DOCSLIB.ORG

FILM#55 / BERLIN SPECIAL ISSUE L1l FILM#55/ BERLIN ISSUE INSIDE THREE DANISH SHORT FILMS SELECTED for BERLIN 2007

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FILM#55 / BERLIN SPECIAL ISSUE L1l FILM#55/ BERLIN ISSUE INSIDE THREE DANISH SHORT FILMS SELECTED for BERLIN 2007 THREE SHORTS IN COMPETITION DANES IN THE OSCAR RUN THINK TANK ON EUROPEAN FILMS Three Danish children’s short fi lms are selected to Susanne Bier’s feature fi lm After the Wedding is The ThinkTank on European Film and Film Policy has compete in Generation Kplus: Louise N.D. Friedberg’s nominated in the category of Best Foreign Language come about because of a suspicion that there are sev- Blood Sisters, Esben Toft Jacobsen’s Having a Brother fi lm, and Søren Pilmark’s short fi ction Helmer and eral serious problems with fi lm in Europe, and perhaps and Niels Bisbo’s The Girl Through the Telescope. Son in the category of Best Short Film (Live Action). a few things to be done to remedy those problems. PAGE 4-7 PAGE 3 PAGE 22-23 l1l FILM IS PUBLISHED BY THE#55 DANISH FILM INSTITUTE / FEBRUARY 2007 PAGE 2 / FILM#55 / BERLIN SPECIAL ISSUE l1l FILM#55/ BERLIN ISSUE INSIDE THREE DANISH SHORT FILMS SELECTED FOR BERLIN 2007 GENERATION KPLUS COMPETITION “Children want to recognize themselves in fi lms. We need to take their confl icts seriously and not just dish out feel-good stories with empty calories,” Louise Blood Sisters N.D. Friedberg says. Her new short fi lm, Blood Sisters, describes a love triangle between seven-year-old girls. PAGE 4 GENERATION KPLUS COMPETITION In Having a Brother, Esben Toft Jacobsen used animal characters, as he discovered that human characters in the parts would be too unpleasant. “When we use animals instead, the kids get into the story and it takes the harsh edge off, “ says Toft Jacobsen. PAGE 6-7 Having a Brother GENERATION KPLUS COMPETITION In his fi lm The Girl Through the Telescope, Bisbo was inspired by his own experiences. “I once asked a girl if she wanted to go out with me,” Bisbo FILM #55 / BERLIN ISSUE says. “I wasn’t very old and I gave her a note and then hid under my bed. I February 2007 wanted to build my graduate fi lm on that feeling and deal with this kind of PUBLISHED BY Danish Film Institute embarrassment.” PAGE 6-7 EDITORS Agnete Dorph Stjernfelt, Susanna Neimann ISLAND OF LOST SOULS EDITORIAL TEAM Lars Fiil-Jensen, Vicki Synnott Nikolaj Arcel’s second feature is a large-scale children’s action and adventure TRANSLATIONS Glen Garner genre piece, jammed with digital effects made by the Danish digital production DESIGN Rasmus Koch Studio The Girl Through the Telescope house Ghost. PAGE 8-9 ART DIRECTOR Anne Hemp TYPE Cendia, Millton, Underton PAPER Munken Lynx 100 gr. VON TRIER’S BIG GENRE GAME PRINTED BY Schultz Grafi sk Roughly a decade ago, Lars von Trier wrote the Dogme manifesto and sent CIRCULATION 10,500 shockwaves through the international fi lm community by setting out rules for ISSN 1399-2813 his fi lms as a way to unleash fresh creativity. After Dogville and Manderlay, he COVER After the Wedding. Photo: Ole Kragh-Jacobsen thought the time was ripe for a new remedy – he had once again become too accomplished and, consequently, too slick. PAGE 10-11 THE MERCHANT OF ZENTROPA FILM is published by the Danish Film Institute Island of Lost Souls (DFI). 8 issues annually, 3 are in English and The boss of it all, Peter Aalbæk Jensen, puts down his cigar and clown mask to published prior to the festivals at Cannes, talk about Zentropa – the leading fi lm company in Denmark bringing us Dogme Amsterdam and Berlin. fi lms and the work of Lars von Trier – and how it operates in the day to day. All articles are written by freelance fi lm critics PAGE 12-15 and journalists. RISK AND RENEWAL IN DANISH CINEMA / ESSAY David Bordwell: Excellent performers, sophisticated directors, and well- The Danish Film Institute is the national agency carpentered scripts are the mainstay of recent Danish fi lm. This is yet another responsible for supporting and encouraging fi lm and cinema culture. The Institute’s operations unintended consequence of the Dogme manifesto, which called for a break extend from participation in the development with conformity. PAGE 16-19 and production of feature fi lms, shorts and documentaries, over distribution and marketing, After the Wedding to managing the national fi lm archive and the INTERNATIONAL DISTRIBUTION cinematheque. The total budget of the DFI 2007 Ninety-nine percent of all Danish fi lms sold abroad are handled by two Danish is DKK 373 m / EURO 50 m. players: Nordisk Film International Sales and Trust Film Sales. PAGE 20-21 Subscriptions: ninac@dfi .dk THINKTANK ON EUROPEAN FILM AND FILM POLICY How could public funding more effectively support European fi lm creatively DANISH FILM INSTITUTE and commercially? Leading European producers and fi lmmakers, distributors, GOTHERSGADE 55 public funding bodies and decision makers are gaining forces in this new DK-1123 COPENHAGEN K, DENMARK T +45 3374 3400 initiative with a view to strengthening the European market for European susannan@dfi .dk / agnetes@dfi .dk The Boss of it All fi lms. PAGE 22-23 BERLIN SPECIAL ISSUE / FILM#55 / PAGE 3 TWO DANISH FILMS COMPETING IN THE Two Danish fi lms are competing for an Oscar: Susanne Bier’s OSCARS Helmer and Son. Framegrab feature fi lm After the Wedding is nominated in the Academy of Motion Picture Arts & Sciences’ category of Best Foreign Language fi lm, and Søren Pilmark’s short fi ction Helmer and Son in the category of Best Short Film (Live Action). Produced by Sisse Graum Jørgensen Benico Del Toro. for Zentropa Productions, After the Produced by Leila Vestgaard and Wedding captured Danish audiences René Ezra for Nordisk Film, Helmer and sold some 400,000 tickets. and Son is directed by renowned Internationally, Bier’s After the Danish actor, Søren Pilmark. The Wedding also met with great success. fi lm is one of the productions under It opened at the prestigious Toronto Nordisk Film’s strategic pool which International Film Festival in Canada develops new talents, thus the last September, and was welcomed by director, producer and scriptwriter an enthusiastic public. The fi lm will behind Helmer and Son are new- be released by IFC in the US in spring, comers in their respective fi elds to After the Wedding. Photo: Ole Kragh-Jacobsen and is secured distribution in some 45 Danish fi lm. Managing Director at other territories. Nordisk Film, Kim Magnusson is Bier has directed a number of himself, as producer, an Oscar-winner AFTER THE WEDDING/ REVIEWS critically acclaimed feature fi lms, all and thrice nominee. “… new fi lm by Danish helmer Susanne Bier manages to be both emotional and backed by a large Danish audience: engaging (…) pic has defi nite potential to travel.” Brothers (2004), Open Hearts (2002), OSCARS WON BY DANES (Gunnar Rehlin in Variety / Mar. 27, 2006) and The One and Only (1999). During On two occasions Denmark has won recent years, she has also achieved an Oscar in the category of Best “A fi lmmaker who excels in peeling back those delicate layers of human frailty, international renown, bringing her Foreign Language Film: Gabriel Axel’s Denmark’s Susanne Bier returns (…) with another powerful family portrait (…) to the US where she is currently in Babette’s Feast won an Academy Once again Bier demonstrates just how misleading appearances can be, as she post-production with the feature fi lm Award in 1988, and Pelle the artfully removes the veneers concealing the dark truths locked away by her Things We Lost in the Fire (release to Conqueror by Bille August won in intriguing characters.” be announced), with Halle Berry and 1989. (The Hollywood Reporter / Sept 8, 2006) STENSGAARD AUGUST COMPETING JURY AT THE BERLINALE MEMBER Danish director Bille August returns to the Berlin Film Festival Film editor and fi lm consultant with Goodbye Bafana, the story of a white South African racist Molly Malene Stensgaard is whose life was profoundly altered by the black prisoner he a member of the Berlinale guarded for 20 years. The prisoner’s name was Nelson Mandela. International Jury 2007. August’s new fi lm Goodbye Bafana is August last entered a fi lm in Molly Malene Stensgaard, 40, a DFI based on a book of the same name by Berlin in 1997, the thriller Smilla’s feature fi lm consultant, has been Molly Malene Stensgaard. Photo: Jan Buus James Gregory and Bob Graham. The Sense of Snow. His new fi lm, Goodbye named a member of this year’s including In Your Hands, Dogville, prison guard, James Gregory, was a Bafana, marks a return to the festival Berlinale Jury. Dancer in the Dark and The Idiots. typical South African who looked at circuit for August who fi rst won A 1993 graduate in editing from In recent years, she has worked black people as less than human. international acclaim in 1987 for Pelle the National Film School of Denmark, with the Binger Institute in Gregory’s loyality slowly shifted the Conqueror, which took home the Stensgaard has cut a number of Amsterdam, teaching a series of from racism to direct support of Palme d’Or at the Cannes Film Festival standout Danish features and intensive master classes in storytelling Mandela’s struggle for a free and and later earned the director an documentaries from the past decade, at the treatment level. democratic South Africa. Academy Award. PAGE 4 / FILM#55 / GENERATION KPLUS COMPETITION / LOUISE FRIEDBERG / BLOOD SISTERS Blood Sisters. Photo: Lars Reinholdt Children want to recognise themselves in fi lms. We need to take all peaches and cream. Especially not if someone feels left out and is afraid of their confl icts seriously and not just dish out feel-good stories losing her best friend.
Load more

Recommended publications
  • Rethinking Human Essence and Social Relations from Dogville
    Journal of Sociology and Social Work June 2021, Vol. 9, No. 1, pp. 32-36 ISSN: 2333-5807 (Print), 2333-5815 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/jssw.v9n1a4 URL: https://doi.org/10.15640/jssw.v9n1a4 Rethinking Human Essence and Social Relations from Dogville Paulo Alexandre e Castro1 Abstract One of the main reasons why Dogville (2003), by Lars Von Trier became a famous film, was the way it was filmed, that is, the way Lars Von Trier created a totally new aesthetic in filming, by providing a scenario that represents reality. In fact, this is the right word, scenario, but it‟s not just that. With this particular way of filming, Lars Von Trier provides also a particular way of thinking, that is, he ends up reproducing the way of seeing with the imagination: creating presence in the absence, as happens when we remember a deceased relative or when we create artistically. In Dogville there is no room for imagination. In this sense, we argue that this film represents contemporary (alienated) society where everything has its value and ethical / moral values are only manifested paradoxically as a reaction. Dogville becomes also an aesthetic educational project since it provides an understanding of human condition and human nature. For this task we will make use of some major figures from contemporary philosophy and sociology Keywords: Lars Von Trier; Human nature; Subjectivity; Values; Violence; Dogville; Society. 1. Introduction: Lars Von Trier and Dogma95 challenge Making movies is not making beautiful movies.
    [Show full text]
  • Scandinavian Cinema from the Silent Era Prof
    © Lynn R. Wilkinson UGS302 (64115): Nordic Light: Scandinavian Cinema from the Silent Era Prof. Lynn Wilkinson to the 2000s COURSE DESCRIPTION: Ingmar Bergman is perhaps the best known Scandinavian filmmaker, but Northern Europe has a remarkable tradition of filmmakers and filmmaking. Including films from Sweden, Denmark, and Iceland, this course will provide an introduction to some of the masterpieces of Scandinavian film from the Golden Age of silent film through the 2000s and to the culture of Scandinavia. ASSIGNMENTS AND GRADING: One two-page paper (5%); one five-page paper which may be rewritten (20%); one storyboard (10%) accompanied by a five-page essay (20%); five quizzes (20%; you may drop the lowest grade); one class presentation (5%). Class participation will count 20%. REQUIRED TEXTS: Bordwell and Thompson: Film Art: An Introduction. 10th edition (2009) McGraw Hill: ISBN 10: 0073386162 Earlier editions on reserve: PN 1995 B617 2004 TEXT; PN1995 B617 2001 TEXT Recommended: Tytti Soila et al.: Nordic National Cinemas Routledge: ISBN-10: 0415081955 On Reserve: PN 1993.5 s2 s65 1998; also available as an electronic resource Braudy and Cohen: Film Theory and Criticism. 6th edition (FTC on syllabus) Oxford Univ. Press: ISBN 10 0195158172 On reserve: PN 1994 M364 2004 Mette Hjort: Purity and Provocation: Dogme 95 British Film Institute On reserve: PN1995.9 E96 P87 2003 Mette Hjort: Italian for Beginners University of Washington Press, 2010 PN 1997 I51555 H56 2010 Björn Norðfjörð: Dagur Kári’s Nói the Albino University of Washington
    [Show full text]
  • Pernille Fischer Christensen
    A FAMILY EEN FILM VAN Pernille Fischer Christensen WILD BUNCH HAARLEMMERDIJK 159 - 1013 KH – AMSTERDAM WWW.WILDBUNCH.NL [email protected] WILDBUNCHblx A FAMILY – Pernille Fischer Christensen PROJECT SUMMARY Een productie van ZENTROPA Taal DEENS Originele titel EN FAMILIE Lengte 99 MINUTEN Genre DRAMA Land van herkomst DENEMARKEN Filmmaker PERNILLE FISCHER CHRISTENSEN Hoofdrollen LENE MARIA CHRISTENSEN (Brothers, Terribly Happy) JESPER CHRISTENSEN (Melancholia, The Young Victoria, The Interpreter) PILOU AESBAK (Worlds Apart) ANNE LOUISE HASSING Release datum 4 AUGUSTUS 2011 DVD Release 5 JANUARI 2012 Awards/nominaties FILM FESTIVAL BERLIJN 2010 NOMINATIE GOUDEN BEER WINNAAR FIPRESCI PRIJS Kijkwijzer SYNOPSIS Ditte Rheinwald vertegenwoordigt de jongste generatie van de beroemde Deense bakkersfamilie. Haar eigen dromen en ambities zijn echter anders dan die van haar familie. Als ze een droombaan bij een galerie in New York krijgt aangeboden, besluit ze samen met haar vriend Peter de kans aan te grijpen. De toekomst lijkt stralend, het leven vrolijk en simpel. Maar dan wordt Ditte’s charismatische vader Rikard, meesterbakker en hofleverancier, ernstig ziek. Als Rikard eist dat zij de leiding overneemt van het familiebedrijf, raakt haar hele leven uit balans. Plotseling is het leven niet meer zo simpel. CAST Ditte Lene Maria Christensen Far Jesper Christensen Peter Pilou Asbæk Sanne Anne Louise Hassing Chrisser Line Kruse Line Coco Hjardemaal Vimmer Gustav Fischer Kjærulff CREW DIRECTOR Pernille Fischer Christensen SCREENWRITERS Kim Fupz
    [Show full text]
  • SEQUENCE 1.2 (2014) an Allegory of a 'Therapeutic' Reading of a Film
    SEQUENCE 1.2 (2014) An Allegory of a ‘Therapeutic’ Reading of a Film: Of MELANCHOLIA Rupert Read SEQUENCE 1.2 (2014) Rupert Read Wittgenstein, Tractatus Logico-Philosophicus: 6.43 If good or bad willing changes the world, it can only change the limits of the world, not the facts; not the things that can be expressed in language. // In brief, the world must thereby become quite another, it must so to speak wax or wane as a whole. // The world of the happy is quite another than that of the unhappy. 6.431 As in death, too, the world does not change, but ceases. 6.4311 Death is not an event of life. Death is not lived through. // If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present. // Our life is endless in the way that our visual field is without limit. Heidegger, Being and Time: If I take death into my life, acknowledge it, and face it squarely, I will free myself from the anxiety of death and the pettiness of life - and only then will I be free to become myself. Wittgenstein, Remarks on the philosophy of psychology I: 20: [A]n interpretation becomes an expression of experience. And the interpretation is not an indirect description; no, it is the primary expression of the experience. 2 SEQUENCE 1.2 (2014) Rupert Read 1. This essay is a (more or less philosophical) i. Throughout this paper, I dance in a account or allegory of my viewing(s) of Lars von ‘dialogue’ with – am in ‘conversation’ Trier’s remarkable film, Melancholia (2011).1 It is with – Steven Shaviro’s fascinating personal, and philosophical.
    [Show full text]
  • The Nightingale
    SCREEN AUSTRALIA SCREEN TASMANIA AND SOUTH AUSTRALIAN FILM CORPORATION present in association with ADELAIDE FILM FESTIVAL BRON CREATIVE And FILMNATION ENTERTAINMENT a CAUSEWAY FILMS and MADE UP STORIES production THE NIGHTINGALE PRODUCTION NOTES Running Time: 136 mins AUSTRALIAN PUBLICITY REQUESTS: Amy Burgess / National Publicity Manager, Transmission Films 02 8333 9000, [email protected] Images: High res images and poster available to download via the DOWNLOAD MEDIA tab at: https://www.transmissionfilms.com.au/films/the-nightingale Starring Aisling Franciosi, Sam Claflin and Baykali Ganambarr Writer and Director: Jennifer Kent Producers: Kristina Ceyton p.g.a., Bruna Papandrea p.g.a., Steve Hutensky p.g.a. and Jennifer Kent p.g.a. Executive Producers: Brenda Gilbert, Jason Cloth, Andrew Pollack, Aaron L. Gilbert, Ben Browning and Alison Cohen Associate Producer: Jim Everett Director of Photography: Radek Ladczuk Editor: Simon Njoo Production Designer: Alex Holmes Costume Designer: Margot Wilson APDG Hair and Makeup Designer: Nikki Gooley Sound Designer: Robert Mackenzie Composer: Jed Kurzel Visual Effects Supervisor: Marty Pepper Casting Director: Nikki Barrett CSA Distributed in Australia and New Zealand by Transmission Films International Sales: FilmNation Entertainment, US Sales: Endeavor Content The Nightingale Production Notes 2 INDEX SYNOPSES 3 DIRECTOR’S STATEMENT 4 CAST AND CHARACTER LIST 4 GENESIS OF THE FILM 5 CASTING AND CHARACTERS Clare – Portrayed by Aisling Franciosi 8 Hawkins – Portrayed by Sam Claflin 10 Billy
    [Show full text]
  • Members Only Screenings 2006
    Films Screened at MFS ‘Members Only’ Nights, Masonic Hall Maleny February ’06 to Dec ’16 ’10 84 Charing Cross Road US drama 1986 ’12 100 Nails ITALY drama 2007 ’14 400 Blows FR drama 1959 ’09 The Archive Project AUS doc 2005 ’07 The Back of Beyond AUS drama 1954 ’08 Babakiueria AUS com 1986 ’14 Barbara GER psych.thriller 2012 ’15 My Beautiful Country GER drama 2012 (Die Brücke am Ibar) ’07 Bedazzled UK comedy 1967 ’11 Black Orpheus BRAZIL/FR drama 1958 ’11 Blow Up UK drama 1966 ’10 Bootmen US/AUS drama 2000 ’16 Bornholmer Street Germany drama 2014 ’16 Breaker Morant AUS drama 1980 ’06 Breaking the Waves US dr/rom 1996 ’12 Breathless (A Bout de Souffle) FR drama 1959 ’09 Brothers Denmark drama 2004 ’13 Bunny Lake is Missing UK mystery/dr 1965 ’07 Cane Toads AUS doc 1987 ’16 Casablanca US drama 1942 ’12 Cherry Blossoms Germany drama 2008 ’06 The Chess Players India drama 1977 ’12 Children of the Revolution AUS drama 1996 ’08 The Company of Strangers Canada drama 1990 ’13 Cul de Sac UK mystery/com 1966 ’06 Cunnamulla AUS doc 2000 ’06 Dance of the Wind INDIA drama 1997 ’09 Dancer in the Dark Denmark musical 2000 ’10 Day for Night FR comedy 1973 ’09 Days of Heaven USA drama 1978 ’16 Dead Poet’s Society USA com/dr 1989 ’11 Dingo AUS jazz/dr ama 1991 ’11 The Discreet Charm of the Bourgeoisie FR satire 1972 ’13 Distant Lights GER immigrant dr 2003 ’11 Il Divo ITALY political dr 2008 ’08 Don’s Party AUS com/drama 1976 ’15 The Dunera Boys AUS doc 1985 ’07 East of Eden US drama 1954 ’07 The Edge of the World/ Scotland doco 1937/ Return to the Edge
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • 2020 Croner Animation Position Grids.Xlsx
    Survey Position Grids STORY / VISUAL DEVELOPMENT ANIMATION Family 200 210 220 230 240 250 260 280 300 Production TV Animation / Character Visual Character Level Story Design / Art Pre-Visualization Modeling Layout Shorts Design Development Animation Direction Executive Management 12 Head of Production Management Generates and Manages the Creates the look Creates characters Creates and Creates sequences of Creates, builds and Creates 3D layouts. Defines, leads and 14 Head of Animation Studio develops story ideas, animation process of and artistic to meet established presents concepts shots that convey the maintains models Translates sketches into 3D executes major 16 Top Creative Executive sequences, an animated deliverables to vision for the and designs for the story through the of story elements, layouts and shot sequences character animation storyboards, television or short film meet the artistic, production, production, including application of traditional including and scenes. May create for productions, elements and production, ensuring creative and including look, character, sets, filmmaking principles in characters, sets and scenes. including personality Brief Job Family Descriptions enhancements that the creative aesthetic vision of personality, lighting, props, key a 3D computer graphics environments, Determines camera and animation style. throughout desires, as well as a production. movement, art. Creates plan environment. elements, sets, placement, blocks production. production expression. views and blue structures. characters,
    [Show full text]
  • A Process of Seamlessly Replacing Cg Elements Into Live-Action Footage
    1st Annual International Interdisciplinary Conference, AIIC 2013, 24-26 April, Azores, Portugal - Proceedings- A PROCESS OF SEAMLESSLY REPLACING CG ELEMENTS INTO LIVE-ACTION FOOTAGE Jin Zhi Duncan of Jordanstone College of Art & Design, United Kingdom Abstract: This research focused on inserting a computer-generated element into live-action footage and replacing unwanted existing objects in the footage. In addition, creating a realistic and seamless visual representation in the field of digital compositing. The purpose of this paper is to cover a detailed working process of digital compositing in order to clarify the production process and provide a clear idea for those entry-level artists to improve an overall understanding of the digital compositing and visual effects and hopefully inspire further collaboration and participants particularly between academia and industry. Key Words: Digital compositing, CG elements, Realistic, Visual effects Introduction Along with the increase of digital compositing in feature films, the role of digital compositors has become of unprecedented importance. Compositors thus sit at the core of most image manipulation pipelines. In order to meet the needs of the visual effects industry, universities, art and film schools have established relevant professional courses in recent years. Nevertheless, current educational concepts still need to promote a sound scientific understanding in order to steer entry- level visual effects artists in the right direction. This study has addressed several main factors from the perspective of theory and practice. As a general discussion, the research briefly outlines the historical perspectives of digital compositing, and continues to investigate the current situation of the digital compositing and visual effects industry.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Sebastian Blenkov D.F.F
    Lux Artists Ltd. 12 Stephen Mews London W1T 1AH +44 (0)20 7637 9064 www.luxartists.net SEBASTIAN BLENKOV D.F.F. DIRECTOR OF PHOTOGRAPHY FILM/TELEVISION DIRECTOR PRODUCER MISS SLOANE John Madden EuropaCorp Archery Pictures THEIR FINEST Lone Scherfig BBC Films/ Wildgaze Films Official Selection, Toronto Film Festival (2016) Number 9 Films Official Selection, London Film Festival (2016) MEN AND CHICKEN Anders Thomas Jensen M&M Productions Official Selection, London Film Festival (2015) THE RIOT CLUB Lone Scherfig Hanway/Universal Official Selection, Toronto Film Festival (2014) Blueprint Pictures BANKEROT (Episode 12 – 16) Mikkel Serup Danmarks Radio EXCUSE ME Henrik Ruben Genz Fine & Mellow Nominated, Best Cinematography, Robert Festival (2013) ADAM’S APPLES Anders Thomas Jensen M&M Productions Nominated, Best Film, European Film Awards (2006) Official Selection, Toronto Film Festival (2005) CHINAMAN Henrik Ruben Genz Fine & Mellow ACCUSED Jacob Thuesen Nordisk Film Nominated, Best Cinematography, Camerimage Film Festival (2005) Winner, European Discovery, European Film Awards (2005) Official Selection, Berlin Film Festival (2005) NIKOLAJ OG JULIE (Episode 21 & 22) Birger Larsen Danmarks Radio THE GREEN BUTCHERS Anders Thomas Jensen M&M Productions Nominated, Best Cinematography, Robert Festival (2004) Official Selection, Toronto Film Festival (2003) DIRECTORS/ COMMERCIALS NICK BALL BNP GARY FREEDMAN Jägermeister, VW, Dolmio COOPER & TRUMAN Skyn NORMAN BATES Moscow Credit Bank BART TIMMER Brother, M6, Cetelem, Citroen CHRIS & PATRICK Goodyear, Gold Blend JEPPE RØNDE Momondo, Come4, Winner, Best Cinematography, Cannes Lion (2013) Winner, Best Cinematography, Eurobest Gold Craft (2013) Acadomia JOACHIM BACK Quacker, Chivas, Volvo, Enel JOE VANHOUTEGHEM Amnesty International KASPER WEDENDAGL Leclerc, Sumo LYNN FOX Good Year MARTIN WERNER DNB Nor, Lufthansa, Nykredit, Statoil, VW, Canal, Pandora, Kari Traa.
    [Show full text]
  • BROTHERHOOD [Broderskab]
    Presents A FILM BY NICOLO DONATO BROTHERHOOD [Broderskab] STARRING THURE LINDHARDT DAVID DENCIK NICOLAS BRO MORTEN HOLST Country of Origin: Denmark / In Danish with English Subtitles Running time: 90 minutes Shot On: RED1 Sound: Dolby SR Digital Screen Ratio: 1:2:35 Rating: Not Rated PRESS CONTACT SASHA BERMAN SHOTWELL MEDIA TEL: 310.450.5571 [email protected] Please download photos from our website: www.olivefilms.com New York Premiere August 6, 2010 SYNOPSIS When Lars (Thure Lindhardt) is cheated out of promotion to sergeant following rumors about his unbecoming behavior towards some of his men, he decides to leave the army. Back home, his overly proper suburban parents succeed in driving him nuts in record time, as they do everything in their power to sweep the embarrassing incident under the carpet. By chance, Lars runs into a small radical group of neo-Nazis led by the charismatic Michael ‘Fatso’ (Nicolas Bro). Initially, Lars distances himself from their ideology and methods, but fuelled by defiance against the system in general – and his parents in particular – Lars decides to join the group. Fatso immediately spots the potential in the intelligent eloquent Lars, even though his right-hand man, Jimmy (David Dencik), does not agree. Lars rapidly advances through the ranks and is nominated as an A member, despite the fact that this promotion should really have gone to Jimmy’s younger brother, Patrick (Morten Holst). Lars moves out of his parents’ house and into board chairman Ebbe’s remotely situated summer cottage, which Jimmy is in the process of renovating. Despite their initial dislike of each other, the attraction between the two men soon becomes too strong to ignore, and even though they feel torn between ideology and emotions, they begin a secret relationship.
    [Show full text]