Konverents “Cinema and the City” ja uute arhitektuurifilmide esilinastus!
“Cinema and the City” konverents on platvorm kino, linnakeskkonna ning arhitektuuri vaheliste seoste käsitlemiseks nii akadeemilisest kui ka empiirilisest seisukohast. Erinevate ettekannete aluseks filmiajaloo, filmiteooria ning ka kognitiivse lähenemise vaatepunktid. “Cinema and the City” eesmärk on julgustada interdistsiplinaarsete seoste loomist ja hõlbustada erinevate ideede ja kontseptsioonide kohtumist.
Sissepääs on tasuta!
Lisainfo Supernova kino lehel
Facebooki leht
Tegemist on rahvusvahelise konverentsiga, mis toimub inglise keeles seega ka lisainformatsioon, millega saate tutvuda allpool, on inglisekeelne.
Programm:
Friday 13th of February
17.00 Opening
17.15 Session 1: Paris, Cinematic City. Chair: Elen Lotman
Filming Paris: continuities and discontinuities – Kristian Feigelson (Paris)
A tribute to Chris Marker (1921-2012), the French documentarist: Marker’s Paris – Jarmo Valkola (Tallinn)
19.00 Evening Screening: Le Joli mai (Lovely Month of May), Chris Marker, France, 1963 (English subtitles)
21.00 Discussion
Saturday 14th of February
12.00 Session 2: Cinematic Circles and Narratives. Chair: Kristian Feigelson
Brussels in the Belle Epoque – Wouter Hessels (Brussels)
Concrete dreams, concrete nightmares. Tallinn’s Lasnamäe district in fiction film – Mari Laaniste (Tallinn)
Narrative in buildings – Lilli Repnau (Tallinn)
13.30 Discussion
14.15 Session 3: Urban Spaces and Landscapes. Chair: Jarmo Valkola
Representation of architectural spaces in films and perceived empathy of the viewer – Elen Lotman (Tallinn)
How aspect ratio in films changes the perception of space in urban landscapes and architecture – Timo Heinänen (Helsinki)
15.15 Discussion
15.30 Observations of the first two years of architecture film’s competition – Katrin Koov (Tallinn)
16.00 Screening of Architecture Films. Premiere of the joint project works – 5 architecture films by BFM students: BFM/Estonian Architect’s Union
Organized by Tallinn University, Baltic Film & Media School together with Sorbonne Nouvelle University, Paris, Aalto University, Helsinki, and RITS Film School, Brussels, Estonian Architect’s Union, Estonian Culture Endowment
Esinejad:
Timo Heinänen FSC is a cinematographer, photographer and a professor of cinematography and the head of the film studies in ELO Film School Helsinki. He has shot tens of features and TV films, numerous TV series, documentaries and short films. He is a board member of Finnish Society of Cinematographers and a deputy board member of IMAGO, European federation of Cinematographers. Currently he is also a doctoral student at ELO. The title of his forthcoming dissertation is “Cinematographer’s Canvas – cinematic image with borders”, which focuses on the process of cinematographers working with variety of aspect ratios.
Timo’s presentation How aspect ratio in films changes the perception of space in urban landscapes is focused on the way the use of aspect ratio in filmmaking affects the sensation of spaces, based on the results of his PhD research and empirical experience as a cinematographer.
Wouter Hessels (1970) studied French language and literature, philosophy and audiovisual media in Brussels and Antwerp. Since 1995 he teaches film history and mainly media and society at the RITS, School of Arts. Currently he also teaches film history at the Atelier Film & Video Art (KASKAntwerpen) and Vesalius College (VUB). Since 2010 he is the coordinator of CINEMA RITS. In 2011-2012 he worked for the Royal Film Archive (Cinematek).
Wouter’s presentation Brussels in the Belle Epoque returns us to the era when film was invented at the end of the 19th century and the modern city of Brussels was the capital of Belgium that was the second modern industrial superpower in the world, after Great Britain. Brussels lived the Belle Epoque (1870-1914) through art nouveau, eclectic and iconic buildings like the Bourse, wide central avenues (Boulevard Anspach), nice squares with gardens (Parc du Cinquantenaire, Mont des Arts etc.) the electric tram etc. Cinematographic views and short films show the metropolis of Brussels in the artistic and industrial Belle Epoque during which Brussels’ public space was profoundly transformed.
Kristian Feigelson is a sociologist specializing in cinema and history and the sociology of the film industry at the Institut de Recherches en Cinéma et Audiovisuel, Paris; Professor (Habilité) of Cinema and Media Studies at the University of Paris III/ Sorbonne Nouvelle/IRCAV and Associate Researcher at the École des Hautes Etudes en Sciences Sociales/CESTA. The organizer of numerous international colloquia on East European cinema, and of collaborative research for journals including Annales,Communications, Esprit, Études, and Positif, he is editor of Théorème 7 : Cinéma hongrois: le temps et l’histoire, 2003; Théorème 8: Caméra politique: Cinéma et Stalinisme, 2005; Théorème 10: “Villes cinématographiques : ciné-lieux,” and co-editor of Russie, peuples et civilisations (2005) and author of numerous books.
Kristian’s presentation Filming Paris: continuities and discontinuities explores the images of Paris especially in the 1960s through the films of Jean Rouch and Chris Marker. Since the 1910’s, Paris had been shot in many ways. This cinematographic experience has transformed Paris. Over the last century, thousands of films have had Paris as their setting. Three generations of filmmakers, René Clair, Jacques Tati, Jean Rouch, Chris Marker, Agnès Varda, Eric Rohmer, and later Jean-Pierre Jeunet etc. rediscovered Paris and recreate this city at different periods turning it in to a central unidentifiable space. Whether a mythical or enlightened city, Paris became often unrecognizable. How may we understand today the question of a hybrid city, under complete transformation, fragmented and reconfigured in this discontinuity cinematic process?
Jarmo Valkola is Associate Professor of Film History and Theory in the Department of Film Arts at Tallinn University, and also Associate Professor at Aalto University, University of Lapland and University of Jyväskylä. He is Doctor of Philosophy, and has previously worked as Professor of Art Education at the University of Jyväskylä. He has published 17 books and numerous articles on art, cinema and aesthetics. His 2015 publications include a book on Audiovisual Language of Cinema (in Estonian), and a book on Pictorialism in Cinema. He has worked as Visiting Professor at Sorbonne Nouvelle University (Chaire Roger Odin: Arts & Médias) in Paris, and among his filmic interests, cinema-and-the-city theme has a prominent role, and he has contributed with many conferences, and special editions on fiction and documentary. Chris Marker, cinema and architecture, film and travel culture, etc.
Jarmo’s presentation A tribute to Chris Marker (1921-2012), the French documentarist: Marker’s Paris concentrates on Marker’s role as an illuminating world traveler, whose films have taken the form of personal essays epitomizing the use of documentary for personal expression. Marker mixes complex interactions and opinions with ironic distance, wit, humor, and special fascination.
Mari Laaniste is a researcher in The Research Group Of Cultural And Literary Theory in the Estonian Literary Museum. She has graduated BA (1999) and MA (2001) in art history from the Estonian Academy of Arts, an was a PhD student at EAA from 2003 to 2007. Mari has also published fiction and is active as a film, art and pop-culture critic. Main areas of her research include: visual narratives the relations between words and images in visual communication, film, comics, drawn animation.
Mari’s presentation Concrete dreams, concrete nightmares. Tallinn’s Lasnamäe district in fiction film stems from Veiko Õunpuu’s 2007 film Autumn Ball which is composed of a series of loosely connected stories set in an urban space mostly filled with dreary prefab apartment blocks. The central role of the abstract, anonymous modernist sleeper suburb is assigned to Tallinn’s Lasnamäe district. The film is without a doubt the most impressive depiction of an urban environment in Estonian cinema’s recent history. In fact, it could be argued that its main pathos is carried by the visuals and the setting. In this presentation Mari also expands the topic of Lasnamäe through mentioning films like “Keskea rõõmud” and recent “Nullpunkt”.
Lilli-Krõõt Repnau as an artist who was educated in Estonian Academy of Arts, Printmaking BA. She is MA student in Estonian Academy of Arts in both Animation and Printmaking curriculums. She has been an Exchange Student, Hochschule für Kunst und Gestaltung Luzern (Switzerland) video department and is a member of the Estonian Artists Association.
Lilli’s presentation Narrative In Buildings is an exploration on how every building can speak us their personal story. Sometimes it is just fruitful to imagine what could happen behind these walls. For Lilli, it is inspiring to sense the environment through the context of the recent history, because the city holds itself so many different layers. Architecture has always been an expression of power. Many old buildings are smashed down and new supermarkets arise. Rapid changes have created a sense of alienation from reality. Lilli has used a variety of techniques; etching lithography, video and animation to emphasize and re-create those sensations.
Elen Lotman is a cinematographer, a member of Estonian Society of Cinematographers ESC and board member of IMAGO, European federation of Cinematographers. As a cinematography teacher, BFM representative of a 3 layers of storytelling project focused on developing a graduate cinematography curriculum and head of BFM film department she is invested heavily in film education through her practice as a cinematographer. Her PhD research explores the ways cinematography affects viewer engagement.
Elen’s presentation Representation of architectural spaces in films and perceived empathy of the viewer draws from empirical evidence of practicing cinematographers and scientific evidence of cognitive film theories to show how through reinforcing the perception of space already inherent in the architectural spaces might possibly have an effect on the affective response of the viewer.
Katrin Koov (1973) is an Estonian architect who graduated from the Department of Architecture of the Estonian Academy of Arts in 1997. Since 2003 Katrin Koov has worked in the architectural bureau KAVAKAVA OÜ. Notable works by Katrin Koov are the Concert Hall of Pärnu, the new sports arena of Pärnu and the new building of the Narva College of the University of Tartu. From 2014 she is the editor of architecture journal MAJA. Katrin Koov is a member of the Union of Estonian Architects.
Katrin’s presentation Observations of the first two years of architecture film’s competition is a reflection from an architect’s point of view on the short architecture films created by BFM students. During the two years of a joint project between Estonian Union of Architects and BFM, supported by Estonian Culture Endowment, total of 11 short films on architecture were created by BFM students (6 films in 2013 and 5 films in 2014). The films’ precondition stated that the films should be approximately 5 minutes long, dialogue-free and include one chosen building as the main character of the film. The buildings were chosen for notability – either new and prized designs or remarkable for some other specific reason. Therefore it is interesting that htis truly interdisciplinary project is reflected upon also in an interdisciplinary way – by an architect.
Viie uhiuue arhitektuurifilmi esilinastus!