DOCSLIB.ORG

Eurochannel Short Films Tour

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eurochannel Short Films Tour 16.5 million households at your reach 1 • Vast selection of modern entertainment from every corner of Europe. • A whirlwind tour across Europe through movies, series, documentaries and music specials. • Reach the wealthiest audience in Latin America 2 Argentina 3,950,000 Brazil 1,300,000 Caribbean 300,000 Central America 320,000 Chile 580,000 Colombia 1,650,000 Ecuador 100,000 Paraguay 60,000 Peru 700,000 Mexico 6,470,000 Uruguay 390,000 Venezuela 740,000 Total LATAM 16.560.000 Households 3 Source: Operators– October 2013 ALL PAY TV CHANNELS RANK PAY PERSONS 25-49 HIGH+MEDIUM Channels Pan Brazil Argentina Mexico Regional Eurochannel 0.02 0.02 0.01 0.03 Max 0.01 0.01 0.02 0.00 CNN International 0.01 0.01 0.00 0.01 Sony Spin 0.01 0.01 0.01 0.03 Syfy 0.01 0.02 0.01 0.02 4 Sources: Ibope / EGM / TGI. Universe: All Pay TV Channels - March 2012. 53% Socio Economical Strata 36% 53 % of all Eurochannel viewers are among the top 10% wealthiest of their country. 6% 5% 56% 44% Top 10% Next 20% Next 30% Bottom 40% Age Groups 8% 11% 12-19 y/o 20% 17% 24-24 y/o Our audience’s average ages: 25-34 y/o 36 Male 35-44 y/o 33 Female 45-54 y/o 24% 20% >55 y/o 5 Source: TGI Latin America Reach an AB+ audience Eurochannel viewers are Wealthy: 53% of all Eurochannel viewers rank in the top 10% of their countries. The highest index of any cable channel. Opinion leaders: 25% work for a big company. 32% of them are decision makers. Educated: 15% have a PhD. or a master. 38% have a superior degree from a university Purchasing power: three times superior to the average. 6 Source: TGI Latin America 7 FRANCHISE 8 Thrilling Shows From The Heart Of Europe Every week, our viewers find something exciting on Euroseries, an exclusive collection of gripping dramas never seen before in their country. Stories to remember Eurocinema brings a banquet of amazing European films, from unforgettable classics to the latest hits straight from Europe’s best and brightest filmmakers. 9 A Private Showcase A collection of A-list artists including bands such as U2 and Phil Collins, performing alongside hottest up- coming acts like Ed Sheeran and One Direction. Revealing the Hidden Treasures Of Europe A riveting experience of the fascinating world of European craftsmanship and traditions – from the sculptures of Greece to the traditional Tuscan cuisine. 10 Going behind the scenes Eurochannel brings its viewers into the most important film festivals in Europe. An all- access pass the Cannes, Karlovy Vary, Venice, and Berlin film festivals. An Unforgettable Journey Traveling to Europe has never been so easy. Eurotravel takes the viewers on a trip across the most breathtaking cities and country-sides in Europe without enduring long plane flights. 11 ONE MONTH, ONE COUNTRY • Several times a year for a whole month, Eurochannel dedicates a major part of its programming to one European country. • This event gets a large amount of media coverage. • During this special event, Eurochannel presents all aspects of this country through movies, documentaries and music. 12 Italian Month The Italian Month is a trademark every year for both Eurochannel and our viewers. This special event is a unique opportunity to meet Italy’s important characters, travel around its cities, share its traditions, love its cuisine, and meet its artists. 13 German Month Germany has become a truly cosmopolitan nation and its entertainment highlights a new era of rich social and cultural diversity. Germany has become a breeding ground for the hottest new artists, actors, musicians, and directors, each of them breaking new ground. In October, Eurochannel highlights the best of their work. 14 Finnish Month The Finnish Month bestows a unique opportunity to plunge into the intriguing Finnish culture with a wide and hand- picked exclusive programming. The viewers are treated with the uniqueness offered by Finnish established and upcoming directors, actors and musicians. The Eurochannel Finnish Month is one of the most awaited events of TV for our viewers. 15 Future countries Based on the same model of the Italian, German and Finnish Months, Eurochannel works keenly alongside sponsors to bring new and exciting new countries. The idea of a full immersion in a country to know a new culture in an entertaining way through its cinema, TV shows and music artists is a tempting opportunity Eurochannel viewers are always eager to experience. 16 EUROCHANNEL SHORT FILMS TOUR • The Eurochannel Short-Films Tour is an authentic look at Europe through the silvery lens of cinema. • Every year, Eurochannel screens thousands of short films from all over Europe, all around one theme: love, laugh, etc. • The art and culture of Europe is as diverse as it is entertaining, and every conceivable type of film is here : from comedies to thrillers, black and white horror or animated adventures. A veritable smorgasbord of exciting cinematic shorts. • After their TV premiere, the short-films selected are usually screened in national embassies, cultural institutes, universities, independent theaters, in different countries where we are present. 17 Eurochannel is present on local media and events to reach an even wider audience through special operations. Our clients can be associated to these special operations in order to strengthen their local approach. 18 Every year, Eurochannel selects some of the best bite-sized cinema of Europe to present the Eurochannel Short-Films Tour. This special event, promoting the new European talents of acting and filmmaking is also taken to local venues in cities such as Sao Paulo, Bogotá, Buenos Aires, Santiago, Lima, Mexico D.F., Guadalajara, among others. 19 20 WEBSITE Eurochannel.com is the place to showcase our new programs, invite viewers to win music albums with contests, inform about Eurochannel events, and much more. 21 EUROCHANNEL GUIDE Every month our programming lineup is listed on the Monthly Guide offering our programming highlights for the month, complete daily listings of the programs, and exclusive interviews with the actors and directors of the biggest films. Each country has its own edition. 22 SOCIAL NETWORKS Eurochannel is present on social networks across the web to do something more than connecting viewers; we engage with them in a one-to-one level delivering the content they love. 6 Facebook fan pages 150,000 fans 4 Twitter accounts 100,000 followers Argentina Brazil Argentina Mexico Brazil Central America Mexico South America Colombia Colombia 23 Sources: statistics by October 20th 2013. 24 TV SPOTS Easy, fast and effective! • A simple and direct option to target viewers. • With content provided by the advertiser, our viewers covet for the innovative and matchless services or products shown. • Campaigns are tailor-made to suit and reach the best target for the product according to budget. • From TV spots in Prime Time with any series, to specials packages of TV series, movie, or documentary related to the product or service, Eurochannel will find the best solution to accomplish your marketing goals. 25 SPONSORED PROGRAMMING Reach the audience you want. A unique opportunity to reach the audience you want through their favorite movie star, TV show, or music artist. With the Sponsored Programming, Eurochannel will associate and endorse your brand with an artist, show or film to suit the product needs and appeal to the viewers desires and feelings. Sponsored programs, as part of our regular programming, include: • Dedicated opening and closing billboards of all broadcasts of the sponsored program. • Production of specific spot with your logo and packshot. • Promotion by our press and communication agencies. • Presence in our Programming Highlights sent to the press. • Dedicated pages on the Eurochannel Guide. • Dedicated pages on our website. HBO - Game of Thrones sponsored programming billboard The brand will be featured in every communication sent by Eurochannel around the Sponsored Programming show. 26 ADVERTORIALS Showcase your product on Prime Time • Advertorials are a one-of-a-kind solution to reach and show to your desired audience the matchless benefits of a specific product. A unique opportunity for a prime- time in-depth product demo of your product! • • Advertorials can be produced by Eurochannel. All productions will be made with material provided by the client and aired upon approval. • • Advertorials will be up to 3 minutes longs and will be aired up to twice a day. Samsung Galaxy Tab 10.1 Advertorial 27 ONLINE Reach your target wherever they are! • If your marketing goals are focused on the new technologies and social networks, this is the perfect solution. • Eurochannel will invite its viewers to experience the benefits of your product through a special on-line holistic campaign. 28 29 S. PELLEGRINO ITALIAN MONTH • Since 2010, Eurochannel and S. Pellegrino set up together every May the pan-regional event celebrating Italy: the S. Pellegrino Italian Month. • In 2010, 2011 and 2012, S. Pellegrino offered Latin America an amazing trip through Italy full of nostalgia, thrills and emotions. • Thanks to a fruitful cooperation, the three editions of the S. Pellegrino Italian Month have been an outstanding and growing success. • Viewers understood they could “Live in Italian” by drinking S. Pellegrino. Trailer for 3rd edition of S. Pellegrino Italian Month Trailer to promote S. Pellegrino programming event: 50 World Best Restaurants 30 HBO – GAME OF THRONES In 2011, Eurochannel used its own medieval show The Fortress to promote to its viewers Game of Thrones with an exclusive sneak preview immediately after the show. Once The Fortress ended his run on Eurochannel, these viewers were the first one tuning in on HBO Latin America’s Game of Thrones for their medieval fix! Production of a billboard to invite the viewers to stay tuned at the end of The Fortress episode: Spanish Billboard / Brazilian Billboard 31 INDIA TOURISM BOARD • Incredible India and Eurochannel launched an emotions-appealing on- line campaign called FEEL THE THRILL OF INDIA, • With a unique strategy of web content showing the amazing adventures India has in store for Latin American tourists, our viewers understood that India was at their reach and had unique excitement waiting for them.
Load more

Recommended publications
  • Contemporary World Cinema Brian Owens, Artistic Diretor – Nashville Film Festival
    Contemporary World Cinema Brian Owens, Artistic Diretor – Nashville Film Festival OLLI Winter 2015 Term Tuesday, January 13 Viewing Guide – The Cinema of Europe These suggested films are some that will or may come up for discussion during the first course. If you go to Netflix, you can use hyperlinks to find further suggestions. The year listed is the year of theatrical release in the US. Some films (Ida for instance) may have had festival premieres in the year prior. VOD is “Video On Demand.” Note: It is not necessary to see any or all of the films, by any means. These simply serve as a guide for the discussion. You can also use IMDB.com (Internet Movie Database) to search for other works by these filmmakers. You can also keep this list for future viewing after the session, if that is what you prefer. Most of the films are Rated R – largely for language and brief nudity or sexual content. I’ve noted in bold the films that contain scenes that could be too extreme for some viewers. In the “Additional works” lines, those titles are noted by an asterisk. Force Majeure Director: Ruben Östlund. 2014. Sweden. 118 minutes. Rated R. A family on a ski holiday in the French Alps find themselves staring down an avalanche during lunch. In the aftermath, their dynamic has been shaken to its core. Currently playing at the Belcourt. Also Available on VOD through most services and on Amazon Instant. Ida Director: Pawel Pawlikowski. 2014. Poland. 82 minutes. Rated PG-13. A young novitiate nun in 1960s Poland, is on the verge of taking her vows when she discovers a dark family secret dating back to the years of the Nazi occupation.
    [Show full text]
  • Where Is the Revolution: an Interview with Abbas Kiarostami
    Where is the Revolution: An Interview with Abbas Kiarostami http://www.jadaliyya.com/pages/index/24850/where-is-the-revol... From Tunis to Belgium with Ghalia Benali Interviewed by Huda Asfour Where is the Revolution: An Interview with Abbas Kiarostami Like Share 1K people like this. Sign Up to see what your friends like. Tweet by Shiva Rahbaran Sep 07 2016 Listen Abbas Kiarostami agreed to give an interview only reluctantly. I reminded him insistently that the absence of a filmmaker with whom film is supposed to end (see below), would be catastrophic for a project whose subject is post-revolutionary New Iranian Cinema. Eventually, he agreed. Sitting across from me, he grins ironically. Kiarostami says that ever since Alberto Elena decided to quote Jean-Luc Godard, “Film begins with D.W. Griffith and ends with Abbas Kiarostami,” on the cover of his monograph The Cinema of Abbas Kiarostami,[1] that remark is mentioned every time someone says or publishes anything about Kiarostami. He is at pains to point out that Godard made this statement only in relation to Life, and Nothing More (1992), also known as And Life Goes On, the second part of [Abbas Kiarostami. Image by Mohammad Hassanzadeh via Kiarostami’s Earthquake Trilogy, which is also known as the Koker Trilogy Wikipedia] (the other two parts being Where is the Friend’s Home? (1987) and Through the Olive Trees (1994)). However, Kiarostami explains, the statements that Godard has made about him in the last ten or fifteen years clearly show that Godard no longer believes that film ends with Kiarostami.
    [Show full text]
  • Dina Iordanova. 'Treading in Little Steps: My Asian
    Dina Iordanova. ‘Treading in Little Steps: My Asian Cinema Jigsaw.’ In Nick Deocampo (Ed.), Keeping Memories: Cinema and Archiving in Asia-Pacific (pp. --), Singapore: SEAPAVAA and Quezon City: Ateneo de Manila University Press. TREADING IN LITTLE STEPS: MY ASIAN CINEMA JIGSAW Dina IORDANOVA ‘. all these little steps that took me away from my usual life and that led me on to the thread of another one’ Tiziano Terzani When I hit my mid-fifties, I realised that the discovery of Asia, which took place in equal degrees through travel and through viewing films, since my first visit in 1994, had been a defining moment in my life. It could easily not have happened and yet it did. And it is growing in importance as I journey further through the years. Unlike most of those who specialise in the cinema of Asia, I come from Eastern Europe and not from Asia. My background is in Western culture and not in Asian culture or film; I wrote a doctoral thesis on German Romanticism and later on worked on the cinema of Europe. I have never had the chance to live and work in Asia for a prolonged period of time, as many of my academic friends have; my longest stays in any Asian contexts were less than three months in duration. And, similar to my comings and goings to Asian destinations, my journey to the cinema of Asia feels like putting together a jigsaw puzzle. It consists of many little, seemingly unrelated steps, that do come together and start making sense, and form an emerging picture, only over time.
    [Show full text]
  • The New French Extremity: Bruno Dumont and Gaspar Noé, France's Contemporary Zeitgeist
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-21-2013 12:00 AM The New French Extremity: Bruno Dumont and Gaspar Noé, France's Contemporary Zeitgeist Timothy J. Nicodemo The University of Western Ontario Supervisor Dr. Janina Falkowska The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Timothy J. Nicodemo 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Nicodemo, Timothy J., "The New French Extremity: Bruno Dumont and Gaspar Noé, France's Contemporary Zeitgeist" (2013). Electronic Thesis and Dissertation Repository. 1586. https://ir.lib.uwo.ca/etd/1586 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THE NEW FRENCH EXTREMITY: BRUNO DUMONT AND GASPAR NOÉ, FRANCE’S CONTEMPORARY ZEITGEIST (Thesis format: Monograph) by Timothy J. Nicodemo Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Timothy J. Nicodemo 2013 Abstract This thesis represents an attempt to more clearly delineate current conceptions of a recent collection of transgressive films from France, here entitled the New French Extremity. Using the first three feature films from directors Bruno Dumont and Gaspar Noé as my central case studies, this research attempts to bring forth analyses of the Extremity’s transgressive nature as both mirroring the nation’s own transgressive cultural shifts, and as constituting the films’ central theme.
    [Show full text]
  • Afro- Caribbean Women Filmmakers
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wits Institutional Repository on DSPACE NORTHWESTERN UNIVERSITY RE-VIEWING THE TROPICAL PARADISE: AFRO- CARIBBEAN WOMEN FILMMAKERS by HASEENAH EBRAHIM PH.D DISSERTATION SUBMITTED 1998 DEPT OF RADIO/TV/FILM, NORTHWESTERN UNIVERSITY, EVANSTON, ILLINOIS, USA 1 ABSTRACT This dissertation presents a new conceptual framework, a "pan-African feminist" critical model, to examine how Euzhan Palcy of Martinique, Gloria Rolando and the late Sara Gómez of Cuba, and the Sistren Collective of Jamaica have negotiated - individually or collectively - the gender/race/class constraints within each of their societies in order to obtain access to the media of film and video. I examine the aesthetic, political, social and economic strategies utilized by these filmmakers to reinsert themselves into recorded versions of history, and/or to intervene in racist, (neo)colonial and/or patriarchal systems of oppression. 2 CHAPTER 1: INTRODUCTION Purpose and Scope of the Dissertation This dissertation examines the aesthetic, political, social and economic strategies utilized by selected Afro-Caribbean women filmmakers in exploiting the media of film and video to reinsert themselves into recorded versions of history, to challenge their (mis)representations, and/or to intervene in racist, (neo)colonial and/or patriarchal systems of oppression.1 I offer what I have termed a “pan-African feminist” analytical framework2 as a methodological tool to examine the manner in which these Afro- Caribbean women filmmakers have negotiated, individually as well as collectively, the gender/race/class constraints within each of their societies in order to obtain access to the media of film and video, to adopt culturally relevant communication strategies and themes, and to pursue their goals of social transformation and cultural empowerment.
    [Show full text]
  • Diversity and the Film Industry an Analysis of the 2014 UIS Survey on Feature Film Statistics
    INFORMATION PAPER NO. 29 MARCH 2016 Diversity and the film industry An analysis of the 2014 UIS Survey on Feature Film Statistics UNESCO The constitution of the United Nations Educational, Scientific and Cultural Organization (UNESCO) was adopted by 20 countries at the London Conference in November 1945 and entered into effect on 4 November 1946. The Organization currently has 195 Member States and 10 Associate Members. The main objective of UNESCO is to contribute to peace and security in the world by promoting collaboration among nations through education, science, culture and communication in order to foster universal respect for justice, the rule of law, and the human rights and fundamental freedoms that are affirmed for the peoples of the world, without distinction of race, sex, language or religion, by the Charter of the United Nations. To fulfil its mandate, UNESCO performs five principal functions: 1) prospective studies on education, science, culture and communication for tomorrow's world; 2) the advancement, transfer and sharing of knowledge through research, training and teaching activities; 3) standard-setting actions for the preparation and adoption of internal instruments and statutory recommendations; 4) expertise through technical co-operation to Member States for their development policies and projects; and 5) the exchange of specialized information. UNESCO is headquartered in Paris, France. UNESCO Institute for Statistics The UNESCO Institute for Statistics (UIS) is the statistical office of UNESCO and is the UN depository for global statistics in the fields of education, science and technology, culture and communication. The UIS was established in 1999. It was created to improve UNESCO's statistical programme and to develop and deliver the timely, accurate and policy-relevant statistics needed in today’s increasingly complex and rapidly changing social, political and economic environments.
    [Show full text]
  • The Representation of Women in Iranian Popular Cinema After the Revolution (1979)
    The Representation of Women in Iranian Popular Cinema after the Revolution (1979) Naghmeh Sadughi Submitted to the Institute of Graduate Studies and Research in partial fulfillment of the requirements for the Degree of Master of Arts in Communication and Media Studies Eastern Mediterranean University January 2011 Gazimağusa, North Cyprus Approval of the Institute of Graduate Studies and Research Prof. Dr. Elvan Yılmaz Director (a) I certify that this thesis satisfies the requirements as a thesis for the degree of Master of Arts in Communication and Media studies Prof. Dr. Süleyman İrvan Chair, Department of Communication and Media Studies We certify that we have read this thesis and that in our opinion it is fully adequate in scope and quality as a thesis for the degree of Master of Arts in Communication and Media Studies Asst. Prof. Dr. Pembe Behçetoğullari Supervisor Examining Committee 1. Assoc. Prof. Dr. Hanife Aliefendioğlu 2. Asst. Prof. Dr. Melek Atabey 3. Asst. Prof. Dr. Pembe Behçetoğullari ABSTRACT The present research looks at the representation of women in Iranian cinema after the Islamic Revolution (1979). The aim of the study is to analyze how women are represented in Iranian popular cinema and whether women have been successful in transgression from the private to the public in the last three decades in Iranian society. The theoretical framework of the research is the feminist film theory. Therefore, the research method is a combination of psychoanalysis and semiotics as the textual analysis. The post-revolutionary era in Iran has been divided into four periods, in terms of political changes: the post-revolutionary and war era (1979-1988), the Reconstruction era (1989-1996), the Reform era (1997-2004) and post-Reform era (2005-2009).
    [Show full text]
  • 1 School of Media Studies/School Of
    SCHOOL OF MEDIA STUDIES/SCHOOL OF UNDERGRADUATE STUDIES SCHOOLS OF PUBLIC ENGAGEMENT FALL, 2018 MOVEMENTS OF WORLD CINEMA I: The Emergence of an Art Form (1890-1960) NFLM 2500 A – CRN 4010 Instructor: Jen Heuson, PhD Wednesdays 8-9:50 PM [email protected] AUG 29 – DEC 18 office hours by appointment 6 East 16th Street 906 Course Description Movements in World Cinema, Part 1, introduces students to the history of cinema from the 1890s until 1960. Beginning with the experiments of Louis Lumière, the creation of cinematic language by D.W. Griffith, and the development of "montage" by S. Eisenstein, the course will survey changing aesthetics, narrative styles, and ideologies in German, Russian, French, Italian, and Hollywood cinema of the first half of the 20th century. The topics covered include: the poetics of the silent cinema, the transition to sound, the role of genre, the rise of documentary, animation, experimental modes, musical comedy and escapism, propaganda and social commitment, and international studio systems and economics. Learning Outcomes Upon successful completion of this course, a student should possess the following abilities and knowledge: • Knowledge of the basic historical periods, national schools, stylistic movements, and economic issues relating to the development of world cinema in the first half of the 20th century. • An understanding of how the interests of art, industry, entertainment, and ideology have functioned in world cinema. • An improved ability to analyze and evaluate major works of world cinema orally and in writing. • An ability to form a research question, identify historical sources, compile a bibliography, synthesize new knowledge, and cite sources correctly.
    [Show full text]
  • Film and Theatre Author(S): Susan Sontag Reviewed Work(S): Source: the Tulane Drama Review, Vol
    Film and Theatre Author(s): Susan Sontag Reviewed work(s): Source: The Tulane Drama Review, Vol. 11, No. 1 (Autumn, 1966), pp. 24-37 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1125262 . Accessed: 17/06/2012 09:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to The Tulane Drama Review. http://www.jstor.org 24 FILM AND THEATRE SUSAN SONTAG The big question is whether there is an unbridgeable division, even opposition, be- tween the two arts. Is there something genuinely "theatrical," different in kind from what is genuinely "cinematic"? Almost all opinion holds that there is. A commonplace of discussion has it that film and theatre are distinct and even antithetical arts, each giving rise to its own standards of judgment and canons of form. Thus Erwin Panofsky argues, in his celebrated essay "Style and Medium in the Motion Pictures" (1934, rewritten in 1946), that one of the criteria for evaluating a movie is its freedom from the impurities of theatricality. To talk about film, one must first define "the basic nature of the medium." Those who think prescriptively about the nature of live drama, less confident in the future of their art than the cinephiles in theirs, rarely take a comparably exclusivist line.
    [Show full text]
  • Analysis of Iranian Film Music (With Focus on Some Contemporary Composers)
    Université de Montréal Analyse de la Musique de Film Iranien (Avec un accent sur certains compositeurs contemporains) Analysis of Iranian Film Music (With focus on some contemporary composers) Présenté par Sharareh Sheikhkhan Unité académique : Faculté de Musique Mémoire présenté en vue de l'obtention du grade de Maîtrise - Musique en Composition pour l'écran August 30th, 2020 © Sharareh Sheikhkhan, 2020 Université de Montréal Unité académique : Faculté de Musique Ce mémoire intitule Analyse de la Musique de Film Iranien (Avec un accent sur certains compositeurs contemporains) Analysis of Iranian Film Music (With focus on some contemporary composers) Présenté par Sharareh Sheikhkhan Ce mémoire a été évalué par un jury composé des personnes suivantes : Isabelle Panneton Président-rapporteur François-Xavier Dupas Directeur de recherche Pierre Adenot Membre du jury Research paper 2nd cycle (Master) University year 2019-2020 Analysis of Iranian film music (with focus on some contemporary composers) SHARAREH SHEIKHKHAN Principal discipline: InMICS Principal discipline teacher: François-Xavier Dupas, Dominique Pauwels Name of referent teacher: Stoffel Debuysere Name of methodology assistant : Martin Barnier Date of the presentation: October, 2020 Acknowledgements First, I would like to express my special thanks to my Principal discipline teacher Dr. Stoffel Debuysere for his patience, and immense knowledge. His guidance helped me in all the time for research and writing this thesis. Second, I pay my deep sense of gratitude to my composition professor Dr. François- Xavier Dupas for all he did for me during this master’s degree. Without his continuous encouragement, support and enthusiasm, this study would hardly have been completed. I consider myself fortunate indeed to have had the opportunity to be his student.
    [Show full text]
  • Viewing African Cinema in the Twenty-First Century: Art Films And
    Introduction ralph a. austen and mahir saul Compared to other film industries in the world, African cinema is a quite recent phenomenon, dating only from the last half of the twentieth century. However, as indicated by the references in the chapters that follow, there is no shortage of books and articles devoted to its works, its producers, and its audiences. The great change in the twenty-first century (one that actu- ally began in the 1990s) is the coexistence of two distinct African cinemas: a (relatively) long established tradition of celluloid art films centered in French- speaking West Africa and identified with its biennial FESPACO (Festival Panafricain du Cinéma et de la Télévision de Ouagadougou) and a newer, more commercial video film industry based in English-speaking Africa and labeled, after its major Nigerian source, Nollywood. The present book is the first extended effort to combine studies of both these cinemas. African filmmaking first took off in the early 1960s, during the euphoric years of decolonization. The very diverse works of this new industry are diffi- cult to define as either a national or an aesthetic school. The films do, however, share four important characteristics: first, they more closely resemble the “art cinema” of contemporary Europe than commercially dominant Hollywood (or Egyptian and Indian) models; second, they were made overwhelmingly in francophone countries; third, their production depended heavily on support of various kinds from the French film establishment and the French state; finally (and this did not require comment until recently), they used celluloid film (usually 16mm), very cheap for their time but still requiring costly processing 1 ralph a.
    [Show full text]
  • Rearticulating Japanese Cinematic Style
    Rearticulating Japanese Cinematic Style Exemplified by Contemporary Japanese Melodrama Contents 0.0. Introduction – Research Question and Method Delineated…………………… 4 0.1. Chapter Outline – Thesis Structure Delineated ....................................................... 9 0.2. Explanation of Terms for Discussion ................................................................... 12 1.0. A Japanese Aesthetic Expression ...................................................................... 13 1.1. Opening Arguments on Japanese Cinema and its Following Critique ................... 14 The early discussions of Noël Burch and Donald Richie 1.2. The Traditional Arts of Japan ............................................................................... 22 Exploring the parallels between Japanese cinema and traditional Japanese painting and theatre 1.3. Approaching the Style of Japanese Cinema .......................................................... 28 Splitting early discussions on the style of Japanese cinema in half 1.4. Monumental Style ................................................................................................ 32 Japanese cinematic style‟s possibility as nationalistic catalyst realized 1.5. Closing the Prewar Discussion ............................................................................. 38 Extracting key points for further discussion 1.6. Postwar Developments (1) ................................................................................... 42 Internal changes in Japanese cinema 1.7. Postwar Developments
    [Show full text]