Migrações Journal

Total Page:16

File Type:pdf, Size:1020Kb

Migrações Journal MIGRAÇÕES JOURNAL SPECIAL ISSUE MUSIC AND MIGRATION Edited by Maria de São José Côrte-Real OBSERVATÓRIO DA IMIGRAÇÃO, ACIDI I.P. 07 Introductory Note by the High Commissioner Rosário Farmhouse, High Commissioner for Immigration and Intercultural Dialogue 09 Preface by the Journal Director Roberto Carneiro, Immigration Observatory Coordinator www.oi.acidi.gov.pt 11 Introduction: citizenship, music and migration Maria de São José Côrte-Real, Editor of the MIGRAÇÕES Journal of the Portuguese Immigration Special Issue on Music and Migration Observatory N.º 7, October 2010 27 I. RESEARCH Director: Roberto Carneiro Editorial Coordination: Catarina Reis Oliveira 29 Music as identity marker: Editor of this Special Issue: individual vs collective Maria de São José Côrte-Real Dan Lundberg Contributors to this Special Issue: Alexei Eremine, Ana Fernandes Ngom, Bart 45 From South to South: Indo-Pakistani diaspora Vanspauwen, Carla Soares Barbosa, Carlos Martins, Dan Lundberg, Dieter Christensen, and recent cultural practices in Spain Godelieve Meersschaert, Gustavo Roriz, Isabel Sílvia Martínez Elvas, J.A. Fernandes Dias, Jean-Michel Lafleur, João Jorge, John Baily, Jorge Castro Ribeiro, Jorge de La Barre, Jorge Murteira, Júlio Leitão, 57 Proud to be a Goan: colonial memories, Lídia Fernandes, Luisiane Ramalho, Mafalda Silva Rego, Marcello Sorce-Keller, Marco Martiniello, post-colonial identities and music Maria da Luz Fragoso Costa, Maria de São José Susana Sardo Côrte-Real, Mark Naison, Miguel Magalhães, Paula Nascimento, Sílvia Martinez, Susana Sardo, Ursula Hemetek 73 Revising citizenship: migration and fado in Editorial Assistant: Cláudia Pires the play of identities in the United States Maria de São José Côrte-Real Translation: Bart Vanspauwen, Gonçalo Oliveira, Hugo Silva, Jorge de La Barre, Kevin Rose, Maria de São José Côrte-Real, Pedro Roxo, Susana 97 Migration, sodade and conciliation: Sardo Cape Verdean batuque practice in Portugal Graphic Design: António Souto Jorge Castro Ribeiro Title Ownership and Publication: ACIDI – Alto Comissariado para a Imigração e 115 Unexpected musical worlds of Vienna: Diálogo Intercultural, I.P. Rua Álvaro Coutinho, 14 Immigration and music 1150-025 Lisboa - Portugal Ursula Hemetek Frequency of Publication: Semestral 139 Music, city, ethnicity: exploring musical ISSN: 1646-8104 scenes in Lisbon Contact information: Jorge de La Barre Revista Migrações Rua Álvaro Coutinho, 14 1150-025 Lisboa – Portugal 157 Afgan music in Australia Email: [email protected] John Baily Circulation: 250 copies Printing: Fábrica das Letras Legal Deposit Classification: 274574/08 contents 2 Migrações _ #7 _ October 2010 3 177 Music as indicator of social adjustment: 253 OriAzul calling music talent throughout national patterns in Melbourne Africa Marcello Sorce-Keller João Jorge 187 Music and migration: Kurds in Berlin Dieter Christensen 257 III. NOTES AND OPINION ARTICLES 203 Migration and musical creativity in 259 The New Creoles and a Great 2010 Bronx Neighbourhoods Jorge Murteira Mark Naison 260 Music without borders in Viana do Castelo 213 Si se puede! Mafalda Silva Rego Music, musicians and the Latino vote at the 2008 US Presidential Election 262 Music, synergies and interculturality in Jean-Michel Lafleur and Marco Martiniello school in Loures Maria da Luz Fragoso Costa and Maria de São José Côrte-Real 231 II. GOOD PRACTICES 265 África Festival in Lisbon 233 Wanderings Paula Nascimento Godelieve Meersschaert 267 AFRICA.CONT: The place of music in the 237 Music and migration: the Gulbenkian project Next Future Program J.A. Fernandes Dias Miguel Magalhães 270 Being a musician: an excellent passport 239 Batoto Yetu through Lisbon, in New York Gustavo Roriz and Luanda Júlio Leitão 273 Orquestra Geração at the Escola Básica 2, 3 Miguel Torga in Amadora 241 The Moscow Piano Quartet in Cascais Maria Isabel Elvas Alexei Eremine 275 Intercultural dialogue at Escola Básica 243 Stories with Music... Music with Stories: Integrada do Carregado an inclusive project for audience training Luisiane Ramalho Carla Soares Barbosa 277 The ‘(r)evolution’ of Lusophone musics in 247 The Association Sons da Lusofonia the city of Lisbon Carlos Martins Bart Vanspauwen 249 The Putos qui ata Cria Project Ana Fernandes Ngom 251 The Program MigraSons Ana Fernandes Ngom and Lídia Fernandes índice índice 4 Music and Migration Migrações _ #7 _ October 2010 5 Rosário Farmhouse High Commissioner for Immigration and Intercultural Dialogue Music is one of the most universal languages used by human beings. Over time, mu- sical expression has accompanied the migration of humanity across the planet, being present in all societies. Resulting from -individual or collective- creative processes, music reveals elements that characterise specific cultural identities of its creators, at the same time estab- lishing itself as a new identity element of the community that appropriates it. In this dynamic process of cultural enrichment, musical language is one of the most contagious ones and, therefore, constitutes a precious contribution to the consolida- tion of interculturality in contemporary societies. In this respect, the Gala «Together in Diversity», held by ACIDI in December 2008, was an example of participation of different musical expressions of various immigrant communities in Portugal in the construction of a new cultural reality that the country currently offers. The present issue of the Migrações Journal, dedicated to the topic of Music and Mi- gration, presents us with a set of articles that clarify the importance of music in the context of migratory communities, both as an identifier and as an element of com- munication and dialogue. We therefore express our gratitude to the authors that collaborated in it and espe- cially to Maria de São José Côrte-Real, that has ensured its scientific coordination. nota de abertura 6 Music and Migration Migrações _ #7 _ October 2010 7 Roberto Carneiro Immigration Observatory Coordinator The Migrações Journal is proud to present a “succulent” number 7, dedicated to the topic of Music and Migration. This issue, wisely coordinated by Maria de São José Côrte-Real, displays an amazing musical rhapsody. In fact, there is no lack of pleasant surprises and stunning diversity in this edition of the Journal. Featuring a remarkable number of researchers from ethno-anthropo- -musicology, the volume firstly offers us a true mosaic of research articles: from the Indo-Pakistani diaspora to Luso-identities in the USA, from colonial and postcolonial identities in Goan diaspora to Cape Verdean batuque, from Afghan music in Australia and Kurdish music in Berlin to music scenes in Vienna, Barcelona and Lisbon, from music as an indicator of social integration in Melbourne to Afro-American music in neighborhoods of the Bronx to music of political intervention in the American presi- dential elections of 2008. Secondly, respecting the common guideline of the Journal, the present thematic is- sue offers nine articles regarding good practices in which valuable associative, foun- dational and communal initiatives stand out. Finally, again following the Journal’s normal and established structure, the coordina- tor presents us with a set of nine opinion articles with a strong lusophone accent and celebrating its multiple expressivities in Portugal and in the African Continent. Music is undoubtedly a remarkable language of universal communication. In other words, it is an aesthetic communicator of particular cultures emphasizing genuinely universal elements. Without musical expressiveness, population movements and identity encounters would find themselves impoverished in revealing their authenticities and in the crea- tion of musical “hybrids” that constitute one of the most portentous emergences in the meeting of peoples and cultures. Should there be any doubt, there is fado, tango, samba or jazz to fully prove it. The issue Music and Migration thus is a remarkable tribute to the creative human genius that, tireless and irrepressible, fulfills the mandate of co-creator that it has been carrying since the extraordinary rise of the Homo Sapiens Sapiens in the up- ward chain of the mysterious work of creation. Migration and migrants are vehicles of spiritual nobility that are inherent to the hu- man condition and subject to the inviolability expressed in the sacred dignity of each and every human being, be they moving or sedentary. nota do director director do nota 8 Music and Migration Migrações _ #7 _ October 2010 9 This issue of the Migrações Journal translates that with a unique communicational Maria de São José Côrte-Real* strength. Editor of the Special Issue on Music and Migration Its coordinator, Maria de São José Côrte-Real, captures the essence of the topic in an exceptional way, and for that let us express our profound gratitude and recognition Introduction: citizenship, music and migration to her. Music and migration matter Music and migration turn out to be two connected and inseparable sides of the unique human pilgrimage through outer and inner worlds of existence. Human, as earth behaviour deserves respect and careful attention. Science already understood, policy will understand.1 The texts presented, from researchers of different Let us celebrate these two sides, integrally and with the veneration they deserve, at schools, musicians, cultural agents, teachers, graduate students, project leaders, a time in which the supreme materiality of selfish interest seems to want to make us interested listeners and travellers
Recommended publications
  • Alternative Digital Movies As Malaysian National Cinema A
    Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof.
    [Show full text]
  • Präsentation Doc Forum Jan15
    Kapverdische Musik. Künstlerische Ausdrucksform und Identitätsvermittler einer transkulturellen Gesellschaft Denise Schubert BetreuerInnen: Gerd Grupe, Helmut Brenner, Regine Allgayer-Kaufmann (Universität Wien) Gliederung 1. Kap Verden 1.1 Einführung 1.2 Kapverdische Migration 2. Orlando Pantera – Ein „Komet“ oder ein Mythos? 3. Theoretische Überlegungen 4. Methoden 5. Quellen 2/21 1.1 Einführung Die Republik Kap Verde befindet sich 450 km westlich des afrikanischen Kontinents. Graz, 17.01.2015 3/21 1.1 Einführung Von den 10 Inseln des Archipels sind 9 bewohnt. Einwohnerzahl: 500.000 Graz, 17.01.2015 4/21 Graz, 17.01.2015 5/21 1.1 Einführung Von den 10 Inseln des Archipels sind 9 bewohnt. Einwohnerzahl: 500.000 Kapverdier in der Diaspora: 700.000 Graz, 17.01.2015 6/21 1.1 Einführung Wirtschaft „Fuelled by strong external demand, tourism export receipts grew from USD 40 million in 2000 to USD 360 million in 2012 (an annual growth rate of 19%) [...].“ 7/21 1.2 Kapverdische Migration Die Migrationsprozesse der Insulaner unterteilen sich in drei Hauptzyklen. Portugal, Niederlande, Italien, Frankreich Senegal, Gambia USA,Niederlande, Spanien, Italien Argentinien Brasilien, São Tomé und Príncipé, Portugal, Mosambik, Guinea-Bissau, Angola, Timor 1600 1700 1800 1900 2000 Góis Pedro (2006) Graz, 17.01.2015 8/21 Graz, 17.01.2015 9/21 3. Orlando Pantera - Ein „Komet“ oder ein Mythos? Orlando Monteiro Barreto (1967-2001) Musikstile: Kinderlieder*, Batuku, Funaná, Tabanka, (Morna) Hörbeispiel A: traditioneller Batuku (Cidade Velha, 2014) Hörbeispiel B: Orlando Pantera „Dispedida“ (2000) (aus „Mais Alma“, Dokumentarfilm: Catarina Alves Costa, 2001) Graz, 17.01.2015 10/21 3. Orlando Pantera - Ein „Komet“ oder ein Mythos? ● Preis für junge Musiker „Orlando Pantera – Discoberta de talento Jovem“ ●Soziale Bildungseinrichtung „Centro Educativo de Orlando Pantera“ ● Generation Pantera (Mayra Andrade, Princezito, Mario Rui, Lura Criola u.a.) Graz, 17.01.2015 11/21 4.
    [Show full text]
  • X E D I Z I O
    X EDIZIONE NORAJAZZ.IT comunicato stampa X EDIZIONE Pula, Teatro Romano di Nora 1-3-8-10 agosto Ultimi preparativi per l’INTERNATIONAL NORA JAZZ FESTIVAL che quest’anno festeggia i suoi primi dieci anni brindando assieme a quattro artiste di fama mondiale. Sul palcoscenico del teatro antico di Nora, dall’1 al 10 agosto, andranno in scena: ROBERTA GAMBARINI, una delle poche vocalist non americane per due volte candidata ai Grammy. CATHERINE RUSSELL, una delle più importanti jazz singers della scena internazionale. MAYRA ANDRADE, protagonista di uno stile che unisce afrobeat, jazz, folk, tradizione capoverdiana. CYRILLE AIMÉE, tra le più apprezzate vocalist europee in terra d’America. C’è una contagiosa gioia di vivere nelle voci di Roberta Gambarini, Catherine Russell, Mayra Andrade e Cyrille Aimée, le quattro artiste protagoniste del nuovo cartellone di concerti chiamate a festeggiare, dall’1 al 10 agosto, la decima edizione dell’International Nora Jazz Festival. Voci grintose, abbaglianti, dai forti vibrati, che fondono blues, pop, morna e afrobeat per poi sciogliersi ineluttabilmente nel jazz. Un’edizione come sempre organizzata dall’Associazione Enti Locali per lo Spettacolo e dal Comune di Pula, che si terrà nella straordinaria atmosfera del teatro antico di Nora. Un appuntamento che si affida al fascino e al mistero dell’universo femminile per invitare il suo affezionato pubblico a quattro serate di gran classe. Palcoscenico tra i più potenti e suggestivi dell’Europa festivaliera, nato sotto il segno della ricerca e della qualità, nella prima decade di agosto Nora Jazz propone un calendario di artiste destinate ad arricchire il parterre di ospiti di fama mondiale che, anno dopo anno, sceglie il festival pulese come unica tappa esclusiva dei suoi tour in Sardegna.
    [Show full text]
  • Ninth Periodic Report Submitted by Cabo Verde to CEDAW
    CEDAW/C/CPV/9 Distr.: General 9 February 2018 Original: English ADVANCE UNEDITED VERSION Committee on the Elimination of Discrimination against Women Ninth periodic report submitted by Cabo Verde under article 18 of the Convention, due in 2017* [Date received: 9 February 2018] * The present document is being issued without formal editing. Note: The present document is being circulated in English, French and Spanish only. CEDAW/C/CPV/9 Contents Page List of Abbreviations ........................................................................................................................ 3 Introduction ..................................................................................................................................... 5 I. Implementation of recommendations ..................................................................................... 5 Recommendation 1: Parliament ...................................................................................................... 5 Recommendation 2: Visibility of the Convention, the Optional Protocol and the Committee’s General Recommendations ............................................................................................................................ 6 Recommendation 3: National human rights institution .................................................................... 6 Recommendation 4: National machinery for the advancement of women ....................................... 7 Recommendation 5: Temporary special measures ..........................................................................
    [Show full text]
  • An Analysis of Miguel Gomes' Oeuvre
    Divided Hybrids: An Analysis of Miguel Gomes’ Oeuvre Francisco Vergueiro Martins Fontes 11689986 Date: 26/06/2018 Supervisor: Dr. Abraham Geil Second Reader: Dr. Marie-Aude Baronian Media Studies: Film Studies University of Amsterdam Table of Contents Introduction 03 Chapter 1: Foundations - Shorts & The Face You Deserve 06 Chapter 2: Recognitions - Our Beloved Month of August 15 Chapter 3: Recollections - Tabu 24 Chapter 4: Dreams - Arabian Nights 33 Conclusion 45 Bibliography 47 Filmography 48 List of Illustrations 49 !2 Introduction Documentaries and fiction films have been intertwining since 1895, when we first saw moving images of workers leaving the Lumière factory. This hybridization of registers has been explored since the very start but, like most aspects of our day-to-day, it is an idea that is constantly evolving and reinventing itself. This reinvention of ideas can be compared to André Bazin’s belief that cinema was yet to be invented (Myth 17) - a statement that can still be considered true when analyzing the development and eventual reinvention of specific filmmaking methods. The essential difference is that, while Bazin believed cinema was trying to catch up to the myth of its total enactment - in order to eventually reach an end result - in this case cinema continues to be “invented” due to its openness for experimentation - one without an end. The Portuguese critic-turned-director Miguel Gomes is behind a body of work that is distinctive in how it shifts between documentary and narrative filmmaking techniques, helping with this slow “invention” of the seventh art through formal experimentation. Strongly, but not exclusively, due to his mixture of techniques, his oeuvre is also firmly linked to realism, keeping such theories relevant, and as contemporary as his own work.
    [Show full text]
  • Some of CARMEN SOUZA and THEO PASCAL PRESS Quotes Over the Years See the Clipping At
    Some of CARMEN SOUZA AND THEO PASCAL PRESS Quotes over the years See the clipping at www.carmensouzapresskit.blogspot.com CD/DVD_LIVE LAGNY JAZZ FESTIVAL (2014) 5 STARS (CD of the week)"Carmen Souza is one of a kind—an original as rare as a throat singer and as exquisite as a vocalist who combines the best of Billie Holiday and Elis Regina—whose time has certainly come. Carmen Souza’s star is certainly on the rise. Her performances are riveting; she has a sensuous manner and her delicate swaying to the music seems to suggest that her body absorbs the melodies and harmonies of her songs that are surely made deep down in her soul." Raul da Gama, Latin Jazz Network, USA 5 STARS "Une artiste impressionnante. Chanteuse charismatique, Carmen Souza scatte à la manière d’Ella Fitzgerald et passe de l’aigu au grave avec une virtuosité certaine. Tantôt suave, tantôt mélancolique dans Live at Lagny Jazz festival, elle s’approprie avec simplicité et malice le fameux « sodade » si cher à la Diva au pieds nus (ndlr Cesaria Evora). Elle joue de la guitare, du piano et utilise sa voix tel un instrument. Dans cet album, ses reprises de My favorite things - John Coltrane - et Donna Lee – standard du jazz composé par Miles Davis – prouvent, s’il en était besoin, tout le talent de cette artiste. Elle réussit la prouesse de s’approprier des classiques du jazz sans les dénaturer." Eva Dréano, AFRICAVIVRE, FR 5STARS "La chanteuse a ainsi trouvé sa voi(e)x dans un métissage réussi des rythmes africains et capverdiens et du jazz contemporain...Piochant dans son répertoire quelques succès, Carmen y présente aussi trois inédits, dont un reprise sublime d’Edith Piaf « Sous le Ciel de Paris ».
    [Show full text]
  • O Caso De Portugal Film-Induced Tourism
    Universidade de Aveiro Departamento de Economia, Gestão e Engenharia 2013 Industrial SUSAN O CINETURISMO – O CASO DE PORTUGAL BELINDA CARVALHO FILM-INDUCED TOURISM – THE CASE OF PORTUGAL Universidade de Aveiro Departamento de Economia, Gestão e Engenharia 2013 Industrial SUSAN O CINETURISMO – O CASO DE PORTUGAL BELINDA CARVALHO FILM-INDUCED TOURISM – THE CASE OF PORTUGAL Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Gestão e Planeamento em Turismo, realizada sob a orientação científica do Doutor Armando Luís Vieira, Professor Auxiliar do Departamento de Economia, Gestão e Engenharia Industrial da Universidade de Aveiro e coorientação da Doutora Alcina Pereira de Sousa, Professora Auxiliar do Centro de Competências de Artes e Humanidades da Universidade da Madeira. ii I dedicate this dissertation to my mum, Celeste Nóbrega for all her support throughout this entire process and for always believing in me. o júri Presidente Prof. Doutora Zélia Maria de Jesus Breda professora auxiliar convidada do Departamento de Economia, Gestão e Engenharia Industrial da Universidade de Aveiro Prof. Doutor Moritz Von Schwedler professor auxiliar convidado da Escola de Economia e Gestão da Universidade do Minho Prof. Doutor Armando Luís Lima de Campos Vieira professor auxiliar do Departamento de Economia, Gestão e Engenharia Industrial da Universidade de Aveiro iv acknowledgements First of all, I would like to thank my family for their support and patience throughout this long and stressful journey. I would like to thank my supervisor, Prof. Doctor Armando Vieira for having provided the necessary guidance and keeping me on the right path. I would also like to give a special thank you to Prof.
    [Show full text]
  • Cape Verde and Brazil Musical Connections
    Cape Verde and Brazil Musical Connections Juliana Braz Dias Universidade de Brasília / University of Pretoria Introduction The insertion of Brazilian music in contexts outside of the country is no lon- ger a novelty. Indeed, the media often reports on these musical flows. For instance, newspapers and specialized magazines have played a crucial role in highlighting the presence of Brazil on the international stage through reports on Grammy Awards won by Brazilian musicians (namely, Sérgio Mendes, Milton Nascimento, Gilberto Gil, Caetano Veloso e João Gilberto). Another example is the increased visibility of concerts featuring Brazilian artists in other countries, such as the Brazilian Day in New York, which attracts more than a million people to the streets of that city – above all Brazilians, but also North-Americans and migrants from other countries. However, it should be noted that the presence of Brazilian music outside of the country’s borders is not necessarily related to the global cultural indus- try, neither to the impact of recent migration processes. Musical exchanges involving Brazilian musicians have been going on for some time, in multiple ways, following diverse routes and movements of people. In this article, I focus on a particular trajectory that some forms of Brazilian music have taken. I refer to the Atlantic flows that allowed for the arrival of music and musicians from Brazil to Cape Verde, deeply influencing musical productions in the archipelago. Adopting an anthropological ap- proach, I seek to engage with discourses articulated by Cape Verdeans on the role of “Brazilian music” (as they understand it) and its relationship to the music produced in Cape Verde.
    [Show full text]
  • Conflict and Controversy in Small Cinemas
    Part 3: Stereotypes and Social Polarities Janina Falkowska and Krzysztof Loska - 9783631755174 Downloaded from PubFactory at 09/25/2021 09:49:45PM via free access Janina Falkowska and Krzysztof Loska - 9783631755174 Downloaded from PubFactory at 09/25/2021 09:49:45PM via free access Jadwiga Hučková Instytut Sztuk Audiowizualnych, Uniwersytet Jagielloński, Poland 11. Exposed and concealed Roma conflict: Representation of contemporary Roma conflicts in Czech Republic, Slovakia, Poland and Hungary Abstract: Roma conflict is one of the dominant issues that societies and cinemas of Eastern Europe should face. Recently, a variety of deeply touching films have been created such as Just the Wind (dir. Benedek Fliegauf) and Judgement in Hungary (dir. Eszter Hajdú). While the films show disgruntlement or even large-scale protests and riots, the films’ plots rarely present the causes of such events. Documentary film projects with sociological ambitions, however, stand out above these films, they are knowledgeable and insightful but their range is only local. There are some exceptional cases that overthrow this rule, such as Moving a Settlement or The Roma King (dir. Viliam Poltikovič). On the other hand, the superproductions such as Koza (dir. Ivan Ostrochovský) or The Queen of Silence (dir. Agnieszka Zwiefka) mainly concentrate on the formal side at the expense of the simplification of the film’s content. My purpose is to present various variants of the representation of Roma conflict in these films. Keywords: Roma, Central Europe, film, politics “Roma Issue” has progressed to become one of the most serious areas related to Central Europe since the beginning of 1990s. The time of political transformation has created a new context for the issue present in the collective consciousness for many decades.
    [Show full text]
  • For Immediate Release Tribeca Film Festival® Announces
    FOR IMMEDIATE RELEASE TRIBECA FILM FESTIVAL® ANNOUNCES FEATURE FILM LINE UP FOR THE COMPETITION, SPOTLIGHT, VIEWPOINTS AND MIDNIGHT SECTIONS OF THE 16TH ANNUAL FESTIVAL APRIL 19-30 ProgrAm Includes Artistic Gems, Comedies, Complex Artistic PortrAits, And PoliticAl And Social Action Films that will Engage, Inspire and Entertain New York, NY [MArch 2, 2017] – An exciting slate of films that showcases the breadth of contemporary filmmaking across a range of styles will premiere at the 2017 Tribeca Film Festival, presented by AT&T. The Festival today announced the feature films across the following programs: Competition, including U.S. Narrative, Documentary, and International Narrative categories; Spotlight, supported by The Lincoln Motor Company, a selection of anticipated premieres from major talent; Viewpoints, which recognizes distinct voices in international and American independent filmmaking; and the popular Midnight Section, supported by EFFEN® Vodka, featuring the best in psychological thriller, horror, sci-fi, and cult cinema. After receiving a record number of entries, the Festival’s seasoned team of programmers, led by Cara Cusumano in her new role as Director of Programming and Artistic Director Frédéric Boyer, carefully curated an edgy, entertaining and provocative program. The 16th Annual Tribeca Film Festival takes place April 19 – 30. Today’s announcement includes 82 of the 98 feature-length titles in the Festival. In a year of record high submissions, the Festival’s curators chose to reduce the size of the overall program by 20%, making this the most selective and focused festival slate yet. The Competition section features 32 films: 12 documentaries, 10 U.S. narratives and 10 international narratives.
    [Show full text]
  • LALITHA GOPALAN Spring 2019 Department of Radio-Television
    LALITHA GOPALAN Spring 2019 Department of Radio-Television-Film 1 University Station A0800 The University of Texas at Austin Austin, Texas 78712 Affiliate Faculty Department of Asian Studies Core Faculty Center for Women and Gender Studies Telephone: 512-471-4071 Email: [email protected] EMPLOYMENT Associate Professor, Department of Radio-Television–Film and Department of Asian Studies, University of Texas at Austin, Fall 2007-present. Visiting Associate Professor, Department of East Asian Languages and Cultures, University of California, Berkeley, Spring 2009 and Spring 2011. Associate Professor, School of Foreign Service and Department of English, Georgetown University, 2002-2007. Assistant Professor, School of Foreign Service and Department of English, Georgetown University, 1992-2002. Visiting Faculty, Digital Media Summer Institute, UT Austin/Portugal, Porto, Summer 2018. Visiting Faculty, iNova Media Lab, UT Austin/Portugal, Lisboa, Summer 2018. EDUCATION Ph.D. University of Rochester, Comparative Literature Program, Department of Foreign Languages, Literatures, and Linguistics M.A. University of Rochester, Anthropology M.A. Delhi School of Economics, Sociology B.A. Madras Christian College, Economics 2 PUBLICATIONS BOOKS Cinema of India. Edited. London: Wallflower Press. 2010. (Distributed in the USA by Columbia University Press) Bombay. BFI Modern Classics. London: British Film Institute. December 2005. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. London: British Film Institute Publishing. 2002. (Indian Reprint Delhi: Oxford University Press, 2002) ARTICLES AND ESSAYS ‘Roundtable discussion on Experimental Cinemas in India.’ In World Experimental Films. Ed. Federico Windhausen. London: Wiley Blackwell. Submitted January 2018. Forthcoming. ‘Beginnings and Children.’ In The Child in World Cinema. Ed. Karen Lury. London:BFI/Bloomsbury.
    [Show full text]
  • Contemporary Slovak Film: a Symptom of the Times Or a Representation of Society?
    CONTEMPORARY SLOVAK FILM: A SYMPTOM OF THE TIMES OR A REPRESENTATION OF SOCIETY? JANA DUDKOVÁ Institute of Theatre and Film Research, Slovak Academy of Sciences Abstract: The phenomenon of Slovak cinema after 1989 is often linked with metaphors of ab- sence and sterility. There are many reasons why this can be stated, and they are to a great ex- tent closely connected with the reckless transformation and denationalisation of cinema which almost ruined it in the 1990s. On the one hand, cinema is no longer controlled or supported by the state; on the other hand, it is still financially dependent on it. (Until 2009, the ministers of culture are still responsible for the division of film funds, and frequent changes in the volume of available funds or the state’s preferred subject matter have resulted in a number of projects that received short-term funding but have never been finished.) The focus is no longer on the middle class; therefore, there has been a decrease in cinema attendance and box office success. However, films are still reflecting some social changes and specifics as well as the position of Slovakia in a certain “global” world order. This article is going to outline some often overlooked approaches to post-1989 Slovak cinema as a reflectionof social change. The focus will be on the sense of belatedness in generational gestures which embody the beliefs of the transition period as well as the spatial metaphors of one’s relationship to society. Last but not least, attention will be paid to the unconscious self-reflection of cinema and its role in the shift of society towards the market economy.
    [Show full text]