Catalogue 2008
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Golden Threads Copyright © Rossen, 2011 Tuesday, March 5, 2013
Draft: Golden Threads Copyright © Rossen, 2011 Tuesday, March 5, 2013 Golden Threads Preamble My Family in Greece John Augustus Toole Who can tell which Angel of Good Fortune must have smiled upon the young loyalist Irishman, John Augustus Toole, when he joined the British Navy as a midshipman and sailed out to the Mediterranean sometime in the first decade of the 19th Century? He was landed on the enchanted island of Zante where he met the great love of his life, the Contessina Barbara Querini. In this book I will tell the story of their love, the disapproval of Barbara’s family and how it came about that the young British officer prevailed. It was his good fortune and hers that resulted in my family on the Ionian Islands in Greece. My life, four generations later, was succoured in the cradle of luxury and privilege that he, his children and grandchildren had created. Before I tell you the story of my remarkable life on these islands, a story resonant with living memory and fondness for the people who touched my life, I will describe in this preamble the times, places and people who came before me: the tales told to me as a child. Most of Greece was part of the Ottoman Empire at the time of John Augustus Toole’s arrival. The seven Ionian Islands, located on the west coast of Greece, had escaped Ottoman occupation as part of the Venetian Empire. In 1796 Venice fell to the French under Napoléon Bonaparte. In 1809, British forces liberated the island of Zante and soon after Cephalonia, Kythria and Lefkada. -
Published 22 February 2019 LKFF 2012
THE LONDON KOREAN FILM FESTIVAL 제7회 런던한국영화제 1-16 NoVEMBER StARTING IN LONDON AND ON TOUR IN BOURNEMOUTH, GlASGOW AND BRISTOL 12�OZE�293 OZ Quadra Smartium(Film Festival).pdf 1 10/18/12 6:14 PM A MESSAGEUR ROM O TOR LONDON-SEOUL, DAILY F TIC DIREC ASIANA AIRLINES ARTIS is redefining It is with great pride and honour that I welcome you to the 7th London Korean Film Festival. Regardless of whether you are a connoisseur of Korean cinema or completely Business Class. new to the country’s film scene, we have created an exciting and varied C Beginning November 17th, all the comforts of programme that will delight, thrill, scare and, most importantly, entertain you. M our new premium business class seat, Y the OZ Quadra Smartium, can be yours. We start off large with our return to the Odeon West End with one of the CM There’s a wonderful new way to get back and biggest Korean films in the last ten years;The Thieves. Our presentation MY forth to Seoul everyday. Announcing Asiana Airlines’ innovative of this exciting crime caper also sees its director, Choi Dong-hoon, and new premium business class seat, the OZ Quadra Smartium, lead actor Kim Yoon-suk gracing London’s Leicester Square. CY offering you both the privacy of your own space CMY and the relaxation of a full-flat bed. From the 2nd of November through to the 10th in London (continuing until the 16th in K Glasgow, Bristol and Bournemouth) we will show everything from the big box office hits to the smallest of independents, ending with the much-lauded Masquerade, as our closing Gala feature. -
Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Film & Event Calendar
1 SAT 17 MON 21 FRI 25 TUE 29 SAT Events & Programs Film & Event Calendar 12:00 Event 4:00 Film 1:30 Film 11:00 Event 10:20 Family Gallery Sessions Tours for Fours: Art-Making Warm Up. MoMA PS1 Sympathy for The Keys of the #ArtSpeaks. Tours for Fours. Daily, 11:30 a.m. & 1:30 p.m. Materials the Devil. T1 Kingdom. T2 Museum galleries Education & 4:00 Film Museum galleries Saturdays & Sundays, Sep 15–30, Research Building See How They Fall. 7:00 Film 7:00 Film 4:30 Film 10:20–11:15 a.m. Join us for conversations and T2 An Evening with Dragonfly Eyes. T2 Dragonfly Eyes. T2 10:20 Family Education & Research Building activities that offer insightful and Yvonne Rainer. T2 A Closer Look for 7:00 Film 7:30 Film 7:00 Film unusual ways to engage with art. Look, listen, and share ideas TUE FRI MON SAT Kids. Education & A Self-Made Hero. 7:00 Film The Wind Will Carry Pig. T2 while you explore art through Research Building Limited to 25 participants T2 4 7 10 15 A Moment of Us. T1 movement, drawing, and more. 7:00 Film 1:30 Film 4:00 Film 10:20 Family Innocence. T1 4:00 Film WED Art Lab: Nature For kids age four and adult companions. SUN Dheepan. T2 Brigham Young. T2 This Can’t Happen Tours for Fours. SAT The Pear Tree. T2 Free tickets are distributed on a 26 Daily. Education & Research first-come, first-served basis at Here/High Tension. -
D2492609215cd311123628ab69
Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
Beyond the Years
BEAR ENTERTAINMENT, INC. PRIME ENTERTAINMENT CO., LTD PRESENT BEYOND THE YEARS DIRECTED BY IM KWON TAEK WRITTEN BY YI CHUNG JUN IM KWON TAEK PRODUCED BY KINO2 PICTURES IN ASSOCIATION WITH CENTURION TECHNOLOGY INVESTMENT CORPORATION KOREAN FILM COUNCIL (KOFIC) STARRING OH JUNG HAE JO JAE HYUN KOREA / 106' / 35MM / 1.85:1 / DOLBY SRD / COLOUR WORLD SALES: PARIS OFFICE: wild bunch 99 Rue de la Verrerie - 75004 Paris - France TEL +33 1 53 01 50 30 FAX +33 1 53 01 50 49 Vincent Maraval TEL +33 6 11 91 23 93 [email protected] [email protected] Gaël Nouaille TEL +33 6 21 23 04 72 PRESS: [email protected] Emmanuelle Castro TEL +33 1 53 01 50 25 [email protected] Carole Baraton TEL +33 6 20 36 77 72 [email protected] PLEASE NOTE: Silvia Simonutti TEL +33 6 20 74 95 08 High definition images can be downloaded from [email protected] the ‘press’ section of http://www.wildbunch.biz SYNOPSIS CAST Yoo-bong, a traditional singer tormented by his lack Song-hwa Oh Jung Hae of fame, teaches his daughter Song-hwa to sing and Dong-ho Jo Jae Hyun his stepson Dong-ho to play the traditional Korean drum. Together, the trio travel endlessly. Yoo-bong is a harsh master, obsessed with perfecting the CREW performance of his young pupils. Exhausted and DIRECTED BY Im Kwon Taek unable to stand this punishing regime, Dong-ho runs SCREENPLAY Yi Chung Jun away, abandoning both music and the stepsister he Im Kwon Taek secretly loves. DP Jung Il Sung EDITOR Park Soon Duk Many years pass, Now grown, Dong-ho and Song-hwa MUSIC Ryo Kunihiko both realize the longing they have always felt for SET DESIGNER Park So Hui each other. -
Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. -
Mr. Dél-Koreai Mozi Im Kwon-Taek Filmtörténete
2019 no. 1 . Vincze Teréz Mr. Dél-koreai Mozi Im Kwon-taek filmtörténete m Kwon-taek a dél-koreai filmtörténet élő legendája. Ezek főként populáris, szórakoztató filmek voltak, akció, I1962-es rendezői debütálása óta folyamatosan dolgozik, történeti kosztümös, illetve melodrámai darabok, melyek a mai napig összesen százhárom filmet jegyez, a legutób- sorozatgyártásával telt Im pályájának első szakasza: az első bit 2014-ben mutatták be. Ha végignézzük az életművét ötven filmjét már munkásságának első tizenkét évében (összesen hetvennyolc filmjének kópiája maradt fenn), elkészítette. tulajdonképpen szemmel követhetjük mindazokat a vál- Azonban a sok korszakot átívelő pálya és a magas film- tozásokat, melyeken hazája filmipara keresztülment a szám bizonnyal mégsem lenne elég ahhoz, hogy a nem- koreai háborút követő évtizedtől napjainkig. Filmjeinek zeti filmművészet megtestesülését lássuk Im Kwon-taek- sora bizonyos értelemben kirajzolja a dél-koreai nemzeti ben; olyan életművet alkotott azonban, mely egyrészt őrzi film profilját – nemcsak azért, mert a rendező végigélte (sőt részben feltámasztotta) a tradicionális koreai kultúra a modern Korea minden jelentős traumáját, de minden bizonyos elemeit (panszori), a koreai identitás alapvető filmgyártási struktúrában aktív alkotóként, folyamatosan összetevőiről értekezik (sámánizmus, buddhizmus, kon- dolgozott. Im Kwon-taek 1934-ben született, a japán gyar- fucianizmus), és a modern koreai történelem döntő sza- mati időszakban volt gyerek, az ország kettészakadását és kaszairól úgy beszél, hogy -
Purple Hibiscus Novel
Purple Hibiscus a novel by Chimamanda Ngozi Adichie For Professor James Nwoye Adichie and Mrs. Grace Ifeoma Adichie, my parents, my heroes, ndi o ga-adili mma. Table of Contents Title Page Dedication Breaking Gods Speaking With Our Spirits The Pieces of Gods A Different Silence Acknowledgments P.S. About the Author About the book Read on Also by the Author Praise Preview Copyright About the Publisher BREAKING GODS Palm Sunday Things started to fall apart at home when my brother, Jaja, did not go to communion and Papa flung his heavy missal across the room and broke the figurines on the étagère. We had just returned from church. Mama placed the fresh palm fronds, which were wet with holy water, on the dining table and then went upstairs to change. Later, she would knot the palm fronds into sagging cross shapes and hang them on the wall beside our gold- framed family photo. They would stay there until next Ash Wednesday, when we would take the fronds to church, to have them burned for ash. Papa, wearing a long, gray robe like the rest of the oblates, helped distribute ash every year. His line moved the slowest because he pressed hard on each forehead to make a perfect cross with his ash-covered thumb and slowly, meaningfully enunciated every word of “dust and unto dust you shall return.” Papa always sat in the front pew for Mass, at the end beside the middle aisle, with Mama, Jaja, and me sitting next to him. He was first to receive communion. -
Kandahar Av Mohsen Makhmalbaf Iran 2001, 85 Minuter Nafas Är En
Kandahar av Mohsen Makhmalbaf Iran 2001, 85 minuter Nafas är en ung journalist från Afghanistan som lever i exil i Kanada. Hon får ett desperat brev från sin syster som fortfarande är kvar i Afghanistan och som planerar att ta sitt liv under den åstundande solförmörkelsen. Hon ger sig genast av mot Kandahar för att rädda sin syster. Hon reser till Iran, och därifrån måste hon bege sig över gränsen. Som ensam kvinna kan hon inte ta sig någonstans, och under resans gång får hon hjälp av fyra guider, som på olika sätt representerar det talibanska förtrycket; en äldre flykting från Afghanistan, en liten pojke som blivit relegerad från koranskolan, en svart amerikan som arbetar som läkare i öknen och en enarmad man som skadats av en landmina. Bakgrund För några år sedan blev den iranske regissören Mohsen Makhmalbaf uppsökt av en afghansk kvinna bosatt i Kanada. Niloufar Pazira hoppades att han skulle ha kontakter som kunde hjälpa henne att ta sig över gränsen till sitt forna hemland. Ärendet brådskade eftersom brevet som föranlett hennes avresa avslöjade att väninnan i Afghanistan var på väg att ta sitt liv. Niloufar Pazira släpptes aldrig in i Afghanistan och tvingades återvända till Kanada. Även om Mohsen Makhmalbaf inte hade kunnat hjälpa henne hade han svårt att släppa hennes historia. Han intresserade sig så mycket för den att han började studera och undersöka Afghanistan i skrifter, böcker och dokumentärfilmer. Något år senare sökte han upp Niloufar Pazira för att erbjuda henne huvudrollen i den film som skulle ta avstamp i hennes berättelse. Mohsen Makhmalbaf talar om Afghanistan som ”landet utan bilder”. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col.