2014 Film Festival Programme
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Flemish Cinema and Film Culture Through South African Eyes
Flemish Cinema and Film Culture through South African Eyes By Martin P. Botha Fall 2007 Issue of KINEMA THE HERITAGE OF FILM: PERSPECTIVE ON FLEMISH CINEMA AND FILM CUL- TURE THROUGH SOUTH AFRICAN EYES I assisted the Locarno Film festival in 2005 with a retrospective of short films by young South African directors. There I met a very talented, young Flemish director, whose film was by far the best in the one section.(1) It moved me immensely with its honest portrait of alienation and racial discrimination. We had a long discussion on film history, aesthetics and film cultures. We also talked about the historyof film in Belgium and it was noted that while the French speaking side of Belgian cinema had recently received international acclaim (for example, the work by the Dardenne Brothers), Flemish cinema was struggling. In fact, the young filmmaker made the statement that there was little to be excited about in the historyof Flemish cinema. He felt especially that the films about rural communities and most of the historical dramas were not saying much about contemporary Flanders, in particular, the youth. I have heard this argument before, but in a totally different cultural context. Many young, aspiring South African filmmakers have told me there is very little in South African film history which makes themproud of their film culture. For decades South African film culture has been in isolation. The years 1959to1980 were characterised by an artistic revival in filmmaking throughout the world, ranging from exciting political films in Africa and Latin America to examples of great art cinema in Europe and Asia. -
2009 Sundance Film Festival Announces Films in Competition
Media Contacts: For Immediate Release Brooks Addicott, 435.658.3456 December 3, 2008 [email protected] Amy McGee, 310.492.2333 [email protected] 2009 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS IN COMPETITION Festival Celebrates 25 Years of Independent Filmmaking and Cinematic Storytelling Park City, UT—Sundance Institute announced today the lineup of films selected to screen in the U.S. and World Cinema Dramatic and Documentary Competitions for the 25th Sundance Film Festival. In addition to the four Competition categories, the Festival presents films in five out-of-competition sections to be announced tomorrow. The 2009 Sundance Film Festival runs January 15-25 in Park City, Salt Lake City, Ogden, and Sundance, Utah. The complete list of films is available at www.sundance.org/festival. "This year's films are not narrowly defined. Instead we have a blurring of genres, a crossing of boundaries: geographic, generational, socio-economic and the like," said Geoffrey Gilmore, Director, Sundance Film Festival. "The result is both an exhilarating and emotive Festival in which traditional mythologies are suspended, discoveries are made, and creative storytelling is embraced." "Audiences may be surprised by how much emotion this year's films evoke," said John Cooper, Director of Programming, Sundance Film Festival. "We are seeing the next evolution of the independent film movement where films focus on storytelling with a sense of connection and purpose." For the 2009 Sundance Film Festival, 118 feature-length films were selected including 88 world premieres, 18 North American premieres, and 4 U.S. premieres representing 21 countries with 42 first-time filmmakers, including 28 in competition. -
IN STILL ROOMS CONSTANTINE JONES the Operating System Print//Document
IN STILL ROOMS CONSTANTINE JONES the operating system print//document IN STILL ROOMS ISBN: 978-1-946031-86-0 Library of Congress Control Number: 2020933062 copyright © 2020 by Constantine Jones edited and designed by ELÆ [Lynne DeSilva-Johnson] is released under a Creative Commons CC-BY-NC-ND (Attribution, Non Commercial, No Derivatives) License: its reproduction is encouraged for those who otherwise could not aff ord its purchase in the case of academic, personal, and other creative usage from which no profi t will accrue. Complete rules and restrictions are available at: http://creativecommons.org/licenses/by-nc-nd/3.0/ For additional questions regarding reproduction, quotation, or to request a pdf for review contact [email protected] Th is text was set in avenir, minion pro, europa, and OCR standard. Books from Th e Operating System are distributed to the trade via Ingram, with additional production by Spencer Printing, in Honesdale, PA, in the USA. the operating system www.theoperatingsystem.org [email protected] IN STILL ROOMS for my mother & her mother & all the saints Aιωνία η mνήμη — “Eternal be their memory” Greek Orthodox hymn for the dead I N S I D E Dramatis Personae 13 OVERTURE Chorus 14 ACT I Heirloom 17 Chorus 73 Kairos 75 ACT II Mnemosynon 83 Chorus 110 Nostos 113 CODA Memory Eternal 121 * Gratitude Pages 137 Q&A—A Close-Quarters Epic 143 Bio 148 D R A M A T I S P E R S O N A E CHORUS of Southern ghosts in the house ELENI WARREN 35. Mother of twins Effie & Jr.; younger twin sister of Evan Warren EVAN WARREN 35. -
Cultural Branding in the Early Modern Period 31 the Literary Author Lieke Van Deinsen and Nina Geerdink
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. https://repository.ubn.ru.nl/handle/2066/232945 Please be advised that this information was generated on 2021-09-24 and may be subject to change. Joosten & Steenmeijer(eds) Dera, den Braber, Van Branding Books Across the Ages Strategies and Key Concepts in Literary Branding Branding Books Across the Ages Across the Books Branding Edited by Helleke van den Braber, Jeroen Dera, Jos Joosten and Maarten Steenmeijer Branding Books Across the Ages Branding Books Across the Ages Strategies and Key Concepts in Literary Branding Edited by Helleke van den Braber, Jeroen Dera, Jos Joosten, and Maarten Steenmeijer Amsterdam University Press This volume is supported by the Stichting Frederik Muller Fonds, the Paul Hazard Stichting, the Radboud Institute for Culture and History, and the Department of Modern Languages and Cultures at Radboud University. The authors thank Demi Schoonenberg and Tommie van Wanrooij for their invaluable help during the editorial process of this book. Cover design: Coördesign, Leiden Typesetting: Crius Group, Hulshout isbn 978 94 6372 391 6 e-isbn 978 90 4854 440 0 (pdf) doi 10.5117/9789463723916 nur 621 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). -
Bilan 2003 Du Centre Du Cinéma Et De L
2003 - Bilan en bref Bilan de la production, de la promotion et de la diffusion cinématographiques et audiovisuelles Centre du Cinéma et de l’Audiovisuel Service général de l’Audiovisuel et des Multimédias Ministère de la Communauté française de Belgique TABLE DES MATIÈRES Introduction Le Centre du Cinéma et de l’Audiovisuel : enveloppe budgétaire pour la production audiovisuelle ......................................... 4 1. Bilan de la Commission de Sélection des Films (courts et longs métrages, téléfilms et collections, programmes télévisuels) .................................. 6 1.1 Examen des projets ........................................................................................ 6 1.2 Promesses d’aide sélective attribuées en 2003 ............................................. 7 1.3 Liste des films soutenus ................................................................................. 8 2. Subventions à la diffusion et primes à la qualité ................................................... 16 3. Coproductions entre les producteurs indépendants et les télévisions (RTBF / RTL-TVi / Canal + / AB3) ............................................... 17 4. Ateliers d’accueil, de production et ateliers d’école.............................................. 18 5. Promotion et diffusion ............................................................................................ 18 5.1 Aides à la promotion ..................................................................................... 18 5.2 Aides à la diffusion ....................................................................................... -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Dead Man, Legal Pluralism and the De-Territorialization of the West
Osgoode Hall Law School of York University Osgoode Digital Commons Articles & Book Chapters Faculty Scholarship 2011 "Passing Through the Mirror": Dead Man, Legal Pluralism and the De-Territorialization of the West Ruth Buchanan Osgoode Hall Law School of York University, [email protected] Source Publication: Law, Culture and the Humanities. Volume 7, Number 2 (2011), p. 289-309. Follow this and additional works at: https://digitalcommons.osgoode.yorku.ca/scholarly_works This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Buchanan, Ruth. ""Passing Through the Mirror": Dead Man, Legal Pluralism and the De-Territorialization of the West." Law, Culture and the Humanities 7.2 (2011): 289-309. This Article is brought to you for free and open access by the Faculty Scholarship at Osgoode Digital Commons. It has been accepted for inclusion in Articles & Book Chapters by an authorized administrator of Osgoode Digital Commons. ‘‘Passing through the Mirror’’: Dead Man, Legal Pluralism and the De-territorialization of the West Ruth M. Buchanan Osgoode Hall Law School,York University Abstract The failures of Western law in its encounter with indigenous legal orders have been well documented, but alternative modes of negotiating the encounter remain under-explored in legal scholarship. The present article addresses this lacuna. It proceeds from the premise that the journey towards a different conceptualization of law might be fruitfully re-routed through the affect-laden realm of embodied experience – the experience of watching the subversive anti- western film Dead Man. Section II explains and develops a Deleuzian approach to law and film which involves thinking about film as ‘‘event.’’ Section III considers Dead Man’s relation to the western genre and its implications for how we think about law’s founding on the frontier. -
Meet Author Alan Bissett Sporting Achievements the Stirling Fund
2012 alumni, staff and friends Meet author alan Bissett The 2011 Glenfiddich SpiriT of ScoTland wriTer of The year sporting achieveMents our STirlinG SporTS ScholarS the stirling Fund we Say Thank you 8 12 16 4 NEWS HIGHLIGHTS Successes and key developments 8 ALAN BISSETT Putting words on paper and on screen 12 HAZEL IRVINE An Olympic career 14 SPORT at STIRLING contents Thirty years of success 16 RESEARCH ROUND UP Stirling's contribution 38 18 MEET THE PRINCIPAL An interview with Professor Gerry McCormac 20 THE LOST GENERatiON? Graduate employment prospects 22 GOING WILD IN THE ARCHIVES Exhibition on campus 22 24 A CELEBRatiON OF cOLOUR AND SPRING Book launches at the University 25 THE STIRLING FUND Donations and developments 29 29 ADOPT A BOOK Support our campaign 31 CLASS NOTES 43 Find your friends 37 A WORD FROM THE PRESIDENT Your chance to get involved 38 MAKING THEIR MARK Graduates tell their story 43 WHERE ARE THEY NOW? Senior concierges in the halls 45 EVENTS FOR YOUR DIARY Let us entertain you 2 / stirling minds / Alumni, staff and Friends reasons to keep 10 in touch With over 44,000 Stirling alumni in 151 countries around the world there welcome are many reasons why you should keep in touch: Welcome to the 2012 edition of Stirling Minds which provides a glimpse into what has been an exciting 1. Maintain lifelong friendships. year for the University – from the presentation of 2. Network. Connection with the new Strategic Plan in the Scottish Parliament last alumni in similar fields, September to the ranking in a new THE (under 50 positions and locations. -
Download Talent List
www.hamiltonhodell.co.uk Talent list Naomi Ackie Raphael Acloque Jimmy Akingbola Jude Akuwudike Ben Aldridge India Amarteifio Isaac Andrews Ross Armstrong William Ash Ben Ashenden Taj Atwal Hayley Atwell Tobi King Bakare Mathew Baynton Georgina Beedle Leonie Benesch David Berry Mo Bhaier Georgia Blizzard Edward Bluemel Callum Booth-Ford Anthony Boyle Ruth Bradley Lucy Briers Susan Brown Shalom Brune-Franklin Harry Cadby Milo Callaghan Robert Carlyle Clive Carter Bertie Carvel Raquel Cassidy Navin Chowdhry Katie Clarkson-Hill Emily Coates Martin Compston Christian Cooke Sophie Cookson Liana Cornell Laia Costa Camille Cottin Brendan Cowell Marcello Cruz Jude Cudjoe Ben Daniels Jack Davenport Wallis Day Iain De Caestecker Giuseppe De Domenico Jessica De Gouw Nia Deacon Maeve Dermody Sophia Di Martino Juan Pablo Di Pace Michelle Dockery Franz Drameh Daisy Edgar-Jones Tom Ellis Alice Englert Daniel Evans Shaun Evans Emily Fairn Spike Fearn Fred Fergus America Ferrera Pam Ferris Gregory Fitoussi James Frain Stephen Fry Vivian Full Bronagh Gallagher Ruth Gemmell Ojan Genc Joseph Gilgun Burn Gorman Sofie Gråbøl Jonny Green Lucy Griffiths Rupert Grint Tallulah Haddon Michael C Hall Marina Hands Simon Harrison Kerrie Hayes Sam Haygarth Shirley Henderson Georgie Henley Frankie Hervey Tom Hiddleston Edward Hogg Ryan Hunter Merch Husey Anjelica Huston Jacob Ifan Hope Ikpoku Jnr Oliver Jackson-Cohen Joel Jackson Zainab Jah Mia Jenkins Sam John Paterson Joseph Sammy Kamara Vanessa Kirby Lee Knight Hugh Laurie Harry Lawtey Matthew Le Nevez Abbey Lee -
Why Documentaries Matter Recognised As an Innovative Cultural Form
RISJ CHALLENGES CHALLENGES Documentaries have for many decades inhabited the schedules of public Why Documentaries Matter Why broadcasters. They have chronicled the lives and institutions of western democracies. In the past two decades, however, documentaries have become Why Documentaries Matter recognised as an innovative cultural form. Instead of being exclusively funded by television channels, documentaries receive money from a number of sources, including film funds, private investors and foundations. Rather than observing, documentaries are now thought capable of changing the world. Is this what they really do? How do we define a documentary? What does it mean to be the ‘author’ of a film? Nick Fraser has been editor of the BBC’s Storyville series since 1997; here he looks at the history of documentaries, showing how definitions of documentaries have changed – and how fragile is their funding. If we want good documentaries, he concludes, we have to find ways of encouraging their creators. “Nick Fraser writes about documentaries with unique authority. Not only has he made some good ’uns, he has commissioned more than practically anyone else on earth (for the BBC’s Storyville) and - as this book shows - he Nick Fraser has watched docs from their earliest days. His ideas on what the growth of the web and the decline of public service broadcasters mean for doc-makers are informed, imaginative and challenging.” Brian Lapping Chairman and Executive Producer, Brook Lapping “The rise of documentaries over the past two decades owes more to Nick Fraser than to any other single person. For so many of us who make non-fiction films, Nick’s peerless brand of tough love and mischievous curiosity have inspired us to aim higher as we try to promote greater understanding of the major events and issues of our time.” Eugene Jarecki Documentary film maker “This expert lament is beautifully written. -
Bryan Kneale Bryan Kneale Ra
BRYAN KNEALE BRYAN KNEALE RA Foreword by Brian Catling and essays by Andrew Lambirth, Jon Wood and Judith LeGrove PANGOLIN LONDON CONTENTS FOREWORD Another Brimful of Grace by Brian Catling 7 CHAPTER 1 The Opening Years by Andrew Lambirth 23 CHAPTER 2 First published in 2018 by Pangolin London Pangolin London, 90 York Way, London N1 9AG Productive Tensions by Jon Wood 55 E: [email protected] www.pangolinlondon.com ISBN 978-0-9956213-8-1 CHAPTER 3 All rights reserved. Except for the purpose of review, no part of this book may be reproduced, sorted in a Seeing Anew by Judith LeGrove 87 retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publishers. Pangolin London © All rights reserved Set in Gill Sans Light BIOGRAPHY 130 Designed by Pangolin London Printed in the UK by Healeys Printers INDEX 134 (ABOVE) ACKNOWLEDGEMENTS 136 Bryan Kneale, c.1950s (INSIDE COVER) Bryan Kneale with Catalyst Catalyst 1964, Steel Unique Height: 215 cm 4 5 FOREWORD ANOTHER BRIMFUL OF GRACE “BOAYL NAGH VEL AGGLE CHA VEL GRAYSE” BY BRIAN CATLING Since the first draft of this enthusiasm for Bryan’s that is as telling as a storm and as monumental as work, which I had the privilege to write a couple a runic glyph. And makes yet another lens to look of years ago, a whole new wealth of paintings back on a lifetime of distinctively original work. have been made, and it is in their illumination that Notwithstanding, it would be irreverent I keep some of the core material about the life to discuss these works without acknowledging of Bryan Kneale’s extraordinary talent.