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A Cinema Guild release 2018 / 188 minutes / 2.39:1 / DCP Dolby Digital 5.1 / Turkish PRESS BOOKING Adam Walker Tom Sveen Film Forum, 212.627.2035 Cinema Guild [email protected] [email protected] The Cinema Guild, Inc. 2803 Ocean Ave Brooklyn, NY 11229 Tel: (212) 685-6242, Fax: (212) 685-4717 www.cinemaguild.com Press Materials: http://www.cinemaguild.com/theatrical/wildpeartree_press.htm SYNOPSIS Sinan (Aydin Doğu Demirkol), an aspiring writer, returns home after university hoping to scrape together enough money to publish his first novel. He wanders the town encountering old flames and obstinate gatekeepers and finds his youthful ambition increasingly at odds with the deferred dreams of his gambling- addict father (Murat Cemcir). As his own fantasies mingle with reality, Sinan grapples with the people and the place that have made him who he is. Following in the great tradition of family dramas like Death of a Salesman and Long Day’s Journey Into Night, The Wild Pear Tree weaves an evocative tale of creative struggle and familial responsibility with inspired performances, sumptuous imagery and surprising bursts of humor. It’s one of Ceylan’s most personal works to date, a film as rich, layered and uncompromising as the novel its headstrong hero is working to publish. DIRECTOR’S NOTE To make contact with other entities, every person has to reach out of their sheltered cave and take a certain amount of risk. If one reaches out too much and goes too far, one may lose their own orientation, their own identity. And if one fears this too much, one will start refusing to reach out, restrain themselves and retreat, in turn suspending their own growth and development. -
One Day When Women Can Demand Anything
MARCH | 2007 | issue # 03 www.passportmagazine.ru Paradigm Shift for doing buSiness in russia iStanbul through russian eyeS one day when women can demand anything contents. Publisher’s Letter 2 reaL esTaTe wine & dine The bottom Line New international dimension Thomas Koessler 36-37 Foreign Passport holders to Moscow’s leading residential realtor 26 A Very Special 8th of March Recipe should read this! 4 for the Ladies 38 Editor’s Choice 6 Novikov’s latest creation stimulates What’s On in Moscow in February 8-9 palate 39 Moscow Museums and Galleries 10 Kids ‘n’ Culture 11 Venues 11 Cover sTory Serviced Apartments grow in number and variety as an alternative to Moscow Hotels 28-29 feaTure Asian Fusion Match 40-43 Asian Fusion 44 CommuniTy Toys for Nostalgia 50 One day when women Postcard from Belarus 50 can demand anything 12-15 Mac vs PC (Or Soar with the Eagles) 51 business Community listing 52 Leaders & Changes 16 Distribution list 53 Paradigm Shift for doing business ouT & abouT in Russia 17-19 Forum to highlight Russia-Singapore business ties 20 From the primordial religion of the great arT hisTory mother to sacred contemporary The silver age of russian art in the oriental art 30-31 pre-soviet period 21 Fighting Fit 32 TraveL performing arT Johnnie Walker Black Label Black Ball 54 Dancing the night away 54 CERBA & Russo-British joint meeting 55 IWC Evening of Excellence raises cash for charity 55 The LasT word Istanbul through russian eyes 22-25 80 Years Young 34-35 Eric Kraus 56 PASSPORT | MARCH | 2007 | issue # 03 .letter from the -
The Big World – Reha Erdem and the Magic of Cinema
Markets, Globalization & Development Review Volume 2 Article 8 Number 2 Popular Culture and Markets in Turkey 2017 The iB g World – Reha Erdem and the Magic of Cinema Andreas Treske Bilkent University Follow this and additional works at: http://digitalcommons.uri.edu/mgdr Part of the Film and Media Studies Commons, and the Sociology Commons Recommended Citation Treske, Andreas (2017) "The iB g World – Reha Erdem and the Magic of Cinema," Markets, Globalization & Development Review: Vol. 2: No. 2, Article 8. DOI: 10.23860/MGDR-2017-02-02-08 Available at: http://digitalcommons.uri.edu/mgdr/vol2/iss2/8http://digitalcommons.uri.edu/mgdr/vol2/iss2/8 This Media Review is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Markets, Globalization & Development Review by an authorized editor of DigitalCommons@URI. For more information, please contact [email protected]. This media review is available in Markets, Globalization & Development Review: http://digitalcommons.uri.edu/mgdr/vol2/iss2/8 The iB g World – Reha Erdem and the Magic of Cinema Andreas Treske Abstract Reha Erdem’s latest film Big Big World (Koca Dünya) was selected for the “Horizons” (“Orizzonti”) section at the 73rd Venice International Film Festival in 2016 and won a prestigious special jury award. The eV nice selection is standing for a tendency to hold on, and celebrate the so-called “World Cinema” along with Hollywood blockbusters and new experimental arthouse films in a festival programming mix, insisting to stop for a moment in time a cinema that is already on the move. -
Antiochia As a Cinematic Space and Semir Aslanyürek As a Film Director from Antiochia
Antiochia As A Cinematic Space and Semir Aslanyürek as a Film Director From Antiochia Selma Köksal, Düzce University, [email protected] Volume 8.2 (2020) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2020.279 | http://cinej.pitt.edu Abstract This study will look at cinematic representation of Antiochia, a city with multiple identities, with a multi- cultural, long and deep historical background in Turkish director Semir Aslanyürek’s films. The article will focus on Aslanyürek’s visual storytelling through his beloved city, his main characters and his main conflicts and themes in his films Şellale (2001), Pathto House (2006), 7 Yards (2009), Lal (2013), Chaos (2018). Semir Aslanyürek was born in Antiochia in 1956. After completing his primary and secondary education in Antiochia (Hatay), he went to Damascus and began his medical training. As an amateur sculptor, he won an education scholarship with one of his statues for art education in Moscow. After a year, he decided to study on cinema instead of art. Semir Aslanyürek studied Acting, Cinema and TV Film from 1980 to 1986 in the Russian State University of Cinematography (VGIK), Faculty of Film Management, and took master's degree. While working as a professor at Marmara University, Aslanyürek directed feature films and wrote many screenplays. This article will also base its arguments on Aslanyürek's cinematic vision as multi-cultural and as a multi- disciplinary visual artist. Keywords: Antiochia; cinematic space; blind; speechless; war; ethnic conflicts; Semir Aslanyürek New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
5282-2-Yonetmenler-Filmler-Olkeler-2-Atilla Dorsay-1989-344S.Pdf
ATILLA DORSA Y * YÖNETMENLER, FILMLER, OLKELER- 2 Bilgi Dizisi : 20 Varlık Yayınları, Sayı : 27 İlk basım : 1988 ISBN 975 - 434- 009 - 9 VARLIK YAYlNLARI A.Ş. Cağaloğlu Yokuşu 40/2, İstanbul ATILLA OORSAY YÖNETMENLER, FİLMLER, ÜLKELER- 2 •v.��ınlan SUNUŞ cYönetmenler, Filmler, Ülkeler» adlı kitabım oldukça ilgi görmüş ve kısa zamandır tükenmişti. (Yeni basımı önümüzdeki yayım yılında çıkacak). O kitabın önsözünde de bir tür cvaad» olarak ikinci ciltten söz etmiş ve ilk cildin içerdiği ülkelerin dışında kalan sinemalara ·ve yönetmeni ere, bir ikinci cil tt e yer verileceğini duyurmuştum. İşte başka çalışmaların ön plana geç mesi yüzünden geciken bu ikinci cilt, şimdi elinizde... İlk cildin önsözünde değinmiş olduğum gibi, sinemada önem li, yaratıcı yönetmen, cauteur» kavramı bir olgu... Ancak ne denli kişisellik taşıyan bir sanatçı olsa da, yönetmenin de belli bir toplumdan, o toplumun kendine özgü koşullarından süzülüp geldiği de bir diğer gerçek ... Bu iki olgunun ışığında, bu kitap da, ilki gibi, öncelikle ülkelere ve ulusal sinemalara göre, ama onların içinde yer alan önemli yönetmeniere inerek düzenlendi. Bu ikinci ciltte önce Fransız sineması yer alıyor ve önemi oranında geniş bir yer k.a.plıyor. Bundan sonra 1960 sonlarından itibaren filizlenen Genç Alman Sineması, iki yönetmeniyle bir likte tanıtılıyor. Üçüncü bölüm, özellikle günümüzde yeniden önem kazanan ve sinema dünyasının ön planına geçen Sovyetler sineması. .. Son bölüm ise, Avrupa Sosyalist Ülkeler Sinemaları üzerine ... Bu bölümde, Çek, Polanya, Macar, Romen ve Yugos lav sinemaları ve ünlü yönetmenleri tanıtılıyor. Her bölümün kendi içindeki bölümlenmesi, bölüm başların da ve nedenleriyle birlikte açıklanıyor. Önemli akımlara (Yeni Dalga, Genç Alman Sineması, Sovyetler sinemasında yeni çıkış lar gibi) ve ulusal sinemalara (Macar, Polanya, Yugoslavya si nemaları vs.) değinen yazılar ya zamanında ya da bu kitap için günümüzde yazılmış.. -
Cinema and Politics
Cinema and Politics Cinema and Politics: Turkish Cinema and The New Europe Edited by Deniz Bayrakdar Assistant Editors Aslı Kotaman and Ahu Samav Uğursoy Cinema and Politics: Turkish Cinema and The New Europe, Edited by Deniz Bayrakdar Assistant Editors Aslı Kotaman and Ahu Samav Uğursoy This book first published 2009 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2009 by Deniz Bayrakdar and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-0343-X, ISBN (13): 978-1-4438-0343-4 TABLE OF CONTENTS List of Images and Tables ......................................................................... viii Acknowledgements .................................................................................... ix Preface ........................................................................................................ xi Introduction ............................................................................................. xvii ‘Son of Turks’ claim: ‘I’m a child of European Cinema’ Deniz Bayrakdar Part I: Politics of Text and Image Chapter One ................................................................................................ -
The Birth of the Municipality of Ramallah, Which Is Now Celebrating Its Centennial Anniversary, Was in the Year 1908
The birth of the Municipality of Ramallah, which is now celebrating its centennial anniversary, was in the year 1908. The Centennial Celebration will not only be limited to the Municipality but will extend to include the whole of the city, whose age is much greater. The Ramallah Municipality Centennial Project 2008-2010 The birth of the Municipality of Ramallah, which is now celebrating its centennial anniversary, was in the year 1908. The centennial celebration will not only be limited to the municipality but will extend to include the whole of the city, whose age is much greater. The municipal council recognised that its centennial could be an opportunity to highlight the city of Ramallah as a distinct Palestinian city – politically, economically, and culturally – and to invite tourism and investors. Work on the Municipality of Ramallah Centennial Project began with efforts to put the city on the world map. To achieve the goal of transforming Ramallah into a model city in the region, and a city of international calibre, it was imperative that Ramallah experiences a comprehensive renaissance. This renaissance intersects with the overall development plan of the Palestinian National Authority and serves to revive a city that has been deteriorating due to the effects of more than forty years of occupation. To achieve the dream, the municipality created a vision that addresses several tracks and covers all aspects of life. Each track includes ambitious projects and Programs that aim to transform Ramallah into a world-class city with distinction. This effort is closely linked to the municipality’s three- year strategic plan (2008–2010). -
Three Monkeys
THREE MONKEYS (Üç Maymun) Directed by Nuri Bilge Ceylan Winner Best Director Prize, Cannes 2008 Turkey / France/ Italy 2008 / 109 minutes / Scope Certificate: 15 new wave films Three Monkeys Director : Nuri Bilge Ceylan Producer : Zeynep Özbatur Co-producers: Fabienne Vonier Valerio De Paolis Cemal Noyan Nuri Bilge Ceylan Scriptwriters : Ebru Ceylan Ercan Kesal Nuri Bilge Ceylan Director of Photography : Gökhan Tiryaki Editors : Ayhan Ergürsel Bora Gökşingöl Nuri Bilge Ceylan Art Director : Ebru Ceylan Sound Engineer : Murat Şenürkmez Sound Editor : Umut Şenyol Sound Mixer : Olivier Goinard Production Coordination : Arda Topaloglu ZEYNOFILM - NBC FILM - PYRAMIDE PRODUCTIONS - BIM DISTRIBUZIONE In association with IMAJ With the participation of Ministry of Culture and Tourism Eurimages CNC COLOUR – 109 MINUTES - HD - 35mm - DOLBY SR SRD - CINEMASCOPE TURKEY / FRANCE / ITALY new wave films Three Monkeys CAST Yavuz Bingöl Eyüp Hatice Aslan Hacer Ahmet Rıfat Şungar İsmail Ercan Kesal Servet Cafer Köse Bayram Gürkan Aydın The child SYNOPSIS Eyüp takes the blame for his politician boss, Servet, after a hit and run accident. In return, he accepts a pay-off from his boss, believing it will make life for his wife and teenage son more secure. But whilst Eyüp is in prison, his son falls into bad company. Wanting to help her son, Eyüp’s wife Hacer approaches Servet for an advance, and soon gets more involved with him than she bargained for. When Eyüp returns from prison the pressure amongst the four characters reaches its climax. new wave films Three Monkeys Since the beginning of my early youth, what has most intrigued, perplexed and at the same time scared me, has been the realization of the incredibly wide scope of what goes on in the human psyche. -
REHA ERDEM FİLMLERİNDE “ERKEKLİK” ARKETİPLERİNİN YENİDEN ÜRETİMİ REPRODUCTION of the “MASCULINITY” ARCHETYPES in REHA ERDEM FILMS İlknur GÜRSES * Rifat BECERİKLİ **
Uluslararası Sosyal Araştırmalar Dergisi The Journal of International Social Research Cilt: 9 Sayı: 42 Volume: 9 Issue: 42 Şubat 2016 February 2016 www.sosyalarastirmalar.com Issn: 1307-9581 REHA ERDEM FİLMLERİNDE “ERKEKLİK” ARKETİPLERİNİN YENİDEN ÜRETİMİ REPRODUCTION OF THE “MASCULINITY” ARCHETYPES IN REHA ERDEM FILMS İlknur GÜRSES * Rifat BECERİKLİ ** Öz Arketipler, Jung’un tanımladığı hali ile kolektif bilinçdışımızda hareket halinde olan, dolaylı ya da doğrudan gündelik hayatlarımızı/bilincimizi yönlendiren arkaik imgelerdir. Freud’un bilinçaltı kavramından farklı olarak, kolektif bilinçdışı kişinin içinde hareket ettiği toplumun kültürel geçmişini ve kültürün ilişkiye geçtiği diğer tüm tarihsel bilişsel birikimi kapsamaktadır. Arketipler, kişilerden bağımsız ancak hayatlarına etki eden insanlık tarihinin kültürel yapıtaşlarındandır. Arketipler aracılığıyla kimliklerin, olguların nasıl bir yol izlediğini ve nelerin dönüştüğünü belirli kavramlarla incelemek mümkündür. Çalışmada, Reha Erdem’in yönettiği A Ay (1988), Kaç Para Kaç (1999), Korkuyorum Anne (2004), Beş Vakit (2006), Hayat Var (2008), Kosmos (2010), Jin (2013), Şarkı Söyleyen Kadınlar (2014) adlı filmlerindeki ana erkek karakterlerin öyküleri, erkeklik arketipleri bağlamında Jungçu bir yaklaşımla karakterlerin anlatı içerisindeki dönüşümleri doğrultusunda incelenecektir. Anahtar Kelimeler: Arketip, Sinema, Reha Erdem, Auteur, Erkeklik. Abstract Archetypes as Jung described, archaic images which are leading our lives directly or indirectly and continously moving in out collective unconsciousness. Apart from the Freud’s subconscious concept, collective unconsciousness covers the cultural history of the individuals live in and the whole cognitive accumulation which culture interacts. Archetypes are independent from the people but cultural milestones of history affect the people lives. With the help of the archetypes, it is possible to analyze through some terms that what kind of a way followed by the identities and facts and which are transformed. -
CLASSICAL MUSIC in CINEMA the Purpose of the Course Will Be To
CLASSICAL MUSIC IN CINEMA The purpose of the course will be to explore and understand the use of classical music in art movies starting with The Birth of a Nation in 1915 up until today. Films will be screened partially, and musical extracts will discussed. The 12 week lectures start with a historical introduction into the utilisation of classical music in the early era of cinema. Diegetic and non-diegetic music and their particular use will then be discussed. A discussion on the effect of leitmotivs and classical music as a device supporting the narrative will follow. After this three-week introduction, we will explore classical music used as leitmotiv and supporting narrative, then films on opera and opera in films, and the use of classical music in period movies. We will then examine the way how specific pieces of music have added to some of the greatest dramas and films of the past. Finally, the course will conclude with a discussion of auteur cinema and cover how seven essential directors have used music in their films; Bunuel, Bresson, Bergman, Pasolini, Kubrick, Godard, Tarkovsky and Fassbinder. Extracts from almost 100 films are intended to be shown and discussed. There will be no requirement for pre-lecture reading, screening or preparation. However, attendance will be obligatory, since grades will only be based on attendance, performance in class and homework in the form of essays. Screenings of assignments will be made in class. Week 1 (9 February 2015): General introduction Features D.W. Griffith’s The Birth of a Nation [1915] Sergei Eisenstein’s Battleship Potemkin [1925] Fritz Lang’s Metropolis [1927] David Lean’s Brief Encounter [1945] Giuseppe Tornatore’s Cinema Paradiso [1988] Luc Besson’s Leon [1994] Readings [None. -
Climates a Film by Nuri Bilge Ceylan
WINNER FIPRESCI PRIZE IN COMPETITION 2006 Cannes Film Festival climates a film by Nuri Bilge Ceylan A Zeitgeist Films Release climates a film by Nuri Bilge Ceylan Winner of the prestigious Fipresci Award at the 2006 Cannes Film Festival, CLIMATES is internationally acclaimed writer-director Nuri Bilge Ceylan’s sublime follow-up to his Cannes multi-award winner DISTANT. Beautifully drawn and meticulously observed, the film vividly recalls the cinema of Italian master Michelangelo Antonioni with its poetic use of landscape and the incisive, exquisitely visual rendering of loneliness, loss and the often-elusive nature of happiness. During a sweltering summer vacation on the Aegean coast, the relationship between middle-aged professor Isa (played by Ceylan himself ) and his younger, television producer girlfriend Bahar (the luminous Ebru Ceylan, Ceylan’s real-life wife) brutally implodes. Back in Istanbul that fall, Isa rekindles a torrid affair with a previous lover. But when he learns that Bahar has left the city for a job in the snowy East, he follows her there to win her back. Boasting subtly powerful performances, heart-stoppingly stunning cinematography (Ceylan’s first work in high definition) and densely textured sound design, CLIMATES is the Turkish filmmaker’s most gorgeous rumination yet on the fragility and complexity of human relationships. BIOGRAPHIES Nuri Bilge Ceylan (Isa / Director-Screenwriter) Since winning the Grand Prize at Cannes in 2003 for DISTANT (Uzak), Nuri Bilge Ceylan, the ‘Lone Wolf ’ of Turkish cinema, has been critically acclaimed for his spare and unaffected style of filmmaking, inviting comparisons to Tarkovsky, Bresson and Kiarostami. Humorous and masterful, his is a cinema that spans the modern experi- ence: examining rural life, relationships, masculinity, and urban alienation.