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Film Festival Rankings Compiled by Stephen W. Davega by ATTENDANCE 01 Tribeca Film Festival 465,000 02 Rotterdam International
Film Festival Rankings Compiled by Stephen W. DaVega BY ATTENDANCE 01 Tribeca Film Festival 465,000 02 Rotterdam International Film Festival 355,000 03 Montreal World Film Festival 350,000 04 Toronto International Film Festival 340,843 05 Berlin Int'l Film Festival 340,000 06 Buenos Aires Int'l Indy Film Festival 260,700 07 Rio De Janeiro Int'l Film Festival 223,000 08 Festival of Deauville American Cinema 200,000 09 Pan African Film Festival 200,000 10 San Sebastian Int'l Film Festival 200,000 11 Shanghai International Film Festival 200,000 12 Pusan International Film Festival 198,603 13 Locarno Int'l Film Festival 192,600 14 Sao Paulo Int'l Film Festival 180,000 15 Kerala International Film Festival 175,000 16 Melbourne Int'l Film Festival 170,000 17 Seattle International Film Festival 160,000 18 Mar del Plata Film Festival 150,000 19 Short Shorts Film Festival 150,000 20 Sitges Int'l Film Festival Catalonia 150,000 21 Vancouver Int'l Film Festival 148,360 22 Karlovy Vary Int'l Film Festival 135,759 23 Sydney Film Festival 132,500 24 Clermont Ferrand Short Film Festival 132,000 25 Int'l Doc Film Festival Amsterdam 131,214 26 Fantasporto Oporto Int'l Film Festival 130,000 27 Goteborg Film Festival 122,400 28 Belgrade Int'l Film Festival 120,000 29 Comic Con Int'l San Diego 120,000 30 Molodist Film Festival of Kiev 120,000 BY MEDIA ATTENDANCE 01 Cannes Film Festival 4,376 02 Berlin Int'l Film Festival 3,696 03 Generation 3,600 04 Venice Film Festival 3,500 05 Clermont Ferrand Short Film Festival 2,000 06 Moscow Int'l Film Festival 2,000 -
Song Kang-Ho and the Uncanny Face of the Korean Cinema
ACTA KOR ANA VOL. 14, NO. 1, JUNE 2011: 33–71 SOMEWHERE BETWEEN ANTI-HEROISM AND PANTOMIME: SONG KANG-HO AND THE UNCANNY FACE OF THE KOREAN CINEMA By BRIAN YECIES This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cine- matic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and performance styles he adopts, audiences have come to see a human being with everyday problems and concerns. In a way reminiscent of the French panto- mime clown Pierrot, Song’s characters reflect a depth of human feeling and compassion modulated by a comic undercurrent—the tension between these overlapping layers is precisely what holds his various personae together. Key words: Song Kang-ho, Korean Cinema, stardom, Park Chan-wook, Kim Jee-woon INTRODUCTION Every actor and actress constructs a persona over the course of his or her career, but few become stars. A star is an actor whose persona transcends the sum total of his or her performances (Belton 1994: 89). Song Kang-ho is a classic movie star whose acting ability is well known to the film industry and whose performances are appreciated by audiences in South Korea (hereafter Korea) and abroad. He has acted in some of the contemporary Korean cinema’s most profitable and critically acclaimed feature films, productions which have contributed to the national film industry’s current global notoriety. -
Tabla 1:Festivales Y Premios Cinematográficos
Tabla 1:Festivales y premios American Choreography Arts and Entertainment Critics cinematográficos Awards, USA Awards, Chile http://www.imdb.com/Sections/ American Cinema Editors, USA Artur Brauner Award Awards/Events American Cinema Foundation, Ashland Independent Film USA Festival American Cinematheque Gala Asia-Pacific Film Festival 2300 Plan 9 Tribute Asian American Arts 30th Parallel Film Festival American Comedy Awards, Foundation 7 d'Or Night USA Asian American International American Film Institute, USA Film Festival - A – American Independent Film Asianet Film Awards Festival Aspen Filmfest A.K.A. Shriekfest American Indian Film Festival Aspen Shortsfest ABC Cinematography Award American Movie Awards Association for Library Service ACTRA Awards American Screenwriters to Children AFI Awards, USA Association, USA Athens Film Festival, Georgia, AFI Fest American Society of USA AGON International Meeting of Cinematographers, USA Athens International Film Archaeological Film Amiens International Film Festival ALMA Awards Festival Athens International Film and AMPIA Awards Amnesty International Film Video Festival, Ohio, USA ARIA Music Awards Festival Athens Panorama of European ARPA International Film Amsterdam Fantastic Film Cinema Festival Festival Atlanta Film Festival ASCAP Film and Television Amsterdam International Atlantic City Film Festival Music Awards Documentary Film Festival Atlantic Film Festival ASIFA/East Animation Festival Anchorage International Film Atv Awards, Spain ATAS Foundation College Festival Aubagne International -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences. -
Tribes and Cultural Dynamics in the Construction of a Relationship with the City: Fantasporto - Oporto International Film Festival
Tribes and cultural dynamics in the construction of a relationship with the city: Fantasporto - Oporto International Film Festival Ana Pinto de Lima School of Accounting and Administration of Porto - Polytechnic of Porto. CECEJ – Center for Business and Legal Sciences [email protected] Cristina Tereza Rebelo University Institute of Maia Communication and Society Studies Center - University of Minho [email protected] Sandrina Teixeira School of Accounting and Administration of Porto - Polytechnic of Porto CECEJ – Center for Business and Legal Sciences [email protected]/[email protected] Resumen: El presente trabajo de investigación focaliza el estudio de generación de la identidad de una ciudad y la forma como esta es vivida por los individuos cuando participan en un evento cultural que se celebra regularmente desde hace unos años. Las conclusiones permiten evidenciar que mientras se celebra el festival, los participantes alteran la forma como viven la ciudad. Al crear una forma específica de vivir la ciudad, se integran en una tribu y la imagen de la ciudad conectada con el evento se materializa en un fenómeno identificador de la ciudad de Oporto. Palabras clave: Identidad de ciudades, cine fantástico, marketing de las ciudades, tribus urbanas. Abstract: The purpose of this paper is to study the identity creation of a city and the way the city is perceived by people who attend an annual cultural event - Fantasporto. The results revealed that the identification of the group with the event and the way it experiences the city takes that identity and the celebration into the characterization of the city. By creating a particular form of experiencing life in the city they become part of a tribe and the image of the city connected to the event acts as a city identifier for Oporto. -
New Acquisitions Drama
NEW ACQUISITIONS After failed medical experiments residents of a town are Discovered at 10 in Bulgaria, Naim found his gift both a being moved to a new location. Whilst an attempt at escaping blessing and a course. He couldn’t stand the Bulgarian Arvin and Ejla fall into a deep pit. Armed oppressors and dead policies and was brought to Turkey by a special operation of animals circling them are least of their worries when the dead Turkish Secret Intelligence. A world record holder at 15, only bodies in the pit start coming back to life… weightlifter to have snatched 2,5 times of his body weight. a high-octane genre gem from Azerbaijan Sold: All rights: Turkey, German-speaking. Sold: Theatrical: Benelux, Sweden, Denmark, Norway, UK, Turkey, SE Asia, India French-speaking. VOD: CIS, CEE, MENA NEW ACQUISITION NEW ACQUISITION APORIA NAIM. A POCKET HERCULES horror/action/adventure biography/drama/sport Azerbaijan 2019, 85 min Turkey 2019, 141 min. A young Brazilian girl arrives to in Portugal looking for a better „Hungover“ romancing with „Sideways“ in Iceland. life. The promised land quickly turns bleak as it turns out the cleaning job is at the local brothel. The owners of the illegal A charming feelgood comedy about a group of guys who just business try to lure Bruna in while two journalists investiga- want to leave their worries behind while they go catch some ting a human trafficking ring are also after her. A behind the trout. What could go wrong… A breakout box office hit in scenes look into the dark secrets of operating a brothel… Icelandic cinemas & a strong festival contender. -
The Strange Color of Your Body's Tears
Strand Releasing presents THE STRANGE COLOR OF YOUR BODY’S TEARS A film by HÉLÈNE CATTET & BRUNO FORZANI PRELIMINARY PRESS NOTES Official Selection: Locarno International Film Festival Toronto International Film Festival New Directors/New Films AFI Fest Fantastic Fest Country of Origin: Belgium / France / Luxembourg Format: DCP/2.35/Color Sound Format: 5.1 Surround Sound Running Time: 102 minutes Genre: Thriller Not Rated In French and Dutch with English Subtitles National Press Contact: Jenna Martin / Marcus Hu Strand Releasing Phone: 310.836.7500 [email protected] [email protected] Please download photos from our website: http://extranet.strandreleasing.com/secure/login.aspx?username=PRESS&password=STRAND SYNOPSIS From directing duo Hélène Cattet & Bruno Forzani (AMER), comes this homage to the masters of classic Italian Giallo horror. Dan returns home to find his wife is missing. With no signs of struggle or break-in and with no help from the police, Dan’s search for answers leads him down a psychosexual rabbit hole. THE STRANGE COLOR OF YOUR BODY’S TEARS is a bloody and taut fantasia of suspense that leaves the viewer entranced in this highly original erotic thriller. DIRECTOR BIOGRAPHIES Hélène Cattet and Bruno Forzani first met in Brussels in 2000 and started co-writing and co-directing short films mostly shot in their apartment relying entirely on their savings. The shorts were shown in genre and also in more mainstream festivals around the world. In 2009 they directed their first feature AMER, the essence of what they had explored over the years through their short films. The critically acclaimed film travelled around the world and was listed as one of Quentin Tarantino’s Top 20 films in 2010. -
April 17-23, 2017 GLOBE CINEMA 617 8 AVE SW
-fourteenth- April 17-23, 2017 GLOBE CINEMA 617 8 AVE SW program guide TICKET & VENUE INFORMATION VENUE Globe Cinema - 617 8 Ave SW SINGLE TICKETS Opening Night Screening & Party $12 Saturday Morning Cartoon Party $12 Kids 6 & under $6 Regular Admission $10 CUFF Members, Students & Seniors $8 Rush Line is CASH ONLY DISCOUNTS ON MULTI-PACK TICKETS YEAR-ROUND CUFF Starting at $40 EVENTS AND SCREENINGS Purchase 5 or more films at one time to save $2 on each ticket. Purchase from the multi-pack shopping cart online. Excludes Saturday Morning Cartoon Party and COOL MEMBERSHIP Opening Night Screening & Party. NUMBER DOG TAG FESTIVAL PASS ONCE A MONTH Festival Pass $120 E-NEWSLETTER ON Pass includes all festival screenings, 2 complimentary drink tickets, and a private CUFF EVENTS passholder screening after the festival. Tickets for passholders are available at all screenings. We recommend arriving 45 minutes prior to start time to ensure entry. SPECIAL EXCLUSIVE DISCOUNTS WITH CUFF FESTIVAL BAR (LICENSED 18+) PARTNERS Festival bar open after 3 PM, serving Big Rock beer and cider, wine, mixed drinks and food options. All screenings after 3 PM are licensed (18+), which means you AND EVEN MORE COOL can drink alcohol during the film (!) but NO MINORS. Early matinees are all ages. STUFF WE HAVEN’T FESTIVAL BOX OFFICE THOUGHT OF YET! Online at www.calgaryundergroundfilm.com Festival Phone (403) 444-8315 MEMBERSHIPS CAN BE Globe Cinema starting March 23, any time the theatre is open Lukes Drug Mart, starting March 23, 112 4 St NE (lukesdrugmart.com) PURCHASED AT ALL CUFF Hours: Mon–Fri: 7 AM–9 PM, Sat: 9 AM–9 PM, Sun: 9 AM–8 PM EVENTS OR ONLINE: CALGARYUNDERGROUNDFILM.COM MEMBERSHIPS Purchase a lifetime membership for $10 from the festival merchandise table, or at www.calgaryundergroundfilm.com. -
Branding Latin America Film Festivals and the International Circulation of Latin American Films
Branding Latin America Film Festivals and the International Circulation of Latin American Films Laura Rodríguez Isaza Submitted in accordance with the requirements for the degree of Doctor in Philosophy The University of Leeds School of Modern Languages and Cultures Centre for World Cinemas October, 2012 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others . This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement . Except where otherwise noted, t his work is licensed under a Creative Commons Attribution -Non Commercial- Share Alike 2. 0 UK: England & Wales (CC BY -NC-SA 2.0). Full license conditions available at http://creativecommons.org/licenses/by -nc-sa/2.0/uk/ © 2012 The University of Leeds and Laura Rodríguez Isa za Acknowledgements I am indebted to many people for their support and encouragement to go throughout the different stages of this research. First of all, I would like to thank my supervisors at the Centre for World Cinemas of the University of Leeds without whose backing this research would not have been possible. I am especially indebted to Lúcia Nagib for her committed mentorship and encouragement to continue despite my frequent blockages. Her extensive knowledge and academic rigour enriched this research through a constant ex-change of ideas that helped me not only to express my arguments more clearly on paper but to develop further my thinking about the complexities of cinema as an object of study. -
2005 Calendar of International Film Festivals Page 1 of 4
2005 Calendar of International Film Festivals AUSTRALIA • Melbourne (July/August): Melbourne International Film Festival AUSTRIA • Vienna (October): Viennale - Vienna International Film Festival BELGIUM • Brussels (March): Brussels International Festival of Fantasy Film • Brussels (July): Brussels European Film Festival • Ghent (October): Flanders International Film Festival BULGARIA • Sofia (March): Sofia International Film Festival CANADA • Calgary (September/October): Calgary International Film Festival • Edmonton (October): Edmonton International Film Festival • Montréal (March): International Festival of Films on Art (FIFA) • Montréal (August/September): Montreal World Film Festival • Montreal (October): Montréal International Festival of New Cinema and New Media • Peripatetic (September): Canadian International Annual Film Festival (CIAFF) • Toronto (September): Toronto International Film Festival CHINA • Shanghai (June): Shanghai International Film Festival CROATIA • Dubrovnik (May): Dubrovnik International Film Festival CZECH REPUBLIC • Karlovy Vary (July): Karlovy Vary International Film Festival DENMARK • Odense (August): Odense International Film Festival FINLAND • Espoo (August): Espoo Ciné International Film Festival • Helsinki (September): Helsinki International Film Festival - Love and Anarchy FRANCE • Cannes (May): Cannes International Film Festival GERMANY • Berlin (February): Berlin International Film Festival • Berlin (February): International Forum of New Cinema H:\carnet\film list.doc Page 1 of 4 June 21, 2005 • Emden -
Silent Hill Production Notes
SILENT HILL PRODUCTION NOTES A child’s mysterious ailment. A desperate mother. An eerie, deserted city shrouded in mist, plagued by secrets. The mysteries are only beginning to deepen. When young mother Rose (Radha Mitchell) -- desperate to find a cure for her daughter Sharon’s bizarre illness -- refuses to accept a medical recommendation of psychiatric institutionalization, she flees with Sharon and heads for SILENT HILL, the town that her daughter continuously names in her sleep. Although her husband Christopher (Sean Bean) adamantly opposes, Rose is convinced the mysterious town will hold all the answers. But as her car approaches the deserted city’s limits, a mysterious figure appears in the road, forcing Rose to swerve and crash. When she comes to, Sharon is gone, and suddenly Rose – accompanied by a determined police officer (Laurie Holden) from a nearby town -- is on a desperate quest in Silent Hill to find her child. It’s immediately clear that her destination – left alone since devastating coal fires ravaged Silent Hill -- is unlike any place she's ever been: smothered by fog, inhabited by a variety of strange, haunted beings, and periodically overcome by a living Darkness that literally transforms everything it touches. As Rose searches for her daughter, she begins to learn the history of Silent Hill – its violent, puritanical past and the origins of its accursed state -- and realizes that her daughter is just part of a larger, more terrifying destiny. Silent Hill stars Radha Mitchell (Melinda and Melinda, Finding Neverland, Man on Fire), Sean Bean (North Country, National Treasure, Lord of the Rings), Laurie Holden (Fantastic Four, The Majestic), Deborah Kara Unger (White Noise, The Game, Crash), Kim Coates (Assault on Precinct 13, Pearl Harbor, Black Hawk Down), Tanya Allen (Starhunter), with Alice Krige (Star Trek: First Contact, Reign of Fire) and Jodelle Ferland (Tideland).