QUEER FILM Anniversary FESTIVAL #BQFF2019
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The Anime Galaxy Japanese Animation As New Media
i i i i i i i i i i i i i i i i i i i i Herlander Elias The Anime Galaxy Japanese Animation As New Media LabCom Books 2012 i i i i i i i i Livros LabCom www.livroslabcom.ubi.pt Série: Estudos em Comunicação Direcção: António Fidalgo Design da Capa: Herlander Elias Paginação: Filomena Matos Covilhã, UBI, LabCom, Livros LabCom 2012 ISBN: 978-989-654-090-6 Título: The Anime Galaxy Autor: Herlander Elias Ano: 2012 i i i i i i i i Índice ABSTRACT & KEYWORDS3 INTRODUCTION5 Objectives............................... 15 Research Methodologies....................... 17 Materials............................... 18 Most Relevant Artworks....................... 19 Research Hypothesis......................... 26 Expected Results........................... 26 Theoretical Background........................ 27 Authors and Concepts...................... 27 Topics.............................. 39 Common Approaches...................... 41 1 FROM LITERARY TO CINEMATIC 45 1.1 MANGA COMICS....................... 52 1.1.1 Origin.......................... 52 1.1.2 Visual Style....................... 57 1.1.3 The Manga Reader................... 61 1.2 ANIME FILM.......................... 65 1.2.1 The History of Anime................. 65 1.2.2 Technique and Aesthetic................ 69 1.2.3 Anime Viewers..................... 75 1.3 DIGITAL MANGA....................... 82 1.3.1 Participation, Subjectivity And Transport....... 82 i i i i i i i i i 1.3.2 Digital Graphic Novel: The Manga And Anime Con- vergence........................ 86 1.4 ANIME VIDEOGAMES.................... 90 1.4.1 Prolongament...................... 90 1.4.2 An Audience of Control................ 104 1.4.3 The Videogame-Film Symbiosis............ 106 1.5 COMMERCIALS AND VIDEOCLIPS............ 111 1.5.1 Advertisements Reconfigured............. 111 1.5.2 Anime Music Video And MTV Asia......... -
Available Papers and Transcripts from the Society for Animation Studies (SAS) Annual Conferences
SAS Conference papers Pagina 1 NIAf - Available papers and transcripts from the Society for Animation Studies (SAS) annual conferences 1st SAS conference 1989, University of California, Los Angeles, USA Author (Origin) Title Forum Pages Copies Summary Notes Allan, Robin (InterTheatre, European Influences on Disney: The Formative Disney 20 N.A. See: Allan, 1991. Published as part of A Reader in Animation United Kingdom) Years Before Snow White Studies (1997), edited by Jayne Pilling, titled: "European Influences on Early Disney Feature Films". Kaufman, J.B. (Wichita) Norm Ferguson and the Latin American Films of Disney 8 N.A. In the years 1941-43, Walt Disney and his animation team made three Published as part of A Reader in Animation Walt Disney trips through South America, to get inspiration for their next films. Studies (1997), edited by Jayne Pilling. Norm Ferguson, the unit producer for the films, made hundreds of photo's and several people made home video's, thanks to which Kaufman can reconstruct the journey and its complications. The feature films that were made as a result of the trip are Saludos Amigos (1942) and The Three Caballero's (1944). Moritz, William (California Walter Ruttmann, Viking Eggeling: Restoring the Aspects of 7 N.A. Hans Richter always claimed he was the first to make absolute Published as part of A Reader in Animation Institute of the Arts) Esthetics of Early Experimental Animation independent and animations, but he neglected Walther Ruttmann's Opus no. 1 (1921). Studies (1997), edited by Jayne Pilling, titled institutional filmmaking Viking Eggeling had made some attempts as well, that culminated in "Restoring the Aesthetics of Early Abstract the crude Diagonal Symphony in 1923 . -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
HART1023 Introduction to Experimental Animation (1 Credit)
2021-22 Fall HART1023 Introduction to Experimental Animation (1 Credit) Course Instructor: Mr Jamsen Law ([email protected] ) Program Officer: Ms Vickie Wong ([email protected]) Time: Mondays; 10:30am – 12:20 pm Venue: E-Learning classroom A (LG1) Office Hours: By appointment Course Description This introductory course aims at guiding students to explore the art of animation through producing drawing, cut-ups, roto-scoping, photographic and object animation with both digital and traditional tools. By introducing non-mainstream techniques and mediums for creating time-based imagery, students will learn both practical skills and theories of animation as a visual art form for artistic expression and communication. Through brief lecturing, students will acquaint themselves with the history and development of experimental animation and its influences to moving image arts in general. The hands-on activities will allow students to explore freely the principles of animation starting from pencil and paper to digital software and tools. Intended Learning Outcomes Upon completion of this course, students are expected to be able to: 1. Describe and appreciate the history and development of experimental animation 2. Identify and explain the stylistic and narrative elements of experimental animation 3. Develop abstract ideas into experimental animation works 1 Course Syllabus and Schedule Lesson Date Topic ILO(s) Part 1 : Pre-cinema visual media 1 6 Sep Topic: Introduction 1,2 • What is experimental and mainstream animation • What are the tools and materials -
Special Effects, Cgi and Uncanny Affect: Envisioning the Post-Cinematic Uncanny
SPECIAL EFFECTS, CGI AND UNCANNY AFFECT: ENVISIONING THE POST-CINEMATIC UNCANNY W E CARD MRES 2016 1 SPECIAL EFFECTS, CGI AND UNCANNY AFFECT: ENVISIONING THE POST-CINEMATIC UNCANNY WILLIAM EDWARD CARD A thesis submitted in fulfilment of the requirements of the Manchester Metropolitan University for the degree of Master of Arts by research MIRIAD 2016 2 CONTENTS Keywords 3 Abstract 3 CHAPTER ONE: LITERATURE & PRACTICE REVIEW 5 Introduction 5 Research Aims 6 Methodologies 6 Special effects and spectacular CGI 8 Visual effects and CGI in 21st century cinema 10 The post-cinematic 13 Animated imagery and the illusion of life 15 The uncanny 20 Affect 27 Artistic Context 31 CHAPTER TWO: THE PRACTICE 57 CGI for beginners 57 I feel myself looked at by the things 73 CHAPTER THREE: CONCLUSIONS 88 APPENDIX ONE Overview of the production process 91 APPENDIX TWO I feel myself looked at by the things (production) 95 REFERENCE LIST 109 3 Keywords: post-cinematic, uncanny, visual effects, visual arts, animation, affect, computer-generated imagery Abstract This thesis presents and discusses the author’s practice-based artistic research. It situates the work, an investigation into the post-cinematic uncanny and the affective potential of visual effects technologies in art practice, within a theoretical context and aims to illuminate aspects of our relationship to certain types of digitally augmented contemporary moving imagery. The practice explores the post-cinematic uncanny as an intersection of visual arts, moving image, animation, cinema, television and visual effects, linking it to theories of psychoanalysis, affect and post-cinema. It questions the nature and qualities of moving image in the 21st century, especially the pervasive and ubiquitous nature of computer-generated imagery (CGI) that supplements and augments digitally captured footage. -
Film Lives Heresm
TITANUS Two Women BERTRAND BONELLO NEW YORK AFRICAN FILM FESTIVAL MARTÍN REJTMAN TITANUS OPEN ROADS: NEW ITALIAN CINEMA HUMAN RIGHTS WATCH FILM FESTIVAL NEW YORK ASIAN FILM FESTIVAL SPECIAL PROGRAMS NEW RELEASES EMBASSY / THE KOBAL COLLECTION / THE KOBAL EMBASSY MAY/JUN 2015SM FILM LIVES HERE Elinor Bunin Munroe Film Center 144 W 65th St | Walter Reade Theater 165 W 65th St | filmlinc.com | @filmlinc HERE STARTS PROGRAMMING SPOTLIGHT TABLE OF CONTENTS I PUT A SPELL ON YOU: THE FILMS OF BERTRAND BONELLO Festivals & Series 2 I Put a Spell on You: The Films of Bertrand Bonello (Through May 4) 2 PROVOKES PROVOKES Each new Bertrand Bonello film is an event in and of itself.Part of what makes Bonello’s work so thrilling is that, with some exceptions, world cinema has yet to catch up with his New York African Film Festival (May 6 – 12) 4 unique combination of artistic rigor and ability to distill emotion from the often extravagantly Sounds Like Music: The Films of Martín Rejtman (May 13 – 19) 7 stylish, almost baroque figures, places, and events that he portrays. He already occupies Titanus (May 22 – 31) 8 HERE FILM a singular place in French cinema, and we’re excited that our audiences now have the Open Roads: New Italian Cinema (June 4 – 11) 12 opportunity to discover a body of work that is unlike any other. –Dennis Lim, Director of Programming Human Rights Watch Film Festval (June 12 – 20) 16 New York Asian Film Festival (June 26 – July 8) 17 HERE FILM Special Programs 18 INSPIRES TITANUS Sound + Vision Live (May 28, June 25) 18 We have selected 23 cinematic gems from the Locarno Film Festival’s tribute to Titanus. -
2018 Holds a Spectacular Lineup of Films from All Around the World in Store for You, and Two Special Performances
“IT MUST BE LOVE ON THE BRAIN” “IT MUST BE LOVE ON THE BRAIN” t the 9th edition of BQFF, hosted along with our beloved partners the Goethe-Institut/Max Mueller Bhavan (GI / MMB), we present a staggering A89 films from over 30 countries. Like every previous year, this year’s festival will be breathless, wild, fun, strange and intense. It will put you on social overdrive, because let’s face it: some of you come just to meet your friends. Watch out for our three specially curated packages. One set of films brought to us by GI / MMB, including our Saturday night Centrepiece, Ein Weg (Paths), comes from the prestigious Berlinale festival in Germany. Another package of LGBT shorts from the UK is brought to us by a British Council international touring programme in association with BFI Flare. For the second time in our history, BQFF is collaborating with the film curator and archivist Thomas Waugh, founder-director of the Queer Media Database Canada-Québec. He will introduce and screen a package called “I Confess”, autobiographical shorts from the Canadian Queer Film Archive. This year we have something über special to announce: in 2017 The Bangalore Queer Festival Trust was set up as an independent entity that will work solely for the festival in the years to come, starting with the 10th Anniversay splash in 2019! We hope you will all stay with as collaborators, supporters, film lovers, performers and just generally a marvellously ragtag bunch of travellers in the future! To give you a quick recap of last year’s festival, BQFF 2017 (24-26 February 2017) was held at Alliance Française de Bangalore and the Goethe-Institut /Max Mueller Bhavan. -
Concordia University Presents
ConcordiaConcordia UniversityUniversity presentspresents THE 30th ANNUAL SOCIETY FOR ANIMATION STUDIES CONFERENCE | MONTREAL 2018 We would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtiá:ke/ Montreal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community. Please clickwww.concordia.ca/about/indigenous.html here to visit Indigenous Directions Concordia. TABLE OF CONTENTS Welcomes 4 Schedule 8-9 Parallel Sessions 10-16 Keynote Speakers 18-20 Screenings 22-31 Exhibitions 33-36 Speakers A-B 39-53 Speakers C-D 54-69 Speakers E-G 70-79 Speakers H-J 80-90 Speakers K-M 91-102 Speakers N-P 103-109 Speakers R-S 110-120 Speakers T-Y 121-132 2018 Team & Sponsors 136-137 Conference Map 138 3 Welcome to Concordia! On behalf of Concordia’s Faculty of Fine Arts, welcome to the 2018 Society for Animation Studies Conference. It’s an honour to host the SAS on its thirtieth anniversary. Concordia University opened a Department of Cinema in 1976 and today, the Mel Hoppenheim School of Cinema is the oldest film school in Canada and the largest university-based centre for the study of film animation, film production and film studies in the country. -
Eastern European Experimental Animation, Fine Art Aesthetics and the Digital Age
Eastern European experimental animation, fine art aesthetics and the digital age: A short dissertation presented by Anelia Gouteva in partial fulfillment of the requirements for the degree of Master of Arts (Fine Arts) College of Humanities, University of KwaZulu-Natal 2016 DECLARATION I, Anelia Gouteva, declare that The research reported in this thesis, except where otherwise indicated, is my original work. This thesis has not been submitted for any degree or examination at any other university. This thesis does not contain text, data, pictures, graphs or other information obtained from another person or source, unless specifically acknowledged as being so obtained. This thesis does not contain any other person’s writing, unless specifically acknowledged. Where such written sources have been used then they have always been acknowledged through the use of in-text quotation marks or indented paragraphs with accompanying in-text references and in the bibliography. This thesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged through in-text references and in the bibliography. Student name: Anelia Gouteva Signature: Date: 12-01-2017 As the supervisor, I acknowledge that this research dissertation/thesis is ready for examination. Name: Dr Michelle Stewart Signature: Date: 12-01-2017 2 ACKNOWLEDGEMENTS I would like to thank the staff members at the Centre for Visual Art for their contribution in influencing my practical work over the years. Special thanks and greatest credit goes to my supervisor Michelle Stewart for her commmitment in guiding both my practical and theoretical research. I would also like to thank the university for providing high quality equipment and software, without which I would have not been able to experiment and produce my films. -
Finite Rants” from 25 June 2020
FONDAZIONE PRADA PRESENTS THE ONLINE PROJECT “FINITE RANTS” FROM 25 JUNE 2020 Milan, 17 July 2020 – Fondazione Prada presents the online project “Finite Rants”, curated by Luigi Alberto Cippini and Niccolò Gravina, on its website and social platforms from 25 June 2020. Commissioned by Fondazione Prada to filmmakers, artists, intellectuals and scholars, the 8 visual essays comprised in “Finite Rants” will be published on a monthly basis. The first authors include German director and writer Alexander Kluge, Japanese photographer Satoshi Fujiwara, French director Bertrand Bonello, and Swiss economist Christian Marazzi. As stated by avant-garde director Hans Richter in 1940, the film or video essay is a form of expression capable of creating “images for mental notions” and of portraying concepts. Starting from Richter's ideas, some later theorists identify specific traits in the video essay, such as creative freedom, complexity, reflexivity, the crossing of film genres and the transgression of linguistic conventions. “Finite Rants” aims to test the versatility of the visual essay in expressing thought images and demonstrate its relevance in contemporary visual production. According to the two curators, “this project further develops Richter's intuitions starting from the assumption that, due to the natural evolutionary condition of the cinematographic fact and its contamination with forms of information, visual material and capillary distribution of Image Capture supports, today more than ever it is necessary to search for what can be defined as ‘Formatless Dogma’, in support of a visual production without restrictions". The aesthetic and theoretical roots of “Finite Rants” can be traced back to the experimental work La Jetée (1962) by French author Chris Marker. -
Saint Laurent
presents SAINT LAURENT A Film by Bertrand Bonello Official Selection Cannes Film Festival 2014 New York Film Festival 2014 (150 min., France, Belgium, 2014) Language: English, Franch Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com SYNOPSIS 1967-1976 As one of history’s greatest fashion designers entered a decade of freedom, neither came out of it in one piece. 2 CREDITS CAST Yves Saint Laurent GASPARD ULLIEL Pierre Berge JEREMIE RENIER Jacques De Bascher LOUIS GARREL Loulou De Falaise LEA SEYDOUX Anne Marie Munoz AMIRA CASAR Betty Catroux AYMELINE VALADE Monsieur Jean-Pierre MICHA LESCOT Yves Saint Laurent 1989 HELMUT BERGER Mme Duzer VALERIA BRUNI-TEDESCHI Renee VALERIE DONZELLI Talitha ASMINE TRINCA Lucienne DOMINIQUE SANDA FILMMAKERS Director Bertrand Bonello Screenplay Thomas Bidegain and Bertrand Bonello Director of Photography Josee Deshaies Production Designer Katia Wyszkop Costume Designer Anais Romand Casting Richard Rousseau First Assistant Director Elsa Amiel Script Supervisor Elodie Van Beuren Original Score Bertrand Bonello Sound Nicolas Cantin, Nicolas Moreau, Jean-Pierre Laforce Editing Fabrice Rouaud Production Manager Pascal Roussel Post-Production Supervisor Patricia Colombat Produced by Eric Altmayer, Nicolas Altmayer 3 An Interview with Bertrand Bonello How did this project begin? In November 2011, shortly after the release of L’Apollonide, Eric and Nicolas Altmayer asked me if I’d be interested in making a film about Saint Laurent. -
Myfrenchfilmfestival-2017.Pdf
PRESENTS MY FRENCH FILM FESTIVAL .COM JAN 13 - FEB 13, 2017 7 TH EDITION ONLINE FESTIVAL WORLDWIDE 10 FEATURE FILMS 10 SHORT FILMS 10 LANGUAGES MY FRENCH FILM FESTIVAL + RDV CINEMA FRANCAIS • 170 x 220 mm • PPR • Q • VISUEL : MAN • Remise le 05/12 OM • BAT La vie est un sport magnifique LACO_1610270_Man_170x220.indd 1 05/12/2016 10:32 É DITORIAUX / E DITORIALS P.4 P LATEFORMES PARTENAIRES / P ARTN E R P L AT F O R M S P.6 M Y F RENCH F ILM F E ST I VA L P.9 N OUVEAUT É S / W H AT ’ S N ew P.10 P RIX & TARIFS / A WARDS & R AT E S P.11 J URY DES C IN É ASTES / D IR E CTORS ’ J URY P.12 J URY DE LA P RESSE I NTERNATIONALE / I NT E R N AT I O N A L P R E SS J URY P.14 P RO J ECTIONS P UBLIQUES / P UBLIC SCR ee NINGS P.17 C ONCOURS / C ONT E STS P.19 I LS AIMENT LE F E ST I VA L / T H E Y LIK E TH E F E ST I VA L P.20 I NDEX DES FILMS / M OVI E IND E X P.21 L A S É LECTION / T H E S E L E CTION C OMING OF A G E P.22 W E A R E F A M I LY P.32 L OV E & F RI E NDSHI P P.40 P SYCHO P.46 A W OMAN ’ S L IF E P.54 M IDNIGHT S CR ee NINGS P.62 J URYS P R É C É DENTS / P R E VIOUS J URI E S P.69 P ALMARÈS DES É DITIONS P R É C É DENTES / P R E VIOUS AWARDS P.71 U NI F RANCE P.73 P ARTENAIRES / P ARTN E RS P.74 MA RELATION AVEC LE CINÉMA FRANÇAIS a commencé bien avant que je devienne réalisateur.