now accepting applications…
Filmmakers-in-Residence
For the third year in a row, WGBH invites filmmakers and innovators from related industries to produce or post-produce their independently funded film during a nine-month residency at WGBH. Selected participants will receive a stipend, working space, administrative support, editing equipment, editorial guidance, and access to WGBH staff to advance their projects from September 2006 to May 2007.

Entrance is open to all filmmakers and media makers from related industries, but priority is given to applicants from the New England area. Proposals should include a description of the project, a sample of previous media work, and letters of recommendation. For details please visit:

www.wgbh.org/producingfortv

ALL APPLICATIONS MUST BE MAILED IN BY JULY 7, 2006

Stacey Babb
WGBH Educational Foundation
email: bmp@wgbh.org
web: www.wgbh.org

SAGE Publications are pleased to offer free online full text access to the current and back issues of selected journals (see list below) until July 31st 2006.

To access the journals, register at: online.sagepub.com/cgi/register?registration=FT6123

Journals include:
British Journalism Review
Communication Research
Convergence
European Journal of Communication
Global Media and Communication
International Communication Gazette
Journalism
Media, Culture & Society
New Media & Society
Television and New Media
Visual Communication

June 30, 2006
Thoreau’s India Odyssey is a month long trip to India organized by the The Thoreau Group, a not for profit organization, and led by a designated leader for persons of all ages, interests and occupations. The trip party is normally made up by a group of 10 to 15 persons. Participants have the opportunity to paint, make music, participate in dance and theater, sculpt or write poetry or fiction. Yoga meditation and long walks in the desert punctuate their daily lives given to the internal creative pursuits. Participants are encouraged to contribute some of their time and resources for local development projects and to adopt one or more causes of their choice after they return to the USA. Contact: Prof Jayasinhji Jhala, Thoreau India Odyssey OR 617-306-7269 OR jjhala@temple.edu

COMPETITION ANNOUNCEMENT

September 30th – October 8th 2006

Festival Internazionale del Film sull’Arte e di Biografie d’Artista
Cinema - TV - Video - Videoart – Architecture - Design - Computer Art - Productions of Cinema Schools

The 2006 edition of the AsoloArtFilmFestival will be held in Asolo (Treviso) from September 30th to October 8th 2006. The festival upholds the cultural tradition established by the ‘Festival Internazionale del Film sull’Arte e di Biografie d’Artista’, embodying the same concept. Inaugurated in 1973, the former festival enjoyed great international success for over two decades, until it finally closed at the end of the 1990s. Thirty years later its inauguration and its following the progress happened in visual language, the festival has been relaunched as the “AsoloArtFilmFestival”: an international prized event centred upon a competition for cinema devoted to the arts in their myriad forms of expression.
The festival will be the scene for the Career Award “ Flavia Paulon”. The award will be given to the artist of international relevance who left a significant trace with his/her personality and art in the contemporary cultural scene of cinema and art.

The competition is distinct in six sections:
• FILMS ON ART for works devoted to the visual arts and music;

• ARTISTS’ LIVES for projects depicting, throughout a historical reconstruction and critical interpretation, personalities from the world of visual arts and music;

• FILMS ON THE ARCHITECTURE for films devoted to History, movements, protagonists, works and projects about architecture and town planning;

• DESIGN for works devoted to History, movements and protagonists in the design field;

• VIDEOART – COMPUTER ART for works utilizing electronic or computer technologies as a means of direct artistic expression

• PRODUCTIONS related to the visual arts and music, made by recognized film schools, specialized higher education institutes and universities;

The festival was conceived and organized by the cultural association Asolo International Art Festival (A.I.A.F.), a non-profit private organization with legal status (Veneto Regional Council Decree (DGR)
N°. 59741.03 of 18.04.03).
The A.I.A.F. is chaired by Lionello Puppi.

RULES

Only works made after January 1st 2004 are eligible for the competition.
The works must fall into one of the above 6 sections, which must be indicated on the entry form. The Selection Committee reserves the right to move a work to another section should it thinks the work would better fit in a different sector from the one the artist submitted to.

To enter the competition the following are necessary:
• An entry form with all the parts filled in;
• Two copies of the work (PAL standard) in VHS or DVD;
• A short biography and essential filmography of the film-maker(s);
• A synopsis of the work in Italian or English;
• At least two slides or JPEG images of different frames or stills of the work, with the authorization to broadcast them on television and publish them in the press, or otherwise use them to promote the festival;
• The work script either of dialogue or commentary in Italian or English;
• List of original and non-original sound tracks.

This material must be prepared and submitted by the participants, and sent in by July 30th 2006. If works arrive after that date, the postmark will be considered as proof of their having been sent in time. Should the material submitted be incomplete, the organizing committee will decide whether the work is eligible for the competition, and its decision will be final.
The materials submitted will not be returned but kept as documentation in the festival archive. One of the works copies will be part of the A.I.A.F International Mediateca , created with the purpose to make the material available for studying and consulting to both Universities, Schools and worldwide students, and also to the promotion of the festival.

The required materials must be sent to the following address:
AsoloArtFilmFestival,
Foresto Vecchio, 8,
31011 Asolo (TV) Italy.

A special committee will be set up to make a preliminary selection of the works submitted.
At least 30 days before the festival opening date, the film-makers or producers whose works have been chosen will be informed that they have been accepted for the competition. They must submit a copy of the master transferred to Betacam SP or DVD. If this copy is not in Italian it must be subtitled in this language. If these subtitles are missing, when required, the contestant will automatically be excluded from the competition. The copies of the chosen works must reach the organizing body of the festival before and no later than September 15th 2006, otherwise they will be excluded. These copies will not be returned but will be kept in the festival archive.

The What IFFF? Kids Film Camp is shaping up to be an outstanding opportunity for anyone 8-18 who is passionate about filmmaking. Rich Samuels, a three time Emmy Award winning director, will be leading the Advanced group of filmmakers through an intensive week of filmmaking with the final films submitted to be streamed on-line and competing for college scholarships.

It has been confirmed by our sponsor, Sole Technologies, Inc., the great company that creates Etnie, Emerica, Etnie Girls and other great action-sports brands, will loan out their internationally famous action-sports cinematographer, Mike Manzoori, for a special half-day with all of the film makers. This is the opportunity of a lifetime to have a face-to-face with one of the real legends of filmmaking. He will be leading the filmmaking team at the X-Games this year and is stopping to share with young filmmakers on his way there.

The Indian Stunt Team, responsible for all the cool horse stunts you see in great western films, will be spending a couple hours with the camp filmmakers, as well as the Fight Choreography Team whose work has been seen in Master and Commander, Hook, The Gladiator and many other major films.

The Make-Up Designery, MUD, is sending a team of special effects make-up artists to help the filmmakers working on a project and to demonstrate some of the latest techniques in make-up effects. Their work is world renowned and we are always delighted to host them at the What IFFF? Kids Film Camp.

Finally, this year we will offer kids some practical advice and help on licensing their films to some of the new distributors who are lookjing for films made by kids for the new media outlets. We will spend time helping the filmmakers copyright their work and package it to license.

The five day film camp is shaping up to be the best we have ever assembled. Space is limited so be sure to make your reservations as quickly as possible. Information is on-line at www.iffilmfest.org and all registration forms can be printed and faxed.

We are extending the deadline for a discounted registration to June 1, 2006. All submissions received by June 1, 2006 will receive a 15% discount.
Sole Technologies Joins What IFFF? Kids
What IFFF? Kids Film Festival and Film Camp is proud to welcvome a new sponsor. Putting their money and support where their mouth is, this leading manufacturer of footwear and clothing for skateboarding, BMX Biking, and other action sports has joined young filmmakers to lend their experience in action sportsa cinematography, much needed funds to support the program, and award certificates for the film and screenplay winners in their categories.

What IFFF? Kids extends a warm welcome to Sole Technologies, Inc. and encourages everyone to go on-line and check them out. they are a neat company, full of soul, who truly care about encouraging creativing in kids of all ages.

We all thank you for your generosity and hope this becomes a long term relationship helping young filmmakers grow and proisper in their craft.
Click here for more…

Say Hello to Digital Blue

Talk about a cool sponsor! Another first time sponsor to the What IFFF? Kids filmmaking program is Digital Blue. Whatever you are doing go immediately to their website and CHECK THEM OUT. To help insure that all young filmmakers had their hands on a camera, Digital Blue donated cameras, editing software, microphones, animation stations and mix master music mixing boards to the program. Thanks to their generosity- every kid in the film camps and in the school programs will shoot film, mix their own music and edit their own film. This is really filmmaking- not just kids acting for a camera being held by an adult who will then edit the film and give each kid a copy. No! This is real! Kids will write, shoot, edit and score for themselves- finally, telling their own stories their way. Every young filmmaker owes a big thank you to this company.

Check them out on-line at www.playdigitalblue.com. And don’t be fooled- these cameras and equipment may look like toys but they are serious tools for beginning filmmakers.

So- a BIG Thank You- to Digital Blue. They are an awesome company- buy their products and support them. We want them to grow and prosper- they care about kids and creativity and they speak our language.
Click here for more…

All 8-18 year-old filmmakers- Get Your Films and Screenplays Submitted by June 1, 2006.

Reserve your space for the Film Camp by June 1, 2006 and SAVE 15 %.

If you have a potential sponsor that you think would be interested in this great world of independent filmmaking for all ages please have them contact Suzanne@actsofcreation.com or let Suzanne know and she will give them a call herself.

Squeaky Wheel, the Buffalo Media Resources Center in Buffalo NY announces the International Digital Filmmakers Residency, funded by the National Endowment for the Arts, is directed towards mid-career experimental filmmakers who are interested in crossing the digital divide but have not had the opportunity, time or resources to learn digital editing.

Deadline is June 16th, notification is June 30th 2006

See: www.squeaky.org

www.beyondbroadcast.net/blog/?p=69

Beyond Broadcasting opened with the question, “How can we identify what is “public” in the new media landscape?” This session demonstrated that — nonwithstanding thorny problems of definition - we know it when we see it.

First-time feature documentary film director Deborah Scranton arrived at Beyond Broadcasting, fresh from the Tribeca Film Festival where she won the Best Documentary Award for The War Tapes — “the first film directed through instant messaging.”

The IFP Market is composed of 1600 targeted pitch meetings with equity financiers, buyers, sales companies, distributors, broadcasters, agents, and programmers from the US and abroad combined with dozens of networking events, screenings and seminars, make IFP Market an easy and user-friendly place to introduce new film projects to the industry.

New Writer/ Directors with scripts or shorts looking to connect with producers
-Submit your project to: Emerging Narrative section
-Recent company attendees: Back Up Films, Plum Pictures, Lasalle Holland, and more
-Recent successes: Brother to Brother & Off the Black

Producers with packaged scripts looking for co-financing partners
-Submit your project to: No Borders Co-Production Market
-Recent company attendees: Wild Bunch, Celluloid Dreams, Pathe Pictures and other film funds.
-Recent successes: Maria Full of Grace, Me and You and Everyone We Know

Documentarians with a short, feature or work-in-progress seeking completion funds or distribution
-Submit your project to: Spotlight on Documentaries section
-Recent company attendees: HBO, A&E, ITVS, POV, BBC, ARTE, ThinkFilm and more
-Recent successes: The Trials of Darryl Hunt, A Lion in the House & Mad Hot Ballroom

Apply now at www.ifp.org
Questions: 212-465-8200 x 222 or email marketreg@ifp.org
IFP Market - Sep 17-21, 2006 - NYC - Future Independent Classics Begin Here

Recent Success Stories

Mad Hot Ballroom
Directed by Marilyn Agrelo
Distributed by Paramount Classics

Received first exposure as a work-in-progress in the 2004 Market. Then accepted to Slamdance and purchased by Paramount Classics.
IFP subsequently brought the film to Berlin International Film Festival where the filmmakers secured international sales.
Me and You and Everyone We Know
Directed by Miranda July
Distributed by IFC Films and FilmFour

Producer Gina Kwon first spoke to IFC Productions and UK‘s FilmFour exec Peter Carleton at No Borders in 2003.
Film subsequently invited to Cinemart where the filmmakers cemented distribution plans with IFC Films and FilmFour.

DER is proud to congratulate filmmakers Sandeep Ray and Lorna Lowe Streeter for being awarded grants of $10,000 each from the LEF Foundation Moving Image Fund for their current film projects. Other supporters may also make tax deductible contributions by going to the “donate” page on DER’s web site. EARNEST YEARS is the working title for Sandeep’s project and ROMEO is the title for Lorna’s documentary that examines the complexities of domestic violence. All donations are processed through PAYPAL’s secure system.

DocuClub is doing a special In-the-Works for short films
Submission Deadline is Friday, May 12

DocuClub’s In-the-Works program offers filmmakers a safe environment to screen a rough-cut of their documentaries before an audience of their peers and lovers of the form. The audience is encouraged to give constructive feedback about the structure, content, characters and clarity of the film in a post-screening discussion facilitated by an experienced filmmaker.

DocuClub is pleased to invite short films between the lengths of 10-30 minutes to apply for this program. We will showcase 2-3 films and have a discussion after each one. Please do not submit short versions of feature films – we will only consider rough cuts of films whose final running time will be 30 minutes or shorter. The exact date of the In-the-Works will be announced next week, but will be in late May – early June.

Previous films that have recently screened at our In-the-Works program through DocuClub include Academy Award-winner Born into Brothels by Zana Briski & Ross Kauffman. The Boys of Baraka directed by Heidi Ewing & Rachel Grady, and Encounter Point directed by Ronit Avni, co-directed by Julia Bacha.

Submission requirements can be found on our website at docuclub.org/filmdirectory/submissions.html
If you have any questions please email Artistic Director Mary Kerr at mail@docuclub.org or call (212) 582-3055

In-the-Works: Festivals
REMINDER: deadline this Friday

Filmmakers don’t have to travel to New York City to present their rough cuts. Since 2000, DocuClub has been taking its unique In-the-Works program to film festivals across the country, providing regional filmmakers and audiences the same opportunities we have in our New York community. The In-the-Works session offers an unusual opportunity for professionals and non-professionals to view documentaries at various stages of production and participate in the critique process. The audience is encouraged to give constructive feedback about the structure, content, characters and clarity of the rough-cut.

We are currently accepting submissions for our In-the-Works: Festivals program taking place in Newport, RI at the Newport International Film Festival, June 6-11, and Silver Spring, MD at the SILVERDOCS: AFI/Discovery Channel Documentary Festival, June 13-18. Submission requirements for In-the-Works can be found on our website at docuclub.org/filmdirectory/submissions.html. The project or filmmaker must be connected to Newport/Rhode Island or Maryland/Washington DC in some way.

If you have any questions please email Artistic Director Mary Kerr at mail@docuclub.org or call (212) 582-3055.
Submission deadline is Friday, May 5.

We are pleased to invite you to the 8th ASTRA FILM FEST - International Festival of Documentary Film & Visual Anthropology – that will take place between 23 and 28 October this year.
web site

ASTRA FILM FEST is based in Sibiu,Romania, and it is unique in this part of Europe. The Festival offers the opportunity for film-makers and anthropologists from all over the world to meet, while promoting the production of good quality non-fiction, non-commercial film in Romania and in the region, as well as for discussions related to the use of visual media in the anthropological work. Our latest editions proved that there is an amazing appetite, especially among the young people, for this type of films and visual anthropology programs. Large groups of anthropology and film students from Hungary, Poland, Yugoslavia, Bulgaria, Moldova, Germany, France, and Italy attended the event, along with their colleagues from all over Romania. The festival was awarded the Honour of Best Art and Culture Event of the year in 2002.

We will have a very rich programme this year:
 COMPETITION SECTIONS:
INTERNATIONAL
CENTRAL&EASTERN EUROPE
MADE IN ROMANIA
STUDENT FILMS
ROBERT GARDNER – retrospective portrait, discussion with the author after screenings
KIM LONGINOTTO – a selection of her films made and introduced by the author
ROMANIA - a SPECIAL PROGRAM showing a selection of the best post socialist Romanian documentaries, an excellent exhibition of documentary photographs, and Romanian traditional music
WORKSHOP: “CELEBRATING THE DOCUMENTARY FILM in filmfestivals”
inviting directors of all significant documentary film festivals of the moment.

This year’s Festival takes place only a couple of months before Sibiu becomes the Cultural Capital of Europe 2007, together with Luxembourg and The Grand Region. We expect that this timing will bring even more interest for the Festival.

For students with early bird registration (untill 30 June), we can offer free accommodation at student hostels until the places are full. Please announce your registration at aff@astrafilm.ro

Hoping to see you in Sibiu this fall,

Dumitru Budrala
Festival Director

Books
NEW BOOKS

click on for more info

Sarah Pink
The Future of Visual Anthropology: Engaging the Senses
2006 Routledge

From an eminent author in the field, The Future of Visual Anthropology develops a new approach to visual anthropology and presents a groundbreaking examination of developments within the field and the way forward for the subdiscipline in the twenty-first century.
The explosion of visual media in recent years has generated a wide range of visual and digital technologies which have transformed visual research and analysis. The result is an exciting new interdisciplinary approach of great potential influence for the future of social/cultural anthropology.
Sarah Pink argues that this potential can be harnessed by engaging visual anthropology with its wider contexts, including:
* the increasing use of visual research methods across the social sciences and humanities
* the growth in popularity of the visual as methodology and object of analysis within mainstream anthropology and applied anthropology
* the growing interest in ‘anthropology of the senses’ and media anthropology
* the development of new visual technologies that allow anthropologists to work in new ways.
This book has immense interdisciplinary potential, and will be essential reading for students, researchers and practitioners of visual anthropology, media anthropology, visual cultural studies, media studies and sociology.

Jane Lydon
Eye Contact: Photographing Indigenous Australians
2005 Duke University Press

An indigenous reservation in the colony of Victoria, Australia, the Coranderrk Aboriginal Station was a major site of cross-cultural contact the mid-nineteenth century and early twentieth. Coranderrk was located just outside Melbourne, and from its opening in the 1860s the colonial government commissioned many photographs of its Aboriginal residents. The photographs taken at Coranderrk Station circulated across the western world; they were mounted in exhibition displays and classified among other ethnographic “data” within museum collections. The immense Coranderrk photographic archive is the subject of this detailed, richly illustrated examination of the role of visual imagery in the colonial project […]

Journals
Visual Anthropology Review

Visual Anthropology Review
Vol. 21, n. 1-2, 2005

Françoise Dussart Guest Editor’s Introduction to Media Matters: Visual Representation of Aboriginal Australia

Nicholas Peterson Early 20th Century Photography of Australian Aboriginal Families: Illustration or Evidence?

Elizabeth Edwards Photographs and the Sound of History

Franca Tamisari The Responsibility of Performance: The Interweaving of Politics and Aesthetics in Intercultural Contexts.

Howard Morphy The Aesthetics of Communication and the Communication of Cultural Aesthetics: A Perspective Oon Ian Dunlop’s Films of Aboriginal Australia.

Faye Ginsburg Blak Screens and Cultural Citizenship.

Gaynor Macdonald Painting the “Soft Knife”: Harry Wedge’s Colonial Canvas.

Fred Myers Collecting Aboriginal Art in the Australian Nation: Two Case Studies.

Catherine De Lorenzo Photography Redfern Proof: Exhibition as Medium.