DOCSLIB.ORG

4-11 Nov 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

4-11 NOV 2011 Edita Sevilla Festival de Cine Europeo Director Artístico Javier Martín-Domínguez Documentación y Catálogo Antonio Abad Albarrán, Adeline Clement, Blanca García, Borja Moreno Traducción Deidre MacClowskey, Mathilde Grange Cesión de Fotografías Danish Film Institute, Lolo Vasco, Norwegian Film Institute, Swedish Film Institute, Polish Film Institute Producción Editorial Below Impresión J. de Haro Artes Gráficas, S.L. Depósito Legal SE-7934-2011 ÍNDICE TABLE OF CONTENTS 5 página CARTEL SEFF’11 POSTER SEFF’11 12 PREMIOS 2011 2011 AWARD 16 JURADO JURY 30 SECCIÓN OFICIAL OFFICIAL SECTION 36 SELECCIÓN EFA EFA SELECTION 70 EURIMAGES 104 EURODOC 122 EYE ON FILMS - MEDIA MUNDUS 154 FIRST FILMS FIRST 156 CELEBRACIÓN DEL CINE RUSO CELEBRATION OF RUSSIAN CINEMA NUEVO CINE RUSO NEW RUSSIAN CINEMA 176 CICLO NIKITA MIKHALKOV NIKITA MIKHALKOV PROGRAM 194 RUSSIA IN SHORT. ARTHOUSE IN SHORT-METRAGE 200 CICLO AMOS GITAI AMOS GITAI PROGRAM 206 CANAL ARTE ARTE CHANNEL 212 SHORT MATTERS’11 219 HISTORIA(S) DEL CINE HISTOIRE(S) DU CINÉMA 227 PANORAMA ANDALUZ ANDALUSIAN PANORAMA 232 TARDE DE TOROS AN AFTERNOON OF BULLFIGHTING 250 TRES CULTURAS THREE CULTURES 254 EUROPA JUNIOR 257 MES DE DANZA 261 FORO INDUSTRIA INDUSTRY FORUM 264 ACTIVIDADES PARALELAS PARALLEL ACTIVITIES 270 ÍNDICE DE TÍTULOS TITLES INDEX 278 LISTADO DE CONTACTOS CONTACTS LIST 282 7 Durante los días 4 y 11 de noviembre Sevilla acoge el During the period from 4th to 11th November, Seville will Festival de Cine Europeo, un festival que este año pre- welcome the European Film Festival, a festival that this tende estar más cerca de los sevillanos. Queremos que year aims to be closer to the people of Seville. We want los ciudadanos participen y se sientan orgullosos de este the citizens to participate and feel proud of this event evento que durante estos días centrará todas las miradas which, over the course of these days, will draw the eyes del cine europeo en Sevilla. of European cinema to Seville. Para ello estamos trabajando, centrando nuestros esfuer- For that reason, we are working and focussing our efforts zos en que el Festival viva de cara a la ciudad, para que so that the Festival is truly a part of the city, so that todos los sevillanos se sientan partícipes. Sevilla es una everyone in Seville feels they are involved. Seville is a ciudad de cine y así lo hemos demostrado albergando city of film and that has been seen in recent months rodajes de películas muy importantes durante los últimos when several very important films have been shot here, meses y ahora en noviembre queremos que la ciudad and now, in November, we want the whole city to be a completa sea una gran sala de cine que albergue lo más great cinema which will receive the most recent and most novedoso y destacado del cine europeo. notable European films. Este año la ciudad de Sevilla y el cine Ruso irán de la This year the city of Seville and Russian cinema will go mano. Sevilla tiene unas bases cinematográficas muy hand in hand. Seville has some very powerful cinematic potentes que miran hacia Europa y el Festival es un es- bases that look to Europe, and the Festival is a perfect cenario perfecto para que nuestra ciudad se convierta en setting for our city to become the epicentre where the el epicentro donde se va a dar cita lo más destacado del most notable figures in European cinema will gather. cine europeo. We know that the city will be a great host to European Sabemos que la ciudad será una gran anfitriona del cine cinema and that is why we want the people of Seville to europeo y por eso queremos que los sevillanos hagan suyo make this festival theirs, we want them to come and see este festival, que vengan a verlo y que sean partícipes de it and to participate in an event that is so important for un evento tan importante para la ciudad. the city. Juan Ignacio Zoido Álvarez Juan Ignacio Zoido Álvarez Alcalde de Sevilla Mayor of Seville 8 9 Javier Martín-Domínguez Director Artístico SEFF SEFF Artistic Director Sevilla vuelve a convertirse en una ciudad de cine, donde Seville is once again about to become a city of cinema HORIZONTES LEJANOS DISTANT HORIZONS todo irá rodado para albergar durante el 4 y 11 de noviem- as it prepares to host the Festival of European Cinema bre el Festival de Cine Europeo. Para nuestra ciudad es from 4th to 11th October. Our city is proud to be the Todos los caminos de Europa confluyen en la gran pantalla. All roads in Europe lead to the big screen. Through cinema un orgullo ser escenario y el punto de mira de la industria setting and the focal point for European cinema during A través del cine nos miramos, los unos a los otros, para we look at each other, we analyze ourselves and understand del cine europeo durante estos días. these days. analizarnos y entendernos mejor. El Festival de Sevilla hace ourselves better. This year the Seville Festival is making its este año su más amplio recorrido por las distintas panta- most extensive journey to distant screens, on a long road El festival de este año dedicado al cine ruso ofrecerá una This year’s festival, dedicated to Russian cinema, will offer llas, en un largo camino hasta Moscú, que también tiene to Moscow that has also turned towards Africa and Asia. muestra de la ‘pujante’ cinematografía rusa, con la pre- a sample of the booming Russian film industry, with the derivadas hacia África o Asia. No somos nadie encerrados We are no one when we are closed in on ourselves, and sentación de trabajos de la nueva generación de directores presentation of work by a new generation of very interest- en nosotros mismos, y el europeísmo se practica mirando Europeanism is practiced when we look at and integrate de gran interés, al tiempo que homenajeará a sus clásicos. ing directors, and it will also pay tribute to its classics. e integrando a todos. Somos parte ahora del proyecto Eye everyone. We are now part of the Eye on Films project in Se incluirán obras de ficción y documentales, así como There will be fiction films and documentaries along with on Films del programa MEDIA Mundus, cuyo objetivo es MEDIA’s Mundus programme, whose aim is to circulate una selección de cortometrajes. a selection of short films. hacer circular el cine europeo en el mundo y el de los European cinema throughout the world and, in turn, receive demás en Europa. Con este espíritu curioso e integrador cinema from other countries in Europe. With this curious Detrás del festival hay un duro trabajo que se lleva reali- Behind the festival, a lot of hard work goes on for months recibimos el apoyo de Casa Asia y otras instituciones and integrating spirit, we receive the support of Asia House zando durante meses para que la ciudad de Sevilla ofrezca beforehand so that the city of Seville can offer an im- para ampliar nuestros horizontes. Nuestro foco especial and other institutions in order to extend our horizons. Our una imagen importante ante el resto de Europa y además portant image to the rest of Europe, and this year, in está en Rusia y su cine renovado y vibrante. La mirada y special focus is on Russia and its renewed, vibrant cinema. este año estamos haciendo un gran esfuerzo para que to- addition, we are making a great effort so that all the las temáticas de los nuevos directores, cimentada en la The vision and the subject matters of the new directors, dos los sevillanos se sientan partícipes de este evento. El Seville residents can feel they are part of this event. The maestría de sus clásicos, nos sorprenden por el interés cemented in the mastery of its classics, surprise us and festival de cine Europeo abre sus puertas a todo el mundo European Film Festival opens its doors to the whole world que despierta una sociedad en evolución retratada por sus arouse our interest in a society in evolution portrayed by its y extiende su invitación a todos los rincones de la ciudad. and extends its invitation to every corner of the city. cineastas. La entrada de Rusia en el programa Eurimages filmmakers. Russia’s entry into the Eurimages programme alentará el crecimiento de las coproducciones. Y algunas will encourage the growth of co-productions. Some have Sevilla es una ciudad con talento y durante estos días el Seville is a city with talent, and during these festival ya se han puesto en marcha entre rusos y españoles, already been set up between Russians and Spaniards, so talento del cine europeo se dará cita en este escenario days the talent of European cinema will gather in this tan lejos en geografía y tan cerca en carácter. También far apart geographically and so close in character. We are que no sólo será el teatro Lope de Vega, el Casino de la setting which will be not only the Lope de Vega theatre, miramos con más profundidad al séptimo arte haciendo also looking in greater depth at the seventh art, at History Exposición y los cines que proyecten las películas, sino the Exhibition Casino and the cinemas where the films Historia(s) del cine, sus momentos desconocidos y hasta in cinema, its unknown moments and even the story of a toda la ciudad, ya que todos los rincones de Sevilla serán are shown, but the whole city, as every corner of Seville la historia de un país que ya sólo existe en sus películas.
Recommended publications
  • Connections Between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M

    Connections Between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M

    Communication and Theater Association of Minnesota Journal Volume 36 Article 2 January 2009 "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Hillsdale College, [email protected] Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Film and Media Studies Commons, and the Soviet and Post-Soviet Studies Commons Recommended Citation Brandon, J. (2009). "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post- Soviet Russian Cinema. Communication and Theater Association of Minnesota Journal, 36, 7-22. This General Interest is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Brandon: "Brother," Enjoy Your Hypermodernity! Connections between Gilles CTAMJ Summer 2009 7 “Brother,” Enjoy your Hypermodernity! Connections between Gilles Lipovetsky’s Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Associate Professor [email protected] Department of Theatre and Speech Hillsdale College Hillsdale, MI ABSTRACT In prominent French social philosopher Gilles Lipovetsky’s Hypermodern Times (2005), the author asserts that the world has entered the period of hypermodernity, a time where the primary concepts of modernity are taken to their extreme conclusions. The conditions Lipovetsky described were already manifesting in a number of post-Soviet Russian films. In the tradition of Slavoj Zizek’s Enjoy Your Symptom (1992), this essay utilizes a number of post-Soviet Russian films to explicate Lipovetsky’s philosophy, while also using Lipovetsky’s ideas to explicate the films.
  • 18. Festival Des Mittel- Und Osteuropäischen Films 18.04.–24.04.2018 Wiesbaden INHALT L Iebes Goeast- Publikum

    18. Festival Des Mittel- Und Osteuropäischen Films 18.04.–24.04.2018 Wiesbaden INHALT L Iebes Goeast- Publikum

    PROGRAMM 18. FESTIVAL DES MITTEL- UND OSTEUROPÄISCHEN FILMS 18.04.–24.04.2018 WIESBADEN INHALT L IEBES GOEAST- PUBLIKUM, Willkommen bei goEast – Festival Weitere Grenzen, die im Film Mittel- WETTBEWERB SEITE 4 des mittel- und osteuropäischen und Osteuropas 2018 überschritten Films! In meinem ersten Jahr als werden, sind die der Gattungen. Bei 16 FILME, FÜNF PREISe – dAS HERZSTÜCK DES FESTIVALS Festivalleiterin hat mich direkt ein der Berlinale gewann zuletzt der besonderes Jahr erwischt. goEast rumänische Beitrag TOUCH ME NOT, wird „erwachsen“ und geht in die der sich ständig zwischen dokumen- 18. Runde. Und es gibt 2018 noch tarischer und fiktiver Form bewegt O PEN FRAME AwARD / EWTL SEITE 8 mehr große Jahrestage. Sieben Län- und kaum eindeutig zuzuordnen der in Mittel- und Osteuropa feiern ist. Auch im goEast Wettbewerb A CHT VIRTUAL-REALITY-PROJEKTE AUS MITTEL- UND OSTEUROPA, ihre 100-jährige Unabhängigkeit. begegnen sich Dokumentar-, Spiel- SOWIE AUS DEM RhEIN MAIN-GEBIET Das ist Anlass für Feierlichkeiten, und Animationsfilm und loten dabei aber auch für eine Bestandsaufnah- ihre Grenzen aus. Der Open Frame FÖRDERPROGRAMM FÜR JUNGE TALENTE me. Politisch bewegen sich die Re- Award orientiert sich in diesem Jahr gierungen einiger Nachbarländer in neu in Richtung Virtual Reality: Hier Richtung Isolation. Gleichberechti- verschwimmt die Grenze zwischen gung, Feminismus etc. stoßen zuneh- Zuschauer*in und Projektion, B IOSKOP SEITE 10 mend auf Ablehnung, Patriotismus wenn man die VR-Brille aufsetzt und Fremdenfeindlichkeit stellen und plötzlich mittendrin ist im V ON ALTMEISTER*INNEN BIS GENRe – den Einigungsprozess Europas vor Geschehen! NEUE IMPULSE IM MITTEL- UND OSTEUROPÄISCHEN KINO große Herausforderungen. Werden auch Sie neugierig: Vom Das Kino als Spiegel der Gesellschaft 35mm-Archivschatz bis Virtual bleibt davon nicht unberührt.
  • The Island Ostrov

    The Island Ostrov

    The Island Ostrov Director: Pavel Lungin Writer: Dmitri Sobolev Released: 23 November 2006 (Russia) "He has played so many well-meaning jokes on the locals and other monks, but the grand joke is on him, tricked by God into a life of faithfulness and the healing of others." Synopsis: Somewhere in Northern Russia in a small Russian Orthodox monastery lives a very unusual man. His fellow-monks are confused by his bizarre conduct. Those who visit the island believe that the man has the power to heal, exorcise demons and foretell the future. However, he considers himself unworthy because of a sin he committed in his youth. The film is a parable, combining the realities of Russian everyday life with monastic ritual and routine. http://www.amazon.com/Ostrov-Island-version-English-subtitles/dp/B000LTTOOS Before you watch the film, consider the following questions to guide your reflection: The Island has been perceived around the world, both by film critics and audience members, as a symbolic work for Russia today – a parable of sorts. Pavel Lungin’s The Island was shown in Voronezh with no free seats. The local clergy booked the entire movie theater… A day before the first show, the Metropolitan of Voronezh and Borisoglebsk gave an order to post the AD for the coming premier next to the schedule of worship in all of the city’s forty churches. The parish was surprised: never before were films advertised in churches… Father Andrei, a secretary of the eparchy comments: “The Metropolitan has watched the film and, therefore, we recommend it to the clergy and the parish.” … The show started with a prayer… Prior to the screening everybody crossed themselves… Petr Mamonov, the actor: “To me it means that our church is alive.” The clergy thanked Mamonov.
  • Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the International Cinema Addict's Definitive Resource 814ILL 4:T2 PM

    Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the International Cinema Addict's Definitive Resource 814ILL 4:T2 PM

    Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the international cinema addict's definitive resource 814ILL 4:T2 PM Stilyagi (Crnilntlt) Review Published May 151h,2009 in Europe & Russia and Reviews. 4 Comments Musical comedy is hardly a genre most people would associate with modern Russian cinema. Traditionally known and respected for such somber and inquisitive works as Nikita Mikhalkov's Burnt by the Sun (1994), Andrei Zvyagintsev's The Return (2001), and Aleksei Balabanov's Cargo 200 (2OO7), post-Soviet Russian directors had generally focused on negative aspects of the Russian experience until the early 2000s, when waves of cash flowing from the country's oil and gas-fueled economic boom finally reached the film industry, resulting in the production of commercially-oriented blockbusters such as Night Watch (2OO4) and The 9th Company (2OO5). Continuing this trend and taking it in a new direction is Valeriy Todorovskiy's new frlm Stilyagi (Hipsters). Featuring an all-star cast, dynamic script and slick cinematography, Stilyagi takes the viewer on an epic joy ride through 1955 Moscow, two years after Stalin's death. At the height of the Cold War in the Soviet Union, the titular stilyagi were a bunch of Western-oriented hipsters who loved jazz, exhibited questionable morals and enjoyed dressing with style. Mels (Anton Shagin), a seemingly brainwashed member of the Communist youth group Komsomol, falls in love with Polza (Oksana Akinshina) while raiding an illegal underground nightclub . Polza invites Mels to join her and her friends on the "Broadway" and Mels is dumbfounded when he shows up to the party dressed plainly and looking apologetic.
  • Resisting Foreign State Propaganda in the New Information Environment: the Case of the EU, Russia, and the Eastern Partnership Countries ISBN 978-9934-8536-9-2

    Resisting Foreign State Propaganda in the New Information Environment: the Case of the EU, Russia, and the Eastern Partnership Countries ISBN 978-9934-8536-9-2

    RESISTING FOREIGN STATE PROPAGANDA IN THE NEW INFORMATION ENVIRONMENT: THE CASE OF THE EU, RUSSIA, AND THE EASTERN PARTNERSHIP COUNTRIES ISBN 978-9934-8536-9-2 UDK 32.019.5 Re708 This publication is a part of the project “Resisting state propaganda in the new information environment: The case of EU member states and EU Eastern Partnership states vis-à-vis the Russian Federation publication/re- search” organised by the Foundation for European Pro- gressive Studies (FEPS) with the support of Brīvības un Solidaritātes Fonds (BSF). RESISTING FOREIGN STATE PROPAGANDA IN THE NEW INFORMATION ENVIRONMENT: THE CASE OF THE EU, RUSSIA, AND THE EASTERN PARTNERSHIP COUNTRIES Table of contents Foreword Dr. Ernst Stetter 11 Foreword Ervins Labanovskis 17 PART I: INCREASING RESISTANCE TO PROPAGANDA WITHIN THE EU Countering propaganda in Europe: Responses and options Ben Nimmo 23 The role of national strategic narrative in raising resilience to hostile foreign propaganda in European societies Māris Cepurītis 39 Increasing the resistance of democratic states to hostile foreign propaganda— what is the right recipe? Elīna Lange-Ionatamišvili 52 The Audiovisual Media Services Directive and propaganda Andris Mellakauls 71 7 Key findings of the EED’s Feasibility PART III: THE VIEW FROM Study on independent Russian- THE EASTERN PARTNERSHIP COUNTRIES language media initiatives in the Eastern Partnership and beyond Farther from Russky Mir, Jerzy Pomianowski 89 Closer to the West Tamar Kintsurashvili 173 PART II: THE VIEW FROM THE BALTIC STATES Russian propaganda
  • Self/Other Representations in Aleksei Balabanov's 'Zeitgeist Movies'

    Self/Other Representations in Aleksei Balabanov's 'Zeitgeist Movies'

    SELF/OTHER REPRESENTATIONS IN ALEKSEI BALABANOV‟S „ZEITGEIST MOVIES‟: FILM GENRE, GENRE FILM AND INTERTEXTUALITY Florian Weinhold School of Languages, Linguistics and Cultures A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 2 Contents ABSTRACT……………….……………………………..….............…............... 6 DECLARATION………………………………………………….......................7 COPYRIGHT STATEMENT.....……………………………………................. 7 THE AUTHOR...………………………………………………….......................8 ACKNOWLEDGEMENTS…………………………..………....…................... .9 Chapter 1: Introduction..............................………………………......……........11 1.1 Background, Rationale, Aim and Structure of the Introduction…………. 11 1.2 Why Balabanov?…………………………………..…….…….................. 13 1.3 Why Balabanov‟s „Genre Films‟?………………………..………............ 16 1.4 Balabanov‟s Genre Films in Russian and Western Criticism..................... 19 1.5 Contributions of the Study......................………………………………… 28 1.6 Aim, Objectives and Research Questions of the Thesis..............…........... 29 1.7 Primary Sources………….......................................................................... 31 1.8 Structure of the Thesis................................................................................ 32 Chapter 2: Methodology.......................................................................................35 2.1 Introduction...........................………………….......................................... 35 2.2 Why Genre?……………………………………...................……............
  • UNBROKEN Fri 26 Dec –Thu 15 Jan

    UNBROKEN Fri 26 Dec –Thu 15 Jan

    BOX OFFICE — 14 0116 242 2800 DEC phoenix.org.uk CINEMA / ART / CAFÉ BAR UNBROKEN Fri 26 Dec –Thu 15 Jan NEW FILMS — HOMESMAN GET ON UP LEVIATHON MY OLD LADY THIS MONTH — SCI-FI SEASON What does it mean to be human? NEW LEICESTER APPS Uncover the city’s hidden stories YOUR TOP 5 Vote back your favourite films & & A NEWHAPPY YEAR MERRY CHRISTMAS WELCOME DECEMBER AT A GLANCE To celebrate the five years we’ve been at Phoenix MY OLD LADY P4 Square, we’re planning to bring back the five films you – our customers – have enjoyed most in that time Box Office242 2800 0116 — Throughout December we’re giving you the chance to vote for your favourites, and in January we’ll reveal the top 5 films we’ll be showing again. Head over to our new website - at phoenix.org.uk/top-5 – where you’ll find a list of the 30 best-attended films Nightcrawler P4 THE DROP P5 INTERSTELLAR P5 over the last five years. You can select up to five of your favourites – including a nomination for one film which is not in the 30. As a thank you, we’ll enter you into a draw where you could win a film screening for yourself and up to 30 friends, with Film & Dine gift vouchers for three Book Online — www.phoenix.org.uk runners-up. DEAR ALBERT P5 Northern SOUL P6 2014 has been a fantastic year for us – the number of you choosing to watch films at Phoenix, to view art, and take part in our workshops and courses continues to rise.
  • Флаэртиана Форум Flahertiana Forum

    Флаэртиана Форум Flahertiana Forum

    1 FLAHERTIANA ФЛАЭРТИАНА FORUM ФОРУМ INTERNATIONAL INTERNATIONAL TRAINING AND PITCHING TRAINING AND PITCHING CATALOG КАТАЛОГ 15–20 09.2018 SCHEDULE 3 РАСПИСАНИЕ TUTORS, EXPERTS, ТЬЮТОРЫ, ЭКСПЕРТЫ, 8 CONTENTS POTENTIAL CO-PRODUCERS ПОТЕНЦИАЛЬНЫЕ СОПРОДЮСЕРЫ PROJECTS 18 ПРОЕКТЫ *ters- 18 *сухо- Anniversary 19 Юбилейный год Artyom's Upbringing 20 Воспитать Артема Boss of Balagansk 21 Хозяин Балаганска Bro 22 Брат Chapay’s Homeland 23 Родина Чапая Clouds on the Roof 24 Облака на крыше Comrade Secretary 25 Товарищ секретарь Deers Don’t Burn 26 Олени не горят Eclipse 27 Затмение Esmeralda OK 28 Эсмеральда ОК Europe Cafe 29 Кафе «Европа» IT: The Other Side of Baikal 30 Он, обратная сторона Байкала Let Me Get Closer 31 Давай на ты Letters from the Past 32 Письма из прошлого Life Goes On 33 Живут же люди 2 Listening to the Silence 34 Слушая тишину Metropolitan Chorus 35 Метрополитен Хор Millers Diary 36 Дневник Миллера Motherland 37 Родина Non-Standard Provisions 38 Нестандартные положения Notes on the Flea Market 39 Заметки о блохе One day. Filomena 40 Один день. Филомена Principle of passion 41 Принцип страсти Resuscitation 42 Реанимация Return My Hands 43 Верните мои руки Spitak. Thirty Years of Solitude 44 Спитак. Тридцать лет одиночества Strong Beat 45 Сильная доля Taxi Drivers 46 Таксисты Teachers' Day 47 День учителя The Abduction of Boghdo-Khan 48 Похищение Богдо-хана The Land of Men 49 Земля людей The Palmnicken Golgotha 50 Пальмникенская Голгофа Time Travel – From Bonn to Speia 51 Путешествие во времени – из Бонна в Спею Unrecognized 52 Непризнанные Velvet Generation 53 Вельветовое поколение Visitants 54 Летуны We Have Come to a Bright Future 55 Докатились до светлого будущего СОДЕРЖАНИЕ FLAHERTIANA FORUM 2018: Training and Pitching for documentary filmmakers.
  • Murlafortesmontse Treball.Pdf 2.123 Mb

    Murlafortesmontse Treball.Pdf 2.123 Mb

    Índex Nota .................................................................................................................................................. 2 Agraïments ....................................................................................................................................... 2 Introducció ....................................................................................................................................... 2 L’arribada de la Perestroika ............................................................................................................. 3 Els joves com a agents socials ......................................................................................................... 6 Moviments culturals renovats i joves a la URSS ............................................................................. 9 L’era post-soviètica ........................................................................................................................ 19 El nou cinema per a la nova Rússia ............................................................................................... 21 Aleksei Balabanov, director ........................................................................................................... 25 Ressorgiment del cinema negre ..................................................................................................... 31 “Brother”: més que gàngster, nou heroi rus ................................................................................... 33 “Brother 2”,
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS

    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS

    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
  • A Film by Béla Tarr Winner Of

    A Film by Béla Tarr Winner Of

    THE TURIN HORSE A film by Béla Tarr Winner of Selected Distribution Spanish Distribution: Press: Irene Visa Mayca Sanz T: +34 932 033 025 T: +34 931 240 353 [email protected] +34 629 91 61 87 [email protected] www.pacopoch.cat/theturinhorse/ Synopsis In Turin in 1889, Nietzsche witness the mistreatment that a farmer inflicts on his exhausted carriage horse. The philosopher flings his arms around the horse, then looses consciousness and his mind for the rest of his life. Somewhere in the countryside: a farmstead, the farmer, his daughter, a cart and the old horse. Outside, a violent windstorm rises. Credits Cast Director Béla Tarr Ohlsdorfer János Derzsi Writers Béla Tarr, László Krasznahorkai Ohlsdorfer’s daughte Erika Bók Co-director & editor Ágnes Hranitzky Bernhard Mihály Kormos Cinematography Fred Kelemen Horse Ricsi Set construction Sándor Kállay Music Mihály Víg Line Producer Gábor Téni Producers por Gábor Téni, Marie-Pierre Macia, Juliette Lepoutre, Ruth Waldburger, Martin Hagemann Executive production Werc Werk Works – Elizabeth G. Redleaf, Christine K. Walker Production companies de T.T. Filmmühely, MPM FILM, Vega Film, Zero fiction film With the support of MMKA, OKM, MTFA, Duna TV, Erste Bank, Radiotelevisione Svizzera, SGR SSR, CNC Paris, Kodak, Medienboard Berlin- Brandenburg, Eurimages Hungary / France / Switzerland / USA / Germany. 35mm. B/W. 146 min. 1: 1,66 Dolby SRD. Language: Hungarian. Year: 2011 On “The Turin Horse” In this, his self-declared last film, the renowned Hungarian filmmaker “Our film follows up this question: Béla Tarr collaborates again with his co-autor, the writer László What did in fact happen to the Krasznahorkai, on the screenplay of The Turin Horse.
  • Download (386.44KB)

    Download (386.44KB)

    Cronfa - Swansea University Open Access Repository _____________________________________________________________ This is an author produced version of a paper published in : The Routledge Companion to World Cinema Cronfa URL for this paper: http://cronfa.swan.ac.uk/Record/cronfa29914 _____________________________________________________________ Book chapter : Rydzewska, J. (2017). Developments in Eastern European Cinema since 1989. R. Stone, P. Cooke, S. Dennison, A. Marlow-Mann (Ed.), The Routledge Companion to World Cinema, Routledge. _____________________________________________________________ This article is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence. Authors are personally responsible for adhering to publisher restrictions or conditions. When uploading content they are required to comply with their publisher agreement and the SHERPA RoMEO database to judge whether or not it is copyright safe to add this version of the paper to this repository. http://www.swansea.ac.uk/iss/researchsupport/cronfa-support/ Developments in Eastern European Cinemas since 1989 Elżbieta Ostrowska, University of Alberta Joanna Rydzewska, Swansea University ABSTRACT This chapter examines the ways in which Eastern European cinema has become Europeanized. It looks at how the idea of Eastern Europe and its cinema has been shaped vis-à-vis the West, and redefined after the collapse of communism. Contrary to the received wisdom that a new paradigm emerged in 1989, this chapter argues that it is only since 2000 that Eastern European cinema has enjoyed recognition after the near collapse of its film industries in the 1990s. In the three case studies of the Hungarian filmmaker Béla Tarr, Eastern European female directors and the Romanian New Wave, the chapter analyses the emergence in Eastern Europe of a new complex model of film production aligned with its larger European counterpart.