Film Festival in San Francisco

1958 ◽  
Vol 12 (1) ◽  
pp. 24-25 ◽  
Keyword(s):  
San Francisco ◽  
Film Festival

Commentary onThe 49th San Francisco International Film Festival,April 20 – May 4, 2006Sólo Dios sabe (Only God Knows), Mexico/Brazil. Directed by Carlos Bolado .Into Great Silence (Die Grosse Stille), Germany. Screenplay by Philip Groening . Directed by Philip Groening .The Silent Holy Stones, China. Screenplay by Wanma-caidan . Directed by Wanma-caidan .The Giant Buddhas, Switzerland. Directed by Christian Frei .Jonestown: The Life and Death of Peoples Temple, USA. Directed by Stanley Nelson .One Long Winter Without Fire (Tout un hiver sans feu), Switzerland/Belgium. Screenplay by Pierre-Pascal Rossi . Directed by Greg Zglinski .Clouds of Yesterday (Utsukushiki Tennen), Japan. Screenplay by Takushi Tsubokawa , Directed by Takushi Tsubokawa .Illumination, France. Screenplay by Pascale Breton . Directed by Pascale Breton .Sa-Kwa, South Korea. Screenplay by Kang Yi-Kwan . Directed by Kang Yi-Kwan .The Descent, England. Screenplay by Neil Marshall . Directed by Neil Marshall .The Bridge, USA. Directed by Eric Steel .Favela Rising, Brazil/USA. Co-directed by Jeff Zimbalist and Matt Mochary .Workingman's Death, Austria/Germany. Screenplay by Michael Glawogger . Directed by Michael Glawogger .Iraq in Fragments, USA. Directed by James Longley .The Dignity of the Nobodies (La Dignidado de los nadies), Argentina. Screenplay by Fernando E. Solanos . Directed by Fernando E. Solanos .

2006 ◽  
Vol 25 (3) ◽  
pp. 20-35 ◽  
Author(s):  
Cathleen Rountree
Keyword(s):  
South Korea ◽  
San Francisco ◽  
Film Festival ◽  
Life And Death

Lavender Images and Poetic Landscapes: My Thirty Years in the Queer Film Ecosystem

2021 ◽  
pp. 568-606
Author(s):  
Jenni Olson
Keyword(s):  
San Francisco ◽  
Film Festival ◽  
Film Exhibition ◽  
Lesbian And Gay ◽  
Queer Cinema ◽  
Royal Road

This chapter by LGBT filmmaker and film historian Jenni Olson is a firsthand account of her thirty-plus years of work across the ecosystem of queer cinema. It covers her curatorial work in the late 1980s and early 1990s (she was codirector of the San Francisco International Lesbian and Gay Film Festival); her extraordinary efforts as an LGBT film collector and archivist over the decades (her collection was acquired by the Harvard Film Archive in 2020); her pioneering work in online queer-film exhibition, as cofounder of PlanetOut.com; her decade as director of marketing for the LGBT film distributor, Wolfe Video; and her work as a maker of digressive and contemplative 16mm essay films, such as The Royal Road (2015) and The Joy of Life (2005), which speak from a butch lesbian perspective and reflect on a wide array of preoccupations.

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.

Bałkańska ziemia obiecana? Problem Holokaustu w albańskich badaniach nad przeszłością

2015 ◽  
pp. 531-544
Author(s):  
Tadeusz Czekalski
Keyword(s):  
San Francisco ◽  
Film Festival

W 2012 r. podczas Jewish Film Festival w San Francisco zaprezentowano dzieło Besa: The Promise zrealizowane przez Rachel Goslins. Z wywiadów przedstawionych przez amerykańską reżyserkę wyłaniał się niezwykły obraz Albanii, w której w okresie włoskiej, a następnie niemieckiej okupacji rodziny muzułmańskie mimo ryzyka ukrywały Żydów, traktując ich jak członków rodzin, a swoje działanie jako powinność wynikającą ze specyficznie rozumianych zasad honorowego postępowania. Fascynujący obowiązek gościnności wyrażony w słowie besa oznaczał konieczność udzielenia schronienia niezależnie od wyznawanej wiary. Bohaterowie filmu nie dostrzegają niczego nadzwyczajnego w swojej postawie, podkreślając, że poświęcenie się dla gościa w imię zasad prawa zwyczajowego jest zachowaniem typowym dla ich społeczności. Goslins postrzega swój film głównie w kategoriach współpracy międzywyznaniowej, a sam fakt udzielania pomocy Żydom przez albańskich muzułmanów za sytuację bez precedensu we współczesnym świecie2. Za osobliwe uznaje też to, że w czasie drugiej wojny światowej liczba Żydów w Albanii wielokrotnie wzrosła, co czyni z tego kraju ewenement w skali Europy. Jej film miał być rodzajem hołdu złożonego rodzinom, które w czasie wojny narażały życie swoich członków, a których czyny zostały zapomniane w okresie izolacji Albanii za rządów Envera Hodży.

scholarly journals A collection under construction: trans-versing access with the Tranny Fest Collection

2021 ◽  
Author(s):  
Magnus Berg
Keyword(s):  
North America ◽  
San Francisco ◽  
Power Dynamics ◽  
Film Festival ◽  
Historical Society ◽  
Radical Empathy ◽  
Barriers To Access ◽  
Under Construction ◽  
Ethical Responsibilities

The San Francisco Transgender Film Festival, formerly known as Tranny Fest, was the first trans film festival in North America, having been founded in 1997. The Tranny Fest Collection (2006-26) is held by the GLBT Historical Society Archives & Museum, and contains one hundred and sixty-nine video and audiotapes, which have gone unprocessed since their deposit in 2006. This thesis examines the barriers to access faced by the Collection primarily using a radical empathy archival framework, as theorized by Michelle Caswell and Marika Cifor, in order to reveal the power dynamics at play when archiving intersectionally marginalized collections and the resulting ethical responsibilities. Through an exploration of the Collection’s dubious legal ownership, copyright complications and preservation issues, this thesis aims to provide solutions to improve the overall accessibility of the tapes in the Tranny Fest Collection, and similarly marginalized collections.

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