What are the European film movements?

Notable European early film movements include German expressionism (1920s), Soviet montage (1920s), French impressionist cinema (1920s), and Italian neorealism (1940s); it was a period now seen in retrospect as "The Other Hollywood". War has triggered the birth of Art and in this case, the birth of cinema.

What was the intent of the Hollywood producers setting up European companies?

In producing in Europe, American companies quickly learned that a given film could be made less expensively and often with fewer union problems than in the United States. Moreover, the companies had to keep in mind that revenues and corporate solvency were depending more and more upon foreign audiences.

What is Europe on the move?

The EU is increasing the opportunities for learning mobilities for every young person in Europe. With the new proposal for a Council Recommendation 'Europe on the Move' – learning mobility opportunities for everyone, the EU aims to make learning opportunities abroad more accessible for all young people.

What is the difference between American films and European films?

There are a couple of differences: There is usually a goal for the protagonist to achieve and the audience is meant to get absorbed into the story of the film, experiencing it from the perspective of the protagonist. European cinema on the other hand do not adhere to the straight classical mode of storytelling.

Why did film production move to Hollywood?

Beginning in 1908, however, a growing number of filmmakers located in southern California, drawn by cheap land and labor, the ready accessibility of varied scenery, and a climate ideal for year-round outdoor filming.

Who were the first Europeans to project movies to a paying audience?

The first to present projected moving pictures to a paying audience were the Lumière brothers in December 1895 in Paris, France.

Why did filmmakers begin to move their production companies to Hollywood California in the 1900s?

Originally, the movie industry was driven to the West Coast by the strict limitations placed on filmmakers by Thomas Edison's monopoly known as "the Trust." The physical distance between California and the East Coast-based Trust allowed filmmakers freedom they wouldn't have had otherwise.

What are the characteristics of European film?

European movies are known for their slow-paced and introspective approach, while Hollywood movies are often fast-paced and action-packed. European filmmakers focus on character development and story depth, while Hollywood prioritizes special effects and spectacle.

What are film movements?

Throughout the history of cinema, groups of filmmakers, critics, and/or theorists formed ideas about how films could be made, and the theories they generated, along with the films produced according to those theories, are called movements.

What are the biggest cinema groups in Europe?

Odeon Cinemas Group Limited is Europe's largest cinema operator. Through subsidiaries it has over 360 cinemas, with 2900 screens in 14 countries in Europe, 120 cinemas with 960 screens are in the UK. It receives more than 2.2 million guests per week.

What is the most globally powerful film movement?

10 Most Important Film Movements That Shaped Cinema 8 Dogme 95. 7 Cinéma Du Look. 6 Surrealism. 5 Soviet Montage. 4 German Expressionism. 3 Italian Neorealism. 2 French New Wave. 1 New Hollywood. More items... Jun 10, 2023

European Film Promotion Reveals Participants for Producers on the Move Program (2024)

European Film Promotion has revealed the participants for its Producers on the Move program, which runs before and during the Cannes Film Festival.

The promotion and networking program, which is celebrating its 25th anniversary, brings together 20 of Europe’s most promising producers. This year, EFP will also put a spotlight on the numerous collaborations that have developed between the around 500 participants from 37 European countries over the past quarter century.

The 20 producers were selected for the program from the nominations submitted by EFP’s member organizations, which are all European national film promotion institutes.

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The group will take part in a tailor-made program to foster international co-productions, intensify the exchange of experiences and help create new professional networks. The pre-festival online program, which starts today and runs until May 3, includes 1:1 speed meetings, roundtables and pitching sessions. The producers will then meet in person during the Cannes Festival from May 16 to 20 and take part in a five-day on-site program, including case studies, social events and an extensive promotional campaign via the international trade magazines.

The selected participants have already been behind a number of award-winning films:
Lina Flint (Denmark) produced Gustav Möller’s “The Guilty,” which won Sundance’s Audience Award and was shortlisted for the Oscars.
Delphine Schmit (France), whose short film “Across the Waters” by Viv Li is screening in the short film competition at this year’s Cannes, was also successful with the films “Love According to Dalva” by Emmanuelle Nicot, which triumphed at the 2024 Magritte Awards and picked up seven prizes including best film, and “Our Mothers” by Cesar Diaz, which won the Caméra d’Or at Cannes in 2019.
Other prize-winners are:
Katharina Posch (Austria): “Soldier Jane” by Daniel Hoesl, Tiger Award, International Film Festival Rotterdam, 2013;
Sara Nassim (Iceland): “The Lamb” by Valdimar Jóhannsson, Un Certain Regard – Prize of Originality, Cannes, 2021; European Film Awards, Visual Effects, 2021;
Evan Horan (Ireland): “Oddity” by Damian McCarthy, Midnighter Audience Award at SXSW 2024; Feature Film Audience Award at Overlook Film Festival, 2024;
Elisa Heene (Belgium/Flanders): “Holly” by Fien Troch, Bisato d’Oro for best actress, Venice Film Festival, 2023;
Kalin Kalinov (Bulgaria): “Because I Love Bad Weather” by Yana Lekarska, Audience Award, Sofia Film Festival, 2024;
Tonia Mishiali (Cyprus): “Pause” by Tonia Mishiali, FIPRESCI Prize for best film, ERT National Television Award, Thessaloniki Film Festival, 2018;
Kristýna Michálek Květová (Czech Republic): “Arved” by Vojtěch Mašek, Czech Lion Awards: best actor, screenplay, music; Czech Film Critics’ Award.

Some producers have tended to concentrate on the production of animated films or documentaries such as:
Fabian Driehorst (Germany) with his Hamburg-based company Fabian&Fred, whose credits include the multi-award-winning animated feature film “Sultana’s Dream” by Isabel Herguera;
Maria Kontogianni (Greece), whose “Nine Lives Left” by Zacharias Mavroeidis received an award at the 2023 CEE Animation Forum;
Giedrė Žickytė (Lithuania), who was both producer and director of her documentaries “Master and Tatyana” and “The Jump”;
Anita Rehoff Larsen (Norway) who produced such award-winning documentaries as Viktor Kossakovsky’s “Gunda,” which premiered at the 2020 Berlinale, Tone Grøttjord-Glenne’s 2020 Hot Docs competition title “All That I Am,” and Corinne van der Borch and Tone Grøttjord-Glenne’s “Sisters on Track.”

In addition to animated films and documentaries, other participants have also been involved in producing series for TV and streaming platforms such as Wanda Adamík Hrycová (Slovak Republic) with the historical TV series “The Slavs” by Peter Bebjak.

The lineup also includes producers who continue long-standing collaborations with their directors, work with renowned talents or discover new ones in their respective countries or focus on debuts such as:
Tibor Keser (Croatia), who produced Ivan Ramijak’s highly acclaimed “El Shatt – A Blueprint” for Utopia;
Katarzyna Ozga (Luxembourg), who was involved in Barbara Albert’s “Blind at Heart”;
Angela Nestorovska (North Macedonia), who co-produced Asimina Proedrou’s feature debut “Behind the Haystacks”;
Dragana Jovović (Serbia), who is the producer of Ognjen Glavonić’s feature “The Load,” which premiered in the Directors’ Fortnight in Cannes in 2018;
Isabel Machado (Portugal), who co-produced David Bonneville’s feature debut “The Last Bath”;
Eva Åkergren (Sweden)’s recent co-productions have been Ali Abbasi’s “Holy Spider,” Malou Reymann’s “Unruly,” and Gustav Möller’s “Sons,” together with Flint. She is now in preproduction on her third collaboration with Amanda Kernell with “The Curse – A Love Story.”

European Film Promotion Reveals Participants for Producers on the Move Program (2024)

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