Kino Úsmev Kunsthale

Total Page:16

File Type:pdf, Size:1020Kb

Kino Úsmev Kunsthale INTERNATIONAL FILM FESTIVAL JUNE 14–22, 2019 Unforgettable atmosphere, an attractive programme, stars literally within reach and tens of thousands visitors – these are the top credentials of the Art Film Fest International Film Festival. The festival is among the most important cultural and social events in Slovakia. Art Film Fest provides a large-scale setting for presenting the latest works of world cinema, as well as noteworthy titles from film history and a selection of quality films curated from the Slovak cinematic tradition. The festival’s centrepieces are its two competition sections – for feature films and short films, respectively. Winners of each are determined by internation- al juries, who grant the Blue Angel Award for best film, director, actress and actor. The non- competition sections feature the works of es- tablished filmmakers, notable films of various national cinemas, cult classics that have made Art Film Fest has been held in the Slovak their mark on film history and thematically ori- Republic since 1993, first in Trenčianske ented film projects, as well as profiles and ret- Teplice. In 2016 the festival relocated rospectives of acclaimed filmmakers. to Košice, Slovakia’s second largest city. ActOR´S MISSION AWARD THE GOLDEN CAMERA Every year since 1995 Art Film Fest has bestowed the Actor’s The Golden Camera is awarded to Slovak and international film Mission Award to world-famous performers for their outstanding professionals of various trades for their significant contributions to contributions to the art of film acting. The award has been the filmmaking craft. Since 2001, 42 prominent film received by 63 international and Slovak performers to date. professionals have received the award. 1995: 2003: 2006: 2012: Franco Nero [Italy] Klaus Maria Brandauer [Austria] Andrzej Wajda [Poland] director Andrei Konchalovsky [Russia] György Cserhalmi [Hungary] Dušan Hanák [Slovakia] screenwriter and director 1996: Jiřina Bohdalová [Czech Republic] screenwriter and director Dodo Šimončič [Slovakia] Gina Lollobrigida [Italy] Jerzy Stuhr [Poland] cinematographer Alberto Sordi [Italy] 2007: Rudolf Urc [Slovakia] Jozef Kroner [Slovakia] 2004: 2011: Roman Polanski [Poland] director dramaturg and director Květa Fialová [Czech Republic] János Bán [Hungary] Oleg Tabakov [Russia] 1997: Štefan Kvietik [Slovakia] Zdeněk Svěrák [Czech Republic] actor and director 2013: Geraldine Chaplin [USA] Zuzana Kronerová [Slovakia] Jiří Menzel [Czech Republic] director Juraj Herz [Slovakia] Vlastimil Brodský [Czech Republic] 2005: director and screenwriter Dagmar Veškrnová-Havlová 2012: 2008: Ulrich Seidl [Austria] 1998: [Czech Republic] Emmanuelle Béart [France] Miroslav Ondříček [Czech Republic] director and screenwriter Mari Törőcsik [Hungary] Nastassja Kinski [Germany] Miroslav Donutil [Czech Republic] 2001: cinematographer Erland Josephson [Sweden] Sir Ben Kingsley [United Kingdom] Martin Hollý [Slovakia] director Tonino Guerra [Italy] screenwriter 2014: Annie Girardot [France] 2006: Pavel Branko [Slovakia] Krzysztof Zanussi [Poland] director István Szabó [Hungary] Lubomír Lipský [Czech Republic] 2013: critic and journalist director and screenwriter 1999: Jacqueline Bisset [United Kingdom] Martin Huba [Slovakia] 2009: Ondrej Šulaj [Slovakia] Iva Janžurová [Czech Republic] Július Satinský [Slovakia] 2002: Ettore Scola [Italy] screenwriter and director Michele Placido [Italy] 2007: Barbora Bobulova [Slovakia/Italy] Maximilián Remeň [Slovakia] editor screenwriter and director Daniel Olbrychski [Poland] Isabelle Huppert [France] Juraj Jakubisko [Slovakia] director Věra Chytilová [Czech Republic] 2015: Sophia Loren [Italy] Mirjana Karanović [Serbia] 2014: director Ján Ďuriš [Slovakia] cinematographer Marián Labuda [Slovakia] Ivan Trojan [Czech Republic] 2003: Peter Hledík [Slovakia] director 2000: Claudia Cardinale [Italy] Don Askarian [Armenia] director 2010: Ladislav Chudík [Slovakia] 2008: Vincent Rosinec [Slovakia] Stanislav Szomolányi [Slovakia] 2016: Jana Brejchová [Czech Republic] Chiara Caselli [Italy] 2015: cinematographer cinematographer Stephen Daldry [United Kingdom] Catherine Deneuve [France] Omar Sharif [Egypt] Anna Geislerová [Czech Republic] Roman Rjachovský [Slovakia] Václav Vorlíček [Czech Republic] director Ivan Palúch [Slovakia] Juraj Kukura [Slovakia] art director director and screenwriter Sir Alan Parker [United Kingdom] 2001: Liv Ullmann [Norway] director Jiří Bartoška [Czech Republic] 2016: 2004: 2011: Emília Vášáryová [Slovakia] 2009: Lazar Ristovski [Serbia] Vido Horňák [Slovakia] Emir Kusturica [Bosnia & Herzegovina] 2017: Jean-Paul Belmondo [France] Jeremy Irons [United Kingdom] Karel Roden [Czech Republic] screenwriter and director director Dušan Trančík [Slovakia] Jaromír Hanzlík [Czech Republic] Vlastimil Herold [Slovakia] animator Jean-Claude Carrière [France] director 2002: 2017: Petr Hapka [Czech Republic] composer screenwriter Jan Hřebejk [Czech Republic] Božidara Turzonovová [Slovakia] 2010: Ondřej Vetchý [Czech Republic] Milan Čorba [Slovakia] director Bolek Polívka [Czech Republic] Gérard Depardieu [France] Magda Vášáryová [Slovakia] 2005: costume designer Ornella Muti [Italy] Milan Kňažko [Slovakia] Miklós Jancsó [Hungary] director 2018: Josef Abrhám [Czech Republic] 2018: Tibor Biath [Slovakia] cinematographer Agnieszka Holland [Poland] Zuzana Mauréry [Slovakia] Alexej German [Russia] Ivana Chýlková [Czech Republic] J. Bisset J. S. Daldry S. K. M. Brandauer J. C. Carrière A. Sordi G. Depardieu E. Kusturica V. Havel – M. Lasica N. Kinski A. Konchalovsky C. Deneuve G. Lollobrigida – J. Kroner J. Panahi – R. Polanski F. Nero F. E. Irons Scola – J. O. Muti S. Gaydos – A. Parker O. Sharif Warsaw Prague Košice is the largest city in Košice Budapest 215 km Vienna Bratislava eastern Slovakia. Vienna 365 km With a population Budapest Warsaw 391 km of approximately Prague 516 km 240,000, Košice is the second largest city in Slovakia, after the capital, Bratislava. The economic and cultural centre of largest church: St Elisabeth’s Cathedral. eastern Slovakia, Košice is the seat The long main street, rimmed with of the Košice Region and the Košice aristocratic palaces, Catholic churches Self-governing Region, the Slovak and townhouses, is a thriving pedestrian Constitutional Court, three universities, zone with many boutiques, cafés and various dioceses, and many museums, restaurants. galleries and theatres. Košice is an important industrial centre in Slovakia. In 2008 Košice won the competition A regional transport hub, the city has among Slovak cities for the prestigious extensive railway connections and an title European Capital of Culture international airport. 2013. The Interface project aims to transform Košice from a centre of heavy Košice has a well-preserved historical industry to a post-industrial city with centre, the largest in Slovakia. There creative potential and a new cultural are many protected heritage buildings infrastructure. In 2017 Košice won the in Gothic, Renaissance, baroque, and title UNESCO Creative City of Media art nouveau styles, including Slovakia’s Arts. Kino Úsmev Kunsthale Capacity: 300 seats. Capacity: 550 seats. Kino Úsmev is a fully Thanks to its architectural ART FILM FEST digital cinema with features, Košice’s screenings all day, Kunsthalle (Hall of Art) is seven days a week. primarily used for holding The latest technology international exhibitions, delivers audiences workshops and more CINEMAS intimate events focused a first-rate cinematic Kino Slovan experience and offers on the new generation. businesses a unique Capacity: way to present and AND CULTURAL 454 seats. promote on the big This cinema screen. is located in the rear section of the Old City VENUES Hall on Košice’s Hlavná ulica. Kulturpark Tabačka Kulturfabrik Capacity: two screening Tabačka Kulturfabrik is an rooms with 150 seats each. independent cultural centre This former military area with two auditoriums (300 and is now a creative district 80 seats, respectively). bristling with life. Košice’s A versatile venue for exhibitions new cultural venue provides and residences, it is fully spaces for socializing, equipped for film, theatre, creative work and presenting music/dance and multimedia various genres of modern art. presentations. Festival president Milan Lasica Producer Ján Kováčik Artistic Director Peter Nagel ART FILM FEST s.r.o. Tomášikova 30C 821 01 Bratislava ⁄ Slovak Republic Phone: +421 2 20 85 51 00 E-mail: [email protected] Facebook @artfilmfest Instagram @artfilmfest Twitter @ArtFilmFestSVK www.artfilmfest.sk.
Recommended publications
  • Slovenský Filmový Ústav Rezort: Ministerstvo Kultúry SR Typ Hospodárenia: Príspevková Organizácia
    Správa o činnosti a hospodárení za rok 2018 Organizácia: Slovenský filmový ústav Rezort: Ministerstvo kultúry SR Typ hospodárenia: príspevková organizácia Miesto konania verejného odpočtu: Kino Lumière, Špitálska 4, Bratislava Čas konania verejného odpočtu: 27. 2. 2019 o 11,00 hod. Správa je na internetovej stránke MKSR: http://www.culture.gov.sk/organizacie-ministerstva/verejne-odpocty/verejne- odpocty-2018-343.html Správa je na internetovej stránke organizácie: www.sfu.sk OBSAH strana 1. Identifikácia organizácie............................................................... .......................... 3 2. Zhodnotenie činnosti organizácie ................................................... ....................... 8 a/ Činnosť oddelenia filmového archívu ................................................................ 8 b/ Činnosť oddelenia dokumentácie a knižničných služieb ................................. 24 Projekt informačného systému SK CINEMA ................................................... 32 c/ Činnosť Národného kinematografického centra ............................................. 34 d/ Systematická obnova audiovizuálneho dedičstva a jeho sprístupňovanie ...... 50 e/ Činnosť edičného oddelenia .......................................................................... 68 f/ Činnosť pracoviska Klapka.sk a mediatéky ..................................................... 70 g/ Vydávanie mesačníka Film.sk ........................................................................ 73 h/ Činnosť kancelárie Creative Europe Desk Slovensko
    [Show full text]
  • Eva Nová the Cleaner Waiting Room Marko Škop
    2016 SPECIAL EDITION OF THE MONTHLY MAGAZINE ON SLOVAK CINEMA REVIEWS f Eva Nová f The Cleaner f Waiting Room INTERVIEW f www.filmsk.sk Marko Škop 2015 IN SLOVAK FILM WE INTRODUCE THE SLOVAK FILM INSTITUTE Film entries written by Peter Hames I, Olga Hepnarová (Ja, Olga Hepnarová) The History And Present and In Your Dreams! (Ani ve snu!) were included in this year’s Berlin International of Film.sk Film Festival programme. These fi lms are Czech majority fi lms, but Slovakia also had Film.sk is a monthly about fi lm events in Slovakia EDITORIAL a part in their making. The interconnection published by the Slovak Film Institute. It has been between the Slovak and Czech audiovisual published since January 2000 and up to 2010 it environments remains obvious, even was the only fi lm periodical in print in Slovakia. although it is now more than twenty The magazine’s editor-in-chief Simona Nôtová years since the break-up of the former was present at its birth and she managed it until federal republic. You will fi nd several September 2012. Naturally, the monthly has co-productions in the New Films section undergone conceptual changes over the course which off ers a selection of Slovak fi lms that of its existence but it was always based on the are planned to have their premières in 2016. principle of the provision of a broad range of Eva Nová is also a Slovak-Czech fi lm; we information on the events in the local fi lm and carry a review of the fi lm in the magazine audiovisual milieu.
    [Show full text]
  • G Jana Bučka G Investigatívna Dokumentaristika Po Roku 1989 G
    CENA 1 € Rozhovor KALENDÁRIUM g Jana Bučka PREMIÉRY Téma DISTRIBÚCIA g Investigatívna ROZHOVOR PUBLIKÁCIE dokumentaristika TÉMA po roku 1989 FILMOVÉ NOVINKY novinky FESTIVALY film.sk g Cigáni idú do volieb RECENZIA je evidovaný mk sr pod ev. č. ev 947/08 PROFIL g Od Fica do Fica OHLASY Recenzia REBRÍČKY A JUBILEÁ g Konečná uprostred cesty PROGRAM KINA LUMIÈRE g Lovci hláv V foto: Peter Procházka Čas plynie a poľahky sa môže stať, že keď sa človek pozrie na udalosti spred desia- NA ÚVOD tich-dvadsiatich rokov, vidí akúsi nahrubo natretú fasádu toho, čo žil. Vybledli od- tiene aj tiene, v pamäti utkvelo zopár výrazných obrazov, na ktorých už zapra- covala fantázia a spomienkový optimiz- g mus prekrýva to ťaživé, problematické, podozrivo nejednoznačné a podvratné. Tento mesiac sa bude opäť hovoriť Dado Nagy, o novembrových udalostiach roku 1989, moderátor, publicista, literárny znalec o Nežnej a o zmenách, ktoré priniesla. Bolo ich neúrekom vrátane tých ťaživých, Som odchovancom filmového klubu kina Mladosť problematických, podozrivo nejedno- na Hviezdoslavovom námestí v Bratislave. Každý značných a podvratných. Azda by mohlo deň nový film, niekedy dva. Videl som ich tam byť zaujímavé pozrieť sa na to, či sloven- stovky – od Felliniho, Tarkovského, Kurosawu cez skí dokumentaristi nabrali po revolúcii historické veľkofilmy až po úplné úlety a somariny. guráž venovať sa i tým rozporuplným, Nikdy som však z kina neodišiel pred koncom obchádzaným, konfliktným témam, filmu. Možno preto, lebo rovnako ako filmy ma ktoré to boli a ako ich filmári uchopili. MOJE OBľÚBENÉ SLOVENSKÉ FILMY zaujímali miestni štamgasti. Svoj naj slovenský film som však paradoxne ne- Téma aktuálneho čísla Film.sk teda videl v kine Mladosť, ale večer v televízii.
    [Show full text]
  • Contemporary Slovak Film: a Symptom of the Times Or a Representation of Society?
    CONTEMPORARY SLOVAK FILM: A SYMPTOM OF THE TIMES OR A REPRESENTATION OF SOCIETY? JANA DUDKOVÁ Institute of Theatre and Film Research, Slovak Academy of Sciences Abstract: The phenomenon of Slovak cinema after 1989 is often linked with metaphors of ab- sence and sterility. There are many reasons why this can be stated, and they are to a great ex- tent closely connected with the reckless transformation and denationalisation of cinema which almost ruined it in the 1990s. On the one hand, cinema is no longer controlled or supported by the state; on the other hand, it is still financially dependent on it. (Until 2009, the ministers of culture are still responsible for the division of film funds, and frequent changes in the volume of available funds or the state’s preferred subject matter have resulted in a number of projects that received short-term funding but have never been finished.) The focus is no longer on the middle class; therefore, there has been a decrease in cinema attendance and box office success. However, films are still reflecting some social changes and specifics as well as the position of Slovakia in a certain “global” world order. This article is going to outline some often overlooked approaches to post-1989 Slovak cinema as a reflectionof social change. The focus will be on the sense of belatedness in generational gestures which embody the beliefs of the transition period as well as the spatial metaphors of one’s relationship to society. Last but not least, attention will be paid to the unconscious self-reflection of cinema and its role in the shift of society towards the market economy.
    [Show full text]
  • Report on the Slovak Audiovisual Situation in 2020
    REP ORT ON THE SL OVAK AUDI OVIS UAL SIT UATION IN 2020 REPORT ON THE S LOVAK AUDIOVISUAL SITU A TION IN 2020 > CONTENT – Introduction ...................................................................... 03 – Legislation ....................................................................... 04 – Film Education ................................................................. 05 – Film Production ................................................................ 07 – Audiovisual Fund .............................................................. 10 – Literary Fund ................................................................... 14 – Eurimages ....................................................................... 15 – MEDIA ............................................................................. 16 – Cinema Distribution ......................................................... 17 – Videodistribution ............................................................. 25 – Cinemas ........................................................................... 27 – Film Clubs ....................................................................... 31 – Domestic Festivals and Reviews .......................................... 31 – Awards for Slovak Films and Filmmakers in Slovakia ........... 34 – Awards for Slovak Films and Filmmakers Abroad ................. 36 – Slovak Film Institute ......................................................... 39 – Television ......................................................................... 42 – In Memoriam
    [Show full text]
  • DECISIONS at the CROSSROADS of LIFE Pavel Branko (*1921)
    DECISIONS AT THE CROSSROADS OF LIFE Pavel Branko (*1921) Pavel Branko first made an impact as a journalist in the resistance, when at a young age he became editor-in-chief of the anti-fascist magazine Mor ho. During the Slovak state two members of his resistance group received the death sentence. Branko himself survived the end of the war in Mauthausen. Though a committed Communist in the First Republic, he quit the party in protest in 1949. The film critic and journalist outlined his story in the tellingly titled autobiography Proti proudu (Against the Current). “George Orwell formulated a thesis that I dubbed the ‘Orwell constant’. This states that in every society 10 percent of people want to change the world and 10 percent are always and in all circumstances against anybody changing it. And 80 percent have families, which makes them the eternal silent majority,” he says. Branko was never of their number. Throughout his life he has always been a lone wolf and individualist, almost always in opposition to the majority. Just as it is hard to categorise him, it is not easy to identify the coordinates of the place of his birth on 27 April 1921. It was on board a ship in the Mediterranean sailing under a French flag. He was born around three days before it docked in Trieste. His parents Marta and Daniel were then returning to a new homeland, the Czechoslovak Republic. They had travelled all the way from Irkutsk, where they met. She was fleeing the Bolsheviks and he was a former Austrian-Hungarian POW.
    [Show full text]
  • Report on the Slovak Audiovisual Situation in 2018
    REP ORT ON THE SL OVAK AUDI OVIS UAL SIT UATION IN 2018 REPORT ON THE S LOVAK AUDIOVISUAL SITU A TION IN 2018 > CONTENT – Introduction ...................................................................... 03 – This project has been funded with the support from the European Commission. – Legislation ....................................................................... 04 – This publication reflects the views only of the author, – Film Education ................................................................. 05 and the Commission cannot be held responsible for any use which may be made of the information contained therein. – Film Production ................................................................ 07 – Audiovisual Fund .............................................................. 10 – Literary Fund ................................................................... 13 – MEDIA Sub-programme ..................................................... 13 – Eurimages ....................................................................... 15 – Cinema Distribution ......................................................... 15 – Videodistribution ............................................................. 20 – Cinemas ........................................................................... 22 – Film Clubs ....................................................................... 25 – Domestic Festivals and Reviews .......................................... 25 – Awards for Slovak Films and Filmmakers in Slovakia ........... 27 – Awards for
    [Show full text]
  • Roš Chodeš Duben 2019
    Kè 20,– 5779 DUBEN 2019 ROÈNÍK 81 ADAR II. NISAN VÌSTNÍK ŽIDOVSKÝCH NÁBOŽENSKÝCH OBCÍ V ÈESKÝCH ZEMÍCH A NA SLOVENSKU Jarcajt rabiho Šlomo Efrajima Lunèice na Starém židovském høbitovì v Praze. Foto Jiøí Daníèek, 2019. – PESACH KOŠER VESAMEACH 2 VÌSTNÍK 4/2019 OMLUVAA VYLOUÈENÍ téhož dne prezident Svìtového židovského Za výroky poslance Václava Klause ml., kongresu Ronald S. Lauder i další pøedsta- kterými pøirovnal snìmovnu k židovské- vitelé židovských komunit vèetnì FŽO mu výboru, se musel omluvit jeho šéf, AKTUALITY v ÈR. „Federace židovských obcí je šoko- pøedseda ODS Petr Fiala. Klaus ml. svá vána a odsuzuje hrùzný teroristický èin, slova pronesl v úterý 12. bøezna pøi roz- který spáchal pravicový extremista ve dvou pravì o zákonu o zpracování osobních mešitách v novozélandském mìstì Christ- údajù kvùli pøedpisùm Evropské unie. church. Soucítíme s rodinami obìtí. Je tøe- „Mnì to pøipomíná nìco jako židovský ba odsoudit jakékoli projevy nesnášenli- výbor, jo, když nám øekli, že máme vy- vosti a xenofobie již v zárodku. Každý èin pravit transport, a my jenom tak jako roz- má na poèátku slovo, které mùže být stejnì hodujeme, že ty nemocné ženy ještì ne- nebezpeèné,“ zveøejnila FŽO na svých fa- pošleme, ty pùjdou až pøíštím vlakem, ale cebookových stránkách. jinak prostì dìláme to, co nám øeknou,“ øekl. Pozdìji svùj pøímìr oznaèil za mož- a Lauderovy školy, kde se pøátelsky setkal DOPISY TISOVI ná ponìkud drsný, ale „v jádru sedí“. se studenty. V hotelu King David pronesl V Prešovì a následnì 14. bøezna v Brati- Poté, co straníci ÈSSD, Pirátù, Starostù na pamìt’ zesnulého uèence øeè. Rabín slavì se konalo diskusní ètení dopisù, kte- nebo KDU-ÈSL vyzvali Klause k omlu- David Lau je vrchním izraelským rabínem ré v letech 1939–1945 psali bìžní lidé slo- vì, Fiala prohlásil: „Jménem ODS se zde venskému prezidentu Jozefu Tisovi.
    [Show full text]
  • Faktory Ovplyvňujúce Distribúciu Dokumentárnych Filmov Na Slovensku
    Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Monika Fábryová (FAV / bakalářské prezenční studium) Faktory ovplyvňujúce distribúciu nezávislých dokumentárnych filmov na Slovensku Bakalářská diplomová práce Vedoucí práce: Mgr. Lucie Česálková, Ph. D. Brno 2015 Prehlasujem, že som pracovala samostatne a použila som len uvedené pramene. V Brne Monika Fábryová Poďakovanie Rada by som poďakovala vedúcej práce Lucii Česálkovej za ochotný a trpezlivý prístup, cenné rady a pripomienky. Za ochotu, čas a spoluprácu na rozhovore ďakujem Eve Križkovej z Filmtopie a režisérovi Adamovi Oľhovi. Obsah 1. Úvod .................................................................................................................................................... 5 1.1. Metóda výskumu, hypotetické otázky, časové vymedzenie a použité zdroje ............................. 6 2. Vymedzenie pojmov ............................................................................................................................ 8 2.1. Artový film a jeho vymedzenie v distribúcií ................................................................................. 8 3. Prehľad situácie v slovenskej kinematografii 1989-2009 .................................................................. 11 4. Súčasná situácia filmového distribučného trhu v Slovenskej republike ............................................ 15 4.1. Podpora a financovanie filmových projektov a ich distribúcie .................................................. 15 4.1.1. Audiovizuálny
    [Show full text]
  • Publications Des Membres De La Fiaf 2007 Bibliography
    BIBLIOGRAPHIE : PUBLICATIONS DES MEMBRES DE LA FIAF 2007 BIBLIOGRAPHY : FIAF MEMBERS' PUBLICATIONS 2007 préparée par / edited by René Beauclair (Cinémathèque québécoise, Montréal) avec l'assistance de / with the assistance of Nancy Goldman (Pacific Film Archive, Berkeley) Fédération internationale des archives du film Commission de catalogage et de documentation 2008 INTRODUCTION Cette bibliographie décrit les publications produites en 2007 par les membres de la Fédération internationale des archives du film (FIAF). Elles sont regroupées suivant l'ordre alphabétique de villes où les éditeurs sont situés ; sous chacune d'entre elles, on suit l'ordre alphabétique d'auteurs. Les descriptions sont faites à partir des documents que les cinémathèques nous ont faits parvenir, ou des listes qu'elles nous ont fournies. Un court résumé bilingue accompagne les notices quand le titre n'est pas assez explicite. Les oublis qui nous serons signalés seront inclus dans l'édition de l'année prochaine. Trois index facilitent la consultation : par auteurs, par titres et par sujets. Pour ce dernier, nous utilisons les descripteurs de l'International Index to Film Periodicals Subject Headings compilé par Michael Moulds et Rutger Penne. Les chiffres à l'intérieur des index renvoient aux numéros des notices. Nous donnons également les nom et adresse des cinémathèques qui ont collaboré à la présente édition ; on peut s'y procurer les documents décrits. Nous remercions ces archives de leur collaboration et comptons à nouveau sur elles pour l'édition de l'an prochain. ************************** This bibliography describes the publications produced in 2007 by members of the International Federation of Film Archives (FIAF). Entries for each publication appear under the name of the originating archive, listed alphabetically by the city in which the archive is located.
    [Show full text]
  • AFF 2009 Katalog
    Poďakovanie • Acknowledgements Ďakujeme • Special thanks to Slovenský filmový ústav Eva Zaoralová, Karlovy Vary IFF Markéta Okezz, Atypfilm Slovak Film Institute Jan Harlan Zdeňka Barcalová, Vapet Production Radovan Holub Evelyna Koublová, Vapet Production Rudolf Biermann, InFilm Praha Jarmila Outratová, OutCome Ivan Lacho, Intersonic Orlow Seunke, ECCO Films Indonesia Slovenská filmová a televízna akadémia Michal Drobný, Continental Film Joko Anwar, Life Like Pictures Slovak Film and Television Academy Ivan Hronec, SPI International Geraldine Higgins, Hollywood Classics Ivan Sollár, Tatrafilm Nicholas Varley, Park Circus Dana Freyerová, Intersonic Sarah Hack, Magnolia Pictures Taliansky kultúrny inštitút v Bratislave Dana Pfeiferová, Tatarafilm Jack Stevenson Istituto Italiano di Cultura di Bratislava Zuzana Mistriková, Miro Janura, AVI Studio Slovenská filmová a televízna akadémia/ Cory McAbee Slovak Film and Television Academy Gunnar Almer, Swedish Film Institute Peter Dubecký, Andrew Youdell, British Film Institute Ministerstvo obrany Slovenskej republiky Slovenský filmový ústav/Slovak Film Institute Thilde Kallerup, Danish Film Institute The Ministry of Defence of the Slovak Republic Alexandra Strelková, Eduard Ferrer, Cooper Film Slovenský filmový ústav/Slovak Film Institute Laurence Berbon, Tamasa Distribution Hana Válková, Nicki Adams, Warner Bros. Intersonic Slovenský filmový ústav/Slovak Film Institute Helena Dametka, Filmoteka Narodowa Silvia Dubecká, Asociácia slovenských filmových Saadia Karim, MK2 klubov/Association of Slovak
    [Show full text]
  • Film.Sk Cannes & Karlovy Vary Edition 2021
    www.filmsk.sk Cannes & Karlovy Vary Edition 2021 THE HISTORY AND PRESENT OF THE SLOVAK FILM INSTITUTE editorial The Slovak Film Institute (SFI) is the sole state- funded memory and archive institution operating in the area of audiovision in Slovakia. The National Film Archive and the National Cinematographic Centre are the SFI’s basic organisational units. The SFI is a member of the SLOVAK FILM INSTITUTE International Federation of Film Archives (FIAF), European Film Promotion (since 2006); it operates as a service work- place for the European Audiovisual Observatory (EAO) and the Council of Europe cinema support fund – Eurimages. AND SLOVAK FILM COMMISSION Creative Europe Desk Slovensko is also part of the Slovak Film Institute. The Film Institute in Bratislava was established JOIN FORCES TO PROMOTE on 1st April 1963. The film archive, which was established In the previous Berlinale Edition 2021, the first spe- in 1958, also became part of the Institute. In 1970, the SFI cial festival edition of Film.sk, we committed to the Cannes was presented with a copy of the first Slovak feature film and Karlovy Vary editions. However, their production process Jánošík (dir. Jaroslav Siakeľ, 1921) which was later re- SLOVAKIA AT INTERNATIONAL was constantly complicated by new anti-pandemic measures stored and provided with a soundtrack. and date changes of festivals. As a result, we decided to put By the end of 1976, the Film Club of the Central together a combined summer festival version of Film.sk – Office of Slovak Film was opened in Bratislava. Cinema FILM MARKETS. Cannes & Karlovy Vary Edition 2021, published on two occasions.
    [Show full text]