Short Animated Documentary

Total Page:16

File Type:pdf, Size:1020Kb

Short Animated Documentary Runtime: 10 minutes / Language: English / Genre: Short Animated Documentary Publicity: Adam Segal / The 2050 Group / 212.642.4317 / [email protected] Lotte that Silhouette Girl, Directed by Elizabeth Beecherl and Carla Patullo / [email protected] / 310.779.1762 LOGLINE (25 words): Once a small girl, from Berlin, hailed from the shadows, a light from within. ALTERNATE LOGLINE (25 words): Once upon a time, long before Disney and other animation giants, Lotte Reiniger ignited the screen with shadows, light, and a pair of magical scissors. SHORT SYNOPSIS (59 words): Before Walt Disney, there was a trailblazing woman at the vanguard of animation. Influenced by folktales and legends, Lotte Reiniger was a tour de force of creativity and innovation: she invented the multiplane camera and created the oldest surviving animated feature. This stunning film explores the life and times of a woman who is finally being given her due. LONG SYNOPSIS (185 words): Once upon a time, long before Disney and the other animation giants, Lotte Reiniger ignited the screen with shadows, light, and a pair of magical scissors. And so with music, magic, and a stirring narration by Lotte herself, LOTTE THAT SILHOUETTE GIRL tells the largely unknown story of one of animations’ biggest influencers. Her unique style of storytelling and visual contrast inspired many, including modern day filmmakers Henry Selick, Anthony Lucas and many others. Lotte's 1926 film, The Adventures of Prince Achmed is the oldest surviving feature length animation, and she also invented the multi‐plane camera, both of which changed the field of animation forever. And sadly, both feats are often mistakenly credited to Walt Disney. This stunning documentary uses Lotte’s unique silhouette style as it re‐writes history from a new point of view to tell the magical and charming fairy tale that was Lotte Reiniger’s life. It is a visual symphony that will delight audiences with its smart, artful, and romantic animation accompanied by a truly imaginative and emotional musical score as well as the wonderful narration of Lotte’s gravely and thickly accented voice. KEY ACCOLADES: Shortlisted for the 2018 IDA Awards. Nominations to be announced in Nov. 2018 Winner of BEST U.S. SHORT at the American Documentary Film Festival, which qualifies Lotte That Silhouette Girl for the Academy Award for Best Documentary Short Subject in 2019 Selected as one of the Hottest Shorts of Hot Docs 2018 MUSIC + SOUND AWARDS 2018 Finalist for Best Original Composition of a Short Film Score Publicity: Adam Segal / The 2050 Group / 212.642.4317 / [email protected] Lotte that Silhouette Girl, Directed by Elizabeth Beecherl and Carla Patullo / [email protected] / 310.779.1762 DIRECTOR’S STATEMENT: When I first saw one of Lotte Reiniger’s films (it was her 1922 Cinderella), I didn’t immediately realize that she had captured on film one of my favorite experiences. I was just mesmerized, watching in a trance. Much later, after I started making a film about her, I began to understand what drew me in so deeply. It was the experience of listening to folk tales and scary stories around a campfire. It was the moving light, the crackling and popping sounds, and the obscured face and hands of the storyteller moving back and forth out of the darkness and into the light. It’s an ancient artform, and its simplicity works because it ignites our imaginations. Lotte Reiniger’s films do just this. They are magical and beautiful and utterly compelling. So why hadn’t I heard of her? She holds two of the most important achievements in animation; she invented the multiplane camera which was revolutionary for animators, and she created the oldest surviving feature length animation! But these achievements are both often mistakenly credited to Walt Disney because unfortunately, the authors of our history books often skew male and American. So I became a little obsessed with this lady. I kept finding more of her films and bits of information here and there. And then one day, I discovered the most charming interview with Lotte. It was recorded in 1976, and I started a project of mixing musical themes with her voice, and then playing with timing to create a story out of her answers to the interviewer’s questions. A lot more work happened after that, and I couldn’t be happier with the film. One of Lotte’s great old friends, Paul Gelder, said Lotte would have been thrilled with it as well! Which is such a relief to hear because as we made the film, we were constantly asking ourselves what Lotte, our hero in the shadows, would think of it. ‐ Carla Patullo How did you decide you had to make a film about Lotte? CARLA: Years ago, I came across one of Lotte’s silent films, ASCHENPUTTEL. I had no idea who she was, and had never seen her work before. I quickly fell in love with her silhouette ballet style, and I decided to re‐conceptualize the Cinderella story and to write a musical, narrative score to it! Working on Lotte's ASCHENPUTTEL was a wonderful experience‐‐I talked about it with you a couple of years ago. And when I took my version of the film out to a few festivals, I was floored to discover that very few people knew who Lotte was. Not even the animation buffs had heard of her! She invented the multiplane camera and she created the oldest surviving feature length animation and her work is drop‐dead gorgeous. I couldn't understand why she was so unknown. So I had to tell her story. How did you create the animation for this? CARLA: Elizabeth Beecherl, my co‐director, and I decided to create the film in Lotte's style and use Lotte's own puppets to tell her story because it was an homage to her, and we wanted to pack our film with as much of her presence as possible. Elizabeth is an architect, and she built a multiplane camera similar to the one Lotte invented in 1923 while she was making THE ADVENTURES OF PRINCE Publicity: Adam Segal / The 2050 Group / 212.642.4317 / [email protected] Lotte that Silhouette Girl, Directed by Elizabeth Beecherl and Carla Patullo / [email protected] / 310.779.1762 ACHMED. Elizabeth also re‐constructed some of Lotte’s original puppets, and we cast them in the roles of Lotte's life story. So for example, Cinderella plays Lotte as a young woman, Prince Achmed plays her husband Carl Koch, and a cast characters follow Lotte around singing and dancing like the Grasshopper, the Ant, and Romeo and Juliet. We used our 2x4 and glass pane multiplane camera and shot frame by frame to start. After shooting, we brought all the footage into After Effects and added modern elements like camera movement and other visual effects. We also incorporated two scenes with live action silhouette dancers, who morphed into and out of the Romeo and Juliet puppets. How do you think animation has grown since Lotte's day? CARLA: Well, there are many more advancements in digital technology like 3D sculpting, lighting, depth, and so many more effects. I'm a fan of some of these. You can also make simple animations so much more quickly with some of the software available today. But in no way do I think the animations today are more beautiful or compelling than Lotte's original work. She didn't have sound when she started out so her stories are a bit difficult to follow for modern audiences, but her visual compositions and the intricate and realistic movements of her puppets are breathtaking. Sometimes the speed and complexity that we work with today loses a lot of the imagination and magic that can be found in Lotte's films. Will you be turning this into a feature? CARLA: Yes! We are hoping to complete it by the end of this year or early next year. Do you prefer directing or composing? CARLA: Well, looking at the big picture, for me, they both do the same thing. They tell stories. And that is what I really love to do. I don't think I could ever direct a film without music. Music is still my primary passion, but pairing music with a story is even better. When we started working on LOTTE THAT SILHOUETTE GIRL, we started with musical sketches and some archival audio first. We told the story through music and dialogue alone, setting a pace and a rhythm. Lotte's films were like ballets, and we wanted a similar feel in our film about her life. Of course, once the visual was locked, I had to go back and re‐configure all of the music in order to match it with the visual. There was a lot of back and forth‐‐ the process was like a dance itself! You are doing the festival tour now. How are people responding to the film? CARLA: We just premiered at Ann Arbor, and it was incredible! We were so honored to be included in the festival’s lineup, and we received a great reception from the audience. Several people came up to tell us that we should make a longer version, so that's nice to get the encouragement. I think people are moved by Lotte’s story because she is a charming narrator‐‐very honest and thoughtful. She lived through some difficult times, and many of her dreams did not come true, but she still managed to create a magical body of work, and that inspires people. Oh, and we also won Best U.S.
Recommended publications
  • Some Critical Perspectives on Lotte Reiniger William Moritz [1996] 15
    "Animation: Art and Industry" ed. by Maureen Furniss, Indiana University 2Some CriticalPerspectives on Lotte Reiniger SomeCritical Perspectives onLotte Reiniger William Moritz [1996] otte Reiniger was bornin Berlin her first independent animation film, Das on 2June 1899. As a child, she Ornament des verliebten Herzens (Ornament Ldeveloped a facility withcutting of the Loving Heart), in the fall of 1919. paper silhouette figures, which had On the basis of the success of thisfilm, she become a folk-art formamong German got commercial workwith Julius women. As a teenager, she decided to Pinschewer’s advertising filmagency, pursue a career as an actress, and enrolled including an exquisite “reverse” silhouette in Max Reinhardt’s Drama School. She film, Das Geheimnis der Marquise (The began to volunteer as an extra for stage Marquise’s Secret), in which the elegant performances and movie productions, and white figures of eighteenth-century during the long waits between scenes and nobility (urging you to use Nivea skin takes, she would cut silhouette portraitsof cream!) seem like cameo or Wedgwood the stars, which she could sell to help pay images. These advertising films helped her tuition. The great actor-director Paul fund four more animated shorts: Amor und Wegener noticed not only the quality of das standhafte Liebespaar (Cupid and The the silhouettesshe made, but also her Steadfast Lovers, which combined incredible dexterity in cutting: holding the silhouettes with a live actor) in 1920, Hans scissors nearly still in her right hand and Christian Andersen’s Der fliegende Koffer moving the paper deftly in swift gestures (The Flying Suitcase) and Der Stern von thatuncannily formulated a complex Bethlehem (The Star of Bethlehem) in profile.
    [Show full text]
  • Reiniger Research Proposal 10-29-17
    RESURRECTING THE STUDY OF A FORGOTTEN ANIMATOR: A REOPENING OF THE CASE FOR LOTTE REINIGER Emily Rawson Loyola Marymount University Honors Program Abstract This proposal requests funding to access and view a series of historical German films and to purchase materials for the recreation of key sequences of the animated films of Lotte Reiniger, a historical German animator. From this work, two animated films will be made: a short narrative piece and a longer informational film to investigate and interpret Reiniger’s medium and artistic choices in the context of German expressionism. The goal of this work is to recognize Lotte Reiniger’s films as artistic achievements worthy of including Reiniger in academic discussions about contemporary innovative German filmmakers – discussions from which she is currently neglected because her work has been branded as impressive feats of craft rather than film art. Rawson !1 Introduction The profession of filmmaking splits itself between intersectional focuses on developing technology, earning revenue, pursuing art, and reflecting or even influencing the societies in which they are made.1 Recognizing these four distinct motives in making films, film historians can work to understand films both as accomplishments of innovation in the technical craft and as open texts better understood within the contexts of their crafting: the former interpretation requiring that historians master knowledge of the technology available and previous uses of cinematic techniques, and the latter requiring that historians acquaint
    [Show full text]
  • Animating Silhouettes
    BALL STATE UNIVERSITY Animating Silhouettes Honors College Senior Project Leslie West Fall 2007 ~f~ / /-Ie1f "07 , I ., : ,.' Abstract: .~ .. "~', J;tP'l'>' 1"'~"" \ This paper is a~~~fd of my experiences creating an animated movie of silhouettes, based upon the movies of Lotte Reiniger. It includes information about the artist that inspired this project, my processes, and related art forms. 2 ACKNOWLEDGMENTS I would like to thank my advisor, Dr. Michael Prater, for his guidance throughout this project. All of the constructive criticism and suggestions were a very big help throughout the completion of this project. Also, I'd like to say a big thank you for the last few years of support as an academic advisor and professor. I'd also like to extend my thanks to Liz Boehm, Chris Penzenik, and Lauren West, for helping with this paper. I really appreciate the time you spent reviewing and editing with me. Your suggestions made this paper complete. Finally, I'd like to say a thank you again to Lauren West, for being my gopher while I studied abroad. This project was such a big process, and I literally couldn't have done this without you. 3 TABLE OF CONTENTS INSPIRATION: LOTTE REINIGER... ..................... ............ ABOUT THE ARTIST. HER FEA TURE FILM AND HER PROCESS ....... ................ , ............... OTHER SILHOUETTE ARTiSTS.......... .................. ..... ....... ... ......... .. ..... WAYANG-KULlT ........................................................................... HANS CHRISTIAN ANDERSEN .......................................
    [Show full text]
  • Download File
    Lotte Reiniger Lived: June 2, 1899 - June 19, 1981 Worked as: animator, assistant director, co-director, director, film actress, illustrator, screenwriter, special effects Worked In: Canada, Germany, Italy, United Kingdom: England by Frances Guerin, Anke Mebold Lotte Reiniger made over sixty films, of which eleven are considered lost and fifty to have survived. Of the surviving films for which she had full artistic responsibility, eleven were created in the silent period if the three-part Doktor Dolittle (1927-1928) is considered a single film. Reiniger is known to have worked on—or contributed silhouette sequences to—at least another seven films in the silent era, and a further nine in the sound era. Additionally, there is evidence of her involvement in a number of film projects that remained at conceptual or pre-production stages. Reiniger is best known for her pioneering silhouette films, in which paper and cardboard cut-out figures, weighted with lead, and hinged at the joints—the more complex the characters’ narrative role, the larger their range of movements, and therefore, the more hinges for the body—were hand-manipulated from frame to frame and shot via stop motion photography. The figures were placed on an animation table and usually lit from below. In some of her later sound films the figures were lit both from above and below, depending on the desired visual effect. Framed with elaborate backgrounds made from varying layers of translucent paper or colorful acetate foils for color films, Reiniger’s characters were created and animated with exceptional skill and precision. Reiniger’s early films ranged in length from brief shorts of less than 300 feet to Die Abenteuer des Prinzen Achmed/The Adventures of Prince Achmed (1923-1926), a film that is arguably the first full-length animated feature and is thus considered to be among the milestones of cinema history.
    [Show full text]
  • Reiniger's Carmen Cuts Her Own Capers Harriet Margolis
    Shadow and Substance: Reiniger’s Carmen Cuts Her Own Capers Harriet Margolis Lotte Reiniger’s silhouette-animated Carmen (1933) prefigures later cinematic attempts to challenge popular patriarchal narratives by rewriting them in revisionist feminist modes. This chapter traces how Reiniger, a pioneer in animation, reinterprets the Carmen narrative so that Carmen herself takes up the position of subject rather than object of her own story, while the male characters—don José and Escamillo, and even the bull—become the objects of her gaze that can only react to her desire and her control. In this revisionist take on the story, Reiniger provides us with an unusually happy ending to the story, as Carmen and Escamillo ride off together at the end. Reiniger’s reworking is paralleled by the musical accompaniment of Peter Gellhorn. Although Reiniger herself claimed to be apolitical, aiming above all to charm through her animation, the chapter elaborates the different ways in which her Carmen functions as feminist comedy, in which the delicacy of her silhouettes ultimately cannot disguise the strength of a woman to undercut patriarchal values. Animation Female gaze Gellhorn, Peter Music and film Parody Reiniger, Lotte: Carmen Defying the tragic fate that Carmen usually meets, Lotte Reiniger’s Carmen (1933) rewrites her story, ending on a happy and comic note. This time, Carmen literally removes herself into a better situation, her physical strength and dexterity as well as her sexual powers overwhelming the males she encounters, human and bull alike. From a male point of view she may still seem to be a dangerous femme fatale, but since this version is her story as she might tell it, we can forget about don José’s desires.
    [Show full text]
  • March 2, 1978
    IHE IHURSDA y IIEPORT CONCORDIA UNIVERSITY • MONTREAL • VOLUME 1, NUMBER 22 • MARCH 2, 1978 Senate approves,two 'colleges' Concordia Senate voted last Friday to establish a women's institute and a centre for mature students at an approximate cost of $68,000 a year each. Tomorrow (Friday, March 3), Senate is scheduled to meet at 10 am for a day-long session to debate and perhaps vote on the creation of a liberal arts college . and a religious college. The Senate vote recommends that the Concordia Board of Governors adopt the two resolutions which passed with over­ whelming majorities. If the Board passes the two resolutions when it meets 1 pm on March 9 then work can begin on the creation of "small units such as colleges" for this September. At last Friday's meeting, Senate officially received University Provost Robert Wall's report on "small units such More on Soviets at Loyo/,a, p. 4 as colleges". · Senate quickly passed over the Priori­ ties and Resource Allocation Committee Report, when Rector John O'Brien, Senate Resident fees to drop 20°/o chairman, suggested Senators keep the Residence fees will drop by 20% next that the 1977-78 budget was pre ared report in mind when discussing colleges. year as part of a campaign to attract more before he became residence director. Before Senate were proposals for four students to Loyola's Hingston and Langley Concordia residences operate on a "small units such as colleges". Dr. Wall Halls, residence airector David Chanter balanced budget. Operating funds must acted as chief spokesman, with proponents announced last week.
    [Show full text]
  • Lotte Reiniger: the Fairy Tale Films
    Our resources are designed to be used with selected film titles, which are available free for clubs at www.intofilm.org Film guide Lotte Reiniger: The Fairy Tale Films Germany, UK | 1922 - 1954 | Cert. PG | 197 mins Director: Lotte Reiniger Working in the early 20th century, German animator Lotte Reiniger is celebrated for her pioneering paper cut- out silhouette animation technique. In the 1930s she made a series of fairy tale films in this unique style bringing to life favourites like Cinderella, Snow White and Sleeping Beauty. This is a collection of these short tales complete with wonderful soundtracks and charming narration. BFI © (1922) All rights reserved. You will like this film if you liked Talk about it (before the film) Frozen (2013, PG) What is a silhouette? Can you make one with your hands? List the types of characters you expect to find in a fairytale. Talk about it (after the film) • List the fairy tale characters that appear in these films. • Can you describe how the films look? Are they different to other animated films you’ve seen? • What do you notice about how the characters move across the screen? Does this remind you of anything? • How does the voice you hear in the films (called narration) help you Disney © (2013) All rights reserved. understand the story? What does this remind you of? Watch next • What type of ending do all the stories have? Is this surprising? Why? The Adventures of Prince Achmed (1926, PG) • Choose your favourite film. In groups tell each other what message you think your favourite film is giving us.
    [Show full text]
  • Work in Progress
    JANN HAWORTH PROJECT AND ARTISTIC DIRECTOR LIBERTY BLAKE MURAL COLLAGE ARTIST AND DESIGNER LYNN BLODGETT PORTRAIT PHOTOGRAPHER WORK IN PROGRESS Te Brigham Young University Museum of Art presents Work in Progress, a collaborative traveling exhibition that pays tribute to important women who have been catalysts for change, past and present. Artistic Director Jann Haworth, together with collage artist Liberty Blake, asked community members to join in creating stencils of signifcant women who have shaped our history. No stranger to transformative collaborations, Haworth worked with Peter Blake to create the Beatles’ iconic Sgt. Pepper’s Lonely Hearts Club Band album cover in 1967 and later produced the SLC Pepper mural in downtown Salt Lake City in 2004, inviting members of the community to participate in the process. Haworth then began to conceive of a socially relevant and timely mural that would honor the countless achievements of women across disciplines. Driven by a desire to champion the critical successes of these women, Haworth organized a preliminary list. Seeking recommendations from museum visitors, friends, artists, social workers, colleagues, and government representatives, Haworth gradually generated a richly diverse compilation—and then invited local volunteers to make stencils of their personal favorites. Opposite the completed mural in this gallery are portraits of the volunteers taken by acclaimed photographer Lynn Blodgett, suggesting the enduring infuence of these dynamic women on contemporary society. First exhibited at Utah Museum of Contemporary Art in Salt Lake City at the end of 2016, the murals then consisted of 7 panels, spanning 28 ft. in length. Haworth envisions an organic evolution of the project as each successive institution invites its community to add new stencils to the ever-growing mural.
    [Show full text]
  • BFI FILM SALES CATALOGUE CONTENTS 2 4 Introduction
    BFI FILM SALES CATALOGUE CONTENTS 2 4 Introduction 6 Recent Highlights 8 New FIlms 18 Animation 2018 22 Director Highlights 24 Alex Cox 26 Terence Davies’ Trilogy 28 Peter Greenaway 48 Derek Jarman 50 Ron Peck 54 Bill Douglas 56 Constantine Giannaris 76 Patrick Keiller’s Trilogy 86 Humphrey Jennings 34 Post-1960 Features 58 Post-1960 Features 66 Silent Film Restorations 72 Creative Documentaries 78 Documentaries 90 Free Cinema 94 Animation 96 Lotte Reiniger 100 The Quay Brothers 3 INTRODUCTION 4 The British Film Institute (BFI) is the lead body for film in the UK with the ambition to create a flourishing film environment in which innovation, opportunity and creativity can thrive by; connecting audiences to British and world cinema; preserving and restoring the most significant film collection in the world; championing emerging filmmakers; investing in creative and distinctive work; promoting British film and talent; growing the next generation of filmmakers and audiences. As part of the institute’s global mission, BFI Film Sales represents a collection of film and television content for sales and distribution across all media in international and domestic markets. This catalogue presents, in a non-exhaustive manner, the great wealth of titles we act on behalf of. These include works from the BFI Production (1951-2000) back-catalogue, independently represented contemporary and classic films, government film collections and thousands of titles from the BFI National Archive, including restorations of rediscovered masterpieces. The BFI also remain committed to continuing our support of the film and TV industry through clip and still sales, theatrical bookings and touring programmes and our teams are here to provide advice and further details on any titles from the collection.
    [Show full text]
  • March 21 — 25, 2011
    EASTMAN SCHOOL OF Music’s 7TH ANNUAL MARch 21 — 25, 2011 Sylvie Beaudette, Artistic Director Eun Mi Ko, Assistant Director All events are FREE and open to the public Eastman School of Music’s 7th Annual Women in Music Festival in collaboration with: Funding for the Women in Music Festival The Women in Music Festival and Hilary Tann’s residency are sponsored by: The Hanson Institute for American Music at the Eastman School of Music; the Neilly Lecture Series (River Campus Libraries); the Susan B. Anthony Institute for Gender and Women’s Studies; Eastman’s departments of Chamber Music, Composition, and Piano, as well as the All-Events Committee; and the Dean of the Eastman School of Music. A Word from Douglas Lowry, Dean of the Eastman School of Music As it begins its seventh year, Eastman’s Women in Music Festival enjoys increasing and ever-widening success, and continues to highlight the achievements of women in all aspects of music. This is most visible in composition and performance, but women also play vital roles “behind the scenes” in teaching, scholarship, and administration. The work of women, whether well-known, brand-new, or sometimes hidden for centuries, has injected important content and energy into our historical con- sciousness, both at Eastman and in the larger musical world. In the words of our Women in Music Festival director, Sylvie Beaudette: “Eastman graduates are everywhere in the world; they will perform and teach music by women as a matter of course, because the music is good.” For this year’s festival, we welcome a distinguished guest: Hilary Tann, the Welsh- born composer who now teaches at Union College and whose music has been per- formed around the world.
    [Show full text]
  • The Multiple Marginalization of Lotte Reiniger and the Adventures of Prince Achmed (1926)
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 National Identity, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926) K. Vivian Taylor University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons, and the Film and Media Studies Commons Scholar Commons Citation Taylor, K. Vivian, "National Identity, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926)" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3377 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Nationality, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926) by K. Vivian Taylor A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Victor Peppard, Ph.D. Jerry Ball, Ph.D. Date of Approval: March 31, 2011 Keywords: film history, animation studies, Disney myth, Lotte Reiniger, literary adaptation © Copyright 2011, K. Vivian Taylor DEDICATION For Joni Bernbaum and Judi McBride, who taught me that justice doesn't come from a courtroom, but it sure helps. For Margit and Dr. Sipiora, who fought the good fight.
    [Show full text]
  • Emily Rawson the Return of Lotte Reiniger
    Emily Rawson The Return of Lotte Reiniger Project Proposal 21 February 2019 Budget For this project, I request the funding: • $900 for flights to and from London* o I depart from either BWI or Dulles in Maryland (my hometown), to either London Heathrow, or the Dublin airport to catch a connecting flight to London • $150 for three nights’ stay in London** • $450 for viewing films at the British Film Institute and German Film Archives o Both the BFI and Wiesbaden archives charge researchers for screenings of rare films at hourly rates*** • $120 for flight from London to Paris* • $100 for a night in Paris** • $150 for a flight from Paris to Berlin* • $1500 for 11 nights’ stay in Germany** o Those nights will be split amongst various locations • $240 for longer distance trains between major German cities**** o Depending on competitive flight prices, a Eurail global pass might cover long distance travel in Germany, and travel from London to Paris and Paris to Berlin. • $260 for bus and public transit passes in London, Paris and Germany • $100 for museum passes o Museums that require passes include but are not limited to the British Film Institute, Filmmuseum of Dusseldorf, Frankfurt Film Institute, etc • $450 allowance for food (approximately $30 per day) • $240 for 1 year licensing of Adobe Software***** o This software package will give me access to necessary digital programs for collecting and processing photographic and video materials while in Germany, and these programs will also be essential for the crafting of the final film. The final total for this proposal is $4,660.
    [Show full text]