Submited DocuTIFF 2017 » SUBMISSIONS DOCUTIFF 2017 TIFF web 350 films 117 shorts 82 mid-length + 152 feature) FilmFreeWay 2061 films 1333 shorts 351 mid-length + 377 feature) Festhome 206 films 111 shorts 35 mid-length + 60 feature) FilmFestivalLife 92 films 51 shorts 17 mid-length + 24 feature) Click4Festivals 110 films 56 shorts 24 mid-length + 30 feature) Movibeta 89 films 51 shorts 17 mid-length + 21 feature) Distributor 80 films 22 shorts 8 mid-length + 49 feature) _____... SPECIAL PROGRAM » SPECIAL PROGRAM 3rd edition DocuTIFF 2017   PANORAMA 1. André Villers, a Lifetime in Images by Marketa Tomanova | 2015 | Czech Republic, France | 62' 2. Born of Stone by Emilio Bellu | 2016 | Italy, Czech Republic | 15' 3. Cab Elvis by Andrew Franks | 2016 | USA | 11' 4. Korida by Siniša Vidović | 2016 | Austria | 87' 5. Offshore by Werner Schweizer | 2016 | Switzerland | 102' 6. Operation Wedding by Anat Zalmanson-Kuznetsov | 2016 | Israel | 62' 7. The Most Important Boy in the Wor... OFFICIAL SELECTION DocuTIFF 2017 » OFFICIAL SELECTION 3rd edition DocuTIFF 2017     FEATURE 1. Next Stop-Utopia by Apostolos Karakasis | 2016 | Greece | 91' 2. Pavlensky – Man and Might by Irene Langemann | 2016 | Germany | 99' 3. Radio Kobani by Reber Dosky | 2016 | Netherlands | 72' 4. Shingal, Where Are You? by Angelos Rallis | 2016 | Greece, Belgium | 103' 5. Stranger in Paradise by Guido Hendrikx | 2016 | Netherlands | 72' 6. Swagger by Olivier Babinet | 2016 | France | 85' 7. Tempestad by Tatiana Huezo | 2016 |... FESTIVAL RULES & REGULATIONS DocuTIFF 2017 » Entries of documentary films are invited to take part in competition in all formats of video and digital. All running times, topics, style and production technologies can be submitted. The director/producer with the submission of his/her application accepts the terms of the Festival and has no objection to the submission process, screening, and election of prizes. The director/producer with the submission of the film affirms that he/she has all the copyrights of audio, video, images and music ... DocuTIFF 2017 » 3rd edition DocuTIFF 2017 TIRANA INTERNATIONAL DOCUMENTARY FILM FESTIVAL DocuTIFF is exited inviting filmmakers to submit their films in the third edition of 2017 festival, which will take place in Tirana, May, 10-17, 2017. DocuTIFF invites all documentaries from established and debut filmmakers alike to apply their feature, mid length and short films in International Competition and In Albanian Competition. DocuTIFF aims to encouraging documentary film production in Albania and to give... Awards Docutiff »   FEATURE JURY composed by Rada Šešic (Croatia), Agostino Ferrente (Italy) and Nikola Vukcevic (Montenegro) awards:   BEST FEATURE FILM Tempestad by Tatiana Huezo | 2016 | Mexico | 105'   The director who takes the audience on a contemplative and cinematically superb, poetic journey of exploring fear, corruption, social injustice and above all - the human strength to deal with and overcome misfortune of someone's destiny.   Regjisori, i cili e çon audiencën në një udhëtim kinematogr...
Friday, 22 September 2017
National Film Board of Canada
National Film Board of Canada - Norman McLaren
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Norman McLaren was born in Stirling, Scotland, on April 11, 1914. As a high school student, he developed a particular interest in painting. At the age of 18, he entered the Glasgow School of Art to study interior design, but he did not earn a diploma. His enthusiasm for student filmmaking prevented him from completing assignments. Although he was a moviegoer, it was not until McLaren was at the art school and joined a film society and saw the Russian films of Eisenstein and Pudovkin that cinema took a new place for him in the cultural hierarchy. That was 1934.I thought what a great medium! It was exciting and I said if you can do that, why bother with drawing and painting. They’ve been around for two thousand years at least, but here is a new art, just begun, which is the art of today – and painting is the art of the past.In the same year, McLaren saw an abstract film by Oscar Fischinger, the German animator, which was also a revelation for him. McLaren used to see abstractions in his mind as he listened to music. With film, he realized he could make these abstractions visible. His mind was made up and he joined a newly formed filmmaking club at the art school. He became the mainspring of this club, and he displayed an original and indefatigably energetic talent which, apparently, ran his co-workers off their feet. His student films were mainly live-action; he was fascinated by the movie camera and sought to exploit it to its maximum.

Begone dull care
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Englisht title: Begone dull care
1949/ 07’52

Il était une chaise
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Englisht title: Il était une chaise
1957/ 09’52’’

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Englisht title: Neighbours
1952/ 08’06

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Englisht title: Synchromy
1971/ 07’27

Blinkity Blank
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Englisht title: Blinkity Blank
1955/ 05’15’’

Le merle
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Englisht title: Le merle
1958/ 46’09’’

Norman McLaren's Opening Speech
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Englisht title: Norman McLaren's Opening Speech
1961/ 06’52

Hep Hop
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Englisht title: Hep Hop
1942/ 03’40’’

Lines Horizontal
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Englisht title: Lines Horizontal
1958/ 04’39

Pas de deux
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Englisht title: Pas de deux
1968/ 13’22’’


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