Catálogo Ficunam 2020

Total Page:16

File Type:pdf, Size:1020Kb

Catálogo Ficunam 2020 10º FESTIVAL INTERNACIONAL DE CINE UNAM 2020 UNAM UNAM C 5 - 15 I F MARZO 2020 CONTENIDO PRESENTACIÓN CLÁSICOS RESTAURADOS 7 291 IMAGEN FICUNAM 10 ACTIVIDADES ACADÉMICAS 25 CÁTEDRA INGMAR BERGMAN EN CINE Y TEATRO JURADO CLASES MAGISTRALES 27 CLÍNICAS BERGMAN / TALLER KOWALSKI & ALLARD PREMIOS 35 8 FORO DE LA CRÍTICA PERMANENTE INAUGURACIÓN SÍNTESIS 39 SEMINARIO EL PÚBLICO DEL FUTURO COMPETENCIA INTERNACIONAL PUNTO DE VISTA: 43 ENCUENTRO DE NUEVAS NARRATIVAS CON PERSPECTIVA DE GÉNERO AHORA MÉXICO 303-323 69 ACIERTOS. ENCUENTRO INTERNACIONAL ÍNDICE POR PELÍCULAS Y CONTACTOS DE ESCUELAS DE CINE 325 97 ÍNDICE POR REALIZADORES ATLAS 335 119 AGRADECIMIENTOS RETROSPECTIVA CHANTAL AKERMAN 337 227 EQUIPO FICUNAM RETROSPECTIVA ELIA SULEIMAN 339 259 DIRECTORIO RETROSPECTIVA JACQUES TOURNEUR 341 269 TABLE OF CONTENTS INTRODUCTORY REMARKS RESTORED CLASSICS 7 291 IMAGE FICUNAM 10 ACADEMIC ACTIVITIES 25 INGMAR BERGMAN CHAIR ON FILM & THEATER JURY MASTER CLASSES 27 BERGMAN SEMINAR / WORKSHOP KOWALSKI & ALLARD AWARDS 8TH PERMANENT CRITIQUE FORUM 35 SYNTHESIS OPENING 39 SEMINAR, THE AUDIENCE OF THE FUTURE INTERNATIONAL FILM COMPETITION POINT OF VIEW: GATHERING OF NEW NARRATIVES WITH A GENDER PERSPECTIVE 43 303-323 MEXICO, RIGHT NOW! 69 FILM & CONTACT INDEX FEATS. INTERNATIONAL FILM SCHOOLS MEETING 325 97 DIRECTORS INDEX ATLAS 335 119 ACKNOWLEDGMENTS RETROSPECTIVE, CHANTAL AKERMAN 337 227 TEAM FICUNAM RETROSPECTIVE, ELIA SULEIMAN 339 259 INDEX RETROSPECTIVE, JACQUES TOURNEUR 341 269 PRESENTACIÓN INTRODUCTORY REMARKS 6 7 NATIONAL AUTONOMOUS UNIVERSIDAD NACIONAL UNIVERSITY OF MEXICO AUTÓNOMA DE MÉXICO UNAM UNAM · · Some outstanding En esta décima edición features in this tenth edition are the destacan las retrospectivas dedicadas retrospectives devoted to such talents as a talentos como los de Chantal Akerman, Chantal Akerman, Elia Suleiman, Elia Suleiman y Jacques Tourneur FICUNAM convoca a creadores, críticos, FICUNAM is a call for creators, critics, film lov- and Jacques Tourneur ~ amantes del cine, a toda la comunidad univer- ers, the university community, and the general ~ sitaria y al público en general para explorar las public to explore the various dimensions of the diferentes dimensiones del séptimo arte. Seventh Art. The festival is defined by its devotion to independent auteur cinema, with a program El festival se define como uno dedicado al cine independiente y de autor, con una focused on filmic language experimentation, on contemporary cinema trends, and programación enfocada en la experimentación del lenguaje cinematográfico, en las on rescuing difficult-to-access works. The festival is made up by three competitive tendencias del cine contemporáneo y en el rescate de obras de difícil acceso. Está sections and two parallel sections: Feats. International Film Schools Meeting, which compuesto por tres secciones competitivas y dos secciones paralelas: Aciertos. promotes exchange between film schools’ students from Latin America and the Iberian Encuentro Internacional de Escuelas de Cine, que promueve el intercambio entre Peninsula; Mexico, Right Now!, which opens a space for Mexican independent cinema; estudiantes de escuelas de cine de Iberoamérica; Ahora México, que abre un the International Competition, which gathers renowned emerging creators from all over espacio para el cine independiente nacional, y la Competencia Internacional, que the world; Atlas, which offers a sample of what is going on in international circles of reúne a autores renombrados y emergentes de todo el mundo. Atlas es una muestra contemporary auteur cinema; and Restored Classics, a non-competitive section which de la escena internacional del cine contemporáneo de autor, y Clásicos Restaurados, review our filmic heritage. sección no competitiva que hace una revisión de la herencia cinematográfica. Some outstanding features in this tenth edition En esta décima edición destacan las retrospectivas dedicadas a talentos como los are the retrospectives devoted to such talents de Chantal Akerman, Elia Suleiman y Jacques as Chantal Akerman, Elia Suleiman, and Jacques of critics and programmers. For the first time, Tourneur, y las conferencias magistrales de pro- Tourneur, as well as the master classes by filmic and as an answer to our country’s current reality, tagonistas del cine que incluyen a Claire Ather- de género; además, FICUNAM 10 proyectará personalities including Claire Atherton, Chantal we will have the academic activity Point of View: ton, editora de Chantal Akerman, y a la chelista alrededor de 140 películas en veinte sedes, y Akerman’s editor, and Sonia Wieder-Atherton, Encounter of New Narratives with a Gender Sonia Wieder-Atherton, quien musicalizó varias espera la presencia de más de cien invitados a cello interpreter who musicalized many of Perspective; FICUNAM 10 will screen around 140 obras de la cineasta. nacionales e internacionales. Akerman’s films. films in 20 different venues and expects over 100 national and international guests. Además, se realizará por segunda ocasión el La Universidad de la Nación siempre estará Also, we will have the second iteration of the seminario El público del futuro, donde se debatirá comprometida con la difusión de la cultura como seminar The Audience of the Future, with a debate Our Nation’s University will always live up to sobre problemas y soluciones de los espacios una manera de contribuir al desarrollo de México on problems and solutions for film-screening its commitment to promote culture as a way to independientes de proyección cinematográfica, y el mundo, mediante la extensión de las grandes 8 independent spaces; and, for the eighth year in a contribute in the development of Mexico and the y por octavo año consecutivo, el Foro de la virtudes de las artes. 9 row, we will have the Permanent Critique Forum, world through spreading the great virtues of the Crítica Permanente, un lugar para la reflexión a place to reflect on cinema from the viewpoint arts. sobre el cine desde el punto de vista de críticos Enrique Graue Wiechers y programadores. Asimismo, por primera vez Rector Enrique Graue Wiechers y respondiendo a la realidad actual de nuestro UNAM Dean país, se llevará a cabo la actividad Punto de vista: UNAM Encuentro de nuevas narrativas con perspectiva CULTURAL OUTREACH COORDINACIÓN DE COORDINATION DIFUSIÓN CULTURAL UNAM UNAM · · Each of this festival’s Cada una de sus editions has aimed to be a El FICUNAM surgió hace una década con el ediciones ha buscado ser A decade ago, FICUNAM emerged with the celebration in tune with times propósito de consolidar una alternativa que una celebración acorde a una era purpose of consolidating a new alternative to of deep societal auspiciara y promoviera novedosas y originales de profundos cambios support and promote new and original filmic changes propuestas cinematográficas, aquellas por sociales offers which due to their profile and production— ~ cuyo perfil y producción —cine independiente, ~ independent, auteur cinema—were becoming de autor— se tornaban menos accesibles para less and less available for audiences that were públicos cada vez más abiertos a conocer y more and more open to get to know and enjoy disfrutar otras maneras de mirar, apreciar y hacer other ways of viewing, appreciating, and making películas. films. Each of this festival’s editions has aimed to be a celebration in tune with times of deep Cada una de sus ediciones ha buscado ser una celebración acorde a una era de societal changes which, invariably, have had an impact on the way moving-images profundos cambios sociales que, invariablemente, han impactado en la manera de stories are generated and told. This is largely caused by technological advancements generar y contar historias a través de las imágenes en movimiento, derivado ello en but, above all, by the essence itself of cinema, the art that was born at the end of the buena medida del avance tecnológico, pero sobre todo, una vez más, de la esencia 19th century: an emerging new language of which misma del cine, el arte de las postrimerías del siglo its greatness—according to Georges Sadoul— XIX: el surgimiento de un nuevo lenguaje —a decir película es demasiado corta, meteré un sueño”. rests both in its newness, it was born only a memory is constantly invaded by imagination and de Georges Sadoul— cuya grandeza reside tanto Para este célebre director la memoria es invadida few generations ago and we have witnessed its daydreaming: the temptation to believe in the en su novel temporalidad, pues apenas solo unas constantemente por la imaginación y el ensueño: evolution, and in the fact that it is a synthesis of reality of what is imagined is always present, and generaciones atrás nació y hemos sido testigos siempre existe la tentación de creer en la realidad many other arts and techniques. filmic language is the perfect accomplice for it. de su evolución, como en el hecho de que es una de lo imaginario, y el lenguaje cinematográfico Invariably, cinema funnels this propension in which síntesis de muchas otras artes y técnicas. es el cómplice ideal. El cine invariablemente This symbiotic quality has endowed cinema with tradition, avant-garde, and originality interplay. encauza esa propensión donde juegan, sin a permanent capability for renovation and for Esa cualidad simbiótica ha dotado al cine de una límites, tradición, vanguardia y originalidad. being a remarkably effective medium to convey In this anniversary edition, FICUNAM reaffirms its capacidad permanente de renovación, de ser emotions, ideas, or realities. Luis Buñuel duly intention to bring to each of its venues and places un medio notablemente efectivo para transmitir El FICUNAM, en esta edición de aniversario, summed up his own devise: “If the film is too short, of meeting— in a comprehensive way and through sensaciones, ideas o realidades. Luis Buñuel reafirma su intención de allegar en cada una I’ll insert a dream.” For this celebrated director, its competitions, sections, retrospectives, and resumía oportunamente su propio recurso: “Si la de sus sedes y encuentros, de forma integral multiple other activities—the new and symbolic y a través de sus competencias, secciones, 10 offers of international contemporary cinema.
Recommended publications
  • Bodies Without Borders: Body Horror As Political Resistance in Classical
    Bodies without Borders: Body Horror as Political Resistance in Classical Hollywood Cinema By Kevin Chabot A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario ©2013 Kevin Chabot Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94622-0 Our file Notre reference ISBN: 978-0-494-94622-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • The Role of Political Art in the 2011 Egyptian Revolution
    Resistance Graffiti: The Role of Political Art in the 2011 Egyptian Revolution Hayley Tubbs Submitted to the Department of Political Science Haverford College In partial fulfillment of requirements for the degree of Bachelor of Arts Professor Susanna Wing, Ph.D., Advisor 1 Acknowledgments I would like to extend my heartfelt gratitude to Susanna Wing for being a constant source of encouragement, support, and positivity. Thank you for pushing me to write about a topic that simultaneously scared and excited me. I could not have done this thesis without you. Your advice, patience, and guidance during the past four years have been immeasurable, and I cannot adequately express how much I appreciate that. Thank you, Taieb Belghazi, for first introducing me to the importance of art in the Arab Spring. This project only came about because you encouraged and inspired me to write about political art in Morocco two years ago. Your courses had great influence over what I am most passionate about today. Shukran bzaf. Thank you to my family, especially my mom, for always supporting me and my academic endeavors. I am forever grateful for your laughter, love, and commitment to keeping me humble. 2 Table of Contents Acknowledgements……………………………………………………....…………. 1 Introduction…………………………………………………………………….……..3 The Egyptian Revolution……………………………………………………....6 Limited Spaces for Political Discourse………………………………………...9 Political Art………………………………………………………………..…..10 Political Art in Action……………………………………………………..…..13 Graffiti………………………………………………………………………....14 Conclusion…………………………………………………………………......19
    [Show full text]
  • University of Oklahoma
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirement for the degree of Doctor of Musical Arts By YANG-MING SUN Norman, Oklahoma 2007 UMI Number: 3263429 UMI Microform 3263429 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, chair Dr. Jane Magrath Dr. Eugene Enrico Dr. Sarah Reichardt Dr. Fred Lee © Copyright by YANG-MING SUN 2007 All Rights Reserved. ACKNOWLEDGMENTS This paper is dedicated to my beloved parents and my brother for their endless love and support throughout the years it took me to complete this degree. Without their financial sacrifice and constant encouragement, my desire for further musical education would have been impossible to be fulfilled. I wish also to express gratitude and sincere appreciation to my advisor, Dr. Edward Gates, for his constructive guidance and constant support during the writing of this project. Appreciation is extended to my committee members, Professors Jane Magrath, Eugene Enrico, Sarah Reichardt and Fred Lee, for their time and contributions to this document. Without the participation of the writing consultant, this study would not have been possible. I am grateful to Ms. Anna Holloway for her expertise and gracious assistance. Finally I would like to thank several individuals for their wonderful friendships and hospitalities.
    [Show full text]
  • On Lav Diaz‟S a Lullaby to the Sorrowful Mystery
    ―Textual Mobilities: Diaspora, Migration, Transnationalism and Multiculturalism‖ | Lullaby of Diasporic Time: On Lav Diaz‟s A Lullaby to the Sorrowful Mystery Christian Jil R. Benitez Ateneo de Manila University Philippines [email protected] Abstract Lav Diaz is a Filipino independent filmmaker notable as a key figure in the contemporary slow cinema movement. Of his oeuvre, one of the longest is A Lullaby to the Sorrowful Mystery (Filipino: Hele sa Higawang Hapis), a 2016 epic film that runs for 8 hours, orchestrating narratives derived from what are conveniently sung as mythology (i.e., Jose Rizal‘s El filibusterismo and Philippine folklore) and history (i.e., Philippine history and artifacts). The movie competed in the 66th Berlin International Film Festival, where it won the Alfred Bauer Prize. This success has earned Diaz‘s the spotlight in the Filipino mainstream culture, enabling the film to be distributed to and showcased in mainstream platforms, albeit primarily garnering attention from the Filipino audience for its runtime and international attention. The movement of the film, as a text, from the local Philippines toward the international and returning home, incurs in it a textuality that disrupts the phenomenology of time diasporically, scatteringly: that as much as its 8-hour languor ―opens new perspective in the cinematic arts‖ according to the international rendition of this time, it is also the 8-hour whose value in the Philippine time is that of a day‘s labor, and thus the exoticization of its cinematic experience as a ―challenge,‖ having to endure an entire working day of slow cinematography. This diaspora of time is of no cacophony; on the contrary, it is the lullaby, sorrowful and mysterious, that finally slows Diaz in to become a filmmaker attuned to both the spaces of the local and the international.
    [Show full text]
  • A Critical Analysis of 34Th Street Murals, Gainesville, Florida
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Critical Analysis of the 34th Street Wall, Gainesville, Florida Lilly Katherine Lane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE A CRITICAL ANALYSIS OF THE 34TH STREET WALL, GAINESVILLE, FLORIDA By LILLY KATHERINE LANE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 All Rights Reserved The members of the Committee approve the dissertation of Lilly Katherine Lane defended on July 11, 2005 ________________________________ Tom L. Anderson Professor Directing Dissertation ________________________________ Gary W. Peterson Outside Committee Member _______________________________ Dave Gussak Committee Member ________________________________ Penelope Orr Committee Member Approved: ____________________________________ Marcia Rosal Chairperson, Department of Art Education ___________________________________ Sally McRorie Dean, Department of Art Education The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..…………........................................................................................................ v List of Figures ..................................................................
    [Show full text]
  • 1 [27] Ficvaldivia 2 [27] Ficvaldivia 3 [27] Ficvaldivia 4 [27] Ficvaldivia 5
    [27] FICVALDIVIA 1 [27] FICVALDIVIA 2 [27] FICVALDIVIA 3 [27] FICVALDIVIA 4 [27] FICVALDIVIA 5 [27] FICVALDIVIA Palabras6 9 Words FILMES DE INAUGURACIÓN Filmes de inauguración 26 Opening films Y CLAUSURA OPENING AND CLOSING Filmes de clausura 28 FEATURES P. 25 Closing films Cortometraje de Ceremonia de Premiación 30 Awards Ceremony Short Film JURADO Y ASESORES 33 JURY AND ADVISORS P.33 EN COMPETENCIA Selección Oficial Largometraje Internacional 45 IN COMPETITION Official International Feature Selection P. 44 Selección Oficial Largometraje Chileno 59 Official Chilean Feature Selection Selección Oficial Largometraje Juvenil 67 Internacional Official International Youth Feature Selection Selección Oficial Cortometraje 75 Latinoamericano Official Latin-American Short Film Selection Selección Oficial Cortometraje Infantil 89 Latinoamericano Official Latin-American Children’s Short Film Selection Selección Oficial Cine Chileno del Futuro 96 Future Chilean Cinema Official Selection [27] FICVALDIVIA 7 MUESTRA PARALELA CINEASTAS EN FOCO 105 Video y Estallido Social 178 PARALLEL PROGRAM FILMMAKERS IN THE Video and Social Uprising P. 105 SPOTLIGHT MUESTRA CINE 185 Ana Poliak 106 RETROSPECTIVA RETROSPECTIVE PROGRAM Colectivo Los Hijos 112 Clásicos 186 Latinas a la vanguardia 122 Classics Guillaume Brac 131 VHS Erótico 190 Erotic VHS MUESTRA CINE 139 CONTEMPORÁNEO Vazofi: Bazofi en Valdivia 193 CONTEMPORARY CINEMA Vazofi: Bazofi in Valdivia PROGRAM Gala 140 PÁSATE UNA PELÍCULA 201 Gala WHAT’S YOUR STORY! HOMENAJES 146 Largometrajes familiares 202 TRIBUTES
    [Show full text]
  • Estaba En Casa, Pero... Screenbox
    ESTABA EN CASA, PERO... SCREENBOX FICHA NÚM. 2.286 T.O.: ICH WAR ZUHAUSE, ABER NACIONALIDAD: ALEMANIA-SERBIA Estreno Screenbox: 04-09-2.020 DURACIÓN: 105’ Estreno España: 04-09-2.020 AÑO: 2.019 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA Mutter Astrid: Maren Eggert FILMOGRAFÍA DE LA Phillip: Jakob Lassalle DIRECTORA: Flo: Clara Möller ANGELA SCHANELEC (Aalen, Lars: Franz Rogowski Alemania, 14-02-1.962) -Estaba en Casa, Pero... (2.019) FICHA TÉCNICA -Der traumhafte Weg (2.016) Directora: Angela Schanelec -Orly (2.010) Guion: Angela Schanelec -Nachmittag (Tarde) (2.007) Productora: Angela Schanelec -Marseille (2.004) Fotografía: Ivan Markovic -Mein langsames Leben (2.001) Montaje: Angela Schanelec -Plätze in Städten (1.998) -Das Glück meiner Schwester SINOPSIS (1.995) Astrid vive en Berlín junto a sus dos hijos, Flo y Phillip. Tras la PREMIOS Y PRESENCIA EN muerte de su esposo, un famoso FESTIVALES (selección) director teatral, intenta recompo- -Festival de Cine de Berlín: Premio ner su vida y sobrellevar su ausen- a la Mejor Directora (2.019) cia. En la intimidad, la familia libra -Festival de Cine de San Sebastián: una lucha cotidiana en donde las Premio Zabaltegi-Tabakalera (2.019) actividades más simples se con- -Festival de Cine de Mar del Plata: vierten en retos inesperados: la Premio a la Mejor Directora de la compra de una bicicleta, un baño Sección Competencia Internacional en la piscina o una representación (2.019) escolar de Hamlet. El frágil equi- -German Film Critics Association librio se derrumba cuando Phillip Awards: Premio al Mejor Montaje se escapa de casa..
    [Show full text]
  • Iacs2017 Conferencebook.Pdf
    Contents Welcome Message •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 4 Conference Program •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 7 Conference Venues ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 10 Keynote Speech ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 16 Plenary Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 20 Special Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 34 Parallel Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 40 Travel Information •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 228 List of participants ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 232 Welcome Message Welcome Message Dear IACS 2017 Conference Participants, I’m delighted to welcome you to three exciting days of conferencing in Seoul. The IACS Conference returns to South Korea after successful editions in Surabaya, Singapore, Dhaka, Shanghai, Bangalore, Tokyo and Taipei. The IACS So- ciety, which initiates the conferences, is proud to partner with Sunkonghoe University, which also hosts the IACS Con- sortium of Institutions, to organise “Worlding: Asia after/beyond Globalization”, between July 28 and July 30, 2017. Our colleagues at Sunkunghoe have done a brilliant job of putting this event together, and you’ll see evidence of their painstaking attention to detail in all the arrangements
    [Show full text]
  • Die Erfinderin Der Formen. Das Kino Von Chantal Akerman Hier/Da: Chantel Akermans Là-Bas Filmvorführung: Jeanne Dielman, 23 Quai Du Commerce, Antwerpen (2004–2011)
    Donnerstag, 23. Mai 2019 Tel Aviv. Sie ist außerdem Kuratorin und Programmgestalterin für sität Frankfurt/M. und Mitglied des Exzellenclusters „Die Heraus- Mit Godard wird das Kino historisch, mit Chantal Akerman fängt es Alisa Lebow Docaviv, das Tel Aviv Documentary Film Festival. bildung normativer Ordnungen“. Jüngere Veröffentlichungen:Die neu an: Das Werk der belgischen Regisseurin, Installationskünstlerin und Distanz rahmen: News from Home Filmvorführung: Là-bas, B/F 2006, 78 min. Künste des Kinos, Frankfurt/M. 2013; Aktive Passivität. Über den Schriftstellerin Chantal Akerman ist eine ausführliche und vielgestaltige Vortrag in englischer Sprache Spielraum des Denkens, Handelns und anderer Künste, Frankfurt/M. Antwort auf die Frage, was im Kino jenseits der fast durchwegs männ- Chantal Akermans News from Home wird mitunter als Liebeserklä- 2014; Hollywood ignorieren. Vom Kino, Frankfurt/M. 2017; Nicht- lichen Helden-Geschichte von Griffith bis Hitchcock noch möglich ist, rung an ihre Mutter beschrieben, kann aber auch als Darstellung einer Donnerstag, 13. Juni 2019 rechthabenwollen. Gedankenspiele, Frankfurt/M. 2018. als deren Erben die Nouvelle Vague sich verstand. Akermans Filme wie Distanzerfahrung verstanden werden. Während die damals 27 Jahre Eva Kuhn Filmvorführung: De l’autre côté, F/B 2002, 103 min. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Je Tu Il alte Akerman die täglichen Briefe ihrer Mutter laut vorliest, sehen wir Vor und nach Jeanne Dielman Elle, D’est oder La captive sind im Kino ohne Vorbild und prägen mit Szenen aus einer gänzlich anderen Welt. Der Zwiespalt könnte kaum Donnerstag, 11. Juli 2019 ihren bahnbrechenden feministischen Sichtweisen seit ihrem Erscheinen offensichtlicher sein. Der Film ist zugleich ein Dokument einer sehr “It felt as though there was a before and after Jeanne Dielman Dieter Roelstraete die Ausdrucksmöglichkeiten des Films.
    [Show full text]
  • Uncut! First Time In
    45833_AFI_AGS 3/30/04 11:38 AM Page 1 THE AMERICAN FILM INSTITUTE GUIDE April 23 - June 13, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10 AFIPREVIEW UNCUT! FIRST TIME IN DC! GODZILLA!GODZILLA! Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial, Three by Alfred Hitchcock, Natalie Wood Tribute MC5*A TRUE TESTIMONIAL POINT OF ORDER A STREETCAR NAMED DESIRE CITY LIGHTS GODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE PHOTO NEEDED WORD WARS 45833_AFI_AGS 3/30/04 11:39 AM Page 2 Features 2, 3, 4, 7, 13 2 POINT OF ORDER MEMBERS ONLY SPECIAL EVENT! 3 MC5 *A TRUE TESTIMONIAL, GODZILLA GODSEND MEMBERS ONLY 4WORD WARS, CITY LIGHTS ●M ADVANCE SCREENING! 7 KIRIKOU AND THE SORCERESS Wednesday, April 28, 7:30 13 WAR AND PEACE, BLOWUP When an only child, Adam (Cameron Bright), is tragically killed 13 Two by Tennessee Williams—CAT ON A HOT on his eighth birthday, bereaved parents Rebecca Romijn-Stamos TIN ROOF and A STREETCAR NAMED DESIRE and Greg Kinnear are befriended by Robert De Niro—one of Romijn-Stamos’s former teachers and a doctor on the forefront of Filmfest DC 4 genetic research. He offers a unique solution: reverse the laws of nature by cloning their son. The desperate couple agrees to the The Greatest Generation 6-7 experiment, and, for a while, all goes well under 6Featured Showcase—America Celebrates the the doctor’s watchful eye. Greatest Generation, including THE BRIDGE ON The “new” Adam grows THE RIVER KWAI, CASABLANCA, and SAVING into a healthy and happy PRIVATE RYAN young boy—until his Film Series 5, 11, 12, 14 eighth birthday, when things start to go horri- 5 Three by Alfred Hitchcock: NORTH BY bly wrong.
    [Show full text]
  • HORSE MONEY a Film by Pedro Costa
    A CINEMA GUILD RELEASE HORSE MONEY A film by Pedro Costa 104 minutes / 2014 / 1.1:33 / HD / Not Rated In Portuguese with English Subtitles HORSE MONEY Synopsis Pedro Costa's latest film, a follow‐up to his renowned COLOSSAL YOUTH, follows Costa regular Ventura on an odyssey that is part horror film, part fever dream, and utterly unique. The time is now, a numbing and timeless present of hospital stays, bureaucratic questioning, and wandering through remembered spaces… and suddenly it is also then, the mid ’70s and the time of Portugal's Carnation Revolution, when Ventura got into a knife fight with his friend Joaquim. HORSE MONEY is a self‐reckoning, a moving memorialization of lives in danger of being forgotten, as well as a piercingly beautiful work of modern cinema. HORSE MONEY Pedro Costa Bio Born in Lisbon, Costa left his course of studies in History to attend classes taught by the poet and filmmaker Antonio Reis at the Lisbon Film School. His first film, O SANGUE (BLOOD), had its world premiere at the Venice Film Festival in 1989. CASA DE LAVA, his second feature, shot in Cabo Verde, was shown in Cannes, Un Certain Regard, in 1994. His other features include BONES, IN VANDA’S ROOM, and COLLOSAL YOUTH (currently available in the US as a box set from the Criterion Collection), NE CHANGE RIEN, and WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the work of Daniele Huillet and Jean‐Marie Straub. Recently he directed the SWEET EXORCIST, a segment of the omnibus feature CENTRO HISTORICO with Manoel de Oliveira, Aki Kaurismaki and Victor Erice.
    [Show full text]