List of Films Considered the Best
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PEDAGOGICAL PRACTICES of the CREATIVE PROCESS Ways of Learning and Teaching Film and Audiovisual Art
PEDAGOGICAL PRACTICES OF THE CREATIVE PROCESS Ways of learning and teaching film and audiovisual art Alain Bergala revolutionized how the art of filmmaking is taught through the concept of a "pedagogy of the creative process". Considering the widespread practice of what had been called "audiovisual literacy", that is, the acquisition of knowledge on the use of audiovisual language, Bergala advocated for a more active form of teaching, one in which viewers would have to return to that time prior to the images and the sounds, when all possibilities were still open. The paradigm shift introduced the notion that the viewer's motivation, emotion and desire could be a driving force behind learning and the possibility that viewers might potentially become creators. The seminar "Pedagogy of the creative process" aims to serve as a space for meeting and reflecting on how film and audiovisual art is taught, the starting point for which will be covered in the first session: the paradigm shift first introduced by Bergala for teaching cinema in schools. The second session will be a reflection on the role of film schools and universities in teaching cinema, from the point of view of theory and practice. In this regard, the recently inaugurated school, the Elías Querejeta Zine Eskola, marks a pivotal moment in its break with prototypical schools that typically have taken a 20th century approach to film, one being called into question today. Any reflection on teaching the creative process would hardly be complete without a consideration of the interconnections that teaching audiovisuals has made with the social sciences and critical teaching methods. -
0 0 0 0 Acasa Program Final For
PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides, -
Brazilian Films and Press Conference Brunch
rTh e Museum of Modern Art No. 90 FOR REL.EIASE* M VVest 53 street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart ^ ^ , o -, . ro ^ Wednesday^ October 2, i960 MUSEUM OF MODERN ART INTRODUCES BRAZILIAN FILMS In honor of Brazil's new cinema movement called Cinema NovO; The Museum of Modern Art will present a ten-day program of features and shorts that reflect the recent changes and growth of the film industry in that country. Cinema Novo: Brasil. the New Cinema of Brazil, begins October 1. and continues through I October 17th. Nine feature-length films;, the work of eight young directors; who represent the New Wave of Brazil^ will be shown along with a selection of short subjects. Adrienne Mancia, Assistant Curator, Department of Film, assembled the program. In the past seven years, the Brazilians have earned i+0 international awards. In Berlin, Genoa and Moscow. Brazilian film retrospectives have been held in acknowledgement of the vigorous Cinema Novo that has taken root in that country. Cinema Novo of Brazil has had a stormy history. The first stirring began in the early 50*8 with the discontent of young filmmakers who objected to imitative Hollywood musical comedies, known as "chanchadas," which dominated traditional Brazilian cinema. This protest found a response araong young film critics who were inspired by Italian neo- realism and other foreign influences to demand a cinema indigenous to Brazil. A bandful of young directors were determined to discover a cinematic language that would reflect the nation's social and human problems. The leading exponent of Cinema Novo, Glauber Rocha, in his late twenties, stated the commitLment of Brazil's youthful cineastes when he wrote: "In our society everything is still I to be done: opening roads through the forest, populating the desert, educating the masses, harnessing the rivers. -
Religious Studies 181B Political Islam and the Response of Iranian
Religious Studies 181B Political Islam and the Response of Iranian Cinema Fall 2012 Wednesdays 5‐7:50 PM HSSB 3001E PROFESSOR JANET AFARY Office: HSSB 3047 Office Hours; Wednesday 2:00‐3:00 PM E‐Mail: [email protected] Assistant: Shayan Samsami E‐Mail: [email protected] Course Description Artistic Iranian Cinema has been influenced by the French New Wave and Italian neorealist styles but has its own distinctly Iranian style of visual poetry and symbolic lanGuaGe, brinGinG to mind the delicate patterns and intricacies of much older Iranian art forms, the Persian carpet and Sufi mystical poems. The many subtleties of Iranian Cinema has also stemmed from the filmmakers’ need to circumvent the harsh censorship rules of the state and the financial limitations imposed on independent filmmakers. Despite these limitations, post‐revolutionary Iranian Cinema has been a reGular feature at major film festivals around the Globe. The minimalist Art Cinema of Iran often blurs the borders between documentary and fiction films. Directors employ non‐professional actors. Male and female directors and actors darinGly explore the themes of Gender inequality and sexual exploitation of women in their work, even thouGh censorship laws forbid female and male actors from touchinG one another. In the process, filmmakers have created aesthetically sublime metaphors that bypass the censors and directly communicate with a universal audience. This course is an introduction to contemporary Iranian cinema and its interaction with Political Islam. Special attention will be paid to how Iranian Realism has 1 developed a more tolerant discourse on Islam, culture, Gender, and ethnicity for Iran and the Iranian plateau, with films about Iran, AfGhanistan, and Central Asia. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
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2021 Industry Guide 44th Göteborg Film Festival goteborgfilmfestival.se Jan 29–Feb 8 2021 #gbgfilmfestival Contents 5 Welcome 16 Industry Programmes 6 Online universe 18 Nordic Competition of Industry 2021 Short guide to our 20 International Competition digital platform. 22 Nordic Documentary 8 Accreditation Guide Competition An explicit visual guide of what's 34 Nostradamus Academy included in your accreditation. Exclusive training programme for film and television 9 Digital self-care industry professionals. 37 Film Production in 11 Discover the West Sweden 44th Göteborg 38 Who's who at Göteborg Film Festival Film Festival? Read more about the 24 Ingmar Bergman festival's annual focus, Competition special programmes, guests and competitions. 26 Nordisk Film & TV Fond Prize 28 Swedish Shorts Competition 30 Nordic Film Lab Nordic Film Lab is an exclusive networking forum for upcoming Scandinavian filmmakers. Cover photo from Gagarine. Industry Guide 2021 – Göteborg Film Festival Göteborg Film Festival Editor: Josef Kullengård, Liisa Nurmela Olof Palmes Plats 1 Editorials: Cia Edström, Nicholas Davies 413 04 Göteborg, Sweden Layout: Felicia Fortes Tel: +46 31 339 30 00 Photo Editor: Linda Petersson E-mail: [email protected] www.goteborgfilmfestival.se 3 4 From Undine Welcome to the 44th Göteborg Film Festival Welcome to the Göteborg Film Festival. For 44 The festival’s industry programme – the years, Scandinavia’s leading film festival pro- Nordic Film Market, TV Drama Vision, Nostrada- gramme has been presented in cinemas packed mus and Film Forum Sweden – transforms into a with expectant audiences and filmmakers. Over multidimensional digital space to offer industry time, the festival audience has become one of delegates exclusive live online sessions, network- the largest in Europe; in a normal year, audiences ing and engaging high-end content. -
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries. -
National Disaster Management Authority (NDMA) 15-16 09
Directory of Institutions and Resource Persons in Disaster Management Towards a disaster free India NATIONAL INSTITUTE OF DISASTER MANAGEMENT (Ministry of Home Affairs, Govt. of India) 5B - I.P. Estate Mahatma Gandhi Marg, New Delhi-110002 (India) Tel. 011-23702432, 23705583, 23766145, Fax : 011-23702442, 23702446 Website : www.nidm.gov.in Directory of Institutions and Resource Persons in Disaster Management Compiled & Edited By Dr. Satendra Dr. A.D. Kaushik Shri Rajinder Pall Sharma NIDM, New Delhi Ms. Megha Kohli Published by NIDM New Delhi Editions: First, 2012 Second, 2014 © Copyright NIDM, New Delhi www.nidm.net This document may be freely reviewed, reproduced or translated, in part or whole, purely on non-profit basis. We welcome receiving information and suggestions on its adaptation or use in actual training situations. Designing & Printing Salasar Imaging System Lusg yrk dqekj Hkkjr ljdkj lfpo (lhek izca/u) GOVERNMENT OF INDIA Sneh Lata Kumar Secretary (BM) x`g ea=kky; MINISTRY OF HOME AFFAIRS ukFkZ CykWd] ubZ fnYyh&110001 NORTH BLOCK (R. NO.124), ubZ fnYyh / NEW DELHI nwjHkk"k / TEL : 011 – 2309 2440 iQSDl / FAX: 011 – 2309 2717 FOREWORD Disasters have been mankind's constant companion since the times immemorial. Natural disasters continue to strike without notice and are perceived to be on the increase in their magnitude, complexity, frequency and economic impact. Worldwide, 90% of the natural disasters and 95% of the total disaster-related deaths occur only in the developing countries. In these countries, the problems of disaster management are unique due to the seemingly competing needs between the basic necessities for people and economic progress. -
C I N E M a G • , R a D E NEW 5 • Smith to Top Famous Post in 'QC I~!~~ F~~ ~~Y~,U~On~~!~,!
c I N E M A G • , R A D E NEW 5 • Smith to top Famous post in 'QC I~!~~ _f~~ ~~Y~,u~on~~!~,!. the tentative trial date set to parently been the) qttalyst MONTREAL - The controversy guage other than French as tion to the Parisien Cinema in resolve the dispute between which caused Duke to go to surrounding Roland Smith's quickly as possible; to play a Montreal and a redevelopment Daryl Duke and Izzy Asper Asper for financial assistance in sale of the Outremont Theatre more active role in promoting of the Palace Cinema also on was temporarily forgotten at a Quebec-made films, and to St.Catherine Street. over control of Vancouver In- the first place. dependent Television station CRTC license approval was recent press conference when prepare an inventory of short Over 20 more Cinemas Unis CKVU. one of the conditions of the Smith, in his new role as vice films from Quebec for expo theatres will be equipped with On February 13, of this year, sale agreement but before the president of Cinemas Unis/ sure through its network of Dolby stereo in 1987-1988 United Theatres, outlined ex theatres. and six theatres will be equip the CRTC approved transfer of CRTC began its July 1986 tensive theatre renovation Smith also took apparent de ped to show 70mm films. control of the station from hearings, the transfer of con plans for Quebec. light in assuring his audience Western Approaches Ltd. trol was again being disputed As senior executive of the that repertory and art cinema Cinemas Unis will publish whose prinCipal shareholders by Duke and K1enman. -
THE COMMITTEE a NORDIC COLLABORATION Is Taking Place
PROGRAMME THE COMMITTEE A NORDIC COLLABORATION is taking place. Three delegates from Sweden, Norway and Finland are gathered in Lapland to decide on an art piece, which is to be placed where the three borders meet geographically. But the committee is in for a surprise. Instead of a sculpture, the commissioned artist presents his idea of a “Nordic Dance”. The delegates are faced with the true challenges of a democratic decision-making process. Is there something they can agree to be a Nordic movement? GUNHILD ENGER is known for her award- winning short films Subtotal , A Simpler Life and Premature . She studied at Edinburgh College of Art, Lillehammer College and the University of Gothenburg. Her graduation film Bargain was nominated for a BAFTA. JENNI TOIVONIEMI ‘s first film, The Date , was screened at multiple festivals, nominated for several awards and won the Short Film Jury Prize in Sundance and the Crystal Bear, Special Mention in Generation 14plus, Berlinale in 2013. KOMMITTÉN SWEDEN/NORWAY/FINLAND 2016 DIRECTORS Gunhild Enger and Jenni Toivoniemi PRODUCER Marie Kjellson CO-PRODUCERS Isak Eymundsson and Elli Toivoniemi SCREENPLAY Gunhild Enger and Jenni Toivoniemi CINEMATOGRAPHY Jarmo Kiuru, Annika Summerson CAST Cecilia Milocco, Tapio Liinoja, Kristin Groven Holmboe, Martin Slaatto, Teemu Aromaa. DURATION 14 min PRODUCED AND SUPPORTED BY Kjellson & Wik, Tuffi Films and Ape&Bjørn in co- production with Film Väst and SVT with financial support by Swedish Film Institute, Norwegian Film Institute, Finnish Film Foundation, AVEK, YLE and NRK. Commissioned by CPH:LAB INT. SALES TBA AVAILABLE WORLDWIDE EXCLUDING Sweden, Norway, Finland FESTIVAL CONTACT Norwegian Film Institute (in Haugesund, Toril Simonsen) 12 PROGRAMME THE DAY WILL COME THE DAY WILL COME IS A “David versus Goliat” story inspired by actual events.