scholarly journals Filmowiec nie może działać wyłącznie lokalnie. Z Krzysztofem Zanussim o współpracy z kinematografią niemiecką rozmawia Ewa Ciszewska

2018 ◽  
Vol 23 (32) ◽  
Author(s):  
Krzysztof Zanussi ◽  
Ewa Ciszewska
Keyword(s):  
German Literature ◽  
Film Festival ◽  
Feature Film ◽  
Max Frisch ◽  
Award Winning ◽  
Film Directors ◽  
Made In ◽  
Krzysztof Kieslowski

The paper presents an interview with Krzysztof Zanussi (born 17 June 1939), one of the most renowned award-winning Polish film directors. Some of his numerous films for television and cinema have been made in co-operation with German producers, including Manfred Durniok. His film Roads in the Night (Wege in der Nacht, 1979) was presented in 1980 in Cannes as part of the section “Un certain regard”. In Germany, Zanussi filmed not only some of his own screenplays, such as Imperative (Imperativ, 1982 – Special Jury Prize at the Venice International Film Festival in 1982), but also adaptations of Polish and German literature, for example House of Women (Haus der Frauen, 1977) based on a play by Zofia Nałkowska and Bluebeard (Blaubart, 1983) based on a novel by Max Frisch. In addition to those productions, he concurrently made films in Poland. Director of the TOR Film Studio since 1979. He produced films by such directors as Krzysztof Kieślowski and Agnieszka Holland. He currently works on a feature film entitled Ether.

LGBTI Rights in Indonesia: A Human Rights Perspective

2018 ◽  
Vol 19 (1) ◽  
pp. 27-44
Author(s):  
Eleni Polymenopoulou
Keyword(s):  
Human Rights ◽  
Film Festival ◽  
Criminal Punishment ◽  
Same Sex ◽  
Made In

The threat of criminal punishment of same-sex relationships has revived in Indonesia. Despite the remarkable improvements that were made in recent years, such as the Yogyakarta principles in 2007 and the organisation of the Jakarta Q-film festival, homophobia has been gradually observed throughout the country. The criminal punishment of both prostitution and homosexuality in the (Islamised) region of Aceh by virtue of local laws (perdas) and incidents such as the raid of a Jakarta gay sauna in late 2017 that resulted in several prosecutions demonstrate that the struggle for non-discrimination and equality for lesbian, gay, bisexual, transgender and intersex (LGBTI) communities is still ongoing in this extremely diverse country. The present paper discusses this situation, highlighting the need for Indonesia to comply with its human rights obligations.

Cinema of Emancipation and Zacharias Kunuk’s Atanarjuat: The Fast Runner

Films on Ice ◽  
2015 ◽  
Author(s):  
Marco Bohr
Keyword(s):  
Popular Culture ◽  
Film Production ◽  
Art Cinema ◽  
Visual Storytelling ◽  
Feature Film ◽  
Award Winning ◽  
Local Practices ◽  
Visual Sovereignty ◽  
Cultural Themes ◽  
Narrative Techniques

This chapter offers stylistic and thematic analyses of the  cinematography and strategies of visual storytelling of Zacharias Kunuk’s Atanarjuat: The Fast Runner (2001). Bohr provides an alternate reading of the Igloolik-based group Isuma’s best-known and Cannes award winning film. Bohr identifies distinctive narrative techniques and cultural themes of the film, which tie it both to traditional Inuit myths and legends and to European art cinema, concluding by highlighting the ways in which Atanarjuat situates local practices in a global popular culture framework. Drawing on the concept of Fourth Cinema first proposed by Barry Barclay, Bohr positions Atanarjuat in the relation to emerging global  international indigenous feature film production as well as to Michelle Raheja’s concept of visual sovereignty.

The Daughters Debt: How Black Spirituality and Politics are Transforming the Televisual Landscape

2019 ◽  
Vol 72 (4) ◽  
pp. 9-17 ◽  
Author(s):  
Josslyn Luckett
Keyword(s):  
Black Women ◽  
Alice Walker ◽  
Paule Marshall ◽  
Women's Spirituality ◽  
Spiritual Practices ◽  
Toni Cade Bambara ◽  
Black Feminist ◽  
Feature Film ◽  
Film Directors ◽  
Black Spirituality

The spectrum of black women's spirituality in television has become nearly as diverse as the portraits of Afro-Atlantic spiritual practices that became central to key literary works of black feminist authors of the 1980s, such as Toni Cade Bambara, Paule Marshall, Toni Morrison, and Alice Walker. While many are the spiritual and televisual daughters of the authors mentioned above, this essay argues that the appearance of this wider range of black women's spirituality and activism in episodic television owes its greatest debt to two films from the 1990s, Julie Dash's, Daughters of the Dust (1991) and Kasi Lemmons’ Eve's Bayou (1997). I focus here on two shows which were themselves created by Black women feature film directors, Shots Fired (Gina Prince Bythewood with Reggie Rock Bythewood) and Queen Sugar (Ava DuVernay). I examine how characters like Pastor Janae (from Shots) and Nova Bordelon (from Sugar) use their spiritual practices in service of social justice, family, and community healing in ways that connect them to the women of Dash and Lemmons’ earlier films.

Vietnamese Cinema: First Views

1991 ◽  
Vol 22 (1) ◽  
pp. 33-62 ◽  
Author(s):  
John Charlot
Keyword(s):  
Film Industry ◽  
The United States ◽  
Film Festival ◽  
Feature Film ◽  
Staff Members ◽  
Feature Films ◽  
East Bloc ◽  
Department Staff ◽  
History Of ◽  
General Director

Vietnamese cinema has only recently become known outside of the East Bloc countries. The first public showing of a Vietnamese feature film in the United States was that of When the Tenth Month Comes at the 1985 Hawai'i International Film Festival in Honolulu. At the 1987 Festival, a consortium of American film institutions was formed with Nguyen Thu, General Director of the Vietnam Cinema Department, to organize the Vietnam Film Project — the first attempt to introduce an entire new film industry to America. The purpose of this article is to provide a brief description of Vietnamese cinema along with an appreciation of its major characteristics and themes. I base my views on my two visits to the Vietnam Cinema Department in Hanoi — for one week in 1987 and two in 1988 — on behalf of the Hawai'i International Film Festival. During those visits, I was able to view a large number of documentaries and feature films and to discuss Vietnamese cinema with a number of department staff members. I was able to obtain more interviews during the visits of Vietnamese to the Hawai'i International Film Festival in Honolulu. This article cannot claim to be an adequate introduction to the history of Vietnamese cinema, a task I hope will be undertaken with the aid of my informants and the sources I list as completely as possible.

scholarly journals KESALAHAN DEIKSIS DALAM KARANGAN MAHASISWA PADA NIVEAU A2 DI JURUSAN SASTRA JERMAN UM

LingTera ◽  
2015 ◽  
Vol 2 (1) ◽  
pp. 27 ◽  
Author(s):  
Lilis Afifah ◽  
Pratomo Widodo
Keyword(s):  
Foreign Language ◽  
Language Learning ◽  
German Literature ◽  
Foreign Language Learning ◽  
Social Psychological ◽  
Psychological Conditions ◽  
Spatial Deixis ◽  
Demonstrative Pronouns ◽  
Observation Method ◽  
Made In

Penelitian ini bertujuan untuk mengetahui kesalahan-kesalahan yang terdapat dalam penggunaan deiksis persona, deiksis tempat, dan deiksis waktu dalam karangan mahasiswa pada Niveau A2 di Jurusan Sastra Jerman UM serta mengetahui faktor-faktor penyebabnya. Subjek penelitian adalah karangan mahasiswa yang dihasilkan dalam matakuliah Aufsatz II. Objek penelitiannya adalah kesalahan deiksis persona, kesalahan deiksis tempat, dan kesalahan deiksis waktu. Proses pengumpulan data menggunakan metode simak yang terdiri dari teknik dasar yang berwujud teknik sadap dan dilanjutkan dengan teknik simak bebas libat cakap. Instrumen penelitian adalah peneliti (human instrument). Keabsahan data dicapai melalui intrarater dan interrater. Selanjutnya data dianalisis dengan metode agih. Hasil penelitian ini adalah sebagai berikut. Dalam karangan mahasiswa ditemukan kesalahan-kesalahan yang terkandung dalam deiksis persona, deiksis tempat, dan deiksis waktu. Faktor yang menyebabkan kesalahan tersebut adalah interferensi, over generalisasi, strategi komunikasi, elemen pembelajaran bahasa asing, kurangnya kontras, kondisi sosial psikologis pembelajar, efek domino, dan redundansi. ________________________________________________________________________________________________________________ DEIXIS ERRORS IN STUDENTS’ ESSAYS IN THE DEPARTMENT OF GERMAN LITERATURE OF UM Abstract This study aimed at determining the erros in using personal deixis, spatial deixis, and temporal deixis in students’ essays on Niveau A2 in the Department of German Literature of UM and also aimed at determining the factors that motivate the occurrence of deixis errors. The subjects were essays written by students which were made in the course of Aufsatz II. The research objects were personal deixis errors, spatial deixis errors, and temporal deixis errors. The data were collected using the observation method which consisted of basic techniques in the form of recording techniques and continued by using the technique of uninvolved-conversation observation. The research instrument in this study was the researcher (human instrument). The data trustworthiness was gained through intrarater and interrater. Furthermore, the data were analyzed by using the distributional method.The results of this study are as follows. In the essay of Niveau A2 students in the German Literature Department of UM, there are some errors in using personal deixis, spatial deixis, and temporal deixis. Errors of personal deixis are realized in six forms of pronouns: personal pronouns, relative pronouns, indefinite pronouns, demonstrative pronouns, and possessive pronouns. Errors of spatial deixis are realized in adverbs and verbs. Errors of temporal deixis are realized in adverbs and tenses. The occurrences of those errors are motivated by a variety of factors, i.e. interference, over-generalization, communication strategies, elements of foreign language learning, a lack of contrast, the students’ social psychological conditions, domino effect, and redundancy. Keywords: errors, deixis, essay

scholarly journals Puchon 2000

2001 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Role Model ◽  
Film Festival ◽  
Works Of Art ◽  
World Standard ◽  
Made In

THE 4th PUCHON INTERNATIONAL FANTASTIC FILM FESTIVAL 2000 Only in its fourth year of operation, the Puchon International Fantastic Film Festival (PiFan) has become an important and unique festival in Korea. Despite being a year younger than its well-regarded counterpart, the Pusan International Film Festival, PiFan has already earned a reputation as a role model for festivals concentrating on the theme of fantasy. Just this year, it launched the Made In Korea section, ahead of Pusan, introducing films by an emerging wave of local talent such as the highly elegiac Kim Ki-duk. Two of Kim's new films, The Isle (Seom, 2000) and Real Fiction (Siljaesanghwang, 2000) were shown at the festival, helping to solidify its position as a venue for showing world standard works of art and entertainment. The festival has also launched the Asian premieres of independent American and European films which has gone on to create waves...

scholarly journals Montreal 2008

2008 ◽  
Author(s):  
Christina Stojanova
Keyword(s):  
Film Festival ◽  
Selection Of ◽  
Made In

MORAL TALES FROM THE MONTREAL WORLD FILM FESTIVAL The Competition selection of the 32nd Montreal International Film Festival (21 August – 1 September 2008) featured twenty fiction films, at least one third of which were well-crafted exemplars of mainstream "cinema of quality" in the best sense of the term. In a way, films like Faubourg 36, Farewell Gulsary, Welcome to Farewell-Gutmann, The Necessities of Life, and to a great extent, Theo's Voyage, seek to update or popularize the stylistic or genre traditions they are made in, whether national or international, without shunning from emotions that often venture into the melodramatic and even the sentimental, or from predictable plot twists meant to keep the viewers both on edge and to please their instinct for imitation, and of anticipated reversals and recognition as Aristotle would have it. Beneath and beyond the emotional excess, displayed in these films, "there lies," as...

Cold War Cosmopolitanism: The Asia Foundation and 1950s Korean Cinema

2017 ◽  
Vol 22 (2) ◽  
pp. 281-316
Author(s):  
Christina Klein
Keyword(s):  
Cold War ◽  
Film Festival ◽  
Film Festivals ◽  
Korean Cinema ◽  
Major Objective ◽  
South Korean ◽  
Award Winning ◽  
Political Interests ◽  
History Of ◽  
Primary Instrument

Abstract South Korean films first became visible on the world stage in the late 1950s when they began to be exhibited and win prizes at international film festivals. Yi Pyŏngil’s The Wedding Day (1956) and Han Hyŏngmo’s Because I Love You (1958) were among Korea’s earliest award-winning films. These two films exemplify a postcolonial and postwar discourse I am calling “Cold War cosmopolitanism.” The cultivation of this cosmopolitan ethos among cultural producers was a major objective for Americans waging the cultural Cold War in Asia, and the Asia Foundation was Washington’s primary instrument for doing so. This article traces the history of the Asia Foundation from its inception in the National Security Council in the late 1940s through its activities in Korea in the 1950s and early 1960s. It pays particular attention to the foundation’s support for Korean participation in the Asian Film Festival. It offers a close textual and historical reading of Yi’s and Han’s films as a means of exploring how Korean cultural producers, acting as Cold War entrepreneurs, took advantage of the Asia Foundation’s resources in ways that furthered their own aesthetic, economic, and political interests.

Cosmopolitan Inuit: New Perspectives on Greenlandic Film

Films on Ice ◽  
2015 ◽  
Author(s):  
Kirsten Thisted
Keyword(s):  
Film Industry ◽  
Local Feature ◽  
First Century ◽  
Global Network ◽  
Feature Film ◽  
Feature Films ◽  
Twenty First Century ◽  
Multicultural Practices ◽  
Made In

This chapter considers contemporary acts of appropriation undertaken by Greenlandic filmmakers, as a local feature film industry has only recently emerged in the capital of Nuuk. While there is evidence of postcolonial protest against Denmark’s long dominance over Greenland, Thisted argues that in twenty-first century fiction feature films made in and about Nuuk, Greenland is situated as part of a global network of multicultural practices and representational techniques. Thisted examines Otto Rosing’s and Torben Bech’s Sundance-screened Nuummioq (2009), which is considered the first feature film produced in Greenland, and Angajo Lennert Sandgreen’s Hinnarik Sinnattunilu (2009). The chapter discusses these films as indications of an emerging cinematic autonomy, while Nuummioq’s international release was hampered by the fact that it had not been financed by the Danish Film Institute.

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