2015 Film Festival Programme
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Birth of Planet Earth Premieres at the Zeiss-Großplanetarium in Berlin
Birth of Planet Earth Premieres at the Zeiss-Großplanetarium in Berlin Berlin, March 2019 – Birth of Planet Earth, a new 24-minute giant screen science documentary for digital fulldome cinemas, had its global premiere at the Zeiss-Großplanetarium in Berlin this month. The film is a co-production of Spitz Creative Media, the Advanced Visualization Lab at the National Center for Supercomputing Applications, and Thomas Lucas Productions, Inc., in association with Tellus Science Museum in Cartersville, Georgia. According to Tim Florian Horn, Director of Zeiss-Großplanetarium: “Birth of Planet Earth looks at the very beginning of our planet and the unique requirements that enabled life to evolve. The new program helps us to develop a better understanding of the history of our very own existence on this pale blue dot we call home. It marks the beginning of a major program initiative focusing on the ‘System Earth’ at Zeiss-Großplanetarium in 2019.” Narrated by Richard Dormer (Game of Thrones, Fortitude) and distributed by Spitz, Inc. and Evans & Sutherland, Birth of Planet Earth is now available for booking by planetariums, museums and educational institutions. Birth of Planet Earth is the latest in a series of collaborations between Spitz, the AVL, and producer/director Thomas Lucas. It joins a library of successful prior collaborations, including Black Holes: The Other Side of Infinity, Dynamic Earth, and Solar Superstorms. According to Director Lucas, “Birth of Planet Earth allows us to successfully fuse high-end animation techniques from the team at Spitz Creative Media with supercomputer-produced scientific visualizations from the AVL.” Dr. Donna Cox, Director of the AVL since 2006, is a pioneer in the use of scientific data as a storytelling tool for television, fulldome, and IMAX documentaries. -
The Speakers and Chairs 2016
WEDNESDAY 24 FESTIVAL AT A GLANCE 09:30-09:45 10:00-11:00 BREAK BREAK 11:45-12:45 BREAK 13:45-14:45 BREAK 15:30-16:30 BREAK 18:00-19:00 19:00-21:30 20:50-21:45 THE SPEAKERS AND CHAIRS 2016 SA The Rolling BT “Feed The 11:00-11:20 11:00-11:45 P Edinburgh 12:45-13:45 P Meet the 14:45-15:30 P Meet the MK London 2012 16:30-17:00 The MacTaggart ITV Opening Night FH People Hills Chorus Beast” Welcome F Revealed: The T Breakout Does… T Breakout Controller: T Creative Diversity Controller: to Rio 2016: SA Margaritas Lecture: Drinks Reception Just Do Nothing Joanna Abeyie David Brindley Craig Doyle Sara Geater Louise Holmes Alison Kirkham Antony Mayfield Craig Orr Peter Salmon Alan Tyler Breakfast Hottest Trends session: An App Taskmaster session: Charlotte Moore, Network Drinks: Jay Hunt, The Superhumans’ and music Shane Smith The Balmoral screening with Thursday 14.20 - 14.55 Wednesday 15:30-16:30 Thursday 15:00-16:00 Thursday 11:00-11:30 Thursday 09:45-10:45 Wednesday 15:30-16:30 Wednesday 12:50-13:40 Thursday 09:45-10:45 Thursday 10:45-11:30 Wednesday 11:45-12:45 The Tinto The Moorfoot/Kilsyth The Fintry The Tinto The Sidlaw The Fintry The Tinto The Sidlaw The Networking Lounge 10:00-11:30 in TV Formats for Success: Why Branded Content BBC A Little Less Channel 4 Struggle For The Edinburgh Hotel talent Q&A The Pentland Digital is Key in – Big Cash but Conversation, Equality Playhouse F Have I Got F Winning in F Confessions of FH Porridge Adam Abramson Dan Brooke Christiana Ebohon-Green Sam Glynne Alex Horne Thursday 11:30-12:30 Anne Mensah Cathy -
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. -
The Role of Irish-Language Film in Irish National Cinema Heather
Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall A Thesis in the PhD Humanities Program Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada August 2012 © Heather Macdougall, 2012 ABSTRACT Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall, Ph.D. Concordia University, 2012 This dissertation investigates the history of film production in the minority language of Irish Gaelic. The objective is to determine what this history reveals about the changing roles of both the national language and national cinema in Ireland. The study of Irish- language film provides an illustrative and significant example of the participation of a minority perspective within a small national cinema. It is also illustrates the potential role of cinema in language maintenance and revitalization. Research is focused on policies and practices of filmmaking, with additional consideration given to film distribution, exhibition, and reception. Furthermore, films are analysed based on the strategies used by filmmakers to integrate the traditional Irish language with the modern medium of film, as well as their motivations for doing so. Research methods included archival work, textual analysis, personal interviews, and review of scholarly, popular, and trade publications. Case studies are offered on three movements in Irish-language film. First, the Irish- language organization Gael Linn produced documentaries in the 1950s and 1960s that promoted a strongly nationalist version of Irish history while also exacerbating the view of Irish as a “private discourse” of nationalism. Second, independent filmmaker Bob Quinn operated in the Irish-speaking area of Connemara in the 1970s; his fiction films from that era situated the regional affiliations of the language within the national context. -
British Isles
FILMS FROM THE BRITISH ISLES BRITISHBRITISH FILM FESTIVAL 2015 FESTIVAL PROGRAMME BRITISHFILMFESTIVAL.COM.AU FESTIVAL SPONSORS CONTENTS OPENING NIGHT Youth .................................................................................................................6 PRINCIPAL SPONSOR CLOSING NIGHT The Man Who Knew Infinity ............................................................7 45 Years ..........................................................................................................9 Absolutely Anything .............................................................................11 Bill ........................................................................................................................12 Brooklyn .........................................................................................................13 Dare To Be Wild ........................................................................................14 Dark Horse: The Incredible True Story Of Dream Alliance ...................15 Elstree 1976 ..................................................................................................16 Filmed In Supermarionation ...........................................................17 Get Santa .......................................................................................................18 How To Make Love Like An Englishman................................20 MAJOR SPONSORS Kajaki: Kilo Two Bravo .........................................................................21 Kill Your Friends .......................................................................................22 -
The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8. -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland. -
TV Presenter Gloria Hunniford
‘People think I’m laid-back but I’m impatient. I’d drive on the hard shoulder in a jam if I could get away with it’ DEFINITE The happiest moment you will cher- ish forever… Being at the births of Caron’s boys Charlie and Gabriel, and Paul’s son Jake. The saddest time that shook your world… Without question, Caron’s ARTICLE death. To lose your child is the worst We ask a celebrity a set of devilishly thing that can happen to a parent. I think probing questions – and only accept about her hundreds of times a day. The unfulfilled ambition that contin- THE definitive answer. This week ues to haunt you… To become super- fit. There’s always an excuse not to. it’s TV presenter Gloria Hunniford The philosophy that underpins your The prized possession you value The priority activity if you were the life… Helping is part of my healing above all others… My 12 albums and Invisible Woman for a day… I’d reset the and I do this through the Caron Keat- drawers full of old family photos. computers that regulate London’s traf- ing Foundation, which supports people They’re the keys to my precious fic lights. So many are timed badly and suffering from all forms of cancer. memories and are irreplaceable. cause unnecessary hold-ups. The order of service at your funeral… The biggest regret you wish you could The pet hate that makes I want a big send-off with everyone amend… Never learning to play the your hackles rise… welcome at St Peter’s Church in Hever, piano. -
Section 1: the Irish Jewish Communities and the Jewish Home
Section 1: The Irish Jewish Communities and the Jewish Home Websites Jewish Ireland: Information on the history, development, beliefs and practices of the Jewish community in Ireland with links to the Jewish communities in Ireland http://www.jewishireland.org/ Website of the Jewish Community, Belfast http://www.jewishbelfast.com/ Website of the Jewish Community, Cork http://www.corkhebrewcongregation.com Website of Liberal Judaism in England, Scotland and the Republic of Ireland http://www.liberaljudaism.org/communities-rabbis.html Jewish Communities and Records of Jews in Ireland (has not been updated since 2006/2007 but gives some contacts and details of synagogues either extant or non- functioning in Ireland. http://www.jewishgen.org/jcr-uk/ireland/dublin.htm Jewish Links Page which gives information on contemporary events, online magazines, and newspapers of some Jewish communities internationally. This could be a useful resource for the first section of the syllabus. www.jewishlink.net/news papers.html Ireland’s Other Diaspora: Jewish-Irish Within/Irish-Jewish Without from the European Jewish Magazine Golem The author, Ronit Lentin, is the Head of the Sociology Department and course coordinator of the M Phil in Race, Ethnicity and Conflict in Trinity College, Dublin. She was coordinator of the Global Networks project in the Institute for International Integration Studies (IIIS), and member of the Trinity Immigration Initiative research programme, where she focused on migrant-led activism. She was born in Haifa, Palestine, and grew -
For Sale/To Let
Instinctive Excellence in Property. For Sale/To Let Impressive Mixed Use Development Units ranging from 900sq ft to 3,300 sq ft 6 no. Shop Units Available Whitehall Square Sandy Row/Donegall Road Belfast BT12 5EU RETAIL/OFFICE For Sale/To Let Location The subject retail units are located on the busy Donegall Road, at the junction of Sandy Row. The units are located in Whitehall Square, which is a mixed use development consisting of apartments Retail/Office Premises and retail units. Whitehall Square Description Sandy Row/Donegall Road Belfast Ground floor retail units are completed to shell specification. They will be handed over to include electric roller shutters and polyester coated aluminium framed glazed shop front with main BT12 5EU services brought to a distribution point. Units are suitable for a variety of uses such as CTN, hairdressers, beauty salon or office space (subject to any necessary planning consent). RETAIL/OFFICE Accommodation Unit Sq Ft Sq M Price EPC—C53 Unit 1 1,329 124 £75,000 Unit 2 990 92 £60,000 Unit 3A 897 83 £55,000 Unit 3B 897 83 £55,000 Units 4 & 5 3,302 307 £185,000 Lease Terms Term: Negotiable CHRIS SWEENEY Repairs/Insurance: Full repairing and insuring basis. M: 07931 422 381 [email protected] Tenure Osborne King We assume that the property is held in Freehold or Long Leasehold, subject to a The Metro Building nominal ground rent. 6-9 Donegall Square South Belfast, BT1 5JA T: 028 9027 0000 VAT E: [email protected] All prices, rentals and outgoings are quoted exclusive of, but may be liable to VAT. -
OSBORNE KING PROPERTY AUCTION FRIDAY 29 NOVEMBER 2013 11Am at the Olympic Suite
PROPERTIES GOING UNDER THE HAMMER OSBORNE KING PROPERTY AUCTION FRIDAY 29 NOVEMBER 2013 11am at the Olympic Suite, Holiday Inn, Ormeau Avenue, 29 NOVEMBER 2013 PROPERTY AUCTION Belfast BT2 8HS INSTINCTIVE EXCELLENCE IN PROPERTY WWW.OSBORNEKING.COM/AUCTION OSBORNE KING DOES NOT CHARGE A BUYER’S PREMIUM OR ADMINISTRATION FEE AUCTION VENUE / CONTACTS A SALE OF COMMERCIAL, RESIDENTIAL PROPERTIES, INVESTMENTS, LAND AND DEVELOPMENT OPPORTUNITIES (UNLESS PREVIOUSLY SOLD OR WITHDRAWN) ON BEHALF OF OUR CLIENTS: RECEIVERS, ADMINISTRATORS, MORTGAGEES, FINANCIAL INSTITUTIONS, PRIVATE CLIENTS AND OTHER. The Auction will take place on Friday, 29 November 2013, at 11am at the Olympic Suite, Holiday Inn, Ormeau Avenue, Belfast BT2 8HS | | | | | | | | | TO CITY | | AIRPORT | | | | | | | | | | || CITY CENTRE | || | | | | | | QUEEN’S BRIDGE| | | | | | | | | DONEGALL SQUARE | WESTLINK | | | CITY HALL | WATERFRONT | | | MAY STREET HALL | HOWARD STREET | | ADELAIDE ST | LINENHALL ST BEDFORD ST GT VICTORIA ST | EAST BRIDGE STREET| | | | | | OPERA CENTRAL | Y | A | HOUSE STATION | W | R | AUCTION ENQUIRIES TO | O | M | | 1 | M ORMEAU AVENUE | For all enquiries about any of the CROMAC STREET | || | || | | | || | properties within the catalogue, | | | GREAT | | | | | | | bidding at auction or to submit a VICTORIA | | | | | | STREET | | | | property for our next auction please | | STATION | | | | | | | | | contact any of the Auction Team. | | | | | | | | | | | | | | | | | | | | | | Telephone 028 9027 0000 | | | | | | | | | DUBLIN ROAD | | | | | | | | | | | | www.osborneking.com/auction -
The Production of Religious Broadcasting: the Case of The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository The Production of Religious Broadcasting: The Case of the BBC Caitriona Noonan A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Centre for Cultural Policy Research Department of Theatre, Film and Television University of Glasgow Glasgow G12 8QQ December 2008 © Caitriona Noonan, 2008 Abstract This thesis examines the way in which media professionals negotiate the occupational challenges related to television and radio production. It has used the subject of religion and its treatment within the BBC as a microcosm to unpack some of the dilemmas of contemporary broadcasting. In recent years religious programmes have evolved in both form and content leading to what some observers claim is a “renaissance” in religious broadcasting. However, any claims of a renaissance have to be balanced against the complex institutional and commercial constraints that challenge its long-term viability. This research finds that despite the BBC’s public commitment to covering a religious brief, producers in this style of programming are subject to many of the same competitive forces as those in other areas of production. Furthermore those producers who work in-house within the BBC’s Department of Religion and Ethics believe that in practice they are being increasingly undermined through the internal culture of the Corporation and the strategic decisions it has adopted. This is not an intentional snub by the BBC but a product of the pressure the Corporation finds itself under in an increasingly competitive broadcasting ecology, hence the removal of the protection once afforded to both the department and the output.