Croatian Films 2009/2010 Feature Films Vision, Talent and Passion
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Os Tempos E Os Territórios Da Colonização Italiana
Marcos Aurelio Saquet OS TEMPOS E OS TERRITÓRIOS DA COLONIZAÇÃO ITALIANA Porto Alegre, 2002. 2 Ao meu pai, Edi, com muita saudade À minha mãe, Antonieta, uma grande lutadora Ao meu irmão, Adriano, pela luta e incentivo À Luana, minha filha E à Edinês, minha companheira. 3 SUMÁRIO 4 Introdução ................................................................................................................. 05 PARTE I A re-territorialização italiana no Rio Grande do Sul ........................................... 33 1. A gênese da Colônia Silveira Martins ................................................................. 35 2. A des-territorialização italiana para o Brasil ....................................................... 53 PARTE II A re-territorialização na Colônia Silveira Martins ............................................. 79 3. A formação da sede colonial .............................................................................. 82 4. A expansão territorial e os territórios ................................................................ 98 5. O desenvolvimento e os tempos; mudanças territoriais e a política regional ... 143 6. Os tempos e os territórios da colonização italiana ............................................ 194 Considerações Finais .............................................................................................. 234 Bibliografia ............................................................................................................. 235 Anexos ................................................................................................................... -
De Fina, A. 2007. Code Switching and Ethnicity in a Community of Practice
Georgetown University Institutional Repository http://www.library.georgetown.edu/digitalgeorgetown De Fina, A. 2007. Code switching and ethnicity in a community of practice. Language in Society 36 (3):371-392. http://dx.doi.org/10.1017/S0047404507070182 Collection Permanent Link: http://hdl.handle.net/10822/559318 © 2007 Cambridge University Press This material is made available online with the permission of the author, and in accordance with publisher policies. No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. Language in Society 36, 371–392. Printed in the United States of America DOI: 10.10170S0047404507070182 Code-switching and the construction of ethnic identity in a community of practice ANNA DE FINA Georgetown University Italian Department ICC Building 307 J 37 and O Streets NW Washington D.C. 20057 [email protected] ABSTRACT In the past twenty years the existence of a sense of ethnic belonging among immigrant groups of European ancestry in the United States has become the focus of frequent debates and polemics. This article argues that ethnicity can- not be understood if it is abstracted from concrete social practices, and that analyses of this construct need to be based on ethnographic observation and on the study of actual talk in interaction. This interactionally oriented per- spective is taken to present an analysis of how Italian ethnicity is constructed as a central element in the collective identity of an all-male card playing club. Linguistic strategies, particularly code-switching, are central in this con- struction, but their role becomes apparent only when language use is ana- lyzed within significant practices in the life of the club. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
TRESSETTE in RUSSIA Franco Pratesi – 17.10.1993 RIASSUNTO
TRESSETTE IN RUSSIA Franco Pratesi – 17.10.1993 RIASSUNTO Con riferimento specialmente al Tressette, si studiano alcune relazioni fra Italia e Russia nella storia dei giochi di carte. Contrariamente alle attese, si incontrano testimonianze su una problematica mediazione britannica, specialmente nel caso della interessante varietà russa del gioco di Semerik. MAIN CHARACTERISTICS OF TRESSETTE The Origin The origin of Tressette still represents an open question. In Italy, it seems to have a Southern origin: the first document known to me is a 1631 law from Naples; several technical terms are also from Naples and Southern Italy. It cannot be excluded that the game arrived there from Spain (as known, large parts of Italy, and particularly the Southern ones, have been for several centuries under Spanish government or influence). However, we have no direct information about it from Spain. The Pack The game is played with the 40-card pack, which has been the commonest one in Italy for a long time. This pack seems to be of Spanish origin, even if the more traditional Spanish pack is the 48- card one, only lacking 9s. A few games exist which are or have been common in Italy with the 40- card pack and elsewhere with the 52-card one. However, when we find a variant of Tressette quoted abroad, it is always played with the 40-card pack. In this case, it is easier for us to recognise the game, even if under an unknown name, among various local variants. Differently from other exotic packs, this can easily be obtained by any standard 52-card pack (needed in the past everywhere for playing Whist, as now for Bridge): one has only to set aside the 10s, 9s, 8s, and obviously any joker. -
July 2015 Notiziario
AMHS NOTIZIARIO The Official Newsletter of the Abruzzo and Molise Heritage Society of the Washington, DC Area JULY 2015 Website: www.abruzzomoliseheritagesociety.org OUR ITALIAN ROOTS: PAST AND PRESENT Top: Dr. Tyler Anbinder delivers his presentation on the lives of early Italian immigrants on May 31, 2015. (Photo courtesy of Sam Yothers). Bottom: AMHS members and friends at the St. Anthony Festival in Wilmington, DE on June 14, 2015. (Photo courtesy of Maria D’Andrea). NEXT SOCIETY EVENTS: Sunday, July 26, 2016, presentation on digital diplomacy at Casa Italiana; and Sunday, August 16, the annual Ferragosto picnic in Mitchellville, MD. See inside for details. A MESSAGE FROM THE PRESIDENT always open to help, and to new and fresh ideas. You can find contact information for the chairs of these committees on our website, www.abruzzomoliseheritagesociety.com. It is hard to believe that the summer will soon be upon I wish you a joyous and adventure-filled summer, and I look us. The Society has had a forward to seeing you at our upcoming events. very productive year so far, putting together three very Cordiali saluti, well-received general Society meetings, a one-day Maria bus trip to Wilmington, DE for the St. Anthony Festival and, of course, the June 28 th NEXT SOCIETY EVENTS AND ACTIVITIES 15 anniversary celebration. We also have a group of JULY 26, 2015 PROGRAM TO FOCUS ON DIGITAL dedicated individuals who have been working to redesign the DIPLOMACY Society’s website, to make it more current, a little more By Lourdes Tinajero, AMHS Board Member “flashy”, and more user-friendly for everyone who comes looking for us! So needless to say, the Executive Committee A new and important topic for AMHS members, friends and and a core group of dedicated volunteers have been busy. -
Gradivo, Kupljeno S Sredstvi MK OKT – DEC 2020
Gradivo, kupljeno s sredstvi MK OKT – DEC 2020 1 ABECEDA / ilustrirala Karmen Bajec ; [uredila Špela Kranjec]. - [1. natis]. - [Ljubljana : Hiša knjig, HKZ, 2020]. - 1 kartonka ([24] str.) : ilustr. ; 22 cm 3.000 izv. ISBN 978-961-7106-19-0 : 8,95 EUR 087.5 COBISS.SI-ID 19083523 2 ABERCROMBIE, Joe Before they are hanged / Joe Abercrombie. - London : Gollancz, 2008. - 584 str. ; 20 cm. - (The first law / Joe Abercrombie ; book 2) ISBN 978-0-575-08201-4 821.111-312.9=111 COBISS.SI-ID 1784448 3 ABERCROMBIE, Joe The blade itself / Joe Abercrombie. - London : Gollancz, 2007. - 536 str. ; 20 cm. - (The first law / Joe Abercrombie ; book 1) ISBN 0-57507-979-7 (broš.)ISBN 978-0-57507-979-3 (broš.) 821.111-312.9=111 COBISS.SI-ID 3204157 4 ABERCROMBIE, Joe Last argument of kings / Joe Abercrombie. - London : Gollancz, 2009. - 695 str. ; 20 cm. - (The first law / Joe Abercrombie ; book 3) ISBN 978-0-575-08416-2 821.111-312.9 COBISS.SI-ID 14452022 5 AJSTER, Katja Vrnitev k sebi / Katja Ajster. - 1. izd. - Ljubljana : K. Ajster, 2020 (Radovljica : Tiskarna in knjigoveznica). - 147 str. ; 21 cm 300 izv. - Bibliografija: str. [148] ISBN 978-961-07-0177-4 159.922 COBISS.SI-ID 32137219 6 ALBANESE, Lara, 1967- Astronomija za radovedne / [napisala Lara Albanese ; ilustriral Tommaso Vidus Rosin ; prevod Kristina Bertok]. - 1. izd. - Radovljica : Didakta, 2020 (natisnjeno v EU). - 87 str. : ilustr. ; 38 cm Prevod dela: Mappe spaziali. - Avtorica navedena v kolofonu in na ov. - Ilustr. na spojnih listih. - 2.000 izv. ISBN 978-961-261-544-4 : 24,99 EUR 52(02.053.2)087.5 COBISS.SI-ID 14162435 7 ALEXANDER, Jessica Joelle Vzgoja po dansko : kaj eni najsrečnejših ljudi na svetu vedo o vzgoji samozavestnih in sposobnih otrok / Jessica Joelle Alexander, Iben Dissing Sandahl ; [prevedla Urša Korošec ; ilustracije Shutterstock]. -
Croatian Films 2008/2009
Address Kralja Zvonimira 20, 10000 Zagreb, Croatia Telephone +385 (0)1 465 54 39 Fax +385 (0)1 465 54 42 URL www.havc.hr E-mail [email protected] Acting Director Martina Petrović Collaborators Jadranka Hrga, Ivana Ivišić, Sanja Ravlić i Maja Nikolić In memoriam: Albert Kapović (1957-2008), Director of the Croatian Audiovisual Centre Contents Editor Hrvoje Pukšec Feature Films 8 Collaborators Ivana Ivišić, Ivan Kelava, Zrinka Lazarin Feature Films (Post)Production 30 Translation & Proofreading Feature Films Pre-production 42 Ivana Ivišić, Vera Kordić, Duško Čavić Feature Films Co-production 52 Design Vanja Cuculić, Marko Šesnić i Goran Turković Short Films 60 Printed by Sveučilišna tiskara d.o.o. Zagreb Documentary Films 78 Print run 400 Documentary Films (Pre/Post)Production 98 Publisher Croatian Audiovisual Centre | Zagreb, January, 2009 Animated Films 102 Animated Films (Pre/Post)Production 114 Experimental Films 122 Experimental Films (Pre/Post)Production 130 isbn 978-953-55208-1-8 Contacts 134 Opening towards the World Nikica Gilić In recent years, Croatian cinema has come to be rec- thrillers or French polars (Ostojić’s Nobody’s Son), in increase in international and regional cooperation Having said all this, I should point out that high- Ph. D., film scholar ognized as one of the most vital creative industries in the meditative style of the best Hungarian or Russian continued in 2008, with Buick Riviera, Three Stories quality documentaries and experimental films have the region. Croatian films and filmmakers been feted movies (Goran Rušinović’s Buick Riviera), or using the About Sleeplessness and Will Not Stop There) so one consistently been a great asset to Croatian cinema by reviewers and critics in the international press, as grotesque humour of Mediterranean and Southeastern can argue that Croatian film is opening itself up to the and thankfully, they continue to go from strength to well as by film festival juries at prestigious world festi- Europe (Brešan’s Will Not Stop There and Matanić’s world in yet another way. -
Serbia, the Balkans and the European Union
Transcript Serbia, the Balkans and the European Union Ana Brnabić Prime Minister, Republic of Serbia Chair: Dr Robin Niblett CMG Director, Chatham House 18 June 2019 The views expressed in this document are the sole responsibility of the speaker(s) and participants, and do not necessarily reflect the view of Chatham House, its staff, associates or Council. Chatham House is independent and owes no allegiance to any government or to any political body. It does not take institutional positions on policy issues. This document is issued on the understanding that if any extract is used, the author(s)/speaker(s) and Chatham House should be credited, preferably with the date of the publication or details of the event. Where this document refers to or reports statements made by speakers at an event, every effort has been made to provide a fair representation of their views and opinions. The published text of speeches and presentations may differ from delivery. © The Royal Institute of International Affairs, 2019. 10 St James’s Square, London SW1Y 4LE T +44 (0)20 7957 5700 F +44 (0)20 7957 5710 www.chathamhouse.org Patron: Her Majesty The Queen Chairman: Stuart Popham QC Director: Dr Robin Niblett Charity Registration Number: 208223 2 Serbia, the Balkans and the European Union Dr Robin Niblett CMG So, ladies and gentlemen, welcome to – somebody’s put this up here, I suppose this is okay. Welcome to Chatham House. I’m Robin Niblett, the Director of the institute. My pleasure to welcome you all here today. We are delighted to have this conversation on Serbia, the Balkans and the European Union. -
Dalibor Matanić Ankica Jurić Tilić Goran Marković Screenwriter, Director Producer Lead Actor
The High Sun · Soleil de plomb THREE DECADES TWO NATIONS ONE LOVE ZVIZDANWritten and directed by Dalibor Matanić SYNOPSIS The High Sun shines a light on three love stories, set in three consecutive decades, in two neighbouring Balkan villages with a long history of inter-ethnic hatred. It is a film about the fragility – and intensity – of forbidden love. The High Sun shines a light on three love stories, set in three In the second story, set in 2001, the war is over but the lovers consecutive decades, in two neighbouring Balkan villages with a find it impossible to turn their infatuation into an ongoing long history of inter-ethnic hatred. It is a film about the fragility – relationship: the scars of the war are still too fresh and cannot and intensity – of forbidden love. heal that easily. In the first story, set in 1991, a romantic attraction is forced under- The third story takes place in 2011, when love can finally take root, ground when love becomes a forbidden luxury in the pre-war if the lovers can break free of the past. Evil and suspicion have not atmosphere of madness, confusion and fear. completely vanished from their lives and catharsis is not easy to achieve, but it is possible once again. THE HIGH SUN Director’s note The High Sun celebrates selflessness and love – the very best of human nature that is still struggling to re-emerge victorious in our region. Because there is one thing I am sure about: at the end of the day, politics and extreme nationalism never win. -
The Genealogy of Dislocated Memory: Yugoslav Cinema After the Break
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses April 2014 The Genealogy of Dislocated Memory: Yugoslav Cinema after the Break Dijana Jelaca University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Communication Commons Recommended Citation Jelaca, Dijana, "The Genealogy of Dislocated Memory: Yugoslav Cinema after the Break" (2014). Doctoral Dissertations. 10. https://doi.org/10.7275/vztj-0y40 https://scholarworks.umass.edu/dissertations_2/10 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE GENEALOGY OF DISLOCATED MEMORY: YUGOSLAV CINEMA AFTER THE BREAK A Dissertation Presented by DIJANA JELACA Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2014 Department of Communication © Copyright by Dijana Jelaca 2014 All Rights Reserved THE GENEALOGY OF DISLOCATED MEMORY: YUGOSLAV CINEMA AFTER THE BREAK A Dissertation Presented by DIJANA JELACA Approved as to style and content by: _______________________________________ Leda Cooks, Chair _______________________________________ Anne Ciecko, Member _______________________________________ Lisa Henderson, Member _______________________________________ James Hicks, Member ____________________________________ Erica Scharrer, Department Head Department of Communication TO LOST CHILDHOODS, ACROSS BORDERS, AND TO MY FAMILY, ACROSS OCEANS ACKNOWLEDGMENTS This dissertation is about a part of the world that I call “home” even though that place no longer physically exists. I belong to that “lost generation” of youth whose childhoods ended abruptly when Yugoslavia went up in flames. -
Fiction & Documentary
FICTION & DOCUMENTARY FICTION 2 Nightlife by Damjan Kozole 4 Mother by Vlado Škafar 6 Huston, We Have A Problem by Žiga Virc 8 Perseverance by Miha Knific 10 Nika by Slobodan Maksimović 12 A Comedy of Tears by Marko Sosič 14 Case: Osterberg by Matej Nahtigal 1 FICTION 16 Šiška Deluxe by Jan Cvitkovič IN 18 Idyll by Tomaž Gorkič FICTION PRODUCTION 32 20 Family Film by Olmo Omerzu 43 DOCUMENTARY 22 The High Sun by Dalibor Matanić IN 24 Life is a Trumpet by Antonio Nuić DOCUMENTARY PRODUCTION 58 26 Ministry of Love by Pavo Marinković 28 Lucy in the Sky by Giuseppe Petitto 30 Our Everyday Life by Ines Tanović Production: Slovenian Film Centre Editor: Inge Pangos Translation: Borut Praper Visual & design: Boštjan Lisec Print: Collegium Graphicum Print run: 700 Ljubljana, January 2016 Slovenian Film Guide_Fiction & Documentary 3 Nightlife by Damjan Kozole Nočno življenje, 2016, DCP, 1:2.35, in colour, 93 min Late at night, a renowned lawyer is found on the sidewalk of a busy street in Ljubljana. He is semi-conscious and his body is covered in blood from numerous dog bite wounds. Phy- sicians at the Ljubljana Medical Centre are fighting for his life, while his wife is coping with the shock and her deepest fears. During that night she breaks all of the moral princi- ples she has advocated all her life. Damjan Kozole (1964) is an award-winning filmmaker whose directing credits include the critically acclaimed Spare Parts, nominated for the Golden Bear at the 53th Berlin IFF, Selected Filmography and Slovenian Girl, which premiered in 2009 at Toronto, Pusan and Sarajevo IFF and has (feature) been distributed worldwide. -
Filming in Croatia 2012
Nova Ves 18, 10 000 Zagreb, Croatia tel +385 (0)1 6041 080 | fax +385 (0)1 4667 819 Filming in email [email protected] website www.havc.hr Croatia 2012 Filming in Croatia 2012 5 Introduction 26 Dalmatia 6 The Croatian Film Commission 28 Slavonia 30 Central Croatia 7 Resources 8 Production Know-How infrastructure 8 Production Companies 32 Airports 9 Crews 33 Sea Transport 10 Facilities & Technical Equipment 33 Buses & Railways 11 Costumes & Props 34 Traffic & Roads 12 Locations 35 Hotels & Amenities 14 Co-Production Funding 36 facts & figures 15 Cash Rebate 38 Basic Phrases 16 Useful Info 41 Brief Overview of International 17 Filming & Location Permits Productions in Croatia 17 Visas 18 Temporary Import of Professional Equipment 53 Industry Contacts Croatia 2012 19 Working Permits for Foreign Nationals 19 Customs Regulations 20 About Croatia 21 regions 22 Istria 24 Kvarner & the Highlands 2 Filming in Croatia 2012 damir fabijanić, Croatia may be a small country, croatian tourist board but it has a remarkably vibrant film industry, with exceptional local talent and production companies that have an impressive record in domestic and international production. With the newly introduced 20% cash rebate, skilled profession- ing film body, The Croatian Audiovisual Centre, opened its doors. als and production costs among the lowest in Europe, Croatia is In May 2008, Croatia became the first candidate country to join making its way back on Europe’s filmmaking map. the European Union’s Media Programme. These factors, in combination with spectacular locations and the Furthermore, staying true to its pledge to continue giving its full country’s proximity to some of Europe’s largest filmmaking cent- support to developing filmmaking and film culture in Croatia and ers such as Vienna, Budapest, Munich and Prague have led to a to attracting international film projects to the country, the govern- steady rise in the international production of commercials, televi- ment has introduced a 20% cash rebate for film and television sion serials and major international feature films in Croatia.