Early days of short film production at the British Film Institute: origins and evolution of the BFI Experimental Film Fund (1952–66)

2003 ◽  
Vol 4 (2) ◽  
pp. 77-91 ◽  
Author(s):  
Christophe Dupin
Keyword(s):  
Short Film ◽  
Experimental Film ◽  
Film Production

DIGITAL SHORT FILM PRODUCTION TOOLS

2021 ◽  
Vol 1 (14) ◽  
pp. 95-98
Author(s):  
J.V. Rodionova ◽  
Keyword(s):  
Short Film ◽  
Film Production

Nomadic trajectories: mapping short film production in Singapore

2007 ◽  
Vol 8 (2) ◽  
pp. 262-276 ◽  
Author(s):  
Sophia Siddique Harvey
Keyword(s):  
Short Film ◽  
Film Production

Interviews with Per Fikse and Kalle Løchen on short film production in Norway

2012 ◽  
Vol 2 (2) ◽  
pp. 234-236
Author(s):  
Richard Raskin
Keyword(s):  
Short Film ◽  
Film Production

scholarly journals Short film production in educational contexts: Exploring the methodology of the Olhar pela Lente project in Portugal

2020 ◽  
Vol 3 (1) ◽  
Author(s):  
Pedro Nacimento Alves ◽  
Ana Sofia Torres Pereira
Keyword(s):  
Young People ◽  
Short Film ◽  
Film Production ◽  
Educational Strategies ◽  
Natural Habitats ◽  
Social Challenges ◽  
The Subject ◽  
Cultural Resonance ◽  
Pedagogical Goals ◽  
Artistic Analysis

Cinema’s pedagogical essence nurtures a variety of educational strategies. Beyond serving as a support to other areas of knowledge or as the subject of artistic analysis, it also provides students with a means to give – freely and significantly – voice to their own concerns and interests. Short film production in schools can offer a process for young people to deal with personal and social challenges, fostering a closer connection between them and their community and environment. Schools are natural habitats for this encounter – a place where film production can generate significant educational and cultural resonance. This paper reflects on the didactic potential of short film production in schools – as a key to fulfil formal and non-formal pedagogical goals – through the presentation and analysis of a recently implemented methodology for education through film: Olhar pela Lente, a project developed in Portugal during 2018.

scholarly journals Visual Metaphors in Set and Properties Design for ‘Setengah Nada Bergeming’ Film Trailer

2022 ◽  
Vol 6 (2) ◽  
pp. 1-12
Author(s):  
Gabriella Sethio ◽  
Salima Hakim
Keyword(s):  
Qualitative Approach ◽  
Character Theory ◽  
Short Film ◽  
Film Production ◽  
Visual Metaphor ◽  
3 Dimensional ◽  
Visual Metaphors ◽  
Different Characteristics

In a film production, production design is an important aspect that supports the narrative or story.  In production design visual metaphors are often used as concepts for sets and props which have the ability to transform a long text into a shorter visual. Visual metaphor itself is a representation of a place, person, nature, and object that can be a tool to build a narrative as well as describe the nature of a character in a film. The use of visual metaphors can be done by understanding the characters in the film, because each have different characteristics and its own uniqueness. By understanding and using the 3-dimensional aspect of the character as the basis for the design of sets and props, production designers can apply visual metaphors in the design of sets and properties that are suitable for the needs of characters and narratives in films. This paper uses a qualitative approach which elaborates the process of applying visual metaphors into the set and properties design, by using the 3-dimensional character theory as the base for producing the short film trailer entitled Setengah Nada Bergeming. This research finds that by dissecting each element of the 3-dimensional character, production designer can intensify not only how a character is represented and how its contributes in building the entire narrative of the story. Keyword: visual metaphors, 3-D characters, sets, properties, short film, trailer.

scholarly journals Applying Post-colonial theory “Inferiority Complex” Concept on Film Production in Short Film “Luckiest Man on Earth” as a Social Phenomenon

2021 ◽  
Vol 2 (1) ◽  
pp. 194-199
Author(s):  
Euro Linus ◽  
Lala Palupi Santyaputri
Keyword(s):  
Short Film ◽  
Taxi Driver ◽  
Film Production ◽  
Social Phenomenon ◽  
Social Phenomena ◽  
Post Colonial ◽  
Complex Concept ◽  
Colonial Theory ◽  
Inferiority Complex ◽  
Motorcycle Taxi

Film is a medium that can be used to convey a message or story in audio and visual form. Film, which also functions as an art medium, can be used to communicate about a social phenomenon that occurs in society. This paper aims to examine social phenomena that occur in society and reflect on these things through the film "Luckiest Man on Earth" and how the inferiority complex affects the stories contained in this film. The fictional film "Luckiest Man on Earth" tells the story of a young man who works as an ojek at a tourism location in Indonesia and meets a woman of French descent. With Google Translate, they can communicate with one another, but this is used by the motorcycle taxi driver as material to show off to friends and relatives that he has a girlfriend of French descent. This film is produced based on the concept of an inferiority complex that is deeply embedded in Indonesian society.

Conjuring Caliban's Woman: Moving beyond Cinema's Memory of Man in Praise House (1991)

Hypatia ◽  
2021 ◽  
pp. 1-16
Author(s):  
Ayanna Dozier
Keyword(s):  
Short Film ◽  
Experimental Film ◽  
Black Feminist ◽  
Black Womanhood ◽  
Poetic Structure ◽  
Normative Order ◽  
Mass Accumulation ◽  
Sylvia Wynter

Abstract Julie Dash's experimental short film, Praise House (1991), situates conjuring as both a narrative and formal device to invent new memories around Black womanhood that exceed our representation within the epistemes of Man. I view Praise House as an example of conjure-cinema with which we can evaluate how Black feminist filmmakers, primarily working in experimental film, manipulate the poetic structure and aesthetics of film to affect audiences rather than rely on representational narrative alone. Following the scholarship of Sylvia Wynter, I use Man to refer to the representational body of the Western episteme that defines value through mass accumulation. It is through Wynter's scholarship that we find the ontological emancipation from Man that is Caliban's woman, who represents discourse beyond our normative, colonial mode of feeling/knowing/being. Through an analysis of Praise House that foregrounds film's ability to generate affect via its aesthetics, this article argues that aesthetics can similarly enact the same power of conjure as found in Praise House's narrative, and as such conjures an epistemological rupture to our normative order that is Caliban's woman.

The Eclipse of Scottish Cinema

2014 ◽  
Vol 23 (2) ◽  
pp. 217-233 ◽  
Author(s):  
Duncan Petrie
Keyword(s):  
Policy Making ◽  
Self Determination ◽  
Short Film ◽  
Institution Building ◽  
Film Production ◽  
Moving Image ◽  
Film And Television ◽  
Production Activity ◽  
State Of Affairs ◽  
Film Making

The 1990s marked the beginning of a period of unprecedented film production activity in Scotland, part of the wider outpouring of artistic expression – notably in literature, theatre and painting – that occurred in the aftermath of the 1979 Scottish Assembly debacle and which came to constitute a kind of cultural devolution in the absence of political self-determination. The ‘new Scottish cinema’ provided a steady stream of films like Rob Roy (1995), Trainspotting (1996), Small Faces (1996), Regeneration (1997), My Name is Joe (1998), Mrs Brown (1998), Orphans (1998) and Ratcatcher (1999). These were underpinned by a fledging infrastructure that included significant new sources of finance for feature development and production, short film schemes designed to develop new talent and encouragement and assistance for incoming international productions. Therefore, it is all the more disappointing that since the achievement of political devolution in 1999, this creative energy and excitement has largely dissipated with the result that there is now less funding available for Scottish film-making than in the period before the return of a parliament and executive to Edinburgh. This article explores the implications of this ‘cultural eclipse’, exploring the power of the moving image to contribute in powerful ways to national projection and identity and charting the ways in which cinematic representations of Scotland have changed and developed before considering some of the reasons why the creative energy of the 1990s was subsequently dissipated. This state of affairs is contrasted with the success of film and television in Denmark, another small European nation that has adopted a markedly more enlightened approach to policy-making and institution-building.

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