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niamhsperformancelab · 1 year

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week 0

(Tuesday)

Tuesday brought our soft launch to the performance lab. We required an object that made sound but wasn't a musical instrument. As we didn't know how we were going to be using the objects, they were selected based on having significance to us personally. I selected my Irish dance heavy shoes as they are used within performance to create different sounding beats in a visually pleasing routine. Irish dance is something important to me as my family have done it for generations and I attend classes 3-4 times a week, competing at a global level.

Upon arrival it was revealed to us that we had a visiting lecturer, Nathan Tromans. He took us through his work, presenting his three main movements of his artistic career. First was inspired by William Eggleston, an American photographer from Memphis. He created media with film cameras that were more saturated, this is called "die transfer". Back when his work was released, colour photography was used more in advertisement or commercial use. Themes from his work were usually "romance of the road" and Nathan Tromans took this idea forward within his own work. His work seemed to be heavily influenced by Eggleston's narrative and point of view surrounding cars and landscapes combined. Tromans explained how it was difficult to mimic the effect of a sense of journey as the roads in England are extremely different to those in America. I really liked this body of work of both William Eggleston's and Nathan Tromans as the colour schemes are warm and bring a sense of nostalgia. This section of work reminded me of a music video for "run you out" by meatwave, where the band are stuffed into a car and are driving onwards with the singer looking behind him, through the rear window of the car, singing along to the lyrics. The Era of work and heavy emphasis on cars brought me back to an early 1990s film with Johnny Depp and Iggy Pop which was based in the 50s.

Tromans second body of work introduced soundscapes. it was based on birdcalls and how recognisable sounds can be made by using different methods. I don't have a huge interest in birds or making soundscapes such as the one Nathan was making so wasn't overly excited by this body of work but I appreciated that his knowledge and discoveries from this movement were important for us to complete the workshop challenge given to us after lunch.

Part 2 of the lecture heavily involved information about sound within film and how you might achieve different effects. Tromans briefly touched on John Cage's "sound of silence/ 4:33" which was composed of silence for the duration of the piece. This was to make the audience think as is there really such a thing as silence? From white noise and background sound it is hard to achieve pure silence. Television and film recognise this as Nathan told us many times while shooting a scene, a clip of "silence" is taken so that they can insert it into the moments, making the scene feel more full, complete and realistic. Dynamics are also really important to create light and shade and contrast within a piece. Recently I watched a YouTube video on why as a generation we prefer to watch films or TV shows with subtitles. While one reason was due to approx 126 audio signals being condensed into 1-5 channels, audio engineers also tend to take the volume level of speech down and put sound effects up to create more of a contrast between voices and explosions (as an example). Dynamics are a great way to show emotion within a piece of media.

After we had a break for lunch, it was time to get into our groups that were selected by a dice (Nathan is an avid believer that chance and spontaneity can create great outcomes by accident). I was placed in a group with Liz, Amie and Maddie. Our objects were my dance shoes, Liz's matches, Maddie's pendant and Amie's body spray. Our task was to create a soundscape with a narrative using our objects. We had the idea to focus on the elements as we all had an object that could represent each one. From that thought we decided to bring in the Lunar calendar as Chinese New Year was approaching. This lead to a routine of:

fire

horse galloping

earth

water

horse galloping

wind

We relied on dynamics to bring the narrative to life and I felt this was successful as the idea was simple yet affective and lead the audience to use inference skills to think of their own story even if it didn't completely match up to ours.

(friday)

Feedback on our semester 1 assessment was available to us in the form of 1-1 tutorials with Lara on the Friday. I was very happy with the result of our group presentation which ranged from 75% to 80%. From the feedback given, it was difficult to see what to do next/ what steps were needed to improve our outcomes so when I asked for further guidance it was difficult for Lara and Sarah to articulate how to improve however it came across that if we were to do this project or similar again, we should come back together as a group at points throughout the project to reflect and collaborate even more. while there was constant reflection throughout our 6 weeks, actually sitting down and discussing what works and what doesn't could be majorly beneficial to ensure we are on the right path.

As for feedback on my self assessment, it was more obvious on how I could've improved. I think the main focus would be completion of my bog entries. Due to the actual self assessment lacking specifics and examples to back up my points, it was down to my blog to go into further detail and explain, in depth, what was meant in my assessment. I think having those last two weeks completed would've improved my grade significantly. While I scored 68% across my self assessments, I definitely think I could have done better and for future, if I used the prompts from the self assessment throughout my blog, I feel that my work would benefit greatly.

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sewkeyapoohstudioz · 2 years

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KEYA POOH STUDIO

A shopping plaza with all of these features in one !

The next best invitation after WOW Mart !

Home Office in Chattanooga TN

Beginning locations Nashville , Memphis , Tampa !!

It will be the Fortune 500 company of a life time !

A husband and several kids to share this trademark with !

#seamstress #fashion #singlemother #blackwoman #motheroffive #inspirational #shortstories

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lboogie1906 · 2 years

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Coleridge-Taylor Perkinson (June 14, 1932 – March 9, 2004) was an innovative composer whose interests spanned the worlds of jazz, dance, pop, film, television, and classical music. He was named after Afro-British composer Samuel Coleridge-Taylor. He attended the High School of Music and Art in New York City. After graduating from high school, he attended NYU. He later transferred to the Manhattan School of Music. He received a BA and a MA from the Manhattan School of Music. He studied at Princeton University. He was on the faculty of Brooklyn College and studied conducting in the summers in the Netherlands with Franco Ferrara and Dean Dixon and learned to conduct at the Mozarteum in Salzburg. He co-founded the Symphony of the New World and became its Music Director. He was Music Director of Jerome Robbins's American Theater Lab and the Alvin Ailey American Dance Theater. He composed a ballet for Ailey entitled For Bird, With Love. He wrote a great deal of classical music but was well-versed in jazz and popular music. He served as pianist for drummer Max Roach’s quartet and wrote arrangements for Roach, Marvin Gaye, and Harry Belafonte. He composed music for films such as The McMasters, Together for Days, A Warm December, Thomasine & Bushrod, The Education of Sonny Carson, Amazing Grace, Mean Johnny Barrows, and the documentary Montgomery to Memphis about Martin Luther King. He wrote incidental music for at least one episode of the TV show Room 222. His music has a blend of Baroque counterpoint; American Romanticism; elements of the blues, spirituals, and black folk music; and rhythmic ingenuity. #africanhistory365 #africanexcellence https://www.instagram.com/p/CeyFwnYujc6Q1ELmeBaVW3Tq1xdzYK7FziAV3g0/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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abiowens · 3 years

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Hi! I read somewhere that you develop and digitally scan your color 35mm film to a CD for $5, do you know what place does that? Do you do that yourself? (And if you do, are you willing to dev&scan mine?)

Hello friend! Sadly I do not develop or scan my color film myself. I’d love to, but just don’t have the space or time right now. I have previously used Memphis Film Lab and send my rolls to them to get developed and scanned and shared with me digitally (but I think they can also do a CD). Another place I’ve considered is State Film Lab. I’m sure other great ones are out there but those two seem very respectable and affordable! Good luck!

#photography #35mm #film photography #35mmfilm #Memphis film lab

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simonh · 8 months

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flickr

000048360019-edit by Simon Birky Hartmann Via Flickr: 04/08/2023 10:16am 1/60 f4 sand run park little stream

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analog-kyle · 4 months

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flickr

Nikon F3 | Ilford HP5

Website | Blog | Travel | Flickr | Prints

#ohare #cargo plane #film #film photography #airport #the airfield #nikon f3 #ilford hp5 #memphis film lab #flickr

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shannendoherty-fans · 3 years

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People, November 9, 1992

Nobody's Pussycat

By Tom Gliatto. Photos by Neal Preston.

Ever Outspoken, Shannen Doherty Defends Family Values, Her Turf on Beverly Hills, 90210—and Her Rowdy Reputation in Hollywood.

THERE ARE TWO ISSUES TO BE CLEARED UP HERE. Both of them are dear to the heart of Shannen Doherty, 21-year-old star of Fox's Beverly Hills, 90210, the Aaron Spelling high school hit that is now in its third season, one in which Doherty's character, Brenda Walsh—who might be described as Gidget with attitude—will break up with that lean-hipped rebel, Dylan (Luke Perry). First issue: Why has Doherty—alone among 90210 costars and teen idols Perry, Jason Priestley, Jennie Garth, Tori Spelling, Ian Ziering, Gabrielle Carteris and Brian Austin Green—come to be regarded as "difficult"? Like, is she, in contrast to the feisty but fairly civilized Brenda, one of those women who rhyme with rich? Is she, as the tabloids have gleefully reported, impossible on the set? Is she a prima donna? Also: After hours, does she party too much? And where was she being driven, in those recent tabloid photos, by rapper Marky Mark?

Second issue: What has become of the youngest of her dogs, a rottweiler named Jake? Doherty has arrived home, at her three-bedroom house in Beverly Hills, expecting to find golden retriever Sally gone (her dad was going to slop by to take her to the vet's), but now only black Lab Penelope is here to greet her. And why is there blood around the hack patio? Unnerved, Doherty phones her parents. No luck. She calls the vet. Gets the machine. Perhaps this is not the ideal moment for Doherty to sit down with a visitor and size up that delicate first issue. She chooses an armless chair in the living room and takes out a cigarette. She smiles, but it is not a happy smile, and her fingers shake as the match reaches the cigarette. "Yeah," she says, exhaling smoke with her sigh, "you've really caught me on a good day."

"People think I'm a bitch," she says with a shrug. "There was a group of four girls at Torrance High, when; we film the show, and they walked by and said, 'Oh, what a bitch!' You can walk away from that, but you really want to turn around and say, 'Why?' " She can give you a couple of whys, actually. "The tabloids make up stuff," she says. "Somebody will call [the tabs] up and say, They're yelling at each other on the [90210] set,' and they will turn around and make it 10 times worse," Doherty says. And maybe, she reasons, the tabloids pick on her. specifically, because "I'm a strong woman. There are still some people out there who can't deal with that."

Aaron Spelling, whose company produces 90210, describes her as "the best young actress I've seen in a long time," and has no problem with Doherty or her manner. "She is a very honest person who wears her emotions on her sleeve," he says. "If you ask her a direct question, she'll give you a direct answer." For instance, Doherty isn't afraid to tell friend, costar and daughter-of-the-boss Tori Spelling if she's wearing the wrong blouse. "Of all my friends, Shannen is the really honest one," says Tori, one of the few 90210ers who talked about her. Doherty's comments are "all meant in the best way," she adds. "But I can see [her reputation] hurts her feelings a bit." If so, Doherty is not about to expose her wounded heart in public. And why should she? Her image hasn't hurt her endorsement power (she does ads for Gitano jeans). "I'm not saying I don't have my moments of bitchiness," Doherty says, not defensively at all, "because everybody has them. But it's never for no reason. I think that life is short, you should live it and be happy. I've always been a ballsy kid," she adds. "I know it pisses some people off, but isn't the end result much better?"

In fact, Doherty, who won her first series role when she was 11 (she played Jenny Wilder on Little House: A New Beginning), thinks her "bitch" reputation started with 1989's cull black-comedy movie Heathers (in which she was one of the three nasty title teens). Doherty says she let a behind-the-cameras player on that film know, in no uncertain terms, that she didn't approve of an extramarital affair he was conducting with an extra. "It was the first time I actually saw somebody take advantage of the extras," she says. "He knew I disliked him, and he was the first person to call me a bitch." In the past year, though, she also earned the enmity of prince of sarcasm Dennis Miller when she appeared on his short-lived talk show and embarrassed him by teasing him for not being at ease. (Her photo, tacked up backstage, was subsequently defaced with a devil's horn and goatee.) And would Peter Duchow, who produced her recent TV movie Obsessed, like to work with Doherty again? "How much are you going to pay me?" he asks. He notes that she was late to the set several times ("Professionals," he says, "make an absolute effort to be on time") but then clarifies: "Like a lot of talented people, she has mood swings. Hers are perhaps a lot more exaggerated than others. And any 21-year-old is difficult to work with. She has to learn some lessons that everybody has to learn." Then there was the headline-grabbing flap at this year's Emmys show. The day before the ceremony, Doherty dropped out of presenting an award with John Stamos of Full House and 90210 costar Jennie Garth. "She was a colossal pain in the ass," says Walter Miller, who produced and directed the program. There have been numerous explanations of that pain. Initially a spokesperson said that she was suffering from bronchitis. Miller, who refers to Doherty as "a barracuda," thinks she was unhappy that Garth was given the opening line of Emmy dialogue—even though Doherty would have announced the winning name. But Doherty says she was upset that the entire 90210 cast was not given tickets to the ceremonies. "I just said, "This is ridiculous, our cast can't go,' " she explains. " 'I just don't understand that.' " Doherty's manager, Mike Gursey, says he yanked her from the telecast because "tiny" promises about her role, including what category she would present in, went unfulfilled.

Having offended the gods of Hollywood, though, the young "barracuda" arrived in tears al a luncheon the day of the Emmys, reports Aaron Spelling, "afraid even one would be mad at her." If so, it was a rare display of public insecurity from a young woman who, says her father, Tom, 48, "has always been self-assured." Shannen was born in Memphis, the younger of two children (her brother, Sean, 25, is a USC law student) and, on her mother Rosa's side, the latest in a long line of Southern Baptists. Shannen's conservative upbringing may have something to do with her public displeasure over 90210's Brenda's losing her virginity last year ("We have a whole cast that is sexually active," she complained in one interview); her disgust with that unnamed. womanizing Heathers crew member; and her August appearance at that feast of family values, the Republican National Convention, at which she led the Pledge of Allegiance. ("I don't think Clinton would be any different than Bush," says Doherty, a Jack Kemp supporter, "except maybe he'd do a hell of a lot worse.") Growing up in the male-dominated South, though, had its drawbacks. "I saw how women were treated," she says, "and I wasn't going to be treated like that." In fact, she seems to have a Scarlett O'Hara, I'll-never-go-hungry-again tenacity, developed after her family moved to the comfortable Palos Verdes neighborhood of Los Angeles when she was 6. Her father had bought a trucking firm, but within a few years the business collapsed. "Shannen has seen both sides of the coin," says her dad, now a mortgage consultant. "We lived in a prestigious area, with an ocean view. Then we had the rug pulled out from under us. There was a time when the doorbell would ring and it might be the utility man there to cut off the power." The experience seared Doherty. "People think, 'She's sitting up there in a nice house and has money,' " Shannen says of herself, suddenly irritated. "Somebody said that to me last night, and I got really pissed off. My parents went from having money to having nothing, to eating rice every single day."

As Tom Doherty's company was sinking, his daughter was getting into another business—acting. Initially, Shannen tagged along when Sean tried out for a church production. In short order, she went on to play Sneezy the dwarf in Snow White, also at church ("I hammed it up"), and by age 10 she was doing commercials for Pepsi. Her big break came in 1982, when she did a voice for the animated feature The Secret of NIMH. Then Michael Landon hired her for Little House. "That show changed my life," says Doherty. "Michael Landon was the one who said to me, 'Always slick up for yourself. Never let anybody walk all over you. Be a strong woman.' " The principal of the Baptist school she attended after her stint on Little House paid the price for Landon's advice. "I hated that school," says Doherty, her voice turning sharp again. "It was very repressed. They thought that dancing was evil, and I disagreed. I organized a big dance, and the principal called me in. He wasn't pleased. He had his Bible out there on his desk and told me how God would punish me. I flipped through his Bible and found references to people dancing and rejoicing. I said to him, 'It clearly shows they danced and rejoiced. Just what the f—is wrong with you?' " Her father had reservations about Shannen and show business, but he supported her in her fight at the school, which she left alter a year. She finished her studies at the Lycée Français, a private school in L.A. (by then, the family was back on its feet financially). "Shannen believed in something," says her dad, who didn't know beforehand about the prohibition on happy feet. "She did nothing wrong." The family was less approving when she left home at 18 and moved in with a 31-year-old boyfriend (who had told her he was 28). "I wanted so much to be on my own," she says now. "I wanted to prove I could do things myself". But the boy friend turned out to be involved with drugs. "And I tried drugs and drinking," says Doherty softly. "I was drinking up a storm. Cocaine was something that I tried and didn't really like. It was more the lifestyle I was into. Every single night I was out clubbing and drinking. It was a bad scene." This went on, she estimates, for six months and ended—with a shock—the night her boy-friend struck her. "I just remember one slap across the lace." she says, "and I was out of there." She went across the street to a convenience store, phoned her parents and went home. She has since bought and moved into her own place, but remains close lo her parents. She was there for her father in 1983 and again in 1990 when he suffered strokes (his right side is now slightly paralyzed). "She has done the single most important thing lo help my recovery," he says. "She makes me laugh." It was in 1986. while playing Kris Witherspoon on her second NBC series, Our House, that Doherty first caught the attention of an influential member of the viewing audience named Tori Spelling. Tori also liked Doherty in Heathers and recommended her to her father. Doherty got the 90210 job on a Wednesday, started work on a Monday, and now she's so famous she needs a dog to protect her when she goes jogging.

(The dogs! What about those dogs? Every time the phone rings, Doherty hops up and runs off to answer, only to return with a look of dejection—no news.) Doherty doesn't deny that she may have earned her reputation for being tough in the early days of 90210. "I always stood up for the right causes, but I don't think I was always diplomatic," she says. "But recently I have learned lo be diplomatic." That hasn't prevented the occasional on-set misunderstanding—like the time recently when the day's shoot ran past midnight and Doherty announced (with the producers' permission, she says) that it was time to go home. She suspects Jennie Garth may have resented that show of authority. "I don't think Jennie was very happy," she says. At any rate, she adds, their friendship has suffered—and the Emmy business didn't help. "There's some weird tension there," she says. "We haven't really talked about what happened. But Jennie is a great girl, and this is something that can be worked on." There are no complaints from Jason Priestley, who plays Doherty's brother, Brandon. "All of the stories about Shannen are so blown out of proportion," he says. "She's a very intelligent young woman who isn't afraid to speak her mind. I really enjoy working with her. We have a good relationship on-and offscreen."

For the past year, Doherty's primary offscreen relationship has been with Chris Foufas, 25, a Chicago-based real estate manager. They met through a friend of Foufas's (in fact, she was dating the friend at the time). They announced their engagement earlier this year, but now it has been called off. "He is a wonderful man whom I love very much," says Doherty, "but I'm 21, and it's not exactly the right time to gel married. Friendship has taken over the romance.' " Marriage hasn't been completely ruled out, she says. And "if he goes out with another girl, it's [only] because he's bored." Now as to the famous night on the town with Marky Mark. Doherty maintains that they were not on a date—it was just a friendly foursome that included 90210 costars Green and Spelling. Someday, Doherty may have her own rock-and-roll groupies to distract her. A big fan of U2, Guns N' Roses and Pearl Jam (she would love to meet lead singer Eddie Vedder), she enjoys toying with the idea of having her own band. The basic career plan, of course, is to land some movie roles alter 90210, but Doherty says, "I gel into these modes of sitting in my house writing poetry that could be converted into songs."

She pauses to light another cigarette and inhales, turning her head toward the sound of a car door slamming and the scuttle of approaching paws. Sally comes bounding in, and Tom Doherty enters carrying Jake, the dog's back paws wrapped in bandages. Shannen's father explains that when he arrived to take Sally to the vet, he found Jake in the pool. The pup had fallen in and was frantically clawing the pool trying to get out. "He looks so funny," Shannen says. "I'm so relieved!" She pats him on the head, and he regards her contentedly. You will never hear a bad word from Jake about Shannen Doherty.

*** 💜♀️International Women's Day♀️💜

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mushkhushshu · 8 months

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Patience is a Virtue, I Guess

yesterday i sent out three (3) rolls, so if things go well at memphis film lab, i will have some new pictures for my single lovely follower. i absolutely love the postal service - one of my favorite government entities - but god do i hate the post office. or at least big(ger) city post offices. so much pressure! such weird hours! whatever. here's the picture

The PIcture

this is a big rock at the same shore as the lighthouse picture. this is probably 80-90° to the left of where i took the lighthouse photo. this is the same exact setup as the last two pictures: pentax k1000, tamron telephoto, fuji 400. i just think this one looks really nice. the sea, the rock, the shadows, the wacky lens flare or whatever that is - i think it's neat. i think if i were to make a print out of a 35mm picture i took, it would probably be this one. i could sell it to beachside motels to hang in the rooms. anyway, there'll most definitely be another post or two from my backlog before i get those pictures back from memphis film lab.

#analog #photography #analog photography #more maine content

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redcarpetview · 5 years

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Academy Announces 2019-20 FilmCraft and FilmWatch Grant Recipients

LOS ANGELES, CA – The Academy Foundation of the Academy of Motion Picture Arts and Sciences announced today the 47 recipients of its 2019 FilmCraft and FilmWatch grants.

“The Academy’s Grants Committee is honored to continue to provide support and inspire generations of filmmakers new and old to connect the world through motion pictures,” said Marcus Hu, chair of the Academy’s grants committee. “We are confident the 47 organizations chosen to receive this year’s grants will leave a lasting impact on our society through their diverse and fresh perspectives.”

The Academy’s FilmCraft and FilmWatch grants were established to identify and empower future filmmakers from nontraditional backgrounds, cultivate new and diverse talent, promote motion pictures as an art form, and provide a platform for underrepresented artists. Grants range from $5,000-$20,000, and a total of $500,000 was awarded for the 2019-2020 grants year.

The grant recipient institutions and programs are as follows:

FilmCraft Grants

Bard College (New York, NY) – Creative Process in Dialogue: Art and the Public

Program will include a master class hosted by leading black American filmmakers Charles Burnett, Julie Dash, and Bradford Young, followed by a public dialogue featuring the filmmakers.

California State University, Los Angeles (Los Angeles, CA) – Women Making Film

Supports collaboration with Cal State LA’s Television, Film and Media Studies Department and the Canon Burbank facility where 10-12 female students will participate in a series of workshops and classes held at the Canon facility in which students receive hands-on experience and instruction.

Camden International Film Festival (Camden, ME) – Points North Institute Artist Programs

The 2019 Artist Programs, which include a fellowship, two residencies, an industry marketplace and conference, bring hundreds of documentary filmmakers and film professionals from diverse backgrounds to rural towns on the coast of Maine, providing unique opportunities for mentorship, education, networking and artistic inspiration.

Cine Qua Non Lab (Morelia, Mexico) – CQNL’s Script Revision Lab

Supports CQNL’s 2019 Script Revision Lab in English: a two-week intensive residency that will give 12 independent screenwriters from around the world the opportunity to develop their feature-length narrative scripts within a guided and supportive environment.

Creative Capital Foundation (New York, NY) – 2019 Creative Capital Artist Retreat

The Artist Retreat is a multi-day convening that provides career development and mentorship for a diverse group of Creative Capital artists, including powerful filmmakers, and pitch sessions for artists to present their projects to an audience of 200+ cultural influencers poised to advance their work.

Dreaming Tree Foundation (Rock Island, IL) – Fresh Films Career Path

Fresh Films Career Path engages diverse at-risk teens in Minneapolis, Chicago, Los Angeles and the Quad Cities in an eight-month filmmaking program that builds creative and technical skills through working on a film series.

Educational Video Center (New York, NY) – Youth Documentary Workshop

Youth Documentary Workshop (YDW) program is an afterschool and summer program that provides workshops for at-risk youth to shoot, edit, and produce short documentaries, followed by paid internships that provide opportunities to pursue careers in the film and television industry.

Film Independent (Los Angeles, CA) – Film Independent Producing Lab

The Lab is a high-caliber artist development program that supports up to eight diverse, innovative independent producers annually. Producers develop strategies and action plans to bring their selected narrative feature to fruition.

Independent Filmmaker Project (New York, NY) – Independent Filmmaker Labs

This unique, year-long free program provides education, mentoring, and essential industry connections to filmmakers throughout the country through completion, marketing, and distribution of their first feature films.

Indie Memphis Film Festival

Indie Memphis (Memphis, TN) – Black Creators Forum

A program of the Indie Memphis Film Festival that is designed to build a supportive community, provide educational opportunities, and new productions for black filmmakers.

Inner-City Arts (Los Angeles, CA) – Inner-City Arts’ Animation & Filmmaking Workshops

The Animation and Filmmaking Workshops will provide 90 underserved high school students with 20 hours of high-quality arts instruction. Workshops will take place in our fully equipped media arts studio and will be taught by professional Teaching Artists, practicing artists who have experience working in the creative industry.

Jacob Burns Film Center (Pleasantville, NY) – Creative Culture Artists-in-Residence Program

Creative Culture is a fellowship and residency program that fosters a diverse community for emerging and established filmmakers in the region, across the country and around the globe. Funds will support two JBFC series-focused Artists-in-Residence, such as Global Watch, REMIX (The Black Experience in Film), Contemporary Arab Cinema.

Leap, Inc. (Brooklyn, NY) – Production Assistant and Post Production Training Programs

Program seeks to bridge the skills gap for underrepresented individuals from low-income communities, increasing their access to careers in the television and film production industry.

Maysles Institute (New York, NY) – Community Producers Program

The Community Producers Program (CPP) is a 16-week hands-on documentary production and outreach program for justice-involved young adults, ages 18-24, who are interested in building community, engaging in personal development, and gaining healing and leadership practices through documentary filmmaking.

Montclair State University Foundation (Montclair, NJ) – Intensive Craft Seminars

The seminars, focusing on below-the-line crafts like sound design, foley artistry, production design, and camera work, will give students from underserved communities access to and experience with professionals in the industry that they otherwise would have difficulty accessing.

San Francisco Film Society (San Francisco, CA) – SFFILM Doc Talks

Doc Talk workshops provide documentary filmmakers with artistic guidance and build practical filmmaking skills.

Scribe Video Center (Philadelphia, PA) – Film Scholars

Film Scholars is a series of documentary filmmaking courses focusing on planning/scripting, production management, production and editing that will provide a cohort of emerging and mid-level artists from groups traditionally not represented in commercial media with the skills to complete new documentary works.

Southern Documentary Fund (Durham, NC) – 2019 SDF Artists Convening

The Artists Convening is a three-day gathering that offers workshops, mentorship, networking, and other opportunities for Southern media-makers to develop their craft and build vocational infrastructure for film in the South.

Toronto International Film Festival (Toronto, Canada) – Filmmaker Lab 2019

The Filmmaker Lab program provides intensive professional development, including workshops, networking and coaching opportunities with internationally acclaimed filmmakers, for emerging and diverse directors during the 2019 Toronto International Film Festival.

UnionDocs, Inc. (Brooklyn, NY) – Union Docs Labs

The labs enhance artistic vision, offer practical knowledge of the field, provide significant professional development, bolster writing and technical skills, and ultimately advance the participants’ creative documentary projects for 36 emerging and mid-career filmmakers.

Visual Communications (Los Angeles, CA) – Armed with a Camera Fellowship

Program helps emerging Asian American Pacific Islander filmmakers to create new and original work.

Youth FX, Inc. (Albany, NY) – NeXt Doc

The NeXt Doc program amplifies the voices of emerging nonfiction filmmakers of color by providing access to training from established documentarians in the field.

FilmWatch Grants

African Film Festival (New York, NY) – 50 Years of FESPACO

Program is a commemoration of the 50th anniversary of the venerated Panafrican Film and Television Festival of Ouagadougou (FESPACO). We will present a series of five events examining the legacy of this landmark festival.

American Museum of Natural History (New York, NY) – 2019 Margaret Mead Film Festival

Funds will support community outreach and support participation by documentary filmmakers and film subjects.

Anthology Film Archives (New York, NY) – The Cinema of Gender Transgression

Supports an ongoing series that explores the ways cinema has intersected with the experiences, struggles, and ideas within the transgender community by showcasing historical films that have explored the concept of gender transgression, and contemporary works emerging from the transgender community.

Ashland Independent Film Festival (Ashland, OR) – The Pride Award Series: Queer Intersectionality

The “Pride Award Series: Queer Intersectionality” will be programmed by internationally renowned film critic B. Ruby Rich, recipient of our 2019 Pride Award. The series of screenings and conversations will call attention to artists and films that highlight productive and combustible intersections of race, class, gender, and sexual preference.

Asian American International Film Festival (Brooklyn, NY) – Beyond Representation

“Beyond Representation” is a 10-day series of screenings, panel discussions and readings, analyzing the impact of Asian-led films, exploring the relationship between Asian Americans and other communities, dissecting the impact of recent immigration restrictions, and forging visions for the future.

Azubuike African American Council for the Arts (Davenport, IA) – Film and Conversation Series: The LA Rebellion

The series will feature 12 L.A. Rebellion films, including on-site presentations by filmmakers Charles Burnett, Julie Dash, Haile Gerima and Zeinabu Irene Davis.

Big Sky Film Institute (Missoula, MT) – Native Filmmaker Initiative

The Native Filmmaker Initiative (NFI) elevates Indigenous artists, brings Native stories to diverse audiences, and educates youth about contemporary and historical Indigenous issues through nonfiction film. The initiative includes the Native Filmmaker Fellowship, Native Voices festival programming, and educational outreach.

Black Harvest Film Festival (Chicago, IL) – Spotlight on Emerging Filmmakers

Spotlight on Emerging Filmmakers will focus on acknowledging first-time filmmakers of African descent or those who have created no more than three films (shorts or feature-length).

Brooklyn Academy of Music (Brooklyn, NY) – Expanding the Frame

Expanding the Frame is designed to amplify marginalized voices within the dominant cinematic narrative. This year-long program will challenge hegemonic perspectives by highlighting important, though often overlooked, artists in American and international film.

California Institute of the Arts (Valencia, CA) – Jack H. Skirball Screening Series at REDCAT

The Jack H. Skirball Screening Series will feature today’s most adventurous independent filmmakers, rarely seen cinematic landmarks, and festivals devoted to topics in world cinema during the 2019/20 season.

Canyon Cinema Foundation (San Francisco, CA) – Canyon Cinema Discovered

Canyon Cinema Discovered is a platform for engaging new audiences in experimental cinema. A diverse group of curators will be selected to explore Canyon Cinema’s unique collection, resulting in a nationwide programming initiative.

Chicago International Film Festival (Chicago, IL) – Spotlight: Architecture+Space+Design

The Spotlight: Architecture+Space+Design Program will showcase the less visible craft of production design by highlighting the work of a diversity of designers and by examining how world-building in film reflects and informs real-world architectural and social structures.

Chicago Latino Film Festival (Chicago, IL) – Educational & Outreach Programs

Educational & Outreach programming during the 35th Chicago Latino Film Festival will include Q & A sessions with filmmakers; free student matinees; and film screenings at community venue partners

Cleveland International Film Festival (Cleveland, OH) – To Be Continued: Focus on Women Filmmakers

To Be Continued supports and encourages the female voice in film and aims to create more equity and diversity in the film industry.

Facets Multi-Media, Inc. (Chicago, IL) – Reels on Wheels

Reels on Wheels will present award-winning films from the Chicago International Children’s Film Festival to the West and South sides of Chicago – urban, low-income areas which are virtual movie deserts. A primary focus is to re-establish the concept of a neighborhood movie house as a platform for community engagement.

Film Forum (New York, NY) – Decolonize the Screen, 1964-1979

This 2-3-week May 2019 series will present 25-30 rarely screened, 16mm and 35mm documentaries and narratives – produced primarily in Africa and Latin America – that chronicle liberation struggles, explore colonial legacies and eschew Western cinematic conventions.

The Film Society of Minneapolis-St. Paul (Minneapolis, MN) – Cine Latino

Cine Latino, the Upper Midwest’s only showcase of Spanish-language cinema, puts a spotlight on and gives voice to the stories of Minnesota’s largest immigrant group – native Spanish-speakers from many cultures and countries.

GALA Inc. (Grupo de Artistas LatinoAmericanos) (Washington, DC) – Community Engagement: From the Street to the Screen

Support for GALA Theatre’s international film festival featuring contemporary Latin American films with provocative content and innovative techniques. Funding will allow for expanded community programming to engage audiences in vibrant cross-cultural exchanges with emerging Latin American film directors, producers, and actors.

Indigenous Showcase (Seattle, WA) – Indigenous Showcase

Indigenous Showcase provides community screenings of Indigenous-made films and educational opportunities in filmmaking.

International Children’s Media Center (Chicago, IL) – Global Girls & WorldScene Film Immersion Residencies

The Global Girls/WorldScene Residency & Film Festival is an immersive 16-week curating and filmmaking program for at-risk youth that culminates in a high-profile festival of top-tier independent films. By jurying high-quality international films, participants in jails, shelters and care agencies gain important job skills, self-esteem and personal agency.

International Film Seminars (New York, NY) – Flaherty Seminar

The Flaherty Seminar, held every June, brings together filmmakers, curators, educators, students, and film lovers to participate in an intensive, intimate experience that obliterates traditional barriers between makers and audiences.

Morelia International Film Festival (Morelia, Mexico) – First Nations Forum

The First Nations Forum 2019 will consist of a four-day workshop, a panel, and two programs of shorts showcasing the work of eight Indigenous women directors from different regions of Mexico.

ReelAbilities International Film Festival (Multiple Cities) – Enhancing Accessibility Options

Support provides open captioning and audio description for approx. 30-35 films that will screen to 30,000+ audience members attending 19 ReelAbilities Film Festivals throughout North America

Roger Ebert’s Film Festival (Urbana, IL) – Diversity in Film

The Diversity in Film Program will strengthen our commitment to show a series rooted in inclusivity and that expands and extends conversations about understanding, tolerance, and diversity with an underserved community rarely exposed to such films.

San Diego Latino Film Festival (CA) – ¡Que Viva La Raza! Chicano Legacies in Film, Then and Now

A multidisciplinary and dynamic celebration of Chicano cinema. Through this showcase, a road map (and preservation initiative) of Chicano history will be created using films released during the height of the Chicano Movement and the present.

The Academy’s Grants program provides financial support to qualifying film festivals, educational institutions and film scholars and supports the Academy’s overall mission to recognize and uphold excellence in the motion picture arts and sciences, inspire imagination and connect the world through the medium of motion pictures. The Academy Grants program has awarded more than $12,000,000 to non-profit institutions and film festivals.

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