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4692-brochure-joris-ivens 13-11-2003 21:42 Pagina 1 FONDATION EUROPÉENNE EUROPESE STICHTING european foundation joris ivens newsmagazine - issue 9 - november 2003 Two new films of Ivens found in US Ephraim Smith Paul Strand and Joris Ivens: images with a shared mission Catherine Duncan, Marion Michelle, André Stufkens and Virgilio Tosi The genesis of Loin de Vietnam Ian Mundell Joris Ivens and the Indonesian revolution Gerda Jansen Hendriks 4692-brochure-joris-ivens 13-11-2003 21:42 Pagina 2 Colophon Publications on Joris Ivens European Foundation Joris Ivens Une Histoire de Vent (A Tale of the Wind) Sylvain De Bleeckere, 1997, KFL/KFA, Kok-Kampen. Europese Stichting Joris Ivens Paperback, 56 p., Dutch, 4,00 euro. Fondation Européenne Joris Ivens Europäische Stiftung Joris Ivens Office Inventory of the Joris Ivens Archives Kees Bakker, 1999, European Foundation Joris Ivens. Visiting adress Paperback, 106 p., English / Dutch Thorbeckestraat 75, Nijmegen (Inventaris van het Joris Ivens Archief), 12,00 euro. Mail adress P.O. Box 606 NL - 6500 AP Nijmegen, The Netherlands Kaze - The Wind, a Joris Ivens retrospective Kees Bakker (editor), 1999, Yamagata International Documentary Telephone: + 31 (0)24 388 87 74 Film Festival / European Foundation Joris Ivens. Fax: + 31 (0)24 388 87 76 Paperback, 80 p., English & Japanese, 12,00 euro. E-mail: [email protected] Internet: www.ivens.nl Archives Passages, Joris Ivens en de kunst van deze eeuw (Joris Ivens and the arts of this century) Het Archief, Centrum voor Stads- en Streekhistorie, Nijmegen André Stufkens (editor), 1999, Museum Het Valkhof / Municipal Archives Nijmegen European Foundation Joris Ivens. Mariënburg 27 (by appointment, Huub Jansen, coordinator Hard cover, 272 p., Dutch, 19,00 euro. archives, +31 (0)24 329 23 00) Board Joris Ivens and the Documentary Context Marceline Loridan-Ivens, president Kees Bakker (editor), 1999, Amsterdam University Press / Claude Brunel, vice-president European Foundation Joris Ivens. Dan van Golberdinge, treasurer Paperback and hardback, 320 p., English, 18,00 euro Members: (paperback), 32,00 euro (hard cover). Guusje ter Horst, burgomaster of Nijmegen José Manuel Costa Tineke de Vaal Marc Vernet Living Dangerously, a biography of Joris Ivens Hans Schoots, 2000, Amsterdam University Press. Comité d’Honneur Paperback and hardcover, 444 p., English / Dutch (‘Gevaarlijk leven’, 1995), 27,00 euro (paper back), 56,72 euro (hard back). Theo Angelopoulos / Tinto Brass / Jérôme Clément / Constantin Costa Gavras / Régis Debray / Jack Lang / Claude Lanzman Edgar Morin / Vincenzo Franco Porcelli / Ignacio Ramonet Edgar Reitz / Jean Rouch / Paolo Taviani / Frederick Wiseman Inventaris van de Hans Wegner Collectie Huub Jansen (editor), 2001, European Foundation Joris Ivens. Staff Paperback, 64 p., Dutch (English version coming soon), 12,00 euro. André Stufkens, director Huub Jansen, coordinator archives Bram Relouw, coordinator education and projects Poesie und Politik, Der Dokumentarfilmer Joris Ivens George Manders, co-worker photo archives (1898-1989) Jan-Pieter Barbian (editor), 2002, Wissenschaftverlag Collaborators with this issue Universität Trier, Cinémathèque Municipale de Luxembourg. Paperback, 123 p., German, 18,00 euro. Catherine Duncan, Gerda Jansen Hendriks, Marion Michelle Ian Mundell, Charles Musser, Leonie Redler, Ephraim Smith Virgillio Tosi Language editor: Andrew Sloan Cinema without Borders-the films of Joris Ivens André Stufkens (editor), 2002, European Foundation Joris Ivens. Design: Marleen de Betué, grafisch ontwerper BNO Paperback, 96 p., English, 15,00 euro. Print: Drukwerk Unlimited Cover photo Joris Ivens filming Hazel Parkinson during the shooting of POWER Joris Ivens, Cinema e Utopia AND THE LAND © Joris Ivens Archive / European Foundation Joris Virgilio Tosi, 2002, Bulzoni Editore, Ivens, Nijmegen Paperback, 244 p., Italian, 19,00 euro. Photo Dan van Golberdinge © Marion Michelle Photo Claude Brunel © Jean-Paul Dupuis Photo José Manuel Costa © André Stufkens Joris Ivens, Una storia di vento / a wind’s tale Photo Tineke de Vaal © Chiara Dalmaviva Marina Ganzerli (editor), 2002, Associazione Culturale Cinemambiente. The European foundation Joris Ivens is subsidised by the Paperback, 186 p., English & Italian, 25,00 euro. Netherlands Ministry of Education, Culture and Science, The Hague. 4692-brochure-joris-ivens 13-11-2003 21:42 Pagina 3 Two films of Ivens found In 1938, Pare Lorentz, the successful director of THE PLOW THAT BROKE THE PLAINS (1935) and THE RIVER (1936), was appointed head of the United States Film Service. A year later he asked Ivens to collaborate on a film about the rural electrification projects, commis- sioned by the Rural Electrification Administration (REA), part of the U.S. Department of Agriculture. In the beginning they used the wor- king title LAND AND POWER, referring to Buñuels LAND WITHOUT BREAD and to the double meaning of the word ‘power’. Firstly, power for electricity and, secondly, the power of farmers united in co- operatives to bring the all important electricity lines to their farms against the wishes of the pri- Frontispiece POWER AND THE LAND (1940) © REA vate electricity companies who tried to prevent co-operatives forming. The making of what eventually beca- me POWER AND THE LAND wasn’t without pro- blems. The first scripts written by Charles Walker were rejected. Pare Lorentz and Ed Locke wrote a much better outline, based on the ‘dawn to dusk’ concept, but forbid Ivens to present the most dramatic aspect of the film - the fight between the co-operatives and the private elec- Pare Lorentz, 1939 tricity companies. Ivens went to novelist John Steinbeck, who had just published THE GRAPES OF WRATH, to review the material and ended up Film historian Robert Sklar stated in proposing that he do the dialogues. Steinbeck ‘Film, an international history of the medium’, agreed to come on board, but Lorentz told Ivens Frontispiece BIP GOES TO TOWN (1940) © REA that POWER AND THE LAND was ‘perhaps the most that he hadn’t enough money to pay for this. effective film made to promote President Further problems arose after several weeks of Franklin D. Roosevelt’s New Deal policies’. As shooting in August and September 1939, when well as POWER AND THE LAND, which was seen by Ivens realised that the cameraman was not at least six million farmers, WORST OF FARM capable of capturing what he wanted. To solve DISASTERS and BIP GOES TO TOWN were used by this problem he asked well-known director of the REA to promote farmers’ co-operatives. photography Floyd Crosby (who had worked on TABU in 1931 and THE RIVER in 1937) to join the Dr. Ephraim K. Smith, Professor of crew. History at California State University, Fresno and an independent film producer1 is working on Originally Lorentz had only asked the a documentary on the Rural Electrification Dutchman to do the outside filming, but Ivens’ Administration. He found copies of WORST OF ambitions were much higher, especially as FARM DISASTERS and BIP GOES TO TOWN owned CCE by the grandchildren of Bip Parkinson. The Lorentz was fully occupied with developing E Frontispiece WORST OF FARM DISASTERS (1940) © REA HOMO! , so it was no surprise that Ivens became National Archives also keeps a silent copy of the overall director. He had wanted to produce a Helen van Dongen edited POWER AND WORST OF FARM DISASTERS. In the following arti- five reel documentary and shot enough footage THE LAND into a short documentary of 33 minu- cle Ephraim K. Smith explains about this disco- to realize this. However Lorentz, a producer who tes. But some of the sequences left over were very and the importance of this film and family. wanted ‘to have as little to do with the direction also used and edited into two spin-offs by Lora In association with the California State of the work of people of well-established reputa- Hays, the editor and assistant to Van Dongen at University, Fresno Foundation, Ephraim K. tion as humanly possible’ made Ivens limit the the Motion Picture Department of the Smith is looking for underwriters (and a possible length of the documentary to the agreed three Department of Agriculture. The scene of a fire in PBS or independent producer) to provide assi- reels, due to the limited budget. In a letter dated a neighbours barn was edited into a 6 minutes stance in expanding this ‘pilot’ documentary to November 20th 1939 (after filming was finished) documentary WORST OF FARM DISASTERS, to fifty-six minutes and to undertake the develop- Lorentz wrote to Ivens: ‘Mr. Flaherty who is doing show the dangers of old fashioned lighting by ment of a second documentary on private and a vast panoramic picture [THE LAND], has enough kerosine lamps in barns. This film also includes public rural electrification in the United States. material for twenty reels, but we are aiming there images of the famous bucket line, which Ivens for four or five reels, and hope to come down to used many times in his films to emphasize com- André Stufkens three, After all, if we did the history of the munity building and solidarity between workers. Mississippi Valley [THE RIVER] for over a century Another sequence, were young Bip Parkinson John Steinbeck, 1939 in three reels, I think we can do almost any visited a model milking house with electric government subject in like space or under’. equipment, was turned into a 10 minutes docu- Lorentz also expected venues to reject scree- mentary called BIP GOES TO TOWN. Ivens used ning a five reel documentary, requiring a limited this theme repeatedly, showing the generations length for their programme schedules. of the future discovering apparent technology of the future. The bucket brigade of farmers, set photo WORST OF ‘Bip’ Parkinson entering the modern milk factory, set FARM DISASTERS. Photo: Peter Sekaer, 1939 photo BIP GOES TO TOWN © REA 1 4692-brochure-joris-ivens 13-11-2003 21:42 Pagina 4 The Film and the Family that Helped Electrify the American Farm by Ephraim K.
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    in Silent Cinema New Findings and Perspectives edited by Monica Dall’Asta, Victoria Duckett, lucia Tralli RESEARCHING WOMEN IN SILENT CINEMA NEW FINDINGS AND PERSPECTIVES Edited by: Monica Dall’Asta Victoria Duckett Lucia Tralli Women and Screen Cultures Series editors: Monica Dall’Asta, Victoria Duckett ISSN 2283-6462 Women and Screen Cultures is a series of experimental digital books aimed to promote research and knowledge on the contribution of women to the cultural history of screen media. Published by the Department of the Arts at the University of Bologna, it is issued under the conditions of both open publishing and blind peer review. It will host collections, monographs, translations of open source archive materials, illustrated volumes, transcripts of conferences, and more. Proposals are welcomed for both disciplinary and multi-disciplinary contributions in the fields of film history and theory, television and media studies, visual studies, photography and new media. http://creativecommons.org/licenses/by-nc-nd/3.0/us/ # 1 Researching Women in Silent Cinema: New Findings and Perspectives Edited by: Monica Dall’Asta, Victoria Duckett, Lucia Tralli ISBN 9788898010103 2013. Published by the Department of Arts, University of Bologna in association with the Victorian College of the Arts, University of Melbourne and Women and Film History International Graphic design: Lucia Tralli Researching Women in Silent Cinema: New Findings and Perspectives Peer Review Statement This publication has been edited through a blind peer review process. Papers from the Sixth Women and the Silent Screen Conference (University of Bologna, 2010), a biennial event sponsored by Women and Film History International, were read by the editors and then submitted to at least one anonymous reviewer.
  • Yasmina Reza

    Yasmina Reza

    5/13 NOVIEMBRE Edita Sevilla Festival de Cine Europeo 2010 Director Artístico Javier Martín-Domínguez Coordinadora de catálogo y documentación Blanca García Carrera Ayudante de catálogo y documentación Borja Moreno Traducción Deidre MacClowskey, Mathilde Grange Cesión de fotografías Danish Film Institute, European Foundation Joris Ivens, Fredy Fernández, Hugo Tillmans, José Haro, Lolo Vasco, Neos Zacher, Norwegian Film Institute, Per Arnesen, Petr Novák, Robin Skjoldborg, Sophie Baker, Spellbound Productions, Vicente Aranda, Vik Muniz Studio Un proyecto de Diseño y maquetación Leglez Publicidad Impresión J. de Haro Artes Gráficas, S.L. Depósito legal - ÍNDICE / TABLE OF CONTENTS CARTEL SEFF VII EDICIÓN / POSTER SEFF 10 VII EDITION ..................................15 PREMIOS 2010 / 2010 AWARDS ........................................................................... 17 JURADO / JURY ..................................................................................................... 27 SECCIÓN OFICIAL / OFFICIAL SECTION ................................................................ 35 SELECCIÓN EFA / EFA SELECTION ........................................................................67 EURIMAGES .......................................................................................................... 103 EURODOC ..............................................................................................................123 FIRST FILMS FIRST. PRIMERAS PELÍCULAS .......................................................155 SHORT MATTERS’