Sen, Mrinal (1923--)

2018 ◽  
Author(s):  
Rea Amit
Keyword(s):  
Documentary Films ◽  
New Wave ◽  
Film Festival ◽  
Art Cinema ◽  
World Cinema ◽  
The Government ◽  
Simple Narrative

Mrinal Sen is an Indian film director closely associated with the Indian New Wave (alternatively known as the Parallel Cinema). Born in Faridpur, now Bangladesh, he moved to Calcutta in 1940. Although Sen began directing films in 1955, it was his 1969 film, BhuvanShome, that earned him recognition among those associated with India’s independent art cinema. While the simple narrative emphasizes progressive socialist ideas, the film is most notable for its cinematic form, which incorporates live footage and documentary-like filmmaking with fast editing and several animated sequences. In the early 1970s Sen’s films become more radical politically, glorifying violent demonstrations against the government. This shift is visible in his "Calcutta Trilogy" (Interview, Calcutta 71, and Padatik) and Chorus (1975), the latter earning Sen the Silver Prize at the 1975 Moscow International Film Festival. In the latter half of the 1970s Sen turned to more mainstream filmmaking. He has also directed several documentary films, among them a film produced for the British Film Institute’s series on world cinema, And the Show Goes On—Indian Chapter (1999).

scholarly journals Dokumentarzyści i krytyk. Zygmunt Kałużyński a dokumentaliści „nowej zmiany”

2017 ◽  
Vol 20 (29) ◽  
pp. 15-46
Author(s):  
Mikołaj Jazdon
Keyword(s):  
Short Film ◽  
Documentary Films ◽  
New Wave ◽  
Film Festival ◽  
Political Situation ◽  
Television Documentary ◽  
Film Critic ◽  
Krzysztof Kieslowski

The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.

Andrei Tarkovsky

2013 ◽  
Author(s):  
Robert Bird
Keyword(s):  
Science Fiction ◽  
Film Festival ◽  
Art Cinema ◽  
Soviet Art ◽  
Feature Films ◽  
World Cinema ◽  
Stanislaw Lem ◽  
The 1960S ◽  
Boris Godunov ◽  
Andrei Tarkovsky

Andrei Tarkovsky (b. 1932–d. 1986) was the most important director in postwar Soviet art cinema and one of the most influential auteurs in world cinema of the 1960s–1980s. After completing several student films, most notably Steamroller and Violin (1960), Tarkovsky leapt to prominence in 1962 with his first feature, Ivan’s Childhood, which won the Golden Lion at the Venice Film Festival that year. His next feature, the epic-length Andrei Rublev, was completed in 1966 but shown (after enforced edits) only in 1969, at the Cannes Film Festival, where it won the FIPRESCI prize; it was released domestically only in 1971. Each of his three films of the 1970s—Solaris (1972), Mirror (1975), and Stalker (1979)—was welcomed internationally but led to new complications for Tarkovsky’s position in the Soviet film system: Solaris (based on a science fiction novel by Stanislaw Lem) was released only after changes enforced by the censors, the autobiographical and enigmatic Mirror was given only limited release, and Stalker (based on a science-fiction novel by Arkadii and Boris Strugatsky) had to be reshot after Tarkovsky controversially determined that much of the original footage had been spoiled. After filming the documentary short Tempo di viaggio (1980) with Tonino Guerra, Tarkovsky returned to Italy to make Nostalgia (1982) as a joint Soviet-Italian production. Remaining abroad without official permission, essentially as a defector, Tarkovsky directed Sacrifice (1986) in Sweden, completing the editing from his sickbed in a Paris clinic, where he died from lung cancer on 29 December 1986. Throughout his career, Tarkovsky also worked in other media, experimenting with Polaroid photography and staging productions on the radio (in 1965), in the theater (Hamlet in 1976), and in the Royal Opera House (Boris Godunov in 1983). In exile from the USSR, Tarkovsky also reedited his articles and interviews (dating as far back as 1962) into a book, known in English as Sculpting in Time, one of the best-known monographs on filmmaking by a major director. Long, slow and brooding, Tarkovsky’s seven feature films are broadly admired among cinephiles, and his charismatic figure has attracted a devoted and sometimes fanatical following, which has been known to idolize him as a spiritual teacher. Writing about Tarkovsky has sometimes been colored by this uncritical adulation, but his films are increasingly being analyzed by historians and interpretive critics for their breathtakingly original technique, poignant imagery, and continuing influence on other filmmakers.

Coming-of-Age Cinema in New Zealand

2017 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Coming Of Age ◽  
Belief Systems ◽  
Time Frame ◽  
New Wave ◽  
Art Cinema ◽  
Literary Sources ◽  
French New Wave ◽  
Significant Phenomenon ◽  
The Impact ◽  
New Zealanders

This book investigates the coming-of-age genre as a significant phenomenon in New Zealand’s national cinema, tracing its development from the 1970s to the present day. A preliminary chapter identifies the characteristics of the coming-of-age film as a genre, tracing its evolution and the influence of the French New Wave and European Art Cinema, and speculating on the role of the genre in the output of national cinemas. Through case studies of fifteen significant films, including The God Boy, Sleeping Dogs, The Scarecrow, Vigil, Mauri, An Angel at My Table, Heavenly Creatures, Once Were Warriors, Rain, Whale Rider, In My Father’s Den, 50 Ways of Saying Fabulous, Boy, Mahana, and Hunt for the Wilderpeople, subsequent chapters examine thematic preoccupations of filmmakers such as the impact of repressive belief systems and social codes, the experience of cultural dislocation, the expression of a Māori perspective through an indigenous “Fourth Cinema,” bicultural relationships, and issues of sexual identity, arguing that these films provide a unique insight into the cultural formation of New Zealanders. Given that the majority of films are adaptations of literary sources, the book also explores the dialogue each film conducts with the nation’s literature, showing how the time frame of each film is updated in a way that allows these films to be considered as a register of important cultural shifts that have occurred as New Zealanders have sought to discover their emerging national identity.

scholarly journals Karlovy Vary 2004

2004 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Outstanding Contribution ◽  
Film Festival ◽  
Vaclav Havel ◽  
Roman Polanski ◽  
World Cinema ◽  
Official Opening ◽  
Artistic Director ◽  
First Time ◽  
To Receive ◽  
Political Figure

KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2004 For the Czech media the 39th Karlovy Vary International Film Festival (2-10 July 2004) was something of a sensation. Václav Havel, the country's ex-president and most popular political figure, was on hand for the official opening to receive a moving standing ovation. Later, Václav Klaus, the current Czech president, also showed for the closing ceremonies. To add to the festivities, Miroslav Ondříček, Miloš Forman's ace cameraman (Oscar Nominations for Amadeus and Ragtime) was honoured with an Award for Outstanding Artistic Contribution to World Cinema (together with Harvey Keitel and Roman Polański). The Prize of the Karlovy Vary Region was given for the first time to Jiří Bartoška, the festival codirector. And the Ecumenical Jury honoured Eva Zaoralová, the festival's artistic director, an Award for Outstanding Contribution to the Karlovy Vary International Film Festival. For the second time in a row, the Crystal Globe,...

scholarly journals Hallyu dan Pengaruhnya pada Perkembangan Objek Wisata Tematik Korea Selatan

2019 ◽  
Vol 3 (1) ◽  
pp. 76
Author(s):  
Yuni Wachid Asrori ◽  
Supriadianto Supriadianto
Keyword(s):  
South Korea ◽  
Tourist Attraction ◽  
New Wave ◽  
Descriptive Research ◽  
Tourism Destinations ◽  
The Government ◽  
Government Rules

Korean Pop phenomenon, Hallyu, affect to the development of various tourism objects in Seoul and South Korea in general. Hallyu as a new wave is popular among young generations, not only as an entertainment, but also as tourist attraction in South Korea. This phenomenon increased number of travelers to South Korea year by year.  This descriptive research analyze qualitatively several tourism objects well known as shooting site of several popular Korean dramas where travelers may experience several things related to Korean dramas. There are not only K-Pop experiences that make Korean tourism popularity increasing rapidly, but also the government rules have also been paving the important way to promote and develop Korean tourism destinations 

Digital Realisms

2016 ◽  
Author(s):  
Igor Krstić
Keyword(s):  
Social Inequalities ◽  
Digital Technologies ◽  
New Wave ◽  
Digital Cinema ◽  
Recent Scholarship ◽  
World Cinema

The chapter looks at contemporary depictions of slums in digital cinema. Joining recent scholarship (Nagib, Elsaesser, Rombes) that argues for a correlation between the advent of DV and a renewed return to realism in world cinema, the author rejects the notion that the advent of digital technologies marks a ‘loss of indexicality’, as claimed by some (Rodowick; Manovich, Grusin). Instead, the author argues that today’s independent (festival, art or new wave) cinemas (e.g. Dogme 95) enter into a post-postmodern phase since they attempt to re-materialise the filmic signifiers, precisely by refashioning the filmmaking practices and principles of earlier movements such as Italian neorealism or cinéma vérité. To illustrate this, the chapter looks at how Manila’s slums have been represented by the filmmakers of the ‘Philippine New Wave’ (e.g. Mendoza) and at Pedro Costa’s Fontainhas Trilogy, which depicts a slum once located on the outskirts of Lisbon. The chapter concludes that these filmmakers use digital technologies, albeit very differently, to reanimate a political kind of cinema that has been declared dead, turning their films into acts of resistance to the digital confections of today’s entertainment industries as well as to the blatant social inequalities of our ‘planet of slums’.

Lachish

2020 ◽  
pp. 125-156
Author(s):  
Billie Melman
Keyword(s):  
Daily Life ◽  
British Museum ◽  
Documentary Films ◽  
Biblical Archaeology ◽  
The Press ◽  
National Archives ◽  
History Of ◽  
Museum Archives ◽  
The Government ◽  
Visual Materials

Focusing on one archaeological mound, Tell ed-Duweir, in the lowland region of Palestine, in the vicinity of Hebron, identified as biblical Lachish, the fortress city in the kingdom of Judah, Chapter 4 moves between London, the Tell, and its neighbouring villages. The chapter is a history of a landmark excavation, which uncovers the variety of its archaeological, biblical, anthropological, social, and political layers. Drawing on a wealth of written and visual materials at the Wellcome Institute, the British Museum Archives, the Israel Antiquities Authority, the National Archives, as well as on the press and archaeologists’ records, the chapter relates the identification of the Tell as Lachish, the discovery of the famous Lachish Letters (in pre-Exilic Hebrew), and their effect on Biblical Archaeology and epigraphy, to the rise of new fields of knowledge such as physical anthropology and anthropometrics. The chapter argues that the excavation project was regarded by archaeologists as a means of modernizing rural Palestine and the lives of Palestinian peasants and labourers. It recovers the modernizers’ daily life on the Tell and their representations of it in writing, photography, and documentary films. It also recoups the process of the Tell’s expropriation, as a historical monument, by the mandate authorities. Alongside the reports of archaeologists like James Leslie Starkey (who was murdered on his way from the Tell to the opening of the new Rockefeller museum in Jerusalem), Olga Tufnell, and Charles Inge, the chapter recovers the voices of villagers as they are heard through their petitions to the government about their denied access to the excavated land.

Romania: Transnational and National Tensions Beyond the New Wave

2020 ◽  
pp. 172-189
Author(s):  
Raluca Iacob
Keyword(s):  
New Wave ◽  
Film Festival ◽  
Popular Films ◽  
Limited Output ◽  
Romanian Cinema

The chapter on Romania examines post 2008 Romanian cinema through the dual prism of its film festival successes and the developing strand of genre-based popular films. Offering an account that goes beyond the critical successes of the New Wave films, the chapter discusses the difficulty of national productions to reach local audiences despite the increased adoption of genre. It also provides some explanations for the limited output of Romanian cinema, which is notable despite the increase in European and Balkan co-productions.

The Place of the Film

2011 ◽  
pp. 13-22
Author(s):  
Ian Cooper
Keyword(s):  
Horror Film ◽  
New Wave ◽  
Art Cinema ◽  
French New Wave ◽  
Genre Films

This chapter presents a background of Michael Reeves, the director of Witchfinder General (1968). Perhaps the best way to understand Reeves is to regard him as a home-grown ‘Movie Brat’. This was the name given to the geeky American cinephiles who were inspired by the critics-turned-directors of the French New Wave. These film-school-educated ‘Brats’ would make a number of innovative genre films which were to revolutionise Hollywood in the 1970s and beyond. Witchfinder General is not notable solely due to its strange status as ‘a disreputable classic’. It also draws on a number of British and American popular forms (such as the costume melodrama, the horror film and the Western). Moreover, it is a striking example of an auteur sensibility in what Robin Wood calls ‘that most discouraging of areas — the British commercial cinema’. Reeves' love of mainstream, Anglophone cinema went hand-in-hand with a rejection of the then-voguish European art cinema.

Lee Chang-dong

2020 ◽  
Author(s):  
Marc Raymond
Keyword(s):  
Short Story ◽  
Global Market ◽  
Film Festival ◽  
Left Wing ◽  
Art Cinema ◽  
Literary Adaptation ◽  
Western Art ◽  
Large Audience ◽  
Written Word ◽  
Korean Film

Lee Chang-dong, born in 1954 in Daegu, South Korea, came to the cinema after a career writing fiction, wanting to reach a large audience with his work and believing this was no longer possible using the written word. He began by working on two scripts for Korean New Wave director Park Kwang-su: Geu seome gago shibda (To the Starry Island) (1993) and Jeon Tae-il (A Single Spark) (1995). Soon, he would go on to make his first film as a writer-director, Chorok Mulgogi (Green Fish) (1997), part of a whole cohort of filmmakers (Hong Sang-soo, Kim Ki-duk, Park Chan-wook, Bong Joon-ho) who would remake the Korean film industry over the upcoming decades. Lee’s work is both distinctive among his Korean contemporaries, tending more toward realism in style even as he deals with the melodramatic plots required of mainstream cinema, while being more continuous with western art cinema humanism than cultish genre directors like Park and Bong or more minimalist stylists like Hong. His next film, Bakha Satang (Peppermint Candy) (1999), would establish Lee as an important voice, and although he would work slowly over the next coming decades, each new Lee film would mark an important event both in Korean cinema and, increasingly, in the global market as well. It was also at this time that western scholarly interest in Korean film begins to widely expand, and Lee’s movies were often an important touchstone for this work. In 2002, he released Oasis (2002), which competed at the Venice Film Festival, and then he made another change in his career direction, becoming the Minister of Culture and Tourism under the left-wing government of Roh Moo-hyun from 2003 to 2004. He returned to filmmaking in 2007 with his first literary adaptation, Milyang (Secret Sunshine), which won a Best Actress award for Jeon Do-yeon at the Cannes Film Festival. His next film, Shi (Poetry), was almost universally acclaimed and won the Best Screenplay award at Cannes, but then Lee took another sustained break from directing, although he did help produce some important films, such as July Jang’s Dohee-ya (A Girl at My Door) (2012) and Yoon Ga-eun’s Woori-deul (The World of Us) (2016). In 2018, he returned with his most unusual film to date, Burning, a (relatively) big-budget adaptation of a short story by Haruki Murakami. It won the International Critics Prize at Cannes and re-established Lee as one of the modern cinema’s master filmmakers.

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