<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
		>
<channel>
	<title>Comments for Film International</title>
	<atom:link href="http://filmint.nu/?feed=comments-rss2" rel="self" type="application/rss+xml" />
	<link>http://filmint.nu</link>
	<description>Thinking Film Since 1973</description>
	<lastBuildDate>Fri, 17 May 2013 19:31:42 +0000</lastBuildDate>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.3.2</generator>
	<item>
		<title>Comment on Streaming: Movies, Media, and Instant Access by David A Ellis</title>
		<link>http://filmint.nu/?p=7107#comment-742571</link>
		<dc:creator>David A Ellis</dc:creator>
		<pubDate>Fri, 17 May 2013 19:31:42 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=7107#comment-742571</guid>
		<description>It is ironic that just when film is improving and presentation technology has improved, digital technology is pushed through the door. Over the last few years film stocks have improved greatly, allowing filmmakers to use fewer and smaller lights  with less power. On the 35mm presentation front we have DTS, red reader, Dolby digital stereo tracks and polyester film stock, which is so strong it could pull a machine over. Film was improving in leaps and bounds - now to be totally abandoned in the next few years by filmmakers and cinemas. There will, I am sure always be film but it will be used in a limited way, possibly archiving.</description>
		<content:encoded><![CDATA[<p>It is ironic that just when film is improving and presentation technology has improved, digital technology is pushed through the door. Over the last few years film stocks have improved greatly, allowing filmmakers to use fewer and smaller lights  with less power. On the 35mm presentation front we have DTS, red reader, Dolby digital stereo tracks and polyester film stock, which is so strong it could pull a machine over. Film was improving in leaps and bounds &#8211; now to be totally abandoned in the next few years by filmmakers and cinemas. There will, I am sure always be film but it will be used in a limited way, possibly archiving.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on A Note on the Digital Implosion by David A Ellis</title>
		<link>http://filmint.nu/?p=7115#comment-741257</link>
		<dc:creator>David A Ellis</dc:creator>
		<pubDate>Thu, 16 May 2013 15:40:22 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=7115#comment-741257</guid>
		<description>DIGITAL allows films to be screened without scratches,dirt and weave.The quality remains no matter how many times it is shown.At the click of the mouse a film can be transferred to any screen and can be screened in all if require.This saves on print costs.Digital has a lot going for it but I still have a love for film.I understand that the Digital file will have to be re-copied every few years unlike film that has stood the test of time.It is worrying that some films may become non existent before they can be copied.</description>
		<content:encoded><![CDATA[<p>DIGITAL allows films to be screened without scratches,dirt and weave.The quality remains no matter how many times it is shown.At the click of the mouse a film can be transferred to any screen and can be screened in all if require.This saves on print costs.Digital has a lot going for it but I still have a love for film.I understand that the Digital file will have to be re-copied every few years unlike film that has stood the test of time.It is worrying that some films may become non existent before they can be copied.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on 32nd International Istanbul Film Festival Dedicated to Memory through Superb Literary Adaptations and a Sense of Nostalgia by Rob Lewis</title>
		<link>http://filmint.nu/?p=7645#comment-729239</link>
		<dc:creator>Rob Lewis</dc:creator>
		<pubDate>Fri, 03 May 2013 11:11:06 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=7645#comment-729239</guid>
		<description>Great piece Buket!  You write so well, and you helped bring back so many festival memories.  Thank you.</description>
		<content:encoded><![CDATA[<p>Great piece Buket!  You write so well, and you helped bring back so many festival memories.  Thank you.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on The Disquieting Aura of Fabián Bielinsky by The Magic Box &#124; April 2013 &#171; FABRIZIO CILENTO</title>
		<link>http://filmint.nu/?p=7610#comment-727145</link>
		<dc:creator>The Magic Box &#124; April 2013 &#171; FABRIZIO CILENTO</dc:creator>
		<pubDate>Wed, 01 May 2013 00:48:42 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=7610#comment-727145</guid>
		<description>[...] Disquieting Aura of Fabián [...]</description>
		<content:encoded><![CDATA[<p>[...] Disquieting Aura of Fabián [...]</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on “Difficult” Black Women: A Q&amp;A with Shola Lynch by Gwendolyn Foster</title>
		<link>http://filmint.nu/?p=7548#comment-724396</link>
		<dc:creator>Gwendolyn Foster</dc:creator>
		<pubDate>Sat, 27 Apr 2013 23:08:31 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=7548#comment-724396</guid>
		<description>I just want to say a thank you and send a shout out to Shola-- your work is important and very much appreciated. I hope you get the funding for your other projects as they also sound really significant...

I was a bit young to quite understand what had happened in the sixties and it took me a long while to see how the revolution was not coming. I didn&#039;t quite get it because all my teachers were hippies and they were still optimistic about great social change, or at least it seemed that way to me when I was a kid in the sixties and seventies. 

It was weird and wonderful to grow up with these great role models such as Angela and the others, but it was equally strange to see how the right in American culture, pop culture and history  was active in portraying sixties revolutionary figures in a negative light as &quot;scary and radical&quot; and &quot;fringe&quot; figures in a complete rewrite of history. 

Then, in the 80s there was a movement to smear many of these political figures and tell us all how great Reagan was....I did not buy it, but only because I was lucky enough to be at a fairly radical women&#039;s campus, Douglass College at Rutgers University in New Jersey....and I was lucky enough to have professors who explained what was happening during this period of rewriting history...but I do know a lot of people who bought into these lies and revised history.  It is so important to disseminate this knowledge and films such as Free Angela are terribly important in these culturally impoverished &amp;  economically challenging times. 

I have written a great deal about how incredibly difficult it is for independents - particularly African American female directors - to get funding to get their projects off the ground. I am very enthusiastic about the future and the work we will see from Shola Lynch....Many kudos and much appreciation for your powerful work.</description>
		<content:encoded><![CDATA[<p>I just want to say a thank you and send a shout out to Shola&#8211; your work is important and very much appreciated. I hope you get the funding for your other projects as they also sound really significant&#8230;</p>
<p>I was a bit young to quite understand what had happened in the sixties and it took me a long while to see how the revolution was not coming. I didn&#8217;t quite get it because all my teachers were hippies and they were still optimistic about great social change, or at least it seemed that way to me when I was a kid in the sixties and seventies. </p>
<p>It was weird and wonderful to grow up with these great role models such as Angela and the others, but it was equally strange to see how the right in American culture, pop culture and history  was active in portraying sixties revolutionary figures in a negative light as &#8220;scary and radical&#8221; and &#8220;fringe&#8221; figures in a complete rewrite of history. </p>
<p>Then, in the 80s there was a movement to smear many of these political figures and tell us all how great Reagan was&#8230;.I did not buy it, but only because I was lucky enough to be at a fairly radical women&#8217;s campus, Douglass College at Rutgers University in New Jersey&#8230;.and I was lucky enough to have professors who explained what was happening during this period of rewriting history&#8230;but I do know a lot of people who bought into these lies and revised history.  It is so important to disseminate this knowledge and films such as Free Angela are terribly important in these culturally impoverished &amp;  economically challenging times. </p>
<p>I have written a great deal about how incredibly difficult it is for independents &#8211; particularly African American female directors &#8211; to get funding to get their projects off the ground. I am very enthusiastic about the future and the work we will see from Shola Lynch&#8230;.Many kudos and much appreciation for your powerful work.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on “Difficult” Black Women: A Q&amp;A with Shola Lynch by Amy R Handler</title>
		<link>http://filmint.nu/?p=7548#comment-720879</link>
		<dc:creator>Amy R Handler</dc:creator>
		<pubDate>Wed, 24 Apr 2013 11:25:10 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=7548#comment-720879</guid>
		<description>What an absolutely fascinating interview!</description>
		<content:encoded><![CDATA[<p>What an absolutely fascinating interview!</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Colourful Claims: towards a theory of animated documentary by “To document differently”: random thoughts on a taxonomy of animated documentary &#124; animationstudies 2.0</title>
		<link>http://filmint.nu/?p=1809#comment-718625</link>
		<dc:creator>“To document differently”: random thoughts on a taxonomy of animated documentary &#124; animationstudies 2.0</dc:creator>
		<pubDate>Mon, 22 Apr 2013 08:18:37 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=1809#comment-718625</guid>
		<description>[...] of what they (and others, including myself) have said, in Jonathan Rosenkrantz’s article Colourful Claims: towards a theory of animated documentary. At one point, Rosenkrantz [...]</description>
		<content:encoded><![CDATA[<p>[...] of what they (and others, including myself) have said, in Jonathan Rosenkrantz’s article Colourful Claims: towards a theory of animated documentary. At one point, Rosenkrantz [...]</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Colourful Claims: towards a theory of animated documentary by Who said that? The dispensability of original sound in animated documentary &#124; animationstudies 2.0</title>
		<link>http://filmint.nu/?p=1809#comment-711489</link>
		<dc:creator>Who said that? The dispensability of original sound in animated documentary &#124; animationstudies 2.0</dc:creator>
		<pubDate>Mon, 15 Apr 2013 08:15:40 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=1809#comment-711489</guid>
		<description>[...] Rozenkrantz, J. 2011 ‘Colourful Claims: towards a theory of animated documentary’ Film International online journal accessed 6th March 2013 &lt;http://filmint.nu/?p=1809&gt; [...]</description>
		<content:encoded><![CDATA[<p>[...] Rozenkrantz, J. 2011 ‘Colourful Claims: towards a theory of animated documentary’ Film International online journal accessed 6th March 2013 &lt;<a href="http://filmint.nu/?p=1809&#038;gt" rel="nofollow">http://filmint.nu/?p=1809&#038;gt</a>; [...]</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on &#8220;Lost in a Roman Wilderness of Pain&#8221;: Film and Television After 9/11 by Sunday Supplement &#124; The Script Guide</title>
		<link>http://filmint.nu/?p=5928#comment-707355</link>
		<dc:creator>Sunday Supplement &#124; The Script Guide</dc:creator>
		<pubDate>Thu, 11 Apr 2013 14:32:24 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=5928#comment-707355</guid>
		<description>[...] Film and TV post-9/11 by film writing machine Wheeler Winston Dixon. &#8220;Nobody would have thought to commit an atrocity like that unless they’d seen it in a movie.&#8221; [...]</description>
		<content:encoded><![CDATA[<p>[...] Film and TV post-9/11 by film writing machine Wheeler Winston Dixon. &#8220;Nobody would have thought to commit an atrocity like that unless they’d seen it in a movie.&#8221; [...]</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Silence (Chinmoku, 1971) by Mauricio</title>
		<link>http://filmint.nu/?p=2474#comment-704998</link>
		<dc:creator>Mauricio</dc:creator>
		<pubDate>Tue, 09 Apr 2013 14:48:54 +0000</pubDate>
		<guid isPermaLink="false">http://filmint.nu/?p=2474#comment-704998</guid>
		<description>It could be another great film about Silence if Scorsese, Day-Lewis, Del Toro and Bernal took part.</description>
		<content:encoded><![CDATA[<p>It could be another great film about Silence if Scorsese, Day-Lewis, Del Toro and Bernal took part.</p>
]]></content:encoded>
	</item>
</channel>
</rss>
