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...Gugu, along with the other four men, were later executed, while Sevianu was given life in prison and eventually released in 1964 due to the political amnesty. The film uses archival footage from the original Reconstituirea, interviews with Lusztig’s mother (Sevianu’s daughter, Miki Lusztig), and footage from the filmmaker’s eight-month stay in Bucharest to piece together and explore the political context of the heist, as well as Lusztig’s own familial identity, all framed by an examination of contemporary Romania as a land attempting to define itself...

Author: By Clint J. Froehlich, CRIMSON STAFF WRITER | Title: Reconstructing the Past | 10/5/2001 | See Source »

...idea for the film came to Lusztig during the tail end of her work on her thesis film in 1997. “It’s just such a great story...one that I knew,” said Lusztig. She began feverishly researching the project, only finding out after she had begun that the propaganda film had been made in 1961, which added an entirely new dimension to the project. “My mother had found it very uninteresting, but to me as a filmmaker it seemed more than relevant,” she commented. Armed with...

Author: By Clint J. Froehlich, CRIMSON STAFF WRITER | Title: Reconstructing the Past | 10/5/2001 | See Source »

...first viewing of the propaganda film was shocking for Lusztig, not only because it “starred” her grandmother, but also due to the amount of effort put into its creation, even though its purpose was purely political. It is framed as a contrived detective story, and progresses from the heist itself to an eventual capturing and convicting of the criminals. “It’s a really horrifying film...in a way it reminded me of a porno. You know the purpose, and you wonder what the plot is for. The spectacle it creates...

Author: By Clint J. Froehlich, CRIMSON STAFF WRITER | Title: Reconstructing the Past | 10/5/2001 | See Source »

...started out doing painting, and it was pretty expensive, but film is great," Irene E. Lusztig '96 says. "They have a really generous budget, even better than film school...

Author: By Georgia N. Alexakis, | Title: REVAMPING VES | 2/21/1997 | See Source »

...Lusztig says that Phelan has stressed the importance of the visiting artists program. "[Phelan] is really into fluid, nonacademic contact with people who know what's going on in the art world," Lusztig says. "The downside though is that you really can't work with one person for a long time. They're great to work with, but it's hard when they're gone...

Author: By Georgia N. Alexakis, | Title: REVAMPING VES | 2/21/1997 | See Source »

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