19Th Encounters Short Film and Animation Festival
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic. -
The Back to the Future Trilogy Available for the Very First Time on Dvd
CONSUMER MEDIA RELEASE MAY 2002 GREAT SCOTT! THE BACK TO THE FUTURE TRILOGY AVAILABLE FOR THE VERY FIRST TIME ON DVD PLANNED RELEASE DATE - AUGUST 21, 2002 Michael J Fox, Christopher Lloyd, Thomas F. Wilson, Lea Thompson, Crispin Glover One of the most eagerly awaited DVD and video collections is almost here. Presented by Steven Spielberg and Robert Zemeckis the legendary 'Back to the Future Trilogy' will be available August 21, 2002 on VHS and for the first time ever, on DVD with over 10 hours of special features including deleted scenes, outtakes, music videos and much, much more! Since it's original cinema release in the 80's, The Back to the Future Trilogy has amassed a staggering worldwide box office revenue of US$926 million. In fact, 'Back to the Future' was the worldwide highest grossing film of 1985. For generations time travel has captivated readers and movie-goers alike, and this August the most revered series of films in this genre will not only be re-lived by those who treasured the original cinema releases - but will be introduced to a whole new generation on DVD. It doesn't matter if you are a fan of the 80's, Michael J Fox, or the technology of DVD - this is an event not to be missed, being one of the most anticipated DVD releases of all-time. Back to the Future follows the amazing adventures of Marty McFly (Michael J Fox), a high-school student in the small Northern California town of Hill Valley. The fun begins when Marty’s friend and mentor, crazed scientist Doc Brown (Christopher Lloyd), invents a time machine in the form of a nuclear-powered DeLorean. -
Bringing the Dead Back to Life: Preparing the Estate for a Post-Mortem Acting Role
BRINGING THE DEAD BACK TO LIFE: PREPARING THE ESTATE FOR A POST-MORTEM ACTING ROLE by Ben Laney* I. INTRODUCTION ................................................................................... 350 II. HOW TO BRING THE DEAD BACK TO LIFE .......................................... 352 A. Proactive Recreation ................................................................... 352 B. Retroactive Recreation ................................................................. 354 C. Retroactive Recreation for Completely New Roles ...................... 355 1. Peter Cushing — Rogue One ................................................. 356 2. Tupac Shakur — Coachella 2012 .......................................... 357 3. Other Examples ..................................................................... 358 D. The Challenges of Bringing the Dead Back to Life ...................... 358 1. Legal Issues ........................................................................... 359 2. Artistic Issues ........................................................................ 359 III. A SYNERGY — DIGITAL IMMORTALITY COUPLED WITH LEGAL IMMORTALITY ..................................................................................... 360 A. The Right to Publicity .................................................................. 360 B. Character Versus Actor ............................................................... 362 C. The Commercial Use of a Likeness of a Dead Actor ................... 365 1. State-Based Post-mortem Rights to Publicity ....................... -
PAF 2015 ENG.Indd
14th Festival of Film Animation 3–6 12 2015 Olomouc www.pifpaf.cz Catalogue PAF 2015 Acknowledgement: www.pifpaf.cz Danniela Arriado, Jiří Bartoník, Jana Bébarová, Petr Bilík, Petr Bielesz, Martin Blažíček, Michal Blažíček, Authors: Martin Búřil, Filip Cenek, Eva Červenková, Martin Čihák, Alexander Campaz, Martin Čihák, Eliška Děcká, David Katarína Gatialová, Marie Geierová, Vladimír Havlík, Helán, Miloš Henkrich, Alexandr Jančík, Tomáš Javůrek, Tamara Hegerová, Štěpánka Ištvánková, Jana Jedličková, Nela Klajbanová, Martin Mazanec, Marie Meixnerová, Alexandr Jeništa, Anna Jílková, Lucie Klevarová, Jiří Neděla, Jonatán Pastirčák,Tomáš Pospiszyl, Jakub Korda, Jana Koulová, Petr Krátký, Zdeňka Krpálková, Pavel Ryška, Matěj Strnad, Lenka Střeláková, Josef Kuba, Jiří Lach, Richard Loskot, Ondřej Molnár, Barbora Trnková, Veronika Zýková Hana Myslivečková, NAMU, Lenka Petráňová, Jan Piskač, Mari Rossavik, Radim Schubert, Kateřina Skočdopolová, Translators: Matěj Strnad, Barbora Ševčíková, Jan Šrámek, Petr Vlček, Magda Bělková, Nikola Dřímalová, Helena Fikerová, Kateřina Vojkůvková, FAMU Center for Audiovisual Studies, Václav Hruška, Karolina Chmielová, Jindřich Klimeš, Café Tungsram and Ondřej Pilát, Zuzana Řezníčková, Samuel Liška, Marie Meixnerová, Michaela Štaffová Audio-Video Department at the Faculty of Fine Arts of Brnu University of Technology, Department of Theatre and Film Editor: Studies at the Faculty of Arts of Palacký University Olomouc, Veronika Zýková The One Minutes, The University of J. E. Purkyně Czech proofreading: Festival -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time. -
Ca Li for Ni a Insc Itu Te of Techno Logy Voillme LX, Nllmber 3, I 997
Ca li for ni a Insc itu te of Techno logy SC I EN CE Voillme LX, Nllmber 3, I 997 IN THIS ISSUE Water and Ancient Mars Geology Under the Antarctic Ocean Arsenic and the L.A . Aqueduct Top: Every explorer wants to see what's on the other side of the next hill. When Sojourner, the Mars Path finder's rover, peered over a nearby crest on Sol (Mar- tian day) 76, it saw what appear to be sand dunes. If the stuff really is sand (a question that is still being debated), it implies the likely long-term prese.nce of liquid water-the most plausible agent for creating sand-sized grains. The Twin Peaks are on the horizon on the right; the "Big" Crater is on the left. Bottom: The rover took this picture of the lander, nesting comfortably in its deflated air bags, on Sol 33. You can see the for ward ramp, which sticks straight out like a diving board instead of bending down to touch the Martian surface (the rover drove off the rear ramp). And if you think you see E.T.'s face, you're not far wrong Pathfinder's camera has two "eyes" spaced 15 cen timeters apart for stereo vision. For a look at what else Pathfinder has seen, turn to page 8. " N GIN E E R I N G & C 1 ENe E Ca li for n ia Instit u te o f Tec h no logy 2 Random Wa lk 8 Pathfinder's Fi n ds - by Dougla s L. -
WHY WE STAY Samoan Temple Burns Down; Book Stirs Controversy; FIVE PERSPECTIVES New LDS Films; More! (P.74) J
Cover_129.qxd 10/15/2003 10:05 AM Page 2 MORMON EXPERIENCE SCHOLARSHIP ISSUES & ART THE MAKING OF IMMANUEL: SUNSTONESUNSTONE Brian David Mitchell and the Mormon Fringe by John-Charles Duffy (p.34) NEBULA an England essay contest winner by Mari Jorgensen (p.46) Experience the YEAR OF THE CICADA a story by Joe Peterson (p.52) Surviving BYU and Berkeley by Joanna Gardiner (p.57) IN MEMORIAM: Dean L. May and Stanley B. Kimball (p.6) 2003 Salt Lake Sunstone Symposium Report (p.68) UPDATE Conference news: Church members arrested after confrontations with street preachers; LDS leaders speak out on same-sex marriage legislation; WHY WE STAY Samoan temple burns down; Book stirs controversy; FIVE PERSPECTIVES New LDS films; More! (p.74) J. Frederick “Toby” Pingree, October 2003—$5.95 MaryAnne Hunter, Bill Bradshaw, Grethe Peterson, & Thomas F. Rogers ifc.qxd 10/15/2003 10:08 AM Page 1 Washington MOLLY BENNION—ORGANIZER ROY BENNION LEVI S. PETERSON RICHARD DUTCHER MARNI CAMPBELL ARMAND L. MAUSS THERESA ROTH CHARLOTTE ENGLAND TOM MUMFORD SUSAN PALMER JULIE MUMFORD DAVID HUNTER DAN PINGREE SAGE JOHNS LEAH SMITH pecial thanks to this year’s fall regional symposium volunteers! S Tape order form, page 73 Texas STEVE ECCLES—ORGANIZER MARGARET BLAIR YOUNG ROBERT H. BRIGGS DARIUS GRAY DAVID FEATHERSTONE ARMAND L. MAUSS CLIFTON JOLLEY VICKIE STEWART EASTMAN PAUL H. SMITH DARRELL FLETCHER LAEL LITTKE 01_toc.qxd 10/15/2003 11:19 AM Page 1 MORMON EXPERIENCE, SCHOLARSHIP, ISSUES, & ART OCTOBER 2003 Issue 129 FEATURES 22 J. Frederick “Toby” Pingree, . WHY WE STAY MaryAnne Hunter, Bill Bradshaw Grethe Peterson, Thomas F. -
A#1140 -: Chilatenslibrarians Are Increasingly ,Aware- of The
DOCOMEMS RESUME .p)- 077237 M 011 160 47'44 Ends in Children's Programs. A Bibliography Prepared by the Film Committee of the Children's and Young* People's Services Section oftheWisconsin Library Association. INSTITUTION Wisconsin Library Association; Madison. POEDATE 72 -NOTE 39p. AVAlIAELEFROMWisconsin Library, Association, 261 West Mifflin Street,,MadleOn-, j_WiscfOnSin-53703 = EDNS-PBICE MF-$O.65HC Not Available from DESORI-PTONS Bibliographies; : CatalCgSt. *Children;4Ti lm.Libraries;1 4,E-110S; -Guides A#1140 -: ChilatenSlibrarians are increasingly ,aware- of the 'value offilmsin programing::: films -are_ attractive to _children, -they _-_-illnitinate,the familiar ,;and i suggest new areas_ of interest to .explore,- and theyc:an_.ttoii-cw -,backgroundand open new -vistas : for the 41-71i*.a11.4-401411,40t.af40-0-111.-This -t-lti-P5.1-0cliti-On.,of the liStifig, -presentS-selections for-US!:in _- - ---,.. _-prfOgraMS--With-_-Children- frObs- gtadeS- three through _Sit,- with -information _ -,-,- -.- -- - .on- xi-inning,time,_-Prcidlider, :01S4i:biltCr 0'price, Whether itS-- black-and-white or -color,: and the :content. N bibliography of aids : forlibrary:use,a-_list of sources for- the selection of films, and a-cliktor--ofdistributors for purchase andrentalare riialtidEd: ._(SH)- ,=;-:±. FILMED FROM BEST AVAILABLE COPY 434odfosts, A_= Bibliography prepared.,by the Film Coamittee-=of' and xeisig;kekiii._!ir*!t*icks Sebtion:of the; A060.-ittion- WISCONSIN LIBRARY-ASSOCIATION 1 201 West Mifflinstieet- Nadiloti,Wis.3703 FILMS! IN'tifILDNEN'SiTNOGNANS-, A :Bibliography prepared' bzittie-FilmCommittee =of the Childten_is andYoungpeoPle!s Seitides -Section-ofthe Wisconsin Library AsSociation- 1972 U.S. DEPARTMENT OF HEALTH. -
Adaptation As Emancipation: Semantic Decoding of the Female Protagonist in Kenneth Branagh’S Film Adaptation of Mary Shelley's Novel "Frankenstein"
Adaptation as Emancipation: Semantic Decoding of the Female Protagonist in Kenneth Branagh’s Film Adaptation of Mary Shelley's Novel "Frankenstein" Matek, Ljubica; Pataki, Jelena Source / Izvornik: Adaptation: Theory, Criticism and Pedagogy, 2018, 79 - 98 Book chapter / Poglavlje u knjizi Publication status / Verzija rada: Accepted version / Završna verzija rukopisa prihvaćena za objavljivanje (postprint) https://doi.org/10.2370/9783844050622 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:468884 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-11 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Contributions to Literature-on-Screen Studies and other Adaptation Studies / Beiträge zur Erforschung der Literaturverfilmungen und anderer Adaptionsfälle Edited by / herausgegeben von ŽELJKO UVANOVIĆ Volume 2 / Band 2 2018 Adaptation: Theory, Criticism and Pedagogy Selected papers, student projects, and the film adaptation Osijek Sweet Osijek Edited by Ljubica Matek and Željko Uvanović Shaker Verlag Aachen 2018 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Diese Publikation wurde durch die freundliche Hilfe eines internen Forschungsprojekts der J.- J.-Strossmayer-Universität Osijek an der Fakultät für Geistes- und Sozialwissenschaften (UNIOS INGI 2015-11, PL: Prof. Dr. Željko Uvanović, Gastwissenschaftlerin: Prof. Dr. Kamilla Elliott, Lancaster University, UK) finanziert. Dem damaligen Rektor Herrn Prof. Dr. Željko Turkalj sowie dem damaligen Vize-Rektor für Wissenschaft und Forschung Herrn Prof. Dr. Rudolf Scitovski sei an dieser Stelle ganz herzlicher Dank ausgesprochen! © 2018 · Shaker Verlag Postfach 10 18 18 D-52018 Aachen Alle Rechte Vorbehalten. -
THESIS a REASON to BELIEVE: a RHETORICAL ANALYSIS of MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communic
THESIS A REASON TO BELIEVE: A RHETORICAL ANALYSIS OF MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2012 Master’s Committee Advisor: Carl Burgchardt Eric Aoki Kathleen Kiefer ABSTRACT A REASON TO BELIEVE: A RHETORICAL ANALYSIS OF MORMON MISSIONARY FILMS In this analysis, I examine Mormon cinema and how it functions on a rhetorical level. I specifically focus on missionary films, or movies that are framed by LDS missionary narratives. Through an analysis of two LDS missionary films, namely Richard Dutcher’s God’s Army (2000) and Mitch Davis’ The Other Side of Heaven (2001), I uncover two rhetorical approaches to fostering spirituality. In my first analysis, I argue that God’s Army presents two pathways to spirituality: one which produces positive consequences for the characters, and the other which produces negative consequences. I call these pathways, respectively, ascending and descending spirituality, and I explore the rhetorical implications of this framing. In my second analysis, I contend that The Other Side of Heaven creates a rhetorical space wherein the audience may transform. Specifically, the film constructs a “Zion,” or a heaven on earth, with three necessary components, which coincide perfectly with established LDS teachings: God, people, and place. These three elements invite the audience to accept that they are imperfect, yet they can improve if they so desire. Ultimately, by comparing my findings from both films, I argue that the films’ rhetorical strategies are well constructed to potentially reinforce beliefs for Mormon audiences, and they also may invite non-Mormons to think more positively about LDS teachings. -
Wfs Filmnotes Template
30 April 2013 www.winchesterfilmsociety.co.uk … why not visit our website to join in the discussion after each screening? Sightseers UK 2012 Every season when the committee Ben Wheatley is the outstanding young whittle down a long, long list to just British film-maker who got himself Directed by 16 films, there are one or two that talked about with his smart debut Down Ben Wheatley really intrigue us and we can’t wait to Terrace; then he scared the daylights out Director of Photography see. Sightseers is that film for 12/13! of everyone, as well as amusing and Laurie Rose baffling them, with his inspired and There is no direct French translation for ambiguous chiller Kill List. His talent Original Music and signature are vividly present in every Jim Williams the word ‘sightseers’, so Ben Wheatley’s new film is titled Touristes in Cannes, frame of this new movie, Sightseers, a Screenplay where it has screened as part of grisly and Ortonesque black comedy Alice Lowe Directors’ Fortnight. In a way, that’s about a lonely couple played by co- Steve Oram perfectly fitting: this flesh-creepingly writers Steve Oram and Alice Lowe. funny comedy turns into something that, Again, Wheatley is adept at summoning Cast rather worryingly, you can’t imagine an eerie atmosphere of Wicker Man Alice Lowe happening in any other country but disquiet; the glorious natural Tina England. Lowe and Oram’s script surroundings are endowed with a golden Steve Oram balances nimbly on the thread of razor sunlit glow and the trips to quaint Chris wire between horror and farce: the film venues of local interest are well Eileen Davies is frequently laugh-out-loud funny but observed: particularly Tina's heartbroken Carol the couple’s crimes are never trivialised, solo excursion to the Pencil Museum. -
POST-BRITISH CRIME FILMS and the ETHICS of RETRIBUTIVE VIOLENCE Mark Schmitt (TU Dortmund University)
CINEMA 11 152 “THEY’RE BAD PEOPLE – THEY SHOULD SUFFER”: POST-BRITISH CRIME FILMS AND THE ETHICS OF RETRIBUTIVE VIOLENCE Mark Schmitt (TU Dortmund University) In recent years, British popular genre cinema has displayed a tendency to allegorise the ethical ques- tions resulting from the nation’s social and political challenges of the 21st century.1 Whether it is the Blair government’s decision to join the US in the Iraq war in 2003 and the ensuing disillusionment with democracy and the futility of public protest, the austerity measures and subsequently increasing social divisions in the wake of the global financial crisis of 2008, the ongoing process of Scottish and Welsh devolution that challenges the very notion of a United Kingdom, Britain finds itself in a stage that Michael Gardiner has described as “post-British.”2 On the level of the nation-state, and especially with regard to Scottish and Welsh devolution, the post-British process can be identified as the “demo- cratic restructuring of each nation within union and each nation still affected by Anglophone imperial- ism”3, while the social structure of Britain is still marked by the internal fault lines of class divisions of class. The notion of “post-Britain” has been addressed in British film studies. William Brown has sug- gested that Britain’s cinematic output in the 21st century offers a “paradoxically post-British” perspec- tive which is reflected in subject matter, ideological points of view and modes of production.4 As Brown argues, such post-British perspectives can particularly be found in popular genre films such as 28 Days Later (2002) and V for Vendetta (2006).5 In the following, I will argue that this post-British sensibility in contemporary national genre cinema is aligned with urgent ethical questions regarding the nation state on both the British level as well as within a larger European context.