[artinfo] Newsletter No. 4 (fwd)

C3 Information info@c3.hu
Mon, 25 Mar 2002 15:20:37 +0100

---------- Forwarded message ----------
Date: Fri, 22 Mar 2002 19:20:14 +0100
From: Iris Pfleging <pfleging@kurzfilmtage.de>
Reply-To: editor@shortfilm.de
To: magazin-i@bonsai.kurzfilmtage.de
Subject: Newsletter No. 4



Dear Readers!

In addition to the latest news and links to our updated information pages,
this edition of the short film magazine is focusing on film in the art
scene. Responses to this topic and the, hopefully, provocative theses we
offer are particularly welcome this time, because we are planning to
publish some statements and discuss different points of view - including
yours, perhaps - in the next edition.

In the meantime, we hope you enjoy reading this edition.

Reinhard W. Wolf



Film Between Black Box and White Cube

Today there is a growing tendency for film and media artists to exhibit
their works in the context of museums and galleries, thus turning away from
the cinema and focusing their attention on the art market. Especially
affected by these changes =96 because of its affinity with art =96 is the s=
film genre.

The retreat of these artists from the classical cinema environment is
taking place at a time when art cinemas are dwindling, meaning there are
fewer and fewer venues able to present the artists' work on screen.

Public film funding institutions increasingly focus on commercial criteria,
often neglecting the promotion of film as art, both with regard to
production requirements and screening opportunities. One hardly dare speak
of film art in this context, this term having long since been devalued as a
catchall for film material deemed 'culturally highbrow'.

Arts institutions by contrast are extremely receptive to the moving image
and welcome artists working in audio-visual media with open arms. At the
same time, the distance between film artists and established institutions
of the arts is closing rapidly. During the 60's and 70's, avant-garde
filmmakers working outside of the institution of bourgeois cinema, while
also spurning the bourgeois art world, readily chimed in with critics of
the institutionalisation of art (the art market, museums, etc.). In the
meantime, however, these institutions themselves have taken up this
'institutional critique', incorporating it into their own philosophy and
moulding it to shape their own legitimation, thereby draining it of its
power. Moreover, the critical dynamics of this issue have since been
defused and have more or less segued into a discussion on 'site
specificity'. This in turn does not affect the art market as long as an
artwork is in a form that can be packaged and sold. Where and when which
film can or may be screened is not the principal question today =96 it's no=
only a question of context.

The ones with the most to lose in this conflict are precisely those cinemas
and film festivals who design their programmes with the highest artistic
ideals in mind and who take the theme of film as art seriously.

for the whole story see:


Another Oscar Nomination for a German Short Film || February 2002

On the 12th of February the short film "Gregors gr=F6=DFte Erfindung" by
Johannes Kiefer was nominated by the Academy of Motion Pictures Arts and
Sciences for this year=92s Academy Award as one of five films in the catego=
"Best live action short film".
"Gregors gr=F6=DFte Erfindung" ("Gregor=92s Greatest Invention") is a poeti=
comedy about a young man who tries to help his grandmother, who can no
longer walk, to avoid landing in a nursing home, by inventing a kind of
flying machine for her to get around in.
The filmmaker, who is originally from Munich and now lives in Berlin,
produced the 11-minute film by himself with funding from the
Berlin-Brandenburg Film Foundation. "Gregors gr=F6=DFte Erfindung" was invi=
to participate in several festivals, especially in the USA, fulfilling the
chief requirement for the Oscar=AE competition by winning first prize at th=
International Short Film Festival 2001 in Los Angeles.
This nomination demonstrates once again that German film is represented
most successfully on the international level by the short film genre.

More News:
=96 "The Short List" =96 A PBS Showcase for Short Film
=96 Bitfilm Announces Expansion
=96 Interview with John Maybury
=96 13TH STREET Produces "Urban Myth Chillers"
=96 Impakt Festival 2001 Highlights on Tour
=96 Short Films by Roy Andersson and Lukas Moodysson on Tour
=96 Independent Days on Tour
=96 Kurzfilm in Spanien - Bilanz der Produktionsf=F6rderung

Further information:


=96 Trashfilm-Award =96 Senseless Short Films for Nonsense Lovers
=96 The Spirit of America
=96 Times Square Open Air Shorts
=96 99 Euros
=96 120,000 Euros
=96 Wallace and Gromit Go Online
=96 MoMA =96 The First Decade: Video from the EAI Archives
=96 "private affairs" =96 A Contemporary Video Exhibition in Dresden
=96 "Manual" by Christoph Girardet and Matthias M=FCller tours the UK
=96 Kurzfilme im Fernsehen

Further information:


Tampere Film Festival || 10.03.2002
Grand Prix (5,000 Euros): "The Invasion" by Phil Mulloy (GB)
Best Documentary (1,500 Euros): "Lehrfilm =FCber die Rekonstruktion von
Stasiakten" by Anke Limprecht (D)
Principal Prize (1,500 Euros): "Meska Sprawa" by Slawomir Fabicki (PL)
Special Prize of the Jury (1,500 Euros): "Close up on Bintou" by Fanta
R=E9gina Nacro (Burkina Faso/F)
Prix UIP Tampere (2,000 Euros): "Kuvastin" by Tatu Pohjavirta (SF)
Diplomas of Merit from the International Jury: "To Foustani" (Monica
Vaxevani, Greece 2001), "Copy Shop" (Virgil Widrich, Austria 2001) and
"Heart of the World" (Guy Maddin, Canada 2001), "Hock Hiap Leong" (Royston
Tan, Singapore 2001), "Muno" (Bouli Lanners, Belgium 2001).
International Jury members were: Aryo Danusiri, Tiina Erkintalo, Gareth
Evans, Jay Rosenblatt & Bec Smith.

National Competition =96 A Series (films under 30 minutes)
Main Prize (5,000 Euros): "El=E4k=F6=F6n Markkinatalous!" by Christian Lind=
Special Prize (1,000 Euros): "Taivasmatka" by Janne Heinonen
Diplomas of Merit: "Telakka" by Tuukka Hari, "Kuvastin" by Tatu Pohjavirta.
National Competition =96 B Series (films over 30 minutes)
Main Prize (5,000 Euros): "Family Files" by Mari Soppela
Special Prize (1,000 Euros): "Blatnoi Mir" by Jouni Hiltunen
Jameson Short Film Award (6,000 Euros): "El=E4k=F6=F6n Markkinatalous!" by
Christian Lindblad
Resurssipalkinto (3,400 Euros): "Sirkka" by Jarkko T. Laine (camera)
National Jury members were: Marja Pensala, Jaak L=F6hmus & Yrj=F6 Pulkkinen

The Risto Jarva Prize (10,000 Euros): "Turon Baari/Turo's Bar" by Janne Kuu=

First Micromovies Competiton (10,000 Euros): "Lie Detector" by Paul Bush (G=
Diplomas of Merit: "Nimeni on Hirvi, James Hirvi" by Harri Kassinen,
"Pyonggyang Robogirl" by Hokkanen & Ruippo.
Micromovies Jury members were: Erkki Huhtamo, Jonathan Wells, Phil Mulloy &
Heli Rantavuo

More Awards and Honours:
=96 C=E9sar du meilleur court-m=E9trage
=96 Oscar=AE Nominations
=96 Short Film Awards at the Berlin International Film Festival
=96 Awards at transmediale.02
=96 Awards at Festival du court m=E9trage Clermont-Ferrand
=96 Short Film Awards at the G=F6teborg Film Festival
=96 Short Film Award Winners of the Max Oph=FCls Preis 2002
=96 Swiss Film Award 2002
=96 German Film Critics=92 Awards 2002
=96 Short Film Awards at the Sundance Film Festival
=96 Short Film Awards at the Slamdance Film Festival
=96 Short Film Awards at the International Film Festival Frankfurt
=96 Awards at the 16th Festival du Film Court de Brest
=96 Awards at Cineanima, Espinho

Further information:


Festivals in Germany
International Festivals

Further information

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