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Notes for Chapter Re-Drafts
Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010. -
Programme Notes
Programme Notes Monday 9th August 7.30pm Another Round (Druk) (15) In this highly enjoyable award-winning Danish film, four middle-aged men deal with life’s disappointments by experimenting with alcohol, with mixed results. Faced with stale careers as teachers, failing marriages and mid-life crisis, Martin, Tommy, Nikolaj and Peter decide to try out a pseudo-scientific theory – that people’s lives can be improved by maintaining a low level of alcohol in their system at all times. Taking the project seriously, the friends set themselves strict rules and conduct research into how many successful public figures were habitual drinkers. Initially, they find that sipping during the day and sustaining a low-level of alcohol in the workplace makes them more relaxed, happier and self-confident. But when they start to pursue the idea further, are the risks of the intoxicating social experiment worth taking? Another Round is the latest collaboration between director Thomas Vinterberg, co-writer Tobias Lindholm and Mads Mikkelsen, who plays Martin. In 2012 the trio made The Hunt, an award-winning film which in which Mikkelsen played a kindergarten teacher wrongly accused of being a paedophile. In the hands of many directors Another Round could easily have descended into an absurd broad comedy or a tedious polemic about alcoholism. But Vinterberg avoids the pitfalls of both – he never makes fun of his protagonists and the story makes it clear that drinking can bring pleasure as well as pain. Mikkelsen, always an exceptional actor, is perfection throughout, brilliantly but subtly showing Martin’s transition from depression to rejuvenation – and then beyond. -
Main Screen: 1100 Seats (To Run Only 35Mm Film Prints)
Location: Chandan Cinema, Juhu Main Screen: 1100 Seats (to run only 35mm film prints) Show Time 1st Show 2nd Show 3rd Show 4th Show 5th Show Date/Day 10.00 am 12.30 Noon 3.30 pm 5.30 pm 8.00 pm 21-10-.2010 No shows No shows No shows At: 7.00 p.m. Opening Function followed by the Inaugural Film Thursday THE SOCIAL NETWORK Dir.: David Fincher (USA / 2010 /35mm / Col. / 120’) 22-10-2010 10:30 am Inauguration of To start show by 1:30 p.m. POETRY ON THE PATH (NA PUTU) UNITED RED ARMY Friday Japanese Cinema followed by SUBMARINO Dir.: Lee Chang-dong Dir.: Jasmila Zbanic (Bosnia and Dir.: Kôji Wakamatsu ABOUT HER BROTHER (OTÔTO) Dir.: Thomas Vinterberg (South Korea / 2010 / 35mm / Col. / 139’) Herzegovina-Austria-Germany- (Japan / 2007 / 35mm / Col. / 190') Dir.: Yôji Yamada (Denmark-Sweden / 2010 / 35mm / Col. / Croatia / 2010 / 100’) (Japan / 2010 / 35mm / 35mm / 105') 126’) WC WC WC CJC CJC 23-10-2010 HOLD ME TIGHT (HOLD OM UNDERTOW (CONTRACORRIENTE) HONEY (BAL) R SANDCASTLE Saturday MIG) Dir.: Javier Fuentes-León Dir.: Semih Kaplanoglu Dir.: Michael Noer & Tobias Lindholm Dir.: Boo Junfeng Dir.: Kaspar Munk (Peru-Colombia/ 2009 / 35mm / Col. / (Turkey-Germany / 2010 / 35mm / Col. / 103') (Denmark / 2010 / 35mm / Col. / 90’) (Singapore / 2010 / 35mm / Col. / 92') (Denmark / 2010 / 35mm / Col. / 80') 100’) ATC WC WC IC-Presentation IC-Presentation 24-10-2010 ON TOUR (TOURNÉE) BUNRAKU MUNDANE HISTORY OUTRAGE CATERPILLAR Sunday Dir.: Mathieu Amalric Dir.: Guy Moshe Dir.: Anocha Suwichakornpong Dir.: Takeshi Kitano Dir.: Kôji Wakamatsu (France / 2010 / 35mm / Col. -
Finalists Announced for the 2007 Sundance/Nhk International Filmmakers Awards
FOR IMMEDIATE RELEASE For More Information Contact: November 17, 2006 Patrick Hubley, 435.658.3456 [email protected] FINALISTS ANNOUNCED FOR THE 2007 SUNDANCE/NHK INTERNATIONAL FILMMAKERS AWARDS New Projects from Emerging Filmmakers from Europe, Latin America, the United States and Japan Selected Los Angeles, CA–Sundance Institute and NHK (Japan Broadcasting Corporation) announced today the 12 finalists for the 2007 Sundance/NHK International Filmmakers Awards. These annual awards recognize emerging artists in international cinema and are presented to film directors from four global regions (Europe, Latin America, the United States, and Japan) to support them in realizing their next projects. The four winners, selected by members of an international jury, will be announced during the 2007 Sundance Film Festival at Park City, Utah, which runs January 18-28. The awards will be presented at the Festival Awards Ceremony on Saturday, January 27. The 12 finalists for the 2007 Sundance/NHK International Filmmakers Awards are: EUROPE LATIN AMERICA • Jens Jonsson / THE PING-PONG KING (Sweden) • Lucía Cedrón / AGNUS DEI (Argentina) • Dagur Kári / THE GOOD HEART (Iceland) • Jorge Gaggero / DOG SECURITY (Argentina) • Ursula Meier / HOME (Switzerland) • Josué Méndez / DIOSES (Peru) JAPAN UNITED STATES • Isamu Hirabayashi / THE CARE AND FEEDING OF • Caran Hartsfield / BURY ME STANDING INSECTS • Jake Mahaffy / FREE IN DEED • Tomoko Kana / TWO BY THE RIVER • Kazuo Ohno / MR. CRUMPACKER AND THE MAN FROM • Yoshinori Saitou / CHICKEN CHOICE THE LETTER The winning director from each region will receive a $10,000 award and a guarantee from NHK to purchase the Japanese television broadcast rights upon completion of their project. In addition, Sundance Institute will work closely with the award recipients throughout the year, providing ongoing resources and support in seeking out opportunities to finance and distribute their projects. -
PROGRAMA SITGES20 2.Indd
INFORMACIÓ I VENDA D’ENTRADES Compra les teves entrades a través del web del Festival: sitgesfilmfestival.com PREUS VENDA D’ENTRADES SESSIONS PRESENCIALS (IVA inclòs) Online: sitgesfilmfestival.com 10,50€: Tarifa general Auditori TAQUILLES DE L’AUDITORI MELIÁ SITGES, 9,50€: Tarifa general i Sessions especials Sitges Sala Tramuntana de l’Hotel Meliá Sitges Clàssics (C/ Ramon Dalmau, s/n). 7€: Sitges Clàssics 7,50€: Sessions Anima’t Curts TAQUILLES CENTRE 12,50€: Programa doble i Sessions especials a Oficina de Turisme de Sitges, a la sortida de l’Auditori 12,50€: Localitats numerades preferents per a les sessions de tarda a l’Auditori (menys HORARI sessions especials Auditori). No admeten Del 8 al 17 d’octubre descomptes Matí de 10 a 15h 14,50€: Localitats numerades preferents per a les sessions especials de tarda a l’Auditori. El 18 d’octubre les taquilles romandran tancades No admeten descomptes 22€: Gala d’Inauguració. No admet Grups: descomptes sessió contactar per correu electrònic a taquilles. 17€: Gala de Cloenda. No admet descomptes 5€: Sessions Despertador (primera sessió matinal a tots els cinemes). No admet descomptes Les sessions escolars 1,50€: Reserva Masterclass. Entrades limitades. No estan obertes al públic general. No admet descomptes Observacions: 17€: Es recomana el pagament amb targeta. No adquirir al web o a les taquilles del la venda d’entrades per les sessions immediates. 20€: Llibre commemoratiu 50 aniversari. Es podrà adquirir al web o a les taquilles del sessió. Només es contemplarà el canvi o devolució de l’import de l’entrada en el cas de programació. -
Martel's Aquatic Zoopoetics
The Cine-Files, Issue 14 (spring 2019) Martel’s Aquatic Zoopoetics Lucy Bollington In his monograph Formas comunes: animalidad, cultura, biopolítica, Argentine animal theorist Gabriel Giorgi suggests that a change is underway in the deployment of the nonhuman animal figure within Latin American literature and installation art. Whereas historically, Giorgi contends, the animal functioned as a separate sign that denoted barbarity, different categories of alterity, and the “failure” of civilization, from the 1960s onwards there has been an increasing “destabilisation of the distance […] holding apart the human and the animal,” with cultural texts frequently articulating a “new proximity” between the two “that is at once an area of ethical interrogation and a horizon of politicisation.”1 In the contemporary period, the figure of the animal erupts into the internal spaces “of the home, prisons and cities,” writes Giorgi, and is often bound up with intimate explorations of the body, with its “desires, illnesses, passions and affects.”2 Giorgi charges that this human-nonhuman entanglement calls into question existing ontological definitions of the “human” and often challenges the destructive biopolitics that posit certain lives as more liveable than others.3 Internationally-acclaimed New Argentine Cinema director Lucrecia Martel stages such a coming home of the animal, in the sense meant by Giorgi. Animals proliferate in and around the domestic spaces Martel frames, provoke significant multifurcations in narrative meaning, and appear in relation to the movements, characteristics, affects and sociopolitical status of a variety of human bodies. Martel’s rich zoopoetical imaginary has attracted critical attention previously, particularly in relation to the ways in which the animals the director frames enter into symbolic exchange with her child and adolescent protagonists. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
Komodifikasi Kesenian Wayang Kulit Dalam Film Perempuan Tanah Jahanam Perspektif Marxian
E-ISSN 2686 5661 INTELEKTIVA : JURNAL EKONOMI, SOSIAL & HUMANIORA VOL.01 NO. 12. JULI 2020 KOMODIFIKASI KESENIAN WAYANG KULIT DALAM FILM PEREMPUAN TANAH JAHANAM PERSPEKTIF MARXIAN Rizky Sulaiman Salim1, Akbar Ramadhan Muhammad2, AG Eka Wenats Wuryanta3 1,2)Mahasiswa Program Magister Komunikasi Universitas Paramadina-Jakarta 3)Dosen Program Magister Ilmu Komunikasi Universitas Paramadina-Jakarta Email : [email protected] ABSTRAK Film menjadi salah satu media efektif dalam komunikasi massa dan juga menjadi komoditas yang menggerakkan roda perekonomian kreatif. Melalui film ada nilai-nilai yang dijadikan tontonan, yang dapat dikonversi menjadi rupiah. Inilah diskursus komodifikasi dimulai. Tujuan penelitian ini adalah menemukan kemungkinan komodifikasi kesenian wayang kulit yang merupakan salah satu warisan budaya Jawa dalam film Perempuan Tanah Jahanam. Nilai-nilai budaya tersebut secara sadar digunakan untuk mendukung konsep mistis dalam cerita dan dijual sebagai komoditas yang menggiurkan bagi pelaku industri perfilman. Analisis dipandu oleh teori komodifikasi Marxisme yang menyatakan bahwa komodifikasi merupakan proses memproduksi barang maupun jasa apapun untuk diperjualbelikan. Penelitian ini menggunakan metodi kualitatif field study (naturalistic inquiry) yang bersifat deskriprif untuk menjelaskan fenomena yang ditangkap dan dipahami oleh penulis. Adapun pendekatan penelitian yang digunakan adalah etnografi media, dimana peneliti „‟mendiami‟‟ film Perempuan Tanah Jahanam secara intens, dan dalam interval waktu tertentu -
Reminder List of Productions Eligible for the 86Th Academy Awards
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill. -
The Cultural Traffic of Classic Indonesian Exploitation Cinema
The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally. -
GLI ONOREVOLI (Italia, 1963)
GLI ONOREVOLI (Italia, 1963) Regia : Sergio Corbucci Soggetto : Bruno Corbucci,Giovanni Grimaldi Sceneggiatura : Corbucci, Grimaldi, Mainardi, Metz, Vighi, Guerra Fotografia : Enzo Barboni Scenografia : Aurelio Crugnola Musica : Armando Trovajoli Montaggio : Roberto Cinquini Aiuto regia : Ruggero Deodato Direttore produzione : Anna Maria Campanile Produzione : Gianni Buffardi per Jolly Film, Roma Interpreti : Totò, Franca Valeri, Franco Fabrizi, Gino Cervi, Linda Sini, Cristiano Cucchini, Aroldo Tieri, Peppino De Filippo, Walter Chiari, Agostino Salvietti, Fiorenzo Fiorentini, Mario De Simone, Riccardo Billi, Stelvio Rosi, Franco Giacomini, Memmo Carotenuto, Carlo Pisacane, Anna Campori, Luciano Salce, Carlo Lombardi, Franco Castellani, Alberto Sorrentino, Antonio Acqua, Mimmo Poli Genere : commedia Durata : 106 minuti, B/N Anno : 1963 Paese : Italia LA TRAMA Antonio La Trippa ,candidato nel PNR,il Partito Nazionale della Restaurazione,va all’affannosa ricerca di voti al grido di "votantonio,votantonio,votantonio", ma il giorno del suo comizio nel paese natio, Roccasecca, scoperti i veri intenti speculativi del suo partito li denuncia pubblicamente ai concittadini. Svanito il sogno elettorale, Antonio torna alla vita noiosa di sempre. LA CRITICA Film di satira politica in cui tutti i partiti attraverso i vari personaggi vengono presi di mira. Si va dal liberale Gino Cervi al comunista Aroldo Tieri, dalla democristiana Franca Valeri al missino Peppino De Filippo, e al nostro Totò del PNR, il partito nazionale per la restaurazione. Scriveva Onorato Orsini su La Notte: "Barzellette sceneggiate anche ne Gli onorevoli di Sergio Corbucci, cavalcata mica tanto amena nel sottobosco della politica italiana, con attori di prestigio internazionale come Totò, De Filippo, Chiari, Cervi, la Valeri, umiliati in un repertorio polveroso e di basso conio, afflitti da una sceneggiatura e da un dialogo capaci di suscitare una profonda, invincibile malinconia perfino nel più zelante tra gli spettatori delle riviste televisive [..]".