P Ion E E R Ing W O M E N in F

Total Page:16

File Type:pdf, Size:1020Kb

P Ion E E R Ing W O M E N in F FOLD FOLD FOLD FOLD FOLD FOLD FOLD BACK FRONT IN FILM WOMEN PIONEERING Image: Lise Åserud/NTB scanpix Image: Jessica Scanlon Image: Claudio Bresciani / TT Image: Chris Pizzello \ INVISION \ TT 1992 1985 2006 2011 2013 2016 2020 Few Scandinavians in film have had the The American cartoonist Alison Bechdel American civil rights activist Tarana Burke Anna Serner (b. 1964) became CEO of the 2013 is considered a hallmark year for In 2016, Alicia Vikander (b. 1988) won an Film is one of the most global and powerful wide international success of actress, (b. 1938) first wrote about what is now known (b. 1973) began using the phrase ‘Me Too’ Swedish Film Institute in 2011. Under her women in Swedish film. At the Guldbagge Oscar for Best Supporting Actress for her media we have today. In many ways it writer and director Liv Ullmann (b. 1938). under the name Bechdel test in her comic on a MySpace page way back in 2006. She tenure the gender equality perspective Awards Eat Sleep Die (2012) grabbed the top role in The Danish Girl, as only the second reflects stereotypes that exist in society, She received BAFTA Award nominations strip Dykes to Watch Out For in 1985. Bechdel did it as part of a campaign that promoted permeates everything the foundation does, honours Best Film, Best Director and Best Swedish actress – or actor – to win an but it can also contribute to change them. for her performances in Bergman’s Scenes credited the idea to her friend Liz Wallace, ‘empowerment through empathy’ among from production funding to recruitment of Screenplay, with Gabriela Pichler (b. 1980, Academy Award, following Ingrid Bergman. Representation, diversity and gender-parity from a Marriage (1973) and Face to Face why it is sometimes also called the Bechdel women of colour who had experienced new personnel. In the new Film Policy that director, writer) and China Åhlander (producer) Vikander had begun taking notice of the are crucial to the filmmaking process. (1976), as well as two Academy Award Wallace test. To pass the test, a film must sexual abuse. Burke, herself a victim, has was enacted by the government 2017, gender accepting the awards. absence of female directors and co-stars Gender equality is not only a fundamental nominations for The Emigrants (1971) have (1) at least two named women in it, said she was inspired to use the phrase since equality and diversity in film is one of the The Guldbagge Awards were introduced in on the film sets. It had all culminated during human right, but a necessary foundation and Face to Face, paving the way for an (2) who talk to each other, (3) about some- wishing she had simply answered ‘me too’ seven goals. international career. thing besides a man. After the test became to a 13-year-old girl who had confided in her 1964, and to date eight Best Director awards the shooting of Tulip Fever (2017), after for a peaceful, prosperous and sustainable more widely discussed in the 2000s, similar that she had been sexually assaulted. In 2016, Serner presented the Swedish Film have gone to women, with Pichler the most completing a scene with English actress world. It’s the United Nations’ fifth goal of the In 1982, Ullmann first tried her hand at tests started to emerge. The Bechdel Test is Institute’s action plan ‘50/50 by 2020: recent winner and Marianne Ahrne the first Holliday Grainger: ‘I’d just made five films 2030 Agenda for Sustainable Development. directing, making one of six shorts in the More than a decade later, in 2017, actress Gender equality in film production, both with Near and Far Away (1977). in a row, and this was the first one where an imperfect tool for gauging a film’s gender Just like the Swedish Film Institute, other anthology Love, written, directed and Alyssa Milano (b. 1972) tweeted the hashtag in front of and behind the camera’ at the I had a scene with another woman,’ Vikander progressivism, but it encourages audiences These numbers may not seem impressive national film organisations to have action produced by women. But it would take her #MeToo, aiming to draw attention to sexual Cannes Film Festival, aiming to raise aware- said in an interview with The Guardian. to think critically about the film media. but can be viewed in light of how many plans for gender parity include Telefilm another ten years before finally directing assault and harassment following the reports ness about gender equality in film, while major international awards are handed out Together with her agent Charles Collier, Canada, Screen Ireland, Eurimages, her first full-length feature,Sofie (1992), In 2013, cinema entrepreneur Ellen Tejle of sexual misconduct by Hollywood producer highlighting Swedish initiatives. In inter- to women. In the US, for example, Kathryn in 2016 Vikander set up her own production Norwegian Film Institute and New Zealand to international praise. (b. 1984), together with WIFT Sverige and Harvey Weinstein. The response was national comparisons, Sweden has come four Swedish movie theatres, made a logo enormous, with 85 countries engaged in Bigelow became the first and only woman company Vikarious Productions, aimed at Film Commission, to name just a few. Then in 1995, Ullmann followed up with quite far in gender equality in the film for the test, saying ‘Approved Bechdel the movement within 10 days. to date to win an Oscar for best direction in bringing more women into leading creative One way to reach the goal is to monitor Kristin Lavransdatter, a three-hour industry. But progress sure remains, judging Wallace Test’. In 2013, only 30 per cent of 2010 for Hurt Locker. And Jane Campion is positions. The company’s first feature how subsidies for directing, scriptwriting medieval epos about a woman challenging In Sweden, the online commitment was par- by the Swedish Film Institute’s gender Swedish feature films passed the Bechdel the only woman to receive the Palme d’Or in Euphoria (2017) was a drama written and and production are distributed. Another conventions to be with the man she loves tic ularly high, resulting in separate tags for equality report in 2018. test. The next year, that rate jumped to Cannes, which she won in 1993 for The Piano. directed by Lisa Langseth, with Vikander way is to put forward significant women rather than accept an arranged marriage. different industries, including #TystnadTagning 60, and in 2015, 80 per cent of Swedish One of the big problems remaining in the and Eva Green in the two lead roles. in the film industry, who’s history to a large Meanwhile, Bergman was cutting down (#SilenceAction), an open letter and mani- Swedish film industry is the money issue. extent still remains unknown. films earned an A-rating seal. The A-rate There are good reasons to take such action: on his own directing and found Ullmann festo by some 800 actresses that detailed Statistically, women and men are quite movement is now active in more than ten in 2016 the research company Polygraph Hence, Nordic Women in Film has been perfectly suited to direct his scripts. the prevalence of sexual abuse in the film equally represented in Swedish low-budget countries across the globe. analysed roughly 2,000 scripts and revealed launched by the Swedish Film Institute. It resulted in television filmsPrivate and theatre industry. films. But the more money involved, the less that actresses had the most amount of It’s a knowledge bank and a source of Confessions (1996) and Faithless (2000), women are likely to feature as director, writer, dialogue in only 22 per cent of the films. inspiration about women in film, with a AIMING FOR 50/50 the latter garnering Ullmann a Palme d’Or producer or as the lead actor. Few women Furthermore, the amount of dialogue by age- collection of name entries, topical portraits, nomination at the Cannes Film Festival. in Sweden manage to take the step to high- Ever since the silent era, women have range is opposite for women versus men. in-depth articles, interviews and film clips, budget projects, in something of a catch-22 been involved in filmmaking. Many In 2014, she directed Jessica Chastain Dialogue available to women over 40 years intended to disseminate knowledge and situation. The number of tickets sold is highly of them are now forgotten despite and Colin Farrell in a screen adaptation old decrease substantially. For men, there awareness of women’s professional con- linked with the budgets of the films, and films prominence during their day. The global of August Strindberg’s drama Miss Julie. are more roles available to older actors. With tributions to film, from both a historical with male directors, producers or lead actors film industry still remains dominated a shorter career span, one could hope that and a present-day perspective. generally get wider distribution, which in by men, but in many countries women actresses would earn more, but according turn means more cinemagoers. Since Cannes Film Festival in 2018, when are increasingly assuming their rights. to Forbes, between 1 June 2016 and 1 June the Pledge for Gender Parity and Inclusion The Swedish Film Institute has put in 2017, the world’s 10 highest- paid actors was launched, almost all A-rated film motion action plans to achieve gender made 2.8 times as much as the 10 highest- festivals in the world has signed, except parity within directing, producing and paid actresses. for festivals in Asia. By signing, the festivals scriptwriting of Swedish features and commit to increase gender equality in documentary films.
Recommended publications
  • Film I Västs Svenska Samproduktioner Med Premiärår 2012
    2013-04-03 10:41 CEST Film i Västs svenska samproduktioner med premiärår 2012 Staffan Lindbergs film En gång i Phuket blev den stora publikfilmen bland Film i Västs svenska samproduktioner under 2012. En gång i Phuket Svensk biopremiär: 120203 Produktionsbolag: Stellanova Film Regissör: Staffan Lindberg Publik 2012: 400 000 Priser: Nominerad till Biopublikens pris, Guldbagge. Betyg: 2,42 Isdraken Svensk biopremiär: 120224 Produktionsbolag: Illusion Film & Television Regissör: Martin Högdahl Publik 2012: 17 000 Priser: Ett festivalpris i Malmö (BUFF), ett i Köln, två i Tel Aviv. Hedersomnämnanden i Lübeck och Buenos Aires. Guldbagge (Bästa visuella effekter). Betyg: 3,31 Avalon Svensk biopremiär: 120224 Produktionsbolag: Idyll Regissör: Axel Petersén Publik 2012: 20 000 Priser: Kritikerpriset i Toronto. Två festivalpris i Vologda. Två Guldbaggar (Bästa manliga huvudroll, Bästa manliga biroll) samt ytterligare en nominering. Betyg: 3,31 Cockpit Svensk biopremiär: 120713 Produktionsbolag: Garagefilm International Regissör: Mårten Klingberg Publik 2012: 272 000 Priser: - Betyg: 3,21 Snabba Cash II Svensk biopremiär: 120817 Produktionsbolag: Tre Vänner Regissör: Babak Najafi Publik 2012: 324 000 Priser: Guldbagge för Bästa mask/smink. Nominerad till tre övriga Guldbaggar. Betyg: 3,23 Palme Svensk biopremiär: 120914 Produktionsbolag: B-Reel Sweden Regissör: Kristina Lindström, Maud Nycander Publik 2012: 240 000 Priser: Två Guldbaggar (Bästa musik, Bästa klipp), en övrig nominering. Betyg: 4,08 Liten skär och alla små brokiga Svensk biopremiär: 120921 Produktionsbolag: L Edition Entertainment Film Regissör: Stina Wirsén Publik 2012: 21 000 Priser: - Betyg: 3,83 Äta sova dö Svensk biopremiär: 121005 Produktionsbolag: Anagram Produktion Regissör: Gabriela Pichler Publik 2012: 48 000 Priser: Publikens pris i Venedig.
    [Show full text]
  • De 100 Mest Utlånade DVD-Filmerna 2014
    De 100 mest utlånade DVD-filmerna 2014 1. Monica Z / manus: Peter Birro ; regi: Per Fly 2. Mig äger ingen / manus: Pia Gradvall ; regi: Kjell-Åke Andersson ; producent: Francy Suntin 3. Äta sova dö / manus av Gabriela Pichler; regi av Gabriela Pichler 4. Blue Jasmine / written and directed by Woody Allen 5. Återträffen / en film av Anna Odell 6. Känn ingen sorg / regi: Mårlind & Stein ; producerad av Malcolm Lidbeck & David Olsson ; ma 7. Call girl / manus av Marietta von Hausswolff von Baumgarten ; regi av Mikael Marcimain 8. The Master / Manus av Paul Thomas Anderson ; regisserad av Paul Thomas Anderson 9. Berättelsen om Pi = Life of Pi / Manus av David Magee ; regisserad av Ang Lee 10. 12 years a slave / Steve McQueen 11. Hundraåringen som klev ut genom fönstret och försvann / Manus & regi: Felix Herngren 12. Gravity / directed by Alfonso Cuarón ; produced by Alfonso Cuarón, David Heyman ; written b 13. En oväntad vänskap = Intouchables/ Manus av Olivier Nakache, Eric Toledano ; regisserad av 14. Django unchained / written and directed by Quentin Tarantino 15. World War Z = World War Z / directed by Marc Foster 16. Oblivion / Manus av Karl Gajdusek, Michael Arndt ; regisserad av Joseph Kosinski 17. The lone ranger / Manus av Justin Haythe, Ted Elliott ; regisserad av Gore Verbinski 18. Hotell / manus & regi: Lisa Langseth ; producerad av: Patrik Andersson, Frida Jonason 19. Hypnotisören / manus av Paolo Vacirca ; regi av Lasse Hallström 20. Små citroner gula / manus av Teresa Fabik ; regi av Teresa Fabik 21. The place beyond the pines / Derek Cianfrance 22. Anna Karenina / Manus av Tom Stoppard ; regisserad av Joe Wright 23.
    [Show full text]
  • 12Filmåret I Siffror 2012
    Filmåret i siffror 2012 Facts and Figures 2012 12 1 Kontakt: Svenska Filminstitutet, Box 27126, 102 52 Stockholm Telefon: 08 665 11 00 | [email protected] | www.sfi.se Produktion: Svenska Filminstitutet - Kommunikation och Omvärldsanalys & statistik Översättning: Matt Bibby, MB Language Services Formgivning: Igor Isaksson, Mu AB Tryck: Åtta45 Tryckeri AB Contact: Swedish Film Institute, P.O. Box 27126, SE-102 52 Stockholm Phone: +46 8 665 11 00 | [email protected] | www.sfi.se Production: Swedish Film Institute - Communications & PR and Strategic Intelligence & Statistics Translation: Matt Bibby, MB Language Services Design: Igor Isaksson, Mu AB Print: Åtta45 Tryckeri AB Filmåret i siffror 2012 Facts and Figures 2012 Innehåll Contents Förord 4 Foreword 4 Nyckeltal 2012 5 Key ratios 2012 5 Svenska biopremiärer 2012 i urval 6 Selected Swedish theatrical releases 2012 6 Svenska filmåret på biograf 8 Swedish films at the cinema 8 Så mycket svensk film ses i Sverige 10 Audiences for Swedish film in Sweden 10 Filminstitutets produktionsstöd 12 The Film Institute’s production funding 12 Jämställdhet 14 Gender equality 14 Svenska produktionsbolag 16 Swedish production companies 16 Svensk film i utlandet 17 Swedish film abroad 17 Så mycket film ses i Sverige totalt 18 Total amount of film watched in Sweden 18 Totala filmutbudet på biograf 19 Total film range in cinemas 19 Biografmarknaden 22 The cinema market 22 Svenska biopremiärer 2012 24 Swedish theatrical releases 2012 24 Förklaring av förkortningar 26 Key to abbreviations 26 3 Förord Fråga på, bara! Hur stor andel av de långa spelfilmerna har regisserats av debutanter de senaste Det här är Svenska fem åren? Hur många procent av de premiärsatta svenska långfilmerna gjordes Filminstitutet med barn som målgrupp 2012? Och hur går det egentligen för svensk film Svenska Filminstitutet har i uppdrag utanför Sveriges gränser? av staten att genomföra filmpolitiken i Sverige med målsättningen att stärka filmen i alla led.
    [Show full text]
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • A Film by PETER GRÖNLUND
    B-REEL FILMS AB present GOLIATH A film by PETER GRÖNLUND 2018 / Sweden / Colour / 88 minutes INTERNATIONAL SALES Eva Diederix [email protected] Silvia Simonnutti [email protected] Fanny Beauville [email protected] Olpha Ben Salah [email protected] Download press kit and stills: https://www.wildbunch.biz/movie/goliath/ SYNOPSIS Goliath is set in a forgotten industrial town somewhere in Sweden. When Roland is sentenced to prison, his seventeen years old son Kimmie, is expected to take over the criminal business and provide for the family, a task he is not ready for. The film's depicting a boy's brutal entry into adult life and examines aspects of social heritage and patriarchal structures, at a time when the welfare system is declining and Sweden is at change. DIRECTOR’S STATEMENT “... Small Swedish industrial communities such as Hofors, Avesta and Lesjöfors face a number of problems, one of which is drugs and the attendant criminality among the young people. According to several studies it is possible to see how drugs are filtering down through the age- groups. The customary weekend binge drinking is always with us, but we must never forget that drugs and criminality are only a symptom of a much more deep-rooted disease. In whatever direction one cares to look, apathy and uniformity cast their shadow over a society that spins ever faster, and it is easy in this day and age for people to lose their grip. It can be difficult to keep one’s faith in a better world. People cling to their monthly wage as a final outpost of happiness.
    [Show full text]
  • Co-Production Forum
    CO-PRODUCTION FORUM 1 CONTENT PITCH SESSION : GAP FINANCING SESSIONS PITCHER BAYO BAYO BABY KANAKI FILMS - SPAIN 4 by Amaia Remírez & Raúl de la Fuente PITCHER BIRDS DON’T LOOK BACK SPECIAL TOUCH STUDIOS - 5 by Nadia Nakhlé FRANCE DIRTY LAND PITCHER BRO CINEMA - PORTUGAL 6 by Luis Campos PITCHER DREAMING OF LIONS PERSONA NON GRATA 7 by Paolo Marinou-Blanco PORTUGAL PITCHER AN ENEMY POKROMSKI STUDIO - POLAND 8 by Teresa Zofia Czepiec PITCHER FIRES CODE BLUE PRODUCTION D.O.O. - 9 by Nikola Ljuca MONTENEGRO PITCHER THE GLASS HOUSE DIRECTORY FILMS - UKRAINE 10 by Taras Dron PITCHER OUR FATHER THIS AND THAT PRODUCTIONS 11 by Goran Stankovic SERBIA PITCHER SOULS ON TAPE VILDA BOMBEN FILM AB 12 by Carl Javér SWEDEN PITCH SESSION : UP : UP-AND-COMING PRODUCERS PITCHER ARTURO’S VOICE MATRIOSKA - ITALY 14 by Irene Dionisio PITCHER AUTONAUTS OF THE COSMOROUTE IKKI FILMS - FRANCE 15 by Olivier Gondry & Leslie Menahem PITCHER CLEAN CARTOUCHE BVBA - BELGIUM by Koen Van Sande 16 PITCHER THE FURY RINGO MEDIA - SPAIN 17 by Gemma Blasco GROUND ZERO PITCHER RADAR FILMS - UKRAINE 18 by Zhanna Ozirna PINOT FILMS - POLAND PITCHER IN BETWEEN 19 by Piotr Lewandowski PITCHER SHINY NEW WORLD MAKE WAY FILM - NETHERLANDS 20 by Jan van Gorkum THREE SONGS CORTE A FILMS - SPAIN PITCHER 21 by Adrià Guxens PITCHER THE VIRGIN AND THE CHILD PLAYTIME FILMS - BELGIUM 22 by Binevsa Berivan PITCHER ZEJTUNE (UNTITLED GHANA PROJECT) LUZZU LTD - MALTA 23 by Alex Camilleri TIMETABLE 24 PITCH SESSION : GAP FINANCING SESSIONS 3 BAYO BAYO BABY - FICTION SPAIN Every night Aminata patrols the streets of Freetown searching for girls being exploited by pimps.
    [Show full text]
  • Suffragette Study Guide
    © ATOM 2015 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-622-0 http://www.theeducationshop.com.au Running time: 106 minutes » SUFFRAGETTE Suffragette (2015) is a feature film directed by Sarah Gavron. The film provides a fictional account of a group of East London women who realised that polite, law-abiding protests were not going to get them very far in the battle for voting rights in early 20th century Britain. click on arrow hyperlink CONTENTS click on arrow hyperlink click on arrow hyperlink 3 CURRICULUM LINKS 19 8. Never surrender click on arrow hyperlink 3 STORY 20 9. Dreams 6 THE SUFFRAGETTE MOVEMENT 21 EXTENDED RESPONSE TOPICS 8 CHARACTERS 21 The Australian Suffragette Movement 10 ANALYSING KEY SEQUENCES 23 Gender justice 10 1. Votes for women 23 Inspiring women 11 2. Under surveillance 23 Social change SCREEN EDUCATION © ATOM 2015 © ATOM SCREEN EDUCATION 12 3. Giving testimony 23 Suffragette online 14 4. They lied to us 24 ABOUT THE FILMMAKERS 15 5. Mrs Pankhurst 25 APPENDIX 1 17 6. ‘I am a suffragette after all.’ 26 APPENDIX 2 18 7. Nothing left to lose 2 » CURRICULUM LINKS Suffragette is suitable viewing for students in Years 9 – 12. The film can be used as a resource in English, Civics and Citizenship, History, Media, Politics and Sociology. Links can also be made to the Australian Curriculum general capabilities: Literacy, Critical and Creative Thinking, Personal and Social Capability and Ethical Understanding. Teachers should consult the Australian Curriculum online at http://www.australiancurriculum.edu.au/ and curriculum outlines relevant to these studies in their state or territory.
    [Show full text]
  • Makers: Women in Hollywood
    WOMEN IN HOLLYWOOD OVERVIEW: MAKERS: Women In Hollywood showcases the women of showbiz, from the earliest pioneers to present-day power players, as they influence the creation of one of the country’s biggest commodities: entertainment. In the silent movie era of Hollywood, women wrote, directed and produced, plus there were over twenty independent film companies run by women. That changed when Hollywood became a profitable industry. The absence of women behind the camera affected the women who appeared in front of the lens. Because men controlled the content, they created female characters based on classic archetypes: the good girl and the fallen woman, the virgin and the whore. The women’s movement helped loosen some barriers in Hollywood. A few women, like 20th century Fox President Sherry Lansing, were able to rise to the top. Especially in television, where the financial stakes were lower and advertisers eager to court female viewers, strong female characters began to emerge. Premium cable channels like HBO and Showtime allowed edgy shows like Sex in the City and Girls , which dealt frankly with sex from a woman’s perspective, to thrive. One way women were able to gain clout was to use their stardom to become producers, like Jane Fonda, who had a breakout hit when she produced 9 to 5 . But despite the fact that 9 to 5 was a smash hit that appealed to broad audiences, it was still viewed as a “chick flick”. In Hollywood, movies like Bridesmaids and The Hunger Games , with strong female characters at their center and strong women behind the scenes, have indisputably proven that women centered content can be big at the box office.
    [Show full text]
  • Half a Century with the Swedish Film Institute
    Swedish #2 2013 • A magazine from the Swedish Film Institute Film 50Half a century with the Swedish Film Institute CDirector Lisah Langsethe exploresc identityk issuesi nin Hotel g in www.sfi.se scp reklambyrå Photo: Simon Bordier Repro: F&B Repro: Factory. Bordier Simon Photo: reklambyrå scp One million reasons to join us in Göteborg. DRAGON AWARD BEST NORDIC FILM OF ONE MILLION SEK IS ONE OF THE LARGEST FILM AWARD PRIZES IN THE WORLD. GÖTEBORG INTERNATIONAL FILM FESTIVAL IS ALSO THE MAIN INDUSTRY WINDOW FOR NEW NORDIC FILM AND TALENT, FEATURING NORDIC FILM MARKET AND NORDIC FILM LAB. 1,000 SCREENINGS • 500 FILMS • 23 VENUES • 160,000 VISITS • WWW.GIFF.SE WELCOME Director, International Department Pia Lundberg Fifty and counting Phone +46 70 692 79 80 [email protected] 2013 marks the Swedish Film Institute’s various points in time. The films we support 50th anniversary. This gives us cause to look today are gradually added to history, giving back to 1963 and reflect on how society and that history a deeper understanding of the Festivals, features the world at large have changed since then. world we currently live in. Gunnar Almér Phone +46 70 640 46 56 Europe is in crisis, and in many quarters [email protected] arts funding is being cut to balance national IN THIS CONTEXT, international film festivals budgets. At the same time, film has a more have an important part to play. It is here that important role to play than ever before, we can learn both from and about each other.
    [Show full text]
  • CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT I Love the August Festivals, Though Not As Much As I Love Cinema
    3 AUG 18 6 SEP 18 1 | 3 AUG 18 - 6 SEP 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT I love the August festivals, though not as much as I love cinema. You? I usually take the opportunity when writing this column every August to grumble about how distracted potential cinema-goers appear to be by the world’s largest arts festival that takes place in our glorious (a word which currently also describes the weather!) city every year, but this year I’m seeing it as nothing more than a challenge. A challenge, dear reader, which I feel we have risen to in impressive style with a stunning array of great cinema, much of which is, as it happens, of a ‘one-off’ nature and will likely not come around again any time soon… That sounds like I’m trying to dragoon you into coming to the cinema in August (instead of going to the Tattoo, perhaps?), and conceivably I am, but try not to see it that way… Rather, I simply wouldn’t want you to miss out on any of the must-see cinema experiences contained within these pages. In any case, cinema is surely the best of all the art forms wouldn’t you say, as well as being one of the cheaper days/nights out? Beyond the form itself, with cinema, you rarely have to worry about not liking a film and it being apparent to the people who made it, because they’re generally not there in the room.
    [Show full text]
  • List of Films Considered the Best
    Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics.
    [Show full text]
  • Front Matter
    Cambridge University Press 978-1-316-64187-3 — Classical Literature on Screen Martin M. Winkler Frontmatter More Information Classical Literature on Screen Martin M. Winkler argues for a new approach to various creative affinities between ancient verbal and modern visual narratives. He examines screen adaptations of classical epic, tragedy, comedy, myth, and history, exploring, for example, how ancient rhetorical principles regarding the emotions apply to moving images and how Aristotle’s perspective on thrilling plot-turns can recur on screen. He also interprets several popular films, such as 300 and Nero, and analyzes works by international directors, among them Pier Paolo Pasolini (Oedipus Rex, Medea), Jean Cocteau (The Testament of Orpheus), Mai Zetterling (The Girls), Lars von Trier (Medea), Arturo Ripstein (Such Is Life), John Ford (Westerns), Alfred Hitchcock (Psycho), and Spike Lee (Chi-Raq). This book demonstrates the undiminished vitality of classical myth and literature in our visual media, as with screen portrayals of Helen of Troy. It is important for all classicists and for scholars and students of film, literature, and history. martin m. winkler is University Professor and Professor of Classics at George Mason University. His most recent books are Cinema and Classical Texts: Apollo’s New Light (Cambridge, 2009), The Roman Salute: Cinema, History, Ideology (2009), and Arminius the Liberator: Myth and Ideology (2015). He has also published numerous articles, book chapters, and reviews, and edited several essay collections on classical antiquity and film. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-316-64187-3 — Classical Literature on Screen Martin M.
    [Show full text]