Welcome To The Cinema of Childhood | Film News

Filmhouse, Edinburgh has announced a UK-wide film season, Cinema of Childhood, curated by filmmaker Mark Cousins and inspired by his latest feature documentary, A STORY OF CHILDREN AND FILM, released in cinemas April 4th (Dogwoof).

boot

The Cinema Of Childhood season will launch April 11th at Filmhouse, BFI Southbank, and other key venues across the UK. The season, which will tour the UK for a year, includes 17 brilliant films from 12 countries, spanning 7 decades. Most have rarely been seen in the UK – some are totally new to UK audiences.

“These are some of the best films you’ve never had a chance to see,” Cousins says. “Films about childhood take us on fantastic voyages. E.T.: THE EXTRA TERRESTRIAL was a magical bike ride across the moon. THE JUNGLE BOOK showed us the bare necessities.  A boy in THE RED BALLOON stole our hearts.  But beyond these mainstream and arthouse classics, there’s a world of great cinema about kids which is hardly known, but just as brilliant.  Welcome to that world.  Jump into it.”

“Fly to the moon on gossamer wings with the little boy in Astrid Henning-Jensen’s PALLE ALONE IN THE WORLD from 1949.  Get close to the flame of life with Renko, in Shinji Somai’s 1993 masterpiece, MOVING.  Body-swerve the bullies in Karel Kachyna’s Czech cinematic wonder, LONG LIVE THE REPUBLIC, from 1965. See LITTLE FUGITIVE, the American film from 1953 which helped inspire the French New Wave. Discover the work of one of the world’s greatest movie-makers,
Mohammad-Ali Talebi from Iran with three of his best films – THE BOOT, BAG OF RICEand his poetic masterpiece WILLOW AND WIND.” Mohammad-Ali Talebi will visit the UK for the first time in April, as a guest of the British Council to launch the season with Mark Cousins at BFI Southbank, Filmhouse and other venues to be announced.

Most of the titles in the season are featured in Mark’s documentary A STORY OF CHILDREN AND FILM, which premiered at the Cannes Film Festival last year to 5-star reviews, and has since been acclaimed at many other major festivals worldwide, including Edinburgh, Karlovy Vary, Telluride, Toronto, Stockholm and Dubai.

The season opens up a world of wonder for audiences of all ages who are keen to explore beyond Hollywood’s idea of childhood. The films are both specific to their own time and culture, but also universal in their depiction of childhood emotions, hopes and fears. Children everywhere have so much in common – only the worlds they inhabit are different.

Emotionally engaging with audiences from 8 to 80, Cinema of Childhood invites filmgoers to go on a global adventure with Mark, to discover previously unknown movie masterpieces and to see the world anew through young eyes. Uplifting and exhilarating, these are films to brighten your day.

 

The season is managed by Filmhouse, which has licensed the films for a year, and is creating new digital materials where necessary to make the films available to the widest possible range of cinema venues.   Filmhouse has also licensed the VoD rights for many of the titles, enabling audiences to watch these titles at their own convenience from home or on the move via Filmhouse Player.

The project is backed by the BFI’s Programming Development Fund, awarding funds from the National Lottery. The producer of the season is Adam Dawtrey, who also produced (with Mary Bell) A STORY OF CHILDREN AND FILM.
Filmhouse (Edinburgh) and BFI Southbank (London) will programme the entire season from April to June. Other venues already confirmed to host Cinema of Childhood include Queen’s Theatre (Belfast), Chapter Arts Centre (Cardiff), Broadway (Nottingham), Dundee Contemporary Arts, Glasgow Film Theatre, Eden Court Theatre (Inverness), the Roses Theatre (Tewkesbury), Duke of York’s (Brighton), Watershed (Bristol), Cornerhouse (Manchester) and Showroom (Sheffield),along with selected Picturehouse and Curzon cinemas nationwide. Films from the season will also screen at special festival events, including the Glasgow Youth Film Festival screening ofThe White Balloon on 9th February, Zoom International Youth Film Festival and WoW Festival in March, and the Brighton Festival in May.
Further venues will be announced in due course.

In addition there are plans to screen films from Cinema of Childhood in partnership with several organisations concerned with child welfare. These screenings, which will be targeted at a mixed audience of childcare experts and the general public, will explore representations of childhood from a professional perspective, looking at issues from different cultural and global viewpoints.

 

The full list of titles screening in the Cinema of Childhood season are:
• “Willow and Wind” (Bid-o Baad). Iran, Japan, 1999. D. Mohammad-Ali Talebi. 77 mins. A boy breaks a school window, and must mend it himself before he’s allowed back in class.

• “Bag of Rice” (Kiseye Berendje). Iran, Japan, 1998. D. Mohammad-Ali Talebi. 80 mins. A little girl and an old blind lady decide to carry a sack of rice across Tehran.

• “The Boot” (Chakmeh). Iran 1993. D. Mohammad-Ali Talebi. 60 mins. A little girl craves a new pair of red wellies – but then loses one.

• “The Little Girl Who Sold the Sun” (La petite vendeuse de soleil). Senegal, Switzerland, France, Germany 1999. D. Djibril Diop Mambety. 45 min. A feisty crippled girl tries to improve her life by selling newspapers on the streets of Dakar.

• “Hugo and Josephine” (Hugo och Josefin). Sweden, 1967. D. Kjell Grede. 82 mins. The lonely daughter of a rural pastor makes friends with a wild boy who lives in the woods.

• “The King of Masks” (Bian Lian) China, Hong Kong, 1997. D. Wu Tian-Ming. 91 mins. An old illusionist buys a young boy to become his apprentice – but the boy isn’t quite what he seems.

• “The White Balloon” (Badkonake sefid) Iran 1995. D. Jafar Panahi. 85 mins. A stubborn little girl wants a new goldfish, and won’t let anything get in her way.

• “Tomka and his Friends” (Tomka dhe shokët e tij) Albania, 1977. D. Xhanfise Keko. 78 mins. A gang of Albanian boys in WW2 become secret agents for the Resistance when German troops occupy their village.

• “Palle Alone in the World” (Palle alene i verden). Denmark 1949. D. Astrid Henning-Jensen. 25 min. A boy wakes up to find Copenhagen deserted, and it becomes his giant playground.

• “Ten Minutes Older”. (Par desmit minutem vecaks). Latvia 1978. D. Herz Frank. 10 mins. One close-up, 10 minutes long, of a small boy’s face as he watches a thrilling puppet show.

• “Long Live the Republic” (At’ zije republika) Czechoslovakia, 1965. D. Karel Kachyna, 134 mins. A bullied boy tries to survive in a Czech village as the Germans retreat and the Russians advance.

•  “Moving” (Ohikkoshi) Japan, 1993. D. Shinji Sômai. 124 mins. A girl struggles to come to terms with her parents’ divorce.

• “Forbidden Games” (Jeux interdits). France, 1952. D. René Clément. 86 mins. A boy and a girl retreat into a fantasy world to escape the horrors of WW2.

• “Crows” (Wrony). Poland, 1994. D. Dorota KÄdzierzawska. 63 mins. A neglected girl steals a younger girl to become her surrogate mother.

• “Little Fugitive”. USA 1953. Dir Morris Engel, Ray Ashley, Ruth Orkin. 80 mins. A 7-year-old boy runs away to Coney Island when he thinks he’s killed his older brother.

• “Children in the Wind” (Kaze no naka no kodomo) Japan, 1937. D. Hiroshi Shimizu. 88 mins. The idyllic village life of a Japanese boy falls apart when his father is falsely imprisoned.

• “The Unseen” (NespatÅené). Czech Republic, 1997. D. Miroslav Janek. 53 mins. Documentary about Czech blind kids with remarkable talents, including taking photos.

 

Film4 Launches Interactive Experience for Dreams of a Life

Picture by Lottie Davies.

Film4 has commissioned a unique and innovative multiplatform experience to support the release of Carol Morley’s feature film Dreams of a Life.

Dreams of a Life, which is co-produced and co-financed by Film4, movingly pieces together the true story of 38-year-old Joyce Vincent, whose skeleton was discovered in her bedsit three years after she had died. The accompanying digital commission, www.dreamsofyourlife.com, has been developed by interactive agency Hide&Seek, as a thought-provoking and immersive experience which engages users in the themes explored by the film.

Award-winning writer A.L. Kennedy has crafted the absorbing and sometimes unnerving narrative, which prompts responses to questions on society, friendship, love and loneliness. This is played against the backdrop of beautiful and haunting time-lapse imagery, created by photographer Lottie Davies.

The launch of www.dreamsofyourlife.com will also be supported by a mobile touring installation, allowing audiences to interact with the experience on iPads at selected venues in the cities where the film is playing.

www.dreamsofyourlife.com, commissioned by Hilary Perkins, Channel 4’s Multiplatform Commissioning Editor for Drama and Film, launches on 1st December 2011. Dreams of a Life is released in selected cinemas on 16th December.

The Film

Dreams of a Life, directed by Carol Morley

Released in cinemas on 16th December by Dogwoof

Nobody noticed when 38-year-old Joyce Vincent died in her bedsit above a shopping mall in North London in 2003. When her skeleton was discovered three years later, her heating and her television were still on. Newspaper reports offered few details of Joyce’s life – not even a photograph. Who was Joyce Vincent? And how could this happen to someone in our day and age – the so-called age of communication? Dreams of a Life is Carol Morley’s quest to discover who Joyce was and how she came to be so forgotten.

Discover the Touring Installation from 12th December (more venues tbc):

Manchester Cornerhouse; Sheffield Showroom; Stratford Picturehouse

UK Film Industry Pioneers Sustainability Standard Developed by BSI

The British film industry, in conjunction with BSI, is taking the lead in the global entertainment market with the announcement at the Cannes Film Festival of a new British Standard that will improve the industry’s environmental, social and economic impact. For example, in London alone, screen production accounted for 125,000 tonnes of carbon emissions in 2009, 40% of which came from studios and 28% from TV and film production.

After seeing how the British Standard, BS 8901, has helped the events sector address sustainability issues and save money ahead of the 2012 London Olympic Games, the UK Film Council, whose funding responsibilities have now transferred to the BFI, asked The British Standards Institution (BSI) to work with it to develop a new industry standard for film.

The resulting standard, BS 8909, is a specification for ‘sustainability management’ in the film industry from production through to cinema exhibition and home entertainment that helps companies focus on how their activities impact the environment, the communities they work in and their wider economic influence.

Oscar winner Colin Firth, who is fully behind the new British Standard said, “As one of the founding partners of Eco Age, I’m delighted that Eco Age has project managed the trials of the new British Standard for sustainable filmmaking. BS 8909 is an exciting step forward – it gives the film industry a robust framework for managing our social and environmental impacts.”

Eco Age, Firth’s ethical retail organisation has played an integral role in the launch of the standard, having run three of the pilot schemes and offering support and guidance to the pioneering organisations who have adopted the standard – including Ealing Studios, Dogwoof, and the BFI.

BS 8909 can be applied across the film supply chain from planning to production, through to editing, distribution, screening and archiving. These extend beyond ‘going green’ and into areas such as the way filmmakers interact with communities where they film; for example, providing local employment opportunities or sourcing local products.

BSI’s Director of Standards Mike Low says: “The film industry has pockets of excellence around sustainability issues, however, the new British Standard BS 8909 provides a comprehensive framework for all parties involved in the development and launching of films to adopt. It encourages companies to address the environmental, social and economic impacts of their work – from the initial concept for the film right through the process, even down to any merchandising and advertising.”

Complying with the new standard shows that processes and protocols are in place so that a film company’s environmental impact is minimised and its social and wider economic benefits maximised. For example:

* Environmental: by reducing carbon emissions produced by wasteful travel arrangements; such as improved route planning, selecting vehicles with lower CO2 ratings, ensuring that more people travel together or adopting a more sustainable means of transport
* Social: by establishing clear guidelines for minimising the impact of the filming schedule on local communities; such as limiting hours of work, engaging early with communities about parking arrangements, noise, and catering, or by ensuring that child cast members are chaperoned are able to cope with the demands of a busy working environment. The entire supply chain can be considered too, which means, for example, that companies that produce a film’s associated merchandising will be able to adopt the standard too
* Economic: by helping communities benefit from film activities: for example, by hiring local people and compensating them properly or sourcing local props, extras and catering.

The introduction of BS 8909 is expected to be just the start of a process of assimilating sustainability management into film production. Whilst companies may be undertaking many activities that comply with the standard – such as recycling office supplies or running low-emitting vehicles, for example – they will need to examine their whole range of activities to achieve best practice. As the standard is adopted by the industry, the British Standards Institution expects to develop a certification scheme that could be offered through trade associations or supplier audits.

For further information on the standard please visit: www.bsigroup.com/bs8909

Greening the Screen with BAFTA. {Social Diary}

Where: BAFTA, 195 Piccadilly, W1J 9LN
When: 18 October 2010

At an unseemly early time – 9am – I joined Alistair McGowan, Tim Bevan and a host of other filmmakers to discuss climate change. The film industry can be an incredibly wasteful place and time restraints make recycling hard. However, a number of companies are tackling this, Including Greenshoot. A company who managed to recycle 95% of the sets from Nanny McPhee 2.

The event was chaired by Alistair McGowan, who was on top form.

Other people who were there; Jonathon Porritt, founder director of Forum for the Future and former Chairman of the UK Sustainable Development Commission; Paul Evans, CEO, Greenshoot; Andy Whittaker, CEO, Dogwoof; Fergus Rolfe, Low Carbon Innovation Centre; Tim Bevan, Working Title and Chair of the UK Film Council, but unfortunately Amanda Berry, Chief Executive, BAFTA; couldn’t make it due to illness.

Afterwards there was a educational free market where a list of companies gave free advice and help on reducing the carbon footprint of companies. AECom; BSI British Standards; Carbon Aware Productions; Cinema Exhibitors’ Association; Davis Langdon; Dogwoof Greenshoot; Julie’s Bicycle; Low Carbon Innovation Centre Magnificent Revolution; Nice and Serious; Red Redemption; South East Media Network; Wedlake Bell all made an appearance. I found the people form 10:10 particularly helpful.

Frost Magazine will be doing a series of article on the environment and how to reduce your carbon footprint soon.