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It has been suggested that this article or section be merged into Aria_(film) . (Discuss) Proposed since August 2010.

Aria is a 1987 British musical film.^[1]

Cast[link]

This is just the main cast for each of the 10 films:

• Theresa Russell - King Zog (segment "Un ballo in maschera")
• Stephanie Lane - Baroness (segment "Un ballo in maschera")
• Roy Hyatt - Chauffeur (segment "Un ballo in maschera")
• Sevilla Delofski - Maid (segment "Un ballo in maschera")
• Ruth Halliday - Companion (segment "Un ballo in maschera")
• Arthur Cox - Major (segment "Un ballo in maschera")
• Dennis Holmes - Colonel (segment "Un ballo in maschera")
• Paul Brightwell - Assassin (segment "Un ballo in maschera")
• Frank Baker - Assassin (segment "Un ballo in maschera")
• Chris Hunter - Assassin (segment "Un ballo in maschera")
• Nicola Swain - Marie (segment "La virgine degli angeli")
• Jackson Kyle - Travis (segment "La virgine degli angeli")
• Marianne McLoughlin - Kate (segment "La virgine degli angeli")
• Marion Peterson - Les Jeunes Filles (segment "Armide")
• Valérie Allain - Les Jeunes Filles (segment "Armide")

Songs[link]

• "Un Ballo in Maschera (extracts)"

Music by Giuseppe Verdi

Performed by Leontyne Price, Carlo Bergonzi, Robert Merrill, Shirley Verrett,

Reri Grist with RAC Italiana Opera Orchestra and Chorus

Conducted by Erich Leinsdorf

segment "Un Ballo in Maschera"

(extracts - "Prelude", "Re dell' abisso", "Di che fulgor che musiche", "la rivedra nell'estasi",

"Ebben si t'amo", "Mezza notte" and "O giustizia del fato")

• "La Virgine degli Angeli"

from "La Forza del destino"

Music by Giuseppe Verdi

Performed by Leontyne Price with RCA Italiana Orchestra and Chorus

Conducted by Thomas Schippers

segment "La Vergine Degli Angeli"

• "Armide (extracts)"

Music by Jean-Baptiste Lully

Librette by Philippe Quinault (uncredited)

Performed by Rachel Yakar, Zeger Vandersteene, Danielle Borst (as Danièle Borst) with Ensemble Vocal et Instrumental de La Chappelle Royale

Conducted by Philippe Herreweghe

(extracts - "Ah ! Si la liberté me doit être l'Amour", "Enfant, il est en ma puissance" and "Venez,

venez, Haine implacable")

segment "Armide"

• "Rigoletto (extracts)"

Music by Giuseppe Verdi

Performed by Robert Merrill, Anna Moffo, Alfredo Kraus with RCA Italiana Opera Orchestra and Chorus

Conducted by Georg Solti (as George Solti)

segment "Rigoletto"

(extracts - "Questa o quella", "Gualtier Malde... caro nome", "La donna e' mobile" and "Addio, addio")

• "The Lute Song (Glück, das mir verblieb)"

from "Die tote Stadt"

Music by Erich Wolfgang Korngold (as Erich Korngold)

Performed by Carol Neblett and René Kollo with Munich Radio Orchestra

Conducted by Erich Leinsdorf

segment "Die Tote Stadt"

• "(Entracte) - Suite des Vents"

from "Les Boréades (Acte 3)"

Performed by English Baroque Soloists

Conducted by John Eliot Gardiner

segment "Les Boreades"

• "Nuit redoutable !... Lieu désolé"

from "Les Boréades (Acte 4, Scène I, II)"

Music by Jean-Philippe Rameau

Libretto by Louis de Cahusac (uncredited)

Performed by Jean-Philippe Lafont (uncredited) Philip Langridge with Monteverdi Choir and English Baroque Soloists

Conducted by John Eliot Gardiner

segment "Les Boreades"

• "Jouissons, jouissons ! Jouissons de nos beaux ans"

from "Les Boréades (Acte 3, Scène III)"

Music by Jean-Philippe Rameau

Libretto by Louis de Cahusac (uncredited)

Performed by John Aler (uncredited) (credited Jennifer Smith, Anne-Marie Rodde, but their parts were not used in this) with Monteverdi Choir and :English Baroque Soloists

Conducted by John Eliot Gardiner

segment "Les Boreades"

• "Liebestod"

from "Tristant und Isolde"

Music by Richard Wagner

Performed by Leontyne Price with Philharmonia Orchestra

Conducted by Henry Lewis

segment "Liebestod"

• "Nessun dorma"

from "Turandot"

Music by Giacomo Puccini

Performed by Jussi Björling (as Jussi Bjoerling) with Rome Opera House Orchestra

Conducted by Erich Leinsdorf

segment "Nessun dorma"

• "Depuis le jour"

from "Louise"

Music by Gustave Charpentier

Performed by Leontyne Price with RCA Italiana Orchestra

Conducted by Francesco Molinari Pradelli (as Francesco Molinari-Pradelli)

segment "Depuis Le Jour"

• "Vesti la giubba"

from "Pagliacci"

Music by Ruggero Leoncavallo

Sung by Enrico Caruso

Baritone voice by Fernand Dumont

segment "I Pagliacci"

• "Preludio"

(uncredited)

from "La Traviata"

(theme)

Music by Giuseppe Verdi

Critical response[link]

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• Won the Golden Palm award at the Cannes Film Festival the same year it was released.
• Amazon.com video review: "This omnibus directors fest brings together 10 different filmmakers making 10 different films based on operatic arias. Jean-Luc Godard is stylistically the boldest, Robert Altman possibly the most imaginative, Franc Roddam celebrates American glitz, and Bruce Beresford is the most sentimental. Nearly all the other filmmakers involved—including Nicolas Roeg, Ken Russell, Julien Temple, Charles Sturridge, Derek Jarman, and Bill Bryden—are (or were, in the case of the late Jarman) world-class talents, but you wouldn't know that from their murky participation here." --Tom Keogh
• Printed Media Review: Guerand, Jean-Philippe. In: Première (France). (MG), June 1987, Pg. 17
• Essay: Godard, Jean-Luc. Jean-Luc Godard par Jean-Luc Godard, Tome 2 1984-1998. Cahiers du Cinéma, 1998, 2866421981

External links[link]

• Aria (1987 film) at the Internet Movie Database
• Aria (1987) (Archived 2009-10-25)
• Aria at Digitally Obsessed
• IMDb link to various reviews on Aria
• IMDb link to various news reviews on Aria
• IMDb link to various Aria links

References[link]

v t e Cinema of the United Kingdom Culture of the United Kingdom World cinema Films by year (Films A–Z) Pre 1920 1920s 1930s 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 Production companies and studios Active Aardman Animations BBC Films British Lion Films Ealing Studios Elstree Studios Eon Productions Film4 Productions Goldcrest Films Hammer Film Productions HandMade Films London Films Palace Pictures The Pinewood Studios Group (Pinewood Studios Shepperton Studios) S4C Films Warner Bros. Studios, Leavesden Warp Films Wimbledon Studios Working Title Films Former Amicus Productions Associated British Picture Corporation Bryanston Films Denham Film Studios Gainsborough Pictures Hemdale Film Corporation Ideal Rank Organisation Tigon British Film Productions Warwick Films Organisations BAFTA British Board of Film Classification British Film Institute BFI National Archive BFI Southbank British Society of Cinematographers Children's Film Foundation Cinema Exhibitors' Association National Film and Television School National Media Museum Northern Ireland Screen Scottish Screen UK Film Council People Actors and actresses Cinematographers Directors Editors Producers Production designers Score composers Screenwriters Other British Academy Film Awards British Independent Film Awards British New Wave Carry On Cinematograph Films Act 1927 Documentary Film Movement Eady Levy Ealing Comedies Free Cinema Gainsborough melodramas Harry Potter History of British film certificates Home Video Charts James Bond London Film Festival London in film Telecinema Category Commons

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Jean-Luc Godard
Jean-Luc Godard, 1968
Born	(1930-12-03) 3 December 1930 (age 81) Paris, France
Citizenship	French, Swiss
Alma mater	University of Paris
Occupation	Film critic, director, actor, cinematographer, screenwriter, editor, producer
Years active	1950–present
Notable work(s)	Breathless, Pierrot le Fou, Band of Outsiders, Contempt, My Life to Live
Style	French New Wave
Influenced by	Jean Rouch, Satyajit Ray[1], André Bazin, John Ford, Jean Renoir, Robert Bresson, Karl Marx, Kenji Mizoguchi, Carl Theodor Dreyer, Nicholas Ray, Orson Welles, Max Ophüls, F. W. Murnau, Howard Hawks, Fritz Lang, Henri Langlois, Jean Cocteau, Bertolt Brecht, existentialism
Influenced	Rainer Werner Fassbinder, Martin Scorsese, Bernardo Bertolucci, Michael Mann, Hal Hartley, Steven Soderbergh, Jim Jarmusch, Brian De Palma, Edward Yang, Serge Daney, Gregg Araki, Apichatpong Weerasethakul, Wong Kar-wai, Abbas Kiarostami
Spouse	Anna Karina (1961–67) Anne Wiazemsky (1967–79) Anne-Marie Miéville (not official)
Awards	Honorary Academy Award (2010) Honorary César (1987, 1998) Prix Jean Vigo (1960)
Signature

Jean-Luc Godard (French pronunciation: [ʒɑ̃lyk ɡɔdaʁ]; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement La Nouvelle Vague, or "New Wave".^[2]

Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality",^[2] which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation."^[3] To challenge this tradition, he and like-minded critics started to make their own films.^[2] Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.^{[citation needed]} He is often considered the most radical French filmmaker of the 1960s and 1970s.^[4] Several of his films express his political views.^[4] His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism, as he was an avid reader of existential and Marxist philosophy.^{[citation needed]} His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.

After the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.^[4]

In a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted).^[5] He has created "one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century."^[6] He and his work have been central to narrative theory and have "challenged both commercial narrative cinema norms and film criticism's vocabulary."^[7] In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony.^[8] Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker,^[9] Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders,^[10] Bernardo Bertolucci^[11], Pier Paolo Pasolini^[11], Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone, Richard Ayoade and Ken Loach.

Early life[link]

Godard was born in Paris on 3 December 1930,^[12] the son of Odile (née Monod) and Paul Godard, a Swiss physician.^[13] His wealthy parents came from Protestant families of Franco-Swiss descent, and his mother was the great-granddaughter of theologian Adolphe Monod. Relatives on his mother's side include composer Jacques-Louis Monod, naturalist Théodore Monod and pastor Frédéric Monod.^[14][15] Godard attended school in Nyon, Switzerland and the Lycée Rohmer. In 1949, he registered for a certificate in anthropology at the University of Paris (Sorbonne), but did not attend class.^[16] He got involved with the young group of film critics at the ciné-clubs that started the New Wave. Godard originally only held French citizenship, when he then in 1953 became a citizen of Gland, canton of Vaud, Switzerland possibly through simplified naturalisation through his Swiss father.

Film criticism and early filmmaking[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2010)

After attending school in Nyon, Godard returned to Paris in 1948. It was there, in the Latin Quarter just prior to 1950, that ciné-clubs (film societies) were gaining prominence. Godard began attending these clubs, where he soon met the man who was perhaps most responsible for the birth of the New Wave, André Bazin, as well as those who would become his contemporaries, including Jacques Rivette, Claude Chabrol, François Truffaut, Jacques Rozier, and Jacques Demy. Godard was part of a generation for whom cinema took on a special importance. He has said: "In the 1950s cinema was as important as bread – but it isn't the case any more. We thought cinema would assert itself as an instrument of knowledge, a microscope ... a telescope.... At the Cinémathèque I discovered a world which nobody had spoken to me about. They'd told us about Goethe, but not Dreyer. ... We watched silent films in the era of talkies. We dreamed about film. We were like Christians in the catacombs."

His approach to film began in the field of criticism. Along with Éric Rohmer and Rivette, he founded the short-lived film journal, Gazette du cinéma, which saw publication of five issues in 1950. When Bazin co-founded the influential critical magazine Cahiers du cinéma in 1951, Godard, with Rivette and Rohmer, was among the first writers. They, along with several other writers for Cahiers du cinéma in the 1950s, started making brief forays into film direction.

Godard, while taking a job as a construction worker on a dam in 1953, shot a documentary about the building, Opération béton (1955). As he continued to work for Cahiers, he made Une femme coquette (1955), a ten-minute short; All the Boys Are Named Patrick (1957) another short fiction film; and Une histoire d'eau (1958), which was created largely out of unused footage shot by Truffaut.

In 1958 Godard, with a cast that included Jean-Paul Belmondo and Anne Colette, made his last short before gaining international prominence as a filmmaker, Charlotte et son Jules, a homage to Jean Cocteau.

Cinematic period[link]

His most celebrated period as a filmmaker is roughly from his first feature, Breathless (1960), through to Week End (1967) focused on relatively conventional works that often refer to different aspects of film history. This cinematic period stands in contrast to the revolutionary period that immediately followed it, during which Godard ideologically denounced much of cinema’s history as "bourgeois" and therefore without merit.

Films[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (September 2011)

Godard's Breathless (À bout de souffle, 1960), starring Jean-Paul Belmondo and Jean Seberg distinctly expressed the French New Wave's style, and incorporated quotations from several elements of popular culture – specifically American cinema. The film employed various innovative techniques such as jump cuts, character asides and breaking the eyeline match rule in continuity editing. Truffaut co-wrote Breathless with Godard and introduced Godard to the producer who ultimately funded the film, Georges de Beauregard.

Godard viewed film making as an extension of criticism and was more interested in redefining film structure and style than actually being understood by the public. Often his movies were more about the presentation of a story than anything else. The stories in his films were very simple yet unfocused and constantly digressing from the main story line (Jean-Luc Godard and Vivre Sa Vie by Tom Milne, 1962).

From the beginning of his career, Godard included more film references into his movies than any of his New Wave colleagues. In Breathless, his citations include a movie poster showing Humphrey Bogart (whose expression the lead actor Jean-Paul Belmondo tries reverently to imitate); visual quotations from films of Ingmar Bergman, Samuel Fuller, Fritz Lang, and others; and an onscreen dedication to Monogram Pictures, an American B-movie studio. Most of all, the choice of Jean Seberg as the lead actress was an overarching reference to Otto Preminger, who had discovered her for his Saint Joan, and then cast her in his acidulous 1958 adaptation of Bonjour Tristesse. If, in Rohmer’s words, "life was the cinema", then a film filled with movie references was supremely autobiographical.

The following year, Godard made Le Petit Soldat (The Little Soldier), which dealt with the Algerian War of Independence. Most notably, it was the first collaboration between Godard and Danish-born actress Anna Karina, whom he later married in 1961 (and divorced in 1967). The film, due to its political nature, was banned by the French government until January 1963. Karina appeared again, along with Belmondo, in A Woman Is a Woman (1961), intended as a homage to the American musical. Angela (Karina) desires a child, prompting her to pretend to leave her boyfriend (Jean-Claude Brialy) and make him jealous by pursuing his best friend (Belmondo) as a substitute.

Godard's next film, Vivre sa vie (My Life to Live) (1962), was one of his most popular among critics. Karina starred as Nana, an errant mother and aspiring actress whose financially straitened circumstances lead her to the life of a streetwalker. It is an episodic account of her rationalizations to prove she is free, even though she is tethered at the end of her pimp's short leash. In one touching scene in a cafe, she spreads her arms out and announces she is free to raise or lower them as she wishes. The film's style, much like that of Breathless, boasted the type of camera-liberated experimentation that made the French New Wave so influential.

Les Carabiniers (1963) was about the horror of war and its inherent injustice. It was the influence and suggestion of Roberto Rossellini that led Godard to make the film. It follows two peasants who join the army of a king, only to find futility in the whole thing as the king reveals the deception of war-administrating leaders. His most commercially successful film was Le Mépris (Contempt) (1963), starring Michel Piccoli and one of France's biggest female stars, Brigitte Bardot. A coproduction between Italy and France, Contempt became known as a pinnacle in cinematic modernism with its profound reflexivity. The film follows Paul (Piccoli), a screenwriter who is commissioned by the arrogant American movie producer Prokosch (Jack Palance) to rewrite the script for an adaptation of Homer's Odyssey, which the Austrian director Fritz Lang has been filming. Lang's 'high culture' interpretation of the story is lost on Prokosch, whose character is a firm indictment of the commercial motion picture hierarchy. Another prominent theme is the inability to reconcile love and labor, which is illustrated by Paul's crumbling marriage to Camille (Bardot) during the course of shooting.

In 1964, Godard and Karina formed a production company, Anouchka Films. He directed Bande à part (Band of Outsiders), another collaboration between the two and described by Godard as "Alice in Wonderland meets Franz Kafka." It follows two young men, looking to score on a heist, who both fall in love with Karina, and quotes from several gangster film conventions.

Une femme mariée (A Married Woman) (1964) followed Band of Outsiders. It was a slow, deliberate, toned-down black and white picture without a real story. The film was entirely produced over the period of one month and exhibited a loose quality unique to Godard. Godard made the film while he acquired funding for Pierrot le fou (1965).

In 1965, Godard directed Alphaville, a futuristic blend of science fiction, film noir, and satire. Eddie Constantine starred as Lemmy Caution, a detective who is sent into a city controlled by a giant computer named Alpha 60. His mission is to make contact with Professor von Braun (Howard Vernon), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer. Pierrot le fou (1965) featured a complex storyline, distinctive personalities, and a violent ending. Gilles Jacob, an author, critic, and president of the Cannes Film Festival, called it both a "retrospective" and recapitulation in the way it played on so many of Godard’s earlier characters and themes. With an extensive cast and variety of locations, the film was expensive enough to warrant significant problems with funding. Shot in color, it departed from Godard’s minimalist works (typified by Breathless, Vivre sa vie, and Une femme mariée). He solicited the participation of Jean-Paul Belmondo, by then a famous actor, in order to guarantee the necessary amount of capital.

Masculin, féminin (1966), based on two Guy de Maupassant stories, La Femme de Paul and Le Signe, was a study of contemporary French youth and their involvement with cultural politics. An intertitle refers to the characters as "The children of Marx and Coca-Cola."

Godard followed with Made in U.S.A (1966), whose source material was Richard Stark's The Jugger; and Two or Three Things I Know About Her (1967), in which Marina Vlady portrays a woman leading a double life as housewife and prostitute. A Classic New Wave crime thiller, "Made in the U.S.A" is inspired by American Noir films. Anna Karina stars as the anti-hero searching for her murdered lover; includes a cameo by Marianne Faithful.

La Chinoise (1967) saw Godard at his most politically forthright so far. The film focused on a group of students and engaged with the ideas coming out of the student activist groups in contemporary France. Released just before the May 1968 events, the film is thought by some to foreshadow the student rebellions that took place.

That same year, Godard made a more colorful and political film, Week End. It follows a Parisian couple as they leave on a weekend trip across the French countryside to collect an inheritance. What ensues is a confrontation with the tragic flaws of the over-consuming bourgeoisie. The film contains some of the most written-about scenes in cinema's history. One of them, an eight-minute tracking shot of the couple stuck in an unremitting traffic jam as they leave the city, is cited as a new technique Godard used to deconstruct bourgeois trends.^[17] Startlingly, a few shots contain extra footage from, as it were, before the beginning of the take (while the actors are preparing) and after the end of the take (while the actors are coming out of character). Week End's enigmatic and audacious end title sequence, which reads "End of Cinema", appropriately marked an end to the narrative and cinematic period in Godard's filmmaking career.

Politics[link]

Politics are never far from the surface in Godard's films. One of his earliest features, Le Petit Soldat, dealt with the Algerian War of Independence, and was notable for its attempt to present the complexity of the dispute rather than pursue any specific ideological agenda. Along these lines, Les Carabiniers presents a fictional war that is initially romanticized in the way its characters approach their service, but becomes a stiff anti-war metonym. In addition to the international conflicts Godard sought an artistic response to, he was also very concerned with the social problems in France. The earliest and best example of this is Karina's potent portrayal of a prostitute in Vivre sa vie.

In 1960s Paris, the political milieu was not overwhelmed by one specific movement. There was, however, a distinct post-war climate shaped by various international conflicts such as the colonialism in North Africa and Southeast Asia. The side that opposed such colonization included the majority of French workers, who belonged to the French communist party, and the Parisian artists and writers who positioned themselves on the side of social reform and class equality. A large portion of this group had a particular affinity for the teachings of Karl Marx. Godard's Marxist disposition did not become abundantly explicit until La Chinoise and Week End, but is evident in several films — namely Pierrot and Une femme mariée.

Godard has been accused by some of harboring anti-Semitic views: in 2010, in the lead-up to the presentation of Godard's honorary Oscar, a prominent article in the New York Times by Michael Cieply drew attention to the idea, which had been circulating through press in previous weeks, that Godard might be an anti-Semite, and thus undeserving of the accolade. Cieply makes reference to Richard Brody's book, "Everything is Cinema: The Working Life of Jean-Luc Godard," and alluded to a previous, longer article published by the Jewish Journal as lying near the origin of the debate.^[18] The article also draws upon Brody's book, for example in the following quotation, which Godard made on television in 1981: "Moses is my principal enemy...Moses, when he received the commandments, he saw images and translated them. Then he brought the texts, he didn't show what he had seen. That's why the Jewish people are accursed."^[19] Immediately after Cieply's article was published, Brody made a clear point of criticizing the "extremely selective and narrow use" of passages in his book, and noted that Godard's work has approached the Holocaust with "the greatest moral seriousness".^[20] Godard himself has previously identified explicitly as an anti-Zionist but has denied the accusations of anti-Semitism.^[21]

Vietnam War[link]

Godard produced several pieces that directly address the Vietnam War. Furthermore, there are two scenes in Pierrot le fou that tackle the issue. The first is a scene that takes place in the initial car ride between Ferdinand (Belmondo) and Marianne (Karina). Over the car radio, the two hear the message "garrison massacred by the Viet Cong who lost 115 men". Marianne responds with an extended musing on the way the radio dehumanizes the Northern Vietnamese combatants.

In the same film, the lovers accost a group of American sailors along the course of their liberating crime spree. Their immediate reaction, expressed by Marianne, is "Damn Americans!" an obvious outlet of the frustration so many French communists felt towards American hegemony. Ferdinand then reconsiders, "That’s OK, we’ll change our politics. We can put on a play. Maybe they’ll give us some dollars." Marianne is puzzled but Ferdinand suggests that something the Americans would like would be the Vietnam War. The ensuing sequence is a makeshift play where Marianne dresses up as a stereotype Vietnamese woman and Ferdinand as an American sailor. The scene ends on a brief shot revealing a chalk message left on the floor by the pair, "Long live Mao!" (Vive Mao!).

Notably, he also participated in Loin du Vietnam (1967). An anti-war project, it consists of seven sketches directed by Godard (who used stock footage from La Chinoise), Claude Lelouch, Joris Ivens, William Klein, Chris Marker, Alain Resnais and Agnès Varda.

Bertolt Brecht[link]

Godard's engagement with German poet and playwright Bertolt Brecht stems primarily from his attempt to transpose Brecht's theory of epic theatre and its prospect of alienating the viewer (Verfremdungseffekt) through a radical separation of the elements of the medium (in Brecht's case theater, but in Godard's, film). Brecht's influence is keenly felt through much of Godard's work, particularly before 1980, when Godard used filmic expression for specific political ends.

For example, Breathless' elliptical editing, which denies the viewer a fluid narrative typical of mainstream cinema, forces the viewers to take on more critical roles, connecting the pieces themselves and coming away with more investment in the work's content.^{[citation needed]} Godard also employs other devices, including asynchronous sound and alarming title frames, with perhaps his favorite being the character aside. In many of his most political pieces, specifically Week End, Pierrot le fou, and La Chinoise, characters address the audience with thoughts, feelings, and instructions.

Marxism[link]

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A Marxist reading is possible with most if not all of Godard’s early work. Godard’s direct interaction with Marxism does not become explicitly apparent, however, until Week End, where the name Karl Marx is cited in conjunction with figures such as Jesus Christ. A constant refrain throughout Godard's cinematic period is that of the bourgeoisie’s consumerism, the commodification of daily life and activity, and man’s alienation — all central features of Marx’s critique of capitalism.

In an essay on Godard, philosopher and aesthetics scholar Jacques Rancière states, "When in Pierrot le fou, 1965, a film without a clear political message, Belmondo played on the word 'scandal' and the 'freedom' that the Scandal girdle supposedly offered women, the context of a Marxist critique of commodification, of pop art derision at consumerism, and of a feminist denunciation of women’s false 'liberation', was enough to foster a dialectical reading of the joke and the whole story." The way Godard treated politics in his cinematic period was in the context of a joke, a piece of art, or a relationship, presented to be used as tools of reference, romanticizing the Marxist rhetoric, rather than solely being tools of education.

Une femme mariée is also structured around Marx's concept of commodity fetishism. Godard once said that it is "a film in which individuals are considered as things, in which chases in a taxi alternate with ethological interviews, in which the spectacle of life is intermingled with its analysis". He was very conscious of the way he wished to portray the human being. His efforts are overtly characteristic of Marx, who in his Economic and Philosophical Manuscripts of 1844 gives one of his most nuanced elaborations, analyzing how the worker is alienated from his product, the object of his productive activity. Georges Sadoul, in his short rumination on the film, describes it as a "sociological study of the alienation of the modern woman".

Revolutionary period[link]

The period that spans from May 1968 indistinctly into the 1970s has been subject to an even larger volume of varying labeling. They include everything from his "militant" period, to his "radical" period, along with terms as specific as "Maoist" and vague as "political". The period saw Godard align himself with a specific revolution and employ a consistent revolutionary rhetoric.

Films[link]

Amid the upheavals of the late 1960s Godard became interested in Maoist ideology. He formed the socialist-idealist Dziga-Vertov cinema group with Jean-Pierre Gorin and produced a number of shorts outlining his politics. In that period he travelled extensively and shot a number of films, most of which remained unfinished or were refused showings. His films became intensely politicized and experimental, a phase that lasted until 1980.

According to Elliott Gould, he and Godard met to discuss the possibility of Godard directing Jules Feiffer's 1971 surrealist play Little Murders. During this meeting Godard said his two favorite American writers were Feiffer and Charles M. Schulz. Godard soon declined the opportunity to direct; the job later went to Alan Arkin.^{[citation needed]}

Jean-Pierre Gorin[link]

After the events of May 1968, when the city of Paris saw total upheaval in response to the "authoritarian de Gaulle republic", and Godard's professional objective was reconsidered, he began to collaborate with like-minded individuals in the filmmaking arena. The most notable of these collaborations was with a young Maoist student, Jean-Pierre Gorin, who displayed a passion for cinema that grabbed Godard’s attention.

Between 1968 and 1973, Godard and Gorin collaborated to make a total of five films with strong Maoist messages. The most prominent film from the collaboration was Tout va bien, which starred Jane Fonda and Yves Montand, at the time very big stars. Jean-Pierre Gorin now teaches the study of film at the University of California, San Diego.

The Dziga Vertov group[link]

The small group of Maoists that Godard had brought together, which included Gorin, adopted the name Dziga Vertov Group. Godard had a specific interest in Vertov, a Soviet filmmaker—whose adopted name is derived from the verb to spin or rotate^[22] and is best remembered for Man with the Movie Camera (1929) and a contemporary of both the great Soviet montage theorists, most notably Sergei Eisenstein, and Russian constructivist and avant-garde artists such as Alexander Rodchenko and Vladimir Tatlin. Part of Godard’s political shift after May 1968 was toward a proactive participation in the class struggle.

Sonimage[link]

In 1972, Godard and Swiss filmmaker Anne-Marie Miéville started the alternative video production and distribution company Sonimage, based in Grenoble.^[23] Under Sonimage, Godard produced both Numero Deux (1975) and "Sauve qui peut (la vie)" (1980). In 1976, Godard began collaborating with Swiss filmmaker Anne-Marie Miéville, his wife,^[24] on a series of innovative video works for European broadcast television called "Six fois deux/Sur et sous la communication" (1976)^[25] and "France/tour/détour/deux/enfants" (1978).

1980 – 1999[link]

His return to somewhat more traditional fiction was marked with Sauve qui peut (la vie) (1980), the first of a series of more mainstream films marked by autobiographical currents: for example Passion (1982), Lettre à Freddy Buache (1982), Prénom Carmen (1984), and Grandeur et décadence (1986). There was, though, another flurry of controversy with Je vous salue, Marie (1985), which was condemned by the Catholic Church for alleged heresy, and also with King Lear (1987), an extraordinary but much-excoriated essay on William Shakespeare and language. Also completed in 1987 was a segment in the film ARIA which was based loosely from the plot of Armide; it is set in a gym and uses several arias by Jean-Baptiste Lully from his famous Armide.

His later films have been marked by great formal beauty and frequently a sense of requiem — Nouvelle Vague (New Wave, 1990), the autobiographical JLG/JLG, autoportrait de décembre (JLG/JLG: Self-Portrait in December, 1995), and For Ever Mozart (1996). Allemagne année 90 neuf zéro (Germany Year 90 Nine Zero, 1991) was a quasi-sequel to Alphaville but done with an elegiac tone and focus on the inevitable decay of age. Between 1988 and 1998 he produced perhaps the most important work of his career in the multi-part series Histoire(s) du cinéma, a monumental project which combined all the innovations of his video work with a passionate engagement in the issues of twentieth-century history and the history of film itself.

2000 – present[link]

Godard has continued to work actively into his seventies. In 2001, Eloge de l'Amour (In Praise of Love) was released. This film is notable for its use of both film and video – the first half captured in 35 mm black and white, the latter half shot in color on DV – and subsequently transferred to film for editing. The blending of film and video recalls the statement from Sauve Qui Peut, in which the tension between film and video evokes the struggle between Cain and Abel. Eloge de l'Amour is rich with themes of aging, love, separation, and rediscovery as we follow the young artist Edgar contemplating a new work on the four stages of love (should it be an opera? a film?). He meets up with a lost love who is terminally ill, and at her death we are thrust into the second half of the film where Edgar meets with her at her grandparent's house two years before. Producers for Steven Spielberg are negotiating the purchase of her grandparent's World War II story; the young woman attempts to stall the deal. This is one of Godard's most tender films, yet it is characteristically enigmatic and demands the viewer's full attention.

In Notre musique (2004), Godard turns his focus to war, specifically, the war in Sarajevo, but with attention to all war, including the American Civil War, the war between the US and Native Americans, and the Israeli–Palestinian conflict. The film is structured into three Dantean kingdoms: Hell, Purgatory and Paradise. Godard's fascination with paradox is a constant in the film. It opens with a long, ponderous montage of war images that occasionally lapses into the comic; Paradise is shown as a lush wooded beach patrolled by US Marines.

Godard's latest film, Film Socialisme, premiered in the Un Certain Regard section at the 2010 Cannes Film Festival.^[26][27] It was released theatrically in France in May 2010.

He is rumored to be considering directing a film adaptation of Daniel Mendelsohn's The Lost: A Search for Six of Six Million, an award-winning book about the Holocaust.^[28] He has stated that his next feature film will be called Adieu au Language (Farewell to Language), which will be shot in 3-D.^[29][30] The film will revolve around a couple who cannot communicate with each other until their pet dog acts as an interpreter for them.

Tributes[link]

• " From Hollywood to the Third World, from the mainstream to the Avant-Garde, Godard's name is perhaps the only one that occurs wherever cinema is discussed or produced." – Colin Myles MacCabe
• " Like Picasso, Godard reveals to us throughout his work his world as source and subject; the artist's studio, the objects of his daily life, the references to and repetitions of his own works, the layering of words and images, the women he has loved, the horrors of war." – Mary Lea Bandy.
• " Godard's is an art of plastic age, of fluent, pliable, putty characters." – Raymond Durgnat
• " Godard's importance lies in his development of an authentic modernist cinema in opposition to (though, during the early period, at the same time within) mainstream cinema: it is with his work that film becomes central to our century's major aesthetic debate, the controversy developed through such figures as Lukacs, Brecht, Benjamin and Adorno as to whether realism or modernism is the more progressive form." –Robin Wood.

Filmography[link]

References[link]

• Grant, Barry Keith, ed. (2007). Schirmer Encyclopedia of Film. Detroit, MI: Schirmer Reference. ISBN 0-02-865791-8. 
• MacCabe, Colin (2005). Godard: A Portrait of the Artist at Seventy. New York: Faber and Faber. ISBN 978-0-571-21105-0. http://books.google.com/books?id=FwLqbp0cEp8C. 
• Morrey, Douglas (2005). Jean-Luc Godard. New York: Manchester University Press. ISBN 978-0-7190-6759-4. http://books.google.com/books?id=Kby7RaRmTt4C&pg=PA1. 
• Steritt, David. (1998) Jean-Luc Godard: Interviews. Jackson, MS: University Press of Mississippi.

Further reading[link]

External links[link]

Wikimedia Commons has media related to: Jean-Luc Godard

Wikiquote has a collection of quotations related to: Jean-Luc Godard

• Jean-Luc Godard at the Internet Movie Database
• Jean-Luc Godard at the Criterion Collection
• Jean Luc Godard Biography at newwavefilm.com
• Jean-luc Godard Timeline
• Detailed filmography of Jean-Luc Godard on unifrance.org
• Jean-Luc Godard at The Guardian Film
• Jean-Luc Godard at The New York Times Movies
• Jean-Luc Godard collected news and commentary at The New York Times
• Works by or about Jean-Luc Godard in libraries (WorldCat catalog)
• Guardian Interview (04/2005)
• Video dialog -in french- between Godard and the french writer Stéphane Zagdanski about Literature and Cinema, November 2004

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (April 2010)

Julien Temple
Temple at a film festival in Mexico in March 2010
Born	(1953-11-26) 26 November 1953 (age 58) London
Occupation	Director

Julien Temple, Baron Temple (born 26 November 1953 in London) is an English film, documentary and music video director. He began his career with short films featuring the Sex Pistols, and has continued with various off-beat projects, including The Great Rock And Roll Swindle, Absolute Beginners and a documentary film about Glastonbury.

Temple and Punk[link]

Temple was born into a communist family (his father Landon Temple ran Progressive Tours and was a Communist Party of Great Britain member).^[1] He is the brother of the last General Secretary of the CPGB, Nina Temple.

Temple was educated at St Marylebone Grammar School, from which he was expelled, William Ellis School and King's College, Cambridge. He grew up with little interest in film until he discovered the works of French anarchist director Jean Vigo when he was a student at Cambridge. This, along with his interest in the early punk scene in London in 1976 led to his friendship with The Sex Pistols, leading him to document many of their early gigs.

His first film was a short documentary called Sex Pistols Number 1, which set out to show the rise of the band from 1976-1977 in a series of short clips from television interviews and gigs.

This led to Temple making The Great Rock And Roll Swindle, another documentary, telling the story of the band from the viewpoint of their manager, Malcolm McLaren, as band members Johnny Rotten and Sid Vicious had left. The film told of the rise of the band as apparently manipulated by McLaren and how he had shaped the band throughout their short career. Many of the 'facts' given by McLaren were disputed by John Lydon (who had dropped the Johnny Rotten name after leaving the band), who accused McLaren of using the film to attack him personally. This helped split opinion on the film as although it was praised for attempting to capture some of the punk scene of the time, it was seen as too skewed towards McLaren's vision.

Controversy aside, Temple was praised for his mix of animated scenes, documentary footage, and specially shot footage which he used to tell McLaren's story. This helped launch Temple into a career making music videos, something he would be best known for much of his career. Temple's next theatrical release was the short film Jazzin' for Blue Jean featuring David Bowie which was released as a support feature to The Company of Wolves. By 1985 Temple was now well known for being a director of successful music videos by the Kinks, The Rolling Stones, David Bowie and other British artists, several of which were early groundbreaking videos for the new MTV channel, but he had not yet directed a major film.

In 1981 Julien Temple directed the documentary "The Comic Strip", containing the foundational members of punk, alternative actor/comedians of The Comic Strip - most famously a 22 year old Jennifer Saunders, Rik Mayall, Adrian Edmondson and Peter Richardson. Being from the original punk scene of 1976 and being close friends with The Sex Pistols, it seemed natural for him to direct a group of talented young actors from more or less, the same era he is best known for. The setting was in London's Soho in the Raymond Review Bar, later to be a key location for the film Sid and Nancy directed by British, punk director Alex Cox-who in the film paid a homage to Julien Temple in the scene where Sid Vicious sings his angst ridden take of "My Way" about 50 minutes into the film. It was an hour long documentary with fairly shocking material in it-giving it a R18 certificate due to its strong drug references, frequent violence, very strong language and a strong sexual nature-including Bestiality. Typical of The Comic Strip Presents alternative, dark and often obscure and surreal humour, this documentary is considered a true masterpiece into the insight of Soho's sordid scene of 1981. The Comic Strip was based around the seedy world of strip clubs and lap dancing bars, and hardcore pornography. The Comic Strip actually was formed alongside a sex club in Soho-quite a paradoxical choice in settings as The Comic Strip's aim was to demolish the comedy before them-Monty Python, Benny Hill and others. Julien temple creates a twisted tale of London- with horror, grotesques, surrealism and obviously humour and of course labelling it with his signature style.

Projects of the 1980s and 1990s[link]

In 1983 Temple directed a film for the BBC Arena series called It's All True, named after the 1942 unfinished Orson Welles film. Compered by Welles himself, the film comprised many short segments about the state of the video industry, both real and imagined, many featuring cameos by celebrities including Mel Brooks, Grace Jones,^[2] Ray Davies, and Koo Stark.^[3]

In 1986 he directed the film version of Colin MacInnes' book Absolute Beginners. One of the most expensive films in British history, the fate of the studios involved (as well as several careers) were dependant on the success of the film. The film was critically panned in the UK. A musical, rather than a straight adaptation of the book, led to it being attacked for a lack of narrative, as well as being called a series of badly linked music videos. The film, like much of his music video work, reflects his ongoing interest in deeply saturated color American musicals of the '40s and '50s.

The film was financially unsuccessful, partly responsible (along with The Mission and the ill fated Revolution, which cost substantially more money) in the Goldcrest company going bankrupt. Temple found himself being blamed personally for the failure but the film proved to have a small following (including Michael and Janet Jackson) in the United States. This led to Temple moving to the United States and being offered the film Earth Girls Are Easy as well as a series of music videos for such artists as Whitney Houston, Janet Jackson, Eric B & Rakim, Neil Young and Tom Petty.

Temple returned to the UK in the late 1990s continuing to make films as well as music videos. Vigo Passion for Life (1998) recounts the passionate relationship between French film maker Jean Vigo (1905–34) and his wife Lydou, who both suffered from Tuberculosis. The film was not well received. A reviewer in Sight & Sound commented that the film "although absolutely faithful to the facts, is absolutely dreadful".^[4] Films which followed included Pandæmonium (2001), a critically acclaimed film about the friendship between Romantic poets Samuel Taylor Coleridge and William Wordsworth, and The Filth and the Fury (2000), another documentary about The Sex Pistols. This time the film was made with the full cooperation of the surviving members of the band and told the story of the band from their viewpoint. This film also mixed newly shot footage and interviews as well as footage culled from The Great Rock and Roll Swindle, as well as previously unseen interviews. The film was a critical success and was seen as setting the record straight in regard to the history of The Sex Pistols.

Recent years[link]

By 2000 he had 3 children too. A daughter named Juno, and two sons named Leo and Felix. Juno born in 1989, Leo born in 1993 and Felix in 2000.

Since 2002 Temple has made a feature length documentary about the Glastonbury Festival. This involved him shooting footage at the festival from 2002 to 2005, as well as drawing on the vast amount of archive footage as well as footage sent in by fans of the festival. It was released in the UK in April 2006.

In 2003 he became the patron of The Engine Room, the Bridgwater based media centre run by Somerset Film.

In 2006 Temple made a film of the life of his great friend, Joe Strummer - The Future Is Unwritten. In November 2007, Temple filmed several of the Sex Pistols' comeback shows at the Brixton Academy in London. This was followed by several filming sessions with each member of the band as they re-visited their old London haunts. The footage was assembled into a new documentary film released on DVD in 2008 as The Sex Pistols: There'll Always Be An England, bringing Temple's association with the Sex Pistols up to date.

In June 2008, Temple filmed three concerts by Madness at the Hackney Empire. These concerts were previews of the band's forthcoming album, The Liberty Of Norton Folgate. A DVD release is awaited.^[5]

In 2009 Temple directed the third film in his punk trilogy - Oil City Confidential - celebrating the Canvey Island legends Dr. Feelgood and a hymn to the Motor City entitled Requiem For Detroit? (2010).

In 2010 Temple directed the biography Ray Davies:Imaginary Man. Previously he'd directed several Kinks videos. Also, he was referred to by name in The Kinks song "Too hot" from their Word of Mouth album: "Julien's on the street today/ Scouting out locations..."

Temple is currently filming a feature dramatisation of "Murder in Samarkand" by Craig Murray, starring Steve Coogan and Megan Fox.

Filmography[link]

• The Great Rock 'n' Roll Swindle (1979)
• UK Subs: Punk Can Take It (1979)
• Samson: Biceps Of Steel (1980)
• The Secret Policeman's Other Ball (1982)
• It's All True (1983)
• Absolute Beginners (1986)
• Running out of Luck (1987)
• Aria (segment Rigoletto) (1987)
• Earth Girls Are Easy (1988)
• Stones at the Max (1991)
• Bullet (1996)
• Vigo: A Passion for Life (1998)
• The Filth and the Fury (2000)
• Pandæmonium (2000)
• Glastonbury (2006)
• Joe Strummer: The Future Is Unwritten (2007)
• The Sex Pistols: There'll Always Be An England (2008)
• The Eternity Man (2008)
• Oil City Confidential (2009)
• Requiem For Detroit (2009)
• Ray Davies - Imaginary Man (2010)
• Dave Davies - Kinkdom Come (2011)

Music videos[link]

• Whitney Houston - I'm Your Baby Tonight
• ABC - Poison Arrow
• Alan Jackson - Don't Rock the Jukebox
• Babyshambles - Love You But You're Green, The Blinding
• Billy Idol - Don't Need a Gun
• Billy Idol - Adam in Chains
• Blur - For Tomorrow
• Bryan Adams - (Everything I Do) I Do It For You
• Culture Club - Do You Really Want To Hurt Me
• David Bowie - Absolute Beginners, Blue Jean, Day-In Day-Out, Tin Machine (10 minute promo video shown in cinemas before the 1989 film Lenny Live and unleashed)
• Depeche Mode - See You, The Meaning of Love, Leave In Silence
• Dexys Midnight Runners - Come On Eileen
• Duran Duran - Come Undone, Too Much Information
• Enigma - "Return to Innocence", "Eyes of Truth", "Beyond The Invisible"
• Gary Numan - She's Got Claws
• Janet Jackson - When I Think of You, "Alright"
• Jean Michel Jarre - Magnetic Fields Part 2
• Judas Priest - Heading Out To The Highway, Don't Go, Living After Midnight, Breaking the Law, Hot Rockin', You've Got Another Thing Comin', Freewheel Burning
• Kenny Rogers - Planet Texas
• Maria McKee - I'm Gonna Soothe You
• Me Phi Me - Sad New Day, Black Sunshine, Pu Sho Hands 2Getha
• Neil Young - This Note's for You, Hey, Hey, Rockin' in the Free World, No More, Over and Over, Fuckin up, Harvest Moon,
• Paul McCartney - Beautiful Night
• Ray Davies - Postcard From London
• S Club 7 - Have You Ever, You
• Sade - Smooth Operator
• Scissor Sisters - Return to Oz
• Stray Cats - Rock This Town, Stray Cat Strut Elvis on Velvet
• Swing Out Sister - Forever Blue,
• The Beat - Save It for Later
• The Kinks - Come Dancing, Don't Forget To Dance, State of Confusion, Do it again
• The Rolling Stones - Undercover of the Night, She Was Hot , Too Much Blood, Highwire
• The Sex Pistols - God Save the Queen
• Tom Petty / Tom Petty and the Heartbreakers - Free Fallin', Yer So Bad, Learning To Fly, Into The Great Wide Open, King of the hill (Tom Petty & Roger McGuinn)
• TELEPHONE - Argent Trop Cher

^[6]

References[link]

External links[link]

• Julien Temple at the Internet Movie Database
• Screenonline biography

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This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2011)

Pino Daniele
Daniele, Italian blues vocalist and guitarist
Background information
Born	(1955-03-19) 19 March 1955 (age 57) Naples
Genres	Rumba, Blues, Rock, Pop, Tarantella, Jazz, World music, Hard Rock
Occupations	Musician, composer, film scorer
Instruments	Vocals, guitar, mandolin
Years active	1975–present
Associated acts	Richie Hayward, Mel Collins, Chick Corea, Eros Ramazzotti, Francesco De Gregori, Fiorella Mannoia, Juan Pablo Torres
Website	Pino Daniele.com

Pino Daniele (born 19 March 1955) is an Italian vocalist, composer, and musician,^[1] whose influences cover a wide number of genres, fusing pop, blues, jazz, Italian and Middle eastern music into his own unique brand of world music.

Biography[link]

Graduating in accounting, Pino began his musical career in the band "Batracomiomachia", then in 1976 he became the bass player with the Napoli Centrale, where he met James Senese. Later in 1976 Claudio Poggi, producer of EMI Italian, listened to a demo tape containing various original tracks by the then young Daniele, deciding to offer a deal with the label. Already mid-year, he recorded a 45-rpm vinyl containing the tracks "Che calore" (originally titled "Ca Calore", being his trademark Neapolitan dialect) and "Fortunato".

"Terra mia", his debut album of 1977 containing tracks from the previous single, demonstrates the singer's deep connection with the Neapolitan and Mediterranean traditions, both in the music and in the lyrics, which sometimes cover songs and popular customs typically Neapolitan. Among the most successful tracks of the album are without doubt "Terra mia", but particularly "Na tazzullella 'e cafè" (A small cup of coffee), highly played by Renzo Arbore on his show "Alto gradimento" (High satisfaction) and "Napule è" (Naples is…), which in time would become a true manifesto for the author (who wrote it at just 18 years of age) and for the entire city of Naples.

James Senese would go on to significantly contribute towards the production of the next three albums: "Pino Daniele" (1979), "Nero a metà" (1980) and "Vai mò" (1981). He was influenced by rock music, by the jazz of Louis Armstrong, by George Benson and especially by blues music, creating a synthesis of extremely diverse musical and linguistic elements, with a personal, all the while controlled, streak to the composition.

In 1981 the artist held a big concert in Piazza del Plebiscito at Naples, fetching a crowd of 200,000, accompanied by a completely Neapolitan formation of collaborators, both old and new (Tullio De Piscopo, Joe Amoruso, Rino Zurzolo, Tony Esposito, James Senese), that in the same year participated in the album "Vai mò" (another milestone in Daniele's career). In this context the so called "Neapolitan Power" is defined, marked his artistic innovation within the tradition of the Campania region, with predominant references to rock, blues, funk and jazz.

His passion for the most varied musical genres (ranging from Elvis Presley to Roberto Murolo) gives him the opportunity to create a new musical style of his own named "taramblù", to indicate the fusion of tarantella and blues, considered emblems of the respective home cultures.

Discography[link]

Studio albums[link]

• Terra mia (1977)
• Pino Daniele (1979)
• Nero a metà (1980)
• Vai mò (1981)
• Bella 'mbriana (1982)
• Musicante (1984)
• Sciò live (1984, double live)
• Bonne soirée (1987)
• Schizzechea with love (1988)
• Mascalzone latino (1989)
• Un uomo in blues (1991)
• Sotto 'o sole (1992)
• Che Dio ti benedica (1993)
• E sona mo' (1993, live)
• Ferryboat (1994)
• Non calpestare i fiori nel deserto (1995)
• Dimmi cosa succede sulla terra (1997)
• Yes I Know My Way (1998, anthology)
• Come un gelato all'equatore (1999)
• Napul'è (2000, double anthology)
• Medina (2001)
• Concerto Medina Tour 2001 (2002, live containing two new songs)
• In Tour (2002, with De Gregori, Fiorella Mannoia and Ron)
• Amore senza fine (2002, anthology)
• Passi d'autore (2004, Pino Daniele Project)
• Iguana cafè (2005)
• Il mio nome è Pino Daniele e vivo qui (2007)
• Ricomincio da 30 (2008, triple anthology) ( ITA : Platinum )
• Electric jam (2009) ( ITA : Platinum )
• Boogie Boogie man (2010)
• La Grande Madre (2012)

Singles[link]

• Ca calore/Fortunato (EMI Italiana) 1976
• 'na tazzulella 'e cafè/Napule è (EMI Italiana) (1977)
• Je so' pazzo/Putesse essere allero (EMI Italiana, 3C006-18417) (1979)
• Nun me scuccià/I say i sto 'cca (EMI Italiana, 3C006-18430) (1980)
• Ferryboat/Amico mio (EMI Italiana) (1985)
• Tell me now/Jesce juorno (EMI Italiana) (1988)
• Anna Verrà/Carte e cartuscelle (1989)
• 'O scarrafone/'O scarrafone (scaramix edit version) (CGD, 9031 73363-7) (1991)
• Che Dio ti benedica/Questa primavera (CGD, 06000077-7) (1993)
• Io per lei/'O cammello 'nnammurato (1995)
• Che Male C'è/Dubbi non ho (1997)
• Amore senza fine/Yes, I Know My Way (1998)
• Neve al sole/Cosa penserai di me (1999)
• Sara/Mareluna (2001)
• Pigro/Tango della buena suerte (2004)

References[link]

External links[link]

• Official website
• Pino Daniele discography at Discogs
• Pino Daniele blog at Wordpress
• Pino Daniele unofficial website

Tristan Keuris (3 October 1946 in Amersfoort – 15 December 1996 in Amsterdam) was a Dutch composer.

Keuris initially studied with Jan van Vlijmen in Amersfoort. At the age of 15 he started his studies with Ton de Leeuw at the Utrecht Conservatory. Upon graduating from the conservatory he received the 'Prijs voor compositie' (1969). He strongly admired composers like Mahler, Webern and Stravinsky. He taught composition at the conservatories in Hilversum, Utrecht and Amsterdam. He also taught at masterclasses and gave lectures in the United States, Norway, Germany and the United Kingdom. Keuris received international recognition with the symphonic work Sinfonia (1972/74), first performance in 1976. Many of Tristan Keuris works were written on commission, like the Saxophone Quartet Concerto (1986) on commission from the Dutch Government, Catena (1988), for the 100th anniversary of the Royal Concertgebouw Orchestra, Symphonic transformations (1987) for the Houston Symphony Orchestra and the Concerto for two cellos (1992) for the BBC (Manchester Cello Festival).

Awards[link]

• 1975 Matthijs Vermeulenprijs (for 'Sinfonia')
• 1982 Cultuurprijs van Hilversum
• 1995 Koussevitzky Foundation Award

Works[link]

• 3 preludes for piano (1959, manuscript)
• Baldur en de bosnymph - symfonisch gedicht (1960, manuscript)
• Wind quintet (after Schönberg, 1962, lost)
• String quartet (1963)
• Songs on texts by Guillaume de Machaut (1964, lost?)
• Quartet for Orchestra (1967)
• Libra for clarinet and piano (1967?)
• Quartet no.2 for orchestra (1969, published by Donemus, withdrawn before its 1st public performance)
• Piano sonata (1970)
• Altosaxophone concerto (1971)
• Music for clarinet, violin and piano (1973)
• Sinfonia (1972-'74)
• Serenade for oboe and orchestra (1976)
• Fantasia for flute solo (1976)
• piano concerto for Theo Bruins (1976, not identical with the 1980 concerto, unfinished short score)
• Violin sonata (1977)
• Concertino (1977 rev '78)
• Capriccio (1978)
• Piano concerto (1980)
• 8 Miniatures (1980)
• Movements for orchestra (1981)
• Divertimento (1982)
• String quartet no.1 (1982)
• 7 Pieces for orchestra with bassclarinet (1983)
• Clarinet quartet (1983)
• Violin Concerto no.1 (1984)
• Pianotrio (1984)
• String quartet nr.2 (1985)
• Variations for Strings (1985)
• Aria for flute and piano (1985, premiered November 27th 1985 in Wageningen)
• Concerto for Saxophone quartet and orchestra (1986)
• Music for Saxophones (Saxophone quartet no.2) (1986)
• Aria for flute and orchestra (1987) (for the Scheveningen Muziek Concours 1988)
• Symphonic Ttansformations (1987)
• To Brooklyn Bridge (1987)
• Intermezzi for winds (1988)
• Catena (1988)
• Quintet for Clarinet and Strings (1988)
• 3 Sonnets for altosaxophone and orchestra (1989)
• Canzone (1990)
• Passegiate for 4 recorders (1990)
• L'Infinito (1990)
• Michelangelo Songs (1990)
• Antologia for Orchestra (1991)
• Concerto for 2 'cellos and orchestra (1991/92)
• Concerto for organ and orchestra (1993)
• Laudi - a symphony for soloists, choir and orchestra (1993)
• 3 Preludes for Orchestra (1994)
• String sextet (1994)
• Chamber concerto (1995)
• Symphony in D (1995)
• Arcade - 6 more preludes for orchestra (1995)
• violin concerto no.2 (1995)
• Songs on German texts (1996, short score only, unfinished)
• Work for 8-part female chorus (1996, sketches)
• clarinet concerto (1996, sketches)

Keuris also composed music for television and radio commercials (1970s) and filmscores for "De Mannetjesmaker" and "Oeroeg"

Discography[link]

On the Emergo Classics label:

• To Brooklyn Bridge (1988) for 24 voices and ensemble
• Intermezzi (1989) for wind ensemble
• L'infinito (1990) for vocal quintet and ensemble
• Violin concerto 2 (1995)
• Symphony in D (1995)
• Laudi (1992/93) A symphony for mezzo soprano, baritone, two mixed choirs and orchestra
• Arcade (1995) Six preludes for orchestra
• String quartet No.1 (1982)
• String quartet no.2 (1985)
• Clarinet quartet (1988) for clarinet and string quartet
• Concertino for string quartet and bass clarinet (1976/77, revision 1979)

On the Challenge Records International label: Complete Works (2010)

References[link]

• [1]
• [2]

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