The winner of the 2017 Prix Joris Ivens/Joris Ivens Award at the International Documentary Film Festival Cinéma du reel in Centre Pompidou, Paris, is young Syrian filmmaker Yaser Kassab with his second film On the Edge of Life / Ala hafet al-Hayat (45’). The award for debute films is granted with 7.500 euros by Marceline Loridan-Ivens, Les Amis du Cinéma du reel and CNAP, The National center for Viusla Arts (Cnap).
On 28 March the Award Ceremony of The Society of Cinema and Media Studies, the world's largest organisation devoted to the scholarly study of film and media, paid tribute to the best film scholarship of the previous year. Prof. Thomas Waugh received the best book award for his outstanding book about the complete film oeuvre of Joris Ivens. Maryse Elliott (Amsterdam University Press) and Giovanna Fossati (EYE Filmmuseum Amsterdam), editors of the Framing Film series, attended the presentation.
After last years agreement between the Vietnamese Film Instituut and the European Foundation Joris Ivens to establish an active partnership director André Stufkens visited Vietnam on the invitation of director Vũ Nguyên Hùng. The purpose of the successful visit was to make concrete appointments further developing this collaboration of exchange of knowledge and expertise.
On March 28th, during the 2017 annual meeting of The Society for Cinema and Media Studies (SCMS), the Katherine Singer Kovács Book Award for outstanding scholarship in cinema and media studies will be presented to prof. Thomas Waugh for his magisterial The Conscience of Cinema. The Works of Joris Ivens, 1912-1989. It is thé ultimate peer review recognition of the intellectual quality and vibrance of this first book about the complete film oeuvre of Joris Ivens.
Mark Hamlyn made a new composition for The Billi Brass Quintet for Ivens' 'the Bridge'. It is part of the Billi Brass' Silent Films Project.
In the series 'Stationen der Filmgeschichte' (Stations of Film History) the Filmmuseum Düsseldorf presents films of 100 Master film directors who influenced film history. Stations are sites of arrivals, departures, crossings and switches, similar to icons of film history: the selected film directors paved the way of new directions, cross overs and switches in filmmaking. On 3 January the Filmmuseum presents three films of Joris Ivens: Lied der Ströme (1954, Song of the Rivers), ...à Valparaiso (1963) and Regen (19 ...
‘A new Ivens’, this is how German film historian Günter Jordan describes the documentary The Compass Rose (Die Wndrose, 1957). With an outstanding cast, like Simone Signoret, Yves Montand, Helene Weigel, with outstanding directors like Alberto Cavalcanti, Yannick Bellon and Gilio Pontecorvo, this five-episode omnibus film presented a new style and format in documentary film. It was shown during the International Documentary Festival DOKS Leipzig celebrating its 70th anniversary on 3 November.
During the UBUD Writers festival on Bali the 'Black Armada/Hitam Armada' exhibition was presented at the Agung Rai Museum of Art. Dr. Helena Studdert, consul-general of Australia on Bali, attended the opening event. This travelling exhibition, with the permanent screening of Ivens' Indonesia Calling, made by the National Maritime Museum of Australia on the initiative of Mr. Anthony Liem was already shown in Sydney and Yogyakarta. It will be shown at the end of November at the Margarana National Park to commemorate the ...
On Friday prof. Thomas Waugh (Concordia University, Montreal) presented his monumental 'The Conscience of Cinema. The Works of Joris Ivens 1912-1989' in EYE Amsterdam. Together with Amsterdam University Press and the European Foundation Joris Ivens, EYE organized an expertmeeting, two filmscreenings of six Ivensfilms and a live music performance accompanying Rain (Regen, 1929, Ivens/Franken). This marked the launch of a book that for the first time surveys all the films of Ivens, with a description, analysis and ...
At the occasion of the launch of Thomas Waugh's masterly book The Conscience of Cinema. The Works of Joris Ivens 1926-1989, a special Joris Ivens Seminar will organized in EYE Study on 21 October 2016. Paul Kusters, president of the Ivens Foundation, will be the moderator of the day with lectures and debates focussing on 'Ivens & The Netherlands'. The programme also includes the screening of Indonesia Calling!, New Earth, The Bridge, Rotterdam-Europoort and a Q&A.
The 13th Ubud Writers & Readers Festival is Southeast Asia’s leading festival of words and ideas. The Festival celebrates extraordinary stories, amplifies brave voices, and tackles global issues through the lens of literature and the arts. On 30 October Ivens’ Indonesia Calling! will be shown with a Q&A of Agung Rai, Anthony and Helen Liem and other guests from the Australian National Maritime Museum.
With the bulky book 'Saviour of the Tenth Muse. Jan de Vaal and the Netherlands Filmmuseum, 1946-1987' the European Foundation Joris Ivens is presenting the treasures of the national film archive of the Netherlands, as collected, presented and preserved by Jan de Vaal (1922-2001). Until now only sporadically has been published about the pioneering activities by its first director. He started in 1946 without anything, no film, no money, no housing, nog experience and no personnel. After 40 years he left the film museum with 1 ...
The director of the Vietnames Film Institute gave a precious present to the Ivens Foundation, when both FIAF-institutions met in Nijmegen on Thursday 30th of June. Mr. Dao Quoc Hung (on the photo: second from the left side) handed over the found footage of Ivens' visits to Vietnam when Ivens started filmmaking durign the war against the US in 1965. Most of the footage concerns outtakes of Le ciel, la terre (1966) and various meetings in North-Vietnam. Next year the Vitenames Film Institute will commemorate the 50th anni ...
The Sächsische Staatskapelle in Dresden will performing a live concert with film screening of Rain (Regen, Ivens-Franken 1929) during the 7th Shostakovich-Days. The Final concert programs Ludwig von Beethoven, Dmitri Shostakovich, Paul Dessau and Hanns Eislers Fourteen Ways to Describe Rain (1941) with the film.
Still from Loin de Vietnam / Far from Vietnam (1967)
Film Society of Lincoln Center in New York has announced the line up for 'Cinema of Resistance', a special series dedicated to films that are political in both subject and execution. Among others two films of Joris Ivens and Marceline Loridan-Ivens are included. One of the Highlights of this series is the North American premiere theatrical run of a new restoration of the revolutionary omnibus film Far From Vietnam (Joris Ivens, William Klein, Claude Lelouch, Agnès Varda, Jean-Luc Godard, Chris Marker, Alain Resnais, 1967)
“There are many different kinds of films that could be described as political. But this series—inspired by the new omnibus film Far From Afghanistanand the new restoration of the 1967 classic that inspired it, Far From Vietnam—calls attention to movies that are political in both content and practice,” says Director of Cinematheque Programming Dennis Lim. “These are the works of filmmakers who believe in cinema as an instrument of struggle and change. In many cases, they also remind us that radical politics goes hand in hand with radical art.”
The poetic documentary of Joris Ivens, about the port Valparaiso in Chile, celebrated its 50th anniversary. They celibate this with the screening of two Joris Ivens films and a film of Chris Marker.
Eva Olthof, an artist from Rotterdam in the Netherlands, is an ‘artist in residence’ for three months in Valparaiso and she works on an artproject, influenced by Ivens and Marker. Valparaiso is on the UNESCO World Heritage List since 2001.
The film has been made by Ivens after an invitation of Salvador Allende. The film became a filmproject for the students of the university of Santiago de Chile. With an intuitive filmstyle, Ivens created a sociological view on the hard life at and against the hills.
The screening of …à Valparaiso took place at the 16th of May with this title:
At the 13th of April, the Rijksmuseum in Amsterdam will open again. The redesigning of the museum is already much praised. In the room of the twenties, ‘Philips radio’ of Joris Ivens will be shown permanently as an icon for modernism. Besides the paintings of Piet Mondriaan, the chairs of Gerrit Rietveld, the photographs of Man Ray and a real airplane of Frits Koolhoven, the pictures of ‘Philips Radio’ -the first sound film in the Netherlands- reveals how the country changed in a modern industrial society.
The Rijksmuseum has always been a national treasure house, which is showing art and history as one unit. That kind of presentation choked with the art pieces of the beginning of the 20th century. Because of new purchases and borrowings of the Rijksmuseum, it became possible to make a completely new setup about the 20th century. New forms of art, like photography, film and design are now just important as older art forms. Harm Stevens, curator of the 20th century exhibition: “We show films like autonomous art. So no abridgements but integral”. The decoration is sober and modest. There are no digital adornments. “The art and the materials have to tell the story. The artistic and historical standard is defined by the rest of the museum and this is very high. We choose iconic pictures and classics”.
Filmstill from I by Dieudo Hamadi, 2013
How can somebody become a filmmaker in a country without cinema? Saturday 31 March the young Congelese filmmaker Dieudo Hamadi received for his film Atalaku the Joris Ivens Award at the 35th Cinéma du réel Filmfestival in Centre Pompidou, Paris. The Joris Ivens Award is ment for debute or second films. Hamadi made his film in Kinshasa, a city of nine million inhabitants however without cinema. He filmed the presidential campaign in 2011, which was only the second free election since the Democratic Republic of the Congo gained independence in 1960. Gaylor, a penniless (like most of Kinshasa’s nine million inhabitants) pastor turns into an atalaku, which means a “crier” in Lingala. He makes a deal with the political candidate who has offered him the highest price for his services: ensuring the campaign’s street publicity and finding musicians to write the campaign’s song.
See for an interview with Diedo Hamadi: www.telerama.fr/cinema/dieudo-hamadi-realisateur-congolais-le-documentaire-est-la-forme-la-plus-compatible-avec-mon-environnement,95386.php
See for the website of Cinéma du réel: www.cinemadureel.org/en/
Since 1978, the international documentary film festival Cinéma du réel has been an outstanding international meeting point, where the public and professionals discover the current state of art of documentary films. The festival programs some two hundred films for its various sections, screened at the Centre Pompidou and other venues. One of the international film competitions is the First Film Competition for the Joris Ivens Award. The selected films and filmmakers of this Joris Ivens Award 2013 are:
31st Haul by Denis Klebleev (Russia)
Atalaku by Hamadi Dieudo (France, Démocratic Republic of Congo)
Fiebres by Adrien Lecouturier (France)
Mirror of the Bride by Yuki Kawamura (Japan, France)
Rain by Gerard-Jan Claes, Olivia Rochette (Belgium, France)
Tchoupitoulas by Bill & Turner Ross (USA)
Terra de Ninguém (No Man’s Land) by Salomé Lamas (Portugal)
La Tierra Quieta (Still Land) by Ruben Margallo (Spain)
The festival will take place from March 21st till the 31st. The winners will be announced on Saturday March 30. The Joris Ivens Award is supported by Marceline Loridan-Ivens, the European Foundation Joris Ivens and the Association of Friends of Cinéma du réel.
Maria Bonsanti, former co-director of the Festival dei Popoli in Florence succeeds Javier Packer-Comyn called, after 4 years at the artistic direction of the festival, to other responsibilities in Brussels.
At the 17th of March, the Austrian Filmmuseum will be showing a film program about commercial films of avant-garde artists like Hans Richter, Joris Ivens and Johann Lurf.
A lot of avant-garde artists worked both for non-commercial customers, like labour unions and idealistic groups, and for commercial customers at the same time. Moreover, a lot of innovations of the avant-gardist design and distribution established after it was commissioned by companies. Philips Radio (1931) is a good example of that: It is the first film with sound and the storytelling and the visual style of the film were both avant-garde. Ivens did this in all his commercial films: He always created and achieved a lot of freedom in his commercial films and because of that, these films were rather experimental and personal than suitable for advertisement. Read the the program: http://www.filmmuseum.at/jart/prj3/filmmuseum/main.jart?rel=en&reserve-mode=active&content-id=1219068743267&seldate=2013-03-17&curdate=2013-03-17
The opening day of the conference MAV 2012, will be about Joris Ivens. Several experts will speak about the film ‘L’Italia non è un paese povero’ of Ivens (1959).
At the the 15th, 16th and 17th of November, the conference MAV “materiali di antropologia visiva” (materials concerning visual anthropology) will be held. This is organized by the National Museum of popular art and traditions and the University of Roma ‘Sapienza’. Among the many experts and filmmakers they expect Daniele Vicari, Paolo Taviani, Virgilio Tosi, StefanoMissio and a few former representatives of the ENI (Ente Nazionale Idrocarburi), the employer of the film at that time.
The tripartite television-documentary about the winning of gas and oil in Italy ‘L’Italia non è un paese povero’ is still in the full interest of Italy.
During a retrospective of the Taviani Brothers in the Cineteca Nazionale in Rome, the film L’italia non e’un paese povero will be screened. The Taviani Brothers were the assistants of Ivens during the making of this film. They consider Joris Ivens as their ‘teacher’ en admired him very much.
The Taviani brothers were approached by Ivens in 1960 and he asked them to be his assistants during the making of a film of three separate parts, about the extraction of gas and oil in Italy. They already had made some documentaries before, but they were still at the beginning of their film career. The third part of L’italia non e’un paese povero was eventually almost made by the Taviani brothers themselves because Ivens already started on the editing of the first two parts. Here they showed already a specific and personal style, that differs from the parts that Ivens made. Ivens saw the pictures of the Taviani brothers and afterwards he recommended them to make fiction films instead of documentaries. That is what they did and they became well known fiction filmmakers. The film L’italia non e’un paese povero was eventually censored by the Italian television (RAI) because there was too much poverty in it.
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