DOCSLIB.ORG

Impact Investing in the Creative Economy: Diving Deep Into Ethical Fashion, Sustainable Food and Social Impact Media

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Impact Investing in the Creative Economy: Diving Deep Into Ethical Fashion, Sustainable Food and Social Impact Media Impact Investing in the Creative Economy: diving deep into Ethical Fashion, Sustainable Food and Social Impact Media Creatve people solve problems. Increasingly, In an efort to demystfy the creatve economy they are doing it beyond the studio, the for impact investors, impact fund managers and theater and the concert hall. Creatve people other stakeholders, this report dives deep into are harnessing the power of business and the three large and growing consumer industries marketplace to scale and sustain their ideas. within the creatve economy: fashion, food and media. These industries share the capacity to Many of the businesses that artsts, designers intrigue, engage, educate and actvate more and other creatves start balance fnancial mindful consumers so that the benefts of proftability with concern for the planet, ethical and sustainable supply chains and the their workers, and their community. These full power of media to drive positve change can socially-focused companies seek capital from be realized. impact investors who understand the power of art, design, culture, heritage and creatvity to Creatve Economy Defned drive positve environmental and social impact. Together, investors and entrepreneurs can The “creatve economy” was defned by John grow the creatve economy to become more Howkins in 2001 as a new way of thinking and inclusive, equitable and sustainable. doing that revitalizes manufacturing, services, retailing, and entertainment industries with A Creatvity Lens: Impact Investng in the Creatve Economy 1 a focus on individual talent or skill, and art, The Opportunity culture, design, and innovaton. Concern by consumers about how their food, Today, creatve economy defnitons are clothes and entertainment are produced has typically ted to eforts to measure economic grown signifcantly in recent years. Human actvity in a specifc geography. A relevant set of well-being and planetary health may have art, culture, design, and innovaton industries been niche issues in the past, but have evolved is determined, and the economic contributon into mainstream trends. Consumers are of those industries is assessed within a region. demanding sustainable and ethical business A unique set of industries defnes each local practces from the companies they patronize creatve economy refectng the culture, and are votng with their wallets. Social media- traditons and heritage of that place. driven transparency makes it more difcult for companies to hide unfair treatment of workers, Based on industry research,1 Upstart Co-Lab perpetuate gender and racial bias, or mistreat identfed a set of industries comprising the the environment. creatve economy using the North American Industry Classifcaton System (NAICS). These But it’s not only about sustainability and ethics. NAICS codes describe businesses engaged Consumers are also demanding more engaging, in the inputs, producton, and distributon more authentc and a wider variety of products, of creatve products, services, experiences, experiences, and entertainment. Changing and platorms and can be summarized in fve demographics in the U.S. require companies categories: Ethical Fashion, Sustainable Food, to diversify their oferings to appeal to many Social Impact Media, Other Creatve Businesses more distnct audiences. Technology has and Creatve Places.2 redefned the marketplace and made it possible to proftably cater to a range of consumer Please refer to page 5 for the defnitons of preferences and ofer customized products these categories. — with a compelling back-story to boot. Cross- cultural sharing spanning diverse traditons is recognized as a market opportunity. 1 Including research by the Creatve Economy Coaliton (CEC), a By defniton, Ethical Fashion, Sustainable working group of the Natonal Creatvity Network; the Natonal Endowment for the Arts and the Bureau of Economic Analysis; Food and Social Impact Media businesses Americans for the Arts; the U.K. Department for Culture, Media and Sports; Nesta, a UK-based innovaton foundaton; and the intentonally address the signifcant United Natons Educatonal, Scientfc and Cultural Organizaton environmental challenges of their respectve (UNESCO). 2 www.upstartco-lab.org/creatvity_lens/naics-codes-creatve- industries. They also ofer safe and healthy businesses economic opportunites for workers across A Creatvity Lens: Impact Investng in the Creatve Economy 2 socioeconomic strata — from food workers The Role of Impact Investng to fashion designers, seamstresses to game The Ethical Fashion, Sustainable Food and developers, producton crew to 4-star chefs. But Social Impact Media sectors are growing unlike other social and sustainable companies, opportunites for impact investors. Dedicated these businesses also delight consumers with incubators and accelerators are helping creatve beauty, deliciousness, and entertainment, entrepreneurs develop and scale responsible connectng them to heritage, culture and and sustainable businesses. The expanding community. and improving universe of impact standards The Challenges help investors to target and measure their environmental and social results. Nonproft While enjoying signifcant market tailwinds, coalitons, industry groups and membership Ethical Fashion, Sustainable Food, and Social networks are building the ecosystem for impact- Impact Media also face similar challenges: driven companies in these sectors. A growing • The lack of agreed-upon standards, body of academic studies, industry reports, and multple confictng standards, voluntary press coverage provide the fact base and stories accountability, and marketng labels that to validate what’s happening. So, it should sound like true environmental, health and not be surprising that more than 50 socially impact standards can confuse consumers responsible and impact funds invested in food, and generate skeptcism. fashion and media over the past 5 years. • Transparency and accountability require Impact investors are atracted to the creatve efort and in complex industries can be economy by its scale: global problems, big difcult to ensure. (But are crucial to avoid market opportunites, large consumer demand. customer critque of greenwashing or even Early impact investors in Ethical Fashion are worse — actual bad practces.) trying to reinvent the global supply chain around sustainability and improved livelihoods. • Consumer demand for rapid home delivery Sustainable Food investors are betng that new, of unique products from around the globe delicious and excitng products and experiences raises environmental and sustainability will translate to healthy people and a healthy questons in the food and fashion sectors. planet. Early movers in Social Impact Media • New products and services — especially see the power of stories from previously under- in the media sector — raise questons of represented voices to shape opinions and drive proftability and investor risk. acton, while simultaneously creatng quality jobs and economic opportunity. A Creatvity Lens: Impact Investng in the Creatve Economy 3 Conclusion Upstart Co-Lab is connectng impact Beyond direct fnancial, environmental and investng to the $804 billion, 10 million- social benefts, the creatve economy has its job U.S. creatve economy. A key part own unique capacity to drive even greater of our feld-building work is research impact. Fashion enables creatve expression on investment opportunites in the and allows each of us to convey our individual creatve economy. Please visit the identty. Food is a way we can share and blend Research secton of the Upstart Co-Lab our heritage and traditons. Film & TV and the website (www.upstartco-lab.org) to new medium of video games help us tell stories fnd our recent reports including: that both refect our history and shape the way HIDING IN PLAIN SIGHT: Impact we see our future. Investng in the Creatve Economy Investng in Ethical Fashion, Sustainable looks at more than 100 funds with $60 Food and Social Impact Media allows impact billion of aggregate assets that have investors to support the growth of companies been investng in the creatve economy that generate deep environmental and social over the past 5 years. impact — while joyfully inspiring us. It’s tme for Creatve Places and Businesses: impact investors to dive deep into the creatve Catalyzing Growth in Communites economy. reviews investable opportunites in the Creatve Economy with the potental to stabilize threatened communites and beneft regions looking to atract and develop quality jobs. The Community Reinvestment Act and the Creatve Economy: Investng in Creatve Places and Businesses as Part of Comprehensive Community Development highlights the range of creatve places and business actvites which have benefted from CRA funding over the past 10 years. A Creatvity Lens: Impact Investng in the Creatve Economy 4 THE CREATIVE ECONOMY DEFINED ETHICAL FASHION Companies producing clothes, shoes, jewelry and accessories that proactvely address industry challenges related to labor, environmental impact, governance, and/or preservaton of cultural heritage. (e.g. fashion companies addressing job quality, working conditons and safety; fashion companies addressing resource conservaton or toxin reducton; fashion companies facilitatng local community engagement or cultural preservaton) SUSTAINABLE FOOD Producers and providers of food and beverage products and experiences that proactvely address and raise consumer awareness of resource conservaton, preservaton of cultural heritage, and/or access to healthy food. (e.g. artsan
Load more

Recommended publications
  • Charitably Chic Lynn Willis
    Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items.
    [Show full text]
  • Pression Meaning “Allah Willing.”
    Insha’Allah Democracy Insha’Allah: pronounced In-SHAH-lah. Arabic language expression meaning “Allah willing.” LOGLINE Former Pakistani President Musharraf, despite having a legacy as a dictator and being charged with treason, returns to Pakistan and runs for president. SHORT SYNOPSIS In Insha'Allah Democracy, filmmaker Mohammed Naqvi chronicles his journey as a first-time voter in Pakistan. When Mo was 19, General Pervez Musharraf staged a coup d’etat that saw him in power until his exile in 2008. With the country growing increasingly unstable and sectarian, Mo chose to back Musharraf and his supposedly secular liberal platform. But as this wry satire explores, backing military dictatorship is never a good idea. Gaining remarkable access to former dictator Musharraf, the film questions if democracy is truly possible in Pakistan. Through moving first-person accounts and vivid footage, the film offers a compelling portrait of the contradictions and complexities of a nascent democratic process in a country recovering from a long history of military rule. Presented by 64th Street Media, Mighty Engine and Impact Partners PRESS CONTACT PRODUCER CONTACT idemocracyfi[email protected] Mohammed Ali Naqvi [email protected] WORLDWIDE SALES Cristine Platt Dewey Managing Director | ro*co Films International Mo Naqvi Films cristine.platt.dewey@rocofilms.com 80 Liberty Ship Way, Suite 8, Sausalito, CA 94965, Impact Partners USA Tel. 415.332.6471 | Fax 415.332.6798 Insha’Allah Democracy http://www.rocofilms.com/ @idemocracyfilm @idemocracyfilm @idemocracyfilm AWARDS FESTIVALS FULL SYNOPSIS Growing up as a Shia Muslim minority in Pakistan, I saw members of my family and community being targeted by right-wing Islamist extremists.
    [Show full text]
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Blackstar Film Festival Announces Winners for 10Th Annual Festival
    BlackStar Film Festival Announces Winners for 10th Annual Festival Arie Esiri, co-director of Eyimofe (This Is My Desire). Photo by Daniel Jackson (Philadelphia, PA - August 9, 2021) –– The BlackStar Film Festival, the world's premier celebration of Black, Brown, and Indigenous film and video artists, presented this year with lead sponsor Annenberg School for Communication at the University of Pennsylvania, is pleased to announce this year’s award-winning films. Winners include Best Feature Documentary Writing With Fire, profiling India's only newspaper run by Dalit women, and the group of journalists who break traditions on the frontlines of India's biggest issues, and Best Feature Narrative Eyimofe (This Is My Desire), following the stories of a pair of Lagosians, Mofe, a factory technician, and Rosa, a hairdresser, on their quest for what they believe will be a better life on foreign shores. Both films were Philadelphia premieres. The full list of winning films is below. This year also marks the second Vimeo Staf Pick Award at BlackStar. Short films featured in the festival are eligible for this award, which includes a $2,500 cash prize, a Vimeo Pro account, and, of course, a Vimeo Staf Pick. The winning film, DEAR PHILADELPHIA (directed by Renee Osubu), is available to watch worldwide for free on Vimeo now. Lionsgate and STARZ partnered with BlackStar to present the Lionsgate/STARZ Speculative Fiction Award this year. The winner of this prize will receive $5,000 and have the opportunity to showcase their films on STARZ in Black. The winner is Inheritance (directed by Annalise Lockhart).
    [Show full text]
  • Delegates Guide
    Delegates Guide 15–20 March, 2019 Cultural Partners Supported by Friends of Qumra Media Partners Cover: ‘Six Months and One Day’, directed by Yassine Ouahrani 1 QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 13 Qumra Project Delegates 15 Industry Delegates 63 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Aya Al-Blouchi Quay Chu Anthea Devotta Mayar Hamdan Qumra Master Classes Development Qumra Industry Senior Qumra Shorts Coordinator Senior Coordinator Executive Coordinator Development Assistant Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Meriem Mesraoua Qumra Industry Qumra Talks Senior Qumra Pass Senior Grants Senior Coordinator Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Vanessa Paradis Majid Al-Remaihi Nina Rodriguez Alanoud Al Saiari Grants Coordinator Film Programming Qumra Industry Senior Qumra Pass Coordinator Assistant Coordinator Film Workshops & Labs Coordinator Wesam Said Rawda Al-Thani Jana Wehbe Ania Wojtowicz Grants Coordinator Film Programming Qumra Industry Senior Qumra Shorts Coordinator Assistant Coordinator Film Workshops & Labs Senior Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Head of Grants Qumra Industry Industry Advisor Manager Film Training Senior Manager 4 5 Qumra Masters Eugenio Caballero Kiyoshi Kurosawa In 2015 and 2016 he worked on the film ‘A at Cannes in 2003, ‘Doppelganger’ (2002), Monster Calls’, directed by J.A. Bayona, ‘Loft’ (2005), and ‘Retribution’ (2006), which earning him a Goya on his third nomination screened at that year’s Venice Film Festival.
    [Show full text]
  • Fashioning Gender Fashioning Gender
    FASHIONING GENDER FASHIONING GENDER: A CASE STUDY OF THE FASHION INDUSTRY BY ALLYSON STOKES, B.A.(H), M.A. A THESIS SUBMITTED TO THE DEPARTMENT OF SOCIOLOGY AND THE SCHOOL OF GRADUATE STUDIES OF MCMASTER UNIVERSITY IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY c Copyright by Allyson Stokes, August 2013 All Rights Reserved Doctor of Philosophy (2013) McMaster University (Sociology) Hamilton, Ontario, Canada TITLE: Fashioning Gender: A Case Study of the Fashion Industry AUTHOR: Allyson Stokes BA.H., MA SUPERVISOR: Dr. Tina Fetner NUMBER OF PAGES: xii, 169 ii For Johnny. iii Abstract This dissertation uses the case of the fashion industry to explore gender inequality in cre- ative cultural work. Data come from 63 in-depth interviews, media texts, labor market statistics, and observation at Toronto’s fashion week. The three articles comprising this sandwich thesis address: (1) processes through which femininity and feminized labor are devalued; (2) the gendered distribution of symbolic capital among fashion designers; and (3) the gendered organization of the fashion industry and the “ideal creative worker.” In chapter two, I apply devaluation theory to the fashion industry in Canada. This chap- ter makes two contributions to literature on the devaluation of femininity and “women’s work.” First, while devaluation is typically used to explain the gender wage gap, I also address symbolic aspects of devaluation related to respect, prestige, and interpretations of worth. Second, this paper shows that processes of devaluation vary and are heavily shaped by the context in which work is performed. I address five processes of devaluation in fash- ion: (1) trivialization, (2) the privileging of men and masculinity, (3) the production of a smokescreen of glamour, (4) the use of free labor and “free stuff,” and (5) the construction of symbolic boundaries between “work horses” and “show ponies.” In chapter three, I use media analysis to investigate male advantage in the predomi- nantly female field of fashion design.
    [Show full text]
  • Premio Corso Salani 2015
    il principale appuntamento italiano con il cinema dell’Europa centro orientale un progetto di Alpe Adria Cinema Alpe Adria Cinema 26a edizione piazza Duca degli Abruzzi 3 sala Tripcovich / teatro Miela 34132 Trieste / Italia 16-22 gennaio 2015 tel. +39 040 34 76 076 fax +39 040 66 23 38 [email protected] con il patrocinio di www.triesteflmfestival.it Comune di Trieste twitter.com/TriesteFilmFest Direzione Generale per il Cinema – facebook.com/TriesteFilmFest Ministero dei Beni e delle Attività Culturali e del Turismo con il contributo di Regione Autonoma Friuli Venezia Giulia Creative Europe – MEDIA Programme CEI – Central European Initiative Provincia di Trieste Comune di Trieste Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e del Turismo CCIAA – Camera di Commercio di Trieste con il sostegno di Lux Film Prize Istituto Polacco – Roma con la collaborazione di Fondazione Teatro Lirico Giuseppe Verdi – Trieste Fondo Audiovisivo FVG Associazione Casa del Cinema di Trieste La Cappella Underground FVG Film Commission Eye on Films Associazione Culturale Mattador Associazione Corso Salani Centro Ceco di Milano media partner mymovies.it media coverage by Sky Arte HD direzione artistica promozione, coordinamento volontari biglietteria Annamaria Percavassi e direzione di sala Rossella Mestroni, Alessandra Lama Fabrizio Grosoli Patrizia Pepi Gioffrè desk accrediti presidente comunicazione, progetto grafco Ambra De Nobili organizzazione generale immagine coordinata e allestimenti Cristina Sain Claimax -immagina.organizza.comunica-
    [Show full text]
  • The Aesthetics of Mainstream Androgyny
    The Aesthetics of Mainstream Androgyny: A Feminist Analysis of a Fashion Trend Rosa Crepax Goldsmiths, University of London Thesis submitted for the degree of Ph.D. in Sociology May 2016 1 I confirm that the work presented in this thesis is my own. Rosa Crepax Acknowledgements I would like to thank Bev Skeggs for making me fall in love with sociology as an undergraduate student, for supervising my MA dissertation and encouraging me to pursue a PhD. For her illuminating guidance over the years, her infectious enthusiasm and the constant inspiration. Beckie Coleman for her ongoing intellectual and moral support, all the suggestions, advice and the many invaluable insights. Nirmal Puwar, my upgrade examiner, for the helpful feedback. All the women who participated in my fieldwork for their time, patience and interest. Francesca Mazzucchi for joining me during my fieldwork and helping me shape my methodology. Silvia Pezzati for always providing me with sunshine. Laura Martinelli for always being there when I needed, and Martina Galli, Laura Satta and Miriam Barbato for their friendship, despite the distance. My family, and, in particular, my mum for the support and the unpaid editorial services. And finally, Goldsmiths and everyone I met there for creating an engaging and stimulating environment. Thank you. Abstract Since 2010, androgyny has entered the mainstream to become one of the most widespread trends in Western fashion. Contemporary androgynous fashion is generally regarded as giving a new positive visibility to alternative identities, and signalling their wider acceptance. But what is its significance for our understanding of gender relations and living configurations of gender and sexuality? And how does it affect ordinary people's relationship with style in everyday life? Combining feminist theory and an aesthetics that contrasts Kantian notions of beauty to bridge matters of ideology and affect, my research investigates the sociological implications of this phenomenon.
    [Show full text]
  • The Plight of Our Planet the Relationship Between Wildlife Programming and Conservation Efforts
    ! THE PLIGHT OF OUR PLANET fi » = ˛ ≈ ! > M Photo: https://www.kmogallery.com/wildlife/2 = 018/10/5/ry0c9a1o37uwbqlwytiddkxoms8ji1 u f f ≈ f Page 1 The Plight of Our Planet The Relationship Between Wildlife Programming And Conservation Efforts: How Visual Storytelling Can Save The World By: Kelsey O’Connell - 20203259 In Fulfillment For: Film, Television and Screen Industries Project – CULT4035 Prepared For: Disneynature, BBC Earth, Netflix Originals, National Geographic, Discovery Channel, Animal Planet, Etc. Page 2 ACKNOWLEDGMENTS I cannot express enough gratitude to everyone who believed in me on this crazy and fantastic journey; everything you have done has molded me into the person I am today. To my family, who taught me to seek out my own purpose and pursue it wholeheartedly; without you, I would have never taken the chance and moved to England for my Masters. To my professors, who became my trusted resources and friends, your endless and caring teachings have supported me in more ways than I can put into words. To my friends who have never failed to make me smile, I am so lucky to have you in my life. Finally, a special thanks to David Attenborough, Steve Irwin, Terri Irwin, Jane Goodall, Peter Gros, Jim Fowler, and so many others for making me fall in love with wildlife and spark a fire in my heart for their welfare. I grew up on wildlife films and television shows like Planet Earth, Blue Planet, March of the Penguins, Crocodile Hunter, Mutual of Omaha’s Wild Kingdom, Shark Week, and others – it was because of those programs that I first fell in love with nature as a kid, and I’ve taken that passion with me, my whole life.
    [Show full text]
  • No Impact Man Press Notes
    AB CDDEFFDFABFDDFDFB CDDEFFD EB FAAFAADF#$ AF %% &$DB 'FD#()("DAFAA *CDDEFFD and PRESENT NO IMPACT MAN OPENS AT THE ANGELIKA FILM CENTER, NEW YORK – SEPTEMBER 11th, 2009 NATIONAL EXPANSION SEPTEMBER 18TH The Book No Impact Man: The Adventures of a Guilty Liberal Who Attempts to Save the Planet, and the Discoveries He Makes About Himself and Our Way of Life in the Process is available in stores September 8th, 2009 thru FSG Books Running Time: 90 minutes Rating: Not Rated by MPAA World Premiere: Sundance Film Festival 2009 DISTRIBUTOR CONTACT: PUBLICITY CONTACT: FSG BOOKS CONTACT: George Schmalz Liz Berger Sarita Varma Oscilloscope Pictures 42 West FSG 511 Canal Street, #5E 220 W 42nd St 18 West 18th St New York, NY 10013 12th Floor New York, NY 10011 O: 212.219.4029 ext: 35 New York, NY 10036 212.206.5327 F: 212.219.9538 O: 212.277.7555 [email protected] [email protected] F: 212.277.7550 [email protected] - SYNOPSIS Author Colin Beavan, in research for his next book, began the No Impact Project in November 2006. A newly self-proclaimed environmentalist who could no longer avoid pointing the finger at himself, Colin leaves behind his liberal complacency with a vow to make as little environmental impact as possible for one year. No more automated transportation, no more electricity, no more non-local food, no more material consumption…no problem. That is, until his espresso- guzzling, retail-worshipping wife Michelle and their two-year-old daughter are dragged into the fray. Laura Gabbert and Justin Schein!s film provides a front row seat into the experiment that became a national fascination and media sensation as well as an intriguing inside look at the familial strains and strengthened bonds that result from Colin and Michelle!s struggle with their radical lifestyle change.
    [Show full text]
  • Urban Representation in Fashion Magazines
    Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity
    [Show full text]
  • Download the 2020 Cost of Docs Report
    THE COST OF DOCS 2020 CONTENTS Introduction 1 Key Findings 2 THE MARKET Documentary Medium 39 DIVERSITY & INCLUSION Has Your Documentary Been Gender 5 Broadcast? 40 Age 6 Has Your Documentary Found Ethnicity 6 an Audience? 41 Country of Residence 7 PITCHING ROLES & EXPERIENCE How Helpful Are Public Pitches 42 Professional Role 9 Virtual Pitches & Events 43 Experience 11 Training 12 EQUIPMENT Why Do You Make Documentaries? 14 Cameras 46 Are You Currently Working on a Audio 47 Documentary? 15 Editing Software 48 FINANCE & FUNDING BREXIT Financial Support 17 Impact of Brexit 49 Time Taken to Complete a Documentary 19 The Effects of Brexit 50 Cost of Time Taken 20 Perceived & Actual Renumeration COVID-19 for Documentary Work 21 Impact of COVID-19 52 What Percentage of Your Time Were You Forecasted Loss of Earnings Due to Paid For on Your Last Documentary? 22 COVID-19 54 The Cost of Making a Documentary 22 Financing a Documentary Film 24 INDUSTRY INSIGHTS Amount of Funding Applied for Insights into Recent Changes in Vs. Amount Received 25 the Documentary Industry 56 Expectations of Funders 28 Main Challenges Faced by Applying for Funding 29 Documentary Filmmakers 59 Crowdfunding 30 How Can We Improve the Factors Affecting Cost 31 Documentary Industry? 60 Increasing & Decreasing Expenses 33 Cost Cutting 35 Conclusion 62 Co-Producers 37 INTRODUCTION Welcome to the fourth edition of The Whickers Cost of Docs Survey, which looks specifically at the changing landscape for documentary makers in the UK and internationally. In addition to our work in funding and supporting emerging talent around the world, we seek to be a champion for documentary makers and to amplify their voices in the industry as a whole.
    [Show full text]