"[...] Roy Armes examines the political and cultural context of the films and the film industry in the post-independence era. Since the birth of cinema, North Africa has been the site of countless European and U.S. film productions. This book, however, focuses on the postcolonial period, when indige
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nous filmmaking in each of the three Maghreb countries--Algeria, Morocco, and Tunisia--arose with the newly independent nations. Comparative analyses of each country's filmmaking in the decades following independence provide a historical portrait of the conditions and environment for the development of a postcolonial cinema. Armes then turns his attention to an in-depth examination of 10 key films produced between the 1970s and the 1990s, including Omar Gatlato, La Nouba, Halfaouine, Silences of the Palace, and Ali Zaoua. The book includes a dictionary of more than 135 North African filmmakers and a chronological filmography." (Publisher description)
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"Founded on the 22nd of October, 1955, in Paris, by pioneers of Protestant film work, INTERFILM is an international network of Church film and media institutions as well as dedicated individuals with the goal of coordinating dialogues between Church and film. Directed by the terms and aims of the Wo
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rld Council of Churches (WCC), it includes members from the Churches of the Reformation and the Orthodox Churches, but also Jewish people and representatives from the Catholic tradition, insofar as these latter are not active in SIGNIS. The fact that INTERFILM exists is due to the steadfast engagement of far-sighted personalities, and it is high time to finally acknowledge their film-cultural activities with a separate publication. I am pleased that this is possible through international involvement and in different languages, even if we must do without a consistent translation of all of the contributions. It is aimed at focusing the attention of the current INTERFILM members and partners on the journey up to now and at reflecting on the present state of dialogue between Church and film." (Foreword, page 8)
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"Kriege sind eines der wichtigsten Themen von Filmen. Filme können das Publikum zur Parteinahme in kriegerischen Auseinandersetzungen bewegen. Sie vermitteln denen, die Kriege nicht aus eigenem Erleben kennen, das eindrücklichste Bild. Auch daher sind Kriegsfilme ein bevorzugtes Mittel politischer
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Propaganda. Sie fließt auch in Filme ein, die auf den ersten Blick unpolitisch daherkommen. Die Beiträge dieses Bandes untersuchen die Darstellungen des Krieges im zeitlichen und internationalen Vergleich. Das Verhältnis von gesellschaftlichen Hintergründen und literarischen Vorlagen zu den Filmen wird in die Analysen mit einbezogen." (Verlagsbeschreibung)
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"Nicola Galliner, die Gründerin und Leiterin des Jewish Film Festival Berlin (JFFB), hat nun im Bebra Verlag den Jubiläumsband herausgegeben, um die Geschichte einer Dekade dieses in Deutschland einzigartigen Filmfestes zu gebührend zu würdigen. Verschiedenste Kulturschaffende und Wissenschaftle
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rInnen aus aller Welt, vornehmlich aus Deutschland, England, Amerika und Israel, wollen durch ein buntes Kaleidoskop an Artikeln - Erinnerungen, Nachrufe, Erfolgsgeschichten und Reaktionen - den LeserInnen die ca. 180 Filme des Jewish Film Festival Berlin ins Gedächtnis rufen sowie das "Jüdische Kino" zitieren. "Was macht einen Film jüdisch?" - das ist hier die Frage. PublizistInnen, SchriftstellerInnen, LeiterInnen jüdischer Filmfestivals und FilmkennerInnen versuchen, auf diese Frage Antworten zu finden. Die Auskünfte sind vielschichtig und unterschiedlich, witzig und nachdenklich: jüdisch ist der spezifische Humor oder ein jüdisches Publikum oder was nicht langweilig ist oder etwas, dass man, wenn man es sieht, erkennt... Alles in allem ist diese Dokumentation eine unterhaltsame Lektüre für die Zeit zwischen den Jewish Film Festivals Berlin. Viele noch nie gesehene Fotos, Originalplakate der Kinofilme, ein Glossar hebräischer und jiddischer Begriffe sowie Kurzbiographien der einzelnen AutorInnen und eine Auflistung aller gezeigten Filme machen dieses Buch ganz sicher lesens- und stöbernswert." (https://www.aviva-berlin.de)
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"Alongside other measures such as funding of public broadcasting services, regulation of relations between broadcasters and producers and the implementation of tax incentive schemes, direct funding is one of the most traditional and important ways in which public authorities support the film and aud
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iovisual industry. Virtually all European States, as well as territorial communities, regions, some municipalities, the European institutions (Council of Europe, European Community) and various intergovernmental organisations have set up direct aid mechanisms that provide around EUR 1,3 billion of funding for the industry each year. The European Audiovisual Observatory's KORDA database, an important source of information for this report, lists more than 170 support bodies and around 600 different aid programmes. Backed up with facts and figures, this study illustrates the enormous diversity of these mechanisms: diversity in terms of legal foundations, the tasks fulfilled by national support bodies, funding, methods of intervention and, in particular, the sums involved. Despite this variety, which results from the history and political and administrative structure of each European state, the support bodies are keen to find common conceptual ground for their policies, based on the notion that film and audiovisual creativity cannot be governed solely by the rules of the market and that funding is justified by the need for cultural diversity. The European Commission does not question this principle, although it does have to ensure that funding does not disrupt the correct functioning of the common market. The report describes how this whole issue has evolved since 1963 up to the recent European Commission Communication of 16 March 2004. The report covers recent events up to spring 2004: reform of Eurimages, new laws in Germany, Italy, Hungary, draft laws in Poland and Portugal, etc. Finally, Olivier Debande, an expert at the European Investment Bank, analyses the role of private investors and intervention by the banking sector in three countries using distinct models (USA, United Kingdom, France)." (Back cover)
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"This is a historical and cultural survey of Indian cinema written by a social scientist and a film historian. The reader is provided with the social, political, religious and cultural context of India over nine decades [...] it is low on theory and high on description." (European Journal of Communi
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cation 14(2) June 1999 on the 1st ed.)
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