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Film Funding Grants Programme 2013
Film Funding Grants Programme 2013 Film Funding Grants Programme 2013 Doha Film Institute established its Grants We contribute to films that have strong directorial Programme with the vision of fostering creative vision and that are challenging, creative and talent in the Middle East and North Africa (MENA) thought-provoking. Support for grantees is holistic, region. We are proud that over its first three- with financial assistance bolstered by professional and-a-half years the programme supported the development, mentorship and creative development development of more than 137 projects from opportunities that are made available throughout 14 countries. a project’s life cycle. In 2013, the Institute embarked on a new phase of the Grants Programme designed to further the It is our hope that through the Grants Programme goal of nurturing emerging talent. Projects from and the growing number of its alumni, we will all over the world became eligible for funding, continue to widen our flourishing community with a special focus on first- and second-time of filmmakers. As we extend our reach, we also filmmakers. enable professional, cultural and creative exchanges between our local talent and the wider international Alongside this expansion, the Institute’s industry. commitment to talent from the MENA region remains strong, with specific categories and I am honoured to welcome our newest grant criteria in place. Our focus on first- and second- recipients to the Doha Film Institute family. time filmmakers will greatly enhance our ability to discover and nurture new voices, both at home in Abdulaziz Al-Khater Qatar and around the globe. -
Jewish Identity and German Landscapes in Konrad Wolf's I Was Nineteen
Religions 2012, 3, 130–150; doi:10.3390/rel3010130 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article Homecoming as a National Founding Myth: Jewish Identity and German Landscapes in Konrad Wolf’s I was Nineteen Ofer Ashkenazi History Department, University of Minnesota, 1110 Heller Hall, 271 19th Ave S, Minneapolis, MN 55455, USA; E-Mail: [email protected]; Tel.: 1-651-442-3030 Received: 5 January 2012; in revised form: 13 March 2012 / Accepted: 14 March 2012 / Published: 22 March 2012 Abstract: Konrad Wolf was one of the most enigmatic intellectuals of East Germany. The son of the Jewish Communist playwright Friedrich Wolf and the brother of Markus Wolf— the head of the GDR‘s Foreign Intelligence Agency—Konrad Wolf was exiled in Moscow during the Nazi era and returned to Germany as a Red Army soldier by the end of World War Two. This article examines Wolf‘s 1968 autobiographical film I was Nineteen (Ich war Neunzehn), which narrates the final days of World War II—and the initial formation of postwar reality—from the point of view of an exiled German volunteer in the Soviet Army. In analyzing Wolf‘s portrayals of the German landscape, I argue that he used the audio- visual clichés of Heimat-symbolism in order to undermine the sense of a homogenous and apolitical community commonly associated with this concept. Thrown out of their original contexts, his displaced Heimat images negotiate a sense of a heterogeneous community, which assumes multi-layered identities and highlights the shared ideology rather than the shared origins of the members of the national community. -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
Verse in Fraser's Magazine
Curran Index - Table of Contents Listing Fraser's Magazine For a general introduction to Fraser's Magazine see the Wellesley Index, Volume II, pages 303-521. Poetry was not included in the original Wellesley Index, an absence lamented by Linda Hughes in her influential article, "What the Wellesley Index Left Out: Why Poetry Matters to Periodical Studies," Victorian Periodicals Review, 40 (2007), 91-125. As Professor Hughes notes, Eileen Curran was the first to attempt to remedy this situation in “Verse in Bentley’s Miscellany vols. 1-36,” VPR 32 (1999), 103-159. As one part of a wider effort on the part of several scholars to fill these gaps in Victorian periodical bibliography and attribution, the Curran Index includes a listing of verse published in Fraser's Magazine from 1831 to 1854. EDITORS: Correct typo, 2:315, 1st line under this heading: Maginn, if he was editor, held the office from February 1830, the first issue, not from 1800. [12/07] Volume 1, Feb 1830 FM 3a, A Scene from the Deluge (from the German of Gesner), 24-27, John Abraham Heraud. Signed. Verse. (03/15) FM 4a, The Standard-Bearer -- A Ballad from the Spanish, 38-39, John Gibson Lockhart. possib. Attributed by Mackenzie in introduction to Fraserian Papers Vol I; see Thrall, Rebellious Fraser: 287 Verse. (03/15) FM 4b, From the Arabic, 39, Unknown. Verse. (03/15) FM 5a, Posthumous Renown, 44-45, Unknown. Verse. (03/15) FM 6a, The Fallen Chief (Translated from the Arabic), 54-56, Unknown. Verse. (03/15) Volume 1, Mar 1830 FM 16b, A Hard Hit for a Damosell, 144, Unknown. -
Only Lovers Left Alive
Only Lovers Left Alive A FILM BY Jim Jarmusch Synopsis Set against the romantic desolation of Detroit and Tangier, an underground musician, deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover. Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister. Can these wise but fragile outsiders continue to survive as the modern world collapses around them? Director’s Statement ONLY LOVERS LEFT ALIVE is an blood to survive. But they now live in the unconventional love story between a man world of the 21st century where biting the and a woman, Adam and Eve. (My script was neck of a stranger would be reckless and partially inspired by the last book published regressive -- for survival, they must be certain by Mark Twain: The Diaries of Adam and Eve the blood that sustains them is pure and free -- though no direct reference to the book of disease or contamination. And, almost is made other than the character’s names.) like shadows, they have learned long ago to These two lovers are archetypal outsiders, deftly avoid the attention of any authorities. classic bohemians, extremely intelligent and sophisticated -- yet still in full possession of For our fi lm, the vampire is a resonant their animal instincts. They have traveled the metaphor -- a way to frame the deeper world and experienced many remarkable intentions of the story. This is a love story, things, always inhabiting the shadowed but also the story of two exceptional margins of society. -
The Picture of Abjection: Film, Fetish, and the Nature of Difference
The Picture of Abjection: Film, Fetish, and the Nature of Difference By Tina Chanter Bloomington: Indiana University Press, 2008. ISBN: 9780253219183. 15 illustrations, 377 pp. £19.99 (pbk) A review by Adrienne Angelo, Angelo, University of West Georgia, USA How do scholars and others with an interest in film studies and psychoanalysis engage with existing theoretical discourses on race, gender, culture and sexual difference in order to bypass the often polemicized and contested paradigm of fetishism and voyeurism, two critical modes that have dominated and continue to dominate film theory? It is this problematic that Tina Chanter explores in The Picture of Abjection: Film, Fetish and the Nature of Difference. For Chanter, drawing largely upon Kristeva's theoretical considerations of abjection, a point of entry to this endeavor lies precisely in further developing the implications of abjection as a "staging of a defensive dynamic that has the potential to significantly rework the imaginary commitments of Oedipal theory, specifically its privileging of masculinity and femininity" (17). Chanter's primary goal appears to be to develop a new critical model at the very center of which lies that which is otherwise neglected, excluded and expelled from dominant cultural discourse for being "too much", too "other". However, for as much as Chanter promotes a consideration of film and film theory, there is less an in-depth reading of films per se than a highly informed reconsideration of theoretical notions of subjectivity and the subject, one read through the lens of abjection and its destabilizing and thus subversive potential for considering marginalized identities and their representation in film theory. -
The End of Japanese Cinema
THE END OF JAPANESE CINEMA TIMES ALEXANDER ZAHLTEN THE END OF JAPA NESE CINEMA studies of the weatherhead east asian institute, columbia university. The Studies of the Weatherhead East Asian Institute of Columbia University w ere inaugurated in 1962 to bring to a wider public the results of significant new research on modern and con temporary East Asia. alexander zahlten THE END OF JAPA NESE CINEMA Industrial Genres, National Times, and Media Ecologies Duke University Press · Durham and London · 2017 © 2017 DUKE UNIVERSITY PRESS All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Text designed by Courtney Leigh Baker Typeset in Arno Pro and Din by Westchester Publishing Ser vices Library of Congress Cataloging- in- Publication Data Names: Zahlten, Alexander, [date] author. Title: The end of Japa nese cinema : industrial genres, national times, and media ecologies / Alexander Zahlten. Description: Durham : Duke University Press, 2017. | Series: Studies of the Weatherhead East Asian Institute, Columbia University | Includes bibliographical references and index. | Description based on print version rec ord and cip data provided by publisher; resource not viewed. Identifiers: lccn 2017012588 (print) lccn 2017015688 (ebook) isbn 9780822372462 (ebook) isbn 9780822369295 (hardcover : alk. paper) isbn 9780822369448 (pbk. : alk. paper) Subjects: lcsh: Motion pictures— Japan— History—20th century. | Mass media— Japan— History—20th century. Classification: lcc pn1993.5.j3 (ebook) | lcc pn1993.5.j3 Z34 2017 (print) -
1. UK Films for Sale Cannes 2021
UK Films For Sale CANNES 2021 10 Lives GFM Animation Director: Chris Jenkins Email Company Genre: Animation Status: Production 13 Graves Evolutionary Films Cast: Kevin Leslie, Morgan James, Jacob Anderton, Terri Dwyer, Email Company Michael McKell Director: John Langridge Genre: Horror Status: Completed 23 Walks Parkland Pictures Cast: Dave Johns, Alison Steadman Email Company Director: Paul Morrison Genre: Drama Status: Completed 512 Hours With Marina Abramovic Film Republic Cast: Marina Abramović Email Company Director: Adina Istrate Genre: Documentary Status: Post-Production Absolute Denial SC Films International Cast: Nick Eriksen, Jeremy J. Smith-Sebasto, Harry Dyer, Heather Email Company Gonzalez, Jef Leeson Director: Ryan Braund Genre: Animation Status: Post-Production Airline Wars Phoenix Worldwide Cast: Freddy Laker, Freddy Laker Jr, Richard Branson, Robert Entertainment McFarlene, Stelios Haji-iannou, Bjorn Kjos, Norman Tebbit Email Company Genre: Documentary Status: Post-Production Alfred ITN Distribution Cast: Jean-Paul Gates Email Company Director: Steven Smith Genre: Thriller Status: Completed Ali & Ava Altitude Film Entertainment Cast: Claire Rushbrook, Adeel Akhtar Email Company Director: Clio Barnard Genre: Drama Status: Post-Production Alien: Battlefield Earth Vision Films Cast: Derek Nelson, Scot Scurlock, Peter Cosgrove, Cameron Bass Email Company Director: Andrew Jones Genre: Science-fiction Status: Completed Cannes 2021: UK Films for Sale 1 Amulet AMP International Cast: Imelda Staunton, Carla Juri, Alec Secareanu -
MPLC Studioliste Juli21-2.Pdf
MPLC ist der weltweit grösste Lizenzgeber für öffentliche Vorführrechte im non-theatrical Bereich und in über 30 Länder tätig. Ihre Vorteile + Einfache und unkomplizierte Lizenzierung + Event, Title by Title und Umbrella Lizenzen möglich + Deckung sämtlicher Majors (Walt Disney, Universal, Warner Bros., Sony, FOX, Paramount und Miramax) + Benutzung aller legal erworbenen Medienträger erlaubt + Von Dokumentar- und Independent-, über Animationsfilmen bis hin zu Blockbustern ist alles gedeckt + Für sämtliche Vorführungen ausserhalb des Kinos Index MAJOR STUDIOS EDUCATION AND SPECIAL INTEREST TV STATIONS SWISS DISTRIBUTORS MPLC TBT RIGHTS FOR NON THEATRICAL USE (OPEN AIR SHOW WITH FEE – FOR DVD/BLURAY ONLY) WARNER BROS. FOX DISNEY UNIVERSAL PARAMOUNT PRAESENS FILM FILM & VIDEO PRODUCTION GEHRIG FILM GLOOR FILM HÄSELBARTH FILM SCHWEIZ KOTOR FILM LANG FILM PS FILM SCHWEIZER FERNSEHEN (SRF) MIRAMAX SCM HÄNSSLER FIRST HAND FILMS STUDIO 100 MEDIA VEGA FILM COCCINELLE FILM PLACEMENT ELITE FILM AG (ASCOT ELITE) CONSTANTIN FILM CINEWORX DCM FILM DISTRIBUTION (SCHWEIZ) CLAUSSEN+PUTZ FILMPRODUKTION Label Anglia Television Animal Planet Productions # Animalia Productions 101 Films Annapurna Productions 12 Yard Productions APC Kids SAS 123 Go Films Apnea Film Srl 20th Century Studios (f/k/a Twentieth Century Fox Film Corp.) Apollo Media Distribution Gmbh 2929 Entertainment Arbitrage 365 Flix International Archery Pictures Limited 41 Entertaiment LLC Arclight Films International 495 Productions ArenaFilm Pty. 4Licensing Corporation (fka 4Kids Entertainment) Arenico Productions GmbH Ascot Elite A Asmik Ace, Inc. A Really Happy Film (HK) Ltd. (fka Distribution Workshop) Astromech Records A&E Networks Productions Athena Abacus Media Rights Ltd. Atlantic 2000 Abbey Home Media Atlas Abot Hameiri August Entertainment About Premium Content SAS Avalon (KL Acquisitions) Abso Lutely Productions Avalon Distribution Ltd. -
Crock of Gold: a Few Rounds with Shane Macgowan
MAGNOLIA PICTURES, HANWAY FILMS BBC MUSIC WARNER MUSIC ENTERTAINMENT INFINITUM NIHIL / NITRATE FILM JOHNNY DEPP PRESENTS IN ASSOCIATION WITH BBC MUSIC, WARNER MUSIC AND HANWAY FILMS With Participation of Screen Ireland A NITRATE FILM / INFINITUM NIHIL PRODUCTION CROCK OF GOLD: A FEW ROUNDS WITH SHANE MACGOWAN Directed by Julien Temple 124 minutes Official Selection 2020 San Sebastian International Film Festival – World Premiere FINAL PRESS NOTES Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: George Nicholis Steve Beeman Michael Lawson Rebecca Fisher Falco Ink [email protected] Magnolia Pictures 475 Park Avenue South (212) 924-6701 phone New York, NY 10016 [email protected] (212) 445-7100 phone [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com Foreword If future generations look back at what it was truly like to be both human and alive in the late 20th century, they will be hard put to find a more powerful and enlightening testament than the songs of Shane McGowan. In a world where music has become increasingly sanitized and unable to venture beneath the surface clichés of human emotion, Shane’s songs stand out in ever greater relief. None has bared their soul like Shane McGowan. His unique ability to plumb the dark recesses of the human soul, while in the very same breath celebrating its capacity to find healing transcendence, in both love and the sublime mysteries of existence, goes a long way to making sense of who we actually are. -
God's Own Country
Fernsehen 14 Tage TV-Programm 12. bis 25.7.2018 Ab dem 19. Juli queere Filmreihe beim rbb God’s Own Country Alexandria Goliath Ein Feature beim Kulturradio sucht die Billy Bob Thorntons geniale Anwaltsserie alte Hauptstadt Ägyptens in der 2. Staffel bei Prime Tip1518_001 1 28.06.18 17:05 FERNSEHEN 12.7. – 25.7. TELEVISOR Neumann zum Zweiten VON LUTZ GÖLLNER Claudia Neumann, das gebe ich zu, hat eine Stimme, die nur die ei- gene Mutter lieben kann. Und sie neigt im Eifer des Gefechtes zu – nasagenwirmal – nicht ganz astrei- nen Metaphern. Doch genau damit steht sie unter den ZDF-Fußball- kommentatoren nicht alleine. Ihr RBB / AGATHA A. NITECKE / EDITION SALZGEBER Kollege Béla Réthy etwa ist so eine FOTO Lachnummer, dass sich inzwi- In windumtoster Landschaft sind Johnnys Ohren (Josh O‘Connor, Foto, re.) nicht hilfreich MERIE WALLACE AMAZON.COM / 2017 INC. OR ITS AFFILIATES / PRIME VIDEO schen sogar die eigene Sportre- FOTO daktion mit der Aktion „Be Bela“ QUEERE FILMREIHE IM RBB über ihn lustig macht. Doch über Neumann wird bei je- dem noch so kleinen Fehler die Häme gleich kübelweise ausge- Gelungene Auswahl schüttet. Und das – das ist ganz klar – weil sie eine Frau ist. Schon Der rbb präsentiert schwul-lesbische Filme angenehm klischeefreie vor zwei Jahren, als sie als erste Frau das Spiel einer Fußball-Euro- ls ein an die großstädtische Vielfalt Sozialdrama um eine Frage: Wie will ich pameisterschaft kommentieren Agewöhnter Kinofan mag man ei- leben und wie komme ich da hin? durfte, war das Ausmaß an Hass nen anderen Eindruck haben – doch Ge- In „Stadt Land Fluss“, einem Film, der von und Unflätigkeiten groß. -
„Ich Finde Frauen- Power Super“ Jessy Wellmer – Das Neue Gesicht Der Sportschau Seite 6
N TV-PROGRAMM 12.8 - 18.8 Nr. 32/2017 10 000 € – Ihre Chance beim großen prisma- Sommerrätsel Seite 16 „Ich finde Frauen- power super“ Jessy Wellmer – das neue Gesicht der Sportschau Seite 6 FIT FÜRS MUSEUM Das große Kunst-Quiz von prisma und Städel Seite 4 BLITZEBLANK Elektrische Zahnbürsten im Test Seite 8 LIVE-TYP Johannes B. Kerner im prisma-Interview Seite 14 START Schwarmintelligenz Ich weiß nicht mehr, in welcher Stadt Kino-Tipp der Woche: es war, aber das erste Mal, dass ich an einem Fitness-Studio mit Schau- fenster vorbeikam, war im Urlaub. Milchmädchen Dahinter: schwitzende Menschen auf Die 14-jährigen Mädchen Nini (Flora Thiemann) und Jamee- Fahrrädern oder Steppern, an Ruder- lah (Emily Kusche) sind beste Freundinnen. Die Sommer- geräten und Hantel- ferien stehen vor der Tür und die beiden stürzen sich in die bänken. Auffallend: schulfreie Zeit. Dafür mixen sie sich ihr Lieblingsgetränk, Keiner blickte nach Tigermilch. Eine Mischung aus Milch, Maracuja-Saft und draußen, alle nach Mariacron. Damit streifen sie durch Berlin und wollen in unten. Es war wie diesem Sommer ihre Unschuld verlieren – doch die Ereig- im Aquarium, bloß, nisse überschlagen sich. Jameelah und ihre Mutter sind dass es Fische kaum irakischer Herkunft. Ihnen droht plötzlich die Abschiebung. stört, von wildfrem- Damit nicht genug: Die Mädchen werden zufällig Zeugen den Menschen angeglotzt zu werden. eines Mordes. Der Film Tigermilch basiert auf dem gleich- Schon seltsam: Fit werden lag im namigen Roman von Stefanie de Velasco und startet am Freunde fürs Leben: Die beiden Mädchen Trend, aber dabei gesehen werden Nini und Jameelah müssen gemeinsam 17.