Short Film Competition Programme II 國際短片競賽節目 (二)

Total Page:16

File Type:pdf, Size:1020Kb

Short Film Competition Programme II 國際短片競賽節目 (二) Short Film Competition Programme II 國際短片競賽節目 (二) Accidence 入門 Dir: Guy Maddin, Evan Johnson, Galen Johnson 導演:佳麥甸、伊凡莊遜、基倫莊遜 Canada 2018 DCP Color 10min 加拿大 2018 DCP 彩色 10 分鐘 A feature film in 9 minutes: A mysterious murder [ 導演的話 ] 一部長片濃縮在九分鐘內,從三百 is observed, over and over again, from some 300m 米外,反覆觀察一宗凶案,以及凶案發生時的連 distance, as events leading up to the commission of 串事件,它們發生於一個個公寓露台上,每個露 the crime transpire over a gridwork of apartment 台都有其天天如常的事情,一鏡直落,從遠處一 block balconies, each containing its humdrum 座住宅大樓拍攝。 everyday life activities, all shot in one long continuous take from another apartment block across the way. Guy Maddin, Evan Johnson and Galen Johnson Guy MADDIN was born in Winnipeg, Canada in 1956. Selected 佳麥甸 1956 年生於加拿大溫尼伯。執導影片有《日防夜 Filmography: Careful (92), The Saddest Music in the World (03), 防 》( 92)、《悲歌之王》(03)、《故城風雪行》(07)、《窺孔》 My Winnipeg (07, docu), Keyhole (11), The Forbidden Room (15, (11)、《非請勿進》(15,合導)、《拼貼迷魂記》(17,合導)、 co-dir), The Green Fog (17, co-dir), Accidence (18, short, co-dir). 短片《入門》(18,合導 ) 等。 Evan JOHNSON is a writer/filmmaker. He co-directed The 伊凡莊遜 2009 年起與佳麥甸合作,執導影片有《非請勿 Forbidden Room (15), The Green Fog (17) and Accidence (18, 進》(15,合導 )、《拼貼迷魂記》(17,合導 )、短片《入門》 short) with Guy Maddin. (18,合導 )。 Galen JOHNSON worked in architecture before working 基倫莊遜 曾為《非請勿進》(15) 任美術指導及作曲,執 as production designer, title designer, and composer. He 導影片有《拼貼迷魂記》(17,合導 )、短片《入門》(18, collaborated on The Green Fog (17) and Accidence (18, short) with 合導 )。 Guy Maddin and Evan Johnson. The Fifth Wall 第五道牆 Dir: Peter Kutin, Florian Kindlinger 導演:彼得古騰、科利恩堅寧格 Austria 2017 DCP Color 12min 奧地利 2017 DCP 彩色 12 分鐘 Central to the piece is a bulletproof glass pane [簡介] 本片重心是一幅長三米闊兩米、重四百 measuring 3x2m, at a weight of 400kg, which has 公斤的玻璃,它被猛力撞擊後出現裂痕,發出聲 undergone extreme physical forces, the impacts 響。這塊玻璃象徵了我們時代中,無處不在的屏 of which created cracks, cuts and sounds. As an 幕。這幅玻璃牆被放在觀眾及攝影機之間,是和 object it represents the omnipresent displays of 屏幕息息相關的社會的一個電影隱喻。 our time; this wall made of glass is put between the audience and the camera – it becomes a cinematic metaphor for a society intrinsically linked to the screen. Peter KUTIN and Florian KINDLINGER are Austrian-based 彼得古騰 2002 年開始於維也納定居及工作,於維也納音 artists. They have created a wide range of musical and 樂與表演藝術大學修讀電聲音樂,2017 年與科利恩堅寧格 audiovisual projects: contemporary electronic-music, avant- 合作完成《第五道牆》。 garde films, radiophonic-works, installations, live AV shows, 科利恩堅寧格 生於奧地利,於維也納音樂與表演藝術大 film scores. The Fifth Wall (17) is their latest work. 學修讀電聲音樂,2017 年與彼得古騰合作完成《第五道 牆 》。 The Hooligan Soul (Alma Bandida) 阿飛的靈魂 Dir: Marco Antônio Pereira 導演:馬可安東尼奧彭利拿 Brazil 2018 HD Digital Color 15min 巴西 2018 HD Digital 彩色 15 分鐘 The Hooligan Soul is about passion, a passion so [ 導演的話 ] 本片是有關熱戀,熱戀熱到一個地 strong that it materializes itself to become an 步變成一個很浮誇的寓言。本片含蓄地帶出人和 extravagant allegory. The film subtly brings with 人之間難以相處,我也把此作當成對巴西及巴西 it the incompatibility between people. At the same time, I created the film as a metaphor for Brazil 人的隱喻。巴西人熱情,苦難連連,儘管演繹不 and its people. A passionate, suffering people that 善,但依舊為夢想奮鬥。 are poorly interpreted, but never fail to fight for their dreams. Marco Antônio Pereira Marco Antônio PEREIRA is from Cordisburgo-MG, Brazil. 馬可安東尼奧彭利拿 生於巴西科迪斯堡,新聞系畢業後 Graduated in journalism, he also studied cinema at the Free 修讀電影,導演短片有《喚回初心的最後一曲》(17) 、《 阿 School of Cinema of Minas Gerais. Selected Filmography: The 飛的靈魂》(18)。 Last Song for a Rude Heart (17), The Hooligan Soul (18). 國際短片競賽 SHORT FILM COMPETITION Short Film Competition Programme II 國際短片競賽節目 (二) Wicked Girl (Kötü Kiz) 小魔女 Dir: Ayce Kartal 導演:艾斯卡圖 France/Turkey 2017 DCP Color 8min 法國/土耳其 2017 DCP 彩色 8 分鐘 S., 8 years old, is a little Turkish girl with an [簡介] S 是個八歲土耳其女孩,想像力豐富,喜 over flowing imagination. She is keen on nature and 歡大自然及動物。她住院時,回想在祖父母村莊 animals. As she is in hospital, she is looking back 度過的快樂假期,但黑暗而可怕的回憶出現,逐 on happy holidays in her grandparents’ village, but 漸理出一個頭緒。 dark and terrifying memories emerge and, little by little, begin to make sense. Ayce KARTAL was born in Turkey and graduated from the Fine 艾斯卡圖 生於土耳其,畢業於阿納多盧大學動畫系。導 Arts Animation Department of Anadolu University in Eskişehir. 演短片有《倒後走》(13)、《小鳥烏福烏福》(16)、《小魔女》 Filmography: Backward Run (13), Birdy Wouaf Wouaf (16), Wicked (17)。 Girl (17). Wrong Revision 利未記異聞 Dir: Araki Yu 導演:荒木悠 Japan/Greece 2018 HD Digital Color 15min 日本/希臘 2018 HD Digital 彩色 15 分鐘 Initially, the film had neither a script nor [簡介] 本片原本沒劇本也沒分鏡,多數片段用 storyboards, and most of the footages were shot 觀察紀錄片手法拍得。做後期時,導演決定自由 in observational documentary-esque manner. 改編,並扭曲芥川龍之介的短篇小說《魔鬼與香 It was during the post-production stage when 煙》,來帶出一個疑幻疑真,寫一個不明地方飲 Araki decided to loosely revise and wrongly adapt 食文化的故事。 the short story The Devil and Tobacco (1916) by Ryunosuke Akutagawa in an attempt to develop the make-believe narrative about food culture of unknown origin. ARAKI Yu was born in 1985 in Yamagata City, Japan. He 荒木悠 1985 年生於日本山形,於美國華盛頓大學主修雕 received his BFA in Sculpture from Washington University in 塑,並於東京藝術大學修讀媒體影像碩士,導演短片有《複 St. Louis in the USA, and completed his Master of Film and 製神殿》(16)、《利未記異聞》(18)、《山川山》(18,合導)。 New Media Studies at Tokyo University of the Arts. Selected Filmography: Olafur (14), Penelope’s Hand (16), Temple of the Templet (16), Wrong Revision (18), Mountain Plain Mountain (18, co-dir). You Will Be Fine 你會沒事的 Dir: Céline Devaux 導演:莎蓮迪烏 France 2017 DCP Color 15min 法國 2017 DCP 彩色 15 分鐘 Give it time. You’ll get over it. Jean celebrates [簡介] 慢慢來吧,會過去的。尚今天生日,喝 his birthday, gets drunk and recalls the dreadful 醉了,想起那個周末,他和瑪蒂分手的經過。 weekend that led to his break-up with Mathilde. Céline DEVAUX was born in 1987. After her studies in literature 莎蓮迪烏 生於 1987 年,修業於巴黎國立高等裝飾藝術學 and history, she studied film at L’Ecole Nationale des Arts 院,導演短片有《魔僧生與死》(13)、《周日午餐》(16)、《你 Décoratifs of Paris. Filmography: Life and Death of the Illustrious 會沒事的》(17)。 Rasputin (13), Sunday Lunch (16), You Will Be Fine (17)..
Recommended publications
  • Guy Maddin Y El Fin Del Cine: Donde Habitan Los Monstruos Raúl Hernández Garrido [email protected]
    fre Guy Maddin y el fin del cine: donde habitan los monstruos RAúl HeRnández GARRido [email protected] Guy Maddin and the end of cinema: where the monsters dwell Abstract From 1985 Guy Maddin has created an exemplary filmography composed of thirteen films and almost forty shortfilms. By crisscrossing particular techniques of the silent cinema and primitive cinematographies with a very personal theme, he has disrupted the modes of narration and representation, as well as proposing a singular rewriting of the history of cinema. Key words : Silent cinema. Postclassical cinema. Avant-garde. Deconstruction. Simulacrum. Incest Resumen Desde 1985 Guy Maddin ha creado, a través de trece largometrajes y casi cuarenta cortometrajes, una filmogra - fía ejemplar en la que, cruzando técnicas propias de los filmes silentes y de cinematografías primitivas con una temática muy personal, convulsiona los modos de la narración y representación y propone una singular reescri - tura de la historia del cine. Palabras clave: Cine silente. Cine postclásico. Vanguardia. Deconstrucción. Simulacro. Incesto. ISSN. 1137-4802. pp. 107-121 Anclándose en un ya moribundo siglo XX, es en 1985 cuando la muy par - ticular filmografía del canadiense Guy Maddin, tan desigual como fascinan - te, arranca. Para comprender mejor su obra deberíamos volver la mirada a algunos años antes, cuando Maddin, a través de las series documentales de Kevin Brownlow ( Hollywood, 1980 ) descubre y empieza a ver películas silen - tes y a sentirse fascinado por su variedad de formas de expresión. Su primera película, de forma ejemplar, se llama The Dead Father , el padre muerto. The Dead Father (Guy Maddin, 1985) Raúl Hernández Garrido t& 10f8 Junto a la figura del Padre, muerto y sin embargo presente, molesto y penoso, autoritario pero no sujeto a una ley, muchas veces competidor o estúpido adversario del protagonista, otras convertido en un zombi sin voluntad, la personalidad fuerte de la Madre dominará su filmografía.
    [Show full text]
  • BIEFF 2018 Edition Catalogue
    2017 THEME PROGRAMS Special Acknowledgments to all the filmmakers, producers and distributors whose films are screened in BIEFF 2018 and to the following persons and institutions: 4 Concept 64 BERLINALE SPOTLIGHT: Alessandro Raja – Festival Scope Corina Burlacu – Eastwards Joost Daamen – IDFA International Documentary Mirsad Purivatra – Sarajevo Film Festival 6 Festival Board FORUM EXPANDED Alexander Nanau – Film Monitor Association Cornelia Popa – Cinelab Romania Film Festival Amsterdam Monica Anita – TNT Alexandru Berceanu – CINETic Cristian Ignat – Canopy Juan José Felix – Embassy of the Republic of Natalia Andronachi – Austrian Cultural Forum 8 Festival Team 76 IDENTITY AND BELONGING: Adina-Ioana Șuteu – French Institute Bucharest Cristiana Tăutu – British Council Romania Argentina Natalia Trebik – Le Fresnoy Studio National des Alina Raicu – Embassy of Canada in Romania Cristina Niculae – Peggy Production Juhani Alanen – Tampere International Short Film Arts Contemporains SARAJEVO THEME PROGRAM Ana Agopian – CINEPUB Cristina Nițu – Fala Português Festival Nicolae Mandea – UNATC National University of 9 UNATC / UNARTE Presentation Ana Androne – Embassy of the Kingdom of the Cristina Petrea – Manekino Film Jukka-Pekka Laakso – Tampere International Theatre and Film Bucharest 84 A DUTCH PERSPECTIVE: Netherlands Dana Berghes – National Museum of Short Film Festival Paolo Moretti – Festival of Documentary Film 10 Partner Festivals ROTTERDAM THEME PROGRAM Ana Mișu – TH Hotels Contemporary Art MNAC Bucharest Kevin Hamilton - Embassy of Canada
    [Show full text]
  • Media Release. Canadian Visionary Guy Maddin
    February 6, 2018 .MEDIA RELEASE. CANADIAN VISIONARY GUY MADDIN COMING TO TIFF BELL LIGHTBOX FOR ELECTRIFYING THE GREEN FOG AND VERTIGO DOUBLE BILL Maddin will present the cinematic classic alongside his latest feature, a luminous retelling of Hitchcock’s masterpiece, on March 16. TORONTO – Canadian cinema icon Guy Maddin is returning to TIFF Bell Lightbox this March for a special screening of his latest, and most ambitious work to date, The Green Fog – A San Francisco Fantasia. His second feature collaboration with Evan and Galen Johnson (The Forbidden Room), the film is a dazzling retelling of Hitchcock’s Vertigo, reassembled with archival television and film footage taken from works shot in San Francisco. Commissioned by Noah Cowan, former TIFF Bell Lightbox Artistic Director and current Executive Director of the San Francisco Film Society, The Green Fog – A San Francisco Fantasia will screen for the first time in Toronto on March 16, shown alongside Vertigo as a mind-bending double bill with Maddin in attendance to introduce and discuss both films. “The Green Fog reimagines Hitchcock’s masterpiece as only Guy Maddin could,” said TIFF Artistic Director, Cameron Bailey. “We are excited to have one of Canada’s most prolific cinematic visionaries back at the Lightbox, and to be able to offer Toronto the opportunity to experience both works together. This is love of film at its finest.” The following day, the filmmaker will return to TIFF Bell Lightbox for a live narration and screening of his Canadian docu-fantasia classic My Winnipeg, as part of the annual Society for Cinema and Media Studies conference.
    [Show full text]
  • Gsff19 Brochure
    FILM • GAMES • POST AGI LE CITY MLG McAllister Litho Glasgow Ltd. Glasgow CONTENTS INTRODUCTION Introduction 3 In our waking lives we are flooded with manipulated Soda_Jerk: TERROR NULLIUS and Astro Black 4 information. We constantly strive to become ever Points On A Space Age 4 more sophisticated in our engagement with this deluge, The Green Fog 5 in order to stay afloat in a sea of lies and half-truths. But at a time in which authenticity has become UnRealities 5 a currency to be traded in, manipulation of existing Bill Douglas Award 6–7 media can sometimes reveal hidden truths. Award Winners 7 Notions of manipulation and authenticity run throughout Scottish Short Film Award 8 this year’s programme, from the revisionist mash-ups First Reels 9 of star guests Soda_Jerk, to the play between ethnography and fiction in the work of Colombian Calendar 10–11 filmmaker Laura Huertas Millán; from the films emerging Reclaim the Name 12 from the margins of the Paris banlieues to the inclusivity The EthnoFictions of Laura Huertas Millán 12 of First Reels, a Scottish short film scheme that cast Anti-Ethnography 12 its net wide to find and nurture a new Scottish cinema. Brazil: Luto para nós é verbo 13 We welcome Shalimar Preuss, presenting her delicate narratives that draw magical realism from mundane Nous les sauvages: voices from the banlieues 13 reality, and Tara Razavi, whose videos for Tyler, the Accents 13 Creator and SZA have seared extraordinary images onto Shalimar Preuss 14 our eyeballs. We dive into the world of VR with UnRealities.
    [Show full text]
  • New Films from Canada July 16 – September 3 Afi Silver Theatre and Cultural Center Canada Now July 16 – September 3 Afi Silver Theatre and Cultural Center
    CANADANOWFESTIVAL.COM AFI.COM/SILVER NEW FILMS FROM CANADA JULY 16 – SEPTEMBER 3 AFI SILVER THEATRE AND CULTURAL CENTER CANADA NOW JULY 16 – SEPTEMBER 3 AFI SILVER THEATRE AND CULTURAL CENTER If you thought that Canada was just an exporting nation of cinematic natural resources like the two Ryans (Gosling and Reynolds), Denis Villeneuve, Jean-Marc Vallée and even Margaret Atwood, think again. Yes, there is a long, distinguished history of Canadians working south of our border, but just wait until you see what's being made by Canadian film artists on their own northern terra firma. If you're curious about what's going on up there above the 49th parallel, here are thirteen excellent examples to help you find out. After all, so we've been told, the world needs more Canada. Proudly but modestly echoing those sentiments, we are thrilled to present Canada Now 2018: a diverse, engaging, decidedly entertaining selection of the best in contemporary Canadian cinema, along with a restoration of master-documentarian Michel Brault's 1967 narrative debut BETWEEN SWEET AND SALT WATER [ENTRE LA MER ET L'EAU DOUCE]. From time-travel adventure to comedy to psychological drama to politically charged personal cinema, this year's selection reveals the seismic shifts underway in Canada (and globally) in relation to such potent, urgently relevant issues as the history of indigenous peoples, the immigrant experience, race relations and gender politics. In this Canada Now showcase you'll find impressive new works by veteran filmmakers and rookie directors alike. As always, the Canada Now showcase celebrates the independent spirit that has always been a hallmark of Canadian cinema.
    [Show full text]
  • 13.Internationales Filmfestival
    UNDER DOX internationales flmfestival dokument und experiment 13. 11—17 okt 2018 www.underdox-festival.de do 11.10. 19.00 inhalt filmmuseum Le livre d’image fr 12.10. 18.30 20.30 21.00 22.30 filmmuseum Cinema ★ português I: The School langfilme dokumente & experimente of Reis 04 ★ (Johann Lurf) 67 Armand Yervant Tufenkian & werkstatt Djamilia Don't Work Traces of 06 Ang Panahon ng Halimaw (Lav Diaz) Tamer Hassan kino Toi qui 1968-2018 Garden 08 Aufbruch (Ludwig Wüst) 67 Evelyn Rüsseler aka Bear Boy sa 13.10. 16.30 18.30 20.30 21.00 22.30 10 Black Mother (Khalik Allah) 68 Félix Rehm filmmuseum Cinema Ray & Liz 12 Dead Souls (Wang Bing) 68 Camilo Restrepo português II: 14 Djamilia (Aminatou Echard) 71 Evelyn Rüsseler aka Bear Boy Die 1980er 16 An Elephant Sitting Still (Hu Bo) 71 Brent Green Generation 18 The Green Fog (Guy Maddin, 72 Nicolas Boone werkstatt La muerte Manivelle Aufbruch Black Evan Johnson, Galen Johnson) 72 Philip Widmann kino del maestro The Bird and Mother 20 Invest in Failure (Norbert 75 Herbert Fell La sombra Us La bouche Pfaffenbichler) 75 Lukas Marxt de un dios Das Gestell 22 Jeannette – L’Enfance de Jeanne d’Arc 76 Francesca Scalisi & Mark Olexa so 14.10. 11.00 15.00 18.30 20.00 (Bruno Dumont) 76 Nan Wang kunstverein Dead Souls 24 Kalès (Laurent Van Lancker) 79 Sohrab Hura 26 Le livre d’image (Jean-Luc Godard) 79 Fadi [the fdz] Baki theatiner Jeannette, l’enfance 28 La muerte del maestro (José María 80 Billy Roisz de Jeanne Avilés) 80 Okin Cznupolowsky d’Arc 30 Ne travaille pas (1968–2018) (César 83 Laurence Favre filmmuseum Season of Vayssié) 83 Sara Cwynar the Devil 32 Playing Men (Matjaž Ivanišin) 84 Alex Gerbaulet werkstatt King Kong Kalès An Elephant 34 Ray & Liz (Richard Billingham) 84 Kate Tessa Lee & Tom Schön kino Kunstkabinett La Sombra Sitting Still 36 Traces of Garden (Wolfgang Lehmann) 87 Regina José Gilando 87 Bernhard Hetzenauer mo 15.10.
    [Show full text]
  • Kronos Quartet
    Kronos Quartet WHEN: VENUE: Friday, BiNG april 6, 2018 CONCErT Hall 7:30 pM Artists Notes Kronos Quartet JOHN OSWALD (B. 1953) david Harrington, violin SPECTRE (1990) John Sherba, violin Hank dutt, viola Canadian composer John Oswald is Sunny yang, cello well known for his development of “audioquoting” techniques, which have Brian H. Scott, lighting designer challenged contemporary notions of Brian Mohr, sound designer artistic ownership. Program in 1990, Oswald’s notorious recording Plunderphonic had to be destroyed as a John Oswald : Spectre result of legal action taken by Michael Jackson. in 1991, a sequel was released, Nicole Lizée: Another Living Soul featuring thoroughly reworked Composed for Fifty for the Future: The Kronos Learning Repertoire soundtracks by musical artists as diverse as the doors, Carly Simon and Nicole Lizée: Death to Kosmische Metallica. Discosphere , a retrospective of dance soundtracks, was released in Tanya Tagaq (arr. Jacob Garchik): Sivunittinni 1992 followed by Plexure , the third Composed for Fifty for the Future: The Kronos Learning Repertoire album of the Plunderphonic series. a retrospective Cd box set of —Intermission— Plunderphonic works has been called “mind-numbingly amazing” by peter The Green Fog Kenneth in Rolling Stone , and made a film by Guy Maddin, Evan Johnson, and Galen Johnson Spin Magazine ’s Top 10 in 2001. Original score by Jacob Garchik, performed by Kronos Quartet The Green Fog was commissioned for the Kronos Quartet by a Governor General Media arts SFFilM and Stanford live, laureate, ars Electronica digital Musics with support provided by Nion McEvoy. and Untitled arts award winner, as well as the fourth inductee into the all works on this program were written for Kronos.
    [Show full text]
  • The Labour of Chronic Collage Alanna Thain
    Document generated on 10/01/2021 4:59 a.m. Intermédialités Histoire et théorie des arts, des lettres et des techniques Intermediality History and Theory of the Arts, Literature and Technologies Anarchival Images: The Labour of Chronic Collage Alanna Thain restituer (le temps) Article abstract rendering (time) This essay develops the concept of “chronic collage” through an analysis of two Number 33, Spring 2019 recent works of media reperformance: Tanya Tagaq’s Nanook of the North (2012–) and Guy Maddin and Galen and Evan Johnson’s The Green Fog (2017). URI: https://id.erudit.org/iderudit/1065014ar Both are remixes commissioned as live performances by film festivals. Tagaq DOI: https://doi.org/10.7202/1065014ar created a resurgent and resistant new soundtrack to Robert Flaherty’s 1922 ethnographic film Nanook of the North and Maddin sampled media works shot in San Francisco to assemble a remake of Alfred Hitchcock’s Vertigo (1958), See table of contents with a live soundtrack by Kronos Quartet. Taking an ecosophical approach, this essay describes chronic collage as an anti-extractivist critical technique that plays on lived archives of moving image memory across sites of expropriation, Publisher(s) exclusion, and contested history. A dynamic form, chronic collage names the attempt to animate the affective agency of temporal objects. Revue intermédialités ISSN 1920-3136 (digital) Explore this journal Cite this article Thain, A. (2019). Anarchival Images: The Labour of Chronic Collage. Intermédialités / Intermediality, (33). https://doi.org/10.7202/1065014ar Tous droits réservés © Revue Intermédialités, 2019 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • A Theory of Cinematic Memory and an Aesthetics of Nostalgia
    ON LONGING FOR LOSS: A THEORY OF CINEMATIC MEMORY AND AN AESTHETICS OF NOSTALGIA by Zoë Anne Laks A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2018 © Zoë Anne Laks, 2018 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the thesis entitled: On Longing for Loss: A Theory of Cinematic Memory and an Aesthetics of Nostalgia submitted by Zoë Anne Laks in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Examining Committee: Lisa Coulthard, Theatre and Film Supervisor Brian McIlroy, Theatre and Film Supervisory Committee Member Chelsea Birks, Theatre and Film Supervisory Committee Member ii Abstract Nostalgia is everywhere in media today – be it films, television, ads, or social media. But what does it mean to say that a media text is nostalgic? Beyond simply presenting nostalgic narratives, media texts also express nostalgia through their form and style. So how does this nostalgia look and feel? This thesis explores the aesthetics of nostalgia in the context of film studies, positing that “pastness” becomes synonymous with fantasy when films and other nostalgic media rely on an artificial audiovisual style – most often a hazy and hyper-coloured image. By pairing stylistic analysis and film theory with a philosophy of nostalgia, this project argues that this aesthetic serves as both a theory of cinematic memory and a reflection of the experience of lived nostalgia, which is effectively always a longing for the inaccessible, the impossible, the lost – in other words, fantasy itself.
    [Show full text]
  • Accidence Presskit.Pdf
    1 ACCIDENCE Promo Kit 1. Poster 2. Table of Contents 3. Contact Information 4. Short Logline/Synopsis 5. Festivals 6. Guy Maddin (Director/Writer) Biography 7. Evan Johnson (Director/Writer) Biography 8. Galen Johnson (Director/Writer) Biography 9. Director’s Note 10.Ensign Broderick (Composer) Biography 11.Juliette Hagopian (Producer) Biography 2 Contact Information Distributor Shauna de Cartier Six Shooter Records Box 98038 970 Queen St E. Toronto, ON M4M 1J0 1-416-465-2459 [email protected] www.sixshooterrecords.com Producer Juliette Hagopian Julijette Inc. 56 Riverside Drive Winnipeg, MB R3T 0G2 1-204-415-3883 [email protected] www.julijette.com 3 Short Logline Every balcony is a poem, a chant -- a muscle! But whoever lives with that extra blueprint luxury of a balcony lives on the wrong side of a cross-section, on the busy, narrative-addled side of something like an ant-farm window, a brazen architectural arrangement selling cheap peeks into the naked sideshows of the quotidian -- even the grisly. Step right up! Behold! A ten story wall of solid twitching muscle! Synopsis Based on the metaphor that we are each our own victims, each of us the worst perpetrators of our own worst traumas, and each the most tireless prosecutors of the crimes we commit against ourselves, ACCIDENCE follows the nightmarish cycle of a ​ ​ man who hurls to his death a doppelganger of himself from an apartment balcony, and is then pursued by a detective who is yet another doppelganger. The perpetrator is pursued from apartment to apartment, to the homes of his parents, and of his girlfriend, flats where he seeks sanctuary from persecution.
    [Show full text]