DOCSLIB.ORG

Bridges to the East

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bridges to the East PRESS RELEASE No. 3 Frankfurt/Wiesbaden, March 21st, 2003 Bridges to the East Eastern European filmmakers discover Wiesbaden: Annually more submissions for goEast Next Wednesday, March 26th, it is time: goEast, the festival of Central and Eastern European film, will be held for the third time in Wiesbaden. Apart from around 90 invited guests, 300 specialist guests (journalists, directors, distributors, producers, politicians, archive heads) from East and West have announced their coming. Approximately 5.000 visitors from the region are being expected when the German Film Institute – DIF in Wiesbaden again opens a window to the East for one week. In the sections contest, student’s film contest, symposium, and retrospective, a total of 107 feature and short films from Central and Eastern Europe will be presented, among them 16 topical international and German premieres as well as a world premiere. Main sponsors of the festival, which will be attended by film artists, cineastes and journalists from East and West, are the state capital Wiesbaden and hessen-media, an initiative of the Hessian economics ministry, both equally donating 100.000 Euro. In the Contest, nine feature films and six documentaries compete for the following awards: The main award „The Golden Lily“ for best film, endowed with 10.000 Euros and the award of the city of Wiesbaden for best direction, endowed with 7.500 Euros. Furthermore, as part of their commitment to European Integration the Hertie-Foundation sponsors the documentary award, which is endowed with 10.000 Euros. The winners are selected by an international jury whose members are Czech director and Oscar winner Jiří Menzel (chairman), Romanian director Nae Caranfil (winner of the jury award at goEast 2002), Bulgarian producer Rossitsa Valkanova, Maciej Karpinski (head of the department of international relations at the Polish TV and director of the film festival Gdynia), as well as Kurt Kupferschmidt, Managing Director of the distribution and production company Salzgeber & Co. Medien GmbH, Berlin. This year, a sum of 127 films were submitted for the contest, last there were 56 submissions only – Eastern European film makers have discovered goEast. For the first time, a jury sent by the International Federation of Film Critics will present the renowned „FIPRESCI-Award“ this year. Film critics György Báron from Hungary, Bojidar Manov from Bulgaria (Vice-President of the FIPRESCI), and Marcus Stiglegger from Germany present the desirable FIPRESCI-Award to one of the contest films. The festival attaches importance to linking the view at the current film production in the Central and Eastern European countries with the view at the past and the future, therefore again presenting new talents from East and West. In the Student’s Films Programme, students from the film colleges in Slovenian Ljubljana, Hungarian Budapest, as well as Berlin, Cologne, Kassel, Mainz, and Offenbach, present their works. In three short film programmes, tomorrow’s directors show their documentaries and experimental films, their short- and animation films, in the international comparison. The audience decides who will win the awards (750 Euros in each of the categories). Following the final student’s film programme and the award ceremony (Saturday, March 29th, from 10pm) there will be a party in the „Caligari“. In the year of the German-Russian cultural encounters (2003/2004), the scientific Symposium, another tried and tested emphasis of the festival, takes a look at the relations between these two countries. An extensive programme with films mainly from the 30ies and 40ies, among them many discoveries from the Russian Gosfilmofond-archive, provides food for discussion about prejudices as well as positive and negative clichés. Under the chairmanship of Berlin film historian Hans-Joachim Schlegel, experts from Moscow, Riga, Vilnius, Gernsbach, and Berlin present the changeable „Images of the German in Soviet and post-Soviet cinema“. In the context of the respective historic, political, and cultural circumstances, the basis and effect of this iconography shall be traced. The symposium which takes place from March 31st until April 2nd in the conference room of the Wiesbaden city hall, is being sponsored by the Allianz Culture-Foundation and the Foreign Office in Berlin. The lectures are open for everyone who is interested in this topic, the participation is free of charge. Fresh from the press, we also have available the publication about last year’s symposium „Subversions of the surreal in Central and Eastern European Film“. This volume of high quality contents and design (256 pages and 78 illustrations) does not only cover the symposium’s lectures, but also transcripts of the discussions, contemporary documents, manifestos, and filmographies. The following specials in the programme also deserve special attention: The festival dedicates the Retrospective 2003 to the Russian dramatist Anton Čechov, showing 12 film adaptions of his works, for example by Louis Malle, Andrzej Wajda, Nikita Michalkov, and Laurence Olivier. Adaptions from totally different countries (USSR/Russia, USA, Poland, Italy, France, Great Britain, and Germany), from a silent movie from 1911 to a modern version of „Uncle Vanja“ from the 90ies, prove that Čechov’s subject matters not only repeatedly fascinate and inspire theatre directors, but that they are also very present in the cinema. Kira Muratova’s contest entry ČECHOV- MOTIFS, is another signal that his „painful basic pattern of existence“ (Natalia Ginzburg) is currently very topical. goEast is especially happy to be able to welcome a descendant of the famous writer and dramatist on Sunday, March 30th: Vera Tschechowa. Film critic Daniel Kothenschulte hosts the Matineé with the famous actress and director, beginning at 11 am in the Caligari FilmBühne. Following this, BLACK EYES (D: Nikita Michalkov, Italy 1987), a film adaption of the story „The lady with the puppy-dog“ starring Marcello Mastroianni in the leading role, is being shown. An Exhibition in the Wiesbaden Museum (28.03.-11.05.2003), organized by the festival and administered by Berlin theatre- and film scientist Renata Helker, deals with the “Tschechov-Clan“. Photographs, letters, and documents from the extensive private Knipper/Tschechowa archive present the story of the German-Russian family of artists, with an emphasis on protagonists Anton Čechov and film star Olga Tschechowa. In a Scenic Reading on Saturday, March 29th, at 2 pm in the Caligari FilmBühne, Iris Atzwanger and Ulrich Cyran – both actors at the Hessian State Theatre - recite excerpts from the correspondence between Anton Čechov and Olga Knipper. The correspondence not only gives insight into the longing love affair of the couple, who had to spend a lot of time apart from each other, but also into Knipper’s work at the Moscow Artist’s Theatre and the sources from which Čechov drew materials for his theatre plays. Nicola Brakamp has conceived the event during which there will also be video screenings. Afterwards, the film UNVOLLENDETE PARTITUR FÜR EIN MECHANISCHES KLAVIER / UNFINISHED SCORE FOR A MECHANICAL PIANO (USSR 1977, D: Nikita Michalkov) will be shown. The co-operation with the editorial office of „Das kleine Fernsehspiel/The little TV play“ enables the screening of films from this ZDF series, which right from its start attached importance to artistic quality and developed a tight connection to Eastern Europe. The four films selected for goEast mirror the historical changes after 1989: GAGARIN, ICH HABE DICH GELIEBT (Ukraine 1992), BOLSCHE VITA (Hungary 1995), MÜDE WEGGEFÄHRTEN (Germany 1996), and DIE RÜCKKEHR DES IDIOTEN (Czech Republic 1999). Hans Kutnewsky, former editor at the „kleine Fernsehspiel“, introduces the programme and the individual films. In the Highlights-section, we would especially like to draw attention to the film FLASHBACK. Renowned documentary filmmaker Herz Frank presents this deeply personal film essay which takes the audience on a trip through his past, in person on Monday, March 31st, at 3:30 pm in the Caligari. Following the film, there will be the opportunity for discussion. Special attention should also be paid to the film RUSSISCHE ARCHE by director Aleksandr Sokurov, who has just been awarded the „Andrzej Wajda / Philipp Morris Freedom“-Price for his work (March 30th, 10 pm, Caligari FilmBühne). The film is shown at goEast as the German preview. In view of the occasion, goEast invites you to the Villa Clementine on Saturday, March 29st, at 4 pm, for a Panel Discussion. Under the heading „Pull test for Europe? Identity in the face of the Iraq conflict“, goEast provides a forum for the international festival guests to discuss the current attitude of the governments in the individual countries as well as the mood in the population and the media, and to express their personal standpoint concerning the Iraq war. While US Minister of Defence Donald Rumsfeld talks about a „new“ and an „old“ Europe for strategic reasons, trying to split off the West from the East, in reality there are rifts in Eastern Europe as well – each country has its own reasons and motifs for its position. Foreign policy tactics do not necessarily match the population’s opinion. While the people in Germany, England, France, and Italy are protesting in the streets, little is heard here about demonstrations in Central and Eastern Europe. It is an important goal of goEast to enable intense encounters and dialogue between East and West, and to offer a forum to get to know each other better – a critical prerequisite for a united Europe. The festival’s Final Film, ERSATZTEILE / SPARE PARTS (D: Damjan Kozole, Slovenia, 2002) was the only Eastern European contest entry at the International Filmfestspiele in Berlin. It shows the situation of illegal refugees from the countries of the former Soviet Union. The festival Catalogue consists of 120 pages filled with extensive synopses of all films, biographies and filmographies of the directors, numerous photographs, as well as introductions to the several sections.
Load more

Recommended publications
  • Animatricks Film Festival 2015
    Animatricks Film Festival 2015 A Marketing Plan Emmi Nilivaara Bachelor’s thesis April 2015 Degree Programme in Music and Media Management School of Business 2 Description Author(s) Type of publication Date Nilivaara, Emmi Bachelor’s thesis 17.4.2015 Language of publication: English Number of pages Permission for web 36+24 publication: x Title of publication Animatricks Film Festival 2015 A Marketing Plan Degree programme Music and Media Management Tutor(s) Miikkulainen, Ilari Assigned by Palikka Ry. Abstract The goal of the bachelor’s thesis was to create an efficient and implementable marketing plan for the Animatricks Film Festival 2015. The Animatricks Film Festival is an annual animation-related festival held in Helsinki, Finland. The festival is organized by Palikka Ry, a non-profit organization. It was agreed upon to create a marketing plan for the next Animatricks Film Festival (2015) as there had been no previous one(s). The bachelor’s thesis concentrates on describing the concept of marketing and marketing plan in the chapter of theoretical basis. The chapter on implementation presents the practicalities of creating a marketing plan for the Animatricks Film Festival 2015. As a result, a marketing plan for the Animatricks Film Festival 2015 was created based on the needs and wants of Palikka Ry. The implementation of the marketing plan started in January 2015. As the thesis was finished before the festival was being held, no definite or concrete proof on the success rate of the marketing plan was discovered. The marketing plan is attached to the bachelor’s thesis however, it is confidential and not published.
    [Show full text]
  • Trends of Pakistani Films: an Analytical Study of Restoration of Cinema
    Trends of Pakistani films: An analytical study of restoration of cinema Fouzia Naz* Sadia Mehmood** ABSTRACT People prefer to go to the cinema as compared to theaters because of its way of execution and performance. Background music, sound effects, lights, direction attract people, and its demonstrations relate people to their lives. It is true that films have a unique and powerful connection between human behavior and societal culture. Pakistani film industry faced the downfall and now it is doing its best to make the films on international standards. In this research article, the background of Pakistani cinema and causes of downfall will be discussed. The main idea of this research article is to identify and study the development of Pakistani film industry. Qualitative and quantitative data collection will be used as the research method of this research. This research article helps in observing different mass media theory based on Pakistani cinema. Moreover, it will be explained what filmmakers critiques and people say regarding revival or restoration. Keywords: downfall, revival, the impact of the Pakistani film industry, Lollywood *Assistant professor, Mass Communication, University of Karachi) **Assistant professor, Mass Communication, University of Karachi) 33 Jhss, Vol. 8, No. 2 , July to December, 2017 The definition of cinema can be explained as “another word of moving a picture”1This is the place where films are shown to the public. Most of the people who are not into the arts get confused in cinema and theater. The theater is the building where live performance is performed2. The similarity between cinema and theaters are both of them execute act and created for public entertainment.
    [Show full text]
  • Coronavirus and the European Film Industry
    BRIEFING Coronavirus and the European film industry SUMMARY With the onset of the coronavirus pandemic, which has caused the shutdown of some 70 000 cinemas in China, nearly 2 500 in the US and over 9 000 in the EU, the joy sparked by the success of the film industry in 2019 has quickly given way to anxiety. Shootings, premieres, spring festivals and entertainment events have faced near-total cancellation or postponement due to the pandemic, thus inflicting an estimated loss of US$5 billion on the global box office; this amount could skyrocket to between US$15 billion and US$17 billion, if cinemas do not reopen by the end of May 2020. The EU film sector is essentially made up of small companies employing creative and technical freelancers, which makes it particularly vulnerable to the pandemic. The domino effect of the lockdown has triggered the immediate freeze of hundreds of projects in the shooting phase, disrupted cash flows and pushed production companies to the brink of bankruptcy. To limit and/or mitigate the economic damage caused by coronavirus, governments and national film and audiovisual funds across the EU have been quick in setting up both general blanket measures (such as solidarity funds and short-term unemployment schemes) and/or specific industry-related funds and grants (helping arthouse cinema and providing financial relief to producers and distributors). For its part, the EU has acted promptly to limit the spread of the virus and help EU countries to withstand its social and economic impact. In addition to the Coronavirus Response Investment Initiative (CRII) and the CRII+, both approved by the European Parliament and the Council in record time, the Commission has set up a Temporary Framework allowing EU countries to derogate from State aid rules, and proposed a European instrument for temporary support (SURE) to help protect jobs and workers affected by the coronavirus pandemic.
    [Show full text]
  • Minsk International Film Festival “Listapad” Press Release
    MINSK INTERNATIONAL FILM FESTIVAL “LISTAPAD” PRESS RELEASE October 16th, 2012 http://www.listapad.com The 19th Minsk International Film Festival LISTAPAD is the most important Film Forum in Belarus which will be held on November 2nd-9th 2012. The Festival presents the most outstanding films of the year awarded at the most important international film festivals in Europe and CIS countries. Every year about 100 films take part in the Festival competition programme. The films are divided into three sections: Feature Films, Documentary Films, Children and Youth Films. The fate of the main awards is decided by professional Jury members who are all cinema experts of standing reputation: Jury of Main Feature Films Competition, Jury of Competition “Youth on the March”, Jury of Main Documentary Films Competition, Jury of National Film Schools Competition, Jury of Children and Youth Films Competition “Listapadzik”, International Film Critics Jury. Audience Award is also given during the Festival. A wide programme of out of competition screenings will be held within the Festival: Belarusian, Russian, European and Asian panoramas. These are about 50 most outstanding, extraordinary author’s projects by leading world directors. In 2011, the movies from 37 countries took part in the festival: Russia, Croatia, Serbia, Philippines, Thailand, Germany, Belgium, the Netherlands, Austria, Estonia, Poland, France, Bulgaria, Ukraine, Latvia, Israel, Spain, Georgia etc. The 18th Minsk IFF was opened by one of the prize-winners of Cannes Film Festival – film “Elena” by Andrey Zvyagintsev, French movie “Les femmes du sixième étage” by Philippe le Guay (Cesar Award in 2011) closed the Festival. Two films nominated for Oscar were shown at the Festival: Belgian movie “Bullhead” (dir.
    [Show full text]
  • Efm 2021 Chile at the Co-Production Market CHILE at Efm 2021 Co-Production Market
    chile at THE efm 2021 chile at THE co-production market CHILE AT efm 2021 co-production market LAnd of savages LA TIERRA DE LOS SALVAJES 100 min Chile Land of Savages by Fernando Guzzoni DIRECTOR fiction · thriller Fernando Guzzoni state − in development [email protected] looking for − co-production Chile, 1830. Jan is a slave owner haunted screenplay by ominous nightmares and his dark past. Fernando Guzzoni & Pablo Manzi When awake, he must deal with rebellions and a growing abolitionist movement that threatens his power. producers production company Juan de Dios Larraín, Pablo Larraín Fabula & Rocío Jadue [email protected] sales agent New Europe Film Sale [email protected] CO-PRODUCTION MARKET chile at THE efm 2021 visitors program CHILE AT efm 2021 visitors program FELIPE AZÚA PABLO CALISTO PRODUCER · avispa cine PRODUCER · equeco Felipe Azúa, founder of Avispa Cine, Pablo Calisto is a film producer that in has worked for more than 10 years 2016 created EQUECO with the aim of in shorts and features with a socially empowering young authors with fresh conscious viewpoint that have premiered and daring points of views. His projects in Cannes Cinéfondation and Clermont- have participated in international markets Ferrant, among other festivals. In 2016 and event such as EAVE Puentes, he produced The Firstborn by Carlos Guadalajara, Locarno Industry Days; as Leiva, that won Best Director in Sanfic well as films awarded in festivals like after a succesful run in Latin American Clermont Ferrand, Biarritz and Miami. development workshops. Currently he is He has worked in film distribution and working on three feature films including as a producer of SANFIC Industry.
    [Show full text]
  • Film Festival Research from an Organizational Studies Perspective
    Creativity at Work: Film Festival Research from an Organizational Studies Perspective By Charles-Clemens Rüling & Jesper Strandgaard Pedersen August 2010 Page 1 of 13 Creative Encounters Working Papers #49 Abstract The annual film festival is a very European institution invented more than 60-70 years ago. As a research topic, however, film festivals have received surprisingly little and scattered attention within organization and management studies. Film festivals have recently met a mounting interest among film and media scholars. This article provides an introduction to the growing literature on film festivals and argues for a threefold research agenda within organizational studies by looking at film festivals as arenas of emergence, analyzing the role of film festivals within the global film industries, and studying film festivals as organizations. By suggesting this research agenda we intent to draw the attention of organization and management scholars to a hitherto overlooked and potentially promising area of research for organization and management studies. Keywords Film festivals, field configuring events, cinema, events. Authors Charles-Clemens Rüling is an associate professor of organization theory and coordinator of the Creative Industries Research Group at Grenoble Ecole de Management (France). His research focuses on the institutionalization and maintenance of creative industry events and on professional life trajectories of creative talent. Corresponding author: Charles-Clemens Rüling, Grenoble Ecole de Management, 12 rue Pierre Sémard - BP 127, 38003 Grenoble Cedex 01, France; email: [email protected]. Jesper Strandgaard Pedersen is a professor in the Department of Organization and director of Imagine.. Creative Industries Research Center at Copenhagen Business School (Denmark).
    [Show full text]
  • Contact FIAPF Accredited Film Festivals
    | Contacts As of end of 2018 Antalya, Turkey Astana, Kazakhstan Berlin, Germany October. July. February. www.antalyaff.com www.eurasiafestival.kz www.berlinale.de [email protected] [email protected] [email protected] International Antalya {T} +90 (242) 248 90 22 Eurasia International {T} +7 701 252 02 15 Berlin International {T} +49 30 25920-0 Film Festival {F} +90 (242) 243 92 82 Film Festival Film Festival {F} +49 30 25920-299 Competitive feature film festival c/o Anset ** Meltem Mahallesi Competitive feature film festival Eurasia Astana IFF Directorate Competitive feature film festival. Potsdamer Straße 5 specialised in new currents in Sakıp Sabancı Bulvarı specialised in films produced in 7/4 Kumsuat St. 10785 Berlin contemporary cinema. Atatürk Kültür Parkı içi – Europe, Central-Asia and Asia. Saryarka district Germany AKM N°: 7 ** 07030 010000 Astana City Muratpasa, Antalya - Turkey Republic of Kazakhstan Menderes Türel Aiman Mussakhajayeva Dieter Kosslick (Festival President) (President) (Director) Mike Downey (Artistic Director) © Ali Ghandtschi Bilbao, Spain Busan, Korea Cairo, Egypt November. October. November. www.zinebi.eus www.biff.kr www.ciff.org.eg [email protected] [email protected] [email protected] {T} Zinebi International Festival {T} +34 94 424 86 98 Busan International {T} +82 51 709 2110 Cairo International +202 23923562 {F} of Documentary and Short Film {F} +34 94 424 56 24 Film Festival {F} +82 51 709 2299 Film Festival +202 23938979 Competitive feature film festival. of Bilbao Colón de Larreategui, Competitive feature film festival 3rd Floor, BIFF HILL, 17 Kasr El-Nil St. Documentary and short film festival. 13 – 3º Iz specialised in first and Busan Cinema Center, Cairo 11111 48001 Bilbao – España second feature films.
    [Show full text]
  • MMF-2017 Katalog.Pdf
    2 Welcome to MAFF Market Forum MAFF Market Forum 2 3 4 e city of Malmö Welcome to Malmö 5 7 Meet the experts Forum 40 41 Schedule Market Screenings 54 64 Critics Without Borders Nordic countries – Egypt 2017 Case Study / Beauty And e Dogs 70 CONTENT 1 General Manager Mouhamad Keblawi Photographer: Yazan Saad I WANT TO WISH YOU all a warm welcome to MAFF Market Forum 2017. We are both excited and proud to present our third edition of this unique and propitious industry platform. MAFF Market Forum was launched with the ambition to bring the two worlds together, intertwining them with a tailored program created to build partnerships in an intimate environment. We bring together producers, funders, distributors and lm professionals in order to foster a cultural exchange and expand the production landscape. MAFF Market Forum was sprung out of the same ambition as the festival itself; to promote the Arab lm industry, create a gender and cultural diversity in the lm industry, and of course - to ensure all stories get a chance to be heard and seen. Even before the implementation of the rst edition of MAFF Market Forum, we realized that the initiative would have a major impact. Said and done - today, after only two years, several Nordic-Arabic lm collaborations have been implemented and initiated through our platform. And when we say our platform, we include an incredibly important part of the success; the participants. We are beyond thrilled to every year welcome lm professionals from all over the world. is year is no exception, and some of the most signicant and inuential institutes and organizations from both the Nordic countries and the Arab world are attending.
    [Show full text]
  • The Question Concerning the Cooptation of the Sundance Film Festival: an Analysis of the Commodification of Independent Cinema
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 12-2009 The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema Matt Dee Cottrell Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Sociology Commons Recommended Citation Cottrell, Matt Dee, "The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema" (2009). All Graduate Theses and Dissertations. 485. https://digitalcommons.usu.edu/etd/485 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE QUESTION CONCERNING THE COOPTATION OF THE SUNDANCE FILM FESTIVAL: AN ANALYSIS OF THE COMMODIFICATION OF INDEPENDENT CINEMA by Matt Dee Cottrell A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in Sociology Approved: _______________________ _______________________ Christy Glass Richard S. Krannich Major Professor Committee Member _______________________ _______________________ Richley Crapo Byron R. Burnham Committee Member Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2009 ii Copyright Matt Dee Cottrell 2009 All Rights Reserved iii ABSTRACT The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema by Matt Dee Cottrell, Master of Science Utah State University, 2009 Major Professor: Dr. Christy Glass Department: Sociology, Social Work & Anthropology The Sundance Film Festival has transformed from being a fringe festival to a leading showcase for independent cinema.
    [Show full text]
  • The Tradition of European Film Festivals and Cultural Diplomacy
    Silvia Făgărășan M.A. in International Relations & Cultural Diplomacy ICD Berlin, January 2014 The Tradition of European Film Festivals and Cultural Diplomacy In the context of cultural diplomacy1, film festivals represent powerful vehicles for bridging ideas and networks across the globe, since they facilitate access to large numbers of people to connect and interact, whether in terms of the film industries or as audiences who are interested in exploring the wold beyond cultural stereotypes. Film festivals are integrated into a political economy of cinema, thus their role against the background of cultural diplomacy is hard to neglect. Through the ever-expanding digital technologies, the moving image holds a strong position within the complex dynamics of social, cultural and economic relations. Consequently, the moving image is not only a concept linked to the legacy of modernity, but also a platform for organizing, developing and spreading content across different cultures on the globe according to the principle of soft power2. In general, it is claimed that the vital purpose of film festivals is to facilitate access for commercially unavailable films for wider audiences. To bring to communities, whether film-savvy or less invested, the occasion to see films that they would not easily see on TV or on the Internet. Moreover, film festivals allow the professionals the opportunity to come together and collaborate on joint projects, as well as introduce the lesser trained or experienced in the complex mechanism of the film industries. However, the most consistently diplomatic trait of film festivals is the way they engage a vast network of people, creativity and concern for social issues through the mere practice of film-making.
    [Show full text]
  • Oscar®” and “Academy Awards®” Are Registered Trademarks of the Academy of Motion Picture Arts and Sciences, and Used with Permission
    “OSCAR®” AND “ACADEMY AWARDS®” ARE REGISTERED TRADEMARKS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES, AND USED WITH PERMISSION. THIS IS NOT AN ACADEMY RELEASE. For information on the U.S. release, contact: For U.S. theatrical booking enquiries & regional publicity, contact: WEST COAST Neal Block 212-379-9704 Marina Bailey 323-650-3627 [email protected] [email protected] ShortsTV Sales Fabric Media Kimberly Healy 310-452-1400 Jason Damata 917-279-8706 [email protected] [email protected] ShortsTV: Marketing EAST COAST Cathy Cassese 310-452-1400 FALCO INK [email protected] Steve Zeeman - (212) 445-7100 [email protected] For EUROPEAN enquiries, contact: Shorts International Ltd: Marketing Digital Media Sebastian De Lame +44(0)20 7012 1585 GINSBERG LIBBY [email protected] Clay Dollarhide 323-645-6818 [email protected] DEKALB ELEMENTARY USA/20MINS/2017 Director: Reed Van Dyk Writer: Reed Van Dyk Producers: Reed Van Dyk, Cory Desrosiers, Christopher Leavins, Enrique Diaz, Morgan Peterson and Ricardo Ramirez Synopsis: Inspired by a 911 call placed during a school shooting incident in Atlanta, Georgia. Director’s Biography: Reed Van Dyk is a Los Angeles based writer/director. His most recent film DEKALB ELEMENTARY won the Grand Jury Prize at the 2017 Clermont Ferrand International Short Film Festival and a Special Jury Award in Acting at the 2017 SXSW Film Festival. The film will play at festivals in Nashville, Quebec, Portugal, Spain, Israel, Lebanon, and Ukraine in the coming months. Reed's first short film T HE CONSERVATORY won a 1st Place Student Emmy Award (“Best Comedy”) -- and his last film AMATEURCOUPLE premiered in front of Sundance hit OBVIOUS CHILD at the Melbourne International Film Festival.
    [Show full text]
  • 1 Boston University Study Abroad London European Cinema
    Boston University Study Abroad London European Cinema: From Festival Circuit to the Big Screen (Elective B Course) Instructor Information A. Name Ms Kate Domaille B. Day and Time TBA C. Location 43 Harrington Gardens, SW7 4JU D. BU Telephone 020 7244 6255 E. Office Telephone 020 7263 5618 F. Email Kad63@bu-edu [email protected] G. Office hours By appointment Course Objectives This course is an examination of contemporary European cinema and asks the key question: what do national cinema products reveal about national identity, culture, and values? The course will combine a study of the economics and cultural politics of national cinemas in Europe and their existence within a global marketplace of film. Through the study of film festivals, and the study of filmmakers and their films, students will have an opportunity to examine how minor cinemas evolve to be significant for national audiences and how these cinemas convey aspects of culture, language and social life across national boundaries. Central questions addressed by the course include: What are the conditions for European film production and distribution of cinema within and beyond the nation state? Why are national film cultures important to retain? What function and value do film festivals have in promoting films? What do representations of film cultures both in-nation and beyond nation tell audiences of cultural values across the world? The course will draw upon literature about film festival success, and where possible, give direct experience of film festivals either through following a programme remotely or a trip to one of the London film festivals.
    [Show full text]