scholarly journals The Disorder of Life

2020 ◽  
Vol 6 (1) ◽  
pp. 140-154
Author(s):  
Karen Thorsen
Keyword(s):  
James Baldwin ◽  
65Th Birthday ◽  
Film Festival ◽  
Common Humanity ◽  
Award Winning

Filmmaker Karen Thorsen gave us James Baldwin: The Price of the Ticket, the award-winning documentary that is now considered a classic. First broadcast on PBS/American Masters in August, 1989—just days after what would have been Baldwin’s 65th birthday—the film premiered at the Sundance Film Festival in 1990. It was not the film Thorsen intended to make. Beginning in 1986, she and Baldwin had been collaborating on a very different film project: a “nonfiction feature” about the history, research, and writing of Baldwin’s next book, Remember This House. It was also going to be a film about progress: how far we had come, how far we still had to go, before we learned to trust our common humanity. The following memoir explores how and why their collaboration began. This recollection will be serialized in two parts, with the second installment appearing in James Baldwin Review’s seventh issue, due out in the fall of 2021.

scholarly journals The Disorder of Life

2021 ◽  
Vol 7 (1) ◽  
pp. 54-75
Author(s):  
Karen Thorsen
Keyword(s):  
James Baldwin ◽  
Film Festival ◽  
Common Humanity ◽  
Award Winning ◽  
The World

Filmmaker Karen Thorsen gave us James Baldwin: The Price of the Ticket, the award-winning documentary that is now considered a classic. First broadcast on PBS/American Masters in August, 1989—just days after what would have been Baldwin’s sixty-fifth birthday—the film premiered at the Sundance Film Festival in 1990. It was not the film Thorsen intended to make. Beginning in 1986, Baldwin and Thorsen had been collaborating on a very different film project: a “nonfiction feature” about the history, research, and writing of Baldwin’s next book, “Remember This House.” It was also going to be a film about progress: about how far we had come, how far we still have to go, before we learn to trust our common humanity. But that project ended abruptly. On 1 December 1987, James Baldwin died—and “Remember This House,” book and film died with him. Suddenly, Thorsen’s mission changed: the world needed to know what they had lost. Her alliance with Baldwin took on new meaning. The following memoir—the second of two serialized parts—explores how and why their collaboration began. The first installment appeared in the sixth volume of James Baldwin Review, in the fall of 2020; the next stage of their journey starts here.

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.

scholarly journals Korean Men in Western film festival: The representation of filmic masculinity in five South Korean award – winning films

2019 ◽  
Vol 2 (3) ◽  
pp. 5-13
Author(s):  
Gabriel F. Y. Tsang
Keyword(s):  
Sole Source ◽  
Gender Identification ◽  
Film Festival ◽  
Cultural Dynamics ◽  
Cultural Globalization ◽  
South Korean ◽  
International Perspectives ◽  
Award Winning ◽  
Western Film ◽  
Gender Features

Masculinity is volatile, subject to representation. It is both personal and collective, interchanging with historical and cultural dynamics. This essay holds a focus on Korean masculinities represented in five award-winning South Korean films. In both diachronic and international perspectives, it differentiates between ideal, real and filmic masculinities, illuminating that ancient and modern Korean masculinities do not purely stick to a fixed, expected and shared ideology. There are variations in response to personal intention, nationhood and cultural globalization. The main argument of this essay is that conventional regulation is not the sole source to influence masculinity representation. Even violation of idealized manhood could deliver a sense of masculinity. Extending this argument to the concern with international film marketing, this essay questions about whether diversification of gender features would blur Korean masculinity and create new gender identification.

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.

Afterword

2017 ◽  
Author(s):  
Gregory S. Jay
Keyword(s):  
African American ◽  
Moral Education ◽  
James Baldwin ◽  
Literary Form ◽  
Narrative Strategies ◽  
Liberal Tradition ◽  
Black Lives Matter ◽  
Award Winning ◽  
Racial Liberalism ◽  
The World

Recently African American journalist Ta-Nehisi Coates published an award-winning book, Between the World and Me, which can serve as a useful perspective on racial liberalism today. The book’s literary form as a letter to his son, which is drawn from the work of James Baldwin, echoes the narrative strategies of addressing the reader found in all the novels studied in previous chapters. Here again the reader is positioned as a listener, student, and subject for moral education. But his audience is his black son, making his book a departure from the white-centered texts previously dominant in the race liberal tradition. Coates, too, engages in both historical teaching and emotional polemic, making us again explore why white readers (and writers) need to be reminded that “black lives matter.”

scholarly journals Cannes 2001 Report

2001 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
The Other ◽  
David Lynch ◽  
Film Festival ◽  
Quarter Century ◽  
Francis Ford Coppola ◽  
The Past ◽  
Award Winning

CANNES INTERNATIONAL FILM FESTIVAL 2001 Two events devotee of made the 54th Festival International du Film (9-20 May 2001) particularly memorable. The first was the news that, after 22 years as délégué général, Gilles Jacob stepped up to become Président while handing down the reins to Thierry Frémaux, the latter now divides his time between Cannes and duties as head of the Institute Lumière in Lyons. The other was the presence on the Croisette of seven previous Palme d'Or directors: Francis Ford Coppola (The Conversation, 1974, and Apocalypse Now, 1979), Ermanno Olmi (The Tree of Wooden Clogs, 1978), Shohei Imamura (The Ballad of Narayama, 1983, and The Eel, 1997), David Lynch (Wild at Heart, 1990), Joel and Ethan Coen (Barton Fink, 1991), and Abbas Kiarostami (The Taste of Cherries, 1997). One might add, too, that over the past quarter century each of their eight award-winning films helped considerably to...

scholarly journals On the Competition Programme of the 31st Moscow IFF

2009 ◽  
Author(s):  
Christina Stojanova
Keyword(s):  
Film Festival ◽  
Ordinary People ◽  
Common Humanity ◽  
Daily Experience ◽  
Time Space

CHARACTERS AND CIRCUMSTANCES: NOTES ON THE COMPETITION PROGRAMME OF THE 31st MOSCOW IFF If a common aesthetic denominator of the competition films, presented at the 31st Moscow International Film Festival (June 19-28, 2009) is to be found, it would be the predominance of mythos (plot) over ethos (character). While most of the characters were ordinary people - that is, "responding to our sense of common humanity" and like us not distinguished by "superior power of action and intelligence" - the extraordinary circumstances were removed either in time, space or in degree from "the cannons of probability that we would find in our own daily experience" (See Frye). In other words, the Moscow competition films were, as Aristotle would have it, about the predominance of the plot, the soul of the play, and stood or fell upon its intricacies, overshadowing the particular psychological and moral make-up of its dramatis personae. Whether...

scholarly journals INDUSTRI FILM INDONESIA : MEMBANGUN KESELARASAN EKONOMI MEDIA FILM DAN KUALITAS KONTEN

2018 ◽  
Vol 1 (1) ◽  
pp. 1-18
Author(s):  
Euis Komalawati
Keyword(s):  
Cultural Construction ◽  
Culture Industry ◽  
Creative Work ◽  
Media Industry ◽  
Film Festival ◽  
Social Phenomena ◽  
Award Winning ◽  
Film Content ◽  
Public Consciousness ◽  
The Republic

As an appreciation for creative works, the Indonesian Film Festival (FFI) and the Indonesian Film Appreciation (AFI) aimed at giving an award for the best work. The interesting part was the implementation of AFI 2015 emerged several award categories such as Appreciation for the Local Government and Film Criticism Appreciation. This occurred in the midst of concerns about the development of Indonesian film industries which tend to be stagnant. Film communities tried to give fresh ideas and break the film market. This new award can certainly be seen as an effort through the film festival program in spurring the film industries with creative work of educating the nation's children, especially film as a "cultural builder". Film is a cultural construction. In America, the country where the Hollywood film industry is the mecca of film generation, people still debate the cultural influence of Hollywood on social phenomena. Sociologist Norman Denzim said that drinking shows in US films have influenced the misleading romanticism of alcoholism in public consciousness (Vivian, 2008: 160). On the other hand, borrowing Adorno's term, the film has carried the culture industry powerless with market power. Discussing the media industry leads to the film media economy, as the focus of Indonesian filmmakers today. For most producers, award-winning films at international film festivals are "less meaningful" when they are not in box office positions. This paper proposed to reveal the economic attractiveness of the film media and the quality of Indonesian film content in accordance with the Republic of Indonesia Act. Number 33 of 2009 on Film. It stated that the film has a function: culture; education; entertainment; information; the driving force of creative work; and economy.

The Impossible Embrace

2020 ◽  
Vol 74 (2) ◽  
pp. 47-53
Author(s):  
Juliano Gomes
Keyword(s):  
Twentieth Century ◽  
Film Festival ◽  
Substantial Body ◽  
Award Winning ◽  
New Generation

In the twentieth century, the Black Brazilian filmmakers who managed to accumulate a substantial body of work were few and far between, with a striking number of Black directors succeeding in making only one or a handful of films. Juliano Gomes examines how this landscape has changed in recent years, prompted by a new generation of film school graduates and reflected in landmark events such as the “Soul in the Eye” program at the International Film Festival Rotterdam in 2018, in which at least a quarter of the program’s films were made by students. His article focuses on two films representative of these changes: Ilha (2018), whose codirectors Ary Rosa and Glenda Nicácio met in the cinema course at the Federal University of Recôncavo da Bahia, and Travessia (2017), an award-winning student film by Safira Moreira.

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