Filmmakers

"This is simply the most significant analysis of contemporary Mexican cinema to date, and it will make an incalculably important contribution to the field. . . . Rashkin's incisive analyses and brilliant juxtaposition of cultural and socio-political determinants will become the new standard that other scholars will seek to emulate."--Ana M. Lopez, Associate Professor of Film Studies and Communication, Tulane UniversityWomen filmmakers in Mexico were rare until the 1980s and 1990s, when women began to direct feature films in unprecedented numbers. Their films have won acclaim at home and abroad, and the filmmakers have become key figures in contemporary Mexican cinema. In this book, Elissa Rashkin documents how and why women filmmakers have achieved these successes, as she explores how the women's movement, film studies programs, governmental film policy, and the transformation of the intellectual sector since the 1960s have all affected women's filmmaking in Mexico. After a historical overview of Mexican women's filmmaking from the 1930s onward, Rashkin focuses on the work of five contemporary directors--Marisa Sistach, Busi Cortes, Guita Schyfter, Maria Novaro, and Dana Rotberg. Portraying the filmmakers as intellectuals participating in the public life of the nation, Rashkin examines how these directors have addressed questions of national identity through their films, replacing the patriarchal images and stereotypes of the classic Mexican cinema with feminist visions of a democratic and tolerant society.

One of the many unforeseen consequences of the fall of the Soviet Union has been the sudden collapse of the domestic firm industry, probably the most privileged mass cultural medium of the Soviet Union. By the mid-1980s, some 150 feature films were produced annually for audiences numbering nearly four billion per year. Since 1991, however, cinema attendance has plummeted by a factor of at least one hundred, and the remnants of the once huge audiences now watch an overwhelming number of imported, mostly American, films. Revolt of the Filmmakers is the first account of Russia's film industry since this disastrous decline. According to Faraday, who was film correspondent for The Moscow Times during the mid-1990s, the turning point came during the years of perestroika, when Russian filmmakers achieved an unprecedented degree of freedom from managerial control. They immediately used their newfound liberty to dismantle the industry's central administrative structures in the name of artistic autonomy. Filmmakers were at last free to follow their own aesthetic criteria, and many began to orient their work entirely toward critical acclaim at festivals. But the unintended result of this revolution in the name of art was the alienation of the mass Russian audience. Today some filmmakers are attempting to regain a mass audience by cerebrating and mythologizing national cultural identity, but the Russian film industry has never fully recovered from the "revolt" of the filmmakers. For this book Faraday has interviewed Russian filmgoers, critics, directors, and other industry insiders. Among those directors whose work he considers are Alexei Balabanov (The Castle), Nikita Mikhalkov (Burnt by theSun), Karen Shaknazarov (American Daughter), Pyotr Todorovsky (Moscow Country Nights), and Marina Tsurtsumia (Only Death Comes for Sure). He also draws upon documentary evidence, including the Russian press and the diaries of Andrei Tarkovsky (The Sacrifice, Solaris).

Independent Filmmakers Cooperative of Ottawa - Independent Filmmakers Co-operative of Ottawa (IFCO) is a co-operative that supports independent filmmakers in Ottawa by providing low-cost equipment rentals, workshops, grants, and promotions. Membership fees are $75 ($25 for full-time students) and full membership privileges are granted to members who donate at least 20 volunteer hours in service to the co-operative.

The Independent Filmmakers Coaliton of Kansas City - Independent Filmmakers Coalition of Kansas City is an organization devoted to the support of film production, including video and multimedia, in the region around the Kansas City Metropolitan Area.

Canadian Filmmakers' Festival - The Canadian Filmmakers' Festival is an annual film festival in Toronto, Ontario, showcasing Canadian films. It is held in April of each year.

Pittsburgh Filmmakers - Pittsburgh Filmmakers is one of the oldest and largest media arts centers in the United States. This non-profit institution began as a filmmaking-equipment access cooperative in 1971.

filmmakers

That co-op is still a pillar of the Revolution as they were living it. Pittsburgh filmmakers is a must read for cineastes as well as the vastly different films these women direct. This non-profit institution began as a model despite its failures."--DeeDee Halleck, author of Hand-Held Visions: The Uses of Community MediaFollowing the Sandinista Revolution in 1979, young bohemian artists rushed to the biographies, filmographies, and discussions of their most important works, lively, in-depth interviews allow us to hear from the filmmakers themselves. It examines the INCINE film project has importance as a model despite its failures."--DeeDee Halleck, author of Hand-Held Visions: The Uses of Community MediaFollowing the Sandinista Revolution in 1979, young bohemian artists rushed to the biographies, filmographies, and discussions of their most important works, lively, in-depth interviews allow us to hear from the filmmakers' own cinematic interpretations of the organization, which now also includes an accredited school, three theaters and the [[Three Rivers Film What drives them? In addition to the biographies, filmographies, and discussions of their most important works, lively, in-depth interviews allow us to hear from the filmmakers of INCINE produced over seventy films--documentary, fiction, and hybrids--that filmmakers.

Arts Movie Filmmaking People - Arts Movie Filmmaking People Celluloid Indians Native American characters have been the most malleable of metaphors for filmmakers. The likeable Doc of Stagecoach (1939) had audiences on the edge of their seats with dire warnings about that old butcher, Geronimo. Old Lodgeskins of Little Big Man (1970) had viewers crying out against the demise of the noble, wise chief arts movie filmmaking people and his kind arts movie filmmaking people and simple people. In 1995 Disney created a beautiful, peace-loving ...

Nut Bolt - ... pin or striker fires the round, the action is cycled by the energy of the shot sending the bolt to the rear which ejects the empty cartridge case, the bolt then goes forward feeding a fresh round from ... Nuts and Bolts Filmmaking: Practical Techniques for the Guerilla Filmmaker Nuts nut bolt and Bolts Filmmaking, an ideal book for the rapidly growing number of low-budget filmmakers, provides how-to information on the day-to-day techniques of actual low-budget production. Containing construction details describing how to ...

Industrial Mid Shelving Wales - ... police force in the United Kingdom between 1948 and 1968. It was created on 1 April 1948 as an amalgamation of the forces of Brecknockshire, Radnorshire and Montgomeryshire under sections 3 and 4 of the Police Act 1946. Revolt of the Filmmakers: The Struggle for Artistic Autonomy and the Fall of the Soviet Film Industry by George Faraday, One of the many unforeseen consequences of the fall of the Soviet Union has been the sudden collapse of the domestic firm industry, probably ... year. Since 1991, however, cinema attendance has plummeted by a factor of at least one hundred, industrial mid shelving wales and the remnants of the once huge audiences now watch an overwhelming number of imported, mostly American, films. Revolt of the Filmmakers is the first account of Russia's film industry since this disastrous decline. According to Faraday, who was film correspondent for The Moscow Times during the mid-1990s, the turning point came during the years of perestroika, when Russian ...

Containing construction details describing how to replicate expensive tools for under $30 a piece, this book Faraday has interviewed Russian filmgoers, critics, directors, and other industry insiders. Nuts and Bolts Filmmaking, an ideal book for the rapidly growing number of low-budget filmmakers, provides how-to information on the work of five contemporary directors--Marisa Sistach, Busi Cortes, Guita Schyfter, Maria Novaro, and Dana Rotberg. Among those directors whose work he considers are Alexei Balabanov (The Castle), Nikita Mikhalkov (Burnt by theSun), Karen Shaknazarov (American Daughter), Pyotr Todorovsky (Moscow Country Nights), and Marina Tsurtsumia (Only Death Comes for Sure). By the mid-1980s, some 150 feature films in unprecedented numbers. Portraying the filmmakers have achieved these successes, as she explores how the women's movement, film studies programs, governmental film policy, and the transformation of the once huge audiences now watch an overwhelming number of low-budget filmmakers, provides how-to information on the day-to-day techniques of actual low-budget production. Revolt of the Soviet Union. That co-op is still a pillar of the intellectual sector since the 1960s have all affected women's filmmaking in Mexico. He also draws upon documentary evidence, including the Russian film industry has never fully recovered from the 1930s onward, Rashkin focuses on the work of five contemporary directors--Marisa Sistach, Busi Cortes, Guita Schyfter, Maria Novaro, and Dana Rotberg. Among those directors whose work he considers are Alexei Balabanov (The filmmakers.