#michel mitrani

[already-14]

Ce qu’on avait laissé derrière soi, ce qu’on était censé défendre, n’importait plus très réellement ; le lien était coupé ; dans cette obscurité pleine de pressentiments les raisons d’être avaient perdu leurs dents. Pour la première fois peut-être, se disait Grange, me voici mobilisé dans une armée rêveuse. Je rêve ici — nous rêvons tous — mais de quoi ?

Tout, autour de lui, était trouble et vacillement, prise incertaine ; on eût dit que le monde tissé par les hommes se défaisait maille à maille : il ne restait qu’une attente pure, aveugle, où la nuit d’étoiles, les bois perdus, l’énorme vague nocturne qui se gonflait et montait derrière l’horizon vous dépouillaient brutalement, comme le déferlement des vagues derrière la dune donne soudain l’envie d’être nu.

le film : https://ok.ru/video/1961230273258

[peter-ash]

[kino51]

Un balcon en foret 1978

[detournementsmineurs]

"Les Guichets du Louvre" de Michel Mitrani (1974) - d'après le roman autobiographique de Roger Boussinot (1960) sur la Rafle du Vel'd'Hiv à Paris pendant la seconde Guerre Mondiale (1942) - avec Christian Rist, Christine Pascal, Henri Garcin, Michel Robin, Michel Auclair, Jacques Debary et les participations de Judith Magre et Alice Sapritch, août 2020.

[ana-sola-deactivated081518]

Social Failures or State Failures? Community Members are Better Equipped to Address Struggles of Peers than the State and its Quasi-Fascist Institutions

Introduction | Part I: Origins of Surveillance, State Violence through Sterilization and Forced Sexuality | Part II: International Law Insufficient to Address Inequalities, United Nations Discourages Policies to Combat Quasi-Fascism | Current Sterilization Policies | Prisons are a Social Failure | Part III: Alternatives to the State, The Coerced Sterilization and Compulsory Heterosexuality of Queer People | The Forced Sterilization and Surveillance of BIP/WOC

Part I: Origins of Surveillance

The Use of Police

Historicizing the police and the institution of prison is an important endeavor when discussing the importance of punishment versus rehabilitation. Understanding that the police and its many tools to discourage criminal behavior are based in anti-“minority” ideology rather than a venture in seeking just retribution should signify the elite’s perceived importance of “law and order”. 

The origins of police were developed by feudalist landowners in Western Europe and New England to protect the private property rights against the serfs and slaves during that era. The streets have been, and always will be, the public forum for the poor and working-classes (which usually encompasses BIP/WOC and sometimes LGBT+ people). Restricting the poor’s presence and activism in public certainly suppresses their ability to educate themselves and others on their rights and liberties, and thus, restricts challenges to the elite. Collective action was the problem, not crime, that ruling elites wanted to combat; police were meant to respond to strikes, riots, and the “threat of slave insurrections” in England, the Northern United States, and the Southern United States (Whitehouse, 2014). The intention was to shape and manage the workforce and the public in a certain way so that discipline and punishment was at the forefront of everyone’s minds (if I do X activity, then Y punishment will ensue). David Whitehouse (2014) and Michel Foucault (1977), posit that governments expanded their welfare systems to better regulate the labor market and public education evolved to regulate workers minds. Regulation of peoples’ actions and mindsets was the top priority for the newly-created era of law and order.

The propertied class wanted a subservient working class—you could ensure subservience if the state-sanctioned education formed children from an early age of what the most moral way to think and to act is to appeal to authorities and their desires (Foucault, 1977).[1] Elites were grateful that they finally had a police force to “protect the new form of wage-labor...from the threat posed by…the working class” (Mitrani, 2014) and the communities that the working-class encompassed. New laws during the 1800s outlawed congregations of more than 50 people (Whitehouse, 2014), which disrupted new possibilities of slaves and serfs planning a revolt against their masters or other merchants. Slaves and serfs could not strike for better protection of rights and liberties, such as anti-discrimination laws, providing livable wages, or working fewer hours. Simply put, their lives were regulated by the financial-growth desires of the ruling elite. The police force working under the guise of “law and order” was created specifically to legitimately manage communities that were specifically non-elite or propertied. This form of labor control with little to no accountability specifically denotes the police and any supportive industries as quasi-fascist regimes. The police and the prison industry are “isolated from democratic control,” has its “own hierarchies, systems of governance, and rules of behavior” (Mitrani, 2014). Police are not neutral arbiters of the law, but rather, they are supportive of an increasingly unequal system of powers between ruling elites and the working-class.[2] Racism and the structures that support white supremacy through policing are not simply going away. Tools of oppression and the supportive structures simply adapt to the context of the times to ensure further exploitation and suppression of marginalized communities, predominantly BIP/WOC, LGBT+, and the overlap between them. 

[1] Foucault is a political theorist who frequently wrote about the individualization of issues. Schools, hospitals, the military, how the government is structured, are all positive reinforcements of the police state. Prisons are structure to divide individuals and encourage the surveillance of each other through the panopticon to discourage community organizing and consciousness-raising among inmates. Other institutions are structured this way to create a culture of individuality rather than of community. This allows the police state to grow ever stronger and furthers the possibilities of repression (politically, economically, socially, and culturally).

[2] Which is often increasingly populated by BIPOC

Foucault, Michel (1977). Discipline and punish: The birth of the prison. Vintage Books.

Mitrani, Sam (2014). Stop kidding yourself: The police were created to control working class and poor people. The Labor and Working-Class History Association.

Whitehouse, David (2014). Origins of the police. Works in Theory.

[alainlesourd-14]

REVUE]. L'Âge du cinéma. N°4-5. « Numéro spécial surréaliste ». Paris, s.n, août-novembre 1951.

L'Âge du cinéma. N°4-5. « Numéro spécial surréaliste ». Paris, s.n, août-novembre 1951. In-8 oblong, demi-maroquin noir, plats ornés de collages surréalistes et de trois des cinq filmomanies symptomatiques, couverture (J.-F. Barbance, atelier Yseux-Simier). Numéro 4-5 de la revue d'art cinématographique dirigée par Ado Kyrou, illustrée de nombreux extraits de films et de reproductions de Toyen ou Man Ray. Un des 200 exemplaires de luxe tirés sur papier coloré. Les signatures des contributeurs à ce numéro sont apposées sur le premier feuillet blanc de la revue : André Breton, Benjamin Péret, Man Ray, J.L. Bédouin, Jean Schuster, Bernard Roger, Georges Goldfayn, Nora Mitrani, Gérard Legrand, Jindrich Heisler, Toyen, Robert Benayoun, François Valorbe, Daïfas, Guy Doumayrou et Michel Zimbacca.

https://www.bibliorare.com/lot/369184/  Adjudication : 688 €

[julietsha]

Les guichets du Louvre de Michel Mitrani (1971)

[documentaryoncinema]

Documentales, 22

'Tres horas que estremecieron al mundo: Observaciones sobre Intolerancia' ('Intolerance. Love's struggle throughout the ages', D.W. Griffith, 1916), VOSE.

'Cineastas de nuestro tiempo: Max Ophüls - Max Ophüls ou la Ronde' ('Cinéastes, de notre temps'), Janine Bazin, André Labarthe (Michel Mitrani), 1965, VOSE.

'Aventura en Cinerama' ('Cinerama Adventure'), David Strohmaier, 2002, VOSE.

'Émile Cohl. Image par a Image', Michel Patenaude, François Porcile, 1978, VOF.

‘Everything is a remix', VOSE.

Creado en su totalidad por Kirby Ferguson, 'Everything is a Remix’ explora muchos de los elementos de la cultura pop que tanto gustan y explica sus orígenes mirando la cultura del plagio y revelando nuevas formas de creación.

Dividido en cuatro partes, va de la música al cine y del cine a la tecnología. Exponiendo cómo personajes que creíamos únicos y originales, desde Disney hasta Led Zeppelin, pasando por Tarantino, George Lucas y Steve Jobs, no lo son tanto.

'Part 1: The song remains in the same’. 'Part 2: Remix Inc’. 'Part 3: The elements of creativity’. 'Part 4: Kill Bill’.

'Los gangsters de la Warner', VOSE.

P❤M Wonderful Presents:  ‘La historia más grande jamás vendida’ (‘The greatest movie ever sold’), Morgan Spurlock, 2011, VOSE.

Trata entorno al product placement, o publicidad encubierta, en las películas actuales así como en sus campañas de marketing.

'Meet John Doe: Capra se pone serio', VE.

'Jean Durand', SF.

'Der müde tod: La restauración de un clásico', VOSE.

[chocolateheal]

30 Things You Probably Didn’t Know About Latin American Paintings | latin american paintings

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[78682homes]

Le palmarès : Quelle folie remporte deux titres 78682 homes

http://www.78682homes.com/le-palmares-quelle-folie-remporte-deux-titres

Le palmarès : Quelle folie remporte deux titres

159 films documentaires ont été présentés au Fipadoc, entre le mardi 22 et le samedi 26 janvier.Grand prix documentaire international au film Putin’s Witnesses (Lettonie, République tchèque, Suisse), de Vitaly Mansky.Grand prix documentaire national au film Quelle folie, de Diego Governatori, qui a également reçu le prix Michel-Mitrani qui lui assure une diffusion sur l’une des antennes de France Télévisions.Grand prix documentaire musical au film The 5 Browns :…

homms2013

#Informationsanté

[topos318]

Un balcon en forêt ( Michel Mitrani, 1979) Voir le film :

[kickstarter-promotion]

Another Amazing Kickstarter (Fashion in Film Festival 2017 by Fashion in Film Festival 2017 —Kickstarter) has been published on http://crowdmonsters.com/new-kickstarters/fashion-in-film-festival-2017-by-fashion-in-film-festival-2017-kickstarter/

A NEW KICKSTARTER IS LAUNCHED:

Who are we?

We are the Fashion in Film Festival, the foremost film festival of its kind internationally, based at University of the Arts, London. This year we celebrate our 10th anniversary with the biggest and most ambitious season yet, curated by the eminent cinema historian Tom Gunning and the festival director Marketa Uhlirova. We are a small, but passionate and dedicated team. The festival has always been a labour of love, driven by a passion for the artistry of cinema and fashion.

A Retrospective Look at Corsets, 1920’s

  Why is the Fashion in Film Festival so important?

We sincerely believe it is vital for different communities to have the opportunity to discover film they wouldn’t normally have access to, in new and imaginative contexts. This year we’ve had to beg, borrow and steal (well, almost) to make our programme as exciting as it can be. Central to our work is a sense of discovery and wonder, and we always aim to create exquisite and memorable moving image experiences for our audience. Our particular focus is on digging up neglected films and on re-staging, in new and sometimes surprising contexts, celebrated works in cinema and, more broadly, the moving image.

Le Costume à travers les âges – Reconstitué par le couturier Pascault, 1911

What are we planning this time?

Our programme features cinema’s well-loved as well as neglected masterpieces (Parajanov’s The Color of Pomegranates, Ophuls’ Lola Montes, Hitchcock’s Vertigo, Leisen’s Lady in the Dark, Protazanov’s Aelita), artist films (by Joseph Cornell, Jane and Louise Wilson, Cindy Sherman, Michelle Handelman, Jessica Mitrani), fashion films (by Nick Knight and Lernert & Sander), industry films and many archival gems. There will be talks, film introductions and panel discussions. As special highlights we are staging two film-based performances – with Rachel Owen (at Genesis Cinema) and with MUBI and Lobster Films (at the Barbican).

Rachel Owen’s poetic multimedia performance

  Snap from a party during our last festival

 What are we asking?

We need your help to be able to stage some of our most exciting events and include as many unseen archival shorts as possible. We can only do this with your support. Please support us to make our 10th anniversary festival the most brilliant it can be!  

Film from Parures, 1939

Where will the money go?

Public funding for film festivals is very scarce these days and even though we have secured enormous in-kind support from our wonderful partners, we are struggling to find the budget to showcase many of the rare archival films we would love to. We are also at risk of losing guest speakers as well as compromising on our free-to-access exhibition, and some of the more ambitious experimental events we have planned – events which we feel truly represent the heart and spirit of the festival. All this comes with a price. We need more staff, two projectors, help with printing the program and posters. It all adds up.

Solaris, 1972, by Andreï Tarkovski

What will you get for your support? 

Our gifts are intended as personal messages of thanks and opportunities for you to engage in the spirit, experience and future health of the festival that you have been so kind to support. We have put a lot of love and care into creating the nicest possible gifts for you. From exclusive rare prints, to a collectible book, to an exclusive tote bag designed by the fashion design and print extraordinaires Eley Kishimoto. 

Take a look at all the options for supporting us. We hope you find them fun and exciting!

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History

Fashion in Film Festival is a research-led fashion, film and arts organization based at Central Saint Martins, University of the Arts London. Since its foundation in 2006 by Marketa Uhlirova, Roger Burton, and Christel Tsilibaris, it has continued to grow its reputation and international profile, establishing itself as the leading festival of its kind. Its highlight is a biennial festival season in London, with a touring schedule which has in the past, included Museum of the Moving Image in New York, the Arnolfini in Bristol, The Danish Film Institute in Copenhagen, Kino Svetozor in Prague and Mode Biennale in Arnhem.

For more information, please have a look at our website: http://www.fashioninfilm.com

Romy Schneider starring in Clouzot’s Inferno rushes (1964) which we invite you to discover during its world premiere at the Barbican Center

  Risks and challenges

Running a film festival is always a challenge, no matter how long you have been at it. Every single installment comes with an unexpected mountain to climb. This year we are really proud to celebrate our anniversary, but – as devastating as it is to admit this – without your support, there is a risk we will not be able to provide the richness and diversity our festivals have come to be known for. There are some incredible digital restorations, and short archival films we have found in our research, and we want to show them. There are some amazing speakers, and we want to be able to book them. There is an exhibition to mount. All your donations will ensure that we can continue to benefit the widest possible community. We are confident that if we reach our funding target, we will be able to run a truly special festival season and celebrate fashion in cinema together with you!

Learn about accountability on Kickstarter

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