DOCSLIB.ORG

The Fast Track Initiative

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Fast Track Initiative – FILMMAKER KIRBY DICK The California Endowment believes there are many opportunities for grantmakers to use communications to shift CASE STUDY THE their program work into high gear. The Fast Track Initiative seeks to identify and share examples that use media and FAST TRACK communications grantmaking to create a more receptive environment for dialogue about potential solutions, build “WE MADE THE FILM TO HELP CHANGE POLICY.” INITIATIVE public will and generate political will for policy change. We invite you to share your experiences and best practices. INTEGRATION REPETITION 10 Elements of Success Among the Fast Track case studies, we’ve identifi ed for POLICY CHANGE AGILITY ORIGINS THE INVISIBLE WAR POLICY the following 10 insights. The most critical elements of success for each case appear as THE FAST TRACK The Fledgling Fund believes that well-made process and as a result of Dick and Ziering’s pitch symbols throughout the series. documentary films can serve as a catalyst to change to a roundtable of Good Pitch attendees, the Fund minds, encourage viewers to alter entrenched provided $25,000 to fund initial outreach for Issue Sexual assault in the military goes under reported and under prosecuted as a crime. Women assaulted behaviors, and start, inform or reenergize social The Invisible War, and a subsequent $60,000 for 1 SOLUTIONS 6 PAID ADVERTISING during service have a higher PTSD rate than men in combat. movements. It has particular faith in films with additional outreach and a social media campaign. The majority of these initiatives contained messages not Having the ability to control the content and timing of Strategy Focused communications strategy for policymaker education integrated into the production process for just about the problem, but about a range of potential messages through paid advertising can create awareness a compelling narrative and an outreach plan. Grant funds supported website development, SOLUTIONS ADVERTISING documentary film Through Good Pitch, a convener of NGOs, funders, outreach staffing and travel. The net result was solutions. The net effect is to give the public hope and during key milestones. The ability to customize messages give policy makers a call to action. This approach also geographically or by target audience can also accelerate Who Fledgling Fund and others including the Women’s Donor Network, Sundance Institute and several private donors companies and media outlets that strategize with, that within two days of watching the film at a speaks directly to the nexus of the nature of the Internet the speed of social change. and partner with, documentary filmmakers on their special screening (months prior to public release), and journalism: to both ask questions and answer them. How much $25,000 for pre-Sundance outreach; an additional $35,000 for post-festival outreach, $5,000 outreach, the Fund was exposed to filmmakers then Defense Secretary Leon Panetta held a press 7 FOUNDATION BRANDING for social media and an additional $20,000 in pass-through funding from a private partner donor 2 POLICYMAKERS Putting a foundation’s name and “brand” on media Kirby Dick and Amy Ziering’s project, The Invisible conference to announce changes in Department of Biggest Result Identifying policymakers explicitly as a target audience BRANDING or communications efforts lends credibility and Prompted Department of Defense policy change, stimulated more than 30 Congressional War. The film explored the issue of military sexual Defense policy. Panetta himself told film producers HIGHLIGHTS POLICY and devoting appropriate resources to outreach is key. gravitas to an issue, especially in smaller markets legislative reforms and inspired pending Federal legislation. assault; a widespread, yet under-prosecuted his action was a direct result of seeing the film. Whenever possible, explicitly making it a bi-partisan effort or rural areas. Stakeholders are more likely to take offense requiring systemic change in the military can be very effective. another look at an issue if it has become the priority of a philanthropic institution. and congressional-policy intervention. The story of The Invisible War resonates for all 3 AGILITY grantmakers who seek to give a disenfranchised While a communications strategy is important, so is 8 MEDIA START-UPS Motivated by its belief that audience engagement population a voice and raise awareness of a AGILITY building in flexibility. The ability to respond quickly with Establishing digital outlets where in-depth coverage needs to be part of an integrated communications complex social issue among federal policy makers resources to a changing landscape is critical to overcoming MEDIA about an issue can be a cost-effective and efficient way strategy from the very beginning of the production and the public. unforeseen challenges and leveraging unexpected of designating a “space” for the issue to live in. At their opportunities. Often these initiatives can be a bit messy best, these sites also become media tools for expanded mid-stream; flexibility and agility makes navigation easier. and sustained coverage over time. 4 REPETITION 9 PARTNER. PARTNER. PARTNER. Continuity of coverage has a multiplier effect on awareness Whether it is funder partnerships or media partnerships, REPETITION building. Journalistic series and paid-advertising campaigns PARTNER collaborative and in-kind efforts result in impact that is keep issues top-of-mind during delays in the legislative process. greater than the sum of its individual parts. 5 HUMANITY 10 INTEGRATION FROM THE OUTSET Engaging community voices can be a powerful way to give The combination of media, community and policy- HUMANITY an issue a human face. Emphasizing personal impact stories INTEGRATION maker engagement from the beginning of a strategic can also support journalistic efforts, assist with multi-media communications effort is key to success. The catalytic content, engage the constituents of lawmakers and provide effect of coordinating and integrating these strategies testimonials for solutions. far outweighs any one as a siloed or solo effort. Visit MediaImpactFunders.org/FastTrack Find more at: for more case studies and to sign up MediaImpactFunders.org/FastTrack for learning opportunities. IMPACT Two thumbs up All about sequencing And the PUMA goes to... “We made the film to help change policy,” described Dick in an In May 2013, Senator Gillibrand and ten colleagues issued bicameral At the heart of The Invisible War’s success is quality film making. Because the policymaker screenings pre-dated public release by several In addition to all of its other achievements, The Invisible War was According to the BRITDOC, “There has been a raft of unprecedented interview with trade publication, The Wrap. “We just didn’t think legislation to modernize the Uniform Code of Military Justice. Later that The Invisible War had a strong, character-driven story that created months, government officials were offered a window of opportunity nominated for the BRITDOC Foundation’s PUMA Impact Award – legislation which has tackled [the issue of military sexual assault] it would happen so soon.” year, newly appointed Secretary of Defense Hagel, released new sexual an emotional connection with the viewer. Proactive, planned exposure to act and present solutions. The net result was they came across for documentary films that have made the greatest positive impact from multiple angles, a signal that the campaign has managed to create assault policies for the military cracking down on inappropriate relations at festivals, private screenings and its nomination for a February proactive and effective, rather than unresponsive or unaware. Still, on society or the environment. The film received Special Commendation. a change in culture within that most conservative of institutions, the The 93-minute film made its world premiere between recruiters/instructors and new troops. 2013 Academy Award made The Invisible War a consistent presence the audience engagement campaign for the public release included In the words of a member of the peer review committee for the award, U.S. military.” BRITDOC.ORG/IMPACT at the Sundance Film Festival in January in the media and kept the issue top-of-mind for lawmakers and the public. a call to action for viewers to sign an online petition. “I don’t think any would contradict that the issue was effectively of 2012. Screenings of the film left festival The issue of military sexual assault maintained Theatrical release of the film was accompanied by a professional nowhere before the film hit.” audiences stunned and The Invisible War won “I DON’T THINK traction in 2014 when heated debate ensued Ongoing outreach and media efforts after the public release, were timed ANY WOULD THE publicity campaign and national press coverage that exploded in print, CONTRADICT THAT over a bill on the topic introduced by Senator to coincide with hearings, related litigation and other opportunistic the Audience Award for Best Documentary. THE ISSUE WAS online and broadcast. While box office receipts tallied only $60,000, Using the outreach funds, the next step was EFFECTIVELY INVISIBLE Gillibrand and a rival effort by Senator Claire milestones that presented themselves along the way. NOWHERE BEFORE the film’s impact reached far beyond those who saw it in a theater. to show it to policymakers in Washington THE FILm “HIT.” WAR McCaskill (D-Missouri). Ultimately Gillbrand’s High-quality investigative journalism and the art of filmmaking can combine to make PEER REVIEW COMMITTEE The Invisible War is a groundbreaking a compelling media product. beginning in February and engage them as an investigative documentary about one measure was defeated by a shortage of only of America’s most shameful and best kept secrets: the epidemic of rape within the LESSONS U.S. military. The film paints a startling Other partners expanded reach audience in answering the question “what can picture of the extent of the problem — 1 five votes. McCaskill’s legislation cleared Standing room only on Capitol Hill in 4 women will be sexually assaulted Outreach, strategic communication and audience engagement are distinctive strategies during military service.
Load more

Recommended publications
  • Ethics After Hours the Bleeding Edge
    Ethics After Hours The Bleeding Edge Documentary _________________________________________________________________ Summary1 Medical devices can save lives, help us live longer, and improve our quality of life. In The Bleeding Edge, Kirby Dick, Amy Ziering and Amy Herdy explore how lax regulations, corporate cover-ups and the drive for profit in the medical device industry may put patients at risk. The program features cases where medical devices such as Essure (a permanent birth control device), vaginal mesh, the DaVinci Surgical System, and chrome-cobalt hip- replacements have caused irrevocable harm to patients. Director: Kirby Dick Producer: Amy Ziering and Amy Herdy Released: April 21, 2018 Available on Netflix Duration: 1 hours 40 Mins. Discussion questions: • What was your initial reaction to this documentary? • In your opinion, what are the ethical responsibilities of the medical device industry, the medical community, and the government in ensuring patient safety regarding medical devices through approval, usage guidelines, and reporting of adverse events? • Should health care providers be better educated about the approval processes for drugs and medical devices? • According to the documentary, pre-market approval (PMA) for medical devices requires only one clinical trial or study. o Did it surprise you that the approval for medical devices requires fewer steps than the approval of new drugs? o Discuss various reasons for this difference in approval process. Do you believe that it is justified? • What type of regulatory and non-regulatory measures do you think could help alleviate the problems around patient safety outlined in the documentary? 1 This summary is adapted from Wikipedia https://en.wikipedia.org/wiki/The_Bleeding_Edge and Netflix’s website.
    [Show full text]
  • 1 the Bleeding Edge, ​An Independent Documentary Directed
    1 The Bleeding Edge, an independent documentary directed by Kirby Dick and produced ​ by Amy Ziering through their production company, Chain Camera Pictures, unearths systematic corruption within the “$400 billion medical device industry” (The Bleeding Edge 2018). The film takes a deep dive into the healthcare impacts of medical device “innovation” (Dick 2018). Both Dick and Ziering specialize in investigative journalism and documentary having produced the Emmy Award-winning and Academy Award-nominated documentary, The Invisible War (The ​ ​ Bleeding Edge 2018). In all of their documentaries, Dick and Ziering focus on issues of “breaking news,” aiming to inform public opinion, and influence policy (Fuchs 2018). According to Ziering, in an interview by No Film School, when she and Dick decide to make a film they “first get intrigued, then outraged, and then [they] decide to make a movie” (Buder 2018). In the case of The Bleeding ​ Edge, the topic of the film arose when one of Chain Camera Picture’s producers, Amy Herdy, ​ came forward with “this crazy story” about one of her neighbors, who had experienced complications due to an untested medical device (Buder 2018). The disbelief following the ​ ​ interview resulted in an in-depth investigation into this “breaking news,” where research was conducted, and interviews with survivors, professionals, scholars, and doctors were recorded (Fuchs 2018). This information was then synthesized and analyzed, before getting compiled into a commercially consumable film that informs the public of the fractured health system that “has devolved into [a] business” (Fuchs 2018) The Bleeding Edge is an independent film, meaning that,t was not produced in ​ ​ ​ Hollywood and is not backed by any super PACs or the government (Grove 2014).
    [Show full text]
  • Lonely Soldiers: Women at War in Iraq a Regional Premiere by Helen Benedict March 16 – April 6, 2014
    Play Guide Lonely Soldiers: Women at War in Iraq A regional premiere by Helen Benedict March 16 – April 6, 2014 1 History Theatre 30 East Tenth Street Saint Paul, MN 55101 Box Office: 651.292.4323 Group Sales: 651.292.4320 www.HistoryTheatre.com Table of Contents Summary of the Play* ............................................................................................ 3 About the author – Helen Benedict* ...................................................................... 3 The World of the Play: Military Ranks and Organization ....................................... 4 The World of the Play: Women in the Military* ...................................................... 5 Timeline of Women in the Military .......................................................................... 6 Sexual Assault in the Military* ................................................................................ 9 Activities • Small Group Discussion / Classroom Discussion .................................... 12 • What is Sexual Harassment? ................................................................... 13 • Sexual Harassment .................................................................................. 14 • Sexual Harassment vs. Flirting................................................................. 16 For Further Research and Suggested Reading* ................................................. 18 Help Lines, Websites, and Resources ................................................................. 20 *Material provided by Laura Weber. Play
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • 2020 Sundance Film Festival: 118 Feature Films Announced
    FOR IMMEDIATE RELEASE Media Contact: December 4, 2019 Spencer Alcorn 310.360.1981 [email protected] 2020 SUNDANCE FILM FESTIVAL: 118 FEATURE FILMS ANNOUNCED Drawn From a Record High of 15,100 Submissions Across The Program, Including 3,853 Features, Selected Films Represent 27 Countries Once Upon A Time in Venezuela, photo by John Marquez; The Mountains Are a Dream That Call to Me, photo by Jake Magee; Bloody ​ ​ ​ ​ Nose, Empty Pockets, courtesy of Sundance Institute; Beast Beast, photo by Kristian Zuniga; I Carry You With Me, photo by Alejandro ​ ​ ​ ​ ​ López; Ema, courtesy of Sundance Institute. ​ ​ Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature ​ films selected across all categories for the 2020 Sundance Film Festival. The Festival hosts screenings in Park ​ ​ City, Salt Lake City and at Sundance Mountain Resort, from January 23–February 2, 2020. The Sundance Film Festival is Sundance Institute’s flagship public program, widely regarded as the largest American independent film festival and attended by more than 120,000 people and 1,300 accredited press, and powered by more than 2,000 volunteers last year. Sundance Institute also presents public programs throughout the year and around the world, including Festivals in Hong Kong and London, an international short film tour, an indigenous shorts program, a free summer screening series in Utah, and more. Alongside these public programs, the majority of the nonprofit Institute's resources ​ support independent artists around the world as they make and develop new work, via Labs, direct grants, fellowships, residencies and other strategic and tactical interventions.
    [Show full text]
  • Teaching Social Studies Through Film
    Teaching Social Studies Through Film Written, Produced, and Directed by John Burkowski Jr. Xose Manuel Alvarino Social Studies Teacher Social Studies Teacher Miami-Dade County Miami-Dade County Academy for Advanced Academics at Hialeah Gardens Middle School Florida International University 11690 NW 92 Ave 11200 SW 8 St. Hialeah Gardens, FL 33018 VH130 Telephone: 305-817-0017 Miami, FL 33199 E-mail: [email protected] Telephone: 305-348-7043 E-mail: [email protected] For information concerning IMPACT II opportunities, Adapter and Disseminator grants, please contact: The Education Fund 305-892-5099, Ext. 18 E-mail: [email protected] Web site: www.educationfund.org - 1 - INTRODUCTION Students are entertained and acquire knowledge through images; Internet, television, and films are examples. Though the printed word is essential in learning, educators have been taking notice of the new visual and oratory stimuli and incorporated them into classroom teaching. The purpose of this idea packet is to further introduce teacher colleagues to this methodology and share a compilation of films which may be easily implemented in secondary social studies instruction. Though this project focuses in grades 6-12 social studies we believe that media should be infused into all K-12 subject areas, from language arts, math, and foreign languages, to science, the arts, physical education, and more. In this day and age, students have become accustomed to acquiring knowledge through mediums such as television and movies. Though books and text are essential in learning, teachers should take notice of the new visual stimuli. Films are familiar in the everyday lives of students.
    [Show full text]
  • Are We Green Yet? Sustainability Takes Root in Our Intellectual Culture P
    University Magazine Spring 2015 ST.LAWRENCE Are We Green Yet? SUSTAINABILITY TAKES ROOT IN OUR INTELLECTUAL CULTURE P. 16 ST. LAWRENCE UNIVERSITY | SPRING 2015 Spring,15 Features Nowadays, when we ask ourselves “Are We Green Yet?” we’re 16 talking about a lot more than just energy consumption. SLU Connect-DC may be “One Small Step Inside the Beltway” 24 for our students, but we’re betting it will lead to many giant leaps. As her graduation looms, a stellar student-athlete probes what makes 26 her think “There’s Something About This Place.” He’s an actor, a philanthropist and a distinguished Laurentian. 30 That’s what we say when “Introducing Kirk Douglas Hall.” Departments In Every Issue 4 On Campus 2 A Word from the President You might say these are 12 Sports 3 Letters St. Lawrence’s representatives in Congress. They’re the 32 Philanthropy in Action 41 First-Person students who participated in 37 Laurentian Portraits 42 Class Notes the University’s inaugural SLU 40 On Social Media 81 From the Archives Connect-DC program in January. One of them, Mariah Dignan ’15, On the Cover: Sustainability at St. Lawrence is a work in progress, and illustrator Edmon de Haro far right, tells us more on page JEFF MAURITZEN © demonstrates that it’s becoming part of our cerebral DNA—as well as part of our pipes and groundskeeping. 24. And if what she predicts : Above: Alexander Kusak ’12 captured this shot of a trio of Denmark Program students in Copenhagen. proves true, you may see her SITE Margot Nitschke ’16, center, describes how Denmark incorporates sustainability into its national life; page 20.
    [Show full text]
  • The Political Economy of Independent Film: a Case Study of Kevin Smith Films
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 The Political Economy of Independent Films: A Case Study of Kevin Smith Films Grace Kathleen Keenan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION THE POLITICAL ECONOMY OF INDEPENDENT FILMS: A CASE STUDY OF KEVIN SMITH FILMS By GRACE KATHLEEN KEENAN A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Arts in Media Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Grace Kathleen Keenan defended on April 9, 2009. ____________________________________ Jennifer M. Proffitt Professor Directing Thesis ____________________________________ Stephen D. McDowell Committee Member ____________________________________ Andrew Opel Committee Member __________________________________________________ Stephen D. McDowell, Chair, Department of Communication __________________________________________________ Gary R. Heald, Interim Dean, College of Communication The Graduate School has verified and approved the above named committee members. ii For my parents, who have always seen me as their shining star iii ACKNOWLEGEMENTS Dr. Proffitt: Without your dedication to learning and students, this thesis would have been impossible. You truly have the patience of an angel. Much love. Dad: How do you put up with me? Thank you for all your emotional and financial support. Mom: You are always striving to understand. I think I get that from you. Newton Hazelbaker: Again, how do you put up with me? Thank you for your absolute and unconditional love. Laura Clements: Perhaps the most fun person I’ve ever met.
    [Show full text]
  • Explicit Content: a Discussion of the MPAA Film Rating System and the NC-17 Rating Caroline H
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2015 eXplicit Content: A Discussion of the MPAA Film Rating System and the NC-17 Rating Caroline H. Miller Scripps College Recommended Citation Miller, Caroline H., "eXplicit Content: A Discussion of the MPAA Film Rating System and the NC-17 Rating" (2015). Scripps Senior Theses. Paper 582. http://scholarship.claremont.edu/scripps_theses/582 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. EXPLICIT CONTENT: A DISCUSSION OF THE MPAA FILM RATING SYSTEM AND THE NC-17 RATING by CAROLINE HOSMER MILLER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR FRIEDLANDER PROFESSOR MACKO DECEMBER 12 TH , 2014 Wayne Kramer (director, The Cooler (2003))—I remember what happened, I was just going into a meeting and I got a phone call and it was the producer of the film saying 'guess what, we just got an NC-17 from the MPAA' and I went 'Oh sh*t,' and so I said 'Was it for that first scene?' And they said 'No it was because there was a glimpse of Maria's pubic hair in the second scene' and I was just like 'What?!' Maria Bello (actress, The Cooler )—Just a couple of months before, I had gone to see a horror film [Scary Movie] that was rated R.
    [Show full text]
  • DICK, Kirby and ZIERING, Amy. 2016. the Hunting Ground. the Inside Story of Sexual Assault on American College Campuses
    DICK, Kirby and ZIERING, Amy. 2016. The Hunting Ground. The inside story of sexual assault on American college campuses. México: Hot Books, 188 pp. doi: http://dx.doi.org/10.18543/djhr-3-2018pp209-214 The Hunting Ground started to initially be a documentary released in 2015 daring to present on the big screen, the sexual violence on the United States college campuses. The filmmakers Kirby Dick and Amy Ziering were the Academy Award winners of the film “The Invisible war”, which tackles the sexual violence happening in the army context. While they were running along the United States college campuses screening “The Invisible War” and discussing about the silence perpetuated into the army, students were raising their hands from the public, claiming the gender violence also exits within the academy. According to its producers, The Hunting Ground is the consequence of directly interviewing around 70 people on camera and more than 200 in off-camera dialogues. One year after its first release, the documentary’s impact was uncountable. The visionary of this documentary at each university, contributed to trigger discussion about the issue of sexual harassment, started activism among its community and initiating change. While the producers were moving from one campus to another talking about the issue of sexual violence in university, they were always sharing similar situations, meaning listening stories and feeling the students need of being heard, understood and supported. In this sense, the huge amount of screenings around universities have allowed victims to break their silence and speak out about their cases, while joining their power to organize themselves; symbolizing in most cases the strongest fight ever against sexual harassment at their universities.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • Sundance Institute Launches New Initiative to Support Inventive Artistic Practice in Nonfiction Film
    FOR IMMEDIATE RELEASE Media Contact: January 18, 2016 Chalena Cadenas 310.360.1981 [email protected] Sundance Institute Launches New Initiative to Support Inventive Artistic Practice in Nonfiction Film Robert Greene, Margaret Brown, Omar Mullick and Bassam Tariq Selected as First ‘Art of Nonfiction’ Fellows Los Angeles, CA — Sundance Institute, one of the world’s largest grantmakers to documentary film, today ​ ​ ​ announced the ‘Art of Nonfiction’ initiative, which will expand the Institute’s existing support for documentaries exploring contemporary social issues to include targeted creative and financial support for documentary filmmakers exploring inventive artistic practice in story, craft and form. As part of the initiative, the Institute has selected Robert Greene (Kate Plays Christine), Margaret Brown (The Order of Myths), and ​ ​ ​ ​ Omar Mullick and Bassam Tariq (These Birds Walk) as the first Art of Nonfiction fellows. The initiative ​ ​ launches with editorial and financial support from Cinereach. The Art of Nonfiction includes both a Fellowship for filmmakers and resources to help them build sustainable creative practices. Tabitha Jackson, Director of the Sundance Institute Documentary Film Program, developed this initiative in response to the lack of support for many exciting artists working today who take a bold, inventive cinematic approach to their documentary work (The Act of Killing, Man on Wire, 20,000 ​ ​ ​ ​ ​ Days on Earth, Leviathan) as well as those pushing the boundaries of the form with elements including
    [Show full text]