Thank you, Ian. I will read carefully Critical Cinema.
I am sure that theory and practice go together.
Regards,
Carmen Sofia
On Fri, Feb 24, 2012 at 11:40 AM, Liz Rymer <[log in to unmask]> wrote:
> Beautifully put, Susan.
> Kind regards
> Liz
>
>
> Liz Rymer
> Associate Principal Lecturer
> Dept of Media, Film & Culture
> Leeds Trinity University College
> Brownberrie Lane
> Horsforth
> Leeds
> LS18 5HD
> Tel: 0113 2837100
> Ext 183
> Mobile 0777 575 4495
> Web: www.leedstrinity.ac.uk
>
>
> ________________________________
> From: Screenwriting Research Network on behalf of Susan.Thwaites
> Sent: Thu 23/02/2012 23:14
> To: [log in to unmask]
> Subject: Re: Critical Cinema
>
> I wanted to say thank you to both Ian and Hugo for allowing a dialogue such
> as this to be had.
>
> As academics, whether here in Australia or in Europe or Asia, we are being
> more and more controlled by bureaucracy and budgets and the pressure to
> publish and be fantastic teachers. For those of us coming to this academic
> world from a creative practice world, where freedom of thought and time and
> speech were a given, I have to say I felt I could breathe again reading the
> passion behind Hugo's email.
>
> Don't get me wrong, I shall also be ordering the book in question for my
> university's library and read it with interest, but that doesn't mean I
> don't have enormous respect for those who differ and are able, within this
> research network, to feel comfortable to express themselves.
>
> I hope to see as many of you who can come to Sydney in September as
> possible.
>
> Kind regards,
>
> Susan.
>
> Susan Thwaites
> Assistant Professor
> Faculty Arts and Design
> University of Canberra
> 02 6201 5940
> [log in to unmask]
>
>
> From: Vercauteren Hugo
> <[log in to unmask]<mailto:[log in to unmask]>>
> Reply-To: Vercauteren Hugo
> <[log in to unmask]<mailto:[log in to unmask]>>
> Date: Thu, 23 Feb 2012 15:48:20 +0100
> To:
> <[log in to unmask]<mailto:[log in to unmask]>>
> Subject: Re: Critical Cinema
>
> Dear Ian,
>
>
> With all my respect for you and for many others. And I really mean you have
> done doing a very job with the screenwriting network.
>
> But I hate the expression: "To move beyond the commercial confines of
> Hollywood".
>
> Maybe I don't understand well what you mean by that. And I hope many of
> the colleagues don't hate me now with what I am telling now. It is my
> opinion, that is all.
>
>
>
> In the middle of an European economic crisis I defend the commerical
> filmmaking in Europe. It doesn't mean we should imitate Hollywood.
>
>
> 1. Young people got to earn a living. And the government does't pay for all
> of them. My own foster daughter is making "reality" television. Yes
> exactly: you read well.
>
> She finished her studies (film - TV making) last year. Se earns her own a
> living now and hopes to learn more by this work for her own expression as
> film./tv maker.
>
> I didn't like her te become a film/tv maker, NOT AT ALL. It is her own
> choice. She is proud; she doesn't depend on a politician saying her: "oh you
> are such a great artist".
>
> But, the European arrogant intellectuals look down on her, because she is
> making reality tv.
>
>
>
> Well I am at this moment ashamed to be European. Why?
>
>
> 2. Right now there is in Hollywood a Belgian/Flemish movie, nominated for an
> Oscar as best non-English speaking movie.
>
> Either they win or not, the fact they are nominated is already a succes for
> all of us. It gives everyone here a boost , and we need it in the middle of
> this European economic
>
> And I think you know what I am talking about. There is nothing much we can
> be proud of now in Europe (socially - economically - politically). Where
> is our solidarity with the Greeck screenwriters - filmmakers ....
>
>
>
>
> So, in this economic recession, it gives my friend and me the courage in
> convincing big investors in new film/tv and game instustry. And everything
> looks that we will succeed for a big investment, because we try to be
> creative and original in our screenwriting and commercial activity.
>
> Therefore, yes we look beyond Hollywood, because beyond Hollywood and LA,
> there is the Pacific and beyond the Pacific there is Asia, if you understand
> what I mean. And we have our contacts.
>
>
> To reach what we want, concerning the screenwriting I am working with
> Americans (from the screenwriting research network), American
> professionals. They probably read this mail, I defend their modesty, their
> engagement, and professionalism.
>
>
> For me: I don't want to hurt anybody with this mail. and last year I
> attended a conference with Peter Greenaway. I like his toughts. But right
> now, I am defending the commecial intelligent film/tv/games making for a
> universal industry.
>
>
> I hope you don't mind me writing this mail, but I felt I had to. And I am
> very honest with this mail.
>
>
> Hugo,
> Embarrased to be European.
>
>
>
>
>
>
>
>
>
>
>
>
> Op 23-feb-12, om 14:42 heeft Ian MacDonald het volgende geschreven:
>
> Dear colleagues
>
> You may be interested in this new publication which, in addition to the
> illustrious folk mentioned below, includes a small contribution from me.
>
> Critical Cinema: Beyond the Theory of Practice purges the obstructive line
> between the making of and the theorising on film, uniting theory and
> practice in order to move beyond the commercial confines of Hollywood.
> Opening with an introduction by Bill Nichols, one of the world’s leading
> writers on nonfiction film, this volume features original contributions by
> such prominent authors as Noel Burch, Laura Mulvey, Peter Wollen, Brian
> Winston and Patrick Fuery. Seminal filmmakers such as Peter Greenaway and
> Mike Figgis also contribute to the debate. Invoking radical film practice
> itself as a form of theoretical exploration it asks why filmmaking students
> today do not engender film radicalism, making this book a critical text for
> students, academics, and independent filmmakers as well as for any reader
> interested in new perspectives on culture and film.
>
> Critical Cinema: Beyond the Theory of Practice is edited by Clive Myer and
> is a Wallflower publication from Columbia University Press.
>
> www.eclecticfilms.com/criticalcinemavi.html<http://www.eclecticfilms.com/criticalcinemavi.html>
>
>
> With best wishes
>
> ian
>
> Hugo Vercauteren
> tel. + 32 (0) 3 440 20 23
> mob. + 32 (0) 494 17 10 89
>
--
Dra. Carmen Sofia Brenes
Directora Académica
Master en Guión y Desarrollo Audiovisual
Universidad de los Andes
Tel: (56 2) 618 1852 - @csbrenes
www.uandes.cl / www.mgda.cl
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