BULLETIN for FILM and VIDEO INFORMATION Vol. 1,No.1
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A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
The Fragile Emulsion Author(S): JON GARTENBERG Source: the Moving Image: the Journal of the Association of Moving Image Archivists, Vol
The Fragile Emulsion Author(s): JON GARTENBERG Source: The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 2, No. 2 (FALL 2002), pp. 142-153 Published by: University of Minnesota Press Stable URL: http://www.jstor.org/stable/41167089 . Accessed: 31/07/2014 15:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Minnesota Press is collaborating with JSTOR to digitize, preserve and extend access to The Moving Image: The Journal of the Association of Moving Image Archivists. http://www.jstor.org This content downloaded from 142.103.160.110 on Thu, 31 Jul 2014 15:46:15 PM All use subject to JSTOR Terms and Conditions ИН!142 dispositionfor those experimentalfilmmakers TheFragile Emulsion afflictedwith AIDS, theircinematic legacies JON GARTENBERG are the most endangered. Given the ever- shrinkingvenues supportingthe showingof One of the mostvital and richlytextured art these works,the decrease in exhibitionde- formsthreatened with extinction centers around mand has createda tendencytoward neglect. the historyof avant-garde filmmaking.1 Experi- Thetitle of this article, "The FragileEmul- mentalfilmmakers work in relativeisolation, sion," aptlyunderscores the status of Ameri- creatingtheir films with the hand of an artist, can experimentalfilms and theirmakers both ratherthan as productsfor consumption by a in the cinematographicculture as well as in mass audience.The style of the films frequently filmarchives. -
A Filmmakers' Guide to Distribution and Exhibition
A Filmmakers’ Guide to Distribution and Exhibition A Filmmakers’ Guide to Distribution and Exhibition Written by Jane Giles ABOUT THIS GUIDE 2 Jane Giles is a film programmer and writer INTRODUCTION 3 Edited by Pippa Eldridge and Julia Voss SALES AGENTS 10 Exhibition Development Unit, bfi FESTIVALS 13 THEATRIC RELEASING: SHORTS 18 We would like to thank the following people for their THEATRIC RELEASING: FEATURES 27 contribution to this guide: PLANNING A CINEMA RELEASE 32 NON-THEATRIC RELEASING 40 Newton Aduaka, Karen Alexander/bfi, Clare Binns/Zoo VIDEO Cinemas, Marc Boothe/Nubian Tales, Paul Brett/bfi, 42 Stephen Brown/Steam, Pamela Casey/Atom Films, Chris TELEVISION 44 Chandler/Film Council, Ben Cook/Lux Distribution, INTERNET 47 Emma Davie, Douglas Davis/Atom Films, CASE STUDIES 52 Jim Dempster/bfi, Catharine Des Forges/bfi, Alnoor GLOSSARY 60 Dewshi, Simon Duffy/bfi, Gavin Emerson, Alexandra FESTIVAL & EVENTS CALENDAR 62 Finlay/Channel 4, John Flahive/bfi, Nicki Foster/ CONTACTS 64 McDonald & Rutter, Satwant Gill/British Council, INDEX 76 Gwydion Griffiths/S4C, Liz Harkman/Film Council, Tony Jones/City Screen, Tinge Krishnan/Disruptive Element Films, Luned Moredis/Sgrîn, Méabh O’Donovan/Short CONTENTS Circuit, Kate Ogborn, Nicola Pierson/Edinburgh BOXED INFORMATION: HOW TO APPROACH THE INDUSTRY 4 International Film Festival, Lisa Marie Russo, Erich BEST ADVICE FROM INDUSTRY PROFESSIONALS 5 Sargeant/bfi, Cary Sawney/bfi, Rita Smith, Heather MATERIAL REQUIREMENTS 5 Stewart/bfi, John Stewart/Oil Factory, Gary DEALS & CONTRACTS 8 Thomas/Arts Council of England, Peter Todd/bfi, Zoë SHORT FILM BUREAU 11 Walton, Laurel Warbrick-Keay/bfi, Sheila Whitaker/ LONDON & EDINBURGH 16 article27, Christine Whitehouse/bfi BLACK & ASIAN FILMS 17 SHORT CIRCUIT 19 Z00 CINEMAS 20 The editors have made every endeavour to ensure the BRITISH BOARD OF FILM CLASSIFICATION 21 information in this guide is correct at the time of GOOD FILMS GOOD PROGRAMMING 22 going to press. -
Entertainment
ENTERTAINMENT ANNUAL REPORT 2011 PROFILE Village Roadshow was founded by Roc Kirby and first commenced business in 1954 in Melbourne, Australia and has been listed on the Australian Securities Exchange since 1988. Still based in Melbourne, Village Roadshow Limited (‘VRL’) is a leading international entertainment company with core businesses in Theme Parks, Cinema Exhibition, Film Distribution and Film Production and Music. All of these businesses are well recognised retail brands and strong cash flow generators - together they create a diversified portfolio of entertainment assets. Theme Parks Village Roadshow has been involved in theme and Sea World Helicopters; parks since 1989 and is Australia’s largest • Australian Outback Spectacular; and theme park owner and operator. • Paradise Country and Village Roadshow On Queensland’s Gold Coast VRL has: Studios. • Warner Bros. Movie World, the popular VRL is moving forward with plans to build movie themed park; Australia’s newest water theme park, • Sea World, Australia’s premier marine Wet‘n’Wild Sydney, with site development theme park; to begin in the 2012 calendar year. • Wet‘n’Wild Water World, one of the world’s VRL’s overseas theme parks are: largest and most successful water parks; • Wet’n’Wild Hawaii, USA; and • Sea World Resort and Water Park, • Wet’n’Wild Phoenix, Arizona USA. Cinema Exhibition Showing movies has a long tradition with at 8 sites in the United States and 12 screens Village Roadshow, having started in 1954 in the UK. VRL continues to lead the world with the first of its drive–in cinemas. Today with industry trends including stadium Village Cinemas jointly owns and operates seating, digital projection, 3D blockbuster 506 screens across 50 sites in Australia, 73 movies and the growth category of premium screens at 9 sites in Singapore, 59 screens cinemas including Gold Class. -
Film Financing
2017 An Outsider’s Glimpse into Filmmaking AN EXPLORATION ON RECENT OREGON FILM & TV PROJECTS BY THEO FRIEDMAN ! ! Page | !1 Contents Tracktown (2016) .......................................................................................................................6 The Benefits of Gusbandry (2016- ) .........................................................................................8 Portlandia (2011- ) .....................................................................................................................9 The Haunting of Sunshine Girl (2010- ) ...................................................................................10 Green Room (2015) & I Don’t Feel at Home in This World Anymore (2017) ...........................11 Network & Experience ............................................................................................................12 Financing .................................................................................................................................12 Filming ....................................................................................................................................13 Distribution ...............................................................................................................................13 In Conclusion ...........................................................................................................................13 Financing Terms .....................................................................................................................15 -
Cinema and New Technologies: the Development of Digital
CINEMA AND NEW TECHNOLOGIES: THE DEVELOPMENT OF DIGITAL VIDEO FILMMAKING IN WEST AFRICA S. BENAGR Ph.D 2012 UNIVERSITY OF BEDFORDSHIRE CINEMA AND NEW TECHNOLOGIES: THE DEVELOPMENT OF DIGITAL VIDEO FILMMAKING IN WEST AFRICA by S. BENAGR A thesis submitted to the University of Bedfordshire in partial fulfilment of the requirements for the degree of Doctor of Philosophy February 2012 2 Table of Contents LIST OF TABLES .................................................................................................. 5 LIST OF FIGURES ................................................................................................ 6 ACKNOWLEDGEMENT ...................................................................................... 7 DEDICATION: ....................................................................................................... 8 LIST OF ABBREVIATIONS AND ACRONYMS ................................................ 9 ABSTRACT .......................................................................................................... 13 Chapter One: INTRODUCTION .......................................................................... 14 1.1 Key Questions of the Research ................................................................... 14 1.2 Methodologies ............................................................................................. 21 1.3 Context: Ghana and Burkina Faso .............................................................. 28 1.4 Context: Development of Film Cultures .................................................... -
BULLETIN for FILM and VIDEO INFORMATION Vol. 2,No.3
HudochOneWorld, !nn 13AoadiaRU . .0!d8moowioh .CT8G87U 1975'70 ILM AND VIDEO INFORMATION feature film catalogue available . Wd, il, No . 3, May 1975 Independent Filmmakers' Cooperative . 2026 OOntario E., Montreal 133, Quebec, Canada (514) 523-2816 . 1972-73 catalogue is available listing over Editor : HolUo Melton ; Publisher: Anthology Film Archives ! 3K Alms, and a upplemerit to We min catalogue has been published. The subscription : ! Address: DOWouoterS1, New York, N1 10012 . Yearly 85 coopera0e now distributes close to 500 films by independent film-makers . Insight Exchange, P 0 @ux42584SonFmnciouo CA 94101 )021-2713. buUstniu0oserve theiWunnuUonneeds nf The ofthis "We currently seeking ewfilms undvideo inuurmajor categories : mental and their users . The bulletin is organized around five film-and video-makers health, women, community urUmnizing ."Sponsor film-discussion series, of 0m and video: film-and video-making ; distribution ; exhibition and aspects "Women Emorying"Write forfree brochures ondflyers. programming ; study; and preservation . Your suggestions and comments will welcomed . be Mu0Media Resource Center, 540Powo!St . .8anFrancisco, CA041U0 . Has catalogue supplement available of 1Smmfilms andvideocassettes on human sexuality. Now Line Cinema, 8 16th Floor, N.Y, N.Y . 10003 (212) 2DBrentwood Rd D Shore, NY 11706 Cum Wealth Alternate School . 674-7460 . Has new catalogue available . (516) 587-8398 . A new theater group, The Hamlet Collective, ''comprised of directors, dancers, painters, photographers, actors, musicians, playwrights, Polymorph Films . 331 NewburySt .jBoston, 02115(b17)202-5Q0U . artists who might wish to partici- video artists . We welcome film and video ''Films about families and living .'' Write or call for catalogue. pate in our growth .'' For information call or write Ned Bobkoff at the above Work! Class Films. -
1 WELCOME to the NEW WORLD of DISTRIBUTION by Peter Broderick
WELCOME TO THE NEW WORLD OF DISTRIBUTION By Peter Broderick (First appeared in indieWIRE, September 16 & 17, 2008) Welcome to the New World of Distribution. Many filmmakers are emigrating from the Old World, where they have little chance of succeeding. They are attracted by unprecedented opportunities and the freedom to shape their own destiny. Life in the New World requires them to work harder, be more tenacious, and take more risks. There are daunting challenges and no guarantees of success. But this hasn’t stopped more and more intrepid filmmakers from exploring uncharted territory and staking claims. Before the discovery of the New World, the Old World of Distribution reigned supreme. It is a hierarchical realm where filmmakers must petition the powers that be to grant them distribution. Independents who are able to make overall deals are required to give distributors total control of the marketing and distribution of their films. The terms of these deals have gotten worse and few filmmakers end up satisfied. All is not well for companies and filmmakers in what I call the Old World of Distribution. At Film Independent’s Film Financing Conference, Mark Gill vividly described “the ways the independent film business is in trouble” in his widely read and discussed keynote. Mark listed the companies and divisions that have been shut down or are teetering on the brink of bankruptcy, noted that five others are in “serious financial peril,” and said that ten independent film financiers may soon “exit the business.” Mark made a persuasive case that “the sky really is falling… because the accumulation of bad news is kind of awe-inspiring.” While he doesn’t 1 expect that the sky will “hit the ground everywhere,” he warned “it will feel like we just survived a medieval plague. -
Department of Film and Video Archive
Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers. -
Les Differents Programmes De La Retrospective Warren Sonbert Warren Sonbert Retrospective Touring Programs
LES DIFFERENTS PROGRAMMES DE LA RETROSPECTIVE WARREN SONBERT ORGANISÉE PAR LIGHT CONE (PARIS) & GARTENBERG MEDIA ENTERPRISES (NEW YORK) Copies : Light Cone, Paris Textes des programmes rédigés par Jon Gartenberg, Commissaire © Light Cone / Gartenberg Media WARREN SONBERT RETROSPECTIVE TOURING PROGRAMS ORGANIZED BY LIGHT CONE (PARIS) & GARTENBERG MEDIA ENTERPRISES (NEW YORK) Film prints courtesy of Light Cone, Paris Program Notes by Jon Gartenberg, Curator © Light Cone / Gartenberg Media 1. 1. IDENTITE QUEER QUEER IDENTITY AMPHETAMINE AMPHETAMINE Warren Sonbert and Wendy Appel. Warren Sonbert and Wendy Appel. 1966, n&b, sonore, 10 min. 1966, B/W, sound, 10 min. NOBLESSE OBLIGE NOBLESSE OBLIGE 1981, couleur, silencieux, 25 min. 1981, color, silent, 25 min. WHIPLASH WHIPLASH Achevé de manière posthume en 1997. Completed posthumously in 1997. Montage de Jeff Scher. Restoration editor: Jeff Scher. 1995, couleur, sonore, 20 min. 1995, color, sound, 20 min. Le programme se poursuit avec Noblesse The program continues with Noblesse Oblige, Oblige, une œuvre au montage magistral qui a masterfully edited work that features ima- offre des images des manifestations qui, à San gery Sonbert photographed of protests in San Francisco, avaient suivi les meurtres du Maire Francisco following the murders of Mayor George Moscone et du conseiller municipal George Moscone and Councilman Harvey Harvey Milk par Dan White. Sonbert a modelé Milk at the hands of Dan White. (Sonbert la structure de ce film sur La Ronde de l’aube modeled the structure of this film on Douglas de Douglas Sirk. Le programme s’achève avec Sirk’s Tarnished Angels). The program culmi- Whiplash, la méditation élégiaque de Sonbert nates with Whiplash, his elegiac meditation on sur sa propre mortalité, un film qui sera achevé his own mortality, a film that was completed après son décès mais selon ses instructions. -
Experimental Film
source guides experimental film National Library experimental film 16 + Source Guide contents THE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARKS FACILITY INFORMATION GUIDE STATEMENT . .i BFI NATIONAL LIBRARY . .ii ACCESSING RESEARCH MATERIALS . .iii APPROACHES TO RESEARCH, by Samantha Bakhurst . .iv INTRODUCTION . .1 GENERAL REFERENCES . .1 FOCUS ON: DEREK JARMAN . .4 CHRIS MARKER . .6 MARGARET TAIT . .10 CASE STUDIES: ANGER, BRAKHAGE, AND WARHOL . .12 KENNETH ANGER . .13 STAN BRAKHAGE . .17 ANDY WARHOL . .23 Compiled by: Christophe Dupin Stephen Gordon Ayesha Khan Peter Todd Design/Layout: Ian O’Sullivan Project Manager: David Sharp © 2004 BFI National Library, 21 Stephen Street, London W1T 1LN 16+ MEDIA STUDIES INFORMATION GUIDE STATEMENT “Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”. BFI National Library i BFI National Library All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library BFI National Library Reading Room Opening Hours: Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel. -
Hollis Frampton Filming Sections of Magellan at U.S. Steel Company
Hollis Frampton filming sections of Magellan at U.S. Steel Company, Pittsburgh, 1974. Photo: Mike Chikiris. Courtesy Anthology Film Archives. Hidden Noise: Strategies of Sound Montage in the Films of Hollis Frampton* MELISSA RAGONA The seductive equation made between silence and the sublime in avant-garde art practices reaches back as far as Ferruccio Busoni’s Sketch of a New Esthetic of Music (1911), in which the Italian composer pointed to the moment of holds and rests in music as constituting the most profound and “essential nature of art.” In a sense, silence for the historical avant-garde was something that could reveal that which was hidden or—to borrow from Heidegger—yet to be unconcealed. In keeping with this model, Marcel Duchamp’s “assisted ready-made” With Hidden Noise (1916)—a ball of twine, bolted between two metal plates, containing an unknown object added by Walter Arensberg—was one of the first turns toward what Douglas Kahn has called the shift from the site of “utterance to that of audition.”1 This shift would mark language’s entrance into Conceptual art practices. By concealing both the sound source and the preparatory notes that culmi- nated in a particular kind of “noise,” Duchamp’s enigmatic sculpture already pointed to crucial questions—of “signature,” “composition,” and “performance”— that informed the historical avant-garde’s turning away from purely object-based works toward eventlike forms. In the postwar era, John Cage’s 4’33” (1952) made “hidden” silence the explicit content of the work. Cage’s replacement of pitch with duration as a structuring principle shifted the emphasis from musical composi- tion onto sound space.