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June 15 2017

'Unter Dir die Stadt' im RBB



Mein Film UNTER DIR DIE STADT läuft in der Nacht von Donnerstag auf Freitag (16.06.2017), um 0.25 h, im RBB.


ANNECY 2017: Google Spotlight Stories Debuts ‘Sonaria’ Teaser [Exclusive]

Watch the exclusive teaser for "Sonaria," produced by Kevin Dart's boutique studio Chromosphere.

The post ANNECY 2017: Google Spotlight Stories Debuts ‘Sonaria’ Teaser [Exclusive] appeared first on Cartoon Brew.

June 14 2017

ANNECY 2017: Nora Twomey On Directing Cartoon Saloon’s Feature ‘The Breadwinner’

Cartoon Saloon returns to theaters this fall with a very different type of animated feature: "The Breadwinner." We go in-depth on the new production with director Nora Twomey.

The post ANNECY 2017: Nora Twomey On Directing Cartoon Saloon’s Feature ‘The Breadwinner’ appeared first on Cartoon Brew.

mädchen mädchen (roger fritz, deutschland 1967)

Midas Touch Automates 2D Animation With New Creature Tool

A new tool automates the tedious task of secondary animation, like cloth and hair.

The post Midas Touch Automates 2D Animation With New Creature Tool appeared first on Cartoon Brew.

June 13 2017

Artist of the Day: Max Litvinov

Discover the art of Max Litvinov, Cartoon Brew's Artist of the Day.

The post Artist of the Day: Max Litvinov appeared first on Cartoon Brew.

kauft mich!
die weibchen (zbynek brynych, deutschland 1970)

Hong Kong Neo-Noir

hk neo noir.jpg

Edited by Esther C.M. Yau and Tony Williams
Edinburgh University Press - 2017

About six years ago, there was a retrospective of films from Hong Kong and France that were considered examples of film noir from their respective countries. I've seen five of the nine Hong Kong films listed, and read about the others. If one was to do a study of Hong Kong films, be they classified as noir or neo-noir, that list would be a good place to start.

To the credit of the editors, they acknowledge that film noir may be more of a style rather than a defined genre, and that their book should be taken as the beginning of discussions on this loose survey of films. I admit to having perhaps unrealistic expectations for a book that includes such heavy hitters as Adam Bingham, Gina Marchetti and David Desser. I wouldn't have minded that several films are only mentioned in passing, such as Donnie Yen's brooding Ballistic Kiss, or not discussed at all, like Sleepless Town by Lee Chi-Ngai, about Chinese gangsters in the Shinjuku section of Tokyo. What is a problem is that the parameters for noir are so wide here that some of the chapters go into tangents make their inclusion highly questionable.

I've not seen the television series, "24", so I am unable to verify in what ways Hong Kong action films may have been an influence. What is a problem is when the author spends more time discussing individual episodes, so that any similarities to the several Hong Kong films mentioned seem secondary. And having a chapter titled, "Tech-Noir: A Sub-Genre May not Exist in Hong Kong Science Fiction Films" also seems to be shoe-horned in, discussing a handful of Hong Kong films in relation to the noir influenced The Terminator and Blade Runner.

Where Hong Kong noir ends and Hong Kong neo-noir begins isn't clearly designated. The first period would appear to be during the 1950s and 60s, at a time when the main stars were female. The one film that benefits from a consensus of opinion is The Wild, Wild Rose (1960). Inspired in part by Carmen, with one of the biggest stars of the time, Grace Chang, uncharacteristically playing the "bad girl", the film is admittedly a hybrid of noir, melodrama and musical. The production of the film is discussed in detail by Lisa Odham Stokes. The chapter by Law Kar, "Black and Red: Post-War Hong Kong Noir and its Interrelation with Progressive Cinema, 1947-57", provides a survey of films primarily made by filmmakers from Shanghai, who provided much of the behind the camera talent. One would hope that more of the films from mainland China become more easily available for study. That chapter also discusses how Hollywood films became available in Hong Kong following the occupation by Japan, becoming sources for both stories and style.

Neo-noir would primarily be the crime films most notable made around the time of the handover of Hong Kong to mainland China. Johnnie To gets the most attention with Gina Marchetti's chapter on Running on Karma and Jinhee Choi discussing Exiled. Ms. Choi's chapter also looks at Patrick Tam's After This Our Exile. Partially due to his own self-imposed exile from Hong Kong filmmaking, Tam is not as well known as he should be. Julian Stringer's chapter on the chase sequence from Ringo Lam's Full Alert is of interest in covering the legalities of film production in Hong Kong prior and after the handover, as well as Lam's reasoning for trying to document what Hong Kong looked like in 1997.

I don't know who is responsible for this error, but Ms. Choi's chapter is somewhat undermined by references to "axes of action". There is the axis of action which refers to the 180-degree rule of film making. Axes of action would more likely be found in the horror movies of William Castle.

exiled poster.jpg

material

Nico Hoffmann über Jan Schütte:

"Jans Filminteresse stand aber gleichberechtigt neben seinem Studium. Von der Zeitungsredaktion im Mannheimer Raum, für die er freiberuflich schrieb, war es nur ein kleiner Schritt zu den Fernsehsendern in Stuttgart und Baden-Baden."

Jan Schütte über Nico Hoffmann:

"Nico beherrschr den Umgang mit den Institutionen Förderung und Fernsehen wie kein zweiter Regisseur unseres Alters, den ich kenne, mit einer Leichtigkeit und auch Begeisterung, die gelegentlich für ihn selbst gefährlich sein kann."

filmwärts 15/16, 1990, S. 32-33

Lumiere d'ete, Jean Gremillon, 1943

Das Hotel trägt den Namen Schutzengel ("L'ange Gardie"), aber weder bietet es auch nur irgendjemand im Film Sicherheit, noch ist die Frau, die dort zu Beginn eintrifft, ein Engel. Höchstens: ein Staubengel. Die Aureole, die sie gleich bei ihrem ersten, fantastischen Auftritt umgibt, ist ausgesprochen irdischen Ursprungs: Sie verdankt sich dem Steinbruch, in dem mehrmals im Film Sprengkörper gezündet werden.

Die Architektur des Films glaubt man zunächst als eine Art verräumlichte Dreifaltigkeit beschreiben zu können: Unten der staubende Steinbruch, in dem die kernigen Arbeiter schuften, oben ein von einem denkbar dekadenten Adligen bewohntes Schloss, und im Zentrum das Hotel mit seiner atemberaubenden Glasfassade. Das Hotel also doch als Schutzengel, der zwischen beiden Sphären vermittelt, auch im Sinne einer halbwegs neutralen Kontaktzone: Der Schlossherr hält sich hier seine Mätresse, aber auch ein ganz besonders viriler Arbeiter emfängt einen unverhofften Kuss vom Staubengel. Auf den freilich der Schlossherr ebenfalls ein Auge wirft.

Schon früh merkt man, dass das so nicht aufgehen wird; spätestens in den Szenen, die im völlig durchgeknallte Vogelzimmer des Hotels spielen, das eine Welt für sich ist, eine Art Mittelalterfantasie mit kleinen Türmchen und überbprdendem Ornament. Bald verschwindet das Hotel ganz - es ist nur das Zaubertor, durch das man in den Film eintritt. Die anderen Orte des Films sind noch wundersamer, aber auch gefährlicher. Schon das Schloss verweigert sich der einhegenden Totale, und am Ende platzt es während eines Balls aus allen Nähten. Aber vor allem ist der Steinbruch nicht nur ein Steinbruch, er setzt sich in eine Science-Fiction-Technofantasie fort, fast ein kleines Metropolis. Eine Welt für sich, aus Stahl und Streben, verdrahtet, verschweißt, Aufzüge nach oben, nach unten, aber irgendwann spannt sich einer einfach selbst ein in die Maschinenwelt und hängt, das ist unter den vielen tollen das allertollste Bild, frei in den Seilen.

Er wird selbst zum Vektor in einem Film, in dem jeder Ort mit multiplen, oftmals einander widerstrebenden Vektoren versehen ist, die in ihrer Gesamtheit zu einem letztlich dimensionslosen Raum sich fügen.

Außerdem taucht betrunken und pfeilschnell motorradfahrend ein Störenfried auf, ein Maler und Hallodri. Eigentlich ist auch er wegend es Staubengels da, aber man merkt schnell, dass seine eigentliche Funktion eine andere ist: Er kitzelt einen Wahnsinn wach, der freilich schon vorher in der Situation angelegt war. Einen gleichzeitig lebensgefährlichen und spielerischen Wahnwitz, vermittelt durch Shakespeare. Wobei es nicht um den ganzen, majestätischen Shakespeare, ums Köngigsdrama geht, sondern um sinndestabilisierende Shakespeare-Fragmente, die frei durch den Film flottieren; auch um die Lust am Verkleiden. "Das Entscheidende an der Verkleidung ist das Detail", sagt eine der vielen tollen Nebenfiguren einmal, und fügt dann hinzu: "es geht um dieses eine Detail, das ins Auge springt, das einen Eindruck hinterlässt". Wenn nicht das Ganze, sondern das Detail ins Auge springt, dann heißt das auch: Es geht um ein Detail, das sich zum Ganzen exzessiv verhält, das das ganze aufsprengt - und doch notwendigerweise noch auf ein aufsprengbares Ganzes angewiesen ist.

Das exzessive Detail - das könnte ziemlich genau ein Geheimnis (eines von vielen) des klassischen Kinos fassen. Die Verrücktheit von Lumiere d'ete ist die spezifische Verrücktheit des klassischen Kinos, des Detailkinos.
Reposted by02mydafsoup-01 02mydafsoup-01

Annecy 2017: ‘Mutafukaz’ English Trailer Released

Watch the trailer for "Mutafukaz," the feature film collab between France's Ankama and Japan's Studio4°C.

The post Annecy 2017: ‘Mutafukaz’ English Trailer Released appeared first on Cartoon Brew.

June 12 2017

CB Fest Premiere: ‘Changeover’ by Mehdi Alibeygi

Another award-winning short premieres this week on CB Fest. In "Changeover," a die-hard romantic bird refuses to give up.

The post CB Fest Premiere: ‘Changeover’ by Mehdi Alibeygi appeared first on Cartoon Brew.

June 11 2017

Coffee Break

A French Gigolo.jpg
Nathalie Baye in A French Gigolo (Josiane Balasko - 2008)

June 10 2017

Richly Resourceful! On B.Ruby Rich's Work, plus A Roundup of Recent Open Access Screen Studies Items

The above video treats the ending of Lucrecia Martel's La niña santa / The Holy Girl (2004), using insights about the film from Deborah Martin's book The Cinema of Lucrecia Martel (Manchester University Press, 2016) and Sophie Mayer's chapter 'Gutta cavat lapidem: The sonorous politics of Lucrecia Martel's swimming pools', in The Cinema of The Swimming Pool, eds. Christopher Brown and Pam Hirsch (Peter Lang, 2014). For Study Purposes Only - No Significant Spoilers.
The video is dedicated to pioneering queer and feminist film curator and critic B. Ruby Rich, one of the foremost advocates of the work of La niña santa's director, and much other queer New Argentine, and Latin American Cinema. 
Rich's career is justly being celebrated at a screening and discussion event taking place between June 21-25, 2017, at the Barbican Cinema (and other London venues) as part of its 2017 Film in Focus season. The event is entitled ‘Being Ruby Rich’ and is co-sponsored by Film London and co-curated by Club des Femmes, the queer-feminist film curating collective. La niña santa (a film championed by Rich, alongside Martel's other films) will be screened with an introduction by Sophie Mayer at the Barbican Cinema on Sunday, June 25, at 6pm.
For further information about these events, see here. 

Today, Film Studies For Free celebrates the much-awaited visit to London of B. Ruby Rich (foundational film critic, festival programmer, cultural theorist, and chronicler of social trends on screen and off), on the occasion of a magnificently merited celebration of her career at the Barbican and other venues, organised by Club des Femmes, the queer-feminist film curating collective (check out their interview about their work here).

The entry celebrates, as usual, in film studies links, beginning with a new video resource (above) on one of the films to be screened in this celebratory programme, and then lots of other rich Rich-related resources (below), followed by a roundup of recent Open Access Screen Studies Items, including numerous new journal issues online.

FSFF also wanted to share the great news that, from September 1, 2017, its author will be taking up the post of Professor of Digital Media and Screen Studies at Birkbeck, University of London, an institution with a longstanding and wonderful record of supporting open access publishing and widening educational access, in part through film curating study and practice! Birkbeck Institute for the Moving Image is also co-host of one of the free events celebrating Ruby Rich's work, taking place on June 21, 2017.

By (or Featuring) B. Ruby Rich:





On Rich's work:


Other news and recent open access screen studies links:
  1. Cinephile aggregator extraordinaire David Hudson has taken his expertly unmissable daily round-ups of cinephile links, news and events (formerly of Keyframe Daily) to the Criterion Collection "Daily" websitehttps://www.criterion.com/current/posts?category=The+Daily.
  2. Tiago Baptista's open-access PhD thesis on the digital audiovisual essay (supervised by Laura Mulvey and externally examined by Adrian Martin)! http://bbktheses.da.ulcc.ac.uk/215/.
  3. Rob King's great new book Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture is available in open access formats at Luminosoa here: http://www.ucpress.edu/book.php?isbn=9780520288119.
  4. Nicholas Mirzoeff's new free e-book The Appearance of Black Lives Matter (NAME Publications) is available here: http://namepublications.org/item/2017/the-appearance-of-black-lives-matter/.
  5. Out now: Issue 45.2 of Film/Literature Quarterly, a highly esteemed and long-established journal now available in an online open access version!! https://www.salisbury.edu/lfq/.
  6. Just out: Issue 7 of MOVIE: Journal of Film Criticism, with new features on Opening Shots and audiovisual essays: http://www2.warwick.ac.uk/fac/arts/film/movie/.
  7. Just out: Issue 12 of The Cine-Files: a special commemorative issue on Chris Marker and Jacques Rivette, featuring so many delightful and insightful pieces... including an essay by Rivette himself! http://www.thecine-files.com and http://www.thecine-files.com/dossier-rivette-marker/.
  8. Issue 11 of FRAMES Cinema Journal - The Future of Horror is now available online at http://framescinemajournal.com/.
  9. A NEW issue of #openaccess journal NECSUS on #TRUE! with a great new AV essay section curated by Kevin B. Lee! http://www.necsus-ejms.org/portfolio/spring-2017_true/.
  10. Three new contributions to "Ghetto Films and their Afterlife", in the #openaccess journal APPARATUShttp://www.apparatusjournal.net/index.php/apparatus/issue/view/3.
  11. New issue of Film-Philosophy (21, 2, 2017) now published and fully open access: http://www.euppublishing.com/toc/film/21/2. ARTICLES: Memories of the Unlived Body: Jean-Louis Schefer, Georges Bataille and Gilles Delouse by Patrick ffrench; A Body Without a Face: The Disorientation of Trauma in Phoenix (2014) and New Holocaust Cinema by Olivia Landry; Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema by Rødje Kjetl; Fearsome Acts of Interpretation: Audiovisual Historiography, Film Theory and Gangs of New York by Mike Meneghett.
  12. New issue of Media Industries (Vol. 4, No. 1) now available. It features articles by Nora Draper, Darrell Davis and Emilie Yueh-yu Yeh, Patryk Galuszka and Katarzyna Wyrzykowska, and Justin Wyatt. The issue also contains a Special Section curated by Annette Hill and Jeanette Steemers that focuses on Media Industries and Engagement, featuring a dialogue between industry and academic researchers: http://www.mediaindustriesjournal.org/.
  13. A new international peer-reviewed open access journal of James Bond Studies, shaken not stirred: http://jamesbondstudies.roehampton.ac.uk.
  14. New issue of INTENSITIES: A JOURNAL OF CULT MEDIA: https://intensitiescultmedia.com/issue-9-spring-2017/.
  15. New issue of the Journal of Lusophone Studies features a special dossier on Portuguese Cinema: https://jls.apsa.us/index.php/jls/issue/view/23.
  16. A great new #openaccess practice-research publication: O A R Platform! Check out Issue 1: "Sites of Research" here: http://www.oarplatform.com/issue/issue-1/.
  17. On David Lynch: a new virtual special issue of the esteemed journal Screen freely accessible until end August 2017: https://academic.oup.com/screen/pages/david_lynch_virtual_issue.
  18. Laura Ivins' great video and text on Maya Deren's Film-Philosophy: http://blogs.iu.edu/aplaceforfilm/2017/05/23/maya-derens-film-philosophy/.
  19. New essay by Adrian, Martin for Photogénie, on 'play' in American screen comedy from the early sound era to the 50s and beyond: thttps://cinea.be/game-space-and-play-time-a-partial-history-american-screen-comedy/?language=en.
  20. Peter Labuza of the Cinephiliacs podcast interviews cinephile par excellence Girish Shambu: http://www.thecinephiliacs.net.
  21. Further great, recent, scholarly-related cinema podcasts available at The Cinematologists: http://www.cinematologists.com.
  22. Check out 'Edit shots' - a free for personal use (or pay what you want) resource: http://learnaboutfilm.com/editshots/.
  23. ‪Check out Professor Ian Christie's new research blog on cinema pioneer Robert Paul, the "undersung hero of early British filmmaking": https://paulsanimatographworks.wordpress.com.
  24. Attention Hitchcock Fans: there will be a free online, interactive course with multi-media course material, games and more from Ball State University. It is in conjunction with TCM running one of Hitchcock's greatest films every Wednesday and Friday night in July. You can enroll here: https://www.canvas.net/browse/bsu/tcm3/courses/hitchcock50.
  25. Great interview with Laura Mulvey at Issue 8 of  Four by Three Magazine, part of an amazing issue of the magazine on DEATH, with other contributions by luminaries on a wide range of essential specific topics.
  26. The international, Arts and Humanities Research Council-funded Filmmaking Research Network has designed a survey to gather data about filmmaking research. The aim of this survey is to compare and contrast examples of filmmaking research through producing case studies and a register of films as research outputs. It is also intended to build capacity through networking members via research themes, curating content from the film register for international dissemination and creating a Phd examiner list. Though the survey is primarily aimed at UK and Australian academics we welcome contributions from colleagues in other countries particularly those who have films to register. Please participate by completing the online survey at: https://www.surveymonkey.co.uk/r/filmmakingresearch. For further information about the network and to join the e-list visit: http://filmmakingresearch.net.
  27. Martin Scorsese on standing up for cinema in the Times Literary Supplementhttp://www.the-tls.co.uk/articles/public/film-making-martin-scorsese/.
  28. Great interview with Laura Mulvey at Four by Three Magazine: http://www.fourbythreemagazine.com/issue/death/laura-mulvey-interview.
  29. The latest issue of Learning on Screen/BUFVC journal VIEWFINDER has published a conversation between Catherine Grant, Amber Jacobs and Ian Magor about the use of audiovisual essay in film and moving image studies.
http://bufvc.ac.uk/publications/viewfinder-archive

June 09 2017

1. morbid movies: rosso sangue (joe d’amato, italien 1981)

3 Ways To Succeed In The Business Of Comics

Creating comics is a complicated enterprise. You write and rewrite your script, then pencil, ink, color, and letter your pages with care, and then…what happens next?

The post 3 Ways To Succeed In The Business Of Comics appeared first on Cartoon Brew.

June 08 2017

1. morbid movies: water power (shaun costello, usa 1976)
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