L'exil Dans L'œuvre De Marilú Mallet Par
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Media Release Bell Media's Crave to Bring Select Tiff
January 14, 2020 MEDIA RELEASE BELL MEDIA’S CRAVE TO BRING SELECT TIFF FILMS TO WIDER AUDIENCE IN NEW PARTNERSHIP New initiative provides distribution opportunity for select TIFF films The TIFF Selects collection is now live with eight films TORONTO — TIFF and Bell Media announced today that 11 feature films that celebrated their World Premieres at the 2019 Toronto International Film Festival will be distributed for streaming across the country on Crave. The groundbreaking new partnership, called “TIFF Selects,” is a first for TIFF as a Canadian distribution opportunity for its world-class Festival programming. The vast majority of films in the collection will have their premieres on Crave. “TIFF’s partnership with Bell Media and Crave, Canada’s own world-class streaming service, is good for business and furthers TIFF’s mission to showcase exceptional cinema to audiences across the country,” said Joana Vicente, TIFF’s Executive Director and Co-Head. “TIFF is thrilled to make this opportunity available to both the filmmakers and viewers. Together, we hope to grow the TIFF Selects collection over the coming years.” “It was important for us to expand the presence of TIFF – an iconic Canadian cultural institution – on Crave,” said Randy Lennox, President, Bell Media. “One of Crave’s cultural mandates is acquiring, curating, and distributing the best content in the world, and we’re thrilled to continue that momentum through this new partnership with TIFF.” The Canadian and international films that have been offered the opportunity to premiere on Crave as part of TIFF Selects represent a richness of voices, perspectives, and insights from some of the world’s finest established filmmakers, as well as emerging directorial talent. -
Concordia University Presents
ConcordiaConcordia UniversityUniversity presentspresents THE 30th ANNUAL SOCIETY FOR ANIMATION STUDIES CONFERENCE | MONTREAL 2018 We would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtiá:ke/ Montreal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community. Please clickwww.concordia.ca/about/indigenous.html here to visit Indigenous Directions Concordia. TABLE OF CONTENTS Welcomes 4 Schedule 8-9 Parallel Sessions 10-16 Keynote Speakers 18-20 Screenings 22-31 Exhibitions 33-36 Speakers A-B 39-53 Speakers C-D 54-69 Speakers E-G 70-79 Speakers H-J 80-90 Speakers K-M 91-102 Speakers N-P 103-109 Speakers R-S 110-120 Speakers T-Y 121-132 2018 Team & Sponsors 136-137 Conference Map 138 3 Welcome to Concordia! On behalf of Concordia’s Faculty of Fine Arts, welcome to the 2018 Society for Animation Studies Conference. It’s an honour to host the SAS on its thirtieth anniversary. Concordia University opened a Department of Cinema in 1976 and today, the Mel Hoppenheim School of Cinema is the oldest film school in Canada and the largest university-based centre for the study of film animation, film production and film studies in the country. -
Geografie Spettacolari Si Alternano Fuori E Dentro Lo Schermo
GEOGRAFIE SPETTACOLARI SI ALTERNANO FUORI E DENTRO LO SCHERMO. UN VIAGGIO FISICO E METAFISICO ALLA SCOPERTA DEI LUOGHI CIRCOSTANTI. Spectacular landascapes in and out the screen. Un viaggio fisico e metafisico alla scoperta dei luoghi circostanti. Con il sostegno di: Ideator and curator Translations Press office, Alberto Cano Globostudio Como Coordinamento e ufficio stampa locale: Art direction Administration Silvia Introzzi | +39 031 303492 [email protected] Lorenzo Butti Pier Carlo Tiranti Daniele Valsecchi Alberto Cano Ufficio Stampa Nazionale Marco Pepe Itinerari cineturistici Ada Tullo | +39 349 2674900 Max De Ponti Pietro Berra [email protected] Film selection Service tecnico Contacts Marco Albanese TVM Cinema e Multimedia Segreteria organizzativa Stefano Facchinetti Manzoni 22, via Manzoni 22, Andrea Giordano Sottotitoli 22100 Como Subhumans T. +39 031 303492 Con il contributo di: Filmlakers [email protected] lakecomofilmfestival.com Isabella Bazzi facebook.com/lakecomofilmfestival Edoardo Colombo @lakecomofilmfestival Tomaso Vimercati Marketing Carlo Cairoli Davide Dell’Erba In collaborazione con: FilmLakers: In collaborazione con i comuni di: Albese con Cassano, Carate Urio, Cernobbio, Gravedona, Lezzeno.Torno, Zelbio, Si ringrazia: Associazione Via De Benzi 17 Torno, Pro Loco Gravedona, Pro Loco Lezzeno. Media partner: Le proiezioni sono a ingresso libero. In caso di cattivo tempo seguire le sedi alternative. Entry is free to screenings. In the event of bed weather please go to the alternative venues. -
Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. -
Focus 2007 World Film Market Trends Tendances Du Marché Mondial Du Film Editorial
European Audiovisual Observatory Information services for the audiovisual sector www.obs.coe.int Focus 2007 workshop VoD vs Cinema? 14:30 – 17:00, Saturday 19th May 2007 World Film Market Trends Salon des Ambassadeurs Tendances du marché mondial du film Palais des Festivals entry free to all market accreditees Come and see us on our stand: A8, Riviera Section, Marché du film. Stand telephone: +33 (0)4 92 99 33 36 Focus 2007 17,50 EUR Réf FMF07 PUBs_FOCUSPUBsFOCUS_Couv_9800EX.indd FOCUS 2007.indd 1 1 4/05/07 17:49:20 Focus def.indd 2 26/04/074/05/07 19:36:01 16:36:51 focus 2007 World Film Market Trends Tendances du marché mondial du film Editorial Alors que le Festival de Cannes fête ses 60 ans, While the Festival de Cannes is celebrating its la relation entre cinéma et spectateurs entre dans sixtieth birthday, relations between cinema and its une nouvelle époque. audiences are entering a new phase. La salle de cinéma connaît une nouvelle évo- Theatres are evolving with the increase of dig- lution avec la monté en puissance de la projection ital screenings and now the arrival of fi lms in 3D; numérique et l’arrivée des fi lms en 3D ; le cinéma independent cinema is fi ghting to keep its place indépendant se bat pour conserver une place dans in these theatres; the development of Internet as ces salles ; le développement d’Internet comme a promotional and broadcasting vector is seen as vecteur de promotion et de diffusion est perçu both a threat and an opportunity for diversity. -
Analysis of the UIS International Survey on Feature Film Statistics
INFORMATION SHEET No. 1 Analysis of the UIS International Survey on Feature Film Statistics With the support of the Government of Québec and in collaboration with the Institut de la statistique du Québec (ISQ), the UNESCO Institute for Statistics (UIS) launched a new international survey in 2007 to collect data on feature films. The analysis was based on a preliminary study by Ivan Bernier, Associate Professor, Université Laval and Serge Bernier, Associate Professor, Université du Québec à Trois-Rivières. Introduction The UIS International Survey on Feature Film Statistics is based on a new approach to gather internationally comparable and better quality data in the field of culture statistics. Cinema data elicit much interest because the film industry is experiencing massive transition and growth in certain developing countries. These data can also be relevant to the study of the diversity of cultural expressions. Data was obtained from 101 countries for the years 2005-2006, indicating a coverage rate of 49%. This is a relatively reasonable coverage rate for an international survey. In the majority of cases, the data were obtained directly from countries in response to the questionnaire; 75 countries responded, for a response rate of 36%. Among those who responded, 11 – mainly developing countries – indicated they had no data on film production. Data on 26 other countries were obtained from alternative sources (government information available on the Internet, international compilations, etc.). Figure 1 shows the geographical imbalance in coverage rates – a strong concentration in Europe and North America with a coverage rate of 88% and very little coverage in Sub-Saharan Africa, Latin America and the Caribbean, and the Pacific with 33%, 27% and 24% respectively. -
New Cinema from Quebec at Museum
FO The Museum of Modern Art * IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart Note to Critics and editors* Advance screenings on request NEW CINEMA FROM QUEBEC AT MUSEUM The Museum of Modern Art will introduce New Cinema from Quebec and will offer New Yorkers their first exposure to the emerging consciousness of young French-Canadian film makers. The program begins at the Museum on February 3 and will include Claude Jutra' s "Mon Oncle Antoine," recipient of the Best Film of the Year in the 1971 Canadian Film Awards, and one of the most popular and highly praised motion pictures ever produced in Canada. Guy Fregault, Deputy Minister of Cultural Affairs of Quebec, will introduce "Mon Oncle Antoine" at the 8:00 p. m. showing on February 3. There are altogether 11 features and six shorts in the series. "The cinema of Quebec is an anxious cinema," according to Larry Kardish, Assistant Curator of the Department of Film, who is responsible for organizing this film cycle. It includes critically acclaimed Canadian films not seen here previously, among them "Les Males," "Q-bec My Love," and "My Childhood in Montreal." Cut loose from traditional obedience to church and state and surrounded by a pervasive, alien culture, the French- Canadian filmmaker is involved in a quest for his own and his people' s identity, according to Mr. Kardish. In this quest, he turns repeatedly to two themes: the native land, particularly its physical aspects, and a political-cultural establishment that fails to fulfill the needs of his people. -
Download 2017 Program
GREENWICH INFINITI PROUD SPONSOR OF THE FOCUS ON FRENCH CINEMA PROUD SPONSOR OF 315 Millbank Ave. Greenwich, CT 06830 203-869-2600 GreenwichInfiniti.com Letter from the Focus on French Cinema Team BIENVENUE... Welcome to Focus on French Cinema 2017, the annual festival of French-language film from around the world presented by the Alliance Française of Greenwich. Established in 2005, Focus on French Cinema is a wide-ranging film festival embracing the best of cinema from France, Switzerland, Canada, Belgium, Lebanon, French speaking African countries and beyond. Now in its 13th year, Focus on French Cinema returns to Connecticut and Manhattan for a week long festival from March 27 to April 2. The lineup of over 20 films includes multiple César winners and an award-winning selection of short films as well as a very special Tribute to the Cinema of Québec co-organized with the Montréal festival CINEMANIA. Our list of distinguished partners and venues continues to expand: in addition to CINEMANIA and long term partner Festival du film francophone d’Angoulême (co-directed by guest Dominique Besnehard), we are honored once again to boast screenings at the Avon Theater in Stamford, CT; New York Opening Night at FIAF; for the first time, at the Lycée Francais de New York; and for the second year in a row, a screening at the United Nations in partnership with the International Organization of La Francophonie. This year Focus on French Cinema honors the illustrious career of legendary filmmaker Claude Lelouch, who will be on hand for the U.S. Premiere of the 50th anniversary restoration of his masterpiece A Man and a Woman (Un homme et une femme). -
5Th International Uranium Film Festival Programme Quebec 2015 Final
FESTIVAL PROGRAMME 5th INTERNATIONAL URANIUM FILM FESTIVAL 2015 A Film Festival about Nuclear Power Festival International du Film d'Uranium Un festival du film sur l'énergie nucléaire FESTIVAL PROGRAMME CANADA /QUEBEC APRIL 2015 Quebec City April 15 - 25 Mistissini April 18 Montreal April 23 ! 2 FROM RIO DE JANEIRO TO QUEBEC CITY, MISTISSINI & MONTREAL The International Uranium Film Festivals has reached its 5th year. In his short history it screened hundreds of nuclear and atomic films in Rio de Janeiro and other cities. The festival already traveled to 3 continents and 6 countries. It was guest in the capitals Amman, Berlin, Lisbon, New Delhi, Washington, Window Rock and important cities like New York, Santa Fe, Munich, Mumbai, Hyderabad or São Paulo. Now in 2015 the 5th International Uranium Film Festival starts for the first time in Canada, Quebec. It is dedicated to the 70th anniversary of the first explosion of an Atomic Bomb and the bombing of Hiroshima & Nagasaki in 1945. The festival runs from April 15 to 25 in Quebec City, Concorde hotel, together with the World Uranium Symposium. In addition special screenings will also happen April 18 in Mistissini, the largest community of the James Bay Crees in Quebec, and April 23 in Montreal. The films selected for the Uranium Film Festival 2015 compete for the festival's "Yellow Oscar Award" in different categories. The winners will be announced on Saturday evening, April 25th, at Award and closing ceremony of the festival in Quebec City. After the festival in Quebec the International Uranium Film Festival continues in Brazil and Germany. -
A Tribute to Peter Harcourt Selected Bibliography 1 the Higher Learning
A Tribute to Peter Harcourt Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Peter Harcourt Publications Harcourt, Peter. “Remembering Robin.” CineAction 84 (Spring 2011): 6-7. ---. “A Conversation with Atom Egoyan.” in Atom Egoyan: Interviews. Atom Egoyan and T.J. Morris (eds). Jackson: University Press of Mississippi, 2010. 84-93. ---. “Analogical Thinking: Organizational Strategies within the Work of Jean-Luc Godard.” CineAction 75 (Winter 2008): 20-23. ---. “The Reality of Dreams: A Presentation of L’Ange et la Femme (1977).” CineAction 73-74 (Summer 2007): 15-19. ---. “L’Âge des images.” Off Screen 11.1 (January 2007). ---. “Dossier: Jean Pierre Lefebvre – L’age Des Images.” 24 Images (2006): 18. ---. “Telling Stories: The Documentaries of William D. MacGillivray.” POV 62 (Summer 2006): 22-27. ---. “Images of the Rural: The Cinema of Quebec.” CineAction 69 (Spring 2006): 2-11. ---. “Introducing Michael Ostroff.” POV 59 (Fall 2005): 30-33. ---. “Bridges: Notre Musique by Jean-Luc Godard.” CineAction 65 (Winter 2005): 62-63. ---. “Atom Egoyan.” in Film Voices: Interviews from Post Script. Gerald Duchovnay (ed.). Albany, NY: State University of New York Press, 2004. -
Regional and Vernacular Cinemas in Cebu1 Paul Douglas Grant
Screening Place: Regional and Vernacular Cinemas in Cebu1 Paul Douglas Grant Abstract The history of autonomous cultural production in the Philippines has been both blessed and cursed with a series of significant but contentious debates largely stemming from the nation’s historical battles with colonialism and how that experience problematized the concept of an easily definable national identity. Using geographical concepts surrounding place to open up new approaches to understanding local cultural production, this essay turns to Philippine cinema as a propaedeutic for this contested his- tory and traces the emergence and difficulties of vernacular and regional cinemas in Cebu, Philippines. Keywords: Regional cinema, Cebu, cultural geography, place, colonialism Plaridel • Vol. 17 No. 2 • July - December 2020 23 - 41 Plaridel Open Access Policy Statement As a service to authors, contributors, and the community, Plaridel: A Philippine Journal of Communication, Media, and Society provides open access to all its content. To ensure that all articles are accessible to readers and researchers, these are available for viewing and download (except Early View) from the Plaridel journal website, provided that the journal is properly cited as the original source and that the downloaded content is not modified or used for commercial purposes.Plaridel , published by the University of the Philippines College of Mass Communication is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (https://creativecommons.org/ -
Silencing Cinema: Film Censorship Around the World Edited by Daniel Biltereyst and Roel Vande Winkel
Silencing Cinema Film Censorship around the World ISBN: 9781137061980 DOI: 10.1057/9781137061980 Palgrave Macmillan Please respect intellectual property rights This material is copyright and its use is restricted by our standard site license terms and conditions (see palgraveconnect.com/pc/info/terms_conditions.html). If you plan to copy, distribute or share in any format, including, for the avoidance of doubt, posting on websites, you need the express prior permission of Palgrave Macmillan. To request permission please contact [email protected]. Copyright material from www.palgraveconnect.com - licensed to COPPUL - PalgraveConnect - 2013-05-07 - licensed to COPPUL PalgraveConnect www.palgraveconnect.com material from Copyright 10.1057/9781137061980 - Silencing Cinema, Edited by Daniel Biltereyst and Roel Vande Winkel Silencing Cinema Copyright material from www.palgraveconnect.com - licensed to COPPUL - PalgraveConnect - 2013-05-07 - licensed to COPPUL PalgraveConnect www.palgraveconnect.com material from Copyright 10.1057/9781137061980 - Silencing Cinema, Edited by Daniel Biltereyst and Roel Vande Winkel GLOBAL CINEMA Edited by Katarzyna Marciniak, Anikó Imre, and Áine O’Healy The Global Cinema series publishes innovative scholarship on the transnational themes, industries, economies, and aesthetic elements that increasingly connect cinemas around the world. It promotes theoretically transformative and politically challenging projects that rethink film studies from cross-cultural, comparative per- spectives, bringing into focus forms of cinematic production that resist nationalist or hegemonic frameworks. Rather than aiming at comprehensive geographical coverage, it foregrounds transnational interconnections in the production, distri- bution, exhibition, study, and teaching of film. Dedicated to the global aspects of cinema, this pioneering series combines original perspectives and new method- ological paths with accessibility and coverage.