"The Fallen of World War II is an interactive documentary that examines the human cost of the second World War and the decline in battle deaths in the years since the war. The 15-minute data visualization uses cinematic storytelling techniques to provide viewers with a fresh and dramatic perspective of a pivotal moment in history."
"To show how unrestrained child predators can act but also to show how easy it is to track them down the Dutch child rights organisation put itself in the shoes of a 10–year–old Filipino girl. With an innovative technology the virtual character Sweetie was created to be controlled by Terre des Hommes researchers. From a remote building in Amsterdam the researchers operated in public chat rooms. In a very short period, over 20,000 predators from around the world approached the virtual 10– year–old, asking for webcam sex performances. While the adults interacted with the virtual girl, the researchers gathered information about them through social media to uncover their identities. With this evidence Terre des Hommes Netherlands is pushing all governments to adopt proactive investigation policies, with a world wide petition, starting today."
(Hans Guyt, The Hague, 4 November 2013, Terre des Hommes)
"The Geojournalism Handbook is part of the portfolio of the Environmental News Lab (Ecolab), a multidisciplinary team hosted at Brazilian non profit news agency O ECO working to create useful applications for environmental coverage. The online toolkit was created in partnership with ICFJ, Internews' Earth Journalism Network and the Flag It! Project. It will be a resource for Flag It! participants in Brazil, Nigeria, the Philippines and Romania."
"In the Philippines, the term 'indigenous peoples' is legally defined by Republic Act No. 8371, otherwise known as the Indigenous Peoples Rights Act of 1997. IPRA defined 'indigenous peoples' (IPs) or 'indigenous cultural communities' (ICCs) as:
A group of people or homogenous societies identified by self–ascription and ascription by others, who have continuously lived as organized community on communally bounded and defined territory, and who have, under claims of ownership since time immemorial, occupied, possessed and utilized such territories, sharing common bonds of language, customs, traditions and other distinctive cultural traits, or who have, through resistance to political, social and cultural inroads of colonization, nonindigenous regions and cultures, became historically differentiated from the majority of Filipinos. ICCs/IPs shall likewise include peoples who are regarded as indigenous on account of their descent from the populations which inhabited the country at the time of conquest or colonization, or at the time of inroads of non–indigenous religions and cultures, or the establishment if present state boundaries, who retain some or all of their own social, economic, cultural and political institutions, but who may have been displaced from their traditional domains or who may have resettled outside their ancestral domains (IPRA, Section 3h)."
(Nestor T. Castro)
Arthur and Corinne Cantrill
Cantrills Filmnotes is a review of independent film and video, with emphasis on experimental film, video art, digital media, and associated work in performance and installation art.
Publishing History: It was edited and published between 1971 and 2000 by filmmakers Arthur and Corinne Cantrill in Melbourne, Australia (although some issues were edited in the USA in 1973–'75 and Germany in 1985 while the editors were living there.) The final issue is octuple issue #93–100. Past issues have covered activity in Australia, New Zealand, U.S.A., Canada, Japan, The Philippines, Indonesia, France, Germany, The Netherlands, Austria and England.
Editorial policy: To document innovative work in Super–8 and 16mm film, animation, video, digital art, installation, sound and performance art.
Articles are in the form of writing by the artists discussing their work, interviews, and critical writing (in that order of frequency), with much visual material, in the case of films, mainly frame enlargements. Books reviews are included in each issue.
Physical dimensions: The magazine is 'landscape' format: 270 mm x 210 mm, 72 pages, well–printed, with 8 pages in colour. There is no advertising. [Note that all] back issues are still available.
The publication of Cantrills Filmnotes was assisted by the Australian Film Commission from issue #45/46, Oct. 1984 until issue #91/92, Dec. 1998.
Telephone and Fax: +61 3 9370 1983