Awesome Shorts: Short Films Viewing List
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SHORT FILM: NONVERBAL COMMUNICATION Margaret Mcginity, Music/Journalism Mentor: Jeff Ames, Greenlee School of Journalism and Communication PROJECT INSPIRATION
SHORT FILM: NONVERBAL COMMUNICATION Margaret McGinity, Music/Journalism Mentor: Jeff Ames, Greenlee School of Journalism and Communication PROJECT INSPIRATION Interest in filmmaking Search for project that could incorporate music, journalism and mass communication, and performing arts Desire to create a project that could entertain as well as inform Fictional film based on nonfiction research, not documentary, called “Meet Me At Seven” RESEARCH QUESTIONS What are the goals of modern communication? How much can be said without saying a word? What forms of nonverbal communication exist, and can they be equally effective as verbal communication in expressing a message/story? SILENT FILM GENRE Overdramatic gestures and acting to tell story without the subtleties spoken word allows Heavily reliant on actors, inter titles (words on screen to replace audible dialogue) and soundtrack to share story of film Intertitle from “Metropolis” “METROPOLIS” AS TEMPLATE 1927 science fiction silent film by Fritz Lang Futuristic urban dystopian story Use of “Dies Irae” theme to underscore apocalyptic moments in film Early editing techniques make sometimes choppy film MY FILM A LA “METROPOLIS” I settled on a romanic comedy as being the simplest modern film form to convert into silent film Light subject matter in dark “Metropolis” template Dramatic music paired with picking outfit montage Stylistic choices reinforce silent film genre, add to comedy METHODS OF NONVERBAL COMMUNICATION SHOWN Acting and facial expression Written language Body language and gestures -
Named Audience Award Winner at SXSW Fest - Panarmenian.Net
3/17/2014 “Before I Disappear” named audience award winner at SXSW Fest - PanARMENIAN.Net Like 58k USD 414.96 EUR 576.55 RUR 11.32 Yerevan +7 ... +12 C Home All news World Foreign Policy & Diaspora Politics Arts & Showbiz more... Overview News Articles Interviews Calendar Like Share Be the first of your friends to like this. Home All news “Before I Disappear” named audience award winner at Overview: Arts & Showbiz SXSW Fest Other news in this section March 17, 2014 14:23 AMT PanARMENIAN.Net Shawn Christensen’s Before I Disappear was named the audience award winner in the narrative feature competition at the South by Southwest Film Festival. Based on Christensen’s Oscarwinning 2012 short film Curfew, Disappear stars the writerdirector as a man, hitting a low point, who is asked to look after his 11yearold niece, The Hollywood Reporter said. In the documentary feature competition, the audience award winner was Diana Whitten’s Vessel, a portrait of abortion activist Rebecca Gomperts. Diego Luna’s Cesar Chavez, a drama about the famed labor organizer, which Lionsgate and its Pantelion Films are releasing theatrically March 28, took the audience award in the narrative spotlight category. The audience awards follow the previously announced 2014 Jury Awards, which included Grand Jury Latest news winners SarahViolet Bliss and Charles Rogers’ Fort Tilden for narrative feature, and Margaret Brown’s Asteroid Data Hunter Challenge The Great Invisible for documentary feature. launched The agency has since been collecting ideas for how to track, deflect Over the course of nine days, the 2014 SXSW Film Festival is screening a total of 133 features and 113 and capture asteroids, including turning to shorts. -
Hawaii Film & Entertainment
HAWAII FILM & ENTERTAINMENT BOARD 'Brem(R ellinB. Cfiarr SENATE COMMITTEES Screen ,;t\ctOYS 9Ui((;( ON ECONOMIC DEVELOPMENT and TAXAnON Chris Conyoeare, 'Esq. TOURISM and GOVERNMENT Voltovan .:4liuna 1..:4.'T.S.'E.. LocaC665 February 7, 2008 -1:15 pm 'Benita 'Brazier State Capitol, Conference Room 224 :Maui :firm Commission l1'aCea Ccmstantinau J{Olto[u[u :firm Office RE: SB 2273 - RELATING TO DIGITAL MEDIA Vonne Vawson Dear Chair Fukunaga, Chair Nishihara and members of the committees: J{awaif :FiCm Office jeanne lsfiiliawa The Hawaii Film and Entertainment Board. whose members include all ofHawaii's Teamsters. L oeaC 996 film unions. film commissions and leading industry associations. thank the Leroy jeniins legislature for its strong support ofHawaii's film industry but must oppose SB :H.l.y.Jl. 2273 as written as advised through the Attorney General's office through DBEDT because there are concerns about the constitutionality ofwhat has been proposed. john :Mason 'Bil} Is[a IU[:firm Office We also oppose the measure as written in regards to the certification and training 'Brien :MaLSon details. .:4.:J.:M., Lcca(677 We do. however. support the intent of the measure, to create incentives that drive Steylianie SyanBCer :f.7t.'V..:4.:H. workforce development ofthe industry, and encourage the legislature to continue to dialog with the film industry about the issue. .:4rt 'Umezu Xauai :FiCm Commission 1U4111falf Young 1. 'B.'E. W •• LocaC 1260 c/o SCREEN ACTORS GUILD. 949 Kapiolani Blvd., Suite t05. Honolulu, HI 96814. PH: (808) 596-0388' FAX: (800) 305-8146 ( LINDA LINGLE MARK J. -
Copyright Edinbugh University Press
chapter 1 Introduction: The Return of the Epic Andrew B. R. Elliott n the spring of 2000, some three decades after the well-publicised flops of ICleopatra (Mankiewicz 1963), The Fall of the Roman Empire (MannPress 1964) and The Greatest Story Ever Told (Stevens 1965), unsuspecting cinema audi- ences were once again presented with the lavish and costly historical epics which had ruled the box office a generation earlier. Ridley Scott’s Gladiator, in a seemingly sudden departure from many of Scott’s previous films, told the epic tale of a Roman general-turned-gladiator ‘who defied an emperor’ and who (albeit posthumously) founded a new Roman Republic. Though few could have predicted it at the time, the global success of his film ‘resurrected long-standing traditions of historical and cinematic spectacles’,1 and Scott would later find himself credited with re-launching a genreUniversity which had lain dormant for 35 years, heralding ‘a sudden resurrection of toga films after thirty-six years in disgrace and exile’, which prompted critics and scholars alike emphatically to declare the return of the epic.2 Indeed, looking back over the first decade of the twenty- first century, in terms of films and box-office takings the effect of this return is clear: in each year from 2000 to 2010, historical epics have made the top ten highest-grossing films, and attracted numerous awards and nominations.3 Accordingly,Copyright from Gladiator to The Immortals (Singh 2011), via Troy (Petersen 2004), Kingdom of Heaven (Scott 2005) and Alexander (Stone 2004), the decade came to be Edinbughcharacterised by a slew of historically-themed, costly, spectacular, lavish – in a word, ‘epic’ – films which, though not always as profitable as might have been hoped, performed respectably at the box office. -
Resource Materials on the Learning and Teaching of Film This Set of Materials Aims to Develop Senior Secondary Students' Film
Resource Materials on the Learning and Teaching of Film This set of materials aims to develop senior secondary students’ film analysis skills and provide guidelines on how to approach a film and develop critical responses to it. It covers the fundamentals of film study and is intended for use by Literature in English teachers to introduce film as a new literary genre to beginners. The materials can be used as a learning task in class to introduce basic film concepts and viewing skills to students before engaging them in close textual analysis of the set films. They can also be used as supplementary materials to extend students’ learning beyond the classroom and promote self-directed learning. The materials consist of two parts, each with the Student’s Copy and Teacher’s Notes. The Student’s Copy includes handouts and worksheets for students, while the Teacher’s Notes provides teaching steps and ideas, as well as suggested answers for teachers’ reference. Part 1 provides an overview of film study and introduces students to the fundamentals of film analysis. It includes the following sections: A. Key Aspects of Film Analysis B. Guiding Questions for Film Study C. Learning Activity – Writing a Short Review Part 2 provides opportunities for students to enrich their knowledge of different aspects of film analysis and to apply it in the study of a short film. The short film “My Shoes” has been chosen to illustrate and highlight different areas of cinematography (e.g. the use of music, camera shots, angles and movements, editing techniques). Explanatory notes and viewing activities are provided to improve students’ viewing skills and deepen their understanding of the cinematic techniques. -
Here in the United Online Premieres Too
Image : Self- portrait by Chila Kumari Singh Burman Welcome back to the festival, which this Dive deep into our Extra-Ordinary Lives strand with amazing dramas and year has evolved into a hybrid festival. documentaries from across South Asia. Including the must-see Ahimsa: Gandhi, You can watch it in cinemas in London, The Power of The Powerless, a documentary on the incredible global impact of Birmingham, and Manchester, or on Gandhi’s non-violence ideas; Abhijaan, an inspiring biopic exploring the life of your own sofa at home, via our digital the late and great Bengali actor Soumitra Chatterjee; Black comedy Ashes On a site www.LoveLIFFatHome.com, that Road Trip; and Tiger Award winner at Rotterdam Pebbles. Look out for selected is accessible anywhere in the United online premieres too. Kingdom. Our talks and certain events We also introduce a new strand dedicated to ecology-related films, calledSave CARY RAJINDER SAWHNEY are also accessible worldwide. The Planet, with some stirring features about lives affected by deforestation and rising sea levels, and how people are meeting the challenge. A big personal thanks to all our audiences who stayed with the festival last We are expecting a host of special guests as usual and do check out our brilliant year and helped make it one of the few success stories in the film industry. This online In Conversations with Indian talent in June - where we will be joined year’s festival is dedicated to you with love. by Bollywood Director Karan Johar, and rapidly rising talented actors Shruti Highlights of this year’s festival include our inspiring Opening Night Gala Haasan and Janhvi Kapoor, as well as featuring some very informative online WOMB about one woman gender activist who incredibly walks the entire Q&As on all our films. -
Two Genre and Form Lists for Moving Image and Broadcast Materials: a Comparison
UCLA UCLA Previously Published Works Title Two Genre and Form Lists for Moving Image and Broadcast Materials: a Comparison. Permalink https://escholarship.org/uc/item/9pp0q8qv Journal Cataloging & Classification Quarterly, 31(3/4) Author Yee, Martha M Publication Date 2001 Peer reviewed eScholarship.org Powered by the California Digital Library University of California TWO GENRE AND FORM LISTS FOR MOVING IMAGE AND BROADCAST MATERIALS: A COMPARISON December 10, 2000 draft by Martha M. Yee ACKNOWLEDGEMENTS Greta de Groat and David Miller were kind enough to read this article in draft form and offer many suggestions for ways to improve it. Lisa Kernan, a most welcoming and knowledgable public service librarian at the UCLA library that collects film and television literature (the Arts Library) did some research for the author, who was unable to get to the library due to a bus strike. The author alone is responsible for any errors that may remain, of course. ABSTRACT The Moving Image Genre-Form Guide and Library of Congress Subject Headings are compared as sources of genre or form terms for moving image and broadcast materials. In comparing these two lists, it is noted that both seem to include a certain number of headings that are actually topical subject headings disguised as example of headings (655). Both lists contain example of headings that index categories other than genre/form, such as audience, filmmaker and the like. MIGFG has headings that are more direct than LCSH, which has many headings that begin with the terms 'Motion picture,' 'Radio,' and 'Television.' MIGFG has a much more rigid citation order than LCSH, to the extent that it works against literary warrant. -
Brc International Films
INAUGURAL BRATTLEBORO ROTARY 5TH ANNUAL BRATTLEBORO ROTARY CLUB INTERNATIONAL (INDIAN) FILM & CLUB INTERNATIONAL (NATIVE FOOD FESTIVAL – 2009 AMERICAN) FILM & FOOD FESTIVAL – 2014 Outsourced DOCUMENTARY: Monsoon Urban Rez ND 2 ANNUAL BRATTLEBORO ROTARY FEATURE FILM CLUB INTERNATIONAL (MEXICAN) FILM & Pow Wow Highway FOOD FESTIVAL – 2010 SHORT FILM PROGRAM (56 min) 1. El armadillo fronterizo (“The Border Armadillo”) 2. Iker pelos tiesos (“Iker Stiff Hairs) 3. El relato de Sam Brennan (“Sam Brennan’s Story”) 4. Niña que espera (“Little Girl Waiting”) 5. Xáni Xépika (“Lazybones”) 6. La leche y el agua (“Milk and water”) FEATURE FILM (100 min): Espiral 3RD ANNUAL BRATTLEBORO ROTARY CLUB INTERNATIONAL (MEXICAN) FILM & FOOD FESTIVAL – 2011 SHORT FILM PROGRAM (62 min) 1. Luna (Moon) 2. La Mina de Oro (The Gold Mine) 3. Miramelinda (Look at Me Beauty) 4. Moyana (Moyana) 5. La Nuera de Don Filemón (Don Filemon’s Daughter in Law) 6. Firmes (Attention) FEATURE FILM (87 min): Una Pared Para Cecilia (A Wall for Cecillia) 4TH ANNUAL BRATTLEBORO ROTARY CLUB INTERNATIONAL (NATIVE AMERICAN) FILM & FOOD FESTIVAL – 2013 FEATURE FILMS Smoke Signals Skins INAUGURAL BRATTLEBORO ordering my American eagle from India?" Answer: ROTARY CLUB INTERNATIONAL "It is not made here, sir. It is made in China." Average length of a call, over 12 minutes, Todd's (INDIAN) FILM & FOOD FESTIVAL – instructions: Get it down to six. Impossible. He 2009 starts with pep talks and lessons in pronunciation: "Say you are in Chicago. Pronounce it sha-CAW- Outsourced ga." They obediently repeat, "Shy-CALL-go." But Hello, Central, give me Bangalore one employee seems ahead of the curve. -
British Short Film and British Short Animation
British Short Film and British Short Animation Rules and Guidelines 2019/20 CONTENTS A. INTRODUCTION .......................................................................................................................................2 B. TIMETABLE .................................................................................................................................................2 C. ELIGIBILITY .................................................................................................................................................3 D. OTHER BAFTA AWARDS CEREMONIES .................................................................................................4 E. RIGHTS CLEARANCE ...............................................................................................................................5 F. ENTRY ........................................................................................................................................................5 G. SCREENING MATERIALS FOR LONGLISTED ENTRIES ............................................................................6 H. VOTING .....................................................................................................................................................6 I. NOMINATIONS AND WINNERS ..............................................................................................................7 J. CLIP USAGE ..............................................................................................................................................7 -
“Oscar ® ” and “Academyawards
“OSCAR®” AND “ACADEMY AWARDS®” ARE REGISTERED TRADEMARKS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES, AND USED WITH PERMISSION. THIS IS NOT AN ACADEMY RELEASE. A SISTER BELGIUM /16MINS/2018 Native Title: UNE SOEUR Director: DElphiNE GiRaRD Producers: JacqUES-hENRi BRONckaRt (VERSUS pRODUctiON) Synopsis: a night. a car. alie is in trouble. to get by she must make the most important call of her life. Director’s Biography: Born in the heart of the French-canadian winter, Delphine Girard moved to Belgium a few years later. after starting her studies as an actress, she transferred to the directing department at the iNSaS in Brussels. her graduation film, MONSTRE , won several awards in Belgium and around the world. after leaving the school, she worked on several films as an assistant director, children's coach or casting director ("Our children" by Joachim lafosse, "Mothers’ instinct" by Olivier Masset-Depasse) while writing and directing the short film CAVERNE , adapted from a short story by the american author holly Goddard Jones. A SISTER is her second short film. She is currently working on her first feature and a fiction series. Awards: Jury Prize - Saguenay IFF (Canada) Grand Prize Rhode Island IFF (USA) Best International Short Film Sulmona IFF (Italy) Grand Prize Jury SPASM Festival (Canada) Best Short Film, Public Prize, Be tv Prize, University of Namur Prize - Namur Film Festival (Belgium) Public Prize & Special mention by press - BSFF (Belgium) Best Belgian Short Film RamDam FF (Belgium) Prize Creteil Film Festival Festivals/Screenings: -
For Immediate Release
Media Contact: Valerie Cisneros [email protected] 407-629-1088 x302 FOR IMMEDIATE RELEASE SUSAN SARANDON, PAUL SORVINO, GIANCARLO ESPOSITO, SHAWN CHRISTENSEN TO ATTEND 2014 FLORIDA FILM FESTIVAL Orlando, FL – (March 25, 2014) Enzian announced today the special events featuring celebrity guest appearances for the 23rd Annual Florida Film Festival, April 4-13, 2014, in Maitland and Winter Park, Florida, with Primary Sponsor Full Sail University and Primary Public Partner Orange County Government. For more information, visit http://www.floridafilmfestival.com/program/special-guests. The Florida Film Festival is excited and honored to welcome the following artists: Susan Sarandon The extremely versatile Susan Sarandon brings her own brand of sex appeal and intelligence to every role – from her fearless portrayal in Bull Durham to her Oscar®-nominated performances in Thelma and Louise, Lorenzo’s Oil, The Client, and Atlantic City to her Academy Award®-winning and SAG® Award- winning role in Dead Man Walking as Sister Helen, a nun consoling a death-row inmate. An Evening with Susan Sarandon, featuring Dead Man Walking Friday, April 11, 7:30-10:45PM, at Enzian Directed by Tim Robbins UK/USA, 1995, 122 minutes, Rated R Inspired by the true story of a nun’s relationship with a condemned man, this brilliantly acted, gripping, and provocative examination of crime and capital punishment earned Susan Sarandon the 1995 Oscar® for Best Actress and Sean Penn an Oscar nomination for Best Actor. Sister Helen Prejean (Sarandon), a compassionate New Orleans nun, is the spiritual advisor to Matthew Poncelet (Penn), a vicious, angry, and complex murderer awaiting execution. -
Manifest Density: Decentering the Global Western Film
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Manifest Density: Decentering the Global Western Film Michael D. Phillips The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2932 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANIFEST DENSITY: DECENTERING THE GLOBAL WESTERN FILM by MICHAEL D. PHILLIPS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 Michael D. Phillips All Rights Reserved ii Manifest Density: Decentering the Global Western Film by Michael D. Phillips This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________ ________________________________________________ Date Jerry W. Carlson Chair of Examining Committee __________________ ________________________________________________ Date Giancarlo Lombardi Executive Officer Supervisory Committee: Paula J. Massood Marc Dolan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Manifest Density: Decentering the Global Western Film by Michael D. Phillips Advisor: Jerry W. Carlson The Western is often seen as a uniquely American narrative form, one so deeply ingrained as to constitute a national myth. This perception persists despite its inherent shortcomings, among them its inapplicability to the many instances of filmmakers outside the United States appropriating the genre and thus undercutting this view of generic exceptionalism.