Median, Most Notably Appearing in the Comedy Series Danish Dynamite
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Asta Wellejus Has 19 Years of Experience As a Cross-Media Director and Producer
Asta Wellejus – interactive director and producer, digital pioneer Summary: Asta Wellejus has 19 years of experience as a cross-media director and producer. CEO and founder of Die Asta Experience Aps., former CEO and co-founder of Zentropa Interaction Aps. and Zentropa Works Aps. Asta Wellejus b. 1973 Asta Wellejus was headhunted by Lars von Trier in 1997 to develop new ways of combining film, theater, roleplaying and games, Asta co-founded Zentropa Interaction in 1999, producing interactive formats (Films, Games, ARG´s, Alternate Launch, Exhibition, Roleplays etc.). In 2007 she founded ”Die Asta Experience" to focus internationally on digital interactive media and audience participation. Markets; Broadcast/ film, NGOS, brands, games, attractions and experimental art. She has produced 30+ interactive formats, from ARG´s for Lars von Trier’s/ Thomas Vinterberg’s titles, to the North Sea museum, transforming the whole attraction into an interactive experience on mobile, games, interactive films, web, installations and augmented reality with a budget of 54 mill. DDK, to the Globe in COP15, on mobile, web and physical installation on the central square, where more than 10.000.000+ users joined the virtual global demonstration. She has developed and produced the National Museums permanent exhibition Brede Værk, with interactive cinemas onsite and online, interactive tickets and physical installations. She has been a mentor in Swedish/ Danish transmedia project SWIM running from 2013-2014, and has been a member in the Digital Emmy jury for factual content. She has been an expert in SOLID; the recent programme from Shareplay/ Interactive Denmark, mentoring companies in digital content, made for web (MFW) and business cases, for example the Sun Creature Studio from Viborg. -
Stories, Style & Radicalization
Stories, Style & Radicalization A Cultural and Narrative Criminological Study of Jihadi Propaganda Magazines Hans Myhre Sunde Master’s Thesis in Criminology Faculty of Law Department of Criminology and Sociology of Law UNIVERSITY OF OSLO May 22 nd 2017 ii Stories, Style & Radicalization A Cultural and Narrative Criminological Study of Jihadi Propaganda Magazines iii © Hans Myhre Sunde 2017 Stories, Style & Radicalization: A Cultural and Narrative Criminological Study of Jihadi Propaganda Magazines Hans Myhre Sunde www.duo.uio.no . Printed: Grafisk Senter, Oslo, www.grafiske.as iv ABSTRACT Title: Stories, Style & Radicalization : A Cultural and Narrative Criminological Study of Jihadi Propaganda Magazines Author: Hans Myhre Sunde Supervisor: Sveinung Sandberg Department of Criminology and Sociology of Law Faculty of Law University of Oslo Spring 2017 Stories, style and radicalization are all tired together in an intricate and complex relationship constructed within the jihadi terrorist subculture. This study is an in-depth inquiry into the jihadi propaganda magazines Inspire, Dabiq and Rumiyah that aim to highlight this relationship . The full catalogue of magazines produced, at the time, have been analysed under the scope of cultural and narrative criminology. In total 2001 pages distributed over 32 editions have been analysed using qualitative document analysis. By drawing upon frameworks of narrative and cultural criminology, this study aims to identify and present what is characteristic for jihadi narratives and subcultural style, and how they can function in radicalization. Narrative criminological research operates with stories as their main data, and view them as constitutive of crime. The stories people tell, shape their lives and constitute future behaviour. The narratives told can instigate, sustain or leave crime behind. -
Pernille Fischer Christensen
A FAMILY EEN FILM VAN Pernille Fischer Christensen WILD BUNCH HAARLEMMERDIJK 159 - 1013 KH – AMSTERDAM WWW.WILDBUNCH.NL [email protected] WILDBUNCHblx A FAMILY – Pernille Fischer Christensen PROJECT SUMMARY Een productie van ZENTROPA Taal DEENS Originele titel EN FAMILIE Lengte 99 MINUTEN Genre DRAMA Land van herkomst DENEMARKEN Filmmaker PERNILLE FISCHER CHRISTENSEN Hoofdrollen LENE MARIA CHRISTENSEN (Brothers, Terribly Happy) JESPER CHRISTENSEN (Melancholia, The Young Victoria, The Interpreter) PILOU AESBAK (Worlds Apart) ANNE LOUISE HASSING Release datum 4 AUGUSTUS 2011 DVD Release 5 JANUARI 2012 Awards/nominaties FILM FESTIVAL BERLIJN 2010 NOMINATIE GOUDEN BEER WINNAAR FIPRESCI PRIJS Kijkwijzer SYNOPSIS Ditte Rheinwald vertegenwoordigt de jongste generatie van de beroemde Deense bakkersfamilie. Haar eigen dromen en ambities zijn echter anders dan die van haar familie. Als ze een droombaan bij een galerie in New York krijgt aangeboden, besluit ze samen met haar vriend Peter de kans aan te grijpen. De toekomst lijkt stralend, het leven vrolijk en simpel. Maar dan wordt Ditte’s charismatische vader Rikard, meesterbakker en hofleverancier, ernstig ziek. Als Rikard eist dat zij de leiding overneemt van het familiebedrijf, raakt haar hele leven uit balans. Plotseling is het leven niet meer zo simpel. CAST Ditte Lene Maria Christensen Far Jesper Christensen Peter Pilou Asbæk Sanne Anne Louise Hassing Chrisser Line Kruse Line Coco Hjardemaal Vimmer Gustav Fischer Kjærulff CREW DIRECTOR Pernille Fischer Christensen SCREENWRITERS Kim Fupz -
Festival Speciale Direttore Responsabile: Paola Cristalli
festival Speciale Direttore responsabile: Paola Cristalli. Direzione culturale: Cineteca di Bologna. Coordinamento redazionale: Mauro Bonifacino, Alessandro Cavazza, Valeria Dalle Donne, Andrea Meneghelli, Sandro Toni. Collaboratori: Roberto Benatti, Guy Borlée, Alberto Boschi, Michele Canosa, Rinaldo Censi, Luisa Ceretto, Filippo D’Angelo, Gualtiero De Marinis, Anna Di Martino, Anna Fiaccarini, Vittoria Gua- landi, Franco La Polla, Loris Lepri, Andrea Maioli, Giacomo Manzoli, Nicola Mazzanti, Roy Menarini, Patrizia Minghetti, Andrea Morini, Francesco Pitassio, Paolo Simoni, Angela Tromellini, Romano Zanarini. Edizione on-line: Alessandro Cavazza. Grafica: Studio Kuni. Composizione e stampa: Linosprint - Tipografia Moderna. Proprietà: Cineteca di Bologna (aut. Trib. N. 5243 del 14-2-1985) - Presi- dente: Giuseppe Bertolucci. Direttore: Gian Luca Farinelli. Consiglio d’amministrazione: Giuseppe Bertolucci, Francesco Arnone, Gian Piero Brunetta, Alberto Clò, Marco Sermenghi. festival mostra delle scuole europee di cinema - 6a edizione visioni italiane - 10a edizione esordire al Cinema premio luca de nigris “È ora di fare cinema” Bologna Venerdì 21 – Mercoledì 26 novembre 2003 festival Con il contributo di Foto in copertina da destra a sinistra: Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema RECONSTRUCTION (Danimarca/2003) di Christoffer Boe (© Linn Sandholm) Assessorato alla Cultura della Regione Emilia-Romagna COMING HOME (Gran Bretagna/2003) di Gemma Carrington Emilia-Romagna Film Commission FINO A CHE -
Programme Notes
Programme Notes Monday 9th August 7.30pm Another Round (Druk) (15) In this highly enjoyable award-winning Danish film, four middle-aged men deal with life’s disappointments by experimenting with alcohol, with mixed results. Faced with stale careers as teachers, failing marriages and mid-life crisis, Martin, Tommy, Nikolaj and Peter decide to try out a pseudo-scientific theory – that people’s lives can be improved by maintaining a low level of alcohol in their system at all times. Taking the project seriously, the friends set themselves strict rules and conduct research into how many successful public figures were habitual drinkers. Initially, they find that sipping during the day and sustaining a low-level of alcohol in the workplace makes them more relaxed, happier and self-confident. But when they start to pursue the idea further, are the risks of the intoxicating social experiment worth taking? Another Round is the latest collaboration between director Thomas Vinterberg, co-writer Tobias Lindholm and Mads Mikkelsen, who plays Martin. In 2012 the trio made The Hunt, an award-winning film which in which Mikkelsen played a kindergarten teacher wrongly accused of being a paedophile. In the hands of many directors Another Round could easily have descended into an absurd broad comedy or a tedious polemic about alcoholism. But Vinterberg avoids the pitfalls of both – he never makes fun of his protagonists and the story makes it clear that drinking can bring pleasure as well as pain. Mikkelsen, always an exceptional actor, is perfection throughout, brilliantly but subtly showing Martin’s transition from depression to rejuvenation – and then beyond. -
“Aspects of Danish Cinema”
Programme of Danish Film Screenings at the Danish Institute at Athens 2018 “Aspects of Danish Cinema”. By Ioanna Athanassatou/Film Historic at the Greek Open University & the University of Athens Screening on the 26th of April 2018 Silent heart (2014) by Bille August In film screening programme of the last 2 years, we have had the chance to see I line of Danish movies from Carl Dreyer, Lars von Trier, Susanne Bier and Thomas Vinterberg. Today we have chosen to screen “Silent heart” - in Danish ”Stille hjerte” and in Greek “Αθόρυβη καρδιά” (2014) by Bille August, the fourth movie this year. Bille August is considered the total opposite to Lars Von Trier and Vinterberg with a great international reputation. The filmography of Bille August includes two movies that both were awarded with the Golden Palms in Cannes: “Pelle the Conqueror” (1988) and “The best intentions” (1992). In these movies, including today´s, the director is closer to the cinematic perception of Swedish director Ingmar Bergman (Valoukos 2003, page 630), avoiding formalistic searching, but focusing on the mental state of his heroes. When August directed the movie in 2014, he was inspired by the Scandinavian drama of Ibsen and Strindberg, but also by the philosophic/religious meditation of Søren Kierkegaard. “Silent heart” touches upon the very complex and emotional issue of euthanasia. It was awarded at International festivals and was admitted at the European Art House. The movie is about the family gathering of three generations, coming together for the weekend inorder to say their last goodbye to Esther (Ghita Nørby) – mother and grandmother – who is sick from the incurable disease, Amyotrophic Lateral Sclerosis. -
Family in Films
Travail de maturité – ANGLAIS Sujet no 13 Family in Films “All happy families are all alike; every unhappy family is unhappy in its own way.” Anna Karenina, Leon Tolstoy. Whether dysfunctional, separated by exile, torn apart by history, laden with secrecy, crazy, loving, caring, smothering - and even perhaps happy, family is an endless source of investigation about human relations and social groups. In this research paper, you will be able to question Leon Tolstoy’s statement and explore how films envision new and older forms of families. Some examples of films relevant to this research paper: Festen (Thomas Vintenterberg, 1998) Parasite (Bong Joon-ho, 2019) L’Heure d’été (Olivier Assayas, 2008) Family Romance, LLC (Werner Herzog, 2019) Un conte de Noël (Arnaud Desplechin, Crooklyn (Spike Lee, 1994) 2008) Sorry, We Missed You (Ken Loach, 2019) La Fête de famille (Cédric Kahn, 2019) I, Daniel Blake ( Ken Loach, 2016) After the Storm (海よりもまだ深く, Umi yori Jungle Fever (Spike Lee, 1991) mo mada fukaku, Hirokazu Rodinný Film (Family Film, Olmo Omerzu, Kore-eda, 2016) 2015) Nobody Knows (誰も知らない, Dare mo So Long My Son (地久天长, Di jiu tian chang shiranai, Hirokazu Kore-eda, Wang Xiaoshuai, 2019) 2004) Still Life (三峡好人, Sānxiá hǎorén, Jia Like Father, Like Son (そして父になる, Zhangke, 2006) Soshite chichi ni naru, Hirokazu Amreeka (Cherien Dabis, 2009) Kore-eda, 2013) Tokyo Sonata (Kiyoshi Kurosawa, 2008) Our Little Sister (海街diary, Umimachi American Beauty (Sam Mendes, 1999) Diary, Hirokazu Kore-eda, 2015) The Royal Tenenbaums (Wes Anderson, Still Walking -
Gendered Mobility, Legacy and Transformative Sacrifice in the Screen Stories of Susanne Bier
Networking Knowledge Position-in-frame (Jun. 2017) Position-in-frame: gendered mobility, legacy and transformative sacrifice in the screen stories of Susanne Bier. CATH MOORE, Deakin University ABSTRACT An integral connection point between the screenplay and reader/viewer is the protagonist’s transformative journey. The construction of this narrative backbone is critical to the articulation of overarching thematic concerns and story premise but also reflects the story creator’s worldview- one often coloured by representations of gender. The Hollywood model certainly divides narrative function along gender lines but does this representation hold true within a different cultural context? This article examines the selected screen stories of Danish director Susanne Bier whose partnership with screenwriter Anders Thomas Jensen is one of Denmark’s most successful film partnerships. Employing a case study methodology I examine the dramatic function of and agency afforded screen characters and the critical dynamic between cultural landscape, practitioner preference and narrative inquiry. Key to this address is an exploration of mobility, legacy and sacrifice as textual considerations of gender and its utilisation as transnational narrative strategy. KEYWORDS Transnational, mobility, transformative, collaboration, gaze Refocusing a masculinised gaze? With persistent ubiquity Hollywood continues to cast a dominant shadow over much of the global film & TV landscape. Similarly pervasive is the figurehead of such industrial influence - the male protagonist -
In Another Country
Presents IN ANOTHER COUNTRY A Kino Lorber Release 333 West 39 Street, Suite 503 New York, NY 10018 (212) 629-6880 www.kinolorber.com Press Contacts: Rodrigo Brandão – [email protected] Matt Barry – [email protected] SYNOPSIS A young film student and her mother run away to the seaside town of Mohang to escape their mounting debt. The young woman begins writing a script for a short film in order to calm her nerves. Three women named Anne appear, and each woman consecutively visits the seaside town of Mohang. The first Anne is a successful film director. The second Anne is a married woman secretly in an affair with a Korean man. The third Anne is a divorcee whose husband left her for a Korean woman. A young woman tends to the small hotel by the Mohang foreshore owned by her parents. A certain lifeguard can always be seen wandering up and down the beach that lies nearby. Each Anne stays at this small hotel, receives some assistance from the owner’s daughter, and ventures onto the beach where they meet the lifeguard. Technical Information: Country: South Korea Language: English and Korean w/English subtitles Format: 35mm Aspect Ratio: 1.85:1 Sound Dolby: SRD Running Time: 89 min CREW Written and Directed By Hong Sang-soo Producer ― Kim Kyounghee Cinematography ― Park Hongyeol, Jee Yunejeong Lighting ― Yi Yuiheang Recording ― Yoon Jongmin Editor ― Hahm Sungwon Music ― Jeong Yongjin Sound ― Kim Mir CAST Anne ― Isabelle Huppert Lifeguard ― Yu Junsang Womu ― Jung Yumi Park Sook ― Youn Yuhjang Jongsoo ― Kwon Hyehyo Kumhee ― Moon Sori A Kino Lorber Release HONG SANG-SOO Biography Hong Sang-soo made his astounding debut with his first feature film The Day a Pig Fell Into a Well in 1996. -
Festival Centerpiece Films
50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E. -
Reserve Forces Review 2030 Unlocking the Reserves’ Potential to Strengthen a Resilient and Global Britain
Reserve Forces Review 2030 Unlocking the reserves’ potential to strengthen a resilient and global Britain May 2021 Contents Executive summary 7 Reserve Forces Review 2030 recommendations 11 Chapter 1 – Context and the imperative for change 15 Chapter 2 – Redefining the relationship between the reserves and society 25 Chapter 3 – Expanding the role of the reserves 43 Chapter 4 – Unlocking the potential of reservists 55 Chapter 5 – Transforming support to the reserves 73 Engagement log 88 Glossary 102 Reserve Forces Review 2030 3 4 Reserve Forces Review 2030 Foreword Brigadier The Rt Hon The Lord Lancaster TD VR When the Chief of the Defence Staff asked me to chair an independent review into the reserve forces, I leapt at the opportunity. For over 32 years, the Army Reserve has been an integral part of my life and perhaps the one constant of my adult years. Like many fellow reservists, my service has been part of a fairly consistent juggling act between the competing demands of a hectic professional career, private life and soldiering. In writing this foreword I recognise that so much has changed. Rather than looking ‘down and in’ at the use of The reserves have evolved from almost entirely reserves by the single services, we have been contingent forces – that trained at weekends tasked with looking ‘up and out’. and annual camps, recruited locally, and were At its heart, this Reserve Forces Review 2030 encapsulated by names such as ‘Territorial (RF30) is about people and skills, and how Army’ and ‘Royal Auxiliary Air Force’ – to the Defence, industry, government and wider reserve forces we have today across all three society can share them. -
Activity Results for 2019
ACTIVITY RESULTS FOR 2019 Created in 1989, Eurimages is the Council of Europe Fund for the support of co-production, distribution and exhibition of international cinematographic works. With the accession of Montenegro and the second non-member state of the Council of Europe, Argentina, the Fund brought together 40 countries as of December 2019. The Fund is governed by a Board of management composed of national representatives of the member States. Since 1 January 2017, this Board has been chaired by Catherine Trautmann. SOME KEY FIGURES In 2019, the total amount of support granted in the various programmes amounts to 20.8 million euros. ▪ 78 co-productions supported out of 194 eligible projects (selection rate of 37.6%) Co-production 90.3% €18 795.9 K ▪ Average amount of €257.5 K granted to each supported project ▪ 92 payment requests supported for marketing and publicity expenses Distribution 3.1% €638.9 K ▪ 20 payment requests (22%) for Eurimages films (€129.4 K) ▪ 72 exhibitors supported for their programming of films (out of the 75 in the network) Cinemas 3.2% €670.7 K ▪ Bonus of €57.5 K awarded for Eurimages films ▪ Bonus of €15.8 K awarded for films directed by women ▪ 10 co-production development prizes worth €20 K (fiction) & €15 K (documentary) ▪ 4 "Lab Project" prizes for innovative projects worth €50 K. Promotion 3.0% €621.6 K ▪ 1 co-production prize awarded in association with the Academy of European Cinema ▪ Cooperation and presence in the main international festivals ▪ 1 Audentia prize awarded to a female director to promote the role of women Gender equality 0.4% €86.2 K ▪ Awareness-raising activities to promote equality between women and men TOTAL 100% €20 815.3 K AWARDS AND NOMINATIONS FOR FILMS SUPPORTED BY EURIMAGES In 2019, 55 films supported by Eurimages received a total of 46 awards and 76 nominations at major international film festivals.