We are happy to launch our new Film Newsletter which will keep everyone up to date with our activities. Continue reading “Film Newsletter – Summer 2014”
As well as enjoying the atmospheric surrounding of the Old College, festival-goers are encouraged to bring a picnic and watch classic films under the stars on the quad lawn.
All screenings will be preceded by short films made by students from the Edinburgh College of Art. Film in the Old College Quad is presented by the University in association with the Edinburgh International Film Festival and is produced by Unique Events.
The screenings will take place Sunday 17 August – Saturday 23 August.
Tickets cost £5 per film (family matinees are free) and can be booked via the Edinburgh Festival Fringe website.
More screenings will be announced soon. Follow these Facebook and Twitter pages for updates:
Sunday 17 August 2014, 12.15pm – 1.45pm
Sunday 17 August 2014, 7pm – 8.50pm
Monday 18 August 2014, 7pm – 8.25pm
Wednesday 20 August 2014, 7pm – 8.40pm
The Big Lebowski
Wednesday 20 August 2014, 9.15pm – 11.15pm
Thursday 21 August 2014, 7pm – 8.30pm
Thursday 21 August 2014, 9pm – 10.35pm
The Breakfast Club
Friday 22 August 2014, 7pm – 8.40pm
Friday 22 August 2014, 9.15pm – 11pm
How To Train Your Dragon
Saturday 23 August 2014, 12.15pm – 1.55pm
Saturday 23 August 2014, 7pm – 8.50pm
Saturday 23 August 2014, 9.20pm – 11.40pm
Sun 8 June 2014, 12:00 – 13:00
The Edinburgh Film Guild Cinema, Film House, 88 Lothian Rd, Edinburgh
To mark the invitation of Edgar Reitz’ “Home From Home — Chronicle of a Vision” at the 2014 Edinburgh International Film Festival and in conjunction with the intensive screening of Edgar Reitz’ 1984 “Heimat – A German Chronicle, by Edgar Reitz” at Edinburgh Film Guild, we invite you to a lecture by Dr Dora Osborne (University of Edinburgh).
In 1984, Edgar Reitz released the first part of his film epic Heimat to great acclaim. 30 years later, Reitz is back with his latest instalment, ‘Home From Home — Chronicle of a Vision’.
In her lecture, Dora Osborne will look back at Reitz’s iconic work, focusing in particular on the role of ‘Heimat’, that uniquely German notion of homeland and belonging.
How does Reitz’ refashioning of ‘Heimat’ challenge a tradition so burdened by its own history? Why has his vision of ‘Heimat’ found so much resonance both with and beyond its original German audience? And what can we expect from Reitz’s most recent return to the concept?
About the speaker:
Dr Dora Osborne is Leverhulme Early Career Fellow in German at the University of Edinburgh. Her research looks at questions of memory, trauma and the archive in recent German literature and visual culture. She has published on W. G. Sebald, Christoph Ransmayr, Durs Grünbein, Michael Hamburger and Anselm Kiefer.
Dora studied German at the University of Cambridge and was awarded her PhD in 2008. After a year on a postdoctoral scholarship at the Freie Universität, Berlin, she took up a lectureship at Wadham College, Oxford and in 2012 came to Edinburgh.
23-24 June 2014
A rare opportunity to hear Iranian filmmakers discuss their work.
This panel discussion will examine the consistencies, breaks and gaps within Iranian cinema from pre-Revolutionary times to the present. Nacim Pak-Shiraz (University of Edinburgh) will be joined by renowned scholar Hamid Naficy (Northwestern University) and EIFF Artistic Director Chris Fujiwara to lead discussions with Iranian filmmakers.
Only Image Remains (2014), a short film by Roya Akbari featuring interviews about Iranian film history with directors Amir Naderi, Bahram Beyzaie and Rafi Pitts, will be screened at Monday’s session.
Sponsored by the University of Edinburgh.
Wed 28 May 2014
Saute ma ville (Blow Up My Town)
Dir: Chantal Akerman. Cast: Chantal Akerman.
Belgium 1968, b&w, 13m.
Akerman’s first experimental film documents a young woman going about her daily domestic routine in strange ways, whilst shutting herself in her apartment. Often cited as a precursor to her 1975 masterpiece Jeanne Dielman.
Dir: Chantal Akerman. Cast: Chantal Akerman
Belgium/France 2006, 80m.
Despite initial reluctance to film, during a trip to teach in Tel Aviv Akerman found a frame in the apartment she was staying in that she could not resist. The work was to unfold as an exploration and reflection on her own ambivalent relationship with a city and by extension her own Jewish history. Bill Arning states that she, “builds an internal inventory of responses to the spectral lives she indirectly witnesses.” La-bas blurs the boundaries presence and absence, interior and exterior in a style that ‘inverts’ her usual methodical roving camera eye.
Chantal Akerman is a filmmaker whose wide-ranging film and video practices explore themes of identity, sexuality, quotidian reality and exile, and works against conventional filmmaking in order to discover new worlds. As J. Hoberman has said: “Comparable in force and originality to Godard or Fassbinder, Chantal Akerman is arguably the most important European director of her generation.”
A series of screened shorts and features programmed by Sacha Airlie in conjunction with the A Nos Amours retrospective of the complete film works of Chantal Akerman at the ICA in London. Please see www.anosamours.co.uk for further information.
This project has been kindly supported by The University of Glasgow’s Creative Practice Fund and is extremely grateful to Lore Gablier and Paradise films.
A Nos Amours is supported by the British Film Institute, Wallonie-Bruxelles International and Film Hub London (managed by Film London)
Columbia University Press has announced the upcoming publication of a new book by University of Edinburgh Film Studies lecturer, Dr Daniel Yacavone.
Playfair Library, Old College, University of Edinburgh
Booking available through Eventbrite, places are free but limited http://mclarensymposium.eventbrite.co.uk
2014 marks the centenary of Norman McLaren’s birth. This anniversary is being celebrated in Scotland with McLaren2014, a programme of events taking place in Stirling, Glasgow and Edinburgh between April and June. As a supplement to this programme, the University of Edinburgh is running a series of workshops, roundtables and symposia, of which this is the first.
McLaren is now recognized as a pioneer in the fields of animation, experimental and abstract cinema, and visual sound. Taking his innovations as a starting point – and borrowing our title from a 1970 BBC documentary about McLaren – this symposium will explore and interrogate McLaren’s legacy for practitioners and theorists. Four guest speakers will discuss the relationships between music, animation, and experimental film. They will consider McLaren’s work and influence from disparate perspectives, and identify new avenues of enquiry that it suggests. How can we think and theorise the relations between sound and the moving image in fresh and novel ways? Although filmmakers regularly collaborate with musicians and sound designers, how can working habits be reimagined, new strategies and creative possibilities explored?
This event is being collaboratively organized with the Talbot Rice gallery in Edinburgh, which is staging a six week exhibition of McLaren materials as part of McLaren2014. The symposium will close with a reception held in the gallery.
We have now finalised our schedule for the event below. The event is free, but ticketed, with a few places left:
10am Opening Remarks
10.30am Dr Karen Beckman, University of Pennsylvania
11.30am Dr Aimee Mollaghan, NUI Galway
12.30 – 2pm Lunch break (not provided)
2pm Dr Holly Rogers, University of Liverpool
3pm -3.30pm Coffee Break (provided)
3.30pm Dr Richard Stamp, Bath Spa University
4.30pm Roundtable discussion
5.30 – 7pm Wine reception – Talbot Rice Gallery
This Open Studies course allows participants the chance to analyse and discover the range and depth of the Festival’s film programming, whilst networking with fellow cinephiles. As ever, this year’s course offers an eclectic range of screenings and events.
Participants will receive a 2014 EIFF catalogue and will attend film premieres at EIFF, beginning with the Opening Night Gala, and take part in tutor-led discussions between Wed 18 and Sun 22 June 2014.
Starting off with the Opening Night, the course will cover five days of programming (18-22 June inclusive). The course is open to all and no previous knowledge is required.
The aim is to give participants a better critical understanding of film styles, genres and directorial approaches and an insight into the Edinburgh International Film Festival. Last year’s screenings included Virgin Forest (South Korea), The Last Station (Chile) and Maldone (France).
Fully enrolled students can purchase an EIFF Student Pass with a special 10% discount. The pass gives access to Press and Industry screenings, the Delegate Centre and has many other benefits (see EIFF website for details).
For further information please contact Course Organiser Martine Pierquin email@example.com
For enrolment, visit:
One of our MSc in Film Studies by Research students, Jim Mooney, runs a very interesting course at the Filmhouse in Edinburgh on the relationship between film and philosophy. The course this year explores philosophical issues such as: reality and self-deception (Alps), political resistance (The East), memory and identity (Moon), and authenticity (The Consequences of Love). Each screening is followed by a lively discussion.
You can read more about Jim’s research and teaching here: http://filmandphilosophy.com
The LLC Colloquy 2014 will see graduate students from The University of Edinburgh’s School of Literatures, Languages, and Cultures present their current research. We welcome both ten and twenty minute papers from students of all subjects within the school. The conference is an opportunity to share research, to practice and develop presentation skills, and to experiment with new methods of presentation. There will also be a chance for conference participants to submit their papers to a special issue of FORUM, Edinburgh’s arts and culture post-graduate journal.
We have three papers being presented by Film Studies research students.
For full details of the programme and to register please visit:
As part of an LLC impact project and in partnership with the Goethe Institut Glasgow, we will be showing three films by the German director Andres Veiel at Summerhall. The screenings are free, but booking is essential.
Andres Veiel is one of the most important directors working in Germany today. He is particularly interested in the violent events of recent decades – left-wing terrorism and resurgent right-wing extremism. His films use elements of documentary and theatre to examine the open wounds that remain.
This is a rare opportunity to see Veiel’s work in the UK and with English subtitles, so do come along and pass on the details to friends, colleagues and students.
David Sorfa contributes an article on the representation of sex and work in Czech cinema to this volume edited by Ewa Mazierska:
Sorfa, D. (2013). Beyond Work and Sex in Czech Cinema. In E. Mazierska (Ed.), Work in Cinema: Labor and the Human Condition. (pp. 133-150). London: Palgrave Macmillan.
Extract: “My contention is that while overt prostitution as represented in film has been discussed extensively in a number of recent books (Brown, Iordanova and Torchin, 2010; Loshitzky, 2010) – almost always in conjunction with considerations surrounding trafficking and the transnational (harking back to the debates around white slavery at the beginning of the last century) – less has been said about the more banal everyday forms of sexual exchange that mark life more generally in contemporary Europe. I concentrate here on Czech cinema since the country occupies a liminal space between East and West both geographically and historically. I discuss two important films from the 1960s Czech New Wave, Loves of a Blonde (Lásky jedné plavovlásky, 1965) by Miloš Forman, and Daisies (Sedmikrásky,1966) by Vera Chytilová, before moving on to consider the film versions of the most successful contemporary Czech novelist, Michael Viewegh.”