World War Z Film
Fanny Lococo
Founded in 2004, the World Cinema Fund was initiated by the German Federal Cultural Foundation and the Berlin International Film Festival. It quickly established itself as one of the leading institutions in the field of international film funding for artistic and innovative productions.
The WCF concentrates on backing the production and distribution of films from Latin America, the Caribbean and the Pacific region, Africa, the Middle East, Central and Southeast Asia, the Caucasus, as well as Bangladesh, Nepal, Mongolia and Sri Lanka. For a detailed list of eligible regions and countries, please refer to the country overview sheet (485 KB).
The goal is to promote high-quality filmmaking in regions with a weak infrastructure for film, while fostering cultural diversity in German cinemas as well as supporting collaboration between German and European producers and partners in WCF regions and countries. All WCF films completed to date have screened at cinemas and/or in the programmes of renowned festivals. Many have also won significant prizes, proof of the worldwide success of the initiative.
The WCF provides support in the fields of production, post-production and distribution for feature length films and creative documentary features. In cooperation with other institutions, new initiatives were established to develop activities beyond the own funding programme.
The World Cinema Fund is an initiative of the German Federal Cultural Foundation and the Berlin International Film Festival, in cooperation with the German Federal Foreign Office and with further support by the Goethe-Institut.
The special WCF Europe programme was launched with the support of the European Union's Creative Europe MEDIA programme. Thanks to additional funding from the German Federal Foreign Office, the special programme WCF Africa was started in 2016. The complementary programme WCF ACP is funded with the financial contribution of the European Union and the support of the Organisation of the African, Caribbean and Pacific States through the ACP-EU Culture Programme.
The World Cinema Project (WCP) preserves and restores neglected films from around the world. To date, 63 films from Africa, Asia, Eastern Europe, Central America, South America, and the Middle East have been restored, preserved and exhibited for a global audience. The WCP also supports educational programs, including Restoration Film Schools; intensive, results-oriented workshops allowing students and professionals worldwide to learn the art and science of film restoration and preservation. All WCP titles are available for exhibition rental by clicking "Book This Film."
Lewat Djam Malam (After the Curfew) is a passionate work looking directly at a crucial moment of conflict in Indonesian history: the aftermath of the four-year Republican revolution which brought an end to Dutch rule. This is a visually and dramatically potent film about anger and disillusionment, about the dream of a new society cheapened and misshapen by government repression on the one hand and bourgeois complacency on the other.
Lewat Djam Malam has been digitally restored using the original 35mm camera & sound negatives, interpositive, and positive prints preserved at the Sinematek Indonesia. The original camera negative was scanned at 4K resolution.
The original sound was digitally restored using the 35 mm original soundtrack negative. Two reels were missing from the soundtrack negative, and were therefore taken from the combined interpositive. The last 2 minutes of reel 5 were missing from all available elements, but were recovered from a positive copy. The soundtrack has been scanned using laser technology at 2K definition. The core of the digital sound restoration consists on several phases of manual editing, high resolution de-clicker & de-crackle, and multiple layers of fully automated noise reduction.
The restoration of Al Momia used the original 35mm camera and sound negatives preserved at the Egyptian Film Center in Giza. The digital restoration produced a new 35mm internegative. The film was restored with the support the Egyptian Ministry of Culture.
In order to try and minimize the presence of visible spots (due to processing errors and aggravated by time) and scratches on the image, the camera negative was wet-scanned at 4K resolution. Due mainly to these two issues, the digital restoration required considerable efforts. A vintage print preserved at the Cinmathque Franaise was used as reference.
The restoration of the uncut version of A Brighter Summer Day used the original 35mm camera and sound negatives provided by the Edward Yang Estate and preserved at the Central Motion Pictures Corporation in Taipei. Due to the deterioration of the original camera negative an intermediate of the film printed at the time was also used. The digital restoration produced a new 35mm internegative.
The 4K restoration of CHESS OF THE WIND was completed using the original 35mm camera and sound negatives. Color grading required meticulous work, notably reels 9 and 10 which called for an orange-tinting effect reminiscent of early silent cinema. The restoration was closely supervised by Gita Aslani Shahrestani and Mohammad Reza Aslani; the film's cinematographer Houshang Baharlou also contributed to the grading process.
The original camera negative, outtakes from the same element, and the interpositive were integrated to match a 35mm vintage print provided by the filmmaker as a reference. Color grading was supervised by Mohammed Lakhdar-Hamina.
A new digital transfer was created from the 35 mm original camera negative, preserved at the National Film Archive of India in Pune. This element includes several shots inserted from a duplicate negative. A 35 mm print from the Library of Congress was used for sections of the film where the original camera negative was damaged or incomplete.
For questions about your local screening, including tickets, times and film programs, please contact the local host organiser. Contact information can be found on the Tour Locations pages.
World Tour FAQ
Short-lived but significant in American film history, World Film was created by financier and filmmaker Lewis J. Selznick in Fort Lee, where many early film studios in America's first motion picture industry were based in the early part of the 20th century.[1][2][3]
World Film was to be the distribution arm for three main production companies: Selznick's own production company called Equitable Pictures, Jules Brulatour's Peerless Pictures, and the Shubert Pictures production company founded by the strong-willed promoter and entrepreneur William Aloysius Brady.
Under this arrangement, World Film was the distributor for some 380 short films and features from 1914 through 1921. It also became a production company, with filming centered at Brulatour's Peerless Studio facilities, and run by Brady. The Schuberts intended to use their own chain of vaudeville and legitimate theaters as film venues.[4] In the period between 1912 and 1915, all of the five most important film production companies in the U.S. had similar ties to theatrical entrepreneurs, all hoping to leverage their theater chains: Famous Players Film Company, Klaw & Erlanger's "Protective Amusement Company", the Jesse L. Lasky Company, the Triangle Film Corporation, and World Film.[5]
By 1916, Selznick was ousted from World Film by its board. Chicago investor Arthur Spiegel was put in charge as president. Production remained at Fort Lee until 1919, when the company was re-purchased by Selznick and absorbed into his Lewis J. Selznick Productions, based on the west coast of the United States.
The destruction by fire of the French-based Eclair's New Jersey studio on March 10, 1914, and the outbreak of World War I the following August drove a re-organization of foreign film-industry assets in Fort Lee, including the employees. Within World Film a number of French directors and cinematographers, many of whom had been brought over to work at American Eclair, organized themselves in a separate French-speaking unit, with its own sensibility. For about three years Maurice Tourneur, Lonce Perret, George Archainbaud, Emile Chautard, Albert Capellani and Lucien Andriot, among others, worked together on films such as 1914's The Wishing Ring: An Idyll of Old England, the 1915 versions of Camille and Alias Jimmy Valentine, the 1916 La Bohme. and taught a young apprentice film cutter at the World studio: Josef von Sternberg.[7]
Others were also hired into World Film: actress Clara Kimball Young (the second wife of director James Young, married and divorced) hired away from Vitagraph, Sidney Olcott hired away from Kalem Studios, screenwriter Frances Marion, actress Elaine Hammerstein, and vaudeville star Lew Fields, and Clara Whipple (third wife of director James Young, married and divorced).
The World (Chinese: 世界; pinyin: Shji) is a 2004 Chinese drama written and directed by Jia Zhangke about the work and the life of several young people moving from the countryside to a world park. Starring Jia's muse, Zhao Tao, as well as Cheng Taishen, The World was filmed on and around an actual theme park located in Beijing, Beijing World Park, which recreates world landmarks at reduced scales for Chinese tourists. The World introduces new technologies like binoculars, coin-operated telescopes, digital cameras, mobile phones and digital services in the theme park as touristic tools to virtually travel around the world, emphasizing the globalization and convenience.[1] It is a metaphor for Chinese society to experience the sense of mobility, but the knowledge is still limited domestically and the environment of simulation is seen as a sense of escaping from the real world.[1]The World was Jia's first film to gain official approval from the Chinese government.[2] Additionally, it was the first of his films to take place outside of his home province of Shanxi.
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