cinema is everywhere
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' cinema is everywhere' celebrates the global influence of movies - film slate is a resource for tips on screenwriting and the appreciation of film and television storytelling .
these stories are wed with scenes of video stores, projection booths and their inner mechanics, film studios, cinemas, and city slums around the world. “cinema is everywhere” is a moving tapestry attempting to demonstrate the power of cinema to shape and influence the planet .
“cinema is everywhere” is a documentary celebrating the global influence of movies. it is structured with four narratives (from india, china, scotland, and tunisia). these four stories include commentary and dialogue from filmmakers and ordinary moviegoers illustrating the vast reach of celluloid .
cinema is the ultimate out - of - body experience. it can reach across borders and oceans and create empathy through the vivid telling of stories from everywhere—and there has never been a more important time to step into the shoes of people from other cultures. cinema is everywhere captures the state of the world' s most popular art form today by tying four narratives from around the globe together with insights from venerable filmmakers and ordinary moviegoers .
panikkar carries a handycam everywhere, shoots whatever catches his fancy and edits it on his laptop. paru is musically talented and composes jingles for a living .
at the same time as i was filming “cinema, ” the great mark cousins was making his epic “the story of film, ” which takes a more historical look at world cinema and is 15 hours long! it’s making the festival rounds now and i’m desperate to catch it… that wasn’t an inspiration per se but i’ve gotta give it a plug. lola rennt was my favorite film growing up. it pretty much has no resemblance to “cinema is everywhere. ”
ngangura, mweze. “african cinema—militancy or entertainment? ” in african experiences of cinema, edited by imruh bakari and mbye cham, 60 - 64. london: bfi, 1996 .
ukadike, frank nwachukwu. black african cinema. berkeley: university of california press, 1994 .
it’s a screening program aims to introduce french cinema to new sectors of the egyptian audiences ...
diawara, manthia. african cinema: politics & culture. bloomington: indiana university press, 1992 .
we have the four main departments of filmmaking covered. the characters are convincing individually; what needed to be worked on is their friendship and their common passion for cinema .
written by leading academic commentators that have followed the fortunes of world cinema closely and passionately, as well as experienced hands close to the fluctuating fortunes of the industry, digital disruption: cinema moves on - line is an indispensable guide to great changes in film and its audiences .
cult movie research: welcome. hot, cool or cult? the global reception of contemporary cult cinema .
shaka, femi okiremuete. modernity and the african cinema. trenton, nj: africa world press, 2004 .
why he’s on our radar: greyhavens recently saw the u. s. premiere of his ambitious “quasi - academic project” (as he describes it), “cinema is everywhere, ” at the austin film festival, where it was very well received (austin 360 called it “a love letter to the joy, beauty, pain and importance of a tool and art form”) .
i think the part of “cinema is everywhere” that’s important is the “everywhere. ” cinema really is everywhere on the planet, including a lot of places that don’t get much attention. we know hollywood makes movies, and a lot of people know about european art - house cinema. but what about cinema from places like india, iran, egypt, japan, senegal? there are iranian children’s films that are as accessible and magical as most disney movies. there’s a movie from belarus called “come and see” about wwii that’s as powerful as “schindler’s list, ” but it hardly ever gets talked about because it wasn’t directed by steven spielberg. you have to be open - minded to watch a movie made in algeria, definitely, but there really are some amazing things out there, and not in the art - house - snobs - only kind of way – in a straightforward, entertaining, fun - for - the - whole - family kind of way. and the thing that you get from watching those films is not just a good time or a moving story, but a glimpse into another culture and another life. i think the value of a kid not only having a great time watching a movie, but at the same time getting to see what it’s like to grow up in, say, iran, is… it’s tremendous. that’s what cinema can do, if we give it the chance. it can connect us with people and worlds whom we would otherwise have nothing to do with .
harrow, kenneth. postcolonial african cinema: from political engagement to postmodernism. bloomington: indiana university press, 2007 .
spinning plates is the story of three extraordinary restaurants and the incredible people who make them what they are. the first is a ...
synopsis: bob parr (mr. incredible) is left to care for jack - jack while helen (elastigirl) is out saving the world .
“cinema is everywhere” was born not as a film but as a research project i did after university. i was lucky to be given a thomas j. watson fellowship, which is a totally magical grant that lets you travel the world for a year to basically explore the thing that you love most. so i came up with this project where i would ask what it means to “go to the movies” in countries all over the world, and why the dream of being part of cinema is so strong everywhere you go. and as it happens, along the way, through some totally absurd serendipity and a lot of help from a lot of wonderful people, i wound up connecting with folks like mark cousins, shyam benegal, and stanley kwan – brilliant thinkers and filmmakers whom i was totally gaga to speak with – and found that i had the workings of a potentially exciting film .
finally, having asserted a profound division between african cinema and the videos, it is time to ask whether there are not convergences between the two traditions, or similarities based on their common african origins .
welcome to nollywood. 2007. dir. jamie meltzer. english. national black programming consortium / cinema guild. united states .
boughedir, ferid. “les grandes tendances du cinema en afrique noire. ” cinémaction 26 (1983): 48 - 57 .
axel scoffier,' repenser l’industrie du cinéma à l’ère numérique. cinema moves online', ina global, 17th december 2012 .
the 3h11 cinematic version is the original work directed by yann arthus - bertrand .
goodplanet is behind all the initiatives – educations, web - based, books, etc. – which accompany human, and is coordinating the film’s distribution strategy .
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you have arrived at a gathering place. this is a place for nomads and wanderers, surfers and sages, snobs and neophytes. cinemagoing is the ultimate out - of - body experience, and this site is about sharing that experience. ​​
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the thematic prisms through which we view films also magnify the sense of difference. african cinema tends to be immediately described rather abstractly in terms of its social topics or ideological approaches, whereas the videos are normally described in terms of manifest content: story lines, settings, genre. the videos are routinely seen through the interpretative categories of african cinema and found wanting. what would happen if we read african cinema through nollywood ?
meyer, birgit. “popular ghanaian cinema and “african heritage”. ” africa today 46, no. 2 (1999): 93 - 114 .
available everywhere and to everyone, human is more than an experience. this project is a baton that the citizens of the world can pass on as a symbol of their commitment to greater solidarity. this is a sizeable challenge, given the scope of the project, and it is only possible with the participation of all: men and women active in the charity, cultural and solidarity sectors, as well as simple citizens who want to get involved and help us launch this movement and become ambassadors of the living together initiative by organizing screenings and sharing the experience on social networks with the hashtags :
‘hot, cool or cult? ’ is a research project, funded by the social sciences and humanities research council of canada, and executed by the centre for cinema studies of the department of theatre and film at the university of british columbia .
———. a history of african popular video: ghanaian cinema, grassroots globalization, and cosmopolitan desires. athens, oh: ohio university press, forthcoming .
film slate is a resource for tips on screenwriting and the appreciation of film and television storytelling .
what is a r rahman doing at a dubai mall? reader talib sends us a picture .
but there is an implicit hollowing out of the claims by filmmakers, impresarios, and critics that the celluloid filmmaking tradition that has been constituted as african cinema is the authentic voice of the continent when it is dwarfed by this other, much more popular formation. ferid boughedir wrote in the 1980s that the political tendency was “the royal road” of african cinema (boughedir); while this is much less true now, the political tendency is still the horizon of most african cinema criticism. in nollywood it is very hard—or, to be frank, impossible—to find anything as immediately satisfying to a critic coming from this direction as bamako ’s passionate intelligence and aesthetic sophistication as it tackles the devastating but intangible problem of africa’s insertion into the world economy and polity. but if we pretend to be concerned with the african masses, we should take them seriously enough to listen to them, trying to understand their mentalities and desires (barber, “popular arts in africa”). it would of course be naïve to suppose the subaltern is speaking directly through the video films; but it would also be perverse to ignore what we can learn from this largest and most articulate of all expressions of african popular culture .
haynes, jonathan, 2011, “african cinema and nollywood”, situations: project of the radical imagination, vol. 4, no. 1, 67 - 90 .
in every country on earth there are people striving to speak through movies. this is their story .
this is not to say that cinema studies has not or should not be brought to bear on the videos (haynes, “what is to be done? ”). but there are practical obstacles, such as obtaining a set of canonical films, which is a necessary precondition for discussing the videos as an artistic tradition as opposed to describing them as a phenomenon with examples picked more or less at random. scholars coming from african cinema need to learn to deal with some unfamiliar topics, such as genre films or the roles of a star system and powerful producer / marketers, which, given the nature of african celluloid cinema, have been given little attention in their studies. there are theoretical and methodological issues to be sorted out, such as the usefulness and limits of interpretative strategies like auteurism and textual close reading in dealing with an art form that is produced and consumed in a flood. 7
this filthy world is john waters’ one - man show; a “vaudeville” act that celebrates the film career and obsessive tastes of the man william burroughs once called “the pope of trash. ” focusing in on waters’ early negative artistic influences and his fascination with true crime, exploitation films, fashion lunacy, and the extremes of sexual politics, this joyously devious and continuously updated monologue is a rally cry against the tyranny of good taste and serves as a call to arms for filth followers everywhere .
———. “‘praise the lord’: popular cinema and pentecostalite style in ghana’s new public sphere. ” american ethnologist 31, no. 1 (2004): 92 - 110 .
———. “what is to be done? film studies and nigerian and ghanaian videos. ” in viewing african cinema in the twenty - first century: fespaco art films and the nollywood video revolution, edited by ralph austen and mahir saul. athens, oh: ohio university press, forthcoming .
“we’re turning the website into an international gathering place where people from everywhere can share stories about how movies have affected their lives and their countries, plan projects, find resources, and continue the cultural exchange that cinema inspires – i’m very excited about that, ” he said. “on my end of things, i’m soliciting investors for a quasi - documentary film expedition to the mountains of china, and a low - budget claustrophobic thriller alongside about a dozen other things in the pot. ”
mr. sze and other hong kong critics are reluctant to be overly harsh about'' crouching tiger.'' they recognize that whatever its reception among local audiences, the film is destined to be a milestone in asian cinema, the first chinese - language film to become a worldwide blockbuster .
groups of 10 or more receive $ 2 off each ticket! call (877) 234 - 8425 to book your group tickets today! group tickets not available at cinema box office .
from june 27 to 29, 2013, the university institute of lisbon (iscte - iul) will hold the 5th european conference on african studies (ecas 2013). in parallel to the academic panels, there will be a film festival, the ecascreenings, and a roundtable, the state of the art: african contemporary cinema in focus. buala is a partner of ecascreenings in the publication of articles focused on cinema related to africa. the articles are selected by pedro osório graça .
‘nobody knows anything’, said william goldman of studio filmmaking. the rule is ever more apt as we survey the radical changes that digital distribution, along with the digitisation of production and exhibition, is wreaking on global film circulation .
the 2h43 version is the short cinematic version of the original work directed by yann arthus - bertrand (2016) .
african celluloid filmmaking is an auteurist cinema: it usually takes a nearly lunatic commitment on the part of an individual to get a film made, the filmmaker playing many roles from scriptwriter to distributor; there are no supporting, let alone competing structures, no standing machinery of production. in nollywood, most often the producer / marketers call the shots, sometimes including providing the story and making casting decisions. and it is primarily the actors—the stars—who sell the films .
it’s worth a peek. if you love movies, you’ll get something out of this documentary. unfortunately, something is curiously awry. the documentary is flimsy. the film’s strongest thread is swinton and cousins with their passion project–a truly unconventional film festival stripped of monetary preoccupations. swinton and cousins drive their unique enterprise with a passion unmatched by the other three narrative threads in this film .
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these dire determinations have produced two responses that could hardly be more radically different. the first is an intellectual’s cinema—not so in intention, certainly, but largely so in effect—locked in a painful contradiction between, on the one hand, its passionate desire for an african expression of cinematic culture and its often politically and socially radical purposes, and, on the other hand, the reality of neocolonial dependency. this cinema has never approached commercial viability, the form of a real industry that produces on the basis of profits from previous production; instead, it depends on the drip of grants from foreign sources, administered intravenously. it has established a small but respected niche for itself in the contexts of international cinema, but has reached audiences in africa only sporadically and fleetingly .
thanks to the engagement of cinema operators and our partners, france 2, google, and the association of the mayors of france (aimf), human enjoyed a unique launch in france in its various formats .
almost from the moment of cinema’s invention, africa has been inserted into its global system, but on the most unfavorable terms: it has been the dumping ground for second - run “b” movies from hollywood, bollywood and hong kong, films that are often racist and always estranged from african realities and purposes, while the formidable technical, infrastructural, and capital requirements of making and distributing films made it nearly impossible for africans to respond in kind with their own films. because of these steep infrastructural and capital requirements, cinema everywhere depends on state support, and postcolonial african states have proved indifferent, timorous, corrupt, and inept at providing it; the postcolonial african elite has been as philistine as fanon predicted, without the power or interest to invest in culture (fanon) .
austen, ralph a. , and mahir saul, eds. viewing african cinema in the twenty - first century: fespaco art films and the nollywood video revolution. athens, oh: ohio university press, forthcoming .
the divisions between african cinema and the video films, in every dimension, are so deeply rooted that they will surely persist. viewed from the perspective of what africans are watching, african cinema seems more marginal than ever, but there is no reason for it to die—unless its funding dries up. (the funding, and therefore the rate of production, is currently in a moment of crisis, as the french government has handed off primary responsibility for supporting african filmmaking to the european union, which has been slow to pick up the ball .) the motivations and tastes that have created and sustained african cinema remain; there will always be audiences who will prefer abderrahmane sissako’s bamako to all two thousand of the nigerian videos produced in the same year (2006). african fine arts and literatures, after all, have gone on for years without broad popular or african governmental support, depending in large part on foreign networks .
v. p. - b. : it was really a first - run theater, so we included the reissue releases as part of the day - to - day of the cinema, as well as new releases .
for example, because we’ll talk about out 1, out 1 is being released at bam in brooklyn for a two - week run, but it will be only at cinefamily for one weekend. at the same time, it could go afterwards to other districts, other places, but it’s really split. it’s a different way, consuming cinema in la .
from the beginning, to speak or write about african cinema has been to complain about its structural dependency. the most recent book on the subject describes a situation in which strategies to radically change this structure seem to have collapsed; the new generation of filmmakers has moved on to more individual and psychological themes, borrowing eclectically from the aesthetics of world cinema without worrying about african authenticity (diawara, african film: new forms of aesthetics and politics) .
alive inside is a joyous cinematic exploration of music' s capability to reawaken our souls and uncover the deepest parts of our ...
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the production of feature films on video emerged as something fundamentally new and different. the case of ghana, where video films began to be made in the late 1980s (just before the first nigerian ones), is a particularly dramatic example of an entirely fresh start, a new form invented by newcomers, few of whom had any connection with the celluloid filmmaking which had existed in ghana. (the two pioneers were william akuffo, a film projectionist, and socrate safo, who had been training as an auto mechanic .) the new form was based in new conditions of possibility: a newly liberalized media environment and cheap and easily - operated video technology that permitted films to be made on sheer enthusiasm and negligible budgets, grassroots initiatives that met with immediate grassroots success (meyer, “popular ghanaian cinema and ‘african heritage’”; meyer, “state film policies vs. popular video - movies in ghana: discourses and clashes”; garritano, “contesting authenticities: the emergence of local video production in ghana”; garritano, a history of african popular video). these conditions exist everywhere, and video production has begun to happen everywhere .
starless dreams plunges us into the lives of young teenage girls sharing temporary quarters at a juvenile detention center on the outskirts of tehran. director mehrdad oskouei, one of iran' s most prominent filmmakers, spent seven years securing access to this all - female facility. as the new year approaches, the girls bond, and reveal—with playfully disarming honesty—the circumstances and acts that resulted in their incarceration. they have killed their father, robbed a bank, or were arrested for carrying 651 grams of cocaine. outside the prison walls, danger is everywhere, even within their own families. with startling frankness and “the conceptual rigor and emotional directness associated with the best of iranian cinema” (variety), starless dreams delivers an unforgettable portrayal of innocence lost and found .
narrated by walter cronkite, this 2008 documentary is a behind - the - scenes look at the lasting impact of the 1940 documentary ...
to dovetail the theatrical release with dvd, broadcast and digital distribution, the human team is coordinating the international sales strategy with france télévision distribution .
synopsis: after the family matriarch passes away, a grieving family is haunted by tragic and disturbing occurrences, and begin to unravel dark secrets .
although'' crouching tiger'' is classified as a taiwanese film for the purposes of the academy awards, it has been a powerful shot in the arm, at least in terms of prestige, for hong kong' s film industry, which is recovering from a deep slump .
providing global access to lgbt images is such an exciting thing — for filmmakers and for audiences — it’s so vitally important for us to see images of ourselves reflected on screen. the significance of this is enormous in terms of its impact on the personal lives of lgbt people around the world .
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jean - pierre & luc dardenne' s' the kid with a bike,' is a perfect exploration into the art of sto ...
john is also an accomplished writer, photographer and visual artist. he has published multiple volumes of his journalistic exploits, screenplay collections, and artwork .
that is a stupefying feat for a period film set in ancient china with characters who speak in mandarin and fly rather improbably over trees and rooftops .
in watching films, an international cast of contributors correct this problem with a comprehensive investigation of movie going, cinema exhibition, and film reception around the world. with a focus on the social, economic, and cultural factors that influence how we watch and think about movies, this volume centers its investigations on four areas of inquiry: who watches films? under what circumstances? what consequences and affects follow? and what do these acts of consumption mean? responding to these questions, the contributors provide both historical perspective and fresh insights about the ways in which new viewing arrangements and technologies influence how films get watched everywhere from canada to china to ireland .
it’s hard to overstate the importance of this collection of essays. ever since digital technology began to transform the media landscape, various self - appointed pundits – myself included – have been predicting the final outcome, with results that have ranged from a utopian belief that film is finally being democratised to various versions of the end - of - the - cinema - as - we - know - it scenario. now, at last, we have what we needed: some rigorous academic thinking on the subject combined with detailed analysis of what exactly is going on in the fast - developing world of downloads, streaming video and swedish pirates. the people who really need to read this book – the hollywood studios – probably won’t. but anyone else remotely interested in the future of cinema should do so .
the scenery and photography are nice and the intention is obviously genuine–but the flick feels a tad forced. the other three stories are simply not powerful enough to sustain the momentum the doc deserves (the mumbai girl seeking stardom is basically reality tv and the hong kong youths making their film are mercilessly dull). the result is a doc that must have been sincere in its motives - but comes off as randomly executed, surprisingly repetitive and relatively un - inspired .
the products of the nollywood system, geared to make films so quickly and cheaply and in such large numbers, are fundamentally different from african celluloid films. nollywood films are made to fit the small screens on which they are normally seen. the video cameras now in use are mostly of pretty high quality, but the sound recording quality is seldom good enough to stand up to theatrical presentation. the contrast in the investment of time is more important that the technical differences or even the budgets (african celluloid film budgets are very low by world standards, though much higher than for nollywood videos). normally it takes years to assemble the funding for a celluloid film, and a script is the primary tool for conjuring up the money; the script therefore is written and rewritten, reviewed and judged for a long time, during which it is the major landmark in the life of the director, who is in many cases the writer .
a dcp is like a hard drive… before you had a print, whatever the format, but now everything is in this hard drive, and you can put your entire movie, and also other versions, versions with different subtitles, everything on a small hard drive that can be compared to an iphone, or something like that. you have to connect it to the provider in the projection booth in the cinema; they upload all the files that are on the hard drive. and with the digital equipment, you can then project it on your screen in your theater .
in every country on earth there are people striving to speak through movies. this is their story. learn more and buy the dvd on amazon today at urltoken
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“loving” celebrates the real - life courage and commitment of an interracial couple, richard and mildred loving, who married and then spent the next nine years fighting for the right to live as a family in their hometown. their civil rights case, loving v. virginia, went all the way to the supreme court, which in 1967 reaffirmed the very foundation of the right to marry – making their love story an inspiration to couples everywhere .
the goodplanet foundation is a non - profit created in 2005. it is presided over by yann arthus - bertrand, and seeks to raise awareness among the general public about environmental issues. it offers realistic and optimistic solutions drawing on a series of programs destined to put ecology and living in harmony at the heart of our thinking .
of course, he is most well known for breaking boundaries of acceptable filmmaking. drugs, queers, abortion, religion - nothing is sacred in his field of vision. when asked about it, he says
secretly i think that all my films are politically correct, though they appear not to be. that' s because they' re made with a sense of joy .
and perhaps that is why so many people from all around the world take such joy in his movies .
law kar, a historian at the hong kong film archive, noted that the first fight in'' crouching tiger'' does not break out for nearly 15 minutes. and when it does, it is a balletic nighttime chase played out over the roofs of old beijing. there is not an automatic weapon in sight .
v. p. - b. : no, they’re different formats. the us is really in advance compared to france regarding the potential and visibility of vod. talking of france, which is nevertheless the country i know the best, vod is really difficult. there are different formats between itunes and other platforms; and amazon doesn’t have a vod service in france… depending on the platform, you have to provide the format they require. the situation between france and the us seems completely different .
maybe the most well - known arthouse theater in the us for new movies and revivals in new york is film forum; you don’t have the equivalent of film forum in la. it doesn’t exist. at the same time, the cinefamily is something unique, and you don’t have a cinefamily in new york. it’s quite interesting .
human is an invitation addressed to the greatest number of people – an invitation to reflect on the meaning we give to life, one’s choices, and one’s deepest beliefs .
———. “nollywood goes east: the localization of nigerian video films in tanzania. ” in viewing african cinema in the twenty - first century: fespaco art films and the nollywood video revolution, edited by ralph austen and mahir saul. athens, oh: ohio university press, forthcoming .
bringing high quality lgbt feature films to global audiences has been a longtime personal dream of mine and i hope everyone will agree that urltoken is a considerable achievement on this front .
since 2012, the team working on human has gathered an exceptional wealth of content. drawing on this unrivaled library of footage, yann arthus - bertrand has created a galaxy of works adapted to all platforms and every use: cinema, tv, the digital platforms, and major public events .
human is a collection of stories and images of our world, offering an immersion to the core of what it means to be human. through these stories full of love and happiness, as well as hatred and violence, human brings us face to face with the other, making us reflect on our lives. from stories of everyday experiences to accounts of the most unbelievable lives, these poignant encounters share a rare sincerity and underline who we are – our darker side, but also what is most noble in us, and what is universal. our earth is shown at its most sublime through never - before - seen aerial images accompanied by soaring music, resulting in an ode to the beauty of the world, providing a moment to draw breath and for introspection. human is a politically engaged work which allows us to embrace the human condition and to reflect on the meaning of our existence .
this international documentary weaves three stories from around the world together with insights from venerable filmmakers and ordinary moviegoers. an aspiring actress in mumbai tries to break into bollywood; two friends in scotland create a film festival unlike any other; and a young tunisian director awaits the premiere of his controversial film. these personal journeys are woven together with archival footage, interviews, and vignettes set everywhere from projection booths to slums, forming a vivid meditation on the power of movies to shape our world .
we’d like to give you some more information about the project, about the context within which it is situated, and about the background of the research team, and its antecedents .
———. “state film policies vs. popular video - movies in ghana: discourses and clashes. ” in viewing african cinema in the twenty - first century: fespaco art films and the nollywood video revolution, edited by ralph austen and mahir saul. athens, oh ohio university press, forthcoming .
i am one man among seven billion others. for the past 40 years, i have been photographing our planet and its human diversity, and i have the feeling that humanity is not making any progress. we can’t always manage to live together. why is that? i didn’t look for an answer in statistics or analysis, but in man himself .
v. p. - b. : », in a way. you can watch a movie in so many different ways. first, and the original one, is in the cinema, in the theater, and will stay forever, i believe, because even with all the media and all the possible ways to see movies, and with all the cinemas nowadays, people are going more than ever to see movies in theaters. of course there’s more and more disparity — it means that a new film or even a re - release could work more, but there are more and more movies that are doing less and less. this is today’s society .
hues of blue were everywhere at their pier wisconsin wedding and reception in the stately pilot house that offers one of the grandest views of milwaukee’s lakefront and of the lake. deep blues of the water and sky contrasted beautifully with dozens of white sales and hulls bobbing on the lake below. the couple embraced those colors in their elegant decor and even in their beautiful wedding cake by simma’s bakery that had bold swaths of blue and white raking across its surface, mimicking the always changing colors of the water below .
moreover, there was the problem of distribution. the cinemas across africa were supplied by a duopoly of foreign distributors who required block booking contracts, excluding the cinemas from showing anything but their second - run american “b” movies, supplemented from the 1960s on by bollywood productions and then, later, hong kong martial arts films. even if the cinema owners were willing or able to get out of these exclusive contracts, an african film that needed to recover its production costs could not compete on price with the films being dumped by the world’s largest film industries, so there was no commercial incentive for the cinemas to show local films. this structural problem has kept the cinema distribution system closed to african films up to the present. in the wake of the structural adjustment programs of the 1980s, which devastated economies across africa, and then the advent of digital technologies, many cinema houses have closed, disappearing altogether in some places .
was adapted quite honourably to the screen by both pelley and mark hoffe, and so not a lot gets lost in translation. jason priestley and shawn doyle play the (exceptionally handsome) brothers at the core of this drama. owen is a writer who emerges from rehab to spend time with his estranged brother alex. at the centre of almost every tragedy is a woman, that
google made sure the film and the project were accessible to the widest possible audience everywhere on the planet thanks to the technology of the web. from the 12th of september 2015, web users worldwide could watch the film for free on youtube and google play. seven youtube channels were created to distribute three 90 - minute films in seven language versions: english, french, russian, spanish, arabic, italian and portuguese. for an immersion into the heart of the human project, online audiences can visit the platform of the google cultural institute: urltoken .
paul sells insurance but secretly wishes to be an actor. fazal is a writer who leads a double life, writing saleable stuff on the one hand and something more substantial for his personal satisfaction on the other .
in paris, you have so many arthouse theaters in the quartier latin. a lot of them are doing revivals almost all over the year, which is unique. you have something like maybe six or seven theaters that are showing new releases of revivals. one new cinema, maybe you’ve heard about it, owned by pathé, just opened: they’ve opened the first revival multiplex, called les fauvettes. it’s a brand new theater with five screens, and their goal is to specialize in reissues and revivals as a multiplex, as a non - independent company because it’s pathé, and in a district [ the 13th arrondissement ] where there are cinemas, but it’s not really a cinephile district. so it’s interesting, and let’s see how it will go, it’s only just starting .
detailing four narratives from china, india, scotland, and tunisia – including insights from venerable filmmakers and ordinary moviegoers – that combine to (as the austin film festival describes) “tell the global story of cinema and how it affects our everyday lives. ” the film was picked up earlier this year for distribution in all territories by tricoast worldwide in los angeles .
“this collection of essays offers not only an in - depth study of where modes of reception are situated within the contemporary context, but also a detailed trajectory of the digital innovation that has already taken place – an aspect often sidelined by theoretical projection. in removing futuristic speculation from the discussion and replacing it with an interrogation predicated on empirical research to date, digital disruption: cinema moves online provides the global context and situational thinking that has, until now, largely been absent in broader debates surrounding audience viewing practices and dominant or progressive modes of cinema reception. in highlighting a cyclical chain of supply and demand, digital disruption examines the relationship between conglomerates and individuals, revealing a fluidity between the two that dispels myths of tension. ”
human is a universal project that sets out to reach the widest possible number of spectators. more than just a film, human strengthens our social ties by promoting values such as living together, love, tolerance, and resilience. through its multicultural nature, human is ideally positioned to roll out in every country, in both commercial and non - commercial circuits. after the success of its global launch at the un general assembly in new york and the venice film festival in september 2015, human has been screened in over 60 countries on five continents. contact: lara @ urltoken the goodplanet teams is devoted to effectively coordinate non - commercial events and partners with local distributors .
v. p. - b. : france is really a unique market, in the way that you can release certain movies in the theater — maybe too many nowadays because of too many releases and too many distributors; we could release different titles in the theater that would never be released in the us or the uk. because i do believe there is a more important audience you could reach, so the main difficulty nowadays is to reach it, but there is at the outset a larger potential audience, and certainly more theaters also, not only in paris but also in all the rest of france, in small, medium, or big cities that will be able to show a re - release, a revival, among their weekly program, beside new titles. i know the uk less — i haven’t had experience there — but for the us, there is a cinephilia and possibility, but for sure there are less places you can go. the two main cities are new york and la, and i would say new york first. after, despite the fact that almost each important city in the us has its own arthouse theater, it means you can show from time to time more revival films; nevertheless, in the long term there are less possibilities for showing revival titles. but there is a market, nevertheless .
this is it! the marquee event of the camp, trash, filth – john waters visits regina. join us at westminster united church for an evening of pure trashy delight as we start with a cocktail hour in the pink flamingo lounge, followed by big organ recital of top 40 hits – all of which is meant to loosen you up and get you in the mood for this filthy world presentation by our guest of honour, john waters !
huge losses are involved in this abandonment of cultural identity, losses that are themselves the result of all the economic and political failures of postcolonial nigeria. when the younger generation imagines the good life, they import the forms. characters in these films do a good deal of coming from and going to america and europe. but the situation is not as bleak or as clear as this description suggests. an older, colonial sense of inferiority never appears: it is a multicultural world to which the characters assimilate, african - american culture rather than american culture being the standard point of reference and bridge; signifiers of african pride and identity come frequently and naturally amidst the gucci sunglasses and suvs. the viewers are preferring to watch a nigerian film rather than an american one, after all, just as the hip hop music on the radio is predominantly by nigerian bands, in nigerian pidgin, and standup comedy (another popular contemporary form) is american in format but pidgin in expression. there is enormous poverty in nigeria, but also enormous wealth—plenty of resources with which to construct a walled - off personal happiness, or so the videos imagine .
mr. schamus disputes the contention that the film is not a hit with asian audiences.'' it would have been massively profitable and successful even if it had never been released in the west,'' he said .
c. k. : limited editions do spur people to investigate the release. for example, when masters of cinema did the late mizoguchi box set with the final eight films (or almost final eight; we didn’t have musashino - fujin or shin hei - ke monogatari), there were 3000 units, with the 300 - page book, and it sold out quickly .
nollywood films occasionally get screened in theaters abroad on special occasions organized by the filmmaker in conjunction with an african expatriate community, but they never get into the regular theatrical distribution system. the only nollywood film available on dvd in the united states from one of the companies that specialize in african cinema is kelani’s thunderbolt, from california newsreel. there is no mechanism for a library to acquire a study collection of nollywood films. meanwhile, in a separate dimension, an enormous system exits to distribute nollywood and ghanaian films in the us: hundreds of shops, dozens of internet sites that sell or stream them, thousands of films posted to youtube by fans. most of the films moving through this system are pirated; in some cases, the producer will sell the rights to an american distributor for a small sum, for lack of a better alternative .
v. p. - b. : i do believe so. there’s already a lot of theaters in la, but according to the fact that the city is so huge, not all the potential districts have an arthouse theater. everything is split all over la, but i do believe there could be places for more arthouse and revival theaters in some districts, because i believe you don’t have the equivalent of new york’s film forum in la, for example .
digital disruption: cinema moves on - line helps to make sense of what has happened in the short but turbulent history of on - line distribution. it provides a realistic assessment of the genuine and not - so - promising methods that have been tried to address the disruptions that moving from ‘analogue dollars’ to ‘digital cents’ has provoked in the film industry. paying close attention to how the majors have dealt with the challenges – often unsuccessfully – it focuses as much attention on innovations and practices outside the mainstream. throughout, it is alive to, and showcases, important entrepreneurial innovations such as mubi, jaman, withoutabox and imdb .
but the market is difficult to compare. because as i was saying previously, in france you have three to four re - releases every week, plus all the cinémathèques, the festivals, and so on, so it’s a lot .
the critical issue, then, is thrown back from the familiar paranoid analysis of the influence of foreigners on african film production to the question of what nigerians want to see and why. unless we simply buy into the notion of “false consciousness, ” this is complicated. clearly one can find abundant evidence of the power over nollywood’s imagination of the globally hegemonic american mass media imagery, even when detached from structures of command and control—the situation is a nice illustration, in fact, of gramsci’s distinction between hegemony and domination. but things may not be as straightforward as they seem: for instance, foreign commodities, behaviors, and accents function as trophies within deeply rooted african traditions of status assertion and in longstanding “strategies of extraversion” (bayart) .
c. k. : i’d like to talk a bit about la: the topography of los angeles, the logistics of getting from one theater to another in terms of how spread out the city is, the flavor of the neighborhoods, etc .
the four newcomers who hog most of the screen time look earnest and fresh. at least a couple of them will be in the big league if they are consistent enough. basil is one of them. sanjeev has an uncanny resemblance to siddharth bharathan .
one point: as vod is more developed in the us, compared to france — even though there are a lot of things happening in france, and netflix arrived one year ago, for example, and they’re announcing projects — “main vod” (which is buying or renting a movie) is really almost nothing for arthouse movies and, more especially, revivals. it looks to me that we’re more [ involved currently in vod with the aspects of ] a rental business, when the rental of movies was big, whether in france or the us, and it looks almost essentially like the same kind of movies that were being rented then as are being rented nowadays on vod. and revivals and classics, unless very specific titles, very few of them, were not working as rentals…
cinema is everywhere is a 2011 documentary film by writer , director and cinematographer teal greyhavens that weaves together three stories from india , scotland and tunisia , each featuring personal perspectives on the effects of local , regional and international cinema on people 's lives . it is based around the idea that cinema is a universal visual language that people of almost any culture can enjoy and even create regardless of where they are , who they know or how much money they have . it has been called " the global story of cinema and how it affects our everyday lives . " the documentary was filmed by greyhavens in 2009 while he traveled on a thomas j. watson fellowship . 
cinema is everywhere is a 2011 documentary film by writer, director and cinematographer teal greyhavens that weaves together three stories from india, scotland and tunisia, each featuring personal perspectives on the effects of local, regional and international cinema on people's lives. it is based around the idea that cinema is a universal visual language that people of almost any culture can enjoy and even create regardless of where they are, who they know or how much money they have. it has been called " the global story of cinema and how it affects our everyday lives. " the documentary was filmed by greyhavens in 2009 while he traveled on a thomas j. watson fellowship.
cinema is everywhere is a 2011 documentary film by writer, director and cinematographer teal greyhavens that weaves together three stories from india, scotland and tunisia, each featuring personal perspectives on the effects of local, regional and international cinema on people's lives. it is based around the idea that cinema is a universal visual language that people of almost any culture can enjoy and even create regardless of where they are, who they know or how much money they have. it has been called " the global story of cinema and how it affects our everyday lives. " the documentary was filmed by greyhavens in 2009 while he traveled on a thomas j. watson fellowship.