The Self Sustaining Filmmaker

This book provides guidance on how to build an independent, financially sustainable filmmaking career through channels such as crowdsourcing, crowdfunding, and community filmmaking concepts. Through real-life experiences, Marty Lang provides insight on how to use these key concepts through every stage of a film’s lifecycle – from distribution (the stage that should be figured out first), through development, screenwriting, prep, production and post, all the way through marketing and the film’s release. By thinking of filmmaking as a start-up company, and looking at how businesses make money, Lang creates a completely independent financial model for films, turning filmmakers into businesspeople, conscious of the needs of their audiences, and empowered to use their creative work to make their living. Using interviews with leaders in the field, case studies, and practical experience gained from 20 years of community filmmaking, this book unveils an exciting, new way to make films that prioritizes a collaborative, entrepreneurial mindset at every stage. This is an essential guide for aspiring and seasoned filmmakers alike looking to understand and apply crowdsourcing as an effective tool in their career.

Featuring interviews with 27 award-winning and emerging filmmakers, this book is the first comprehensive look at independent filmmaking careers in South East Asia with never-before published insights into the lives and careers of some of the most influential filmmakers in one of the world’s most exciting screen production regions. Celebrating filmmaking in South East Asia, the interviews offer unique perspectives that highlight the various paths filmmakers have taken to establish and develop their independent filmmaking careers. Presenting filmmakers whose films span narrative, documentary and experimental genres, and from all ten South East Asian nations, the filmmakers in this collection include: Camera d’Or winner Anthony Chen Sundance Grand Jury Prize nominee Mouly Surya NETPAC Award Winner Sheron Dayoc Brunei’s first female director, Siti Kamaluddin Directors of the Wathann Festival, Thaiddhi and Thu Thu Shein Lao’s only female and first horror film director, Mattie Do Aimed at aspiring filmmakers with a focus on career building outside of global production hubs, Meißner has curated a collection of interviews that reflects the diversity and ambition of filmmaking in South East Asia. The book is accompanied by a companion website (www.southeastasianfilmcareers.com) that includes 27 micro-documentaries on the included filmmakers.

Moving beyond a self-indulgent attitude about Africa’s historical victimhood, the book seeks to capture how African states individually and Africa’s collective institutions (the AU) are providing agency in Africa’s international relations. While African states have been trailblazers in such ideas as ‘The Responsibility to Protect’, as conceived in the African Union Constitutive Act (2001) which preceded the United Nations (UN) Secretary General’s report “In Larger Freedom” (2005) in which the UN adopted the concept, African agency in international relations has not always been captured proactively. This volume seeks to document Africa (and African states) in a state of proactivity as opposed to a reactionary mode of international relations which has long been the case due to the discipline’s heavy concentration on the West. The main themes explored are: African agency in international relations and commerce, agency in Africa’s balancing of big and regional powers, reshaping Africa-EU relations beyond the Cotonou Agreements, Africa and international human rights institutions, African efforts in elections and conflicts in Africa and relationship building among African leaders.

Using case studies from Nigeria, Qatar, the United States, the West Indies, and others, the contributors to this volume examine aspects such as audience response, film education for children, and the impact on crime in the various studios, clubs, film festivals, NGOs, peripatetic workshops, and alternative film schools where filmmaking is taught.

'Filmosophy' is a manifesto for a radically philosophical way of understanding cinema. The book coalesces 20th century ideas of film as thought into a practical theory of 'film-thinking', arguing that film style conveys poetic ideas through a constant dramatic 'intent' about the characters, spaces, and events of film.

This extensive bibliography and reference guide is an invaluable resource for researchers, practitioners, students, and anyone with an interest in Canadian film and video. With over 24,500 entries, of which 10,500 are annotated, it opens up the literature devoted to Canadian film and video, at last making it readily accessible to scholars and researchers. Drawing on both English and French sources, it identifies books, catalogues, government reports, theses, and periodical and newspaper articles from Canadian and non-Canadian publications from the first decade of the twentieth century to 1989. The work is bilingual; descriptive annotations are presented in the language(s) of the original publication. Canadian Film and Video / Film et vidéo canadiens provides an in-depth guide to the work of over 4000 individuals working in film and video and 5000 films and videos. The entries in Volume I cover topics such as film types, the role of government, laws and legislation, censorship, festivals and awards, production and distribution companies, education, cinema buildings, women and film, and video art. A major section covers filmmakers, video artists, cinematographers, actors, producers, and various other film people. Volume II presents an author index, a film and video title index, and a name and subject index. In the tradition of the highly acclaimed publication Art and Architecture in Canada these volumes fill a long-standing need for a comprehensive reference tool for Canadian film and video. This bibliography guides and supports the work of film historians and practitioners, media librarians and visual curators, students and researchers, and members of the general public with an interest in film and video.

This comprehensive collection provides theoretical accounts of the grounds and phenomenon of film acting. The volume features entries by some of the most prominent scholars on film acting who collectively represent the various theoretical traditions that constitute the discipline of film studies. Each section proposes novel ways of considering the recurring motifs in academic enquiries into film acting, including: (1) the mutually contingent problematic of description and interpretation, (2) the intricacies of bodily dynamics and their reception by audiences, (3) the significance of star performance, and (4) the impact of evolving technologies and film styles on acting traditions.

This volume examines Brazilian films released between 1995 and 2010, with special attention to issues of race, ethnicity and national identity. Focusing on the idea of the nation as an 'imagined community', the author discuss the various ways in which dominant ideas about brasilidade (Brazilian national consciousness) are dramatised, supported or attacked in contemporary fiction and documentary films.