PROGRAM 14. Międzynarodowego Festiwalu Filmowego TOFIFEST
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Press Kit BFM2019.Pdf
This press kit has been drawn up for the presentation press conference of 37th edition of Bergamo Film Meeting Friday March 1, 2019 | 10.30 AM Milan | ANTEO Palazzo del Cinema Sala Rubino - Piazza XXV Aprile, 8 Bergamo Film Meeting Onlus Press Office Ada Tullo +39 035 363087 +39 349 2674900 [email protected] [email protected] Domestic Press Office Studio Sottocorno Lorena Borghi +39 348 5834403 [email protected] [email protected] Foreign Press Office Gloria Zerbinati +39 338 1200517 [email protected] [email protected] BERGAMO FILM MEETING International Film Festival 37th edition, March 9 - 17, 2019 OPENING Bergamo, Friday March 8, 2019 8.30 PM | Ex-Chiesa di Sant’Agostino – P.le Sant’Agostino JEFF MILLS PLAYS METROPOLIS BERGAMO FILM MEETING International Film Festival th 37 edition, March 9 - 17, 2019 9 screening days more than 180 films among feature films, docs and short-films 2 exhibitions, 2 workshop, 3 masterclass 3 meeting in Milan and 1 in Brescia, 1 screening in Verona, 1 in Brescia and 1 in Bologna 1 sci-fi marathon 9 comics daily striP, 1 reading, 3 live painting special events, proposals for schools and younger audience and many other activities Guests confirmed Alessandro Baronciani, Pilar Benitez, Hans Berg, Richard Billingham, Rhys Byfield, María Antón Cabot, Roberto Chiesi, Jessica Cioffi (LoPutyn), Rafael Cobos, Nathalie Djurberg, José Pablo Estrada Torrescano, Luca Ferri, Primo Giroldini, KarPo Godina, Bent Hamer, Sofia Haugan, Jamie Jones, Martti Kaartinen, Maria Lafi, Jean-Pierre Léaud, Hadrian Marcu, Tancredi Militano, Jeff Mills, Christine Moderbache, Benjamín Naishtat, Maria Rita Parsi, Vahidin Prelich, Messaline Raverdy, Petr ŠPrincl, Vlastimir Sudar, Simone Tempia, Pasquale Todisco (Squaz), Stefano Togni (SerT), Roberto Villa, Mariusz Wilczyński SUMMARY COMPETITION EXHIBITION CLOSE UP SECTION EUROPE, NOW! Bent Hamer Alberto Rodriguez Boys and Girls. -
Transnationalism and New Scottish Cinema Simon Brown, Kingston
“Anywhere but Scotland?” Transnationalism and New Scottish Cinema1 Simon Brown, Kingston University Fifteen years on from the moment that Danny Boyle’s Trainspotting (1996) fulfilled the promise of his earlier Shallow Grave (1994) and helped to launch what has become known as New Scottish Cinema, the critical debates which have accompanied its development find themselves at a crossroads. Prompted in part by the New Scottish Cinema symposium, which took place in Ireland in 2005 and looked back over 20 years of Scottish film, key writers have begun to critically assess the arguments which have circulated and to refashion the debate for the future. Initial models focussing upon the influences of first American and then European cinema have proved themselves to be inflexible in locating New Scottish Cinema within a global cinema marketplace, and furthermore have privileged a certain type of film, influenced by European art cinema traditions, as being representative of Scottish cinema to the exclusion of other more commercial projects. Not only is this ironic considering the inherently commercial nature of both Trainspotting and Shallow Grave, but also it had led to a vision of Scottish film which is more European than Scottish; more international than national. Recent scholars have begun to address New Scottish Cinema through the concept of transnationalism and it is the aim of this article to consider transnationalism as a way forward for critical debates about New Scottish Cinema through a case study of two films, both shot in the same location, one of which has been widely discussed and fits the more traditional critical model, Ken Loach’s Sweet Sixteen (2002), and the other of which has been largely ignored and is much more mainstream in its ambitions and economic context, Dear Frankie (2005). -
Indywood the Indian Film Industry September 2016 Indywood | the Indian Film Industry
Indywood The Indian Film Industry September 2016 Indywood | The Indian Film Industry 2 Indywood | The Indian Film Industry Contents Foreword 3 Executive Summary 5 Make in India Initiative and the Film Industry 6 India’s Film Industry 6 Industry Overview 7 Key Trends in the Indian Film Industry 10 Growth Drivers and Opportunities 15 Key Challenges in the Industry 17 Key Focus Areas for the Film Industry 21 Technological Advancements in the Film Industry 24 Skill Development in the Film Industry 32 Film Tourism in India 34 Background and Global Perspective 34 Film Tourism in India: An Overview 40 Recent initiatives to Improve Film Tourism 40 Next Steps and Initiatives 46 International Best Practices: Case Studies 50 Case Study: Film Tourism in the UK 50 Case Study: Film Tourism in New Zealand 54 Shooting of Foreign Films in India – Tax Aspects 59 Authors, Acknowledgments and Contacts 62 3 Indywood | The Indian Film Industry Foreword Welcome to the Indian Film Industry Report critical to remain at the forefront of global for the Indywood Film Carnival taking place trends. The report analyses the methods to during September 24 – 27, 2016 in Ramoji achieve this including technology transfers, Film City, Hyderabad. The film industry collaboration with international studios and has been earmarked as a key sector in the development of technical skills in-country. Make in India campaign. As part of this, Another endeavour of the Make in India the Government of India is taking several campaign has been to develop technical initiatives to effect growth in the sector skills for film production, post production as well as promote foreign film shootings and VFX. -
Capital Viking
WASHINGTON LODGE 3-428 NEWSLETTER Non-Member APRIL 2015 Capital Viking Featured This Month April Lodge Meeting: Ibsen March Meeting ............................................ 1 Festdrakt Workshop ................................ 1 and the Birth of Modern Drama Rosemaling Workshop ............................. 1 Sunday, April 26, 5 PM (note non-standard day & time) “The Norwegians” Theater Review...... 2 Norwegian Film Coming to DC ............ 2 Norway House, 3846 Meredith Dr., Fairfax, VA The Longship Company Fundraising ..... 3 Potluck — please bring dishes by 4:45 so we Need Fridge, Freezer, BBQ .................... 4 Three Important Dates ............................ 4 can start promptly at 5. Recipe—Kvikk Lunsj Dessert ................. 4 Join us for a lively presentation on Litt på Norsk ............................................... 5 Henrik Ibsen by drama scholar Easter Thriller Suggestions ...................... 6 and practitioner Dr. Rick Davis. Knit/Crochet Group ................................ 7 Note the day and time are not April Reading Circle Selections .............. 7 standard for our monthly meet- Memories of Sunday School .................... 8 ings. Author Lars Ramslie Speaks ................. 10 Memorial Service Held ........................... 13 Our speaker is the Executive Di- Language Class Schedule Change ........ 14 rector of the Hylton Performing Electric Cars Mainstream in Norway . 14 Arts Center, Associate Dean of March Meeting Photos ........................... 15 the College of Visual and Perform- Recurring -
En-Presskit-5774-1001-Grams.Pdf
MASTERS CAST Marie ANE DAHL TORP • Pi LAURENT STOCKER (de la Comédie Française) • Wenche HILDEGUN RIISE • Ernst Ernst STEIN WINGE • Moberg PER CHRISTIAN ELLEFSEN • Gérard DIDIER FLAMAND • Custom officer DINARA DROUKAROVA CREW Production BULBUL FILM (BENT HAMER - NORWAY) • Co- production PANDORA FILM PRODUKTION (CHRISTOPH FRIEDEL & CLAUDIA STEFFENS-GERMANY), SLOT MACHINE (MARIANNE SLOT-FRANCE) • DOP JOHN CHRISTIAN ROSENLUND (FNF) • Art direction ASTRID ASTRUP, TIM PANNEN, ALAIN GUFFROY • Sound AD STOOP, JÖRG KIDROWSKI, ERWAN KERZANET • Costumes designers ANNE PEDERSEN, OLIVIER LIGEN • Make-up artist EVA RYGH • Sound designer ANDREAS HILDEBRANDT • Sound mixer PETTER FLADEBY Editor ANDERS REFN • Composer JOHN ERIK KAADA • Line producer CATHO BACH CHRISTENSEN INTERNATIONAL SALES LES FILMS DU LOSANGE AGATHE VALENTIN (HEAD OF SALES) [email protected]/+33 6 89 85 96 95 LISE ZIPCI (TV & LIBRARY SALES) 6 2 [email protected]/+33 6 75 13 05 75 1 4 5 MARINE GOULOIS (FESTIVALS & MARKETING) 9 9 3 [email protected]/+33 6 84 21 74 53 1 0 c i h p a r g CONTACT FESTIVALS n o i t s e NORWEGIAN FILM INSTITUTE g e i r e STINE OPPEGAARD m i r p m [email protected]/+4722474575 I • B F • d n INTERNATIONAL PRESS u l n e s RICHARD LORMAND - FILM⎮PRESS⎮PLUS o R n a i www.FilmPressPlus.com / [email protected] t s i r h +33-9-7044-9865 (France) C n h o +1-337-258-3957 (Toronto Film Festival) J © s o t o h NORWAY, GERMANY, FRANCE • 2014 • 1H30 • DCP • 5.1• www.filmsdulosange.fr P SYNOPSIS HEN NORWEGIAN SCIENTIST MARIE ATTENDS A SEMINAR IN W PARIS ON THE ACTUAL WEIGHT OF A KILO, IT IS HER OWN MEASUREMENT OF DISAPPOINTMENT, GRIEF AND, NOT LEAST, LOVE, THAT ENDS UP ON THE SCALE. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
Katalóg / Catalogue Isbn 978-80-970721-4-8 Poďakovanie Special Thanks To
KATALÓG / CATALOGUE ISBN 978-80-970721-4-8 POĎAKOVANIE SPECIAL THANKS TO Festival finančne podporil With the financial support of Festival je realizovaný vďaka finančnej podpore predsedu vlády SR. With the financial support of the Prime Minister of the Slovak Republic. 4 POĎAKOVANIE SPECIAL THANKS TO Laura Aimone Igor König, Continental film Andrea Baisová, Forum Film Adriana Královičová, Magic Box Slovakia Eva Baleková, Mesto Trenčín Marián Labuda Rudolf Biermann, In film Viera Langerová Peter Bučko, ad one Anne Laurent, Austrian Films Michal Drobný, Continental film Alexandra Lederleitnerová, Continental film Silvia Dubecká, Asociácia slovenských filmových klubov Sanam Majedi, Films Distribution Peter Dubecký, Slovenský filmový ústav Anikó Mangold, CAMPFILM Elodie Dupont, The Festival Agency Přemysl Martínek, Artcam Ľuba Féglová, Magic Box Slovakia Karim Mezoughi Jozef Gajdoš, Trenčianske vodárne a kanalizácie Alexandre Moreau, Versatile Silvia Havelková, Mesto Trenčianske Teplice Mátyás Prikler, MPhilms Radovan Holub Veronika Paštéková Ivan Hronec, Film Europe Otto Reiter Ivan Jáchim Jana Sedláčková, Mesto Trenčín Tomáš Janísek, Barracuda Movie Martin Šmatlák, Audiovizuálny fond Miroslav Janura, AVI Studio Ioanna Stais, Heretic Outreach Martin Jantošovič, FREYA creative Alexandra Strelková, Slovenský filmový ústav Kateřina Javorská Jana Studená, Forum Film Namyoung Kim, Finecut Co. Katalin Vajda, Magyar Filmunió Nazarij Klujev 5 ZÁMER STATEMENT OF PURPOSE Zámer Statement of Purpose Dôležitým zámerom Art Film Festu je predstaviť výber -
Digital Media, New Cinemas, and the Global South Symposium
HUMANITIES INNOV ATION CENTER DIGITAL MEDIA, NEW CINEMAS, AND THE GLOBAL SOUTH Exploring the creative and tactical integration of digital media and new technologies in the global south FRIDAY, APRIL 4 INTERNATIONAL CENTER ROOM 303 9:15 – 11:00 AM Latin American and South Asian Cinema and Media COURTNEY DONOGHUE Oakland University DENNIS HANLON University of St Andrews CATHERINE BENAMOU UC Irvine Moderator: Lily Woodruff - Art, Art History, & Design, MSU 11:15 AM – 1:00 PM North African, African, Middle Eastern, and US Minorities Media 7:00 PM FRIDAY ARTIST TALK: EMEKA OGBOH PETER LIMBRICK UCSC MARY BELTRAN University of Texas JO ELLEN FAIR University of Wisconsin Digital media has changed the everyday lives of Moderator: Najib Hourani – Department of Anthropology, MSU millions of people, yet the focus on these recent technological developments tends to emphasize the 2:00 – 3:45 PM South Asian Cinema and Media SWARNAVEL PILLAI Michigan State University But, what about the lives of those in first-world nations. AMIT RAI University of London, Queen Mary impacts of new technology across the digital divide? How is it that ANASTUP BASU University of Illinois digital media, mobile technologies, and new cinematic forms of Moderator: Karin Zitzewitz – Art, Art History, and Design, MSU representation have changed the production and experience of art, economy, and culture in the Global South? 4:00 – 5:00 PM Keynote Address: “The Pirate Focusing on contemporary developments in digital media, and Kingdom: Media infrastructure and its poetics especially film and the arts, this symposium will explore the creative in the Global South. and tactical integration of digital media and new technologies RAVI SUNDARAM Centre for the Study of Developing Societies, Delhi through such diverse topics as new African cinema, media creation Moderator: Jyotsna Singh – Department of English, MSU and distribution in South East Asia and South America, and cinemas that engage a minoritarian viewpoint regardless of its geopolitical 7:00 PM Artist talk: Emeka Ogboh origins. -
Visual Perception and Cultural Memory: Typecast and Typecast(E)Ing in Malayalam Cinema by Sujith Kumar Parayil
Visual Perception and Cultural Memory: Typecast and Typecast(e)ing in Malayalam Cinema by Sujith Kumar Parayil his paper analyses how collective unconscious memory plays a dominant role in conceiving the subaltern1 and dalit2 bodies and its consciousness within the T representational strategies followed by mainstream Malayalam cinema.3 There is a flood of stereotypical images when it comes to the representation of subalterns by the mainstream Indian cinema. Movies that do take up the task of representing the marginalized often end up redeploying the stereotypes: by casting aside the subaltern as ‘uncultured’ and, now, as fundamentalist. Static images of tribals—and the otherness of their communities, rooted in a peculiar notion of the body of the subaltern, have also been reproduced. Popular Indian films often follow two schemas of visual or narrative strategies to redeploy the static image of a social group. The first is through the visible and direct representation of the physiognomy of the character as subaltern (denoted with racial, class and ethnic features), and the second is through the deployment of indirect, and sometimes, invisible social and cultural signifiers which mark the subaltern identity of the character (name, language, occupation, habits and nature, which connotes specific identity of caste or ethnic group). It is in this context that this paper attempts to contextualize one of the south Indian film actors Kalabhavan Mani to analyze how caste identity plays a dominant role in Malayalam cinema, and argue that memories of caste become an integral part of the visual perception of the Malayali spectator. Most of Mani’s films adopt a particular mode of representation that treats his body and his persona as a cultural sign of difference. -
Film-Philosophy Conference Programme 2016
FILM-PHILOSOPHY CONFERENCE 6-8 July 2016 #FilmPhil2016 Film-Philosophy Conference 6-8 July 2016 University of Edinburgh Conference Director Dr David Sorfa - [email protected] Conference Committee Dr Anna Backman Rogers, University of Gothenburg Dr Tarja Laine, University of Amsterdam Dr Richard Rushton, Lancaster University Dr Catherine Wheatley, King's College London Dr Daniel Yacavone, University of Edinburgh Conference Assistants Ellie Lewerenz, Tara Noonan, Chiara Quaranta, Chris Smurthwaite, Ioannis Tsirkas, Finn Daniels-Yeomans Venue: 50 George Square, Edinburgh, EH8 9LH Rooms: Ground Floor: G.03, G.04, G.05, G.06 First Floor: Project Room Keynote Lectures: G.03 Panel Presentations: G.03, G.04, G.05, G.06 Catering and Coffee: Project Room Publishers’ Tables: Project Room Dynamic Map: https://www.google.com/maps/d/edit?mid=1jqYpf-s0D9wIDSNczppRGQNNL98 Full details: http://www.film-philosophy.com/conference 1 WELCOME It gives me great pleasure to welcome you to the 9th annual Film-Philosophy Conference at the University of Edinburgh. Film-Philosophy is a conference, a journal and a community of scholars that has grown and developed substantially over the past decade. After many years of publishing our journal in a samizdat fashion, in January 2016 we joined forces with Edinburgh University Press and became EUP’s first fully Open Access journal. Film-Philosophy was started in the mid-1990s by Daniel Frampton and we would like to note that 2016 is also the tenth anniversary of the publication of his book Filmosophy with Wallflower Press. Our Editorial Board members and journal contributors work with many other academic presses and it is gratifying to see the way in which film-philosophy has become an established part of their publishing profiles as well as appearing as a subject in university syllabuses across the world. -
Department of Media Arts
Module options for visiting students Department of Media Arts About the department Media Arts is one of the largest, top-rated departments in the country, offering a unique mix of practical media production and media theory and analysis. Our staff are internationally recognised experts in the fields of European and World cinema and in British and American film and television. Our practice-based research benefits from close links with senior figures working in the media and creative industries. The Media Arts Department has been ranked joint sixth in the UK for its research in the Research Assessment Exercise results which have just been released. 20% of our research was deemed to be world leading and 55% of international excellence. This result, for a department which submitted considerable amounts of practice as well as theoretical work, is outstanding and rewards our serious commitment to cutting edge research. Entry requirements The modules listed below are open to all Study Abroad, International and Erasmus students, subject to any required previous knowledge or qualifications, as stated in the module outlines below. Each module is either ½ or 1 unit and starts in either the Autumn Term (September) or the Spring Term (January). The information contained in the module outlines on the following pages is correct at the time of publication but may be subject to change as part of our policy of continuous improvement and development. royalholloway.ac.uk/Media Arts Module options for visiting students Module Module name ½ or 1 unit Start date Module description/pre-requisites code MA1051 Film, Television and 1 unit (30 Credits) September 2020 (all year This module introduces students to film, television and digital history, spanning the last 100 Digital Histories including first 3 weeks of years from the advent of cinema to current innovations in the area of new technologies and term 3) media. -
MESC Media Talk Back Magazine June-July Edition.Cdr
Special Edition | June-July 2018 | Issue 7 NORTHEAST GATEWAY TO ASEAN EMPOWERING THE REGION EMPOWERING THE COUNTRY Released 6th Edition of MESC Magazine Legendary director, producer, actor, music director and Union Minister of State for Skill Development and screenwriter Shri. Subhash Ghai being elected as the Entrepreneurship, Shri. Anant Kumar Hedge releasing Chairman of MESC. the 6th edition of Media TalkBack magazine based on Women Empowerment. MESSAGE FROM THE CHAIRMAN "MESC is new revolution & evolution to the whole education system of india with full “emphasis for skill based education than only memory based education in the past. It’s one of the finest initiative by govt of india. and I'm proud to be associated with MESC with a serious responsibility to develop a new generation skilled man in every field. Specially in our sector of Media & entertainment to explore & think beyond obvious in every art & craft “ we are in “. I'm humbled & thankful to everyone who entrusted me this great responsibility of taking it in right direction for next generation and I am sure we have a good team to Shri. Subhash Ghai achieve our targets soon. Chairman (MESC) Renowned Indian Film Director, Producer & Screenwriter MESSAGE FROM THE EDITOR IN CHIEF I extend my thanks and regards for supporting and contributing the information and “insights required during the creation of our 7th monthly magazine highlighting about Media & Entertainment Industry. I’m sure the subscribers will get a much better understanding of the industry, the focus today and plans for tomorrow. For budding aspirants, this magazine shall provide the direction to accomplish success in their careers.