Experience the captivating world of breath in the award-winning films of the International Film Festival Cittador 2023! In my book, "Breath in the Art of Winning Cinema," I delve into a profound analysis of the outstanding cinematic motif that took center stage in Vienna on December 16 and 17, 2023. This book provides a concise exploration of the artistic manifestation of breath in each of the award-winning short films. Discover how directors interpret breath not only as a physiological necessity but as a powerful cinematic element. From subtle integrations to striking emphasis, the work explores the various ways in which breath was implemented as a meaningful motif. The analysis not only focuses on the technical execution but also sheds light on the artistic role of breath. How does breath influence the emotional resonance of the audience? What symbolic significance lies behind its prominent placement in these exceptional works? These questions and more are carefully examined to convey a comprehensive understanding of the depth and complexity of the breath motif. In this brief yet impactful work, explore breath in the award-winning films and be surprised by the insights revealed through this analysis. "Breath in the Art of Winning Cinema" is an essential read for film enthusiasts, art lovers, and those seeking a deeper dive into the creative dimension of film. Learn how breath, as an artistic element, shapes the narrative structure and takes the audience on a journey of reflection. The following films were analyzed (in alphabetical order): „ADJECTS + Music for Objects” (Alexandre Dacosta); „Afterimage“ (Robyn MacIntosh, Serin Chun); „Beethoven´s Letters“ (Raouf Zaki); „Breathe“ (Lesley Pinder); „BUBBLES“ (Meri Dishnica); „Chlorine“ (Thanos Psichogios); „DAS ROTOHR“ (Paul Drey); „Double Trouble – My new life with Twins” (Hans Friedrich); „Joan of Arc“ (Tim S Lott); „Marguerite“ (Maximilian Modl); „Plastic Inside Me“ (Desirée Jakobitsch); „Talking to a survivor“ (Milena Olip); „The 7th Night: MaoMao Revisits” (ahLoong); „The Beyond“ (Daniel Maurer); „The Breath of the Depth“ (Poul Bracker); „The Discoverer of the Discoverers” (C. S. Nicholson); „Try To“ (Luca Werner-Tutschku). Immerse yourself in the world of breath in cinematic art and discover the invisible, the unspoken – experience breath in the art of winning cinema!

I hear with my breath, I get frightened with my breath. When I fall in love the breath knows it first. I feel furious and the breath registered the emotion, long before the brain catches on. —Beatrice Manley Original and quirky, this collection of expert advice and observations once reserved for actors has been specially formatted for a new generation and a broader audience interested in: Breathwork Mindfulness Personal Presence Presentation and Authenticity Improvisation. Performing. Fear. Fame. Laughing. Being Sexy. Emotions. Ego. Technique. Timing. Doing Nothing. Just Doing It. In her wry, entertaining, and astute style, master of her craft Beatrice Manley dispenses wide-ranging insights and nuanced wisdom accumulated from a lifetime on the stage.

This study considers the locus of the breathing body in the film experience and its implications for the study of embodiment in film and sensuous spectatorship.

A New York Times Bestseller A Washington Post Notable Nonfiction Book of 2020 Named a Best Book of 2020 by NPR “A fascinating scientific, cultural, spiritual and evolutionary history of the way humans breathe—and how we’ve all been doing it wrong for a long, long time.” —Elizabeth Gilbert, author of Big Magic and Eat Pray Love No matter what you eat, how much you exercise, how skinny or young or wise you are, none of it matters if you’re not breathing properly. There is nothing more essential to our health and well-being than breathing: take air in, let it out, repeat twenty-five thousand times a day. Yet, as a species, humans have lost the ability to breathe correctly, with grave consequences. Journalist James Nestor travels the world to figure out what went wrong and how to fix it. The answers aren’t found in pulmonology labs, as we might expect, but in the muddy digs of ancient burial sites, secret Soviet facilities, New Jersey choir schools, and the smoggy streets of São Paulo. Nestor tracks down men and women exploring the hidden science behind ancient breathing practices like Pranayama, Sudarshan Kriya, and Tummo and teams up with pulmonary tinkerers to scientifically test long-held beliefs about how we breathe. Modern research is showing us that making even slight adjustments to the way we inhale and exhale can jump-start athletic performance; rejuvenate internal organs; halt snoring, asthma, and autoimmune disease; and even straighten scoliotic spines. None of this should be possible, and yet it is. Drawing on thousands of years of medical texts and recent cutting-edge studies in pulmonology, psychology, biochemistry, and human physiology, Breath turns the conventional wisdom of what we thought we knew about our most basic biological function on its head. You will never breathe the same again.

Co-Winner, 2023 Chidananda Dasgupta Award for the Best Writing on Cinema, Chidananda Dasgupta Memorial Trust Shortlisted, 2022 MSA Book Prize, Modernist Studies Association Longlisted, 2022 Moving Image Book Award, Kraszna-Krausz Foundation The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term “art film” and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines key works of Indian art cinema to demonstrate how film emerged as a mode of doing history and that, in so doing, it anticipated some of the most influential insights of postcolonial thought. Majumdar details how filmmakers as well as a host of film societies and publications sought to foster a new cinematic culture for the new nation, fueled by enthusiasm for a future of progress and development. Good films would help make good citizens: art cinema would not only earn global prestige but also shape discerning individuals capable of exercising aesthetic and political judgment. During the 1960s, however, Satyajit Ray, Mrinal Sen, and Ritwik Ghatak—the leading figures of Indian art cinema—became disillusioned with the belief that film was integral to national development. Instead, Majumdar contends, their works captured the unresolvable contradictions of the postcolonial present, which pointed toward possible, yet unrealized futures. Analyzing the films of Ray, Sen, and Ghatak, and working through previously unexplored archives of film society publications, Majumdar offers a radical reinterpretation of Indian film history. Art Cinema and India’s Forgotten Futures offers sweeping new insights into film’s relationship with the postcolonial condition and its role in decolonial imaginations of the future.

People love films. Whether it is going out for an evening to the cinema or curling up at home with a DVD, movies are one of our favourite forms of entertainment. It is important for our Christian growth that we learn to watch films thoughtfully rather than just seeing them as entertainment. It's important that we understand the messages which films communicate and how they relate to the good news of Jesus Christ. There are also important sections on 'questions to consider when watching a film' and 'the problem of content - sex and violence'.

In Breathing Aesthetics Jean-Thomas Tremblay argues that difficult breathing indexes the uneven distribution of risk in a contemporary era marked by the increasing contamination, weaponization, and monetization of air. Tremblay shows how biopolitical and necropolitical forces tied to the continuation of extractive capitalism, imperialism, and structural racism are embodied and experienced through respiration. They identify responses to the crisis in breathing in aesthetic practices ranging from the film work of Cuban American artist Ana Mendieta to the disability diaries of Bob Flanagan, to the Black queer speculative fiction of Renee Gladman. In readings of these and other minoritarian works of experimental film, endurance performance, ecopoetics, and cinema-vérité, Tremblay contends that articulations of survival now depend on the management and dispersal of respiratory hazards. In so doing, they reveal how an aesthetic attention to breathing generates historically, culturally, and environmentally situated tactics and strategies for living under precarity.