DOCSLIB.ORG

Poles in Cannes TABLE of CONTENTS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MEET US AT THE POLISH STAND AT GRAND HOTEL 9TH FLOOR, 45 BOULEVARD DE LA CROISETTE POLES IN CANNES TABLE OF CONTENTS 3 // INTRODUCTION 5 // INSTITUTIONS 13 // PRODUCERS 59 // FILM FESTIVALS AND OTHERS 67 // DISTRIBUTORS AND SALES AGENTS 3 // INTRODUCTION // INTRODUCTION 4 // INTRODUCTION // DEAR GUESTS, the Polish delegation to Marche du Film 2015 comprises represen­ tatives of institutions financing and supporting film production; producers; distributors; sales agents; and representatives of film festivals. All of them are open to international cooperation and are actively searching for partners abroad. This catalogue aims at intro­ ducing in an accessible and brief way the immense potential of the Polish film industry. We encourage you to read the catalogue and get in touch with rep­ resentatives of Polish companies and institutions. We will be waiting for you at the Polish Stand located at the 9th floor of Grand Hotel (45 La Croisette). See you in Cannes! 5 // INSTITUTIONS // INSTITUTIONS 6 // INSTITUTIONS // ACTIVITY: based in: Warsaw • national film institute www.pisf.pl • financing POLISH FILM INSTITUTE Established in 2005, Polish Film Institute (PISF) is a funding GOALS IN CANNES: body which supports film industry at all stages of film produc­ The main goal of Polish Film Institute’s participation tion and promotes Polish films to potential audiences in Poland in Marche du Film is organizing the Polish Cinema and abroad. PISF supports films from concept to premiere with Stand. The Stand will be the meeting place for repre­ particular attention paid to international co­productions. sentatives of the Polish Film Institute, producers and partners with international film industry represent­ atives, festival programmers, sales agents, distribu­ tors, filmmakers interested in filming in Poland and foreign press. AGNIESZKA OdoroWICZ IZabela KISZKA-HOFLIK JaceK FUKSIEWICZ General Director Head of International Relations Adviser to the Director – Script Development and European Affairs email: [email protected] email: [email protected] email: [email protected] 7 // INSTITUTIONS // POLISH FILM INSTITUTE MARZENA CIEśLIK Olga DOMżAłA International Projects Coordinator Film Sales Support, PR Manager mob. +48 669 900 961 mob. +48 695 363 335 email: [email protected] email: [email protected] 8 // INSTITUTIONS // ACTIVITY: based in: Warsaw • film commission www.filmcommissionpoland.pl • servicing international productions FILM COMMISSION POLAND Film Commission Poland coordinates the efforts to promote the Polish film industry and shooting locations on the international GOALS IN CANNES: market. Thanks to a comprehensive database, up­to­date in­ Film Commission Poland is responsible for organizing formation from the film sector and close cooperation with the the Polish Cinema Stand at Marche du Film and cre­ network of regional film commissions, FCP is the first contact ating networking opportunities for Polish producers. point for filmmakers interested in making films in Poland and Contact the representatives of the FCP for informa­ working with Polish partners. tion about Polish film resources, locations, conditions and possibilities of shooting in Poland. Tomasz DąbroWSKI ANNA E. DZIEDZIC DANA POHL Director Project Manager Project Manager mob. +48 693 477 607 mob. +48 663 499 799 mob. +48 513 121 293 email: [email protected] email: [email protected] email: [email protected] 9 // INSTITUTIONS // ACTIVITY: based in: Warsaw • film fund www.kreatywna­europa.eu • financial institution CREATIVE EUROPE DESK POLAND The MEDIA sub­programme of Creative Europe provides funding opportunities for: activities aimed at increasing interest in and GOALS IN CANNES: improving access to audiovisual works, cinema networks and Representation of the Creative Europe Desk Poland; film festivals; measures that facilitate international co­produc­ participation in seminars and open meetings organ­ tions and strengthen the circulation of European films; and ac­ ized by Creative Europe Programme and European tivities aimed at building the skills of audiovisual professionals. Commission; duty at Creative Europe MEDIA Umbrella Creative Europe Desk Poland promotes awareness and under­ stand, meetings with potential applicants and Euro­ standing of Creative Europe Programme and provides support pean film industry professionals. to applicants from Poland. MAłGORZata KIEłkIEWICZ Director mob. +48 510 035 914 email: malgorzata.kielkiewicz@kreatywna­europa.eu 10 // INSTITUTIONS // ACTIVITY: based in: Kraków • co­productions www.film­commission.pl • service for international projects KRAKOW FILM COMMISSION The Krakow Film Commission is a special department within GOALS IN CANNES: the Krakow Festival Office. Funding and international co­production. The main area of interest of the Krakow Film Commission is producer support during film productions. The Krakow Film Commission is also an operator of the Krakow Regional Film Fund and the Krakow International Film Fund. The aim of the Funds is financial support of film productions and co­produc­ tions connected with Krakow and the Małopolska region. The Krakow Film Commission is a member of EUFCN and Cine­Regio. KatarZYNA WodecKA-STUBBS Natalia Woda Head of Film Commission Film Commissioner mob. +48 500 057 984 mob. +48 504 084 615 email: kwodecka@film­commission.pl email: nwoda@film­commission.pl 11 // INSTITUTIONS // ACTIVITY: based in: Łódź • service for international projects www.lodzfilmcommission.pl ŁÓDZ FILM COMMISSION CITY OF ŁÓDZŹ GOALS IN CANNES: The task of the Łódź Film Commission is to promote Łódź Film Commission provides comprehensive and profes­ the potential of Łódź and the region to the film in­ sional assistance to producers of feature films, documentaries, dustry including experienced production companies, animations and all other forms of audiovisual production. Each attractive locations and other city resources such as project receives full support and a dedicated employee who production and post­production facilities. ŁFC is look­ holds the function of a “liaison” on the production­city line. ŁFC ing for feature films, documentaries and animations is also the operator of the Łódź Film Fund from which a produc­ which might be shoot in Łódź or/and the region and er may receive financial support for a feature film, documentary supported from the Łódź Film Fund. or animation. MONIKA GłOWacKA Head of Film Commission mob. +48 605 054 235 email: [email protected] 12 // INSTITUTIONS // ACTIVITY: based in: Katowice • co­productions • animation production www.silesiafilm.com, www.silesiafilmcommission.com • service for international projects • documentary production • feature production • other (commercials, music videos, etc.) SILESIA FILM INSTITUTE SILESIA FILM COMMISSIONŹ GOALS IN CANNES: Silesia Film Institute operates in four spheres connected with: • Searching for partners for the complex • Searching for partners for developing the • Professional activity – co­produces films making use of the program of supporting the content for Silesia Film Fund for International Co­Pro­ grants provided by the Silesian Film Fund and Silesian Film teenagers and young adults according to ductions. Fund For International Co­productions, and facilitates the de­ the partnership model: scriptwriter­produ­ • Taking part in the Cine Regio and Europa velopment of the Silesia Film Commission; cer­film distributor/sales agent, designed Cinemas general meetings. by the Silesia Film. • Industry – organizes the REGIOFUN International Festival of Film Producers; • Dissemination – runs the only regional film archive Silesian Film Archive in Poland; • Publicity – manages a network of five arthouse cinemas in the Silesia Region. MARIUSZ WRÓBEL Director mob. +48 48 601 794 745 email: [email protected] 13 // PRODUCERS // PRODUCERS 14 // PRODUCERS // ACTIVITY: based in: Warsaw • co­productions www.aksonstudio.pl • service for international projects • feature production AKSON STUDIO Akson Studio, founded in 1992, is one of the leading production companies in Poland. We have over 20 years of experience, work­ ing with such exceptional filmmakers as Andrzej Wajda, Roman Po­ GOALS IN CANNES: lański or Jan Komasa. We’ve produced over 40 TV series and 35 fea­ ture films, including Oscar­nominated Katyn and Sweet Rush, which We hope to find amazing projects to work on and to won Silver Bear at the Berlinale. Akson Studio also created two of meet talented people to work with. the largest Polish productions in recent years: the highly­acclaimed Wałęsa. Man Of Hope and Warsaw 44. JAN KWiecińSKI mob. +48 602 435 513 email: [email protected] 15 // PRODUCERS // ACTIVITY: based in: Warsaw • feature production www.alteregopictures.pl ALTER EGO PICTURES Alter Ego Pictures was launched in 2011 by Roman Jarosz and Izabela Igel. The key area of the company’s activity is film pro­ duction and distribution. In 2012, AEP produced its first full fea­ GOALS IN CANNES: ture Floating Skyscrapers. • finding co­producers • finding sales agent PROJECTS IN CANNES: • networking // THE MAN WITH THE MAGIC BOX // BY BODO KOX In a not­so­distant dystopian future, Adam moves into an old apartment block and finds himself time­travelling to the 1950s by listening to a strange radio he discovers in a closet. What starts as a hallucination or a dream becomes a politically sub­ versive reality that threatens his 2027 existence. stage of production: development genre: drama, romance, sci­fi length: 90’ language:
Recommended publications
  • Polish Cinema 2008

    Polish Cinema 2008

    New Polish Films: WITH SENSE AND SENSIBILITY Andrzej Wajda’s School: THE MASTER AND HIS TRAINEES “Peter and the Wolf”: SECOND OSCAR FOR A FILM MADE IN SE-MA-FOR STUDIO Russia, Afghanistan and Belarus: IN POLISH DOCUMENTARIES „PETER AND THE WOLF” Polish Cinema 2008 THE TRAGEDY OF PRISONERS OF WAR, THE MISERY OF THEIR FAMILIES ANDRZEJ WAJDA’S “KATYŃ” Polish Cinema 2008 editorial “Kino” monthly , a journal providing a perceptive and original insight into various aspects of the film industry, has accompanied Polish cinema for over forty years now. In line with this tradition, in this special English language issue, we present a selection of articles published in “Kino” in the last year. They include reviews, interviews, as well as articles concerning the history of Polish cinema and opinion columns. However, we focus on the most interesting Polish feature films (of which 41 have been made there between the beginning of 2007 and May 2008), as well as documentary and animated films of the last year. Some of them could be seen at various international festivals, where they received numerous awards. The most prestigious award, an Oscar, came to the short animated film, “Peter and the Wolf”, which is a British-Polish co-production, directed by Suzie Templeton and made in the Studio Se-Ma-For in Łódź. On the other hand, the most awarded Polish film was “Tricks” by Andrzej Jakimowski, which till April 2008 received 12 awards, including at the festivals in Gdynia, Venice, Tokyo, Mannheim, Sao Paulo and Miami. However, what counts more than awards is the fact that Polish viewers have regained pleasure in watching Polish films.
  • Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation

    Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation

    TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message Wow – we made it to our 10th anniversary!! Who would have thought it? From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way. It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be. There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat.
  • Understanding Steven Spielberg

    Understanding Steven Spielberg

    Understanding Steven Spielberg Understanding Steven Spielberg By Beatriz Peña-Acuña Understanding Steven Spielberg Series: New Horizon By Beatriz Peña-Acuña This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Beatriz Peña-Acuña Cover image: Nerea Hernandez Martinez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0818-8 ISBN (13): 978-1-5275-0818-7 This text is dedicated to Steven Spielberg, who has given me so much enjoyment and made me experience so many emotions, and because he makes me believe in human beings. I also dedicate this book to my ancestors from my mother’s side, who for centuries were able to move from Spain to Mexico and loved both countries in their hearts. This lesson remains for future generations. My father, of Spanish Sephardic origin, helped me so much, encouraging me in every intellectual pursuit. I hope that contemporary researchers share their knowledge and open their minds and hearts, valuing what other researchers do whatever their language or nation, as some academics have done for me. Love and wisdom have no language, nationality, or gender. CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Spielberg’s Personal Context and Executive Production Chapter Two .............................................................................................. 19 Spielberg’s Behaviour in the Process of Film Production 2.1.
  • Feature Film Screenwriter's Workbook

    Feature Film Screenwriter's Workbook

    P a g e | 1 P a g e | 2 A GUIDE TO FEATURE FILM WRITING A Screenwriter’s Workbook & Reference Guide Compiled by Joe T. Velikovsky 2011 Published: 1995, 1998, 2003. This work is intended as an academic review of the literature and theory in the field of Feature Film screenwriting. It is not intended for sale. Wherever possible, please buy and read any or all of the texts referenced within. P a g e | 3 CONTENTS INTRODUCTION......................................................................................................................................................5 A VERY BRIEF HISTORY OF SCREENPLAY MANUALS .........................................................................6 WHAT IS A SCREENPLAY? .................................................................................................................................7 AN OVERVIEW OF “THE SCREENWRITING PROCESS/STEPS” .......................................................9 WHERE TO START? (WITH `FILM STORY IDEAS’) ............................................................................. 10 THEME ..................................................................................................................................................................... 11 THE CREATIVE PROCESS ................................................................................................................................ 12 THE GREEK LEGACY: 3-ACT STORY STRUCTURE .............................................................................. 13 THE PREMISE ......................................................................................................................................................
  • Creative Corner Think 3Ds Max Is the Most flexible CG Software out There, and It's Also the a Look at Artists and Facilities Taking Creativity to New Levels

    Creative Corner Think 3Ds Max Is the Most flexible CG Software out There, and It's Also the a Look at Artists and Facilities Taking Creativity to New Levels

    Commercials, shorts, and now feature films a small team and you have to fix something very quickly. It's amazing for Storytelling to the max (3ds and otherwise) For Platige Image, it’s Platige has created over 2,500 commercials and has worked with the that, especially when you’re working in commercials. I love the fact that As Platige moves into feature film production with its forthcoming Another largest advertising agencies in Poland and abroad. Commercials created by any challenges we encounter can be solved either within the program or Day of Life, it should be interesting to see how the company’s artists Platige have appeared in the United Kingdom, Russia, Portugal, and the with a few plug-ins. There is something brilliant about that.” transform their skills at telling a short story—as evidenced in numerous all about the story United States; they promote a wide variety of brands, including LEGO, commercials and short animated films—into telling a long one. As is the Warsaw VFX company moves into feature film production Kellogg Company, the Discovery Channel, the History Channel, and case with many other studios, Autodesk is proud to play a role in this Vodafone. Platige won international recognition and acclaim for its evolutionary process, and it’s always exciting to see how tried-and-true animated shorts, including The Cathedral (2003), Fallen Art (2004), The tools, like 3ds Max, continue to be used in new and innovative ways. Platige Image, a CG and VFX firm headquartered in Warsaw, Poland, has Kinematograph (2009), and Paths of Hate (2010).
  • Concept Artist's Workshop

    Concept Artist's Workshop

    NAJLEPSI POLSCY ILUSTRATORZY THE BEST POLISH ILLUSTRATORS Concept Artists EBOOK No 002/02 EN VIRTUAL GALLERY The series includes 161 eBooks in two language versions https://gallery.beslow.pl THE BEST POLISH ILLUSTRATORS is a non-profit project. It is thanks to the trust and money of the Readers and the support of Partners that the implementation of this project is possible. We thank you for your trust and support. SLOW Foundation 2020 WHAT IS CONCEPT ART By Dr. Kamila Tuszyńska The term – Concept art is more and more commonly used these days. Illustration though is a final product, a viewer can see – it is a process With its growing popularity there is a problem of understanding the and aim in the same time. term and, in the same time, of setting the border separating it from Concept art is story telling with picture. It consists of many drawn illustration, sketch or model design. Everything artist does in the form of elements, and their sum carries the story which must be interesting for concept, an idea is considered to be a concept art work. Does concept a viewer. Each of these elements means something and in a message art include any idea presented in the form of visual means? What about of 2D picture serves a particular role thus concept art verges on the stage designers or scenographers who draw their ideas for decorations border of art and communication. and costumes? Shall we consider them concept artists? When can Concept art is expressive and impressive. It has to be coherent and we call someone a concept graphic artist and when only a designer functional, i.e.
  • Emerging Narrative

    Emerging Narrative

    Emerging Narrative 25 Feature Scripts in Development Arrow Written and directed by Emily Carmichael, produced by Adam Spielberg and Josh Hetzler, cinematography by Ben Richardson. In a madcap alternate-reality Brooklyn, three science-fiction heroes face their greatest challenge yet: not saving the world anymore. (Sci- fi/Comedy) The Assumption Written and directed by Tom Quinn, produced by Steve Beal and Ellen Knechel. A young priest attempting to save his elementary school from closure becomes a local celebrity after a near-death experience. (Drama) Baby Lu Written and directed by Emily Ray Reese, produced by Tati Barrantes and Caroline Oliveira. A forbidden crush forces 13-year-old Lucinda and her mountain man father to confront her developing sexuality in a small town in Northern New Mexico. (Coming of Age) The Blandishments Written and directed by Kyle Smith. The Blandishments, a five-piece band from Indiana, weather the challenges that come with writing a hit alternative-rock song in 1993. (Comedy) Brooklyn Flee Written and directed by Alexandra Roxo, written and produced by Devon Kirkpatrick. When two girls meet online and agree to drive across country together, their impromptu adventure brings them much closer than they’d anticipated. (Comedy) Chicken Day Written by Melissa Brandt. A troublesome teenage girl must win a small town’s annual chicken competition in order to save the members of her dysfunctional family. (Drama) Cutlet Written and directed by Clay Liford, produced by Angie Meyer and Brock Williams. A road trip to an isolated farm becomes a nightmare for two siblings when they are forced to battle a mutated herd of carnivorous cattle.
  • 4. 1. Research Output Iv) Screenings

    4. 1. Research Output Iv) Screenings

    4. 1. Research Output iv) Screenings Table 4.1.9. is summary for film production done from AY July 2007-till present. I have introduced animated content into my works since 2007 and since 2010 HD DCP/Digital Cinema Projection and Two channel Stereoscopic HD 3D animation for passive/active 3D stereo DCP/Digital Cinema. In addition films were adapted for various immersive stereoscopic visualization platforms such as the following: 320 The Immesrive Room in the NTU/Institute for Media Innovation Immersive Room (5 channels)1 Ars Electronica, presetigious stereo venue Deep Space for the ocasion of the most reputable festival of digital arts in the world Ars Electronica Festival (2011, 2013).2 Glass-free stereoscopic version of the film for Alioscopy 3D HD 55" LV TV Platform British Academy Awards (BAFTA) qualifying festival, renowned Brooklyn Film Festival, New York (2011) The resulting 3D stereoscopic animated films won 15 awards (14 International) and were selected in 47 festivals/theatrical screenings. Film was submitted in more than 70 international juried events such as: The 14th International Beverly Hills Film Festival(2014), SPARK [FWD] 3D, VFX & Advanced Imaging Conference Vancouver by prestigious Emily Carr/S3D Centre and the Canadian 3D and Advance Imaging Society (2013), 67th Edinburgh International Film Festival, UK (2013)3 The 15th Annual Washington DC Independent Film Festival(2013),Canada International Film Festival (2013), Acclaimed Festival Anima Mundi Brazil (2011 and 2013)4 ,6th Annual, Los Angeles, the world's largest all digital 3D stereoscopic Film, Music & Interactive Festival (2013), Dimension 3 Festival, Seine-Saint–Denis, France (2010) The 27th Southeast Asian Games (SEAG) (2013).
  • Elondocs Docfilmmaker DVD

    Elondocs Docfilmmaker DVD

    Contents Introduction to Documentary Film What is Documentary? (2:37) Why Documentary Matters (4:55) Why they make films (3:45) A Student of Film (2:37) Story Finding Good Stories (4:18) Finding Good People (2:14) Story into film (3:25) First Person Perspective (3:12) Shooting & Editing Sound & Picture (8:32) Editing (5:18) Screening your rough cut (1:08) Legal Issues Releases & Clearances (3:28) Fair Use (1:52) Music (2:38) Ethics General Ethics (4:21) Specific Ethics (7:30) Financial & Distribution Getting Your Film Made (7:30) Getting Your Film Out There (4:06) Documentary Filmmaking: Tips from the Trenches Every year I attend the Full Frame documentary film festival in Durham, North Carolina, bringing a group of students from Elon University. Without fail, we return from the Festival energized by the films and inspired by the expert advice from filmmakers. So I started thinking about ways to recreate that energy in the class- room, eventually arriving at the concept for this DVD. This DVD is a chance to hear from emerging and seasoned filmmakers as they discuss technical, legal, ethical and busi- ness issues of documentary film. It was created to be watched in brief topical sections, although it can also be watched straight through. We’ve organized the subjects as they might be encoun- tered in creating a film, from finding good stories to getting your film out there. This booklet also contains short discussion ques- tions to be used in class or by aspiring filmmakers to think more about the ideas and insights offered by our interviewees.
  • Did Hollywood Take Theatre "By Hook Or by Crook?"" (2018)

    Did Hollywood Take Theatre "By Hook Or by Crook?"" (2018)

    BearWorks MSU Graduate Theses Fall 2018 AsDid with Hollywood any intellectual T prakoject,e Theatr the contente "b andy Hook views expr oressed by Cr inook?" this thesis may be considered objectionable by some readers. However, this student-scholar’s work has been Catherine S. Wright Missourijudged t oState hav eUniv academicersity, Catherine845@liv value by the student’e.missouristate.edus thesis committee members trained in the discipline. The content and views expressed in this thesis are those of the student-scholar and are not endorsed by Missouri State University, its Graduate College, or its employees. Follow this and additional works at: https://bearworks.missouristate.edu/theses Part of the Acting Commons, Applied Ethics Commons, Art Education Commons, Business and Corporate Communications Commons, Business Law, Public Responsibility, and Ethics Commons, Collective Bargaining Commons, Comparative Philosophy Commons, Digital Humanities Commons, Dramatic Literature, Criticism and Theory Commons, E-Commerce Commons, Ethics and Political Philosophy Commons, History of Philosophy Commons, Intellectual History Commons, International and Comparative Labor Relations Commons, Legal Commons, Metaphysics Commons, Other Business Commons, Other Classics Commons, Other Film and Media Studies Commons, Other Theatre and Performance Studies Commons, Performance Management Commons, Philosophy of Science Commons, Playwriting Commons, Public History Commons, Screenwriting Commons, Social and Behavioral Sciences Commons, Social History Commons, Technical and Professional Writing Commons, Television Commons, Theatre History Commons, Unions Commons, and the United States History Commons Recommended Citation Wright, Catherine S., "Did Hollywood Take Theatre "by Hook or by Crook?"" (2018). MSU Graduate Theses. 3320. https://bearworks.missouristate.edu/theses/3320 This article or document was made available through BearWorks, the institutional repository of Missouri State University.
  • Postcolonial Film Adaptations of the Literature of Empire

    Postcolonial Film Adaptations of the Literature of Empire

    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2007 Writing Back With Light: Postcolonial Film Adaptations of the Literature of Empire Jerod R. Hollyfield University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Hollyfield, Jerod R., "Writing Back With Light: Postcolonial Film Adaptations of the Literature of Empire. " Master's Thesis, University of Tennessee, 2007. https://trace.tennessee.edu/utk_gradthes/246 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jerod R. Hollyfield entitled "Writing Back With Light: Postcolonial Film Adaptations of the Literature of Empire." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Charles Maland, Major Professor We have read this thesis and recommend its acceptance: Urmila Seshagiri, Christine Holmlund Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting a thesis written by Jerod Ra’Del Hollyfield entitled “Writing Back With Light: Postcolonial Film Adaptations of the Literature of Empire.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master’s of Arts with a major in English.
  • Attracting Film Production

    Attracting Film Production

    Attracting Film Production The California Film Commission (CFC) prepared this manual for the sole purpose of presenting educational materials to the California Regional Film Offices. Various authors have granted the CFC permission to use their materials for this manual only. Please note this guide is for information purposes only. The CFC does not endorse the sources mentioned herein. Before using any sample legal documents, please consult your own legal counsel as appropriate. If you wish to copy any materials within this guide, credit must be given to the California Film Commission as the source for the material. California Film Commission 7080 Hollywood Blvd., Suite 900 Hollywood, CA 90028 (323) 860-2960 www.film.ca.gov table of contents I NTRODUCTION: WHAT IS FILM DEVELOPMENT? 3 THE CALIFORNIA FILM COMMISSION 5 CREATING A FILM DEVELOPMENT PROGRAM 7 PROMOTION 13 HOW TO PUBLICIZE SUCCESS 16 SUMMARY 18 FILM INDUSTRY TERMINOLOGY 19 OTHER FILM TERMINOLOGY 25 ADDENDUM 35 A TTACHMENTS: . STANDARD PHOTOGRAPHY/FILMING PE RMIT . SAMPLE CERTIFICATE OF INSURANCE MODEL . ORDINANCE & REGULATIONS . ECONOMIC IMPACT QUESTIONNAIRE California Film Commission | 323.860.2960 | www.film.ca.gov 2 introduction: what is film development? The motion picture industry employs an estimated 250,000 Californians. However, competition from other states and countries is luring a significant portion of film production away from California. Runaway production is the term that describes those feature film, television and commercial productions that leave California to shoot in other states and countries. Film production is a clean, non-polluting industry, and produces a quick injection of revenue to a local community. When a feature film production goes on a location requiring overnight stays, the cast and crew may remain for two to six weeks, or even longer.