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Delegates Guide
Delegates Guide 15–20 March, 2019 Cultural Partners Supported by Friends of Qumra Media Partners Cover: ‘Six Months and One Day’, directed by Yassine Ouahrani 1 QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 13 Qumra Project Delegates 15 Industry Delegates 63 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Aya Al-Blouchi Quay Chu Anthea Devotta Mayar Hamdan Qumra Master Classes Development Qumra Industry Senior Qumra Shorts Coordinator Senior Coordinator Executive Coordinator Development Assistant Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Meriem Mesraoua Qumra Industry Qumra Talks Senior Qumra Pass Senior Grants Senior Coordinator Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Vanessa Paradis Majid Al-Remaihi Nina Rodriguez Alanoud Al Saiari Grants Coordinator Film Programming Qumra Industry Senior Qumra Pass Coordinator Assistant Coordinator Film Workshops & Labs Coordinator Wesam Said Rawda Al-Thani Jana Wehbe Ania Wojtowicz Grants Coordinator Film Programming Qumra Industry Senior Qumra Shorts Coordinator Assistant Coordinator Film Workshops & Labs Senior Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Head of Grants Qumra Industry Industry Advisor Manager Film Training Senior Manager 4 5 Qumra Masters Eugenio Caballero Kiyoshi Kurosawa In 2015 and 2016 he worked on the film ‘A at Cannes in 2003, ‘Doppelganger’ (2002), Monster Calls’, directed by J.A. Bayona, ‘Loft’ (2005), and ‘Retribution’ (2006), which earning him a Goya on his third nomination screened at that year’s Venice Film Festival. -
Unity in Diversity
unity in diversity Annual Report 2014 Diversitat Refugee Photography Project This exhibition celebrated six remarkable individuals from refugee backgrounds that contribute greatly to the Geelong community through their work with Diversitat. They were from Sudanese, Iraqi, Karen(pictured), Ethiopian, Afghani(pictured) and Bosnian backgrounds and reflect the diversity of Geelong’s newly arrived and more established migrant communities. Their contributions to the organisation are highly valued as bi-lingual support workers, case managers, volunteers and as workers with Diversitat’s Property Services Social Enterprises. The skills, dedication and empathy they bring to their roles greatly assists the settlement process of individuals from Geelong’s newly arrived communities and provides the support they need to reach their full potential. These images were taken by internationally awarded photographer, Tobias Titz, as part of a project for 2014 World Refugee Day that aspired to share stories that are rarely told by mainstream media about the experiences of refugees. Tobias Titz is a freelance photographer based in Melbourne, Australia. Over the last ten years he has worked for a range of local and international magazines and commercial clients. All images © Tobias Titz www.tobiastitz.com Annual Report 2013 - 2014 1 Annual Report 2014 Contents President’s Report 2 Diversitat’s Key Achievements 3 CEO’s Report 4 Strategic Vision 6 Executive Committee, Management Team & Affiliated Ethnic Community Groups 7 Arts & Events 8 Aged Support 12 Employment Services 16 Training 20 Settlement Services & Community Programs 28 94.7 The Pulse 36 Wholefoods 38 Youth Education 40 Income Statement 45 Thankyou 46 Diversitat Services & Sites 48 2 President’s Report Dear Diversitat Friends As I pen this Annual Report, it is most difficult to comprehend how a year has gone by since I wrote my last one. -
The European Film Forum
Creating the buzz around movies: Promotion, Festivals and MEDIA after 2020 SATURDAY, 1 SEPTEMBER 2018 – 16.00 ANGLE-RIGHT 18.00 #EuropeanFilmForum @MEDIAprogEU The aim of the European Film Forum (EFF) is to develop a strategic policy agenda, opening up new perspectives on the challenges and opportunities brought about by the digital revolution. It was set up as the result of a proposal by the European Commission in its 2014 Communication on “European Film in the Digital Era”. In the context of the Commission’s Digital Single Market Strategy, it is essential to discuss how the competitiveness, visibility and innovation capacity of the European audiovisual sector can be enhanced. THE 2018 EUROPEAN FILM FORUM AT THE 75TH VENICE INTERNATIONAL FILM FESTIVAL The European Film Forum will seize Secondly, a panel of Festivals will the opportunity of the 75th anniversary discuss the power of collaboration of the Venice Film Festival to discuss in enabling them to scale up, share the role of Festivals and MEDIA and make better use of resources and support to Festivals post-2020. reach wider audiences. Collaboration is a flexible principle and can be Europe’s Festivals play a key role in implemented in different ways, promoting European audiovisual works allowing Festivals to maintain their and this role is more important than unique identities. ever in the light of intense international competition and changing audience The European Commission proposal behaviours and preferences. The for the Creative Europe Programme Film Forum will therefore address for the period 2021-2027 was adopted how Festivals should respond to the on 30 May. -
Ladder to Damascus a Film by Mohamad Malas
Ladder to Damascus a film by Mohamad Malas سلم إلى دمشق (Ladder to Damascus (Sulam Ila Dimashq Content Ghalia is possessed by Zeina’s spirit. Haunted by the life of a girl, who drowned the day she was born, Ghalia travels to Damascus, where she studies acting. There, she meets Fouad, an aspiring film-maker who becomes fascinated by Ghalia's duality. He takes her under his wing and helps her find a place to live. Fouad's love for Ghalia and Zeina blossoms, while the tumultuous events in Syria start unfolding in the streets around them and gradually encroaches on their idyllic isolation. Credits Syria/Lebanon/Qatar 2013, Arabic with English subtitles, Colour, 97 minutes Director Mohammad Malas Producer Georges Schoucair Scriptwriter Mohammad Malas, Samer Mohamed Ismail Cinematographer Joude Gorani Editor Ayhan Ergursel Composer Toufic Farroukh, Charbel Haber Cast Najla El Wazza, Bilal Martini, Gianna Aanid Distribution Rights The distribution rights are with our colleagues of MC Distribution in Beirut. We are happy to put you in contact. Film-maker Mohamad Malas Mohamad Malas was born in 1945 in Quneitra on the Golan Heights. He is a prominent Syrian filmmaker whose films garnered him international recognition. Malas is among the first auteur filmmakers in Syrian cinema. Malas worked as a school teacher between 1965 and 1968 before moving to Moscow to study filmmaking at the Gerasimov Institute of Cinematography (VGIK). During his time at VGIK he directed several short films. After his return to Syria Malas started working at the Syrian Television. There he produced several short films including Quneitra 74, in 1974 and al-Zhakira (The Memory) in 1975. -
1 Cinematic Friendships: Intercessors, Collectives, Perturbations
1 Cinematic Friendships: Intercessors, Collectives, Perturbations Independent and experimental cinema in Arabic-speaking countries, as elsewhere, often arises from affinities, shared interests, and temporary collaborations, character- ized by fluidity and adaptability. Friendship is a useful way to think about the flexible and sometimes nonlocal relationships in which experimenting cinema and media art get made, similar to the term hubs that Thomas Burkhalter uses to analyze the Beirut music scene’s local-transnational networks.1 This chapter cannot survey all the sites for training, production, exhibition, distri- bution, and archiving of experimental media art, in the broad sense this book under- stands, for there are so many organizations. Instead I present some case studies of cinematic friendships, grounded in concepts of self-organization, metastability, pertur- bation, and individuation. The guiding question is, “Looking at the various kinds of infrastructures for experiments in Arab cinema, how can we tell which ones best sup- port and sustain an experimental and creative practice?” It’s practically a truism that top-down institutional structures are bad for creativity. It’s also usually the case that funding comes with strings and imposes unwanted criteria on creative practices. But rather than reject institutions and outside influence out of hand, this chapter examines how creative practice individuates under the influence of these structures. Does it pro- duce more interesting connections? Does its output become more rewarding, more complex? Similarly, though I begin with the assumption, based on observation, that local organizations are best at nurturing creativity, I don’t want to fetishize the local. Friendship, an Emergent Form of Organization The most radical understandings of friendship cast it as a corrosive force. -
32E FESTIVAL INTERNATIONAL DU FILM DE LA ROCHELLE 25 JUIN – 5 JUILLET 2004
32e FESTIVAL INTERNATIONAL DU FILM DE LA ROCHELLE 25 JUIN – 5 JUILLET 2004 PRÉSIDENT Jacques Chavier DÉLÉGUÉE GÉNÉRALE Prune Engler DIRECTION ARTISTIQUE Prune Engler Sylvie Pras assistées de Sophie Mirouze ADMINISTRATION Arnaud Dumatin CHARGÉ DE MISSION LA ROCHELLE Stéphane Le Garff assisté d’Aurélie Morand CHARGÉ DE MISSION CHINE Feng Xu DIRECTION TECHNIQUE Pierre-Jean Bouyer COMPTABILITÉ Monique Savinaud PRESSE matilde incerti assistée de Hervé Dupont PROGRAMMATION VIDÉO en partenariat avec Transat Vidéo Brent Klinkum PUBLICATIONS Anne Berrou Caroline Maleville assistées d’Armelle Bayou MAQUETTE Olivier Dechaud TRADUCTIONS Brent Klinkum SITE INTERNET Nicolas Le Thierry d’Ennequin AFFICHE DU FESTIVAL Stanislas Bouvier PHOTOGRAPHIES Régis d’Audeville HÉBERGEMENT Aurélie Morand STAGIAIRES Clara de Margerie Marion Ducamp Cécile Teuma BUREAU DU FESTIVAL (PARIS) 16 rue Saint-Sabin 75011 Paris Tél. : 01 48 06 16 66 Fax : 01 48 06 15 40 Email : [email protected] Site internet : www.festival-larochelle.org BUREAU DU FESTIVAL (LA ROCHELLE) Tél. et Fax : 05 46 52 28 96 Email : [email protected] Avec la collaboration de toute l’équipe de La Coursive, Scène Nationale La Rochelle L’année dernière à La Rochelle Anja Breien Hommage Serge Bromberg Retour de flamme Régis d’Audeville 2 Photographies Luis Ortega La Caja negra Jacques Baratier Rien voilà l’ordre Djamila Sahraoui Algérie, la vie quand même et Algérie, la vie toujours L’année dernière à La Rochelle Gilles Marchand Qui a tué Bambi ? Nicolas Philibert Hommage, et les -
The Mohawk Mayor
Casson GAS, GRASS OR ASS, NO ONE RIDES FOR FREE: THE MOHAWK MAYOR REBECCA CASSON ABSTRACT In November 2013 Darryn Lyons, a former celebrity photographer well- known for his colourful antics, was directly elected as mayor of Geelong, the second largest city in the State of Victoria, Australia. Also known as “Mr Paparazzi” and “The Mohawk Mayor”, Lyons’s leadership lasted just 30 months before the Victorian State Government sacked him and dissolved the entire Geelong Council, revealing a pre-existing culture of bullying that appeared to be compounded by Lyons’s celebrity persona. How did Lyons’s persona affect Geelong’s newly established procedures for a directly elected mayor? Drawing on one particularly controversial incident, and using data collected from Lyons’s autobiography, together with media articles, official documents and social media, this article discusses how - as a celebrity politician - Lyons appeared to be unable to effectively separate his celebrity persona from his public persona. This seemed to drown out Geelong’s important issues, and undermined the legitimacy of local government. The current literature on directly elected mayors does not include consideration of how electing a celebrity as mayor complicates the problems of legitimacy in local government, and there is a paucity of literature on directly elected celebrity mayors in Australia. An emerging literature on directly elected mayors primarily addresses problems with legitimacy in contemporary politics, while the literature on how celebrity politics is changing legitimacy has been well established. Using the Lyons case, this article examines both literatures and contributes to the national and international debate on directly elected celebrity mayors. -
Gianfranco Rosi
NOTTURNO un film de - een film van GIANFRANCO ROSI Documentaire - 2020 - Italy - 100 min. Distribution/Distributie: Presse/Pers: Cinéart Heidi Vermander Naamsestraat/Rue de Namur, 72-74 T. 0475 62 10 13 1000 Brussels [email protected] T. 02 245 87 00 SYNOPSIS NL NOTTURNO staat voor het licht in de duisternis van oorlog. De film werd over een periode van drie jaar gemaakt langs de door oorlog en terrorisme gehavende grenzen in het Midden Oosten. Dictatuur, invasies en geweld voedden elkaar in een vicieuze cirkel die het leven van de plaatselijke bevolking voortdurend ontwricht. Op de achtergrond zijn strijd en vernietiging alom aanwezig, maar op de voorgrond vinden we universele menselijkheid. FR De combien de douleurs, de combien de vies se compose l’existence au Moyen-Orient? "Notturno" a été tourné au cours des trois dernières années le long des frontières de l’Irak, du Kurdistan, de la Syrie et du Liban ; tout autour, des signes de violence et de destruction, et au premier plan l’humanité qui se réveille chaque jour d’une nuit qui parait infinie. Gianfranco Rosi l’illumine de rencontres et d’images de la vie quotidienne, et confère au récit une unité qui transcende les divisions géographiques. Un film de lumière fait de la matière sombre de l’Histoire. GIANFRANCO ROSI Writer, director Gianfraco Rosi born in Asmara, in Eritrea, with Italian and American nationality, after attending university in Italy, moves to New York and graduates from the New York University Film School in 1985. Following a journey to India in 1993, he produces and directs Boatman, about a boatman on the banks of the Ganges, which he shows with success at various international festivals including the Sundance Film Festival, the Locarno Film Festival, and the Toronto International Film Festival. -
Julian Schnabel Photographed by Robin Friend
FREE Julian Schnabel photographed by Robin Friend. Courtesy: Robin by Thames & Hudson Julian Schnabel photographed ROBIN FRIEND JULIAN SCHNABEL NOW PHOTOGRAPHY Art Studio America 12 1 STATE 11 www.state-media.com Richard Young Gallery.pdf 15/8/13 12:33:44 CHARLIE SMITH london is representing YOUNG GODS I. jan 09 – feb 07 TOM BUTLER The Griffin Gallery The Studio Building STYLUS XZ -10 CURRENT EXHIBITION 21 Evesham Street London W11 4AJ Mon, Tue, Thu | 10 – 5pm YOUNG GODS Wed | 10 – 9pm London Graduates & Postgraduates 2013 curated by Zavier Ellis Fri, Sat | 10 – 4pm YOUNG GODS II. jan 09 – feb 08 CHARLIE SMITH london 336 Old St, 2nd Floor C London EC1V 9DR M Wed- Sat | 11– 6pm Y LONDON ART FAIR. CM jan 15 – jan 19 MY Stand 4 Business Design Centre CY 52 Upper Street CMY London N1 0QH K 100 LONDON ARTISTS. Volume 2: 50 Other Media iArtBook available from iTunes jan 2014 2013. Gouache on albumen print. 16.5x10.5cm , JJG Tom Butler. Butler. Tom ON TOUR with the STYLUS XZ-10 with special thanks to Derek Robertson A while ago we ran a promotion where the winners received our rather lovely award-winning XZ-10 camera on top of a street photography day in London. We followed up with some ads based on the images shot on the day but after seeing what Derek shot on his XZ-10 in Venice we felt it was worth a follow up just for him. You see the XZ-10 is a truly pocketable camera with a punch. -
Making the Film
returntohoms.com fb.com/TheReturnToHoms @ReturnToHoms SALES AGENTS JOURNEYMAN PICTURES FOR PUBLICITY [email protected] FOR INTERNATIONAL SALES AND SCREENINGS [email protected] TEL. +44 208 398 4616 LOGLINE A look behind the barricades of the besieged city of Homs, where for nineteen-year-old Basset and his ragtag group of comrades, the audacious hope of revolution is crumbling like the buildings around them. SYNOPSIS "This is Homs, but I don't know where I am," Basset says with characteristic joviality as he wanders among the ruins and through the rubble-filled streets of the city. These are the streets in which he and Osama grew up: now a barren battlefield. In fractured homes, deserted living rooms speak of thousands of disrupted lives. Osama is disorientated by this completely new reality, "like an immigrant discovering a new city". As the siege takes hold in Homs, these two friends gather together a circle of brave but inexperienced insurgents, determined to protect the captive civilians and help to get them out of the city. Surviving on a diet of just a few olives and a single glass of dirty water a day, this handful of stranded amateur fighters hold out against the snipers, tanks and mortars of the Syrian Army. They scuttle through the ghost town like rats: resourceful and single-minded. An unlikely leader of the rebellion, Basset’s protest songs and dark sense of humour reflect his dream of liberation from Assad’s oppressive regime. But soon bravado gives way to despair as the reality of their David and Goliath battle sinks in. -
Amps Conference 6
AMPS CONFERENCE 6 CONFERENCE: DIGITAL-CULTURAL ECOLOGY AND THE MEDIUM-SIZED CITY AMPS; Architecture_MPS; UWE; CMIR Bristol: 01—03 April, 2016 Digital Cultural Ecology and the Medium Sized City SERIES EDITOR: Dr. Graham Cairns EDITOR: Dr. Sarah Sparke (UWE) PRODUCTION EDITOR: Eric An © AMPS C.I.O. AMPS PROCEEDINGS SERIES 6. ISSN 2398-9467 2 AMPS CONFERENCE 6 CONFERENCE: DIGITAL-CULTURAL ECOLOGY AND THE MEDIUM-SIZED CITY AMPS; Architecture_MPS; UWE; CMIR Bristol: 01—03 April, 2016 Digital Cultural Ecology and the Medium Sized City INTRODUCTION This publication is the product of the conference Digital Cultural Ecology and the Medium Sized City held in Bristol in 2016. Led by the Professor Terry Flaxton at the Centre for Moving Image Research, AMPS and its scholarly journal Architecture_MPS, this publication and the conference which it documents are interested in the exploring the still latent possibilities of the internet in urban, social and cultural contexts; the development of citizen led ‘hybrid cities’ in which new technologies foster new behaviours; new ethnographic interpretations of the city and its peoples; and changing representations of the city in new and old formats: photography, film, animation, augmented and virtual realities. The publication and conference were premised on the argument that, in every country in the world, medium-sized cities outnumber capital cities in both quantity and gross population. They are however, historically overlooked. In the city in which this conference was held, Bristol, UK, the industry sector that underwrites its culture and economy is that of the moving image and the digital. It is a medium sized city with a history and an active present at the intersection of the physical conurbation, moving image research, and the cultural, economic and social implications of their coalescence. -
Welcome to the Elephant and Castle Hotel. Purchased by Darryn Lyons
Welcome to the Elephant and Castle Hotel. Purchased by Darryn Lyons on the 17th of January 2012, The Elephant and castle has fast become one of Geelong’s major attractions due to its fine refurbishment and Australia’s most prized photographic collection ‘Images Of Our Time’, which is to be Housed permanently in Geelong at the Elephant and Castle Hotel. The collection will also travel around Australia and the South Pacific in the summer of 2013. We hope you enjoy your experience of fine food, wine and atmosphere at the Elephant and Castle Hotel, please take your time to look around Darryn’s private collection. Born in Geelong, Victoria on 19 August 1965, Lyons graduated from Geelong East Technical School, then began work as a professional photographer at the Geelong News and Geelong Advertiser. At the age of 22, he moved to London, where he gained a job at News of the World after a chance meeting with Rupert Murdoch. Two years later, he left to take a position with the Daily Mail, for whom he provided coverage of the Bosnian War, just one of the world renowned moments he captured on his camera. Darryn Lyons is the self-made man behind the cult of celebrity photography. In his fascinating expose of life behind the lens, he speaks of his outrageous and dangerous exploits as a newspaper photographer and paparazzo for some momentous events around the globe in his autobiography ‘MR PAPARAZZI’ available behind the bar for purchase. His is a story of hard graft, hard tactics and hard choices in a notorious profession.