Filmography Dave Lojek
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Poetry-Film & the Film Poem
Poetry-Film & The Film Poem: Some Clarifications Ever since experimental filmmakers and critics starting theorising the concepts behind avant-garde visual explorations, the idea of poetry was seen as a fruitful model for the creative process of the more lyrical side of experimental film practices. The working mode of the narrative-liberated filmmaker seemed somehow analogous to this of the modernist poet. In some cases (like this of Stan Brakhage) even the very lifestyle of the filmmaker resembled that of the romantic poet, as did the modes of production in creating and distributing the work. This appears as somewhat of a contradiction when we read some of the statements / manifestos of film artists, within which they often stress the importance of film as an independent art, suggesting that film could only be a respectable art form if it struggles to work within the specificities of its own language. [The notion of medium-specificity is a commonplace for modernism]. In the opening sequence of ‘The Man With The Movie Camera’, Dziga Vertov writes his manifesto: “The film presents an experiment in the cinematic communication of visible events without the aid of intertitles (a film without intertitles), without the aid of a scenario (a film without a scenario), without the aid of theatre (a film without actors, without sets etc). This experimental work aims at creating a truly international absolute language of cinema based on its total seperation from the language of theatre and literature”1 In this statement Vertov asks audience and filmmakers alike to see filmmaking as an independent art form with its own language, a language that does not need to borrow from other arts to be meaningful. -
Katalog 2016
Na adresu TFF-a pristiglo je preko sedam stotina fi lmova U organizaciji Magic Factory ove godine od 12. do 16. oktobra održat će se jubilarni 5. Tuzla Film Festival – južnoslavenskog fi lma. Na adresu festivala pristiglo je preko 700 fi lmova, a nakon selekcije i ove godine bit će prikazano oko stotinu fi lmova u šest kategorija: dugometražni, kratki igrani, animirani, dokumentarni, future generation short fi lms. Festival će biti upotpunjen i drugim sadržajima kao što su radionice sa profe- sionalcima iz svijeta fi lma, kafe sa poznatima i otvoreni party sa gostima festivala. Ove godine na festivala dolazi veliki broj gostiju iz inostranstva, a razlog tome je nova kategorija future generation short fi lms, riječ je o internacionalnom kratkom fi lmu gdje je pristiglo 400 fi lmova iz oko 70 zemalja svijeta. Svoj dolazak kao članovi žirija ili gosti festivala najavila su poznata fi lmska imena sa naših prostora. Tuzla Film Festival 2016. Festival Film Tuzla 2 Tuzla Film Festival je doživio svoju petu godišnjicu iako su mu predviđali da nikada neće ugledati svjetlo dana. Problemi koji se događaju zbog ne postojanje kulturne politike grada, kao i Federacije dovode do problema koji svi umjetnici dobro osjećaju na ovom prostoru. Stalna borba za fi nansiranje jedne manifestacije koja se već uveli- ko dokazala, ne samo da umara producente iste, već iz godine u godinu čini odljev kadrova koji su se obrazovali kroz TFF, a sa stečenim iskustvom i Boris Balta znanjem koje posjeduju, mogli bi napraviti Tuzlu direktor Festivala Festival Director kao centar kulturnog događanja sa razvojnom agendom za mlade talente. -
Love Croatian Film 2014 Katalog Hrvatskog Filma Croatian Film Catalogue
1 Sadržaj Contents Notes • 7 — Glazbena kutija Music Box, Bruno Mustić • 10 Inferno, Vinko Möderndorfer • 11 Mirni ljudi Quiet People, Ognjen Sviličić • 12 Most na kraju svijeta The Bridge at the End of the World, Branko Ištvančić • 13 Broj 55 Number 55, Kristijan Milić • 14 Dugometražni igrani film — Cure Girls, Andrea Štaka • 15 Feature Film Broj 55 · Number 55 · Kristijan Milić • 10 Iza sna After the Dream, Igor Filipović • 16 Cure – Život druge · Cure – The Life of Another · Andrea Štaka • 11 Kosac The Reaper, Zvonimir Jurić • 17 Dječaci iz Ulice Marxa i Engelsa · Dječaci iz Ulice Marksa i Engelsa · The Kids from Lazar Lazarus, Svetozar Ristovski • 18 the Marx and Engels Street · Nikola Vukčević • 12 Otok ljubavi Love Island, Jasmila Žbanić • 19 Domoljub · Isänmaallinen mies · A Patriotic Man · Arto Halonen • 13 Spomenik Majklu Džeksonu Monument to Michael Jackson, Darko Lungulov • 20 Duh babe Ilonke · The Little Gypsy Witch · Tomislav Žaja • 14 Sadilishteto Sudilište Judgement, Stephan Komandarev • 21 Happy Endings · Darko Šuvak • 15 Sveci Saints, Ivan Perić • 22 Inferno · Vinko Möderndorfer • 16 Svinjari The Enchanting Porkers, Ivan Livaković • 23 Itsi Bitsi · Steppeulven · Itsi Bitsi · Ole Christian Madsen • 17 Zagreb Cappuccino, Vanja Sviličić • 24 Iza sna · After the Dream · Igor Filipović • 18 Srce mesara Butcher’s Heart, Antonio Nuić • 25 Kosac · The Reaper · Zvonimir Jurić • 19 Anka, Dejan Aćimović • 26 Ljubav ili smrt · Love or Death · Daniel Kušan • 20 Bodljikavo prase The Porcupine, Srđan Dragojević • 27 Most na kraju svijeta -
AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques. -
The Technological Imaginary of Imperial Japan, 1931-1945
THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron Stephen Moore August 2006 © 2006 Aaron Stephen Moore THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 Aaron Stephen Moore, Ph.D. Cornell University 2006 “Technology” has often served as a signifier of development, progress, and innovation in the narrative of Japan’s transformation into an economic superpower. Few histories, however, treat technology as a system of power and mobilization. This dissertation examines an important shift in the discourse of technology in wartime Japan (1931-1945), a period usually viewed as anti-modern and anachronistic. I analyze how technology meant more than advanced machinery and infrastructure but included a subjective, ethical, and visionary element as well. For many elites, technology embodied certain ways of creative thinking, acting or being, as well as values of rationality, cooperation, and efficiency or visions of a society without ethnic or class conflict. By examining the thought and activities of the bureaucrat, Môri Hideoto, and the critic, Aikawa Haruki, I demonstrate that technology signified a wider system of social, cultural, and political mechanisms that incorporated the practical-political energies of the people for the construction of a “New Order in East Asia.” Therefore, my dissertation is more broadly about how power operated ideologically under Japanese fascism in ways other than outright violence and repression that resonate with post-war “democratic” Japan and many modern capitalist societies as well. This more subjective, immaterial sense of technology revealed a fundamental ambiguity at the heart of technology. -
Seed-2014-Catalogue.Pdf
1 ORGANIZERS PARTNERS Dear old and new documentary friends, Here we are again to present you the newest but also upcoming documentary productions from Southeast European countries. Since our last meeting we have been writing, filming, IN CO-OPERATION WITH fighting, loving, editing, producing, getting angry, kissing, cheating, making problems and solving them, doing everything we could to stay up and alive and ready to offer you the freshest of the fresh. Besides old partners you already know from the last year, Croatia, Serbia, Macedonia, Slovenia and Bulgaria, this year we are happy that Bosnia & Herzegovina and Kosovo joined the SEED family. Altogether, 77 films are presented in this catalogue. Like last year, feature CONTACTS films finished between August 2013 and October 2014, but also those that are going to be finished within the next year. To make it richer and more fun, this year we included finished RESTART CROATIAN AUDIOVISUAL SLOVENIAN FILM CENTRE KOSOVA CINEMATOGRAPHY short films in the catalogue, but also a list of feature docs in development. Most of them are Gjure Deželića 74 CENTRE Miklošičeva 38, SI-1000 Ljubljana CENTER still looking for co-production partners, so read it carefully, it might be you. 10000 Zagreb, Croatia Nova Ves 18, 10000 Zagreb, Croatia Slovenia Qafa-Galeria No.15 ph: +385.1.5573860 ph: +385.1.6041080 ph: +386.1.2343200 10000 Pristina, Kosovo gsm: +385.91.5315205 [email protected] [email protected] phl: +381.38.213227 However, we hope this catalogue will help you to navigate more easily among newest titles [email protected] www.havc.hr www.film-center.si [email protected] www.restarted.hr head: Hrvoje Hribar head: Jožko Rutar www.qkk-rks.com coming from this hot and unpredictable region, to pick something for your festivals or to head: Oliver Sertić head: Arben Zharku catch interesting names for your future co-productions. -
The Making of the Independent Short Film, Teatriños: Homenaxe Ao Mineral Do Repolo
The Making of the Independent Short Film, Teatriños: Homenaxe ao mineral do repolo (Little Theatres: Homage to the Mineral of Cabbage.) Stephanie Dudley Sometime in 2007, I decided to make my first short film. I chose the medium of stop motion puppetry for the film, and all sets, puppets, and decorations were created by hand. The film is about cabbage, and is based on Erín Moure’s poem, Homage to the Mineral of Cabbage. The decision to make this film had been about a 10 years development, and this little cabbage film has since created many waves in my life. I went to art school in the mid 1990s. I majored in Drawing and Painting at Ontario College of Art and Design (now OCAD University), and was mostly interested in trying out different media, or using old media in new ways. So while I painted with oils in the traditional way, on canvas and panels, I also painted with oils on plasticky architectural vellum; or on substrate-less acrylic layers, created by hand, so that the final painting looked like it was painted on a delicate, translucent skin. I took photography classes where I experimented either in the darkroom, or with polaroids and photocopiers, altering images in a way that would make them part painting, part sculpture, part photograph. Without ever using a computer, I thought of myself as a multimedia artist. I did not know how to use Photoshop or any other graphics program. I just wasn’t that interested. Stephanie Dudley Early on in my last year of college, I was involved in an art show, with several of my paintings and mixed-media photography on display in the school’s atrium. -
About Me Work Education Skills Languages
Ranjan Rampal Film Editor, Filmmaker, Poet f photographer, videographer, designer, Teacher (Filmmaking) FTII, FAMU ABOUT ME SKILLS Dedicated to make good films and art, seeker for associating with good creative FILM EDITING a DRAMATURGY artists, producers, directors, and viewers. I am a film editor, dramaturg, filmmaker and poet, nurturing and improving my craft that I studied at film school(FTII / STORY a CHARACTERISATION FAMU) and mass communication (BJMC, GGSIPU University, Delhi). I am good in CAMERA a SOUND team management, strategy, Idea development and keen on perfection as an TECHNICAL artist. I am enriching as a teacher. Always happy for good WORK to associate with. (FCP, FCPX, AVID, PREMIERE, PHOTOSHOP), CAMERAS, FILM , DIGITAL WORK POETRY TEACHING FEATURE FILMS Edited 1 feature fiction film and 1 documentary feature film. Learning never stops and ultimate happiness is to see the work EDUCATION finally taking its shape, Shaping is my work. 2014 - Self Learner and Researcher present SHORT FILMS 2014 - present ( Prague, Czech Republic ) Edited and directed different short films of different lengths, in different Learning, Researching and exploring new film techniques, languages like Hindi, Marathi, Russian, Czech and English on digital as Indian New wave Cinema and Indian aesthetics of Drama, well as on film (16mm, 35mm). Edited on flatbed Steinbeck and also on comparing with European asthetics and Czech New wave softwares like FCP X, FCP 7, Avid and Premeire Pro. For me films are cinema. Working on Video art and projection mapping. like poetry of images and sound, the rythems come with movements. 2008 - PgD, Film Editing, FTII DOCUMENTARIES 2015 Film and Television Institute of India Edited various short to long documentaries, on the topics, situations and 2008 - 2015 ( Pune, Maharashtra, India ) people who touch me and let me explore my questions and enhance me Did PG Diploma at Film and TV school FTII, Editing faculty. -
MASTER THESIS the Impact of Gender Equality in Film Festival
MASTER THESIS The Impact of Gender Equality in Film Festival Management on the Female Representation of Awarded Film Directors Student name: Feline Koelemij Student number: 511856 Supervisor: Dr. Christian Handke Second reader: Ms. Liesbeth de Strooper Master Cultural Economics and Entrepreneurship Erasmus School of History, Culture and Communication Erasmus University of Rotterdam Master Thesis Date final version: 15 June 2020 The Impact of Gender Equality in Film Festival Management on the Female Representation of Awarded Film Directors Abstract This thesis investigates the gender equality within film festivals management teams and its influence on the female representation of awarded film directors. As a masculine organisational culture create a gender gap, Hofstede’s dimensions, which measure organisational cultures per country, have been used. Both the researched film festival organisations and the awarded film directors show a gender gap, which is persistent in both Europe and North America. The film festivals which have been established earlier, seem to have more female directors and executives. Film festivals with more female employees also have more female directors and executives. All in all, this research did not find a causal relationship between the gender of film festival management teams and the gender of the awarded film festivals. Nonetheless, it did find that certain aspects of the geographical location, and the longitude of existence of a film festival affects the female representation within the director and executives’ -
1 Animating Poetry: Whose Line Is It Anyway?
1 ANIMATING POETRY: WHOSE LINE IS IT ANYWAY? CREATION & CRITIQUE OF SHARED LANGUAGE IN POETRY ANIMATION I am an animator who creates poetry films from historical and contemporary poetic sources. My interest is not in the literal representation of the poem, but in developing a balanced, interpretative, temporal audiovisual language that connects the viewer to the poet and the poem. In this way, the content and context of the written poem is translated, transcribed, or remodeled into a new visual and sonic experience. In order to achieve this, I first undertake detailed analysis of potential meaning and impact through close reading of the poem, as well as studying artefacts and documents relating to the poem, the poet and the subject. This immersive reading might involve the study of timing, rhythm, language construction, emotive juxtaposition, simile and metaphor, as well as consideration of cultural, geographic and historic contexts. Such detailed documentary research gives informed context to development of visual imagination. This paper will explore some aspects of my own animation practice including material from conversations with collaborators, as well as a more general investigation into creation and critique of shared language between poetry and animation. I think it is time that poetry animation should be considered as a genre or artform in its own right with the potential for communicating Ecstatic Truth. In this paper I am offering a very detailed analysis of a commissioned collaboration with the New Zealand poet Bill Manhire which we undertook in 2016 for 1418NOW, animating poetry written about the First World War, with an introductory examination of historical and contemporary examples of what may be referred to as poetry animation. -
Festivali in Nagrade V Letu 2009
Festivals and awards in 2013 Feature films Class enemy Directed by Rok Biček, produced by Triglav film 70. Venice film festival 16. film festival By The Sea Viennale 62. film festival Mannheim – Heidelberg 15. film festival Bratislava Film festival Sevilla – Spain 26. Panorama of European cinema, Athens Castellinaria Festival – Bellinzona, Switzerland Black Nights Film Festival PÖFF, Talinn, Estonia Film festival Dubai 4. Medef (Mediterranean Experiences Festival) Reggio Calabria European film festival Des Arcs, France Awards: 70. Venice film festival Fedeora jury's award for best film in 28. International Film Critics' week programme 15. film festival in Bratislava best film (Grand Prix) best actor (Igor Samobor) Fipresci award for best film Castellinaria festival – Bellinzona, Switzerland three castles for best film (age 16-20 category) Slovenski filmi – rezultati 2013 26.Panorama of European cinema, Athens Fipresci award for best film European film festival Des Arcs, France Cineuropa award Dual Directed by Nejc Gazvoda, produced by Perfo production Karlovy Vary International Film Festival, Czech republic 23. Oslo Skeive Filmer Film Festival Helsinki IFF Llamale H LGBT Film Festival, Uruguay Rio de Janeiro International Film Festival Mix Copenhagen Gender Bender LGBT International Film Festival, Italy Budapest Pride LGBT Film Festival LesGaiCineMadFF, Spain Braunschweig International Film Festival, Germany Queersicht Bern Film Festival Arras Film Festival, France Cinedays European Film Festival, Macedonia -
Poetry's Afterlife: Verse in the Digital Age / Kevin Stein
POETRY'S AFTERLIFE DIgITALCULTUREBDDKS is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Poetry's Afterlife VERSE IN THE DIGITAL AGE Kevin Stein The University of Michigan Press and The University of Michigan Library ANN ARBOR Copyright © by the University of Michigan 20IO Some rights reserved This work is licensed under the Creative Commons Attribution-Noncommercial No Derivative Works 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Published in the United States of America by The University of Michigan Press and The University of Michigan Library Manufactured in the United States of America r§ Printed on acid-free paper 2013 2012 2011 2010 4 3 2 I A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Stein, Kevin, 1954- Poetry's afterlife: verse in the digital age / Kevin Stein. p. cm. - (Digitalculturebooks) ISBN 978-0-472-07099-2 (cloth: alk. paper) - ISBN 978-0-472-05099-4 (pbk.: alk. paper) I. American poetrY-21st century-History and criticism. 2. Poetry-Appreciation United States-HistorY-2Ist century. 3. Poetry-Appreciation-United States HistorY-20th century. 4. American poetrY-20th century-History and criticism. I. Title. ps326s74 2010 811.509-dc22 ISBN 978-0-472-02670-8 (e-book) For Deb, with daisies, And for Kirsten and Joseph, who question everything.