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Asdfgeneral Assembly
United Nations A/67/PV.12 General Assembly Offi cial Records asdfSixty-seventh session 12 th plenary meeting Thursday, 27 September 2012, 9 a.m. New York President : Mr. Jeremić . (Serbia) The meeting was called to order at 9.15 a.m. I also want to commend the Secretary-General for his tireless efforts to advance dialogue and cooperation, Address by His Excellency Mr. Bakir Izetbegović, and for his firm commitment to the core values and Chairman of the Presidency of Bosnia principles of the United Nations. We in Bosnia and and Herzegovina Herzegovina recognize the importance of, and fully support, his action agenda, which identified five The President : The Assembly will hear an address generational imperatives: prevention, a more secure by the Chairman of the Presidency of Bosnia and world, helping countries in transition, empowering Herzegovina. women and youth, and sustainable development. Mr. Bakir Izetbegović, Chairman of the Presidency Today’s world is the scene of unfolding crises and of Bosnia and Herzegovina, was escorted into the mounting global challenges. The first and foremost of General Assembly Hall. these is the disaster in Syria. As we stand here, our The President : On behalf of the General Assembly, fellow Syrians are fighting against a brutal regime. I have the honour to welcome to the United Nations His They are fighting to take their destiny into their own Excellency Mr. Bakir Izetbegović, Chairman of the hands. The regime of Bashar Al-Assad is answering Presidency of Bosnia and Herzegovina, and to invite their yearning for freedom and democracy with guns him to address the Assembly. -
Filming Israel: a Conversation Author(S): Amos Gitai and Annette Michelson Source: October, Vol
Filming Israel: A Conversation Author(s): Amos Gitai and Annette Michelson Source: October, Vol. 98 (Autumn, 2001), pp. 47-75 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/779062 Accessed: 16-05-2017 19:51 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October This content downloaded from 143.117.16.36 on Tue, 16 May 2017 19:51:37 UTC All use subject to http://about.jstor.org/terms Filming Israel: A Conversation AMOS GITAI and ANNETTE MICHELSON Amos Gitai, the preeminent Israeli filmmaker of his generation, is the author of thirty- seven films. Trained as an architect in Israel and at Berkeley, he turned in 1980 to filmmak- ingfor reasons set forth in the following portion of conversations held in New York in 2000. The radically critical dimension of his investigation of Israel's policy on the Palestinian question generated an immediate response of alarm, hostility, and censorship. Although the corpus of Gitai's work is large and extremely varied, including documentary films shot in the Far East, the Philippines, France, Germany, Italy, and elsewhere, it is largely the transition from work in the documentary mode to that of the fiction feature film that has, as might be expected, enlarged the appreciative audience of his work. -
The Memory of the Yom Kippur War in Israeli Society
The Myth of Defeat: The Memory of the Yom Kippur War in Israeli Society CHARLES S. LIEBMAN The Yom Kippur War of October 1973 arouses an uncomfortable feeling among Israeli Jews. Many think of it as a disaster or a calamity. This is evident in references to the War in Israeli literature, or the way in which the War is recalled in the media, on the anniversary of its outbreak. 1 Whereas evidence ofthe gloom is easy to document, the reasons are more difficult to fathom. The Yom Kippur War can be described as failure or defeat by amassing one set of arguments but it can also be assessed as a great achievement by marshalling other sets of arguments. This article will first show why the arguments that have been offered in arriving at a negative assessment of the War are not conclusive and will demonstrate how the memory of the Yom Kippur War might have been transformed into an event to be recalled with satisfaction and pride. 2 This leads to the critical question: why has this not happened? The background to the Yom Kippur War, the battles and the outcome of the war, lend themselves to a variety of interpretations. 3 Since these are part of the problem which this article addresses, the author offers only the barest outline of events, avoiding insofar as it is possible, the adoption of one interpretive scheme or another. In 1973, Yom Kippur, the holiest day of the Jewish calendar, fell on Saturday, 6 October. On that day the Egyptians in the south and the Syrians in the north attacked Israel. -
Phoenix Films 1999-2019/20 Sorted by Film Title 10
Phoenix Films 1999-2019/20 Sorted by Film Title Film Date Rating(%) 2046 1-Feb-2006 68 120BPM (Beats Per Minute) 24-Oct-2018 75 3 Coeurs 14-Jun-2017 64 35 Shots of Rum 13-Jan-2010 65 45 Years 20-Apr-2016 83 5 x 2 3-May-2006 65 A Bout de Souffle 23-May-2001 60 A Clockwork Orange 8-Nov-2000 81 A Fantastic Woman 3-Oct-2018 84 A Farewell to Arms 19-Nov-2014 70 A Highjacking 22-Jan-2014 92 A Late Quartet 15-Jan-2014 86 A Man Called Ove 8-Nov-2017 90 A Matter of Life and Death 7-Mar-2001 80 A One and A Two 23-Oct-2001 79 A Prairie Home Companion 19-Dec-2007 79 A Private War 15-May-2019 94 A Room and a Half 30-Mar-2011 75 A Royal Affair 3-Oct-2012 92 A Separation 21-Mar-2012 85 A Simple Life 8-May-2013 86 A Single Man 6-Oct-2010 79 A United Kingdom 22-Nov-2017 90 A Very Long Engagement 8-Jun-2005 80 A War 15-Feb-2017 91 A White Ribbon 21-Apr-2010 75 Abouna 3-Dec-2003 75 About Elly 26-Mar-2014 78 Accident 22-May-2002 72 After Love 14-Feb-2018 76 After the Storm 25-Oct-2017 77 After the Wedding 31-Oct-2007 86 Alice et Martin 10-May-2000 All About My Mother 11-Oct-2000 84 All the Wild Horses 22-May-2019 88 Almanya: Welcome To Germany 19-Oct-2016 88 Amal 14-Apr-2010 91 American Beauty 18-Oct-2000 83 American Honey 17-May-2017 67 American Splendor 9-Mar-2005 78 Amores Perros 7-Nov-2001 85 Amour 1-May-2013 85 Amy 8-Feb-2017 90 An Autumn Afternoon 2-Mar-2016 66 An Education 5-May-2010 86 Anna Karenina 17-Apr-2013 82 Another Year 2-Mar-2011 86 Apocalypse Now Redux 30-Jan-2002 77 Apollo 11 20-Nov-2019 95 Apostasy 6-Mar-2019 82 Aquarius 31-Jan-2018 73 -
Distribution Agreement in Presenting This
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of -
Mountains May Depart
presents MOUNTAINS MAY DEPART A film by JIA ZHANGKE 2015 Cannes Film Festival 2015 Toronto International Film Festival 2015 New York Film Festival China, Japan, France | 131 minutes | 2015 www.kinolorber.com Kino Lorber, Inc. 333 West 39th St. Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contact: Rodrigo Brandao, [email protected] O: (212) 629-6880 Synopsis China, 1999. In Fenyang, childhood friends Liangzi, a coal miner, and Zhang, the owner of a gas station, are both in love with Tao, the town beauty. Tao eventually marries the wealthier Zhang and they have a son he names Dollar. 2014. Tao is divorced and her son emigrates to Australia with his business magnate father. Australia, 2025. 19-year-old Dollar no longer speaks Chinese and can barely communicate with his now bankrupt father. All that he remembers of his mother is her name…. Director’s Statement It’s because I’ve experienced my share of ups and downs in life that I wanted to make Mountains May Depart. This film spans the past, the present and the future, going from 1999 to 2014 and then to 2025. China’s economic development began to skyrocket in the 1990s. Living in this surreal economic environment has inevitably changed the ways that people deal with their emotions. The impulse behind this film is to examine the effect of putting financial considerations ahead of emotional relationships. If we imagine a point ten years into our future, how will we look back on what’s happening today? And how will we understand “freedom”? Buddhist thought sees four stages in the flow of life: birth, old age, sickness, and death. -
Yitzhak Rabin
YITZHAK RABIN: CHRONICLE OF AN ASSASSINATION FORETOLD Last year, architect-turned-filmmaker Amos Gitaï directed Rabin, the Last EN Day, an investigation into the assassination, on November 4, 1995, of the / Israeli Prime Minister, after a demonstration for peace and against violence in Tel-Aviv. The assassination cast a cold and brutal light on a dark and terrifying world—a world that made murder possible, as it suddenly became apparent to a traumatised public. For the Cour d’honneur of the Palais des papes, using the memories of Leah Rabin, the Prime Minister’s widow, as a springboard, Amos GitaI has created a “fable” devoid of formality and carried by an exceptional cast. Seven voices brought together to create a recitative, “halfway between lament and lullaby,” to travel back through History and explore the incredible violence with which the nationalist forces fought the peace project, tearing Israel apart. Seven voices caught “like in an echo chamber,” between image-documents and excerpts from classic and contemporary literature— that bank of memory that has always informed the filmmaker’s understanding of the world. For us, who let the events of this historic story travel through our minds, reality appears as a juxtaposition of fragments carved into our collective memory. AMOS GITAI In 1973, when the Yom Kippur War breaks out, Amos Gitai is an architecture student. The helicopter that carries him and his unit of emergency medics is shot down by a missile, an episode he will allude to years later in Kippur (2000). After the war, he starts directing short films for the Israeli public television, which has now gone out of business. -
MOUNTAINS MAY DEPART (SHAN HE GU REN) a Film by Jia Zhangke
MOUNTAINS MAY DEPART (SHAN HE GU REN) A film by Jia Zhangke In Competition Cannes Film Festival 2015 China/Japan/France 2015 / 126 minutes / Mandarin with English subtitles / cert. tbc Opens in cinemas Spring 2016 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] New Wave Films 1 Lower John Street London W1F 9DT Tel: 020 3603 7577 www.newwavefilms.co.uk SYNOPSIS China, 1999. In Fenyang, childhood friends Liangzi, a coal miner, and Zhang, the owner of a gas station, are both in love with Tao, the town beauty. Tao eventually marries the wealthier Zhang and they have a son he names Dollar. 2014. Tao is divorced meets up with her son before he emigrates to Australia with his business magnate father. Australia, 2025. 19-year-old Dollar no longer speaks Chinese and can barely communicate with his now bankrupt father. All that he remembers of his mother is her name... DIRECTOR’S NOTE It’s because I’ve experienced my share of ups and downs in life that I wanted to make Mountains May Depart. This film spans the past, the present and the future, going from 1999 to 2014 and then to 2025. China’s economic development began to skyrocket in the 1990s. Living in this surreal economic environment has inevitably changed the ways that people deal with their emotions. The impulse behind this film is to examine the effect of putting financial considerations ahead of emotional relationships. -
Eine Lange Nacht Über Den Israelischen Filmemacher Amos Gitai
„Ich folge den Ablagerungen der Geschichte in mir“ Eine Lange Nacht über den israelischen Filmemacher Amos Gitai Autoren: Heike Brunkhorst und Roman Herzog Regie: Claudia Mützelfeldt Redaktion: Dr. Monika Künzel SprecherInnen: Renate Fuhrmann Volker Risch Josef Tratnik Nicole Engeln Uli Auer Sendetermine: Deutschlandfunk Kultur Deutschlandfunk __________________________________________________________________________ Urheberrechtlicher Hinweis: Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in den §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © Deutschlandradio - unkorrigiertes Exemplar - insofern zutreffend. 1. Stunde Atmozuspiel (Filmanfang Berlin-Jerusalem) Klaviermusik, Explosionen, Schüsse, Sirenen, Radiostimmen auf Hebräisch, Helikopterrotor. Zuspiel (Amos Gitai) A: «I consider that I am a witness, you know. Since my position during the Kippur war, I find myself as a witness…» E: «…And I think, that it deserves a strong cinema, not complaisant, not caressing, but engaging with this history.» Sprecher Josef Tratnik Ich denke, seit dem Jom-Kippur-Krieg bin ich ein Zeuge, der aufgrund merkwürdiger Umstände überlebt hat, als mein Helikopter abgeschossen wurde. Ich bin extrem interessiert, fasziniert und verstört von diesem Land. Und ich denke, es braucht ein starkes Kino, kein schmeichelndes oder wohlgefälliges, sondern ein Kino, das sich mit der Geschichte -
El NORA ALILA (God of Might, God of Awe)- from Spain to the Four
El NORA ALILA (God of Might, God of Awe) From Spain to the Four Corners of the Earth Avner Bahat Thc Golden Age of Hebrew Poetry in Spain Moses lbn Ezra Yom Kippur--Nei 'la God of Might- The poem: Rhyming. structure. meter Geographical Di!>persion The Music: E,·idence!> in Notation., The Music: Recording~ Transcription~ h E GoLDEN Age of Judai.,m in Spain had witnessed The Hcbrew poet!. also emplo)cd a meter of 'long' the creation of Hebrew poetry unpreccdented in both syllables. avoiding thc 'hort onei. altogether (mishkal quantity and quality. unparalleled by an) thing since lwtenu 'ot). [... 1They developcd a ~yllab i c meter. based on biblical time'> through to modem times. The Hebrew a regular nurnber of ~yllablei. per Iíne (6 or 8). which poetry in Spain ha'> been intluenceJ by Arab poetry allowcd the free u~e of ~hort vowcls but disregarded them ai. ~yllable!> . (ldcm). in terms of rhyming. meter~. forms ami contents. encompassing secular and liturgical poetry. Thc number of voweb. pcr linc was constam. and the "hort onc!., shw1 an<l hawJ: wcrc not countcd. so The HcbrC\\ poetr) that floumhed in Spain from the tenth thal these were actually !.yllables in the mouern . ense to the fiftcenth ccntuf) \\ª' ha-,ed on thc Arabíc ~):.tem of of thc tcnn. poetic-. adapted to the Hebrc"' language. In <,ecular poetry the meter\\ª' quantitative. i.e. there wa-, a pattcm of long Onc of thc 1110\t common forms in Arab poetry is muwasllslwll, sllir e-:.or and !>hort '>) llablc-, throughout a líne repeated in ali the the or in Hebrew (a girdlc line<, of a pO\'!rn ('>imilar to thc '>ptcm u'ed in clas,ical poem). -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
I WISH I KNEW a Film by Jia Zhangke
presents I WISH I KNEW A film by Jia Zhangke **Official Selection, Un Certain Regard, Cannes Film Festival 2010** **Official Selection, Locarno Film Festival 2010** **Official Selection, Toronto International Film Festival, 2010** China / 2010 / 118 minutes / Color / Chinese with English subtitles Publicity Contacts: David Ninh, [email protected] Distributor Contact: Chris Wells, [email protected] Kino Lorber, Inc. 333 West 39th St., Suite 503 New York, NY 10018 (212) 629-6880 Short Synopsis: Shanghai, a fast-changing metropolis, a port city where people come and go. Eighteen people recall their lives in Shanghai. Their personal experiences, like eighteen chapters of a novel, builds a vivid picture of Shanghai life from the 1930s to 2010. Long Synopsis: Shanghai's past and present flow together in Jia Zhangke's poetic and poignant portrait of this fast-changing port city. Restoring censored images and filling in forgotten facts, Jia provides an alternative version of 20th century China's fraught history as reflected through life in the Yangtze city. He builds his narrative through a series of eighteen interviews with people from all walks of life-politicians' children, ex-soldiers, criminals, and artists (including Taiwanese master Hou Hsiao-hsien) -- while returning regularly to the image of his favorite lead actress, Zhao Tao, wandering through the Shanghai World Expo Park. (The film was commissioned by the World Expo, but is anything but a piece of straightforward civic boosterism.) A richly textured tapestry full of provocative juxtapositions. - Metrograph Director’s Biography: Jia Zhangke was born in Fenyang, Shanxi, in 1970 and graduated from Beijing Film Academy.