Friday, June 20, 2008
And Here's One We Didn't Discuss in Class: What if the fingerprints were forged?
http://www.gather.com/viewArticle.jsp?articleId=281474977326640&grpId=3659174697242888&nav=Groupspace
One more
This one is interesting and you can forge your own Pollock at the end.
http://bioephemera.com/index.php?s=preternatural
http://bioephemera.com/index.php?s=preternatural
More News on the Teri Horton Jackson Pollock
from: http://www.fineartregistry.com/about_FAR/press_release_03-27-2007.php
Fine Art Registry™ Press Release
Fine Art Registry™ Press Release
FOR IMMEDIATE RELEASE
For more information contact:
Mary Garrett — 602-432-2010
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.
Thursday, June 19, 2008
Week One: Assignment
Go to the link below and fill in the answers to the survey questions by SUNDAY, June 29, 2008.
Click Here to take survey
Click Here to take survey
Wednesday, June 18, 2008
Week One: Art History is not Art or History
History of Art History, The research question and topic.
Screening: Who the Bleep is Jackson Pollack?
Class Sylabus Summer 2008
AH5010 Art Historical Theory & Methodology
Instructor Ms.
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
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
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.
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
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
Deadlines and Opportunities from Latino PBS
CPB'S PUBLIC MEDIA INNOVATION ROUND 3 – CALL FOR ENTRIES
Round Three proposals will be accepted from
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
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
Upcoming Deadlines:
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
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:
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:
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:
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:
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
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:
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
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 –
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
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
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:
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:
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
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
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
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.
Friday, June 6, 2008
More Summer Deadlines
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.
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. Open Call guidelines are available for review at www.pbs.org/pov/forproducers
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: 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.
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.
Get more information about eligibility and submission procedures, and download the submission form, at: http://www.fundfilm.org/call_for_entries/call_ov.htm
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
Monday, June 2, 2008
Summer Festival Deadline
CENTRAL FLORIDA FILM FESTIVAL - LATE ENTRY DEADLINE
The Late Entry deadline (
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
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
The Education Channel will televise the Independents’
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’
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