Doc Lounge i Lund söker volontärer
"Har du lust att engagera dig i Doc Lounge mer än att komma på våra kvällar. På torsdag, 9 sept, kl 18 har vi en trevlig liten kick off med vårt lilla Doc Lounge crew på Mejeriet. Är du intressead av att vara med eller bara veta mer så är det bara att höra av dig eller komma förbi. Utan våra volontärer vore vi inget."
kontakta: [email protected]
Fantastisk Filmfestival i Lund
kolla in programmet här
http://www.fff.se/
Latinamerika - filmfestival i Malmö
VÄLKOMMEN TILL ÅRETS
LATINAMERIKA I FOKUS
http://imagenes.se/page12.php
I Latinamerika finns några av världens största metropoler som Mexiko City och São Paulo, städer i ständig expansion och förändring och där avgrundsdjupa sociala och ekonomiska skillnader blir tydliga: från slumområden till "gated communities". Vilka är de bakomliggande faktorer som strukturerar och förändrar staden och människors levnadsvillkor i den? Hur ser situationen ut för ursprungsfolk och andra minoriteter och hur har kvinnans roll förändrats?
Vidare undersöker vi hur det står till med de mänskliga rättigheterna i Centralamerika. Mycket har hänt i området det senaste året men media är snabba på att flytta fokus.
Casa Uruguay står även i år för serveringen på Panora. Kom, se film, mingla i caféet och njut av Latinamerikas rika kulturutbud!
LATINAMERIKA I FOKUS - FILM OCH KULTURFESTIVAL SÄTTER IGÅNG DEN 27 SEPTEMBER 2010.
DÅ FÅR DU SE DE BÄSTA FILMERNA OM OCH FRÅN LATINAMERIKA GÅ PÅ SPÄNNANDE SEMINARIER OCH ÄTA GOD MAT OCH TRÄFFA TREVLIGA MÄNNISKOR.
OM DU VILL VARA VOLONTÄR UNDER FESTIVALEN ELLER HAR LUST ATT HJÄLPA TILL IDEELT MED FÖRBEREDELSEARBETE HÖR AV DIG TILL OSS! [email protected] eller [email protected]
rösträttskvinnor (suffragetter) framför kameran
Asta Nielsen playing a suffragette undergoing forcefeeding in Die Suffragette (1913), from Stiftung Deutsche Kinemathek
tänk om man vore i Berlin!
källa: http://bioscopic.wordpress.com/2010/08/18/suffragettes-before-the-camera/"Early film reflected the society in which it arose, and there is no clearer example of this than the campaign for women’s suffrage. The movement to gain women the vote in Britain reached its climax during the period when mass cinema-going was first underway in the early 1910s, and films reflected the popular understanding of the suffragettes. The militant woman became a standard figure in early ficition films, generally portrayed for comic or satiric effect. At the same time the suffragettes were regularly covered by the newsreels, a dynamic new medium for reporting what was happening in the world to a mass audience.
The relationship between women’s suffrage and early film is explored in Frühe Interventionen: Suffragetten – Extremistinnen der Sichtbarkeit (Early interventions / Suffragettes – extremists of visibility), a series of films and lectures being held at the Zeughauskino, Berlin, 23-27 September 2010. Behind the somewhat forbidding title is a tremendous programme of rare materials uncovered from archives across Europe and curated by Madeleine Bernstorff and Mariann Lewinsky. The films document not only the suffragettes as audiences saw them in fiction and non-fiction films, but also the role of women in early cinema generally, showing how trangressive, rebellious and sometimes just plain exuberant displays by women on screen echoed the drive for changes in society of which the campaign for the vote was but a part.
The Pickpocket (USA 1913), from EYE Film Institute Netherlands
Here is the programme:
Thursday 23. September 20:00 h
Radical maid(en)s
Cheerful young girls’ break-outs, class relations and radicalisations.Sedgwick’ s Bioscope Showfront at Pendlebury Wakes, GB 1901, 30m 1’30“
La Grêve des bonnes, France 1907 184m, 10’
Tilly in a Boarding house GB 1911 D Alma Taylor, Chrissie White 7’
Pathé newsreel The Suffragette Derby, GB 1913, ca 5’
Miss Davison’s Funeral, GB 1913, 45m 2’
A Suffragette in Spite of Himself GB 1912 Edison R: Bannister Merwin D: Miriam Nesbitt, Ethel Browning, Marc McDermott 8’, 16mm
Break
Robinette presa per nihilista Italy 1912, D: Nilde Baracchi, 124m, 8’
Cunégonde reçoit sa famille France 1912 D: Cunegonde – name unknown, 116m, 6’
Les Ficelles de Leontine France 1910, D: Leontine – name unknown, 155m, 8’
Tilly and the fire engines GB 1911 2’ D: Alma Taylor, Chrissie White
[A Nervous Kitchenmaid] France c.1908, 74m, 4’
Introduction: Madeleine Bernstorff
Live piano accompaniment by Stephen Horne.Friday 24. September 18:00 h
The Fanaticism of the Suffragettes
Lecture with images and filmclips by Madeleine BernstorffFollowing the lecture Mariann Lewinsky will present the DVDs Cento anni fa/A hundred Years ago: European Cinema of 1909 and Cento anni fa/A Hundred Years ago: Comic Actresses and Suffragettes 1910-1914 [for more information, see end of this post].
Friday 24. September 19:00 h
Militancies
Les Femmes députées France 1912 D: Madeleine Guitty 154m 8’
England. Scenes Outside The House Of Commons 28 January 1913 2’
Trafalgar Square Riot 10 August 1913 1913 2’
Milling The Militants: A Comical Absurdity GB 1913 7’
St. Leonards Outrage France 1913 21m 1’
Womens March Trough London: A Vast Procession Of Women Headed By Mrs Pankhurst. March Through London To Show The Minister Of Munitions Their Willingness To Help In Any War War Service GB 1915 23m 1’
Scottish Women’s Hospital Of The National Union Of Women’s Suffrage Societies France 1917 133m 6’30
Dans le sous-marin France 1908 Pathé 145m 5’
Introduction: Madeleine Bernstorff
Live piano accompaniment by Stephen Horne.Friday 24. September 21:00 h
Women’s Life and Leisure in the Mitchell & Kenyon Collection
Presented by Vanessa ToulminThe renowned Mitchell & Kenyon Collection provides an unparalled view of life at the turn of the twentieth century and this screening will allow us an opportunity to see women’s life and leisure in industrial England. The social and political background as well as working conditions will be shown on screen. The range and sheer diversity of women in the workplace will be revealed from the domestic to the industrial environment, women played an important role in the transition to modern society. From girls working in the coal mines to spinners and weavers leaving the factory this selection from the Collection will reveal previously unseen footage from the Archive, in a following workshop Vanessa Toulmin will speak about: Discovery and Investigation: The Research Process of the Mitchell & Kenyon Collection.
Women at Work: The ‘Hands’ Leaving Work at North-Street Mills, Chorley (1900), North Sea Fisheries, North Shields (1901), Employees Leaving Gilroy’s Jute Works, Dundee (1901), S.S. Skirmisher at Liverpool (1901), Birmingham University Procession on Degree Day (1901), Life in Wexford (1902), Black Diamonds – The Collier’s Daily Life (1904)
Women in the Social Environment: Liverpool Street Scenes (1901), Jamaica Street, Glasgow (1901), Manchester Street Scenes (1901), Manchester Band of Hope Procession (1901), Electric Tram Rides from Forster Square, Bradford (1902)
Leisure and Play: Sedgwick’s Bioscope Showfront at Pendlebury Wakes (1901), Spectators Promenading in Weston Park, Sheffield (1902), Trip to Sunny Vale Gardens at Hipperholme (1901), Bootle May Day Demonstration and Crowning of the May Queen (1903), Blackpool Victoria Pier (1904), Greens Racing Bantams at Preston Whit Fair (1906), Calisthenics (c. 1905).
Live piano accompaniment by Stephen Horne.Saturday 25. September 18:00 h
La Neuropatologia
Lecture by Ute Holl+ screening of La Neuropatologia (I 1908)La Neuropatologia is a medical instructional film by the Turin neurologist Camillo Negri. The film can be read – utilising medical-historical methology – as the presentation of an hysterical seizure, but it could also be called an expressionist drama, a love triangle. Medical fact cannot be visualized without the medical stage, the theatre, the mise-en-scène. End of the 19th century the visual turn in medical methodology and in neurological diagnosis gets introduced.
Saturday 25. September 19:00 h
Staging and Representation: A cinematographic studio
La Neuropatologia opens the view on representational relations. The Austrian company Saturn Film produced so-called ‘titillating’ films for a male audience, but the models also had her own ideas about erotic stagings. Normal work is part of an installation, and a re-enactment of four late-19th century photographies by Hannah Cullwick, who worked as a maid and produced numerous (self)portraits as part of a sado-masochist bond with her bourgeois boss Arthur Munby.
La Neuropatologia Italy 1908 Camillo Negro 107m 5’
La Ribalta (Fragment) Italy 1913 Mario Caserini D: Maria Gasparini 60 m 3’5’
Beim Photographen Austria 1907 Saturn 50m 3’
Das eitle Stubenmädchen Austria 1907 Saturn 50m 3’
Normal Work Germany 2007 Pauline Boudry, Renate Lorenz D: Werner Hirsch 13’ 16mm/DV
Concorso di bellezza fra bambini / Kindertentoonstellung Italy 1909 80m 4’
La nuova cameriera e troppo bella Italy 1912 D: Nilde Baracchi, 138m 7’
Rosalie et Léontine vont au théâtre France 1911, D: Sarah Duhamel + Leontine – name unknown 80m, 4’
L’intrigante France 1910 Albert Capellani 162m 8’
Introduction: Madeleine Bernstorff
Live piano accompanimentSaturday 25. September 21:00h
Glittering stars, athletic women, first star personas
From 1910 on many female comedians had their own series. There was alsoa strong presence of female artistes and performers in the cinema before 1910.Danse Serpentine / Annabella USA c.1902 Edison ca 2’ 16mm
La Confession France 1905 D: Name nicht bekannt 60m 3’
Femme jalouse France 1907 D: Name nicht bekannt 58m 3’
Lea e il gomitolo Italy 1913 D: Lea Giunchi 99m 5’
Danses Serpentines France / USA 1898-1902 D: U.a. Annabella 60m 3’
La Valse chaloupée France 1908 D: Mistinguett, Max Dearly 38m 2’
Sculpteur moderne France 1908 R: Segundo de Chomon D: Julienne Matthieu 8’
Les Soeurs Dainef France 1902 65m 3’
Introduction: Mariann Lewinsky
Live piano accompaniment Eunice Martins
+
Zigomar peau d’anguille France 1913 Eclair Victorin Jasset D: Alexandre Aquillere, Josette Andriot, 940m 45’
On the turntables: Julian GötheSunday 26. September 18:00
Re-Reading Steinach
Lecture and video-presentation by Mareike BernienRe-Reading Steinach is a re-assembly of the popular-science film Steinachs Forschungen by Nicholas Kaufmann/UFA from 1922 – with the idea to analyze representations of normative and divergent body-and gender-constructions in the beginning of 20th century.
Sunday 26. September 19:00
Man/woman/norm/cinema
Cross-dressings of men and women: Elegant page-uniforms and pantskirts, men in nurse-dresses and the wonderful Lotion Magique which grows beards on breasts and breasts on bald heads.Mes filles portent la jupes-culotte France 1911 120m 6’
Monsieur et Madame sont pressés France 1901 20m 1’
Le Poulet de Mme Pipelard France 1910 84m 5’
Cendrillon ou La Pantoufle merveilleuse France 1907 R: Albert Capellani 293 m 15’
Il duello al shrapnell Italy 1908 100m 5’
La Lotion magique France 1906 Pathé 80m 5’
La Grève des nourrices France 1907 190 m 10’
Schutzmann-Lied from Metropol-Revue 1908, Donnerwetter! – Tadellos! Germany 1909 D: Henry Bender Beta 2’ (digital sound image reconstruction by Christian Zwarg)
Introduction: Mariann Lewinsky and Madeleine Bernstorff
Introduction to Schutzmannlied: Dirk Foerstner
Live piano accompanimentSunday 26. September 21:00
The Woman of Tomorrow
Cinema before 1910 was abundant in non-fiction films about daily work. La Doctoresse is part of a comedy-serial by Mistinguett and her partner Prince. The Russian film The Woman of Tomorrow is about a successful feminist female doctor.Recolte du sarasin France 1908
L’Industria di carta a Isola del Liri Italy 1909 147m 7’30“
La Doctoresse France 1910, D: Mistinguett, Charles Prince 140m 7’
Zhenshchina Zavtrashnego Dnya / The woman of tomorrow Russia 1914, D: Vera Yurevena, Ivan Mosjoukine, 795m 40’
Live piano accompanimentMonday 27. September 18:00
Political Stagings of the Suffragettes in England
Lecture by Jana Günther on strategic image politics of the militant English suffragette movement: between permanent spectacle and crusade. The Suffragettes appropriated activist strategies of the workers’ movement and tried out acts of civil inobedience like chaining themselves to railings, hunger strikes and other distruptive acts.
+ presentation of the film A Busy Day aka A Militant Suffragette D:Charlie Chaplin, USA 1914 16mm 6’Monday 27. September 19:00h
Die Suffragette
The restored version (by Stiftung Deutsche Kinemathek) of the Asta Nielsen melodrama Die Suffragette with some rediscovered scenes – including the force-feeding-scene which had been cut because of strict censorship regulations.
Bobby und die Frauenrechtlerinnen/Mijnher Baas + de vrije Vrouwen Germany 1911 Oskar Messter 112m 6’
Pickpocket USA 1913 260 m 13’
Les Résultats du féminisme France 1906 Alice Guy 5’
Die Suffragette Germany 1913 D: Asta Nielsen (Nelly Panburne) 60‘
Introduction: Karola Gramann + Heide Schlüpmann
Live piano accompaniment Eunice MartinsMonday 27. September 21:00h
The Year of the bodyguard
The film essay by Noël Burch deals with the subject of suffragettes in 1912 training under the first English female jiu-jitsu expert Edith Garrud to fight the police and protect their leaders.Wife, The Weaker Vessel GB 1915 D: Ruby Belasco, Chrissie White, 190m 9’
Le Sorelle Bartels Italy 1910 74m 4’
The Year of the Bodyguard Noel Burch 1981 54’ ZDF
Works and Workers at Denton Holme GB 1910, 90m 5’In the foyer of Zeughauskino there will be a video installation ‘I would be delighted to talk Suffrage’ by Austrian artist Fiona Rukschcio and a lightbox and bulletin board by Madeleine Bernstorff with materials from the National Archives, London on police spy photographs depicting the suffragettes.
Suffragette Demonstration at Newcastle, from BFI National Archive
Madeleine Bernstorff writes these words about women’s suffrage and film in the notes to the programme:
In the early twentieth century, the cause of women’s suffrage and the suffragette movement became a cinematic topic. Something seemingly untameable had appeared on the city streets, provoking a good deal of anxiety: women, often sheltered ladies of the bourgeoisie, were organising and even demanding participation in democratic processes! By 1913 more than 1,000 suffragettes had already gone to prison for their political actions. In addition to cartoons in the print media, newsreels and melodramas were produced along with countless comedies that referred – in all their ambivalence of subversion and affirmation – to the movement. They told the audience that women belonged at home and not at the ballot box, that these unleashed furies who now appeared in the streets en masse were growing mannish, neglecting their families and even setting public buildings ablaze. In the anti-suffragette films, women’s rights activists were often misguided souls who needed to be brought back to their proper calling. They also left plenty of room for nod-and-wink voyeurism on all sides. Men, too, masqueraded as suffragettes – to illustrate how inappropriate and grotesque it was for women to overstep their roles – or to act out against the prevailing order even more wildly?
The figure of the suffragette in early fiction (usually comedy- the seriousness of Asta Nielsen’s Die Suffragette is a notable exception) film is one that has been written about in several places, though never before has such an extensive collection of relevant films been seen in one place, to my knowledge. However, I would encourage those attending the event to look twice at the newsreels as well. There are many surviving newsreels showing the suffragettes – for the simple reason that they made it their business to be filmed.
The suffragettes showed themselves to be particularly media savvy by staging events that would attract the media. The simplest strategy was to organise marches with banners with bold slogans that could be easily picked up by the cameras. Then there was the obvious tactic of letting the newspapers and newsreels know beforehand of when a march or such like was going to take place. Just occasionally there was active co-operation with the newsreel companies. Rachael Low, in The History of the British Film 1906-1908, reproduces this report from the Kinematograph and Lantern Weekly 25 June 1908, p. 127, which shows how far this could go:
From certain sources whispers had reached us anent Mr. Harrison Ward’s secret conclaves with Mrs. Drummond and Miss Christabel Pankhurst, and as we surmised the plottings of the trio within the suffragette’s fortress have taken definite shape in the form of a picture history of recent performances of the ‘great shouters’ during their campaign … With exclusive right for kinematographing from the suffragists’ conning tower Mr. W. Jeapes obtained some exceptionally interesting pictures, those showing Mr. R.G. Knowles discussing the burning question with some of the leaders at the base of the tower being particularly good, the same remark applying to the life-size portraits of Mrs. ‘General’ Drummond, Miss Pankhurst and others. Mr. Jeapes and Mr. Ward probably never played to a bigger house than they did on Sunday, and the sight of the surging mass of humanity following the pantechnicon ‘conning tower’ as it emerged from Hyde Park, what time the energetic pair on top recorded the scene was something to arouse the envy of any kinematographer with an eye for picture effects.
The film, made by the Graphic Cinematograph Company, was a bit more than the average newsreel (it showed the major demonstration organised by the Women’s Social and Political Union that took place 21 June 1908 in Hyde Park). But the degree of pre-planning, co-operation and indeed the purchase of exclusive rights for a key camera position demonstrates that both news companies and suffragettes recognised the great value of one another, and that we should look on the newsreels of suffragettes as composed works rather than accidental actuality. We see what they wanted us to see.
Even when there wasn’t active co-operation with the newsreels, the suffragettes knew where cameras (still and motion picture) would be positioned, so that their protest acts would gain the greatest publicity. The best known example is that of the 1913 Derby, at which Emily Wilding Davison was killed after running onto the race-course and being knocked down by the King’s horse. The act was captured by a number of newsreels (the Pathé version is to be featured in Berlin) because they were all trained on the final bend before the end of the race, Tattenham Corner, and that is exactly where Davison chose to run out. Again, we see what they wanted us to see.
- The Gaumont Graphic version of the 1913 Derby is here
- The Pathé’s Animated Gazette version is here
- The Topical Budget version is here (accessible to UK schools and libraries only)
- (The Warwick Bioscope Chronicle version is here but I can’t make it play, and in any case Warwick either missed the incident or it has been cut from the extant film)
- There are British Pathe compilations of suffragette newsreel footage here and especially here
There isn’t any information online about the Berlin screenings as yet (apart from this post, obviously), but information will appear on the Zeughauskino site once it gets round to publishing its September programme. (Now published)
Update (4 September): The full programme is now available (in German) from www.madeleinebernstorff.de (full marks for the striking design).
Finally, the DVD from this year’s Il Cinema Ritrovato mentioned above is now available for sale. Curated by Mariann Lewinsky, Cento anni fa: Attrici comiche e suffragette 1910-1914 / Comic Actresses and Suffragettes 1910-1914 is a DVD and booklet on nineteen films (Italian, French, English, American), featuring such female comedy stars as Tilly and Sally (Alma Taylor and Chrissie White), Cunégonde, Mistinguett, Rosalie, Lea and Gigetta, plus newsreel films (including two compilations) of suffragette action from the UK and USA. The DVD is priced 19.90 € and is available from the Cineteca Bologna site. For those not able to be in Berlin it’s going to be the next best thing.
My thanks to Madeleine Bernstorff for providing the programme information and stills."
Sounding Out - Avant 2010
AVANT10 - SOUNDING OUT
http://film-i-varmland.regionvarmland.se/visning/evenemang-visning/avant/avant10-om-arets-evenemang-texter-filmer/avant10-sounding-out2010 års upplaga av Avant som var den 7e festivalen lockade till starka upplevelser i ljudvärlden med bland annat världsstjärnan Bruce McClure och filmer och musik av bland annat Ralf Lundsten och Ekri Kurenniemi.
AVANT – det värmlandsbaserade evenemanget kring experimentfilm genomfördes den 27 till 28 augusti på Kristinehamns konstmuseum och på Arenan i Karlstad. I år samarrangerades AVANT av Film i Värmland, Karlstads Universitet, föreningen Världsaltet och Kyreruds folkhögskola. Huvudperson var på sätt och vis den världsberömda performancestjärnan Bruce McClure från New York och han höll även en workshop.
Se klipp: Intervjuer med Anna-Karin Larsson, Filmform, deltagaren Randy från Chicago, Lisskulla Moltke-Hoff, konstnär, samt korta klipp från Mika Tannilas och Thomas Nordanstads filmer. Mika Tannila introducerar även klipp från dokumentären om Erki Kurenniemi. (Filmer som syns är "Future Is Not What It Used to Be", "A Physical Ring" av Taanila och "Hashima" av Nordanstad.)
Mika Taanila var gäst under lördagen och han hör till de främsta finländska experimentfilmarna och visade dels sina egna filmer och även en suggstiv dokumentär om teknologundret och elektronmusikern Erki Kurenniemi. Kurenniemi som tidigt konstruerat instrument för elektronmusik och gjort egna filmer baserade på elektronik och ljudimpulser har sedan 70-talet även varit en välkänd expert i Finland vad gäller ny teknik och framtidens tekonologier. I dokumentärfilmen "Future Is Not What It Used to Be" presenterades detta underbarn vars fascinerande livsöde på sätt och vis kan ses som ett misslyckande trots stor begåvning och sitt rastlöst engagemang. Själv lär han dock vara nöjd med sitt liv - trots att han inte blivit forskare eller uppfinnare på högre nivå - enligt egen utsago främst för att han mött så många kvinnor i sitt liv. Detta intresse tillsammans med teknologi och naturen utgjorde tydliga teman i de kortfilmer från 60talet som Taanila även presenterade under AVANT.
Han lämnar efter sig en enorm informationsbank av dokumentationer från sitt eget liv - filmer, stillbilder osv - som alla bidrar till bevarandet av hans virutella personlighet som han ser det.
Se klipp: Anna-Karin Larsson från Filmform om konstfilm och filmaren Mika Taanila om vad som inspirerat honom.
Thomas Nordanstad har tillsammans med Micke Von Hausswolff gjort en serie tablåartade studier av platser som lämnats öde eller ligger i övergivenhetens närhet. Nordanstad visade filmen om den japanska ön "Hashima" och staden i Texas oljefält "Electra". Fler filmer av Nordanstad finns här >>
Avant var ett synnerligen lyckat seminarium och ovanligt många anmälda gjorde årets event till ett av de mer välbesökta. Festivalen avslutades med en middag på Tempelriddaren i Karlstad som ordnats av en av arrangörerna - föreningen Världsaltet.
Henrik Thorson, Film i Värmland
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| Från AVANT10 |
Diskussion med moderator Daniel Alegi samt deltagarna Bruce McClure, Thomas Nordenstad och Mika Taanila
wow - brittiska filmer gratis!
Kolla in här! bl a Greenaway, Jarman, T. Davies, H Ove & The Quay Brothers!!! Coolt!
http://www.dailymotion.com/BFIfilms
svensk indiefilm
källa: http://svt.se/2.134299/1.2122730
Frizon 2010 - satsning på svensk indiefilm
De som skriver, producerar och medverkar i film utanför det konventionella systemet får slita hårt för sin passion. Utan produktionsstöd från Filminstitutet, utan garanterad biografdistribution eller tv-visning jobbar filmentusiaster runt om i Sverige med små budgetar. Nu visar SVT fyra independentfilmer under månadsskiftet augusti/september.
Knäcka (2009)
Manus och regi: Ivica Zubak
Goran har precis tagit studenten. Ska han hänga med sina småkriminella kompisar i Bredäng eller satsa på att plugga vidare? När Gorans mamma blir svårt sjuk vänds hela hans värld upp och ner. Hon vill göra en sista resa till sitt hemland Kroatien. Pengarna till resan har hon sparat ihop en plastpåse och gömt i lägenheten. Men efter en röjfest i lägenheten saknas hela resekassan.
I rollerna:
Filip Benko, Jelena Mila, Georgi Stajkow med flera.
SVT2 måndag 30 augusti kl 22.45
Framtidens melodi (2010)
Manus och regi: Jonas Holmström och Jonas Bergergård
Stig Manner är loppishandlare, och kämpar för att klara dagen. Till sin hjälp har han Janos, en bohemisk trubadur som helst vill leva fri från samhällets alla krav. Stig ser en stor begåvning hos Janos och har bestämt sig för att bli hans manager. Nu ska en av världens hårdaste branscher få se på en man med riktig talang! Janos är dock inte lika entusiastisk över Stigs storslagna planer, men gör så gott han kan för att hålla vännens hopp vid liv. Plötsligt blir Stig påmind om sitt förflutna, något som kanske förändrar allt. Filmen kommer att visas på filmfestivalen i Locarno i augusti.
I rollerna:
Rolf G Ekroth, Sven-Olof Molin, Helena Bengtsson, Thomas Christensson med flera.
SVT2 tisdag 31 augusti kl 22:45
Nasty Old People (2009)
Manus och regi: Hanna Sköld
Nasty old people är den första spelfilmen som haft premiär på fildelningssajten Pirate Bay. Nu visas den för första gången för en stor publik. Mette är en stark, självständig 19-åring som varit nynazist sedan hon var 13 år. Under jobbet i hemtjänsten får hon umgås med ett gäng elaka gamlingar som ingen annan vill ta hand om. En dag misshandlar hon en man svårt. När hon vaknar upp nästa morgon inser Mette att det är dags att göra något radikalt åt hennes livssituation.
I rollerna:
Febe Nilsson, Karin Bertling, Anna Nevander, Torkel Petersson med flera.
SVT2 torsdag 2 september kl 22:45
Främmande land (2009)
Manus och regi: Anders Hazelius och Niklas Holmgren
Elisabeth flyr sitt liv i Stockholm på grund av en familjetragedi. Hon hittar en 13-årig pojke på stranden som hon gömmer i sitt hus på Fårö. Även skådespelerskan Cecilia befinner sig på Fårö för en filminspelning. Men hon missköter sitt jobb och när Cecilia möter den 17-årige kokainleverantören Christoffer ställs allt på sin ände. På ön konfronteras de båda kvinnorna med sina livslögner och ställs inför sina svåraste val någonsin.
I rollerna:
Emma Swenninger, Franciska Löfgren med flera.
SVT2 fredag 3 september kl 22:45
Billy Wilder om Lubitsch-touch
"Soul Kitchen" startar i USA
Fatih Akins "Soul Kitchen" har premiär i USA
Movie Review
http://movies.nytimes.com/2010/08/20/movies/20soul.html?ref=movies
Soul Kitchen
NYT Critics' PickThis movie has been designated a Critic's Pick by the film reviewers of The New York Times.
Moritz Bleibtreu, left, and Adam Bousdoukos in “Soul Kitchen,” by the Turkish-German director Fatih Akin.
One Restaurant’s History, Spiked Desserts and All
By STEPHEN HOLDEN
Published: August 19, 2010
Spaghetti, spinach and French fries, all smothered in cream sauce: the menu at Soul Kitchen, a decrepit restaurant in a converted warehouse in an industrial section of Hamburg, Germany, may not be to everyone’s palate. But the place attracts a scraggly following of regulars who exit in a huff after its manager, Zinos Kazantsakis (Adam Bousdoukos), hires Shayn (Birol Ünel), a snooty culinary prima donna, as its new chef.
When Shayn scraps the menu to serve dishes with names like Acupuncture Master’s Soup, the place empties. Recently fired from his job at a more upscale restaurant after refusing to honor a customer’s order for hot gazpacho, Shayn is not above spiking desserts with an aphrodisiac made from Honduran tree bark.
The scene in Fatih Akin’s sweet slapstick farce, “Soul Kitchen” (named after the restaurant), in which the patrons go orgiastically berserk while under the bark’s influence, isn’t laugh-out-loud-funny so much as warmly amusing. We’ve seen it before, just as we’ve also seen the mishap at a funeral when, to the mourners’ shock and chagrin, a coffin is dropped, rather than lowered into the ground, and the corpse’s legs are exposed.
What gives these hoary gags some screwball vitality is the skill with which Mr. Akin piles them on willy-nilly in a swiftly edited comedy that never loses its exuberance. This Turkish-German director, who wrote the screenplay with Mr. Bousdoukos, likes all his characters, no matter how eccentric or disreputable. Besides Zinos, who exudes an unquenchable lust for life, they include his crooked brother Illias (Moritz Bleibtreu), a habitual burglar and gambler on “partial parole” from jail, whom Zinos, against his better judgment, hires at the restaurant; and Zinos’s hard-drinking, chain-smoking waitress, Lucia (Anna Bederke), a squatter in the warehouse, who falls in love with Illias.
Other major characters include Zinos’s friend from grade school, Thomas Neumann (Wotan Wilke Möhring), a crafty real-estate wheeler-dealer who wants to buy Soul Kitchen; and Zinos’s rich, sexy girlfriend, Nadine (Pheline Roggan), who leaves Hamburg for a job in Shanghai. While separated, the two carry on steamy communications via Skype.
Early in the movie, Zinos injures his back as he tries to move a dishwasher. For the rest of the film he hobbles about in varying degrees of comic agony. He eventually ends up in the office of a Turkish “physio-healer” known as Kemal the Bone Cruncher, whose treatment for a herniated disc is a crude variation of a medieval torture rack.
“Soul Kitchen” is really a comic history of the restaurant, which before the film ends changes hands more than once, undergoes multiple renovations and at different moments is a punk-rock club and a soul-music dance club. It is also the story of an embattled fraternal relationship (both Kazantsakis brothers resemble Ringo Starr) whose bond survives Illias’s betrayals.
Its insistent zaniness makes “Soul Kitchen” very different in spirit from Mr. Akin’s two previous films, “Head-On” and “The Edge of Heaven,” which established him as a major European filmmaker. Seriously silly, it evokes the same high-spirited, pan-European multiculturalism in which people of all ages and backgrounds blithely traverse national borders as they aggressively pursue their destinies.
Europe in Mr. Akin’s films, whose stories often hinge on unlikely coincidences and plot contrivances, is a teeming potpourri of oddballs and hustlers. At the moment Zinos finally bestirs himself to fly to Shanghai to be with Nadine, he unexpectedly runs into her at the airport as she is returning from China.
Mr. Akin’s vision of interconnectedness in the global village, while similar to that of a movie like “Babel,” is more casual and lighthearted. You don’t feel pressured to ponder the deeper meaning of the geopolitical puzzle; it’s just a fact of modern life.
SOUL KITCHEN
Opens on Friday in Manhattan.
Directed by Fatih Akin; written by Mr. Akin and Adam Bousdoukos; director of photography, Rainer Klausmann; edited by Andrew Bird; production designer, Tamo Kunz; costumes by Katrin Aschendorf; produced by Ann-Kristin Homann, Mr. Akin and Klaus Maeck; released by IFC Films. In German and Greek, with English subtitles. Running time: 1 hour 39 minutes. This film is not rated.
WITH: Adam Bousdoukos (Zinos Kazantsakis), Moritz Bleibtreu (Illias Kazantsakis), Birol Ünel (Shayn Weiss), Anna Bederke (Lucia Faust), Pheline Roggan (Nadine Krüger), Lucas Gregorowicz (Lutz) and Wotan Wilke Möhring (Thomas Neumann).
A Bluffer's Guide to Bela Tarr
http://www.jonathanrosenbaum.com/?p=7435
av Jonathan Rosenbaum
From the Chicago Reader (May 25, 1990). This is also reprinted in my first collection, Placing Movies: The Practice of Film Criticism. — J.R.
ALMANAC OF FALL
*** (A must-see)
Directed and written by Bela Tarr
With Hedi Temessy, Erika Bodnar, Miklos B. Szekely, Pal Hetenyi, and Janos Derzsi.
1. Problems
One reason that Eastern European films often don’t get the attention they deserve in the West is that we lack the cultural and historical contexts for them. If Eastern Europe’s recent social and political upheavals took most of the world by surprise, this was because most of us have been denied the opportunity to see the continuity behind them: they seemed to spring out of nowhere. The best Eastern European films tend to catch us off guard in the same way, and for similar reasons.
My own knowledge of Hungarian cinema is spotty at best, despite the fact that, according to David Cook in A History of Narrative Film, the Hungarians “seem to have identified film as an art form before any other nationality in the world, including the French.” (One of the first major film theorists, Bela Balazs, was Hungarian, and a contemporary film studio in Budapest is named after him.) Among the pioneers were Mihaly Kertesz and Endre Toth, who emigrated to the U.S. and became known as Michael Curtiz and André de Toth. Paul Fejos (1897-1963) was one of the great filmmakers of the late silent and early sound periods, a shamefully neglected figure who made films all over the world — as a Hollywood director (Lonesome, The Last Performance, Broadway), as a restless European independent (Fantomas, Sonnenstrahl), and finally as an anthropologist in Madagascar, the East Indies, Siam (A Handful of Rice), and Peru. Yet only one of his Hungarian films, Tavaszi Zapor (1932), appears to have survived, and it can be seen only in Europe, although it is one of the supreme masterpieces of world cinema.
Otherwise, I have seen several pictures by Miklos Jancso (a major figure in the 60s and 70s for such films as The Red and the White and Red Psalm, but someone whose films are no longer distributed in the U.S.), and the odd film or two by Istvan Szabo (Confidence), Marta Meszaros (Nine Months), Gyula Gazdag (A Hungarian Fairy Tale), the team of Istvan Darday and Gyorgyu Szalai (The Documentator), and others.
Last year, I was bowled over by my first encounter with Bela Tarr when I saw Damnation (1987), his fifth feature. And now that I’ve seen Almanac of Fall (1984), his fourth (showing this week at Facets Multimedia Center), I want to see his earlier features — Family Nest (1977), The Outsider (1980), and The Prefab People (1982). The fact that I lack a comprehensive Hungarian context in which to situate these films doesn’t create any serious obstacles to the great deal of pleasure Tarr’s movies provide. But this lack of expertise does usher in a whole set of potential problems when it comes to writing about Tarr’s work, and if I’m breaking with conventional critical etiquette in admitting to this anxiety here, it’s only because I think a related form of anxiety dissuades a good many viewers from seeing films as exciting as Damnation and Almanac of Fall. I believe that these problems are less serious than we tend to make them out to be; rather than pretend that they don’t exist, it seems more honest and useful to acknowledge them — in the process of showing how and why they don’t matter much.
Three problems should be broached right away: (1) I have no idea what the title Almanac of Fall means, or how it relates to the film; (2) I no longer remember the film’s opening quote from Alexander Pushkin, the relevance of which was also unclear; and (3) I’m not sure I understood all the dialogue, because some of the subtitles here (and in Damnation) are grammatically and/or typographically slipshod. All three problems have to do with linguistic uncertainty. The fact that I’ve searched the indexes of Cahiers du Cinéma and Sight and Sound in vain for any references to Tarr’s work creates an additional layer of uncertainty, although one that is surely connected to the linguistic and cultural uncertainties of French and English film critics confronting the same work, many of whom would rather not see or write about films over which they feel no mastery.
The one piece of data I have at my disposal about Bela Tarr is an entry in a Hungarian film directory — an entry worth quoting for the information it imparts, though it raises some of the same linguistic and cultural uncertainties cited above. After telling us that Tarr was born in 1955, the entry goes on to say, “He started making amateur films at the age of 16. In the meantime he was a laborer, the caretaker at a House for Culture and Recreation, and a free-lance intellectual. It was through his activities as an amateur film maker that he came into contact with the Bela Balazs Studio of which he became a member and that is where he made Family Nest for which he won the Grand Prix (shared) at the Mannheim Festival. Afterwards, in 1977, he became a student at the Academy for Theatre and Film Art. It was while he was still a student that he was given an opportunity to make his next film The Outsider which was also made with the methods of the ‘Budapest School’ as was his first film. He graduated in 1981 and made his film The Prefab People where the lead roles were played by film actors and actresses but the method was a repetition of his previous films.”
Apart from its awkward and vague English, this entry raises such questions as: What is a House for Culture and Recreation? What is a free-lance intellectual? What is the Budapest School, and what are its methods? And if the lead roles of his third feature were played by “film actors and actresses,” who played the lead roles in the first two? (We may deduce that Tarr went from using nonprofessional actors to professionals, but can we be absolutely sure?)
2. Solutions
The plot and characters of Almanac of Fall are crystal clear. All of the action takes place in the roomy apartment of Hedi (Hedi Temessy), an elderly woman who lives with her son Janos (Janos Derzsi) and her nurse Anna (Erika Bodnar). A recent addition to the household is Miklos (Miklos B. Szekely), Anna’s lover; another recent addition is Pal (Pal Hetenyi), Janos’s former and now unemployed schoolmaster, who moves in at Janos’s insistence.
The main issue for all five characters is money, which Hedi has and the other four characters want. The relations between them are often edgy and quarrelsome and at times even violent, although at the outset, Anna gets along quite well with Hedi, serving as a friend as well as a nurse. The action proceeds mainly through a series of dialogues between two characters at a time, in or between various rooms, during which they either form temporary alliances or engage in conflicts: Anna speaks to Miklos in their bedroom, Hedi and Janos quarrel about money in the living room, Anna in the kitchen addresses Hedi in the bathroom, and so on.
Over the course of the film, Anna sleeps with all three men, and Pal, desperate to pay back a loan, steals and pawns Hedi’s gold bracelet, an act that eventually unites the other four characters against him. Most of the time, each character seems to be acting on his or her own behalf, conspiring against the others; the emotional climate is Strindbergian, reflecting a continual series of power struggles, and it suggests at times the films of John Cassavetes in its intensity. The amount of time that passes over the course of the film is somewhat ambiguous; scenes usually follow one another abruptly, without much sense of how much time has passed between them.
The writing and acting are sufficiently controlled and effective to give this story a strong dramatic appeal, but what gives the film its greatest interest is Tarr’s elaborately choreographed mise en scène: he treats every scene as an individually shaped and sculpted set piece. This is also the case in Damnation, where the plot is much more minimal (a recluse in love with a singer gets her husband involved in a smuggling scheme so that he can spend time with her), and the mise en scène is more systematically blocked out and structured in lengthy takes. The two films are quite different in other respects. Damnation is in black and white and steeped in gloomy atmospherics (in exterior shots rain, fog, mud, and stray dogs, and in interiors lots of murk and decay). Almanac of Fall is in color and has the dramatic economy of a tightly scripted play. But the two films have one striking thing in common: the story and the mise en scène are constructed in counterpoint to one another, like the separate melodic lines in a fugue.
In Damnation, this sometimes has the effect of making the story seem an afterthought, or at least a secondary element. A very slow camera movement proceeds through a given setting for no apparent reason apart from conjuring up a mood and creating a powerful sensation of formal suspense, similar to the look and effect of such camera movements in Tarkovsky films like Solaris and Stalker; then, toward the end of the sequence, something will appear in the shot or on the sound track that will retroactively connect this scene with the preceding story. The mise en scène in Almanac of Fall, by contrast, is rarely used to suspend our perception of the plot; but it frequently has the effect of following a distinct agenda of its own. Another way of describing this process would be to say that in conventional movies, the action usually represents a precise congruence between what the characters do and what the camera does; in Damnation and Almanac of Fall, where the congruence is not precise, the “action” consists of what the characters and the camera do in relation to one another — creating a set of shifting power relationships every bit as intricate as the shifting power relationships between the characters.
One of the most beautiful aspects of Tarr’s mise en scène is a recurring lighting scheme: most areas in a given shot are divided between blue gray and orange red, isolating the characters from one another in the process. There doesn’t appear to be anything systematic or programmatic about the color coding of various characters and spaces; it differs from scene to scene (Bela Tarr is much more of an artist than Peter Greenaway), and its use is much too varied and expressive to register as a simple manneristic device. (Although the lighting is usually plotted in relation to the actors, the division of colors isn’t absolute; a character bathed in blue light might be outlined in orange, for instance.)
Some of the unorthodox camera angles, like those of Raul Ruiz, provide disturbingly uncanny and nonhuman vantage points on the action: in some scenes in the bathroom, the camera peers down at the characters from a point somewhere near the ceiling, and in one startling and violent scene in the kitchen, the wide-angle camera peers up at them through a transparent floor. (Because the camera is some distance below the floor, the characters seem to be floating eerily in midair, like astronauts frozen in free-fall.) More often, the camera frames the actors at eye level from a certain distance while moving slowly past or around them — glimpsing them from outside the apartment through a succession of windows, or gliding between them so that their relationships to each other and to the frame are in continual flux. Reflections in mirrors and in other kinds of glass are often ingeniously incorporated; a dialogue between Janos and Miklos is framed in such a way that, thanks to double reflections, they appear to be simultaneously facing and looking away from each other, so that we get the equivalent of both an angle and its reverse angle within the same shot.
Some of the elaborate staging helps alert us to the characters’ hidden agendas and duplicitous motives, almost as if the camera were whispering to us about the scene, adding to the overall paranoid and conspiratorial atmosphere. But at other times this mise en scène seems to express a certain detachment toward the characters that borders on contempt or indifference — it pursues a distracted path of its own that has little to do with them. This is especially true in the final sequence, when the camera, moving around a festive banquet to the strains of a Hungarian version of “Que sera, sera,” is only intermittently attentive to what the characters are doing.
Here, as in Damnation, Tarr’s approach ultimately becomes a set of strategies for creating or locating various kinds of movement within stasis, and freedom within confinement. Should his approach be read in political and allegorical terms, as a direct or indirect statement about the rigidity of life under Hungarian communism? Certainly it can be read that way — a veritable cottage industry has grown up out of interpreting the elaborate camera movements in Jancso’s films in an analogous fashion. But applying this interpretation to Damnation and Almanac of Fall as a literal skeleton key to their meanings seems both facile and needlessly simplistic. It’s part of these films’ beauty and fascination that they don’t have to be read this way in order for them to breathe, function, and speak to us. (All American films are about America — and a strict ideological reading might say that they’re all about capitalism, too — but it’s surely reductive to limit the range of their meanings to this notion.) With or without the Hungarian context, Almanac of Fall is a riveting experience.
"Spectacular Bodies" som download
nu kan du ladda ned Yvonne Tasker's avhandling om maskulinitet i actionfilm - ett pionärarbete inom maskulinitesforskningen och film
"The dissertation presents an account of the contemporary American action cinema. The themes, stereotypes and iconography associated with the genre are explored through detailed discussion of film examples. Films are also situated in relation to the particular context of production and consumption associated with 'new Hollywood', including genre hybrids, the blockbuster as a form and the importance of new forms of distribution such as home video. Though framed as a genre study, the account is also centrally concerned with an exploration of gender. The dissertation presents an account of the articulation of masculinity within the genre and engages with developing debates in this field. It is suggested that contemporary images of men, widely discussed as new, can be usefully explored in relation to the generic history from which they emerge. The articulation of masculinity in the genre is explored through both genre codes and star images. Recent distinctive roles for women in the action cinema are further situated in a generic context. The research also explores the contention that representations of gender should be understood within an exploration of other discourses including race, class and sexuality. The place of black performers in the genre is discussed, and the extent to which recent films reiterate and/or develop existing stereotypes is addressed in this context. The limitations of ideological and narrative analysis in relation to a political exploration of the popular cinema is explored, with a consideration of cinematic spectacle and the place of fantasy identifications and symbolic configurations of power. The political ambivalence of popular imagery is emphasised in this context. It is argued that action films, which are often dismissed as simplistic in political terms articulate complex configurations of gendered and other identities."
skådespelere klar till Hollywoods Stieg Larsson filmatisering
Publicerat 2010-08-17 09:18
Nu har Hollywood hittat sin Lisbeth Salander, den okända Rooney Mara. Nästa stjärna klar för Hollywoodversionen av ”Män som hatar kvinnor” kan bli Max von Sydow.
Välunderrättade branschtidningen Variety uppger att Max von Sydow är påtänkt för rollen som patriarken Henrik Vanger i den stora amerikanska versionen av ”Män som hatar kvinnor”.
Han kan i så fall bli den andra svensken i rollistan. Sedan tidigare är det känt att Stellan Skarsgård förhandlar om rollen som Vangers brorson Martin.
Enligt branschuppgifter tänker sig regissören David Fincher att skådespelarna i filmen ska prata engelska med svensk brytning. Det kan förklara varför flera svenska skådespelare är eftertraktade.
Max von Sydow är 81 år gammal, men är långt i från pensionerad. Bara det senaste året har han setts i storfilmer som ”Robin Hood” och ”Shutter island”.
I den svenska versionen av ”Män som hatar kvinnor” spelades rollen som Henrik Vanger av Sven-Bertil Taube.
”The girl with the dragon tattoo”, som filmen heter i USA, är en av de mest uppmärksammade filmprojekten i USA och förhandsspekulationerna har varit enorma. Framförallt kring vem som skulle få rollen som Lisbeth Salander.
Nu är det klart att Rooney Mara fått jobbet i hård konkurrens med flera stora namn.
Regissören David Fincher uppges på förhand gjort klart att han ville se en okänd skådespelerska i rollen. Just karaktären Lisbeth Salander har fängslat den amerikanska publiken och är en stor anledning till att alla tre Millenniumböcker blivit storsäljare. Över 40 miljoner böcker har sålts i 44 länder, uppger Variety.
25-åriga Rooney Mara är i det närmaste helt okänd, med endast ett fåtal stora roller på meritlistan. Bland annat i den kommande filmen ”The social network”, regisserad av just David Fincher.
Daniel Craig ska spela Mikael Blomkvist och Robin Wright har fått rollen som Erika Berger i ”Män som hatar kvinnor”.
Filmen börjar spelas in i Sverige i september, med världspremiär den 21 december 2011.
Mikael Forsell/TT Spektra
Publicerat 2010-08-17 09:18
Nu har Hollywood hittat sin Lisbeth Salander, den okända Rooney Mara. Nästa stjärna klar för Hollywoodversionen av ”Män som hatar kvinnor” kan bli Max von Sydow.
Välunderrättade branschtidningen Variety uppger att Max von Sydow är påtänkt för rollen som patriarken Henrik Vanger i den stora amerikanska versionen av ”Män som hatar kvinnor”.
Han kan i så fall bli den andra svensken i rollistan. Sedan tidigare är det känt att Stellan Skarsgård förhandlar om rollen som Vangers brorson Martin.
Enligt branschuppgifter tänker sig regissören David Fincher att skådespelarna i filmen ska prata engelska med svensk brytning. Det kan förklara varför flera svenska skådespelare är eftertraktade.
Max von Sydow är 81 år gammal, men är långt i från pensionerad. Bara det senaste året har han setts i storfilmer som ”Robin Hood” och ”Shutter island”.
I den svenska versionen av ”Män som hatar kvinnor” spelades rollen som Henrik Vanger av Sven-Bertil Taube.
”The girl with the dragon tattoo”, som filmen heter i USA, är en av de mest uppmärksammade filmprojekten i USA och förhandsspekulationerna har varit enorma. Framförallt kring vem som skulle få rollen som Lisbeth Salander.
Nu är det klart att Rooney Mara fått jobbet i hård konkurrens med flera stora namn.
Regissören David Fincher uppges på förhand gjort klart att han ville se en okänd skådespelerska i rollen. Just karaktären Lisbeth Salander har fängslat den amerikanska publiken och är en stor anledning till att alla tre Millenniumböcker blivit storsäljare. Över 40 miljoner böcker har sålts i 44 länder, uppger Variety.
25-åriga Rooney Mara är i det närmaste helt okänd, med endast ett fåtal stora roller på meritlistan. Bland annat i den kommande filmen ”The social network”, regisserad av just David Fincher.
Daniel Craig ska spela Mikael Blomkvist och Robin Wright har fått rollen som Erika Berger i ”Män som hatar kvinnor”.
Filmen börjar spelas in i Sverige i september, med världspremiär den 21 december 2011.
Mikael Forsell/TT Spektra
Bo Widerberg-stipendium till Gabriela Pichler
Relaterat
Fakta
Fakta/Gabriela Pichler
Ålder: 30.
Bor: I Göteborg
Utbildning: Filmvetarexamen Halmstad högskola, Dokumentärfilmskolan på Ölands folkhögskola, Filmhögskolan Göteborg 2005-2009.
Filmer: "Nångång" 2004, "Leda" 2007, "Skrapsår" 2008 (prisbelönt på Fresh Film Fest i Tjeckien, Uppsala kortfilmfestival, Internationella festivalen för filmhögskolor i München och Guldbagge för bästa kortfilm 2009).
Fakta/Tidigare pristagare
1997: Agneta Fagerström-Olsson, 1998: Eric M Nilsson, 1999: Lukas Moodysson, 2000: Lars Westman, 2001: Josef Fares, 2002: Stefan Jarl, 2003: Emelie Carlsson Gras, 2004: Babak Najafi, 2005: Nahid Persson, 2006: Shahriyar Latifzadeh, 2007: Jonas Selberg Augustsén, 2008: Petra Bauer, 2009: Jenifer Malmqvist.
Den Göteborgsbaserade filmaren Gabriela Pichler är 2010 års Bo Widerberg-stipendiat. Stipendiet på 30 000 kronor delades ut på torsdagen i samband med Lilla Filmfestival i Båstad.
- Jag är jättestolt, Bo Widerbergs film "Kvarteret Korpen" var en ögonöppnare för mig. Det var första gången jag såg klassproblematik skildrad på svensk film. Jag kunde känna igen mig i det sociala mindervärdeskomplexet och den ständiga jakten på att passa in i och få status, säger Gabriela Pichler.I sin motivering hänvisar Lilla Filmfestivalens konstnärlige ledare Ulf Berggren till Bo Widerbergs egna pläderingar för en "film som lär sig stava till verklighet, en film som inte beljuger och förtränger verkligheten utan ställer den i ett nytt och sannare ljus".
Den visionen har enligt juryn också Gabriela Pichler givit uttryck för i såväl ord som handling.
- Hon har redan som väldigt ung ett personligt språk och det finns hos henne en enorm lust att berätta i bilder, mycket mer än så kan man inte begära av en filmskapare, säger Ulf Berggren.Långfilm på gång
Gabriela Pichler är uppvuxen i Flemingsberg, söder om Stockholm, och Örkeljunga i Skåne. Hon har en bakgrund som dokumentärfilmare och är bland annat utbildad vid Ölands folkhögskola och Filmskolan i Göteborg. Tidigare i år belönades hennes kortfilm "Skrapsår" med en Guldbagge. Nu pågår arbetet med hennes första långfilm "Äta. Sova. Dö".
- Den kretsar kring invandrare på landsbygden i Skåne. Jag har som barn till invandrare alltid saknat filmer om det, man ser dem alltid skildrade i förortsproblematik men man ser dem aldrig på landsbygden, säger hon.Film Studies for Free!
Kolla här: http://filmstudiesforfree.blogspot.com/
Welcome to Film Studies For Free
A pluralist, pro bono, and purely positive web-archive of examples of, links to, and comment on, online, Open Access, film and moving image studies resources of note.
FSFF is lovingly tended by Catherine Grant, who always wanted to be a Borgesian librarian when she grew up.
rekordsuccé: 769 veckor på biografen!
http://www.bbc.co.uk/news/world-south-asia-10659047
16 July 2010 Last updated at 14:36 GMT
The Bollywood romcom still showing after 15 years
By Prachi Pinglay BBC News, Mumbai
Boy meets girl, boy loses girl, boy gets girl: a classic recipe for box office bullion
After a summer of under-performing blockbusters, Hollywood bosses might do well to look at the incredible success of India's longest-running film, still packing in cinema-goers after 15 years.
Released in 1995, Dilwale Dulhania Le Jayenge (The big hearted will take the bride) has become one of the most popular films of all time.
Having broken all records in terms of number of showings and box office takings, it is now in its 769th week at one of the main cinemas in Mumbai (Bombay), the beating heart of Bollywood.
And the film continues to play to a nearly full house over weekends at the 1,000-plus-seat Maratha Mandir cinema in the south of the city.
Spectators stream in in steady numbers for the matinee show of DDLJ - as it is popularly known - at the 52-year-old cinema.
The film catapulted Shahrukh Khan to Bollywood megastardom
The best seats cost just 20 rupees (42 US cents; 27 UK pence).
Manoj Desai, executive director of the cinema, says the movie has been a record-breaking success for multiple reasons.
"The film is perfect with lovely music and the best Bollywood pair," he says.
"Also, this theatre is in a strategic location where we get 40% viewing from people who are travelling into or out of Mumbai.
"This place is for masses, so the rates have been maintained for years. Most importantly the film is important because of its message of love with parents' permission."
For sheer box office staying power, the movie has even leap-frogged classics such as The Sound of Music and The Guns of Navarone, Mr Desai said.
'Magical'It is a love story, where boy meets girl (both Indians living in London) on a trip to Europe.
“Start Quote
End Quote Jagjivan Maru Chief projectionistI never get bored of DDLJ - It's like I am in a loving relationship with the film”
But girl's marriage is already fixed to her father's friend's son in Punjab in India.
What follows is an entertaining drama careering between London and Punjab, and in the end, of course, the lovers get together - with the families' blessing.
The lead pair, Shahrukh Khan and Kajol, became stars overnight.
The film catapulted Shahrukh Khan, now also known as King Khan, to the top league of stars and he was typecast as a "romantic hero" for years.
Cinema officials say nearly all seats are taken at weekends and the film sometimes does better than new releases.
The film is now run on a no-profit, no-loss basis for the theatre as well as for Yash Raj Films, producer of DDLJ.
Jagjivan Maru, the cinema's chief projectionist, who has been showing this movie since its release, says it is magical.
"I have seen this movie every day for the last 14 years. That is a record in itself. It is our job to show the film. However, I never get bored of DDLJ.
"It's like I am in a loving relationship with the film. I still love the last scene when Amrish Puri [who plays father of the actress] slaps Shahrukh Khan."
A story well toldRishi, who had come to see the film, said: "I had seen this film earlier four to five times many years back. I also see it on TV once in while.
They laughed, they cried, they came back to see it again and again
"I dropped in with my friends. Maybe I still like the film because I first saw it in my college days and it really worked then. Most of my friends saw the film many times - for the love story, songs and the actors."
Taran Adarsh, a trade analyst says: "It is not about the records this film has set. Records will follow if there is content.
"This film has got everything right: music, actors, direction. The movie is still making decent collections despite it being shown on TV very often. It is a story well told."
The cinema officials plan to keep the film running as long as they can and have planned a big celebration in October 2010 to mark the full 15 years since its release.
Among other popular features of the movie is its catchphrase "Come, fall in love" - and the audience at Maratha Mandir seemed to have done just that with DDLJ.
Varbergfilmare nominerad till nordiskt pris
källa:
http://hn.se/nojekultur/film/1.892670-filmare-fran-varberg-ar-nominerad-till-nordiskt-prisVarbergsfilmaren Simon Vahlnes novellfilm ”Jag är en ö” har nominerats till filmfestivalen Nordisk Panorama. Av 520 bidrag valdes tolv filmer ut att tävla under namnet ”New Nordic Voices”.
– Tänk dig att ”Eyes Wide Shut” möter Pripps Blå-reklamen, säger Simon Vahlne lite kryptiskt. Det är väldigt mycket svensk sommar över ”Jag är en ö” med skärgård, öar, och hav. Vi frossar i den vackra, västsvenska naturen.
Filmen är inspelad på Balgö utanför Tångaberg under augusti förra året.
– Mina föräldrar har haft en stuga på Balgö och jag och mina kompisar har varit ute och åkt båt mycket runt Norra Näs. Det är en miljö som betyder väldigt mycket för mig, säger han.
Novellfilmen är 52 minuter lång och historien följer två par som semestrar tillsammans.
– Det är ett relationsdrama som bygger på mina egna och kompisars erfarenheter. Huvudkaraktärerna är i min egen ålder, och storyn är konstruerad av våra funderingar kring förhållanden, kärlek och sexualitet.
Simon är huvudkreatör i projektet och står för manus och regi, men har haft mycket hjälp av kompisgänget runtomkring.
– Det är en Varbergsproduktion nästan rakt igenom, säger han.
Huvudrollerna spelas också av varbergare: Malin Blank, Aida Avdic och Simon Jonasson samt Anders Axelsson från Vessige. Sammanlagt är det tio-tolv personer från hemstaden som är engagerade.
– Att jobba med kompiskretsen är väldigt roligt. Jag har många duktiga, kreativa vänner och det har varit jättekul att samarbeta med dem. Det har gjort sig extra bra för det här projektet, som präglats av en hemkär, självbiografisk känsla.
Filmen har klippts färdigt under året, det enda som återstår är lite efterbearbetning av ljud och bild. Att den skulle väljas ut till festivalen är något Simon inte verkar ha varit riktigt beredd på.
– Det känns skitkul, Nordisk Panorama är en jävligt bra och viktig festival med branschfolk från hela världen.
Filmfestivalen fokuserar på dokumentär och kortfilm och turnerar mellan de nordiska länderna. I år äger den rum i Bergen i Norge 24-29 september. Kategorin ”New Nordic Voices” beskrivs som en tävling för nya lovande nordiska talanger.
Hur ser distributionsplanerna ut för ”Jag är en ö”?
– Jag har faktiskt ingen aning, det är första gången en av mina filmer uppmärksammats på det här sättet. Vi hade bara skickat filmen till Nordisk Panorama, men nu ska jag och medproducenten Niklas Zachrisson sätta oss ner och titta på vilka fler festivaler vi kan skicka den till. Jag tror den här nomineringen kommer att hjälpa oss väldigt mycket.
Filmen finansieras av Film i Halland och många lokala Varbergsföretag har sponsrat med till exempel boende och mat.
En mini-trailer till ”Jag är en ö” kan ses på http://www.youtube.com/watch?v=y6YbCsfVHTU.
Artikelbilder
Till havs. Simon Jonasson och Aida Avdic spelar två av huvudrollerna i ”Jag är en ö”. Till höger regissören Simon Vahlnes.Fotograf: Niklas Zachrisson
Fakta
Lite om Simon Vahlne
Ålder: 26 år.
Bor: I Göteborg (uppvuxen i Varberg).
Familj: Systern Tove.
Utbildning: Prague Film School i Tjeckien med inriktning filmregi.
Läst filmvetenskap på Göteborgs universitet samt teater på Glendale College (Los Angeles).
Favoritregissör: Gillar Bo Widerberg och Sam Raimi.
Senast sett på bio: ”Man tänker sitt”.
Senast sett på tv: ”American Gladiators” repriser varje morgon till frukost.
Filmintresset växte fram: I Påskbergsskogen, med polarna Max och Björn och en hel del fejkblod på ketchupbas.
2 doktorander till filmhögskolan
http://www.filmnyheterna.se/Nyheter/Tva-doktorander-till-Filmhogskolan/
Filmhögskolan i Göteborg har antagit sina första två doktorander i ämnet Filmisk gestaltning.
Den ena doktoranden är filmregissören och psykoanalytikern Ingela Romare från Malmö. Hon har 40 års erfarenhet som dokumentärfilmare och har i 20 år arbetat som jungiansk analytiker. Som första och då enda kvinna antogs hon 1965 på Filminstitutets filmskolas regilinje.
Ingela Romare vill undersöka språk, makt och psykologi i filmisk gestaltning under rubriken ”Det kvinnliga i film”.
Patrik Eriksson (Göteborg ) är den andra doktoranden. Han långfilmsdebuterade för två år sedan med den första svenska mobilfilmen ”En enastående studie i mänsklig förnedring”. Hans forskningsprojekt har titeln ”Film som tänkande”, om hur filmskapandet genom en undersökande metod kan vara ett tänkande och hur det kan uttryckas i film.
Huvudhandledare för doktoranderna är professor Göran du Rées.
2010-06-29 Susanne Roger
city branding - NECS
rapport om NECS konferensen:
http://www.hurriyetdailynews.com/n.php?n=branding-the-istanbul-cool-2010-06-28
Cultural producers have shaped the image of Istanbul's crude chaotic urbanization into a cooler image in the last few years, according to one of the participants at a recent conference on cinema and media studies.
"Just like what's happening with the 2010 Istanbul European Capital of Culture Agency's branding of the city, Istanbul is aestheticizing the urban poor, aestheticizing the urban chaos so intriguing to visitors, creating the 'Slumdog millionaire' effect," said Munich-based scholar Derya Özkan said at the 4th Annual European Network for Cinema and Media Studies Conference which is being held at Kadir Has University's Golden Horn Campus.
The "Slumdog Millionaire" effect refers to the exotic portrayal of the landscapes and livelihoods of Mumbai's urban poor in the 2008 awarding-winning feature film of the same name.
The title of this year's conference is Urban Mediations, one that the university's rector, Mustafa Aydın, finds particularly appropriate for Istanbul. "In Istanbul we constantly live in mediation between the past and the new, the East and the West. The city is in a process of understanding itself, of understanding ourselves within an urban narrative."
Within her presentation, Özkan explained how the "Istanbul cool" branding process leads to the “orientalization” and commodification of the poor. City developers and the tourism industry can capitalize upon Istanbul's hyperactivity as exotic for Western visitors, who can indulge in – but not be threatened by – the urban chaos during their short stay. Such examples include tours of those neighborhoods being gentrified, like Tarlabaşı and the recently demolished Sulukule, which displaced members of the Roma community in Fatih.
These messages create a paradoxical realm among the locals between the reality of living in the enduring chaos and what is sold as Istanbul's "essence" to visiting outsiders.
"These type of messages implement the urban chaos to understand the city, using crude elements to make Istanbul charming," said Özkan. Such branding initiatives "act as a seed" in accelerating urban transformation projects for foreign consumption.
The conference was held from June 24 to 27 with the participation of nearly 400 scholars from European, American and Turkish universities and featured keynote addresses from world-renowned academics like Saskia Sassen from Columbia University and Thomas Elsaesser from University of Amsterdam.
Istanbul
www.necs-initiative.org
härlig att vara i denna underbara stad och att träffa filmvetare från hela världen.
NECS medlemsantal har bara växt och växt de senaste åren och i år var det 5-6 panels
parallella!
Ämnet var "Urban mediations" och keynotes var Saskia Sassen, Thomas Elsaesser och Charlotte Brunsdon.
Nästa års NECS-konferens kommer att arrangeras i London, av både Birkbeck och King's College, sista helgen i juni.
