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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Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)
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Knowledge Manuals for strong foundation in the creation of video and film projects using virtual production-assisted technology.
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Light shine glimmer - Leak spill shimmer is an exhibition that ecologically connects the relationship between technology and humans using analog devices. The exhibition is a collaborative project by Luuk Schroder (the Netherlands), Lucy Cordes Engelman (the Netherlands/USA), and Bea Haut (UK).The works in the exhibition take analog film, a medium little in use today, as its point of departure. It sets analog film as “a meeting place” and is interested in the way that a film screening functions as a place to meet. It creates an interconnected environment where you can directly feel and experience emotions which encompass non-visual senses, such as the haptic elements of analog films managed by hands and sounds transmitted through old media. An ecological environment is created in the process of touching, seeing, walking, and experiencing films with your body in the exhibition hall.
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This article will discuss the role of environmentalism in environmental education (EE) and education for sustainable development (ESD) in the context of ecopedagogy. Ecopedagogy calls for the remaking of capitalist practices and seeks to re-engage democracy to include multispecies interests in the face of our current global ecological crisis. In this article, the written reports by international business students on the documentary film If a Tree Falls about a radical environmental movement will be discussed. The aim of this article is to reflect upon the question of whether confrontational questions posed by radical environmentalism can move students to re-examine certain central assumptions within their own society and education. The analysis of students’ individual writing assignments after viewing the film is placed in the context of the discussion about the aims of education in relation to environmental advocacy. This case study seeks to provide an example of how environmental advocacy and the objective of pluralistic education can be combined as mutually supportive means of achieving both democratic learning and learning for environmental sustainability. https://doi.org/10.1177/0973408215569119 https://www.linkedin.com/in/helenkopnina/
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