iffs newsletter number 14

IFFS / FICC Newsletter 14. March 2010 1

INTERNATIONAL FEDERATION OF FILM

SOCIETIES

Newsletter Number 14 March 2010

IFFS NEWS: - RIVOLI (ITALY) 26TH TO 29TH NOVEMBER. EXECUTIVE COM ITEE

MEETING

- FICC EAST & CENTRAL. EUROPEAN GROUP IN 2009. REPORT

- FICC ASIAN GROUP

- AFGHANISTAN CINEMA CLUB, A NEW IFFS MEMBER

- 3RD WORLD CONFERENCE OF FILM SOCIETIES. INT’L FEDER ATION OF FILM SOCIETIES GENERAL ASSEMBLY. 51ST POLISH FEDERA TION OF FILM SOCIETIES FILM SEMINAR. NOVEMBER 2010

- FOUNDATION OF THE CENTRAL EUROPEAN FEDERATION OF FI LM SOCIETIES

- V ENCUENTRO IBEROAMERICANO DE CINECLUBS Y SEMINARIO INTERNACIONAL DE LOS DERECHOS DEL PÚBLICO. FESTIVAL DE ATIBAIA INTERNACIONAL DO AUDIOVISUAL. 13-17 ENERO. 2010 ATIBAIA (BRASIL)

- CINESUD ACTIVITIES 2009

- IRAN. FREEDOM OF JAFAR PANAHI

- PALESTINE. PROJECT CINEMA JENIN

AROUND THE WORLD - CZECH REPUBLIC. ASSOCIATION OF CZECH FILM CLUBS

- GERMANY. FILM IS THEIR PASSION. GERMANY’S NON-COMME RCIAL CULTURAL CINEMA HOUSES - THE KOMMUNALE KINOS - AND THE WORK OF THE ASSOCIATION BUNDESVERBAND KOMMUNALE FILMARBEIT

- INDIA. CEC APPROVES NEW AGENDA FROM THE DESK OF GEN ERAL SECRETARY


- IRELAND. MICHAEL DWYER, ACCESS>CINEMA'S HONORARY PA TRON AND FILM CRITIC FOR THE IRISH TIMES DIES

- UNITED KINGDOM. FEATURED EXHIBITOR. HAILSHAM FILM C LUB AND HAILSHAM PAVILION

- UNITED STATES OF AMERICA. TALLAHASSEE FILM SOCIETY

DON QUIJOTE AWARDS - INTERNATIONAL FILM FESTIVAL COTTBUS. 10. – 15. 11. 2009. FICC JURY

REPORT

- FICC JURIES 2010. 20TH TROMSO INTERNATIONAL FILM FE STIVAL. JANUARY 18TH 24 TH. FICC JURY REPORT

- 24th FRIBOURG INTERNATIONAL FILM FESTIVAL

- FESTIVAL ATIBAIA INTERNACIONAL DO AUDIOVISUAL. DON QUIJOTE AWARD . ATIBAIA (BRASIL)

- 13TH KRISTIANSAND INTERNATIONAL CHILDREN'S FILM FES TIVAL (KICFF) JURY MEMBERS


IFFS news

RIVOLI (ITALY) 26th to 29th november EXECUTIVE COMITEE MEETING

EC Minutes Minutes from Meeting of Executive Committee International Federation of Film Societies 28 November, 2009 Campanile Hotel, Rivoli, Italy Presence : Paolo Minuto (Italy), Antonio Claudino de Jesus (Brazil), Golam Rabbany BIPLOB (Bangladesh), Raivo Olmet (Estonia), Hauke Lange-Fuchs (Germany), Julio Lamaña (Spain), Cristina Marchese (Argentina), Maciel Gil (Poland), Wong Tuck Cheong (Malaysia). (Total 09 Members) Special Invitation : Gabriel Rodríguez (Mexico) attended the meeting by an special invitation from President. 01. Apologies for absence : Atle Hunnes Isaksen (Norway), Jon Iversen (Norway), Robert Richter (Switzerland), Guy Desire Yamego (Burkina Faso), Maeve Cooke (Ireland), Aziz Arbai (Morocco), Astrid Friberg (Sweden), Joao Paulo Macedo – Portugal 02. Approval of eventually decisions made by e-mail during previous months: There was no decision made by any e-meeting. 03. Reports from Group Secretaries and Special Duty Officers : Wong Tuck Cheong from Asian Group, Maciel Gil from Eastern and Central European Group and Cristina Manchese from Latin American Group present their group reports. Claudino made a special contribution to Latin Amerian Group report presented by Cristina. Hauke Lange-Fuchs presentments report about Children affairs. Detail of the reports are linked with the minutes. 04.Finance Report Raivo Olmet presents a detail report on financial status of the IFFS/FICC at this moment. According to his report IFFS has Euro 5,726.03 at it's checking account and Euro 11,935.79 at it's savings account, that makes total Euro 17,661.82 on 20.11.2009.


Executive Committee approves the income and expenses of IFFS/FICC for the period of last almost one year. Income was Euro 3,442.64 and expenses was Euro 4200.00 during this period. The Executive Committee is concern about the payment of membership fees from a minimum number of member federations. After having a discussion EC agreed to follow up the issue by Group Secretaries and treasurer. They will contact with the non-paid member federation and report to EC. Raivo Olmet presents a draft budget for 2010. After having discussion on draft budget, EC approve the budget for 2010.According to approved budget for 2010, income is Euro 7,950 (Expected) and expenses Euro 5,700 (Estimated). 05.Approval of Expenses of EC Meeting and General Assembly in Loreto (December'08): Executive Committee approved the expenses of EC meeting of IFFS/FICC that took place in Loreto-Italy on December 2008. This expenses has already been shown in the expenses of 2009. 06.CICT Unesco Proposal: It was a proposal to join UNESCO e-platform. Julio Lamaña explains EC about the merits and demerits to join this e-platform. After discussion on this issue EC decides to join UNESCO e-platform. On behalf of IFFS/FICC President Paolo Minuto will sign an agreement to join e-platform. The agreement proposed by UNESCO is in Spanish language that is also official language of IFFS/FICC. Julio Lamaña will be responsible for IFFS's activities in e-platform and its further correspondence. 07. IFFS Archive : News and Actions Special Duty Officer of IFFS Archive Robert Richter sent a proposal to all EC members. After discussion on it in absences of him EC accept it with a contribution from Wong Tuck Cheong for an exact list of acceptable documents for Archive. Proposal from Robert Richter is as bellow. a) One of the crucial points is to feed our archive in the Swiss Film Archive in Lausanne regularly. Having discussed the issue with the person in charge at the Film Archive in Lausanne (Nadia Roch), I suggest the following: The General Assembly in Loreto decided that our archive has to be updated and fed regularly and constantly according to the document approved by the GA.


Therefore each national federation of FICC has to be informed about the procedure how to handin all the relevant documents from each national level. The EC of FICC has to decide about the procedure. I suggest the following procedure: - Each federation sends all its material once per year directly to the Film Archive in Lausanne (the package has to include a list of the items sent). - At the same time the federation sends an email to me (with CC to Nadia Roch) which clearly describes all the documents sent and the dispatch details of the package (date, package number etc.). - The Film Archive in Lausanne will send me and the sender an email after having received the material. By doing so we know exactly which federation handed in what material. b) The Film Archive in Lausanne informed me about the following points: - part of our archive has been re-catalogued (books),this catalogue is not yet accessible online, but already within the information system of the film archive, - the new archive building (which will include our archive and which will be located next to the existing building you saw in my Loreto presentation) is due to be constructed around 2012 which means that our archive (which needs to be dislocated during this period) will not be accessible in 2012 (or slightly earlier or later), - Nadia Roch will pay specially attention to any options to get the cinema high school interested in some researches (master diplomas of students) on our archive and - is ready to consider any other research initiatives from us or other institutions from other countries (it is preferable that all suggestions or requests go through me and - Nadia Roch in order to have a clear coordination with the film archive). 08. Juries, Diplomas, Plaques and related Policies: EC decides to have a new designed Statue for Don Quixote Award. Claudino, Julio and Maciej will propose draft design of new plaque to EC members through e-mail. EC will select the design through e-meeting. Meanwhile the existing plaque will be continued. EC decides


for a standard diploma should be printed in original color and must be sent to festivals along with the plaques. 09. Web Site, Bulletin and other subjects about Information of IFFS : EC decides to have a modern and interactive web site of IFFS. Julio and Jon Iverson will jointly make a technical and esthetical proposal for the new web site. Decision about technical and esthetical aspect will be finalized through e-meeting. EC appoints Gabriel (Mexico) to prepare a draft of flyer (folder) for IFFS. He will send it to EC through E-mail. 10. International Festival of Film Societies: EC agreed to continue International Festival of Film Societies as a mandatory project of International Federation of Film Societies. Even, at least as a biennial event. All EC members present at the meeting agreed to keep continue the character of the festival and not to change it. Paolo Minuto explains difficulties and possibilities to organize 10th International Festival of Film Societies in Italy. He informed EC that he or Italian Federation of Film Societies (represented by Paolo Minuto) can not give any assurance to hold it this year under the fast changing political environment of Italy. He advice EC to make it open and invite proposal from any other member federation. Even He will also continue findings of possibilities. EC have accepted his advice. Dateline of proposal 31st March, 2010. 11. Cine Sud Project : Julio will send a written report on Cine Sud project. 12. Full Members and Associate Members Fees: After a discussion on the issue EC decided not to make any change about membership fees at this moment. EC will present a proposal to next General Assembly regarding other possible options for payment of membership fees. 13.Application for New Membership : New applicant Kabul Film Society has been excepted as new full member. Mexico, KL (Malaysia) and Australia upgraded as full member by their application according to new constitution of IFFS. 14. Next General Assembly :


EC accepts Polish proposal to host next General Assembly. Host will try to arrange complete local hospitality for the participants and other logistics for the event. 15. Any Other Business : Recommendations of Rivoli Congress Rivoli Congress recommended to raise voice against all black laws on Cinema Culture. Golam Rabbany Biplob will make a draft of action plan with reference from Rivoli Congress and send it to al EC members for their approval to move on it. Film Societies Review Gabriel presents a project proposal on official review/magazine (Film Societies Review) of Film Societies under IFFS. After discussion on the proposal, EC decides to have online version of this magazine for the moment.

FICC East & Central European Group in 2009

REPORT Activities in 2009

Country Full Name Members Distrib. Main activities FICC Festivals Jury Members

Source

CH

Verband Schweizer Filmklubs und nicht-gewinnorientierter Kinos Cinélibre

72 yes (3 new titles)

member festivals, film tours

2 (Festival de films de Fribourg, Festival internazionale del film di Locarno)

Tromsø, Fribourg, Locarno

Roberto Richter

CZ

Asociace českých filmových klubů

116 yes (112 titles)

office in Uherské Hradiště, festivals, education, seminars, publications

2 (Mezinárodní filmový festival Karlovy Vary, Mezinárodní festival filmů pro děti a mládež Zlín)

Karlovy Vary, Zlín, Cottbus

Petr Korč

Bundesverband Jugend und Film e.V.

~1000

yes (ca 400 titles)

office in Frankfurt, festival, seminars, publications

Kritiansand, Miscolc

DE Bundesverband kommunale Filmarbeit

~100 yes office in Frankfurt, film tours

2 (FilmFestival Cottbus; Lucas Festival Frankfurt)

Hauke Lange-Fuchs

HU

Magyar Filmklubok és Filmbarátok Szövetsége

100+ yes (1 new title)

festival, conferences, publications

1 (Miskolci Nemzetközi Filmfesztivál)

Tromsø, Kristiansand, Kraków (KFF) Frankfurt, Miskolc, Kyiv, Kraków (E&A), Évora

Gÿorgy Kárpáti

PL

Polska Federacja Dyskusyjnych Klubów Filmowych

116

no new films, only film archive (ca 400 titles)

office in Warszawa, festivals, seminars, trainings, publications

2 (Krakowski Festiwal Filmowy, Międzynarodowy Festiwal Filmowy Etiuda&Anima)

Kraków (KFF), Karlovy Vary, Kraków (E&A)

Maciej Gil

SK

Asociacia slovenských filmových klubov

50+ yes office in Bratislava, festivals, seminars

0 Kraków (E&A) www.asfk.sk

Report by Maciej Gil (Group Secretary)


FICC ASIAN GROUP To kickstart the exchange of films among members of the Asian Group, the Malaysian Cineclub sent a program of 10 Malaysian films to the Federation of Film Societies of India (Eastern Region) in Kolkata for screening to their members in August 2009. The 10 films represent some of the best works of the new generation of Malaysian directors, and many of them have won awards at international film festivals. The films were: 1. Love Conquers All (Tan Chui Mui) 2. Flower in the Pocket (Liew Seng Tat) 3. Sanctuary (Ho Yuhang) 4. Sepet (Yasmin Ahmad) 5. Mukhsin (Yasmin Ahmad) 6. The Beautiful Washing Machine (James Lee) 7. Before We Fall in Love Again (James Lee) 8. Things We Do When We Fall in Love (James Lee) 9. The Big Durian (Amir Muhammad) 10. The Last Communist (Amir Muhammad) It is hoped that other members will initiate similar film exchanges among themselves to widen cultural dialogue between member countries. Wong Tuck Cheong Secretary

FOUNDATION OF THE CENTRAL EUROPEAN FEDERATION OF FILM SOCIETIES

Representatives of Association of Czech Film Clubs, Association of Slovak Film Clubs, Polish Federation of Film Societies and Hungarian Federation of Film Societies gathered in Olomouc during ther Centropa festival to plan a long-term cooperation. Our goal is to build a network which helps and supports spreading of Central European film culture in general. Our aim is to establish natural interaction of ideas and possibilities of cooperation between the four Central European countries. Representatives of the societies agreed on the following steps as below.


.- the foundation of the Central European Federation of Film Societies (CEFFS) .- organizing regular meetings of representatives of film societies and attending events organised by film societies .- distribution of films in film clubs and art cinemas and coordination of distribution of national films in Central European countries .- providing information concerning central European films and activities of film societies .- producing and promoting educational materials for film clubs, schools and lecturers .- presenting an annual award to a filmmaker for the most outstanding artistic achievement in Central European cinema .- providing a platform for discussion and cooperation between film producers and film distributors in the region Statutory representatives: Petr Korc Chairman of the Association of Czech Film Clubs Peter Dubecký Chairman of the Association of Slovak Film Clubs Maciej Gil Secretary General of the Polish Federation of Film Societies Böszörményi Gábor Executive-vicepresident of the Hungarian Federation of Film Societies

AFGHANISTAN CINEMA CLUB, A NEW IFFS MEMBER

We reproduce the mail by our president, Paolo Minuto: “Dear Malek, It's a great pleasure for me to be able to announce formally your Iffs membership starting in 2010. The EC has approved it during its last meeting and in the past days the minute was definitively approved.


Iffs really hope to cooperate in the next future with your association and I'm personally ready for it. Just write me (us) which are your programs where we can do something for helping you. Unfortunately the Iffs International Festival didn't take place in the last two years, but we are trying to restart with it as soon as possible somewhere in Europe (maybe again in Italy). I'll let you know and I'll keep you informed. Best whishes and see you soon! Paolo Minuto

3RD WORLD CONFERENCE OF FILM SOCIETIES. INT’L FEDERATION OF FILM

SOCIETIES GENERAL ASSEMBLY. 51ST POLISH FEDERATION OF FILM SOCIETIES

FILM SEMINAR. NOVEMBER 2010 Kraków, November 25-28, 2010 Accompanying event of the 17th Int’l Film Festival Etiuda&Anima Kraków, November 19-25, 2010 Organisers: - Polish Federation of Film Societies - Int’l Film Festival Etiuda&Anima - Kraków’s film societies: DKF Rotunda, DKF Mikro-Odeon, DKF Rozpięci, DKF Kropka - Int’l Federation of Film Societies - (Polish Film Institute)


V ENCUENTRO IBEROAMERICANO DE CINECLUBS Y SEMINARIO INTERNACIONAL

DE LOS DERECHOS DEL PÚBLICO. FESTIVAL DE ATIBAIA INTERNACIONAL DO

AUDIOVISUAL. 13-17 ENERO. 2010 ATIBAIA (BRASIL)

FESTIVAL DE ATIBAIA INTERNACIONAL DO AUDIOVISUAL Países participantes: Argentina, Bolivia, Brasil, Colombia, Ecuador, Cataluña, Italia, México, Portugal, Venezuela y Uruguay. SEMINARIO INTERNACIONAL DE LOS DERECHOS DEL PÚBLICO 13 de enero 9,30 Apertura Oficial del primer encuentro internacional de los derechos del público y primera mesa: La óptica del público. Participantes de la mesa Moderador - Luiz Alberto Cassol - CNC / BR Ponentes: Golam Rabbany Biplob - Federación de cineclubes de Bangladesh; Laura Godoy - Cinemateca de Ecuador. Ecuador; Julio Lamaña - Federación catalana de cineclubs. Catalunya; Cristina Marchese - Federación Argentina de cineclubes. Argentina Cristina Marchese (Argentina) presenta su ponencia "Los derechos del público. Formación de nuevos públicos, la infancia "donde desarrolla su experiencia en el cine club Santa Fe en el proyecto" Cine Club hace escuela "donde los niños y niñas de la ciudad acceden a la sala del cineclub. Allí, mediante un dossier que trabajan en el aula, adquieren conocimientos de lenguaje cinematográfico, así como el conocimiento de la cabina de proyección. El proyecto propone la filosofía de una función de cineclub, una experiencia humana que establece la presentación de la película y luego se articula el debate, coordinado por especialistas. Golam Rabbany Biblop (Bangladesh) nos acerca a los problemas de acceso a las copias en su país de origen, Bangladesh. Diferentes


dificultades administrativas hacen que las películas tengan un difícil acceso por parte de los cineclubes. Pide una campaña de apoyo internacional para presionar a su gobierno a que toda traza de censura sea abolida. Laura Godoy (Ecuador) presenta algunos de los avances realizados por la Cinemateca de Ecuador en el campo de la difusión, incidiendo en la salvaguarda de los derechos del público en espacios muy lejanos, en comunidades indígenas. Presenta el proyecto "Río de la raya" donde se proyectan materiales audiovisuales en la provincia de Sucumbios en pleno Amazonas. Las actividades corresponden a la Muestra de audiovisual y cine intercultural infantil en la selva. La iniciativa responde a garantizar el derecho al acceso a las artes audiovisuales de los más pequeños en esta zona. Julio Lamaña (Cataluña) presentó su ponencia "Piratería y derechos del público" donde, tomando la Carta de Tabor de los derechos del público, hace una exposición del estado actual del tema de la piratería y los cineclubes y cómo éstos son principales agentes antipiratería (se puede consultar la ponencia en la web de la federación catalana, en el apartado "La Federación. Documentos"). Gabriel Rodríguez (México) introduce su exposición en base a la ponencia "Imaginar para resistir" en la que explica la llegada a México de la Motion Pictures Licensing Corporation (MPLC) en 2008. Hace una reflexión sobre las diferencias entre exhibidores comerciales y no comerciales señalando los pocos puntos comunes entre por ejemplo un hotel y un bar y los cineclubes. Los objetivos y procedimientos no tienen nada que ver pese a que esta compañía englobe todo en el mismo saco. Aparece un cuestionamiento sobre la forma en la que algunas distribuidoras pretenden enriquecerse sin hacer ningún tipo de diferenciación entre aquellos que se lucran y aquellos que realizan una actividad no lucrativa. 14 de enero Primer encuentro internacional de los derechos del público y segunda mesa: La óptica de los gobiernos. Participantes de la mesa Moderador - João Baptista Pimentel - CBC / BR Ponentes: José de Souza Vaz - MiNC / Brasil Luciana Azevedo - FUNDARPE / Brasil Gonzalo Mendoza - Cinemateca Nacional / Venezuela En esta segunda mesa se pudo ver las diferentes políticas culturales aplicadas desde los diferentes gobiernos representados, Brasil y Venezuela.


El secretario de cultura, José de Souza (Brasil) explicó la experiencia de los puntos de cultura como referente de las políticas culturales que trabajan el acceso del público a la cultura desde diferentes vertientes. Sobre los derechos de autor menciona el hecho de que estos no pueden estar confrontados a la sociedad. El problema es que algunos hablan por el autor (las empresas de gestión) y no este con su propia voz. Esta intermediación es la que provoca el conflicto entre dos partes que no deberían estar confrontadas. Una protección rígida sobre los derechos de autor no incrementa la producción artística (así como algunos argumentan). Esta no es una verdad total. Los estímulos pueden ser de ayuda pero los autores producen artefactos culturales independientemente de una mayor o menor protección de sus derechos. Una protección exagerada podría ser contraproducente. Luciana Azevedo (Pernambuco - Brasil) comienza definiendo al Estado como elemento fundamental en la construcción de la cultura. Dentro del proyecto que ella lleva a cabo en Pernambuco, subraya la importancia de la planificación y apoya los proyectos de estado en algunos objetivos: salir de la zona metropolitana para abarcar todo el territorio, dinamizar los equipamientos públicos existentes y ejecutar acciones atractivas e interesantes para la sociedad. Gonzalo Mendoza (Venezuela) compara el derecho a la cultura con otros de los derechos fundamentales de la persona. La Cinemateca de Venezuela trabaja con la docencia y en la formación de público. Trabajan concretamente en un proyecto que forma profesores en temas audiovisuales de más de 500 escuelas. Se han equipado las escuelas y todo ello con el objetivo de que el cine no sea sólo una herramienta instrumental sino una propia materia de estudio. También presenta el proyecto de "Salas Comunitarias" que se parecen mucho a los cineclubes y que son gestionadas directamente por las comunidades. Actualmente hay unas 200 salas. 15 de enero 9.30h Primer encuentro internacional de los derechos del público y tercera mesa: La óptica de los juristas. Moderador - Paulo Canabrava - APIJOR / Brasil Debatedores: Alan Rocha – RJ Clarice Castro - PUC / PE Rafael Oliverira - MiNC / BR


Paulo Cañabrava (Brasil) comienza su introducción diciendo que el problema con el tema de los derechos de autor es que algunos se están apoderando de los derechos de los autores. Es el Estado quien debe dar soluciones al tema pero los intereses privados de las corporaciones son el principal obstáculo. "Estamos hablando de una cuestión más ética que jurídica" Alan Rocha (Brasil) comienza explicando que el público tiene sus derechos como participante de la vida cultural según la Declaración de los derechos humanos. Alan plantea la pregunta: "¿a quién pertenece la obra?" "Cuando tenemos que pedir permiso?" Para contestar la pregunta se detiene sobre la finalidad del arte. Según Rocha no hay amor por el arte. Esto no es natural sino fruto de un aprendizaje. Para disfrutar del arte hay que estar dispuesto, debe estar formado. El arte, por tanto, hay que aprenderlo. Y ¿cómo? En la escuela, instituto, universidad, a la familia y al medio social. "No hay arte sin público. Ni sin artista ". El ponente insiste en dos grupos como aquellos que tienen derechos fundamentales: los artistas primero y el público después. Los derechos sobre los actores secundarios, los intermediarios, es siempre menos importante que los actores primarios. Hay tres derechos fundamentales que entran en juego en la defensa de los actores principales: El derecho a la libertad y a la libertad de expresión. Nadie hace películas sin ver películas antes. No se puede desvincular la creación de la participación en el marco cultural. El derecho a la educación. Va más allá del deber del estado y de la educación formal. Si el estado no llega a todo, la sociedad civil puede ejercer este papel. Aunque en la legislación brasileña los cineclubes no aparecen en este apartado. El derecho fundamental a la cultura. Este derecho está muy trabajado a nivel internacional. Derecho a la participación cultural, del acceso a las obras artísticas como indispensable para construir un universo simbólico. El acceso a la cultura es la puerta de entrada para ejercer sus derechos culturales. El ponente se pregunta sobre si los derechos de autor son absolutos y más importantes que los otros derechos como el derecho fundamental a la educación y la cultura. Los derechos de autor no pueden seguir siendo interpretados de forma sacrosanta y antigua. Esto no lo defienden los autores sino los intermediarios.


La obra se cede para que circule. En caso de que un distribuidor no la haga circular como es debido, el contrato debería poder romper y además pedir daños y prejuicios. Si no hay acceso a la obra el público debe manifestar su derecho. Pasando por encima de los intermediarios. No hay que pedir disculpas - dice el ponente - si se llega al acceso a través de medios "discutibles". No hay que victimizar al público. Hay que actuar. Clarice Castro (Brasil) hace su intervención analizando la evolución histórica de los derechos de autor. Internacionalmente estos derechos se entienden bajo los acuerdos de comercio, lo que produce fuertes tensiones. La Convención de Berna interpreta estos derechos de una manera más romántica mientras que los EEUU defiende más el derecho de "Copyright". Pero incluso en esta vertiente más radical, el copyright también tiene restricciones. No es un derecho absoluto (como tampoco lo es el de propiedad). Las restricciones tienen que ver con el libre acceso a la información, al conocimiento, la educación, los bienes culturales ya la libertad de expresión. La industria cultural pone ante todos ellos el derechos a la propiedad intelectual. Esto provoca grandes tensiones divergentes. Especialmente entre los autores y aquellos que explotan su obra. Rafael Oliverira (Brasil) hace una visión más cineclubista explicando el caso del cineclub universitario Falcatrua que se vio denunciado por una Major para la proyección de un film dentro del ámbito universitario. De nuevo aparece el conflicto entre lo público y lo privado. El ponente defiende los derechos de los cineclubes a proyectar desde un punto de vista no comercial y que este ámbito debería ser un marco excepcional dentro de una actividad comercial. V ENCUENTRO IBEROAMERICANO DE CINECLUBS Participantes: Cristina Marchese (Argentina), Marcelo Cordero (Bolivia), Claudino de Jesus y Luiz Alberto Cassol (Brasil), Yenny Alexandra Chaverra (Colombia), Ana Laura Godoy (Ecuador), Julio Lamaña (Cataluña), Paolo Minuto. Presidente de la FICC (Italia), Gabriel Rodríguez (México), Joao Paulo Macedo y Luiz Pereira (Portugal), Gonzalo Mendoza (Venezuela) y Fernando Henríquez (Uruguay) Como invitado especial Golam Rabbany Biplob (Bangladesh) Del 12 al 16 de enero se realizaron varias reuniones del grupo iberoamericano de cineclubes. En una primera reunión abierta al público los diferentes delegados hicieron un repaso en cuanto a los trabajos realizados durante el


2009 haciendo especial mención a la incorporación de los cineclubes en las diferentes legislaciones nacionales, en el trabajo realizado por CINESUD, al trabajo de los "Microcines" en Bolivia, el proyecto "Cine entre fronteras" que habla de un intercambio entre países fronterizos Argentina, Uruguay, Brasil y Paraguay y el trabajo realizado desde el estado en Colombia y Ecuador en la defensa de los cineclubes y modelos similares. En una segunda reunión ya a puerta cerrada se decidió continuar trabajando en base a la construcción de una plataforma de trabajo que permita ir anotando los avances y los trabajos aún por realizar. Esta cronología de trabajo permite generar memorias y concretar las responsabilidades de cada uno en el seno del grupo. Temas a tratar durante las reuniones: 1. VINCULACIONES CON OTROS PAISES 2. CAMPAÑA INTERNACIONAL POR LOS DERECHOS DEL PÚBLICO 3. ARCHIVOS CINECLUBISTAS 4. PREMIO DON QUIJOTE 5. CINESUD 1 .- VINCULACIONES CON OTROS PAÍSES Se constata la presencia de un nuevo país al grupo. Venezuela está representada por Gonzalo Mendoza, de la Cinemateca Nacional de Venezuela. Se disculpa la presencia de Carlos Elias de República Dominicana por estar en Europa por motivos laborales. Se comenta la necesidad de recontactar con la Federación cubana de cineclubes tras más de un año sin responder los mails. Se acuerda continuar con los intentos para conseguir retomar el contacto. 2 .- CAMPAÑA INTERNACIONAL POR LOS DERECHOS DEL PÚBLICO a. - Con motivo de la campaña de la defensa de la Carta de Tabor de los Derechos del público, las diferentes delegaciones explican lo hecho hasta ahora y los proyectos de futuro. Brasil explica la importancia de haber organizado durante estos días el Seminario Internacional por los derechos del público. Anuncia el interés del gobierno brasileño para que de este seminario surja un grupo de juristas para trabajar los diferentes aspectos de los derechos del público en los textos legales internacionales. También la FICC podría estar representada en las reuniones del Grupo de leyes de propiedad intellectual mundial. b. - Claudino propone adoptar todos un mismo lema para la campaña


asume el de "Somos el público" o "Nosotros somos el público" que ya se utiliza como slogan del Seminario. c. - Laura imprimió 1.000 folletos con la Carta de Tabor y se reparten en las sesiones de cineclub de la Cinemateca de Ecuador. Propone la posibilidad de organizar conferencias sobre los derechos del público en los dos principales festivales de su país. También solicita el spot que sobre la campaña de los derechos del público realizó el compañero Gabriel. http://www.youtube.com/watch?v=i_LsbpPyPxE d. - Joao Paulo recuerda que existe una publicación sobre un seminario que sobre derechos del público se realizó en Roma a finales de los 80 ' e. - Claudino comenta que todas las ponencias y transcripciones del seminario internacional de los derechos del público que se hace en Atibaia se publicará en forma de libro. f. - Julio comenta que el lema de las 5as Jornadas del cineclubismo catalán será "Los derechos del público" y que se está intentando conseguir ayudas para el desplazamiento y organización de unas conferencias sobre el tema. g. - Fernando comenta que la revista "Cineclutura" ha editado la Carta de Tabor. h. - Gabriel explicó que en la Segunda Conferencia Mundial del Cineclubismo en México en agosto 2009, también se editó una síntesis de la Carta de los Derechos del Público, y como fuentes refirió al documento "Una lectura de la carta por los derechos del público" de Felipe Macedo, que acompaña la propuesta del Conselho Nacional do Cineclubes Brasileiros, donde se explica cómo participar de la campaña. También recordó el documento del diputado José Alfonso Suárez del Real para la "Protección de los públicos" como iniciativa de ley en México, presentada durante la LX Legislatura. i. - Yenny explica cómo en el próximo Festival de Cartagena se editará y difundirá la Carta de Tabor, así como se organizará un encuentro de cineclubes colombianos y la muestra "copy - right?". También comenta el inicio de una campaña audiovisual con un clip ya rodado y ya en youtube: http://www.youtube.com/watch?v=y6f71cu5GBs j. - Paolo recuerda el Seminario realizado en Rívoli diciembre pasado y como el Comité Ejecutivo de la Federación internacional de cineclubes apoyó una difusión de la campaña en contenidos y diseño.


3 .- ARCHIVOS Se acepta la propuesta del delegado de los archivos en la FICC, Robert Richter del protocolo para hacer llegar materiales documentales archivo de la FICC en Laussanne. Se acuerda que en la próxima reunión internacional, en noviembre en Polonia, los diferentes países aporten la documentación para hacer un único envío en Suiza. 4 .- PREMIO DON QUIJOTE Joao Paulo (responsable de festivales en la FICC) habla de un año difícil en la gestión por la crisis económica y problemas personales. Se acuerda la necesidad de un texto promocional del premio Don Quijote otorgado por jurados FICC. Gabriel añade que una muestra de premios Quijote en las diferentes países podría ser un acto promocional previo a la instauración del premio en otros festivales. Joao Paulo comenta la importancia de tener un buen contacto con algún periodista especializado para dar máxima cobertura mediática al premio. Julio pide tener una agenda completa de los festivales y organizadores para comunicar con ellos y poder hacer llegar el boletín de la FICC. También se introduce la idea de dar una carta conjuntamente cuando se da el premio Don Quijote, anunciando la posibilidad de una distribución del film entre cineclubes. En este sentido CINESUD podría hacer de mediador en esta distribución 5 .- CINESUD CINESUD que ya presentó su memoria en la primera reunión abierta al público plantea las dificultades propias de un proyecto sin ánimo de lucro. Las dificultades para invertir dinero en el proyecto hace necesario otras soluciones como podrían ser aportaciones por parte de cada federación. Queda pendiente los contactos con los responsables del encuentro de documentalistas latinoamericanos que tuvo lugar en Guayaquil el año pasado para incorporar filmes en el catálogo. Joao Paulo propone utilizar la base de datos del festival FIKE para construir la base de datos CINESUD que pueda ser consultable por internet. Se queda en que se le facilitarán los campos para construir esta base de datos.


Carta de Resultados de los cineclubes iberoamericanos Reunidos en la ciudad de Atibaia, São Paulo-Brasil, durante el 5º Festival Atibaia Internacional do Audiovisual del 12 al 16 de enero de 2010, representantes de entidades, asociaciones y organizaciones culturales de Argentina, Bolívia, Brasil, Cataluña-España, Colombia, Ecuador, Italia, México, Portugal, Uruguay y Venezuela realizamos el V Encuentro Iberoamericano de Cineclubes cuyas conclusiones expresamos en esta carta, con el fin de dar a conocer los resultados y frutos de las reflexiones y propuestas de trabajo. Agradeciendo a la Prefeitura Municipal da Estancia Atibaia, a Associação de Difusão Cultural de Atibaia/Difusão Cineclube y al Ministério da Cultura, a través de su Secretaria Executiva y las Secretarias do Audiovisual y de Políticas Culturais por el apoyo, organización y financiamento sin los cuales la realización del evento no sería posible. Reconocemos El avance y desarrollo en el plano civil e institucional en Bolivia, Brasil, Ecuador, México y Venezuela, como parte de los resultados obtenidos por nuestro grupo en los últimos años. También manifestamos la preocupación por la falta de contacto con la Federacion cubana de cineclubs. Nos proponemos 1. Organizar nuestros proyectos en base a plataformas de trabajo, que permitan el desarrollo sustentable y la consecución de nuestros objetivos, desarrollando una agenda de trabajo anual. 2. Incentivar los trabajos para que los cineclubes estén contemplados en las diferentes legislaciones nacionales e internacionales. 3. Fomentar y desarrollar la Campaña de los Derechos del Público, con acciones concretas y en actividades comúnes que permitan la divulgación de la Carta de Tabor y la defensa de los derechos fundamentales del público. 4. Organizar y promover un grupo de trabajo compuesto por juristas que enriquezcan los puntos de vistas y fundamentos legales para sustentar la Campaña de los Derechos del Público. 5. Realizar gestiones para la inclusión del Jurado de la FICC en diversos festivales para otorgar el Premio Don Quijote, organizar una videoteca de Premios Don Quixote, así como la realización de muestras y ciclos en nuestros países. 6. Aportar documentos del cineclubismo de nuestros países, para enriquecer el conocimiento de nuestro movimiento y participar del proyecto de Archivo de la FICC en Lausanne, Suiza. 7. Contribuir al desarrollo permanente del proyecto de difusión de filmes, CINESUD, integrando nuevos títulos, realizando muestras y construyendo una base de datos para su consulta y programación.


8. Implementar propuestas de mejoramiento y diseño de sitios electrónicos para el desenvolvimiento internacional del cineclubismo a través de Mundokino y el nuevo sitio oficial de la FICC. 9. Contribuir a la creación de los Cuadernos de los cineclubes como una forma de aumentar el conocimiento y memoria del cineclubismo mundial. 11. Rechazamos la censura que actualmente existe en diversos países y reivindicamos el derecho a realizar acciones concretas para reconocer los derechos de opinión, expresión y reunión. 12. Realizaremos eventos y encuentros que fomenten el intercambio, discusión e integración de nuestros países a través de nuestras actividades cineclubistas.

Atibaia-SP, 16 de janeiro de 2010.

Firmantes:

Cristina Marchese/Argentina, Marcelo Cordero/Bolívia, Antonio Claudino de Jesus/Brasil, Julio Lamaña/Cataluña-España, Yenny Chaverra/Colombia, Laura Godoy/Ecuador, Paolo MInuto/Italia, Gabriel Rodríguez/México, João Paulo Macedo/Portugal, Fernando Henríquez/Uruguay y Gonzalo Mendoza/Venezuela. Charter of the 1st International Meeting on the Rights of the Public In the city of Atibaia, São Paulo, Brazil, during the 5th International Film Festival of Atibaia, January 12-16, 2010, representatives of organizations and associations in Argentina, Bangladesh, Bolivia, Brazil, Colombia, Ecuador, Spain, Italy, Mexico, Portugal, Uruguay and Venezuela, upheld the 1st International Meeting on the Rights of the Public. Their conclusions are expressed in the letter below: Historically, film societies have promoted cultural education, the fundamental right to culture and the consolidation of democracy and cultural citizenship. Thus, film societies sustain the internationally recognized human rights, reflected in the Charter of Tabor. To ensure total freedom of cultural expression, the participants of this meeting Claim: -Participation in various organizations, in national and international forums related to the fundamental rights of the public. -The immediate and unrestricted access to all projects funded by the government. -That governments invest in the creation and improvement of infrastructure to ensure full access and wide dissemination of cultural production. -The circulation of works respecting their native language and original


expressions. Recommend: -That activities to promote filmmakers be developed in both the political and legal fields. -To promote the wide dissemination and discussion of the rights of access to cultural production as fundamental rights of the citizens. And finally, to thank the City Hall of Atibaia, the Association of Cultural Promotion of Atibaia / Difusão Cineclube and the Ministry of Culture, through the Secretaries of Audiovisual and Cultural Politics, without which, the event would not have been held. Atibaia-SP, January 16, 2010.


CINESUD ACTIVITIES 2009

A PROJECT BY INTERNATIONAL FEDERATION OF FILM SOCIETIES

Argentina

Dos títulos del catálogo CINESUD en la muestra nacional de cineclubismo de Argentina: “Ratas, ratones y rateros” de Sebastian Cordero (Ecuador) y “Una mirada sobre el prado que llora” de Pere Alberó (Catalunya) A los efectos de recordar los 54 años de la Creación de la Federación Argentina de Cine Clubes (Acta de Fundación 23 de Abril de 1955). El Cuerpo Ejecutivo de la FACC propone a todos los cine clubes del País la realización de una muestra de películas a proyectar en forma simultanea en el mes de Abril. Se propone una programación base de 5 películas de directores referentes del cineclubísmo nacional e internacional. Luego cada cine club organizará el evento de acuerdo con sus modalidades de trabajo e intereses . Dichas películas se facilitarán a las distintas regionales en formato DVD existiendo la posibilidad de proyección en fílmico de algunas películas si el cine club interesado así lo requiere. Esta programación cuenta con el auspicio de La Federación Internacional de Cine Clubes, “Cinesud “- del Grupo Iberoamericano de Cine Clubes-, Cinemateca de la Embajada de Francia, y el Instituto Goethe de Buenos Aires. “Cuando los cines se retiran los Cine Clubes defienden las pantallas”, es el lema que impulsa esta Muestra Nacional que llega a mas de 30 cine clubes a lo largo y a lo ancho de la Argentina incluso a localidades donde no existen cines desde hace años. Esta movida cineclubística nos permitirá demostrar la plena vigencia de los principios y la actividad cineclubística en nuestro País . Contamos con la participación de “La Sudestada”: El cine club Argentino que funciona desde hace mas de una década en la Casa


Argentina de la Ciudad Universitaria de París y es un cine club adherido a la FACC.

TODA LA INFORMACIÓN DE LA MUESTRA EN http://muestracineclubismo.wordpress.com/

Brasil Encuentro iberoamericano en Atibaia (Brasil). Enero 2009 En la Carta de Atibaia se manifestó el apoyo a Cinesud. “La implementación de mecanismos que la divulgación y el desarrollo sustentable de Cinesud, congregando la difusión y la educación”

Catalunya Proyecciones: 28 de noviembre.- ESPAÑA (Catalunya) “350” y “El Doctor Italiano”. Cineclub 8 ½ de Cassà de la Selva (Girona). Presentación CINESUD en las comarcas de Gerona. Unesco-Catalunya Propuesta de lafirma de un convenio entre la plataforma audiovisual UNESCO y la FICC. Algunos films ya se pueden consultar en el catálogo online en http://creativecontent.unesco.org/welcome


Ecuador 25/30 Octubre.- ECUADOR – Guayaqil- 2º ENCUENTRO DE DOCUMETALISTAS LATINOAMERICANOS. PRESENTACIÓN CINESUD

http://plataformacinesud.wordpress.com/2009/11/19/2º-encuentro-de-documentalistas-latinoamericanos-presentacion-cinesud-guayaquil-ecuador/


México

2ª Conferencia Mundial de Cineclubes. Muestra CINESUD

http://plataformacinesud.wordpress.com/2009/07/29/2ª-conferencia-mundial-de-cineclubes-muestra-cinesud/

Con el fin de divulgar la memoria del público y la cultura cinematográfica, propiciar un encuentro entre promotores culturales y desarrollar estrategias de difusión audiovisual, se realiza por segunda ocasión este encuentro en México entre más de 10 países a través de cine clubes, investigadores e instituciones nacionales e internacionales. De entre las actividades programadas, señalar esta muestra con materiales CINESUD.

21 de agosto Museo de Arte Carrillo Gil 20:00-21:30 hrs.

Somos el público

Gabriel Rodríguez| Méx| 2005| Spot| Color | 2 min

Los públicos organizados mantienen viva la cultura cinematográfica sirviendo como contrapunto a la oferta comercial de películas. Cada espacio refleja los temperamentos de la sociedad que se hace preguntas en la pantalla alrededor del mundo.

Por primera vez

Octavio Cortázar | Cuba| 1967| Documental| B&N |10 min

El corto documenta el uso de cines móviles para llevar las imágenes en movimiento a los campesinos alejados de las pantallas de exhibición cinematográfica de La Habana. Los espectadores dejan ver la excitación y el asombro que experimentan al ver el cine por primera vez.


Retratos de cine clubes comunitarios

Red de Cine Clubes Comunitarios de la Ciudad de México| Méx| 2005| Spot| Color |4 min 15

A través de fragmentos de entrevistas a cine clubes comunitarios de la ciudad de México se conocen los espacios y rostros de promotores en diversas zonas de la urbe.

El cine en la comunidad

Gabriel Rodríguez| Méx| 2005| Spot| Color| 6 min

Entrevistas y reflexiones sobre la importancia de las actividades culturales en diversas comunidades de la Ciudad de México.

Lyonel Lucini: Disciplina, rigor y pasión

Agustín Martínez M.| Méx-Bra| 2005| Documental| Color | 4 min 30 seg

La entrega de Lyonel Lucini al movimiento cineclubista lo convirtió en un actor fundamental de la militancia cultural sudamericana. Esta entrevista fue de las últimas que realizó poco antes de morir.

Cine clubes en Brasil

Agustín Martínez M.| Méx-Bra| 2005| Documental| Port. Subt. Esp| Color |15 min

Este documental recoge el carisma y diversidad de los cineclubistas brasileños contemporáneos, contestando la pregunta de ¿qué es un cine club?. Invitado: Agustín Martínez M. 21 de agosto Biblioteca Miguel Lerdo de Tejada 20:00-21:30 hrs. del cineclubismo a las salas comunitarias

Del cineclubismo a las salas comunitarias

Sergio Marcano y Richard Figueredo | Venezuela| 2008| Documental |Color| 57 min


El documental relata el origen del cineclubismo en los años 60, dentro de la lucha social que se vivía en Venezuela, cuando el cine era visto como un arma ideológica y muchas películas que reflejaban la realidad del momento, eran prohibidas para su proyección, e incluso, aquellos dispuestos a presentarlas, eran perseguidos por la policía y la Guardia Nacional.

22 de agosto Museo de Arte Carrillo Gil 20:00-22:00 hrs.

Fragmentos de una historia Fernando Krum y Marcos Borba| Brasil| 2005| Documental | Port. Subt. Esp|Color |13 min

Un viaje mágico conseguido a través de exhibiciones de cine en 16 mm en distintos lugares de Santa María (Rio Grande do Sul), que marcaron el inicio de las actividades del cine club Lanterninha Aurélio, el segundo cineclub más antiguo en

funcionamiento de la región.

Juan Carlos Arch: Pasionario del cine

Cristina Marchese| Argentina| 2007| Documental| Color |18 min

Homenaje al incansable y generoso quijote santafesino que dedicó su vida al cine y la sociedad como crítico, maestro, cineasta y cineclubista alrededor del mundo. l

URUGUAY 17 de noviembre.- Sedel de la FICCU – Cineclub Universitario.- Reunión de invitación para la integración de jóvenes productores uruguayos al catálogo Cinesud. http://plataformacinesud.wordpress.com/2009/11/19/informe-del-representante-de-cinesud-en-uruguay/


http://plataformacinesud.wordpress.com

[email protected]

IRAN. FREEDOM OF JAFAR PANAHI !!

We suggest to sign the petititon in favour of the freedom of Jafar Panahi, the iranian director arrested in Teheran some days ago.

Here you have the link to the petiton:

http://www.petitiononline.com/FJP2310/petition.html

PALESTINE. PROJECT CINEMA JENIN

THE STORY

"The Heart of Jenin” is open heart surgery on the afflicted hearts of

those involved in the general conflict. The delicate balance between heartrending sadness and black despair is deeply moving, yet the

story reveals a beacon of hope in an otherwise apparently hopeless time." [Kino Kino]

In 2005, Ismael’s 11 year old son Ahmed was shot down by the Israeli army. Despite his grief, Ismael decides to donate his son’s


organs to Israeli children thus saving their lives. One and a half years after his decision, Ismael travels through Israel to meet the children he has helped and their families. It is a journey through a territory marked by prejudice.

THE STORY CONTINUES

A year later, still deeply affected by his son’s death, Ismael opens a cultural center for the children of the camp as an alternative for their street life. Thanks to foreign donations, the center starts providing many activities among which film courses are given. After a while, the children want to produce their first short film, only to realize that they have no place to show it in. The only cinema in town was closed more than twenty years ago. The decision emerges to reopen the cinema. Marcus Vetter, the director of "Heart of Jenin" and Fakhri Hamad and Ismael Khatib decide together to launch the "Project Cinema Jenin" and open the cinema again.

The resurrection of Cinema Jenin has enormous dramatic potential and its story will be told in the form of a documentary which follows a parallel process where the children of the camp make a film about their lives. At the same time they are taking part in reopening what would become their future stage.

"PROJECT CINEMA JENIN - THE FILM" COMING SOON TO THEATRES NEAR YOU.

RENOVATING THE BUILDING

The cinema resides in a large building surrounded by a spaciuos garden. There are 300 seats on the first floor and another 200 on the gallery including also private loges. Three 35mm projectors are still in place.

However, having been closed more than 20 years ago, it is in deplorable condition. The wooden chairs are in a state of advanced decay, the 35mm projectors are out of service and the screen has been torn up. The building itself and several pieces of equipment are in need of repair or replacement.

Keeping its original design, local professionals will restore the chairs, paint the walls, renew the toilets, repair the roof, and fix the air conditioning and the electrical system. The wasteland surrounding the cinema will be transformed into a garden, cafe and open-air cinema. Underneath the screen on the rear of the cinema a stage will be installed and can be used for theatre plays, concerts, wedding parties and all kinds of social and cultural events.


The cinema projection, the light and the sound systems will be installed and supervised by two German production companies, guaranteeing high quality digital cinematic standards. This partnership ensures a liaison with inter-national distributors who will help providing appropriate films.

REACTIVATING THE CINEMA

Upon completion of the renovation a team of local citizens will manage and operate the cinema. The cinema´s programming will be supervised by a board of advisors consisting of local dignitaries, Palestinian and international film makers. It is planned to have six screenings along with other activities every day. In each section the audience can vote for the films they liked most. These films will be shown on weekends. The official ticket price will be 5 Shekel (1 Euro). A website will be created to present the various activities of the cinema. It is far too early at this stage to estimate the number of daily visitors to the cinema. We base our calculations upon a minimum of 300 visitors a day, a number which we wish to enhance through additional activities such as presenting films for schools, short films created by local youths, international and local music concerts, theatre plays, literature, poetry etc. Given the symbolic nature of the project and its location, we aim to convince distributors to accept minimum or no return for films. During the first years of the cinema's work, the operating costs will need to be subsidized by international foundations. Despite it being an “art house cinema”, the goal is to free the cinema of subsidies and make it run independently as soon as possible.

www.cinemajenin.org


Around the world Czech Republic

ASSOCIATION OF CZECH FILM CLUBS

Association of Czech Film Clubs:

• joins more than 120 film clubs and 20.000 members all across the Czech Republic

• systematically assists the film clubs with their activities

• buys and distributes about 10 new artistically significant films to Czech cinemas every year

• runs a film archive containing more than 100 titles

• presents an Annual Award of ACFC for the most artistically enterprising film of a year

• presents ACFC Annual Awards on the occasion of Summer Film School festival

• undertakes a Film and School project, media education for secondary students

• organizes Summer Film School in Uherské Hradiště

• organizes a yearly film exhibition Project 100

Summer Film School Uhershe Hradiste Summer Film School is a specific kind of festival with unique atmosphere and a more than thirty-year tradition. Many invited international as well as Czech filmmakers such as Julio Medem, Václav Havel, Terry Gilliam, Terry Jones, Tom Stoppard, Peter Greenaway, Nikita Michalkov, Krzysztof Zanussi, Michael Haneke or Ken Loach have praised this festival.


Every year is the festival attended by several thousands participants and in 2008 it reached 6120 of accredited viewers. Summer Film School provides ten film cycles on various themes and an eventful accompanying program including concerts, theatre performances, workshops and discussions.

Project 100 is a touring film exhibition presenting classics of the world cinematography. Running every year from January to May, it has been enriching cinemas’ programs all around the Czech Republic for more than one decade. To meet desires of all demanding viewers it has offered ten highly evaluated quality films every year, namely Pink Floyd The Wall, Life of Brian, Salo, or The 120 Days of Sodom, Der Himmel über Berlin, The Cremator, Burnt by the Sun, Blow-up, and The Motorcycle Diaries.

Film Club:

• pursues its activities within the scope of ACFC

• holds art film screenings, prefaces to films, and meetings

• provides student and children films screenings

• organizes film exhibitions and seminars

ACFC Member:

• is everyone who owns a member card available at every film club box office

• has a discount on all art film screenings taking place within a local film club

• gains discounts and advantages on more than 20 film events in the Czech Republic, Slovakia and Poland

• becomes one of 20.000 viewers’ base of ACFC

History of the Association of Czech Film Clubs

The first active season of film clubs was initiated in October 1963, and within the first year of the existence of film clubs movement 87 film clubs actively participated in its activities. The “Film Art Friends Club” changed its name to the “Czechoslovak Federation of Film Clubs” (CFFC) in the beginning of spring 1964. The activities of CFFC expanded into the field of working with youth in May 1967.

The so-called “political normalization” of the first half of 1970´s


affected the film clubs movement as well. Official authorities dismissed the CFFC in May 31, 1974. The Council of Czechoslovak Film Clubs was established in June 1976, completely under the control of official state authorities.

Although the state attempted to control the activities of individual film clubs in both the administrative and ideological way, many of the clubs were quite successful in overcoming these obstacles and very often came up with their own programming. At the end of 80´s, there were 250 film clubs existing in Czechoslovakia with some 100.000 individual members.

The political turn of 1989 brought distinct qualitative changes that reached its peak after the split of Czechoslovakia. The Association of Czech Film Clubs was established in 1993, untied its affiliations with the National Film Archive in 1995 and became an independent civic association. The ACFC has also become a member of International Federation of Film Societies (FICC).

GERMANY

FILM IS THEIR PASSION GERMANY’S NON-COMMERCIAL CULTURAL CINEMA HOUSES - THE KOMMUNALE KINOS -

AND THE WORK OF THE ASSOCIATION BUNDESVERBAND KOMMUNALE FILMARBEIT

A network of inspired, professional film curators

There are no less than 160 non-commercial repertory cinemas in Germany’s Federal Association of Kommunale Kinos, the Bundesverband kommunale Filmarbeit. Together, they form a nationwide network of venues devoted to promoting a highly diverse cinema culture. The Kommunale Kinos are specialised cinemas which mount seasons of historical films, highlight the cinematic output of a particular country or examine the entire oeuvre of certain directors and actors, looking beyond individual films to the influences that have shaped their careers. Programmes are devised by experienced curators with a genuine passion for the art of film.

Some Kommunale Kinos have founded world-class film festivals, such as the International Forum of New Cinema in Berlin, while others, such as those in Hamburg and Duisburg, operate renowned film archives. These cinemas also foster new talent, often providing young directors with their first opportunity to present their work to the


public. Kommunale Kinos don’t just fulfil public demand for new films, they want audiences to make discoveries and encounter new ways of seeing. Not surprisingly, these venues provide a haven for independent or experimental work.

Cinemas with a history ...

What does the term Kommunale Kino mean? These cinemas were born of the simple belief that literature, fine art, theatre and all kinds of films should be made available to everyone on a regular basis, in an environment largely independent of mainstream commercial interests. The art of film, it was argued, has a firm place in the cultural legacy of the twentieth century and cannot be dismissed as just another form of mass entertainment. A network of specialised cinemas, partially funded by local governments, was therefore proposed, with the aim of making them as much a part of the public domain as opera houses or museums. The first two Kommunale Kinos were founded in Duisburg and Frankfurt/Main in the seventies, but they were quickly followed by many others in cities across the Federal Republic. These cinemas later founded a nationwide organisation known as the Arbeitsgruppe für kommunale Filmarbeit. At the time, programme makers were inspired by the desire to show ‘different films differently’. However, this credo still encapsulates the unstinting desire of today’s Kommunale Kino curators to provide a richly diverse programme of films in the face of an otherwise impoverished cinematic monoculture.

... and a future

Cinemas belonging to the Bundesverband kommunale Filmarbeit strive to provide a high quality of film programming, which aims to reflect the medium of cinema in all its complexity. It is not uncommon, therefore, for filmmakers and actors to be invited to discuss their work; or for silent films to be accompanied by live music. Moreover, workshops or symposia devoted to various film-related subjects are organised regularly and, naturally, films are shown in the original language with subtitles. Forty per cent of the films shown at Kommunale Kinos are European productions, but programmes frequently include films from Africa, Asia and Latin America. In the absence of any formal teaching of this highly influential medium in schools, the Kommunale Kinos are making an invaluable contribution to media education. Times may have changed but the vision of the Kommunale Kino is as potent today as it ever was.


"If we want a cinema that holds open a window on the world and on history then it’s obvious that we need the Kommunale Kinos more than ever." Wim Wenders. The Association Bundesverband kommunale Filmarbeit ... ... sets standards

The Bundesverband kommunale Filmarbeit awards two annual prizes during the Berlin International Film Festival: the Caligari Film Award, awarded to a particularly innovative film from the programme of the International Forum of New Cinema, and the Liliput Film Award, awarded by a jury of film critics and filmmakers to a film which, in their opinion, has been successfully - or unsuccessfully - dubbed into German.

... protects cultural resources

Always keen to secure prints for their cinemas, the Bundesverband kommunale Filmarbeit maintains excellent contacts with distributors, archives and rights holders. This organisation also raises money to purchase prints and licenses, strike new prints or repair damaged ones. As a result of these initiatives, many important films that would not otherwise have been shown have found their way back into cinemas again.

... acts as an important lobby

The Bundesverband works closely with local, national and even European cultural departments to promote the aims and interests of independent, diverse film programming . Regular press and public relations events - such as the annual Aktionstag, in which all the Kommunale Kinos put together a programme on one subject - highlight the work of both the Bundesverband and individual cinemas.

... makes offers

The magazine Kinema Kommunal doesn’t just contain information about films; it also encourages the exchange of programme ideas and publishes details of seminar and conference papers.

The Handbuch kulturelle Kinoarbeit (Handbook of Cultural Film Programming) has become an indispensable guide for film curators. Published in loose-leaf form and constantly updated, it provides a wealth of useful knowledge on a range of subjects, such as how to devise interesting film programmes, clear rights, finance and


advertise programmes or solve technical problems. Communication between cinemas is greatly facilitated by the network’s own website at www.kommunale-kinos.de.

... provides a service

The Bundesverband kommunale Filmarbeit gladly offers its assistance in curating film programmes in Germany or abroad.

The organisation advises on legal matters or indeed all aspects of cultural film programming and exhibition; it also furnishes its members with accreditation for major film festivals.

... mounts conferences and seminars

such as the Mannheim Symposium. These events focus on the concepts behind oppositional film programming, on film history and technology or new developments in film language and genre.

Who can become a member?

Any cinema dedicated to the idea of independent exhibition and multiplicity in film programming can become a member of the Bundesverband kommunale Filmarbeit.

translated by Lindsey Merrison

INDIA

CEC APPROVES NEW AGENDA FROM THE DESK OF GENERAL SECRETARY :

The Central Executive Committee had a meeting in Mumbai on February 6, 2010. The FFSI programme after Golden Jubilee Year was one of the key points on the discussion agenda. The General Secretary put forward the proposal that FSI should organize Regional Language Film appreciation Courses in collaboration with NFAI. The NFAI has been conducting one-month appreciation courses in Pune and short film appreciation courses at different places all over India since its inception. However, both these courses are conducted in English and keep away a common cinegoer not proficient in English. As the FFSI expands the movement to smaller towns with the help of world cinema DVDs, the FA Courses Regional Language could prove to be very useful to connect with the local cineastes. There are adequate resource persons available now in each language. After detailed discussions, the CEC approved the new programme.


After CEC approval, the General Secretary wrote to the I & B Ministry to seek the NFAI co-operation. With the initiative from our President Shyam Benegal, I & B Ministry approved the FFSI request for NFAI co-operation free of cost. Accordingly, I will meet. FAI Director soon and chalk out seven-day Film Appreciation Courses in different Regional Languages. A uniform timetable would be chalked with a uniform fee of Rs. 2,000/- for each course. NFAI Director or his representative would be invited to attend the course. The participation certificates will be signed by Vice President of each Region and the NFAI Director. The appreciation course programme roll on from April, 2010. The Regions interested in conducting these courses are requested to write to the General Secretary with a schedule of probable dates. Sudhir Nandgaonkar

IRELAND

MICHAEL DWYER, ACCESS>CINEMA'S HONORARY PATRON AND FILM CRITIC FOR

THE IRISH TIMES DIES

Access>CINEMA's is deeply saddened by the passing of Michael Dwyer, our Honorary Patron and the film correspondent of The Irish Times, who has died at the age of 58 following an illness.

Michael wrote for The Irish Times for more than 20 years. Previously, he was film critic for the Sunday Tribune, the Sunday Press and In Dublin magazine, where he established himself as an enthusiastic advocate for cinema from around the world.

A native of Tralee, Co Kerry, Michael first publicly expressed his love of movies through his involvement in the Tralee Film Society in the early 1970s, before going on to establish and manage the Federation of Irish Film Societies, co-ordinating the distribution and exhibition of arthouse films around the country. In 2001 the Federation of Irish Film Societies changed its name to access>CINEMA.

In 1985, Michael co-founded the Dublin Film Festival, which he went on to direct and programme for many years before stepping back


from its day-to-day running in the mid-1990s. When that festival ran into financial difficulties, he was instrumental in the founding and programming of its successor, the Dublin International Film Festival, in 2002. Until recently, he was also on the board of the Irish Museum of Modern Art.

In 1982 he travelled for the first time to the world’s pre-eminent film event, the Festival de Cannes, and went on to attend every festival there since then. His relationship with Cannes, along with his position as Ireland’s foremost cinema critic, was recognised in 2006, when the French government appointed him a Chevalier des Arts et des Lettres. He fell ill following his return from the Cannes festival last May.

Over the course of his career, he interviewed nearly all the world’s great film directors and famous movie stars. For several years in the 1990s, he presented RTÉ’s movie programme, Freeze Frame, and he continued to be a familiar voice on radio programmes including Morning Ireland and the Marian Finucane Show.

Speaking today, Jan 2nd, Pat Moylan, Chairman of the Arts Council, said of Michael:

"With the death of Michael Dwyer, the Irish film sector and cinema audiences in Ireland have lost a true friend and advocate. Driven by a personal passion for film, Michael played a key role in ensuring that audiences throughout Ireland had access to the best in non-mainstream cinema programming for over thirty years. With access CINEMA (formerly the Federation of Irish Film Societies ) and the Dublin International Film Festival, he has left a lasting legacy for film in Ireland."

The staff, board and members of access>CINEMA offer their deepest sympathies to Michael's partner Brian Jennings, his mother Mary and sisters Anne and Maria.

SWITZERLAND

CINÉLIBRE BOUGHT TWO OUTSTANDING DOCUMENTARY FILMS FOR ITS DISTRIBUTION

ACTIVITY

L’encerclement - La démocratie dans les rets du néolibéralisme Directed by: Richard Brouillette Grand Prix Visions du Réel 2009 and other festival awards. FR: http://www.cinelibre.ch/index.php5?languages=fr&action=statisch&topic=encerclement


DE: http://www.cinelibre.ch/index.php5?languages=de&action=statisch&topic=encerclement

Cash & Marry Directed by Atanas Georgiev Main Award of the Jury Regards Neufs at Visions du Réel 2009. FR: http://www.cinelibre.ch/index.php5?languages=fr&action=statisch&topic=cashandmarry DE: http://www.cinelibre.ch/index.php5?languages=de&action=statisch&topic=cashandmarry

UNITED KINGDOM

FEATURED EXHIBITOR HAILSHAM FILM CLUB AND HAILSHAM

PAVILION

Many film societies operate within an existing cinema, whether it be a full size commercial venue, or a smaller scale community cinema. This month's featured exhibitor slot explores the benefits that can be created by this partnership – as well as looking at the trickier parts.

Firstly, Sam Elsby of Hailsham Film Club shares his experience of working within a pre-existing cinema venue. To accompany his piece, Colin Hide of Hailsham Pavilion, the Community Cinema in which the film club operates, provides some background on this sensational venue, and its plans for the future.


Hailsham Film Club - Sam Elsby Hailsham (pop. 20,000) is a market town 7 miles north of Eastbourne. For 35 years it had no cinema until the restored Pavilion re-opened in 2000. The Hailsham Film Club was formed in 2002, to work with the Pavilion (the then manager was on the original committee) to try and bring a broader diversity of cinema to the

town. Hailsham is not a town of artists and bohemians. It has no student population. We therefore decided to concentrate on classic post-war British cinema to attract a wider membership. It was hoped that we would then be able to take financial and artistic risks with some of our selections. The Pavilion felt that the Club could help bring in a different audience, which would then return for their screenings. We also show our films on 'slow' Tuesday. In practical terms we simply agree dates each year and hire the venue (with a duty manager) with the projectionist for a flat fee. The committee act as ushers etc. The Club pay for the film hire and keep the box office takings, while the Pavilion keeps the proceeds of refreshment sales. Our partnership with the Pavilion has been both the Club’s strength and weakness. What has worked? In setting up the Club we had none of the practical difficulties that many other new clubs face such as finding a suitable venue and projector/projectionist. We


did not have to concern ourselves with health and safety; disability discrimination; licences or insurance. We were able to tap into the Pavilion’s resources of experienced projectionists and film buying, although we now order about half our films directly through Filmbank. The Pavilion box office was, and remains, happy to take reservations for our films and display our promotional material. The Pavilion restoration is a triumph. It has been described as 'charming and romantic', and it is. For many, it is a great place to go and see a film. What have been the drawbacks? We have always admitted non-members to our screenings, at full Pavilion prices, and these patrons provide the bulk of the Club’s annual takings. However, with a shared box office and venue, it is easy for the public to perceive the Club as just part of the Pavilion. We have therefore had to work very hard to establish a separate identity. We have tried to create this through separate marketing; a website; our e-mail reminder service; pre-film talks and special events. However, it has been difficult to establish a 'brand' through which alternative cinema can be promoted. In some towns the film Club is the only provider of cinema and membership can run into many hundreds. Our membership has ranged between 20 and 30 only. Despite our best efforts, and keen price incentives, it has proved impossible to grow the membership, although the Club is now in its seventh year and in reasonable financial shape. The Pavilion, as a venue, lends itself to the nostalgia of cinema. If you want popcorn, burger and chips, or alcohol, you will have to go elsewhere. The reasons why so many enjoy it, are exactly the same reasons that can put off a younger audience. We have had consistently poor attendances for our films from teenagers and 20-somethings, despite many of our films not being 18-rated and having some specifically targeted film selections. However, we like to think that we have built up some kudos and goodwill with the Pavilion, and in the last couple of years have run a quarterly joint venture, in addition to our usual programme. We select a current, recently publicised, auteur/arthouse film and split


the profits or losses. This has worked well and at the last AGM it was agreed that the Club should move more in this direction for 2010, by reconsidering the form of our membership scheme and the fixed annual programme. It is probably make or break time for the Club. Either a steady audience can be built up for alternative cinema, or the Club’s money will run out in the next couple of years. www.hailshamfilmclub.co.uk

Hailsham Pavilion - Colin Hide The Pavilion at Hailsham originally opened on 28th November 1921 with Charlie Chaplin’s The Kid as the main attraction. The Cinema is notable for being the first cinema built by Messrs Shipman and King who went on to form a substantial circuit in the South of England. The Cinema closed in 1965 and went over to Bingo from 1967 until 1985. It was then neglected and fell into a very poor state, eventually being taken over by Wealden District Council through a Compulsory Purchase Order. In 1993, Mrs. June Bourne formed a voluntary organisation known as HOPS (Hailsham Old Pavilion Society) with the dream of re-opening the venue, primarily for Cinema but also for other community activities. During the following years, HOPS worked tirelessly to raise funds and also applied for a substantial grant from the Heritage Lottery. The Pavilion is a Grade II listed building of historic and architectural interest being described in the listing as “possibly one of the most elaborate small provincial cinemas ever built.” The Hailsham Town Council, East Sussex County Council and Wealden District Council also gave financial support. Wealden District Council agreed to a peppercorn lease for the building which was granted to a separate company, known as Hailsham Pavilion Limited. (HPL). Plans were drawn up with the aim of returning the Cinema to its original glory, but with the addition of improved toilet facilities and a refreshments kiosk. The small stage was extended into the auditorium so that live musical and theatrical events could be added to the repertoire. Refurbishment work commenced in 1999 and was completed by the end of the year. The seating was reduced from 397 to a more comfortable 203, plus


provision for wheelchairs. New 35mm projection equipment was installed with digital sound as well as providing lighting and sound systems for the live shows. The new company recruited a core paid team consisting of a Manager, Assistant Manager, Box Office Manager, Chief Projectionist and cleaners. This team was supported by numerous volunteers who gave up their time to perform other essential duties. The Cinema/Theatre re-opened on 7th January 2000 with the then latest Bond title The World is Not Enough, the programme of films being supplemented by a variety of live performances. Most films are only booked for a few days so there is always a good range, despite only having one screen available to compete against cinemas with far more screens. Block busters such as James Bond and Harry Potter are booked for longer and not surprisingly, the most popular film in nearly ten years wasMamma Mia. Hailsham Film Club selects a special attraction every month which is open to the public as well as to their members. The live shows have proved very successful with a strong music programme and the Pavilion supports an annual pantomime which always sells out. The Pavilion is available for various types of private bookings. Private screenings are also much in demand. The next big challenge is the potential change from 35mm film projection to digital projection. This will be very costly but HPL has started work on new fund-raising ideas so the Pavilion can continue to provide film entertainment for many years to come. The Pavilion very much appreciates the continued financial assistance given by HOPS and the enthusiastic support of the people of Hailsham and surrounding towns and villages. www.hailshampavilion.co.uk

UNITED STATES OF AMERICA

TALLAHASSEE FILM SOCIETY http://www.tallahasseefilms.com/ About the Tallahassee Film Society.


The Tallahassee Film Society (TFS) is a 501(c)3 tax exempt nonprofit organization. Incorporated in 1999, TFS was formed for the purpose of bringing foreign and American independent films to the Tallahassee area. Modeled after other film societies in the southeastern United States, TFS presents films all year around. In addition, we occasionally promote specialized film events and guests.


Don Quijote awards

INTERNATIONAL FILM FESTIVAL COTTBUS 10. – 15. 11. 2009 FICC JURY REPORT

By Pavel Bednařík, Art Director of Association of Czech Film Clubs General Overview For the first time I had this oportunity and chance to become a member of the FICC Jury on IFF in Cottbus. As for me the wholly new experience was pointed out by becoming a president of the FICC jury. IFF in Cottbus had its 19th Annual Film Festival, which is supposed to become an ongoing tradition in defining what „Central European“film means. The festival offered several competitions and some more off-

competition programmes – Russian Day, New Cinema from the Black Sea, Retrospective „1989 – Times of Change“ etc. Although the festival has its long tradition and you can see the famous past of connecting the former West and East European Cinema, now there is a slight tendency to become a quite local festival. There are lots of opportunities to encounter good East European Films anywhere else (for example in IFF Karlovy Vary, IFF Berlinale etc.) And also the history of the city and its contemporary post-industrial situation makes the festival a bit out of sight. Anyway – the organisers tried to do their best, still there are lots of interesting hot spot films, directors, guests, the service for the guests is very special, also the communication was excellent. A bit of critisism needs to be said about the information which we needed about the programme. It was difficult to ask for the details of the films (subtitles, language), or to get information about the accompanying programme. Sometimes there was a strong impression of a local festival, although most information was bi-lingual (German, English). This could also be observed at the weaker attendence of journalists, guests and


audience from Eastern Europe – most of the audience was from Cottbus and still there were only 500 accredited, which was a record. The festival had a unique tendency to present former Soviet countries and ex-Jugoslavian countries and their cinema, which is still not that usual at the big film festivals. Competition The Official Competition, where the FICC Jury was supposed to award the winner, included 10 films from the whole East Europe, where different characters, attitudes, authorship measures were considered The IFF Cottbus organisers had to accept not being the first festival to be screen the competition films, for example Pálfi’s I am not Your Friend was already in the IFF Karlovy Vary competition. These different measures and criteria for the program selection made these films almost uncomparable. Russian manga film, Chechov-like adaptation, Polish cinema verite, Croatian war dramas... mostly coproductions. Finally the FICC jury – including Pavel Bednarik (Czech republic), Christian Henzel (Germany) and John Bjornebye (Norway) – decided to award the film by Albanian Artan Minarolli Alive! A Special Mention was awarded for the Russian film Buben Baraban by Aleksei Myzgirjev. Statements of the Jury

1. The FICC Jury decided to award the Don Quijote Prize to the Albanian film ALIVE! by Artan Minarolli.

The jury finds that the film manages to highlight a fundamental conflict between modern city-life and paralyzing deep-rooted traditional rituals. The director maintains in a specific cinematic manner the paradox of traditional values which leads to meaningless blood vengeance with deadly consequences. The authors pose the problem not in black-and-white and does not offer the audience easy sollutions.

2. The FICC Jury also decided to to give a Special Mention to the Russian film by Aleksei Myzgyriov for the film BUBEN, BARABAN

The jury considers the film a classical, profoundly and professionally shot film, which poses in a dramatic story line the question of man’s responsibility in human relationships. The director presents a complex psychological profile of the main female character, portraying the existential moment of every human‘s decision, which is not basically bad, but can lead to catastrophic results.


Presentation of FICC (and the Jury) The attention for the The FICC Jury had an easier task than than the main Jury. But there is an ongoing problem concerning the status of the Jury itself. If there is no other reason to be member of the Jury than „stay on the festival and give the Award“, then the Don Quijote prize is a bit meaningless. Meetings with all the jurys, a more thorough presentatiion of the films, debating criteria for the awards before screening could make jury participation more meaningful. The status of the Jury was a kind of status of the invisible Jury. Also the accomodation was in a far away hotel, where it was not so easy to get (for example after the last night screening).A lot of time was lost, although the organisers of the festival did maximum for the comfort of the Jury and all the details of awarding the Prize. At least there should start a discussion on where FICC is heading, how can we emprove the status of the FICC Juries confronted with the other Juries (it might be interesting to discuss about the distribution of the award winning films for example, or inviting the awarded directors for local festivals). Conclusion For the future it is good to target the Cottbus Film festival early on, to help it make a better programme of the local country tradition (Czech cinema was presented with a very strange choice of films – stupid comedy hit Kiss Like a God, RAPublica and coproduction Foxes). It is also necessary to promote FICC in a better way (posters, leaflets, promo-material, info about the Jury in a catalogue, some adittion to the Award etc.) It will absolutely help the status of the FICC prize and FICC Jury not only in Cottbus, but on every other film festival. And the members of the Jury will take it as not a duty, but as an honor to be member of the Jury!

In Olomouc, 29th of December 2009,

Pavel Bednarik

Art Director of ACFC in Czech Republic


FICC JURIES 2010 20TH TROMSO

INTERNATIONAL FILM FESTIVAL JANUARY 18TH 24TH FICC JURY REPORT

The 20. Tromsoe International Film Festival took place from January 18 to 24, 2010 in Tromsoe, Northern Norway. The Don Quijote-Award of FICC, the International Federation of Cine-Clubs has been rewarded to „Whisper With The Wind“ by Shahram Alidi, Irak. Members of the FICC-jury

were Monika Hürlimann (Kino Rosental, Heiden, Switzerland), Kai Arne Jenssen (Tromsoe Film Club, Norway) and Gert Weidenfeld (Die Fähre Filminitiative, Wuppertal, Germany). Where does a film festival match better than with a place, where at this time of the year, daylight lasts only a few hours, approximately from nine o’clock in the morning until the early afternoon. No other temptations like summertime in Locarno with swimming in the lake and street cafés. The main attraction in Tromsoe at this time is the film festival. The atmosphere not far from the North Pole cannot be compared with any other place. How nice and cosy to sit down in the comfortable chairs of the warm cinema. Or to attend the numerous evening events, too. But the landscape is fascinating, unfortunately the northern lights could not be seen. Surprising for us that it was quite warm, there was only few snow and it was even raining two days. So the dog sleig ride I had been looking forward to, couldn’t take place. However, back to the festival. The aim of Tormsoe International Film Festival is, to bring international films off the mainstream to Norway. And in fact, people are very interested. The festival management was proud of reporting 55'000 entries at the closing ceremony; a substantial number for a place with 66'000 inhabitants. On seven screens up to 50 films were presented daily. Already at nine o'clock in the morning the children from kindergarden gathered on the main


square to watch the open-air film, presented on a screen made of snow and ice! The audience consisted mainly of Norwegian visitors but also many, filmlovers from abroad, international directors, actors, journalists, jury members and other guests from even as far as Australia met in Tromsoe. The festival first prize „Aurora“ who guarantees the film distribution in Norway was awarded to „The door“ by Anno Saul, Germany. The „Peace film Award“ was won by „The Other of bank“ by George Ovashwili, Georgia/Kazakhstan. The „International press price FIPRESCI“ went to „10 to 11“ from Pelin Esmer, Turkey and the „Tromsoe Palm“, honouring films of the North, went to "Breathing Music" by Trond Eliassen, Norway. „One moment freedom“ from Arash T. Riahi, Austria/France/Turkey, was honoured with the public price, the „Silver Audience Award“. It was not easy for our FICC jury to chose a winner from 14 competitive films of mainly high quality. The wide range of films from Romania, Russia, Hungary, Turkey, the USA, Iraq, Germany, South Korea, France and Italy was difficult to compare. And if, according to which criteria? Finally, from a narrower choice of four films we decided to award the Don Quijote price to "Whisper With The Wind" by the Iraqi director Shahram Alidi. We have chosen this film especially because it shows in a poetic and intense way without use of violent scenes, how in a society struck by suffering and death, hope prevails.

The festival not only consisted of films, but also workshops and seminars. Furthermore there was the special program "Films from the North" with short and documentary films and a Claire Denis retrospective. Unfortunately, there wasn’t time enough to watch many more films than those in competition. The Tromsoe film festival team took care of our team

in an excellent and very friendly way. The almost village-character of the festival place, where at walking distance everything is accessible richly offered the opportunity to get in conntact with film-makers, journalists, guests and other jury members. We had a great time up in Tromsoe! Further information on www.tiff.no. Monika Hürlimann, Kino Rosental, Heiden Swiss member of the FICC-Jury 2010


24th FRIBOURG INTERNATIONAL FILM

FESTIVAL Serve this to let you know about the nomination of FICC JURY to the

24th Fribourg International Film Festival (FIFF) 13 to 20 March 2010

1. ERIC SCHAER - SWITZERLAND 2. CHRISTIAN HEINZEL - GERMANY (BJF) 3. GEZA CSAKVARI - HUNGARY

FIKE 2009. DON QUIJOTE AWARD EVORA (PORTUGAL)

FIKE 2009, the 8th edition of Évora International Short Film Festival, came to an end this Tuesday, December 1st, with the Closing Session and Award Ceremony. Don Quijote Award: Klotz & Klumpen (Chump & Clump) Stephan Sacher, Germany

FESTIVAL ATIBAIA INTERNACIONAL DO AUDIOVISUAL. DON QUIJOTE AWARD

ATIBAIA (BRASIL) Don Quijote Award: Members IFFS jury: João Paulo Macedo (Portugal), Marcelo Cordero (Bolívia), Yenny Gallego (Colombia), Gê Carvalho and Liuba de Medeiros (Brasil)– Minami em Close-up: A boca em revista do paulista Thiago Mendonça, Mention to Ave Maria ou a Mãe dos Sertanejos, do pernambucano Camilo Cavalcanti. Both movies are in the CINESUD Catalogue


13TH KRISTIANSAND INTERNATIONAL CHILDREN'S FILM FESTIVAL (KICFF) JURY

MEMBERS Serve this to let you know about the nomination of FICC JURY April 27th – May 2rd 2010

1. Morten Steingrimsen – Norway 2. Bijan Sen Sarma – India 3. Remigiusz Mendroch - Poland

Ave Maria


IFFS Members FFS Full Members Argentina Federación Argentina de Cineclubes/Argentine Federation of Film Societies Cristina Marchese, San Martin 1655, 10 A3000 Santa Fe, Argentina Phone: +54/342/459 41 73 Fax: +54/342/459 41 73. E-mail: [email protected] Bangladesh President: Mr. Habibur Rahman Khan (mobile: +88 0171 300 2552) Secretary General: M. Shariful Islam (mobile: +88 0171 83 66 43) Suit : 7/9, Eastern Commercial Complex 73 Kakrail, Dhaka-100 BangladeshTel : 0088-2-9360982 fax: 0088-2-8353280 E-mail: [email protected] or/and [email protected] URL : www.bffs.net Brazil Conselho Nacional de Cineclubes Brasileiros - CNC President: Antonio Claudino de Jesus Adress: Rua Fernando de Noronha, 19 - Jardim Guadalajara - Vila Velha - Espírito Santo - Brasil CEP 29109-040 Tel 55 - 27 - 32393028 / 55 27 88111898 [email protected] International Assistant - Felipe Macedo - [email protected] URL: www.cineclubes.org.br Burkina Faso

Guy Desire Yamego – Burkina Faso e-mail : [email protected] Croatia Croatian Film Clubs Association Contact: Vera Robic Skarica [email protected] President: Hrvoje Turkovic [email protected]

URL: www.hfs.hr Czech Republic Asociace ceskych filmovych klubu, o.s. (Association of Czech Film Clubs)

Produkce ACFK – Sportovni halanamesti Miru 86068601 Uherske Hradiste Czech Republictel: +20 572 501 989 fax: +420 572 501 400 email: [email protected] webpage: www.acfk.cz Representative: Mr Petr Korc, [email protected] Cuba Federación Nacional de Cine Clubes de Cuba Federation of Film Societies of Cuba Rafael Martinez A., presidente Calle 23 No 1155 Vedado. La Habana, Cuba Tel (537) 832-4551 al 53 Ext. 207 [email protected] Denmark Danske Børne- og Ungdomsfilmklubber Danish Film Clubs for Children and Youth Mr. Ebbe Preisler, Lis Lorentzen Rosenørns Allé 35, 1DK-1970 Frederiksberg CDenmark Phone: +45/33 21 41 76 Fax: +45/33 21 41 60E-mail : [email protected], [email protected] URL: www.dabuf.dk Dominican Republic Federación de Cineclubes de República Dominicana - FCRD President: Carlos Francisco Elias Adres.: Plaza de La Cultura, Gazcue, Santo Domingo, RD Tel: (1809) 449-4905 - Fax: (1809) 685-9396 [email protected] Estonia Eesti Filmiklubide Selts

Estonian Federation of Film Societies Mr. Raivo Olmet Vikerlase 13 - 62 EE-13616 TallinnEstonia Phone: +372/632 46 62 or 372/ 554 60 42 (GSM) Fax: +372 6055713 (attn. Raivo Olmet) [email protected] (or) [email protected] Finland (see Suomi) Germany Bundesverband Jugend und Film e.V. Mr. Reinhold T. Schöffel Ostbahnhofstr. 15 D-60314 Frankfurt/Main - Germany Phone: +49/69/631 27 23 Fax: +49/69/631 29 22 [email protected] URL: www.BJF.info Contact person FICC matters: Mr. Hauke Lange-FuchsBarstenkamp 32, 24113 Kiel, Germany- phone: ++49-431- 65370fax ++49-431-653701 e-mail: [email protected] Germany Bundesverband kommunale Filmarbeit Mr. Eckhard Schleifer Schweizer Strasse 6 D-60594 Frankfurt Germany Phone: +49/69/62 28 97 Fax: +49/69/603 21 85 [email protected] URL: www.kommunale-kinos.de/ Great Britain (See United Kingdom) Hungary Magyar Filmklubok és Filmbarátok Szövetsége Hungarian Federation of Film Societies Budakeszi út 51/B, 1021, Budapest, Hungary President: Durst György. Secretary: Kárpáti György. Phone: +36 20 940 2887 E-mail: [email protected],


[email protected], [email protected] India Federation of Film Societies of India President: Mr. Shyam Benegal Secretary: Mr. Sudhir Nandgaonkar (Central Office) New Naigaum Municipal IFFS / FICC Newsletter 11. June 2009 10 School No.2 Ambedkar Road, Dadar, Mumbai, India. 400 014. Phone: +91 22 2413 3191E-mail: [email protected] Ireland access CINEMA Miss Maeve Cooke. The Studio Building, Meeting House Square, Temple Bar Dublin 2. Ireland Phone: +353/1/679 44 20 Fax: +353/1/679 44 1 [email protected] URL: www.accesscinema.ie Italy Federazione Italiana dei Circoli del Cinema Presidente: Mr. Marco Asunis Consiegliere e responsabile per le relazioni internazionali: Paolo Minuto Via Nomentana 427 I-00162 Roma Italy Phone: +39/06/863 282 88 Fax: +39/06/863 282 87 [email protected] http://www.ficc.it Morocco Fed. Nationale des ciné-clubs au Marroc Aziz Arbai Place Navarre, Immeuble San-Francisco 1er étage N'3 Tanger 00212679097550 URL: www.ccm.ma e-mail: [email protected] Norway Norsk Filmklubbforbund Norwegian Federation of Film Societies Mr. Jon Iversen Filmens Hus, Dronningens gate 16 N-0152 OsloNorway

Phone: +47/22 47 46 80 Fax: +47/22 47 46 92 e-mail: [email protected] URL: www.filmklubb.no Poland Polska Federacja Dyskusyjnych Klubów Filmowych Polish Federation of Film Societies Mr. Maciej Gil (Secretary General) Address: ul. Puławska 61, 02-595 Warszawa, Poland Phone: +48 503 035 073 E-mail: [email protected] web: www.pfdkf.pl Portugal FPCC - Federação Portuguesa de Cineclubes Portugues Federation of Film Societies Miss Rita Freitas, President Rua de S. Pedro, Edificio Carneiro 1200 Abrantes, Portugal. email: [email protected] url: www.fpcc.pt Serbia Dragan Milinkovic Email: [email protected]. Sri Lanka Sri Lanka Federation of Film Societies Mr. Ashley Ratnavibhushana 188, Dehiwala RoadBoralesgamuwaSri Lanka Phone: H50+94/77/318 610 IFFS / FICC Newsletter 11. June 2009 11 Fax: +94/1/50 95 53 or 519 923 [email protected] Slovak Republic Asociácia slovenských filmových klubov Association of Slovak Film Clubs Mr. Peter Dubecký Brnianska 33 811 04 BratislavaSlovak Republic Phone: +421/2/54652018-19Fax: +421/2/54652017 [email protected] URL: www.asfk.sk Spain - Catalonia

Federació Catalana de Cine Clubs / Catalan Federation of Film Societies President: Josep Costa. C/Casanova 3-5-7, escala esquerra, Entresol 7a. CP-08011 - Barcelona Spain Phone: +0034/93/2890562 Fax: +0034/93/2890563 e-mail: [email protected] [email protected] URL: www.federaciocatalanacineclubs.cat Suomi - Finland Suomen elokuvakerhojen liitto SEKL ry. Castréninkatu 3 00530 Helsinki tel +358-(0)9-694 33 64 Email: [email protected] www.elokuvakerhot.fi Sweden Sveriges Förenade Filmstudios Swedish Federation of Film Societies Mrs. Astrid Friberg PO Box 27126 S-10252 StockholmSweden Phone: +46/8/665 11 00 Fax: +46/8/666 37 48 [email protected] URL: www.sff-filmstudios.org Switzerland Cinélibre Federation of Swiss Film Societies and Non Profit Cinemas Mr Robert Richter Postfach 534 CH-3000 Bern 14 Switzerland Phone: +41/31/371 61 00 Fax: +41/31/371 32 72 [email protected] URL: www.cinelibre.ch Tunisia Fédération Tunisienne des Ciné-Clubs Tunisian Federation of Film Societies 22 bis, rue du Caire 1004 TunisTunisia Phone: +216/1/348 435 Fax: +216/1/348 435 [email protected]


http://laftcc.org/ United Kingdom British Federation of Film Societies (BFFS) The Workstation,Paternoster Row, SHEFFIELD, S1 2BX, UK. Chair: Donna Anton Operations Coordinator: Jacqueline Chell Block Booking and RVC: Ami Aubrey Adminstrator: Jacqueline Chell Email: [email protected] Tel: +44 (0)114 2210314 www.bffs.org.uk Uruguay FICCU (Federación de instituciones de Cultura cinematogáfica del Uruguay) Sede. Cine Universitario . Canelones 1280, Montevideo;11000. Tel. + 598 2901 6768 Representante: Fernando Henríquez [email protected]. URL: [email protected] ASSOCIATE MEMBERS: Australia Australian Council of Film Societies Mr John Turner (President) 20 Crathie Avenue, Park OrchardsVictoria 3114Australia Phone: - Fax: +61/3/9808 4714 [email protected] Malaysia (only Kelab Seni Filem Malaysia) President : Mr. Wong Tuck Cheong 21 Jalan BU 11/2 Bandar Utama 47800 Petaling Jaya. Selangor, Malaysia email: [email protected]: Mobile:6012-2255136 . Fax: 603-2711 2331 México Cineclub Bravo Mundokino Mexico City Mexico http://mundokino.net

[email protected] Former Members: France Union Nationale Inter Ciné-Clubs/U.N.I.C.C. - Inter film Mrs. Janine Bertrand, Présidente. 22 rue des Cordelières F-75013 Paris France Phone: +33/1/45 35 35 39 Fax: +33/1/47 07 81 20 info@cineclubsinterfilm. com URL: www.cineclubs-interfilm.com France Fédération des Ciné-Clubs de la Méditerranée Federation of Mediterranean Film Societies Mrs. Henriette Baldivia 5, passage Magrou F-34500 Béziers France Phone: +33/467 31 27 35 Fax: +33/467 31 73 06 [email protected] Germany Interessenverband Filmkommunikation Mr. Wieland Becker Veteranenstraße 21 D-10119 BerlinGermany Phone: +49/30/449 30 63 (449 10 67) Fax: +49/30/449 30 63 (448 39 61) [email protected] Greece Greek Federation of Film Societies IFFS / FICC Newsletter 11. June 2009 13 Mr. Manolis Stavrakakis Klissovis Street 12 106 77 Athens Greece Phone: +30/1/384 73 93 or 383 50 33 Fax: +30/1/384 73 93 or +30/1/382 45 21 [email protected] Italy Unione Italiana Circoli del Cinema Pier Paolo Mignone (Presidente)Largo Leopardi 12 I-00185 RomaItaly

Phone: +39/06/474 55 47 or 482 73 58 + Fax: +39/06/482 73 58 [email protected] www.uicc.it/ Italy Unione Circoli Cinematografici Arci Nova Mr. Massimo De Grandi (Presidente nazionale) Direzione Nazionale, via dei Monti di Pietralata, 16 I-00157 Roma Italy Phone: +39/06/416 09 220 or 416 09 225 or +39/348/264 85 22 (mobile) Fax: +39/06/416 09 2 [email protected] Lithuania National Association of Film Societies of Lithuania Z.Sierakausko 30-7, Vilnius, Lithuania tel.: +370 687 26020e-mail: [email protected] internet site: www.kinoklubas.lt New Zealand New Zealand Federation of Film Societies Mr. Bill Gosden (Director), Mrs. Sharon Byme P.O. Box 9544, Marion Square Wellington New Zealand Phone: +64/4 385 01 62 Fax: +64/4 801 73 04 [email protected] Philippines Independent Cinema Association of the Philippines Tikoy R. Aguiluz 76 - B Scout Gandia St., P.O. Box 2877 Quezon City Central Post Office 1168 Philippines Phone: H41+632-412 76 86 Fax: +632-371 88 2 [email protected] or [email protected] Russia Russian Cine Clubs [email protected]


Slovenia Sklad Republike Slovenije za Ljubiteljske Kulturne Dejavnosti Republic of Slovenia Fund for Amateur Cultural Activities - Slovenian Federation of Film Societies Mr. Peter Milovanovic Jarh Stefanova 5 1000 Ljubljana Slovenia Phone: +386/1/24 10 500 or 24 10 521 Fax: +386/1/24 10 514 [email protected] Spain - Galicia Federacion de Cineclubes de Galicia IFFS / FICC Newsletter 11. June 2009 14

Federation of Film Societies of Galicia Mr. Anxo Santomil Rúa Ramón Cabanillas 1, Entrechán E-32004 Ourense, Galicia Spain Phone: +34/988/23 59 46 Fax: +34/988/23 59 46 - e-mail: [email protected] Ukraine Cinema Clubs Federation Ukraine Mr. Valerii Tsyferov Saksaganski Street 6 252033 Kiev, Ukraine Phone: +380/44/553 90 55 Fax: +380/44/227 46 72 USA Tallahassee Film Society Mr John M. Fraser

PMB #250, 1700-11 North Monroe Street Tallahassee FL 32303 USA [email protected] www.tallahasseefilms.com CONTACTS: Afghanistan, Algeria, Colombia, Nepal, Japan, Indonesia, South Korea, Vietnam, Ecuador, Burkina Faso, Egypt ,Serbia, Thailand, Lebanon, Iran, Venezuela, Bolivia, Chile, Finland, Cabo Verde, Mongolia, Pakistan (only Karachi Film Society), Singapore (only Singapore Film society)


Executive Committee

Gianni Amelio: Cultural President.

President: Paolo Minuto (Italy) Vice/President: Antonio Claudino de Jesus (Brazil)

General Secretary: Golam Rabbany Biplob (Bangladesh) Treasurer: Raivo Olmet (Estonia)

Special duties:

Website: Jon Iversen (Norway) Juries: Joao Paulo Macedo (Portugal)

Secretary: Atle Isaksen (Norway) Communication: Julio Lamaña (Catalonia – Spain)

Archives: Robert Richter (Switzerland) Education: Guy Desire Yamego (Burkina Faso) Children’s film: Hauke Lange-Fuchs (Germany)

Group Secretaries:

Mr. Wong Tuck Cheong (Malaysia), Asian group Miss Maeve Cooke (ireland), English language group

Maciej Gil (Poland ), Central Eastern European Cristina Marchese (Argentina), Latin-America Aziz Arbai (Morocco), Mediterranean group,

Astrid Friberg (Sweden), Nordic. ____________________

Auditor: Torbjorn Svensson

IFFS website www.ficc.info

another’s links

www.mundokino.net http://www.flickr.com/photos/mundokino/ http://plataformacinesud.wordpress.com

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iffs newsletter number 14

Documents

film critic

hailsham film club

group reports

ficc jury report ficc

central european group

group secretaries

latin amerian group

iffs news rivoli italy