DOCSLIB.ORG

Financiën, Subsidies En Spon Exploitatierekening Hubert Bals Fonds 2003/2004

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Financiën, Subsidies En Spon Exploitatierekening Hubert Bals Fonds 2003/2004 j. ~ ^ooB - FINANCIËN, SUBSIDIES EN SPON EXPLOITATIEREKENING HUBERT BALS FONDS 2003/2004 EXPLOITATIEREKENING HUBERT BALS FONDS 2003/2004 2003/2004 begroting 2003/2004 2002/2003 BATEN OPBRENGSTEN Directe opbrengsten 90.232 120.000 132.065 Totaal opbrengsten 90.232 120.000 132.065 BIJDRAGEN Ministerie Buitenlandse Zaken en Ontwikkelingssamenwerking 567.225 567.225 567.225 Hivos 236.134 113.500 163.445 NCDO 73.606 136.134 90.756 Stichting Doen 75.000 68.067 75.000 International Film Festival Rotterdam 104.610 34.034 34.034 NPS 50.000 68.067 45.378 Prins Claus Fonds 25.000 Overige inkomsten 74.541 16.079 Totaal bijdragen 1.181.116 1.003.106 1.000.838 Som der baten 1.271.348 1.123.106 1.132.903 LASTEN Activiteitenlasten: Personeelskosten 84.155 77.313 77.352 Materiële lasten 201.670 138.178 113.692 Projectbijdragen 969.604 907.615 904.165 Som der lasten 1.255.429 1.123.106 1.095.209 Beschikbaar per 31 maart 2004 voor projecten 15.919 37.694 (alle vermelde bedragen in ) BIJLAGE 1 FILMLIJST IFFR 2004 (INCLUSIEF INSTALLATIES, WEBSITES EN PERFORMANCES) VPRO TIGER AWARDS COMPETITION wp Adlud Bénoit Uelepine/Gustave Kervern Belgium wp How 1 Killed a Saint Teona S Mitevska Macedonia/Slovenia/ ep Summer in the Golden Valley SrdjanVuletic Bosnia-Herzegovina/ France France/United wp Dias de Santiago Josué Mendez Peru Kingdom/Slovenia ep The Wooden Camera NtshaveniWa Luruli South Africa/France/ ep UiiifuiMi Diaotinan Lhma/Japan United Kingdnrn ip Somnabuiance Sulev Keedus Estonia/Finland wp Scent of the Lotus Pond Satyajit Maitipe Sri Lanka ip Young GOds J-F Silll Finland wp Four Shades of Brown Tomas Alfredson Sweden/Denmark wp Grande école Robert Sails France ip Asshak, Tales from the Sahara UlrikeKoch Switzerland/Germany/ wp Unterwegs Jan Krüger Germany The Netherlands ep Ballo a tre pass! Salvatore Mereu Italy ep The Missing Lee Kang-sheng Taiwan Wp Peep "TV" Show Tsuchiya Yutaka Japan MAIN PROGRAMME FEATURES ip El delantal de Lili Mariano Galperin Argentina The Story of the Weeping Camel LOS rubios Albertina Carri Argentina Byambasuren Davaa / Luigi Falorni Germany/Monqolia uodJiYiêntarist Harutyun Khachatryan Armenia Atlas (All the Weight of the World) wp The Ister David Barison / Daniel Ross Australia Thanos Anastopoulos Greece Döie Zeilen Barbara Albert Austria Happy Together Wong Kar-wai Hong Kong ip Handbikemovie Martin Bruch Austria Love Is Not a Sin Doug Kin-tak Chan Hong Kong/Macau ip II mare e la torta Edgar Honetschiager Austria Raghu Romeo Rajat Kapoor India Struggle Ruth Mader Austria Virumaandi Kamal Haasan India Homme portant Boris Lehman Belgium wp Chhattisgarh Sketches Jon Jost India/USA Sexual Dependency Rodrigo Bellott Bolivia/USA BirdmanTale Garin Nugroho Indonesia Fllinedediiiui JUII6 Bressane Brazil Crimson Gold Jafar Panahi Iran 0 camlnho das nuvens Vicente Amorim Brazil ep Dreams of Dust Sepideh Farsi Iran/France Uie Saddest MUSIC in the World Guy Maddin Canada Caterina va in citta Paolo Virzi Italy Twist Jacob lierney Canada II dono Michelangelo Frammartino Italy Les invasions barbares Denys Arcand Canada/France II ritorno di Cagliostro Daniele Cipri / Franco Maresco Italy Los debutantes Andrés Waissbiuth Chile L' isola Costanza Quatriglio Italy Green Tea Zhang Yuan China La meglio gioventu Marco Tullio Giordana Italy On the Mountain Zhu Chuan-ming China Serva e padrona Tonino De Bernard! Italy The Only Sons Gan Xiao'er China Bright Future Kurosawa Kiyoshi Japan Rosa la China Valeria Sarmiento Cuba/Spain/France/ Cop Festival ■ Curated by Shinozaki Makoto Portugal Kurosawa Kiyoshi / Shinozaki Japan wp Anatomie de I enter Catherine Breillat France Makoto / Honda Ryuichi / Bologna Centrale Vincent Dieutre France Tanaka Yoji / Iguchi Noboru / Haute tension Alexandre A|a France Fujita Hideyuki / Ozawa /Tsuda Kanji Iwentynine Palms Bruno Dumont France Dead End Run Ishii Sogo Japan Depuisgu'ütdi est parti June Bertuccelli France/Belgium Doppelganger Kurosawa Kiyoshi Japan Le monde vivant Eugene Green France/Belgium GozuMiikeTakashi Japan Tlresia Bertrand Bonello France/Canada Letter Sasaki Yusuke Japan L' histoire de Marie et Julien Jacques Rivette France/Italy Ramblers Yamashita Nobuhiro Japan Ip Detroit Carsten Ludwig / Germany Shara Kawase Naomi Japan Jan-Christoph Glaser Vibrator Hiroki Ryuichi Japan Distant Lights Hans-Christian Schmid Germany Zatolchi KitanoTakeshi Japan Elefantenherz ZÜII Aladag Germany wp Zebraman MiikeTakashi Japan ip Ereakstars iüUÜ Christoph Schlingensief Germany The Python Laila Pakalnina Latvia Fremder Freund Elmar Fischer Germany Room to Let James Lee Malaysia Schultze Gets the Blues Michael Schorr Germany Changes Lukasz Barczyk Poland Schussangst DitoTsintsadze Germany Squint Your Eyes Andrzej Jakimowski Poland Tomorrow's Weather Jerzy Stuhr Poland BIJLAGE 1 FILMLIJST IFFR 2004 (INCLUSIEF INSTALLATIES, WEBSITES EN PERFORMANCES) MAIN PROGRAMME FEATURES Vai e vem Joao César Monteiro Portugal/France wp What You Expect From the World Behind You or: The Last Train Alexej German jr. Russia Verwar de staat waarin u verkeert niet met die van uw omgeving The Return Andrei Zvyagintsev Russia Jan Willem van Dam Tlie Nellieilui ids The Stroll Alexey Uchitel Russia wp Het Zuiden Martin Koolhoven The Netherlands/ Granny Lydia Bobrova Russia/France Belgium/Denmark Father and Son Alexander Sokurov Russia/Germany Code 46 Michael Winterbottom United Kingdom Invisible Light Gina Kim South Korea Festival Express Bob Smeaton United Kingdom Memories of Murder BongJoon-Ho South Korea wp Deadlines Ludi Boeken/Michael Alan Lerner United Kingdom/ Save the Green Planet! Jang Jun-Hwan South Korea France/Tunesia Spring, Summer, Fall, Winter... and Spring American Splendor Shan Springer Betman/ USA Kim Ki-Duk South Korea/Germany Robert Pulcini Las horas del dia Jaime Rosales Spain wp CertainWomen BobbyAbate/Peggy Ahwesh USA Noviembre Achero Manas Spain Cremaster 1 Matthew Barney USA August Sun Prasanna Vithanage Sri Lanka Cremaster 2 Matthew Barney USA Drifters Wang Xiaoshuai Taiwan/China Cremaster 3 Matthew Barney USA Onq-bak: Muay Thai Warrior Prachya Pinkaew Thailand Cremaster 4 Matthew Barney USA p Beat David Verbeek The Netherlands Cremaster 5 Matthew Barney USA p Fighting Fish Jamei Aattache The Netherlands ip Dandelion Mark Milgard USA p Johan Cruijff: en un momento dado Lost in Translation Sofia Coppola USA Ramon Gielinq The Netherlands ep Rick Curtiss Clayton USA p Justiga Maria Ramos 1 he Netherlands School u( Ruck Richard Linklater USA p Piter Jessica Gorter / Frank Gorter The Netherlands Ihe Brown Bunny Vincent Gallo USA 'M Rhinoceros Eyes Aaron Woodley IISA/Canada ZiGtams AlejaiidiuGuiicalczInarritu US/VMexico SHORT FILMS Time After Time Anri Sala Albania wp Boi EduFelistoque/NereuCerdeira Brazil ep 10 pesos Matias Risi Argentina ip KM OMarcos Guttmann Brazil ep Al Sur del deslerto Galei Maldana Argentina ip Uma estrela pra loio Bruno Safadi Brazil Cantata de las cosas solas Willi Behnisch Argentina wp Um movimento quase qualquer Cecilia Lang Brazil/France ip Car Park Darcy Yuille Australia ip Shooting Star Jason Britski Canada ip Connected Merilyn Fairskye Australia Paper Route Robert Frank Canada/Switzerland Excursion Cris Jones Australia Pequenas voces Eduardo Carrillo Colombia/ ip Tfie Ghost Paintings 1 James Clayden Australia United Kingdom ip The Ghost Paintings 4 James Clayden Australia Fricasse Martin Krejci Czech Republic ip Die Badenden Johannes Hammel Austria Language is the House We Live In Jesper Fabricius wp Pause PRINZGAU/podgorschek Austria Denmark wp Phantom fremdes Wien LisI Ponger Austria Atomic Park Dominique Gonzalez-Foerster France wp Viennale Trailers Various Directors Austria (retouradres) Begegnung im All Thomas Draschan Austria/Germany wp Britanya Marjoleine Boonstra France Building Anouk de Clercq / Joris Cool / Belgium Drumball Xavier Veilhan trance Anton Aeki Elana Jean-Paul Nogues trance wp Here Anouk de Clercq Belgium Juste avant Forage Jean-Claude Rousseau France ip 11 s'agit Antonin De Bemels Belgium L' oeil lourd du voyage mécanique La dernière (s)cène Boris Lehman Belgium AuguSLiii Gliiiel Fiance wp La fin de notre amour Hélène Cattet / Bruno Forzani Belgium Le Film du Japon Xavier Veilhan France Le moment David Claerbout Belgium Métamorphose Jean-Claude Guiguet trance wp Oh Dear- Nicolas Provost Belgium wp Notre Village TINA, p/a N. La Porte trance ip One Man Show Pierre Bismuth Belgium The Boy From Mars Philippe Parreno Fiance Papillon d'amour Nicolas Provost Belgium Trois petits chats Francois Vogel France 56 Prélude Nr 3 Bernard Gigounon Belgium Mekong Interior Vanessa ty ridllce/Geiiriaiiy/USA BIJLAGE 1 FILMLIJST IFFR 2004 (INCLUSIEF INSTALLATIES. WEBSITES EN PERFORMANCES) SHORT FILMS Ashes JoanaHadjithomas/Khalil Joreige France/Lebanon ip Sus demonios René U. Villarreal Mexico wp 60 Seconds (Analog) Christoph Girardet Germany ep TirodeGracia Jesus Ochoa/Mario Antonio Mexico wp Annaottoanna Clemens Pichler Germany Mandujano Sanchez wp Atlikarinca Thomas Bartels Germany The Pledge Ole Giaever Norway wp Banlieu du vide Thomas Köner Germany ip Tea House Farhad Kalantary Norway/USA ip Cosimo Uwe Buhrdorf Germany Solo un cargador Juan Alejandro Ramirez Peru ip Down Frank Brandstetter/Niklas Chryssos Germany wp Kinder aufderLandstrasse Laurin Federlein Poland/United wp Drei Deutsche KZ Lager TINA, p/a N. La Porte Germany Kingdom/Germany wp God Plays Sax, the Devil Violin Alexandra Gulea Germany ip Anónimo Joao Carrilho Portugal ip It NeverWasYou Sandeep Mehta Germany wp Pro Evolution Soccer's One-Minute Dance After a Golden Goal in the Master League ip LeMans Andreas
Load more

Recommended publications
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Red Sonic Trajectories - Popular Music and Youth in China de Kloet, J. Publication date 2001 Link to publication Citation for published version (APA): de Kloet, J. (2001). Red Sonic Trajectories - Popular Music and Youth in China. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 L4Trif iÏLK m BEGINNINGS 0 ne warm summer night in 1991, I was sitting in my apartment on the 11th floor of a gray, rather depressive building on the outskirts of Amsterdam, when a documentary on Chinese rock music came on the TV. I was struck by the provocative poses of Cui Jian, who blindfolded himself with a red scarf - stunned by the images of the crowds attending his performance, images that were juxtaposed with accounts of the student protests of June 1989; and puzzled, as I, a rather distant observer, always imagined China to be a totalitarian regime with little room for dissident voices.
    [Show full text]
  • Jaarverslag 2006
    Jaarverslag 2006 - 2007 International Film Festival Rotterdam (IFFR) toont de nieuwste onafhankelijke en vernieuwende films uit de wereld en is een platform voor actuele filmkunst, opkomend en gevestigd filmtalent en filmgerelateerde kunst. Naast de vertoning van films steunt het filmfestival actief de totstandkoming van auteurscinema en de deskundigheid van filmtalent, onafhankelijke filmindustrie en filmkritiek. Een internationale coproductiemarkt (CineMart), een fonds voor filmmakers in ontwikkelingslanden (Hubert Bals Fonds), trainingprojecten (Rotterdam Lab; Trainee Project for Young Film Critics) en debatten voor filmprofessionals maken deel uit van het filmfestival. Behalve via het filmfestival en de internationale activiteiten van Hubert Bals Fonds en CineMart, zorgt de Stichting Filmfestival Rotterdam er voor dat de kunstzinnige film in Nederland op andere wijzen te zien blijft: via de filmtheaters (Tigers on Tour), op DVD (Tiger Releases), televisie (NPS Wereldcinema) en online (Tigeronline.nl). Op landelijk, regionaal en lokaal niveau brengt IFFR studenten en scholieren in contact met onafhankelijke filmkunst via de Rotterdam Film Course, Meet the Maestro, Filmblik Rotterdam en Hollywood in de Klas. Geselecteerde filmmakers voor de VPRO Tiger Awards Competitie samen op de foto met filmfestivaldirecteur Sandra den Hamer. Juha Koiranen (ROCK’N’ROLL NEVER DIES), Claudio Assis (BOG OF BEASTS), Sandra den Hamer (directeur IFFR), Morten Hartz Kaplers (AFR), Koen Mortier (EX DRUMMER), John Barker (BUNNY CHOW), Rafa Cortés en Alex Brendemühl
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles the How and Why of Urban Preservation: Protecting Historic Neighborhoods in China a Disser
    UNIVERSITY OF CALIFORNIA Los Angeles The How and Why of Urban Preservation: Protecting Historic Neighborhoods in China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Urban Planning by Jonathan Stanhope Bell 2014 © Copyright by Jonathan Stanhope Bell 2014 ABSTRACT OF THE DISSERTATION The How and Why of Preservation: Protecting Historic Neighborhoods in China by Jonathan Stanhope Bell Doctor of Philosophy in Urban Planning University of California, Los Angeles, 2014 Professor Anastasia Loukaitou-Sideris, Chair China’s urban landscape has changed rapidly since political and economic reforms were first adopted at the end of the 1970s. Redevelopment of historic city centers that characterized this change has been rampant and resulted in the loss of significant historic resources. Despite these losses, substantial historic neighborhoods survive and even thrive with some degree of integrity. This dissertation identifies the multiple social, political, and economic factors that contribute to the protection and preservation of these neighborhoods by examining neighborhoods in the cities of Beijing and Pingyao as case studies. One focus of the study is capturing the perspective of residential communities on the value of their neighborhoods and their capacity and willingness to become involved in preservation decision-making. The findings indicate the presence of a complex interplay of public and private interests overlaid by changing policy and economic limitations that are creating new opportunities for public involvement. Although the Pingyao case study represents a largely intact historic city that is also a World Heritage Site, the local ii focus on tourism has disenfranchised residents in order to focus on the perceived needs of tourists.
    [Show full text]
  • 1 Demolition and Reconstruction in Chinese Urban Cinema in The
    Demolition and Reconstruction in Chinese Urban Cinema in the 1990s Francesca Kaufman University of Edinburgh In the closing decade of the Twentieth Century China experienced a boom in urban construction. From the post-Mao period of the late 1970s economic reforms became increasingly important within centralised planning. Focused initially on transforming the productive capacity of the countryside, in the early 1980s attention shifted to revitalising China’s urban areas with the aim of promoting business growth and attracting foreign investment. What followed was an unprecedented wave of large-scale urbanisation sweeping through the cities of China to rebuild them as global centres1. Changes occurred in the architectural landscape and associated social dynamics of the urban environment on a rapid scale. Vernacular housing compounds (for example the hutongs in Beijing) which had stood for centuries were cleared and rebuilt as skyscrapers, shopping centres and motorway ring roads. Communities were forcibly relocated to multiple locations to make way for hotels and business centres funded by overseas investment. In response to Deng Xiaoping’s declaration in 1992 1 Zhang Zhen considers that the intensity of the urban upheavals caused by the new economic policies can only be compared to the modernisation of the treaty ports in the first years of the Twentieth Century: Zhang Zhen, ‘Bearing Witness: Chinese urban cinema in the era of “transformation” (Zhuanxing)’, in Zhang Zhen (ed.) The Urban Generation: Chinese cinema and society at the turn of the Twenty-First Century (Durham NC, 2007), p. 2. 1 that “socialism can also practise market economy”, a complete overhaul of China’s infrastructure took place, best exemplified by the ubiquitous presence of bulldozers and construction sites.
    [Show full text]
  • The Curious Case of Chinese Film Censorship: an Analysis of The
    THE CURIOUS CASE OF CHINESE FILM CENSORSHIP: AN ANALYSIS OF THE FILM ADMINISTRATION REGULATIONS by SHUO XU A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2017 THESIS APPROVAL PAGE Student: Shuo Xu Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Gabriela Martínez Chairperson Chris Chávez Member Daniel Steinhart Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2017 ii © 2017 Shuo Xu iii THESIS ABSTRACT Shuo Xu Master of Arts School of Journalism and Communication December 2017 Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. This study will look at how such films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher.
    [Show full text]
  • The Flâneur in Shanghai: Moviegoing and Spectatorship in the Late Qing and Early Republican Era
    1 The Flâneur in Shanghai: Moviegoing and Spectatorship in the Late Qing and Early Republican Era SUGAWARA Yoshino 上海の遊歩者 ― 清末民初の映画鑑賞について 菅 原 慶 乃 本稿は、上海における映画受容を、都市と娯楽文化の近代化の総体的文脈の中に位置 づけたうえで、（1）遊歩や観劇文化の近代化の文脈における映画受容と、（2）知的な文 明、あるいは近代教育の工具としての映画受容の二つについて明らかにするものである。 上海において、映画は観劇文化を代表とする伝統的娯楽文化と強い親和性を持ち、伝統 的娯楽文化の近代化の過程においてその文脈の内に包摂されていった。数々の日記資料 が明らかにするところによれば、映画鑑賞とは近代的娯楽の中核を成す遊歩という行為を 構成する諸々の遊興行為の一要素であった。映画は遊歩に従属する行為であり、遊歩の 過程で人々が目にする様々な都市の風景の一断片であった。遊歩に依拠した映画鑑賞態 度は、1910年代には遊楽場という遊興施設を誕生させ、1920年代には国産映画の美学へ 強い影響を及ぼすこととなった。他方、映画は娯楽文化とは全く異なる文脈においても受 容された。西洋式の学校や公共施設、宗教団体の会所などで上映される映画や幻灯は、 西洋（あるいは近代）がもたらす「啓蒙的」で「知的」なメディアとしても受容されていた。 このような空間における映画上映は、「健全」なものとして市井の商業上映とは全く異な るヘテロトピア―映画の教育的ミリュー―を創造した。1920年代の国産映画が社会教化 を強く志向したのは、このような映画受容に直接のルーツを求めることができるのである。 2 Preface The development of digital technology and archival efforts to preserve and publish early movies through various media and opportunities has dramatically improved the ac- cessibility of those unseen movies. Although many movies are to be repaired and re- searched yet, many early works are no longer antiques stored in the darkness of film ar- chives, unseen for decades. Yet, some important questions about movie exhibition and spectatorship in the initial movie years remain unanswered or unexamined; they encapsu- late the attitude of movie spectators, the social and cultural milieus of the movie exhibition venues, and the recognition and acceptance of movies as a new media by the early audi- ence. Among the early studies on movie spectatorship and audiences, Miriam Hansen’s Babel and Babylon should be marked as one of the most unique and insightful due to its methodology, which utilizes both aesthetic and historical methods in analyzing early spec- tatorship in the United States. One of Hansen’s achievements in this work is her theoriza- tion of the different stages of early film spectatorship, based on her analysis of a profound number of early movies.
    [Show full text]
  • Films in Competition and Parallel Sections
    Marrakech Unveils Its Official Selection: Films in Competition and Parallel Sections • 14 films in Official Competition • 7 Moroccan films screened in the framework of a dedicated section • The 11th Continent, a new section to discover sharp and bold cinema • Gala screenings, Special Screenings, and general public screenings round out the programme Rabat, November 14, 2018, the Marrakech International Film Festival (FIFM) unveils the official selection. From November 30 to December 8, 2018, festival-goers and cinema-lovers alike will discover no fewer than 80 films coming from 29 different countries. The line-up is divided into several sections, the main ones including the Official Competition; Gala Screenings; Special Screenings; The 11th Continent; Moroccan Panorama; Jamaa El-Fna Square Screenings; Audio-described Cinema; and a Tribute section. Fourteen (14) films are thus in the running to win the Marrakech Etoile d’Or (or, the Gold Star), in the framework of the Official Competition of the 17th Edition of FIFM. In selecting these first or second feature-length films, the Festival grants priority to the discovery and consecration of new talents in world cinema. The selection is eclectic, its purpose being to showcase several cinematic universes developed in different regions of the world, with four (4) European films (from Austria, Bulgaria, Germany, and Serbia); three (3) films from Latin America (Argentina and Mexico); one (1) US film; two (2) Asian films (China and Japan); and four (4) films from the MENA region (Egypt, Morocco, Sudan, and Tunisia). Of the 14 films in competition, six are directed by women. Six great auteur films, with first-rate distribution, will be shown on the Festival’s gala evenings.
    [Show full text]
  • Komentovaný Překlad Vybraných Povídek Martína Rejtmana
    Univerzita Palackého v Olomouci Filozofická fakulta Komentovaný překlad vybraných povídek Martína Rejtmana Bakalářská práce Vedoucí práce: Mgr. Daniel Nemrava Klára Nováková Olomouc 2009 Děkuji touto cestou vedoucímu mé práce panu Mgr. Danielu Nemravovi za inspiraci při upřesnění zadání práce, ochotu, trpělivost a cenné připomínky, které mi během zpraco- vání práce poskytl. Prohlašuji, ţe jsem tuto práci vypracovala samostatně s pouţitím literatury, kterou uvá- dím v bibliografii. V Olomouci, 2009 .............................................. Abstrakt Nováková, K. Komentovaný překlad vybraných povídek Martína Rejtmana. Bakalářská práce. Olomouc 2009 Tématem bakalářské práce je překlad vybraných povídek argentinského spisovatele a reţiséra Martína Rejtmana, Alplax a Moje sádra. Dále se práce zabývá společenskými a kulturními východisky autorovy tvorby, argentinskou povídkou, zkušenostmi s filmovou reţií, práci na scénářích i argentinskými reáliemi, které ovlivňují autorův specifický literární projev. Podrobný komentář k překladu zahrnuje popis řešených pro- blémů, zvolená východiska a jejich odůvodnění. Klíčová slova překlad, povídka, literatura, Rejtman, Martin, kinematografie Abstract Nováková, K. Commented translation of Martín Rejtman’s selected stories. Bachelor thesis. Olomouc 2009 The topic of the bachelor thesis is translation of two short stories called Alplax and My Plaster Cast, written by the Argentinean author and film director Martín Rejtman. The thesis further deals with the social and cultural fundaments of the author’s
    [Show full text]
  • June 2019 Home & Relocation Guide Issue
    WOMEN OF CHINA WOMEN June 2019 PRICE: RMB¥10.00 US$10 N 《中国妇女》 Beijing’s essential international family resource resource family international essential Beijing’s 国际标准刊号：ISSN 1000-9388 国内统一刊号：CN 11-1704/C June 2019 June WOMEN OF CHINA English Monthly Editorial Consultant 编辑顾问 Program 项目 《中 国 妇 女》英 文 月 刊 ROBERT MILLER（Canada） ZHANG GUANFANG 张冠芳 罗 伯 特·米 勒（ 加 拿 大） Sponsored and administrated by Layout 设计 All-China Women's Federation Deputy Director of Reporting Department FANG HAIBING 方海兵 中华全国妇女联合会主管/主办 信息采集部（记者部）副主任 Published by LI WENJIE 李文杰 ACWF Internet Information and Legal Adviser 法律顾问 Reporters 记者 Communication Center (Women's Foreign HUANG XIANYONG 黄显勇 ZHANG JIAMIN 张佳敏 Language Publications of China) YE SHAN 叶珊 全国妇联网络信息传播中心（中国妇女外文期刊社） FAN WENJUN 樊文军 International Distribution 国外发行 Publishing Date: June 15, 2019 China International Book Trading Corporation 本 期 出 版 时 间 ：2 0 1 9 年 6 月 1 5 日 中国国际图书贸易总公司 Director of Website Department 网络部主任 ZHU HONG 朱鸿 Deputy Director of Website Department Address 本刊地址 网络部副主任 Advisers 顾问 WOMEN OF CHINA English Monthly PENG PEIYUN 彭 云 CHENG XINA 成熙娜 《中 国 妇 女》英 文 月刊 Former Vice-Chairperson of the NPC Standing 15 Jianguomennei Dajie, Dongcheng District, Committee 全国人大常委会前副委员长 Director of New Media Department Beijing 100730, China GU XIULIAN 顾秀莲 新媒体部主任 中国北京东城区建国门内大街15号 Former Vice-Chairperson of the NPC Standing HUANG JUAN 黄娟 邮编：100730 Committee 全国人大常委会前副委员长 Deputy Director of New Media Department Tel电话/Fax传真：(86)10-85112105 新媒体部副主任 E-mail 电子邮箱：[email protected] Director General 主 任·社 长 ZHANG YUAN 张媛 Website 网址 http://www.womenofchina.cn ZHANG HUI 张慧 Director of Marketing Department Printing 印刷 Deputy Director General & Deputy Editor-in-Chief 战略推广部主任 Toppan Leefung Changcheng Printing (Beijing) Co., 副 主 任·副 总 编 辑·副 社 长 CHEN XIAO 陈潇 Ltd.
    [Show full text]
  • Doppio Concorso, 140 Film, 13 Italiani, Grandi Maestri E Giovani Promesse
    Colore: Composite ----- Stampata: 27/07/01 22.02 ----- Pagina: UNITA - NAZIONALE - 16 - 28/07/01 16 sabato 28 luglio 2001 IN CONCORSO Amos GITAI - Eden (Francia/Italia/Israele) Giuseppe PICCIONI - Luce dei miei occhi (Italia) Jez BUTTERWORTH - Birthday Girl (G.B.) KIM Ki-duk - Soochwieen Bodmyung - Address Unknown Lucian PINTILIE - L'Après-midi d'un tortionnaire (Romania/ John CARPENTER - John Carpenter's Ghosts of Mars (Usa) Alejandro AMENÁBAR - Los otros - The Others (Spagna/Usa) (Corea) Francia) Peter CATTANEO - Lucky Break (G.B.) João BOTELHO - Quem és tu? (Portogallo) Richard LINKLATER - Waking Life (Usa) Walter SALLES - Behind the Sun (Brasile/Svizzera/Francia) Antoine FUQUA - Training Day (Usa) Antonio CAPUANO - Luna rossa (Italia) Ken LOACH - The Navigators (G.B./Germania/Spagna) Ulrich SEIDL - Hundstage (Austria) Albert & Allen HUGHES - From Hell (Usa) Fruit CHAN - Heung gong yau gok hor lei wood - Hollywood Mira NAIR - Monsoon Wedding (India) André TÉCHINÉ - Loin (Francia/Spagna) Benoît JACQUOT - Tosca (Francia/Italia/Germania/G.B.) Hong Kong (Hong Kong/Francia/ Giappone) Goran PASKALJEVIC - How Harry Became a Tree (Irlanda/Ita- David MAMET - Heist (Usa) Larry CLARK - Bully (Usa) lia/G.B./Francia) FUORI CONCORSO Isidro ORTIZ & La Fura dels Baus (Alex Ollé, Carlos Padrisa) - Alfonso CUARÓN - Y tu mamà˘ también (Messico) Babak PAYAMI - Raye makhfi - Void Votes (Iran/Italia) Fausto 5.0 (Spagna) il programma Philippe GARREL - Sauvage innocence (Francia/Olanda) Clare PEPLOE - The Triumph of Love (Italia/G.B.) Woody ALLEN - The Curse of the Jade Scorpion (Usa) Steven SPIELBERG - A.I. Artificial Intelligence (Usa) Nanni Moretti presiede la giuria ‘‘ della rassegna cinematografica più antica del mondo Gabriella Gallozzi ROMA Doppio concorso, 140 film prove- nienti da tutto il mondo (anche le Filippi- ne), tante storie di donne e tanti film italia- ni (tredici).
    [Show full text]
  • Films Argentins Distribués En France
    - FILMS ARGENTINS DISTRIBUÉS EN FRANCE - Dans son souhait de promotion de la culture argentine, l’Ambassade de la République Argentine en France vous présente une liste non exhaustive des oeuvres de réalisateurs argentins, distribués en France (disponibles au format DVD, avec sous‐titres en français) Ce catalogue présente pour chaque film un court résumé, ainsi que le nom des distributeurs (fournisseurs des médiathèques). Nous espérons que vous découvrirez avec plaisir ce cinéma riche et puissant. Absent/ Ausente (2011) Marco Berger Drame Synopsis Martin se blesse lors d'un cours de natation. Après l’avoir emmené à l’hôpital, Sebastian, son professeur, propose à Martin de le raccompagner chez lui. Mais il n’y a personne. Le professeur n’a alors d’autre choix que de lui proposer de passer la nuit chez lui, sans encore se douter des vraies intentions de son jeune hôte… Distributeurs : RDM ; CVS ; ADAV Agnus Dei (2010) Alejandra Sanchez Documentaire Synopsis La pédophilie ne mérite pas le silence. Ce documentaire illustre la complicité qui existe entre religieux et certaines familles, qui préfèrent fermer les yeux sur les agissements des prêtres afin que leurs enfants puissent être éduqués. Pauvreté et puissance des soutanes face à l’impuissance des enfants : le cocktail détonnant qui permet à ce fléau de perdurer dans un silence liturgique. C’est l’histoire d’un homme, Jesús, qui décide de prendre en main son destin : il affronte le mur de silence de l’église, son agresseur, et en le dénonçant, reconstruit sa dignité d’homme et retrouve ainsi sa liberté. Distributeurs : CVS Agua (2005) Veronica Chen Drame Synopsis Injustement accusé de dopage lors d'un marathon en Argentine, Goyo, ancien champion de natation en eau libre, a tout abandonné pour se réfugier dans le désert.
    [Show full text]
  • Branding Latin America Film Festivals and the International Circulation of Latin American Films
    Branding Latin America Film Festivals and the International Circulation of Latin American Films Laura Rodríguez Isaza Submitted in accordance with the requirements for the degree of Doctor in Philosophy The University of Leeds School of Modern Languages and Cultures Centre for World Cinemas October, 2012 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others . This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement . Except where otherwise noted, t his work is licensed under a Creative Commons Attribution -Non Commercial- Share Alike 2. 0 UK: England & Wales (CC BY -NC-SA 2.0). Full license conditions available at http://creativecommons.org/licenses/by -nc-sa/2.0/uk/ © 2012 The University of Leeds and Laura Rodríguez Isa za Acknowledgements I am indebted to many people for their support and encouragement to go throughout the different stages of this research. First of all, I would like to thank my supervisors at the Centre for World Cinemas of the University of Leeds without whose backing this research would not have been possible. I am especially indebted to Lúcia Nagib for her committed mentorship and encouragement to continue despite my frequent blockages. Her extensive knowledge and academic rigour enriched this research through a constant ex-change of ideas that helped me not only to express my arguments more clearly on paper but to develop further my thinking about the complexities of cinema as an object of study.
    [Show full text]