DOCSLIB.ORG

Brussels∧ Ghent∧ Strasbourg

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brussels∧ Ghent∧ Strasbourg Brussels ∧ Ghent ∧ Strasbourg JULY–DECEMBER 2013 Lithuanian Presidency of the Council of the European Union CU URE CULTU R E – this play of letters is an incredibly simple and clever idea, which manifests for me first of all the role of culture in our lives: culture has a unique quality of being all-embracing, pervasive and engaging, inspiring, and life-changing. It also delightfully mirrors the role culture plays in Lithuania and the role of Lithuania in culture. Culture in Lithuania and Lithuania in culture is the main theme of our cultural programme to celebrate Lithuania’s Presidency of the Council of the European Union. The first Presidency, therefore for us even more challenging and exciting. Our desire is to use this opportunity to highlight the richness of Lithuanian culture and its influence in Europe and the rest of the world, to present at least a small fraction of our talented artists. Some of them are well established internationally and influence ‘the weather’ on the stage of the art world, others are young and upcoming, drawing the attention of peers through their innova- tive and inspiring ideas with their work heard and shown at the best international venues and galleries. What is important is that they exist in the broad spectrum of world culture as refreshing and challenging collaborative partners. 2 | 3 Brussels ⋅ Ghent ⋅ Strasbourg culture programme The CU LTU R E programme reveals a good mixture of features which we usually connect with Lithuanian culture: its playful, sometimes quirky, intellectually charged nature, its leaning towards the lyrical, poetic and metaphoric, its preoccupation with history and memory, ritual and non-pragmatic ways of doing things. From the symbolism of the beginning of the 20th century starting with the work of Mikalojus Konstantinas Čiurlionis, a composer and visual artist of equal stature through to Jonas Mekas with his reflections on the dramatic turns of the 20th century and a search for what has been lost forever; from poetry readings to poetic documentaries and auteur films; from clas- sical virtuosos and opera divas to mesmerizing concert installations and thought-provoking theatre performances, you will find it all in this programme for your attention and delight. This vibrant programme is also the best proof of our European and international experiences of the last 20 years, the cultural connections between artists and cultural organizations, the involvement of the Lithuanian representations abroad and our network of cultural attachés, as well as all our hardworking partners and supporters who put this fantastic programme together. We could not be more proud of what we The Presidency of the Council of the European Union is an important have achieved during this period and are excited by the challenges and historical event for Lithuania. For the first time we will be taking a opportunities that lie ahead. considerable amount of responsibility for the future of Europe. We are The most important asset Europe has is culture. And Europe is able ready to be an honest broker, and help find joint solutions that are to deliver culture of true quality. And this programme is one more proof in the best interests of all EU members. Lithuania’s presidency of the of that. EU Council logo is a symbol of joint activities for the benefit of Europe – the Lithuanian tricolour flag uniting common European values. We will have to work hard to return trust in the European financial markets and to strengthen the EU’s economy. Together with the EU’s partners, we will strive for a competitive and innovative common market that creates new jobs, is open to innovation, and attentive to the citi- zens of Europe. We will pursue an open EU that will become an example Šarūnas Birutis and centre of attention for our closest partners and neighbours. Minister of Culture of the Republic We are also happy that over this half-year we will be better under- of Lithuania stood and become more recognizable members of the EU family. Lithuania’s diplomatic representations will contribute to this by organiz- ing various events to present Lithuania’s cultural, artistic and economic achievements. 4 | 5 Brussels ⋅ Ghent ⋅ Strasbourg culture programme I’m sure that you will find the resonance of Lithuanian culture in Belgium a pleasant surprise. This half-year, artists from Lithuania should be sought there where experts in art and culture will be: the Festival of Flanders, the Klara Music Festival, the Flagey Arts Centre, and the BOZAR Centre for Fine Arts. We present a diverse picture of Lithuanian culture: the pride of Lithuania – opera singer Violeta Urmana and the Ąžuoliukas Boys’ and Youth Choir, active for 54 years, an exhibition of works by Jonas Mekas, godfather of American avant-garde cinema, and a composition by the young composer Justė Janulytė, our documentary cinema and contem- porary Lithuanian theatre, which has been recognized worldwide. These different artistic performances, analyzing the topics shared by the citizens of Europe, serve as an example of creativity which sometimes proves vital when dealing with key issues. We are pleased to … Enjoy discovering the diverse culture of Lithuania. … present a programme of cultural events to mark Lithuania’s six months as Chair of the Council of the European Union. The programme brings together the most highly regarded Lithuanian artists and performers, Linas Linkevičius and has been given the inclusive title of CU LTU R E. This title describes Minister of Foreign Affairs of the Republic an ephemeral phenomenon, which remains alive for only as long as of Lithuania people are open to knowledge and new ideas. At the same time, it is the most universal of media, which allows us to understand different worlds better, and to find similarities between them. An artist is the one who is able to open up and join the different cul- tures of different countries. Born and bred in a particular environment, artists outgrow both their time and their place. Their work recognises no political borders or natural divisions: no walls, no seas, no gulfs. That is why, when we look at the geographical range and the wide recogni- tion of the composers, directors and artists we have selected, we no longer call them only Lithuanian. Each one of them represents both the Lithuanian and the multiple European cultural identity. In putting together this cultural programme, our aim was not to offer surprises. We want people to be moved by a branch of already well- 6 | 7 Brussels ⋅ Ghent ⋅ Strasbourg culture programme known, but slightly different, European art, which has been born out of the rich cultural and political conjunctures and contradictions between the East and the West. Brought together by their friendship with George Maciunas, two prominent figures, Jonas Mekas, the godfather of American avant- garde cinema, and Vytautas Landsbergis, the first head of state of the reestablished Republic of Lithuania, who was also one of the initiators of Fluxus performances in Lithuania, will meet on the same stage. Their conversation about friends, their homeland, politics and art, led by Paul Dujardin, the director of the BOZAR Centre for Fine Arts, is expected to be fascinating. This meeting between two fellow-countrymen will reveal the ever-changing world of Jonas Mekas, and will help us to understand the programme of films and the exhibition ‘Jonas Mekas / The Fluxus Stanisław Filibert Fleury. Wall’. Fluxus is part not only of art history, but also of history of Lithu- Portrait of Mikalojus ania: though playful and apparently devoid of any more problematic Konstantinas Čiurlionis, Vilnius, 1908 meaning, it became a source of inspiration to politicians and the society, as it strived for freedom in the late ’80s – freedom that was never un- derstood only in terms of political independence and liberties, but also as an essential characteristic of human life. Brussels, and Šarūnas Bartas, whose films are premièred in Cannes, The fruitful collaboration between cultural institutions in Lithuania Venice and Berlin. and Belgium has turned into an exceptional line-up of exhibitions and Just before Christmas, the crystal-clear voices of the boys and youth concerts. The Lithuanian National Philharmonic Society, along with of the Ąžuoliukas choir will ring out alongside that of Asta Krikščiūnaitė the BOZAR Centre for Fine Arts and the KlaraFestival, presents Violeta and Nora Petročenko. And the last minutes of the Lithuanian season of Urmana and the Lithuanian National Symphony Orchestra, conducted culture in Belgium will be counted down by the magic Sandglasses by by Modestas Pitrėnas, in a gala concert. Justė Janulytė, a favourite project at the festivals of contemporary music The National M. K. Čiurlionis Art Museum and the Art Museum of in Europe. Ghent stretch the horizons of the 180 pieces of art and photography by Even as you hurry down the hallways of various EU institutions, you Mika lojus Konstantinas Čiurlionis, who blended Symbolism, Romanti- will be welcomed by Lithuanian installations, exhibitions of book design cism, Sezession and Abstractionism. This is a unique possibility to see and paintings, and the spinning ‘Gardens of Europe’, which symbolise a a large and complete collection of Čiurlionis’ work and to listen to his perfect world, open to harmony and culture. music, performed by the pianist Petras Geniušas and the Čiurlionis We sincerely hope that the efforts of the Lithuanian artists and our String Quartet, outside Lithuania. team will give you pleasure, encourage you to learn more about the Autumn in Brussels will be enriched by two Lithuanian directors who culture of our country, and broaden your cultural map of Europe, by are much-loved by theatre and film buffs, and by regular visitors to every extending of the borders of your knowledge, to include new names and major film and theatre festival in Europe.
Load more

Recommended publications
  • Lab9e Édition 13—14 Ju
    9 e é dition Lab 201713 — 14 juillet Sommaire / Index 05 Éditorial CNC 06 Éditorial FIDLab 07 FIDLab Editorial 08 Prix / Awards 09 Jury 10 A Portuguesa Lab The Portuguese Plateforme 12 AN(N)A/GRAM internationale 14 As Far As We Could Get de coproduction 16 Barchini International Motorboats coproduction 18 Kafka Le-Ktanim platform Kafka for Kids 20 Letters to Paul Morrissey 22 Michelle Remembers 24 Mon Ami Gadhgadhi My Friend Gadhgadhi Nous remercions pour leur accueil / We wish to thank for their welcome 26 Penal Cordillera → Chambre de Commerce et d’Industrie 28 Re-Re : Méditerranée Marseille-Provence 30 Sparrow 32 Projets FIDLab finalisés / Completed FIDLab projects 46 Partenaires, équipe / Partners, team Lab 2017 3 Éditorial CNC Un festival de cinéma permet de déceler les voix qui A film festival is an opportunity to discover voices that matter comptent dans le cinéma contemporain, celles qui in today’s cinema, voices that describe a certain state of décrivent avec force et originalité un état du monde. the world with strength and originality. In that respect, last Ainsi, l’édition précédente du FIDMarseille dépeignait une year, FIDMarseille depicted mankind as nomadic, migrant, humanité nomade, migrante, ballottée par l’histoire et la tossed about by history and geography. This year, beside the géographie. Cette année, outre la sélection extrêmement extremely rich selection, the retrospective of the work of riche, la rétrospective consacrée à la légende du legendary Roger Corman, notably known for his films based fantastique Roger Corman, connu pour ses adaptations on Edgar Allan Poe’s stories and for being an incredible talent au cinéma d’Edgar Allan Poe, et défricheur de talent scout, will give prominence to genre films.
    [Show full text]
  • 43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
    43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine.
    [Show full text]
  • Lejupielādēt
    Latvijā sāk demonstrēt Šarūna Barta vēstures drāmu „Mijkrēslī“ Publicēts: 16.10.2020. Svētdien, 18. oktobrī, Rīgas Starptautiskajā kino festivālā (Riga IFF) Latvijas pirmizrādi piedzīvos lietuviešu režisora Šarūna Barta filma “Mijkrēslī”, kas veidota kā filmu studijas “Mistrus Media” kopprodukcija ar Lietuvu, Franciju, Portugāli un Čehiju. Pirmizrāde notiks kinoteātrī “Splendid Palace”, no 19. oktobra sekos filmas seansi kinoteātrī „K.Suns”, bet no 21. oktobra arī ārpus Rīgas, Latvijas novados – Cēsīs, Rojā, Cesvainē, Zaļeniekos, Madlienā un citur. Šarūna Barta filmas stāsts aptver 2. pasaules kara beigu notikumus un pretošanās cīņu padomju okupācijai pēckara Lietuvā. 2020. gada aprīlī filma tika iekļauta Kannu kinofestivāla oficiālajā programmā un pasaules pirmizrādi piedzīvoja Sansebastianas Starptautiskā Kino festivāla konkursā. Filma Mijkrēslī ir piecu valstu kopražojums, tās veidošanā sadarbojās Lietuvas studija Kinema, Latvijas studija Mistrus Media, Portugāles Tetrafilms, Čehijas SirenaFilms un Serbijas Biberche, Filmas kopprodukciju atbalstījis Nacionālais Kino centrs un Eiropas Padomes fonds Eurimages. Filmas Mijkrēslī darbība notiek 1948. gadā, kad karš ir beidzies, bet Lietuva pārvērsta drupās. Deviņpadsmit gadus vecais Untė ir viens no nacionālajiem partizāniem, kas pretojas padomju okupācijai. Spēku samērs ir nevienlīdzīgs, taču šajā izmisīgajā cīņā izšķirsies visas tautas nākotne. Laikā, kad jauni cilvēki parasti sāk iepazīt dzīvi, Untė iepazīst vardarbību un nodevību. Robeža starp to, kur beidzas viņa jauneklīgā degsme un sākas cīņas mērķis, ir izplūdusi, viņš atdod sevi visu, kaut gan tas nozīmē zaudēt jaunības nevainīgo skatu uz dzīvi. “Filmā ir atainots viens no traģiskākajiem un vienlaikus sarežģītākajiem Baltijas valstu vēstures periodiem – laika posms pēc 2. Pasaules kara, kad Baltijas valstīs atsākās PSRS okupācijas režīms, bet liels skaits Baltijas valstu iedzīvotāju pretojās okupantiem. Nacionālo partizānu kustība bija īpaši izplatīta Lietuvā, tur šī pretošanās faktiski nozīmēja karadarbību.
    [Show full text]
  • The Drift Along a Traumatic Past in the Cinematic Worlds of Šarūnas Bartas*
    RENata ŠUKAITYTė 122 The Drift along a Traumatic Past in the Cinematic Worlds of Šarūnas Bartas* Renata ŠUKAITYTė This paper examines the reflections of a recent past and formations of post-1990s subjectivities in the films of the Lithuanian film-maker Šarūnas Bartas, namely Three Days (1991), The Corridor (1995), Few of Us (1996), Seven Invisible Men (2005) and Eastern Drift (2010), and presents an analysis of the interrelation of aural and visual layers in Bartas’s films, which fall under the discourse of trauma culture (Hal Foster) and de-territorialisation (Gilles Deleuze and Félix Guattari). All the films tackle the relationship between the past and the present, local and transcultural, stillness and mobility, individual and communal in a sustained and complex way. Therefore, Bartas’s films reflect geopolitical and aesthetic perspectives. Bartas’s protagonists are nomads glimpsed through the Deleuzian crystalline image. They trek from one place or community to another in quest of lost belonging, freedom or adventure. Their national or cultural identity is not clearly articulated. However, they can be recognised as Eastern Europeans whose land has always been a corridor for different nations and a temporary home or place of freedom. They are like Vilém Flusser’s digital apparitions operating in Deleuzian any-space-whatevers. The nation’s land, represented by the archetypical images of a bridge, a corridor, a harbour and a home, signifies a period of historical transformations and mental transitions in society. Introductory notes about the cultural and theoretical framework Šarūnas Bartas is one of those few Lithuanian film-makers who consistently deal with the traumatic experiences of communism and the constitution of the post-Soviet identities of those living in former Soviet territory.
    [Show full text]
  • BIEFF 2016 Catalogue
    THEME PROGRAMS 6 Concept 72 QUINZAINE DES RÉALISATEURS CANNES FILM FESTIVAL: PEACE TO US IN OUR DREAMS, BY SHARUNAS BARTAS 8 Festival Board 74 BERLINALE FORUM EXPANDED: Rebranding Humanity 10 Festival Team 80 ROTTERDAM FILM FESTIVAL: You Run Through My Veins 11 UNATC / UNARTE Presentation 86 CINEDANS AMSTERDAM: Of Love and Other Demons 12 Partner Festivals 92 OBERHAUSEN FILM FESTIVAL: 18 International Competition Jury Paradise in Ruins - Visual Art Activism 20 Opening Gala 98 GOLDEN SHORTS: Best Films in Major Festivals 22 Closing Gala 105 REBEL WITH A CAUSE: Theme Program for Teenagers 111 EXPERIMENTED IN ROMANIA INTERNATIONAL COMPETITION 24 TRANSGRESSIVE BODIES SIDE EVENTS International Competition I 119 NISI MASA Experimental Film Workshop 32 DIGITAL DYSTOPIAS International Competition II 120 BIEFF opens LIKE CNDB 2016 40 JOURNEYS INTO SUBCONSCIOUS 121 Panel: The Lifespan of Cinematic Experimentation - Festival International competition III Strategies and Beyond / BIEFF on MUBI 48 DANGER IS MY BUSINESS 122 Săptămâna sunetului / Sound Week International Competition IV 56 THE ARTIST IS PRESENT International Competition V 64 URBAN RITUALS International Competition VI Special Acknowledgments to all the directors, producers and distributors whose films are screened in BIEFF 2016 and to the following persons and institutions: Alessandro Raja - Festival Scope Giorgia Huelsse - Films Boutique Festival Alis Vasile - British Council Gilda Lazăr - JTI Mihai Orășanu - MDV Film Alina Cantacuzino - Cervantes Institute Hilke Doering - Oberhausen
    [Show full text]
  • Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Content
    Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Content Introduction 5 Lithuania and Poland. Neighbourship in Filmic Form in the Cinema of the 1960s 6 A Short Review of Lithuanian Cinema 12 Feature Film after 1990: Generation Change, New Aspects and Challenges 18 Raimundas Banionis: Film Plots Dictated by Reality 22 Algimantas Puipa: My Work Starts Where the Novel Ends 26 Gytis Lukšas: I Measure My Life in Films 30 Valdas Navasaitis: Everything Is a Private Matter 34 Audrius Juzėnas: Evil Is Not an Abstraction; It Influences Our Destinies 38 Kristijonas Vildžiūnas: Finding Historical Truths 42 Kristina Buožytė: Film Is the Door to a Specific World 46 Ignas Jonynas: I Belong to a Generation Very Rich with Experience 48 Šarūnas Bartas’ Films 52 Šarūnas Bartas: The Philosopher of Lithuanian Cinema 54 Jonas Mekas’ Diary Films 60 Documentary Film after 1990 64 Audrius Stonys: Showing the Invisible 70 Arūnas Matelis: Films Emerge from Sensations 74 Janina Lapinskaitė: Heroes Carry Their Sadness Along with Them 78 Julija and Rimantas Gruodis: We Are Trying to Walk on the Bright Side of Life 82 Giedrė Žickytė: Film Is an Emotion 86 Index 89 Introduction ver the past decade, Lithuanian cinema of Lithuanian filmmakers is also pursuing new has experienced a period of intense opportunities and original forms of expression. change. The production of films in Films by such female film directors as Alantė OLithuania has been on the increase, as has the Kavaitė, Kristina Buožytė and Giedrė Žickytė audience’s interest in films produced domestically.
    [Show full text]
  • Curiosity and Surprises the Best Ideas of Lithuanian Creative Industries
    CURIOSITY AND SURPRISES The Best Ideas of Lithuanian Creative Industries National Association of Creative and Cultural Industries in Lithuania National Association of Creative and Cultural Industries in Lithuania Advertising ........................... 10 Architecture ........................... 24 Cinema ........................... 36 Computer Games ........................... 48 Design ........................... 58 Literature ........................... 70 Theatre ........................... 82 Visual Arts ........................... 94 Creative and Cultural Industries in Lithuania: Emerging from the Gray Zone Does Lithuania boast enormous creative potential? Does it show creative self- expression? Does it have rich cultural production? Is life in Lithuania becoming faster and also more dynamic? Is a new generation of Lithuanians becoming increasingly interested in new technologies? I believe all these questions can be answered with a definite “yes”. However, another question arises: does the ability to answer these questions provide us with a firm confidence in the well-being of creative and cultural industries and the flourishing of what has been dubbed the “creative economy”? I would not be so quick to state this. If I had to highlight one essential precondition for the prosperity of the Dr. ArūnAs GelūnAs creative and culture industries, it would be cooperation and networking. Even Minister of Culture of the though one has to accept the classical truth Republic of Lithuania that in most cases creative talent resides in the soul of an individual, there is also rich evidence to support the opinion that it usually takes more than one individual for a creative idea to become a part of the creative economy. It should be mentioned that due to different historical, economical, and social factors, the managerial and entrepreneurial skills of a number of creative people in Lithuania were lacking, which also applies to their willingness to cooperate with National Association of Creative and Cultural Industries in Lithuania managers and entrepreneurs.
    [Show full text]
  • Es Un Proyecto De
    Es un proyecto de Una publicación del ICAS – Instituto de la Cultura y las Artes de Sevilla ISBN: 978-84-9102-020-2 DEPÓSITO LEGAL: SE 1454-2015 2 PRESENTACIÓN JUAN ESPADAS ALCALDE DE SEVILLA Pensar en cine europeo es pensar en Sevilla. Son ya doce los años que lleva celebrándose nuestro Festival de Cine Europeo, y cada edición confirma y amplía To think of European cinema is to think of Seville. We las expectativas y el éxito del anterior, consolidando have been celebrating our European Film Festival una oferta cultural que cada año reúne a decenas de for twelve years now, and each edition confirms miles de espectadores en las salas de cine de nuestra and increases the expectations and the success of ciudad. the previous one, consolidating a cultural offer that La cultura es la mejor forma de la que disponemos each year draws thousands of spectators to our city’s para proyectarnos al mundo y para reflexionar cinemas. sobre nosotros mismos, es eje y motor de nuestro Culture is the best way we have to show ourselves crecimiento. Gracias a ella nos observamos en los to the world and to think about ourselves, it is the demás. Nuestra ciudad debe ser una ciudad abierta a axes and the engine of our growth. Thanks to it we nuevas gentes y nuevas tendencias, una ciudad que can observe ourselves in others. Our city must be aproveche todo el dinamismo y la vida de una cultura a city that is open to new people and new trends, a activa y siempre cambiante.
    [Show full text]
  • Lithuanian Cultural Guide:Film
    Cinema We extend our gratitude and appreciation to all the authors and consultants who made a valued contribution to this project by devoting their time and energy. A very special thank you to those artists and institutions who provided materials from their collections. Preface 9 Documentary Cinema: The Flowing River of Time 11 New Lithuanian Feature Films 19 Short Films 25 The Artistic and Stylistic Features of Lithuanian Animation 27 Catalogue 35 Organisations 79 Preface Over the last two decades, Lithuanian cinema has continued to attract international attention. The country’s film industry is regularly represented by the films of Šarūnas Bartas, Arūnas Matelis, Audrius Stonys, Gytis Lukšas and Kristijonas Vildžiūnas. New names are starting to appear alongside these recognised directors, such as Kristina Buožytė and Mantas Kvedaravičius, who have had successful premières at the Berlin International Film Festival and the Karlovy Vary International Film Festival. There is also a provocative new generation that is looking for roads that have yet to be travelled, such as Lina Lužytė, Dovilė Šarutytė and Jūratė Samulionytė, who highlight problems concerning the personal and social identity. The well-established tradition of auteur cinema in Lithuania is coming into contact with new stylistic and thematic trends, which we would like to present in this publication. Documentary Cinema: The Flowing River of Time By Živilė Pipinytė Obscure Beginnings Lithuanian cinema is one of the youngest in Europe. Professional national cinematography started relatively late, only in the mid-20th century. Its beginnings are to be found in the stories told by the early filmmakers. One of these legends marks the beginning of documentary cinema.
    [Show full text]
  • Cities in Film: Architecture, Urban Space and the Moving Image
    Cities in Film: Architecture, Urban Space and the Moving Image An International Interdisciplinary Conference University of Liverpool, 26-28th March 2008 Conference Proceedings. This conference is organised by the School of Architecture and School of Politics and Communication Studies. The AHRC-funded research project, entitled City in Film: Liverpool's Urban Landscape and the Moving Image, is conducted by Dr Julia Hallam (principle investigator), Professor Robert Kronenburg (co-investigator), Dr Richard Koeck and Dr Les Roberts. This conference is supported by the Arts and Humanities Research Council (AHRC) and the University of Liverpool. Cover design: Richard Koeck and Les Roberts. Copyright cover image: Angus Tilston. Edited by Julia Hallam, Robert Kronenburg, Richard Koeck and Les Roberts. Please note that authors are responsible for copyright clearance of images reproduced in the proceedings. Cities in Film: Architecture, Urban Space and the Moving Image An International Interdisciplinary Conference University of Liverpool, 26-28th March 2008 Cities in Film explores the relationship between film, architecture and the urban landscape drawing on interests in film, architecture, urban studies and civic design, cultural geography, cultural studies and related fields. The conference is part of University of Liverpool's contribution to the European Capital of Culture 2008, and aims to foster interdisciplinary dialogues around architectural and film history and theory, film and urban space, and to point towards new intellectual frameworks for discussion. It seeks to draw on the work of theorists and practitioners engaged in ideas in these areas, examining film in the context of urban design and development and exploring in particular the contested social, cultural and political terrain that underpins these practices.
    [Show full text]
  • Baltic Cinemas— Flashbacks In/Out of the House
    Irina Novikova Baltic Cinemas— Flashbacks in/out of the House In this paper, I will approach the cinemas of Pärnumaa (1914).’ (Tomingas 2006.) Pääsuke, Estonia, Latvia and Lithuania using the region- a famous ‘man with two cameras’, is widely alist concept of ‘Baltic cinemas’, to emphasise seen as the father of Estonian cinema. shared and general aspects in the national cine- matic processes, because ‘by looking regionally we see trends that otherwise remain neglected’ (Iordanova 2003: 12). The identities of the national cinemas of Estonia, Latvia and Lithuania are marked by several distinguishing features. They participat- ed in the cultural self-definitions and self- images of the three politically independent nations after they gained their independence in 1918. Discontinued from their pre-war legacy, they became part of the Soviet film industry for the (Fig. 2) socialist re-invention of national imaginaries. Ladislas Starevich They were challenged radically by the disruption of film production, distributional capabilities and Latvian film historians are also not unani- capacities, and screening policies in the transi- mous about the origins of their national cine- tion from the Soviet command economy to a matic tradition. The beginnings are seen either European/global capitalist one. The 1990s and in the first movie screened in Riga on May 28, 2000s have brought new cinematic practices 1896, the premiere of the first Latvian feature, and experiences, new ideological agendas to the I Went to the War (Es karā aiziedams, 1920), region, as well as new discussions/interpreta- or in the documentary films of the cinematogra- tions of the notion ‘national cinema’ in its mean- pher Aleksandrs Stanke on the unveiling of the ings of inclusivity/exclusivity and processuality.
    [Show full text]
  • Screening Boredom: the History and Aesthetics of Slow Cinema
    SCREENING BOREDOM THE HISTORY AND AESTHETICS OF SLOW CINEMA Orhan Emre Çağlayan A Thesis submitted for the degree of Doctor of Philosophy in Film Studies University of Kent February 2014 ABSTRACT This thesis examines Slow Cinema, a stylistic trend within contemporary art cinema, although one with a longer pre-history. Its distinguishing characteristics pertain ultimately to narration: the films, minimalistic by design, retard narrative pace and elide causality. Specifically, its aesthetic features include a mannered use of the long take and a resolute emphasis on dead time; devices fostering a mode of narration that initially appears baffling, cryptic and genuinely incomprehensible and offers, above all, an extended experience of duration on screen. This contemporary current emerges from a historical genealogy of modernist art films that for decades distended cinematic temporality and, furthermore, from the critical and institutional debates that attended to it. This thesis, therefore, investigates Slow Cinema in its two remarkable aspects: firstly, as an aesthetic practice, focusing on the formal aspects of the films and their function in attaining a contemplative and ruminative mode of spectatorship; and, secondly, as a historical critical tradition and the concomitant institutional context of the films’ mode of exhibition, production and reception. As the first sustained work to treat Slow Cinema both as an aesthetic mode and as a critical discourse with historical roots and a Janus-faced disposition in the age of digital technologies, this thesis argues that the Slow Cinema phenomenon can best be understood via an investigation of an aesthetic experience based on nostalgia, absurd humour and boredom, key concepts that will be explored in respective case studies.
    [Show full text]