The 8th issue of Necsus: European Journal of Media Studies on ‘vintage’ is now online! The issue fearues a special section that is guest edited by Kim Knowles. You are able to read and download all contributions in Open Access at www.necsus-ejms.org.
Film Studies student Mashya Boon has won the Science in the City Award for her master’s thesis Cinematic Clones, Illusive Identities and Mercurial Memories (Master Film, UvA, 2015). The jury consisted of Erik Scherder, Liza Mügge (UvA) en Felix Rottenberg.
By Bram Overbeeke and Nataša van de Laar, students at the Research Master in Media Studies.
Last Friday, November 20th, the International Documentary Film Festival Amsterdam (IDFA) hosted American filmmaker Errol Morris for a masterclass in a fully packed Tuschinski theatre. The festival’s central guest discussed his work and his ideas on documentary film with moderator and prominent documentary scholar Bill Nichols. The dialogue focused mainly on the intersections between theory and practice of documentary filmmaking, in relation to the ground-breaking work of the director himself. Reality, truth, and their representations were recurring themes throughout the meandering discussion.
Yesterday the first copies of Filming for the Future – The Work of Louis van Gasteren by Patricia Pisters were handed over to Van Gasteren and NFF director Willemien van Aalst at Paradiso in Amsterdam.
The Museum of Modern Art in New York (MoMA) has invited EYE to compile two special film programmes for the annual MoMA Festival of Preservation. To Save and Project is an international film festival showcasing recently preserved and restored film works from November 4 through 25.
To Save and Project: the 13th MoMA International Festival of Film Preservation. From November 4-25.
“Dissolves of Passion”? Materially thinking through editing in digital videographic film and moving image studies
Thursday 26 November 2015, 17.00 – 19.00, OMHP D 0.09
Focusing on a number of videographic explorations of matters of film editing (including several of her own), Grant’s talk will ask what such practical, digital and audiovisual modes of research and presentation — ones which themselves evidently turn on editing — might add to the study of a cinematic feature that (with a number of key exceptions) has not received much sustained attention to date in written film scholarship.
Film Studies faculty member Dr. Charles Forceville will give a plenary lecture in October at the “International Conference on Communication Styles” Philological Faculty, Krosno State College, Krosno, Poland (org. Dorota Brzozowska & Władysław Chłopicki).
Film Studies faculty member Dr. Maryn Wilkinson to introduce Bandit Queen (dir. Kapur, 1994) on 13th October at 18:45 hrs.
Bezoekers die meer willen weten van de Japanse cinema kunnen vanaf 5 oktober in EYE gedurende acht maandagavonden een in samenwerking met de Universiteit Leiden georganiseerd filmcollege volgen. Deze reeks van acht colleges biedt een overzicht van de Japanse film vanaf de vroegste stille films tot aan de arthousefilms uit het Japan van nu. Aansluitend op de colleges worden films vertoond die een doorsnede bieden van het programma van Mūbii Japan.
Quirine Racké & Helena Muskens will be the next guest curators in THE LIMA COLLECTION series. On September 15, the artist duo will give an insight into the relationship between media art and cinema.
In this screening series, the various (hi)stories of the LIMA collection and media art are being told with a focus on the main recurrent themes: activism, performance, cinema and medium specific.
Tuesday, September 15
LIMA, Arie Biemondstraat 111, Amsterdam
8:30 – 10:30 PM
7.5 / 5 euro
12 September 2015 through 17 January 2016
EYE presents a major exhibition devoted to Italian director Michelangelo Antonioni. With his famous trilogy The Adventure, The Night and Eclipse, Antonioni became one of the most innovative directors of the 20th century.
The Adventure (1960) ranks as a turning point in film history, marking the start of modern cinema. A stylistic perfectionist, he renewed the grammar of film by thinking less in terms of narrative and more in terms of image. Film excerpts projected onto thirteen big exhibition screens show the overpowering visual force of his images. The exhibition also features unique documents, photographs and letters from the Antonioni archive in Ferrara, birthplace of the director.
The exhibition is curated by Dominique Païni in collaboration with Jaap Guldemond, Director of Exhibitions/Curator EYE, with the assistance of Maria Luisa Pacelli (Director, Gallerie d’arte moderna e contemporanea di Ferrara) and Barbara Guidi (Chief curator, Gallerie d’Arte Moderna e Contemporanea di Ferrara).
Exhibition concept by Fondazione Ferrara Arte and Gallerie d’Arte Moderna e Contemporanea-Museo Michelangelo Antonioni di Ferrara, in collaboration with Fondazione Cinetecca di Bologna.
Twenty years on from the groundbreaking Amsterdam workshop Disorderly Order: Colours in Silent Film, this conference will celebrate this milestone anniversary by providing a new forum to explore contemporary archival and academic debates around colour in the silent era.
The conference will explore a diverse range of archival and academic topics and provide a stimulating environment for specialists from across different disciplines. It will also include screenings of restored and/or rarely seen films.
The keynote speakers will be filmmaker and writer Peter Delpeut (Lyrical Nitrate and Diva Dolorosa), Tom Gunning (University of Chicago) and Vanessa Toulmin (National Fairground Archive/University of Sheffield). Read more
From 12 February to 19 March, EYE and the University of Amsterdam are presenting a series of public lectures on film restoration at EYE. Each lecture is accompanied by film screenings. The lectures can be followed as a series or individually.
EYE is renowned around the world for its film restoration work. In conversation with international guests, Giovanna Fossati (chief curator at EYE and professor of Film Heritage and Digital Film Culture at the UvA) analyses a number of remarkable film restoration projects, such as the European classic Menschen am Sonntag, Stanley Kubrick’s Dr. Strangelove, the digitization of early colour films (1897-1914) from the EYE Collection, and the 4K ‘restoration’ of the TV series Breaking Bad, which is currently being carried out by Sony Pictures Entertainment.
Departing from the “scientific image”, the three sessions of this semester will focus on the function of the image and its transformation as a resource in visualization, translation, control, manipulation and commodification. These functions, linked variably through history with knowledge production, expanded into fields as diverse as landscape painting, brain visualization, documentary film, and forensic television.
Starting in the first session with a focus on the scientific image’s multiple functions (data visualization, diagrammatization, on-screen manipulation), the second and third sessions will look firstly at a genealogy of the conceptualization of the functions of the image across the fields mentioned above, while the final session will explore the crossmedial concretizations of these conceptualized functions including between film, television, photography, satellite imaging, etc.
Screening and Q&A Golden Leopard Winner From What Is Before (December 7th 13.00) and Storm Children (December 8th 21.30) and Q&A with Lav Diaz, one of the 2014 Prince Claus Laureates. Immerse yourself in Lav Diaz’s groundbreaking cinema.
Storm Children delves into the aftermath of the the deadly Typhoon Yolanda (Haiyan) in November 2013. Freight ships thrown from the sea lie between what remains of houses and shacks. In the middle of this post-apocalyptic scene, a horde of children are creating a new world for themselves.
Q&A with Lav Diaz hosted by Bregtje van der Haak (documentary filmmaker, journalist, & Prince Claus Fund Board Member). In partnership with International Film Festival Rotterdam.