Tag Archives: European Film College
We are pleased to share Mamoun’s masterclass on Ozu’s masterpiece, Tokyo Story. Mamoun has revisited this film several times, but this most recent visit at the European Film College in Ebeltoft allowed him to discuss the film with the students in detail.
Mamoun is looking forward to his yearly visit to the European Film College to give two masterclasses on De Sica’s Bicycle Thieves and Ozu’s Tokyo Story However there will be a twist. His discussion will also refer to De Sica’s pre-neorealist film The Children are watching Us (1944). He will explore how De Sica’s craft developed but also how certain inspirations persisted.
Under principal Nadia Kloverdahl Reich the College is developing physically and educationally – with a new building and a new faculty amongst many changes. A happy combination of the old and the new. Mamoun looks forward to working with Micah Magee, the new Directing Fiction teacher.
During Mamoun’s last visit to the European Film College in March, he led two Masterclasses after viewing Bicycle Thieves and Pather Panchali. We are happy to be able to share the introductions that Mamoun gave prior to the screenings. The first is more an introduction to Neo Realist cinema. The second is a welcome return to Sayajit Ray’s Pather Panchali.
Many thanks to Nadia Kløvedal Reich, principal of EFC, and the staff and students at the European Film College.
Mamoun has been invited by Nadia Kløvedal Reich, principal of EFC to participate in a comprehensive introduction to Neorealism, including screenings of Roberto Rosselini’s ROME, OPEN CITY and PAISA and Lorenza Mazetti’s s poetic TOGETHER. Mamoun will also be giving Masterclasses on Vittorio De Sica’s masterpiece Bicycle Thieves and Satyajit Ray’s incomparable Pather Panchali.
He says: I always look forward to my visits to EFC. The generosity, enthusiasm and seriousness of purpose make it a very special place. I always return refreshed and energised.
Mamoun made one of his regular visits to the European Film College in Ebeltoft, Denmark, to deliver masterclasses and his now well known movie introductions. One of the introductions was to Antonioni’s classic L’Avventura.
Many thanks to Georgi Yordanov who filmed the event, and the staff and students of the European Film College.
I paid a visit to the National Film Television School in Beaconsfield last week where I introduced Kurosawa’s ‘Stray Dog‘ to students as part of the Screen Arts course led by Dominic Power (pictured left with me). The movie genre is ‘Gendai Geki’ – which means modern (i.e. set in post-1868 Japan). It deals with crime and social issues in post-war Tokyo under American occupation.
In particular I wanted to highlight composer Hayazaka’s unusual working relationship with Kurosawa and alert the students to how his use of sound contributes to story-telling. You can watch a film of the introduction here:
Stray Dog, Censorship and the Occupation of Japan (1945 – 1952)
In the title sequence of Stray Dog, the opening shot of a dog’s head, open mouthed and panting, is superimposed by the censor’s number as having been approved. It is important to know that the American Censor forbade any reference whatsoever, good or bad, to the Allied Occupation of Japan. I have written about its particular relevance to the film in an article published in The Final Cut – the Yearbook of the European Film College in 2005. You can read it here.
A while ago Dominic invited me to introduce Kurosawa’s ‘The Bad Sleep Well‘, another Gendai Geki film, as part of Passport to Cinema – the NFTS joint programme with the National Fim Theatre. (The story has references to Hamlet, played by Toshiro Mifune, and centres on corporate corruption.)
I’d also like to thank Lee Evans for his video and stills photographic services at the event.