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Brasilien Eine Einführung
Peter Birle (Hg.) Brasilien Eine Einführung B I B L I O T H E C A I B E R O - A M E R I C A N A Veröffentlichungen des Ibero-Amerikanischen Instituts Preußischer Kulturbesitz Band 151 Wissenschaftlicher Beirat Peter Birle (Ibero-Amerikanisches Institut) Sandra Carreras (Ibero-Amerikanisches Institut) Ulrike Mühlschlegel (Ibero-Amerikanisches Institut) Héctor Pérez Brignoli (Universidad de Costa Rica) Janett Reinstädler (Universität des Saarlandes) Friedhelm Schmidt-Welle (Ibero-Amerikanisches Institut) Liliana Weinberg (Universidad Nacional Autónoma de México) Nikolaus Werz (Universität Rostock) Peter Birle (Hg.) Brasilien Eine Einführung Vervuert Verlag • Frankfurt am Main 2013 Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie: detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Alle Rechte vorbehalten. © Vervuert 2013 Elisabethenstr. 3-9 D-60594 Frankfurt am Main Iberoamericana c/ Amor de Dios, 1 E-28014 Madrid [email protected] www.ibero-americana.net ISSN 0067-8015 ISBN 978-3-86527-782-4 (Vervuert) Depósito legal: M-22966-2013 Umschlaggestaltung: Carlos Zamora Umschlagabbildung: Innenraum der Catedral Metropolitana Nossa Senhora Aparecida in Brasília (Ausschnitt). Gedruckt auf säure- und chlorfreiem, alterungsbeständigem Papier. Gedruckt in Spanien. Inhalt Einleitung 7 Peter Birle Im Spannungsfeld zwischen globalem Wandel und regionaler Dynamik. Die Großregionen Brasiliens 15 -
UNAFF for SENIORS - a Documentary Film Series February 2020 – December 2020 | Free Admission
UNAFF for SENIORS - A Documentary Film Series February 2020 – December 2020 | Free Admission Conceived in 1998 at Stanford University by film critic and educator, Jasmina Bojic, in conjunction with the 50th anniversary of the signing of the Universal Declaration of Human Rights, the United Nations Association Film Festival (UNAFF) screens international documentaries dealing with topics such as human rights, environmental survival, women's issues, children, refugee protection, homelessness, racism, disease control, universal education, war and peace. www.unaff.org Screening Location: Channing House, 1st floor auditorium, 850 Webster St, Palo Alto, CA 94301 MONDAY | 3:00 PM | FEBRUARY 10, 2020: A PROMISE TO THE DEAD: THE EXILE JOURNEY OF ARIEL DORFMAN | DIR/PROD: Peter Raymont (91 min, Argentina/Chile/Canada) Exiled writer Ariel Dorfman returns to Chile to discuss political strife of the 1970s. MONDAY | 3:00 PM | MARCH 9, 2020: WHO'S COUNTING? MARILYN WARING ABOUT SEX, LIES AND GLOBAL ECONOMICS | DIR: Terre Nash PROD: Kent Martin, National Film Board of Canada (94 min, Canada) Alternative vision of economics as a value system in which all goods and activities are related to monetary value MONDAY | 3:00 PM | APRIL 13, 2020: THE BATTLE OF CHERNOBYL | DIR: Thomas Johnson (94 min, France/Russia/Ukraine) Testimonials and unseen footage offer a new perspective on the Chernobyl nuclear disaster of 1986. MONDAY | 3:00 PM | MAY 11, 2020: WASTE LAND | DIR: Lucy Walker, Karen Harley, João Jardim, PROD: Angus Aynsley, Hank Levine (99 min, Brazil/UK/US) Modern artist Vik Muniz works with ‘waste pickers’ to create art out of recycled materials. -
Življenje Na Smetišču
pedagoško gradivo avtorji Bor Pleteršek, Adela Ţeleznik, Maja Modrijan, Maja Rijavec uvodna beseda ............................................................................................................................. 3 o filmu .......................................................................................................................................... 3 filmografski podatki .............................................................................................................. 3 vsebina .................................................................................................................................. 4 o avtorici ............................................................................................................................... 5 o nastajanju filma .................................................................................................................. 5 kritike .................................................................................................................................... 7 izhodišča za pogovor o filmu ..................................................................................................... 9 izhodišča za pogovor o sodobni likovni / vizualni umetnosti ................................................ 11 vprašanja za pogovor .......................................................................................................... 13 spoznajmo slovenske umetnike, ki se ukvarjajo s podobnimi vsebinami ........................... 14 izhodišča za pogovor -
Dokfest 2011 Katalog.Pdf
26. Internationales Dokumentarfilmfestival München. 04. bis 11. Mai 2011. Atelier/City, ARRI, Filmmuseum, Pinakothek der Moderne, Vortragssaal der Stadtbibliothek am Gasteig, Staatliches Museum für Völkerkunde, HFF München. www.dokfest-muenchen.de Veranstalter: Internationales Dokumentarfilmfestival München e.V. in Kooperation mit Filmstadt München e.V., zusammen mit der Münchner Stadtbibliothek am Gasteig, gefördert vom Kultur- referat der Landeshauptstadt München, von der Bayerischen Staatskanzlei im Rahmen der Bayerischen Filmförderung, vom Bezirk Oberbayern, dem Bayerischen Rundfunk, der Telepool GmbH und der Verwertungsgesellschaft der Film- und Fernsehproduzenten mbH. Willkommen DE LEUGEN, zu deutsch „Die Lüge“, heißt ein Film aus den Niederlanden, der die Hintergründe eines vielschichtigen politischen Skandals in unserem Nachbarland, inklusive mehrerer Rücktritte, beleuchtet. Der Film UNTER KONTROLLE zeigt uns die Fragilität der Technik und der Organisations- struktur in deutschen Atomkraftwerken. Diese und weitere Filme in unserem Programm reflektieren Themen, die uns alle in den vergangenen Monaten intensiv beschäftigt haben. Der klassische Dokumentarfilm befindet sich im Umbruch. Wie geht es mit dem Genre weiter, eingeklemmt zwischen der inflationären Zahl von Talkshows und so genannten Reality-Formaten im Fernsehen einerseits und den interaktiven, crossmedialen Projekten im Internet andererseits? Eine andere Frage: Muss der Dokumentarfilm auch auf die aktuelle 3-D-Welle im Kino reagieren? Diese und andere Themen stehen im Zentrum der ersten Auflage des DOK.forum, unserer neuen Medien- und Branchenplattform. Sie sind ausdrücklich eingeladen, hier mitzudiskutieren. An dieser Stelle möchte ich mich herzlich bei allen Förderern, Partnern und Sponsoren bedanken, die das DOK.fest in diesem Jahr ver- stärkt unterstützen und damit ein Zeichen für die Branche und den Standort München setzen. -
CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017 (2-20-17)
! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members. -
Celebrating Women Filmmakers
Celebrating Women Filmmakers ‘A glamorous bunch with impeccable taste in movies’ The Times INTRODUCTION & CONTENTS SPECIAL EVENTS 4–5 FEATURES 6–8 FILMMAKER FOCUS: MARGARETHE VON TROTTA 8 The seventh Birds Eye View Film Festival, like live scores by Imogen Heap, Micachu DOCUMENTARIES 9–10 the first, opens on International Women’s Day. and more. 2011 is in fact the 100th anniversary of this DEVELOPING auspicious day, and so we celebrate a century This year has also seen two BEV Labs. She COUNTRIES FOCUS 11 of women filmmakers, from Lois Weber to Lucy Writes offered development to ten emerging MUSIC & FASHION 12 Walker. Women who challenge us, inspire us writers, while Re:Animate brought animators and expand our vision. and writers together to generate commercial SHORTS 12–13 feature ideas, with two now in development FESTIVAL DIARY 14–15 This year we’re delighted to have the London with Warp Films. BLOODY WOMEN: premiere of last year’s special guest and world-leading filmmaker Susanne Bier’s These are difficult times in the cultural FROM GOTHIC TO HORROR 16 unforgettable Golden Globe-winner and Oscar sector. Having enjoyed three years’ support SOUND & SILENTS 17–18 nominee In A Better World. We’re also showing from the UK Film Council, BEV now faces many international debut features and yet unprecedented insecurity. Yet our mission RETROSPECTIVE: another astonishing short film line-up – remains essential and our passion unthwarted. A WOMAN’S GOTTA DO... 19–20 a signal, we hope, of a bright future. We are determined to continue, and we’re TRAINING 21 appealling to all of you who value our work to Our Bloody Women retrospective has a darker support us in whatever way you can. -
Directed by Lucy Walker Co-Directed by João Jardim and Karen Harley
Presents An Almega Projects and O2 Filmes Production Directed by Lucy Walker Co-directed by João Jardim and Karen Harley **WINNER – IDA Best Documentary 2010** **WINNER — IDA Pare Lorentz Award 2010** **Audience Award World Cinema Documentary – Sundance Film Festival 2010** **Panorama Audience Award – Berlin Film Festival 2010** **Amnesty International Film Award – Berlin Film Festival 2010** **Audience Award for Best Documentary – IDFA 2010** Running Time: 98 minutes Rating: Unrated Language: English and Portuguese with English subtitles For More Info: www.wastelandmovie.com www.arthousefilmsonline.com http://www.oscars.org/awards/academyawards/83/nominees.html Distribution Contact: Publicity Contact: Erin Owens David Magdael Arthouse Films David Magdael & Associates, Inc. 902 Broadway, 9th Floor 600 W. 9th Street, Suite 704 New York, NY 10010 Los Angeles, CA 90015 Phone: 646.259.4123 Phone: 213.624.7827 [email protected] Cell: 213.399.1434 [email protected] 1 FILMMAKERS & FEATURED SUBJECTS Directed By Lucy Walker Co-Directed By João Jardim Karen Harley Produced by Angus Aynsley Hank Levine Co-Produced by Peter Martin Executive Produced by Fernando Meirelles Miel de Botton Aynsley Andrea Barata Ribeiro Jackie de Botton Music by Moby Edited by Pedro Kos Cinematography by Dudu Miranda Co-cinematographers Heloisa Passos Aaron Phillips Featuring Vik Muniz (In Order of Appearance) Fabio Ghivelder Isis Rodrigues Garros José Carlos da Silva Baia Lopes (Zumbi) Sebastião Carlos dos Santos (Tiao) Valter dos Santos Leide Laurentina -
Waste Land Premieres on the Pbs Series Independent Lens on Tuesday, April 19, 2011 at 10 Pm
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ For the program’s companion website, visit http://www.pbs.org/independentlens/waste-land WASTE LAND PREMIERES ON THE PBS SERIES INDEPENDENT LENS ON TUESDAY, APRIL 19, 2011 AT 10 PM The Transformative Power of Art Revealed in the World’s Largest Garbage Dump “The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.” — Vik Muniz (San Francisco, CA) — Filmed over nearly three years, Lucy Walker’s Waste Land follows renowned artist Vik Muniz as he journeys from his home base in Brooklyn to his home country of Brazil, and to Jardim Gramacho, the world’s largest garbage dump located on the outskirts of Rio de Janeiro. There Muniz photographs an eclectic band of catadores — pickers of recyclable materials — and works with them to “paint” their portraits using garbage. The resulting collaboration with these inspiring characters provides profoundly moving evidence of the transformative power of art and its impact on the human spirit. Waste Land, currently on the Academy of Motion Picture Arts & Sciences Short List for Best Documentary, will premiere on the Emmy® Award-winning PBS series Independent Lens, hosted by America Ferrera, on Tuesday, April 19, 2011 at 10 PM (check local listings). An estimated 3,000 to 5,000 people live in Jardim Gramacho, while 15,000 derive their income from activities related to it; some are from families who have been working there for three generations. -
Journey to the Academy Awards: a Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017)
Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29 percent) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.i According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.ii To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members. -
THE STORYTELLERS (Narradores De Javé)
THE STORYTELLERS (Narradores de Javé) http://www.bananeirafilmes.com.br/filmes/feature-films/the-storytellers The small village of Javé is suddenly overwhelmed by the sudden threat of extinction: it is to disappear, flooded by the waters of a huge hydroelectric power plant. The community decides to adopt a strategy both novel and uncommon to assure its own preservation: the preparation of a dossier that will document what it considers to be the “great” and “noble” events of the village’s history. However, since the majority of Javé dwellers can hardly write their own name, it is necessary to get hold of the only literate member of the community – Antonio Biá, an anarchic individual of dubious character – to accomplish the task. DIRECTOR - Eliane Caffé ELIANE CAFFÉ started her direction’s career with the realization of three short-cut movies – O Nariz (The Nose)/1987, Arabesco (Arabesque)/1990 and Caligrama (Caligram)/1995 – which have been awarded a lot of times in Brazil and outside the country. In 1997 shot her first feature film Kenoma (Kenoma), selected for the 55th La Bienale di Venezia (Prospettive) and for the 23º Annual Showing – Toronto International Film Festival, and winner of many important prizes, as the “SOLEIL D’OR” for Best Film – XX Biarritz International Film Festival/France. PRODUCER Bananeira Filmes LANGUAGE Portuguese RUNNING TIME 93 min GENRE Fiction Color, 2003 WASTE LAND (Lixo Extraordinário) http://www.wastelandmovie.com/ Filmed over nearly three years, WASTE LAND follows renowned contemporary artist Vik Muniz as he journeys from his home base in Brooklyn to his native Brazil and the world's largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. -
Alphabetical-Film-Index 2003-2018
1% of the Story 1% exists to build and support an alliance of businesses financially committed to creating a healthy planet. Here's [a very tiny bit] of the story... Genre: Environmental. 15 Minutes. Filmmaker: Ben Knight and Travis Rummel. 11th Hour, The NOT AVAILABLE Narrated by Leonardo DiCaprio, The 11th Hour describes the last moment when change is possible. The film explores how humanity has arrived at this moment; how we live, how we impact the earth's ecosystems, and what we can do to change our course. The film features dialogues with experts from all over the world, including former Soviet Prime Minister Mikhail Gorbachev, renowned scientist Stephen Hawking, former head of the CIA R. James Woolsey, and sustainable design experts William McDonough and Bruce Mau in addition to over 50 leading scientists, thinkers and leaders who present the facts and discuss the most important issues that face our planet. Genre: Climate, Resources. 92 Minutes. 13 German Deer Calling Championship The short film "13th German Deer Calling Championship" (time 4.26 min) shows the annual championship of the German deer caller community, taking place at the hunting fair "Hunt and Dog" in Dortmund. During the competition eight gentlemen and firstly one lady battle against each other in three categories: "the young deer", "two deer in a calling battle" and "old deer with two hinds". Genre: Global Perspectives. 4 Minutes. Filmmaker: Andreas Teichmann. 14c Kai Lightener entered the world of rock climbing at the age of six. As fourteen-year-old Kai ascends to the top of the most difficult routes –rated 5.14c– and expands into outdoor climbing, he relies upon the support and encouragement of his single mother, Connie Genre: Adventure 9 Minutes. -
ALAN Review V37N3
Nathan C. Phillips and Alan B. Teasley Reading Reel Nonfiction: Documentary Films for Young Adults ocumentary films? Is this The ALAN Review? young adult and to explain why it’s worth categorizing Yes. And yes. And please keep reading. Just as them this way. For teachers, watching documentaries Dothers have argued effectively that teens enjoy means thinking about how they might work as texts reading nonfiction (see Ed Sullivan’s “Some Teens for viewing in our classrooms. And, over the years, Prefer the Real Thing: The Case for Young Adult Non- as we’ve kept our eyes open for documentaries we fiction” [2001]), they also enjoy viewing nonfiction. could use in our teaching, we have realized that there We have seen students enthralled in a documentary are some documentaries that share characteristics film, begging to keep watching when the class period with the young adult literature that we love. As with ends (and even asking to see more documentaries). YA literature, there are documentaries with young But that’s not the only reason to share documentary protagonists and with thematic connections to teens’ films with your students. Many state standards call lives. To be sure, there are differences between what for English teachers to provide students with multiple we might term “YA films” and YA literature. One texts—fiction and nonfiction, written, spoken, and significant difference is that documentaries are almost viewed. Documentaries can enhance instruction in never marketed specifically to teens. And this is why nearly any content area. They offer many teachers and teenagers may a powerful, visceral, and visual not realize that they exist.