DOCSLIB.ORG

Gaurhoytoday17 Sección Oficial …Zabaltegi …Zabaltegi …Hor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gaurhoytoday17 Sección Oficial …Zabaltegi …Zabaltegi …Hor 2 / PROGRAMAZIOA PROGRAMACIÓN PROGRAMME Zinemaldiaren egunkaria • Larunbata, 2005eko irailaren 17a GAURHOYTODAY17 SECCIÓN OFICIAL …ZABALTEGI …ZABALTEGI …HOR. LATINOS …ROBERT WISE …ABEL FERRARA 9:00 KURSAAL, 1 …PERLAS DE OTROS FESTIVALES …NUEVOS DIRECTORES …MADE IN SPAIN 21:00 WARNER, 9 18:30 PRINCIPE, 10 EL AURA THREE SECRETS CAT CHASER FABIÁN BIELINSKY • ARGENTINA - ESPAÑA - FRANCIA • (NUE- 17:30 PRINCIPAL 21:00 PRINCIPE, 7 17:00 PRINCIPE, 3 TRES SECRETOS EL CAZADOR DE GATOS VOS DIRECTORES) • 134 M. HWAL (THE BOW) ALEX EL CALENTITO ROBERT WISE • EE.UU. • 98 M. ABEL FERRARA • EE.UU. • PROYECCIÓN EN VÍDEO • 90 M. EL ARCO JOSÉ ALCALA • FRANCIA • 100 M. CHUS GUTIÉRREZ • ESPAÑA • V.O. SUBTÍTULOS EN INGLÉS • 22:30 PRINCIPE, 2 19:30 WARNER, 1 12:00 KURSAAL, 1 KIM KI-DUK • COREA DEL SUR • V.O. SUBTITLES IN SPANISH, 89 M. DRABET (MANSLAUGHTER) SIMULTANEOUS TRANSLATION INTO ENGLISH • SÓLO PRENSA 21:30 KURSAAL, 2 THE CAPTIVE CITY CHINA GIRL ROBERT WISE • EE.UU. • 91 M. ABEL FERRARA • EE.UU.• 90 M. PER FLY • DINAMARCA - NORUEGA - SUECIA - GRAN BRETAÑA • Y ACREDITADOS. PRIORIDAD PRENSA • 90 M. SHADOWBOXER 22:30 WARNER, 3 V.O. SUBTÍTULOS EN CASTELLANO Y EL. EN INGLÉS • 104 M. LEE DANIELS • EE.UU. • PROYECCIÓN EN VÍDEO • 93 M. SEMEN, UNA HISTORIA DE AMOR 23:00 WARNER, 9 19:30 WARNER, 3 18:30 PRINCIPE, 7 INÉS PARÍS, DANIELA FEJERMAN • ESPAÑA - GRAN BRETAÑA • NINE LIVES 22:00 PRINCIPAL V.O. SUBTÍTULOS EN INGLÉS • 87 M. THE HOUSE ON TELEGRAPH HILL BODY SNATCHERS RODRIGO GARCÍA • EE.UU. • 112 M. SAUF LE RESPECT QUE JE VOUS LA CASA DE LA COLINA) ABEL FERRARA • EE.UU. • V.O. SUBTÍTULOS ELECTRÓNICOS 22:45 WARNER, 10 ROBERT WISE • EE.UU. • 93 M. EN EUSKERA • 83 M. 19:30 WARNER, 5 DOIS CON TODOS MIS RESPETOS HABANA BLUES 23:00 PRINCIPE, 3 20:30 PRINCIPE, 10 16:00 WARNER, 6 BATALLA EN EL CIELO FABIENNE GODET • FRANCIA • V.O. SUBTÍTULOS EN CASTE- BENITO ZAMBRANO • ESPAÑA - CUBA - FRANCIA • V.O. A COCK AND BULL STORY CARLOS REYGADAS • MÉXICO - FRANCIA - BÉLGICA - ALEMANIA LLANO Y EL. EN INGLÉS • SÓLO PRENSA Y ACREDITADOS. SUBTÍTULOS EN INGLÉS • 115 M. EXECUTIVE SUITE FEAR CITY MICHAEL WINTERBOTTOM • GRAN BRETAÑA • 92 M. • 98 M. PRIORIDAD PRENSA • 89 M. LA TORRE DE LOS AMBICIOSOS ABEL FERRARA • EE.UU. • V.O. SUBTÍTULOS ELECTRÓNICOS 22:45 PRINCIPE, 10 ROBERT WISE • EE.UU. • V.O. SUBTÍTULOS ELECTRÓNICOS EN EUSKERA • PROYECCIÓN EN VÍDEO • 96 M. 23:00 WARNER, 5 24:00 PRINCIPAL EN EUSKERA • 106 M. 18:00 WARNER, 6 TAPAS 22:30 PRINCIPE, 9 XIANG RI KUI (SUNFLOWER) INSIDE DEEP THROAT L’ICEBERG JOSÉ CORBACHO, JUAN CRUZ • ESPAÑA - ARGENTINA - DENTRO DE GARGANTA PROFUNDA KING OF NEW YORK ZHANG YANG • CHINA • 129 M. DOMINIQUE ABEL, FIONA GORDON, BRUNO ROMY • BÉLGICA MÉXICO • V.O. SUBTÍTULOS EN INGLÉS • 95 M. FENTON BAILEY, RANDY BARBATO • EE.UU. • 92 M. • V.O. SUBTÍTULOS EN CASTELLANO Y EL. EN INGLÉS • SÓLO …INSUMISAS ABEL FERRARA • ITALIA - EE.UU. - GRAN BRETAÑA • 106 M. 19:00 KURSAAL, 1 23:30 PRINCIPE, 7 PRENSA Y ACREDITADOS. PRIORIDAD PRENSA • 84 M. 22:30 WARNER, 1 DRABET (MANSLAUGHTER) MARY ROBERT WISE… 17:30 WARNER, 2 BAD LIEUTENANT PER FLY • DINAMARCA - NORUEGA - SUECIA - GRAN BRETAÑA • ABEL FERRARA • FRANCIA - ITALIA • 86 M. HOR. LATINOS… LA RAULITO ABEL FERRARA • EE.UU. • 96 M. V.O. SUBTÍTULOS EN CASTELLANO Y EL. EN INGLÉS • 104 M. 24:00 KURSAAL, 2 16:00 WARNER, 9 LAUTARO MURÚA • ARGENTINA • 95 M. 19:30 PRINCIPAL BLOOD ON THE MOON VELÓDROMO HWAL (THE BOW) SELECCIÓN HORIZONTES ROBERT WISE • EE.UU. • 88 M. 18:00 PRINCIPE, 2 7 VÍRGENES EL ARCO LA VIEILLE DAME INDIGNE ALBERTO RODRÍGUEZ • ESPAÑA • SÓLO PRENSA Y ACREDITA- KIM KI-DUK • COREA DEL SUR • SESIÓN DE VOTACIÓN PARA 17:30 WARNER, 10 16:00 PRINCIPE, 2 RENÉ ALLIO • FRANCIA • 94 M. 15:00 PRINCIPAL DOS. PRIORIDAD PRENSA • 86 M. EL PREMIO • 90 M. EL INMORTAL THREE SECRETS CAMARÓN MERCEDES MONCADA RODRÍGUEZ • NICARAGUA - MÉXICO - TRES SECRETOS 20:00 PRINCIPE, 6 JAIME CHÁVARRI • ESPAÑA • SÓLO PRENSA Y ACREDITA- 21:00 WARNER, 6 NUEVOS DIRECTORES… ESPAÑA • V.O. SUBTÍTULOS EN INGLÉS • 80 M. ROBERT WISE • EE.UU. • 98 M. JEZEBEL DOS. PRIORIDAD PRENSA • PASE DE PRENSA CON V.O. WILLIAM WYLER • EE.UU. • 103 M. SUBTÍTULOS ELECTRÓNICOS EN INGLÉS • 120 M. A COCK AND BULL STORY 19:30 PRINCIPE, 9 17:00 WARNER, 3 MICHAEL WINTERBOTTOM • GRAN BRETAÑA • 92 M. 9:30 KURSAAL, 2 20:00 WARNER, 2 16:30 KURSAAL, 1 STONED ROMÁNTICO BORN TO KILL MARK BECKER • EE.UU. • V.O. SUBTÍTULOS EN INGLÉS • ROBERT WISE • EE.UU. • V.O. SUBTÍTULOS ELECTRÓNICOS AGNES BROWNE WALLACE & GROMIT: THE CURSE 22:00 KURSAAL, 1 STEPHEN WOOLLEY • GRAN BRETAÑA • 102 M. EL AURA 80 M. EN EUSKERA • 92 M. AGNES BROWNE-UN SUEÑO HECHO REALIDAD OF THE WERE-RABBIT ANJELICA HUSTON • EE.UU. - IRLANDA • 91 M. WALLACE & GROMIT: LA MALDICIÓN DE LAS VERDURAS FABIÁN BIELINSKY • ARGENTINA - ESPAÑA - FRANCIA • (NUE- 9:30 PRINCIPAL 19:30 PRINCIPE, 3 17:45 WARNER, 9 NICK PARK, STEVE BOX • GRAN BRETAÑA • 85 M. VOS DIRECTORES) • 134 M. SHADOWBOXER 22:30 WARNER, 2 LEE DANIELS • EE.UU. • PROYECCIÓN EN VÍDEO • SÓLO HOW THE GARCIA GIRLS SPENT THE SET-UP ROBERT WISE • EE.UU. • 72 M. 19:30 VELÓDROMO 23:00 WARNER, 6 PRENSA Y ACREDITADOS. PRIORIDAD PRENSA • 93 M. THEIR SUMMER 7 WOMEN CÓMO LAS GARCÍA PASARON SU VERANO SIETE MUJERES WALLACE & GROMIT: THE CURSE DRABET (MANSLAUGHTER) 12:00 KURSAAL, 2 GEORGINA GARCIA RIEDEL • EE.UU. • V.O. SUBTÍTULOS EN 18:00 PRINCIPE, 6 JOHN FORD • EE.UU. • 87 M. OF THE WERE-RABBIT PER FLY • DINAMARCA - NORUEGA - SUECIA - GRAN BRETAÑA • CASTELLANO • 128 M. THE HOUSE ON TELEGRAPH HILL L’ICEBERG 22:30 PRINCIPE, 6 WALLACE & GROMIT: LA MALDICIÓN DE LAS VERDURAS 104 M. DOMINIQUE ABEL, FIONA GORDON, BRUNO ROMY • BÉLGICA • 20:30 WARNER, 10 LA CASA DE LA COLINA NICK PARK, STEVE BOX • GRAN BRETAÑA • VERSIÓN DOBLA- V.O. SUBTÍTULOS EN CASTELLANO Y EL. EN INGLÉS • 84 M. ROBERT WISE • EE.UU. • 93 M. THELMA & LOUISE DA EN CASTELLANO • 85 M. LA SAGRADA FAMILIA 19:15 WARNER, 9 THELMA Y LOUISE ZABALTEGI… 17:00 WARNER, 5 SEBASTIÁN CAMPOS • CHILE•V.O. SUBTÍTULOS EN INGLÉS RIDLEY SCOTT • EE.UU. • 129 M. STONED • 99 M. TWO FLAGS WEST STEPHEN WOOLLEY • GRAN BRETAÑA • 102 M. ENTRE DOS JURAMENTOS PERLAS DE OTROS FESTIVALES… MADE IN SPAIN… ROBERT WISE • EE.UU. • 92 M. 19:00 KURSAAL, 2 ABEL FERRARA… SAUF LE RESPECT QUE JE VOUS 20:00 PRINCIPE, 2 16:30 KURSAAL, 2 16:30 PRINCIPE, 10 THE DAY THE EARTH STOOD 17:00 WARNER, 1 INSIDE DEEP THROAT DOIS CON TODOS MIS RESPETOS LA CASA DE MI ABUELA STILL KING OF NEW YORK DENTRO DE GARGANTA PROFUNDA FABIENNE GODET • FRANCIA • V.O. SUBTÍTULOS EN CASTE- ADÁN ALIAGA • ESPAÑA • (ESTRENO) • V.O. SUBTÍTULOS EN ULTIMÁTUM A LA TIERRA ABEL FERRARA • ITALIA - EE.UU. - GRAN BRETAÑA • 106 M. FENTON BAILEY, RANDY BARBATO • EE.UU. • 92 M. LLANO Y EL. EN INGLÉS • 89 M. INGLÉS • 80 M. ROBERT WISE • EE.UU. • 92 M. LAS PELICULAS EN ROJO CORRESPONDEN A ULTIMOS PASES BIHARMAÑANATOMORROW18 SECCIÓN OFICIAL …ZABALTEGI …ZABALTEGI …HOR. LATINOS …ROBERT WISE …ABEL FERRARA 9:00 KURSAAL, 1 …PERLAS DE OTROS FESTIVALES …NUEVOS DIRECTORES …SELECCIÓN HORIZONTES 22:30 WARNER, 9 17:00 WARNER, 1 7 VÍRGENES THE DESERT RATS DANGEROUS GAME/SNAKE EYES ALBERTO RODRÍGUEZ • ESPAÑA • 86 M. 16:00 PRINCIPAL 17:00 PRINCIPE, 7 22:45 PRINCIPE, 3 LAS RATAS DEL DESIERTO ABEL FERRARA • EE.UU. • 109 M. 12:00 KURSAAL, 1 HOLY LOLA STONED SANGRE ROBERT WISE • EE.UU. • 88 M. 18:30 PRINCIPE, 9 BERTRAND TAVERNIER • FRANCIA • V.O. SUBTITLES IN SPA- STEPHEN WOOLLEY • GRAN BRETAÑA • 102 M. AMAT ESCALANTE • MÉXICO • V.O. SUBTÍTULOS EN INGLÉS • 22:30 PRINCIPE, 2 SOMMER VORM BALKON (SUMMER NISH, SIMULTANEOUS TRANSLATION INTO ENGLISH • SÓLO BAD LIEUTENANT IN BERLIN) 19:30 WARNER, 5 90 M. SO BIG ABEL FERRARA • EE.UU. • 96 M. PRENSA Y ACREDITADOS. PRIORIDAD PRENSA • 130 M. TRIGO Y ESMERALDA VERANO EN BERLÍN SAUF LE RESPECT QUE JE VOUS 19:30 WARNER, 1 ANDREAS DRESEN • ALEMANIA • V.O. SUBTÍTULOS EN 16:30 KURSAAL, 2 DOIS MADE IN SPAIN ROBERT WISE • EE.UU. • 101 M. CASTELLANO Y EL. EN INGLÉS • 100 M. THE ADDICTION HWAL (THE BOW) CON TODOS MIS RESPETOS ABEL FERRARA • EE.UU. • 79 M. EL ARCO FABIENNE GODET • FRANCIA • 89 M. 20:30 PRINCIPE, 10 KIM KI-DUK • COREA DEL SUR • 90 M. …INSUMISAS 21:30 KURSAAL, 2 LA CASA DE MI ABUELA 20:30 PRINCIPE, 9 19:00 KURSAAL, 2 ADÁN ALIAGA • ESPAÑA • (ESTRENO) • V.O. SUBTÍTULOS EN BODY SNATCHERS SPIELE LEBEN (YOU BET YOUR 17:00 WARNER, 3 ABEL FERRARA • EE.UU. • 83 M. 16:00 WARNER, 6 BEFORE IT HAD A NAME LIFE) INGLÉS •80 M. NORMA RAE EL AURA GIADA COLAGRANDE • EE.UU. • SESIÓN DE VOTACIÓN PARA ANTONIN SVOBODA • AUSTRIA - SUIZA • V.O. SUBTÍTULOS EN 22:45 WARNER, 10 MARTIN RITT • EE.UU. • V.O. SUBTÍTULOS ELECTRÓNICOS 22:30 WARNER, 1 FABIÁN BIELINSKY • ARGENTINA - ESPAÑA - FRANCIA • (NUE- EL PREMIO • 99 M. CASTELLANO Y EL. EN INGLÉS • 95 M. EN EUSKERA • 110 M. BODY SNATCHERS VOS DIRECTORES) • 134 M. AMOR IDIOTA 19:30 PRINCIPE, 7 22:00 PRINCIPAL VENTURA PONS • ESPAÑA - PRINCIPADO DE ANDORRA • V.O. 17:00 WARNER, 10 ABEL FERRARA • EE.UU. • 83 M. 18:00 KURSAAL, 1 BATALLA EN EL CIELO EEN ANDER ZIJN GELUK (SOMEO- SUBTÍTULOS EN CASTELLANO • 104 M. THELMA & LOUISE 22:30 PRINCIPE, 9 SOMMER VORM BALKON (SUMMER CARLOS REYGADAS • MÉXICO - FRANCIA - BÉLGICA - ALEMANIA NE ELSE’S HAPPINESS) THELMA Y LOUISE • 98 M. DANGEROUS GAME/SNAKE EYES IN BERLIN) LA FELICIDAD DE OTROS RIDLEY SCOTT • EE.UU. • 129 M.
Load more

Recommended publications
  • A Seville Pictures / New Yorker Films Release Sunflower
    A Seville Pictures / New Yorker Films release Sunflower CREDITS Director ZHANG YANG Screenplay ZHANG YANG CAI SHANGJUN HUO XIN Producer PETER LOEHR Producer HAN SANPING Co-producers MICHAEL J. WERNER WOUTER BARENDRECHT Executive Producer YANG BUTING Co-executive Producer JIANG TAO Production Supervisor SHI DONGMING Production Management ZHAO HAICHENG Line Producer ER YONG Production Manager ZHANG JIAKUN Director of Photography JONG LIN Editor YANG HONGYU Production Design AN BIN HUANG XINMING Music LIN HAI Music Production LIN HAI, EMOTION MUSIC STUDIO Music performed by ASIA PHILHARMONIC GROUP (STRINGS) HUANG LIJIE (LEAD VIOLIN) LIN HAI (SOLO PIANO) Music Recording & Mixing LOU WEI Sound Design WU LALA Sound Editors MAO SHUO ZHAO YING WANG GANG Foley Mixer CHENG XIAOLONG First Assistant Director LI HAIBIN For Fourth Production Company of China Film Group Corp and Ming Productions A Fortissimo Films presentation 2 CAST Zhang Gengnian (Father) SUN HAIYING Zhang Xiuqing (Mother) JOAN CHEN Lao Liu LIU ZIFENG Xiangyang (9 yrs old) ZHANG FAN Xiangyang (19 yrs old) GAO GE Xiangyang (32 yrs old) WANG HAIDI Chicken Droppings (9 yrs old) HONG YIHAO Chicken Droppings (19 yrs old) LI BIN Han Jing (Xiangyang’s wife) LIANG JING Yu Hong ZHANG YUE Horn Li LI YEPING www.NewYorkerFilms.com Press photos are available for download through http://www.newyorkerfilms.com/nyf/t_elements/sunflower/sunflower1_t.htm China, 2005 129 min., Color In Mandarin and English with English subtitles 1.85, Dolby SR 3 SYNOPSIS Sunflower spans the course of three decades - focusing on the years 1976, 1987 and 1999 - in the lives of Zhang Gengnian and his son, Xiangyang.
    [Show full text]
  • Independent Cinema in the Chinese Film Industry
    Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China.
    [Show full text]
  • Can Legendary Entertainment Bypass China's Film Quota System?
    Can Legendary Entertainment Bypass China's Film Quota System? 3:00 AM PDT 4/8/2016 by Patrick Brzeski Getty Images Wanda's billionaire chairman, Wang Jialin In the wake of Dalian Wanda Group's $3.5 billion acquisition of Thomas Tull's studio, the high-stakes political maneuvering in Bejing is gathering steam. When Chinese real estate and investment conglomerate Dalian Wanda Group acquired Thomas Tull's Legendary Entertainment for $3.5 billion in January, many thorny questions came to the fore. For the first time ever, a Chinese company — one headed by China's richest man, Wang Jianlin, no less — had come to own a U.S. film company that has backed several international blockbusters, with a track record that included such hits as Godzilla, Pacific Rim and Jurassic World. Sizing up ensued: Was Wanda the latest dumb money to airdrop cash into Tinseltown, or was it up to something far more sophisticated? (The latter, it turns out: Wanda managed to offset most of the cost of Legendary in a matter of weeks, flipping the studio to Chinese investors in a share offering that raised $2.4 billion). Meanwhile, Wanda continued expanding its already sprawling global movie theater network, merging U.S.-based Carmike Cinemas with AMC Entertainment in a $1.1 billion all-cash deal (which still needs FTC approval) that will create the largest cinema chain on the planet, spanning North America, China and Oceania. No company has ever held so many screens in so many places. Again, what was Wanda's strategy? Above all, many wondered whether these watershed moments signaled that 2016 would finally be the year when the deals between Hollywood and China begin to flow in earnest, after so many false starts in the past.
    [Show full text]
  • The Potential for Cultural Exchanges Between the European Union and Third Countries: the Case of China
    DIRECTORATE GENERAL FOR INTERNAL POLICIES POLICY DEPARTMENT B: STRUCTURAL AND COHESION POLICIES CULTURE AND EDUCATION The Potential for Cultural Exchanges between the European Union and Third Countries: The Case of China STUDY This document was requested by the European Parliament's Committee on Culture and Education. AUTHORS Media Consulting Group (Paris, Brussels and Beijing)1 RESPONSIBLE ADMINISTRATOR Mr Gonçalo MACEDO Policy Department B: Structural and Cohesion Policies European Parliament B-1047 Brussels E-mail: [email protected] LINGUISTIC VERSIONS Original: EN. Executive Summaries: BG, CS, DA, DE, EL, ES, ET, FI, FR, HU, IT, LT, LV, MT, NL, PL, PT, RO, SK, SV. ABOUT THE EDITOR To contact the Policy Department or to subscribe to its monthly newsletter please write to: [email protected] Manuscript completed in April 2009. Brussels, © European Parliament, 2009. This document is available on the Internet at: http://www.europarl.europa.eu/studies DISCLAIMER The opinions expressed in this document are the sole responsibility of the author and do not necessarily represent the official position of the European Parliament. Reproduction and translation for non-commercial purposes are authorized, provided the source is acknowledged and the publisher is given prior notice and sent a copy. 1 Mr Alain Modot,Ms Héloïse Fontanel, Ms Silvia Angrisani, Mr Pierre Jalladeau, Mr Abel Ségrétin, Ms Bérénice Angremy ,Ms Li Hua, Ms Bi Dongna. DIRECTORATE GENERAL FOR INTERNAL POLICIES POLICY DEPARTMENT B: STRUCTURAL AND COHESION POLICIES CULTURE AND EDUCATION The Potential for Cultural Exchanges between the European Union and Third Countries: The Case of China STUDY Abstract: This study provides an overview of the cultural sector in China, going on to describe the current state of cultural exchanges between the EU and its Member States and China.
    [Show full text]
  • 404610 Gianmaria Maggioni M
    Cand. Merc. Program IMM International Marketing and Management Co-Production Efforts between China and US: Globalisation, Soft Power and Cultural Relevance in the movie industry An exploratory study of Dalian Wanda’s acquisition of Legendary Entertainment Gianmaria Maggioni Date of submission: 15th of September 2017 Supervisor: Kristina Vaarst Andersen 80 Pages and 165942 Characters !1 of !139 Co-Production E"orts between China and US: Globalisation, Soft Power and Cultural Relevance # in the movie industry$1% 0. Abstract$6% 1.0 Introduction$7% 1.1 The Philosophy behind Cinematography$8% 1.2 Contemporary Landscape$8% 1.2.1 Chinese Landscape$9% 1.2.2 American Landscape$11% 1.3 Shifting the Paradigm$11% 1.4 Dalian Wanda Group$12% 1.4.1 Chinese Financial Situation$13% 1.5 Legendary Entertainment$14% 2.0 Research Problem$16% 3.0 Theoretical Framework$18% 3.1 Defining Soft Power$18% 3.2 Soft Power through Movies$18% 3.3 Soft Power in China$19% 3.3.1 Steps Toward a Cultural Centrality$20% 3.3.2 Complications Regarding Chinese Soft Power$21% 3.4 Keane Cultural Timeline$22% 3.4.1 Cultural Timeline Stages$23% 3.4.1.1 Standardised production$23% 3.4.1.2 Imitation$24% 3.4.1.3 Collaboration$24% 3.4.1.4 Trade$25% 3.4.1.5 Clusters$25% 3.4.1.6 Creative Communities$25% 3.5 Co-Productions$26% 3.5.1 Benefits of Co-Production$27% 3.5.2 Costs of Co-production $27% 4. History of China and US Film Relationship$29% 4.1 Motion Pictures in the Early 1900s$29% !2 of !139 4.2 The Quota System Introduction$29% 4.3 Sino-American Joint Ventures$30% 4.3.1 Cinematic Imports$30%
    [Show full text]
  • Abel Ferrara
    2 / PROGRAMAZIOA PROGRAMACIÓN PROGRAMME Zinemaldiaren egunkaria • Ostirala, 2005eko irailaren 16a GAURHOYTODAY16 SECCIÓN OFICIAL ...ZABALTEGI …HOR. LATINOS …ROBERT WISE ABEL FERRARA 9:00: KURSAAL, 1 ...PERLAS DE OTROS FESTIVALES ESPECIALES HORIZONTES 17:30 WARNER, 9 16:30 PRINCIPE, 9 A COCK AND BULL STORY MADEMOISELLE FIFI THE GLADIATOR (TV) MICHAEL WINTERBOTTOM • GRAN BRETAÑA • 92 M. 20:30 WARNER, 5 20:30 WARNER, 10 ROBERT WISE • EE.UU. • 69 M. ABEL FERRARA • EE.UU. • PROYECCIÓN EN VÍDEO • 98 M. 12:00 KURSAAL, 1 NINE LIVES RONDA NOCTURNA 17:45 PRINCIPE, 2 17:00 WARNER, 1 XIANG RI KUI (SUNFLOWER) RODRIGO GARCÍA • EE.UU. • 112 M. EDGARDO COZARINSKY • ARGENTINA - FRANCIA • V.O. SUBTÍ- TULOS EN INGLÉS • 82 M. MYSTERY IN MEXICO ‘R XMAS ZHANG YANG • CHINA • V.O. SUBTÍTULOS EN CASTELLANO Y 21:30 KURSAAL, 2 ROBERT WISE • EE.UU. • 66 M. ABEL FERRARA • EE.UU. • 85 M. EL. EN INGLÉS • 129 M. BATALLA EN EL CIELO MADE IN SPAIN CARLOS REYGADAS • MÉXICO - FRANCIA - BÉLGICA - ALEMA- 19:00 WARNER, 9 17:00 PRINCIPE, 10 NIA • SESIÓN DE VOTACIÓN PARA EL PREMIO • 98 M. THE BODY SNATCHER BODY SNATCHERS 17:00 WARNER, 6 17:00 WARNER, 3 ROBERT WISE•EE.UU.•78 M.• ABEL FERRARA • EE.UU. • V.O. SUBTÍTULOS ELECTRÓNICOS OBABA 23:00 WARNER, 5 EL MAQUINISTA EN EUSKERA • 83 M. MONTXO ARMENDÁRIZ • ESPAÑA • 107 M. MARY BRAD ANDERSON • ESPAÑA • V.O. INGLÉS CON SUBTÍTULOS 19:00 PRINCIPE, 2 ABEL FERRARA • FRANCIA - ITALIA • 86 M. EN CASTELLANO • 98 M. BLOOD ON THE MOON 19:30 WARNER, 1 19:00 KURSAAL, 1 ROBERT WISE • EE.UU.
    [Show full text]
  • THE GREAT WALL - Epic Historical Adventure Film Directed by ZHANG YIMOU
    Beat: Entertainment THE GREAT WALL - Epic Historical Adventure Film directed by ZHANG YIMOU To be released on January 11, in FRANCE PARIS - HOLLYWOOD - LOS ANGELES, 11.01.2017, 07:43 Time USPA NEWS - What might become the next US-Chinese blockbuster is some kind of testing the water for a new period in US-China film cooperation. Hollywood fare has dominated the global box office for decades, but Chinese-themed blockbusters have only performed domestically or with diaspora audiences.... What might become the next US-Chinese blockbuster is some kind of testing the water for a new period in US-China film cooperation. Hollywood fare has dominated the global box office for decades, but Chinese-themed blockbusters have only performed domestically or with diaspora audiences, with Director Zhang Yimou at the helm, and a cast of A-list talent from both East and West, 'The Great Wall' appears tailor-made to finally buck this trend. Directed by : Zhang Yimou Produced by : Thomas Tull, Charles Roven, Jon Jashni, Peter Loehr Written by : Tony Gilroy, Carlo Bernard, Doug Miro, Max Brooks, Edward Zwick, Marshall Herskovitz Starring : Matt Damon, Jing Tian, Pedro Pascal, Willem Dafoe, Andy Lau Distributed by : Universal Pictures, Le Vision Pictures, China Film Group Corporation Release dates : December 15, 2016 (China), January 11, 2017 ( France), February 17, 2017 (United States) Running time : 104 minutes Country : United States, China THE STORY During the Song dynasty, a few miles north of the Great Wall, William, Tovar, and three other survivors from a European mercenary group searching for black powder are pursued by Khitan bandits.
    [Show full text]
  • Copyright and Free Expression in China's Film Industry
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Fordham University School of Law Fordham Intellectual Property, Media and Entertainment Law Journal Volume 26 Volume XXVI Number 1 Volume XXVI Book 1 Article 1 2015 Copyright and Free Expression in China’s Film Industry Eric Priest University of Oregon School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Intellectual Property Law Commons Recommended Citation Eric Priest, Copyright and Free Expression in China’s Film Industry, 26 Fordham Intell. Prop. Media & Ent. L.J. 1 (2015). Available at: https://ir.lawnet.fordham.edu/iplj/vol26/iss1/1 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Copyright and Free Expression in China’s Film Industry Cover Page Footnote I am grateful to Justin Hughes, Lydia Loren, and Vince Chiappetta for their thoughtful comments on earlier drafts. This Article benefitted from numerous valuable comments and suggestions from participants in the Center for the Protection of Intellectual Property’s Mark Twain Copyright Fellowship Program, participants at the April 2014 Symposium on Copyright and Media Pluralism at the University of Oregon School of Law, and participants at the 2015 Pacific Intellectual Property Scholars Conference. This Article was written with the generous support of the Mark Twain Copyright Fellowship Program at George Mason University School of Law’s Center for the Protection of Intellectual Property.
    [Show full text]
  • The Future of Music and Film Piracy in China, 21 BERKELEY TECH
    COPYRIGHT AND FREE EXPRESSION IN CHINA’S FILM INDUSTRY By Eric Priest† [26 FORDHAM INTELL. PROP., MEDIA & ENT. L.J. (forthcoming fall 2015)] ABSTRACT This Article analyzes whether copyright, which creates private rights in orig- inal expression and is therefore a legal tool for restricting the dissemination of in- formation, exacerbates or undercuts state censorship in China’s film industry. Re- cent scholarship suggests that copyright law reinforces China’s oppressive censor- ship regime because both copyright and state censorship erect legal barriers around expressive works. The theory that copyright enhances censorship in China, howev- er, overlooks the immense tension between state attempts at information control and market-supported information production made possible by copyright. This Article demonstrates that the Chinese government does not wield unchecked, top- down control over China’s film industry because censorship policy and practice are profoundly influenced by complex interlocking power relationships between the audience, producers, and censoring authorities. These relationships result in a con- stant dialog between these groups that leads to concessions on all sides. Market- backed private producers meaningfully influence censorship policy because they are key players in this power dynamic with sufficient leverage to counter the censors’ formidable heft. Drawing from political science literature on Chinese economic re- form, this Article provides a theoretical basis for arguing that selective enforcement of censorship rules, combined with (or indeed driven by) market forces and eco- nomic realities, can lead to meaningful (albeit not absolute) liberalization and reform of the formal rules. The transformative power of copyright and commercialization is limited: it is not a panacea that will fully defang or obliterate censorship policies or trigger democratic reform.
    [Show full text]
  • Copyright and Free Expression in China's Film Industry
    Fordham Intellectual Property, Media and Entertainment Law Journal Volume 26 Volume XXVI Number 1 Volume XXVI Book 1 Article 1 2015 Copyright and Free Expression in China’s Film Industry Eric Priest University of Oregon School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Intellectual Property Law Commons Recommended Citation Eric Priest, Copyright and Free Expression in China’s Film Industry, 26 Fordham Intell. Prop. Media & Ent. L.J. 1 (2015). Available at: https://ir.lawnet.fordham.edu/iplj/vol26/iss1/1 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Copyright and Free Expression in China’s Film Industry Cover Page Footnote I am grateful to Justin Hughes, Lydia Loren, and Vince Chiappetta for their thoughtful comments on earlier drafts. This Article benefitted from numerous valuable comments and suggestions from participants in the Center for the Protection of Intellectual Property’s Mark Twain Copyright Fellowship Program, participants at the April 2014 Symposium on Copyright and Media Pluralism at the University of Oregon School of Law, and participants at the 2015 Pacific Intellectual Property Scholars Conference. This Article was written with the generous support of the Mark Twain Copyright Fellowship Program at George Mason University School of Law’s Center for the Protection of Intellectual Property.
    [Show full text]
  • A Window to Our Times China's Independent Film Since the Late
    A Window To Our Times China’s Independent Film since the Late 1990’s Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Christian-Albrecht-Universität zu Kiel vorgelegt von Yi, Sicheng Kiel 2006 Erstgutachterin: Prof. Dr. Gudula Linck Zweitgutachter: Prof. Dr. Hans Jürgen Wulff Tag der mündlichen Prüfung: Durch den Prodekan Prof. Dr. Norbert Nübler Zum Druck genehmigt am: Contents Introduction: 1 Motivation 1 Topic and Structure of this Study 2 State of Research 3 Methodological Implications 4 1 Fiction Film -- The Forerunner Generation. 7 1.1 The concept of generations 7 1.2 Fiction-Film of the fifth generation 8 1.2.1 Thematic Concerns 9 1.2.1.1 Reappraisal of History 9 1.2.1.2 Political Commitment 11 1.2.1.3 Concern for the National Minority Cultures 12 1.2.1.4 The Gender Concern 12 1.2.2 Narrative Structures 15 1.2.3 The Visual 16 2 Fiction Film -- Contrasting the Fifth and the Sixth Generation 19 2.1 The Political and Economic Circumstances in which the 6th Generation Came into Being 19 2.2 The Artistic Nourishment of the 6th Generation 20 2.3 The Ritual of Naming 21 2.3.1 From the 5th to the 6th 21 2.3.2 Disordered Naming and Self-naming 22 2.3.3 In Their Own Words 24 2.4 The Shadows over the 6th Generation: Be Limited by the System 27 """ 2.5 The Paradox of Being Independent: Seeking for Possibilities of Self- expression 29 2.5.1 To Dialogize with the System 29 2.5.2 To Dialogize with Market and Mass Culture 30 2.5.3 To Dialogize with Cinema History 33 2.5.4 To Dialogize with the Reality of Today’s China 35 2.6 In Closing 38 3 Television Documentaries of the 80’s and Early 90’s 42 3.1 The Coming into Being of the First Wave of Chinese Documentaries 42 3.2 Paradigms: Documenting Reality vs.
    [Show full text]
  • Teatro Nuovo and Visionario FAR EAST FILM FESTIVAL 20 the CINEMA in TWENTY YEARS' TIME: the FUTURE TAKES the STAGE at the FEFF a Lineup of 81 Films
    1 2 3 PRESS RELEASES FILM STILLS & FESTIVAL PICS AND VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 20 Gianmatteo Pellizzari & Ippolita Nigris Cosattini with Eugenio De Angelis +39/347/0950890 – +39/349/0665417 [email protected] – [email protected] Video Press Office Matteo Buriani +39/345/1821517 – [email protected] 4 20/28 April 2018 – Udine – Teatro Nuovo and Visionario FAR EAST FILM FESTIVAL 20 THE CINEMA IN TWENTY YEARS' TIME: THE FUTURE TAKES THE STAGE AT THE FEFF A lineup of 81 films. 21 of the 55 titles in competition this year are first or second films: a genuine incubator of new directors and new writers! The journey to the Far East begins on the 20th of April with intense Korean spy thriller Steel Rain and Malaysian drama Crossroads: One Two Jaga, and concludes on the 28th of April with the Indonesian war thriller Night Bus and the latest film to undergo restoration by the FEFF: Johnnie To's splendid Throw Down. Press release for the 11th of April 2018 for immediate release UDINE - Twenty years ago. What is there to say that hasn't already been said? There've been songs, books, movies, even aphorisms. Nostalgia is always lurking around the corner, ready to ambush the unwary, and there's only one way to avoid it (or at least to mitigate its impact): turn "twenty years ago" into "in twenty years' time". And that's why - affecting a certain nonchalance in the face of that big number 20 in this year's logo - the Far East Film Festival has chosen to take a different direction.
    [Show full text]