An interview with the film editor Thelma Schoonmaker
David Poland/The DP/30 channel: posted Thursday 1st December 2011
CONTRIBUTOR
Simon PerkinsSHARE
2nd Mobile Creativity and Mobile Innovation Symposium
"Mobile phones have evolved rapidly from a communication device to a creative and educational tool. The current mediascape can be described as a dynamic ecosystem that has seen the emergence of new media aesthetics and formats, such as iPhoneography and mobile-mentary (mobile documentary) filmmaking. For communities world-wide mobile technologies provide access to a vast amount of new services. (Mobile phone) users (or rather pro-d-users), artists, designers, filmmakers and independent creatives can define new modes of mobile media practices transcending the realm of established disciplines and transforming the contemporary mediascape. The participatory turn in media culture (collaboration, co-creation and crowd-sourcing) creates new opportunities and challenges for visual communication design. Mobile devices enable us to see the world from new viewpoints and angles."
(Mobile Innovation Network Aotearoa, 2012)
CONTRIBUTOR
Max SchleserSHARE
Film4 Scene Stealers: Sexy Biscuit
FIlm4 are running a competition whereby users recreate a favourite scene from a Film4-funded movie. I chose to recreate the opening of "Sexy Beast" in low-fi animation.
Fig.1 Francis Glenday "Sexy Biscuit", Country: New Zealand, Submitted: 31/07/2012, Recreating: Jonathan Glazer (2000) "Sexy Beast".
CONTRIBUTOR
Francis GlendaySHARE
Mobile Innovation Network Aotearoa: Call For Papers
"Call For Papers: 2nd International Mobile Creativity and Mobile Innovation Symposium, #MINA2012, Mobile Innovation Network Aotearoa, 23rd -25th November 2012, Massey University, Wellington, NZ ...
MINA [www.mina.pro] is an international network that promotes cultural and research activities to expand the emerging possibilities of mobile media. MINA aims to explore the opportunities for interaction between people, content and the creative industry within the context of Aotearoa/New Zealand and internationally.
The symposium will provide a platform for filmmakers, artists, designers, researchers, 'pro-d-users' and industry professionals to debate the prospect of wireless, mobile and ubiquitous technologies in art and design environments and the creative industries. MINA invites paper proposals relating (but not limited) to; mobile lens media, iPhoneography, mobile video production, mobile-mentaries (mobile documentaries), mobile network and transmedia, mobile communities, mobile media and social change, mobile visual arts, mobile locative media, citizen journalism, mobile visual literacy, mobile media in education and mobile technologies and civic media. ...
Paper proposals should be submitted by the 15th August 2012"
(Mobile Innovation Network Aotearoa)
CONTRIBUTOR
Lynne CiochettoSHARE
The New Zealand Film Archive
"Established in 1981, the Film Archive is an independent charitable trust overseen by a Board of Trustees representing film, archival, Maori and community interests. The Film Archive's constitution and kaupapa express a commitment to collect, protect and connect New Zealand's film and television history.
When an item is in the care of the Archive, it is considered the property of the depositor. Subsequently the copyright for the material remains with the legal rights holders.
The collections of predominantly New Zealand film, video and television date from 1895 to the present day. Every genre of filmmaking - feature films, documentaries, short films, home movies, newsreels, television programmes and film and television advertisements - is represented. There is also a significant documentation collection which includes publicity materials, stills, posters, production records, props, costumes and equipment housed in Wellington.
As there is no statutory deposit legislation for film in New Zealand, material is deposited voluntarily - and without cost to the depositor. Maintaining a kaitiaki role over the collections the Film Archive's guardianship ensures ownership of the original item remains with the depositor and copyright is maintained by the appropriate parties. In the case of material with Maori content, the Film Archive actively maintains relationships with whanau/hapu/iwi to ensure appropriate long term care and access."
(New Zealand Film Archive)
CONTRIBUTOR
Simon PerkinsSHARE
