Minutes Ga 2014

Total Page:16

File Type:pdf, Size:1020Kb

Load more

General Assembly 2018
MINUTES

Whistling Woods International, Mumbai, India
12 & 14 November 2018

PAGE 1 OF 67

GENERAL ASSEMBLY MINUTES – WHISTLING WOODS INTERNATIONAL, MUMBAI, INDIA (12 & 14 NOVEMBER 2018)

TABLE OF CONTENTS

1. PARTICIPANTS

5

1.1 ATTENDEES (FINAL LIST AS OF 17 NOV 2018) 1.2 PROXIES (IN ALPHABETICAL ORDER OF SCHOOLS) 1.3 QUORUM

5
10 12

2. ELECTIONS

13

2.1 FULL MEMBERS 2.2 PRESIDENT 2.3 REGIONAL COUNCILS

2.4 CILECT EXECUTIVE COUNCIL – COMPOSITION

2.5 REGIONAL COUNCILS – COMPOSITION 2.6 APPROVAL OF DOCUMENTS

13 13 13 15 15 16

3. REPORT OF THE CILECT PRESIDENT 4. REPORT OF THE CAPA CHAIR 5. REPORT OF THE CARA CHAIR 6. REPORT OF THE CIBA CHAIR 7. REPORT OF THE CNA CHAIR 8. REPORT OF THE GEECT CHAIR 9. REPORT OF THE CILECT EXECUTIVE DIRECTOR 9.1 EXECUTIVE COUNCIL MEETINGS 9.2 MEMBERSHIP

16 20 25 26 27 29 45 45 45

9.2.1 REQUESTED INFORMATION FOR MEMBERSHIP 9.2.2 CANDIDATE MEMBERS 9.2.3 REMOVALS FROM MEMBERSHIP 9.2.4 RESIGNATIONS FROM MEMBERSHIP 9.2.5 HONORARY MEMBERSHIP

45 46 46 46 46 46

9.2.6 CILECT MEMBERSHIP BENEFITS 9.3 THE CILECT CONGRESS 2016 9.4 THE CILECT CONGRESS 2017

PAGE 2 OF 67

47 48

GENERAL ASSEMBLY MINUTES – WHISTLING WOODS INTERNATIONAL, MUMBAI, INDIA (12 & 14 NOVEMBER 2018)

9.5 THE CILECT CONGRESS 2018

49 49 50

9.6 THE CILECT CONGRESS 2019 9.7 THE CILECT PRIZE

9.7.1 CHANGES OF RULES & PROCESS

50 50 50 51 51 51 52 52

9.7.2 COMPARATIVE TABLE OF PARTICIPATION 2006-2018 9.7.3 THE CILECT PRIZE 2017 WINNERS/NOMINEES 9.7.4 THE CAPA BEST FILM AWARD 2017 9.7.5 THE CIBA BEST FILM AWARD 2017 9.7.6 THE CILECT PRIZE 2018 WINNERS/NOMINEES 9.7.7 THE CAPA BEST FILM AWARD 2018 9.7.8 THE CIBA BEST FILM AWARD 2018

9.8 THE CILECT TEACHING AWARD

52

9.8.1 NOMINATIONS 2017 9.8.2 WINNERS 2017 9.8.3 NOMINATIONS 2018

53 53 53 53 54

9.8.4 WINNERS 2018 9.8.5 THE CILECT TEACHING AWARD 5TH ANNIVERSARY BOOK

9.9 THE CILECT WEBSITE

54

9.9.1 TECHNICAL IMPROVEMENTS 9.9.2 REGIONAL WEBSITES 9.9.3 COLIN YOUNG EX-LIBRIS

54 54 55

9.10 THE CILECT ARCHIVE

55 55

9.11 THE 21ST CENTURY FILM, TV & MEDIA SCHOOL BOOK PROJECT 9.11.1 VOLUME 1 9.11.2 VOLUME 2

55 55

9.12 THE CREN (CILECT RESEARCH EXAMINERS NETWORK) PROJECT 56 9.13 THE ETHICS LAB PROJECT 9.14 THE CILECT LIBRARY CONSORTIUM 9.15 THE CULTURE SHIFT PROJECT 9.16 PARTNERSHIPS

56 57 57 57

PAGE 3 OF 67

GENERAL ASSEMBLY MINUTES – WHISTLING WOODS INTERNATIONAL, MUMBAI, INDIA (12 & 14 NOVEMBER 2018)

9.16.1 NXT ACCELERATOR 9.16.2 MUBI 9.16.3 CUMULUS

9.16.4 POITIERS FILM FESTIVAL 9.16.5 CREATIVE EUROPE

9.16.6 FEISAL

57 58 58 58 58 58 59 59 59 59

9.16.7 ARRI

9.16.8 FILM TERM PROJECT 9.16.9 STUDENT FILM MARKET PROJECT 9.16.10 INTERNATIONAL SUMMIT ON HIGHER ARTS EDUCATION (ISHAE)

9.17 INTER-REGIONAL ACTIVITIES’ SUPPORT 9.18 ORGANIZATIONAL MATTERS

9.18.1 ELECTIONS

60 61 61

9.18.2 ASSESSMENT OF EXECUTIVE DIRECTORS WORK PERFORMANCE (2012-2016)

61

9.18.3 REGIONAL COUNCIL CHAIRS’ JOB DESCRIPTION (RESPONSIBILITIES) 9.18.4 CILECT FUTURE

62 62

9.19 FINANCES

63 63 63 63 64 64

10. CILECT STRATEGY & FINANCIAL SUPPORT RULES 2019-2020 10.1 BASIC ACTIVITIES 10.2 NETWORK AND COLLABORATION ACTIVITIES 10.3 NEW PROJECTS 10.4 FINANCIAL SUPPORT RULES 10.4.1 TEACHERS’ FORUMS 10.4.2 CILECT FEE WAIVER PROGRAM 10.4.3 PILOTS

64 64 65 65

10.4.4 FUNDING CRITERIA (VOTED BY THE CILECT GA’2004) 11. CILECT BUDGET 2019-2020 12. CILECT CONGRESS 2019 13. CILECT CONGRESS 2020

65 66 67

PAGE 4 OF 67

GENERAL ASSEMBLY MINUTES – WHISTLING WOODS INTERNATIONAL, MUMBAI, INDIA (12 & 14 NOVEMBER 2018)

1. PARTICIPANTS

1.1 ATTENDEES (FINAL LIST AS OF 17 NOV 2018)

N

123456789

NAME

Silvio Fischbein Maria Marta Antin Mario Santos

COUNTRY

ARGENTINA ARGENTINA ARGENTINA AUSTRALIA AUSTRALIA AUSTRALIA AUSTRALIA AUSTRALIA AUSTRALIA AUSTRALIA AUSTRALIA AUSTRALIA

  • INSTITUTION
  • MEMBER

  • Full
  • Universidad de Buenos Aires (UBA)

  • Universidad del Cine (UCINE)
  • Full

  • Universidad del Cine (UCINE)
  • Full

  • David Balfour
  • Australian Film Televison Radio School (AFTRS)

Australian Film Televison Radio School (AFTRS)
Griffith Film School (GFS)
Full
Rowan Woods Ashley Burgess Erika Addis
Full Full

  • Griffith Film School (GFS)
  • Full

Herman Van Eyken Nico Meissner

  • Griffith Film School (GFS)
  • Full

  • Griffith Film School (GFS)
  • Full

10 James Verdon 11 Jill Holt
Swinburne School of Film and Television (SSFT) Swinburne School of Film and Television (SSFT) Swinburne School of Film and Television (SSFT)
Full Full

  • 12 Mark Freeman
  • Full

University of Melbourne, Victorian College of the
Arts (VCA)
13 Andrew O`Keefe 14 Helen Gaynor
AUSTRALIA AUSTRALIA
Full Full
University of Melbourne, Victorian College of the
Arts (VCA)

15 Cathy Henkel 16 Rachel Landers 17 Asha Chand
AUSTRALIA AUSTRALIA AUSTRALIA BELGIUM
Western Australian Screen Academy (WASA)
University of Technology Sydney
Western Sydney University
Full
Observer Observer

  • Full
  • 18 Etienne Baffrey
  • Institut des Arts de Diffusion (IAD)

Institut National Supérieur des Arts du Spectacle et
Techniques de Diffusion (INSAS)
19 Laurent Gross 20 Frauke Velghe 21 Geert Genbrugge 22 Bert Beyens
BELGIUM BELGIUM BELGIUM BELGIUM BELGIUM BENIN
Full Full Full Full Full Full Full Full Full Full Full
Koninklijke Academie voor Schone Kunsten
(KASK)

Leuven University College of Arts (LUCA) - Campus Narafi

Royal Institute for Theatre, Cinema and Sound
(RITCS)

Royal Institute for Theatre, Cinema and Sound
(RITCS)
23 Patrick Geeraerts 24 Marcellin Zannou 25 Almir Antonio Rosa
Institut Superieur des Metiers de l'Audiovisuel
(ISMA)

Escola de Comunicacoes e Artes da Universidade de Sao Paulo (USP)
BRAZIL
Eduardo Simães dos Santos Mendes
Escola de Comunicacoes e Artes da Universidade de Sao Paulo (USP)

  • 26
  • BRAZIL

Escola de Comunicacoes e Artes da Universidade de Sao Paulo (USP)
27 Maria Dora Mourão 28 Boya Harizanova 29 Stanislav Semerdjiev
BRAZIL
National Academy for Theatre and Film Arts
(NATFA)
BULGARIA BULGARIA
National Academy for Theatre and Film Arts
(NATFA)

PAGE 5 OF 67

GENERAL ASSEMBLY MINUTES – WHISTLING WOODS INTERNATIONAL, MUMBAI, INDIA (12 & 14 NOVEMBER 2018)

30 Gerda Cammaer 31 Barbara Evans 32 Tereza Barta 33 Yingxia Huang 34 Ran Yu
CANADA CANADA CANADA CHINA
Ryerson University, School of Image Arts
York University
Full Full Full Full Full Full
York University
Beijing Film Academy (BFA)
Communication University of China (CUC) Communication University of China (CUC)
CHINA

  • 35 Zhenhu Sun
  • CHINA

CHINA/ HONG
KONG

  • 36 Mohit Kakkar
  • Hong Kong Academy for Performing Arts (HKAPA)
  • Full

37 Javier Olarte 38 Susana Molina 39 Ondrej Zach 40 Zdenek Holy

Recommended publications
  • Appel Candidatures

    Appel Candidatures

    APPEL À CANDIDATURE ATELIER DE RÉALISATION DE FILMS DOCUMENTAIRES du MARDI 31 OCTOBRE au LUNDI 18 DÉCEMBRE 2017 ALLIANCE FRANÇAISE de BANGUI Cet atelier de formation s'adresse à tous les Centrafricains, femmes et hommes, désireux de se tourner vers la réalisation de films documentaires et soucieux de rendre compte de la réalité de leur pays. Il ne concerne pas seulement des personnes qui auraient déjà une expérience de la réalisation, mais s'adresse aussi bien à des personnes venant d'horizons différents (journalistes, fixeurs, responsables associatifs, etc.) attirés par ce moyen d’expression artistique. Aucune connaissance technique n'est requise. Les participants à l'atelier seront choisis à la fois pour leur motivation, pour leur aptitude à observer la réalité qui les entoure et leur capacité à travailler en groupe. LES ATELIERS VARAN Créés par Jean Rouch en 1981, les Ateliers Varan sont une école de cinéma unique en son genre, née du désir de former des réalisateurs de pays émergents à s’emparer des outils du cinéma documentaire pour refléter leurs réalités propres. Varan n’est pas une école au sens classique et académique du terme : les méthodes de travail y poussent à l’extrême le principe d’enseignement par la pratique : tout s’articule, pour chaque stagiaire, autour de la fabrication de films « en grandeur réelle ». Cet apprentissage du “regard documentaire” s’appuie sur une pédagogie qui s’est rôdée au fil de stages et d’ateliers menés sur les cinq continents. Le but est de décomplexer les participants face au langage cinématographique et de définir le rôle et la place du cinéaste, ses enjeux éthiques par rapport aux personnes filmées et au monde qui l’entoure.
  • Film Funding Grants Programme 2013

    Film Funding Grants Programme 2013

    Film Funding Grants Programme 2013 Film Funding Grants Programme 2013 Doha Film Institute established its Grants We contribute to films that have strong directorial Programme with the vision of fostering creative vision and that are challenging, creative and talent in the Middle East and North Africa (MENA) thought-provoking. Support for grantees is holistic, region. We are proud that over its first three- with financial assistance bolstered by professional and-a-half years the programme supported the development, mentorship and creative development development of more than 137 projects from opportunities that are made available throughout 14 countries. a project’s life cycle. In 2013, the Institute embarked on a new phase of the Grants Programme designed to further the It is our hope that through the Grants Programme goal of nurturing emerging talent. Projects from and the growing number of its alumni, we will all over the world became eligible for funding, continue to widen our flourishing community with a special focus on first- and second-time of filmmakers. As we extend our reach, we also filmmakers. enable professional, cultural and creative exchanges between our local talent and the wider international Alongside this expansion, the Institute’s industry. commitment to talent from the MENA region remains strong, with specific categories and I am honoured to welcome our newest grant criteria in place. Our focus on first- and second- recipients to the Doha Film Institute family. time filmmakers will greatly enhance our ability to discover and nurture new voices, both at home in Abdulaziz Al-Khater Qatar and around the globe.
  • Ford Foundation Annual Report 2005

    Ford Foundation Annual Report 2005

    Ford Foundation Annual Report 2005 our mission Strengthen democratic values, reduce poverty and injustice, promote international cooperation and advance human achievement. mission statement The Ford Foundation is a resource for innovative people and institutions worldwide. Our goals are to: strengthen democratic values, reduce poverty and injustice, promote international cooperation and advance human achievement. This has been our purpose for more than half a century. A fundamental challenge facing every society is to create political, economic and social systems that promote peace, human welfare and the sustainability of the environment on which life depends. We believe that the best way to meet this challenge is to encourage initiatives by those living and working closest to where problems are locat- ed; to promote collaboration among the nonprofit, government and business sectors; and to ensure participation by men and women from diverse communities and at all levels of society. In our experience, such activities help build common understand- ing, enhance excellence, enable people to improve their lives and reinforce their commitment to society. The Ford Foundation is one source of support for these activities. We work mainly by making grants or loans that build knowledge and strengthen organizations and networks. Since our financial resources are modest in comparison to societal needs, we focus on a limited number of problem areas and program strategies within our broad goals. Founded in 1936, the foundation operated as a local philanthropy in the state of Michigan until 1950, when it expanded to become a national and international foundation. Since its inception it has been an independent, nonprofit, nongovernmental organization.
  • N°137 July 2015

    N°137 July 2015

    N°137 July 2015 348 of you – directors, producers, documentary-makers, journalists – have sent us your films. For one week the selection jury worked together in Casablanca, guests of our partner, 2M. On the pages of your favourite newsletter you can read about the films which have moved forward to the final phase of the 19th PriMed. The choice for the Mediterranean Short Film category will be announced in next month's Letter. Also in this issue, the latest Mediterranean broadcasting news gleaned especially for you. Happy reading. Méditerranée Audiovisuelle-La Lettre. Dépôt Légal 12 février 2015. ISSN : 1634-4081. Tous droits réservés Directrice de publication : Valérie Gerbault Rédaction : Valérie Gerbault, Séverine Miot et Leïla Porcher CMCA - 96 La Canebière 13001 Marseille Tel : + 33 491 42 03 02 Fax : +33 491 42 01 83 http://www.cmca-med.org - [email protected] Le CMCA est soutenu par les cotisations de ses membres, la Ville de Marseille, le Département des Bouches du Rhône et la Région Provence Alpes Côte d'Azur. 1 CONTENTS HEADLINES 3 PriMed 2015 – the official selection The official selection 6 “Mediterranean Issues” 7 “Mediterranean Memories” 10 “Mediterranean Art, Heritage and Culture” 13 “First Film” 16 “Mediterranean Multimedia Award” 18 LIFE IN THE CHANNELS 21 PROGRAMMES 23 ECONOMY 24 CINEMA 25 FESTIVAL 28 Festival of the month THE EURO-MEDITERRANEAN PERSPECTIVE 29 STOP PRESS 30 2 HEADLINES The PriMed 2015 selection For a week in June, the Moroccan channel 2M, a CMCA member, welcomed the PriMed selection jury to Casablanca. The screenings took place in the channel's main auditorium.
  • Couverture Revue 2004

    Couverture Revue 2004

    illar V atalina C Aprender a mirar APPRENDRE À REGARDER o conocí los Talleres Varan hace ya más ai connu les Ateliers Varan il y a déjà plus de quinze Y de 15 años y debo admitir que fue por pura J’ ans, et je dois avouer que ce fut purement par casualidad. hasard. Viniendo de Colombia y aunque siempre me gustó Je venais de Colombie et, bien que j’aie toujours aimé el cine, lograr imaginarme haciendo una película me le cinéma, m’imaginer en train de faire un film me parecía tan ilusorio que ni siquiera me creía con el dere- paraissait si illusoire que je ne croyais pas même avoir cho de soñarlo. le droit d’en rêver. Años más tarde, en Paris, tuve la osadía de decirlo en Des années plus tard, à Paris, j’eus l’audace de dire à voz alta: quiero contar historias de la vida real. Que los voix haute : Je veux raconter des histoires de la vie réelle. personajes sean la gente que las vive. Quiero tener mi Que les personnages soient les personnes qui les vivent. propio acceso al mundo; quiero poder dar mi versión Je veux avoir mon propre accès au monde ; je veux pou- sobre algunas de las cosas que veo y que oigo. Quiero voir donner ma version de certaines des choses que je tener una buena excusa para acercarme a otra gente. vois et que j’entends. Je veux avoir une bonne excuse Hacer con ella un trabajo de creación. Más que imagi- pour m’approcher des autres.
  • FASA Screened to Much Acclaim at a Number of International Film Festivals

    FASA Screened to Much Acclaim at a Number of International Film Festivals

    FASA Screened to much acclaim at a number of international film festivals, Laza Razanajatovo’s latest offering is having its Ottawa premiere Friday, October 16 at The Inaugural Africa Film Festival of Ottawa. Fasa is the newest short film from Madagascan director Laza Razanajatovo. The film, which runs for sixteen minutes, follows Fasa as she attempts to reconnect with her ancestors through poetic meditation. Razanajatovo uses the image of the Zebu cattle as a symbol for the spiritual connection between both life and death. Fasa explores the matter of Zebu cattle poaching and the accompanying consequences of this unsavory act through the eyes of a young girl. Fasa is struggling with the loss of her father who dies protecting his herd from thieves. The narrative of Razanajatovo’s film draws attention to the hundreds of deaths that have occurred throughout Madagascan history as a result of cattle theft. Fasa is the cinematic depiction of the ways in which the conflict over zebu cattle in Madagascar has affected various aspects of society. The film evokes themes of loss and innocence through the point of view of this young woman who can only communicate with her father through her authoring of poems. Fasa has had a lengthy festival circuit throughout the past year and has premiered at The Africa Conference in Berlin and screened atThe Off-Short Film Festival in France, and at the 13th Annual Film Meetings Bejaia in Algeria. Laza Razanajatovo is a filmmaker working from his native country of Madagascar. He has often used the cinematic medium as a platform to address and emphasize social issues and change within his country.
  • View the 2021 Project Dossier

    View the 2021 Project Dossier

    www.durbanfilmmart.com Project Dossier Contents Message from the Chair 3 Combat de Nègre et de Chiens (Black Battle with Dogs) 50 introduction and Come Sunrise, We Shall Rule 52 welcome 4 Conversations with my Mother 54 Drummies 56 Partners and Sponsors 6 Forget Me Not 58 MENTORS 8 Frontier Mistress 60 Hamlet from the Slums 62 DFM Mentors 8 Professional Mourners 64 Talents Durban Mentors 10 Requiem of Ravel’s Boléro 66 Jumpstart Mentors 13 Sakan Lelmoghtrebat (A House For Expats) 68 OFFICAL DFM PROJECTS The Day and Night of Brahma 70 Documentaries 14 The Killing of A Beast 72 Defying Ashes 15 The Mailman, The Mantis, and The Moon 74 Doxandem, les chasseurs de rêves Pretty Hustle 76 (Dream Chasers) 17 Dusty & Stones 19 DFM Access 78 Eat Bitter 21 DFM Access Mentors 79 Ethel 23 PARTNER PROJECTS IN My Plastic Hair 25 FINANCE FORUM 80 Nzonzing 27 Hot Docs-Blue Ice Docs Part of the Pack 29 Fund Fellows 81 The Possessed Painter: In the Footsteps The Mother of All Lies 82 of Abbès Saladi 31 The Wall of Death 84 The Woman Who Poked The Leopard 33 What’s Eating My Mind 86 Time of Pandemics 35 Unfinished Journey 37 Talents Durban 88 Untitled: Miss Africa South 39 Feature Fiction: Bosryer (Bushrider) 89 Wataalat Loughatou él Kalami (Such a Silent Cry) 41 Rosa Baila! (Dance Rosa) 90 Windward 43 Kinafo 91 L’Aurore Boréale (The Northern Lights) 92 Fiction 45 The Path of Ruganzu Part 2 93 2065 46 Yvette 94 Akashinga 48 DURBAN FILMMART 1 PROJECT DOSSIER 2021 CONTENTS Short Fiction: Bedrock 129 Crisis 95 God’s Work 131 Mob Passion 96 Soweto on Fire 133
  • Actor/Khaled Saleh Egypt

    Actor/Khaled Saleh Egypt

    Dedication of this edition to the name of Actor/Khaled Saleh Egypt January 20, 1964 - September 25, 2014 1 It is no secret to anybody with foresights that Egypt and other countries in the region are in a state of war against the forces of terror and obscurantism. If the traditional war weapons are the gun, the rifle, the plane and the rest of the well-known instruments, the weapon of arts, culture, and the rest of the elements of soft power are no less effective than weapons with gunpowder… And the ongoing war on terrorism has a first battleground which is the reason and the conscience.. So art comes here at the forefront of priorities ..Enlightening the dark minds and resurrecting the humanitarian feelings in the cold hearts are missions for the arts by excellence ..Hence, comes the importance of art events including film festivals at this particular time… Therefore, this edition of Luxor African Film Festival, that is continuing its success year after year, has a great importance since it is coming amid this atmosphere that besets many world countries including our continent in particular. This magnificent gathering of artists and film lovers from all across our African continent represents a message of love against hate, extremism and envy A message that conveys the values ​​of goodness, justice and beauty against forces of evil, ugliness and shedding of innocent blood ..In brief, One can say that Luxor African Film Festival is an assembly of goodwill creators, the sons and daughters of this great continent, who raises the flags of enlightenment and who upholds the noble human values that defined the human journey through thousands of years as tutored by all religions.
  • TFL Extended 2019

    TFL Extended 2019

    TFL Extended 2019 Join TFL Extended in 2020! Develop your projects, deepen your competences & network with film professionals from all over the world in these intensive 4-day workshops. TFL Extended – TV Series Gain the tools necessary to develop original and ambitious TV series projects. TURIN, FEBRUARY 12TH – 16TH TFL Extended – Feature Film Dive deep into the writing process in these intensive development workshops. TURIN, APRIL 17TH – 21ST TURIN, JUNE 13TH – 16TH TURIN, JUNE 18TH – 22ND TURIN, SEPTEMBER 11TH – 15TH TFL Extended 2019 TFL Extended was a challenge and, like all TFL EXTENDED challenges, needed to have ambitious goals. With TFL Extended we aim at enlarging Angelica Cantisani our community, by granting access to professionals coming from all over the Head of TFL Extended world. We want to offer our pedagogic expertise also to the countries that cannot take part in our regular programmes and that do not benefit from any professional training possibilities in their areas. TFL Extended is now a dynamic reality able to offer immediate and tailor-made consultations in different areas: script development for fiction feature films, documentaries and TV series; professional training for story editors and audience designers and an international hub for creative producers who want to boost their projects and improve their networking skills. In the past two years we have had the pleasure to work with more than 200 professionals coming from all over the world, helping them to deliver new singular and intimate stories, born through productive collaborations. Stories that can engage audiences personally. These professionals worked together in a process of creation that perfectly honoured the main goal of storytelling: generating a unique voice, loud enough to catch the attention of the rest of the world, inspiring others.
  • Cva Newsletter

    Cva Newsletter

    INTERNATIONAL UNION OF ANTHROPOLOGICAL AND ETHNOLOGICAL SCIENCES UNION INTERNATIONALE DES SCIENCES ANTHROPOLOGIQUES ET ETHNOLOGIQUES COMMISSION ON VISUAL ANTHROPOLOGY COMMISSION D'ANTHROPOLOGIE VISUELLE CVA NEWSLETTER Bulletin de la Commission d' anthropologie visuelle published by sponsored by Commission on Visual Canadian Museum of Civilization Anthropology 100 rue Laurier do Peter Ian Crawford P. O. Box 3100 St. B. Hull Castenschioldsvej 7 Québec DK-8270 HOjbjerg Canada J8X 4H2 Denmark distributed by N. America: Distributed to United States Society for Visual Anthropology members courtesy of the Society of Visual Anthropology, a unit of the American Anthropological Association. Nordic countries: Distributed to members and subscribers courtesy of the Nordic Anthropological Film Association, Department of Social Anthropology, University of Aarhus, Moesgaard, DK- 8270 Hojbjerg, Denmark. Rest of the world: Distributed by Instituto Superiore Regionale Etnografico, via Mereu 56, I-08100 Nuoro, Sardinia, Italy To institutions and other subscribers (paid): Intervention Press, Castenschioldsvej 7, DK-8270 Hojbjerg, Denmark. ISSN: 0846-8648 2/92 CVA Newsletter 2/92 Contents Editorial 1 Report and Review Articles: Laura Rival: 3rd RA! Film Festival. Report on the conference and workshops 2 Tani de Drumhead: The RAI Ethnographic Filer Festival 1992: Some Reflections 6 Juan Christian Gutiérrez, Mauporné: Transferring the Audio-visual Media to Indigenouscommunities ......... 7 Janine Prins: Epressing Anthropological Knowledge in Documentary Filon. a seminar Kevan Tomaselli: Regards sur les Sociétés Européennes: Exploring the Visual 10 Karsten Kruger: Re-editing and publishing ethnographic documentary films from the P. R. of China (1956-19661 .............. 13 Pat Norrish/Susi Amon: Seminar Report: The Use of Video in Development 14 Brief Reports and Reviews: SIX DAYS OF PLENTY.
  • SCHOOL of BABEL (La Cour De Babel)

    SCHOOL of BABEL (La Cour De Babel)

    SCHOOL OF BABEL (La Cour de Babel) A film by Julie Bertuccelli France / 2013 / 89 min / French, Arabic, Spanish, Ukrainian, Mandarin etc with English subtitles / Cert tbc UK release 7 November 2014 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] New Wave Films 10 Margaret Street London W1W 8RL Tel: 020 3178 7095 www.newwavefilms.co.uk SYNOPSIS They are Irish, Senegalese, Brazilian, Moroccan, Chinese… They are between eleven and fifteen years old and have just arrived in France. For a year they will be all together in the same ‘reception class’ of a Parisian secondary school, under the supervision of their teacher Brigitte Cervoni, the driving force behind the film. Twenty-four students, twenty-four nationalities… In this multicultural arena, we see the innocence, the enthusiasm and inner turmoil of these teenagers who, caught in the midst of starting out on a new life, learning a new language and adapting to a different culture, question our preconceived ideas and give us hope for a better world and a better future... Official Selection, Rome Film Festival, 2013 Official Selection Sheffield Doc/Fest 2014 More details and downloads at www.newwavefilms.co.uk Photos at www.newwavefilms.co.uk/press.html CREW Directed by Julie Bertuccelli Cinematography Julie Bertuccelli Editing Josiane Zardoya Original Music Olivier Daviaud Sound Stephan Bauer & Benjamin Bober
  • Journal De La Société Des Océanistes, 148 | 2019 the Rise of Film Authorship in Papua New Guinea

    Journal De La Société Des Océanistes, 148 | 2019 the Rise of Film Authorship in Papua New Guinea

    Journal de la Société des Océanistes 148 | 2019 Filmer (dans) le Pacifique The Rise of Film Authorship in Papua New Guinea. A personal Journey L’émergence du film d’auteur en Papouasie Nouvelle-Guinée. Une trajectoire personnelle Martin Maden Electronic version URL: https://journals.openedition.org/jso/10673 DOI: 10.4000/jso.10673 ISSN: 1760-7256 Publisher Société des océanistes Printed version Date of publication: 15 July 2019 Number of pages: 23-36 ISBN: 978-2-85430-137-3 ISSN: 0300-953x Electronic reference Martin Maden, “The Rise of Film Authorship in Papua New Guinea. A personal Journey”, Journal de la Société des Océanistes [Online], 148 | 2019, Online since 01 January 2021, connection on 22 July 2021. URL: http://journals.openedition.org/jso/10673 ; DOI: https://doi.org/10.4000/jso.10673 This text was automatically generated on 22 July 2021. Journal de la société des océanistes est mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. The Rise of Film Authorship in Papua New Guinea. A personal Journey 1 The Rise of Film Authorship in Papua New Guinea. A personal Journey L’émergence du film d’auteur en Papouasie Nouvelle-Guinée. Une trajectoire personnelle Martin Maden Introduction 1 A film is just a film. On the surface, we have the images and the effects in a juxtaposed series of scenes. But it is the background philosophies and invocations subservient to those scenes which drive the authenticity of an art object such as a film. It gives art a particular body to those who know how to recognise and read from it and creates a personalised film festival inside every viewer.