DOCSLIB.ORG

Art Cinema Culture in China: an Exploration of the Role of Cultural Intermediaries

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Cinema Culture in China: an Exploration of the Role of Cultural Intermediaries THE PRODUCTION OF ART CINEMA CULTURE IN CHINA: AN EXPLORATION OF THE ROLE OF CULTURAL INTERMEDIARIES Thesis submitted for the degree of Doctor of Philosophy by Xiang Fan Department of Media, Communications and Cultural Studies Goldsmiths, University of London September 2019 1 Declaration of Authorship I .…Xiang Fan…. hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 2 Acknowledgments Over the course of this PhD study, there were many people who helped me shape the project, who guided me in various directions to carry on the research, and people who shared the joys and laughed with me during my PhD life. I am indebted to them for their support, advice, encouragement, patience and understanding. First of all, I would like to acknowledge with gratitude the generous support of my supervisor, Dr Richard MacDonald, for numerous conversations and discussions about the writing process, for insightful advice and unflagging encouragement on the whole PhD thesis. Special thanks are also due to my second supervisor Dr Mirca Madianou who provided invaluable suggestions about this project in its most uncertain phase. I thank my viva examiners Chris Berry and Sabrina Qiong Yu for reading the thesis, offering insightful suggestions for revision, encouraging me to pursuing an academic career. I am grateful to all the reviewers and the examiners who provided insightful advice and support in the course of my PhD study: Rachel Moore, Anamik Saha, and Gareth Stanton. I would also like to thank academics I encountered in my PhD who gave me encouragement and job opportunity: Hiu Man Chan, Natalie Fenton, Des Freeman, and Dan Strutt. I am also grateful to the many friends who provided support and encouragement during the course of my PhD study and since. Ian Green read parts of the thesis and offered characteristically wise comments. Yu Hang helped retake photographic images associated with some exhibitionary sites. Guilherme Carréra, Chen Hong, Agnieszka Dudek, Clarissa Gomes, Li Qi, Na Yuqi, Tang Tiankai, Yang Yang, Zhou Yang, Zhang Yang helped in whatever way they could during the course. Their emotional support and encouragement, humour and generosity carried me through this challenging period. This research would not have been possible without the support and trust of my respondents. I am enormously grateful to all the people who generously shared their memories and opinions of ‘art cinema’ in interviews and conversations, and who helped me explore my journey in the art cinema scene. Last, but certainly not least, I would like to say thank you to my parents, Li Weihua and Fan Shuchun, for always supporting me and encouraging me to pursue my dreams. Their 3 love and understanding mean more to me than I can ever say. Thus, I dedicate this thesis to my parents with great gratitude and love. 4 Abstract This thesis offers an ethnographic account of how art cinema culture is produced in China since the turn of twenty-first century. With an underdeveloped art cinema infrastructure and the endurance of forceful Party-state control over public cinematic spaces, there have emerged numerous individuals and organisations taking part in circulating the information and appreciation of the art of film through a number of different alternative paths and networks. This thesis scrutinises the role of the intermediary practitioners – particularly those involved in independent exhibition, internet criticism and underground distribution – and how they think about cinema, negotiate judgement and appreciation, and construct a discourse of value and taste. It is argued that, although their motivation was derived from a cinephilia seeking to forge an alternative mode of distribution and reception, the ‘new’ cinema culture they have produced simultaneously negotiates a subtly complicit relationship with authoritative and market forces. Their cultural practices and engagement oscillates between the status of independence and autonomy, a rejection of cultural homogeneity and monopolisation, and culture as promotion that accrues a public image and recognition. Moreover, involved in diversified practices and taste formation, the intermediary practitioners have also sought to produce a new form of legitimacy in reference to cultural value and judgement. To attain their legitimacy, they have sought to constitute a coordinated and interrelated network in the site of art cinema. The network is manifested – its mode of operation explicitly – as part of the art film culture in a way that represents the larger spectrum of socio-cultural hierarchy in contemporary Chinese culture and society. 5 Table of Contents ACKNOWLEDGMENTS ........................................................................................................................... 3 ABSTRACT ................................................................................................................................................. 5 TABLE OF CONTENTS ............................................................................................................................ 6 ILLUSTRATIONS..................................................................................................................................... 10 INTRODUCTION ..................................................................................................................................... 13 1. LITERATURE REVIEW .................................................................................................................... 26 1.1 DEFINING ART CINEMA ......................................................................................................................... 29 1.2 MAPPING YISHU DIANYING (ART CINEMA) IN THE CHINESE CONTEXT ........................... 37 1.3 FRAMING ART CINEMA IN FIELD THEORY ................................................................................... 49 1.4 LOCATING CULTURAL INTERMEDIARIES IN AN ALTERNATIVE SYSTEM OF DIFFUSION ........................................................................................................................................... 54 2. METHODOLOGY ............................................................................................................................... 60 2.1 PARTICIPANT OBSERVATION .............................................................................................................. 63 2.1.1 INDEPENDENT EXHIBITORS ....................................................................................................................... 63 2.1.2 FILM CRITICS ................................................................................................................................................. 66 2.1.3 FAN TRANSLATORS ...................................................................................................................................... 68 2.2 IN-DEPTH INTERVIEWS ......................................................................................................................... 71 2.3 DATA ANALYSIS ........................................................................................................................................ 73 2.4 REFLEXIVITY ............................................................................................................................................. 75 6 2.5 ETHICAL ISSUES........................................................................................................................................ 76 3. FROM HOME PIRACY TO LIMITED ARTHOUSES: THE EXPANSION OF ALTERNATIVE EXHIBITIONARY SPACES IN CHINA ........................................................................................... 80 3.1 HOME SPACE, PIRACY AND THE RISE OF CINEPHILIA ............................................................. 84 3.1.1 THE ‘REGION 9’ DVD ......................................................................................................... 90 3.1.2 ‘TAO DIE’ AS AN INDIVIDUALISED FILMIC EXPERIENCE ................................................................. 99 3.2 ALTERNATIVE PUBLIC EXHIBITIONARY SPACE: THEATRICAL VENUES FOR ART CINEMA ...................................................................................................................................................... 106 3.2.1 RECONCILING NATIONAL CULTURE, ARTISTIC VALUE, EDUCATION AND ECONOMIC PURSUIT ................................................................................................................................................................... 107 3.2.2 STRATEGIES AND PRACTICES OF ART CINEMA EXHIBITORS ...................................................... 114 3.2.3 LOCATIONS .................................................................................................................................................. 122 4. ‘INDEPENDENT’ EXHIBITORS: MEDIATING BETWEEN UNDERGROUND AND PUBLICITY ....................................................................................................................................... 130 4.1 DISPERSED EXHIBITION SPACES AND THE REPRESENTATIONS OF ‘IN-DEPENDENCE’ ......................................................................................................................................... 134 4.1.1 ARTIST COLONY ........................................................................................................................................ 135 4.1.2 PUBLIC INSTITUTIONS WITHIN OFFICIAL CULTURAL
Load more

Recommended publications
  • 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.
    [Show full text]
  • Golden Apricot Fund for Cinema Development
    1 DONORS Dear Colleagues, Participants, and Friends, Welcome to the 14th Golden Apricot International Film Festival! Welcome to the GAIFF Industry Days and Creative Europe Forum 2017! It is almost 14 years that Golden Apricot has established synergies at different levels between state and audiovisual actors to pro- mote global partnership and sustainable development. Golden Apricot is dedicated to building further co-operation bridges with Europe and enhancing CSOs-CCIs capacity building platform. Based on the vital need for a wide professional network and cul- tural exchange Golden Apricot has initiated the GAIFF Industry Days 2017. The main aim of GAIFF‘s new industry program in 2017 is to develop the film industry in Armenia and to serve as a unique platform for film professionals from Armenia and beyond. GAIFF Industry Days 2017 will consist of professional workshops, trainings, roundtables, panel discussions, project pitchings, master classes conducted by Golden Apricot guests – film experts, directors, and producers from around the world. GAIFF Industry Days 2017 include: ü 2-day Armenia-Turkey Cinema Platform Workshop for short and documentary film projects by Armenian and Turkish filmmakers (10-11 July) – in partnership with Anadolu Kultur, Turkey; ü Eurasiadoc Workshop (10-12 July) – 3-day training program for documentary projects from Armenia, Georgia, and Turkey with participation of more than15 French producers and broadcasters – in partnership with Docmonde, France; ü Round Table “Armenia in the Structure of Film Production in the USSR and in the Post-Soviet Period”(12 July) – in partnership with New Institute for Cultural Research, Russia; ü Pitch Workshop for pre-selected projects – in partnership with British Council (12-13 July); ü 3-day Creative Europe Forum (12-14 July); ü GAIFF Master Classes (10-15 July) in partnership with AGBU and TUMO Center for Creative Technologies.
    [Show full text]
  • Guide to the Papers of the Capri Community Film Society
    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
    [Show full text]
  • Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
    List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
    [Show full text]
  • Masaki Kobayashi: KWAIDAN (1965, 183M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    March 10, 2020 (XL:10) Masaki Kobayashi: KWAIDAN (1965, 183m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Directed by Masaki Kobayashi Writing Credits Yôko Mizuki (screenplay), Lafcadio Hearn (novel) (as Yakumo Koizumi) Produced by Takeshi Aikawa, Shigeru Wakatsuki Music by Tôru Takemitsu Cinematography by Yoshio Miyajima Film Editing by Hisashi Sagara The film won the Jury Special Prize and was nominated for the Palme d’Or at the 1965 Cannes Film Festival and was nominated for an Oscar for Best Foreign Language Film at the 1966 Academy Awards. CAST for the Palme d'Or at Cannes, and Samurai Rebellion “The Black Hair” (1967), and Kwaidan (1964), for which he, once again, Michiyo Aratama…First wife both won the Jury Special Prize and was nominated for the Misako Watanabe…Second Wife Palme d’Or. He was also nominated for the Palm d’Or for Rentarō Mikuni…Husband Nihon no seishun (1968). He also directed: Youth of the Son (1952), Sincerity (1953), Three Loves* (1954), “The Woman of the Snow” Somewhere Under the Broad Sky (1954), Beautiful Days Tatsuya Nakadai…Minokichi (1955), Fountainhead (1956), The Thick-Walled Room Jun Hamamura…Minokichi’s friend (1956), I Will Buy You (1956), Black River (1957), The *Keiko Kishi…the Yuki-Onna Inheritance (1962), Inn of Evil (1971), The Fossil (1974), Moeru aki (1979), Tokyo Trial* (Documentary) (1983), “Hoichi” and Shokutaku no nai ie* (1985).
    [Show full text]
  • The Reel World: Contemporary Issues on Screen
    The Reel World: Contemporary Issues on Screen Films • “Before the Rain” (Macedonia 1994) or “L’America” (Italy/Albania 1994) • “Earth” (India 1998) • “Xiu-Xiu the Sent Down Girl” (China 1999) • (OPTIONAL): “Indochine” (France/Vietnam 1992) • “Zinat” (Iran 1994) • “Paradise Now” (Palestine 2005) • “Hotel Rwanda” (Rwanda 2004) • (OPTIONAL): “Lumumba” (Zaire 2002) • “A Dry White Season” (South Africa 1989) • “Missing” (US/Chile 1982) • “Official Story” (Argentina 1985) • “Men With Guns” (Central America 1997) Books • We Wish to Inform You That Tomorrow We Will be Killed With Our Families: Stories from Rwanda by Philip Gourevitch • (OPTIONAL/RECOMMENDED): A Dry White Season by André Brink Course Goals There are several specific goals to achieve for the course: Students will learn to view films historically as one of a number of sources offering an interpretation of the past Students will acquire a knowledge of the key terms, facts, and events in contemporary world history and thereby gain an informed historical perspective Students will take from the class the skills to critically appraise varying historical arguments based on film and to clearly express their own interpretations Students will develop the ability to synthesize and integrate information and ideas as well as to distinguish between fact and opinion Students will be encouraged to develop an openness to new ideas and, most importantly, the capacity to think critically Course Activities and Procedures This course is taught in conjunction with “The Contemporary World,” although that course is not a prerequisite. We will use material from that course as background and context for the films we see. Students who have already taken “The Contemporary World” can review the material to refresh their memories before watching the relevant titles if they feel the need to do so.
    [Show full text]
  • King's Film Society Past Films 1992 –
    King’s Film Society Past Films 1992 – Fall 1992 Truly, Madly, Deeply Sept. 8 Howard’s End Oct. 13 Search for Intelligent Signs of Life In the Universe Oct. 27 Europa, Europa Nov. 10 Spring 1993 A Woman’s Tale April 13 Everybody’s Fine May 4 My Father’s Glory May 11 Buried on Sunday June 8 Fall 1993 Enchanted April Oct. 5 Cinema Paradiso Oct. 26 The Long Day Closes Nov. 9 The Last Days of Chez-Nous Nov. 23 Much Ado About Nothing Dec. 7 Spring 1994 Strictly Ballroom April 12 Raise the Red Lantern April 26 Like Water for Chocolate May 24 In the Name of the Father June 14 The Joy Luck Club June 28 Fall 1994 The Wedding Banquet Sept 13 The Scent of Green Papaya Sept. 27 Widow’s Peak Oct. 9 Sirens Oct. 25 The Snapper Nov. 8 Madame Sousatzka Nov. 22 Spring 1995 Whale Music April 11 The Madness of King George April 25 Three Colors: Red May 9 To Live May 23 Hoop Dreams June 13 Priscilla: Queen of the Desert June 27 Fall 1995 Strawberry & Chocolate Sept. 26 Muriel’s Wedding Oct. 10 Burnt by the Sun Oct. 24 When Night Rain Is Falling Nov. 14 Before the Rain Nov. 28 Il Postino Dec. 12 Spring 1996 Eat Drink Man Woman March 25 The Mystery of Rampo April 9 Smoke April 23 Le Confessional May 14 A Month by the Lake May 28 Persuasion June 11 Fall 1996 Antonia’s Line Sept. 24 Cold Comfort Farm Oct. 8 Nobody Loves Me Oct.
    [Show full text]
  • The Bombay the Terrorist Ti Koun .
    644 CHAPTER 26 Beyond the Industrialized West 26.1 0 The Bandit Queen: Phoolan 26.1 1 Bombay's vision of a united India: as the parents are reunited with their Devi protects her wounded lover. children, hands drop weapons and stretch out in friendship. critical cinema. "In India, there is no salvation outside Yet local audiences remained loyal to the national the commercial cinema." 1 Also pursuing this path was product-which was now incorporating more sexuality Mani Rathnam, a Tamil filmmakerwho found great suc­ along with MTV dance styles (e.g., Trimurti, 1995). Juras­ cess with Nayakan ("Hero," 1986), an adaptation of The sic Park was unable to trump another 1994 release, the Godfather. Rathnam's Bombay (1994) denounces the traditional romantic comedy-drama Hum Aapke Hain bloody religious strife of the early 1990s. A Hindu jour­ Koun ... ! ("Who Am I to You? "). Filled with sparkling nalist marries a Muslim woman, and the couple and their studio-shot dance numbers (Color Plate 26.5), it became children are thrust into the middle of anti-Muslim riot­ the most popular filmof the decade. Even after restric­ ing. Bombay neighborhoods are spectacularly re-created tions were lifted, American imports claimed no more than in a Madras studio, riot scenes are shot and edited for 10 percent of the box office. In a country where nearly visceral force, hand-held cameras race through the half the population earned only a dollar a day, admission streets, and children watch as people trapped in cars are to a local filmran only about fifty cents while Hollywood burned alive.
    [Show full text]
  • Chinese Cinema and Transnational Cultural Politics : Reflections on Film Estivf Als, Film Productions, and Film Studies
    Journal of Modern Literature in Chinese 現代中文文學學報 Volume 2 Issue 1 Vol. 2.1 二卷一期 (1998) Article 6 7-1-1998 Chinese cinema and transnational cultural politics : reflections on film estivf als, film productions, and film studies Yingjin ZHANG Indiana University, Bloomington Follow this and additional works at: https://commons.ln.edu.hk/jmlc Recommended Citation Zhang, Y. (1998). Chinese cinema and transnational cultural politics: Reflections on filmestiv f als, film productions, and film studies. Journal of Modern Literature in Chinese, 2(1), 105-132. This Forum is brought to you for free and open access by the Centre for Humanities Research 人文學科研究中心 at Digital Commons @ Lingnan University. It has been accepted for inclusion in Journal of Modern Literature in Chinese 現代中文文學學報 by an authorized editor of Digital Commons @ Lingnan University. Chinese Cinema and Transnational Cultural Politics: Reflections on Film Festivals, Film Productions, and Film Studies Yingjin Zhang This study situates Chinese cinema among three interconnected concerns that all pertain to transnational cultural politics: (1) the impact of international film festivals on the productions of Chinese films and their reception in the West; (2) the inadequacy of the “Fifth Generation” as a critical term for Chinese film studies; and (3) the need to address the current methodological confinement in Western studies of Chinese cinema. By “transnational cultural politics” here I mean the complicated——and at times complicit— ways Chinese films, including those produced in or coproduced with Hong Kong and Taiwan, are enmeshed in tla larger process in which popular- cultural technologies, genres, and works are increasingly moving and interacting across national and cultural borders” （During 1997: 808).
    [Show full text]
  • Gatunkowe Pogranicza – Samurajskie Filmy Hideo Goshy
    Michał Bobrowski Michał Bobrowski (ur. 1981, Kraków) – doktor filmoznawstwa Uniwersytetu Jagiellońskiego (2010) – dyrektor programowy międzynarodo- wego festiwalu animacji stop motion Stoptrik IFF. Autor licznych publikacji z zakresu klasycz- nego kina japońskiego i amerykańskiego a tak- że animacji filmowej. Obecnie prowadzi badania komparatystyczne nad amerykańską i radziecką propagandą w filmie animowanym epoki zim- nej wojny. Gatunkowe pogranicza – samurajskie filmy Hideo Goshy DOI: http://dx.doi.org/10.12775/LC.2014.033 Filmy Hideo Goshy należą do najbardziej frapujących owoców gruntownej transforma- cji stylistycznej i ideologicznej, jaką gatunek jidai-geki przeszedł na przełomie lat 60. i 70. XX wieku. Jeszcze trzy dekady wcześniej kino samurajskie funkcjonowało w ramach machi- ny propagandowej japońskiego totalitaryzmu, którego ideolodzy odwoływali się do zako- rzenionej w tradycji feudalnej mistyki miecza oraz kultu oddania i lojalności połączonego z negacją indywidualności. Filmowe opowieści heroiczne utrzymane w podniosłym stylu określanym przez Darrella Williama Davisa „monumentalnym”1 miały za zadanie krzewić wśród Japończyków dumę z ojczystej tradycji i upowszechniać narodową megalomanię. Twórcy najbardziej zasłużeni dla filmu samurajskiego lat 50., jak Akira Kurosawa czy Hiro- shi Inagaki, tworzyli obrazy historii w mniejszym lub większym stopniu zmitologizowanej, usiłując zrehabilitować samurajski kodeks postępowania bushido i uzgodnić go z ideami de- mokratyzmu i społeczeństwa otwartego. Filmowcy następnego pokolenia odrzucili
    [Show full text]
  • Reception to Korean Cinema and Korean Cultural Troupes in Chennai
    Draft only Not to be quoted Reception to Korean Cinema and Korean Cultural Troupes in Chennai Dr G.Koteswara Prasad Professor Department of Politics and Public Administration University of Madras, Chennai 600 005, Tamil Nadu An upsurge of interest in the Korean society and Korean culture has coincided with full fledged participation of Korean cinema in the principal World film festivals during the last few years. The reception to Korean films in various film festivals like Philadelphia Festival of World Cinema 2002, Sanfrancisco Asian Film Festival, Cannes Film Festival, Melbourne International Film Festival, Montreal Film Festival, Pusan International Film Festival, to name some of the festivals, seem to be fairly appreciative and the richness and the breadth of the films is being acclaimed by many discerning viewers. It is being suggested that Korean cinema is one of the most productive and successful film industries outside USA. Reviewing Korean cinema, Boris Trbic believed that the quality films produced in East Asia in 2000 indicate that “this region will in the foreseeable future remain at the helm of new and exciting tendencies in the world cinema.” Korean films are more internationalized among the Asian nations. Korean cinema addresses the questions of national identity, historical memory, gender and contemporary cultural issues in a critical manner and provide much scope for serious interrogation. A glimpse of contemporary mores and attitudes of Korean society is available through this media. Korean cinema both reflects and is reflected through the country’s political, economic social and cultural features. India is easily one of the largest producer of films for a long time and the Indian films are produced at least in 11 languages, though in some languages the number is not very large.
    [Show full text]
  • BFMAF-2020-Catalogue.Pdf
    Contents Welcome 3 Berwick New Cinema Competition 5 Filmmakers in Focus 43 Propositions 85 Essential Cinema 111 Previews 117 Young People’s Programme 121 Festival Contributors & Programmers 122 Thanks 126 Accessible Cinema 129 Team Welcome to the 16th Berwick Film & Media Arts Festival Office Naomi Gessesse Programme & Marketing Assistant A very warm welcome to the 16th Berwick Film & Media Arts Festival. I’ll spare Claire Hills Festival Manager & Producer you all any hot take on 2020 but myself and my colleagues have had to reimagine Peter Taylor Festival Director what the Festival might be. Not just for now, but for the future too. As ever, that Hamish Young Programme Coordinator is a work in progress. As I write, the Festival’s pilot Emerging Critics workshop kicked off this morn- ing with some exceptional young people from Berwick, the North East of England 2020 Festival and South of Scotland receiving mentorship from Dessane Lopez Cassell (Black- Star Film Festival) and Dennis Vetter (Berlin Critics Week). Rhiana Bonterre Production Editor The workshops are led and facilitated by Tendai John Mutambu, who Duncan Marquiss Production Editor was awarded BFMAF’s Programming Fellowship in 2019. In March this year, Emmie McLuskey Production Coordinator Christina Demetriou and Myriam Mouflih took up where Tendai left off and Clara Miranda Scherffig Marketing & PR Coordinator joined new Associate Programmer Ana David, Programmer Herb Shellenberger Tendai Mutambu Young Critics Facilitator and myself online, from their homes in Lisbon, Berlin, Glasgow, London and Natasha Palmer Publications & Web Editor Berwick to begin programming. Chloë Smith Education Officer We still have not met in person! Nonetheless, their dedicated work, Rectangle Studio Web Design supported by my brilliant colleagues in the virtual BFMAF office has produced Emer Tumility Design & Illustration our debut online Festival, taking place from 17 September—11 October 2020.
    [Show full text]