Moveast

Balkans’s Memory:

Regional Conference on Audiovisual and Cinematographic Heritage

On 19 November, Sarajevo is hosting the closing conference of the project Balkans’ Memory, organised by INA (Institut national de l’audiovisuel) in association with the Croatian Audiovisual Centre, National Film Archive of Albania and COPEAM, and gathering the regional decision makers and relevant subjects in the field of the preservation of audiovisual and cinematographic heritage. The conference is gathering experts from the area of television and film, and from the national archives of Albania, Macedonia, Bosnia and Herzegovina, Croatia, Kosovo, Montenegro, Serbia and neighbouring countries. The participants will present a report on the work results in the past three years and focus on three main points: training and networking, gathering and mutualising resources and possibilities for financing of the preservation, digitisation and promotion of audiovisual heritage in SEE countries. During the past three years, a series of conferences, seminars and regional training programmes took place, dedicated to professionals from Albania, Bosnia and Herzegovina, Croatia, Kosovo, Montenegro and Serbia. Balkans’ Memory is a project funded by the European Union and implemented by INA through its professional INA EXPERT branch, in association with the Croatian Audiovisual Centre, National Film Archive of Albania and COPEAM.

http://www.copeam.org/wp-content/uploads/2014/11/Regional-conference-on-AV-Film-archiving-_-19112014.pdf

Moveast

About us

In the last years it turned out that the audio visual culture of the Central and East European region was primarily approached on a regional basis in the world. The individual national productions in this field are hard to be understood independently, in their own cultural context. Due to language difficulties, works from the region are still marginalized in the references. That is why the importance of establishment such a forum emerges again, that directly helps to be informed on international level in local cinema research of the region. The communication and the media are revolutionized, so the internet can be the most effective surface for such a forum. This is the purpose of the website Moveast Workshop. We hope it will be able to stimulate the researches on the audio visual culture of the region, working up the literature on it and populizing all its values by educational projects.

American-Russian Cultural Cooperation Foundation Celebrates Mosfilm

Mosfilm became the center of attention in the US capital on November 18 and 19 of 2014.

On Tuesday, November 18, American University’s Initiative for Russian Culture screened Karen Shakhnazarov’s Assassin of the Tsar at the Russian Embassy. Over 370 students from eight universities, professors, and Russian culture specialists attended the evening. The film concluded a series of films dedicated to World War One and the Romanov dynasty. Mr. Shakhnazarov answered multiple questions from the audience which asked about the making of the film and the role of the individual in history.

The Initiative for Russian Culture was established by American philanthropist Susan Carmel Lehrman in September 2011. Over 13,000 students and guests have attended screenings of classic and contemporary Russian masterpieces thanks to its cooperation with Mosfilm and the Embassy of the Russian Federation in Washington, DC. The Initiative is extremely popular with students in the great DC metropolitan area precisely because it allows them to touch the Russian world and experience it through the eyes of Russians themselves. “These movies allow the students to experience more deeply Russian history, language, and Russian-American relations. They not only show the true essence of the Russian people, but also provide an insight into the similarities and differences between our two great people,” Susan Lehrman says.

The next day, the American-Russian Cultural Cooperation Foundation and the Initiative for Russian Culture hosted a gala at the headquarters of the National Geographic Society in Washington. The evening commemorated the centenary of the National Geographic Magazine dedicated entirely to Russia as well as the ninetieth anniversary of Mosfilm studios. One of the halls of the building was turned into a film set for the evening. Awards for strengthening cultural cooperation through photography and film were given to Mr. Shakhnazarov and Gilbert M. Grosvenor, the grandson of Gilbet H. Grosvenor who was the editor of the National Geographic Magazine in 1914 and titled its cover story “Young Russia. The Land of Unlimited Possibilities.” Grosvenor-the-elder himself prepared this edition, which included one hundred photographs. He took the pictures, composed the captions, and in the process, as his grandson put it, “fell in love with Russia.” The evening thus explored the double theme of the evolution of visual art during the twentieth century and how it reflected the relationship between the two countries during this stormy and controversial era in the history of their relations.

The evening was also organized and sponsored by Susan Carmel Lehrman and included over 400 guests. Among the guests were Russian ambassador to the US Sergei Kislyak, former US ambassadors to Russia James Collins and John Beyrle as well as president of American University Neil Kerwin, Dean of the College of Arts and Sciences Peter Starr, Reagan Chief of Protocol Selwa Roosevelt, Reagan advisor on Russian culture Suzanne Massie, former US ambassador to Armenia John Evans, and Ms. Susan Eisenhower, among others.

The Executive Director of the Initiative for Russian Culture Anton Fedyashin introduced the American audience to Mr. Shakhnazarov’s career with the help of clips from We Are Jazzmen, The Courier, Vanished Empire, and White Tiger. The audience was very receptive to the ideas that Mr. Shakhnazarov has traditionally explored in his films and that have become quite current—especially the influence of American culture on the Soviet youth. The audience’s reactions once again demonstrated that the values that Mr. Shakhnazarov’s films explored are universal and accessible. “We are profoundly grateful to Mr. Shakhnazarov for granting the IRC unlimited access to Mosfilm’s vast collection of cinematic masterpieces, some of which happen to be his own. This has allowed us to introduce American students to the best of Russian culture in a way that is both entertaining and educational,” said Executive Director of the IRC Anton Fedyashin.

Ambassadors Sergei Kislyak and John Beyrle both emphasized that direct contacts and exchanges, especially of the cultural type, are even more important in times of trouble than they are in times of calm. And Mr. Shakhnazarov added that it is of the utmost importance to avoid a repetition of the cold war. Addressing people of his own generation, he asked them to think of their children’s future. Speaking to students the night before, he also asked them to avoid becoming trapped by Cold War stereotypes. Overcoming the latter is the goal of the Initiative for Russian Culture.

27.11.2014

http://mosfilm.ru/eng/news/?ELEMENT_ID=11371

Filmvilág, 2014/11

Articles on East-European Cinema.

Faithless in No Man's Land (Holocaust in Hungarian Cinema - Part 2) by Gábor Gelencsér 

Po-tin (Holocaust and Polish Cinema) by András Pályi

From Neoplanta to Budapest (Hungarian Cinema in Vojvodina) by Iván Forgács

The Mirage Gravity (A Talk to Szabolcs Hajdu) by Krisztina Horeczky

We Have No Personal Touch Anymore (A Talk to Gergely Pohárnok) by Tamás Dénes Soós

Where Did the Bride Escape? (Review on No Man's Island by Ferenc Török) by Klára Muhi

Here They Come (Review on THERE Is Something Weird and Inexpiable by Gábor Reisz) by Sándor Baski

Balkans’s Memory:

Regional Conference on Audiovisual and Cinematographic Heritage

On 19 November, Sarajevo is hosting the closing conference of the project Balkans’ Memory, organised by INA (Institut national de l’audiovisuel) in association with the Croatian Audiovisual Centre, National Film Archive of Albania and COPEAM, and gathering the regional decision makers and relevant subjects in the field of the preservation of audiovisual and cinematographic heritage. The conference is gathering experts from the area of television and film, and from the national archives of Albania, Macedonia, Bosnia and Herzegovina, Croatia, Kosovo, Montenegro, Serbia and neighbouring countries. The participants will present a report on the work results in the past three years and focus on three main points: training and networking, gathering and mutualising resources and possibilities for financing of the preservation, digitisation and promotion of audiovisual heritage in SEE countries. During the past three years, a series of conferences, seminars and regional training programmes took place, dedicated to professionals from Albania, Bosnia and Herzegovina, Croatia, Kosovo, Montenegro and Serbia. Balkans’ Memory is a project funded by the European Union and implemented by INA through its professional INA EXPERT branch, in association with the Croatian Audiovisual Centre, National Film Archive of Albania and COPEAM.

http://www.copeam.org/wp-content/uploads/2014/11/Regional-conference-on-AV-Film-archiving-_-19112014.pdf

The Prizewinners of the 39. Gdynia Film Festival

The Golden Lions of the 39. GFF, the most important reward, was awarded to the film "Gods" directed by Łukasz Palkowski!

The complete list of the prizewinners:

  • Golden Lions: "Gods", dir. Łukasz Palkowski, producer Piotr Wożniak-Starak
  • Silver Lions: "The Mighty Angel", dir. Wojciech Smarzowski, producer Jacek Rzehak
  • Platinum Lions: Sylwester Chęciński
  • Special Prize of the Jury: "The Citizen”, dir. Jerzy Stuhr, producer Piotr Dzięcioł
  • Directing: Władysław Pasikowski, "Jack Strong"
  • Performance by an Actress in a Leading Role: Zofia Wichłacz, "Warsaw 44”
  • Peformance by an Actor in a Leading Role: Tomasz Kot, "Gods”
  • Screenplay: Krzysztof Rak, "Gods"
  • Cinematography: Kacper Fertacz, "Hardkor disko"
  • Music: Mikołaj Trzaska, "The Mighty Angel"
  • Editing: Paweł Laskowski, "The Mighty Angel"
  • Special Effects: Vit Komrzy, "Warsaw 44"
  • Sound: Bartosz Putkiewicz, "Warsaw 44"
  • Art Direction: Wojciech Żegała, "Bogowie"
  • Performance by an Actress in a Supporting Role: Elena Babenko, "The Photographer"
  • Performance by an Actor in a Supporting Role: Dawid Ogrodnik, "The Word"
  • Costumes: Małgorzata Braszka i Michał Koralewski, "Jack Strong"
  • Make-Up: Agnieszka Hodowana i Aneta Brzozowska, "Gods"
  • Acting Debut: Sebastian Fabijański, "Waterline" and Jaśmina Polak, "Hardkor disko"
  • Directing Debut: Krzysztof Skonieczny, "Hardkor disko"
  • Audience Award: Grzegorz Jankowski, "Polish Shit" 

Articles from Kino

In the July-August 2013 issue of Kino magazine Piotr Śmiałowski was talking about filming the 1950-is Warsaw cult novel to Jerzy Hoffmann, one of the many film directors having had tried adopting it for a film, with no success up to now. For Warsaw lovers Tyrmand’s Zły (published in English as The Man With White Eyes) is not unknown. 

The novel describes the criminal milieu of those times on realistic plots, with existing street names, buildings, just like reading a (Google) map: it was ideal to become a movie. Hoffmann meant to film it back in 1956 at authentic places in Warsaw as described in the novel: bus Nr 100 chasing bandits, milk bars (bary mleczne), dark places behind sports halls, where gruzinki (Georgian girls) were waiting for clients, the newspaper office Ekspres wieczorny (Evening Express), and especially the Man With White Eyes - he was supposed to wear white contact lens... Hoffmann and his colleague Edward Skórzewski also intended to employ real thugs from the street, like they had before in the movie “Hooligans" (Chuligani). First time film debut of the 1950-is Warsaw cult novel is at last on its way: Xawery Żulawski is producing a film based on Tyrmand’s Zły.

There are two questions concerning Bartek Konopki’s Oscar nominated movie "Art of disappearing" (Sztuka znikania) in Jagna Lewandowska’s article in the July-August 2013 issue of Kino magazine: What could see a Haitian shaman in communist Poland at the time of martial law in 1981? What have rituals woodoo and general Jaruzelski’s military regime in common? Amon, a woodoo priest with Polish roots back from Napoleonian times is interested in the Slovanian, romantic spirit, still inherent in the Poles below contemporary masks.  Konopki discreetly reveals Polish national myths, at the same time not ridiculing them. The film was created within the framework of the project „Guide to the Poles” produced by the Adam Mickiewicz Institute with the aim of promoting Polish culture in the UE – most benevolent though for the Poles.

Roman Polanski is 80 – His life of drama

The leading Polish daily, Gazeta Wyborcza writes that he is an "unbelievable, demonic talent". Jim Jarmusch cannot believe his colleague, „master of form”, has turned 80, meaning that he should be 60...

Polanski admits in his autobiography he was always living in his own world with rather blurred borders between fantasy and reality, differing from all the other people around him.

Film director Agnieszka Holland believes „there is no way to catch him, describe or pin down, he always gets out of hand, just like his films”. When he was too young to understand it was no way to make it, he made “Knife in the Water” (Moretti, film director).

His life story is more than dramatic: his mother was killed in Auschwitz, he survived the occupation partly in the ghetto of Cracow  - hence claustrophobia will be an ever present motif in his films, besides attention to darkness, absurd and violence. In August 1969 in Bel Air, California the so called Manson family murdered his pregnant wife Sharon Tate (his mother was also murdered pregnant in the gas chamber). In 1977 Polanski got arrested for having sex with a minor, and spent 42 days in prison. Following he escaped to Europe for fear the judge would send him back to jail. After 32 years, he was arrested by the police in Zurich and kept in home arrest for nine months, till the Swiss authorities decided not to extradite him to the USA. 

Indestructible Polanski’s first release of his latest film ’Venus in Fur’ in Cannes was received enthusiastically by the critics. The more films he is to take, the better for us all. 

http://wyborcza.pl/1,75475,14450610,Vivat_Polanski__Wielki_rezyser_konczy_80_lat.html

http://www.wykop.pl/ramka/1618255/roman-polanski-konczy-80-lat/

http://wyborcza.pl/1,75475,14450610,Vivat_Polanski__Wielki_rezyser_konczy_80_lat.html

http://tvp.info/informacje/ludzie/roman-polanski-konczy-80-lat/12137230)