Festival Awards Research Articles

Hou Hsiao‐Hsien: a standard for evaluating Taiwan’s cinema

This paper traces the transformation of Hou Hsiao‐Hsien’s creative approach through an investigation of the intimate relationship between Hou’s films and the development of Taiwanese film history by placing Hou’s films into the interlacing framework of the politics, economy, society and aesthetics of Taiwan. The paper approaches the films with regard to genre and author theory, the studio system, influence from predecessors, Taiwanese laws and regulations, censorship system, film festival and film awards, box office and critical reviews. The paper is structured chronologically, starting with an examination of Hou’s earlier films and experiences to provide a glimpse into Hou’s early approach which has often been overlooked. Later, the paper clarifies Hou’s role in and overall relation to Taiwan’s New Cinema. The paper describes how Hou successfully drew together two different forces in New Cinema, creating a pattern where directors actively participated in each other’s projects. These new culturally and socially conscious films, including Hou’s Sandwich Man, were rich in artistry, and quickly gained support from the newly risen middle class during the later period of martial law. Through a discussion of Hou’s The Boys from Fengkuei, A Summer at Grandpa’s, A Time to Live, A Time to Die and Dust in the Wind, this paper depicts New Cinema undergoing setbacks at the box‐office and confrontations with local media, which resulted in the issuance of a manifesto in 1987. While considering the significance of the renowned Taiwan Trilogy (A City of Sadness, The Puppetmaster and Good Men, Good Women) the importance of A City of Sadness, which had an enormous impact on Taiwanese politics, society, culture and economy, is emphasized. Finally the discussion focuses on Hou’s later films Goodbye South, Goodbye, Flowers of Shanghai and Millennium Mambo where Hou displayed an entirely different interest in shaping space and time in his narrative. In the process of this discussion, Hou’s interaction with the Taiwan social environment is repositioned in a review of his path as a commercial film director to auteur, from a concern with society to his involvement in politics. Hou’s work is seen as a historical milestone in the development of Taiwanese film.

Health and Science Communications Association Media Festival Awards 2006

Health and Science Communications Association Media Festival Awards 2006

Health and Science Communications Association Media Festival Awards 2004

Health and Science Communications Association Media Festival Awards 2004

Health and Science Communications Association Media Festival Awards 2003

Health and Science Communications Association Media Festival Awards 2003

Reconsidering The Idiots: Dogme95, Lars von Trier, and the Cinema of Subversion?

Using Lars von Trier's controversial The Idiots (1998) as a starting point, I intend to examine the compelling ways in which the infamous Dogme95 manifesto aims to address and correct the failings of contemporary film. The Idiots is a remarkable and provocative materialist critique of modern culture in its own right, but its meaning is significantly complicated by its centrality to the otherwise celebrated output of the Dogme95 movement. It received virtually none of the critical acclaim, financial success, or festival awards garnered by the other major Dogme films such as Mifune (1999) and The Celebration (1998) and is generally regarded as a disturbing and tasteless failure even by those who admire von Trier's more accessible outings such as Breaking the Waves (1994) and Dancer in the Dark (2000). However, precisely because of its many imperfections and discomforting subject matter, The Idiots may be the most fully developed and compelling expression of Dogme ideology. The meaningfully artless form and content of The Idiots are intertwined in particularly unique and revolutionary ways, enabling the film to critique contemporary film and contemporary culture. The dual target of this assault is precisely what I think has been either overlooked or insufficiently explored in existing accounts of the film, and I hope to demonstrate the extent to which The Idiots is only really comprehensible when viewed in light of its counter-hegemonic aspirations.

Health and Science Communications Association Media Festival Awards 2003

Health and Science Communications Association Media Festival Awards 2003

An Interview with Liliane Targownik

Directed and scripted by Liliane Targownik, Rosenzweig's Freedom (Germany: Sudwestfunk, 1998) is a critically acclaimed German film concerning the wave of neo-Nazi attacks on foreign guest workers and asylum seekers in the years immediately following German reunification. It was broadcast on ARD, Germany's largest television network, in 1999. It won the Discovery Award from the Hollywood Film Festival Award and the German Unions' (DAG) Gold Prize for the best television movie Amidst a backdrop of news footage from real incidents in that turbulent period, Targownik tells the story of two sons of Holocaust survivors living in Germany. Michael Rosenzweig, a laborer engaged to a Vietnamese woman, randomly fires shots at a rampaging mob of skinheads when they attack and set fire to the refugee shelter where his fiancee lives. That night a prominent neo-Nazi leader is assassinated in the same neighborhood. The bullets in his body are traced to Michael's gun. Michael's brother Jacob reluctantly becomes his brother's lawyer when he suspects that the court-appointed public defender Ahrendt has the wrong strategy. Jacob tracks down a homeless man who witnessed a skinhead pick up Michael's gun after he tossed it away. Although Michael is cleared of homicide and marries, skinheads burn down his parents' apartment. Targownik admittedly looks at German events from a Jewish perspective. While she plans to return to Germany to make other films, she resides in Israel, where she completed her Masters degree in Jewish Philosophy at Tel Aviv University. Rosenzweig's Freedom is distributed in the United States by the National Center for Jewish Film, ncjf@brandeis.edu. LB: You were raised in Germany. When you were growing up, what films about Jewish life or the Holocaust had an impact on you? LT: I do not remember having seen a film about Jewish life or the Holocaust made by a German filmmaker when I was young. I think the first one I ever saw was The Sound of Music. I was about six years old and remember a nice and happy film that suddenly switched to the scene when the family has to flee across the mountains to evade being captured by the Nazis. It was very scary. The first film about Jewish life that I saw was Hester Street by Joan Micklin-Silver. I remember seeing it in Munich with my family and other people from the Jewish community. Everybody was very moved and proud that there was a film about us. There were only 5,000 Jews in Munich out of a total population of 1.5 million. Everyone knew each other. I was confronted with the issue of the Holocaust through books rather than films. My parents gave me The Diary of Anne Frank and the books of Leon Uris. I saw the movie versions of The Diary and Exodus after I had read the books. I saw a stage production of Fiddler on the Roof before I watched the film. LB: I noticed that one of your first films was about Aktionsuhnenzeichen, a group of young Germans who undertake various projects to help the victims of Nazi Germany. What attracted you to this topic? LT: This documentary was my first work for Israeli TV. I did not speak Hebrew yet, but the head of the program Mabat Sheni, Michael Karpin, wanted me to do a film on this topic. I filmed young Germans working in Israel, trying to cope with the German past by helping Jews and Arabs there. LB: You are now studying in Israel. Have you made Aliyah or do you plan to return to Germany to make films about Jewish subjects? LT: I made Aliyah years ago. I make films both in Germany and Israel. This is a small world, you know. Of course, Rosenzweig's Freedom was shot and produced in Germany. I am now planning a feature film called H.O.M.E. that will be set in Jerusalem in 2000. It will be done in English. I am also planning a documentary in Israel. The next script I will write is on a German-Jewish subject, and I have been invited to teach a seminar at the Munich Film School where I got my education in cinema. …

Health Sciences Communications Association Media Festival Awards 2002

Health Sciences Communications Association Media Festival Awards 2002

Health Sciences Communications Association Media Festival Awards 2002

Health Sciences Communications Association Media Festival Awards 2002

Health Sciences Communications Association Media Festival Awards 2001

Health Sciences Communications Association Media Festival Awards 2001

Laser Safety

JUDY MEYER, RN, MA, a psychiatric nurse and media consultant, coordinated the AJN Media Festival awards and is the coordinator/editor of these reviews.

AJN MEDIA FESTIVAL AWARDS 1986

Judy Meyer, RN, MA, media consultant, Educational Services Division, American Journal of Nursing Company, coordinated the Media Festival Awards as well as the reviews of winning productions, which reflect the evaluations of 71 judges. Special thanks to the following experis who helped prepare these reviews: Dorothy Fishman, RN, EdD; Joan Gittens Johnston, RN, MEd; Anne DuVal Frost, RN, MSN; Dorothy Hickey, RN, MA; Dolores Ross, RN, MS, CRRN; Julie Semkow, media library specialist; and Vita Sorrell, RN, MA.

Walk Me To The Water

A psychiatric nurse and media consultant, coordinated the AJN Media Festival Awards and is the coordinator/editor of these reviews

Managing with Alzheimerʼs Disease

Producer/Distributor: Good Samaritan Hospital and Medical Center, Media Technology Department, 1015 N.W. 22nd Ave., Portland, OR 97210. Color. 30 min. 1983. $295 (video). JUDY MEYER, RN, MA, a psychiatric nurse and media consultant, coordinated the AJN Media Festival Awards and is the coordinator/editor of these reviews.

Blood Gases III

Producer/Distributor: Fairview General Hospital, 18101 Lorain Ave., Cleveland, OH mil. 1982.28 min. $295(video), $450(/film). JUDITH MEYER, EN, MA, a psychiatric nurse and media consultant, corrdinated the AJN Media Festival Awards and is the corrdinator/editor of these reviews

FORMES: Composition and Scheduling of Processes

For some time, it has been recognized that the development and use of complex systems has been stifled by the inadequacy of ordinary programming languages (Winograd 1979). Music composition and synthesis (MCS) by computer offers a particularly clear example of this barrier. In the 1970s, a new generation of interactive languages appeared (Cointe 1983), establishing the concepts of active objects and message passing as a control structure for computation. It is significant that object-oriented programming matches most of the requirements of MCS. Toward a solution to problems of complexity in computer music, an object-oriented programming environment called FORMES has been developed and implemented at IRCAM. It supports a new language with original features for composition and scheduling of objects. FORMES are obviously not in exact correspondence with musical processes as perceived by the listener. FORMES is an interactive system first intended for MCS. However, by virtue of its unique architecture, its flexibility, and its ease of use, it should find applications in a large number of domains such as graphics animation and speech synthesis. Composers use FORMES for score development and sound synthesis. As an example, Chreode, a piece composed with FORMES by Jean-Baptiste Barriere, won the International Bourges Festival award in 1983 (Barriere 1983). Why is MCS one of the most interesting fields for testing advanced technology for computing? In MCS, perhaps even more than in artificial intelligence, programs have to be tested, modified, and rewritten very often. This modification must be effected quickly and easily; otherwise, the continuity between musical ideas and results gets lost. The complexity usually involved in human composing activity is far beyond what we are nowadays able to code in a few weeks or months. At the same time, scientists and musicians cannot be hampered by esoteric or hairy programs in the course of sophisticated musical research. Thus, friendly interaction is not a wish but a necessity. Finally, the system must be interactive and fast enough to control a real-time synthesizer.

Proceedings of the 51st Annual Meeting Eastern Branch-Entomological Society of America

The 51st annual meeting of the Eastern Branch of the Entomological Society of America (ESA) was held at the Hotel Hershey, Hershey, PA, Sept. 26–28, 1979. Total registration was 464 persons, making the meeting the second largest in the history of the Branch. The program featured 14 symposia, 8 workshops, 1 display workshop, 75 submitted papers, 8 display presentations, 2 film festival sessions, awards banquet and dance, spouse program, and a historical exhibit and fossil insect display sponsored by the Entomological Society of Pennsylvania (ESP).

Advertising from the perspective of festivals: the present and future of commercial communication in the categories of awards (2013-2014)

Since the very beginning of research on the structure of the advertising system, advertising awards and acknowledgements have been referred to as one of its essential elements. In the specialised sector, a particular interest in advertising festivals has been acknowledged which tends to mirror the continuous evolution of the commercial communication system. With a clear interaction, festivals are forums in which professionals find suitable inspiration which has an impact on what is suggested by each festival each year for future ones. Hence, they become benchmarks for the present and future. Specifically, in order to show the latter aspect, this paper focuses on the organization of festivals and shows the major present and future advertising trends. In advertising, five major macro trends are addressed (Digitisation, New Alternatives, Innovation, Integration and Results) and following the results of our research, they are all covered in the festival awards. Specifically, according to the way the categories of advertising awards are presented, we have concluded that the digitisation of communications has come to an end; the "new ways" of communication in advertising are very present in all contests as the result of the current marketing communication campaigns in which new ways of communication are gradually gaining a more relevant role; innovation is essentially an advertising value; the context of integrated marketing communications is inherent to current advertising; and the effectiveness and results in festivals are significant.