W H A T :
W H E N :
seating at 7:00, film at 7:30.
W H E R E :
1028 Scott Blvd., Covington KY 41011
Printable PDF parking map
Printable JPG parking map
Interactive directional map
Printable map and written directions
New to the Carnegie? Learn more.
T I C K E T S :
How to get Tickets
859-491-2030, Tue-Fri 12-5p
877-548-3237, Mon-Fri 9a-7p
In person at these area locations
(click each location for a map):
Sitwell's Coffee House
513 281 7487
Lookout Joe Coffee Roasters
513 871 8626
513 651 5483
Tuesday, November 15
A graduate of Wellesley College (BA magna cum laude, English & Italian, 1995) and Cornell University (MA English and American Literature, 2001 and Ph.D. 2004), Dr. Gazzaniga came to Northern Kentucky University in 2010 from a teaching position at the University of North Carolina, Charlotte.
In addition to teaching English and Victorian Literature, Andrea also specializes in Cinema Studies, has taught courses on the films of Alfred Hitchcock and is currently offering a course on film noir in the Fall semester.
Wednesday, November 16
A graduate of the University of Southern California (BA, English, 1981) and UCLA (MA, English 1984 and Ph.D., English, 1989). Dr. Alberti has been teaching at Northern Kentucky University for twenty years, where he focuses on the relationship between American literature and popular culture as evidenced in cinema, television and music.
Currently Director of the Cinema Studies program and Professor of English, John has been instrumental in bringing the Festival of New French Films to NKU — look for the third annual series in the Spring of 2012.
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story about the survival of dignity and humanity
In The Time That Remains, Arab-Israeli director Elia Suleiman brings us a highly personal, episodic story about Arab life in Israel, based on his own experience and his parents' letters and diaries dating back to 1948. Most of the film was shot in and near his family home in Nazareth, in Israel proper, not occupied territory.
This film is important for historical reasons: beyond the often inflammatory sensationalism of video clips and sound bites, Americans receive little insight regarding life in recent decades, and now, for Arabs in Israel. In a series of vignettes, Suleiman unfolds his family history, starting with his father's resistance experience in the late forties, his own childhood in the seventies, young adulthood and departure from Israel in the eighties and present-tense return in middle age to reconcile with his dying mother. It is worth noting that the Suleiman family is Christian, a minority within a minority living in Israel.
The Time That Remains is cinematically intriguing as well, using skillful framing and a vignette format to combine deadpan comedy and melancholy resignation in a poignant exploration of the Palestinian identity. In personalizing the endless conflict, Suleiman melds his family history with elements of visual fantasy to display the foibles of Arab and Israeli coexistence — an approach that engages the audience without forcing judgment.
While some filmmakers might address the subject polemically, with an angry, in-your-face immediacy, Suleiman purposefully follows a different path, artfully conveying irony and absurdity in a manner thematically and visually reminiscent of Kafka, Keaton and Tati. His darkly funny imagery, minimalist approach and ability to consider the subject from a greater, less emotional distance, lend to a humanist aesthetic that succeeds where other attempts (ex: Julian Schnabel's Miral) have failed.
About the Director
Check out this interview of Elia Suleiman by Damon Smith at Filmmaker Magazine, in addition to the biographical excerpt below.
Award-winning Palestinian filmmaker Elia Suleiman makes idiosyncratic films about the endless conflict between Arabs and Israelis, stitching together wryly humorous tableaux that speak to the absurdity of life under occupation. Suleiman's latest effort, The Time That Remains, continues the semi-autobiographical explorations of his previous features, 1997's Chronicle of a Disappearance and 2002's critically acclaimed Divine Intervention, winner of a Jury Prize and a FIPRESCI Prize at Cannes.
Suleiman himself is often a character in these dramas, a mute witness quietly observing the agitations of the Middle East at ground level, with lidded eyes and a mournful face that commentators have repeatedly likened to Buster Keaton's. As a youth, Suleiman (now 50) fled a pending arrest warrant in Nazareth (the authorities were under the impression he was a gang member) and moved to London, where he met author John Berger, an important mentor and lifelong friend whose Ways of Seeing literally opened his eyes to the world. Later, in New York City, he befriended the late critic Edward Said and producer James Schamus, both of whom exerted an equally powerful influence on Suleiman's intellectual development and future film art. Read more about Elia Suleiman at Wikipedia.