2022年卡罗维发利国际电影节:视角的转变

IF 0.3 0 FILM, RADIO, TELEVISION Studies in Eastern European Cinema Pub Date : 2023-04-25 DOI:10.1080/2040350x.2023.2203578
Natascha Drubek-Meyer
{"title":"2022年卡罗维发利国际电影节:视角的转变","authors":"Natascha Drubek-Meyer","doi":"10.1080/2040350x.2023.2203578","DOIUrl":null,"url":null,"abstract":"Many festivals and their programming choices in 2022 were overshadowed by the war against Ukraine – in several cases leading to a radical change in outlook when it comes to accepting or boycotting productions funded by the Russian state, which went hand in hand with a heightened interest in films from Ukraine. Policies have been changing, as well as strategies for submitting films to Festivals. The Karlovy Vary International Film Festival (KVIFF) was also affected by this circumstance, as it coincided with the decision to remove the ‘East of the West’ perspective of its internationally most followed ‘second’ competition. Truth be told, this proposition had already been made at the end of 2021. As it transpired, this was happening at a moment when the festival’s historical expertise as well as the traditionally strong Czech pragmatism and political grasp of the rapidly changing situation in the East of the West would have been badly needed. Despite the programmers’ in-depth knowledge and experience, namely Lenka Tyrpáková and the festival’s CEE networks dating back to the 1940s, and regardless of the interest of international professionals and cinephiles, the distinctive presentation of moving images from Eastern Europe and the Post-Soviet countries, which was both analytical and historically informed, had to leave centre stage. This decision was perceived by many professional visitors as casting away one’s old identity before defining a new one, and it appeared to have some effect on the reformed 56th edition and its coverage by English-speaking media which seemed less thorough in 2022. Could it be that KVIFF, which is the biggest cultural event in the Czech Republic, during the pandemic has become more inward-looking? Partially this was reflected in the prizes. Even though the Crystal Globe for Best Film in 2022 went to Sadaf Foroughi’s CanadianIranian drama, Summer with Hope, ‘the latest crop of Czech films by the young generation stole the limelight’, as Martin Kudláč (2022) remarked. Adéla Komrzý – the discovery of last year’s festival edition – in 2022, together with Tomáš Bojar won with the observational documentary Art Talent Show the Proxima award for Best Film. Aware of its value as a strong Czech brand (both locally and internationally), KVIFF appeared well recovered from the Covid-19 pause and the delayed date in 2021, returning to its slate at the beginning of July. KVIFF in 2022 presented itself confidently, with plans of the newly formed KVIFF Group with several arms, grouped around the body of the festival. They are called KVIFF Events (such as ‘Variace’, with the Czech Philharmonic Orchestra, Prague Shorts, the COVID-19 created ‘Tady Vary’, a traveling programme in regional cinemas), KVIFF Distribution, and KVIFF TV. The ambitious media group in 2021 has purchased a majority stake in Ivo Andrle’s Czech art-house distribution company Aerofilms which runs its own internet VOD platform, Aerovod, merging the Aerofilms catalogue with the KVIFF.TV online platform. In addition,","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"17 1","pages":"196 - 201"},"PeriodicalIF":0.3000,"publicationDate":"2023-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Karlovy Vary International Film Festival 2022: A Shift in Perspective\",\"authors\":\"Natascha Drubek-Meyer\",\"doi\":\"10.1080/2040350x.2023.2203578\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Many festivals and their programming choices in 2022 were overshadowed by the war against Ukraine – in several cases leading to a radical change in outlook when it comes to accepting or boycotting productions funded by the Russian state, which went hand in hand with a heightened interest in films from Ukraine. Policies have been changing, as well as strategies for submitting films to Festivals. The Karlovy Vary International Film Festival (KVIFF) was also affected by this circumstance, as it coincided with the decision to remove the ‘East of the West’ perspective of its internationally most followed ‘second’ competition. Truth be told, this proposition had already been made at the end of 2021. As it transpired, this was happening at a moment when the festival’s historical expertise as well as the traditionally strong Czech pragmatism and political grasp of the rapidly changing situation in the East of the West would have been badly needed. Despite the programmers’ in-depth knowledge and experience, namely Lenka Tyrpáková and the festival’s CEE networks dating back to the 1940s, and regardless of the interest of international professionals and cinephiles, the distinctive presentation of moving images from Eastern Europe and the Post-Soviet countries, which was both analytical and historically informed, had to leave centre stage. This decision was perceived by many professional visitors as casting away one’s old identity before defining a new one, and it appeared to have some effect on the reformed 56th edition and its coverage by English-speaking media which seemed less thorough in 2022. Could it be that KVIFF, which is the biggest cultural event in the Czech Republic, during the pandemic has become more inward-looking? Partially this was reflected in the prizes. Even though the Crystal Globe for Best Film in 2022 went to Sadaf Foroughi’s CanadianIranian drama, Summer with Hope, ‘the latest crop of Czech films by the young generation stole the limelight’, as Martin Kudláč (2022) remarked. Adéla Komrzý – the discovery of last year’s festival edition – in 2022, together with Tomáš Bojar won with the observational documentary Art Talent Show the Proxima award for Best Film. Aware of its value as a strong Czech brand (both locally and internationally), KVIFF appeared well recovered from the Covid-19 pause and the delayed date in 2021, returning to its slate at the beginning of July. KVIFF in 2022 presented itself confidently, with plans of the newly formed KVIFF Group with several arms, grouped around the body of the festival. They are called KVIFF Events (such as ‘Variace’, with the Czech Philharmonic Orchestra, Prague Shorts, the COVID-19 created ‘Tady Vary’, a traveling programme in regional cinemas), KVIFF Distribution, and KVIFF TV. The ambitious media group in 2021 has purchased a majority stake in Ivo Andrle’s Czech art-house distribution company Aerofilms which runs its own internet VOD platform, Aerovod, merging the Aerofilms catalogue with the KVIFF.TV online platform. In addition,\",\"PeriodicalId\":52267,\"journal\":{\"name\":\"Studies in Eastern European Cinema\",\"volume\":\"17 1\",\"pages\":\"196 - 201\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-04-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Eastern European Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/2040350x.2023.2203578\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Eastern European Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/2040350x.2023.2203578","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0

摘要

2022年,许多电影节和他们的节目选择都被乌克兰战争蒙上了阴影——在一些情况下,在接受或抵制俄罗斯国家资助的制作方面,前景发生了根本性的变化,这与对乌克兰电影的浓厚兴趣密切相关。政策一直在变化,向电影节提交电影的策略也在变化。卡罗维发利国际电影节(KVIFF)也受到了这种情况的影响,因为它在国际上最受关注的“第二”竞赛中决定取消“西方的东方”视角。事实上,这个提议早在2021年底就提出了。这件事发生的时候,正是这个节日的历史专长、捷克传统上强大的实用主义和对西方东方迅速变化的形势的政治把握急需的时候。尽管制片人有着深厚的知识和经验,即Lenka Tyrpáková和电影节的中东欧网络可以追溯到20世纪40年代,也不管国际专业人士和电影爱好者的兴趣,来自东欧和后苏联国家的运动图像的独特呈现,既分析又了解历史,不得不离开中心舞台。许多专业观众认为,这一决定是在定义新身份之前抛弃旧身份,这似乎对改革后的第56届奥运会和英语媒体的报道产生了一定影响,因为2022年的奥运会似乎不那么彻底。难道捷克最大的文化活动KVIFF在疫情期间变得更内向了吗?这在一定程度上反映在奖项上。尽管2022年的水晶球最佳影片被萨达夫·福罗吉的加拿大-伊朗戏剧《希望的夏天》获得,但正如马丁Kudláč(2022)所评论的那样,“年轻一代的最新捷克电影抢走了风头”。adsamla Komrzý——去年的节日版的发现——在2022年,与Tomáš Bojar一起获得了观察纪录片“艺术才艺秀”的最佳电影比proxima奖。KVIFF意识到自己作为一个强大的捷克品牌(无论是在国内还是在国际上)的价值,似乎已经从Covid-19暂停和2021年推迟的日期中恢复过来,并于7月初重返日程。2022年的KVIFF自信地展示了自己,新成立的KVIFF集团的计划有几个分支,围绕着节日的主体。它们被称为KVIFF Events(如与捷克爱乐乐团合作的“Variace”,布拉格短片,新冠肺炎创建的“Tady Vary”,地区电影院的巡回节目),KVIFF Distribution和KVIFF TV。这家雄心勃勃的媒体集团于2021年收购了伊沃·安德勒(Ivo Andrle)的捷克艺术电影发行公司Aerofilms的多数股权,该公司运营着自己的互联网VOD平台Aerovod,并将Aerofilms目录与KVIFF合并。电视在线平台。此外,
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Karlovy Vary International Film Festival 2022: A Shift in Perspective
Many festivals and their programming choices in 2022 were overshadowed by the war against Ukraine – in several cases leading to a radical change in outlook when it comes to accepting or boycotting productions funded by the Russian state, which went hand in hand with a heightened interest in films from Ukraine. Policies have been changing, as well as strategies for submitting films to Festivals. The Karlovy Vary International Film Festival (KVIFF) was also affected by this circumstance, as it coincided with the decision to remove the ‘East of the West’ perspective of its internationally most followed ‘second’ competition. Truth be told, this proposition had already been made at the end of 2021. As it transpired, this was happening at a moment when the festival’s historical expertise as well as the traditionally strong Czech pragmatism and political grasp of the rapidly changing situation in the East of the West would have been badly needed. Despite the programmers’ in-depth knowledge and experience, namely Lenka Tyrpáková and the festival’s CEE networks dating back to the 1940s, and regardless of the interest of international professionals and cinephiles, the distinctive presentation of moving images from Eastern Europe and the Post-Soviet countries, which was both analytical and historically informed, had to leave centre stage. This decision was perceived by many professional visitors as casting away one’s old identity before defining a new one, and it appeared to have some effect on the reformed 56th edition and its coverage by English-speaking media which seemed less thorough in 2022. Could it be that KVIFF, which is the biggest cultural event in the Czech Republic, during the pandemic has become more inward-looking? Partially this was reflected in the prizes. Even though the Crystal Globe for Best Film in 2022 went to Sadaf Foroughi’s CanadianIranian drama, Summer with Hope, ‘the latest crop of Czech films by the young generation stole the limelight’, as Martin Kudláč (2022) remarked. Adéla Komrzý – the discovery of last year’s festival edition – in 2022, together with Tomáš Bojar won with the observational documentary Art Talent Show the Proxima award for Best Film. Aware of its value as a strong Czech brand (both locally and internationally), KVIFF appeared well recovered from the Covid-19 pause and the delayed date in 2021, returning to its slate at the beginning of July. KVIFF in 2022 presented itself confidently, with plans of the newly formed KVIFF Group with several arms, grouped around the body of the festival. They are called KVIFF Events (such as ‘Variace’, with the Czech Philharmonic Orchestra, Prague Shorts, the COVID-19 created ‘Tady Vary’, a traveling programme in regional cinemas), KVIFF Distribution, and KVIFF TV. The ambitious media group in 2021 has purchased a majority stake in Ivo Andrle’s Czech art-house distribution company Aerofilms which runs its own internet VOD platform, Aerovod, merging the Aerofilms catalogue with the KVIFF.TV online platform. In addition,
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
Studies in Eastern European Cinema
Studies in Eastern European Cinema Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.50
自引率
0.00%
发文量
34
期刊最新文献
Revelatory Inebriation and Westward Projections: Bolek Polívka’s Father Figures in Mid-2000s Czech Cinema Cosmopolitanism, Immigration, State Collapse and the Oppression of Women A Report from the Karlovy Vary International Film Festival, June 30 th - July 8 th , 2023 Mladomir Puriša Đorđević (1924–2022) Reading the Mermaid Sisters of Smoczyńska’s (2015) “The Lure” as More Than Shoreline Strangers: Toward a Feminist Solidarity with Nonhuman Others A non-philosophy of non-cinema Romanian cinema: thinking outside the screen , by Doru Pop. New York and London: Bloomsburry, 2022, 280 pp., Hardback £81, ISBN 978-15-01366-23-9
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1