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Eric Rohmer's Film Theory (1948-1953)
MARCO GROSOLI FILM THEORY FILM THEORY ERIC ROHMER’S FILM THEORY (1948-1953) IN MEDIA HISTORY IN MEDIA HISTORY FROM ‘ÉCOLE SCHERER’ TO ‘POLITIQUE DES AUTEURS’ MARCO GROSOLI ERIC ROHMER’S FILM THEORY ROHMER’S ERIC In the 1950s, a group of critics writing MARCO GROSOLI is currently Assistant for Cahiers du Cinéma launched one of Professor in Film Studies at Habib Univer- the most successful and influential sity (Karachi, Pakistan). He has authored trends in the history of film criticism: (along with several book chapters and auteur theory. Though these days it is journal articles) the first Italian-language usually viewed as limited and a bit old- monograph on Béla Tarr (Armonie contro fashioned, a closer inspection of the il giorno, Bébert 2014). hundreds of little-read articles by these critics reveals that the movement rest- ed upon a much more layered and in- triguing aesthetics of cinema. This book is a first step toward a serious reassess- ment of the mostly unspoken theoreti- cal and aesthetic premises underlying auteur theory, built around a recon- (1948-1953) struction of Eric Rohmer’s early but de- cisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. ISBN 978-94-629-8580-3 AUP.nl 9 789462 985803 AUP_FtMh_GROSOLI_(rohmer'sfilmtheory)_rug16.2mm_v02.indd 1 07-03-18 13:38 Eric Rohmer’s Film Theory (1948-1953) Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join Our Four-Person Panel As They Discuss the Not-For-Profit Filmmaking Going on in the Area
MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join our four-person panel as they discuss the not-for-profit filmmaking going on in the area. It’s your chance to help make movies! See you at The Neville Public Museum! Wednesday, September 21 • THE RETURN (Russia, 2003) Directed by Andrei Zvyagintsev Winner of the Golden Lion at the 2003 Venice Film Festival, “The Return” is a magnificent re-working of the prodigal son parable, this time with the father returning to his two sons after a 12 year absence. Though at first ecstatic to be reunited with the father they’ve only known from a photograph, the boys strain under the weight of their dad’s awkward and sometimes brutal efforts to make up for the missing years. In Russian with English subtitles. Presenter to be announced Wednesday, October 12 • BRIGHT FUTURE (Japan, 2003) Directed by Kiyoshi Kurosawa Called by the New York Times a Japanese David Lynch, Kurosawa’s film is about two young friends who work at a hand-towel factory and raise deadly jellyfish. A casual visit by their boss unleashes a serious of events which change the two friends lives forever. One of the pleasures of this slow, suspenseful film is how casually Kurosawa tosses in ideas about contemporary life, the state of the family, the place of technology, all while steadily shredding your nerves. In Japanese with English subtitles. Presented by Ben Birkinbine, Green Bay Film Society Wednesday, October 19 • OSCAR-NOMINATED AND OSCAR-WINNING SHORT FILMS Once again we present a series of the best of live-action and animated short films from around the world. -
Short Film Marketing Guide
SHORT FILM FESTIVAL MARKETING GUIDE 2021 Kia ora, welcome to Te Tumu Whakaata Taonga New Zealand Film Commission (NZFC) Short Film Festival Marketing Guide, designed to help with your most frequently asked festival related questions and to support you in planning a targeted release strategy for your short film. Wishing you the best of luck on your festival journey. Film Still: Ani (2019) – Written and directed by Josephine Stewart-Te Whiu (Ngāpuhi, Te Rarawa), produced by Sarah Cook Official Selection: Berlin International Film Festival ‘In Competition Generation Kplus’, Toronto International Film Festival, imagineNATIVE Film + Media Arts Festival, New Zealand International Film Festival, Rotorua Indigenous Film Festival, Vladivostok Pacific Meridian International Film Festival, Hamptons International Film Festival, Show Me Shorts Film Festival - Winner Best New Zealand Film Award, Best Cinematographer Award DISCLAIMER: This document is written as a guide only, intended for use by short film directors, writers and producers when referring to ‘you’, ‘your’ and ‘filmmakers’. Festival dates included in this guide are correct at publishing and subject to change. 1 © New Zealand Film Commission 2021 INDEX The First Steps – Preparing for Festival Success……………………………………………………………… 3 In Pre-Production………………………………………………………………………………………………. 3 In Production…………………………………………………………………………………………………….. 3 In Post-Production…………………………………………………………………………………………….. 4 At the Finish Line……………………………………………………………………………………………….. 4 Press Kit…………………………………………………………………………………………………. -
2019 Annual Report 2019 in Pullquotes
2019 Annual Report 2019 in pullquotes “Indefatigable.” — Ray Pride, Newcity “A small but mighty organization of cinephiles that exists to maintain, restore, and preserve cinematic treasures on film.” — Lisa Trifone, Third Coast Review “Wonderfully eclectic taste and a real talent for unearthing obscurities.” — Nina Metz, Chicago Tribune Screenings The Chicago Film Society presented 64 individual film programs in 2019, with 60 feature films and 81 short films screened. Total attendance was 6,960 across 5 venues. 3 programs featured visiting filmmakers: Sean Baker, director of The Florida Project (2017) Nicolas Rey, member of the Paris artist-run film lab L'Abominable Tim Hunter, screenwriter of Over the Edge (1979) 14 programs featured the Chicago premieres of new prints or restorations: Computer Chess (2013) — new print comissioned by CFS False Faces (1932) Rock 'n' Roll High School (1979) Fragment of an Empire (1929) The Editor's Notebook (1950) — new restoration by CFS Finishing School (1934) Trust (1990) — new print comissioned by CFS Transatlantic (1931) Bridges-go-round (1958) The Florida Project (2017) Old Boyfriends (1979) Queen of Diamonds (1991) The Signal Tower (1924) New Orleans Street Parade (1968) We had some of our best-attended shows ever in 2019, including The Florida Project with Sean Baker in person, and a rare screening of the 1931 Chicago city symphony World City in its Teens: A Report on Chicago. Film writing Having a distinctive program booklet — and distinctive, informative style of writing film descriptions — is crucial to the Film Society's identity. By establishing that there are people thoughtfully working behind the scenes to program the movies, we prepare our audience to think of films in new contexts. -
View Julia's Resume
Julia Kim Smith juliakimsmith.com [email protected] Education University of Michigan, M.F.A. Visual Communication, Rackham Fellowship Recipient Screenings The Real Wi-Fi Of Baltimore 2017 Official Selection of Slamdance Film Festival, Park City, UT 2017 Official Selection of Cinequest Film Festival, San Jose, CA 2017 Official Selection of Calgary Underground Film Festival, Calgary, Canada 2017 Sondheim Semi-Finalist Exhibition, Maryland Institute College Of Art, Baltimore, MD 2015 Vimeo Curated Collection: Comedy Cylburn Park 2018 Sondheim Semi-Finalist Exhibition, Maryland Institute College Of Art, Baltimore, MD 2015 Official Selection of Brooklyn Film Festival, Brooklyn, NY Why 2018 Sondheim Semi-Finalist Exhibition, Maryland Institute College Of Art, Baltimore, MD 2017 Feminist Art Conference, OCAD University, Toronto, Canada 2016 Gold + Beton, Cologne, Germany Exquisit Corpse, Curator: Sarah Faraday, Fuse Art Space, UK 2015 Fuse Art Space, Bradford, UK Exquisite Corpse, Curator: Sarah Faraday, Fuse Art Space, UK 2014-2015 Institute for Women and Art, Rutgers University, MTV: Momentum Technology Video and Momentum: Women/Art/Technology 2014 Official Selection of Center For Asian American Media CAAMFest, San Francisco, Berkeley, Oakland, San Jose, CA 2013 DUMBO Arts Festival, Brooklyn, NY 2013 Washington Project for the Arts, Experimental Media: Cyber In Securities, Washington, DC Curator: Lisa Moren, Professor of Visual Art, University of Maryland, Baltimore County 2013 Baltimore Artscape, Slippage, Center for the Arts Gallery, Towson University, Towson, MD Curator: Daniel Belasco, Curator, Samuel Dorsky Museum of Art, State University of New York 2013 The White Building, Public Assembly: An Alternative Summer Show, London, UK Organized by Free Cooper Union (UK) and Lawrence Lek. -
Guide to the Papers of the Capri Community Film Society
Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline. -
M2600 Masculin-Feminin (France/Sweden, 1966)
M2600 MASCULIN-FEMININ (FRANCE/SWEDEN, 1966) Credits: director/writer, Jean-Luc Godard ; stories, Guy de Maupassant.. Cast: Jean-Pierre Leaud, Chantal Goya, Marlene Jubert, Michel Debord. Summary: Comedy/melodrama set in contemporary Paris. Godard’s inquiry into 1960s youth culture mixing politics, romance and comedy. A journalist has an affair with a would-be rock star. Includes a scene of self-immolation to protest the war in Vietnam. Albera, Francois. “Masculin-feminin” Travelling J (Laussane) 16 (Apr 1967), p. 51-8. Arnaud, Andre. “Copians flashes” Salut les copians (Jul 1966) [Reprinted in Cahiers du cinema 195 (Jul 1966)] Baroncelli, Jean de. [Masculin-feminin] Le monde (Apr 23, 1966) Biggs, Melissa E. French films, 1945-1993 : a critical filmography of the 400 most important releases Jefferson, N.C. : McFarland, 1996. (p. 176) Billard, Pierre. “About Masculine-feminine” in Masculine-feminine: a film by Jean- Luc Godard New York : Grove, 1969. (p. 187-288) Bjorkman, Stig. “Masculin-feminin” in The films of Jean-Luc Godard New York : Praeger, 1970. (p. 119-22) Blum, Peter (see under Ehrenstein, David) Bory, Jean-Louis. “Ils tuent pour vous” Le nouvel observateur (Dec 14, 1966), p. 50- 51. Burton, Scott. “The film we secretly wanted to live: A study of Masculin-feminin” in Jean-Luc Godard: a critical anthology (edited by Toby Mussman) New York : Dutton, 1967. (p. 261-73) Butler, Jeremy G. “Masculin-feminin” Magill’s survey of cinema. Foreign language films Englewood Cliffs, N.J. : Salem Press, 1986. (v. 4, p. 1976-81) “C rating: National Catholic Office for Motion Pictures” Catholic film newsletter 37/2 (Oct 20, 1966) Casty, Alan. -
Configuring the Demos
CONFIGURING THE DEMOS: CINEMA, THE GLOBAL DIGITAL CONFIGURING THE DEMOS ECONOMY, AND THE CRISIS OF DEMOCRACY is made possible through the generous support of the Deutsche Forschungs- An international conference organized by the Cluster of Excellence “The Formation gemeinschaft, the Vereinigung der Configuring of Normative Orders” and Department of Theatre, Cinema and Media Studies at Freunde und Förderer der Goethe-Uni- Goethe University Frankfurt. versität and the Stiftung zur Förderung der internationalen Beziehungen der According to political theorist Claude Lefort, power in a monarchy is invested in Goethe-Universität. the Demos the body of the king, while in a democracy, power is an empty space: The empty space of the office, filled by a succession of office holders taking turns according to the rhythms of electoral politics, but also the public space in which the demos, the people as the source of power, manifests itself and takes shape. Cinema, the “democractic emblem” (Alain Badiou), is one such space in which the demos configures itself, on screen and in the audience. It is a form of public poetry (Martha Nussbaum), dramatizing the conflicts and articulating the promises, but also the pathologies of modern democratic polities. But how does democracy relate to cinema in a moment of the supposed crisis of democracy? Cinema, the Global Digital Economy, With a focus on three case studies of relatively new players in the global cultural economy, all of which combine the emergence of a popular cinema with the consol- idation of liberal democracy – India, Nigeria and South Korea –, this conference and the Crisis of Democracy explores how cinema, and particularly popular cinema, configures the demos in modern democracies by articulating and dramatizing the conflicts and crises of democratic polities, while developing a significant appeal beyond the geographical International Conference and political boundaries of these polities thanks to digital distribution networks. -
Pacific Film Archive
Lee Amazonas • GUERRILLA CINEMATHEQUE COMES OF AGE: THE PACIFICE FILM ARCHIVE GUERRILLA CINEMATHEQUE COMES OF AGE THE PACIFIC FILM ARCHIVE Lee Amazonas This whole thing is put together with spit, chewing gum, good intentions, coop- eration from the film community and overhead paid by the Museum. I’m not over-budget or under-budget because I haven’t got a budget. —Pacific Film Archive founder Sheldon Renan in a February 1971 interview FOR AN INSTITUTION WITH SUCH A JERRY-BUILT INCEPTION, the Pacific Film Archive (PFA) has not done too badly for itself as it progresses through its fourth decade of exist- ence. The numbers tell a small part of the story: a permanent collection of over 10,000 films and videos (stored in temperature- and humidity-controlled vaults); a study center whose holdings include more than 7,600 books on film history, theory, criticism, and reference, 150 international film periodical titles, over 95,000 clipping files, 36,000 film stills, and 7,500 posters; and an exhibition program of approximately 500 film presentations each year serving an audience of over 50,000 viewers from the Berkeley campus and around the Bay Area. Beyond statistics, it is the magnificent array of programs the Pacific Film Archive of- fers that provides a broader understanding of this vital institution. Many audience members and professionals throughout the film archive com- munity would agree that the exhibition program at PFA is among the most richly varied and com- prehensive shown anywhere, presenting avant- garde and experimental film, classic Hollywood, international cinema (from Iran to Finland to China to Brazil), video art, silent film, ethno- graphic film, and more. -
Classic French Film Festival 2013
FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series Webster University’s Winifred Moore Auditorium, 470 E. Lockwood Avenue June 13-16, 20-23, and 27-30, 2013 www.cinemastlouis.org Less a glass, more a display cabinet. Always Enjoy Responsibly. ©2013 Anheuser-Busch InBev S.A., Stella Artois® Beer, Imported by Import Brands Alliance, St. Louis, MO Brand: Stella Artois Chalice 2.0 Closing Date: 5/15/13 Trim: 7.75" x 10.25" Item #:PSA201310421 QC: CS Bleed: none Job/Order #: 251048 Publication: 2013 Cinema St. Louis Live: 7.25" x 9.75" FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series The Earrings of Madame de... When: June 13-16, 20-23, and 27-30 Where: Winifred Moore Auditorium, Webster University’s Webster Hall, 470 E. Lockwood Ave. How much: $12 general admission; $10 for students, Cinema St. Louis members, and Alliance Française members; free for Webster U. students with valid and current photo ID; advance tickets for all shows are available through Brown Paper Tickets at www.brownpapertickets.com (search for Classic French) More info: www.cinemastlouis.org, 314-289-4150 The Fifth Annual Classic French Film Festival celebrates St. Four programs feature newly struck 35mm prints: the restora- Louis’ Gallic heritage and France’s cinematic legacy. The fea- tions of “A Man and a Woman” and “Max and the Junkmen,” tured films span the decades from the 1920s through the Jacques Rivette’s “Le Pont du Nord” (available in the U.S. -
Richard A. Sherman Pennsylvania State University 124 Carnegie
Richard A. Sherman Pennsylvania State University 124 Carnegie Building, University Park, PA 16802 (W) 814.865.9208 (C) 814.404.9276 [email protected] EDUCATION M.F.A., Film, Ohio University 1999 B.S., Art, James Madison University 1991 ACADEMIC APPOINTMENTS Associate Professor, Pennsylvania State University 2010-present Assistant Professor, Pennsylvania State University 2004-2010 Assistant Professor, Pittsburgh Filmmakers 2002-2004 Visiting Assistant Professor, Ohio University 1999-2002 Graduate Teaching Assistant, Ohio University 1997 COURSES TAUGHT (Graduate, Undergraduate) (U) Advanced Documentary Production (Abroad) (U) Introductory Film Production (U) Intermediate Documentary Production (U) Advanced Documentary Production (U) Intermediate Experimental Production (U) Advanced Experimental Production (U) Intermediate Narrative Production (U) Advanced Narrative Production (U) Intermediate Cinematography (U) Advanced Cinematography (G) 1st Year Film Production (G) 2nd Year Film Production (G) 3rd Year Thesis Film Production (G) Advanced Cinematography GRANTS AND AWARDS • Institute for the Arts and Humanities, Individual Faculty Grant, 2015-16 • Other Israel Film Fund, Film Finishing Grant, 2012 • Institute for the Arts and Humanities, Individual Faculty Grant, 2010 • Deans’ Excellence Fund, College of Communications, funding support, 2009 • Deans’ Excellence Award for Research & Creative Accomplishments, College of Communications, University Park, PA, 2006-2007 • Don Davis Program in Ethical Leadership, funding support, 2009 • Excellence in Teaching Award, Alumni Society Board, College of Communications, 2007 • President’s Future Fund, Pennsylvania State University, funding support, 2009 • Summer Research Grant, College of Communications, 2005, 2006, 2007, 2008, 2009 • Individual Artist Fellowship Award, Ohio Arts Council, Columbus, OH, 2003 1 • Individual Artist Fellowship Award, Virginia Museum of Fine Arts, Richmond, VA, 1997 FILMOGRAPHY The Saucer That Wasn’t There (2018-19). -
Sundance Institute Announces Fellows for Two Focused Intensives
FOR IMMEDIATE RELEASE Media Contact: March 15, 2018 Spencer Alcorn 310.360.1981 [email protected] Sundance Institute Announces Fellows for Two Focused Intensives Diverse Group of Filmmakers Convene for Customized Support and Mentorship 12 Fellows Join Screenwriters Intensive, Supported by the Will & Jada Smith Family Foundation; 10 Join FilmTwo, Supported by Universal Filmed Entertainment Group LOS ANGELES -- This spring, Sundance Institute advances the new work of writers and directors through two focused tracks of support under the auspices of the Feature Film Program: the Screenwriters Intensive, taking place March 15-16, and the FilmTwo Intensive, convening March 22-23. “It’s imperative that we support storytellers at multiple points in their careers, and with tailored programs that address specific challenges,” said Michelle Satter, Founding Director, Sundance Institute Feature Film Program. These Fellows will advance the art and craft of their work under the guidance of experienced filmmakers and industry leaders, while serving the Institute's commitment to introduce the industry to an inclusive pipeline of exciting new storytellers. Under the creative guidance of Satter, the programs are led by Labs Director Ilyse McKimmie (Screenwriters Intensive) and Senior Manager Shira Rockowitz (FilmTwo). Screenwriters Intensive Launched in 2013,, the Screenwriters Intensive provides emerging screenwriters with the opportunity to hone their craft in a two-day concentrated workshop focused on the further development of a fiction feature screenplay. Past projects supported at the Screenwriters Intensive include Spa Night, written and directed by Andrew Ahn, and Monsters and Men, written and directed by Reinaldo Marcus Green; both filmmakers return as advisors for this year’s program.