The Sundance Institute announced a new annual scholarship and fellowship program for Asian American filmmakers, in partnership with the Asian American Foundation (Taaf).
Officially titled “Sundance Institute | The Asian American Foundation Fellowship and Collab Scholarship,” the program provides Asian American and Pacific Islander (Aapi) artists with “creative and tactical support to develop their skills and grow professionally” and improve Aapi representation in film and TV.
The new fellowship will annually promote emerging artists in both fiction and nonfiction storytelling with funding provided by Panda Express and the MacArthur Foundation. The Fellowship and Scholarship are made possible by support from Taaf, through a 400,000 grant provided by its Aapi Giving Challenge partner Panda Express, with MacArthur contributing 140,000.
The fellowship will offer six Aapi artists a year-round learning experience to advance their professional development in the arts. Through the fellowship, each artist will receive a 20,000 unrestricted grant to support their individual projects, as...
Officially titled “Sundance Institute | The Asian American Foundation Fellowship and Collab Scholarship,” the program provides Asian American and Pacific Islander (Aapi) artists with “creative and tactical support to develop their skills and grow professionally” and improve Aapi representation in film and TV.
The new fellowship will annually promote emerging artists in both fiction and nonfiction storytelling with funding provided by Panda Express and the MacArthur Foundation. The Fellowship and Scholarship are made possible by support from Taaf, through a 400,000 grant provided by its Aapi Giving Challenge partner Panda Express, with MacArthur contributing 140,000.
The fellowship will offer six Aapi artists a year-round learning experience to advance their professional development in the arts. Through the fellowship, each artist will receive a 20,000 unrestricted grant to support their individual projects, as...
- 8/3/2022
- by Samantha Bergeson
- Indiewire
Sundance Institute, the organization behind the yearly film festival in Park City, has partnered with the Asian American Foundation to create a fellowship and scholarship, which will be granted to 12 recipients a year. The goal, the groups say, is to provide Asian American and Pacific Islander artists with creative and tactical support to develop their professional skills, as well as improve Aapi representation in film and television industries.
The fellowship will offer six Aapi artists per year a 12-month learning experience to advance their professional development in the arts. Through the fellowship, each person will receive a 20,000 unrestricted grant to support their individual projects, as well as customized support from the Sundance Institute based on their goals.
The Asian American Foundation’s support will also fund the Sundance scholarships for six emerging Aapi creatives each year. Scholarship recipients will be able to enroll in a live online course focused on their discipline of choice,...
The fellowship will offer six Aapi artists per year a 12-month learning experience to advance their professional development in the arts. Through the fellowship, each person will receive a 20,000 unrestricted grant to support their individual projects, as well as customized support from the Sundance Institute based on their goals.
The Asian American Foundation’s support will also fund the Sundance scholarships for six emerging Aapi creatives each year. Scholarship recipients will be able to enroll in a live online course focused on their discipline of choice,...
- 8/3/2022
- by Rebecca Rubin
- Variety Film + TV
The Sundance Institute and The Asian American Foundation (Taaf) are partnering to launch the Sundance Institute/Asian American Foundation Fellowship and Collab Scholarship in support of rising Aapi filmmakers. The program is geared towards increasing Aapi representation in film and TV by investing in talent and spotlighting their stories.
Six participants will be chosen for the programs each year. On the fellowship side, artists will receive a 20,000 unrestricted grant in support of their individual projects and year-round educational opportunities. Scholarship recipients will participate in live online classes of their choosing, gain access to Sundance master classes online, attend exclusive networking events and receive project guidance from the Sundance Collab Advisors.
The first cohort of fellows includes Vera Brunner-Sung (“Bitterroot”), Desdemona Chiang (“Made in USA”), Shayok Misha Chowdhury (“Rheology”), Tadashi Nakamura (“Third Act”), Neo Sora (“Earthquake”) and Sean Wang (“Dìdi (弟弟)”).
The scholarship recipients are Georgia Fu (“Approximate Joy”), Leomax (Ziyuan...
Six participants will be chosen for the programs each year. On the fellowship side, artists will receive a 20,000 unrestricted grant in support of their individual projects and year-round educational opportunities. Scholarship recipients will participate in live online classes of their choosing, gain access to Sundance master classes online, attend exclusive networking events and receive project guidance from the Sundance Collab Advisors.
The first cohort of fellows includes Vera Brunner-Sung (“Bitterroot”), Desdemona Chiang (“Made in USA”), Shayok Misha Chowdhury (“Rheology”), Tadashi Nakamura (“Third Act”), Neo Sora (“Earthquake”) and Sean Wang (“Dìdi (弟弟)”).
The scholarship recipients are Georgia Fu (“Approximate Joy”), Leomax (Ziyuan...
- 8/3/2022
- by Harper Lambert
- The Wrap
The Sundance Institute has partnered with The Asian American Foundation to launch a new fellowship and scholarship, which will look to improve Aapi representation in the film and television industries over the long term by providing up-and-coming Aapi artists with the creative and tactical support necessary to grow professionally.
The Sundance Institute | The Asian American Foundation Fellowship and Collab Scholarship are made possible by support from Taaf, through a 400,000 grant provided by its Aapi Giving Challenge partner Panda Express, as well as The John D. and Catherine T. MacArthur Foundation, which will contribute 140,000. The funding will provide artists with grants and resources to support their work in the program over the course of the next two years.
Sundance and Taaf’s Fellowship will offer six Aapi artists per year a year-round learning experience to advance their professional development. Each fellow selected will receive a 20,000 unrestricted grant to support their individual projects,...
The Sundance Institute | The Asian American Foundation Fellowship and Collab Scholarship are made possible by support from Taaf, through a 400,000 grant provided by its Aapi Giving Challenge partner Panda Express, as well as The John D. and Catherine T. MacArthur Foundation, which will contribute 140,000. The funding will provide artists with grants and resources to support their work in the program over the course of the next two years.
Sundance and Taaf’s Fellowship will offer six Aapi artists per year a year-round learning experience to advance their professional development. Each fellow selected will receive a 20,000 unrestricted grant to support their individual projects,...
- 8/3/2022
- by Matt Grobar
- Deadline Film + TV
One Shot is a series that seeks to find an essence of cinema history in one single image of a movie. Albert Serra's The Death of Louis Xiv, starring Jean-Pierre Léaud, is showing on Mubi in the US starting May 28, 2021 in the series Performers We Love. Given the size and variety of Jean-Pierre Léaud’s filmography, there must be other memorable death scenes of his apart from those in Jean-Luc Godard’s Made in U.S.A. (1966) and Albert Serra’s La mort de Louis Xiv (2016), half a century apart. My reason for settling on these two is that they demonstrate his prodigious range. In the first—a very bizarre piece of anamorphic Pop Art self-described as “a political film, meaning Walt Disney plus blood”—he plays “Donald Siegel,” the abused sidekick of gangster “Richard Widmark” (Laszlo Szabo), comically sporting a button that declares “Kiss me I’m Italian.” He’s...
- 5/26/2021
- MUBI
Above: Polish poster for The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria, 1965). Designer: Jerzy Flisak.As the 55th New York Film Festival winds down this weekend, I thought I’d look back half a century at the films of the 5th edition. That 1967 festival, programmed by Amos Vogel, Richard Roud, Arthur Knight, Andrew Sarris and Susan Sontag, featured 21 new films, all but three of which were from Europe (six of them from France, 2 and 1/7 of them directed by Godard), all of which showed at Lincoln Center’s Philharmonic Hall. (They also programmed Gance’s Napoleon, Mamoulian’s Applause and King Vidor’s Show People in the retrospective slots). The only director to have a film in both the 1967 festival and the 2017 edition is Agnès Varda, who was one of the directors of the omnibus Far From Vietnam and was then already 12 years into her filmmaking career.It will come as...
- 10/13/2017
- MUBI
Having charmed London in January, Anna Karina is in New York. On Tuesday, she was at Bam discussing her work with Jean-Luc Godard in A Woman Is a Woman (1961). Tonight, she's at the Museum of the Moving Image to talk about Pierrot le Fou (1965) and, on Friday, she'll be at Film Forum to talk about Band of Outsiders (1964) as a new restoration begins its weeklong run. The Film Forum series Anna & Jean-Luc features all three films as well as the other four the actress and the director made together, Vivre sa vie (1962), Alphaville (1965), Le Petit Soldat (1960) and Made in U.S.A. (1966). We're rounding up writing on the events. » - David Hudson...
- 5/4/2016
- Keyframe
Having charmed London in January, Anna Karina is in New York. On Tuesday, she was at Bam discussing her work with Jean-Luc Godard in A Woman Is a Woman (1961). Tonight, she's at the Museum of the Moving Image to talk about Pierrot le Fou (1965) and, on Friday, she'll be at Film Forum to talk about Band of Outsiders (1964) as a new restoration begins its weeklong run. The Film Forum series Anna & Jean-Luc features all three films as well as the other four the actress and the director made together, Vivre sa vie (1962), Alphaville (1965), Le Petit Soldat (1960) and Made in U.S.A. (1966). We're rounding up writing on the events. » - David Hudson...
- 5/4/2016
- Fandor: Keyframe
Title sequences don’t have to be boring. They can be just as exciting, creative, or innovative as the films they introduce. These are our picks for the 10 best opening title sequences of feature films.
Spring is upon us, and what better way to celebrate the beginning of brighter days than to celebrate the best film beginnings of all time! Check back all month long as we look at the films with the best beginnings.
The title sequence for a film is more than a bunch of letters spelling words on a screen. A title sequence is an opportunity for a filmmaker to grab the attention of his or her audience. It’s an ideal spot to introduce musical themes, set a stylistic tone, or establish a directorial style. During the opening titles a filmmaker has the opportunity to explain a backstory, show a flashback, or even dictate the setting to the audience.
Spring is upon us, and what better way to celebrate the beginning of brighter days than to celebrate the best film beginnings of all time! Check back all month long as we look at the films with the best beginnings.
The title sequence for a film is more than a bunch of letters spelling words on a screen. A title sequence is an opportunity for a filmmaker to grab the attention of his or her audience. It’s an ideal spot to introduce musical themes, set a stylistic tone, or establish a directorial style. During the opening titles a filmmaker has the opportunity to explain a backstory, show a flashback, or even dictate the setting to the audience.
- 4/6/2016
- by feeds@cinelinx.com (G.S. Perno)
- Cinelinx
Above: Italian poster for Weekend (Jean-Luc Godard, France, 1967).Flaming car aside, the poster above, with its emphasis on a torrid embrace that seems right off the cover of a Harlequin romance, doesn’t really scream Jean-Luc Godard. When I came across two Italian posters for Weekend the other day (the other, seen at the end of this piece, more sexploitation than romance but equally inappropriate to the film) I started to look at other Italian posters for Godard’s films and I found them all strikingly different from their French counterparts.While the Nouvelle vague in France coincided with a new wave in poster design, based mostly around photomontage, Italian distributors either resisted moving away from the kind of overtly emotional, painterly style of poster illustration that had been their stock in trade, or deliberately subverted the iconoclastic new films coming out of France with images that were more comfortingly familiar or sensationally commercial.
- 11/7/2015
- by Adrian Curry
- MUBI
Living cinema legend Jean-Luc Godard has no doubt created an oeuvre that remains appreciated, argued over and reinterpreted to this day. A new supercut video from Cinema Sem Lei showcases four Godard classics —“A Woman Is A Woman” (1961), “Contempt” (1963), “Pierrot le Fou” (1965), and “Made in U.S.A.” (1966)— filtering images and key scenes from each through the three basic colors of blue (bleu), white (blanc) and red (rouge), coincidentally the same ordered color arrangement of the French flag. Hence the title of the piece: “Blue, Blanc, Rogue - A Godard Supercut”. With the exception of “Contempt,” all the films shown star Godard’s frequent collaborator, lover and muse Anna Karina, with many frames of the video presenting colored interpretations of memorable moments performed by the iconic actress. Other frequent Godard collaborators such as Jean-Paul Belmondo, Jean-Claude Brialy and Jean-Pierre Léaud are shown wearing sharp suits, flirting with girls, carrying...
- 6/15/2015
- by Timothy Tau
- The Playlist
“Yet if you should forget me for a whileAnd afterwards remember, do not grieveFor if the darkness and corruption leaveA vestige of the thoughts that once we hadBetter by far you should forget and smileThan that you should remember and be sad.”—Christina Rossetti, Remember (1862)An opening title card from director Thom Andesen’s new feature film, The Thoughts That Once We Had, directly identifies the cinematic writings of philosopher Gilles Deleuze as the project's primary subject and inspiration. Deleuze’s two volumes on film, Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985), are today synonymous with a certain modernist school of thought that, while integrated in academia to such a degree as to be all but understood, remains quite radical. Unquestionably dense and provocatively pedantic, the French empiricist’s filmic texts integrate an array of theories and conceptualizations into a fairly delineated taxonomy, and are therefore fairly conducive...
- 5/8/2015
- by Jordan Cronk
- MUBI
Every Man for Himself
Written by Anne-Marie Miéville and Jean-Claude Carrière
Directed by Jean-Luc Godard
France, 1980
Jean-Luc Godard’s 1980 feature, Sauve qui peut (la vie), or Every Man for Himself, was something of a return to form for the director (if one can really say Godard ever had a typical form to return to). It was, as he declared, and as is often quoted, his “second first film.” As far as his most recent releases were concerned, there was certainly a break from those heavily divisive, politicized, and formally experimental works of the 1970s. This film, comparatively speaking, is indeed more mainstream than that. In its general reliance on narrative, it goes back to Godard’s pre-’67 work, with a beginning, middle, and end (even if not always in that order, as he once commented). But it’s not quite accurate to say that Every Man for Himself is necessarily...
Written by Anne-Marie Miéville and Jean-Claude Carrière
Directed by Jean-Luc Godard
France, 1980
Jean-Luc Godard’s 1980 feature, Sauve qui peut (la vie), or Every Man for Himself, was something of a return to form for the director (if one can really say Godard ever had a typical form to return to). It was, as he declared, and as is often quoted, his “second first film.” As far as his most recent releases were concerned, there was certainly a break from those heavily divisive, politicized, and formally experimental works of the 1970s. This film, comparatively speaking, is indeed more mainstream than that. In its general reliance on narrative, it goes back to Godard’s pre-’67 work, with a beginning, middle, and end (even if not always in that order, as he once commented). But it’s not quite accurate to say that Every Man for Himself is necessarily...
- 2/10/2015
- by Jeremy Carr
- SoundOnSight
If you’re in the enviable position of checking out Jean-Luc Godard’s body of work for the first time, his sci-fi opus “Alphaville” will stand out as a bit of a curiosity. The film is a lean, bizarro riff on familiar noir tropes and is infused with a punk-y dystopian edge, as well as Godard’s love of the perverse and the postmodern. It’s miles away from both the amoral romanticism of his early work (“Breathless,” “A Woman is a Woman”) as well as his more socially minded mid-career pictures which occasionally resemble incendiary political slideshows with included voiceover (“Weekend,” with its infamous ten-minute tracking shot, comes to mind, as does “Made in U.S.A.”). Remakes of Godard’s work are a dicey proposition: his signature style is so maddeningly distinct that a reimagining sounds unnecessary (not many people even remember the Richard Gere-starring remake of “Breathless,” except for Quentin Tarantino,...
- 1/14/2015
- by Nicholas Laskin
- The Playlist
In this clip from the exuberantly colorful 1966 noir-of-sorts, starring sexy French screen icons Anna Karina and Jean-Pierre Léaud, the beautiful and blonde Marianne Faithfull sings "As Tears Go By," her 1964 tune written by Mick Jagger and Keith Richards. The plaintive single was a smash for the Stones and Faithfull separately, and apparently an object of fascination for Godard. Two years after directing "Made in U.S.A.," he would go on to shoot The Rolling Stones in his documentary "Sympathy for the Devil" (1968). (More titillating background via Open Culture.)...
- 12/29/2014
- by Ryan Lattanzio
- Thompson on Hollywood
Thoughts occasioned by the release of Adieu au langage
Godard and the Permanently New
One “It has to face the men of the time and to meet/The women of the time. It has to think about war And it has to find what will suffice. It has/To construct a new stage. It has to be on that stage, and, like an insatiable actor, slowly and/With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat…”
Two “…no artist of any art, has his complete meaning alone. …what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it….novelty is better than repetition.”
-and modernity, novelty, superventing contemporareity in his cinema begins with a re-evaluation of screen time, direction, and space and his satisfactions at segmenting space as determined by...
Godard and the Permanently New
One “It has to face the men of the time and to meet/The women of the time. It has to think about war And it has to find what will suffice. It has/To construct a new stage. It has to be on that stage, and, like an insatiable actor, slowly and/With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat…”
Two “…no artist of any art, has his complete meaning alone. …what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it….novelty is better than repetition.”
-and modernity, novelty, superventing contemporareity in his cinema begins with a re-evaluation of screen time, direction, and space and his satisfactions at segmenting space as determined by...
- 6/4/2014
- by Jim Robison
- Trailers from Hell
Riffing on Terek Puckett’s terrific list of director/actor collaborations, I wanted to look at some of those equally impressive leading ladies who served as muses for their directors. I strived to look for collaborations that may not have been as obviously canonical, but whose effects on cinema were no less compelling. Categorizing a film’s lead is potentially tricky, but one of the criteria I always use is Anthony Hopkins’s performance in Silence of the Lambs, a film in which he is considered a lead but appears only briefly; his character is an integral part of the story.
The criteria for this article is as follows: The director & actor team must have worked together at least 3 times with the actor in a major role in each feature film, resulting in a minimum of 2 must-see films.
One of the primary trends for the frequency of collaboration is the...
The criteria for this article is as follows: The director & actor team must have worked together at least 3 times with the actor in a major role in each feature film, resulting in a minimum of 2 must-see films.
One of the primary trends for the frequency of collaboration is the...
- 7/24/2013
- by John Oursler
- SoundOnSight
Donald E. Westlake is the creative genius behind the Parker series of novels, a hard-boiled character who has been portrayed on the screen by Lee Marvin, Robert Duvall, and Mel Gibson, among others. Westlake, who wrote the Parker books under the pseudonym Richard Stark, was a prolific writer with a gift for spinning yarns filled with colorful cops 'n' criminals, the type of people who are never as bright as they think they are (except for Parker). His books began to be adapted into movies with Jean-Luc Godard's Made in U.S.A. in 1966, followed by The Busy Body, Point Blank, Pillaged, The Split, The Hot Rock, Cops and Robbers, The Outfit and Bank Shot, all within a period of 8 years. As a young reader,...
- 7/29/2011
- Screen Anarchy
If Resnais made crime thrillers…The grimy smudge in the Alcatraz cell at the onset might be Proust’s “little patch of yellow wall” (The Captive), the dying Bergotte here becomes Lee Marvin’s double-crossed thug Walker, sprawled on the floor. “Did it happen? A dream?” In John Boorman’s hands, Donald E. Westlake’s pulp novel becomes a boundlessly inventive modernist welter of alienation, identity, and memory. Walker’s meeting with his duplicitous wife (Sharon Acker) is wondrously strange: He unloads his pistol on the empty bedroom, then sits on the sofa silently as she dazedly goes into her incantatory speech (“Gone. Cold … Can’t sleep. Haven’t slept … Dream about you … How good it must be, being dead”), neither looking at the other. The next morning she vanishes into a rainbow of vanity liquids splattered on the bathroom floor. (The bullet-riddled mattress is just the first of the...
- 2/27/2010
- MUBI
During Jean-Luc Godard’s initial burst of cinematic creativity, the stalwart of the French New Wave dabbled in different genres, testing the boundaries of what could be done within the context of a narrative film. By the mid-’60s, Godard had settled into a steady routine, pumping out roughly two feature-length movies (plus several shorts) a year, all of which combined political commentary, pop art, and postmodernism in ways that came to be defined as “Godardian.” As a result, there’s a certain amount of interchangeability to the Godard films released between 1964 and 1967. Consider the “plots” of three ...
- 7/15/2009
- avclub.com
DVD Playhouse—July 2009
By
Allen Gardner
Do The Right Thing: 20th Anniversary Edition (Universal) Spike Lee’s groundbreaking fable about race relations in an ethnically mixed Brooklyn neighborhood during a sweltering New York summer remains as potent, timely and prescient as it was in 1989. Lee is among the cast, which also includes John Turturro, Danny Aiello, Samuel L. Jackson, Ossie Davis, Ruby Dee, and Rosie Perez (to name a few), that provide the tableaux-like framework for this stunning work. Criminally ignored by Oscar (it wasn't even nominated for Best Picture, but did garner nods for Supporting Actor Danny Aiello and Lee’s screenplay), it endures as a timeless classic. Also available on Blu-ray disc. Bonuses: Commentary by Lee, Ernest Dickerson, Wynn Thomas, Joie Lee; Documentary; Deleted and extended scenes; Featurettes. Widescreen. Dolby and DTS 5.1 surround.
Coraline (Universal) A young girl moves into an old Victorian house with her parents...
By
Allen Gardner
Do The Right Thing: 20th Anniversary Edition (Universal) Spike Lee’s groundbreaking fable about race relations in an ethnically mixed Brooklyn neighborhood during a sweltering New York summer remains as potent, timely and prescient as it was in 1989. Lee is among the cast, which also includes John Turturro, Danny Aiello, Samuel L. Jackson, Ossie Davis, Ruby Dee, and Rosie Perez (to name a few), that provide the tableaux-like framework for this stunning work. Criminally ignored by Oscar (it wasn't even nominated for Best Picture, but did garner nods for Supporting Actor Danny Aiello and Lee’s screenplay), it endures as a timeless classic. Also available on Blu-ray disc. Bonuses: Commentary by Lee, Ernest Dickerson, Wynn Thomas, Joie Lee; Documentary; Deleted and extended scenes; Featurettes. Widescreen. Dolby and DTS 5.1 surround.
Coraline (Universal) A young girl moves into an old Victorian house with her parents...
- 7/14/2009
- by The Hollywood Interview.com
- The Hollywood Interview
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