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Prof. Aner Preminger

aner_p.jpg
Prof.
Aner
Preminger
Associate Professor‎
anerp@zahav.net.il
Personal Website

Biography:

Since 1986 Active Filmmaker and Film Scholar.

Associate Professor, Department of Communication, Faculty of Social Sciences, The Hebrew University, Jerusalem.

 

Fiction Films:

  • 2013 -  Hole in the Land (Chor Ba' Adama), Homage remix to Israeli Cinema, 2:30  min.

  • 2012 –     Present Continuous (Ha'Chaim Beinataim), 100 min., DCP, color.
    Director, producer, co-writer, Full length feature.
    Supported by The Israeli Film Fund.

  • 1999 -     Last Resort (Hagarin Hakashe), 95 min., 35 mm, color.  
    Director, producer, co-writer, full-length feature film.

  • 1993 -     Blind Man's Bluff (Golem Bamaagal), 95 min., 35 mm, color. 
    Director, co-producer, co-writer, full-length feature film, supported by
    The Israeli Quality Film Foundation, The Ministry of Education & Culture.

  • 1990 -     Front Window, 32 min., 16 mm, color. Director/writer/producer.
    Supported by The Israel Film Center, Ministry of Industry & Trade and the
    Public Council for Culture & Art of the Ministry of Education & Culture.

  • 1988 - Anima, 7:30 min., Video Dance. Director/writer/producer.
     Coreography – Nima Jacoby; Music – Chanoch Jacoby.

  • 1984 -     24 Hours, 37 min., 16 mm, color. Director/writer/producer/editor.
    Thesis film for graduating NYU GFTV.

Documentaries:

  • 1998-2009 –  One Eye Wide Open: following Zvi Lachman 1998-2008, 52 min.   Documentary feature. In co-production with AVRO Broadcasting Association/Close-up, The Netherlands.

  • 2001 –   Moscobia – the Russian Compound, Short Documentary in the “Place” (Makom), project produced by Amit Goren.

  • 1998-2000 –  Ransom of the Father, 71 min. Documentary feature.
    First screened in Jerusalem International Film Festival, 2000.

  • 1994-1998 –  Learning and Teaching Mathematics, series of 3 documentaries  
    following Mathematic workshop within an educational project: "Tomorrow  is 98 in the Northern Galilee", (30-50 min. each film)

  • 1995 –  On My Way to Father’s Land, 75 min. Documentary feature.
    First screened in Haifa International Film Festival, 1995.

  • 1986 -1990 – Documentary films for the Israeli Television.

Script Editing

  • 2011 – My Australia, Amy Drozd's film, produced by Marek Rosenbaum – Transfax Productions Ltd.
  • Since 2000 – Script editing of several hundred student films including many final projects in Sapir Academic College and many other film schools.

 

Awards & Festivals:

  • 2016 Israeli Film Festival, Wesleyan University, Connecticut, USA, Present Continuous.  
  • 2015  3rd Rassegna Di Cinema Israeliano, Veronese, Italy: Blind Man's Bluff.
  • 2015 Israeli Film Festival, Hamilton, Ontario Canada, Present Continuous.  
  • 2015 Jewish International Film Festival, Montreal, Canada, Present Continuous.  
  • 2014 Carpentras 4ème Festival du cinéma israélien, France, Present Continuous.  
  • 2014 Chicago South Asian film festival (CSAFF), USA, Present Continuous.  
  • 2014 Palm Beach Israeli Film Series, Miami, USA, Present Continuous.  
  • 2014 Jewish International Film Festival, New Hampshire, USA, Present Continuous.  
  • 2014 Jewish International Film Festival, Toronto, Canada, Present Continuous.  
  • 2014 Jewish International Film Festival, Santa Cruz, USA, Present Continuous.  
  • 2013 Jewish International Film Festival, Sydney & Melbourne, Australia, Present Continuous.  
  • 2013  Shalom Europe Film Festival, Strasbourg & Colmar, France: Present Continuous.
  • 2013 Seret - Israeli Film Festival, London, England: Present Continuous.
  • 2013 The 10th Israeli Film Festival, Ottawa, Ontario, Canada: Present Continuous.
  • 2013 The Zagreb JFF, Croatia, Present Continuous.  
  • 2013 Juedische Kultur Muenchen Film Festival, Germany, Present Continuous.  
  • 2013 Fipatel: Festival International de Programmes Audiovisuels, Biaritz, France: Present Continuous.
  • 2013  Final stage in the 1st Israeli Cinema Remix competition, Print Screen Media digital  Festival, Holon Cinemateque, Israel: Hole in the Land (Chor Ba' Adama).
  • 2012  The 28th Haifa International Film Festival: Present Continuous.
  • 2012  Cinema South Film Festival, Sderot: Present Continuous.
  • 2010  TEMPS D'IMAGES PRÉMIO DE CINEMA International Film Festival, Lisbon,  Portugal, One Eye Wide Open.
  • 2010  Special Mention in ''I've Seen Films'' International Film Festival, Milan, Italy, One Eye Wide Open.
  • 2009  EPOS Film Art Fest, international Art Film Festival, Tel-Aviv, One Eye Wide Open.
  • 2009  EPOS Film Art Fest, international Art Film Festival, Nazareth, One Eye Wide Open.
  • 2009  Cinema South Film Festival, Sderot, One Eye Wide Open.
  • 2003  The International Film Festival Tribeca, New-York: Moscobia – the Russian Compound.
  • 2002  The International Documentary Film Festival, DocAviv Tel-Aviv, Israel: Moscobia – the Russian Compound.
  • 2001  Fipa: Festival International de Programmes Audiovisuels, Biaritz, France: Ransom of the Father.
  • 2000  Honorably Mentioned in The Jewish Experience Competition of the 17th  Jerusalem International Film Festival: Ransom of the Father.
  • 2002  The Contra Costa International Jewish Film Festival: Last Resort.
  • 2001  The Seattle Jewish Film Festival, Washington: Last Resort.
  • 2001  Fipa: Festival International de Programmes Audiovisuels, Biaritz, France: Last Resort.
  • 2000  The Washington D.C. Jewish Film Festival: Last Resort.
  • 1999  The 15th International Haifa Film Festival:   Last Resort.
  • 2009  The Best of Israeli Cinema of all times, in Milan, Italy: Blind Man's Bluff.
  • 1995  The International Film Festival in Calcutta, India: Blind Man's Bluff.
  • 1995  The International Film Festival in Kerala, India: Blind Man's Bluff.
  • 1994  La Opera Prima, First prize for first film in the 12th Festival Cinematografico International del Uruguay, Montevideo for Blind Man's Bluff.
  • 1994  Jaguar Maya De Oro, Special prize of the jury in the 3rd Festival  Cinematografico De Cancun, Mexico, for Blind Man's Bluff.
  • 1994  The Israeli Critics Award for Best Acting: Chagit Dasberg in: Blind Man's Bluff – The 10th  International Haifa Film Festival.
  • 1994  Show case for Best Israeli Films in Tokyo, Japan: Blind Man's Bluff .
  • 1994  The International Film Festival, San Paulo, Brazil: Blind Man's Bluff.
  • 1994  The Jewish Film Festival in London, England: Blind Man's Bluff.
  • 1994  The International Troya Film Festival, Portugal: Blind Man's Bluff.
  • 1994  The Eighth Annual Washington, DC International Film Festival: "Blind Man's Bluff".
  • 1993  The Wolgin award for Israeli best film: Blind Man's Bluff. First prize of the 10th Jerusalem Film Festival.
  • 1993  The 17th Montreal World Film Festival:  Blind Man's Bluff.
  • 1993  The 41St International Film Festival of San Sebastian:  Blind Man's Bluff.
  • 1993  The Antigone D'Or, First prize of the 15eme  Festival International  Du Cinema Mediterraneen Montpellier for Blind Man's Bluff.
  • 1993  The Israeli Film Festival in Los Angeles:  Blind Man's Bluff.
  • 1993  The Israeli Film Festival in New-York: Blind Man's Bluff.
  • 1993  The Jewish Film Festival, Wien, Austria: Blind Man's Bluff.
  • 1993  The Israeli Academy Award for Best Actress: Chagit Dasberg in:  Blind Man's Bluff.
  • 1995  The 11th International Haifa Film Festival: On My Way To Father’s Land.

 

Selected Publications:

Books:

  • François Truffaut – The Man Who Loved Films, 2006, Hakibutz Hameuahad, Tel-Aviv University and Sapir Academic College Publication, Tel-Aviv, Israel.

  • Enchanted Screen: A chronology of media & language, 1986,  The Open University, Tel-Aviv, Israel.

Selected Articles:

  • Preminger, A., 2015, François Truffaut: Cinema as an act of love – An intertextual approach, ContentoNow Publication, Tel-Aviv, Sapir Academic College Publication, Sederot, Israel. (A book about the cinema of François Truffaut, 487 pages

  • Preminger, A., 2015, Ethical Documentary, Takriv (Close-up), http://www.takriv.net/index.php?option=com_content&view=article&id=167&I...

  • Preminger, A., 2015, Chess with a switchblade: Haunted Israeli identity trapped in a post-traumatic struggle in Moshe Mizrahi's first feature Le Client de La Morte Saison, Cinema South festival 2015, Sapir Academic College, Sderot, http://csf.sapir.ac.il/משחק-שח-עם-סכין-קפיצית/

  • Preminger, A., 2015, Silent Film Comedy and American Culture by Alan Bilton, A book Review, Studies in American Humor, Series 4, Vol. 1, No. 2, 2015, USA.

  • Preminger, A., 2013, Charles Chaplin sings a silent requiem: Chaplin's Films, 1928-1952, as Cinematic statement on the Transition from Silent Cinema to the Talkies, In: Howe Lawrence, Caron James E., and Click Benjamin, eds., Refocusing Chaplin: A Screen Icon Through Critical Lenses, pp. 163-185, Lanham, MD, USA: Scarecrow Press, Inc. 

  • Preminger, A.& Berger, A., 2012, Cinema – Literature – Sculpture and in Between - François Truffaut's Films as Intertextual Cultural Space, Protocollage 2012, Collected Essays from History & Theory: The Protocols, E-Journal, p. 146-174, History & Theory department, Bezalel, Resling Publications, Jerusalem.

  • Preminger, A., 2012, The Arab Other in Israeli Cinema and Discourse, Journalism and Mass Communication, Volume 2, Number 2, February 2012 (Serial Number 5) pp. 412-420, David Publishing Company, CA, USA.

  • Preminger, A., 2012, Walking on Water or Playing God? Contemporary Israeli Filmmakers and the "Meaning" of the Holocaust, Slil – Online Journal for History, Film and Television, The Hebrew University of Jerusalem, pp. 59-68, http://www.slil.huji.ac.il/?psl=about

  • Chaplin's contribution to the development of sound and its relationship to image, as part of his cinematic statement on the transition from silent films to talking pictures (upcoming in The Chaplin Collections, Literature/Film quarterly (LFQ),).

  • Charles Chaplin sings silent requiem: Chaplin's cinema from 1928-1952 as a cinematic statement on the transition from silent films to talking films, History & Theory, Protocols, No 22 – On the Sensual in Art, History & Theory department, Bezalel,(22), 2011,http://bezalel.secured.co.il/zope/home/en/1315639275

  • Cinema – Literature – Sculpture and What's Between Them - François Truffaut's Films as Intertextual Cultural Space, History & Theory, Protocols, History & Theory department, Bezalel (20), 2011,http://bezalel.secured.co.il:80/zope/home/he/1301858337. Co-author: Achinoam Berger.

  • Humor, Actuality and Cinema, Mareh (Image/mirror) (5), 2010: 107-112.

  • Law, Ethics and Reflexivity in Krzysztof Kieslowśki's Decalogue, 2009, http://www.valt.helsinki.fi/optek/issei/section4/Session_67_Preminger/67...

  • Late Insight: Ideological and multicultural conflict in Late Marriage, Sociological issues in Israel (7), Winter 2009, University Center in Ariel, Israel, 2009: 214-243. Co-author: Matan Aharoni.

  • Documentation, Myth and Fiction in sixty years of Israeli Cinema, Cinema South festival 2008, Pardes Publication & Sapir Academic College, Sderot, 2008: 69-80.

  • Inter-textual reading of David Wallach's My Father My Lord, Cinema South festival 2008, Pardes Publication & Sapir Academic College, Sderot, 2008: 81-86.

  • François Truffaut Rewrites Alfred Hitchcock: A Pygmalion Trilogy, Literature/Film quarterly (LFQ), July, (35:3), 2007: 170-180.

  • Uri Zohar - The Bastard and the King of Israeli Cinema, Cinema South festival 2007, Pardes Publication & Sapir Academic College, Sderot, 2007: 156-161.

  • Media and Communication Lexicon, Writters/editors: Limor, Y., Adoni, C., Mann. R., Yediot Achronot Books and Chemed Books, Tel-Aviv, 2007. Cinema consultant and writer.

  • Preminger, A., 2005, 100 years of Zionism-100 years of Cinema in Israel, catalogue of "Die Neuen Hebräer, 100 Jahre Kunst in Israel", p. 524-531, Martin Gropius Bau, Berlin.

  • Cinema explores law and ethics in Krzysztof Kieslowski's Decalogue, Shaar Ruach- Journal of Culture Art & Thoughts ( 1) Spring, Sapir Academic College, Sderot, 2005.

  • The Human Comedy of Antoine Doinel: From Honoré de Balzac to François Truffaut, The European Legacy: Journal of the International Society for the Study of European Ideas: (ISSEI) (9:2), 2004: 173-193.

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