»Die Khmer mögen keine Dokumentarfilme. Hier geht es nur um Unterhaltung.« Das haben mir lokale Filmemacher und TV Produzenten gesagt, als ich Kambodschas erstes unabhängiges Medien- und Kunstzentrum Meta House (www.meta-house.com) 2007 in der Hauptstadt Phnom Penh eröffnete. Ich wollte zu Kamb
...
odschas kultureller Renaissance beitragen, nachdem es 30 Jahre lang unter Bürgerkrieg und dem Genozid Pol Pots gelitten hatte. Kambodschas eigene Filmindustrie wurde durch die Khmer Rouge 1975 zerstört. In den 80er und 90er Jahre erlebte es eine Art Wiederauferstehung, bis es dann durch steigende Produktionskosten, die Verfügbarkeit von billigen DVD Raubkopien und das Schließen vieler Kinos wieder zerstört wurde. Heute entsteht aber eine neue und spannende Filmszene um junge Filmemacher_ innen, die preisgekrönte Dokumentarfilme produzieren." (Seite 18)
more
"Cinema and Development in West Africa shows how the film industry in Francophone West African countries played an important role in executing strategies of nation building during the transition from French rule to the early postcolonial period. James E. Genova sees the construction of African ident
...
ities and economic development as the major themes in the political literature and cultural production of the time. Focusing on film both as industry and aesthetic genre, he demonstrates its unique place in economic development and provides a comprehensive history of filmmaking in the region during the transition from colonies to sovereign states." (Publisher description)
more
"The National Film and Video Censors Board (NFVCB) of Nigeria [...] has powers that go beyond film classification and censorship. This has been manifested especially through its attempt to regularize film distribution in Nigeria through the introduction of a distribution framework. Many resented thi
...
s attempt by the NFVCB. They considered it as needless interference, especially since the Nigerian video film industry had grown without any assistance from the government. But the NFVCB stated that it was merely exercising its mandate. This article examines the various issues involved and seeks to throw some light on a body that has been little studied." (Abstract)
more
"Seen from the perspective of film directors in the Middle East, the NFSD‘s Middle East Project makes a clear contribution in a number of areas: focusing on documentary flimmaking, it provides opportunities for flimmakers from the region to engage with realities that are important to them, but per
...
haps difficult to expiore without the framework that a training program provides; it introduces flimmakers to a kind of film pedagogy that is seen as deviating from what tends to be on offer in the region‘s established institutions, a pedagogy that is liberating, engaging, and enabling; finaily, it fosters networks, and aithough some of the ties in question may be weak, they are perceived as a potential basis for further. worthwhile filmmaking activities, and thus as enabling. In some cases, student filmmakers from the Middle East have become central to the NFSD‘s project and key figures within the network. This is clearly the case, for example, for Corine Shawi. The art-based network(s) that the project helps to create may be its most important contribution. Hala Galal, from partner NGO Semat in Cairo, speaks of the “regression and increasing intimidation“ that she encounters in her “daily work as a female filmmaker“ in Egypt. And she goes on to underscore the importance of the kind of support that a network of friends and fellow travelers can provide: “Th are people in other nations who can appreciate my work, despite the differences in ethnicity, religion, and language. This. . . has strengthened my conviction that we, as human beings the world over, can stand united against injustice and intolerance in all its forms.“ Film training, in this way of thinking, extends well beyond mere technical skills and into the domain of “world making.“ Admirably, those working with this kind of model are not afraid to recognize and, indeed, embrace the responsibilities that this entails." (Conclusion, page 147)
more
Esta obra presenta la situación del cine chileno antes del golpe de estado y las relaciones que se establecieron con Alemania, con personas e instituciones que se interesaron en preservar y difundir este acervo fílmico chileno en tiempos del régimen militar. Posteriormente, estos materiales regre
...
saron a Chile en dos envíos, en 1999 y en 2001, y constituyen hoy el núcleo de la colección de la Cineteca Nacional.
more
"This collection of essays foregrounds the work of filmmakers in theorizing and comparing postcolonial conditions, recasting debates in both cinema and postcolonial studies. Postcolonial cinema is presented, not as a rigid category, but as an optic through which to address questions of postcolonial
...
historiography, geography, subjectivity, and epistemology. Current circumstances of migration and immigration, militarization, economic exploitation, racial and religious conflict, enactments of citizenship, and cultural self-representation have deep roots in colonial/postcolonial/neocolonial histories. Contributors deeply engage the tense asymmetries bequeathed to the contemporary world by the multiple,diverse, and overlapping histories of European, Soviet, U.S., and multi-national imperial ventures. With interdisciplinary expertise, they discover and explore the conceptual temporalities and spatialities of postcoloniality, with an emphasis on the politics of form, the 'postcolonial aesthetics' through which filmmakers challenge themselves and their viewers to move beyond national and imperial imaginaries." (Publisher description)
more
"An study among 1,564 children from Cambodia, Thailand, and the Philippines tested the increase of knowledge among viewers of the Southeast Asian programme "I Got It". Initiated by why the Goethe Institutes in Southeast Asia, this first regional knowledge programme for children was produced in 9 Asi
...
an countries (Brunei, Indonesia, Cambodia, Laos, Malaysia, Myanmar, the Philippines, Thailand, and Vietnam). According to the conclusion, "the study shows that children get something out of the programme. They get more out of some episodes than others, but the tendency is clear: knowledge programmes enrich children’s lives, especially if they provide new facts and insights, give visual form to things which are not usually visible, and thereby foster a more complex understanding of familiar things." (commbox)
more
"Dieses Studienhandbuch stellt in kompakter Form das komplette Instrumentarium der Filmanalyse vor. Systematisch werden Filmgeschichte, Filmtheorie und das Zeichensystem des Films erläutert und durch Beispiele aus mehr als 100 Jahren Filmgeschichte veranschaulicht. Dabei werden auch neueste Entwick
...
lungen berücksichtigt, vom Einsatz digitaler Technik bis zum 3D-Film. Studenten der Film- und Medienwissenschaften erhalten so eine Einführung in das ganze Instrumentarium der Filmanalyse und lernen es selbst anzuwenden." (Verlagsbeschreibung)
more
"The article deals with two recent Iranian films, al-Masih (Teh Messiah) by Nader Talebzadeh and Maryam al-Muqaddasah (Holy Mary) by Shahriar Bahrani. Both movies are about religious characters shared by Islam and Christianity: Zechariah, Mary and Jesus. The article explores the way the filmmakers h
...
ave made use of both Islamic and non-Islamic sources to tell their story, and it analyses the stylistic and narrative means they have employed. Are these films contributing to the mutual religious understanding of Christians and Muslims? If so, how? And if not, why not?" (Abstract)
more
"This book, via an analysis of cinema, provides a discussion on some misunderstandings and assumptions about Algeria, which remains to a large extent underrepresented or misrepresented in the UK media. It is about Algerian national cinema and illuminates the ways in which the official mythologising
...
of a national culture at the 'centre' of the postcolonial state has marginalised the diverse identities within the nation. 'Tahia ya didou' occupies a pivotal position between fiction and documentary, capturing the hectic modernization of the Boumediene era while reflecting back on the aftermath of historical trauma. 'La Citadelle presents' gender differences as culturally engrained and patriarchal power as secure. 'Youcef', 'Bab El-Oued City' and 'Rome plutôt que vous' present differing visions of how a Freudian melancholia in the shadow of a crushed revolt might relate to Algerian experience after Black October. 'Lettre à ma soeur' listens to the voices of the subaltern; the film is a sense of re-emergence that follows the initial insurgency of Nabila's activism, the trauma of her killing and the subsequent years of silence and self-imposed incarceration.
more
"En las décadas de 1970 y 1980 varias salas limeñas se llenaban de familias que iban a ver las largas y melodramáticas producciones de cine que llegaban desde la India. Hoy esas salas ya no existen, pero eso no impide que la incidencia del cine indio se haya mantenido –dvd piratas mediante– n
...
i que este atraiga a nuevos fans. Ya no se trata únicamente de espectadores pasivos: además de mirar y escuchar, muchos jóvenes de origen popular se han decidido a bailar y cantar, imitar y reinventar. Esta breve etnografía propone algunas claves de lectura para la nueva dirección que el cine de Bollywood está tomando en Perú." (Página 133)
more
»Bollyworld Neukölln« ist nicht nur die erste umfassende Studie zum Hindi-Kino in Deutschland, die spezifische, inoffizielle und migrantische Rezeptionswege mitberücksichtigt, sondern zeigt auch neue empirische Perspektiven auf Migranten und Medien auf. Anstatt MigrantInnen unreflektiert nach be
...
stimmten ethnischen Gruppen auszuwählen und zu kategorisieren, betrachtet die Medienethnografie junge, migrantische Rezipienten in einem konkreten urbanen Raum: Berlin Nord-Neukölln. Distributions- und Rezeptionsaktivitäten zur Populärkultur Bollywood (wie etwa Tanzkurse oder Vorführungen außerhalb des regulären Kinoprogramms) zeigen, dass die Grenzen zwischen migrantischen und »mehrheitsdeutschen« Medien fließend sind." (Klappentext)
more