Art Historical Theory and Methodology

Week Five: Assignment for Next Week

2009-07-10T05:56:00.000-07:00

Do some quick research on semiotics. What is it? Who developed the theory. How is it used in our fields? Why is it important? How is this theory being used commercially (for lack of a better word) right now?

Be prepared to discuss why or why not this particular theory and methodology might be something you would work with in your professional life.

Week Five: In Class

2009-07-10T05:51:00.000-07:00

Find, at least, five web sites that might help you answer your question.

Find one more thing that you didn't already know about your subject/question.

Write up one of your bibliographic entries so that I can check it and make sure that you are doing it correctly before you do too much work that turns out to be incorrect.

Week Three: In Class

2009-06-26T07:22:00.001-07:00

Since some of you have asked for examples. I thought I would join you with a question of my own.

I'm going to start with a broad question that encompasses my background and interests.

"Does fitness influence the fashion industry or does the the fashion influence the fitness industry?"

What I believe to be true. High-end fashion and high-performance fitness are not even talking to each other, but ....????

This question seems too broad to me - how about .....

"Does the fashion industry (high-end) influence the body type that we strive for through the fitness industry? or does the fitness industry set the trends and therefor the body types influence what fashion designers design?"

Let's start by looking at "Iconic" representation of both and see what we come up with.

Fashion/Chanel

current

http://www.chanel.com/fashion/8#8

http://www.chanel.com/fashion/8#8-spring-summer-2009-chanel-collection-look-45,12

historic

from: http://www.canpages.ca/blog/wp-content/uploads/2009/01/coco_chanel.jpg

Fitness

Current

picture of "first fitness super model" Monica Brant http://female.bodybuildbid.com/fitnessolympia/imgs/brant/brant4.jpg

Historic

http://www.acclaimimages.com/_gallery/_images_n300/0087-0507-2315-0407_vintage_antique_old_smiling_woman_pinup_in_a_yellow_swimsuit_with_white_towel_1940s.jpg

Week Three: Icons

2009-06-25T08:03:00.000-07:00

Look at Byzantine Icons and look at Mickey Mouse. What do they have in common?

What about Evangeline Lilly and Lillie Langtry?

Find an iconic representation of your topic. (see post in week two for more details and instruction on evaluating the image.

This week look for five magazines or journals that might/do have information on your topic. More importantly I want you to find out one new thing that you did not already know about your topic. We will come back to class and discuss for the fourth hour.

Week Two: In-class assignment

2009-06-18T09:32:00.000-07:00

What is your topic?

What is your question?

(What is the air speed velocity of a laden swallow?)

Find an "iconic" image that represents your topic. Evaluate this image based on Panofsky's "Strata of Meaning"

1. Primary or Natural Subject Matter

2.Secondary or Conventional subject matter

3.Intrinsic Meaning or Content

List the titles of five books you think might help you with your research and why you think they might help?

Week Two: Iconography

2009-06-18T09:00:00.000-07:00

i⋅co⋅nog⋅ra⋅phy
/ˌaɪkəˈnɒgrəfi/ Show Spelled Pronunciation [ahy-kuh-nog-ruh-fee] Show IPA
–noun, plural -phies.
1. symbolic representation, esp. the conventional meanings attached to an image or images.
2. subject matter in the visual arts, esp. with reference to the conventions regarding the treatment of a subject in artistic representation.
3. the study or analysis of subject matter and its meaning in the visual arts; iconology.
4. a representation or a group of representations of a person, place, or thing, as a portrait or a collection of portraits.
Origin:
1620–30; < ML īconographia < Gk eikonographía. See icono-, -graphy

Related forms:
i⋅con⋅o⋅graph /aɪˈkɒnəˌgræf, -ˌgrɑf/ Show Spelled Pronunciation [ahy-kon-uh-graf, -grahf] Show IPA , noun
i⋅co⋅nog⋅ra⋅pher, noun

from: http://dictionary.reference.com/browse/iconography

What is Art Iconography
Class please read: http://en.wikipedia.org/wiki/Iconography

excerpt:

Iconography is the branch of art history which studies the identification, description, and the interpretation of the content of images. The word iconography literally means "image writing", and comes from the Greek εικον (image) and γραφειν (to write). A secondary meaning is the painting of icons in the Byzantine and Orthodox Christian tradition. The term is also used in many academic fields other than art history, for example semiotics and media studies, and in general usage, for the content of images, the typical depiction in images of a subject, and related senses. Sometimes distinctions have been made between Iconology and Iconography, although the definitions and so the distinction made varies.

Week One continued: The Original Question

2009-06-04T12:33:00.000-07:00

Original

⋅rig⋅i⋅nal
/əˈrɪdʒənl/ Show Spelled Pronunciation [uh-rij-uh-nl] Show IPA
–adjective
1. belonging or pertaining to the origin or beginning of something, or to a thing at its beginning: The book still has its original binding.
2. new; fresh; inventive; novel: an original way of advertising.
3. arising or proceeding independently of anything else: an original view of history.
4. capable of or given to thinking or acting in an independent, creative, or individual manner: an original thinker.
5. created, undertaken, or presented for the first time: to give the original performance of a string quartet.
6. being something from which a copy, a translation, or the like is made: The original document is in Washington.

http://dictionary.reference.com/browse/original

A research paper on Pixar is NOT original unless you ask something that hasn't been asked before. Every semester I challenge students to come up with something I haven't had to sit through already. After 13 years of this - it is more of a challenge than you might realize. Can you do it? Can you come up with an original question on a topic that is uniquely you that the Professor hasn't heard before?? What are some examples of original questions? One student set out to find out for his thesis if the Roman Coliseum would have had a roof? Not totally original but original to his work and no other student has used that question before or since. A graphic design student set out to find out about Dada's influence on graphitti - it took awhile to get to that question, but he started with a subject a lot of students considered and found an original question to research that wasn't overdone. Start thinking this week about your research subject and we'll discuss next week.

Wk One Continued - What is your Artistic Obsession?

2009-06-04T12:19:00.000-07:00

We all have one the subject that compels us to learn more, find out more, search more. Is it Anime, WWII Fighter Planes, The Romans, Finance, Scrabble, Loony Tunes, Rock Posters, Shoes, Underwater Archeology, Atlantis, the Little Black Dress, action figures? Start thinking about what yours is, or what you would like it to be (no stalking though : ) Now think about the fact that whatever it is - it lives in a "designed" world. There isn't anything in our world that does not have some sort of design history - seriously, if all you want and think about is money - there is a design history of $$ and financial imagery. If all you think about is playing Scrabble or Wii, there is a design/art history of that. Find your artistic obsession and prepare to explore it's visual history - in depth. The adventure is in the discovery. We are not going to write some boring "book report or subject paper" we are going to find new ways to look at and question the history of something that interests you. It might be something for your thesis or it might be a much needed break from your thesis. Whatever it is - make it something that actually interests you so that when you are exhausted and don't want to do another thing - you will still be motivated to find out more about your subject. Seriously, my gift to you is that if you follow the directions given in class you can complete the majority of your work for this class during class time - what else are four hour classes for - right? However, you must actually go forth and research. You must discover new things - or, what's the point.

Week One: Art History's History

2009-06-04T12:18:00.000-07:00

ob⋅ses⋅sion

/əbˈsɛʃən/ Show Spelled Pronunciation [uhb-sesh-uhn] Show IPA
–noun
1. the domination of one's thoughts or feelings by a persistent idea, image, desire, etc.
2. the idea, image, desire, feeling, etc., itself.
3. the state of being obsessed.
4. the act of obsessing.

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How to Prepare an Annotated Bibliography

* WHAT IS AN ANNOTATED BIBLIOGRAPHY?
* ANNOTATIONS VS. ABSTRACTS
* THE PROCESS
* CRITICALLY APPRAISING THE BOOK, ARTICLE, OR DOCUMENT
* CHOOSING THE CORRECT FORMAT FOR THE CITATIONS

SAMPLE ANNOTATED BIBLIOGRAPHY ENTRY FOR A JOURNAL ARTICLE

WHAT IS AN ANNOTATED BIBLIOGRAPHY?

An annotated bibliography is a list of citations to books, articles, and documents. Each citation is followed by a brief (usually about 150 words) descriptive and evaluative paragraph, the annotation. The purpose of the annotation is to inform the reader of the relevance, accuracy, and quality of the sources cited.

ANNOTATIONS VS. ABSTRACTS Abstracts are the purely descriptive summaries often found at the beginning of scholarly journal articles or in periodical indexes. Annotations are descriptive and critical; they expose the author's point of view, clarity and appropriateness of expression, and authority. THE PROCESS Creating an annotated bibliography calls for the application of a variety of intellectual skills: concise exposition, succinct analysis, and informed library research. First, locate and record citations to books, periodicals, and documents that may contain useful information and ideas on your topic. Briefly examine and review the actual items. Then choose those works that provide a variety of perspectives on your topic. Cite the book, article, or document using the appropriate style. Write a concise annotation that summarizes the central theme and scope of the book or article. Include one or more sentences that (a) evaluate the authority or background of the author, (b) comment on the intended audience, (c) compare or contrast this work with another you have cited, or (d) explain how this work illuminates your bibliography topic. CRITICALLY APPRAISING THE BOOK, ARTICLE, OR DOCUMENT For guidance in critically appraising and analyzing the sources for your bibliography, see How to Critically Analyze Information Sources. For information on the author's background and views, ask at the reference desk for help finding appropriate biographical reference materials and book review sources. CHOOSING THE CORRECT FORMAT FOR THE CITATIONS CUL Publications 7 and 8, MLA Citation Style and APA Citation Style, are available at the Uris and Olin Reference desks. Style manuals for these and other formats are also kept in the reference collections. Check with your instructor to find out which style is preferred for your class. Online citation guides for both Modern Language Association (MLA) and American Psychological Association (APA) are available in the Library Gateway's Help section, under the "Research Strategy and Process: Citing sources" link. SAMPLE ANNOTATED BIBLIOGRAPHY ENTRY FOR A JOURNAL ARTICLE The following example uses the APA format for the journal citation. NOTE: APA requires double spacing within citations. Waite, L. J., Goldschneider, F. K., & Witsberger, C. (1986). Nonfamily living and the erosion of traditional family orientations among young adults. American Sociological Review,51, 541-554. The authors, researchers at the Rand Corporation and Brown University, use data from the National Longitudinal Surveys of Young Women and Young Men to test their hypothesis that nonfamily living by young adults alters their attitudes, values, plans, and expectations, moving them away from their belief in traditional sex roles. They find their hypothesis strongly supported in young females, while the effects were fewer in studies of young males. Increasing the time away from parents before marrying increased individualism, self-sufficiency, and changes in attitudes about families. In contrast, an earlier study by Williams cited below shows no significant gender differences in sex role attitudes as a result of nonfamily living. This example uses the MLA format for the journal citation. NOTE: Standard MLA practice requires double spacing within citations. Waite, Linda J., Frances Kobrin Goldscheider, and Christina Witsberger. "Nonfamily Living and the Erosion of Traditional Family Orientations Among Young Adults." American Sociological Review 51 (1986): 541-554. The authors, researchers at the Rand Corporation and Brown University, use data from the National Longitudinal Surveys of Young Women and Young Men to test their hypothesis that nonfamily living by young adults alters their attitudes, values, plans, and expectations, moving them away from their belief in traditional sex roles. They find their hypothesis strongly supported in young females, while the effects were fewer in studies of young males. Increasing the time away from parents before marrying increased individualism, self-sufficiency, and changes in attitudes about families. In contrast, an earlier study by Williams cited below shows no significant gender differences in sex role attitudes as a result of nonfamily living. Michael Engle, Amy Blumenthal, and Tony Cosgrave
Reference Department
URL: http://www.library.cornell.edu/olinuris/ref/research/skill28.htm Conditions for the use of this Web page Olin and Uris Libraries, Cornell University, Ithaca NY 14853
Information and reference: 607-255-4144, okuref@cornell.edu
Circulation: (Olin) 607-255-4245, (Uris) 607-255-3537, olincirc@cornell.edu. Use of, Modification of, or Linking to Our Library Research or Subject Guides Content The Research & Learning Services Department (formerly Collections, Reference, Instruction and Outreach (CRIO); also formerly Instruction, Reference, and Information Services (IRIS)) in Olin and Uris Libraries, part of the Cornell University Library, sets the following conditions for the use of the content of the Guide to Library Research at Cornell Web page and subsidiary or related Web pages.

Attribution:

You have our permission to reproduce or adapt the content of the following Web pages:

Guide to Library Research at Cornell [http://www.library.cornell.edu/olinuris/ref/research/tutorial.html]
and subsidiary pages, or any other of our Web pages with a link to this including
The Seven Steps of the Research Process [http://www.library.cornell.edu/olinuris/ref/research/skill1.htm],
Critically Analyzing Information Sources [http://www.library.cornell.edu/olinuris/ref/research/skill26.htm],
Distinguishing Scholarly Journals from Non-Scholarly Periodicals [http://www.library.cornell.edu/olinuris/ref/research/skill20.html], and
How to Prepare an Annotated Bibliography [http://www.library.cornell.edu/olinuris/ref/research/skill28.htm]

for the use of you and your students,

as long as

1) the source of the content is clearly attributed on each Web page asOlinLibraryReferenceResearch & LearningServicesCornellUniversity LibraryIthaca, NY, USA

and

2) you also explicitly state on the Web page that you have received permission from us to reproduce it and adapt it for your own use.

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Read and Discuss? What is Art History - is it the history or art, or not?

Why not - Wikipedia?

http://en.wikipedia.org/wiki/Art_History

Summer - 09 - Syllabus

2009-06-04T12:15:00.001-07:00

Digital Media Arts College
AHT 5010 Art Historical Theory & Methodology
Spring 2007

Instructor :: Joleen Koehly
Telephone :: 561.391.1148 ext. 215
Email :: jkoehly@dmac-edu.org

Course Title Art Historical Theory and Methodology

Course Number
AHT 5010
Credit Hours 3 Credits

Course Length 11 weeks

Prerequisites None

Contact Hours 3 hours per week (lecture)

Textbook None Required

Course Description Students will read numerous outstanding historical and critical writings exemplifying differing approaches to the field of art, including: connoisseurship and criticism, iconography and contextual studies. Each student will develop a bibliography on a particular historical approach to the study of art. Class discussion will use historical examples to examine the standards for art historical writing and will address current issues in the field. Graduate level reading and writing skills are developed through the analysis of the historiography of art theory and methodology: skills that are of high demand in the leading animation companies as well as in academia

Course Objectives / Outcomes • Develop the students’ aesthetic and critical sensibility regarding what good animation and design is: to the point where they may judge competitions, write reviews and critical essays.

• Develop the students’ theoretical knowledge concerning the underlying technologies of the discipline.

• Develop the students’ learning skills and strategies necessary to keep up, through self-directed study, with evolving technologies, skills, and tendencies in art and design relevant to the field.

• Develop the students’ capacity to write clearly.

• Develop the students’ ability to teach: in schools, colleges, universities, and dedicated training facilities.

Course Topics Iconography
Marxism
Feminism
Semiotics
Psychoanalysis
Post Humanism

Attendance Students should be present for every class of the semester, arriving before class begins and staying until class is dismissed.

School policy states that a student who misses more than 3 classes will fail the course unless the instructor determines that there is an acceptable extenuating circumstance.

In the case of absence, students are responsible for finding out what work they have missed, or in obtaining notes from a classmate. Extensions on work due are not granted for being absent for the class that they were assigned in or due in. If an absence is unavoidable, it is strongly recommended to contact the instructor before the absence and make any arrangements to turn in work early. Absenteeism can affect your grade from a participation standpoint as well as from the negative impact that it can have on your learning and work.

Tardiness Being late to class will be recorded as a tardy, and can affect a student’s grade as it impacts participation. Tardy policy states that any student who is more than 15 minutes late will be considered absent for that class. A late student is expected to join the class with a minimum of disruption to the lesson.

Late Work Assignments must be in on the date identified in the syllabus and at the beginning of class. Late projects will not be accepted. (Any deviation from this policy will be extremely rare and discretion of the instructor)

Statement on Academic Dishonesty Plagiarism is the act of taking words, ideas, or artwork and the presentation of them as your own work. Plagiarism can include the assistance of another student in cheating. Plagiarism is extreme academic misconduct, which defeats your objectives in attending school. Plagiarism will not be tolerated, cheating students will fail the class and discovery may lead to immediate expulsion from the college.

Saving Work Students are responsible for saving their work securely so that it may be turned in according to the teacher’s specifications. Students should not turn in the only copy of their work as student work becomes the property of DMAC and may not be returned to them. Computers are mechanical in nature and therefore data is always at risk for erasure, corruption, or other destructive force. The teacher or the College is in no way responsible for student work saved on the hard drives of the College. Adequate infrastructure has been provided for the students to create multiple backup disks of their work to guard against loss. Improperly saved work is not the responsibility of the teacher and extensions due to data loss should not be granted. The hard drives will be erased regularly with little or no notice to keep the machines in good working order; it is therefore critical for students to keep multiple backups of their work at all times and stages.

Explanation of Assignments

In class participation: This course is designed to encourage dynamic and comprehensive discussion of ideas related to the history and development of fine and media arts. It is necessary that you be prepared to think about and discuss the topic in-depth. It is important to do the reading and research in advance of class to participate. We will be exploring and discussing one topic in-depth to illustrate the process of art historical research. And, of course, respect the instructor and your fellow students by participating in group discussions and not individual conversations. Oh and … don’t be late.

Bibliography: Students are required to research and create an in-depth (10 -12 page) annotated Bibliography on a fine art/media historical topic of choice. This is due the last day of classes.

Presentation of research: Students will be expected to teach one class of an hour and a half based on the subject of their research. They will present a lecture and present appropriate works of art and media to illustrate the point. The class must include a research question that is answered in the course of the lecture.

Course Outline

Week 01
Topic:
History of Art History, The research question and topic.
Covering a topic in depth. Types of analysis.
Art Research methods. Developing a research question. Doing a literature review.

Week 02
Topic:
Assignment: Iconography
Research the annotated Bibliography. Bring examples to class.

Week 03
Topic:
Assignment: Contextual Approaches: Marxism
Readings on Marx

Week 04
Topic:
Assignment: Feminism & Cyberfeminism
Readings on Feminism

Week 05 Topic:
Assignment: Biography and Autobiography
Selected Biographical readings; semiotics and post-structuralism

Week 06 Topic:
Assignment: Semiotics I and II : Structuralism and Post-Structuralism andDeconstruction
Readings on Semiotics

Week 07 Topic:
Assignment: Psychoanalysis
Readings on Freud and Jung;

Week 08 Topic:
Assignment: Post Humanism
Readings on Post Humanism; presentations

Week 09 Topic:
Assignment: Presenting Research Results
Presentations of research process and results

Week 10 Topic:
Assignment: Presentations
Continued presentation research

Week 11 Topic:
Assignment: Presentations
Continued presentation research

Instructional Methods:
Lecture / Media Clips / Discussion and debate.

ADA To meet the needs of our students with disabilities, Digital Media Arts College offers reasonable accommodations and access for qualified students with disabilities. Students or applicants who would like to request reasonable accommodations should contact the Office of the Dean of Academic Affairs. Students with disabilities are encouraged to contact the Office of the Dean of Academic Affairs in advance of the semester of study when accommodations may be needed

Grading
Legend
Attendance and Participation 33%
Presentation of research 33%
Annotated Bibliography 33%

Grading Scale A=100-90%, B=89-80%, C=79-70%, D=69-60%, F=59-0%

Date of last review: January 31, 2009

Week Eight: Psychoanalysis

2008-10-30T09:28:00.000-07:00

One of my favorite research/study sights is Bibliomania. During class I want you to read and post a response to : Psychodynamic Theory and Psychoanalysis
under the section on
Sigmund Freud the Interpretation of Dreams study guide

http://www.bibliomania.com/1/-/frameset.html

Week Five: Check-in

2008-10-13T12:06:00.001-07:00

OK class give me an update. How is the research going????????

Fall 2008 Art Historical Theory & Methodology

2008-09-11T12:07:00.000-07:00

Digital Media Arts College

AHT 5010 Art Historical Theory & Methodology

Spring 2007

Instructor :: Joleen Koehly

Telephone :: 561.391.1148 ext. 215

Email :: jkoehly@dmac-edu.org

Course Title Art Historical Theory and Methodology

Course Number

AHT 5010

Credit Hours 3 Credits

Course Length 15 weeks

Prerequisites None

Contact Hours 3 hours per week (lecture)

Textbook None Required

Course Description Students will read numerous outstanding historical and critical writings exemplifying differing approaches to the field of art, including: connoisseurship and criticism, iconography and contextual studies. Each student will develop a bibliography on a particular historical approach to the study of art. Class discussion will use historical examples to examine the standards for art historical writing and will address current issues in the field. Graduate level reading and writing skills are developed through the analysis of the historiography of art theory and methodology: skills that are of high demand in the leading animation companies as well as in academia

Course Objectives / Outcomes Develop the students’ aesthetic and critical sensibility regarding what good animation and design is: to the point where they may judge competitions, write reviews and critical essays.

Develop the students’ theoretical knowledge concerning the underlying technologies of the discipline.

Develop the students’ learning skills and strategies necessary to keep up, through self-directed study, with evolving technologies, skills, and tendencies in art and design relevant to the field.

Develop the students’ capacity to write clearly.

Develop the students’ ability to teach: in schools, colleges, universities, and dedicated training facilities.

Course Topics Iconography

Marxism

Feminism

Semiotics

Psychoanalysis

Post Humanism

Attendance Students should be present for every class of the semester, arriving before class begins and staying until class is dismissed.

School policy states that a student who misses more than 3 classes will fail the course unless the instructor determines that there is an acceptable extenuating circumstance.

In the case of absence, students are responsible for finding out what work they have missed, or in obtaining notes from a classmate. Extensions on work due are not granted for being absent for the class that they were assigned in or due in. If an absence is unavoidable, it is strongly recommended to contact the instructor before the absence and make any arrangements to turn in work early. Absenteeism can affect your grade from a participation standpoint as well as from the negative impact that it can have on your learning and work.

Tardiness Being late to class will be recorded as a tardy, and can affect a student’s grade as it impacts participation. Tardy policy states that any student who is more than 15 minutes late will be considered absent for that class. A late student is expected to join the class with a minimum of disruption to the lesson.

Late Work Assignments must be in on the date identified in the syllabus and at the beginning of class. Late projects will not be accepted. (Any deviation from this policy will be extremely rare and discretion of the instructor)

Statement on Academic Dishonesty Plagiarism is the act of taking words, ideas, or artwork and the presentation of them as your own work. Plagiarism can include the assistance of another student in cheating. Plagiarism is extreme academic misconduct, which defeats your objectives in attending school. Plagiarism will not be tolerated, cheating students will fail the class and discovery may lead to immediate expulsion from the college.

Saving Work Students are responsible for saving their work securely so that it may be turned in according to the teacher’s specifications. Students should not turn in the only copy of their work as student work becomes the property of DMAC and may not be returned to them. Computers are mechanical in nature and therefore data is always at risk for erasure, corruption, or other destructive force. The teacher or the College is in no way responsible for student work saved on the hard drives of the College. Adequate infrastructure has been provided for the students to create multiple backup disks of their work to guard against loss. Improperly saved work is not the responsibility of the teacher and extensions due to data loss should not be granted. The hard drives will be erased regularly with little or no notice to keep the machines in good working order; it is therefore critical for students to keep multiple backups of their work at all times and stages.

Explanation of Assignments

In class participation: This course is designed to encourage dynamic and comprehensive discussion of ideas related to the history and development of fine and media arts. It is necessary that you be prepared to think about and discuss the topic in-depth. It is important to do the reading and research in advance of class to participate. We will be exploring and discussing one topic in-depth to illustrate the process of art historical research. And, of course, respect the instructor and your fellow students by participating in group discussions and not individual conversations. Oh and … don’t be late.

Bibliography: Students are required to research and create an in-depth (10 -12 page) annotated Bibliography on a fine art/media historical topic of choice. This is due the last day of classes.

Presentation of research: Students will be expected to teach one class of an hour and a half based on the subject of their research. They will present a lecture and present appropriate works of art and media to illustrate the point. The class must include a research question that is answered in the course of the lecture.

Course Outline

Week 01

Topic:

History of Art History, The research question and topic.

Covering a topic in depth. Types of analysis.

Art Research methods. Developing a research question. Doing a literature review.

Week 02

Topic:

Assignment: Iconography

Research the annotated Bibliography. Bring examples to class.

Week 03

Topic:

Assignment: Contextual Approaches: Marxism

Readings on Marx

Week 04

Topic:

Assignment: Feminism & Cyberfeminism

Readings on Feminism

Week 05 Topic:

Assignment: Biography and Autobiography

Selected Biographical readings; semiotics and post-structuralism

Week 06 Topic:

Assignment: Semiotics I: Structuralism and Post-Structuralism

Readings on Semiotics

Week 07 Topic:

Assignment: Semiotics II: Deconstruction

Readings on Semiotics

Week 08 Topic:

Assignment: Psychoanalysis

Readings on Freud; presentations

Week 09 Topic:

Assignment: Psychoanalysis (continued)

Readings on Jung; presentations

Week 10 Topic:

Assignment: Post Humanism

Readings on Post Humanism; presentations

Week 11 Topic:

Assignment: Presenting Research Results

Presentations of research process and results

Week 12 Due:

Assignment: Presentations

Continued presentation research

Week 13 Due:

Assignment: Presentations

Continued presentation research

Week 14 Due:

Assignment: Presentations

Continued presentation research

Week 15 Due:

Assignment: Presentations

none

Instructional Methods:

Lecture / Media Clips / Discussion and debate.

ADA To meet the needs of our students with disabilities, Digital Media Arts College offers reasonable accommodations and access for qualified students with disabilities. Students or applicants who would like to request reasonable accommodations should contact the Office of the Dean of Academic Affairs. Students with disabilities are encouraged to contact the Office of the Dean of Academic Affairs in advance of the semester of study when accommodations may be needed

Grading

Legend

Attendance and Participation 33%

Presentation of research 33%

Annotated Bibliography 33%

Grading Scale A=100-90%, B=89-80%, C=79-70%, D=69-60%, F=59-0%

Date of last review: January 31, 2007

Thanks for a Great Semester

2008-09-02T09:20:00.000-07:00

Hey Class.

You were a joy. It happens rarely the exact right combination of people that make a class truly fun and interesting across the board. You were that class! You show great promise as artists and thinkers. Good luck in all you do, now and forever!

j

From FMM and Without a box 16 film entry deadlines for August

2008-08-07T07:35:00.000-07:00

The month kicks off with a sweet 16 events opening their Calls for Entry, offering varied visibility and world-class opportunities. Between the newly announced events and the dozens of deadlines below, there is something for every film and every filmmaker. Find the best fit for your project, and submit today!

A TASTE OF THE NEWBIES:
- Gen Art Film Festival
- Miami International Film Festival
- Ashland Independent Film Festival
- Newport Beach Film Festival

CLOSING SOON:
- International Horror & Sci-Fi Film Festival
- San Fernando Valley International Film Festival
- Melbourne Underground Film Festival (AUSTRALIA)
- Middle East International Film Festival (Abu Dhabi, UAE)

HEADS UP, SCREENWRITERS:
- IndieProducer Screenplay and Short Film Competition
- Creative World Awards Screenplay Contest
- THE MOVIE DEAL! Screenplay Contest
- Vail Film Festival Screenwriting Competition

WAB FILMMAKERS: DISTRIBUTE ON DVD AND VOD
Withoutabox has worked with CreateSpace since 2006 to provide custom, on-demand "industry screeners" to filmmakers submitting to festivals. Now Withoutabox has made CreateSpace a preferred independent distribution partner. CreateSpace enables filmmakers to make their products available to millions of customers on Amazon.com and other channels without requiring an upfront investment to distribute. You start making money with your first sale, and again with each subsequent sale. DVDs can also be made available as video downloads through Amazon Unbox. Membership and title set-up are provided at no charge, and your title becomes eligible for listing on IMDb.

See the "Distribute on DVD and VOD" link next to any project on your Account Home page, or click through here for more information:
http://www.createspace.com/Products/DVDOnDemand.jsp?ref=%3C279442%3E

BOOGIE DOWN ON THE BOARDS
www.withoutabox.com/boards
_____________________________________________________________________________________

WELCOME BACK TO OLD FRIENDS:

Florida Media Market, Miami, FL
August 15, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6240

Lowveld International Film Festival, Nelspruit, SOUTH AFRICA
August 22, 2008 - WAB Extended Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4907

Hollywood Ultra Fest, Hollywood, CA
August 30, 2008 - Fall 2008
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5978

Gen Art Film Festival, New York, NY
August 31, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1151

IndieProducer Screenplay and Short Film Competition, Sherman Oaks, CA
September 15, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4582

Miami International Film Festival, Miami, FL
September 15, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1241

Through Women's Eyes, Longboat Key, FL
September 15, 2008 - Earlybird Deadline
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/4500

Foursite Film Festival, Ogden, UT
October 3, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4099

Ashland Independent Film Festival, Ashland, OR
October 17, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3906

Newport Beach Film Festival, Newport Beach, CA
October 24, 2008 - Earlybird Deadline
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/1249

Mudfest, Mudgee, AUSTRALIA
December 29, 2008 - Earlybird Deadline
NO ENTRY FEE
Watch List: http://www.withoutabox.com/watch/5635

Another Hole in the Head: Two Weeks of Fantasy, Sci Fi and Horror, San Francisco, CA
March 14, 2009 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5650

AND WELCOME TO THESE BRAND NEW PARTNERS:

Project Twenty1 Film & Animation Festival, Philadelphia, PA
August 21, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6440

Creative World Awards Screenplay Contest, Marina del Rey, CA
August 23, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/7238

Macon Film and Video Festival, Macon, GA
September 30, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6583

LA Comedy Shorts and LA Comedy Scripts, Los Angeles, CA
October 3, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/7203

_____________________________________________________________________________________

LAST CHANCE EXTENDED DEADLINES - EXCLUSIVE TO WITHOUTABOX:

International Horror & Sci-Fi Film Festival, Phoenix, AZ
AUGUST 08, 2008 - WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/4417

FAIF International Short Film Festival, Garden Grove, CA
AUGUST 10, 2008 - WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/4131

Tallgrass Film Festival, Wichita, KS
AUGUST 10, 2008 - WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/4153

Melbourne Underground Film Festival, South Yarra, AUSTRALIA
AUGUST 11, 2008 - WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/6016

Hell's Half Mile Film & Music Festival, Bay City, MI
AUGUST 14, 2008 - WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/5065

La Femme Film Festival, Beverly Hills, CA
AUGUST 15, 2008 - WAB Extended Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4060

San Fernando Valley International Film Festival, North Hollywood, CA
AUGUST 15, 2008 - WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/4073
_____________________________________________________________________________________

THESE BIG DEADLINES APPROACHING FAST:

Shorts Space on MyspaceTV, London, UNITED KINGDOM
ROLLING DEADLINE
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/7134

Australian Effects & Animation Festival, Edgecliff, AUSTRALIA
AUGUST 07, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6956

Big Easy Shorts Festival, New Orleans, LA
AUGUST 07, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5056

Columbus International Film & Video Festival, Columbus, OH
AUGUST 07, 2008 - call for permission (Online & Interactive)
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1125

Santa Fe Metaphysical Film Festival, Santa Fe, NM
AUGUST 07, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6781

August Sun Film & Television Festival, Studio City, CA
AUGUST 08, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5704

BendFilm Festival, Bend, OR
AUGUST 08, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4813

ION International Film Festival, Los Angeles, CA
AUGUST 08, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3920

Orlando Film Festival, Orlando, FL
AUGUST 08, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4168

The Thriller! Chiller! Film Festival, Grand Rapids, MI
AUGUST 08, 2008 - Late Deadline
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/5189

2008 Great Lakes Video Competition, Erie, PA
AUGUST 09, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6732

Trade&Row Documentary Film Fest, Los Angeles, CA
AUGUST 09, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6828

Beverly Hills Hi-Def Film Festival, Beverly Hills, CA
AUGUST 10, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5501

Middle East International Film Festival, Abu Dhabi, UNITED ARAB EMIRATES
AUGUST 10, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6323

Dallas Video Festival, Dallas, TX
AUGUST 11, 2008 - Late Deadline
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/5775

Philadelphia Asian American Film Festival, Philadelphia, PA
AUGUST 11, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6998

The Road to Individuality Web Series Contest | Presented by Scion and IFC, New York, NY
AUGUST 11, 2008 - Earlybird Deadline
NO ENTRY FEE
Watch List: http://www.withoutabox.com/watch/7221

Chicago International REEL Shorts Festival, Chicago, IL
AUGUST 12, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3925

Latin American Environmental Media Festival of New Orleans, New Orleans, LA
AUGUST 12, 2008 - Regular Deadline
NO ENTRY FEE
Watch List: http://www.withoutabox.com/watch/5634

DiXIE FiLM FeSTIVAL (Athens, GA), Athens, GA
AUGUST 13, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4009

August Sun Film & Television Festival, Studio City, CA
AUGUST 14, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5704

Forster Film Festival, Forster, AUSTRALIA
AUGUST 14, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6269

TARFEST 2008, Los Angeles, CA
AUGUST 14, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/7153

Amberg Horror Fest, Amberg, GERMANY
AUGUST 15, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/7186

Ann Arbor Film Festival, Ann Arbor, MI
AUGUST 15, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1046

Arizona Underground Film Festival, Tucson, AZ
AUGUST 15, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/7002

Big Apple Film Festival (New York), New York, NY
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4242

Boulder Asian Film Festival, Boulder, CO
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4761

California Independent Film Festival, San Ramon, CA
AUGUST 15, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3813

Darryl's Hard Liquor and Porn Film Festival, Toronto, CANADA
AUGUST 15, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4413

Flint Film Festival, Flint, MI
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3995

Florida Media Market, Miami, FL
AUGUST 15, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6240

GOLD LION FILM FESTIVAL, Manzini, SWAZILAND
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4336

H.P. Lovecraft Film Festival, Portland, OR
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3820

HERO FEST - MY HERO SHORT FILM FESTIVAL, Laguna Beach, CA
AUGUST 15, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4183

KIDS FIRST! Film Festival, Santa Fe, NM
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1716

Kansas City FilmFest, Kansas City, MO
AUGUST 15, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1205

New Hampshire Film Festival, Portsmouth, NH
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3777

NewFilmmakers, New York, NY
AUGUST 15, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4533

Santa Barbara International Film Festival, Santa Barbara, CA
AUGUST 15, 2008 - Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1305

Santa Fe Film Festival, Santa Fe, NM
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3811

Short Attention Span Digital Video Festival, Los Osos, CA
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5278

THE MOVIE DEAL! Screenplay Contest, Chicago, IL
AUGUST 15, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6792

Taos Mountain Film Festival, Taos, NM
AUGUST 15, 2008 - Regular Deadline
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/3948

Vail Film Festival Screenwriting Competition, Vail, CO
AUGUST 15, 2008 - Late Deadline
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/5266

Whistler Film Festival, Whistler, CANADA
AUGUST 15, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3928

Wild & Scenic Environmental Film Festival, Nevada City, CA
AUGUST 15, 2008 - Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6049

Week Seven: the Modern Philosopher

2008-07-31T07:45:00.000-07:00

As you watch the video think carefully about the role of philosopher and theorist in modern society. Does such intellectual depth fulfill any real role in our technological money grubbing survival of the fittest driven moder lives? Why does making an academic argument require that you reference the thinkers, for lack of a better word, that have come before you? Is it true that if we don't remember the past we are doomed to repeat it? Or as humans will we just repeat it anyway? Or worse yet, are the heinous lessons of history - and theory- just an inspiration to the next generation of "monsters"? Do you care about anything but yourselves - does anyone?

Week Six: A real challenge of original research

2008-07-28T11:18:00.000-07:00

If no one has written about it before how do you find an answer to a question that's never been asked?

Week Five: How's the Research Coming?

2008-07-28T11:13:00.000-07:00

Hey class. So far, this class has the most interesting topics I've seen in quite awhile of teaching this class. And you've even managed to keep me interested in your progress. (Those of you who want to teach someday - you'll see how hard that is to do after teaching the same class for six years) Just so you know keep it interesting and that's a sure way to get a high grade. So how 'bout you all post an update. Anything new you've learned about your subjects? What made you curious about this in the first place? Are you thinking about what new things you could bring to this subject that you haven't seen yet? And, here of course, is the big challenge of high level research.

2008-07-15T08:15:00.000-07:00

OPERATION KIMBE

Press Release

OPERATION KIMBE Announces
FOR IMMEDIATE RELEASE: LIFE OUTSIDE OF PEARL in search of a dream- NEW HAITIAN AMERICAN MOVIE PREMIERE- JULY 17TH, 2008

Life Outside Of Pearl a new Haitian drama directed and produced by Uscla "Johnny" Desarmes, will open on July 17th, 2008 with a red carpet premiere.

LOCATION: SPIRITS NIGHTCLUB
5729 SEMINOLE WAY
HOLLYWOOD , FL 33314
DATE: July 17, 2008
TIME: Cocktail 6-8pm
SCREENING OF LIFE OUTSIDE OF PEARL at
8:00pm SHARP

RSVP:

Rachel Moscoso Denis

racheldenis54@aol.com

786-290-9718

Elizabeth Gardere

egardere@yahoo.com

954-549-5004

Isabelle Duncan

iduncan@hotmail.com

305-775-1048

DONATIONS: $50 "UNITED WAY, HAPPY HANDS FOR HAITI checks payable to

OPERATION KIMBE, FOUNDATION

Please join us in our support of the United Way of Miami-Dade, The Miami Herald/el Nuevo Herald and their, Operation Helping Hands. Some of the proceeds from this very special premiere will go directly to Operations Helping Hands - Haiti Relief Fund.

The movie, featuring notable Haitian actor Jimmy Jean-Louis (Heroes, Phat Girlz, and Tears of the Sun) depicts a classic plot where lies and deceptions collide to unravel lives and unearth family secrets.

Life Outside of Pearl is the story of a Haitian-American family adapting to life in the U.S. while trying to maintain their cultural identity. Through individual vignettes, we become familiar with the characters. The family patriarch jack (Rudolph Moise) is a proud man. He drives a cab in the bustling city to provide for his family. With a loving wife and two children he has high expectations. But, things turn sour, when son Jean (Freddie Robinson Jr.) postpones college to pursue other interests. His involvement in illegal activities brings shame and heartache to the family. Mother Ivette, played by prominent Haitian actress, singer, Carole Demesmin, tries to keep the family together as best she can, even turning a blind eye to her husband's infidelity. Young daughter Natalie, played by Natacha Noel, is caught in the middle, striving to impress her father by doing the right thing. Her budding romance is overshadowed by Jean's troubles. The movie climaxes to a tragic end, when caught breaking the law, Jean, is shot by none other than family relative and cousin Marco. Will the family survive the turmoil and hardship?

This movie is sure to change the view of our community, says writer, producer, director Uscla "Johnny" Desarmes, who calls this production a labor of love. It has taken five years and more than half-a-million dollars for this production to make it to the big screen. Shot entirely in 35mm, realizing this movie is a dream come true for Desarmes. He expresses great pride in being able to contribute positively to the Haitian community and its growing industry of young and talented film entrepreneurs.

Additional Information

FOR DIRECTIONS TO THIS EVENT visit: http://www.spiritshardrock.com/aboutus.asp

For more information about the movie and the red carpet premiere, visit www.myspace.com/telescopefilms to view the trailer or go to YouTube.com/lifeoutsideofpearl.

Contact Info:
Telescope Films Production
Tel: 770-309-4756
Email: telescopefilms@yahoo.com

Week Four: Pollack

2008-07-11T13:10:00.000-07:00

Not done with Jackson yet. What did you all think of the film and its view of Jackson Pollack the artist? Have your question written and ready for the next step by next week.

And Here's One We Didn't Discuss in Class: What if the fingerprints were forged?

2008-06-20T14:04:00.001-07:00

http://www.gather.com/viewArticle.jsp?articleId=281474977326640&grpId=3659174697242888&nav=Groupspace

One more

2008-06-20T13:54:00.001-07:00

This one is interesting and you can forge your own Pollock at the end.

http://bioephemera.com/index.php?s=preternatural

More News on the Teri Horton Jackson Pollock

2008-06-20T13:35:00.001-07:00

from: http://www.fineartregistry.com/about_FAR/press_release_03-27-2007.php

Fine Art Registry™ Press Release

FOR IMMEDIATE RELEASE

For more information contact:
Mary Garrett — 602-432-2010

Review of Fingerprints in Teri Horton Alleged Jackson Pollock Case Casts Doubt on the Forensic Evidence Provided by Peter Paul Biró

(Phoenix, AZ. — March 27, 2007) Accredited fingerprint examiner and police chief Thomas Hanley has completed an independent review, commissioned by Fine Art Registry™, of the fingerprint analysis carried out by Peter Paul Biró which was used to substantiate claims that a painting bought for $5 in a California thrift store by Teri Horton, was the work of Jackson Pollock. Chief Hanley concluded that the fingerprints shown in the published report were of no value for identification purposes.

The alleged Pollock painting has received much publicity and was featured in a movie, Who the #$&% is Jackson Pollock? written and directed by Harry Moses and produced by Moses and Steven Hewitt. The claim that it is a Jackson Pollock painting has been rejected by the art world. Horton has insisted that forensic, scientific facts prove its authenticity. Key to this claim was fingerprint analysis by Montreal art restorer, Peter Paul Biró.

Hanley, a veteran fingerprint examiner and detective with close to 30 years of active experience in the field and currently Chief of Police in Middlebury, Vermont, was denied access to original photographs and evidence by Biró and Horton, and had to limit his investigation to the material published by Biró in his report, “Teri’s Find” (http://www.Birófineartrestoration.com/Pollock/Pollock.htm).

Fine Art Registry became involved in the Horton claim regarding her painting when a splatter-dash painter, Francis Hogan Brown, recognized the Horton painting as possibly one of his own. Brown, inspired by Pollock’s work, has devoted his painting career to this style of painting had been painting in the Southern California area where Horton bought her painting. Fine Art Registry published an article about Frank Brown, a registered member of FAR^®, and his painting and tried to get Teri Horton to grant Brown access to the painting so that he could determine one way or the other if it was by his hand. This access was denied by Horton. Various anomalies in the case led FAR to commission an independent review of the forensic evidence. Initial review, based on the material which is published on Biró’s website, casts doubt on the validity of the fingerprint analysis by Biró which has been the focus of the movie Who the #$&% is Jackson Pollock?, the Letterman Show, Geraldo at Large and much press. The fingerprints in the report were found to be of no value for identification purposes. Biró rejected Hanley’s report on the grounds that these were not the fingerprints used in his analysis, but at the same time refused to make available the fingerprint images he claims he used.

Chief Hanley contacted Paul Biró to gain access to original material used “Mr. Biró referred me to Teri Horton, the owner of the painting ‘Teri’s Find’. He did not address the issue of reviewing his work or meeting with him or Mr. Turcotte,” says Chief Hanley. He then contacted Teri Horton. “Ms. Horton responded that she would not provide access except to a buyer of the painting.”

Although Chief Hanley is blocked in his review of the original material, another former client of Biró’s who also has a painting that may be a Jackson Pollock, on which Biró states he has found the exact same fingerprint as he found on the Horton painting, has contacted FAR and Thomas Hanley, and is willing to have Chief Hanley examine his painting. Helen Harrison at the Krasner-Pollock House has expressed her willingness to make available to Chief Hanley the same fingerprints which Biró collected at the Krasner-Pollock House and so the fingerprint expert will be able, albeit indirectly, to verify Biró’s fingerprint analysis.

Results of his investigation, when complete, will be published on the Fine Art Registry website, www.FineArtRegistry.com and made available to the media.

Fine Art Registry CEO, Theresa Franks, says, “We are simply interested in establishing the truth of this painting and we are supporting our member who is involved. We will persist until it is sorted out.”

ABOUT FINE ART REGISTRY:
Fine Art Registry™ is today's only high tech solution to the age old problems that have existed in the art world since before the Ancient Greeks: How to establish provenance, prove authenticity and ownership, prevent forgery and fakery, deter theft and, basically, make it possible to create, buy and sell works of art with the security of knowing that they are what they claim to be. Full information on FAR® and how the system of tagging and registering art is available at www.FineArtRegistry.com.

Additional information:
Chief Hanley’s report and CV can be found on the Fine Art Registry website here: http://www.fineartregistry.com/about_FAR/hot_art_news.php and can be downloaded in PDF form.

The full Frank Brown story can be read online or downloaded here: http://www.fineartregistry.com/articles/phillips_david/frankbrown_jackson_pollock_11-18-2006.php and in the January 2007 issue of artantiques magazine

Relevant to Today's Class - June 19, 2008

2008-06-19T14:30:00.000-07:00

Rembrandt Thought Fake Worth Millions

By ANRICA DEB,

Posted: 2008-06-19 15:39:59

Filed Under: World News

http://news.aol.com/story/_a/rembrandt-thought-fake-worth-millions/20080619093809990001

Week One: Assignment

2008-06-19T08:40:00.000-07:00

Go to the link below and fill in the answers to the survey questions by SUNDAY, June 29, 2008.

Click Here to take survey

Week One: Art History is not Art or History

2008-06-18T13:19:00.000-07:00

History of Art History, The research question and topic. Research as gaming theory.Designing the class together or what are we going to do for four hours and 15 minutes?

Screening: Who the Bleep is Jackson Pollack?

Class Sylabus Summer 2008

2008-06-18T13:17:00.000-07:00

AH5010 Art Historical Theory & Methodology

Instructor Ms. Joleen Koehly

Course Description for AH5010 Art Historical Theory & Methodology

Students will read numerous outstanding historical and critical writings exemplifying differing approaches to the field of art, including: connoisseurship and criticism, iconography and contextual studies. Each student will develop a bibliography on a particular historical approach to the study of art. Class discussion will use historical examples to examine the standards for art historical writing and will address current issues in the field. Graduate level reading and writing skills are developed through the analysis of the historiography of art theory and methodology: skills that are of high demand in the leading animation companies as well as in academia.

Required Reading:

Course Length Eleven Weeks

Credit Hours Three

Contact Hours 4.25

Prerequisites None

Expected Course Outcomes :

Develop the students’ aesthetic and critical sensibility regarding what good animation and design is: to the point where they may judge competitions, write reviews and critical essays.

Develop the students’ theoretical knowledge concerning the underlying technologies of the discipline.

Develop the students’ learning skills and strategies necessary to keep up, through self-directed study, with evolving technologies, skills, and tendencies in art and design relevant to the field.

Develop the students’ capacity to write clearly.

Develop the students’ ability to teach: in schools, colleges, universities, and dedicated training facilities.

Explanation of Assignments

Blog Posts: We will be discussing and researching various art historical topics and watching films related to our research. You will be required to post 8 essays, four at midterm and four by the final day of class. Each should express your view of the media, discussions and research as it relates to your final research presentation. Our class blog is at http://www.animationtheory.blogspot.com/.

Presentation of research: Students will be expected to teach one class of half an hour to 45 minutes based on the subject of their research. They will present a lecture and present appropriate works of art and media to illustrate the point. They will turn in their media presentation as part of their final grade. The class must include a research question that is answered in the course of the lecture.

Bibliography: Students are required to research and create an in-depth annotated Bibliography on a fine art/media historical object/topic chosen in class. This is due the last day of classes.

Grading Legend

Attendance and Participation 25%

Blog Posts (half of presentation of research grade)

Presentation of research 50%

Bibliography 25%

Grading Scale:

90-100%= A

80- 89%= B

70- 79%= C

60- 69%= D

0- 59%= F

Attendance Students should be present for every class of the semester, arriving before class begins and staying until class is dismissed.

School policy states that a student who misses more than 3 classes will fail the course unless the instructor determines that there is an acceptable extenuating circumstance.

In the case of absence, students are responsible for finding out what work they have missed, or in obtaining notes from a classmate. Extensions on work due are not granted for being absent for the class that they were assigned in or due in. If an absence is unavoidable it is strongly recommended to contact the instructor before the absence and make any arrangements to turn in work early. Absenteeism can affect your grade from a participation standpoint as well as from the negative impact that it can have on your learning and work.

Tardiness

Being late to class will be recorded as a tardy, and can affect a student’s grade as it impacts participation. Tardy policy states that any student who is more than ten minutes late will be considered absent for that class. A late student is expected to join the class with a minimum of disruption to the lesson.

Late Work It is school policy that assignments must be turned in on the date identified in the syllabus at the beginning of class. Late assignments will not be accepted. The instructor may in rare cases grant a deviation from this policy if it is felt that an extenuating circumstance warrants it.

Statement on

Academic

Dishonesty Plagiarism is the act of taking words, ideas, or artwork and the presentation of them as your own work. Plagiarism can include the assistance of another student in cheating. Plagiarism is extreme academic misconduct, which defeats your objectives in attending school. Plagiarism will not be tolerated, cheating students will fail the class and discovery may lead to immediate expulsion from the college.

Saving

Work Students are responsible for saving their work securely so that it may be turned in according to the teacher’s specifications. Students should not turn in the only copy of their work as student work becomes the property of DMAC and may not be returned to them. Computers are mechanical in nature and therefore data is always at risk for erasure, corruption, or other destructive force. The teacher or the College is in no way responsible for student work saved on the hard drives of the College. Adequate infrastructure has been provided for the students to create multiple backup disks of their work to guard against loss. Improperly saved work is not the responsibility of the teacher and extensions due to data loss should not be granted. The hard drives will be erased regularly with little or no notice to keep the machines in good working order; it is therefore critical for students to keep multiple backups of their work at all times and stages.

Changes to

The Syllabus Changes to course content are at the discretion of the instructor. It is the student’s responsibility to stay informed of these changes, every attempt will be made by the instructor to inform the class of changes in a timely manner.

Class Topics and Assignments

Class 1 Lecture: History of Art History, The research question and topic.

Research as gaming theory.

Designing the class together or what are we going to do for four hours and 15 minutes?

Screening: Who the Bleep is Jackson Pollack?

Class 2 Lecture: Iconography.

Class 3 Lecture Contextual Approaches: Marxism

Class 4 Lecture Biography and Autobiography

First Four Blog Posts should be up on Blogspot

Class 5 Lecture Semiotics I: Structuralism and Post-Structuralism

Semiotics II: Deconstruction

Class 6 Lecture Psychoanalysis

Class 7 Lecture Post Humanism

Class 8 Lecture:

Class 9 Lecture: Putting it all together for professional presentations.

Class 10 Presentations

Class 11 Presentations

Bibliography due

ADA To meet the needs of our students with disabilities, Digital Media Arts College offers reasonable accommodations and access for qualified students with disabilities. Students or applicants who would like to request reasonable accommodations should contact the Office of the Dean of Academic Affairs. Students with disabilities are encouraged to contact the Office of the Dean of Academic Affairs in advance of the semester of study when accommodations may be needed.

Deadlines and Opportunities from Latino PBS

2008-06-18T08:46:00.000-07:00

CPB'S PUBLIC MEDIA INNOVATION ROUND 3 – CALL FOR ENTRIES

Round Three proposals will be accepted from June 6, 2008 until midnight Eastern Time on July 11, 2008.

The Corporation for Public Broadcasting and Public Media Management are pleased to announce Round Three of the Public Media Innovation Fund. Round Three of the Public Media Innovation Fund will focus on new media sustainability by distributing as much as $200,000 in grants of up to $50,000.

Through this program, CPB will fund projects that:
* Test new media revenue-generating strategies, applications or products.
* Demonstrate a promising approach to be tested.
* Demonstrate an approach that can be replicated by other stations.
* Indicate a strong ability to execute the project.
* Indicate potential to meet a compelling need in the marketplace.
* Indicate potential to have a positive impact on a public broadcaster's bottom line.

To qualify for funding, projects must:
* Include a broadcast component.
* Be administered by a CPB-qualified station or station-owned entity.

For more information, go to www.publicmediainnovation.org.

ITVS FUNDING ANNOUNCEMENT

Attention filmmakers! Looking for funding for your next project? INDEPENDENT TELEVISION SERVICE (ITVS) seeks proposals for public TV programs which take creative risks, serve underrepresented audiences and express points of view seldom seen on commercial or public TV.

OPEN CALL provides completion funding for single non-fiction programs (not
series) that are already in production. It is our largest funding initiative with two funding rounds per year. There is no minimum or maximum funding amount, though ITVS funds should be the last money in to the project.

Please note that the deadlines have changed, and the deadline for Open Call

2008 Round 2 is JULY 18, 2008.

Please note that as of 2008, Open Call no longer accepts submissions for Drama/Narrative projects. ITVS is currently revising its policies regarding submissions in these genres. We will publicize this new policy in the coming months once it has taken effect.

The online application and guidelines are posted on our website at http://www.itvs.org/producers/opencall_guidelines.html

NEW NEH GRANT OPPORTUNITY GUIDELINES

Upcoming Deadlines:August 27, 2008 and January 21, 2009

The Division of Public Programs at the U.S. National Endowment for the Humanities funds radio, television, and digital projects in the humanities that are intended for public audiences.

The division is currently accepting applications for development and production grants under the category of America's Media Makers. Upcoming deadlines are August 27, 2008, and January 21, 2009. New application guidelines are now posted on the NEH Web site ( www.neh.gov ) for the August deadline. Grants will support radio, television, and digital projects that offer multiple formats and use new technology to deliver humanities content.

Program officers in the Division of Public Programs are available to assist you, whether it is to discuss projects that need development or production funds for television, radio or digital projects, or to read a draft proposal. You may wish to call the NEH Division of Public Programs (202-606-8269) or contact a program officer directly. Below are the names and contact information for the Division’s program officers:

Bonnie Gould, 202-606-8307, bgould@neh.gov
Clay Lewis, 202-606-8288, clewis@neh.gov
David Martz, 202-606-8297, dmartz@neh.gov
John Meredith, 202-606-8218, jmeredith@neh.gov
Karen Miles, 202-606-8308, kmiles@neh.gov
Karen Mittelman, 202-606-8631, kmittelman@neh.gov
Kathleen Mulvaney, 202-606-8270, kmulvaney@neh.gov
Michael Shirley, 202-606-8293, mshirley@neh.gov
David Weinstein, 202-606-8308, dweinstein@neh.gov

PIC MEDIA FUND ROLLING CALL

Next Deadlines: August 1, 2008 and October or November TBA

The Media Fund Rolling Call is a quarterly open call. Members of the Pacific Islander filmmaking community are encouraged to submit proposals for public television projects at the research and development (R&D) stage and completion stage. R&D projects may be awarded up to $15,000 and completion projects may be awarded up to $50,000. The PIC staff is available to help filmmakers craft their proposals to increase the likelihood of being awarded funding.

For more information or to download an application, visit www.piccom.org or contact Shane Seggar at sseggar@piccom.org or (808) 591-0059.

CALL FOR SUBMISSIONS: FOX WRITER'S INITIATIVE

Deadline: July 3, 2008

Just one more month until the deadline for your original TV pilot scripts! The Fox Entertainment Group's 2008 edition of its Diversity Writer's Initiative invites submission of original television pilot scripts in the multi-camera comedy, single-camera comedy, animated and drama formats. Eight pilot scripts selected from the 2006 and 2007 editions of the program are currently being considered for pilot presentations. Writers selected this year will be invited to attend a six week session at Writer's Boot Camp and subsequent consultation with WBC mentors during which their scripts will be rewritten and improved. The goal is to achieve scripts at a level of professional execution that may be submitted to Fox programming executives.

For more information, please visit the Fox website at: www.fox.com/diversity.

TFI SLOAN FILMMAKER FUND – CALL FOR ENTRIES

Deadline: August 1, 2008

The TFI Sloan Filmmaker Fund will provide up to $140,000 in support of innovative and compelling filmmaking that explores scientific, mathematical, and technological themes and storylines, or a leading character who is a scientist, engineer, innovator or mathematician in fresh ways.

They are seeking exceptional narrative work of all genres (except science fiction or fantasy) with scientifically accurate themes or characters.

Selected projects from eligible directors, screenwriters and producers will be announced in Fall 2008 and highlighted at the Tribeca Film Festival in May 2009. In addition to funding, grantees will receive professional guidance and industry exposure as needed.

For more information, please visit the Tribeca website at: www.tribecafilminstitute.org.

FILM INDEPENDENT'S PRODUCERS LAB - FALL

Final Deadline: July 7, 2008

What Is the Producers Lab? - Designed to help filmmakers develop skills as creative independent producers, the Producers Lab is an intensive seven-week program running two evenings a week in Los Angeles each fall. During the Lab, Fellows develop a strategy and action plan for bringing their projects to fruition, including a detailed budget, schedule, and business plan.

A secondary goal of the program is to help advance the careers of the Lab Fellows by introducing them to film professionals who can advise them on both the craft and business of independent producing. Lab Fellows have one-on-one meetings with established independent producers and other industry professionals who act as advisors on the participant's projects.

A maximum of ten projects are selected. Producing teams are welcome to apply.

For more information, click HERE.

THE PROJECT-A-THON NOW ACCEPTING REGISTRATIONS FOR THE ACTING & FILMMAKERS WORKSHOPS

Ever thought of an acting career? Would you like the chance to work on an upcoming feature film? How about learning how to make movies?

The Florida Media Market is excited to offer two 3-day intense workshops on Acting and Producing over staggered Saturdays, starting this June 21st. Come learn the in and outs of producing films -- from how to option a script to marketing and distributing a movie once it's completed. Further your acting career by learning the techniques you need to get ahead, what directors and producers are looking for at that first audition and how to get your SAG/AFTRA union membership.

In addition, graduates from the Acting and Producing workshops will receive priority status for casts and crews of upcoming feature film and television projects!

Cost: $300 for each Workshop

For more information, please visit the website at: www.floridamediamarket.com and click on the Membership link and choose the FMM Project-A-Thon: June-July 2008 option to register and pay via PayPal.

DISNEY/ABC TV AND FEATURE WRITING FELLOWSHIP PROGRAM – CALL FOR ENTRIES

Deadline: August 8, 2008

Begun in 1990 in partnership with the Writers Guild of America, west, this has become one of the industry’s best known and most respected writing fellowships. More than 200 alumni number among Hollywood’s elite, including screenwriters, directors and television showrunners. A limited number of full-time fellowships are available each year for both feature film and television projects.

Fellows receive a weekly salary for a one-year period, subject to change, but (currently amounting to $50,000/year plus benefits). The program is an intensive, hands-on experience that involves workshops, seminars and mentorships with creative executives from ABC, ABC Television Studio, Disney Channel, ABC Family, Lifetime and Buena Vista Motion Pictures Group.

No previous professional experience is necessary, but strong samples are required.

Applications and detailed submission guidelines for the Television Fellowship can be obtained at www.disneyabctalentdevelopment.com and at www.disneyfeaturewritingfellowshipprogram.com for the Feature Film Fellowship.

REGISTRATION IS NOW OPEN FOR FILMS IN PROGRESS 14 – SAN SEBASTIAN FILM FESTIVAL

Deadline: June 30, 2008

Films in Progress 14 will take place on Tuesday 23th and Wednesday 24th September 2008 at the 56th San Sebastian International Film Festival. The deadline for registering projects is 30 June 2008. The International Film Festival can be informed of projects from now on.

This rendezvous, jointly organized with the Rencontres Cinémas d’Amérique Latine de Toulouse (France), targets the completion of feature films which, though shot, are having problems with the post-production stage and their subsequent screening in cinemas.

A program of Latin American films still at the provisional stage, jointly selected, will be exclusively screened for professionals –producers, distributors and exhibitors, sales companies, TV networks, technical industries, aid funds, institutions and festivals– capable of playing a decisive part in helping these works to reach the public.

Registration form and other information related to Films in Progress can be found in the following web pages: www.sansebastianfestival.com, www.cinelatino.com.fr, www.cineenconstruccion.com.

CPB PROGRAM CHALLENGE FUND

Deadlines: Submissions must be in CPB's offices by 5PM EST on August 7, 2008

The Program Challenge Fund was created in 1987 to support high profile, primetime limited series and specials for the national public television schedule. The Challenge Fund is jointly administered by CPB and PBS, which make funding decisions based on mutually established programming goals and objectives.

CPB and PBS have re-defined the purpose of the Program Challenge Fund in an effort to bring additional impact to the National Program Service schedule. The Program Challenge Fund has begun to more fully fund high-visibility, high-impact limited series and feature length documentaries that offer a definitive take on a subject or break new ground in popular, public service media.

CPB and PBS expect a successful Program Challenge Fund program to be the highlight of a given season's schedule and have the potential to generate publicity.

Furthermore, to address industry-wide goals for development of digital content, CPB and PBS will dedicate Program Challenge Fund dollars to high-definition or standard-definition widescreen programs only, and recipients will be expected to deliver all digital content with the underlying rights.

Note: There is no standard application process for the Program Challenge Fund, and producers should submit projects according to the general CPB Recommended Submission Guidelines. Producers should also contact PBS. Only those projects deemed to meet the Challenge Fund priorities by CPB and PBS programming teams will be among the final projects considered for investment at the appropriate Program Challenge Fund meeting.

For more information and guidelines, please visit the CPB website at www.cpb.org.

POV ANNOUNCES OPEN CALL FOR ENTRIES FOR THE 2009 BROADCAST SEASON

Deadline: June 27th (arrival deadline)

P.O.V., public television’s premiere showcase for independent non-fiction film, seeks submissions from all perspectives to showcase in annual PBS series. P.O.V. welcomes all subjects, styles and lengths. Unfinished films may be eligible for completion funds. Questions? Call P.O.V. at 1-800-756-3300 ext. 380.

For more information and Open Call guidelines, please go to the P.O.V. website at www.pbs.org/pov/forproducers.

SUNDANCE INSTITUTE DOCUMENTARY FILM PROGRAM - DEADLINE ANNOUNCED

Deadlines: July 7, 2008 and February 5, 2009

Each year, the Sundance Institute Documentary Film Program awards more than $1.5 million in grants to support documentary films focused on contemporary social issues. Films supported have included My Country, My Country; Why We Fight; Born Into Brothels; Iraq in Fragments; The Inner Tour; The Devil Came on Horseback; and Everything's Cool.

In a world where truth is stranger than fiction, we can help you tell the stories that must be told. If you believe that creative non-fiction filmmaking is vital to society, and you are an artist with passion for the work of storytelling, we want to hear about your project. Tell us what you see.

For the rest of the story or to apply online, visit: www.sundance.org/documentary or www.sundance.org/DocSource.

THE COUNCIL ON FOUNDATIONS FILM & VIDEO FESTIVAL – CALL FOR SUBMISSIONS

Deadline: June 27, 2008

The Council on Foundations and Grantmakers in Film + Electronic Media (GFEM) are seeking submissions of films and videos for the Council on Foundations' 42nd Annual Film & Video Festival to be held May 4-6 2009, in Atlanta, Georgia. (Download a PDF version of this notice through the link provided at the bottom of this page.)

The festival showcases films, videos, and television programs that have received support from foundations, corporate giving programs, and donor networks, with the aim of encouraging grantmakers to use media to advance their philanthropic goals. The festival promotes foundation support of creative, high-quality productions that expand the boundaries of the use of media for the social good.

Submissions may target local, state, regional, national, and international audiences. The committee will give special consideration to projects that demonstrate innovative strategies for distribution, outreach, public education, and civic engagement, such as the use of print or broadcast journalism, websites, networking, schools, libraries, or the meetings and conferences of nonprofit organizations.

For complete guidelines and information, please click HERE.

JOIN THE LPB DIRECTORY OF ARTISTS

Log on and sign up to the Directory of Artists – a forum for Producers, Directors, Cinematographers, Editors, Writers and Composers to connect with other artists in their community. In the Directory of Artists, you can list your contact information, paste a biography and upload a picture, as well as browse through the profiles of other artists – for FREE.

Just go to: www.lpbp.org/directory.php and follow the instructions.

With your help, the LPB Directory of Artists can become a useful tool for filmmakers all across the United States to post their information and find other artists in their community. It is also beneficial for executives and production companies in search for filmmakers and artists for their productions.

For more information, please visit the LPB website: www.lpbp.org.

-- LATINO PUBLIC BROADCASTING IS ON FACEBOOK! --

We invite you to join the LPB group on Facebook. Get information about LPB programs, future broadcasts, LPB news, grant deadlines and workshops.

To join, go to: www.facebook.com/group.php?gid=7157698585.

JOB OPPORTUNITIES AT PBS!

PBS, headquartered in Arlington, Virginia, is a non–profit media enterprise owned and operated by the nation's 348 public television stations.

At PBS, you will enjoy the synergy of professionalism and creativity. We have talented employees with diverse backgrounds and interests who are committed to a common goal, which is to provide enlightenment through education. We offer a variety of employment opportunities and would love to have you join our team.

We offer generous benefits, competitive salaries and a dynamic work environment. For a complete list of employment opportunities at PBS corporate, please visit our website at www.pbs.org/jobs. You may also contact Human Resources at 703-739-5229.

PBS is an equal opportunity employer.

More Summer Deadlines

2008-06-06T07:28:00.001-07:00

Deadline Approaching: P.O.V. 2009 Season

The deadline for the P.O.V. Open Call For Entries for the 2009 Broadcast Season is June 27th.

The submission arrival deadline is June 27th
Apply online today!
Please visit us at cfe.pov.org to apply.

Questions? Call P.O.V. at 1-800-756-3300 ext. 380

Deadline Approaching: The Council on Foundations Film & Video Festival

Deadline: June 27, 2008

The Council on Foundations and Grantmakers in Film + Electronic Media (GFEM) are seeking submissions of films and videos for the Council on Foundations' 42nd Annual Film & Video Festival to be held May 4-6 2009, in Atlanta, Georgia.

Get more information about eligibility and submission procedures, and download the submission form, at: http://www.fundfilm.org/call_for_entries/call_ov.htm

FULL STORY

Polychrome Pictures Seeking Completed Features for Distribution

Polychrome Pictures - distributor of such hits like “Habana Blues” and “Innocent Voices” - is looking for completed Feature Films to distribute through its output deal with Warner Home Video.

Please submit screener to:
Polychrome Pictures Inc.
Attn. Danny Rodriguez
13400 Riverside Dr. Suite 301
Sherman Oaks, CA 91423

For more info go to www.polychromepictures.com

Summer Festival Deadline

2008-06-02T07:25:00.000-07:00

CENTRAL FLORIDA FILM FESTIVAL - LATE ENTRY DEADLINE

The Late Entry deadline (June 13, 2008) is quickly approaching for the Third Annual Central Florida Film Festival (August 29th thru 31st). The festival which is held each year at the Osceola Center for the Arts in Kissimmee, Florida is accepting Late Entries in the categories of Documentary, Feature and short feature.

The festival is held over the Labor Day weekend and features more than a hundred screenings, seminars, cash prizes and an academy award-like awards ceremony on closing night. The festival also has a category for the Best Florida production. For more information and applications go to their web site at www.CentralFloridaFilmFestival.com.

LAST CALL FOR INDEPENDENT FILMS

The Education Channel in Tampa, Florida is looking for films, videos, animations and digital media from independent artists, producers and students in Florida and beyond for inclusion in its 2008 Independent’s Film Festival. In celebration of fifteen years of promoting the creative industry of image-making, the festival coordinators have announced a special pricing discount for Florida filmmakers this year. All Florida filmmakers will be able to enter for $20 while Florida students' entry fee is $15 throughout the submission process. Junior Filmmakers (K-12th grade students) are always free, but must go through the submission process as well.

All genres of film completed between March 2006 and May 2008 are welcome. Work must be submitted for review on DVD (NTSC) in English or with English subtitles by May 30, 2008. Premieres are strongly preferred.

The Education Channel will televise the Independents’ Film Festival in the fall with presentations throughout the month of September, culminating in a public event in early fall of the “best of” the festival. Web and flash films are also accepted for viewing on the Independentsfilmfest.com website as part of the festival.

All entries are competitively judged in the professional independent or student categories for the "best of" awards. Entry forms must accompany submissions and are available in a pdf format on the website at http://www.independentsfilmfest.com. Entries are also accepted through the Withoutabox.com website.

The Independents’ Film Festival is a service of The Education Channel, a cultural, and educational institution devoted to celebrating excellence in the moving image. For additional information call 813-254-2253 ext. 206 or email info@indiefilmfest.us

Lori Wyman Casting Announces:LETTER WRITING CAMPAIGN

2008-05-27T08:05:00.000-07:00

Miami, Florida May 24, 2008 - Since the state of Florida has decided to do away with millions of dollars in filming incentives, we, as a film community, are going to do something about it!

On Monday, June 2, 2008, a letter writing campaign will take place at the offices of
Lori Wyman Casting. - 16499 NE 19 Ave #203 North Miami Beach, Fl. 33162

The hours of our campaign will be from 11AM - 5PM!!!!!
You do not have to stay very long - just long enough to turn in your letters.
OR you can stay and take advantage of the many lectures we will have going throughout the day.

We ask everyone who shows up to be prepared to turn in 3 stamped, addressed letters that they have written to our governor to ask for that film incentive money to be reinstated.
You may either write the letters at the office, come to the office and drop them off, or bring letters that you have collected from your friends in the business. We do not want you to mail them directly yourself. We feel it will make a much greater impact if we send the many letters we collect at the same time. Imagine the surprise when 1000 letters are delivered on the same day. WE NEED TO MAKE AN IMPACT!!
Don't complain that the money has been withdrawn. DO SOMETHING ABOUT IT!

Here is your opportunity.

We will have lectures and workshops being conducted all throughout the day of this letter writing campaign. If you have questions that you have wanted to ask, this is the day to show up and ask those questions, BUT YOU HAVE TO TURN IN 3 LETTERS! If you want your contact sheets looked at, June 2 is the day to do that, BUT YOU HAVE TO TURN IN 3 LETTERS. If you want to learn some auditioning tips, June 2 is the day to hear them, BUT YOU HAVE TO TURN IN 3 LETTERS. We will have representatives from various aspects of the business. Casting Director, Agent, Photographer, Acting Coach, Manager. You can hear them speak, BUT....that's right, YOU HAVE TO TURN IN 3 LETTERS.
This will be a great networking day. Don't miss out on this chance to make a difference. You just never know who you might meet at this very important event.
Just imagine if we had 200 people show up throughout the day and each one of you brought 3 letters. We could mail out 600 letters to our governor's office.
Don't miss out on your chance to make a difference.
Here is all you have to do.
Bring in 3 pieces of paper, 3 envelopes and 3 42 cent stamps. or more if you want. :)
You may ask your friends to write letters and then you can bring them into the office with you.

IF YOU CAN'T MAKE IT IN THAT DAY - FEEL FREE TO MAIL THE LETTERS IN THEIR STAMPED, ADDRESSED ENVELOPES TO US SO THAT WE CAN INCLUDE THEM IN THE MASS MAILING. SEND THEM TO:

Lori Wyman Casting
ATTN: Letter Writing Campaign
16499 NE 19 Ave #203
NMB, Fl. 33162

Here are some of the points you may want to make in your letters.

1) The letters you write should come from your heart .

2) Write about losing your home to foreclosure because you can't work here anymore because the loss of the incentives means losing your income

3) You might have to close your business because the incentives are driving the production companies to film in other states that are offering incentives.

4) The cast/crew need to leave the state and move to where the production work is: i.e., you are moving to States that offer film incentives because that's where the production companies are going to film instead of Florida. You can name New York, New Mexico, Michigan, Louisianna, Texas, etc.

5) Tell them how great this past year has been due to the incentives.

FYI - for every dollar of incentive money they give us, the state gets back $7.
Giving us money should be a no-brainer.

Below is the address you should put on the envelope:

Govenor Charlie Crist and Lt. Governor Jeff Kottkamp

Office of Governor Charlie Crist
State of Florida
PL-05 The Capitol
Tallahassee, FL 32399-0001

PLEASE - Take an hour out of your day to help!

PLEASE FORWARD THIS ONTO AS MANY PEOPLE AS YOU CAN!!!!

WE CAN MAKE A DIFFERENCE!!!!!

CALL FOR ENTRIES: DIGITAL GRAFFITI AT ALYS BEACH

2008-05-23T14:18:00.000-07:00

CALL FOR ENTRIES: DIGITAL GRAFFITI AT ALYS BEACH

The resort town of Alys Beach, Florida is now accepting entries from digital artists worldwide for a new festival called "Digital Graffiti." "Digital Graffiti at Alys Beach" is a festival created to celebrate and promote the world's most talented and innovative digital artists - with an entire town literally serving as their blank canvas. Sometimes referred to as "Photon Bombing," "Guerilla Projection," "Projection Bombing" or "Urban Projection," artists use the latest technologies to project their unique works directly onto the white walls of Alys Beach, a visually stunning new resort town on the Gulf of Mexico.

The 2008 festival will be held on the evening of Saturday, August 30th (Labor Day Weekend), with thousands of spectators expected to attend. Artists are encouraged to submit works of digital art for consideration as soon as possible. Original works may include abstract VJ sets, digital imagery, short graphically-themed films, photography, animations, or innovative new interactive concepts. All subject matter is eligible and will be considered for the festival.

Because Alys Beach is one of the most progressive towns in the world with regard to environmental sustainability initiatives, special consideration will be given to works that portray humankind's interaction with our environment. Please note that submissions may be featured on the Alys Beach/Digital Graffiti website.

The deadline for all submissions is 5:00pm EST on July 11, 2008. Winning entries will be announced no later than July 22, 2008. All work must be in a digital format. A $2,500 grand prize will be awarded to the "Best of Show" entry, as judged by a panel of artistic and industry experts. Prizes in other categories will also be awarded. Winners will also be featured and profiled in several publications.

A certain number of qualified winning digital artists may receive up to a $1,000 stipend to attend and participate in this year's festival. Artists should submit their digital works (photos, films, animations, interactive creations, etc.) by emailing a hyperlink to: events@alysbeach.com. Attachments will not be accepted. Artists may also mail their submissions on CD to: Digital Graffiti Festival PO Box 61-5500 Alys Beach, FL 32461. Please note that CDs will not be returned, so please do not send originals.

For more information about Digital Graffiti at Alys Beach, please email events@alysbeach.com or call toll-free: 1-866-481-8387. www.alysbeach.com/dg

CALL TO ARTISTS: MOCA SEEKING FILM AND VIDEO SUBMISSIONS FOR UPCOMING OPTIC NERVE X SHOWCASE

2008-05-23T14:16:00.000-07:00

CALL TO ARTISTS: MOCA SEEKING FILM AND VIDEO SUBMISSIONS FOR UPCOMING OPTIC NERVE X SHOWCASE

Early Submissions: June 5

Final Deadline: June 25

Public Screening: August 7

(North Miami) - The Museum of Contemporary Art (MOCA) is seeking film and video submissions for the tenth rendition of Optic Nerve, the museum's popular film and video showcase featuring work by emerging South Florida artists and filmmakers. The films will be reviewed by a jury of film and art professionals. Optic Nerve X finalists will be screened at MOCA (770 NE 125^th Street, North Miami) on Saturday, August 7, 2008. One of the films will be purchased for the museum’s permanent collection with funds provided by Starbucks Coffee Company.

SUBMISSION GUIDELINES:

All submissions must contain original material and have been made within the last two years. Entries must be on a DVD, no more than 5 minutes long (strictly enforced). Entries are limited to two per person. Each film or video must be accompanied by 1) completed entry and video release forms (available on www.mocanomi.org) or by contacting the museum 2) artist’s resume and bio 3) brief description of work 4) processing fee. All artists will be notified by mail if their work has or has not been selected.

PROCESSING FEE

Non-Refundable. Payable by check or money order to Museum of Contemporary Art

$10 per entry if received by June 5^th (Free for MOCA members)

$20 per entry for non-members. ($10 for MOCA members).

SHIPPING

Submissions must be postmarked no later than June 25, 2008. Only those submissions accompanied by a stamped, self-addressed envelope will be returned.

Send submissions to:

Museum of Contemporary Art, North Miami

Attn. Optic Nerve

770 NE 125^th Street

North Miami, FL 33161

For information and entry forms, call 305.893.6211 ext. 29 or visit www.mocanomi.org

Call for Entries

2008-05-20T13:55:00.001-07:00

A La Brava Producciones Revolucionarias, Inc.
673 South Fickett Street

Los Angeles, California 90023

(323) 265- 2344
cinesinfin@gmail.com

501 (c) 3 Non-Profit

Call for Entries

14th Annual East LA Chicano Film Festival

Deadline: August 30th, 2008

Ship to: Cine Sin Fin

c/o A La Brava P.R., Inc.

673 South Fickett Street

Los Angeles, California 90023

CINE SIN FIN: 14th ANNUAL EAST LOS ANGELES CHICANO FILM FESTIVAL

FOR IMMEDIATE RELEASE <> CALL FOR ENTRIES

The Annual East Los Angeles Chicano Film Festival will be taking place in November at various locations throughout the Greater Los Angeles area.

Cine is a growing part of the cultural landscape in Los Angeles, in California, in the United States and Internationally. Each year we screen 50-60 films (feature length documentaries, narratives, shorts and experimental cinema) with an approximate attendance of 5000 people a year. We have consistently drawn in families, artists, producers, directors, youth and persons from all walks of life. Our previous venues include screenings of selected films at the LA Film Festival, Southeast Student Film Festival, Reel Rasquache Film Festival, Cinemas Film Festival and Sin Fronteras Film Festival. We have also had Cine Sin Fin screenings at film festivals in San Jose, CA; San Francisco, CA; Canada and Cuba. In the past several years, Cine has expanded its venues to include Coachella, CA; Albuquerque, New Mexico; and Fort Lauderdale, Florida.

Cine Sin Fin was established by A La Brava Productions in the summer of 1995 to create a permanent venue to screen, develop, produce and promote Chicana/o and Raza filmmakers. We have played a significant role in fostering positive images of our community in film and video. For the past 14 years, we have empowered those individuals and organizations whose films humanize the Chicana/o and Raza experience and have reached audiences who would otherwise not be familiar with it.

In addition, we host several panel discussions with industry leaders who give insight about the perceptions the film industry has towards Chicana/os and the impact of our community's market share. Established Chicana/o filmmakers, actors, writers, directors, producers and activists moderate a forum in which aspiring artists can ask career-defining questions and have them discussed among peers. We also provide workshops which are coordinated by industry professionals and include topics such as: Acting, Directing, Screenwriting, Production Management, and Technical Production. A networking/closing night reception is planned with live entertainment (local East LA Chicano bands) to bring the entertainment communities together. The event is open to the public.

Finally, Cine Sin Fin is proud to recognize the achievements of independent filmmakers, writers, directors, and actors. We close the event with the "Annual" Firme Awards Ceremony which includes Best Documentary, Best Feature Film, and Best Short, the John Alonzo Award for Cinematography, the Anthony Quinn Award for Acting, the Lalo Guerrero Award for Best Soundtrack and the Corky Gonzales Social Justice Award.

Requirements: NO ENTRY FEE, send any length (format VHS or DVD) film with synopsis and press kit (if available), to:

Cine Sin Fin
c/o A La Brava P.R., Inc.

673 South Fickett Street
Los Angeles , California 90023

For questions contact: Jaime Segall-Gutierrez at elsuperxicano@hotmail.com or Ernesto Espinoza at cinesinfin@gmail.com

All films submitted and selected will become part of our library and may be shown at all our venues; we will respect all requests to do otherwise. For further information regarding Cine Sin Fin submission guidelines, internship and volunteer opportunities, or to be a sponsor call (323) 265-2344.

Call for Entries Daytona Beach Film Festival

2008-05-16T14:27:00.001-07:00

DAYTONA BEACH FILM FESTIVAL CALL FOR ENTRIES:

The DBFF is now accepting films in the following categories:

Florida Feature (Winning entry will receive $500, 2 night hotel stay, 2 all festival passes)

Features

Documentaries

Short subjects

Animated Shorts

Student Films (20 minutes or less, include school info, no entry fee)

ENTRY DEADLINE - JULY 1, 2008

STUDENT FILMS DEADLINE - AUGUST 1, 2008

Send DVD screener, contact information, category of entry and press kit if available with $25 entry fee to:

Daytona Beach Film Festival

PO Box 1105

Daytona Beach, FL 32115

For additional Information call (386) 871-7873, or visit www.dbff.org.

Week Fourteen: A Scanner Darkly

2008-05-12T09:30:00.000-07:00

Drugs, intrusive technology and, is it paranoia if "they" really are out to "get you?"
Based on a story by Philip K. Dick on of the true visionaries of dystopian futures scenarios. Poor man afraid of things that had little or no basis in reality when he wrote about them as a mid-century (20th) modernist with problems. Now it seems as if he may have known exactly what was coming. How is that possible?

2008-05-05T07:29:00.001-07:00

Call for Applications: NATPE Diversity Fellowship Program

Now in its second year, the NATPE Diversity Fellowship Program provides a small group of emerging television and video content creators of color with the next step in their career development. Through a series of mentoring meetings, workshops, networking and educational opportunities, the Fellows are afforded a unique opportunity to make valuable contacts and gain real insight into the television industry.

Click here for more information about the Diversity Fellowship

Application process is now open. DOWNLOAD the application form.

This year we hope to grow the program from the 21 Fellows of 2007 to 30 or more. NATPE provides the Fellows with four nights accommodations, all entrance fees to LATV Festival events, special lunches, networking events, one-on-one time with a mentor and transportation. The Fellows are responsible for their own airfare and incidentals. The Fellows are chosen through a selection and submission process with support from key industry organizations whose mission is to support and promote diversity in the media, entertainment and television industries.

For more information, please contact Marjorie Goldberg at marjorie@natpe.org
or 310-453-4440.

NWCS Seeks Latin American Films for U.S. Distribution

New World Cinema Series (NWCS) is an exciting initiative to give Latin American films a bigger platform in US cinemas. In a year-long festival-like tour in 20 US cities, the series will show 6 of the greatest films recently produced in Latin America. NWCS was developed by the NY distribution company Matson Films and the production company Belladonna Films. They contracted us to be the point of entry for all Latin American films.

Here are two links to what some of the press has to say about this new distribution program: Variety article, Swissinfo article

We’re in the midst of doing the preselection. So please send us your films as soon as possible and please spread the word.

To learn more about NWCS and/or to download the submission form please go to:
http://www.NewWorldCinemaSeries.com

Looking forward to hearing from you and to receiving your films.

Week Thirteen: Canadian Animation

2008-05-05T07:23:00.000-07:00

How has the Film Board of Canada helped advance the state of Animation in Canada and the rest of North America? How about internationally? Which of these animations resonated with you as 3D Animators and Special Effects Animators? What are your opportunities for arts and media grants? Do you know? Do you care?

2008-05-05T07:22:00.000-07:00

INDEPENDENTS’ FILM FESTIVAL CALL FOR ENTRIES

The Education Channel in Tampa, Florida is currently soliciting films, videos, animations and digital media from independent artists, producers and students in Florida and beyond for inclusion in its 2008 Independent’s Film Festival. In celebration of fifteen years of promoting engaging quality movie making, the festival coordinators have announced a special pricing discount for Florida filmmakers this year. All Florida filmmakers will be able to enter for $20 while Florida students' entry fee is $15.

All entries are competitively judged in the professional independent, and student categories for the "best of" awards. Entry forms must accompany submissions and are available in a PDF format on the website at http://www.independentsfilmfest.com. Entries are also accepted through the Withoutabox.com website.

The goal of the Independents’ Film Festival is to bring together, educational, cultural and film enthusiasts to celebrate independent filmmaking, enhance the opportunities for the Florida filmmaker and increase the public’s awareness and support for Florida independent filmmakers as a cultural and economic asset through exhibition of the finest in contemporary cinematic artistry.

The Independents’ Film Festival is a service of Tampa Educational Cable Consortium, a cultural, and educational organization devoted to celebrating excellence in the moving image. For additional information call 813-254-2253 ext. 206 or email info@indiefilmfest.us.

NOW ACCEPTING APPLICATIONS FOR ROY W. DEAN VIDEO AND EDITING GRANTS

The Roy W. Dean grants are now taking applications for documentaries, shorts and Indie features under $500,000. We want films that are unique and make a contribution to society.

The Roy W. Dean Video and Editing Grants are closing soon, NYC grant 5/30/08 Go Edit Editing 5/30/08 and the LA film and LA video close 6/30/08. These are goods and services and awards run from $25 to $40,000. Full info & applications on www.fromtheheartproductions.com.

Week Twelve - Special Effects to Assist Story: Eternal Sunshine of the Spotless Mind

2008-04-24T09:36:00.000-07:00

So the big question is, of course, do the special effects assist the story? If so, why? If not, why not? Are the special effects done just for the sake of doing special effects ie: because we can, or do they really assist the story to move forward. Does the story stand alone without the special effects?

FILM FLORIDA ALONG WITH THE FLORIDA FILM COMMUNITY ANNOUNCES CREATION OF DON DAVIS FILM FINISHING FUND

2008-04-22T08:36:00.000-07:00

FILM FLORIDA ALONG WITH THE FLORIDA FILM COMMUNITY ANNOUNCES CREATION OF DON DAVIS FILM FINISHING FUND

-FUND FOR FILMMAKERS HONORS THE LATE LEGISLATOR AND CHAMPION OF FLORIDA’S ENTERTAINMENT INDUSTRY-

TALLAHASSEE, FL (April 21, 2008) — Film Florida announced today the creation of the Don Davis Film Finishing Fund; which will provide completion funding to aspiring filmmakers in the state.

The state’s film community was devastated by the news that Rep. Davis – a longtime champion of the production industry – passed away earlier this month following a lengthy illness. In 2007’s session, the state revamped the entire incentive program and renamed it the Don Davis Entertainment Industry Economic Development Act increasing the incentive to $25 million.

“Representative Don Davis revived our industry by spearheading legislation that truly took our state into a more level playing field with other states also competing to bring in production business,” said Graham Winick, President of Film Florida. “He was instrumental in passing legislation that has resulted in jobs and growth for Florida’s film industry.”

Pamela Tuscany-Warren, Vice President of Universal Studios Production Group, speaking on behalf of the film industry, agreed.

“Representative Davis understood that the incentive works, and that it is vital to the state’s economy. We are saddened that our industry has lost a trailblazer, and want continue his legacy with the Don Davis Film Finishing Fund that will assist filmmakers for generations to come. We think the creation of this fund will serve as a tribute to him, and that’s why we didn’t hesitate to contribute. I am challenging my fellow film industry professionals to match our initial contribution to insure this remarkable man remains recognized in our industry for years to come.”

The Don Davis Film Finishing Fund will provide completion funding to independent producers and filmmakers. Film Florida will announce criteria and applications soon on www.filmflorida.org.

- more -

“This is a fitting memorial to Representative Don Davis whose hard work has helped grow Florida’s film, television and digital media industry incentive program from $2.45 million four years ago to the current level of $25 million. As a result of the state incentive program, we currently have 48 certified productions slated for this year compared to just 22 last year. More than $6 is spent on Florida wages, services and products for every dollar we rebate these productions. Further, the positive impact on our tourism industry is immeasurable,” said Lt. Governor Jeff Kottkamp.

He continued: “The Governor and I have asked the legislature to invest $30 million into the incentive so we can attract and keep this industry and its valuable workforce in Florida. I know if Don were here today he would be very proud of the industry for creating the Film Florida’s Don Davis Film Finishing Fund as another tool to help build our talent base.”

Frank Patterson, Florida State University Film School Dean, also recognized Representative Davis’ vast contribution and legacy. “As educators prepare Florida’s future filmmakers, we owe an enormous debt to the leadership of Representative Don Davis, whose bold work paved a road of real opportunity for our graduates entering the film, television and digital media industries,” he said. “His legacy will most certainly live on through the successful careers of our students.”

For more information, please visit www.filmflorida.org.

About Film Florida
Film Florida is a not-for-profit corporation that provides a leadership role in Florida's film and entertainment industries by representing a coalition of interests, including private industry, local film commissions, industry associations and labor organizations. Its purpose is to offer to businesses and individuals the benefits of a statewide trade association to promote the creation of jobs in the film and entertainment production industries and to promote economic development and tourism.

DBFF ANNOUNCES ANIMATION MASTER CLASS WITH BILL PLYMPTON

2008-04-21T08:58:00.000-07:00

DBFF ANNOUNCES ANIMATION MASTER CLASS WITH BILL PLYMPTON

-With More Workshops to Be Held During 2008 Delray Beach Film Festival May 6-11

Current Through: April 12, 2008

FILMMAKERS AND FILM STUDENTS TO LEARN THE ART AND BUSINESS OF FILMMAKING FROM OSCAR-NOMINATED ANIMATOR, BILL PLYMPTON –AND OTHER INDUSTRY PROFESSIONALS

(Delray Beach, Florida) – Oscar-nominated animator, Bill Plympton returns to the Delray Beach Film Festival (DBFF) to fascinate filmmakers and film students with his illustrious workshop, titled Animation Master Class with Bill Plympton. Mr. Plympton’s workshop will be held Friday, May 9, from 2-4 pm at Dolce Amore Café, located in Downtown Delray Beach’s Historic Pineapple Grove District.

Through the use of live drawings and recent short films, Writer-Producer-Director Bill Plympton will talk about how to make a living, producing short films. He will also discuss the creative side of animated shorts. After a short Question & Answer session, Mr. Plympton will give every attendee a sketch!

The 2008 Delray Beach Film Festival invites local and visiting filmmakers and well as college and high school film students interested in the art of filmmaking, to take part in this series of free educational film workshops. Over four days of the festival, industry professionals will present valuable and cutting-edge workshops during the daytime, –from Acting to Script Writing to Film Financing, and more.

The educational film workshops will take place on Wednesday, May 7th through Saturday, May 10^th. Casting Directors/Actors Workshop, hosted by Director/Acting Coach Marc Durso, ( Wed. 5/7), Script Writing Workshop, hosted by Writer-Producer-Director Alyn Darnay, (Thurs. 5/8), Acting for Directors & Screenwriters Workshop, Marc Durso of ActTrue, Inc., (Thurs. 5/8), International Co-Productions Workshop, hosted by Producer Indira Somani and Filmmaker Leena Jayaswall, (Thurs. 5/8), New Digital Technologies for Filmmakers Workshop, sponsored by SONY, (Fri. 5/9), Animation Master Class with Bill Plympton, (Fri. 5/9), Film Financing Workshop, hosted by Jeffrey Taylor, Founder of Showbiz Management Advisors, (Sat. 5/10), and The Future of Interactive On-Demand Media Workshop, hosted by Steve Zuckerman, Founder of GEMS TV, (Sat. 5/10).

All workshop seminars will be held at the Dolce Amore Cafe, located at 241 NE 2nd Avenue, off Atlantic Avenue, in Downtown Delray Beach. For specific times and complete workshop descriptions, please visit our website: www.dbff.us or pick up our program guide from supporting Palm Beach County businesses. School groups may sign up for one or all four days. The workshop seminars are free, on a first-come-first serve basis. All workshop seminars are subject to change without notice.

About Bill Plympton

After a successful 15-year career as an illustrator and cartoonist, Bill Plympton was approached to animate and direct a film based on Jules Feiffer's song, "Boomtown." Plympton followed BOOMTOWN with his own animated film, DRAWING LESSON # 2, which garnered a 1988 Oscar nomination for best animated short. His filmography soon expanded into a succession of short and feature length animated films as well as live-action feature length films, such as YOUR FACE, J. LYLE and HAIR HIGH. Bill received his second Oscar nomination in January 2005 for his short film GUARD DOG. Two equally successful sequels, GUIDE DOG and HOT DOG, soon followed.

His latest feature film, IDIOTS AND ANGELS, will premiere at Tribeca, and close the 2008 Delray Beach Film Festival, (Saturday, May 10th at the Crest Theater at Old School Square). Featuring the music of Tom Waits, Moby and Pink Martini, IDIOTS AND ANGELS is dark comedy about a morally bankrupt man scrabbling to hide the good in himself-which manifests itself in a pair of angel wings that just won't go away.

About the Festival

The Delray Beach film Festival is a non-profit 501(c)(3) organization that demonstrates its commitment to the community by donating a percentage of the proceeds from the film festival to other non-profits including the Peggy Adams Animal Rescue League and The Children’s Coalition, Inc.

Week Eleven: 300

2008-04-17T10:51:00.001-07:00

Sometimes amazing, sometimes just "creepy." What works, what doesn't. How does this use of computer technologies compare to its early counterpart, Tron?

Week Ten: Mirror Mask

2008-04-08T12:07:00.000-07:00

Due to unpopular demand Volume Two of last week's short animations has gone back to the film warehouse unwatched. This week let's take a look at Live Action + CG Animation as seen in "MirrorMask". How is this film different from "Roger Rabbit" and/or "Howl's Moving Castle" how is it similar? What do you think of this combo world it creates?

Week Nine: Animation Show Volume 1

2008-04-03T14:25:00.000-07:00

Welcome back from Spring Break. Great job posting your first four essays. Compelling thoughts and critiques. Really enjoyed reading them all.

This week (and maybe next) a compilation of shorts to review. Which were your favorites and why? What does this collection tell you about the current state of animation globally? Does this collection inspire you?

South Beach International Animation Film Festival (THU 03-06)

2008-04-01T08:51:00.000-07:00

APRIL 2008

Festivals, Festivals, and more Festivals!

T H E M I A M I B E A C H C I N E M A T H E Q U E

The on-going film festival where you don't just watch films, you experience them!

512 Espanola Way at Plaza de Espana (305) 67-FILMS (673-4567) www.MBCINEMA.com

APRIL at a Glance:

South Beach International Animation Film Festival (THU 03-06)

South Beach InternationalAnimation Festival

03 THU 8:30pm:

International and Art House Animation

(including , but not limited to, the following short films)

Jingaroo (Beckett Entertainment/Australia/10:00)

What cartoons do the kids "Down Under" watch?

One Skin (Gudrun Cram-Drach/USA/10:16)

One women?s journey.

A-ha! Butterfly Rescuers (Paul Paik/Korea/4:21)

Insects living in a ending machine are force to find a new home.

Let Her See The World (India/5:00)

A protest against "Female Foeticide".

Anti Smoking (India/1:05)

Third World countries are addressing the issue of cigarette smoking.

YoYo (Boaz Zachary/Australia/3:10)

How one adventurous boy surfs the big ones in Australia.

04 FRI 8:30pm: Animation for Adults

(including , but not limited to, the following short films)

Father & Son (Shawn Robertson/USA/1:30)

The time honored ritual of a father teaching his son how to throw a

ball. How sweet. Or is it?

Chicken Sushi (Rich Jackson/USA/1:07)

Coming to a diner near you?

Yum Yum Treats (Matthew Feuer/USA/:30)

Man?s best friend does his best to negotiate getting the treat of his dreams.

It Could Be Worse (Zack Horn/USA/5:32)

This film is dedicated to anyone who has lost a night?s sleep with a snoozer.

Alley Cats (Derrik Dean/USA/7:22)

Ladies, a sale and a bowling alley. What could go wrong?

Nude Nule (Soule Movie/Korea/X Rated/3:00)

On a country back road one man does his best to bridge the generation gap.

Once you see this film, you will never think of Korea the same way again.

05 SAT 2-4pm:

Saturday Afternoon with the Toons

Concept Development Workshop

Have you ever had an idea for a great cartoon? Come to this workshop and learn

how to get the idea out of your head and down on paper. Once on paper your concept

is just a pencil stroke away from becoming a short film. The two-hour workshop will

allow participants to explore the relation between story and character development.
Through enjoyable and creative exercises (principles of writing, story design and

cinematography) they will develop their own story learning how to translate an idea
into an initial storyboard?s first draft.
With Diana Arrambide of the Computer Animation Department

of Miami International University of Art & Design.

$15 or $12 MBC Members

05 SAT 8pm:

Awards Night with Awards Party

categories include grand master, international, student

(including , but not limited to, the following short films)

Duck Amuck (Chuck Jones/USA/10:00)

One of the greatest cartoons in the Warner Bros. library from its

Golden Age of Animation is, hands down, this 1953 classic.

A Mouse?s Tale (Sam Armitage/UK/3:10)

A tale of an English mouse, his mother and a curious cat.

Monster For Sale (Simon Testro/UK/3:10)

One boy?s answer to the neighborhood bullies is to hire a Monster.

Let Her See The World (India/5:00)

A political protest against "Female Foeticide"

Hope Springs Eternal (on Noble/USA/7:05)

Such a loser he can?t even commit suicide without screwing up.

Sweet Robbery (Guy Bourraine Jr/USA/12:04)

A sweet old lady is home all alone when a cat burglar enters her home.

After the films meet the animators for Q&A.

Join us afterwards for the Awards Party at CAMEO

(free admission and open bar 10pm-Midnight!)

06 SUN 8pm:

Best of Ottawa Animation Film Festival

The largest of its kind in North America

The Best of Ottawa program showcases many of the outstanding films

presented in the world famous Ottawa Internnational Animation Film

Festival?s official competition. The 2007 program includes exceptional

films from Tom Brown & Daniel Gray, Aaron Augenblick, Tibor Bancozki,

and Matthew Walker. The selected films competed in six main competitions:

Feature Film, New Media, Independent Short Films, Commissioned Films,

Student Films and Animation Made for Children.

Week Seven: Howl's Moving Castle

2008-03-21T11:55:00.000-07:00

Is there really anything more to be said about Anime?
How about comparing the Moving Castle to the Monster House?
Or this story with 10,000 BC?
We're far enough in the semester for a good, old fashioned compare and contrast.
Have fun with this one.
Don't forget all essays posted before the next class.
Enjoy Spring break.

REMINDER

2008-03-14T13:03:00.000-07:00

Four essays due by end of class next week.

Week Six: 10,000 BC

2008-03-14T13:02:00.000-07:00

Well? What did you think?

Week Five: Monster House

2008-03-07T11:28:00.000-08:00

Another syllabus switch around.

This week we watched Monster House. OK, tell me what's the big appeal of mo-cap (other than technologically) why are you driven as an artist to create something that's not "real" in order to make it look so "real" no one can tell the difference between the "real" and the computer animated/generated image? Why not just work with actual humans and be done with it already?

Week Four: Monster's Inc.

2008-02-27T08:38:00.000-08:00

We are moving the field trip to next week so we can discuss it in class first.

So for this week we'll move onto topic re: Acting in Animation. What is the importance of this aspect of the overall animation? So often we get stuck on only those areas of our art that we are directly driven to love and we don't appreciate everything that goes into the work itself. How important is the acting in the scheme of things for you as animators? How important is it to you as a watcher? How about some examples of "good" acting and how it affects you and some examples of "bad" acting? What if the story line is great and the acting is bad? What if the acting is great and the story line suck? How important are celebrity voices in feature animations?

What has this film made you thing about?

Week Three: Who Framed Roger Rabbit

2008-02-20T13:11:00.000-08:00

A challenging mix of live action and animation. I think no one has done this as well, before, or, since. What do you think? What's your favorite line from this film? How hard or easy was this to do technologically? Why did the film noir/hard boiled detective story make such an interesting combo film like this work so well? Or does it?

Week Two: Heavy Metal

2008-02-14T09:33:00.000-08:00

This week's theme traditional animation and music. Imagine for a moment animation without a soundtrack. What is so captivating about Heavy Metal? It's place in time, it's soundtrack, animation, combinations of all of these factors. What do you think? Why?

Week One: Tron

2008-02-07T10:59:00.000-08:00

Made in 1982 this film is considered groundbreaking. Why?
What do you like about it? What do you dislike? What technical, social and emotional changes do we see in this film that were never seen previously? Today these themes are commonplace (and probably done much better), but what about in 1982? What fortuitous accident made an amazing and totally unexpected "special" effect?

Art Historical Theory and Methodology

Week Five: Assignment for Next Week

Week Five: In Class

Week Three: In Class

Week Three: Icons

Week Two: In-class assignment

Week Two: Iconography

Week One continued: The Original Question

Wk One Continued - What is your Artistic Obsession?

Week One: Art History's History

Summer - 09 - Syllabus

Week Eight: Psychoanalysis

Week Five: Check-in

Fall 2008 Art Historical Theory & Methodology

Thanks for a Great Semester

From FMM and Without a box 16 film entry deadlines for August

Week Seven: the Modern Philosopher

Week Six: A real challenge of original research

Week Five: How's the Research Coming?

Week Four: Pollack

And Here's One We Didn't Discuss in Class: What if the fingerprints were forged?

One more

More News on the Teri Horton Jackson Pollock

Relevant to Today's Class - June 19, 2008

Rembrandt Thought Fake Worth Millions

Week One: Assignment

Week One: Art History is not Art or History

Class Sylabus Summer 2008

Course Description for AH5010 Art Historical Theory & Methodology

Course Length Eleven Weeks

Contact Hours 4.25

Grading Legend

Changes to

Deadlines and Opportunities from Latino PBS

More Summer Deadlines

Summer Festival Deadline

Lori Wyman Casting Announces:LETTER WRITING CAMPAIGN

2) Write about losing your home to foreclosure because you can't work here anymore because the loss of the incentives means losing your income

3) You might have to close your business because the incentives are driving the production companies to film in other states that are offering incentives.

4) The cast/crew need to leave the state and move to where the production work is: i.e., you are moving to States that offer film incentives because that's where the production companies are going to film instead of Florida. You can name New York, New Mexico, Michigan, Louisianna, Texas, etc.

5) Tell them how great this past year has been due to the incentives.

Below is the address you should put on the envelope:

Govenor Charlie Crist and Lt. Governor Jeff Kottkamp

Office of Governor Charlie CristState of FloridaPL-05 The CapitolTallahassee, FL 32399-0001

CALL FOR ENTRIES: DIGITAL GRAFFITI AT ALYS BEACH

CALL TO ARTISTS: MOCA SEEKING FILM AND VIDEO SUBMISSIONS FOR UPCOMING OPTIC NERVE X SHOWCASE

North Miami, FL 33161

Call for Entries

Call for Entries Daytona Beach Film Festival

Week Fourteen: A Scanner Darkly

Week Thirteen: Canadian Animation

Week Twelve - Special Effects to Assist Story: Eternal Sunshine of the Spotless Mind

FILM FLORIDA ALONG WITH THE FLORIDA FILM COMMUNITY ANNOUNCES CREATION OF DON DAVIS FILM FINISHING FUND

DBFF ANNOUNCES ANIMATION MASTER CLASS WITH BILL PLYMPTON

Week Eleven: 300

Week Ten: Mirror Mask

Week Nine: Animation Show Volume 1

South Beach International Animation Film Festival (THU 03-06)

Week Seven: Howl's Moving Castle

REMINDER

Week Six: 10,000 BC

Week Five: Monster House

Week Four: Monster's Inc.

Week Three: Who Framed Roger Rabbit

Week Two: Heavy Metal

Week One: Tron

Office of Governor Charlie Crist
State of Florida
PL-05 The Capitol
Tallahassee, FL 32399-0001