Biennale Cinema
Director
Marco Müller
Born in Rome on 7th June 1953 of Italo-Swiss father and Italo-Greco-Brazilian mother. After a period of university and post-university studies (1971-1975: orientalism and anthropology in Italy; 1975-1977: specialisation and state doctorate in China), he began undertaking research and teaching in Italy (1977-1980: research in the field, ethnological publications, ethnomusicology and visual anthropology; seminars and university courses in ethnomusicology).
Since 1980, he has worked as a film critic and historian (articles and essays for daily newspapers and periodicals in Italy, France, the Netherlands and Switzerland; books and essays for histories of cinema in Italy, France and Spain). Between 1982 and 2000, he created and directed several series of books on the cinema for a number of publishers (in Italy, the Netherlands and Switzerland), and personally produced some monographic publications.
The author and writer of documentaries on the cinema (for RAI and TSR - the Italian state television and Swiss-Romansch television respectively), between 1982 and 1989 he began his first trials as assistant and actor on the film-sets of feature films (amongst others, for the “founding fathers” of New Cinema, Jean Rouch from France and Allen Fong from Hong Kong).
Since 1978, his new role as “festival maker” has progressively established itself. After collaborating with various European festivals (including as curator of monographic programmes), he created and directed the first large film festival in Turin. This was called “Electric Shadows” (and comprised a major retrospective of the history of Chinese cinema in 135 films), and was followed by his move to the International Exhibition of New Cinema (Pesaro), initially as programming manager (1983-1985) and then as festival director (from 1986 to 1989). He collaborated in various ways in the selections for the Venice Film Festivals from 1980 to 1994 (especially for the selection of Asian films).
From 1989 to 1991, he was director of the Rotterdam International Film Festival (in the Netherlands), and in that context created the Huub Bals Fund and the Coproduction Workshop (now called “Cinemart Projects”); these were two instruments that were to play an important role in Europe and elsewhere to ensure financial and “cultural” support for independent films from the South and East.
|
|
|
|
|
| |
|
|
| |
|
|
|
