32 Participants

Total Page：16

File Type：pdf, Size：1020Kb

Foglio1 FIAF SUMMER SCHOOL 2010 PARTICIPANTS Xiaofei Bai Chinese China Film Archive- Beijing- China Chiara Caranti Italian Archivio della Cineteca di Bologna- Bologna- Italy Amy Damitz American UCLA Film Archive- Los Angeles- California eye Film Instituut Nederland- Amsterdam- The Tugba Dirama Akguc Turkish Netherlands National Film, Video and Sound Archives- Pretoria- Joseph Ndlole Dlamini South African South Africa German Andres Duarte Peñaranda Colombian Bauhaus Universitaet- Weimer- Germany Carolina Fenoll Espinosa Spanish Expociencia SL- Madrid- Spain Colm Forde Irish R.T.E. Film and Video Archive- Dublin- Ireland Netherlands Institute for Sound and Vision- Patricia Wilhelmina Gaetano Dutch Hilversum- The Netherlands Alberto Ghè Italian Technicolor- Burbank-CA Claudia Giordani Italian Archivio della Cineteca di Bologna- Bologna- Italy Matthieu Grimault French Cinematheque Francaise- Paris- France Filmarchive Austria/Austrian Film Museum- Wien- Bernhard Hochenauer Austrian Austria Mania Karim Masihi Iranian University of Bologna- Bologna- Italy Matthieu Larroque French Cinematheque de Toulouse- Toulouse- France Lorenzo Nacci Italian Amici del Future Film Festival- Bologna- Italy Film Studies Department, Charles University - Miloslav Ferdinand Novak Czech National Film Archive, Prague, Czech Republic A. Greta Olafsdottir Icelandic The Icelandic Film Centre- Reykjavik- Iceland Nere Pagola Mikeleitz Spanish Basque Film Archives-Donostia- Spain Nadia Maria Palmitessa Italian University of Bologna-Bologna-Italy Cultural Association Astrolabio-Sinalunga-Siena- Pablo Ravello Italian Italy Pagina 1 Foglio1 Eye Film Institute Netherlands- Amsterdam- The Andréa Seligmann Silva Brazilian/ Dutch Netherlands Stevan Stanić Serbian Cinematheque Yougoslavie- Belgrad- Serbia Silvester Stöger Austrian Film Archiv Austria- Wien- Austria Monika Supruniuk Polish The National Film Archive- Warsaw- Poland Centro de Capacitacion Cinematografica- Beatríz Torres Insúa Mexican Coyoacan- Mexico City- Mexico Niurka Valdés González Cuban Cinema Industry-ICAIC- Habana- Cuba Débora Lúcia Vieira Butruce Brazilian Centro Tecnico Audiovisual- Rio de Janeiro- Brasil Alice Vivona Italian Elemedia srl- Rome-Italy Tomislav Vujnović Croatian Vizije SFT- Gornji Stupnik-Croatia Swee Cheng Wong Singaporean Queensland State Archives- Runcorn- Australia Marie Zago French Pieux Etablissements de la France-Rome- Italy National Museum of Singapore, Cinematheque- Wenjie Zhang Singaporean Singapore Pagina 2.

Copy Link

Recommended publications

New China's Forgotten Cinema, 1949–1966
NEW CHINA’S FORGOTTEN CINEMA, 1949–1966 More Than Just Politics by Greg Lewis Several years ago when planning a course on modern Chinese history as seen through its cinema, I realized or saw a significant void. I hoped to represent each era of Chinese cinema from the Leftist movement of the 1930s to the present “Sixth Generation,” but found most available subtitled films are from the post-1978 reform period. Films from the Mao Zedong period (1949–76) are particularly scarce in the West due to Cold War politics, including a trade embargo and economic blockade lasting more than two decades, and within the arts, a resistance in the West to Soviet- influenced Socialist Realism. wo years ago I began a project, Translating New China’s Cine- Phase One. Economic Recovery, ma for English-Speaking Audiences, to bring Maoist Heroic Revolutionaries, and Workers, T cinema to students and educators in the US. Several genres Peasants, and Soldiers (1949–52) from this era’s cinema are represented in the fifteen films we have Despite differences in perspective on Maoist cinema, general agree- subtitled to date, including those of heroic revolutionaries (geming ment exists as to the demarcation of its five distinctive phases (four yingxiong), workers-peasants-soldiers (gongnongbing), minority of which are represented in our program). The initial phase of eco- peoples (shaoshu minzu), thrillers (jingxian), a children’s film, and nomic recovery (1949–52) began with the emergence of the Dong- several love stories. Collectively, these films may surprise teachers bei (later Changchun) Film Studio as China’s new film capital.
[Show full text]
Art, Politics, and Commerce in Chinese Cinema
Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9.
[Show full text]
The Curious Case of Chinese Film Censorship: an Analysis of The
THE CURIOUS CASE OF CHINESE FILM CENSORSHIP: AN ANALYSIS OF THE FILM ADMINISTRATION REGULATIONS by SHUO XU A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2017 THESIS APPROVAL PAGE Student: Shuo Xu Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Gabriela Martínez Chairperson Chris Chávez Member Daniel Steinhart Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2017 ii © 2017 Shuo Xu iii THESIS ABSTRACT Shuo Xu Master of Arts School of Journalism and Communication December 2017 Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. This study will look at how such films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher.
[Show full text]
1St China Onscreen Biennial
2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by CONTENTS Welcome 2 UCLA Confucius Institute in partnership with Features 4 Los Angeles 1st China Onscreen UCLA Film & Television Archive All Apologies Biennial Academy of Motion Picture Arts and Sciences Are We Really So Far from the Madhouse? Film at REDCAT Pomona College 2012 Beijing Flickers — Pop-Up Photography Exhibition and Film Seeding cross-cultural The Cremator dialogue through the The Ditch art of film Double Xposure Washington, DC Feng Shui Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Lacuna — Opening Night Confucius Institute at the University of Maryland The Monkey King: Uproar in Heaven 3D Confucius Institute Painted Skin: The Resurrection at Mason 乔治梅森大学孔子学院 Sauna on Moon Three Sisters The 2012 inaugural COB has been made possible with Shorts 17 generous support from the following Program Sponsors Stephen Lesser The People’s Secretary UCLA Center for Chinese Studies Shanghai Strangers — Opening Night UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Some Actions Which Haven’t Been Defined Yet in the Revolution Shanghai Jiao Tong University Chinatown Business Improvement District Mandarin Plaza Panel Discussion 18 Lois Lambert of the Lois Lambert Gallery Film As Culture | Culture in Film Queer China Onscreen 19 Our Story: 10 Years of Guerrilla Warfare of the Beijing Queer Film Festival and
[Show full text]
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff.
[Show full text]
Tiff Bell Lightbox Celebrates a Century of Chinese Cinema with Unprecedented Film Series, Exhibitions and Special Guests
May 6, 2013 .NEWS RELEASE. TIFF BELL LIGHTBOX CELEBRATES A CENTURY OF CHINESE CINEMA WITH UNPRECEDENTED FILM SERIES, EXHIBITIONS AND SPECIAL GUESTS - Programme features 80 films, free exhibitions and guests including Chen Kaige, Johnnie To and Jackie Chan - -Tickets on sale May 21 at 10 a.m. for TIFF Members, May 27 at 10 a.m. for non-members - Toronto – Noah Cowan, Artistic Director, TIFF Bell Lightbox, announced today details for a comprehensive exploration of Chinese film, art and culture. A Century of Chinese Cinema features a major film retrospective of over 80 titles, sessions with some of the biggest names in Chinese cinema, and a free exhibition featuring two internationally acclaimed visual artists. The flagship programme of the summer season, A Century of Chinese Cinema runs from June 5 to August 11, 2013. “A Century of Chinese Cinema exemplifies TIFF’s vision to foster new relationships and build bridges of cultural exchange,” said Piers Handling, Director and CEO of TIFF. “If we are, indeed, living in the Chinese Century, it is essential that we attempt to understand what that entails. There is no better way to do so than through film, which encourages cross-cultural understanding in our city and beyond.” “The history, legacy and trajectory of Chinese film has been underrepresented in the global cinematic story, and as a leader in creative and cultural discovery through film, TIFF Bell Lightbox is the perfect setting for A Century of Chinese Cinema,” said Noah Cowan, Artistic Director, TIFF Bell Lightbox. “With Chinese cinema in the international spotlight, an examination of the history and development of the region’s amazing artistic output is long overdue.
[Show full text]
Timeline of Selected Bergman 100 Events
London, 18.09.17 Timeline of selected Bergman 100 events This timeline includes major activities before and during the Bergman year. Please note that there are many more events to be announced both within this timeframe and beyond. A full, regularly updated calendar of performances, retrospectives, exhibitions and other events is available at www.ingmarbergman.se September 2017 • Misc.: Launch of Bergman 100, 18 Sep, London, UK. • On stage: Scenes from a marriage, opening 31 Aug, Det Kgl Teater (The Royal Playhouse), Copenhagen, Denmark. • On stage: Autumn Sonata (opera), opening 8 Sep, Finnish National Opera, Helsinki, Finland. • Book release: Ingmar Bergman A–Ö (in English), Ingmar Bergman Foundation/Norstedts publishing, Sweden. • On stage: The Best Intentions, opening 16 Sep, Aarhus theatre, Aarhus, Denmark. • On stage: After the Rehearsal/Persona, The Barbican, London, UK. • On stage: Scenes From a Marriage, opening 20 Sep, Teatros del Canal, Madrid, Spain. • On stage: Breathe, Bergman-inspired dance performance, opening 28 Sep, Inkonst, Malmö, Sweden. • On stage: The Serpent’s Egg, opening 30 Sep, Cuvilliés-Theater, Munich, Germany. • On stage: Scenes From a Marriage, world tour Sep–Dec, Asia, Europe, South America. October 2017 • On stage: Scenes from a marriage, opening 5 Oct, Ernst-Deutsch-Theater, Hamburg, Germany. • On stage: After the rehearsal, opening 20 Oct, Düsseldorfer Schauspielhaus, Düsseldorf, Germany. • Misc.: The European Film Academy awards Hovs Hallar the title ‘Treasure of European Film Culture’. (A nature reserve in the county of Skåne, Sweden, Hovs Hallar is the location of the chess scene in The Seventh Seal.) • On stage: Scenes From a Marriage, opening 25 Oct, Teatro Tivoli, Barcelona, Spain.
[Show full text]
The University of Chicago Sound Images, Acoustic
THE UNIVERSITY OF CHICAGO SOUND IMAGES, ACOUSTIC CULTURE, AND TRANSMEDIALITY IN 1920S-1940S CHINESE CINEMA A DISSERTATION SUBMITTED TO THE FACULTY OF THE DEVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY LING ZHANG CHICAGO, ILLINOIS JUNE 2017 Table of Contents Acknowledgements………………………………………………………………………………………iii Abstract…………………………………………………………………………………………………. x Introduction……………………………………………………………………………………………… 1 Chapter One Sound in Transition and Transmission: The Evocation and Mediation of Acoustic Experience in Two Stars in the Milky Way (1931) ...................................................................................................................................................... 20 Chapter Two Metaphoric Sound, Rhythmic Movement, and Transcultural Transmediality: Liu Na’ou and The Man Who Has a Camera (1933) …………………………………………………. 66 Chapter Three When the Left Eye Meets the Right Ear: Cinematic Fantasia and Comic Soundscape in City Scenes (1935) and 1930s Chinese Film Sound… 114 Chapter Four An Operatic and Poetic Atmosphere (kongqi): Sound Aesthetic and Transmediality in Fei Mu’s Xiqu Films and Spring in a Small Town (1948) … 148 Filmography…………………………………………………………………………………………… 217 Bibliography………………………………………………………………………………………… 223 ii ACKNOWLEDGEMENTS Over the long process of bringing my dissertation project to fruition, I have accumulated a debt of gratitude to many gracious people who have made that journey enjoyable and inspiring through the contribution of their own intellectual vitality. First and foremost, I want to thank my dissertation committee for its unfailing support and encouragement at each stage of my project. Each member of this small group of accomplished scholars and generous mentors—with diverse personalities, academic backgrounds and critical perspectives—has nurtured me with great patience and expertise in her or his own way. I am very fortunate to have James Lastra as my dissertation co-chair.
[Show full text]
Newsletter 13
Prelude to the Opening: Integrating Wares Hard and Soft The construction of the Hong Kong Film Archive building has finally been completed. In August, we bid farewell to our Planning Office and moved into the new building. All sections of the Archive are busy working with each other to make sure that the new environment will serve as an effective site for the preservation and promotion of our film culture. The Administration Section has shouldered the responsibility of coordinating the relocation, from supervising the progress of construction to purchasing furnishings. While the Conservation Section is testing the temperature and humidity of our storage vaults, the Cataloguing Section is shelving publications, prints and audio-visual materials as well as working with the IT Systems Section to input data of our collection into the computer system. Our new structure also includes the Programming Section, which has been established to take over the curation of screenings and exhibitions from the Research and Editorial Sections. We are putting our facilities through vigorous testing to ensure that when the Archive opens, we can share the 80-year treasures of Hong Kong cinema with the public. In what way can we expediently serve the citizens of Hong Kong and researchers of the world? In what manner do we share our collection with the public? Heads of the Programming and Conservation Sections are invited to answer these questions, providing a key to understanding our operation. We will continue to introduce other facilities and services in our coming issues. Prelude to the Opening - Some Thoughts on Assuming a New Responsibility Law Kar, HKFA Programmer The Hong Kong Film Archive has come about as a result of repeated urgings from the public.
[Show full text]
Putney Swope
THE FILM FOUNDATION 2019 ANNUAL REPORT OVERVIEW The Film Foundation supports the restoration of films from every genre, era, and region, and shares these treasures with audiences through hundreds of screenings every year at festivals, archives, repertory theatres, and other venues around the world. The foundation educates young people with The Story of Movies, its groundbreaking interdisciplinary curriculum that has taught visual literacy to over 10 million US students. In 2019, The Film Foundation welcomed Kathryn Bigelow, Sofia Coppola, Guillermo del Toro, Joanna Hogg, Barry Jenkins, Spike Lee, and Lynne Ramsay to its board of directors. Each has a deep understanding and knowledge of cinema and its history, and is a fierce advocate for its preservation and protection. Preservation and Restoration World Cinema Project Working in partnership with archives and studios, The Film Foundation’s World Cinema Project has The Film Foundation has helped save over 850 films restored 40 films from24 countries to date. to date. Completed projects in 2019 included: Completed projects in 2019 included: THE CLOUD– William Wyler’s beloved classic, DODSWORTH; CAPPED STAR (India, 1960, d. Ritwik Ghatak), EL Herbert Kline’s acclaimed documentary about FANTASMA DEL CONVENTO (Mexico, 1934, d. Czechoslovakia during the Nazi occupation, CRISIS: Fernando de Fuentes), LOS OLVIDADOS (Mexico, A FILM OF “THE NAZI WAY”; Arthur Ripley’s film 1950, d. Luis Buñuel), LA FEMME AU COUTEAU noir about a pianist suffering from amnesia, VOICE (Côte d’Ivoire, 1969, d. Timité Bassori), and MUNA IN THE WIND; and John Huston’s 3–strip Technicolor MOTO (Cameroon, 1975, d. Jean–Pierre Dikongué– biography of Toulouse–Lautrec, MOULIN ROUGE.
[Show full text]
A Study of Xu Xu's Ghost Love and Its Three Film Adaptations THESIS
Allegories and Appropriations of the ―Ghost‖: A Study of Xu Xu‘s Ghost Love and Its Three Film Adaptations THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Qin Chen Graduate Program in East Asian Languages and Literatures The Ohio State University 2010 Master's Examination Committee: Kirk Denton, Advisor Patricia Sieber Copyright by Qin Chen 2010 Abstract This thesis is a comparative study of Xu Xu‘s (1908-1980) novella Ghost Love (1937) and three film adaptations made in 1941, 1956 and 1995. As one of the most popular writers during the Republican period, Xu Xu is famous for fiction characterized by a cosmopolitan atmosphere, exoticism, and recounting fantastic encounters. Ghost Love, his first well-known work, presents the traditional narrative of ―a man encountering a female ghost,‖ but also embodies serious psychological, philosophical, and even political meanings. The approach applied to this thesis is semiotic and focuses on how each text reflects the particular reality and ethos of its time. In other words, in analyzing how Xu‘s original text and the three film adaptations present the same ―ghost story,‖ as well as different allegories hidden behind their appropriations of the image of the ―ghost,‖ the thesis seeks to broaden our understanding of the history, society, and culture of some eventful periods in twentieth-century China—prewar Shanghai (Chapter 1), wartime Shanghai (Chapter 2), post-war Hong Kong (Chapter 3) and post-Mao mainland (Chapter 4). ii Dedication To my parents and my husband, Zhang Boying iii Acknowledgments This thesis owes a good deal to the DEALL teachers and mentors who have taught and helped me during the past two years at The Ohio State University, particularly my advisor, Dr.
[Show full text]
Download Article
Advances in Social Science, Education and Humanities Research, volume 378 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019) A Review of the Research on Film Directors in the 70 Years of New China Rui Hao School of Theater, Film and Television Communication University of China Beijing, China 100024 Abstract—Since the founding of the People's Republic of political correctness, resulting in the lack of good results in China 70 years ago, the research on film directors and the this period. Therefore, the short-lived contends in this setting pulse of the times and the development of the film industry are even more precious, especially the articles about the have developed together, not only the number of research "Director Centered System" and "Necessity of the Art perspectives increased, but also the horizons has been broaden. Character of Film" produced after the "Shefan Temple This article goes by the following four research categories: Conference". In addition, the opinions of director creations historical research, theoretical research, director education, and film creations by the national leaders and film managers and director criticism, summarize and comment on the have had a particularly significant impact during this period. literature results of film director research in the past 70 years. The second stage is the Wave Film Period from 1978 to Keywords—film director research; history; theory; education; 2003. The reform and opening up brought about the national criticism economic start, cultural liberation, absorption, collision and avoidance. It also led to the shock of the film system, the I. INTRODUCTION market has experienced ups and downs, and the works are unconstrained and all-inclusive, which is quite controversial.
[Show full text]