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Beneath the Surface *Animals and Their Digs Conversation Group
FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you. -
Ali Pirzadeh Exploring the Historical Roots of Culture, Economics, And
Arts, Research, Innovation and Society Ali Pirzadeh Iran Revisited Exploring the Historical Roots of Culture, Economics, and Society Arts, Research, Innovation and Society Series Editors Gerald Bast, University of Applied Arts, Vienna, Austria Elias G. Carayannis, George Washington University, Washington, DC, USA David F.J. Campbell, University of Applied Arts, Vienna, Austria Editors-in-Chief Gerald Bast and Elias G. Carayannis Chief Associate Editor David F.J. Campbell More information about this series at http://www.springer.com/series/11902 Ali Pirzadeh Iran Revisited Exploring the Historical Roots of Culture, Economics, and Society Ali Pirzadeh Washington , DC , USA Arts, Research, Innovation and Society ISBN 978-3-319-30483-0 ISBN 978-3-319-30485-4 (eBook) DOI 10.1007/978-3-319-30485-4 Library of Congress Control Number: 2016935406 © Springer International Publishing Switzerland 2016 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. -
Here Was Obviously No Way to Imagine the Event Taking Place Anywhere Else
New theatre, new dates, new profile, new partners: WELCOME TO THE 23rd AND REVAMPED VERSION OF COLCOA! COLCOA’s first edition took place in April 1997, eight Finally, the high profile and exclusive 23rd program, years after the DGA theaters were inaugurated. For 22 including North American and U.S Premieres of films years we have had the privilege to premiere French from the recent Cannes and Venice Film Festivals, is films in the most prestigious theater complex in proof that COLCOA has become a major event for Hollywood. professionals in France and in Hollywood. When the Directors Guild of America (co-creator This year, our schedule has been improved in order to of COLCOA with the MPA, La Sacem and the WGA see more films during the day and have more choices West) decided to upgrade both sound and projection between different films offered in our three theatres. As systems in their main theater last year, the FACF board an example, evening screenings in the Renoir theater made the logical decision to postpone the event from will start earlier and give you the opportunity to attend April to September. The DGA building has become part screenings in other theatres after 10:00 p.m. of the festival’s DNA and there was obviously no way to imagine the event taking place anywhere else. All our popular series are back (Film Noir Series, French NeWave 2.0, After 10, World Cinema, documentaries Today, your patience is fully rewarded. First, you will and classics, Focus on a filmmaker and on a composer, rediscover your favorite festival in a very unique and TV series) as well as our educational program, exclusive way: You will be the very first audience to supported by ELMA and offered to 3,000 high school enjoy the most optimal theatrical viewing experience in students. -
Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations. -
Film Festivals at EU Delegations
Film Festivals at EU Delegations Feasibility study exploring different possible modus operandi for making available a package of European films FINAL REPORT A study prepared for the European Commission DG Communications Networks, Content & Technology by: Digital Agenda for Europe This study was carried out for the European Commission by: Internal identification Contract number: EAC-2014-0516 SMART 2015/ 0095 DISCLAIMER By the European Commission, Directorate-General of Communications Networks, Content & Technology. The information and views set out in this publication are those of the author(s) and do not necessarily reflect the official opinion of the Commission. The Commission does not guarantee the accuracy of the data include d in this study. Neither the Commission nor any person acting on the Commission’s behalf may be held responsible for the use which may be made of the information contained therein. ISBN 978-92-79-44438-8 doi: 10.2766/382048 © European Union, 2015. All rights reserved. Certain parts are licensed under conditions to the EU. Reproduction is authorised provided the source is acknowledged. Table of Contents ABSTRACT ........................................................................................................... 5 EXECUTIVE SUMMARY ........................................................................................... 6 LIST OF ABBREVIATIONS USED ............................................................................ 13 Objectives and scope of the study ................................................................ -
Europa International 4Th Annual Conference “ SET the TREND! “
Europa International 4th Annual Conference “ SET THE TREND! “ 27 – 29 November 2015 @ Prague, Czech Republic With the support of And the help of In cooperation with OUTLINE PROGRAMME Friday 27 November 13.00 - 14.00: Welcome Coffee 14.00 - 16.00: GENERAL ASSEMBLY (for EI members only) 16.00 - 16.30: Coffee Break 16.30 - 18.00: COMMON PANEL with EUROPA CINEMAS 19.00 - 20.30: Reception & Dinner 21.00: Europa Cinemas Award Ceremony & European Film Preview “Lampedusa in Winter” by Jakob Brossmann @ Kino Lucerna Saturday 28 November 9.30 - 10.30: PRESENTATION OF PARTNERS 10.45 - 13.00: PANEL 1: IMPACT OF THE DIGITAL PLATFORMS ON DISTRIBUTION 13.00 - 14.30: Networking Lunch 14.30 - 16.00: PANEL 2: TV SALES IN DIGITAL WORLD 16.00 - 18.00: GENERAL ASSEMBLY (for EI members only) 18.00: Get Together Sunday 29 November 10.00 - 13.00: EUROPA CINEMAS conference 13.00: Closing Lunch EI conference will take place in room Klementinum Belvedere on the top floor EC conference will take place in room Congress Hall on ground floor CHAIRMAN & MODERATOR BRIAN NEWMANN CEO @ Sub-Genre, New York, USA Brian Newman is the founder of Sub-Genre, a consulting company focusing on developing and implementing new business models for film and new media. Current and former clients: Patagonia, developing film strategies and marketing and distribution for numerous films, including DamNation, The Fisherman’s Son, and Jumbo Wild; Sundance Institute on the Transparency Project; Vulcan Productions on Racing Extinction; Imprint Projects on two films for Levi’s and several filmmakers on fundraising, distribution and marketing. -
Georgian Film Sector Mapping Georgian National Film Centre
Georgian Film Sector Mapping Georgian National Film Centre Final Report March 2012 Contents 10.1 Supply-side challenges ..................................................... 24 1. Purpose of the research ....................................1 10.1.1 Key weaknesses and gaps in the film value chain ........ 24 2. Methodology ......................................................2 10.1.2 Limited skills and capacity: in general ........................... 24 2.1 Training and set-up ............................................................... 2 10.1.3 Limited skills and capacity: for attracting and hosting 2.2 Assessment of existing data ................................................. 2 inward productions ................................................................... 25 2.3 Database and Survey ........................................................... 2 10.1.4 Domestic tax regime ...................................................... 26 10.2 Demand-side challenges .................................................. 26 2.4 Focus Groups ....................................................................... 2 2.5 Case Studies ........................................................................ 3 10.2.1 International demand: challenges for the international film industry to investing in, and working with, Georgia ............ 26 3. Context ..............................................................4 10.2.2 Georgian demand: stimulating the home market ........... 27 3.1 History, tradition, heritage .................................................... -
Festival Schedule
T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen. -
Yearbook 2018/2019 Key Trends
YEARBOOK 2018/2019 KEY TRENDS TELEVISION, CINEMA, VIDEO AND ON-DEMAND AUDIOVISUAL SERVICES - THE PAN-EUROPEAN PICTURE → Director of publication Susanne Nikoltchev, Executive Director → Editorial supervision Gilles Fontaine, Head of Department for Market Information → Authors Francisco Javier Cabrera Blázquez, Maja Cappello, Léa Chochon, Laura Ene, Gilles Fontaine, Christian Grece, Marta Jiménez Pumares, Martin Kanzler, Ismail Rabie, Agnes Schneeberger, Patrizia Simone, Julio Talavera, Sophie Valais → Coordination Valérie Haessig → Special thanks to the following for their contribution to the Yearbook Ampere Analysis, Bureau van Dijk Electronic Publishing (BvD), European Broadcasting Union - Media Intelligence Service (EBU-M.I.S.), EPRA, EURODATA-TV, IHS, LyngSat, WARC, and the members of the EFARN and the EPRA networks. → Proofreading Anthony Mills → Layout Big Family → Press and public relations Alison Hindhaugh, [email protected] → Publisher European Audiovisual Observatory 76 Allée de la Robertsau, 67000 Strasbourg, France www.obs.coe.int If you wish to reproduce tables or graphs contained in this publication please contact the European Audiovisual Observatory for prior approval. Please note that the European Audiovisual Observatory can only authorise reproduction of tables or graphs sourced as “European Audiovisual Observatory”. All other entries may only be reproduced with the consent of the original source. Opinions expressed in this publication are personal and do not necessarily represent the view of the Observatory, its members or of the Council of Europe. © European Audiovisual Observatory (Council of Europe), Strasbourg 2019 YEARBOOK 2018/2019 KEY TRENDS TELEVISION, CINEMA, VIDEO AND ON-DEMAND AUDIOVISUAL SERVICES - THE PAN-EUROPEAN PICTURE 4 YEARBOOK 2018/1019 – KEY TRENDS TABLE OF CONTENT INTRODUCTION 0 A transversal look at the US and European audiovisual markets . -
Tussentaallinguïstische Het En Beeld KATARZYNA WIERCIŃSKA
OWAD 2 OWAD utstanding issertations KATARZYNA WIERCIŃSKA KATARZYNA 2 Tussentaal en het linguïstische beeld linguïstische het en Tussentaal KATARZYNA WIERCIŃSKA Tussentaal en het linguïstische beeld Wydział Anglistyki van de dagelijkse realiteit in Vlaanderen ISBN 978-83-232-2983-4 Op basis van Vlaamse films (2000-2010) WYDAWNICTWO NAUKOWE UAM Tussentaal en het linguïstische beeld van de dagelijkse realiteit in Vlaanderen Op basis van Vlaamse films (2000-2010) FACULTY OF ENGLISH ADAM MICKIEWICZ UNIVERSITY IN POZNAŃ Outstanding WA Dissertations OWAD 2 Katarzyna Wiercińska Tussentaal en het linguïstische beeld van de dagelijkse realiteit in Vlaanderen Op basis van Vlaamse films (2000-2010) Poznań 2016 ABSTRACT. Wiercińska Katarzyna. Tussentaal en het linguïstische beeld van de dagelijkse realiteit in Vlaanderen. Op basis van Vlaamse films (2000-2010). Adam Mickiewicz University Press. Poznań 2016. Pp. 204. Tabs. 8. Figs. 7. OWAD 2. ISBN 987-83-232-2983-4. Text in Dutch with a Polish and English summary. This book covers the linguistic picture of Flemish everyday life-world that is ap- proached from the point of view of the language structures typical for tussentaal (Flemish interlanguage), a spoken variety of Belgian Dutch. The study’s focus lies in finding those features of tussentaal that provide an image of daily reality and by means of which the speaker can model it in accordance with their needs. For the pur- poses of this research, a corpus of ten Flemish movies (approx. 18 hours of recordings, 83.000 words) has been put together. The movie dialogues are examined within the methodological framework of ethnolinguistics. KEY WORDS: Flanders, Belgium, Belgian Dutch, tussentaal, Flemish interlanguage, linguistic picture of the world, everyday life-world Katarzyna Wiercińska, Faculty of English, Adam Mickiewicz University, al. -
Italian Films (Updated April 2011)
Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni. -
M Arkets & N Etw Orks
Markets & Networks Improving the access to markets for professionals of CineLink Industry Days The Industry Club Baltic Sea Forum for Documentaries East Silver the European audiovisual industry is a core objective Obala Art Centar Sarajevo Festival Internacional de Cine de Donostia - San Sebastián National Film Centre of Latvia Institute of Documentary Film of the Creative Europe MEDIA programme of the Held during the Sarajevo Film Festival, the event includes Industry programme, featuring a co-production forum for projects Latvian market and networking platform for projects from the Largest fi lm market in Central and Eastern Europe dedicated European Union. The following initiatives are part of a a co-production market for pre-selected regional feature from Europe and Latin America and a work in progress showcase. Baltic Sea region, Eastern and Central Europe. Provides ways exclusively to documentary cinema. Held at the Jihlava IDFF. broad spectrum of support for virtually every aspect of projects in a development/fi nancing stage as well as a work in www.sansebastianfestival.com to fi nd funding and reach a wider audience across Europe. www.dokweb.net audiovisual production. They are taking place all over progress showcase. www.balticseadocs.lv Europe and beyond. www.sff .ba Les Arcs Industry Events EDN Workshops Feature Films Feature Films Feature Beldocs Market www.creative-europe-media.eu CineMart Association Révélations Culturelles EDN - European Documentary Network Industry programme of the Festival de Cinéma Européen des International Documentary Film Festival BELDOCS Documentaries Through events like Lisbon Docs and Docs in Thessaloniki, EDN Documentaries Editing and Design: Creative Europe Desk Hamburg, 2018 Stichting International Film Festival Rotterdam Arcs.