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Busan Cinema Center, the BIFF's headquarters Busan Cinema Center 2006 BIFF Pavilion in Haeundae Beach Under the Hawthorn Tree by the dir. Zhang Yimou, 2010 Handprinting, Abbas Kiarostami Juliette Binoche, 2010 Handprinting, Willem Dafoe, 2010 Master Class, Carlos Saura, 2010 Open Talk – Director Kim Jee-woon & Bryan Singer. 2009 The Busan International Film Festival (BIFF, previously Pusan International Film Festival, PIFF), held annually in Haeundae-gu, Busan (also Pusan), South Korea, is one of the most significant film festivals in Asia. The first festival, held from 13 to 21 September 1996, was also the first international film festival in Korea.
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A time-consuming printing process, exclusively for handprinting, with several grey-wood blocks (1-4) aside from the black and white key block. These first free grisaille woodcuts (made before the work with Dostoevsky's novel Crime and Punishment, in 1945) are based on self- perceived events for example from Billman's sailor years 1926-32, European travels 1936-39 and trips around Sweden during the war years. Some shining grisaille woodcuts are French Restaurant (1940), Artist Family (1941), Wilderness Kitchen (1942), Around a Guitar Player (1942), Stairway in the South (1942), Stormy Day, Dieppe sept. 1939 (1944) or Tropical Harbour (1945).
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Brown's second mural, Hands, was completed in 1990 with help from 20 local students, 50 passers-by and one UNC basketball player. It features several large handprint shapes that have been filled in with the participants' actual handprints and adorns an exterior wall of the Chapel Hill Cleaner's building on Franklin Street. Since the mural was once again co-sponsored by the Downtown Commission and Chapel Hill-Carborro School System and involved local volunteers, the handprinting technique became a clever solution for the problem of uniting their contributions into a single artwork. According to Brown, the large Carolina blue handprints were inspired by a student tradition for celebrating basketball victories at UNC.
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Although Bembo went on to dominate British book printing in the twentieth century, in the words of John Dreyfus "Morison was not entirely satisfied by the way Griffo's roman had been recut", feeling that "the real charm of the original had not been brought out in the mechanical recutting". His friend printer Giovanni Mardersteig made two attempts at designing an alternative revival for use in his fine printing house, the Officina Bodoni, first in discussion with Morison and cut by hand by punchcutter Charles Malin, who some years later had also cut a version of Perpetua for Morison. This more delicate "Griffo" revival (1929) was used in handprinting and not developed for use outside Mardersteig's company. In the 1940s, Mardersteig developed plans for a second design, Dante, which was again cut by Malin slowly from 1946 onwards but taken also up by Monotype.
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