Pierrot le Fou is Jean-Luc Godard’s road movie based on Lionel White’s novel ‘Obsession’. After World War II, there was a rise in cinephillia across France when Ciné clubs became popular. These clubs allowed people to immerse themselves and engage with cinema from around the world. The cinématheque Français was key to the French New Wave movement as it provided the future directors and critics with the majority of their knowledge of the film industry.
Here is an exercise we had to complete for my course:
Using only footage/interviews and music from other sources we had to produce a 2 minute short film on a topic of our choice. As a result, I do not own any of to footage or audio featured in this video.
In my research I found a great zine called BEATDOM . Each issue is themed and full of essays from academics, fans and creative writers with unique perspectives of the writers of the Beat Generation. Themes include, the contribution of women to the literary movement and the Beat’s drug and alcohol (ab)use.
As part of my course at UCL I recently completed a short observational film called ‘Life on Two Spectrums’. It is a short documentary project looking at the experiences of members of the LGBTQ+ community with Autism and Asperger’s syndrome. The film follows Dan ‘Tia Anna’ Kahn, a drag queen with Asperger’s Syndrome who founded A.S.P.E.C.S (Autistic and Aspergers Persons of Every Category of (Queer) Sexuality) a support and networking group to help address the needs of the neurodiverse members of the LGBTQ+ community.
Watch below or at https://vimeo.com/199202763
Over the last few weeks, I have been working as the production assistant on ‘TRIGGA’, which is a Creative England and BFI Network supported short film that follows a young girl who confronts the bullies with the help of her horse.
If you’ve got an impact project, distribution can be even more complex but it can also mean there are more opportunities available to you.
With impact projects your primary goal should be to 1) get your film seen by as many people as possible and 2) to get it seen by the right people in order to achieve the outcome you wanted when making the film.
BRITDOC’s Impact Guide: has some great information on how to successfully merge distribution and impact in a way that in mutually beneficial, cost effective and efficient. Impact Distribution is about compromise and ensuring that both the impact and commercial return are optimised. The two can even feed into each other, creating the widest possible distribution using marketing and press buzz helps to build strong relationships with movements, charities, the press and influencers and these relationships then help with marketing and outreach. Continue reading Impact Distribution: A 12 Step Guide
Vlogging is a deeply personal, informal way of connecting with large audiences. At Sheffield Doc Fest 2016’s ‘Vlogs Vs. Docs’ panel, Jolyon Rubinstein from ‘The Revolution will be Televised’ said Youtubers connect with their audiences ‘in a way that alludes commissioners’.
The under 25 audiences connects with this content because they see the people who produce them to be ‘just like them’. Their honesty is the source of their power and watching their videos becomes a part of their subscribers everyday lives.
Watching television is a laid back form of consumption whereas vloggers are able to actively engage with their community and take audience feedback on board much quicker, making vlogging much more of a two way connection. This two way connection is likely to be one of the reasons the under 25s engage with vloggers so much.
Another way in which television and vlogs are different is the level of regulation. Only recently, (as of August 2015), did the ASA implement regulations in the UK regarding product placement and branded content for Vlogs. These regulations do not stipulate that vloggers can’t enter into a commercial relationship with a brand in the UK. They do however state that if a Youtuber is including paid product placement in a video they must disclaim it. Amazingly though this is still not the case in the States, I worry about the effect these ‘advertorials’ and product placements are having on the very young youtube audience who engage with and idolise these vloggers as they might not realise the youtubers are being paid to say they love the products they are endorsing.
Companies have to deal with tough restrictions when it comes to most advertising platforms so it is no surprise we’re seeing a rise in the number of companies reaching out to popular Youtubers and taking advantage of the unregulated online space.
However, a vast majority of vloggers are very young. Fully understanding and complying with the rules and regulations is a big responsibility and it can have considerable repercussions. Vlogger, Jonathan Joly advised bloggers to bear in mind that ‘The internet doesn’t forget.’ and that you have to be careful about which companies you align yourself with.
I spent the weekend in London to attend Open City Doc Fest. Like Sheffield Doc Fest, Open City Doc Festival is about more than simply exhibiting films. Its programme also features live events and performances as well as really interesting masterclasses and panels.
I attended three really insightful panels hosted by organisations such as Doc Heads, Festival Formula and Together Films.
The first panel I went to ‘The road from shorts to features’ was hosted by Doc Head’s founder Tristan Anderson.
Tristan began the session by giving everyone some advice ‘Your first film will be your worst, get it out of the way..’ He followed this up by showing us a great short film called ‘The Gap’ which perfectly explains why it getting your first film out of the way is so important in the process of making work that actually matches your taste level.
Then by using filmmaking duo Matt Hopkins and Ben Lankester, who’s film A Divorce before Marriage premiered at the festival, as a case study we looked at the steps required to make the transition from short docs to features.
Matt and Ben, as many filmmakers before them, explained that they were required to produce commercial content in order to make their company, Progress Films, financially viable and for them to go on to produce their creative work. Matt explained that whilst ‘A Divorce Before Marriage’ had not financially enriched them. It was the work that they were most proud of. They explained that when you’re working on projects for free you have to look at the bigger picture and remember than something will come from it eventually. The duo produced a series of short character portraits for a collection called ‘England your England’. Although they ended up having to fund it from their own pockets, their films were selected as Vimeo Staff Pick and they established a community of filmmakers around them who appreciated their work. From the series, they received commercial work.
I think its really important to remind yourself of the hard work people have had to put in to get to where they are today, so I found the session both really inspiring and informative.
— Elizabeth-Valentina (@ValentaiZie) June 25, 2016
In future posts I will share what I learnt in the sessions with Festival Formula and Together Films.