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Apichatpong Weerasethakul
UNKNOWN FORCES: APICHATPONG WEERASETHAKUL April 18 – June 17, 2007 hold of and ask what I should do. I am consulting a fortune teller now for what the next film should be. She told me the main character (light skin, wide forehead), the locations (university, sports stadium, empty temple, mountain), and the elements (the moon and the water). RI: The backdrops of much of your work accentuate feelings of aloneness and isolation from others. Films like Tropical Malady (2004) and Worldly Desires (2005) traverse remote recesses of distant, even enchanted jungles. In FAITH (2006), you leave earth entirely in search of greater solitude in outer space. You seem interested in or at least drawn to obscure or enigmatic sites that have been left relatively unexplored, untouched, unimagined… AW: That’s what I got from the movies. When you are in a dark theater, your mind drifts and travels. In my hometown when I was growing up, there was nothing. The movie theater was a sanctuary where I was mostly addicted to spectacular and disaster films. Now, as a filmmaker, I am trying to search for similar feelings of wonder, of dreams. It’s quite a personal and isolated experience. Tropical Malady is more about a journey into one’s mind rather than Apichatpong Weerasethakul a real jungle. Or sometimes it is a feeling of “watching” movies. RI: Can you speak about your use of old tales and mythologies in your work? What significance do they hold for you? AW: It’s in the air. Thailand’s atmosphere is unique. It might be hard to understand for foreigners. -
Alternative Digital Movies As Malaysian National Cinema A
Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof. -
Delegates Guide
Delegates Guide 15–20 March, 2019 Cultural Partners Supported by Friends of Qumra Media Partners Cover: ‘Six Months and One Day’, directed by Yassine Ouahrani 1 QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 13 Qumra Project Delegates 15 Industry Delegates 63 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Aya Al-Blouchi Quay Chu Anthea Devotta Mayar Hamdan Qumra Master Classes Development Qumra Industry Senior Qumra Shorts Coordinator Senior Coordinator Executive Coordinator Development Assistant Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Meriem Mesraoua Qumra Industry Qumra Talks Senior Qumra Pass Senior Grants Senior Coordinator Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Vanessa Paradis Majid Al-Remaihi Nina Rodriguez Alanoud Al Saiari Grants Coordinator Film Programming Qumra Industry Senior Qumra Pass Coordinator Assistant Coordinator Film Workshops & Labs Coordinator Wesam Said Rawda Al-Thani Jana Wehbe Ania Wojtowicz Grants Coordinator Film Programming Qumra Industry Senior Qumra Shorts Coordinator Assistant Coordinator Film Workshops & Labs Senior Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Head of Grants Qumra Industry Industry Advisor Manager Film Training Senior Manager 4 5 Qumra Masters Eugenio Caballero Kiyoshi Kurosawa In 2015 and 2016 he worked on the film ‘A at Cannes in 2003, ‘Doppelganger’ (2002), Monster Calls’, directed by J.A. Bayona, ‘Loft’ (2005), and ‘Retribution’ (2006), which earning him a Goya on his third nomination screened at that year’s Venice Film Festival. -
1 GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29
GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29, 2020 I am pleased to be here to talk about my role as Deputy Director of the Washington, DC International Film Festival, more popularly known as Filmfest DC, and as Director of the Arabian Sights Film Festival. I would like to start with a couple of statistics: We all know that Hollywood films dominate the world’s movie theaters, but there are thousands of other movies made around the globe that most of us are totally unaware of or marginally familiar with. India is the largest film producing nation in the world, whose films we label “Bollywood”. India produces around 1,500 to 2,000 films every year in more than 20 languages. Their primary audience is the poor who want to escape into this imaginary world of pretty people, music and dancing. Amitabh Bachchan is widely regarded as the most famous actor in the world, and one of the greatest and most influential actors in world cinema as well as Indian cinema. He has starred in at least 190 movies. He is a producer, television host, and former politician. He is also the host of India’s Who Wants to Be a Millionaire. Nigeria is the next largest film producing country and is also known as “Nollywood”, producing almost 1000 films per year. That’s almost 20 films per week. The average Nollywood movie is produced in a span of 7-10 days on a budget of less than $20,000. Next comes Hollywood. Last year, 786 films were released in U.S. -
Middle East Studies & Middle Eastern Diaspora
2009 MIDDLE EAST STUDIES & MIDDLE EASTERN DIASPORA New Releases 3 Middle Eastern Diaspora 6 Middle East Studies 10 The Work of Jayce Salloum 14 N EW R ELEASES Our mission is to foster the creation, appreciation and dissemination of social issue media made by or about people of color. Today, TWN carries on the progressive vision of NEW daughter. Hadja, a political asylum T H E W AY N O RTH : seeker from Algeria, is sans papiers its founders, and remains the oldest media arts organization M A G H R E B I W O M E N (without papers). The documentary shows these women's struggles to in the United States devoted to filmakers of color and I N M ARSEILLE Shara K. Lange, 2008, 60 min cultivate alternative economic and their global constituencies. "I thought that in France life would social supports for themselves in a be easier—it’s the land of liberty. society that has historically ignored But it wasn’t like that at all." --Fatima or misunderstood them. HO W T O O R D E R Rhazi “These women's lives in the context of a France that seemed From Marseille come the stories on the brink of exploding, provide Online: www.twn.org We accept institutional purchase of North African women making the opportunity for an “inside orders, credit cards and PayPal new lives for themselves in tense, view” of part of one of the most Email: [email protected] complex, contemporary France. consequential mass migrations accounts. Remember to add $20 in the world today as the Islamic for shipping and handling. -
ALDO SIGNORETTI Hair and Wig Designer Fluent in Italian and English
ALDO SIGNORETTI Hair and Wig Designer Fluent in Italian and English FILM AND TELEVISION THE YOUNG POPE Wig/Hair Designer Wildside, Indigo Film Director: Paolo Sorrentino ZOOLANDER 2 Department Head of Hair / Hair Stylist & Wig Designer Paramount Director: Ben Stiller CAESAR Department Head of Hair and Make-Up Kallope Films Director: Tiago Mesquita Cast: Sean Bean, Isaac Hempstead Wright, Mackenzie Crook THE EARLY YEARS Wig/Hair Designer Indigo Film Director: Paolo Sorrentino Cast: Rachel Weisz, Michael Cane, Jane Fonda HERCULES: THE THRACIAN WARS Wig/Hair Designer Film 44, MGM, Paramount, Radical Pictures Director: Brett Ratner Cast: Dwayne Johnson, Ian Mcshane, John Hurt LA GRANDE BELEZZA (THE GREAT BEAUTY) Wig/Hair Designer Indigo Film, Medusa Film, Babe Film, Pathé Director: Paolo Sorrentino Cast: Toni Servillo, Carlo Verdone, Sabrina Ferilli David di Donatello Award - Won - Best Hair Design/Styling BORGIA (SERIES 1,2 & 3) Co-Designer: Wig/Hair ETIC Films Directors: Philippe Haim, Oliver Hirschbiegel CONAN THE BARBARIAN Wig/Hair Designer Lionsgate Director: Marcus Nispel WE BELIEVED Hair Designer Palomar Director: Mario Martone David di Donatello Award - Won - Best Hair Design/Styling VEDA – ATATÜRK Wig/Hair Designer Kamera Film Director: Zülfü Livaneli IO, DON GIOVANNI Wig/Hair Designer Edelweiss Cinematografica, Lucky Red Director: Carlos Saura IL DIVO Wig/Hair Designer Indigo Film, Lucky Red Director: Paulo Sorrentino Academy Award - Nominee - Best Achievement In Make-Up David di Donatello Award - Best Hair Design/Styling 2061 Wig/Hair -
The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
Debordements 1.Pdf
DÉBORD EMENTS _1.PDF DÉBORDEMENTS _1.PDF P. 1 ÉDITO Pendant neuf ans, sans nous en douter, nous avons vécu dans l'erreur. Dès sa fondation, Débordements s'est en effet pensé comme écrit par Romain Lefebvre une revue. Or, surprise : nous renseignant l'année dernière sur une aide aux revues de cinéma auprès d'une institution dont l'acronyme compte trois lettres, une voix aimable et compatissante nous informait que nous ne pouvions pas y prétendre pour la bonne raison que nous ne sommes pas une revue. Nous sommes, selon les critères en vigueur, un blog. Un vilain petit blog. La réunion et la ténacité des plumes, la cohérence des choix, la qualité des textes ne sont pas en l'affaire les éléments déterminants. Une revue se reconnaît en effet à des signes sans équivoques, impartiaux : elle fleurit de manière périodique (la régularité n'étant pas la périodicité), et ses textes poussent en bouquet au lieu d'être semés anarchiquement au gré des jours. "Débordements, le blog" : voilà des mots qui auront hanté nos nuits, entâchant d'infâmie nos illusions de grandeur. Il faut pourtant remercier aujourd'hui la voix compatissante : c'est en partie grâce à elle que le document présent a vu le jour. Il n'y a rien dans ce PDF et dans ceux qui suivront mois après mois que vous ne trouverez en ligne. Et pourtant, il opère une transsubstantiation : par le caractère mensuel, par la mise en grappe des textes, il fait de Débordements une revue. Au-delà de cette controverse de nature, la réunion des textes a un autre effet : elle tranche avec leur éparpillement sur le site, à travers différentes rubriques comportant chacune, malgré nos désirs de passages, leurs propres temporalités : on n'y mélange pas les critiques et la recherche, or les deux, et bien d'autres choses, constituent la revue (et on s'est déjà demandé plus d'une fois quelle rubrique serait la plus appropriée pour tel ou tel texte). -
The Jungle As Border Zone: the Aesthetics of Nature in the Work of Apichatpong Weerasethakul Boehler, Natalie
www.ssoar.info The jungle as border zone: the aesthetics of nature in the work of Apichatpong Weerasethakul Boehler, Natalie Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Boehler, N. (2011). The jungle as border zone: the aesthetics of nature in the work of Apichatpong Weerasethakul. ASEAS - Austrian Journal of South-East Asian Studies, 4(2), 290-304. https://doi.org/10.4232/10.ASEAS-4.2-6 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de Diese Version ist zitierbar unter / This version is citable under: https://nbn-resolving.org/urn:nbn:de:0168-ssoar-286944 ASEAS 4(2) Aktuelle Südostasienforschung / Current Research on South-East Asia The Jungle as Border Zone: The Aesthetics of Nature in the Work of Apichatpong Weerasethakul Natalie Boehler1 University of Zürich, Switzerland Citation Boehler, N. (2011). The Jungle as Border Zone: The Aesthetics of Nature in the Work of Apichatpong Weera- sethakul. ASEAS - Austrian Journal of South-East Asian Studies, 4(2), 290-304. In Thai cinema, nature is often depicted as an opposition to the urban sphere, forming a contrast in ethical terms. This dualism is a recurring and central theme in Thai representations and an impor- tant carrier of Thainess (khwam pen Thai). -
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 -
Cultural Contact Point Serbia Office Ministry of Culture and Media of The
Cultural Contact Point Serbia Office Ministry of Culture and Media of the Republic of Serbia YUropa Conference & Šporet Workshops 11th – 14th Septembar 2013 September 11th The Cultural Centre of Belgrade / KCB — ARTGET Gallery 6, Knez Mihailova Street Balkan-Arab Exchange Platform Roberto Cimetta Fund and Cultural Contact Point Serbia Office with the support of the Ministère de la Culture et de la Communication de la République Française and Institut français de Serbie 14.00 – 19.00 Enlightening hidden passes: the reality of cultural mobility between Balkans, Europe and the Arab world Welcome words Angie Cotte, General Secretary RCF Lola Joksimović, Head of office CCP Introductory word Encounter of two “diverse” world cultural regions Prof. Dr Milena Dragićević-Šešić, UNESCO Chair for Cultural Policy and Management/ University of Arts in Belgrade Ferdinand Richard, Chairman of the Roberto Cimetta Fund Jean-Luc Goester, Cultural Counselor & Director of the Institut français de Serbie Nicolaus Keller, Director, Austrian Cultural Forum Belgrade, President EUNIC Participating experts from Arab countries: ABI AZAR Lamia [Zoukak Theatre Company] Lebanon • ACHOUR Lotfi, Theatre Director, Tunisia / France • BOUDOU Karima, Curator [L’Appartment 22] Rabat, Morocco • EVAZZADEH Vahid, Theatre Director [Goossun Art-illery] Iran / Denmark • MARTHA Samar, Director [Art School] Palestine • SALEM Alma, Programme Manager for the Arts [British Council] Beirut, Lebanon • SALIH Kamel, Director [Pop in Djerba] Tunisia • SOLIMAN Abeer, Writer and Project manager -
NEON BULL a Film by Gabriel Mascaro
NEON BULL A film by Gabriel Mascaro Official Selection, 2016 New Directors/New Films Horizons (Orizzonti) Special Jury Prize, 2015 Venice Film Festival Official Selection, 2015 Toronto International Film Festival 2015 / Brazil/Uruguay/Netherlands / 101 min. / Color / In Portuguese w/ English subtitles Press materials: www.kinolorber.com Distributor Contact: Publicist Contact: Kino Lorber Susan Norget Film Promotion 333 W. 39th Street Susan Norget/Keaton Kail New York, NY 10018 [email protected] Rodrigo Brandao [email protected] [email protected] (212) 431-0090 Synopsis: Iremar works at the Vaquejadas, a rodeo in the north east!of Brazil where two men on horseback try to bring down!a bull by grabbing its tail. It’s dusty and back-breaking work, but Iremar is a natural ‘Vaqueiro’, feeding, prepping and taking care of the bulls. Home is the truck used to transport the animals from show!to show, which he shares with his co-workers; Galega, an exotic dancer, the truck driver and mother to the young & spirited Cacá, and Zé, his rotund compadre in the bullpen. Together they form a makeshift but close-knit family. But Brazil and the Northeast are changing and the region’s booming clothing industry has stirred new ambitions in Iremar. Swinging in his hammock in the back of the truck, his head!is filled with dreams of pattern cutting, sequins and exquisite fabrics as he mentally assembles elaborate new fashion designs... About Director Gabriel Mascaro: Gabriel Mascaro (born 1983) is a filmmaker and visual artist from Recife, Brazil. His first feature film, VENTOS DE AGOSTO (AUGUST WINDS), premiered in competition at Locarno in 2014 and was awarded with a special mention.