Sally Potter
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116 7 WHITE VULNERABILITY AND THE POLITICS OF REPRODUCTION IN TOP OF THE LAKE: CHINA GIRL JohannA gondouin, surucHi ThApAr-BjörKert And ingrid ryberg op of The Lake: China Girl (Australia, Jane Campion, 2017) is the sequel to Jane Campion and Gerard Lee’s crime series Top of the Lake from T2013, directed by Campion and Ariel Kleiman. After four years of absence, Inspector Robin Griffin (Elisabeth Moss) returns to the Sydney Police Force and comes to lead the murder case of an unidentified young Asian woman, found in a suitcase at Bondi Beach. The investigation connects Robin to a group of Thai sex workers, and a network of couples – including two of her closest colleagues – willing to pay these women large sums of money as surrogate mothers via illegal commercial arrangements. Moreover, on her return to Sydney, Robin makes contact with her now teenage daughter Mary (Alice Englert), whom she gave up for adoption at a young age. Worrying links between the murdered girl and Mary are revealed, as it turns out that one of the prime suspects is Mary’s boyfriend Puss (David Dencik). The circumstances surrounding the adoption are revealed in season one, set in the fictional town of Laketop, New Zealand. Visiting her dying mother, Robin becomes involved in the investigation of the disappearance of a preg- nant twelve- year- old, Tui. The case results in the exposure of a paedophile ring implicating a large number of men in the small community, among others the missing girl’s father and the police officer in charge. In the pro- cess, Robin’s traumatic past unfolds through flashbacks: the gang rape that she was the victim of as a teenager, and the following pregnancy and adoption. -
Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
New Bfi Filmography Reveals Complete Story of Uk Film
NEW BFI FILMOGRAPHY REVEALS COMPLETE STORY OF UK FILM 1911 – 2017 filmography.bfi.org.uk | #BFIFilmography • New findings about women in UK feature film – percentage of women cast unchanged in over 100 years and less than 1% of films identified as having a majority female crew • Queen Victoria, Sherlock Holmes and James Bond most featured characters • Judi Dench is now the most prolific working female actor with the release of Victoria and Abdul this month • Michael Caine is the most prolific working actor • Kate Dickie revealed as the most credited female film actor of the current decade followed by Jodie Whittaker, the first female Doctor Who • Jim Broadbent is the most credited actor of the current decade • Brits make more films about war than sex, and more about Europe than Great Britain • MAN is the most common word in film titles • Gurinder Chadha and Sally Potter are the most prolific working female film directors and Ken Loach is the most prolific male London, Wednesday 20 September 2017 – Today the BFI launched the BFI Filmography, the world’s first complete and accurate living record of UK cinema that means everyone – from film fans and industry professionals to researchers and students – can now search and explore British film history, for free. A treasure trove of new information, the BFI Filmography is an ever-expanding record that draws on credits from over 10,000 films, from the first UK film released in cinemas in 1911 through to present day, and charts the 250,000 cast and crew behind them. There are 130 genres within the BFI Filmography, the largest of which is Drama with 3,710 films. -
Selected Academic Bibliography Career Overviews
Updated: August 2015 Sally Potter: Selected Academic Bibliography Career Overviews: Books The second, longer annotation for each of these books is quoted from: Lucy BOLTON, “Catherine Fowler, Sally Potter and Sophie Mayer, The Cinema of Sally Potter” [review] Screen 51:3 (2010), pp. 285-289. Please cite any quotation from Bolton’s review appropriately. Catherine FOWLER, Sally Potter (Contemporary Film Directors series). Chicago: University of Illinois, 2009. Fowler’s book offers an extended and detailed reading of Potter’s early performance work and Expanded Cinema events, staking a bold claim for reading the later features through the lens of the Expanded Cinema project, with its emphasis on performativity, liveness, and the deconstruction of classical asymmetric and gendered relations both on-screen and between screen and audience. Fowler offers both a career overview and a sustained close reading of individual films with particular awareness of camera movement, space, and performance as they shape the narrative opportunities that Potter newly imagines for her female characters. “By entitling the section on Potter’s evolution as a ‘Search for a “frame of her own”’, Fowler situates the director firmly in a feminist tradition. For Fowler, Potter’s films explore the tension for women between creativity and company, and Potter’s onscreen observers become ‘surrogate Sallys’ in this regard (p. 25). Fowler describes how Potter’s films engage with theory and criticism, as she deconstructs and troubles the gaze with her ‘ambivalent camera’ (p. 28), the movement of which is ‘designed to make seeing difficult’ (p. 193). For Fowler, Potter’s films have at their heart the desire to free women from the narrative conventions of patriarchal cinema, having an editing style and mise- en-scene that never objectifies or fetishizes women; rather, Fowler argues, Potter’s women are free to explore female friendships and different power relationships, uncoupled, as it were, from narratives that prescribe heterosexual union. -
Salma, Maestra De Javier Bardem
VIERNES 28 Nogales, www.eldiariodesonora.com.mx DE FEBRERO DE 2020 Sonora, México Sección B Spielberg no dirigirá Indiana Jones 5 ›› La nueva entrega está cada vez más cerca con Harrison Ford. Sin embargo, Steven Spielberg no estará al frente de la producción. Ozzy Osbourne anuncia que sacará nuevo disco ›› Después de ser diagnosticado con Parkinson, el cantante británico no piensa retirarse de la escena musical La mexicana junto al elenco y la directora, en rueda de prensa. LONDRES, ING.- Después ráneos de él, como John de ser diagnosticado con Par- Bonham y Bon Scott, kinson, el cantante británico murieron. LE ENSEÑA HABLAR COMO MEXICANO Ozzy Osbourne no piensa re- Después de que le tirarse de la escena musical, diagnosticaron Parkinson planea crear un nuevo disco tuvo que suspender su gi- y regresar con su productor ra por Estados Unidos, lo Andrew Watt. que despertó en él la in- El exvocalista de Black quietud de crear nueva Sabbath compartió en en- música. Salma, maestra trevista con el periodis- “Tal vez no puedo es- ta Zane Lowe, en Apple tar de gira, pero puedo Music, que ha llegado a hacer música. Estoy pen- pensar en retirarse, sin sando en regresar a tra- embargó, expresó no sen- bajar con mi productor tirse en ese momento, Andrew Watt en marzo”, de Javier Bardem pues ama a sus fans. expresó. “Llegué a pensarlo. A En una entrevista rea- veces tengo pensamien- lizada con New Musical ›› La cinta The roads not taken, dirigida por la británica Sally tos locos acerca de eso, Express, el cantante ex- pero no puedo retirarme. -
Being a Woman in the 1950S and the 1960S: Women and Everyday Life in Ginger and Rosa
Journalism and Mass Communication, Mar.-Apr. 2020, Vol. 10, No. 2, 102-116 doi: 10.17265/2160-6579/2020.02.004 D DAVID PUBLISHING Being a Woman in the 1950s and the 1960s: Women and Everyday Life in Ginger and Rosa Ezgi Sertalp Hacettepe University, Ankara, Turkey The present study aims to focus on the relationship between gender and everyday life and reflect on the meanings of being a woman in the 1950s and the 1960s over Sally Potter’s film Ginger and Rosa (2012a). The 1950s and the 1960s are marked with significant changes and transformations in terms of the social statuses and everyday lives of women in many countries all around the world. Women began to question their gendered roles and performances, resist “doing gender” and speak out “the problem that has no name” in these years, which would then evolve into the second-wave feminist movement—a significant historical period in women’s history. Therefore, an analysis of this specific period is considered significant to understand the relationship between gender and everyday life. Thus, the present study first addresses the relationship between gender and everyday life in general terms, discussing the social construction of gender and how we are taught to do gender through socialization. Then, it examines women’s practices, performances, relationships, conflicts, and resistances in their everyday lives throughout the 1950s and the 1960s over the film Ginger and Rosa. Considering the historical, social, and political developments at the time, this study tries to explore significant issues within feminist studies such as the relationship between mothers and daughters, and female friendship/sisterhood through the characters in the film, and comprehend what it meant to be a young girl, a woman, a wife, and a mother in both private and public spheres in these years based upon the director’s own experiences and memories. -
Women Directors in 'Global' Art Cinema: Negotiating Feminism And
Women Directors in ‘Global’ Art Cinema: Negotiating Feminism and Representation Despoina Mantziari PhD Thesis University of East Anglia School of Film, Television and Media Studies March 2014 “This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution.” Women Directors in Global Art Cinema: Negotiating Feminism and Aesthetics The thesis explores the cultural field of global art cinema as a potential space for the inscription of female authorship and feminist issues. Despite their active involvement in filmmaking, traditionally women directors have not been centralised in scholarship on art cinema. Filmmakers such as Germaine Dulac, Agnès Varda and Sally Potter, for instance, have produced significant cinematic oeuvres but due to the field's continuing phallocentricity, they have not enjoyed the critical acclaim of their male peers. Feminist scholarship has focused mainly on the study of Hollywood and although some scholars have foregrounded the work of female filmmakers in non-Hollywood contexts, the relationship between art cinema and women filmmakers has not been adequately explored. The thesis addresses this gap by focusing on art cinema. It argues that art cinema maintains a precarious balance between two contradictory positions; as a route into filmmaking for women directors allowing for political expressivity, with its emphasis on artistic freedom which creates a space for non-dominant and potentially subversive representations and themes, and as another hostile universe given its more elitist and auteurist orientation. -
Metanarration and Bildungsroman in Virginia Woolf's Orlando and Sally
MA Literary Studies 2018-2019 University of Alicante Metanarration and Bildungsroman in Virginia Woolf's Orlando and Sally Potter’s Cinematic Adaptation The author, Jesús Baeza Gregori With the approval of the academic supervisor, John Douglas Sanderson Pastor Abstract Woolf’s Orlando is at the same time an exercise of freedom in which fantasy mixes with reality, and a demonstration of an excellent command of literary genres. Behind its light-hearted tone, and its apparent resistance to be categorised, the text hides a dense and complex design which allows Woolf both, to represent the character of Orlando, and to reflect on how life can be turned into art. The present paper focuses on the presence of metanarrative comments in the text and its consideration as a Bildungsroman, and demonstrates how both elements are closely interrelated. On the other hand, it analyses how those generic features are reflected in Potter’s cinematic adaptation. The dialogic interaction between the text and the film no doubt enriches their understanding and demonstrates that literary genres are essential in shaping both of them. Key words: Orlando, Virginia Woolf, Sally Potter, literary genres, metanarration, Bildungsroman, adaptation. Contents 1. Introduction ................................................................................................................. 9 1.1. Aims and hypotheses ................................................................................ 11 1.2. State of the art ............................................................................................ -
Moma Sally Potter
MoMA CELEBRATES FOUR-DECADE CAREER OF SALLY POTTER WITH A TWO- WEEK RETROSPECTIVE OF HER DIVERSE, INDEPENDENT FILMS Exhibition Includes the Premiere of Potter’s Digitally Remastered Film, Orlando (1992), and Her Most Recent Feature, RAGE (2009) Sally Potter July 7–21, 2010 The Roy and Niuta Titus Theaters NEW YORK, June 8, 2010—A retrospective of the films of British director Sally Potter (b. 1949) at The Museum of Modern Art from July 7 through 21, 2010, celebrates her distinct, independent vision, showing all her feature films, documentaries, and shorts, and a selection of her experimental works made between the early 1970s and the present. Potter has consistently kept a radical edge in her filmmaking work, beginning with avant-garde short films and moving on to alternative dramatic features that embrace music, literature, dance, theater, and performance. Potter typically works on multiple elements of her films, from script and direction to sound design, editing, performance, and production. Her films elegantly blend poetry and politics, giving voice to women’s stories and romantic liaisons and exploring themes of desire and passion, self- expression, and the role of the individual in society. Considered together in this retrospective, Potter’s films reveal the common thread of transformation that runs through her work—in terms both of her characters’ journeys and her own ability to transcend genre and work with cutting- edge film forms. Sally Potter is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art. The opening night, Wednesday, July 7, at 8:00 p.m., is the U.S. -
A Film by Sally Potter
Official Selection Toronto International Film Festival Telluride Film Festival Mongrel Media presents YES A film by Sally Potter with Joan Allen, Simon Abkarian, Sam Neill and Shirley Henderson (UK/USA, 95 minutes) Distribution 1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com Publicity Bonne Smith Star PR Tel: 416-488-4436 Fax: 416-488-8438 E-mail: [email protected] High res stills may be downloaded from http://mongrelmedia.com/press.html CONTENTS MAIN CREDITS 3 SHORT SYNOPSIS 4 LONG SYNOPSIS 4-5 SALLY POTTER ON YES 6-10 SALLY POTTER ON THE CAST 11 ABOUT THE CREW 12-14 ABOUT THE MUSIC 15 CAST BIOGRAPHIES 16-18 CREW BIOGRAPHIES 19-21 DIRECTOR’S BIOGRAPHY 22 PRODUCERS’ BIOGRAPHIES 23 GREENESTREET FILMS 24-25 THE UK FILM COUNCIL 26 END CREDITS 27-31 2 GREENESTREET FILMS AND UK FILM COUNCIL PRESENT AN ADVENTURE PICTURES PRODUCTION IN ASSOCIATION WITH STUDIO FIERBERG A FILM BY SALLY POTTER Y E S Written and directed by SALLY POTTER Produced by CHRISTOPHER SHEPPARD ANDREW FIERBERG Executive Producers JOHN PENOTTI PAUL TRIJBITS FISHER STEVENS CEDRIC JEANSON JOAN ALLEN SIMON ABKARIAN SAM NEILL SHIRLEY HENDERSON SHEILA HANCOCK SAMANTHA BOND STEPHANIE LEONIDAS GARY LEWIS WIL JOHNSON RAYMOND WARING Director of Photography ALEXEI RODIONOV Editor DANIEL GODDARD Production Design CARLOS CONTI Costume Design JACQUELINE DURRAN Sound JEAN-PAUL MUGEL VINCENT TULLI Casting IRENE LAMB Line Producer NICK LAWS 3 SHORT SYNOPSIS YES is the story of a passionate love affair between an American woman (Joan Allen) and a Middle-Eastern man (Simon Abkarian) in which they confront some of the greatest conflicts of our generation – religious, political, and sexual. -
Into the Forest
INTO THE FOREST WRITTEN AND DIRECTED BY Patricia Rozema BASED ON THE NOVEL BY Jean Hegland a BRON STUDIOS and RHOMBUS MEDIA production in association with DAS FILMS, SELAVY, VIE ENTERTAINMENT and CW MEDIA FINANCE STARRING Ellen Page Evan Rachel Wood Max Minghella Callum Keith Rennie Wendy Crewson 101 MINUTES PR Contacts US Sara Serlen, ID PR E: [email protected] / P: 212.774.6148 / C: 917-239.0829 Canada Dana Fields, TARO PR E: [email protected] / P: 416.930.1075 / C: 416.930.1075 SYNOPSIS In the not-too-distant future, two ambitious young women, Nell and Eva, live with their father in a lovely but run-down home up in the mountains somewhere on the West Coast. Suddenly the power goes out; no one knows why. No electricity, no gasoline. Their solar power system isn’t working. Over the following days, the radio reports a thousand theories: technical breakdowns, terrorism, disease and uncontrolled violence across the continent. Then, one day, the radio stops broadcasting. Absolute silence. Step by ominous step, everything that Nell, a would-be academic, and Eva, a hard working contemporary dancer, have come to rely on is stripped away: parental protection, information, food, safety, friends, lovers, music -- all gone. They are faced with a world where rumor is the only guide, trust is a scarce commodity, gas is king and loneliness is excruciating. To battle starvation, invasion and despair, Nell and Eva fall deeper into a primitive life that tests their endurance and bond. Ultimately, the sisters must work together to survive and learn to discover what the earth will provide. -
Feminist Phenomenology and the Films of Sally Potter
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-prints Repository Chapter 11 Feminist Phenomenology and the Films of Sally Potter Kate Ince 1 Sally Potter’s place in British cinema is uncontested, as a recent retrospective organised by the British Film Institute shows.1 Since her debut with the half-hour Thriller in 1979, she has carved out a place for herself as one of our leading independent filmmakers, but success has often not come easily: the highly crafted experimentalism of Thriller met with acclaim, but her similarly styled first feature The Gold Diggers (1983) failed to find much appreciation, and she struggled for nine years to be able to complete Orlando (1992), her adaptation of Virginia Woolf’s 1928 Orlando: A Biography.2 With Orlando Potter was carried by the spirit of the shift in women’s filmmaking from experimentalism and explicitly political reflection on representation towards narrative pleasure, while still giving an undeniably feminist twist to Woolf’s story of time-travel and gender-bending from the seventeenth to the twentieth centuries. The feminist political drive that had marked all her films up to 1992 was maintained by Potter’s own performance in the allegory of gender relations built into her next film The Tango Lesson (1997), but has been much less evident subsequently, in The Man Who Cried (2000) and Yes (2005). Other kinds of politics have marked Potter’s filmmaking in the 2000s, although in her most recent production Rage (2009), anti-capitalism might be said to be just as evident as in The Gold Diggers.