Cosmopolitan spaces of international film festivals: Cannes Film Festival and the French Riviera by Dorota Ostrowska

“…Since its inception, the Cannes Film Festival was envisioned as a continuation, expansion and enhancement of the Riviera’s long-established cosmopolitan, carnivalesque and exclusive space. …”
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The winner stands alone / by 220231 Coelho, Paulo, Costa, Margaret Jull

Subjects: “…Cannes film festival…”

Mr. Bean's holiday [videorecording] / Universal Pictures presents in association with StudioCanal, a Working Title production in association with Tiger Aspect Pictures by 182513 Atkinson, Rowan

Subjects: “…Cannes Film Festival…”

Special Aspects of the Cameramen’s Work at the “A” List Film Festivals by Alla Medvedieva, Oles Seredytskyi

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Specific Features of TV Journalist’s Work at the World Film Events by Iryna Gavran, Rosina Hutsal, Denys Kushnarov

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From “Makers of Images” to Cineastes? Looking Critically at Festivals and Critics’ Reception of Nollywood by Floribert Patrick C. Endong

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Koreeda Hirokazu: Pain and Fears of Modern Man by Katasonova E. L.

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Roy Andersson’s Cinematic Poetry and the Spectre of César Vallejo by Ursula Lindqvist

“… ABSTRACT: Sånger från andra våningen [Songs from the Second Floor] was Roy Andersson’s first feature film in 25 years when it won the Special Jury Prize at the Cannes Film Festival in 2000. It exemplifies the maturation of a distinctive filmmaking style Andersson developed in two and half decades of making shorts and advertising films and testifies to his decades-long engagement with Peruvian modernist César Vallejo’s poetry. …”
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What remains of cinema in TV series? by François Jost

“…Today, TV series lovers refuse such a similarity, and filmmakers, in turn, have a great distrust of TV series, as evidenced by the Film Selector of the Cannes Film Festival who, in 2018, said: “Series are industrial, films are poetry”.The present article aims to examine what remains of cinema in TV series, by answering the following questions: What is to watch a series on television? …”
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51st International Antalya Golden Orange Film Festival (2015) by Murat Akser

“…It is considered by many to be Turkey’s foremost film festival—a festive environment where film critics, directors, stars and spectators mingle in press conferences and parties, a spectacular event likened to Cannes Film Festival by those organising and attending it (Akser, “Antalya” 595). …”
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Existentialism in the films of Wong Kar Wai by Mak, Yu Ting

“…Having been nominated for several awards and winning two at the Cannes Film Festival, Wong Kar Wai is easily one of the most recognized Asian directors. …”
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Happiness is Not Fun: Godard, the 20th Century, and Badiou by Michael Walsh

“…These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” …”
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Presentation of Nuri Bilge Ceylan and his Cinema in the Turkish Media by Zafer Parlak, Mehmet Işık

“…This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacted to Ceylan and his cinema after his film Winter Sleep won the top prize (the Golden Palm) at Cannes Film Festival in 2014 and the reasons behind this portrayal.…”
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Kolonialismus aus der Sicht des linken Ufers: Négritude, nationale Kultur und humanistische Vision in Auch Statuen sterben von Alain Resnais und Chris Marker by Vrääth Öhner

“…Statues Also Die never received much attention, neither by the time of release nor afterwards: prohibited on the basis of »anti-colonial tendencies« after the first public screening at the Cannes Film Festival in 1953, the documentary hit the screens only in 1968 – at a time, when it seemed already outdated in form and content. …”
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Thinking Through Translation with Theodoros Angelopoulos: Journeys, Border Crossings, Liminality by Adriana Şerban

“…In this paper, I propose to examine the question of journeys, borders, and translation in Theodoros Angelopoulos’ Trilogy of Borders: The Suspended Step of the Stork (1991), Ulysses’ Gaze (1995) and Eternity and a Day (1998), winner of the Palme d’Or at the Cannes Film Festival. It is my aim to contribute, in a small way, to the ongoing discussion about the role of translation in creating understanding, using as a case in point the work of a major contemporary poet of the screen who created his own aesthetics of the journey and whose films are vehicles of discovery, taking the viewer across many borders, on a fabulous – but often unsettling and perilous – voyage which challenges long-held assumptions about self, others, and translation. …”
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Festival cities - culture planning and urban life by Gold, John Robert, Gold, Margaret

“…After a contextual historical survey that stretches from Antiquity to the late nineteenth century, there are detailed case studies of pioneering European arts festivals in their urban context: Venice’s Biennale, the Salzburg Festival, the Cannes Film Festival and Edinburgh’s International Festival. …”
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博弈、妥协与定位 ：以娄烨电影《颐和园》为例探讨身体政治 = Contest, compromise and counteract : an analysis of body politics from summer palace directed by Lou Ye... by 梁小杨 Liang, Xiaoyang

“…As the first romantic and political epic set in Contemporary China, Summer Palace which directed by Lou Ye in the year of 2006, was the only Chinese movie selected to complete for the 59th Cannes Film Festival in 2006. The movie caught attention as its background was about the Tiananmen Square Incident. …”
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“WHEN THE HORN THAWED, THE TUNE POURED OUT”: PAVEL LUNGIN ON THE MAKING OF TAXI BLUES / «КОГДА РОЖОК ОТТАЯЛ, ПОЛИЛИСЬ ЗВУКИ МУЗЫКИ…»: ПАВЕЛ ЛУНГИН О СОЗДАНИИ ФИЛЬМА «ТАКСИ-БЛЮЗ»... by Lungin Pavel S. / Лунгин П.С., Trusevich Elizaveta S. / Трусевич Е.С., Klemeshev Pyotr A. / Клемешев П.А.

“…Russian film director Pavel Lungin explores the topic of independent cinema during perestroika, using the example of his debut film Taxi Blues, which received one of the first international awards in post-Soviet Russia—the Best Director Prize and the Special Mention of the Ecumenical Jury at the 1990 Cannes Film Festival. In the interview, the interlocutors discuss the directorial and dramaturgical tools: how symbolism is interpreted in a historical context, how the audiovisual image is constructed, what are the signs of a chronotope — and explore the image of a man at the crash of an era. …”
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