DOCSLIB.ORG

Διοργανωση Συνδιοργανωση Editorial Editorial

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Διοργανωση Συνδιοργανωση Editorial Editorial ΔΙΟΡΓΑΝΩΣΗ ΣΥΝΔΙΟΡΓΑΝΩΣΗ EDITORIAL EDITORIAL Πώς φτάσαμε και πάλι στο σημείο αυτό; Να τυπώνουμε το ωρολόγιο πρό- How is it that we’ re at this point again? As these lines are being γραμμα και τον κατάλογο για το φετινό Φεστιβάλ και, καθώς γράφονται written, we’ re printing the screening schedule and the catalogue of αυτές οι γραμμές, να απέχουμε λίγες μέρες από το ξεκίνημά του; Και πότε this year’s festival, mere days from the premiere. Will we ever, my επιτέλους θα κατορθώσουμε να αποβάλλουμε, οι συνεργάτες μου κι εγώ, collaborators and Ι, be able to shake off this constant anxiety that το μόνιμο άγχος και το χτυποκάρδι που μας πιάνει όσο πλησιάζουμε προς overwhelms us as we get closer to the premiere? You know, the anxi- την πρεμιέρα; Ξέρετε, εκείνο το γνωστό άγχος του να πάνε όλα κατ΄ευχήν, ety that everything must go well, that everything must be done with να γίνουν τα πάντα με αγάπη και κανένα εμπόδιο που θα παρουσιαστεί να love and that no obstacle must be deemed insurmountable. μην είναι ανυπέρβλητο. Μάλλον ποτέ δεν θα φύγει αυτό το άγχος. Και, να σας πω την αλήθεια, Never mind. I guess the anxiety will always be there. And to tell you δεν πειράζει. Υπάρχει κάτι ιδιαίτερα όμορφο σε αυτή τη μεταξύ ευφορίας the truth it’s OK. There is something beautiful in this state between και ελεγχόμενου πανικού κατάσταση που ζούμε όποτε μπαίνουμε στην euphoria and controlled panic that we live in as we orbit around AIFF. τροχιά των Νυχτών Πρεμιέρας. Και, άλλωστε, όλοι εσείς εκεί έξω που And, besides, the fact that all of you out there wait impatiently every περιμένετε το Φεστιβάλ με ανυπομονησία κάθε Σεπτέμβρη, καλωσορίζετε September, attend enthusiastically the events and fill the cinemas, με θέρμη τις εκδηλώσεις του και γεμίζετε τις προβολές του, είστε αντα- is enough of a reward. μοιβή αρκετή. Οπότε αφήστε το άγχος σε εμάς. Και μακάρι να ευχαριστηθείτε το 24ο So, leave all the anxiety to us. We hope that you enjoy the 24th AIFF, Διεθνές Φεστιβάλ Κινηματογράφου της Αθήνας Νύχτες Πρεμιέρας, όπως as we did all this time we have been planning it for you. See you το ευχαριστηθήκαμε κι εμείς όλον αυτό τον καιρό που το ετοιμάζαμε για there. εσάς. Σας περιμένουμε. Λουκάς Κατσίκας Loukas Katsikas Καλλιτεχνικός Διευθυντής Artistic Director 3 PUBLI Στηρί-ζουµε Φροντί-ζουµε Εµβολιά-ζουµε H κοινωφελής, μη-κερδοσκοπική οργάνωση Αποστολή ΑΝΘΡΩΠΟΣ (www.missionanthropos.com) ιδρύθηκε το 2010 με σκοπό την ανιδιοτελή προσφορά ιατροφαρμακευτικής στήριξης ευάλωτων ομάδων και ατόμων που δεν έχουν πρόσβαση σε υπηρεσίες Υγείας, χωρίς καμία ηλικιακή, φυλετική, πολιτική, θρησκευτική ή άλλου είδους διάκριση. Μέχρι σήμερα έχει πραγματοποιήσει τρεις αποστολές στην Αιθιοπία, ενώ από το 2012 ξεκίνησε δράσεις και στην Ελλάδα λόγω της δύσκολης οικονομικής συγκυρίας της χώρας μας. Στο τέλος του 2017 ολοκληρώθηκε το πρόγραμμα Την παρούσα περίοδο εκπονεί τα προγράμματα: «Εμβολιά-ζουμε: Παιδιά ανασφάλιστα, όχι απροστάτευτα» (2012-2017). Μέσω του προγράμματος «Στηρί-ζουμε: Ιατροφαρμακευτική αυτού εμβολιάστηκαν συστηματικά και ανά δίμηνο φροντίδα για όλους» (από το 2013). Στόχος 5.707 παιδιά με 19.152 πολυδύναμα εμβόλια που τα του είναι η άμεση και εξατομικευμένη κάλυψη προστατεύουν από 42.668 ασθένειες, σε συνεργασία ιατρικών ή/και φαρμακευτικών αναγκών με το Τμήμα Δημόσιας Υγείας του Γενικού Νοσοκομείο παιδιών και ενηλίκων, Ελλήνων, μεταναστών και Παίδων Αθηνών «Παναγιώτη και Αγλαΐας Κυριακού», προσφύγων, που παραπέμπονται από δίκτυο 66 τις κοινωνικές υπηρεσίες 26 Δήμων της Αττικής και της συνεργαζόμενων φορέων το οποίο η οργάνωση Περιφέρειας και 14 ΜΚΟ. έχει αναπτύξει σε 10 Νομούς πανελλαδικά. Μέχρι και σήμερα έχουν ολοκληρωθεί 1.535 αιτήματα Οργανώνει επιπλέον δράσεις ανάλογα με τις που αφορούν σε βρέφη, παιδιά και ενήλικες. ιατροφαρμακευτικές και ανθρωπιστικές ανάγκες που «Φροντί-ζουμε την Τρίτη Ηλικία» (2018). παρουσιάζονται στη χώρα μας. Στις δράσεις αυτές Πιλοτικό πρόγραμμα με σκοπό την παροχή συμπεριλαμβάνονται αποστολές ειδών πρώτης ανάγκης, πρωτοβάθμιας ιατρικής περίθαλψης σε 157 άτομα ιατροφαρμακευτικού υλικού και εξοπλισμού σε ιατρικές που φιλοξενούνται σε 4 Μονάδες Μακροχρόνιας και κοινωνικές δομές στήριξης Ελλήνων, μεταναστών Φροντίδας Ηλικιωμένων μη κερδοσκοπικού και και προσφύγων, εκστρατείες Προληπτικής Ιατρικής στην εκκλησιαστικού χαρακτήρα στην Αττική. Περιφέρεια για τη στήριξη ευπαθών κοινωνικών ομάδων ΤΟ ΑΦΙΕΡΩΜΑ «ΤΟ ΜΕΛΛΟΝ ΕΙΝΑΙ ΓΥΝΑΙΚΑ» ΤΟΥ 24ΟΥ ΔΙΕΘΝΟΥΣ ΦΕΣΤΙΒΑΛ ΚΙΝΗΜΑΤΟΓΡΑΦΟΥ ΤΗΣ ΑΘΗΝΑΣ ΥΛΟΠΟΙΕΙΤΑΙ ΑΠΟ: και προσφορά εξοπλισμού ιατρικής εκπαίδευσης φοιτητών. ΓΙΑ ΠΕΡΙΣΣΟΤΕΡΕΣ ΠΛΗΡΟΦΟΡΙΕΣ ΜΠΟΡΕΙΤΕ ΝΑ ΕΠΙΣΚΕΦΘΕΙΤΕ ΤΗΝ ΙΣΤΟΣΕΛΙΔΑ ΤΗΣ ΟΡΓΑΝΩΣΗΣ ΑΠΟΣΤΟΛΗ ΑΝΘΡΩΠΟΣ www.missionanthropos.com PUBLI_ANTHROPOS_CS6.indd 1 7/9/2018 3:29:11 μμ jam.1809.adv195x195.qxp_Layout 1 4/9/18 16:29 Page 1 TAYtotHTA THE teaM ΔΙΟΡΓΑΝΩΣΗ ORGANIZED BY Κινηματογραφική Εταιρεία Αθηνών Τhe Athens Film Society ΠΡΟΕΔΡΟΣ CHAIR Μαρία Μπόμπολα Maria Bobola SMOOTH ΚΑΛΛΙΤΕΧΝΙΚΟΣ ΔΙΕΥΘΥΝΤΗΣ ARTISTIC DIRECTOR it runs in the Λουκάς Κατσίκας Loukas Katsikas ΕΚΤΕΛΕΣΤΙΚΗ ΔΙΕΥΘΥΝΤΡΙΑ MANAGING DIRECTOR Τατιάνα Παππά - Μπετροσιάν Tatiana Pappa-Betrosian FAMILY ΣΥΝΤΟΝΙΣΜΟΣ ΕΡΓΑΣΙΩΝ ΠΡΟΓΡΑΜΜΑΤΟΣ GENERAL COORDINATION Άντυ Δημοπούλου Andy Dimopoulou ΥΠΕΥΘΥΝΟΣ ΓΕΝΙΚΟΥ ΠΡΟΓΡΑΜΜΑΤΟΣ HEAD OF PROGRAMME SELECTION Κωστής Θεοδοσόπουλος Kostis Theodosopoulos ΥΠΕΥΘΥΝΟΣ ΔΙΕΘΝΟΥΣ ΠΡΟΓΡΑΜΜΑΤΟΣ INTERNATIONAL PROGRAMME SELECTION Νεκτάριος Σάκκας Nektarios Sakkas ΥΠΕΥΘΥΝΟΣ ΠΡΟΓΡΑΜΜΑΤΟΣ ΕΛΛΗΝΙΚΩΝ ΜΙΚΡΟΥ ΜΗΚΟΥΣ GREEK SHORT STORIES IN COMPETITION SELECTION COORDINATOR Πάνος Γκένας Panos Gkenas ΥΠΕΥΘΥΝΟΙ ΠΡΟΓΡΑΜΜΑΤΟΣ ΔΙΕΘΝΩΝ ΜΙΚΡΟΥ ΜΗΚΟΥΣ INTERNATIONAL SHORT STORIES SELECTION COORDINATORS Δήμητρα Αργυράκη, Θοδωρής Καραμανώλης Dimitra Argyraki, Thodoris Karamanolis ΥΠΕΥΘΥΝΟΣ ΑΦΙΕΡΩΜΑΤΩΝ TRIBUTES COORDINATOR Θοδωρής Καραμανώλης Thodoris Karamanolis ΚΕΙΜΕΝΑ ΚΑΤΑΛΟΓΟΥ ΚΑΙ ΩΡΟΛΟΓΙΟΥ CATALOGUE AND SCREENING SCHEDULE TEXTS Δήμητρα Αργυράκη, Πάνος Γκένας, Ηλίας Δημόπουλος, Άντυ Δημοπούλου, Dimitra Argyraki, Panos Gkenas, Ilias Dimopoulos, Andy Dimopoulou, Κωστής Θεοδοσόπουλος, Θοδωρής Καραμανώλης, Λουκάς Κατσίκας, Kostis Theodosopoulos, Thodoris Karamanolis, Loukas Katsikas, Τάσος Μελεμενίδης, Μαρία Ναθαναήλ, Νεκτάριος Σάκκας Tasos Melemenidis, Maria Nathanael, Nektarios Sakkas ΣΧΕΔΙΑΣΜΟΣ ΑΦΙΣΩΝ POSTERS DESIGN Βασίλης Μέξης Vassilis Mexis ΥΠΗΡΕΣΙΕΣ ΕΠΙΚΟΙΝΩΝΙΑΣ COMMUNICATIONS COORDINATOR Μαρία Ναθαναήλ Maria Nathanael ΓΡΑΦΕΙΟ ΤΥΠΟΥ PRESS OFFICE Μαρία Ναθαναήλ, Έλλη Μελέα Maria Nathanael, Elli Melea ΥΠΕΥΘΥΝΗ SOCIAL MEDIA SOCIAL MEDIA Φωτεινή Αλευρά Foteini Alevra ΥΠΕΥΘΥΝΗ ΦΙΛΟΞΕΝΙΑΣ GUEST OFFICE COORDINATOR Βιολέττα Γύρα Violetta Gyra ΑΡΧΙΣΥΝΤΑΞΙΑ SITE www.aiff.gr WEBSITE CONTENT EDITOR Τάσος Μελεμενίδης Tasos Melemenidis ΣΥΝΤΟΝΙΣΜΟΣ ΚΙΝΗΣΗΣ ΤΑΙΝΙΩΝ – ΤΡΑΦΙΚ ΤΑΙΝΙΩΝ TRAFFIC COORDINATOR Ηρακλής Καστρινάκης Iraklis Kastrinakis ΒΟΗΘΟΣ ΚΙΝΗΣΗΣ ΤΑΙΝΙΩΝ – ΤΡΑΦΙΚ ΤΑΙΝΙΩΝ TRAFFIC ASSISTANT Βίκυ Καμπουρίδου Vicky Kambouridou 6 TAYtotHTA THE teaM ΕΠΙΜΕΛΕΙΑ ΚΕΙΜΕΝΩΝ ΚΑΤΑΛΟΓΟΥ ΚΑΙ ΩΡΟΛΟΓΙΟΥ ΠΡΟΓΡΑΜΜΑΤΟΣ CATALOGUE AND SCREENING SCHEDULE EDITOR Ηλίας Δημόπουλος Ilias Dimopoulos ΣΥΝΤΟΝΙΣΜΟΣ ΥΛΙΚΩΝ ΠΡΟΓΡΑΜΜΑΤΟΣ PROGRAMME MATERIALS COORDINATOR Δήμητρα Αργυράκη Dimitra Argyraki ΣΥΝΤΟΝΙΣΜΟΣ ΠΑΡΑΓΩΓΗΣ HEAD OF PRODUCTION Δάφνη Δημοπούλου Daphne Dimopoulou ΠΑΡΑΓΩΓΗ PRODUCTION COORDINATOR Αλέξης Αναστασιάδης Alexis Anastasiadis ΒΟΗΘΟΣ ΠΑΡΑΓΩΓΗΣ PRODUCTION ASSISTANT Αντιγόνη Ρώτα Antigoni Rota ΥΠΕΥΘΥΝOI ΑΙΘΟΥΣΑΣ ΚΑΙ ΧΩΡΟΤΑΞΙΑΣ VENUE SUPERVISORS Λεωνίδας Βυζάς - Ασημακόπουλος, Ιωάννα Κατσίμπα, Ανδρονίκη Κοντούλη, Σταυρούλα Stavroula Economou, Vasileia Harlafti, Ioanna Katsimpa, Androniki Kontouli, Christos Οικονόμου, Χρήστος Πολίτης, Βασιλεία Χαρλαύτη Politis, Leonidas Vyzas - Asimakopoulos ΔΙΟΙΚΗΤΙΚΗ ΥΠΟΣΤΗΡΙΞΗ ADMINISTRATIVE ASSISTANT Αποστολία Παπαϊωάννου Apostolia Papaioannou ΔΙΕΚΠΕΡΑΙΩΣΗ ΕΞΩΤΕΡΙΚΩΝ ΕΡΓΑΣΙΩΝ RUNNER Στέφανος Ανδρέου Stephanos Andreou ΜΕΤΑΦΡΑΣΗ ΚΑΤΑΛΟΓΟΥ ΚΑΙ ΩΡΟΛΟΓΙΟΥ ΠΡΟΓΡΑΜΜΑΤΟΣ CATALOGUE AND SCREENING SCHEDULE TRANSLATION Βασιλική Τζανακάρη Vasiliki Tzanakari ΦΩΤΟΓΡΑΦΟI PHOTOGRAPHER Νίκος Κατσαρός Nikos Katsaros ΥΠΗΡΕΣΙΕΣ ΥΠΟΤΙΤΛΙΣΜΟΥ ΤΑΙΝΙΩΝ SUBTITLING SERVICES Ιωάννης Παπαδάκης & ΣΙΑ Ο.Ε. -PROJECT TITLING Giannis Papadakis & SIA O.E. - PROJECT TITLING ΔΗΜΙΟΥΡΓΙΚΟ και ΣΧΕΔΙΑΣΜΟΣ ΠΡΟΩΘΗΤΙΚΟΥ ΥΛΙΚΟΥ CREATIVE DESIGN and PROMOTIONAL MATERIAL DESIGN Δήμητρα Δαριώτη, Γιώργος Δημητρόπουλος Dimitra Darioti, Giorgos Dimitropoulos ΔΗΜΙΟΥΡΓΙΑ MOBILE APPLICATION APPLICATION DESIGNER www.aiff.gr amoweb.gr amoweb.gr ΚΙΝΗΜΑΤΟΓΡΑΦΙΚΗ ΕΤΑΙΡΕΙΑ ΑΘΗΝΩΝ ATHENS FILM SOCIETY (Αστική Μη Κερδοσκοπική Εταιρεία) (Non-Profit Organization) Μπενάκη 5, 152 38 Χαλάνδρι, Αθήνα Benaki 5, 152 38 Chalandri, Athens τηλ. 210 6018565 tel. +30 210 6018565 8 ΠΕΡΙ ΕΧΟΜΕΝΑ ΠΕΡΙ ΕΧΟΜΕΝΑ IN DEX IN DEX ΔΙΕΘΝΕΣ ΔΙΑΓΩΝΙΣΤΙΚΟ 16 INTERNATIONAL COMPETITION Η ΣΙΩΠΗΛΗ ΕΠΑΝΑΣΤΑΣH 66 THE SILENT REVOLUTION ΑΟΡΑΤΟΣ ΚΟΣΜΟΣ 18 THE SEEN AND UNSEEN ΟΙΚΟΓΕΝΕΙΑΚΗ ΕΚΔΡΟΜΗ 67 A FAMILY TOUR ΣΚΛΗΡΗ ΜΠΟΓΙΑ 19 HARD PAINT ΟΙ ΧΤΥΠΟΙ ΤΗΣ ΚΑΡΔΙΑΣ ΜΟΥ 68 SORRY ANGEL ΣΤΟΥΣ ΔΙΑΔΡΟΜΟΥΣ 20 IN THE AISLES Η ΔΙΑΠΑΙΔΑΓΩΓΗΣΗ ΤΗΣ ΚΑΜΕΡΟΝ ΠΟΣΤ 69 THE MISEDUCATION OF CAMERON POST ΜΕ ΔΙΑΒΑΤΗΡΙΟ ΤΗ ΓΟΗΤΕΙΑ 21 THE CHARMER ΤΟ ΠΑΙΧΝΙΔΙ ΜΕ ΤΗ ΦΩΤΙΑ 70 BURNING ΛΗΣΤΕΙΑ στο ΜΟΥΣΕΙΟ 22 MUSEUM ΨΕΥΤΙΚΑ ΤΑΤΟΥΑΖ 71 FAKE TATTOOS Ο δρομεασ του ΜΕΣονυκτιου 23 MIDNIGHT RUNNER Ο ΑΓΓΕΛΟΣ 72 THE ANGEL ΟΙ ΚΛΗΡΟΝΟΜΟΙ 24 THE HEIRESSES ΤΟ ΔΙΑΓΓΕΛΜΑ 73 THE ANNOUNCEMENT ΣΥΝΕΠΕΙΕΣ 25 CONSEQUENCES Η ΝΗΠΙΑΓΩΓΟΣ 74 THE KINDERGARTEN TEACHER ΗΦΑΙΣΤΕΙΟ 26 VOLCANO Η ΠΡΟΦΗΤΕΙΑ ΤΟΥ ΑΡΜΑΝΤΙΛΟ 75 THE ARMADILLO’S PROPHECY ΝΤΑΪΑΝ 27 DIANE ΟΙ ΣΤΑΧΤΕΣ ΜΙΑΣ ΑΓΑΠΗΣ 76 ASH IS PUREST WHITE ΚΑΡΔΙΑ ΑΠΟ ΝΕΟΝ 28 NEON HEART Ο ΑΓΑΠΗΜΕΝΟΣ 77 LOVELING ΕΝΑ ΒΗΜΑ ΠΡΙΝ ΓΙΝΕΙΣ ΑΓΙΟΣ 29 ONE STEP BEHIND THE SERAPHIM KOKKINΗ ΕΚΛΕΙΨΗ 78 ROJO ΑΝΑΣΑ ΕΛΕΥΘΕΡΙΑΣ 30 AND
Load more

Recommended publications
  • Download Download
    Polish Feature Film after 1989 By Tadeusz Miczka Spring 2008 Issue of KINEMA CINEMA IN THE LABYRINTH OF FREEDOM: POLISH FEATURE FILM AFTER 1989 “Freedom does not exist. We should aim towards it but the hope that we will be free is ridiculous.” Krzysztof Kieślowski1 This essay is the continuation of my previous deliberations on the evolution of the Polish feature film during socialist realism, which summarized its output and pondered its future after the victory of the Solidarity movement. In the paper “Cinema Under Political Pressure…” (1993), I wrote inter alia: “Those serving the Tenth Muse did not notice that martial law was over; they failed to record on film the takeover of the government by the political opposition in Poland. […] In the new political situation, the society has been trying to create a true democratic order; most of the filmmakers’ strategies appeared to be useless. Incipit vita nova! Will the filmmakers know how to use the freedom of speech now? It is still too early toanswer this question clearly, but undoubtedly there are several dangers which they face.”2 Since then, a dozen years have passed and over four hundred new feature films have appeared on Polish cinema screens, it isnow possible to write a sequel to these reflections. First of all it should be noted that a main feature of Polish cinema has always been its reluctance towards genre purity and display of the filmmaker’s individuality. That is what I addressed in my earlier article by pointing out the “authorial strategies.” It is still possible to do it right now – by treating the authorial strategy as a research construct to be understood quite widely: both as the “sphere of the director” or the subjective choice of “authorial role,”3 a kind of social strategy or social contract.4 Closest to my approach is Tadeusz Lubelski who claims: “[…] The practical application of authorial strategies must be related to the range of social roles functioning in the culture of a given country and time.
    [Show full text]
  • Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
    Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of
    [Show full text]
  • 1 INTRODUCTION This Dissertation Will Discuss the Perception of Polish
    Cut off by the 'Iron Curtain' Item Type Thesis Authors Draniewicz, Anna B. Rights <a rel="license" href="http://creativecommons.org/licenses/ by-nc-nd/3.0/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by- nc-nd/3.0/88x31.png" /></a><br />The University of Bradford theses are licenced under a <a rel="license" href="http:// creativecommons.org/licenses/by-nc-nd/3.0/">Creative Commons Licence</a>. Download date 24/09/2021 13:59:05 Link to Item http://hdl.handle.net/10454/4927 INTRODUCTION This dissertation will discuss the perception of Polish Cinema in English- language literature. During the collection of my secondary data, which concentrated mainly on English-language books but also includes newspapers and Internet resources, I encountered many interesting issues. These are divided here into three categories discussed in three chapters: ‘Stereotypes and Errors’ that result from the lack of knowledge thus causing misunderstandings, ‘Deficiencies’ about the absence of some films and directors in the English-speaking world and ‘Different Perspectives’ that reveal some interesting comparisons. The judgements applied to define these sections are respectively: accuracy (correctness of the facts), novelty (unknown trends) and originality of ideas (absent in Polish film criticism). During my research I have discovered the main factors distorting the perception of Polish cinema. I talked about them during my presentation entitled ‘English-Language Critical Engagements with Polish Cinema’ during the ‘Polish Cinema in an International Context’ conference held in Manchester in December 2009. Most of these issues are addressed in Chapter One, which outlines the problems that English-language authors seem to have with the Polish language, the background political issues and the lack of knowledge about some of the periods of Polish cinema.
    [Show full text]
  • Krzyzsztof Kieslowski, BLIND CHANCE/PRZPADEK, 1981, (122 Min.)
    November 4, 2008 (XVII:11) Krzyzsztof Kieslowski, BLIND CHANCE/PRZPADEK, 1981, (122 min.) Directed and written by Krzysztof Kieslowski Produced by Jacek Szeligowski Original Music by Wojciech Kilar Cinematography by Krzysztof Pakulski Film Editing by Elzbieta Kurkowska Boguslaw Linda... Witek Tadeusz Lomnicki... Werner Zbigniew Zapasiewicz... Adam Boguslawa Pawelec... Czuszka Marzena Trybala... Werka Jacek Borkowski... Marek Jacek Sas-Uhrynowski... Daniel KRZYSZTOF KIESLOWSKI (27 June 1941, Warsaw, Poland—13 Synteza (1984), Danton (1983), Czlowiek z zelaza/Man of Iron March 1996, Warsaw, cardiac arrest) directed 40 films, the last of (1981), Wsciekly (1980) and Dagny (1977). which was Trois couleurs: Rouge/Trzy kolory: CzerwonyThree Colors: Red (1994), the final part of a trilogy the other two parts WOJCIECH KILAR (17 July 1932, Lwów, Poland. [now Lviv, of which were Trzy kology:Bialy/Three Colors: White/Trois Ukraine]) has composed music for 159 films, among them, We couleurs:Blanc (1994) and Trois couleurs: Bleu/Three Colors: Own the Night (2007), Persona non grata (2005), Vendetta Blue/Trzy kolory: Niebieski (1993). Some of the others were (2003), The Pianist (2002), Salwa (2001), Pan Tadeusz (1999), Double vie de Véronique/The Double Life of Véronique/Podwуjne The Portrait of a Lady (1996), Cwal/At Full Gallop (1996), Death zycie Weroniki (1991), “Dekalog” (10 episodes 1989-1990), and the Maiden (1994), Dracula (1992), Le Retour/The Return Krуtki film o milosci/A Short Film About Love (1988), Krуtki film (1990), Salsa (1988), Przypadek/Blind Chance (1987), Imperativ o zabijaniu/ A Short Film About Killing (1988) Bez konca/No End (1982), Smuga cienia/The Shadow Line (1976), (1985), and Amator/Camera Buff (1979).
    [Show full text]
  • IT's TIME to DIE by Krzysztof Zanussi
    IT’S TIME TO DIE by Krzysztof Zanussi translated by Anna Piwowarska // Stephen Davies 1 INTRODUCTION The grim title of this book originates from an anecdote and I ask you to treat it as a joke. I don’t intend to die soon or persuade anyone to relocate to the afterworld. But a certain era is dying before our very eyes and if someone is very attached to it, they should take my words to heart. This is what this book is to be about. But first, about that anecdote. It comes from a great actor, Jerzy Leszczynski. For me, a fifty-something-year-old, this surname is still very much alive. I saw Jerzy in a few roles in the ‘Polish Theatre’ just after the war; I also saw him in many pre-war films (after the war I think he only acted in ‘Street Boundary’). He was an actor from those pre-war years: handsome, endowed with a wonderful appearance and a beautiful voice. He played kings, military commanders, warlords and this is how the audiences loved him. After the war, he acted in radio plays – he had beautiful pre-war diction and of course he pronounced the letter ‘ł’ and he didn't swallow his vowels. Apart from this, he was known for his excellent manners, which befitted an actor who played kings and military commanders. When the time of the People’s Republic came, the nature of the main character that was played out on stage changed. The recruitment of actors also changed: plebeian types were sought after - 'bricklaying teams' and 'girls on tractors who conquered the spring'.
    [Show full text]
  • History and KNOWLEDGE of POLAND PROMOTION of FINE ARTS and Photography
    History 2010 2011 2012 2013 2013 and Ukrainian experience of public Visit of Adam Michnik to gender problems and feminism issues Kharkiv | Center for Interethnic Relations Re- Publication of the supplement to search of Eastern Europe | 14.05.2013 and knowledge protest movements" his participation in the discussion "20 Kyiv | NaUKMA Visual Culture Center the "Komentari" weekly dedicated Participation by Wojciech to the Visegrad Four group as part of the project "European Experience – Years without the USSR" and his lecture on Lecture by David Ost "The Defeat Przybylski in the discussion about Poland" "Czesław Miłosz and the New Europe" of Solidarity: Anger and Politics in of Poland the middle class Post-Communist Europe" Kyiv | Ye Bookshop | 15.10.2010 Lviv | Publishers' Forum | 16-17.09.2011 Promotion 2010 Kyiv | Center of Polish and European Studies | Meeting with Grzegorz Gauden, Meeting with Jarosław Obremski, Kyiv | NaUKMA Visual Culture Center | 31.05.2013 13.03.2013 Director of the Book Institute Deputy Mayor of Wroc aw Competition on lesson scenarios ł Publication of the supplement to "The Common Past" of fine arts with the theme "About Chopin for as part of the project "European Experience – as part of the project "European Experience – the "Komentari" weekly dedicated the research publication project dedicated children" Poland" Poland" to the European Union to the Ukrainian-Polish memory dialog at and photography Together with the Association of Teachers Kyiv | Ye Bookshop | 09.11.2010 Kyiv | 19.10.2012 the "Istorychna Pravda" website Kyiv | Kharkiv | Ye Bookshop | 2-3.03.2011 Series: "School Without Tears" and the Institute Meeting with Aleksander Smoliar, Presentation of the book "To Live 1.04 – 30.06.2013 Open archive of Innovation Technology and Content of 2011 Director of the Stefan Batory Together" and forum discussion Performance festival.
    [Show full text]
  • Obce Ciało Press Kit En
    FOREIGN BODY Directed by Krzysztof Zanussi CAST Angelo Riccardo Leonelli Kris Agnieszka Grochowska Kasia Agata Buzek Mira Weronika Rosati Father Sławomir Orzechowski Tamara Tschulpan Chamatowa Adam Bartek Żmuda Róża Ewa Krasnodębska Alessio Antonio Ianniello Angelo ’ mother Victoria Zinny Journalist Jacek Poniedziałek Hypnotist Janusz Chabior Mother Superior Stanisława Celińska Priest Maciej Robakiewicz Focolarino Tadeusz Bradecki Police officer Bartosz Obuchowicz CREW Direc tor Krzysztof Zanussi Screenplay Krzysztof Zanussi Director of photography Piotr Niemyjski Costium e designer Katarzyna Lewińska Production designer Joanna Macha Producer Krzysztof Zanussi Executive producer Janusz Wąchała PRODUCTION DETAILS Genr e drama Country Pol and / Italy / R ussia Production company TOR Film Production Co -produc tion companies Revolver Film In cooperation with TVCo National Program „Within The Family” TZMO WFDiF TVP Financial s upport by Polish Film Institu te Ministry of Culture and National Heritage TOR Film Production, e-mail: [email protected], phone: +48(22)8455303, www.tor.com.pl The Director about the film: “The film, which is intended to be a psychological drama, gives an account of a clash of corporate cynicism with youthful idealism. The perversity of the story comes from the fact that the one persecuted is a young man, an Italian, who is a genuine Christian. On the other side stands a row of liberated women who outperform the men in their cynicism and brutality of conduct. The result of the clash is inconclusive – idealism falters, although it has its Lord, while cynicism cracks, even though it’s far from being converted. The genealogy of the liberated woman catches a glimpse back to the past.
    [Show full text]
  • 1 New Polish Films 2006
    New Polish Films 2006 New Polish Films 2006 1 2 New Polish Films 2006 It is my great pleasure to present, on behalf of the Polish Film Institute, this up-to-date catalogue of new Polish films. I am convinced that this exhaustive survey of modern Polish cinema is a better invitation to collaboration than any words could be. Here you will discover the number and range of movies being made in modern day Poland and the extent of talent and resources behind them. This publication also provides you with useful information about the film industry in Poland, including the most important address: that of the Polish Film Institute. You are always welcome - filmmakers, producers, buyers, journalists - to get professional guidance and information about Polish film and movie making in Poland, a country with modern film legislation, attractive locations, an extensive pool of talent in all film professions - the right place for your next co-production project. Agnieszka Odorowicz General Director Polish Film Institute It’s been over a half of century since I started making films in Poland. During the course of those years, I have witnessed great triumphs but likewise painful falls in our cinematography. I have seen international successes as well as periods of almost complete absence from the world scene. Today, I look with great joy as Polish filmmakers - both my more experienced collegues and most importantly - the younger genaration, have been granted an opportunity which not only enables them to make movies but will also enable those movies to be shown to international audiences. This is possible thanks to the new film legislation in Poland.
    [Show full text]
  • Polish Modern Culture Agnieszka Słomian, Tomasz Mazurek Imprint
    Chapter VIII Polish Modern Culture Agnieszka Słomian, Tomasz Mazurek Imprint Get to know about Poland – Training Materials for Trainers and Teachers Authors: Danuta Gałyga, Tomasz Mazurek, Marzena Ples, Agnieszka Słomian, Marcin Zybała Content-related coordination of the project: Agnieszka Słomian Content-related editing of the publication: Agnieszka Słomian, Marcin Zybała Linguistic editing of the publication: Steve Jones Composition/graphics: DoLasu | art studio, www.dolasu-pracownia.pl ISBN: 978-83-938388-2-0 Published by: © Institute for Eastern Initiatives (Instytut Wschodnich Inicjatyw) ul. Salwatorska 5/10, 30-109 Kraków www.iwi.org.pl | www.aboutpoland.iwi.org.pl Kraków 2015 The workshop scenario is part of the publication Get to know about Poland – Training Materials for Trainers and Teachers which was created during the project coordinated by the Institute for Eastern Initiatives. The project is co-financed by the Department of Public and Cultural Diplomacy of the Ministry of Foreign Affairs within the framework of the “Cooperation in the Field of Public Diplomacy 2015” competition. The publication expresses the views of the authors only and cannot be identified with the official position of the Ministry of Foreign Affairs of the Republic of Poland. Get to know about Poland – Training Materials for Trainers and Teachers is licensed under the Creative Commons Attribution 3.0 Poland. Some rights are reserved for Danuta Gałyga, Tomasz Mazurek, Marzena Ples, Agnieszka Słomian, Marcin Zybała and the Institute for Eastern Initiatives. The work was created as part of the “Cooperation in the Field of Public Diplomacy 2015” competition. Permission is granted to all use of the work, provided the aforementioned information is upheld, including the information concerning the applicable license, the rights reserved and the “Cooperation in the Field of Public Diplomacy 2015” competition.
    [Show full text]
  • Frame by Frame
    Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Frame by Frame The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Ahmanson • Murphy Imprint in Fine Arts. The publisher also gratefully acknowledges the generous support of the Department of Film Studies at the University of North Carolina Wilmington and, at the University of Chicago, the Department of Cinema and Media Studies, the Division of the Humanities, and Yuri Tsivian. Frame by Frame A Materialist Aesthetics of Animated Cartoons Hannah Frank Edited and with an introduction by Daniel Morgan Foreword by Tom Gunning UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Hannah Frank Suggested citation: Frank, H. Frame by Frame: A Materialist Aesthetics of Animated Cartoons. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.65 This work is licensed under a Creative Commons CC BY-NC-SA license.
    [Show full text]
  • The Lost Illusions of the Regained Freedom of Expression in the PostCommunist Cinematographic Art in Romania As Compared to Hungary, Poland and the Czech Republic
    THE LOST ILLUSIONS OF THE REGAINED FREEDOM OF EXPRESSION IN THE POST-COMMUNIST CINEMATOGRAPHIC ART IN ROMANIA AS COMPARED TO HUNGARY, POLAND AND THE CZECH REPUBLIC Cristina Nicolaescu ∗∗∗ [email protected] Abstract: A question arises firmly: why can film makers create works in conditions of intellectual and social - political constraint and obstruction, while they cannot create them in conditions of freedom? Were these accomplished in total freedom? To answer this question, we shall select several illustrative examples for the above-mentioned countries. But, before this, let us show what the political and social context of the analysed communist period was, and what were the artistic performances of these film makers, not forgetting to mark and describe the mechanism of propaganda and communist censure. The differences of hues refer to the totally different way in which these countries perceived and accepted or not the communism and to the structure of the communist system varying from a regime to another. Compared to totalitarianism, dictatorship does not destroy any opposition; although it is a callous political regime using violent methods, dictatorship does not cancel any form of the civil society. Keywords: cinematography, events, freedom, communism Freedom of expression “Freedom of expression, of thought, opinion and beliefs, and freedom of creation of any kind, orally, by images, sounds and other public communication means, are inviolable. Censorship of any kind is forbidden. Freedom of expression will prejudice neither the person's dignity, honour, private life, nor the right to his/her own image. Freedom of expression is guaranteed by the Romanian Constitution”. The same text, with small variations, is written in the fundamental laws of Poland, Hungary and the Czech Republic.
    [Show full text]
  • KATALOG KIPA.Pdf
    Krajowa Izba Producentów Audiowizualnych Polish Audiovisual Producers Chamber of Commerce Spis treśCI CONTENTS 4 INFORMACJE O KIPA / ABOUT KIPA 6 AUTORSKIE PROJEKTY I INICJATYWY KIPA / KIPA PROJECTS AND INITIATIVES 9 DLACZEGO WARTO DOŁĄCZYĆ DO KIPA? / WHY JOIN KIPA? 11 WŁADZE KIPA / MANAGEMENT BOARD OF KIPA 17 ZESPÓŁ KIPA / KIPA TEAM CZŁONKOWIE KIPA / KIPA MEMBERS: 20 PRODUCENCI / PRODUCERS 232 SZKOŁY FILMOWE / FILM SCHOOLS 254 REGIONALNE FUNDUSZE FILMOWE, KOMISJE FILMOWE / REGIONAL FILM FUNDS, FILM COMMISSIONS 272 WYKAZ WSZYSTKICH ZRZESZONYCH CZŁONKÓW (INDEKS) / A LIST OF ALL ASSOCIATED MEMBERS (INDEX) 278 AUTORZY ZDJĘĆ / PHOTOGRAPHS BY Informacje O KIPA ABOUT KIPA Krajowa Izba Producentów Audiowizualnych (KIPA) jest The Polish Audiovisual Producers Chamber of Commerce jedyną izbą gospodarczą rynku audiowizualnego w Polsce (KIPA) is the only audiovisual chamber of commerce in i jedną z największych niezależnych organizacji biznesu Poland, and is one of the largest independent business łączącą ponad 140 podmiotów. Są wśród nich firmy produ‑ organisations in the country. KIPA combines more than cenckie specjalizujące się w produkcji filmowej, telewizyjnej 140 entities, including companies specialising in pro- i reklamowej, a także szkoły filmowe i regionalne fundusze ducing films, TV programmes and advertisements, film filmowe (RFF). Od momentu powstania w 2000 r. aktywnie schools, and Regional Film Funds (RFF). Since its inception uczestniczy w rozwoju polskiego przemysłu audiowizual‑ in 2000, the Chamber has been actively involved in nego. Podstawowym zadaniem KIPA jest reprezentowanie the growth and advancement of the Polish audiovis- interesów gospodarczych swoich członków, w szczegól‑ ual industry. The primary task of KIPA is to represent ności wobec administracji rządowej i kluczowych graczy the commercial interests of its members, especially in rynku audiowizualnego.
    [Show full text]