bluuebunny/crossref_metadata_2025 huggingface dataset:
Hierarki Kebutuhan Sebagai Dasar Refleksi Diri Tokoh Dalam Novel Pesantren Impian
Authors: Noor Wahyuddin Kamal , Qomariyah U'um
Published: August 2019

Penelitian ini bertujuan untuk mendeskripsikan refleksi diri tokoh dalam novel Pesentren Impian karya Asma Nadia yang dikaitkan dengan motivasi diri serta pemenuhan hiarki kebutuhan Abraham Maslow. Metode yang dipakai adalah deskriptif kualitatif. Data yang dikumpulkan berupa teks dalam novel Pesantren Impian karya Asma Nadia. Pengumpulan data dilakukan dengan membaca sumber data. Kemudian pengklasifikasian data, data dipisahkan berdasarkan permasalahan dan tujuan penelitian. Data yang sudah diinterpretasikan selanjutnya di eksplanasi dalam bentuk paparan bahasa sebagai suatu hasil sebuah analisis. Hasil dari peneitian ini adalah paparan mengenai pemenuhan hirarki kebutuhan tokoh, motivasi tokoh, dan karakteristik tokoh setelah merefleksi diri. Hierarki kebutuhan yang terpenuhi dalam novel Pesantren Impian karya Asma Nadia meliputi kebutuhan fisiologis, kebutuhan rasa aman, kebutuhan rasa dimiliki dan memiliki, kebutuhan harga diri dan aktualisasi diri. Sedangkan motivasi tokoh untuk merefleksi diri merupakan dorongan/keinginan tokoh untuk mendapatkan sesuatu, dalam hal ini adalah kehidupan yang lebih baik di masa mendatang. Tokoh yang merefleksi diri menunjukkan karakteristik yang berbeda-bedamulai dari perubahan penampilan sampai pada psikologis tokoh.

 

This study aims to describe the self-reflection of the character in the novel Pesentren Impian by Asma Nadia which is associated with self-motivation and the fulfillment of the needs of Abraham Maslow. The method used is descriptive qualitative. Data collected in the form of a text in the novel Pesantren Impian by Asma Nadia. Data collection is done by reading data sources. Then classifying the data, the data are separated based on problems and research objectives. The data that has been interpreted is then explained in the form of language exposure as a result of an analysis. The results of this research are exposure to the fulfillment of the hierarchy of character needs, character motivation, and character characteristics after self-reflection. The hierarchy of needs fulfilled in the novel Pesantren Impian by Asma Nadia includes physiological needs, security needs, sense of belonging and belonging, self-esteem needs and self-actualization. While the motivation of the character to reflect on himself is the drive / desire of the character to get something, in this case is a better life in the future. People who reflect themselves show different characteristics ranging from changes in appearance to psychological character.
A Deep Learning Approach for Detecting Copy Number Variation in Next-Generation Sequencing Data
Authors: Hill Tom , Unckless Robert L
Published: August 2019

Copy number variants (CNV) are associated with phenotypic variation in several species. However, properly detecting changes in copy numbers of sequences remains a difficult problem, especially in lower quality or lower coverage next-generation sequencing data. Here, inspired by recent applications of machine learning in genomics, we describe a method to detect duplications and deletions in short-read sequencing data. In low coverage data, machine learning appears to be more powerful in the detection of CNVs than the gold-standard methods of coverage estimation alone, and of equal power in high coverage data. We also demonstrate how replicating training sets allows a more precise detection of CNVs, even identifying novel CNVs in two genomes previously surveyed thoroughly for CNVs using long read data.
Far East Film festival, Udine
Authors: Ng Yvonne
Published: August 2019

INTERVIEW WITH FEDERICA DINI, FAR EAST FILM, UDINE, ITALY Federica Dini served as Secretarial Editor of the third edition of Far East Film festival (April 2001). She spoke to Kinema's Yvonne Ng. Kinema: It seems rather unusual to have a festival concentrating fully on Asian cinema here in Udine. How did the Far East Film festival come about?Federica Dini: Actually, the festival started fifteen years ago. It was and is still called the Udineincontri Cinema. It was only recently that we decided to focus on Far East cinema. Since its beginning, the festival has concentrated on popular cinema. So one year, you would have European westerns, the following year, Italian cinema of the 1950s and so on. It was a theme festival, and the subject matter changed every year. But in 1998, we programmed Far East cinema for the first time and it was called Hong Kong Film....
The Plateau Exhibition in Ghent 2001
Authors: Holloway Ron
Published: August 2019

THE PLATEAU EXHIBITION AT THE SCIENCE MUSEUM IN GHENT 2001 Film historians with a tick for the archaeology of the cinema are well advised to pay a visit to the Museum of Science in Ghent to view the exhibition honouring the 200th birthday of Belgian scientist Joseph Plateau. It was Plateau's experiments on optical deception and the persistence of vision in the middle of the 19th century that led to the invention of the anorthoscope (distorted view) and the phenakistiscope (deceitful view), the direct precursors of the first moving picture inventions. The entire range of related optical inventions the stroboscope (whirling view), the thaumatrope (magical turning), and zoetrope (life turning), to name just the key scientific discoveries that led to cinematography were placed on mechanically driven display at the opening of the 28th Flanders International Film Festival in Ghent (8-18 October 2001). Visitors to the Flanders festival were also...
Cluj, Romania 2003
Authors: Holloway Ron
Published: August 2019

TRANSYLVANIA INTERNATIONAL FILM FESTIVAL CLUJ, ROMANIA 2003 Last year, the 1st Transylvania International Film Festival (TIFF) in Cluj (aka Cluj Napoca, to cite its Roman origin), situated in the northwestern corner of Romania near the Hungarian border, was greeted with enthusiasm by both public and visitors. The large home crowd, composed mostly of students from several universities and cultural institutions, had only one complaint: the festival, scheduled during the first week of June, happened to take place smack in the middle of school exams. Couldn't a better date on the calendar be found? As for the run of guests and tourists, they bothered Tudor Giurgiu, festival founder and director, almost daily with the same nagging question: "Where's Dracula's Castle, and how do I get there?" There were no complaints, however, in regard to the entries booked by critic Mihai Cherilov. Altogether, 45 films were programmed in two venues, with a...
Karlovy Vary 2003
Authors: Holloway Ron
Published: August 2019

KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2003 There's not a film festival in the world with more die-hard devotees than the Karlovy Vary. Kids backpack their way to this health spa, sleep in the parks if need be, and line up early in the morning to book tickets for the 300-odd films in 20 sections screened in 12 venues. In addition, there are the Cultural Events, which begin at noon and stretch until midnight. New hotels and restaurants in restored buildings welcome ever more guests. If you take the waters at this legendary spa with its hot springs, you can cut the taste later with an Oplatky sugar-wafer or settle your belly with a shot of Becherovka on the side. Receptions in the Grand Hotel Pupp are known to linger until dawn. A quaint tent - called the "Bioscope" - was erected right next to the Thermal Hotel flagship complex...
Cecil B. DeMille's Greatest Authenticity Lapse?
Authors: Kozlovic Anton Karl
Published: August 2019

THE PLAINSMAN (1937): CECIL B. DeMILLE'S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had "falsified history more than anybody else" (Reed 1971: 367). Others argued that he never let "historical fact stand in the way of a good yarn" (Hogg 1998: 39) and that "historical authenticity usually took second place to delirious spectacle" (Andrew 1989: 74). Indeed, most "film historians regard De Mille with disdain" (Bowers 1982: 689) and tended to turn away in embarrassment because "De Mille had pretensions of being a historian" (Thomas 1975: 266). Even Cecil's niece Agnes de Mille (1990: 185) diplomatically referred to his approach as "liberal." Dates, sequences, geography, and character bent to his needs." Likewise, James Card (1994: 215) claimed that: "DeMille was famous for using historical fact only...
The Syntactic Role Of Colour in Film
Authors: Rotem Ornam
Published: August 2019

THE WORLD AS ONE WHOLE: THE SYNTACTIC ROLE OF COLOUR IN FILM JEAN RENOIR greatly admired Marcel Pagnol, but unlike him, he did not believe "that everything was in dialogue". As a film-maker Renoir sought to combine the disparate elements that make up a film, each finding its own place in the grand scheme. He said that in a given situation, say a love-scene when two adoring actors approach one another, "dialogue is a part of the theme and reveals character" but the true weight of emotions are carried by other, non-verbal factors, mostly those revealed in close ups. Moreover, the real theme in this example (of a love-scene), is the person. Dialogue, texture, picture, situation, setting, temperature and lighting all combine together to depict the person, since, as he puts it, "the world is one whole".(1) There is something uncanny about Renoir when he philosophizes. Like his...
Cannes 2004 Report
Authors: Holloway Ron
Published: August 2019

THE "NEW" 57eme FESTIVAL DE CANNES 2004 FOR a quarter century the Cannes film festival has been associated, for better or for worse, with one name – Gilles Jacob. As the délégué général of the Festival International du Film for all of 23 years (since 1978), he selected the films, set its pace, and stood at the top of the stairs to welcome producers, directors, and stars to their premiere screenings in the Palais. Pierre Viot, the former festival president and Gilles’s right-hand man, took care of the diplomatic honneurs, while Christine Aimé ran the Service de presse like a Swiss watch. That’s all in the past. Cannes, the kingpin of all international film festivals, now has a new name, a new team, a new vision. First of all, the name. When guests arrived at this year’s event – the 57th – they saw the emblem...
Conversation with Sri Lankan Director Dharmasena Pathiraja
Authors: Wee Brandon
Published: August 2019

ONE LEAGUE OF SOCIAL CONSCIOUSNESS: CONVERSATION WITH SRI LANKAN DIRECTOR DHARMASENA PATHIRAJA He has been referred to as a "rebel with a cause," an "enfant terrible of the '70s, and is widely recognised as the pioneer of Sri Lankan cinema's "second revolution." However, from his speech and writings, one gathers Dharmasena Pathiraja is more interested in re-examining the values that underpin such popular labels than to let his work be framed by mere posturing. If Lester James Peries has been credited with the establishment of an indigenous Sinhala cinema coinciding with Sri Lanka's political, social and cultural revolution during the mid-1950s, and whose works were categorised as "art films" dissimilar to those of mainstream filmmaking, Dharmasena Pathiraja's arrival on the scene in the 1970s would redefine a socially conscious Other to Peries' gaze on "bourgeois idealism." For Pathiraja, critical engagement would be his "alternative."...
Montreal 2004
Authors: Holloway Ron
Published: August 2019

MONTREAL WORLD FILM FESTIVAL 2004 The 28th Montreal World Film Festival (26 August to 6 September 2004) is the story of the right film being at the right festival at the right time. Eran Riklis's Hacala Hasurit (The Syrian Bride, Israel-France-Germany) was awarded the four top prizes: Grand Prize of the Americas, FIPRESCI (International Critics) Prize, Ecumenical Prize, and the Air Canada People's Choice Prize. Never mind that the same film had also been voted the Prix du publique at the Locarno festival in August, for the FIAPF rules governing the eligibility of competition films in major festival are currently undergoing drastic change - due in great part, one might add, to last year's decision by Montreal director Serge Losique to drop his festival membership. And one can only cheer the good fortune of a modest film with quality production credits directed by an Israeli based in London, whose...
Rotterdam 2004
Authors: Dönmez-Colin Gönül
Published: August 2019

INTERNATIONAL FILM FESTIVAL ROTTERDAM 2004 Thirty third International Film Festival Rotterdam (21 Jan - 1 Feb 2004) offered a wide selection of films for the VPRO Tiger Awards Competition. A wonderful surprise from China was Zhifu (Uniform), debut feature of Diao Yinan, a digital film set in an industrial city in a remote part of China. The protagonist who has a small job in laundry tries to have his sick father receive pension from the closed down factory but gets nowhere. One day, he comes across an unclaimed police uniform and his life takes a new direction. Picking up a nice girl is not a problem when he wears the uniform. He even manages to earn extra cash by receiving bribes. The anti-hero's fall is evident from the start but what makes the film special is its depiction of a China less explored on the screen. The portrayal of...
Leipzig 2003
Authors: Holloway Ron
Published: August 2019

The 46th Leipzig International Festival for Documentary and Animation Films (14-19 October 2003) - the tenth under retiring festival director Fred Gehler - went down in the books as one of the best so far as politically relevant programming was concerned. Rithy Panh's S21 - La machine de mort Khmère Rouge (S21 - The Khmer Rouge Killing Machine, France) was awarded both the Golden Dove for Best Long Doc­umentary by the International Jury and the FIPRESCI Prize by the Inter­national Critics. First seen at Cannes in the Official Program as a Special Screening, S21 is currently making the rounds of key international film festivals - after Leipzig it was booked for the Viennale and the London Film Festival. Running at 100 minutes, its plodding pace demands the complete attention of the viewer and makes for a quite horrifying experience as the story unfolds. S21 refers to the site of the...
Montreal 2003
Authors: Holloway Ron
Published: August 2019

MONTREAL WORLD FILM FESTIVAL 2003 One of the ironies of the 27th Montreal World Film Festival (27 August to 7 September 2003) was the presentation by Montreal festival director Serge Losique of three films programmed at relatively the same time by Venice festival director Moritz de Hadeln at Venezia 60 (27 August to 6 September). These were the following: Andrei Zvjagintsev's Vozvraschenie (The Return, Russia), winner of the Golden Lion, Alejan­dro Gonzalez Iñarritu's 27 Grams (USA), with Sean Penn awarded the Coppa Volpi for Best actor; and Hana Makhmalbaf's Joy of Madness (Iran), a documentary made by the 14-year-old sister of Samira Makhmalbaf on the latter's making of Pan é asr (At Five in the Afternoon), her competition entry at Cannes. By way of a return gesture, a Montreal competition entry, Goutam Ghose's In the Forest Again (India), was next shipped to Venice for its European premiere on the Lido....
Toronto 2003
Authors: Viccari Ben
Published: August 2019

CANADIAN FILMS AT THE TORONTO INTERNATIONAL FILM FESTIVAL 2003 This year's TIFF left me more opti­mistic than previously about the future of Canadian films. So many of the Canadian productions I saw have escaped the bondage of former years when I've often felt that too many Canadian filmmakers have been trying too hard to be Hollywood rather than to make movies that are distinctly Canadian, yet accessible to audiences. To me "way out" conception and execution of a film is no substitute for true cinematic communication. The indigenous films I liked at this year's festival show Canadian backgrounds from Winnipeg in the Depression to the seedy Hochelaga quarter in Montreal, to suburban Toronto, to the Arctic barrens. I recall being at a luncheon, in 1982 at Rome's Cinecittà, following the awards of the Circolo Stampa Estera. The buzz was all about Australian films and their surprising vitality. What of...
Le roi et l’oiseau DVD
Authors: Uhde Jan
Published: August 2019

Finally, Paul Grimault's beautiful, poetic and humorous tale about oppression and the struggle for freedom - the chef d'œuvre of French animation which also influenced Miyazaki - can now be enjoyed by more than a lucky few. Meticulously restored after a two-year effort, the image and colour quality of the transfer is pure pleasure to behold. On top of this, Jacques Prévert's poetic text and the lyrical score by Joseph Kosma (songs) and Wojciech Kilar (music) are simply unforgettable. The film's story, based on Hans Christian Andersen's fairy-tale The Shepherdess and the Chimney-Sweep is simple, so that perhaps the (unfortunately unavailable) English subtitles will not really be missed. The set includes a 56-minute documentary on Grimault and his 1988 feature La table tournante (co-dir. Jacques Demy; both in French)....
Istanbul 2005
Authors: Dönmez-Colin Gönül
Published: August 2019

ISTANBUL INTERNATIONAL FILM FESTIVAL 2005 24th Istanbul Film Festival (April 2-17, 2005), which can be defined as a Festival of Festivals carried the usual format that has had positive audience response over the years with minor adjustments. The International Competition was comprised of films carrying the themes of arts and artist or were literary adaptations. Among the thirteen that competed for the Golden Tulip, Kôhî Jikô (Café Lumière, 2004) by Hou Hsiao-hsien; Lila Dit Ca (Lila Says Yes) from France directed by Lebanese Ziad Doueiri (a follow-up to his successful debut, West Beirut); from Canada, Childstar (2004) by Don McKellar and Turkish director Erden Kiral's Yolda (On the Way, 2004) about Guney's last days in prisons drew attention. The Galas, defined by the festival as the most crowd pleasing films included Woody Allen's Melinda and Melinda, Wong Kar Wai's 2046 and Mike Leigh's Vera Drake. Buster Keaton's 1927 film...
Representations of Female Sexuality in Polish cinema after 1989
Authors: Ostrowska Elżbieta
Published: August 2019

REPRESENTATIONS OF FEMALE SEXUALITY IN POLISH CINEMA AFTER 1989: LIBERATION OR COMMODIFICATION? IN CONSIDERING the issue of female sexuality in Polish cinema after 1989 it is necessary to locate it within the broader context of the Polish ideological discourse on femininity and the representation of sexuality in Polish cinema. First, it can be claimed that specific historical circumstances resulted in the domination of national issues over that of gender, and that gender roles were predominantly defined according to the demands of the national ideology of Polishness. The origins of the Polish dominant discourse on femininity can be found in the 19th century, particularly when the myth of the Polish Mother was created. (1) The analysis of representations of this myth in Polish art demonstrates strongly that they were based on the tradition of the representation of the Virgin Mary. Using this representative model inevitably led to a de-sexualization...
Kiev 2004
Authors: Holloway Ron
Published: August 2019

KIEV INTERNATIONAL FILM FESTIVAL – "MOLODIST" 2004 The oldest independent film festival in Eastern Europe, the "Molodist" (Youth) festival in Kyiv (Kiev) was founded back in 1970 by Andriy (Andrei) Khalpakhtchi, an enterprising cineaste and film historian who felt that amateur filmmakers deserved as much a chance to show their homemade productions in Budynok Kino (House of Cinema) as the film professionals at the Alexander Dovzhenko Studios. Over the years the "Molodist" festival has grown by leaps and bounds, thanks in great part to the generous support offered by foreign consulates and cultural centres based in the city. One glance at the 200-page catalogue for the 34th Kiev International Film Festival (23-31 October 2004) confirms that this rule-of-thumb still applies today: among the festival's 25 listed partners are traditional "film friends" from France, Germany, Netherlands, Scandinavia, Switzerland, Austria, Poland, Hungary, Czech Republic, and, of course, Russia. Indeed, more than half...
Rotterdam 2005
Authors: Holloway Ron
Published: August 2019

ROTTERDAM INTERNATIONAL FILM FESTIVAL 2005 In case you have not already noticed, then take note of the new Amnesty International Jury on the festival circuit. And take note especially of the DOEN Award for the "Best Film Related to Human Rights" - awarded for the third time by the Amnesty International Jury at the 34th Rotterdam International Film Festival (26 Jan to 6 February 2005). A prize with a 5,000-Euro purse, plus (if possible) an art-house distribution release in the Netherlands, the DOEN Award was launched by the Netherlands chapter of Amnesty International to assure a wider audience for the winning film. To some extent, this particular Amnesty International Award was catapulted to festival prominence when Leo Hannewijk, programming director of the Film by the Sea Festival (see special section in KINO 82), entered the picture to arrange for a preselection of important human rights films. In other words,...
Cinema of The Other Europe
Authors: Holloway Ron
Published: August 2019

Dina Iordanova's Cinema of the Other Europe is a book film scholars should have on their shelves for ready reference. Generally speaking, books on cinema written by professors in university film departments are brushed lightly aside by those critics who haunt film festivals and write extensively on directors of choice. And since many of these university editions stem from an in-depth analysis of videotapes and DVDs supplied for classroom courses and film seminars, they are overlooked by the film historian as being a trifle "academic" - meaning: tedious, partial, pedantic, even dogmatic. By the same token, the research academician specializing in the sociology, psychology, and semantics of the cinema tend to dismiss "over the top" eulogies by the film critics whose so-called expertise stems from a portfolio of interviews with favourite directors, while paying little attention to the sociopolitical context from which certain key films were formed....
John Logie-Baird: Television and Me
Authors: Hills Adrian R.
Published: August 2019

John Logie Baird, the first man to demonstrate television, also had literary skills. As a student he wrote many amusing articles for his college magazine under the pseudonym H2O. Many years later while convalescing from a heart attack in 1941, he drafted a charming and informative autobiography....
Chicago Center for Film Study
Authors: Holloway Ron
Published: August 2019

CHICAGO CENTER FOR FILM STUDY: ORIGIN AND HISTORY One day in August, I was sitting in a restaurant during the Montreal World Film Festival when Jim Wall, the long-time editor, now retired, of the Christian Century, asked me about the origin and history of the Chicago Center for Film Study. And would I put down my recollections of how it all began. "Ask me an easier question" - was my immediate response. After all, the story of the Center for Film Study (CFS) goes back forty years or more. To unravel all the salient facts and many colourful details would require access to the archives of the Adult Education Centers (AEC) in Chicago, the Catholic umbrella organization that nourished the growth of the CFS. And I am not sure those archives even exist. Still, this is the place to start. Back in the August of 1962, three years after my...
Goa, India 2005
Authors: Syed Siraj
Published: August 2019

INTERNATIONAL FILM FESTIVAL OF INDIA, GOA 2005 At the inaugural function of International Film Festival of India 2005, on 24 November, there were some more high points and some lessons to be learnt. On the dark side were the disappointing audio-visual, the technical problems with digital sound, wrong cues and the length of the show itself. Sound played havoc for nearly half an hour, crackling and going silent in turns. Choice of the items and costumes ranged from the kathak dance, Mughal period style, to Bollywood item numbers of the 21st century, to a rap-kathak fusion! On the bright side, octogenarian actor-director-producer Dev Anand, known for his now jaded romantic on-screen escapades with actresses one-fourth his age, gave a compact speech, without the stylised diction he is known for. It was not easy getting a seat at the screenings held at the INOX multiplex cinemas, especially built at the...
Cannes Celebrates 60
Authors: Holloway Ron
Published: August 2019

Feature Report: Cannes Celebrates 60 By all counts, the 60th Festival de Cannes (16-27 May 2007) will go down as one of the best in its distinguished history as the queen of international film festivals. Délégué Artistique Thierry Frémaux achieved a remarkable balance in the Competition, mixing veteran filmmakers with debutantes and blending, in particular, Asian entries with films by American mainstream and European auteur directors. Further, the Competition was backed by a high-caliber Un Certain Regard section. Indeed, some French critics, reaching for straws, felt that a couple of films in Un Certain Regard surely deserved a slot in the Competition, while a few fiascos in the top drawer section could easily have been downgraded a notch. But this only added to the scuttlebutt in Le Club, the hangout for journalists atop the Palais des Festivals....
Istanbul 2007
Authors: Dönmez-Colin Gönül
Published: August 2019

ISTANBUL INTERNATIONAL FILM FESTIVAL Istanbul International Film Festival (31 March-15 April 2007) celebrated its 26th birthday this spring with more than 200 films from around the world. This year, for the first time in its history, the festival opened with a film by a Turkish director, Ferzan Özpetek although the Italian production Saturn Opposite about depressed 40-year olds nostalgic about their youth, featuring some of the well-known actors of Italy could hardly be considered a Turkish film. The closing film was the US production, The Good German by Steven Soderbergh featuring George Clooney and Cate Blanchett. The films that compete for the Golden Tulip award are chosen for their relation to art and the artist or are adaptations from literary works. The fact that Istanbul takes place shortly before Cannes makes it rather difficult to find quality films for the International Competition, which had not been previously screened elsewhere....
Anatomy of Film (3rd ed)
Authors: Kozlovic Anton Karl
Published: August 2019

THE POPULAR Hollywood cinema has grown from toy to tool to become a mainstay of contemporary culture, which in turn has generated its own need for increasingly complex introductory guides. Bernard F. Dick's Anatomy of Film is one such offering. It sits well alongside other honourable exemplars in the field such as An Introduction to Film (Thomas & Vivian Sobchack), An Introduction to Film Studies (Jill Nelmes), The Art of Watching Film with CD-ROM (Joe Boggs an& Dennis W. Petrie), The Cinema Book (Pam Cook & Mieke Bernink), Film: An Introduction (William H. Phillips), Film Art: An Introduction with Tutorial CD-ROM (David Bordwell and Kristin Thompson), How to Read a Film (James Monaco), Movies and Meaning: An Introduction to Film (Stephen R. Prince), The Oxford Guide to Film Studies (John Hill and Pamela Church Gibson) and Understanding Movies (Louis Giannetti)....
The New African Queer Aesthetics
Authors: Botha Martin P.
Published: August 2019

THE PORTRAYAL OF HOMOSEXUALITY IN INTERNATIONAL CINEMA      The purpose of this article is to discuss images and visual portrayals of openly gay characters in African cinema in countries sometimes characterised by homophobia. My intention is to discuss these images and portrayals within the contexts of the societies and film structures in which they were created. I attempt to provide a balance between a background on the history of gay and lesbian lives in specific African countries and a brief overview of the history of gay films. I defined homosexuality as a broad spectrum of psychological, emotional and sexual variables in a state of interplay between people of the same sex .(1) Homosexuality, for me, is not only sexual attraction between people of the same sex, but it also includes an emotional as well as a physical bond, a fantasy system, and elements of symbolism, eroticism...
American Movies' "Closest Equivalent to Restoration Comedy"
Authors: Tilley Oliver
Published: August 2019

"IT MAY BE AMERICAN MOVIES' CLOSEST EQUIVALENT TO RESTORATION COMEDY" (Pauline Kael on Bringing Up Baby) I will attempt to ascertain the accuracy of Pauline Kael's comment. It is a difficult issue, demanding a telescoping of two distinctive cultures, nations and media as well as an exploration of the concept of genre and intertextuality. In many ways Kael's assertion - written, as she herself attests 'hurriedly', being 'frequently dependent on [her] old, spotty memories'(1) - is superficial and breaks down after analysis. Her comparison is flawed in its assumptions that genres can contain such diverse works as they denote, over a fifty-year period on the one hand and a 10 year period on the other; while the idea that these genres can then be parallelled with each other is yet further problematic. Despite this, Kael's perhaps unthinking observation proves a worthwhile area to explore and...
On the Competition Programme of the 31st Moscow IFF
Authors: Stojanova Christina
Published: August 2019

CHARACTERS AND CIRCUMSTANCES: NOTES ON THE COMPETITION PROGRAMME OF THE 31st MOSCOW IFF If a common aesthetic denominator of the competition films, presented at the 31st Moscow International Film Festival (June 19-28, 2009) is to be found, it would be the predominance of mythos (plot) over ethos (character). While most of the characters were ordinary people - that is, "responding to our sense of common humanity" and like us not distinguished by "superior power of action and intelligence" - the extraordinary circumstances were removed either in time, space or in degree from "the cannons of probability that we would find in our own daily experience" (See Frye). In other words, the Moscow competition films were, as Aristotle would have it, about the predominance of the plot, the soul of the play, and stood or fell upon its intricacies, overshadowing the particular psychological and moral make-up of its dramatis personae. Whether...
Post-Apartheid Film Industry
Authors: Treffry-Goatley Astrid
Published: August 2019

Representation, Creativity and Commercialism in the Post-Apartheid Film Industry Since the advent of democracy in 1994, South Africa has been in the process of redefining itself as a nation. The newly elected government recognised the potential role of cinema in democratic transformation and economic empowerment and established a number of strategic interventions and government bodies to foster the growth of the local industry. Similar to other forms of cultural production, cinema is informed by the national Constitution of 1996, which celebrates multiculturalism, freedom of expression, and transformation. However, it is questionable whether this vision is compatible with the state's ambition to build an internationally competitive, and commercially successful film industry. This paper provides a critical analysis of the economic and ideological workings of the post-apartheid feature film industry. The focus is on international co-productions, which have been encouraged by the state since such arrangements are seen to...
Third Cinema Theory: New Perspectives
Authors: Marzano Nicola
Published: August 2019

THIRD CINEMA THEORY: NEW PERSPECTIVES Synopsis     This article tries to address established notions of Third Cinema theory and its film makers from developing and postcolonial nations. The 'Third Cinema' movement called for a politicised film-making practice in Africa, Asia and Latin America, since its first appearance during the 60s and 70s taking on board issues of race, class, religion, and national integrity. The films investigated in this paper, from directors such as Sembene, Getino, Solanas and Guzman, are amongst the most culturally significant and politically sophisticated from this movement and which denote the adoption of an independent, often oppositional stance towards commercial genre emanating from the more developed capitalist world. However, despite the contemporary popularity and critical attention enjoyed by films from Asia and Latin America in particular, Third Cinema appears to have lost its momentum. This article wants to bring Third Cinema back to attention. There are...
Sisyphus in the Sand Pit
Authors: Stephens Gregory
Published: August 2019

SISYPHUS IN THE SAND PIT: ON THE ICONIC CHARACTER OF SAND, AND HOW THE "ANTI-NATURAL MAN" CATCHES WATER IN WOMAN IN THE DUNES While filming Woman in the Dunes (WITD), director Hiroshi Teshigahara repeated that this adaptation of the acclaimed Kobo Abe novel had three main characters: not just a man and a woman but also the sand. Decades later he would remark: "The sand has its own identity."(1)...
Istanbul 2008
Authors: Holloway Ron
Published: August 2019

27th ISTANBUL INTERNATIONAL FILM FESTIVAL Ask festival director Azize Tan why she was using every opportunity available to celebrate the current revival of Turkish cinema at the 27th Istanbul International Film Festival (5-20 April 2008), and she would tick off any number of reasons. Last year, for instance, Orhan Pamuk, the 2006 Nobel Prize Winner for Literature, served on the international jury at Cannes. Further, the Palm for Best Screenplay was awarded to Turkey-born, Germany-based Fatih Akin's Auf der anderen Seite (The Edge of Heaven), a German-Turkish co-production. Also, before this year's IIFF even began, the city was alive with the rumour that Nuri Bilge Ceylan's Uç maymun (Three Monkeys) was likely headed for the Cannes competition - as, indeed, it was. Finally, at the close of the Istanbul festival, the international jury headed by German cinematographer Michael Ballhaus awarded the Golden Tulip to Semih Kaplanolu's Yumurta (Egg), a Turkish-Greek...
Going to the Movies in Egypt
Authors: Yousry Mustafa Mahmoud
Published: August 2019

GOING TO THE MOVIES: AN INVESTIGATION OF THE FACTORS WHICH INFLUENCE THE EGYPTIAN AUDIENCES' CHOICES OF MOTION PICTURES Study rationaleAccording to Vale (1982), researchers could learn a great deal by studying and comparing audiences' choices of motion pictures. The audiences' choices show an interest that could betray their latent preferences, desires and perhaps their problems and difficulties. The uses and gratifications theory states that "people's media consumption patterns are intended actions on the part of the viewers" and that "individuals do make conscious choices about what they see and read in the media" (Salwen and Stacks, 2006). This basically means that audiences do not always choose to see a specific movie for the same reasons... The present study, therefore, is aiming to find out the most influential factors that get the Egyptian audience to go see a specific movie at film theatres. Consequently, this main objective, when realized,...
John Logie Baird and Television (Part 3)
Authors: Pratley Gerald
Published: August 2019

MZTV: THE MUSEUM OF TELEVISION (Part 3 - Conclusion) In the large and lively offices and studios of CityTV, Much Music & Bravo! New style Arts Channel within the CHUM City building in downtown Toronto, three suites have been converted into a repository for television sets of all makes and models dating back to television's inception in the mid-1920s. This is the MZTV Museum of Television which has evolved from the personal collection of Moses Znaimer, the Canadian broadcaster and media innovator. The Museum is a non-profit entity without government funding and will eventually be open daily to the public. Presently, scholars, students, writers and others in the world of arts and entertainment may visit the museum by appointment. The purpose of the Museum is to save and preserve the 70-year technological history of the TV receiver by spanning the evolution of television from the mechanical scanning discs...
The Cinema of Manie van Rensburg (Part 1)
Authors: Botha Martin P.
Published: August 2019

INTRODUCTIONThe name, Manie van Rensburg, is virtually unknown in Europe and the United States of America. Recently, some of his work was screened at a South African film festival in Amsterdam at the Kriterion cinema and I had the honour to present a lecture there on 7 October 1995 regarding Van Rensburg and his presence in the cinema. His film work was also highlighted in a small retrospective during October 1996 at the Vrije Universiteit Brussel. IT WAS NOT THE FIRST TIME a Van Rensburg film was screened outside the borders of South Africa. During the 1980s Van Rensburg received an International Film Festival of New York award for his historical TV drama series, Heroes, and a Merit Award from the London Film Festival was given to him for his filmed play, The Native who Caused all the Trouble. His mammoth production, The Fourth...
Why Do People Go to the Cinema?
Authors: Bachmann Gideon
Published: August 2019

THE QUEST FOR CULTURAL IDENTITY: WHY DO PEOPLE GO TO THE CINEMA? WE ARE currently witnessing an unprecedented wave of international symposia devoted to the attempt to save traditional cinema viewing systems from total industrialisation. In an epoch ever more characterised by a world economy based entirely on profit, and by what I would call a New Pragmatism deriving from the population explosion, it may in fact be understandable that artistic criteria suffer. Centralised, intensive industrial monopolies exist by virtue of a levelling of public taste on a lowest-common-denominator basis, and thus appear to be imposing it. Subsistence of the American movie machine depends on popularising the mediocre. The temptation therefore grows to forego quality simply to maintain the cinema as a form of popular culture. It is overlooked that "popular" and "culture" do not always coincide. Mass acceptance becomes the measure; all other criteria become luxuries....
Cue the Elephant! Backstage Tales at the CBC
Authors: Pratley Gerald
Published: August 2019

BY an interesting co-incidence, on taking up Knowlton Nash's Cue the Elephant!, the pages fell open at the story of Norman Jewison's difficulties with General Electric when it objected to his "sexy and impudent" shows and his decision to use writer Reuben Ship, who had been blacklisted in the US as a communist. The CBC should never be at the mercy of sponsors and their hucksters -- as it so frequently has been and still is! Nash's book is what it claims to be: Backstage Tales at the CBC. His previous work, The Microphone Wars (1994) was his history of the Corporation. The new book is about the artists and celebrities, from John Drainie to the Happy Gang and on to The Royal Canadian Air Farce, who brought CBC radio and television to life and became its bright personalities and stars. The younger generation of today will never have...
Marie Dressler, the Unlikeliest Star
Authors: Boyd Joan M.
Published: August 2019

SHE WAS a good old girl. Yes, that's what you think while reading author Betty Lee's biography, Marie Dressler, The Unlikeliest Star. It's a very satisfying book and it merits a careful reading. The prologue says what Marie Dressler was all about, really all about, and her story which follows is one of the most enjoyable I've ever read. It's dispassionate, it's non-judgmental, the author gives you time, date and place consistently, which isn't easy, considering the profession Marie was in and the number of times she bought and sold properties when she became affluent, and even before she became affluent. In our day, Marie Dressler would have been called a 'risk taker'. Her career was lived through five decades, at a time when there was constant opportunity for a great stage career, if you had the talent, skill, friends, luck and sheer perseverance to make a life in...
Berlin 1997
Authors: Holloway Ron
Published: August 2019

FOR THE FIRST TIME IN THE HISTORY OF THE BERLINALE, or the first time in the history of the Berlinale, a Latin American entry was awarded the Golden Bear: Walter Salles's Central do Brazil (Central Station) (Brazil). And for the second time, Dutch animation director Gerrit van Dijk was awarded a Golden Bear for Best Short Film -- in 1989 for I Move, So I Am. Generally speaking, critics and public agreed that the festival prizes at the 48th Berlin International Film Festival (11-22 February 1998) went to the right films and directors. Two Irish films were standouts. Jim Sheridan's The Boxer (a co-production with the USA) continued his insightful dialogue on the crisis in North Ireland -- together with In the Name of the Father (1993) and Some Mother's Son (1996) it appears to form a trilogy -- and confirmed once again that Daniel Day-Lewis is one...
Saarbrücken 1998
Authors: Holloway Ron
Published: August 2019

MAX-OPHÜLS-PRIZE FESTIVAL IN SAARBRÜCKEN One of the many fine moments at the 19th Max-Ophüls-Prize competition in Saarbrücken (27 January - 1 February 1998), a festival spotlighting new talent in German-language cinema, was Peter Lichtefeld's Zugvögel ...einmal nach Inari (Passage ...One Way to Inari, Germany). A strikingly photographed (cameraman Frank Griebe) roadmovie, it features Jochim Król as Hannes, a shy beer-truck-driver and railroad-nut whose peculiar hobby is train schedules and knowing the shortest way from place to place. When Hannes enters the "First International Competition for Fastest Timetable Reading," the contest brings him to the town of Inari in the far north of Finland, But not before he finds himself involved in a murder case with a police inspector in hot pursuit. Along the way he meets, and falls in love with Sirpa (Outi Mäenpää), a Finnish miss who gets off the train in Helsinki and thus turns Hannes's own...
The Andrzej Wajda-Philip Morris Freedom Prize
Authors: Holloway Ron
Published: August 2019

Cinema is not just art and entertainment," said Polish director Andrzej Wajda in dialogue with German colleague Volker Schlöndorff during a program scheduled at the American Academy in Berlin. "Cinema also has a social, moral, philosophical function. This is often forgotten today." Asked for further clarification, Wajda answered, without hesitation but on a note of nostalgia: "Compare today's cinema with Italian Neorealism, with postwar Swedish and French cinema, and the gap is evident!"...
Toronto 2000
Authors: Pratley Gerald
Published: August 2019

TORONTO INTERNATIONAL FILM FESTIVAL MARKS ITS 25th ANNIVERSARY Stardom (2000) aka 15 Minutes & Fandom Canada-France co-production (102min in French and English and with English sub-titles)D: Denys Arcand; sc: Jacob Potashnik, Denys Arcand; lp: Jessica Pare, Dan Aykroyd, Charles Berling, Robert Lepage, Thomas Gibson, Frank Langella, Camille Rutherford A small-town girl becomes a famous model in this stinging satire, a biting comedy, a perfect parody of the mindless people who inhabit television; not forgetting the foolish fashion designers, the shams who call themselves artists, and the crafty politicians and synthetic media types, mixed with the public's obsession with celebrities. It is a broad and detailed canvas only a genius such as Arcand could fill with telling images and knowing performances. Yet above it all and throughout it's an appreciation of beauty, of women, and of what life can sometimes be like when dirty hands are not in...
Alexander Dovzhenko's Cinematic Visions
Authors: Liber George O.
Published: August 2019

DEATH, BIRTH ORDER AND ALEXANDER DOVZHENKO'S CINEMATIC VISIONS "What man shall live and not see death, or save himself from the power of the grave?" -- Psalms 89: 48 ALEXANDER Dovzhenko (1894-1956), one of the pioneers of Soviet filmmaking in the 1920s, created a cinematic universe with three types of death. His villains died "grotesquely," but his heroes experienced "beautiful deaths, without suffering."(1) The filmmaker considered only one type of death an absolute evil: the "senseless death", a category which included "the victims of war."(2) But for Dovzhenko, the loss of life in his films never became the final conclusion. As exemplified by the grandfather's death scene in Earth, dying constituted an integral part of the great chain of life.(3) Dovzhenko created these interpretations specifically for the screen. His treatment of death did not express his true reaction to the end of life,...
Cottbus 2000
Authors: Holloway Ron
Published: August 2019

10th COTTBUS FESTIVAL OF EAST EUROPEAN CINEMA For its first nine years, Cottbus was a film festival with an eye on young (or new) directors based in what used to be the socialist bloc of East Europe. For its 10th anniversary (1-5 November 2000), however, festival director Roland Rust modified its image slightly to embrace all films of quality found in those restructured film lands. Now Cottbus ranks as a splendid showcase of films in all categories of production found in scattered studios from Berlin eastward to Siberia, one that informs (in a 200-page German-English catalogue) as well as programs. Moreover, film professionals familiar with the field are welcome to participate in one of the nine juries, three of which offer purses from the City of Cottbus, Land Brandenburg, and individual sponsors. Besides the three main official competitions -- features, shorts, children and youth films -- the 10th Cottbus...
Singapore 2001
Authors: Toh Hai Leong
Published: August 2019

SINGAPORE INTERNATIONAL FILM FESTIVAL 2001 The 14th SIFF, with over 350 films, was centred this year at Golden Village's plush six-screen multiplex GV Grand and the Alliance Française. The Goethe Institut was host once again to the Festival Fringe which started a few days earlier (7 to 22 April 2001), screening the documentaries which were this year's focus. Although more films were sold out this year than the last (47 full houses), there were in fact only 45,000 admissions compared to 60,000 in 2000. One probable reason for the number of full houses is that the GV Grand's audience capacity was considerably smaller than those of the festival venues in 2000. However, the decline in ticket sales could partly be attributed to the plunge in the high tech stocks and shares market which seemed to have affected the spending power of the young urban professionals who make up the...
Solothurn 2001
Authors: Gwóźdź Andrzej
Published: August 2019

SOLOTHURN: NEAR DAVOS As the red-hot television and press were condemning the authorities' decision to enclose the World Economic Forum in a police ghetto and Zurich was lit by burning cars, Mathias Knauer was throwing curses upon the "global fascist market" and was sending the "holy market" of capitalism to hell. It seemed as though the Davos syndrome was spreading over the XXXVI Solurian Film Days. This is all connected with the documentary Bitterfeld, 1992, through which Knauer (born in 1942) invokes the nostalgia for the GDR prosperity of the East Germany's largest chemical plant confronted with the "new colonial economy" of the Federal Republic. Although initially slightly confused, the audience wants to believe the author's manifesto in the "possibility of a different from the capitalist) world" and rewards the movie with roaring applause. Knauer devised a state-of-the-art piece of propaganda -- by juxtaposing the glorious moments of the...
Five Filmmakers In Conversation with Gerald Pratley
Authors: Pratley Gerald
Published: August 2019

THE NFB's 60th ANNIVERSARY has been celebrated leaving behind little of its contemporary production to raise the spirits and create enthusiasm among the Board's many long-time admirers and supporters. Founded in 1939 by the accomplished John Grierson, it has now, like its crown sister, The Canadian Broadcasting Corporation (CBC), drifted far from where it was once anchored and away from what it was as a public service, lost on a sea of indifference and mediocrity. Kinema asked four filmmakers long associated with the NFB, documentary film, and CBC, to look back over what has been taking place during past years leading to today's disappointing and empty era. They are Gerald Graham, Grant McLean, Terence Macartney-Filgate, Donald Haig and Allan King. They talked to our associate editor and film historian, Gerald Pratley. In this issue, we publish the first two conversations, with Gerald Graham and Grant McLean....