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On average million want to break into this industry but in reality some people only step into this industry and eventually less than 10 people will get a great success while other people just stay in the industry for the right chance.
Unfortunately now a days Indian film industry is ruled by w...
great article on the kuleshove effect editing by elements of cinema read here
In the dawn of the 20th century, cinema was a new art form, consisting of many techniques that hadn’t been fully developed. The elements of editing were among them. Filmmakers knew that you could cut and splice the...
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
Pentax Spotmatic - Ilford Delta 100
No more packing a van at 7 every morning (after a nice hour journey down the motorway). I'll miss my early mornings with Terry Wogan.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
"Imaginaton", es una gran maratón de la imaginación audiovisual, que se divide en realización y exhibición.
En la MARATÓN DE REALIZACIÓN todos los participantes previamente inscritos podrán contar historias con cualquier tipo de cámara que permita registro visual (incluidas cámaras fotográficas digitales, celulares y web cam), durante un fin de semana (7 al 9 de septiembre) en el que los realizadores profesionales y aficionados de veintiún ciudades del paÃs (Bogotá, MedellÃn, Cali, Barranquilla, Cartagena, Cúcuta, Ibagué, Bucaramanga, Pereira, Villavicencio, Valledupar, Pasto, Manizales, Neiva, Sincelejo, Popayán, Florencia, Quibdó, Leticia, San Andrés y Villa de Leyva.) competirán simultáneamente por conseguir el mejor plano secuencia de 60 segundos, capaz de contar la mejor historia jamás contada en un minuto.
Por su parte la MARATÓN DE EXHIBICIÓN está diseñada para ver durante 10 horas consecutivas lo mejor del cine joven colombiano en simultanea en las mismas 21 ciudades.
Web Oficial: www.imaginaton.lbv.co/index.php
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"Imaginaton" is an audiovisual marathon, which is divided into realization and exhibition.
REALIZATION MARATHON; participants can tell stories with any type of camera that allows visual record (including digital cameras, mobile phones and web cam), during a weekend (7th to 9th of September) in which professional and amateur filmmakers of twenty cities (Bogota, Medellin, Cali, Barranquilla, Cartagena, Cucuta, Ibague, Bucaramanga, Pereira, Villavicencio, Valledupar, Pasto, Manizales, Neiva, Sincelejo, Popayan, Florence, Pretoria, Leticia, San Andrés and Villa de Leyva.) simultaneously compete to get the best 60-second sequence, able to tell the best story ever told in a minute.
Meanwhile Marathon exhibition is designed to show for 10 consecutive hours of Colombian films, simultaneously in the same 21 cities.
Official Website: www.imaginaton.lbv.co/index.php
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Photo & Editing: Oleg Valentinovich Litvin
Shot with Canon, Edited in Photoshop CS5.
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Oleg Litvin
Dead Planet Studios
www.facebook.com/olegvalentinovichlitvin
Source – Creative skillset
First Assistant Director (First AD)
Industries:
Film
Personality type:
Organiser
Departments:
Direction
The lowdown
Being the Director’s right-hand person, taking responsibility for a number of important practicalities so that the Director is free to...
Starring Harry Carey, Edwina Booth, Duncan Renaldo, Mutia Omoolu, Olive Golden. Directed by W.S. Van Dyke.
This production was an amazing undertaking in 1931. American filmmaking with sound and location shooting was unheard of and with the country still feeling the effects of the depression also quite a gamble. This is a fascinating tale of a real life adventure with a dose of Hollywood shenanigans thrown in.
The movie tells of the adventures of real-life trader and adventurer Alfred Aloysius "Trader" Horn on safari in Africa. The fictional part includes the discovery of a white blonde jungle queen, the lost daughter of a missionary, played by Miss Booth. The realistic part includes a scene in which Carey as Horn swings on a vine across a river filled with genuine crocodiles, one of which comes very close to taking his leg off.
The following review is by an anonymous writer.......I note a number of misconceptions about this great old flick, or maybe some viewers are missing a few things. Sure, Harry Carey refers to some of the tribes-people herein as savages. But, look, on a daily basis they will kill you, cook you, shrink your head, and eat what's left. If that isn't savage, I'd like to know what is. The tribes-people pictured here aren't the Dead End Kids waiting for a weekly visit from their case worker. Yes, Carey refers to his man Friday as a black so-and-so, but the so-and-so comes off looking highly noble in the script, and Carey pays him due tribute. As for Carey playing the part of a hardened Congo guide, he does a mighty fine job of rendering a realistic character, just as would John Wayne, Charleton Heston, or Clint Eastwood. In the War on Poverty days I could see some misguided soul casting Anthony Perkins in the role, but it seems to me Mr. Carey does a superb job. Another reviewer remarked Carey falls in love with the rescued captive; I disagree. Carey had pledged to protect her and return her to civilization. One person from whom he tries to protect her is the naive, erotically smitten Duncan Renaldo ("Peru"), whose character is the opposite of Trader Horn's. Trader Horn knows what's out there and what to watch for; Peru is a total newbie whose missteps could get everyone killed and cooked, including himself. I think this film's characters, story, and production handily outdo any jungle flick made since then. Kinda scary, too. So scary, in fact, and so real, I wouldn't recommend it for the kiddies. Revisionist historians stay clear; in 1931, this is really what Darkest Africa was like.
Summary:
Deep in the heart of Africa, famous hunter, explorer Aloysius Horn, known as Trader Horn due to his bartering skills, tells Peru, the son of his best friend, that he was the first white man to set eyes on the river on which they are sailing. When their boat approaches a small African village that is bustling with activity, the natives welcome the visitors, and Trader asks to be taken to the chief. Though Trader warns Peru of the savage nature of the natives, Peru is nevertheless shocked when he sees a human skeleton displayed on a public cross. The white men's visit is soon interrupted by the ominous sound of a distant drum beat, known as "ju-ju," which the Africans, as well as Trader, know signals the impending attack of the brutal Masai warriors. Trader explains to Peru that when the Masai and the Kukua tribes get together, "the devil is certainly involved," and suggests that they move on. That night, the men, with their African guide, Renchero, set up camp, but they are awakened by the unexpected arrival of the white missionary woman, Edith Trent. Edith, a friend of Trader, whom Trader calls the bravest woman in all of Africa, informs him that she intends to go above the Opanga Falls and into Isorgi country in order to find her missing daughter Nina, who is believed to be living among the Isorgi. Trader warns Edith of the dangers of traveling during ju-ju and offers to accompany her, but she refuses, claiming that the presence of a male with guns will only startle the warriors into violence. Edith consents, however, to allow Trader and his companions to follow her at a distance, on the condition that he continue her search if something should happen to her. Not long after the expedition begins, Trader and Peru discover Edith's body by the river. They proceed to bury it under rocks and mark it for witch doctors, who will later dig it up and make charms out of it. As they promised Edith, Trader and Peru take up her search for Nina, and on the trail find themselves in the company of giraffes, leopards, ostriches, warthogs, zebras and other creatures. After Trader and Peru finally locate Nina, they soon realize that she is the sadistic white goddess of the village in which she lives, and that she plans to sacrifice her new visitors by tying them to crosses and burning them. At the last minute, though, Nina has a change of heart, orders their release, and plans an escape with them from the bushmen, who have turned on her. The goddess escorts the men across the lake, and they brave the perils in their path, including a lion attack. During the course of their journey, Peru and Nina fall in love, and when they kiss, Trader insists that he separate from them for the remainder of the trip. The sound of the enemy tribe's approach sends them scattering, Peru with Nina, and Trader with Renchero. The next morning, Trader discovers that Renchero has sacrificed his life in order to protect him and mourns the loss of his friend. Meanwhile, Peru and Nina are shown to safety by a tribe of pygmies, and they are eventually reunited with Trader. Peru tells Trader that he is taking Nina back to civilization to educate her, and as they sail off, Trader sees an image of Renchero in the clouds on the horizon.
The following onscreen acknowledgment appears in the film's titles: "M-G-M acknowledges Governors and governmental officials of the Territory of Tanganyika, the Protectorate of Uganda, the Colony of Kenya, the Anglo-Egyptian Sudan, [and] the Belgian Congo, whose courtesy and cooperation made this picture possible...and the director offers his thanks for the courageous and efficient services of the White Hunters, Maj. W. V. D. Dickinson, A. S. Waller, Esq., J. H. Barnes, Esq., [and] H. R. Stanton, Esq., who were chiefly responsible for the expedition's ability to traverse 14,000 miles of African velt and jungle."
According to a FD news item, following its publication, Trader Horn became one of the best-selling books of its time. The film was the first non-documentary film to be shot almost entirely on location in Africa. A Jan 1930 AC article notes that the film was nearly half completed when the studio informed the crew in Africa that Hollywood was sending a sound crew to meet them. They were told that "the world was demanding its pictures all-talking." According to an Ap 1931 Photo article, M-G-M secretly sent a second unit to Tecate, Mexico, away from American laws that secured the ethical treatment of animals, to film scenes of animals fighting with each other, which they were unable to capture on film in Africa. In Mexico, lions were reportedly starved for several days in order to ensure immediate and particularly vicious attacks on hyenas, monkeys and deer.
Modern sources relate the following information about the film: Tim McCoy was originally chosen to play the title role; Thelma Todd was tested for the part of "Nina" and M-G-M production head Irving Thalberg reportedly considered Jeanette MacDonald for the part. During the filming of a scene in which white hunter Major W. V. D. Dickinson and director W. S. Van Dyke doubled for the leading men, a charging rhino nearly killed Dickinson, who incorrectly thought that the director was in distress and jumped into the rhino's path to protect him. During production, Van Dyke and many of his crew contracted malaria and were treated with quinine. Despite the British authorities' insistence that no one travel to the Murchison Falls, a known sleeping-sickness area, the director took his crew there for filming. The production was marred by at least two fatal disasters. In the first instance, a native crew member fell into a river and was eaten by a crocodile; in the other incident, which was captured on film, a native boy was struck by a charging rhino. Misfortunes of lesser consequence on the African location included flash floods, sunstroke, swarming locusts and tsetse-fly and ant attacks. Despite months of sound filming, almost all of the dialogue sequences in the film were re-shot on M-G-M's Culver City backlot after the troupe returned from Africa because of the poor quality of the location footage. As the script called for speaking scenes involving African natives Mutia Omoolu and Riano Tindama, they were brought back to Hollywood for additional shooting.
With all the production activity in Culver City, rumors began circulating in Hollywood that the entire production was filmed on the M-G-M lot and that the African expedition did not take place. For this reason, the studio decided to scrap the backlot footage of Marjorie Rambeau, who had replaced Olive Golden as "Edith Trent." Modern sources add the following credits: Red Golden, Asst dir ; Josephine Chippo, Script clerk ; John McClain, Press agent and Miss Gordon, Hairdresser . Although modern sources indicate that the film was originally released with a short introduction in which director Cecil B. DeMille discusses the film's authenticity with author Alfred Aloysius Horn, and that the three-minute introduction was deleted from the negative in 1936, when the picture was re-issued, neither the viewed print nor the cutting continuity contain the introduction. The final production cost was pegged at $3,000,000.
Leading actor Harry Carey was married to actress Olive Golden. According to modern sources, following publicized rumors of an affair between stars Duncan Renaldo and Edwina Booth (formerly Josephine Woodruff) during production, Renaldo's wife, Suzette, filed for divorce and later filed a $50,000 lawsuit against Booth for "alienation of affection." On 17 Jan 1931, Duncan Renaldo was arrested on charges that he entered the United States illegally and was later sentenced to two years in federal prison. After serving less than two years, Renaldo received a pardon from President Franklin Delano Roosevelt in 1936, after which he left the country, re-entered legally and became a U. S. citizen. Booth contracted a rare tropical disease while filming in Africa that affected her nervous system and reportedly forced her to remain confined to a darkened room for the better part of six years.
Trader Horn was nominated for an Academy Award for Best Picture of the 1930-31 season, and director W. S. Van Dyke was awarded the Red Cross Medal by the Japanese government for his outstanding achievement in direction.
Starring Harry Carey, Edwina Booth, Duncan Renaldo, Mutia Omoolu, Olive Golden. Directed by W.S. Van Dyke.
This production was an amazing undertaking in 1931. American filmmaking with sound and location shooting was unheard of and with the country still feeling the effects of the depression also quite a gamble. This is a fascinating tale of a real life adventure with a dose of Hollywood shenanigans thrown in.
The movie tells of the adventures of real-life trader and adventurer Alfred Aloysius "Trader" Horn on safari in Africa. The fictional part includes the discovery of a white blonde jungle queen, the lost daughter of a missionary, played by Miss Booth. The realistic part includes a scene in which Carey as Horn swings on a vine across a river filled with genuine crocodiles, one of which comes very close to taking his leg off.
The following review is by an anonymous writer.......I note a number of misconceptions about this great old flick, or maybe some viewers are missing a few things. Sure, Harry Carey refers to some of the tribes-people herein as savages. But, look, on a daily basis they will kill you, cook you, shrink your head, and eat what's left. If that isn't savage, I'd like to know what is. The tribes-people pictured here aren't the Dead End Kids waiting for a weekly visit from their case worker. Yes, Carey refers to his man Friday as a black so-and-so, but the so-and-so comes off looking highly noble in the script, and Carey pays him due tribute. As for Carey playing the part of a hardened Congo guide, he does a mighty fine job of rendering a realistic character, just as would John Wayne, Charleton Heston, or Clint Eastwood. In the War on Poverty days I could see some misguided soul casting Anthony Perkins in the role, but it seems to me Mr. Carey does a superb job. Another reviewer remarked Carey falls in love with the rescued captive; I disagree. Carey had pledged to protect her and return her to civilization. One person from whom he tries to protect her is the naive, erotically smitten Duncan Renaldo ("Peru"), whose character is the opposite of Trader Horn's. Trader Horn knows what's out there and what to watch for; Peru is a total newbie whose missteps could get everyone killed and cooked, including himself. I think this film's characters, story, and production handily outdo any jungle flick made since then. Kinda scary, too. So scary, in fact, and so real, I wouldn't recommend it for the kiddies. Revisionist historians stay clear; in 1931, this is really what Darkest Africa was like.
Summary:
Deep in the heart of Africa, famous hunter, explorer Aloysius Horn, known as Trader Horn due to his bartering skills, tells Peru, the son of his best friend, that he was the first white man to set eyes on the river on which they are sailing. When their boat approaches a small African village that is bustling with activity, the natives welcome the visitors, and Trader asks to be taken to the chief. Though Trader warns Peru of the savage nature of the natives, Peru is nevertheless shocked when he sees a human skeleton displayed on a public cross. The white men's visit is soon interrupted by the ominous sound of a distant drum beat, known as "ju-ju," which the Africans, as well as Trader, know signals the impending attack of the brutal Masai warriors. Trader explains to Peru that when the Masai and the Kukua tribes get together, "the devil is certainly involved," and suggests that they move on. That night, the men, with their African guide, Renchero, set up camp, but they are awakened by the unexpected arrival of the white missionary woman, Edith Trent. Edith, a friend of Trader, whom Trader calls the bravest woman in all of Africa, informs him that she intends to go above the Opanga Falls and into Isorgi country in order to find her missing daughter Nina, who is believed to be living among the Isorgi. Trader warns Edith of the dangers of traveling during ju-ju and offers to accompany her, but she refuses, claiming that the presence of a male with guns will only startle the warriors into violence. Edith consents, however, to allow Trader and his companions to follow her at a distance, on the condition that he continue her search if something should happen to her. Not long after the expedition begins, Trader and Peru discover Edith's body by the river. They proceed to bury it under rocks and mark it for witch doctors, who will later dig it up and make charms out of it. As they promised Edith, Trader and Peru take up her search for Nina, and on the trail find themselves in the company of giraffes, leopards, ostriches, warthogs, zebras and other creatures. After Trader and Peru finally locate Nina, they soon realize that she is the sadistic white goddess of the village in which she lives, and that she plans to sacrifice her new visitors by tying them to crosses and burning them. At the last minute, though, Nina has a change of heart, orders their release, and plans an escape with them from the bushmen, who have turned on her. The goddess escorts the men across the lake, and they brave the perils in their path, including a lion attack. During the course of their journey, Peru and Nina fall in love, and when they kiss, Trader insists that he separate from them for the remainder of the trip. The sound of the enemy tribe's approach sends them scattering, Peru with Nina, and Trader with Renchero. The next morning, Trader discovers that Renchero has sacrificed his life in order to protect him and mourns the loss of his friend. Meanwhile, Peru and Nina are shown to safety by a tribe of pygmies, and they are eventually reunited with Trader. Peru tells Trader that he is taking Nina back to civilization to educate her, and as they sail off, Trader sees an image of Renchero in the clouds on the horizon.
The following onscreen acknowledgment appears in the film's titles: "M-G-M acknowledges Governors and governmental officials of the Territory of Tanganyika, the Protectorate of Uganda, the Colony of Kenya, the Anglo-Egyptian Sudan, [and] the Belgian Congo, whose courtesy and cooperation made this picture possible...and the director offers his thanks for the courageous and efficient services of the White Hunters, Maj. W. V. D. Dickinson, A. S. Waller, Esq., J. H. Barnes, Esq., [and] H. R. Stanton, Esq., who were chiefly responsible for the expedition's ability to traverse 14,000 miles of African velt and jungle."
According to a FD news item, following its publication, Trader Horn became one of the best-selling books of its time. The film was the first non-documentary film to be shot almost entirely on location in Africa. A Jan 1930 AC article notes that the film was nearly half completed when the studio informed the crew in Africa that Hollywood was sending a sound crew to meet them. They were told that "the world was demanding its pictures all-talking." According to an Ap 1931 Photo article, M-G-M secretly sent a second unit to Tecate, Mexico, away from American laws that secured the ethical treatment of animals, to film scenes of animals fighting with each other, which they were unable to capture on film in Africa. In Mexico, lions were reportedly starved for several days in order to ensure immediate and particularly vicious attacks on hyenas, monkeys and deer.
Modern sources relate the following information about the film: Tim McCoy was originally chosen to play the title role; Thelma Todd was tested for the part of "Nina" and M-G-M production head Irving Thalberg reportedly considered Jeanette MacDonald for the part. During the filming of a scene in which white hunter Major W. V. D. Dickinson and director W. S. Van Dyke doubled for the leading men, a charging rhino nearly killed Dickinson, who incorrectly thought that the director was in distress and jumped into the rhino's path to protect him. During production, Van Dyke and many of his crew contracted malaria and were treated with quinine. Despite the British authorities' insistence that no one travel to the Murchison Falls, a known sleeping-sickness area, the director took his crew there for filming. The production was marred by at least two fatal disasters. In the first instance, a native crew member fell into a river and was eaten by a crocodile; in the other incident, which was captured on film, a native boy was struck by a charging rhino. Misfortunes of lesser consequence on the African location included flash floods, sunstroke, swarming locusts and tsetse-fly and ant attacks. Despite months of sound filming, almost all of the dialogue sequences in the film were re-shot on M-G-M's Culver City backlot after the troupe returned from Africa because of the poor quality of the location footage. As the script called for speaking scenes involving African natives Mutia Omoolu and Riano Tindama, they were brought back to Hollywood for additional shooting.
With all the production activity in Culver City, rumors began circulating in Hollywood that the entire production was filmed on the M-G-M lot and that the African expedition did not take place. For this reason, the studio decided to scrap the backlot footage of Marjorie Rambeau, who had replaced Olive Golden as "Edith Trent." Modern sources add the following credits: Red Golden, Asst dir ; Josephine Chippo, Script clerk ; John McClain, Press agent and Miss Gordon, Hairdresser . Although modern sources indicate that the film was originally released with a short introduction in which director Cecil B. DeMille discusses the film's authenticity with author Alfred Aloysius Horn, and that the three-minute introduction was deleted from the negative in 1936, when the picture was re-issued, neither the viewed print nor the cutting continuity contain the introduction. The final production cost was pegged at $3,000,000.
Leading actor Harry Carey was married to actress Olive Golden. According to modern sources, following publicized rumors of an affair between stars Duncan Renaldo and Edwina Booth (formerly Josephine Woodruff) during production, Renaldo's wife, Suzette, filed for divorce and later filed a $50,000 lawsuit against Booth for "alienation of affection." On 17 Jan 1931, Duncan Renaldo was arrested on charges that he entered the United States illegally and was later sentenced to two years in federal prison. After serving less than two years, Renaldo received a pardon from President Franklin Delano Roosevelt in 1936, after which he left the country, re-entered legally and became a U. S. citizen. Booth contracted a rare tropical disease while filming in Africa that affected her nervous system and reportedly forced her to remain confined to a darkened room for the better part of six years.
Trader Horn was nominated for an Academy Award for Best Picture of the 1930-31 season, and director W. S. Van Dyke was awarded the Red Cross Medal by the Japanese government for his outstanding achievement in direction.
Scripps scientist Erica Mitchell (far right) instructs students in the natural disasters filmmaking class.
FLEX– The Florida Experimental Film/Video Festival– presents Spacey Space, a selection of some of their favorite entries from past festivals. The selection of these particular works was inspired by the theme of one of the festivals most popular programs of the 2009 competitive festival. While capturing the broad scope of work submitted each year to the festival, the individual works contained in this program all manage to share a common interest in exploring the notion of space–both inner and outer.
While some of these works implore us to pull from the void in order to recognize and remember that which appears lost–be it forgotten people, memories, ideas, yet others reveal what is already there, and unseen to the naked eye– electrons, devices of control and isolation, and ghosts. By exploring the expanses of inner and outer space, the phantom zones existing beside us and within us, these pieces demand of us a closer inspection of the unseen, the in between, and the forgotten.
Energie! by Thorsten Fleisch
(Germany, 2007, 6 minutes, DVD)
From a more technical point of view, the TV/video screen comes alive by a controlled beam of electron in the cathode ray tube. For Energie! and uncontrolled high voltage discharge of approximately 30,000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization.
Thorsten Fleisch’s experimentation of materials in his work results in a heightened state of awareness of unseen elements and captured ephemera. He began experimenting with super 8 film in high school. He went on to study with Peter Kubelka at the Stadelschule in Frankfurt where he began working with 16mm film.
Day/Night (Devil’s Millhopper) by Andres Arocha
(USA, 2009, 5 minutes, 16mm)
Enter a space. A one hundred feet deep hole dwarfs invaders with visions of immeasurably tall trees in an almost pristine natural setting. How do you see it? Inspired by the grandeur of nature, Day/Night (Devil’s Millhopper) limits itself to this setting and explores it through different eyes.
Spaceghost by Laurie Jo Reynolds
(USA, 2007, 26 minutes, DVD)
Space Ghost compares the experiences of astronauts and prisoners, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation, the perception of time as chaotic and indistinguishable, the displacement of losing face-to-face contact, and the sense of existing in a different but parallel universe with family and loved ones.
Laurie Jo Reynolds is an artist, educator, and activist. In addition to being an advocate for prisoners’ rights, she is also involved with creative collaborative projects for prisoners and ex-offenders. She teaches at Columbia College and Loyola University in Chicago
Rosewell by Bill Brown
(USA, 1994, 23 minutes, 16mm)
A space kid borrows dad’s UFO for a joyride, but winds up crashing near Roswell, New Mexico. An amnesiac filmmaker goes looking for answers.
Bill Brown makes movies about ghosts that masquerade as movies about landscapes– or maybe it’s the other way around. He studied filmmaking at Harvard University, and received his MFA from the California Institute of the Arts.
All Through the Night by Michael Robinson
(USa, 2008, 4 minutes, DVD)
A charred visitation with an icy language of control; there is no room for love.
Since the year 2000, Michael Robinson has created a body of film, video and photography work exploring the poetics of loss and the dangers of mediated experience. Originally from upstate NY, he holds a BFA from Ithaca College, and a MFA from the University of Illinois at Chicago.
Phantogram by Kerry Laitala
(USA, 2008, 6 minutes, 16mm)
A communication between the maker, pure light, and the shadow?graphic spirits of cinema. A telegram from the dead using the medium of film. Slippery shimmers slide across the celluloid strip, to embed themselves on the consciousness of the viewers.
Kerry Laitala is an experimental filmmaker from San Francisco whose handcrafted films are masterful, tactile, manipulations of celluloid. She studied film and photography at Massachusetts College of Art, and has a masters degree from the San Francisco Art Institution.
It Will Die Out in the Mind by Deborah Stratman
(USA, 2006, 4 minutes, DVD)
A short meditation on the possibility of spiritual existence and the paranormal in our information age. Texts are lifted from Andrei Tarkovsky’s film Stalker in which Stalker’s daughter redeems his otherwise doomed spiritual journey. She offers him something more expansive and less explicable than logic or technology as the conceptual pillar of the human spirit.
The title is taken from a passage about the time from Fyodor Dostoyevsky’s The Possessed:
Stavrogin: …in the Apocalypse the angel swears that there’ll be no more time.
Kirillov: I know. It’s quite true, it’s said very clearly ad exactly. When the whole of man has achieved happiness, there won’t be any time, because it won’t be needed. It’s perfectly true.
Stavrogin: Where will they put it then?
Kirillov: They won’t put it anywhere. Time isn’t a thing, it’s an idea. It’ll die out in the mind.
Deborah Stratman is a Chicago-based filmmaker who leaves town a lot. Her films blur the lines between experimental and documentary genres, and she frequently works in other media including photography, sound, drawing and architectural intervention. Deborah teaches at the University of Illinois at Chicago, the School of the Art Institute of Chicago and Cal Arts.
FLEX–the Florida Experimental Film/Video Festival–has sought to provide a year-round home for the exhibition of experimental cinema from around the world since 2004. Our hope is that this annual event can serve as an important venue for artists to share their work, while also allowing local audiences a unique opportunity to see significant works that do not have a regular home elsewhere in the State.
Started by experimental filmmaker and University of Florida professor Roger Beebe in Gainesville, Florida, FLEX has earned itself a reputation for quality programing and events. In addition to the alternating festivals, one competitive and the other invitational, FLEX regularly presents film-centric events. These other events, like gong shows featuring industrial and educational films, Cinema Under the Stars- 16mm movie classics screened outside, and Silent Films, Loud Music- local musicians score music to silent films, all serve to promote the communal experience of film viewing.
Between splitting her time mining the internet for the most gruesome pics for her psychology lab job and working at Gainesville’s finest independent video store, Alisson Bittiker, once the FLEX chair wrangler, is now the Managing Director of FLEX. Dreams, of constant stress, work, and no pay, really do come true. She studied photography and video at the University of Florida.
Good acting is how much the actor is able to connect his character with audience .In game of thrones everyone cheered when Jeffery got died.The actor did an awesome job by connecting to audience emotionally
Follow this amazing article from thetreschool.com
What makes a great actor? An...
Luke Buckley, Holly McColl and George Fairbrother are just three of the talented dancers appearing in upcoming full length musical movie, Perfectly Frank.
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British postcard by NT (National Theatre), no. NT142. Photo: Manuel Harlan. Kenneth Branagh in 'Edmond' (2003) by David Mamet at the Olivier Theatre.
Kenneth Branagh (1960) is a Northern Irish actor and film director, famous for his film adaptations of Shakespeare’s plays.
Kenneth Charles Branagh was born in Belfast, Northern Ireland, in 1960. His parents were William Branagh, a plumber and carpenter, and Frances (Harper). He is the middle of three children, with an older brother and a younger sister. When he was nine, his family moved to Reading, England. At the age of eighteen, Branagh began studying at the prestigious Royal Academy of Dramatic Art in London. In 1980, RADA's principal Hugh Cruttwell asked Branagh to perform a soliloquy from 'Hamlet' for Queen Elizabeth II during one of her visits to the academy. Branagh's first film appearance was as an uncredited role as a Cambridge student in the sports drama Chariots of Fire (Hugh Hudson, 1981). After completing his studies, Branagh made his West End debut in 1982. The following year, he was awarded the Laurence Olivier Theatre Award for Most Promising Newcomer for his role as Judd in Julian Mitchell's 'Another Country'. At 23, he joined the Royal Shakespeare Company, where he took on starring roles in 'Henry V' and 'Romeo and Juliet'. The 1984 production of 'Henry V', directed by Adrian Noble, played to sold-out audiences at the Barbican in the City of London. He found the RSC too large and impersonal, and in 1987, he co-founded the Renaissance Theatre Company with David Parfitt. It was here that he met his first wife, Emma Thompson. In 1992, the Renaissance Theatre Company was disbanded when he moved more fully into filmmaking. Branagh found his first leading film role as James Moon, a homosexual ex-army officer, in A Month in the Country (1987), with Colin Firth, also in his first major role. At 29, Branagh made his directorial debut with the Shakespeare adaptation Henry V (Kenneth Branagh, 1989). The film boasted a dream cast, featuring Branagh and Thompson, but also Derek Jacobi, Ian Holm, Robbie Coltrane, Richard Briers and Judi Dench. The film brought Branagh international fame, and he was nominated for Oscars for Best Director and Best Actor. Emma Thompson went on to star in all of Branagh’s films until their divorce in 1995. Their second film, the Neo Noir Dead Again (Kenneth Branagh, 1991), was again a critical and commercial success. The film premiered at the Berlin International Film Festival, where it competed for the Golden Bear. Although his third film, the comedy-drama Peter’s Friends (Kenneth Branagh, 1992), was a disappointment, his second Shakespeare adaptation, Much Ado About Nothing (Kenneth Branagh, 1993), more than made up for it. It featured an all-star cast that included Branagh and Thompson, Denzel Washington, Michael Keaton and Keanu Reeves. The film premiered at the 1993 Cannes Film Festival, where it competed for the Palme d'Or. In 1994, a biography was released, 'Ken & Em: A Biography of Kenneth Branagh and Emma Thompson' by Ian Shuttleworth.
Kenneth Branagh’s career hit a low point when he directed and starred as Victor Frankenstein in the big-budget adaptation of Mary Shelley's classic Horror novel 'Frankenstein'. Producer Francis Ford Coppola had originally planned to direct the film as a companion piece to his Dracula (1992), but eventually stepped back to let Branagh direct. Coppola later regretted his decision after several disagreements with Branagh during filming. Mary Shelley’s Frankenstein (Kenneth Branagh, 1994), co-starring Robert De Niro as the monster and Helena Bonham Carter as Elizabeth, received very poor reviews. His extramarital affair with Bonham Carter during the shoot ultimately precipitated his divorce from Emma Thompson in 1995. Two years later, he made a comeback with a lavish Shakespeare adaptation, Hamlet (Kenneth Branagh, 1996). The film ran for four hours and, alongside Branagh as Hamlet, featured Kate Winslet, Derek Jacobi and Julie Christie, but also unusual suspects such as Charlton Heston and Jack Lemmon. Roger Ebert of The Chicago Sun-Times praised Branagh: "One of the tasks of a lifetime is to become familiar with the great plays of Shakespeare. 'Hamlet' is the most opaque. Branagh's version moved me, entertained me and made me feel for the first time at home in that doomed royal court." Branagh's Hamlet is the only version in which the whole play was filmed and shot in 70 mm. Towards the end of the 20th century, several films with Branagh either attracted poor box-office takings or were not well received by critics. The only commercial hit was the action comedy Wild Wild West (Barry Sonnenfeld, 1999) in which Branagh took on the role of the villain opposite the ‘good guys’ Will Smith and Kevin Kline. However, according to some critics, Branagh was the only good thing about the film. For the BBC, he provided the narration for the nature documentary series Walking with Dinosaurs (Tim Haines, Jasper James, 1999) and its sequel, Walking with Beasts (Jasper James, Nigel Paterson, 2001). In 2001, Branagh won an Emmy for his leading role as SS leader Reinhard Heydrich in the television film Conspiracy (Frank Pierson, 2001) about the Wannsee Conference. The following year, he appeared in the Australian drama Rabbit-Proof Fence (Phillip Noyce, 2002) and played Professor Gilderoy Lockhart in the film adaptation of Harry Potter and the Chamber of Secrets (Chris Columbus, 2002). Later that decade, he played Major General Henning von Tresckow in Valkyrie (Bryan Singer, 2008), starring Tom Cruise, and he parodied government officer Tony Benn in the comedy The Boat That Rocked (Richard Curtis, 2009) about pirate radio in the United Kingdom during the 1960s. In 2009, Branagh was nominated for an Emmy Award for the title role in Wallander (2008-2015), based on the Swedish detective novels by Henning Mankell. He gave a stunning portrayal of Laurence Olivier in My Week with Marilyn (Simon Curtis, 2011). His great performance was nominated for an Academy Award. Branagh directed and starred as the Belgian master detective Hercule Poirot in three popular Agatha Christie adaptations, Murder on the Orient Express (Kenneth Branagh, 2017), Death on the Nile (Kenneth Branagh, 2022), and A Haunting in Venice (Kenneth Branagh, 2023). He frequently works with director Christopher Nolan and played supporting roles in Nolan's blockbusters Dunkirk ( 2017), Tenet (2020) and Oppenheimer (2023). In 2018, he finally portrayed William Shakespeare himself in the film All Is True, which he also directed. For his semi-autobiographical film Belfast (2021), he was nominated for the Academy Awards for Best Picture and Best Director, and won Best Original Screenplay. Kenneth Branagh has been nominated for an Oscar eight times – twice for Best Director and once each for Best Actor, Best Supporting Actor, Best Producer, Best Original Screenplay, Best Adapted Screenplay and Best Short Film. In 2012, he was made a Knight of the British Empire, a title that carries the honour of ‘Sir’. Branagh was married to Emma Thompson from 1989 to 1995. He then entered into a relationship with Helena Bonham Carter, which lasted several years. In 2003, he married art director Lindsay Brunnock. He has no children from either of his marriages.
Sources: Wikipedia (Dutch, German, and English) and IMDb.
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The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.