scholarly journals Osian's Cinefan 2009

2010 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
Arab World ◽  
Director General ◽  
Experimental Film ◽  
New Delhi ◽  
Film Festival ◽  
The World ◽  
Ingmar Bergman ◽  
Asian Cinema

OSIAN'S CINEFAN 2009 Celebrating its eleventh birthday in New Delhi, Osian's Cinefan Film Festival (25-30 October 2009) started its second decade with a new direction, well-known independent filmmaker Mani Kaul as the director-general, and an eclectic program that stretched over several continents. Founded in 1999 as a small festival of Asian cinema by Aruna Vasudev, the president of Netpac (Network for Promotion of Asian cinema) and the founder and editor-in-chief of the now defunct Cinemaya Asian Film Quarterly, Cinefan gradually enlarged its scope to include Arab cinema as well and has become one of the largest festivals of contemporary Asian and Arab cinema in the world. This year, the thirteen first, second or third films 'InCompetition' from Asian and Arab world included two films from Turkey: a highly experimental film, Knot by Uigur Asan and There by Hakk Kurtulu and Melik Saraçolu, with overt influences of Ingmar Bergman. The...

scholarly journals CINEFAN 2007

2007 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
New Delhi ◽  
Film Festival ◽  
Asian Countries ◽  
Comprehensive Program ◽  
The World ◽  
Asian Cinema

OSIAN'S CINEFAN - FESTIVAL OF ASIAN AND ARAB CINEMA Celebrating its ninth birthday, Osian's Cinefan (New Delhi, 20-29 July 2007) once again confirmed its status as the most important film festival of India with its comprehensive program, select guest list and stimulating conferences and seminars. The festival, which started as a showcase of Asian cinema has already added a section of Arab cinema to its program a few years ago. This year, Arab films that do not come from the Asian countries were also allowed to enter the competition, which brought a more colorful quality to the program. The fact that a Tunisian filmmaker would share the same concerns with his or her Taiwanese counterpart was another confirmation of the fact that the world was becoming smaller each day and the problems of one country would unavoidably have repercussions on another country, even miles away. The opening film of...

scholarly journals Hong Kong and Singapore 1997

1997 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Hong Kong ◽  
East Asia ◽  
Film Festival ◽  
Global Cinema ◽  
The World ◽  
The Republic ◽  
Asian Cinema ◽  
Selection Of

THE PRESTIGIOUS 21st HONG KONG International Film Festival, which concluded on 9 April 1997, presented its largest and perhaps the greatest collection of global cinema with some 280 films and video works. This year, this non-competitive festival attracted more than three hundred festival guests and major critics from all over the world with more than half of them coming from Japan and East Asia.  Its humbler counterpart, the Singapore International Film Festival (SIFF) is now in its 10th year. Some 220 films were shown there (including a number of fringe films and videos presented at the Goethe Institute, and a retrospective of François Truffaut's films screened at the Alliance Française). Film critics and festival directors flew over to the Republic to view the sensitive selection of Asian cinema by the festival programmer Philip Cheah. In its competitive section for Asian films, the SIFF honours the winners with its Silver...

scholarly journals Cinefan 2006

2006 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
New Delhi ◽  
Film Festival ◽  
The Past ◽  
Asian Cinema

CINEFAN NEW DELHI FESTIVAL 2006 When I asked an informed critic for an opinion as to which was the most important film festival in India today, he named Osian's Cinefan in a close tie with the Trivandrum International Film Festival - with the caveat, of course, that Cinefan in New Delhi primarily presents Asian cinema, while Trivandrum (aka Triruvananthapuram, to use the official name) in Kerala opens its doors wide to international film fare. As for the long-running International Film Festival in India (IFFI), a government-sponsored affair based in Goa for the past couple of years, I was told that it ranked third at best, although a larger attendance was recorded last year. In other words, Goa, a resort city populated mostly by tourists from home and abroad, has had to work hard to attract a movie-mad Indian public from across the country. Two other festivals were also thrown into...

Projecting Asian Cinema to the World

2020 ◽  
pp. 114-134
Author(s):  
Sangjoon Lee
Keyword(s):  
San Francisco ◽  
International Level ◽  
Film Festival ◽  
Film Festivals ◽  
South Korean ◽  
The World ◽  
American Society ◽  
The 1960S ◽  
Asian Cinema

This chapter examines Unheeded Cries, South Korea's official submission to the fourth San Francisco International Film Festival (SFIFF) in 1960, which tells the story of postwar orphans in the slums of Seoul. It discusses the Berlinale, San Francisco, and Asian Film festivals that consistently invited South Korean films to their competition sections during the first half of the 1960s. It also mentions the occupied force's cultural representative, Oscar Martay, who promoted Berlin as the Western cultural showcase of the East. The chapter reviews how SFIFF was organized and managed by Irving “Bud” Levin, whose ultimate aim was to raise his profile to become an international-level figure. It elaborates the Asia Foundation's (TAF) attempt to use SFIFF to showcase non-communist and ideologically correct Asian films for mainstream American society.

scholarly journals Singapore 2004

2004 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Southeast Asian ◽  
New Delhi ◽  
Film Festival ◽  
Film Festivals ◽  
Current Trends ◽  
Asian Cinema

SINGAPORE INTERNATIONAL FILM FESTIVAL 2004 For nearly two decades, the Singapore International Film Festival (SIFF), the showcase of Southeast Asian cinema, has also served as a timely beacon for other key Asian film festivals. Pusan in Korea, Filmex in Tokyo, and Cinefan in New Delhi have benefited from Singapore, simply because SIFF was on the scene first and did all the spadework. Link all four festivals together, and the committed cineaste can easily anticipate Asian entries selected later for Cannes, Venice, Berlin, Montreal, and elsewhere. Its secret? The SIFF is independently operated under a quartet of film professionals (Geoffrey Malone, Philip Cheah, Lesley Ho, and Teo Swee Leng), who concentrate on quality Asian cinema. The Silver Screen Awards, inaugurated in 1991, are judged by a professional jury of peers. The Asian Films section a focuses on current trends, styles, and themes in the respective national cinemas. And Singapore happens...

scholarly journals Vesoul 2013

2014 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
Rare Event ◽  
The Philippines ◽  
Film Festival ◽  
Martial Art ◽  
Traditional Dance ◽  
The World ◽  
20Th Anniversary ◽  
Art Performance ◽  
Asian Cinema

20th VESOUL INTERNATIONAL FILM FESTIVAL OF ASIAN CINEMA (11-18 February 2014) Vesoul International Film Festival of Asian Cinema is a rare event not only in its program dedicated solely to the cinemas of Asia, but also in the manner it is run, which is an important factor in drawing film-lovers from all over the world every year to a rather ordinary town in the middle of winter. A family affair, with Martine and Jean-Marc Thérouanne at the helm, the opening night commenced with a cocktail in their house, followed by a ceremony at the largest theatre in town. For the 20th anniversary, the concert from Vietnam, the traditional dance show from the Philippines and a Jô-do martial art performance from Japan were followed by an inspiring film on the twenty years of the festival that started with one small theatre for projection and an adjacent tent for meetings, with Mr...

The Irresistible Rise of Asian Cinema 1

1994 ◽  
Author(s):  
Gerald Pratley
Keyword(s):  
Hong Kong ◽  
South Korea ◽  
Motion Pictures ◽  
The Philippines ◽  
New Wave ◽  
World Today ◽  
The World ◽  
Production Activity ◽  
Exciting Development ◽  
Asian Cinema

PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passes and now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever in making entertainment for the mass audience. No one has given it a name or described it as "New Wave," it is simply Asian Cinema -- the most exciting development in filmmaking taking place in the world today. In China everything is falling apart yet it manages to hold together, nothing works yet it keeps on going, nothing is ever finished or properly maintained, and yes, here time does wait for every man. But as far...

The dilemmas of the Israeli reality and the choice of war

2019 ◽  
Vol 2 (4) ◽  
pp. 151
Author(s):  
Bashir Hadi Abdul Razak
Keyword(s):  
Negative Impact ◽  
Arab World ◽  
External Factors ◽  
Political Movement ◽  
World Today ◽  
The World ◽  
Arab Israeli Conflict ◽  
Internal And External Factors

The Arab-Israeli conflict is among the longest and most complex conflicts in the world today, a conflict that transcends borders or a difference of influence. It is a struggle for existence in every sense. Since the establishment of Israel in 1948, one of the regional forces whose political movement is determined by the Arab world has become the result of the internal and external factors and changes that affect it. This entity is hostile to the Arabs, Which would have a negative impact on the regional strategic situation.

Princes and Parliaments in the Arab World

2004 ◽  
Vol 58 (3) ◽  
pp. 367-384 ◽  
Author(s):  
Michael Herb
Keyword(s):  
Arab World ◽  
Authoritarian Regimes ◽  
Political Life ◽  
The Political ◽  
The World

Several Arab monarchies have held reasonably free elections to parliaments, though all remain authoritarian. This article compares the Arab monarchies with parliaments in other parts of the world, including both those that became democracies, and those that did not. From this I derive a set of prerequisites, potential pitfalls, and expected stages in the monarchical path toward democracy. This helps us to understand not only the democratic potential of the parliamentary experiments in the Arab monarchies, but also the role these parliaments play in the political life of these authoritarian regimes.

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