List of Audiovisual Production Profiles in 2017
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Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque A Dissertation Presented by Lilla T!ke to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature Stony Brook University May 2010 Copyright by Lilla T!ke 2010 Stony Brook University The Graduate School Lilla T!ke We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. E. Ann Kaplan, Distinguished Professor, English and Comparative Literary and Cultural Studies, Dissertation Director Krin Gabbard, Professor, Comparative Literary and Cultural Studies, Chairperson of Defense Robert Harvey, Professor, Comparative Literary and Cultural Studies and European Languages Sandy Petrey, Professor, Comparative Literary and Cultural Studies and European Languages Katie Trumpener, Professor, Comparative Literature and English, Yale University Outside Reader This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque by Lilla T!ke Doctor of Philosophy in Comparative Literature Stony Brook University 2010 The dissertation examines the legacies of grotesque comedy in the cinemas of Eastern Europe. The absolute non-seriousness that characterized grotesque realism became a successful and relatively safe way to talk about the absurdities and the failures of the communist system. This modality, however, was not exclusive to the communist era but stretched back to the Austro-Hungarian era and forward into the Postcommunist times. -
Surrealism in and out of the Czechoslovak New Wave
Introduction Surrealism In and Out of the Czechoslovak New Wave Figure I.1 A poet’s execution. A Case for the Young Hangman (Případ pro začínajícího kata, Pavel Juráček, 1969) ©Ateliéry Bonton Zlín, reproduced by courtesy of Bonton Film. 2 | Avant-Garde to New Wave The abrupt, rebellious flowering of cinematic accomplishment in the Czechoslovakia of the 1960s was described at the time as the ‘Czech film miracle’. If the term ‘miracle’ referred here to the very existence of that audacious new cinema, it could perhaps also be applied to much of its content: the miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers. As we shall see, Surrealism was by no means the only avant-garde tradition to make a significant impact on this cinema. But it did have the most pervasive influence. This is hardly surprising, as Surrealism has been the dominant mode of the Czech avant-garde during the twentieth century, even if at certain periods that avant-garde has not explicitly identified its work as Surrealist. Moreover, the very environment of the Czech capital of Prague has sometimes been considered one in which Surrealism was virtually predestined to take root. The official founder of the Surrealist movement, André Breton, lent his imprimatur to the founding of a Czech Surrealist group when he remarked on the sublimely conducive locality of the capital, which Breton describes as ‘one of those cities that electively pin down poetic thought’ and ‘the magic capital of old Europe’.1 Indeed, it would seem a given that Czech cinema should evince a strong Surrealist tendency, especially when we consider the Surrealists’ own long-standing passion for this most oneiric of art forms. -
Eurimages Supports 13 European Co-Productions
Press Release Directorate of Communication Ref: 699a09 Tel. +33 3 88 41 25 60 Fax +33 3 88 41 39 11 Internet: www.coe.int e-mail: [email protected] 47 member States Eurimages supports 13 European co-productions Albania Strasbourg, 28.09.2009 - At its 116th meeting, held from 22 to 25 September 2009 in Andorra Strasbourg, the Board of Management of the Council of Europe's Eurimages Fund Armenia agreed to support the co-production of 13 feature films for a total amount of Austria 5 140 000 Euros: Azerbaijan Belgium Kai Apkabinsiu Tave - Kristijonas Vildziunas (Lithuania) Bosnia and Herzegovina (Lithuania, Poland) Bulgaria Az Ajto - Istvan Szabo (Hungary) Croatia (Hungary, Germany) Cyprus Habemus Papam - Nanni Moretti (Italy) Czech Republic (Italy, France) Denmark Our Grand Despair - Seyfi Teoman (Turkey) Estonia (Turkey, Germany, Netherlands) Finland Cirkus Columbia - Danis Tanovic (Belgium/Bosnia and Herzegovina) France (France, Bosnia and Herzegovina, United Kingdom, Germany, Slovenia, Georgia Belgium) Germany Ernest et Célestine - Vincent Patar & Stéphane Aubier (Belgium), Benjamin Renner Greece (France) Hungary (France, Belgium, Luxembourg) Animation film Iceland Tambien La Lluvia - Iciar Bollain (Spain) Ireland (Spain, France) Italy The Children's Republic - Flora Gomes (Portugal) Feature film for children Latvia (Portugal, France) Liechtenstein Limbo - Maria Sodahl (Norway) Lithuania (Norway, Denmark, Sweden) Luxembourg Snowhite - Pablo Berger (Spain) Malta (Spain, France) Moldova Waiting for the sea - Bakhtiar Khoudoinazarov (Russia -
Contemporary Ukrainian Cinema Into the European Context (2014-2019)
How to Cite: Alforova, Z., Marchenko, S., Shevchuk, Y., Kotlyar, S., & Honcharuk, S. (2021). Contemporary Ukrainian cinema into the European context (2014-2019). Linguistics and Culture Review, 5(S2), 274-283. https://doi.org/10.37028/lingcure.v5nS2.1345 Contemporary Ukrainian Cinema into the European Context (2014-2019) Zoya Alforova Kharkiv State Academy of Culture, Kharkiv, Ukraine Serhii Marchenko Kyiv National I.K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv, Ukraine Yuliia Shevchuk Kyiv National University of Culture and Arts, Kyiv, Ukraine Svitlana Kotlyar Kyiv National University of Culture and Arts, Kyiv, Ukraine Serhii Honcharuk Kyiv National University of Culture and Arts, Kyiv, Ukraine Abstract---The relevance of the study is conditioned by the fact that the development of Ukrainian art, including cinema, is becoming more popular every year. Since 2014, the Ukrainian film industry has been rapidly developing, and has also shown good results at European and other international film festivals. The purpose of the study is to analyses the position of Ukrainian cinema in the recent historical period, as well as to analyses the preconditions that were created for its development and introduction to the European cinema market. The methodological basis of this study is the combination of theoretical methods of cognition. Methods of data analysis and synthesis, dialectical method, historical and periodization method are used. In the course of writing this paper, the studies of Ukrainian and foreign researchers regarding the subject were studied and analyzed. The establishment and current state of the film industry are investigated. The preconditions for the development of Ukrainian cinema as well as factors that influenced its entrance to the European market are considered. -
Folklórne Prvky Vo Filmoch Juraja Jakubiska
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Ateliér rozhlasové a televizní dramaturgie a scenáristiky Rozhlasová a televizní dramaturgie a scenáristika Folklórne prvky vo filmoch Juraja Jakubiska Bakalářská práce Autor práce: Tatiana Urbanová Vedoucí práce: MgA. Hana Slavíková Ph.D. Oponent práce: prof. Mgr. Jan Gogola Brno 2012 1 Bibliografický záznam URBANOVÁ, Tatiana. Folklórne prvky vo filmoch Juraja Jakubiska [Folk elements in films by Juraj Jakubisko]. Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2012. 52 s. Vedoucí diplomové práce MgA. Hana Slavíková Ph.D. Anotace Bakalárska práca „Folklórne prvky vo filmoch Juraja Jakubiska“ pojednává o prvkoch ľudovej umeleckej tvorby zachytených vo filmových dielach Juraja Jakubiska. A to konkrétne vo filmoch Kristove roky, Perinbaba, Zbehovia a pútnici a Tisícročná včela. Mojim cieľom je zistiť s akým zámerom autor prvky ľudovej umeleckej tvorby využíva, ako a kvôli čomu ich zobrazuje, aký dôraz a význam im kladie. Annotation „Folk elements in films by Juraj Jakubisko“ The subject of this work is to examine various folk elements captured in the film art of Juraj Jakubisko, specifically in the following films : Kristove roky; Preninbaba; Zbehovia a pútnici; Tisícročná včela. My goal is to find out what is behind Jakubisko´s intention to include folk elements, how and why they are depicted in the films and what emphases and reasons are given to them. Klíčová slova Juraj Jakubisko, Folklór, Slovenský folklór, Slovenský film, Tradičné ľudové umenie, Filmové umenie Keywords Juraj Jakubisko, Folklore, Slovak folklore, Slovak film, Folk art, Film art 2 Prehlásenie Prehlasujem, že som predkladanú prácu spracovala samostastne a použila som uvedené informačné zdroje. -
Minutes 2017
MINUTES Kandimari 61 rue Danton june 2017 – MINUTES 92300 Levallois-Perret th > 30 France th +33 (0)9 52 10 56 08 #6 – 28 [email protected] www.serieseries.fr SEASON 6 28th > 30th JUNE 2017 TABLE OF CONTENTS 2 Introduction 68 THE DISCUSSIONS 3 Editorial 70 SACD debate: public decision 4 Opening ceremony makers, public broadcasters 6 The changing world of series: 74 Long-running series: a story of in search of meaning and reality both passion and devotion 77 Masterclass: 8 THE SERIES Federico Llano, RTVE 10 All Wrong 80 Masterclass: 12 Five2Twelve Domingo Corral, Movistar+ 15 Guerrilla 82 Masterclass: Lele Marchitelli 18 Hassel 84 Café séries: “ feminine “ series 20 Match 88 One Vision: Ruth Caleb 22 Our Time is Now 89 One Vision: Barbara Emile 25 The Same Sky 92 One Vision: Thierry Keller 28 Shadow of the Ferns 94 One Vision: Olivier Broche 30 Tabula Rasa 96 One Vision: Sydney Gallonde 32 The Simple Heist 34 The Swell 98 Series Stories 37 IN THE PIPELINE 99 The serial experience 37 Aux Animaux la guerre 102 Masterclass: Ruth Caleb 38 Back to Corsica 106 Broadcasters’ Conclave 40 Champion 107 Concert 42 Clash of Futures – 18 44 Home Ground 46 Fenix 47 Banking district 50 Sirene 52 Stella Blómkvist 53 WHAT’S NEXT? 53 Life in the Box & Genesis 56 Hamilton 58 Once the Dust Settles 60 The Lynching 62 West of Liberty 63 SPOTLIGHT ON TRAILERS 67 CHILDREN’S SESSIONS SÉRIE SERIES… EDITORIAL A unique event, created with sincerity and passion; a The 6th season of Série Series took place from 28th to 30th This 6th season was also an opportunity to reaffirm the rendezvous that brings together all those whose dedication June 2017 and brought together more than 650 European identity of Série Series. -
Films & Projects Made in Luxembourg
FILMS & PROJECTS MADE IN LUXEMBOURG 2018-2020 INDEX 3 FILMS & PROJECTS 2018 7 ASHCAN 8 BAD BANKS – SEASON 1 9 BLACK 47 10 CLASH OF FUTURES 11 GUTLAND 12 HISTOIRE(S) DE FEMME(S) 13 JUSTICE DOT NET 14 LUIS AND THE ALIENS 15 MARY SHELLEY 16 MURER – ANATOMY OF A TRIAL 17 PACHAMAMA 18 SANDSTERN 19 SCHWAARZE MANN 20 SUPERJHEMP RETÖRNS 21 THE BREADWINNER 22 THE THIRD MARRIAGE 23 WHITE FANG 24 FILMS & PROJECTS 2019 25 7 LIVES 26 ANGELO 27 AYAHUASCA (KOSMIK JOURNEY) 28 BAYALA – A MAGICAL ADVENTURE 29 BETWEEN HEAVEN AND EARTH 30 CALIFORNIA DREAMING 31 CAPITANI 32 DE BUTTËK 33 DREAMLAND 34 ESCAPADA 35 FAN CLUB 36 FIRE WILL COME (O QUE ARDE) 37 FLATLAND 38 FOR A HAPPY LIFE 39 FRITZI – A MIRACULOUS REVOLUTIONARY TALE 40 FUNAN 41 HYTTE 42 I WILL CROSS TOMORROW (DEMAIN JE TRAVERSE) 43 INVISIBLE SUE 44 JUMBO 45 MY GRANDPA IS AN ALIEN (MOJ DIDA JE PAO S MARSA) 46 MY IDENTITY IS THIS EXPANSE! 47 NEVER GROW OLD 48 ON A MAGICAL NIGHT (CHAMBRE 212) 49 PEITRUSS 50 4 index PLAYMOBIL® THE MOVIE VR ADVENTURES 51 RAIN ANYWAY 52 RED FIELDS (MAMI) 53 RIVER TALES 54 SAWAH 55 SIBEL 56 SKIN WALKER 57 SPERM WHALES, ENCOUNTERS WITH THE GIANTS OF THE SEA 58 STRAHINJA 59 TEL AVIV ON FIRE 60 THE BEAST IN THE JUNGLE 61 THE ORPHANAGE (PARWARESHGAH) 62 THE PRINCE’S VOYAGE 63 THE ROOM 64 THE SWALLOWS OF KABUL 65 TREMORS (TEMBLORES) 66 TWO OF US 67 UNDER THE SKIN (NA PELE) 68 WILD CATS 69 YALDA 70 ZERO IMPUNITY 71 FILMS & PROJECTS 2020 73 A GREYHOUND OF A GIRL 74 APPLE PIE LULLABY 75 BAD BANKS – SEASON 2 76 MARIONETTE 77 OOOPS 2! BACK IN THE DEEP END 78 THE RACER 79 THE SIREN -
Report on the Slovak Audiovisual Situation in 2010
REP ORT ON THE SL OVAK AUDI OVIS UAL SIT UATION IN 2010 REPORT ON THE SLOVAK AUDIOVISUAL SITUATION IN 2010 § CONTENT I Introduction ............................................................................................. 3 I Legislation ............................................................................................... 4 I Film Education ......................................................................................... 5 I Film Production ........................................................................................ 7 I Slovak Audiovisual Fund ........................................................................... 8 I Literary Fund .......................................................................................... 11 I MEDIA ..................................................................................................... 11 I Eurimages ............................................................................................... 13 I Theatrical Distribution ............................................................................. 14 I Videodistribution ..................................................................................... 16 I Cinemas ................................................................................................... 20 I Film Clubs ............................................................................................... 21 I Festivals and Reviews .............................................................................. 23 I Awards of Slovak -
The First World War in the Czech and Slovak Cinema
University of New Orleans ScholarWorks@UNO Habsburg's Last War: The Filmic Memory (1918 to the Present) University of New Orleans Press 6-2018 The First World War in the Czech and Slovak Cinema Václav Šmidrkal Charles University, Prague Follow this and additional works at: https://scholarworks.uno.edu/hlw Part of the European History Commons, and the Film and Media Studies Commons Recommended Citation Šmidrkal, Václav. “The First World War in the Czech and Slovak Cinema.” In Habsburg’s Last War: The Filmic Memory (1918 to the Present), edited by Hannes Leidinger, 69-92. New Orleans: University of New Orleans Press, 2018. This Chapter is brought to you for free and open access by the University of New Orleans Press at ScholarWorks@UNO. It has been accepted for inclusion in Habsburg's Last War: The Filmic Memory (1918 to the Present) by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. THE FIRST WORLD WAR IN THE CZECH AND SLOVAK CINEMA1 Václav Šmidrkal Introduction In a speech broadcast from the Vítkov National Memorial in Prague on October 28, 2014, the ninety-sixth anniversary of Czechoslovakia’s declaration of independence, Colonel Jaroslav Vodička, Chairman of the Czech Union of Freedom Fighters (Český svaz bojovníků za svobodu), urged the Czech government to fund a new feature film about the Czechoslovak Legionnaires. He said, “we lack a film in our cinema that would show the audience the heroic campaign of the Legionnaires and their fundamental influence on the recognition of Czechoslovakia. It is one of the brightest points in our modern history, deserving of a high-quality film adaptation. -
Coproduction Partners 2021 Film- Und Medienstiftung NRW
COPRODUCTION PARTNERS 2021 www.focusgermany.de [email protected] February 2021 Index 1) Baden-Württemberg p. 05 Medien- und Filmgesellschaft Baden-Württemberg mbH 2) Bavaria p. 1 FilmFernsehFonds Bayern GmbH 3) Berlin-Brandenburg p. 1 Medienboard Berlin-Brandenburg GmbH 4) Hamburg / Schleswig-Holstein p. 25 Filmförderung Hamburg Schleswig-Holstein GmbH 5) Hesse p. 33 HessenFilm und Medien GmbH 6) Lower Saxony / Bremen p. 37 nordmedia - Film- und Mediengesellschaft Niedersachsen/Bremen mbh 7) North Rhine-Westphalia p. 41 Film- und Medienstiftung Nordrhein-Westfalen GmbH 8) Saxony / Saxony-Anhalt / Thuringia p. 48 Mitteldeutsche Medienförderung GmbH Coproduction Partners 2021 Baden-Württemberg Along Mekong Productions Mr. Rolf Lambert Lambert, Linke GbR Tel.: +49 (0)6221 – 16 20 33 Heidelberg E-Mail: [email protected] (Documentary) www.alongmekong.com References: Gulfstream, Marco Polo reloaded, Wanderlust, absolute poet: Friedrich Hölderlin, A year in the Black Forest Coproduced with: FR AMA FILM GmbH Ms. Andrea Roggon, Ms. Ulla Lehmann Stuttgart Tel: +49 (0)711 – 12 15 53 23 (Documentary, Fiction) +49 (0)173 – 64 61 594 Mail: [email protected] www.amafilm.de References: The inner light, Myanmarket, Mülheim Texas - Helge Schneider here and there Coproduced with: CA, FR, CH, AT, HU, MA CORSO Film- und Mr. Ümit Uludag Fernsehproduktion Tel: +49 (0) 711 – 91 26 70 72 Roelly Uludağ Winker GbR Mail: [email protected] Stuttgart www.corsofilm.com (Documentary) References: The Wall of Shadows, Acasa - My Home, Zinder, Trees Floating Coproduced with: PL, CH, RO, FI, FR, NG, GE East End Film GmbH Mr. Tommy Niessner, Ms. Elaine Niessner Stuttgart Tel Elaine: +49 175 - 410 11 77 (Feature, Documentary) Tel Tommy: +49 160 844 7836 Mail: [email protected] www.eastendfilm.de References: Borga, Offscreen, God of Happiness Coproduced with: FR, GE, GHA Eikon Media GmbH Mr. -
FINAL PRESS RELEASE July 8Th 2017
FINAL PRESS RELEASE July 8th 2017 The 52nd Karlovy Vary International Film Festival, a non-specialized festival with three competitive categories, took place from June 30 th to July 8th this year. It was organized by Film Servis Festival Karlovy Vary, a.s., with Ji ří Bartoška as president of the festival and Karel Och as an artistic director. The 53rd Karlovy Vary IFF will be held from June 29 th to 7th July 2018. On July 8th 2017, the festival’s juries presented awards for the best films at the closing ceremony of the 52nd Karlovy Vary IFF. OFFICIAL SELECTION – COMPETITION GRAND JURY Anna Brüggemann, Germany Sarah Flack, USA Ciro Guerra, Columbia Michel Merkt, Principality of Monaco Štefan Uhrík, Czech Republic GRAND PRIX – CRYSTAL GLOBE (25 000 USD) The financial award is shared equally by the director and producer of the award-winning film. Little Crusader / Křižá ček Directed by: Václav Kadrnka Czech Republic, Slovak Republic, Italy, 2017 SPECIAL JURY PRIZE (15 000 USD) The financial award is shared equally by the director and producer of the award-winning film. Men Don’t Cry / Muškarci ne pla ču Directed by: Alen Drljevi ć Bosnia and Herzegovina, Slovenia, Croatia, Germany, 2017 BEST DIRECTOR AWARD Peter Bebjak for the film The Line / Čiara Slovak Republic, Ukraine, 2017 BEST ACTRESS AWARD Jowita Budnik and Eliane Umuhire ex-aequo for their roles in the film Birds Are Singing in Kigali / Ptaki śpiewaj ą w Kigali Directed by: Joanna Kos-Krauze, Krzysztof Krauze Poland, 2017 Film Servis Festival Karlovy Vary, Panská 1, 110 00 Praha 1, Czech Republic Tel. -
Historical and National Background of Slovak Filmmaking
An article from: Martin Votruba, ed. KinoKultura, Special Issue 3: Slovak Cinema, December 2005. ISSN 478-6567 Slovak Studies Program, University of Pittsburgh votruba “at” pitt “dot” edu http://www.pitt.edu/~votruba Historical and National Background of Slovak Filmmaking Martin Votruba While the United States is usually seen as a new country and the European countries as ancient ones, the emergence and demise of countries and border shifts have been much more widespread, dramatic, and consequential in Central Europe, as well as in the rest of the continent, in the past century than anything in American experience during the same period. In extreme instances, by the time a person was eighty, he or she could have been a citizen of up to eight countries without ever leaving his or her hometown. Slovakia in Europe, Real and Symbolic Geography A major concept and understanding that has been absent in almost all writing about Central Europe in English is the term “Central Europe” itself. It is sometimes taken to be an old German invention designed to justify the expansionist concept of Lebensraum, or it is discussed as an invention of Czech émigré author Milan Kundera, especially in his essay “The Tragedy of Central Europe.”1 Yet, a character in the German film The Edukators (Die Fetten Jahre sind vorbei; dir. Heinz Weingartner, 2004) says at one point, quite matter-of-factly, “here in Central Europe.” It is revealing that the English subtitles translated it merely as “here in Europe” for American audiences. Stripped of any Kundera-esque connotations, Central Europe has long been a simple geographic concept, like the Midwest in the United States.