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International Film Festival April 24 – May 4, 2008 the Washington, Dc International Film Festival
THE 22ND ANNUAL WASHINGTON, DC INTERNATIONAL FILM FESTIVAL APRIL 24 – MAY 4, 2008 THE WASHINGTON, DC INTERNATIONAL FILM FESTIVAL A world of films…a window into our world. Whether experienced in movie theaters, on DVDs or television in our homes, on our iPods or computers, films are the major communications media of our time. Hollywood films dominate commercial cinema. However, scores of talented filmmakers around the globe produce thou- sands of quality films that speak with a different voice, provide a different point of view, and tell different stories. Presenting these films in the nation’s capital is the purpose of Filmfest DC. Photo: Chad Evans Wyatt Film festivals are a journey of Tony Gittens, Festival Director and Shirin Ghareeb, Assistant Director discovery, a visual and thought provoking adventure into how people see and interpret our world. Every Filmfest DC is different and every film is unique from every other film in the festival. Together, they comprise an amazing representation of human imagination, commitment and talent. The festival has two special focuses this year — Politics & Film and New Latin Ameri- can Cinema. Obviously, politics are especially prominent during this election season and we wanted to explore the role affairs of state play in people’s every day lives. Latin American filmmakers are always a treasure trove of inventive storytelling. The di- verse selection of new work we have gathered from the Spanish-speaking world (in- cluding Spain) are moving, humorous, and insightful. None of this would be possible without the many dedicated people who have shared their time and talents with Filmfest DC. -
Kenji Mizoguchi Cinematographic Style (Long Take) in 'The Life of Oharu' (1952)
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN 'THE LIFE OF OHARU' (1952). Rickmarthel Julian Kayug Bachelor ofApplied Arts with Honours (Cinematography) 2013 UNIVERSITI MALAYSIA SARAW AK BORANG PENGESAHAN STATUS TESIS/LAPORAN JUDUL: Kenji Mizoguchi Cinematographic Style (Long Take) In The 'Life OfOharu' (1952). SESI PENGAJIAN: 200912013 Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011 mengaku membenarkan tesisl Laporan * ini disimpan di Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut: 1. Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak 2. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan untuk tujuan pengajian sahaja 3. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan 4. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi pengajian tinggi 5. *sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan SULIT 6·D atau kepentingan seperti termaktub di dalam AKTA RAHSIA 1972) TERHAD D (mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan) V ~IDAK TERHAD Disahkan Disahkan Oleh: c:dt~f • Tandatangan Penulis Tandatangan Penyelia Tarikh t:L~ 1"""~ ~ l3 Tarikh: '~I O-=l""/?4l ~ Alamat Tetap: Kg. Pamilaan, Peti Surat 129,89908 Tenom, Sabah. Mobil Jefri ~ samareoa Lect\Il'U . faculty ofApplie4 aM CrcallVe Catatan: *Tesis/ Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah,~a Muda • lika Tesis/ Laporan SULIT atau TERHAD, sila lampirkan surat daripada pihak berkuasal organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis/ laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD This project report attached hereto, entitled "KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)". -
“Aspects of Danish Cinema”
Programme of Danish Film Screenings at the Danish Institute at Athens 2018 “Aspects of Danish Cinema”. By Ioanna Athanassatou/Film Historic at the Greek Open University & the University of Athens Screening on the 26th of April 2018 Silent heart (2014) by Bille August In film screening programme of the last 2 years, we have had the chance to see I line of Danish movies from Carl Dreyer, Lars von Trier, Susanne Bier and Thomas Vinterberg. Today we have chosen to screen “Silent heart” - in Danish ”Stille hjerte” and in Greek “Αθόρυβη καρδιά” (2014) by Bille August, the fourth movie this year. Bille August is considered the total opposite to Lars Von Trier and Vinterberg with a great international reputation. The filmography of Bille August includes two movies that both were awarded with the Golden Palms in Cannes: “Pelle the Conqueror” (1988) and “The best intentions” (1992). In these movies, including today´s, the director is closer to the cinematic perception of Swedish director Ingmar Bergman (Valoukos 2003, page 630), avoiding formalistic searching, but focusing on the mental state of his heroes. When August directed the movie in 2014, he was inspired by the Scandinavian drama of Ibsen and Strindberg, but also by the philosophic/religious meditation of Søren Kierkegaard. “Silent heart” touches upon the very complex and emotional issue of euthanasia. It was awarded at International festivals and was admitted at the European Art House. The movie is about the family gathering of three generations, coming together for the weekend inorder to say their last goodbye to Esther (Ghita Nørby) – mother and grandmother – who is sick from the incurable disease, Amyotrophic Lateral Sclerosis. -
Top Margin 1
IP/11/239 Brussels, 28 February 2011 And the Oscar goes to… Major success for EU- backed film 'The King's Speech' European Commissioner Androulla Vassiliou has welcomed the major success of EU-backed film 'The King's Speech', which was crowned with four Oscars at last night's 83rd Academy Awards ceremony in Hollywood. The film, which received €562 000 in distribution support from the EU MEDIA fund for cinema, scooped the big prizes for Best Picture, Best Director (Tom Hooper), Best Actor (Colin Firth) and best original screenplay (David Seidler). Another MEDIA-backed film, 'In a Better World', directed by Denmark's Susanne Bier, collected the statuette for best foreign language film. Commissioner Vassiliou, who is responsible for education and culture, said: "What a great night for the European film industry and the MEDIA programme. Europe loves cinema and the world loves our films! My congratulations to Tom Hooper and Susanne Bier, who showed that you don't need a massive budget to make world- beating films. This shows that the European film industry can compete with the best." Tom Hooper made 'The King's Speech' on a shoe-string budget by Hollywood standards, for less than €11 million. The funding the film received from MEDIA aims to encourage distribution outside the country where it was made – in this case, outside the UK. 'In a Better World', the third Danish film to win the best foreign language category after 'Babette's Feast' (1987) and 'Pelle the Conqueror' (1988), received €540 000 from MEDIA for distribution support. Two other EU-backed films were also nominated for Oscars – 'Dogtooth' (Yorgos Lanthimos, Greece, best foreign film category) was awarded €21 000, and 'The Illusionist' (director: Sylvain Chomet, UK/France, best animation category) received €126,000. -
Gendered Mobility, Legacy and Transformative Sacrifice in the Screen Stories of Susanne Bier
Networking Knowledge Position-in-frame (Jun. 2017) Position-in-frame: gendered mobility, legacy and transformative sacrifice in the screen stories of Susanne Bier. CATH MOORE, Deakin University ABSTRACT An integral connection point between the screenplay and reader/viewer is the protagonist’s transformative journey. The construction of this narrative backbone is critical to the articulation of overarching thematic concerns and story premise but also reflects the story creator’s worldview- one often coloured by representations of gender. The Hollywood model certainly divides narrative function along gender lines but does this representation hold true within a different cultural context? This article examines the selected screen stories of Danish director Susanne Bier whose partnership with screenwriter Anders Thomas Jensen is one of Denmark’s most successful film partnerships. Employing a case study methodology I examine the dramatic function of and agency afforded screen characters and the critical dynamic between cultural landscape, practitioner preference and narrative inquiry. Key to this address is an exploration of mobility, legacy and sacrifice as textual considerations of gender and its utilisation as transnational narrative strategy. KEYWORDS Transnational, mobility, transformative, collaboration, gaze Refocusing a masculinised gaze? With persistent ubiquity Hollywood continues to cast a dominant shadow over much of the global film & TV landscape. Similarly pervasive is the figurehead of such industrial influence - the male protagonist -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
The Hunt Thomas Vinterberg Susanne Bier Bille August Slug Invasion Cinefondation PAGE 2 / FILM#75 / CANNES ISSUE
Film is published#75 by the Danish Film institute / may 2012 Cannes issue 2012 THE HUNT THOMAS VINTERBERG SUSANNE BIER BILLE AUGUST SLUG INVASION CINEFONDATION PAGE 2 / FILM#75 / CANNES ISSUE 10 14 05 19 25 INSIDE 03 Editorial and short news 22 Tobias lindholm Writer on Vinterberg's Cannes competitor The Hunt 05 The Hunt by Thomas Vinterberg and the hit TV series Borgen, Tobias Lindholm has / Cannes Competition carved out a name for himself as a skilled storyteller. Film#75 Cannes issue The Hunt is the first collaboration between may 2012 Mads Mikkelsen and director Thomas Vinterberg 25 From The Kingdom to The Killing who shook the film world with his 1998 Cannes A modernisation strategy in the '90s in the drama Published by Danish Film Institute winner, the tough family drama The Celebration. department at national broadcaster DR laid the foun- Editor Susanna Neimann (SN) dation for the current golden age in Danish TV drama. Co-editor Annemarie Hørsman (AH) Editorial team Lars Fiil-Jensen (LFJ), 10 Susanne Bier Anders Budtz-Jørgensen (ABJ), Lizette Gram "With this film there is less of a difference between 28 You & me Forever Mygind, Christian Juhl Lemche who I am and what the movie is like," says Oscar Kaspar Munk deliberately started making You & Me Translations Glen Garner laureate Susanne Bier about Love Is All You Need. Forever without funding – he wanted to have ultimate Design Rasmus Koch Studio AD Morten Bak freedom to experiment with ideas and methods. Type Holton, Akzidenz-Grotesk, Cendia 14 Bille August Paper Munken Lynx 100 g Bille August uses a famous piece of Danish art history 30 The Bird Chase Printed by Rosendahls-Schultz Grafisk as the backdrop for his story about Marie Krøyer, "We tend to make family films too nice," says Christian Circulation 6,000 iSSN 1399-2813 (print version) a woman who challenged the conventions of society. -
French Cinema Saw International Box Office Receipts Shrink, but Retained Its Place in Foreign Markets and Festivals
23 rd RENDEZ-VOUS WITH FRENCH FILMS ON THE INTERNATIONAL MARKETPLACE FRENCH AND AT FESTIVALS CINEMA IN 2020 PARIS / JANUARY 13 - 15 2021 RESULTS FOR FRENCH FILMS ON THE INTERNATIONAL MARKET PLACE IN 2020 13.7* 86.6* MILLION MILLION ADMISSIONS EUROS down 69.8%* compared to 2019 IN RECEIPTS Note: In France, French films generated down 68.6%* compared to 2019 29.2** million admissions in 2020, down 60.7%** compared to 2019 IN 2020, FRENCH CINEMA SAW INTERNATIONAL BOX OFFICE RECEIPTS SHRINK, BUT RETAINED ITS PLACE IN FOREIGN MARKETS AND FESTIVALS » 9.5* million admissions (69.5%* of the total) for majority-French productions (38 million in 2019, down 75%*) » 10.6* million admissions (77.6%* of the total) for French-language films (26.9 million in 2019, down 60.6%*) » 611* French films on release in foreign theaters (869 in 2019, down 29.7%*) » 1,398* releases of French films (2,836 in 2019, down 50.7%*) » 2* French films sold more than 1 million tickets abroad (7 in 2019) » 28* French films drew more than 100,000 spectators abroad (68 in 2019) » Russia becomes the leading territory in terms of admissions for French films in 2020, ahead of Spain and Italy* » 163 French films were selected across 8 major international film festivals*** and accounted for 19.5% of the films presented (199 and 19% in 2019, down 18.1% and up 2.6%) Note: *The figures given in this brochure are provisional and non-exhaustive. The definitive figures will be available in the fall and will inevitably be higher. -
View , 82, (Winter 2002): 191-207
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Collegiate Symbols and Mascots of the American Landscape: Identity, Iconography, and Marketing Gary Gennar DeSantis Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES COLLEGIATE SYMBOLS AND MASCOTS OF THE AMERICAN LANDSCAPE: IDENTITY, ICONOGRAPHY, AND MARKETING By GARY GENNAR DeSANTIS A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 ©2018 Gary Gennar DeSantis Gary Gennar DeSantis defended this dissertation on November 2, 2018. The members of the committee were: Andrew Frank Professor Directing Dissertation Robert Crew University Representative Jonathan Grant Committee Member Jennifer Koslow Committee Member Edward Gray Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii I dedicate this dissertation to the memory of my beloved father, Gennar DeSantis, an avid fan of American history, who instilled in me the same admiration and fascination of the subject. iii TABLE OF CONTENTS Abstract ............................................................................................................................................v 1. FITNESS, BACK-TO-NATURE, AND COLLEGE MASCOTS -
Saints, Signs Symbols
\ SAINTS, SIGNS and SYMBOLS by W. ELLWOOD POST Illustrated and revised by the author FOREWORD BY EDWARD N. WEST SECOND EDITION CHRIST THE KING A symbol composed of the Chi Rho and crown. The crown and Chi are gold with Rho of silver on a blue field. First published in Great Britain in 1964 Fourteenth impression 1999 SPCK Holy Trinity Church Acknowledgements Marylebone Road London NW1 4DU To the Rev. Dr. Edward N. West, Canon Sacrist of the Cathedral Church of St. John the Divine, New York, who has © 1962, 1974 by Morehouse-Barlow Co. graciously given of his scholarly knowledge and fatherly encouragement, I express my sincere gratitude. Also, 1 wish to ISBN 0 281 02894 X tender my thanks to the Rev. Frank V. H. Carthy, Rector of Christ Church, New Brunswick, New Jersey, who initiated my Printed in Great Britain by interest in the drama of the Church; and to my wife, Bette, for Hart-Talbot Printers Ltd her loyal co-operation. Saffron Walden, Essex The research material used has been invaluable, and I am indebted to writers, past and contemporary. They are: E. E. Dorling, Heraldry of the Church; Arthur Charles Fox-Davies, Guide to Heraldry; Shirley C. Hughson of the Order of the Holy Cross, Athletes of God; Dr. F. C. Husenbeth Emblems of Saints; C. Wilfrid Scott-Giles, The Romance of Heraldry; and F. R. Webber, Church Symbolism. W. ELLWOOD POST Foreword Contents Ellwood Post's book is a genuine addition to the ecclesiological library. It contains a monumental mass of material which is not Page ordinarily available in one book - particularly if the reader must depend in general on the English language. -
Russian Intelligentsia at the Crossroads* by Dmitri N. Shalin In
Russian Intelligentsia at the Crossroads* By Dmitri N. Shalin In 57 B.C.E., Marcus Tullius Cicero, a Roman consul and leading public intellectual, ran into heavy political headwinds. After turning down Caesar’s invitation to join the antirepublican forces, he was driven into exile where he brooded about the duty he owed to himself, his family and his country. In a letter to his friend Atticus, Cicero outlined the stark moral choices committed citizens face when the fate of the republic hangs in the balance. The question is “Whether one should remain in one’s country, even under a tyranny. Whether any means are lawful to abolish a tyranny, even if they endanger the existence of the State. Whether one ought to take care that one who tries to abolish it may not rise too high himself. Whether one ought to assist one’s country, when under a tyranny, by seizing the opportunities and by arguments rather than by war . Whether one who has done good service for his country, and by it won ill-treatment and envy, should voluntarily put himself into danger for that country, or may at length take thought for himself and his dear ones and avoid struggles against the powers that be.” Caesar’s Rome and Putin’s Russia are vastly different polities, yet the dilemmas Russian intellectuals and political activists face nowadays bear more than a fleeting resemblance to those that ultimately cost Cicero his life. Ever since the collapse of the Soviet Union, emigration has been on its citizens’ minds. An estimated 10 million Russians left the country since the mid-1990s. -
Winners (Print & Publishing Lions)
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