scholarly journals Berlinale 2008

2008 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Film Festival ◽  
Box Office ◽  
The Press ◽  
Sales Agents

58th BERLINALE 2008 Box Office BonanzaWill it ever end? During his seven years as Berlinale director, Dieter Kosslick's festival tenure is annually boosted by success at the box office. Following the close of the 58th Berlin International Film Festival (7-17 February 2008), bonanza statistics were promptly released to the press. The 58th Berlinale recorded an overall audience of 430,000, of which some 230,000 purchased tickets, thus exceeding last year's record by more than 6,000. The number of visiting film professionals (exhibitors, sales agents, industry representatives) increased to 20,000 from 125 countries, topping last year's total of 19,155. The number of accredited journalists rose to 4,105. The sum of public screenings also rose to 1,256, compared with 934 screenings in 2007. Only the number of films participating in this year's official programs dipped in comparison to last year - down from 396 to 383 - but even this adjustment...

scholarly journals A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry

2021 ◽  
Vol 18 (1) ◽  
pp. 34-49
Author(s):  
Laura Mayne
Keyword(s):  
Film Industry ◽  
New Wave ◽  
Scholarly Work ◽  
Box Office ◽  
The Press ◽  
British Cinema ◽  
1960S And 1970S ◽  
Business Acumen ◽  
The 1960S

Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona.

Chapter 10

2020 ◽  
pp. 119-127
Author(s):  
Mark Glancy
Keyword(s):  
Suicide Attempt ◽  
Art Deco ◽  
Screen Image ◽  
Box Office ◽  
The Press

Chapter 10, covering the year 1934, explores the jealousy and insecurity that haunted Cary Grant during his short-lived marriage to Virginia Cherrill, which ended in a drunken fiasco that was reported in the press as a suicide attempt. Grant denied attempting suicide, and the chapter argues that he was likely imitating a scene from one of his recent films, Ladies Should Listen (1934), in which his character attempts to lure his lover to his bedside by faking a suicide attempt. The chapter also considers Paramount’s attempt to remake his screen image, casting him in comedies, including one written by Preston Sturges, Thirty Day Princess (1934), which was his best film of this period. He was also cast as an “art deco dandy” in a string of weak comedies that flopped at the box-office: Kiss and Make Up (1934), Ladies Should Listen, and Enter Madame! (1934). The chapter ends with Cherrill’s courtroom claims that Grant abused her physically and emotionally, and Grant’s explanation, in later years, that her charges were not true but were the legally required “grounds for divorce” in the 1930s.

scholarly journals Motovun 2000

2001 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Ad Hoc ◽  
Film Festival ◽  
Box Office ◽  
Local Populace ◽  
Movie Theatre ◽  
Artistic Director ◽  
The Town

MOTOVUN FILM FESTIVAL 2000 Twice as exciting as its first outing, Motovun Film Festival -- "The Second" (1-8 August 2000) showed no signs of that fabled jinx of the follow-up year. Rather, under the anxious gaze of the local populace, the five-day festival prompted a pilgrimage to this picturesque medieval town perched atop a hill on the Istrian peninsula in Croatia (closer to Trieste and Ljubljana than to Zagreb). Indeed, too many cineastes and visitors came, as the open-air arena on the town square comfortably seats only a couple thousand, while the restored town movie theatre can't squeeze in more than 200. Thus, just a day after the box office opened, the circa 50 films on the program were nearly all sold out, so ad hoc screenings had to be arranged on a school playground in the lower town. Ask artistic director Rajko Grlić where all this flamboyant festival flair...

scholarly journals Karlovy Vary 2001

2002 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Emotional Stability ◽  
Young Girl ◽  
Film Festival ◽  
Box Office ◽  
Comedie Humaine

KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2001 It came as no surprise when Jean-Pierre Jeunet's inventive Le fabuleux destin d'Amélie Poulain (Amélie from Montmartre, France) was awarded the Crystal Globe the 36th Karlovy Vary International Film Festival (5-14 July 2001) by an international jury headed by Poland's Krzysztof Zanussi. All the more so since this delightful comédie humaine -- about the dream world of a young waitress (Audrey Tautou) working at a bistro in Montmartre, who one day finds a hidden box full of childhood treasures in her apartment -- is currently a runaway box office hit in France. Just as impressive, however, was Robert Glinski's Czes Tereska (Hi, Tereska, Poland), awarded both the Special Jury Prize and the International Critics (FIPRESCI) Prize. This poignant portrait of a young girl seeking sexual and emotional stability in an environment that only restricts fulfilment came across as an authentic statement due to...

Tantangan Globalisasi Pendidikan Islam (Study Komparasi Budaya Pop di Indonesia dan Malaysia)

AKADEMIKA ◽  
2017 ◽  
Vol 11 (1) ◽  
pp. 78-91
Author(s):  
Nur Iftitahul Husniyah
Keyword(s):  
Religious Education ◽  
Business Management ◽  
3D Animation ◽  
Film Festival ◽  
Management Game ◽  
Feature Film ◽  
Box Office ◽  
Business Excellence ◽  
Digital Contents

Popular culture broadcast from electronic media in this paper is aimed at introdution children to the importance of good moral messages in addition to being a medium of Islamic religious education transfer in the matters of worship or moral and social values. Animated Upin Ipin film produced in Malaysia, the business management, creative ideas, and quality of the image could deliver the Upin & Ipin film in getting some awards. In 2008, Upin & Ipin was awarded International Achievement Appreciation Award, Best of Media Entertainment Category-Merit Award (MSC Malaysia APICTA 2008), and President's Award (Malaysia-Canada Business Council Business Excellence 2008). Meanwhile, in 2009, it was awarded Winner of MSC-Malaysia Management Game 2009, IT Frank 2009 (Global Emerging Innovative Enterpreneur), First 3D Animation Feature Film (Malaysia Book of Records), Viewer Choice Award (Kids Film Festival), Anugerah Khas Juri  and Anugerah Box Office (Malaysia Film Festival), Best on Screen Chemistry Awards (Shout Awards), and Best Editing and Best Music (MSC Creative Digital Contents Conference). These awards have once again marked the high quality of Upin & Ipin series and Upin & Ipin technology innovation in Malaysia.

scholarly journals Karlovy Vary 2000

2000 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Film Festival ◽  
Box Office ◽  
Brazilian Film ◽  
Marcel Camus ◽  
Central Station

35th KARLOVY VARY INTERNATIONAL FILM FESTIVAL The Brazilian film revival received another festival boost when Andrucha Waddington's Eu Tu Eles (Me You Them) scored a hardly unexpected Crystal Globe victory at the 35th Karlovy Vary festival (5-15 July 2000). Since 1995, when the new government (after the impeachment of the president) introduced friendly film laws to encourage investment in productions, a Golden Bear has been awarded at the Berlinale to Walter Salles's Central Station -- followed by an even more important commercial box-office hit: Carlos Diegues's Orfeu, a remake of Vinicius de Morales's play Orfeu de Carnival, the same source used by Marcel Camus for his Orfeu Negro (Black Orpheus), the Golden Palm winner at the 1959 Cannes festival. In June, a month before Karlovy Vary, Orfeu was the key film in the 24-film retrospective programmed at the Troia festival in Portugal to celebrate the discovery of Brazil 500...

scholarly journals Toronto 2005

2005 ◽  
Author(s):  
Brandon Wee
Keyword(s):  
Breeding Ground ◽  
Film Festival ◽  
Box Office ◽  
Test Market

30th TORONTO INTERNATIONAL FILM FESTIVAL 2005 As the Toronto International Film Festival (8-17 September 2005) delights in what some insiders claim is a position second to Cannes, it would make sense to examine the substance of this claim. Industry broadsheets are increasingly enamoured of Toronto, which despite not having an official marketplace, has managed to achieve the desired status as a time-sensitive breeding ground for Hollywood to test market their latest titles. Moreover, to be positioned in the wake of a major continental spectacle like Cannes may present difficulties, since festivals perceived as challenging the European leader are often hard pressed to pay tribute through their own selections. As it happens, this year's Cannes' official victors shown at Toronto were featherweights - a reminder that no jury is beyond bias and that ‘prestigious' awards are sometimes concerned with conferring latent box office success than recognising intelligent merit. The overrated...

scholarly journals Ljós í myrkri: Saga kvikmyndunar á Íslandi

Ritið ◽  
2019 ◽  
Vol 19 (2) ◽  
pp. 19-42
Author(s):  
Björn Ægir Norðfjörð
Keyword(s):  
First Century ◽  
Film Festival ◽  
Comprehensive Overview ◽  
Box Office ◽  
Feature Films ◽  
The Subject ◽  
Subject Material ◽  
First Time ◽  
Typical Model ◽  
Made In

This essay offers a succinct but comprehensive overview of Icelandic cinema from its early 20th-century emergence to the present day. Split into two parts, the first half focusses on filmmaking in Iceland prior to the founding of the Icelandic Film Fund in 1978, which was to establish a continuous local film production for the first time. Prior to that filmmaking in Iceland boiled down to the occasional efforts of local amateurs, albeit often quite skilled ones, and professional filmmakers visiting from abroad. Indeed, the few silent feature films made in the country all stemmed from foreign filmmakers adapting Icelandic literature and taking advantage of its photogenic landscapes. The first Icelandic feature was not made until 1948 and although immensely popular, like those that followed in its wake, the national audience was simply too small to sustain filmmaking without financial support. Although this changed fundamentally with the Icelandic Film Fund, which instigated contemporary Icelandic cinema and the subject of the essay’s second half, the Fund’s support proved insufficient as the novelty of Icelandic cinema began to wear off at the local box office in the late 1980s. The rescue came from outside sources, in the form of nordic and European film funds, whose support was to transnationalize Icelandic cinema in terms of not only financing and production but also themes and subject material. These changes are most apparent in Icelandic cinema of the 1990s which also began to garner interest at the international film festival circuit. In the first decade of the twenty first century, however, American genre cinema began to replace the European art film as the typical model for Icelandic filmmakers. Hollywood itself also began to show extensive interest in Icelandic landscapes for its runaway productions, as did many other foreign film crews. In this way Icelandic cinema is increasingly characterized by not only national and transnational elements but also international ones.

Individual, Network, Assemblage: Creating Connections on the Global Film Festival Circuit

Film Studies ◽  
2016 ◽  
Vol 14 (1) ◽  
pp. 75-92 ◽  
Author(s):  
Luke Robinson
Keyword(s):  
Case Studies ◽  
Chinese Language ◽  
Film Festival ◽  
Film Festivals ◽  
Analytical Problem ◽  
Global Circuit ◽  
Sales Agents

What role do individuals play in sustaining the so-called global film festival network? This article considers this question through case studies of four specialist Chinese-language film festivals in London. It argues that while the global circuit shapes the institutional appearance of these smaller events, the kinds of strategic collaborations that the organisers of the latter effect at the former – striking up connections with directors and sales agents at film markets, for example – are key ways in which global relationships and A-list events are built from the ground up. These mutually related but unstable interactions allow us to rethink the network as an assemblage of events and individuals, addressing the analytical problem of scale in film festivals studies in the process.

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