Issue - 10

CPÉÆÖçgï/October 2014

Vol - 5 Pages : 8RNI No. KARBIL/2010/31617 | CPMG/KA/BGS/107/2012-2014REGISTERED :

Suchitra Film

Society Executive

Committee 2014-2016

Suchitra Film

Society Executive

Committee 2014-2016

N ShashidharaPresident

B SureshaVice President

Anand VaradarajSecretary

Anand SabhapathyBS Manohar PV Subramanyian Ganesh Shenoy

Sreenivasamurthy Treasurer

Nikhil BharadwajHarish Mallya

PB MuraliJoint Secretary

What film festivals make possible…

Every little city around the world these days has a film festival that it is known for

conducting. To understand what the idea behind festivals really is, one cannot simply go

by popularly repeated phrases surrounding these events. They do serve as a platform for

cinema, but what kind of cinema? By who? For who?

A month before the Bangalore International Film Festival, a chat with Mr. N.

Vidyashankar, Artistic Director for the festival opens up a new strain of thought on why

film festivals are important.

For those of us who are conditioned to categorise everything as either an investment or

as a mere expenditure, Mr. Vidyashankar’s ideas could well be a breath of fresh air. “I

wouldn’t use the word invest to talk about film festivals,” he says patiently. “It is not

something the Government gets returns on, is it? But it becomes essential as a forum.”

As one takes a look back at the birth of film societies in the world, the purpose of these

fora seem to be to realise the freedom to see what people wanted to see and not what

they were predominantly fed with. “When film festivals were first organised, say in

Venice in 1932 or when it was started in India in 1952, they were a different format of the

same concept that film societies were made of. It was essentially creating a space to

share personal expression, something outside the dominant,” says the Artistic Director

who has written extensively on Cinema. Being associated with film festivals for the last

35 years, his words become an interesting source to build on.

…contd, page 3

Shraddha NV Sharma

Delegate registrations at Suchitra from

Nov 10, 2014 more info: www.biffes.in

Editing Workshop

CFD and Film Factory India

present “Cut it Right!” a

workshop on film and video

editing on Nov 15,16 22 ,23

for more details and

registration, check

www.filmfactoryindia.com

Or call

+91 9845711039

October 2014

2

The World Cup, post-Wall cinema and the re-rebranding of Berlin- Tobias Nagl

As our plane from Copenhagen was approaching the flat Berlin skyline on a sunny afternoon in July, we did not yet know the flight of the victorious German soccer team was scheduled to arrive from Brazil only a few minutes later. Once we had picked up our suitcases with clothes, baby toys and books for our sabbatical and entered the arrival hall of Tegel airport, the signs of athletic – and national – pride could hardly be missed: flags everywhere, children with painted faces, cheering girls in soccer tricots and a few men who already had one too many beers, waiting behind the barriers in eager anticipation of their heroes.

As an expat, I remain notoriously disengaged when it comes to the public display of national rituals. But even sceptics like me had to admit the atmosphere was different from 1990 – the last time Germany had won the Cup.

Fueled by the nationalist euphoria in the wake of the Berlin Wall’s collapse in November 1989, soccer mania quickly turned xenophobic and was suffused by waves of anti-immigrant violence that shook the unified country. Unlike the exclusively West German team of 1990, the 2014 champions, including players of Turkish, African and Polish heritage, represented a m u c h m o r e i n c l u s i v e , d i v e r s e a n d demographically adequate understanding of what it could mean to identify as ‘German’ in the new millennium.

Berlin today is a fascinating palimpsest of different historical layers, political inscriptions and migratory routes, a hotspot of alternative lifestyles and a cultural magnet for hipsters from all over the world. Berlin’s remodelling from a largely de-industrialized island artificially kept alive into a ‘vibrant’ cultural capital and tourist destination began in the early 1990s, when young people lacking funds but rich in creative ideas took over abandoned buildings in Mitte (the old city centre in the former East) and opened up non-profit bars, clubs, record shops, second-hand stores and artist-run galleries – an anarchic atmosphere of lawlessness and possibility comically captured in the 2003 German film Goody-bye Lenin!

The DIY ethos has since given way to condos and overpriced lattés, and many artists have moved to cheaper locations, sometimes sporting a bitterness that their idealism has done nothing but prepared the ground for big money. Whatever one might think about this development, the rebirth of Berlin seems to hold a promise for other cities facing the future shock of an increasingly immaterial economy.

Recently, the Wall Street Journal reported enthusiastically about workshops organized by electronic music impressario Dimitri Hegemann in Detroit, teaching local artists, urban planners and investors how to turn a “ruined city into a cultural hub.”

Berlin remains a place where it is still possible to get by with little money. It only took us a few days to bump into the daughter of a Western professor who, after graduating, moved to Berlin without a job and now works for a film distribution company.

Berlin owns more movie theatres per person than any other German city with 97 theaters frequented by more than 12 million patrons per year; the annual Berlin film festival in February attracts 20,000 film professionals from across the globe.

And Berlin’s film industry also received a boost after the fall of the Wall. Goody-Bye Lenin!, Run Lola Run, Sonnenallee, What to Do in Case of Fire? or The Educators are internationally

successful features that deal with life in the city before or after unification and were filmed on location. Hollywood blockbusters like Inglorious Basterds, Grand Budapest Hotel or The Hunger Games were all shot in Babelsberg, a huge studio lot in operation since 1912 and home to the state-owned, socialist DEFA production company until its privatization in 1992. It is currently Europe’s largest film studio.

If one walks through the streets of the Babelsberg theme park today, one finds only a few remnants of East German film history: a black and white DEFA logo displayed on a trolley card, a poster for the sci-fi movie Silent Star and the reproduction of a fairy tale set.

Already in the early 1990s there was no consensus of how to represent the fall of The Wall in German cinema: While tongue-in-cheek comedies such as Go Trabi Go! celebrated consumerism and the Deutschmark, Christoph Schlingensief with his brilliant The German Chainsaw Massacre turned the new-found auto-mobility and democratic illusions among East Germans into a trash horror fest (tagline: “They came as friends and ended up as sausage!”).

In the new millennium, a variety of media have been used to map the former divide.

Whereas the Walled in! project of the Deutsche Welle mobilizes glossy HDTV animations to help viewers “virtually experience history,” photographer Hayden West, filmmaker Tom Sanda and sound artist Laurence Elliott-Potter for their exhibit Berliner Mauer Dunkelheit (Berlin Wall Darkness) use raw black and white photographs taken along the route of the Berlin Wall at night, mounted on a 6-foot carousel or printed on a canvas roll. The gallery installation intended to mirror scrolling in an internet search, a more subjective and multi-faceted historical archeology.

At the party of an art critic friend, I recently ran into director Christian Petzold, whose upcoming melodrama Phoenix, about a returning concentration camp survivor, is a hotly debated topic. The film is partly inspired by Peter Lorre’s underrated classic The Lost One (1952), and I proudly chip in that I have watched and discussed this strange film noir with Canadian students on numerous occasions in my Berlin to Hollywood course.

Petzold, who closely worked with the late Harun Farocki, one of the greatest losses in German cinema this year, is part of what critics often refer to as the ‘Berlin school,’ a loosely knit network of directors gravitating around the magazine Revolver. Their consciously minimalist, and often radically austere films such as Yella, Bungalow or Passing Summer, have sometimes been read as responses to the scars a decade of neoliberal reforms and austerity politics has left in the Eurozone.

Facing the deserted landscapes with their disengaged travellers that have become a signature of the ‘Berlin school’ directors, we slowly begin to realize not only has the old East vanished and been replaced by nostalgia or amnesia, but something might be missing from our ‘post-ideological’ present, too.

Tobias Nagl is an associate professor of Film Studies. He has also worked as a journalist, newspaper editor, DJ and curator. He lived in Berlin until 2005 and has currently returned to the city for his sabbatical.

A special documentary screening on the fall of the Berlin Wall is organised at Suchitra on Nov 8, 2014 at 6:30 PM

October 2014

3

France: Ending the Cultural Exception

The concept of “Exception Culturelle”

(cultural exception) was a term first

introduced by France during the General

Agreement on Tariffs and Trade negotiations

in 1993. It refers to the fact that cultural

goods and services should not be treated as

regular goods in trade agreements and at the

World Trade Organization. This concept

allows countries to implement indirect trade

barriers, such as quotas for the diffusion of

foreign artistic work or subsidies to the local

cultural sector. If it was initially meant to

protect French culture from the foreign -

mostly English language - content flooding

the market, it is truly outdated and needs to

evolve.

The tensions between a protectionist French

government and the Hollywood film

industry sums up two radically different

views: the U.S. considers arts as an industry

making profits, whereas Europe considers

culture as the product of ideas that extend

beyond strict commercial value. Jack Valenti,

former head of the Motion Picture

Association of America, once said during the

Uruguay round, “Culture is like chewing-

gum, a product like any other.” Contrastingly,

French President Francois Mitterrand once

said, "The mind's creations are no mere

commodities and can't be treated as such."

Moreover, the notion of cultural diversity, a

rich intellectual and artistic debate without

profit-making consideration, is crucial in

Europe.

Some fear the Transatlantic Trade and

Investment partnership (TTIP), a trade

agreement between Europe and the U.S.

currently under negotiations in Brussels,

may threaten the film and arts industry in

Europe. In 2013, France threatened to leave

negotiations if cultural goods were not

excluded from negotiations. 13 European

countries joined her request. For Jose

Manuel Barroso, former President of the

European Commission, cultural exception is

non-negotiable, but still needs to be on the

table. In fact, this demand might not be smart

for France as the U.S. responded by asking to

exclude maritime transports from the

negotiations. The conflict is indeed between

different industries — film and maritime

transports in this case — of the same

country, rather than two different states.

By Sophie des Beauvais

10-Oct-2014: Inauguration of Slovenia Film festival l, (L-R) Mr. Borz Jelovsek, Ms. Darja Bavdaz-Kuret, N Shashidhara and V. Ravichandar Slovenia Ambassador

17-19 Oct-2014: Between the lines Panel Discussion, (L-R) Mr. Vinod Raja, Mr. Prakash Belawadi, Ms Laxmi Murthy (moderator), Mr. KM Chaitanya and Mr. Ashish Rajadhyaksha

What film… (contd from page 1)

When the prevailing content available is mostly Hollywood and regional cinema that receive theatre releases, there has to be a consciously built platform for independent filmmakers who use the medium of film as a tool to present personal expression, both within a culture or across cultures. “A Tamil movie released in a theater in Bengaluru can be quite a different experience from a Tamil movie screened at a festival. And it is important to have access to all kinds,” opines Mr. Vidyashankar. “Bernard Shaw called the medium of film an artistic possibility. We need to find different possibilities and not be restricted,” he adds.

Speaking specifically on the importance of such an event to independent filmmakers in terms of economics, he says matter of factly: “Economics is required but it may not be important. Those are two different things. So, more than networking, visibility is an aspect that helps every filmmaker.”

To different filmmakers, a different dimension is of value. Be it technical, cultural, artistic dimension or that of economics. Mr. Vidyashankar explains that each of these can be used to say something. “And a creative filmmaker is capable of using the technical aspect to influence the other dimensions of his piece of work,” he concludes and says: “This kind of understanding, this kind of viewing, this kind of exercise to the mind is what film festivals make possible.”

October 2014

4

New tech brings cinema to the deaf and blind - Masami Ito

The lights dimmed inside the theater at the Tokyo International Film Festival and the audience quieted down. As Masayuki Suo’s film “Maiko wa Lady (Lady Maiko)” began, the viewers were ready — with glasses-shaped head-mounted displays and earpieces designed to make cinema accessible to the deaf and blind.

The special screening held at TIFF on Oct. 24 was a chance for the audience to experience the future of cinema in a barrier-free environment, so that everyone can enjoy going to the movies.

“There was originally little interest in the film industry to making movies barrier-free, so we decided to tackle this objective ourselves,” said Koji Kawano, secretary-general of nonprofit Media Access Support Center.

“But helping those with disabilities was just the beginning — our goal is a universal design that enables people from various countries (to enjoy movies) when they visit Japan for the 2020 Tokyo Olympic and Paralympic Games.”

At the screening, two different brands of headset were distributed for attendees to test: Seiko Epson’s Moverio and Olympus’ Meg. They both functioned in more or less the same way.

The glasses were connected to a specially modified Android device running an app called UDCast, which can detect the film that’s playing by picking up the audio through the device’s mic and listening for a special inaudible code that can be embedded by the film company in supported films. The app then synchronizes to present descriptive subtitles for the deaf that are fed to the glasses and appear to float over the image on screen, and a descriptive audio track for the blind that can be listened to with headphones. The app is also currently available for iOS, and a consumer Android version is on the way.

Kawano, who used to be a sound engineer for Pioneer, told The Japan Times that making movies compatible with the head-mounted devices involves only one extra step of inserting a special “audio-digital” watermark into the movie. He said that all of the necessary technology has already been developed, and that they were waiting for the movie industry to jump in. You can test the subtitled feature of the app by downloading it and syncing with a sample clip from the 1996 film “E no Naka no Boku no Mura (Village of Dreams)” on YouTube.

At the moment , special barrier-free screenings are held at theaters but they are rare. These screenings feature descriptive subtitles on-screen for the deaf and descriptive audio over a radio earpiece for the blind.

Deaf viewers currently also have the option of watching foreign movies, which are subtitled in Japanese anyway — but that is usually not enough, because subtitles for those with hearing disabilities include not only the dialogue but also descriptions of sound effects and so on.

With this new technology, anyone who buys a head-mounted device will be able to stop by any movie theater at any time. Furthermore, if the subtitles are translated into other languages, foreigners can also enjoy the wide variety of Japanese films at the theater too.

The barrier-free movement, however, still has several obstacles it must overcome before the displays can come to market, including how to clearly differentiate them from camera-equipped head-mounted devices such as Google Glass to avoid suspicion of unauthorized recording.

Kawano and other film-industry insiders said they plan to spend 2015 giving the devices a test run and to establish rules and regulations. The goal is to officially install the system by April 2016, when the law to prohibit discriminatory treatment of disabled people will take effect.

When the audience tried out the glasses at the screening of “Maiko wa Lady,” a woman who was hard of hearing exclaimed with excitement, “I can see (the subtitles) clearly!”

“Maiko wa Lady” is a musical about a young girl who is “bilingual” in two dialects — from Kagoshima and from Tsugaru in Aomori Prefecture — and who moves to Kyoto to become a maiko (apprentice geisha). Like a modern-day version of “My Fair Lady,” the film depicts the young girl struggling to master a completely new dialect, with the help of a peculiar linguistic professor.

With the special headsets, viewers who are hard of hearing were able to follow the subtitles that appeared in front of their eyes for the full 135 minutes.

After the screening, Karin Matsumori, a universal-design adviser who lost her hearing during her teens, told the audience that she became fully immersed in Suo’s movie, being able to read the difference in dialects and the descriptions of the background sounds.

“It was truly a refreshing experience,” Matsumori said. “Reading the subtitles also helped me to reconfirm the presence of sound — the sound of the shamisen, wind chimes, rain or a door slamming.”

Matsumori suggested some areas with room for improvement, including the weight of the glasses — which she said seemed light at first but began to feel heavier after a couple of hours. The floating subtitles were also a bit difficult to follow, she said, as they moved around every time the glasses shifted.

She also suggested that since the movie was a musical, the subtitles could be made to dance around the screen or change sizes, bringing the songs to life visually.

Director Suo, known for his award-winning 1996 film “Shall We Dance?,” also spoke at the screening, expressing enthusiasm for Matsumori’s suggestions.

“I have always wanted to create movies that are not limited to a specific audience,” Suo said. “But to me that meant targeting a broad range of tastes and lifestyles, rather than considering whether the audience could see or hear.

“Thanks to (this barrier-free movement), I have come to realize the true meaning of movies for all. This is a wonderful new system, and we must (improve) the shortcomings and make it succeed.” (source: Japan Times)

October 2014

5

Know Your Cinema : Films Division - Srikanth Srinivasan

What is it?

The official film production house of the Ministry of Information and Broadcasting founded in 1948, which has produced over 8,000 feature and short length documentaries and animation films till date. The infrastructure for the establishment was set up by the British and was handed over to the Indian government upon independence.

What are its films about?

Themes

The original purpose of the Films Division was to enlighten the common folk culturally, inform them about the government’s activities and, in effect, fashion ideal citizens out of them. Cumulatively these films could be seen as helping forge a national identity. Although the early films were entirely reverent of the Nehruvian regime, the works of the 1960s, arguably the richest period for Films Division, evidenced voices of subversion and dissent rebelling against the reductionism and subservience of the establishment. These ambitious, bold films tried to get to the heart of a young nation and capture in spirit the forces that made it throb.

Style

Since its chief aim was propaganda, an array of documentary techniques marked the institution’s early output: explanatory voiceovers with the image reinforcing the spoken words, functional editing and framing styles and a rational narrative structure. Alongside such a pedagogical aim was, nevertheless, a vein of experimentation which attempted to develop a range of cinematic expressions and explore the breadth of film form. The most experimental of these f i lmmakers employed heady camera movements, rapid and dialectical edits, a disharmonic sound palette and, most importantly, reused footage from the Films Division archive.

Why is it of interest?

The Films Division was the most important means after the All India Radio and the sole visual mass medium that the fledgling Indian government had to propagate its vision among the people. Though it was relegated to the sidelines with the foundation of Doordarshan, the best output of Films Division is stark evidence to the remarkable creativity and the

resourcefulness of the directors working within the institution.

Where to discover it?

Pramod Pati’s Explorer (1968) is one of the most explosive of works made at the Films Division in the way it concocts from a vast range of international influences, an enrapturing, polymorphous film that gives form to the various polarities at work in the Indian society and psyche. Science, religion, art and pop culture are all comfortable bedfellows in this super-formalist film.

Source: OUTTAKES, The Hindu (Cinema Plus)

France: Ending the Cultural Exception… (contd)

In Europe, France is the most committed to

the role of the state in its citizen’s life and the

most fervent defender of its language and

culture. But the French model of cultural

exception is not sustainable anymore and

doesn’t serve to protect French culture.

Patrick Messerlin, Director of the “Groupe

d’Economie Mondiale” (GEM) at Sciences Po,

Paris, recently published a working paper

t h a t d e m o n s t ra t e s h o w s u b s i d i e s

s k y r o c k e t e d d u r i n g t h e p a s t 1 5

years—increasing by 50 to more than 100

p e rc e n t s i n c e 2 0 0 0 — wh e re a s t h e

attractiveness of the French culture has been

stagnant (cinema) or even declining (TV

channels and series).

Patrick Messerlin shows this model has two

main flaws. The first one has been in the

center of the French debate for the last two

years—“abundant subsidies are too easy to

misuse and too conducive to rent-snapping

coalitions, making them too hard to monitor

effectively,” he says. The second one is

economic and hardly recognized. “Abundant

subsidies generate powerful incentives to

spend lavishingly, in other words, to increase

costs.” In fact, a parallel can be made with

agricultural policy—both farming and

filmming rely on resources that are difficult

to expand quickly, farm land and actors. In

short, subsidies benefit mostly big farms and

leading actors, while supporting actors and

smaller farms only get the leftovers.

Messerlin concludes that subsidies are part

of the problem and not the solution. It seems

that the cultural exception is now more

about business and money than cultural

preservation. It benefits successful artists,

rather than emerging French talent.

The French long feared that American

companies, like Amazon and Netflix, would

bring chaos to the market. Actually, the

internet-based technology is much more

friendly to French culture than any other.

And it can be an incredible opportunity to

retreat away from subsidies. For Patrick

Messerlin, Netflix, which will undoubtedly

bring changes in the quotas restriction

policy, should be seen as a new platform that

imports, to a greater extent, foreign series in

France, and exports French shows to the rest

of the world.

The first to challenge the French system was

Abel Ferrara, who chose to premiere his film,

“Welcome to New York,” simultaneously on

the web and cinemas in the U.S. and only on

the web in France, since the law forbids

simultaneous releases in cinemas and

online. As a result, the French lost out on the

opportunity to profit from its theatrical

release.

The future of the French cultural exception is

uncertain. On the positive side, the

unexpected success of the Korean film

industry should inspire European leaders.

The Korean government's film policies have

played almost an insignificant role in its

emergence. For economist Jimmyn Parc, the

film industry's success cannot be attributed

to protective policies such as subsidies, tax

rebates, and quotas, but to the role of private

business in the industry. According to him,

pro-competition provisions and market-

oriented policies have been more crucial for

Korean cinema than protective cultural

policies, and he suggests that European

policymakers review their own policies,

which are undoubtedly antiquated and

motivated by false pretenses.

(source: World Policy blog)

October 2014

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Owned, Printed & Published by N Shashidhara (President) Suchitra Film Society; Printed at Suchitra Printers & Publishers;36, 9th Main (B.V. Karanth Road), Banashankari 2nd Stage, Bangalore-560070 Ph: 080-26711785

Editor: Prakash Belawadi, suchitrafilmsociety@gmail.com Posted at GPO Bangalore-560001 on the last day of every month.

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Sun 23 Nov 2014 | 10:30 AM

Kalidasan,a food lover, bachelor, lives with his cook, Krishna. His nephew Naveen comes to stay with him, while looking for a job. Kalidasan’s normal life changes with a mis-dialled phone call from Gowri , a dubbing artiste living with her friend Meghana. Their conversations starts with a fight but a long-distance romance develops thanks to their common interest—cooking and food. The story becomes more interesting when both decide to meet in person, but with an inferiority complex of their physical appearances, they send younger and better looking substitutes instead, Naveen and Meghana.The film will be followed by a discussion with the cast and crew.

OGGARANEDir.: Prakash Raj

2014 | 122 min | Kannada | India

Sat 29 Nov 2014 | 6:30 PMSat 8 Nov 2014 | 6:30 PM

TRAIN TO FREEDOMDir.: Sebastian Dehnhardt,

Matthias Schmidt | 2014 | 90 min |Docu

Composed from exclusive archive footage, re-e n a c t m e n t s a n d i n t e r v i e w s w i t h contemporary eye-witnesses, the directors tell the exceptional story of an exodus happening in front of the world's eyes. The audience accompanies the refugees on their exhausting train-journey through communist East towards the border of West-Germany and into a new life in the western world. Starting from Prague and having to cross the territory of East-Germany and their former homeland again, the refugees are forerunners of a world-shaking event. A couple of weeks later the Berlin Wall crumbles, the Iron Curtain comes down and a new chapter of history begins.

(courtesy: Consulate General of the Federal Republic of Germany)

The film will be followed by a discussion

NEXT GENERATION is an impressiveadvertisement for young talents from whom we can expect a great deal in the future. A list of short from German film school studentsListBOB by Jacob Frey and Harry FastBOULE by Bjoern UllrichCRONOLOGÍA by Rosana CuellarEGODYSTON by Xenia Lesniewski GELIEBTE by Ingo J. BiermannHINTERHOF by Ana-Felicia ScutelnicuICH BIN’S. HELMUT by Nicolas SteinerKLEINE BROETCHEN by Marcus ZilzOH WEHE MIR by Sermin KaynakOHNE ATEM by Fabio StollPARADISE LATER by Ascan BreuerVON HAUS ZU HAUS by Friederike Guessefeld

NEXT GenerationShort Films

(Source: German Films)

October 2014

IFFI Indian Panorama dominated by Marathi, Malayalam films

- PTIA number of Marathi and Malayalam films, including this year's national award winning 'Yellow' and 'North 24 Kaatham', are leading the Indian Panorama section at this year's International Film Festival of India (IFFI).

Scheduled to take place in Goa from next month, the list of regional films at the Indian Panorama section boasts an interesting mix of movies from Malayalam film industry, including Abrid Shine's cricket biopic '1983', romantic thriller 'Njan Steve Lopez', blockbuster 'Drishyam' among others.

For the first time Marathi cinema is giving a stiff competition to its Southern counterpart with an eclectic mix of films ranging from biopic 'Dr Prakash Baba Amte-The Real Hero' on the life and work of Prakash Amte and his wife Manda, corruption drama 'A Rainy Day' and children's tale 'Kila' to critically accalimed 'Yellow'.

Paresh Mokashi's second Marathi outing 'Elizabeth Ekadashi' has been chosen as the opening film of the 10-day long filming extravaganza. His much-acclaimed debut 'Harishchandrachi Factory' was India's official entry to 2009 Oscars in best foreign language film category.

The jury, which is headed by renowned filmmaker from Odisha A K Bir, also includes five Bengali and two Hindi films besides one film each in Assamese, Kannada, Khasi, Odia and Tamil.

OBITUTARY

Sadashiv Amrapurkar(1950-2014)

Films are subject to change or cancellation without prior noticeFilm screenings are for members of Suchitra.Screenings @ Suchitra