2. The Seoul World Short film & video festival in 2008

One year ago I met Mr. Chang from South Korea with the UNICA in the Liptovsky Mikulas/Slowakei/There I have found out about the short film festival in Seoul. In the spring of this year we have sent our short feature "The Prague Romace" to Seoul At the middle of November we have received an invitation to Seoul to the film Festival. Our short feature was distinguished by the professional jury with the price of the best screenplay. My wish was always to be travelled to Asia once and to get to know closer the country that the same destiny was divided like Germany on „communist and democratic part“. South Korea was too wide for me not only, but also was quite expensive for a small amateur filmmaker. When the Regensburger cultural endowment has found out REWAG about our honourings in Seoul, the chairperson of the endowment has Dr. K. Schulz and mayor of the city of Regensburg Mr. J. Of mountain Wol by a financial support this trip to the presentation allows. We have received this support as a recognition for our engagement and the cultural international representation of the city of Regensburg.

After 18 flying hours I am, on Sunday 7.12 in Seoul landed. Mr. Chang, president of the Korean Visual Arts Assotiation and at the same time festival manager has already expected me at the airport with interpreter Mrs. Soonjin. At the hotel where I was accommodated I have Mr. Max Hänsli, president of the UNICA with his wife grievedly. Mr. Hänsli was in Seoul not only as a president UNICA, but also as an excellent scriptwriter. I have tried to see the free days up to the festival as well as then to investigate a lot and the wonderful million town. A big help was the interpreter Mrs. Kahyun Kim them not only perfectly for me in German has spoken, but has run every day with me many kilometres by Seoul. The days were too short for me and the nights were too long. Four days I have had at the free possession were too short for the inspection of the town, and thus I could visit together to me Mrs. Kuhyn - only the most important places of interest as for example „Gyeongbokgung palace, Insa-dong - art galleries, Myeong-dong, Seoul-Tower, Namdaemun market, Sinchon area with the university, Bongeunsa temple and of course Olympic Park.

The final projection as well as the presentation was in the wonderful film hall of the national museum. The interest around the brought forward films was big. A disadvantage for the visitors was that the films have run only in the Herkunftsprache without translations. However, Mr. Hänsli and I, as present authors, had to introduce the possibility our films himself. Between the present authors the Buddhist monks were also the also excellent filmmakers are. With the presentation ceremony the jury members were also present.

After the presentation ceremony I had the honour, Mr. Chang in the name of the president of the land association of Bavaria man L. Petzenhauser to hand an honourary medallion LFVB, as well as present of the mayor of the city of Regensburg. After the official part of the festival Mr. Chang has invited all present scriptwriters, jury members as well as all employees and assistants to common food.

With a plentiful and for us European - exotic Buffett not only the filmerische experiences were exchanged, but also were joked a lot and sung. For the end of the festival Mr. Chang has thanked all present scriptwriters and assistants for the support and the realisation of this festival and with his final speech particularly has mentioned the exemplary support of the president UNICA Mr. Maxi Hänsli.

For me this festival as an unforgettable recollection of full experiences and new knowledge not only about this wonderful city of Seoul, but about the hospitality and openness remains the Korean. Another two full days after the festival Mrs. Kahyun Kim has accompanied me through the wonderful town. More than 500 photos and 4 hours of video recordings will always remind me on these unforgettable times.

In the end I can say only Mr. Chang with his team and all the hospitable Korean: Gamsa-hamnida (Thank you) and Annyeonghi gaseyo. (Goodbye!)

Oskar Siebert

videoactively Regensburg

Photogalleryhere

Festival to Good News

The 1st festival of film and video productions has the title festival to good news in the Czech Republic –city- Ostrava. About this festival I have got to know from the Internet and when I have read the advertising that this festival also transfers live on television, I have spontaneously resolved to announce our short documentation „on the traces of the Indians“ to the festival and to visit this festival personally. However, this festival is strictly limited to the subject „good news“.

From Regensburg to Ostrava these are 650 km. This time this trip has been worthwhile, because I have come back with many experiences and experiences from Ostrava. Organizer of the festival is the television transmitter NOE. What this is for a transmitter and what are for people behind this television transmitter stand, was my first thought. These and many other questions have not only answered to me personally manager TV NOE father Peter Leos Ryska, and his representative Petr Kudela, but also by the house of many admission studies, 2 directorial rooms have led 6 cut-working places, sound recording studios and other technical rooms. TV NOE owns beside the professional admission and - postal production technology also own transference vehicle. Heart of the technology is a complicated arrangement them the picture and tone from the studio of Ostrava to Prague to the Czech television (CT.) transfers and from here the signal flies to the satellite. Thus one can receive the transmitter TV NOE in the whole world. TV NOE is a Christian transmitter to the transmitter of "Telepace" from Vatican a connection, however, has he is quite independent with the programme and is financed predominantly ONLY by donations. Monthly donations come at the rate of approx. 800,000 crowns on the account of TV NOE. TV NOE occupies approx. 30 employees’ predominantly young people. Young people they not only have a professional perspective, but young people itself trouble the „good news“ to bring between the people. It is a work full of recognition, particularly if „juridical as well as the private“ transmitters to her ratings by the news of power; murder and crime would like to protect.

But back to the festival. Though it was 1st film and video festival, however, the organisation, the receipt and the attention of the whole team which were dedicated to the scriptwriters, the perfect film projection and the highly qualified and professional jury has given us to all present filmmakers a feeling that the organizers „no beginners are“ people separate one long-standing experience with the organisation have.

It was really impressive that not only the opening of the festival the TV spectators could pursue live, but also all film contributions were selected for the final projection saw and about the "best ones" could also vote. The spectators would have to select the possibility about SMS or e-mail her best film. With the presentation, was also broadcasted live, a winner was drawn lots from the several hundreds of callers by a mobile phone. The festival films and with it also our documentary film have seen more than 30 000 spectators and this was a price which almost each of the non-professional filmmakers wishes.

An unforgettable festival me was brought for me also to the think. TV NOE is a „Christian television transmitter“, that does not try to teach the spectators or to demand with a pressure on the way of the faith but to bring the „good news“ near the people with his broadcastings. Do you feel like time and? Thus you look and convince yourselves under:www.tvnoe.cz

O.S.

Photogallery here

JUDGING RESULTS

41st Melbourne International Movie Festival
Class `A' Festival of the International Association of Amateur Film and Video Festivals
Melbourne, Australia 

JUDGING RESULTS (Overseas Breakdown)

Overseas Results:

VIDEOFESTIVAL – NORWEGEN – 2008

Movie Contest 2008 - Final result

Result

What a wonderful start: black screen and the sound of a phone. The first line of script involves heart surgery … one or two weeks left … and a baby! Who could not be intrigued? The leading actress says “There must be a way” … and that idea becomes very important later.

The ripple transitions in and out of memories of her daughter’s wedding look clumsy. These days we do not need a visual clue that we are going into a flashback. The title “Mother” appearing over the wedding gives us a hint that the bride is pregnant, though it clearly refers to the older woman. The church and wedding reception sequences demonstrate that this autor takes the trouble to get shots from various angles and to light senes carefully even when they are only setting up the story for what is to come. The cast is huge for an amateur production. But these shots also establish a slightly slow pace which continues throughout the movie.

When Isabel faints we get into the action – and get more close-ups. This is also where we start to dislike the mother of the title. She takes over and orders people about. Events are told faster now. The action in the ambulance scenes are good, but some different angles and close-ups, especially of the patient, would have been welcome. Inside the hospital there is a neat trick where the camera is tracking backwards on a long corridor showing us the mother and bridegroom hurrying in. When they stop to ask someone for directions, the camera keeps going and that creates a sense of urgency. The music here works against the tension – it is too gentle. When they meet the group of medical staff, mother takes over once again. It is hard to spot in the background that the bridegroom is taken off to see his wife. That explains why the doctor is willing to discuss the case with mother on her

own.

When the camera tracks round the hospital bed the movement is shaky. The cutaway in the middle suggests it got even more so! But the move closer to the bride as she removes her oxygen mask is powerful. Before she can tell her husband about the baby in comes mother and starts to weep. This is too melodramatic.

Eventually the flashback ends. Mother is looking after the grandchild and telephones to say she has found a heart for Isabel – this is intriguing. How could she find one if the doctors could not? We follow mother around the house – and there are several good moving camera shots here.

The upstairs room is strange. It seems half-finished, yet a ladder gong even higher implies it is not the attic. In one sense it is good to show something slightly unexpected and therefore more like real life. In another it is distracting. As an audience we begin to wonder about the room instead of concentrating on the actress. There is a big close-up as she examines a doll, but most of this scene is played in long-shot so that we feel unconnected with the character. To my mind this is where we should be very close to her so that we can share her emotions. The shadow of her standing on a chair is a very old-fashioned image, perhaps deliberately so to stress the melodramatic nature of what she plans to do. This is the heart (sorry!) of the film. It is the critical moment … and it happens off-stage. That weakens the whole film for me. It is not enough to know intellectually she is about to hang herself. In cinema you have to make the audience believe it is happening by showing the details.

Overall the film feels slow. Often shots have been held beyond the moment when our attention has moved on. The lead actress sometimes overacts. The sentimental story would read well on paper: mother ready to sacrifice herself to save her daughter for the sake of the grandchild. On film that vital decision has little impact. I also believe the music is too slow and

repetitive for the subject. If the story is melodramatic it should be underlined with rich music not something that sounds like a New Age relaxation CD.

There is much that is effective in the film. The scale of the production is astounding and the access to hospitals and ambulances first class. The focus is always on the bride’s mother as the title suggests. It is a piece of cinema which is so close to being excellent that its failings are specially

annoying.

Dave Watterson (Jury Member)

First time I watched the movie I was very impressed. Next time, I wondered: what is wrong? Why don't I cry?

The picture build up is very nice, the sound is well done, the dramaturgy is well composed, the plot is clear and the angle of the plot is steady. All in all a masterpeace -but?

At least i found out (I think). The length of the scenes. Somehow the film falls between to chairs. At one side modern cutting tecnic and at the other side the special cutting made by Fassbinder. That disturbs my experience. In short terms: One of the best amateur films I have seen, but still missing the touch of human feeling as figure of speech. Due to the actors or the instructors? Not for me to say.

The theme for this movie is well chosen: a mothers unlimited love and willingness to sacrifice for her child. So it is predestined to touch our hearts.

There is put a lot of effort ind the script to make it a credible story. In my opinion it has some very well told parts, but there are also sequenses where it loses credibility.

The groom has a strange part to play. I think in the real world he would take a more active part in the action, when his bride suddenly almost die on the wedding.

In the ambuance we never hear the siren. Suddenly the door is opened and another man is entering. I feel we mis some convincing action here. No doubt: By amateur standards this is amasingly well produced. Very impressive large setups - e.g. in the church and the wedding dinner party. Image quality is very good (color, sharpness and not least lighting) and there is little to say about the sound.

It a very good attempt to make a feature film, and it is possibly the best amateur feature film I have ever seen. The prodution must have been very hard work - with considerable expenses. So: let's congratulate the producers with the great result.

Cesko - bavorsky srovnavaci filmovy festival 2008

was not only the title of the program from the meeting between Czech and Bavarian film authors. It was also the 2^nd Bavarian-Bohemian Film Comparison Festival from 28^th to 31^st August in Cesky Krumlov. It is cooperation between the LFVB (Bavaria), which fights against the political and national prejudices (like here in Germany), and the Czech UNICA committee and the Czech association for Film and Video, which both try to open to Europe, get new friendships and achieve that the film is a cultural medium for the communication between the people in Europe.

After the first meeting of both country associations and film authors in October 2007 in Regensburg, this time a 15 head- group of Bavarian film authors, judges and the LFVB directorate travelled on Friday 29^th August to Krumlov, a beautiful fairytale like city in South Bohemia.

¨

The CVU and CSFV entrusted Mr. Jaroslav Bouse, JBS Studio s.r.o, with the organization od the 2^nd Bavarian- Bohemian Film Comparison Festival. As festival director, he worked together with numerous people and the great help of Jaroslav Sika. They managed a great and unforgettable program with many experiences and new impressions. A perfect organization, heartily hospitality and a cultural program were of a very high level. The personal impressions and experience reports will surely be found in VIDEOhobby.

Personally I am very happy, that Mr. Bouse and Mr. Sika permuted the intention, which Daniela and I had set as a basis for this festival. It should not be only a film presentation, but also a friendship and cooperation between two countries. Thanks to the sympathy of LFVB president Mr. Leopold Petzenhauser and CVU president Mr. Ing. Ladislav Frantis and the support of the German- Czech future fund, the festival could go on and hopefully will in the future.

It was an indescribable honour for me, when I was awarded at the ceremonial awards show as the “first” foreign filmmaker with “Honorary Badge” of the CVU: “For the long-time deepening of international connections and the cooperation with the Czech Republic and the amazing organization of the First Bavarian- Bohemian film Comparison Festival.”  Of course I share this award with my daughter Daniela, who is the co initiator and co raiser of the festival and also my support and help since 1995 at videoaktiv Regensburg. I thank for this award and unbelievable honour by the CVU, the numerous film friends from Czech Republic and basically the organizers of the festival Mr. Bouse and Mr. Sika.

In gratefulness we wish an everlasting future for the Bavarian- Bohemian Film Comparison festival.

Oskar Siebert

Regensburg

www.bc-filmfest.eu

Photogallery here

Thanks to my friend

Every person has a destiny and so my destiny accompanied me in my life ever since. When I was a child, it was the bombarded Berlin 1945, the ways of my parents were not the same anymore. 1944 was my Dad a soldier in the 2^nd World War and in the same year, he was a prisoner from the English Army. In 1947 my Dad returned from England to Berlin, but in the ruins of the city, he didn’t find any trace of his family. His work place was the Babelsberg Film studios, where he worked as location manager in the Eastside of Berlin before the War began. He followed his work and moved to Hamburg, where he worked for REAL FILM GmbH as location manager. As consequence of the World War my Dad was “lost” for us. Not until 1969 the “Prague Spring” I got more information about my Dad through the searching of the German Red Cross. In 1976 I returned to Germany with the help of the organization for human rights and my searching for more information about my Dad was without any success.

My daughter Daniela made some research and found some good news about her grandfather. We found the last address, where my Dad had lived and also many movies where he was the location manager of and that he died 1959 in Hamburg. Since 1933 my Dad was location manager and director assistant for over 12 movie productions in Berlin- Babelsberg and Prague. From 1944 until 1948 he was not able to work… After being a prisoner he worked at 14 film productions at REAL Film Hamburg.

These information I got from our film friend Gerhard Jagow. This was my destiny! Gerhard made copies from the movies, my Dad worked on. When Gerhard heard my story, he began to explore. In May 2008 he invited me to Hamburg and finally in August I could go after his invitation. Gerhard and his wife didn’t only show me the city, but he also surprised me, when he showed me a movie, where I read the name of my Dad- location manager: Georg Siebert. It is difficult to describe my feelings. Gerhard showed me also the street and the house, where my Dad lastly had lived and at the cemetery, I could finally say “Goodbye” to my Dad.

It is not only difficult to describe my feelings, but also to thank you, my dear friend Gerhard, for the possibility you gave me, to find myself in knowing more about my Dad. It is great to finally know more about the history of my family.

Thank you so much Gerhard for the unforgettable days on Hamburg.

Filmverzeichnis von den Filmtiteln auf  den mein Vater „Georg Siebert“

mitgearbeitet hat :

1933 – Wenn ich König wär´!                               

             Regie: Johannes Alexander Hübler-Kohla

          Aufnahmeleitung : Georg Siebert

1935 -  Lärm um Wiedemann

             Regie: Johannes Alexander Hübler-Kahla

          Regieassistent: Georg Siebert

1936 – Durch die Wüste

             Regie: Johannes Alexander Hübler-Kahla

          Regieassistent: Georg Siebert

1936 – Der geheimnisvolle Mister X.

             Regie: Johannes Alexander Hübler-Kahla

          Regieassistent: Georg Siebert

1938 – Ich liebe Dich

             Regie: Herbert Selpin

          Aufnahmeleiter : Georg Siebert

1938 – Im Namen des Volkes

             Regie: Erich Engels

          Aufnahmeleiter : Georg Siebert

1939 – Wer küsst Madeleine?

             Regie: Victor Jannson

          Aufnahmeleiter: Georg Siebert

1939 – Alarm auf Station III.

             Regie: Philipp Lothar Maring

          Aufnahmeleiter : Georg Siebert

1941 – Sein Sohn

             Regie: Peter Paul Brauer

             Aufnahmeleiter : Georg Siebert

          /Aufnahme Filmatelier - Prag und Babelsberg/

1941 – Wenn ich König wär´!

           Regie: Johannes Alexander

 Hübler-Kahla

 Aufnahmeleiter: Georg Siebert

1941/42 – Der Seniorchef

             Regie: Peter Paul Brauer

          Aufnahmeleiter: Georg Siebert

          /UFA Berlin/

1942 – Liebespremiere

             Regie: Arthur Maria Robenalt

          Aufnahmeleiter: Georg Siebert

          /Atelier AB – Hostivar – Prag und Babelsberg/

1943 – Zirkus Renz

             Regie: Arthur Maria Robenalt

             Aufnahmeleiter: Georg Siebert

          /Terra-Filmkunst G.m.b.H. Podsdam/

Georg Siebert ab 1948 als Location manager bei Filmstadt Hamburg

1948 - Blockierte Signale

1953 - Unter den Sternen von Capri (mit Heinz Karchow)

1953 - * Columbus entdeckt Krähwinkel ( mit Joachim Hess)

1954 - * Die Stadt ist voller Geheimnisse ( mit Joachim Hess)

1954 - Kinder, Mütter und ein General (mit Rudolf Fichtner)

1954 - Wie werde ich Filmstar? (mit Kurt Heinz)

1955 - * Unternehmen Schlafsack (mit Benno Kaminski)

1955 - * Die Ehe des Dr. med. Danwitz ( (mit Peter Peterson)

1956 - Mädchen mit schwachen Gedächtnis ( mit Beno Kaminski)

            * Das Mädchen Marion (mit Winnie Markus, Carl Raddaz)

            Preis der Nationen (mit Georg Markl)

1957 - * Die verpfuschte Hochzeitsnacht (mit Grete Weiser und Klaus Biederstedt)

            * Made in Germany

1958 -  Rivalen der Manege (mit Karl Gillmore)

* Dank meinem Freund Gerhard Jagow besitze ich diese Filmkopie

(Pictures of Hamburg and the copies of the films) (fotogalerii zde)

Czech Video Saloon

National competition of non-professional movies 2008.

It was not only very impressive but a real honor, when I was invited to the Czech Video Saloon by the mayor of the city Usti n.O. and the NIPOS ARTAMA. Three days was the meeting where you could see the best movies of many film authors and a numerous audience. The art level was very high. Out of 8 circle competitions, 238 short movies were nominated in 5 categories to the National Festival. The jury nominated 40 productions of 500 min. show time. All final movies were judged and also discussed after their projection. This was something that every film author would wish to have, because it was different from what we have in Germany. The judges were independent and professionals. This year there was: Mgr. Milan Ruzicka, Director from Prague; Prof. Ing. Josef Valusiak, FAMU Prague (Movie Academy); Doc.Mgr. Martin Stoll,Ph.D. Actor and Script wirter from Prague, Mgr. Simona Oktabcová, Director from Prague; Mgr. Frantisek Nejedly, Movie historian. It was a great judgement and you can read the results at the website www.filmdat.cz. In the Roskotovo Theatre you could see all movies and the price-giving was the highlight of the festival at the “Culture House” of the city.

The festival was very impressive and it has also shwówn, that our German movie clubs can learn a lot more of the Czech film colleagues. NIPOS ARTAMA and the Circle for film and video can be proud of their amazing work.

 Oskar Siebert

Regensburg

Photogallery here

Tracing the footsteps of America’s Indians

At our journey in America we visited in LA and Phoenix friends. Near Scottsdale we visited an Indian reservation where a meeting and dance festival was going on. There were many Indians in wonderful and colourful costumes. Without allowance was no chance for us to take photos or film the beautiful spectacle. We were always fascinated by the Indians, their culture, religion and tradition and now there were here in front of us. That was amazing.

Finally we convinced the Chief to take photos and may film, but we had to ask everyone personally because some have the believe that a photo can steal your soul. We had amazing pictures but not much time. At a museum in Arizona we met Indians who were so friendly to talk about their live nowadays.

Back in Germany we decided to make a documentation which shows the Indians in their history and their present live. We had many research and it took long time until we had our material and things together to make a film. As good as we could we took the pictures, the facts and picture material to make a good story.

Our documentation shows the Indians of West America. Their history, culture, religion and tradition is despite of many facts still a fascinating secret for us.

Daniela Siebert

Co-Author

videoAktiv Regensburg

BIAFF - The award names have changed this year. Why?

We did it to clarify their meaning. A star rating is an accepted way to rank many things in life. Think of star ratings for hotels. We know when we look at hotel lists that many will achieve 4 stars and fewer will achieve 5 stars. However there is no limit to how many there can be in each category.

The IAC decided to change from Gold, Silver and Bronze because some people were equating them with 1st, 2nd and 3rd as in the Olympics, where there is normally only one winner at each level. Our awards are instead a standard and many people could receive the same level of award.

Our “International Awards” had also caused confusion. The name was supposed to mean that those films were of an international standard, i.e. among the best in the world. But some people believed that an International Award could only be awarded to a film from outside Britain. This was never the case.

To change those to the Diamond awards seemed appropriate as the name reflects the shape of our badge and is something precious to be treasured. The Diamond awards, like the International awards, will be given sparingly. Indeed if the judges think there is nothing which reaches that very high standard none may be given in some years.

I hope this helps to explain why we have changed the names. So forget Blue, Bronze, Bronze Plus, Silver, Silver Plus, Gold and International … we now have One, Two, Three, Four and Five star and Diamond awards.

The new awards mean very roughly:

What is important is to see how an independent team of judges rate your work – and whether you generally get higher awards as you develop your film making skills. We should never forget that the vast majority of video shot by non-professionals never gets titles, let alone editing, careful sound-tracking or the sort of tender, loving care which every single entry in our competition has enjoyed. A one-star rating is higher than most casual camcorder owners would ever achieve.

Linda Gough FACI

IAC Chairman