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Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space in Cinematic Discourse
Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space In Cinematic Discourse Dr. Ammar Ibrahim Mohammed Al-Yasri Television Arts specialization Ministry of Education / General Directorate of Holy Karbala Education [email protected] Article History: Received: 11 January 2021; Revised: 12 February 2021; Accepted: 27 March 2021; Published online: 16 April 2021 Abstract: There is no doubt that artistic races are the fertile factor in philosophy in all of its perceptions, so cinematic discourse witnessed from its early beginnings a relationship to philosophical thought in all of its proposals, and post-colonial philosophy used cinematic discourse as a weapon that undermined (colonial) discourse, for example cinema (Novo) ) And black cinema, Therefore, the title of the research came from the above introduction under the title (undermining the colonial space in cinematic discourse) and from it the researcher put the problem of his research tagged (What are the methods for undermining the colonial space in cinematic discourse?) And also the first chapter included the research goal and its importance and limitations, while the second chapter witnessed the theoretical framework It included two topics, the first was under the title (post-colonialism .. the conflict of the center and the margin) and the second was under the title (post-colonialism between cinematic types and aspects of the visual form) and the chapter concludes with a set of indicators, while the third chapter included research procedures, methodology, society, sample and analysis of samples, While the fourth chapter included the results and conclusions, and from the results obtained, the research sample witnessed the use of undermining the (colonial) act, which was embodied in the face of violence with violence and violence with culture, to end the research with the sources. -
1 GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29
GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29, 2020 I am pleased to be here to talk about my role as Deputy Director of the Washington, DC International Film Festival, more popularly known as Filmfest DC, and as Director of the Arabian Sights Film Festival. I would like to start with a couple of statistics: We all know that Hollywood films dominate the world’s movie theaters, but there are thousands of other movies made around the globe that most of us are totally unaware of or marginally familiar with. India is the largest film producing nation in the world, whose films we label “Bollywood”. India produces around 1,500 to 2,000 films every year in more than 20 languages. Their primary audience is the poor who want to escape into this imaginary world of pretty people, music and dancing. Amitabh Bachchan is widely regarded as the most famous actor in the world, and one of the greatest and most influential actors in world cinema as well as Indian cinema. He has starred in at least 190 movies. He is a producer, television host, and former politician. He is also the host of India’s Who Wants to Be a Millionaire. Nigeria is the next largest film producing country and is also known as “Nollywood”, producing almost 1000 films per year. That’s almost 20 films per week. The average Nollywood movie is produced in a span of 7-10 days on a budget of less than $20,000. Next comes Hollywood. Last year, 786 films were released in U.S. -
Animatricks Film Festival 2015
Animatricks Film Festival 2015 A Marketing Plan Emmi Nilivaara Bachelor’s thesis April 2015 Degree Programme in Music and Media Management School of Business 2 Description Author(s) Type of publication Date Nilivaara, Emmi Bachelor’s thesis 17.4.2015 Language of publication: English Number of pages Permission for web 36+24 publication: x Title of publication Animatricks Film Festival 2015 A Marketing Plan Degree programme Music and Media Management Tutor(s) Miikkulainen, Ilari Assigned by Palikka Ry. Abstract The goal of the bachelor’s thesis was to create an efficient and implementable marketing plan for the Animatricks Film Festival 2015. The Animatricks Film Festival is an annual animation-related festival held in Helsinki, Finland. The festival is organized by Palikka Ry, a non-profit organization. It was agreed upon to create a marketing plan for the next Animatricks Film Festival (2015) as there had been no previous one(s). The bachelor’s thesis concentrates on describing the concept of marketing and marketing plan in the chapter of theoretical basis. The chapter on implementation presents the practicalities of creating a marketing plan for the Animatricks Film Festival 2015. As a result, a marketing plan for the Animatricks Film Festival 2015 was created based on the needs and wants of Palikka Ry. The implementation of the marketing plan started in January 2015. As the thesis was finished before the festival was being held, no definite or concrete proof on the success rate of the marketing plan was discovered. The marketing plan is attached to the bachelor’s thesis however, it is confidential and not published. -
Trends of Pakistani Films: an Analytical Study of Restoration of Cinema
Trends of Pakistani films: An analytical study of restoration of cinema Fouzia Naz* Sadia Mehmood** ABSTRACT People prefer to go to the cinema as compared to theaters because of its way of execution and performance. Background music, sound effects, lights, direction attract people, and its demonstrations relate people to their lives. It is true that films have a unique and powerful connection between human behavior and societal culture. Pakistani film industry faced the downfall and now it is doing its best to make the films on international standards. In this research article, the background of Pakistani cinema and causes of downfall will be discussed. The main idea of this research article is to identify and study the development of Pakistani film industry. Qualitative and quantitative data collection will be used as the research method of this research. This research article helps in observing different mass media theory based on Pakistani cinema. Moreover, it will be explained what filmmakers critiques and people say regarding revival or restoration. Keywords: downfall, revival, the impact of the Pakistani film industry, Lollywood *Assistant professor, Mass Communication, University of Karachi) **Assistant professor, Mass Communication, University of Karachi) 33 Jhss, Vol. 8, No. 2 , July to December, 2017 The definition of cinema can be explained as “another word of moving a picture”1This is the place where films are shown to the public. Most of the people who are not into the arts get confused in cinema and theater. The theater is the building where live performance is performed2. The similarity between cinema and theaters are both of them execute act and created for public entertainment. -
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 -
Middle East Studies & Middle Eastern Diaspora
2009 MIDDLE EAST STUDIES & MIDDLE EASTERN DIASPORA New Releases 3 Middle Eastern Diaspora 6 Middle East Studies 10 The Work of Jayce Salloum 14 N EW R ELEASES Our mission is to foster the creation, appreciation and dissemination of social issue media made by or about people of color. Today, TWN carries on the progressive vision of NEW daughter. Hadja, a political asylum T H E W AY N O RTH : seeker from Algeria, is sans papiers its founders, and remains the oldest media arts organization M A G H R E B I W O M E N (without papers). The documentary shows these women's struggles to in the United States devoted to filmakers of color and I N M ARSEILLE Shara K. Lange, 2008, 60 min cultivate alternative economic and their global constituencies. "I thought that in France life would social supports for themselves in a be easier—it’s the land of liberty. society that has historically ignored But it wasn’t like that at all." --Fatima or misunderstood them. HO W T O O R D E R Rhazi “These women's lives in the context of a France that seemed From Marseille come the stories on the brink of exploding, provide Online: www.twn.org We accept institutional purchase of North African women making the opportunity for an “inside orders, credit cards and PayPal new lives for themselves in tense, view” of part of one of the most Email: [email protected] complex, contemporary France. consequential mass migrations accounts. Remember to add $20 in the world today as the Islamic for shipping and handling. -
Visit Barrie Pribyl (Emeritus) Helen D
WOMEN 2009 MAKE NEW RELEASES MOVIES WMM www.wmm.com Women Make Movies Staff Liza Brice Online Marketing & Outreach Coordinator ABOUT Jessica Drammeh IT/Facilities Coordinator WOMEN Teri Duerr Publicity & Publications Manager Kristen Fitzpatrick MAKE Distribution Manager Tracie Holder Production Assistance MOVIES Program Consultant Stephanie Houghton From cutting-edge documentaries that give depth to today’s headlines to Educational Sales & Marketing Coordinator smart, stunning films that push artistic and intellectual boundaries in all genres, Gayathri Iyer Women Make Movies (WMM) is the world’s leading distributor of independent Office Manager Maya Jakubowicz films by and about women. WMM’s commitment to groundbreaking films Finance & Administrative Manager continues in 2009 with 17 new, astonishing and inspiring works that tackle, with Bernadette Ludwig Finance Coordinator passion and intelligence, everything from human rights abuses in Nepal in Cristela Melendez Administrative Aide Julie Bridgham’s Human Rights Watch Nestor Almendros Prize Winner Merrill Sterritt THE SARI SOLDIERS, to Korean reunification with Canadian-Korean director Production Assistance Program Coordinator Min Sook Lee’s powerful TIGER SPIRIT, to change from post-apartheid South Julie Whang Sales & Marketing Manager Africa in internationally acclaimed director Kim Longinotto’s ROUGH AUNTIES, Debra Zimmerman and native identity in Mohawk filmmaker Tracey Deer’s second WMM film, Executive Director CLUB NATIVE. The WMM collection is used by thousands of educational, Board of Directors cultural, and community organizations across North America. In the last Claire Aguilar Vanessa Arteaga five years dozens of WMM films have been broadcast on PBS, HBO, Taina Bien-Aime and the Sundance Channel among others, and have garnered top awards from Tina DeFeliciantonio Sundance to Cannes, as well as Academy Awards®, Emmy Awards®, and Phoebe Eng Leslie Fields-Cruz Peabody Awards. -
Coronavirus and the European Film Industry
BRIEFING Coronavirus and the European film industry SUMMARY With the onset of the coronavirus pandemic, which has caused the shutdown of some 70 000 cinemas in China, nearly 2 500 in the US and over 9 000 in the EU, the joy sparked by the success of the film industry in 2019 has quickly given way to anxiety. Shootings, premieres, spring festivals and entertainment events have faced near-total cancellation or postponement due to the pandemic, thus inflicting an estimated loss of US$5 billion on the global box office; this amount could skyrocket to between US$15 billion and US$17 billion, if cinemas do not reopen by the end of May 2020. The EU film sector is essentially made up of small companies employing creative and technical freelancers, which makes it particularly vulnerable to the pandemic. The domino effect of the lockdown has triggered the immediate freeze of hundreds of projects in the shooting phase, disrupted cash flows and pushed production companies to the brink of bankruptcy. To limit and/or mitigate the economic damage caused by coronavirus, governments and national film and audiovisual funds across the EU have been quick in setting up both general blanket measures (such as solidarity funds and short-term unemployment schemes) and/or specific industry-related funds and grants (helping arthouse cinema and providing financial relief to producers and distributors). For its part, the EU has acted promptly to limit the spread of the virus and help EU countries to withstand its social and economic impact. In addition to the Coronavirus Response Investment Initiative (CRII) and the CRII+, both approved by the European Parliament and the Council in record time, the Commission has set up a Temporary Framework allowing EU countries to derogate from State aid rules, and proposed a European instrument for temporary support (SURE) to help protect jobs and workers affected by the coronavirus pandemic. -
Minsk International Film Festival “Listapad” Press Release
MINSK INTERNATIONAL FILM FESTIVAL “LISTAPAD” PRESS RELEASE October 16th, 2012 http://www.listapad.com The 19th Minsk International Film Festival LISTAPAD is the most important Film Forum in Belarus which will be held on November 2nd-9th 2012. The Festival presents the most outstanding films of the year awarded at the most important international film festivals in Europe and CIS countries. Every year about 100 films take part in the Festival competition programme. The films are divided into three sections: Feature Films, Documentary Films, Children and Youth Films. The fate of the main awards is decided by professional Jury members who are all cinema experts of standing reputation: Jury of Main Feature Films Competition, Jury of Competition “Youth on the March”, Jury of Main Documentary Films Competition, Jury of National Film Schools Competition, Jury of Children and Youth Films Competition “Listapadzik”, International Film Critics Jury. Audience Award is also given during the Festival. A wide programme of out of competition screenings will be held within the Festival: Belarusian, Russian, European and Asian panoramas. These are about 50 most outstanding, extraordinary author’s projects by leading world directors. In 2011, the movies from 37 countries took part in the festival: Russia, Croatia, Serbia, Philippines, Thailand, Germany, Belgium, the Netherlands, Austria, Estonia, Poland, France, Bulgaria, Ukraine, Latvia, Israel, Spain, Georgia etc. The 18th Minsk IFF was opened by one of the prize-winners of Cannes Film Festival – film “Elena” by Andrey Zvyagintsev, French movie “Les femmes du sixième étage” by Philippe le Guay (Cesar Award in 2011) closed the Festival. Two films nominated for Oscar were shown at the Festival: Belgian movie “Bullhead” (dir. -
Efm 2021 Chile at the Co-Production Market CHILE at Efm 2021 Co-Production Market
chile at THE efm 2021 chile at THE co-production market CHILE AT efm 2021 co-production market LAnd of savages LA TIERRA DE LOS SALVAJES 100 min Chile Land of Savages by Fernando Guzzoni DIRECTOR fiction · thriller Fernando Guzzoni state − in development [email protected] looking for − co-production Chile, 1830. Jan is a slave owner haunted screenplay by ominous nightmares and his dark past. Fernando Guzzoni & Pablo Manzi When awake, he must deal with rebellions and a growing abolitionist movement that threatens his power. producers production company Juan de Dios Larraín, Pablo Larraín Fabula & Rocío Jadue [email protected] sales agent New Europe Film Sale [email protected] CO-PRODUCTION MARKET chile at THE efm 2021 visitors program CHILE AT efm 2021 visitors program FELIPE AZÚA PABLO CALISTO PRODUCER · avispa cine PRODUCER · equeco Felipe Azúa, founder of Avispa Cine, Pablo Calisto is a film producer that in has worked for more than 10 years 2016 created EQUECO with the aim of in shorts and features with a socially empowering young authors with fresh conscious viewpoint that have premiered and daring points of views. His projects in Cannes Cinéfondation and Clermont- have participated in international markets Ferrant, among other festivals. In 2016 and event such as EAVE Puentes, he produced The Firstborn by Carlos Guadalajara, Locarno Industry Days; as Leiva, that won Best Director in Sanfic well as films awarded in festivals like after a succesful run in Latin American Clermont Ferrand, Biarritz and Miami. development workshops. Currently he is He has worked in film distribution and working on three feature films including as a producer of SANFIC Industry. -
Ar Risalah) Among the Moroccan Diaspora
. Volume 9, Issue 1 May 2012 Connecting Islam and film culture: The reception of The Message (Ar Risalah) among the Moroccan diaspora Kevin Smets University of Antwerp, Belgium. Summary This article reviews the complex relationship between religion and film-viewing among the Moroccan diaspora in Antwerp (Belgium), an ethnically and linguistically diverse group that is largely Muslim. A media ethnographic study of film culture, including in-depth interviews, a group interview and elaborate fieldwork, indicates that film preferences and consumption vary greatly along socio-demographic and linguistic lines. One particular religious film, however, holds a cult status, Ar Risalah (The Message), a 1976 historical epic produced by Mustapha Akkad that deals with the life of the Prophet Muhammad. The film’s local distribution is discussed, as well as its reception among the Moroccan diaspora. By identifying three positions towards Islam, different modes of reception were found, ranging from a distant and objective to a transparent and subjective mode. It was found that the film supports inter-generational religious instruction, in the context of families and mosques. Moreover, a specific inspirational message is drawn from the film by those who are in search of a well-defined space for Islam in their own lives. Key words: Film and diaspora, media ethnography, Moroccan diaspora, Islam, Ar Risalah, The Message, Mustapha Akkad, religion and media Introduction The media use of diasporic communities has received significant attention from a variety of scholarly fields, uncovering the complex roles that transnational media play in the construction of diasporic connectedness (both ‘internal’ among diasporic communities as well as with countries of origin, whether or not ‘imagined’), the negotiation of identity and the enunciation of socio-cultural belongings. -
Film Festival Research from an Organizational Studies Perspective
Creativity at Work: Film Festival Research from an Organizational Studies Perspective By Charles-Clemens Rüling & Jesper Strandgaard Pedersen August 2010 Page 1 of 13 Creative Encounters Working Papers #49 Abstract The annual film festival is a very European institution invented more than 60-70 years ago. As a research topic, however, film festivals have received surprisingly little and scattered attention within organization and management studies. Film festivals have recently met a mounting interest among film and media scholars. This article provides an introduction to the growing literature on film festivals and argues for a threefold research agenda within organizational studies by looking at film festivals as arenas of emergence, analyzing the role of film festivals within the global film industries, and studying film festivals as organizations. By suggesting this research agenda we intent to draw the attention of organization and management scholars to a hitherto overlooked and potentially promising area of research for organization and management studies. Keywords Film festivals, field configuring events, cinema, events. Authors Charles-Clemens Rüling is an associate professor of organization theory and coordinator of the Creative Industries Research Group at Grenoble Ecole de Management (France). His research focuses on the institutionalization and maintenance of creative industry events and on professional life trajectories of creative talent. Corresponding author: Charles-Clemens Rüling, Grenoble Ecole de Management, 12 rue Pierre Sémard - BP 127, 38003 Grenoble Cedex 01, France; email: [email protected]. Jesper Strandgaard Pedersen is a professor in the Department of Organization and director of Imagine.. Creative Industries Research Center at Copenhagen Business School (Denmark).