Classique inc.
Église de Dieu au Québec (Maison de prière)
Elema experts-conseils inc.
Elina & Giuseppe Borsellino Family Foundation
Dr. Mutsuko Emond-Nakamura
Entreprise QMD
Équipements GR Atwill-Morin inc.
Espace Nord Inc.
Etalex
Jean-Pierre Ethier
Eurovia Québec Construction Inc. – Ag. Gaspésie1
Fasken
Nicolas Faucher
Helene Drolet and Pierre Fauteux
Ferme Lussions Senc
Dany Ferreira
SC 1945-06B
Carol Fiedler and Claude Thérien
Pierre Fiset
Michel Foix
Bergeon-Jetté Foundation
Fondation Carrousel du Fonds de Notre Coeur
Fondation de la corporation des concessionnaires d’automobiles de Montréal
Boileau Family Foundation
Fondation Denise et Guy St-Germain
Edward Assh Foundation
The F. Catania Foundation
Fondation Famille Vachon
Fondation Hervey Morin et Yolande Thibault
Fondation Hillion Laganière
Honda Canada Foundation
Houde Meloche Foundation
Lucie and André Chagnon Foundation*
Fondation Michaud
Fondation Raymond Gaudreault
Fonds de placement immobilier Cominar
Dr. Baudouin Forgeot D’Arc
Forteresse Impériale – Montréal Comiccon
Danielle Fortier
Philippe Fortier
Alain Fortin
In Memory of Pierrette Fortin
Marie-Claude Fortin
Maxime Fortin
François Fournier
Micheline Fournier
Joëlle Fragasso-Marquis
Suzie Francoeur
TMR Executive Hockey League
Patrick Frigon
Fuel Transport Inc
Gad and Sandra Bitton Family Foundation
Claude Gagnon
GPL assurance Inc.
Anne-Marie and Mitch Garber Family Foundation
Elio Gatto
GBN Textiles Inc.
GDI Integrated Facility Services
Geneviève Champagne – Agence artistique inc.
Maxime-Jean Gérin
Gestacom Ltée
Burgundy Asset Management
Innocap Investment Management Inc.
Gestion Gauthier Lépine inc.
Gestion Immobilière Luc Maurice Inc.
Gestion Taupo inc
Pierre Gibeault
Dr. Chantal Giguère
Doctor Gilles R. Girouard
Isabelle Godin
Goldman Sachs & CO.
Christopher Goscha
Daniel-Mercier Gouin
Jean-Guy Goulet
Dr. Charlotte Grandjean-Blanchet
Jean-René Groleau
Altus Group Limited
Alternative Capital Group Inc.
The CSL Group
Groupe Édifio
Groupe Grilli Samuel inc.
Groupe Leclair
Ricochet Group
Carole Baillargeon and Geoffroy Guilbault
Jean-Nicolas Guillemette
Habitation Solano II Inc.
Marianne Hagen
Éric Hamam
Michel Hamelin
Danielle Harrison
Ezat Hashim
Dr. Afshin Hatami
Hedgeserv Corporation
Julien Heon
Vincent Houle
HSBC Bank Canada
Anne-Marie Hubert
Benoit Hudon
Humà Design Inc.
André Huot
Marco Iacampo
Pietro Iannicca
Impact Échafaudage
Infomonde Inc.
Isabelle Naud Courtier Immobilier
IT Unlock Inc.
Yvon Jacques
Janssen-Ortho Inc.
JPS Logistique Inc
Evi Jane Kay Molloy
Kounde Tognide Elisabeth
Ktalysis Inc.
La boîte à bonbons
Luigi Liberatore Foundation
Odette and Joey Basmaji Foundation
The Garantee Company of North America
La Maison Simons Inc.
Laboratoire Larima
New World Laboratories
Susan Labrecque
Dr. Damian Labuda
Dr. Jonathan Lacombe Barrios
Susan Lacoste
Louise Laflamme
Pierre Lajoie
Lalcom Inc.
Lamour Global
Landr Audio Inc.
Guy Landry
Omer Langlais Jr.
Laurence Langlois Parent
Michèle Lanoix
Sophie Laplante
Dr. Annie Lapointe and Dominique Bélanger
Lapointe Rosenstein Marchand Melancon S.E.N.C.R.L.
Thomas Laporte Aust and Kate Pitfield
Jacques Larose
Joanne Larrivée
LCM Avocats inc.
Le Blasonier
Ocean Group inc.
Alexandre Le May
The Master Group Inc.
Paul Leclair
Pascal Leclaire
Dr. Jean-Marie Leclerc
Pierre-Yves Leduc
Olivier Lefebvre
Jacques Lefort
Annie Lemieux
Maxime Lemieux
Les Arts Gourmets
Les Camps de Santé Bruchési
Les Cardiologues Du CHU Sainte-Justine
Les Constructions Langlois Marleau Inc.
Les Entreprises Cloutier & Gagnon (1988) Ltée
Les Entreprises Extincto Inc.
Pharma ECA Services Inc.
Les Sommets de la Vallée inc.
Nathalie Léveillé
LG2 Montréal
Lukas Lhotsky
Dr. Johanne Liu
Mohamed Nabil Lokbani
Lombard Canada Ltd.
Thérèse Loriot
Geoffrey Lucas
Simon Lussier
Christine Lutfy
Epicerie Arpin et Fils Inc. St-Ours
Dr. Matthew Magyar
Geneviève Mailhot, Ph.D.
Maison Mamie Clafoutis
Maples Group
Dr. François Maranda
Marché C & T
Josette Marcil
Dr. Danielle Marcoux
Vincent Martel
Charles André Martineau
Hélène Masson
Mazda Canada inc.
McKinsey & Company Canada
Rashid Family
Dr. Judith Meloche
Société des Orthopédistes du CHU Sainte-Justine
MEP Technologies Inc.
Mercer (Canada) Limited
Ricky Merovitz
François Michaud
Isabelle Michaud
Minogue Medical Inc.
Yannick Mivsek
Mizbu Inc.
Richard Monaco
Édouard Montpetit
Louis Morissette
Brian Morse
Multicolore (9168-5909 Québc inc)
Dr. Pierre-Olivier Nadeau
Chiko and Pota Nanji
Hanif Nanji
Marc-Andre Nantais
NATIONAL Public Relations Inc.
NCR Canada Corp
Antonio Neves
Dr. Thanh H. Ngo
Nguyen Phi Restaurant
Dr. Carol Nhan
Nordic Structures Bois
Northbridge Financial Corporation
NouvLR
Nova Steel Ltd.
Anthony Novak
Novartis Pharma Canada inc.
Novipro Inc.
Gerardus M. Olsthoorn
Ordre Fraternel Des Aigles Aire 3981 Terrebonne Inc
Osedea
Luc Paquet
Dr. Yves Pastore
Pâtisserie Petit Lapin
Simon-Pierre Péladeau
Pelican International Inc.
Diane & Gérald Pelletier
Simon Perreault
Pharmacie Dolarian et Chirinian S.E.N.C.
Marc Piché
Marie-Josée Dupuis Pinsonnault and Maurice Pinsonnault
Placement LFT Inc.
CI Investments
Marcel Plante
PMA Architectes inc.
Poches & Fils
Portefeuille Soucy inc
Dr. Julie Powell
Christian Primeau
Marie-Claire B. Primeau
Patrick Prince
Les Producteurs de lait du Québec
Helen Prokos
Theophilos Prokos
Richard Proulx
Dr. Stéphanie Proulx-Cabana
Francine Prud’homme
Quadra Plast
Quebecor
Louise Quenneville-Tétreault
Dr. Marie-Claude Quintal
Louis Racine
Jean Raymond
Muriel Draoui and Gilles Regazzoni
Ariane Renaud-Brule
GMP Griffiths McBurney Canada Corp.
RGC Coffee
The Richter Charitable Foundation
Dr. Georges-Étienne Rivard
Louis-Carl Roberts
Robinson Sheppard Shapiro
André Rondeau
Dr. Noemie Rouillard Bazinet
Louise Rousselle Trottier
Alexandre Roy
Christian Roy
Dr. Jean-Philippe Roy
Gilles Roy
Michaël Roy
Gisèle Royal
S.T Maconnerie 2022
José Saldivia
Dr. Kathryn Samaan
Constantini Dino Saroli
Dr. Diane Sauriol
Mike Sayig
Pierre Seccareccia Family
Serico
Catherine Sharp
Slalom Consulting ULC
Sogest Construction Inc.
Solutions Infodex
Soprema Inc.
Spiegel Sohmer Inc.
SSQ, Société D’Assurance-Vie Inc.
Standard Products Inc.
Marc-Olivier St-Aubin
Paul St-Michel
Danielle St-Pierre
Restaurant Tamaki Saint-Jérôme
SYRUS Réputation
Dr. Danielle Taddeo
Viateur Tellier
Sébastien Tessier and Sonia Verreault
Teva Canada Limited
Dr. Louis-Philippe Thibault
Bernard Thibodeau
Serge Thiboutot
TLA Architectes Inc.
Eftichios Tomadakis
Torys Law Firm Llp
Marie-Thérèse Tougas
Jacqueline Tousignant
Louis-François Trahan
Martin Tremblay
Guy Trudeau
Lea, Xavier, Daisy and Marc Trudel
UGroupMedia Inc.
Paul Vachon
Dr. Majorie Vadnais
Lucie Vaillancourt
Desjardins Securities Inc.
Nicole Vallée
Van Loc Tran Optométriste inc.
Alain Van Themsche
Sonia Veillette
Gildan Activewear Inc.
Vicasa Groupe Inc.
Cyrille Vittecoq
Guanzhou Wang and Xinlei Shi
In honour of Sophie and Abie Pinsky
Zak et Zoé
Francesco Zambito
Dr. Marianna Zarrelli
Antony Zonato
Dr. Zofia Zysman-Colman
33 anonymous
$2,500 and more
10102814 Canada Inc
11154010 Canada inc. (Olie&K)
2640 3402 Québec Inc.
2858-6352 Québec inc.
3208851 Canada Inc.
8917914 Canada Inc
9155-8007 Québec Inc.
9168-5909 Québc inc.
9411-3990 Quebec Inc
A Priori Stratégies Inc.
Elie Abou-Chacra
James Accurso
Jocelyn Adam
Salim Adamon
Administration Portuaire de Montréal
ADP Canada
Carine Greta Cica O Agassoussi
Agence Nomade inc.
Benoit Aghaby
Paul Ahmaranian
Lovely Akter
Jean-Paul Alain
Hervé Alaurent
Josiane Alexandre
Anthony and Penelope Alimbertis
Marc-André Allaire
Alloyco International Inc.
Amundi Canada inc.
Sandra Andre
Angele Martineau and Michal Kuzmicki Family Foundation
Sergio Angelo
Applied Electronics Limited
Yoland Arbour
Paul Arcand
Patrice Archambault
Aino Arik
Steve Arsenault
Ascendis Conseils
Ask Marketing
Claude Asselin
Association Sainte-Lucie des Laurentides Pietracatella
Samuel Aubé
Dr. Jérôme Auger
Avison Young (Canada) Inc.
Azelis Canada Inc
Darren Baccus
BainUltra Inc.
Banque CIBC
Pierre Patrick Barrett
Elaine Barsalou
Jean-Pierre Bart
Roger Bart
Wieslaw Bartoszewicz
Gilles Beauchemin
Robert Beaudoin
Paul Beaudry
Annik Beaulieu
Michel Beaulieu
Beauward Shopping Centres Ltd
Manon Lalancette and Luc Bédard
Pascal Bédard
Dr. Taline Bedrossian
Francisque Bégin
Dr Damien Bélisle
Julie Bellemare
Sylvain Belleville
Tiffany Belliardo
Hamid Benane
Benoit Family Foundation
Gilles Benoit
Raymonde Benoît
BentallGreenOak (Canada) LTD.
Ginette Bergeron
Philippe Bernard
Nadine Bernatchez
Martin Berube
Carole Bérubé
Nicole Bessette
Bernard Beugnot
Yolande Bhérer
Ada Bianco and Robert Soumako
Caroline Bibeau
BID Group Technologies Ltd.
Vincent Biello
Big Bang ERP Inc.
Antoine Bigenwald
Deborah Biondino
Birdz Children & Co inc.
Réjean Biron
Linda Bissonnette
Patrick Bissonnette
David Blackburn
Yves Blaney
Sophie Blouin
BMO Gestion Privée (Gestion de placements Anderson Laurin)
Philippe Boisclair
Julien Boisvert
Liliane Boisvert
Marc-André Boisvert
Marie-Claude Boisvert and Hugues Bessette
Réal Boivin
Claude Bonneau
Josée Bonneau
Rita Boucher Garceau
Marcia Boudreau
André Boulanger
Philippe Boulianne
Maroun Boumalhab
Sylvie Bourdon
Richard Bourget
Normand Bourque
Evelyne Bousquet
Rosalie Brault
Pierre Breault
Stéphane Breault
Yvon Brisebois
Francine Brodeur
Gestion Raymond Brodeur Inc.
Fulvia Broggi
Loic Bruderlein
Alain Brunet
Nicole Brunet
Daniel Bureau
Bureau Plan Inc
Klara Burger
Benoît Bussières
Tommy Cacioppo
Éric Cadorette
Claude Cajolet
Pascal Campeau
Canaropa (1954) Inc.
Canon Systèmes Médicaux Canada Limitée
Cantrex Nationwide
Canus Goat’s milk skin care product
Aurèle Cardinal
Lisa Carducci
Robert Carelli
Ludovic Carignan-Allard
Robert Caron
Carpette Multi Design C.M.D. Inc.
Viviane Cauden
Joseph Cavalancia
CBC électrique Inc.
Mike Cegelski
Dr. Sonia Cellot
Centre de l’Auto Élégance
Centre de services scolaire Marguerite-Bourgeoys
Maurice Chaillou
Jean-Pierre Chamberland*
Khem Chambers
Dr. Josette Champagne
Jocelyne Champagne
Christian Charbonneau
David Charbonneau
Denise Doiron and Denis Charest
Charitable Foundation of Carquest and Worldpac (Canada) Ltd./
Murielle Charlebois
Claudine Charron
Chartrand Ford Inc.
Michel Chevrier
Chidaca International Inc.
Karim Chikh
Waifong Chung
CIC Foundation – Companions in Courage
Micheline Clermont
Sophie Clermont
Virginie Cléroux
Clinique De Dermatologie Tousignant Inc.
Clinique Visuelle de Longueuil
Julie Cloutier
Mario Cloutier
Club Âge d’Or Millefiori
Coffrages Synergy Formwork
Cognibox Inc.
Vanessa Coiteux
Colcofin Consultant Inc
Collège Charlemagne
Collège de Montréal
Françoise Collette
Communauté de la Résidence Caléo
Samuel Comtois
Construction & Rénovation Mrobert
Construction et Rénovation GSL inc.
Construction Larotek Inc.
Construction Mario Rainville inc.
Hugo Corbeil
Conrad Cormier
Paul-Émile Cormier
Corporation Financière Mackenzie
Corporation Jamp Pharma
Madeleine Corriveau Jutras and Clément Jutras
Cristina Costa
Dr. Marie-Agnès Costisella
Claire Coté
Françoise Coulombe
Élisa Couture
Pierre Olivier Couture
Marie-France Craig
Claude Crevier
CSL Behring Canada Inc.
J.V. Raymond Cyr
Monique Cyr Labrecque
Madeleine Dagenais
Sylvain Dagenais
Yves Dagenais
Beaudoin Daigneault
Michel Daoust
Dassault Systèmes
Louis Daubois
Nicolas De Blois
Dr. Isabel De Palma
Yvan De Repentigny
Jean-Daniel Debkoski
Dr. Jean-Claude Décarie
Manon Declos
Sophie DeCorwin
Jean-Nicolas Delage
Jessica Delfino
Caroline Delisle
Chantal Delisle
Robert Delorme
René Delsanne
Sebastien Delvecchio
Élaine Demers
Diane Denis
Paul Déry
Albert Deschamps
Jean-Luc Deschamps
Sylvain Desgagnés
Nicole Desjarlais
Jacques Deslauriers
Claude Deslongchamps
Marie Desrosiers
Desvy
Dominic Désy
Martin Déziel
Frank Di Fruscia & family
Chiara Lucas Di Schiavi
Ibrahim Diabate
Dialogue Health Technologies Inc.
Jean-Philippe Dion
Luc Dion
Thérèse Dion Provencher
Dionne Avocats Inc.
Pierre Diotte
Giovanni DiSchiavi
Distribution Yves Thouin Inc.
DNA Capital
Dom Expert Inc.
Domaine du Lac St-Victor inc.
Domino’s Pizza
Doran & Minehane Ltd
François Doré
Dr. Véronique G. Dorval
Georges J. Dourte
Eleanor Dover
Dre M.S inc.
Dr. Yves Drouin
Francine Drouin
Jacques Drouin
Robert Dubé
Yves Dubeau
Christian Ducharme
Sophie Dufault
Francis Dumont
Dunton Rainville, Avocats
Dominique Dupuis
Dr. Paul Duranceau
Benoît Durand and Michelle Archambault
Marianne Durand
Micheline Duranleau et Germain Gaucher
Lorraine Durette
Duro Dyne Canada Inc.
Andrew Dutkewych
Jacques Duval
Jessica Duval
Dr Joanna Dziubinska
Edelman relations publiques mondiales Canada Inc.
Elasto Proxy Inc.
Benjamin Elemond
Simon Elgbeili
Eli Lilly Canada Inc.
Benoit Emery
Épicerie & Boucherie SA et Fils Inc.
EQUIPEMENT RD
Serge Ethier
Dr. Helena Evangeliou
Eventex Productions
Excavation Talbot
Excel Honda
Externat Mont-Jésus-Marie
Dr. Martine Favreau
Felton & Associates Insurance Inc.
John Fenwick
Monique Ferland-Gagné
Fernando Courchesne & Fils Ltée
Michelino Ferrara
Saverio Ferrara
Robert Ferron
Filles d’Isabelle de Gaspé #999
Michael Finnerty
Angelène Fleurant
Fondation Denise Dagenais
Fondation des Alouettes de Montréal
Fondation des Arméniens d’Égypte Inc.
The AGF Group Foundation
Presti Foundation
Fonds de solidarité FTQ
Pierre Chamberland Foundation Fund at the Foundation of Greater Montréal
Jean Fontaine
Sylvain Fontenelle
Formula Growth Limited
Jean-Guy Fortier
Myriam Fournier
France Délices
Dr. Julie Franc-Guimond
Thérèse Francoeur
Frédéric Lavoie Orthodontiste inc.
Freedom International Brokerage Company
Friperie Chez Marie 4 Poches
Joanne Furino
Franco Gadoury
Jean-Sebastien Gagne
Marcel Gagne
Yves Gagné
Marc-André Gagnon
Michel Gagnon
Véronique Gagnon
François & Pascale Galarneau
Pierre Gamelin
Garry Garcin
Normand Gaudette
Manon Gaudreault
Denise Gauthier Fund to Strategic Charitable Giving Foundation
Dr. Jean Gauvin
Monique Gauvin
GDI Services (Québec) SEC
Benjamin Gelly Cyr
Normand Gendron
Generation Spas
Marie-France Genest
Alfonso Gentile & Family
Denis Geoffroy
Geoffroy Family
Gestion André Waechter Inc.
Woods LLP
Gestion immobilière Laucandrique inc.
Gestion PCA 2003 Inc.
Gestion TYFA Inc.
Bahjat Ghattas
Marc Ghobriel
Pierre Giguère
Elise Gingras
Danielle Girard
Jean-François Girard
Annie Giraudou
Eloisa Giusti
Francesco Giusti
Givesco inc.
Glassroom inc
Emilie Godbout
François Godin
Christian Gonthier
Philippe Gosselin
Serge Gouin
André Goulet
Josée Goulet
Michel Goulet
Céline Goulet Dumais
GPL Assurance Inc.
Les Grands Ballets Canadiens de Montréal
Jean-Francois Gratton
Linda Gravel
Luc Grégoire
Patrice Grenier
Groupe Artea inc.
IMTL Music Group Inc.
Deschênes Group Inc.
Groupe FORMA+ inc.
Groupe Laverdure Construction
Group Mach
Le Groupe Montoni – Division Construction Inc.
Groupe P.M. Inc.
Charles Guay and Isabelle Pagé
Grant Guèvremont
Gupta Architecture Inc.
Habitations Mécaza
Roland Hagnier
Patrick Hally
Fondation Pauline Hamel at the Strategic Charitable Giving Foundation
Josée Hamel
Manon Hamel
Normand Hamel
Yves Harel
Havesam Canada LTD
Gaila Haynes
Hazeltree Fund Services
Brigitte Hébert
Denyse Hébert
Pierre Hélie
Héroux-Devtek Inc.
Hexavest Inc.
David Holmested
John Hoolahan
Najlaa Houssaini
Daniel Hurtubise
IBM Canada Ltd.
Les Industries Bonneville Ltée
Lassonde Industries Inc.
Philippe Ingham
Institut Secondaire Keranna
Luxar Investments inc.
IPConsul
J. B. Donnelly Barrister & Solicitor
Dr. Marie-Line Jacquemont
Christian Jacques
Vanessa Jasmin-Lortie
Jean-Luc Doray, médecin Inc.
Charles Jenkins
Andrée Jobidon Labrecque
François Jolicoeur
Jonathan Ladouceur, Lawyer
Johann Julliard
Olivier Kaade
Dr. Matsanga Leyila Kaseka
Adel Kauzman
Amir Assad Keynia
Dr. Maria Kondyli
Krocean Society (Dioscouri)
L. C. Gendron International Inc
La Clinique du sommeil des Laurentides
La Cuvée d’hiver
La Fabrik MP
Christian Labelle and Benoit Laguë
Mélanie Labelle
Laboratoire Riva inc.
Denis Labrèche
Daniel Labrecque
Alain Lacasse
Benoit Legros & Isabel Lachance
Dany Lacombe
Gérald A. Lacoste, c.r. and Ginette Anfousse
Hugo Lacroix
Lafarge Canada Inc
Jean Eric Laferriere
Denise Laferrière
Catherine Laflamme
Laframboise Avocats
André Lagacé
Marc A Paquette – Sport Marine.ca
Cedric Lajoie
Danielle Lajoie
Patrice Lalande
Christian Laliberté
Jules Laliberté
Claude Lalonde
Daniel M. Lalonde
Sébastien Lalonde
Jacques Lalumière
Philippe Lamarre
Guy Lambert
Sophie Lamonde
Dr. François Lamy
Murielle Landry
Georges Langis
Alain Lanthier
Jacques Laparé
laPersonnelle assurances générales inc.
Etienne Lapierre
Jean-Michel Lapierre
Mireille Lussier and Louis L. Larivière
Pierre Larochelle and Stéphanie Daignault
Céline Larocque
Julie Latreille
Maxime Latreille
Alexandra Laurent
Sébastien Laurier Chapleau
Jean-Charles Lauzon
Jean-Maurice Lauzon
Yves Lauzon
Dr. Caroline Laverdière
Michel Laverdière
Gabriel Lavigne
Carole Lavoie
Gabriel Lavoie
Serge Lavoie
LCR Solutions Informatiques
Tien Tai Lê
Sylvain Lebel
Guy LeBlanc
Philippe Leblanc
Pierre Leblanc
Suzanne Leblanc
Henri Lecluyse
François Leduc
Paul-André Leduc
Daniel Lefebvre
François Lefebvre
Pascal Lefebvre
Yvon Lefebvre
Yvon Legault
Stéphane Léger
Pierre Lemelin
Antonio Lemme
Gertrude Lepape
Dr. Suzanne Lépine
Leroux+Cyr
Philippe Leroy
Cardiologues du CHU Sainte-Justine
Les Consultants C.O.R.P. inc.
Les Éditions de la Pastèque In.c
Les entreprises de Maçonnerie MAT
Pierre Lesage-F.B.N.
Lescurier par Alex Platel
Simon Lesperance
Éric Lévesque
Carmelle Lévesque Thiboutot
Amélie L’Heureux
Élisabeth L’Heureux
François-Michel L’Heureux
Libre Finance Coaching Inc.
Loranger Marcoux
Dr. Amanda Lord
Danielle Lortie
Richard Lortie
Dr Clara Low Décarie
Catherine Lowe
Didier Lucien
Anne Lussier
Maçonnerie Demers Inc
Michel Maher
Luc Mailhot
Christian Mailly
Ajwad Mansour
Manugypse
Pierre Marcouiller
David Marechal
Simon Margel
Dr. Jean-Jacques Marier
Serge Marineau
Marion Et Gauthier Inc
Dr. Pierre Marois
Francis Marois
Roberto Marrocco
Marsh & McLennan Shared Services Canada Limited
Richard Martin
Dr. Monia Marzouki
David Masse
André René Massé
Richard Massé
Nathalie Massie
Philippe Masson et William Déziel
Diego Mastroianni
Matériaux Const Rémi Quesnel Inc.
Frank Mathieu
Michel Mathon
Nathalie Maurer
Bernard Antoine Mayer
Guy McNicoll
Douglas Norman McRae
Medtronic
Méga Calfeutrage Inc
Pierre Meloche Family
Sylvain Ménard
Vincent Ménard
Dr. Érika Mercier
Karine Mercier
Stephen Métayer
Miller Thomson LLP
Juan Pablo Mo
Giovanni Molinaro
Dick Molloy
Aldric Monette
Yves Mongeau
Mongrain Vertical Transport Inc.
Lise Montpetit
Lyad Morcos
Benoit Moreau
Morgan Lewis
Francois Morin
Svitlana Moskovchenko
Dr. Amélie Nadeau
Dr. Nicole Nadeau
Martin Nadeau
Richard Nadeau
Roland Nadeau
Ghislaine Nadon
Michel Naud
Virgile, Amaryllis, Martin et Clément NAUTON
Navedco Consruction Inc.
Nestlé Canada Inc.
NEVOLIA
NFOE
Nita Equipment Inc.
Roger Noel
Philip Nolan
Nomad Royalty Company Ltd.
Gaetane Normandin
Normandin Beaudry, Actuaires conseil inc.
Norton Rose Fulbright
NTD Apparel Inc.
Nutritek
Louis-Martin O’Neill
Oberfeld Snowcap inc.
Johanne O’Bomsawin Carroué
Donnacha O’Connor
Christiane Odeh
Roman Oryschuk
Claude Ostiguy
Serge Ostiguy
Claudine Otis
Marco Ottoni
Alexandra Ouellette
Marie-Chantal Ouellette
Outil de Coupe Drillmex Inc.
Cyril Paciullo
Margaret Panzera
Robert Paquin
Marc Paradis
Parafilms
Gabriel Pare
Réal Parent
Alain Paris
Park Avenue Audi
Rabaska Partners
Jacques Patenaude
Andrew Paterson
Florence Patry
Normand Payette
PCI – Perrault conseil inc.
Pierre-Karl Péladeau
Famille Pelland
Michel Pellerin
Diane Pelletier
Guy Pelletier
Marc-Stéphane Pennee
Claire Pépin
Gino Perna
Christiane Pérodeau
Roger Perrault
Gilles Perreault
Nicole Perron
Tommy Perrotta
Manon Peterkin
Petra Ltée
Diane Piché
André Pichette
Marguerite Pierre
Jean-Pierre Pilon
Pascal Pilon
Eric Pinard
Manuel Danilo Pineda Jiménez
Maryam Piram
Pirel inc.
Annick Plante
Frantz Plesimond
Plomberie Chauffage Normand Inc
Fabrice Poirier
Inès Pontiroli
Porap Design Graphique
Frédéric Poulin
Guylaine Poulin
Frédéric Prégent
Richard Prégent
Marie Prévost
Productions J
Promutuel Assurance Bajot
Danielle Proulx David
David Provencher
Andréa Provost
Yves Prud’homme
Dr Ghizlane Qouraimi
Québec Acoustique
Rémi Quimper
Gilles Racicot
Karim Rahim
Maya Ramacieri
Rapido Métal inc.
Nataly Raymond
Recochem Inc.
Sylvain Reid
Madeleine Renaud
René Prince Notaire Inc.
Danielle Richer
Julie Riel
Olivier Ringuet
Claude Riopel
Jacques Rioux
Martine Rivard
Alexis Rivest
Cindy Rizkallah
François Roberge
Marc Roberge
Martin Roberge
Daniel Robichaud
Denis Robitaille
Roxane Robitaille
Yvon Rochette
Geneviève Rochette Gratton
Scott Rodger
Rodimax Inc.
Xavier Roesch
Lantic Inc.
Béatrice Roquet
Seth Rosenberg
Annick Rouleau
Bernard Rousseau
Dr. Louise Rousseau
Alain Roy
Jean-François Roy
Julie Roy
Kim-Olivier Roy
Louise Roy
Michèle Rozon
Ruccolo + Faubert Architectes Inc.
Andréa Sabeh
Sylvie Sahyoun
Saint-Hilaire Inc.
Dr. Yvan Samson
Gilbert Sanche
Andrée Sauvé
Danielle Savard
Nicolas Schulman
Search Engine Monk Inc.
Sectoral Asset Management Inc.
Sécurité Polygon Inc.
SEMS – Jacques Demers
Serespro
Service de Réfrigération Nord-Sud Inc.
Services Hilo Inc.
Services Médicaux E. Lila Amirali Inc.
Services Médicaux Litalien-Lapointe inc.
Services Medicaux Soha Rached-D’Astous Inc.
Michael Shatilla
GuiXiang Shi
Yury Shmuylovich
Guy Simard
Hélène Simard
Louis Simard
André Sincennes
Navjot Singh
Anick Sivret
Mateus De Sousa
Spencer Stuart
George Spiridakis
Gilberte St Jacques
Dr. Martin St-André
Starlight Investments Ltd
Julie St-Arnaud
Luc St-Arnaud
Patricia Steben
Dr. Irena Stikarovska
Angèle St-Jacques and Réjean Landry
Stoic Capital Inc.
Howard Stotland
Patrick St-Pierre
Steven St-Pierre
SushiGo Plateau
Sweibel Novek L.L.P.
Sylvestre & Co.
Jean-François Taillefer
Robert Talbot
Tamelo Boutique
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Tapis National
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Paul-Aimé Tellier
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Robert Thériault
Daniel Thérien
Ghislain Thibodeau
Émilie Thivierge
Thor Urbana Capital
Hoc-Can To and Quach Tuly NGO
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Services Toitures Hogue Inc.
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André Toupin
Maurice Tousignant
Karine Trak
Minh Thanh Tran
Transport lam inc
Transport Scolaire Élite
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Carl Tremblay
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Jacques Tremblay
Maude Tremblay
Trisura Guarantee Insurance Company
Dr. Alexandra Trottier
Julien Trussart
Chia Hui Tseng
Claude Turcot
Pierre Turcotte
UGroupMedia inc.
Unigraph International Inc.
Urgence Marine Inc.
Patrice Vachon
Guy Valiquette
Monique Vézina
André Viau
Gaëtane Viens
Mélanie Viguié-Bilodeau
Lars Vilhuber
Omar Villegas
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Manon Vranderick
Jean Walusinski
Dr. Rochelle Winikoff
Dr. Owen Woods
Xiao Hong Wu
Li Ko Yen
André Zanga
39 anonymous
$1,000 and more
440 Ford Lincoln
Espacium Société Immobilière
2535-1396 Québec inc.
2760061 Canada Inc
2964-2097 Québec inc.
2970-2784 Québec Inc.
3638359 Canada Inc
4072383 Canada Inc.
9020-1450 Québec Inc.
9126-4556 Québec inc
9129-4694 Québec inc
9181-6231 Québec Inc.
9252-7076 Quebec Inc
9256-8179 Québec Inc.
9262-9831 Québec Inc
9265-3823 Québec Inc.
9315-4805 quebec inc
9319-1559 Québec Inc.
9332-2196 Quebec Inc.
9386-9873 Québec inc.
9431-1164 Québec Inc.
9448-7147 Québec Inc.
9504206 Canada Inc.
9509291 Canada Inc.
9825754 Canada inc.
A Di Da Phat Bouddhist Association
À L’Apéro Inc.
A.P.G.C.G.Q. Inc.
A+ Entrepreneurs Généraux
Aastha Shipping Inc
Abbott
Bassam Abdulkarim
Thierry Abel
Marcelle Abittan
Saul S. Abracen and Family Foundation
Académie Saint-Bernard
Accès Location +
ACGM Mécanique du bâtiment Inc.
Hélène Achard
Acier NordFab Inc.
Adacel Inc.
Brian Adams
Christopher Adams
ADI – Audio Distributors International
Adjointes, juges de la Cour du Québec et juges municipaux
Lauren + Mitchell Adler
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Affinerie CCR
Agence immobilière Levier inc
Agentis Capital Advisors
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AGF Management Limited
Agrigratte Ltée – Pro-Fusion
Airex Industries
Airpro Ventilation Inc.
AJC
Souleiman Al-Abboud
Aladin Et Ses Friandises II
Diane Alain
ALARY SPORT
Don Alberga
Gisèle Albert
Lynda Albert
Claudine Alcindor
Chanel Alepin
Alepin Gauthier Avocats Inc.
Alexandra Dubé MD inc
Alexandre Deslauriers and François Otis Pharmaciens Inc.
Alfred communications inc.
Hamza Ali
Alimentation L’Épicier
Claude Allaire
François Allaire
Andrée Allard
Catherine Allard
Claude Allard
Judith Allard
Pierre Allard
Robert Allard
Sylvie Allard
Dr. Claire Allard Dansereau
Nicole Allie
Rachel Alloul
Allstate Canada
Alogient Inc.
Margherita Aloisio
Alsco Canada Corporation
Altium Architecture de Patrimoine inc.
Liberta Amaral
Aménagement De Sousa
Amerex (Canada) Ulc
Magali AMIEL
Haleh Amin Alshariati
Amlea Avocats | Attorneys
Amont Analytiques Inc.
Yolande Amyot and Pierre Payette
Alexie Amyotte
Kosta Anastopoulos
Andre Filion & associés
Dominique Andry
Angelcare Canada Inc
Basile Angelopoulos
Andrée Angers
Jean-Charles Angers
Animago Inc
David Anselmo
Colette Ansseau
Roger Antoine
Andre Antoun
Rana Aoun
Apotex Inc.
Javier Arancibia
Cassandre Aras
Miguel Arbour
Pierre Arcand
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Julie Archambault
Lise Archambault
Louise Archambault
Luc Archambault
Marcel Archambault
Marjolaine Archambault
Martin Archambault
Michel Archambault
Nicole Archambault
Sophie Archambault
Sylvain Archambault
Ariel-Ellie-Maude-Minh Thanh
Mylène Arjane
Ophélie Arlet
Armoires Contessa inc.
Sylvie Armstrong
Bernard Arnold
Marc-Olivier Arsenault
Paula Arsenault
Roger Arseneau
Arthier (2633-2312 Québec inc.)
Lee Arthur
ARTMETCO INC.
Asanti Construction inc.
Ascenseur Actuel Inc.
Brigitte Ashby
Georges Ashby
Nada Assaad
Karine Assal
Assante Groupe Chevalier Meunier
Dr. Aaron Edgar Assedou
Daniel Asselin
Johanne Asselin
Lise Asselin
Marie-Paule Asselin
Association des Agents de Douanes
Association des Églises coréennes de Montréal
Association Des Médecins Endocrinologues Du Québec
Association des pédiatres du Québec
Association Isernina Inc.
Association Patronale des Ent. en Construction du Québec
Montreal’s Sambentonense Association
Assurance D’Onofrio
Astek Canada – Meritek
AstenJohnson
Atedra
Atelier D’usinage Jules Roberge Inc
William J. Atkinson
Les Atocas de l’Érable Inc.
Atome Construction
Carl Attie
Aubainerie
Johanne Aubé
Marc-André Aubé
Ginette Aubertin
Cyrille Aubin
Pierre Aubin
Sylvie Aubin
Marc Aubry
Francine Aubut
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Michel Aucoin
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David Audet
Guylaine Audet
Nancy Audette
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Jean-Édouard Auger
Luce Auger
Michel Auger
Raphaël Auger
Sébastien Auger
Karolyne Auger
Sylvie Aujolat
Autobus Yves Séguin et fils
Auxo Recrutement Inc.
Adel Awada
Axioma Inc.
Negah Ayatizadeh
Tanya Ayotte
Arthur Ayoub
Beshara Paul Ayoub
Christine Ayoub
Loubna Azami
Paul Aziz
Andréane Babcock-Boulais
Jean-François Babin
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Eunice Baldwin
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Banque Laurentienne – Financement Immobilier
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Michael Baratta
Benoît Barbeau
Mathieu Barbeau
Monik Barbeau
Sylvie Barbeau
Tangara Barbeau Germain
barbet immobilier 9072-9633 quebec inc
Marie-France Barbier
Bardagi Family Foundation
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Claude Baril
Guy Baril
Martin Baron
Dr. Silvana Barone
Antonio Barretta
Guy Barrette
Maryse Barrette-Parser
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Luc Barsalou
Barsalou Lawson S.E.N.C.R.L.
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Denis Bastien
Jacques Bastien
Jérôme Bastien
Robert Bastien
Agnès Bastin Jutras
Anna Baybourtian
Rollande Bazinet Filion
BC Unlimited Liability Company
BDT & Company
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Luc Beauchamp
Marie-Françoise Beauchamp
Serge Beauchamp
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Christian Beaudoin
Mathieu Beaudoin
Pierre Beaudoin
Richard Beaudoin
Roger Beaudoin
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Suzanne Beaudry
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Jacques Beaulieu
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Marc Beaulieu
Michel Beaulieu
Pierre Beaulieu
Raymonde Beaulieu
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Isabelle Beaupré
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Diane Beauregard
Ève Beauregard
Laurence Beauregard
Martin Beauregard
Maxime Beauregard
Michel Beauregard
Ann Beauséjour
Pierrette Beausoleil
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Éric Bédard
Jean Bédard
Jean-Marc Bédard
Lise Bédard
Nicole Bédard
Akram khanom Bekhradi
Andre Belair
Julien Béland
Serge Béland
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Nicolas Belanger
Sylvie Belanger
Dominique Bélanger
Marcel Bélanger
Martin Bélanger
Pierre Bélanger
Richard Bélanger
Sylvie Bélanger
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Lorraine Bélanger Taddéo
Grégory Belhumeur
Michel Belisle
Pierre Belisle
Maryse Bélisle
Bell Média
Diego Bellabarba
Belle Et Douce Maeva
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Patrice Bellefeuille
Sébastien Bellefleur
Daniel Bellemare
Line et Guylaine Bellemare
Bellemont Powell Ltd
André Belleville
Sophie Belley
Liza Belmellat
Belron Canada Inc.
Carla Beltrami
Guillaume Belzile
Marc-André Belzile
Khalil Ben Achour
Jacques Benard
Emmanuel Benetos
Lilian Bengian
Elise Benny
Geneviève Benoit
Paul Benoit
Rozanne Benoit
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Ken Bentham
Michel Berard
Mathieu Bérard
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Caroline Bergeron
Claudia Bergeron
Dany Bergeron
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Pierre Bergeron
Sylvie Bergeron
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Yolande Bergeron
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Marc Bernard
Marie-Claude Bernard
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Antoine Bernard-Laberge
Bruno Pascal Bernier
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Diane Bernier
Germain Bernier
Harold Bernier
Jean Bernier
Lucie Bernier
Marc-André Bernier
Mélanie Bernier
Roger Bernier
Marielle Bernier Deslandes
Dounia Berrada
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Richard Berthiaume
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Liliane Bertrand
Micheline Bertrand
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François Bérubé
Geneviève Bérubé
Jacques Bérubé
Pierre Bérubé
Robert Bérubé
Hélène Besré
Lydia Bessai
André Bessette
Joël Bessette
julie Bessette
Nathalie Bessette
Beyond Technologies
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Hardeep Bhuller
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Bernard Bigras
Ginette Bigras
Johanne Bigras
Jacques Billette
France Bilocq
Bilodeau Inox
Olivier Bilodeau Lavoie
Susan Biner
Daniel Binette
Marc-André Binette
Pierre Binette
Yolande Binette
Pascale Biron
Lyne Bisaillon
Gilbert Bisson
Raymond Bisson
Bisson Expert
Robert Bissonnet
Denise L. Bissonnette
Guy Bissonnette
Jean Bissonnette
Melany Bissonnette
Michel Bissonnette
Bitume Québec
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Philip Black
Flora Blacksmith
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Marcel Blain
Carolyn Blair
André Blais
David Blais
Jean-François Blais
Jean-Yves Blais
Raymond Blais
Diane Blanchard
Jacques Blanchard
Ronald Blanchard
Céline Blanchet
Guillaume Blanchet
Stéphane Blanchet
Roger Blanchette
Blixo, Inc.
Martin Blondeau
David Bloom
Roslyn Bloom
Agathe Blouin
Elias J C Blouin
Stéphanie Blouin
Blueprint Properties Inc
BlueStar Canada
Diane Bluteau
Bny Mellon Wealth Management, Advisory Services
Yorick Bobba-Gaudreau
Dana Bober
Dominique Bock
Daniel Bohbot
Christiane E. Boileau
Louise Boileau
Lyne Boily
Claude-André Bois
Bois de foyer Rive-Nord inc.
Eugénie-Germaine Boismenu
Evelyn Boisseau
Maxime Boissonneault
Daniel Boisvert
Dominique Boisvert
Guy Boisvert
Lucie Boisvert
Suzanne Boisvert
Jacques Boivin
Pascal Boivin
Alain Bolduc
Donald Bolduc
Eric Bolduc
Julie Bolduc
Michel Bolduc
Jean-Marie Bond
Jean-Michel Bonin
Dan Bonitatibus
Dominique Bonnet
André Bonneville
Boomerang éditeur jeunesse inc.
Luc Bordeleau
Eugène Bordian
Anna Bordonaro
Dr. Patricia Bortoluzzi
Mahdi Bouabdallah
Mounia Bouacida
Nadjah Bouaouiche
Bruno Bouchard
Gilles Bouchard
Jean-François Bouchard
Josee Bouchard
Marc Bouchard
Marcel A. Bouchard
Marius Bouchard
Sonia Bouchard
Denyse Bouchard Savard
Sonny Bouchard-Godin
Andrée Boucher
Bruno Boucher
Clotilde Boucher
Danielle Boucher
Denis Boucher
Diane Boucher
Élaine Boucher
François Boucher
Guy Boucher
Marie-Claude Boucher
Monic Boucher
Patrick Boucher
Bernadette Boucher Aylwin
Boucherie La Généreuse
Samuel Boucher-Lemon
gilles boudreau
Guillaume Boudreau
Jessica Boudreau
Melissa Boudreau
Richard Boudreau
Alain Boudreault
Julien Boudreault
Marc Boudreault
Suzanne Boudreault
Vanessa Boudreau-Sannier
Guillaume Boudreau-Simard
Pierre Bouffard
Bouge Studio Actif
Céline Boulanger
Pierre James Boulanger
Gilles Boulet
Jacques Boulet
Laval Boulianne
Waguih Boulos
Geneviève Boulva
Christiane Bourassa
Philippe Bourassa
Bourassa Boyer Inc.
Pascale Bourbeau
Hélène Bourbonnais
Richard Bourbonnais
Christian Bourbonnière
Simone Bourdages
Gilles Bourdeau
Line Bourdeau
Emmanuelle Bourdelais
France Bourdon
Hélène Bourgault
Lise Bourgault
Lucie Bourgault
Caroline Bourgeois
Bernard Bourget
Pierre-André Bourget
Alain Bourque
Sylvie Bourque
Jacques Bourrelle
Elise Bourret
Francois Bourret
Omer Bousquet
Gaétan Bouthillier
Geneviève Bouthillier
Sylvain Bouthillier
François Boutin
Hélène Boutin
Jean-Claude Boutin
Joanne Boutin
Rémi Boutin
Névine Bouzakhn
Ludmila Bovet
David Bowles
Doris Boyer
Laurette B. Boyer
Simon Boyer
Gisèle Boyer Savaria
Pierre Boyle
Jean Brabant
Noëlla Brady
Étienne Brassard
Jérôme Brassard
Lise Brassard
Martine Brassard
Brassard Goulet Yargeau
Raymond Brasseur
Jean-François Brault
Denise Breault
Yvan Breault
Huguette Breton
Stephanie Breton
Suzanne Breton
Robert Briand
Madeleine Brien
Pierre Brien
Lucie Brillon
Christopher Brind’Amour
Jean-Luc Brisebois
Marie Brisebois
Mathieu Brisebois
Patrick Brisebois
Marc Brissette
Brian Brisson
François Brisson
Jean-Denis Brisson
Marc Brodeur
Pierre Brodeur
Yvan Brodeur
Jean-François Brossard
Nathalie Brosseau
Benoit Brouillette
Roland Brousseau
Harold Brownstein
Victoire Brulé
Pierrette Brûlé
Fabien Brun
Diane Bruneau
Éric Bruneau
Gabriel Bruneau
Alain Brunelle
Jean-François Brunelle
Alexandre Brunet
Maxime Brunet
Real Brunet
Suzanne Brunet
Cristoforo Brunetti
Angela Buckman
Marie-France Bugnon
Olivier Buisson
Claire Burdett
Linda Bureau
Bernard Bussières
Jean-François Bussières
Alexandre Buswell
Natalie Byrns
C.V. International Plastics
C3 Solutions
Michel Cabirol
Aimée Cacopardo
Charles-Indy Cadieux
The Cadillac Fairview Corporation Limited
Karen Cahill
Caisse Desjardins de Joliette et du Centre de Lanaudière
René Caissie
Antoinette Caltagirone
Bernadette Cambria
Danny Cameron
Camionnage C.P. Inc
Guy D Camirand
Marc Camirand
Céline Campagna
Constant Campanozzi
Canada Guaranty
Canadian Meat Council
Candid Contracting Ltd
Canoe Financial
Anna Maria Cantatore
André Cantin
Isabelle Cantin
Pierre Cantin
Jean-Philippe Capezzuoli
Joseph Caporicci
Domenic Cappuccilli
Caprion Biosciences
Louise Cardinal
Cardinal Logistique Inc.
guy carignan
Sorin Carjan
Yves Carle
Dre. Anabel Carmel
Alexandre Caron
Christine Caron
Isabelle Caron
Jacques Caron
Jacques-Yves Caron
Jean-Luc Caron
Mario Caron
Richard Caron
Louise Caron-Walsh
François Carrier
Louis-Philippe Carrier
Pierre Carrier
Sylvain Carrière
Cindy-Anne Carufel
Jean-Christophe Carvalho
Patricia Casault
Peter Castiel
Gabriel Castiglio
Aline Castonguay
Claude S. Castonguay
Bita Cattelan
Claude Caty
Éric Caudron
Marie-Michelle Cayer
Ghyslaine Cayouette Goyer
Yves Caza
Robert Cazavan
CBE Fenestration
Iosis-Alexandru Ceascai
Centre Académique de Lanaudière
Centre Académique Fournier
Centre De Soins Dentaires E.S Inc
Centre dentaire A. Plouffe & Associés inc.
Centre Dentaire Bouchard Laperrière Lavoie et Associés
Centre Dentaire de la Gare
Centre du partage de Valleyfield inc.
Céramique A.Pilot et fils Ltée
Sylvie Céré
Ayman Chaaban
Guy Chabbert
Chagall Design
Armand Chagnon
Donald Chagnon
Robert Chagnon
Alain Chalut
Marie-Christine Chamberland
Pierre Chamberland
Yves Chamberland
Tamar Chamelian
Antoine Champagne
Benoit Champagne
Claude Champagne
Edith Champagne
Liane Champagne
Lynda Champagne
Lynn Champagne
Stephane Champagne
Chi-Chung Chan
Sophie Chantal-Racine
Elaine Chapman
Jean-Francois Chaput
Jean-François Chaput
Yvonne Chaput
Charles Charbonneau
Felix Charbonneau
Isabelle Charbonneau
Jean-Guy Charbonneau
Manon Charbonneau
Marc-Antoine Charbonneau
Suzanne Charbonneau
Murielle Charette
Véronic Charette
Dave Charland
Marie-Claude Charland
Anne Marie Nadia Charles
Charles River Associates
André Charpentier
Roland Charpentier
Guy Charron
Daniel Chartier
René Chartier
Anne-Marie Chartrand
Suzanne Chartré
Denis Chaurette
Sokunthea Chea
Daniel Chenard
Viateur Chénard
Jean Chenette
Grace Cheung
Serge Chevanelle
Marise Chevillon
Diane Chevrier
Pierre Chevrier
B Chiasson
Angela Chirinian
Harout Chitilian
Danièle Choinière
Chomedey Hyundai
Diane Choquette
Sylvie Choquette
Pascale Chouinard
Simon Chouinard
Élisabeth Chouvalidze Martin
Joanne Chretien
Samuel Chretien
Chrome & Zinc C.J.G.M. Inc.
Chubb Insurance Company of Canada
Patrice Cianciulli
CIBC Asset Management Inc.
Cie De Publication Alpha Inc
Alberto Cieri
CIMI Inc
Cristina Cismaru
Louise Claveau-Côté
Edouard Clement
Liliane Clément
Lucette B. Clerk
Michel Clermont
Georges Cliche
Clinique Dentaire Daniel Zilio Inc.
Clinique dentaire Laflamme et Leblanc Inc.
Clinique d’Ergothérapie de Repentigny (1994) Inc.
Clinique Du Dr. Kiss Inc.
Clinique Médicale de Rawdon
Clinique Physiothérapie Des Monts
Clodine Desrochers Communication Inc.
Martin Clouâtre
Cloudkhan Solutions (9414-3534 Quebec Inc)
Alain Cloutier
André Cloutier
Bernadette Cloutier
Dr. Mireille Cloutier
Georgette Cloutier
Jacqueline Cloutier
Jean Pierre Cloutier
Pierre Cloutier
Sophie Cloutier
Stéphanie Cloutier
Club Jouet Inc.
Club Lion de Buckingham blitz panier de Noël
Club Optimiste St-François
Club Optimiste Verdun Inc.
Club Piscine CPPQ inc.
Club Sociale Toscano Inc.
Club Zahlé Montréal
Coboom inc.
André Codère
Elisabeth Codsi
Grégory Cohen
Marc Cohen
Stéphanie Cohen
Sam Cohen Scali
Colacem Spa Et Colacem Canada Inc.
Hélène Colin
Collège Durocher Saint-Lambert – Pavillon Durocher
Collège Jean de la Mennais
Collège Jean-de-Brébeuf
Collège Letendre
Collège Saint-Hilaire
Marie-Michèle Collerette
Francis Collette
Julie Collette
Manon Collette
Francois Collin
Mariella Collini
Jean Colpin
Dr. Hallie Coltin
Elisabeth Colubriale
Columbus Café
Jonathan Comeau
Michelle Comeau
Comité Bénévole Croix Secours Arménienne Inc.
Comité Étudiant CPA De HEC Montréal
Commit2Security Inc.
Vincent Compagnat
Combined Insurance Company of America
Complexe Auto Plus Inc.
Danielle Comtois
Gisèle Comtois
Conception Mario Adornetto
Michel Condoroussis
Congrégation des Soeurs de Notre-Dame du Saint-Rosaire
Berata Conserve
Martine Constant
Construction 3M
Construction Djl
Construction Djl Inc. – Ag. Gaspésie 2
Construction G20 Inc.
Construction Garbarino
Construction Gilles Chaîné Inc.
Construction Lorac Inc.
Construction Nordex
Construction Santos Inc
Construction Vergo inc.
Constructions Larco Inc
Constructions M Inc.
Consultation Réal Jacob (9102-0156 Québec Inc.)
Christian Contreras
Coopérative Régionale d’Électricité
Coradin Inc.
Pierre Corbeil
CLAUDE CORMIER
Kevric Real Estate Corporation
Corporation Medicart
Corpsteven Inc.
Danielle Corriveau
Cossette & Touchette inc.
Diane Coté
Gilles Coté
Conrad Côté
Daniel Côté
Daniel D. Côté
Dr. Geneviève Côté
Fleur Côté
Gaston Côté
Geneviève Côté
Isabelle Côté
Léonard Côté
Marielle Côté
Michel Côté
Pierre-Yves Côté
Thérèse Côté
Yvonne Gagnon Côté
COTE 100 Inc.
Gilles Couillard
Diana Coulombe
Eliane Coulombe
Marc-André Coulombe
Monique Coulombe
Cathy Coulombe Ferreira
Danièle Courchesne
Jean-François Courchesne
Steve Courey
Julie Cournoyer
Nicolas Cournoyer
Jessica Courtois
Jean-François Courtoy
Jeanne Cousineau
Marylène Cousineau
Roland Cousineau
Jean-Claude Coutu
Marie-Helene Coutu
Mychèle Coutu
Simon Coutu
Claire Couture
Damien Couture
Dr. Julie Couture
Gilles Couture
Jacques Couture
Lay Couture
Mélodie Couture
Cpu Service Inc
Crédit Suisse Securities (USA) Llc
Gilles Crépeau
Jean Crépeau
Martin Crépeau
Paul-André Crête
René Crête
Donatella Crivello
Danick Croisetiere
Laurence Cromp-Lapierre
Cromwell Management Inc.
Martine Croteau
Hélène Crôteau
David Alejandro Cruz
Patricia Curadeau-Grou
Jacques Custeau
Johnson & Jonhson
Cygest Inc
Alexandre Cyr
Dominic Cyr
Dominique Cyr
Sylvia Czerwinska
Simone Czyborra
Julie D Amours
Myriam D’Abzac
Claude Dagenais
Guillaume Dagenais
Isabelle Dagenais
Judith Dagenais
Anais Dahmani
Patrick Daignault
Denise Daignault-Bossé
Jacques Daigneault
Roger Daigneault
Oury Dal Bianco
Marie Dalbec
Raymond Dalbec
André Dallaire
Monique Dallaire
Sylvie Dallaire
Dallaire Consultants
Diane Dallaire Talbot
Luigi Dalle Nogare
Irène D’Almeida
Juliette D’Almeida
Marc Dalpé
Réjane Dalpé
Claude Dalphond
Maya Damoun
Réal D’Amours
Francine Daneau
René Daneau
Daneau Marine 1990 Division de 175746 Canada Inc.
Alix D’Anglejan-Chatillon
Dr. Sam Daniel
Dans Le Sac
Yves Dansereau and Nathalie Bélanger Dansereau
Antonio Daoust
Louis Daoust-Deschamps
Alik Darakjian
Matthieu Daugan
Cécile David
Jean-Philippe Davignon
Davola Holdings Inc
Jon Day
Dbmd inc.
Dctex Inc
Nicole, Joseph And Nicholas D’Cunha
Maria De Andrade
Simon De Baene
Jacques De Block
Francine De Coste
Luisa De Grazia
Julien De La Riera
Robert De Langis
Chantal Bernier et Jacques Foisy
Katleen De Repentigny
Giovanna De Santis
Christian De Sève
Corrado De Stefano
Benoit de Varennes
Anne de Vernal
Marie-Éva de Villers
Marie-Christine Dea
Deans Knight Capital Management
Joseph Décarie
Decarie Plumbing and Heating Ltd
Claude Decelles
Christian Dedack
Yasmine Defouni
Allen DeJean
Marie Michele Del Balso
Morena Del Gramde
Liliane Delaby
Luc Delangis
François Delaplace
Michel Delisle
Claire Delisle Léger
Sabrina Dello Sbarba
Delmonaco
Dr. Edgard E. Delvin
Suzanne Dematos
Denis Demers
Francine Demers
Johanne Demers
Line Demers
Michel Demers
Thérèse Demers
Elise Denault
Kathie Deneault
Deneigement et entretien TG inc
Marcel Denicourt
Karolyne Denis
Marie-Claude Denis
Michèle Denis
Patrice Denis
Renée Denis
Yannick Denis
Vincent Denommé
Marc-André Dépin
Guy Deraspe
Denise Deriger
Marie-Eveline Dérival Orvil
Lorraine Déry
Serge Déry
Véronique Déry
Noël Desalliers
Joëlle Désaulniers
Pierre Desautels
Raymonde Desautels
François Désautels
Maryse Desbiens
Jean-Guy Deschambault
Alexandre Deschamps
Catherine Deschamps
Daniel Deschamps
Émilie Deschamps
Marie-Eve Deschamps
Maxime Deschamps
Alexis Deschênes
François Deschênes
Jean-Hugues Deschênes
Martin Deschênes
Pierre-Charles Deschênes
Alice Desforges
Desforges, Roy, Lessard Experts En Sinistres Inc.
Rita Desgroseilliers
Bernard Désilets
Marie-Ève Désilets
Ginette Desjardins
Julie Desjardins
Marc-Antoine Desjardins
Desjardins – Groupe Financement Immobilier
desjardins securite du batiment
Michel Deslauriers
Serge Deslauriers
Benjamin Desmarais
Benoît Desmarais
Danielle Desmarais
Françoise Desmarais
Guy Desmarais
Louise Desmarais
Mario Desmarais
Philippe Desmarais
Ronald Desmarais
Serge Desmarais
Martin Desrochers
Claude Desroches
Dr. Julie Desroches
Guillaume Desroches
Pascal Desroches
Benoit Desrosiers
Marie-Eve Desrosiers
Martine Desrosiers
Michel Desrosiers
Micheline Desrosiers
Pierre Desrosiers
Jacques Destrempes
Michèle Désy
Pierre Désy
Développement professionnel continu
Développements Montarville inc.
Yves Devin
Thomas Devita
Sylvie Devito
Raymonde Devost
Dexcom Canada, CO.
Valérie Déziel
Dharamall Dhanraj
Tiziana Di Donato
Marziella Di Penna
Antonio Di Schiavi
Diageo Approvisionnement Mondial
Anabela Dias
Edomilia Diaz
Mitra K. Dibadj
Mianda Pamela Dibula
Caroline Dickey
Xuyen Linh Diep
Silvana Digirolamo
Vessela V. Dimitrov
Vu Kha Dinh
Armando E. Dinucci
Danielle Dion
Nathalie Dion
Jocelyne Dion Tourville
Jocelyne Dionne
Michèle Dionne
Simon Dionne
Vincent Dionne
Evelyne Diot
Marcel Diotte
Direct Pay Solutions
Distribution Beto-Briq Inc
Distribution Syllain Inc.
Samir Djaballah
Youcef Djait
Hania Djellout
Djoser Solutions Inc
Phuong Lan Do
Docteure Nathalie Lucas Inc.
J.A. Claude Dolan
Stephan Dolarian
Andrée Dolbec
Pierre Donaldson
Jeanne d’Arc Donatelli
Anne Dongois
Karl Donolo
André Dorais
Marc Dorion
Robert Dorion
Jonathan Dorval
Cylia Dorvelus
Linda Doskas
Jacques Yves Doth
DoubleTree by Hilton Montreal
Robert Doucet
Shanty Doucette Vachon
Raymond Douillard
Patrick Doyle
Caroline Doyon
Jeanne-D’Arc Doyon
Josee Doyon
Michel Doyon
Sébastien Doyon
Dr Aline Roy Inc.
Dr Benoit De Varennes Inc
Dr C.S Boodhun Inc.
Dr Jean-François Bélanger inc.
Dr Kevork Manoukian inc.
Dr Louise Roux Inc.
Dr Marc Ménard inc.
Dr René Caissie Maxillofacial Inc.
Dr. François Bertrand, MDCM, Inc.
Drain Mpr
Jean-Philippe Drainville
Louise Drapeau
Dre Louise Piché Inc
Dre Nancy Robitaille Inc.
Denis Drolet
Patrick Drolet
Adam Drori
Gilles Drouin
Jacques Drouin
Judith Drouin
Marie Drouin
René Drouin
Richard Drouin
Lise Drouin-Xénos
DRW Canada co
Mark D’Souza
Nicola D’Souza
DSPOC Inc.
Genevieve Dube
Patrick Dube
Deni Dubé
Jean Dubé
Jean-Louis Dubé
Josée Dubé
Danielle B. Dubeau
Jean-Michel Dubeau
Pierrette Dubeau
D’Arcy Dubien
Dr. Josée Dubois and Dr. Gilles Soulez
Gilles Dubois
Johanne Dubois
Louis-Marie Dubois
Michel Dubois
Micheline Dubois
Mathieu Dubord
Hugo Dubreuil
André Dubuc
Réal Dubuc
Gisèle Ducharme
Lise Ducharme
Pauline Ducharme
Marguerite Duchesnay
Guy Duchesne
Valerie Duchesne
Jeremie Duchesneau Allali
Paul Duclos
Christine Dufour
Gina Dufour
Anna Dufour Perron
Pierre Dufresne
Clément Dugas
Marc Duguay
Roger T. Duguay
Florence Dujoux
Ariel Dujovne
Richard Dulgar
Gilles Dulude
Brigitte Dumas
Claude-Jean Dumas
Jean-Marc Dumas
Joëlle Dumas
Robert Dumas
Françoise Dumitrescu
Éric Dumont
Dumontet CSV Inc.
Ron Dumouchelle
Jacinthe Dumoulin
Mélanie Dunn
Susan Dunn
Do Son Duong
Diane Duplin
Jean-Louis Dupont
Colette Dupont-Bouchard
Hubert Dupuis
Jean-Guy Dupuis
Martin Dupuis
Mimi Dupuis
Murielle Dupuis
Rita Dupuis
Marielle Dupuis L’Italien
Noemie Dupuy
François Duquette
Raymond Duquette
Jacqueline M. Duranceau
André Durand
Annick Durand
Danielle Durand
Marie Durand
Benoit Durand-Jodoin
Duret et Landry Inc
Jonathan Durocher
Marc Durocher
Bernard Dussault
Michel Dussault
Suzanne L. Dussault
Roch Dutil
Carmen Duval
Linda Duval
Lisette Duval
Stéphane Duval
Nicolas Duvernois
Frieda Dym
Jack Dym
Dynamitage St-Pierre (1987) Inc.
E.W.W. Conseils Inc.
Eberhard Von Huene & Associates Inc.
EBI Environnement
ECL Mécanique Inc.
Eco-Verdure Inc.
EDF Renewable Energy
Dr. Patricia Egerszegi
Ahmed Zaki El Haffaf
Mohamed ziad El marroufi
Joseph El-Achkar
Elaine Mungiovi Courtier Immobilier
Ziad El-Chaar
Électrique Perfection Inc.
Élément Bois
Dr. Maxime Elfassy
Mor Ester Elgrably
Bernard Elie
Elite Cardiology Group Inc.
Marie-Helene El-Khoury
Saïd Ellaouzi
Valerie Elleron
Naomi Ellingsen
Sheldon Elman
James El-Mashtoub
Les Emballages Carrousel Inc.
Robert Emer
EMG structures d’acier Inc.
Emmanuel Préville-Ratelle Avocat Inc.
Raymonde Emond
Danielle Émond
Nicholas Émond
Employés de ABB Électrification Canada SRI
Employés de Chep Canada
Énergère
Engel & Völkers
Entreprises CHARTA & RONA-Lachine
Les Entreprises de Pavage et de Jardinage Sabatino Inc.
Entreprises Importfab Inc.
Les Entreprises PEP 2000 inc.
Les Entreprises Victor et François Inc.
Entretien Gracia Gauthier
Entretien Ménager Freshnet
Entretiens Qualibec
Environnement Routier NRJ Inc.
Épilepsie Montréal Métropolitain
Equifax
Équijustice Lanaudière Sud
Equipbureau Canada Inc.
Équipe Francis McKenzie
Équipe Indigo Inc.
Equitable Bank
ERFA Canada 2012 inc.
Escient inc.
Espace Assurance Inc.
Espace Flo
Alexandra Essiambre
Yacine Et Charlotte
Lise Ethier
Louise Ethier
Serge Éthier
Eurovia Québec Grands Projets Inc.
George Evangeliou
Excellence Hydraulique Inc.
Exect Groupe Conseil Inc.
Extermination Jalbert Inc.
Externat Sacré-Coeur
Extral Distribution Inc.
F&A Armstrong Inc.
Claude Fagnan
Dr. Jeanne-Nicole Faille
Mireille Faille
André Falardeau
Fernando Falciglia
Melina Falletta
Yves Fallu
Familiprix Bois-des-Filion
Familiprix Extra – Jean-François Lafrance
Famille de Paule Rondeau et Stéphane Houle
Alexandre Farag
Roweida Farhat
Jean Farley
Robert Farmer
Colette & Steve Farrell
Elsa Fasciano
Hugues Fastrel
Niare Fatoumata
Lyne Faucher
Faucher Industries div. Industries RAD
Stéphane Faust
Alisa Fauteux
Papa Faye
Fbn/Gp
FCA CANADA inc.
Richard Fecteau
Jean G. Feltrin
Diane Felx
Fenplast Inc.
Aurélie Ferguson
Jean-Louis Ferland
Bruce Ferman
Ferme Fredami inc.
Ferme Lussions Senc
Ferme Normand Vinet S.E.N.C.
Fermes Farnham Ltée – Farhnam Farms Ltd.
Sophie Fernandes
Ferndale Sécurisation
Lucia Ferracane
David Ferrante
Diana Ferrara
Lise Ferron
Diane Ferryn
Festival Western St-Tite
Shane Fildes
Jacques Filion
Michèle Filion
Les Filles d’Isabelle de Boucherville – Cercle Mgr Poissant #1025
Bernard Fillion
Francis Fillion
Stéphane Fillion
Finance Scrampions
Financière Banque Nationale
Financiere Canoe
Professionals Financial
Steven Finiffter
Pat Fiore
Denise Fiset
Dr. Haley Fishman
Alexandre Flamand Villeneuve
Flavora
Flocor Inc.
Marcio Flores
Meg Flynn
Diane Benoît and Steve Foley, CFA
Follosoft inc.
Fondation ACTIV
Fondation Bourbeau
Fondation Compagnom
Fondation Desautels Duguay
Fondation Famille Lupien
Moreault Family Foundation Fund at the Foundation of Greater Montréal
Fondation Famille Nezri
International Echo Foundation
Fondation Jacques Gagnon et Diane Socquet
Fondation Joie & Sourires d’enfants
Fondation Martin Matte
Fondation St-Hubert
Fondation Ultramar
Fonds Famille Morency
Fonds Ghislaine Rondeau
Fonds philanthropique Sylvie Lebeau
François Fontaine
Marie-Josée Fontaine
Paule Fontaine
Françoise Forel
Jean-Claude Forest
Lise Forest
Luc Forest
Marcel Forest
Michel Forest
Yves Forest
Forestiers R.G. Inc
Claude Forget
Jean-François Forget
Johanne Forget
Martin Forget
Normand Forget
Sylvie Forget Préville
Rino Forgione
Vincent Forgues
Forme Studio Architecture
Fortex Cnstruction
Éric Fortier
Jean-Marie Fortier
Jean-Philippe Fortier
Liette Fortier
Marc-Antoine Fortier
Mariette Fortier
Martin Fortier
Nathalie Fortier
Christine Fortin
Georges-Etienne Fortin
Guillaume Fortin
Maxime Fortin
Serge Fortin
Pierre Fostier
Robin Fournel
Audrey Fournier
Norman Fournier
Roger Fournier
Tony Fournier
Franchisseur shaker cuisine et mixologie
Marthe Francoeur
Martin Francoeur
Thérèse Francoeur
François Brais Avocat Inc.
François Prud’Homme Inc.
Frank Lareau Inc.
Aaron Fransen
Anthony Frayne
Helen Frechette
Jacques Fréchette
Karine Fréchette
André Fredette
Jocelyne Fredette
Richard Fredette
Marc Frédette
Jean-Jacques Frémeaux
Martin Frenette
Simon Frenette
Sylvie Fret
Justine Freund
Joanne Friesen
Philippe Frizon
Frontières Jardins
Fruit Dome
FSA Architecture Inc.
Vivian Fugère
Michele Furino
Ghislain Furlotte
Dr. Koto Furue
Antonietta Fusco-Mancini
Fuze Hr Solutions Inc
FX Innovation
G. B. Cotton Inc
Carole Gagne
André Gagné
Bertrand Gagné
Chantale Gagné
Daniel Gagné
Jacqueline Gagné
Johanne Gagné
Paul Gagné
Pierre Gagné
Catherine Emmanuelle Gagnon
Christian Gagnon
Claire Gagnon
Claude Gagnon
David Gagnon
Denis Gagnon
François Gagnon
Guy Gagnon
Jocelyne Gagnon
Josiane Gagnon
Lise Gagnon
Louis Gagnon
Louise Gagnon
Marie-Josée Gagnon
Mathieu Gagnon
Michael Gagnon
Michel Gagnon
Pierre Gagnon
Stéphane Gagnon
Annie Gagnon-Larocque
Liliane Gallant
Stéphanie Gallant
Joan Galley
Mario Gamache
Monique Gamelin
Sinyan Gantcheff
Wanda Garabatos
Pierre Garand
Lise Garceau
Garderie Boule d’énergie
Garderie Château de Rêve Inc.
Garderie Les Minous De Mamie
Garderie Petit Gazou Inc.
Gardium Sécurité inc.
Claudette Gareau
Véronique Gareau-chiasson
Garival s.e.c.
Johanne Garneau
Sebastien Garneau
Lucette Garnesson
Denis Garon
Jérôme Garon
Gabriel Garzon
Gascon & Associés avocats
Louise Gaudet
François Gaudette
Sylvie Gaudrault
Jacques Gaudreau
Lise Gaudreau
Gaudreau Assurances Inc.
Dr. Pierre Gaudreault
Martin Gaudreault
Pierre Gaudreault
Yves Gaulin
Louis Gaultier de Carville
Alain Gauthier
Dr. Nathalie Gauthier
Dr. Robert J. Gauthier
France Gauthier
Jacques Gauthier
Joanne Gauthier
Joslyn Gauthier
Lise Gauthier
Lucie Gauthier
Marielle Gauthier
Martine Gauthier
Michel Gauthier
Pascal Gauthier
Paul Gauthier
Roland Gauthier
Sylvain Gauthier
Yves Gauthier
Josée Gauthier Tétrault
Genevieve Gauvin
Richard Gauvin
Audrey Gauvin Couture
Denis Gauvreau
Keith Gavin
Fouad Geara
Pierre Geleyn
Yvon Gelinas
Christian Gélinas
Claudette Gélinas
Gisèle Gélinas
Hervé Gélinas
Lyne Gélinas
Sylvie Gélinas
Hady Gemayel
Liana Guizzetti and Louis Gendron
Benoit Gendron
Claude Gendron
Frédéric Gendron
Lyne Gendron
Pierre Gendron
Samuel Gendron
Sarah Gendron
Stéphane Gendron
Génération Spas 2000 inc.
Généreux Construction Inc.
Guillaume Genest
Gabriel Gennarelli
Paola Genovese
Gens De Caraquet Généreux
Normand Geoffrion
Dr. Louis Geoffroy
Brigitte Germain
Denise Germain
Éric Germain
Pauline Germain
Roland Germain
Véronique Germain
Alex Germanotta
Gerpro Construction Inc.
Denise Gervais
Marie-Pierre Gervais
Nathalie Gervais
Norman Gervais
Pierre Gervais
Yanick Gervais
Gestion Agarr inc
Gestion André Douillard Inc
Gestion Bellerive
Gestion Boulé-Tremblay Inc.
Gestion Construction Rive-Nord
Gestion D G Guibault Ltée
Gestion d’actifs Fonds immobilier de solidarité FTQ, F.E.C.
FONDS de solidarité FTQ – Active Management
Gestion Denis Chicoine Et Fils Ltee
Gestion Genalex Inc.
Gestion Immobiliere Gm
Gestion LKD
Gestion MES
Gestion Multiprojets A L Inc.
Gestion Patrick Pelletier Inc.
Gestion Paul Dumas Inc.
Gestion PF Cloutier Inc.
Gestion Pierre Joron Inc.
Gestion R Léon inc.
Gestion Rivière Du Diable
Gestion Valbal inc.
Gestions Anshemyda Inc.
Gestions Dulong & Damphousse inc.
Gestions Sylvain Bérubé Inc.
Linda GFarhy
Sana Ghani
Marie-Claude Giard
Nicolas Giard
Gidavin Inc. (G.D. Beaux cèdres)
François Giguère
Jacques Giguère
Noémie Giguère
Raymond Giguère
Yvon Giguère
Michel Gil
Caroline Gilbert
Pierre Gilbert
Richard Gilbert
Pino Gildone
John Gilgan
Gillespie-Munro Inc.
Jolyann Gill-Richard
Laurent Gingras
Monique Gingras
Pierre Gingras
Pierre-Olivier Gingras
Robert Gingras
Serge Gingras
Monique Gionet
Dr. Benoît Giordano
André Girard
Audreyane Girard
Carole Girard
Claude Girard
Gabrielle Girard
Louise Girard
Patrick Girard
Raymond Girard
Tamara Girard
Myrlène Girault
Dr. Pierre Giroux
Jean-Pierre Giroux
Michel Giroux
Monique Giroux
Globe Mobilité
GMS Technologies
GNR inc.
Jean Gobeil
Marc André Godard
Geneviève Godbout
Olivier Godbout
Chris Goddard
Godefroy Alain Cardinal M.D. Inc.
Robert Godin
Vincent Godin
Giovanni Goffredo
Adam Goldberg
Beryl Goldman
Goli Nutrition Inc.
Jean-Yves Gonthier
Coralia Gonzalez
Téolindo Gonzalez
Dana Caplan and Jonathan Goodman
Dr. Émilie Goodyear
Tim Gordon
Bénédicte Gouin
Gorski Group Ltd
Daniel Gosselin
Diane Gosselin
Frédéric Gosselin
Rollande Gosselin
Denise Goudreault
Myriam Goulet
Real Goulet
Richard Goulet
Roger Goulet
Camille Goupil
Claude Goyette
Karine Goyette
GP Conceptal
Antoinette Grab Marti
Santo Gracioppo
Stuart Graham
Grand Lodge Knights of Pythias
Isabelle Gratton
Jade Gratton
Claude Gravel
Émily Gravel
Jean Gravel
Johanne Gravel
Louisette Gravel
Lucie Gravel
Sophie Gravel
Gravel CPA Inc.
Graveur Bolduc Ouimet
Elizabeth Gray
Great-West Life
Olivier Greco
Greek Orthodox Ladies Philoptochos Soc. St Nicholas
Green Garden – 9399-7203 Quebec Inc.
Armour Grégoire
Sébastien Grenache
Audrey Grenier
Guy Grenier
Jacqueline Grenier
Julie Grenier
Martin Grenier
Nicole Grenier
Serge Grenier
Sylvie Grenier
Sylvio Grifo
Normand Grimard
Gérald Grisé
Claude Groleau
François Groleau
Ginette Groleau
Michael Grondin
Pauline Grondin
Rénald Grondin
Stéphanie Grondin
Grondin & Bélanger Inc.
Nicole Groulx Rainville
Groupe 2020 inc
Groupe A1
ADF Group Inc.
Groupe BC2
Groupe BJG Arpenteurs-Géomètres
CGI
Groupe Comptinc inc.
Groupe Conseil Fxinnovation Inc
Groupe Cyncor
Groupe Déjeuner MTL
Groupe Dynamitek-Division de 9168-3904 Québec Inc.
Groupe Financier Finvest Inc.
Groupe Julmat Inc.
Groupe Kent, RBC Dominion Valeurs Mobilières
Groupe LMT inc.
Millésime Group
Groupe MMO Inc. / Vast-Auto Distribution Ltée
Groupe Natale services financiers et assurances
Groupe NCN Cardinal inc.
Groupe Norbec Inc.
Groupe Premier Médical
Groupe santé DuCoRe inc.
Groupe Sutton – Québec
Philippe Grubert
GS Douville
GTA Hydro Inc.
Christian Guay
François Guay
Jeannine Guay
Louise Guay
Michel Guay
Richard Guay
Steeve Guay
Pierre Guénette
Gonzague Gueranger
Madeleine Guérin
Olivier Guerrero
Myrlande Guerrier
Salim Guerrouahene
Denise Guertin
Michel Guertin
Raymonde Guertin
Catherine Guèvremont
Louise Guibord
Christophe Guichou
Paul Emile Guilbault
Melanie Guilbert
Joanne Guillemette
Marie-Josée Guillemette
Daniel Guindon
Thérèse Guinois
Libarid Guluzian
GURU Beverages Inc.
Jaymie Guy-Meiling
Gymrep
Gymxtra
Éric Ha
Quoc Thinh Ha
Annie Haché
Robert Hachey
Tim Haddad
Diana Hadjetian
Dr. Aristides Hadjinicolaou
Abdelghani Hafied
Khelil Hafiz
Horst Hagen
Cyrille Hallard
Sébastien Hally
Dominique Hamel
François Hamel
Hélène Hamel
Louise Hamel
Yvon Hamel
Jacques Hamelin
Lise Hamelin
Roxane Hamelin
Hamelin Lalande S.E.N.C.
Hamelin Picard Beauvais
Sharka Hamet
Eric Hamid
Fady Hammal
Tarek Hamzi
Daniel Handfield
Alexander Haniotis
Michael Sean Hanley
Touma Hanna
Happy Kids
Isabelle Hardy
HNA LLP
Trevor Hare
Caroline Harnois
Marie Haroun
Lilian Harper
Harold Harrisson
Patrick Harroch
Hans Hartmann
Frederic Harvey
Julie Harvey
Serge Harvey
Mohammed Hassain
Michael Hassan
Hatch Beverage
Hatley Little Blue House Inc.
Sylvie Hautcoeur
Rick Hayes
Martin Healey
Daniel Hébert
Myriam Hébert
Richard Hébert
Sylvain Hébert
Simon Hébert Blanchard
Jeannine Hélie
Colette Hemlin
Wilfrid Hénault
Michèle Henderson
Mathieu Henley
Adele Henneman
Gilbert Henri
Michelle Henrichon
Alex Heron
Isabelle Héroux
Perry Hervieux
Annaik Heurtel Horn
Hexwing Inc
Gilles Heynemand
Elliot Hickey
Caroline Hild
Laurence-Étienne Hillman
Ramzi Hissin
Greta and Robert Ho
Kim Chau Hoang
Phuong – Anh Hoang
Holmested & Associés LLP
Hôpital Vétérinaire Baker Inc.
Horizon Capital Holdings
Stephane Hotte
Sylvie Hotte
Marie-Josée Houdart
André Houde
Claire Houde
Jean-François Hould
Christiane Houle
Claudette Houle
Denise Houle
Gilbert Houle
Isabelle Houle
Vanessa Houle
Howick Foundation
Julie Hubert
Emma Hudon
Félix Hudon
Paul Hudon
Claudie Hugueney
Colette Hui
William Hum
François-Xavier Huneault
Loretta Hung
Alexandre Huot
Pierre Huot
François Huppé
Monique Hurtubise
Dr. Tuoc Huynh, D.M.D.
Thanh Loi Huynh
Hyundai Valleyfield
Claudia Iacono
Arnaldo Iannetti
IBM Canada Ltd.
IBM Head Office
Edgar Ibrahim
Karim Ibrahim
IGA Gérard Champagne Ltée
IGA Longueuil Les Marchés Valérie et Martin
Igloofest
Boril Iliev
Ivan Illyushchenko
Denise Imbeau
Daniel Imbeault
Nicandro Imbriglio
Les immeubles Zamora Ltd
Immobillier Carbonleo
Imprimerie Ste-Julie
Industries Vanier
Indy-Co Inc.
Ingénia Technologies.com
Marta Ingles Quinonez
Institut Soeurs de l’Immaculée
Insulet Canada Corporation
Intelli5
Devencore Ltd.
Investissements Eliwillden inc.
Investissements Tntnt Inc.
Caroline Isabelle
Lorraine Isabelle
Richard Ishac
Kinda Issa
J. Chalhoub Holdings Ltd.
J.L. Priest Inc.
Nicole Jacob St-Pierre
Danielle Jacques
Doris Jacques
Philippe Jacques
Steve Jagura
Marian Jakubowicz
Paule Jalbert
Nicole Janvier
Jarislowsky, Fraser Limited
Paul Jarry
Benjamin Jasmin
Michel Jasmin
Jb_artmtl
JCB Entrepreneurs Généraux inc.
Patricia Jean
Roselle Jean
Vincent Jean-François
Pierre Jetté
Serge Jetté
Eve Charest Jeudy
Carolyn Jewett
Ismael Jose Jimenez
Odette Jobin-Laberge
Jodabe & Les Griffés
Johnny Vac
Claude Jolicoeur
Pascal Jolicoeur
Sara Joli-Coeur
Vincent Joli-Coeur
Angela Jones Houley
Mario Joseph
Raynald Joubarne
Éric Joubert
Esther Joubert
Robert Jourdain
Journault-Jourplex Inc.
Achille Joyal
Jacques Joyal
Raphaël Joziak
JRTech Solutions
Philippe Jünger
Lucie Jutras Paiement
K+S Windsor Salt Ltd.
Mohamed Ka
Sophie Kaine-Roy
George Kalantzis
John and Caroline Kalaydjian
Élodie-Jeanne Kalisz
Alain Kamel and Mariella Lo Papa
Neena Kanjur
Terry Karakatsanis
Georges Karam
Sherif Karama
Karaté Sportif Ville Mont-Royal
Nabila Kardouh
Harout Kassabian
W. Kassouf
Warren M. Katz
Kaufman Avocats s.e.n.c.r.l.
Mireille Keable
Keira Capital Partners Inc.
Lynn Kelly
François Kemp
Alexandre Kénol
Charlotte Keroack
Keurig Canada Inc.
Ayman Khalil
Asama Khan-Bin Zain
Lindy Khao
Rouben Khatchadourian
Jawdat Khawam
Daisy Khoo Marleau
Kamel Khouatmi Boukhatem
Samer Kik
Nada Kilo
Andre Kingsley
Nadia Kioresku
Jitka Kirchnerova
Dr. André Louis Kiss
Kliger Family Foundation
Robert Knapen
Jason Knowles
Stamatis Kobiliris
Suzie Kongolo
Monique Kouadio
Kruger Trois-Rivières S.E.C.
Peter Kruyt
Freddy Omar Kuong Diaz
L. Fournier & Fils
L2C Experts-Conseils inc.
La Compagnie Moruzzi Limitée
La Cuvée d’hiver
La Ruée
Benoit La Salle
La Société Élite Ltee.
Rachid Laaguid
Pierre Labarre
Sylvain Labarre
Pierrette Labbé
Véronique Labbé
Vicki Labbé
Bernard Labelle
Josée Labelle
Nathalie Labelle
Robert Labelle
Richard Laberge
Robert Laberge
Stéphanie Laberge
Louise Laberge Paquin
Diane Labonte
Francis Labonté
Rosaire Labonté
Les Laboratoires Bnk Canada Inc.
Les Laboratoires Charles River Montréal ULC
Pascal Labranche
Valérie Labreche
Richard Labrecque
Sara Labrecque
Sylvain Labrecque
Michel Labrie
Patrick Labrooy
Michel Lacaille
Christine Lacasse
François-Xavier Lacasse
Ginette Lacasse
Hélène Lacasse
Marcel Lacelle
Maurice Lachaine
Benoit Lachance
François Lachance
Gisèle Lachance
Isabel Lachance
Céline Lachapelle
Daniel Lachapelle
Francis Lacharite
Mathieu Lacombe
André Lacoste
Fabienne Lacoste
Jacques Lacoste
Justine Lacoste
Paul Lacoste
Benoit Lacoste Bienvenue
Louise Lacoursière
Claudette Lacroix
Audrey Lallemand
Marcel Ladouceur
Sylvianne Ladouceur
Ladouceur Herrera Beaudin Avocats
Christine Laferrière
Francis Laferrière
Mikael Laferrière
Dr. Louis Laflamme
Richard Laflamme
Dominique Lafleur
Jean Lafontaine
Cécile Laforest
Manon Laforest
Michel Lafortune
Micheline Lafortune
Réjean Lafortune
Thomas Lafortune
Anne-Sophie Laframboise
François Laframboise
Marc Lafrenière
Lorraine Lagacé
Francis Laganière
Marie-Josée Laganière
Marie-France Lagarde-Bernier
Geneviève Lagasse
Monique Lahaye-Desrochers
Pierre Lahoud
Madeleine Lainé
Lucille Lajeunesse
Yvette Lajeunesse
Aliette Lajoie
Jacques Lajoie
Jean Jacques Lajoie
Michel Lajoie
Pierre Lajoie
Ali Lakhdari
Cecile Lalande
Josée Lalande
Marco Laliberte
Alain Laliberté
Michèle Laliberté
Florita Lalonde
Georgette Lalonde
Jeannine Lalonde
Karine Lalonde
Pierre Lalonde
Sylvie Lalonde
Dre Ngoc Nga Lam
Chi Duc Lam Nguyen
Dr. Yoan Lamarche
Louise Lamarche
Simon Lamarche
Alexandre Lamarre
Mezidor Lamarre
André Lambert
Caroline Lambert
Denise Lambert
Émilie Lambert
Marie-Pier Lambert
Patrick Lambert
Fernand Lamontagne
Paule Lamontagne
Samuel Lamontagne
Claire Lamontagne-Chatel
André Lamothe
Annie Lamothe
Caroline Lamothe
Claude Lamothe
Yolande Lamothe
Marie-Paule Lamothe Bourque
Yves Lamoureux
France Lampron
Renzo Lando
Julie Landreville
Claire Landry
Gérard Landry
Marc B. Landry
Roger Landry
Louise Landry Laviolette
Gilles Lane
Louis Langelier
Marjolaine Langelier
Michel Langelier
Claudette Langevin
Gilles Langevin
Marie-Eve Langevin
Charles Langlois
Félix Langlois
Isabelle Langlois
Jean-Daniel Langlois
Lucie Langlois
Pascal Langlois
Pierre Langlois
Langlois Avocats
Sylvie Laniel
Viateur Lanoix
Dr. Jacqueline Lanouette
Jean-Claude Lanthier
Jean-François Lanthier
Martin Lapalme Charpentier
Jean Laperle
Sylvain Laperrière
Christiane Laplante
Francine Laplante
Kevin Laplante
Philippe Laplante
Pierre-Claude Laplante
Robert Laplante
Ann-Sophie Lapointe
Bertrand Lapointe
Francine Lapointe
Francyne Lapointe
Gilles Lapointe
Isabelle Lapointe
Jacqueline Lapointe
Jacques Lapointe
Martin Lapointe
Andrée LApointe Leclerc
Lise Lapolice
Anick Laporte
Jules Laporte
Marielle Laporte
Robert Laporte
Louise Laporte Laforest
Christine Laprise
Daniel Laprise
Sonia Laprise
Danielle Laramée
Ginette Larcher
Jacques L’Archevêque
Lareau Courtiers D’assurances
Lari Construction (6194044 Canada Ltee)
Alain Larivée
Daniel Larivée
Alain Larivière
Michelle Larivière
Denis Larochelle
Gilles Larochelle
Emilie Larochelle Morin
Justin Larocque
Jean-Pierre Larose
Jacques Larouche
Mathieu Larouche
Michel Larouche
Pierre Lasalle
Charles Lasnier
Lidia Yasmina Lassel
Maryse Lassonde
Florence Lastère
Louis Latendresse
Giocchino Latino
Jean-Pierre Latour
Frédérique Latraverse
Louise Latraverse
Suzanne Laurendeau
W. Robert Laurier
Jean Laurin
Renée Laurin
François Lauzon
Yvette Lauzon Fitzgibbon
Marie-Pier Lauzon-Laprise
Nathalie Lavallée
Pierre Lavallée
Pierre-Étienne Lavallée
Yann Lavallée
Julie Laverdière
Claude-André Lavergne
Christiane Lavigne
Hélène Lavigne
Kassandre Lavigne
Michel Lavigne
Yvon Lavigne
Clément Lavoie
Fernand Lavoie
Gaétan Lavoie
Gérard Lavoie
Joanie lavoie
Sylvain Lavoie
Yves Lavoie
Yvon Lavoie
Natalia Lazarenko
Irina Lazariciu
Huguette Lazure
Jeannette Lazure
LBC International Juricomptabilité Inc.
Long Le
Tina Mai Chau Le
Andre Le Bel
Benoît Le Blanc
Bao Le Dinh
Oury Dal Bianco
le fit zone
Le Groupe Experts Conseils P.M. Inc.
Le groupe immobilier Oxford
Le Groupe Maurice inc.
Jacques Le Lorier
Louise Le Menn
Pierre-Louis Le Saunier
Brady Leahy
Elizabeth Lebaron
Clément Lebel
Marie-Claude Lebel
Michelle Lebel-Kirkham
Eric Lebeuf
Jacques Lebeuf
Martin Lebeuf
André Leblanc
Denis Leblanc
Diane Leblanc
Emery LeBlanc
Jean Leblanc
Lise Leblanc
Martin LeBlanc
Nina Leblanc
Normand Leblanc
Robert Leblanc
Yves Leblanc
Marie Leblanc-Hébert
Johanne Leblond
Maude Leblond
Maira Lebron
Lecchino Antonio Family
Émilie Lechasseur
Martin Leclair
Daniel Leclerc
Guylain Leclerc
Stephane Leclerc
André Lecourt
Antoine Lecrux
Philippe Lecuyer
Sharon Ledoux
Hubert Leduc
Isabelle Leduc
Madeleine Leduc
Marielle Leduc
Michel Leduc
Sylvie Leduc
Nicole Leduc St-Aubin
Leah Leekam
Michèle Lefaivre
Bernard Lefebvre
François Lefebvre
Jacques Lefebvre
Jean-Bruno Lefebvre
Line Lefebvre
Louis-Alexandre Lefebvre
Pauline Lefebvre
Stéphane Lefebvre
Hermance Lefèbvre
Émilienne Lefloic
Marc Lefort
Pascale Lefrançois
Joanie Légaré
Camylle Legault
Chantal Legault
Frédéric Legault
Jean Legault
Lucille Legault
Martin Legault
Martine Legault
Roxanne Legault
Thérèse Legendre
Amélie Léger
Élyse Léger
Eric Léger
Nathalie Léger
Solange Léger-Joyal
Yvon Leguerrier
Marcel Lejour
Bruno Lemay
Chantal Lemay
Elphège Lemay
Michèle Lemay
Nathalie Lemay
Rollande Lemay
Alexandra Lemelin
Lemelin Filion
Alexandre Lemieux
Claudette Lemieux
Éric Lemieux
Marie-Josée Lemieux
Monique Lemieux
Nicole Lemieux
Suzanne Lemieux
Vincent Lemieux
Angèle Lemire
Andrée Lemyre
Marjorie Leon
Ian Léonard
Luce Léonard
Amède Lepage
André-Jean Lepage
Gérald Lepage
Marc Lepage
L’épicier
Valerie Lepine
Pierre Lépine
Robert Lépine
Florence Leport
Jean-François Leprince
Martin Leroux
Micheline Leroux
Philippe Leroux
Les Acadiens en Ville
PROMA
Les Aliments Volta
Les Ateliers Simon Tardif Inc.
Les Carrelages Serco Inc.
Les chirurgiens D.G.P.S. Inc.
Les Constructions Martek
Les Consultants d’Affaires M.J.M.
Les Couvreurs Dubuc inc.
Les Entreprises Christian Arbour Inc.
Les entreprises Gryka inc
Les Entreprises NB Excavation Inc
Les Entreprises Sublimum Inc.
Les Entreprises Westco Inc.
Premier Industrial Hose Manufacturing ltd
Les Invisibles
Les Moulins Lafayette Valleyfield
Planchers Ludovic Pilon inc.
Les Pneus Lmr Inc
Les Productions Daniel Blondin
Les Produits Cottonia 2000 inc.
Les Produits JL
Les Services Financiers Marc-André Lemire inc.
Les structures universelles Inc.
Les Toitures Brideau Inc.
Les vergers Leahy inc.
Les Volailles & Gibiers Fernando Ferrarelli
Marielle Lesage
Serge Lesage
Étienne Lespérance
André L’Espérance
Christian Lessard
Dominic Lessard
Hugo Lessard
Louis Lessard
Louise Lessard
Patrick Lessard
Lessard et Associe CPA inc.
Irène Letendre
Robert Letendre
Alain Létourneau
Ariane Létourneau
Julien Létourneau
Marie Létourneau
Jackson Cheuk Hang Leung
Jocelyn Levasseur
Harvey Levenson
Josee Levesque
Bruno Lévesque
Claude Lévesque
David Lévesque
François Lévesque
Germain Lévesque
Jean Lévesque
Jean-François Lévesque
Louis Lévesque
Martin Lévesque
Sandra Levy
Yael Levy
L’Express Hydraulique Inc
Luigi Liberatore
Sam Lieblein
Hélène Lim Siong Kee
Denise Limoges
Etienne Limoges
Jean Limoges
Lipari Demenagement & Entreposage Ltee
Louis Lizotte
Marcelle Lizotte
Pierre Lizotte
Locaplus
Léo Locas
Location Le Gardeur
Logibec inc.
Logiciel Prospect inc.
Logient
Logistec
Yvon Loiselle
Wei Ching Loke
Lombardi Honda Inc.
Diane Long
Long & McQuade limited
Buu Long Tran
Carole Longchamp
Jean Longpré
Lucie Longpré
André Longtin
Stephane Longval
Patrick Loranger
Richard Lord
Lorenco Steel Inc.
Joël Lorrain
Collette L. Lortie
Jean Lortie
Luc Gemme & Fils inc.
Florence Lucas
Stéphane Lucas
Lunetterie VU
Guillaume Lupien
Lionel Lupien
Anne Lussier
Bob Lussier
Jean-Pierre Lussier
Josée Lussier
Monelle Lussier
Raymonde Lussier
Maude Lussier-Bourque
Jim Lussier-Séguin
Edmond Lutfy
Gerald Lutfy
Kim-Chi Luu
LWT Consultants
Tuy Hoa Ly
Yvonne Lyn
John Lynch
Raymond Lynch
M&G Construction Restauration Inc
M.A. Droit Et Stratégie D’Affaires
M.F. Wirth Rail Corporation
Ma Gang Bike
Abdelaziz Maache
Dale MacCandlish Weil
Thang Mach
Ferney Machado Luna
Michelle Mackay
Mackenzie Investments
Alain Madore
Simon Madore
Chandra Magill
Mariette Magnan
Jean Claude Maheu
Jean-Alexandre Maheu
Andrée Maheu L’Heureux
Josée Maheux
Claire Mailhot
Pierre-Marc Mailhot
Sylvain Mailhot
Geneviève Mailloux
Hélène Mailloux
Madeleine Mailloux
Maison Maurice Houle
Stéphane Maisonneuve
Maître Carré
Majestic Laser
Pauline Major
Sylvie Makhzoum
Diane Malboeuf
Régis A Malenfant
Charlotte Mallet
Mallette Inc.
David Malo
Hélène Malo
Andrée Malouin
Anne Malouin
Denis Malouin
Nadir Maloum
Sylvie Maltais
Manac Inc.
Michael Mancini
Yolanda Mancini
Nick Mandilaras
Manoir Saint-Sauveur
Saliha Mansouri
Andrew Marble
Tommaso Marcantonio
Sylvain Marc-Aurèle
Chloe Marceau-Gosselin
Blase Marcelino
Silvia Marcello
Claude Marchand
François Marchand
Gisèle Marchand
Jacques Marchand
Jean Marchand
Jean Pierre Marchand
Marché Duchemin et Frères inc.
Marché Grenier Inc.
Marché Robert Tellier (1990) Inc.
Adelina Marchica
Claude Marcil
Claude Marcille
Pasquale Marcogliese
Gilles Marcotte
René Marcotte
Serge Marcouiller
Alexandre Marcoux
Ginette Marcoux
Isabelle Marcoux
Rémi Marcoux
Marie-France Laberge MD inc
Nathalie Marien
Gérald Marier
Linda and Guy Marier
Jean Marineau
Michèle Marineau
Daniele Marinelli
Sebastiani Maris
Olga Markarian
Nathalie Marleau
Ma-Ro Aluminium
Guy Marois
Robert Marquette
Katia Marquier
Noémie Marsolais
Stella Marsolais
Andrée Martel
François Martel
Guy P. Martel
Jacques Martel
Jean-Marie Martel
Pier-Olivier Martel
Alice Martin
Anne-Marie Martin
Jean-François Martin
Jean-Paul Martin
Luc Martin
Marie Claude Martin
Yves Martin
Martin St-André MD Inc
André Martineau
Robert Martineau
Yves Martineau
Jean-Paul Marty
Claudine Mary
Elyse Massé
Céline Massé Picard
Bruno Massicotte
Étienne Massicotte
Julie Massicotte
Marc Massicotte
Stéphane Massie
Valérie Masson
Yanik Masson
Mat&Max
Bianca Matei
Mathias Marine Sports
Jean-Claude Mathieu
Donato Matteo
Joseph Matusz
Jean-François Mauger
Guillaume Maurice
Jacques Maurice
Mario Mauricio
Maxime Brunet/Andrea Fleiszer
Maya Heat Transfer Technologies Ltd.
Perry Mazzanti
Carla Mazzanti Gattoni
Kathy Mc Craw
Dawn Mc Nichols
Denys Mc Nicoll
Nicolas Mc Tear
Jeff McBride
McCarthy Tétrault Foundation
David McCaughry Cardigos
Kevin McDonald
Natasha McDonald
Benoît McDuff
Lisette McGillis
Dr. Martha L. McKinney
David McLauchlan
Bernadette McLaughlin
Peter McLean
Daniel McMahon
Jeannine McNeil
Yannic McNicoll
Mead Johnson Nutritionals
Cécile Meagher
Lydie Meas-Meunier
Bruno Mecatti
Médialliance inc.
MedPlan Communications Inc.
Medtronic of Canada Ltd
Christian Meighen
Patricia Meighen
Jean Meilleur
Marc Melancon
Paul Adrien Melançon
Natasha Melillo
Armand Melki
Jonathan Melmed
Robert B. Melnyk
Anne Valérie Ménard
Campbell Menard
Louis Ménard
Michel Ménard
Monique Ménard
Mercedes-Benz Laval
Jacques Mercier
Luc Mercier
Lisette Mercille
Francine Messier
Gilles Messier
Hugues Messier
Isabelle Messier
Lucie Messier
Noël Messier
Metal Pless Inc
Francine Bergeron – R.B. Métal Repoussé inc.
Sabrina Métayer
Kathleen Metcalfe
Vincent Metcalfe
Renée Méthot
Aline Méthot Dagenais
Carianne Meti
Métro-Sud Gaz Naturel Inc.
Meubles Busch (1980) Inc.
Isabelle Meunier
Lise F. Meunier
Philippe Meunier
Aida Mezouar
Theodor Michalopoulos
Alain Michaud
Albert Michaud
Danielle Michaud
Julien Michaud
Julienne A. Michaud
Louise Michaud
Michel Hardy Architecte Inc.
Michel Lussier Transport Ltée
Michel St-Arneault Inc.
Andrew Michelin
Kathleen Michetti
MicroAge
Mike & Valeria Rosenbloom Foundation
Armande Milette
Hamish Miller
Victoria Miller
Benoit Millette
Carl Millier
Marlène Mi
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] |
[] |
[] |
[
"Isabelle Dedieu"
] | null |
[
"IMDb"
] | null |
Isabelle Dedieu. Editor: Die Invasion der Barbaren. Isabelle Dedieu is known for Die Invasion der Barbaren (2003), Rafiki (2018) and Jesus von Montreal (1989).
|
en
|
IMDb
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https://www.imdb.com/name/nm0214105/
|
You have no recently viewed pages
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1028
|
dbpedia
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3
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https://cineuropa.org/en/film/62184/
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en
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The Perfect Friend (Un Ami parfait)
|
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[] |
[] |
[
""
] | null |
[] | null |
Cineuropa - the best of european cinema
|
en
|
apple-touch-icon.png?v=190924
|
Cineuropa - the best of european cinema
|
https://cineuropa.org/en/film/62184/
|
When Julien Rossi wakes up in hospital he can’t remember what happened to him on New Years’morning before he fell into a coma. Was he mugged? Was it an accident? This is merely one of many secrets he is obliged to unravel. Who is the beautiful young woman who claims to be his girlfriend? And why does Norina, his real girlfriend, refuse to take his calls? And what made him give up his job as an investigative reporter? Julien is hoping that Lucas will get to the bottom of this mystery. Surely his colleague and best friend will be able to help. But then he sees Lucas and Norina hand in hand, crossing a street...
|
||||
1028
|
dbpedia
|
3
| 92
|
https://en.aiff.gr/archive_13th_aiff_2007_premieres/arthro/age_of_ignorance_l_age_des_t_233_n_232_bres-64463/
|
en
|
Age of Ignorance - L’ Age Des Ténèbres
|
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[] |
[
"archive",
"13th aiff 2007",
"premieres",
"Age of Ignorance - L’ Age Des Ténèbres"
] | null |
[] | null |
10/9/2007 - Age of Ignorance - L’ Age Des Ténèbres - STUDIOCANAL<br />Marie Boudier<br />1, place du Spectacle<br />92130 Issy Les Moulineaux<br />Tel. 33.1.71.35.08.79<br />Fax. 33.1.71.35.11.98<br />e-mail: marie - archive, 13th aiff 2007, premieres - AIFF • Athens International Film Festival
|
el
|
favicon.ico
|
AIFF • Athens International Film Festival
|
https://en.aiff.gr/r.asp?catid=11927&subid=2&pubid=64463
|
STUDIOCANAL
Marie Boudier
1, place du Spectacle
92130 Issy Les Moulineaux
Tel. 33.1.71.35.08.79
Fax. 33.1.71.35.11.98
e-mail: marie.boudier@canal-plus.com
In the follow-up to his celebrated Barbarian Invasions, Denys Arcand gives us the story not of a dying man, but of an ordinary bourgeois trapped in a deadlock. Meet Jean-Marc, civil clerk, failed husband and father and given to perpetual ennui. Jean-Marc’s only outlet is his fantasies, where he is transformed into the knight in shining armor, a TV celebrity, a successful author or an irresistible lady killer. But everything comes with a price and the boundaries between the two worlds will soon start to merge dangerously. Arcand unravels a surreal, dream-like universe, adding ?for good measure- plenty of satire and healthy doses of bitter reality. Age of Ignorance was selected to close this year’s Cannes Festival.
Director: Denys Arcand
Screenwriter: Denys Arcand
Cinematography: Guy Dufaux
Editing: Isabelle Dedieu
Music: Philippe Miller
Cast: Marc Labrèche, Diane Kruger, Sylvie Leonard
Canada, Color
French, 115΄
Publication date: 2007-09-10 23:32:48
|
||||
1028
|
dbpedia
|
3
| 84
|
https://www.screendaily.com/an-eye-for-beauty/5077363.article
|
en
|
An Eye For Beauty
|
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] |
[] |
[] |
[
""
] | null |
[
"Dan Fainaru",
"Jeremy Kay"
] |
2014-09-09T22:35:00+00:00
|
Dir/scr: Denys Arcand. Canada. 2014. 102mins
|
en
|
/magazine/dest/graphics/favicons/favicon-32x32.png
|
Screen
|
https://www.screendaily.com/an-eye-for-beauty/5077363.article
|
For once, the title does not lie. This is all about beauty, the spectacular beauty of Canadian landscapes, its mountains, its forests, its lakes, the Toronto skyscrapers and the Quebec City old town and most particularly, its ultra-fashionable modern homes. Even the people in it look unbearably handsome, so clean cut and unblemished they seem almost unreal.
If there is a star in this show, it is certainly cinematographer Nathalie Moliavko-Visotzky whose work stands out as the one perfectly valid reason to watch this film.
The Canadian Tourist Office couldn’t possibly dream of a better advert, every frame here is a poster, and they all sing the country’s praise. As a matter of fact, it is all so glossy and shining, that considering the past record of veteran director Denys Arcand (The Barbarian Invasions), it is not impossible he meant it all as a satire.
In any case, one thing An Eye For Beauty (Le regne de la beaute) is not about is authentic human beings. Most of the characters seem to belong to a Teflon race and the lead more than anyone else. A gorgeous award-winning architect, Luc (Eric Bruneau), takes his work effortlessly in his stride, that is whenever there is time left for him in between such important commitments as skiing, hunting, playing tennis, hockey training, choosing perfect wines, making sublime love and having an affair away from home, even if the beautiful blonde wife, Stephanie (Melanie Thierry) might not like it. For what she doesn’t know, won’t hurt her.
The whole story is told in flashback and starts with a Paris ceremony in honor of Luc’s latest prize for his architectural achievements. Among those complimenting him, there is one bespectacled lady who introduces herself as Lindsay Walker (Melanie Merkosky). She smiles enticingly, he doesn’t seem to recognise her and she reminds him that they had met before.
That’s where the flashback begins. Back home in Canada, quite a few years back, Luc is on a jury in Toronto, across from him sits that same Lindsay, minus the spectacles. She courts him, shyly but insistently, and soon enough tells him she wants to spend the night with him, informing him that she intends, in any case, to divorce her husband who is away on business. This is the kind of one night stand most married men dream of and Luc is no better than all the rest of the married men. He grabs the chance even if he is not sure why he deserves the honour.
For lesser characters, such an affair could already fill a whole movie. Not in this case. People like Luc have so many other things to do, and despite his torrid passion for Lindsay, the affair is put on hold for a long while. In the meantime, Stephanie is showing gay tendencies and later on, falls victim to mysterious panic attacks, Roger, the older civil engineer working side by side with Luc has serious back problems and dies, Luc and Lindsay meet one more time (the film’s original title was Two Nights) and all the rest of the time is dutifully filled up with social activities. The flashback ends back in Paris, to tell anyone who still cares, what exactly has happened to its various protagonists.
If there is a star in this show, it is certainly cinematographer Nathalie Moliavko-Visotzky whose work stands out as the one perfectly valid reason to watch this film. Every single shot must have been aligned for hours, so precise and perfect is the choice of the angle, the frame and the focus. To fit the purpose of the project, the actors are all cute and good-looking, happily enjoying the ideal conditions in which they are supposed to exist.
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+++ SCHMIDT, Frank Leon
Sept 22, 1946 – Nov 19, 2022
It is with great sadness that we announce the death of Frank Schmidt on Nov 19, 2022 after a two year battle with cancer. Frank is survived by his loving wife Anne Marie and his sons Michael (Tanya), Peter (Amanda), Jerome (Elsa) and daughter Mary (Matthew) as well as his loving grandchildren Melanie, Danielle, George, Mario, Melina, Bronwyn, Penelope and Malcolm. Frank was predeceased by his parents, Ambrose and Helen. He was born and raised in Richmond, attended Vancouver College and graduated from UBC. His love of travel began with a backpacking trip through Europe and the Middle East in 1969. Frank was a great provider for his children and coached many of their sports teams – football, baseball, lacrosse and soccer. He began working in Prince Rupert Pulp Mill’s technical department as well as serving in boiler water treatment in various other BC mills.
After retirement, Frank and Anne pursued a life of travel visiting 138+ countries in all seven continents. Travel also comprised of train trips in South Africa, Zimbabwe, Egypt, Morocco, Peru, Europe, India, China and Mongolia. His passion was collecting model trains especially those made for the Canadian market culminating in a published book. He also loved to work in his vegetable garden each year providing great crops for the family. We would never leave on vacation until the tomatoes were harvested!
A Mass of Christian Burial will be held at St. Joseph the Worker, 4451 Williams Road, Richmond on December 2 at 11am with reception to follow. A private internment for family will follow. REST IN PARADISE, FRANK.
+++ RADOMSKI, Grazyna Maria Teresa
July 22,1932 - October 28, 2022.
Grazyna passed away peacefully at home in her 90th year. Her love of family and her enjoyment in family life and her spirit were maintained until the end.
Born in Warsaw, Poland, she was predeceased by her mother Maria and brother Lech-Marian in Poland; her father, Lt. Col. Henryk Bazylko, in 1975 in Abbotsford; and her husband, Dr. Tadeusz Radomski in 2000 in Abbotsford.
She led an extraordinary life including her escape from the advancing military invasion at the start of WWII. Uprooted from her birth country, she travelled on strafed trains across Europe, and ended up on a ship, the MS Batory carrying troops to France from Greece, that survived torpedo attacks in the Mediterranean. Her Lt.Colonel father had to leave her in the south of France for the duration of the war while he and his soldiers rejoined the Polish Government in Exile and the war via England. She continued her schooling in Scotland and England, and met her future husband in Ireland through a mutual friend. They were married in London, England, where she worked as a physiotherapist, and began a family. Moving the family and dog to Saskatchewan for what was only to be a one year stay in Canada turned into a lifetime when the family later settled in Abbotsford and expanded.
Grazyna led a life of limitless heart, openness, and spirit. Happiest when entertaining friends and family with imaginatively prepared and presented gourmet meals, and hosting memorable gatherings and parties. The doors were always opened and the guest room was always occupied.
Some of the things she will be remembered for include being an advocate for her family and friends, the affection she drew from everyone, generously full of Polish hospitality, and being a model of motherhood in action.
She is survived by her children Yolanta, Witold, Christopher (Karin) and Elizabeth, and her grandchildren Kara, Leah, and Jesse.
Mass of Christian Burial was held Friday, November 4, 2022 in St. James, Abbotsford. Interment followed at Hazelwood Cemetery, Abbotsford.
+++ VANDERZALM, Joan Elizabeth
February 16, 1936 – October 26, 2022
Joan was a loving wife, mother, grand-mother, and great-grandmother.
She was born in New Westminster, the 5th of 10 children, growing up on “Douglas Road”. She regaled to her children on how tough her and her siblings were – all with a twinkle in her eye. On September 5, 1956, she married her beloved husband, Nick, and spent the rest of their married life in the house they built behind the nursery. There they raised their 5 children: Debbie (Mike), David (Cindy), Wim (Alison), Cindy (Mark) and Sarah (Mike). This house became more than a house. It was the home to innumerable gatherings for both sides of the family – Ericksons and VanderZalms. Here was where Auntie Joan shone. We will all miss her amazing meals …. and her pies!
Her faith and her church, St. Peter’s, were a constant in her life. She was a member of the Catholic Women’s League where she also served as president, and she always kept the priests well stocked with her baking. Nick and Joan made sure that the grounds of the church were adorned with beautiful flowers and the liturgical celebrations well decked out with poinsettias and Easter lilies.
Joan is also survived by her 10 grandchildren and 6 great-grandchildren with 2 more great-grandchildren on the way. She will be greatly missed. Our hearts, however, are lightened knowing that she is back together with Nick and all her beloved family that has predeceased her.
A funeral mass was held November 3, 10 am at St. Peter’s Church, 330 Royal Ave. New Westminster. Immediately following there was a reception at Kearney’s Funeral Home at 219 6th St. New Westminster. Interment at Gardens of Gethsemani, 15694 32nd Avenue, Surrey was at 2 pm.
In lieu of flowers, please consider a donation to your favourite charity in memory of Joan.
+++ LEVANGIE, Gary
May 14, 1950 – October 10, 2022
It is with great sadness that we announce that Gary passed away peacefully at home after a short battle with cancer. He was the loving husband of Janet, father of Dean (Julie), Daniel (Shelagh) and Martin (Julie), brother of Tanis (Nigel) and grandfather of Elise, Jerome, Felix, Elijah, Hugo, Emma, Charlotte, Quentin, Owen and Simon. He will be missed by his cousins, nieces, nephews and friends. Gary was born and grew up in Powell River and was predeceased by his parents Ethel and Eugene Levangie and younger brother Dean. Gary had a passion for woodworking and carving, making fine furniture and spending time in his shop. He was always so proud of his sons, spending his spare time at the rink watching their games, then later on, his grandsons play hockey. He was a faithful attendee at daily mass and helped train and schedule the parish Altar Servers. Faith and family were his greatest loves.
In lieu of flowers please consider a donation to Chalice. Mass of Christian burial was held on Saturday, October 22nd at 11:00 am, with prayers the evening before at 7:30, both at Immaculate Conception Church, Delta.
+++ ABUBO, Moises
Sharing his final moments with family, Moises passed away peacefully on October 9, 2022, at the Peace Arch Hospital Foundation Lodge at the age of 94. He joins his wife Anastacia who predeceased him 9 years ago on October 23, 2013.
He will be lovingly remembered by daughters Annabelle (Rodolfo Bautista), Cherie (Brainard de Guzman); 4 grandchildren Rodney (Jennifer Lao) Colorado, Anthony (Yolanda Lehwald) BC, Christianne (Nancy Ramirez Rivas) Texas, Christopher (Elizabeth Steiner) Italy; 3 great grandchildren Thane, Charlotte, and Jacob.
Moises was blessed with a phenomenal voice. He used this gift to sing with many church choirs from National Shrine of Our Lady of the Abandoned (Sta Ana Manila), St Mary’s Cathedral (Winnipeg), St. Matthew’s (Surrey), Precious Blood (Cloverdale) and All Saint Parish (Coquitlam). He also sang with the Winnipeg Archdiocese choir to welcome Pope John Paul in 1984. His death opens the opportunity to fulfill his ultimate dream to sing with the choirs of angels in heaven.
A Mass of Christian Burial was celebrated at 10:30 am on Friday October 21, 2022, at Precious Blood Parish, 17475 59th Ave, Surrey, BC. Rev. Paul Chu Celebrant. Interment followed at the Gardens of Gethsemani, 15694 32 Ave, Surrey, BC.
+++ SUNG, Nicole Elia Marie (née Robillard)
January 6, 1945 – September 17, 2022
Nicole (Nicky) passed away peacefully at home. Loving mother to Danielle (Matt), David (Tassan) and Mimi (Jeff). Grandmother to Emma, Phoebe, Madison, Dane, Danika, Cassie-Anne, Mackenzie, and Cody. Predeceased by her beloved husband, Brian; parents, Marie and Raoul Robillard, and sister Theresa Nichols.
Nicky graduated from Little Flower Academy and attended UBC in the 1960’s where she met Brian. Their sense of adventure led them to Dar es Salaam, Tanzania. In 1974, they returned to Vancouver to raise their children.
In the 1980’s, Nicky re-entered the workforce. With her intelligence, energy, and strong work ethic, she branched out, followed her entrepreneurial spirit, and started her own insurance agency. A female trailblazer in an almost all male business. She made her mark with style and grace.
With Brian, she lived a life of adventure and curiosity. Riding Harley Davidson’s; building a farm in Fort Langley; then warehouse loft living in Gastown.
A Memorial Mass was held on Saturday, October 8th, 2022, at St. Mark’s Parish (UBC).
The Mass was recorded, if you wish to view, please visit www.legacystreaming.com/kearney.
+++ ARGENTIN, Carlo Antonio
March 29, 1933 – September 23, 2022
It is with profound sadness that we announce the passing of Carlo Argentin on September 23, 2022, in Burnaby, at the age of 89 years. Carlo was born in Villorba, Treviso, Italy and immigrated to Canada in 1952. He was predeceased by his 3 sisters and 1 brother in Italy. He is survived by his wife of 63 years, Anna, his son Frank (Kelly), his daughter Carla (Peter) and his 5 grandchildren, Adam, Zachary, Chloe, Morgan and Nikki. In lieu of flowers, please consider a donation to a charity of your choice. Mass of Christian Burial celebrated on Wednesday, October 5, 2022, at St. Michael’s Parish.
+++ REGNIER, Sister Yvette (Henriette Marie)
Peacefully, on Tuesday, September 13, 2022, at Eagle Ridge Hospital, Port Moody, BC, at the age of 87, with her surviving siblings at her side, God called Yvette home. Yvette Emilia Regnier was born June 6, 1935, to Noéma Nadon and Henri Regnier in Paradise Hill, SK; the third of 11 children. Yvette entered the Sisters of the Child Jesus June 16, 1950, in Sherbrooke, QC. She took the Holy Habit on February 10, 1951, and was given the name Sister Henriette Marie. She made first vows February 11, 1953, and final vows February 11, 1958. Yvette received her teaching certificate from UBC and spent the first 20 years of her life as a sister, teaching in various places in BC and Saskatchewan, with her last two years as a teacher (from 1971-1973) spent in Cole Bay, SK. The fall of 1973 found her in Saskatoon and then in the fall of 1974 she moved to Toronto where she fulfilled her dream of becoming an RN. Yvette spent the second half of her life nursing in various places in Saskatchewan and Manitoba before going to Chesterfield Inlet, NWT in 1994 where she spent a year nursing and doing missionary work. A sabbatical in 1995 found her at the Provincial House in North Vancouver, where she helped nurse Sister Monique Puech and then she was off to Africa for another time of nursing and missionary work. Shortly after celebrating her 87th birthday, Yvette suffered a stroke from which she never recovered. Although we will miss her physical presence with us, she lives on in our hearts. We, the Sisters of the Child Jesus want to say “thank you” to her for all she contributed to our religious family. “Well done good and faithful servant!” Yvette is predeceased by her parents, her brothers: Clement, Octave, Lionel, Henry and Marcel; her sisters: Henriette and Lorette and many of her religious sisters. Left to mourn her passing are her sisters: Judy (Ben) and Lorraine; and her brother Leo (Mary Ann); numerous nieces, nephews, great nieces and nephews and the Child Jesus family. Prayers will be held at 7:00 pm, Monday, October 3, 2022, at Kearney Columbia-Bowell Funeral Chapel in New Westminster. Her funeral Mass will be celebrated at 10:30 am, Tuesday, October 4, 2022, at Our Lady of Lourdes Catholic Church in Coquitlam, BC. Condolences may be left at www.kearneyfs.com
+++ AYOTTE, Thérèse Marie Alphonsine (née Coté)
1923- 2022
Thérèse died peacefully in Richmond at the age of 98. She was born in Lafond, Alberta to parents Marie (née Desaulniers) and Pierre Coté. She became a beloved schoolteacher at Our Lady of Lourdes in Maillardville. Thérèse married the love of her life Lucien in 1946. They had a wonderful marriage for fifty-years until her husband’s death in 1997.
Thérèse was a patient, kind, artistic and creative person. She kept herself busy as a widow by taking up watercolour painting. She developed her talent and was in several art shows and even sold some of her pieces.
Family and her faith was paramount to Thérèse. She cherished her time with family. She continued to get to mass weekly, as long as she was physically able.
Thérèse leaves behind five children, their spouses, four grandchildren, three great grandchildren and many extended family members and friends.
She never lost her sense of humour or her stunning smile.
Je vous salue, Marie pleine de grâce ;
le Seigneur est avec vous.
Vous êtes bénie entre toutes les femmes et Jésus,
le fruit de vos entrailles, est béni.
Sainte Marie, Mère de Dieu,
priez pour nous pauvres pécheurs,
maintenant et à l’heure de notre mort. Amen.
Private mass of Christian burial. Interment at Gardens of Gethsemani Cemetery.
+++ YANG, Hyacinth May
October 23, 1933 - September 9, 2022
Our beloved Hyacinth passed away peacefully at Mount Saint Joseph Hospital in Vancouver on September 9th, 2022, after a two and a half year battle with cancer, where she demonstrated tremendous resilience and perseverance.
Born on October 23, 1933, Hyacinth grew up in Jamaica before attending part of her high school in Hong Kong and returning to Jamaica to complete her high school diploma, then earning her undergraduate degree at Aquinas College in Michigan, where she met her late husband, William. Together, they raised ten children in Canada after emigrating from the Philippines.
Hyacinth devoted her life to spreading her faith and compassion to her family and others in the community. Her legacy of love and kindness is survived by her 10 children, Wendy (Cornel), Hermine (Patrick), Herbert (Clara), Sue Ann (Davidicus), Winnie (Stephen), Wayne (Teresa), Wilbert (Carol), Harold (Mei), Heidi (Colin), and Hansel (Joanna); 22 grandchildren, Wendel (Jon), David (Ivy), Charmaine (Alex), Marisa (Anthony), Ryan, Kristen, Kathleen (Amir), Adam, Geordie, Jennifer, Eric, Sarah, Matthew, Nicole, Miranda, Isabelle, Kurtis, Helen, Chelsea, Alexandria, Anthony and Nathaniel; and 2 great-grandchildren, Giselle and Gianna.
The Yang family will be honouring Hyacinth through a prayer service on Thursday, September 22 at 7:30pm and a funeral mass on Friday, September 23 at 10:30am, both at Holy Cross Parish in Burnaby. In lieu of flowers, donations to the BC Cancer Foundation in Hyacinth’s name would be greatly appreciated.
http://donate.bccancerfoundation.com/goto/hyacinth-yang
+++ MacDONALD, Mary Joan Padberg “Joanie”
Passed away peacefully on August 17, 2022 in South Surrey, BC at the age of 83. She will be lovingly remembered by her family and many friends for her zest for life, enthusiastic spirit, ready smile, and kindness to all. She is survived by her daughters Kari (Shawn Mabey), and Julie (Allan Weston); her grandchildren, Jasper, Sierra, Kylan, and Khael; and her 4 younger siblings, Skip, Bob, Tom, and Judy. Born in St. Louis, Missouri and raised in San Diego California, she moved to Canada upon marrying her spouse, Bob MacDonald. Together they lived a full life of joy, adventure, and plenty of laughter.
A Memorial Mass and Celebration of Life will be held at the Good Shepherd Parish, 2250 150th Street, Surrey, BC on Friday, September 23, 2022 at 11:00am.
We invite everyone to wear bright colours in keeping with Joanie's joyful spirit!
Raincoast Funeral & Cremation Services Ltd – 604-385-6996
+++ DMYTRYSHYN, Margaret
July 1, 1921 – September 12, 2022
Our beloved mother Margaret passed away on September 12, 2022 at the age of 101. She was predeceased by her husband John, daughters Shirley and Connie. Margaret will be lovingly remembered by her daughter Darlene (David) Whitehead, son David (Michelle), her 8 grandchildren, 10 great grandchildren, her sister Gertrude Meier and many other family members. Margaret lived a devout Catholic life; a truly good and faithful servant. Her Funeral Mass will be celebrated privately.
+++ CROCOCK, Catherine Mary
Sept. 21, 1925 – Sept. 9, 2022
It is with heavy hearts that we announce the passing of Catherine (Kay) Crocock. Kay slipped away peacefully on Friday Sept. 9th at the Normanna Care Home in Burnaby. Born in beautiful Goderich, Ontario, Kay met her future husband Ernie there. She was married to Ernie for over 51 years until he predeceased her in 1998. Kay is survived by her 3 children Anne Marie (Ron), Paul (Linda), and John (Kathy); grandchildren Julie Ann (Ken), Michelle, and Jeffrey; and great grandchildren Hana, Kai, Selena, and Olivia.
Kay enjoyed travelling, and did so extensively when Ernie was still alive. When not travelling, they spent as much time as possible with friends and family at their trailer in Birch Bay Leisure Park. Kay also loved to cook, sew and play bridge with her ladies club. She volunteered wherever she was needed, and especially enjoyed running the concession at the George Derby Hospital for many years. She was a devout parishioner at St. Michaels Catholic Church and an active member of their C.W.L.
The family would like to thank the caring staff at the Normanna Care Home where she spent her last 4 years. In lieu of flowers, donations to the Alzheimer’s Society of B.C would be appreciated. A Mass of Christian Burial will be celebrated on Thursday Sept. 22nd at 10:00 AM at St. Michaels Catholic Church, located at 9387 Holmes Street, Burnaby, B.C.
+++ IMLAH, Gordon
July 12, 1938-September 5, 2022
It is with sadness that we announce the passing of our beloved Gordon. He was a wonderful husband to Brigitte, father to Greg (Lisa) and Patricia (Mike) and grandfather to Ella, Isaac, and Evie.
Gordon was born in Vancouver and lived most of his life in Delta. He was a devoted sports fan, who particularly loved soccer and track and field. As a young person, he also enjoyed his time as an Air Cadet and obtained his pilot’s license while with this organization.
After attending UBC, Gordon began a 40-year career with Canadian Pacific Airlines. His work took him to many different cities both within Canada and abroad. Even after retirement he continued to love exploring new places. Sadly, his travels were curtailed by the onset of Parkinson’s Disease. He battled this condition for over 20 years and throughout that time he maintained his sense of humour, his optimism, and his kindness.
A Memorial Mass will be held on September 27, 2022 at 11:00 am at Immaculate Conception Parish in Delta.
In lieu of flowers, please consider a gift to the charity of your choice.
+++ TONG, Dr. Jennifer A.
November 14, 1960 – August 24, 2022
It is with profound sadness and heavy hearts that we announce the passing of Dr. Jennifer Tong after a long and courageous battle with cancer. Jennifer is survived by her mother Helen Hiroko Ono, husband Ken, children Maya (David) and Curtis, and sister Joanne (Dan). She will be deeply missed and lovingly remembered by all who knew her. In memory of Jennifer, we hope you will respect and be kind to others, be a strong advocate to people of all abilities, and be an unwavering friend to those close to you.
Memorial Mass was celebrated at Corpus Christi Parish on September 9, 2022. To read more about Jennifer or offer a condolence, please visit: www.kearneyfs.com. Donations can be made in Dr. Tong’s name to the BC Council for Exceptional Children (www.bccec.org), Inspire Health (https://inspirehealth.ca/donate/), or another charity of your choice.
+++ SPENCER, Maxine (Mickey) Larraine (nee McCarthy)
Mickey Spencer passed away on August 29, 2022, in New Westminster, BC at the age of 88 years. Predeceased by her husband James Earl Spencer, father Timothy McCarthy, Mother Gladys McCarthy, sisters Joan Belland and Patricia Gibson. She will be lovingly remembered and sadly missed by her children: Len (Angie) Spencer, Lyle Spencer, Wanda MacKenzie; her grandchildren: Tim (Melissa) Spencer, Brian (Alysha) Spencer, Meaghan (Tammy) Spencer, Lynda (Bill) Jackson, Kelsey (Clayton) Younge, Patrick (Jade) Spencer, Matt (Danica) MacKenzie, and Karlie (Brenden) Scanks; her great-grandchildren Spencer Jackson, Ayden Jackson, Nixon Spencer, Brooklyn Spencer, Ashlyn Spencer, Piper Spencer, Isaiah MacKenzie, Bowen MacKenzie and Hannah Spencer; extended family Roger and Donna McCarthy, Pearl Kristjanson, and many nieces, nephews and cousins. Prayers will be offered Tuesday, September 13, 2022 at 6:00 p.m. at St. Michaels’ Parish 9387 Holmes Street, Burnaby, BC where Funeral Mass will be celebrated Wednesday, September 14, 2022 at 10:30 a.m. Reception to be held in the Church Hall immediately after the Funeral Mass. Celebrant Msgr. Bernard Rossi officiating. Condolences may be offered to the family at www.kearneyfs.com. In lieu of flowers donations may be made to CNIB.
+++ DUMONT, Marguerite
Marguerite DuMont (nee Doiron) passed away peacefully on August 31, 2022. In March of this year, Marguerite was predeceased by her husband of 62 years, Alfred. Her spirit is carried on by her children Denise (Gim), Lisa (Ken), Alison (Scott) and Marc; eight grandchildren: Kristina, Bryce, Lucas, Christian, Jenny, Sarah, Kate and Noah, great grandchild Vera and an extended family of friends and relations from every walk of life.
Marguerite was born in Prince Rupert, BC in 1931 to parents Leo Dennis Doiron and Augustina “Gusty” Doiron (nee Stoltz). She looked back with fondness and laughter at her years growing up on the coast with sisters Thelma and Georgina “Jeannie” and the many friends and clergy who were part of her extended family.
Marguerite served as secretary to Bishop Fergus O’Grady and later as secretary at the H.M.C.S. Chatham naval base. She moved to Victoria, BC in 1952 where she worked for Canadian Naval Intelligence, and Royal Roads Military Academy. Marguerite had a great spirit of adventure and travelled to Europe where she worked in Paris and London. She later worked as a lay apostle for the White Sisters of Africa in Washington, DC. She met her beloved husband Alfred in 1959 while working as one of Bishop O’Grady`s first lay apostles in Terrace BC. They married in October 1960 and theirs was a remarkable relationship based on respect and unconditional love. Marguerite’s warm personality and joie de vivre made her a welcome addition to the extended DuMont family.
Together, Marguerite and Alfred made homes in Terrace, Hudson Bay, Saskatchewan, West Vancouver, western and southern Turkey, the Fraser Valley, Indian Wells, California and Peachland, BC. They shared their warm hospitality with friends and neighbours in each one of these places.
Giving freely of her time, Marguerite was ever-present in her children’s school life and through the years she served as CWL and hospital auxiliary presidents. She continued to serve in her White Rock community until recently.
Marguerite lived and loved her faith every day of her life. It was her guiding light and the source of many dear and enduring friendships in every community in which she found herself. She was a trusted friend and confidante to many. Those near to her were blessed to learn many valuable lessons from her during her 91 years, but most of all, will remember the joy, warmth, and humour she brought to every occasion.
Marguerite was the true matriarch of her family and an inspiration to many. She will be missed enormously and never forgotten. Her family extend their gratitude to Dr. Charles King and the team at White Rock Home Health Care for their kindness and support.
Mass of Christian Burial will be celebrated at Good Shepherd Church (2250 150 St, Surrey, BC) on Tuesday, September 20, 2022 at 11:30am. Reception to follow. Burial will be at the Gardens of Gethsemani at 2:00 pm.
+++ SORTOME, Frances Elizabeth
November 5, 1922 - December 13, 2021
My lovely, vibrant mother, in her 100th year, passed away peacefully at Blenheim Lodge. The full obituary can be found in the Vancouver Sun on December 18, 2021.
A Memorial Mass will be held at Sts. Peter and Paul Church, 1430 W. 38th Ave. Vancouver on Saturday, September 17th at 11:00 am. Reception to follow at "Seasons in the Park."
+++ VAZ, Jose (Joe) Antonio Baptista
Jose (Joe) Antonio Baptista Vaz was an extraordinary man. Born on March 31, 1949 in Alges, Portugal, the only child to Franklin and Maria Vaz.
During his lifetime he lived in four different countries, spoke 5 languages and had many accomplishments.
Joe passed away on August 20, 2022 from pancreatic cancer. He is survived by his wife Judy, sons Franklin (Dianne), Andre (Nancy), Nelson (Kimberely) and his 5 grandchildren, Alexander, Aiden, Oliver, Laila and Mia.
His is now with his mother and father in the presence of God.
Mass of Christian Burial was celebrated at the Gardens of Gethsemani Chapel on August 31, 2022, followed by interment.
+++ DUKOWSKI, Rev. James Gerard, O.M.I.
March 23, 1941 – July 31, 2022
Father James Gerard Dukowski was born in Melville, SK to parents Laudeslaus Joseph of Jasa, Austria and and Kathryn Acaster of Regina, SK. Fr. Jim was the youngest of 4 children. He was predeceased by brothers Jack (Edith) and Hubert (Florence) and sister Joan (Eber) Stackkpole. He is survived by several nephews, nieces, grand nephews and grandnieces.
Fr. Jim’s Education: Vancouver College; St. Patrick’s College, Ottawa (BA); Holy Rosary Scholasticate; Theology studies in Chile. He was Ordained to the Priesthood in the Congregation of the Missionary Oblates of Mary Immaculate on September 30, 1967 at St. Peter’s Parish in New Westminster, BC.
Following ordination he was sent to the Peru Mission as the Vice-Provincial of the St. Peter’s mission. He inaugurated a new Central House in Lima, promoting Peruvian vocations and sponsoring the medical mission in the Amazon. He returned to Canada for a time, then the US (diocese of Brownsville Texas) and Mexico, often in educational or formation projects of his creation. In 2011 he returned to Peru and served actively in Our Lady of Peace Parish in Lima, where he also celebrated his 50th Anniversary of Ordination in 2017. He was very much involved with the Engaged Encounter program and served on an International Committee.
In 2017, after suffering a stroke in Peru, which severely affected his vision, Fr. Jim returned to Canada retiring at Oblate House, The Crescent. He persevered with treatments recovering his vision and health. Fr. Jim served in replacement ministry in Vancouver. He was a member of the BC District Council and was Oblate Animator to the BC District Associates until the time of his death.
Fr. Jim was subsequently diagnosed with terminal lung cancer. He loved his family dearly and kept in touch with them, in Canada and the US. His relatives particularly appreciated a family gathering he hosted at Tecumseh House before moving to Vancouver Hospice.
+++ NOSATY, Olive
July 29, 1923 – July 10, 2022
Olive Nosaty, was born July 29, 1923 in Buchanan, Saskatchewan and passed away in Surrey on July 10, 2022. She is predeceased by her Husband Paul Nosaty -1990, her Son Eugene Nosaty - 1974, and daughter Diane Davis – 2015. She is survived by her loving family. Her children Loretta (Bob), Henry (Beth), Terry, and Randy. Grandchild Ryland. She is also survived by her Siblings Phyllis, Mae, and Mike. Passing away on July 10th, Olive would have celebrated her 99th Birthday on July 29th. She was a lifetime member of Ukrainian Catholic Womens League. Divine liturgy was on July 20th at Holy Eucharist Cathedral at 11:00am by Father Mykhalio Ozorovych with a graveside service and burial at Valley View Memorial Gardens that followed at 1pm. In lieu of flowers donations can be made to Alzheimers Society of Canada and Ukrainian Catholic Church.
+++ MCCLOSKEY, Thomas Bernard
Feb. 3, 1929- Aug. 15, 2022
Tom was born the fourth of eight children in Guelf, Ontario. He grew up in New Westminster and Alderside in Port Moody. He was married to Patricia O'Brien in 1954 and settled in Ioco near his first place of employment, Imperial Oil. In 1962, they moved to Coquitlam where they raised their five children and were active parishioners at All Saints. Later they moved to Burnaby and were very involved at St. Michael's parish. Tom was proud of his 4th degree status as a member of the Knights of Columbus. For years he enjoyed working at the PNE and the experiences and friendships that resulted from it. For 25 years Tom's true calling was found in his role as Santa at Lougheed and Surrey Place malls. He continued to play Santa/St. Nicholas in the community after. Tom's faithfulness, joy, gratefulness, gentle chuckle, and simple love for family and life will be greatly missed. Santa has left his chair and has gone to join his wife and family in a well-deserved rest. Funeral Mass was celebrated at St. Michael's Parish Burnaby on Tuesday, August 30.
+++ DEVLIN, Sister Ethel Marie (Pierre Celestin)
Peacefully, on Sunday August 14, 2022 at Royal City Manor Care Home, New Westminster, BC, at the age of 94, God called Sister Ethel Devlin home. Sister Ethel was born September 7, 1927 to Matilda L’Heureux and Bertram Peter Devlin in Vawn, SK; the fourth of 7 children. Ethel entered the Sisters of the Child Jesus January 15, 1946 in North Battleford, SK. She took the Holy Habit on July 22, 1946 and was given the name Sister Pierre Celestin. She made first vows August 15, 1948 and final vows August 15, 1953. Her first mission was at Our Lady of Fatima School in Coquitlam and then she taught in Sechelt and North Battleford. Ethel attended Normal School in Vancouver and graduated from UBC with a B.Ed. She spent many years working with the First Nations people in Babine Lake, BC, St Paul’s, North Vancouver, and Williams Lake, BC. She spent 4 summers at Dalhousie University in Nova Scotia taking counselling courses where she obtained a Specialist Certificate in 1973 and, from 1967 until 1981, Ethel was stationed in Williams Lake, BC where she was employed by the Department of Indian Affairs as a counsellor. A new calling came for Ethel in later years. She attended St. Paul’s University in Ottawa from 1981-1983 and obtained her Licentiate and Masters’ Degree in Canon Law. Ethel served as both canon lawyer and judge for the marriage tribunal in Winnipeg MB for many years before returning to BC. where she served as one of two provincial assistants. Ethel moved to Chilliwack in 1996 where she assisted then Father Gary Gordon with native ministry as well as doing part-time marriage tribunal work. Shortly after celebrating her 94th birthday in her little house in Chilliwack, Ethel had a fall and she moved to Royal City Manor where she had good care and made new friends. Although we will miss her physical presence with us, she lives on in our hearts. We, the Sisters of the Child Jesus want to say “thank you” to her for all she contributed to our religious family. “Well done good and faithful servant!” Ethel is predeceased by her parents, her brothers: Leonard and Fred; her sisters: Elva and Louise and many of her religious sisters. Left to mourn her passing are her bothers Omer (Carmi) and Lloyd (Ann), numerous nieces and nephews and the Child Jesus family.
Her Funeral Mass was celebrated at 11:00 am, Monday, August 22, 2022 at St. Paul’s Indian Catholic Church in North Vancouver, BC. Condolences may be offered at www.kearneyfs.com
+++ GIRARD, Eveyln Jane (née Hume) (Lockhart)
Jane passed away peacefully on August 1st, 2022, in the presence of her family. She is survived by her husband Donald G Lockhart, her children Maureen, Jim (Leanne Sexsmith) and Joe (Dawn Thomas) Girard, grandchildren, Taya, Jordan, Ella, and Mitchell, her youngest brother Tony Hume (Ruth), many in-laws, nieces and nephews. She was predeceased by her parents Phil and Eve Hume, her first husband of 36 years, Paul Girard and her siblings, Phillip Hume, Jacqueline Brisby, Nancy Nyte, and Mary McCarles. She graduated from St. Paul’s School of Nursing (1962). She lived in Coquitlam and Salt Spring Island then after Paul’s death, she moved to South Surrey where she made many friends and met (on an airplane in 2011) and married Donald Lockhart. She loved her “church Groups”, playing bridge, volunteering, and the Canucks. She remembers all her “old” friends of the class of ’59 WVHS. Jane will be remembered for her faith in God, her love of family and the great country where she was born.
Memorial Mass was celebrated at Good Shepherd on August 25th, 2022.
Donations appreciated to the Terry Fox fund or your favourite charity.
+++ DIXON, Sylvia Marie
It is with profound sadness that we announce the passing of Sylvia Marie Dixon. She passed away peacefully on Friday, July 22, 2022 at Royal Columbian Hospital with her family by her side.
Sylvia nee Lavigne was born on May 31, 1933 in Meota, Saskatchewan. In 1941, her family then moved to Burnaby, BC where her dad owned and operated Lavigne’s Engine Rebuilders on Kingsway. She grew up in the Lower Mainland eventually settling in Coquitlam after having married her husband, Ralph Dixon. Together they raised two children - Cathy and Len. Sylvia once again entered the work force working at St. Thomas More for over 25 years. She so enjoyed handing out late slips and making connections with the staff and students. During this time, Sylvia became a grandmother five times over. She adored her grandchildren and was very proud of them. In her retirement years, Sylvia enjoyed travel, being together with family and friends, and golf. She was very proud of her accomplishments in this sport and looked forward to every Tuesday and Thursday morning as she headed out to Poppy Estates in Langley. Friends were very important to Sylvia. For many years she met with a group of ladies self entitled, The Stitch and Bitch. Together, this special group of ladies supported each other throughout most of their lives. After moving from her beautifully decorated condo in New Westminster, Sylvia moved to Thornebridge Gardens. She was so lucky to have her best friend there of 70 years, Anna Smith. Together they participated in the various activities offered by the home. They joked how they would pretend they were on a cruise ship.
Sylvia leaves behind cherished memories, her loving children - Cathy (George) Piva and Len (Teresa) Dixon, five wonderful grandchildren - Matthew (Casimir), Alyssa (Krystian), Daniel (Tracy), Jenny, Adam, her sister in Ottawa, Marg (Fred) Boeckler, her brother, Lou (Joy) Lavigne. She is predeceased by her loving mother, Edna Lavigne, her father, Omer Lavigne, her brother, Adrian Lavigne and her husband, gone too soon, Ralph Dixon.
A huge thank you goes out to the emergency room nurses and doctors at Royal Columbian Hospital especially Nurse Raymond, Nurse Jeff, and the Respiratory Therapist, Laura. Also thank you to the hardworking and positive nurses on 4 North and then on 6 North. You truly are angels on Earth! Lastly, and very importantly, we would like to thank the excellent staff at Thornebridge Gardens where mom spent the last four years of her life. Thank you for all you have done during these challenging years.
Funeral Services were held Monday, August 1 at St. Peter’s Church in New Westminster.
She rests beside her husband at the Gardens of Gethsemani. Sylvia’s passing has left a tremendous void in our lives.
+++ SMITH, Rev. Philip, O.M.I.
October 31, 1940 – July 26, 2022
Father Philip Joseph Smith was born in Milwaukee, Wisconsin to parents Dr. Frank A. Smith, D.D.S. and Bernadette Baier. He is survived by his brothers Dr. Robert Smith of Lancaster WI, William and John Smith, both of Glen Haven, WI.
Fr. Phil’s Education: High school and college (B.A.) - St. Francis Seminary, Milwaukee WI; Novitiate - Immaculate Heart, Godfrey IL; Theology - Oblate College, San Antonio, Texas. Fr. Phil was Ordained to the Priesthood in the Congregation of the Missionary Oblates of Mary Immaculate on December 17, 1966 in Belleville IL.
Fr. Phil’s Obediences Included: Chaplain - Student Residence, Lower Post & Holy Family Mission, Iskut YT; Sabbatical – Institute of Contemporary Spirituality (Ignatian), Spokane WA., CREDO – Gonzaga University; Native Ministries Consortium - Vancouver School of Theology; Pastor – St. Anthony’s, Houston BC, Granisle & Telkwa; Associate Pastor – Saanich Peninsula Parish; Associate Pastor – Resurrection – Parish - Fort St. John BC; Associate Pastor - St. Joseph’s Parish, Smithers and Houston, Granisle & Telkwa; Pastor - Holy Family Church, Ucluelet BC and St. Francis of Assisi Parish, Tofino BC.
Fr. Phil was raised on a farm in Wisconsin. He described himself as “a country boy, at home in jeans and boots.” He believed in a balanced lifestyle - physical and mental work, prayer and recreation, contemplation, and action. These were part of his spirituality. He never aspired to be in a large parish in the city, sitting at a desk bogged down in administration. Fr. Phil wanted to do good work in liturgy and catechetics. He enjoyed working with scripture and preparing good homilies … attempting to “break the bread of the word”. He searched for an effective means of outreach to other people. He was well-read and brilliant. He held strong convictions and opinions on many subjects. Fr. Phil’s other interests included: Photography, computers, writing, geography, natural history, music, gardening and when fit, hiking and paddling.
Fr. Phil retired in October 2006 at the Forest Glen Residence in Ucluelet BC. In 2014 he moved to Pandosy Place Oblate Residence in Vancouver. He subsequently moved to Broadway Lodge in Vancouver where he passed away peacefully on the evening of July 26, 2022, at age 81.
Funeral Mass was celebrated at St. Augustine’s Parish on August 11, 2022, with burial at the Oblates cemetery in Mission, BC.
Fr. Phil will be fondly remembered by his Oblate brothers, relatives and friends. The Oblates wish to express their gratitude to Fr. Phil’s caregivers and staff at Pandosy Place and Broadway Lodge.
+++ CASSIDY, Patrick Wilfred
Patrick was born in Tyendinaga Twp, Ontario on May 15th, 1922 and passed away August 2nd, 2022, having reached 100 years young. His career was in the Royal Canadian Armed Forces which he loved and so fostered his love for flying light aircraft. He will be sadly missed by his wife, children, extended family and fellow Knights of Columbus. So fly to your eternal home Pat. With Love E.
+++ TOOVEY, Elizabeth "Joy"
October 14, 1962 - August 4, 2022
Joy passed away peacefully, with her sisters at her bedside, on August 4, 2022. She is predeceased by her Dad, Jack, in 2018. She is survived by her Mom, Mavis, sisters Anne and Janet, brother Paul, niece Emma, and nephews James, and Jack.
Joy was born on October 14, 1962, in Nanaimo, BC. She graduated from VGH School of Nursing in February, 1985. She devoted her nursing career to the O.R. at Lions Gate Hospital for 30 years.
Joy loved travelling with her best friend, Kathryn, working on medical missions in Guatemala, her book club, and knitting.
Joy was famous for her homemade antipasto and dill pickles! She was a kind and generous person, who always put her family first. She will be forever missed.
Mass of Christian Burial to be held at St. Stephens Catholic Church (24th Street at Mountain Highway, North Vancouver), on Saturday, August 13th , 2022, at 11:00 a.m.
In lieu of flowers, Joy has requested that donations be made in her memory, to the Lions Gate Hospital Foundation, in support of the oncology clinic.
Donate - Lions Gate Hospital Foundation (lghfoundation.com)
+++ BRADLEY, Berna Marie
January 4th, 1950, to August 3rd, 2022
It is with great sadness that we share the loss of our beloved Berna. She battled hard for seven years against ovarian cancer using her personal strength of will, the strength of her Precious Blood Faith Community, and especially the Love of her Saviour & Friend, Jesus. She leaves behind a devoted Husband of 47 years – Pat, Sisters – Bev and Janet (Darwin), Brother – Ken (Margaret), and many Nephews, Nieces, Great-Nephews and Great-Nieces.
Mass of Christian Burial was celebrated by Fr. Paul Chu at Precious Blood Parish, Tuesday, August 16th at 11:30 am, followed by a reception in the Parish Centre and interment in Gardens of Gethsemani, Surrey.
+++ VETTER, Michaela
“Michaela Vetter was born May 30, 1934, in Breslau, Germany (now Wroclaw, Poland), arrived in Saint John, NB, Canada on Feb. 9, 1951; predeceased by her mother, Marianna (nee STERZ), in 1994, and her father, Erich Vetter (1938), both born in Breslau; Mass of Christian Burial will be celebrated on August 3, 2022, at Guardian Angels Parish, at 11:00am.”
+++ MORRISON, Norman
Norman Morrison passed away at the age of 87 in the early hours of July 11, 2022, at the side of his beloved wife Maureen at home in North Vancouver. He grew up in East Vancouver with his older siblings Don, Louie, Pat, Jack and beloved sister Mary, all predeceased. At the age of four, Norm lost his father, John. He worked at Campbell’s Hardware to help support his mother, Mary. During his youth, he formed life-long friends through the CYO and “the Beavers”(a neighbourhood group of ‘Eastend Boys’ who he enjoyed lunches with over many years.) Norm went on to have a very successful career working his way up from a clerk for CP Rail to being a manager/shareholder of Taiga Forests Products.
For 61 years of marriage, Norm was rarely without Maureen at their family home of the past 60 years in Blueridge, North Van where they raised their five children Marianne (Dennis), Norm Jr.(Joy), Joe (Janine), Tim, Suzy and welcomed seven grandchildren into the family Richard (Vanessa), Chantelle (TJ), Kylie (Nic), Noah (Van), Kalina, Kyan, Taryn.
From his seat at the Sunday dinner table, Norm would enjoy watching his large brood talk and debate. It was rarely a quiet table and that’s what he liked most about having everyone around him; though he always managed to sneak away to decompress for his 8PM bath. He read his daily newspapers, stayed on top of everything, and expected opinions to be respectful, smart and well-informed. He was happy tinkering around his house and painting whatever he could find in need of a fresh coat. He had a longtime passion for Hastings Park Horse-racing and eventually co-owned his own racehorse.
Norm is best remembered as a selfless man who greatly valued friends and family. He never hesitated to offer whatever help that was needed to whomever needed it. He and Maureen were very active in their parish, St. Pius X, and supported many charitable causes. Norm never forgot his humble beginnings and always had a strong sense of being blessed in life with cherished family and friends. In his final months, he was sure to let others know: “I’ve had a good life.”
A funeral mass will be held at St. Pius X Parish, 1150 Mt. Seymour Road in North Vancouver on Tuesday July 26 at 11am.
+++ BLAIR, William “Bill”
June 21, 1932 - July 4, 2022
William “Bill” Blair passed away on July 4, 2022, shortly after his 90th birthday.
He is survived by his wife of 66 years Catherine “Kay” Blair; children Joyce (Richard), Robert (Allison) and Bradley (Lilly); and grandchildren Cheryl, Charlene, Jocelyn, David and Michael.
In his teens, Bill lived in Edmonton and began a lifelong career with the Canadian National Railway. In his 20s, he married his wife Kay and had three children. In his 30s, he worked in CNR management and was transferred to Vancouver with his family. At 58, he retired after 42.5 years with CNR and joined the Canadian National Pensioners Association.
Bill and Kay were active parishioners at St. Francis de Sales Church in the 1970s-80s and St. Michael the Archangel Church since the 1990s. Bill joined the Knights of Columbus and helped with organizing parish and community events. He was a Fourth Degree Knight and Grand Knight.
Bill was a well-liked, easygoing, family man with a strong Catholic faith. He will be dearly missed by all those who knew him.
Funeral Mass: 10:30 am on Wednesday, July 13, 2022 at St. Michael the Archangel Church 9387 Holmes Street, Burnaby.
+++ WONG-SING, Joseph
Dr. Joseph Wong-Sing passed away peacefully and unexpectedly on July 2, 2022, at the age of 76, at Vancouver General Hospital, BC. Joseph showed his fierce independence and resilience living with Parkinson’s disease for almost 20 years.
Born on February 20, 1946, Mayaro Bay, Trinidad and Tobago, Joseph left for Hong Kong at age 12 for high school. In 1966, he came to Canada as a student at University of Windsor in Ontario where he met his wife Resela. He completed his bachelor’s degree at University of Toronto, ON, before they were married in 1970. Joseph obtained his Doctor of Podiatric Medicine in 1977 from Ohio College of Podiatric Medicine in Cleveland, Ohio, USA. He then moved to Vancouver, BC where he practiced podiatry for 32 years and raised his family in Kerrisdale.
Joseph was active in his church. He was a charter member of the Knights of Columbus of St. John the Apostle parish in Vancouver since its inception.
Predeceased by brothers David and Francis, Joseph is survived by his wife Resela, sons Aaron and Irwin, daughter Erline (Tom) and grandchildren Kathleen, Meghan and Valerie, and siblings Jeanette and family, Herbert and family, and Jenny and family.
The family would like to extend their gratitude to all the staff at Vancouver General Hospital Intensive Care Unit for their compassionate care during Joseph’s short stay there.
Joseph will be honoured with Mass at St. John the Apostle Parish (5457 Trafalgar Street, Vancouver) on July 20 at 11am; Vigil on July 19 at 6pm.
Details: https://kearneyfs.com/obituaries/joseph-wong-sing
+++ COWHIG, Helen Margaret
The Cowhig family is sad to announce Helen Margaret Cowhig passed away peacefully in White Rock, June 28th, at the grand age of 105.
Helen was born in Regina, Saskatchewan, on May 25th, 1917, the youngest of five children, to Joseph Patrick Cowhig and Catherine Jane (Crawford) Cowhig. She was predeceased by her brothers Harold and Clarence, her sisters Qu’Appelle and Bernice, her niece Ann and nephew Peter. She is survived by her nieces and nephews Mary, Gemma, John, Michael, Paul, Margaret, Paddy (Cherrill), and Kathleen, as well as many second and third-generation nieces and nephews.
Helen was an independent and strong-willed woman, adventurous and fun. She loved to dance, to explore life. In 1943 she left her comfortable home in Regina and enlisted in the Women’s Royal Canadian Naval Service (WRENS) where she rose to the rank of Petty Officer. In 1946 she was drafted to Esquimalt, H.M.C.S Naden, for demobilization. Helen continued to work in various offices in H.M.C. Dockyard, later called C.F.B. Esquimalt, until she retired to White Rock in 1977 to care for her sister Qu'Appelle who passed away in 1978. Prior to that Helen took care of her mother for 7 years in Victoria.
In 1982, Helen's widowed sister, Bernice McCall (Birdie), moved to White Rock from Edmonton. Although Birdie had her own condominium, they were constant companions and took many trips together worldwide. As Birdie’s health declined Helen was there 24/7 to care for her.
Helen joined the Star of the Sea CWL in 1977 and was Organization Chairperson for several years. She worked at Bingo, Meals on Wheels, Hospital Visiting, and was a regular lector at Sunday Masses. Always kind and caring, much loved by her family and friends, we will never forget how she touched us all in our shared journey through life.
The family would like to thank the personnel of the Peninsula Retirement Living for the many laughs and the loving care shown to Helen through the nine years she enjoyed there. Thanks also to the nurses and others at the Peace Arch Hospital South, 6th floor, for the love and tender care they gave Helen during her final days. The staff of both the Peninsula and the hospital were a great comfort for Helen’s family.
Mass of Christian Burial was held Wednesday, July 6th, 2022, 11:00 a.m. at Good Shepherd Parish 2250 150th St., Surrey, B.C.
Donations in lieu of flowers to Catholic Charities, Vancouver, BC.
Condolences may be sent to: [email protected]
+++ D’SOUZA, Esperance
Esperance D’Souza passed away peacefully at age 97 on Sunday, July 3rd, 2022. Loving wife of late Luis D’Souza, mother of late Cyril & Coral (Mumbai), Tony & Teresa (Goa), Benny & Bridgit (Mumbai), Henry & Susanna (New West, BC), Teresa & Melwyn (Burnaby, BC), Bosco & Ngoc (Auburn, US), Esperance had 17 grandchildren and 9 great grandchildren.
Funeral Mass will be celebrated at Holy Cross Catholic Church, 1450 Delta Avenue, Burnaby, BC V5B 3G2 on Tuesday July 12th at 10.30 am. Arrangements by Kearney Burnaby Chapel 604-299-6889
+++ EISNER, Ida
November 3, 1936 – June 28, 2022
Ida Eisner passed away peacefully June 28, 2022 in Burnaby, BC at the age of 85 years. She will be lovingly remembered by her daughter Elizabeth; son Dan (Michelle); granddaughters Jacqueline and Katelyn; and extended family and many friends. The family wish to extend their heartfelt thanks to all the staff at St. Michael’s Hospice in Burnaby. Funeral Mass was celebrated on Friday, July 8, 2022 at St. Francis de Sales Church. In lieu of flowers, donations may be made to the Canadian Red Cross. The Funeral Mass was recorded; to view please visit www.legacystreaming.com/kearney
+++ SIMONETT, Selma Theresa (nee Vieira)
April 6, 1929 to June 24, 2022
With great sadness we announce the death of our sister Selma Simonett, formerly of Port of Spain, Trinidad, then of Langley BC Canada, on the Feast of The Sacred Heart of Jesus, Friday June 24th last. Selma was pre-deceased by her husband Arthur, her parents Ernest and Thelma Vieira and her older brother Ernie and his wife Gilma (nee Thomas) all of Trinidad. She is survived by her sister Zela, her husband Gerald Maingot and their family, Dale, Joanne, Richard, Neal and Robert and their families of Langley. Also, by her nieces Donna (New Zealand), Dayna and nephew Ryan (Trinidad), as well as her husband’s children, Stewart (Michigan), Johnny and Pam Ann (England) and their families. Her death was very peaceful, with her local family gathered around her in compassion and prayer. A Funeral Mass was celebrated for her at Noon on Thursday 30th, June at her parish, St. Nicholas’ RC Church in Langley. Please pray for her…
+++ SLETT, Anna
On June 16, 2022, Anna Slett (nee Bachmeier) passed away in her Surrey home at almost 92 years of age. Predeceased by her parents Otto and Martha Bachmeier, her seven siblings and their spouses. Her youngest child Robert predeceased her in December 2018. Anna is survived by her husband of 67 years, Ron, son Wayne (Haidee), daughters Sandra and Rebecca (John), daughter-in-law Nancy, grandchildren Megan (Kelvin), Dave (Emma) and Matthew and her great granddaughters Piper and Sadie. God graced Anna with an open heart, willing hands and the desire to be of service. Mass of Christian Burial was celebrated on Saturday, June 25 at 11:00 am at St. Stephen’s Parish in North Vancouver. Burial was on Monday, June 27, 2022 at 10:00 am at The Gardens of Gethsemani. In lieu of flowers, donations are appreciated to the Heart and Stroke Foundation (www.heartandstroke.ca)
+++ Johanna (Ann) (Oma) Persoon (nee Vieveen)
June 10, 1929 – June 18, 2022
Johanna passed into the embrace of Our Heavenly Father on Father’s Day. She was one of nine children belonging to Cornelius and Maria Vieveen, and was born in Schipluiden, Netherlands. Wanting adventure and following her heart, Ann joined her future husband, Paul Persoon, after he immigrated to Canada and proposed marriage a year after he arrived. Together they raised a wonderful family while active in parish life at St Francis de Sales Church in Burnaby. Ann lived with the spirit of volunteerism - especially in her role as an active CWL member and serving in the education committee there.
While in her 50s, Ann went back to school and became a pre-school teacher at St Francis de Sales, proudly teaching for sixteen years alongside other quality Catholic educators there. Once retired, she and Paul spent their golden years together enjoying picnics, travelling in their camper, and visiting family wherever they lived. After 63 years of marriage, Paul passed away in 2014, and Ann continued her life with grace and perseverance, no matter the challenge, and without complaint.
Her 9 children, 22 grandchildren and 18 great grandchildren survive her and will miss her gentle smile, wit, and maternal love.
A funeral Mass will be held to celebrate her life at 9:30 am on Wednesday, June 29 at St. Francis de Sales Church in Burnaby with a reception to follow.
Johanna will be buried in The Garden’s of Gethsemane at 1:00PM.
+++ GAZIN, Genevieve Marie (Gen)
Feb 17, 1935 Jun 15, 2022
Born in Grayson, SK and deceased in Delta, BC, Genevieve has joined her loving husband Chester of 62 years in God’s eternal peace. Gen (née Ross) is survived by her four children: Fr. Mark Gazin CSB; Bruce (Barbara Mackenzie); Barbara Stauffer (Shelton) and Desiree Marziali. She is survived by grandsons David (Jacquie Eng) & Andrew Gazin; Isaac & Dominic Marziali along with her brothers Glenn (Gloria) & Cal (Allison) Ross and many family and friends. Gen graduated from Vancouver’s Little Flower Academy in 1952 after which she completed nursing training at St. Paul’s Hospital, Vancouver in 1955. While working at St. John’s Hospital in Santa Monica, CA, she met Chet and after a brief courtship, they married in 1957. The family resided in the United States until their return to Canada in 1964. Gen continued to work as a nurse until 1966, after which she dedicated herself to the wellbeing of her family. Her children will always remember her willingness to be present, her seamless coordination of extended family dinners, and her dedication to family unity. In lieu of flowers, donations can be made to the charity of your choice. Cremation has taken place. Gen’s funeral Mass and interment will be held at 11 a.m. at the Gardens of Gethsemani 15694 32nd Ave. Surrey B.C. on July 4. Nothing would make Gen happier than to have those who shared in her life present.
+++ HAMILTON, Eleanor Elizabeth (née Fugger)
Elly was born in Spring Valley, Saskatchewan on March 11, 1931, and passed away in Richmond Hospital on June 8, 2022. During her last days, she was surrounded by loving friends and family.
Elly was predeceased by her husband of 59 years, Dick Hamilton. She will be lovingly remembered and missed by her four children, Peggy (Bernard), Jenny (John), Jim (Sue), Dave (Julie); her eight grandchildren and nine great-grandchildren; sisters Carol Leckie and Jackie Gramlich; brother Bob Fugger; and many nieces and nephews.
In 1934 Elly moved with her family from Saskatchewan to the Okanagan where she lived until she and Dick married in 1953. Elly earned her Teaching Certificate from Victoria Normal School in 1951 and over the years taught school in the Okanagan; Lincoln, Nebraska; and Richmond, BC. As Dick’s Plant Virology career progressed, they raised four children together in Nebraska, Montana, Montreal, and finally Richmond. Family was at the heart of Elly’s life. She was a devoted Mom for many years, and enjoyed nothing more than gathering with her children and grandchildren. Elly’s faith was very important to her and she participated in many church organizations including Parish Council, RCIA, Fall Fair Chairman, Retrouvaille, Marriage Encounter, Welcome Home Team, and for 32 years she was a member of the Small Christian Community at St. Joseph the Worker Parish in Richmond. The support and love from that community meant a great deal to Elly. Elly also volunteered as a docent at the UBC Museum of Anthropology for ten years, and for many years following Dick’s diagnosis, Elly lead a caregiver support group for spouses of those with Alzheimer’s. Elly and Dick travelled to many places around the world and enjoyed trips to Europe, Africa, Australia, and Japan. They especially enjoyed a year’s sabbatical in Scotland with Jim and Dave, but their most favourite place of all was Cox Bay on the west coast of Vancouver Island. Elly loved birds and delighted in observing them all, from hummingbirds to eagles. She loved to walk the Richmond dykes and fly kites at Garry Point in Steveston, and shared many happy times there with her family. Elly lived with enthusiasm her entire life and had a strong sense of justice for people and for the natural world. She epitomized resilience.
The family is very grateful for the care and comfort provided by the staff at Richmond Hospital, and for the wonderful, caring staff at The Maple Residences in Steveston, which was Elly’s home for the last two years of her life.
There will be a memorial service for Elly in the fall at St. Joseph the Worker Parish in Richmond. The family will provide details in the coming weeks. In lieu of flowers, donations may be made in Eleanor Hamilton’s name to SOS Children’s Village (https://www.sos-childrensvillages.org/).
+++ PISTRIN, Luciano
Luciano died peacefully at home surrounded by his family on June 8, 2022, at the age of 83. He was born in Latisana, Italy on September 7, 1938, and immigrated to Canada in 1958. He is survived by his beloved wife Domenica, his children Natalizia (Denis Nadeau), David (Fabiola), Michael (Susanne), Flavia (Paul Grosjean), James (Sarah), his 20 grandchildren and 3 great grandchildren. He is also survived by his brother Angelo and his sister Gabi.
Prayers will be offered on Wednesday, June 22 at 7:00 p.m. at St. Joseph’s Parish, Langley, where a Mass of Christian Burial will be celebrated on June 23 at 10:30 a.m. followed by interment at Gardens of Gethsemani Catholic Cemetery.
His life of enduring faith, hard work and selflessness is inspiration to us all. In lieu of flowers, donations to Canadian Food for Children, B.C. Mail to #41-5550 Langley Bypass, Langley, B.C. V3H 7Z3 are gratefully accepted.
+++ DE COTIIS, Velia
It is with great sadness and sorrow that we announce the sudden passing of Velia De Cotiis on Saturday May 28th, 2022. Born in Panni, Foggia, Italy on July 20th, 1949. Predeceased by her parents Donato and Teresa, brothers Vito, Amalio, Marcangelo, Innocenzo and sisters Lilliana and Maria.
Velia was a remarkable mother, sister and aunt survived by her son, Vito (Maxine), her companion Bish Siemiatkowski of over 26 years, her brother Mike De Cotiis, sister-in-law Concetta De Cotiis and Zia Antonietta Mastrangelo.
A trailblazer in her family, she was the first to graduate from UBC. She became a dedicated teacher having spent the majority of her 40-year career teaching at Ridgeway Elementary in North Vancouver. As a member of St. Edmunds Catholic Church, her faith was central to who she was and a strong part of her world.
She loved to learn, explore, and challenge herself by doing the things she loved most: spending time with family, cooking delicious meals, traveling the world, hiking, biking, golfing, reading, taking long walks, and skiing. Always with a friend or family in tow, her willingness to try and learn new things was infectious. The most resourceful person we knew, she always had a book or activity to recommend every time you talked to her.
Zia (Auntie) Velia's life was full of love, laughter and beautiful memories which were also shared with her numerous nephews, nieces and relatives. Making an impact on everyone she met; she always had time for everyone, and you could always count on her.
A charismatic and inspirational mother, sister, aunt, and friend who touched the hearts of all those fortunate to have known her. She is irreplaceable and will be missed tremendously.
Viewings on Monday, June 6th from 5:30pm – 6:30pm followed by Rosary Prayers at 7:00pm, both at St. Edmunds Parish in North Vancouver. Funeral Mass on Tuesday June 7th at 11:00am at St. Edmunds Parish. Interment to follow at Ocean View Mausoleum in Burnaby.
+++ SCAVAZZA, Gloria Maria Rosaris
1925-2022
The beautiful and infinitely gracious Gloria Scavazza slipped away peacefully on May 22nd at the age of 96.
She was predeceased by her husband Giovanni Francesco Scavazza.
Known as Auntie G to all who loved her, including her stepchildren, grandchildren, nieces, nephews, great nieces, great nephews, and finally great greats.
She grew up on Commercial Drive and worked as an accounts manager for Shores Jewellers. She and Giovanni enjoyed travelling. At home, Gloria and Johnny loved to go out dancing and she was a gifted cook. There was always a pot of delicious pasta on the stove for anyone who turned up at her table.
Gloria loved animals, especially cats. She generously supported many charities including Children’s Hospital and the SPCA.
Her life was well lived, full of love, kindness, and compassion. She was loved by family and friends, respected in her church and community, and truly admired by all who encountered her. She had a strong and enduring Catholic faith and turned to St. Anthony in her prayers. Auntie G will reside in our hearts forever.
Memorial Mass will be celebrated on Tuesday, July 5 at 10:00 am at St. Francis of Assisi Parish.
+++ FAESSLER, Ernest Eugen
Ernest Eugen Faessler , late of Surrey BC , passed away peacefully in his sleep May 26,2022 at the age of 98.
Ernie was born in Fern Ridge BC. His parents, Ernest & Josephine who immigrated from Switzerland, homesteaded in the Cariboo with their 8 children, Ernie, Elsie, Martha, Court, Lou, Agnes, and Rudy.
At the age of 19 he joined the First Canadian Army Dental Corps traveling through Holland and was among the Canadian soldiers credited with liberating Holland and pushing the Germans out of the Netherlands.
He loved the outdoors, but his greatest passion was painting. He was predeceased by his wife Jean (2005) & his grandson Michael in 2019 as well as his siblings. He is survived by his son Rick, daughters Andrea (John) & April (John) and his foster daughter Zendi’s , 9 grandchildren, 11 great grandchildren, his brother Rudy, sister Agnes, special companion Isabell Simpson as well as many nieces, nephews & friends.
Funeral Mass was celebrated on Friday, June 3 at Our Lady of Good Counsel Parish (10460 139th Street, Surrey) with burial at The Gardens of Gethsemani.
In lieu of flowers, please consider a donation to The Society of St. Vincent de Paul.
+++ LOU, Father Aloysius
Father Aloysius Lou was born on November 14, 1933, in Hong Kong as the youngest son to parents, Francisco and Sau Wah. At the age of four, he fled with his family to Macau to escape the Japanese invasion. There, he attended the Istitudo Salesiano with his older brother Pedro, where his father worked as a secretary.
In the following years, his family faced a punishing twist of fate when his father died. Coping with distress as a young widow, his mother found work with the Precious Blood Sisters and through the missionary, she found grace in knowing God. As a devout Catholic, she instilled her spirituality in her children. Fr. Aloysius was baptized in Macau in 1944. After the war ended in 1945, he followed his family and settled in Hong Kong.
In 1949, Fr. Aloysius responded to his calling and joined the Salesian of Don Bosco. In 1953, he went on to study philosophy at the Novitiate Salesian Seminary in Naples, Italy where he stayed for several years. In 1959, he studied theology at Melchet Court, Sherfield, England, where he entered his lifelong journey into priesthood.
Fr. Aloysius was ordained in Macau on December 18, 1965. He started first as a teacher and administrator in Salesian schools and then discerned the call to serve as a diocesan priest. He came to the Archdiocese of Vancouver in 1972 and was incardinated into the Presbyterate of the Archdiocese in 1979. He is most remembered for having served for a long time with dedication and zeal at Saint Francis Xavier Parish, in Vancouver.
As a former teacher, Fr. Aloysius was dedicated to nurturing the spiritual maturity of his ministry. He founded the local Council of the ‘Knights of Columbus’ in St. Francis Xavier Parish in 2005. He was very supportive of the Knights which earned him a 4th Degrees member ranking, titled ‘Sir Knight’. He was also the founder of ‘Saint Joseph Sodality’ for family heads.
Like a good shepherd who is constantly on the lookout for green pastures, Fr. Aloysius tirelessly devoted himself to his ministry. With keen observations and confidence, he identified areas in which promotion and upgrade were apparent. Under his leadership, he led the building of a home for the elderly - Happy Manor was opened in July 1979. In the following year, the new parish daycare center was also completed. Father was always committed to help and respond swiftly to requests. Since 1975, he took up additional ministry work in Seattle for the Catholic community there. His heart was moved with compassion when he learned that ‘they were like sheep without a shepherd’. He commuted to Seattle once monthly over a period of ten years.
In 1995, Fr. Aloysius was invited to serve at Our Lady of Good Counsel, in Pearl City, Honolulu, Hawaii. The congregation grew quickly, and in the summer of 1997, a Chinese ministry was established at Our Lady Star of the Sea Parish, where he was appointed associate pastor. After four happy years in Hawaii, father was called back by Archbishop Adam Exner to oversee the new Saint Francis Xavier School and church projects. Fr. Aloysius witnessed the inauguration of the new Saint Francis Xavier church and retired from active ministry in 2008.
Fr. Aloysius studied and spoke many languages and believed that language is the key to broadening one’s horizons. Since his retirement, father devoted his time to work with the Sisters of the Epiphany, a member of the Salesian family in Shaoguan, China, as a volunteer English teacher. Although technically retired, he continued to contribute much of his time and expertise to serve at St. Theresa Roman Catholic Church.
In his later years, another door opened at Saint Joseph’s Seminary and Church in Macau. Invited by the bishop of Macau as a guest pastor, Fr. Aloysius immersed himself in a seminarian’s life of quietness and solitude. There, he reconnected with his distant memories of living in Macau during his childhood. In his retirement years, Fr. Aloysius maintained a part-time presence in Vancouver and led several pilgrimages to Europe, South America, and Asia.
Over his fifty years’ span as pastor, Fr. Aloysius touched the lives of many. His presence was found in every facet of our lives, through baptisms, sacraments, housewarmings, marriages, celebrations, and beside hospital beds. We have known him as a pastor, teacher, confessor, counsel, brother, and a friend. Father fell ill in the beginning of 2022 and bravely fought his illness. He passed away peacefully on May 20, 2022, in the comfort of his home. At the end of his life, Fr. Aloysius felt that he found contentment and fulfillment in his life as a priest, servant, man of prayer, preacher of the Word, mediator and man of the people.
Vigil Prayer & Viewing was on Sunday, June 5th, 2022, 6:30pm at Saint Francis Xavier Church, 428 Great Northern Way, Vancouver, B.C.
Funeral Mass was held on Monday, June 6th, 2022, 10:00am at Holy Rosary Cathedral, 646 Richards Street, Vancouver, B.C.
Burial to follow Funeral Mass at 1:00pm at The Garden of Gethsemane, 15694 - 32 Ave., Surrey, B.C.
+++ALEXANDER, Rev. Dennis Wayne, O.M.I.
October 13, 1948 - May 15, 2022
Fr. Dennis passed away peacefully May 15, 2022 at Vancouver General Hospital.
Fr. Dennis was born October 13, 1948 in Trail BC to parents Vernon Le Roy Alexander (Alberta, Canada) and Chiara Meiron (Italy). He is survived by his brother, Paul Alexander and niece, Belinda Alexander, both of Calgary AB.
Prior to entering the Noviate, Fr. Dennis was employed at St. Paul’s Hospital for several years where he developed his nursing skills and completed education programs related to his work. It was during this time, by caring for people’s physical needs, that he realized his vocation to care for people in need, spiritually and emotionally.
Fr. Dennis achieved a BA degree in Theology at Newman College in Edmonton AB and at Berkley CA, an MA degree in Applied Theology and an MS degree in Organizational Psychology. He entered the Noviate to become a priest in Godrfrey IL on August 29, 1973. He was ordained to the priesthood in the Congregation of the Missionary Oblates of Mary Immaculate on September 13, 1978 in Edmonton AB.
Fr. Dennis’ Obediences included: Assistant Pastor - Church of the Resurrection, Fort St. John BC; Pastor - St. Paul’s, North Vancouver BC; Ministry to First Nations Indigenous People – Squamish Nation; Procurator - Peru Missions and Missionary, San Juan, Puerto Rico. In 2005 he was appointed Prison Chaplain at Kent Maximum Security Federal Prison, Agassiz BC and in 2014 Prison Chaplain at the Federal Institution in Matsqui, BC. Prison Chaplaincy would be his most challenging ministry. He once wrote…“Prison Chaplains minister to the total institution, each person is our parishioner. Emotions are triggered daily in both staff and inmates. … Sights, sounds and smells within a prison are like no other place I have experienced.”
Fr. Dennis was a quiet, private person. A good listener, he could be relied upon for valuable insight and advice. He was sympathetic and compassionate to those in need, spiritually and emotionally. He enjoyed computers, photography, gardening and nature.
Mass of Christian Burial was celebrated on Friday, May 27th, at 10:00 am at St. Augustine’s Church.
Interment of cremated remains at the Oblate Cemetery in Mission, BC will be held at a later date.
+++ROLLHEISER, Rev. Otto Benedicte, O.M.I.
March 21, 1938 - May 9, 2022
Fr. Otto passed away peacefully on May 9, 2022 at Mount Saint Joseph Hospital in Vancouver BC.
Fr. Otto was born March 21, 1938 in Fusilier, SK to parents Peter and Mary Rollheiser (nee Kress) both from Saratov, Russia. There were 11 children in the family. He is predeceased by siblings: Elizabeth Rollheiser, Pete Rollheiser, Rose Jarabek, Paul Rollheiser and Gabe Rollheiser. He is survived by his sisters: Sister Loretta Rollheiser (Sisters of St. Joseph), and Mary Little and brothers: Joseph Rollheiser, Ed Rollheiser (Marie), Norbert Rollheiser (Nancy), and sister-in-law Sharon Rollheiser (Gabe). He is also survived by 32 nieces and nephews, many great nephews and nieces as well as a number of great-great nieces and nephews.
Fr. Otto was Ordained to the Priesthood in the Congregation of the Missionary Oblates of Mary Immaculate, June 8, 1963 at the Holy Rosary Cathedral in Vancouver, BC. His first Obedience was as a Missionary to Peru in 1963. He served there for 15 years, which he referred to as wonderful and a “tremendously blessed experience”
His other obediences, all in BC include: Pastor at: Immaculate Heart of Mary, Burns Lake; Christ the King, Kitimat; Sacred Heart, Merritt; St. Theresa (Hispanic Outreach) Kelowna; Provincial Council and Provincial Superior – Vancouver and Administrator - Sacred Heart & St. Paul’s Parishes Vancouver. Fr. Otto retired at The Crescent, Vancouver BC in 2014.
Fr. Otto was blessed with a spirit of hospitality. He enjoyed people, travel, music, reading, history and sports.. He appreciated cultures (had a passion to serve the Mexican migrant workers in Kelowna). Fr. Otto will be fondly remembered by his Oblate brothers, family and many friends.
Mass of Christian Burial was celebrated on Tuesday, May 24th, at 10:00 am at St. Augustine’s Church, with interment at the Oblate cemetery in Mission, BC.
+++ LARAYA, Jovita L.
93 years ago, Jovita was born in Lambunao, Iloilo, Philippines. The town is on one of the Visayan Islands. She is the youngest of a farming family of six.
Prior to the second world war, Pelagia, the eldest sister, decided to venture to Manila. She survived the war and while working for a Spanish family, she met and married Timoteo Panis. They raised their family in Manila.
When the other siblings began to leave home, Pelagia asked Jovita to join her in Manila where she started high school.
Jovita was successful with her education. Acquiring a Bachelor of Science in Commerce degree, then a Law degree. Instead of obtaining a license to practice law in the Philippines, she immigrated to Canada.
Jovita did very well in Canada. She worked in the insurance industry and the Canada Post Office, where she worked for over twenty years.
Jovita paved the way for seven nephews and nieces plus her eldest sister, Pelagia, to immigrate and establish themselves in Canada.
Jovita is survived by her nephews, nieces, and their families.
Funeral Mass will be celebrated on May 25 at Our Lady of Sorrows Parish with burial at the Gardens of Gethsemani.
+++DAVIES, Betty Jean
June 17, 1931 – May 7, 2022
It is with great sadness that we announce the passing of Betty Davies on May 7, 2022. Betty was born in Vancouver on June 17, 1931. She was the oldest daughter born to Ed and Jean Olson. She spent her early childhood in the Queen Charlotte Islands and her teenage years schooling in California. Her family settled in the Cloverdale area and Betty married George Davies from Haney.
Betty was dedicated to her family, the community, and especially to Precious Blood Parish. She cooked for the Priests and helped janitor in the school and was totally involved in every prayer group and committee “Frantic Friday’s” lunches with the grand children and great-grand children being one of her favorite times. Betty made her fame in Cloverdale operating many food concession stands on the Cloverdale Fair grounds including the best burgers and fries at the famous Cloverdale Rodeo.
Betty is pre-deceased by her husband George Davies, son Lenny, and brother Ed Olson. She is survived by son Danny (Cindy) and daughters Penny (Tony), Kathy (Jay), Mary (Chuck), seven grand children, and fourteen great-grand children.
Mass of Christian Burial was held at Precious Blood Parish 17475 59th Ave Surrey, BC on May 17, 2022, at 12:30 pm.
Mom
Your life was a blessing
Your memory a treasure
You are loved beyond words
+++de la GIRODAY, Barry (Roger)
December 4, 1941 – May 8, 2022
Predeceased by his father Armand, mother Kathleen and sister Rosemary.
Leaving behind his brother Armand (Mavis), sisters Jeanette (Bill), Michelle, Denise (Kerry), Carol-Ann (Rick) and many loving nieces, nephews and friends.
Barry played basketball and football and graduated from Vancouver College in 1959. He worked in the sawmill industry for many years.
Memorial Mass will be celebrated on Saturday, May 28 at 10:00 am at St. Joseph the Worker, Richmond. In lieu of flowers, donations may be offered to the Vancouver College Alumni Association.
+++CARVALHO, Bernadine
It is with great sadness that we announce the death of Bernadine Carvalho on April 29, 2022 in Farnborough, Hampshire, England.
She was married to Dr. Aires Carvalho for 66 years, mother of Philip, Marguerite (James) Andrew and Michael.
Sister-in-law of Violet Viegas, decd (Ligorio), Alzira D”Costa, decd (Malaquias, decd), Vila Nova Carvalho(Alice),Lira Cordeiro (Rufino, decd), Dr Lui Carvalho (Sheila decd) Renee Carvalho (Darryl) Dr Raul Carvalho(Christine), Blanche Petrovic (John) and Joseph Carvalho decd.
She was a loving wife, mother, grandmother and great-grandmother. The extended family remembers her kindness and generosity. Her commitment to the Church was exemplary.
May her soul rest in peace.
+++BERGER, Werner Erwin (Joe)
1941-2022
Joe passed away peacefully May 2, 2022 at St. Michael’s Hospice. Joe was born in Rothenburg ob der tauber, Germany in 1941 and immigrated to Canada in the late 1950’s.
Joe was predeceased by his daughter Maria, his sister Edith and parents Frieda and Erwin and will be deeply missed by his family. Joe leaves behind his beloved wife, Shelley and son Michael.
Funeral Mass was celebrated on May 16th at 9:30 am at St. Peter’s Church (330 Royal Avenue, New Westminster)
+++WILLIAMS, Joyce (Sokalski)
Joyce Williams passed away peacefully in her home at 2:15 pm on April 20, 2022 at the age of 92, surrounded by loved ones. She was married to Daniel Williams who passed more than 30 years ago.
Following Dan's death, Joyce dedicated her life to her 6 children, 17 grandchildren, 23 great-grandchildren, and the Catholic Church, which carried her through all difficulties and triumphs. She enjoyed traveling, golf, the Canucks, bowling, and lawn bowling.
Her legacy is proudly carried on by four daughters, Linda King, Brenda Hetherington, Sandy Perry, and Debra Williams; two sons, Kenneth and Robert, and all their spouses.
On Monday, May 2, the funeral was at St. Augustine's Church.
After, the burial alongside her husband, Dan, Joyce was laid to rest at Ocean View Cemetery.
In lieu of flowers, please donate to Doctors Without Borders or Crohn's and Colitis Canada.
+++BENETTI, Angelo
August 26, 1933 – April 17, 2022
It is with heavy hearts we announce the passing of Angelo Benetti at Royal Columbian Hospital with his family by his side. He is survived by his devoted wife of 53 years Marcella; children Lisa (Raymond), Silvia, and Roy (Merran); grandchildren Tiana, Evan, Kaden, Jason, Arianna, and Luca; siblings Antonio (Fidas), Maria, Costantino (Arnalda), Mario (Elvira), as well as many nieces, nephews, and close friends in Canada and Italy. He was predeceased by his siblings John (Jean) and Gina (Giovanni).
Angelo was born in San Vito di Altivole, Italy, and moved to Canada in 1957 to start a new life. He was a generous man who embodied the Italian culture and loved a variety of music. Angelo enjoyed the simple pleasures in life of gardening, good food, wine, and spending time with family and friends.
Prayers will be offered on Thursday, May 5, 2022, at 6:30 p.m. and the funeral mass is scheduled for 11:00 a.m. on Friday, May 6, 2022. Both will be held at Our Lady of the Assumption Catholic Parish, 3141 Shaughnessy Street, Port Coquitlam. Interment will follow at the Port Coquitlam Cemetery, 4150 Oxford Street, and a reception will be hosted at The Assumption Centre.
In lieu of flowers, donations can be made to the Kidney Foundation of Canada or the Canadian Cancer Society. An online book of memories is accessible at the Burquitlam Funeral home, where you may share memories and view additional photos.
+++O’HARA, Nellie
The O’Hara/Dean families regret to announce the passing of their mother, Nellie O’Hara (Moufarrege) who went to the Lord on April 21st, 2022.
Nellie was born on December 18th, 1932 in Montreal, Quebec; the youngest of 7 children, all of whom pre-deceased her. Her mother was from Lebanon and her father from Syria. Nellie lived with her husband, Thomas John O’Hara (currently residing at Valleyhaven), in Vancouver, BC; Calgary, Alberta; Soest, Germany; North Bay, Ontario; and for the past 45 years, in Chilliwack.
She is survived by her children Dan (Joanne), Laura (Jim Dean) and Shawn (Elizabeth), 9 grandchildren: Shawn Dean, Pat O’Hara, Evan Dean, Tracey Arsenault (O’Hara), Jessica O’Hara, Caitlin O’Hara, Arianne O’Hara, Evelynn O’Hara, and Kassidy O’Hara; and 8 great grandchildren, Nolan Dean, Morgan Dean, Raiven O’Hara, Rowen O’Hara, Eleanor Dean, Riel Dean, Vernon Dean, and Noelle Arsenault. She will be greatly missed by us all.
The family expresses gratitude to Dr. Cameron Ross, the medical staff at Chilliwack General Hospital, and to her dear friend Millie Farrell, and the wonderful staff and residents at Chartwell Birchwood Retirement Residence who always made her feel at home! Funeral Mass was celebrated at St. Mary’s (Chilliwack) on May 2nd.
+++Maria Eduarda Avelar (Nee Espinola)
March 29, 1954 – April 14, 2022
Maria passed away peacefully at home, surrounded by her loving family.
She was predeceased by her parents.
Maria is survived by her husband Jorge (3rd Degree Knight), her children Sandy, Elisabete (Nick) and Kevin (Mandy), her grandchildren Anthony, Frankie, Nikko, Mattias, Dashiell and Audrey, her sisters Maria Amparo and Armanda and her brother John.
Mass of Christian Burial was celebrated on Thursday, April 21, 2022 at St. Michael The Archangel Catholic Parish.
+++MACK, Margaret (nee Miiller)
Born October 18, 1930 in Estevan, Saskatchewan. With her children at her side and her husband Ed waiting for his sweetheart, Margaret went to the Lord on April 16, 2022 exactly 11 years to the day of Ed’s passing. Margaret is survived by her six children; Ray (Bernice), Mike (Lorraine), Mary-Ann (Al), Bob (Linda), Bernice (Fergus), Marlene (Bob) as well as 21 grandchildren and 27 great-grandchildren. Margaret was the fifth daughter of Peter & Emilia Miiller, who emigrated from Romania to farm in the Canadian prairies. She was the first of their children to be born in Canada, part of a family of 9 sisters and 1 brother. Tired of watching the family dog run away for days on the prairies, they moved to Richmond in 1941. Their first home in BC was on Cambie Road, in the new chicken coop, built by her father. If hard work and dedication to family and God earns you a ticket to heaven, Margaret possesses an Express Pass. She met the love of her life, Ed at a house party in Richmond when he answered the dare of a friend to kiss her, and he did. They married within days of her 19th birthday and were inseparable for 61 years. In recent years she often mentioned that she never received any love letters, but in truth her life with Ed was a love letter for the ages. Her circle of friends and family, who have passed on will welcome her, as she joins Ed in a long awaited reunion. She will be missed by her large and close knit family, her friends from St Jude & Good Shepherd Churches, plus the people she served in 47 years of working for White Spot. Before there was the legendary Triple O, there were the legendary Miiller girls, 8 of whom worked White Spot. Nat Bailey would call the family home when he was short staffed and say ‘send me one of the girls’. On April 16th she answered the call of the Lord and her husband to come and be with them. A funeral will held Tuesday, April 16, 2022 at Good Shepherd Church, 2250 150 St., Surrey, BC at 11:00 am followed by a reception and interment at Valley View Cemetery at 14644 72 Ave, Surrey BC
+++CONNELL, John (Jack) Albert
John (Jack) Albert Connell, a long-time resident of Lynn Valley, passed away peacefully at Langley Chartwell Home on April 1, 2022. He loved exploring the mountains of Vermont, where he was born in the small town of Bennington in 1931. Jack worked throughout the U.S., Canada and overseas in an illustrious career of Civil Engineering. Always by his side was Jacqueline (Jackie) June Connell, his beloved wife and childhood sweetheart, who passed away in 2020. Jack is survived by his sister Linda Oslizlo, his seven children: Kurt (Grace), Michael (Marcy), John (Liz), Eric (Coleen), René (Rod), Rebecca (Leo), Jessica (Roland), many grandchildren and great grandchildren.
In lieu of flowers, donations can be made in his loving memory to those in need.
Thoughts and condolences are welcome at www.kearneyfs.com
+++MORRISSEY, Michael Francis
June 27, 1948 – April 2, 2022
It is with profound sadness that we announce the passing of Michael in Vancouver, BC. Michael entered the kingdom of heaven on April 2nd and will be greeted by his parents, Gerard and Lucy Morrissey, and his brother James Morrissey. Michael will be dearly missed by his siblings Bill, Allan, Lucy, Patrick, and his many nieces and nephews.
Michael struggled throughout his lifetime dealing with Bipolar Disorder since the age of 15. He handled this with grace, kindness, and humility toward everyone.
We will miss his great sense of humor and an extremely sharp wit. He had a very strong faith in God which sustained him in dealing with his many struggles. Michael spent the last 5 years of his life at Willow Pavilion at VGH. Many Willow staff members liked Michael and came to say their goodbyes, which was a real testament to his kindness and sense of humor.
Michael, thank you for the positive impact you have had on our lives. Until we meet again in God’s heavenly kingdom.
Memorial Mass was held at St. Augustine’s Parish on Friday, April 22, 2022 at 3:00 pm.
+++LAKOWSKI, Isabel Mary (nee Lyon)
March 19, 1929 - April 4, 2022
Isabel passed away peacefully at Sunrise of Vancouver at the age of 93. She was born in Balquhidder, Scotland. She is predeceased by her parents Neville and Mary Lyon, older sister Grace and husband John, younger brothers Allan, Neville and his wife Barbara. Isabel is also predeceased by her husband Romuald, infant son Edward, great grandsons Emmet and Ford Lakowski, and daughter-in-law Elizabeth Chavez (Greg).
Isabel grew up in Innellan, Argyll and attended Dunoon High School. She went on to graduate from Glasgow University with a Master’s in English and History. Isabel came from a musical family joining her father and brothers to sing in amateur operetta performances while at University. She began teaching after University.
Isabel married Romuald Lakowski, November 7, 1952. They were blessed with 16 children, 13 born in Scotland. Isabel and Ronnie were team players sharing responsibilities. Isabel edited many of her husband’s research papers, did the family accounting and paid the bills.
Isabel is survived by her children: Ronnie, Barbara (James), Leo (Rhonda), Isabel (John), Paul (Shelimar), Greg, Leonora (Marc), Josef Matthew, Dorothea (John), Conrad, Marissa (Randy), Bernard (Bronwyn), Adrian (Jeanne), Veronica and Ted (Margot). She is also survived by 42 grandchildren and 26 great grandchildren.
Isabel was known for her high, clear, soprano voice and for many years sang with the Immaculate Conception Choir for Sunday Mass, Easter and Christmas. “ She kept a song in her heart and on her lips” (Fr. Paul).
Isabel will be missed by her family and all who knew her. She was a courageous, gentle, compassionate and vibrant person.
Her funeral Mass will be held at Immaculate Conception Catholic Church, Dunbar Vancouver on April 20 at 10 am, interment to follow at the Gardens of Gethsemani.
+++DOYLE, Angela
Angela passed into the arms of our lord to join her beloved daughter Sharon. Angela leaves behind her beloved husband Bryan on their 60th year of wonderful marriage, Bryan will miss her dearly. She will be missed by her son Robert, daughter-in-law Nicole, son-in-law James and her grandsons Finn, Caiden and Max.
Her many friends and relatives in Arizona, Ontario, British Columbia, Ireland and England will all miss her dearly as well.
In the words of Julian of Norwich “All shall be well”
Services will be held at Gardens of Gethsemani, April 19, 2022
+++Ferguson, Mary (nee Currie)
Mary passed away suddenly on March 25th in her 73rd year. Mary leaves behind her twin sister Frances, 2 brothers Michael and Roger, 3 children Guye (Kim), Melodie (Steve), and Teeka, 5 grandchildren Dani, Ty, Marek, Rajka and Jett, her 2 beloved cats Neko and Chester, 1 nephew Chris (Erin), 2 nieces Melissa and Merina, 2 great nieces Makenna and Harper as well as many relatives and friends around the world. Mary was pre-deceased by her Mum Nora, son in-law Alvin and her special friend David “Russ”.
Funeral Mass was held at Good Shepherd Catholic Church on April 6th.
Interment at Gardens of Gethsemani will be at a later date.
In lieu of flowers please make a donation to TinyKittens Society or a charity of your choice.
+++DUMONT, Alfred Clement
Although profoundly saddened, it is with joy that we celebrate and remember the life of Alfred Clement DuMont. Devoted husband, father, grandfather and brother, Alfred passed away peacefully at home on March 29th in White Rock, BC at the age of 91. He will be forever remembered by his beloved wife Marguerite, with whom he recently celebrated 61 years of marriage, his children Denise (Gim), Lisa (Ken), Alison (Scott) and Marc, and his grandchildren Kristina, Bryce, Lucas, Christian, Jennifer, Sarah, Kate, and Noah. He is predeceased by sisters Sr. Rosalie C.S.J.P., Helen, Elizabeth and Isabelle and brothers Mark, Robert, Carl, and Paul. Born in Nakusp, BC on August 20, 1930, Alfred was the 9th child of Marc Aurele DuMont and Elizabeth (nee Wellie). Alfred travelled to Vancouver in 1943 to attend Vancouver College and graduated from UBC in 1953 with his Bachelor of Science, Forestry. Alfred maintained lifetime friendships with many of his Forestry classmates. In 1959, Alfred met his Marguerite while she was working as a lay apostle for Bishop O’Grady in Terrace, BC. They married in 1960 and theirs was a marriage rooted in deep love, faith, mutual admiration, and respect. Alfred’s entrepreneurial spirit and sense of adventure led him to work in Terrace, BC, Hudson Bay, SK, Abbotsford, BC and western and southern Turkey. He founded Westree Custom Cedar Products in 1982 in Abbotsford, BC and grew the business for over 3 decades with his son Marc. While most of his career was devoted to forestry, Alfred’s passion for flying small aircraft led him to own and manage Abbotsford Air Services at the Abbotsford Airport from 1973-1980 where he also served as a director of the Abbotsford Airshow. Alfred was a wonderful father. He had a great curiosity about virtually everything and took a keen interest in all of his children’s pursuits. Hunting and fishing were two of his favourite pastimes. In later years, Alfred and Marguerite divided their time between their homes in White Rock, Peachland and Indian Wells, CA. Alfred served his communities in many ways including as a Rotary and Board of Trade president, and a Grand Knight in the Knights of Columbus. Both he and Marguerite were ushers at Good Shepherd Parish in White Rock for 17 years. He lived his life guided by a deep and abiding faith. He was a man of tremendous integrity, and many experienced his quiet generosity in times of need. He will be missed by everyone whose life he touched. Mass of Christian Burial was celebrated at Good Shepherd Parish on April 7th, 2022 with interment at the Gardens of Gethsemani.
+++SMITH (nee LYNCH), Patricia Mae,
December 29, 1927 – March 23, 2022
Born in Montreal, Quebec. Passed away peacefully in Royal Columbian Hospital, New Westminster, BC. Patricia was predeceased by her husband, Neville (2015). Patricia is survived by her children Desmond (Nataliya); Owen (Tin Tin); Pamela (Jennifer) and Neil (Jackie); grandchildren Andrew, Scott, Alexis, Blair, Svyatoslav, Taylor, Natalie, Spencer and Craig. Funeral Mass was celebrated at St. Peter’s Parish, New Westminster on April 6.
Condolences may be left at www.kearneyfs.com
+++LEE, Pauline
July 18, 1934 - March 17, 2022
Pauline Lee passed away peacefully in a warm and happy place for her. She lived a full life and was dedicated to her profession as a nurse. Pauline worked in acute care nursing at Hong Kong Government General Hospital and then Vancouver General Hospital when she first immigrated to Canada from Hong Kong in 1962, home care nursing with the Victorian Order of Nurses (VON), and in community health nursing as a continuing care hospital liaison nurse with the Vancouver Health Department until she retired in 1997. She had such a positive and enduring compassion and spirit which shone through in her love for traveling, dancing, swimming, and singing, including with the Vancouver Chinese Choir and Saints Peter & Paul Parish Choir. She was the primary caregiver for her husband Luke, who passed in 2016, after a life full of adventures with Pauline. She will be truly missed by her family and friends including: her son, Michael (Christina); and three grandchildren, Justine, Graham and Andrea.
Mass of Christian Burial was celebrated at Saints Peter & Paul Parish, 1430 West 38th Ave,Vancouver, on Thursday, March 31, 2022, with Father Ron Thompson as celebrant. Lord, grant eternal rest unto your servant, Pauline, and let your perpetual light shine upon her.
In lieu of flowers, donations may be made in memory of Pauline, to the BC Cancer Foundation, an organization that she supported over many years, including in the face of her husband’s nine-year battle with cancer. Condolences may be shared with Pauline’s family through www.kearneyfs.com.
+++GOMES MCDONALL, Mary Jasmim "MJ"
February 20, 2021 - March 16, 2022
It is with tremendous sadness we mark the passing of our angelic little girl, MJ.
Born 10 weeks early, MJ battled her way out of the NICU ahead of schedule, as she was excited to be home with her family. Then, tragically, in late May of 2021, she was diagnosed with leukemia.
MJ underwent intense chemotherapy, which sadly did not work. The doctors then pivoted to a bone marrow transplant. MJ was so strong throughout the process, but sadly, this too, did not work.
At that time, her doctors said she had a week left to live. She wound up living almost two more months, providing us with a lifetime of giggles, love and joy. When the leukemia became too much for her body to handle, she passed peacefully, with no pain, in the arms of her mother and father.
She is survived by her mother Jessica, her father Cory, her grandmothers Brenda and Jesuina, her grandfather Francisco, her aunt Michele, her uncle Jefferson, her cousin Theo and her godmother Silvania and godfather Aspaan.
Funeral Mass was celebrated at Blessed Sacrament Parish on Saturday, March 26, 2022 with burial at North Vancouver Cemetery.
+++USSELMAN, Wayne John
July 6, 1948 - Calgary, AB
February 23, 2022 – South Surrey, BC
Predeceased by father John and mother Katherine. Lovingly survived by wife Donna; daughter Erin; sons Dan (Janet), Rory (Kelly), and Brett (Adriana); and three grandchildren that he adored, Reece, Jake, and Carissa; as well as sisters Shirley Held and Lorraine Nickiford.
Funeral Mass was celebrated on Tuesday, March 8th, 2022at 11:00 am. Good Shepherd Church (2250 150 St, Surrey BC)
+++KACHUR, Elmer Alfred
July 23, 1939 - Dec. 1, 2021
It is with great sadness, we announce the passing of Elmer Alfred Kachur on December 1, 2021 at the age of 82. Beloved husband for 53 years to Jill. Loving father of Andrew (Andy). Predeceased by his parents, Michael and Stella Kachur and older brother Cleve. Loving brother to Ernest (Angela) of St. Catharines, Ontario and Iran (Pat) of Dundurn, Saskatchewan and sister Elffie (Jim) Zimmer of Regina Beach Saskatchewan. He will be sadly missed by his nephews and nieces across Canada and Australia.
Born in Holar District of Elfros, Saskatchewan, Elmer lived in Regina, Toronto, and Bahamas before settling in Surrey, B.C. He taught the trades in the Surrey School District and was known as Mr. K. by his students. He enjoyed gardening and when travelling always had his camera around his neck taking many pictures of his adventures. He enjoyed helping others and was a friend to all.
Being strong in his faith, he was active in his church in the roles of Usher, Reader and Eucharistic Minister and was a member of the Knights of Columbus. He and Jill, through Retrouvaille, helped to run Retreats in parts of the United States and Canada. He was proud of the many couples they were able to help through their counselling.
He will be lovingly missed by his family and by many close friends who he considered to be family. The first words Elmer encouraged from his nieces and nephews were "Uncle El is my pal"..
The family thanks The Pacifica, Brookside Lodge and Fleetwood Place for their compassion and care.
His funeral was held at St. Matthew’s Church, Surrey on Wednesday, December 8th at 9:30 a.m. His internment was at the Gardens of Gethsemani, Surrey.
In lieu of flowers, memorial donations can be made to the Diabetes Association.
+++MAXWELL, William Clifford
July 22, 1934 - February 15, 2022
Cliff is predeceased by his loving wife of 59 years, Marion Christina Maxwell
He is also predeceased by his brother Bob (Mary), daughter Teresa (Daniel) and survived by his son Tom (Louise), and daughters Diane, Mary (Trevor), Ilene (Timothy), Margaret (Jeff), grandchildren, Geoffrey, Steven, Danielle, Jordan, Nicole, Andy, Mandy, Amos, Alice, Scott, Melanie, Jennifer, Treffendel, Sam, Tiffene, Natalie, Tyce, Telohan, Grace and Spencer and his great grandchildren, Cole, Chase, Maisie, Adilee, Addisen, Noelle, Everett and Adrianna. Also survived by his brother Len (Sarom), sister Louise and numerous other relatives and friends.
Funeral Mass will be celebrated at Immaculate Conception Parish, Delta on Thursday, March 3, 2022 at 11:00 am. Interment to follow at the Gardens of Gethsemani.
In lieu of flowers, please donate in Cliff's memory, to a charity of your choice.
+++GALAS, Helena
It is with great sadness we announce the passing of Helena Galas on Saturday, February 12, 2022, at the age of 80 years. After many years of battling cancer and increasing difficulty with mobility, Helena succumbed to her body’s illness.
Helena will be dearly missed by brother Robert Swynar (Terri), and sister Christine Pearse, along with many, many friends in Vancouver, Edmonton, Calgary, and relatives in Poland and the Ukraine.
Helena was born in Podkamien, to Roman Galas and Josephine (nee Ochowych), and came to Calgary, Canada at the age of 16. She quickly learned English and took up hairdressing while earning a mechanical design degree at SAIT in Calgary. From Calgary she moved to Edmonton and made many friends there while working for the government. To minimize the health effects of a devastating car accident in her early 20’s, Helena moved to Vancouver in the late ‘60s. She worked as a Senior Mechanical Designer in Vancouver, then took early retirement while running a small bed and breakfast. She maintained a beautiful garden of flowers inside her home as well as outside. Helena loved being with her many friends and travelled to the old country and Europe many times.
Faith was an integral part of Helena’s life and when she was well, she regularly attended St. Mary’s Ukrainian Church in Vancouver. She was proud to be a member of the Ukrainian Catholic Women’s League and she often volunteered with fundraising activities and local charities in the Vancouver area. She enjoyed serving at many functions in the company of her Ukrainian friends.
Helena was a kind, generous, compassionate, and caring lady. She was always positive and willing to help those in need before herself. She was our best friend, our most precious gift, always and forever in our hearts.
A special Thank You is sent to all the Doctors, Nurses, and Staff at Lions Gate Hospital, and the North Shore Hospice, for their care and compassion during Helena’s last weeks.
Funeral Service (Divine Liturgy) will be held on Friday, March 4, 2022, at 10:30 am, St. Mary’s Ukrainian Catholic Church (550 West 14 Avenue Vancouver).
In lieu of flowers, donations can be made in Helena’s memory to a charity of your choice.
+++ISAAC, Emma Maria (nee Mamisao)
Born i
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http://thevoid99.blogspot.com/2021/02/rafiki.html
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Surrender to the Void
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Directed by Wanuri Kahiu and written by Kahiu and Jena Cato Bass that is based on a short story by Monica Arac de Nyeko, Rafiki ( Frie...
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http://thevoid99.blogspot.com/favicon.ico
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http://thevoid99.blogspot.com/2021/02/rafiki.html
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https://www.filmfestival.gr/en/movie-tiff/movie/11656
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Rafiki
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“Rafiki” means friend in Swahili – this is a word commonly used by Kena and Ziki, two young women that want to hide their erotic passion from the conservative Kenyan society, and particularly from their families, who are political rivalries in the local elections. An irresistible pop/feel-good romance about the daze and impulse of the first love – augmented through the magic filters of the colorful, bustling, complex streets of Nairobi – which was banned in its production country, but still fights for a change in the landscape of human rights in East Africa, beyond the boundaries of the cinema hall.
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https://www.filmfestival.gr/en/movie-tiff/movie/11656
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Rafiki
59th TIFF: Greek Premiere
“Rafiki” means friend in Swahili – this is a word commonly used by Kena and Ziki, two young women that want to hide their erotic passion from the conservative Kenyan society, and particularly from their families, who are political rivalries in the local elections. An irresistible pop/feel-good romance about the daze and impulse of the first love – augmented through the magic filters of the colorful, bustling, complex streets of Nairobi – which was banned in its production country, but still fights for a change in the landscape of human rights in East Africa, beyond the boundaries of the cinema hall.
Screening Schedule
No physical screenings scheduled.
Direction: Wanuri Kahiu
Script: Wanuri Kahiu, Jenna Bass, Monica Arac de Nyeko (based on her short story)
Cinematography: Christopher Wessels
Editing: Isabelle Dedieu, Ronelle Loots
Sound: Frederic Salles
Actors: Samantha Mugatsia, Neville Misati, Jimmi Gathu, Nini Wacera, Dennis Musyoka, Patricia Amira, Sheila Munyiva, Muthoni Gathecha, Nice Githinji, Githae Njogu, Vitalis Waweru, Hellen Aura, Charlie Karumi
Production: Big World Cinema, Afrobubblegum
Producers: Steven Markovitz
Co-production: MPM Film, Shortcut Films, APE&BJORN, Rinkel Film, Razor Film in association with Tango Entertainment
Co-producers: Marie-Pierre Macia, Claire Gadéa, Georges Schoucair, Ruben Thorkildsen, Verona Meier, Reinier Selen, Gerhard Meixner, Roman Paul, Wanuri Kahiu, Tamsin Ranger
Art Direction: Arya Lalloo
Executive producer: Tim Headington
Format: DCP
Color: Color
Production Country: Kenya, South Africa, France, The Netherlands, Gernany
Production Year: 2018
Duration: 82'
Contact: MPM Premium, sales@mpmfilm.com
Wanuri Kahiu
Born in Nairobi, Wanuri is part of the new generation of African storytellers. Her stories and films have received international acclaim. Her films were screened in numerous film festivals around the world. To date, Wanuri has written and directed six films, she is the co-founder of Afrobubblegum, a media company that supports, creates and commissions fun and fierce African art, and has also written a children’s book. In 2008, Wanuri completed her awarded first feature film From a Whisper, based on the real life events surrounding the twin bombings of US Embassies in Nairobi and Dar es Salaam in 1998.
Filmography
2006 Ras Star (short)
2009 From a Whisper
2009 Pumzi (short)
2018 Rafiki
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https://catalogue.nla.gov.au/catalog/1944502
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Machine politics in the Australian Labor Party / edited by Andrew Parkin and John Warhurst - Catalogue
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In Copyright
You may copy under some circumstances, for example you may copy a portion for research or study. Order a copy through Copies Direct to the extent allowed under fair dealing. Contact us for further information about copying.
Copyright status was determined using the following information:
Material type:
Literary Dramatic Musical
Published status:
Published
Publication date:
1983
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https://countycat.mcfls.org/Record/.b30754975%3FsearchId%3D2841849%26recordIndex%3D2%26page%3D%26referred%3DresultIndex
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https://www.hollywoodreporter.com/movies/movie-reviews/days-darkness-157959/
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Days of Darkness
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2007-05-31T21:00:00+00:00
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To wrap up his impressive trilogy about where Western civilization stands in the run-up to and the aftermath of the new millennium, French-Canadian director Denys Arcand&#39;s latest insists that society has entered a new Dark Ages.
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en
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The Hollywood Reporter
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https://www.hollywoodreporter.com/movies/movie-reviews/days-darkness-157959/
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CANNES — To wrap up his impressive trilogy about where Western civilization stands in the run-up to and the aftermath of the new millennium, French-Canadian director Denys Arcand’s “Days of Darkness” insists that society has entered a new Dark Ages. A depressing thought, admittedly, yet “Days of Darkness” (aka “L’age des tenebres” or “The Age of Ignorance,” the title it screened under at the Festival de Cannes’ closing night) is the funniest of the three wonderful films going back to “The Decline of the American Empire” (1987) and the Oscar-winning “The Barbarian Invasions” (2003). For distributors, especially in North American and Europe, “Ignorance” will be boxoffice bliss as this film looks like an art house champion.
For the first third of his film, the writer-director has the time of his life poking fun at all the flaws and foibles of this dark age — from political correctness to career-obsessed frigid women. One horror follows another, as in Joel Schumacher’s “Falling Down,” only the difference here is that rather than taking lethal action its put-upon hero falls back on a rich fantasy life.
Jean-Marc (Marc Labreche, one of Quebec’s top comic actors) is a stranger in his own life. A distraught civil servant, he is totally ignored by his wife (Sylvie Leonard), Canada’s No. 3 real estate agent, and his two young daughters, all of whom dwell in a virtual world of mobile phones, iPods and computer games. Indeed, he hasn’t had sex with his wife in a year and a half. Even his beloved mother, slipping away from reality in a nursing home, can no longer communicate with him.
Road-raging drivers on the highway routinely curse him, his female boss (Caroline Neron) despises him and his job could not be less rewarding. Day after day, he travels a long distance by car and train to a government welfare bureau where he must listen to desperate people’s tales of woe only to reject any possible government assistant.
The office is housed in a giant, inhospitable edifice (amusingly created out of Montreal’s great white elephant, the Olympic Dome), where a sign in a pedestrian walkway warns “falling concrete” and tobacco police lurk everywhere looking for signs of nicotine addicts lighting up within or near its confines. Jean-Marc’s use of the word “negro,” to describe a co-worker and friend, gets him dragged into a meeting of scowling agency directors to chastise him for using “outlawed” language.
Ah, but Jean-Marc lives in two worlds. To escape the real one, the harried man takes refuge in daydreams where he is a famous novelist or victorious politician, receiving public accolades and giving interviews to a beautiful female reporter (Emma de Caunes), who immediately offers herself to him sexually.
His greatest fantasy figure is blond goddess and world famous actress Veronica Star (the lovely Diane Kruger), who greets him each morning naked in the shower and upon his return home at night with a flute of champagne, dressed in exquisite jewelry and designer outfits that ever so easily slip from her curvaceous body. She even inquires about his mother’s health, something his wife never does.
Other fantasies involves management at work. The tall, bespectacled man imagines himself as a Nina, gliding through the air across the table lined with scowling executives to swiftly remove the head of the chief scowler with a flash of his gleaming sword. Or he imagines his immediate boss as a sexual slave, her clothes tantalizingly ripped and torn.
Like Walter Mitty though, the two worlds of Jean-Marc remain forever separate. This discouraged failure as a father and husband suffers from compete inertia. Or at least he does until that fateful day his wife suddenly decamps for extended job training in Toronto under the company CEO, and we do mean under the CEO.
With this shackle fallen from his life, Jean-Marc ventures back into the real world. Speed dating hooks him up with an alluring crackpot who seduces him into her own escapism, a sort of Renaissance Pleasure Fair where everybody sheds modern clothes to play medieval knights, damsels, courtiers and peasants of the Age of Chivalry.
Here a conceit that isn’t as funny or telling as Arcand seems to believe sidetracks the movie for a while. But Jean-Marc’s exposure to Middle Ages macho does embolden him to stand up to road bullies, his daughters and finally his wife, who abruptly returns from Toronto.
The film’s back-to-nature ending is perhaps a little pat if not cliched. But what really hits home is Jean-Marc’s epiphany: To achieve his fantasies, he must leave the daydreams behind. He must do without his movie-star goddess, the fawning reporter and his trussed-up boss.
Arcand’s satirical critique of contemporary society is that of an acerbic, middle-aged (if not Middle Age) male chauvinist curmudgeon. His views of women are dim indeed. He wants to light up his cigarettes without anyone sulking. And he’s pretty sick of cell phones too.
Following the first film that took stock of sexuality and affairs of the heart and a second film about reconciliation and mortality, Arcand’s sardonic final film is a lighter yet still potent satire about sexual mores, human isolation and intolerance.
Much of the team from his previous film including cinematographer Guy Dufaux, designer Francois Seguin and editor Isabelle Dedieu perform with professional elan to support Arcand’s hilariously dark take on this new age of ignorance.
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https://www.imdb.com/title/tt0097635/
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Jesus von Montreal (1989)
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[
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[] |
1990-01-25T00:00:00
|
Jesus von Montreal: Directed by Denys Arcand. With Lothaire Bluteau, Catherine Wilkening, Johanne-Marie Tremblay, Rémy Girard. A group of actors put on an unorthodox, but acclaimed Passion Play which incites the opposition of the Catholic Church while the actors' lives themselves begin to mirror the Passion itself.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0097635/
|
A group of actors put on an unorthodox, but acclaimed Passion Play which incites the opposition of the Catholic Church while the actors' lives themselves begin to mirror the Passion itself.A group of actors put on an unorthodox, but acclaimed Passion Play which incites the opposition of the Catholic Church while the actors' lives themselves begin to mirror the Passion itself.A group of actors put on an unorthodox, but acclaimed Passion Play which incites the opposition of the Catholic Church while the actors' lives themselves begin to mirror the Passion itself.
|
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3
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https://walkerart.org/calendar/2009/gods-offices-les-bureaux-de-dieu
|
en
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[
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en
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/favicon.ico
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1028
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| 31
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https://www.myreviewer.com/DVD/80469/Jesus-Of-Montreal-Special-Edition-UK/80487/Review-by-Mark-Oates
|
en
|
Review of Jesus Of Montreal (Special Edition)
|
https://www.myreviewer.com/favicon.ico
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https://www.myreviewer.com/favicon.ico
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I reviewed this movie before and I called it a \'Blow-your-brains-out depressing Franco-Canadian arthouse melodrama about a group of actors staging a ...
|
/favicon.ico
| null |
4 / 10
|
||||
1028
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0
| 64
|
http://www.biographi.ca/en/bio/janssoone_frederic_14E.html
|
en
|
Yves, Father Frédéric Janssoone, Frédéric de Ghyvelde, Good Father Frédéric) – Dictionary of Canadian Biography
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JANSSOONE, FRÉDÉRIC (baptized Frédéric-Cornil, called Brother Frédéric-Yves or Frédéric de Saint-Yves in several documents from his early days with the Franciscans, but later commonly known as Father Frédéric Janssoone or Frédéric de Ghyvelde and, in Quebec, as “Good Father Frédéric”), priest of the Order of Friars Minor, popular preacher, and writer; b. 19 Nov. 1838 in Ghyvelde, France, eighth and youngest child of Pierre-Antoine Janssoone and Marie-Isabelle Bollengier; d. 4 Aug. 1916 in Montreal.
|
Dictionary of Canadian Biography
|
https://www.biographi.ca/en/bio.php?id_nbr=7473
|
JANSSOONE, FRÉDÉRIC (baptized Frédéric-Cornil, called Brother Frédéric-Yves or Frédéric de Saint-Yves in several documents from his early days with the Franciscans, but later commonly known as Father Frédéric Janssoone or Frédéric de Ghyvelde and, in Quebec, as “Good Father Frédéric”), priest of the Order of Friars Minor, popular preacher, and writer; b. 19 Nov. 1838 in Ghyvelde, France, eighth and youngest child of Pierre-Antoine Janssoone and Marie-Isabelle Bollengier; d. 4 Aug. 1916 in Montreal.
Although born in France, Frédéric Janssoone was of Flemish descent and his mother tongue was Flemish. His father, a farmer, had achieved a fairly comfortable standard of living by hard work. His mother, whose first husband had been a physician, was an educated and refined woman. The couple gave young Frédéric a rigorous education, with emphasis on self-control, integrity, and courtesy. Above all, they instilled in him their deep faith and Christian charity. Frédéric attended elementary school in his village. On 13 Jan. 1848, at the age of nine, he lost his father. Four years later, feeling drawn to the priesthood, he enrolled in the Collège d’Hazebrouck, and shortly thereafter in the Institution Notre-Dame des Dunes, near Dunkirk. At both establishments he proved a diligent and exemplary student and achieved excellent academic results. In 1855, however, his mother fell on hard times and he had to interrupt his studies in order to help his family. He found work with some textile merchants. He was paid little at first, but soon, thanks to his business acumen and talent for selling, he became a prosperous travelling salesman. His genius for business would always remain one of his gifts.
Following his mother’s death in 1861, Janssoone resumed and completed his studies in the humanities, and on 26 June 1864 he joined the Order of Friars Minor (commonly called Franciscans) in Amiens. He was ordained to the priesthood in Bourges on 17 Aug. 1870. Since France and Prussia were then at war, his ordination was moved forward a little so he could become a chaplain in a military hospital. After the war he helped found a friary in Bordeaux, and he became its superior in 1873. Since he found the role unbearable, he was relieved of this responsibility a year later. His release gave him the freedom to take an approved course in practical homiletics, at which he would excel all his life.
In 1876 Father Frédéric obtained permission to go to Palestine, where the Franciscans had an international province of 350 members, known as the Custodia of the Holy Land and directed by a superior with the title of custos. His first assignment took him to Cairo, Egypt, as chaplain to the Brothers of the Christian Schools. In 1878 his superiors recalled him to Jerusalem and appointed him custodial curate or assistant to the custos, an office he held until 1888. It involved heavy administrative duties, one of the most onerous being to look after the custodia’s buildings. As part of these responsibilities, Father Frédéric built the parish church of St Catherine in Bethlehem, beside the Church of the Nativity (from where the Christmas midnight mass is still broadcast to the entire world). With all the political and religious rivalries troubling the country, which was under the Ottoman regime, this achievement required prodigious feats of diplomacy and tact on the part of the custodial curate. But he needed even more patience and subtlety to formulate the famous rules for Bethlehem and the Holy Sepulchre, priceless manuscript documents that finally codified the rights of the Latins, Greeks, and Armenians, all of whom used the two great sanctuaries in Palestine. This meticulous compilation, which he would complete in 1888, is still the Magna Carta governing the conduct of the Franciscans who live in these holy places of the Christian faith.
His technical duties did not prevent Father Frédéric from being an exceptional leader of pilgrimages. During his ten years in Jerusalem he welcomed and guided pilgrims from all parts of Christendom with the competence of an expert and the zeal of an angel. Through this work he came in contact for the first time, on 31 March 1881, with Abbé Léon Provancher*, the curé of Cap-Rouge, near Quebec, who brought him to Canada that summer.
Father Frédéric’s initial visit to Quebec was a fund-raising tour occasioned by the fact that charitable donations promised for the construction of St Catherine’s Church were slow in coming. He arrived in Lévis from New York on 24 Aug. 1881. Apart from the political uproar caused by an ill-advised speech on liberalism that he gave at Quebec on 10 Sept. 1881 (the hapless visitor was unaware of the fierce disputes on this subject that divided French Canadian politicians and bishops) his campaign was a triumph. The sermons he preached in Quebec City and Trois-Rivières met with tremendous success. On 24 March 1882 Archbishop Elzéar-Alexandre Taschereau* of Quebec, who in the interest of keeping the peace after Father Frédéric’s speech had asked him to leave the diocese temporarily, crowned his mission by publishing a pastoral letter which ordered that a collection for the Holy Land be taken in all the churches of the ecclesiastical province of Quebec every year, on Good Friday. A century later this custom is still followed in every Catholic church in Canada.
In May 1882, exhausted and ill, the custodia’s envoy returned to Jerusalem, where he remained for six years. During all this time French Canadians, who saw him as the ideal successor to their first missionaries, the Recollets, kept asking the Franciscan authorities to let them have him. Their wishes were finally granted in 1888 when Father Frédéric returned to Canada to stay. He arrived at the end of June and by August had begun building a small Holy Land commissariat in Trois-Rivières, the first Franciscan house to be erected in the country since the disappearance of the Recollets. For the next 28 years, from this modest pied-à-terre and the regular friary replacing it in 1903, the missionary from the Holy Land would go out to every diocese in Quebec and even to New England. These years of intense missionary work fall into two main phases.
The first phase covers Father Frédéric’s 14 years as chief organizer of the pilgrimage to Notre-Dame-du-Cap, a Marian shrine several miles from Trois-Rivières. It was a task he had accepted much against his will, at the request of Bishop Louis-François Laflèche* of Trois-Rivières, who wanted to revive and consolidate the work done by curé Luc Desilets*. During this period the dynamic little friar travelled all through Quebec in search of pilgrims, bringing them to Cap-de-la-Madeleine by the train- and boatload, leading them, exhorting them, getting them to pray, and finally consecrating them to Our Lady of the Rosary. Sensational cures gave credibility to his work, so that a small parish pilgrimage soon became a diocesan one and then verged on being a national one. By the time the Oblates of Mary Immaculate took over responsibility for it in 1902, the crowds had been averaging 30,000 to 40,000 annually for a couple of years. It is not surprising that Bishop François-Xavier Cloutier of Trois-Rivières, speaking at his funeral in 1916, would see fit to remind the huge crowd, “It was Father Frédéric too, who, in large measure, began the work of Our Lady of the Rosary at Cap-de-la-Madeleine.”
In 1895, however, before his commitment at Notre-Dame-du-Cap was finished, Father Frédéric began the famous fund-raising drives that he was to conduct for some 15 years throughout a number of Quebec dioceses. This was the second of the great tasks to which he devoted his energy in Canada. Begun at the request of his superiors, these exhausting campaigns were intended to support diocesan or Franciscan works such as the Sanctuaire de l’Adoration Perpétuelle at Quebec, the monasteries of the Poor Clares in Salaberry-de-Valleyfield and the Sisters Adorers of the Precious Blood in Joliette, and the Franciscan friary in Trois-Rivières. Wearing a wretched skimpy brown coat, fasting and sleeping on the ground, Father Frédéric went from parish to parish and from house to house, braving inclement weather, bad roads, and farm dogs, preaching in the churches, comforting the sick and afflicted, and selling his books for the benefit of the causes entrusted to him, while keeping a small commission for the Holy Land. Thus he returned to some extent to his former occupation: he was now God’s travelling salesman. Charmed by his gentleness and courtesy, edified by his deep piety and incredible austerity, and above all amazed by the marvels that occurred here and there in his wake, the faithful saw him as another Francis of Assisi and were in the habit of calling him “the Holy Father.”
The energy he expended on these exhausting tasks did not prevent Father Frédéric from taking on many other activities. He very effectively looked after the interests of his beloved Holy Land, set up open-air stations of the cross, preached at parish and community retreats, accompanied various pilgrimages to Sainte-Anne-de-Beaupré as well as to Cap-de-la-Madeleine, inaugurated and visited brotherhoods of the Third Order, and quietly set about preparing for the re-establishment in Canada of the Order of Friars Minor, which had disappeared in 1849 with the death of the last Recollet. He also founded two magazines, the Annales du T. S. Rosaire (Cap-de-la-Madeleine) in 1892 and the Revue eucharistique, mariale et antonienne (Québec) in 1901, for which he wrote many of the articles. By sacrificing his sleep, he produced an astonishing series of publications: newspaper and magazine pieces, pamphlets, works on the Holy Land and spirituality, and thick volumes on the lives of Jesus, Mary, St Joseph, St Anne, St Francis of Assisi, St Anthony of Padua, and the Recollet Brother Didace Pelletier*. And he knew how to make his books sell. For example, the Vie de N-S. Jésus-Christ, which was published at Quebec in 1894, would go through some ten editions with a record print-run of 42,000 in all.
Worn out by austerity and work and afflicted with stomach cancer, Father Frédéric had to take to his bed in June 1916. On 4 August, after 50 days of terrible physical and mental suffering, he died quietly in the Franciscan infirmary on Rue Dorchester (Boulevard René-Lévesque) in Montreal. His body was brought back to Trois-Rivières, where it remains. Eleven years after his death, steps were initiated to have him beatifed by the church. After an informative process in Trois-Rivières in 1927, there were additional ones in Lille, France, and Alexandria, Egypt, between 1930 and 1933. The procedure culminated on 25 Sept. 1988 in a solemn beatification proclaimed by Pope John Paul II in St Peter’s Square in Rome before a crowd of 50,000.
Father Frédéric was of average height (about five feet seven inches), but slight of frame and so thin (possibly 115 pounds) that he seemed frail and puny. And yet he had incredible endurance. For years he worked 14 or 15 hours a day, despite frequent and acute stomach pains and a regimen of insufficient food. He referred to his “sickly iron constitution.” Everyone wondered how such a small man could do so much on so little sleep and nourishment.
By nature he was a lover of many things. His interests, as shown by his notebooks and letters, ranged from mysticism to the growing of beets and raspberry canes and encompassed theology, philosophy, literature, painting, history and geography, archaeology and palaeography, astronomy, biology, and botany. He might have spent his life flitting from one passing concern to another if his temperament had not been disciplined early by a strong and austere education. His Franciscan teachers, in taking over from his family, not only strengthened his sense of discipline and asceticism, but gave him something more by instilling in him a fairly rigid concept of obedience. As a result, the young man’s chaotic tendencies were brought under control for life and his formidable dynamism was able to achieve its full potential thanks to intelligent superiors, especially Father Raphaël Delarbre d’Aurillac and Father Colomban-Marie Dreyer, who channelled it and put it judiciously to use. On the other hand, the treatment, which on the whole certainly proved beneficial, may have slightly hardened his superego and weakened his fighting spirit. Throughout his life Father Frédéric had an overscrupulous conscience and a firm distaste for the office of superior. He was an élite lieutenant rather than a commander-in-chief, an instrument of peace rather than a redresser of wrongs.
Father Frédéric had neither taste nor talent for confrontation, but he was nevertheless an exceptional mover of men. He could influence people by using his ability to communicate and persuade, a talent which makes good salesmen and great orators. He possessed this gift to a degree that made him the equal of the most famous preachers of his order. Without gesturing grandly or raising his voice, and often with his eyes closed, he could speak for hours to devout crowds who never tired of listening. One day, in the church of Sainte-Marie-Madeleine in Cap-de-la-Madeleine, he preached a four-hour sermon at the stations of the cross, during which his audience, women from Montreal belonging to the Franciscan Third Order, apparently found “the time relatively short.”
Father Frédéric’s preaching sounded like an informal talk, but it had a bit more hidden in it than was apparent. In order to reach his listeners more effectively, the holy man did not hesitate to dramatize or play to the utmost on their sensibilities. Many tears were shed during his sermons. Eager to be edifying, he always paid close attention to his appearance in public. Hence in group photos he often looks stiff and stilted, a posture out of keeping with his true temperament, which was kind and cheerful. But all these pious artifices, which irritated some of his colleagues, stemmed from his desire to save souls, a desire the crowds recognized. In common with all saints, he radiated a kind of spiritual aura which, like the Old Testament shekinah, was a true and palpable sign of the presence of God. Father Edmond Gaudron, who made his acquaintance at the Collège Séraphique de Montréal around 1917, has described this phenomenon very well: “He was the one who made God appear to men who could not see God.”
All in all, the role Father Frédéric played in Quebec was analogous to the one played in France by his compatriots Jean-Baptiste-Marie Vianney and Thérèse Martin: that of a living witness to the reality and holiness of God. It is to his credit that he succeeded in keeping to this path. When he arrived in Canada in 1881 the controversy about liberalism was raging. Abbé Desilets, his host, reportedly wanted to recruit him to support ultramontanism, a cause his bishop, Mgr Laflèche, also espoused. Between 1882 and 1888, however, the missionary from the Holy Land had time to ponder the question and decide on the course to pursue. In 1884 he wrote to his friend Provancher, another ardent ultramontane, that should he ever return to Canada, his work would be “exclusively a mission of charity, penitence, and peace.” It was a strictly spiritual program, patterned almost literally after the one St Francis of Assisi and his disciples had followed at the beginning of the 13th century. The sole objective of all his efforts during the 28 years he spent in the country was to win for God and for Christ the Canadians whom he loved so dearly, and to enhance their spiritual lives as much as possible.
This entirely disinterested evangelization produced a bonus: the flowering in Quebec of genuine tenderness towards the Franciscans, who were presented in such an amiable and courteous guise. As Father Dreyer clearly saw, this public affection fostered in turn the development of the new province of Saint-Joseph du Canada. Father Frédéric was not only the advance scout and diplomatic forerunner of this province, he was also its hidden parent, its true spiritual father, both through the influence he exerted on his first recruits and through the wider impact he had had on the milieu that had provided them. It is another glory to be added to those he had already earned as co-founder of the Sanctuaire de Notre-Dame-du-Cap and eminent evangelizer of French Canada.
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Twentieth Century Fox Film Scripts
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MsC 302
Manuscript Register
TWENTIETH CENTURY - FOX FILMSCRIPTS
Collection Dates: 1929 -- 1971
200 linear ft.
This document describes a collection of materials held by the
Special Collections Department
University of Iowa Libraries
Iowa City, Iowa 52242-1420
Phone: 319-335-5921
Fax: 319-335-5900
e-mail: lib-spec@uiowa.edu
Posted to Internet: March 2001
Acquisition Note: This collection was accessioned in 1972, at a time when the New York corporate offices were closing and when corporate storage areas in the New York area were being eliminated. Dr. Richard Dyer MacCann, then Professor of Film in the Division of Television, Radio, and Film, Department of Speech and Dramatic Art at the University of Iowa, persuaded company officials that these materials should be preserved, and worked with Leslie W. Dunlap, Dean of Library Administration, and the company's legal staff to produce an agreement on the conditions under which they could be used.
Access and Restrictions: The company retained permanent title to the materials while agreeing to place them permanently on deposit with Iowa. Other clauses in the agreement were intended to assure that the scripts were used almost exclusively by University students and faculty, and clause 6 specified "No copying, duplication or reproduction of the Film Material shall be permitted without our written consent," while clause 7 read, "Access to the "locked and secured area" in which the Film Material is located will be only by letter or written permit to the Librarian."
Toward the end of the year 2000, current officers of the corporation and the Libraries agreed to the following procedures governing access to individual items in the collection:
1. The scripts may be consulted in the Special Collections reading room by members of the University community and others. All readers must complete a Manuscript Reader's Registration Form.
2. To obtain photocopies of or from any script, readers (whether onsite or off) must complete the Libraries' Manuscript Reader's Registration Form and must obtain authorization from the Corporation. The company official currently designated to respond to requests is Tom Kennedy, Vice President for Legal Affairs. (P.O. Box 900, Beverly Hills, CA 90213-0900; phone 310-369-8630; FAX 310-369-4118; email: <tom.kennedy@fox.com>). In general, those making inquiry to him will be required to complete and return to the company a Screenplay Loan Agreement. If the Agreement is accepted by the Corporation and the request then approved, the company will in turn authorize the Libraries to produce a photocopy at the reader's expense. These are the only circumstances under which the making of copies is permitted.
Digital Surrogates: Except where indicated, this document describes but does not reproduce the actual text, images and objects which make up this collection. Materials are available only in the Special Collections Department.
Copyright: Please read The University of Iowa Libraries' statement on "Property Rights, Copyright Law, and Permissions to Use Unpublished Materials"
Use of Collections: The University of Iowa Libraries supports access to the materials, published and unpublished, in its collections. Nonetheless, access to some items may be restricted by their fragile condition or by contractual agreement with donors, and it may not be possible at all times to provide appropriate machinery for reading, viewing or accessing non-paper-based materials. Please read our Use of Materials statement. Prior to using collections, all readers are required to complete and submit a registration form.
Abbreviations: For an explanation of the abbreviation and dating conventions used in the finding aids, see Abbreviations.
Scope and Contents
The Twentieth Century-Fox Film Scripts Collection is housed in approximately 200 linear feet of archival boxes. The material is divided into three sections: film scripts, files on the Roxy Theater, and a file on the Twentieth Century-Fox Film Corporation. Nearly 1,500 titles from the years 1929 --1971 are represented in the Twentieth Century-Fox Film scripts collection. Film materials include motion picture screenplays (both American and foreign) and television scripts, includidng 100 episode scripts of "Peyton Place" and 40 episode scripts of "The Tammy Grimes Show". The screenplays range from typescript drafts to dialogue and cutting continuity scripts. Many of the continuity scripts, particularly the "Edited Books," are marked in a variety of pencils and inks with notes which suggest they were used in the process of sub-titling prints for overseas distribution. The annotations may prevent clear photocopies being made.
In the early days of motion picture production, studios owned their own theater chains. Twentieth Century-Fox owned the Roxy Theater of New York, then the largest theater in the world with a seating capacity of 6,200. Files on the Roxy theater include: tax assessments from the 1940's, correspondence and general business agreements. Rounding out the collection is a small section of papers on the Twentieth Century-Fox Film Corporation. These papers contain: annual reports of 1969 --1970, an insurance manual for the corporation and general business agreements.
Twentieth Century-Fox Film Corporation is an American film producing and distributing corporation formed by the merger of two companies in the early half of the century. In 1915 William Fox began the Fox Film Corporation; and in 1925 he bought controlling interest in the Roxy Theater of New York, N.Y. Fox Film Corporation merged with Darryl F. Zanuck's Twentieth Century Pictures in 1935 to form the present day Twentieth Century Fox Corporation.
Inventory
Note: This inventory is being annotated box by box as there is opportunity to do so. See, e.g., Box 240.
The following abbreviations are used:
SP = screenplay. These are physically the most straight-forward of the scripts. Scene information and dialogue are presented in narrative form. They may be typed, mimeographed, photocopied, or otherwise printed. Nearly all are on 8 1/2 x 11 inch paper.
CS = continuity script. These scripts are on pre-printed sheets with muptiple columns. Dialogue is presented in the left-most column. Other information (e.g., frame or foot number) may be present in the remaining columns. Some of these scripts are heavily annotated, often in two or more colors of pencil and two or more inks. C/A = annotations are present; C/NA = only printed information is present.
CDS = continuity script labeled "Continuity and Dialogue Taken from the Screen." These scripts are generally in a two-column format (camera and scene notes on the left, dialogue on the right) and are mimeographed on 8 1/2 x 11 inch paper. The paper was typically somewhat soft, and it has now mellowed with age, becoming a cream with sometimes a very light brown tint. Mimeograph rarely prints cleanly and sharply. Photocopies of these scripts are generally readable but often dark and not all letters will show clearly.
CDM = continuity script labeled "Continuity and Dialogue Taken from the Moviola". Similar to CDS but on preprinted sheets 10x14 inches in size.
Edited Book = a CDS or CDM continuity script which has been very heavily annotated for various purposes. Most are on pre-printed 10x14 inch paper. While they can be photocopied, the print area must be reduced, and the heavy annotation may not be understandable; ink and pencil colors will not show, creating further confusion.
p = page. Some scripts are page-numbered, in which case the number on the final page is recorded here. Others were paged by reel. All page counts recorded here should be regarded as approximate as pages were sometimes missed in numbering and our page counts may not always be accurate.
MANUSCRIPT INVENTORY
In the following inventory, the screenplays are arranged alphabetically. When you click on a box, it will take you to the screenplays in that range, where title, writer, date, and original story are listed, where known.
Screenplays whose title begins with
A Boxes 1 -11
B Boxes 12-41
C Boxes 42-66
D Boxes 66-95
E Boxes 95-101
F Boxes 102-124
G Boxes 124-138
H Boxes 139-159
I Boxes 160-173
J Boxes 173-182
K Boxes 182-186
L Boxes 186-206
M Boxes 206-236
N Boxes 236-242
O Boxes 242-252
P Boxes 252-270
Q Boxes 271-272
R Boxes 272-287
S Boxes 287-332
T Boxes 332-360
U Boxes 360-363
V Boxes 364-370
W Boxes 370-392
X,Y,Z Boxes 392-397
Box 1
Title: A-Haunting We Will Go
Screenplay by: Lou Breslow
Date: June 2, 1942
Original story by: Lou Breslow and Stanley Rauh
Title: The Abductors
Screenplay by: Ray Wander
Date: January 15-1957 or May 28, 1957
Written by: Ray Wander
Title: Abdulla's Harem
Screenplay by: George St. George, Boris Ingster, and Fathy Ghanem
Date: March 30, 1956
From the original story "My Kingdom For A Woman" by: Ismet Regeila
Title: The Abominable Snowman of the Himalayas
Screenplay by: Nigel Kneale
Date: September 9, 1957
Based on the play "The Creature" by Nigel Kneale
Box 2
Title: Accent on Love
Screenplay by: John Larkin
Date: June 18, 1941
Original story by: Dalton Trumbo
Title: Adam and Eve
Screenplay by: Leo McCarey
Date: ?
Title: Adorable
Screenplay by: Paul Frank and Billie Wilder
Date: May 8, 1933
Title: The Adventures of Hajji Baba
Screenplay by: Richard Collins
Date: October 19, 1954
Suggested by the novel "The adventures of Hajji Baba" by: James Morier
Title: The Adventures of Sadie
Screenplay by: Noel Langley
Date: May 31, 1955
Box 3
Title: The Adventures of a Young Man (Ernest Hemingway's Adventures of a Young Man)
Screenplay by: A.E. Hotchner
Date: ?
Based on stories by: Ernest Hemingway
Title: Advice to the Lovelorn (Miss Lonelyhearts)
Screenplay by: Leonare Praskins
Date: July 18, 1933
Title: An Affair to Remember
Screenplay by: Delmer Daves and Leo McCarey
Date: February 8, 1957
Original story by: Leo McCarey and Mildred Cram
Title: After the Ball
Scenario by: H. M. Harwood and John Orton
Date: July, 1932
Box 4
Title: After Tomorrow
Scenario by: Sonya Levien
Date: March 13, 1932
Story by: John Goldern and Hugh S. Stange
Title: The Agony and the Ecstasy
Screen story and screenplay: Philip Dunne
Date: April 25, 1965
Based on the novel by Irving Stone
Title: Air Patrol
Screenplay by: Henry Cross
Date: February 26, 1962
Box 5
Title: Alaska Passage
Screenplay by: Edward Berds
Date: December 1, 1958
Title: Alexander's Ragtime Band
Screenplay by: Kathryn Scola and Lamar Trotti
Date: 1938
Adaptation by: Richard Sherman
Title: All Gaul Is Divided
Screenplay by: John McGiver
Date: ?
Title: All Hands On Deck
Screenplay by: Jay Sommers
Date: October 6, 1960
Based on a novel by: Donald R. Morris
Box 6
All Hands On Deck (continued)
Title: All Men Are Enemies
Screenplay by: Samuel Hoffenstein and Lenore Coffee
Date: April 2, 1934
Based on a story by: Richard Aldington
Title: The Alligator People
Screenplay by: Orville Hampton
Date: June 9, 1959
Based on a story by: Charles O'Neal
Title: Along Came A Spider
Screenplay by: Barry Oringer
Date: December 18, 1970
Based on the play "Sweet Poison" by: Leonard Lee
Title: Always Goodbye
Screenplay by: Kate McLaurin
Date: May 12, 1931
Title: Ambush at Cimarron Pass
Screenplay by: Richard G. Taylor and John K. Butler
Date: November 12, 1957
Story by: Robert A. Reeds and Robert W. Woods
Box 7
Title: American Guerrilla In The Philippines
Screenplay by: Lamar Trotti
Date: March 16, 1950
Title: Anastasia
Screenplay by: Arthur Laurents
Date: June 7, 1956
From the play by: Marcelle Maurette
As adapted by: Guy Bolton
Title: Angela
Screenplay by: Jonathan Rix and Edoardo Anton
Date: 1955
Box 8
Title: Angelina or The Honor of a Brigadier
Screenplay by: Enrique Jardiel Poncela
Date: March 4, 1935
Title: Anna and the King of Siam
Screenplay by: Talbot Jennings and Sally Benson
Date: May 23, 1946
Title: Anne of the Indies
Screenplay by: Philip Dunne and Arthur Caesar
Date: November 1951
Based on a story by: Herbert Ravenel Sass
Title: The Anniversary
Screenplay by: ?
Date: February 1968
Box 9
Title: Apache Rifles
Screenplay by: Charles B. Smith
Date: August 7, 1964
Story by: Kenneth Gamet and Richard Schayer
Title: Apache Warrior
Screenplay by: Carroll Young, Kurt Neumann and Eric Norden
Date: May 27, 1957
Based on a story by: Carroll Young and Kurt Neumann
Title: Apartment for Peggy
Screenplay by: George Seaton
Date: October 8, 1948
From a story by: Faith Baldwin
Title: Aphrodite, Goddess of Love
Screenplay by: ?
Date: ?
Box 10
Title: April Love
Screenplay by: Winston Miller
Date: May 21, 1957
Based on a novel by: George Agnew Chamberlain
Title: Arizona Kid
Screenplay by: Ralph Block
Date: April 12, 1930
Title: Arthur Rubenstein--1
Screenplay by: Liam O'Brien
Date: 1949
Title: Arthur Rubenstein--2
Screenplay by: Liam O'Brien
Date: 1949
Title: Arthur Takes Over
Screenplay by: Mauri Grashin
Date: December 1, 1947
Title: As Husbands Go
Screenplay by: Sonya Levein and S. N. Berhman
Date: November 11, 1933
Based on a play by: Rachel Crothers
Box 11
Title: As the River Rises
Screenplay by: Paul Osborn
Date: October 5, 1959
Title: As Young As You Feel
Screenplay by: Lamar Trotti
Date: December 8, 1950
Based on a story by: Paddy Chayefsky
Title: The Atlas Story
Screenplay by: John L. Chapman
Date: August 19, 1959
Adapted from "Atlas: The Story of a Missile" by: John L. Chapman
Title: Atoms Aweigh
Screenplay by: David O. Woodbury
Date: ?
Box 12
Title: B.S. I Love You
Screenplay by: Steven Hillard Stern
Date: December 29, 1970
Title: Baboona
Screenplay by: Mr. and Mrs. Martin Johnson
Date: 1935
Title: Baby Take a Bow
Screenplay by: Philip Klein
Date: ?
Based on the play by: James P. Judge
Title: Babylon By Candlelight
Screenplay by: Stuart Bishop
Date: 1957
Title: Bachelor Flat
Screenplay by: Frank Tashlin
Date: April 12, 1961
Based on a play by: Bud Grossman
Title: Bachelor of Arts
Screenplay by: Lamar Trotti
Date: November 2, 1934
From the story by: John Erskine
Box 13
Title: The Bachelor's Baby
Screenplay by: Wendell Mayes
Date: June 9, 1958
Title: The Bachelor's Baby (version 2)
Screenplay by: Claude Binyon
Date: October 3, 1960
Title: Back Door to Hell
Screenplay by: Richard A. Guttman and John H. Hackett
Date: November 11, 1964
Title: Back From the Dead
Screenplay by: Catherine Turney
Date: June 7, 1957
Based on her novel "The Other One"
Box 14
Title: Backlash
Screenplay by: Irving Elman
Date: April 16, 1947
Original story by: Irving Elman
Title: Bad Girl
Screenplay by: Vina del Mar
Date: June 1, 1931
Based on the novel "Bad Girl" by: Nina del Mar
Title: Badlands of Montana
Screenplay by: Daniel B. Ullman
Date: December 14, 1965
Title: The Bait
Screenplay by: Daniel Fuchs
Date: December 4, 1963
Story by: Marc Behm and Robert Siodmak
Box 15
Title: Ballad in Blue
Screenplay by: Burton Wohl
Date: ?
Original story by: Paul Henreid and Burton Wohl
Title: Banco a Bangkok
Screenplay by: ?
Date: ?
Title: Bandelero
Screenplay by: James Lee Barrett
Date: September 18, 1967
From a story by: Stanley Hough
Title: Bangladesh (The Concert for)
Screenplay by: ?
Date: 1972
Box 16
Title: The Barbarian and the Geisha
Screenplay by: Charles Grayson
Date: October 23, 1957
Story by: Ellis St. Joseph
Title: Barricade
Screenplay by: Granville Walker
Date: November 24, 1939
Title: Batman
Screenplay by: Lorenzo Semple, Jr.
Date: April 1, 1966
Based on the characters created by: Bob Kane
Box 17
Title: Battle of Bloody Beach
Screenplay by: Richard Maibaum and Willard Willingham
Date: January 6, 1961
Story by: Richard Maibaum
Title: The Battle of Austerlitz
Screenplay by: Abel Gance
Date: February 1962
Title: Battle of Broadway
Screenplay by: Lou Breslow and John Patrick
Date: April 1, 1938
Original story by: Norman Houston
Title: The Battle of Leyte Gulf
Screenplay by: Edmund H. North
Date: May 10, 1962
Box 18
Title: The Beautiful Blonde from Bashful Bend
Screenplay by: Preston Sturges
Date: May 24, 1949
Based on a story by: Earl Felton
Title: Bedazzled
Screenplay by: Peter Cook
Date: March 28, 1962
From the story by: Peter Cook and Dudley Moore
Title: Behind Green Tights
Screenplay by: W. Scott Darling and Charles G. Booth
Date: January 9, 1946
Title: Behind That Curtain
Screenplay by: Earl Derr Biggers
Date: April 12, 1929
Box 19
Title: A Bell for Adano
Screenplay by: Lamar Trotti and Norman Reilly Raine
Date: June 26, 1945
Based on the novel by: John Hersey
Title: Belle Starr's Daughter
Screenplay by: W. R. Burnett
Date: 1948
Title: Belles on Their Toes
Screenplay by: Phoebe and Henry Ephron
Date: August 17, 1951
Based on the book by: Frank B. Gilbreth, Jr. and Ernestine Gilbreth Carey
Box 20
Belles on Their Toes (continued)
Title: Beloved Infidel
Screenplay by: Sy Bartlett
Date: December 17, 1959
Based on the book by: Paul Francis Webster and Franz Waxman
Title: Beneath the Planet of the Apes
Screenplay by: Paul Dehn and Mort Abraham
Date: February 26, 1970
Based on characters created by: Pierre Boullebg
Box 21
Title: Beneath the Twelve Mile Reef
Screenplay by: A. I. Bezzerides
Date: February 24, 1953
Title: Berlin Correspondence
Screenplay by: Steve Fisher and Jack Andrews
Date: July 31, 1942
Title: Bermuda Mystery
Screenplay by: W. Scott Darling
Date: March 17, 1944
From a story by: John Larkin
Box 22
Title: Bernadine
Screenplay by: Theodore Reeves
Date: June 13, 1957
Based on a play written by: Mary Chase
Title: The Best of Everything
Screenplay by: Edith Sommer and Mann Rubin
Date: May 26, 1959
Based on the novel by: Rona Jaffe
Box 23
Title: The Best Things in Life Are Free
Screenplay by: William Bowers and Pheobe Ephron
Date: September 24, 1956
Story by: John O'Hara
Title: Between Heaven and Hell
Screenplay by: Harry Brown
Date: October 10, 1956
Based on a novel by: Francis Gwaltney Box 24
Title: Beyond the Valley of the Dolls
Screenplay by: Roger Ebert
Date: July 24, 1970
Story by: Roger Ebert and Russ Meyer
Title: The Bible
Screenplay by: Christopher Fry
Date: 1966
Box 25
Title: Big Country, Big Man
Screenplay by: William Strutton
Date: September 1, 1965
Based on the novel "Call Me When The Cross Turns Over" by: D'Arcy Niland
Title: The Big Gamble
Screenplay by: ?
Date: February, 1961
Title: The Big Lift
Screenplay by: George Seaton
Date: March 24, 1950
Box 26
Title: The Big Noise
Screenplay by: W. Scott Darling
Date: August 3, 1944
Title: The Big Party
Screenplay by: Harlan Thompson
Date: December 12, 1929
Title: Big River, Big Man
Screenplay by: Frank S. Nugent ?
Date: April 18, 1961
Title: The Big Show
Screenplay by: Ted Sherdeman
Date: April 21, 1961
Box 27
Title: The Big Time
Screenplay by: Wallace Smith
Date: July 6, 1920
Title: Big Town Girl
Screenplay by: Lou Broslow, John Patrick, Robert Ellis and Helen Logan
Date: November 12, 1937
Based on original stories by: Darrel Ware and Frances Whiting Roid
Title: The Big Trail
Screenplay by: Hal G. Evarts
Date: April 20, 1930
Title: Bigger Than Life
Screenplay by: Cyril Hume and Richard Maibaum
Date: July 26, 1956
Based on an article in The New Yorker by: Berton Roueche
Title: The Billionaire
Screenplay by: Norman Krasna
Date: February 20, 1959
Box 28
Title: Bird of Paradise
Screenplay by: Delmer Daves
Date: July 14, 1950
Title: The Birds, the Bees, and the Italians
Screenplay by: ?
Date: August, 1968
Title: Black Beauty
Screenplay by: Lillie Hayward and Agnew Christine Johnson
Date: April 20, 1946
Based on "Black Beauty" by: Anna Sewall
Title: Black Gold
Screenplay by: E. De La Mora and L. Burke
Date: May 22, 1931
Title: The Black Prince
Screenplay by: Daniel B. Ullman
Date: January, 1955
Title: The Black Rose
Screenplay by: Talbot Jennings
Date: June 28, 1950
Based on the novel by: Thomas B. Costain
Box 29
Title: Black Thirteen
Screenplay by:
Date: February 23, 1955
From the original story by: Pietro Germi
Title: The Black Whip
Screenplay by: Orville Hampton
Date: July 19, 1956
Box 30
Title: Black Widow
Screenplay by: Nunnally Johnson
Date: April 22, 1954
Based on a story by: Patrick Quentin
Title: Blood Arrow
Screenplay by: Fred Freiberger
Date: November 19, 1957
Title: Blood and Steel
Screenplay by: Joseph C. Gillette
Date: September 24, 1959
Title: Bloodhounds of Broadway
Screenplay by: Sy Gomberg
Date: October 8, 1952
Adaptation by: Albert Mannheimer
Box 31
Title: Blue Angel
Screenplay by: Nigel Balchin
Date: August 11, 1959
Based on a screenplay by: Karl Zuckmayer, Karl Vollmoeller, and Robert Liebmann
From a novel by: Heinrich Mann
Title: Blue Denim (Blue Jeans)
Screenplay by: Edith Sommer and Philip Dunne
Date: July 28, 1959
Title: Blue Denim Blues
Screenplay by: Sonya Roberts
Date: August 30, 1961
Title: Blue Jeans (Blue Denim)
Screenplay by: Edith Sommer and Philip Dunne
Date: July 28, 1959
Box 32
Title: The Blue Max
Screenplay by: Gerald Hanley, David Pursall, and Jack Seddon
Date: June 28, 1965
Based on the novel by: Jack Hunter
Title: Blue, White and Perfect
Screenplay by: Samuel G. Engel
Date: December 2, 1941
Based on the story by: Borden Chase
And the character "Michael Shayne" created by: Brett Halliday
Title: A Blueprint for Murder
Screenplay by: Andrew Stone
Date: February 7, 1953
Box 33
A Blueprint for Murder (continued)
Title: Bob, Son of Battle
Screenplay by: Jerome Cady
Date: July 10, 1947
Based on the novel by: Alfred Ollivant
Title: Bobbikins
Screenplay by: Oscar Brodney
Date: ?
Box 34
Title: Body and Soul
Screenplay by: ?
Date: May 3, 1931
Title: The Bohemians
Screenplay by: Meade Roberts
Date: April 21, 1959
Suggested by: Puccini's "La Boheme"
Title: Bomber's Moon
Screenplay by: Kenneth Gamet and Aubrey Wisberg
Date: June 29, 1943
Original story by: Leonard Lee
Title: Bondage
Screenplay by: Grace Southcote Leake
Date: March 18, 1933
Title: La Bonne Soupe
Screenplay by: ?
Date: ?
Box 35
Title: Boomerang
Screenplay by: Richard Murphy
Date: February 5, 1947
Based on an article by: Anthony Abbot
Title: Born Reckless
Screenplay by: Donald Henderson Clarke
Date: February 13, 1930
Title: Boston Strangler
Screenplay by: Edward Anhalt
Date: Sept 9, 1968
Based on the book by: Gerold Frank
Title: The Bottom of the Bottle
Screenplay by: Sidney Boehm
Date: Jan 27, 1956
From the novel by: Georges Simenon
Box 36
Title: Bottoms Up
Screenplay by: David Butler and Sid Silvers
Date: March 5, 1934
Based on a story by: B. G. DeSylva
Title: The Bowery
Screenplay by: Howard Esterbrook and James Gleason
Date: 1933
Based on the novel by: Michael L. Simmons and Bessie Roth Solomon
Title: The Boy Friend
Screenplay by: Joseph Hoffman and Barry Trivers
Date: May 6, 1939
Original story by: Lester Ziffren and Louis Moore
Title: Boy on a Dolphin
Screenplay by: Ivan Moffat and Dwight Taylor
Date: March 19, 1957
From the novel by: David Divine
Title: The Boys of Paul St.
Screenplay by: Zoltan Fabri and Endre Bohem
Date: June 1969
Based on a novel with the same title by: Ferenc Molnar
Box 37
Title: The Brasher Doubloon
Screenplay by: Dorothy Hannah
Date: Feb 24, 1947
Adaption by: Leonard Praskins
Based on a novel by: Raymond Chandler
Title: The Brat
Screenplay by: Ed O'Fearna
Date: June 6, 1931
Title: The Bravados
Screenplay by: Philip Yordan
Date: Jan 23, 1958
Based on the novel by: Frank O'Rourke
Box 38
Title: Three Brave Men
Screenplay by: Philip Dunne
Date: August 23, 1959
Title: Break in the Circle
Screenplay by: Val Guest
Date: 1957
From the novel by: Philip Lorraine
Title: La Bride Sur Le Cou
Screenplay by: Roger Vadim and Claude Brule
Date:
Title: The Bride Wore Crutches
Screenplay by: E. E. Verdier
Date: May 10, 1940
Original story by: E. E. Berdier and Alan Drady
Title: Broken Arrow
Screenplay by: Michael Blankfort
Date: Apr 28, 1950
Based on a novel by: Elliott Arnold
Box 39
Title: Broken Lance
Screenplay by: Richard Murphy
Date: Jan 27, 1954
Title: The Broken Land
Screenplay by: Edward Lasko
Date: April 7, 1961
Title: Brothers of the Flaming Arrow
Screenplay by: Nunnally Johnson
Date: April 29, 1958
From the story by: Clair Huffaker
Box 40
Title: Buffalo Bill
Screenplay by: Aeneas MacKenzie, Clements Ripley, and Cecile Kramer
Date: Feb 16, 1944
Based on a story by: Frank Winch
Title: Bungalo
Screenplay by: Richard G. Hubler and Sam Baerwitz
Date: June 6, 1948
Title: Bus Stop (SP marked "Final," 123p. + additonal inserted sheets. Also a CDS Edited Book and a CDS/NA)
Screenplay by: George Axelrod
Date: Feb 27, 1956
Box 41
Title: Butch Cassidy and the Sundance Kid
Screenplay by: William Goldman
Date: July 15, 1968
Box 42
Title: The Cabinet of Caligari
Screenplay by: Robert Bloch
Date: Aug 18, 1961
Title: Cadet Girl
Screenplay by: Stanley Rauh and W. H. Hanemann
Date: Oct 29, 1941
Original story by: Jack Andrews and Richard English
Title: California Street
Screenplay by: George Zuckerman
Date: Feb 29, 1960
Based on the Literary Guild Novel by: Niven Busch
Title: Call Her Savage
Screenplay by: Tiffany Thayer
Date: Sept 12, 1932
Title: Call It Luck
Screenplay by: Dudley Nichols and Lamar Trotti
Date: May 17, 1934
Story by: Dudley Nichols and George Marshall
Box 43
Title: Call Me Madame
Screenplay by: Arthur Sheekman
Date: Feb 24, 1953
Based on the musical comedy "Call Me Madam"
Book by: Howard Lindsay and Russel Crouse
Produced on the stage by: Leland Hayward
Title: Call Me Mister
Screenplay by: Albert E. Lewin and Burt Styler
Date: Jan 26, 1951
Suggested by the musical revue by: Harold J. Rome and Arnold M. Auerbach
Title: Call Me When the Cross Turns Over
Screenplay by: D'Arcy Niland
Date: Jan 12, 1965
From the novel of the same name by: D'Arcy Niland
Title: Call Northside 777
Screenplay by: Jerome Cady and Jay Dratler
Date: Jan 30, 1948
Adaptation by: Leonard Hoffman and Quentin Reynolds
Based on Articles by: James P. McGuire
Box 44
Title: Calypso Cruise
Screenplay by: ?
Date: July 2, 1954
Title: Cameo Kirby
Screenplay by: Booth Tarkington
Date: Aug 27, 1929
Title: Cameo Kirby Series "The Losing Streak
Screenplay by: Peter Packer
Date: January 15, 1958
Title: Can-Can
Screenplay by: Dorothy Kingsley and Charles Lederer
Date: July 29, 1959
Title: Can This Be Dixie?
Screenplay by: Lamar Trotti
Date: October 26, 1936
Based on a story by: Lamar Trotti and George Marshall
Title: Canadian Pacific
Screenplay by: Jack DeWitt and Kenneth Gamet
Date: Jan 12, 1949
Original story by: Jack DeWitt
Title: The Canadians
Screenplay by: Burt Kennedy
Date: Feb 1961
Title: Canzoni Bulle e Pupe
Screenplay by: ?
Date: ?
Title: The Cape Town Affair
Screenplay by: Harold Medford and Samuel Fuller
Date: Aug 15, 1964
From a story by: Dwight Taylor
Box 45
Title: Caprice
Screenplay by: Frank Tashlin
Date: April 28, 1966
From a story by: John Kohn and Martin Hale
Title: Captain Eddie
Screenplay by: John Tucker Battle
Date: July 3, 1945
Title: Captain from Castille
Screenplay by: Lamar Trotti
Date: Dec 9, 1947
From the novel by: Samuel Shellabarger
Title: Captain January
Screenplay by: Sam Hellman, Gladys Lehman and Harry Tugend
Date: 1936
Based on a story by: Laura E. Richards
Box 46
Title: Captain Lash
Screenplay by: John Stone and Andrew Bennison
Date: Aug 26, 1928
Title: Captain's Table
Screenplay by: John Whiting, Bryan Forbes, and Nicholas Phipps
Date: Jan 28, 1959
Title: Caravan
Screenplay by: Samson Raphaelson and Robert Liebmann
Date: Aug 10, 1934
From the novel by: Melchier Lengyel
Title: The Cardboard City
Screenplay by: Jose Lopez Rubio and John Reinhardt
Date: Dec 23, 1933
Based on a story by: Gregorio Martinez Sierra
Title: Careful--Soft Shoulder
Screenplay by: Oliver H. P. Garrett
Date: Aug 18, 1942
Title: Careless Lady
Screenplay by: Reita Lambert
Date: Jan 14, 1932
Title: Caribbean Mystery
Screenplay by: Jack Andrews and Leonard Praskins
Date: May 12, 1945
Adapted by: W. Scott Darling
Fron the novel "Murder in Trinidad" by: John W. Vandercook
Title: Cariboo Trail
Screenplay by: Frank Gruber
Date: 1950
Story by: John Rhodes Sturdy
Box 47
Title: Carmen Jones
Screenplay by: Harry Kleiner
Date: Nov 16, 1954
Based on Billy Rose's Broadway production of the musical play, Carmen Jones
Title: Carnival in Costa Rica
Screenplay by: John Larken, Samuel Hoffenstein, and Elizabeth Reinhardt
Date: April 4, 1947
Title: Carolina
Screenplay by: Reginald Berkeley
Date: Jan 22, 1934
Based on the story "The House of Connelly" by: Paul Green
Title: Carousel
Screenplay by: Pheobe and Henry Ephron
Date: July 14, 1955
Title: The Case of Dr. Praetorius
Screenplay by: Curt Goetz
Date: Aug 29, 1950
Box 48
Title: Cassandra at the Wedding
Screenplay by: Mart Crowley
Date: Nov 29, 1930
Based on the novel by: Dorothy Baker
Title: Cattle Empire
Screenplay by: Endre Bohem and Eric Norden
Date: Sept 6, 1957
Story by: Daniel B. Ullman
Title: The Cavern
Screenplay by: Michael Pertwee and Jack Davies
Date: Jan 27, 1965
Title: Celebration
Screenplay by: Meade Roberts
Date: May 11, 1962
Based on "A Loss of Roses" by: William Inge
Title: Celebration at Big Sur
Screenplay by: ?
Date: April 1971
Title: Centennial Summer
Screenplay by: Michael Kanin
Date: June 25, 1946
Based on the Novel by: Albert E. Idell
Box 49
Title: A Certain Smile
Screenplay by: Francis Goodrich and Albert Hackett
Date: August 4, 1958
From the novel by: Francoise Sagan
Title: The Chairman
Screenplay by: Ben Maddow
Date: June 1969
From a novel by: Jay Richard Kennedy
Box 50
Title: The Challenge
Screenplay by: Frank Gruber and Irving Elman
Date: December 10, 1947
Title: Champagne Charlie
Screenplay by: Allen Rivkin
Date: April 21, 1936
Title: Change of Heart
Screenplay by: Sonya Levien and James Gleason
Date: May 3, 1934
From the story "Manhattan Love Song" by: Kathleen Norris
Title: Change of Life
Screenplay by: Harry Kurnitz
Date: May 1963
Based on a play by: George Axelrod
Title: The Chapman Report (vol 1 & 2)
Novel Manuscript by: Irving Wallace
Date: September 10, 1959
Box 51
Title: Charlie Chan at the Olympics
Screenplay by: Robert Ellis and Helen Logan
Date: April 20, 1937
Original story: Paul Burger
Based on the Character "Charlie Chan" created by: Earl Derr Biggers
Title: Charlie Chan at the Opera
Screenplay by: Scott Darling and Charles S. Belden
Date: November 17, 1936
From a story by: Bess Meredyth
Based on the character "Charlie Chan" created by: Earl Derr Biggers
Title: Charlie Chan in Egypt
Screenplay by: Robert Ellis and Helen Logan
Date: June 5, 1935
Based on the character "Charlie Chan" created by: Earl Derr Biggers
Title: Charlie Chan in Honolulu
Screenplay by: Charles Belden
Date: December 27, 1938
Based on the character "Charlie Chan" created by: Earl Derr Biggers
Title: Charlie Chan on Broadway
Screenplay by: Charles Belden and Jerry Cady
Date: August 26, 1937
Original story by: Art Arthur, Robert Ellis, and Helen Logan
Based on the character "Charlie Chan" created by: Earl Derr Biggers
Title: Charter Pilot
Screenplay by: Stanley Rauh
Date: June 18, 1940
Title: Chasing Through Europe
Screenplay by: Andrew Bennison and John Stone
Date: May 11, 1929
Box 52
Title: Che!
Screenplay by: Michael Wilson and Sy Bartlett
Date: April 21, 1969
Based on the Story by: Sy Bartlett and David Karp
Title: Cheaper by: the Dozen
Screenplay by: Lamar Trotti
Date: March 30, 1950
Based on the novel by: Frank B. Gilbreth, Jr. and Ernestine Gilbreth Carey
Title: Cheaters at Play
Screenplay by: Louise Joseph Vance
Date: January 27, 1932
Title: The Checkered Coat
Screenplay by: John C. Higgins
Date: December 7, 1947
Title: Cheer Up and Smile
Screenplay by: Richard Connell
Date: May 14, 1930
Box 53
Title: Chetniks!
Screenplay by: Jack Andrews and Edward E. Paramore
Date: February 1, 1943
Original story by: Jack Andrews
Title: Chicken Every Sunday
Screenplay by: George Seaton and Valentine Davies
Date: January 18, 1949
From the stage play by: Julius J. and Philip G. Epstein
And the book by: Rosemary Taylor
Title: Chicken Wagon Family
Screenplay by: Viola Brothers Shore
Date: August 3, 1939
Based on a novel by: Barry Benefield
Title: Un Chien Dans Un Jeu De Quilles
Screenplay by: ?
Date: ?
Title: China Gate
Screenplay by: Samuel Fuller
Date: May 15, 1957
Box 54
Title: China Girl
Screenplay by: Ben Hecht
Date: December 1, 1942
Based on a story by: Melville Crossman
Title: Choice Cuts
Screenplay by: James Bridges
Date: April 14, 1966
Title: Christina
Screenplay by: Tristram Tupper
Date: June 12, 1929
Title: Christine
Date: ?
Book by: Pearl S. Buck and Charles K. Peck, Jr.
Title: Cinemascope Parade
Screenplay by: ?
Date: October 7, 1954
Title: The Circle
Screenplay by: Carl Leo Gass
Date: October 17, 1949
Box 55
Title: Circle of Deception
Screenplay by: Nigel Balchin and Robert Musel
Date: Nov 1960
Title: Circumstantial Evidence
Screenplay by: Robert Metzler
Date: Feb 15, 1945
Adaptation by: Samuel Ornitz
Based on the story by: Nat Ferber and Sam Duncan
Title: City of Bad Men
Screenplay by: Leo Towsend
Date: Nov 13, 1952
Title: Claudia
Screenplay by: Morrie Ryskind
Date: Aug 17, 1943|
From the play by: Rose Franken
As Produced for the stage by: John Golden
Title: Claudia and David
Screenplay by: Rose Franken and William Brown Meloney
Date: July 30, 1946
Adaptation by: Very Caspary
Box 56
Title: Cleopatra
Screenplay by: Joseph L. Mankiewicz, Ranald MacDougall, and Sidney Buchman
Date: April 24, 1959
Based on histories by: Plutarch, Seutonius, Appian, other ancient sources
And "The Life and Times of Cleopatra" by: C. M. Franzero
Box 57
Cleopatra (continued)
Box 58
Cleopatra (continued)
Title: Climbing High
Screenplay by: Lesser Samuels
Date: July 1938
Title: Cloportes
Screenplay by: ?
Date: October 1965
Based on the novel by: Alphonse Boudary and Librairie Plot
Adaptation by: Albert Simonin
Title: Cluny Brown
Screenplay by: Samuel Hoffenstein and Elizabeth Reinhardt
Date: April 13, 1946
Based on the novel by: Margery Sharp
Title: The Coffin
Screenplay by: Manus Lars and Magnus Lidgren
Date: July 1968
Title: Colonel Effingham's Raid
Screenplay by: Kathryn Scola
Date: Sept 25, 1945
Based on the novel by: Berry Fleming
Title: Colorado Holiday
Screenplay by: ?
Date: July 20, 1955
Box 59
Title: The Colors of the Day
Screenplay by: Nunnally Johnson
Date: Feb 21, 1958
Based on the novel by: Romain Gary
Title: The Comancheros
Screenplay by: James Edward Grant
Date: May 3, 1961
Based on the novel by: Paul I. Wellman
Title: Combat
Screenplay by: Joseph C. Gillett
Date: Dec 7, 1959
Box 60
Title: Come to the Stable
Screenplay by: Oscar Millard and Sally Benson
Date: June 3, 1949
From the story by: Clare Booth Luce
Title: Coming Out Party
Screenplay by: Gladys Unger and Jesse Lasky, Jr.
Date: Feb 7, 1934
From the story by: Becky Gardiner and Gladys Unger
Title: Compartiment Tuers
Screenplay by:
Date: August 1, 1930
Title: Common Clay
Adaptation by: Costa-Gavras
Date: 1965
Based on the novel by: Sebastien Japrisot
Title: Compulsion
Screenplay by: Richard Murphy
Date: Sept 24, 1958
Box 61
Title: The Condemned of Altona
Screenplay by: Abby Mann and Francoise Prevost
Date: ?
Title: Confirm or Deny
Screenplay by: Jo Swerling
Date: Nov 4, 1941
Based on the story by: Henry Wales and Samuel Fuller
Title: A Connecticut Yankee
Screenplay by: ?
Date: Oct 1, 1931
Based on the novel "A Connecticut Yankee" by: Mark Twain
Title: Convict Stage
Screenplay by: Daniel Mainwaring
Date: 1965
Based on the story by: Donald Barry
Box 62
Title: Copper Sky
Screenplay by: Eric Norden
Date: May 17, 1957
From the story by: Robert Stabler
Title: The CossackScreenplay by: John Reinhardt and Stuart Anthony
Date: 1934
Based on the story by: Joaquin Artegas
Title: Count Five and Die
Screenplay by: Jack Seddon and David Pursall
Date: 1957
Box 63
Title: The Counterfeiters
Screenplay by: Fred Myton and Barbara Worth
Date: May 6, 1948
From the original story by: Maurice H. Conn
Title: The Country Beyond
Screenplay by: Lamar Trotti
Date: April 1, 1936
Based on the story by: James Oliver Curwood
Title: The Country Chairman
Screenplay by: Sam Hellman and Gladys Lehman
Date: Dec 18, 1934
Based on the play by: George Ade
Title: The Courage of Black Beauty
Screenplay by: Steve Fisher
Date: 1957
Based on Anna Sewell's "Black Beauty"
Title: Cover Me Babe
Screenplay by: George Wells
Date: Mar 17, 1970
Box 64
Title: Cowards Live in Hope
Dialogue by: Claude Bernard-Aubert
In collaboration with: Jean Rousselot
Date: Aug 8, 1961
Title: The Cowboy Millionaire
Screenplay by: ?
Date: April 24, 1935
Title: Crack in the Mirror
Screenplay by: Mark Canfield
Date: Feb 1960
Based on the novel by: Mercel Haedrich
Title: Crackerjack
Screenplay by: ?
Date: ?
Based on the novel by: W. B. N. Ferguson
Title: Crash Dive
Screenplay by: Jo Swerling
Date: April 28, 1943
Original story by: W. R. Burnett
Title: Crazy That Way
Screenplay by: Vincent Lawrence
Date: Feb 4, 1930
Box 65
Title: The Creeper
Screenplay by: Maurice Tombragel
Date: Sept 23, 1948
From an idea by: Don Martin
Title: The Crimson Key
Screenplay by: Irving Elman
Date: Jan 13, 1947
Title: The Cross and the Sword
Screenplay by: Paul Schofield and William Dubois
Date: Nov 9, 1933
Based on the story by: Miguel de Zarraga
Title: Crossed Sabres
Screenplay by: James Landis
Date: 1957
Title: Cry of the City
Screenplay by: Richard Murphy
Date: Aug 4, 1948
From a novel by: Henry Edward Helseth
Box 66
Title: The Cuckoo Patrol
Screenplay by: ?
Date: ?
Title: The Culpepper Cattle Co.
Screenplay by: Eric Bercovici and Gregory Prentiss
Date: Mar 28, 1972
Title: Cupid's Chauffer
Translated to Spanish by: F. More de la Torre
Date: Sept 10, 1930
Title: Curse of the Fly
Screenplay by: Harry Spalding
Date: Mar 1, 1965
Title: Curse of the Living Corpse
Screenplay by: Del Tenney
Date: 1963
Title: D-Day the Sixth of June
Screenplay by: Ivan Moffat and Harry Brown
Date: 1956
Based on the novel by: Lionel Shapiro
Box 67
Title: Daddy Long Legs
Screenplay by: Phoebe and Henry Ephron
Date: Dec 21, 1931
From the novel by: Jean Webster
Title: Daisy Kenyon
Screenplay by: David Hertz
Date: Nov 25, 1947
Based on the novel by: Elizabeth Janeway
Box 68
Title: Dakota Lil
Screenplay by: Maurice Geraghty
Date: 1949
Based on the story by: Frank Gruber
Title: Dance Hall
Screenplay by: Stanley Rauh and Ethel Hill
Date: June 24, 1941
Based on the novel by: W. R. Burnett
Title: Dance Team
Screenplay by: Sarah Addington
Date: Dec 23, 1931
Title: The Dancers
Screenplay by: Edwin Burke
Date: July 25, 1930
From the play "The Dancers" by: Sir Gerald Du Maurier and Viola Tree
Title: Dancing in the Dark
Screenplay by: Mary C. McCall
Date: Oct 28, 1949
Adaptation by: Marion Turk
Based on the play "The Bandwagon" by: George S. Kaufman, Howard Deitz, and Arthur Schwartz
Title: The Dancing Masters
Screenplay by: W. Scott Darling
Date: Nov 1, 1943
Suggested by a story by: George Bricker
Box 69
Title: Danger Has Two Faces
Screenplay by: Teddi Sherman, Judith and Julian Plowden, Robert C. Dennis, and Judith and Robert Guy Barrows
Date: May 22, 1967
Title: Danger--Love at Work
Screenplay by: James Edward Grant and Ben Markson
Date: Sept 28, 1937
Based on the story by: James Edward Grant
Title: Dangerous Crossing
Screenplay by: Leo Townsend
Date: Jan 5, 1953
Based on the story by: John Dickson Carr
Title: Dangerous Millions
Screenplay by: Irving cunnings, Jr. and Robert G. North
Date: June 17, 1946
Box 70
Title: Dangerous Years
Screenplay by: Arnold Belgard
Date: Sept 29, 1947
Title: Dangerously Yours
Scenario by: Horace Jackson
Date: November 29, 1932
Story by: Paul Henry Fox
Title: Daniel Boone--Frontier Trail Blazer
Screenplay by: D. D. Beauchamp and Jack Guss
Date: September 1966
Based on the story by: D. D. Beauchamp
Title: Danse Macabre
Treatment by: James Jones
Date: March 30, 1961
Box 71
Title: The Daring Young Man
Screenplay by: William Hurlbut
Date: April 23, 1946
Story by: Claude Binyon and Sidney Skolsky
Title: Dark Corner
Screenplay by: Jay Dratler and Bernard Schoenfeld
Date: April 9, 1946
Based on the story by: Leo Rosten
Title: Dark Valor
Screenplay by: James Landis
Date: June 12, 1957
Title: The Dark Wave
Screenplay by: Eugene Vale
Date: 1956
Title: David and Bathsheba
Screenplay by: Philip Dunne
Date: Sept 12, 1950
Box 72
Title: David Harum
Screenplay by: Walter Woods
Date: 1934
Based on the story by: Edward Noyes Westcott
Title: A Day Called Tomorrow
Screenplay by: Robert Blees
Date: Sept 14, 1954
Title: The Day Mars Invaded Earth
Screenplay by: Harry Spaulding
Date: Sept 21, 1962
Title: The Day the Earth Stood Still
Screenplay by: Edmund H. North
Date: Sept 25, 51
Based on the story by: Harry Bates
Title: The Day the Fish Came Out
Screenplay by: Michael Cacoyannis
Date: 1967
Box 73
Title: Days of Thrills and Laughter
Screenplay by: Robert Youngson
Date: 1961
Title: Days of Wine and Roses
Screenplay by: J. P. Miller
Date: May 15, 1961
Title: Deadfall
Screenplay by: Bryan Forbes
Date: Jan 1967
Based on the novel by: Desmond Cory
Title: Deadline for Murder
Screenplay by: Irving Cummings, Jr.
Date: Feb 16, 1946
Title: Deadline--USA
Screenplay by: Richard Brooks
Date: Sept 17, 1951
Box 74
Title: The Deadly Game
Screenplay by: Friedrich Duerrenmatt
Date: ?
Adaptation by: James Yaffe
Title: Dear Brigitt
Screenplay by: Nunnally Johnson and Hal Kanter
Date: May 6, 1964
Based on the novel "Erasmus with Freckles" by: John Haase
Box 75
Title: Decision Before Dawn
Screenplay by: Peter Viertel
Date: Sept 15, 1950
Based on the novel "Call It Treason" by: George Howe
Box 76
Title: Decline and Fall of a Birdwatcher
Adapted for screen by: Ivan Foxwell
Date: Oct 6, 1968
Title: The Deep Blue Sea
Screenplay by: Terence Rattigan
Date: December 1954
Title: Deep Waters
Screenplay by: Richard Murphy
Date: June 24, 1948
Based on the novel "Spoonhandle" by: Ruth Moore
Box 77
Title: The Deerslayer
Screenplay by: Carroll Young and Kurt Neumann
Date: March 18, 1957
Based on the novel by: James Fenimore Cooper
Title: Defenders of the Faith
Screenplay by: Ian Dalrymple
Date: Sept 1959
Title: De Luxe Tour
Screenplay by: Irwin Shaw
Date: Feb 9, 1958
Title: Demetrius and the Gladiators
Screenplay by: Philip Dunne
Date: June 12, 1954
Based on characters created by: Lloyd C. Douglass in "the Role"
Box 78
Title: Deo Gratias
Adaption by: Jean-Pierre Mocky
Date: June 1964
Based on the novel "Deo Gratias" by: Michel Servin
Title: Desert Attack
Screenplay by: T. J. Morrison and Christopher Landon
Date: 1958
Based on the novel by: Christopher Landon
Title: The Desert Fox: The Story of Rommel
Screenplay by: Nunnally Johnson
Date: October 1951
Based on the book by Desmond Young
Box 79
Title: Desert Hell
Screenplay by: Endre Bohem
Date: Feb 24, 1958
Based on the story by: Charles Marquis Warren
Title: The Desert Rats
Screenplay by: Richard Murphy
Date: Nov 6, 1952
Box 80
Title: Desire in the Dust
Screenplay by: Charles Lang
Date: Sept 19, 1960
Based on Harry Whittington's novel "Desire in the Dust"
Title: Desiree
Screenplay by: Daniel Taradash
Date: 1954
Based on the novel by: Annemarie Selinko
Box 81
Title: The Desk Set
Screenplay by: Pheobe and Henry Ephron
Date: Jan 7, 1957
Title: The Desperados are in Town
Screenplay by: Earle Shell and Kurt Neumann
Date: June 18, 1956
From the Saturday Evening Post Story "The Outlaws Are In Town" by: Bennett Foster
Box 82
Title: Destination Gobi
Screenplay by: Everett Freeman
Date: July 17, 1952
Title: Destination Inner Space
Screenplay by: Arthur C. Pierce
Date: Feb 26, 1966
Title: Destruction Test
Revised "Balchin" script
Date: March 4, 1957
Box 83
Title: The Destructors
Screenplay by: Arthur C. Pierce and Larry E. Jackson
Date: October 31, 1966
Title: The Detective
Screenplay by: Abby Mann
Date: June 3, 1968
Based on "The Detective," a novel by: Roderich Thorp
Title: Devil's Harbor
Screenplay by: Charles Deane
Date: Feb 17, 1955
Title: Devil's Lottery
Scenario by: Guy Bolton
Date: Jan 4, 1932
Story by: Nalbro Bartley
Title: Devils of Darkness
Screenplay by: ?
Date: ?
Title: Diamond Horseshoe
Screenplay by: George Seaton
Date: April 9, 1945
Suggested by a play produced by: Charles L. Wagner
Written by: John Kenyon Nicholson
Box 84
Title: Diamond Safari
Screenplay by: Larry Marcus
Date: Sept 23, 1957
Title: Diary of a Chambermaid
Adaptation and dialogue by: Luis Bunuel and Jean Claude Carriere
Date: ?
Based on the novel by: Octave Mirbeau
Title: Diclic e des Claques
Screenplay by: ?
Date: ?
Title: The Diary of Anne Frank
Screenplay by: Frances Goodrich and Albert Hackett
Date: July 1, 1959
From the play by: Frances Goodrich and Albert HackettBased on the book "Anne Frank: The Diary of a Young Girl"
Box 85
The Dairy of Anne Frank (continued)
Box 86
Title: Dick Turpin
Date: Oct 13, 1932
Based on the novel "Dick Turpin" by: Charles Darnton and Charles Kanyon
Title: Diplomatic Courier
Screenplay by: Casey Robinson and Liam O'Brien
Date: October 8, 1951
Based on the novel "Sinister Errand" by: Peter Cheyney
Title: The Diplomats
Screenplay by: A. Caesar and Clark and MacCullough
Date: October 15, 1929
Title: The Disenchanted
Screenplay by: Julius Epstein
Date: October 19, 1961
Adapted from the novel by: Budd Schulberg
Title: Dixie Sugar
Screenplay by: Lee Loeb and Harold Buchman
Date: Jan 12, 1943
Based upon the characters created by: Joseph P. McEvoy
Title: Do It Again
Screenplay by: Edmund Hartmann
Date: Feb 1, 1961
Box 87
Title: Do Not Disturb
Screenplay by: Milt Rosen and Richard Breen
Date: Jan 4, 1965
From the original play "Some Other Love" by: William Fairchild
Title: Do You Love Me
Screenplay by: Robert Ellis and Helen Logan
Date: April 24, 1946
Based on the story by: Bert Granet
Title: Dr. Bull
Screenplay by: ?
Date: ?
Box 88
Title: Dr. Doolittle
Screenplay by: Leslie Bricusse
Date: October 1967
Based on the Doctor Doolittle stories by: Hugh Lofting
Box 89
Title: Dr. Glas
Screenplay by: Mai Zetterling and David Hughes
Date: August 1968
Based on the novel by: Hjalmar Soderberg
Title: Dog Eat Dog
Screenplay by: Robert Hall and Michael Elkins
Date: Jan 1967
Based on the novel by: Robert Bloomfield "Where Strangers Meet"
Title: A Dog of Flanders
Screenplay by: Ted Sherdeman
Date: Nov 30, 1959
Based on the novel by: Ouida
Box 90
Title: Doll Face
Screenplay by: Leonard Praskins
Date: Nov 17, 1945
Adapted by: Harold Buchman
From a play by: Louise Hovick
Title: The Dolly Sisters
Screenplay by: John Larkin and Marian Spitzer
Date: Sept 17, 1954
Title: Don Juan Quilligan
Screenplay by: Arthur Kober and Frank Gabrielson
Date: June 4, 1945
From a story by: Herbert Clyde Lewis
Title: Don't Bet on Women
Screenplay by:
Date: July 9, 1931
Box 91
Title: Don't Bother to Knock
Screenplay by: Daniel Taradash
Date: May 23, 1953
Based on a novel by: Charlotte Armstrong
Title: Don't Marry
Screenplay by: Anthony Coldeway and Hilda Hess
Date: 1934
Based on a story by: Philip Klein and Sidney Lanfield
Title: Dooley
Screenplay by: Robert Anderson
Date: Feb 21, 1961
Title: Double Cross Roads
Scenario by: Howard Estabrook
Date: Jan 16, 1930
Story by: William Lipman
Title: Double Image
Screenplay by: Charles W. Dwyer
Date: December 1958
From a play by: Roger MacDougall and Ted Allan
Based on a story by: Roy Vickers
Box 92
Title: Double Trouble
Screenplay by: Jameson Brewer
Date: November 25, 1960
Title: Doubting Thomas
Screenplay by: William Conselman
Date: April 26, 1935
From the play "The Torch Bearers" by: George Kelly
Adaptation by: Barlett Cormack
Title: Down Among the Sheltering Palms
Screenplay by: Charles Binyon, Albert E. Lewin, and Burt Styler
Date: Jan 16, 1951
Based on the story by: Edward Hope
Title: Down Argentine Way
Screenplay by: Darrell Ware and Karl Tunberg
Date: Sept 25, 1940
Story by: Rian James and Ralph Spence
Box 93
Title: Down Payment
Screenplay by: Philip Yordan
Date: April 2, 1957
From the novel by: John McPartland
Title: Down to the Sea in Ships
Screenplay by: John Lee Mahin and Sy Bartlett
Date: March 22, 1949
From a story by: Sy Bartlett
Title: Dracula--Prince of Darkness
Screenplay by: John Sansom
Date: September 1965
From an idea by: John Elder
Based on the characters created by: Bram Stoker
Box 94
Title: The Dragon Tree
Screenplay by: Nigel Balchin
Date: July 11, 1960
Title: Dreamboat
Screenplay by: Claude Binyon
Date: July 23, 1952
Based on the story by: John P. Weaver
Title: Dream Napping
Screenplay by: Eli Bauer and Al Kouzel
Date: November 26, 1965
Title: Dressed to Kill
Screenplay by: Stanley Rauh and Manning O'Connor
Date: July 10, 1941
Based on the novel by: Richard Burke
And the character "Michael Shayne" created by: Brett Halliday
Title: Dressed to Thrill
Screenplay by: Samson Raphaelson
Date: July 20, 1935
Adapted from the play "La Couturiere de Luneville" by: Alfred Savoir
Box 95
Title: Drink to Me Only
Screenplay by: Abram S. Ginnes and Ira Wallack
Date: May 25, 1962
Title: Du Rififi a' Paname
Screenplay by: ?
Date: ?
Title: The Duchess and the Smugs
Screenplay by: Beatriz Guido, Leopold Torre-Nilsson, and Paul M. Heller
Date: April 23, 1965
Title: The Dude Rancher
Screenplay by: Barry Barringer
Date: September 21, 1934
From the novel by: Zane Grey
Title: The Earth Dies Screaming
Screenplay by: Henry Cross
Date: July 1964
Title: Earthbound
Screenplay by: Samuel G. Engle
Date: December 28, 1939
Box 96
Earthbound (continued)
Title: East Lynne
Adaptation by: Bradley King and Tom Barry
Date: Aug 10, 1931
Based on the novel "East Lynne" by: Mrs. Henry Wood
Box 97
Title: Educating Father
Screenplay by: Katharine Kavanaugh, Edward T. Lowe, and John Patrick
Date: May 25, 1936
Title: The Egyptian
Screenplay by: Philip Dunne and Casey Robinson
Date: Feb 16, 1954
Based on the novel by: Mika Waltari
Title: Elinor North
Screenplay by: Rose Franken and Philip Klein
Date: October 5, 1934
Based on a story by: Mary Roberts Rinehart
Title: Elopement
Screenplay by: Bess Taffel
Date: Jan 1952
Box 98
Title: Elvira Madigan
Screenplay by: ?
Date: December 1968
Title: The Enemy Below
Screenplay by: Wendell Mayes
Date: 1957
Based on a novel by: Commander D. A. Rayner
Title: The Enemy Within
Screenplay by: Budd Schulberg
Date: April 16, 1962
Based on the novel by: Robert F. Kennedy
Title: Epitaph for an Enemy
Screenplay by: ?
Date: August 27, 1964
Based on the novel "Epitaph for an Enemy" by: George Barr
Box 99
Epitaph for an Enemy (continued)
Title: Escape
Screenplay by: Philip Dunne
Date: June 3, 1948
Title: Escape from Red Rock
Screenplay by: Edward Bernds
Date: October 30, 1957
Box 100
Title: Escape from the Planet of the Apes
Screenplay by: Paul Dehn
Date: October 28, 1970
Based on characters created by: Pierre Boulle
Title: Ester and the King
Screenplay by: Raoul Walsh and Michael Elkins
Date: June 13, 1960
Title: The Eve of St. Mark
Screenplay by: George Seaton
Date: May 23, 1944
Title: Ever Since Eve
Screenplay by: Henry Johnson
Date: Feb 9, 1934
Based on the story "Heir to Hoorah" by: Paul Armstrong
Title: Every Saturday Night
Screenplay by: Edward Eliscu
Date: Jan 24, 1936
Based on the play by: Katarine Kavanaugh
Box 101
Title: Everybody Does It
Screenplay by: Nunnally Johnson
Date: Jan 21, 1949
Based on the story by: James M. Cain
Title: Everybody's Old Man
Screenplay by: Patterson MacNutt and A. E. Thomas
Date: Mar 7, 1936
Suggested by the story by: Edgar Franklin
Title: Everything Happens at Night
Screenplay by: Art Arthur and Robert Harari
Date: Dec 12, 1939
Title: Evidence
Spanish version by: F. M. de la Torre
Date: October 28, 1930
Title: Evil Come, Evil Go
Screenplay by: Rod Serling
Date: May 31, 1966
Title: The Eyes of Annie Jones
Screenplay by: Louis Vittes
Date: Sept 6, 1963
From a story by: Henry Slesar
Box 102
Title: F as in Flint
Screenplay by: Hal Fimberg
Date: March 22, 1966
Title: F. P. One
Screenplay by: ?
Date: June 29, 1933
Title: Fabulous Las Vegas
Narration written by: Stephen White
Date: September 14, 1954
Title: The Face in the Sky
Scenario by: Humphrey Pearson
Date: November 7, 1932
Story by: Miles Connolly
Title: Fair Warning
Scenario by: Ernest Pascal
Date: July 23, 1930
Story by: Max Brand
Title: Faites Sauter le Banque
Scenario and Adaptation by: Jacques Vilfrid and Jean Girault
Date: ?
Story by: Louis Sapin and Jean Valmont
Title: The Fall of a Titan
Screenplay by: Igor Gouzenko
Date: 1955
Title: Fallen Angel
Screenplay by: Harry Kleiner
Date: October 17, 1945
Based on the novel by: Marty Holland
Box 103
Fallen Angel (continued)
Title: Family Doctor
Screenplay by: ?
Date: ?
Adapted from the novel "The Deeds of Dr. Deadcert" by: Joan Fleming
Title: The Fan
Screenplay by: Walter Reisch and Dorothy Parker and Rose Evans
Date: June 25, 1948
Based on Oscar Wilde's "Lady Windemere's Fan"
Box 104
Title: Fantastic Voyage
Screenplay by: Harry Kleiner
Date: July 8, 1966
Adaptation by: David Duncan
Based on the story by: Otto Klement and Jay Lewis Bixby
Box 105
Title: Fantomas Anglais
Screenplay by: ?
Date: ?
Title: A Farewell to Arms
Screenplay by: Ben Hecht
Date: Jan 10, 1958
From the novel by: Hemingway
And the play by: Lawrence Stallings
Title: Farewell to Yesterday
Screenplay by: Joseph Kenas
Date: 1950
Title: The Farmer Takes a Wife
Screenplay by: Walter Bullock, Sally Benson, and Joseph Fields
Date: June 15, 1935
From the stage play by: Frank B. Elser and Marc Connelly
Based on the novel "Rome Haul" by: Walter D. Edmonds
Box 106
The Farmer Takes a Wife (continued)
Title: The Fast Life
Screenplay by: Peter Achilles
Date: November 1962
From a story by: Peter Achilles and Nel King
Title: Fate is the Hunter
Screenplay by: Harold Medford
Date: July 8, 1964
Based on the novel by: Earnest K. Gann
Title: The Fate of Paul Perreau
Screenplay by: Tom Cannan, Jr. and Randall Hood
Date: Feb 19, 1962
From an original account by: Hannah Firoved
Box 107
Title: Father Was a Fullback
Screenplay by: Aleen Leslie, Carey Robinson, Mary Loos, and Richard Sale
Date: September 2, 1949
Suggested by a play by: Clifford Goldsmith
Title: Fathom
Screenplay by: Lorenzo Semple, Jr.
Date: September 1, 1966
Title: Fazil
Dialogue taken from the screen by: D. Torres and L. Burke
Date: ?
Title: The Fiend Who Walked the West
Screenplay by: Harry Brown and Philip Yordan
Date: August 11, 1958
Based on a screen play by: Ben Hecht and Charles Lederer
From a story by: Eleazar Lipsky
Box 108
Title: The Fiercest Heart
Screenplay by: Edmund H. North
Date: September 16, 1960
Based on a novel by: Stuart Cleote
Title: Fighting Back
Screenplay by: ?
Date: ?
Title: The Fighting Lady
Narration by: John Stuart Martin and Eugene Ling
Date: September 27, 1944
Title: The Fighting Men of the Plains
Screenplay by: Frank Gruber
Date: August 23, 1949
From his novel "Fighting Man"
Box 109
Title: Fireball
Screenplay by: Horace McCoy
Date: Jan 9, 1950
Story by: Tay Garnett and Horace McCoy
Title: The Firebrand
Screenplay by: Harry Spalding
Date: July 26, 1962
Box 110
Title: Five Fingers
Screenplay by: Michael Wilson
Date: Jan 26, 1952
From the novel by: L. C. Moyzisch, former military attache at the German Embassy at Ankara, Turkey
Title: Five Gates to Hell
Screenplay by: James Clavell
Date: December 7, 1959
Title: Five of a Kind
Screenplay by: Lou Breslow and John Patrick
Date: March 31, 1938
Box 111
Title: Five Weeks in a Balloon
Screenplay by: Charles Bennett, Irwin Allen and Albert Gall
Date: Feb 21, 1962
By the novel by: Jules Verne
Title: Fixed Bayonets
Screenplay by: Samuel Fuller
Date: July 16, 1951
Suggested by a novel by: John Brophy
Box 112
Title: Flame of the Forest
Screenplay by: Simon Winchelberg (English Version)
Date: May 17, 1956
From a screen play by: Enakshi Bhavnani and Ragendra bedi Singh
Title: Flaming Frontier
Screenplay by: Louis Steven
Date: Jan 15, 1958
Title: Flaming Star
Screenplay by: Clair Huffaker and Nunnally Johnson
Date: July 20, 1960
Based on a novel by: Clair Huffaker
Box 113
Title: Flamingo
Screenplay by: ?
Date: April 24, 1947
Title: A Flea in Her Ear
Screenplay by: John Mortimer
Date: April 4, 1968
Based on John Mortimer's English stage adaptation of George Feydeau's original play "La Puce a l'Oreille"
Title: The Flight of the Phoenix
Screenplay by: Lukas Heller
Date: Nov 5, 1965
From a novel by: Elleston Trevor
Box 114
The Flight of the Phoenix (continued)
Title: The Flim-Flam Man
Screenplay by: William Rose
Date: April 13, 1967
Based on the novel by: Guy Owen
Box 115
Title: The Fly
Screenplay by: James Clavell
Date: Feb 27, 1958
Based on a story by: George Langelaan
Title: The Flying Hustler
Original Treatment by: Beirne Lay, Jr.
Date: Feb 24, 1958
Title: Follow the Sun
Screenplay by: Frederick Hazlitt Brennan
Date: March 14, 1951
Based on an article published in "The Reader's Digest" by: Frederick Hazlitt Brennan
Box 116
Title: Footlight Serenade
Screenplay by: Robert Ellis, Helen Logan and Lynn Starling
Date: July 17, 1942
Based on a story by: Fidel Labara and Kenneth Earl
Title: Footprint on the Moon
Narration written by: Robert S. Scott
Date: September 9, 1969
Title: For Beauty's Sake
Screenplay by: Wanda Tuchock, Ethel Hill, and Walter Bullock
Date: October 1, 1940
Based on a story by: Clarence Budington Kelland
Title: For Heaven's Sake
Screenplay by: George Seaton
Date: October 6, 1950
Based on a play by: Harry Segal
Box 117
Title: For the Love of Mike
Screenplay by: D. D. Beauchamp
Date: June 17, 1960
Title: Forbidden Melody
Adapted to the screen by: Paul Perez and Enrique Jardiel Poncela
Date: 1933
Title: The Forbidden Street
Screenplay by: Ring Lardner, Jr.
Date: April 27, 1949
Based on the novel "Britannia Mews" by: Margery Sharp
Title: Forever Amber
Adaptation by: Jerome Cady
Date: October 15, 1947
From the novel by: Kathleen Winsor
Title: Fort Courageous
Screenplay by: Richard Landau
Date: January 26, 1965
Box 118
Title: Four Jills in a Jeep
Screenplay by: Robert Ellis and Helen Logan and Snag Werris
Date: March 10, 1944
Story by: Froma Sand and Fred Niblo, Jr.
Based on the actual experiences of: Kay Francis, Carole Landis, Martha Raye and Mitzi Mayfair
Title: Four Clowns
Screenplay by: Robert Youngson
Date: 1969
Title: Four Sons
Screenplay by: John Howard Lawson
Date: Feb 19, 1940
Title: Fourteen Hours
Screenplay by: John Paxton
Date: December 8, 1950
From a story by: Joel Sayre
Box 119
Title: Forty Guns
Screenplay by: Samuel Fuller
Date: Feb 25, 1957
Title: Fraulein
Screenplay by: Leo Townsend
Date: Mar 18, 1958
Based on a novel by: James McGovern
Title: Francis of Assisi
Screenplay by: Eugene Vale, James Forsyth, and Jack Thomas
Date: 1961
Based on a novel by: Louis de Wohl
Box 120
Title: Frankenstein Created Woman
Screenplay by: John Elder
Date: Feb 6, 1967
Title: Freckles
Screenplay by: Harry Spalding
Date: October 1960
Based on the novel by: Gene Stratton-Porter
Title: Free, Blonde and 21
Screenplay by: Frances Hyland
Date: Feb 27, 1940
Title: French Connection
Screenplay by: Ernest Tidyman
Date: November 1971
Based on a novel by: Philip D'Antoni
Box 121
Title: Frenzy of Peace and Quiet
Screenplay by: John D. Hess
Date: 1958
Title: Frienship
Screenplay by: ?
Date: July 31, 1930
Title: The Frogmen
Screenplay by: John Tucker Battle
Date: July 1951
Story by: Oscar Millard
Title: From Hell to Texas
Screenplay by: Robert Buckner and Wendell Mayes
Date: March 31, 1958
Based on a novel by: Charles O. Locke
Box 122
Title: From the Terrace
Screenplay by: Ernest Lehman
Date: Nov 23, 1959
Title: Frontier Gambler
Screenplay by: Orville Hampton
Date: 1956
Box 123
Title: Frontier Gun
Screenplay by: Stephen Kandel
Date: May 19, 1958
Title: Frozen Justice
Scenario by: Sonya Levein
Date: August 26, 1929
Story by: Owen Davis
Based on the novel by: Ejnar Mikkelsen
Title: La Fuga
Screenplay by: Sergio Amidei
Date: ?
From an idea by: Paolo Spinola and Carla Conti
Box 124
Title: Fury at Bahia
Screenplay by: ?
Date: ?
Title: Fury at Furnace Creek
Screenplay by: Charles G. Booth
Date: April 13, 1948
Suggested by a story by: David Garth
Title: The Gambler from Natchez
Screenplay by: Gerald Drayson Adams and Irving Wallace
Date: Nov 10, 1954
From a story by: Gerald Drayson Adams
Title: A Game for Lovers
Adapted by: William Murray
Date: ?
Box 125
Title: The Games
Screenplay by: Erich Segal Date: Feb 14, 1970
From the novel by: Hugh Atkinson
Title: Gang Way
Screenplay by: Louis Vittes
Date: Feb 27, 1958
Based on the novel "The Hoods Take Over" by: Ovid Demaris
Title: Garden of Evil
Screenplay by: Frank Fenton
Date: July 9, 1954
From a story by: Freiberger and William Turnberg
Box 126
Title: The Gay Caballero
Scenario by: Philip Klein and Barry Conners
Date: Jan 20, 1932
Story by: Tom Gill
Title: The Gay Deception
Screenplay by: Stephen Avery and Don Hartman
Date: August 21, 1935
Title: The Gay Intruders
Screenplay by: Francis Swann
Date: Feb 26, 1948
Story by: Ray McCarey and Francis Swann
Title: Gentle Julia
Screenplay by: Lamar Trotti
Date: Jan 11, 1936
Based on the novel by: Booth Tarkington
Title: Gentleman at Heart
Screenplay by: Lee Loeb and Harold Buchman
Date: Jan 6, 1942
Based on the story "Masterpiece" by: Paul Hervey Fox
Title: Gentleman's Agreement
Screenplay by: Moss Hart
Date: Nov 14, 1947
Box 127
Title: Gentlemen Prefer Blondes
Screenplay by: Charles Lederer
Date: June 10, 1953
Based on a musical comedy by: Joseph Fields, and Anita Loos
Title: Ghost Diver
Screenplay by: Richard Einfeld and Merrill G. White
Date: October 22, 1957
Title: The Ghost Talks
Screenplay by: Lew Seiler and Frederick Brennan
Date: Sept 6, 1928
Author: Max Marcin and Edward Hammond
Box 128
Title: The Gift of Love
Screenplay by: Luther Davis
Date: 1958
Based on the story by: Nelia Gardner White
Title: Gigot
Screenplay by: John Patrick
Date: 1962
Based on the screen play by: Jackie Gleason
Title: Ginger
Screenplay by: Arthur Kober
Date: May 28, 193
Title: The Girl Can't Help It
Screenplay by: Frank Tashlin and Herbert Baker
Date: December 27, 1956
Box 129
Title: The Girl from Avenue A
Screenplay by: Frances Hyland
Date: July 29, 1940
Based on the play "The Brat" by: Maude Fulton
Title: The Girl from Havana
Scenario by: Edwin H. Burke
Date: April 26, 1929
Story by: John Stone
Title: The Girl in the News
Screenplay by: Sidney Gilliat
Date: 1940
From the novel by: Roy Vickers
Title: The Girl in the Red Velvet Swing
Screenplay by: Walter Reisch and Charles Brackett
Date: May 13, 1955
Title: The Girl in 313
Screenplay by: Barry Trivers and Clay Adams
Date: April 25, 1940
Original story by: Hilda Stone
Box 130
Title: The Girl Next Door
Screenplay by: Isobel Lennart
Date: March 4, 1953
Based on a story by: L. Bush-Fekete and Mary Helen Fay
Title: The Girl on the Bridge
Screenplay by: Hugo Haas and Arnold Phillips
Date: December 12, 1951
Title: Girl Trouble
Screenplay by: Ladislas Fodor and Robert Riley Crutcher
Date: September 16, 1942
Original story by: Ladislas Fodor, Vicki Baum, and Guy Trosper
Box 131
Title: Girl's Dormitory
Screenplay by: Gene Markey
Date: July 23, 1936
From a play by: Ladislaus Fodor
Title: Give My Regards to Broadway
Screenplay by: Samuel Hoffenstein and Elizabeth Reinhardt
Date: June 18, 1948
Based on a story by: John Klempner
Title: The Glory Brigade
Screenplay by: Franklin Coen
Date: September 2, 1952
Box 132
Title: God Is My Partner
Screenplay by: Charles Francis Royal
Date: May 16, 1957
Title: Gods of the Road
Narration by: Plato Skouras
Date: January 18, 1956
Title: The Golden Calf
Scenario by: Marion Orth and Millarde Webb
Date: December 23, 1929
Title: The Golden Age of Comedy
Screenplay by: ?
Date: September 1959
Title: Golden Girl
Screenplay by: Walter Bullock, Charles O'Neal, Gladys Lehman
Date: December 1951
From a story by: Albert and Arthur Lewis and Edward Thompson
Box 133
Title: Golden Hoofs
Screenplay by: Ben Grauman Kohn
Date: Feb 18, 1941
Original story by: Roy Chanslor and Thomas Logan
Title: The Golden Link
Screenplay by: Allan MacKinnon
Date: 1954
Title: The Golden West
Scenario by: Gordon Rigby
Date: September 24, 1932
Based on a story by: Zane Grey
Title: The Good Companions
Screenplay by: ?
Date: August 25, 1933
Title: Good Intentions
Scenario by: George Manker Watts
Date: March 29, 1930
Story by: William K. Howard
Title: Good Morning, Miss Dove
Screenplay by: Eleanore Griffin
Date: 1955
From the novel by: Frances Gray Patton
Box 134
Title: Goodbye Charlie
Screenplay by: Harry Kurnitz
Date: October 9, 1964
Based on the play by: George Axelrod
Produced on the stage by: Leland Hayward
Title: Gorilla at Large
Screenplay by: Leonard Prskins and Barney Slater
Date: April 14, 1954
Box 135
Title: Les Gorilles
Screenplay by: ?
Date: ?
Title: Goya
Screenplay by: Albert Lewin
Date: September 25, 1957
From the adaptation by: Talbot Jennings
Title: Grand Canary
Screenplay by: Ernest Pascal
Date: June 23, 1934
Taken from the novel by: A. J. Cronin
Title: Le Grand Meaulnes
Screenplay by: ?
Date: 1967
Title: Les Grands Chemins
Screenplay by: ?
Date: ?
Title: The Great Commandment
Screenplay by: Dana Burnet
Date: January 10, 1941
Title: The Great White Hope
Screenplay by: Howard Sacklar
Date: September 14, 1970
Box 136
Title: The Greatest Raid of All
Screenplay by: John Collier
Date: February 28, 1962
Title: The Greatest Story Ever Told
Screenplay by: ?
Date: ?
Title: El Greco
Screenplay by: Guy Elmes
Date: October 11, 1965
Title: Green Grass of Wyoming
Screenplay by: Martin Berkeley
Date: May 20, 1948
Based on the novel by: Mary O'Hara
Box 137
Title: Greenwich Village
Screenplay by: Earl Baldwin and Walter Bullock
Date: August 21, 1944
Adaptation by: Michael Fessier and Ernest S. Pagano
Suggested by a story by: Frederick Hazlitt Brennan
Title: Grenadiers of Love
Screenplay by: John Reinhardt and Jose Lopez Rubio
Date: March 16, 1934
Based on a story by: William Kernell and John Reinhardt
Title: Guerilla Girl
Screenplay by: John Byrne and Ben Parker
Date: 1953
Title: The Guest
Screenplay by: Eugene Ling
Date: November 1951
Title: A Guide for the Married Man
Screenplay by: Frank Tarloff
Date: February 23, 1967
Based on the book by: Frank Tarloff
Title: The Gunfighter
Screenplay by: William Bowers and William Sellers
Date: April 11, 1950
Based on a story by: William Bowers and Andre de Toth
Box 138
Title: Guns at Batasi
Screenplay by: Robert Holles
Date: July 17, 1964
Based on his novel "The Siege of Battersea"
Original adaptation by: Leo Marks and Marshall Pugh
Title: The Guy Who Came Back
Screenplay by: Allan Scott
Date: May 26, 1951
Based on a story in the Saturday Evening Post by: William Fay
Box 139
Title: Hardi Paraillan
Screenplay by: ?
Date: ?
Title: Half Angel
Screenplay by: Robert Riskin
Date: April 1951
Based on a story by: George Carlton Brown
Title: Half Past Midnight
Screenplay by: Arnold Belgard
Date: April 30, 1948
Box 140
Title: Halls of Montezuma
Screenplay by: Michael Blankfort
Date: December 18, 1950
Title: Hand of Death
Screenplay by: Eugene Ling
Date: 1961
Title: The Hand of Mary Constable
Screenplay by: Richard Murphy
Date: October 1, 1964
Title: Handy Andy
Adaptation by: Kubec Glasman
Date: May 2, 1934
From the story "Merry Andrew" by: Lewis Beach
Title: Happy Days
Screenplay by: Edwin Burk, Sydney Lanfield
Date: December 17, 1929
Box 141
Title: Happy Land
Screenplay by: Kathryn Scola and Julien Josephson
Date: December 13, 1943
From the novel by: MacKinlay Kantor
Title: Harbor Lights
Screenplay by: Henry Cross
Date: June 28, 1963
Title: Hard Contract
Screenplay by: S. Lee Pogostin
Date: April 7, 1969
Box 142
Title: Hard Rock Harrigan
Screenplay by: Raymond L. Schrock and Dan Jarrett
Date: July 1, 1935
Story by: Charles Furthman
Title: Harmony at Home
Scenario by: Edwin Burke and Lester
Date: November 2, 1929
Story by: Harry Delf
Title: Harry Black and the Tiger
Screenplay by: Syndey Boehm
Date: September 2, 1958
Based on the book by: David Walker
Title: A Hatful of Rain
Screenplay by: Michael Vincent Gazzo and Alfred Hayes
Date: May 16, 1957
Based on the play by: Michael Vincent Gazzo
Produced on the stage by: Jay Julien
Box 143
A Hatful of Rain (continued)
Title: He Hired the Boss
Screenplay by: Ben Markson and Irving Cummings, Jr.
Date: December 23, 1942
Based on the story by: Peter B. Kyne
Title: He Married His Wife
Screenplay by: Sam Hellman, Darrell Ware, Lynn Starling, and John O'Hara
Date: December 29, 1939
Original Story by: Erna Lazarus and Scott Darling
Title: Heartbreak
Scenario by: William Conselman
Date: August 6, 1931
Story by: Llewellyn Hughes
Title: Hearts in Dixie
Scenario by: Paul Sloane and A. H. Van Buren
Date: November 1928
From the story by: Walker Weems
Box 144
Title: Heaven Can Wait
Screenplay by: Samson Raphaelson
Date: July 7, 1943
Based on the play "Birthday" by: Laslo Bus-Fekete
Title: Heaven Knows, Mr. Allison
Screenplay by: John Lee Mahin and John Huston
Date: March 1957
Based on a novel by: Charles Shaw
Title: Heidi
Screenplay by: Walter Ferris and Julien Josephson
Date: Oct 6, 1937
Box 145
Title: Hell and High Water
Screenplay by: Jesse L. Lasky, Jr. and Samuel Fuller
Date: Feb 19, 1954
Based on a story by: Charles O. Locke
Title: The Hell-Bent Kid
Screenplay by: Charles O. Locke and Robert Buckner
Date: September 23, 1957
From the novel by: Charles O. Locke
Title: Hell in the Heavens
Screenplay by: Byron Morgan and Ted Parsons
Date: October 20, 1934
Based on the story by: Hermann Rossmann
Box 146
Title: Hell on Devil's Island
Screenplay by: Stephen Ritch
Date: May 20, 1957
Based on an unpublished story by: Arndt and Ethel Giusti
Title: Hell Raisers
Screenplay by: Barre Lyndon
Date: Jan 29, 1959
Box 147
Title: Hello Dolly
Screenplay by: Ernest Lehman
Date: August 1969
Based on the stage play "Hello Dolly"
Produced on the New York stage by: David Merrick
Book of stage play by: Michael Stewart
Based on "The Matchmaker" by: Thorton Wilder
Title: Hellstrom Chronicle
Screenplay by: ?
Date: July 1971
Box 148
Title: Hemingway's Adventures of a Young Man
Screenplay by: A. E. Hotchner
Date: May 24, 1962
Based on stories by: Ernest Hemingway
Title: Here Comes the Jets
Screenplay by: Louis Vittes
Date: May 15, 1959
Title: Here Comes Trouble
Screenplay by: Robert Ellis, Helen Logan, Barry Trivers
Date: Jan 29, 1936
Based on the original story by: John Bright and Robert Trasker
Title: Here I Am a Stranger
Screenplay by: Milton Sperling and Sam Hellman
Date: September 19, 1939
Based on the story by: Gordon Malherbe Hillman
Title: Here's to Romance
Screenplay by: Ernest Pascal and Arthur Richman
Date: September 4, 1935
Original story by: Ernest Pascal and Sonya Levien
Title: Hey, Hey, U.S.A.
Scenario by: J. O. C. Orton, Dial-Val Guest and Marriot Edgar
Date: ?
Based on the story by: Jack Swain
Box 149
Title: High-Powered Rifle
Screenplay by: Joseph Fritz
Date: April 22, 1960
Story by: Thomas Geary
Title: High School
Screenplay by: Jack Jugmeyer, Edith Skouras and Harold Tarshis
Date: October 27, 1939
Based on an idea by: Robert Ellis and Helen Logan
Title: High Society Blues
Scenario by: Howard J. Green
Date: March 3, 1930
Story by: Dana Burnet
Title: High Time
Screenplay by: Tom Waldman and Frank Waldman
Date: September 16, 1960
Based on the story by: Garson Kanin
Box 150
Title: A High Wind in Jamaica
Screenplay by: Stanley Mann, Ronald Harwood, Dennis Cannan
Date: April 12, 1965
From the novel by: Richard Hughes
Title: Hilda Crane
Screenplay by: Philip Dunne
Date: April 18, 1956
Based on the play presented on the stage by: Arthur Schwartz
From the play by: Samson Raphaelson
Box 151
Title: Hold Me Tight
Screenplay by: Gladys Lehman
Date: May 15, 1933
Story by: Gertrude Rigdon
Title: Hold That Girl
Screenplay by: Dudley Nichols and Lamar Trotti
Date: Jan 8, 1934
Story by: Dudley Nichols and Lamar Trotti
Title: Holiday for Lovers
Screenplay by: Luther Davis
Date: June 24, 1959
Based on the play by: Ronald Alexander
Title: Hollywood
Screenplay by: Joseph H. Eaton
Date: 1970
Title: Holy Matrimony
Screenplay by: Nunnally Johnson
Date: August 10, 1943
From the novel by: Arnold Bennett
Box 152
Title: The Holy Terror
Scenario by: Alfred A. Cohn
Date: June 22, 1931
Story by: Max Brand
Title: Hombre
Screenplay by: Irving Ravetch and Harriet Frank, Jr.
Date: Jan 23, 1967
From the novel by: Elmore Leonard
Title: Home in Indiana
Screenplay by: Winston Miller
Date: May 9, 1944
Based on the Saturday Evening Post story "The Phantom Filly" by: George Agnew Chamberlain
Box 153
Title: Home Sweet Homicide (CDS/mimeograph/157p)
Screenplay by: F. Hugh Herbert
Date: July 19, 1946
Based on the novel by: Craig Rice
Title: The Home Stretch (CDS/mimeograph/191p+second copy marked "Spotted List"/A)
Screenplay by: Wanda Tuchock
Date: May 6, 1947
Title: The Honeymoon's Over (CDS/mimeograph/147p)
Screenplay by: Hamilton McFadden, Clay Adams, and Leonard Hoffman
Date: October 1939
Based on the play: "Six Cylinder Love" by William Anthony McGuire
Title: The Horror Of It All (CDS marked "Release Script," two copies, one lightly annotated, 95p)
Screenplay by: Ray Russell
Date: February 1964
Box 154
Title: The Horror of Party Beach
Screenplay by: Richard Hilliard
Date: 1963
Title: Hot For Paris
Scenario by: William K. Wells
Date: November 21, 1929
Story by: Raoul Walsh
Adaptation by: Charles McGuirk
Title: The Hot Rock
Screenplay by: William Goldman
Date: Jan 17, 1972
From the novel by: Donald E. Westlake
Title: Hound-Dog Man
Screenplay by: Winston Miller and Fred Gipson
Date: April 28, 1959
Based on the novel by: Fred Gipson
Box 155
Title: House of Bamboo
Screenplay by: Harry Kleiner
Date: July 1, 1955
Additional dialogue by: Samuel Fuller
Title: House of Blackmail
Screenplay by: Allan MacKinnon
Date: ?
Title: House of Strangers
Screenplay by: Philip Yordan
Date: June 9, 1949
Based on the novel by: Jerome Weidman
Title: House of the Damned
Screenplay by: Harry Spalding
Date: 1963
Box 156
Title: The House on Telegraph Hill
Screenplay by: Elick Moll and Frank Partos
Date: Feb 2, 1951
Based on the novel by: Dana Lyon
Title: House Party
Screenplay by: ?
Date: March 9, 1965
Title: How to Be Very, Very Popular
Screenplay by: Nunnally Johnson
Date: July 20, 1955
Based on a play by: Howard Linday
From the novel by: Edward Hope
And a play by: Lyford Moore and Harlan Thompson
Box 157
Title: How to Commit Marriage
Screenplay by: Ben Starr and Michael Kanin
Date: April 28, 1969
Title: How to Marry a Millionaire
Screenplay by: Nunnally Johnson
Date: October 26, 1953
Based on plays by: Zoe Akins, Dale Eunson and Katerine Albert
Title: How to Steal a Million
Screenplay by: Harry Kurnitz
Date: June 14, 1966
Based on the story by: George Bradshaw
Box 158
Title: Human Cargo
Screenplay by: Jefferson Parker and Doris Malloy
Date: April 16, 1936
Based on the novel "I Will Be Faithful" by: Kathleen Shepard
Title: Humanity
Scenario by: Bradley King
Date: February 11, 1933
Story by: Harry Fried
Title: The Hunchback
Screenplay by: ?
Date: ?
Title: A Hundred ways to Die
Screenplay by: Roger O. Hirson and Ron Winston
Date: March 14, 1963
Title: The Hunters
Screenplay by: Wendell Mayes
Date: August 25, 1958
Based on the novel by: James Salter
Box 159
The Hunters (continued)
Title: Hush...Hush, Sweet Charlotte
Screenplay by: Henry Farrell and Lukas Heller
Date: May 11, 1964
From a story by: Henry Farrell
Title: The Hustler
Screenplay by: Sydney Carroll and Robert Rossen
Date: September 26, 1961
Based on the novel by: Walter S. Tevis
Box 160
Title: I Believed in You
Screenplay by: William Conselman
Date: Nov 28, 1933
From an idea by: William Anthony McGuire
Title: I Can Get it for You Wholesale
Screenplay by: Abraham Polonsky
Date: March 19, 1951
Adaptation by: Vera Casparay
From the novel by: Jerome Weidman
Title: I Cheated the Law
Screenplay by: Richard G. Hubler
Date: March 4, 1949
Story by: Sam Baerwitz
Box 161
Title: I Deal in Danger
Screenplay by: Larry Cohen
Date: June 30, 1966
Title: The I Don't Care Girl
Screenplay by: Walter Bullock
Date: December 8, 1952
Title: I Live in Grosvenor Square
Screen treatment by: Monkon Hoffe
Date: September 28, 1945
A Diary complied by: Maurice Cowan
Title: I Love You Madly
Screenplay by: Jose Lopez Rubio and Paul Perez
Date: May 10, 1935
Based on the story by: Enrique Garcia Velloso
Box 162
Title: I Loved You Wednesday
Screenplay by: ?
Date: June 2, 1933
Title: I, Mobster
Screenplay by: Steve Fisher
Date: 1958
From the novel "I, Mobster" by: Joseph Hilton Smyth
Title: I Was a Male War Bride
Screenplay by: Charles Lederer, Leonard Spigelgass, and Hagar Wilde
Date: August 15, 1949
From a story by: Henri Rochard
Title: I Was a Spy
Scenario and dialogue by: W. P. Lipscomb
Date: November 27, 1933
Story by: Marthe McKenna
Box 163
Title: I Will Return to Kandara
Screenplay by: ?
Date: ?
Title: I Wonder Who's Kissing Her Now
Screenplay by: Lewis R. Foster
Date: July 22, 1947
Title: Iceland
Screenplay by: Robert Ellis and Helen Logan
Date: August 11, 1942
Title: I'd Climb the Highest Mountain
Screenplay by: Lamar Trotti
Date: January 10, 1951
From a novel by: Corra Harris
Title: An Ideal Husband
Screenplay by: Lajos Biro
Date: Jan 28, 1948
Based on "An Idea Husband" by: Oscar Wilde
Box 164
Title: The Idiot
Adaptation by: Ivan Pyriev
Date: 1959
After the novel by: Fyodor Dostoyevsky
Title: If He Hollars Let Him Go
Screenplay by: Charles Martin
Date: 1968
Title: If I'm Lucky
Screenplay by: Snag Werris, Robert Ellis, Helen Logan, and George Brickner
Date: August 28, 1946
Title: If This Be Sin
Screenplay by: ?
Date: ?
Title: I'll Get By
Screenplay by: Mary Loos and Richard Sale
Date: Feb 28, 1950
From a screen story by: Robert Ellis, Helen Logan and Pamela Harris
Box 165
Title: I'll Never Forget You
Screenplay by: Ranald McDougall
Date: October 30, 1951
Based on the play by: John L. Balderston
Title: Illicit
Screenplay by: Oscar Saul
Date: August 3, 1962
Based on a story by: Vera Caspary
Title: Immortal Sergeant
Screenplay by: Lamar Trotti
Date: Jan 6, 1943
From the novel by: John Brophy
Title: In Like Flint
Screenplay by: Hal Fimberg
Date: May 9, 1966
Box 166
Title: In Love and War
Screenplay by: Edward Anhalt
Date: November 6, 1958
Based on the novel by: Anton Myrer
Title: In Old Chicago
Screenplay by: Lamar Trotti and Sonya Levein
Date: Jan 3, 1938
Based on a story by: Niven Busch
Title: In Old Kentucky
Screenplay by: Sam Hellman and Gladys Lehman
Date: Jul 19, 1935
Based on a play by: Charles T. Dazey
Title: In the Meantime, Darling
Screenplay by: Arthur Kober, Michael Uris
Date: August 28, 1944
Box 167
Title: In This Sign
Screenplay by: Sally and Philip Scharper
Date: 1959
Based on "Constantine the Great and Helena"
Title: The Incident
Screenplay by: Nicholas E. Baehr
Date: Nov 13, 1967
Title: Infernal Machine
Scenario by: Arthur Kober
Date: January 27, 1933
Story by: Carl Sloboda
Title: Inferno
Screenplay by: Francis Cockrell
Date: July 24, 1953
Box 168
Title: Inn of the Sixth Happiness
Screenplay by: Isobel Lennart
Date: September 26, 1958
Based on "The Small Woman" by: Alan Burgess
Box 169
Inn of the Sixth Happiness (continued)
Title: The Innocents
Screenplay by: William Archibald and Truman Capote
Date: November 1961
Based on the story "The Turn of the Screw" by: Henry James
Additional scenes and dialogue: John Mortimer
Title: The Inspector
Screenplay by: Nelson Gidding
Date: Feb 27, 1961
Based on the novel "The Inspector" by: Jan De Hartog
Title: Insurance--Italian Style
Screenplay by: Charles Dyer
Date: April 17, 1967
Title: Insure Your Wife
Screenplay by: Enrique Jardiel Poncela, Helen Logan, and Robert Ellis
Date: December 27, 1934
Based on a story by: Julis Escobar
Box 170
Title: Intent to Kill
Screenplay by: Jimmy Sangster
Date: July 8, 1958
Based on the novel "Intent to Kill" by: Michael Bryan
Title: The Invisible Wall
Screenplay by: aronld Belgard
Date: August 13, 1947
Based on the story by: Howard J. Green and Paul Frank
Title: Io La Conoscevo Bene
Screenplay by: ?
Date: ?
Title: Irish Eyes Are Smiling
Screenplay by: Earl Baldwin and John Tucker Battle
Date: Oct 18, 1944
Based on a story by: E. A. Ellington
Box 171
Title: The Iron Butterfly
Screenplay by: Lee Rogow
Date: March 28, 1956
Title: The Iron Curtain
Screenplay by: Milton Krims
Date: May 13, 1948
Based on the personal story of Igor Gouzenko, Former Code Clerk, U.S.S.R. Embassy in Ottawa, Canada
Title: Island in the Sun
Screenplay by: Alfred Hayes
Date: Oct 5, 1956
Story by: Alec Waugh
Title: Isles of Lore
Screenplay by: Joe Wills
Date: May 12, 1955
Box 172
Title: It All Happened in Madrid
Screenplay by: J. T. O'Brian and Carlos Gomez
Date: June 13, 1962
Title: It Could Happen to You
Screenplay by: Allen Rivkin and Lou Bresnow
Date: 1939
Based on an original story by: Charles Hoffman
Title: It Had to Happen
Screenplay by: Howard Ellis Smith and Katherine Scola
Date: Feb 4, 1936
Story by: Rupert Hughes
Title: It Happened in Athens
Screenplay by: Laslo Vanday
Date: Feb 23, 1962
Title: It Happened in Flatbush
Screenplay by: Harold Buchman and Leo Loeb
Date: May 21, 1942
Title: It Happened Out West
Screenplay by: Earle Snell and John Roberts
Date: May 6, 1937
Box 173
Title: It Happens Every Spring
Screenplay by: Valentine Davies
Date: May 6, 1949
Based on a story by: Shirley W. Smith and Valentine Davies
Title: It Shouldn't Happen to a Dog
Screenplay by: Eugene Ling and Frank Gabrielson
Date: May 16, 1946
Based on a story by: Edwin Lanham
Title: It's a Small World
Screenplay by: Gladys Lehman and Sam Hellman
Date: April 1, 1935
From the story "Highway Robbery" by: Albert Treynor
Title: It's Everybody's War
Screenplay by: Will Price
Date: Nov 9, 1942
Title: The Jackals
Screenplay by: Lamar Trotti and Harold Medford
Date: August 1, 1967
From a story by: W. R. Burnett
Box 174
Title: The Jackpot
Screenplay by: Pheobe and Henry Ephron
Date: Oct 6, 1950
Based on an article in the New Yorker by: John McNulty
Title: Jan and Dean
Screenplay by: Ruth Brooks Flippen
Date: Nov 11, 1965
Title: Jan and Dean...At Large
Screenplay by: Ruth Brooks Flippen
Date: Nov 24, 1965
Title: Jan and Dean Jazz
Screenplay by: Ruth Brooks Flippen
Date: October 25, 1965
Title: Jane Eyre
Screenplay by: Aldous Hulxey, Robert Stevenson, and John Houseman
Date: 1943
Based on a novel by: Charlotte Bronte
Box 175
Title: Japanese War Bride
Screenplay by: Catherine Turney
Date: Feb 1952
Story by: Anson Bond
Title: Jascha Heifetz
Screenplay by: John Paxton
Date: 1950
Title: Je Reviendrai a Kandara
Screenplay by: Jacques Companeez, Alex Joffe, Victor Vicas
Date: ?
Based on the novel by: Jean Hougron
Title: Je Suis Un Sentimental
Screenplay by: John Berry, Lee Gold, Tamara Hovey
Date: ?
Title: Jennie
Screenplay by: Harold Buchman and Maruice Rapf
Date: October 25, 1940
Original story by: Jane Eberle
Box 176
Title: Jet Carrier
Screenplay by: ?
Date: October 8, 1954
Title: Jewels of Brandenburg
Screenplay by: Irving Elman, Irving Cummings, Jr. and Robert G. North
Date: 1947
Original story by: Irving Cummings, Jr. and Robert G. North
Title: Jimmy and Sally
Screenplay by: Paul Schofield and Marguerite Roberts
Date: November 13, 1933
Title: Jitterbugs
Screenplay by: Scott Darling
Date: May 3, 1943
Box 177
Title: Joanna
Screenplay by: Michael Sarne
Date: October 6, 1968
Title: Joaquin Murieta
Screenplay by: Jack Guss
Date: 1969
Box 178
Title: John and Mary
Screenplay by: John Mortimer
Date: October 17, 1969
Based on the novel by: Mervyn Jones
Title: John Goldfarb, Please Come Home
Screenplay by: William Peter Blatty
Date: October 27, 1964
Box 179
Title: John Paul Jones
Screenplay by: Ben Hecht
Date: August 15, 1956
Title: Johnny Comes Flying Home
Screenplay by: Jack Andrews and George Brickner
Date: Feb 28, 1946
Based on the story by: Jack Andrews
Title: Journey Into Fear
Screenplay by: Eric Ambler
Date: September 6, 1965
Title: Journey Into Light
Screenplay by: Stephen Nordli and Irving Shulman
Date: 1951
An original story for the screen by: Anson Bond
Box 180
Title: Journey to the Center of the Earth
Screenplay by: Walter Reisch and Charles Brackett
Date: December 2, 1959
Based on the novel by: Jules Verne
Title: The Joyful Beggar
Screenplay by: Eugene Vale
Date: November 27, 1959
Title: The Joyous Season
Screenplay by: Jerome Lawrence and Robert E. Lee
Date: February 3, 1965
Based on a novel by: Patrick Dennis
Box 181
Title: Juliet Buys a Son
Screenplay by: Jose Lopez Rubio
Date: January 15, 1935
Based on the story by: Gregorio Martinez Sierra and Honorio Maura
Title: The Jungle
Screenplay by: Wendell Mayes and Harold Medford
Date: January 19, 1961
Title: Jungle Patrol
Screenplay by: Francis Swann
Date: 1948
From the play by: William Bowers
Title: Junior Miss
Screenplay by: George Seaton
Date: August 7, 1945
From the stage play by: Jerome Chodorov and Joseph Fields
Based on the story by: Sally Benson
And produced upon the stage by: Max Gordon
Title: Just Off Broadway
Screenplay by: Arnaud d'Usseau
Date: July 28, 1941
Based on an idea by: Jo Eisinger
And the character "Michael Shayne" created by: Brett Halliday
Box 182
Title: Justine
Screenplay by: Lawrence B. Marcus
Date: July 11, 1969
Based on "The Alexandria Quartet" by: Lawrence Durrell
Title: Kangaroo
Screenplay by: Harry Kleiner
Date: May 19, 1952
From a story by: Martin Berkeley
Title: Keys of the Kingdom
Screenplay by: Joseph L. Mankiewicz and Nunnelly Johnson
Date: December 28, 1944
From a novel by: A. J. Cronin
Box 183
Keys of the Kingdom (continued)
Title: The Kid From Left Field
Screenplay by: Jack Sher
Date: July 6, 1953
Title: The King and I
Screenplay by: Ernest Lehman
Date: July 5, 1956
From Rodgers and Hammerstein's musical play based on "Anna and the King of Siam" by: Margaret Landon
Box 184
The King and I (contiued)
Title: The King Must Die
Screenplay by: Norman Corwin
Date: April 18, 1961
Title: King of Burlesque
Screenplay by: Gene Markey and Harry Tugend
Date: December 19, 1936
Based on the story by: Vina Delmar
Adaptation by: James Seymour
Title: King of the Gypsies
Screenplay by: Llewellyn Hughes and Paul Perez
Date: March 9, 1933
Title: King of the Khyber Rifles
Screenplay by: Ivan Goff and Ben Roberts
Date: Jan 6, 1954
From a story by: Harry Kleiner
Based on the novel by: Talbot Mundy
Box 185
King of the Khyber Rifles (continued)
Title: Kiss Them for Me
Screenplay by: Julius Epstein
Date: October 17, 1957
From the play "Kiss Them For Me" by: Luther Davis
And the novel "Shore leave" by: Frederic Wakeman
Title: Koba
Screenplay by: Richard Carr
Date: April 4, 1957
Box 186
Title: The Kremlin Letter
Screenplay by: John Huston and Gladys Hill
Date: February 1970
Based on the novel "The Kremlin Letter" by: Noel Behn
Title: Kronos
Screenplay by: Lawrence Louis Goldman
Date: March 27, 1957
Based on a story by: Irving Block
Title: The Labyrinth
Screenplay by: John Patrick
Date: October 1962
Based on documentation by: Ian Henderson, G. M., Kenya Security Forces
Title: Ladies Love Danger
Screenplay by: Samson Raphaelson
Date: April 20, 1935
Adaptation by: Robert Ellis and Helen Logan
From the story by: Ilya Zorn
Title: Ladies of Washington
Screenplay by: Wanda Tuchock
Date: March 28, 1944
Box 187
Title: Lady in Cement
Screenplay by: Marvin H. Albert and Jack Guss
Date: October 1968
Based on a novel by: Marvin H. Albert
Title: Lady in the Iron Mask
Screenplay by: Jack Pollexin and Aubrey Wisberg
Date: July 1952
Box 188
Title: Land of Legend
Screenplay by: ?
Date: May 10, 1954
Title: Land of the Nile
Screenplay by: ?
Date: May 5, 1955
Title: L'Anne' a Gauche
Screenplay by: Aydial-Claude Sautet and Charles Williams, Fouli Elia and Michel Levine
Date: ?
From the novel "Aground" by: Charles Williams
Title: Lassie's Greatest Adventure
Screenplay by: Monroe Manning and Charles O'Neal
Date: June 20, 1963
Story by: Sumner Long
Title: The Last Man
Screenplay by: Aaron Spelling
Date: June 3, 1958
Title: The Last Man on Earth
Screenplay by: Logan Swanson and William F. Leicester
Date: 1963
From the novel "I Am Legend" by: Richard Matheson
Title: The Last of the Duanes
Scenario by: Ernest Pascal
Date: May 10, 1930
Story by: Zane Grey
Title: The Last Shot You Hear
Screenplay by: Tim Shields
Date: December 1968
From the play "Sound of Murder" by: William Fairchild
Box 189
Title: The Last Trail
Screenplay by: ?
Date: August 8, 1933
Title: The Last 24 Hours
Screenplay by: David Pursall and Jack Seddon
Date: October 16, 1963
Title: The Last Wagon
Screenplay by: James Edward Grant
Date: January 12, 1956
From the story by: Gwen Bagni Gielgud
Box 190
Title: The Late George Apley
Screenplay by: Philip Dunne
Date: Jan 16, 1949
From the play by: John P. Marquard and George S. Kaufman
Based on the novel by; John P. Marquard
Title: Laughing at Trouble
Screenplay by: Robert Ellis and Helen Logan
Date: October 23, 1936
Based on the play by: Adelyn Bushnell
Title: Leave Her to Heaven
Screenplay by: Jo Swerling
Date: December 19, 1945
Based on the novel by: Ben Adams Williams
Title: The Left Hand of God
Screenplay by: Alfred Hayes
Date: Feb 22, 1955
Box 191
Title: The Legend of Jesse James--"Wanted: Dead Only"
Screenplay by: Dick Carr
Date: March 3, 1966
Title: The Legend of Jesse James--"A Burying for Rosie"
Screenplay by: Bruce Bassett and Pat Faulken Smith
Date: March 3, 1966
Title: The Legend of Jesse James--"Last Stand of Captain Hammel"
Screenplay by: Frederic Louis Fox
Date: Jan 4, 1966
Story by: Richard Neubert
Title: The Legend of Jesse James--"The Hunted and the Hunters"
Screenplay by: Samuel A. Peeples
Date: Jan 13, 1966
Title: The Legend of Jesse James--"Dark Side of the Moon"
Screenplay by: Frederic Louis Fox
Date: Jan 19, 1966
Title: The Legend of Jesse James--"A Field of Wild Flowers"
Screenplay by: Ronald M. Cohen
Date: February 18, 1966
Title: Legions of the Nile
Screenplay by: Vittorio Cottafavi, Giorgio Cristallini, Arnaldo Marrosy and Ennio de Concini
Date: 1960
English version by: Lee Kresel
Title: Leon and Silliman's New Faces
Screenplay by: ?
Date: ?
Title: The Leopard
Adaptation by: Suso Cecchi D'Amico, Pasquale Festa Campanile, Enrico Medioli Massimo Francoisa and Luchino Visconti
Date: 1963
From the novel by: Guiseppe Tomasi Di Lampedusa
Box 192
The Leopard (continued)
Title: Let's Live Again
Screenplay by: Rodney Carlisle and Robert Smalley
Date: 1948
Based on the story by: Herman Wohl and John Vlahos
Title: Let's Make It Legal
Screenplay by: F. Hugh Herbert and I.A. L. Diamond
Date: October 5, 1951
Based on a story by: Mortimer Braus
Box 193
Title: Let's Make Love
Screenplay by: Norman Krasna
Date: August 12, 1960
Additional material by: Hal Kantor
Title: A Letter to Three Wives
Adaptation by: Vera Caspary
Date: Jan 7, 1949
From a Cosmopolitan Magazine novel by: John Klempner
Box 194
Title: Libel
Screenplay by: Henry Denker
Date: November 15, 1962
Based on the book: My Life in Court by: Louis Nizer
Title: The Lieutenant Wore Skirts
Screenplay by: Albert Beich and Frank Tashlin
Date: Jan 3, 1956
Based on a story by: Albert Beich
Title: Life Begins at Eight-Thirty
Screenplay by: Nunnally Johnson
Date: December 9, 1942
From a play by: Emlyn Williams
Title: Life Begins at Forty
Screenplay by: Lamar Trotti
Date: Feb 4, 1935
Suggested by: a book by: Walter B. Pitkin
Box 195
Title: A Life in the Balance
Screenplay by: Robert Presnell, Jr. and Leo Townsend
Date: Feb 11, 1954
Title: Life in the Raw
Screenplay by: ?
Date: June 26, 1933
Title: Liliom
Screenplay by: ?
Date: ?
Box 196
Title: The Lion
Screenplay by: Irene and Louis Kamp
Date: Sept 14, 1961
Based on a novel by: Joseph Kessel
Title: Lisa
Screenplay by: Nelson Gidding
Date: 1962
Based on the novel "The Inspector" by: Jan De Hartog
Title: Little Murders
Screenplay by: Jules Feiffer
Date: Feb 1971
Box 197
Title: The Little Savage
Screenplay by: Eric Norden
Date: Jan 28, 1959
Based on a story by: Frederick Marryat
Title: Little Shepherd of Kingdom Come
Screenplay by: Barre Lyndon
Date: Jan 5, 1961
Based on the story by: John Fox, Jr.
Title: Little Tokyo, U.S.A.
Screenplay by: George Brickner
Date: July 21, 1942
Box 198
Title: The Living Swamp
Narration written by: Wanda Tuchoch
Date: July 1, 1955
Title: Lloyd's of London
Screenplay by: Ernest Pascal
Date: August 7, 1936
Based on a story by: Curtis Kenyon
Title: The Lone Texan
Screenplay by: James Landis and Jack Thomas
Date: 1958
Based on the novel by: James Landis
Box 199
Title: The Long Hot Summer
Screenplay by: Iring Ravetch and Harriet Frank, Jr.
Date: August 26, 1957
Adapted from a group of stories by: William Faulkner
Title: Long John Silver
Screenplay by: Martin Rackin
Date: May 18, 1954
Based on the novel by: Robert Louis Stevenson
Title: The Long Rope
Screenplay by: Robert Hamner
Date: Jan 3, 1961
Box 200
Title: The Longest Day
Screenplay by: ?
Date: June 18, 1962
Title: Les Longues Annees
Screenplay by: ?
Date: ?
Title: The Lost Continent
Screenplay by: Michael Nash
Date: May 31, 1968
From the novel "Uncharted Seas" by: Dennis Wheatley
Title: The Lost Country
Screenplay by: Joseph Stefano
Date: December 2, 1958
Based on the novel by: J. R. Salamanca
Title: Lost in Space--"The Ghost Planet"
Screenplay by: Peter Packer
Date: May 24, 1966
Box 201
Title: The Lost World
Screenplay by: Charles Bennett and Irwin Allen
Date: July 22, 1960
Based on Sir Arthur Conan's "The Lost World"
Title: Love Flight
Screenplay by: Winifred Dunn
Date: 1934
Spanish dialogue by: Miguel De Zarraga
Based on a story by: Bernice Mason
Title: The Love Gambler
Scenario by: F. More De La Torre
Date: Aug 18, 1930
Story by: Lynn Starling
Box 202
Title: Love in a Cool Climate
Screenplay by: Robert Dozier
Date: November 16, 1960
Based on the novel "Cher Papa" by: Frederick Kohner
Title: Love is a Many-Splendored Thing
Screenplay by: John Patrick
Date: ?
Based on "A Many-Splendored Thing" by: Han Suyin
Title: Love is for Other People
Screenplay by: Dorothy Parker and Alan Cambell
Date: Nov 7, 1961
Title: Love, Life and Laugh
Scenario by: Edwin Burke and George Jessel
Date: August 13, 1929
Story by: Roy Clemens and John B. Hymer
Title: The Love Machine
Screenplay by: Winston Miller
Date: March 4, 1959
Box 203
Title: Love Me Tender
Screenplay by: Robert Buckner
Date: August 20, 1956
Based on a story by: Maurice Geraghty
Title: Love Nest
Screenplay by: I. A. L. Diamond
Date: September 13, 1951
Based on the novel by: Scott Corbett
Title: Love That Brute
Screenplay by: Karl Turnberg, Darrell Ware, and John Lee Mahin
Date: March 16, 1950
Box 204
Title: Love Time
Screenplay by: William Conselman and Henry Johnson
Date: September 5, 1934
Adaptation by: Lynn Starling and Henry Johnson
From the story by: Richard Carroll
Title: Lover Boy
Screenplay by: Hugh Mills and Rene Clement
Date: ?
Title: The Loves of Salammbo
Adaptation by: Andre Talbet
Date: 1960
Dialogue by: John Berry and Barbara Sohmers
Title: The Luck of the Irish
Screenplay by: Philip Dunne
Date: August 12, 1948
Based on the novel by: Guy and Constance Jones
Box 205
Title: Lucky Nick Cain
Screenplay by: George Callahan and William Rose
Date: March 1951
Based on the novel "I'll Get You For This" by: James Hadley Chase
Title: Lucky Star
Scenario by: Sonya Levien
Date: Jan 22, 1929
Story by: Tristram Tupper
Title: Lure of the Swamp
Screenplay by: William George
Date: 1957
From an original novel by: Gil Grewer
Title: Lure of the Wilderness
Screenplay by: Louis Lantz
Date: July 1952
Based on a story by: Vereen Bell
Box 206
Title: Lydia Bailey
Screenplay by: Michael Blankfort and Philip Dunne
Date: Feb 8, 1952
Title: MASH
Screenplay by: Ring Lardner, Jr.
Date: December 5, 1969
From the novel by: Richard Hooker
Box 207
Title: The Mad Game
Screenplay by: William Conselman and Henry Johnson
Date: October 9, 1933
Based on the story by: William Conselman
Title: The Mad Martindales
Screenplay by: Francis Edwards Faragoh
Date: Feb 10, 1942
Based on the play by: Wesley Towner
From a play by: Ludwig Hirschfeld and Dr. Edmund Wolf
Title: Made for Each Other
Screenplay by: Renee Taylor and Joseph Bologna
Date: December 30, 1971
Title: Madison Avenue
Screenplay by: Norman Corwin
Date: May 17, 1961
Based on the novel "The Build Up Boys" by: Jeremy Kirk
Box 208
Title: The Magnificent Dope
Screenplay by: George Seaton
Date: June 3, 1942
Original story by: Joseph Schrank
Title: The Magnificent Matador
Screenplay by: ?
Date: ?
Title: The Magus
Screenplay by: John Fowles
Date: 1968
From his novel "The Magus"
Title: Maigret Voit Rouge
Adaptation by: Jacques Robert and Gilles Grangier
Date: ?
From the novel by Georges Simenon "Maigret, Lognon et Les Gansters"
Title: Mail Train
Screenplay by: J. O. C. Orton and Val Guest
Date: October 17, 1941
Story by: Frank Launder
Based on the character "Inspector Hornleigh" created by: Hans W. Priwin
Box 209
Title: Making It
Screenplay by: Peter Bart
Date: Jan 9, 1971
Based on the novel "What Can You Do?" by: James Leigh
Title: Male Companion
Screenplay by: Henri Lance
Date: April 1965
Based on the novel by: Andre Couteaux
Title: Mama
Screenplay by: ?
Date: September 1, 1931
Title: A Man About the House
Screenplay by: J. B. Williams and Leslie Arliss
Date: 1947
"A Man About the House": Screen adaptation of Francis Brett Young's novel as dramatised by: John Perry
Title: Man About Town
Scenario by: Leon Gordon
Date: March 16, 1932
Story by: Denison Clift
Title: Man at Large
Screenplay by: John Larkin
Date: August 14, 1941
Box 210
Title: A Man Called Peter
Screenplay by: Eleanore Griffin
Date: March 25, 1955
From the book by: Catherine Marshall
Title: Man Crazy
Screenplay by: Sidney Harmon and Philip Yordan
Date: November 24, 1953
Title: Man Eater
Screenplay by: James O. Spaulding
Date: September 12, 1932
In Collaboration with: Clyde E. Elliot
Box 211
Title: The Man I Married
Screenplay by: Oliver H. P. Garrett
Date: July 12, 1940
Based on the Liberty Magazine Story by: Oscar Schisgall
Title: Man in
|
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| 89
|
https://www.parisupdate.com/les-bureaux-de-dieu/
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en
|
Les Bureaux de Dieu
|
[
"https://www.parisupdate.com/wp-content/uploads/2017/04/ParisUpdateLogo-1.png",
"https://www.paypalobjects.com/en_US/i/scr/pixel.gif"
] |
[] |
[] |
[
""
] | null |
[
"Paris Update"
] |
2008-12-02T22:00:00+00:00
|
All French filmmakers seem to be climbing onto the documentary bandwagon at the moment. My recent Paris Update reviews have certainly been dominated by both real documentaries (J’Irai Dormir à Hollywood and La Vie Moderne) and documentary-style movies (Entre les Murs).Claire Denis’s […]
|
en
|
Paris Update
|
https://www.parisupdate.com/les-bureaux-de-dieu/
|
All French filmmakers seem to be climbing onto the documentary bandwagon at the moment. My recent Paris Update reviews have certainly been dominated by both real documentaries (J’Irai Dormir à Hollywood and La Vie Moderne) and documentary-style movies (Entre les Murs).Claire Denis’s Les Bureaux de Dieu, which falls into the latter category, is inspired by the observation of daily dealings in real French family planning clinics over a period of seven years – about as long as this movie seemed to last (in spite of its many good points).
The film follows a succession of women and girls consulting family-planning advisers in a single set of offices located in a typical Parisian apartment block. The only external shots show workers or patients smoking a quick cigarette on a balcony.
Many of the women’s stories are engaging: girls having to hide the fact that they are taking the pill from their mothers; women who have decided to have an abortion but who reveal that they would really like to keep their babies; schoolgirls sniggering as they are told about various contraception methods; and even a Bulgarian prostitute who is pregnant after sleeping with a man she genuinely cares about and who realizes that her child (if she chose to have it) would be younger than her grandchildren.
Because the rapid turnover of patients is the very nature of such clinics, however, we never see any of the women again and are unable to build up sustained empathy with them. Also, although we are given occasional insights into the lives of the workers (one is soon to become a grandmother, another is rehearsing for a role in Racine’s Andromaque), they, too, remain undeveloped as characters.
Since this is a quasi-documentary, perhaps we should not view the people in the film as “characters” as such, but the director’s decision to give the roles of the workers to well-known actresses, including Nathalie Baye, Anne Alvaro, Isabelle Carré and Béatrice Dalle, immediately raises our expectations. In the excellent Entre les Murs (The Class), all the actors were unknown, which helped us to believe in them as real school pupils and teachers, but in Les Bureaux de Dieu the all-too-familiar faces of these actresses prevent us from accepting the film as a documentary.
Moreover, although one might admire the patience and sensitivity of the clinic counselors, we learn very little from the film, except that – if we are to believe the range of examples shown – women in today’s France don’t know much about contraception.
The one masterful touch in the film is the recurring sound of a solo trumpet being practiced in an adjoining apartment while the most intimate details of women’s lives are being discussed. It gives the movie a wistful and sometimes comic poignancy.
Favorite
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3
| 5
|
https://lezdiff.org/feature-film-rafiki/
|
en
|
Feature Film
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Rachel Dax"
] |
2024-04-07T19:50:30+00:00
|
en
|
LezDiff
|
https://lezdiff.org/feature-film-rafiki/
|
Rafiki – Kenya, 2018, Dir. Wanuri Kahiu, 1 hour, 23 minutes.
“Good Kenyan girls become good Kenyan wives,” but Kena and Ziki long for something more. When love between them blossoms, they are torn between happiness and safety.
Kena lives on a Nairobi housing estate with her mother. Helping her father, convenience store owner John, campaign for a local election, she befriends Ziki, the daughter of his political rival. As Kena and Ziki’s relationship deepens, their challenges grow greater – forcing them to choose between openness and secrecy, happiness and safety.
Rafiki was the first Kenyan film selected to screen at Cannes, where it premiered in Un Certain Regard, it was however, banned in Kenya itself for positively portraying and ‘promoting’ homosexuality, which is illegal in the country.
MAIN FILM TEAM
Director – Wanuri Kahiu
Writers – Wanuri Kahiu & Jenna Cato Bass
Editor – Isabelle Dedieu
Producer – Steven Markovitz
MAIN CAST
Kena – Samantha Mugatsia
Ziki – Sheila Munyiva
Blacksta – Neville Misati
Mercy – Nina Wacera
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1028
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dbpedia
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3
| 70
|
https://www.inspiringteens.com/blog/my-youtube-experience-an-interview-with-r-madi-westbrooke
|
en
|
YouTuber Madi Westbrooke
|
http://www.inspiringteens.com/uploads/6/7/6/9/67697407/madi-westbrooke-youtube-3_orig.jpeg
|
http://www.inspiringteens.com/uploads/6/7/6/9/67697407/madi-westbrooke-youtube-3_orig.jpeg
|
[
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] |
[] |
[] |
[
""
] | null |
[] | null |
Bucks County Teen interviews Madi Westbrooke about her YouTube Channel
|
en
|
Inspiring Teens®
|
http://www.inspiringteens.com/4/post/2018/06/my-youtube-experience-an-interview-with-r-madi-westbrooke.html
|
Interview by Olivia Bush
When did you start your YouTube channel & how many subscribers do you have now?
I Started my YouTube channel five years ago in 2012 & the last time I looked I had a little over 118,000.
What editing software do you use?
I used to use imovie, but three years ago I updated to Final Cut Pro.
What inspired you to start YouTube?
It really happened progressively. On the first day of school my mom would always film me and what I was doing and wearing so I was really used to being in front of the camera. One year my mom got me one of those small flip screen video cameras that were really popular. Me and my friends would film videos on that and I would pretend I had a YouTube channel but I never uploaded any of those videos. Then one day when I got home from school I decided to upload one and it really just took off after that.
What is your favorite thing about doing YouTube and why?
It exposes you to different kinds of people. You get to meet new friends and get exposed to companies. You are surrounded with this community of people that you look up to, that will be there to help you. Kind of like a family.
How do you manage YouTube and college?
I thought it definitely would be harder than high school, but it wasn’t as hard as I thought. In the second semester I scheduled my classes to have Tuesdays and Thursdays off. Those days are dedicated to business and work days. I mostly vlog during the day so I do most of my editing at night.
Is YouTube something that you see yourself doing after college/ for a living?
I do major creative media, so yes, I am hoping YouTube will still be big and I hope that it could possibly expose to big companies and for me to get a job with them.
How did you get over that nervous feeling of vlogging in public?
It’s a little weird still and a little uncomfortable. If I’m out with friends I will vlog and not feel awkward because I am with someone. I also live in a college town so when I’m vlogging by myself people know and look at me and they know what I’m doing but it is still a little awkward.
What is one thing that YouTube has taught you/ what have you learned from YouTube?
Definitely not care what everyone thinks and that there will always be haters. My mom would always tell me to delete the negative comments and overtime I have learned not to care what people think and I have realized that I am doing YouTube for myself, not for others.
What is your favorite video you have uploaded and why?
My favorites are definitely travel diaries. These videos are about three minutes maximum and they are montages of your trip. They have so many memories and flow really well with the music and just looks cool.
What video have you been most proud of that you have uploaded and why?
My college week in my life I have been most proud of. This is because it was very different. I wasn’t uploading all week and I have never done that. It was a very interesting experience and rewarding because people really liked that video.
|
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1028
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dbpedia
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0
| 25
|
https://www.wikidata.org/wiki/Q1675125
|
en
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Jesus of Montreal
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
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[] |
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[
""
] | null |
[] | null |
1989 film by Denys Arcand
|
en
|
/static/apple-touch/wikidata.png
|
https://www.wikidata.org/wiki/Q1675125
|
7.2/10
|
|||
1028
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dbpedia
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3
| 27
|
https://arts.fandom.com/wiki/The_Barbarian_Invasions
|
en
|
The Barbarian Invasions
|
https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711
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[] |
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"Contributors to Wiki of the Arts"
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2024-07-29T22:27:06+00:00
|
Template:About Template:Use dmy dates Template:Infobox film The Barbarian Invasions (Template:Lang-fr) is a 2003 Canadian-French sex comedy-drama film written and directed by Denys Arcand and starring Rémy Girard, Stéphane Rousseau and Marie-Josée Croze. The film is a sequel to Arcand's 1986...
|
en
|
/skins-ucp/mw139/common/favicon.ico
|
Wiki of the Arts
|
https://arts.fandom.com/wiki/The_Barbarian_Invasions
|
Template:About Template:Use dmy dates Template:Infobox film The Barbarian Invasions (Template:Lang-fr) is a 2003 Canadian-French sex comedy-drama film written and directed by Denys Arcand and starring Rémy Girard, Stéphane Rousseau and Marie-Josée Croze. The film is a sequel to Arcand's 1986 film The Decline of the American Empire, continuing the story of the character Rémy, a womanizing history professor now terminally ill with cancer.
The sequel was a result of Arcand's longtime desire to make a film about a character close to death, also incorporating a response to the September 11 attacks of 2001. It was produced by companies from both Canada and France, and shot mainly in Montreal, also employing a former hospital and property near Lake Memphremagog.
The film received a positive response from critics and became one of Arcand's biggest financial successes. It was the first Canadian film to win the Academy Award for Best Foreign Language Film, at the 76th Academy Awards in 2004. It won awards at the 2003 Cannes Film Festival, six Genie Awards, including Best Motion Picture, and three César Awards, including Best Film. The Barbarian Invasions was followed by Days of Darkness in 2007.
Plot[]
Seventeen years after the events of The Decline of the American Empire, Sébastien is enjoying a successful career in quantitative finance in London when he receives a call from his mother, Louise, that his father and Louise's ex-husband Rémy is terminally ill with cancer. Sébastien is not enthused about seeing Rémy, whom he blames for breaking up the family with his many adulteries. Rémy and his friends of the older generation are still largely social-democrats and proponents of Quebec nationalism, positions seeming somewhat anachronistic long after the Quiet Revolution of the 1960s. Rémy does not like Sébastien's career, lack of reading or fondness for video games.
The father and son travel to the U.S. state of Vermont to briefly receive medical care before returning to the overcrowded and disorganized Quebec hospital. Sébastien attempts to bribe hospital administration for better care, and calls Rémy's old friends about a possible visit. Upon hearing heroin is "800%" more effective than morphine, he tracks some down for Rémy from a drug addict, Nathalie.
Meanwhile, Rémy is reunited with his friends, including Pierre, Dominique, Claude and Diane, Nathalie's mother, and they share a conversation on their old sex drive and the gradual decline of their vitality. Diane is concerned for Nathalie, while Rémy, a history professor, lectures the hospital chaplain Constance on the relative peace of the 20th century compared to past centuries. At the same time, another scholar describes the September 11 attacks as historically small except as a possible beginning of modern barbarian invasions. After Rémy and his friends retreat to the countryside, they speak of their devotion to constantly evolving -isms. Rémy dies in the company of his friends and Sébastien, after a heroin injection from Nathalie, whom Rémy calls his guardian angel.
Cast[]
Template:Div col
Rémy Girard as Rémy
Stéphane Rousseau as Sébastien
Dorothée Berryman as Louise
Louise Portal as Diane
Marie-Josée Croze as Nathalie
Marina Hands as Gaëlle
Dominique Michel as Dominique
Pierre Curzi as Pierre
Yves Jacques as Claude
Isabelle Blais as Sylvaine
Toni Cecchinato as Alessandro
Sophie Lorain as First Lover
Mitsou Gélinas as Ghislaine
Micheline Lanctôt as Nurse Carole
Johanne-Marie Tremblay as Sister Constance
Roy Dupuis as Narcotics Officer Gilles Levac
Lise Roy as Mme. Joncas-PelletierTemplate:Sfn
Template:Div col end
Production[]
Development[]
Denys Arcand, who wrote and directed the successful French Canadian film The Decline of the American Empire (1986), developed the idea of returning to the characters years later due to a fascination with death and an idea of having a character who is expecting to die.[1] Part of his interest in the subject matter related to both of his parents dying of cancer.[2] He had tried to write screenplays about non-Decline characters going to die for 20 years prior to The Barbarian Invasions, originally pitching the idea to the Canadian Broadcasting Corporation but having difficulty with the subject matter being overly sentimental.[1] He finally decided to try the story with characters from The Decline of the American Empire because of his fondness for its cast members.[1] There are also characters from Arcand's 1989 film Jesus of Montreal in the film.Template:Sfn
The September 11 attacks of 2001 occurred when Arcand was nearly finished his screenplay,[3] and gave new impetus to Arcand's ideas of "the decline of the American Empire." Arcand believed the attack represented the first of what would be many foreign attacks on the U.S.[4] Arcand also referred to himself as "post-isms", and incorporated this discussion into the film.[5]
Another statement he tried to make with his film was that heroin could be legalized for terminally ill patients in Canada, claiming it already is in England.[2] Author Susan C. Boyd wrote that, despite what the film portrays, heroin has been legal in Canadian palliative care since 1984.Template:Sfn To research how his character would find heroin, Arcand contacted the Royal Canadian Mounted Police and met with them in an interrogation room, resembling the one in the final film. He claimed the RCMP gave him the cellphone number of a Montreal detective, and when he called it, he heard shouting from a police raid on the Hells Angels, which resulted in the arrest of Maurice Boucher.[6]
The film was produced by both Canadian and French companies, including Telefilm Canada, Société Radio-Canada and Canal+.[7] The budget was $6 million budget.[8]
Casting[]
The cast members from the previous film, including Dorothee Berryman, Louise Portal, Dominique Michel, Pierre Curzi and Yves Jacques, were easy to secure for the sequel.[1] New to the cast was Marie-Josée Croze, who was selected by Arcand after starring in the Canadian films Maelstrom (2000) and Ararat (2002). She found Arcand allowed her freedom in how she interpreted her role.[9] In The Decline of the American Empire, Croze's character Nathalie is played by child actress Ariane Frédérique.Template:Sfn
Stéphane Rousseau, better known in Quebec as a stand-up comedian than an actor, was cast as Sébastien, after Dominique Michel urged Arcand to allow Rousseau to audition.Template:Sfn Arcand explained he felt Rousseau had the "authority" the other actors who auditioned did not, though Rousseau was surprised to get the part as he felt his character was colder and more of an intellectual than he was. Rousseau's mother had died of cancer when he was a child, and he had fought with his father, later incorporating that experience into his performance.[10]
Filming[]
The film was shot over 50 days, beginning in September 2002 and finishing in November. The bulk of the film was shot in Montreal, with some scenes filmed in London.[8] Footage from the World Trade Center attack shot by a Quebec architect and acquired by Radio-Canada was also used.[4]
For the hospital scenes, the cast and crew employed Lachine General Hospital,Template:Sfn an unused former hospital in Lachine, Quebec. Cinematographer Guy Dufaux found these scenes difficult to make interesting and realistic at the same time, and decided on more lighting for later scenes when the film's mood brightens, while using fluorescent fixtures and reflecting the former hospital's green painting to shoot the early scenes.[8] As with the first film, scenes were filmed near Lake Memphremagog.Template:Sfn Most of the film was shot using a Steadicam.[8]
Release[]
News that Arcand was working on a sequel to his 1986 film was received with a skeptical and negative response from critics.Template:Sfn The film was screened at the 2003 Cannes Film Festival in May, where it received a 22-minute standing ovation, with distribution to 30 countries assured by the time Arcand received his Best Screenplay award.[11] It was afterwards selected to open the gala at the 2003 Toronto International Film Festival in September,[12] and also opened the Vancouver International Film Festival that month.[13] The film began playing in Quebec theatres in May and ran for months,[1] with its Canadian distributor being Alliance Films.[14] It opened across Canada on November 21.[8]
After Cannes, rights were sold to Miramax for distribution of the film in the United States.[15] It opened in New York and Los Angeles on November 21.[16] In France, the film was available on 450 screens at one time, the most for a Quebec film ever.[14]
Reception[]
Box office[]
The film's box office performance at Quebec theatres between its opening in May 2003 and the fall was considered good.[1] By December, its initial release across Canada made $5.9 million.[14]
In France, it grossed the equivalent of US$8 million.[14] According to Box Office Mojo, the film finished its run on June 3, 2004 after grossing $8,544,975 in North America and $18,379,681 in other territories, for a worldwide total of $26,924,656.[17] It was one of Arcand's biggest box office successes.Template:Sfn
Critical reception[]
The Barbarian Invasions has received positive reviews from numerous critics. In Canada, Maclean's critic Brian D. Johnson called it not only satirical but "a moving elegy to a generation that defined modern Quebec and has seen its passions rendered obsolete".[18] Liam Lacey wrote in The Globe and Mail that the film is "upbeat and wryly positive, or at least as much as you could expect from a film that condemns the Quebec hospital system and features a death by cancer as its central theme".[19] The film drew general attention for its criticism of Quebec's health care system.[16] Peter Howell wrote in The Toronto Star that "It's the depth of emotions Arcand summons for his characters, and the way this superb ensemble cast bring them so vividly to life, that make The Barbarian Invasions a film not just to see, but to welcome home".[20]
Roger Ebert of the Chicago Sun Times gave the movie four stars and called it "a movie with brains, indignation, irony and idealism".[21] A.O Scott of The New York Times wrote "what makes The Barbarian Invasions much more than a facile exercise in generational conflict is that Denys Arcand, who wrote and directed it, has a sense of history that is as acute as it is playful", adding "The rapprochement between Remy and Sebastien is beautiful to watch" and Marie-Josée Croze's "spooky, melancholy intensity darkens the mood of buoyant sentimentality".[22] Entertainment Weekly's Owen Glieberman gave the film a B-, noting Rémy's hedonism.[23] David Denby of The New Yorker gave credit to Stéphane Rousseau for "a fascinatingly minimal performance".[24] Jonathan Romney of The Independent wrote "The film has its pros and cons, but you can't fault it for ambition: it not only muses on life and death, but also undertakes fairly comprehensive philosophical soundings of the way the world is today". Romney added Croze "has simply the most nuanced presence here: thoughtful, introspective, with a reassuring warmth and lack of cartoonishness".[25] Peter Bradshaw, writing for The Guardian, disdained the movie, calling it "grotesquely overpraised", "shot through with middlebrow sophistication, boorish cynicism, unfunny satire, a dash of fatuous anti-Americanism and unthinkingly reactionary sexual politics".[26] English Professor Peter Brunette wrote "its analysis of this state of affairs is all too often annoyingly rhetorical and, finally, altogether too facile".[27]
In 2004, the Toronto International Film Festival ranked the film tenth in the Top 10 Canadian Films of All Time.[28] David Lawrence Pike criticized the use of the World Trade Center footage as exploitative, but said despite "the crudeness and vulgarity", the film had a "particular brilliance".Template:Sfn In January 2010, the review aggregator Rotten Tomatoes reported that 82% of critics gave the film positive reviews, based on 123 reviews.[29] Metacritic reports that the film has an average score of 71 out of 100, based on 35 reviews.[30]
Accolades[]
The Barbarian Invasions is considered historically significant as the first Canadian film to win the Academy Award for Best Foreign Language Film.Template:Sfn Canadian historian George Melnyk interpreted it as a sign that "Canadian cinema has come of global age", also pointing to Atanarjuat: The Fast Runner (2001) winning the Camera d'Or at Cannes.Template:Sfn
Marie-Josée Croze's honour for Best Actress at the 2003 Cannes Film Festival was considered unlikely.[15] She was not present to accept the award.[11] The film's victory at France's national César Awards was also considered a surprise, since it is mainly a Quebec film.[31] It received the most nominations at the 24th Genie Awards.[32]
Award Category Recipient(s) Result Template:Abbr Academy Awards Best Foreign Language Film Denys Arcand Template:Won [3] Best Original Screenplay Denys Arcand Template:Nom BAFTA Awards Film Not in the English Language Denise Robert, Daniel Louis, Denys Arcand Template:Nom [33] Best Original Screenplay Denys Arcand Template:Nom Bangkok International Film Festival Best Film Denys Arcand Template:Won [34] Cannes Film Festival Best Screenplay Denys Arcand Template:Won [12] Best Actress Marie-Josée Croze Template:Won César Awards Best Film Denys Arcand Template:Won [31] Best Director Denys Arcand Template:Won Best Writing Denys Arcand Template:Won Most Promising Actress Marie-Josée Croze Template:Nom Critics' Choice Awards Best Foreign Language Film Denys Arcand Template:Won [35] David di Donatello Awards Best Foreign Film Denys Arcand Template:Won [36] European Film Awards Best Non-European Film Denys Arcand Template:Won [37] Genie Awards Best Motion Picture Denise Robert, Daniel Louis and Fabienne Vonier Template:Won [38][39] Best Direction Denys Arcand Template:Won Best Actor Rémy Girard Template:Won Best Supporting Actor Stéphane Rousseau Template:Won Best Supporting Actress Marie-Josée Croze Template:Won Best Original Screenplay Denys Arcand Template:Won Best Editing Isabelle Dedieu Template:Nom Best Sound Michel Descombes, Gavin Fernandes and Patrick Rousseau Template:Nom Best Sound Editing Marie-Claude Gagné, Diane Boucher, Jérôme Décarie, Claire Pochon and Jean-Philippe Savard Template:Nom Golden Globes Best Foreign Language Film The Barbarian Invasions Template:Nom [40] Jutra Awards Best Film Denise Robert and Daniel Louis Template:Won [41][42] Best Direction Denys Arcand Template:Won Best Screenplay Denys Arcand Template:Won Best Actor Rémy Girard Template:Nom Best Actress Marie-Josée Croze Template:Won Best Supporting Actor Pierre Curzi Template:Nom Best Supporting Actress Dorothée Berryman Template:Nom Best Art Direction Normand Sarazin Template:Won Best Cinematography Guy Dufaux Template:Nom Best Editing Isabelle Dedieu Template:Nom Best Sound Patrick Rousseau, Michel Descombes, Gavin Fernandes and Marie-Claude Gagné Template:Nom Best Make-Up Evelyne Byot and Diane Simard Template:Nom Special Jutra Denys Arcand Template:Won Lumières Awards Best French-Language Film Denys Arcand Template:Won [43] National Board of Review Best Foreign Language Film The Barbarian Invasions Template:Won [44] Top Foreign Films The Barbarian Invasions Template:Won Toronto Film Critics Association Awards Best Screenplay Denys Arcand, shared with Sofia Coppola for Lost in Translation Template:Won [45] Toronto International Film Festival Best Canadian Feature Film Denys Arcand Template:Won [46] Vancouver Film Critics Circle Best Canadian Feature Film The Barbarian Invasions Template:Won [47] Best Canadian Director Denys Arcand Template:Won Best Actor in a Canadian Film Rémy Girard Template:Nom Best Actress in a Canadian Film Marie-Josée Croze Template:Nom Best Supporting Actor in a Canadian Film Stéphane Rousseau Template:Nom
See also[]
List of submissions to the 76th Academy Awards for Best Foreign Language Film
List of Canadian submissions for the Academy Award for Best Foreign Language Film
References[]
Template:Reflist
Bibliography[]
Template:Cite book
Template:Cite book
Template:Cite book
Template:Cite book
Template:Cite book
[]
Template:Official website
Template:IMDb title
Template:Allmovie title
Template:Mojo title
Template:Rotten-tomatoes
Template:Metacritic film
Template:Denys Arcand Template:AcademyAwardBestForeignLanguageFilm 2001–2020 Template:Broadcast Film Critics Association Award for Best Foreign Language Film Template:César Award for Best Film Template:ACCT Best Picture Template:Lumières Award for Best French-Language Film
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The Barbarian Invasions
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"Lisa Nesselson"
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2003-05-21T19:54:57+00:00
|
A full-bodied, funny and gloriously unpretentious ode to family, friendship and the meaning of life, "The Barbarian Invasions" is solidly entertaining, sharply written and genuinely touching. Abrim with polished repartee, Arcand's most satisfying pic since 1989's "Jesus of Montreal" looks set to "invade" arthouses worldwide.
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en
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Variety
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https://variety.com/2003/film/awards/the-barbarian-invasions-3-1200541506/
|
This review was corrected May 27, 2003.
A full-bodied, funny and gloriously unpretentious ode to family, friendship and the meaning of life, “The Barbarian Invasions” is solidly entertaining, sharply written and genuinely touching. Via appealingly flawed characters and breezy pacing, pic confronts matters of life and death with irreverent wit and a tender eye. Denys Arcand’s continuation, 17 years later, of “The Decline of the American Empire,” was the fifth strongest Quebec opening of all time upon its May 9 release. Abrim with polished repartee, Arcand’s most satisfying pic since 1989’s “Jesus of Montreal” looks set to “invade” arthouses worldwide.
Louise (Dorothee Berryman), who divorced her inveterate womanizer of a husband, Remy (Remy Girard), 15 years ago, phones their son Sebastien (Stephane Rousseau) in London, where he’s made his fortune as a savvy financial manager. She tells him that Remy, a university professor, has been hospitalized and is terminally ill in Montreal.
Father and son are not close — “My son is an ambitious capitalist prude whereas all my life I’ve been a hedonistic socialist lecher” as bedridden Remy describes their rapport to a visiting nun — but, nonetheless, Sebastien and his French fiancee Gaelle (Marina Hands) fly to Remy’s bedside in Canada.
In a series of interactions that neatly satirize administrative deadlock, greedy unions and pseudo-sociological babble, coolly efficient negotiator Sebastien gets his ailing dad a private room and black market pain-killers. (Some of his solutions are so ingenious it would be a shame to reveal them here.) Sebastien contacts his father’s far flung intellectual co-conspirators and summons them back to cheer Remy.
Reprising their roles from the 1986 pic, Remy’s circle of friends and lovers are played by the same thesps to resonant effect. Happily, one needn’t have seen the original to follow and embrace current venture. Arcand’s affection for his self-indulgent protagonists, most of whom have mellowed with age, also paves the way for the next generation.
Neatly satirizing the fine line between vice and virtue every step of the way, script dips into bittersweet wells of nostalgia without ever tipping into smarm or complacency. The group’s recapping of political and intellectual tides they foolishly embraced is a comic highlight, topped by Remy’s hilarious analysis of how a Godard film warped his chances with a gorgeous Chinese chick during China’s cultural revolution.
Marbled with pointed digs at Canada’s health system (in a running gag, hospital personnel always have the wrong name for the patient being treated) as well as being cordially peeved by American supremacy, pic also quietly hails the crucial role that movies play in forging our sensibilities.
While gleefully irreverent, pic is never gratuitously unfair in its criticisms. For example, Arcand finds a lovely way to underscore that the Catholic church has become strangely irrelevant in a once overwhelmingly Catholic nation, while also providing a sweetly useful role for a nun.
With its characters mostly into their 50s, there’s far less talk of sex than there was 17 years ago, but what is incorporated is choice indeed.
Celebrated stand-up comic Rousseau is very good as the sober son whose still waters run deep; Marie-Josee Croze is excellent as Sebastien’s childhood playmate who provides a crucial service to Remy and, anchoring the ensemble cast, Girard is outstanding as the bon vivant who’s about to have the “vivant” yanked out from under him.
Tech aspects are pro across the board. Print screened in Cannes has apparently been clipped by 12 minutes to omit purely local references.
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Jesus Of Montreal movie review (1990)
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"Roger Ebert"
] | null |
The Passion play has been a success for more than 40 years in the famous Montreal basilica, but the passage of time has made it seem old-fashioned, and modern audiences are growing restless. It's time for an overhaul.
|
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|
/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png
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https://www.rogerebert.com/
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https://www.rogerebert.com/reviews/jesus-of-montreal-1990
|
The Passion play has been a success for more than 40 years in the famous Montreal basilica, but the passage of time has made it seem old-fashioned, and modern audiences are growing restless. It's time for an overhaul.
So the priest in charge hires some new actors - younger, more inventive - to stage a revised and updated version. And they make the mistake of taking their material literally.
The teachings of Christ, it has often been observed, would be radical and subversive, if anyone ever took them literally. And they would be profoundly offensive to those who build their kingdoms in this world and not in the next. The actors who rewrite the Passion in "Jesus of Montreal" create a play that is good theater and perhaps even good theology, but it is not good public relations. And although audiences respond well and the reviews are good, the church authorities are reluctant to offend the establishment by presenting such an unorthodox reading of the sacred story. So they order the play to be toned down.
But by the time they act, a curious thing has happened to the actors. They have come to believe in their play, to be shaped by the roles they play. "Jesus of Montreal" does not try to force a parallel between the Passion of Christ and the experiences of these actors. And yet certain similarities do appear, and Daniel (Lothaire Bluteau), the actor who plays Christ, discovers that his own life is taking on some of the aspects of Christ's. By the end of the film we have arrived at a crucifixion scene that actually plays as drama, and not simply as something that has been forced into the script.
"Jesus of Montreal" was written and directed by Denys Arcand, the best of the new generation of Quebec filmmakers. His previous film was "The Decline Of The American Empire," in which a group of Montreal intellectuals gathered to prepare a meal and talk about the meanings of their lives; it was sort of a conversational version of "The Big Chill." This film is much more passionate, and angrier. It suggests that most establishments, and especially the church, would be rocked to their foundations by the practical application of the maxims of Christ.
Many of the scenes have obvious parallels in the New Testament. In one, an actress from the troupe appears at an audition for a TV commercial and is asked to take off her clothes - not because nudity is required in the commercial, but more because the casting director wants to exercise his power. Arriving late at the audition, Daniel, the Christ figure, shouts out to his friend to leave her clothes on. And then, when the advertising people try to have him ejected, he goes into a rage, overturning lights and cameras. It is a version, of course, of Christ and the moneylenders in the temple.
Another way in which "Jesus of Montreal" parallels the life of Christ is in the way a community grows up around its central figure.
Filled with a vision they believe in, nourished by the courage to carry on in the face of the authorities, these actors persist in presenting their play even in the face of religious and legal opposition.
It's interesting the way Arcand makes this work as theology and drama at the same time; in a sense, "Jesus of Montreal" is a movie about the theater, not about religion.
If you go to the movie, pay close attention to Bluteau in the title role. He is considered the most powerful actor to come out of Canada in years, with his emaciated good looks and his burning intensity, and he has recently received strong reviews for his stage work in London.
Bluteau is an actor of the Mickey Rourke-Eric Roberts-James Woods school, consumed with fire, intense in his concentration, and he is just right for this role.
As for the film itself, I was surprised at how absorbed I became, even though right from the beginning I assumed I would see some kind of modern parallel of the Passion. Arcand doesn't force the parallels, and his screenplay is not simply an updated paraphrase of the New Testament.
It's an original and uncompromising attempt to explore what really might happen, if the spirit of Jesus were to walk among us in these timid and materialistic times.
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After graduating from NYU Tisch School of the Arts Matias Mariani worked extensively as a producer in films such as Fish Dreams (Cannes’ Critics Week), Drained (Sundance), Adrift (Cannes Un Certain Regard). In 2014 he began his directing career with the documentary feature I Touched All Your Stuff, co-directed with Maíra Bühler, which had its world première at FID Marseille and won Best Editing at the Rio de Janeiro International Film Festival, as well as being released theatrically both in Brazil and the US. As a scriptwriter Matias worked on I Bring it With me (best film at Brasília Film Festival), Pendular (FIPRESCI award at Berlinale 2017), and is currently working on Cora, recently granted the TFI Latin American Fund. Shine Your Eyes, written and directed by Matias, will be his fiction feature début.
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The Barbarian Invasions
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The Barbarian Invasions is a 2003 Canadian-French sex comedy-drama film written and directed by Denys Arcand and starring Rémy Girard, Stéphane Rousseau and Mar...
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https://www.wikiwand.com/en/articles/The_Barbarian_Invasions
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This article is about the 2003 film. For the "barbarian invasions" of Europe, see Migration Period.
The Barbarian Invasions (French: Les Invasions barbares) is a 2003 Canadian-French sex comedy-drama film written and directed by Denys Arcand and starring Rémy Girard, Stéphane Rousseau and Marie-Josée Croze. The film is a sequel to Arcand's 1986 film The Decline of the American Empire, continuing the story of the character Rémy, a womanizing history professor now terminally ill with cancer.
Quick Facts The Barbarian Invasions, French ...
The Barbarian InvasionsFrenchLes Invasions barbaresDirected byDenys ArcandWritten byDenys ArcandProduced byDaniel Louis
Denise RobertStarringRémy Girard
Stéphane Rousseau
Dorothée Berryman
Louise Portal
Marie-Josée Croze
Marina HandsCinematographyGuy DufauxEdited byIsabelle DedieuMusic byPierre Aviat
Production
companies
Distributed byPyramide Distribution (France)
Alliance Atlantis (Canada)
Release dates
Running time
99 minutesCountriesCanada
FranceLanguagesFrench
EnglishBudgetUS$5 millionBox officeUS$26,924,656[1]
Close
The sequel was a result of Arcand's longtime desire to make a film about a character close to death, also incorporating a response to the September 11 attacks of 2001. It was produced by companies from both Canada and France, and shot mainly in Montreal, also employing a former hospital and property near Lake Memphremagog.
The film received a positive response from critics and became one of Arcand's biggest financial successes. It was the first Canadian film to win the Academy Award for Best Foreign Language Film, at the 76th Academy Awards in 2004. It won awards at the 2003 Cannes Film Festival, six Genie Awards, including Best Motion Picture, and three César Awards, including Best Film. The Barbarian Invasions was followed by the thematically related Days of Darkness in 2007 and The Fall of the American Empire in 2018.
Seventeen years after the events of The Decline of the American Empire, Sébastien is enjoying a successful career in quantitative finance in London when he receives a call from his mother, Louise, that his father and Louise's ex-husband Rémy is terminally ill with cancer. Sébastien is not enthused about seeing Rémy, whom he blames for breaking up the family with his many adulteries. Rémy and his friends of the older generation are still largely social-democrats and proponents of Quebec nationalism, positions seeming somewhat anachronistic long after the Quiet Revolution of the 1960s. Rémy does not like Sébastien's career, lack of reading or fondness for video games.
The father and son travel to the U.S. state of Vermont to briefly receive medical care before returning to the overcrowded and disorganized Quebec hospital. Sébastien attempts to bribe hospital administration for better care, and calls Rémy's old friends about a possible visit. Upon hearing heroin is "800%" more effective than morphine, he tracks some down for Rémy from a drug addict, Nathalie.
Meanwhile, Rémy is reunited with his friends, including Pierre, Dominique, Claude and Diane, Nathalie's mother, and they share a conversation on their old sex drive and the gradual decline of their vitality. Diane is concerned for Nathalie, while Rémy, a history professor, lectures the hospital chaplain Constance on the relative peace of the 20th century compared to past centuries. At the same time, another scholar describes the September 11 attacks as historically small except as a possible beginning of modern barbarian invasions. After Rémy and his friends retreat to the countryside, they speak of their devotion to constantly evolving -isms. Rémy dies in the company of his friends and Sébastien, after a heroin injection from Nathalie, whom Rémy calls his guardian angel.
Rémy Girard as Rémy
Stéphane Rousseau as Sébastien
Dorothée Berryman as Louise
Louise Portal as Diane
Marie-Josée Croze as Nathalie (Diane's daughter)
Marina Hands as Gaëlle
Dominique Michel as Dominique
Pierre Curzi as Pierre
Yves Jacques as Claude
Isabelle Blais as Sylvaine
Toni Cecchinato as Alessandro
Sophie Lorain as First Lover
Mitsou Gélinas as Ghislaine
Micheline Lanctôt as Nurse Carole
Johanne-Marie Tremblay as Sister Constance
Roy Dupuis as Narcotics Officer Gilles Levac
Lise Roy as Mme. Joncas-Pelletier
Development
Denys Arcand, who wrote and directed the successful French Canadian film The Decline of the American Empire (1986), developed the idea of returning to the characters years later due to a fascination with death and an idea of having a character who is expecting to die. Part of his interest in the subject matter related to both of his parents dying of cancer.[4] He had tried to write screenplays about non-Decline characters going to die for 20 years prior to The Barbarian Invasions, originally pitching the idea to the Canadian Broadcasting Corporation but having difficulty with the subject matter being overly sentimental. He finally decided to try the story with characters from The Decline of the American Empire because of his fondness for its cast members. There are also characters from Arcand's 1989 film Jesus of Montreal in the film.
The September 11 attacks of 2001 occurred when Arcand was nearly finished his screenplay,[6] and gave new impetus to Arcand's ideas of "the decline of the American Empire." Arcand believed the attack represented the first of what would be many foreign attacks on the U.S. Arcand also referred to himself as "post-isms", and incorporated this discussion into the film.
Another statement he tried to make with his film was that heroin could be legalized for terminally ill patients in Canada, claiming it already is in England.[4] Author Susan C. Boyd wrote that, despite what the film portrays, heroin has been legal in Canadian palliative care since 1984. To research how his character would find heroin, Arcand contacted the Royal Canadian Mounted Police and met with them in an interrogation room, resembling the one in the final film. He claimed the RCMP gave him the cellphone number of a Montreal detective, and when he called it, he heard shouting from a police raid on the Hells Angels, which resulted in the arrest of Maurice Boucher.[10]
The film was produced by both Canadian and French companies, including Telefilm Canada, Société Radio-Canada and Canal+.[11] The budget was $6 million.[12]
Casting
The cast members from the previous film, including Dorothee Berryman, Louise Portal, Dominique Michel, Pierre Curzi and Yves Jacques, were easy to secure for the sequel. New to the cast was Marie-Josée Croze, who was selected by Arcand after starring in the Canadian films Maelstrom (2000) and Ararat (2002). She found Arcand allowed her freedom in how she interpreted her role.[13] In The Decline of the American Empire, Croze's character Nathalie is played by child actress Ariane Frédérique.
Stéphane Rousseau, better known in Quebec as a stand-up comedian than an actor, was cast as Sébastien, after Dominique Michel urged Arcand to allow Rousseau to audition. Arcand explained he felt Rousseau had the "authority" the other actors who auditioned did not, though Rousseau was surprised to get the part as he felt his character was colder and more of an intellectual than he was. Rousseau's mother had died of cancer when he was a child, and he had fought with his father, later incorporating that experience into his performance.[16]
Filming
The film was shot over 50 days, beginning in September 2002 and finishing in November. The bulk of the film was shot in Montreal, with some scenes filmed in London.[12] Footage from the World Trade Center attack shot by a Quebec architect and acquired by Radio-Canada was also used.
For the hospital scenes, the cast and crew employed Lachine General Hospital, an unused former hospital in Lachine, Quebec. Cinematographer Guy Dufaux found these scenes difficult to make interesting and realistic at the same time, and decided on more lighting for later scenes when the film's mood brightens, while using fluorescent fixtures and reflecting the former hospital's green painting to shoot the early scenes.[12] As with the first film, scenes were filmed near Lake Memphremagog. Most of the film was shot using a Steadicam.[12]
News that Arcand was working on a sequel to his 1986 film was received with a skeptical and negative response from critics. The film was screened at the 2003 Cannes Film Festival in May, where it received a 22-minute standing ovation, with distribution to 30 countries assured by the time Arcand received his Best Screenplay award.[18] It was afterwards selected to open the gala at the 2003 Toronto International Film Festival in September, and also opened the Vancouver International Film Festival that month.[20] The film began playing in Quebec theatres in May and ran for months, with its Canadian distributor being Alliance Films.[21] It opened across Canada on 21 November.[12]
After Cannes, rights were sold to Miramax for distribution of the film in the United States.[22] It opened in New York and Los Angeles on 21 November.[23] In France, the film was available on 450 screens at one time, the most for a Quebec film ever.[21]
Box office
The film's box office performance at Quebec theatres between its opening in May 2003 and the fall was considered good. By December, its initial release across Canada made $5.9 million.[21]
In France, it grossed the equivalent of US$8 million.[21] According to Box Office Mojo, the film finished its run on 3 June 2004 after grossing $8,544,975 in North America and $18,379,681 in other territories, for a worldwide total of $26,924,656.[24] It was one of Arcand's biggest box office successes.
Critical reception
The Barbarian Invasions has received positive reviews from numerous critics. Review aggregator Rotten Tomatoes reports an 81% approval rating based on 134 reviews, with an average rating of 7.2/10.[25] Metacritic reports that the film has an average score of 70 out of 100, based on 34 critics, indicating "generally favorable reviews".[26]
In Canada, Maclean's critic Brian D. Johnson called it not only satirical but "a moving elegy to a generation that defined modern Quebec and has seen its passions rendered obsolete".[27] Liam Lacey wrote in The Globe and Mail that the film is "upbeat and wryly positive, or at least as much as you could expect from a film that condemns the Quebec hospital system and features a death by cancer as its central theme".[28] The film drew general attention for its criticism of Quebec's health care system.[23] Peter Howell wrote in The Toronto Star that "It's the depth of emotions Arcand summons for his characters, and the way this superb ensemble cast bring them so vividly to life, that make The Barbarian Invasions a film not just to see, but to welcome home".[29]
Roger Ebert of the Chicago Sun Times gave the movie four stars and called it "a movie with brains, indignation, irony and idealism".[30] A.O Scott of The New York Times wrote "what makes The Barbarian Invasions much more than a facile exercise in generational conflict is that Denys Arcand, who wrote and directed it, has a sense of history that is as acute as it is playful", adding "The rapprochement between Remy and Sebastien is beautiful to watch" and Marie-Josée Croze's "spooky, melancholy intensity darkens the mood of buoyant sentimentality".[31] Entertainment Weekly's Owen Gleiberman gave the film a B−, noting Rémy's hedonism.[32] David Denby of The New Yorker gave credit to Stéphane Rousseau for "a fascinatingly minimal performance".[33] Jonathan Romney of The Independent wrote "The film has its pros and cons, but you can't fault it for ambition: it not only muses on life and death, but also undertakes fairly comprehensive philosophical soundings of the way the world is today". Romney added Croze "has simply the most nuanced presence here: thoughtful, introspective, with a reassuring warmth and lack of cartoonishness".[34] Peter Bradshaw, writing for The Guardian, disdained the movie, calling it "grotesquely overpraised", "shot through with middlebrow sophistication, boorish cynicism, unfunny satire, a dash of fatuous anti-Americanism and unthinkingly reactionary sexual politics".[35] English Professor Peter Brunette wrote "its analysis of this state of affairs is all too often annoyingly rhetorical and, finally, altogether too facile".[36]
In 2004, the Toronto International Film Festival ranked the film tenth in the Top 10 Canadian Films of All Time.[37] David Lawrence Pike criticized the use of the World Trade Center footage as exploitative, but said despite "the crudeness and vulgarity", the film had a "particular brilliance".
Accolades
The Barbarian Invasions is considered historically significant as the first Canadian film to win the Academy Award for Best Foreign Language Film. Canadian historian George Melnyk interpreted it as a sign that "Canadian cinema has come of global age", also pointing to Atanarjuat: The Fast Runner (2001) winning the Camera d'Or at Cannes.
Marie-Josée Croze's honour for Best Actress at the 2003 Cannes Film Festival was considered unlikely.[22] She was not present to accept the award.[18] The film's victory at France's national César Awards was also considered a surprise, since it is mainly a Quebec film.[40] It received the most nominations at the 24th Genie Awards.[41]
In 2007, Arcand's film Days of Darkness was released. While considered part of a loose trilogy following The Decline of the American Empire and The Barbarian Invasions,[57][58][59] Arcand acknowledged in a 2007 interview Days of Darkness had more similarities to his less successful 2000 film Stardom.[59] Johanne-Marie Tremblay reprised her role as Constance from Jesus of Montreal and The Barbarian Invasions. In 2018, Arcand's The Fall of the American Empire followed similar themes.[61]
List of submissions to the 76th Academy Awards for Best Foreign Language Film
List of Canadian submissions for the Academy Award for Best Foreign Language Film
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Rafiki (2018)
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Kena and Ziki long for something more. Despite the political rivalry between their families, the girls resist and remain close friends, supporting each other to pursue their dreams in a conservative society. When love blossoms between them, the two girls will be forced to choose between happiness and safety.
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https://letterboxd.com/film/rafiki-2018/
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For many reasons I'm really glad that this movie was made, but it's also a film that I struggled to connect with.
Being the first LGBT film produced in Kenya, and having been banned in its home country for that very reason, Rafiki is a film whose importance rings clear. Wanuri Kahiu's directorial debut is a tale of love whose innocence feels ever present, but for a first feature it's also one of the most visually astonishing films that I've seen in a while as the colours here are to die for.
I feel as if the fact that this seems like a story I've seen told to the screen numerous times had taken a damper on my own ability…
According to Rakifi director Wanuri Kahiu's 2017 TED Talk, Afrobubblegum art represents: "a fun, fierce and frivolous representation of Africa." In order to qualify as Afrobubblegumist, she says, a work of art must:
1. Feature at least two healthy Africans ...
2. ... who are financially stable (and do not need saving) ...
3. ... and are having fun and enjoying life.
Rakifi, despite its dark moments, is fiercely, proudly Afrobubblegum. Celebrating the audacity, passion, and independence of two girls in love, it's a movie about potential; about falling in love; about discovering how far you will go for someone who has burrowed their way into your heart.
It's also a film about oppression — one in which people believed to be…
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https://www.berlinale.de/en/2020/programme/202001928.html
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Shine Your Eyes
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Berlin International Film Festival - official website
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Musician Amadi has not heard from his older brother Ikenna in a long time. He travels from Nigeria to the Brazilian metropolis of São Paulo where the mathematically gifted Ikenna is supposed to be working as a professor at a technological institute – at least that is what it says on the institute’s homepage. But not only is there no trace of Ikenna, the institute does not even exist. With support from both his uncle and Ikenna’s ex-lover, and in possession of his brother’s mysterious notes and calculations, Amadi sets off in search of his sibling.
Shot in 4:3 screen format, Brazilian director Matias Mariani’s debut feature film is an enigmatic exploration that operates on several levels. The Nigerian family tradition, in which the first-born plays a special role, is investigated alongside São Paulo’s avant-garde architecture, the working lives and dreams of the city’s immigrants and the communication between Amadi and the Brazilians, who first have to find a common language. Mathematics, the study of coincidence and music build a fragile bridge between the cultures which appears to be as liable to collapse as the city’s empty skyscrapers.
by Matias Mariani
with O. C. Ukeje, Chukwudi Iwuji, Indira Nascimento, Paulo Andre, Ike Barry Brazil / France 2020 Portuguese, English, Igbo, Hungarian, Chinese 102’ Colour World premiere
With
O. C. Ukeje (Amadi Igbomaeze)
Chukwudi Iwuji (Ikenna Igbomaeze)
Indira Nascimento (Emilia Nascimento)
Paulo Andre (Miro Kuzko)
Ike Barry (Ogboh)
Crew
Director Matias Mariani Screenplay Matias Mariani, Chika Anadu, Francine Barbosa, Júlia Murat, Maíra Bühler, Roberto Winter Cinematography Leonardo Bittencourt Editing Isabelle Dedieu, Luisa Marques Music Flemming Nordkrog Sound Design Xavier Thibault Sound Gabriela Cunha Production Design Fernando Timba Costumes Cris Rose, Jeane Figueiredo Make-Up Simone Souza Assistant Director Helena Ungaretti Casting Carla Stronge, Maria Clara Escobar Production Manager Lara Lima Producers Matias Mariani, Marie-Pierre Macia, Juliana Funaro, Claire Gadea, Renata Wolter, Issis Valenzuela, Junyoung Jang Executive Producers Eduardo Nasser, Issis Valenzuela
World sales
MPM Premium
http://premium-films.com/en http://premium-films.com/en
Produced by
Primo Filmes
Tabuleiro Filmes
http://www.tabuleirofilmes.com.br/welcome http://www.tabuleirofilmes.com.br/welcome
MPM Film
http://www.mpmfilm.com/ http://www.mpmfilm.com/
Matias Mariani
© Matias Mariani
After studying film at NYU and directing the short film O não de São Paulo, he worked as a producer on several successful Brazilian and international films before directing his first feature-length documentary A vida privada dos hipopótamos in 2014. He wrote the screenplay for Julia Murat’s feature film Pendular which won the FIPRESCI Award at the 2017 Berlinale. Shine Your Eyes is his first fiction feature film; it was developed at the Cine Qua Non Lab in Mexico.
Filmography (selection)
2014 A vida privada dos hipopótamos (I Touched All Your Stuff); documentary 2019 Cidade pássaro (Shine Your Eyes); Panorama
Bio- & filmography as of Berlinale 2020
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Festival de Cannes
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2023-03-10T18:19:08+00:00
|
“Good Kenyan girls become good Kenyan wives,” but Kena and Ziki long for something more. Despite the political rivalry between their families, the girls resist and remain close friends, supporting each other to pursue their dreams in a conservative society. When love blossoms between them, the two girls will be for
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en
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Festival de Cannes
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https://www.festival-cannes.com/f/rafiki/
|
“Good Kenyan girls become good Kenyan wives,” but Kena and Ziki long for something more. Despite the political rivalry between their families, the girls resist and remain close friends, supporting each other to pursue their dreams in a conservative society. When love blossoms between them, the two girls will be forced to choose between happiness and safety.
|
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1028
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| 4
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https://www.thecanadianencyclopedia.ca/en/article/jesus-of-montrealjesus-de-montreal
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en
|
Jésus de Montréal (Jesus of Montreal)
|
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Denys Arcand’s Jésus de Montréal is a provocative satire about an actor whose life increasingly comes to resemble that of Jesus during a production of the P...
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en
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https://www.thecanadianencyclopedia.ca/en/article/jesus-of-montrealjesus-de-montreal
|
Background
The seed for the idea of Jésus de Montréal was planted during the making of Arcand’s previous film, Le déclin de l’empire américain. An actor who auditioned for a part in the film explained to Arcand that he had a full beard because he was playing Jesus in a production of the Passion Play, while also auditioning for commercials during the day. Arcand was struck by the contrast, and after finishing Le déclin he began writing a screenplay that explored the contradiction between spirituality and commercialism. “Consumerism may be the legacy of the eighties,” Arcand explained, “but there has got to be more to life than that. Jesus of Montréal is about a yearning for something else, a search for a sort of meaning."
Synopsis
Discouraged by waning public interest, theatre-loving Father Leclerc (Gilles Pelletier) decides to commission a more engaging and modernized version of the Passion Play for his church’s annual production. He hires an androgynously ethereal young actor named Daniel (Lothaire Bluteau), who conscripts an unlikely troupe of thespians (or disciples, as the allegory would have it) to bring the play to life. Martin (Rémy Girard) is working as a voice actor for porn movies; Constance (Johanne-Marie Tremblay) is having an affair with Father Leclerc; Mireille (Catherine Wilkening) stars in commercials that use her scantily-clad body to sell cosmetics; and René (Robert Lepage) is an eccentric actor who is determined to shoehorn Hamlet’s soliloquy into the production.
Their avant-garde performance, which makes use of Mount Royal as an outdoor theatre, incorporates new archaeological evidence and biblical translations, and presents literal interpretations of many of Christ’s teachings. The play dazzles the audience but offends Leclerc. As the Catholic Church attempts to shut it down, the parallels between Daniel’s actions and the life of Christ become increasingly direct, culminating in his outburst at one of Mireille’s auditions that mirrors Christ’s anger among the money-lenders. When he is fatally injured in the final performance, Daniel is taken to a local hospital and laid crucifixion-style on an operating table, where his organs are taken to literally give sight to the blind and health to the sick.
Analysis
Jésus de Montréal has the audacity to take institutional religion and spiritual questing seriously and still call itself a comedy. The device of history as a play within a film permits Denys Arcand to move seamlessly from one line of narrative continuity to another, so that eventually the film moves towards a unifying and credible answer to the implicit question: what would Jesus look like if he walked among us today?
Daniel (Bluteau) becomes so identified with the character of Jesus that the line between ancient narrative and the contemporary life in which he is deeply immersed becomes deliberately blurred. Daniel rails against crass corporate culture like Christ among the money-changers, cultivates a sublime asceticism and ultimately transforms the material world through his struggle and suffering. So it is that we see how life among troubled and searching actors in modern-day Montréal might be marked by halo-traces of a time-honoured story of death and rebirth. Jesus de Montréal is a brilliantly witty allegory for a commercial age in which doubt is not merely conceived as an antithesis to faith; it is the permanent fact of our postmodern condition.
Critical Reception
The movie received generally positive reviews upon its commercial release. The New York Times called it “intelligent and audacious,” and Rolling Stone’s Peter Travers said it was “a sharply perceptive satire of modern Christianity.” The Guardian called it “thought-provoking and wickedly funny,” while Time Out deemed it a “delicious satire on contemporary mores… a witty, free-wheeling variation on the Gospel of St Mark [that] is never constrained by allegorical schematism and manages to make deft, original swipes at a plethora of modern 'evils': media hype, advertising, hospital bureaucracy, and of course the hypocrisy of the religious establishment.”
Honours and Legacy
Jésus de Montréal is widely considered one of the best Canadian films ever made. It won two major prizes at the Cannes Film Festival and 12 Genie Awards, including best screenplay, director, actor and motion picture. It also won the Golden Reel Award as the highest-grossing Canadian film of the year and received nominations for Best Foreign Language Film at the Academy Awards, BAFTA Awards and Golden Globes. It was ranked in the top five in polls of the Top 10 Canadian films of all time conducted by the Toronto International Film Festival in 1993, 2004 and 2015, and No. 2 in a similar Playback readers’ poll in 2002.
In 2014, a restored print of the film had a special 25th anniversary screening in Paris. In 2016, it was named one of 150 essential works in Canadian cinema history by a poll of 200 media professionals conducted by TIFF, Library and Archives Canada, the Cinémathèque québécoise and The Cinematheque in Vancouver in anticipation of the Canada 150 celebrations in 2017.
See also: The Cinema of Québec; Canadian Feature Films.
Awards
1990 Genie Awards
Best Achievement in Art Direction/Production Design (François Séguin)
Best Achievement in Cinematography (Guy Dufaux)
Best Achievement in Costume Design (Louise Jobin)
Best Achievement in Film Editing (Isabelle Dedieu)
Best Achievement in Overall Sound (Jocelyn Caron, Hans Peter Strobl, Adrian Croll, Patrick Rousseau)
Best Achievement in Sound Editing (Diane Boucher, Marcel Pothier, Antoine Morin, Laurent Levy)
Best Music Score (Yves Laferrière)
Performance by an Actor in a Supporting Role (Rémy Girard)
Performance by an Actor in a Leading Role (Lothaire Bluteau)
Best Original Screenplay (Denys Arcand)
Achievement in Direction (Denys Arcand)
Best Motion Picture (Roger Frappier, Pierre Gendron)
Golden Reel Award (Roger Frappier, Pierre Gendron)
Others
Jury Prize, Cannes Film Festival (1989)
Prize of the Ecumenical Jury, Cannes Film Festival (1989)
International Critics’ Award, Toronto International Film Festival (1989)
Top Foreign Films, National Board of Review, United States (1990)
Golden Space Needle Award, Seattle International Film Festival (1990)
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https://filmtalk.org/2017/11/13/anne-fontaine-on-reinventing-marvin-i-have-always-been-interested-in-characters-that-made-a-difference/
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INTERVIEWS WITH ACTORS AND FILMMAKERSINTERVIEWS WITH ACTORS AND FILMMAKERS
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2017-11-13T00:00:00
|
Screenwriter and film director Anne Fontaine (b. 1959 as Anne-Fontaine Sibertin-Blanc), known for her many powerful female characters in films such as "Nathalie" (2003, US remake "Chloe" starring Julianne Moore in 2009), "Coco avant Chanel" (2009, a.k.a. "Coco Before Chanel" with Audrey Tautou), "Perfect Mothers" (2013) starring Naomi Watts and Robin Wright, or "Gemma Bovery"…
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en
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FILM TALK
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https://filmtalk.org/2017/11/13/anne-fontaine-on-reinventing-marvin-i-have-always-been-interested-in-characters-that-made-a-difference/
|
Screenwriter and film director Anne Fontaine (b. 1959 as Anne-Fontaine Sibertin-Blanc), known for her many powerful female characters in films such as “Nathalie” (2003, US remake “Chloe” starring Julianne Moore in 2009), “Coco avant Chanel” (2009, a.k.a. “Coco Before Chanel” with Audrey Tautou), “Perfect Mothers” (2013) starring Naomi Watts and Robin Wright, or “Gemma Bovery” (2014) with Gemma Atherton playing the title character, visited the Arras Film Festival to promote the release of her latest feature, “Marvin” (a.k.a. “Reinventing Marvin”).
The film, a.k.a. “Reinventing Marvin,” among others a coming out and a coming of age story—or the need to reinvent oneself to dissociate from a painful past—the film is the narrative of a young gay man leaving the life he has known to become someone else. It is partly based on Edouard Louis’ 2014 autobiographical bestseller “En finir avec Eddy Bellegueule” [a.k.a. “The End of Eddy”], and the film stars Finnegan Oldfield, nominated for a César for Most Promising Actor for Thomas Bidegain’s “Les cowboys” (2015, a.k.a. “The Cowboys”).
After being shown at La Biennale di Venezia (Venice Film Festival) in September and at the BFI London Film Festival in early October, screenwriter and director Anne Fontaine introduced her latest film in Arras, accompanied by actors Finnegan Oldfield and Jules Porier (the latter playing the character of Marvin as a child). The Biennale website quoted Ms. Fontaine, describing the film as ‘tackling the issue of contemporary society and its flaws, its dead ends and of the broader and timeless moral question: isn’t redemption a kind of self-betrayal? Is it possible to reinvent oneself without having to reinvent everything that surrounds us? Is it possible to love someone who gives us new life without stopping loving the one who gave us our first life when one and the other are radically and mutually exclusive? Marvin’s story is violent and extreme, but I would like the film it inspired to remind us that ashes and diamonds are profoundly linked and that sometimes it is necessary to start a long and hard path before finding the way home again.’ At any rate, “Reinventing Marvin,” with a highly rewarding and long cameo by Isabelle Huppert—one of France’s most appealing screen legends—packs a powerful punch.
Here are excerpts from Ms. Fontaine’s press conference at the Arras Film Festival, including a few phrases and quotes from previous press conferences of hers that I attended, clarifying her working methods.
Ms. Fontaine, how did this project land on your desk?
In the beginning, Edouard Louis, a very young author, had suggested I adapt “En finir avec Eddy Bellegueule.” What appealed to me in his novel was the character of this young boy who is different, living lower class in France as an outsider. He’s very creative and very artistic, and how he grows into adulthood, which would be my main focus. The author gave me his approval, and then I started working on the complexity of the story. Marvin was bullied when he was a child, and he didn’t feel at home within his own family, and so he tried to find a way to escape, find his own way and be truthful. I just imagined how Marvin, as a young boy, would find a purpose in life when he had begun life so poorly. It was a challenge to focus on his process of growing up, how he connects with his roots even when things get rough. To me, the film is also about society and how it fails you if you are different—if you’re gay, if you’re a woman, if you’re black.
How would you compare the characters in “Marvin” to the characters in your other films because you often tend to portray strong female characters?
I have always been interested in characters that made a difference, like Coco Chanel. She was very creative, and now it’s the character of Marvin that touched me deeply. He fascinated me because I was able to enter into his world, into the intimacy of this vulnerable young man who finally makes in the theater—which is very dear to me. I honestly believe that the film is all about hope: everything is possible if you have faith in yourself and if you’re surrounded by people who have much more faith in you than you do for yourself. You can always change if you really want. So to me, “Marvin” has a message of hope. There’s also the fragility of several other characters, like Marvin’s father and the quality of his sister, for example—they allow you to express their feelings and their emotions just perfectly.
How did you work with your actors before and during shooting?
We do a lot of work, a lot of preparation before we start shooting, and work out every detail before we start rehearsing without a camera. Once we’re on the set and we’re about to shoot, I try to give the actors a sense of freedom. By then, we’re all prepared, we know what to do, we analyzed everything, so we’re all set, and then it’s up to the actors to see what they will do with the characters they’re playing. That doesn’t mean everything goes perfectly because we still make mistakes and need to figure out things constantly. There are scenes that we shoot, and it may have been three weeks, since we rehearsed them. In those three weeks we may have changed things here and there, so consequently, a number of scenes we had planned to do will also need to be reconsidered and adjusted.
Where do you get your inspiration when you’re writing your screenplays?
I dance. When I dance, it gives me tremendous inspiration to write my screenplay. I dance every day. It gives me a sense of freedom, of space, and that helps me to find new ideas or different angles; it helps me to develop my characters and write their dialogues.
Why did you cast Isabelle Huppert to play herself?
I don’t know; it just seemed logical to me. I thought it would be a great idea, and besides, she never played herself before. Now she plays herself, an actress, and she loved doing it. Being an autodidact myself—as I didn’t have any formal training to become a filmmaker—I relate to the characters, including hers, because I feel what the characters will be like.
Arras Film Festival, Arras (France)
November 10, 2017
“Marvin” (2017, trailer)
FILMS
LE DERNIER AMANT ROMANTIQUE, a.k.a. THE LAST ROMANTIC LOVER (1978) DIR Just Jaeckin PROD Bernard Lenteric SCR Just Jaeckin, Ennio De Concini CAM Robert Fraisse ED Françoise Bonnot, Michèle Boëhm MUS Pierre Bachelet CAST Dayle Haddon, Gérard Ismaël, Fernando Rey, Yann Babilée, Georges Beller, Ben Simon, Edouard Bergara, Roland Blanche, Jacques Canselier, Thierry Lhermitte, Fontaine Sibertin-Blanc [Anne Fontaine]
SI MA GUEULE VOUS PLAÎT… (1981) DIR Michel Caputo SCR Odile Barski (idea by Monique Pantel) CAM Jacques Lefrançois ED Hélène Plemiannikov MUS Gérard Blanc, Sylvain Pauchard CAST Michel Galabru, Bernadette Lafont, David Pontremilo, Henry Courseaux, Martine, Pascale Roberts, Anne Fontaine (Isabelle)
P.R.O.F.S. (1985) DIR – MUS Patrick Schulman PROD Gilbert de Goldschmidt SCR Patrick Schulman (story by Didier Dolna) CAM Jacques Assuérus ED Aline Asséo CAST Patrick Bruel, Fabrice Luchini, Christophe Bourseiller, Laurent Gamelon, Etienne Draber, Martin Sarcey, Anne Fontaine (Marite)
LES HISTOIRES D’AMOUR FINISSENT MAL… EN GÉNÉRAL, a.k.a. LOVE AFFAIRS USUALLY END BAD (1993) DIR Anne Fontaine PROD Philippe Carcassonne, Hugues Desmichelle SCR Anne Fontaine, Claude Arnaud, Anne Andrei CAM Christophe Pollock ED Sylvie Gadmer MUS Saïd Houmaoui, Jean-Pierre Castelain CAST Nora, Sami Bouajila, Alain Fromager, Jean-Claude Dreyfus, Eric Métayer, Faitha Chriguene, Marie-France Santon
AUGUSTIN (1995) DIR – SCR Anne Fontaine PROD Philippe Carcassonne, Brigitte Faure, Philippe Jacquier CAM Jean-Marie Dreujou ED Sylvie Gadmer CAST Jean-Chrétien Sibertin-Blanc, Stéphane Zhang, Guy Casabonne, Nora Habib, Claude Pecher, James Lord, Thierry Lhermitte
NETTOYAGE À SEC, a.k.a. DRY CLEANING (1997) DIR Anne Fontaine PROD Alain Sarde, Philippe Carcassonne SCR Anne Fontaine, Gilles Taurand CAM Caroline Champetier ED Luc Barnier MUS Patrice Renson CAST Miou-Miou, Charles Berling, Stanislas Merhar, Mathilde Seigner, Nanou Meister, Noé Pfiegler
AUGUSTIN, ROI DU KUNG-FU, a.k.a. AUGUSTIN, KING OF KUNG-FU (1999) DIR Anne Fontaine PROD Alain Sarde, Philippe Carcassonne SCR Anne Fontaine, Jacques Fieschi, Gilles Taurand CAM Christophe Pollock ED Luc Barnier MUS Olivier Lebé, Ri-Mah [Philippe Carcassonne] CAST Jean-Chrétien Sibertin-Blanc, Maggie Cheung, Darryl Cowl, Bernard Campan, Paulette Dubost, Pascal Bonitzer, Ming Shan, Patricia Dinev, Fanny Ardant, André Dussollier, Thierry Lhermitte
PAS DE SCANDALE, a.k.a. NO SCANDAL and KEEP IT QUIET (1999) DIR Benoît Jacquot PROD Philippe Carcassonne SCR Benoît Jacquot, Jérôme Beaujour CAM Romain Winding ED Pascale Chavance MUS Olivier Lebé CAST Fabrice Luchini, Isabelle Huppert, Vincent Lindon, Vahina Giocante, Sophie Aubry, Anne Fontaine (Natalie)
COMME J’AI TUÉ MON PÈRE, a.k.a. HOW I KILLED MY FATHER and MY FATHER AND I (2001) DIR Anne Fontaine PROD Philippe Carcassonne SCR Anne Fontaine, Jacques Fieschi CAM Jean-Marc Fabre ED Guy Lecorne MUS Jocelyn Pook CAST Michel Bouquet, Charles Berling, Natacha Régnier, Amira Casar, Stéphane Guillon, Hubert Koundé
NATHALIE… (2003) DIR Anne Fontaine PROD Alain Sarde SCR Anne Fontaine, Jacques Fieschi, François-Olivier Rousseau (original idea by Philippe Blasband) CAM Jean-Marc Fabre ED Emmanuelle Castro MUS Michael Nyman CAST Fanny Ardant, Gérard Depardieu, Emmanuelle Béart, Wladimir Yordanoff, Judith Magre, Rodolphe Pauly
ENTRE SES MAINS (2005) DIR Anne Fontaine PROD Philippe Carcassonne, Bruno Pésery SCR Anne Fontaine, Julien Boivent (novel by Dominique Barbéris) CAM Denis Lenoir ED Philippe Ravoet, Luc Barnier MUS Pascal Dusapin CAST Benoît Poelvoorde, Isabelle Carré, Jonathan Zaccaï, Valérie Donzelli, Bernard Bloch, Véronique Nordey, Michel Dubois, Jean-Chrétien Sibertin-Blanc
NOUVELLE CHANCE, a.k.a. OH LA LA! (2006) DIR Anne Fontaine PROD Philippe Carcassonne, Pascal Houzelot SCR Anne Fontaine, Julien Boivent CAM Caroline Champetier ED Isabelle Dedieu CAST Danielle Darrieux, Arielle Dombasle, Jean-Chrétien Sibertin-Blanc, Andy Gillet, Christophe Vandevelde, Michel Boudinat, Katsuko Nakamura
LA FILLE DE MONACO, a.k.a. THE GIRL FROM MONACO (2008) DIR Anne Fontaine PROD Philippe Carcassonne, Bruno Pésery SCR Anne Fontaine, Benoît Graffin CAM Patrick Blossier ED Maryline Monthieux MUS Philippe Rombi CAST Fabrice Luchini, Roschdy Zem, Louise Bourgoin, Stéphane Audran, Gilles Cohen, Alexandre Steiger, Philippe Duclos
CHLOE (20099) DIR Atom Egoyan PROD Ivan Reitman, Jeffrey Clifford, Joe Medjuck SCR Erin Cressida Wilson (screenplay NATHALIE… [2003] by Anne Fontaine, Jacques Fieschi, François-Olivier Rousseau; original idea by Philippe Blasband) CAM Paul Sarossy ED Susan Shipton MUS Mychael Danna CAST Julianne Moore, Liam Neeson, Amanda Seyfried, Max Thieriot, R.H. Thomson, Nina Dobrev, Mishu Vellani
COCO AVANT CHANEL, a.k.a. COCO BEFORE CHANEL (2009) DIR Anne Fontaine PROD Philippe Carcassonne, Simon Arnal, Caroline Benjo, Carole Scotta SCR Anne Fontaine, Camille Fontaine (book by Edmonde Charles-Roux) CAM Christophe Beaucarne ED Luc Barnier MUS Alexandre Desplat CAST Audrey Tautou, Benoît Poelvoorde, Alessandro Nivola, Marie Gillain, Emmanuelle Devos, Régis Royer, Etienne Bartholomeus
MON PIRE CAUCHEMAR, a.k.a. MY WORST NIGHTMARE (2011) DIR Anne Fontaine PROD Philippe Carcassonne, Bruno Pésery, Diana Elbaum, Patrick Quinet, Jérôme Seydoux SCR Anne Fontaine, Nicolas Mercier CAM Jean-Marc Fabre ED Luc Barnier, Nelly Ollivault MUS Bruno Coulais CAST Isabelle Huppert, Benoît Poelvoorde, André Dussollier, Virginie Efira, Corentin Devroey, Donatien Suner, Aurélien Recoing, Éric Berger
ADORATION, a.k.a. PERFECT MOTHERS (2013) DIR Anne Fontaine PROD Philippe Carcassonne, Andrew Mason, Barbara Gibbs, Michel Feller SCR Anne Fontaine (story by Anne Fontaine, Christopher Hampton; book by Doris Lessing) CAM Christophe Beaucarne ED Luc Barnier, Ceinwen Berry MUS Christopher Gordon CAST Naomi Watts, Robin Wright, Xavier Samuel, James Frecheville, Ben Mendelsohn, Jessica Tovey, Sophie Lowe
GEMMA BOVERY (2014) DIR Anne Fontaine PROD Philippe Carcassonne, Matthieu Tarot SCR Anne Fontaine, Pascal Bonitzer (adaptation by Anne Fontaine, Pascal Bonitzer; novel by Posy Simmonds) CAM Christophe Beaucarne ED Annette Dutertre MUS Bruno Coulais CAST Fabrice Luchini, Gemma Arterton, Jason Flemyng, Isabelle Chandelier, Niels Schneider, Mel Raido, Elsa Zylberstein
LES INNOCENTS, a.k.a. THE INNOCENTS (2016) DIR Anne Fontaine PROD Eric Altmayer, Nicolas Altmayer SCR Sabrina B. Karine, Alice Vial (adaptation by Anne Fontaine, Pascal Bonitzer; original concept created by Philippe Maynial) CAM Caroline Champetier ED Annette Duertre MUS Grégoire Hetzel CAST Lou de Laâge, Agata Buzek, Agata Kulesza, Vincent Macaigne, Joanna Kulig, Eliza Rycembel, Katarzyna Dabrowska
MARVIN, a.k.a. REINVENTING MARVIN (2017) DIR Anne Fontaine PROD Philippe Carcassonne, Pierre-Alexandre Schwab, Jean-Louis Livi SCR Anne Fontaine, Pierre Trividic CAM Yves Angelo ED Annette Dutertre CAST Finnegan Oldfield, Grégory Gadebois, Vincent Macaigne, Catherine Salée, Jules Porier, Isabelle Huppert
TV MOVIE
ENTRE CHATS ET LOUPS (1985) DIR – SCR François Porcile MUS Pierre Jansen CAST Hella Petri, Georges Wilson, Michel Beaune, Anne Fontaine (Carole Lambert), Georges Claisse, Thierry Redler, Catherine Vichniakoff
TV MINI-SERIES
LES MYSTÈRES DE PARIS (1980) DIR André Michel SCR René Wheeler, Marie Benedicto (novel by Eugène Sue) CAM Maurice Fellous MUS Vladimir Cosma CAST Christine Deschaumes, Noëlle Leiris, Jacques Seiler, Sigmar Solbach, Pinkas Dyrek, Frédéric Frisdal, Anne Fontaine (Sarah)
LE MYSTÉRIEUX DOCTEUR CORNÉLIUS (1984) DIR Maurice Frydland SCR Pierre Nivollet (adaptation by Jean-Pierre Petrolacci, Jean-Daniel Simon; novel by Gustave Le Rouge) MUS Gérard Gallo, Slim Pezin CAST Jean Bouise, Gérard Desarthe, François-Eric Gendron, Hugues Quester, Georges Géret, Caroline Silhol, Anne Fontaine (Andrée de Maubreuil)
CARTE DE PRESSE (1988) DIR Michel Favart SCR Patrick Besson CAST Marc Chapiteau, Myriem Roussel, Nicolas Silberg, Pierre-Alain Chapuis, Anne Fontaine (Pauline), Charlotte de Turckheim
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TIFF is a charitable cultural organization with a mission to transform the way people see the world, through film.
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/img/apple-touch-icon.png
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TIFF
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https://_/events/rafiki
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TIFF 2024 is almost here!
Let’s help you find what you’re looking for.
I want to buy tickets for TIFF Lightbox.
I want to buy tickets for TIFF 2024.
I'm a Patrons Circle or Contributors Circle Member, or I purchased a TIFF Member Bundle, and I want to manage my tickets for TIFF 2024.
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https://www.wikidata.org/static/favicon/wikidata.ico
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2018 Kenyan film by Wanuri Kahiu
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https://www.wikidata.org/wiki/Q52272990
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7.3/10
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https://www.thecanadianencyclopedia.ca/en/article/jesus-of-montrealjesus-de-montreal
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Jésus de Montréal (Jesus of Montreal)
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Denys Arcand’s Jésus de Montréal is a provocative satire about an actor whose life increasingly comes to resemble that of Jesus during a production of the P...
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https://www.thecanadianencyclopedia.ca/en/article/jesus-of-montrealjesus-de-montreal
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Background
The seed for the idea of Jésus de Montréal was planted during the making of Arcand’s previous film, Le déclin de l’empire américain. An actor who auditioned for a part in the film explained to Arcand that he had a full beard because he was playing Jesus in a production of the Passion Play, while also auditioning for commercials during the day. Arcand was struck by the contrast, and after finishing Le déclin he began writing a screenplay that explored the contradiction between spirituality and commercialism. “Consumerism may be the legacy of the eighties,” Arcand explained, “but there has got to be more to life than that. Jesus of Montréal is about a yearning for something else, a search for a sort of meaning."
Synopsis
Discouraged by waning public interest, theatre-loving Father Leclerc (Gilles Pelletier) decides to commission a more engaging and modernized version of the Passion Play for his church’s annual production. He hires an androgynously ethereal young actor named Daniel (Lothaire Bluteau), who conscripts an unlikely troupe of thespians (or disciples, as the allegory would have it) to bring the play to life. Martin (Rémy Girard) is working as a voice actor for porn movies; Constance (Johanne-Marie Tremblay) is having an affair with Father Leclerc; Mireille (Catherine Wilkening) stars in commercials that use her scantily-clad body to sell cosmetics; and René (Robert Lepage) is an eccentric actor who is determined to shoehorn Hamlet’s soliloquy into the production.
Their avant-garde performance, which makes use of Mount Royal as an outdoor theatre, incorporates new archaeological evidence and biblical translations, and presents literal interpretations of many of Christ’s teachings. The play dazzles the audience but offends Leclerc. As the Catholic Church attempts to shut it down, the parallels between Daniel’s actions and the life of Christ become increasingly direct, culminating in his outburst at one of Mireille’s auditions that mirrors Christ’s anger among the money-lenders. When he is fatally injured in the final performance, Daniel is taken to a local hospital and laid crucifixion-style on an operating table, where his organs are taken to literally give sight to the blind and health to the sick.
Analysis
Jésus de Montréal has the audacity to take institutional religion and spiritual questing seriously and still call itself a comedy. The device of history as a play within a film permits Denys Arcand to move seamlessly from one line of narrative continuity to another, so that eventually the film moves towards a unifying and credible answer to the implicit question: what would Jesus look like if he walked among us today?
Daniel (Bluteau) becomes so identified with the character of Jesus that the line between ancient narrative and the contemporary life in which he is deeply immersed becomes deliberately blurred. Daniel rails against crass corporate culture like Christ among the money-changers, cultivates a sublime asceticism and ultimately transforms the material world through his struggle and suffering. So it is that we see how life among troubled and searching actors in modern-day Montréal might be marked by halo-traces of a time-honoured story of death and rebirth. Jesus de Montréal is a brilliantly witty allegory for a commercial age in which doubt is not merely conceived as an antithesis to faith; it is the permanent fact of our postmodern condition.
Critical Reception
The movie received generally positive reviews upon its commercial release. The New York Times called it “intelligent and audacious,” and Rolling Stone’s Peter Travers said it was “a sharply perceptive satire of modern Christianity.” The Guardian called it “thought-provoking and wickedly funny,” while Time Out deemed it a “delicious satire on contemporary mores… a witty, free-wheeling variation on the Gospel of St Mark [that] is never constrained by allegorical schematism and manages to make deft, original swipes at a plethora of modern 'evils': media hype, advertising, hospital bureaucracy, and of course the hypocrisy of the religious establishment.”
Honours and Legacy
Jésus de Montréal is widely considered one of the best Canadian films ever made. It won two major prizes at the Cannes Film Festival and 12 Genie Awards, including best screenplay, director, actor and motion picture. It also won the Golden Reel Award as the highest-grossing Canadian film of the year and received nominations for Best Foreign Language Film at the Academy Awards, BAFTA Awards and Golden Globes. It was ranked in the top five in polls of the Top 10 Canadian films of all time conducted by the Toronto International Film Festival in 1993, 2004 and 2015, and No. 2 in a similar Playback readers’ poll in 2002.
In 2014, a restored print of the film had a special 25th anniversary screening in Paris. In 2016, it was named one of 150 essential works in Canadian cinema history by a poll of 200 media professionals conducted by TIFF, Library and Archives Canada, the Cinémathèque québécoise and The Cinematheque in Vancouver in anticipation of the Canada 150 celebrations in 2017.
See also: The Cinema of Québec; Canadian Feature Films.
Awards
1990 Genie Awards
Best Achievement in Art Direction/Production Design (François Séguin)
Best Achievement in Cinematography (Guy Dufaux)
Best Achievement in Costume Design (Louise Jobin)
Best Achievement in Film Editing (Isabelle Dedieu)
Best Achievement in Overall Sound (Jocelyn Caron, Hans Peter Strobl, Adrian Croll, Patrick Rousseau)
Best Achievement in Sound Editing (Diane Boucher, Marcel Pothier, Antoine Morin, Laurent Levy)
Best Music Score (Yves Laferrière)
Performance by an Actor in a Supporting Role (Rémy Girard)
Performance by an Actor in a Leading Role (Lothaire Bluteau)
Best Original Screenplay (Denys Arcand)
Achievement in Direction (Denys Arcand)
Best Motion Picture (Roger Frappier, Pierre Gendron)
Golden Reel Award (Roger Frappier, Pierre Gendron)
Others
Jury Prize, Cannes Film Festival (1989)
Prize of the Ecumenical Jury, Cannes Film Festival (1989)
International Critics’ Award, Toronto International Film Festival (1989)
Top Foreign Films, National Board of Review, United States (1990)
Golden Space Needle Award, Seattle International Film Festival (1990)
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http://theenemyishere.org/the-enemy-around-the-world
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The Enemy
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The Enemy brings you face-to-face with combatants from three conflict zones: with the Maras in Salvador, in the Democratic Republic of the Congo, and in Israel and Palestine. Their testimonies and confessions about their lives, experiences, and perspectives on war will allow you to better understand their motivations… and their humanity.
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Entretien avec Karim Ben Khelifa par Fanny Agostino.
FMC Veille
“Un message à la fois simple et universel.”
CBC – The Bridge
Conversation with Karim Ben Khelifa – 54:00
CBC
“The stories are powerful. ”
Le Devoir
“Cette expérience de proximité […] nous renvoie le reflet des cloisons qui divisent les adversaires du monde entier, armés ou pas.”
Montreal Gazette
“The result is sobering, at times scary, and emotionally disarming. ”
Podcast Soonish
Conversation with Karim Ben Khelifa – 36:20
MIT Technology Review
“This VR Exhibit Lets You Connect with the Human Side of War”
FrenchWeb, le magazine de l’innovation
“The Enemy, a virtual reality experience that injects life into museums”
Le Courrier du Parlement
“War reporting of a new kind. The documentary of the future?”
“Thanks to this new perspective, members of the public become engaged participants in journalism.”
TV5 Monde
A not-to-be missed digital sensation
RTL
“The Enemy, or the virtual revolution in war reporting.”
“Experience war from the inside to better understand it, thanks to virtual reality.”
France TV Info
“The Enemy, a first in virtual reality”
The New York Times
“Meeting ‘the Other’ Face to Face By Randy Kennedy - The New York Times”
Then the portraits disappear, replaced by doors, which open. In walk the two combatants — Abu Khaled, a fighter for the Popular Front for the Liberation of Palestine, and Gilad Peled, an Israeli soldier ...
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The Barbarian Invasions • New Zealand International Film Festival
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2014-11-26T00:00:00
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Denys Arcand’s boisterous wake for 60s hedonism and tattered ideals in the uncivilised 00s, The Barbarian Invasions reunites the characters from his 1986 Decline of American Civilisation. But no acquaintance with the earlier movie is required to understand who’s who or what’s going on here.
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https://www.nziff.co.nz/2004/archive-1/the-barbarian-invasions/
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Denys Arcand’s boisterous wake for 60s hedonism and tattered ideals in the uncivilised 00s, The Barbarian Invasions reunites the characters from his 1986 Decline of American Civilisation. But no acquaintance with the earlier movie is required to understand who’s who or what’s going on here.
“Rémy, serial womaniser, bon vivant and socialist, lies dying in a [Québec] hospital bed. Summoned from London, his son Sebastian (‘an ambitious capitalist prude who has never opened a book,’ according to Dad), employs his business skills to grease a few palms and upgrade his father’s healthcare… As the friends and relatives gather, the sharply written script invokes the joys of friendship while lampooning subjects ranging from the Catholic Church to American supremacist ambitions. Funniest of all is the group’s rueful listing of the political and intellectual movements they embraced and discarded over the years. Girard is outstanding as the man whose life is slipping away. With its articulate reflective stance, this is a film about death and reconciliation that feels more like a celebration of life.” — Sandra Hebron, London Film Festival
“The hospital room becomes the site of an ongoing party: sexual memories, bawdy jokes, political tirades, and regrets bang off the walls at all hours. Eventually, the entire group relocates to a house on the same lake that was the setting for Decline; as Rémy grapples with his failures and satisfactions, the movie shuts up and calms down. Arcand’s film might be called an idyll of death, and the concluding scenes, in which Rémy tries to pass something on to the next generation, are intensely moving.” — David Denby, New Yorker
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The Barbarian Invasions (2003)
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[
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2019-06-14T18:25:55-07:00
|
The Barbarian Invasions (2003) tech specs : shot on ARRIFLEX 535 B Camera and Cooke S4 Lenses - Directed by Denys Arcand with Cinematography by Guy Dufaux - The Motion Picture & Television Technical Database
|
en
|
/favicon.ico?v=7
|
https://shotonwhat.com/the-barbarian-invasions-2003
|
Thank you for visiting ShotOnWhat?
Your interest and support is what makes this site possible. Please help us continue to build this indispensable collection of technical information for movies & television.
Your generosity of a small contribution will make a difference. We are truly grateful and appreciate any support you can give today.
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0
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|
https://letterboxd.com/editor/isabelle-dedieu/
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en
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Films edited by Isabelle Dedieu
|
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Films edited by Isabelle Dedieu
|
en
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https://letterboxd.com/editor/isabelle-dedieu/
|
Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
|
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1028
|
dbpedia
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2
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|
https://www.thecanadianencyclopedia.ca/en/article/jesus-of-montrealjesus-de-montreal
|
en
|
Jésus de Montréal (Jesus of Montreal)
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Denys Arcand’s Jésus de Montréal is a provocative satire about an actor whose life increasingly comes to resemble that of Jesus during a production of the P...
|
en
|
https://www.thecanadianencyclopedia.ca/en/article/jesus-of-montrealjesus-de-montreal
|
Background
The seed for the idea of Jésus de Montréal was planted during the making of Arcand’s previous film, Le déclin de l’empire américain. An actor who auditioned for a part in the film explained to Arcand that he had a full beard because he was playing Jesus in a production of the Passion Play, while also auditioning for commercials during the day. Arcand was struck by the contrast, and after finishing Le déclin he began writing a screenplay that explored the contradiction between spirituality and commercialism. “Consumerism may be the legacy of the eighties,” Arcand explained, “but there has got to be more to life than that. Jesus of Montréal is about a yearning for something else, a search for a sort of meaning."
Synopsis
Discouraged by waning public interest, theatre-loving Father Leclerc (Gilles Pelletier) decides to commission a more engaging and modernized version of the Passion Play for his church’s annual production. He hires an androgynously ethereal young actor named Daniel (Lothaire Bluteau), who conscripts an unlikely troupe of thespians (or disciples, as the allegory would have it) to bring the play to life. Martin (Rémy Girard) is working as a voice actor for porn movies; Constance (Johanne-Marie Tremblay) is having an affair with Father Leclerc; Mireille (Catherine Wilkening) stars in commercials that use her scantily-clad body to sell cosmetics; and René (Robert Lepage) is an eccentric actor who is determined to shoehorn Hamlet’s soliloquy into the production.
Their avant-garde performance, which makes use of Mount Royal as an outdoor theatre, incorporates new archaeological evidence and biblical translations, and presents literal interpretations of many of Christ’s teachings. The play dazzles the audience but offends Leclerc. As the Catholic Church attempts to shut it down, the parallels between Daniel’s actions and the life of Christ become increasingly direct, culminating in his outburst at one of Mireille’s auditions that mirrors Christ’s anger among the money-lenders. When he is fatally injured in the final performance, Daniel is taken to a local hospital and laid crucifixion-style on an operating table, where his organs are taken to literally give sight to the blind and health to the sick.
Analysis
Jésus de Montréal has the audacity to take institutional religion and spiritual questing seriously and still call itself a comedy. The device of history as a play within a film permits Denys Arcand to move seamlessly from one line of narrative continuity to another, so that eventually the film moves towards a unifying and credible answer to the implicit question: what would Jesus look like if he walked among us today?
Daniel (Bluteau) becomes so identified with the character of Jesus that the line between ancient narrative and the contemporary life in which he is deeply immersed becomes deliberately blurred. Daniel rails against crass corporate culture like Christ among the money-changers, cultivates a sublime asceticism and ultimately transforms the material world through his struggle and suffering. So it is that we see how life among troubled and searching actors in modern-day Montréal might be marked by halo-traces of a time-honoured story of death and rebirth. Jesus de Montréal is a brilliantly witty allegory for a commercial age in which doubt is not merely conceived as an antithesis to faith; it is the permanent fact of our postmodern condition.
Critical Reception
The movie received generally positive reviews upon its commercial release. The New York Times called it “intelligent and audacious,” and Rolling Stone’s Peter Travers said it was “a sharply perceptive satire of modern Christianity.” The Guardian called it “thought-provoking and wickedly funny,” while Time Out deemed it a “delicious satire on contemporary mores… a witty, free-wheeling variation on the Gospel of St Mark [that] is never constrained by allegorical schematism and manages to make deft, original swipes at a plethora of modern 'evils': media hype, advertising, hospital bureaucracy, and of course the hypocrisy of the religious establishment.”
Honours and Legacy
Jésus de Montréal is widely considered one of the best Canadian films ever made. It won two major prizes at the Cannes Film Festival and 12 Genie Awards, including best screenplay, director, actor and motion picture. It also won the Golden Reel Award as the highest-grossing Canadian film of the year and received nominations for Best Foreign Language Film at the Academy Awards, BAFTA Awards and Golden Globes. It was ranked in the top five in polls of the Top 10 Canadian films of all time conducted by the Toronto International Film Festival in 1993, 2004 and 2015, and No. 2 in a similar Playback readers’ poll in 2002.
In 2014, a restored print of the film had a special 25th anniversary screening in Paris. In 2016, it was named one of 150 essential works in Canadian cinema history by a poll of 200 media professionals conducted by TIFF, Library and Archives Canada, the Cinémathèque québécoise and The Cinematheque in Vancouver in anticipation of the Canada 150 celebrations in 2017.
See also: The Cinema of Québec; Canadian Feature Films.
Awards
1990 Genie Awards
Best Achievement in Art Direction/Production Design (François Séguin)
Best Achievement in Cinematography (Guy Dufaux)
Best Achievement in Costume Design (Louise Jobin)
Best Achievement in Film Editing (Isabelle Dedieu)
Best Achievement in Overall Sound (Jocelyn Caron, Hans Peter Strobl, Adrian Croll, Patrick Rousseau)
Best Achievement in Sound Editing (Diane Boucher, Marcel Pothier, Antoine Morin, Laurent Levy)
Best Music Score (Yves Laferrière)
Performance by an Actor in a Supporting Role (Rémy Girard)
Performance by an Actor in a Leading Role (Lothaire Bluteau)
Best Original Screenplay (Denys Arcand)
Achievement in Direction (Denys Arcand)
Best Motion Picture (Roger Frappier, Pierre Gendron)
Golden Reel Award (Roger Frappier, Pierre Gendron)
Others
Jury Prize, Cannes Film Festival (1989)
Prize of the Ecumenical Jury, Cannes Film Festival (1989)
International Critics’ Award, Toronto International Film Festival (1989)
Top Foreign Films, National Board of Review, United States (1990)
Golden Space Needle Award, Seattle International Film Festival (1990)
|
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1028
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3
| 44
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https://www.jcctunisie.org/jcc2018/eng/filmsDetail.php%3Fid_film%3D6
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en
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Les Journées Cinématographiques de Carthage JCC 2024
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https://www.jcctunisie.org/jcc2018/eng/assets/img/logo.ico
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[] |
[
"Journées Cinématographiques de Carthage",
"JCC 2023",
"Cité de La Culture",
"Tunis"
] | null |
[] | null |
Journées Cinématographiques de Carthage 2023 débutent samedi 28 octobre et se poursuivent jusquâau samedi 4 novembre 2023 à la Cité de La Culture de Tunis.
|
fr
|
assets/img/logo.ico
| null | ||||
1028
|
dbpedia
|
2
| 2
|
https://countycat.mcfls.org/Record/.b30754975
|
en
|
Jesus of Montreal Jésus de Montréal
|
https://countycat.mcfls.org/bookcover.php?id=ils:.b30754975&size=medium&isn=1417200723&upc=741952304296
|
https://countycat.mcfls.org/bookcover.php?id=ils:.b30754975&size=medium&isn=1417200723&upc=741952304296
|
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A Montreal shrine seeks to inspire its congregants by modernizing its staging of the Passion play. A promising cast of vibrant young actors are signed on - one fresh from perfume commercials, another from the pornographic film industry, and another who had an affair with the basilica's priest - quickly drive the production on to become a smash hit. But as the play enjoys the success, the actors become more and more challenged to separate their real lives from their lives onstage.
|
en
|
/files/original/faviconcropped-mcfls5757-e1542293491254-2-32x32.png
|
CountyCat
|
https://countycat.mcfls.org/Record/.b30754975
|
APA Citation, 7th Edition (style guide)
Arcand, D., Bluteau, L., Wilkening, C., Tremblay, J., Girard, R., Lepage, R., Dufaux, G., & Laferrière, Y. (2004). Jesus of Montreal: Jésus de Montréal (Full screen édition.). Koch Lorber Films.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)
Denys Arcand et al.. 2004. Jesus of Montreal: Jésus De Montréal. Koch Lorber Films.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)
Denys Arcand et al.. Jesus of Montreal: Jésus De Montréal Koch Lorber Films, 2004.
MLA Citation, 9th Edition (style guide)
Arcand, Denys, et al. Jesus of Montreal: Jésus De Montréal Full screen édition., Koch Lorber Films, 2004.
|
||
1028
|
dbpedia
|
0
| 11
|
https://catalog.moablibrary.org/Record/33632
|
en
|
Jesus of Montreal = Jésus de Montréal
|
https://catalog.moablibrary.org/bookcover.php?id=ils:33632&size=medium&isn=1417200723&upc=741952304296
|
https://catalog.moablibrary.org/bookcover.php?id=ils:33632&size=medium&isn=1417200723&upc=741952304296
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[
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[] | null |
A Montreal shrine seeks to inspire its congregants by modernizing its staging of the Passion play. A promising cast of vibrant young actors are signed on -- one fresh from perfume commercials, another from the pornographic film industry, and another who had an affair with the basilica's priest -- quickly drive the production on to become a smash hit. But as the play enjoys the success, the actors become more and more challenged to separate their real lives from their lives onstage.
|
en
|
/files/original/faviconfavicon32p.png
|
Moab Library
|
https://catalog.moablibrary.org/Record/33632
|
APA Citation, 7th Edition (style guide)
Arcand, D., Bluteau, L., Wilkening, C., Tremblay, J., Girard, R., Lepage, R., Dufaux, G., & Laferrière, Y. (2004). Jesus of Montreal =: Jésus de Montréal . Koch Lorber Films.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)
Denys Arcand et al.. 2004. Jesus of Montreal =: Jésus De Montréal. Koch Lorber Films.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)
Denys Arcand et al.. Jesus of Montreal =: Jésus De Montréal Koch Lorber Films, 2004.
MLA Citation, 9th Edition (style guide)
Arcand, Denys, et al. Jesus of Montreal =: Jésus De Montréal Koch Lorber Films, 2004.
|
||
1028
|
dbpedia
|
3
| 13
|
https://en.wikipedia.org/wiki/The_Barbarian_Invasions
|
en
|
The Barbarian Invasions
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https://en.wikipedia.org/wiki/The_Barbarian_Invasions
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2003 film by Denys Arcand
This article is about the 2003 film. For the "barbarian invasions" of Europe, see Migration Period.
The Barbarian InvasionsFrenchLes Invasions barbaresDirected byDenys ArcandWritten byDenys ArcandProduced byDaniel Louis
Denise RobertStarringRémy Girard
Stéphane Rousseau
Dorothée Berryman
Louise Portal
Marie-Josée Croze
Marina HandsCinematographyGuy DufauxEdited byIsabelle DedieuMusic byPierre Aviat
Production
companies
Distributed byPyramide Distribution (France)
Alliance Atlantis (Canada)
Release dates
Running time
99 minutesCountriesCanada
FranceLanguagesFrench
EnglishBudgetUS$5 millionBox officeUS$26,924,656[1]
The Barbarian Invasions (French: Les Invasions barbares) is a 2003 Canadian-French sex comedy-drama film written and directed by Denys Arcand and starring Rémy Girard, Stéphane Rousseau and Marie-Josée Croze. The film is a sequel to Arcand's 1986 film The Decline of the American Empire, continuing the story of the character Rémy, a womanizing history professor now terminally ill with cancer.
The sequel was a result of Arcand's longtime desire to make a film about a character close to death, also incorporating a response to the September 11 attacks of 2001. It was produced by companies from both Canada and France, and shot mainly in Montreal, also employing a former hospital and property near Lake Memphremagog.
The film received a positive response from critics and became one of Arcand's biggest financial successes. It was the first Canadian film to win the Academy Award for Best Foreign Language Film, at the 76th Academy Awards in 2004. It won awards at the 2003 Cannes Film Festival, six Genie Awards, including Best Motion Picture, and three César Awards, including Best Film. The Barbarian Invasions was followed by the thematically related Days of Darkness in 2007 and The Fall of the American Empire in 2018.
Plot
[edit]
Seventeen years after the events of The Decline of the American Empire, Sébastien is enjoying a successful career in quantitative finance in London when he receives a call from his mother, Louise, that his father and Louise's ex-husband Rémy is terminally ill with cancer. Sébastien is not enthused about seeing Rémy, whom he blames for breaking up the family with his many adulteries. Rémy and his friends of the older generation are still largely social-democrats and proponents of Quebec nationalism, positions seeming somewhat anachronistic long after the Quiet Revolution of the 1960s. Rémy does not like Sébastien's career, lack of reading or fondness for video games.
The father and son travel to the U.S. state of Vermont to briefly receive medical care before returning to the overcrowded and disorganized Quebec hospital. Sébastien attempts to bribe hospital administration for better care, and calls Rémy's old friends about a possible visit. Upon hearing heroin is "800%" more effective than morphine, he tracks some down for Rémy from a drug addict, Nathalie.
Meanwhile, Rémy is reunited with his friends, including Pierre, Dominique, Claude and Diane, Nathalie's mother, and they share a conversation on their old sex drive and the gradual decline of their vitality. Diane is concerned for Nathalie, while Rémy, a history professor, lectures the hospital chaplain Constance on the relative peace of the 20th century compared to past centuries. At the same time, another scholar describes the September 11 attacks as historically small except as a possible beginning of modern barbarian invasions. After Rémy and his friends retreat to the countryside, they speak of their devotion to constantly evolving -isms. Rémy dies in the company of his friends and Sébastien, after a heroin injection from Nathalie, whom Rémy calls his guardian angel.
Cast
[edit]
Rémy Girard as Rémy
Stéphane Rousseau as Sébastien
Dorothée Berryman as Louise
Louise Portal as Diane
Marie-Josée Croze as Nathalie (Diane's daughter)
Marina Hands as Gaëlle
Dominique Michel as Dominique
Pierre Curzi as Pierre
Yves Jacques as Claude
Isabelle Blais as Sylvaine
Toni Cecchinato as Alessandro
Sophie Lorain as First Lover
Mitsou Gélinas as Ghislaine
Micheline Lanctôt as Nurse Carole
Johanne-Marie Tremblay as Sister Constance
Roy Dupuis as Narcotics Officer Gilles Levac
Lise Roy as Mme. Joncas-Pelletier
Production
[edit]
Development
[edit]
Denys Arcand, who wrote and directed the successful French Canadian film The Decline of the American Empire (1986), developed the idea of returning to the characters years later due to a fascination with death and an idea of having a character who is expecting to die. Part of his interest in the subject matter related to both of his parents dying of cancer.[4] He had tried to write screenplays about non-Decline characters going to die for 20 years prior to The Barbarian Invasions, originally pitching the idea to the Canadian Broadcasting Corporation but having difficulty with the subject matter being overly sentimental. He finally decided to try the story with characters from The Decline of the American Empire because of his fondness for its cast members. There are also characters from Arcand's 1989 film Jesus of Montreal in the film.
The September 11 attacks of 2001 occurred when Arcand was nearly finished his screenplay,[6] and gave new impetus to Arcand's ideas of "the decline of the American Empire." Arcand believed the attack represented the first of what would be many foreign attacks on the U.S. Arcand also referred to himself as "post-isms", and incorporated this discussion into the film.
Another statement he tried to make with his film was that heroin could be legalized for terminally ill patients in Canada, claiming it already is in England.[4] Author Susan C. Boyd wrote that, despite what the film portrays, heroin has been legal in Canadian palliative care since 1984. To research how his character would find heroin, Arcand contacted the Royal Canadian Mounted Police and met with them in an interrogation room, resembling the one in the final film. He claimed the RCMP gave him the cellphone number of a Montreal detective, and when he called it, he heard shouting from a police raid on the Hells Angels, which resulted in the arrest of Maurice Boucher.[10]
The film was produced by both Canadian and French companies, including Telefilm Canada, Société Radio-Canada and Canal+.[11] The budget was $6 million.[12]
Casting
[edit]
The cast members from the previous film, including Dorothee Berryman, Louise Portal, Dominique Michel, Pierre Curzi and Yves Jacques, were easy to secure for the sequel. New to the cast was Marie-Josée Croze, who was selected by Arcand after starring in the Canadian films Maelstrom (2000) and Ararat (2002). She found Arcand allowed her freedom in how she interpreted her role.[13] In The Decline of the American Empire, Croze's character Nathalie is played by child actress Ariane Frédérique.
Stéphane Rousseau, better known in Quebec as a stand-up comedian than an actor, was cast as Sébastien, after Dominique Michel urged Arcand to allow Rousseau to audition. Arcand explained he felt Rousseau had the "authority" the other actors who auditioned did not, though Rousseau was surprised to get the part as he felt his character was colder and more of an intellectual than he was. Rousseau's mother had died of cancer when he was a child, and he had fought with his father, later incorporating that experience into his performance.[16]
Filming
[edit]
The film was shot over 50 days, beginning in September 2002 and finishing in November. The bulk of the film was shot in Montreal, with some scenes filmed in London.[12] Footage from the World Trade Center attack shot by a Quebec architect and acquired by Radio-Canada was also used.
For the hospital scenes, the cast and crew employed Lachine General Hospital, an unused former hospital in Lachine, Quebec. Cinematographer Guy Dufaux found these scenes difficult to make interesting and realistic at the same time, and decided on more lighting for later scenes when the film's mood brightens, while using fluorescent fixtures and reflecting the former hospital's green painting to shoot the early scenes.[12] As with the first film, scenes were filmed near Lake Memphremagog. Most of the film was shot using a Steadicam.[12]
Release
[edit]
News that Arcand was working on a sequel to his 1986 film was received with a skeptical and negative response from critics. The film was screened at the 2003 Cannes Film Festival in May, where it received a 22-minute standing ovation, with distribution to 30 countries assured by the time Arcand received his Best Screenplay award.[18] It was afterwards selected to open the gala at the 2003 Toronto International Film Festival in September, and also opened the Vancouver International Film Festival that month.[20] The film began playing in Quebec theatres in May and ran for months, with its Canadian distributor being Alliance Films.[21] It opened across Canada on 21 November.[12]
After Cannes, rights were sold to Miramax for distribution of the film in the United States.[22] It opened in New York and Los Angeles on 21 November.[23] In France, the film was available on 450 screens at one time, the most for a Quebec film ever.[21]
Reception
[edit]
Box office
[edit]
The film's box office performance at Quebec theatres between its opening in May 2003 and the fall was considered good. By December, its initial release across Canada made $5.9 million.[21]
In France, it grossed the equivalent of US$8 million.[21] According to Box Office Mojo, the film finished its run on 3 June 2004 after grossing $8,544,975 in North America and $18,379,681 in other territories, for a worldwide total of $26,924,656.[24] It was one of Arcand's biggest box office successes.
Critical reception
[edit]
The Barbarian Invasions has received positive reviews from numerous critics. Review aggregator Rotten Tomatoes reports an 81% approval rating based on 134 reviews, with an average rating of 7.2/10.[25] Metacritic reports that the film has an average score of 70 out of 100, based on 34 critics, indicating "generally favorable reviews".[26]
In Canada, Maclean's critic Brian D. Johnson called it not only satirical but "a moving elegy to a generation that defined modern Quebec and has seen its passions rendered obsolete".[27] Liam Lacey wrote in The Globe and Mail that the film is "upbeat and wryly positive, or at least as much as you could expect from a film that condemns the Quebec hospital system and features a death by cancer as its central theme".[28] The film drew general attention for its criticism of Quebec's health care system.[23] Peter Howell wrote in The Toronto Star that "It's the depth of emotions Arcand summons for his characters, and the way this superb ensemble cast bring them so vividly to life, that make The Barbarian Invasions a film not just to see, but to welcome home".[29]
Roger Ebert of the Chicago Sun Times gave the movie four stars and called it "a movie with brains, indignation, irony and idealism".[30] A.O Scott of The New York Times wrote "what makes The Barbarian Invasions much more than a facile exercise in generational conflict is that Denys Arcand, who wrote and directed it, has a sense of history that is as acute as it is playful", adding "The rapprochement between Remy and Sebastien is beautiful to watch" and Marie-Josée Croze's "spooky, melancholy intensity darkens the mood of buoyant sentimentality".[31] Entertainment Weekly's Owen Gleiberman gave the film a B−, noting Rémy's hedonism.[32] David Denby of The New Yorker gave credit to Stéphane Rousseau for "a fascinatingly minimal performance".[33] Jonathan Romney of The Independent wrote "The film has its pros and cons, but you can't fault it for ambition: it not only muses on life and death, but also undertakes fairly comprehensive philosophical soundings of the way the world is today". Romney added Croze "has simply the most nuanced presence here: thoughtful, introspective, with a reassuring warmth and lack of cartoonishness".[34] Peter Bradshaw, writing for The Guardian, disdained the movie, calling it "grotesquely overpraised", "shot through with middlebrow sophistication, boorish cynicism, unfunny satire, a dash of fatuous anti-Americanism and unthinkingly reactionary sexual politics".[35] English Professor Peter Brunette wrote "its analysis of this state of affairs is all too often annoyingly rhetorical and, finally, altogether too facile".[36]
In 2004, the Toronto International Film Festival ranked the film tenth in the Top 10 Canadian Films of All Time.[37] David Lawrence Pike criticized the use of the World Trade Center footage as exploitative, but said despite "the crudeness and vulgarity", the film had a "particular brilliance".
Accolades
[edit]
The Barbarian Invasions is considered historically significant as the first Canadian film to win the Academy Award for Best Foreign Language Film. Canadian historian George Melnyk interpreted it as a sign that "Canadian cinema has come of global age", also pointing to Atanarjuat: The Fast Runner (2001) winning the Camera d'Or at Cannes.
Marie-Josée Croze's honour for Best Actress at the 2003 Cannes Film Festival was considered unlikely.[22] She was not present to accept the award.[18] The film's victory at France's national César Awards was also considered a surprise, since it is mainly a Quebec film.[40] It received the most nominations at the 24th Genie Awards.[41]
Award Date of ceremony Category Recipient(s) Result Ref(s) Academy Awards 29 February 2004 Best Original Screenplay Denys Arcand Nominated [6] Best Foreign Language Film Denys Arcand, Denise Robert, Daniel Louis Won BAFTA Awards 15 February 2004 Film Not in the English Language Denise Robert, Daniel Louis, Denys Arcand Nominated [42] Best Original Screenplay Denys Arcand Nominated Bangkok International Film Festival 22 January–2 February 2004 Best Film Won [43] Cannes Film Festival 14–25 May 2003 Best Screenplay Won Best Actress Marie-Josée Croze Won César Awards 21 February 2004 Best Film Denys Arcand Won [40] Best Director Won Best Writing Won Most Promising Actress Marie-Josée Croze Nominated Critics' Choice Awards 10 January 2004 Best Foreign Language Film Denys Arcand Won [44] David di Donatello Awards 2004 Best Foreign Film Won [45] European Film Awards 6 December 2003 Best Non-European Film Won [46] Genie Awards 1 May 2004 Best Motion Picture Denise Robert, Daniel Louis and Fabienne Vonier Won [47][48] Best Direction Denys Arcand Won Best Actor Rémy Girard Won Best Supporting Actor Stéphane Rousseau Won Best Supporting Actress Marie-Josée Croze Won Best Original Screenplay Denys Arcand Won Best Editing Isabelle Dedieu Nominated Best Sound Michel Descombes, Gavin Fernandes and Patrick Rousseau Nominated Best Sound Editing Marie-Claude Gagné, Diane Boucher, Jérôme Décarie, Claire Pochon and Jean-Philippe Savard Nominated Golden Globes 25 January 2004 Best Foreign Language Film The Barbarian Invasions Nominated [49] Jutra Awards 22 February 2004 Best Film Denise Robert and Daniel Louis Won [50][51] Best Direction Denys Arcand Won Best Screenplay Won Best Actor Rémy Girard Nominated Best Actress Marie-Josée Croze Won Best Supporting Actor Pierre Curzi Nominated Best Supporting Actress Dorothée Berryman Nominated Best Art Direction Normand Sarazin Won Best Cinematography Guy Dufaux Nominated Best Editing Isabelle Dedieu Nominated Best Sound Patrick Rousseau, Michel Descombes, Gavin Fernandes and Marie-Claude Gagné Nominated Best Make-Up Evelyne Byot and Diane Simard Nominated Special Jutra Denys Arcand Won Lumières Awards 17 February 2004 Best French-Language Film Won [52] National Board of Review December 2003 Best Foreign Language Film The Barbarian Invasions Won [53] Top Foreign Films Won Toronto Film Critics Association 17 December 2003 Best Screenplay Denys Arcand Won[a] [54] Toronto International Film Festival 4–13 September 2003 Best Canadian Feature Film Won [55] Vancouver Film Critics Circle 2 February 2004 Best Canadian Feature Film The Barbarian Invasions Won [56] Best Canadian Director Denys Arcand Won Best Actor in a Canadian Film Rémy Girard Nominated Best Actress in a Canadian Film Marie-Josée Croze Nominated Best Supporting Actor in a Canadian Film Stéphane Rousseau Nominated
Legacy
[edit]
In 2007, Arcand's film Days of Darkness was released. While considered part of a loose trilogy following The Decline of the American Empire and The Barbarian Invasions,[57][58][59] Arcand acknowledged in a 2007 interview Days of Darkness had more similarities to his less successful 2000 film Stardom.[59] Johanne-Marie Tremblay reprised her role as Constance from Jesus of Montreal and The Barbarian Invasions. In 2018, Arcand's The Fall of the American Empire followed similar themes.[61]
See also
[edit]
List of submissions to the 76th Academy Awards for Best Foreign Language Film
List of Canadian submissions for the Academy Award for Best Foreign Language Film
Notes
[edit]
References
[edit]
Bibliography
[edit]
Boyd, Susan C. (2008). Hooked: Drug War Films in Britain, Canada, and the U.S. Routledge. ISBN 978-0203930731.
Howell, Peter (September–December 2003a). "A Director in His Prime: Denys Arcand's Les Invasions barbares". Take One.
Loiselle, André (2008). Denys Arcand's Le Déclin de L'empire Américain and Les Invasions Barbares. Toronto, Buffalo and London: University of Toronto Press. ISBN 978-0802099334.
Melnyk, George (2007). Great Canadian Film Directors. The University of Alberta Press. ISBN 9780888644794.
Pike, David Lawrence (2012). Canadian Cinema Since the 1980s: At the Heart of the World. Toronto, Buffalo and London: University of Toronto Press. ISBN 978-1442698321.
Thompson, Wayne C. (2014). Canada 2014 (30 ed.). Rowman and Littlefield. ISBN 978-1475812404.
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https://en.wikipedia.org/wiki/Isabelle_Dedieu
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Isabelle Dedieu
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2017-04-19T21:55:34+00:00
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https://en.wikipedia.org/wiki/Isabelle_Dedieu
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French film editor
Isabelle Dedieu (born 20 April 1956) is a French film editor who has worked in both French and Quebec films and has won both César Awards and Genie Awards.
Born in Paris,[1] she edited the 1986 French film Thérèse and won the César Award for Best Editing.[2] For French Canadian director Denys Arcand, she edited the 1989 film Jesus of Montreal and won the Genie Award for Best Editing.[3] She worked with Arcand again for other projects, including The Barbarian Invasions (2003), for which she was nominated for the Genie Award for Best Editing,[4] and the Jutra Award for Best Editing.[5]
Filmography
[edit]
Films include:[1]
Thérèse (1986)
Jesus of Montreal (1989)
Stardom (2000)
The Barbarian Invasions (2003)
Days of Darkness (2007)
Rafiki (2018)
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Rémy, divorced and in his early fifties, is hospitalized. His ex-wife, Louise, asks their son Sébastien to come home from London where he now lives. Sébastien hesitates; he and his father haven't had much to say to one another for years now. He relents, however, and flies to Montreal to help his mother and support his father. As soon as he arrives, Sébastien moves heaven and earth, brings his contacts into play and disrupts the system in every way possible to ease the ordeal that awaits Rémy. He also reunites the merry band that marked Rémy's past around his father's bedside: relatives, friends and former mistresses. What have they become in this age of "barbarian invasions"? Are the old irreverence, friendship and truculence still there? Do humor, hedonism and desire still inhabit their dreams? In the age of the barbarian invasions, the decline of the American empire continues...
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Review/Film; A Modern Passion Play In Montreal
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Star of avant-garde Passion Play ironically fits the part.
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|
Denys Arcand's intelligent, audacious ''Jesus of Montreal'' attempts to shake up stale religious assumptions, undermine religiosity with wit, and question the Gospels with a new reverence that springs from our modern, commercial world. Creating a band of actors hired to modernize a Passion play within the film, Mr. Arcand needs to balance satire and seriousness with the greatest daring and delicacy. And for the first hour, before it gives in to leaden, self-conscious Christ imagery, ''Jesus of Montreal'' succeeds.
The actor who is hired to play the lead and revise the Passion play at a Montreal shrine is a 30-year-old named Daniel (Lothaire Bluteau). From the start, he looks too traditional a Jesus, with a perpetual mournful expression in his wide brown eyes. The film works best when he still seems human, before Mr. Arcand merges Daniel with Christ.
Daniel finds four other actors in unlikely places. One actor is dubbing his voice on a pornographic film. An actress is having an affair with the priest who hired Daniel. And another actress named Mireille, who will become the Mary Magdalene figure, is filming a perfume commercial, draped in a couple of skimpy scarves. ''The unutterable lightness of being,'' says a voiceover on this commercial, a twist the advertisers want to be ''very Kundera.''
Here is the wit so evident in Mr. Arcand's ''Decline of the American Empire,'' the talky, lively work for which the Canadian writer and director is best known in this country. And he effectively sets up the disjunction between the insane modern world and a faith that needs to be revitalized. It doesn't even matter that the actors have transparently become a little band of disciples, following Daniel around while he seems always to be off in the shadows gazing at them with some terrible foreknowledge of tragedy. ''Jesus of Montreal'' has not yet gone haywire.
But as the film weaves in and out of the characters' lives and their new version of the Passion, Mr. Arcand loses the wily, contemporary grip that makes his material effective. ''Jesus of Montreal'' starts out as a mix of Martin Scorsese's historically set ''Last Temptation of Christ'' and ''The Ruling Class,'' a satire in which Peter O'Toole is an English aristocrat who believes he is Jesus. But midway through, it turns into ''The Greatest Story Ever Told'' set in urban Montreal.
The new Passion play, in which the actors roam around the grounds of the shrine, is not lively enough to draw much of a crowd. It suggests new historical possibilities - that Jesus was the illegitimate son of a Roman soldier - but it is essentially quite traditional. Daniel, his body covered with bloody makeup so it looks as if he has been scourged, hangs naked on a cross on top of a hill overlooking the glittering lights of Montreal.
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Blow-your-brains-out depressing Franco-Canadian arthouse melodrama about a group of actors staging a passion play that stirs up Catholic opposition. ...
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3 / 10
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https://librarysearch.stthomas.edu/permalink/01CLIC_STTHOMAS/gcked6/alma991005692719703691
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https://www.nytimes.com/2000/10/27/movies/film-review-a-star-is-borne-aloft-to-a-make-believe-heaven.html
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FILM REVIEW; A Star Is Borne Aloft To a Make
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"The New York Times",
"Elvis Mitchell"
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2000-10-27T00:00:00
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Rise of a supermodel. Resistible, out-of-touch satire.
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https://www.nytimes.com/2000/10/27/movies/film-review-a-star-is-borne-aloft-to-a-make-believe-heaven.html
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''Stardom'' is another in the series of films -- collect 'em all -- that seem to use Andy Warhol's dictum that in the future everyone would be famous for 15 minutes. Would that ''Stardom'' lasted only 15 minutes. The writer and director Denys Arcand's social satire is torn from yesterday's screaming headlines, a fish-wrap comedy about the dangers of fame.
The picture charts the resistible rise of a supermodel, Tina Menzhal (Jessica Pare), a young girl from the wilds of Canada launched into the -- yawn -- dizzying heights of notoriety.
Someone had the idea of showing both Tina's entire life as it was being captured by television cameras and a documentary shot by Bruce (Robert Lepage), her photographer friend. During the incessant interviews, in which Tina's interrogators are constantly foisting their fantasies upon her, she never gets to finish a sentence. Ms. Pare's beauty lends itself to this conceit: you're constantly asking yourself which model she most resembles. The problem is, the story resembles so many other movies and short stories that it's hard to single one out.
The picture starts when Tina is snapped by a photographer skating blissfully during a hockey game. Her rapt, fetching expression turns up everywhere, and a prattling V.J. from an MTV-like operation goes on about her. The V.J. needs to ease up on the iced cappuccinos, though most V.J.'s tend to be much cooler: a sign of just how out of touch the movie is.
Tina's path toward the top begins, and man after man falls for her mystery; that mystique is abetted by the fact that none of them allow her to develop a personality.
The guys who try to mold Tina into their particular dreams are the photographer (Charles Berling) who discovers her; a restaurateur (Dan Aykroyd, who has evolved into a clever, minimal actor; his technique is even drier than it was during his brisk days in the original cast of ''Saturday Night Live''); and a diplomat (Frank Langella), who uses his malignant purr to suggest acquisitiveness as a form of ardor. Thomas Gibson glides above everything as Tina's manager, an even-tempered power broker who is often filmed in austere black and white, and who speaks so softly he could be doing color commentary on the Golf Channel.
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