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Film Festivals / Film Festival Research
Medienwissenschaft / Hamburg: Berichte und Papiere 91, 2009 [2010]: Filmfestivals. ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Skadi Loist, Marijke de Valck. Letzte Änderung: 7. Dezember 2008; rev.: 22. Januar 2010. URL der Hamburger Fassung: http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0091_09.pdf Film Festivals / Film Festival Research: Thematic, Annotated Bibliography (2nd ed.) Compiled for the Film Festival Research Network by Marijke de Valck and Skadi Loist Contents: Introduction to the Second Edition Introduction 1. Film Festivals: The Long View The topic of film festivals has attracted a lot of at- 1.1.1 Film Festival Theory tention since our first edition of the Film Festival 1.1.2 Reports and Responses to Film Festival Bibliography appeared online (7 Dec. 2008). Talk Studies 1.2 Political Aspects of Film Festivals (History) about festivals' past, present and future fueled de- 1.3 General Academic Studies on Festivals (Not only bates among academics, professionals, and critics Film Festivals) alike. It is pleasing to note that the momentum has 2. Festival Time: Awards, Juries and Critics also translated into substantial writing. This new 3. Festival Space: Cities, Tourism and Publics version of the thematic bibliography on film festival 4. On the Red Carpet: Spectacle, Stars and Glamour 5. Business Matters: Industries, Distribution and Markets research counts no less than 100 new entries, the 5.1 Markets and Funds majority of which are new publications. 5.2 Distribution In our introduction we will share some observations 5.3 Service Guides for Professionals 5.4 Studies / Reports Related to Film Festival on this new body of literature. -
Little Planets in a Festival Galaxy a Report on Special Interest Film Festivals in the Netherlands
1 Little Planets in a Festival Galaxy A Report on Special Interest Film Festivals in the Netherlands Elizabeth Bryan [email protected] S1866567 Leiden University Masters of Media Studies: Film and Photographic Studies Supervisor: Dr. Eric de Bruyn Second reader: Dr. Janna Houwen January 2018 2 Table of Contents INTRODUCTION .................................................................................................................................................... 3 RELEVANCE ................................................................................................................................................................................ 5 METHODS AND FRAMEWORK ................................................................................................................................................. 5 STRUCTURE ................................................................................................................................................................................ 7 1. A HIERARCHY AND TYPOLOGY OF FILM FESTIVALS: INTERNATIONAL FILM FESTIVAL ROTTERDAM ......................................................................................................................................................... 9 1.2 THE FESTIVAL GALAXY AND HIERARCHY ................................................................................................................... 10 1.3 A BRIEF HISTORY: IFFR AS TRENDSETTER .............................................................................................................. -
The Features of Ukrainian Media Art in a Global Context
IJCSNS International Journal of Computer Science and Network Security, VOL.21 No.4, April 2021 229 The Features of Ukrainian Media Art in a Global Context Tamara O. Hridyayeva 1†, Volodymyr A. Kohut 1††, Maryna I. Tokar2†††, Oleg O. Stanychnov2†††† and Andrii A. Helytovych3††††† 1Lviv National Academy of Arts, Lviv, Ukraine 2Kharkiv State Academy of Design and Arts, Kharkiv, Ukraine 3 Art School n.a. O. Novakivskyi, Lviv, Ukraine Summary In the context of the growing complexity and The article seeks to explore Ukrainian media art and its features in conflictogenity of media, the self-actualization of art and a global context. In particular, it performs an in-depth analysis of creativity of both an individual artist and an individual the stages of its development from video art of the 1990s, media national art is a certain existential challenge. Modern media installations of the 2000s, and to various digital and VR culture is a space in which numerous innovative technologies today. Due to historical circumstances, the experiences rapidly emerge and new opportunities for development of media art was quite rapid, as young artists sought to gain new experience in media art. Most often, their experience creativity and advanced levels of knowledge arise. was broadened through international cooperation and studying Accordingly, considering Ukrainian media art in the context abroad. The paper analyzes the presentation of Ukrainian media of its presentation on the world art platform, it seems art outside the country during 1993-2020 and distinguishes the relevant to discuss to what extent it aligns with the global main thematic areas of the artists’ work. -
World Competition
El Cuento de las Comadrejas - The Weasel's Tale 2019 | 129' | Spanish | Argentina | Spain | Colour Opening Film Director: Juan José Campanella Producer: Juan José Campanella, Gerardo Herrero, Axel Kuschevatzky Cast: Clara Lago, Oscar Martínez, Graciela Borges Screenplay: Juan José Campanella, Darren Kloomok Cinematographer: Félix Monti Editor: Juan José Campanella A beautiful star from the cinema Golden Age, an actor in the Sound Designer: José Luis Díaz twilight of his life, a witty scriptwriter and a cunning director Music Composer: Emilio Kauderer live together in a mansion where they have created an unusual environment. The arrival of a young couple seeking to Costume Designer: Cecilia Monti persuade the actress to sell the house, forces the other Production Designer: Nelson Noel Luty inhabitants to come together and conspire to prevent it. Production Company: 100 Bares, Tornasol, Jempsa World Sales: Latido films World Sales Phone: +34 915 488 877 World Sales Email: [email protected] Festivals: San Sebastian FF 2019, Ventana Sur 2019, IFFI 2019, Valladolid IFF 2019 Juan Jose Campanella (born July 19, 1959) is 2019 The Weasel's Tale an Argentinian film and television director. He 2014 Halt And Catch Fire has won 45 international awards for his work. 2009 The Secret In Their Eyes He is best known for writing and directing The Secret in Their Eyes, which won the Academy 2004 Moon Of Avellaneda Award for Best Foreign Language Picture. 2001 The Son Of The Bride Campanella mostly works on films in his native Argentina, and on television projects in the United States, where he went to film school. -
Elenco Delle Firme
Associazione Generale dei Polacchi in Italia Destinatario: Sindaco del comune di Cassino Lettera: Saluti, No alla privatizzazione della strada di accesso ai Monumenti polacchi di Montecassino Firme Nome Posizione Data Pietro Rogacien Italia 2017-10-30 Agnieszka Kowalska Italia 2017-10-30 Roberto Molle Ripi, Italia 2017-10-31 Davide Curzio Chiavenato Noventa Vicentina, Italia 2017-10-31 Ivano Brocco Rome, Italia 2017-10-31 paolo padoan Rome, Italia 2017-10-31 Ilaria Fioravanti Italia 2017-10-31 maria mori Italia 2017-10-31 Ida Scafi Subiaco, Italia 2017-10-31 Stella Tarnogrodzka Italia 2017-10-31 Anna Rogacien Roma, Italia 2017-10-31 DONATO PASQUALE Italia 2017-10-31 cristian de carolis Italia 2017-10-31 Luca Simonetti Fiumicino, Italia 2017-10-31 Giancarlo Lucci Italia 2017-10-31 Alessio Antonilli Italia 2017-10-31 Roberto Di ionna Rome, Italia 2017-10-31 Massimiliano Berniga Italia 2017-10-31 Carmine Terracciano Italia 2017-10-31 Emanuele Palombo Rome, Italia 2017-10-31 Nome Posizione Data claudio Morino Rome, Italia 2017-10-31 Sandro Del Signore Italia 2017-10-31 Edoardo Grossi Cassino, Italia 2017-10-31 Gabriella Marandola Rome, Italia 2017-10-31 Luigi Tiberia Italia 2017-10-31 severino sandrini Italia 2017-10-31 Emiliano Evangelista Cassino, Italia 2017-10-31 Marcello Franchitto Italia 2017-10-31 Aurelio Antonio Farletti Rome, Italia 2017-10-31 Stefano Gori Rome, Italia 2017-10-31 paola russo cassino, Italia 2017-10-31 Margherita Baruzzi Castrezzato, Italia 2017-10-31 Alba mandatori Italia 2017-10-31 Franco Gallo Rome, Italia 2017-10-31 -
The Cultural Traffic of Classic Indonesian Exploitation Cinema
The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally. -
Marlina Si Pembunuh Dalam Empat Babak 93
TITRE ORIGINAL : Marlina si Pembunuh dalam Empat Babak ORIGINAL TITLE: Marlina si Pembunuh dalam Empat Babak 93 MIN/ Indonésie – France – Malaisie – Thailande / 2017/ FICTION/ COULEUR/ Indonésien, dialecte de Sumba/ DCP/ 24 FPS/ 2.39:1/ 5.1 93 MIN/ Indonesia – France – Malaysia – Thailand / 2017/ FICTION/ COLOR/ Indonesian, dialect from Sumba/ DCP/ 24 FPS/ 2.39:1/ 5.1 Attachées de presse /Press releases Vanessa Jerrom- 06 14 83 88 82 Claire Vorger- 06 20 10 40 56 [email protected] Synopsis Au cœur des collines reculées d’une île indonésienne, Marlina, une jeune veuve, vit seule. Un jour, surgit un gang venu pour l’attaquer, la violer et la dépouiller de son bétail. Pour se défendre, elle tue plusieurs de ces hommes, dont leur chef. Décidée à obtenir justice, elle s’engage dans un voyage vers sa propre émancipation. Mais le chemin est long, surtout quand un fantôme sans tête vous poursuit. In the deserted hills of an Indonesian island, Marlina, a young widow, is attacked and robbed for her cattle. To defend herself, she kills several men of the gang. Seeking justice, she goes on a journey for empowerment and redemption. But the road is long especially when the ghost of her headless victim begins to haunt her. www.asian-shadows.com | [email protected] 3 Sales & Festivals moi : je ne lui ai pas demandé de jouer le texte, mais juste de me montrer à quel point elle voulait le rôle. Pour le rôle de Markus, j’ai travaillé avec le comédien Egi Fedly sur mon premier film, et il était une évidence depuis le début. -
Fourth Southeast Asian Film Festival Returns with 20 Singapore Premieres – the Freshest and Most Compelling Cinematic Work Emerging from the Region
MEDIA RELEASE For Immediate Release Fourth Southeast Asian Film Festival returns with 20 Singapore premieres – the freshest and most compelling cinematic work emerging from the region 11 April (Friday) to 4 May (Sunday) 2014, Moving Image Gallery, SAM at 8Q 19 March 2014, Singapore – Featuring the region’s best contemporary art expressed via the moving image, the Singapore Art Museum (SAM) is proud to present the fourth Southeast Asian Film Festival (SEAFF). Organised by SAM, along with prominent film critic Philip Cheah, veteran arts administrator Teo Swee Leng and SAM curator Sam I-shan, this annual Festival puts the spotlight on Southeast Asia through the compelling contemporary visual art genre of film. This year’s festival will highlight 20 films created by both established and up-and-coming directors from across the region including Cambodia, Indonesia, Malaysia, Myanmar, Philippines, Singapore and Thailand. All the films will be making their Singapore premieres at the Festival, including four Asian premieres and one world premiere. Festival-goers from the region will explore some of the most urgent contemporary challenges facing this diverse and rapidly developing region through the lenses of the directors, from the religious sectarian conflict in Mindanao to cross-border migration between Myanmar and China, to the hardship of ordinary families and more. Visitors will also get a glimpse of life in turbulent regions across Asia through War is a Tender Thing by Adjani Arumpac, The Journey of the Stars into the Dark Night by Arnel Mardquio, Letters of Solitude by Gutierrez ‘Teng’ Mangansakan II and Ice Poison by Midi Z, that tell the stories of communities that live through adversity. -
4 Citizenship and Indonesian Ethnic Chinese in Post-1998 Films
Downloaded from <arielheryanto.wordpress.com> Citizenship and Indonesian ethnic Chinese in post-1998 films 71 Since 1998, we have seen a dramatic emergence of works that fill in this 4 Citizenship and Indonesian ethnic long-standing lacuna (see Cohen 2002; Samudera 2002; Allen 2003; Her yanto 2004a; Hoon 2004; Sen 2006). But we must quickly add that the Chinese in post-1998 films formal ending of the New Order that year is neither the sole nor the most important cause of the change. The racialized violence against the ethnic Ariel Heryanto Chinese in May 1998 (more to follow below) was a more important factor than President Suharto's resignation in triggering the trend. II!-what appears to be a response to the violence, a new recognition of Chinese Indonesians and their long history of civil predicaments has become one of the most popular features in contemporary literature, fine arts, and films. It must be noted that instead of simply filling a gap in the old category of 'official literature', the aesthetic configuration since'1998 has transformed Tan Peng Liang; 'The important thing is, when Indonesia gets its independence, the overall categorization. Banned literature is now widely available and and all of you occupy important positions in the government, never forget me. I reprinted. The disparaged 'pop' literature that circulates in the cultural want to live peacefully, no worrying, with my family'.J pages of newspapers and magazines has gained more'prestige and authority, (Sylado 1999: 360) making the distinction between popular and 'official' literature difficult or meaningless. Established writers have also published in these pop media. -
Re-Thinking Politics in Film: Thai Independent Cinema After the Coup D’État 2014
Re-Thinking Politics in Film: Thai Independent Cinema After the Coup d’état 2014 Sopawan Boonnimitra, Chulalongkorn University, Thailand The European Conference on Media, Communication & Film 2017 Official Conference Proceedings Abstract During the period of political instability that led to the coups d’état of 2006 and 2014, the independent cinema flourished both domestically and internationally. The political conflicts of the past decade have become an important backdrop for independent filmmakers to explore various issues. With a certain degree of freedom, their films created a discourse on independent films that offered both an alternative mode of filmmaking and an alternative discourse to mainstream cinema during the coup d’état periods. For this paper, I would like to take a closer look at some of the recent independent films that were made and internationally shown after the 2014 coup d’état, particularly the most recent films, including Motel Mist (Prabda Yoon, 2016), The Island Funeral (Pimpaka Towira, 2016), and By the Time It Gets Dark (Anocha Suwichakornpong, 2016), and how each of them offers an alternative vision of the country following the coups d’état and made it possible for us to rethink the subject of politics in Thai cinema, particularly at a time when political subjects are under the microscope of the authoritarian government. Keywords: Thai independent cinema, politics, coup d’état iafor The International Academic Forum www.iafor.org Introduction Since the coup d’état of 2006, followed by political conflicts and another coup in 2014, international audiences have paid much attention to Thai cinema and attempted to look at what these events have meant for the people living in the country, as evidenced by the visibility of Thai cinema at international film festivals. -
Transformasi Perjuangan Perempuan Dalam Ekranisasi Novel Athirah Karya Alberthiene Endah Ke Film Athirah Karya Riri Riza: Kajian Ekranisasi
TRANSFORMASI PERJUANGAN PEREMPUAN DALAM EKRANISASI NOVEL ATHIRAH KARYA ALBERTHIENE ENDAH KE FILM ATHIRAH KARYA RIRI RIZA: KAJIAN EKRANISASI SKRIPSI Untuk memperoleh gelar Sarjana Sastra Indonesia oleh Etik Tarina 2111414021 JURUSAN BAHASA DAN SASTRA INDONESIA FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2019 iii iv MOTO DAN PERSEMBAHAN Allah tidak akan memberikan keindahan yang sempurna tanpa didahului perjalanan terjal (Athirah) Persembahan: Skripsi ini saya persembahkan untuk: 1. Keluarga tercinta (Bapak, Mama, Arifin) 2. Almamater saya, Universitas Negeri Semarang v SARI Tarina, Etik. 2019. “Transformasi Perjuangan Perempuan dalam Ekranisasi Novel Athirah Karya Alberthiene Endah ke Film Athirah Karya Riri Riza: Kajian Ekranisasi”. Skripsi. Program Studi Sastra Indonesia, Fakultas Bahasa dan Seni, Universitas Negeri Semarang. Pembimbing: Suseno, S.Pd., M.A. Kata Kunci: perjuangan perempuan, ekranisasi, feminis, novel, film Dalam perkembangan kesenian juga sangat lumrah satu jenis kesenian mengambil kesenian lain sebagai sumbernya atau dikenal dengan istilah transformasi. Pada proses transformasi, media yang digunakan berbeda, sehingga akan menimbulkan perubahan. Pengubahan dari novel ke film atau bias disebut ekanisasi diharapkan mampu memberikan kesan dan pesan yang positif kepada penikmatnya. Fenomena ekranisasi tentu tidak lepas dari keterkenalan awal suatu karya. novel yang sukses tidak jarang menjadi pijakan awal bagi lahirnya film yang sukses juga. Hal itu sering menjadi acuan lahirnya kesuksesan baru suatu bentuk pengalihan, -
The Urban and Cultural Climate of Rotterdam Changed Radically Between 1970 and 2000. Opinions Differ About What the Most Importa
The urban and cultural climate of Rotterdam changed radically between 1970 and 2000. Opinions differ about what the most important changes were, and when they occurred. Imagine a Metropolis shows that it was first and foremost a new perspective on Rotterdam that stimulated the development of the city during this period. If the Rotterdam of 1970 was still a city with an identity crisis that wanted to be small rather than large and cosy rather than commercial, by 2000 Rotterdam had the image of the most metropolitan of all Dutch cities. Artists and other cultural practitioners – a group these days termed the ‘creative class’ – were the first to advance this metropolitan vision, thereby paving the way for the New Rotterdam that would begin to take concrete shape at the end of the 1980s. Imagine a Metropolis goes on to show that this New Rotterdam is returning to its nineteenth-century identity and the developments of the inter-war years and the period of post-war reconstruction. For Nina and Maria IMAGINE A METROPOLIS ROTTERDAM’S CREATIVE CLASS, 1970-2000 PATRICIA VAN ULZEN 010 Publishers, Rotterdam 2007 This publication was produced in association with Stichting Kunstpublicaties Rotterdam. On February 2, 2007, it was defended as a Ph.D. thesis at the Erasmus University, Rotterdam. The thesis supervisor was Prof. Dr. Marlite Halbertsma. The research and this book were both made possible by the generous support of the Faculty of History and Arts at the Erasmus University Rotterdam, G.Ph. Verhagen-Stichting, Stichting Kunstpublicaties Rotterdam, J.E. Jurriaanse Stichting, Prins Bernhard Cultuurfonds Zuid-Holland and the Netherlands Architecture Fund.