text:
Siemens Crowdsources Vision of a More Sustainable Future through Technology
Powerhouse in Electrical Engineering Calls on Filmmakers to Show How Technological Innovation Creates a Better World
SEATTLE, WA, July 25, 2011 – Siemens, a leader in electrical engineering operating in the industry, energy and healthcare sectors, is challenging filmmakers from around the world to show, in HD video, how people use technology to overcome humanity's challenges. To gather these stories, the German company is launching a video contest on Zooppa, the world's leading source of user-generated advertising. Titled "Changing Your City for the Better," the contest awards filmmakers who submit the most captivating short films that demonstrate how technological innovations improve urban life and create a better world.
Contest contributors are asked to approach the creative challenge on a personal level. Instead of commercial films, Siemens encourages these filmmakers to use their own individual experiences with urban life to inform the content and style of their submissions. Videos should explore how innovations in energy supply management; urban infrastructure and building efficiency make their cities more sustainable. Read Siemens' creative brief to learn more about the challenge put forth by "Changing Your City for the Better."
Evoking its 160-year legacy of technological excellence in innovation and research, Siemens wants to showcase global filmmaking talent and bring attention to the role that engineering plays to increase the quality of urban life. Whether its how innovations aid the fight against climate change in Berlin, contain dramatic urbanization in São Paolo or ease the demands of population growth in New Delhi, the video contest will provide a global perspective on the sustainable cities of tomorrow.
"Behind every brand is a story about how a product or service improves the everyday lives of people," says Wil Merrit, CEO of Zooppa. "Video provides a common language for people around the world to tell these stories. We're honored to work on this project and we know that the filmmakers in Zooppa's global community will help Siemens articulate their vision of a more sustainable future."
"It has always been essential for us to pioneer new territories in communications, especially in the digital area", says Tobias Dennehy, Editor in Chief Corporate Communications at Siemens. "After launching our new storytelling format '/answers' on siemens.com together with renowned documentary filmers and journalists in late February, crowdsourcing content for this magazine is the natural next step for us. After all: the web is no longer about broadcasting; it's about listening and 'joint-casting'. That's exactly what we're aiming for in our cooperation with Zooppa: listen to the community, get new, surprising impulses for our digital corporate flagship magazine /answers around urban life in the 21st century."
"Changing Your City for the Better" accepts entries on Zooppa through September 30, 2011. The contest offers 15 cash awards totaling $40,000, with the first place winner receiving $15,000. Siemens is looking for contributions from around the world, so videos can be submitted in any language, so long as an English language text script accompanies the submission. All videos will be judged by representatives of Siemens based on equal parts storytelling ability, HD production value, adherence to the brief and accuracy.
For more information about how Siemens is helping city dweller around the world win the future, visit their website here.
ABOUT ZOOPPA: Zooppa is the world's leading source of user-generated advertising. With a creative community of over 115,000 members, Zooppa has worked with global brands like Samsung, AT&T, Nike and Google and agencies like BBDO, MindShare and Razorfish to produce fresh and fun creative ads. Beyond content, Zooppa's innovative model offers brands and agencies a cost-effective, strategic approach to engage consumers, build online word-of-mouth and gain consumer insights.
ABOUT Siemens AG (Berlin and Munich): Siemens AG is a global powerhouse in electronics and electrical engineering, operating in the industry, energy and healthcare sectors. For over 160 years, Siemens has stood for technological excellence, innovation, quality, reliability and internationality. The company is the world's largest provider of environmental technologies. More than one-third of its total revenue stems from green products and solutions. In fiscal 2010, which ended on September 30, 2010, revenue from continuing operations (excluding Osram and Siemens IT Solutions and Services) totaled €69 billion and net income from continuing operations €4.3 billion. At the end of September 2010, Siemens had around 336,000 employees worldwide on the basis of continuing operations. Further information is available on the Internet www.siemens.com.
05 September 2011
03 September 2011
DFA Board 2011 / 12 year
The new 2011/12 DFA Board as elected at the AGM on the 17th of August 2011, met for its first board meeting on Friday the 2nd of September. In this meeting the executive positions within the board were decided on as follows:
Co-Chairperson Cape Town: Tina-Louise Smith
Co-Chairperson Durban: Odette Geldenhuys
Co-Vice Chairs Johannesburg: Zulumathabo (Vusi) Zulu & Neil Brandt
Treasurer Cape Town: Izette Mostert
Secretary Cape Town: Tinashe Makwande
Additional Board Members:
Johannesburg: Ryley Grunenwald
Limpopo: Duncan Tshikovhi
The board is currently taking over all functions of the DFA, and its next board meeting is Wednesday the 5th of October 2011.
The board decided on offering the first ever DFA Honorary Membership in terms of the it's constitution to Marc Schwinges.
All DFA meetings are linked via Skype between the provinces.
Posted by Pascal Schmitz at 9/03/2011 0 comments
Labels: AGM, Board Members 2011/12, DFA
02 September 2011
Hot Docs 2012 Open for Submissions
Film submissions to the Hot Docs 2012 official program are now being accepted. The guidelines below are subject to change without notice. The next edition of Hot Docs takes place April 26 to May 6, in Toronto, Canada.
Early-Bird Film Submission Deadline: December 2, 2011
Final Film Submission Deadline: January 13, 2012
Please consult the submissions FAQ page for additional information. Please note that submission guidelines for Hot Docs 2012 are subject to change without notice.
To read further and view the original post, visit the web site.
Posted by DFA at 9/02/2011 0 comments
01 September 2011
People 2 People Special Rates for DFA Members
Early bird registration for the People2People Documentary Conference closes today, September 1st. Standard registration is now R350 for individual registration and R750 for company registration. This rate is applicable until the 6th of September only so book now!
Those who register after the 7th of September will pay the late registration fee of R500 for individual registration and R900 for companies.
Remember DFA members pay half price- so R175 if you book before the 7th of September!
Posted by DFA at 9/01/2011 0 comments
Labels: DFA Members Special, People 2 People
31 August 2011
International Black Women's Film Festival
Welcome to the 10th International Black Women's Film Festival!
I established this film festival in 2001 and presented the first festival in October 2002 in San Francisco, CA, and I am proud to present the tenth year of the festival! The festival is scheduled for July 20th and July 21st, 2012 in San Francisco!
I started this film festival as a way to celebrate Black women filmmakers from around the world and to show audiences that there are films about Black women that do not involve negative stereotyping, violence toward Black women, and that don't show Black women being berated and exploited. The screenings showed Black women presented film through their filter which produced an entirely different outlook on the role of Black women and the roles of Black women.
Not all of the filmmakers are Black women. Some are directors who just happened to choose a Black women as a featured actress. The casting of some of these women were just natural choices of gifted actresses, but the act of casting them was sometimes unintentionally revolutionary and their image was not the usual Hollywood image of leading actresses.
I want to see you (or your film) at the 2012 festival!
To submit your film, visit the web site.
Posted by DFA at 8/31/2011 0 comments
30 August 2011
Mogoeng Versus Sluts and Others
Mogoeng vs Sluts and Others
Posted on: 08-29-2011
Joining the dots between Judge Mogoeng, Slutwalkers and gay and lesbian people feels oddly uncomfortable. This discomfort has to do with what waits in the wings at the Constitutional Court should Mogoeng be appointed as Chief Justice. Some of Mogoeng's past judgments and present associations are alarming to anyone committed to the ongoing struggles towards dignity, equality, and freedom for women and LGBT people. As active citizens we have a responsibility to ensure proper legal and social scrutiny of Mogoeng's suitability to hold an office which is a key custodian of the Constitution.
In 2002, Mogoeng found that a man's "girlfriend" had "provoked" him to tie her to the back of a car and drag her along a gravel road. This "provocation" was found by Mogoeng to be a mitigating factor in the accused's actions, along with the fact that the woman did not suffer "serious injuries". On the basis of this argument Mogoeng found that the initial two-year sentence was "too heavy, according to any standards". Whose standards was Mogoeng upholding here? Certainly not the standard of "sluts", aka women who claim their rights to bodily and sexual autonomy.
After a Canadian police officer reprimanded women to avoid dressing "like sluts" lest they be raped, SlutWalks erupted worldwide as a, spontaneous form of resistance to, among others, social discourses that blame women for the violence perpetrated against them by men. Slutwalk messages challenge the sexist mythologies that "how women behave" and "what they wear" justify violation of their bodies. In Mogoeng's judgment in the aforementioned case, he used the notion of "women provoking male violence" to reduce the sentence.
Read the rest here.
Labels: Judge Mogoeng, Melanie Judge
JoBurg Fringe
this is our space for the 2011 Joburg Fringe: alleyway on Melle, between Juta and de Korte
in Braamfontein (see attachments)
our deadline for SUBMISSIONS for a stand on the Joburg Fringe is 1 week away!
DEADLINE for submissions: 2 Sept 2011.
SUBMIT WHAT?: 4 low res pics plus short cv plus short proposal.
CATALOGUE deadline: actually 2 Sept, extention 'till 9 Sept to accomodate newest work etc
SIZE: 16 meters square (larger costs more).
CAN ONE SHARE A STAND? absolutely. just submit pics of each exhibitors work, cv etc.
JURY: Khwezi Gule, Matthew Krouse, Kagiso Pat Mautloa, Joburg Fringe organizers.
CONFIRMATION to participate: we will let you know by Monday morning 5 September.
BOOTHS: space dividers and bright neon lighting supplied by Joburg Fringe.
SUPPORT: there will be 2 technicians supervising the setting up of the show, giving basic support.
SET UP: from 8am on Monday 19 September 2011 (closer the time we can see if Sunday 18 is an option) NB: Booths must be completely set up by 4pm on Wednesday 21 September.
HAMMER, NAILS, TAPE MEASURE, SPIRIT LEVEL, DRILL and other tools: bring your own.
OPENING: The 2011 Joburg Fringe opens to the public at 6pm on Wednesday 21 September. Opening night no entrance fee.
OPENING PARTY: will take place in the outdoor spaces (in the Alley which gives access to the Joburg Fringe as well as The Grove piazzetta and the Hotel Lamunu.)
AFTER PARTY: each booth will be issued with X coupons giving a free drink at Kitchener's Bar after 8pm on Wednesday 21 September.
21 Sept (Wednesday= Opening Evening) 6pm-8pm.
22 Sept (Thursday) 10am - 4pm
23 Sept (Friday) 10am - 4pm
24 Sept (Saturday) 9am - 4pm (this will be the 3rd Saturday of the fresh from the Biscuit Mill in C.T. Neighbourgoods Market at 73 Juta, down the alley way from us, and the place will be BUSY. Hence so early...)
25 Sept (Sunday) 10am - 2pm
ENTRANCE FEE: 22-24 Sept R20.00 a ticket.
FINISSAGE (that's French for a closing chill-out party) with voluntary AUCTION*: from 2:30, with beer and prego rolls.
*voluntary AUCTION: who ever is interested to have an artwork auctioned: half money goes to artist, other half to a Braamfontein charity.
DE-INSTALLATION: by Monday morning 26 September 11.30am latest!
SECURITY: is being arranged.
POWER: available, please bring cables, plugs, long extention cords etc
WHO MANS THE SPACE DURING THE JOBURG FRINGE ? you do. get a good stand-in or liaise with your booth-neighbour.
NEED MORE INFO? see blog posts or email us: email@example.com
Labels: JoBurg Fringe
IPO Meets to Discuss SABC Issues
Dear Members of the IPO,
A reminder that the first of two IPO meetings to discuss the latest SABC issues will take place tomorrow, Wednesday 31st August at 2:30pm to 5:00pm at the offices of Curious Pictures, 41A Frost Avenue, Auckland Park.
All IPO members are welcome to attend.
The second meeting, in Cape Town, will take place on Monday 5th September at Waterfront Studios, 1 Port Road, V & A Waterfront from 2:00pm to 5:00pm.
Please RSVP to firstname.lastname@example.com today if you have not done so already.
Digital Citizens' Indaba 6.0
The annual Digital Citizens' Indaba takes place in South Africa and is open to all citizens who try to empower themselves using digital media technologies.
DCI will explore the New World Order 2.0 through a series of panel discussions and workshops with experts, eye-witnesses and digital citizens while at the same time ensuring there's enough time too for knowledge and skills exchange through socializing – as citizens should.
Registration for the Digital Citizens' Indaba conference which will be taking place on the 19th September 2011, at the Cape Town International Convention Centre is open again and is for FREE.
Delegates will get full access to the conference, a conference pack (which includes the programme, access to exhibitions, lunch, dinner and teas for the duration of the conference). Please note that this offer excludes flights, accommodation, visa fees, and airport transfers, all of which are for delegates own payment.
To register follow this link: http://bit.ly/p9b12w
We are looking forward to sharing this year's DCI experience with you.
To explore the programme and more, visit their web site.
29 August 2011
Star Talent Vying for Production Deals at Strategic Partners 2011
Michael Auret (Black Butterflies, Master Harold and the Boys), Lance Samuels (The
Bang Bang Club, Lucky), Mevlut Akkaka (Five Minarets in New York, with Danny Glover
and Mohammad Ali), Australia's Sue Maslin (Japanese Story, Hunt Angels), and
Christina Piovesan (The Whistleblower, Amreeka) are among the producers attending
Strategic Partners 2011 - Canada's premier international co-production market
presented by the Atlantic Film Festival.
The ideal place to co-produce/co-venture with Canadians, Strategic Partners 2011
will draw delegates from around the world - with an emphasis on spotlight countries
United States, Australia and South Africa - to Halifax from Sept. 15 to 18.
"Strategic Partners has been instrumental in putting us into contact with producers
and projects that we would otherwise not have come across," says producer Gub Neal
(Cracker, Prime Suspect, Queer as Folk) of Artists Studio in London, UK.
Neal credits the event with sparking Combat Hospital, a UK-Canadian co-production
originally pitched to him at Strategic Partners 2009 - this summer's breakout TV
Participating projects looking for co-production partners at SP 2011 include:
Deadlocked, by Ecstasy Film of Toronto and producer Rob Heydon: a drama about a
mother-daughter relationship set amidst the turmoil of the Gaza strip, starring
Academy Award-winner Helen Mirren
Mythic, 13 x I hour from Australia's Odin's Eye Wendy Howell with William J.
MacDonald, Executive Producer (ROME, The Saint) as Executive Producer: Cinematic,
intelligent and exciting, Mythic brings the stories from shared literary history
kicking and screaming into the present. Little Red Riding Hood is both the girl and
the wolf, she is a werewolf ...
Natural Justice, by South Africa's Penguin Films and producer Roberta Durrant: the
story of a disenchanted Cape Town policewoman who joins forces with a shallow
playboy to unravel a horrific case of child trafficking
The Colony of Unrequited Dreams, by Odd Sock Films of St. John's and producer Jill
Knox-Gosse (Grown Up Movie Star): an adaptation of Wayne Johnston's bestselling
novel based on the life of Joey Smallwood
Obsession, by Corona Pictures of London, UK and producer Richard Johns, and director
Thaddeus O'Sullivan: a tense psychological thriller about a Manhattan doctor who
makes a hostage of his wife's latest lover, starring Stellan Skarsgard and Ryan
Remembrance Man, by Cinegraphe Productions of Quebec City and producer Nicholas
Kinsey: a Western whodunit about a gravedigger watching for signs of the undead
during the cholera epidemic, starring Terence Stamp
There are no Soulmates, by unafilm of Berlin and producer Titus Kreyenberg: a
rom-com best described as Sleepless in Seattle meets Breakfast at Tiffany's, and
directed by prominent Polish director Agnieszka Holland
A Dream of Red Mansions, by Regina's Minds Eye Entertainment with director, BAFTA
award-winning Michael Radford: an epic tale of one courageous woman and two powerful
men caught in the turbulence surrounding the rise of Communism in China, starring
Ken Wantanabe and Joan Chen.
Delegates of this unique event - now in its 14th year - benefit from unparalleled
access to international co-production/co-venturing opportunities with industry
leaders and financiers through Strategic Partners' effective 1-2-1 meetings. One of
a kind in the world co-production markets as it focuses on feature film, television
fiction, and multi-platform projects, Strategic Partners business is all set against
the backdrop of the Atlantic Film Festival screenings and galas.
Strategic Partners is a production of the Atlantic Film Festival.
A top Canadian festival, the Atlantic Film Festival is held each September in
Halifax, Nova Scotia. Strong East Coast roots support a unique format for the
festival, with its distinctive focus on film and music. It is large enough to
attract the world's most notable actors, directors and producers, but intimate
enough to be innovative and flexible in its approach to the changing needs of our
audiences and the industry. The AFF provides an unpretentious atmosphere to
experience the best Atlantic, Canadian and international films, while showcasing
some of the best musical talent from around Atlantic Canada. The Atlantic Film
Festival produces: Strategic Partners, ViewFinders: International Film Festival for
Youth, alFresco filmFesto, and Music & Image.
Organizers acknowledge the ongoing support provided to Strategic Partners by the
Atlantic Canada Opportunities Agency (ACOA), International Business Development
Agreement (IBDA), Telefilm Canada, Shaw Media, Canada Media Fund, and Film Nova
Strategic Partners is the exclusive Canadian institutional partner of Australia/New
Zealand's MIFF (Melbourne International Film Festival) 37ºSouth Market.
Read the original article here.
Labels: South Africa, Strategic Partners
The Taiwan International Children's Film Festival
Greetings from Taiwan!
My name is Zooka. I am writing from 5th Taiwan International Children's Film Festival (TICFF) which is a film festival especially dedicated to children under 12 years old. TICFF shows quality entertainment for children, while furthering children's multicultural education and media literary.
We're calling for entries now! The categories of the competition include fiction, animation, documentaries and TV programs. The winner of each category will win a USD 4,000 cash prize and a trophy. We sincerely hope that you will introduce great films to us.
To submit your work(s) to our competition, please fill out the entry form through our website.
After successfully submitting online, please print out and sign the "participation agreement" and send back us together with the preview DVD, addressed to:
Public Television Service, Taiwan
100, Lane 75, Sec 3, Kang Ning Rd. / Taipei 11486 Taiwan
Phone +886-2-2630-1116 / Fax +886-2-2630-1895
The submissions deadline is October 31, 2011. Entry fees are exempt.
More information about our festival can be found on our website
I'm looking forward to receive your entry forms and outstanding works!
Zooka Yung
Festival Coordinator, TICFF
TICFF (Taiwan International Children's Film Festival)
Public Television Service, Taiwan
No. 100, Lane 75, Sec. 3, Kang Ning Rd., Taipei 11486, Taiwan
Email: email@example.com ; firstname.lastname@example.com
Website: http://www.ticff.org.tw
Twitter: http://twitter.com/ticff2012
Film Apprentices Wanted
Two exciting filmmakers, Kel and Eline are coming to Cape Town to work on a project in late September 2011. Find out more about them here.
They are looking to work with a local filmmaker to work with, perhaps you or someone you know would be interested in getting involved! Please spread this to everyone you know who would like to get involved.
They work as a two-person documentary crew for TV, online media and commercial outlets. In addition, they show our work at art galleries and film festivals. Cross-platform distribution (for example: making an art piece and selling off leftover footage to a TV station) is one of their
strengths. They can offer one interested & motivated person the opportunity to accompany us on a shoot. While on the shoot, this person will learn real world filmmaking skills.
The individual they are seeking for this position should have a very strong interest in filmmaking, although extensive prior experience on shoots is not required. A knowledge of how to get around in Capetown is a plus, as is a drivers license. They will pay for travel, food and daily expenses for the couple of days that you'll be working with them.
Here's a preliminary schedule:
*Early to mid October-* Production (on-site research and shooting)
*Mid October to Early November- *Post-production (editing &
*Early November- *Installation and 1 day exhibition
If you're keen to be a part of this interesting opportunity, drop Eline Jongsma and
Kel O'Neill an e-mail: email@example.com and email@example.com
Labels: Opportunities
REGISTRATION No. 258-11/160
JuLY 19, 2011
FILM PRODUCTION USING iNTERNATIONAL idea CASE STUDIES oF SUCCESSFUL MARGINALIZED GROUP INCLUSION IN CUSTOMARY AND NON CUSTOMARY GOVERNANCE
The International Institute for Democracy and Electoral Assistance (International IDEA) is an intergovernmental organization established in 1995, with member states across all continents, which aims to support sustainable democracy world-wide and assist in the development of institutions and the culture of democracy. At the interface between research, fieldwork and the donor community, International IDEA provides a forum for dialogue, builds networks of experts, develops training materials and provides strategic advice at the international, regional and national level, cooperating with a range of organizations.
The Institute now invites proposals from film makers (organizations or individuals) for producing at least two pilot films of a minimum of 15 minutes duration based on case studies submitted to International IDEA by field researchers and practitioners on ways in which groups that have previously been marginalized by the "dominant" culture or social/political structure have been able to overcome their marginalization to participate in decision making processes and gain acceptance by the dominant culture. Summaries of such case studies will be posted on International IDEA's website on August 24, 2011. A detailed description of the assignment is provided in the Terms of Reference, available at http://www.idea.int.
The Director's cuts of the films produced will be submitted on December 2 2011 and, after feedback provided by International IDEA, final versions completed by December 22 2011. The maximum budget to be allocated for the project is €75,000. The agreed final budget allocation will be paid in two instalments. These include an initial payment of no more than 15% of the film maker's budgeted fee, with the remaining amount to be paid upon the film's completion. International IDEA will nevertheless provide advances on reimbursable expenses such as travel, accommodation, communications, consumables and supplies (see attached Annex A's General Conditions for Contracts for Provision of Services)
The film maker will be selected in accordance with the procedures set out in the Request for Proposals and accompanying Terms of Reference.
Interested film makers may obtain further information on the assignment by emailing the Project Manager, Julian Smith at firstname.lastname@example.com.
Film making proposal summaries of no more than 2,000 words together with CVs and examples of previous work must be delivered by hard copy or electronic mail to the address below by September 16, 2011. Late submissions will not be considered. Interviews with short listed film makers will take place in the week September 19-23. The successful tenderer will be selected and notified on September 23, 2011.
International IDEA
Strömsborg, SE-103 34 Stockholm, Sweden
Attn: Julian Smith
Tel: +46-8-698 37 00
Fax: +46-8-20 24 22
E-mail: firstname.lastname@example.com
Labels: Call for Proposals, Opportunities
25 August 2011
Tri Continental Film Festival is Back!
The much anticipated TRI CONTINENTAL FILM FESTIVAL is coming exclusivley to select Ster-Kinekor and Cinema Nouveau theatres this September!
The Tri Continental Film Festival (TCFF) is South Africa's only dedicated human rights film event and consists of films that promote democratisation, deepens understanding, and affords those marginalised a substantive voice, proving to be more vital than ever in our rapidly changing world.
TCFF has played a significant role in creating a sustainable and continually growing audience for social justice cinema over the past nine years, through film selection that is nuanced, relevant, informative and well-balanced, and promise to continue this tradition in 2011, with a program that reflects global currents of change and action.
The selection of films presented this year is the result of rigorous curation of over 500 entries. These works speak directly to the pressing concerns of our world and the power of documentary and fiction to relay these concerns in a compelling and powerful manner. TCFF is also pleased to present two retrospectives; the outstanding works of Peter Wintonick and a finely crafted selection from documentary icon Werner Herzog is presented in conjunction with The Goethe-Institute Johannesburg.
"We are proud to present a crop of excellent films which speak directly to this issue and will continue to do so in the coming years so we can play our own small part in building a movement to halt the forward march towards the end of humanity as we know it," says Rehad Desai, the
Festival Director.
Some of the TCFF 2011 titles to look out for include:
Opening Night Film:
TAC- Taking HAART, directed by Jack Lewis: (Who will be in attendance at the Rosebank Cinema Nouveau). Between 1999 and 2010, over two million people in South Africa died of AIDS. This was despite the existence of Highly Active Antiretroviral Treatment, known as HAART. During these years, government sponsored AIDS denialism combined with the high price of these life saving drugs, ensured that poor people could not get the treatment they needed. TAC – Taking HAART provides a fly on the wall view of how outrage ignited a movement that united people across ethnicity and class.
Climate Films:
There was once an Island directed by Briar March: Takuu atoll, also known as 'The Mortlocks', is a circular group of coral islands 250 kilometres north-east of Bougainville in Papua, New Guinea. A Polynesian community of 400 lives on Nukutoa, the atoll's only inhabited island, and have lived more than 1000 years. For the first time the sea levels are rising and they are experiencing some of the first effects of climate change. Since 2006, director, Briar March and her crew have followed Satty, Endar and Teloo - three inhabitants of the island whose way of life and unique culture are threatened by the encroaching ocean.
The Pipe directed by Risteard Ó Domhnaill: In a remote corner of the west coast of Ireland sits the picturesque Broadhaven Bay. However, this tranquil image belies the turmoil beneath, and the unique nature of this coastline, which has sustained generations of farmers and fishermen, has made it a target for Shell Oil as the point of landfall for its new Corrib Gas Pipeline.
H2Oil directed by Shannon Walsh: (Who will be in attendance in Johannesburg). Ever wonder where America gets most of its oil? If you thought it was Saudi Arabia or Iraq you are wrong. America's biggest oil supplier has quickly become Canada's oil sands. Located in the Western Canadian region of Alberta, under pristine boreal forests, the process of oil sands extraction uses up to 4 barrels of fresh water to produce only one barrel of crude oil. The used water, laden with carcinogens, is dumped into leaky tailing ponds. Downstream, the people are already paying the price for what will be one of the largest industrial projects in history. When a local doctor raises the alarm about clusters of rare cancers, evidence mounts for industry and government cover-ups.
Into Eternity directed by Michael Madsen: On the far west coast of Finland, adjacent to the country's Olkiluoto nuclear power plant, lies a 4 km-deep burial chamber of almost surreal dimensions and purpose: carved out of the Finnish bedrock, "Onkalo Waste Repository" – the name means "hiding place" – is being constructed as a tomb for all of that country's nuclear waste for the next 100,000 years. This disturbingly stylish and quietly haunting documentary, explores a range of questions that nuclear energy raises about responsibility, time and memory.
Age of Stupid directed by Franny Armstrong: The Age of Stupid stars Pete Postlethwaite as a man living in the devastated future world of 2055, looking at old footage and asking: why didn't we stop climate change when we had the chance? The production is notable for its innovative crowd-funding financing model, as well as the Indie Screenings distribution system, which allows anyone anywhere to screen the film. After the film's release in 2009 The Age of Stupid became one of the most talked-about films of the year. It also spawned the hugely successful 10:10 campaign.
Green directed by Patrick: In an immensely moving documentary by a filmmaker known only as Patrick, Green follows the final days of a female orangutan of that name. The film is a visual ride that takes us into the beauty and bio-diversity of Green's natural environment while also showing us the devastating destruction taking place as her forest is raided to provide products we use routinely in our homes. As these and other tropical forests are plundered for palm oil, tropical hardwoods and paper, this movie calls on viewers to think about and change their consumption habits and not to support environmentally unsustainable goods and industries.
Other Hot Films:
Go Bama-Between Hope and Dreams directed by A. Rahman Satti: This fly-on-the-wall documentary by German filmmaker Rahman Satti captures his personal journey from his German hometown, across America on the trail of Obama's 2007/8 presidential campaign. Meeting and interacting with the ordinary people driving the campaign from the grass-roots, the film reveals how a local movement toward political change, community involvement, and empowerment culminated in the historical, international event of Obama's election as the first black president of the USA.
The Interrupters directed by Steve James and Alex Kotlowitz: The Interrupters tells the moving and surprising stories of former gang members who as community mediators try to protect their Chicago communities from the violence they once employed. It's an unusually intimate journey into the stubborn, persistence of violence amongst urban American youth. The Interrupters captures a period in Chicago when it became a national symbol for violence, besieged by high-profile incidents, most notably the brutal beating of Derrion Albert, a Chicago High School student whose death was caught on videotape.
The Prosecutor directed by Barry Stevens: The International Criminal Court (ICC) was established in 2002 to try individuals who commit the world's most serious crimes: genocide, war crimes and crimes against humanity. Argentinean Moreno-Ocampo was unanimously elected as the first prosecutor of the ICC in 2003 for a term of nine years. Four situations have been publicly referred to the ICC: Uganda, the Democratic Republic of the Congo, the Central African Republic and Darfur, Sudan. However, the fact that the ICC has thus far only investigated African countries and only indicted African has made some critical of the Court's neutrality. Award winning Canadian filmmaker Barry Stevens gains unique and compelling access to Moreno-Ocampo during the first trials of the ICC in 2009, asking tough questions about whether the recently formed Court is a groundbreaking new weapon for global justice or just an idealistic dream?
The Green Wave directed by Ali Samadi Ahadi: The Green Wave is an exceptional account of the mass protests that took place in Iran in early 2009. The documentary chronicles the mobilisation of Iranians, young and old, demanding change in June 2009, the massive protests that took place when President Mahmoud Ahmedinejad was declared victor, and then the retaliation of Ahmedinijad's government against the people of Iran with unprecedented violence, oppression and human rights violations that continue to this day.
Hunger directed by Karin Steinberger, Marcus Vetter: Five communities around the world are given a chance to speak for themselves on the daily struggles they face just to survive on a day-to-day basis. Their interpretations of the causes of their poverty are accompanied by local experts and activists who share their analysis on this widespread injustice. In Haiti, we follow the plight of destitute farmers in the aftermath of the earthquake. In Mauritania, we follow the harsh realities many fishermen face as their livelihood has increasingly dwindled due to foreign fishing fleets and how thousands of Africans attempt the perilous and often fatal journey across the sea to Europe in search of a better life. We also see the other side of the coin as the sheer scale of food production is brought to the fore in Brazil, where the Amazon rainforest in being destroyed to supply tropical timber, beef, soybeans and biofuel to developed countries.
Werner Herzog Retrospective, Land of Silence and Darkness:
A moving and unique portrait of Fini Straubinger, who lost her sight and hearing in her youth. Now in her fifties and able to communicate only through an elaborate alphabet "written" on the palm of the hand, Fini travels across the country to help those dismissed as hopeless cases escaping darkness and isolation.
This year, TCFF has the privilege to present to you more than 25 directors from our country and the wider continent, available for media interviews:
(To organise an interview with film makers or event organisers contact Nhlanhla Ndaba on 083 374 5666, firstname.lastname@example.com or Dion Hurford on 011 334 6148, firstname.lastname@example.com)
1. Jack Lewis – Taking HAART
2. Shannon Walsh – H2Oil
3. Eddie Edwards – Once Upon A Day: Brenda Fassie
4. Peter Goldsmid & Zanele Muholi – Difficult Love
5. Femi Odugbemi – Bariga Boy (JHB only)
6. David Valivedoo – Voices From The Cape
7. Ramadan Suleman – Zwelidumile (JHB only)
8. Angela Ramirez, Callum Macnaughton, Sara Gouveia – Mama Goema
9. Peter Wintonick (JHB only)
10. Rumbi Katedza – The Axe & The Tree
11. Ingrid Martens - Africa Shafted-Under One Roof (JHB only)
12. Simon Bright – Robert Mugabe, What Happened?
13. Jezza Neumann (Xoliswa Sithole) – Zimbabwe's Forgotten Children (JHB only)
14. Simon Wood – Forerunners (JHB and CPT)
15. Khalid Shamis – Imam & I (JHB and CPT)
16. Karen Waltorp, Christian Vium – Manenberg (CPT only)
17. Tim Wege – King Naki
18. Marius van Niekerk – My Heart Of Darkness (JHB and CPT)
19. Jane Murago Munene – Monica Wangu Wamwere, Unbroken Spirit
20. Sieh Mchawala – Barefoot In Ethipoa
21. Divita Wa Lusala, Dieudo Hamai, Kiripi Katembo Siku – Congo In Four Acts
22. Moussa Sene Absa – The Sacrifice (Yoole) (JHB only)
23. Joao Ribeiro – The Last Flight Of The Flamingo
24. Lee Daniels – Precious
25. Philip Rizk, Jasmina Metwaly – Egyptian Shorts
26. Teddy Matera – Stay With Me
27. Kitso Lelliot – The Tailored Suit
28. Rolie Nikiwe – Umshato/ The Wedding
29. Sayeeda Clarke – White
30. Djo Munga – Congo In Four Acts
31. Lisa Cortes – Precious (JHB and CPT)
32. Philip Rizk – Egyptian Shorts
The TRI CONTINENTAL FILM FESTIVAL will be screened at the following Ster-Kinekor venues:
• Cinema Nouveau Rosebank 8 to 18 September 2011
• Ster–Kinekor Maponya Mall 9 to 14 September 2011
• Cinema Nouveau V&A Waterfront 8 to 18 September 2011
• Cinema Nouveau Brooklyn Mall 8 to 18 September 2011
For more information on these exciting Ster-Kinekor and Cinema Nouveau screenings, or to book your seats online visit: www.sterkinekor.com
Call Ticketline 082 16789 (value added service rates apply) or book in cinema at the self-service terminals (SSTs) or Box Offices. Special rates apply for Discovery Vitality, Edgars and Jet Club Members.
Follow Ster-Kinekor on Facebook, Twitter @SK Theatres or visit the Ster-Kinekor Mobi-site www.mobile.sterkinekor.com
Visit their web site here.
Visit their web site here.
Posted by DFA at 8/25/2011 0 comments
Labels: Tri Continental
18 August 2011
Women and Film in Africa
Women and Film in Africa Conference: Overcoming Social Barriers
Conference organised by the Africa Media Centre, University of Westminster
Date: Saturday 19 and Sunday 20 November 2011
Venue: University of Westminster, Marylebone Campus, 35 Marylebone Road, London, NW1 5LS
This is a 1st Call for Papers for a conference on the contemporary and historical role played by women in the film, television and video industries in Africa. From the Arab North Africa, West Africa, Central and East Africa, through to Southern Africa, women have emerged from the double oppression of patriarchy and colonialism to become the unsung heroines of the moving image as producers, directors, actresses, script writers, financiers, promoters, marketers and distributors of film, television and video in postcolonial Africa. Sadly, such immense contributions by women are underrepresented, both in industry debates and in academic research. There are now many cases in which African women in front of and behind the camera have overcome
social barriers and yet this is sidelined. This conference invites students, practitioners, academics and researchers to debate how women have contributed to film, television and video markets in Africa from pre-colonial, colonial to postcolonial periods. Existing industry and academic work should also discuss the ways female audiences in Africa have engaged with film, television and video texts. The conference will include a session with leading female filmmakers. Papers may include, but are not necessarily limited to, the following themes:
· The Influence of Feminism on African filmmakers
· Women in front and behind the camera in African film
· Women in the African feature film industry
· Women in technical roles in film, video and television in Africa
· Women documentary makers in Africa
· Gender and Representation of Women in African film
· Audiences for films by African women/Female audiences in Africa
· Case histories of leading African women filmmakers
· Women scriptwriters
· African women acting in video, film and television
· Censorship and the portrayal of African women in film and television
· The role of NGOs in commissioning women filmmakers and issue-based films
· How African governments have helped or hindered filmmaking by African women
The deadline for submission of abstracts is Friday 16 September, 2011.
Successful applicants will be notified by Friday 23 September, 2011.
Abstracts should be 200 words long. They must include the title of the conference, presenter's name, affiliation, email and postal address, together with the title of the paper. Please ensure when saving your abstract that your name is part of the file name. Please email your abstract
to Helen Cohen, Events Administrator at: (email@example.com).
This two day conference will take place on Saturday 19 and Sunday 20 November, 2011. The fee for registration (which applies to all participants, including presenters) will be £135, with a concessionary rate of £55 for students, to cover all conference documentation, refreshments and
administration costs. Registration will open in September 2011.
Posted by DFA at 8/18/2011 0 comments
Labels: Call for Papers, Women and Film in Africa
16 August 2011
Women of the Sun Film Festival
Women Of the Sun (WoS) Film Festival
2–9 Sep 2011
Women of the Sun, in conjunction with the Goethe Institute, the Gauteng Film Commission (GFC) and the Department of Arts and Culture (DAC), are putting African women filmmakers on the map with the launch of a seven day film festival to celebrate African Women Filmmakers, in Johannesburg (2nd – 9th September). The Women Of the Sun Film Festival (WoS Film Festival) will be the First African Women Film Festival to take place in South Africa, featuring 25 films by 23 talented women filmmakers from 15 African Countries with 15 of the filmmakers present at the screenings.
Festival venue & dates
The festival is taking place 2nd - 9th September at The Bioscope Cinema, 286 Fox Street, Johannesburg (For Directions) (Opening night on 2nd September per invite only)
Booking information
Tickets can be purchased at the door
Ticket Price: R24
Festival Pass to watch all festival screenings is available at a discount price of R 250
The Women of the Sun Film Festival is running alongside the African Women Filmmakers' Forum the 2nd - 3rd September. Hosted by the Goethe Institut, the forum gathers a delegation of 25 women filmmakers of all levels of experience from sub-Saharan Africa, the USA and Germany to network with and gain inspiration from colleagues.
The Forum is a platform for Africa women filmmakers to assess the situation and develop strategies to strengthen their presence in the industry. It's all about creating inspiration and supporting women in the industry to make more films, and once films are made, getting work widely distributed to audiences. Invited participants include world-renowned women filmmakers and festival programmers, distributors and local and international directors, producers and academics.
On the 4th September the forum will be open for the public under the name To Screen and To Be Seen - Female Perspectives on Filmmaking in Africa.
Time: 4th September 10am - 1pm
Venue: Goethe-Institut, 119 Jan Smuts Avenue, Johannesburg
Postal Address:
Tel/fax: +27 11 487 3036
Cell: +27 72 143 1825
Email: firstname.lastname@example.com
Labels: Women of the Sun, Women's Month
Filmmaking Ethical Code of Conduct
Following the recent furore over the BBC and Travel Channel's 'staged' tribal TV series, Survival International has released a code of practice for filmmakers working with tribal peoples (pdf, 983 KB). The guidelines aim to prevent further misrepresentations and potentially damaging portrayals of tribes.
The code emphasises filmmakers' responsibility not to let a 'good story lead viewers to an unfair or unrepresentative opinion of (a) tribe.' It also stresses the crucial role film plays in 'how well or badly tribal peoples are treated'.
Survival has drafted the code of practice following a string of accusations by two eminent experts about a TV series on the Matsigenka tribe of the Amazon. It depicted the Matsigenka as savage and cruel, and was described by Dr. Glenn Shepard and Ron Snell as 'staged, false, fabricated and distorted'.
Mark & Olly: Living with the Machigenga' was shown on the Travel Channel in the US, and on the BBC last year. Presented by Mark Anstice and Olly Steeds, it purported to show the 'reality' of life among the Matsigenka.
Stephen Corry, Director of Survival, called it 'a depressing example of the way tribal people are routinely portrayed on TV. One stereotype followed another…TV is now getting away with portrayals which wouldn't be out of place in the Victorian era'.
Survival's 'Ethical practice when filming tribal peoples' addresses the moral accountability required to produce a film, which has the potential to be the 'only way viewers can learn anything about the tribe in question'. As well as alerting filmmakers to the pitfalls and consequences of irresponsible production, the code also provides a checklist of standards that filmmakers can follow.
To read further, visit the web site.
Labels: Filmmaker ethics
The District Six Museum Invites you to their AGM
Labels: District Six Museum
15 August 2011
Captor and Captive at The Bioscope in Johannesburg
Johan van der Mescht, a South African Army conscript was stationed on the border of Namibia when he was captured in 1978. He was held as a Prisoner of War in Sao Paulo Prison, Angola for four and a half years before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. Danger Ashipala was a young idealist when he joined the South West Africa People's Organisation (SWAPO) military wing, to help liberate his country from colonial oppression. He was responsible for Van der Mescht's capture. The film chronicles the first meeting between Van der Mescht and Ashipala in 2009, and explores their respective experiences. CAPTOR AND CAPTIVE is both the story of a man whose capture has taken him to hell and back and of his captor who kept him alive during the attack. Ultimately it is a story of forgiveness and redemption.
When Van der Mescht and his family returned to Namibia in December 2009 for the meeting with his captor and the filming thereof, he received a hero's welcome. Ironically in his own country he is still regarded as a traitor who walked over to join the enemy. At its centre the story contains the universal themes of war, love, pain, betrayal and forgiveness and will appeal to a wide audience from age group 15 years to adults of all ages. The film bears testament to the reconciliation between veteran soldier enemies.
Posted by DFA at 8/15/2011 0 comments
14 August 2011
NFVF Slate Funding
Call for proposals for NFVF Slate funding
Closing date: 30 August 2011
The National Film and Video Foundation invites all eligible production companies to respond to the Call for Proposals for Slate Funding as detailed below:
Over the past five years the NFVF has awarded slate funds to two production companies with specific developmental and sustainability objectives. The initiative was developed out of best practice internationally and was rooted in the notion that when a small company is granted operating capital towards development and cornerstone financing for production over a predetermined period, a great deal of uncertainty is removed from running the business.
The first slate was very clearly targeted at providing black directors a shot at their first feature in a supportive environment and it also involved the training of black heads of department. The second slate, which is in the second year of running, was awarded on the basis of a unique low budget commercial concept by the production company and will be tested when the first of the 4 films comes to the big screen later this year. The institution has drawn lessons from the first two slates and now wishes to extend the programme of slate funding to three eligible production companies.
Slate Funding Objectives
The aim of the National Film and Video Foundation in putting out this call are broadly the following:
* Cultivating sustainable and viable production companies.
* Assisting production companies to identify and produce films that demonstrate audience awareness in the South African and international market.
* Finding original ways of reaching audiences nationwide.
* Encouraging increased opportunities for emerging writers and directors to have their work developed by reputable production companies.
* Increasing the marketing and export of South African film products to the global market.
* Promoting greater cooperation between production companies and distribution companies.
To view the full details, please visit the NFVF's web site.
Labels: NFVF, Opportunities, Slate Funding
3D Workshop at Visual Impact Cape Town
Labels: 3D, Visual Impact
Street Talk Documentary Academy
Shoot your own 15 minute documentary film in the vibrant communities in and around Cape Town and have it broadcast on Cape Town TV
* Follow a four-week journey into the world of documentary filmmaking working alongside two industry professionals – Jo Menell, Richard Mills and their team
* Our studio is based in Long Street, Cape Town's Soho. Film in townships in and around Cape Town; Langa, Gugulethu, Khayelitsha, Mfaleni…
* You will make a 15-minute documentary film which will be broadcast on Cape Town TV (CTV) 1.5 million viewers and on our YouTube channel. Add your film to your show reel.
* Research, development of concept, pre-production, shoot, sound, edit and broadcast.
* Small group, focused, community-orientated, professional production environment.
* The documentaries will cover a full-range of life in the communities from music, drama, art and dance to HIV education, community activism and sport. CTV embraces the broadest of views and the minimum of censorship.
Visit the web site.
Labels: Opportunities, Street Talk
NFVF Consults on the Definition of a South African Film
Please click the image to view the details.
Download the NFVF Assessment Criteria doc here.
Download the IPO's submitted doc here.
Labels: NFVF, Public Consultation, South African Film
Tribute to Women in the Arts
Please click the image to view the details.
Original article found here.
Progress Screens at The Labia
We are delighted to be showing our film Progress with Labia Theatre from the 19th of August onwards.
Progress will be screening daily at 6.15pm at Labia Theatre, 68 Orange St, Cape Town.
Progress is a groundbreaking documentary about a small-town team who caused one of the biggest upsets in South African rugby history.
Please watch our 1min 40 trailer
Creative team of Simon Taylor, Tom Glenn, Duane Heath, Bruce Boyd and Mark Shehab.
For more information, please visit: www.periphery.co.za
If you want to keep updated on Periphery Films, please follow us on:
For any queries please contact: email@example.com
Labels: Periphery Films, Progress, Simon Taylor
11 August 2011
How Digital is Changing the Business of TV Development
Once upon a time you'd pitch a show to a TV channel and if they liked it they'd give you the cash upfront to make it and you'd take home a healthy 10%+ margin. Then along came the terms of trade, and in many cases producers not only took their 10%+ margin but also got to keep the programme, effectively granting the broadcaster a limited license to transmit a show they'd paid for. Once that license expired the producer could then sell that finished programme elsewhere without compensating the broadcaster, as well as selling the format rights for localised versions. It was certainly the good old days – the equivalent of running a factory where you sell all the inventory before you've made anything (plus a margin), work at 100% capacity, hand over the goods, and then, 2 years later your customers give you all the goods back to sell second hand – nice!
Of course there's only so long this can last, and a lot of very bloated incumbents are now seeing their business model challenged. Children's TV adapted earlier than most, recognising the big money opportunities derived from merchandise and deficit funding against this future revenue. Then big budget drama producers increasingly sought co-funding across territories to get their work made, recognising the opportunity to make profit through sales and merchandise (books, DVDs, films, live experiences). Now it's creeping into every genre, and like it or not any of us wanting to get our work out there need to be as creative with our business models as we are with our content.
'Digital' is influencing TV funding in three main ways: in creating new distribution models (from VOD services, mobile, even direct to consumer), new monetisation models (from micropayments to patenting proprietary technology), and in new development models (a move away from selling 'off paper' to prototyping, more iterative development processes and increased testing with audiences). It's on the development process I wanted to focus in this post.
Development is such a vital component of content businesses, and yet it wasn't always such a formalised activity. It was when independent producers came onto the scene, spurred on by the formation of Channel 4, that the game became much more about the quality of the idea, and the 'development team' came into existence – blue sky units dedicated to conceiving and researching the ideas for TV shows. Production companies would pitch these ideas off a sheet of A4 and then some would receive funding to develop their ideas in detail. A certain proportion of paid developments would lead to pilots, and some would be grenlit and eventually turned into a series. Money flowed from broadcaster into each stage, increasing in amount at each step, from paid development through to broadcast.
Here's where things are changing. Instead of increasing funds from the broadcaster in each stage up to broadcast, smaller investments are flowing in during the pre-production stage, with the remainder of funding increasingly coming in from the traditional post-broadcast revenue streams – ie. advances on distribution rights, ancillary rights, and so on. The diagram below shows this changing business model:
Visit the web site to view the illustrations and read further.
Posted by DFA at 8/11/2011 0 comments
Labels: new models, TV development
10 August 2011
Movies that Matter
Are you planning to organise a film project with human rights films in Africa, Asia, Eastern Europe, Latin America, and the Middle East?
Looking for funding? Apply!
Movies that Matter offers modest financial assistance and advice to initiate human rights film festivals and to help circulate and exhibit human rights films in Africa, Asia, Eastern Europe, Latin America and the Middle East. It supports human rights film projects like mobile cinema projects, human rights film festivals, travelling film festivals, outreach programmes, and educational activities at schools and universities.
Please note we do not support film production.
The next deadline for applications is 15 September 2011.
For more information, selection criteria and application forms, see www.moviesthatmatter.nl/international.
Please feel free to forward this email to your relevant contacts!
Labels: Movies that Matter, Opportunities
NFVF Public Consultations on the Definition of South African Film
The NFVF has been in the process of drafting criteria of assessment for South African films and co-productions. The exercise is intended to set qualifying criteria for what constitutes a South African film and official co-productions.
The criteria has introduced a point system that takes into account a number of key elements including creative, craft and technical contributions. Producers will be required to ensure that their films meet the required points for qualification. In December 2010 the NFVF published the film criteria and made a call for industry submissions and subsequently received a submission from the Independent Producers Organisation (IPO). The NFVF has taken into account some of the IPO proposals and has revised the original criteria accordingly.
To take the industry consultation process further, the NFVF will be holding public consultations in the Gauteng, Western Cape, Eastern Cape and Kwa-Zulu Natal provinces.
The consultations will be held as follows:
* Cape Town- 18 August 2011 at the Upper Eastside Hotel
* Port Elizabeth- 19 August 2011 at the Port Elizabeth Opera House
* Durban- 23 August 2011 at the Royal Hotel
* Johannesburg- 25 August 2011 at the NFVF Auditorium
Copies of the IPO Submission and NFVF Regulations can be downloaded from the links below:
Interested organisation or individuals who would like to make oral presentations can email Mawande Seti on firstname.lastname@example.com or by 11 August 2011.
Original post here.
Labels: NFVF, Public Consultation, South African Film
the 6th SAFTAs Call for Entries
03 August 2011: The National Film and Video Foundation (NFVF) organizers of the popular industry awards, South African Film and Television Awards (SAFTAS) calls for local productions to submit their entries for 2012. The entries open on Wednesday 3rd of August 2011 and will close on Monday 5th of September 2011.
Only South African films or television productions/programmes that have been produced and publicly exhibited or broadcast between 1st of April 2010 until the 31st of July 2011 are eligible for entry.
Since its official launch in 2005, the SAFTAS has been successfully managed under the custodianship of the National Film and Video Foundation (NFVF). The broadcasters M-Net, e.tv, Top TV and SABC; distributors, Ster Kinekor, indigenous Films and Nu Metro play an important role in supporting the awards.
The SAFTA are an industry initiative governed by a body of industry representatives SASFED, SABC, e.tv, M-Net and the NFVF and is managed by the custodianship of the National Film and Video Foundation (NFVF) under whose values the essence of the awards are encapsulated, those of Creativity, Freedom of expression, Entrepreneurship and Equitable redress.
"The SAFTAS has truly become the premiere platform for recognizing talent in the industry. Since its inception the awards have grown from strength to strength attracting representatives from government, private sector and the industry. We encourage all eligible productions to participate in order to continue elevating the film and television status of our country," says Karen Son NFVF Acting CEO.
The SAFTAS has since its inception honoured individuals and productions in the following categories: TV Non-fiction, TV Fiction, Feature Films, Short Films Student Films and Animation with Special Lifetime achievement awards given to those esteemed individuals who have long served the industry in various categories.
As with the previous years the public will play a pivotal role in the Soapie category by voting for their best soapie. Previous winners of this category include Generations and Seven de Laan.
Download the Rules and Guidelines. All the entries should be submitted through an online entry system which can be found on the SAFTA Entries website. Closing date 05th of September 2011 16h00.
The judging panels will this year be made up of previous SAFTAS winners and nominees from the past 5 years. This is in a bid to begin the development of the SA Film & TV Academy. As with previous years, the judging process will be overseen and verified by independent auditors.
The winners will be presented with the official SAFTA trophy, the Golden Horn, at a glittering ceremony in February 2012 that will host the cream of South African talent, leading personalities, key government and private sector, VIP's and media.
The SAFTAS honour, celebrate and promote the creativity, quality and excellence of South African Film and Television talent and productions, and encourage entrepreneurship and the development of new talent within the industry.
For more information email Communications & Public Affairs Naomi Mokhele or project coordinator Carla Dias.
Original post here.
Labels: Call for Entries, SAFTA
How Good Are You
Please click on the image to view the details.
Further details here. The Vuka Awards are now the Television Awards for Good (TAG).
Labels: TAG, Television Awards for Good, Vuka
Perspective Looking for Wrtiers
Out In Africa starts on Friday 12 August 2011 and there are three great local documentaries on the programme: Lauren Beukes' Glitterboys and Ganglands, about Miss Gay Western Cape; Nerina Penzhorn's Waited For, about a mixed race, lesbian couple trying to adopt; and Getting Out, a Ugandan/South African collaboration about persecution and LBGT asylum seekers.
The directors of Waited For and Getting Out will both be at OIA. If you would like to conduct an interview with the filmmakers of one or two or all of these films, you get to keep a copy of the film.
Please contact the DFA Secretary, Tina-Louise Smith, on firstname.lastname@example.com if you would like to participate.
Visit Perspective for an idea of what you will be expected to deliver.
Sobukwe: Restoring the Voice of a Giant
Docu-Drama Feature Length Film
Length 104 mins
The story of the life of a remarkable man who helped to inspire and liberate a nation will be seen for the first time at the world premier of Sobukwe – a Great Soul, which showcased at the 32nd Durban International Film Festival on 28th July 2011. The film, directed by Mickey Madoda Dube, celebrates the life of Robert Mangaliso Sobukwe, restoring him to his rightful place as a leading figure in South African history.
The film was premiered at the Durban International Film Festival on 28 July 2011 and received the Amnesty International Human Rights Award for "The best film with a focus on Human Rights".
"After the challenge of not having any archive to work with, we are pleased that the film was able to bring Sobukwe's voice to life and to for him to be recognised for his great work in the struggle for human rights."- Carolyn Carew
"It was an amazing learning experience for me to go through the life and time of Robert Mangaliso Sobukwe by capturing his spirit and integrity, his honesty, discipline, and commitment to the United States of Africa" Mickey Madoda Dube
Sobukwe – A Great Soul succeeds in finally breaking the mystifying silence that has surrounded Sobukwe's extraordinary contribution, not only to reshaping South Africa, but also shaping the thinking of many across the African continent and the diaspora.
Produced by Born Free Media & 1TakeMedia in association with the SABC and the Sobukwe Family Trust, the film is a feature length drama-documentary (as opposed to the traditional docudrama genre) which charts the course of a leader who has been all but forgotten in the anals of history. The documentary, commissioned by SABC's Kamscilla Naidoo as part of their Icons series on South African leaders, explores Sobukwe's life and provides a platform for his voice to be heard decades after he made his mark, putting his name back on the world map of great liberators.
In spite of his pivotal role in the struggle for liberation, there is not a single piece of archive, not a single surviving audio recording of a man who was once one of the most watched, most recorded, most popular political prisoners in the world in his time. Even the current South African government has failed to recognise his place in history, and the relevance of his message today. This film seeks to fill that gap. It stands as a monument to a great man, a global visionary, teacher, political leader, philosopher and humanist who was well ahead of his time, declaring his commitment to a "non-racial" society in a racist world, asserting that "there is only one race, the human race."
Sobukwe's was a life of firsts, as the film highlights. His decisive action on 21 March, 1960 resulted in the historic day now known as "Sharpeville Day", and lit the first fire that eventually led to the final demise of apartheid. Sobukwe's actions paved the way for Steve Biko, and guided him to another historic moment on 16 June, 1976. He gave Pan Africanism new life, refining the ethos, taking it to the street and making it a common feature of the struggle in South Africa, laying the ground for the path to Black Consciousness.
Sobukwe became an international icon whose passing led to a special session at the UN, such was his stature. He was considered prisoner number 1 on Robben Island, and earned the distinction of being the only man kept in solitary confinement for six solid years. The apartheid government not only feared his influence on other prisoners, so keeping him apart, but also created a special statute, a law that became known as the Sobukwe Clause, to keep him in prison and to keep his ideas from the rest of the world.
Sobukwe – A Great Soul, featuring Luthuli Dlamini in the title role, communicates many of the qualities that Sobukwe embodied, demonstrating the integrity, courage, honesty, humanity and true leadership for which he was known, and which continue to have resonance today. Ultimately, the film aims to emphasise the loss of a great soul to humanity in Sobukwe. Born Free Media, with its talent for telling distinctly African stories, is well-placed to relate his story.
Mickey Madoda Dube, Director/Producer of 1TakeMedia, is an international award winning Film, TV and Commercials Director. His filmography spans both the social and the political. His first film, Imbazo, about state-sponsored violence in SA, won countless awards globally. One of Mickey's proud works is a documentary for UNICEF called Through The Eyes Of The Child. It looked at the plight of SA children at the turn of the century. Mickey co-created and co-conceptualized the Pan African reality series, Imagine Afrika (part of the 'You' campaign), which aimed to inspire young Africans to become change agents in their communities. Mickey has also written and directed a number of television drama series, notably, the controversial Umthunzi Wentaba (Mountain Shadow), which explored the death of boys in SA circumcision schools. The show led to the establishment of certain laws and procedures to prevent these deaths.
Born Free Media is a South African film and television production company specialising in fiction and non-fiction storytelling. Launched in 2005 by multi-award winning executive producer, Carolyn Carew, and joined in 2009 by creative director, Khalo Matabane, and Line Producer Tsholo Mashile, Born Free Media has made its mark on the local and international television and film-making scene. Their acclaimed series "When We Were Black", produced by Carew and directed by Matabane, earned 7 drama awards at the South African Film and TV Awards, as well as two international awards for best drama series. Their company produces TV dramas, documentaries, reality TV and youth shows across the African Continent.
The film will be screened at the Tri Continental Film Festival in Johannesburg during September 2011 and will be screened on SABC 1 during March 2012.
Contact: Carolyn Carew Born Free Media
EMAIL: email@example.com
Labels: Born Free Media, Robert Sobukwe
DFA Distribution Seminar
Please click on the image to load the video on vimeo.com. The video clip is 42 minutes long. The password for the video will be sent to DFA registered members only via the newsletter - do look out for it.
Labels: Bo Stehmeier, distribution
05 August 2011
Invitation to Redi Tlhabi's TV Show
You are invited to join us in the audience for the taping of Redi Tlhabi's TV show next Saturday 13th August from 11am - 2pm in Randburg, Johannesburg.
In honour of Women's Month, City Press Editor Ferial Haffajee and Public Protector Advocate Thuli Madonsela talk to Redi about speaking truth to power. Patricia de Lille and Thandi Modise are also invited.
Orlando Pirates player Benni McCarthy talks about his return to the soccer pitch in South Africa and his experiences overseas.
Popular sexologist and counsellor Dr Eve gives Redi and her guests some advice on communication and lovemaking between South African couples. Is it really true that women are from Venus and men are from Mars? Feel free to ask Dr Eve a question.
Seats in the audience are free, and you can ask questions and interact with Redi and her guests. Places are limited so let us know now if you'd like to attend and how many seats you want. Send an email to Namhla Godlo (firstname.lastname@example.com). Limit of 3 seats per email. Please be sure to send us names and cellphone numbers for yourself and anyone else who would like to attend.
Warn regards
Ben Cashdan
Producer "Redi" (on Mzansi - DSTV Channel 107)
In honour of Women's Month, City Press Editor Ferial Haffajee and Public Protector Advocate Thuli Madonsela talk to Redi about speaking truth to power. Patricia de Lille and Thandi Modise are also invited.
Orlando Pirates player Benni McCarthy talks about his return to the soccer pitch in South Africa and his experiences overseas.
Popular sexologist and counsellor Dr Eve gives Redi and her guests some advice on communication and lovemaking between South African couples. Is it really true that women are from Venus and men are from Mars? Feel free to ask Dr Eve a question.
Seats in the audience are free, and you can ask questions and interact with Redi and her guests. Places are limited so let us know now if you'd like to attend and how many seats you want. Send an email to Namhla Godlo (email@example.com). Limit of 3 seats per email. Please be sure to send us names and cellphone numbers for yourself and anyone else who would like to attend.
Warn regards
Ben Cashdan
Producer "Redi" (on Mzansi - DSTV Channel 107)
Posted by DFA at 8/05/2011 0 comments
Labels: invite, Redi Tlhabi
04 August 2011
Crafting the Visual Style in the Online
Posted by DFA at 8/04/2011 0 comments
DFA AGM 2011 Venues
The venues for our AGM on 17 August 2011 @ 14h00:
Pro Bono.Org
7th Floor Tower A
Salisbury Centre
347 Dr Pixley ka Seme Street (old West Street)
[complimentary coffee and refreshments provided]
Please check directions with Odette Geldenhuys if you need to: email@example.com
125 Third Street
Please call Thea on 082 575 6901 if you are lost
Waterfront Post
1 Port Road
V&A Waterfront
Cape Town
Please call 021 409 2000 for directions if you need to
Pro Bono.Org
7th Floor Tower A
Salisbury Centre
347 Dr Pixley ka Seme Street (old West Street)
[complimentary coffee and refreshments provided]
Please check directions with Odette Geldenhuys if you need to: email@example.com
125 Third Street
Please call Thea on 082 575 6901 if you are lost
Waterfront Post
1 Port Road
V&A Waterfront
Cape Town
Please call 021 409 2000 for directions if you need to
Posted by DFA at 8/04/2011 0 comments
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text:
Professional Volunteering Opportunities in Occupational Therapy, Vietnam
- Placement location: Hanoi
- Requirements: Degree in Occupational Therapy or a related subject
- Accommodation: Host family
- Length of placement: From 3 weeks
- Start Dates: Flexible
Qualified occupational therapists work in care centres and hospitals near Hanoi.
Here you will find answers to the following questions:
How can volunteer occupational therapists help in Vietnam?
What will I gain from this project?
What will Projects Abroad PRO provide?
What skills or qualifications do I need?
How can volunteer occupational therapists help in Vietnam?
As a volunteer occupational therapist you can use your knowledge and training to help local staff. You can work on tasks such as:
- Helping the local staff to look after individual children.
- Assessing the physical, mental and social challenges facing the children.
- Updating the children's case profiles and treatment methods.
- Devising treatment programmes to increase the patients' ability to tackle their difficulties independently.
- Observing the children's progress over a set time period.
- Working with local staff to find ways of improving the services provided to patients.
- Running training clinics for Projects Abroad volunteers working in other care centres (optional).
The patients you will work with may be aged anywhere between 1 and 20 years old. This project runs all year round so you can join at any time.
It is possible to join this project for just three weeks if you don't have time to join us for a longer period. However, please be aware that you may not be able to make the same impact as someone volunteering for a longer period.
What will I gain from this project?
You will gain experience of working in a developing country with a lack of resources.
You will also gain satisfaction from sharing your skills with the local staff and patients, and from the knowledge that treatments have been improved through the training and skills you have demonstrated.
What will Projects Abroad PRO provide?
We have over 20 years' experience of running volunteer projects. We provide you with the following support to make sure your time in Vietnam is successful and enjoyable:
- Safe accommodation and meals with a local host family, placement accommodation or in a volunteer house close to your project.
- Friendly and dedicated local staff available to help 24 hours a day.
- A member of staff to meet you at the airport when you arrive, show you around and introduce you to your work placement.
- Medical and travel insurance.
What skills or qualifications do I need?
If you have completed at least a Bachelor's Degree in Occupational Therapy or a closed related subject then you are perfectly suited to this project.
If you are interested in this project but don't have the relevant experience, then please read about our regular Occupational Therapy project in Vietnam.

subset: commoncrawl


text:
A few years ago, a student of mine sent me an email letting me know that she saw one of my paintings in a movie she had watched. I've had a -lot- of people tell me similar things, and I usually dismiss it since those people are usually my Mom and Dad and tend to think anything remotely SFF related must have been created by me. But this person was a student of mine, and intimately familiar with my work, so I felt it worth looking into.
That student was kind enough to mail me a copy of the DVD, a rather large budgeted Bollywood movie called Saawariya. I was expecting to see, at worst (or best, depending upon your perspective), one of my paintings hanging on a wall as a camera quickly panned past it. I was pretty shocked to see that within the first few minutes of the film, my painting 'Shiva's Crown' appeared not as a small piece of background art, but as a massive stage backdrop.
My first reaction was 'Whoa!', quickly followed by, 'Wait... WTF?' I was never contacted about this usage, let alone paid for it!
Now, I've had clients stiff me for payment in the past, and it usually just takes a few nasty phone calls before they finally pay up. But this was something totally different. This wasn't a commission whose invoice was just past due... this was blatant copyright infringement on a global scale. I realized I was going to have to sue Sony Pictures, and I cringed. I have never sued anyone before, let alone a massive corporation like Sony, and had no idea what it entailed. I just envisioned myself going broke taking the case to court, only to be squashed by the massive legal team of the 'Big Bad Corporation'.
Luckily, that's not how it went down at all, and I'd like to share with you a few things I learned through the experience.
The first thing I did was find a Lawyer who specialized in entertainment. I ran a few Google searches, and found a guy in LA who handled just these sort of cases. He gave me two options;
1: Pay him his hourly fee to write a letter to Sony and hope they cough up the money. If they don't, continue to pay him his hourly fee to pursue the case.
2: Pay him nothing, but give him 30% of the awarded damages should we win any.
Not knowing how long something like this could go on for, I thought it best to choose option 2.
My Lawyer had me watch the movie and document every instance where my painting appeared on screen, as well as clock the total running time of those appearances. I also had to send him proof that the painting in question had be created before the movie went into production. Luckily, the painting was used as the flyer for a gallery show I was part of back in 2003.
He then proceeded to write a letter to Sony describing the infringement, demanding payment, and threatening them with legal action if said payment wasn't remitted. Sony, in turn, stated that they were not legally responsible for any infringement since the were just the producers, not the creators, and that the creators of the film had signed waivers, making them the guilty party. This actually discouraged my Lawyer quite a bit, since this means we had to hunt down the studio in India that created the film, and that the infringement was now subject to that country's laws.
We found the studio responsible, and once again my Lawyer wrote a letter demanding payment. Surprisingly, they replied very promptly, were very apologetic, and sent payment immediately in order to avoid any legal action.
The sum I received as compensation was more than fair, and certainly much more than I would have charged them had they simply asked permission in the first place. I did not receive a Zillion dollars however, as I'm sure my Lawyer was hoping. I don't know that I would even want to receive an unfair amount of compensation (simply on moral grounds), but a few things prevented that from happening anyways.
The biggest hurdle in receiving compensation was that I had never registered the image with the US Copyright Office. There seems to be a lot of confusion surrounding copyrights, so I thought I would clarify a few things. Firstly, every image an Artist creates is instantly copyrighted the moment it is created. The Copyright office does not grant copyrights, it registers them. The purpose of this registry is for just these sort of cases. If someone infringes a copyright, you have proof that you own the copyright, and that they were either negligent, or were aware of the deliberate infringement since the image is on file. If you have not registered the image, the culprit can claim ignorance, and is held far less responsible. Basically, we have laws about this stuff... but if you can't prove a law was broken, then there is no crime. Hence, the need for a registry.
If you have not registered your image, you can only sue for the fee you would have initially charged, plus a little extra to serve as a future deterrent. Without the deterrent, people would always steal their images hoping to never get caught, and if they did, the only repercussion would be having to pay what they would have had to in the first place. If the image is unregistered, you can not sue for amounts over $30,000, and you can not be compensated for legal fees.
All this changes if you've registered your image.
If your image is registered, meaning the infringement can be proven as deliberate, you can sue for up to $150,000 per instance, as well as all legal fees incurred. Further more, the judge can serve an injunction, stopping the movie from being released in theatres or sold as DVDs until the the matter is settled. Not being able to release a movie would be a financial disaster for the studio, so they would likely settle for any amount you asked.
So the lesson in all of this is, even though you own the copyright to everything you create, it is in your best interest to register that copyright. Now, you must be saying to yourself, 'I've created hundreds of images... wouldn't that cost a fortune to register them all?' The answer is 'no'. You can print a single book containing all of your work, and register that book. All images contained therein would then be copyrighted as well. The only downside to this is that the effective date of those copyrights would be when the book was created, regardless of how old any image inside of it was.
To make it even easier, you can now register your images in the form of a PDF through email.
Go here for more info: http://www.copyright.gov/


text:
Bunch Roofing Supply
|email us: firstname.lastname@example.com
|Phone us: (937) 548-7621
|Our Hours:
Mon - Fri. 8am to 4pm
Sat. by appointment
Sun. closed
|Below is an interactive map of our location. Click and drag to move around. Use the tools at the top left to zoom. Click on the location pin and enter your address to generate directions.
View Larger Map
|[ HOME ] [ SERVICES ] [ CONTACT US ] [ Photo Gallery ]


text:
Theo Sampel is a local DMV artist who is worthy of your attention. You may have seen him at the bar he manages, Cities Restaurant and Lounge. However, managing Cities is not Sampel's claim to fame. Perfecting his craft for more than a decade, Theo has a hypnotizing voice and awesome mastery of the guitar.
Some fans liken Theo's vocals to the haunted charm found in Thom Yorke of Radiohead, but with a touch of David Bowie's deep, pained, voice. The album is particularly refreshing to hear today as many artists have steered away from the tortured, yet soothing sound that Sampel This embodies. Other big name musicians such as Marc Capponi (Piano/Keys), Dajando Smith (Bass Guitar), and Tom Barrick (Percussion) are on the album.
It is definitely worth giving a listen. Sampel This is available for purchase on iTunes (linked below). Physical copies are available at Crooked Beat Records in Washington, DC and will be available at more physical retailers soon!
Learn more about Theo Sampel:


text:
"January 11. -
Thawing some to-day. Asked papa at noon what his answer was. Said he "hadn't been thinking about it". Mama went up to Mrs. Forsythe's. She died last night. Hope papa tells me whether I can go or not to-night. Here's to going!
Refused!!! I have nearly cried my eyes out. I did want to go so bad. As long as papa lives I don't suppose I ever shall get to go to a dance."
remember, Clara, anger is an energy
Friday, October 2, 2009
Clara Stealey's Diary - January 11, 1910
Posted by Unknown at 8:44 AM
Labels: Clara Stealey, diary, John Lydon, Johnny Rotten, PIL, Rise


text:
Friendly Staff. Beautiful Smiles. Welcoming Environment.
Welcome to DM Family Dentistry where we create healthy smiles. Our dentist will take the time to explain treatments and procedures so patients can make informed decisions about their oral health care. Our friendly team is happy to offer comprehensive services for families. We enjoy providing quality dentistry in Chicago, Illinois, and the neighboring communities of Oak Park and Cicero.
Our dentist and her friendly, educated team use their skill set as well as advanced dental technology, like digital panoramic X-rays, to give you a winning smile. At our welcoming office, our team works hard to stay informed and maintain a caring, approachable demeanor. We can even accommodate for the needs of patients who speak Spanish. We invite you to visit our office so you can have a stronger, healthier, more beautiful smile. We look forward to seeing you here soon!


text:
Jessica Silver-Greenberg and Susanne Craig at The New York Times have a fantastic account of how Vikram Pandit was forced out as Citi CEO by new chairman Michael O'Neill.
The report explains how Pandit was completely blindsided on October 15, when he walked into O'Neill's office, on the same day he reported strong earnings.
...Mr. Pandit, the chief executive of Citigroup, was told three news releases were ready. One stated that Mr. Pandit had resigned, effective immediately. Another that he would resign, effective at the end of the year. The third release stated Mr. Pandit had been fired without cause. The choice was his.
The abrupt encounter, described by three people briefed on the conversation, included a terse comment by the chairman, Michael E. O'Neill: "The board has lost confidence in you."
Obviously, Pandit chose to resign right away.
Though Pandit and the company described the choice as "his" in the immediate aftermath of his departure, it was clear from the fact that Pandit said he didn't want to be a "lame duck" that his time was soon up.
The background of the story is that O'Neill had pretty much been planning Pandit's ouster since he got there. There had always been tension, in part since O'Neill himself had been a contender for the CEO job back in 2007. As Chairman, O'Neill had been slowly working over each board member, building the case to let Pandit go. A dispute with the Fed from last March -- in which Citigroup was denied the ability to start paying a dividend -- was a major point in O'Neill's favor, allowing him to argue that Citi's frosty relationship with regulators was a major impediment.


text:
The following are summaries of major foreseeable risks present in the business environments in which the Kurita Group operates. Forward-looking statements herein are based on judgments made by management.
1. Economic and Market Conditions
The Group's Water Treatment Chemicals and Water Treatment Facilities businesses are affected by economic conditions in Japan and in other countries and regions where the Group operates. Demand in the Water Treatment Chemicals business fluctuates in response to factory capacity utilization rates in such industries as steel, petroleum refining and petrochemicals, and pulp and paper, which are the business' main sources of demand. Such demand fluctuations may affect the Group's operating results. Demand in the Water Treatment Facilities business fluctuates in response to trends in capital expenditure in the electronics industry and other industries that are the business' main sources of demand. Such demand fluctuations may affect the Group's operating results.
Intensification of competition with rivals in the Group's business domains could lead to declines in prices of products and services, which could lower the Group's profitability.
2. Materials, Parts and Services Procurement
The Group procures raw materials and parts from outside the Group for the manufacture of products and the fabrication of facilities. The Group also procures services necessary to conduct operations from outside the Group. The prices of raw materials, parts and services fluctuate based on changes in market conditions, and such fluctuations may affect the Group's operating results.
3. Overseas Business Development
The Group is striving to expand its business outside Japan. In contrast to the Japanese market, doing business in overseas markets involves a number of inherent, unforeseen risks, including the risk of changes to local laws and regulations, the risk of political and economic instability, and the risk of foreign exchange rate fluctuations. If such risks materialized, the Group's operating results could be affected.
4. New Product Development
The Group continuously endeavors to develop new technology, products and services. The success of these development efforts cannot be guaranteed. The Group may not be able to offer new technologies and products that meet the needs of its customers or launch new products and services in a timely fashion. The Group may also fail to keep pace with rapid changes in technological innovation and changing customer needs. If the Group were to fail to develop competitive new products and services, this could hamper its future growth and profitability or otherwise affect its operating results.
5. Intellectual Property
The Group recognizes the importance of intellectual property and continually seeks to register its own intellectual property while avoiding infringement of the intellectual property rights of third parties, both in Japan and overseas. Given the wide scope of the Group's business, however, there is potential for the Group's intellectual property rights to be infringed and potential for the Group to infringe upon the rights held by third parties. Such occurrences may affect the Group's operating results.
6. Information Systems
The Group's use of information systems is increasing, as is the importance of information systems to the Group's business. If a computer virus or some other factor were to obstruct the functions of the Group's information systems, the Group's business activities, operating results, and financial condition could be negatively affected.
7. Large-Scale Natural Disasters
If an earthquake, typhoon, or other kind of natural disaster were to directly or indirectly upset the Group's business execution, the Group's business activities, operating results, and financial condition could be negatively affected.


text:
Welcome to my blog!! I hope you will enjoy your time here! I am a happy busy Mom of 3 who loves to create things!!! I scrapbook, make cards, knit, quilt, keep a Project Life album and potter in my garden and veggie patch!! I like to share what I have been busy with here. Grab a cup of tea or coffee, and pause here for a while!
Sunday, April 10, 2011
DT Call at Let's Scrap
So for the last week or two I have been scrapping up a storm, my mojo has returned with a passion, and I am churning out the pages one after the other!!
While doing some surfing on the net I came across "Let's Scrap" a wonderful community of scrapping ladies. It seems to be a really lively active and encouraging group of ladies, so I have joined :) I also noticed they are having a DT call, so have thrown my hat into the ring. It looks like an awesome team to be a part of, hold thumbs for me, o.k!?!
My page is based on this sketch, the left hand side!
Here is my page. I LOVE the way this one turned out, I just played, and added stuff as I went along. It was a really enjoyable page to put together!! :)
I used the following products:
Loads of Sassafras paper & stickers
Thickers Stickers for Title
MM Spiral Journaling Book page
MM Stickers
Martha Stewart punch
BasicGrey alphabet stickers
Becky Higgins date stamp
Smooch Spritz - Sea Kiss
Stitching with my sewing machine
Thanks for stopping by, enjoy the rest of your weekend :)
6 comments:
- Lisa Zubritsky said...
this page is gorgeous! you have convinced me that i *need* some sassafrass papers!!!!
- April 10, 2011 at 2:44 PM
- Alison said...
What great PPs ....fab LO! Good luck for the DT( we cross our fingers instead of holding thumbs!)
Alison xx
- April 10, 2011 at 2:49 PM
- Jolanda said...
amazing page!!
enjoy your day,sounds very good!
- April 10, 2011 at 2:50 PM
- Sharon Keanly said...
That is amazing Rene... good luck with the DT application. They would be lucky to have you! hugs Sharon x
- April 10, 2011 at 4:20 PM
- Jessica said...
Rene' I love this layout! It is perfect for the DT layout. I so hope you make it, you would be a wonderful addition to the DT! I just love Let's Scrap and the fact they use 2page sketches, after my own heart! :)
- April 11, 2011 at 1:02 AM
- Kay Wallace said...
Hi, Rene', I love your blog! So much, in fact, that I have nominated you for the STYLISH BLOGGER AWARD. Come on over to my blog to grab the award and get the details! Happy Scrapping!
- April 11, 2011 at 2:34 AM


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Every year on June 16th, South Africa marks Youth Day. This day is set apart to celebrate the legacy of youth activism in South Africa, and to recognize today's youth who shape the future of the nation. The day is rooted in the events of June 16th, 1976, when thousands of students in Soweto, Johannesburg organized a march against oppressive language policies in their schools. Students were being forced to learn in Afrikaans rather than in their native languages, a policy which reinforced the government's domination over the Black majority while hindering Black students' ability to critically analyze what they were being taught.
The peaceful protest was met with violent suppression. Police opened fire on the marching schoolchildren; 176 were killed and over a thousand were wounded. The tragedy became known as "The Day Apartheid Died," because it awakened much of the globe's conscience to the gruesome truth of apartheid South Africa. A powerful radio documentary of the same name can be heard here.
Today, Youth Day is celebrated not only to keep the memory of those children alive, but to recognize the great power and potential of today's South African youth. It is this potential that drives our work in Cape Town. CHOSA believes that every child is entitled to grow up in a safe, healthy, and nurturing environment, and we work tirelessly with our community partners to provide the care these children need. To make a donation today in honor of the youth we serve, please visit www.chosa.org/donate. Also, be on the lookout for a post about our upcoming Online Art Raffle next month. We hope you'll participate!
Thank you for your continued support.


text:
Is there a limit to the number of collections Metafields can use? I have more collections than what is shown in the drop down selection. When I put in the exact product name of what I want to work with (that is in a collection not shown on that menu), it says "There are no products in your store."
Thanks for your help!


text:
In Holt v. Hobbs, 135 S. Ct. 133 (2015), the U.S. Supreme Court unanimously ruled that Arkansas prison officials violated the religious liberty rights of a Muslim inmate under the Religious Land Use and Institutionalized Persons Act (RLUIPA) by refusing to allow him to grow a short beard.
Muslim inmate Gregory Hobbs, also known as Abdul Malaak Muhammad, wanted to grow a ½-inch beard for religious reasons. The Arkansas Department of Corrections' grooming policy prohibited inmates from growing beards except for certain medical reasons.
Prison officials denied his request, claiming safety concerns. Prison officials expressed concern that allowing more inmates to have beards would present identification problems and that inmates could hide contraband in their beards.
Hobbs filed a pro se complaint in federal court, alleging a violation of RLUIPA. This federal law prohibits prison officials from substantially burdening inmates' religious liberty rights unless they have a compelling reason to do so that is advanced in the least restrictive way possible.
Prison argued potential misuse from inmates
A reviewing federal magistrate questioned the prison officials' contention about inmates hiding contraband but still eventually filed a report and recommendation in their favor. A federal district court adopted the report and prison officials' motion to dismiss. The Eighth U.S. Circuit Court of Appeals affirmed.
On appeal, the U.S. Supreme Court reversed in an opinion authored by Justice Samuel Alito. Alito noted that Hobbs had made an initial showing that the application of the grooming policy substantially burdened his religious liberty rights. Thus, the burden shifted to the prison officials to justify the inmate's religious-based request.
Compelling interest cited
Prison officials asserted that the grooming policy furthered their compelling interest in preventing the flow of contraband. Alito recognized that stopping contraband was a compelling interest, but wrote that the argument that Hobbs could hide contraband in his ½ - inch beard "was hard to take seriously."
Justice Alito also addressed the prison officials' argument about identification concerns. Alito said that a less restrictive measure would be a dual-photo method that was employed by other correctional institutions. These prisons would take photos of the prisoner with and without the beard.
Alito also noted that the vast majority of states and the federal government allow inmates to grow 1/2-inch beards. He concluded that "although RLUIPA provides substantial protection for the religious exercise of institutionalized persons, it also affords prison officials ample ability to maintain security."
Justice Sonia Sotomayor wrote a concurring opinion stressing the point from an earlier RLUIPA prisoner-rights decision, Cutter v. Wilkinson (2005), that "context matters" in prisoner cases and that deference must be given to prison officials.Send Feedback on this article


text:
Our remix released on the new reADJUST single "Kontrollverlust"!
This single is free to download from the reADJUST's bandcamp.
Get the single here:
Get our "Remix works" library here:
reADJUST website:
01. Kontrollverlust (Album Version)
02. Rough and Bleak (RMX by Wort-Ton)
03. Rough and Bleak (RMX by Soul in Sadness)
04. Lazarus (RMX by Blütenasche)
05. Lazarus (RMX by BlutKraft)
06. Rough and Bleak (RMY by H2G)
07. Rough and Bleak (RMX by hertzFABRIK)
08. Ego (RMX by Cold Therapy)
09. Rough and Bleak (2nd Shot by Total Pain Kollapz)


text:
Snapchat has lost six upper-level executives in the past year, with only one lasting past the eight month mark.
While turnover among leadership is not unusual at a startup, especially in a time where there is a fierce war for talent, it does raise a tiny red flag that the $US16 billion startup is losing so much upper level management.
Here's a rundown of who has left in the last year:
- Peter Magnusson has been musical chairs amongst tech companies. Magnusson left his role as engineering director at Google to join the Snapchat team in February 2014. He only lasted six months as its VP of Engineering before he joined Oracle as senior vice president, working on its cloud services.
- Mike Randall, Snapchat's revenue boss, resigned from his position in January 2015 after just seven months. Randall originally came over from Facebook where he was a global director of its Preferred Marketing Developer program. There's no word as to what Randall's been up to since January.
- HR director Sara Sperling departed in February 2015 after lasting eight months. She also jumped ship from Facebook, but reportedly left the company for personal reasons one month after Randall. In May, Sperling joined delivery company DoorDash as its head of HR.
- COO Emily White had the longest stint at the social network. White left her director role atFacebook in January 2014 to join Snapchat. She stayed for a year and three months before leaving in March 2015. White's LinkedIn lists her as CEO and founder of a new project.
- Simmi Singh, the chief talent officer, was reportedly fired from her post in September 2015. She spent seven months at the company, which she had joined after leaving her job as a partner at head hunting agency Egon Zehnder.
- Jill Hazelbaker, Snapchat's VP of communications and public policy, is the latest executive that we know of to depart in October. Re/Code reported that the PR expert is joining Uber and reporting to her old boss at Google, Rachel Whetstone.
NOW WATCH: Animated map reveals the 550,000 miles of cable hidden under the ocean that power the internet
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