What's Slovak in Berlin 2014
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1 Professor Martin Votruba
Professor Martin Votruba (1948-2018) Michael J. Kopanic, Jr. It is with a heavy heart that I announce the passing of an outstanding teacher, a dear friend and an esteemed colleague, Professor Martin Votruba. He served as the Head of Slovak Studies Program and was a Senior Lecturer at the University of Pittsburgh (Slavic Department, Dietrich School of Arts and Sciences). Many considered him to be the country's leading scholar on Slovak culture. Martin died on November 23, 2018 after a short bout with lung cancer, even though he never smoked. Votruba's passing was a shock to the academic and Slovak-American community. As his long-time secretary and friend Chris Metil related, "Martin was an invaluable member of the department, a teacher, scholar, and friend. He is greatly missed. He was the rock that built the Slovak program", the only one of its kind in the United States. He assisted in sending many of his students to study Slovak at Studia Academica Slovaca, the Slovak language summer school at Comenius University in Bratislava. The University of Pittsburgh is the only university in the United States that offers a Slovak studies minor. His death was surprising, since as recently as November 4, he had just presented his informative lecture at the University of Pittsburgh's Annual Slovak Heritage Festival: "Slovaks Facing the Revolts of 1848: Between Imperial Vienna and Combative Budapest." Votruba had looked thinner and more frail than the last time I saw him, but he delivered a superb presentation, and as usual, interacted well with the audience and addressed questions with enthusiasm and his breadth of knowledge. -
Monthly Guide
MARCH 2019 ISSUE 116 EASTERN MONTHLY GUIDE MONT BLANC MURDER - THE EVIL HANDS - BROKEN PROMISE EUROCHANNEL GUIDE MARCH 2019 1 2 EUROCHANNEL GUIDE MARCH 2019 TABLE OF CONTENTS MONTHLY GUIDE | MARCH 2019 | ISSUE 116 4 STRIKE FORCE - SEASON 3 SEASON 3 6 MONT BLANC MURDER Gustavo Vainstein Eurochannel’s CEO The first quarter of the year is underway and, at Eurochannel, we are proud 10 THE EVIL HANDS to offer the finest in European audiovisual productions to celebrate it. This month, we have an exclusive selection of productions from the Netherlands, Slovakia, Italy and France — some aired for the first time in the United States. 13 BROKEN PROMISE All of these programs were impossible to watch unless you lived in Europe . until now! 17 FULL DISCLOSURE This month, we are proud to premiere a new season of one of the most 18 ONLY YOU acclaimed crime series from the Netherlands. In this third season of Strike Force, you will again witness the adventures of Theo and Willem as they 20 WEEK 1 fight international crime and corrupt officers. This new season finds them battling with an old enemy, ‘The Diplomat,’ who now seems to be smuggling 22 WEEK 2 immigrants into Europe to feed terrorist cells. 24 WEEK 3 Also in March, do not miss the new episodes of Full Disclosure and Only you as the series grow closer to their finales. 26 WEEK 4 In March, we also take you to Slovakia and France with a collection of riveting 28 WEEK 5 productions. In Broken Promise (Slovakia’s submission to the 2009 Academy Awards), meet a Jewish teenager whose only dream is to become a soccer star. -
Report on the Slovak Audiovisual Situation in 2010
REP ORT ON THE SL OVAK AUDI OVIS UAL SIT UATION IN 2010 REPORT ON THE SLOVAK AUDIOVISUAL SITUATION IN 2010 § CONTENT I Introduction ............................................................................................. 3 I Legislation ............................................................................................... 4 I Film Education ......................................................................................... 5 I Film Production ........................................................................................ 7 I Slovak Audiovisual Fund ........................................................................... 8 I Literary Fund .......................................................................................... 11 I MEDIA ..................................................................................................... 11 I Eurimages ............................................................................................... 13 I Theatrical Distribution ............................................................................. 14 I Videodistribution ..................................................................................... 16 I Cinemas ................................................................................................... 20 I Film Clubs ............................................................................................... 21 I Festivals and Reviews .............................................................................. 23 I Awards of Slovak -
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 -
Cannes Edition 2021
www.filmsk.sk Cannes 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 In the previous Berlinale Edition 2021, the first spe- on 1st April 1963. The film archive, which was established cial festival edition of Film.sk, we committed to the Cannes in 1958, also became part of the Institute. In 1970, the SFI and Karlovy Vary editions. However, their production process was presented with a copy of the first Slovak feature film Jánošík (dir. Jaroslav Siakeľ, 1921) which was later re- was constantly complicated by new anti-pandemic measures SLOVAKIA AT INTERNATIONAL 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. the Cannes & Karlovy Vary Edition 2021, published on two Lumière, opened in 2011 and operated by the SFI, is locat- occasions. -
Historical and National Background of Slovak Filmmaking
An article from: Martin Votruba, ed. KinoKultura, Special Issue 3: Slovak Cinema, December 2005. ISSN 478-6567 Slovak Studies Program, University of Pittsburgh votruba “at” pitt “dot” edu http://www.pitt.edu/~votruba Historical and National Background of Slovak Filmmaking Martin Votruba While the United States is usually seen as a new country and the European countries as ancient ones, the emergence and demise of countries and border shifts have been much more widespread, dramatic, and consequential in Central Europe, as well as in the rest of the continent, in the past century than anything in American experience during the same period. In extreme instances, by the time a person was eighty, he or she could have been a citizen of up to eight countries without ever leaving his or her hometown. Slovakia in Europe, Real and Symbolic Geography A major concept and understanding that has been absent in almost all writing about Central Europe in English is the term “Central Europe” itself. It is sometimes taken to be an old German invention designed to justify the expansionist concept of Lebensraum, or it is discussed as an invention of Czech émigré author Milan Kundera, especially in his essay “The Tragedy of Central Europe.”1 Yet, a character in the German film The Edukators (Die Fetten Jahre sind vorbei; dir. Heinz Weingartner, 2004) says at one point, quite matter-of-factly, “here in Central Europe.” It is revealing that the English subtitles translated it merely as “here in Europe” for American audiences. Stripped of any Kundera-esque connotations, Central Europe has long been a simple geographic concept, like the Midwest in the United States. -
Conflict and Controversy in Small Cinemas
Interdisciplinary Studies in Performance 12 12 Interdisciplinary Studies in Performance 12 Janina Falkowska /Krzysztof Loska (eds.) Janina Falkowska / Krzysztof Loska (eds.) Conflict and Controversy in Small Cinemas This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and Conflict and Controversy point to new phenomena which have been exposed by film directors. They present essays on, among others, Basque cinema; gendered controversies in Small Cinemas in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during Falkowska/KrzysztofJanina Loska (eds.) migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film. The Author Janina Falkowska is a retired professor from the University of Western Ontario in London, Ontario (Canada) and Professor at the University of Economics and Humanities (WSEH) in Bielsko-Biala (Poland). She specializes in East-Central European and Western European cinemas and has published extensively on Polish and East-Central European cinemas in journals and books related to Eastern and Central Europe. She has initiated a series of conferences about small cinemas in Europe and organized workshops and conferences on European cinemas in Canada. -
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 -
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. -
Karlovy Vary 2008
Karlovy Vary 2008 By Ron Holloway Fall 2008 Issue of KINEMA KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2008 A Festival for Independents One glance at the line-ups of the top A-category competition film festivals, and you can rate and measure – even criticize – them for their respective portfolios carried proudly on their backs. Cannes is honoured as an authentic ”auteur festival,” respected each May for discovering new directorial talent while furthering the careers of past auteur directors even when they are evidently over the hill. Venice, praised as a ”director’s haven,” scores among veteran festivaliers as a laid-back September rendezvous for cult directors at the end of summer, a must for cineastes. Berlin likes to promote its ”Hollywood image,” using its February dates to book as many box-office hits of the previous Christmas season as slots will allow, knowing full wellthatLA producers easily benefit from a Berlinale festival launch before their films hit the lucrative German screens. So what is Karlovy Vary best known for? Scheduled in early July, the 43rd Karlovy Vary International Film Festival (4-12 July 2008), under the dual leadership of Jií Bartoška (president) and Eva Zaoralová (artistic director), has developed in recent years into a unique ”platform for independents,” a summer festival in a renown spa that is particularly proud of its links to Sundance and Tribeca in the United States, Sochi in Russia, and Pusan in Korea. Indeed, for young Czech and Slovak backpackers pilgering annually to KVIFF, the core of the festival fare has always been the popular Forum of Independents section, programmed for over a decade by Stefan Ulrik, a Czech TV reporter. -
You Can Hope for Is Contact
ENGLISH SECTION Festival Daily SPECIAL EDITION OF THE OFFICIAL ENGLISH DAILY OF THE 43RD KARLOVY VARY INTERNATIONAL FILM FESTIVAL Wednesday, July 9, 2008 free • strana / page 7 Slovak director day Interview with DIVÁCKÁ CENA / AUDIENCE AWARD Tomorrow’s program DENÍKU Dušan Hanák John Sayles Vote for the best film of the 43rd Karlovy Vary International Film Festival! strana/page 6, 11, 12 strana/page 8 6 strana/page 10 strana/page 2 Lowdown Evidently director Paul All you can hope for is contact Mazursky, known for his Hollywood triumphs in come- dy and romance, still possess- Veteran British director Nicolas Roeg rails against corporate censorship es the saucy sense of humor that made Bob & Carol & Ted & Alice such a hit in 1969. At Cóilín O’Connor now. But we won’t go into those the New Hollywood II line-up [laughs]... of Hollywood cinema legends, I In films like Don’t Look British director Nicolas Roeg, which included actress Rita Now and The Man Who Fell to Tushingham, cinematograph- who made his mark with brood- Earth, you veered quite far ing, disjointed masterpieces like er Vilmos Szigmond and away from the original materi- writer Lorenzo Semple, Performance, Walkabout and al. Why was that? The Man Who Fell to Earth, is the Jr., Mazursky cheerfully I don’t like making big plans. announced his intention to subject of a special tribute at You like to think that you can base return to the Czech Republic KVIFF this year. things on a premise, but that can to shoot a film “with a single then change. -
What's Slovak in Berlin 2018?
WHAT'S SLOVAK IN BERLIN? FEBRUARY 15 − 25, 2018 WHAT´S SLOVAK IN BERLIN? BERLINALE SPECIAL A BOOK BY A FORMER SS OffICER DETAILING HIS TIME AND DEEDS IN SLOVAKIA FALLS INTO THE HANDS OF THE INTERPRETER, ALI UNGÁR. THE INTERPRETER HE REALISES THAT THE SS OffICER IS RESPONSIBLE FOR THE DEATH OF TLMOčnÍK HIS PARENTS. HE TRAVELS TO VIENNA INTERVIEW WITH MARTIN ties is getting ever stronger in Slovakia number of films that he’s acted in, he is just ŠULÍK, DIRECTOR AND and across the whole of Europe, and peo- one prominent type and so only able to play PRODUCER OF THE FILM ple who have not learned the lessons from himself. Unlike Peter he doesn’t like to talk BUT, HE FINDS ONLY OffICER’S SON the past tend to succumb to it. Is The Inter- about his character. His principle was: “Don’t Martin Šulík (1962) is an internationally suc- preter intended to be a contribution to the talk, act!” It was intriguing that they not only GEORG, WHO HAS DISTANCED HIMSELF cessful and well-known Slovak film director. discussion on this topic? played two contrasting characters, but they Seven years after his last feature film Gypsy, Together with Marek, we follow what also worked using different methods. Peter FROM HIS FATHER’S PAST. THE he is coming back with road movie The In- is going on in Slovakia and Europe, how liked to check his work on video and, based terpreter. The film about two men dealing people’s thinking changes at various levels. on what he viewed, he was able to offer vari- with their past decisions will be world pre- Views very close to Fascism are currently ations on the individual scenes from a criti- INTERPRETer’S VISIT AWAKENS HIS miered in the Berlinale Special section.