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 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 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...

scholarly journals Berlin 1997

1998 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Latin American ◽  
Short Film ◽  
Film Festival ◽  
The Usa ◽  
History Of ◽  
The Right ◽  
First Time ◽  
Central Station

FOR THE FIRST TIME IN THE HISTORY OF THE BERLINALE, or the first time in the history of the Berlinale, a Latin American entry was awarded the Golden Bear: Walter Salles's Central do Brazil (Central Station) (Brazil). And for the second time, Dutch animation director Gerrit van Dijk was awarded a Golden Bear for Best Short Film -- in 1989 for I Move, So I Am. Generally speaking, critics and public agreed that the festival prizes at the 48th Berlin International Film Festival (11-22 February 1998) went to the right films and directors. Two Irish films were standouts. Jim Sheridan's The Boxer (a co-production with the USA) continued his insightful dialogue on the crisis in North Ireland -- together with In the Name of the Father (1993) and Some Mother's Son (1996) it appears to form a trilogy -- and confirmed once again that Daniel Day-Lewis is one...

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 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.

scholarly journals Festival de Cannes 2008

2008 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
First Year ◽  
Film Festival ◽  
The Past ◽  
Box Office ◽  
Auteur Cinema ◽  
Artistic Director ◽  
First Time ◽  
Looking Back

ANY WAY YOU LOOK AT IT, 2008 was a watershed year at the Cannes film festival. Looking ahead, this was Thierry Frémaux’s first year as délégué général, the first time he was listed in the catalogue as the man who put his own signature on the selection. Last year, he was down simply as director artistique, to wit: the festival’s artistic director under the friendly aegis of président Gilles Jacob. Looking back, Gilles Jacob is currently penning his collection of memories as the festival icon over the past 30 years. Knowing Jacob’s unrestrained love for the Festival de Cannes, a spring event he has personally molded into an institution that stands head and shoulders over all other A-category festivals, his memoirs will surely offer insights into how he was able to balance the ideals of auteur cinema with the public’s demand for starlets on the grand staircase and box-office...

scholarly journals Karlovy Vary 2008

2008 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Film Festival ◽  
Film Festivals ◽  
Box Office ◽  
The Hill

KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2008 A Festival for Independents One glance at the line-ups of the top A-category competition film festivals, and you can rate and measure – even criticize – them for their respective portfolios carried proudly on their backs. Cannes is honoured as an authentic "auteur festival," respected each May for discovering new directorial talent while furthering the careers of past auteur directors even when they are evidently over the hill. Venice, praised as a "director's haven," scores among veteran festivaliers as a laid-back September rendezvous for cult directors at the end of summer, a must for cineastes. Berlin likes to promote its "Hollywood image," using its February dates to book as many box-office hits of the previous Christmas season as slots will allow, knowing full well that LA producers easily benefit from a Berlinale festival launch before their films hit the lucrative German screens....

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