Albert Serra, Spain

The Special Festival Award for the outstanding contributionto the artistic development of the moving image goes to Alberto Serra
Biography under The Death of Louis XIV ( Competiton Festures)

Miriam Bale
AUTEURISM: WHAT USE IS IT TO FILMMAKER?
Since François Truffaut introduced the term “la politique des auteurs” in 1955, auteurism has had a major force in film criticism. Since the 1960s, there have been strong arguments against it, yet it is still the guiding force in many film critic circles (while notably unpopular in academia). But what effect has auteurism had on filmmaking? Has it been positive or negative? In this talk, American film critic Miriam Bale will address young filmmakers, students, and cinephiles in looking at some of the negative effects of a director-centered, self-conscious auteurist cinema. At the same time, as a self-professed auteurist herself, Bale will look at how an auteurist view of film history can be useful to young filmmakers, and where auteurism can go from here.

Miriam Bale
Has written film criticism for The New York Times, The New York Daily News, and The Hollywood Reporter, as well as Film Comment, Sight and Sound, and Filmmaker magazines. She was the editor of Joan’s Digest, an online feminist film journal. She was also the founding director of the La Di Da film festival, and has organized film programs at Anthology Film Archives, The 92Y, Film Society of Lincoln Center, BAMcinematek, Yerba Buena Center for the Arts, and other institutions.
City Library Marko Marulić, Friday 16/9, 17:00

Bernd Schoch
YOU AIN’T HEARD NOTHING YET
The word is that the first line uttered in a cinema feature film using synchronized sound was “You ain´t heard nothing yet “. The film´s title is “The Jazz Singer”. It is from 1927 and as the title already suggests, its main topic is music. The relation between image and music has a long history in cinema. In this lecture I want to draw the attention to the visual and narrative strategies in music documentaries by looking at excerpts from film history and some of my own works and thus concentrate on the question on how pictures are translated into sound and vice versa. How does the invisible become audible and how does the fragment relate to the whole of the film?
Zlatna vrata Cinematheque, Wednesday 14/9, 17:00

Bekim Sejranović
A MAN OF WORDS, OR WHY I CAN’T MAKE A MOVIE
I am a man of words, I experience and express the world and reality verbally, through language, by using words and sentences, by talking, reading, and sometimes I also write stories, shape them into collections or novels. It is said that everything in the world is mutually connected by means of a story; the only question is whether one can see it or not. I, personally, can see a thousand stories, everything is a story for me, the entire universe and our existence are a story for me, or a novel which we are still writing. I know how to tell it, or at least how to try to do that, but I have no idea how to translate what I might write into an image, i.e. a film. I simply don’t know, nor am I interested in doing that, but that doesn’t mean that I wouldn’t like to see someone else do it. I like watching films, not making them. I am a man of words and when I travel, I do not come back from my journeys with images, photographs or films, but with stories, some of which I have written down, and some which I haven’t. However, during one of my best journeys I made, or helped make, a documentary: “From Tokyo to the Morava River”, by a Japanese director and my dear friend Moku Teraoka, a director who makes films while travelling like a nomad. This film is a visual rendition of his story about his encounter with our region. And it’s not bad, really. I, however, have written a novel. And it’s not bad either. Trust me. Because I’m a man of my word.
City Library Marko Marulić, Monday 12/9, 17:00