DOCSLIB.ORG

Alternative Audiovisual Event 12.4.–15.4.2012 the IRRESISTIBLE SHINE of AAVE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alternative Audiovisual Event 12.4.–15.4.2012 the IRRESISTIBLE SHINE of AAVE Malmitalo & other venues, Helsinki http://www.aavefestival.org Alternative AudioVisual Event 12.4.–15.4.2012 THE IRRESISTIBLE SHINE OF AAVE... AAVE – ALTERNATIVE AUDIOVISUAL EVENT 12. - 15.4.2012 AAVEEN index Esittely / Introduction s. 3 Kalenteri / Timetable s. 4-6 Ohjelma / Programme s. 8 VASTUSTAMATON Oishii – japanilaisia herkkuja / Oishii - Japanese delicacies s. 10 En Garde! s. 15 Guy Sherwin & Lynn Loo s. 18 HOHDE... Live Cinema s. 22 Uutta pohjoismaista mediataidetta / New Nordic Media Art s. 28 Lyhyet animaatioelokuvat / Short Animation Films s. 33 Helsingissä 12. –15.4.2012 järjestettävä liikku- The third Alternative AudioVisual Event – van kuvan festivaalimme AAVE – Alternative AAVE (in English: ghost, spectre) – will have Medialeikki –workshop / Mediaplay Workshop s. 35 AudioVisual Event tarjoaa kolmantena vuo- its days of haunting 12. – 15.4.2012. AAVE –oheistapahtumat / AAVE side events s. 37 tenaan jälleen täysin ilmaiseksi monipuolisen Our festival of moving images will once again Järjestäjät / Organizers s. 41 kattauksen audiovisuaalisen taiteen ilmenty- show a rich selection of different phenomena in Yhteistyökumppanit / Collaborators s. 42 miä. Ihmiset etsiytyvät kevättalven kylmyydes- audiovisual art, complely free of charge. From tä ja pimeydestä alas torille ja sen poikki kohti the coldness and darkness of the winter people yhteystiedot / contact information kutsuvaa hohdetta. AAVE loistaa. Kaamos on are waking up to the rays of early spring, and AAVE – Alternative AudioVisual Event lopultakin päättynyt. On tullut taas aika liittää walking towards the light that radiates across kätösemme yhteen energisissä istunnoissamme the small Malmi square. AAVE radiates. Polar Kulttuurikeskus Malmitalo / Cultural Centre Malmitalo liikkuvan kuvan mysteerien äärellä. Night is finally over. It is a time to join our Ala-Malmin tori 1, 00700 Helsinki Tapahtuman pääpaino on tänä vuonna hands together in our energetic gathering and http://www.aavefestival.org liikkuvaa kuvaa ja elävää esitystä yhdistävässä wonder the mysteries of the moving images. http://www.facebook.com/aavefestival live cinemassa sekä analogisen ja digitaalisen In this year our primary attention is on [email protected] liikkuvan kuvan välillä käytävässä vuoropuhe- the live cinema performances and in the re- lussa. Uskomme, että tämä keskustelu on vasta lationship between analogue film and digital KOKO FESTIVAALI ON ILMAINEN! alkanut. Meillä on ilo esittää teoksia niin Super media. We believe that this discussion has just 8-, 16-, 35 mm. kuin digitaalisiltakin formaa- started. We are glad to show works in Super 8-, Tapahtuman järjestävät yhteistyössä yleishyödyllinen kulttuuriyhdistys KAiKU ry, Kokeellisten Taiteiden teilta. 16-, 35 mm and digital formats. Nomadinen Akatemia sekä Helsingin Kulttuurikeskus. Järjestäjät pidättävät oikeuden ohjelmamuutoksiin. Uskollisen yleisömme iloksi luvassa on To the delight of our audiences we will jälleen japanilaisia elokuvaherkkuja, uutta be bringing back our screening program of FREE ENTRANCE TO THE WHOLE FESTIVAL! korkeatasoista koti- ja kansainvälistä mediatai- Japanese movie delicatessen, edge-of-the-art/ The festival is organized by a non-profit cultural association KAiKU ry, Nomadic Academy detta sekä neuvostoliittolaisten naistekijöiden cutting edge art selections of both domestic of Experimental Arts and the City of Helsinki Cultural Office. The organizers reserve all rights for changes animaatioita. Uudessa sarjassamme En Garde! and international media art and a historical in the programme. esittelemme teoksia, jotka uskaliaisuudessaan program of the women animators from Soviet mielestämme edustavat 2000-luvun avantgar- Union. Our new theme En Garde! will gua- dea terävimmillään. Yhteistyökumppaneitam- rantee a sharp taste of the spiciness of the 21st miten päästä paikalle? me ovat mm. AV-arkki, Kansallinen audiovi- century avant-garde. Our collaborators among Malmin asemalle tuovat junat K, I, N ja T. Nouse laiturialueelta Ylä- ja Ala-Malmin yhdistävälle suaalinen arkisto KAVA, FixC –osuuskunta others are AV-arkki, National Audiovisual Ar- ylikulkukäytävlle, käänny vasemmalle kohti kauppakeskus Novaa ja sen läpi Ala-Malmin torille. NOVA-projekteineen sekä hollantilainen sie- chive, FixC Cooperative and Impakt–festival, Malmille pääsee usealla bussilla: 52A, 54, 54B, 69, 70, 70T, 73, 73N, 76A, 76B, 77A, 78, 79, 512, 519 lunsisaruksemme Impakt-festivaali omalla esi- our soul sibling from Netherlands. ja 520 sekä Jouko-kaupunginosalinjoilla J61, J71 ja J72. tyssarjallaan. Our main venue is Malmitalo, but we will Päätapahtumapaikkana toimii Malmitalo, also haunt in Lasipalatsi exhibition space, XL jonka lisäksi festivaali levittäytyy mm. Lasipa- Art Space, Finnish National Theatre Stage how to get there? latsin näyttelytilaan, taidetilaan XL Art Space. Club and Porvoonkatu bar. The lecture / panel From the Malmi train station and bus terminal there is a short Iltaklubimme ovat Kansallisteatterin Lava- discussion session between the structural film / walk to Malmitalo. Trains: K, I, N and T. Buses: 52A, 54, 54B, klubilla sekä Porvoonkadun baarissa. Kahden film performance artist Guy Sherwin (GB) and festivaalivieraamme, strukturaalisen elokuvan media artist Oliver Whitehead (FI) is organi- 69, 70, 70T, 73, 73N, 76A, 76B, 77A, 78, 79, 512, 519 and ja filmiperformanssin tekijän Guy Sherwinin zed together in the Finnish Academy of Fine 520, also Jouko neighbourhood routes J61, J71 and J72. (GB) sekä mediataiteilija Oliver Whiteheadin Arts. In Malmitalo the media artist Markus (FI) luento / paneelikeskustelu järjestetään yh- Renvall (FI) will have a two day experimen- teistyössä Kuvataideakatemian kanssa. Luvassa tal chroma-key –video workshop for children on myös Markus Renvallin (FI) Malmitalolla of any age and their parents. Welcome to the järjestämä kokeellinen chroma-key –työpaja shine of AAVE! kaikenikäisille lapsille ja heidän vanhemmil- Aavemaisin terveisin, leen. Tervetuloa AAVEen hohteeseen! Ivan Punzo & Kari Yli-Annala Artistic Directors 2 3 OHJELMA MALMItaLO 12.4.2012 13.4.2011 14.4.2011 15.4.2011 TORSTAI / THURSDAY PERJANTAI/ FRIDAY LAUANTAI / SATURDAY SUNNUNTAI / SUNDAY 12:00 12:00 MEDIAPLAY WORKSHOP MEDIAPLAY WORKSHOP Markus Renvall, pt. 1 Markus Renvall, pt. 2 Kokoushuone 3, 12:00 Kokoushuone 3, 12:00 14:00 SCREENING: 14:00 SHORT ANIMATION 14:30 Soviet women animators 1 14:30 Juhlasali, 14:00 15:00 15:00 15:30 15:30 SCREENING: AAVE–Kalenteri / Fesstival programme AAVE–Kalenteri / Fesstival 16:00 SCREENING & FILM SHORT ANIMATION 16:00 PERFORMANCE Soviet women animators 2 16:30 Guy Sherwin & Lynn Loo Juhlasali, 15:30 16:30 Malmisali, 16:00 17:00 LIVE CINEMA 17:00 Mia Mäkelä 17:30 OPENING SCREENING: NEW Malmisali, 17:00 17:30 NORDIC MEDIA ART 18:00 18:00 SCREENING: OISHII SCREENING: EN GARDE! NOVA - Northern Video Art SCREENING: OISHII Are you talking to me? Juhlasali, 17:30 18:30 18:30 The Buried Forest Juhlasali, 18:00 House 19:00 19:00 Juhlasali, 18:00 SCREENING: OISHII SCREENING: NEW Juhlasali, 18:00 NORDIC MEDIA ART 19:30 19:30 Eli Eli Lema Sabachtani? Virvatulet ’12 Juhlasali, 19:00 20:00 LIVE CINEMA 20:00 Juhlasali, 19:00 LIVE CINEMA Aspec(t) feat. 70fps- 20:30 20:30 FixC: Animal Party SCREENING & FILM Juhlasali, 20:00 LIVE CINEMA PERFORMANCE 21:00 Juhlasali, 20:00 21:00 Oliver Whitehead Guy Sherwin & Lynn Loo LIVE CINEMA Juhlasali, 21:00 Malmisali, 20:30 Koelse Juhlasali, 21:00 4 5 OHEIstaPahtumat Vinski ja Filmari - iättömiä klassikoita 10.4.2012 11.4.2012 12.4.2012 13.4.2012 14.4.2012 15.4.2012 TI / TUE KE / WED TO / THU PE / FRI LA / SAT SU / SUN EXHIBITION + FESTIVAL INFO Emil Bertell -AAVE extended + E-ArtQuake Lasipalatsin näyttelytila, 12:00 – 20:00 EXHIBITION Eric Mutel XL Art Space, Tue-Fri 12:00 – 20:00 / Sat 12:00 – 18:00 Exhibition Opening Ke / Wed 17:00 AAVE–Kalenteri / Fesstival programme AAVE–Kalenteri / Fesstival FESTIVAL LECTURE & WARM-UP PANEL DIS- CUSSION Joe Candido, Ma- rio Gabola etc... Guy Sherwin & www. .fi Oliver Whitehead Borg Soundlab, Finnish Academy Ke / Wed of Fine Arts, 19:00 – 23:00 Pe / Fri 13:00 – 15:00 VJ SESSION Kramer, Vierling & Lauri K Kansallisteatterin Lavaklubi Pe / Fri 22:00 VJ SESSION Visa-Valtteri Pimiä Porvoonkadun Baari La / Sat 22:00 CLOSING SESSION Porvoonkadun Baari Su / Sun 22:00 6 7 Koko festivaali on ilmainen! Tämän vuoden festivaalisarjat ovat: Free entrance to the whole festival! This year edition includes the following categories: Oishii! Japanilaisia herkkuja. Elokuvia nousevan auringon maasta. Oishii! Japanies delicacies. Films from the land of the rising sun. En Garde! Maukasta avantgardea! En Garde! Spicy avant-garde! Uutta pohjoismaista mediataidetta. Yhteistyössä NOVAn ja AV-arkin kanssa. New Nordic Media Art. In collaboration with NOVA and AV-arkki. MA Guy Sherwin & Lynn Loo. Kokeellisia elokuvia ja filmiperformansseja. Guy Sherwin & Lynn Loo. Short films and film performances. L Lyhyt animaatioelokuva. Neuvostoliittolaisten naisanimaattorien töitä 1950 – 1980-luvuilta. Short animation films. Soviet women animators´ works from the 1950s to the 1980s. Live Cinema. Liikkuvaa kuvaa ja elävää esitystä. Live Cinema. Moving images and live performance. Medialeikki-työpaja lapsille. Työpajan pitää Markus Renvall. Media Play Workshop for Children by Markus Renvall. Paneelikeskustelu. Vieraina Guy Sherwin ja Oliver Whitehead. Panel Discussion. With Guy Sherwin and Oliver Whitehead. RAMME Näyttelyt. Lasipalatsin Näyttelytila & XL Art Space. Exhibitions. In Lasipalatsi Gallery & XL Art Space. Warm-up & VJ Sessions. Borg Soundlab,
Load more

Recommended publications
  • Journal Du FIF (Pdf)
    FESTIVAL INTERNATIONAL duFILM La Roche-sur-Yon conception v.zard / epcccy FIF-85 © Sony Pictures Releasing France Releasing Pictures / epcccy FIF-85 © Sony v.zard conception du 13 au 18 octobre 2011 FIF 85 LA ROCHE-SUR-YON du 13 au 18 octobre 2011 ÉDITORIAL Quelle peut être la place d’une compétition dans un Festival international du film comme celui de La Roche-sur-Yon ? Nous savons en tout cas ce qu’elle ne saurait être : l’image à l’instant t de ce que le cinéma offre de plus sensationnel… Il faudrait que nous entrions dans la course aux premières, or nous sommes encore trop jeunes pour cela, et il n’est pas sûr de toute façon que ce soit notre ambition. Notre compétition est en outre serrée : le nombre des films aurait pu passer à dix ou douze, la possibilité a été envisagée, mais il a semblé préférable d’en rester à huit. C’est que nous tenons à un principe : la compétition doit exister à égalité avec l’ensemble des sélections. Il n’y a pas d’un côté les rétrospectives, de l’autre les nouveaux films. D’un côté les cinéastes confirmés, de l’autre les talents naissants soumis au verdict d’un jury. Les reprises d’un côté, le flambant neuf de l’autre, à la fois plus fragile et plus excitant aux yeux du public et de la presse. Tout est neuf, à La Roche-sur-Yon. Rien n’est neuf, aussi bien, car aucun film n’est seul, tombé de la dernière pluie : tous les autres l’accompagnent et, si possible, l’encouragent.
    [Show full text]
  • ARTICLE American Movie Audiences of the 1930S1
    ARTICLE American Movie Audiences of the 1930s1 Richard Butsch Rider University Abstract The Depression and movies with sound changed movie audiences of the 1930s from those of the 1920s and earlier. Sound silenced audiences, discouraging the sociabili- ty that had marked working-class audiences before. The Depression led movie com- panies to change marketing strategies and construction plans. They stopped selling luxury and building movie palaces. Instead, they expanded their operation of neigh- borhood theaters, displacing independents that had been more worker friendly, and instituted centrally controlled show bills and policies. Audiences also appear to have become more heterogeneous. All this, too, discouraged the voluble behavior of working-class people. Ironically, in this era of labor activism, workers and their fam- ilies seem to have become quieter in movie theaters, satisfied with the convenience of chain-operated movie houses. The 1930s were an exciting decade for labor activism in the United States and a high point for the growth of unions. Workers in steel, automobile, and other heavy industries organized industrial unions. The Committee on Industrial Or- ganization (later Congress of Industrial Organizations or CIO) was formed with a membership of more than a million workers. Factory workers initiated new tactics in struggles with employers, such as sit-down strikes. In politics, they ad- vanced legislation and programs in the New Deal to help employed and unem- ployed workers. Ironically, at the same time that workers’ collective action and class con- sciousness were at a high point, movie audiences became quiet. They did not act collectively to control their experience in the theater.
    [Show full text]
  • Vision, Desire and Economies of Transgression in the Films of Jess Franco
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation.
    [Show full text]
  • Retro Gamer Speed Pretty Quickly, Shifting to a Contents Will Remain the Same
    Untitled-1 1 1/9/06 12:55:47 RETRO12 Intro/Hello:RETRO12 Intro/Hello 14/9/06 15:56 Page 3 hel <EDITORIAL> >10 PRINT "hello" Editor = >20 GOTO 10 Martyn Carroll >RUN ([email protected]) Staff Writer = Shaun Bebbington ([email protected]) Art Editor = Mat Mabe Additonal Design = Mr Beast + Wendy Morgan Sub Editors = Rachel White + Katie Hallam Contributors = Alicia Ashby + Aaron Birch Richard Burton + Keith Campbell David Crookes + Jonti Davies Paul Drury + Andrew Fisher Andy Krouwel + Peter Latimer Craig Vaughan + Gareth Warde Thomas Wilde <PUBLISHING & ADVERTISING> Operations Manager = Debbie Whitham Group Sales & Marketing Manager = Tony Allen hello Advertising Sales = elcome Retro Gamer speed pretty quickly, shifting to a contents will remain the same. Linda Henry readers old and new to monthly frequency, and we’ve We’ve taken onboard an enormous Accounts Manager = issue 12. By all even been able to publish a ‘best amount of reader feedback, so the Karen Battrick W Circulation Manager = accounts, we should be of’ in the shape of our Retro changes are a direct response to Steve Hobbs celebrating the magazine’s first Gamer Anthology. My feet have what you’ve told us. And of Marketing Manager = birthday, but seeing as the yet to touch the ground. course, we want to hear your Iain "Chopper" Anderson Editorial Director = frequency of the first two or three Remember when magazines thoughts on the changes, so we Wayne Williams issues was a little erratic, it’s a used to be published in 12-issue can continually make the Publisher = little over a year old now.
    [Show full text]
  • 1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
    1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company.
    [Show full text]
  • Unseen Femininity: Women in Japanese New Wave Cinema
    UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA by Candice N. Wilson B.A. in English/Film, Middlebury College, Middlebury, 2001 M.A. in Cinema Studies, New York University, New York, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Candice N. Wilson It was defended on April 27, 2015 and approved by Marcia Landy, Distinguished Professor, Film Studies Program Neepa Majumdar, Associate Professor, Film Studies Program Nancy Condee, Director, Graduate Studies (Slavic) and Global Studies (UCIS), Slavic Languages and Literatures Dissertation Advisor: Adam Lowenstein, Director, Film Studies Program ii Copyright © by Candice N. Wilson 2015 iii UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA Candice N. Wilson, PhD University of Pittsburgh, 2015 During the mid-1950s to the early 1970s a subversive cinema, known as the Japanese New Wave, arose in Japan. This dissertation challenges critical trends that use French New Wave cinema and the oeuvre of Oshima Nagisa as templates to construct Japanese New Wave cinema as largely male-centered and avant-garde in its formal aesthetics. I argue instead for the centrality of the erotic woman to a questioning of national and postwar identity in Japan, and for the importance of popular cinema to an understanding of this New Wave movement. In short, this study aims to break new ground in Japanese New Wave scholarship by focusing on issues of gender and popular aesthetics.
    [Show full text]
  • Film Calendar
    FILM CALENDAR JULY 26 - OCTOBER 3, 2019 ONCE UPON A TIME… IN HOLLYWOOD *ON 70MM* OPENS JULY 26 JENNIFER KENT’S THE NIGHTINGALE OPENS AUGUST 16 NOIR CITY CHICAGO SEPTEMBER 6-12 GIVE ME LIBERTY A MUSIC BOX FILMS RELEASE OPENS SEPTEMBER 13 DORIS DAY WEEKEND MATINEES SEPTEMBER 15-29 Music Box Theatre 90th Anniversary Celebration August 22 - 29 Welcome TO THE MUSIC BOX THEATRE! FEATURE FILMS 5 ONCE UPON A TIME… IN HOLLYWOOD OPENS JULY 26 7 LUZ OPENS AUGUST 2 7 HONEYLAND OPENS AUGUST 9 8 THE NIGHTINGALE OPENS AUGUST 16 CHICAGO 9 AQUARELA OPENS AUGUST 30 ONSCREEN 9 GIVE ME LIBERTY OPENS SEPTEMBER 13 12 MONOS OPENS SEPTEMBER 20 A traveling exhibition of MUSIC BOX 90TH ANNIVERSARY Chicago-made film 16 INNOCENTS OF PARIS AUGUST 22 17 THE FUGITIVE AUGUST 23 18 WORLD CITY IN ITS TEENS AUGUST 24 18 DOLLY PARTON 9 TO 5ER AUGUST 24 19 MARY POPPINS SING-A-LONG AUGUST 25 19 INDIE HORROR: SOCIETY AUGUST 25 20 MUSIC BOX FILMS DOUBLE FEATURE AUGUST 27 21 AUDIENCE CHOICE DOUBLE FEATURE AUGUST 28 22 70MM: BACK TO THE FUTURE II AUGUST 29 24 THE HISTORY OF THE MUSIC BOX SERIES 28 BETTE DAVIS MATINEES 30 DORIS DAY MATINEES 30 SILENT CINEMA 08.26-08.28 32 CHICAGO FILM SOCIETY NEIGHBORHOOD 34 MIDNIGHTS SHOWCASE SCREENINGS Dunbar Park | Grant Park | Horner Park SPECIAL EVENTS Jackson Park | Margate Park | Mckinley Park 6 GALLAGHER WAY MOVIE SERIES MAY - SEPTEMBER Steelworkers Park | Wicker Park 6 DISCOVER THE HORROR JULY 27 8 RUSH: CINEMA STRANGIATO AUGUST 21 08.29-08.31 10 NOIR CITY SEPTEMBER 6-12 CHICAGO ONSCREEN FESTIVAL 11 SAY AMEN, SOMEBODY SEPTEMBER 14 & 15 Humboldt Park | Three days of local films from filmmakers 11 REELING FILM FESTIVAL OPENING SEPTEMBER 19 and film organizations from all over the city in a multi-screen 12 48 HOUR FILM PROJECT SEPTEMBER 22-25 festival celebration of movies by and about Chicago.
    [Show full text]
  • Cannes 2001 Report
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waterloo Library Journal Publishing Service (University of Waterloo, Canada) Cannes 2001 Report By Ron Holloway Fall 2001 Issue of KINEMA CANNES INTERNATIONAL FILM FESTIVAL 2001 Two events devotee of made the 54th Festival International du Film (9-20 May 2001) particularly memorable. The first was the news that, after 22 years as délégué général, Gilles Jacob stepped up to become Président while handing down the reins to Thierry Frémaux, the latter now divides his time between Cannes and duties as head of the Institute Lumière in Lyons. The other was the presence on the Croisette of seven previous Palme d’Or directors: Francis Ford Coppola (The Conversation, 1974, and Apocalypse Now, 1979), Ermanno Olmi (The Tree of Wooden Clogs, 1978), Shohei Imamura (The Ballad of Narayama, 1983, and The Eel, 1997), David Lynch (Wild at Heart, 1990), Joel and Ethan Coen (Barton Fink, 1991), and Abbas Kiarostami (The Taste of Cherries, 1997). One might add, too, that over the past quarter century each of their eight award-winning films helped considerably to set the tone and style of the world’s mostrevered film festival. Apocalypse Now Redux In the case of Apocalypse Now -- aka Apocalypse Now Redux, to denote a new version of an old film -- Francis Ford Coppola returned to Cannes with the completed version of his work-in-progress presented here 22 years ago. No less than 53 minutes were added to the re-edited 203-minute version, in addition to a re-mastered Technicolor transfer and a re-mastered soundtrack.
    [Show full text]
  • Day Two,San Diego Comic-Con 2013 – Day One
    Scene and Heard Mary Loss of Soul There is no accurate description of the whirling dervish I met recently on the set of her soon-to-be- released film, Mary Loss of Soul. It was the last day of shooting, and the energy level and passion of this female director was boundless – and infectious! The woman I speak of is Jennifer B. White. She is a writer, director and producer – but she’ll tell you she is first and foremost a storyteller. “I was ten years old. I’d never heard the term “folktale” – a narrated story to entertain a group of listeners. But, that’s exactly how I began my creative dream – as a storyteller in the woods. Back in the day of knock-on-door neighborhoods in the suburbs of Massachusetts, I’d gather with a group of wide-eyed kids along with my side-kick little sister. I told stories – often about ghosts, witches and anything spooky – making them up as I went along. I started writing novels at the age of 12 on my mom’s old IBM Selectric. As the family keeper of all things old and nostalgic, I held on to those precious works of fiction like they were a buccaneer’s booty.” After college, Jennifer signed with her first literary agent, and went on to become a public relations professional heading up PR in Boston hotels and top agencies where she was published in hundreds of publications throughout the U.S. She continued writing novels throughout her career, and, through a series of fortunate encounters, began writing for Hollywood.
    [Show full text]
  • Downloading, Or Streaming Them on Mobile Devices
    UCLA UCLA Previously Published Works Title “Parasite Cinema,” Image and Narrative, special issue on Artaud and Cruelty, 17.5 (2016), 66-79 Permalink https://escholarship.org/uc/item/32j321fb Authors Ravetto-Biagioli, K Beugnet, M Publication Date 2019-10-18 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Martine Beugnet and Kriss Ravetto-Biagioli Parasite Cinema Abstract In Theatre and its Double Artaud explored how the plague communicates beyond simple contact, bringing death to those it touches, but also bringing fear, images, and the imagination, which transforms social rela- tions, disorganising society and producing absurd anti-social actions. In this essay we would like to relate the emergence of a parasite-cinema, one that expresses itself through predatory forms of capture and communica- tion, where images pullulate out of control (but do not destroy the body of the host), to Artaud’s understanding of plague as a proliferation of communication. Résumé Dans Le Théâtre et son double Artaud analyse la manière dont la peste communique au-delà du seul contact physique, apportant la mort à ceux qu’elle touche, mais apportant aussi la peur, des images et l’imagination qui transforme les rapports sociaux, désorganisant la société et produisant des comportements absurdes anti-so- ciaux. Dans cet essai nous nous proposons de mettre en rapport la conception artaudienne de la peste comme forme proliférante de communication avec l’émergence d’une nouvelle forme de cinéma, le cinéma parasite, qui s’exprime à travers des formes prédatrices de capture et de communication, des images qui pullulent en dehors de tout contrôle (mais sans détruire le corps de celui qui les accueille).
    [Show full text]
  • Cultural Materialism in the Production and Distribution of Exploitative Lesbian Film: a Historical Case Study of Children of Loneliness (1935)
    Cultural Materialism in the Production and Distribution of Exploitative Lesbian Film: A Historical Case Study of Children of Loneliness (1935) Anna Fåhraeus, Halmstad University Abstract Raymond Williams developed a vocabulary and framework for analyzing the ideological forces at work in literature and art, as objects, but also in terms of their production and distribution. This article looks back at his elaboration of cultural materialism and its relationship to film in Preface to Film (1954), written with Michael Orrin, as a way of understanding the media traces of the lost film Children of Loneliness (dir. Richard C. Kahn). The film was an early sex education about homosexuality and this article explores its connections to early exploitation films as a cinematic form, and the dominant and emergent discourses that were used to promote it, as a well as at structures of feeling that these discourses reflect. Keywords: structure of feeling; history of film; Children of Loneliness; homosexuality ‘To be truly radical is to make hope possible rather than despair convincing.’ Raymond Williams1 Introduction Raymond Williams laid much of the groundwork for cultural studies and media studies with his work Culture and Society (1958), Communications (1962) and Television (1974). It is less well-known that from his university days in the 1930s he also worked with film and produced several important texts for Film Studies, including ‘Film as a Tutorial Subject’ (1953) and the volume, Preface to Film (1954), co- authored with his friend, the documentary filmmaker Michael Orrin. The book was a manifesto for the political potential of the form. Williams’s contribution was an essay entitled, ‘Film and the Dramatic Tradition.’ The main thrust is that in order to study the moving image as a cultural form, it needs to be understood in relation to the history of drama (Dolan 1 Resources of Hope, published posthumously (1989: 118).
    [Show full text]
  • Neo-Exploitation
    Neo-exploitation Nostalgia for horrific wonders Martijn van Hoek 0304964 Blok 4 2011/2012 22-06-2012 Thema: Genre Begeleider: J.S. Hurley Contents Introduction .......................................................................................................... 3 Exploring exploitation and nostalgia ......................................................................... 4 Exploring horror fan culture .................................................................................... 6 Exploring neo-exploitation .....................................................................................13 Redefining a genre................................................................................................13 GRINDHOUSE ..........................................................................................................14 CABIN FEVER ..........................................................................................................15 IRRÉVERSIBLE .........................................................................................................17 Conclusion ...........................................................................................................18 Literature ............................................................................................................19 2 Introduction In the first decade of the new millennium, a section of the horror genre was not looking to the future, but instead drew inspiration from the past. A number of filmmakers looked to the exploitation films of the
    [Show full text]