screenGRAB Issue 10 March 2011 – Art for Profit?
In this issue of screenGRAB: as the glitter of the awards season draws to a close and the summer film festivals draw closer, we consider whether UK film’s recent success will have had any impact on the future of independent film funding, whilst John Gibb debates the ever widening quality margin between British and American TV.
Anne Milne reports from the Berlinale Talent Campus where the crème de la crème gathered for a week of workshops and films, and two new writers, Ruth Johnston and Hillary Dort, cover films from the socially aware to the morally questionable.
screenWORKS Team
Editor: Laura Witz. Manager: Paul Ryan. Design: Debra Clarke, Paul Ryan. Writers: Anne Milne, Dee Custance, Hillary Dort, Laura Witz, John Gibb, Ruth Johnston.
UK Film Council: ‘A Short-sighted Decision’
When asked about the impending closure of UKFC, Colin Firth labeled it ‘a short sighted decision’; the government decision will make it difficult for independent British films like The King’s Speech, to get off the page, let alone make it to the Oscars.
Berlinale Talent Campus: A Report
The 9th Berlinale Talent Campus took place last month: a programme which selects 350 participants from almost 4,000 applications worldwide. Anne Milne was amongst the talented group selected to attend.
In anticipation of Edinburgh Filmhouse’s upcoming season, ‘Roeg’s Gallery’, we at screenGRAB are taking a look back at some high points in the career of one of Britain’s most experimental and influential filmmakers.
Sky Atlantic: ‘No room for equality in the arts’
In a well publicised move, Sky is set to launch its new channel boasting exclusive rights to an array of quality new HBO programmes. But as others question the ethics of this move we ask if British TV is no longer even competing with its lucrative cousin across the pond.
Dogwoof is a socially aware film distribution company, founded in 2004. This year, for the second year running, the London-based film distribution company received multiple nominations in the Best Documentary category at the annual Academy Awards
Film Review: Brighton Rock vs. Brighton Rock
Rowan Joffe’s new film version of the classic gangland thriller is an exciting adaptation of Graham Greene’s novel, but how does it compare to the original film.
Lucy Walker’s Oscar nominated documentary follows the successful Brazilian born artist Vik Muniz in the creation of new images and iconic recreations, as he embarks on a project centring on the transformative power of art.
Rabiger’s manual is an excellent reference point for film directors and a worthwhile read for anyone attempting to get into film directing; whilst maintaining the importance of technicalities, the author sets out to rediscover the importance of ‘the story’ in film.
Not trying to rewrite female identity or to present a specific aspect of feminist theory, Jacey is instead addressing a gross imbalance, an inequality even, evident in most screenwriting guides on sale today: the almost complete absence of realistic, complex heroines.
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