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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Previous investigations of consumer subcultures in the CCT tradition focused primarily on consumer behaviours, feelings, experiences and meanings of consumption. This paper advocates that in order to deeply understand and interpret a particular subculture, researchers in consumer culture should consider more thoroughly the interaction between consumers and producers in consumption markets. This argument is illustrated with a research project on lifestyle sports. From the results of this study it appears that producers play a vital and interdependent role in meaning and interpretation processes. It is argued that processes in which consumers give meaning to activities can not be isolated from the processes in which producers ascribe meanings to activities, settings and markets. In this 'circuit of culture', production and consumption are not completely separate spheres of existence but rather are mutually constitutive of one another (Du Gay, Hall, Janes, Mackay, & Negus, 1997).
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Marnix S. van Gisbergen (project leader), Shima Rezaei Rashnoodi (project leader), Karlijn van Baal (Producer), Kevin Otto (Director), Leonie Palm (DOP), Adinda Berends (Audio), Joost Scheffers (Editing), Danny Linssen (Supervisor).
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In media audience research we tend to assume that media are engaged with when they are used, however ‘light’ such engagement might be. Once ‘passive media use’ was banned as a reference to media use, being a media audience member became synonymous with being a meaning producer. In audience research however I find that media are not always the object of meaning making in daily life and that media texts can be hardly meaningful. Thinking about media and engagement, there is a threefold challenge in relation to audience research. The coming into being of platform media and hence of new forms of media production on a micro level that come out of and are woven into practices of media use, suggests that we need to redraft the repertoire of terms used in audience research (and maybe start calling it something else). Material and immaterial media production, the unpaid labour on the part of otherwise audience members should for instance be taken into account. Then, secondly, there is the continuing challenge to further develop heuristically strong ways of linking media use and meaning making, and most of all to do justice, thirdly, to those moments and ways in which audiences truly engage with media texts without identifying them with those texts.
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Citizens regularly search the Web to make informed decisions on daily life questions, like online purchases, but how they reason with the results is unknown. This reasoning involves engaging with data in ways that require statistical literacy, which is crucial for navigating contemporary data. However, many adults struggle to critically evaluate and interpret such data and make data-informed decisions. Existing literature provides limited insight into how citizens engage with web-sourced information. We investigated: How do adults reason statistically with web-search results to answer daily life questions? In this case study, we observed and interviewed three vocationally educated adults searching for products or mortgages. Unlike data producers, consumers handle pre-existing, often ambiguous data with unclear populations and no single dataset. Participants encountered unstructured (web links) and structured data (prices). We analysed their reasoning and the process of preparing data, which is part of data-ing. Key data-ing actions included judging relevance and trustworthiness of the data and using proxy variables when relevant data were missing (e.g., price for product quality). Participants’ statistical reasoning was mainly informal. For example, they reasoned about association but did not calculate a measure of it, nor assess underlying distributions. This study theoretically contributes to understanding data-ing and why contemporary data may necessitate updating the investigative cycle. As current education focuses mainly on producers’ tasks, we advocate including consumers’ tasks by using authentic contexts (e.g., music, environment, deferred payment) to promote data exploration, informal statistical reasoning, and critical web-search skills—including selecting and filtering information, identifying bias, and evaluating sources.
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The behind the scenes video of our Virtual Production named: Cradle Christmas Card 2023Credits:Written and directed by Shanna Koopmans (also light design)Producer and editor: Jayden RollingDirector of photography Shanna KoopmansCamera operators: Robin Voskens and Jens MathijssenSound recordist: Anouk Kuijten (and soundmixer) and Viktoriya AtanasovaTitle designer: Marie Lhussier3D artist: Joey RelouwVicon supervisor: Bas WalhoutProduction assistants: Paul Bianchi, Youri Poirters, Aranka ter Avest, Jens MathijssenExecutive producer: Carlos Pereira Santos
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