Submited DocuTIFF 2017 » SUBMISSIONS DOCUTIFF 2017 TIFF web 350 films 117 shorts 82 mid-length + 152 feature) FilmFreeWay 2061 films 1333 shorts 351 mid-length + 377 feature) Festhome 206 films 111 shorts 35 mid-length + 60 feature) FilmFestivalLife 92 films 51 shorts 17 mid-length + 24 feature) Click4Festivals 110 films 56 shorts 24 mid-length + 30 feature) Movibeta 89 films 51 shorts 17 mid-length + 21 feature) Distributor 80 films 22 shorts 8 mid-length + 49 feature) _____... SPECIAL PROGRAM » SPECIAL PROGRAM 3rd edition DocuTIFF 2017   PANORAMA 1. André Villers, a Lifetime in Images by Marketa Tomanova | 2015 | Czech Republic, France | 62' 2. Born of Stone by Emilio Bellu | 2016 | Italy, Czech Republic | 15' 3. Cab Elvis by Andrew Franks | 2016 | USA | 11' 4. Korida by Siniša Vidović | 2016 | Austria | 87' 5. Offshore by Werner Schweizer | 2016 | Switzerland | 102' 6. Operation Wedding by Anat Zalmanson-Kuznetsov | 2016 | Israel | 62' 7. The Most Important Boy in the Wor... OFFICIAL SELECTION DocuTIFF 2017 » OFFICIAL SELECTION 3rd edition DocuTIFF 2017     FEATURE 1. Next Stop-Utopia by Apostolos Karakasis | 2016 | Greece | 91' 2. Pavlensky – Man and Might by Irene Langemann | 2016 | Germany | 99' 3. Radio Kobani by Reber Dosky | 2016 | Netherlands | 72' 4. Shingal, Where Are You? by Angelos Rallis | 2016 | Greece, Belgium | 103' 5. Stranger in Paradise by Guido Hendrikx | 2016 | Netherlands | 72' 6. Swagger by Olivier Babinet | 2016 | France | 85' 7. Tempestad by Tatiana Huezo | 2016 |... FESTIVAL RULES & REGULATIONS DocuTIFF 2017 » Entries of documentary films are invited to take part in competition in all formats of video and digital. All running times, topics, style and production technologies can be submitted. The director/producer with the submission of his/her application accepts the terms of the Festival and has no objection to the submission process, screening, and election of prizes. The director/producer with the submission of the film affirms that he/she has all the copyrights of audio, video, images and music ... DocuTIFF 2017 » 3rd edition DocuTIFF 2017 TIRANA INTERNATIONAL DOCUMENTARY FILM FESTIVAL DocuTIFF is exited inviting filmmakers to submit their films in the third edition of 2017 festival, which will take place in Tirana, May, 10-17, 2017. DocuTIFF invites all documentaries from established and debut filmmakers alike to apply their feature, mid length and short films in International Competition and In Albanian Competition. DocuTIFF aims to encouraging documentary film production in Albania and to give... Awards Docutiff »   FEATURE JURY composed by Rada Šešic (Croatia), Agostino Ferrente (Italy) and Nikola Vukcevic (Montenegro) awards:   BEST FEATURE FILM Tempestad by Tatiana Huezo | 2016 | Mexico | 105'   The director who takes the audience on a contemplative and cinematically superb, poetic journey of exploring fear, corruption, social injustice and above all - the human strength to deal with and overcome misfortune of someone's destiny.   Regjisori, i cili e çon audiencën në një udhëtim kinematogr...
Sunday, 24 September 2017

John Cassavetes

"American Dreaming"

curate by Ray Carney

Titles Of Films

The Killing of a Chinese Bookie
A Woman Under the Influence

In the spring of 1960, John Cassavetes was a young actor who had played a series of undistinguished roles in a string of low-budget B-movies and television shows. Six months later, he was being hailed as one of the most promising directors in the world. In July, his first film, Shadows, played to standing-room-only audiences at the National Film Theatre’s "Beat, Square and Cool Festival." In August, it played out of competition at the Venice Film Festival and received a special critics’ citation. In September, it played at a special screening at the Cinémathèque Française in Paris, where approximately a thousand people were turned away from the box office. In early October, it played in the London Film Festival, to rave reviews and a sustained ovation from the audience. And a week later, on 14 October, it opened at London’s Academy Cinema, playing to capacity crowds and taking in more money than any film in the theatre’s twenty-five year history.
Cassavetes attended the opening with members of the cast and crew, and was over the moon with delight. His 16mm movie, made for $40,000 with unknown actors (none of whom had ever played an important film role before) was hailed by one critic as "a major breakthrough in the art of the cinema." Another wrote: "I unhesitatingly pronounce Shadows the most artistically satisfying and exciting film I have seen in a decade." Newspapers from The Times and Observer to the Daily Mirror and Daily Express ran laudatory reviews, and the most important film magazine of the era, Sight and Sound, devoted sections of three successive issues (autumn 1960, winter 1960–1, and spring 1961) to discussions of the film and an interview with the film-maker.
What most captivated the critics was the spontaneity and speed with which the movie had been made. Shadows itself ended with the declaration: "The film you have just seen was an improvisation," and the press pack proudly proclaimed: "Not one word of [the] dialogue was written. Not one scene was detailed in script." It described how the crew had "grabbed" most of the footage on New York streets: "They concealed their camera in subway entrances, restaurant windows, the backs of trucks." When interviewers asked Cassavetes to tell them more, he not only bragged that the whole project had been accomplished in forty-two days and nights, but said that it could have been done even more quickly if he had not occasionally had to suspend work while his young actors went off to appear in other projects to earn money. He told them the sound was a little rough because it was completely "live" — unlike a typical studio production, nothing had been looped or "faked." Then he regaled them with stories like the one about how the police had tried to shut down the "outlaw" production — at one point firing a gun over the actors’ heads to stop a scene.
What no one suspected was that it was a pack of lies. Most of Shadows was not shot on "location" or on the streets of New York, but on a stage. No policeman had ever fired a gun at the actors — or over their heads. More than half of the sound was not "live," but had been dubbed, looped or otherwise manipulated during the editing process. And, far from being a six-weeks’ wonder, Shadows had taken almost three years to make. Finally, notwithstanding the final title card, at least two-thirds of the film was not an improvisation, but was written by Cassavetes in collaboration with a professional Hollywood screenwriter. Every one of the scenes the critics praised in his "masterpiece of improvisation" had been scripted.


RAY CARNEY received his A.B. from Harvard magna cum laude and his Ph.D. from Rutgers (where his dissertation -- on William Wordsworth's process of poetic composition in The Prelude, The Ruined Cottage, and The Lyrical Ballads -- was supervised by William Keach and read by Richard Poirier and Thomas Edwards) passing his oral examination (conducted by Richard Poirier, Paul Fussell, and David Kalstone) "With Distinction." He also did separate periods of study with Philip Kapleau in Rochester, New York and Walter Nowick in Surrey, Maine. He has been an Assistant Professor of English in the English Department of Middlebury College (teaching English and American literature), William Rice Kimball Fellow at the Stanford University Humanities Center (working on a project on performance art and the intellectual background of the stand-up comedy routines of Lenny Bruce, Jonathan Winters, and Richard Pryor among other figures), and Associate Professor in the Humanities Program of the University of Texas (teaching interdisciplinary American studies, focusing on the relationship of nineteenth- and twentieth-century American art and philosophy).

Courtesy by www.Cassavetes.com


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