The Rest and the West: Ripoff or Resourceful Creativity, 7-8 October 2017

Organized by Prof Dina Iordanova along with postgraduate students, this two day conference explored various aspects of the transnational flows in transcultural film remakes, matters of cultural appropriation and other relevant interpretative frameworks, a project in part inspired by German-Turkish diasporic film director Cem Kaya’s film REMAKE, REMIX, RIP-OFF : ABOUT COPYCULTURE AND TURKISH POPULAR CINEMA(2016). The first day of the conference saw a screening of the film and discussion with Kaya, whereas the second day integrated a number of presentation and discussion items from participants, many of who were present in person, whilst some tuned in by pre-recorded videos.

Speakers included a mixture of international scholars, St Andrews academics and doctoral students, such as Prof. Ahmet Gurata (Bilkent University, Ankara, Turkey), Prof. Chris Berry (King’s College, London, UK), Prof. Savas Arslan (Bahcesehir University, Istanbul, Turkey),Prof dimitris Elefteriotis (Glasgow University, UK),Dr Iain Robert Smith (King’s College, London, UK), Prof. Melis Behll (Kadir Has University, Istanbul, Turkey), Natthanai Prasannam (Thailand, PhD student), Darae Kim (South Korea, PhD student), Shruti Narayanswami (India, PhD student), Souraj Dutta (India, PhD student), Dr Anuja Jain (St Andrews, Film Studies), Dr. Dennis Hanlon (St Andrews, Film Studies), and others.

Brazilian cinema Events Latin American cinema Uncategorized


THE LANDSCAPE OF NEW BRAZILIAN CINEMA offers an encounter with scholar – and now filmmaker – Lúcia Nagib and others, on Tuesday, 30 June 2020.

Participants will be invited to see, in advance, Lúcia Nagib and Samuel Paiva’s 94-min long film PASSAGES: TRAVELLING IN AND OUT OF FILM THROUGH BRAZILIAN GEOGRAPHY (2019, Portuguese, English subtitles), which was presented at the most recent IFF at Rotterdam and other festivals around the world. We will make available the link for viewing for attendees during the weekend preceding the event, so that you can see the film in your own time.

Then, on 30 June 2020, Tuesday, we will convene for a 75 min-long online meeting and discussion with Lúcia Nagib (University of Reading), Samuel Paiva (Federal University of São Carlos), and Tiago de Luca (University of Warwick).

The event will be moderated by Dina Iordanova (University of St Andrews) and the access information will be sent to you in advance. The discussion will take place at 3 pm BST (Please take note of your own time zones respectively, for example 11 am São Paulo, 10 am NYC, 4 pm Paris, Hong Kong/Shanghai 10 pm, Tokyo 11 pm).

This is a free event requiring registration. Everybody welcome (for the Zoom meeting we will admit up to 45 participants; we will send the link to the film to all that register). Faculty and students of the University of St Andrews will have priority, and the rest will be registered on a first come-first served basis. To register, please send a note with your name and affiliation to Julia Lennon at [email protected]. We will be in touch once the list is finalised.

We will close registrations on 25 June and will send out the link to the film to those registered on 26 June, Friday, for viewing over the weekend.

The film’s official trailer can be viewed here:

Looking forward to welcoming you to THE LANDSCAPE OF NEW BRAZILIAN CINEMA.


On the Practice of Film Criticism, with Jean-Michel Frodon

In this workshop on THE PRACTICE OF FILM CRITICISM we will combine viewing of a film an a discussion with renowned French film critic and essayist Jean-Michel Frodon.


Participants will be invited to see, in advance, a 52 min long film, ALLER-RETOUR (2018), in which Jean-Michel Frodon discusses the practice of film criticism with French director Benoit Jacquot (in French with English subtitles). We will make available the link on the weekend preceding the event, so that participants can view in your own time.


Then, on 29 April 2020, Wednesday, we will convene for a 75 min-long online meeting and discussion with Frodon. The event will be moderated by Dina Iordanova and the access information will be sent to you in advance. The discussion will take place at 1 pm GMT (Please take note of your own time zones respectively: 8 am Chicago, 9 am NYC, 2 pm London, 3 pm Paris, Shanghai 9 pm, Tokyo 10 pm).


This is a free event requiring registration and is limited to 50 participants for the live part (the link to the film will be made available to all interested parties). Faculty and students of the University of St Andrews will have priority, and the rest will be registered on a first come-first serve basis. To register, please send a note with your name and affiliation to Julia Lennon at [email protected]



Kira Muratova @ St Andrews (and now online), 2020

Kira Muratova (1934-2018), who worked mostly in the Ukrainian city of Odessa, is one of the most innovative, imaginative, exciting and versatile directors to emerge out of the Soviet Union, where her early films were censored and her later work – celebrated. Whilst she is well known within the territory of Russia and Ukraine, her work – an oeuvre that comprises more than fifteen feature films made over six decades — remains little seen and not widely recognized as part of the shaping feminist cannon of film history.

With the workshop Kira Muratova@St Andrews, co organized by the IGCCC and CRSCEES, we aim to compensate for this. The event was first planned to take place face-to-face on 8 April 2020, but we had to move it online due to the COVID-19 pandemics. Registered participants are viewing the material made available online in advance, and the discussion is taking place in an online meeting via videoconferencing, on 8 April 2020 at 2 pm GMT. For registration, please email Zofia Soch, [email protected].

The film shown in full is Muratova’s early KOROTKIE VSTRECHI/BRIEF ENCOUNTERS (1967). This is her first solo-directed feature film, made at Odessa studios, starring Nina Ruslanova, Vladimir Visotsky, as well as Muratova herself, B&W, 87 min.

Contributors to the workshop include Prof. Dina Iordanova and Dr Victoria Donovan (St Andrews), Dr. Irina Schulzki (Ludwig Maximillian University of Munich), Dr Masha Shpolberg (Wellesley College), and critic/independent scholar Giuliano Vivaldi (currently based in Russia). As the discussion takes place via an online platform, colleagues, researches, students and other interested parties from other institutions and countries are also welcome to take part.

The materials that were made available in advance can be accessed via the following links:

Masha Shpolberg’s video essay, Between the Fragment and the Ruin:  Socialism in the Films of Kira Muratova. 22 min. Please view first. 

Irina Schulzki’s (Munich) vieo presentation: The Sense of Gesture: Muratova’s Textures, Ornaments and Colours. 20 min.

Giuliano Vivaldi’s video presentation: Setting Out on a Voyage Into the Realm of Ultra-Realism: Kira Muratova’s Getting To Know The Big Wide World. 10 min.

A special thank you for the assistance from Mina Radovic, Zofia Soch, and George Nalbantov.


New Political Cinema, Asia, and Beyond: TEN YEARS multimedia dossier in FRAMES

The multimedia dossier New Political Cinema, Asia, and Beyond: TEN YEARS was published in FRAMES CINEMA JOURNAL, Issue 15, May 2019.

It contains the following articles:

Introduction by Prof Gina Marchetti (HKU) and Prof Dina Iordanova (St Andrews)

Video Interview with the producers of the TEN YEARS series: conducted, recorded, edited and subtitled by Dr. Leiya Lee (HKU). 45 min long, January 2019. Featurng:

      • Ka-leung Ng is the director of the “Local Egg” segment and Ten Years (2015), and the producer of Ten Years (2015)
      • Andrew Choi: producer of Ten Years (2015) and Ten Years International Project
      • Felix Tsang from Golden Scene is the international distributor of Ten Years and of Ten Years International Project and the producer of Ten Years International Project
      • Lorraine Ma is the producer of Ten Years International Project

Video Essay: Film critic Clarence Tsui on TEN YEARS

Video Essay: Producer Andrew Choi on TEN YEARS

Video Essay: Prof. Kwai-Cheung Lo (HKBU) on TEN YEARS

Video Essay: Dr. Vivian Lee (CUHK) on TEN YEARS

Video Essay: Distributor Felix Tsang (Golden Scene) on TEN YEARS

Video Essay: Prof. Laikwan Pang (CUHK) on TEN YEARS

Essay: Quietly Critical; TEN YEARS JAPAN by Dr. Jennifer Coates (UEA, Sainsbury Institute for the Study of Japanese Arts and Cultures)

Essay: A Future Without China: Livelihood Issues in TEN YEARS TAIWAN by Dr Timmy Chih-Ting Chen (BUHK)

Essay: TEN YEARS: An Unexpected Watershed of Twenty-first-century Hong Kong Film Industry by Dr. Ruby Cheung (U of Southampton)

Essay: TEN YEARS THAILAND: The Future Becoming, by Anchalee Chaiworaporn (independent critic, Thailand)

TEN YEARS: Bibliography and FIlmography, by Yu Lu (HKU).


The publication is a joint collaborative project of the IGCCC at the University of St Andrews and the Centre for the Study of Globalization and Cultures at the University of Hong Kong. It was developed out of the workshop dedicated to the TEN YEARS: ASIAN POLITICAL CINEMA project, whcih was held at the University of Hong Kong on 8 January 2019.


Mrinal Sen @ St Andrews, 2019

Mrinal Sen, whose death “marks the end of Golden Age of Indian cinema’s stalwart filmmakers” (Hindustan Times), was commemorated in this workshop which took place on 20 May 2019.

The great Indian Bengali director died in Kolkata on 30 December 2018 at the age of 95, leaving a legacy of award-winning realist leftist films, which had won awards at all major international film festivals, including Cannes, Berlinale and Venice. Mrinal Sen, Satayajit Ray and Ritwik Ghatak pioneered the New Wave cinema in India. His obituary in The Guardian spoke of Sen as ‘one of Indian cinema’s most probing recorders of the country’s social fabric’.

The event featured several contributions about the work of the director and its social context, followed by a film screening and a discussion. Sanghita Sen spoke on curating Mrinal Sen’s work for various programming situations. Shruti Narayanswami discussed Sen’s early film Neel Akasher Neechey (1958), which tells the story of an immigrant Chinese worker in Calcutta: one of the rare instances where Indian and Chinese cultures intersect in the cinema of the subcontinent. The programme included video contributions from the director’s son Kunal Sen, as well as by famous actress Nandita Das, who had most recently appared in his Amar Bhuvan (2002).


We screened Sen’s classic film Calcutta 71 (1972), a black and white complex masterpiece with a narrative that alternates between stories and different points in time. An angry young man is on trial in 1971, a rainstorm wrecks a slum in 1933, a lower-middle-class family is starving during the 1943 famine, teenagers turn smugglers in 1953, and a middle-class group chatter in a posh hotel in 1971.

Workshop initiator Sanghita Sen went on to discuss the work of the director in the transnational context of Third Cinema, at a talk in Bangladesh later in 2019, as covered in The Dhaka Tribune.



Ten Years: Asian Political Cinema, University of Hong Kong, January 2019

The film TEN YEARS HONG KONG (2015) is considered the most important example of post hand-over political cinema, charting the anxieties of a whole generation of Hong Kong residents. In 2018, three further politically topical films were made in Asia, to the same model: TEN YEARS THAILAND, TEN YEARS TAIWAN, and TEN YEARS JAPAN, involving young independent filmmakers but also more established auteurs such as Hirokazu Kore-eda who co-produced the Japanese film, or Apichatpong Weerasethakul and Aditya Assarat, who contributed to the Thai one. The model for these politically thopical omnibus films is likely to be spread even furtehr afield. We felt it was important to hold a workshop and discuss the trend of political filmmaking in East Asia through the prism of the TEN YEARS project.

Held at the University of Hong Kong’s Run Run Shaw Tower, the event was organised jointly with our partners, The Centre for the Study of Globalization and Cultures at the University of Hong Kong. It brought together producer Andrew Choi (Ten Years Studios HK) and distributor Felix Tsang (Golden Scene), who are behind the whole series of films. Other discussants included Prof. Gina Marchetti (University of Hong Kong), Prof Laikwan Pang (Chinese University of Hong Kong), Dr Elena Pollacchi (Ca’ Foscari University, Italy), Dr Vivian Lee, Dr Timmy Chen, and Dr KC Lo (Baptist University of Hong Kong), and film critic Clarence Tsui.

Technical assistance related to the workshop was provided by Louis Lu, Christine Viscera, and Leila Lee.

Material generated through the workshop was published as part of the Dossier TEN YEARS ASIA in FRAMES CINEMA JOURNAL Issue 15.



The inaugural event for the field of Film Festival Studies took place in April 2009 at the Byre Theatre in St Andrews. It was attended by international scholars and festival practitioners and triggered a massive publishing and research programme which evolved in the decade that followed.

A decade later, in 2019, enabled by a grant from our KE/Impact fund and by contributions from the organisations of various participants, we convened in London for a day of discussions that were meant to assess what had been achieved over the past ten years of film festival studies. The event was held at Birkbeck College/University of London and consisted of two parts — there was a closed door discussion of selected core participants, followed by an open session in the afternoon, which took part to an audience of about fifty participants that came to discuss the work and outline new areas for research. The day was also intersperced with the screening of various videos sent in by colleagues who could not attend but wanted to contribute nonetheless, such as Anne-Demy Geroe from Brisbane, Australia, Tamara Falikov from the University of Kansas, and Richard Porton, editor of the Cinaste magazine from New York City — all colleagues who are known to either have run a festival or published a book that deals with matters of film festivals.

The core participants in the session included a group of international researchers and famous festival practitioners, such as Marco Muller (an academic and former director of the festivals in Turin, Pesaro, Rotterdam, Locarno, and Venice and currently director of the Pingyao Film Festival in China), Jean-Michel Frodon, an affiliate of the IGCCC, famous film writer and professor at Sciences Po in Paris, France, Dr. marijke De Valck, Utrecht University — who is widely regarded to be the doyenne of film festival studies, Dr. Dorota Ostrowska of Birkbeck college who has written on a variety of European festivals, and Hannah McGill, film journalist from Edinburgh and former artistic director of the Edinburgh International FIlm Festival. We were assisted by Sarah Smyth, a PhD student at the University of St Andrews, who works on festivals and who since was appointed to be the Executive Officer of Scottish Screen.

For the afternoon session we were joined by numerous mainly London-based participants who are engaged with the study of film festivals in one way or another, such as Anastasia Kerameos from the BFI Library, Prof. Catherine Grant from Birkbeck, Prof. Chris Berry from King’s College London, Dr. Will Brown from Roehampton University, and many others. The discussion was lively and engaging. A recording of it will be made available at a later point.



Wu Tianming @ St Andrews: The Dossier now published

The cluster of video and written essays dedicated to the life and work of this great Chinese cineaste WU TIANMING (1939-2014) is a direct consequence of the great opening up of Chinese cinema to Western audiences that we are witnessing. Wu Tianming was not only a cruical figure of China’s Fourth generation of fim directors, but also the person who enabled — in his capacity of director of the Xi’an film studios — the most important directors of the Fifth generation, such as Zhang Yimou, Tian Zhiangzhuang and Chen Kaige, make their entry into cinema. We commemorated his work at the IGCCC workshop on 9 April 2018, when we screened his film OLD WELL (1987).  Subsequently, many of the contributions from the workshop were published online in a dossier dedicated to the director.

The dossier can be found in FRAMES CINEMA JOURNAL, ISSUE 14 (December 2018). Here is a link to the introductory video essay by Peize Li, which presents the complexity of Wu’s career.

Video Essay: Wu Tianming and the Xi’an Film Studio in China

The WU TIANMING DOSSIER also includes

Dina Iordanova, Introduction

Chris Berry, Video Essay: Remembering Wu Tianming

Xie Fei, Video Essay: Tribute to Wu Tianming

Wu Guanping, Video Essay: The Legacy of Wu Tianming

Himin Deng, River Without Buoys: The Construction of Post Revolutionary State Ideology

September Liu, In Memorial of Wu Tianming: An Anecdote and Some Notes


Events Publications

Setsuko Hara @ St Andrews: Dossier Now Published

The 5 February 2018 workshop on Japanese actress Setsuko Hara (1920-2015) was IGCCC’s first workshop to celebrate the work of a female artist, part of our series of events that mark the oeuvre of cineastes that have passed away in recent years.

The essays, published in Frames, Issue 13, are dedicated to Japan’s most admired and universally adored actress. Her presence in the films of Yasujirō Ozu, Akira Kurosawa, Mikio Naruse and many others made Hara one of the most memorable faces in the history of cinema at large, even if she withdrew from acting in her early 40s and never appeared in film after 1962.

We screened one of Hara’s earliest films, the German-Japanese co-production THE NEW EARTH (a.k.a. The Daughter of the Samurai/Atarashiki Tsuchi/新しき土) 1937, directed in two diferent versions by Arnold Frank and Mansaku Itami – in the version directed by Frank. Even though this was not her first role, Hara is only 17 years old when she appeared in the film, in a period that was marked by substantial propagandistic and political upheavals.

In the presentations that followed, we heard from historian Konrad Lawson (St Andrews), who gave a fascinating contextualisation of the complex period in which Hara started her career. Other contributors included our colleague Philippa Lovatt (St Andrews), Bruce Chu (Communication University of China), and Alex Zahlten (Harvard University).

Frames Cinema Journal (Issue 13, May 2018) published a dossier containing some of the material — an essay, an illustrated presentation, and a video essay — that was created by our range of contributors specifically for Hara’s commemoration. Here are the links:

Dina Iordanova, Introduction: Setsuko Hara @ St Andrews and Now in Frames

Alastair Phillips’s (Warwick), Space and Transition in the Films of Setsuko Hara

Jennifer Coates (Kyoto U./University of East Anglia) Setsuko Hara vs. the Press: The Post-war Trolling of a Wartime Icon, 

Joel Neville Anderson’s (Rochester/Japan Cuts) video essay: Hara Double at the Brattle.