Linha Azul 808 200 166 / 226 158 158 Events

Total Page:16

File Type:pdf, Size:1020Kb

Linha Azul 808 200 166 / 226 158 158 Events Linha Azul 808 200 166 / 226 158 158 Events Theater Local: Rivoli - Teatro Municipal Date: 28 February a 09 March URL: http://www.fantasporto.com/ Lines: ● 10M ● 11M ● 13M ● 1M ● 200 ● 305 ● 3M ● 4M ● 5M ● 600 ● 601 ● 602 ● 700 ● 701 ● 702 ● 7M ● 800 ● 801 ● 8M ● 900 ● 901 ● 904 ● 905 ● 906 Cost: A partir de 1 € Calculate your route Fantasporto 2014-34 th International Film Festival of Porto This year's edition of Fantasporto will present in February in Porto, 20 world and European premieres , a total of 180 films from 32 countries , with tickets to one euro for most moviegoers , announced the event . According to a statement released by the organization of the International Film Festival , will be given " strong emphasis " to Portuguese cinema , present in all official competition sections , which happens for the first time in the 34 years of the event . Two new sections will be introduced in this 34th edition , the Fantas Classics and Industry Screenings this year with the presence of three companies , two English and one of the United States , which " will bring participants also more professional through the Port of cinema ." This year , Fantasporto will have the official opening film " Vampire Academy " by Mark Waters , the closure being in charge of " The Railway Man " by Jonathan Teplitzky , with Colin Firth and Nicole Kidman . The festival, which will take place between February 28 and March 9 in Rivoli Teatro Municipal , will receive a " lower than usual " subsidy by the Porto City Hall , according to a source of authority , assured that there is an agreement between the two parts to the event this year . In a statement , the organization states that will reduce the price of tickets to win over the public , " taking into account the reduction of private sponsorship , and there is no new but keeping the previous year , because the budget of the festival will be identical to the recent years. " Ticket prices range from the normal price of five euros , passing through four , three, two and one euro each , subject to certain conditions and depending on the area of exhibition of the films . Also on the list of films to be shown is " Big Bad Wolves " , the work of Aharon Keshales and Navot Papushado that , according to the press of international cinema , director Quentin Tarantino called it " the best film of the year [ 2013] " after having witnessed this in the international film festival in Busan , South Korea In the official section , even if the returns are Vincenzo Natali ( director of " The Cube " and "Nothing " , winning the grand prize of Fantasporto in 1999 and 2005 , respectively ) , Takashi Miike and Alex de la Iglesia . Fantasporto 2014 maintains the Orient Express Section and the national competition for film schools and partnerships with Cinanima , the Black & White Festival and the Film Society of Brodick . In addition to the news , the event will present the restored " The Wizard of Oz " and " Gone with the Wind " by Victor Fleming versions . The programming will be presented in detail Fantasporto to 25 January ..
Recommended publications
  • Download-To-Own and Online Rental) and Then to Subscription Television And, Finally, a Screening on Broadcast Television
    Exporting Canadian Feature Films in Global Markets TRENDS, OPPORTUNITIES AND FUTURE DIRECTIONS MARIA DE ROSA | MARILYN BURGESS COMMUNICATIONS MDR (A DIVISION OF NORIBCO INC.) APRIL 2017 PRODUCED WITH THE ASSISTANCE OF 1 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Acknowledgements This study was commissioned by the Canadian Media Producers Association (CMPA), in partnership with the Association québécoise de la production médiatique (AQPM), the Cana- da Media Fund (CMF), and Telefilm Canada. The following report solely reflects the views of the authors. Findings, conclusions or recom- mendations expressed in this report are those of the authors and do not necessarily reflect the views of the funders of this report, who are in no way bound by any recommendations con- tained herein. 2 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Executive Summary Goals of the Study The goals of this study were three-fold: 1. To identify key trends in international sales of feature films generally and Canadian independent feature films specifically; 2. To provide intelligence on challenges and opportunities to increase foreign sales; 3. To identify policies, programs and initiatives to support foreign sales in other jurisdic- tions and make recommendations to ensure that Canadian initiatives are competitive. For the purpose of this study, Canadian film exports were defined as sales of rights. These included pre-sales, sold in advance of the completion of films and often used to finance pro- duction, and sales of rights to completed feature films. In other jurisdictions foreign sales are being measured in a number of ways, including the number of box office admissions, box of- fice revenues, and sales of rights.
    [Show full text]
  • Bruce Greenwood, Leslie Hope, Benjamin Ayres
    Directed by Jerry Ciccoritti Written by Jeff Kober Starring: Bruce Greenwood, Leslie Hope, Benjamin Ayres, Megan Follows, David Hewlett, Kris Holden-Reid, Jeff Kober, Grace Lynn Kung, Kristin Lehman, Daniel Maslany, Tony Nappo, Paula Rivera TRT: 92:26 Format: 2:39 Sound: 5.1 surround sound Rating: (pending) Country: Canada Language: English Genre: Drama Trailers: Available Website: www.IndicanPictures.com Table of Contents Synopsis ...................................................................................................................................................................... 2 Director’s Statement .................................................................................................................................................. 3 Producer’s Statement ................................................................................................................................................. 3 Artist’s Statement (Jeff Kober) ................................................................................................................................... 4 Cast Bios ...................................................................................................................................................................... 5 Bruce Greenwood (Frank) ...................................................................................................................................... 5 Leslie Hope (Melanie) ............................................................................................................................................
    [Show full text]
  • Film Festival Rankings Compiled by Stephen W. Davega by ATTENDANCE 01 Tribeca Film Festival 465,000 02 Rotterdam International
    Film Festival Rankings Compiled by Stephen W. DaVega BY ATTENDANCE 01 Tribeca Film Festival 465,000 02 Rotterdam International Film Festival 355,000 03 Montreal World Film Festival 350,000 04 Toronto International Film Festival 340,843 05 Berlin Int'l Film Festival 340,000 06 Buenos Aires Int'l Indy Film Festival 260,700 07 Rio De Janeiro Int'l Film Festival 223,000 08 Festival of Deauville American Cinema 200,000 09 Pan African Film Festival 200,000 10 San Sebastian Int'l Film Festival 200,000 11 Shanghai International Film Festival 200,000 12 Pusan International Film Festival 198,603 13 Locarno Int'l Film Festival 192,600 14 Sao Paulo Int'l Film Festival 180,000 15 Kerala International Film Festival 175,000 16 Melbourne Int'l Film Festival 170,000 17 Seattle International Film Festival 160,000 18 Mar del Plata Film Festival 150,000 19 Short Shorts Film Festival 150,000 20 Sitges Int'l Film Festival Catalonia 150,000 21 Vancouver Int'l Film Festival 148,360 22 Karlovy Vary Int'l Film Festival 135,759 23 Sydney Film Festival 132,500 24 Clermont Ferrand Short Film Festival 132,000 25 Int'l Doc Film Festival Amsterdam 131,214 26 Fantasporto Oporto Int'l Film Festival 130,000 27 Goteborg Film Festival 122,400 28 Belgrade Int'l Film Festival 120,000 29 Comic Con Int'l San Diego 120,000 30 Molodist Film Festival of Kiev 120,000 BY MEDIA ATTENDANCE 01 Cannes Film Festival 4,376 02 Berlin Int'l Film Festival 3,696 03 Generation 3,600 04 Venice Film Festival 3,500 05 Clermont Ferrand Short Film Festival 2,000 06 Moscow Int'l Film Festival 2,000
    [Show full text]
  • Clive Russell
    Clive Russell Theatre Title Role Director Producer Touching The Blue Derek Hodges Joe Wenborne Assembly Rooms Edinburgh Moby Dick Narrator Alessandro Baricco Rome Festival The Bill Thames Television Rainbow Kiss Richard Wilson Royal Court The Permanent Way Max Stafford Clark Film Title Role Director Producer The Last Duel The Uncle of the King Ridley Scott Outlaw King Mackinnon David Mackenzie Supervised Jerry Steve Barron The Hatton Garden Job Kenny Ronnie Thompson Their Finest Mr Starling Lone Scherfig Limehouse Golam The Warder Juan Carlos Medina Christ the Lord: Out of Egypt Weer Cyrus Nowrasteh 1492 Pictures The List Peter Klaus Huettmann Still Det Penton Simon Blake Thor: The Dark World Tyr Alan Taylor The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 Sherlock Holmes II Captain Tanner Guy Ritchie Elementary Prods Outpost: Black Sun Marius Steve Barker Black Camel Mary's Ride Lord Douglas Thomas Imbach Okofilm Prod. The Wicker Tree Beame Robin Hardy Tressock Films The Book of Blood Wyburd John Harrison Cinema One The Wolfman Macquarry Joe Johnston Universal Sherlock Holmes Captain Tanner Guy Ritchie Warner Brothers Dead Man Running Mc Clintoch Alex De Rakoff Lecture 21 Alessandro Baricco Bono Bob Brian & Me Steve David Williams Made of Honour Finlay Paul Weiland Paul Weiland Films The Festival Brother Mike Annie Griffin Pirate Productions King Arthur Antoine Fuqua Green Hills Ladies in Lavender Adam Penruddock Charles Dance Scala The Rocket Post Angus Stephen Whitaker Ultimate Pictures Silent Cry Dennis
    [Show full text]
  • Film Reference Guide
    REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
    [Show full text]
  • Film Genre Patterns and Complex Narrative Strategies in the Service of Authorship*
    Acta Universitatis Wratislaviensis • No 3869 Literatura i Kultura Popularna XXIV, Wrocław 2018 DOI: 10.19195/0867-7441.24.3 Andrea Virginás ORCID: 0000-0003-1867-1083 Sapientia Hungarian University of Transylvania, Romania Film genre patterns and complex narrative strategies in the service of authorship* Keywords: film genre, complex narration, author cinema, generic allegory, contemporary film Słowa kluczowe: gatunki filmowe, złożoność narracyjna, kino autorskie, alegoria gatunkowa, kino współczesne Introduction As the title of the article indicates, I am working with three categories of an- alysis: film genre(s), film(ic) narratives and filmmakers on their way to acquiring authorial status. These entities — genre, narration, authorship — obviously influ- ence each other in any medium, not only film, and what I aim to present is a pos- sible story of how this process of mutual interdependence might be unfolding in contemporary Euro-American film. The observation of Edward Buscombe in his seminal text “The idea of genre in the American cinema” provides a set focus with its reference to the intertwining of individual goals and inhabiting generic patterns on the part of the filmmakers (directors): “[t]he artist brings to the genre his or her own concerns, techniques, and capacities — in the widest sense, a style — but receives from the genre a formal pattern that directs and disciplines the work”.1 The present paper is extracted from a longer analysis2 that covers four film directors — Vincenzo Natali, Darren Aronofsky, Tom Tykwer and Christopher * This work was supported by a grant of the Romanian Ministry of Research and Innovation (CNCS — UEFISCDI), Exploratory Research Project no.
    [Show full text]
  • Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr.
    [Show full text]
  • Song Kang-Ho and the Uncanny Face of the Korean Cinema
    ACTA KOR ANA VOL. 14, NO. 1, JUNE 2011: 33–71 SOMEWHERE BETWEEN ANTI-HEROISM AND PANTOMIME: SONG KANG-HO AND THE UNCANNY FACE OF THE KOREAN CINEMA By BRIAN YECIES This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cine- matic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and performance styles he adopts, audiences have come to see a human being with everyday problems and concerns. In a way reminiscent of the French panto- mime clown Pierrot, Song’s characters reflect a depth of human feeling and compassion modulated by a comic undercurrent—the tension between these overlapping layers is precisely what holds his various personae together. Key words: Song Kang-ho, Korean Cinema, stardom, Park Chan-wook, Kim Jee-woon INTRODUCTION Every actor and actress constructs a persona over the course of his or her career, but few become stars. A star is an actor whose persona transcends the sum total of his or her performances (Belton 1994: 89). Song Kang-ho is a classic movie star whose acting ability is well known to the film industry and whose performances are appreciated by audiences in South Korea (hereafter Korea) and abroad. He has acted in some of the contemporary Korean cinema’s most profitable and critically acclaimed feature films, productions which have contributed to the national film industry’s current global notoriety.
    [Show full text]
  • Tabla 1:Festivales Y Premios Cinematográficos
    Tabla 1:Festivales y premios American Choreography Arts and Entertainment Critics cinematográficos Awards, USA Awards, Chile http://www.imdb.com/Sections/ American Cinema Editors, USA Artur Brauner Award Awards/Events American Cinema Foundation, Ashland Independent Film USA Festival American Cinematheque Gala Asia-Pacific Film Festival 2300 Plan 9 Tribute Asian American Arts 30th Parallel Film Festival American Comedy Awards, Foundation 7 d'Or Night USA Asian American International American Film Institute, USA Film Festival - A – American Independent Film Asianet Film Awards Festival Aspen Filmfest A.K.A. Shriekfest American Indian Film Festival Aspen Shortsfest ABC Cinematography Award American Movie Awards Association for Library Service ACTRA Awards American Screenwriters to Children AFI Awards, USA Association, USA Athens Film Festival, Georgia, AFI Fest American Society of USA AGON International Meeting of Cinematographers, USA Athens International Film Archaeological Film Amiens International Film Festival ALMA Awards Festival Athens International Film and AMPIA Awards Amnesty International Film Video Festival, Ohio, USA ARIA Music Awards Festival Athens Panorama of European ARPA International Film Amsterdam Fantastic Film Cinema Festival Festival Atlanta Film Festival ASCAP Film and Television Amsterdam International Atlantic City Film Festival Music Awards Documentary Film Festival Atlantic Film Festival ASIFA/East Animation Festival Anchorage International Film Atv Awards, Spain ATAS Foundation College Festival Aubagne International
    [Show full text]
  • Canadian Films: What Are We to Make of Them?
    Canadian Films: What Are We to Make of Them? By Gerald Pratley Spring 1998 Issue of KINEMA This technically fine picture was shot in British Columbia, but care seems to have been taken toeradicate any sign of Canadian identity in the story’s setting, which is simply generic North American. Film critic Derek Elley in his review of Mina Shum’s Drive, She Said in Variety, Dec. 22, 1997. NO MATTER to what segment of society individuals may belong within the public at large most of those interested in the arts are contemplating what to make of Canadian cinema. Among indigent artists, out- of-work actors, struggling writers, publishers and bookshop proprietors, theatregoers and movie enthusiasts, the question being asked is, what do we expect from Canadian movies? The puzzle begins when audiences, after being subjected to a barrage of media publicity and a frenzy of flag waving, which would have us believe that Canadian movies and tv programmes are among the best in the world, discover they are mostly embarrassingly bad. Except that is, films made in Québec. Yet even here the decline into worthlessness over the past twoyears has become apparent. It is noticeable that, when the media in the provinces other than Québec talk about Canadian films, they are seldom thinking of those in French. This means that we are forced, whentalking about Canadian cinema, into a form of separation because Québec film making is so different from ”ours”, making it impossible to generalize over Canadian cinema as a whole. If we are to believe everything the media tells us then David Cronenberg, whose work is morbid, Atom Egoyan, whose dabblings leave much to be desired, Guy Maddin, who is lost in his own dreams, and Patricia Rozema, who seldom seems to know what she is doing, are among the world’s leading filmmakers.
    [Show full text]
  • Splicedirector Vincenzo Natali
    www.StudentFilmmakers.com Workshops | Forums | Network| Showcase | Tech Focus 2010, Vol. 5, No. 2 The #1 Educational Resource for Film and Video Makers US$5.95 Full HD 3D Camcorder 3D CGI Story Plans HDSLR Filmmaking ßStill and Motion Imaging Collide ßAudio Solutions PLUS 4Close-up Lenses Exclusive Interview 4Oliver Curtis, BSC on Camera Moves 4Vertical Screen Challenge Director Vincenzo Natali 4Short Documentary Editing Splice 4SMPTE Timecode in Sound Recording Directing and Writing for Science Fiction and Fantasy TIFFEN_STEADICAM_STUDENTFILM_OL.ai 1 8/28/09 5:43 PM Please visit us at NAB 2010 Booth Number C8818 Table of Contents 2010, Vol. 5, No. 2 3D Filmmaking 6 23 Things 3D CGI Does Really Well To Plan Your Story Around by Sherri Sheridan 9 New AG-3DA1 Integrated Full HD 3D Camcorder Preview Cinematography 10 Focus on: Close-up Lenses by Ira Tiffen 12 Permanent Exhibit, Large Screens and a Vertical Challenge by Carl Filoreto Close Up 16 Exclusive Interview with Award-Winning “Splice” Director Vincenzo Natali 12 20 A Conversation with Oliver Curtis, BSC DSLR Filmmaking 26 The Two Worlds of Still and Motion Imaging Collide 16 by Jon Firestone 34 HDSLR Audio: Challenges and Solutions by David Kaminski, with Eric Perez C M Formats Y 36 Where Does Film Stand? by William Donaruma CM HD Production MY 40 A Look Back at One of the First Creative Uses of an CY Experimental Version of Hi Def by Myrl A. Schreibman CMY 42 Tell an Authentic Story and Shoot It with Great Heart by Dean Yamada K Directing 46 The New Paradigm by David Worth Editing 48 Short Form Documentary Editing: The Map by Melissa Ulto Music & Sound 50 The Use of SMPTE Timecode in Conjunction with Audio 20 Recorders by Fred Ginsburg, C.A.S., Ph.D., MBKS 54 Micro Foley by Bryant Falk 55 Call for Entries 55 On Campus 56 Featured Products, Services, and Events 60 Global Marketplace 62 Filmmakers Networking On the Cover Tim Hardy (left) and Jason Anderson (right) doing a Canon 7D and RED comparison test at Asgard Entertainment.
    [Show full text]
  • Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.
    [Show full text]