PANAMA CINEMA… (In the Entertainment industry. History of Panama Cinema)

Panama Film Commission Logo / Photo Credit: Panama Film Commission

PANAMA CINEMA… (In the Entertainment industry. History of Panama Cinema)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Panama Cinema

All permits, locations and police requests must come through the Panama Film Commission Office.

Panama Film Commission

https://panamafilmcommission.com/

Festival Internacional de Cine Panama

http://iffpanama.org

Emerge Film Solutions

http://emergefilmsolutions.com

Following information on Panama Film & Photography Production Services provided by Emerge Film Solutions.

Are you a media company, brand, ad agency or production company looking for film / photography production support or shooting crew in Panama? We have fully vetted, locally based fixers, service producers, directors, DP’s, videographers, cameramen, photographers, sound operators, production drivers, and a range of other film crew. Contact us for referrals, questions, cost estimates and references.

Want to know more about shooting in Panama? See below for an introduction to Panama locations, permits, when to shoot, costs, talent, crews, equipment, art department, studios, post facilities, visas and work permits, film friendly hotels, transport, communications and safety advice.

Panama Film Locations

Panama City offers a beautiful modern skyline, Spanish colonial buildings, new subway system, and a modern container port. Biomuseo, Frank Gehry’s first work in Latin America, adds a splash of color to the city.

Travelling from Panama City you can reach the Panama Canal within a few minutes, rainforests within 30 minutes, rivers and mountains within 45 minutes, beaches within 1 hour, and volcanoes with 2 hours.

The palm-lined, white sand, aqua marine San Blas Islands are 2 hours by boat or 20 minutes by air. Also on the Caribbean side lies Bocas del Toro, an ex-banana plantation turned paradise resort. On the Pacific side you can find pristine Coiba Island, a former penal colony, now nature reserve. Isla Escudo de Veraguas is home to the pygmy sloth.

Panama’s agricultural looks of interest include banana, pineapple and coffee plantations.

Panama City is the capital and main entry point by air.

Panama has played host to productions such as James Bond: Quantum of Solace and Hands of Stone.

Panama Film Location Permits

Film friendly government agencies. Most public locations are free but require a permit that usually takes up to 48 hours to process. Permits for filming in national parks can be quite expensive depending on the type of production. Please contact us for more location specific information.

When to Shoot?

Panama has a tropical climate. Temperatures in mountain areas and on the Pacific side tend to be lower than on the Caribbean. The dry season runs from December to May. This is the best time to film for weather. The rest of the year is rainy, with the greatest intensity of rain during the months of October and November. For monthly weather statistics please see here.

Festivals and events of interest to filmmakers and photographers include:

Chiriqui Highlands Flower and Coffee Festival in January.

Panamanian carnival in February.

Semana Santa in March / April.

Bocas Del Toro Sea Fair in September.

Public holidays may affect timing, availability and costs. See here for public holiday dates in Panama.

Costs & Tax Incentives

Costs. Panama uses the USD as legal tender. The greatest cost is the need to bring in your specialized equipment and possibly your key crew but that is offset by the relatively low cost of locations, talent, supporting crew, transportation, accommodation and meals. Panama is generally slightly more expensive than other Central American countries, but less expensive than Costa Rica. Our Panamanian service producer / fixer packages will negotiate local deals and provide the appropriate level of production support to match every budget.

Tax Incentives. Panama offers a 15% cash rebate on local production spend. The full rebate can be escrowed upfront with the bond company to cash flow the production. Requirements include a minimum $3 million spend. The incentive program covers feature films, television pilots, television series (broadcast and cable), television commercials, music videos, industrials, documentaries, video game design and creation, and other forms of content.

Panama also offers tax incentives such as tax-free temporary importation of all film equipment with no deposit required, as well as no payroll tax.

For more information on financial incentives visit the Panama Film Commission.

Film Crew & Talent

Crews. Panama has a very small pool of local directors, directors of photography and stills photographers. Panama also has a small depth of good, fast working crews most of which speak English. Since it is still a small, developing production centre it may be necessary to bring in key crew depending on the availability of local crews.

Contact us if you are looking for a Panama City based director, DP, photographer, videographer (cameraman / camera operator), camera assistant (focus puller), sound operator, grip, gaffer, stylist, hair and makeup, PA / runner, production driver, or any other film crew for your shoot in Panama.

Talent day rates and buyouts are negotiable. Day rates are very reasonable and negotiated on a personal basis.

Panama offers mainly International-Latin and Amerindian looks. Several ethnic groups exist including the unique, colorful Kuna Indians that live on the picturesque San Blas Islands, or the Embera people who live in Darien Province. With the existence of the Panama Canal there is also a sizable community of US and European citizens. Panama’s close proximity to major US production centers allows easy access to those pools of multicultural talent should you need to look further.

Panama Film Equipment

Only basic camera, lighting and grip equipment is available locally. Local production companies have their own equipment and share when necessary. The overall stock of equipment is quite small. All specialized equipment and operators are required to be brought in from abroad. Miami is the closest major production centre. Mexico and Colombia also have a range of equipment and are cheaper alternatives than bringing equipment from the US.

Art Department, Studios, Backlots, & Post Production

Art department and set construction is impressive in Panama. Local crews have built sets for Survivor, MTV’s Road Rules Challenge, and James Bond: Quantum of Solace.

Studios. Only basic facilities belonging to local TV stations exist.

Backlots. At present no backlots exist in Panama.

Post Production. Best to post abroad.

Visas & Work Permits

Entry is subject to regulations from country of origin. Western passport holders can enter Panama visa-free for stays of up to 180 days. Visiting productions receive free work permits and reduced costs on multiple entry visas. Contact your local Panamanian embassy or representative for more information.

Transport & Accommodation

Transportation. Roads are in an excellent condition. Beaches and mountains have good paved highway access. Rural roads are slower going with some becoming impassable during the rainy season. Several international airlines service Panama on a daily basis.

Accommodation. Recommended film friendly hotels in Panama City include:

Finisterre Suites

Radisson Decapolis Hotel

Sheraton

Please contact us for corporate rates.

For longer stays we can also organize serviced apartments.

Final Notes

Safety. Panama is one of the safest countries in the region. See here for up to date travel advice.

Projects. For an example of TV commercials, stills campaigns, online content, corporate videos, virtual reality 360 content, feature films, TV series and documentaries shot in Panama.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, International Film Festival Panama, Variety, Emerge Film Solutions, Panama Film Commission,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Panama Film Commission Logo / Photo Credit: Panama Film Commission

MALTA CINEMA… (In the Entertainment industry. History of Malta Cinema)

Coliseum Cinema / Photo Credit: Vassallo History

MALTA CINEMA… (In the Entertainment industry. History of Malta Cinema)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you. 

Malta Cinema

International producers have been coming to Malta, Gozo and Comino for more than 50 years, and the historical origins of the islands' popularity as a film and TV location lie in one word: water.

In 1963, Jim Hole, a British special effects specialist, and Paul Avellino, a young Maltese construction manager, devised a plan to help directors to film safely on water. At Rinella, on Malta's eastern coast, they built Malta Film Facilities: a shallow-water tank, 300 feet wide and immune from the vagaries of tides and stormy weather. The tank blends seamlessly with a clear horizon, so directors can give audiences the illusion of action taking place miles out to sea, with no need for special effects.

The tank was first used for the Cold War naval drama The Bedford Incident in 1964, and movies, TV dramas, commercials and music videos with water-set scenes have been using Mediterranean Film Studios (the Rinella site's name since 1978) ever since.

But producers who were first drawn to Malta for the tanks swiftly noticed its other assets, notably its superb climate and its proximity to the major European cities where many film companies and film studios are based. Above all, they noted how the cliffs, coastal inlets and varied architecture of the islands offer unspoiled locations that are perfect for historical epics like Gladiator and Troy or period dramas such as Cutthroat Island and The Count of Monte Cristo. In response to the upsurge in interest from international producers, the Malta Film Commission was established in 1999 to encourage and promote greater use of the islands as a film and TV location and to assist visiting productions before, during and after filming.

Visit Malta

https://www.visitmalta.com

Why Film In Malta?

With such a wide selection of locations available around the globe, why should a production come to Malta?

There are many ways to answer the question 'Why Malta?'. The principal reasons why so many producers and directors have chosen the island include the following...

Short Distances

Up to a maximum of five scenes can be shot in one day.

Mild Climate

Sun shining for an average of 8½hrs per day. 12 shooting hours of daylight in summer, and 10 in winter.

Multi-lingual local community, English spoken by all, Italian understood and spoken by many.

Accessible Coast and a variety of rocky and sandy beaches.

Excellent Opportunities for location shooting.

World-Class Water Tanks located at Rinella Studios.

The Oldest Known History in the World.

With authentic locations dating back 6000 years.

Excellent Hotel Accommodation and genuine hospitality.

Experienced Technical Crew who already worked on big budget films.

FINANCIAL CONTRIBUTIONS AND LOGISTICAL SUPPORT FOR FILMING IN MALTA

The Malta Tourism Authority is offering financial assistance for film and television productions that choose to film in Malta depicting ‘Malta' directly.

Depending on the Authority's evaluation of a production's suitability to the marketing of the Maltese Islands, certain expenditure of the production costs will be covered directly by the Authority to facilitate the filming activities during principal photography.

The MTA will consider partially sponsoring the following elements of the production which also includes the initial scouting and technical recces.

Flights to and from Malta where there are direct routes served by Air Malta. Transportation of cargo where there are direct routes served by Air Malta. Locations fees in public areas that are administered by the Central Government or local councils. Hotel accommodation for cast and crew. Transport costs of production vehicles. Assistance may either be given in terms of directly supporting the above items of expenditure or in the form of a lump sum grant established on the basis of estimated costings

Although each production is treated on a case by case basis, the film production company will be required to comply with the following artistic merits in order to qualify for consideration for financial assistance.

Malta to be featured prominently in the script and locations featured to be authentic. In a TV series, episodes should depict or mention Malta with a minimum of 50% in each episode to be shot locally. A number of promotional slots are to be featured in TV films/episodes before the scheduled screening. The Authority will give priority to productions that will broadcast a documentary on the ‘The Making of' the film/episode. A copy is to be forwarded to the authority. The production company is to engage the services of a local production manager and priority should be given to hiring local cast and crew. The MTA are authorized to use the footage for marketing purposes only after the film/TV episode have been released to the general public. Proposals will be reviewed on a case by case basis and only those considered beneficial to MTA's marketing plan for the country concerned will be selected for assistance

The Malta Film Commission offers specific financial incentives to audiovisual productions shooting on location in Malta. The incentives are in the form of a cash rebate of up to 25% with an additional of 2% if Malta is culturally featured as Malta) on costs incurred on EU crew and services during filming in Malta.

Cash rebates are subject to State Aid Approval.

There has never been a better time to film in Malta.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Vassallo History, Trip Advisor, Visit Malta,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

ICELANDIC CINEMA… (In the Entertainment industry. History of Icelandic Cinema)

Oblivion Island / Photo Credit: Film Island.is – Klapptre.is

ICELANDIC CINEMA… (In the Entertainment industry. History of Icelandic Cinema)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Icelandic Cinema

Iceland’s beauty is almost surreal, and the perfect backdrop for any type of film. It has attracted many foreign and local filmmakers through the years. Icelandic cinema can be principally defined by its diversity, yet the contrast between traditional and modern Iceland, the past and present, has been a central theme throughout its history.

Icelandic Cinema

http://www.icelandiccinema.com/

Iceland has a notable cinema film industry, with many Icelandic actors having gone on to receive international attention. The most famous film, and the only one to be nominated for the Academy Award and European Film Awards, is Börn náttúrunnar (Children of Nature), directed by Friðrik Þór Friðriksson. This film brought Icelandic cinema to the international scene, which has since grown to its height, with films such as Nói Albínói (Noi the Albino) by Dagur Kári, heralded as descendants of the Icelandic film tradition.

Icelandic filmmakers are industrious and creative, and have made Icelandic cinema an important part of both Icelandic culture and the Icelandic economy. The film industry is thriving and produces several films each year. Iceland's scenic landscape is also a popular location for shooting big budget Hollywood productions, such as Die Another Day, Journey to the Centre of the Earth, Batman Begins and Flags of our Fathers. Icelandic authorities also provide a generous refund policy on production costs for foreign film makers. The Film in Iceland agency helps foreign film companies who are looking to shoot in the country.

The oldest preserved film is a three-minute documentary by the Dane Alfred Lind, dating from 1906, and in 1919 Gunnar Sommerfeldt directed his adaptation of the Icelandic author Gunnar Gunnarsson's The Story of the Borg Family (1920), the first feature film to be shot in Iceland. Though few and far between, there were a number of Icelandic filmmakers working prior to 1980. Perhaps chief amongst them was Loftur Gudmundsson, whose short farce The Adventures of Jon and Gvendur (1923) is the first altogether Icelandic fiction film. His subsequent Between Mountain and Shore (1949) has the distinction of being the first official Icelandic feature film.

The Icelandic director Baltasar Kormákur also directed 101 Reykjavík, Hafið (The Sea), A Little Trip to Heaven (starring Julia Stiles and Forest Whitaker), and Mýrin (Jar City).

The annual Edda Awards are the national film awards of Iceland.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., The Culture Trip, UNESCO Institute for Statistic, Birgir Thor Møller, Icelandic Cinema BTM, Film Iceland.is, Creative Iceland,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

 

MONGOLIA CINEMA… (In the Entertainment industry. History of Mongolia Cinema)

Under the Eternal Blue Sky 9 / Photo Credit: Bitrix Studio - Devian Art

MONGOLIA CINEMA… (In the Entertainment industry. History of Mongolia Cinema)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Mongolia Cinema

The cinema of Mongolia has been strongly influenced by the cinema of Russia, which differentiates it from cinematic developments in the rest of Asia.

Mongolian Culture

The Culture of Mongolia has been heavily influenced by the Mongol nomadic way of life. Other important influences are from Tibet and Tibetan Buddhism, and from China. Since the 20th century, Russian and, via Russia, European cultures have had a strong effect on Mongolia.

In socialist times, movies were treated as a propaganda instrument by the Mongolian People's Revolutionary Party. The first topics were popular legends and revolutionary heroes like in Sükhbaatar. In the 1950s, the focus shifted to working class heroes, as in New Year. The 1970s saw many documentaries and everyday life stories as in The Clear Tamir.

After democratization, film makers turned to international partners for support, as in the Japanese-Mongolian co-production Genghis Khan. Independent directors like Dorjkhandyn Turmunkh and Byambasuren Davaa created movies that connected ancient traditions and mythology, and how they may relate to life in a modern world. Byambasuren's The Story of the Weeping Camel was nominated for an Academy Award as foreign documentary in 2005.

History

It is assumed that the first cinematographic performances in Mongolia happened between 1903 and 1913, as private events for the prince Tögs-Ochiryn Namnansüren and the Jebtsundamba in the capital Urga.

Cinema, the miracle of the 20th century, came to Mongolia in the 1910s. First movies were shown in the capital city, at the American Consulate and Russian Stock Exchange's hotel. In 1913 the Mongolian prince Namnansuren is known to have brought some films from Russia to show at the residence of the Bogd Khan. After the revolution of 1921, films and film equipment were purchased and film students trained in Russia.

Thus Mongolian people acquired access to cinema. At that time, cinema in Mongolia was called "Shadow show,", and it was free of charge until the first cinema theatre "Ard" was built in the 1930s. In 1935, under the decision of the Council of Ministers, a movie production company "Mongol kino" was set up with Soviet assistance.  

The first production of the company was a documentary "74th Celebration of the 1st of May." In 1936, the first feature movie was created with the technical assistance of the Soviet "Lenfilm".

Mongolia's first movie directors, cameramen, editors and other personnel were trained on the job by professionals from the Soviet Union.

In 1938 Mongolians independently made "Norjmaa's Way" and then "Wolves" in 1939. Movies directed by the famous Mongolian film director D.Jigjid, such as "Tsogt taij" (1945), "People's messenger" (1959), "Flood," "Son-in-law," and others have become classics of Mongolian cinema.

After the socialist revolution, the Mongolian People's Revolutionary Party decided in its fifth congress of 1925 to use movies as an instrument of mass education. From 1926 on, mobile projection facilities would regularly show Soviet films to the Mongolian people. The first permanent cinema "Ard" (ард, people) opened in the capital (now named Ulaanbaatar) in 1934. Eventually, every aimag center would have fixed cinemas, and every sums of Mongolia or negdel would have a mobile cinema. In the 1990s, many cinemas, fixed and mobile alike, closed down or reduced activities.

Mongol Kino

The national film studios, Mongol Kino, were founded in 1935, with Soviet technical assistance. Their first productions were a documentary on the "47th anniversary of the 1st May" and a fictional story named A Mongol son (Mongol Khüü) directed by the Russian Ilya Trauberg and Mongolian Demberel Baldan. The first Mongolian-directed movie was the black-and-white short feature Norjmaa's Destiny (Norjmaagiin Zam) by Baldan in 1938.

From then on, the Mongolian movie production focused around heroic revolutionary propaganda and ancient popular legends, still often under Russian direction. This program was very successful with movies like Sükhbaatar (1942) and Tsogt Taij (1945). The studios of Mongol Kino also produced documentaries and current news reports.

1950s and 1960s

After World War II, the party moved the focus on working-class heroes, reflected in movies like New Year (Shine Jil, 1954) by Tseveeny Zandraa. Examples of this genre are Awakening (Serelt, 1957) by S. Genden and The Rejected Girl (Gologdson khüükhen) by Dendevyn Chimid-Osor. In 1955, the first musical comedy appeared, which started a trend that continued into the 1960s. The first color movie was The Golden Yurt (Altan Örgöö, 1961), based on a folktale. It was produced in cooperation with the East German DEFA studios. The music of the film, written by L. Mördorj, was played and recorded by the GDR Radio orchestra and became a classic of the Mongolian symphony. As a fairy tale film, it is rich with match moving and other special effects of cinematography.

1970s and 1980s

While the production of documentaries increased, the fictional stories turned to everyday life in the 1970s. One of the most famous movies of that time, The Crystal Clear Tamir River (Tungalag Tamir, 1970) by Ravjagiin Dorjpalam, based on the novel by Chadraabalyn Lodoidamba, is however set during Mongolia's 1921 revolution. Other well-known productions were "The Legend of the Mother Oasis" ("Ehe Bürdiin domog"), made in 1976 by Gombojav Jigjidsuren (Гомбожавын Жигжидсүрэн) and Jamyangiin Buntar (Жамъяангийн Бунтар), and The Five Colors of the Rainbow (Solongiin tavan öngö) in 1979. The Leading Wrestler Garuda (Garid Magnai, 1983) by Jamyangiin Buntar marks a turning point, where the authors liberate themselves from the existing power structures.

1990s and 2000s

After the introduction of the market economy, most mobile and permanent cinemas closed down. Mongolian productions had to seek partners outside of the former COMECON. However, some young filmmakers of the transformation period, such as N. Gankhuyag, B. Uranchimeg, J. Binder, made domestic success films.

The movie "Genghis Khan, Under Power of the Eternal Sky", starring Enkhtaivan Agvaantseren was the first Mongolian-Japanese co-production. State of Dogs (Nokhoin Oron, 1998) was written and directed collaboratively by the Belgian Peter Brosens and the Mongolian Dorjkhandyn Turmunkh.

The director Byambasuren Davaa has had international success with the German-Mongolian co-productions The Story of the Weeping Camel (2003, nominated for an Academy Award as a foreign documentary in 2005) and The Cave of the Yellow Dog (2005).

Elsnii Nuudel (Mongolian: Элсний нүүдэл, movement of sand), was a successful movie produced for the domestic market in 2007. Later known films are Iim negen durlal, Goyoliin Daashinz, etc.

The 2008 historical film A Pearl in the Forest (Mongolian: Мойлхон) by director Enkhtaivan Agvaantseren is one of the first films to openly talk about events of the 1930s and the impact of the rise of Soviet communism on Mongolia. It is also one of the first films intended to present the history of the Buryats, one of the ethnic groups present in Mongolia.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., The Culture Trip, Report on the history of cinemas in Uvs and Bayan-Gigi, UNESCO Institute for Statistics, Legend Tours, Discover Mongolia, The Guardian,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

NORTH KOREAN CINEMA… (In the Entertainment industry. History of North Korean Cinema)

Purgatorio detail of a mural at the Pyongyang Film Studios / Photo Credit: Vanity Fair Pyongyang Film Studio

NORTH KOREAN CINEMA… (In the Entertainment industry. History of North Korean Cinema)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

North Korean Cinema

Because of the isolated nature of the country, information—particularly unbiased information—on North Korean cinema is difficult to find. Outsider appraisal of North Korean cinema is often condescending, while statements from official North Korean sources include claims like, "In recent years our film art has created an unprecedented sensation in the world's filmdom... The revolutionary people of the world are unstinting in their praise of this feature film and other monumental works, calling them 'the first-class films by international standards', 'the most wonderful movies ever produced' and 'immortal revolutionary and popular films'."

Following the creation of the DPRK in 1945, one of the first actions of Supreme Leader (Kim Il-Sung – Jong-Il’s father) was to create a film studio in Pyongyang under Soviet guidance, following Lenin’s precept that cinema, necessitating no literacy to be enjoyed, was “the most important of all the arts” in a socialist revolution.

There are no independent films in North Korea: the state controls all production and distribution. Attendance by the people is compulsory and audiences are quizzed about each film’s lesson after the screening. The state studio’s first film, a drama titled My Home Village, featured Kim’s men as heroic liberators of the nation from foreign oppressors, and laid the groundwork for North Korea’s self-aggrandising narrative as we know it today.

Film studios

North Korea's principal producer of feature films is the Korean Film Studio, a state-run studio founded in 1947 and located outside of Pyongyang. Other North Korean film studios include the Korean Documentary Film Studio (founded in 1946), the April 25 Film Studio of the Korean People's Army (founded in 1959 and previously known as the February 8 Cinema Studio) and the Korean Science and Educational Film Studio (founded in 1953 and also known as the April 26 Children's Film Production House, and Science Educational Korea, or SEK.) These studios produce feature films, documentaries, animated films, children's films and science films. According to a report from 1992, the Korean Feature Film Studio produced about forty films per year, while the other studios together accounted for another forty.

In addition to animation for the North Korean domestic market, SEK has become a resource for international animation, including some well-known American animated films. Production costs in North Korea are very low, and the quality of animators is well perceived. SEK has done work on such productions as Mondo TV's animated series Pocahontas and King Lion Simba (not the Walt Disney feature films), the science fiction epic Light Years, and Empress Chung.

North Korean leader Kim Il-sung believed in Lenin's maxim: "Cinema is the most important of all arts."  Accordingly, since the country's division, North Korean films have often been used as vehicles for instilling government ideology into the people. A common theme is martyrdom for the nation. The film Fate of a Self-defense Corps Member, based on a novel written by Kim Il-sung during the fight against the Japanese occupation reflects this theme, as does the highly regarded film, Sea of Blood (1969). The latter film comes from a novel telling the story of a woman farmer who becomes a national heroine by fighting the Japanese.

Another favorite theme is the happiness of the current society. This theme can be seen reflected in titles of feature films like A Family of Workers, A Flowering Village, Rolling Mill Workers, When Apples Are Picked and Girls at a Port. All of these films were awarded the People's Prize before 1974.

Film production estimates

The number of films produced in North Korea is difficult to determine. In 1992, Asiaweek reported that the country produced about 80 films annually, and a BBC report in 2001 indicated that North Korea was then producing about 60 films a year. In spite of these claims, Johannes Schönherr, an attendee of the 2000 Pyongyang International Film Festival, found little evidence for actual films or titles. He notes that the country offered only one domestic feature and one documentary at their most high-profile film festival, and suggests that the high number of reported films includes short films, cartoons, and short installments of long-running series. He also cites a 1998 North Korean pamphlet containing a list of films which had been made in the country up to 1998. This gives a total of 259 titles, and indicates that the 1980s were the most prolific decade with about 15 to 20 films made yearly.

The British Film Institute Sight & Sound magazine reported that an average of 20 films per year were made from the 1960s to the early 1990s. However, in the economic hard times following the collapse of the Soviet Union film production reduced, and from 2000 to 2009 only about 5 films per year were made.

Film festivals

The Pyongyang International Film Festival, established in 1987 and broadened in scope in 2002, is now held every two years. 

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., The Culture Trip, Korean Review. Pyongyang, North Korea: Foreign Languages Publishing House, Schönherr, Johannes (2007). "14. A Permanent State of War: A Short History of North Korean Cinema", James Bell (January 2009). "In a lonely place: North Korea's Pyongyang International Film Festival", Short List, North Korean Films,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

SRI LANKAN CINEMA… (In the Entertainment industry. History of Sri Lankan Cinema)

Working in a Tea Garden (Ceylon) Sri Lanka 1890s / Photo Credit: Pinterest

SRI LANKAN CINEMA… (In the Entertainment industry. History of Sri Lankan Cinema)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Sri Lankan Cinema

Film & Cinema in Sri Lanka

Sri Lanka is a cultural country, which prides itself in its film industry. Home to many acclaimed filmmakers and directors, many works of cinematography have received several awards and accolades.

The island of Sri Lanka, influenced heavily by Buddhism and Hinduism and home to tropical forests, spices and gemstones, and a wealth of endemic flora and fauna, sits in the Indian Ocean off the southern coast of India. Also living on the island are Sri Lankan Muslims, Burghers, Malays, Kaffirs, Veddas, Tamils and the Sinhalese.

Not unlike many other parts of the world, towards the end of the 19th century Sri Lanka was introduced to the moving image in the spirit of the fin de siècle. The first official film screening happened in 1901, and in 1903, photographer A.W.A. Andree, of Jaffna in northern Sri Lanka, was the first Ceylonese to form a local film company – Coric Bioscope. Having acquired a projector from abroad and gained access to an auditorium, he began to screen silent films from Europe. A strong Euro-Ceylonese presence began to dominate Sri Lanka’s cinema, with Andreas Van Starrex, from a family of mixed Dutch-Sinhala origins, producing the first mobile cinema, bringing a whole new experience to early Sri Lankan cinema audiences.

Later, Jamshedji Framji Madan, an Indian theatre and film producer, distributor and exhibitor, began building cinemas and by the 1930s he owned an expansive network of cinemas and distribution outlets through his company Madan Theatres Ltd. These venues predominantly screened Indian films and in doing so took some of the focus away from imported European films. Through the 1920s and 1930s, with technological advancements being made in the West, namely the invention of sound films, there was a growing interest in US films – in the absence of local productions, Indian and American films dominated Sri Lanka’s cinemas. It wasn’t until the late 1940s that Sri Lankan cinema made its first mark.

Even through, Sri Lanka was introduced to the films early on in the 19th century by the British occupants, it was only in 1947 prior to the Independence of Sri Lanka that a Sinhala film was produce and shown.  Cinema became an integral part of the society with Warwick Major taking measure to screen films and shortly after in 1903, the first permanent theatre, named Madan Theatre was premiered.  The first film to have been made in Sri Lanka was “Rajakeeya Wickremaya” – “Royal Adventure” which starred the likes of Dr. N.M Perera but was screened in India and Singapore alone. However, it was only in 1933, that a Sri Lankan film called “Paliganeema – The Revenge” was screened in Colombo. This marked a new era for the industry.

The industry has blossomed since 1933, whereby 1947 marked the debut of the first film produced by a Sri Lankan called “Kadawunu Poronduwa”, which directly translates to “The Broken Promise”. Most of these works are based on Sinhala literature with controversial themes such as family relations, terrorism, abortions and angst. Following the debut of Sinhala cinema the then Ceylon, Sri Lanka evolved into a master of fine literary films.

Furthermore, when talking of the film industry in Sri Lanka, Dr. Lester James Peries cannot go unmentioned. Possibly the most prestigious and influential filmmaker in the country, Dr. Lester James Peries was the first to reach for the stars and achieve global acclaim. With many awards to his name, he was first Sri Lankan to achieve the prestigious awards of Diploma of Honour at the Venice Film Festival for his film "Conquest In the Dry Zone" in 1954, the Silver Lion of St. Mark at the Venice International Film Festival in 1972 which also received a Diploma of Honour at the London Film Festival. Another acclaimed budding filmmaker is Vimukthi Jayasundara., who’s “Sulanda Enu Pinisa”- “The Forsaken Land” won the prestigious award of Best Film at the Cannes Film Festival in 2005. Another filmmaker full of promise is Jackson Anthony who debuted his epic historical film “Aba” in 2008, which was set down in the history of Sinhala cinema as one of the most expensively produced film, grossing a total expenditure of 60 million rupees.

With blossoming filmmakers such as Vimukthi Jayasundara & Jackson Anthony and film veterans’ such as Dr. Lester James Peries, Asoka Handagama, Prasanna Vithanage and the likes, the future Sri Lanka film industry is expected to be promising and bountiful.

Sri Lankan cinema encompasses the films made in Sri Lanka. It is a fledgling industry that has struggled to find a footing since its inauguration in 1947 with Kadawunu Poronduwa produced by S.M. Nayagam of Chitra Kala Movietone. Sri Lankan films are usually made in the Sinhalese language, as well as in Tamil Language.

In the first nine years most films were made in South India and followed the conventions of Indian cinema. Studio shooting was the norm, with Indian style sets erected in film studios. Even though it is popularly held that Rekava, made in 1956 by pioneer director Lester James Peries, was the first Sinhala film to be shot completely out of studio, it was really the film "Gambada Sundari", starring Kingsley Jayasekera and Sheela Peiris in 1950, which was the first film shot outside studios. It was also the first Sri Lankan film where, like in "Rekawa", the dialog was recorded on the spot. This was because the film was shot on 16mm, using an Auricon sound-on-film camera which recorded the sound on the 16mm film optically, unlike in the case of where the sound was recorded on a Kinevox 35mm magnetic recorder. The film was later 'blown-up' to 35mm and was screened in Colombo in 1950.

Though "Rekawa" was acclaimed by local and international critics, the film failed to find an audience in the country and was a box office failure. Films continued to follow formulaic storylines borrowed from India up through the early 1960s despite such efforts as Sandesaya and Kurulu Bedda.

In 1964, Lester James Peries again contributed to the development of Sri Lankan cinema with Gamperaliya which was the first Sinhala film to feature no songs and like Rekava shot completely outside the studio. It garnered massive praise for portraying Sinhala culture in a realistic manner and was hailed by critics and audiences alike. The producer Anton Wicremasinghe was awarded the Silver Peacock at the New Delhi International Film Festival for Gamperaliya. Following this breakthrough, several artistic Sinhala films were made in the late-1960s including Sath Samudura by professor Siri Gunasinghe, ably supported by exquisite cinematography by Dr.D.B. Nihalsinghe.

During the 1970s several talents came to the forefront while commercial cinema continued to steal storylines and plots from Indian films. These include Dr. D.B. Nihalsingha with "Weilkatara"- Sri Lanka's first film in Cinemascope ratio wide screen in 1972; Vasantha Obeysekera who followed up his well-received debut Ves Gatho with a slew of successful films culminating with Palangetiyo in 1979. Another major director who stepped forward during this time is Dharmasena Pathiraja who examined the tensions of city youth in such works as Bambaru Awith and Ahas Gauwa. Artist and poet Mahagama Sekera's sole film Thun Man Handiya is also an important film in Sri Lankan cinema released in 1970. Sumitra Peries, the wife of Lester James Peries, also struck out during the 1970s with work that looked at the conflicting roles of women in society. Her work include Gehenu Lamai and Ganga Addara.

Over the next few decades, artists such as Tissa Abeysekara, Chandran Rutnam, Dr. D.B. Nihalsingha, Udayakantha Warnasooriya, H.D.Premaratne, Ashoka Handagama, Prasanna Vithanage and Vimukthi Jayasundara have attempted to breathe new life into the industry. Nihalsingha was an accomplished cinematographer as well as an editor: so his films has an input which was special and brought a viewpoint to all his films, most of which focused on the exploited women.

Vithanage's film Purahanda Kaluwara is widely considered one of the best movies made in Sri Lanka as is Jayasundara's Sulanga Enu Pinisa which won the coveted Camera d'Or for best first film at the 2005 Cannes Film Festival.

During Sri Lankan Civil War several films have begun to tackle gritty subjects such as family relationships, abortion and results of the conflict between the military and brutal Tamil Tigers in the north. Director Asoka Handagama especially has drawn criticism for pursuing such material in his work.

In the recent years high budget films like Aloko Udapadi, Aba (film) and Maharaja Gemunu based on Sinhalese epic historical stories gain huge success.

National Film Corporation of Sri Lanka, http://www.nfc.gov.lk/

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., The Culture Trip, Film Museum, Truly Sri Lanka, Slide Share, National Film Corporation of Sri Lanka, http://www.nfc.gov.lk/,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.