Dear Film Professor:
In the fall of 2008, UC Berkeley's Pacific Film Archive will present
an experimental film program showcasing the best in Bay Area student
work. The program will feature short experimental films of no more
than fifteen minutes in length, completed after August 2006. The
submission deadline is April 25, 2008; please encourage your students
to apply. This festival largely depends on faculty participation in
promoting submissions.
Attached you will find submission forms containing pertinent
information regarding the show.
We would like to attend any open screenings of student work that you
may schedule and would appreciate notice of this opportunity. Thank
you for your assistance. We look forward to working with you.
Best regards,
your name
PFA Curatorial Intern
pfawork@berkeley.edu or your email
Wednesday, April 16, 2008
Tuesday, April 8, 2008
Viewing slots
Hey guys these are the viewing slots, please tell me if you can't make at least four hours out of these times.
M 11-2
W 11-2
Th 3-6
Collaboration notes so far: 2 comments each please
Collaboration Agreement Notes
-every voice heard, consideration for personalities and opinions
-alternative ways for voice is equally heard
-the role of a vote as last resort, not always best resolution
-reach an agreement through dialogue and compromise rather than
majority/minority
-shared responsibility and all roles are evenly distributed
-varying talents could be efficient, but sharing/teaching talents
should be welcomed
-positive team mentality and group motivation, setting up guidelines
-clear guidelines for what we are working towards and all should be
working towards a collective goal
-no secrets
-use blog and meetings for communication
-create a paper trail for group decisions, pick someone to
communicate it to the whole group
-there is a responsibility to not only be heard, but to speak
-complete confidentiality within the group
-want a process that is totally respectful to the work
-might have a process where everyone writes an opinion before anyone
says anything
-protect your opinion
-create a program that reflects the group
-commit to the time frame*
-no program of compromises
-do the best to focus and understand the work
-every voice heard, consideration for personalities and opinions
-alternative ways for voice is equally heard
-the role of a vote as last resort, not always best resolution
-reach an agreement through dialogue and compromise rather than
majority/minority
-shared responsibility and all roles are evenly distributed
-varying talents could be efficient, but sharing/teaching talents
should be welcomed
-positive team mentality and group motivation, setting up guidelines
-clear guidelines for what we are working towards and all should be
working towards a collective goal
-no secrets
-use blog and meetings for communication
-create a paper trail for group decisions, pick someone to
communicate it to the whole group
-there is a responsibility to not only be heard, but to speak
-complete confidentiality within the group
-want a process that is totally respectful to the work
-might have a process where everyone writes an opinion before anyone
says anything
-protect your opinion
-create a program that reflects the group
-commit to the time frame*
-no program of compromises
-do the best to focus and understand the work
Calendar notes and dates
APRIL
9 - PFA req. student night
10 - Collaboration agreement
22 - Req student night
25 - Submission postmarked deadline
28 - pos viewing
MAY
1 - viewing starts 3-6pm
5 - 11am - 2pm
7 - 11am - 2pm
8 - 3 - 6pm
12 - last day of classes
Extended deadline submission receipt date
14 - 11am - 2pm
15 - Finals start 3 - 6pm
16 -Film, rhetoric and art practice commencement
19 - 11am - 2pm
20 - All meet - final day to create hardcopy of program
21 - Show to Kathy and Jason and amend accordingly
22 - Finish program
9 - PFA req. student night
10 - Collaboration agreement
22 - Req student night
25 - Submission postmarked deadline
28 - pos viewing
MAY
1 - viewing starts 3-6pm
5 - 11am - 2pm
7 - 11am - 2pm
8 - 3 - 6pm
12 - last day of classes
Extended deadline submission receipt date
14 - 11am - 2pm
15 - Finals start 3 - 6pm
16 -Film, rhetoric and art practice commencement
19 - 11am - 2pm
20 - All meet - final day to create hardcopy of program
21 - Show to Kathy and Jason and amend accordingly
22 - Finish program
Viewing time slots from Natalie
So after looking at everyone's schedule, I have composed three time slots. I
think that Kathy wanted everyone to be able to make at least 2 of them for
two hours at a time, but if you could make four hours a week, whether it is
in one time slot or another, I think that would be fine as well. If for some
reason you can't, can you please e-mail me back telling me the particular
time conflict you have with which slot. Thanks guys! See you on thursday!
Times:
Monday 11-2
Wednesday 11-2
Thursday 3-6
think that Kathy wanted everyone to be able to make at least 2 of them for
two hours at a time, but if you could make four hours a week, whether it is
in one time slot or another, I think that would be fine as well. If for some
reason you can't, can you please e-mail me back telling me the particular
time conflict you have with which slot. Thanks guys! See you on thursday!
Times:
Monday 11-2
Wednesday 11-2
Thursday 3-6
question about school mailings
i missed last week's class, can anyone tell me about the school mailings, what are we supposed to mail, the flayers we made for film admissions?
sahar
sahar
Monday, March 17, 2008
Name of the program?
Yeah, so we are trying to finalize the submission form and I realize that we have yet to come up with a name for our program. Does anyone have any ideas? In the meantime I am going to be using "Experimental Film Program."
Friday, March 14, 2008
Cinemateque screening
I'm headed to Yuerba Buena on Sunday for some films if anyone fancies? here is the link:
http://www.sfcinematheque.org/
http://www.sfcinematheque.org/
Jason's idea for deadline
Dear All,
I wanted to offer a plug for considering making the postmark deadline
for the first round of submissions for Friday, April 25 instead of the
following Monday, the 28th. My rationale is that if you're all
supposed to see where you're at in terms of submissions received by
our class meeting on Thursday, April 1 it makes more sense to give
some extra padding for works to arrive via the postal service.
Just my two cents. Have a great weekend all,
Jason
I wanted to offer a plug for considering making the postmark deadline
for the first round of submissions for Friday, April 25 instead of the
following Monday, the 28th. My rationale is that if you're all
supposed to see where you're at in terms of submissions received by
our class meeting on Thursday, April 1 it makes more sense to give
some extra padding for works to arrive via the postal service.
Just my two cents. Have a great weekend all,
Jason
Wednesday, March 12, 2008
avant-garde
I don't remember if this was brought up last class or not, but maybe it would be a neat concept to make the flyer/programmes/etc. look more avant-garde? to reflect the avant-garde nature of the program. I don't really know exactly what this means necessarily... but maybe lower case fonts, crooked text placements, things that would make the flyer look less straightforward and less conventional, and possibly more aesthetic and artistic? I'll bring in some print ads tomorrow. Have we also talked about what we will use to design the flyers? Maybe we could go over what programs to use and how comfortable people are with using those programs, etc.
Schedules
Hey guys! So for those of you who have already e-mailed me your schedules, ignore this. I need everyone to e-mail me their schedules, including your finals, class schedule, work hours or any other hours in which you are not available. Please be specific, don't write something like Monday mornings, because I won't know what the means, give me specific hours. Thanks. My e-mail is nmusteata@gmail.com for those of you who don't know.
-Natalie
-Natalie
Banff Mountain Film Festival
Just a reminder, if anyone is interested in attending the Banff Mountain Film Festival there will be a screening tomorrow in Wheeler Hall at 8:00pm. Tickets are pricey at $18 but the films look really good. I'll probably be going to check it out. Here is the information for anyone who is interested:
http://calbears.berkeley.edu/news_details.aspx?nid=113697cd-2c1a-4857-bc68-255a2ab77588
Flyer Central Theme Ideas
Just to remind what Angela and I thought of for the flyer, we were maybe thinking that all of them could use the Courier Font and maybe revolve around the process of students making films (filming, an actual scene from the film, people watching the film, etc.)
Tuesday, March 11, 2008
Deadline Reminder March 13th
This week, we are going to decide on the final design on the fliers and submission forms. Please bring pictures, posters, or what ever catches your attention and is relevant to the designs.
Monday, March 10, 2008
Tuesday, February 26, 2008
Notes on Collaboration
While this article was designed for other purposes, it brings up issues helpful to us in working together to curate a program or series. I’ve placed the most relevant sections in bold.
COLLABORATION: POINTS TO CONSIDER IN CREATING A MEMORANDUM OF UNDERSTANDING
As specified in the Creative Work Fund guidelines (page 8), before a grant will be awarded, the artist(s) and collaborating organization(s) must prepare and sign a memorandum of understanding describing payment schedules, and each entity’s rights, roles, and responsibilities in the project. The following notes about collaboration are meant to assist in developing such a letter. It should be noted that these suggestions are not intended as legal advice; for specific legal questions, you should consult an attorney.
While Creative Work Fund grants are very competitive and we do not advise applicants to assume they will receive a grant, the Fund recommends preliminary discussion now about this Memorandum of Understanding which would be required if your project were ultimately awarded a grant.
Definitions and General Advice:
Collaboration is a mutually beneficial and well-defined relationship entered into by two or more organizations to achieve common goals.
The relationship includes a commitment to: a definition of mutual relationships and goals, a jointly developed structure and shared responsibility, mutual authority and accountability for success, and sharing of resources and rewards.
Paul W. Mattessich, Ph.D. & Barbara R. Monsey, M.P.H. Wilder Research Center
From the perspective of The Creative Work Fund, Collaboration is an active, mutually beneficial partnership between an artist and an organization or among a group of artists and organizations to create a new work of art.
Based on a study of research literature in the field of collaboration, Mattessich and Monsey cite the following--among other factors--as those most frequently cited in ensuring that a collaboration will be successful:
* Collaborating partners have the same vision, with clearly agreed upon mission, objectives, and strategy.
*Members of the collaborative group share an understanding and respect for each other and their respective organizations
*The collaborative group includes representatives from each segment of the community who will be affected by its activities
*Collaborating partners are able to compromise and be flexible
*Members share a stake in both the process and outcome
*Collaborative group members interact often, update one another, discuss issues openly
*Channels of communication exist on paper, so that information flow occurs.
Creative Work Fund collaborations bring together individual artists with organizations, some of which have years of experience working with artists and some of which have never worked with artists before. A recent evaluation conducted by the Western Alliance of Arts Administrators of collaborations involving presenting organizations came to complex, interesting conclusions about successful collaborations (excerpted below). Many of these comments on tensions between larger and smaller organizations may be translated into tensions between institutions and individuals.
*Effective collaboration is most often possible when both organizations have enough time to meet their current requirements and time left over to engage with one another.
*The importance of knowing your partner and anticipating the limitations of both organizations is vital.
*In all collaborations, there is the potential risk that one or the other organization may not be able to completely fulfill its commitments. It is therefore important for collaborating partners to generate an alternative plan which accounts for what will happen if one or the other is unable to meet the agreed-upon terms of the partnership.
*Organizations should not agree to everything. They should negotiate for what they want, need, and are capable of delivering.
*The concept of equity in collaboration should not impose constraints which impede the project. Equity is a goal; collaboration is a process. Partners bring different capabilities and resources to the collaboration. Equally dividing all resources and responsibilities rarely results in an effective collaborative strategy.
*Larger organizations need to be sensitive to smaller organizations’ fear that they will lose their identity and ownership in a project.
*The speed and initiative of many community-based organizations enables them to act with greater dispatch. In contrast, mainstream organizations, even though they have greater resources, may be bound by inflexible structures and policies.
* Successful collaborations often involve working with many people within each organization to ensure that the indispensable individual is not indispensable after all. As such, where possible each “point person” in the partnership should involve others in the process.
*Issues of resource allocation, finances, and financial management are aspects of collaborations which trigger the greatest stresses among and between participants. These issues must be negotiated in detail prior to entering a collaboration.
Recommended Issues To Be Addressed (Based on Evaluations of Completed Creative Work Fund Projects):
*Dividing and defining administrative tasks--particularly when large and small organizations are collaborating (Tasks to consider include insurance--liability, worker’s compensation, etc.--volunteer management, public relations, securing permits, bookkeeping and financial reporting.)
*Deciding who convenes the partnership and how (particularly when there are multiple collaborators
*Agreeing about how and when the artist will be paid
* Clarifying procedures for reimbursements for expenses. (Is prior approval required? What kinds of records and receipts should be kept?)
*Deciding how the partnership will cover unanticipated expenses
*Agreeing to guidelines for hiring and/or firing a subcontractor
*Recruiting, providing insurance for, or securing signed waivers from volunteers
*Juggling agreements with multiple box offices (if several performing arts groups are involved and each has a different box office contract)
*Dividing revenues generated
*Adapting to a change in staff at a collaborating organization (particularly if that person is not replaced)
*Agreeing to whose images and text are used to promote the project
* Developing a time frame for the project and adjusting it if necessary
Overview of Issues to Address in a Memorandum of Understanding
The following notes are a general guide and are not a substitute for legal advice.
*The purpose for the collaboration and the names of the entities involved
*How the collaborative group will make decisions and whether one person or entity will serve as a convener or coordinator for the group (Contingency representatives should be named in case of a change in personnel at the collaborating agencies.)
*Who will be responsible for financial record keeping and reporting. (Include, if applicable the rate of reimbursement or pay for any shared expenses--for example, rate of reimbursement for local travel per mile.)
*Specify who will review and approve expenditure and will review and approve subcontractor decisions made on behalf of the collaboration
*Indicate who will be responsible for any other proposals that may be submitted
*Outline responsibilities of different partners to contribute to the reports to the Creative Work Fund and/or other funding agencies
*The agreed upon time frame of major aspects of the project
*Agreed upon roles in publicizing the project and agreed upon contributions to the public relations effort (e.g. photographs, biographical notes)
*Who will be responsible for securing insurance and/or permits
*How the memorandum of understanding may be modified
*How any disputes may be negotiated
Additional Information and Assistance:
California Lawyers for the Arts, which has local offices in San Francisco and Oakland, offers occasional workshops on effective collaborative partnerships, low-cost legal assistance with developing agreements and contracts, and a mediation and arbitration service for dispute resolution.
Brief Bibliography
Gray, Barbara, Collaborating: Finding Common Ground for Multiparty Problems, Jossey-Bass, San Francisco, 1989.
Richard Linzer and Associates, A Study of the WAAA Equity Program Collaborations, Western Alliance of Arts Administrators Foundation, 44 Page Street, #604B, San Francisco, CA 94102-5986. (415) 621-4400. (Available for $5 per copy)
Mattessich, Paul W., Ph.D., and Monsey, Barbara R, M.P.H, Collaboration: What Makes it Work: A Review of Research Literature on Factors Influencing Successful Collaboration, Amherst H. Wilder Foundation, 919 Lanfond Avenue, St. Paul, MN 55104, 1992
Winer, Michael and Ray, Karen, Collaboration Handbook: Creating, Sustaining, and Enjoying the Journey, Amherst H. Wilder Foundation, 919 Lanfond Avenue, St. Paul, MN 55104, 1994
COLLABORATION: POINTS TO CONSIDER IN CREATING A MEMORANDUM OF UNDERSTANDING
As specified in the Creative Work Fund guidelines (page 8), before a grant will be awarded, the artist(s) and collaborating organization(s) must prepare and sign a memorandum of understanding describing payment schedules, and each entity’s rights, roles, and responsibilities in the project. The following notes about collaboration are meant to assist in developing such a letter. It should be noted that these suggestions are not intended as legal advice; for specific legal questions, you should consult an attorney.
While Creative Work Fund grants are very competitive and we do not advise applicants to assume they will receive a grant, the Fund recommends preliminary discussion now about this Memorandum of Understanding which would be required if your project were ultimately awarded a grant.
Definitions and General Advice:
Collaboration is a mutually beneficial and well-defined relationship entered into by two or more organizations to achieve common goals.
The relationship includes a commitment to: a definition of mutual relationships and goals, a jointly developed structure and shared responsibility, mutual authority and accountability for success, and sharing of resources and rewards.
Paul W. Mattessich, Ph.D. & Barbara R. Monsey, M.P.H. Wilder Research Center
From the perspective of The Creative Work Fund, Collaboration is an active, mutually beneficial partnership between an artist and an organization or among a group of artists and organizations to create a new work of art.
Based on a study of research literature in the field of collaboration, Mattessich and Monsey cite the following--among other factors--as those most frequently cited in ensuring that a collaboration will be successful:
* Collaborating partners have the same vision, with clearly agreed upon mission, objectives, and strategy.
*Members of the collaborative group share an understanding and respect for each other and their respective organizations
*The collaborative group includes representatives from each segment of the community who will be affected by its activities
*Collaborating partners are able to compromise and be flexible
*Members share a stake in both the process and outcome
*Collaborative group members interact often, update one another, discuss issues openly
*Channels of communication exist on paper, so that information flow occurs.
Creative Work Fund collaborations bring together individual artists with organizations, some of which have years of experience working with artists and some of which have never worked with artists before. A recent evaluation conducted by the Western Alliance of Arts Administrators of collaborations involving presenting organizations came to complex, interesting conclusions about successful collaborations (excerpted below). Many of these comments on tensions between larger and smaller organizations may be translated into tensions between institutions and individuals.
*Effective collaboration is most often possible when both organizations have enough time to meet their current requirements and time left over to engage with one another.
*The importance of knowing your partner and anticipating the limitations of both organizations is vital.
*In all collaborations, there is the potential risk that one or the other organization may not be able to completely fulfill its commitments. It is therefore important for collaborating partners to generate an alternative plan which accounts for what will happen if one or the other is unable to meet the agreed-upon terms of the partnership.
*Organizations should not agree to everything. They should negotiate for what they want, need, and are capable of delivering.
*The concept of equity in collaboration should not impose constraints which impede the project. Equity is a goal; collaboration is a process. Partners bring different capabilities and resources to the collaboration. Equally dividing all resources and responsibilities rarely results in an effective collaborative strategy.
*Larger organizations need to be sensitive to smaller organizations’ fear that they will lose their identity and ownership in a project.
*The speed and initiative of many community-based organizations enables them to act with greater dispatch. In contrast, mainstream organizations, even though they have greater resources, may be bound by inflexible structures and policies.
* Successful collaborations often involve working with many people within each organization to ensure that the indispensable individual is not indispensable after all. As such, where possible each “point person” in the partnership should involve others in the process.
*Issues of resource allocation, finances, and financial management are aspects of collaborations which trigger the greatest stresses among and between participants. These issues must be negotiated in detail prior to entering a collaboration.
Recommended Issues To Be Addressed (Based on Evaluations of Completed Creative Work Fund Projects):
*Dividing and defining administrative tasks--particularly when large and small organizations are collaborating (Tasks to consider include insurance--liability, worker’s compensation, etc.--volunteer management, public relations, securing permits, bookkeeping and financial reporting.)
*Deciding who convenes the partnership and how (particularly when there are multiple collaborators
*Agreeing about how and when the artist will be paid
* Clarifying procedures for reimbursements for expenses. (Is prior approval required? What kinds of records and receipts should be kept?)
*Deciding how the partnership will cover unanticipated expenses
*Agreeing to guidelines for hiring and/or firing a subcontractor
*Recruiting, providing insurance for, or securing signed waivers from volunteers
*Juggling agreements with multiple box offices (if several performing arts groups are involved and each has a different box office contract)
*Dividing revenues generated
*Adapting to a change in staff at a collaborating organization (particularly if that person is not replaced)
*Agreeing to whose images and text are used to promote the project
* Developing a time frame for the project and adjusting it if necessary
Overview of Issues to Address in a Memorandum of Understanding
The following notes are a general guide and are not a substitute for legal advice.
*The purpose for the collaboration and the names of the entities involved
*How the collaborative group will make decisions and whether one person or entity will serve as a convener or coordinator for the group (Contingency representatives should be named in case of a change in personnel at the collaborating agencies.)
*Who will be responsible for financial record keeping and reporting. (Include, if applicable the rate of reimbursement or pay for any shared expenses--for example, rate of reimbursement for local travel per mile.)
*Specify who will review and approve expenditure and will review and approve subcontractor decisions made on behalf of the collaboration
*Indicate who will be responsible for any other proposals that may be submitted
*Outline responsibilities of different partners to contribute to the reports to the Creative Work Fund and/or other funding agencies
*The agreed upon time frame of major aspects of the project
*Agreed upon roles in publicizing the project and agreed upon contributions to the public relations effort (e.g. photographs, biographical notes)
*Who will be responsible for securing insurance and/or permits
*How the memorandum of understanding may be modified
*How any disputes may be negotiated
Additional Information and Assistance:
California Lawyers for the Arts, which has local offices in San Francisco and Oakland, offers occasional workshops on effective collaborative partnerships, low-cost legal assistance with developing agreements and contracts, and a mediation and arbitration service for dispute resolution.
Brief Bibliography
Gray, Barbara, Collaborating: Finding Common Ground for Multiparty Problems, Jossey-Bass, San Francisco, 1989.
Richard Linzer and Associates, A Study of the WAAA Equity Program Collaborations, Western Alliance of Arts Administrators Foundation, 44 Page Street, #604B, San Francisco, CA 94102-5986. (415) 621-4400. (Available for $5 per copy)
Mattessich, Paul W., Ph.D., and Monsey, Barbara R, M.P.H, Collaboration: What Makes it Work: A Review of Research Literature on Factors Influencing Successful Collaboration, Amherst H. Wilder Foundation, 919 Lanfond Avenue, St. Paul, MN 55104, 1992
Winer, Michael and Ray, Karen, Collaboration Handbook: Creating, Sustaining, and Enjoying the Journey, Amherst H. Wilder Foundation, 919 Lanfond Avenue, St. Paul, MN 55104, 1994
Exercises in Curating: Response papers
Requirement:
• Five one-page responses to five different group shows
• One two-page response to the (or if there are multiple shows, one of the) student show(s), presented at PFA, and curated by last semester’s interns.
A group show is defined as a program that includes at least three different films or videos of any length.
You need to respond to programs presented at three different showcases.
For each of response:
Note details about the theater (the atmosphere, the style of presentation), the audience (the mix, their focus on the program, their reactions), and the presentation of the program (is it introduced? is there a handout?). Think also about the organizing principle of the program: is it organized by theme? chronologically? or by some other means?
• First response paper: Analyze the selection of the first & last film
• Second: Analyze the above, plus think about the order of the films in terms of the style of the films: think both about aesthetic issues (such as rhythm of editing or color palette) and mood or tone.
• Third: Analyze the above, plus think about the show order in relation to the films’ use of sound and silence (dialog, music, voice-over), and whether the films are B&W or color.
• Fourth and Fifth: Analyze in detail the transitions between each film and your sense of how the program works as a whole.
• Five one-page responses to five different group shows
• One two-page response to the (or if there are multiple shows, one of the) student show(s), presented at PFA, and curated by last semester’s interns.
A group show is defined as a program that includes at least three different films or videos of any length.
You need to respond to programs presented at three different showcases.
For each of response:
Note details about the theater (the atmosphere, the style of presentation), the audience (the mix, their focus on the program, their reactions), and the presentation of the program (is it introduced? is there a handout?). Think also about the organizing principle of the program: is it organized by theme? chronologically? or by some other means?
• First response paper: Analyze the selection of the first & last film
• Second: Analyze the above, plus think about the order of the films in terms of the style of the films: think both about aesthetic issues (such as rhythm of editing or color palette) and mood or tone.
• Third: Analyze the above, plus think about the show order in relation to the films’ use of sound and silence (dialog, music, voice-over), and whether the films are B&W or color.
• Fourth and Fifth: Analyze in detail the transitions between each film and your sense of how the program works as a whole.
Bay Area Venues/Sites for Viewing Shorts and Group Shows
East Bay:
21 Grand: http://www.21grand.org
Parkway Theater (sometimes): http://www.picturepubpizza.com
La Peña Cultural Center (sometimes): http://www.lapena.org
San Francisco:
San Francisco Cinematheque: http://www.sfcinematheque.org
Yerba Buena Center for the Arts: http://www.ybca.org
Artists Television Access: http://www.atasite.org
SFMOMA: http://www.sfmoma.org
Intersection for the Arts: http://www.theintersection.org
Studio 27: http://www.studio27.org
SF Camerawork (sometimes): http://www.sfcamerawork.org
Web-Based:
Flavorpill: http://sf.flavorpill.net/index.shtml
Squidlist.org: http://laughingsquid.org/squidlist
Artsync: http://www.artsync.com
Flicker: http://www.hi-beam.net/cgi-bin/flicker.pl
Spring Festivals:
San Francisco Independent Film Festival: http://www.sfindie.com
SF International Asian American Film Festival: http://asianamericanmedia.org
San Francisco International Film Festival: http://www.sffs.org/festival
hi/lo Film Festival http://www.hilofilmfestival.com
San Francisco Irish Film Festival http://sfirishfilm.com
San Francisco Women’s Film Festival http://www.sfwff.com
21 Grand: http://www.21grand.org
Parkway Theater (sometimes): http://www.picturepubpizza.com
La Peña Cultural Center (sometimes): http://www.lapena.org
San Francisco:
San Francisco Cinematheque: http://www.sfcinematheque.org
Yerba Buena Center for the Arts: http://www.ybca.org
Artists Television Access: http://www.atasite.org
SFMOMA: http://www.sfmoma.org
Intersection for the Arts: http://www.theintersection.org
Studio 27: http://www.studio27.org
SF Camerawork (sometimes): http://www.sfcamerawork.org
Web-Based:
Flavorpill: http://sf.flavorpill.net/index.shtml
Squidlist.org: http://laughingsquid.org/squidlist
Artsync: http://www.artsync.com
Flicker: http://www.hi-beam.net/cgi-bin/flicker.pl
Spring Festivals:
San Francisco Independent Film Festival: http://www.sfindie.com
SF International Asian American Film Festival: http://asianamericanmedia.org
San Francisco International Film Festival: http://www.sffs.org/festival
hi/lo Film Festival http://www.hilofilmfestival.com
San Francisco Irish Film Festival http://sfirishfilm.com
San Francisco Women’s Film Festival http://www.sfwff.com
Instructions for multimedia posting
If you want to post pictures or podcasts etc, please see this link for instructions:
http://help.blogger.com/bin/topic.py?topic=12443
http://help.blogger.com/bin/topic.py?topic=12443
Notes on the Blog:
Notes on the Blog:
I will maintain the blog and begin posting items from Bspace that Jason and Kathy have made for us.
The blog can be used to post
- Your assignments if you want so as we can all begin to have a sense of how each other work and what we think works and doesn’t in short film programs before we begin to discuss the submissions
- Details of any upcoming shows you have heard about or are going to
- When the time comes that we are constantly reviewing submitted work we can communicate about it over the blog to take some of the pressure off of group meetings and ensure that if people are not present at the meetings thay still have the opportunity to have a voice
- Any observations or notes you may have
- Any questions/issues you wish to discuss in a forum style environment
- Anything you want and think is relevant!
It would be great if you could you engage with the blog regularly both by posting and reading other’s posts so that we really get a sense of dialogue. It really is a great resource especially when things get hectic and not everyone can attend everything, there will be this remote way of participating still and keeping us a team.
Off we go!
I will maintain the blog and begin posting items from Bspace that Jason and Kathy have made for us.
The blog can be used to post
- Your assignments if you want so as we can all begin to have a sense of how each other work and what we think works and doesn’t in short film programs before we begin to discuss the submissions
- Details of any upcoming shows you have heard about or are going to
- When the time comes that we are constantly reviewing submitted work we can communicate about it over the blog to take some of the pressure off of group meetings and ensure that if people are not present at the meetings thay still have the opportunity to have a voice
- Any observations or notes you may have
- Any questions/issues you wish to discuss in a forum style environment
- Anything you want and think is relevant!
It would be great if you could you engage with the blog regularly both by posting and reading other’s posts so that we really get a sense of dialogue. It really is a great resource especially when things get hectic and not everyone can attend everything, there will be this remote way of participating still and keeping us a team.
Off we go!
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