DOCSLIB.ORG

Press Kit New Holland International Debut Film Festival Announces Its 2020 Dates

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Press Kit New Holland International Debut Film Festival Announces Its 2020 Dates PRESS KIT NEW HOLLAND INTERNATIONAL DEBUT FILM FESTIVAL ANNOUNCES ITS 2020 DATES ST. PETERSBURG, 2020 Photo: Katya Nikitina High resolution images available at: http://www.newhollandsp.ru/media/nhifilmfest2020.zip New Holland: www.nhifilmfest.com Cultural Urbanization [email protected] St. Petersburg, +7 (812) 245 20 35 Admiralteysky Canal Embankment, 2 facebook.com/nhifilmfest vk.com/nhifilmfest instagram.com/nhifilmfest TEAM ALEXANDER ALEXEY RODNYANSKY ARTAMONOV PRESIDENT OF THE FESTIVAL PROGRAMME DIRECTOR Producer of more than 30 television series Curator of film programs and film critic. He and 40 features, both auteur and genre films, wrote about music and cinema for Seance, including Elena, Leviathan and Loveless by Cinema Arts, Playbill, Interview Russia, Andrey Zvyagintsev, Sun by Alexander Sokurov, W-O-S, Look At Me, Colta.ru, Kommersant On Saturday by Alexander Mindadze, Jane Weekend, and other publications. He Mansfield’s Car by Billy Bob Thornton, Long Live worked as press secretary for the State the Antipodes! by Viktor Kosakovsky, A Driver Central Museum of Cinema and the Festival for Vera by Pavel Chukhrai, The 9th Company, Message to Man, editor of the Seance The Inhabited Island and Stalingrad by Fyodor magazine, cinema section on the Theory Bondarchuk, Peter FM by Oksana Bychkova, and Practice website, site syg.ma. Curator Heat by Rezo Gigineishvili, Duelist by Alexey of programs for the Media Forum of the Mizgirev, as well as international projects Cloud Moscow International Film Festival, the Atlas by Tom Tykwer and the Wachowski sisters Message to Man festival and the Lisbon & and Sin City 2 by Robert Rodriguez. Sintra Film Festival. New Holland: Cultural Since 2016, Alexander Rodnyansky has been a Urbanization film program curator. member of the American Academy of Motion Picture Arts and Sciences. THE FESTIVAL IS ORGANIZED BY THE NEW HOLLAND ISLAND: CULTURAL URBANIZATION PROJECT TEAM NEW HOLLAND ISLAND INTERNATIONAL DEBUT FILM FESTIVAL EDUCATION PROGRAMME 08.02 18:00 FILM AS AN OBJECT OF MEMORY: LECTURE BY THE GERMAN DIRECTOR PHILIP GRÖNING AND A SCREENING OF HIS FILM STACHOVIAK! Philip Gröning is one of the most awarded contemporary German directors who makes complex films with an experimental narrative structure, addressing the history of philosophy and being at the intersection of cinema and contemporary art. On February 8, he will give a talk at the Pavilion as part of the educational programme of the New Holland Island International Debut Film Festival. It will be the first time Gröning, a professor at the Cologne International Film School, will present one of his early films Stakhovyak! (1988) in Russia. The film tells a story of a post office worker who suffers from fits of rage. It was shot on 8 mm by Hito Steyerl, one of the most influential video artists and art theorists today. Stakhovyak! was one of her first films. At the lecture that will take place after the screening, the director will talk about the relationship between cinema and contemporary art, the film as an object of memory and the stream of consciousness as a means of storytelling. There will be time allocated for Q&A after the lecture. The lecture will be held in English with a consecutive translation. Admission is free. The number of seats is limited. Please register in advance (link in Russian). The events will be held as part of the New Holland Island International Debut Film Festival Education Programme. The aim of the programme is to introduce the key European filmmakers and their creative methods as well as films by up and coming cinematographers and most current trends in contemporary cinema. New Holland Island International Debut Film Festival, July 2019. Photo: Katya Nikitina New Holland Island International Debut Film Festival, July 2019. Photo: Katya Nikitina New Holland Island International Debut Film Festival, July 2019. Photo: MaximMarkov New Holland Island International Debut Film Festival, July 2019. Photo: Maxim Markov.
Load more

Recommended publications
  • Kira Kovalenko
    Non-Stop Production presents UNCLENCHING THE FISTS a film by KIRA KOVALENKO 97 min - Russia – 2021 – Color - 2,35 - 5.1 INTL PR: INTL SALES: DDA Antoine Guilhem [email protected] [email protected] Photos and press kit can be downloaded from https://www.wildbunch.biz/movie/unclenching-the-fists/ SYNOPSIS In a former mining town in North Ossetia, a young woman struggles to escape the stifling hold of the family she loves as much as she rejects. THE FILM The small mining town of Mizur lies high in the mountains of North Ossetia between steep cliffs. Zaur has settled his family here. He keeps his sons and daughter on a short leash, blind to the line that separates fatherly concern from overprotectiveness. His eldest, Akim, has already run off to the nearest city, Rostov, to find work. Meanwhile, his youngest, Dakko, isn’t entirely sure yet what he wants out of life, while middle child, Ada, is actively planning her own escape. Although she’s already a young woman, her father still insists on treating her like a defenseless little girl. Freeing herself from his strong paternal embrace to finally embark on an independent adult life of her own is proving tougher than she anticipated. But just what is this father trying to protect his daughter from? Kira Kovalenko: The initial inspiration for the story came from a line in Faulkner’s Intruder in the Dust about how, while some people can endure slavery, nobody can stand freedom. The idea of freedom as a burden was the single most important theme for me while I was working on the film.
    [Show full text]
  • Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)
    Journal of Religion & Film Volume 24 Issue 2 October 2020 Article 1 October 2020 Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Maria Hristova Lewis and Clark College, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Part of the Christianity Commons, European Languages and Societies Commons, and the Other Film and Media Studies Commons Recommended Citation Hristova, Maria (2020) "Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)," Journal of Religion & Film: Vol. 24 : Iss. 2 , Article 1. DOI: 10.32873/uno.dc.jrf.24.2.001 Available at: https://digitalcommons.unomaha.edu/jrf/vol24/iss2/1 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Abstract This article engages in close analysis of how Andrey Zvyagintsev depicts corruption and its various manifestations: moral, familial, societal, and institutional, in Leviathan (Leviafan, 2014). While other post- Soviet films address the problem of prevalent corruption in Russia, Zvyagintsev’s work is the first ot provoke strong public reactions, not only from government and Russian Orthodox Church officials, but also from Orthodox and political activist groups. The film demonstrates that the instances of legal and moral failings in one aspect of existence are a sign of a much deeper and wider-ranging problem that affects all other spheres of human experience.
    [Show full text]
  • Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the International Cinema Addict's Definitive Resource 814ILL 4:T2 PM
    Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the international cinema addict's definitive resource 814ILL 4:T2 PM Stilyagi (Crnilntlt) Review Published May 151h,2009 in Europe & Russia and Reviews. 4 Comments Musical comedy is hardly a genre most people would associate with modern Russian cinema. Traditionally known and respected for such somber and inquisitive works as Nikita Mikhalkov's Burnt by the Sun (1994), Andrei Zvyagintsev's The Return (2001), and Aleksei Balabanov's Cargo 200 (2OO7), post-Soviet Russian directors had generally focused on negative aspects of the Russian experience until the early 2000s, when waves of cash flowing from the country's oil and gas-fueled economic boom finally reached the film industry, resulting in the production of commercially-oriented blockbusters such as Night Watch (2OO4) and The 9th Company (2OO5). Continuing this trend and taking it in a new direction is Valeriy Todorovskiy's new frlm Stilyagi (Hipsters). Featuring an all-star cast, dynamic script and slick cinematography, Stilyagi takes the viewer on an epic joy ride through 1955 Moscow, two years after Stalin's death. At the height of the Cold War in the Soviet Union, the titular stilyagi were a bunch of Western-oriented hipsters who loved jazz, exhibited questionable morals and enjoyed dressing with style. Mels (Anton Shagin), a seemingly brainwashed member of the Communist youth group Komsomol, falls in love with Polza (Oksana Akinshina) while raiding an illegal underground nightclub . Polza invites Mels to join her and her friends on the "Broadway" and Mels is dumbfounded when he shows up to the party dressed plainly and looking apologetic.
    [Show full text]
  • PDF Presseheft
    PRESSEHEFT ZWISCHEN VERRAT UND EHRE Ab 6. Juli 2017 im Kino Ein Film von Alexey Mizgirev Eine Produktion der Non-Stop Production Sprache: Deutsch Spielzeit: 110 Minuten WWW.DERDUELLIST-FILM.DE im Verleih der Kinostar Filmverleih GmbH Inhaltsverzeichnis: Synopsis .................................................................................S.3 Der Regisseur .......................................................................S.4 Der Produzent ......................................................................S.5 Filme des Produzenten ....................................................S.6 Anmerkungen des Regisseur und Produzenten .....S.7 Details .....................................................................................S.8 Kontakt ...................................................................................S.9 2 DER DUELLIST INHALT Sankt Petersburg, 1860. Der im Ruhestand lebende Offizier Yakovlev ist ein mysteriöser und unbesiegbarer Berufsduellist, der gegen eine Gebühr für all jene kämpft, welche zu schwach, untrainiert oder verängstigt sind um ihre Duelle selbst auszutragen. Aber er hat ein dunkles Geheimnis: Der mächtige Graf Beklemishev beschuldigte ihn eines Verbrechens, welches er nicht begangen hatte, nahm ihm seinen Titel und schickte ihn zum Sterben ins Exil. Aber Yakovlev überlebte. Unter neuer Identität kehrt er nach St Petersburg zurück um Rache zu nehmen. Dabei verliebt er sich in die junge Fürstin Martha. Um diese Liebe zu retten und seine Rache zu bekommen, muss Yakovlev seine Identität enthüllen
    [Show full text]
  • CTX Vol 2 No 3
    Volume 2, No. 3 2012 ISSN 2162-6421 (online) 8/1/2012 Vol. 2, No. 3 | CTX EDITORIAL STAFF From the Editor MICHAEL FREEMAN Executive Editor ANNA SIMONS Executive Editor Welcome to the fifth issue of the Combating Terrorism Exchange, beginning ELIZABETH SKINNER Managing Editor the second full year of the journal’s publication. You will notice changes RYAN STUART Design & Layout to the look of the CTX right away, particularly the bold new cover design. Graphic designer Ryan Stuart has used the three months since the last issue TAMMY DITMORE Copy Editor to rethink the look of the entire journal, and we hope you like the results as much as we do. We are also excited to see our submissions inbox bringing EDITORIAL REVIEW BOARD us a variety of papers from an increasing number of sources. If you have VICTOR ASAL something you’d like us to look at, please read the submissions guidelines University at Albany SUNY (on the final page) and send it in. ALEJANDRA BOLANOS National Defense University This issue brings together a selection of articles that, somewhat unusually LAWRENCE CLINE for this journal, tend more toward the scholarly than the operational, with Naval Postgraduate School a couple of notable exceptions. Andy Kraag leads off with the story of the STEPHEN DI RIENZO Netherlands Maritime Special Operations Force (NL MARSOF). Created National Intelligence University from two small SOF units to improve efficiency, the force found that cultural SAJJAN GOHEL differences between them badly undermined overall effectiveness. Kraag Asia Pacific Foundation was able to use analytical research and his SOF background to give the unit’s command the information it needed to make vital changes that improved SEBASTIAN GORKA morale and ensured the group’s continued operational effectiveness.
    [Show full text]
  • Press-File-2017.Pdf
    MENU 2017 Edito ................................................................................................................................... 4 BIFFF Fun Facts ................................................................................................................... 5 Program ............................................................................................................................. 6 BIF Market .......................................................................................................................... 7 ArtBIFFF Expo .................................................................................................................... 8 2nd International Art Contest ............................................................................................ 9 Pimp My Chair .................................................................................................................. 10 34th Makeup Contest ....................................................................................................... 11 Gaming Madness day ....................................................................................................... 12 Magyar Movie Madness ................................................................................................... 13 Tromarathon .................................................................................................................... 14 Panorama .......................................................................................................................
    [Show full text]
  • The State and the Public Sphere in Russia
    The State and the Public Sphere in Russia Elena Chebankova Abstract: This paper explores the structural problems of the public sphere in Russia during the Putin–Medvedev era and discusses the possible directions of its evolution. Keywords: civil society, democratization, public sphere he public sphere is a central feature of a modern liberal society. Some literature on Tpolitical philosophy claims that it should promote popular control over the govern- ment, to be exercised by means of public opinion formed in a free critical environment. The public sphere today, however, has many structural problems. It falls under the influ- ence of economic and political elites. Thus, it becomes a means of popularizing and imposing “appropriate” behavioral patterns within the economic and political domains. This article discusses how the state and hegemonic elites influence the public sphere in Russia. It is divided into four sections. The first section discusses historical and theoreti- cal dimensions of the public sphere. The second section examines how trivial culture emerges and colonizes the public domain. The third and fourth sections delineate the problems of political and socioeconomic domination. I conclude that the values and behavioral patterns that the state and elites propagate in the public domain could impede ongoing economic and political modernization. Theoretical Aspects Charles Taylor writes that the public sphere is a “common space in which the members of society meet, through a variety of media (print, electronic) and also by face-to-face encounters, to discuss matters of common interest and thus to be able to form a common mind about those matters.”1 The public sphere is conceptually distinct from both the state and the economy.
    [Show full text]
  • PRESS RELEASE Berlin, 22.10.2012
    PRESS RELEASE Berlin, 22.10.2012 A COMPANY CONSULTING & LICENSING AG is now A COMPANY FILMED ENTERTAINMENT AG CLOUD ATLAS in Russia & Eastern Europe November 1st, the European Premiere of CLOUD ATLAS will be celebrated in Moscow. The three directors Lana Wachowski, Tom Tykwer and Andy Wachowski, together with Halle Berry, Hugo Weaving and Donna Bae, will join the event. CLOUD ATLAS will be released by A COMPANY RUSSIA in close cooperation with 20th Century Fox Russia. Simultaneously with Russia, the film will be released in the Ukraine by B&H and, on November 9, in Bulgaria by Alexandra Films and Poland through KinoSwiat, market leader distributors in each of the territories. In Hungary, the Czech Republic and Slovakia, the film will hit the screens November 22, released respectively by Budapest Film and EEAP CZ-SK, both subsidiaries of A COMPANY. CLOUD ATLAS is the first title that A COMPANY RUSSIA will bring onto screens in Russia. Til Schweiger’s current hit GUARDIANS will follow next year, January 10, with Renny Harlin’s new feature DYATLOV PASS INCIDENT, February 23. DYATLOV PASS is produced by Alexander Rodnyansky’s company A.R. Films - a suspense thriller based on an actual mysterious incident which occurred in Russia’s remote Dyatlov Pass in 1959. “It’s exciting and thrilling to have such an impressive masterpiece as CLOUD ATLAS as the first film being released by A COMPANY RUSSIA. The cooperation with 20th Century Fox, who are handling the bookings, is fantastic. The film will be released on over 1.400 screens, thanks to Fox.
    [Show full text]
  • CHARLES UNIVERSITY in PRAGUE Ph.D. Dissertation
    CHARLES UNIVERSITY IN PRAGUE FACULTY OF SOCIAL SCIENCE Institute of International Studies Ph.D. Dissertation 2016 Francesca Mazzali 1 CHARLES UNIVERSITY IN PRAGUE FACULTY OF SOCIAL SCIENCE Institute of International Studies Francesca Mazzali, M.A. The Kremlin’s Program for Patriotic Education and Russian War Movies (2000- 2010) Ph.D. Dissertation Prague 2016 2 Author: Francesca Mazzali, M.A. Supervisor: Doc. PhDr. Jiří Vykoukal, CSc. Academic Year: 2016/2017 3 Bibliographic note MAZZALI, Francesca. The Kremlin’s Program for Patriotic Education and Russian War Movies (2000-2010). 97 p. Ph.D. Dissertation. Charles University, Faculty of Social Sciences, Institute of International Studies. Supervisor: Doc. PhDr. Jiří Vykoukal, CSc. Abstract This dissertation considers films to be double-sided mirrors that absorb political and cultural content from one side, with filmmakers filtering and elaborating the content between the two surfaces, and then transmitting the elaborated points to the audience. The elaboration of political content can be performed in an educational and propagandistic way, depicting and supporting specific political ideas. This dissertation analyses the first two programs of a Russian government program, Patriotic Education for Russian Federation Citizens (2001-2005 and 2006-2010) (hereinafter, ‘Patriotic Education’), and identifies six political priorities that can be observed and analysed in eleven Russian war movies. It will first be explained how the movies serve as propagandistic and educational tools in the context of Patriotic Education, projecting its political priorities to the audience. Second, it will be explained how a continuity with the Soviet past is displayed in the content of war films and the way they depict some of the elements promoted by Patriotic Education.
    [Show full text]
  • Honor, Violence, Resistance and Conscription in Colonial Cameroon During the First World War
    Soldiers of their Own: Honor, Violence, Resistance and Conscription in Colonial Cameroon during the First World War by George Ndakwena Njung A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2016 Doctoral Committee: Associate Professor Rudolph (Butch) Ware III, Chair Professor Joshua Cole Associate Professor Michelle R. Moyd, Indiana University Professor Martin Murray © George Ndakwena Njung 2016 Dedication My mom, Fientih Kuoh, who never went to school; My wife, Esther; My kids, Kelsy, Michelle and George Jr. ii Acknowledgments When in the fall of 2011 I started the doctoral program in history at Michigan, I had a personal commitment and determination to finish in five years. I wanted to accomplish in reality a dream that began since 1995 when I first set foot in a university classroom for my undergraduate studies. I have met and interacted with many people along this journey, and without the support and collaboration of these individuals, my dream would be in abeyance. Of course, I can write ten pages here and still not be able to acknowledge all those individuals who are an integral part of my success story. But, the disservice of trying to acknowledge everybody and end up omitting some names is greater than the one of electing to acknowledge only a few by name. Those whose names are omitted must forgive my short memory and parsimony with words and names. To begin with, Professors Emmanuel Konde, Nicodemus Awasom, Drs Canute Ngwa, Mbu Ettangondop (deceased), wrote me outstanding references for my Ph.D.
    [Show full text]
  • Film and Television Genres of the Late Soviet Era
    F i l m a n d Te l e v i s i o n G e n r e s o f t h e Late Soviet Era i ii Film and Television Genres of the Late Soviet Era A l e x a n d e r P r o k h o r o v a n d E l e n a P r o k h o r o v a Bloomsbury Academic An imprint of Bloomsbury Publishing Inc NEW YORK • LONDON • OXFORD • NEW DELHI • SYDNEY iii Bloomsbury Academic An imprint of Bloomsbury Publishing Inc 1385 Broadway 50 Bedford Square New York London NY 10018 WC 1B 3 DP USA UK www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2017 © Alexander Prokhorov and Elena Prokhorova, 2017 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. Library of Congress Cataloging- in-Publication Data Names: Prokhorov, Alexander, 1965- author. | Prokhorova, Elena, author. Title: Film and television genres of the late Soviet era / Alexander Prokhorov and Elena Prokhorova Description: New York : Bloomsbury Academic, 2016. | Includes bibliographical references and index. Identifi ers: LCCN 2016023096 (print) | LCCN 2016035443 (ebook) | ISBN 9781441177292 (hardback) | ISBN 9781501324093 (ePub) | ISBN 9781501324086 (ePDF) Subjects: LCSH: Motion pictures--Soviet Union.
    [Show full text]
  • Military Linguistics: Russian in the Red/Soviet Army1
    Journal of Military and Strategic VOLUME 12, ISSUE 3, SPRING 2010 Studies JMSS AWARDS OF EXCELLENCE 2010 Third Prize Military Linguistics: Russian in the Red/Soviet Army1 Nathan Hawryluk The development of military linguistics, a field similar to military anthropology or military history, would benefit the disciplines of linguistics and strategic studies. For linguists interested in society, the military offers another cultural group with which to contrast civilian society and a format for examining how institutions shape communication. Linguistic studies can aid strategic studies by explaining how discourse reinforces military culture and hierarchy, as well as the interaction between military and civilian society. Since language reflects the society which produces it, linguistics can be used to better understand culture. If militaries are seen as their own cultures, then, predictably, 1 Feedback to presentations given at the Department of Germanic, Slavic and East Asian Studies’ Work in Progress series at the University of Calgary, the 2009 Verbatim Undergraduate Linguistics Colloquium and the 2010 Strategic Studies and Security Consortium (S3C) Conference has been invaluable in the development of this article. I am thankful for the recommendations from faculty members in the Department of Germanic, Slavic and East Asian Studies and the anonymous reviewers. All errors are my own. ©Centre of Military and Strategic Studies, 2010 ISSN : 1488-559X VOLUME 12, ISSUE 3, SPRING 2010 the resulting discourse will have distinct traits. These linguistic and cultural distinctions are likely a reaction to the extreme conditions faced in combat. Despite the fact that non-linguists might readily accept that military discourse differs from its civilian counterpart,2 comprehensive linguistic studies of the nature of military discourse are rarely conducted.
    [Show full text]