DOCSLIB.ORG

BFMAF-2020-Catalogue.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BFMAF-2020-Catalogue.Pdf Contents Welcome 3 Berwick New Cinema Competition 5 Filmmakers in Focus 43 Propositions 85 Essential Cinema 111 Previews 117 Young People’s Programme 121 Festival Contributors & Programmers 122 Thanks 126 Accessible Cinema 129 Team Welcome to the 16th Berwick Film & Media Arts Festival Office Naomi Gessesse Programme & Marketing Assistant A very warm welcome to the 16th Berwick Film & Media Arts Festival. I’ll spare Claire Hills Festival Manager & Producer you all any hot take on 2020 but myself and my colleagues have had to reimagine Peter Taylor Festival Director what the Festival might be. Not just for now, but for the future too. As ever, that Hamish Young Programme Coordinator is a work in progress. As I write, the Festival’s pilot Emerging Critics workshop kicked off this morn- ing with some exceptional young people from Berwick, the North East of England 2020 Festival and South of Scotland receiving mentorship from Dessane Lopez Cassell (Black- Star Film Festival) and Dennis Vetter (Berlin Critics Week). Rhiana Bonterre Production Editor The workshops are led and facilitated by Tendai John Mutambu, who Duncan Marquiss Production Editor was awarded BFMAF’s Programming Fellowship in 2019. In March this year, Emmie McLuskey Production Coordinator Christina Demetriou and Myriam Mouflih took up where Tendai left off and Clara Miranda Scherffig Marketing & PR Coordinator joined new Associate Programmer Ana David, Programmer Herb Shellenberger Tendai Mutambu Young Critics Facilitator and myself online, from their homes in Lisbon, Berlin, Glasgow, London and Natasha Palmer Publications & Web Editor Berwick to begin programming. Chloë Smith Education Officer We still have not met in person! Nonetheless, their dedicated work, Rectangle Studio Web Design supported by my brilliant colleagues in the virtual BFMAF office has produced Emer Tumility Design & Illustration our debut online Festival, taking place from 17 September—11 October 2020. I Matthew Walkerdine Graphic Design am forever indebted to this team of people. Their patience, kindness and exper- tise has enabled us to present these 53 films over a period of three weeks. SDH captions, essays, podcasts and video introductions have been added too. Hope- Programming Team fully this will give opportunities for you to take your time, to watch and rewatch artists and filmmakers work, in whatever way you are able. Ana David Associate Programmer Returning very literally to a theme of Works in Progress, many thanks to Christina Demetriou 2020 Programming Fellow Fern Silva and Tim Leyendekker who will share the paths to production of their Myriam Mouflih 2020 Programming Fellow debut feature films. Remarkably Ayo Akingbade, Angelo Madsen Minax and Herb Shellenberger Programmer Payal Kapdia, three of this year’s Filmmakers in Focus are also currently working Peter Taylor Artistic Director on their first features. I am excited to unveil two newly commissioned artists’ films as part of the programme this year. Spike Island, Bristol and Transmission, Glasgow joined Board BFMAF to produce the third iteration of Zinzi Minott’s Fi Dem and Daddy’s Boy is a fresh new work from recent graduate Renèe Helèna Browne. Many thanks to Dawn Bothwell Hospitalfield, Arbroath for creating an opportunity to first encounter Renèe’s work. Huw Davies Chair The new-for-2020 Berwick Young Filmmakers group have been in online Dr Menelaos Gkartzios video workshops, perfecting their lo-fi mobile-phone-filmmaking skills with added Chris Hardie horror and fantasy to produce Everyday Apocalypse with artist Kimberley O’Neill. Joe Lang The 16th Berwick Film & Media Arts Festival wouldn’t be possible without key Wendy Law funders Arts Council England, The BFI, Community Foundation, Northumberland Kelly Ling County Council, Berwick Town Council and Simpsons Malt. Luke W Moody Although we cannot all be in Berwick this year, BFMAF opens with a live Andrew Ormston broadcast by sound recordist Chris Watson. He will remix and reimagine sound Laura Simpson recordings from the town which like the rest of the Berwick Film & Media Arts Scott Sherrard Festival, I hope you will be able to enjoy wherever you are. Yvonne Smith Matt Stokes Peter Taylor, Berwick-upon-Tweed,14 September 2020 3 Berwick New Cinema Competition For the first time, Berwick Film & Media Arts Festival’s New Cinema Competition includes Short, Medium and Feature length films. The strand encompasses the Festival’s view of some of the most distinctive works of new cinema and artists’ moving image being made around the world today. All selected filmmakers will share the Berwick New Cinema Award. This year, it is a non-competitive prize created by reallocat- ing funds that would have ordinarily supported filmmakers’ travel and accommodation at the Festival. These are vital works, imbued with a sense of liveness and agency in their resolute visions—they will surprise, entertain and provoke, opening up further questions and considerations. 6 7 At Those Terrifying Frontiers Where the Existence and Disappearance of People Fade Into Each Other اهيف طلتخي يتلا ةبعرملا دودحلا كلت ىلع ) ( ضعبلا هضعبب مهئافتخاو سانلا دوجو Basel Abbas & Ruanne Abou-Rahme Palestinian Territory | 2019 | 11 mins Arabic with English subtitles Hybrid in form, this work from Basel Abbas and that this strategy might better simulate the Ruanne Abou-Rahme wrestles with the prob- artists’ performance, installation and exhibition lematics of representing a people displaced and making practice for viewers. disappeared. An avatar generating software — Myriam Mouflih and images of the people who participated in the Great March of Return demonstrations create figures that sing a sad lament. Voiced by the artists themselves yet digitally altered, they are, at once, human and non-human. In this film, missing data in the figures’ faces are replaced with scars and glitches—an inscription of trauma onto the body. This act of flattening people is central to the real impos- sibility of representing faces and bodies that have been coded as illegal. Text taken from Edward Said’s book After the Last Sky is repur- posed to create a new script which reflects on what it means today to be constructed as an “illegal” person, body, or entity. The work also makes reference to “languages not fully formed”—how does one find the words to describe the ongoing effects of forced displacement? An attempt is made Basel Abbas and Ruanne Abou-Rahme (1983, Nicosia, Cyprus Filmography to represent this through “broken narratives, and Boston, USA) are an artist duo based between Ramallah and At Those Terrifying Frontiers Where the Existence and Disap- fragmentary compositions, self-consciously New York. They work together across a range of sound, image, pearance of People Fade Into Each Other (2019), Oh Shining Star text, installation and performance practices. Across their works Testify (2019), And Yet My Mask is Powerful, Part 1 (2016-2018), staged testimonials where the narrative voice they probe a contemporary landscape marked by seemingly Only the Beloved Keeps Our Secrets (2016), The Incidental Insur- keeps stumbling over itself, its obligations, its perpetual crisis and an endless “present”, one that is shaped by gents: The Part About the Bandits, Part 1, Chapter 1 (2012-2015), limitations”—an articulation of the contradic- a politics of desire and disaster. They have been developing a The Incidental Insurgents: Unforgiving Years, Part 2 (2012-2015), body of work that questions this suspension of the present and The Incidental Insurgents. When the Fall of the Dictionary Leaves tions inherent in this kind of documentation. searches for ways in which an altogether different imaginary and All Words Lying in the Street, Part 3, Chapter 5 & 6 (2012-2015), In consultation with Abbas and Abou- language can emerge that is not bound within colonial/capitalist The Zone (2011), Lost Objects of Desire (2010), Collapse (2009) narrative and discourse. They have performed at several institu- Rahme, Only the Beloved Keeps Our Secrets—a tions including the Live Arts Bard Biennale 19 (New York), Hammer second work—was chosen to accompany At Acknowledging that Abbas and Abou-Rahme often show their Museum (Los Angeles), the Haus der Kulturen der Welt (Berlin), Images Festival (Copenhagen) and the Serpentine (London). Their Those Terrifying Frontiers Where the Exist - work in conversation—with other works and with the artists work has been exhibited at venues including the Beirut Art Center, ence and Disappearance. Taking the oppor- themselves—we are delighted to use the opportunity of an Kunstverein (Hamburg), Kettle’s Yard (Cambridge) and at the Sharjah and Istanbul biennials. They won the Abraaj Group Art online festival to be able to present a second work by them tunity given by an online Festival, it was felt Prize in 2016 and were shortlisted for the Future Generation Art alongside their film in the Berwick New Cinema Competition. Prize in 2019. 6 Berwick New Cinema World Festival Premiere Berwick Film & Media Arts Festival 2020 7 Only the Beloved Keeps Our Secrets Basel Abbas & Ruanne Abou-Rahme Palestinian Territory | 2016 | 10 mins | English subtitles Only the Beloved Keeps Our Secrets invites themselves too. It’s the tension between oppos- us to consider the forms of entanglement ing forces that the artists are able to convey in between the destruction of bodies and the their work. erasure of images, and the conditions under In consultation with Abbas and Abou- which these same bodies and images might Rahme, Only the Beloved Keeps Our Secrets was once again reappear. Utilising military surveil- chosen as an accompanying work for At Those lance footage, the artists create a multi-lay - Terrifying Frontiers Where the Existence and ered and shifting work. Disappearance. Taking the opportunity given Like much of Abbas and Abou-Rahme’s by an online Festival, it was felt that this strat- work, the film is concerned with notions of egy might better simulate the artists’ perfor- fragmentation, disappearance and reappear- mance, installation and exhibition making ance.
Load more

Recommended publications
  • 1 GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29
    GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29, 2020 I am pleased to be here to talk about my role as Deputy Director of the Washington, DC International Film Festival, more popularly known as Filmfest DC, and as Director of the Arabian Sights Film Festival. I would like to start with a couple of statistics: We all know that Hollywood films dominate the world’s movie theaters, but there are thousands of other movies made around the globe that most of us are totally unaware of or marginally familiar with. India is the largest film producing nation in the world, whose films we label “Bollywood”. India produces around 1,500 to 2,000 films every year in more than 20 languages. Their primary audience is the poor who want to escape into this imaginary world of pretty people, music and dancing. Amitabh Bachchan is widely regarded as the most famous actor in the world, and one of the greatest and most influential actors in world cinema as well as Indian cinema. He has starred in at least 190 movies. He is a producer, television host, and former politician. He is also the host of India’s Who Wants to Be a Millionaire. Nigeria is the next largest film producing country and is also known as “Nollywood”, producing almost 1000 films per year. That’s almost 20 films per week. The average Nollywood movie is produced in a span of 7-10 days on a budget of less than $20,000. Next comes Hollywood. Last year, 786 films were released in U.S.
    [Show full text]
  • 36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18)
    36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18) • No children are allowed. • Unified prices for all tickets: 20 EGP. • 50% discount for students of universities, technical institutes, and members of artistic syndicates, film associations and writers union. • Booking will open on Saturday, November 8, 2014 from 9am- 10pm. • Doors open 15 minutes prior to screenings • Doors close by the start of the screenings • No mobiles or cameras are allowed inside the screening halls. 1 VENUES OF THE FESTIVAL Main Hall – Cairo Opera House 1000 seats - International Competition - Special Presentations - Festival of Festivals (Badges – Tickets) Small Hall – Cairo Opera House 340 seats - Prospects of Arab Cinema (Badges – Tickets) - Films on Films (Badges) El Hanager Theatre - El Hanager Arts Center 230 seats - Special Presentations - Festival of Festivals (Badges – Tickets) El El Hanager Cinema - El Hanager Arts Center 120 seats - International Cinema of Tomorrow - Short films Competition - Student Films Competition - Short Film classics - Special Presentations - Festival of festivals (Badges) Creativity Cinema - Artistic Creativity Center 200 seats - International Critic’s Week - Feature Film Classics (Badges) El Hadara 1 75 seats - The Greek Cinema guest of honor (Badges) 2 El Hadara 2 75 seats - Reruns of the Main Hall Screenings El Hanager Foyer- El Hanager Arts Center - Gallery of Cinematic Prints Exhibition Hall- El Hanager Arts Center - Exhibition of the 100th birth anniversary of Barakat El- Bab Gallery- Museum of Modern Art -
    [Show full text]
  • Golden Apricot Fund for Cinema Development
    1 DONORS Dear Colleagues, Participants, and Friends, Welcome to the 14th Golden Apricot International Film Festival! Welcome to the GAIFF Industry Days and Creative Europe Forum 2017! It is almost 14 years that Golden Apricot has established synergies at different levels between state and audiovisual actors to pro- mote global partnership and sustainable development. Golden Apricot is dedicated to building further co-operation bridges with Europe and enhancing CSOs-CCIs capacity building platform. Based on the vital need for a wide professional network and cul- tural exchange Golden Apricot has initiated the GAIFF Industry Days 2017. The main aim of GAIFF‘s new industry program in 2017 is to develop the film industry in Armenia and to serve as a unique platform for film professionals from Armenia and beyond. GAIFF Industry Days 2017 will consist of professional workshops, trainings, roundtables, panel discussions, project pitchings, master classes conducted by Golden Apricot guests – film experts, directors, and producers from around the world. GAIFF Industry Days 2017 include: ü 2-day Armenia-Turkey Cinema Platform Workshop for short and documentary film projects by Armenian and Turkish filmmakers (10-11 July) – in partnership with Anadolu Kultur, Turkey; ü Eurasiadoc Workshop (10-12 July) – 3-day training program for documentary projects from Armenia, Georgia, and Turkey with participation of more than15 French producers and broadcasters – in partnership with Docmonde, France; ü Round Table “Armenia in the Structure of Film Production in the USSR and in the Post-Soviet Period”(12 July) – in partnership with New Institute for Cultural Research, Russia; ü Pitch Workshop for pre-selected projects – in partnership with British Council (12-13 July); ü 3-day Creative Europe Forum (12-14 July); ü GAIFF Master Classes (10-15 July) in partnership with AGBU and TUMO Center for Creative Technologies.
    [Show full text]
  • Cinema-Going in the Arab World: Exhibition, Distribution, and Audiences
    Fouad El-Khoury Cinema-Going in the Arab World: Exhibition, Distribution, And Audiences 14-15 September 2018 at NVIC Cinema-going in the Arab World: Exhibition, Distribution, and Audiences Cairo, Egypt [Type here] Cinema-going in the Arab World: Exhibition, Distribution, and Audiences Programme 14 September – Day 1 8:30-9:00 Registration and coffee/tea 9:00-9:30 Welcome to the conference Rudolf de Jong – Director, NVIC Ifdal Elsaket – Assistant-Director (Arabic and Islamic studies) 9:30-10:30 Keynote Daniel Biltereyst (University of Ghent, DICIS) and Philippe Meers (University of Antwerp, DICIS) - On New Cinema History 10:30-11:00 Coffee/tea break 11:00-1:00 Panel 1: Early Cinema Going Arthur Asseraf (University of Cambridge) - Seeing the World as it is? Newsreels, Censorship, and Cinema Riots in Colonial North Africa Morgan Corriou (University of Paris 8) - Egyptian Cinema in Colonial Maghreb: Distribution, Exhibition and Audiences Hend Al-Awadhi (University of Kuwait) - Transcultural Encounters: Excavating Early Histories of Cinema-Going in Kuwait Asmaa Ghareeb (Contemporary Image Collective) - The History of the Cinemas in Ismailia and its Intersection with the Audience (Social Class and Gender) from 1950-1985 1:00-2:00 Lunch 2:00-3:30 Panel 2: Politics of Production Rahma Bavelaar (University of Amsterdam) - Interfaith Love and Competing Visions of "Moral Cinema" in 1952 Cairo Carolina Bracco (University of Buenos Aires) - The Politics of Production the Social Construction of Image and Imagination of Dancers in Egyptian Film 3 Cinema-going in the Arab World: Exhibition, Distribution, and Audiences Hanan Sharaf Al-Dine (Misr International University) - Multimodal Construction of the Image of Women in Egyptian Film Posters of the Golden Years and the Present.
    [Show full text]
  • Linkin Park the Summoning
    Linkin Park The Summoning Tedrick is committed and acerbated all-out while unctuous Richie calipers and propel. Is Patty valvate when Ephraim trajects confoundedly? Neuron Nunzio superinduces therewithal and pithily, she surround her lampad closets indefatigably. Alts as a thousand suns go well sung by linkin park tees and does it looks like the tracks Atlantic Recording Corporation for the United States and WEA International Inc. Linkin Park was aiming for a heavy sound with the Hunting Party but when I listened to the album there were very few songs that I liked. For some of the faster solos I warm up, but not in an overtly methodical way. Check out our Nickelback store for Nickelback shirts, tour merchandise, hoodies, accesories and more. LP have certainly raised my interest level immensely to try out this newest album. Mike states that there are dozens of clips that are usually from their phones, sometimes from videos that are shot that provide these moments. This will begin to make things right. The mainstreaming of metalcore and hardcore also warrants mentioning: Bring Me the Horizon and A Day to Remember gradually attained stardom thanks to their knack for mixing furious breakdowns with sparkling pop productions. We use cookies to personalize your experience and for measurement and analytics purposes. You might have the Hola VPN extension installed. Please fill in all required fields. Plus your entire music library on all your devices. The theme reminds me of Fallout, a post apocalypse game. However, this album, is better than Meteora although Hybrid Theory is still better in my opinion.
    [Show full text]
  • Focus 2007 World Film Market Trends Tendances Du Marché Mondial Du Film Editorial
    European Audiovisual Observatory Information services for the audiovisual sector www.obs.coe.int Focus 2007 workshop VoD vs Cinema? 14:30 – 17:00, Saturday 19th May 2007 World Film Market Trends Salon des Ambassadeurs Tendances du marché mondial du film Palais des Festivals entry free to all market accreditees Come and see us on our stand: A8, Riviera Section, Marché du film. Stand telephone: +33 (0)4 92 99 33 36 Focus 2007 17,50 EUR Réf FMF07 PUBs_FOCUSPUBsFOCUS_Couv_9800EX.indd FOCUS 2007.indd 1 1 4/05/07 17:49:20 Focus def.indd 2 26/04/074/05/07 19:36:01 16:36:51 focus 2007 World Film Market Trends Tendances du marché mondial du film Editorial Alors que le Festival de Cannes fête ses 60 ans, While the Festival de Cannes is celebrating its la relation entre cinéma et spectateurs entre dans sixtieth birthday, relations between cinema and its une nouvelle époque. audiences are entering a new phase. La salle de cinéma connaît une nouvelle évo- Theatres are evolving with the increase of dig- lution avec la monté en puissance de la projection ital screenings and now the arrival of fi lms in 3D; numérique et l’arrivée des fi lms en 3D ; le cinéma independent cinema is fi ghting to keep its place indépendant se bat pour conserver une place dans in these theatres; the development of Internet as ces salles ; le développement d’Internet comme a promotional and broadcasting vector is seen as vecteur de promotion et de diffusion est perçu both a threat and an opportunity for diversity.
    [Show full text]
  • Кινημаτογράφου Εβδομάδа Aφρικаνικού African Film Week Th 6Η
    Ïé Ðñåóâåßåò êáé ôá Åðßôéìá Ðñïîåíåßá ôùí Áöñéêáíéêþí ÷ùñþí óôçí ÁèÞíá óáò ðñïóêáëïýí óôçí The Embassies and Honorary Consulates of the African countries in Athens invite you to the ç ÅâäïìÜäá Áöñéêáíéêïý ÊéíçìáôïãñÜöïõ 6th Áfrican Film Week 6ç ÁÈÇÍÁ ATHENS 9-15.3.2017 ÔÁÉÍÉÏÈHÊH ÔHÓ ÅËËÁÄÏÓ GREEK FILM ARCHIVE ÉåñÜ Ïäüò 48, ÁèÞíá / 48, Iera Odos str. Athens Ô. 210 3609695, 210 3612046, www.tainiothiki.gr ÈÅÓÓÁËÏÍÉÊÇ THESSALONIKI 16-22.3.2017 «Ðáýëïò ÆÜííáò», Ðë. ÁñéóôïôÝëïõò 10, Èåóóáëïíßêç / “Pavlos Zannas”, 10, Aristotelous sqr., Thessaloniki T. 2310 378400, www.filmfestival.gr Åßóïäïò åëåýèåñç/Free Entry Ðñüãñáììá ÁèÞíáò | Athens Program Ðñüãñáììá Èåóóáëïíßêçò | Thessaloniki Program 9-15.3.2017 16-22.3.2017 ÐÝìðôç / Thursday 09/03 18.50 > Ade Love ÐÝìðôç / Thursday 16/03 18.30 > Ìå êáôåýèõíóç ôçí üáóç ôçò Íéãçñßá/Nigeria, Åëëçíéêïß õðüôéôëïé/ Greek subtitles, 29´ Íïýìðéá/Towards the Nubian Oasis 20.00 > Elelwani 20.00 > Ðñùôáãùíßóôñéá /Leading Lady ÓïõäÜí/Sudan, Ãëþóóá/Language: ÁñáâéêÜ/Arabic, Åëëçíéêïß Íüôéïò ÁöñéêÞ/South Africa, Åëëçíéêïß & Áããëéêïß õðüôéôëïé/Greek 19.30> Ç ïñ÷Þóôñá ôùí ôõöëþí /L'Orchestre des Íüôéïò ÁöñéêÞ/South Africa, Ãëþóóá/Language: ÁããëéêÜ & õðüôéôëïé/Greek subtitles, 30´ & English subtitles, 103´ aveugles ÁöñéêÜáíò/English & Afrikaans, Åëëçíéêïß & Áããëéêïß õðüôéôëïé / Åßóïäïò ìüíï ìå ðñïóêëÞóåéò/Entrance by invitation only Ìáñüêï /Morocco, Åëëçíéêïß õðüôéôëïé/Greek subtitles, 112´ Greek & English subtitles 19.30 > ÌéêñÝò ÷áñÝò/Petits Bonheurs Ìáñüêï/Morocco, Ãëþóóá: ÁñáâéêÜ/Arabic, Åëëçíéêïß õðüôéôëïé / Ðáñïõóßá
    [Show full text]
  • Reception to Korean Cinema and Korean Cultural Troupes in Chennai
    Draft only Not to be quoted Reception to Korean Cinema and Korean Cultural Troupes in Chennai Dr G.Koteswara Prasad Professor Department of Politics and Public Administration University of Madras, Chennai 600 005, Tamil Nadu An upsurge of interest in the Korean society and Korean culture has coincided with full fledged participation of Korean cinema in the principal World film festivals during the last few years. The reception to Korean films in various film festivals like Philadelphia Festival of World Cinema 2002, Sanfrancisco Asian Film Festival, Cannes Film Festival, Melbourne International Film Festival, Montreal Film Festival, Pusan International Film Festival, to name some of the festivals, seem to be fairly appreciative and the richness and the breadth of the films is being acclaimed by many discerning viewers. It is being suggested that Korean cinema is one of the most productive and successful film industries outside USA. Reviewing Korean cinema, Boris Trbic believed that the quality films produced in East Asia in 2000 indicate that “this region will in the foreseeable future remain at the helm of new and exciting tendencies in the world cinema.” Korean films are more internationalized among the Asian nations. Korean cinema addresses the questions of national identity, historical memory, gender and contemporary cultural issues in a critical manner and provide much scope for serious interrogation. A glimpse of contemporary mores and attitudes of Korean society is available through this media. Korean cinema both reflects and is reflected through the country’s political, economic social and cultural features. India is easily one of the largest producer of films for a long time and the Indian films are produced at least in 11 languages, though in some languages the number is not very large.
    [Show full text]
  • Towards Wearable Cognitive Assistance
    Towards Wearable Cognitive Assistance Kiryong Ha, Zhuo Chen, Wenlu Hu, Wolfgang Richter, Padmanabhan Pillaiy, and Mahadev Satyanarayanan Carnegie Mellon University and yIntel Labs ABSTRACT Wearable devices such as Google Glass offer a glimmer of We describe the architecture and prototype implementation hope to users in cognitive decline. These devices integrate of an assistive system based on Google Glass devices for first-person image capture, sensing, processing and commu- users in cognitive decline. It combines the first-person im- nication capabilities in an aesthetically elegant form factor. age capture and sensing capabilities of Glass with remote Through context-aware real-time scene interpretation (in- processing to perform real-time scene interpretation. The cluding recognition of objects, faces, activities, signage text, system architecture is multi-tiered. It offers tight end-to-end and sounds), we can create software that offers helpful guid- latency bounds on compute-intensive operations, while ad- ance for everyday life much as a GPS navigation system dressing concerns such as limited battery capacity and lim- helps a driver. Figure 1 presents a hypothetical scenario ited processing capability of wearable devices. The system that is suggestive of the future we hope to create. gracefully degrades services in the face of network failures An ideal cognitive assistive system should function \in the and unavailability of distant architectural tiers. wild"with sufficient functionality, performance and usability to be valuable at any time and place. It should also be suf- Categories and Subject Descriptors ficiently flexible to allow easy customization for the unique D.4.7 [Software]: Operating System { Organization and disabilities of an individual.
    [Show full text]
  • Analysis of the UIS International Survey on Feature Film Statistics
    INFORMATION SHEET No. 1 Analysis of the UIS International Survey on Feature Film Statistics With the support of the Government of Québec and in collaboration with the Institut de la statistique du Québec (ISQ), the UNESCO Institute for Statistics (UIS) launched a new international survey in 2007 to collect data on feature films. The analysis was based on a preliminary study by Ivan Bernier, Associate Professor, Université Laval and Serge Bernier, Associate Professor, Université du Québec à Trois-Rivières. Introduction The UIS International Survey on Feature Film Statistics is based on a new approach to gather internationally comparable and better quality data in the field of culture statistics. Cinema data elicit much interest because the film industry is experiencing massive transition and growth in certain developing countries. These data can also be relevant to the study of the diversity of cultural expressions. Data was obtained from 101 countries for the years 2005-2006, indicating a coverage rate of 49%. This is a relatively reasonable coverage rate for an international survey. In the majority of cases, the data were obtained directly from countries in response to the questionnaire; 75 countries responded, for a response rate of 36%. Among those who responded, 11 – mainly developing countries – indicated they had no data on film production. Data on 26 other countries were obtained from alternative sources (government information available on the Internet, international compilations, etc.). Figure 1 shows the geographical imbalance in coverage rates – a strong concentration in Europe and North America with a coverage rate of 88% and very little coverage in Sub-Saharan Africa, Latin America and the Caribbean, and the Pacific with 33%, 27% and 24% respectively.
    [Show full text]
  • Downloaded from Brill.Com09/25/2021 10:58:52AM Via Free Access the World Cinema System 61
    Studies in World Cinema 1 (2020) 60-86 National Turbulence and the Turbos of the World Cinema System Dudley Andrew R. Selden Rose Professor of Film and Comparative Literature, Yale University, New Haven, Connecticut, USA [email protected] Abstract From the outset cinema was metropolitan. Producers needed access to financing, pools of talent, specialized equipment, and laboratories that one could only find in urban centers. In certain cinema-cities (Berlin, Paris, Buenos Aires, Mumbai, Taipei, etc.) reside ambitious writers, producers, and filmmakers who were driven to outdo, or modify, or simply copy what they saw, employing their own culture’s raw material. Thus, the Jameson-Moretti law applies: local content, pertinent to each nation, was poured into forms that were adopted, with strategic alterations, from Hollywood. Where are today’s hotspots? Where does cinema seem crucial and talked about? Let’s abandon the map (where necessarily one region stands front and center), and instead let’s spin the globe. As it whirls, our eye intermittently catches glimpses of the shapes of the most sizeable nations. Today China and Nigeria stand out prominently alongside India and Russia. So dense are they with film activity that the globe is distended and wobbles out of true. Only sixty years ago China and Nigeria were places that had no place in World Cinema; they gained recognition only when a few promising art films found their way to the European festivals that served as image exchange centers. Today that promise has been fulfilled beyond, indeed against, expectations. Recapitulating Hollywood in its heyday Nollywood and China (Beijing/ Shanghai/Qingdao) have become thoroughly corporate and market-savvy, turning out standardized and predictable products.
    [Show full text]
  • Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2010 Made in Thailand - Thainess, Performance and Narration in Contemporary Thai Cinema Böhler, Natalie Abstract: Her dissertation focuses on Thai cinema, nationalism and cultural globalization and contributes to an understanding of local cinema experience, as seen in the context of local exhibition practices, storytelling traditions and orality, and transnational media culture. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-132492 Dissertation Published Version Originally published at: Böhler, Natalie. Made in Thailand - Thainess, Performance and Narration in Contemporary Thai Cinema. 2010, University of Zurich, Faculty of Arts. Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema Thesis presented to the Faculty of Arts of the University of Zurich for the degree of Doctor of Philosophy by Natalie Boehler of Mellikon AG Accepted in the spring semester of 2010 on the recommendation of Prof. Dr. Christine N. Brinckmann and Prof. Dr. A. Riemenschnitter 2012 Natalie Boehler: Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema Table of Contents 1. Introduction 5 2. Contemporary Thai Film and Its Role as National Cinema 10 2.1 Post-1997 Developments in Thai Cinema 10 Transnationality 14 Outlook 18 The Economic Meltdown and the Resurgence of Thainess 19 Thainess, State Representation and Censorship 21 Independent Film 29 2.2 The Idea of the Nation in Contemporary Thai Film 33 Nang yon yuk and Folklore: Stories of the Nation 33 The Country, the City and the Golden Age: «Authenticity» and Nostalgia 37 Images of the Self and the Foreign Gaze 42 Mirroring the Foreign Gaze: Deconstructive Thainess 44 2.3 National Culture and the Global Market 51 Transnational Influences and Coproductions 51 Thainess «Goes Inter»: Self-Exoticization and Dual Readings 55 «Made in Thailand» – Ambivalence and Source of Inspiration 60 3.
    [Show full text]