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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Festivals are nowadays a cultural, social, and economic force to be reckoned with. This study will offer an overview of the Dutch festival landscape, which has been lacking. There are commercial initiatives that target only a portion of the festival sector, and there are specific branch organisations or cultural funds that only cover the data of their members, for instance the Netherlands Film Fund reports on ten major Dutch film festivals in their annual Film Facts & Figures of the Netherlands. National institutes such as Statistics Netherlands (CBS) and The Netherlands Institute for Social Research (SCP) also lack substantial data on Dutch festivals.
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De Festival Atlas: Filmfestivals 2017, geeft een overzicht en analyse van het landschap van filmfestivals in Nederland in 2017. Informatie over hoeveel festivals er waren, hoeveel filmprijzen er werden uitgereikt, welke social media werd ingezet en de verschillen tussen provincies is hierin terug te lezen
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Film in kader van project Opleiden en Professionaliseren, Diversiteit in Vakmanschap.
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In de Delftse wijk Tanthof is een groepje ouderen gedurende een half jaar wekelijks samengekomen om wonen op leeftijd vanuit het perspectief van ouderen zelf te onderzoeken. Dit doormiddel van het gezamenlijk maken van een film. In hun documentaire ‘Van deur tot deur’ brengen zij deze verhalen zelf in beeld. We worden steeds ouder en blijven steeds langer thuis wonen. Hoewel deze zogeheten vergrijzing een landelijk fenomeen is, is het in de Delftse wijk Tanthof nog sterker aanwezig. In deze wijk is het aandeel bewoners van 65 jaar of ouder de laatste jaren flink gestegen. Dit komt door het grote aandeel ‘empty nesters’: bewoners van het eerste uur van wie de kinderen het huis hebben verlaten. Hoe willen ouderen zelf wonen? Welke drempels ervaren zij bij het realiseren van hun wensen en welke mogelijkheden zien zij? Deze thema’s worden onderzocht in de film ‘Van deur tot deur’. De ouderen kwamen gedurende een half jaar wekelijks samen met docent-onderzoekers Zsuzsu Tavy en Joost van Vliet van het lectoraat Urban Ageing en filmprofessional Kim Schonewille. De ouderen hebben samen het thema wonen onderzocht door ervaringen te delen met elkaar en andere buurtbewoners. Zij leerden zelf een film te maken: van het filmen met een iPad en het gebruik van beeldtaal tot het maken van een storyboard en het opbouwen van een verhaal. Zo ontwikkelden de ouderen zelf het idee van de film, gingen ze de wijk in om te filmen en interviewden elkaar en Karin Schrederhof, wethouder Wonen, Wmo en sport. Ze bepaalden samen de opbouw en inhoud van de film. Deze vorm van onderzoek is niet alleen heel waardevol omdat het samen maken van een film mensen helpt hun perspectief te verkennen en te delen. Ook kan het andere mooie dingen brengen voor de deelnemers zelf. Zij ervaarden veel plezier aan de samenwerking, leerden nieuwe dingen en leerden elkaar goed kennen. Op de aftiteling hebben zij zichzelf dan ook vermeld als filmma(k)kers, tekenend voor de vriendschappen die zijn ontstaan. Deze film kwam tot stand binnen Werkplaats Sociaal Domein Den Haag & Leiden, vanuit het Lectoraat Urban Ageing van de Haagse Hogeschool en werd financieel mede mogelijk gemaakt door het RCOAK en Regieorgaan SIA.
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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
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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
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Most film viewers know the experience of being deeply absorbed in the story of a popular film. It seems that at such moments they lose awareness of watching a movie. And yet it is highly unlikely that they completely ignore the fact that they watch a narrative and technological construction. Perhaps film viewers experience being in a story world while simultaneously being aware of its construction. Such a dual awareness would seem paradoxical, because the experience of the one would go at the cost of the other. We argue that the solution of this paradox requires dropping the notion of an undivided consciousness, and replacing it with one of consciousness as coming in degrees. In this chapter we present both cognitive and film-analytic arguments for differential awareness of story and narration/technology, and argue that a characteristic of absorption is to be found in story world super-consciousness.
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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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