Activism in Action: Screening the Act of Killing and the Look of Silence in the West
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Jahresbericht 2019
Jahresbericht 2019 Inhaltsverzeichnis Inhaltsverzeichnis 1 Vorwort 3 Der Verein Creative Europe – MEDIA Desk Suisse 4 Der Verein 4 Die Geschäftsstelle 5 Das Jahr 2019 5 Kommunikation 6 Informationsveranstaltungen 6 Printpublikationen 6 Website 6 Newsletter 6 Social Media 7 Presse 7 Branchenaustausch und internationales Netzwerk 8 Überblick über alle Förderlinien 11 MEDIA-Ersatzmassnahmen 2019 11 Gesamtbilanz 2019 12 Projektentwicklung 14 Verleihförderung für europäische Filme 23 Automatische Verleihförderung 25 Selektive Verleihförderung 26 Promotionsförderung 34 Förderung von Weiterbildungsprogrammen 38 Get Trained – Stay Connected! 41 Nutzung des Creative Europe MEDIA-Netzwerks 41 BAK Weiterbildungszuschüsse 41 Finanzen 2019 45 Bericht der Revisionsstelle 45 Bilanz 46 Erfolgsrechnung 47 Inhaltsverzeichnis 1 MEDIA Desk Suisse Neugasse 10 8005 Zürich Schweiz +41 (0)43 960 39 29 www.mediadesk.ch [email protected] @MEDIASuisse #mdssupported #trainingmds MEDIA Desk Suisse wird vom Bundesamt für Kultur unterstützt. Redaktionelle Leitung: Corinna Marschall Texte: Corinna Marschall, Sophie Danner Diagramme & Statistik: Markus König Fotos: von den Produktionsfirmen und Organisatoren zur Verfügung gestellt Gestaltung: Florian Pfingsttag Titelseite: Le Milieu de l’Horizon von Delphine Lehericey, produziert von Box Productions (CH) und Entre Chien et Loup (BE). 2 Vorwort Mitten in der Corona-Krise nimmt sich der Rückblick lung wie Deutschland und Frankreich Sonderge- auf das Jahr 2019 seltsam aus. Schliesslich zerbre- nehmigungen. Besonders Filme mit hohem Potenti- chen wir uns gerade den Kopf, wie die nahe und al werden auf einen erneuten Kinostart nach der fernere Zukunft aussehen könnte und sehen alles Krise warten. Für Nischenfilme wird der Start als andere als klar. Mir scheint, dass wir uns an einem VoD eventuell die einzige Möglichkeit sein, ein Pub- wichtigen Angelpunkt befinden. -
Jemma Purdey
EPILOGUE Jemma Purdey This past December, I led a group of Australian students on a study tour to Indonesia, including a week of language and cultural immersion at a university in Bandung. The coordinators of the unit took the initiative to include a guest lecture in the program for our students and other for- eign visitors, as well as their own graduate students in Citizenship stud- ies. The topic of the lecture was Indonesian history and the Pancasila. As mine is a breadth subject open to enrolments from across faculties, in general my students had only a tacit knowledge of Indonesian his- tory. The lecturer delivered his rather dry account as a chronology of Indonesian “pre-colonial”, “colonial” and “post-colonial” history with a concluding discussion on Pancasila as national ideology. My students found this latter aspect of his lecture to be the more stimulating (the idea of a “national ideology”, particularly with religion as its starting point, as it seems a provocative one for young Australians). Personally, despite his comprehensive chronological listing of historical events com- plete with detail of lives lost in the colonial wars against the Dutch, what struck me was that there was no mention at all of “1965” beyond the 30 September Movement and Suharto’s triumphant suppression of it. Not of the mass killings and purges of Communists. Not even as a footnote. “1965” represents a period in Indonesian history roughly from 1965 to 1966 when an estimated half a million people were murdered (though some authors in this volume put this fgure higher, see in this volume © The Editor(s) (if applicable) and The Author(s) 2018 357 K. -
Univision Communications Inc to Acquire Digital Media Assets from Gawker Media for $135 Million
UNIVISION COMMUNICATIONS INC TO ACQUIRE DIGITAL MEDIA ASSETS FROM GAWKER MEDIA FOR $135 MILLION Acquisition of Digital Assets will Reinforce UCI’s Digital Strategy and is Expected to Increase Fusion Media Group’s Digital Reach to Nearly 75 Million Uniques, Building on Recent Investments in FUSION, The Root and The Onion NEW YORK – AUGUST 18, 2016 – Univision Communications Inc. (UCI) today announced it has entered into an agreement to acquire digital media assets as part of the bankruptcy proceedings of Gawker Media Group, Inc. and related companies that produce content under a series of original brands that reach nearly 50 million readers per month, according to comScore. UCI will acquire the digital media assets for $135 million, subject to certain adjustments, and these assets will be integrated into Fusion Media Group (FMG), the division of UCI that serves the young, diverse audiences that make up the rising American mainstream. The deal, which will be accounted for as an asset purchase, includes the following digital platforms, Gizmodo, Jalopnik, Jezebel, Deadspin, Lifehacker and Kotaku. UCI will not be operating the Gawker.com site. With this strategic acquisition, FMG’s digital reach is expected rise to nearly 75 million uniques, or 96 million uniques when including its extended network. The acquisition will further enrich FMG’s content offerings across key verticals including iconic platforms focused on technology (Gizmodo), car culture (Jalopnik), contemporary women’s interests (Jezebel) and sports (Deadspin), among others. The deal builds on UCI’s recently announced creation of FMG and investments in FUSION, The Root and The Onion, which includes The A.V. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Blog Title Blog URL Blog Owner Blog Category Technorati Rank
Technorati Bloglines BlogPulse Wikio SEOmoz’s Blog Title Blog URL Blog Owner Blog Category Rank Rank Rank Rank Trifecta Blog Score Engadget http://www.engadget.com Time Warner Inc. Technology/Gadgets 4 3 6 2 78 19.23 Boing Boing http://www.boingboing.net Happy Mutants LLC Technology/Marketing 5 6 15 4 89 33.71 TechCrunch http://www.techcrunch.com TechCrunch Inc. Technology/News 2 27 2 1 76 42.11 Lifehacker http://lifehacker.com Gawker Media Technology/Gadgets 6 21 9 7 78 55.13 Official Google Blog http://googleblog.blogspot.com Google Inc. Technology/Corporate 14 10 3 38 94 69.15 Gizmodo http://www.gizmodo.com/ Gawker Media Technology/News 3 79 4 3 65 136.92 ReadWriteWeb http://www.readwriteweb.com RWW Network Technology/Marketing 9 56 21 5 64 142.19 Mashable http://mashable.com Mashable Inc. Technology/Marketing 10 65 36 6 73 160.27 Daily Kos http://dailykos.com/ Kos Media, LLC Politics 12 59 8 24 63 163.49 NYTimes: The Caucus http://thecaucus.blogs.nytimes.com The New York Times Company Politics 27 >100 31 8 93 179.57 Kotaku http://kotaku.com Gawker Media Technology/Video Games 19 >100 19 28 77 216.88 Smashing Magazine http://www.smashingmagazine.com Smashing Magazine Technology/Web Production 11 >100 40 18 60 283.33 Seth Godin's Blog http://sethgodin.typepad.com Seth Godin Technology/Marketing 15 68 >100 29 75 284 Gawker http://www.gawker.com/ Gawker Media Entertainment News 16 >100 >100 15 81 287.65 Crooks and Liars http://www.crooksandliars.com John Amato Politics 49 >100 33 22 67 305.97 TMZ http://www.tmz.com Time Warner Inc. -
The Look of Silence and Last Day of Freedom Take Top Honors at the 2015 IDA Documentary Association Awards
Amy Grey / Ashley Mariner Phone: 818-508-1000 Dish Communications [email protected] / [email protected] The Look of Silence and Last Day of Freedom Take Top Honors at the 2015 IDA Documentary Association Awards Best of Enemies, Listen to Me Marlon & HBO’s The Jinx Also Pick Up Awards LOS ANGELES, December 5, 2015 – Winners in the International Documentary Association’s 2015 IDA Documentary Awards were announced during tonight’s program at the Paramount Theatre, giving Joshua Oppenheimer’s THE LOOK OF SILENCE top honors with the Best Feature Award. This critically acclaimed, powerful companion piece to the Oscar®-nominated The Act of Killing, follows a family of survivors of the Indonesian genocide who discover how their son was murdered and the identities of the killers. Also announced in the ceremony was the Best Short Award, which honored LAST DAY OF FREEDOM, directed by Dee Hibbert-Jones and Nomi Talisman. The film is an animated account of Bill Babbitt’s decision to support and help his brother in the face of war, crime and capital execution. Grammy-nominated comedian Tig Notaro hosted the ceremony, which gathered the documentary community to honor the best nonfiction films and programming of 2015. IDA’s Career Achievement Award was presented to Gordon Quinn, Founder and Artistic Director of Kartemquin Films. He has produced, directed and/or been cinematographer on over 55 films across five decades. A longtime activist for public and community media, Quinn was integral to the creation of ITVS, public access television in Chicago; in developing the Documentary Filmmakers Statement of Best Practice in Fair Use; and in forming the Indie Caucus to support diverse independent voices on Public Television. -
Genocide Documentary As Intervention
This is a repository copy of Genocide documentary as intervention. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/83470/ Version: Accepted Version Article: Tyson, AD orcid.org/0000-0002-4458-6870 (2015) Genocide documentary as intervention. Journal of Genocide Research, 17 (2). pp. 177-199. ISSN 1462-3528 https://doi.org/10.1080/14623528.2015.1027077 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Genocide documentary as intervention ADAM TYSON Abstract Gifted filmmakers such as Joshua Oppenheimer, director of The act of killing, are attempting to use the power of documentary to provoke social and political change in post-conflict settings. What roles do interventionist filmmakers play in processes of national reconciliation and transitional justice? Can The act of killing really be a catalyst for change in Indonesia? This article contends that the genocide documentary is a form of antagonistic intervention that warrants systematic and critical re-evaluation. -
THE LOOK of SILENCE a Film by Joshua Oppenheimer
THE LOOK OF SILENCE A film by Joshua Oppenheimer “The Look of Silence is profound, visionary, and stunning.” Werner Herzog "One of the greatest and most powerful documentaries ever made. A profound comment on the human condition.” Errol Morris Running time: 99 min (25fsp), 103 min (24fsp) Year: 2014 Language: Indonesian, Javanese Countries of production: Denmark, Indonesia, Norway, Finland & UK Principal Producer: Final Cut for Real, (Denmark) Co-producers: Anonymous, (Indonesia) Piraya Film, (Norway), Making Movies (Finland) and Spring Films (UK) Production Company International Press (Venice) Final Cut for Real WOLF Consultants Contact: Signe Byrge Sørensen Gordon Spragg, Laurin Dietrich, Forbindelsesvej 7 Michael Arnon DK-2100 Copenhagen, Denmark [email protected] www.final-cut.dk T: +49 157 7474 9724 [email protected] T: +45 35 43 60 43 Italian Press (Venice) M: +45 41 18 48 90 Claudia Tomassini International Sales [email protected] M: +39 334 3075056 Contact: Philippa Kowarsky, Federica Ceraolo T: + 972 54 496 1114 [email protected] [email protected] M: + 39 340 9172947 Press (Toronto) Susan Norget Film Promotion Contact: Susan Norget T: +1 917 833 3056 E: [email protected] Press Material available at: www.wolf-con.com/download 1 CONTENTS SYNOPSIS p. 3 DIRECTOR STATEMENT p. 3 THE STORY OF THE PRODUCTION p. 3 IMPACT OF THE ACT OF KILLING p. 7 POLITICAL SITUATION IN INDONESIA TODAY p. 8 JOSHUA OPPENHEIMER p. 9 Biography & Filmography THE 1965 – 1966 MASSACRES IN INDONESIA p. 10 Historical Context THE LOOK OF SILENCE - CREDITS p. 13 2 SYNOPSIS Through Joshua Oppenheimer’s work filming perpetrators of the Indonesian genocide, a family of survivors discovers how their son was murdered and the identity of the men who killed him. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Human Rights Cinema: the Act of Killing and the Act of Watching
Human Rights Cinema: The Act of Killing and the Act of Watching Barry Collins* Over the past twenty years, the phenomenon of Human Rights Cinema has emerged as an important way to think about the relationship between visual culture, human rights and activism. This article will interrogate some of the presuppositions behind this phenomenon and examine what it means for both cinema and the concept of human rights. The article will then look atThe Act of Killing, a 2012 documentary that has raised many questions for the project of Human Rights Cinema. It will be argued that The Act of Killing does not fit easily within the canon of Human Rights Cinema, not simply because of controversies surrounding its making, but also because of the challenges it poses for ideas of spectatorship and authority. Furthermore, this article will propose that Slavoj Žižek’s observations on The Act of Killing provide a useful means to critique the understanding of human rights predominant in the concept of Human Rights Cinema. 1. Human Rights Cinema and the question of truth Since the early 1990s, a plethora of human rights film festivals has sprung up around the world, effectively inventing the concept of Human Rights Cinema. This now widely accepted category of film brings together the aesthetic concerns of the film- maker with those of the human rights activist. Human rights film festivals, the earliest being that of Seattle in 1992, are attended annually by thousands of people, and have played a vital role in advancing the idea of Human Rights Cinema. In 1994, the Human Rights Film Network was established in Prague. -
Perpetrating and Resisting Fortress USA: Documentary Strategies of National Bird and Fahrenheit 11/9
Continuum Journal of Media & Cultural Studies ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/ccon20 Perpetrating and resisting fortress USA: documentary strategies of National Bird and Fahrenheit 11/9 Janet Walker To cite this article: Janet Walker (2020) Perpetrating and resisting fortress USA: documentary strategies of NationalBird and Fahrenheit11/9, Continuum, 34:2, 180-196, DOI: 10.1080/10304312.2020.1737430 To link to this article: https://doi.org/10.1080/10304312.2020.1737430 Published online: 05 Mar 2020. Submit your article to this journal Article views: 59 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ccon20 CONTINUUM: JOURNAL OF MEDIA & CULTURAL STUDIES 2020, VOL. 34, NO. 2, 180–196 https://doi.org/10.1080/10304312.2020.1737430 Perpetrating and resisting fortress USA: documentary strategies of National Bird and Fahrenheit 11/9 Janet Walker Department of Film and Media Studies, University of California, Santa Barbara, CA, USA ABSTRACT KEYWORDS This article analyzes two documentary films that figure the enmesh- Documentary film; ment of individuals and institutions in attitudes and practices of perpetrator testimony; ‘fortress USA’ and studies the role of media in facilitating and resisting fortress USA; drone war; that process. Whereas a large share of the scholarly literature on National Bird; Sonia Kennebeck; U.S.-Mexico trauma and documentary has focused for good reason on the atro- ’ border; Fahrenheit 11/9; cities of Hitler s Holocaust, the Cambodian Genocide, and the Michael Moore Rwandan Genocide, and on the testimonies of survivors, the docu- mentary films under study here present certain actions by the United States as perpetrative: that is to say, as rife with casualties and as racist, media-dependent, and insupportable from the perspective of social justice. -
Journey to the Academy Awards: an Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY
Journey to the Academy Awards: An Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY FINDINGS By Caty Borum Chattoo, Co-Director, Center for Media & Social Impact American University School of Communication | Washington, D.C. February 2016 OVERVIEW For a documentary filmmaker, being recognized by the Academy of Motion Picture Arts & Sciences for an Oscar nomination in the Best Documentary Feature category is often the pinnacle moment in a career. Beyond the celebratory achievement, the acknowledgment can open up doors for funding and opportunities for next films and career opportunities. The formal recognition happens in three phases: It begins in December with the Academy’s announcement of a shortlist—15 films that advance to a formal nomination for the Academy’s Best Documentary Feature Award. Then, in mid-January, the final list of five official nominations is announced. Finally, at the end of February each year, the one winner is announced at the Academy Awards ceremony. Beyond a film’s narrative and technical prowess, the marketing campaigns that help a documentary make it to the shortlist and then the final nomination list are increasingly expensive and insular, from advertisements in entertainment trade outlets to lavish events to build buzz among Academy members and industry influencers. What does it take for a documentary film and its director and producer to make it to the top—the Oscars shortlist, the nomination and the win? Which film directors are recognized—in terms of race and gender?