TODD BERLINER Department of Film Studies (910)
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Kevin Jerome Everson Artist/Filmmaker Professor of Art/University of Virginia Mcintire Dept of Art
Kevin Jerome Everson Artist/Filmmaker Professor of Art/University of Virginia McIntire Dept of Art Born 1965, Mansfield, Ohio USA Education: 1990 MFA, Ohio University, Athens, OH 1987 BFA, University of Akron, Akron, OH Awards and Fellowships 2011 Virginia Museum Fine Arts Professional Fellowship 2010-2011 2010 Erie, Best International Film, Images Film Festival, Toronto, Ontario Erie, Best Long Form Work, Migrating Forms, New York, New York Mid Atlantic-Grant (2009/10) in association with Hallwalls Contemporary Art Center, Buffalo NY residency/project 2005 Best Documentary Film, Spicebush, New York Underground Film Festival 2002 Jules Guerin /Metropolitan Museum of Art–Jacob H. Lazarus Rome Prize Fellowship at the American Academy, Rome Outstanding Alumnus, Ohio University College of Arts and Sciences 2001 Creative Capital Media Arts Fellowship 1996 John Simon Guggenheim Memorial Fellowship, photography 1995 Arts Midwest National Endowment of the Arts Regional Visual Artist Fellowship, photography Ohio Arts Council Individual Artist Fellowship, photography DVDs Broad Day and Other Times: Works by Kevin Jerome Everson, Video Data Bank, Chicago, Illinois, 2011 Solo Exhibitions and Solo Screenings 2012 Retrospective, Cinema du Reel in Nyon, Switzerland Chevelle, The Box, The Wexner Center of the Arts, Columbus, Ohio 2011 More Than That, Whitney Museum of American Art, New York, New York Quality Control, Views From the Avant-Garde, New York Film Festival, Lincoln Center, New York City Quality Control, International Film Festival Rotterdam, -
FIAF Supporters Partnership Programme
FIAF Supporters Partnership Programme Exhibitors’ stands at the FIAF Congresses in Beijing (2012), Barcelona (2013), Skopje (2014) & Sydney (2015) WHAT IS FIAF? FIAF, the International Federation of Film Archives, brings together the world's leading film heritage institutions. Its affiliates are dedicated to the rescue, collection, preservation and screening of moving images, which are valued both as works of art and culture and as historical documents. When it was founded in 1938, FIAF had 4 members. Today it comprises 172 institutions in 80 countries - a reflection of the extent to which preservation of moving image heritage has become a world-wide concern. FIAF'S AIMS to uphold a code of ethics for film preservation and practical standards for all areas of film archive work; to promote the creation of moving image archives in countries which lack them; to seek the improvement of the legal context within which film archives carry out their work; to promote film culture and facilitate historical research on both a national and international level; to foster training and expertise in preservation and other archive techniques; to ensure the permanent availability of material from the collections for study and research by the wider community; to encourage the collection and preservation of documents and materials relating to the cinema; to develop cooperation between affiliates to ensure the international availability of films and documents. FIAF’S AFFILIATES There are two types of FIAF affiliates: FIAF Members are film archives and cinematheques which are actively engaged in film preservation activities and fully committed to the ideals described earlier. Current Members reflect a wide range of non-profit institutions, including government archives, independent foundations and trusts, self-contained cinematheques, museums and university departments. -
Listening Patterns – 2 About the Study Creating the Format Groups
SSRRGG PPuubblliicc RRaaddiioo PPrrooffiillee TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy LLiisstteenniinngg PPaatttteerrnnss AA SSiixx--YYeeaarr AAnnaallyyssiiss ooff PPeerrffoorrmmaannccee aanndd CChhaannggee BByy SSttaattiioonn FFoorrmmaatt By Thomas J. Thomas and Theresa R. Clifford December 2005 STATION RESOURCE GROUP 6935 Laurel Avenue Takoma Park, MD 20912 301.270.2617 www.srg.org TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy:: LLiisstteenniinngg PPaatttteerrnnss Each week the 393 public radio organizations supported by the Corporation for Public Broadcasting reach some 27 million listeners. Most analyses of public radio listening examine the performance of individual stations within this large mix, the contributions of specific national programs, or aggregate numbers for the system as a whole. This report takes a different approach. Through an extensive, multi-year study of 228 stations that generate about 80% of public radio’s audience, we review patterns of listening to groups of stations categorized by the formats that they present. We find that stations that pursue different format strategies – news, classical, jazz, AAA, and the principal combinations of these – have experienced significantly different patterns of audience growth in recent years and important differences in key audience behaviors such as loyalty and time spent listening. This quantitative study complements qualitative research that the Station Resource Group, in partnership with Public Radio Program Directors, and others have pursued on the values and benefits listeners perceive in different formats and format combinations. Key findings of The Public Radio Format Study include: • In a time of relentless news cycles and a near abandonment of news by many commercial stations, public radio’s news and information stations have seen a 55% increase in their average audience from Spring 1999 to Fall 2004. -
To Be Young, Queer and Chinese
FILM AT REDCAT PRESENTS Mon Nov 30 | 8:00 PM | ONLINE Jack H. Skirball Series $10 [members $8] To get tickets, visit: To Be Young, Queer and Chinese To Be Young, Queer and Chinese Program curated by Jenny Man Wu, with Popo Fan and Yang Yang Presented in collaboration with Love Queer Cinema Week (former Beijing Queer Film Festival, BJQFF) Love Queer Cinema Week was funded in 2001 by university students as the first LGBTQ film festival in mainland China – where it remains one of the few grassroots events involved in independent queer film screenings and cultural exchange, providing a platform for sexual and other minorities worldwide. It has hosted international guests and offered travel grants to young Chinese participants. It has created ties with queer film festivals/events in Brazil, Belgium, Italy and Denmark, and the Berlinale Teddy Awards. Often harassed by the authorities and forced to change locations, it has survived as a site of resistance for social, cultural and artistic fluidity. Three festival organizers will hold a panel discussion on the evolution of queer media in China. Also: screening of Popo Fan’s The Drum Tower (Gu Lou Xi, 2019) and Yang Yang’s Our Story - 10-year "Guerrilla Warfare" of Beijing Queer Film Festival (Wo men de gu shi, 2011) In person via Zoom from Beijing and Berlin: Director on Duty Jenny Man Wu (rotating position), Committee Members Yang Yang and Popo Fan “… what made the BJQFF screening among the most moving and memorable experiences we’ve had on the festival circuit was the realization that it was more than an entertainment, it was a statement. -
Uw Cinematheque Announces Fall 2012 Screening Calendar
CINEMATHEQUE PRESS RELEASE -- FOR IMMEDIATE RELEASE AUGUST 16, 2012 UW CINEMATHEQUE ANNOUNCES FALL 2012 SCREENING CALENDAR PACKED LINEUP INCLUDES ANTI-WESTERNS, ITALIAN CLASSICS, PRESTON STURGES SCREENPLAYS, FILMS DIRECTED BY ALEXSEI GUERMAN, KENJI MISUMI, & CHARLES CHAPLIN AND MORE Hot on the heels of our enormously popular summer offerings, the UW Cinematheque is back with the most jam-packed season of screenings ever offered for the fall. Director and cinephile Peter Bogdanovich (who almost made an early version of Lonesome Dove during the era of the revisionist Western) writes that “There are no ‘old’ movies—only movies you have already seen and ones you haven't.” With all that in mind, our Fall 2012 selections presented at 4070 Vilas Hall, the Chazen Museum of Art, and the Marquee Theater at Union South offer a moveable feast of outstanding international movies from the silent era to the present, some you may have seen and some you probably haven’t. Retrospective series include five classic “Anti-Westerns” from the late 1960s and early 70s; the complete features of Russian master Aleksei Guerman; action epics and contemplative dramas from Japanese filmmaker Kenji Misumi; a breathtaking survey of Italian Masterworks from the neorealist era to the early 1970s; Depression Era comedies and dramas with scripts by the renowned Preston Sturges; and three silent comedy classics directed by and starring Charles Chaplin. Other Special Presentations include a screening of Yasujiro Ozu’s Dragnet Girl with live piano accompaniment and an in-person visit from veteran film and television director Tim Hunter, who will present one of his favorite films, Tsui Hark’s Shanghai Blues and a screening of his own acclaimed youth film, River’s Edge. -
Potential Impacts to Public Radio Transmission Facilities from TV Band Repacking
Meintel, Sgrignoli & Wallace CPB A Report To The Corporation for Public Broadcasting Regarding Potential Impacts To Public Radio Transmission Facilities From TV Band Repacking Dennis Wallace William Meintel MEINTEL, SGRIGNOLI, & WALLACE, LLC 1282 Smallwood Drive, Suite 372 Waldorf, MD 20603 (202) 251-7589 February 2, 2017 Radio Impacts from TV Facility Changes 1 of 11 Meintel, Sgrignoli & Wallace CPB Executive Summary The firm of Meintel, Sgrignoli, and Wallace, LLC (MSW) is pleased to provide the following report to the Corporation for Public Television (CPB) in response to its Scope of Work to provide Post-Auction Spectrum Planning services to CPB. Specifically, MSW was tasked with studying the potential impacts to Public Radio Station Transmitter Facilities that may result from the TV Band Repack and associated DTV Station channel changes and facility modifications. Digital Television stations will be repacked to channels 2-36 after the completion of the FCC’s Incentive Auction. These channel changes are likely to impact some Public Radio stations that a share tower or are near-co-located with a television station. There are several possible impacts ranging from down-time during rigging and derigging operations to loss of tower space and possible relocation due to tower structural limits. The specific impact is highly dependent upon the specific tower situation as well as the new channel assigned to the co-located TV Station(s). A. Potentially Impacted Radio Stations MSW has conducted a study to determine the number of CPB Eligible Radio Stations that are co-located on the same tower as one or more TV Stations. -
FY 2016 and FY 2018
Corporation for Public Broadcasting Appropriation Request and Justification FY2016 and FY2018 Submitted to the Labor, Health and Human Services, Education, and Related Agencies Subcommittee of the House Appropriations Committee and the Labor, Health and Human Services, Education, and Related Agencies Subcommittee of the Senate Appropriations Committee February 2, 2015 This document with links to relevant public broadcasting sites is available on our Web site at: www.cpb.org Table of Contents Financial Summary …………………………..........................................................1 Narrative Summary…………………………………………………………………2 Section I – CPB Fiscal Year 2018 Request .....……………………...……………. 4 Section II – Interconnection Fiscal Year 2016 Request.………...…...…..…..… . 24 Section III – CPB Fiscal Year 2016 Request for Ready To Learn ……...…...…..39 FY 2016 Proposed Appropriations Language……………………….. 42 Appendix A – Inspector General Budget………………………..……..…………43 Appendix B – CPB Appropriations History …………………...………………....44 Appendix C – Formula for Allocating CPB’s Federal Appropriation………….....46 Appendix D – CPB Support for Rural Stations …………………………………. 47 Appendix E – Legislative History of CPB’s Advance Appropriation ………..…. 49 Appendix F – Public Broadcasting’s Interconnection Funding History ….…..…. 51 Appendix G – Ready to Learn Research and Evaluation Studies ……………….. 53 Appendix H – Excerpt from the Report on Alternative Sources of Funding for Public Broadcasting Stations ……………………………………………….…… 58 Appendix I – State Profiles…...………………………………………….….…… 87 Appendix J – The President’s FY 2016 Budget Request...…...…………………131 0 FINANCIAL SUMMARY OF THE CORPORATION FOR PUBLIC BROADCASTING’S (CPB) BUDGET REQUESTS FOR FISCAL YEAR 2016/2018 FY 2018 CPB Funding The Corporation for Public Broadcasting requests a $445 million advance appropriation for Fiscal Year (FY) 2018. This is level funding compared to the amount provided by Congress for both FY 2016 and FY 2017, and is the amount requested by the Administration for FY 2018. -
Formation of International Federation of Film Archives 1938
I TIGHT BINDING The Museum of Modern Art Please reply to: The Film Library, 485 Madison Avenue, New York, N. Y. Director, John E. Abbott Curator, Iris Barry Telephone PLaza 3-1981 Cable Address: Modernart Goodyear lutdenti Whitney fresident: October 25th, 1938 Lewisohn Boekefeller TO City Editors Motion Picture Editors N. Bliss News Photo Editors Woods Biles I. Clark Hurray Crane Dear Sirs: Duveen of Millbank Field You are invited to come or send a representative ford to: odwln .Paley The Projection Room of the 1M S. Payson Museum of Modern Art Film Library ley Res or Room 502, Grand Central Palace D. Rockefeller, Jr. 125 East 46th Street, New York Rami eh. Thursday afternoon, October 27th, I S. Sheppard at four o'olook, I. M. Warburg when John Hay Whitney, President of the Museum of Modern Art Film Library, will sign the Charter of the International •Burr, Jr. Federation of Film Archives, thus completing and the oo-operative agreement between The Director r Cinematheque Francaise, Paris; The National Wraoy Mabry, Jr. Film Library, London; The Reichsfilmarchiv, irUm Library i Berlin; and The Museum of Modern Art Film bolt Library, New York. A brief program of films of the '90's and Committee Library early 1900's will be shown, inoluding "Funeral of Queen Victoria" and Hliuey "Up Fifth Avenue in a Hansom Cab." Refreshments will be served. 6uodyear >l. Warburg At the conference Thursday the purposes and plans of the International Federation will be given as well as details of its formation. Sinoerely yours, THE MUSEUM OF MODERN ART 14 WEST -
Federal Communications Commission FCC 00-349
Federal Communications Commission FCC 00-349 Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) Creation of Low ) Power Radio Service ) MM Docket No. 99-25 ) ) ) RM-9208 ) RM-9242 MEMORANDUM OPINION AND ORDER ON RECONSIDERATION Adopted: September 20, 2000 Released: September 28, 2000 Before the Commission: Chairman Kennard and Commissioner Ness issuing separate statements; Commissioner Furchtgott-Roth dissenting and issuing a statement; and Commissioner Powell concurring in part, dissenting in part and issuing a statement. TABLE OF CONTENTS I. BACKGROUND..............................................................................................................................1 II. ISSUE ANALYSIS ..........................................................................................................................5 A. Technical Rules...................................................................................................................5 1. Second and Third Adjacent Channel Protection.......................................................5 2. Regulatory Status of LPFM Stations ......................................................................27 3. Modulation..............................................................................................................31 4. Cut-Off Date for Protection of Full Service Stations .............................................33 5. Protection of Cable Television Headend ................................................................36 6. -
Formato Para Nominación
NOMINATION FORM MEMORY OF THE WORLD REGISTER MEXICO - ORIGINAL NEGATIVE OF “LOS OLVIDADOS”, FILM BY LUIS BUÑUEL PART A: ESSENTIAL INFORMATION 1.- SUMMARY The film Los olvidados (in the USA “The Young and the Damned”), made in 1950 by Spanish- Mexican director Luis Buñuel, is the most important document in Spanish about the marginal lives of children in contemporary large cities, and it is also a crude, realist vision, without any concessions, of one part of Mexican society, focalized in a Mexico City slum in which the characters, who have been observed carefully and truthfully, follow their necessary destiny as a result of the social and economic circumstances that surround them. With Los olvidados, Buñuel brings to world cinematography a complete work where, without abandoning the surrealist aesthetics of his first films such as El perro andaluz (1928), and La edad de oro (1930), he gives a passionate portrayal of the forgotten ones, in a brutal but honest way, both tragic and poetic; in sum, a film that will always be 1contemporary Los olvidados faced many difficulties from the start. Buñuel devoted two years of research prior to writing his script, then he had to convince producer Oscar Dancigers to grant him stylistic and ideological freedom, and finally even some of his collaborators, scared of repercussions, asked that their names not be included on the screen credits. Dancigers was aware of the problems that this film could face from censorship as well as from conservative groups of Mexican society, or that it might even not be shown at all. He therefore had a “second ending” filmed, almost in secret, which was contrary to the tragic sense of the movie. -
Curriculum Vitae
Richard I. Suchenski Director, Center for Moving Image Arts Associate Professor, Film and Electronic Arts Bard College 55 Blithewood Avenue Annandale-on-Hudson, NY 12504 845-752-2406 [email protected] http://www.bard.edu/cmia Education Ph.D. Yale University, Film Studies and History of Art (Joint Ph.D.), with distinction, 2011 Master of Philosophy Yale University, Film Studies and History of Art, 2008 Master of Arts Yale University, History of Art, 2007 Bachelor of Arts Princeton University, 2005 (East Asian Studies, Phi Beta Kappa, magna cum laude) Positions Held Founder and Director, Center for Moving Image Arts (July 2013-Present), Bard College Associate Professor of Film and Electronic Arts (July 2016-Present), Bard College Assistant Professor of Film and Electronic Arts (July 2010-June 2016), Bard College Affiliate status in Art History and Asian Studies Books Cinema’s Symbolist Inheritance [Book manuscript in progress] Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film (Oxford and New York: Oxford University Press, 2016) Projections of Memory is an exploration of a body of innovative cinematic works that utilize their extraordinary scope to construct monuments to the imagination that promise profound transformations of vision, selfhood, and experience. This form of 2 cinema acts as a nexus through which currents from the other arts can interpenetrate. By examining the strategies of these projects in relation to one another and to the larger historical forces that shape them--tracing the shifts and permutations of their forms and aspirations--Projections of Memory remaps film history around some of its most ambitious achievements and helps to clarify the stakes of cinema as a twentieth-century art form. -
Cinematheque NOV
NOV / DEC 2010 Cinematheque PROGRAM canadian & international Feature FilMs | neW World docuMentaries canadian shorts, artist talks & live FilM PerForMances cineMa lounge: critical dialogue on canadian cineMa New wORld dOcuMeNtARies sWEETGRASS DIRs. LUCIEN CASTAING-TAYLOR AND ILSA BARBASH 2009 | USA | 101 MIN ››FRI›NOV›12›TO›SUN›NOV›14›–›7:00›PM ››WED›NOV›17›&›THU›NOV›18›–›7:00›PM Winner of critical acclaim and audience awards across North America, Sweetgrass follows the last modern-day cowboys to lead their flocks of sheep up into Montana’s breathtaking and often dangerous Absaroka-Beartooth mountains for summer pasture. This astonishingly beautiful yet unsparing film reveals a world in which nature and culture, animals and humans, vulnerability and violence are all intimately meshed. “The first essential movie of this year...Magnificent... Wonderful... Astonishingly beautiful... Nature overwhelms the screen.”– Manohla dargis, new york times $8 general | $7 students & seniors | $6 Film group & Cinematheque members $1 of each admission goes toward our capital MeMbers Pay only $6.00 improvements, aimed at making your experience adMission buy a membership! see page 12 For more inFormation... at the Cinematheque even more satisfying. Publications Mail agreeMent nuMber 40045468 inFoline: 204-925-3457 return to : WinniPeg FilM grouP 304-100 arthur street 100 arthur street, in the exChange WinniPeg, Mb r3b 1h3 www.winnipegcinematheque.com 2 | Cinematheque nOV/DeC 2010 Mid august lunch cANAdiAN+ iNteRNAtiONAl FeAtuRe FilMs year oF the carnivore From Graffiti Artist to Superstar “A profoundly moving testament to an artist and the gritty New York of the early ‘80s.” - NEW YORK TIMES HHHH -Time Out NY MID AUGUST LUNCH THE iMMACULATE YEAR oF THE dir.