FRED Film Radio - English Channel

PODCAST | Matt Micucci interviews Konstantin Bojanov, director of LIGHT THEREAFTER from the 46th International Film Festival Rotterdam.

Konstantin Bojanov presented his film LIGHT THEREAFTER at the 2017 International Film Festival Rotterdam. He reveals to us that he does have a personal connection to the film, although he doesn’t think that having a personal connection is necessary to tell a story, because one of its key themes is that of fine arts, and he himself is a fine artist. The film ditches the traditionalist chronological narrative structure. “I wanted the film to be like a mosaic,” he tells us in this interview. Through his words we also get to take a closer look to some other themes of the film, the visual style and, among other things, give a shout out to Barry Keoghan, who does an excellent job in his performance as the leading character of the film.

LIGHT THEREAFTER. For sixteen-year-old Pavel, painting is a matter of survival. Looking for something to hold on to, he goes to Provence to visit the artist he sees as his “spiritual father”. His unease is palpable in this reverse-chronological report on his adventurous, character-forming pilgrimage.

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PODCAST | Matt Micucci interviews director Hokimoto Sora and actor Yamamoto Keisuke on the film HARUNEKO from the 46th International Film Festival Rotterdam.

We meet director Hokimoto Sora, who presented his first time feature HARUNEKO at the 2017 International Film Festival in Rotterdam. Joining us also, his lead actor and friend of over four years, Yamamoto Keisuke. The two are apparently inseparable. The impression is the director already had the lead actor in mind before the cameras started rolling. HARUNEKO is no straight forward story. It is also a film about death and a journey between life and death. It is implied that the film will be a different experience for anyone watching it. In fact, as the director tells us, not even the cast or the crew knew exactly what it was all about. Was it difficult for Yamamoto to get into this role given the nature of the narrative? We also ask him why Hokimoto Sora is so interested in dealing with death in his films and much more.

HARUNEKO. Those who seek to die find refuge in a mysterious café. In this feverish musical dream that recalls Terayama Shuji, the forest is a place where life and death blur. Produced by Aoyama Shinji, this Japanese debut is full of life but tinted in darkness.

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PODCAST | Chiara Nicoletti interviews Matthjis Wouter Knol, director of the EFM – European Film Market.

Three is the magic number and we can sense that by looking at the 2017 edition of the European Film Market as it’s the third year Mathijs Wouter Knol is directing the EFM. The EFM has always been a very active and useful film market but there’s a special energy surrounding it this year, in termos of innovation and new ideas. IT’s “the film industry of the future” to be one of the new initiatives at the Martin Gropious Bau’s headquarters as EFM Horizon presented by Audi will be presented. The main topics will be Virtual Reality, Computer Games, Startups and New Technologies. Last year the EFM decided to focus its attention on Korea as a very important country to explore in terms of production, co-production and distribution possibilities. This test on a country transformed into a new programme, Country in Focus, that is conceived to give the film industry and filmmakers of a country the opportunity to introduce themselves in greater depth and highlight certain aspects. Mexico is not the only country to attract the EFM’s attention. A new platform for innovation and technology will be introduced,the Berlinale Africa Hub and among the Industry Debates, one is dedicated to the Arab world: New Prospects: Challenges and Opportunities in the Arab Film Industry. Drama series continues so that now all the panel discussions and market screenings, which are offered by the European Film Market, will be set a in a new exclusive venue,Berlin’s legendary Zoo Palast cinema.

Every year more than 3,800 media representatives from over 80 countries converge on the Berlin International Film Festival, making the Berlinale one of the biggest media events in the film industry’s calendar. The European Film Market is the business centre of the Festival and one of the top international film markets in the world. Attended by over 8,300 international industry professionals including almost 1,500 buyers and more than 480 exhibitors, the EFM is where the film world looks for business news during the Berlinale.

European Film Market website here.

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PODCAST | Jordan Mattos, distributor.

Fillmmaker turned distributor Jordan Mattos from New York City, participating in the Market section of the Talents Campus, talks about the challenges of selling international films in a tough market like the USA.

For the official website click here.

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PODCAST | Chiara Nicoletti interviews Martin Zwischenberger, University of Teacher Education.

Martin Zwischenberger is a radio host but also an expert in live audio sport commentaries. Arsad 2017 won’t be his first time at the conference as he already had the opportunity of attending ARSAD’s workshops and panels in 2015. “It’s a very good place to learn a lot and get in touch with so many enthusiastic people workng on accessibility”: these are the words Martin uses to talk about ARSAD as it is an added value for the ones who constantly work to guarantee people with visual impairments an inclusive way of enjoying arts.

Since its beginning in 2007, the international seminar on audio description ARSAD has been a meeting point for all key agents interested in both research and practice in audio description. Its sixth edition, to be held in Barcelona on March 16th (all day) and 17th (morning) 2017, aims to take stock of recent advances while looking at the future of the field. ARSAD 2017 would like to engage practitioners, researchers, trainers, trainees, regulators, broadcasters, users, social activists, cultural managers, and anyone interested in audio description in a fruitful discussion on the past, present and future of audio description. In this edition TransMedia Catalonia (2014SGR027) teams up with the international project ACT (Accesible Culture and Training) to approach audio description from a myriad of perspectives

To follow the program click here.

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PODCAST | Chiara Nicoletti interviews Agnieszka Walczak, PhD candidate at the Department of Translation and Intercultural Studies at the Universitat Autònoma de Barcelona.

Agnieszka Walczak is a PhD candidate at the Department of Translation and Intercultural Studies at the Universitat Autònoma de Barcelona and within the framework of the European project Hybrid Broadcast Broadband for All, she focuses on the quality of audio description. At ARSAD 2017 she will talk about her research into the reception of audio description and introduce her presentation “Presence as a tool for measuring the effectiveness of audio description”.

Early research into the reception of audio description (AD) focused on user comprehension (Chmiel & Mazur, 2012; Romero-Fresco & Fryer, 2013; Walczak & Rubaj, 2014) rather than the quality of experience of AD audiences. Several studies have explored the emotional impact that AD may exert on its users (Ramos Caro & Rojo López, 2014; Ramos, 2015). However, people do not watch films only to listen to the AD. It is rather ‘a secondary means of mediation’ (Fryer & Freeman, 2013) that allows access to the visual component that otherwise would be missed. What allows to assess the entire experience of the AD audiences, instead of focusing solely on the descriptive element, are presence measures. Defined as ‘the suspension of disbelief’ (Slater & Usoh, 1993) or as ‘a user’s subjective sensation of being there’ (Barfield et al., 1995), presence is the illusion of being located somewhere other than the physical environment. It is an experiential quality metric employed to evaluate broadcast and virtual environment media systems (Lessiter et al., 2001). Its effectiveness for gauging the reactions of blind and visually impaired audiences to audiovisual stimuli has already been shown in various works (e.g. Fryer & Freeman, 2013; Walczak & Fryer, 2016). This paper aims to present the results of the recent research investigating different scenarios for content and vocal delivery of AD. It was carried out with blind and visually impaired audiences in Poland. They were asked to report their emotional response to the stimuli presented and their reactions were assessed using presence questionnaires.

To follow the program click here.

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PODCAST | Chiara Nicoletti interviews Floriane Bardini, Ph Student – University of Vic.

A very important part of this year’s edition of ARSAD – Advanced Research Seminar on Audio Description will focus on reception studies. A whole panel is indeed dedicated to “Reception Research”. Floriane Bardini, translator and doctoral researcher, Ph student at the University of Vic, will present her research entitled Audio description style and film experience: a reception study . The project is a reception study with blind users and users with visual impairment to test different audio description styles. The objective is to determine the best way to deal with cinematic language in audio description in order to provide a better service.

Since its beginning in 2007, the international seminar on audio description ARSAD has been a meeting point for all key agents interested in both research and practice in audio description. Its sixth edition, to be held in Barcelona on March 16th (all day) and 17th (morning) 2017, aims to take stock of recent advances while looking at the future of the field. ARSAD 2017 would like to engage practitioners, researchers, trainers, trainees, regulators, broadcasters, users, social activists, cultural managers, and anyone interested in audio description in a fruitful discussion on the past, present and future of audio description. In this edition TransMedia Catalonia (2014SGR027) teams up with the international project ACT (Accesible Culture and Training) to approach audio description from a myriad of perspectives.

To follow all the interview about ARSAD 2017 click here.

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PODCAST | Chiara Nicoletti interviews Alejandro Moledo, European Disability Forum New Technologies and Innovation officer.

As a member of the Spanish Blind Association and EDF – European Disability Forum New Technologies and Innovation officer Alejandro Moledo is ARSAD’s Keynote Speaker for this year’s edition. Since one of the issues ARSAD has always analyzed is the huge differences in how accessibility is applied in all the European countries, the best and most important thing to do was to start from the European Directives on the matter. Alejandro Moledo in his presentation – Users’s perspective on a converged media environment – will introduce this topic to his fellow speakers and participants to get their attention on the status of media accessibility in the EU.

Keynote presentation: “Users’s perspective on a converged media environment” The European Union is finally acting on accessibility. After years of advocacy work by persons with disabilities, the EU has finally taken some crucial steps to live up to the obligations enshrined in the UN Convention on the Rights of Persons with Disabilities (UN CRPD), ratified by the EU in 2011 and 27 of its Member States. On December 2015, the Commission presented a proposal for a Directive on accessibility requirements for mainstream products and services, the so called “European Accessibility Act”. This Directive covers a set of products and services –with a strong ICT component–, including Audiovisual Media Services and related consumer equipment. Soon after, another proposal for a Directive on the accessibility of websites and mobile apps of public sector bodies was adopted, but with the exemption of public broadcasters. And last but not least, the Commission also presented in 2016 a revision of the Audiovisual Media Services Directive, currently under discussion. Bearing in mind this political environment, organisations of persons with disabilities speak out loud and clear: the whole chain of value should be accessible, from the process of setting up the product to the enhanced use of the new functionalities of the converged audiovisual environment: on-demand video services, video-sharing platforms, multi-content, multi-screen, menu navigation, advanced personalisation, as well as quality access services, which have proven useful for everyone. In particular audio description, which is not limited to the media environment, also benefits from these technological developments: automatic audio description and synchronised second-device solutions are clear examples. However, where is the end-user? What is the reality for everyday people? How can we match technology breakthroughs with the policy discussions? What are the keys to ensure an end-to-end accessibility on media in line with the UN CRPD? The EU is moving, but everything is at stake.

Website here.

To follow all the interview about ARSAD 2017 click here.

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PODCAST | Cristiane Oliveira, director and screenwriter of Mulher Do Pai (Nalu on the Border).

Cristiane Oliveira is the director of the feature Mulher do Pai (Nalu on the Border), a Brazil-Uruguay co-production that was selected to Generation 14Plus and she is also alumni at Talents.

Mulher do Pai: Nalu, 16, and her father, Ruben, 39, live in a small country town near the Brazilian border with Uruguay. When he realizes she is becoming a woman, an ambiguous closeness begins to develop between them. That intimacy gives way to jealousy when Rosario, an Uruguayan woman, enters their lives.

Official website here.

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PODCAST | Chiara Nicoletti interviews Danny Boyle, director of Trainspotting 2.

The sequel of one of the most iconic films of the 90’s , Trainspotting 2 will be screened as an European Premiere at the 67Th Berlinale. Its director, Oscar winner Danny Boyle made a stop in Rome to present it to the italian audience and press. Danny Boyle talks about the importance of music in his films and how he used it, in this second chapter, as a trigger to the memories of the first film. There are also some flashbacks to the 1996 film for a total of one minute only and these also were essential to bring back some emotions and feelings from the past. In the end, Danny Boyle discusses the role of Hope in this second film, as it can be seen in all the protagonists, starting from the one we see as the most unlucky one, Spud.

First there was an opportunity……then there was a betrayal. Twenty years have gone by. Much has changed but just as much remains the same. Mark Renton (Ewan McGregor) returns to the only place he can ever call home. They are waiting for him: Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle). Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance.

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