Juries State of Affairs April 2015
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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. -
1 GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29
GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29, 2020 I am pleased to be here to talk about my role as Deputy Director of the Washington, DC International Film Festival, more popularly known as Filmfest DC, and as Director of the Arabian Sights Film Festival. I would like to start with a couple of statistics: We all know that Hollywood films dominate the world’s movie theaters, but there are thousands of other movies made around the globe that most of us are totally unaware of or marginally familiar with. India is the largest film producing nation in the world, whose films we label “Bollywood”. India produces around 1,500 to 2,000 films every year in more than 20 languages. Their primary audience is the poor who want to escape into this imaginary world of pretty people, music and dancing. Amitabh Bachchan is widely regarded as the most famous actor in the world, and one of the greatest and most influential actors in world cinema as well as Indian cinema. He has starred in at least 190 movies. He is a producer, television host, and former politician. He is also the host of India’s Who Wants to Be a Millionaire. Nigeria is the next largest film producing country and is also known as “Nollywood”, producing almost 1000 films per year. That’s almost 20 films per week. The average Nollywood movie is produced in a span of 7-10 days on a budget of less than $20,000. Next comes Hollywood. Last year, 786 films were released in U.S. -
36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18)
36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18) • No children are allowed. • Unified prices for all tickets: 20 EGP. • 50% discount for students of universities, technical institutes, and members of artistic syndicates, film associations and writers union. • Booking will open on Saturday, November 8, 2014 from 9am- 10pm. • Doors open 15 minutes prior to screenings • Doors close by the start of the screenings • No mobiles or cameras are allowed inside the screening halls. 1 VENUES OF THE FESTIVAL Main Hall – Cairo Opera House 1000 seats - International Competition - Special Presentations - Festival of Festivals (Badges – Tickets) Small Hall – Cairo Opera House 340 seats - Prospects of Arab Cinema (Badges – Tickets) - Films on Films (Badges) El Hanager Theatre - El Hanager Arts Center 230 seats - Special Presentations - Festival of Festivals (Badges – Tickets) El El Hanager Cinema - El Hanager Arts Center 120 seats - International Cinema of Tomorrow - Short films Competition - Student Films Competition - Short Film classics - Special Presentations - Festival of festivals (Badges) Creativity Cinema - Artistic Creativity Center 200 seats - International Critic’s Week - Feature Film Classics (Badges) El Hadara 1 75 seats - The Greek Cinema guest of honor (Badges) 2 El Hadara 2 75 seats - Reruns of the Main Hall Screenings El Hanager Foyer- El Hanager Arts Center - Gallery of Cinematic Prints Exhibition Hall- El Hanager Arts Center - Exhibition of the 100th birth anniversary of Barakat El- Bab Gallery- Museum of Modern Art - -
Animatricks Film Festival 2015
Animatricks Film Festival 2015 A Marketing Plan Emmi Nilivaara Bachelor’s thesis April 2015 Degree Programme in Music and Media Management School of Business 2 Description Author(s) Type of publication Date Nilivaara, Emmi Bachelor’s thesis 17.4.2015 Language of publication: English Number of pages Permission for web 36+24 publication: x Title of publication Animatricks Film Festival 2015 A Marketing Plan Degree programme Music and Media Management Tutor(s) Miikkulainen, Ilari Assigned by Palikka Ry. Abstract The goal of the bachelor’s thesis was to create an efficient and implementable marketing plan for the Animatricks Film Festival 2015. The Animatricks Film Festival is an annual animation-related festival held in Helsinki, Finland. The festival is organized by Palikka Ry, a non-profit organization. It was agreed upon to create a marketing plan for the next Animatricks Film Festival (2015) as there had been no previous one(s). The bachelor’s thesis concentrates on describing the concept of marketing and marketing plan in the chapter of theoretical basis. The chapter on implementation presents the practicalities of creating a marketing plan for the Animatricks Film Festival 2015. As a result, a marketing plan for the Animatricks Film Festival 2015 was created based on the needs and wants of Palikka Ry. The implementation of the marketing plan started in January 2015. As the thesis was finished before the festival was being held, no definite or concrete proof on the success rate of the marketing plan was discovered. The marketing plan is attached to the bachelor’s thesis however, it is confidential and not published. -
Golden Apricot Fund for Cinema Development
1 DONORS Dear Colleagues, Participants, and Friends, Welcome to the 14th Golden Apricot International Film Festival! Welcome to the GAIFF Industry Days and Creative Europe Forum 2017! It is almost 14 years that Golden Apricot has established synergies at different levels between state and audiovisual actors to pro- mote global partnership and sustainable development. Golden Apricot is dedicated to building further co-operation bridges with Europe and enhancing CSOs-CCIs capacity building platform. Based on the vital need for a wide professional network and cul- tural exchange Golden Apricot has initiated the GAIFF Industry Days 2017. The main aim of GAIFF‘s new industry program in 2017 is to develop the film industry in Armenia and to serve as a unique platform for film professionals from Armenia and beyond. GAIFF Industry Days 2017 will consist of professional workshops, trainings, roundtables, panel discussions, project pitchings, master classes conducted by Golden Apricot guests – film experts, directors, and producers from around the world. GAIFF Industry Days 2017 include: ü 2-day Armenia-Turkey Cinema Platform Workshop for short and documentary film projects by Armenian and Turkish filmmakers (10-11 July) – in partnership with Anadolu Kultur, Turkey; ü Eurasiadoc Workshop (10-12 July) – 3-day training program for documentary projects from Armenia, Georgia, and Turkey with participation of more than15 French producers and broadcasters – in partnership with Docmonde, France; ü Round Table “Armenia in the Structure of Film Production in the USSR and in the Post-Soviet Period”(12 July) – in partnership with New Institute for Cultural Research, Russia; ü Pitch Workshop for pre-selected projects – in partnership with British Council (12-13 July); ü 3-day Creative Europe Forum (12-14 July); ü GAIFF Master Classes (10-15 July) in partnership with AGBU and TUMO Center for Creative Technologies. -
Trends of Pakistani Films: an Analytical Study of Restoration of Cinema
Trends of Pakistani films: An analytical study of restoration of cinema Fouzia Naz* Sadia Mehmood** ABSTRACT People prefer to go to the cinema as compared to theaters because of its way of execution and performance. Background music, sound effects, lights, direction attract people, and its demonstrations relate people to their lives. It is true that films have a unique and powerful connection between human behavior and societal culture. Pakistani film industry faced the downfall and now it is doing its best to make the films on international standards. In this research article, the background of Pakistani cinema and causes of downfall will be discussed. The main idea of this research article is to identify and study the development of Pakistani film industry. Qualitative and quantitative data collection will be used as the research method of this research. This research article helps in observing different mass media theory based on Pakistani cinema. Moreover, it will be explained what filmmakers critiques and people say regarding revival or restoration. Keywords: downfall, revival, the impact of the Pakistani film industry, Lollywood *Assistant professor, Mass Communication, University of Karachi) **Assistant professor, Mass Communication, University of Karachi) 33 Jhss, Vol. 8, No. 2 , July to December, 2017 The definition of cinema can be explained as “another word of moving a picture”1This is the place where films are shown to the public. Most of the people who are not into the arts get confused in cinema and theater. The theater is the building where live performance is performed2. The similarity between cinema and theaters are both of them execute act and created for public entertainment. -
Cultural Diplomacy and Conflict Resolution
Cultural Diplomacy and Conflict Resolution Introduction In his poem, The Second Coming (1919), William Butler Yeats captured the moment we are now experiencing: Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. As we see the deterioration of the institutions created and fostered after the Second World War to create a climate in which peace and prosperity could flourish in Europe and beyond, it is important to understand the role played by diplomacy in securing the stability and strengthening the shared values of freedom and democracy that have marked this era for the nations of the world. It is most instructive to read the Inaugural Address of President John F. Kennedy, in which he encouraged Americans not only to do good things for their own country, but to do good things in the world. The creation of the Peace Corps is an example of the kind of spirit that put young American volunteers into some of the poorest nations in an effort to improve the standard of living for people around the globe. We knew we were leaders; we knew that we had many political and economic and social advantages. There was an impetus to share this wealth. Generosity, not greed, was the motivation of that generation. Of course, this did not begin with Kennedy. It was preceded by the Marshall Plan, one of the only times in history that the conqueror decided to rebuild the country of the vanquished foe. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
A Queer and Foreign State: Iceland’S Cinematic Subjects
MAXINE SAVAGE A Queer and Foreign State: Iceland’s Cinematic Subjects ABSTRACT Since the year 2000, twenty Icelandic films have been produced which could be aptly grouped as LGBTQ+ or queer Icelandic cinema. This “queer turn” in Icelandic cinema emerges as the nation makes strides in advancing LGBTQ+ rights and as its demographics markedly shift, first-generation immigrants now comprising 12.6 per cent of the population. These changes have not occurred in a vacuum, and the films discussed in this article complicate the boundary between native and foreign, Icelandic and non-Icelandic, alongside their centering of queer characters and stories. In addition to narrative focus on coming-out and sexuality, many of the films within “Icelandic queer cinema” thematize race and ethnicity, often through the inclusion of foreign characters living and traveling in Iceland.This collection of films is thus well suited to exploring the interlock- ing national and sexual regulations which produce the Icelandic nation state. This article explores conceptions of the Icelandic nation state in two films that span Icelandic cinema’s “queer turn,” Baltasar Kormákur’s 101 Reykjavík (2000) and Ísold Uggadóttir’s Andið eðlilega (And Breathe Normally, 2018). In tracing representations of racialized otherness within these films and taking theoretical cues from critical race theory and queer of color critique, this article considers the ways in which race and ethnicity co-constitute categories of sex, gender, and sexual orientation. Ultimately, this article poses “Icelandic queer cinema” as a key site for the contemporary negotiation of the meaning of national and sexual belonging in Iceland. Keywords: Icelandic cinema, queer theory, race, abjection, Nordic exceptionalism lambda nordica 3–4/2020 © The authors. -
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. -
Bulgarian Cinema 2016 Facts / Figures / Trends Editorial
BULGARIAN CINEMA 2016 FACTS / FIGURES / TRENDS EDITORIAL This special edition, prepared by the Bulgarian National Film Centre in con- junction with CREATIVE EUROPE MEDIA desk – Bulgaria, and with the help of the Observatory of Cultural Economics – Bulgaria, presents the current state of affairs in Bulgaria’s audiovisual industry. We did our best to offer more information both about the training in the field of cinema studies and the financing opportunities in this country, as well as about gaining support outside Bulgaria, the recent Bulgarian productions and their success, about the TV environment and the legislation. We believe that the booklet could expand on the idea of the processes taking place in Bulgarian film industry. We also believe that the reference information, providing addresses and con- tact details of producers, festivals, distributors and institutions, could prove helpful to our readers to establish contact and enter into dialogue with their Bulgarian colleagues more easily. If not mentioned explicitly, the source of information is the National Film Center. I LEGISLATION The institutional and legal environment for the development of Bulgarian film industry, set over the years of transition, contains legislation, secondary legislation and institutional bodies established under these. Bulgarian film industry functions under three legal frameworks: • National legal framework; • The acquis communautaire; • International legal framework. National legal framework Two major periods of creating the legal and institutional environment at a national level are discernable: • The 1990s, when the legal framework of the sector has been amended on more than one occasion, partially though: for example automatic subsidizing of coproductions was introduced at the time (1994) and • The period following 1997, related to the preparation for this country’s EU accession and the developing of an integral specialized regulatory framework. -
Macho Icons Going Places
J. Vis. Art & Des., Vol. 11. No. 1, 2019, 1-18 1 Macho Icons Going Places Muhammad Asghar1 & Muhammad Arshad Rehmani2 1Institute of Art and Design, Government College University, New Civil Lines Campus, Near Regency Plaza, 38000 Faisalabad, Pakistan 2Institute of Art and Design, University of Sargodha, University Road, 40100 Sargodha, Pakistan E-mail: [email protected] Abstract. This paper is an exploration of the increasing trend of popular macho representations on the back of three-wheeled auto rickshaws in the Punjab, Pakistan. Through an ethnographic field research it was observed that the painted visuals of popular icons in clichéd heroic poses are rampant on rickshaws, representing a mobile exhibition of urban folk art. These visuals are mostly taken from the local Punjabi film industry, which has eclipsed over the past two decades. This study further explored the reasons for the increase of male figures displayed on rickshaws (and other) popular art and the almost total extinction of female figures because of increased religious assertion in Pakistan over this two- decade period. Our analysis shows that the relationship between rickshaw drivers and a common male audience with these powerful visuals is so strong that it reinforces the ‘impulse to image’. The power of macho visuals satisfies the taste of cinemagoers who love to travel by rickshaws loaded with such visuals. We argue that these macho ideal representations have a strong impact on the beholders and they influence society through the power they convey. Finally, this study concludes that the popular macho visuals effectively communicate real emotions and please the mood of vast audiences in particular segments of society.