CINEMA BE

 

A Short History

OF

  French Cinema

Andrew Pulver

Tuesday 22 March 2011 12.27 GMT

France can, with some justification, claim to have invented the whole concept of cinema. Film historians call The Arrival of a Train at La Ciotat Station, the 50-second film by the Lumière brothers first screened in 1895, the birth of the medium. [1]

But the best-known early pioneer, who made films with some kind of cherishable narrative value, was Georges Méliès, whose 1902 short A Trip to the Moon is generally heralded as the first science-fiction film, and a landmark in cinematic special effects.[1]

Meanwhile, Alice Guy-Blaché, Léon Gaumont's one-time secretary, is largely forgotten now, but with films such as L'enfant de la barricade trails the status of being the first female film-maker.[1]

The towering achievement of French cinema in the silent era was undoubtedly Abel Gance's six-hour biopic of Napoleon (1927), which like many large-scale productions of the time, has had a choppy subsequent history. [1]

Thanks largely to the efforts of film historian Kevin Brownlow, a 330-minute restored version – complete with the original's three-projector finale – can be occasionally seen; but since Gance originally planned a six-film cycle, of which only number one was ever completed, we will only ever have a fraction of what was intended.[1]



✥ "La Vie de Jésus"
Film HQ en français sur le Christ,
le Fils de Dieu ✥



But Belgian-born Jacques Feyder was not to be outdone, with the extraordinary L'Atlantide (1921), and Faces of Children (1925).[1]

And the artistic ferment of pre- and post-first world war France made itself felt cinematically, with an amazing outpouring of avant-garde short films.[1]

Key titles include Jean Vigo's Soviet-influenced A Propos de Nice (1929), Fernand Léger's Dada-ist Ballet Mecanique (1924), and two surrealist masterworks: Germaine Dulac's The Seashell and the Clergyman (1928), with an Antonin Artaud screenplay, and the Buñuel/Dali collaboration Un Chien Andalou (1929).[1]

The early sound years saw an explosion of talent. Playwright Marcel Pagnol put adaptations of his celebrated Marseilles plays into production – first Marius (1931), then Fanny (1932), and finally César (1936), which he directed himself. [1] with an Antonin Artaud screenplay, and the Buñuel/Dali collaboration Un Chien Andalou (1929).[1]



Le jour où tout a basculé -
Mon frère m'a vole
ma petite amie (HD)



René Clair made the musical, Under the Roofs of Paris (1930).[1] with an Antonin Artaud screenplay, and the Buñuel/Dali collaboration Un Chien Andalou (1929).[1]

But the period really belonged to the pioneers of "poetic realism" – Vigo, Jean Renoir, Julien Duvivier and Marcel Carné. Masterpieces abounded in the interwar period: Vigo's scabrous satire Zero de Conduite (1933) was followed by the lyrical L'Atalante (1934). [1 with an Antonin Artaud screenplay, and the Buñuel/Dali collaboration Un Chien Andalou (1929).[1]

Tragically, it was his last film, as he succumbed to tuberculosis the same year, aged just 29.[1] with an Antonin Artaud screenplay, and the Buñuel/Dali collaboration Un Chien Andalou (1929).[1]

Renoir's career took off with Boudu Saved from Drowning (1932), and thereafter produced a string of brilliant films up to the outbreak of the second world war: A Day in the Country (1936), The Crime of Monsieur Lange (1936), La Grande Illusion (1937), La Bête Humaine (1938), and arguably the greatest of all: La Règle du Jeu (1939). [1] with an Antonin Artaud screenplay, and the Buñuel/Dali collaboration Un Chien Andalou (1929).[1]



Lhôtel des amours passes
Film Romantique en français
complet film damour



Duvivier weighed in with the Algeria-set gangster yarn Pépé le Moko (1937), while Carné also anticipated American-style noir with Quai des Brumes (1938) and Le Jour se Lève (1939).[1] with an Antonin Artaud screenplay, and the Buñuel/Dali collaboration Un Chien Andalou (1929).[1]

But Carné, arguably, outdid them all with Les Enfants du Paradis (1945); filmed during the Nazi occupation, the romantic melodrama set in the 19th-century theatre world became a symbol of national cultural identity when it was finally released.[1] with an Antonin Artaud screenplay, and the Buñuel/Dali collaboration Un Chien Andalou (1929).[1]



Leçon de cinéma d'Alain Delon - ARTE Cinema



The disruption caused by the war saw the avant garde regain the upper hand, with Robert Bresson's minimalist Diary of a Country Priest (1951) and Jean Cocteau's La Belle et la Bête (1946) and Orphée (1950).[1]

(Fans of The Matrix might notice where they borrowed their liquid-mirror idea from.)[1]

Cocteau's work also gave a chance to a new generation in the shape of Jean-Pierre Melville, who was hired to direct an adaptation of Les Enfants Terribles (1950). [1]

Perhaps not coincidentally, a new generation of politically radical film critics were growing up, mentored by André Bazin at Cahiers du Cinema.[1]

Their work fed directly into the explosive success of the French New Wave in the late 1950s: critics such as François Truffaut, Jean-Luc Godard and Claude Chabrol transferred their ideas directly to the screen. [1]

Truffaut's The 400 Blows (1959) and Godard's Breathless (1960) were the vanguard, but the New Wave triggered a decade and a half of brilliance, with a profusion of brilliant film-makers associated with the movement – Alain Resnais, Agnès Varda, Jacques Demy, Louis Malle, Eric Rohmer.[1]

Meanwhile Melville, who had prospered in the New Wave era, completed a trilogy of masterworks at the end of the decade: Le Samourai (1968), Army in the Shadows (1969), and Le Cercle Rouge (1970).[1]

After leaving its mark on a myriad of European national cinemas, and finally Hollywood by the end of 1960s, the French New Wave began to finally peter out; but coming up behind were a group of surface-obsessed style merchants who established the glossy 1980s "cinema du look". [1]

Jean-Jacques Beneix, with Diva (1981) and Betty Blue (1986), Luc Besson with Subway (1985), and Leos Carax with Mauvais Sang (1986) were the key figures here, much given to the speeding motorbike, the studied gesture and the highly coloured set-piece.[1]

Realism made a comeback in the 1990s, primarily through the Mathieu Kassovitz-directed La Haine, but the leading influence of the subsequent generation has undoubtedly been Jean-Pierre Jeunet who, with Delicatessen (1991) and Amélie (2001) perfected a Gallic answer to the comic-book-influenced style of Sam Raimi, Terry Gilliam and Barry Sonnenfeld.[1]

In recent years, Jacques Audiard has, arguably, become France's most respected auteur, with The Beat That My Heart Skipped (2005) and A Prophet (2010).[1]

最佳傳統紀錄片-驚人的傳統習俗

Polish Film Director

AndrzejWajda

DIES

Aged 90

Associated Press

10 October 2016

Poland's leading filmmaker Andrzej Wajda, whose career maneuvering between a repressive communist government and an audience yearning for freedom won him international recognition and an honorary Oscar, has died. He was 90. [2]

Wajda had recently been hospitalized and died Sunday night, said film director Jacek Bromski, head of the Association of Polish Filmmakers, on the private television station TVN24. The filmmakers association confirmed his death on its website.[2]

Bromski called Wajda "our mentor, our teacher, a model not to be matched."[2]

Though physically frail, Wajda worked until the end of his life.[2]

Using a walking aid, he appeared at last month's Film Festival in Gdynia, for the premiere of his latest film "Afterimage," based on the life of Polish avant-garde artist Wladyslaw Strzeminski who was persecuted for refusing to follow the communist party line during the Stalinist era,Poland's Oscar Commission, which selected the as Poland's official entry for an Oscar in the best foreign language film category, called the film "a touching universal story about the destruction of an individual by a totalitarian system."[2]

Wajda told the Polish news agency PAP that he wanted to "warn against the state intervention into art."[2]

The film was seen as yet another veiled political statement from the director, coming at a time when Poland's current conservative government has been accused of interfering with the arts and media..[2]

Wajda received an honorary Oscar for lifetime achievement in 2000. He was cited as "a man whose films have given audiences around the world an artist's view of history, democracy and freedom, and who in so doing has himself become a symbol of courage and hope for millions of people in postwar Europe."[2]

The director trod on ground controlled by communist-era censors with "Man of Marble" (1977), which looked at the roots of worker discontent in communist Poland in the 1950s; and "Man of Iron" (1981) on the rise of the Solidarity labor union movement, which eventually led to the demise of communism in Poland. [2]

That movie featured Solidarity leader Lech Walesa, who later became Poland's president. [2]

It won the Cannes Film Festival's top Palme d'Or prize in 1981 and was one of four Wajda movies to be nominated for the best foreign-language Oscar, although Poland's communist leaders unsuccessfully tried to withdraw it from Oscar consideration.[2]

Polish Films   AND   Filmmakers

 At Berlinale

February 06th, 2015

A Polish director, Malgorzata Szumowska has been lucky with Berlinale. ‘Ono’ in 2004 and ‘Sponsoring’ in 2012 were both presented in previous Berlinales. [3]

In 2013 she was awarded with the Teddy (a prize for LGBT topics) for ‘In the name of...’, a film about homosexual love within the Roman Catholic Church.[3]

This year, the Polish director is a member of the European Shooting Stars jury and her latest feature ‘Body’ is competing for the Golden Bear.[3]

Why the Iranian film industry


IS


Like Hollywood before 1969

Houman Harouni

Friday 8 February 2013

It may come as no surprise that what international audiences refer to as "Iranian cinema" covers only a small, selective portion of the films produced in Iran.[4]

For all the innovative, artistic films that garner attention at festivals, there are many more that never cross the borders.[4]

Some of these are accomplished art films in their own right, but the rest, a majority, do not have any artistic pretensions.[4]

They are made to survive only a few weeks at the local theatres and DVD stands. It's no shame if they are forgotten, but they can't be ignored completely. [4]

The film industry in Iran, currently one of the most active in the world, produces nearly 100 features every year – and that's not counting documentaries, underground films, and a deluge of made-for-TV features.[4]

To put this in perspective: France, the most successful film industry in Europe, produces around 200 films a year, Britain no more than 100.[4]

In countries with large film industries, arthouse loses the numbers game either to commercial movies or, in the case of dictatorships, to propaganda. [4]



The Color of Paradise
1999 With ENG sub



Iran is an interesting case, however, because the bulk of its output is neither commercial nor ideological schlock. [4]

Rather, it is a certain type of urban-set narrative that film-makers and critics refer to as a "main-body" drama (badaneye asli) – a phrase distinct from "mainstream", because pictures of this type are by no means the most widely seen. Nonetheless, they keep being made.[4]

In a sample of 70 films from 2010, 29 fall into this category. In comparison, only four out of 70 are primarily religious in theme. No more than three can be classified as political propaganda.[4]



Children of Heaven (1/11)
Movie CLIP -
My Sister's Shoes (1997) HD



In Iran, the state is by far the largest investor in and distributor of movies. The Islamic republic's imposition of censorship is notorious.[4]

Less known is the support it lends to film-makers. Without state support, the current volume of production would be impossible.[4]

In other words, when it comes to main-body films, the state is investing millions of dollars in pictures that neither yield strong financial returns nor promote the official agenda. Why?[4]

A description of main-body cinema begins to provide the answer.[4]

For the most part, the drama of these films is fuelled by sex: betrayals, one-night stands, abuse, a man or woman chased by or chasing a bevy of partners.[4]

A young businessman lures women to his office and makes off with their virginities (One of Us Two, by Tahmine Milani). A wife tries to make sense of her husband's betrayal (I Am His Wife, by Mostafa Shayesteh).[4]

Everyone betrays everyone else (I Am a Mother, by Fereydoun Jeyrani). Things stop just short of becoming visually and verbally explicit, but there is enough sexual content to embarrass the puritan side of any viewer. [4]

This inner puritan must wait for a degree of satisfaction until the last few scenes, when repentance, repugnance, or retribution return moral balance to the universe. [4]

Broken Pieces
| Episode 1 - Season 1 |
English Subtitle

THE 25 BEST

JAPANESE 

Filmmakers

OF

All Time

Matthew Benbenek

01 May 2016

Japan has been one of the leading pioneers of cinema since the silent age.[5]

 Throughout this century of filmmaking, Japan has produced, not only some of the greatest films of all time, but some of the most influential and visionary directors to ever make movies.[5]

Along with early filmmakers from around the world, Japanese auteurs helped develop the narrative, visual style, special effects and much more about film that is still used today.[5]

 As the years went on, Japanese cinema continued to revolutionize the medium, introducing new styles and techniques continuously, never leaving the front of the international film scene.[5]

One of the most iconic genres of Japanese cinema is the historical period piece, set in feudal Japan.[5]

 Much of these films were focused on samurai and their exploits, but there were also many historical dramas about the troubled lives of peasants and geishas. [5]

There were also many great films set in modern times, including crime films about the Yakuza and emotional pieces about the social climate of Japan.[5]

One of the most influential additions to film by Japan is the introduction of the anime cartoon style which has provided a new breath of life to the animation genre. [5]

Excelling in the creation of all genres over the century that film has been around, these following Japanese directors are some of the most important voices in cinema history.[5]



Mishima:
A Life in Four Chapters (1985),
(eng/srp)



This list starts out with Hirokazu Koreeda, one of the great modern directors of Japanese cinema. [5]

Since his first feature film in 1995, Koreeda has built his reputation on his meditative dramas, focusing on spirituality and cultural relations, winning many awards internationally and becoming a face for the newest wave of Japanese directors.[5]

After getting his start making some documentary films, Koreeda’s first major film Maborosi attracted critical attention with comparisons being made to greats like Ozu and Mizoguchi.
[5]
Koreeda’s career continued and his films persisted in their slow, but meaningful style. One of his biggest hits was a film called After Life about a group of dead souls waiting in purgatory. [5]

Another critical success of his was his film Still Walking which follows a family grieving over their recently deceased family member.[5]

Koreeda is still an evolving filmmaker, his films coming out continuously and his style still changing. [5]

Although what he is trying is not necessarily new, and the subject matter is not all that different from the subjects of some of the great Japanese masters, his technique and form is brilliant and his films are very emotionally engaging.[5]

Although visionary artist Toshio Matsumoto has only directed four feature films his influence in world cinema was huge and his psychedelic projects were among the most wild ever made.[5]

In addition to his four films, Matsumoto has contributed much more to the world of the Japanese arts. [5]

He has filmed over 30 experimental shorts throughout his career, testing the limits of the medium. Matsumoto has also been very productive in other facets of art as well, writing plays and creating many multi-media art pieces.[5]

His most famous film is the cult classic Funeral Parade of Roses. Loosely adapted from the Greek tragedy “Oedipus Rex”, Matsumoto’s films focuses on the gay culture in Japan at the time. [5]

The androgynous Japanese actor known as Peter plays the main role of Eddie, a transvestite who wishes to get to the top of the nightlife scene. [5]

The film is probably best remembered for reportedly being a strong influence on Stanley Kubrick for his film A Clockwork Orange. Another notable film of Matsumoto is the samurai horror film Demons.[5]

Another modern director of Japan, Shinji Aoyama has made a name for himself internationally with his original and dynamic films.[5]

 Being interested in cinema from an early age, Aoyama’s cinephilic love of films started him on the path of directing, making short films and soon he made the transition to feature length movies.[5]

After a few films that failed to make much of a reputation, Aoyama made his masterpiece. [5]

His 2000 film Eureka was an international sensation and cemented his name as a leading cinematic mind of his generation. [5]

The film, which clocks in at three hours and forty minutes, follows three victims of a violent hijacking as their life and mental states deteriorate around them.[5]

Although none of Aoyama’s films to follow have reached the same level of acclaim as the behemoth of Eureka, many of his projects are still very notable.[5]

 His next films, Desert Moon and Lakeside Murder Case were much more accessible projects, continuing his legacy.[5]

He has continued to put out consistent films, even if they have fallen out of the public eye somewhat.[5]

 Still, his recent films like Tokyo Park and The Backwater show Aoyama’s brilliant directorial vision and his continued contributions to the medium.



Japan Unforgettable
Unfaithful Wife Of Useless Man





In A New History of Japanese Cinema Isolde Standish focuses on the historical development of Japanese film. She details an industry and an art form shaped by the competing and merging forces of traditional culture and of economic and technological innovation.[6]

Adopting a thematic, exploratory approach, Standish links the concept of Japanese cinema as a system of communication with some of the central discourses of the twentieth century: modernism, nationalism, humanism, resistance, and gender.[6]



松雪　　
　私あなたを誘拐しようと思う。。。。



After an introduction outlining the earliest years of cinema in Japan, Standish demonstrates cinema's symbolic position in Japanese society in the 1930s - as both a metaphor and a motor of modernity. Moving into the late thirties and early forties, Standish analyses cinema's relationship with the state-focusing in particular on the war and occupation periods.[6]

The book's coverage of the post-occupation period looks at "romance" films in particular. Avant-garde directors came to the fore during the 1960s and early seventies, and their work is discussed in depth. The book concludes with an investigation of genre and gender in mainstream films of recent years.[6]

In grappling with Japanese film history and criticism, most western commentators have concentrated on offering interpretations of what have come to be considered "classic" films. [6]

A New History of Japanese Cinema takes a genuinely innovative approach to the subject, and should prove an essential resource for many years to come.[6]





japanese thriller, 2013

Cinema of Azerbaijan

The film industry in Azerbaijan dates back to 1898. In fact, Azerbaijan was among the first countries involved in cinematography. When the Lumière brothers of France premiered their first motion picture footage in Paris on December 28, 1895, little did they know how rapidly it would ignite a new age of photographic documentation. [7]

These brothers invented an apparatus, patented in February 1895, which they called the "Cinématographe" (from which the word "cinematography" is derived).[8]

 It is not surprising that this apparatus soon showed up in Baku – at the turn of the 19th century, this bay town on the Caspian was producing more than 50 percent of the world's supply of oil. Just like today, the oil industry attracted foreigners eager to invest and to work.[8]

Fidan Haciyeva ft Alesker Aliyev -
Pulun var (Деньги есть)
(Official Music Video)

Up until last year, film historians thought the first movie produced in Azerbaijan dated back to 1916 with Svetlov's movie, "In the Realm of Oil and Millions." [8]

Then Aydin Kazimzade discovered a small newspaper announcement in the archives of the Lenin Library in Moscow, providing evidence that film in Azerbaijan really dates back nearly 20 years earlier to 1898. [8]

Instead of being a latecomer to the fascinating world of cinematography, Azerbaijan was, indeed, among the first countries involved. Last year, Azerbaijan celebrated 80 years of cinematography; next year, because of this new historical proof, they'll celebrate 100![8]

In 1915 the Pirone brothers of Belgium set up a film production laboratory in Baku. They invited film director Svetlov from St. Petersburg to work for them and produce "The Woman," "An Hour before His Death" and "An Old Story in a New Manner."[8]

It was Svetlov who also directed the film entitled "In the Realm of Oil and Millions" which later became so well known. The famous Azerbaijani actor Husein Arablinski played Lutfali, the main role in this film.[8]

In 1917, a documentary entitled "National Freedom Holiday in Baku" was made. The film includes footage taken of the central square of Baku, its streets, avenues, parks and the seashore.[8]

In 1919 during the short-lived independence of the first Azerbaijan Democratic Republic, a documentary called "The First Anniversary of the Musavat Power in Azerbaijan" was made. [8]

Filmed on Azerbaijan's Independence Day, May 28, this chronicle premiered in June at several cinema houses such as "Express," "Record," and "Forum."[8]

Cinema of Azerbaijan (History)

Two years after the birth of cinematograph, the performance of “moving cartoons” by brothers Lumier in Paris, in 1898, the photographer from Baku, A.M.Mishon shoots film stories on oilfields and organizes the first public film performance.[9]

It took place in Baku in August 2, 1898, and the inhabitants of Baku having seen the life of their city (“Fire on Bibi-Heybat”, “Oil fountain in the field Balakhani-Sabunchu”, “Caucasian dance”, “I stumbled” and so on) on the screen for the first time, unwillingly became the witnesses of an historical event – the birth of cinematograph in Azerbaijan.[9]

The Oil Gush Fire

In Bibiheybat

1898

Starting from this moment photograph-cameramen shoot the stories on various subjects. And in 1916 Pirone brothers, the entrepreneurs, place cinematograph on production basis[9]

One of the first films shot in this studio is “In the realm of oil and millions” (director – B.Svetlov, in the leading role – G.Arablinskiy), after the same named novel by Azerbaijani writer I.Musabeyov. [9]

After the occupation of Azerbaijan by the XI Red Army and the establishment of soviet regime in the country in 1920, all film and photo enterprises were nationalized. And in 1923 Azerbaijani Photo-Film Administration – APFA was established. [9]

In the same year State Film-factory started to shoot the film “Maiden tower” (dir. V.Balluzec). The film was orientated on the exotic demonstration of the East, on the details of ethnographical characteristics.[9]





Arshin Mal Alan in English

NEFT

VA

Milyonlar Saltanatinda

1916

The most interesting feature films shot in State Film-factory for the period from 1920 through 1930s are the following: “In the name of Gud” (“Bismillah”-1925) and “Haji Gara” (1928), where the director, Abbas Mirza Sharifzadeh truly narrates the tragic fates of people under the realm of religious fanaticism.[9]




Arshin Mal-Alan, Azeri Film
(in Russian language) Аршин Мал-Алан
в цвете на Русском!)))



In the film after the play by Dj.Djabbarli “Sevil” (1929, dir. A.Beynazarov), the character of Azerbaijani woman, struggling for her equal rights in the society had its artistic embodiment.[9]

The director, in the films “Letif” (1930) and “Ismet” (1934), Mikayil Mikayilov makes an attempt of adopting modern theme.[9]

The first Azerbaijani director, with professional education got in Moscow, Samed Mardanov together with Boris Barnet, in 1936 shoots the first sound-film “On blue seashore” (which is sometimes included to the list of the best films of ever in the writings of some well-known film theorists).[9]

In 1939 Samed Mardanov starts the production of the film “Kendliler” (“The peasants”). [9]

But the director could not see the opening night of his film. His life was tragically cut short. [9]

However, in what he had time to make, the language of professional cinematographic stylistics, aspiration for the poetical reflection of the reality, the realistic interpretation of the characters were clearly seen.[9]




Daadaa Gourgood Film Dədə Qorqud:
Heroic Destan
of Ancient Oghuz Türks
- دده قورقود -
(Film, 1975)

Kandlilar

1939

In 1945 the directors, Rza Tahmasib and Lev Leshenko, made a screen version of the musical comedy “Arshin mal alan” (The cloth peddler) by Uzeir Hadjibeyov.[9]

It is interesting that the film faced with the harsh criticism. Meanwhile, cheerfulness, humor and national coloring made it very popular not only in Azerbaijan, but also far beyond its borders. [9]

The film was honored with one of the highest awards of that time, USSR State award. In the late 40s the film production decreased. Only documentaries were produced. The only feature film shot in this period was “Fatali-khan” by the director, E.L.Dzigan.[9]




Görüş film, 1955

Mordern Korean Cinema

Pierce Conran

Tuesday, January 26, 2016

More so than usual, it took a long time to compile this year's 'most anticipated Korean films' list for the simple reason that there's so much on the horizon. [10]

Some of Korea's master directors return, following their US debuts, and there are many tantalizing combinations of talent and concept waiting in the wings.[10]

Of course, ranking films I barely know anything about is a fool's errand and this list reflects my own tastes and some frankly dubious logic. [10]

That said, while a lot of guesswork does go into this I do catch wind of some interesting details from time to time which have affected some of the rankings.[10]

My Beloved Sister,
38회, EP38, #01

As usual, the majority of the following are commercial films since info on in-production indies is scant. That said, there are few small films I was involved in which I'm very excited about, but have omitted here.[10]

Keep in mind that Korean film companies usually don't announce release dates for films until only a few weeks before their premieres. Any potential release windows I mention are pure conjecture on my part.[10]

2016 looks to be an exciting year, which is why this list is so long, yet I've still added pages for some notable films that others may be more interested in than I am, as well as some big projects that we won't see until 2017.

Enjoy and please let me know the Korean films you're most looking forward to this year or if I've missed something![10]

My Beloved Sister,
55회, EP55, #02

[1]https://www.theguardian.com/
film/2011/mar/22/french-cinema-short-history

[2]http://www.telegraph.co.uk/films/2016/10/09/
polish-film-director-andrzejwajda-dies-aged-90/

[3]http://www.berlinglobal.org/
index.php?polish-films-and-filmmakers-at-berlinale

[4]https://www.theguardian.com/world/iran-blog/2013/
feb/08/iranian-film-industry-like-hollywood

[5]http://www.tasteofcinema.com/
2016/the-25-best-japanese-filmmakers-of-all-time/

[6]http://www.goodreads.com/
book/show/124159.A_New_History_of_Japanese_Cinema

[7]https://en.wikipedia.org/wiki/Cinema_of_Azerbaijan

[8]
Celebrating 100 Years in Film, not 80 by Aydin Kazimzade.
Azerbaijan International, Autumn 1997.

[9]https://mubi.com/lists/cinema-of-azerbaijan

[10]http://www.modernkoreancinema.com/2016/01/
most-anticipated-korean-films-of-2016.html

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