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Journal articles on the topic 'Annecy International Animation Festival'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Hattler, Max. "The Abstracted Real: Speculations on Experimental Animated Documentary." International Journal of Film and Media Arts 6, no. 3 (2021): 37–54. http://dx.doi.org/10.24140/ijfma.v6.n3.03.

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Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London Internati

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Fusong, Liu. "The Localization Style Design Analysis of Domestic Animation The case study of Scissor Seven." E3S Web of Conferences 236 (2021): 04060. http://dx.doi.org/10.1051/e3sconf/202123604060.

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Scissors Seven as a GuangZhou native animation works has won a large number of fans on the Internet, network playback volume reached 260 million, and in 2018 became the only domestic animation in the Annecy international animation film festival, in 2019,in 2020 Magnolia Award for Best Animated Screenplay at the 26th Shanghai TV Festival became the only domestic animation work award in the past five years.Further more the film became Netflix online products, The Japanese and English versions can be seen in 29 countries and 190 regions .Most of the audiences love this work and gave a good commen

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Dematei, Marcelo, and María Laura Piaggio. "Cuentos de viejos: los relatos de la memoria." Con A de animación, no. 5 (May 18, 2015): 88. http://dx.doi.org/10.4995/caa.2015.3541.

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<p>Cuentos de Viejos es un documental colaborativo transmedia que incluye una serie de animación para TV, una plataforma web y proyectos escolares. Concebido por las productoras HIERROanimación (Bogotá) y Piaggiodematei (Barcelona), fue elegido Mejor Proyecto Transmedia en el MIFA-Festival de Annecy 2012. Ese mismo año comenzó a producirse, coproducido por la TV pública colombiana (RTVC-Señal Colombia). La serie fue estrenada en septiembre de 2013, y está en producción una tercera temporada. Recibió numerosas distinciones internacionales, y en 2014 estuvo presente en decenas de festivale

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Álvarez Sarrat, Sara, Beatriz Herráiz Zornoza, and Adriana Navarro. "La animación española en el escaparate internacional. Crónicas desde Stuttgart y Annecy." Con A de animación, no. 6 (May 16, 2016): 68. http://dx.doi.org/10.4995/caa.2016.4791.

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<p>La animación española ha tenido un escaparate de excepción durante el 2015: por primera vez dos de los grandes festivales de animacióna nivel internacional, el Trickfilm Festival de Stuttgart, (Alemania) y el veterano Festival International du Film d’Animation de Annecy (Francia), han coincidido en invitar a España para dar a conocer su producción en animación. Adriana Navarro, Beatriz Herráiz y Sara Álvarez nos cuentan los acontecimientos más destacados de ambos festivales.</p>

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Kim, Eun-Ju, and Chae-Hwan Seo. "Changes and New Normal of Asian International Animation Film Festival - Focusing on Bucheon International Animation Festival -." Cartoon and Animation Studies 73 (December 31, 2023): 251–75. http://dx.doi.org/10.7230/koscas.2023.73.251.

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Viñolo Locubiche, Samuel. "Entrevista a José Luis Farias, director de 3D Wire - Animación, videojuegos y new media." Con A de animación, no. 9 (March 14, 2019): 66. http://dx.doi.org/10.4995/caa.2019.11333.

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<p>José Luis Farias Gómez (Madrid, 1979) se ha convertido en poco tiempo en una figura esencial para entender la evolución de la industria de la animación española en la última década, gracias a la enorme relevancia internacional de eventos como Mercado 3D Wire, Bridging the Gap, o más recientemente los Premios Iberoamericanos Quirino. Es asesor y colabora con diversas entidades y festivales internacionales como CARTOON, Annecy, Pixelatl, Festival de Animación de Medellín, ANIMATION! Ventana Sur, o la Universidad de Athens. A su vez, mantiene su faceta como productor a través de Paramoti

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Sharman, L. F. "International Animation Festival, Cardiff, 16-22 May 1994." Screen 35, no. 4 (1994): 397–99. http://dx.doi.org/10.1093/screen/35.4.397.

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Choi, Eun-Young. "How to revitalize the domestic Animation Industry through the International Animation Film Festival." Cartoon and Animation Studies 75 (June 30, 2024): 347–73. http://dx.doi.org/10.7230/koscas.2024.75.347.

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9

van Baerle, Susan L. "Report on the ottawa international animation festival and the society for animation studies conference." Journal of Visualization and Computer Animation 2, no. 2 (1991): 42–43. http://dx.doi.org/10.1002/vis.4340020203.

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10

Seo, Chae-Hwan, and Eun-Ju Kim. "Official academy certified film festival case study : Focusing on Bucheon International Animation Festival(BIAF)." Cartoon and Animation Studies 56 (September 30, 2019): 287–311. http://dx.doi.org/10.7230/koscas.2019.56.287.

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11

Choi, Young-Chul, and Seung-Rak Choi. "The Road Map of Animation Festival in Korea through the Comparative Analysis of 4 International Animation Festivals." Cartoon and Animation Studies s25, no. 1 (2011): 177–201. http://dx.doi.org/10.7230/koscas.2011.25.1.177.

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12

Tipa, Violeta. "Festival Under The Sign of Premieres. Lalka tez czlowiek, XIV Edition." Theatrical Colloquia 10, no. 1 (2020): 191–203. http://dx.doi.org/10.2478/tco-2020-0014.

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AbstractThe International Festival of Puppet Theaters for Adults Lalka tez czlowiek, organized by the Una Teatr Niemozliwy in Warsaw is at the XIV edition. The festival, which takes place in the gold of autumn, captivates the theater audience by the fact that it always manages to bring together the most diverse theaters, as well as a varied selection of performances, which make use of the new technologies and experiments in the theatrical language. Here, at this festival, tradition meets modernity, provoking discussions about the problems of evolution, the trends of aesthetics, and the languag

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13

Kovacsics, Violeta. "Decentering the Narrative." Film Quarterly 77, no. 4 (2024): 81–85. http://dx.doi.org/10.1525/fq.2024.77.4.81.

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Violeta Kovacsics reports from the 2024 edition of the International Film Festival Rotterdam (IFFR), where festival director Vanja Kaludjercic—whose appointment coincided with the pandemic years—finally was able to showcase her vision for the festival’s future. Maintaining Rotterdam’s reputation for new discoveries (almost half its screenings were world premieres), along with its commitment to avant-garde and political cinema, Kaludjercic amplified the presence of animation and made world cinema a focus, not a sidebar. Films discussed include Rei (Tanaka Toshihiko, 2024), winner of the 2024 Ti

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Jifeng, Huang, and Li Baochuan. "The Reconstructed History of the Foundation of the Chinese School of Animation: A Textual Criticism on the ‘Crow Incident’." Animation 18, no. 3 (2023): 257–72. http://dx.doi.org/10.1177/17468477231214095.

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The screening of colour cel animation Why Is the Crow Black at the 1956 Venice Film Festival was seen as a pivotal moment in Chinese animation history. It is recorded that Why Is the Crow Black was misidentified as a Soviet animation by international judges, which made this film an epic failure. Frustrated Chinese animators, led by Te Wei, reflected on the imitation of the Soviet styles and commenced the exploration of a Chinese style. This ultimately led to the foundation of the Chinese School of Animation, marked by the release of Te Wei’s film The Conceited General in 1956. However, many of

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오혜정 and 진기가. "Developmental Strategy for Local Festival in China through Utilization of Local Culture Contents: China International Cartoon & Animation Festival in Hangzhou." Journal of Asia-Pacific Studies 24, no. 1 (2017): 105–29. http://dx.doi.org/10.18107/japs.2017.24.1.004.

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Dolynska, Olesya. "THE FESTIVAL TOURISM DEVELOPMENT PROSPECTS OF KHMELNYTSKY REGION." GEOGRAPHY AND TOURISM, no. 71 (2023): 15–19. http://dx.doi.org/10.17721/2308-135x.2023.71.15-19.

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The aim of the study. To investigate the current state and prospects of the festival tourism development in the Khmelnytskyi region. The development of tourism, particularly festival tourism, is important for the economy of the country and territorial communities, as it ensures the growth of tourist flows and the development of infrastructure. Method. The research uses general scientific research methods, namely, general logical methods: comparison, analysis, synthesis, generalization and analogy. The methods of analysis, synthesis and generalization were used in the study of the cause-and-eff

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Rolla, Natalia, and Lisa Sacchi. "Films from the graduates in directing at the Centro Sperimentale di Cinematografia (CSC): Festival nominations and awards1." Journal of Italian Cinema & Media Studies 8, no. 3 (2020): 429–32. http://dx.doi.org/10.1386/jicms_00035_7.

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In our contribution to a Special Section dedicated to the Centro Sperimentale di Cinematografia in Rome (CSC) (Centre for Experimental Cinematography), we acknowledge the achievements of the school’s graduates in directing from 2004 to 2019. In particular, we provide a detailed list of the thesis films, short feature and animation films, as well as some long feature films, which have been selected for the Cannes and Venice Film Festivals, and have been nominated for and have been awarded national and international prizes such as the David di Donatello, the Silver Ribbon and the Golden Globe.

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Bradshaw, Julia. "FMX 2019: Conference on Animation, Effects, Games and Immersive Media; 26th Stuttgart International Festival of Animated Film." Afterimage 46, no. 3 (2019): 1–8. http://dx.doi.org/10.1525/aft.2019.463001.

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Husniyah, Nur Iftitahul. "Tantangan Globalisasi Pendidikan Islam (Study Komparasi Budaya Pop di Indonesia dan Malaysia)." AKADEMIKA 11, no. 1 (2017): 78–91. http://dx.doi.org/10.30736/akademika.v11i1.46.

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Popular culture broadcast from electronic media in this paper is aimed at introdution children to the importance of good moral messages in addition to being a medium of Islamic religious education transfer in the matters of worship or moral and social values. Animated Upin Ipin film produced in Malaysia, the business management, creative ideas, and quality of the image could deliver the Upin & Ipin film in getting some awards. In 2008, Upin & Ipin was awarded International Achievement Appreciation Award, Best of Media Entertainment Category-Merit Award (MSC Malaysia APICTA 2008), and P

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ZAHARIA, Ioana-Raluca. "The festival - the mark of the city's cultural identity in the context of urban marketing." Theatrical Colloquia 12, no. 2 (2022): 68–77. http://dx.doi.org/10.35218/tco.2022.12.2.08.

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"Should we attach to the notion of identity, that of culture, we will have a more comprehensive and at the same time more precise vision of the relationship that exists between the two terms. The cultural identity is that something that recognizes the human community (social, political, regional, national, ethnic, religious) in terms of values, mentality, commitments, traditions, beliefs, historical memory. To understand the notions of identity and culture, we refer to the individual and then to the group and to the manner they relate to the community, society and why not, the citadel, meaning

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Oh, Hye-jung. "Development Strategies of Local Festivals in China －Around the Development Strategy of ‘B2C (Business to Customer)’ of the International Animation Film Festival in Hangzhou－." Journal of China Area Studies 7, no. 2 (2020): 255–75. http://dx.doi.org/10.34243/jcas.7.2.255.

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Zaitsev, Alexey Yakovlevich. "“Ural Chronicles”: mythological and historical motifs in Dmitry Geller’s animated film “Alyoshenka”." Manuscript 18, no. 2 (2025): 560–69. https://doi.org/10.30853/mns20250079.

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The article analyzes the artistic structure of the animated film “Alyoshenka” (2025) by Dmitry Geller (born 1970), which was awarded the Grand Prix at the 30th Open Russian International Animated Film Festival in Suzdal. The author focuses on the unique features of the director’s work, including the multilayered content, the use of mystical and esoteric motifs, and the integration of cultural and historical elements. The film “Alyoshenka” is part of the “Ural Chronicles” cycle (2020-…), and it combines myths with modern legends, creating a complex narrative rich in symbols. The research aims t

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Meng, Victoria. "Review: Chris Gehman and Steve Reinke (eds), The Sharpest Point: Animation at the End of Cinema. Toronto: YYZ Books/Ottawa International Animation Festival, 2005. 288 pp. ISBN: 0—920397—32—8 CAD $24.95, USD $20.95, EU 17.95." Animation 3, no. 3 (2008): 310–12. http://dx.doi.org/10.1177/17468477080030030602.

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KUM, Özlem. "THE EXAMINATION OF DOODLE ILLUSTRATION STUDIES BY BARTHES' SEMIOTIC ANALYSIS METHOD." Turkish Online Journal of Design Art and Communication 13, no. 1 (2023): 225–39. http://dx.doi.org/10.7456//11301100/015.

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Semiotics is a branch of science that includes the processes of examining, interpreting and re-interpreting signs with the system of "Signifier", "Signifier", "signified". In semiotic analysis, besides the direct messages, the messages that are wanted to be conveyed indirectly are revealed. In this article, it is aimed to examine 10 randomly selected Doodle illustrations from the Doodle archive of 2022 using Barthes' semiotic analysis method. Azah Aziz's birthday, Indonesian Independence Day, Japan's Mountain Day, Kimiko Tsumura's 120th birthday, India Independence Day, Doodle designed for “Go

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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.

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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poup&#233;e” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wa

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Wardani, Winny Gunarti Widya, Syahid Syahid, and Taufiq Akbar. "PEMBINGKAIAN RUANG VISUAL DALAM DESAIN VIDEO MUSIK ANIMASI SABDA ALAM SEBAGAI SENI MENYAMPAIKAN PESAN KAMPANYE." Gorga : Jurnal Seni Rupa 11, no. 2 (2022): 402. http://dx.doi.org/10.24114/gr.v11i2.39919.

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Animated music video is an audio-visual media design that is presented in an illustrative narrative with song accompaniment. This spectacle has become a model for campaign media design that has appeal, like the animated music video “Sabda Alam” by students of SMK Raden Umar Said Kudus, which won appreciation at the 2021 Balinale International Film Festival. “Sabda Alam” tells the story of the lives of birds endemic typical of Indonesia which is increasingly rare. This media campaign indirectly supports the Ministry of Environment's program to socialize the importance of protecting the rich div

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Cicchetti, PM. "The Third Song on the Record: The 60th Annecy International Animation Film Festival." Film Criticism 44, no. 3 (2020). http://dx.doi.org/10.3998/fc.13761232.0044.307.

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Uhde, Jan. "Jan Švankmajer." Kinema: A Journal for Film and Audiovisual Media, April 10, 1994. http://dx.doi.org/10.15353/kinema.vi.752.

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JAN ŠVANKMAJER: THE PRODIGIOUS ANIMATOR FROM PRAGUE The Czech animated-film director, visual artist, and surrealist Jan Švankmajer is one of the most remarkable filmmakers of the last three decades. The influential French film journal Positif considers him, together with the famous Russian animator Yuri Norstein (Tale of Tales), "a giant of contemporary film."(1) The British film critic Julian Petley calls him, along with the Polish directors Jan Lenica and Walerian Borowczyk, "...one of the key animators to have emerged in Eastern Europe since the war."(2) Born in 1934, the sixty-years-old di

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Holloway, Ron. "Leipzig 2007." Kinema: A Journal for Film and Audiovisual Media, April 10, 2007. http://dx.doi.org/10.15353/kinema.vi.1174.

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49th LEIPZIG INTERNATIONAL FESTIVAL FOR DOCUMENTARY AND ANIMATION FILMS Under visionary Claas Danielson, now in his third year as festival director and aided by an equally energetic team, the 49th Leipzig International Festival for Documentary and Animation Films (30 October- 05 November 2006), aka Dok Festival & Dok Industry for visiting professionals, broke its previous statistical record once more. From 2,400 submissions, the festival booked just over 400 films from 50 countries, the total evenly divided between documentary and animation entries. Altogether, that amounts to 19,230 minut

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Holloway, Ron. "Leipzig 2008." Kinema: A Journal for Film and Audiovisual Media, April 10, 2009. http://dx.doi.org/10.15353/kinema.vi.1211.

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51st LEIPZIG INTERNATIONAL FESTIVAL FOR DOCUMENTARY AND ANIMATION FILMS Leipzig DOK PortfolioOne glance at the portfolio of the 51st Leipzig International Festival for Documentary and Animation Films (27 October to 2 November 2008) - aka DOK Leipzig - is mind-boggling! Even the most experienced festivalier would find it difficult to assimilate more than 320 films from 50 countries, all programmed within the short span of six days! The 2008 festival catalogue, running over 300 pages, offers not just synopses but also perceptive critiques of competing documentary entries in both German and Engli

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Holloway, Ron. "Leipzig 2005." Kinema: A Journal for Film and Audiovisual Media, November 20, 2005. http://dx.doi.org/10.15353/kinema.vi.1096.

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LEIPZIG INTERNATIONAL FESTIVAL FOR DOCUMENTARY AND ANIMATION FILMS 2005 Counting the years since its founding in 1955, the Leipzig DOK festival should be celebrating its 50th anniversary this year. But since two "DOK Weeks" were skipped in the 1950s by GDR festival officials for one reason or another, the big celebration is yet to come in 2007. No matter - it's the continuity that counts. Indeed, over the years, DOK Leipzig has been the best festival barometer on the calendar for charting the shifting changes in the relationship between East and West, between Eastern and Western Europe, betwee

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Wee, Brandon. "Singapore International Film Festival 2002." Kinema: A Journal for Film and Audiovisual Media, September 22, 2002. http://dx.doi.org/10.15353/kinema.vi.991.

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The SIFF celebrated its fifteenth birthday in typical festival frenzy. Seguing into another year, the event drew intense emotions from persistent mechanical glitches and over-air-conditioned halls but also from the pleasure of having been gratified by grand moving images. Some 390 films from 40 countries shaped the spread, with spotlights on contemporary fixations: The theme of "globalisation" had an exclusive programme dedicated to filmmakers' representations of this loaded buzzword. Another catch phrase, Digital Cinema, was given further resonance with the introductory Asian Digital Film Awa

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Nada, Arina Romli, and Nurpratiwi Suci. "Baros International Animation Festival as a Brand Activation Cimahi Smart City." October 24, 2021. https://doi.org/10.5281/zenodo.6300089.

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he purpose of this study was to find out how the implementation of the Baros International Animation Festival activities as a branding activity for the city of Cimahi as a smart city. This research uses qualitative research with constructivist paradigm and case study approach. The research subjects in this study were representatives of the Cimahi city government, representatives and administrators of the Cimahi Creative City Forum who were actively involved in the development of the animation industry in the city of Cimahi. The method of data collection in this research used semi-structured in

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Holloway, Ron. "Mumbai 1998." Kinema: A Journal for Film and Audiovisual Media, April 10, 1999. http://dx.doi.org/10.15353/kinema.vi.903.

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MUMBAI INTERNATIONAL FILM FESTIVAL FOR DOCUMENTARY, SHORT AND ANIMATION FILMS 1998 Founded in 1990 as a biannual event, and now only five festivals old, the 5th Mumbai (Bombay) International Film Festival for Documentary, Short and Animation Films (1-7 March 1998) already numbers among the most important of its kind. Indeed, MIFF pulled out all the stops this year to celebrate India's 50 Years of Independence in the country's largest city and undisputed finance-and-film capital, where the Films Division has been chronicling the country's history, culture and heritage with scores of documentari

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Thompson, Patricia. "Short Films and Their Festivals." Kinema: A Journal for Film and Audiovisual Media, November 20, 1995. http://dx.doi.org/10.15353/kinema.vi.773.

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THE LAUNCHING of the Toronto Worldwide Short Film Festival in May brought about the realization that there are a respectable number of showcases for Canadian short films, and some completely devoted to the national product. Most of these festivals are juried with filmmakers competing for awards of cash or services. The Montréal International Short Film Festival was into its third year in April; The Toronto International Film Festival celebrated the 12th anniversary of its Perspective Canada program in September, while in Saskatchewan, the Yorkton Short Film and Video Festival was 31 years old

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Goder, Dina, and Anne-Marie Passaret. "The Suzdal Festival Yesterday and Today." Slovo To the East of Pixar :... (March 2, 2019). http://dx.doi.org/10.46298/slovo.2019.5242.

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International audience this article presents the most important festival of animation inRussia, the open animation festival of Suzdal. Created in 1996 on the initiative ofAleksandr Tatarsky, it allows the animated film community to meet up and to discovernew names. The public can watch the whole production of Russia and Belorussia from the preceding year, whether in the context of the competition or of the videotheque,where one can find all the films in every genre from advertising clips to feature length.A jury of professionals will award prizes which are prestigious for the recipients.These

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Holloway, Ron. "Leipzig 2003." Kinema: A Journal for Film and Audiovisual Media, April 10, 2004. http://dx.doi.org/10.15353/kinema.vi.1077.

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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 o

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Holloway, Ron. "Tirana 2005." Kinema: A Journal for Film and Audiovisual Media, April 10, 2006. http://dx.doi.org/10.15353/kinema.vi.1145.

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TIRANA INTERNATIONAL SHORT FILM FESTIVAL 2005 After two strong outings, abetted by the breaking news that Tirana was chosen "World City 2005," it was a sure bet that the Third Tirana International Short Film Festival (5-11 December 2005) would go big time on the world festival stage too. With more than 20,000 Euros in purse prizes as bait, this year's TIFF received over 700 applications from 65 countries for entry in its five sections: 370 in the fiction category, 185 in animation, 85 in documentary, 60 in experimental, and 30 more in the cross-country Albanian-language shorts section. In addi

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O’Reilly, Ziggy, Christina Chau, Nathan Thompson, and Guy Ben-Ary. "Bio-engineered Living Entities in Art: Aliveness, Duration, and Movement in Bricolage." Leonardo, March 29, 2023, 1–15. http://dx.doi.org/10.1162/leon_a_02402.

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Abstract Bricolage created by Nathan Thompson, Guy Ben-Ary and Sebastian Diecke, is a kinetic biological artwork first exhibited at the Perth International Arts Festival in 2020. The artists used stem cell technologies to create bio-engineered living entities from donated human heart muscle cells. These living entities were suspended in an incubator from the ceiling, and made viewable to gallery-goers, who watched the performance of cells generating and moving independently. This paper considers how the assemblage, animation and performance of cells embedded in Bricolage highlights questions a

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Liang, Bingbing, Kittisan Sriruksa, Niyom Wongpongkham, and Arunee Sriruksa. "Digital Reconstruction of the Snake King Festival Intangible Cultural Heritage in Zhanghu Town：A Multidimensional AI-enabled Animation Approach." Journal of Ecohumanism 3, no. 8 (2024). https://doi.org/10.62754/joe.v3i8.5612.

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The international community has widely recognized the importance of preserving Intangible Cultural Heritage (ICH) for sustainable development. However, due to its inherent intangibility, ICH is at risk of degradation and disappearance. Although public participation is crucial to ICH preservation, it remains insufficient in many systems. Against this backdrop, this paper explores and emphasizes the necessity of public involvement in ICH preservation and proposes an innovative AI-based animation generation workflow to enhance the digital preservation and dissemination of ICH. Integrated into a 1

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Holloway, Ron. "Leipzig 2003." Kinema: A Journal for Film and Audiovisual Media, April 10, 2003. http://dx.doi.org/10.15353/kinema.vi.1053.

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INTERNATIONALES LEIPZIGER FESTIVAL FUER DOKUMENTAR- UND ANIMATIONSFILM 2003 The timing could not have been better. Shortly after the 45th Leipzig International Festival for Documentary and Animation Films (15-20 October 2002) opened with the hit documentary of the year, Michael Moore's Bowling for Columbine (USA), the German edition of Moore's bestselling "Stupid White Men" hit the book stands. The biting, acerbic, stinging Bowling for Columbine had been invited to compete at Cannes and was awarded there an especially created "Unique Prize of the 55th Anniversary Festival." And "Stupid White M

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Holloway, Ron. "Berlin 1997." Kinema: A Journal for Film and Audiovisual Media, April 10, 1998. http://dx.doi.org/10.15353/kinema.vi.883.

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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

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Moritz, Dorothea. "Leipzig 2004." Kinema: A Journal for Film and Audiovisual Media, April 10, 2005. http://dx.doi.org/10.15353/kinema.vi.1112.

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LEIPZIG INTERNATIONAL FESTIVAL FOR DOCUMENTARY AND ANIMATION FILMS 2004 At the closing of the awards ceremony for the 47th Internationales Leipziger Festival Für Dokumentar- und Animationfilm (19-24 October 2004), Boris Baberkoff sat on stage and played on his cello Bach's "Fifth Suite in C-Minor." Boris, incapacitated in 1998 by a severe stroke in New York, had "beaten the odds" and was back in form. His wife, Katarina Peters, had the strength to remain at his side. Her survival strategy was to make use of a video DV camera as a diary. Thus Am seidenen Faden (Stroke, Germany) is a film that r

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Uhde, Jan. "Dark Alchemy: The Films of Jan Švankmajer." Kinema: A Journal for Film and Audiovisual Media, November 20, 1995. http://dx.doi.org/10.15353/kinema.vi.774.

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The ARCIMBOLDO OF ANIMATION Peter Hames' Dark Alchemy is the first book publication on the Czech master animator Jan Švankmajer. This may sound surprising, since Svankmajer, a pre-eminent Czech artist has produced twenty-six shorts and two features over the last three decades and is the recipient of numerous international festival prizes and awards. Despite the critical acclaim, his achievements have remained in partial obscurity. There may be more than one reason for this peculiarity: most of Švankmajer's artistic career has coincided with the totalitarian rule in the former Czechoslovakia. T

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Husniyah, Nur Iftitahul. "TANTANGAN GLOBALISASI PENDIDIKAN ISLAM (Study Komparasi Budaya Pop di Indonesia dan Malaysia)." Akademika 11, no. 01 (2017). https://doi.org/10.30736/adk.v11i01.158.

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Popular culture broadcast from electronic media in this paper is aimed at introdution children to the importance of good moral messages in addition to being a medium of Islamic religious education transfer in the matters of worship or moral and social values. Animated Upin Ipin film produced in Malaysia, the business management, creative ideas, and quality of the image could deliver the Upin & Ipin film in getting some awards. In 2008, Upin & Ipin was awarded International Achievement Appreciation Award, Best of Media Entertainment Category-Merit Award (MSC Malaysia APICTA 2008), and P

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Holloway, Ron. "Budapest 1998." Kinema: A Journal for Film and Audiovisual Media, April 10, 1999. http://dx.doi.org/10.15353/kinema.vi.901.

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29th HUNGARIAN FILM WEEK IN BUDAPEST Hungarian cinema, once the shining star in the socialist film firmament, is facing a production crisis. Only nine films programmed at the 29th Hungarian Film Week in Budapest (6-10 February 1998) were shot in 35mm, in contrast to the usual twenty of a decade ago. One sympathizes especially with the talented filmmakers of the past whose productions were eagerly viewed at all the international film festivals. Today, with only $2.5 million available for projects at the Motion Picture Foundation of Hungary, co-production partners are the rule rather than the ex

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Hoaas, Solrun. "The Celluloid Divide." M/C Journal 7, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2485.

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   North Korea is a tinderbox where pride and paranoia go hand in hand. The gung-ho confrontational approach and creation of a new world order divided into good and evil, those for us and those against us, as adopted by the Bush administration, is surely the last thing the world needs in dealing with the DPRK.   One thing I did learn from two brief visits there in l994, just three months after Kim Il Sung’s death virtually paralyzed the country, and again in 1996, after floods and famine, was that the people are exceedingly nationalistic and determined to defend t

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Lee, Seryun, Jae-Hoon Jung, and Doohyun Kwon. "Reconciling the Conservation of Cultural Heritage with Rural Development." M/C Journal 25, no. 3 (2022). http://dx.doi.org/10.5204/mcj.2904.

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Introduction: Cities as Open-Ended Place-Making Events The shaping and development of cities can be understood as a “place-making” process. Through the assemblage of diverse human and non-human elements—including various social and natural elements—abstract space gains meaning and is transformed into the more concrete form of place (Jaffe and Koning). Indeed, people, nature, arts, and architecture can all contribute to constituting a city, and depending on how these elements engage with each other, each city can be shaped differently, which makes cities “inherently dynamic and heterogeneous” (

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Peoples, Sharon Margaret. "Fashioning the Curator: The Chinese at the Lambing Flat Folk Museum." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1013.

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IntroductionIn March 2015, I visited the Lambing Flat Folk Museum (established 1967) in the “cherry capital of Australia”, the town of Young, New South Wales, in preparation for a student excursion. Like other Australian folk museums, this museum focuses on the ordinary and the everyday of rural life, and is heavily reliant on local history, local historians, volunteers, and donated objects for the collection. It may not sound as though the Lambing Flat Folk Museum (LFFM) holds much potential for a fashion curator, as fashion exhibitions have become high points of innovation in exhibition desi

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Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d

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