La captive du loup (Nocturne) (French Edition)

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Though I will be returning to these succinct and quite simple essays combining my favourite fields, I think that I will come back to it for the excellent insights into the Christian life and how those truths might be fleshed out in counselling. If you are unsure which essay to This book has everything that I look for crammed between its covers: If you are unsure which essay to start on, then I would recommend, in this order: Jul 19, Jon rated it really liked it.

A unique take on several past theologians. Oct 16, Tim rated it really liked it. Many Christians know this Bible-verse by heart: As the title of this anthology suggests, this book is an effort to illuminate "give an answer to" how various prominent Christians from Augustine and Luther to Bonhoeffer and C. Lewis found Christian hope in the face of vexing experiences and emotions: Does this b Many Christians know this Bible-verse by heart: Does this book succeed in its effort?

Well, it depends on what you're looking for. In most of the essays in The Consolations of Theology I found a lot more abstract theology than practical consolation. Inspired by Alain de Botton's bestselling Consolations of Philosophy, this volume shows how theology can be of practical value to every believer. Gerald Bray — Beeson Divinity School "This remarkable book shows us how the best Christian theology has always informed the.

Readers who are facing real-life challenges, and looking for real-life solace and consolation, will find most of this anthology's essays too abstract to fit the bill. Then again, readers who are interested in Christian theological conceptualizations of Anger, Obsession, Despair, etc.

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An Excerpt from Advent: Request a Review Copy. Old Testament Studies Criticism. New Testament Studies John Studies. Old Testament General Works. Social Theology Feminist Theology. Notable Theologians Abraham Kuyper. Christian Living Grief and Suffering. World Religions Catholic Studies. Religious History Early American.

I thought it looked like an 18th century newsreel. It was so authentic. But the camera did things I have never seen it do before. For example there is an amazingly bold intercutting of a storm. And Gance had the idea of combining these two events and intercutting them. And it is astounding!

Taking the phrase from Victor Hugo: And then hand-held camera shots among the crowd fighting in the Convention, gives you a sort of sea-sick feeling. And quite of lot of them have never been followed up. When it was shown first here in , the director Alan Parker scrapped footage that he had been shooting for a film called Pink Floyd: The Wall and he put the camera on a pendulum. Nobody had heard of him. When I first started showing this film, I had never heard of him.

And I just became a propagandist for him. I must say that film makers responded very strongly when they saw the footage or even a hint of the footage. But I have never known anything like the first night at the Empire Leicester Square when the whole thing was shown. I remember coming out of the Leceister Sq tube feeling absolutely terrified. Number one, how could the orchestra stay in synch for 4h and 50min? How could the audience sit there for all that time? Can you tell us about your first meeting with Abel Gance? I met a journalist called Francis Koval and he produced triptychs showing what the ending looked like.

And later on, he was looking through the door of his office at the BFI and he saw that man standing in the hall! He went out and in his execrable Irish accented French: He was walking down Shaftsbury Avenue and he saw a sign saying British Film Institute and he could understand that, so he walked in. He was amazed to be recognised. Liam rushed off to tell James Quinn who was the director who said: So I was allowed to answer the phone, I was taken out of an exam, mock school certificate in German.

Gance was in London. I was going to meet him that afternoon. We somehow understood each other and it was an amazing event. That was ; it was 54 years ago.

First of all, he made a film which was going to be shown over several days, now the film of episodes was reasonnably strong tradition. Bob Harris and Francis F. Coppola, when they showed it in America, it had to be cut down to fit a slot at the Radio City Music Hall. I decided that Abel Gance was so little known in England that I ought to make film about him. When I was making that Gance told me that he had shot footage of the film being made.

The first can, there was a large roll and I took it out and looked at it. So when she came back, she was a bit annoyed to see me looking at it, having taken it out of the can. She good-naturally put it on the viewing machine and I count that as one of the great moments of my life, to suddenly see this long lost sequence. My eyes were on stalks. And then Gance said: Can you get it for me? This is the man who made the picture! You need one revolver for Henri Langlois and one for Mme Epstein.

I thought this is the beginning. And that went into the film first. And the next thing that happened was George Dunning, who made The Yellow Submarine the animated film with The Beatles, put on a wide-screen festival in London. So I thought this is another sign from above, here I go step by step. And Ledoux took it upon himself to contact all the archives and said: They had it all. Except, Gance gave them the hostages at Toulon being executed which would have been one of the most majestic sequence ever.

And they lost it or it was destoyed in the fire. How do you determine the proper projection speed between 16 fps and 24 fps for a silent picture?

This is a nightmare, an absolute nightmare! But there is a rule of thumb, in America, practically nothing went at 16 fps except newsreels and Griffith films. For some reason, Griffith liked to crank very slowly. We found recently doing the DeMille documentary, that The Squaw Man which started production in was shot at 21 fps. So they were much faster quite early. By the 20s, most American pictures were going at 20 fps and upwards. When it came to the mids, MGM pictures were nearly all shot at 22 fps. They are all shot at 22 fps, then projected at 24 fps. All silent films are projected with the edge off which is why people found sound films to be in slow motion until they got used to them.

To get that speed, the Vitaphone engineers went round the big Broadway theatres and got the average speed. They discovered that in , the average speed of Broadway theatres was 22 to 26 fps. So they chose 24 fps. In the British Isles, we went much slower, so did you. The French by the 20s, were going at an average of 20 fps.

But the British managed to stay at 16 and 18 for ages. You sometimes find them right up to the coming of sound being projected at ridiculously slow speeds.

However projectionists raced both over there and here. They wanted to get home quicker. And they would just speed up! And there were an awful lot of objections to that. That is one reason why the Americans speeded up so quickly. That means the picture is running at the right speed. I have absolutely no memory of my being impressed by the triptych at Telluride!

Probably because we were frozen to death. And I was so worried about the ghastly experience I had with Gance on the stage. I remember being terribly impressed with it in the Empire Leicester Square.

The Consolations of Theology

That was the time when it knocked me out. Can you tell us about your work with the composer and conductor Carl Davis? How did you meet him?

When I joined Thames Television to makes this programme, I was very nervous about who I was going to partnered with. Because they first introduce me to a producer who sais to: But who were we going to get to write the music? The music was the most essential thing because a 13h programme really…If you got the wrong man…Well, I had been very impressed by the title music particularly of The World at War And Jeremy Isaacs gave us that composer Carl Davis.

He came from America, from NY. So he already was of that world. He went back and interviewed as many silent film musicians as he could find to get advice. And he really does seem to…it seems to get a natural response his reactions to the film. He could have been there himself I always thought. The first thing he did was Ben-Hur , F.

Niblo for a promotion to try to sell the series in America and I remember being tremendously excited going along to a recording studio with a big orchestra playing the chariot race flat out. So we worked with Carl on practically every documentary and many of the Thames Silents. The last one he did is The Godless Girl , C. And I miss that in the Coppola version which does include some marvellous pieces by composers like Mendelssohn.

Where are we now? Are the problems going to be resolved soon? I think the fact that we are not collaborating is tragic. Marie Epstein did her best at the time putting bits together but it was very far from what it ought to have been. The other thing is that the French version has been very ineptly graded and some of it is terribly dark and some of it is terribly light. It ruins the cinematography.

And what does a silent film has but its images? I think there is going to be some cooperation between the Americans and the BFI. And I hope it will lead to a DVD being produced. There is no technology that enables that to look right. I thought that La roue would absolutely shake the academic establishment because here is rapid cutting before Eisenstein, a level of cinematography that nobody could have guessed was sitting between sprocket holes.

It just amazes me!

And up till now, none of them had been. Leslie devient rapidement une cible lorsque Rose revient flirter chez lui. Chicago, Nick Scarsi L. Il a des appuis nombreux parmi la police et les politiciens. C'est d'ailleurs en revoyant The Big Heat , F. L'aviateur Pierre Vignal C.

Il tombe amoureux de la belle-soeur de celui-ci, Elisabeth L. Mais ici, il est excellent en aviateur amoureux. C'est Milowanoff qui retient l'attention. Le seul reproche que l'on puisse faire au film, c'est la minceur de l'intrigue. Le teintage apportait finalement peu de chose. Hier soir, un ensemble de musiciens de jazz accompagnait le film. Le prince Roundghito-Sing I. Les bons passages sont de moi. En Italie, Angela M. Son ami, le timide Pomino M.

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Simon lui demande de demander la main de Romilde M. Pradot , une jeune fille dont il est amoureux. Mais, Romilde aime Mathias.

The Consolations of Theology - Brian S Rosner : Eerdmans

Cette adaptation de Pirandello est l'un des meilleurs films produit par Albatros et de Marcel L'Herbier. Le film est inclassable: Mais, il y aussi ces pulsions de suicide qui envahissent un Mathias Pascal qui ne sait plus qui il est vraiment. Revoir ce film -que j'avais vu muet auparavant- dans ces conditions fut un immense plaisir.

Les 'apaches' jettent leurs compagnes sur la piste. Il apporte au film ce qu'il faut de dynamisme et sait chuchoter quand il le faut. Ce parfait autodidacte se lance donc dans l'aventure. Bon nombre de ses films muets sont perdus. Grandais offre alors une image nouvelle de la femme. Dans le tragique, elle est aussi remarquable. L'Empire du Diamant Il part avec sa fille L. Dans l'ensemble, un bon Perret. La copie est malheureusement assez granuleuse. Griffith and Cecil B. For this last part, Kevin talked about two of the most important American directors of the teens.

Griffith and DeMille were great innovators and also controversial figures. We discussed both aspects. What was the influence of Griffith on other film-makers at the time of The Birth of a Nation? It looks absolutely ridiculous. And when I spoke to people who remembered the picture, the first time round, they all regarded it as cowboys and Indians, besides being tremendously proud of the film as a member of the industry who produced it. And raving about Griffith. So that is curious. So despite the riots they talk about and the protests at the time, it obviously had a very different reaction on people.

And I think that the appalling thing to admit is that it was generally accepted that blacks were not exactly sub-human but getting that way. And these wonderful men in white were indeed worthy of being the heroes. However, if you take part one, it is the most moving pacifist film.

Its blatant racism makes it a very disturbing feature. In the documentary, you managed to give a very balanced view of the film and its film-maker. How did you start to tackle this difficult subject? Well, a miracle happened! We were making a film about Harold Lloyd and went to see one of his kid actors, Peggy Cartwright who played in one of his two-reelers and she was in her late 70s, I suppose. And the last person you would think would introduce a husband who was black. She was married to an actor called William Walker and he had been at the first showing of The Birth of a Nation and he gave us an account of what it was like to see that film as a black man and it was terribly moving.

But that was the absolute miracle of good fortune that we found somebody who was so eloquent about the picture. And I thought that was enough. But PBS in America, decided we had to have two black academics as well. But I do think that The Birth of a Nation ought to be seen and not censored. They tried hard enough over the years. If you hide something away, and then build up the reputation, I think it does more damage than showing it and letting people make up their own mind.

But in that case, for that film, you really have to show it looking at its best for the artistic impact was so enormous and you need to know why. Nobody remembers now that Fox put out a picture in the same year called The Nigger , Edgar Lewis. But the film is lost and nobody bothers about it. But that was just as controversial in its way, in its small way, as The Birth of a Nation.

Do you think that Griffith has been sometimes overrated at the expense of other lesser-known film-makers of the time? To suggest he invented the close-up is to deny all the portrait painters since the beginning of painting. And Griffith began directing in But he did use these techniques extremely effectively. But there are other directors who made marvellous films. Particularly, lost names like Reginald Barker who made The Italian But also, Griffith was technically highly praised but in fact, could be extremely odd.

His editing was unique. He knew narrative editing and that was extremely effective. But continuity editing, cutting from mid-shot to wide-shot. Say, a warrior unsheathing his sword, he does it twice. Nobody else did that in Hollywood. They immediately got the idea that you make it a smooth transition that makes it almost seamless. So looking back at Griffith work, some of it looks extremely primitive. And some of the Biographs are superb and stand up wonderfully today. Something like The Knight of the Road about a tramp in the California fruit farm is brilliant and he did these without script, just knocked them off in a couple of days.

Although I remember one of his actresses saying how extravagant he was. So he probably used up a lot of film making them. But I do think.. For somebody who has never seen any Griffith pictures, which one would you recommend as a starter? They would be an ideal start. Then I would go on to another Biograph like The Musketeers of Pig Alley or The Unseen Enemy preferably in an original print off the negative, because they are so superb to look at. And many of the negatives survive. I would definitely start with that and then something like Broken Blossoms In , you directed a two-part documentary on Cecil B.

American Epic covering his silent and talkie period. What made DeMille such an innovative director in the silent era? I think The Cheat is as great film as they said it was. The atmosphere is dependent on that extraordinary lighting that he developped. I am a terrible film critic when it comes to describing these things…There is an energy about those teens DeMille.

I mean that is energy. But he puts it in the picture as well. They are very well made. And I think those marital pictures are marvellous too. But, by the time the 20s come, they get awfully silly and yet he is able to direct a film like The Godless Girl which is brilliant. An important point about DeMille. What he established was the future look of Hollywood films.

Other directors went along his route rather than imitating Griffith. And his pictures became incredibly overblown and almost ridiculous as they did in the mids so did the others. But his films of the teens, I find the most interesting. Which films among DeMille silents would you recommend as must see? The silent films I would recommend for the DeMille season:

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