Hor aleksandrov i emir kusturica biography
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The Cannes Files: (some para-text to Cannes 2005): Cannes International Film Festival
Issue 36
May 11–22, 2005
Front cover: disclaimer?
I returned from Cannes with my mind full of images, reflections and discussions about the 48 films from the various official and non-official selections (1) I saw. But rather than delving deep into aesthetic or thematic dissections of each of them, an overwhelming task that exceeds the space allotted for this report and my own personal recollections, due to the mere diversity and magnitude of film authorships and proveniences at stake here, I would like to instead indulge in the presentation and discussion of certain seemingly peripheral (sometimes parasitical) aspects of the fest-goer’s experience of Cannes International Film Festival. These experiences undeniably contribute to the way films can be perceived by (some) people who attend Cannes. To qualify, by “people” I mean those who are committed to seeing the films (i.e. film cr
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Cinema of Europe
Cinema of Europe refers to the spelfilm industries and films produced in the continent of Europe. The history of Italian cinema began a few months after the French Lumière brothers, who made the first public screening of a bio on 28 December 1895, an event considered the birth of cinema, began motion picture exhibitions.[2][3] The history of cinema in Germany can be traced back to the years of the medium's birth. Ottomar Anschütz held the first showing of life sized pictures in motion on 25 November 1894 at the Postfuhramt in Berlin.[4][5] On 1 November 1895, högsta Skladanowsky and his brother Emil demonstrated their self-invented film projector, the Bioscop, at the Wintergartenmusic entré in Berlin. A 15-minute series of eight short films were shown – the first screening of films to a paying audience.[6]The first Italian director is considered to be Vittorio Calcina, a collaborator of the Lumière Brothers, who spelfilm
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Cinema europeu
Els europeus van ser els pioners de la indústria de la fotografia del moviment, amb diversos enginyers innovadors i artistes que van impactar significativament, especialment a finals del segle xix. Louis Le Prince es va fer famós per la seva famosa Roundhay Garden Scene l'any 1888, la primera pel·lícula enregistrada en cel·luloide.
Els germans Skladanowsky de Berlín van utilitzar el seu "Bioscop" per sorprendre el públic del teatre Wintergarten amb el primer espectacle cinematogràfic de l'1 al 31 de novembre de 1895. Els germans Lumière van establir el cinematògraf; que va iniciar l'era del cinema mut, un període en què el cinema europeu va tenir un gran èxit comercial. Va romandre així fins a l'hostil Segona Guerra Mundial.[1] Aquests descobriments notables proporcionen una visió del poder del cinema europeu primerenc i de la seva influència en el cinema actual.
Entre els primers moviments cinematogràfics europeus notables s'inclouen l'express