July 2016 Tamarack Hall
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Racing Extinction
Racing Extinction Directed by Academy Award® winner Louie Psihoyos And the team behind THE COVE RACING EXTINCTION will have a worldwide broadcast premiere on The Discovery Channel December 2nd. Publicity Materials Are Available at: www.racingextinction.com Running Time: 94 minutes Press Contacts: Discovery Channel: Sunshine Sachs Jackie Lamaj NY/LA/National Office: 212.548.5607 Office: 212.691.2800 Email: [email protected] Tiffany Malloy Email: [email protected] Jacque Seaman Vulcan Productions: Email: [email protected] Julia Pacetti Office: 718.399.0400 Email: [email protected] 1 RACING EXTINCTION Synopsis Short Synopsis Oscar®-winning director Louie Psihoyos (THE COVE) assembles a team of artists and activists on an undercover operation to expose the hidden world of endangered species and the race to protect them against mass extinction. Spanning the globe to infiltrate the world’s most dangerous black markets and using high tech tactics to document the link between carbon emissions and species extinction, RACING EXTINCTION reveals stunning, never-before seen images that truly change the way we see the world. Long Synopsis Scientists predict that humanity’s footprint on the planet may cause the loss of 50% of all species by the end of the century. They believe we have entered the sixth major extinction in Earth’s history, following the fifth great extinction which took out the dinosaurs. Our era is called the Anthropocene, or “Age of Man,” because evidence shows that humanity has sparked a cataclysmic change of the world’s natural environment and animal life. Yet, we are the only ones who can stop the change we have created. -
Download A\J Documentary Reviews
Going, Going … It’s impossible to properly describe The film also captures the largest glacial the sight of Alaska’s Columbia glacier calving event ever caught on tape – a Lower Chasing Ice, directed by Jeff Orlowski, retreating four kilometers in three years. Manhattan-sized hunk of ice collapsing in United States: Exposure LLC, 2012, In this sense, the film completely real- a frozen sea. 75 minutes. izes Balog’s gut-wrenching, spellbinding In one of many candid scenes, Balog Reviewed by Eric Rumble vision: to communicate our situation visu- talks about the “tension between the huge his quietly jarring documentary about ally, like no words or hockey stick graph enduring power of these glaciers, and their TNational Geographic photographer ever could. Director Orlowski adds other fragility.” His hope is that Chasing Ice’s James Balog’s work explores the challenge practical and understated material, prob- imagery will move the rest of us enough of bringing climate change into focus. In ing the cryoconite holes that melt giant ice to embrace a solution. search of a seductive, meaningful display sheets, rappelling into spectacular moulins Eric Rumble is editor of Alternatives. and panning vast landscapes with Balog’s The top photo is by James Balog, © 2009 James Balog/ of global warming’s impact, Balog realized Extreme Ice Survey; the photo of Balog is by Tad Pfeffer “the story is in the ice, somehow,” and created crew in view to convey the daunting scale. © 2007 Extreme Ice Survey. the Extreme Ice Survey (extremeicesurvey.org) in 2005. He launched the project with a small team, who built two dozen automated cam- Chasing Ice will be released in era rigs to endure Arctic punishment, and selected theatres later this fall. -
Chasing Coral
2019 IMPACT CASE STUDY: CHASING CORAL Exposing the indisputable and tragic death of coral reefs Galvanizing the climate movement and reaching beyond the choir Photo: New Cal Panorama 04 - March 2016 © The Ocean Agency / Richard Vevers 2 Chasing Coral | The Film 3 Chasing Coral is an Exposure Labs production, directed by Jeff Orlowski and produced by Larissa Rhodes. It tells the story of a team of divers, photographers, and scientists who set out on a thrilling ocean adventure to discover why coral reefs around the world are vanishing at an unprecedented rate. The film, for the first time, shows time-lapse THE FILM footage of the terrifying phenomenon. Coral reefs are home to a quarter camera designers, and renowned of all marine species, a remarkable marine biologists, the story unfolds ecosystem that sustains our as they invent the first time-lapse existence. Yet with carbon emissions cameras to record bleaching events warming the seas, a phenomenon as they happen. Unfortunately, called “coral bleaching”—a sign of the effort is anything but simple, mass coral death—has been and the team must doggedly battle accelerating around the world, and technical malfunctions and the the public has no idea of the scale forces of nature in pursuit of their or implication of the catastrophe golden fleece: documenting the silently raging underwater. indisputable and tragic transformation below the waves. Told through the collective will and wisdom of an ad man, a self- With its breathtaking photography, proclaimed coral nerd, top-notch nail-biting suspense, and startling emotion, Chasing Coral is a dramatic revelation that won’t have audiences With its breathtaking photography, sitting idle for long. -
Chasing Ice – a Documentary
Chasing Ice – a documentary James Balog Review by JZ Murdock – Part I [The original for this article was for PerihelionSF.com] THE MULTIPLE AWARD WINNING documentary, “Chasing Ice” explores a topic so massive that many people cannot realistically grasp its significance. It is, after all, much easier to stick one’s head in the sand and deny its existence. Noted photographer James Balog and his Extreme Ice Survey (EIS) team have attempted to get those people to pull their heads out and to explain to the rest of us just what is happening to our world, using facts and hauntingly beautiful imagery. Difficult subjects are always easier to understand when they involve pretty pictures. “Chasing Ice” artfully uses the imagery of our planet’s disappearing glaciers like a velvet sledgehammer to drive that reality home. Balog’s filmic poem to the devastation that we are undeniably heading into is directed and produced by Jeff Orlowski, and beautifully edited by Davis Coombe. The film first reminds us of the storms that have flooded Texas and the Gulf waters, events all the more poignant after the devastations of Katrina and “superstorm” Sandy. Articles in recent years in magazines like “Scientific American” have regularly pointed out that although we may not see increases in the numbers of storms, we will surely see a rise in their size and power. These destructive weather patterns are not going away and we will be paying attention to them whether we want to believe in them or not. Melting glaciers are a major element in those changes. -
Impact Campaigns, Summarised in Impact Reports Which Are Published on Our Website
@britdoc britdoc.org 2 The Art of Impact. STORIES CAN CONQUER FEAR, YOU KNOW. THEY CAN MAKE BEN OKRI POET THE HEART LARGER. 04 The Art of Impact. The Impact of Art. 05 OUR ABOUT FUNDS OUR BRITDOC p34 p06 FILMS p40 Helping good films be great Engaging new HELLO partners GOOD PITCH p82 IMPACT Sharing our FIELD GUIDE learning p124 We are a nonprofit, founded in 2005, committed to enabling great Building new documentary films and connecting audiences them to audiences. Doing and measuring Based in London and New York, we work with filmmakers and partners globally, reaching IMPACT DOC audiences all over the world. AWARD ACADEMY p118 p94 In this book you can find out SOMETHING more about what we do and IMPACT REAL how it fits into our five DISTRIBUTION p102 interconnected strategic areas. p106 06 The Art of Impact. The Impact of Art. 07 “For many years, BRITDOC has spotted and supported the most urgent projects – OUR MISSION OUR DRIVING PRINCIPLE nurturing them with love, ensuring they make a difference. But gradually We befriend great filmmakers, Great documentaries enrich BRITDOC became more support great films, broker the lives of individuals. They than a fund. It is, by now, new partnerships, build have a unique ability to the forum for our most important conversations new business models, share engage and connect people, in nonfiction cinema.” knowledge and develop transform communities and Joshua Oppenheimer Director audiences globally. improve societies. “ BRITDOC are experts in We aim to lead by example — That’s why we are dedicated collaboration, innovation and rapid prototyping.” innovate, share and be copied, to the Impact of Art, and the Cara Mertes and innovate again. -
Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE -
Mapping the Landscape of Social Impact Entertainment
Bonnie Abaunza Neal Baer Diana Barrett Peter Bisanz Dustin Lance Black Johanna Blakley Caty Borum Chattoo Don Cheadle Wendy Cohen Nonny de la Peña Leonardo DiCaprio Geralyn Dreyfous Kathy Eldon Eve Ensler Oskar Eustis Mapping the landscape of Shirley Jo Finney social impact entertainment Beadie Finzi Terry George Holly Gordon Sandy Herz Reginald Hudlin Darnell Hunt Shamil Idriss Tabitha Jackson Miura Kite Michelle Kydd Lee Anthony Leiserowitz David Linde Tom McCarthy Cara Mertes Sean Metzger Pat Mitchell Shabnam Mogharabi Joshua Oppenheimer Elise Pearlstein Richard Ray Perez Gina Prince-Bythewood Ana-Christina Ramón James Redford Liba Wenig Rubenstein Edward Schiappa Cathy Schulman Teri Schwartz Ellen Scott Jess Search Fisher Stevens Carole Tomko Natalie Tran Amy Eldon Turteltaub Gus Van Sant Rainn Wilson Samantha Wright Welcome to the test — a major university research SIE’s work to date: the most effective Welcome center focused on the power of strategies for driving impact through entertainment and performing arts to storytelling; the question of when, inspire social impact. The structure of within the creative process, impact Note this new center would be built upon three should first be considered; the key role pillars: research, education and special of research to explore, contextualize initiatives, and public engagement, and help define the field; and the programming and exhibition. importance of partnering with the right allies across the entertainment At the time, there wasn’t a university and performing arts industries for new model fully focused on this topic that ideas, special projects and initiatives. I could draw upon for information as the field was in its infancy. -
Visual Rhetoric in Environmental Documentaries
VISUAL RHETORIC IN ENVIRONMENTAL DOCUMENTARIES by Claire Ahn BEd The University of Alberta, 2002 MEd The University of British Columbia, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Language and Literacy Education) THE UNIVERSITY OF BRITISH COLUMBIA (VANCOUVER) June 2018 © Claire Ahn, 2018 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Visual rhetoric in environmental documentaries submitted by Claire Ahn in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Faculty of Education, Department of Language and Literacy Education Examining Committee: Teresa Dobson, Department of Language and Literacy Education Co-supervisor Kedrick James, Department of Language and Literacy Education Co-supervisor Carl Leggo, Department of Language and Literacy Education Supervisory Committee Member Margaret Early, Department of Language and Literacy Education University Examiner Michael Marker, Department of Educational Studies University Examiner ii Abstract Environmental issues are a growing, global concern. UNESCO (1997) notes the significant role media has in appealing to audiences to act in sustainable ways. Cox (2013) specifically remarks upon the powerful role images play in how viewers can perceive the environment. As we contemplate how best to engage people in reflecting on what it means to live in a sustainable fashion, it is important that we consider the merits of particular rhetorical modes in environmental communication and how those approaches may engender concern or hopelessness, engagement or disengagement. One form of environmental communication that relies heavily on images, and that is growing in popularity, is documentary film. -
CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017 (2-20-17)
! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members. -
Run Time: 96 Minutes
Run Time: 96 minutes Press Contacts: National Geographic Cinetic Marketing Chris Albert Emilie Spiegel 310.880.1250 212.204.7979 [email protected] [email protected] Kristin Montalbano MPRM 202.912.3244 Shelby Kimlick [email protected] 323.933.3399 [email protected] Synopsis From Academy Award®-winning filmmaker Fisher Stevens and Academy Award-winning actor, environmental activist and U.N. Messenger of Peace Leonardo DiCaprio, Before the Flood presents a riveting account of the dramatic changes now occurring around the world due to climate change, as well as the actions we as individuals and as a society can take to prevent catastrophic disruption of life on our planet. The film follows DiCaprio as he travels to five continents and the Arctic speaking to scientists, world leaders, activists and local residents to gain a deeper understanding of this complex issue and investigate concrete solutions to the most pressing environmental challenge of our time. About the Production In the late winter of 2014, Leonardo DiCaprio called actor and documentarian Fisher Stevens with an idea: he wanted to collaborate on a documentary that would explore the causes and effects of climate change around the world, and the urgent need to transition away from using fossil fuels — and he wanted to get started right away. “Time is not a luxury we have,” said DiCaprio. “Our natural world is quickly nearing unprecedented, irreversible and catastrophic change that threatens the very future of humankind. I didn’t want the film to scare people, or present them with statistics and facts that they already know, but to focus on what can and must be done immediately so that we can leave our planet a livable home for future generations. -
Chasing Ice January 2013
MAGAZINE CHASING ICE JANUARY 2013... “UnhesitatinglyTheRexisthebestcinemaIhaveeverseen…” (SundayTimes2012) “possiblyBritain’smostbeautifulcinema...”(BBC) JANUARY 2013 Issue 94 www.therexberkhamsted.com 01442 877759 Mon-Sat 10.30-6pm Sun 4.30-5.30pm To advertise email [email protected] INTRODUCTION Gallery 4-6 BEST IN JANUARY January Evenings 11 Coming Soon 25 January Films at a glance 25 January Matinees 27 Rants and Pants 44-45 SEAT PRICES (+ REX DONATION £1.00) Circle £8.00+1 Concessions £6.50+1 At Table £10.00+1 Concessions £8.50+1 Royal Box (seats 6) £12.00+1 or for the Box £66.00+1 The Hunt All matinees £5, £6.50, £10 (box) +1 Rumour can kill but hell is other people... BOX OFFICE: 01442 877759 Wed 23/Thu 24 7.30. Denmark 2012 Mon to Sat 10.30 – 6.00 Sun 4.30 – 6.30 FILMS OF THE MONTH Disabled and flat access: through the gate on High Street (right of apartments) Some of the girls and boys you see at the Box Office and Bar: Dayna Archer Ellen Manners Julia Childs Liam Parker Ally Clifton Amberly Rose Kitty Clucas Georgia Rose Nicola Darvell Sid Sagar Ashley Davis Alex Stephenson Romy Davis Liam Stephenson Alice Fishman Tina Thorpe Karina Gale Amy Tobin Ollie Gower Jordan Turner Lawrence of Arabia Elizabeth Hannaway Bethanné Wallman Exquisite: nothing like it before or since Billie Hendry-Hughes W. James Wallman Sun 13 4.30. UK 1962 Abigail Kellett Jack Whiting Amelia Kellett Olivia Wilson Lydia Kellett Roz Wilson Tatjana LeBoff Keymea Yazdanian Emily Main Ushers: Amy, Amy P, Annabel, Becca, Cameron, Ellen W, Ellie, Freya, Hannah, James, Katie, Lizzie, Luke, Meg, Patrick, Sophie, Zoe Sally Rowbotham In charge Alun Rees Chief projectionist (ret’d) Jon Waugh Projectionist Anna Shepherd Projectionist & writer Martin Coffill Projectionist Tu Seras Mon Fils Jacquie Rose Chief Admin Oliver Hicks Best Boy (ret’d) Father and son fight over vineyard.. -
This Is an Accepted Manuscript of a Book Chapter Published in DVD, Blu-Ray and Beyond in 2017 Available Online
This is an Accepted Manuscript of a book chapter published in DVD, Blu-ray and Beyond in 2017 available online: https://www.palgrave.com/gb/book/9783319627571 The Rise of the Feature Documentary – Fact or Fiction? Shane O’Sullivan, Kingston University, UK The last fifteen years have seen the relentless rise of the feature documentary - from four titles released in UK cinemas in 2001 to one hundred and seventeen in 2015. Since Michael Moore’s muckraking polemics Bowling for Columbine (2002) and Fahrenheit 9/11 (2004) made a compelling case for documentary’s place on the big screen, Asif Kapadia’s success with archive-driven biopics of Senna (2010) and Amy (2015) has shown how strongly sport and music documentaries can perform at the UK box office. But without a ‘name’ director, star or subject, most documentaries struggle theatrically - a short platform cinema release provides the oxygen of press reviews and publicity to drive DVD and video on demand (VOD) sales in an increasingly saturated market.1 This chapter analyses key trends in documentary distribution since Michael Moore prised open cinema doors to nonfiction film in the early noughties, charting the rise of Dogwoof, the UK’s leading documentary distributor; the mechanics of documentary distribution and the strategies used to engage new audiences for documentary beyond its niche market; and the emergence of the Picturehouse chain as a powerful force in the fast-changing landscape of documentary distribution, where screen space is increasingly squeezed and releases are increasingly event-driven. In the literature on film distribution, Bloore (2009) and Finney (2010, 2014) apply Porter’s concept of the “value chain” (1985) to the independent film and the international film business.