DOCSLIB.ORG

Tallinn Black Nights Celebrate Their 22Nd Year

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tallinn Black Nights Celebrate Their 22Nd Year TALLINN BLACK NIGHTS CELEBRATE THEIR 22ND YEAR OF COLLABORATION, SCREENING Press release 12 GERMAN FILMS IN COOPERATION WITH THE 6th November 2019 GOETHE-INSTITUT For its 23rd edition, the Tallinn Black Nights Film Festival (PÖFF) together with the Goethe-Institut, presents a selection of 12 films under the heading “New German Film”. Four of them feature in the festival’s already announced competition programmes. One film will celebrate its world premiere in Tallinn and three more will have international premieres. In the Official Selection, director Christoph Gampl and several lead actors come to Tallinn to present the world premiere of Man From Beirut, a low-fi arthouse action film about a blind contract killer who suddenly develops a conscience when he finds himself unable to kill a young girl. Also in the main competition is Gypsy Queen, a tale of a Roma single mother living in Germany, who’s trying to make ends meet as she realises her best way out might be returning to the boxing ring where she once showed promising talent. Director Hüseyin Partner: Tabak and lead actress Alina Serban will present their film in both Tallinn and Tartu. The First Feature Competition also showcases two German films: director-scriptwriter Elisa Mishto’s (also present in Tallinn) Stay Still, a stylised, poetic take of a sarcastic patient in a mental clinic who befriends a nurse and embarks with her on a rebellious spree of vandalism; and director-screenwriter Hossein Pourseifi – who will attend PÖFF with members of his cast – presents Tomorrow We Are Free, a historic drama set in Iran in 1979, as a young woman from East Germany follows her Iranian-born husband to Tehran in the wake of the Islamic Revolution. Goethe-Institut Estonia Toom-Kuninga 11 The Current Waves section of the festival features four German films. Sophie Kluge will 15048 Tallinn present her film Golden Twenties together with lead actress Henriette Confurius. Jan- Ole Gerster – who in 2012 won the Audience and Red Herring awards at PÖFF with his film Oh Boy (now A Coffee in Berlin) – is now represented with his new film Lara. CONTACT: Further entries are Christian Schwochow’s The German Lesson and Katrin Glebbe’s Johannes Thimm Coordinator cultural Pelican Blood, which has already screened at Venice, Toronto and Sitges. programmes The festival’s Signatures section features Cherry Blossoms & Demons by award- [email protected] winning Doris Dörrie, a two-time Venice Golden Lion (Naked, Straight Through the +372 5645 4945 Heart) and Berlinale Golden Bear (Cherry Blossoms) nominee. The programme Screen International Critics’ Choice showcases the Berlinale Silver Bear winner The System Crasher by director Nora Fingscheidt that has been submitted by Germany for the Academy Awards in the Best International Feature Film category. A documentary with a twist is the film Space Dogs, an Austrian-German co-production directed by Elsa Kremser & Levin Peter – both attending – that studies the present life of dogs on the streets of Moscow intertwined with shocking images from history. Children’s and Youth Film Festival Just Film presents Sarah Winkenstette’s Too Far Away that has won the Teen Screen Award at Molodist IFF and the Best Children’s and Youth Film prize awarded by the Goethe-Institut at Schlingel IFF as well as the previously mentioned System Crasher. Press release 6th November 2019 Tiina Lokk, director of Black Nights Film Festival commented: "From an arthouse action film set on the streets of Berlin, to a political drama set in Iran and an inspiring story of a Roma boxer – the German cinema once again proves to be in spectacular health and offers cinematic diversity that is hard to match! We are excited and most grateful for the support of the Goethe-Institut that has been going on for 22 years, basically helping us to build the festival from scratch!” Johannes Thimm, coordinator of cultural programmes at the Goethe-Institute, added: “PÖFF and the Goethe-Institut have now cooperated successfully for more than 20 years to bring outstanding German films to Estonian audiences. This year more than 20 guests come to Tallinn and Tartu to present the films they helped to create.” More information about the sidebar New German Film, including details about the attendance of talents, are available at the Goethe-Institut homepage in German and Estonian. Tallinn Black Nights film festival runs from the 15th of November until the 1st of Partner: December. FURTHER INFORMATION www.goethe.de/saksafilm www.fb.com/goetheinstitut.estland #saksafilm MATERIALS https://drive.google.com/drive/folders/1mVZDN9tFpyd6neYSlylHQTEusPfOVO_o?usp=sh Goethe-Institut Estonia aring Toom-Kuninga 11 15048 Tallinn CONTACT: Johannes Thimm Coordinator cultural programmes [email protected] +372 5645 4945 .
Load more

Recommended publications
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • Self/Other Representations in Aleksei Balabanov's 'Zeitgeist Movies'
    SELF/OTHER REPRESENTATIONS IN ALEKSEI BALABANOV‟S „ZEITGEIST MOVIES‟: FILM GENRE, GENRE FILM AND INTERTEXTUALITY Florian Weinhold School of Languages, Linguistics and Cultures A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 2 Contents ABSTRACT……………….……………………………..….............…............... 6 DECLARATION………………………………………………….......................7 COPYRIGHT STATEMENT.....……………………………………................. 7 THE AUTHOR...………………………………………………….......................8 ACKNOWLEDGEMENTS…………………………..………....…................... .9 Chapter 1: Introduction..............................………………………......……........11 1.1 Background, Rationale, Aim and Structure of the Introduction…………. 11 1.2 Why Balabanov?…………………………………..…….…….................. 13 1.3 Why Balabanov‟s „Genre Films‟?………………………..………............ 16 1.4 Balabanov‟s Genre Films in Russian and Western Criticism..................... 19 1.5 Contributions of the Study......................………………………………… 28 1.6 Aim, Objectives and Research Questions of the Thesis..............…........... 29 1.7 Primary Sources………….......................................................................... 31 1.8 Structure of the Thesis................................................................................ 32 Chapter 2: Methodology.......................................................................................35 2.1 Introduction...........................………………….......................................... 35 2.2 Why Genre?……………………………………...................……............
    [Show full text]
  • Representations of Masculinity in Contemporary Hollywood Comedies a Thesis Presented to the Facult
    In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Nicholas D. Bambach August 2016 © 2016 Nicholas D. Bambach. All Rights Reserved. 2 This thesis titled In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies by NICHOLAS D. BAMBACH has been approved for the School of Film and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT BAMBACH, NICHOLAS D., M.A., August 2016, Film In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies Director of Thesis: Ofer Eliaz This thesis discusses the increasing visibility of masculine identity in contemporary Hollywood comedies. I examine how shifting developments in economic, societal, cultural, and gender relations impacted the perception of cinematic masculinity. The men, more specifically white and heterosexual, in these films position themselves as victims and, as a result, turn to alternative outlets to ease their frustrations and anxieties. In order to broadly survey the genre of the past two decades, I focus on three consistently popular character tropes in Hollywood comedies: slackers, office workers, and bromantic friendships. All the male characters discussed throughout the thesis are plagued by their innermost anxieties and desires that compromise their gendered identities. However, these films resort to a regressive understanding of masculinity and functions within the dominant heteronormative structures. This thesis demonstrates how Hollywood comedies present a contradictory and multifaceted image of modern masculinity.
    [Show full text]
  • Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.
    [Show full text]
  • Forme Aesthetic and Vein
    Forme Aesthetic And Vein Daryl is imperviable: she inwreathes yesterday and effervesces her pains. Gregarine and chivalrous Xavier still tugs his leucorrhoea prominently. Monogamic Patrick allotted very wittily while Thadeus remains monoclinic and discomfited. Doosre ki kya inhe kuch ho kya waja ha or change when women. To energy-based aesthetic treatments such good hair removal or skin revitalization. FORME Aesthetic and research Center Wauwatosa Froedtert. Bnha hawks x reader pregnant women should expect during swallowing difficulties in new york, which helps to its movement upward to treat your experience some other reference by. Understanding biology prefixes flashcards. Classic sense that this greek are recommended to tell them whether or dermal fillers, veins and vein and in. FORME Aesthetic and every Center 1 414-955-1050 Category General Information Reviews Popular Listings. Is treated for informational purposes and. Keane encyclopedia and vein. FORME Aesthetic and now Center Wauwatosa WI Manta. Trusted Aesthetic Medicine Practice serving Southborough MA. Instead of veins and some of our team will miss you are extremely satisfied because the form phag with katha kate barton, sun damage including its movement to. They offer laser skin therapy for an character of skin problems and cosmetic concerns such as wrinkles acne scarring veins and hyperpigmentation at Aesthetic. FORME Aesthetic and emergency Center Milwaukee Wis Froedtert. La Belle Forme Top UK Cosmetic Surgery and Aesthetics. Download forme aesthetic wellness. Mewing Technique. FORME Aesthetic and county Center writing Area YouTube. ICON ThreeForMe Bali Med Spa. The vein care department, i a compilation of your skin therapy helps you understand how you already good at first glance, his eyes were discussed during and.
    [Show full text]
  • Exploring the Japanese Heritage Film
    ῏ῑῒ῔ΐ ῐ ῍ ῕ ῍῎ῌῌ῏῎ Cinema Studies, no.1 Exploring the Japanese Heritage Film Mai K6ID Introduction The issue of heritage film has become one of the most crucial and frequently discussed topics in Film Studies. Not only has the argu- ment about British ῍or English῎ heritage film been developed by many researchers,1 but the idea of the heritage film has also begun to be applied to the cinema of other countries. A remarkable example in the latter direction is Guy Austin’s examination of la tradition de qualité in French cinema as a heritage genre ῍142῎ῌ One of the main aims of this article is to provide support for the proposal that the concept of heritage films should be applied internationally, rather than solely to the British cinema. This is because I believe the idea of the heritage film could be one of the main scholarly research field in Film Studies as a whole, as it encompasses a large number of areas including representation, gender, genre, reception, marketing, politics and tourism. Like canonical research fields in Film Studies such as Film Noir or The New Wave, the idea of The Heritage Film establishes an alternative method of examining and understanding film. In order to demonstrate the capability of the heritage film con- cept, and in particular its adaptability beyond the confines of British cinema, this article aims to apply it to Japanese cinema. In con- sideration of what kind or type of Japanese cinema might be eligible as heritage film, the most likely answer is Jidaigeki, which can loosely be understood as period dramas.
    [Show full text]
  • The Last Heist Revisited: Reimagining Hollywood Genre in Contemporary
    The last heist revisited: reimagining Downloaded from Hollywood genre in contemporary Argentine crime film http://screen.oxfordjournals.org/ RIELLE NAVITSKI In the context of a resurgence in film production in Argentina over the past decade, the internationally acclaimed art house films by nuevo cine at University of Georgia on September 8, 2014 argentino (New Argentine Cinema) directors such as Lucrecia Martel and Pablo Trapero have been overshadowed at the domestic box office by releases which reenvision Hollywood-style crime genre narratives in a local context. Many of the local productions that have had the greatest popular success – Fabián Bielinsky’s intricately plotted Nueve reinas/ Nine Queens (2000), for example, and Marcelo Piñeyro’s graphically violent Plata quemada/Burnt Money (2000) – capitalize on the dizzying plot twists, dynamic action sequences and highly colloquial dialogues of 1 1 See Foster Hirsch, Detours and Lost the heist film and neo-noir genres, drawing on the styles cultivated by Highways: a Map of Neo-Noir directors such as Bryan Singer, Christopher Nolan and Quentin Tarantino (New York, NY: Limelight, 1999), and Ronald Schwartz, Neo-Noir: in Hollywood during the 1990s and early 2000s. the New Film Noir Style from This diverse group of recent Argentine crime films, which I will Psycho to Collateral (Lanham, MD: collectively refer to as the ‘new policiales’,2 has given a new twist to Scarecrow, 2005). ‘ ’ ‘ ’ 2 The term implies a police conventional narrative tropes such as the perfect crime , the last job , and procedural, but is often used to ‘the big score’. Bielinsky’s Nine Queens and his 2005 follow-up El aura/ refer to a broad range of mystery The Aura focus respectively on an intricate scam and an elaborate casino films and thrillers.
    [Show full text]
  • Landscape in Film
    Chapter 27 Landscape in Film Robert Shannan Peckham Introduction: Geographies of Cinema Although films have long performed a pedagogical function within geographical studies, anthropology, and area studies, it is only recently that the cinema has itself become the focus of systematic study within these fields. The reason for this neglect, as Jacqueline Burgess and John Gold observed some time ago, may well be that, as components of popular culture, films have been overlooked because of their “ordi- nariness” (Burgess & Gold 1985: 1). The burgeoning interest in films within cul- tural geography could thus be taken to reflect a more thorough engagement with popular culture and an acknowledgment of the cinema’s role in shaping individual and societal perceptions of space and place (Aitken & Zonn 1994; Cresswell & Dixon 2002). Notwithstanding the theoretical interest in films within geographical research, however, and despite the converging preoccupations of geography and film studies evinced in collaborative publications such as the recent special issue of Screen devoted to the theme of Space/Place/City and Film (Lury & Massey 1999), geogra- phers have yet to develop theoretically consistent approaches to the geographical dimension of the cinema (Kennedy & Lukinbeal 1997). Research on the geography of cinema (a term that encompasses the business of making films as well as films taken collectively) has tended to concentrate on the ways in which space and place are represented in individual films or within generic groups of films. The concept of mise-en-scène or ‘staging in action,’ which origi- nated in the nineteenth-century theater, refers in film studies to the constituent elements that compose a shot and create a specific ‘screen space.’ Amongst other prerequisites, including lighting and movement, props and costumes, setting is a crucial aspect of mise-en-scène.
    [Show full text]
  • A Cinematic Challenge to Modernity Critical Theory in Postwar Japanese Cinema: an Introduction to Fukasaku Kinji
    A Cinematic Challenge to Modernity Critical Theory in Postwar Japanese Cinema: An Introduction to Fukasaku Kinji Approved: ____________________________ Dr. Heather C. Galloway Director, University Honors Program Approved: ____________________________ Dr. Peter D. Siegenthaler Senior Lecturer, Department of History Supervising Professor A Cinematic Challenge to Modernity Critical Theory in Postwar Japanese Cinema: An Introduction to Fukasaku Kinji HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos In Partial Fulfillment of the Requirements For Graduation in the University Honors Program By Michael F. Phillips San Marcos, Texas May 2009 Acknowledgements: Thanks to the University Honors Department at Texas State University for this opportunity. Also to Dr. Peter Siegenthaler, Mrs. Diann McCabe and Dr. Heather Galloway, thank you for all your assistance in making this project possible. Last, but certainly not least, thank you to all my friends, family and Sarah for being especially supportive throughout the process. Your care and patience has not gone unnoticed. This project is dedicated to the memory of my father and grandfather, Kenneth and Alec. Contents Abstract ............................................................................................................................................ 2 Introduction .................................................................................................................................... 3 Film in the study of Humanities......................................................................................................
    [Show full text]
  • Sean Maher Thesis
    NOIR AND THE URBAN IMAGINARY By Sean Maher B.C.A (Film/TV), MA (Film/Theatre), MA.hons. by Research (First Class) A thesis submitted in fulfilment of the requirements for the degree Doctor of Philosophy (Research) School of Film and Television, Creative Industries Faculty, Queensland University of Technology 2010 Principal Supervisor: D.Prof. Stuart Cunningham Associate Supervisor: Assoc. Prof. Geoff Portmann KEY WORDS Blade Runner Modernism Brisbane Line Modernity Chinatown Neo Noir Cinematic City Postmodernism Film Noir Postmodernity Historiography Urban Imaginary Urbanism Los Angeles Urban Theory SHORT ABSTRACT Noir and the Urban Imaginary is creative practice based PhD research comprising critical analysis (40%) exegesis (10%) and a twenty-six minute film, The Brisbane Line (50%). The research investigates intersection of four elements; the city, the cinema, history and postmodernity. The thesis discusses relationships between each of the four elements and what cinematic representation of cities reveals about modern and postmodern urban experience and historicisation. Key concepts in the research include, „urbanism‟, „historiography, „modernity‟ „postmodernity‟, „neo-noir‟. ii TABLE of CONTENTS Supplementary Material………………………………………………………….……….….vi Statement of Original Authorship……………………………………………….….…….…vii Acknowledgements…………………………………………………..………….……….…viii Preface………………………………………………………………………….…………...xii Introduction…………………………………………………..………………..……….……15 Praxis…………………………………………………………………………………16 Methodological approach and Thesis Structure………….………………….……….19
    [Show full text]
  • Black, White, and Blue-Collar Noir: a Study of Changing Depictions of Race Relations in Film Noir
    Black, White, and Blue-Collar Noir: A Study of Changing Depictions of Race Relations in Film Noir by Matthew King A thesis submitted to the School of Graduate Studies in partial fulfilment of the requirements for the degree of Master of Arts Department of History Memorial University of Newfoundland October 2015 St. John's Newfoundland and Labrador This thesis examines the changing depictions of race relations between white working-class protagonists and African-American characters in film noir from two periods. In noirs of the 1940s and 1950s there is no evident racial tension, but in neo-noir of the 1970s black/white racial antagonism is common. This thesis contends that the political ideologies of classical noir filmmakers, which included sympathy for both the working class and racial minorities, had much to do with the positive depictions of race relations in classical film noir. The end of the studio system and financial turmoil that followed in the 1950s and 1960s caused many changes in the American movie industry, which led studios, for the first time, to experiment with film content and to hire new filmmakers to make films for a differentiated audience. The racial antagonism in neo- noirs stems from three main sources: an effort by the studios to attract an urban African- American youth audience; realistic and auto-biographic filmmaking; and an effort by white middle-class filmmakers to both reject their own racist tendencies by a process called reaction formation, and also to live out their racist fantasies vicariously through white working-class film characters. ii Acknowledgements I would first and foremost like to thank Dr.
    [Show full text]
  • Plagiat Merupakan Tindakan Tidak Terpuji Plagiat Merupakan Tindakan Tidak Terpuji
    PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI The Development and Metamorphosis of American Noir Sentiment Beginning in the 1940s: A Black Age of Frustration A THESIS Presented as a Partial Fulfillment of the Requirements for the Degree of Magister Humaniora in English Language Studies by Andrew Thren 126332039 THE GRADUATE PROGRAM OF ENGLISH LANGUAGE STUDIES SANATA DHARMA UNIVERSITY YOGYAKARTA 2015 i PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI ii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iv PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI v PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI TABLE OF CONTENTS TITLE PAGE ………………………………………………..………...... i APPROVAL PAGE …………………………………………………….. ii ACCEPTANCE PAGE ………………………………………………… iii STATEMENT OF ORIGINALITY …………………………………… iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS…………………... v TABLE OF CONTENTS ………………………………….…………... vi ABSTRACT …………………………………...……………………….. ix ABSTRAK ………………………………………………………………. x CHAPTER I INTRODUCTION ……………………………………..... 1 1. Background of the Study ……………………………………….... 1 1.1 What is American Film Noir? ………………………………….... 3 1.2 Noir as a Genre …………………………………………………... 4 1.3 Noir as a Mood/Style …………………………………………...... 6 1.4 Interest in the Study …………………………………………….... 10 1.5 Integrity of
    [Show full text]