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 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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Creative tourism is a young and dynamic field that has already spawned a wide range of topics for investigation, theoretical reflections, methodological frameworks, and empirical approaches. While creative tourism does not fit well within traditional tourism research paradigms, we are observing a growing range of disciplinary and theoretical perspectives brought to creative tourism, including many researchers from outside the tourism field, producing an interdisciplinary nexus. In this closing chapter, the editors provide an overview of the main themes for future research that have been suggested in this volume and point out potentially fruitful future research avenues within the tourism field and related to it. Accordingly, they have organized the chapter into nine thematic areas: The creative tourist, creative tourism experiences, creative supply, marketing creative tourism, the development of creative tourism experiences and destinations, assessing creative tourism development, the role of local communities in creative tourism, placemaking through creative tourism, and creative tourism networks and platforms.
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The main aim of the project is to provide new research in the arts by focusing on the concept of the inter-sensorial as an essential text for the creation of art and culture. It is designed to foreground the role of the sensorium as an underpinning source for many aspects of thought and cultural heritage. This project will blend visual arts with applied arts and traditional local traditions, revealing new light on the artistic facets and customs which are usually overlooked.The extended residencies will promote transnational mobility for emerging artists, facilitating international relationships between different artistic and cultural contexts within the EU. This will promote transnational interconnectivity between artists and cultures, creating a resourceful intercultural fertilisation, endorsing cultural diversity, social inclusion and most of all, further research on the intercultural facets.Through the various side-activities to take place during the mobilities of the artists, the project aims to strengthen and develop diverse audiences by producing the necessary elements for a dialogue, illustrating interpretations of rich layers of tangible and intangible heritage and legacies of European countries related to the tradition of sensorial experiences and how they evolved around traditional customs. Furthermore, it also aims to rethink and project new and innovative ways for documenting, preserving and communicating data to different audiences.
Every organisation needs to have organised Company Emergency Response (CER) staff. The training of CER must combine knowledge acquisition with knowledge application in performing physical procedures and demonstrating skills. However, current training does not secure well-prepared CER-staff in the long term. Playful learning is that a more engaging type of training can be created which combines knowledge with skills training. But while social interactions can strongly and positively impact learning as well as motivation, this is not easily facilitated within digital learning environments Two questions are particularly important for playful learning designers: • How can playful learning make use of the combination of digital and non-digital working mechanisms to foster learning and motivation? • How can trainees learn and play together if they are not always present at the same time in within the same learning environment? The saying at IJsfontein is that individually you can progress, but only together you can persevere. The aim of this collaboration with Hanze University of Applied Sciences Groningen is to provide playful learning designers with concrete and reusable design guidelines for leveraging social processes in playful learning across the digital/non-digital boundary. As such, we seek to contribute to the practically-oriented design knowledge available to the creative industry through design research that is grounded in practice. This type of design knowledge can only be fully developed when evaluated across different contexts of application. Therefore, we will form a consortium of partners from the creative industry to write a joint follow-up funding application
