scholarly journals To Archive Ephemera: The Importance of Atom Egoyan’s Collection at the TIFF Archives

2021 ◽  
Author(s):  
Andreas Babiolakis
Keyword(s):  
Film Industry ◽  
Film Festival ◽  
Item Level ◽  
Atom Egoyan

The advantage of a multi-faceted institution like the Toronto International Film Festival (TIFF) is its capacity for connecting different aspects of the film industry to one another. For example, TIFF’s archive houses a large quantity of ephemeral material that correlates to its databases; this binds collections together through metadata. The Atom Egoyan collection is particularly robust; all that stems from the wealth of information can be extracted from the paper ephemera that were donated in 1999. I use this opportunity to detail the general indispensability of ephemera when it comes to treating films as legacy objects and not just forms of entertainment, and by carefully examining and cataloguing the Egoyan collection, in particular. I created a digital catalogue that ties together item level titles, descriptions, dates, physical locations, and other forms of identification; this in turn builds upon the previous finding aid by strengthening the information taken from it.

scholarly journals To Archive Ephemera: The Importance of Atom Egoyan’s Collection at the TIFF Archives

2021 ◽  
Author(s):  
Andreas Babiolakis
Keyword(s):  
Film Industry ◽  
Film Festival ◽  
Item Level ◽  
Atom Egoyan

The advantage of a multi-faceted institution like the Toronto International Film Festival (TIFF) is its capacity for connecting different aspects of the film industry to one another. For example, TIFF’s archive houses a large quantity of ephemeral material that correlates to its databases; this binds collections together through metadata. The Atom Egoyan collection is particularly robust; all that stems from the wealth of information can be extracted from the paper ephemera that were donated in 1999. I use this opportunity to detail the general indispensability of ephemera when it comes to treating films as legacy objects and not just forms of entertainment, and by carefully examining and cataloguing the Egoyan collection, in particular. I created a digital catalogue that ties together item level titles, descriptions, dates, physical locations, and other forms of identification; this in turn builds upon the previous finding aid by strengthening the information taken from it.

Vietnamese Cinema: First Views

1991 ◽  
Vol 22 (1) ◽  
pp. 33-62 ◽  
Author(s):  
John Charlot
Keyword(s):  
Film Industry ◽  
The United States ◽  
Film Festival ◽  
Feature Film ◽  
Staff Members ◽  
Feature Films ◽  
East Bloc ◽  
Department Staff ◽  
History Of ◽  
General Director

Vietnamese cinema has only recently become known outside of the East Bloc countries. The first public showing of a Vietnamese feature film in the United States was that of When the Tenth Month Comes at the 1985 Hawai'i International Film Festival in Honolulu. At the 1987 Festival, a consortium of American film institutions was formed with Nguyen Thu, General Director of the Vietnam Cinema Department, to organize the Vietnam Film Project — the first attempt to introduce an entire new film industry to America. The purpose of this article is to provide a brief description of Vietnamese cinema along with an appreciation of its major characteristics and themes. I base my views on my two visits to the Vietnam Cinema Department in Hanoi — for one week in 1987 and two in 1988 — on behalf of the Hawai'i International Film Festival. During those visits, I was able to view a large number of documentaries and feature films and to discuss Vietnamese cinema with a number of department staff members. I was able to obtain more interviews during the visits of Vietnamese to the Hawai'i International Film Festival in Honolulu. This article cannot claim to be an adequate introduction to the history of Vietnamese cinema, a task I hope will be undertaken with the aid of my informants and the sources I list as completely as possible.

scholarly journals Adana 2011

2012 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
Film Industry ◽  
Film Festival ◽  
Political Conflicts ◽  
Turkish Cinema ◽  
National Production

INTERNATIONAL GOLDEN BOLL FILM FESTIVAL ADANA The pulse of Turkish cinema beats in Adana, the provincial southern town that is the birthplace of several notable filmmakers and writers, among whom perhaps Yılmaz Güney and Yaşar Kemal are the most prominent representatives. While political conflicts have been marring the prestigious Antalya Golden Orange Film Festival, which has served as a forum for the national film industry for several decades, Adana (17-25 September 2011) has renewed itself both at the national and international levels, attracting national production companiess with attractive cash prizes....

scholarly journals Karlovy Vary 98

1998 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Full Moon ◽  
Film Industry ◽  
Film Festival ◽  
Short Films ◽  
The Future ◽  
Russian Film

Moscow's loss was Karlovy Vary's gain. Why wasn't there a Moscow festival this year? Several reasons were given when the news broke at Cannes in May, none of them very promising for the future of the festival. Still, the Russian film industry is well on its way to recovery if the grabbag of features, documentaries, and short films programmed in different sections at the 33rd Karlovy Vary International Film Festival (3-11 July 1998) are to be taken at face value. For example, Karen Shakhnazarov's Full Moon probably would have opened the Moscow festival instead of premiering as the official Russian entry at Karlovy Vary. Produced by Mosfilm's managing director Vladimir Dostal, this rambling, intertwined, impressionistic tour of Moscow on a summer day from dawn to dusk is packed with a subtle run of sight and verbal gags. It opens with a scene shot on the very premises of the Mosfilm...

scholarly journals From the event to the everyday: distributor-driven film festivals

2020 ◽  
pp. 1329878X2093847
Author(s):  
Stuart Richards ◽  
Lauren Carroll Harris
Keyword(s):  
Film Industry ◽  
Interesting Case ◽  
Film Festival ◽  
Film Festivals ◽  
Film Culture ◽  
European North ◽  
The Everyday ◽  
Important Field ◽  
Primary Focus

Film festival research is an important field within screen and cultural studies, with festivals mainly theorised as a cinephile phenomenon occurring in European/North American contexts. Though cinephilia is indeed a major aspect of film festivals, adopting cinephilia as a primary focus for festival research obscures, and cannot explain, other motivations for running festivals, as well as how festivals fit into other trends in the film industry and film culture today. As researchers and film critics working in Australia, we have observed trends in festival culture that do not fit the dominant cinephilic framework. Principal among these trends is the emergence of Palace Cinemas, an arthouse cinema chain, and Palace Films, its distribution arm, as the curator and presenter of its own chain of film festivals. This essay presents an interesting case study that considers Palace Cinemas in relation to dominant understandings of the film festival. These film festivals do not exclusively fit either of Mark Peranson’s ideal models of festivals – audiences festivals or business festivals – but rather between these two positions. These distributor-driven film festivals, such as those run by Palace, greatly diminish any association with festival time, defined by Janet Harbord as a key feature of festivals.

scholarly journals Two Peoples, Two Worlds

2016 ◽  
Vol 8 (4) ◽  
pp. 125-134
Author(s):  
Irina A Zvegintseva
Keyword(s):  
18Th Century ◽  
Film Industry ◽  
Film Festival ◽  
Urgent Problem ◽  
Equal Rights ◽  
National Cinema ◽  
Two Cultures ◽  
The Past ◽  
The World ◽  
The One

By the time of the arrival of Europeans in the continent during the second half of the 18th century, the aboriginal tribes that inhabited Australia were under the primeval communal system. Their settlements became an easy conquering for the first aliens. Aborigines of Australia met the invaders quite friendly, providing virtually no resistance and the letters benefited immediately. There appeared a clash of two cultures, two worldviews. On the one hand, the absolute merging with nature, harmonious existence, which for centuries hadnt undergone any changes, and hence a complete tolerance to everything that didnt disturb the established order of the world; on the other hand - consumerist attitude to the land, the desire to get rich, tough competition. Naturally, such polar positions to combine turned out to be impossible, and without a desire to understand the natives who were moved out of their lands, the invaders hastened to announce the aborigines the second-class citizens. Of course, the national cinema couldnt avoid the most urgent problem of the Australian society. But if the first works of filmmakers of the past were focused more on the exotics, mystical rites, dances, daily life of aborigines, in recent years increasingly serious movies are on, and the authors call for a change in attitude to the natives, respect their culture, recognize their equal rights. Analysis of the best movies devoted to these problems, such as Jeddah, Manganese, Fence from rabbits, Charlies land and some others has become the focus of the article. Mainly under the influence of these movies the situation in the country has begun to change for better. Today in the film industry the aborigines have been working, and the movie Samson and Delilah, directed by aborigine Warwick Thornton/ has been a sensation at the Cannes film festival of 2009.

scholarly journals Sidoarjo Film Festival 2019 as an Effort to Generate the Indonesian Film Industry

2020 ◽  
Author(s):  
Siska Armawati Sufa ◽  
Rusli Kustaman ◽  
Henri Subiakto ◽  
Ipit Zulfan ◽  
Teguh Dwi Putranto
Keyword(s):  
Film Industry ◽  
Film Festival

scholarly journals Penang (Malaysia) 1997

1997 ◽  
Author(s):  
Jan Uhde
Keyword(s):  
Hong Kong ◽  
East Asia ◽  
Film Industry ◽  
Film Festival ◽  
Film And Television ◽  
The World ◽  
Ayatollah Khomeini ◽  
Children's Films

PENANG'S 1st EAST ASIA FILM AND TELEVISION FESTIVAL LIKE the Hong Kong film industry, Iran has already had fifty years of filmmaking, amounting to the production of 1,200 films in that time. Few national cinemas have had to go through the changes and pressures that Iranian filmmaking has been subjected to from the Shah era of the 1970s to the tumultuous revolutionary days of the Ayatollah Khomeini to the recent creative years. In fact as early as 1989, the Hong Kong International Film Festival was showing Iranian features like Mohsen Makhmalbaf's The Peddlar and Dariush Farhang's The Spell. Despite their difficulties, Iranian filmmakers have tenaciously held on to their art. This year, with much persistence, they have shown to the world that their cinema is more than children's films or propaganda. Even before Abbas Kiarostami's The Taste of Cherry (Ta'm-e Gilass) shared this May's Cannes Palme d'Or with The...

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