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Appel Candidatures
APPEL À CANDIDATURE ATELIER DE RÉALISATION DE FILMS DOCUMENTAIRES du MARDI 31 OCTOBRE au LUNDI 18 DÉCEMBRE 2017 ALLIANCE FRANÇAISE de BANGUI Cet atelier de formation s'adresse à tous les Centrafricains, femmes et hommes, désireux de se tourner vers la réalisation de films documentaires et soucieux de rendre compte de la réalité de leur pays. Il ne concerne pas seulement des personnes qui auraient déjà une expérience de la réalisation, mais s'adresse aussi bien à des personnes venant d'horizons différents (journalistes, fixeurs, responsables associatifs, etc.) attirés par ce moyen d’expression artistique. Aucune connaissance technique n'est requise. Les participants à l'atelier seront choisis à la fois pour leur motivation, pour leur aptitude à observer la réalité qui les entoure et leur capacité à travailler en groupe. LES ATELIERS VARAN Créés par Jean Rouch en 1981, les Ateliers Varan sont une école de cinéma unique en son genre, née du désir de former des réalisateurs de pays émergents à s’emparer des outils du cinéma documentaire pour refléter leurs réalités propres. Varan n’est pas une école au sens classique et académique du terme : les méthodes de travail y poussent à l’extrême le principe d’enseignement par la pratique : tout s’articule, pour chaque stagiaire, autour de la fabrication de films « en grandeur réelle ». Cet apprentissage du “regard documentaire” s’appuie sur une pédagogie qui s’est rôdée au fil de stages et d’ateliers menés sur les cinq continents. Le but est de décomplexer les participants face au langage cinématographique et de définir le rôle et la place du cinéaste, ses enjeux éthiques par rapport aux personnes filmées et au monde qui l’entoure. -
Film Funding Grants Programme 2013
Film Funding Grants Programme 2013 Film Funding Grants Programme 2013 Doha Film Institute established its Grants We contribute to films that have strong directorial Programme with the vision of fostering creative vision and that are challenging, creative and talent in the Middle East and North Africa (MENA) thought-provoking. Support for grantees is holistic, region. We are proud that over its first three- with financial assistance bolstered by professional and-a-half years the programme supported the development, mentorship and creative development development of more than 137 projects from opportunities that are made available throughout 14 countries. a project’s life cycle. In 2013, the Institute embarked on a new phase of the Grants Programme designed to further the It is our hope that through the Grants Programme goal of nurturing emerging talent. Projects from and the growing number of its alumni, we will all over the world became eligible for funding, continue to widen our flourishing community with a special focus on first- and second-time of filmmakers. As we extend our reach, we also filmmakers. enable professional, cultural and creative exchanges between our local talent and the wider international Alongside this expansion, the Institute’s industry. commitment to talent from the MENA region remains strong, with specific categories and I am honoured to welcome our newest grant criteria in place. Our focus on first- and second- recipients to the Doha Film Institute family. time filmmakers will greatly enhance our ability to discover and nurture new voices, both at home in Abdulaziz Al-Khater Qatar and around the globe. -
UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Minutes Ga 2014
General Assembly 2018 MINUTES Whistling Woods International, Mumbai, India 12 & 14 November 2018 PAGE 1 OF 67 GENERAL ASSEMBLY MINUTES – WHISTLING WOODS INTERNATIONAL, MUMBAI, INDIA (12 & 14 NOVEMBER 2018) TABLE OF CONTENTS 1. PARTICIPANTS 5 1.1 ATTENDEES (FINAL LIST AS OF 17 NOV 2018) 5 1.2 PROXIES (IN ALPHABETICAL ORDER OF SCHOOLS) 10 1.3 QUORUM 12 2. ELECTIONS 13 2.1 FULL MEMBERS 13 2.2 PRESIDENT 13 2.3 REGIONAL COUNCILS 13 2.4 CILECT EXECUTIVE COUNCIL – COMPOSITION 15 2.5 REGIONAL COUNCILS – COMPOSITION 15 2.6 APPROVAL OF DOCUMENTS 16 3. REPORT OF THE CILECT PRESIDENT 16 4. REPORT OF THE CAPA CHAIR 20 5. REPORT OF THE CARA CHAIR 25 6. REPORT OF THE CIBA CHAIR 26 7. REPORT OF THE CNA CHAIR 27 8. REPORT OF THE GEECT CHAIR 29 9. REPORT OF THE CILECT EXECUTIVE DIRECTOR 45 9.1 EXECUTIVE COUNCIL MEETINGS 45 9.2 MEMBERSHIP 45 9.2.1 REQUESTED INFORMATION FOR MEMBERSHIP 45 9.2.2 CANDIDATE MEMBERS 46 9.2.3 REMOVALS FROM MEMBERSHIP 46 9.2.4 RESIGNATIONS FROM MEMBERSHIP 46 9.2.5 HONORARY MEMBERSHIP 46 9.2.6 CILECT MEMBERSHIP BENEFITS 46 9.3 THE CILECT CONGRESS 2016 47 9.4 THE CILECT CONGRESS 2017 48 PAGE 2 OF 67 GENERAL ASSEMBLY MINUTES – WHISTLING WOODS INTERNATIONAL, MUMBAI, INDIA (12 & 14 NOVEMBER 2018) 9.5 THE CILECT CONGRESS 2018 49 9.6 THE CILECT CONGRESS 2019 49 9.7 THE CILECT PRIZE 50 9.7.1 CHANGES OF RULES & PROCESS 50 9.7.2 COMPARATIVE TABLE OF PARTICIPATION 2006-2018 50 9.7.3 THE CILECT PRIZE 2017 WINNERS/NOMINEES 50 9.7.4 THE CAPA BEST FILM AWARD 2017 51 9.7.5 THE CIBA BEST FILM AWARD 2017 51 9.7.6 THE CILECT PRIZE 2018 WINNERS/NOMINEES -
(POST)COLONIAL AFRICA by Katherine Lynn Coverdale the F
ABSTRACT AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA by Katherine Lynn Coverdale The focus of this thesis is aimed at two female French directors: Claire Denis and Mati Diop. Both auteurs utilize framing to create and subsequently break down ideological boundaries of class and race. Denis’ films Chocolat and White Material show the impossibility of a distinct identity in a racialized post-colonial society for someone who is Other. With the help of Laura Mulvey and Richard Dyer, the first chapter of this work on Claire Denis offers a case study of the relationship between the camera and race seen through a deep analysis of several sequences of those two films. Both films provide an opportunity to analyze how the protagonists’ bodies are perceived on screen as a representation of a racial bias held in reality, as seen in the juxtaposition of light and dark skin tones. The second chapter analyzes themes of migration and the symbolism of the ocean in Diop’s film Atlantique. I argue that these motifs serve to demonstrate how to break out of the identity assigned by society in this more modern post-colonial temporality. All three films are an example of the lasting violence due to colonization and its seemingly inescapable ramifications, specifically as associated with identity. AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Katherine Lynn Coverdale Miami University Oxford, Ohio 2020 Advisor: Dr. -
Rules and Regulations for Safe Working Conditions in Film Productions Under Covid-19 Restrictions in Turkey
RULES AND REGULATIONS FOR SAFE WORKING CONDITIONS IN FILM PRODUCTIONS UNDER COVID-19 RESTRICTIONS IN TURKEY Date of announcement in Turkish 18.05.2020 Number of Revisions* 00 Date of announcement in English 25.05.2020 Date of Revisions* *This document will be updated according to changing conditions based on reliable data. CONTRIBUTING INSTITUTIONS The Cinema/Television Union Cinematographers’ Association Actors’ Union of Turkey Art Directors’ Association of Turkish United Boom Operator’ Association Istanbul Camera Assistants Platform Assistant Directors’ Platform Contemporary Film Actors BIROY: Turkish Actors’ Collecting Association Collecting Society Post Production Workers’ United Directors’ Platform Digital Imaging Technicians’ Association Alliance Screenplay and Dialogue Writers Turkish Medical Association Cinema Work Owners Association 1 Rules For Safe Working Conditions In Film Productions Under Covid-19 Restrictions In Turkey 25.05.2020 rev:00 TABLE OF CONTENTS 1. PRESENTATION/AIMS ..................................................................................................................... 4 2. GENERAL ISSUES ............................................................................................................................. 4 3. SELECTION OF CAST AND CREW ..................................................................................................... 5 4. PRE-PRODUCTION AND TRANSPORTATION .................................................................................. 5 5. HEALTH CHECKS AND REQUIREMENTS -
Match Summary
MATCH SUMMARY TEAMS Xerox Golden Lions vs Vodacom Blue Bulls VENUE Emirates Airline Park DATE 10 August 2019 17:15 COMPETITION Currie Cup Premier Division FINAL SCORE 26 - 31 HALFTIME SCORE 12 - 18 TRIES 3 - 3 PLAYER OF THE MATCH SCORING SUMMARY Xerox Golden Lions Vodacom Blue Bulls PLAYER T C P DG PLAYER T C P DG Shaun Reynolds (J #10) 1 2 0 0 Cornal Hendricks (J #14) 1 0 0 0 Pieter Jansen (J #2) 1 0 0 0 Dayan Van Der Westhuizen (J #1) 1 0 0 0 Stean Pienaar (J #11) 1 0 0 0 Manie Libbok (J #10) 1 2 4 0 PENALTY TRIES 1 LINE-UP Xerox Golden Lions Vodacom Blue Bulls 1 Sti Sithole (J #1) 1 Dayan Van Der Westhuizen (J #1) 2 Pieter Jansen (J #2) 2 Johan Grobbelaar (J #2) 3 Johannes Jonker (J #3) 3 Wiehahn Herbst (J #3) 4 Ruben Schoeman (J #4) 4 Andries Ferreira (J #4) 5 Reinhard Nothnagel (J #5) 5 Ruan Nortje (J #5) 6 Marnus Schoeman (J #6) 6 Fred Eksteen (J #6) 7 Leon Massyn (J #7) 7 Wian Vosloo (J #7) 8 Hacjivah Dayimani (J #8) 8 Tim Agaba (J #8) 9 Ross Cronje (J #9) 9 Ivan Van Zyl (J #9) 10 Shaun Reynolds (J #10) 10 Manie Libbok (J #10) 11 Stean Pienaar (J #11) 11 Rosko Specman (J #11) 12 Eddie Fouche (J #12) 12 Dylan Sage (J #12) 13 Wandisile Simelane (J #13) 13 Johnny Kotze (J #13) 14 Madosh Tambwe (J #14) 14 Cornal Hendricks (J #14) 15 Tyrone Green (J #15) 15 Divan Rossouw (J #15) RESERVES Xerox Golden Lions Vodacom Blue Bulls 16 Jan-henning Campher (J #16) 16 Jaco Visagie (J #16) 17 Leo Kruger (J #17) 17 Madot Mabokela (J #17) 18 Chergin Fillies (J #18) 18 Conraad Van Vuuren (J #18) 19 Rhyno Herbst (J #19) 19 Adre Smith (J #19) 20 Vincent -
UNITED STATES DISTRICT COURT NORTHERN DISTRICT of INDIANA SOUTH BEND DIVISION in Re FEDEX GROUND PACKAGE SYSTEM, INC., EMPLOYMEN
USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 1 of 354 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF INDIANA SOUTH BEND DIVISION ) Case No. 3:05-MD-527 RLM In re FEDEX GROUND PACKAGE ) (MDL 1700) SYSTEM, INC., EMPLOYMENT ) PRACTICES LITIGATION ) ) ) THIS DOCUMENT RELATES TO: ) ) Carlene Craig, et. al. v. FedEx Case No. 3:05-cv-530 RLM ) Ground Package Systems, Inc., ) ) PROPOSED FINAL APPROVAL ORDER This matter came before the Court for hearing on March 11, 2019, to consider final approval of the proposed ERISA Class Action Settlement reached by and between Plaintiffs Leo Rittenhouse, Jeff Bramlage, Lawrence Liable, Kent Whistler, Mike Moore, Keith Berry, Matthew Cook, Heidi Law, Sylvia O’Brien, Neal Bergkamp, and Dominic Lupo1 (collectively, “the Named Plaintiffs”), on behalf of themselves and the Certified Class, and Defendant FedEx Ground Package System, Inc. (“FXG”) (collectively, “the Parties”), the terms of which Settlement are set forth in the Class Action Settlement Agreement (the “Settlement Agreement”) attached as Exhibit A to the Joint Declaration of Co-Lead Counsel in support of Preliminary Approval of the Kansas Class Action 1 Carlene Craig withdrew as a Named Plaintiff on November 29, 2006. See MDL Doc. No. 409. Named Plaintiffs Ronald Perry and Alan Pacheco are not movants for final approval and filed an objection [MDL Doc. Nos. 3251/3261]. USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 2 of 354 Settlement [MDL Doc. No. 3154-1]. Also before the Court is ERISA Plaintiffs’ Unopposed Motion for Attorney’s Fees and for Payment of Service Awards to the Named Plaintiffs, filed with the Court on October 19, 2018 [MDL Doc. -
Re-Imagining Animation the Changing Face of The
RiA cover UK AW.qxd 6/3/08 10:40 AM Page 1 – – – – – – Chapter 05 Chapter 04 Chapter 03 Chapter 02 Chapter 01 The disciplinary shift Approaches and outlooks The bigger picture Paul Wells / Johnny Hardstaff Paul Wells Re-imagining Animation RE-IMAGINING RE-IMAGINING ANIMATION ANIMATION – The Changing Face of the Moving Image The Changing Face Professor Paul Wells is Director of the Re-imagining Animation is a vivid, insightful Re-imagining Animation Other titles of interest in AVA's Animation Academy at Loughborough and challenging interrogation of the animated addresses animation’s role at the heart THE CHANGING THEAcademia CHANG range include: University, UK, and has published widely film as it becomes central to moving image of moving-image practice through an in the field of animation, including practices in the contemporary era. engagement with a range of moving-image Visible Signs: The Fundamentals of Animation and Animation was once works – looking at the context in which FACE OF THE FACEAn introduction OF to semiotics THE Basics Animation: Scriptwriting. constructed frame-by-frame, one image they were produced; the approach to their following another in the process of preparation and construction; the process of Visual Research: Johnny Hardstaff is an internationally constructing imagined phases of motion, their making; the critical agenda related to MOVING IMAGE MOVINGAn introduction to research IM established, award-winning designer, film- but now the creation and manipulation the research; developmental and applied methodologies in graphic design maker and artist. He is the creator of The of the moving image has changed. aspects of the work; the moving-image History of Gaming and The Future of With the digital revolution outcomes; and the status of the work within Visual Communication: Gaming, and innovative popular music videos, invading every creative enterprise and form contemporary art and design practices. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Blackbourn Veronica a 20101
The Beloved and Other Monsters: Biopolitics and the Rhetoric of Reconciliation in Post-1994 South African Literature by Veronica A. Blackbourn A thesis submitted to the Department of English Language and Literature In conformity with the requirements for the degree of Doctor of Philosophy Queen‘s University Kingston, Ontario, Canada (December, 2010) Copyright © Veronica A. Blackbourn, 2010 Abstract This dissertation examines the use of inter-racial relationships as emblems of political reconciliation in South African fiction from and about the transition from apartheid to democracy. Positive representations of the relationships that apartheid prohibited would seem to constitute a rejection of apartheid itself, but through an analysis of novels by Lewis DeSoto, Elleke Boehmer, Zoë Wicomb, Marlene van Niekerk, Ivan Vladislavić, and J.M. Coetzee, I argue that the trope of the redemptive inter-racial relationship in fact reinscribes what Foucault would designate a biopolitical obsession with race as a foundational construct of the nation. Chapter 2 examines an attempt to write against the legacy of apartheid by repurposing the quintessentially South African genre of the plaasroman, but Lewis DeSoto‘s A Blade of Grass (2003) fails to reverse the narrative effects created by the plaasroman structure, implicated as the plaasroman is and has been in a biopolitical framework. Chapter 3 examines Elleke Boehmer‘s rewriting of South African history to insist on the genealogical ―truth‖ of the racial mixing of the country and its inhabitants, but Bloodlines (2000) yet retains the obsession with racial constructs that it seeks to dispute. Zoë Wicomb‘s Playing in the Light (2006), meanwhile, invokes genealogical ―truth‖ as a corrective to apartheid constructions of race, but ultimately disallows the possibility of genealogical and historical narratives as correctives rather than continuations of apartheid. -
Lions (Fecha 1)
tapa BIENVENIDOS Quiero darles la bienvenida a nuestra cuarta temporada en el Personal Super Rugby. Sin dudas, para la Unión Argentina es un privilegio y un placer poder participar del torneo con el mejor nivel de rugby que hoy se puede encontrar en todo el planeta. Afrontamos esta nueva temporada con un montón de expectativas en base a un equipo que viene en pleno crecimiento y que será liderado por un nuevo capitán, a quien aprovecho para desearle lo mejor en este nuevo ciclo. También quiero desearle lo mejor al staff comandado por Gonzalo Quesada, en el cual confiamos plenamente para que continúen el buen trabajo que vienen reali- zando desde el inicio de la pretemporada Hoy tenemos una inmensa alegría de poder disfrutar de este torneo el cual es un espectáculo de primer nivel mundial y que nos permite ver todos los fines de semana a los mejores jugadores del mundo en nuestro país. Aprovechemos esta posibilidad, acompañemos al equipo, siempre alentando y respetando los valores que este juego se encarga de transmitir. Disfrutemos de los Jaguares y vivamos intensamente el Personal Super Rugby! MARCELO RODRÍGUEZ Presidente de la Unión Argentina de Rugby Estamos orgullosos desde el Board de Jaguares de poder disfrutar nuevamente del inicio de lo que será la cuarta temporada de Jaguares, en el Personal Super Rugby. Ya pasaron tres años desde que comenzamos este camino juntos y es un inmenso placer para nosotros ver las mejoras que año tras año viene mostrando, no solo el equipo, sino también todos aquellos que de una manera u otra están involucrados en este crecimiento.