Teaching Documentary Symposium – Cardif, November 5-7, 2014
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The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
UG Course Handbook
Off Campus Provision of London Metropolitan University, Department of Humanities, Arts, Languages and Education The London Film School MA SCREENWRITING Course Handbook For admission in 2013-14. Contents (a) Introduction to the Course ............................................................................................ 4 (b) Using This Handbook ................................................................................................... 4 2. Postgraduate Study at London Metropolitan University ....................................................... 4 3 The course .......................................................................................................................... 5 (a) General ........................................................................................................................ 5 (h) Location and Facilities supporting the course .................................................................... 8 (i) Disability and Dyslexia........................................................................................................ 8 4. Being a Postgraduate Student ......................................................................................... 9 (a) Attendance and employment ....................................................................................... 9 (b) Studying ..................................................................................................................... 10 (c) Mobile Phones .......................................................................................................... -
The Grierson Effect
Copyright material – 9781844575398 Contents Acknowledgments . vii Notes on Contributors . ix Introduction . 1 Zoë Druick and Deane Williams 1 John Grierson and the United States . 13 Stephen Charbonneau 2 John Grierson and Russian Cinema: An Uneasy Dialogue . 29 Julia Vassilieva 3 To Play The Part That Was in Fact His/Her Own . 43 Brian Winston 4 Translating Grierson: Japan . 59 Abé Markus Nornes 5 A Social Poetics of Documentary: Grierson and the Scandinavian Documentary Tradition . 79 Ib Bondebjerg 6 The Griersonian Influence and Its Challenges: Malaya, Singapore, Hong Kong (1939–73) . 93 Ian Aitken 7 Grierson in Canada . 105 Zoë Druick 8 Imperial Relations with Polynesian Romantics: The John Grierson Effect in New Zealand . 121 Simon Sigley 9 The Grierson Cinema: Australia . 139 Deane Williams 10 John Grierson in India: The Films Division under the Influence? . 153 Camille Deprez Copyright material – 9781844575398 11 Grierson in Ireland . 169 Jerry White 12 White Fathers Hear Dark Voices? John Grierson and British Colonial Africa at the End of Empire . 187 Martin Stollery 13 Grierson, Afrikaner Nationalism and South Africa . 209 Keyan G. Tomaselli 14 Grierson and Latin America: Encounters, Dialogues and Legacies . 223 Mariano Mestman and María Luisa Ortega Select Bibliography . 239 Appendix: John Grierson Biographical Timeline . 245 Index . 249 Copyright material – 9781844575398 Introduction Zoë Druick and Deane Williams Documentary is cheap: it is, on all considerations of public accountancy, safe. If it fails for the theatres it may, by manipulation, be accommodated non-theatrically in one of half a dozen ways. Moreover, by reason of its cheapness, it permits a maximum amount of production and a maximum amount of directorial training against the future, on a limited sum. -
Ateliers D'angers
ANGERS WORKSHOPS 4-11 July 2010 6th edition 2009 participants with Jeanne Moreau, Sandrine Veysset and Claude-Eric Poiroux Artistic director : Jeanne Moreau www.premiersplans.org PRESS KIT Contact: Liza Narboni – 01 42 71 11 62 / [email protected] PARTNERS Angers Workshops receive support from: With the support of: Angers Workshops would like to thank: Université Angevine du Temps Libre // ADAMI // Bouvet Ladubay // Bureau d’accueil des tournages de la SEM Pays de la Loire // Centre Angevin des Ressources Associatives de la Ville d’Angers // Le Chabada // Ecole Supérieure des Beaux-Arts d’Angers // Elacom // Hôtel Mercure Angers Centre // Evolis Card Printer // Ford Rent // Hexa Repro // Nouveau Théâtre d’Angers // La Semaine du son // OPCAL // SACD // Sceren // Association Valentin Huäy // Yamakado. CONTACTS Premiers Plans Association President : Gérard Pilet Artistic director : Jeanne Moreau General Delegate : Claude-Eric Poiroux Coordination / Arnaud Gourmelen +33 1 42 71 83 29 - Liza Narboni +33 1 42 71 11 62 [email protected] www.premiersplans.org PREMIERS PLANS 2 PRESENTATION The 6th edition of the Angers Workshops will welcome from the 4th to the 11th of July, 9 young filmmakers from 5 European countries: France, Italy, Scotland, and Slovenia. Jeanne Moreau, who founded the Ateliers with Claude-Eric Poiroux, will be running them, as she has done every year, along with cinema professionals, including directors Olivier Ducastel (Jeanne et le garçon formidable, L’Arbre et la forêt…), Raphaël Nadjari (The Shade, Avanim…), Olivier Assayas (Clean, L’Heure d’été…)… Created in 2005, the Angers Workshops are directed toward young European filmmakers with one or two short films to their credit and a first feature film in the works. -
Ma Filmmaking
Off Campus Provision of London Metropolitan University, Department of Humanities, Arts, Languages and Education The London Film School MA FILMMAKING Course Handbook For admission in 2015-2016 Contents (a) Introduction to the Course ..................................................................................................... 4 (b) Using This Handbook ............................................................................................................. 5 2. Postgraduate Study at London Metropolitan University .................................................. 5 3 The course ........................................................................................................................ 6 (a) General .................................................................................................................................. 6 (b) Exercises: Terms one to five ................................................................................................... 7 (c) Graduation film ...................................................................................................................... 7 (d) Specialisation ......................................................................................................................... 7 (e) Practical Skills ......................................................................................................................... 8 (f) Writing ................................................................................................................................... -
Documentary America: Exploring Popular Culture
Review Essay Documentary America: Exploring Popular Culture Sam Girgus DOCUMENTING OURSELVES: Film, Video, and Culture. By Sharon R. Sherman. Lexington: University Press of Kentucky. 1998. HOLLYWOOD'S INDIAN: The Portrayal of the Native American in Film. Edited by Peter C. Rollins and John E. O'Connor. Lexington: University Press of Kentucky. 1998. DISASTER AND MEMORY: Celebrity Culture and the Crisis of Hollywood Cinema. By Wheeler Winston Dixon. New York: Columbia University Press. 1999. Documentary today influences and structures the way we think about and envision current events and history. The proliferation of documentary, of course, stems in part from its importance to television as specials, docudramas, and public broadcasting endeavors such as Ken Burns' The Civil War (1989). Also, docu mentary films such as Michael Moore's Roger andMe (1989) achieve critical and commercial success. Yet, while documentary for information and entertainment grows in popularity and authority, its relation to film as an art and to culture studies remains generally misunderstood and neglected. Thus, documentary requires further study to explain its place in our culture. 0026-3079/99/4003-147$2.00/0 American Studies, 40:3 (Fall 1999): 147-155 147 148 Sam Girgus Besides the cost efficiency of documentary as compared to commercial films, the power and popularity of documentary also derive from the conventional belief in its special relationship to reality. In her important new book, Document ing Ourselves: Film, Video, and Culture, Sharon R. Sherman uses a familiar but descriptive label to identify this idea of documentary realism as a "'slice of life'" (10). For many, documentary provides a visual and audial piece of actual experience, rendering that experience with an immediacy to reality that obviates the mediation of written texts and artistic forms. -
Vue Panoramique
Document généré le 28 sept. 2021 13:48 24 images Vue panoramique Le cinéma québécois aux rayons X Numéro 105, hiver 2001 URI : https://id.erudit.org/iderudit/24056ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article (2001). Vue panoramique. 24 images, (105), 57–63. Tous droits réservés © 24 images, 2000 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Vu,e panoramique Une sélection des films sortis en salle à Montréal Ont collaboré: Pierre Barrette — P.B. Marco de Blois — M.D. Gérard Grugeau — G.G. Marcel Jean — M.J. Gilles Marsolais — G.M. André Roy — A.R. BAISE-MOI Devant Baise-moi et tout le ramdam que le film a plement rester vivantes, coûte provoqué, il faut être clair sur deux points. Le premier, c'est que coûte») qui n'arrivent que l'interdiction qui a frappé le film en France est inad jamais à offrir une idée étoffée missible et qu'il est de notre devoir de la dénoncer. -
Berlinale 11–21 Feb 2016 the Awards Die Preise
Berlinale 11–21 Feb 2016 The Awards Die Preise 20141117_LogobalkenA4HF_210x24_RZ.indd 1 17.11.14 14:00 20.02.2016 THE AWARDS OF THE 66th BERLIN INTERNATIONAL FILM FESTIVAL Prizes of Official Juries Prizes of the International Jury ......................................................................................................................................................................................... 2 Best First Feature Award ........................................................................................................................................................................................................ 3 Prizes of the International Short Film Jury .............................................................................................................................................................. 3 Prizes of the Juries Generation ........................................................................................................................................................................................ 4 Prizes of independent Juries Prizes of the Ecumenical Jury ............................................................................................................................................................................................. 7 Prizes of the FIPRESCI Jury .................................................................................................................................................................................................... 7 Prize of the -
MA Screenwriting Student Handbook 2017/18 1 Version: September 2017, Final
in partnership with MA Screenwriting Validated by the University of Warwick, United Kingdom Academic Year 2017/18 Student Handbook Version: September 2017 Table of Contents 1. Welcome _________________________________________________________ 1 2. About This Handbook ______________________________________________ 2 3. Introduction to the London Film School _______________________________ 2 4. Introduction to the University of Warwick ______________________________ 2 5. Quality Assurance _________________________________________________ 3 5.1. Higher Education Review (AP) 2016 ____________________________________ 3 5.2. 2017 Update ______________________________________________________ 3 6. Orientation, Induction and Enrolment _________________________________ 3 6.1. Orientation ________________________________________________________ 3 6.2. Enrolment _________________________________________________________ 3 6.2.1. Documents to Bring to Enrolment ______________________________________ 4 6.3. Induction _________________________________________________________ 4 7. Introduction to the Course __________________________________________ 4 7.1. Credit Points and Awards ____________________________________________ 4 7.2. Language of Instruction ______________________________________________ 4 7.3. The Course _______________________________________________________ 5 7.5. Course Structure ___________________________________________________ 6 7.6. Your Timetable _____________________________________________________ 6 7.7. Term Dates Academic Year -
Remora Films Presents
REMORA FILMS PRESENTS Don’T LOOK DOWN The new film from OLIVIER DUCASTEL and JACQUES MARTINEAU Starring MANIKA AUXIRE, GEOFFREY COUËT, SIMON FRENAY, FRANÇOIS NAMBOT, LAWRENCE VALIN 2019 – France – 90 MIN – PICTURE – DIGITAL – COLORS – 2.35 – SOUND 5.1 FESTIVALS & BOOKING Pascale Ramonda 91 rue de Ménilmontant 75020 Paris France +33 6 62 01 32 41 [email protected] SYNOPSIS A woman and four men who barely know each other find themselves in an apartment in the sky above Paris. They have all been the victims of the same perverse dominator who is locked in a room. That night, they decided to end it all. In turn, they tell each other memories that bind them to this man and enter the room to confront him. But what happens there between the monster and them remains their secret. CONVERSATION WITH OLIVIER DUCASTEL AND JACQUES MARTINEAU That was the screenplay part. For the theme, I had the idea of trying to use some of the recent personal experiences I've had with manipulative How did the desire for this unique film comes about? and narcissistic boys – let’s not call them perverse narcissists: and I was thinking about how to tell the story of someone who, as soon as he could J.M: One day Olivier says to me : « I have an idea, we must shoot it this summer, escape from one pervert, met another one. In fact, it was probably too we’ll do it to my place, I’ll tell you about. ». I started to think about a script and, 10 autobiographical and I had the idea to reverse the situation, to make sure days after, he proposes the project to me as it is. -
Blueflint ‘Stories from Home’ Johnny Rock Records Proper Music Distribution (JOROCK 021) Release Date: Mon 30Th March 2015
Press Release Blueflint ‘Stories from home’ Johnny Rock Records Proper Music Distribution (JOROCK 021) Release date: Mon 30th March 2015 March 2015 sees the release of the third Blueflint album ‘Stories from home.’ Stories of relationships, parenthood and life in a home town form the thread running through this eclectic yet captivating album. With Paul Savage (King Creosote, From Scotland with Love, Mogwai) in the producer's chair, the album sees the band naturally evolving towards an alt folk flavour. The album's atmospheric opener 'King Of My Apple Tree', takes us through the last days of a relationship, with eery, shimmering guitar layers, before bursting into the joyous 'Little Stranger' underpinned by bouncing banjo rhythms and an infectious guitar hook. The quirky and heartfelt 'I Could Have Done More For You' is driven by rhythmic percussion and sparkling piano passages lending a lightness to the more sorrowful lyrics. The uplifting and anthemic 'This Is A Story' is a beautifully candid account of family love. The primal 'Hawk And Eagle' tips its hat to the band's Americana roots. The album's parting note is the sparse and emotive 'Don't Make A Fool Out Of Me' The sound of Blueflint is defined by the sublime close harmonies of Deborah Arnott and Clare Neilson whose voices are accompanied by a five-piece line-up intertwining banjos, fiddle, piano, electric guitar, double-bass and drums in raw, honest and beautifully-crafted songs, imbued with the power of Paul Savage’s new direction in production for the band. Blueflint supported The Proclaimers for six weeks in 2012, taking in venues such as Edinburgh's Playhouse and London's Shepherds Bush Empire. -
A Film by Florence Ayisi and Kim Longinotto
A film by Florence Ayisi and Kim Longinotto A WOMEN MAKE MOVIES RELEASE Women Make Movies • 462 Broadway, 5th Floor • New York, NY 10013 Tel: 212.925.0606 x 360 • e-mail: [email protected] • www.wmm.com Synopsis The only documentary selected for the 2005 Directors’ Fortnight in Cannes and a selection of the 2005 Toronto International Film Festival, SISTERS IN LAW is the latest film from internationally acclaimed director and festival favorite Kim Longinotto, co-directed by Florence Ayisi. Longinotto’s award-winning films include the 2005 Emmy-nominated film THE DAY I WILL NEVER FORGET, which premiered in the U.S. at the 2003 Sundance Film Festival, DIVORCE IRANIAN STYLE, DREAM GIRLS and SHINJUKU BOYS, among others. SISTERS IN LAW is a totally fascinating, often hilarious look at the work of one small courthouse in Cameroon. The tough-minded state prosecutor Vera Ngassa and court president Beatrice Ntuba are helping women in their Muslim village find the courage to fight often-difficult cases of abuse, despite pressures from family and their community to remain silent. With fierce compassion, they dispense wisdom, wisecracks and justice in fair measure—handing down stiff sentences to those convicted. A cross between Judge Judy and The No.1 Ladies’ Detective Agency, SISTERS IN LAW has audiences cheering when justice is served. In signature style, Longinotto’s unobtrusive camera captures an abundance of colorful characters, allowing their powerful stories to unfold effortlessly without need for narration. Both insightful and uplifting, SISTERS IN LAW presents a rare strong and positive view of African women—and captures the emerging spirit of courage, hope and possibility for change.