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Вестник киноведа | Telegram Webview: vestnik_kinoveda/204 -
Telegram Group & Telegram Channel
International Program
Leisure, Utopic, Beatrice Gibson, 2024
We, Artavazd Péléchian, 1969
Le Bateau de l’exil, Jocelyne Saab, 1982
A Fidai Film, Kamal Aljafari, 2024
Atman, Toshio Matsumoto, 1975
Two Refusals (Would We Recognize Ourselves Unbroken?), Suneil Sanzgiri, 2024
Hostage: The Bachar Tapes (English Version), Walid Raad, 2001
Nazarbazi, Maryam Tafakory, 2022
Countdown, Akram Zaatari, 1995
Un Âne, Eitan Efrat and Sirah Foighel Brutmann, 2023
Jelena, Friedl vom Gröller (Kubelka), 2024
Sunflower Siege Engine, Sky Hopinka, 2022
They Do Not Exist, Mustafa Abu Ali, 1974
Poppies and Sailboats, Rose Lowder, 2001
Evil.5: Grin and Bear (No Responsibility Mix), Tony Cokes, 2006
The Motherfucker’s Birthday, Saif Alsaegh, 2024
O, Persecuted, Basma Alsharif, 2014
Camera Test, Siegfried Fruhauf, 2022
Potenciais à deriva, Leonardo Pirondi, 2024
The Crack-Up, Jonathan Schwartz, 2017
It Is Night in America, Ana Vaz, 2022
Bouquets 31–40, Rose Lowder, 2015–2022
The Soldier’s Lagoon, Pablo Álvarez-Mesa, 2024
Bisagras, Luis Arnías, 2024
Bloom, Helena Girón and Samuel M. Delgado, 2023
Terminal Island, Sam Drake, 2024
Go Between, Chris Kennedy, 2024
Down Wind, Pat O’Neill, 1973
After Work, Céline Condorelli and Ben Rivers, 2022
To Brasil, Ute Aurand, 2023
Podwórka, Sharon Lockhart, 2009
Shokouk, Rouzbeh Akhbari and Felix Kalmenson, 2023
A Black Screen Too, Rhayne Vermette, 2024
Refuse Room, Simon Liu, 2024
On the Battlefield, Little Egypt Collective, 2024
The Winged Stone, Colectivo los Ingrávidos, 2023
West Lounge, Kevin Jerome Everson, 2023
Bounded Intimacy, Ayanna Dozier, 2024
Repetitions, Morgan Quaintance, 2022
Cultural Nationalism, Skip Norman, 1969
Quiet as It’s Kept, Ja’Tovia Gary, 2023
A Stone’s Throw, Razan AlSalah, 2024
The Diary of a Sky, Lawrence Abu Hamdan, 2024
The Time that Separates Us, Parastoo Anoushahpour, 2022
Inextinguishable Fire, Harun Farocki, 1969
Last Things, Deborah Stratman, 2023

Spotlight Artists:
An Ecstatic Experience, Ja’Tovia Gary, USA, 16mm > digital, 6 min, 2015
he Giverny Document, Ja’Tovia Gary, USA, S16mm > digital, 41 min, 2019

Manzanas, Narcisa Hirsch, Argentina, 16mm > digital, 4.5 min, 1969
A-Dios, Narcisa Hirsch, Argentina, 16mm > digital , 25 min, 1984

Beyrouth jamais plus, Jocelyne Saab, Lebanon/France, 16mm > digital, 37 min, 1976
Pour quelques vies, Jocelyne Saab, Lebanon/France , 16mm > digital, 18 min, 1976

Eyes Skinned, Mona Hatoum, Palestine/England, digital, 4 min, 1988
Measures of Distance, Mona Hatoum, Palestine/England, digital, 15.5 min, 1988

b/w, Christopher Harris, USA, 16mm > digital, 15 min, 2024
still/here, Christopher Harris, USA, 2001

Too Bright to See, Madeleine Hunt-Ehrlich, USA, 16mm > digital, 27.5 min, 2023
Footnote to the West, Madeleine Hunt-Ehrlich, USA , digital, 5 min, 2020

The Secret Garden, Nour Ouayda, Canada/Lebanon, 16mm > digital, 27 min, 2023
Towards the Sun, Nour Ouayda, Canada/Lebanon, 16mm > digital, 17 min, 2019

Hands Tied, Richard Serra, USA, 16mm > digital, 6 min, 1968
Railroad Turnbridge, Richard Serra USA , 16mm > digital, 17.5 min, 1976

Regional Program
Film in which a hand moves almost blindly across a canvas, Nik Liguori, 2024
Driving Force, Joanie Wind, 2023
Freshwater, dream hampton, 2022
phantoms, Scott Northrup, 2024
evidence, Trinity Sutherland, 2023
The Tiger, Shanna Maurizi, 2024
Mourner’s Bench, bree gant, 2022
Letter from Blackhawk Island, Derek Jenkins, 2024
We Are We Come We Go, Ed Janzen, 2023
Civil War Surveillance Poems (Part 1), Mitch McCabe, 2020
If I Was a Poem, Katie Barkel, 2024



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International Program
Leisure, Utopic, Beatrice Gibson, 2024
We, Artavazd Péléchian, 1969
Le Bateau de l’exil, Jocelyne Saab, 1982
A Fidai Film, Kamal Aljafari, 2024
Atman, Toshio Matsumoto, 1975
Two Refusals (Would We Recognize Ourselves Unbroken?), Suneil Sanzgiri, 2024
Hostage: The Bachar Tapes (English Version), Walid Raad, 2001
Nazarbazi, Maryam Tafakory, 2022
Countdown, Akram Zaatari, 1995
Un Âne, Eitan Efrat and Sirah Foighel Brutmann, 2023
Jelena, Friedl vom Gröller (Kubelka), 2024
Sunflower Siege Engine, Sky Hopinka, 2022
They Do Not Exist, Mustafa Abu Ali, 1974
Poppies and Sailboats, Rose Lowder, 2001
Evil.5: Grin and Bear (No Responsibility Mix), Tony Cokes, 2006
The Motherfucker’s Birthday, Saif Alsaegh, 2024
O, Persecuted, Basma Alsharif, 2014
Camera Test, Siegfried Fruhauf, 2022
Potenciais à deriva, Leonardo Pirondi, 2024
The Crack-Up, Jonathan Schwartz, 2017
It Is Night in America, Ana Vaz, 2022
Bouquets 31–40, Rose Lowder, 2015–2022
The Soldier’s Lagoon, Pablo Álvarez-Mesa, 2024
Bisagras, Luis Arnías, 2024
Bloom, Helena Girón and Samuel M. Delgado, 2023
Terminal Island, Sam Drake, 2024
Go Between, Chris Kennedy, 2024
Down Wind, Pat O’Neill, 1973
After Work, Céline Condorelli and Ben Rivers, 2022
To Brasil, Ute Aurand, 2023
Podwórka, Sharon Lockhart, 2009
Shokouk, Rouzbeh Akhbari and Felix Kalmenson, 2023
A Black Screen Too, Rhayne Vermette, 2024
Refuse Room, Simon Liu, 2024
On the Battlefield, Little Egypt Collective, 2024
The Winged Stone, Colectivo los Ingrávidos, 2023
West Lounge, Kevin Jerome Everson, 2023
Bounded Intimacy, Ayanna Dozier, 2024
Repetitions, Morgan Quaintance, 2022
Cultural Nationalism, Skip Norman, 1969
Quiet as It’s Kept, Ja’Tovia Gary, 2023
A Stone’s Throw, Razan AlSalah, 2024
The Diary of a Sky, Lawrence Abu Hamdan, 2024
The Time that Separates Us, Parastoo Anoushahpour, 2022
Inextinguishable Fire, Harun Farocki, 1969
Last Things, Deborah Stratman, 2023

Spotlight Artists:
An Ecstatic Experience, Ja’Tovia Gary, USA, 16mm > digital, 6 min, 2015
he Giverny Document, Ja’Tovia Gary, USA, S16mm > digital, 41 min, 2019

Manzanas, Narcisa Hirsch, Argentina, 16mm > digital, 4.5 min, 1969
A-Dios, Narcisa Hirsch, Argentina, 16mm > digital , 25 min, 1984

Beyrouth jamais plus, Jocelyne Saab, Lebanon/France, 16mm > digital, 37 min, 1976
Pour quelques vies, Jocelyne Saab, Lebanon/France , 16mm > digital, 18 min, 1976

Eyes Skinned, Mona Hatoum, Palestine/England, digital, 4 min, 1988
Measures of Distance, Mona Hatoum, Palestine/England, digital, 15.5 min, 1988

b/w, Christopher Harris, USA, 16mm > digital, 15 min, 2024
still/here, Christopher Harris, USA, 2001

Too Bright to See, Madeleine Hunt-Ehrlich, USA, 16mm > digital, 27.5 min, 2023
Footnote to the West, Madeleine Hunt-Ehrlich, USA , digital, 5 min, 2020

The Secret Garden, Nour Ouayda, Canada/Lebanon, 16mm > digital, 27 min, 2023
Towards the Sun, Nour Ouayda, Canada/Lebanon, 16mm > digital, 17 min, 2019

Hands Tied, Richard Serra, USA, 16mm > digital, 6 min, 1968
Railroad Turnbridge, Richard Serra USA , 16mm > digital, 17.5 min, 1976

Regional Program
Film in which a hand moves almost blindly across a canvas, Nik Liguori, 2024
Driving Force, Joanie Wind, 2023
Freshwater, dream hampton, 2022
phantoms, Scott Northrup, 2024
evidence, Trinity Sutherland, 2023
The Tiger, Shanna Maurizi, 2024
Mourner’s Bench, bree gant, 2022
Letter from Blackhawk Island, Derek Jenkins, 2024
We Are We Come We Go, Ed Janzen, 2023
Civil War Surveillance Poems (Part 1), Mitch McCabe, 2020
If I Was a Poem, Katie Barkel, 2024

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Recently, Durav wrote on his Telegram channel that users' right to privacy, in light of the war in Ukraine, is "sacred, now more than ever." "He has to start being more proactive and to find a real solution to this situation, not stay in standby without interfering. It's a very irresponsible position from the owner of Telegram," she said. What distinguishes the app from competitors is its use of what's known as channels: Public or private feeds of photos and videos that can be set up by one person or an organization. The channels have become popular with on-the-ground journalists, aid workers and Ukrainian President Volodymyr Zelenskyy, who broadcasts on a Telegram channel. The channels can be followed by an unlimited number of people. Unlike Facebook, Twitter and other popular social networks, there is no advertising on Telegram and the flow of information is not driven by an algorithm. But the Ukraine Crisis Media Center's Tsekhanovska points out that communications are often down in zones most affected by the war, making this sort of cross-referencing a luxury many cannot afford. "We're seeing really dramatic moves, and it's all really tied to Ukraine right now, and in a secondary way, in terms of interest rates," Octavio Marenzi, CEO of Opimas, told Yahoo Finance Live on Thursday. "This war in Ukraine is going to give the Fed the ammunition, the cover that it needs, to not raise interest rates too quickly. And I think Jay Powell is a very tepid sort of inflation fighter and he's not going to do as much as he needs to do to get that under control. And this seems like an excuse to kick the can further down the road still and not do too much too soon."
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