DOCSLIB.ORG

Conddun Funrieuis Photo: Greg Hulbert Canada Couircil Announces New Program to Help Independent Filmmakers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Conddun Funrieuis Photo: Greg Hulbert Canada Couircil Announces New Program to Help Independent Filmmakers condDun FunriEuis Photo: Greg Hulbert Canada Couircil announces new program to help independent filmmakers Ms. Penni Jaques, recently appointed film Officer of the Canada Council, came to Toronto in late October to ex­ plain the Council's tentative Aid to Film and Video Artists program, which is al­ ready accepting applications. Her visit coincided with the Council's series of open meetings held in this area, designed to gauge response to its pro­ grams from the art and academic com­ munities across Canada. Director Andre Michael Spencer of the CFDC and Penni Jaques of the Canada Council at the S.F. U. Forum in Fortier revealed that the Canada Coun­ British Columbia cil gives away $45 million annually to the arts, humanities and social sciences, 36 per cent of it in Ontario. Film, photography and video might get up to one million dollars of this production grants: up to $25,000, up to buy time to pursue a program of Ap­ amount during the coming year. We sus­ $10,000, and up to $5,000 will be given prenticeship Research or Advanced pect that this is still disproportionate to out to cover partial or total production Study in their respective fields, may also what other art forms are getting, but costs. Ms. Jaques cautioned potential apply for a Senior or regular Art Grant, then certain staunch classicists refuse to applicants against assuming that asking or a Short Term Grant. Finally, Project recognize them as such. No comparable for the highest amount is the wisest Cost grants of up to $2,000 are available grants are planned in film, for instance, course; in fact the $25 thousand grant to the professional artist to help defray to the huge amounts of money given to will be the hardest one to get, with the cost of a particular project, with the estabhshed theatre, music, literature, chances progressively improving as the exception of film or video production. and painting. Of course the real issue is budget is pared. Twice as many grants in However, projects such as exhibition that non-art allocations grossly out­ the lowest category will be given out as costs (temporary rental of screening weigh the art ones. in the highest, which is intended for space), costs of sub-titling films of ex­ Still, grants in 1974 to individuals filmmakers of considerable accomplish­ ception quality when they are invited to and non-profit organizations dealing ment. participate in national or international with film, photography and video will In addition, post production funds of festivals, and transportation costs of most likely be double what they re­ up to $15,000 are available for works films and equipment to international ex­ ceived this' year. And the Council is already in progress. And filmmakers, hibitions do qualify under this program. making a great effort to communicate professionals in other related fields such If all this seems confusing, one must effectively with the people most likely as video, and writers wishing to buy remember that the Canada Council is a eligible for these grants. time to write or develop a film script, very complex web of intricate inter­ Since an official brochure describing may apply to the Senior Art Grant pro­ relationships, and that not all the the new grants policy vis a vis film will gram (up to $15,000 to cover living money comes from the same purse. not be available before February, we expenses, production costs and travel, if Let's just be thankful that Ottawa were asked to spread the word among required) or for a regular Art Grant (up recognizes the need to fund the arts filmmakers. We are unable to quote to $4,000 to cover living expenses, plus more generously than do governments exact totals, however, since present $600 project cost allowance, plus travel of many other countries. figures are subject to change. if required to complete the project). Filmmakers wishing to apply for pro­ The first thing Penni Jaques em­ Again, in order to be recognized as a duction or post-production grants phasized was that in order to be eligible, "senior," you have to be an artist who should send six copies of the script or one had to be a professional. She added, has made "a significant contribution outline (5 will be returned upon ad­ however, that graduating students in over a number of years." judication), a curriculum vitae, list of certain high calibre institutions (Simon Other assistance available from the professional achievements, proof of Fraser, York) would be considered. Her Canada Council for which filmmakers Canadian citizenship or landed immi­ other major point was that no feature are eligible include Short Term Grants grant status (for at least 12 months films would be acceptable, of whatever or either $550 or $350 per month, de­ prior to application), dates of tenure of budget. The Canadian Film Develop­ pending on your stature, plus $600 pro­ grant, any other grants (no more than ment Corporation is there to invest in ject cost allowance and any necessary one Canada Council grant may be held features, the Canada Couricil grants pro­ travel; filmmakers and other profes­ within any twelve month period), two duction funds for short or medium sionals in related fields (film camera­ or three letters of reference, and other length films only. men, video artists, set designers, pro­ supporting materials, including a recent There are three categories in film ducers, editors, and others) wishing to previous work. 6 Cinema Canada George Csaba Koller With regard to the latter, Ms. Jaques The topic under discussion was "The most proUfic Vancouver filmmakers as pointed out that the sample film should Future of the Independent West Coast well as our correspondent, summed up support the candidate's abihty to com­ Filmmaker," and the panel included the evening in his report: "Outside of a plete the proposed project. In other four of them, Zale Dalen, Richard Pat- few filmmakers themselves, none of the words, if you're applying for a way-out, ton, Peter Bryant, and Bix Milanich. aspirants in the audience was willing to experimental film and submit a stodgy, Also on the panel were Penni Jaques of discuss other ways of making films. Un­ conventional documentary as an the Canada Council and Michael fortunately it appears that the emphasis example, the adjudicators will rightly Spencer of the Canadian Film Develop­ for independent filmmaking here is on wonder whether you are capable of ac­ ment Corporation, who flew in es­ government subsidy. Although the Can­ complishing your goal. She also asked pecially for the evening, as well as ada Council will be assisting them more that, until formal appUcation forms are Werner Aellen of Image Flow Centre, than ever, the future of west coast film­ available, the applicants use separate Les Wedman of the Vancouver Sun, makers shouldn't really depend on the sheets of paper for outline, resume, and Michael Walsh of the Province, and Kirk size and number of grants available, but budget, including all pertinent informa­ Tougas, director of the Pacific Cinema­ the willingness and creative drive of the tion. Furthermore, if you are not good theque. filmmakers themselves." at expressing yourself in writing, she'll According to our West Coast corres­ go as far as presenting a videotape to the pondent, the centre of attraction was jury of yourself explaining the film. the Canada Council, since the audience Pacific Film Co-op is formed That way your ideas can get across with was more interested in finding out At press time, news came in from more impact. All you have to do is about grants than in discussing any Vancouver that 20 independent film­ make the tape! directions for independent filmmaking makers there have formed the Pacific These grants will be given out four in the west. Ms. Jaques then presented Film Co-operative. times a year. You may apply anytime, her ideas and the new Council policy Set up along the lines of the Mon­ but completed applications must be re­ regarding film grants. treal production co-op (ACPAV), the ceived by the four cut-off dates: At the outset of the meeting Michael new organization has strict entrance November 1st for announcement in Spencer pointed out that the CFDC will requirements: a $25 fee, plus proof that March (you've missed this first one), be concentrating entirely on larger applicant has worked on at least 3 films February 1st, for announcement in budget, more commercial ventures and or made 1 film by him/herself. June, then May 1st for announcement that the preserve of independent films Also at the last minute came confir­ in September, and August 1st for an­ was now solely the Canada Council's. mation from the CFDC that not only nouncement in December. In conjunction with the forum, Peter Bryant's The Supreme Kid, but Correspondence, including general in­ several west coast independent films also Leonard Yakir's The Mourners quiries and grant applications for Film were screened, three of them produced (from Winnipeg) has gotten a condition­ Production and Post-Production Grants, still with CFDC grants, no longer avail­ al go-ahead in the low-budget program, Short Term Grants, Travel and Project able. The fine examples of B.C. creativ­ which now requires applicant to submit Cost Grants, should be addressed to The ity were Rocco Brothers, Morning Line, a short dramatic film that shows his Canada Council, Arts Division, P.O. Box Gandy Dancer, Baby Ducks, Green skills with actors. The budget has gone 1047, Ottawa, Ontario KIP 5V8. Ap­ Alder, Dancers, Mutations, and Funeral up too (see next item).
Load more

Recommended publications
  • Michael John Bateman Cce Editor Canadian and Uk Citizenship / Bc Resident / Iatse 891 / Acfc Online Reel
    MICHAEL JOHN BATEMAN CCE EDITOR CANADIAN AND UK CITIZENSHIP / BC RESIDENT / IATSE 891 / ACFC ONLINE REEL TELEVISION NETWORK/CO DIRECTOR PRODUCERS MALIBU RESCUE Netflix Savage Steve Holland P: Amy Sydorick (Movie/Pilot) PROJECT MC2 S3 Netflix Various P: Mary Sparacio, (Series) Sadaf Cohen Muncy, Shauna Phelan THE CHRISTMAS CONSULTANT Lifetime Movie Network John Bradshaw P: Raymond Massey (Movie) GOOD MORNING KILLER (Movie) RPI Group Productions Maggie Greenwald EP: Frank Von Zerneck for TNT HICCUPS (Comedy Pilot) Penflo Production Inc. David Storey EP: Brent Butt, David Storey for CTV DO YOU KNOW ME? (Movie) Hallmark Ent/ Penelope Buitenhuis P: Robert Halmi Sr., Shan Tam, Lifetime Matthew O’Connor,Lisa Richardson LUNA: THE WAY HOME (Movie) CTV/ Screen Siren Don McBrearty P: Trish Dolman, Anne Marie LaTraverse A GIRL LIKE ME: Lifetime/Braun Ent/ Agnieszka Holland P: Zev Braun, Philip Krupp, THE GWEN ARAUJO STORY Sony Pictures Fran Rosati (Movie) FINAL DAYS: PLANET EARTH Hallmark Entertainment Rob Lieberman P: Robert Halmi Sr., (Mini Series) Matthew O’Connor KINGDOM HOSPITAL (Series) Sony Pictures/ Craig Baxley EP: Mark Carliner, Stephen King, Drama Fantasy Horror ABC Network Lars von Trier TOM STONE (Series) CBC Television Various P: Tom Cox, Doug McLeod Comedy THE OVERCOAT (Movie) Alliance/CBC Morris Panych P: Lael McCall, Richard Craven THE IMMORTAL (Series) Space Various P: Michael Grais Time Travel Sci Fi NOTHING TOO GOOD Alliance/CBC Various P: Charles Glazer, FOR A COWBOY (Series) Davie Barlow One hour Period Comedy DEAD MAN'S GUN S2 (Series, 22 ep) MGM/Showtime Various P: Larry Sugar, Henry Winkler Western Action Anthology **Winner American Heritage Award SO WEIRD (Series Pilot) Disney Channel Shawn Levy P: Larry Sugar, Henry Winkler Shawn Levy DEAD MAN'S GUN S1 (Series, 22 ep) Buena Vista/Showtime Various P: Larry Sugar, Henry Winkler Western Action Anthology **Winner American Heritage Award Represented by Barbara J.
    [Show full text]
  • Master Class with Andrea Martin: Selected Filmography 1 the Higher
    Master Class with Andrea Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the Master Class 8½. Dir. Federico Fellini, 1963, Italy and France. 138 mins. Production Co.: Cineriz / Francinex. American Dad! (2005-2012). 7 seasons, 133 episodes. Creators: Seth MacFarlane, Mike Barker, and Matt Weitzman. U.S.A. Originally aired on Fox. 20th Century Fox Television / Atlantic Creative / Fuzzy Door Productions / Underdog Productions. Auntie Mame. Dir. Morton DaCosta, 1958, U.S.A. 143 mins. Production Co.: Warner Bros. Pictures. Breaking Upwards. Dir. Daryl Wein, 2009, U.S.A. 88mins. Production Co.: Daryl Wein Films. Bridesmaids. Dir. Paul Feig, 2011, U.S.A. 125 mins. Production Co.: Universal Pictures / Relativity Media / Apatow Productions. Cannibal Girls. Dir. Ivan Reitman, 1973, Canada. 84 mins. Production Co.: Scary Pictures Productions. The Cleveland Show (2009-2012). 3 seasons, 65 episodes. Creators: Richard Appel, Seth MacFarlane, and Mike Henry. U.S.A. Originally aired on Fox. Production Co.: Persons Unknown Productions / Happy Jack Productions / Fuzzy Door Productions / 20th Century Fox Television. Club Paradise. Dir. Harold Ramis, 1986, U.S.A.
    [Show full text]
  • Taylor Doctoralthesis Complete
    21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. The cinema, and the cinematic text, is a complex performance whose individual components combine to produce a sum greater than the total of its parts. The cinema itself is a performance—not just the acting—participating in a cultural dialogue, continually reshaping and challenging notions of liveness, made more urgent with the ever-increasing use of digital technologies that seem to further segregate what is generally considered real performance from the final, constructed cinematic text.
    [Show full text]
  • Product Guide
    AFM PRODUCTPRODUCTwww.thebusinessoffilmdaily.comGUIDEGUIDE AFM AT YOUR FINGERTIPS – THE PDA CULTURE IS HAPPENING! THE FUTURE US NOW SOURCE - SELECT - DOWNLOAD©ONLY WHAT YOU NEED! WHEN YOU NEED IT! GET IT! SEND IT! FILE IT!© DO YOUR PART TO COMBAT GLOBAL WARMING In 1983 The Business of Film innovated the concept of The PRODUCT GUIDE. • In 1990 we innovated and introduced 10 days before the major2010 markets the Pre-Market PRODUCT GUIDE that synced to the first generation of PDA’s - Information On The Go. • 2010: The Internet has rapidly changed the way the film business is conducted worldwide. BUYERS are buying for multiple platforms and need an ever wider selection of Product. R-W-C-B to be launched at AFM 2010 is created and designed specifically for BUYERS & ACQUISITION Executives to Source that needed Product. • The AFM 2010 PRODUCT GUIDE SEARCH is published below by regions Europe – North America - Rest Of The World, (alphabetically by company). • The Unabridged Comprehensive PRODUCT GUIDE SEARCH contains over 3000 titles from 190 countries available to download to your PDA/iPhone/iPad@ http://www.thebusinessoffilm.com/AFM2010ProductGuide/Europe.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/NorthAmerica.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/RestWorld.doc The Business of Film Daily OnLine Editions AFM. To better access filmed entertainment product@AFM. This PRODUCT GUIDE SEARCH is divided into three territories: Europe- North Amerca and the Rest of the World Territory:EUROPEDiaries”), Ruta Gedmintas, Oliver
    [Show full text]
  • Zombies: New Media, Cinema, and Performance
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title 21st Century Zombies: New Media, Cinema, and Performance Permalink https://escholarship.org/uc/item/9hq1z1t7 Author Taylor, Joanne Marie Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies.
    [Show full text]
  • Production Guide
    • • PRODUCTION GUIDE by Jose Arroyo Clare Walker, Ginetle D'Amico pub. Suzanne Vil­ Sheila Petzold d. Wayne Moss, Richard Mortimer leneuve, Theresa Burke I.p. Patrick Bauchau, CAMBIUM FILM AND sc. Ken Sobel. pub. BarbaraChernin,(416) 975- Domini Blythe, Catherine Colvey. Jonathan 6776. he following is a list of films in production (actually before cameras) Crombie , Guylaine St. Onge, Monique Mercure. VIDEO PRODUCTIONS and In negotiation In Canada. Needless to say, the films which are WHAT'S NEW Emile Genest , Pier Kohl. LTD. A weekly hall-hour series produced by CBC TV Tstill in the project stage are subject to changes. A third category, In children's department in Toronto. A frank. fun Pre-Production, will be used to indicate films which are in active pre-pro­ DIAMONDS (416) 964-8750 fast-paced show for and about feenagers. the duction, having set a date for the beginning of principal photography and A fast-paced, light mystery-adventure series. LUBA world they live in, theIr interests and concerns. being engaged in casting and crewing. Films are listed by the name of the Principal photography on the 13 one-hour One-hour music special on singer/songwriter The show looks at news events and issues. company which initiated the project, or with which the project is popularly episodes began July 19 in Toronto. The series is 'Luba '. the 2nd in a collection of Specials on inter­ movies and music, always asking and answering produced by Alliance Entertainment Corporation questions from the viewpoint of kids. exec . .p. associated. This is not necessarily the name of the production company.
    [Show full text]
  • News Release. Tiff Bell Lightbox's Fall Season
    August 23, 2017 .NEWS RELEASE. TIFF BELL LIGHTBOX’S FALL SEASON FEATURES MASTERS OF STYLE AND ICONS OF RESISTANCE Season highlights include groundbreaking series celebrating black stardom, resistance in Filipino cinema and Soviet silent cinema’s radical creativity; retrospectives on Andrei Tarkovsky, Denis Villeneuve and Sofia Coppola; and in-person appearances by Johnnie To and Kidlat Tahimik Ivan’s Childhood, Courtesy of the Film Reference Library TORONTO — With TIFF's Fall 2017 lineup, you can have both substance and style. Our autumn season of retrospective screenings, new releases, learning programmes and events follows two key themes: cinemas of resistance and the pleasures of film style. Spanning the globe and from the beginnings of cinema to right now, Fall at TIFF offers audiences many ways to deepen and broaden their perspectives through film. TIFF Cinematheque presents retrospectives on some of the most exciting filmmakers working today — Denis Villeneuve, Sofia Coppola and Johnnie To — who will be in attendance to introduce Election (2005), Election II: Harmony is a Virtue (2006), The Mission (1999), and King Hu’s Dragon Inn (1967). The first retrospective of Russian master Andrei Tarkovsky in Toronto in 15 years will also be presented; it will include limited runs of the slow-burning stunner Solaris (1972) and sci-fi classic Stalker (1979). Kidlat Tahimik, the grandfather of the Philippine New Wave, will also have a retrospective of his work shown as part of this season’s Wavelengths year-round programme. Tahimik will be in attendance to introduce Balikbayan #1 Memories of Overdevelopment Redux IV (2015), The Perfumed Nightmare (1977), Why is Yellow Middle of the Rainbow? (1984–94), and Turumba (1981).
    [Show full text]
  • PRODUCTION GUIDE by Jamie Gaetz
    • c I N E M A G • PRODUCTION GUIDE by Jamie Gaetz Simmonds, Brad Turner, AI Waxman IC. Harmon Anne Richardson, Jasna Stefanovic set dec. Jaro CHANDLERTOWN Burns, Christian Bruyere, Barry Clark, Rick Dick assl. set dec. Armando Sgrignuoli pro,. Drew, John T. Dugan, David Eames, Alfred master Bill Wood aul. props. Jeffrey Poulis he following is a list of films in production (actually before cameras) PRODUCTIONS INC. Harris, Peter Jobin, Andrew Nicholls. Darryl sp. elx. Martin Malivoire consl. super. Ron and In negotiation In Canada. Needless to say, the films which are (416) 366-1806 Vickers, Aubrey Solomon d.o.p. Philip Linzey ed. MacMillan consl. Don Vandewater, James still in the project stage are subject to changes. A third categorY,ln Stephen Lawrence. Gillian Jones music comp./ Halpenny scenic art. Brian Carson cosl des. Larry T Wells head ward. Erla Lank ward. Andrea Weaver Pre-Production, will be used to indicate films which are in active pre-pro­ PHILIP MARLOW PRIVATE EYE conductor Don Gillis music super. David Greene art d. Jill Scott toc. sd. Ralph Parker 1st a.d. Bob make-up Beverly Carr assl. mike-up Bill Morgan duction, having set a date for the beginning of prinCipal photography and Series of si x one-hour films from short stories by Ra ymond Chandler. For Home Box Office. Akester. Jacques Hubert 2nd a.d. Peter hair Malcolm Tanner d.o.p. Gil Hubbs cam. op. being engaged in casting and crewing. Films are listed by the name of the Twelve week shoot began September 16 in Dashkewytch 3rd a.d.
    [Show full text]
  • Cdnddldn Film News
    CdndDldn FILm nEWS cost, that's all. Not to sound too elitist directors, and technical personnel will reap untold benefits. Given her vivacity Developments ) in demanding more, I would still submit C ~ajor that something more is needed. Not and enthusiasm and respect for John ----- necessarily from John Turner's depart­ Hirsch and Canadian talent, a gambler By the time you read this issue, twill be ment which has (probably correctly) would have a very secure bet that she'll the season to be jolly in full swing, but stated that film support is not the res­ make it. As head of the Casting Depart­ as I write, just two days after the ponsibility of the Finance department - ment, she has proposed a talent bank Liberal budget and Hugh Faulkner's, et but from the Secretary of State. Surely using the CBC computer, keeping ai, show of interest in campaign pledges, someone will say something sometime? names, addresses and current projects of the film industry, etc., things are Or is it better to appoint committees first actors, then the rest of the crew, obviously not all smiles and chuckles. and advisory groups and so on and so constantly at hand, up to date, and Back in July, during the time of on, leaving any committment to remain available to CBC personnel. It's a large Margaret's debut, Faulkner let slip at a non-existent? Use the money to pay for undertaking, and she knows what she's candidates meeting that, if re-elected, films instead of Air Canada tickets to up against.
    [Show full text]
  • Nna( Acpherson REALTOR
    DIRECTORS GUILD OF CANADA 25 Prince Arthur Avenue Toronto 5, Ontario (416) 964-6167 The Canadian Film Development Corporation has handed out Koplowicz and Dale Phillips will be the producers of this the first $10,000 of the proposed $50,000 in grants to assist contemporary Canadian Western. Feature will be entirely aspiring feature film makers in English speaking Canada. Canadian - cast, crew and financed. The producers have Judith Steed, Gordon Nault and Peter Duffy each received signed a letter of adherence with ACTRA and casting is now $2,000, David Troster $1,750, Erwin Wiens $1,250 and underway. Michael Asti-Rose $1,000. Sid Adilman, Morey Hamet, Don Shebib, Bob Huber and Lee Gordon formed the Jury. Directors Peter Carter, Julius Kohanyi and Harvey Hart have been set for features to be filmed late summer and early fall, "One Minute Before Death" and "The Oval Portrait", the twin but production details are stUI to be finahzed. Maple Leaf International productions produced in Vancouver by Rickey Torres have wrapped. Director Rogelio Gonzales Jr. David Acomba and Jim Margellos have also set a feature to be is hoping for a return to Vancouver this summer; however, his filmed in Lethbridge, Alberta. Production start in June likely. plans remain tentative pending the outcome of discussions on Additional projects hoping to get into production this year proposed Mexican/Canadian co-production. with C.F.D.C. participation are currently before the Board; however, decisions must await the return of Corporation May 1st saw the start of production in Toronto of Bill Fruet's officials from Cannes and the next C.F.D.C.
    [Show full text]
  • Ontario Producer Constraints and Opportunities James Warrack a Thesis Submitted to the Facu
    BUSINESS MODELS FOR FILM PRODUCTION: ONTARIO PRODUCER CONSTRAINTS AND OPPORTUNITIES JAMES WARRACK A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGAM IN INTERDISCIPLINARY STUDIES YORK UNIVERSITY, TORONTO, ONTARIO January 2012 © James Warrack, 2012 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90026-0 Our file Notre reference ISBN: 978-0-494-90026-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • EL DOCUMENTAL: Historia, Teoría Y Práctica
    EL DOCUMENTAL: Historia, Teoría y Práctica (Asignatura "Realización de Documental", 4º curso) Dr. Demetrio E. BRISSET Deptº de Comunicación Audiovisual y Publicidad Facultad de Ciencias de la Comunicación Universidad de Málaga TEMARIO 0. INTRODUCCIÓN a) Los nuevos activistas ...………………… 8 b) La credibilidad: ficción y no-ficción …………………… 10 c) Definiciones del documental …………………… 14 d) Ficha para analizar documentales …………………… 16 TEMA 1 a) El cine como representación de la realidad …………………… 22 b) El montaje como principio organizativo ………………..….. 30 c) Los 'modos de representación' de Nichols …………………… 35 TEMA 2 Bases teóricas y evolución histórica de los documentales ……………. 39 TEMA 3 El documentalismo en España I (orígenes, república, franquismo) ….. 51 TEMA 4 Influencia del cine sobre el documental moderno (marlowe62) …….. 59 TEMA 5 El documental como revelador y como ensayo …………………… 86 TEMA 6 El documentalismo en España II (el nuevo documentalismo) ……… 88 TEMA 7 Tendencias actuales: a) Los Web-docs (R. Arnau) …………………… 92 b) Los falsos o Mock documentaries (Univ. Berkeley) ………… 105 c) Found footage o Metraje encontrado (M. Alberdi) ………... 138 d) Nuevas tendencias formales en el siglo XXI (A. Vidal) ……. 140 BIBLIOGRAFÍA …………….. 152 Créditos de las ilustraciones …………….. 154 REALIZACIÓN DE DOCUMENTAL: Visionados Presentación de documental hecho por escolares: Massó no recordo (2014, 19’) 0. INTRODUCCIÓN “Fahrenheit 9/11” (Michael Moore, 2004): íntegro 0.b) “Semana Santa en Sevilla” (Hnos. Lumiérè, 1898) Films de T. A. Edison sobre la guerra España-USA (1898) Falso noticiero inicial en "Citizen Kane” (O. Welles, 1941) Trailer de ”F for or Fake" (O. Welles, 1973) Polémica sobre el falso docum. "Operación Palace" (2014) "Kuidado ke muerden" (Colectivo RuidoFoto, 2012): 17' "Human" (Yann Arthus-Bertrand, 2015): íntegro "7 billion others" (Y.
    [Show full text]