DOCSLIB.ORG

2004 Programme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2004 Programme index spons ors a - - - -- : -,-=!: aa -it 1_-.,::!_-3,:::,- _La Archr,,e F lrns lntemational Shors Art of SurviYal 1 8 Justice #*F Ask Me l'm Positive 18 Keeping tt Real Belonging -:-j 12 Kuxa Kanema - Brrh :' : nsdonsl film €nd Ud6o loundaiion Beneath the Stars 8 Last Victory. The Beyond Reason 24 Lucky Jack: Three v. OO BRITISH Born g Attempts to Stop U into Struggle Smo(ng OO COUNCIL Bus 1 74 32 Man who loved Haugesund The Capturing the Friedmans 33 Meaning of the Buffalo, The Cinderella of the Cape Flats 12 Memories of Rain PRO HELVETIN Citizen King 33 l\4etallica: Some Kind of Monsl3- Il- E- I ARTS COUNCIL OF SW ZERLAND Control Room 34 Mix REPUBLIQUE FRANqAISE Corn ln Parliament 30 Nick goes to Nollywood RrTSA Corporation, The 34 No 17 -<-tiziErr- Death in Gaza 26 Perfect Human, The Ethiopia: A Journey with Michael Buerk 19 Riding Giants Fisherman's Tale, A 19 Shiny Stars, Rusty Red SABC(.l)'".n,.n'"''''^ Five Obstructions, The 35 S21: Khmer Rouge Killing l\4ach ^. Freedom is a Personal Journey 20 South African Love Story: Walter t : :=- - Game over: Kasparov and the Machine 36 Sisulu Haiti - End of the Chimeres? 31 Spirits of the Uhadi History Uncut 1 6 Story of a Beautifui Country, The '/ Home of the Brave, Land of the Free 36 Tania Raised Us Hopes on the Horizon 26 Through the Eyes ol my Daughter Hot Wax 1 3 To Live is Better than to Die \r- House of Saud, The v 31 Touching the Void SPECTRUM 38 Umgidi VISUAL NETWOEKS lkhaya I 3 Voice 0ver lK0N SA Volume 2 20 GUEST D|BECT0RS biographies are to E s 38 found on pages 8 - 10 & 43 - 51 Welcome to the 6th With0ut funders we would not be able to host this special event We hearti y thank the National Film and Video Foundation and CEO Eddie Mbalo for supporting the Festival for Encounters South African the next three years lt is this kind 0f stability which will encourage other tunders to support us Thank you to both Jean September and the British Council, and Margriet Leemhuis and lnternational Documentary the Boyal Netherlands Embassy who have been supporting the Feslival forfive years A Festival. very special thanks to Miqam Asmal and Pro Helvetia - Swiss Arts Gouncil They co- founded this Festival as the Swiss South African Festival in 1999 and are Iunding us this year We welcome the support 0f Laurent Allary and the French Embassy, BASA and Holland We have the pleasure of offering you over 60 films, every,thing from a 6 m nute short to a 145 rhanks 0 to our commercial sponsors: Kate Hanison and Jameson Whiskey who, minute feature. Et- l tfitnirO y running, are supporting the Audience Awardl TempesV Sixt Car Hire for Each year South African filmmaking becomes more dtverse, in depth and challenging providing carst and TNT for moving our freight A big thank you to Nlco van der Menwe and Together with more training initiatives, more funding sources and more broadcaster slots for Cinema Nouveau screened by Nedbank, our cinema partners, and Bonald Henry at documentaries, we looklontrard to increased genre years activity in the for many t0 c0me, Spectrum VNS for supplying the digital screening systems This year we present a record number of South African films, 26 recently produced films, Steven Markoviz and Nodi MurPhY three 0f which are World Premidres and another 17 films from the vaults of the National FESTIVAL DIRECTORS Film and Sound Archives As the industry grows so does the Festival Last year almost 1 0 000 people attended the TICKET PRICES: H25 Festival and now we see documentaries entering the mainstream 0f the films in our line up Usual concessions for Movie Club and Discovery three wiil have theatrical releases in South Africa During the Fesliual Farenheit g/1 1 will be Vitality apply but these credits may not be used to purchase released in S0uth Africa At the time 0f writing this, the film has opened in about 1000 Encounters Film Festival lickets theatres in the USA- a record for a documentary Audiences want a real experjence documentaries are delivering this, and provrding as entertaining as any feature film out there This year we celebrate a Decade of Democracy by screening 8 films from the SABC / NFVF / Binger series - Proiect 10; two of Afravision's History Uncut; and a collection from the BOOKINGS: National Film and Sound Archives, ADVANCE Cinena Nouveau screened by Nedbank Visa and MasterCard No cheques We are pleased to welcome a number of lnternational guests (see pages 49-51), some of Ster-Kinerkor Contact Centre telephone bookings:086 1300 444 whom will be giving workshop seminars on documentary filmmaking Please see page 6 of C1nputicket: Any valid credit card, No cheques, this programme to see where and when place lhese will take Computickettel 083 915 80 00 We are very proud to welcome the Best of INPUT at Encounters brought to you by SABC INPUT will bring the best of pub ic broadcasting from around the wodd t0 our cinemas and t provide the space for important discussions and debates, We ook forward to a long a fruitful E IIG'U ilT E RS relationship with SABC and INPUT Encounters is the producer of the Enc0unters South African lnternational Documentary Festival and functions independentlV oi Ster-Kinekor, Close Encounters runs concurrently v/ith the stival in Cape Town. V/e are pleased t0 screened by Nedbank and Computicket welcome6filmmakerswhowill betakingpart theBlackonWhiteseresthat |rrl beY ly Cinema Nouveau produced in conjunctron with SABC 1 Encounters reserves the right t0 cancel 0r reschedule screenings without prior notice In additlon there will be the Prelrminary sessions of the 2nd Documentary Co-production Tel:021 426 0405 Forum Here a large number of f lmmakers rrrrl be pitching t0 a panel of commissronrng Fax 021 426 0577 editors producers and distributors Sonte prolects w ll be selected to go foru,rard to the DCF info@encounters co za held at Sithengi in November www encounters co,za 4 I E lIG'U ilTE BS black on urhite 6th Soulh Atlcan lnternalional OocumenlarV FesIval SITHENGI FILM & ln 2003 Encounters held a number of workshops, two of which became a platform for ti:Y:::l"Y*[:] rn. 2nl sourhem Atfican r examining personal identity, the legacy of apartheid's racial classifications and the opportunities available to filmmakers in post-apartheid South Africa The consensus, llocumentaru G0-[]0ducti0n lorum tllGII "talcnlng perception, was that white filmmakers make films about both whites and blacks and that [loleGts am Dr0adc0ste]6" black filmmakers make films about blacks only. Black filmmakers do not make films aboul* The{.lumentary Co-Production Forum (DCF) is a joint initiative between Encounters whites only slegs blankes. - t DoJentary Festival and Sithengi Film and Television Market to provide Southern And so Black on White was conceived a series of 50 minute documentaries to be made - Afrlcan documentary fllmmakers the opportunity to find local and international broadcast part by black filmmakers about whites - as of the Close Encounters Documentary Laboratory, and co-production pai'tners BLACK ON WHITE IS A PARTNERSHIP BETWEEN Last year the 1 st DCF proved to be a tremendous success We had the participation SABC1 . Encounterc . Fuzebox Productions . 0-dacity Films of the all three SABC channels and 8 projects received commitment from the broadcaster and two of the projects were selected for The Forum at IDFA The six filmmakers, and their films, selected for the Laboratory are: Preliminary Pitching Sessions 2004: SIPHO SINGISWA lnja Yomlungu - CT: Sat 24th July, SABC Beach Road. Jhb: Sat 31st July, SABC Auckland Park' 0MELGA MTHIYANE - Different Pigment Those selected for the Preliminaries will be pitching to a panel of international funders YUNUS VALLY - The Glow of White Women and producers and local broadcasters, producers and distributors KHADIJA IVAGARDIE - Black Girls Spit, White Girls Swallow Those selected after the Preliminaries will participate in Consultations to further develop VINCENT lVOLOl - Men of Gold theirprojects Theywill beautomaticallyselectedfortheDCFatSithengi Certain REHAD DESAI - The Heart of Whiteness projects will be submitted to The FORUM for international co-financing of SAM PoLLARD will act as the Head Trainer for the Black on documentaries (IDFA) White Laboratory sessions. The final selection of projects for the DCF at Sithengi will take place in October Sam Pollard's accomplishments, as a feature film and video Projects with either 20o/o of their budget secured, are eligible Filmmakers will pitch editor, a documentary producer and directo( span almost thirty to a panel of 10 international Commissioning Editors years. His first assignment as a documentary producer came in 1 989 0n Henry Hampton's series Eyes 0n The Prize ll. He Final catt for submissions For funher information received an Emmy for one episode. As co-executive Deadtine for atl submissions from 5A and Africa contact: Taryn da Canha producer/producer of Hampton's last documentary series /11 - ConsuttaLions in Jhb and CT T6l: +27 21 430 81 60 Fox: +27 21 430 8'l 86 Make Me A Wortd, Sam received The George Peabodv Aw! Pitching Workshop in cT product@sithongi co za Southern African Fitm & TV Market in Cape Town He edited a number of Spike Lee's films: Mo'Better Blues, Jungle Fever, Girl 6, Cl1ckersand SiLhengi M sithengi co za Banboozled. Sam and Spike Lee also co-produced documentaries including Sptke lee Encounters / Sjthengi Documentary Co_production Forum Presents Mike lyson, for which Sam received an Emmy, and Four Little 6lrls which was nominated for an Academy Award. Sam is currently a Professor in Film Studies at New York t.Jniversity Tisch School of the Arts.
Load more

Recommended publications
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • F. Scott Fitzgerald the Stand
    Fiction Songs The Great Gatsby – F. Scott Fitzgerald “Change is Gonna Come” – Sam Cooke The Stand - Stephen King “Oh Holy Night” – Adolph Adam Things Fall Apart – Chinua Achebe “Come as You Are” – Nirvana Brave New World – Aldous Huxley “Paper Tiger” – Beck The Alchemist – Paulo Coelho “Sweet Child O’ Mine” – Guns N Roses Nineteen Eighty Four – George Orwell “Amazing Grace” – John Newton Of Mice and Men – John Steinbeck “Father and Son” – Cat Stevens The Road – Cormac McCarthy “Go or Go Ahead” – Rufus Wainright The Lovely Bones – Alice Sebold “And Justice For All” – Metallica The Fountainhead – Ayn Rand “In My Life” – The Beetles Non-fiction Movies A Brief History of Time – Stephen Hawking The Godfather – Francis Ford Coppola My Life in Art – Konstantin Stanislavsky Magnolia – Paul Thomas Anderson The Singularity is Near – Ray Kurzweil It’s a Wonderful Life – Frank Capra The Tipping Point – Malcolm Gladwell Being John Malkovich – Spike Jonze Bossypants – Tina Fey Life is Beautiful – Roberto Benigni Revelation – John (The One Who Jesus Loved) Gone With the Wind – Victor Fleming The Supernatural Worldview – Cris Putnam Lost in Translation – Sophia Coppola Relativity – Albert Einstein Eternal Sunshine of the Spotless Mind – In Cold Blood – Truman Capote Michel Gondry Exodus – Moses The Sting – George Roy Hill The Little Princess – Walter Lang Children’s Books Documentaries The Giving Tree – Shel Silverstein Grey Gardens – Ellen Hoyde, Albert Maysles The Chronicles of Narnia series– C.S. Lewis The Imposter – Bart Layton Every Amelia Bedelia – Peggy/Herman Parish Hoop Dreams – Steve James Charlotte’s Web – E.B. White Fahrenheit 911 – Michael Moore The Cat in the Hat – Dr.
    [Show full text]
  • Ratti AP Lang Summer Assignments 2020-2021
    Ratti AP Lang Summer Assignments 2020-2021 May 1, 2020 Dear Future Student, Hello, and welcome! I’m so excited that you have chosen to take one of the most stimulating and rewarding classes offered at MCHS. As I’m sure you know, it’s going to be a challenge, but I’ll be with you every step of the way. When we challenge ourselves, we grow. AP Language and Composition is going to help you grow as a reader and a writer, and, I suspect, even as a person. I can say that teaching this class has been a joy as well as a tremendous growth opportunity for me. We are in it together. The summer of 2020 looks like it is going to be challenging, but I have provided these assignments in hopes that you will be able to continue your education in enjoyable and productive ways while you are stuck at home. I have made an effort to include resources and suggestions so that students at all levels of income and technology access can complete the assignments successfully. If you have any difficulty or concern, please contact me as soon as possible. You may reach me by email, Remind, by posting on Teams, or by calling the school at (423) 745-4142. I will make every effort to make sure any student who wants to participate is able to. The biggest part of your work for me will be the Knowledge Builders assignment, a fact-gathering, critical thinking challenge to broaden your knowledge of the world around you.
    [Show full text]
  • Truth, Lies, and Videotape: Documentary Film and Issues of Morality U2 Linc Course: Interdisciplinary Studies 290 Fall 2007, T/TH 12:45-3:15
    Truth, Lies, and Videotape: Documentary Film and Issues of Morality U2 LinC Course: Interdisciplinary Studies 290 Fall 2007, T/TH 12:45-3:15 Instructor: Krista (Steinke) Finch Office: Art Office/ studio room 103 Office Hours: M, T, TH, W 11:30-12:30 or by appointment Phone: 861-1675 (art office) Email: [email protected] ***Please note that email is the best way to communicate with me COURSE DESCRIPTION: This course will explore issues of morality in documentary film as well provide a conceptual overview of the forms, strategies, structures and conventions of documentary film practice. Filmmaking is a universal language which has proven to be a powerful tool of communication for fostering understanding and change. For this course, students will study the history and theory of the documentary film and its relationship to topics and arguments about the social world. Students will be introduced to theoretical frameworks in ethics and media theory as a means to interpret and reflect upon issues presented in documentary film. Weekly screenings and readings will set the focus for debate and discussion on these specific issues. Students will also work in small groups to create short documentary films on particular subject of their own concern. Through hands on experience, students will learn the basics in planning, producing, and editing a documentary film while gaining an in depth insight into a particular issue through extensive research and exploration. The semester will culminate with a public presentation of the documentary films created during the course at the 2006 Student Film Festival in late April. GOALS: Students will: • understand the history of documentary film and be able to critically address media related arts in relationship to societal issues.
    [Show full text]
  • Documentary Movies
    Libraries DOCUMENTARY MOVIES The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Days that Unexpectedly Changed America DVD-2043 56 Up DVD-8322 180 DVD-3999 60's DVD-0410 1-800-India: Importing a White-Collar Economy DVD-3263 7 Up/7 Plus Seven DVD-1056 1930s (Discs 1-3) DVD-5348 Discs 1 70 Acres in Chicago: Cabrini Green DVD-8778 1930s (Discs 4-5) DVD-5348 Discs 4 70 Acres in Chicago: Cabrini Green c.2 DVD-8778 c.2 1964 DVD-7724 9/11 c.2 DVD-0056 c.2 1968 with Tom Brokaw DVD-5235 9500 Liberty DVD-8572 1983 Riegelman's Closing/2008 Update DVD-7715 Abandoned: The Betrayal of America's Immigrants DVD-5835 20 Years Old in the Middle East DVD-6111 Abolitionists DVD-7362 DVD-4941 Aboriginal Architecture: Living Architecture DVD-3261 21 Up DVD-1061 Abraham and Mary Lincoln: A House Divided DVD-0001 21 Up South Africa DVD-3691 Absent from the Academy DVD-8351 24 City DVD-9072 Absolutely Positive DVD-8796 24 Hours 24 Million Meals: Feeding New York DVD-8157 Absolutely Positive c.2 DVD-8796 c.2 28 Up DVD-1066 Accidental Hero: Room 408 DVD-5980 3 Times Divorced DVD-5100 Act of Killing DVD-4434 30 Days Season 3 DVD-3708 Addicted to Plastic DVD-8168 35 Up DVD-1072 Addiction DVD-2884 4 Little Girls DVD-0051 Address DVD-8002 42 Up DVD-1079 Adonis Factor DVD-2607 49 Up DVD-1913 Adventure of English DVD-5957 500 Nations DVD-0778 Advertising and the End of the World DVD-1460
    [Show full text]
  • Coming Into Frame
    The Independent Weekly: Coming into Frame http://indyweek.com/durham/2004-04-07/ae.html Advertisement Coming into Frame A conference at Duke Law School looks at how filmmakers and musicians get in trouble with the law B Y F I O N A M O R G A N Documentary films are records of our culture, and as they gain popularity, they're also becoming a hybrid of information and entertainment, a viable venue for alternative ideas and cultural criticism. But documenting a culture full of copyrighted images, sounds, words and ideas can be legally treacherous. April 7, 2004 Duke Law School added another A R T S F E A T U R E dimension to the Full Frame Documentary Film Festival by hosting "Framed!" a day-long conference on "how law constructs and constrains culture." It brought faculty at the law school together with filmmakers, entertainment lawyers, academics and others to discuss how legal issues affect the practical and creative concerns of making films and music. The day reached its climax when a musician cursed out a lawyer in the audience. Chris Hegedus, co-director of The War Room and Startup.com, showed footage from several of the films she made with her husband and creative partner D.A. Pennebaker, who sat in the audience--along with the couple's attorney. A clip from Startup.com captured the enthusiasm of the dotcom boom by following two entrepreneurs to a fast food restaurant, where one sings along with the Billy Joel song "Piano Man." Hegedus loved the scene, but couldn't afford to license the song.
    [Show full text]
  • The Jinx, the Imposter, and Re-Enacting the Digital Thriller in True Crime Documentaries
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 3-23-2017 "You want it all to happen now!": The inxJ , The Imposter, and Re-enacting the Digital Thriller in True Crime Documentaries Brett ichM ael Phillips University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Other Film and Media Studies Commons Scholar Commons Citation Phillips, Brett ichM ael, ""You want it all to happen now!": The inxJ , The mposI ter, and Re-enacting the Digital Thriller in True Crime Documentaries" (2017). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6743 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. “You want it all to happen now!”: The Jinx, The Imposter, and Re-enacting the Digital Thriller in True Crime Documentaries by Brett Phillips A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Amy Rust, Ph.D. Maria Cizmic, Ph.D. Andrew Berish, Ph.D. Date of Approval: March 10, 2017 Keywords: True crime, Documentary, Digital, Thriller, Reenactment, Affect Copyright © 2017, Brett Phillips ACKNOWLEDGEMENTS First and foremost, thank you to Amy, Maria, and Andrew for not only helping me shape this thesis—with both tiny chisel and sledgehammer—but for guiding me through an entire discipline with kindness and understanding.
    [Show full text]
  • Download This Essay
    From the Instructor Albert Tawil’s essay on the documentary Capturing the Friedmans (2003) illustrates the value of asking just the right question. The film tells the story of Arnold and Jesse Friedman, who were accused of sexually molesting boys in the 1980s, and ends ambiguously, inviting viewers to ask if they were guilty or not guilty. Albert, however, pursues a more subtle and urgent question: Why did the Friedmans videotape themselves throughout their ordeal? Drawing on Susan Sontag’s seminal book On Photography, Albert explores the complex and ultimately unstable relationship among camera, subject, and memory. He works from different angles, analyzing the Friedmans’ varying motivations rather than attempting to simplify their moral positions. Albert judiciously selects and interprets evidence from the film and, in a final act of intellectual balance, suggests that the Friedmans are no different from us: we are all chronic self-documenters, “creating a reality that otherwise would not have existed.” — Marisa Milanese 43 Albert Tawil Clown By Day, Documentarian by Night The documentary Capturing the Friedmans (2003) includes two types of footage: footage taken by the director, Andrew Jarecki, and footage taken by the Friedman family, two of whom were accused of child moles- tation in 1988. The father, Arnold, who once made a career performing in a band, ran popular computer and music classes in the basement of the family’s Long Island home and was accused, along with his son and assis- tant, Jesse, of sexually abusing the students. Jarecki conducted dozens of interviews with the Friedmans’ accusers, the law enforcement officials, and the Friedman family members themselves.
    [Show full text]
  • Documentary Movies
    Libraries DOCUMENTARY MOVIES The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Days that Unexpectedly Changed America DVD-2043 500 Nations DVD-0778 10 Days to D-Day DVD-0690 500 Years Later DVD-5438 180 DVD-3999 56 Up DVD-8322 1-800-India: Importing a White-Collar Economy DVD-3263 60's DVD-0410 1930s (Discs 1-3) DVD-5348 Discs 7 Up/7 Plus Seven DVD-1056 1930s (Discs 4-5) DVD-5348 Discs 7 Years DVD-4399 1964 DVD-7724 70 Acres in Chicago: Cabrini Green DVD-8778 1968 with Tom Brokaw DVD-5235 70 Acres in Chicago: Cabrini Green c.2 DVD-8778 c.2 1983 Riegelman's Closing/2008 Update DVD-7715 70's Dimension DVD-1568 1993 World Trade Center Bombing DVD-1891 9/11 c.2 DVD-0056 c.2 20 Years Old in the Middle East DVD-6111 900 Women DVD-2068 DVD-4941 9500 Liberty DVD-8572 21 Up DVD-1061 Abandoned: The Betrayal of America's Immigrants DVD-5835 21 Up South Africa DVD-3691 Abolitionists DVD-7362 24 City DVD-9072 Aboriginal Architecture: Living Architecture DVD-3261 24 Hours 24 Million Meals: Feeding New York DVD-8157 Abraham and Mary Lincoln: A House Divided DVD-0001 28 Up DVD-1066 Absent from the Academy DVD-8351 3 Times Divorced DVD-5100 Absolutely Positive DVD-8796 30 Days Season 3 DVD-3708 Absolutely Positive c.2 DVD-8796 c.2 35 Up DVD-1072 Accidental Hero: Room 408 DVD-5980 4 Little Girls DVD-0051 Act of Killing DVD-4434 42 Up DVD-1079 Addicted to Plastic DVD-8168
    [Show full text]
  • Handbook 2017-2018
    Montana State University Bozeman School of Film and Photography The Master of Fine Arts Program in Science and Natural History Filmmaking Handbook Cohort 17 This handbook applies only to the 2017 Cohort whose MFA studies began in Academic Year 2017-2018. The effective date of this Handbook is August 15, 2017. ver 17.0 3 Introduction Welcome to Montana State University! You are now part of the premier graduate degree program in science and natural history filmmaking. We believe you will find the program to be exciting, insightful, and challeng- ing. The School of Film and Photography (SFP) faculty and staff along with Table Of Contents the students in the cohorts preceding yours will guide you in understand- ing the program’s structure and procedures. Our goal is to help you devel- Introduction 3 op your filmmaking knowledge and skills through the many opportunities The Goals of the Program 4 offered to you in the program. This MFA Handbook contains the requirements and guidelines for the Program Costs 5 curriculum leading to your Master of Fine Arts (MFA) in Science and Nat- Protocols 6 ural History Filmmaking (SNHF) degree. The Handbook will also inform you about the overall philosophy of the program as well as the procedural Staff Responsibilities 6 process for registration, equipment use, comprehensive examinations, and Life On TERRA 7 thesis work. Over the course of three years, there may very well be changes The Curriculum 8 and adjustments to the curriculum and procedures, so please be attentive to emails, website postings, and class announcements. The handbook is Curriculum Table 9 a School publication and subject to the respective rules of the SFP, the The Thesis and the Thesis Film 12 College of Art and Architecture (CAA), the Graduate School, and Montana Thesis Defense 15 State University-Bozeman.
    [Show full text]
  • The 'Paradox of Tragedy'—The Puzzle of Explaining Why We Enjoy
    The Pleasures of Documentary Tragedy Stacie Friend (Please cite the final version of this paper, published in The British Journal of Aesthetics 47: April 2007) Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non- transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. The „paradox of tragedy‟—the puzzle of explaining why we enjoy tragedies when they provoke negative emotions—has generated a great deal of discussion in aesthetics. Although the elements of the puzzle may be traced to Aristotle‟s contention in Poetics 14 that the pleasure of tragedy is that which „derives from pity and fear by means of mimesis‟,1 the classic formulation is Hume‟s: It seems an unaccountable pleasure, which the spectators of a well-written tragedy receive from sorrow, terror, anxiety, and other passions, that are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle; and as soon as the uneasy passions cease to operate, the piece is at an end.2 As Hume notes, the puzzle is deepened by the fact that spectators of tragedy „are pleased in proportion as they are afflicted‟.3 In other words, we appear to enjoy tragedy not despite, but precisely because of, the painful emotions we feel in response.
    [Show full text]
  • Foreword: Engaging Documentaries Seriously
    Fordham Intellectual Property, Media and Entertainment Law Journal Volume 16 Volume XVI Number 3 Volume XVI Book 3 Article 1 2006 Foreword: Engaging Documentaries Seriously Regina Austin Foreword Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Regina Austin and Foreword, Foreword: Engaging Documentaries Seriously, 16 Fordham Intell. Prop. Media & Ent. L.J. 707 (2006). Available at: https://ir.lawnet.fordham.edu/iplj/vol16/iss3/1 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. AUSTINFOREWORD 5/18/2006 11:24 AM SYMPOSIUM: DOCUMENTARIES & THE LAW FOREWORD ENGAGING DOCUMENTARIES SERIOUSLY Summer 2005. Documentaries were all the rage.1 March of the Penguins, which recounts the reproductive lives and loves of the emperor penguins of Antarctica, was screened in cool air- conditioned theaters in parts of the country experiencing heat waves.2 Rize, the story of the South Central LA hip hop dance craze known as Akrumping,@ schizophrenically played in indie film houses and cineplexes in Aurban@ neighborhoods.3 Mad Hot 4 5 6 Ballroom, Murderball, and Grizzly Man had theatrical releases 1 Caryn James, Nonfiction Is Flavor of Moment for Films, N.Y. TIMES, May 25, 2005, at E1. But see Paul Arthur, Extreme Makeover: The Changing Face of Documentary, CINEASTE, Summer 2005, at 18 (suggesting caution in celebrating the Amainstreaming@ of documentaries in the face of concerns over their linkages to particular political and legal causes, opportunities for female and minority filmmakers, copyright clearances, the use of reenactments, and miscellaneous ethical quandaries).
    [Show full text]