DOCSLIB.ORG

The Independent Film & Video Monthly

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

independent I FILM AND VIDEO MONTHLY A Publication of The Association of Independent Video and Filmmakers www.aivf.org They make isiory. We sell it. The ITN Archive holds one of the biggest collections of news material anywhere in the world, and includes Reuters Television, several international newsreels and Bhtish Independent Television News, all fully searchable at www.itnarchive.com ITN Archive (New York) ITN Archive (Los Angeles) The Reuters Building 3500 West Ohve Ave 3 Times Square Suite 1490 4th Roor Burbank New York CA 91505 NY 10036 Tel: 818 953 4115 Tel: 646 223 6671 Fax: 818 953 4137 Fax: 646 233 6675 Email: [email protected] Email: [email protected] ITN Archive iM " FILM FESTIVAL 10 Days Celebrating 10 Years Call for Entries Filmmakers' Favorite "One of the most enjoyable festival experiences I've fiad...in ttie top tier of filmmaker-friendly festivals anywhere. .everyone who gets invited is a big winner." — Mark J. Gordon, writer and director, hier Majesty "Never before have we screened for over 900 people at a single festival screening. You have unlocked a door that many a festival director is trying to find— the key to solid attendance. — Adrienne Wehr, producer. The Bread, My Sweet Entry is FREE this year in honor of our 10th anniversary Competitions in 35mm and 16mm films include feotures, shorts, documentaries, and animation. Stony Brook Film Festival does not project video. Largest venue and film screen in the region • 1 ,000-plus seats • 40-foot screen • More than 13,000 attendees at the 2004 festival. Entry forms available online at 5tonybrookfilmfestival.com Or write to: Stony Brook Film Festival Staller Center for the Arts, Room 2030A Stony Brook University, Stony Brook, NY 1 1794-5425 Deadline: May 2, 2005 For more information, call 631-632-7235 or e-mail: [email protected] AA/EOE STONY BROOK UNIVERSITY www.stonybrookfilmfestivaL com CENTER FOR THE ARTS sxsw.com MARCH 11 - 19 » AUSTIN, TEXAS The SXSW Film Conference and Festival has quickly emerged as one of the world's premier venues for discovering new film- makers as well as honoring established legends. Visit us at sxsw.com 2005 TOPICS include: Independent film pioneer and founder of "Killer Films" Christine Vachon, will host a For more information including: career retrospective. Vachon has spent the last two » conference updates decades producing an impressive body of work with » registration discounts some of the most innovative directors in the business. » list of exhibitors i. >»'; ..' TalentMatch com Talent, Industry and the Fans that Support Them Volume 28 Number i Cover: Curtis Wheeler: the subject of Jacob Okada's film, Curtis (Jacob Okada) Upfront Features 5 EDITOR'S LETTER 40 THE ANATOMY OF A SHORT The genre is becoming increasinglv 6 CONTRIBUTORS legitimatized within the film industry By Marisa S. Olson 8 NEWS 44 SHORT PEOPLE Conservative film fests; Kodak's VIS10N2 A roundup of some of the top short-makers expands; San Franciscos Proposition 1. is a loser By Margaret Coble By Lindsay Gelfand 48 BACK TO THE FEATURE 12 FIRST PERSON How (some) shorts grow long By Rick Harrison Movieside's director muses about the current state of short films 52 THE TALENTED TENTH By Rusty Nails Indie actors-turned short-filmmakers Bv Kate Bernstein 1 6 PRODUCTION JOURNAL The heart and mind behind the filming ot Curtis 56 BOOK REVIEW By Jacob Okada The Sam-croiv Video Movie Guide's take on a 22 PROFILE century of film By Lisa Selin Davis Kevin Everson turns the ordinary into the extraordinary By Laila Lalami 27 DOC DOCTOR The short: does it make financial sense? Listings Is there a structure to follow? By Fernanda Rossi 61 FESTIVALS 30 FESTIVAL CIRCUIT 68 CLASSIFIEDS The Chlotrudis Short Film Festival 71 FILMS/TAPES WANTED By Ben Chung 74 NOTICES 34 Q/A 78 SALONS Big Short Film's David Russell B\' Fiona Ng 79 THANKS 80 THE LIST 36 ON THE SCENE The 25th anniversan,' of Asburv Shorts of New York Bv Colin Ginks www.aivf.org January/February 2005 I The Independent 3 The BEST Of ADFF independent at BAM Feb 11 • Feb 17, 2005 •'} www.NYADFF.org Publisher: Bienvenida Matias r |publisher@aivf org] The African Diaspora Editor-in-Chief: Rebecca Carroll J Film Festival (adff), Managing Editor: Shana Liebman an eclectic mix of independent, |independent@aivf org| urban, foreign and classic films that Assistant Editor: Rick Harrison vv |lacl(5Jaivf org] depict the Global Black Experience. Designer: R. Benjamin Brown |benbrowngraphic@msn com] For more information, call the BAMcinematek Production Associate: Timothy Schmidt www.NYADFF.orgBifflW J I 1 1 'Hi 1 l'l'»'J * Ki Wik\kiH>r 1 W«l I' [gfaphics®aivf org] B r a s i I , USA, Belgium, Senegal, Congo, A u s t r a I i al Editorial Associate: Lindsay Gelfand [notices'a)aivf org] Contributing Editors: Sherman Alexie, Pat Aufderheide, Monique Cormier, Bo Mehrad, Cara Mertes, Kate Tuttle Contributing Writers: Elizabeth Angell, Margaret Coble, Lisa Selin Davis, Matt Dunne, Greg Gllpatrick, Gad! Harel, JohnPavlus Advertising Representative: Veronica Shea I21ZI 807-1400 x232, Iveronica'aaivf org] Advertising Representative: Michael Tierno (212) 807-1400 x234. (mikeigaivf org] Classified Advertising: Michael Tierno (212) 807-1400 x241: |[email protected]] • National Distribution: Ingram Periodicals (800) 627-6247 POSTMASTER: Send address changes to: The Independent Film & Video Monthly, fl 304 Hudson St , 6 , New York, NY 10013 The Independent Film & Video Monthly ilSSN 1077-8918) is published monthly (except combined issues January/February and July/August) by the Foundation for Independent Video and Film (FIVF), a 501(c)(3) dedicated to the advancement of Bringing people together to broaden media arts and artists. Subscription to the magazine is included in annual membership dues ($70/Yr individual. $40/yr student: SlOO/yr nonprofit/school, sliding scale (see website) for the understanding and celebrate business/industry) paid to the Association of Independent Video and Filmmakers (AIVF), the national professional association of individuals involved in moving image media. Library subscrip- the power of independent film tions are $80/yr. Contact: AIVF, 304 Hudson St., 6 fl., New York, NY 10013, 12121 807-1400; fax: (212) 463-8519; [email protected]. through cinema and the Periodical Postage paid at New York, New York and at additional mailing offices Sedona experience*' Printed in the USA by Cadmus Specialty Publications ,^ Publication of The Independent is made possible ^ff in part with public funds from the New York State :.•.;;:.•.; Council on the Arts, a state agency, and the National °' ~ MARCH 3-6, 2005 Endowment for the Arts, a federal agency Publication of any ad in Tifie Independent does not constitute an endorsement. FIVF is not responsible for any claims made in an ad. All contents are copyright of the Foundation for Independent Video PASSES ON SALE NOW and Film, Inc Reprints require written permission and acknowledge- ment of the article's previous appearance in The Independent Tne Independents indexed in the Alternative Press Index and is a mem- ber of the Independent Press Association. Arizona AIVF staff: Bienvenida Matias, executive director. HARKINSTHEATRES Sedona, Soma Malfa. program director, Priscilla Grim, membership director; Bo Mehrad. information services director. Greg Gilpatrick, technology consultant, Emily Banks, Tama Caceres, Jeffrey Scheible, interns; FIVF legal counsel: Robert I. Freedman, Esq., Cowan, 928.282.1177 DeBaets, Abrahams & Sheppard AIVF Board of Directors: Joel Bachar, Liz Canner, Anne del Castillo, 888.3999.FILM Doug Hawes-Davis, Regqe Life, Bienvenida Matias (ex oficio), Michele Meek, Simon Tarr, Rahdi Taylor, Elizabeth Thompson, WWW.SEDONAFrLMFESTIVAL.COM Jim Vincent. Bart Weiss © Foundation for Independent Video & Film, Inc. 2004 Visit The Independent online at: www.aivf.org 4 The Independent I January/Februan/ 2005 Reliable, Global, Total Coverage! In the feature well, west coast writer U U Marisa S. Olson walks us under the tent poles 0) .a 0) of the short film as genre (page 40) —says cc Shane Smith, artistic director of the Worldwide Short Film Festival at the EDITOR'S LETTER Canadian Film Centre: "The short film is increasingly becoming respected as an art Dear Readers, form in its own right." Brilliant. Let's talk The short film—what a perfect genre. about it. A contributing writer for The Like the perfect snack. Or the very best Independent, Margaret Coble, rounded up a poem: intensity and imagination distilled group of working short-filmmakers (page down to the most crucial and poignant of 44) —some with great new projects in the words. Short films are the quintessential hopper, others still riding the wave of their starting point, and for some filmmakers, the last—among them Cina Levy (Too Too Dust), definitive end goal. Many of you will be read- Jesse F^pstein ( Wet Dreams and False hnages), ing this i.ssue while at the Sundance Film and Tom Wilson (Pulling Rank). Festival 2005—and perhaps some of you who Writer and filmmaker Kate Bernstein are returning may recognize this issues cover (whose short Ladies Room is currently touring shot from Curtis, the brilliant short film by the festival circuit) checked out the growing Jacob Okada that debuted at Sundance last trend of independent actors-turned short year. Jacob shared the process of making his film directors that includes lllcana Douglas, very poetic film in this months Production Hank A/aria, and Ralph Macchio. Yes, //;/// Journal column (page 16). Ralph Macchio (page 52). And assistant edi- There are new and inveterate shorts people tor at The Independent, Rick Harrison (page all around us. \bu probably know one or sev- 48), considers the jump from short to feature eral, or even as likely, you are one. We at The for a few lucky filmmakers (or not so lucky.
Recommended publications
  • Toxic Trespass

    Toxic Trespass

    w omeN 2010 make New Releases movies WMM www.wmm.com Women Make Movies Staff Jen Ahlstrom Finance Coordinator Liza Brice Online Marketing ABOUT & Outreach Coordinator Jessica Drammeh IT/Facilities Coordinator WOMEN MAKE MOVIES Kristen Fitzpatrick A NON-PROFIT INDEPENDENT MEDIA DISTRIBUTOR Distribution Manager Tracie Holder Production Assistance From cutting-edge documentaries that give depth to today’s headlines to smart, Program Consultant stunning fi lms that push artistic and intellectual boundaries in all genres, Stephanie Houghton Educational Sales Women Make Movies (WMM), a non-profi t media organization, is the world’s & Marketing Coordinator leading distributor of independent fi lms by and about women. WMM’s Maya Jakubowicz Finance & Administrative Manager commitment to groundbreaking fi lms continues in 2010 with 24 new, astonishing Cristela Melendez and inspiring works that tackle, with passion and intelligence, everything Administrative Aide from portraits of courageous and inspiring women affecting social change in Amy O’Hara PATSY MINK: AHEAD OF THE MAJORITY, A CRUSHING LOVE, and AFRICA RISING, Offi ce Manager to three new fi lms on issues facing young women today: COVER GIRL CULTURE, Merrill Sterritt Production Assistance ARRESTING ANA, and WIRED FOR SEX, LIES AND POWER TRIPS. Other highlights Program Coordinator include THE HERETICS, a look at the Second Wave of feminism, and two new Julie Whang fi lms in our growing green collection, MY TOXIC BABY and TOXIC TRESPASS. Sales & Marketing Manager Debra Zimmerman Executive Director The WMM collection is used by thousands of educational, cultural, and community organizations across North America. In the last fi ve years dozens Board of Directors of WMM fi lms have been broadcast on PBS, HBO, and the Sundance Channel Claire Aguilar among others, and have garnered top awards from Sundance to Cannes, as Vanessa Arteaga well as Academy Awards®, Emmy Awards®, and Peabody Awards.
  • RESUME 20 CONFERENCE Bucharest, 24 – 26 November 2017

    RESUME 20 CONFERENCE Bucharest, 24 – 26 November 2017

    RESUME 20TH CONFERENCE Bucharest, 24 – 26 November 2017 20th Europa Cinemas Conference 2 TABLE OF CONTENTS OPENING OF THE 20th EUROPA CINEMAS CONFERENCE…………………………………………………….8 Nico Simon – President of Europa Cinemas………………………………………………………………………….……….8 Lucia Recalde - Head of Unit Creative Europe/MEDIA, EuropeanCommission……………………………...8 Claude-Eric Poiroux – General Director of Europa Cinemas…………………………………………………………..9 SESSION I – THE CHANGING CINEMA EXPERIENCE IN CHANGING TIMES…………………………10 Both directed by Michael Gubbins – Consultant, SampoMedia, UK Introduction: Keynote Interview with Cristian Mungiu (Director, Exhibitor and Distributor, Romania)………………………………………………………………………………………………………………………10 PANEL I – Entrepreneurialism & Evolving Cinema Experience…………………………………….……13 The role of entrepreneurial business thinking and practice Enhancing the cinema environment: architecture, design, sound and vision The essential role of cinema in communities across Europe Film as a vital art form in a period of disruptive change Lionello Ceri – CEO, Anteo & Producer, Lumière & Co, Italy………………………………………………………13 Heinrich-Georg Kloster – CEO, Yorck Kinogruppe, Germany…………………………………………..…….…..13 Bero Beyer – General and Artistic Director, Intl Film Festival Rotterdam, The Netherlands…………………………………………………………………………………………………………………..……….…14 Prof. Kazu Blumfeld Hanada & Diego Kaiser – Hands on Cinema, Münster School of Architecture, Germany………………………………………………………………………………………………………………15 PANEL 2 – Independence of Choice: Challenges & Opportunities for Cinema …………………16
  • The 13Th Annual Native Cinema Showcase

    The 13Th Annual Native Cinema Showcase

    The 13th Annual Native SWAIA and the Smithsonian Institution’s National Museum of the American Indian bring a seven-day celebration of films and videos by and about Native Cinema Showcase peoples to Santa Fe Indian Market. All screenings are held at the New Mexico History Museum, 113 Lincoln Avenue. For more information, call 505-476-5200. August 12-18, 2013 All films and screening times are subject to change. For the most up-to-date Free admission guide, visit swaia.org or santafeindianmarket.com. Monday, August 12 7 p.m. The Lesser Blessed *FOr matUre aUdIenCeS* Co-presented by imagine natIVe Film + media arts Festival (Canada, 2012, 86 min.) director: anita doron; Writers: richard Van Camp (tlicho), anita doron Fort Simmer, northwest territories. By Larry Sole’s reckoning, there’s not much to do there “if you’re not into booze or sports,” especially not if you’re an awkward teen trying to keep a low profile and the secrets of your past buried on the neighboring rez. But when you’re 16, how do you avoid the raw lure of life? Preceded by: The Hunt (Canada, 2012, 10 min.) Writer/director: Jordan tannahill; Co-writer: annabella Piugattuk (Inuit) In the long light of the midnight sun, a young woman searches for her teenaged son. Tuesday, August 13 1 p.m. Indian 101 – Work in Progress Screening Presented by Vision maker media (USa, 2013, 63 min.) director: Julianna Brannum (Comanche) From her childhood in Cotton County, Ok, through her years in Washington, dC, where oftentimes she was the only “visible Indian,” to her current occupation as a mentor to dozens of young native leaders, Ladonna Harris continues her impactful work shaping social and political practice impacting native people.
  • Woman War Correspondent,” 1846-1945

    Woman War Correspondent,” 1846-1945

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository CONDITIONS OF ACCEPTANCE: THE UNITED STATES MILITARY, THE PRESS, AND THE “WOMAN WAR CORRESPONDENT,” 1846-1945 Carolyn M. Edy A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Journalism and Mass Communication. Chapel Hill 2012 Approved by: Jean Folkerts W. Fitzhugh Brundage Jacquelyn Dowd Hall Frank E. Fee, Jr. Barbara Friedman ©2012 Carolyn Martindale Edy ALL RIGHTS RESERVED ii Abstract CAROLYN M. EDY: Conditions of Acceptance: The United States Military, the Press, and the “Woman War Correspondent,” 1846-1945 (Under the direction of Jean Folkerts) This dissertation chronicles the history of American women who worked as war correspondents through the end of World War II, demonstrating the ways the military, the press, and women themselves constructed categories for war reporting that promoted and prevented women’s access to war: the “war correspondent,” who covered war-related news, and the “woman war correspondent,” who covered the woman’s angle of war. As the first study to examine these concepts, from their emergence in the press through their use in military directives, this dissertation relies upon a variety of sources to consider the roles and influences, not only of the women who worked as war correspondents but of the individuals and institutions surrounding their work. Nineteenth and early 20th century newspapers continually featured the woman war correspondent—often as the first or only of her kind, even as they wrote about more than sixty such women by 1914.
  • Eric Rohmer's Film Theory (1948-1953)

    Eric Rohmer's Film Theory (1948-1953)

    MARCO GROSOLI FILM THEORY FILM THEORY ERIC ROHMER’S FILM THEORY (1948-1953) IN MEDIA HISTORY IN MEDIA HISTORY FROM ‘ÉCOLE SCHERER’ TO ‘POLITIQUE DES AUTEURS’ MARCO GROSOLI ERIC ROHMER’S FILM THEORY ROHMER’S ERIC In the 1950s, a group of critics writing MARCO GROSOLI is currently Assistant for Cahiers du Cinéma launched one of Professor in Film Studies at Habib Univer- the most successful and influential sity (Karachi, Pakistan). He has authored trends in the history of film criticism: (along with several book chapters and auteur theory. Though these days it is journal articles) the first Italian-language usually viewed as limited and a bit old- monograph on Béla Tarr (Armonie contro fashioned, a closer inspection of the il giorno, Bébert 2014). hundreds of little-read articles by these critics reveals that the movement rest- ed upon a much more layered and in- triguing aesthetics of cinema. This book is a first step toward a serious reassess- ment of the mostly unspoken theoreti- cal and aesthetic premises underlying auteur theory, built around a recon- (1948-1953) struction of Eric Rohmer’s early but de- cisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. ISBN 978-94-629-8580-3 AUP.nl 9 789462 985803 AUP_FtMh_GROSOLI_(rohmer'sfilmtheory)_rug16.2mm_v02.indd 1 07-03-18 13:38 Eric Rohmer’s Film Theory (1948-1953) Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
  • B I U L E T Y N Związku Polskich Kawalerów Maltańskich Suwerennego Rycerskiego Zakonu Szpitalników Św

    B I U L E T Y N Związku Polskich Kawalerów Maltańskich Suwerennego Rycerskiego Zakonu Szpitalników Św

    B I U L E T Y N ZWIĄZKU POLSKICH KAWALERÓW MALTAŃSKICH SUWERENNEGO RYCERSKIEGO ZAKONU SZPITALNIKÓW ŚW. JANA JEROZOLIMSKIEGO, ZWANEGO RODYJSKIM I MALTAŃSKIM I POMOCY MALTAŃSKIEJ Początek nowicjatu sprawiedliwości Władysława Macharskiego Władysław Macharski Begins Novitiate of Justice Kawaler Łaski Magistralnej w Posłuszeństwie Władysław Macharski Władysław Macharski, Knight of Magistral Grace in Obedience, began rozpoczął nowicjat, który przygotowuje go do złożenia ślubów Kawalera a novitiate which will prepare him to make the vows of a Professed Knight. Profesyjnego. Jest to niewątpliwie wielkie wydarzenie w życiu naszego This is indeed a great event in the life of our Association. If Providence Związku. Jeśli Opatrzność pozwoli konfr. Macharskiemu złożyć allows konfr. Macharski to profess his solemn monastic vows, he will be uroczyste śluby zakonne, będzie on w naszym Związku drugim, oprócz the second member of our Association, after Fra’ Jerzy Lasocki, who is a Fra’ Jerzego Lasockiego, członkiem Zakonu I klasy, czyli zakonnikiem first−rank member of the Order of Malta, a monk in the eyes of Canon Law. w rozumieniu prawa kanonicznego. Dołączy on tym samym do grona He will become one of a group of about 50 members of the Order who ok. 50 członków Zakonu Maltańskiego, którzy stanowią jego duchowy form its spiritual core. The ceremony of initiation took place on April 26th trzon. Uroczystość ta miała miejsce 26 kwietnia w czasie Mszy św. during a Mass celebrated in the chapel of the Palace of the Prince Archbi− sprawowanej w kaplicy Pałacu Książęco−Arcybiskupiego w Krakowie. shops in Kraków. In his sermon, Conventual Chaplain a.h. and Master of O tym, że jest to wielkie wydarzenie nie tylko w życiu samego the Novitiate Father Marek Pieńkowski OP stressed that this is a great Nowicjusza, ale i całego Zakonu Maltańskiego, a w szczególności event not only in the life of the candidate, but of the entire Order of Malta Związku Polskich Kawalerów Maltańskich, wspomniał w swoim kazaniu and in particular of the Polish Association of Knights of Malta.
  • CSU Student Eastside Parks Study

    CSU Student Eastside Parks Study

    EASTSIDE PARKS Connection | Activation | Community Presented by: TABLE OF CONTENTS I. Project Introduction ..................................................................................................................................................... 3 I. Study Area Background ............................................................................................................................................... 6 II. Community Engagement, Project Focus, & Essential Tasks ................................................................................... 20 III. Plan ........................................................................................................................................................................... 29 IV. Implementatoin ...................................................................................................................................................... 88 V. References .............................................................................................................................................................. 90 VI. Appendices ............................................................................................................................................................. 94 ii Eastside Parks |Connection | Activation | Community I. PROJECT INTRODUCTION Project Background East Side Parks is the centerpiece of the 2020 Planning Studio course offered by the Levin College of Urban Affairs, Cleveland State University, for its Master of Urban Planning
  • A Dark New World : Anatomy of Australian Horror Films

    A Dark New World : Anatomy of Australian Horror Films

    A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream.
  • Libro ING CAC1-36:Maquetación 1.Qxd

    Libro ING CAC1-36:Maquetación 1.Qxd

    © Enrique Montesinos, 2013 © Sobre la presente edición: Organización Deportiva Centroamericana y del Caribe (Odecabe) Edición y diseño general: Enrique Montesinos Diseño de cubierta: Jorge Reyes Reyes Composición y diseño computadorizado: Gerardo Daumont y Yoel A. Tejeda Pérez Textos en inglés: Servicios Especializados de Traducción e Interpretación del Deporte (Setidep), INDER, Cuba Fotos: Reproducidas de las fuentes bibliográficas, Periódico Granma, Fernando Neris. Los elementos que componen este volumen pueden ser reproducidos de forma parcial siem- pre que se haga mención de su fuente de origen. Se agradece cualquier contribución encaminada a completar los datos aquí recogidos, o a la rectificación de alguno de ellos. Diríjala al correo [email protected] ÍNDICE / INDEX PRESENTACIÓN/ 1978: Medellín, Colombia / 77 FEATURING/ VII 1982: La Habana, Cuba / 83 1986: Santiago de los Caballeros, A MANERA DE PRÓLOGO / República Dominicana / 89 AS A PROLOGUE / IX 1990: Ciudad México, México / 95 1993: Ponce, Puerto Rico / 101 INTRODUCCIÓN / 1998: Maracaibo, Venezuela / 107 INTRODUCTION / XI 2002: San Salvador, El Salvador / 113 2006: Cartagena de Indias, I PARTE: ANTECEDENTES Colombia / 119 Y DESARROLLO / 2010: Mayagüez, Puerto Rico / 125 I PART: BACKGROUNG AND DEVELOPMENT / 1 II PARTE: LOS GANADORES DE MEDALLAS / Pasos iniciales / Initial steps / 1 II PART: THE MEDALS WINNERS 1926: La primera cita / / 131 1926: The first rendezvous / 5 1930: La Habana, Cuba / 11 Por deportes y pruebas / 132 1935: San Salvador, Atletismo / Athletics
  • MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join Our Four-Person Panel As They Discuss the Not-For-Profit Filmmaking Going on in the Area

    MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join Our Four-Person Panel As They Discuss the Not-For-Profit Filmmaking Going on in the Area

    MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join our four-person panel as they discuss the not-for-profit filmmaking going on in the area. It’s your chance to help make movies! See you at The Neville Public Museum! Wednesday, September 21 • THE RETURN (Russia, 2003) Directed by Andrei Zvyagintsev Winner of the Golden Lion at the 2003 Venice Film Festival, “The Return” is a magnificent re-working of the prodigal son parable, this time with the father returning to his two sons after a 12 year absence. Though at first ecstatic to be reunited with the father they’ve only known from a photograph, the boys strain under the weight of their dad’s awkward and sometimes brutal efforts to make up for the missing years. In Russian with English subtitles. Presenter to be announced Wednesday, October 12 • BRIGHT FUTURE (Japan, 2003) Directed by Kiyoshi Kurosawa Called by the New York Times a Japanese David Lynch, Kurosawa’s film is about two young friends who work at a hand-towel factory and raise deadly jellyfish. A casual visit by their boss unleashes a serious of events which change the two friends lives forever. One of the pleasures of this slow, suspenseful film is how casually Kurosawa tosses in ideas about contemporary life, the state of the family, the place of technology, all while steadily shredding your nerves. In Japanese with English subtitles. Presented by Ben Birkinbine, Green Bay Film Society Wednesday, October 19 • OSCAR-NOMINATED AND OSCAR-WINNING SHORT FILMS Once again we present a series of the best of live-action and animated short films from around the world.
  • Arts, Culture and Media 2010 a Creative Change Report Acknowledgments

    Arts, Culture and Media 2010 a Creative Change Report Acknowledgments

    Immigration: Arts, Culture and Media 2010 A Creative Change Report Acknowledgments This report was made possible in part by a grant from Unbound Philanthropy. Additional funding from the Carnegie Corporation of New York, Ford Foundation, Four Freedoms Fund, and the Open Society Foundations supports The Opportunity Agenda’s Immigrant Opportunity initiative. Starry Night Fund at Tides Foundation also provides general support for The Opportunity Agenda and our Creative Change initiative. Liz Manne directed the research, and the report was co-authored by Liz Manne and Ruthie Ackerman. Additional assistance was provided by Anike Tourse, Jason P. Drucker, Frances Pollitzer, and Adrian Hopkins. The report’s authors greatly benefited from conversations with Taryn Higashi, executive director of Unbound Philanthropy, and members of the Immigration, Arts, and Culture Working Group. Editing was done by Margo Harris with layout by Element Group, New York. This project was coordinated by Jason P. Drucker for The Opportunity Agenda. We are very grateful to the interviewees for their time and willingness to share their views and opinions. About The Opportunity Agenda The Opportunity Agenda was founded in 2004 with the mission of building the national will to expand opportunity in America. Focused on moving hearts, minds, and policy over time, the organization works closely with social justice organizations, leaders, and movements to advocate for solutions that expand opportunity for everyone. Through active partnerships, The Opportunity Agenda uses communications and media to understand and influence public opinion; synthesizes and translates research on barriers to opportunity and promising solutions; and identifies and advocates for policies that improve people’s lives.
  • 1997 Sundance Film Festival Awards Jurors

    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.