DOCSLIB.ORG

Green Leadership

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Green Leadership WWW.GreenFilmShootinG.net Green Film ShootinG Special –Berlinale 2013 in cooperation with Green Film ShootinG WWW.GreenFilmShootinG.net Helen Hunt Interview: Birgit Heidsiek Actress / Schauspielerin ‘I do work with a company in Kein nice-to-have, sondern ein must-have the States called Sungevity that eva hubert über die rolle der Filmförderung im norden als grüner Vorreiter leases solar panels to homes. They figured out how to move Mit der Einführung des Grünen Drehpasses hat die Filmförderung Hamburg Schleswig-Holstein in Deutschland erst- forward environmentally and mals Empfehlungen für die nachhaltige Film- und Fernsehproduktion formuliert. Die FFHSH-Geschäftsführerin Eva how to make it economically Hubert gibt Aufschluss über ihre Zielsetzungen. successful. So that’s my small Was hat dazu geführt, den Grünen Drehpass Wir erwägen, dem Beispiel der Filmförderung in but steadfast global contribu- zu entwickeln? Belgien zu folgen, die verlangt, dass mit dem För- derantrag ein CO2-Abdruck für die entsprechende tion. I think everybody doing a Hamburg war 2011 die europäische Umwelt- Produktion eingereicht wird. little bit is all that‘s made any hauptstadt, zu der wir auch im Filmbereich einen Beitrag leisten wollten. Das nachhaltige Produ- Wird in anderen europäischen Ländern difference, ever.’ zieren hat sich dafür angeboten. Die verschiede- umweltbewusster produziert? nen Ansätze in Europa haben uns auf die Idee „Ich arbeite mit der ameri- gebracht, einen Grünen Drehpass zu initiieren. Ja, die Briten haben über die Greenshoot-Agentur Jetzt arbeiten wir daran, die grünen Regeln in der bereits diverse Produktionen betreut. Das Irish kanischen Firma Sungevity Realität umzusetzen. Film Board hat einen Leitfaden herausgebracht. zusammen, die Sonnenkollek- Die belgische Förderung bietet regelmäßige Wie nachhaltig wird in Deutschland Schulungen für Produzenten, Produktions- und toren für Privathäuser vermie- produziert? Herstellungsleiter an. In Frankreich ist für die tet. Sie versteht es, innovative Filmbranche der CO2-Rechner Carbon Clap Dafür gibt es einige sehr gute Beispiele wie die entwickelt worden. Deutschland hinkt hingegen ökologische Konzepte zu ent- von Odeon Film klimaneutral hergestellte Serie hinterher, obwohl die Deutschen sonst als recht wickeln, die auch ökonomisch Der Landarzt oder auch Werbefilmproduktionen, umweltbewusst gelten. Wir haben bei Cine die auf Wunsch ihrer Kunden umweltverträg- Regio, einem Verbund von 38 europäi- erfolgreich sind. Das ist mein lich produzieren. Nach dem fruchtbaren schen Regionalförderungen, eine Green kleiner, aber kontinuierlicher Austausch bei einem Expertengespräch Regio Arbeitsgruppe gegründet. Unter mit Film- und Fernsehproduzenten sowie Federführung von Screen South werden Beitrag zum Umweltschutz. Ich Herstellungs- und Produktionsleitern wir bis zum Frühsommer einen europäi- denke, wenn jeder etwas dazu bin ich sehr optimistisch, dass Serien schen CO2-Rechner entwickeln, der bei wie Großstadtrevier oder Rote Rosen Koproduktionen zuverlässig verwendet beiträgt, kann das im End- künftig nachhaltig produziert werden. werden kann. effekt sehr viel bewirken.“ Die Nachwuchsfirma Tamtam Film hat dies bei ihrer ersten Kinopro- Wie sehen Ihre Zielsetzungen duktion mit großem Enthusiasmus aus? umgesetzt. Der Warner-Chef Wilfried Geike, der zusammen mit Michael Ich möchte gerne meinen Kollegen Editorial Bully Herbig bei uns war, hat darauf von den anderen Regionalförde- verwiesen, dass alle amerikanischen rungen und der FFA überzeugen, n der Volkswirtschaftslehre ist reduzieren. Mit dem conomics has The film and media industry must Studios bereits klimaneutral produ- dass nachhaltiges Drehen in Zu- uns vermittelt worden, dass Grünen Drehpass hat taught us that contribute and reduce its CO I E 2 zieren. Michael Bully Herbig hält den kunft kein Nice-to-have, sondern Vollbeschäftigung, Wirtschafts- die Filmförderung full employment, emissions. With the introduction of Drehpass für eine sehr gute Idee, die ein Must-have sein soll. Wir wachstum, außenwirtschaftliches Hamburg Schleswig- economic growth, the Green Shooting Card the Film- er selbst beim Produzieren aufgrei- stehen ihnen mit unserer Ex- Gleichgewicht und Preisstabiliät Holstein (FFHSH) balanced foreign förderung Hamburg Schleswig- fen möchte. pertise gerne zur Verfügung. Es ein magisches Viereck bilden. erstmals Handlungs- trade and price Holstein (FFHSH) has for the first wäre wünschenswert, im ersten Wasser und Luft durften als freie empfehlungen für die stability form a magic time established a set of recom- Was können und sollten die Pro- Schritt die Produktionen aus- Güter grenzenlos ausgebeutet umweltschonenende square. Water and mendations for environmentally duzenten diesbezüglich leisten? zuzeichnen, die sich besonders werden. Die Warnungen des Club Film- und Fernsehpro- air were defined as friendly film and television produc- um nachhaltige Dreharbeiten of Rome, der 1972 die Grenzen des duktion in Deutsch- free goods open to tion in Germany. Das Wichtigste ist, dass die Produk- bemühen. Möglich ist auch, Wachstums aufgezeigt hat, wurden land formuliert. unlimited exploita- tionsfirmen sich überlegen, was sie im Rahmen der Kalkulation ignoriert. Doch inzwischen werden tion. When the Club Our European neighbors, such auf jeden Fall verändern können. den CO -Verbrauch zu ermit- in unserer Gesellschaft die Forde- In unseren europäischen Nach- of Rome published The Limits to as Belgium, Great Britain and 2 Genau wie im Privatleben gehört teln, damit die Firmen aktiv rungen nach Nachhaltigkeit und barländern wie Belgien, Großbri- Growth in 1972, their warning was France as well as Hollywood have dazu, Müll zu trennen, Energie zu darüber nachdenken, wie sozialer Verantwortung hinsicht- tannien, Frankreich, aber auch in ignored. already put climate neutrality and sparen und möglichst saisonale, sie Emissionen reduzieren lich des Ressourcenverbrauchs Hollywood sind Klimaneutralität sustainable resource management regionale Produkte zu verwen- können. Strikte Auflagen immer lauter. und Ressourcenmanagment bei Meanwhile, there is a stronger on their agenda. den. Unsere Film Commission halte ich für falsch. Jeder Filmproduktionen schon länger ein demand for sustainability and bemüht sich um unterstützende muss seinen Beitrag für die Auch die Film- und Medienbran- Thema. GREEN FILM SHOOTING social responsibility concerning GREEN FILM SHOOTING provides Maßnahmen von städtischen Umwelt leisten. Das funkti- che muss dazu einen Beitrag berichtet über grüne Ansätze, Akti- resource consumption in our insight into green approaches, ini- Institutionen, die Hilfestellung oniert besser, wenn es aus leisten und ihre CO -Emissionen onen, Projekte und Produktionen. society. tiatives, projects and productions. 2 zur Mülltrennung am Set anbie- Überzeugung geschieht. See also: there is no planet B. ten oder Wasserbehälter gratis liefern. Es gibt viele Möglich- keiten, umweltfreundlich zu www.greenfilmshooting.net Birgit Heidsiek produzieren. i 2 I i 3 I Green Film ShootinG WWW.GreenFilmShootinG.net The Westerever lighthouse from the ARTE series Deutschlands Küsten Pauly Georges Foto: Film Commission’s launch event for the Green Shooting Card FFHSH Foto: The ZDF series Der Landarzt FFHSH Foto: Text: Birgit Heidsiek A Necessity, Not a Nicety Eva Hubert on the role of the Filmförderung Hamburg Schleswig-Holstein as a green pioneer ERZÄHLT VON AXEL PRAHL hen Filmförderung Hamburg Schleswig- great enthusiasm in eco-sustainability with their first Film Board has issued a guideline, in Belgium there IM KINO AB WHolstein (FFHSH) developed the Green production. Wilfried Geike, President and Managing are regular workshops for producers, production Shooting Card, they were the first to intro- Director at Warner, who came to the meeting with managers and line producers. Carbon Clap, a APRIL 2013 duce standards for sustainable film and comedian Michael Bully Herbig, pointed out that all CO2 assessment tool for the film industry, was television production in Germany. FFHSH Ex- American studios were already working sustainably. developed in France. Germany on the other hand ecutive Director Eva Hubert defines her goals. Herbig thinks the Green Shooting Card is a great is lagging behind although the Germans have a idea and wants to implement it in his productions. reputation of being ecologically aware. We have how did the Green Shooting Card emerge? launched a Green Regio subgroup within Cine how can production companies contribute Regio, an association of 38 regional film funds from In 2011, Hamburg was the European Green Capital to this? Europe. Helmed by Screen South, we will develop and we wanted the film sector to make a contri- a European carbon emission calculator that can be bution. Sustainable film production was a topic Most importantly, production companies must reliably used in co-productions. that warranted attention. The different approaches identify processes that can be changed. Paying taken in Europe gave rise to the idea of initiating a attention to waste separation, conserving energy What are your goals? Green Shooting Card. We are currently working on and eating seasonal, regional foods are part of this, making green standards a reality. just as they are in our private lives. Our Film Com- I would like to convince my colleagues at the other mission tries to organize support from municipal regional film funds and the Federal Film Board that how common is sustainable production in institutions such as assistance for waste separation
Load more

Recommended publications
  • Wenders Has Had Monumental Influence on Cinema
    “WENDERS HAS HAD MONUMENTAL INFLUENCE ON CINEMA. THE TIME IS RIPE FOR A CELEBRATION OF HIS WORK.” —FORBES WIM WENDERS PORTRAITS ALONG THE ROAD A RETROSPECTIVE THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ROAD THE AMERICAN FRIEND / THE STATE OF THINGS / PARIS, TEXAS / TOKYO-GA / WINGS OF DESIRE DIRECTOR’S NOTEBOOK ON CITIES AND CLOTHES / UNTIL THE END OF THE WORLD ( CUT ) / BUENA VISTA SOCIAL CLUB JANUSFILMS.COM/WENDERS THE GOALIE’S ANXIETY AT THE PENALTY KICK PARIS, TEXAS ALICE IN THE CITIES TOKYO-GA WRONG MOVE WINGS OF DESIRE KINGS OF THE ROAD NOTEBOOK ON CITIES AND CLOTHES THE AMERICAN FRIEND UNTIL THE END OF THE WORLD (DIRECTOR’S CUT) THE STATE OF THINGS BUENA VISTA SOCIAL CLUB Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this retrospective of twelve of his films—from early works of the New German Cinema Alice( in the Cities, Kings of the Road) to the art-house 1980s blockbusters that made him a household name (Paris, Texas; Wings of Desire) to inquisitive nonfiction looks at world culture (Tokyo-ga, Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world. Booking: [email protected] / Publicity: [email protected] janusfilms.com/wenders BIOGRAPHY Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New German Cinema in the 1970s and is considered to be one of the most important figures in contemporary German film.
    [Show full text]
  • OSN Brings the Best Content for Customers with Latest Technology by Nawara Fattahova Called ‘Live More’ Last Year
    lifestyle SUNDAY, FEBRUARY 1, 2015 OSN brings the best content for customers with latest technology By Nawara Fattahova called ‘Live More’ last year. It’s our corporate social responsibility campaign and we will KUWAIT: OSN, the leading pay TV network in continue to focus on that to create an emo- the Middle East and North Africa that offers tional bond with potential customers. international television entertainment content Reducing churn (people who leave the such as movies, sporting events and much service) is also a big focus for us. To reduce more, participated in the annual InfoConnect this, we will focus on our OSN privileges pro- exhibition held from Jan 26 to Feb 1, 2015 at gram. We established this program two and the Misref Fairground. During this event, they half years back, and it’s an amazing program had many special offers and promotions. with a strong link with our product. Many Kuwait Times met Hamad Malik, Chief organizations have loyalty programs, but they Marketing Officer of OSN, to learn more. usually give points that you can never redeem, but our focus is to give our customers experi- Kuwait Times: What is your marketing strat- ences which they can’t buy or nobody else will egy for 2015? give them. An example is if you are a WWE fan, Hamad Malik: We want to position our we give the opportunity for people to go and brand as a premium brand, and also as an watch the fights, meet the wrestlers and affordable luxury that understands clients’ spend time with them.
    [Show full text]
  • Revue De Presse Land of Scarecrows
    Revue de Presse Land of Scarecrows 1/ Variety Asia Online http://www.varietyasiaonline.com/content/view/6717/1/ Pusan reveals project funding winners Written by Han Sunhee Wednesday, 13 August 2008 Story Categories: Documentary, Festivals, Film, Finance, Korea, Pusan, SEOUL – Twenty seven movie projects are to receive funding from the Pusan International Film Festival's Asia Cinema Fund it was announced Tuesday. The ACF spans three sections that support different aspects of the production and post-production processes for movies that are deemed Asia's most creative film efforts. The six recipients of coin from the 'Independent Feature Script and Project Incubating Fund' section include Korean helmer Kim Jong-kwan's "Seaside" and Malaysian director Woo Ming Jin's "Woman On Fire Looks For Water." A further six projects are to receive coin from the 'Independent Feature Post-production Fund.' These include Korean helmer Roh Gyeong-tae's "Land of Scarecrow," Chinese helmer He Jianjun's "River People." Malaysian helmer Ho Yuhang's "At The End of Daybreak" was selected as the recipient of Asia Pacific Actors Network's production support fund, and was backed by Korean production shingle M&FC. The AND Fund for docus rewarded five Korean projects including Korean-American female director Tammy Chu Tolle's "Resilience" and nine other Asian projects including Indian helmer Ranu Ghosh's "Quarter No. 4/11." 2008 Independent Feature Script and Project Development Fund recipients "Seaside" (Korea) Kim Jongkwan "Daybreak" (Korea) Cho Kyu Jang "The Reason"
    [Show full text]
  • Film Reviews Interviews Video Interviews
    berlinale 2019 EFM Coverage as of Feb 20, 2019 300 Photos published on facebook 34 videos published on youtube FILM REVIEWS AMAZING GRACE, A Long Delayed Aretha Franklin Film surfaces at Berlin '69 What she said: The Art of Pauline Kael review Leakage | Nasht by Suzan Iravanian (Forum): Berlinale Review The Golden Glove by Fatih Akin: Berlinale Review Sampled reviews of Jessica Forever A City Hunts for a Murderer, and a Forum film hunts for meaning Berlinale by Alex: Mid Point Festival Reviews MK2 is very proud from the reviews on the Varda doc The Ground beneath my Feet in review Sondre Fristad's First Feature The Writer at the Berlinale System Crasher in review: Amazing ! Forget about all other contenders Derek Jarman's THE GARDEN, starring Tilda Swinton, returns to Berlinale 28 years after its premiere DIE KINDER DER TOTEN - World Premiere and Q&A with Kelly Copper and Pavol Liska INTERVIEWS Xaver Böhm on O Beautiful Night: Interview at Berlinale 2019 Interview with Brazilian Director Marcus Ligocki at Berlinale Marie Kreuzer: The Ground beneath my feet The Writer: Interview with Sondre Fristad in Berlin Interview with Producer, Director Writer Stu Levy @ 2019 Berlinale Interview with Director Gustavo Steinberg for 'Tito and the Birds' (2018) Alexandr Gorchilin on his First Feature Acid VIDEO INTERVIEWS VIDEO: Dieter Kosslick recalls some nice moments on the red carpet VIDEO: Anthony Bregman describes IFP's programs suppporting independent film making VIDEO: IFP Anthony Bregman opening remarks on his producing experiences at Friday's
    [Show full text]
  • Berlinale 2008
    Berlinale 2008 By Ron Holloway Spring 2008 Issue of KINEMA 58th BERLINALE 2008 Box Office Bonanza Will it ever end? During his seven years as Berlinale director, Dieter Kosslick’s festival tenure is annually boosted by success at the box office. Following the close of the 58th Berlin International Film Festival (7-17 February 2008), bonanza statistics were promptly released to the press. The 58th Berlinale recorded an overall audience of 430,000, of which some 230,000 purchased tickets, thus exceeding last year’s record by more than 6,000. The number of visiting film professionals (exhibitors, sales agents, industry representatives) increased to 20,000 from 125 countries, topping last year’s total of 19,155. The number of accredited journalists rose to 4,105. The sum of public screenings also rose to 1,256, compared with 934 screenings in 2007. Only the number of films participating in this year’s official programs dipped in comparison tolast year - down from 396 to 383 - but even this adjustment apparently made some Berlinale entries all the more attractive. The buzz at the Berlinale? Of particular interest were the ”EFM Industry Debates” held in the Marriott Hotel for three days in the middle of the festival. A hundred participants registered for the panel discussions on the challenges and opportunities of ”Digital Film Distribution” in the not too distant future. Another press headliner was a calculation on the ”monetary worth” of this year’s Berlinale, reckoned at circa €17.2m, or around US$ 26m. The sum includes the input by the German government (country, state, city), estimated at € 6.2m, or approximately US$ 9.3m.
    [Show full text]
  • Reality & Effect: a Cultural History of Visual Effects
    Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 5-3-2007 Reality & Effect: A Cultural History of Visual Effects Jae Hyung Ryu Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Part of the Communication Commons Recommended Citation Ryu, Jae Hyung, "Reality & Effect: A Cultural History of Visual Effects." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/communication_diss/13 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. REALITY & EFFECT: A CULTURAL HISTORY OF VISUAL EFFECTS by JAE HYUNG RYU Under the Direction of Ted Friedman ABSTRACT The purpose of this dissertation is to chart how the development of visual effects has changed popular cinema’s vision of the real, producing the powerful reality effect. My investigation of the history of visual effects studies not only the industrial and economic context of visual effects, but also the aesthetic characteristics of the reality effect. In terms of methodology, this study employs a theoretical discourse which compares the parallels between visual effects and the discourse of modernity/postmodernity, utilizing close textual analysis to understand the symptomatic meanings of key texts. The transition in the techniques and meanings of creating visual effects reflects the cultural transformation from modernism to postmodernism. Visual effects have developed by adapting to the structural transformation of production systems and with the advance of technology.
    [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]
  • Catalogo a Cura Di Produced by Catalogue Curated By
    CINEMA DEL MEDITERRANEO ROMA 19-27 NOVEMBRE XVII EDIZIONE Con l’Adesione del Presidente della Repubblica AUDITORIUM DELLA CONCILIAZIONE e con il Patrocinio del Presidente del Parlamento europeo CASA DEL CINEMA Rappresentanza in Italia Ufficio Informazione per l’Italia www.medfilmfestival.org della Commissione europea del Parlamento europo MEDFILM FESTIVAL 2011 UNA PRODUZIONE DI CATALOGO A CURA DI PRODUCED BY CATALOGUE CURATED BY MEDFILM FESTIVAL ONLUS Alessandro Zoppo Via Mantova, 4 00198 Rome, Italy Curatore / Curatorr T +39 06 85354814 / F +39 068844719 Mara Valente www.medfilmfestival.org Giulio Casadei Francesco Catalfamo DIREZIONE ARTISTICA E ORGANIZZATIVA ARTISTIC AND EXECUTIVE MANAGEMENT UFFICIO STAMPA PRESS OFFICE Ginella Vocca Presidente Fondatore MedFilm Festival Reggi&Spizzichino Communication MedFilm Festival President and Founder PROGETTO DI COMUNICAZIONE VISIVA VISUAL COMMUNICATION STAFF ORGANIZZATIVO GENERAL ORGANIZATION Brando Gioacchini Vanessa Tonnini Responsabile Programmazione / Programmer SERVIZI E LOGISTICA Maya Breschi SUPPLIERS AND LOGISTICS Coordinamento Festival / Festival Coordinator Alessandro Zoppo Napis Curatore Concorso Cortometraggi / Short Movies Programmer Sottotitoli / Subtitles Paola Micalizzi e Mara Valente Delio Barbati Responsabili Progetto MetHexis / Methexis Project Coordinator Trasporti e logistica / Logistics and shipment Barbara Bruni Barbara Bruni Curatore Forum / Forum Curator Traduzioni / Translations Max Mestroni Studio Autuori&Carletti Responsabile e Coordinatore Ospitalità Foto / Photographs
    [Show full text]
  • Festival Internacional De Cine De Mar Del Plata 2014
    DEL 22 AL 30 / NOVIEMBRE 2014 NOVIEMBRE / 30 AL 22 DEL FESTIVAL INTERNACIONAL DE CINE DE MAR DEL PLATA MAR DEL PLATA INTERNATIONAL FILM FESTIVAL DEL 22 AL 30 / NOVIEMBRE 2014 MAR DEL PLATA, ARGEntINA Autoridades AUTORIDADES NACIONALES: PRESIDENTA VICEPRESIDENTE MINISTRA DE CULTURA Dra. Cristina Fernández Lic. Amado Boudou Sra. Teresa Parodi INSTITUTO NACIONAL DE CINE Y ARTES AUDIOVISUALES PRESIDENCIA GERENCIA DE ADMINISTRACIÓN GERENCIA DE FOMENTO A LA Sra. Lucrecia Cardoso Dr. Raúl A. Seguí PRODUCCIÓN DE CONTENIDOS PARA TELEVISIÓN, INTERNET Y VICEPRESIDENCIA GERENCIA DE ASUNTOS VIDEOJUEGOS Lic. Juan Esteban Buono Repetto INTERNACIONALES Ing. Germán Calvi Sr. Bernardo Bergeret AUDITORÍA INTERNA GERENCIA DE ACCION FEDERAL Dr. Rolando Oreiro GERENCIA DE ASUNTOS Sr. Félix Fiore JURÍDICOS GERENCIA GENERAL Dr. Orlando Pulvirenti DIRECTORA INCAA TV Sr. Rómulo Pullol Sra. Vanessa Ragone GERENCIA DE FOMENTO GERENCIA DE FISCALIZACIÓN Lic. Alberto Urthiague RECTOR ENERC Tec. Verónica Graciela Sr. Pablo Rovito Sanchez Gelós GOBIERNO DE LA PROVINCIA DE BUENOS AIRES GOBERNADOR PRESIDENTE DEL INSTITUTO DIRECTOR DEL CENTRO Daniel Osvaldo Scioli CULTURAL DE LA PROVINCIA PROVINCIAL TEATRO DE BUENOS AIRES AUDITORIUM DE VICEGOBERNADOR Jorge Alberto Telerman MAR DEL PLATA Lic. Juan Gabriel Mariotto Pablo Martínez del Bosque MUNICIPALIDAD DEL PARTIDO DE GENERAL PUEYRREDÓN INTENDENTE MUNICIPAL ENTE MUNICIPAL DE TURISMO VICEPRESIDENTE Cr. Gustavo Arnaldo Pulti PRESIDENTE Lic. Valeria Méndez Sr. Pablo Fernández SECRETARIO DE CULTURA Dr. Leandro Laserna 3 Staff
    [Show full text]
  • PM Inaugurates Es'hailsat Teleport
    BUSINESS | Page 1 SPORT | Page 1 Halep and Kerber tested before reaching Airbus: Goodbye A380 semis published in QATAR since 1978 FRIDAY Vol. XXXIX No. 11095 February 15, 2019 Jumada II 10, 1440 AH GULF TIMES www. gulf-times.com 2 Riyals In brief Amir honours envoy of Peru Amir arrives in Munich to QATAR | Campaign Ministry urges public attend security conference to stop littering The Ministry of Municipality and QNA A strong strategic partnership be- Environment has called on all citizens Munich tween Qatar and the MSC emerged and residents to stop littering, during the 18th session of Doha Forum. emphasising the importance of In 2011, the fi rst meeting of Munich disposing it of at places specified is Highness the Amir Sheikh Security offi cials was held in Doha, by the State. The Ministry said the Tamim bin Hamad al-Thani where the two sides agreed to work Department of Public Hygiene is Harrived yesterday in the Ger- together more regularly so that the Qa- intensifying operations in Doha, man city of Munich to take part in the tari representation at the conference Rayyan and Shihaniyah to remove 55th edition of the Munich Security becomes at the highest level with the litter adding around 2025 tonnes Conference. participation of the Amir along with were lifted in January. The Amir is accompanied by an of- other leaders. fi cial delegation. Over the course of three days, MSC AMERICA | Confl ict The conference which starts today is will be held under the chairmanship House votes to end US one of the largest and most important of Wolfgang Ischinger and with the international conferences on the global participation of German Chancel- help in Saudi’s Yemen war security and defence policies.
    [Show full text]
  • PASOLINI a Film by Abel Ferrara
    presents PASOLINI A film by Abel Ferrara **Official Selection | Venice Film Festival** **Official Selection | New York Film Festival** **Official Selection | Toronto International Film Festival** France, Belgium, Italy / 2014 / 84 minutes / Color / 1.85:1 / English Publicity Contact: David Ninh, [email protected] ​ ​ Distributor Contact: Chris Wells, [email protected] ​ ​ Kino Lorber, Inc., 333 West 39th St., Suite 503, New York, NY 10018 (212) 629-6880 Synopsis: Pasolini, directed by Abel Ferrara, stars frequent collaborator Willem Dafoe as Italian poet and ​ film director Pier Paolo Pasolini and chronicles his final hours on November 2, 1975. The film follows him as he works on his controversial classic, Salò, or the 120 Days of Sodom and leads ​ ​ up to his brutal murder on the beach in Ostia on the outskirts of the city. Facing resistance and persecution from the public, politicians, censors and critics, Pasolini visits with his beloved mother and friends, including actress Laura Betti (played by Maria de Madeiros) and continues his work on an ambitious new novel and screenplay - all the while cruising in his Alfa Romeo for adventure and connections with beautiful younger males in the dark streets of Rome. Director’s Note: In search of the death of the last poet only to find the killer inside me Sharpening his tools of ignorance on the memories of never forgotten acts of kindness in words and deeds, ideas impossible to comprehend. in a school in Casarsa I sit at my teacher’s feet yearning then hearing the music of the waves that wash the feet of the messiah on the beach at Idroscalo, those who weave their spell in silver are forever bound to the lithe body of Giotto constantly in search of the creation of the winning goal forever offside forever in the lead of the faithful of which I am one.
    [Show full text]
  • International Documentary & Short Film Festival Of
    FESTIVAL BOOK & OF KERALA INTERNATIONAL INTERNATIONAL DOCUMENTARY SHORT FILM FESTIVAL ID D TH SF I F SF F INTERNATIONAL DOCUMENTARY & SHORT FILM FESTIVAL www.idsffk.in OF KERALA 16-20 JUNE 2017 THIRUVANANTHAPURAM | KAIRALI SREE NILA 10 TH IDSFFK 1 10TH IDSFFK 1 CREDITS Chairman & Festival Director, IDSFFK: Kamal Vice Chairperson & Artistic Director: Bina Paul Secretary & Executive Director: Mahesh Panju Treasurer: Zulfikar Rahman A Deputy Director (Festival): H Shaji Deputy Director (Programmes): N P Sajeesh Programme Manager (Finance): Radha Krishnan M Programme Manager (Festival): Deepika Suseelan Programme Manager (Programmes): Vimal Kumar V P Librarian (Technical Coordinator): Gopeekrishna S Online Media: Riyaz Ahamed Programme Assistants: Saiyed Farooq Z, Geethanjali C, Sreevidhya J, Revathy L Festival Cell: Sivakumar P S, Velayudhan Nair K, Mary Ninan, Padmakumar P R, Shyamlal S S, Harikumar K, Venukuttan Nair K, Ravikumar K, Jayakumari D, Sandhya B, Naveen Nath G S, Sukumaran K, Jaya L, Sasikala G, Arun R, Sahadevan R, Vijaya Mohan B, Lizy M, Omana J, Naveen L Johnson Filmmakers Liaison: Bandhu Prasad Aleyamma Guest Relations: Arjun A, Jayesh L R, Shelly J, M Rameez Media Relations: I & PRD, Government of Kerala Projectionists: John Kurian, Nishanth S T, Abhilash Software: Eventival, CDit Website Support : CDit Festival Design: B Priyaranjanlal Signature Film: Shameer Babu Festival Book Chief Editor: Mahesh Panju (Secretary, KSCA) Editor: H Shaji (Deputy Director, KSCA) Editorial Team: N P Sajeesh, Usha V T Word Processing & Page Setting: B Sivaprasad Academy is grateful to various film journals, festival publications, Film Festival websites from which we have borrowed materials to put together this book. The opinions expressed herein are not necessarily that of the Kerala State Chalachitra Academy or the Editors.
    [Show full text]