Na 5 jaar intensieve voorbereiding is op 6 mei de bouw van Schatkamer Domplein II gestart.
De financiering is rond, de vergunningen zijn verstrekt, kabels en leidingen zijn verlegd en de bomen zijn verhuisd naar het Máximapark. Het Domplein is letterlijk en figuurlijk bouwrijp voor de realisatie van dit unieke project.
Please order your workshop tickets on eventbrite: http://tmviral.eventbrite.com/ Discount code: transmediasf Going Viral: Designing Your Product, Game or Campaign to Go Viral In recent years, video ga...
Filmmaking is hard. We all know that. Fortunately, we have lots of tools, gadgets, and resources that make almost every phase of production easier: from
Jan Bergmans's insight:
So, where is this resource? How can you get your hands on all of its useful and vital information? Well — you can’t. Not yet, anyway. Headed by independent documentary filmmaker and producer Jordan Clark, Chain of Title currently has a campaign on Indiegogo with a goal to reach $48,000 by June 1st. Check out the campaign video to learn more about what Chain of Title of
Much of the world's film heritage is at risk of being lost forever. We are running out of time to save our history.
Jan Bergmans's insight:
Ron Merk has been a producer-director-writer and distributor for more than four decades. His work has won numerous awards around the world. Ron has also been a passionate supporter of film preservation, with major collections at MOMA, UCLA and The Academy of Motion Pictures Film Archives.
We are so thrilled for the many incredible video submissions for this contest.
Jan Bergmans's insight:
We are so thrilled for the many incredible video submissions for this contest. From an expert luthier, to a cafe love story or a quirky man’s search for his missing stuffed animal, it’s clear to see how much effort and skill went into making these story-pieces. The winning video, from Xavier Collos and Arthur Caron (France), is a beautifully crafted and truly imaginative take on the song. Watch the official video chosen above and to see the full list of finalists visit Genero.tv.
Computers are quickly becoming the new film. This past week we've seen Magic Lantern crack the Canon 5D to shoot RAW video, potentially opening up consumer cameras to film-specific quality. I inten...
Jan Bergmans's insight:
The Raspberry Pi is a super cheap computer setup about the size of a deck of cards that is designed to a)encourage youth to engage and learn computer programming and b)make it affordable enough so that they don’t necessarily need a full computer set-up. The barebones approach also lends itself to a a learn-or-perish approach. It also prompts the important skills of looking online and searching for data on how to do something, forcing a person how to become their own personal student and teacher.
Recently the Pi has released a super cheap (£20 or so pounds) camera plug-in to its board. Granted, it isn’t all that impressive in quality and won’t break any history in and of itself.
However, if a programmer and a cinema student were to team up and figure out how to manipulate the camera with software, especially if it was hooked up to its own source of movement, you now have a ridiculously cheap automated camera that can be adjusted to do mechanical maneouvers. I’m not suggesting we mechanize all our cameras and cinematography. Instead, this is a chance for guerrilla filmmakers to collaborate with all the programming geeks out there and make some serious kitchen sink cameras.
“Voyage to Italy,” with Ingrid Bergman and George Sanders, finally gets its New York Times review 58 years after its American release.
Jan Bergmans's insight:
Zie hieronder een recensie uit the New York Times (d.d. 30 april) van Roberto Rossellini’s klassieke film “Viaggo in Italia” (1954), die de
inspiratie was voor “Het Geheim van de Saramacca Rivier” (2007), de derde lange filmproductie van Stichting de Surinaamse Film Academie (SFA),
die op maandag 20 mei a.s. met Engelse ondertitels vertoond zal worden in Havana, Cuba, als onderdeel van een workshop/voordracht van
ontwerper-regisseur Pim de la Parra voor de filmstudenten van het Instituto Superior de Artes, getiteld: “Low budget filmmaking in the Caribbean”.
+ Een Persbericht volgt binnenkort.
George Sanders and Ingrid Bergman in "Voyage to Italy," directed by Roberto Rossellini.
By A. O. SCOTTPublished: April 30, 2013 FacebookTwitterGoogle+SaveE-mailSharePrintReprints
The 1950s are full of movies that were initially greeted, by critics and audiences, with indifference or derision, only to be hailed as masterpieces in hindsight. “Vertigo,” “The Searchers” and “The Sweet Smell of Success” are among the best-known examples of this kind of revisionism. Another, only slightly less famous, is Roberto Rossellini’s “Viaggio in Italia,” a film so maligned and neglected in 1955, the year of its American release, that it did not receive a review in The New York Times.
More About This MovieOverviewTickets & ShowtimesNew York Times ReviewCast, Credits & AwardsReaders' Reviews
Better late than never. A restored digital version of “Voyage to Italy” (one of several English titles that have been used over the years) begins a nine-day run at Film Forum on Wednesday, which seems as good an occasion as any to update the critical record. As it happens, the treachery of time — the unwelcome intrusion of the past, the empty languor of the present, the terrifying uncertainty of the future — is one of Rossellini’s themes, and part of what makes this film, for all its charming glimpses of a bygone era, feel so unnervingly contemporary.
Its failure no doubt had something to do with the scandal that embroiled the movie’s director and its star, Ingrid Bergman, and also with the ideological volatility of Italian cultural life. In 1948, after seeing “Paisan” and “Rome: Open City,” Bergman wrote Rossellini a letter offering her services if he should “need a Swedish actress who speaks English very well.” While making “Stromboli,” they began an affair that ended both of their marriages and provoked the highly selective moral outrage of the American press. In his own country, Rossellini was attacked less for marital infidelity than for betraying the cause of neorealism, allowing his camera to stray from local social problems to Hollywood stars.
And yet the reality of postwar Italy is very much visible in “Voyage,” as is a strong intimation of the direction of Italian cinema in the coming years. The film follows Katherine and Alex Joyce (Bergman and George Sanders), a British couple who arrive in Naples to sell a piece of property belonging to a recently deceased and highly enigmatic relative known as Uncle Homer. That business transaction is never concluded, and is in any case a distraction from the luxurious stasis that envelops Alex and Katherine, a state that might be described as a blend of ennui and la dolce farniente.
The two languish for a while at a hotel and at Uncle Homer’s villa, where the frosty state of their relations fails to melt in the Mediterranean sun. Katherine spends her days sightseeing in the Museum of Archaeology and experiencing a tremor of anxiety at the Cave of the Cumaean Sibyl. Alexander takes an excursion to Capri, where he flirts and socializes.
Sanders later complained that “the story of the film was never understood at any time, by anyone, least of all the audience when the picture was released.” And he had a point, even though he may have missed Rossellini’s. “Voyage” is not driven by the usual machinery of plot and exposition, but rather by a succession of moods, an emotional logic alternately reflected and obscured by the picturesque surroundings. The rich symbolism of the Italian landscape — the volcanic pools at Vesuvius, the ruins of Pompeii, the vistas that have stirred the imagination of artists at least since Virgil — makes the emptiness of the Joyces’ marriage all the more palpable and painful. Their emotional and spiritual sterility contrasts with the fertility signified by the baby carriages and pregnant women Katherine encounters every time she ventures into Naples, and also by the religious procession of the film’s devastating final scene.
Rossellini’s way of dissolving narrative into atmosphere, of locating drama in the unspoken inner lives of his characters, anticipates some of what Michelangelo Antonioni would do a few years later in “L’Avventura.” “Voyage to Italy” is thus in the vanguard of what Pauline Kael would disparagingly call “come-dressed-as-the-sick-soul-of-Europe parties.” Some of us will never tire of those soirees, with their black-tied gloom and elegant suffering, and will therefore relish the beauty and melancholy of this voyage, along with its touristic snapshots and heart-tugging Neapolitan songs.
The Joyces, though their manners and modes of dress mark them as creatures of another, perhaps more refined age, are immediately recognizable in their loneliness, their cynicism and their thwarted desire to connect and to feel. It may be too late. “Voyage to Italy” takes place in a series of simultaneous aftermaths — of World War II, of a glorious ancient civilization, of Uncle Homer’s wild life, of whatever passion once united Katherine and Alex. And yet amid all this exhaustion it finds signs of vitality. In its time, this film represented the arrival of something new, and even now it can feel like a bulletin from the future.
Voyage to Italy
Opens on Wednesday in Manhattan.
Directed by Roberto Rossellini; written by Vitaliano Brancati and Roberto Rossellini; director of photography, Enzo Serafin; edited by Jolanda Benvenuti; music by Renzo Rossellini; set design by Piero Filippone; costumes by Fernanda Gattinoni; produced by Adolfo Fossataro, Alfredo Guarini, Roberto Rossellini, Sveva-Junior and Italiafilm-SEC; released by Janus Films. At Film Forum, 209 West Houston Street, west of Avenue of the Americas, South Village. Running time: 1 hour 37 minutes. This film is not rated.
WITH: Ingrid Bergman (Katherine Joyce), George Sanders (Alexander Joyce), Maria Mauban (Marie), Anna Proclemer (the Prostitute), Paul Müller (Paul Dupont), Leslie Daniels (Tony Burton), Natalia Ray (Natalie Burton) and Jackie Frost (Betty).
A version of this review appeared in print on May 1, 2013, on page C6 of the New York edition with the headline: Revisiting a Rossellini Classic to Find Resonances of Today.
BIO : Twenty years experience shooting advertising motion and stills projects from concept through to completion for leading advertising agencies worldwide SAATCHI & SAATCHI, M&C SAATCHI, DDB, BBDO, MCCANN ERICKSON and MOJO, to name a few, for major clients such as ACP Magazines, Telstra, Virgin, Emirates Airlines and Qantas.
Excellent project management skills with the ability to a keep a steady focus on achieving creative and timely outcomes, with the aim exceed client expectations.
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Outstanding relationship manager across all levels with the demonstrated capacity to work effectively with developers, designers, talent and suppliers including internationally.
Exceptional engagement, presentation, communication and negotiation skills coupled with drive, ambition, tenacity, integrity and dedication to success.
Results-driven team leader with a strong record of producing innovative and exceptionally effective marketing campaigns in high volume, high impact environments.
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Always abreast of new developments and an early adopter of new technologies.
At the heart of a successful transmedia story is a powerful user experience created by integrating a compelling story with techniques that engage the user emotionally and intellectually and allow easy user interaction with all of media elements of...
When dreams pursued later in life are hammered by impossible challenges, do you give up, return to the comfortable, corporate world? Where is the Sweet Spot?
Jan Bergmans's insight:
Finding The Sweet Spot is the first feature film produced by New York based, Trinidadian filmmaker, Ozzie Stewart, planned for a 2013, 18 day SUMMER shoot. It is an expedition into the original drama, from the novel by the same name, also to be published this year. A story that is punctuated with humor and spirituality in the depths of serious challenges. Like life. A story that encompasses many issues related to women that men can identify with, whether 18, 46, or 65, spiritual or religious. Finding…., will offer a movie that portrays New York to a worldwide audience, its eclectic people, interesting neighborhoods and culture. We hope that the audience leaves inspired, energized to act, introspective of their own life’s journeys and that the story helps to give closure to their trials and tribulations and encourage them to be present for others in need. It's based on a true story.
Crowd-funding platform Kickstarter just got some serious validation after the documentary short film Inocentebecame the first Kickstarter project to win an Oscar.
Late last week, Kickstarter highlighted the fact that three films funded on its site were up for an Oscar. Kings Point and Inocente had been nominated for best documentary short, and Buzkashi Boys was in the running for best live-action short. A number of projects had also been nominated in previous years, but Inocente made history by being the first to win.
Too many boards just review and approve strategy. Three questions can help them—and executives—begin to do better. A McKinsey Quarterly Governance article.
Jan Bergmans's insight:
It’s late afternoon in the boardroom, and the head of a major global infrastructure company’s construction business is in the hot seat. A director with a background in the industry is questioning an assumption underlying the executive’s return-on-invested-capital (ROIC) forecast: that the industry’s ratio of leased (versus owned) equipment will remain relatively constant. The business leader appears confident about the assumption of stability, which has implications for both the competitive environment and for financial results. But the director isn’t convinced: “In my experience, the ratio changes continuously with the economic cycle,” he says, “and I’d feel a whole lot better about these estimates if you had some facts to prove that this has changed.”
An uneasy silence settles over the room: the board member’s point appears quite relevant but requires a familiarity with the industry’s behavior and economics, and the rest of the board doesn’t have it. Finally, the chairman intervenes: “The question John is raising is critical and not just for our construction business but for our entire strategy. We’re not going to resolve this today, but let’s make sure it’s covered thoroughly during our strategy off-site. And Paul,” says the chairman to the CEO, “let’s have some good...
Has the mythical Hero’s Journey story form run its course, or is it perhaps truly a timeless expression of Human Nature? So you want to write a screenplay?Today I saw that Christopher Vogler is coming to Paris with his three-day seminar on The Writer’s Journey His method is based on Joseph Campbell’s seminal book on comparative mythology, The Hero with a Thousand Faces, first published in 1949, which in turn is heavily indebted to Jungian analytical psychology. The announcement made me stop and think once again, seriously, about the value for screenwriters of trawling the history of storytelling for recurring story forms, character types, themes, etc.