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James Ivory in Person 0 A. Gehlawat Academy Award-winning filmmaker James Ivory will engage in a discussion with Ajay Gehlawat this coming Wednesday, following the screening of Merchant Ivory's film Autobiography of a Princess at the Pacific Film Archive in Berkeley. The film will be preceded by two early short films of Merchant and Ivory - The Sword and the Flute and The Creation of Woman - and Gehlawat and Ivory will discuss the long and successful career of Merchant Ivory Productions, including the numerous films they have made in and about India. https://bampfa.org/event/autobiography-princess
by A. Gehlawat
Thursday, February 14, 2019
'An Investigative Cinema' - Book Panel at Columbia's Heyman Center 0 M. Delfino Book Panel An Investigative Cinema – Politics and Modernization in Italian, French, and American Film   Please join us on Thursday December 6, 2018 from 6:00 to 8:00 pm at Columbia’s Heyman Center for the Humanities. On this occasion, Fabrizio Cilento (Messiah College) will present his book, published by Palgrave Macmillan in fall 2018 and titled An Investigative Cinema: Politics and Modernization in Italian, French, and American Film. Elizabeth Leake (Columbia, Italian), Giancarlo Lombardi (CUNY, Comparative Lit.), and Richard Peña (Columbia, Film and Media) will act as respondents. A wine and cheese reception will close the event.   Free and open to the public.   Organizer: Massimiliano Delfino - m.delfino@columbia.edu Location: Heyman Center Common Room For more information: http://heymancenter.org/events/an-investigative-cinema-politics-and-modernization-in-italian-french-and-am/  
by M. Delfino
Tuesday, December 4, 2018
Frederick Wiseman at Sonoma State University 0 A. Gehlawat Renowned documentary filmmaker Frederick Wiseman will be taking part in a Q&A session following the screening of his early documentary High School (1968) this evening at Sonoma State University. This event is free and open to the public. https://www.pressdemocrat.com/entertainment/8708966-181/documentary-filmmaker-frederick-wiseman-to?sba=AAS  
by A. Gehlawat
Friday, September 28, 2018
Mobile Film Festival 0 M. Tievant Mobile Film Festival has launched its 13th edition!    You have until January 9th to submit your films on www.mobilefilmfestival.com and try to win 2 x 15 000 € granted by BNP Paribas to produce a film in a year with professional material and 2 x 3 000 € granted by the CNC for screenwriting residencies.    The Mobile Film Festival has been discovering and supporting young filmmakers for now 13 years, following one simple rule: 1Mobile, 1Minute, 1Film. The participation is entirely free and online. A selection of 50 films will be submitted to the audience vote online, as well as judged by a jury of professionals chaired by Patrice Leconte. The awards will be granted during an exceptional award ceremony held in Paris before an audience of 600 special guests.   Here is a link to our trailer : https://youtu.be/-J17zG7yua8 Here's a link to our website : http://www.mobilefilmfestival.com/  
by M. Tievant
Thursday, December 7, 2017
Cinema Antiques Gallery: New Collection Announcement 0 B. Reiter p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 12.0px Geneva; -webkit-text-stroke: #000000} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 16.0px Geneva; color: #0633ff; -webkit-text-stroke: #0633ff} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 21.0px; font: 16.0px Geneva; color: #0633ff; -webkit-text-stroke: #0633ff} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 21.0px; font: 12.0px Geneva; -webkit-text-stroke: #000000} p.p5 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 12.0px 'Lucida Grande'; -webkit-text-stroke: #000000} p.p6 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.0px 'Lucida Grande'; -webkit-text-stroke: #000000} p.p7 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.0px Arial; -webkit-text-stroke: #000000} p.p8 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 14.0px; font: 12.0px Arial; -webkit-text-stroke: #000000} p.p9 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 14.0px; 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line-height: 11.0px; font: 9.0px 'Lucida Grande'; -webkit-text-stroke: #000000} p.p18 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 13.0px Arial; -webkit-text-stroke: #000000} p.p19 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Arial; -webkit-text-stroke: #000000} p.p20 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 12.0px Geneva; -webkit-text-stroke: #000000; min-height: 16.0px} span.s1 {font-kerning: none} span.s2 {font: 12.0px Geneva; font-kerning: none; color: #000000; -webkit-text-stroke: 0px #000000} span.s3 {text-decoration: underline ; font-kerning: none} span.s4 {font: 16.0px Geneva; font-kerning: none; color: #0633ff; -webkit-text-stroke: 0px #0633ff} span.s5 {font: 12.0px 'Brush Script MT'; font-kerning: none} span.s6 {font: 12.0px 'Lucida Grande'; font-kerning: none} span.s7 {font: 12.0px Arial; font-kerning: none} span.s8 {font-kerning: none; color: #0433ff; -webkit-text-stroke: 0px #0433ff} span.s9 {text-decoration: underline ; font-kerning: none; color: #006699; -webkit-text-stroke: 0px #006699} span.s10 {font: 12.0px Geneva; font-kerning: none} p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 12.0px Geneva; -webkit-text-stroke: #000000} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 12.0px Geneva; -webkit-text-stroke: #000000; min-height: 16.0px} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 16.0px Geneva; color: #0633ff; -webkit-text-stroke: #0633ff} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 21.0px; font: 16.0px Geneva; color: #0633ff; -webkit-text-stroke: #0633ff} p.p5 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.0px 'Lucida Grande'; -webkit-text-stroke: #000000} p.p6 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.0px Arial; -webkit-text-stroke: #000000} p.p7 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 14.0px; font: 12.0px Arial; -webkit-text-stroke: #000000} p.p8 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 14.0px; font: 12.0px 'Lucida Grande'; -webkit-text-stroke: #000000} p.p9 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Helvetica; color: #202020; -webkit-text-stroke: #202020} p.p10 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 14.0px; font: 12.0px Helvetica; -webkit-text-stroke: #000000} p.p11 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.0px 'Lucida Grande'; color: #e32400; -webkit-text-stroke: #e32400} p.p12 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 47.0px; font: 36.0px Futura; color: #e32400; -webkit-text-stroke: #e32400} p.p13 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.0px 'Lucida Grande'; color: #0433ff; -webkit-text-stroke: #0433ff} p.p14 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.0px 'Lucida Grande'; color: #006699; -webkit-text-stroke: #006699} p.p15 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.0px 'Lucida Grande'; color: #282828; -webkit-text-stroke: #282828} p.p16 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 11.0px; font: 9.0px 'Lucida Grande'; -webkit-text-stroke: #000000} p.p17 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 16.0px; font: 13.0px Arial; -webkit-text-stroke: #000000} p.p18 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Arial; -webkit-text-stroke: #000000} span.s1 {font-kerning: none} span.s2 {font: 12.0px Geneva; font-kerning: none; color: #000000; -webkit-text-stroke: 0px #000000} span.s3 {text-decoration: underline ; font-kerning: none} span.s4 {font: 12.0px 'Brush Script MT'; font-kerning: none} span.s5 {font: 12.0px 'Lucida Grande'; font-kerning: none} span.s6 {font: 12.0px Arial; font-kerning: none} span.s7 {font-kerning: none; color: #0433ff; -webkit-text-stroke: 0px #0433ff} span.s8 {text-decoration: underline ; font-kerning: none; color: #006699; -webkit-text-stroke: 0px #006699} span.s9 {font: 12.0px Geneva; font-kerning: none} Dear Cinema Professional:   A private cinema equipment antique collection recently arrived at our Dallas, Texas, “Cinema Antiques Gallery” with cameras and some other important artifacts from circa 1908, 1923,1939 and beyond. There are some wonderful and rare items in this grouping. We welcome your inquiries. We have been active experts in and collectors of important vintage Motion Picture Equipment for over 50 years and have a very unique role in the Motion Picture Industry.   During this time we have amassed a superb, rare and museum quality, historical gallery collection of antique: movie cameras, Hollywood studio lights, film studio audio / microphones and other highly collectible artifacts of the Hollywood and International Motion Picture Production Industry. We market these rare Cinema Antiques via our Dallas Gallery and our websites: www.CinemaAntiques.com www.decaso.com/shop/cinemaantiques Over the years we have sold similar items to Academic Cinema Scholars, Interior Designers, Antique Dealers, Architects, Motion Picture Artists, Industrial Designers, Cinema Equipment Collectors, serious Movie Buffs, Film Schools and Museums. We have helped complete screening rooms, home theaters, business lobbies, movie theaters, corporate offices, personal collections, private offices, wonderful homes and lots of other unique venues. You can read all about us on our website. If you feel drawn to any of these rare Cinema Antique items, please let us know. We pack, ship worldwide and insure with Lloyds of London. We are pleased to work with individual large or small collectors on our antique items that typically range in price from $90.00 to $250,000.00 each. I personally look forward to hearing from you. Best regards Bill Reiter  -B.A. (Diplomate, Cinema, City University of New York),  -D.P. (Director Of Photography),  -S.O.C. (Member, Society of Operating Cameramen), -S.M.P.T.E. (Member, Society Of Motion Picture And Television Engineers), -S.I.A.V.T. (Diplomate, Sony Institute of Applied Video Technology) -INSTITUTE FOR MEDIA ARTS (Member, Board of Directors) -USA FILM SCHOOL (President) -PRO VIDEO & FILM EQUIPMENT COMPANY, Inc. (President) -BACA Film Festival, (Certificate of Merit & Official Entrant, Brooklyn New York) -Industry Recognized “Distinctive” Antique Dealer by 1STDIBS -DECORATIVE ARTS SOCIETY (Founding Member) -SOCIETY FOR CINEMA AND MEDIA STUDIES (Member) -REPRESENTED BY SAATCHI ART GALLERY (for Component Art Sculptures) -CAMERA PROP SUPPLIER (NETFLIX Series “House Of Cards”) -CINEMA ANTIQUE SUPPLIER (Oliver Stone’s Film “Born On The 4th Of July) -HISTORICAL VEHICLE ASSOCIATION (Member) -OFFICIAL SUPPLIER of Cinema Equipment Antiques To Heritage Auctions,  The World's Largest Collectibles Auctioneer -NATIONAL GEOGRAPHIC SOCIETY (Official Cinema Antiques Supplier) -FINANCIAL TIMES OF LONDON (Featured Article on Cinema Antiques, 9/17) President, Founder and Curator Cinema  Antiques web:  www.HollywoodStudioAntiques.com email:  CinemaAntiques@aol.com web gallery: www.decaso.com/shop/cinemaantiques Rare, Artifact-Sculpture, Authentic, Certified, Collectible, Vintage, Displayable and re-purposed Equipment Antiques  of the Hollywood Film Studio and International Motion Picture Industry.  Like artifacts of an ancient civilization, these rare legendary finds of motion picture technology  have a secure and appreciating place in history. CERTIFIED Cinema Antiques and Artifacts Circa 1900 to 1969 and beyond, representing the Machine Age, Art Deco, Industrial Age and Mid Century Periods.  Over 48 years experience in collecting and curating Antique Motion Picture Production Equipment. A Division of PVFE Co., Inc. (Pro Video & Film Equipment Company) Dallas  Texas  USA 972 869 0011; TOLL FREE 888 869 9998 Showroom / Warehouse visits by appointment. If you are not a movie equipment antique buff, please forward this to friends that have an interest in authentic Cinema Antiques. Thanks. This is a one time mailing but if you wish to remain on our quite selective and non aggressive mailing list, please reply with “ADD ME” and you will be so included.
by B. Reiter
Wednesday, December 6, 2017
Society for Ethnomusicology 2017 Annual Meeting – Registration Now Open 0 Marcia Tillison SEM 2017 Annual Meeting – Registration Now Open   The Society for Ethnomusicology will hold its 62nd Annual Meeting on October 26-29, 2017, at the Denver Marriott City Center Hotel, co-hosted by the University of Denver, the University of Colorado Boulder, and Colorado College. In conjunction with the SEM Annual Meeting, Colorado College and the SEM Indigenous Music Section will present a pre-conference symposium, “Sound Alliances: A Celebration of Indigenous Musics and Cultures,” on October 25 in Colorado Springs.   Visit www.ethnomusicology.org and select “Conferences” for more information about the Annual Meeting, online registration, and hotel accommodations.
by Marcia Tillison
Monday, June 5, 2017
West Coast premiere of Kalpana in digitally restored print 0 A. Gehlawat SPECIAL EVENT! Schroeder Hall at the Green Music Center, Sonoma State University KALPANA (Imagination) Friday, April 7 at 7:00 The sole film of celebrated Indian dancer Uday Shankar (older brother of sitar virtuoso Ravi Shankar), Kalpana is a vibrant dance-drama that revolves around a young dancer’s dream of forming his own dance academy. Originally filmed in 1948, the film was restored in 2008 by Martin Scorsese’s World Cinema Project in association with the family of Uday Shankar and the National Film Archives of India. The film features choreography designed specifically for the camera, fusing elements of Indian modernism with the cinema. This is the first time the restored version of this landmark film will be screened in California and provides a rare opportunity to view one of the classics of world cinema. Describing Shankar’s dancing to his daughter, James Joyce wrote: “He moves on the stage like a semi-divine being. Believe me, there are still some beautiful things left in this poor old world.” (1948, 155 min., in Hindi with English subtitles) General Admission: $20 (Tickets include parking) http://gmc.sonoma.edu/event/3267926-kalpana-a-film-by-uday
by A. Gehlawat
Wednesday, March 1, 2017
Free, public panel on film projection | Friday November 18, 11 AM EST 0 Toronto International Film Festival Reel Heritage: Project and Protect Friday November 18  11 AM EST Featuring projectionists and technicians from leading North American film institutions, this public panel examines the art of film projection, which brings 8mm, 16mm, 35mm, and 70mm moving-image works to life for film lovers. Guest experts will examine best practices for film and projector handling, explore the tools of the trade, and advocate for the continued dissemination of these essential skills and knowledge for future generations. From the hands of the filmmakers to those of the archivists, conservators and projectionists, we celebrate the labour, passion, artistry and skill involved in providing audiences a seamless and pristine cinematic experience. This event is supported by the Government of Canada and the Hollywood Foreign Press Association. Guest experts participating in this event are: Andy Uhrich is the film archivist at the Indiana University Libraries’ Moving Image Archive. He has been projecting film since the 1990s and has worked with a variety of formats. Uhrich is assisting with the set-up of a new screening room in the Indiana University Libraries built around the projection of archival 16mm film. He is also working on a dissertation on the role of private film collectors in the development of archival practices for preserving and restoring motion pictures. Katie Trainor is the Film Collections Manager at the Museum of Modern Art in New York. She is a graduate of the L. Jeffrey Selznick School of Film Preservation at the George Eastman Museum in Rochester. Previously, she worked at the Harvard Film Archive and also as Director of Operations at the Jacob Burns Film Center in Pleasantville, New York. Trainor served as General Manager of the IFC Center and has also maintained her trade as a motion picture projectionist at the Sundance Film Festival since 2001. She is a co-founder of the Center For Home Movies in Madison, Wisconsin, and is an active member of the Association of Moving Image Archivists (AMIA). James King is a graduate of the Cinema Studies program at the University of Toronto. Drawn to the mechanics behind the ways we see and hear cinema, James became a cinema technician, getting his start as a projectionist at the Goethe Institut Toronto before going on to work for the Art Gallery of Ontario's Jackman Hall, the Toronto International Film Festival, Hot Docs, Inside Out, Images, and the Abu Dhabi Film Festival (formerly the Middle East International Film Festival). He is currently Senior Booth Manager at TIFF Bell Lightbox. Attend in person: Tickets to this event are free and will be made available at the TIFF Bell Lightbox Box Office (350 King Street West). Students or faculty looking to reserve tickets to this event can email hlf@tiff.net with their request.  Watch the live stream: For those who are not able to attend in person, this event will be live streamed at tiff.net/reelheritage. 
by Toronto International Film Festival
Wednesday, October 26, 2016
Submit now for Northeast Historic Film Summer Symposium! 0 D. Orgeron  Screening New England: 100 Years of Regional Moving Image History  17th Annual Northeast Historic Film Summer Symposium   Thursday, July 21 – Saturday, July 23, 2016 Proposals Due: April 19, 2016               The rich amateur and non-theatrical moving image history of New England will be the focus of the 2016 Northeast Historic Film Summer Symposium. In commemoration of the Alamo Theatre’s 100 years of cinematic exhibition and Northeast Historic Film’s 30th year as a regional moving image archive, we invite archivists, scholars and technical specialists to explore all aspects of the moving image history of New England. Proposals that utilize the NHF collections are particularly welcome.   Northeast Historic Film archives hold film and video, including local television news, amateur film, industrials, home movies, and many other genres, as well as paper documentation and ephemera, including postcards, lobby cards, camera and projector manuals.  The catalog may be searched by genre, place, subject, decade, and other search terms at http://oldfilm.org/collection/index.php    The NHF Summer Symposium is a congenial multi-disciplinary gathering devoted to the history, theory, and preservation of amateur and nontheatrical moving images.  For over a decade and a half, the Symposium has been bringing together an expanding group of archivists, scholars, technicians, and artists in an intimate setting for three days of viewing and discussing lesser-known, amateur, and found films. Presenters typically have 30-45 minutes in which to deliver their papers and engage in discussion. We do not run concurrent sessions, and participants are expected to attend all presentations and engage with colleagues in discussion of work presented over the two and a half days of the symposium.   NHF is located in Bucksport, a town of 5,000 on the coast of Maine (for more info on NHF, please visit: http://www.oldfilm.org. Please be advised that NHF is a non-profit organization. Unfortunately, we do not have resources to fund travel and lodging for conference presenters and participants. All presenters and participants must register for the symposium.   Please send a 250-500 word abstract outlining your paper idea and a brief cv via e-mail to: symposium@oldfilm.org. The Summer Symposium Program Committee are: Jennifer Jenkins, University of Arizona; Audrey Amidon, National Archives and Records Administration; Dino Everett, University of Southern California; Heidi Holmstrom, National Archives and Records Administration; Steve Norman, Belfast Public Library, and Devin Orgeron, North Carolina State University.  We are happy to discuss your presentation ideas with you in advance of a formal submission. The Symposium Program Committee will begin reviewing proposals on April 19, 2016 and will finalize the program by May 10, 2016.  
by D. Orgeron
Sunday, February 28, 2016
Behind the screens: Walter Murch in conversation [February 6, 2016] 0 M. Gallagher Behind the screens: Walter Murch in conversation University of Nottingham, UK, Lakeside Arts Centre, room A30 Saturday, 6 February 2016, 3-5 pm 2016  Walter Murch is one of the screen industries most successful professionals and a legendary figure in the film industry. The only filmmaker to win an Oscar for both film editing and film sound, he worked with George Lucas and Francis Ford Coppola to change filmmaking forever. His credits include stunning classics such as The Godfather, Apocalypse Now, American Graffiti and The English Patient. This is a rare opportunity to hear one of the top figures in the film industry reflect on his career and the changes he has seen over half a century of filmmaking. There will also be an opportunity to ask Walter questions about his career and the state of film today. You can find out more about Walter's career at https://en.wikipedia.org/wiki/Walter_Murch This event is hosted by the University of Nottingham's Institute for Screen Institute Research and hosted by its director, Gianluca Sergi.  http://www.nottingham.ac.uk/clas/departments/cfm/about/news-and-events/events/current-events/walter-murch-in-conversation.aspx Contact Email: gianluca.sergi@nottingham.ac.uk Tel:  +44 0115 84 67466
by M. Gallagher
Friday, January 22, 2016
Rick Prelinger on The Future of Memory (October 23, at 11 am EST) 0 Toronto International Film Festival Reel Heritage - Rick Prelinger on The Future of Memory Friday October 23, 11am–12:30pm EST In recent years, traditional moving-image archives have faced challenges from the dramatic shift towards digital production and distribution, the effective end of photochemical preservation technology, the marginalization of the theatrical viewing experience, and the public demand for universal, instant and free access to media. In this public talk, Rick Prelinger, Founder of the Prelinger Archives and Associate Professor of Film & Digital Media at UC Santa Cruz, sets out a number of possible visions for the future of archives, and discusses some of the innovations that many cultural heritage institutions have already begun to experiment with today. Rick Prelinger founded Prelinger Archives in 1982. This collection of 60,000 advertising, educational, industrial and amateur films is now held by Library of Congress. In 2000 he collaborated with Internet Archive to build an open-access, freely downloadable digital moving-image collection that now contains over 6,500 titles. He has made seventeen urban history compilation films and two experimental feature films that have played at venues around the world. He currently is a professor of film and digital media at the University of California, Santa Cruz. Watch the live stream: tiff.net/reelheritage Attend in-person: Tickets are free and are available two hours before the event’s start time at the Steve & Rashmi Gupta Box Office at TIFF Bell Lightbox, located at Reitman Square, 350 King Street West. This event is part of TIFF's Reel Heritage initiative, an on-going series of educational sessions dedicated to the access to and management of moving image collections in Ontario and beyond. Through panel discussions, workshops, film screenings and networking sessions, Reel Heritage will bring together scholars, archivists, filmmakers, curators, and postsecondary students to examine the opportunities and challenges faced by both large moving image collections and smaller repositories, such as those found in regional archives and small libraries.   This event will also be added to Higher Learning Digital Resource Hub for the benefit of postsecondary students, faculty and practitioners.
by Toronto International Film Festival
Thursday, October 15, 2015
Nottingham International Microfilm Festival: October 15-20, 2015 0 M. Gallagher Dear colleagues, We are pleased to announce that the Nottingham International Microfilm Festival (NIM) will take place October 15-20, 2015. This is the first UK event to focus on microfilm (short narrative formats) and includes a unique program of events, screenings, master classes and presentations by major industry and academic figures. The festival brings together industry, government and scholars to identify opportunities for production/distribution, talent development, educational and research opportunities. The festival concludes with a summit on the microfilm phenomenon, with guests from the US, UK, China and beyond. Major names presenting include representatives from Dolby, RED Digital Cinema and UCLA. You can find out more about the festival, participants, program and ticket information at www.nimfestival.com. The event is organized by the Nottingham Screen Partnership, a consortium of academia, industry and local government: www.nottinghamscreenpartnership.com. For further information please contact Gianluca Sergi at gianluca.sergi@nottingham.ac.uk.  
by M. Gallagher
Thursday, September 24, 2015
CARNEGIE MUSEUM OF ART PRESENTS MISFITS 2015 0 Debbie R. Rush CARNEGIE MUSEUM OF ART PRESENTS MISFITS 2015 October 23–24, 2015 General $50 / Students $25 Misfits 2015: Time-Based Media and the Museum is a two-day symposium (October 23–24, 2015) that focuses on the ways that “misfit” artworks—film, video, sound, and digital works—entered into collecting institutions, and the ongoing challenges these works present for exhibition and preservation. Drawing on CMOA’s own history as a significant catalyst during the 1970s—as a nexus of avant-garde film practice and presentation, and as pioneering publisher of The Film and Video Makers Travel Sheet—"Misfits 2015" will focus on the contexts in which time-based collections were formed and explore the potential of a coordinated preservation model for time-based works that ensures ongoing access. Register now at http://www.cmoa.org/misfits/. While attending Misfits 2015, guests will also have an opportunity to view CMOA’s exhibition The Living Need Light, The Dead Need Music, a visual and musical journey through the spectacular funerary traditions of South Vietnam. Created by artist collective The Propeller Group, the video follows brass band musicians, spiritual mediums, professional criers, and street performers through the mournful and euphoric public ceremonies of a multi-day wake: a set of colorful rituals that resonate with funeral traditions in New Orleans and other parts of the “global south.” Shot in ultra-high-definition video, and produced with the technical sophistication of a Hollywood film, it immerses viewers in a lush and captivating dreamlike atmosphere. Misfits Presenters include: Philip Auslander: Professor, School of Literature, Media, and Communication, Georgia Institute of Technology, Atlanta Benjamin Balcom: Curator, Microlights, and Associate Lecturer in Film, Video, Animation, and New Genres, University of Wisconsin, Milwaukee Erika Balsom: Lecturer in Film Studies and Liberal Arts, King’s College, London Maeve Connolly: Lecturer in Film and Animation, Dun Laoghaire Institute of Art, Design & Technology, Dublin Matthew Cowan: Archivist, Moving Images and Photography, Oregon Historical Society, Portland Brad Epley: Chief Conservator, The Menil Collection, Houston Kathy Geritz: Film Curator, Berkeley Art Museum and Pacific Film Archive Martina Haidvogl and Peter Oleksik: Fellow, Contemporary Art Conservation, San Francisco Museum of Modern Art; and Assistant Media Conservator, Museum of Modern Art, New York, respectively Mona Jimenez: Associate Professor, Cinema Studies, Tisch School of the Arts, and Associate Director, Moving Image Archiving and Preservation Program, New York University John Klacsmann: Archivist, Anthology Film Archives, New York Ross Lipman: independent archivist/Conner Family Trust/Milestone Films Lindsay Mattock: Assistant Professor, School of Library and Information Science, University of Iowa, Iowa City Megan McShea: Audiovisual Archivist, Archives of American Art, Smithsonian Institution, Washington, D.C. Sheryl Mousley: Senior Curator, Moving Image, Walker Art Center, Minneapolis Stephanie Sapienza: Project Manager, Maryland Institute for Technology in the Humanities, College Park Michelle Silva: Conner Family Trust and Estate of George Kuchar Rani Singh: Principal Project Specialist & Consulting Curator, Modern and Contemporary Collections, Getty Research Institute, and Director of Harry Smith Archives, Los Angeles Amy Sloper: Film Archivist, Wisconsin Center for Film and Theater Research, University of Wisconsin, Madison Linda Tadic: Founder and CEO, Digital Bedrock Andrew Uroskie: Associate Professor of Modern & Contemporary Art and Director, MA/PhD Program in Art History, Criticism & Theory, Stony Brook University Haidee Wasson: Associate Professor of Cinema Studies, Concordia University, Montreal Michael Zryd: Associate Professor in Cinema & Media Studies, York University, Toronto
by Debbie R. Rush
Thursday, September 10, 2015
Internet Addiction Gets Official Chinese “Cure” in Riveting, Provocative Do 0 Debbie R. Rush Contacts: POV Communications: Communications@pov.org, 212-989-7425 Cathy Fisher, cfisher@pov.org, Brian Geldin, bgeldin@pov.org  POV online pressroom: www.pbs.org/pov/pressroom   Internet Addiction Gets Official Chinese “Cure” in Riveting, Provocative Documentary ‘Web Junkie,’ Airing Monday, July 13, 2015 on PBS’s POV Series   Film Goes Deep Inside a Military-style Beijing Treatment Facility, Where Young Patients Are Forced to Face Their Virtual Demons. Is This the Wave of the Future?   “Web Junkie offers a troubling glimpse into anxieties that are hardly China’s alone.” —A.O. Scott, The New York Times   When the words “China” and “Internet” appear in the same sentence, the word “censorship” is usually close by. But in at least one aspect of the Internet revolution, China is establishing a precedent the rest of the world could soon follow.    China is the first country in the world to classify Internet addiction as a clinical disorder, the cure for which is the subject of Web Junkie, an intimate and sometimes jarring documentary having its national broadcast premiere on PBS’s POV (Point of View) on Monday, July 13, 2015 at 10 p.m. (check local listings). Now in its 28th season, POV is American television’s longest-running independent documentary series and the recipient of a 2013 MacArthur Foundation Award for Creative and Effective Institutions.   The film follows the treatment of Chinese teenagers whose preference for the virtual world over the real one is summed up in one jarring statement: “Reality is too fake.” Bringing them back to earth is often a very bumpy ride.   Award-winning Israeli filmmakers Shosh Shlam and Hilla Medalia were given incredibly open access to Daxing Boot Camp, a three-month military style anti-addiction program in Beijing designed for patients 13 to 18 years old. Web Junkie portrays the rehabilitation process and the evolving diagnosis behind it.   The fast-paced film starts in a video cafe, where teenagers blissfully play Internet games and smoke cigarettes. Cut to the inside of the no-frills treatment facility, where guards rouse the dreary-eyed visitors from cell-like rooms for morning exercises.    Suddenly, it is clear these kids have followed their computer keystrokes to a dark and different place. Some, in fact, do not know exactly how they got there. One patient—or inmate—says he was told he was going on a family ski trip to Russia. He went to sleep at home and when he awoke he was at a “Chinese teenager mental growth” facility, one of more than 400 treatment centers created by the government.    There are many unhappy campers. “I’m wasting my time here,” one patient protests. “I don’t need any treatment.” Others grimace as they are forced to the floor and told to hold themselves in an uncomfortable position for 30 minutes. A teen becomes violent. “Call the drillmaster!” a staffer shouts. Another day in the life of an Internet addict in Daxing Boot Camp, with many remaining.   There is nothing virtual about the treatment center, which resembles a Marine Corps boot camp far more than a typical Western clinic. Patients are under constant surveillance—even as they sleep. Rigorous exercise programs are augmented by group therapy, brain scans and classroom instruction. In one class, an instructor explains that Internet addiction blocks the normal development of the social part of the brain. This does not necessarily convince the patients, one of whom calls the classes an attempt at “brainwashing.”   The filmmakers interview Tao Ran, the professor who established the world’s first Internet addiction clinic and who calls Internet addiction China’s most significant public health hazard, claiming, “It has surpassed any other problem.” Web junkies, he explains, are not using the Internet for research and homework. They are instead addicted to games. “They are the same as heroin addicts,” he insists.    Parents are often at their wits’ end and many must borrow money to pay for the program. They tell, sometimes through tears, of losing their children to the malady. “He changed into a different person,” one desperate mother says. Most young patients have withdrawn from family life. Some stop bathing. Others are so reluctant to take breaks from playing video games with their online partners that they wear diapers to avoid bathroom trips. As is often the case with other addictions, family disruption and estrangement are common. One anguished father admits he had become too hard on his Internet-obsessed child.   “It is an abyss swallowing my son,” says another mother, though the film illustrates that young people also use the Internet as a tool of social interaction, including romance. Yet while these connections may span the globe, they usually take place in an environment of solitude. “We are increasingly connected to each other but oddly more alone,” the filmmakers say. In one riveting scene, a young man describes how easy it is to profess love simply by repeatedly striking a programmed key. This is passion without a pulse, a quantum leap in the practice of long-distance love.   Web Junkie is a frank portrayal of China’s unique treatment program that also raises questions, especially for Western viewers. “Will these techniques be successful?” Shlam and Medalia ask. “Is this militaristic treatment effective or advisable? Is it possible to ‘cure’ these young kids? And on the topic of human rights, is it enough that the government requires only the parents’ agreement in order to hold these children against their will?”   The “cure” question is left wide open. One patient says Internet addiction “is not a real disease. It’s a social phenomenon.” But another insists, “My life is more real than before” since going through the program, which ends with sessions of family reconciliation. At one session, a patient is required to tell his father he loves him 30 times.   One departing patient, however, delivers a line echoed during exits from treatment centers everywhere, indicating that some positive behavior modification has taken place: “Dude, I don’t want to come here ever again.” As more countries focus on Internet addiction, the Chinese treatment may become the template for the wider world’s response. The young patients of Web Junkie may be riding the wave of the future.   About the filmmakers: Shosh Shlam, Director/Producer Award-winning filmmaker Shosh Shlam directed Good Garbage (2008), named best documentary at the Shanghai International Film Festival and winner of the best cinematography award at the Israeli Documentary Awards. Her previous films include Be Fruitful and Multiply (2005), which represented Israel on International Women’s Day in Asia, and Last Journey Into Silence (2003), winner of the best documentary award at the Lublin Film Festival, winner of the Columbine Award at the Moondance International Film Festival and a best documentary honorable mention at the Haifa International Film Festival. Shlam holds a master’s degree in comparative literature from Bar-Ilan University. She is also a graduate of the theater department at Tel Aviv University and studied at New York’s School of Visual Arts.   Hilla Medalia, Director/Producer Peabody Award-winning filmmaker Hilla Medalia has received three Emmy® nominations. Her recent film Dancing in Jaffa premiered at the Tribeca Film Festival and won the editing award at the DocAviv Film Festival. Previously, Medalia made After the Storm (2009), To Die in Jerusalem (2007), Happy You’re Alive (2010) and Numbered (2012), which won best debut documentary at the Israeli Documentary Awards. She also holds a master of arts from Southern Illinois University and is a co-founder of New York-based kNow Productions.   Credits: Directors:                                                            Shosh Shlam, Hilla Medalia Producers:                                                          Hilla Medalia, Shosh Shlam, Neta Zwebner-Zaibert Executive Producers:                                     Jeremy Chilnick, Morgan Spurlock, Dan Cogan, Jenny Raskin, Eve Ensler Editor:                                                                   Enat Sidi Director of Photography:                              Sun Shaoguang Composer:                                                          Ran Bagno   Running Time:                                                   56:46   POV Series Credits: Executive Producers:                                     Chris White, Simon Kilmurry Associate Producer:                                        Nicole Tsien Coordinating Producer:                                                 Nikki Heyman   # # # #   Produced by American Documentary, Inc., POV is public television’s premier showcase for nonfiction films. The series airs Mondays at 10 p.m. on PBS from June to September, with primetime specials during the year. Since 1988, POV has been the home for the world’s boldest contemporary filmmakers, celebrating intriguing personal stories that spark conversation and inspire action. Always an innovator, POV discovers fresh new voices and creates interactive experiences that shine a light on social issues and elevate the art of storytelling. With our documentary broadcasts, original online programming and dynamic community engagement campaigns, we are committed to supporting films that capture the imagination and present diverse perspectives.   POV films have won 32 Emmy® Awards, 18 George Foster Peabody Awards, 12 Alfred I. duPont-Columbia University Awards, three Academy Awards®, the first-ever George Polk Documentary Film Award and the Prix Italia. The POV series has been honored with a Special News & Documentary Emmy Award for Excellence in Television Documentary Filmmaking, two IDA Awards for Best Continuing Series and the National Association of Latino Independent Producers (NALIP) Award for Corporate Commitment to Diversity. More information is available at www.pbs.org/pov.   POV Community Engagement and Education (www.pbs.org/pov/engage) POV’s Community Engagement and Education team works with educators, community organizations and PBS stations to present more than 650 free screenings every year. In addition, we distribute free discussion guides and standards-aligned lesson plans for each of our films. With our community partners, we inspire dialogue around the most important social issues of our time.   POV Digital (www.pbs.org/pov/) Since 1994, POV Digital has driven new storytelling initiatives and interactive production for POV. The department created PBS’s first program website and its first web-based documentary (POV’s Borders) and has won major awards, including a Webby Award (and six nominations) and an Online News Association Award. POV Digital continues to explore the future of independent nonfiction media through its digital productions and the POV Hackathon lab, where media makers and technologists collaborate to reinvent storytelling forms. @povdocs on Twitter.   American Documentary, Inc. (www.amdoc.org/) American Documentary, Inc. (AmDoc) is a multimedia company dedicated to creating, identifying and presenting contemporary stories that express opinions and perspectives rarely featured in mainstream media outlets. AmDoc is a catalyst for public culture, developing collaborative strategic engagement activities around socially relevant content on television, online and in community settings. These activities are designed to trigger action, from dialogue and feedback to educational opportunities and community participation.   Major funding for POV is provided by PBS, The John D. and Catherine T. MacArthur Foundation, the John S. and James L. Knight Foundation, Corporation for Public Broadcasting, and National Endowment for the Arts. Additional funding comes from Nancy Blachman and David desJardins, Bertha Foundation, The Fledgling Fund, Marguerite Casey Foundation, Ettinger Foundation, New York State Council on the Arts, New York City Department of Cultural Affairs in partnership with the City Council, Ann Tenenbaum and Thomas H. Lee, and public television viewers. POV is presented by a consortium of public television stations, including KQED San Francisco, WGBH Boston and THIRTEEN in association with WNET.ORG.    
by Debbie R. Rush
Wednesday, July 8, 2015
The Materiality of Cinema - March 6 at TIFF Bell Lightbox and live streamed 0 Toronto International Film Festival TIFF Higher Learning presents  ​​The Materiality of Cinema, taking place on  Friday, March 6, 11am–12:30pm EST at TIFF Bell Lightbox, Reitman Square, 350 King Street West, Toronto ON. This event is free and open to the public. ​​If you cannot attend in person, consider watching the live stream: tiff.net/reelheritage​.    Part of ​the​ Reel Heritage initiative, this public lecture, delivered by Toronto-based media and film archivist Christina Stewart is dedicated to the whys and hows of motion picture handling, the value of proper training, the tools of the motion picture handler, and the material history of the film medium. The lecture will be followed by a Q&A with the audience. In advance of the event, we will be taking questions for Christina Stewart on Twitter via #reelheritage.​   Christina Stewart has a background in Media Arts and is a graduate of the L. Jeffrey Selznick School of Film Preservation at George Eastman House. She has worked with collections at the Canadian National Exhibition Archives, Northeast Historic Film, National Steinbeck Center, and the Canadian Filmmakers Distribution Centre, in addition to the Warner Bros. Nitrate Film Collection held at George Eastman House. Christina has taught film identification and handling workshops through archival associations across Canada and is currently Front End Manager at Niagara Custom Lab.   Tickets are free. Tickets are limited to one per person and are available two hours before the event’s start time at the Steve & Rashmi Gupta Box Office inside TIFF Bell Lightbox, located at Reitman Square, 350 King Street West. Participants who are not able to come to TIFF Bell Lightbox can watch the livestream at tiff.net/reelheritage.  ​ ​The event video and associated research package from the first Reel Heritage event, Film Archives and Scholarship, is now available online at: http://tiff.net/education/events/reel-heritage-film-archives-and-scholarship.    Reel Heritage is supported by the Government of Ontario and the Ontario Trillium Foundation. Higher Learning is supported by the Ontario Trillium Foundation and the Slaight Family Foundation Learning Fund.
by Toronto International Film Festival
Monday, February 23, 2015
Metro-Bollywood at the Seattle Art Museum 0 A. Gehlawat Metro-Bollywood: New Hindi Cinema in New Delhi Jan 9 2015 Seattle Art Museum Plestcheeff Auditorium 7 PM – 9:30 PM Join film scholar Ajay Gehlawat for a discussion and screening of the Bollywood film Band Baaja Baaraat (Wedding Planners, 2010), directed by Maneesh Sharma and set in India's capital, New Delhi. The film follows Shruti and Bittoo, two young, aspiring students at Delhi University who have plans to make it big as wedding planners. In this duo's brash and kitschy approach to staging Indian weddings, we see a vivid display of what anthropologist Purnima Mankekar calls jugaad, a colloquial term for the ability to come up with creative solutions on the spot, often with limited resources. Band Baaja Baaraat explores the advent of enterprise culture in the new Indian metropolis, in which aspiring young people like the film's protagonists thrive in a world that now promotes success, growth, and progress. In the process of staging colorful, over-the-top weddings, Bittoo and Shruti discover that love is also refashioned according to the dictates of such an aspirational culture, as the duo's wedding planning enterprise, in turn, becomes the basis for their own romantic relationship. Ajay Gehlawat is Associate Professor of Theatre and Film at Sonoma State University, California, where he also directs the Film Studies program. He is the author of Reframing Bollywood: Theories of Popular Hindi Cinema (2010) and editor of The Slumdog Phenomenon: A Critical Anthology (2013). His forthcoming book, Twenty-First Century Bollywood (2015), traces emerging shifts in Bollywood in relation to the changing dynamics of Indian culture. http://www.seattleartmuseum.org/visit/calendar/events?EventId=29391
by A. Gehlawat
Saturday, January 3, 2015
San Francisco Silent Film Festival 0 Ron E. Evans From May 29th to June 1st we are excited to be presenting the San Francisco Silent Film Festival 2014 at the historic Castro Theatre (429 Castro Street, San Francisco, California)! The festival includes 17 wonderful silent-era features including The Four Horsemen of the Apocalypse, the film that made Rudolph Valentino! The festival will also be featuring one program of extraordinary silent shorts and rarities, and the ever-popular Amazing Tales From the Archives program. 19 programs in all! Full program details are listed below and online at silentfilm.org. San Francisco Silent Film Festival 833 Market Street, Suite #812 San Francisco, CA 94103-1828 If you are interested in working with us to promote this event, please find my contact details below. Thank you for your time, we look forward to hearing back from you. Danielle Parker danielle@silentfilm.org Silent Film Festival 2014 Schedule The Four Horsemen of the Apocalypse Opening Night Thursday, May 29 7:00 pm Approximately 132 minutes Director Rex Ingram Cast Rudolph Valentino, Alice Terry, Pomeroy Cannon, Josef Swickard, Alan Hale Musical Accompaniment by Mont Alto Motion Picture Orchestra Based on the best-selling novel by Vicente Blasco Ibanez and adapted for screen by June Mathis, Four Horsemen was the film that made Rudolph Valentino a star and brought director Rex Ingram to prominence. Valentino brought a new kind of leading man to the screen in the role of Julio Desnoyers: the Latin lover. This film is one of the greatest of the Great War chronicles, and our presentation commemorates the 100th anniversary of World War I, as well as the 25th anniversary of our accompanying ensemble. Amazing Tales from the Archives friday, May 30 10:00 am Approximately 100 minutes Presenters Bryony Dixon, Dan Streible, Ben Burtt and Craig Barron Musical Accompaniment Stephen Horne A free event that showcases another edition of our popular Amazing Tales from the Archives program. Bryony Dixon, Curator of Silent Film, BFI National Archive, presents some astonishing early nature films, which were among the very first films preserved by the BFI National Archive. Plus a surprise new acquisition from 1903! The familiar snippet of film commonly known as Fred Ott’s Sneeze became an icon of the earliest cinema. Dan Streible, Founder and Director Orphan Film Symposium, takes a New Look at an Old Sneeze as he shares his discoveries about the film we thought we knew well, which had been missing almost half of the frames shot in 1894! Barron and Burtt’s presentation explores how Charlie Chaplin worked and adapted new technology and developments to his process—with behind-the-scenes stills, film clips, and animations. The Song of the Fisherman Friday, May 30 1:00 pm Approximately 60 minutes Director Cai Chusheng Cast Wang Renmei, Luo Peng, Yuan Congmei, Han Langen Musical Accompaniment Donald Sosin Cai Chusheng’s The Song of the Fisherman is not only the first social-realist film in Chinese cinema history, but also the first Chinese film to win a prize in an international festival (Moscow Film Festival, 1935). Depicting the struggle of the poor in Shanghai, the film is a moving story of social injustice told with eloquence and passion. This film played in Shanghai for a record of 84 days to an audience of nearly a million. The film’s title song (composed by Ren Guang) was also a huge contemporary hit in Shanghai, and later (in the 1970s) it became a hit in the U.S. Midnight Madness Friday, May 30 3:00 pm Approximately 61 minutes Director F. Harmon Weight Cast Jacqueline Logan, Clive Brook, Walter McGrail, James Bradbury, Oscar Smith Musical Accompaniment Stephen Horne “Its very title reeks of strange people, mystery, suspense!” reads the advance publicity for this silent melodrama, loosely inspired by Shakespeare’s The Taming of the Shrew and directed by F. Harmon Weight. Secretary Norma Forbes (Jacqueline Logan) accepts the marriage proposal of Michael Bream (Clive Brook), wealthy diamond miner. Norma reveals to her boss and actual love interest (Walter McGrail) that she’s only marrying for the money. Having eavesdropped through a conveniently open door, Michael, despite his genuine affections, schemes to teach his gold-digging fiancée a lesson. From New York, the newlyweds sail second class to South Africa, where Michael leads his wife to believe that he is down-and-out. They settle in a bleak shack near a mine, where Norma discovers the hardships of life in the African jungle. She sends a cable to her former employer, divulging her whereabouts. A fight ensues, which leaves Michael bound up and prey to a lion. At last realizing her affection for her husband, Mrs. Bream returns with a shotgun—setting up a suspenseful climax that can only result in no lady or no lion. —Jennifer Rhee The Parson’s Widow Friday, May 30 5:00 pm Approximately 88 minutes Director Carl Th. Dreyer Cast Hindur Carlberg, Einar Rød, Greta Almroth, Olav Aukrust, Kurt Welin, Mathilde Nielsen, Lorentz Thyholt Musical Accompaniment Matti Bye Ensemble A very early film by one of cinema’s masters, and one that will surprise those familiar only with Dreyer’s most famous work—the darkly moving The Passion of Joan of Arc. The Parson’s Widow is as beautifully composed as the later work, but replete with deft comic touches as well. Based on a story by Norwegian poet Kristofer Janson, The Parson’s Widow tells the story of a young seminary graduate (Einar Rød) who travels with his sweetheart (Greta Almroth) to a small village to audition for the job of pastor of the local church. A simple plot filled with opportunity for hilarity, but this is also a Dreyer film and it is tinged throughout with humanity and generosity for all of its characters. Ramona Friday, May 30 7:30 pm Approximately 80 minutes Director Edwin Carewe Cast Dolores del Rio, Warner Baxter, Roland Drew, Vera Lewis, Michael Visaroff Edwin Carewe directed the 1928 version of what had by then proven a durable story, filmed twice previously (and at least once subsequently). Adapted from Helen Hunt Jackson’s hugely popular 1884 novel, the Ramona narrative tells of a mixed-race (Scots-Native American) woman, sympathetically detailing her persecution for reasons of race. Wearing a theme of cultural diversity on its sleeve, the Ramona story has become a touchstone to generations of Californians, and an indispensable part of the state’s imaginative cultural heritage. Cosmic Voyage Friday, May 30 10:00 pm Approximately 75 minutes Director Vasilii Zhuravliov Cast Sergei Komarov, Vasilii Kovrigin, Nikolai Feoktistov, Viktor Gaponenko, Kseniya Moskalenko Musical Accompaniment Günter Buchwald and Frank Bockius The Soviet Union was serious about its science fiction, bringing in rocket scientist Konstantin Tsiolkovsky as a technical consultant on Cosmic Voyage. Tsiolkovsky designed miniatures for this big budget project that enjoyed the full backing of the Communist Youth League. A trip to the moon, what better way to inspire the youth of a nation! Cosmic Voyage is a wonderful adventure with hilarious subplots and remarkably sound science. The Good Bad Man Saturday, May 31 10:00 am Approximately 80 minutes Director Allan Dwan Cast Douglas Fairbanks, Sam De Grasse, Doc Cannon, Joseph Singleton, Bessie Love, Mary Alden Musical Accompaniment Donald Sosin Douglas Fairbanks produced, wrote and starred (as the character “Passin’ Through”) in this western directed by Allan Dwan and photographed by Victor Fleming. Passin’ Through is an orphan who becomes a Robin Hood-like bandit, robbing from the rich to aid unwanted children. Beautifully photographed in Tuscon, the film has been thought lost for many years. The recent restoration by SFSFF’s Tracey Goessel and Rob Byrne is a revelation, and our screening is the World Premiere! Serge Bromberg’s Treasure Trove Saturday, May 31 12:00 Noon Approximately 80 minutes Presentation and Musical Accompaniment Serge Bromberg World-famous preservationist and entertainer Serge Bromberg has long been a collector of celluloid images and has regularly organized cine-shows he calls Retour de Flamme where he presents rare and often unique footage. Recently Bromberg and archivist Fernando Peña of Buenos Aires made a magnificent discovery—a lost version of Buster Keaton’s The Blacksmith. With Keaton as a cornerstone for this show, we asked Serge to reach into his treasure trove to present a show to delight and amaze San Francisco! Bromberg will introduce each treasure and accompany the film on piano. Vive le cinéphile! The Epic of Everest Saturday, May 31 2:00 pm Approximately 87 minutes Director John Noel Musical Accompaniment Stephen Horne The Epic of Everest (1924) is the official film record, shot by Captain John Noel, of the third British expedition to attempt to reach the summit of the world’s highest peak. En route the film records some of the earliest images of the Tibetan people and their culture, including scenes at the village of Phari (Pagri), Shekar Dzong (Xegar) and the Rongbuk Monastery. On the slopes of Everest we follow each stage of the climb as the mountaineers and Sherpas progress, enduring incredibly harsh conditions. When the camera can go no further, a specially designed telephoto lens, filming at a distance of over two miles, records the final attempts of climbers Mallory and Irvine to reach the summit. The Epic of Everest was restored by the BFI National Archive in collaboration with Sandra Noel, the director’s daughter. The team reintroduced the original colored tints and tones, overcoming serious challenges inherent in the material to do full justice to this heroic feat of exploration cinematography. Underground Saturday, May 31 4:30 pm Approximately 77 minutes Director Anthony Asquith Cast Brian Aherne, Elissa Landi, Cyril McLaglen, Norah Baring Musical Accompaniment Stephen Horne The second feature from aristocratic British director Anthony Asquith (A Cottage on Dartmoor, Pygmalion), Underground is a working-class love story and thriller set in and around London’s subway system. The romantic triangle pits nice-guy Brian Aherne against sinister Cyril McLaglen for the affections of beautiful shopgirl Elissa Landi. Asquith’s fondness for German Expressionism is evident in the lighting, by German Karl Fischer, and the influence of Soviet filmmakers in the use of montage. The British Film Institute restored Underground in 2013, to mark the 150th anniversary of the London subway. Under the Lantern Saturday, May 31 7:00 pm Approximately 129 minutes Director Gerhard Lemprecht Cast Lissy Arna, Gerhard Dammann, Mathias Wieman, Paul Heidemann, Hubert von Meyerinck Musical Accompaniment Donald Sosin Ensemble The story of a good girl’s descent to a life on the street has been told many times in cinema, but Lamprecht’s telling is filled with such humanity and feel for the denizens of the demimonde that it approaches masterpiece. Especially accompanied by Donald Sosin, Günter Buchwald, and Frank Bockius, whose score, with its evocation of Berlin in the ’20s, masterfully complements Karl Hasselmann’s expressive camera. To celebrate its 50th anniversary, the Deutsche Kinemathek has digitally restored several of Lamprecht’s films including Under the Lantern. The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks Saturday, May 31 10:00 pm Approximately 74 minutes Director Lev Kuleshov Cast Porfiri Podobed, Boris Barnet, Aleksandra Kho Musical Accompaniment Matti Bye Ensemble It may seem unlikely that a manic satire of American ignorance about the Soviet Union was one of the first projects to emerge from the workshop of Russian film theoretician Lev Kuleshov. But The Extraordinary Aventures of Mr. West in the Land of the Bolsheviks proves Kuleshov’s ideas about the power of editing and montage, with its fast-paced, slapstick American-style comedy. Mr. West (Porfiri Podobed), a goofy YMCA executive in Harold Lloyd glasses and fur coat travels to Moscow with his cowboy sidekick/bodyguard Jeddy (Boris Barnet). Immediately Mr. West is separated from Jeddy and falls into the clutches of a motley group of thieves posing as Bolsheviks (including Vsevolod Pudovkin!). Seven Years Bad Luck Sunday, June 1 10:00 am Approximately 62 minutes Director Max Linder Cast Max Linder, Alta Allen, Ralph McCullough, Betty Peterson Musical Accompaniment Donald Sosin Before there was Chaplin and Keaton, there was Max Linder. A handsome and dapper Parisian, Linder began appearing in film shorts for Pathé in 1905, becoming the cinema’s first comic star. Chaplin and others have cited him as an inspiration. However, due to Linder’s unsuccessful career in the U.S., he returned to France and his films have been difficult to see. Now, in one of his wonderful American comedies, Seven Years Bad Luck (restored by Lobster films), festival audiences have a rare opportunity to experience Linder’s artistry, including the famous mirror gag that Linder originated. Dragnet Girl Sunday, June 1 12:00 Noon Approximately 100 minutes Director Yasujiro Ozu Cast Kinuyo Tanaka, Joji Oka, Sumiko Mizukubo Musical Accompaniment Guenter Buchwald Best known for his gentle family comedies and dramas, Japanese master Yasuhiro Ozu also made three silent gangster films. Dragnet Girl, the last and best of them, stars future Mizoguchi muse Kinuyo Tanaka as a typist by day, and gun-toting gangster’s moll by night. As her ex-boxer lover, Joji Oka matches her tough bravado. Ozu, a fan of American films, pays stylish homage to the genre, filling the frame with Hollywood-style décor and costumes, moody lighting and noir shadows. The sets and cinematography were reportedly influenced by the work of Joseph von Sternberg. Not typical Ozu, but a surprising, delightful anomaly. The Girl in Tails Sunday, June 1 2:30 pm Approximately 110 minutes Director Karin Swanström Cast Einar Axelsson, Magda Holm Nils Arehn, Georg Blomstedt, Karin Swanström, Erik Zetterström Musical Accompaniment Mont Alto Motion Picture Orchestra A fizzy comedy that makes some serious feminist points, The Girl in Tails was directed by forgotten multi-hyphenate Swedish director Karin Swanström. The film is based on one of a series of novels satirizing small-town life by one of Sweden’s leading early 20th writers. Katja (Magda Holm) wants a new dress for her graduation dance, but her father won’t buy her one. So Katja dresses up in her brother’s tuxedo and attends the dance, smoking cigars, drinking brandy, and shocking the locals. Swanström, now a footnote in film history, was one of the most powerful people in the Swedish film industry in the 1920s and ‘30s. The Sign of Four Sunday, June 1 5:00 pm Approximately 83 minutes Director Maurice Elvey Cast Eille Norwood, Arthur M. Cullin, Isobel Elsom, Fed Raynham, Norman Page Musical Accompaniment Donald Sosin One of the best of the surviving silent Sherlock Holmes features, The Sign of Four stars Eille Norwood as the great detective. Arthur Conan Doyle said of Norwood, “He has that rare quality that can only be described as glamour, which compels you to watch an actor eagerly even when he is doing nothing. He has the brooding eye which excites expectation and has also a quite unrivalled power of disguise.” Move over Benedict Cumberbatch! Harbor Drift Sunday, June 1 7:00 pm Approximately 93 minutes Director Leo Mittler Cast Lissi Arna, Paul Rehkopf, Fritz Genschow, Siegfried Arno, Friedrich Gnass, Margarete Kupfer Musical Accompaniment Stephen Horne At Harbor Drift’s center is a beautiful pearl necklace that could change the lives of three impoverished people, but instead leads to more misery. Exquisite camerawork by Friedl Behn-Grund takes in the harbor, bridges, canals and alleyways of Hamburg as the eloquent story prefigures film noir in its depiction of fated souls. The German title Jenseits der Strasse’s subtitle: Eine Tragödie des Alltags—a tragedy of everyday life—is an apt description of Weimar Germany’s unemployment and destitution as personified in the film by an old beggar (Paul Rehkopf), a jobless young man (Fritz Genschow), and a prostitute (Lissy Arna). Little known in the U.S., Harbor Drift is a masterpiece of the late silent era, worthy of standing with giants such as Asphalt and Joyless Street. The Navigator Sunday, June 1 9:00 pm Approximately 60 minutes Director Buster Keaton, Donald Crisp Cast Buster Keaton, Kathryn McGuire, Frederick Vroom, Clarence Burton, H.N. Clugston Musical Accompaniment The Matti Bye Ensemble In his fourth feature film, The Navigator, Buster Keaton plays a rich man who goes to great lengths to woo his ladylove (Kathryn McGuire), and in typical Keaton fashion, ends up adrift at sea. To film the shipboard scenes, Keaton chartered a 370-foot steamship capable of holding hundreds of passengers and crew, anchored it first at Catalina Island and later at Lake Tahoe, and spent ten weeks filming some of his most elaborate and famous stunts, including an underwater sequence. The results were worth it: The Navigator was one of his most successful films, and critics at the time praised it as his best. Keaton also counted it as one of his personal favorites.
by Ron E. Evans
Friday, April 25, 2014
Expanded Chinese Film Festival Studies bibliography 0 M. Gallagher Dear all, As part of the AHRC-sponsored network Chinese Film Festival Studies, we’re compiling a Chinese film festival bibliography. We are now at the second stage of this project, and are looking to collate a list of non-academic writing on Chinese film festivals. This work could include, for example: ·         Newspaper, magazine or wire reports on festivals or related events ·         Interviews with key personnel ·         Online reports or discussions of festivals or related events  The aim is to collate an archive of substantial non-academic writing that contributes to our understanding of the film festival circuit in the Chinese-speaking world. This can then be added to our existing academic bibliography, which can be found on our website (http://chinesefilmfeststudies.org/).If anyone has any references that they feel should be included in this bibliography, or has written anything that could usefully be incorporated, please do not hesitate to contact us at chinesefilmfestivals@gmail.com. The aim is to collate an initial bibliography during December, and post it to the website. However, we intend to keep this as a rolling project until the end of the network. We will therefore be looking to update the bibliography on a monthly basis, including additions in our updates to website subscribers.  If at any point in the next six months you come across a piece of writing that you feel it would be useful to have referenced in the bibliography, please email us, and we can update the file. Many thanks, Chris Berry and Luke Robinson
by M. Gallagher
Monday, November 25, 2013
Updates: Chinese Film Festival Studies website 0 M. Gallagher Dear SCMS members, Two months since the launch of the Chinese Film Festival Studies website (http://chinesefilmfeststudies.org), we have another brief round-up notice detailing updates. In the past month, we’ve added the following material:   NEWS: The US magazine The Advocate published an extended piece this month on young Chinese filmmaker Fan Popo and the Beijing Queer Film Festival, which he is closely involved with running. A link to the piece is available on the website.  ARCHIVE: We have added to the archive a file with scholarship on Chinese film festivals by our Network members. However, we would like to expand this further. If you have additional references that you know of that aren’t in this list, please do contact us directly: there is a link on the website.   FESTIVAL REPORTS. Ma Ran (Nagoya), a member of the network, has written us a report on the Shanghai International Film Festival’s "digital surround”, more specifically discussion of the festival on Weibo (China’s twitter). In this report, she explores debates that emerged online around audience behaviour and the "correct” way to watch a film in the cinema. She links these to broader questions of Shanghainese identity, and to negotiations of the public/private division in the contemporary PRC.  COMING SOON: October and November are the months of the Golden Horse Film Festival (the 台北金馬影展). Menghsin Horng (UC Berkeley) will be writing us a report from Taipei on the festival. We also intend to develop a general bibliography of non-academic writing on Chinese Film festivals (for example, newspaper reports), which will be included with the academic bibliography in the Archives section of the website. Again, please contact us directly if you have suggestions on what to include here.  Thank you, Chris Berry and Luke Robinson
by M. Gallagher
Thursday, November 7, 2013
Past, Present, Future: Indian Cinema at 100 0 A. Gehlawat In observance of the centenary of Indian cinema, the University of Illinois Library presents "Past, Present, Future: Indian Cinema at 100,” a forum dedicated to examining the origins, evolution, and future of Indian cinema in both local and global contexts. This landmark event, marking one hundred years of innovation, growth, and productivity by the world’s largest, most prolific, and most culturally diverse film industry provides a unique opportunity for the University of Illinois—home of nearly one thousand students who hail from the subcontinent, and more than forty South Asian specialists from across the disciplinary spectrum—to recognize the artistic, cultural, and historical contributions Indian cinema has made over the last century.At the same time, it offers exciting possibilities for the University to engage not only with the East Central Illinois South Asian population, but also with those members of the community with an interest in or curiosity about Indian cinema and culture. Distinguished guests include activist and director Onir, Indian cinema and popular culture expert Lalitha Gopalan, cultural critic Ajay Gehlawat and industry analyst Manjunath Pendakur. Although cinema is the focus of the symposium, presentations will examine film in wider social contexts, underscoring the power of the medium to reflect and at the same time to shape individual and group identity, to reaffirm and also to deconstruct dominant cultural beliefs, and to represent and simultaneously to interrogate behavioral norms and conventions. For more details, see: http://publish.illinois.edu/pastpresentfuture2013/
by A. Gehlawat
Monday, October 28, 2013

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