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README.first is a bilingual collection of mini-essays, published in the run up to the Plokta filmfestival. We’ve asked writers, researchers, theorists, artists, programmers, and others to pick an online video that functions as a stepping stone for their thought and practice and to comment shortly on why they find the video so significant, funny, or outright disturbing. The resulting reflections speak about Silicon Valley obsessions, our mediated social lives, the impact of technology on centuries old games, and more.Plokta showcases film as a frame of socio-technological themes and discussions. With these essays we want to broaden the scope to one of the most significant developments in visual culture of the past decades: the rise of online video. At the Institute of Network Cultures (INC), online video has been a research topic already since 2007, in a continuous project named Video Vortex. Together, Plokta and INC, hope to stimulate reflections before, during and after the festival on what the moving image has to say to us.
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This chapter takes a closer look at the case of Amsterdam as a particular manifestation of a film festival city. Drawing from a new dataset on festivals in the Netherlands, the data supports the view of film festivals as a highly dynamic cultural sector: Internationally acclaimed film festivals exist beside smaller festivals that are more community bound; new festivals emerge annually, and young festivals struggle to survive the three-to-five-year mark.Amsterdam holds a unique position in the Dutch film festival landscape as a third of all film festivals in the Netherlands take place in the capital city. Our data collection helps to bring parts of the city’s film infrastructure to the forefront. On the one hand, Amsterdam’s top five locations for film festival events show clear creative cities logic: The data shows just how powerful the pull of such locations is. On the other hand, we find evidence of placemaking and livable city strategies: Amsterdam’s film festivals extend into the capillaries of the city.Dedicated festival datasets may cast new perspectives on local or national festival landscapes, by revealing patterns that remain hidden in qualitative and case-study based projects. But there are also challenges to address in data-driven research on festival cultures, we name a few such as categorization of data. We conclude that such challenges can be more easily faced if more datasets, of for instance, other cities, are pursued and become available.
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This book is for the newcomer to the industry, the curious individual who loves storytelling. If you want to learn how to produce a complex short film project and all the people connected to it, then this guide is for you.The Creative Producer normally does not make the biggest headlines. Fame is more often than not, claimed by the Actor and Director of the film. But it is the Creative Producer who puts together the deals, finds the best possible talent for a project and facilitates an environment that allows the creative minds of cast crew to unfold.This is the true skill of the Creative Producer – find the story, get the best possible people involved and make sure they have everything they need to do their best
This publication contains an overview of the main facts and figures on the production,distribution and exhibition of feature length films, documentaries, shorts and animated films in 2018 in the Netherlands. It is published annually by the Netherlands Film Fund.
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In 1896 Svante Arhenius discovered that fossil fuels are a source of carbon dioxide. In 1965 the US Presidents science advisory panel reported that pollution is a major threat to society. In the 1970s atmospheric scientists Manabe, Wetherald and Sawyer confirmed that human activities are contributing factors to climate change. Richard Maxwell and Toby Miller explored the environmental impact of media technology in 2012. Kääpä explored sustainability in media in 2018, yet in 2022 sustainability in Film, TV and Media is still in its infancy, while other sectors are taking strong measures to reduce their carbon footprint. This report synthesis Elkington’s’ triple bottom line with Porters’ value chain in Film, TV, and media production as framework to teach sustainability. Research highlights the importance of Small Medium Enterprises (SMEs) in the sector and underscores Green Production strategies that reduce the carbon footprint. Research reveals that the sector has the unique potential to change the way audiences perceive sustainability using Green Content strategies and highlights the sustainability problem in distribution. Results suggest that educational institutions in Film, TV, and Media must do more to integrate sustainability into their curricula to unleash the full potential beyond sector boundaries.
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