- Source: CINE
CINE (Council on International Nontheatrical Events) was a non-profit film organization based in Washington, D.C. Founded in 1957 with the mission of selecting American films for international film festivals, CINE's focus evolved to supporting emerging and established producers of film, TV and digital media from all around the world through film competitions, educational panels, screenings and networking opportunities. After 61 years, CINE ceased operations in 2018.
History
CINE's original name, the Committee on International Non-Theatrical Events, was chosen to create the acronym CINE, after which it was then changed to Council on International Non-Theatrical Events. Over time the organization came to refer to itself primarily as CINE.
CINE's original purpose was to provide European film festival directors with representative American informational films to exhibit. For decades, the CINE Golden Eagle Competition was a way for non-theatrical American films to gain access to festivals and even the Academy Awards before they stopped accepting entries from the majority of festivals and competitions.
CINE was once partially funded by the now defunct United States Information Agency. This funding ceased in the late 1990s, not long before the abolishment of the agency.
In the fall of 2014 CINE made some major changes to their organization, which included creating one entry cycle per year for each award (Professional, Independent and Student), switching to a more traditional nominee structure in which only one production per category is named the winner, and transitioning the entire process online. However, unlike many major awards organizations, CINE's categories were based on original content and excellent storytelling, not distribution platform, to reflect the constantly changing industry.
Awards
CINE presents two types of awards: competitive and honorary. Competitive awards include the Golden Eagle Award (instituted in 1962), Special Jury Award, Masters Series, and Award of Excellence. Honorary awards included the Leadership Award, Trailblazer Award, Lifetime Achievement Award, and Legends Award. Separate from the Golden Eagle Awards, CINE also held a Film Scoring Competition, which was launched in 2013. In 2014, the competition was renamed the Marvin Hamlisch Film Contest for Emerging Composers in honor of the legendary composer. In 2019, after CINE had shut down, the Marvin Hamlisch estate launched the Marvin Hamlisch International Music Awards non-profit to continue holding composition competitions under the composer's name, expanding the scope of the contests to include theater, classical and song categories in multiple genres.
CINE utilizes a jury system to select winners. CINE also presents individuals with special honors. Many important filmmakers have received the Golden Eagle Award early in their career, such as Steven Spielberg for his first film Amblin' and Academy Award winning/nominated entries from Mel Brooks (The Critic) and Ken Burns (Brooklyn Bridge).
Selected CINE Golden Eagle winners
The following people in the film and television industry are among those who have received a CINE Golden Eagle:
= 1960s
=
Mel Brooks (The Critic, 1963)
Jim Henson (Time Piece, 1967)
Mike Nichols (Bach to Bach, 1968)
Steven Spielberg (Amblin', 1969)
= 1970s
=
James R. Rokos (The Resurrection of Broncho Billy, 1971)
Darrell Beschen (Running on Empty, 1978)
Martha Coolidge (Old-Fashioned Woman, 1974)
Robert Drew (Who's Out There?, 1975)
Dick Ebersol (The Ancient Games, 1973)
Taylor Hackford (Bukowski, 1974 and Teenage Father, 1979)
Ron Howard (Deed of Daring-Do, 1972)
John Korty (The Music School, 1974)
Albert Magnoli (Jazz, 1979)
Martin Scorsese (Italianamerican, 1975)
Ron Underwood (The New Freedom, 1973)
Robert Zemeckis (The Lift, 1972 and A Field of Honor, 1973)
= 1980s
=
Allan Albert (Between the Lines, 1984; 100 Years of Liberty, 1985; All About the Statue of Liberty, 1986; Something Special Happened in South Bend…, 1988)
Emile Ardolino (The Dance and the Railroad, 1982; He Makes Me Feel Like Dancin', 1983; Choreography by Jerome Robbins with the New York City Ballet, 1986; In Memory of ..., 1987)
Leonard L. Bailey (Technique of Mitral Valve Replacement in Early Infancy, 1983)
Malcolm Barbour and John Langley, (Cocaine Blues - The Myth and Reality of Cocaine, 1983)
Saul Bass and Elaine Bass (Quest, 1983)
Skip Battaglia (Boccioni's Bike, 1982)
Nancy Beiman (Your Feet's Too Big, 1984)
Robert Bilheimer (All By Myself, The Parapodium: An Alternative for the Paraplegic Child, 1983; The Cry of Reason, 1988)
Lance Bird (America, Lost and Found, 1980)
Noel Black (The Electric Grandmother, 1982)
Les Blank (Garlic is as Good as Ten Mothers and Burden of Dreams, 1983; In Heaven There Is No Beer?, 1984; Cigarette Blues, 1986; Ziveli! Medicine for the Heart and Gap-Toothed Women, 1988)
Michael Blackwood (We Were German Jews, 1982; A Composer's Notes: Philip Glass and the Making of an Opera, 1986)
Lee R. Bobker (American Picture Palaces, 1983; To Catch a Cloud: A Thoughtful Look at Acid Rain, 1983; I, Leonardo, 1983; The War Which Never Happened, 1984; The Ultimate Challenge, 1984; The Movie Palaces, 1986; President, 1987; Headache, The Ancient Enemy, 1988; How Do You Thank Anyone For A Heart?, 1989)
Alan Bridges (Pudd'nhead Wilson, 1984, Displaced Person, 1985)
Kirk Browning (Kennedy Center Tonight - Stravinsky's Firebird by the Dance Theatre of Harlem, 1982; Christmas with the Mormon Tabernacle Choir & Shirley Verrett, 1987)
Ken Burns (Brooklyn Bridge, 1981; The Shakers: Hands to Work, Hearts to God, 1984; Huey Long and The Statue of Liberty, 1985; Thomas Hart Benton, 1988; The Congress, 1989)
Jeff Burr (Divided We Fall, 1984)
Philip Burton Jr. (Portrait of America/Iowa, 1984; Timerman: The News From Argentina, 1984; Ducks Under Siege, 1987; The Return: A Jewish Renewal, 1988)
Iris Cantor (Rodin and The Gates of Hell, 1982)
Lee Caplin and Ruth Caplin (Living American Theatre Dance, 1983)
Robert Carmichael and Greg Lowe (First Ascent, 1983)
Doug Chiang (Mental Block, 1984)
Joyce Chopra (Music Lessons, 1982)
James Clavell (The Children's Story, 1983)
John David Coles (Hellfire, 1983)
Jacques Cousteau (River of the Future, The New El Dorado: Invaders & Exiles, and Journey to a Thousand Rivers, 1984; Cousteau/Mississippi and Snowstorm in the Jungle, 1985; Riders of the Wind and Haiti: Waters of Sorrow, 1986; Marquesas Islands: Mountains From the Sea and Cuba: Waters of Destiny, 1987)
Jean-Michel Cousteau (River of the Future, The New El Dorado: Invaders & Exiles, and Journey to a Thousand Rivers, 1984; Snowstorm in the Jungle, 1985; Riders of the Wind and Haiti: Waters of Sorrow, 1986; Cape Horn: Waters of the Wind and Legacy of Cortez, 1987)
Bill Couturié (Vietnam Requiem, 1983; Dear America: Letters Home from Vietnam, 1988)
Tom Davenport (The Making of "The Frog King", 1982; Bearskin, 1983; The Goose Girl, 1985, Jack & The Dentist's Daughter, 1985, A Singing Stream, 1987; Soldier Jack; 1988)
Carson Davidson (Proctosigmoidoscopy in the Physician's Office, 1984; 40,000 Acres, With View, 1985; The Light Bulb Re-Invented, 1987)
David Davidson (Long Gone Charlie, 1984; Cissy Houston - Sweet Inspiration, 1988)
Gene Deitch (The Hat, 1982; Why Mosquitoes Buzz in People's Ears, 1984; In the Night Kitchen, 1987; Where the Wild Things Are, 1989)
Johanna Demetrakas (The Three Worlds of Bali, 1982)
Loni Ding (Nisei Soldier, 1984; The Color of Honor, 1988)
Tony De Nonno (Moira: A Vision of Blindness, 1982; One Generation Is Not Enough, 1982; Itzhak Perlman: In My Case Music, 1983)
Frank Q. Dobbs (Hooked on Houston, 1982; Lions, Parakeets and Other Prisoners, 1984
Arthur Dong (Sewing Woman, 1982)
Robert L. Drew (Herself, Indira Gandhi, 1982; Being with John F. Kennedy, 1984; Marshall High Fights Back, 1985; For Auction: An American Hero, 1986)
Norman Dyhrenfurth (Tibetan Death Rites, 1983)
Mar Elepaño (Lion Dance, 1982; Sleep Sounds, 1983)
Jon H. Else (Palace of Delights, 1982)
Boyd Estus (The Navigators, 1983)
Dorothy Fadiman (Peace: A Conscious Choice, 1982)
Linda Feferman (Mother May I?, 1983)
Connie Field (The Life and Times of Rosie the Riveter, 1980)
Roy Frumkes (Burt's Bikers, 1982)
Elda Hartley (Going With the Flow, 1983; Green Winter, 1986)
Herk Harvey (Shake Hands with Danger, 1980; Signals: Read 'em or Weep!, 1982; The Team of Your Life, 1982; Life Force, 1983; Bidding Your Money Hello, 1983; Telemarketing I - Customer Services: A Backup Sales Force, 1983; Korea: Window to the Orient, 1983; Korea: Ancient Culture, Modern Spirit, 1986)
Bruce Seth Green (Shades of Gray, 1983)
Charles Guggenheim (Yorktown, 1984; The Making of Liberty, 1987; The Johnstown Flood, 1989)
J. Michael Hagopian (Strangers in a Promised Land, 1984)
Anthony Herrera (Mississippi Delta Blues, 1984)
Victoria Hochberg (Tell Them I'm a Mermaid, 1984)
Lawrence Hott (The Garden of Eden, 1984; The Adirondacks: The Life and Times of an American Wilderness, 1987; Sentimental Women Need Not Apply: A History of the American Nurse, 1988)
Linda Moulton Howe (Borrowed Faces, 1982)
Peter H. Hunt (The Mysterious Stranger, 1983, Adventures of Huckleberry Finn, 1986)
Konstantin Kalser (For Years to Come, 1983)
Theo Kamecke (The Future Below, 1983; The Microwave Question, 1983; Teterboro: Memories of an Airport, 1986)
William Kronick (To the Ends of the Earth, 1983)
Ken Kwapis (For Heaven's Sake, 1983)
Sidney D. Kirkpatrick (My Father the President, 1982)
Richard LaBrie (Swingline, 1983)
Saul Landau (Report from Beirut, 1983)
Larry Lansburgh (Alaska: The Yup'ik Indians, 1986)
John Lasseter (Luxo Jr., 1987)
Robin Lehman (Metropolitan Cats, 1983)
Arnold Leibovit (The Fantasy Film Worlds of George Pal, 1986)
Barry Levinson (Displaced Persons, 1985)
James Lipscomb (Love Those Trains, 1984)
James Mangold (Future View, 1982)
Sue Marx (Jim Pallas: Electronic Sculptor, 1982; Young at Heart, 1987; Art in the Stations: Detroit People Mover, 1989; Encore on Woodward: Detroit's Fox Theatre, 1989)
Kevin McCarey (Portrait of America: Puerto Rico, 1983; Portrait of America: Oregon, 1984; Trumpet of Conscience, 1986; Larry King's Night of Soviet Television, 1989)
Jonas McCord (Vietnam Requiem, 1983)
Christopher McLeod (The Four Corners: A National Sacrifice Area?, 1983; Downwind/Downstream, 1988)
Kevin Meyer (Divided We Fall, 1984)
Warren Miller (Have Windsurfer, Will Travel, 1982; Ballet of Competition, 1983; Rock N Roll 250, 1986)
Hugh Morton (Winning at Hang Gliding, 1982; Richard Evans Younger, Wildlife Artist - The Black Bear, 1985; Hang Gliding Around the World, 1985; Richard Evans Younger, Wildlife Artist: Alaska Eagles & Bears, 1989)
Mira Nair (So Far From India, 1983)
Tom Neff (Daydreamer, 1982 and Red Grooms: Sunflower in a Hothouse, 1986)
Robert Nixon (Whale Shark, 1984; Pygmy, 1984; If I Can Do This…I Can Do Anything, 1985; Elephant Diary, 1989)
Lester Novros (IRAS: Infrared Astronomical Satellite, 1983)
Brian O'Doherty (Hopper's Silence, 1982)
Steven Okazaki (Unfinished Business, 1985)
James Orr (Preserving a Moment in Time, 1983)
Marty Pasetta (Let Poland be Poland, 1982)
Gordon Parks (Solomon Northup's Odyssey, 1985)
Jimmy Picker (Sundae in New York, 1984)
Joanna Priestley (Voices, 1985)
Bill Plympton (Boomtown, 1985)
Arthur Rankin Jr. and Jules Bass (The Life and Adventures of Santa Claus, 1986)
Sheldon Renan (I Am Joe's Eye, 1984; AIDS: What Everyone Needs to Know, 1986; Trauma Emergency, 1989)
Rick Reinert (Winnie the Pooh and a Day for Eeyore, 1984)
John Robbins (Conquering Asthma and Allergies: We Can, We Will, We Must, 1984; Soongoora and Simba, 1985)
Robert Rodat (The High Lonesome Sound, 1984)
Bob Rogers (Aerotest, 1982; Ballet Robotique, 1982; Torture Test, 1983; The Lean Machine, 1983; The Car of Your Dreams, 1984; Rainbow War, 1986; Classic Disney, 1989)
Fred Rogers (Let's Talk About Going to the Doctor, 1986)
Ralph Rosenblum (Summer Solstice, 1983)
Irwin Rosten (The Thames, 1982)
Chris Ruppenthal (Violent Death - A Musical, 1984)
Gary Rydstrom (The Committee, 1984)
Luciano Salce (The Innocents Abroad, 1983)
Kristine Samuelson (2 A.M. Feeding, 1984)
Jack Santino and Paul Wagner (Miles of Smiles, Years of Struggle, 1983)
Damon Santostefano (Greenpoint: Turning the Tide, 1983)
Irving Saraf (Participative Management: We Learn From the Japanese, 1984; Going International Part II: Managing Overseas Assignment; 1984, Going International: Living in the USA, 1986)
Joseph Sargent (Choices of the Heart, 1984)
Nancy Savoca (Bad Timing, 1984)
Michael Scott (Not the Same Old Story, 1983 Going Straight, 1983; One Man's Fight for Life, 1984)
Susan Shadburne, A Family Affair, 1982)
Roger Sherman, (The Garden of Eden, 1984)
Sigurjón Sighvatsson (The Story of L. Sharkey, 1982)
Tony Silver (Style Wars, 1984)
David Silverman (The Strange Case of Mr. Donnybrook's Boredom, 1982)
Michael Slovis (Love in Vain, 1984)
Michael Sporn (Morris's Disappearing Bag, 1983; Doctor De Soto, 1984; The Amazing Bone, 1985; The Mysterious Tadpole, 1987; Abel's Island, 1988)
Paul Steinbroner and William Edgar Cohen (Uppers, Downers, All Arounders, 1984; The Haight-Ashbury Cocaine Film, 1986; Opium to Heroin, 1989)
George Stevens Jr. (George Stevens: A Filmmaker's Journey, 1984)
Jack Stokes (Castle, 1984)
Theodore Strauss (Return to Everest, 1984)
David Sutherland (Paul Cadmus: Enfant Terrible at 80, 1984; Jack Levine: Feast of Pure Reason, 1986; Halftime, 1988)
Michael Tuchner (Adam, 1984)
Ron Underwood (A Case of Working Smarter, Not Harder, 1982; Closing the Sale, 1983; Selling: The Power of Confidence, 1983; Overcoming Objections, 1984; Living With Computers, 1984; Motivation: The Classic Concepts, 1985; The Meeting Robbers, 1986; The Mouse and the Motorcycle, 1987; Runaway Ralph, 1988; Chuckie, 1988)
Bert Van Bork (The Rock Cycle, 1982, Ocean Dynamics: The Work of the Sea, 1982; Photosynthesis (Third Edition), 1982; Rivers: The Work of Running Water, 1982; Earthquakes: Exploring Earth's Restless Crust, 1983; Living Things In a Drop of Water, 1985; Flood Forecasting, 1986; Geologic Time, 1986; Plankton and the Open Sea (2nd Edition), 1986; Beginning of the Food Chain: Plankton, 1987; Evolution of Landscapes, 1987; Life: How Do We Define It?, 1987; What Is a Mammal?, 1987; Viruses: What They Are and How They Work, 1988)
Will Vinton (The Diary of Adam and Eve, 1982; The Great Cognito, 1983; Vanz Kant Danz, 1986; Signed, Sealed, Delivered, 1989)
Judith Wechsler (Edouard Manet: Painter of Modern Life, 1984; The Artist and the Nude, 1985; The Arrested Moment, 1988; Portraits, 1989)
Sy Wexler (Hearts and Arteries in Trouble, 1983; Fetal Evaluation, 1983; Infection Control in Surgical Patients, 1983; Surgery of Male Genital Lymphedema, 1983; Intraocular Lens: Small Miracle of Sight, 1984; Radioisotopes in the Diagnosis of Cancer - Second Edition, 1984; High Blood Pressure, 1984; Hope Is Not a Method, 1984; Dorsal Lumbotomy Revisited, 1985; Surgical Reconstruction of Cloacal Exstrophy, 1985; Vasectomy By Excision and Ligation, 1986; Diabetes in Pregnancy, 1987)
John David Wilson (Gotta Serve Somebody, 1983)
Chuck Workman (The Director and the Image, 1984; The Best Show in Town, 1987; Words, 1989)
Dick Young (Storms Bring Out the Eagles, 1982; Buffalo Bill and the Wild West, 1982; The Observatories, 1982; Sanctuary: An African Epic, 1982; Progress Not Promises, 1983; Tech Island, 1983; Never Too Old, 1984; Cocaine: Beyond the Looking Glass, 1984; To Be the Best: The Men and Women of Chrysler, 1985; Writing to Read, 1985; Being Young, 1985; Diabetes: The Journey and the Dream, 1985; Josh, 1985; Courage to Care, 1985; Dark Secrets, Bright Victory: One Woman's Recovery From Bulimia, 1986; Gotong Royong, 1986; Adult Literacy, 1987; Going For It, 1987; The Carrier Battle Group, 1987; Crack, 1987; The New Engineers, 1987; N.O.P.D, 1988; Genesis: Bridge Into the Future, 1988; New Sweden: An American Portrait, 1988; I'm A Person Too, 1988; If Every Person Could Read, 1989; The Gift of Hope, 1989)
Roger Young (Bitter Harvest, 1982)
Charlotte Zwerin (De Kooning on De Kooning, 1982; Arshile Gorky, 1983)
Edward Zwick and Marshall Herskovitz (Special Bulletin, 1984)
= 1990s
=
Robert Altman (The Real McTeague, 1994)
Ken Burns (The Civil War, 1990; Baseball, 1994)
Gene Deitch (The Emperor's New Clothes, 1991; The Pigs' Wedding, 1991; Sylvester and the Magic Pebble, 1993)
Pete Docter (Palm Springs, 1991)
William Greaves (Ida B. Wells: A Passion For Justice, 1991)
Faith Hubley (Upside Down, 1991; Seers and Clowns, 1994)
Barbara Koppel (American Dream, 1990; A Century of Women, 1994)
Candy Kugel (Snowie and the Seven Dorps, 1990; Fast Food Matador, 1991)
John Lasseter (Knick Knack, 1990)
Spike Lee (4 Little Girls, 1998)
Robin Lehman (The Young Person's Guide to the Orchestra, 1990)
Jane Lubchenco (Diversity of Life, 1994)
Bill Plympton (25 Ways to Quit Smoking, 1990)
Rick Reinert (The Bollo Caper, 1990)
Michael Sporn (The Red Shoes, 1990; Whitewash, 1994)
Julie Taymor (Oedipus Rex, 1993)
Will Vinton (Go Down Death, 1994)
Dick Young (Behind the Scenes: The Advertising Process At Work, 1990; Education For All, 1990; Profiles In Diplomacy: The U.S. Foreign Service, 1990; Spirit of Communication, 1991; The Making of Ulysses, 1991; TLC, 1991; Home, 1991, 1994; Reflections 1982-1992, 1992; Ariyaratne, 1992; Elise Tel & Paul Lardinois, 1992; Jimmy Carter, 1992; Kanitha, 1992; Diverse Roots, Diverse Forms, 1993; The Multimedia Publishing Studio, 1993; Legacy for Efrain, 1993; Abducted, 1993; Long Island Railroad: A Tradition of Service, 1994; Something's Happening Here, 1994; Investing for Social Gain: Program Related Investments, 1994; The Promise, 1995; Legacy for Efrain (Revised), 1995; You Should Live So Long, 1995; The Flame, 1996; A Simple Gift, 1998; Radio Astronomy: Observing the Invisible Universe, 1999)
= 2000s
=
Billy Crystal (61*, 2001)
Robert De Niro (Holiday Heart, 2001)
Steven Thomas Fischer (Freedom Dance, 2007)
John M Harrington (The Cultivated Life: Thomas Jefferson and Wine, 2006)
Abby Ginzberg (Soul of Justice: Thelton Henderson's American Journey, 2006)
Barbara Koppel (Bearing Witness, 2005)
Bill Lichtenstein (West 47th Street 2004)
Paul McCartney (McCartney in St. Petersburg, 2006)
Anisa Mehdi (Muslims, 2002)
Sydney Pollack (Sketches of Frank Gehry, 2007)
Martin Scorsese (No Direction Home, 2006)
Dick Young (Denan, 2002; TENEMOS HAMBRE: We Are Hungry, 2004; Hope and Cope: Living With Macular Degeneration, 2005)
= 2010s
=
Forest Whitaker (Brick City, 2010)
Kurt Norton and Phil Mariano (These Amazing Shadows, 2011)
Bao Nguyen (Juilian, 2011)
Werner Herzog (Cave of Forgotten Dreams, 2013)
Steve James (Life Itself, 2015)
Sally McLean (Shakespeare Republic, 2017)
References
External links
CINE winners 1982–2007
CINE Golden Eagle winners, Spring 2008 to Spring 2012
CINE Golden Eagle winners, Fall 2012
CINE Golden Eagle winners, Spring 2013
CINE Golden Eagle winners, Fall 2013
CINE winners 2015- Source: Cine+
Ciné film or cine film is the term commonly used in the UK and historically in the US to refer to the 8 mm, Super 8, 9.5 mm, and 16 mm motion picture film formats used for home movies. It is not normally used to refer to professional formats such as 35 mm or 70 mm film, and is incorrect if applied to any video format. In the US, "movie film" is the common informal term for all formats and "motion picture film" the formal one.
Cine film literally means "moving" film, deriving from the Greek "kine" for motion; it also has roots in the Anglo-French word cinematograph, meaning moving picture.
Although there had been earlier attempts, typically employing larger formats, the introduction of the 9.5 mm and 16 mm formats in the early 1920s finally succeeded in introducing the practice of showing rented "play-at-home" copies of professionally made films, which, in the case of feature-length films, were usually much shortened from the originals.
More significantly, these new cine film gauges were the first truly practical formats for making casual amateur "home movies" of vacation trips, family gatherings, and important events such as weddings. Amateur dramas and comedies were sometimes filmed, usually just for fun and without any aspiration to artistic merit. On occasion, professional filmmakers employed cine film for cost-saving reasons, or to evoke a particular aesthetic effect.
Amateur 16 mm film-making was an expensive hobby limited to the affluent. The 9.5 mm format made more efficient use of film and was not quite so costly. The 8 mm format, introduced in 1932, consumed only one-quarter as much film as 16 mm and finally made home movies a reasonably affordable luxury for the many. Eventually, the 16 mm format came to be used mostly for commercial, educational and industrial purposes as a cost-cutting, compact alternative to 35 mm film that produced an acceptably sharp and bright image on smaller screens.
Cine film, being commonly available, was also used to record scientific data, such as observations of animal behaviour and human gait. In some cases, such as studies of fluid dynamics, recording was done onto cine film at higher speeds than those used in home movies.
In the mid-1970s, Betamax and VHS home videocassette recorders were introduced. Color video cameras, previously beyond the financial reach of all but the richest amateurs, gradually became cheaper and smaller. Battery-powered camcorders combined the recorder and the camera into one portable and increasingly compact and affordable unit. By the early 1980s an hour of blank videotape cost no more than a three-minute 50-foot roll of 8 mm film, in substantial part because of costs associated with the latter's chemical processing. The writing was on the wall for cine film as a mass market item, though even in the early 2010s all the film formats mentioned above were still supported with new film stock and processing, albeit only from a very few specialist suppliers.
Since cine film is now an obsolete format, some companies offer a service whereby these films are converted to modern formats such as DVD, and hobbyists have devised ways of performing the transfer with do-it-yourself equipment.
References
Further reading
Moving Images: From Edison to the Webcam
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