Top PDF The 35 th Chicago International Children s Film Festival

The Chicago International Children’s Film Festival c/o Facets, 1517 W. Fullerton Avenue, Chicago, Illinois 60614 USA. All transportation costs of Festival formats to Chicago must be borne by the participant, including charges for customs clearance. The Festival will pay the cost of shipping all films back to the participant, excluding charges for customs clearance. The Festival will not be responsible for expedited or overnight shipping charges to other organizations. The primary contact person for each film that is accepted into the Festival’s program will be required to complete and return the Shipment Information Worksheet upon receipt. This worksheet will provide further details regarding shipping procedures for Festival formats.

Was your film made for television? q Yes q No Premiere Status The screening at the CICFF will be the: q World Premiere q North American Premiere q US Premiere q Chicago Premiere q Not a Premiere Please check the one that best applies. Your accuracy is of great importance as the information impacts programming decisions. Premiere is defined as “the first time a production is screened for a general audience either theatrically or for broadcast.” After a film has been accepted entrants must honor the status originally indicated on this form to ensure that CICFF has the highest premiere status available.

Ken Hay, CEO of Edinburgh International Film Festival, said: “We all love film and we’re delighted that EIFF is back in 2021, focusing on bringing communities together and celebrating the communal cinema experience as widely and inclusively as possible. The Festival will play a leading role in hailing the return to cinema-going and champion Scottish and UK films to audiences and industry around the world. We also believe that in this year particularly, that EIFF has a strong role to play in highlighting key social issues and will seek to deliver a programme that inspires curiosity and action in our audiences.”

Court (India, 2014), the debut feature of Indian director Chaitanya Tamhane that won the Lion of the Future Best Debut Award at the 2014 Venice Film Festival, is a courtroom drama that examines judicial flaws and inequalities in contemporary Mumbai with a nuanced hand. Meeting Dr. Sun (Taiwan, 2014), an absurdist comedy by Taiwanese director Yee Chih-yen that functions as a vicious, vindictive, but hilarious social commentary on socio-economic issues in Taiwan. Siti (Indonesia, 2014), a deeply moving character study by director Eddie Cahyono, featuring a strong performance by actress Sekar Sari, is about a young mother’s struggle to support her family following an accident that left her fisherman husband paralyzed. Nineteen entries competed in the Southeast Asian Short Film Competition. Highlights included Not Working Today (Singapore, 2014) by Shijie Tan, which follows a foreign worker as he seeks justice for maltreatment at the hands of his employers. Pifuskin (Singapore, 2014) by Tan Wei Keong, an experimental animation about the psychosomatic effects that the environment has on the human body. Dahdi (Granny, Singapore, 2014) by Kirsten Tan, a well-made film that depicts an encounter between an elderly woman and a young Burmese Rohingya girl, who seeks asylum from ethnic violence in her native country. Xing (Malaysia, 2014) by Bradley Liew, is a wistful exploration of the relationship between a Chinese lounge singer and a Malay gangster.

Cartoon Kids Award , among the films participating in the Cartoon Club Award, the Signor Rossi Award and International Showcase, the direction of the Festival will select, at its discretion, some short animated films aimed at a target child. Among these films a jury of only children will decide the winner of the Cartoon Kids Award.

1.1 - CINEfoot - International Football Film Festival is the first film festival in Brazil and Latin America with unique curatorial and conceptual approaches about football. The event aims the promotion, diffusion, reflection and appreciation of football films. Its programme consists of two International Competitions in Rio de Janeiro and São Paulo:

GOING UP THE STAIRS: PORTRAIT OF AN UNLIKELY IRANIAN ARTIST Iran drawing.. JAILING THE INNOCENT[r]

The interviews with the senior management and programming staff (See Table 5 – List of Research Participants) were conducted in office locations that were private, where the interviewees felt comfortable, and that afforded both interviewees and the interviewer the opportunity to engage in ‘spirited’ dialogue that was non-threatening and relaxed, but also allowed for confidentiality and discretion. The objective in conducting the interview in that environment and manner was to engender collaboration, collegiality, and collective reflection (Kelly & Cherkowski, 2015; Robinson, 2011) within a professional atmosphere that allowed for the participants to be engaged and helpful. Conducting each interview in such an environment was important because of the nature of the questions that were personal, yet professional. Furthermore, Czach (2004) espoused that film festival programmers can help define and reflect the state of film canon, but can also challenge the status quo and what gets defined, given their curatorial responsibilities. She further highlighted, that “while film festival programming may be only one in a series of events that can lead a film becoming part of a canon, it can also work to define and redefine the concept of [the festival] itself” (p. 85).

Features Programs 7 A Tale of Three Chinatowns | This film explores the struggle for survival of Chinatowns in the Boston, Chicago and Washington DC. Facing historic events, urban development, and socio-economic trends, the film looks at the relevance and role of Chinatowns today.

SALIDAS (span., DEPARTURES) is a fictional dance film which tells the story of Giralda, an undertaker who accompanies deceased human beings into their afterlife. Interpreted with the means of Spanish flamenco dance and music and set at an old East German ship canal lift, the film creates an associati- ve fusion between Northern and Southern Europe, movement and silence, and farewells and eternity.

2. During the collecting and screening of this festival, the selection committee will show an excerpt of your film on the ISFVF website for information purposes. When you fill in the entry form, please communicate with your film’s copyright owner, and authorize the selection committee to use your work’s net copyright. The selection committee will use your film in accordance with the agreed level of authorization. If any legal conflicts relating to copyright issues arise, the person who signs the form is liable.

This community of the Riviera, characterised by the extremes of life and death, is mirrored in the community of the Cannes Film Festival, which consists of two principal groups: the audience and the stars. The audiences of the festival have been changing throughout its history. However, this does not mean that, at any stage in its history, the Cannes Film Festival became a public event. Its audience has always been carefully selected, with the general public never having been given any access to it, beyond being allowed to stargaze the red carpet and participate in beach screenings called Cinéma de la Plage. For the first two decades of its existence, the festival worked hard to replicate the traditional audience of the Riviera, consisting of the wealthy middle class and aristocrats who filled the hotels of the area in the nineteenth and early twentieth century. The French Ministry of Foreign Affairs was responsible for issuing invitations to the festival to all film producing countries across the world. As a result, the audience was dominated by government officials and diplomats, thus creating a very elitist and selected gathering. This type of attendees was over- represented until the rules regarding film selection and programming were changed after the events of May 1968, when the festival was suspended (Ostrowska, “Inventing Arthouse”;

knowing how to navigate the contemporary Dutch and Rotterdam environment; staying true to the festival’s artistic commitment to alternative voices, world cine- ma, and the festival’s own glorious past. Looking back at the 2015 edition there are things that the future leader should take note of. First, programs like IFFRLive! and IFFR+ encourage the continuation of experimenting with new initiatives. Even if only a few of these ‘start-ups’ will take root festivals offer excellent testing grounds that ought to be taken advantage of. Second, if the festival wants to prevent the alienation of certain target audience groups it would be wise to address the feelings of marginalisation that they ex- perience, both by dedicating more organisational effort to sections that might not draw big audiences and by seriously looking into the issue of the spatial seclusion of certain program sections. Finally, despite the significance of surrounding events and surprising extras let us not forget that at the heart of any film festival are the films. Invest in programming, connect to many different territories, value relations with (new) filmmakers, and celebrate cinema thoroughly and passionately.

For more than 70 years the end of summer has marked the transformation of the island of Lido - Venice into the world’s cinema capital. Described as “the definitive test” for any director, the Venice Film Festival, known as La Mostra Internazionale d’Arte Cinematografica, has consecrated cinema as a true art form, etching important chapters in its history and expanding recognition around the world.

of documentation. We tried to think who would be the best person to write such an introductory text for the lefkoma; Athina suggested Mouzaki, the current director of the festival, as a logical choice, while Thomas suggested Michel Demopoulos, the previous director, since he had led the festival for nearly fifteen years and had been responsible for transforming it into the institution as it exists today. But Ifigenia deemed both inappropriate - they were too polarizing, she argued, referring to the acrimonious changeover in directorship and the party politics behind it, namely the victory of New Democracy over PASOK in the 2004 national elections. Lina suggested Yannis Bakoyannopoulos, an established film critic of the older generation who had attended the festival from its early years, or Giannis Soldatos, a respected film historian specializing in Greek cinema. But Ifigenia replied that even they would not be “neutral” enough; she argued that anyone with enough authority and experience to qualify to write such an introductory text would either have a particular point of view or would at least be accused of having one, and she did not want anyone to accuse the festival or the editorial team of pursuing a larger agenda or ulterior motive with the book. In the end, it was decided that there would be no such text at all; apart from the formalities (typika) of opening remarks by the director and a short text describing methodology, structure and abbreviations, there would only be photographs and information about each festival edition in the form of data points. In the quest for absolute objectivity, or at least the appearance of it, the group went so far as to erase authorship completely, or at least attempt to.

July of 1974 the right-wing dictatorship fell, as a result of the Turkish invasion in Cyprus. A moment of hope was matched by what was considered a national disaster, while all sorts of repressed tensions were brought to the surface. This impacted directly on the running of both the Greek and the International festivals, as various confrontations among the audience, the committees and the filmmakers were reported. For example, intense vocal disapprovals by members of the audience of the second gallery (known as B Exostis in Greece) motivated the intervention of the police; this, in turn, ignited public anger, because it was widely seen as an unjustifiably repressive action. Elsewhere, a group of disgruntled filmmakers not selected for the festival organized their own parallel screening, the first ‘anti-festival.’ In protest against the extensive censorship practices of the dictatorship, a number of films previously banned were screened, while Pavlos Zannas, who now headed the Greek festival’s jury, made calls for the need to review the festival’s proceedings and remove censorship. A public discussion during the international festival also focused on the need to reorganize the event and expressed disapproval about the role of FIAPF. Last but not least, the international festival jury, headed by director Jules Dassin, resigned in protest for the decision of the organizing committee to withdraw three Greek films for not meeting the FIAPF-agreed regulations (TIFF 2009, 155-157).

These figures show that the Arts play quite an important role in the leisure time activities of Australians, An earlier study by the Australia Council, looking at Australian attitudes t[r]

Do we succumb to the charm of the material or is it the multi-faceted story of a class, a life, or a relationship – parts of which even seem familiar? A story in which we find ourselves? In-between, the courage of the black screen. We experience a subtle cinematic sense of verbal and visual narrative. We learn about the value of fulfilling work in human life – that, too, seems familiar. Time and again, the outside invades the private sphere: documentary television images of the war in Yugoslavia and burning buildings – we almost forgot how long ago right-wing violence resurfaced in the German Republic. In the beginning we hear the pulse of life, followed by fast and hard cuts of portraits of a man and woman in 1970s aesthetics. The couple grows older and we take part in their leftist liberal bourgeois life, but also in processes of change, interspersed with red light, radiation therapy and introspections, self- questioning caused by a serious illness. A narrative film about life is distinguished here, a touchingly revealing portrait, drawn so intimately, so excitingly, as an existential story that happens at all times and that in the end leaves many questions open for us, the audience, and thus continues in our minds.

With the existence of BIFF dating back to 1996, many years have passed during which a multitude of screenings, conferences, master classes, markets and various types of sidebars have occurred, which greatly influenced the country’s film industry and culture. More importantly, BIFF has expanded and greatly altered its structure, shifting from a showcase event to an industry actor, participating in the completion of many film projects. It has become evident that with each edition, BIFF has put its stamp on Korean, Asian and even international film culture. It is not possible for this thesis to cover all aspects of BIFF since its inception. Consequently, choices must be made regarding which elements of BIFF are examined. Restrictions must be established in order to focus and guide the study of BIFF on particular points of interest. These focal points are: the local Korean film industry, its history and development, feature length fiction films, Korean filmmakers, with a side note on Asian auteurs, the relation between the state, BIFF and the film industry and, perhaps most importantly, the push towards globalization in Korean culture in the late 1990s. The correlation of the thesis question with these focal points of interest offers us a series of secondary questions such as: how did BIFF contribute to our understanding of Korea’s film history, what was the role of the state in BIFF’s creation or how does BIFF fit into the country’s film history? The fundamental objective of this process is to allow an inexperienced reader, who is foreign to the subject, to read this thesis and understand how BIFF, as the first international film festival in Korea’s history, played a crucial part in Korea’s success locally and globally.

Place certify that I have read and approved the rules and regulations of the CineClass International Student short Film Festival and I accept all conditions. Please return this completed form, signed and accompanied by the required data CD or DVD, and the pre-selection DVD copy of your film before or no later than Junuary the 13th 2014.