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Death of the Big Screen?

Thursday, June 17th, 2010

Inspired by the Blog article: “How Long Until A Feature Film Made on the iPhone is in Theaters” by Peter Hall, our Intern Heather Poole gives her opinion on the future of Filmmaking:

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The new iPhone 4G is the latest edition to the Apple revolution but is it the beginning of the end for the big screen in cinema?

By: Heather Poole, ECU 2011 Festival Intern

With new technologies constantly emerging, it’s no wonder that the culture in which we view films, television, and other modes of media is almost unrecognizable from 5 minutes ago. In my brief time as an intern at ECU, I’ve been researching and learning about the various and rising trends in filmmaking, most recently the use of mobile technologies.

In light of the anticipated arrival of the new iPhone 4G, this article written by Peter Hall for Cinematical inquires how long will it take until a feature film is made entirely on the iPhone 4G. But the article also raises a series of issues in the way we consume and produce media.

With the iMovie application, users are now able to film and edit on the new iPhone. Yet does this new application make anyone a filmmaker? Will it be a tool to simply capture candid moments that would otherwise be undocumented? Or will it further the drastic transformation in cinema by providing a new technique to create low budget films?

Although the new iPhone 4G is, without a doubt, an innovative piece of technology that brings the art of cinema literally to the palm of your hand, do filmmakers even want their films to be degraded to a miniscule 3-inch screen? And even if this new form of watching media is more available, more accessible, anytime anywhere, what will happen to the importance of the quality of cinema?

Perhaps I’m old school for my generation but I feel that a certain loss comes with the advancement of technology. With streamed videos and films now available on the iPhone, the tools to enjoy media and connections to the outside world have been integrated onto one device. Cinema has been a way for society to escape from the outside world, to vicariously enjoy the emotions of the characters on the screen, to become completely immersed in the beauty of the moving image. Yet as film and other types of media have proliferated through different mediums, from the big screen to television to computer and now to the iPhone, it is no longer the grand experience it once was.

Despite my skepticism, the new iPhone is another gateway for artistic expression in this age of technology. Mainstream events like the upcoming Pocket Film Festival in Paris this weekend which the ECU Creative Content Team will be covering, celebrates the creation of various medias via mobile technologies.

Death of the big screen? Perhaps, but events like the Pocket Film Festival foster this advanced technology as a creation of a revolutionized type of media and film that characterizes our day and age.

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Publicity & Indie Films

Tuesday, April 27th, 2010
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    There has been a very interesting debate going on at greencine.com.  We encourage you to have a look at the greencine blog article and if you have any ideas about how to establish the right balance between time spent on ‘social media-ering’, and it’s yet-to-be –defined overall efficacy, versus actually time spent making your films, please let us know on our blog as this is a very interesting, and ever-evolving subject.
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    Let’s Go Ride A Couch (moviemaker.com)

    Friday, February 5th, 2010

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      Rhett and Burke Lewis giving couch-rides at the Cinequest Festival.
      (Source:www.moviemaker.com)

      What an amazing article, this is a PERFECT guide on how to promote your film on the festival circuit!

      The European Independent Film Festival (ÉCU), in partnership with G-Technology by Hitachi, will be held from 12-14 March at Cinéma Le Grand Action and Theatre Triomphe in the Latin Quarter.

      With the Official Selection announced in just over a week, competitors need to start thinking about how they are going to lure in their audience. And what better backdrop for your promotional campaign than the winding, quaint, Parisian streets of the 5ème arrondissment?

      Rhett and Burke Lewis devised a hilarious campaign when promoting their feature Billy Was a Deaf Kid.  We’re not sure how couch-rides would go down in Paris (we all know what Parisian drivers are like) but it would be great to see creativity being applied both in the cinema and outside!

      So how will the ECU 2010 Official Selection hit the streets to promote their films? Stay tuned to find out more. But one thing is for sure. ECU 2010 will be bringing a little extra electricity to the city of lights this March.

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      The Art of the Subtitle (directorsnotes.com)

      Wednesday, February 3rd, 2010

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        At the European Independent Film Festival, we receive films from all over the world and in many different languages – French, Portuguese, Hebrew, Hungarian, Polish, Russian, Italian, Spanish, Icelandic, English and even Aussie (*do* they qualify as speaking English in the land down under?). This ultimately raises the following question: how can filmmakers and subtitles work together to appeal to the international audience?

        The ECU 2010 Official Selection will be subtitled as follows: English films will be subtitled in French, French films subtitled in English and all other foreign language films will be subtitled in English. We believe this is the best way for the international audience and jury to watch, appreciate and get maximum ejoyment from the ÉCU 2010 Official Selection. With the Official Selection announcment on the 15th February, and the festival one month later, competing directors need to start thinking about how to address the subtitle situation if they have not done so already.

        El Vez over on directorsnotes.com raises some interesting points on the subject. When facing this tricky task, many seem to be constricted by our limited concept of the subtitle. It doesn’t have to be a blot on the bottom of the screen, but instead another route of artistic expression. What is lost aurally can be won back visually. Who knows, maybe directors will soon look forward to adding subtitles, savouring the opportunity to breathe new life into a project, which at that point, they’re sick of staring at. Click here to read.

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