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  • Applications to the Jerusalem International Film Lab now Open

    Deadline: 1 May 2011

    The Jerusalem International Film Lab

    The Sam Spiegel Film & Television School-Jerusalem, founded by the Israeli Ministry of Education and Culture and the Jerusalem Foundation, has initiated an international film lab to foster the writing of full-length feature films by the world’s most promising talents. The lab will be launched in cooperation with the Israeli Ministry of Culture - Cultural Administration, the Jerusalem Film and Television Fund of the Jerusalem Development Authority, and the Israel State Lottery- Mifal HaPayis Council for Culture and the Arts, with the participation of the Jerusalem Foundation, the Israeli Ministry of Foreign Affairs, The Sam Spiegel Foundation, Mishkanot Shaananim, the Kronhill Pletka Foundation, the Israel Film Fund, the Jerusalem Film Festival, and the French Institute of Tel Aviv.

    The Jerusalem International Film Lab will cultivate tomorrow’s filmmakers to produce quality full-length feature films to stand at the vanguard of international cinema, while positioning and bolstering Israel’s contribution to the international cinema realm.

    Each year, for a period of seven months, The Jerusalem International Film Lab, assisted by world-class script editors, will accompany 12 (Writing directors, or alternatively, directors who work with a scriptwriting partner) directors in creating their first or second full-length film. The mentoring process of writing and discussion will take place in Jerusalem, within both individual and group formats, in addition to on-line Internet contact throughout the entire period of writing.

    Every year, 12 promising young filmmakers (8 from across the world, 4 from Israel) will be accepted to the Film Lab. The selected participants will arrive in Jerusalem’s Mishkenot Shaananim (www.mishkenot.org.il/en) for two periods of writing and discussion: the first for 11 days, and the second for a six-day duration. During their stay, they will meet with four of the world’s leading script editors, who will share their professional insight and skills in helping the young writers realize the top potential of their story-line and script. Moreover, the participants will receive feedback from their own colleagues as well. During the period between the scheduled Jerusalem-based Film Lab activities, the writers will continue their scriptwriting endeavors, remaining in ongoing Internet contact with their script editors, as well as advancing in the film production process upon the entry of a producer.

    During the third stage, only those participants (no less than eight) whose films have been chosen by the Film Lab to be those most fit for production will arrive in Jerusalem, in order to present their scripts before Film Lab’s panel of international judges, within the framework of the Jerusalem Film Festival http://www.jff.org.il/?cl=en .The panel of judges will select two exemplary projects, which will be awarded production grants to enable production of the scripts.

    The selected participants and their upcoming films will attract international attention amongst producers, international and Israeli film funds, co-production markets, pitching points, and leading international festivals.

    The annual budget of the Jerusalem International Film Lab is approximately $350,000.

    The sum of the prizes is approximately $80,000.

    Attached are the bylaws of the Jerusalem International Film Lab, which contain additional data regarding the activities and the schedule of the Film Lab, as well as the process of selecting candidates.

    The Acceptance Process

    The Film Lab will accept candidates from Israel and internationally via two different means:

    1. Internationally, the Film Lab will make an outreach to leading institutes and figures in cinema education and industry to refer suitable candidates. Simultaneously, the Lab will draft scouts from across the world to identify promising candidates who meet the qualifications for acceptance.

    Matthieu Darras: matthieudarras@yahoo.com
    Isabelle Fauve: isabelle.fauvel@initiativefilm.com
    Violeta Bava violetabava@bafici.gov.ar

    2. In Israel, the Film Lab will release a Hebrew-language announcement, to appear on the website of the Sam Spiegel Film & Television School-Jerusalem, which will also appear in the Israeli press and be distributed via the networks of Israeli professional filmmaker organizations (the Producers’ Guild, the Directors’ Guild, the Scriptwriters’ Guild, and more). The announcement will include an open call for registration.

    Schedule 2011-2012

    December 1-10, 2011: Film Lab Opening, first stage (11 days), Mishkenot Shaananim, Jerusalem

    March 4-9, 2012 : Second stage (6 days) Mishkenot Shaananim, Jerusalem

    July 5-9, 2012: Third stage (4 days) During the Jerusalem International Film Festival.

    Obligations of the Jerusalem International Film Lab

    1.The Film Lab will work towards the betterment and the advancement of the selected projects, assisted by first-class international script editors, within a seven-month work process. The personal voice of each participant will be placed at the crux of all endeavors.

    2.The Film Lab will accompany the selected participants and assist them in the process of preparation towards the presentation of the films before a panel of judges of the Film Lab, within the framework of the Jerusalem International Film Festival (“pitching”).

    3.The Film Lab will work towards the betterment and the advancement of the feasibility of production for the selected projects, via the awarding of production grants.

    4.Throughout the entire duration of the Jerusalem-based activities, the Film Lab will fully host the Film Lab participants from across the world and from Israel, and will provide flights, transportation, lodging and board (breakfast and lunch: full meals; dinner: partial meal).

    5.Throughout the period of activities in Jerusalem, the Film Lab will make suitable workspaces available for use by the participants and the editors.

    6.The Film Lab will act to maintain ongoing contact between the participants and the script editors during the non-Jerusalem-based work periods.

    7.The Film Lab will publicize its activities and that of its participants within the international trade media, amongst international film funds, at “pitching” events throughout the world, and more. At the closing ceremony, the Film Lab will produce a commemorative brochure featuring the participants and their projects.

    8.The Film Lab will act to advance the projects towards preparing the scripts for additional “pitching” stages in international festivals.

    9.The Film Lab shall retain no rights whatsoever to the scripts which it develops. However, the participant will be obligated to award proper credit to the Film Lab, as further stipulated.

    Obligations of Participants

    1.The writer pledges that he or she possesses a script for a full-length film, which he or she wrote or was a full partner in writing; that he or she possesses full copyrights to the script, and possesses the ability to develop it independently, or with the assistance of a scriptwriting partner.

    2.Participants in the Film Lab are obligated to make themselves fully available for all activities of the Film Lab for a period of seven-and-a- half months, as detailed in the schedule of activities appearing in this document, or with any reasonable changes made to the said schedule.

    3.Film Lab participants will maintain full secrecy in all that relates to their work in the Film Lab, including details of the scripts of additional participants.

    4.Film Lab participants understand that the work process in the Film Lab demands full cooperation with the script editors and the Film Lab administration, adherence to the time schedule and to the regulations, and a full obligation to strive towards the common process with diligence, depth, and a positive spirit.

    5.Film Lab participants pledge to refrain from participation in other writing workshops/labs which conflict with the schedule and the work process of the Film Lab and the writing of the scripts, unless with the approval of the Film Lab administration.

    6.Film Lab participants understand that all activities of the Film Lab will be carried out in the English language. Film Lab participants are personally responsible for any and all translation expenses incurred in the projects/presentation material/previous films.

    7.Film Lab participants will make English-language publicity information available to the Film Lab administration, including a curriculum vitae, still photos, and excerpts from previous films. The Film Lab reserves the right to use this information in its publications and towards advancing the participant. Film Lab participants agree to be interviewed on their work, within the framework of the Film Lab.

    8.The participants will take part in a wide range of activities of the Film Lab’s work, including feedback on their colleagues’ scripts, meetings with members of the Israeli film industry, film students from Israel and the world, critiques on Film Lab activities, and more.

    9.Film Lab participants (and no fewer than 8) whose scripts are selected by the Film Lab as those most fit for production, will reach the third, concluding stage of presenting the scripts before a panel of judges at the Jerusalem International Film Festival, while accompanied by a producer who is affiliated with a known, reputable production company. Expenses incurred in the air travel of the producer, his lodging and meals will be borne by the producer/production company, and in no way whatsoever by the Film Lab. The director and producer will present the panel of judges with details of the film’s budget and initial or advanced funding sources.

    10.If their film reaches production, Film Lab participants pledge to grant credit to the Film Lab within the body of the film. In the opening credits, it will be noted “Script developed in the Jerusalem International Film Lab, founded by the Sam Spiegel Film & Television School-Jerusalem,” and in the ending roller, a similar frame will appear, which also lists the names of the supporting entities, as provided by the Film Lab. Moreover, the production will note the development of the script at the Film Lab in all film publicity, including all spin-off products from the film, should they be created (books, plays, and the like), and in any existing or future media.

    11.In the event that a participant chooses to cancel his participation in the Film Lab up to two months prior to the commencement of the Film Lab’s activities in Jerusalem, the Film Lab will not demand a cancellation fee, and his or her place will be given to a participant on the waiting list. A participant who cancels his or her participation less than two months prior to the opening, for reasons which are deemed unjustified by the administration of the Film Lab, will be required to pay a fee of $10,000 to partially cover expenses incurred by the cancellation of his or her participation.

    12.The administration of the Film Lab is authorized at any stage to cease the activities of a participant who does not meet all the conditions, or who was unable for any reason to work within the framework of the Film Lab, to maintain its scheduled timetable, and/or to advance in the writing of the script and/or to perform in the spirit of the Film Lab.

    13.A participant who ceases his participation in the Film Lab upon his own decision will be held liable for the full expenses of his or her travel arrangements, lodging, meals and salary for his or her editor, up to the point of cessation.

    Eligibility and Definitions

    Applications to participate in the Jerusalem International Film Lab are eligible for submission by writing directors(A director who does not serve as the sole scriptwriter of the project is allowed to invite his scriptwriting partner to the Film Lab, upon advance approval by the Film Lab staff. All expenses of the participation of this scriptwriter will be borne by the director or his representative.), whose age at submission of the project does not exceed 40 years, who are within the process of working on their first or second full-length film, and have directed at least two short films or a television drama or documentary film, or an episode in a television series (two from any of the above), whose production has inspired international and/or local attention.

    A candidate who has directed only one short fiction film which has attracted international
    attention is eligible to apply for acceptance to the Film Lab. The Film Lab is entitled to separately examine exceptional cases such as this and others.

    The filmmaker declares that he or she possesses the script for a full-length film, which he or she wrote or was a full partner in writing; that he or she possesses full copyrights to the script, and possesses the ability to develop it independently, or with the assistance of a scriptwriting partner.

    Israeli and international Film Lab projects that meet the qualifications of the Jerusalem Film Fund (www.jerusalemfilmfund.com) will also be eligible to receive a cash award from the Fund upon reaching the third stage Film Lab “finals.” Film Lab prize winners are automatically eligible to submit their project directly to the Film Fund’s “production package” for investment in the production, according to the Fund’s regulations.

    Each candidate is eligible to submit one project per year.

    Priority will be given to candidates who are presently in the first stages of production (i.e., have acquired a known production company, and/or public and/or private investors, previous participation in local or international “pitching” events, and the like).

    Schedule and Selection Process

    The process of identifying suitable candidates will be carried out by scouts, along with a simultaneous call by the Film Lab administration for additional referrals. Candidates’ applications for participation will commence registration process on February 27, 2011 and close on May 1,2011.

    Presentation kits will be submitted according to the regulations described further, in quadruplicate printed copies as well as one digital copy on disk. Previous works will be submitted in DVD formats, with English-language subtitles appearing on the films.

    At the first stage, the Selection Committee will review all of the applications.

    Sixteen to 20 of the projects chosen by the Selection Committee will receive notice no later than June 20, 2011, that they have passed entry to the second stage.

    Those who enter the second stage are required to provide a full-length script in English, according to the submission regulations detailed further, within three weeks of receipt of the notice.

    Candidates will receive final answers no later than July 17th.

    From the moment the notice of acceptance to the Film Lab notice has been received until November 1, 2011, the participant will work to provide an additional version of the script in English. This version will be remitted to the editor designated to the project prior to the opening of the Film Lab.

    The Film Lab administration will arrange the “matching” between the participant and the script to a designated editor.

    “Presentation Kit”

    Bound folder (spiral or glued) containing these English-language application documents:

    (13 font, Times New Roman or Courier New, 1 ½ -spaced)

    The folder will include four printed copies and a fifth copy in a DVD/CD format. All five copies must be identical, and each must include all of the following details:

    1. Curriculum vitae of the applicant’s professional background (or where applicable, of the scriptwriting partner) (Up to two pages)

    2. Application forms—details on the applicant including a written consent to the conditions set by the Film Lab, as updated until the application date

    3. Detailed English-language synopsis (up to 10 pages, Times New Roman or Courier New, 1 ½ -spaced)

    4. Premise (up to five lines)

    5. Characters page

    6. Two short films or a television drama or a documentary film or an episode from a television series (two from the above list) that were directed by the applicant, with English translation within the body of the film (DVD format only)

    7. In the event that the story upon which the script is based is not original, it is required to attach a document approving the use of the original composition

    8. An appendix of productions, including details on the producer and/or production company and/or funding (if existing) and an outline of the film’s budget (up to two pages)

    The Script

    Applicants are to submit a script that is 100-120 pages in length, in English. The script should be prepared with the use of script writing software, or according to the following regulations:

    1. Desired font: Times New Roman or Courier New, English-language

    2. Font size: minimum 13

    3. Numbering of scenes: outside the margins

    4. Space between lines: single-space

    5. Width of “descriptive paragraph:” between 0 to 15

    6. The first instance in which a character appears in the script, the name of the character will be bolded. In addition, a brief description of the character (age, short characterization) will be provided

    7. The name of the “speaking character” will be written at a location of 6.5 (and bolded)

    8. Dialogue lines will appear without space following the line in which the character’s name appears. Width of dialogue between 3 to 12 (not centered)

    9. If there is a “description” that relates to the dialogue, it will appear within parentheses and at a width of ‘5’ to ‘10’ (not centered)

    10. It is preferable not to “cut” dialogue or a description at the end of the printed page

    11. Pagination will appear centered at the bottom of the page

    General

    The Sam Spiegel Film & Television School-Jerusalem and/or the Jerusalem International Film Lab reserve the rights to change at any time, even during the operation, the conditions of participation and/or any other detail, including the cancellation of the entire project or parts of it thereof.

    Opening of Registration for the Jerusalem International Film Lab 2012-13, Class #2:

    Registration for the second class of the Jerusalem International Film Lab 2012-13 will commence on November 2011. Full details will be publicized on the website.

    For questions/clarifications- Avishay Kahana: jifl@jsfs.co.il

  • 2011 Africa in Motion Short Film Competition

    Deadline: 15 May 2011

    AiM 2011 SHORT FILM COMPETITION

    Call for Submissions to the 2011 Short Film Competition

    African filmmakers are invited to submit short films of no longer than 30 minutes for Africa in Motion’s prestigious annual short film competition, to which a substantial cash prize is attached.

    The competition specifically targets young and emerging African film talent; filmmakers who enter must not have completed a feature-length film previously. We call for short films on all themes and of all genres (including fiction, documentary, animation and experimental work) completed in 2009 or later. The aim of Africa in Motion’s short film competition is to nurture and support young and new filmmakers from all over the continent in the knowledge that making films can be a real challenge and we hope that the prize will be invested in future projects by the filmmaker.

    A shortlist from all the entries will be announced by the end of August 2011. A high profile jury of local and international film specialists and established African filmmakers will choose the competition winner, to be announced during the festival (27 Oct to 6 Nov 2011).

    All shortlisted films will be screened at the festival. In addition to the overall winner selected by the jury there will be an audience choice award announced at an awards ceremony at the end of the festival in November 2011. Please read the complete guidelines and regulations carefully before submitting your film.

    Please post the following by 15 May 2011:

    □ 3 copies of the film on DVD

    □ 3 copies of the entry form, completed and signed

    □ promotional material (press pack, stills, trailer etc.) on CD

    Send to:

    Africa in Motion Film Festival
    6 East Bay
    North Queensferry
    Fife KY11 1JX
    UNITED KINGDOM

    The deadline for short film competition entries is Friday 15th May 2011. Please read the full submission guidelines and regulations below, and to download the entry form, scroll down.

    AFRICA IN MOTION SHORT FILM COMPETITION: SUBMISSION GUIDELINES AND REGULATIONS

    We accept entries from all filmmakers of African nationality working in Africa or abroad. We prioritise directors who are African nationals because we wish to specifically promote indigenous African cinema and to encourage and support African filmmakers. Under ‘Africa’ we regard all countries on the African continent, plus the islands surrounding the continent: Madagascar, Mauritius, Reunion, Seychelles, Canaries, Cape Verde, etc.

    We are particularly interested in giving exposure to young, emerging African filmmakers living and working in Africa. To this end, filmmakers who enter a film for consideration must not have completed a feature-length film previously.

    Films entered can be of any theme or genre; fiction, documentary, animation or experimental, and shot in any format.

    Only recent films directed by filmmakers of African nationality will be accepted. The film must have been completed in 2009 or after and could have been screened on television, at festivals and in cinemas previously.

    Films should be no longer than 30 minutes.

    We will only accept films in English or with English subtitles (the dialogue could be in any language). Participants are responsible for all translation and subtitling.

    Viewing copies should be on DVD (any region). All films submitted should be accompanied by a completed entry form and all viewing copies should be clearly labeled with the title of the film and name of the director. Please submit three DVD viewing copies as well as three copies of the completed entry form.

    Viewing copies and promotional materials submitted cannot be returned to the sender and will be stored in our festival archive. These are kept exclusively for research and non-commercial purposes. Africa in Motion has the right to digitise or duplicate films for internal usage and press purposes.

    All deliveries from outside the European Union should be marked with the phrase “no commercial value – for cultural purposes only”. Applicants are responsible for the cost of posting the entry forms and viewing copies to us. Please note that packages arriving with outstanding courier or custom fees will be refused by the festival office.

    The completed entry forms and viewing copies should reach us not later than 15 May 2011. There is no entry fee. Likewise, Africa in Motion will not pay any screening fee for selected short films to be screened in the festival.

    We welcome stills, press releases and other promotional materials to accompany entries, which we might use for promotional purposes. These materials can be sent on CD with the DVDs and entry forms. Digital stills can be emailed to submissions@africa-in-motion.org.uk with the title of your film in the subject box. Digital stills submitted should be in JPEG format and must be at least 300 dpi and no less than 500KB.

    By submitting your film to the Africa in Motion short film competition, the copyright holder of your film authorises the festival to make clips of a maximum of three minutes available on online broadcast channels (such as the Africa in Motion tv channel and other online channels affiliated to the festival). The purpose of this is solely to promote the festival and your film.

    We will contact all applicants at the end of August 2011. If your film is shortlisted we will get in touch with you to arrange for a screening copy to be sent to us. Screening copies should be on a professional exhibition format such as Betacam SP, Digibeta, DV CAM or HD CAM. Participants are responsible for the cost of sending the screening copies to the festival by courier. The festival will cover the cost of returning/forwarding screening copies. The distributor of the film agrees to work with the festival organisers and the staff at Filmhouse cinema in order to ensure the timely transport of the film before the festival. Only copies in a good state of projection will be accepted.

    The director and the beneficiaries of the submitted film undertake not to withdraw the film from the competition as of the announcement of the festival programme in September 2011.

    Africa in Motion wishes to promote, support and accompany a selection of the short films on a touring programme in the UK immediately following the main festival in Edinburgh. The festival has the right to screen these films free of charge on the Tour, and undertakes to inform the director and producer of the film in advance.

    Please note that the only competition strand at this year’s festival is the short film competition. Films submitted for the feature-length programme will be outwith competition.

    Three copies of the completed entry forms, three viewings copies on DVD and a CD with promotional materials should be posted by 15 May 2011 to:

    Africa in Motion Film Festival
    6 East Bay
    North Queensferry
    Fife KY11 1JX
    UNITED KINGDOM

    If you have any queries regarding the submission guidelines and regulations, please email the festival directors Lizelle Bisschoff and Stefanie Van de Peer at submissions@africa-in-motion.org.uk.

    To enter, please download, print and complete the 3-page entry form: PDF or Word

  • National Geographic Multimedia Grant for Minority-Culture Storytellers

    National Geographic Multimedia Grant for Minority-Culture Storytellers

    Deadlines: 15 June 2011, 15 September 2011, 15 December 2011

    National Geographic's All Roads Film Project

    A MULTIMEDIA FESTIVAL AND GRANTS PROGRAM CREATED TO PROVIDE A PLATFORM FOR INDIGENOUS AND UNDERREPRESENTED MINORITY-CULTURE STORYTELLERS.

    All Roads Seed Grants

    The Seed Grant Program funds film projects from indigenous and underrepresented minority-culture filmmakers year-round and from all reaches of the globe. The program awards up to 16 film projects annually with grants ranging from $1,000 to $10,000. Submission deadlines are quarterly on the 15th of each March, June, September and December. All applications must be received in the National Geographic All Roads office no later than midnight Eastern Standard Time on each of the quarterly due dates. If the due date falls on a Saturday or Sunday Eastern Standard Time, then applications are to be received in the National Geographic All Roads office no later than the Friday before the 15th of that particular quarterly due date.

    SEED GRANT APPLICATION REQUIREMENTS

    1. All submissions must be written in English.

    2. Submit a one-paragraph synopsis, a treatment, and describe how the Seed Grant will result in a tangible completed work (e.g.: fully produced documentary or film, short promo for the project; a treatment; etc).

    3. Submit a proposed All Roads Seed Grant budget in U.S. dollars itemizing the amount requested ($1,000 - $10,000). Also provide the full production budget on a separate sheet.

    4. Submit a narrative paragraph on why you have chosen a specific cultural identifier, for example, Native American tribal affiliation, Tibetan refugee, Masai, and what that identifier means to you. If you do not come from a minority culture or indigenous community, please submit documentation that you have been designated to speak for such a culture or community.

    5. Submit a short bio and a resume including any institutional affiliation, current position and educational degrees.

    6. A complete Application Form, including the Festival Rights Form (see below), is required for consideration.

    7. Submit a production timeline or schedule indicating deadlines that move the production to completion.

    8. Grant applicants must provide documentation that they are actively soliciting all necessary rights, licenses, clearances and releases necessary for exhibition of their finished works at the All Roads Film Festival screenings, promotional opportunities and events.

    9. Applications will only be reviewed once all required materials have been submitted.

    10. When the project is completed, awardee will provide a copy of the project to All Roads Film Festivals in the project’s final cut.

    ELIGIBILITY

    This grant is open to indigenous and underrepresented minority-culture filmmakers, as well as filmmakers who can demonstrate that they have been designated by indigenous or minority communities to tell their story.

    HOW TO APPLY

    To apply for an All Roads Film Project Seed Grant, you must complete and submit the Application Form (below) as well as the information and items listed under, Application Requirements (above) to, All Roads Seed Grants, National Geographic, 1145 17th Street, N.W., Washington, D.C. 20036; or submit your application with attachments via email to allroads@ngs.org, Subject: All Roads Seed Grant Application.

    For additional information, call 202.857.7660 or email at allroads@ngs.org.

    GRANT RESTRICTIONS

    All Roads Seed Grant funds must be used toward the development and production of a feature film, long documentary, short documentary, shorts, animation or music video. These grants are intended to function as primary or secondary support for your film project. They may be used for equipment, travel for field research, editing time, etc. ENTRANTS MAY SEEK SUPPLEMENTARY FUNDS FROM OTHER ORGANIZATIONS.

    As a condition of the grant, you are required to provide an accounting of moneys spent. Awardees must send updates to All Roads at least every three months.

    This grant MAY NOT be used for indirect costs, overhead, and other expenses not directly related to the development and production of a film project. Funds MAY NOT be used for travel to film/media-related meetings or conferences, legal actions, land acquisition, endowments, fees or salaries. (For clarity, the monies may not be used for “above the line” costs). Further, the monies must be spent as specified in the budget form.

    GRANT TERMS

    NGS shall have the right but not the obligation to present the finished works at the All Roads Film Festival after the completion of the work. Therefore, it is required to submit a signed copy of the Festival Rights Form, attached to the Seed Grant Application. If NGS chooses not to premiere the film project, NGS will release those rights to you and you may exploit them as you wish, subject to the credit requirements listed below.

    As a condition of the grant, you give to National Geographic the exclusive, irrevocable option to premiere your film project at a National Geographic All Roads Film Festival. Grant recipients are expected to provide National Geographic Society and its affiliates or subsidiaries with the right of first negotiation and last refusal to license the broadcast and distribution rights to their film project.

    Further, if the film project is included in a All Roads Film Festival, you will be required to provide documentation that all necessary rights have been cleared for the contemplated uses. Attached is a sample personal release that must be used is order to demonstrate that rights have been cleared.

    Grant recipients MAY be offered the opportunity to screen their finished works on NGS’s Domestic and International Channels, which reach well over 200 million people worldwide, or to sell or license their film to NGS’s Feature Film group. Seed Grant recipients can sell or license finished works wherever they choose, subject to the credit requirements below. NGS, however, reserves the option to match all outside offers for broadcast and distribution. If the recipient IS offered the opportunity for television broadcast through NGC, an additional rights release form will be necessary.

    All grant recipients are required to add a “Thank you to the National Geographic All Roads Film Project” and/or the All Roads Film Project logo to the credits at the end of their film, and required to give a verbal acknowledgement such as, “thank you to the National Geographic All Roads Film Project” to all audiences at any of the finished film’s festival screenings if the producer and/or director are present to introduce or moderate the film’s screening.

    GRANT LIMITS

    All Roads Film Project Seed Grants range up to a maximum of $10,000. Grants granted subject to applicable U.S. law.

    TIME FRAME FOR ANY GIVEN YEAR

    Receive Applications by/ Award Notifications:
    March 15th/ May 1st
    June 15th/ August 1st
    September/ 15th November 1st
    December 15th/ February 1st (of the following year)

    Contact Information:

    For inquiries: call 202.857.7660 or email at allroads@ngs.org

    For submissions: All Roads Seed Grants, National Geographic, 1145 17th Street, N.W., Washington, D.C. 20036

    Website: http://www.nationalgeographic.com/

  • Nicocusa Nigerian Film Festival: Call for Submissions

    Deadline: 4 March 2011

    RULES AND GUIDELINES

    Thank you for your interest in submitting your film to the 2011 NICOCUSA Film Festival. Please review the following questions and answers to guide you through the application/submission process. You may forward additional inquiries to info@nicocusafilmfestival.com.

    WHAT IS THE DIFFERENCE BETWEEN YOUR FESTIVAL PROGRAMS AND YOUR SUBMISSION CATEGORIES?

    We select 25-30 Feature Films and 25-40 Short films to play in our Festival. However, you may not submit your film directly to any one specific program. Instead, you must select from one of six submission categories, listed below. If your film is accepted, our Programming staff will decide which of our Festival programs it will play.

    NIGERIAN NARRATIVE FEATURE FILMS

    Any narrative work of fiction with a running time of at least 50 minutes, including films that are shot in a "mockumentary" style. In order to qualify as an Nigerian Narrative Feature Film, the submitted project must be either scripted or improvisational fiction, and at least one fourth (1/4) of the project's financing and/or cast must originate from within Nigeria.

    NIGERIAN DOCUMENTARY FEATURE FILMS

    Any non-fiction film with a running time of at least 50 minutes, NOT including entirely scripted or improvised fictionalizations of actual events. If your documentary contains some dramatization of actual events, you may submit in this category, but we will ultimately decide which program is best suited for your project, if accepted. In order to qualify as an Nigerian Documentary Feature Film, at least one fourth (1/4) of the submitted project's financing and/or cast must originate from within Nigeria.

    NIGERIAN SHORT FILMS

    Any narrative or documentary film of Nigerian origin with a running time of less than 50 minutes. In order to qualify as an Nigerian Short Film, at least one fourth (1/4) of the submitted project's financing and/or cast must originate from within Nigeria. Short Films have no premiere requirements-- they may have had any number of public theatrical exhibitions, been released on DVD, and may have been broadcast on television or the internet and still retain eligibility.

    HOW OLD CAN MY FILM BE AND STILL QUALIFY FOR SUBMISSION?

    Any film submitted for 2011 Festival consideration must have been completed in either 2009 or 2010. If your film was completed before 2009, it is no longer eligible for submission. If your film's production took place before 2009 but your final cut was not completed until 2009 or 2010, your film is still eligible.

    WHAT IS YOUR PREFERRED FORMAT FOR SUBMISSION?

    Due to an overwhelming number of submission contestants are asked to submit their films via you tube or. If your film is selected please forward a DVD, or Blue-Ray Copy.

    WHAT SHOULD I INCLUDE WITH MY SUBMISSION?

    After you have completed the online application, all we will need from you is your film, along with a copy of the confirmation page that was sent to you upon completion of the application. In an effort to cut down on waste, we ask that you do not send printed press or promotional materials to us-- we will not keep anything in your package except for your DVD.

    Please do not use a paper label on your disc! There are many different variables with stickers and paper labels that could render your disc unplayable-- a permanent marker (such as a Sharpie) will work just fine. Discs with text or graphics printed directly on the surface are also acceptable. Please write or print your film's title and tracking number directly on the face of the disc AND on the outside of the envelope that you send it in!

    HOW MANY FILMS CAN I SUBMIT?

    You may submit as many films as you'd like, but you only need to create one account. Upon doing so, you may fill out individual applications for multiple films. We do not offer reduced rates in fees for multiple submissions. If you submit three films, you must pay the submission fees for all three of them. Please do not submit multiple projects on the same DVD. If we receive a submission with multiple films on one disc, we will only consider the first film included.

    WHEN WILL I FIND OUT IF MY FILM WAS SELECTED?

    We will contact you via e-mail during the first week of April. Please make sure that the e-mail address you provided on your application will be operational at that time. If your e-mail address changes, you may log into your account and update it at any time.

    WHEN DOES THE NICOCUSA FILM FESTIVAL TAKE PLACE?

    The Festival will take place in Hollywood, California from June 12th to the 19th 2011. We hope to see you there!

  • Apply for the €100,000 World Cinema Fund (eligible regions: Africa, Near/ Middle East)

    Apply for the €100,000 World Cinema Fund (eligible regions: Africa, Near/ Middle East)

    Deadlines:

    Production funding (twice a year): Mar 10, 2011

    Distribution funding: (bi-monthly) : Feb 25 / Apr 29, 2011

    Downloads

    Submission Forms (updated November 2010)

    Download Submission Form Production, Englisch, Word (209 KB)
    Download Submission Form Production, French, Word (181 KB)
    Download Submission Form Distribution, English, Word (145 KB)

    Detailed guidelines (updated March 2010)

    Download Guidelines, English, PDF (96 KB)
    Download Guidelines, French, PDF (92 KB)

    Guidelines

    The World Cinema Fund (after referred to as 'WCF') is initiated by the German Federal
    Cultural Foundation (Kulturstiftung des Bundes). The Kulturveranstaltungen des Bundes in Berlin GmbH/division Internationale Filmfestspiele Berlin (after referred to as 'IFB') is the legal entity of this initiative.

    The purpose of the World Cinema Fund (WCF) is to support films from regions whose film
    cultures are endangered by political and or economic crises. The World Cinema Fund is intended to help provide a higher profile and increased accessibility for these films in Germany and to enable their presentation to an international audience.

    Projects eligible for funding should deal with the cultural identity of their regions and should contribute to the development of the local film industry.

    The main criterion for selection is the quality of the projects. Special consideration will be given to projects which have good chances to succeed internationally and which promise to energize the local film industry as well as projects which are of particular cultural importance.

    WCF entitled regions

    Eligible for funding under these guidelines from August 2007: Latin America, Africa, the Near and Middle East/Central Asia, South East Asia and the Caucasus. A film will be considered to be from a particular region if it is shot there and if the director comes from that region.

    WCF - Guidelines

    The allocation of funds for the production of a film does not automatically include funding for the film’s distribution. Distribution support, however, can be allocated even if the production has not been supported by WCF.

    Production Funding

    The amount of funding should normally not exceed 50% of the total production costs. The maximum amount of funding per project is € 100,000.

    Entitled Applicants and Recipients:

    o Film production companies based in Germany and other such companies from EU countries who have a branch or a subsidiary in Germany and who can confirm collaboration with a director from a WCF entitled region

    o World sales companies and distributors based in Germany and other such companies from EU countries who have a branch or a subsidiary in Germany and who co-finance the production costs and who can confirm collaboration with a director from a WCF entitled region

    o Film production companies from WCF eligible regions who can confirm collaboration with a director from a WCF region. Collaboration with a German film production /world sales /distribution company can be confirmed after the funding has been applied for but must be verified, at the very latest, before the completion of the funding agreement, otherwise entitlement to funding is forfeited. The funding agreement can only be concluded with the German partner.

    The funds must be used for the film project that has been earmarked to receive the funding and should be expended in the abovementioned WCF eligible regions. Exceptions can only be made with the prior written consent of the WCF. If the funding is not used for the project it was earmarked for, it must be paid back immediately. The affirmation of the funding normally expires if the complete financing of the project cannot be confirmed six months after the initial approval of the WCF. Discrepancies favoring the recipients of funding can be made when drawing up the funding agreement.

    Payment of funding:

    50% upon signing the funding agreement and after positive verification of the total film financing

    42.5% upon submission of the rough cut of the film but no later than 12 months after commencement of shooting

    7.5% upon approval of the examination of expenditures by an acknowledged auditing company, which must be in the hands of the WCF no later than 18 months after the signing of the funding agreement, otherwise entitlement to funding is forfeited.

    Discrepancies favoring the recipients of funding can be made when drawing up the funding
    agreement.

    Repayment of funding:

    After recoupment of the recipient’s own initial investment, the WCF will, for a period of 7 years, beginning with the world premiere of the film, participate in all proceeds received by the recipient of the funds arising from the exploitation of the film. Regarding the return on the investment of the German producer, general expenses of 7.5% of the total budget will recognized.

    The WCF will participate according to its percentage of the German share of the film’s
    total budget, pari passu until its funding is fully recouped. The participation in the
    exploitation proceeds will be used by the WCF in the funding of future film projects.

    Eligible to apply and receive funding are:

    Distribution and world sales companies – in individual cases also production companies – based in Germany and in EU countries that have a branch in Germany, that are planning the theatrical release of a film from a WCF entitled region. Funding is to be used solely to cover the costs of the theatrical release in Germany.

    Funding must be applied for in order to be received. Applications are to be submitted to the WCF including all documents mentioned in the application forms.

    The WCF assembles a jury of independent film-related professionals who will make recommendations regarding the films to be funded. The international jury consist of the programme management team of the World Cinema Fund as well as three other members. The jury meetings will be convoked by the WCF. The jury will make its decisions in closed sessions. Its recommendations will be made solely on the grounds of artistic merit of the projects applying for funding. The WCF is solely responsible for adherence to all other requirements regarding funding and makes the final decisions.

    The WCF reserves the right to grant a recipient a smaller amount of funding than applied for. There is no legal right to a WCF funding. Legal claims to payment can only enter into effect upon the signing of the funding agreement. The WCF is under no obligation to explain its reasons for declining.

    In the opening and closing credits of the funded film, as well as in all promotional and advertising material, the WCF is to be named according to WCF as an initiative of the German Federal Cultural Foundation (Kulturstiftung des Bundes). Details will be listed in the funding agreement.

  • Call for Films: Minority Voices Program (funded by European Union)

    Deadline: 11 March 2011

    CALL FOR FILM SUBMISSION

    Minority Rights Group International invites independent documentary filmmakers with experience in the NGO sector to tender for a festival/broadcast quality documentary film on how African-descendants are being adversely affected by conflict, land rights issues and resource extraction in Colombia.

    To a brief decided in collaboration with MRG, you will produce, direct, shoot and edit a festival and mainstream broadcast quality documentary of about 20-30 minutes in length.

    We are looking for a filmmaker to bring their unique combination of journalistic news-gathering and cinematic eye to cover an issue which is currently under-reported.

    The documentary will differ from the usual NGO-commissioned film, in that it is not to be made about MRG’s work per se (i.e. you are not filming one of our projects to market MRG directly or for viewing by our funders), but instead about the issues faced by people we seek to support through our work. MRG is looking to produce a hard-hitting documentary that says something new about the issue, where your own creative input will be highly important.

    Background:

    Colombia has the second largest African descendant population in Latin America. Estimates of their numbers vary between 10.5 and 26%. African descendants are present in every major city in the country, although the majority live and traditionally hold communal titles to large areas of land in the Pacific and Atlantic coastal regions.

    Despite government pronouncements touting improved national security, the 45-year-long internal armed conflict in Colombia continues to simmer and takes an increasingly heavy toll on African descendant communities, who are routinely caught in the crossfire between armed insurgents, illegal paramilitary groups and state forces.

    Nearly 4.3 million people have been internally displaced in Colombia over the past two decades, between 200,000 and 300,000 per year. African descendants are disproportionately affected; human rights groups indicate that over 30 per cent (nearly 1.3 million) of those displaced are Afro-Colombians. Most flee to the already overcrowded slums on the outskirts of the country’s major cities, where they have scarce social support structures or means of subsisting.

    Once these communities have been violently ousted from their fertile homelands, they find their land is then transformed by deforestation and elaborate infrastructure, such as highways and drainage canals, to make way for the cultivation of illicit crops such as coca and opium poppy, large-scale agro-business ventures, including palm oil plantations and beef cattle production or extractive industries, such as gold mining.

    Despite the fact that Afro-Colombians have constitutionally protected rights to collective land titles and sustainable development, in reality the high level of impunity in the country and corruption in the justice system means that there is little meaningful regard for, or implementation of, those protections.

    In order to assist in the preparatory research, we suggest the following sources:

    • http://www.ohchr.org/en/NewsEvents/Pages/DisplayNews.aspx?NewsID=9821&LangID=e
    • http://www.odracial.org/
    • http://www.guardian.co.uk/world/2007/jun/05/colombia.energy
    • http://www.minorityrights.org/5373/colombia/afrocolombians.html
    • http://www.movimientocimarron.org/
    • http://www.amnesty.org/en/library/info/AMR23/001/2009

    Brief outline and purpose of the film:

    The main purpose of the film is to bring to the forefront the situation faced by all too often invisible Afro-Colombian communities. It must illustrate how they are adversely affected by the internal armed conflict, international agro-business, bio-fuel cultivation and resource extraction, all of which lead them to be over-represented amongst the country’s internally displaced.
    The filmmaker must choose an Afro-Colombian community affected by one or more of the above issues, and preferably a central character or family group from that same community, who will help the audience to understand this complex scenario. MRG has a strong commitment to expose how minority women often face multiple discrimination and would appreciate the film’s central character therefore being a woman.

    The filmmaker must also highlight any positive stories – some communities have exposed links between paramilitary/state forces and agro-business or have succeeded in using the justice system to gain collective title to their lands.

    The film must also look at how communities are affected by internal displacement. It should contrast rural life with urban survival faced by families forced to flee to city slums.
    The filmmakers will work closely with MRG’s partners in Colombia, all of whom work closely with Afro-Colombian communities throughout the country in various capacities. They are Observatorio de Discriminacion Racial and Movimiento Nacional Cimmaron and AFROPA.
    However, we leave it up to the film-maker to find the right balance between the general story and the current specific situations, as well as which particular issue they would wish to focus on.
    Owing to the nature of the subject and context within which the filmmakers will be working (remote communities accessible only by river, tropical climate, security concerns for those appearing in the film and filmmakers, and potential necessity to interact with armed actors) MRG will apply the following criteria when short listing submissions:

    Essential:

    • At least one member of the team must have fluent Spanish and English
    • Experience of film making in a conflict zone, preferably in Colombia
    • Experience of film making in extreme environments
    • Experience of working with grass roots NGOs
    • Sensitivity to security concerns of both film crew and those appearing in the film

    Desirable:

    • In depth knowledge of Colombia
    • Experience working with minority communities

    Budget

    Approximately € 18,000 is available for the film.

    To apply:

    Please send us:

    1. An outline of your approach to the story, which should be around 500 – 800 words and include: any background you think might inform the story (three key points of what makes this newsworthy), issues you think should be covered or might arise for Afro-Colombians in the region, and how the story might be filmed and framed in terms of narrative, style and approach.

    2. Your Filmmaker's CV

    3. A proposed budget for the project to include pre-production, production and post-production, which includes all costs (travel, per diem etc). Also a schedule covering days needed to film for this length as well as an editing schedule.

    4. Three copies of a showreel on DVD and/or links to your film work online, to be sent to: Carl Soderbergh, Director of Policy and Communications, Minority Rights Group International, 54 Commercial Street, London, E1 6LT or by email to carl.soderbergh@mrgmail.org.

    The deadline for applications is 11 March 2011.

    The film is being produced as part of MRG’s Minority Voices Programme which is funded by the European Union.

  • Apply for the Sundance International Documentary Film Program (up to $20,000)

    Deadline: 9 February 2011

    We are currently accepting applications for the Spring 2011 funding cycle. Grants will be announced in July 2011.

    Eligibility:

    The Sundance Documentary Fund supports cinematic feature documentaries about pressing Human Rights, social justice, civil liberties and related topics from the US and internationally. Proposals to the Documentary Fund are evaluated on effective storytelling, global relevance, originality, artistic innovation and potential for social engagement. If your film is within our mandate but with a softer approach to the a contemporary social issue, please consider applying only in the production-post/production category when you have a solid rough cut for consideration. Please note we do not fund shorts, webisodes, online series, or strictly historical, biographical, NGO, or educational films.

    Important!

    Please prepare a written proposal that includes the following elements. Your proposal should be in electronic format and ready to upload before you begin completing the online application. The upload is limited to .PDFs or Word-compatible documents. All parts of your proposal, including budget, must be combined into one file. Only one file can be uploaded per application and its file size must be less than 3Mb.

    Proposal must contain the following:

    PROJECT SUMMARY

    Briefly provide contextual information necessary to acquaint the reader to the subject, advising why the topic is interesting and why such a film is needed now. Explain any global relevance for the contemporary social issues addressed. Describe why you are pursuing this project and why you are the best person to tell this story.

    NARRATIVE SYNOPSIS

    Clearly communicate how the film is intended to unfold from beginning to end. Who are the characters and what is their journey? Consider story structure, point-of-view, scope, artistic approach, stylistic innovation, and the length and format of the project. Both Development and Production/Post-production proposals must convey some vision for a finished film.

    DISTRIBUTION AND MARKETING STRATEGY

    Characterize the intended distribution life for your film, including relevant broadcast, festival, theatrical, or home video markets intended.

    COMPREHENSIVE LINE ITEM BUDGET

    Please list all a line item breakdown of all expenses from development through distribution in U. S. dollars, including a grand budget total, i.e: $250,750.

    ABOUT THE SAMPLE WORK

    DIRECTOR'S PRIOR WORK (1 PARAGRAPH)

    For all proposals, submit at least one of the director's prior films. Briefly highlight its narrative, aesthetic or communication intentions. Articulate the relevance to current proposal, if any. If the current proposal is a departure, how will the film differ.

    CURRENT ROUGH CUT OR SAMPLE (1 PARAGRAPH)

    If the film is already underway, please submit the rough cut, teaser or clip (1 minute - 75 minutes). Explain concisely what is present or absent on the sample, and how it will differ as a finished film. How does it reflect the intended story, style, subject, etc.

    KEY CREATIVE PERSONNEL (1-2 PARAGRAPHS EACH)

    Provide BRIEF biographies (50-150 words) for the director, and if attached, the producer, cinematographer, or editor. DO NOT send resumes, CVs or extensive filmographies. Bullet list any other advisors or consultants, if applicable.

    OUTREACH AND ENGAGEMENT

    For audience engagement with the issues, explain how you would motivate viewers beyond the screening. Characterize collaboration with organization as well as outside partners (educational, cultural, governmental or NGO) intended or secured. What action would you hope viewers will take after the screening?

    INTERACTIVE ELEMENTS (IF APPLICABLE)

    If applicable, explain how you would enhance your project through multi-platform and ancillary elements. How might these elements be interactive or generate social engagement? Feel free to list technological innovations you might creatively harness.

    FUNDRAISING STRATEGY

    Indicate relevant sources you will pursue to meet unmet budget requirements.

    Attach a complete proposal. PDF and Word formats acceptable. Please name the file in the format: Project Name - DirectorLastName.doc FILES LARGER THAN 3 MB CANNOT BE UPLOADED.

    All application elements must be included at time of submission. Incomplete applications will not be reviewed or pursued. Application materials cannot be kept on file in between rounds. If you are re-applying, you must re-submit the entire application online and resend DVD samples by mail.

    Frequently Asked Questions:

    Q: How do I apply?

    A: Complete the required fields. Then mail one (1) copy of your project cover sheet, and DVDs and applicable DVDs to the LA office. Please do not mail the written proposal. Please avoid excessive packaging, and do not submit multiple copies of DVD samples. Paper or plastic DVD sleeves are preferable.

    Q: Do you have deadlines?

    A: Yes. We have two deadlines per year, generally the first week of February and July. Award decisions take approximately six months. Proposals must be submitted online and DVDs mailed by the upcoming deadline of February 9, 2011. Sundance reserves the right to solicit film projects at its sole discretion at any time related to Institute or Documentary Program priorities.

    Q: Do you fund projects by filmmakers based outside of the U.S.?

    A: Yes, there are no geographical restrictions on who can apply to the Fund.

    About the Sundance Documentary Film Program

    The Sundance Institute Documentary Film Program provides year-round support to contemporary- issue nonfiction filmmakers worldwide in the production of cinematic documentaries with human rights themes. Services include the Sundance Documentary Fund, three Creative Documentary Labs for directors and producers held at the Sundance Resort every summer, work-in-progress screenings held globally, discussions and presentations by invitation worldwide, documentary support at the Sundance Film Festival and the Sundance Independent Producers Conference, and a variety of convenings and partnerships designed to amplify the use of film as a tool for increasing awareness of key global challenges, and motivate change towards more open and equitable societies.

    About the Fund

    The Sundance Documentary Fund is a core program of the Documentary Film Program. It is dedicated to supporting U.S. and international documentary films that focus on current human rights issues, freedom of expression, social justice, civil liberties, and exploring critical issues of our time. The Documentary Fund was established at Sundance Institute in 2002 with a gift from the Open Society Institute and is supported by a grant from the Ford Foundation among others.

    Application Process

    Sundance Documentary Fund grants are announced twice a year and since its inception at the Institute in 2002, the Fund has disbursed almost $6 million to over 450 films. The Fund provides grants in two categories, Development and Production/Post-Production. A committee of human rights experts and film professionals make recommendations from projects submitted by filmmakers from around the world.

    The Fund reviews 2,000 proposals annually, choosing up to 50 for support each year. In funding such work, the Sundance Institute Documentary Fund encourages the diverse exchange of ideas crucial to developing an open society, raising public consciousness about human rights campaigns and restrictions of civil liberties, and fostering an ongoing dialogue about these and other pressing social issues.

    To apply, you are required to submit an online application form, plus a full written proposal as well as supporting visual materials. The postmark deadline for all application materials is February 9, 2011. Incomplete proposals will not be reviewed.

    Apply online here.

  • FilmAid Kenya is Looking for a Scriptwriter

    Deadline: 5 November 2010

    FilmAid Kenya invites applications from qualified Kenyans to fill the above position. The position will involve extensive work in Kakuma Refugee camp, Turkana District.

    FilmAid International is a non-governmental organization that uses film to promote health, strengthen communities and enrich the lives of the world’s vulnerable and uprooted.

    FilmAid is currently implementing a short term project with the United Nations High Commission for Refugees (UNHCR) in Dadaab refugee camps, creating educational materials on issues of public health.

    Specific tasks for the Scriptwriter/Drama Director:

    • Adapting information gathered from nutritional surveys, focus group discussions and key informant interviews and other secondary data into film storylines, in consultation with the relevant project staff, UNHCR, IRC and NCCK.
    • Prepare and present for review a story line for the film.
    • In collaboration with relevant project staff, develop a film script based on the theme and present for review.
    • Together with relevant project staff, audition and select actors and locations. The scriptwriter is expected to work in a participatory manner to ensure timely and efficient execution of the project.
    • Develop accompanying shooting script for the film script
    • Direct actors during film shoots.
    • Select dubbing actors and coordinate the translation of the film into Amharic, Kiswahili, Arabic, Dinka and Somali.
    • Direct dubbing actors in recordings.
    • Editing of the film in English and dub the film into Amharic, Kiswahili, Arabic, Dinka and Somali.

    Expected Outputs:

    This project should see the production of a 30 minute drama on family planning in English and other versions done in Amharic, Kiswahili, Arabic, Dinka and Somali.

    The successful candidate will work with the community to develop scripts for short films, audition actors and conduct rehearsals as well as work with the film producer during productions.

    The ideal candidate should have experience in using drama or other creative expressions to disseminate information. He / she must have experience in scriptwriting and directing community drama productions.

    Knowledge of Somali culture and language is preferable; the candidate should be able to work with minimum supervision and should be available immediately.

    Please email applications with ONLY COVER LETTER, CV AND 3 REFERENCES ASAP to: nairobi@filmaid.org

    Applications to be submitted through email only by latest 5th November 2010

  • Submit Your Film: Zanzibar International Film Festival (Tanzania)

    Submit Your Film: Zanzibar International Film Festival (Tanzania)

    Deadline: 30 March 2011

    ZIFF is East Africa’s largest film, music and arts festival, bringing new talents together from all over the world for a Zanzibar Tamasha!

    Film

    Each year, some of the most captivating and cutting-edge cinema from Africa and beyond is screened in venues across the island. From world-premiers to local shorts, we've got it all, with a long history of showcasing the highest quality film from all over the world. Films are submitted based on a yearly theme - this year is 'Season of Visions' - and entered into various categories and competitions. The final night is an awards night, where the winning films are recognised and celebrated.

    Music

    ZIFF also puts on the island’s best parties. Live music, dance, DJs and performance across several venues means that carnival fever hits Zanzibar for 2 weeks! We bring musicians together from all over Africa, as well as recognised international acts.

    Community

    A Zanzibar institution, ZIFF is a truly local festival, with exhibitions, workshops, and cultural tours that take you to the heart of the community. We promote local talent in film and music, showcasing new and old creative achievements. As ZIFF comes to town, so too do opportunities for recognising arts and crafts - the festival is always a hotbed of activity!

    Submit your Film

    1. Fill in the online form here, a confirmation will be sent by email
    2. PRINT the confirmation email
    3. Mail 2 DVDs and the confirmation printout to:

    Zanzibar International Film Festival
    Ngome Kongwe (physical address)
    P.O. Box 3032
    Zanzibar
    Tanzania

    STANDARD DEADLINE: 30th March 2011

    SEMBENE DEADLINE: 15th April 2011

    Contact Information:

    For inquiries: ziff@ziff.or.tz

    For submissions: Zanzibar International Film Festival, Ngome Kongwe (physical address), P.O. Box 3032, Zanzibar, Tanzania

    Website: http://www.ziff.or.tz/

  • Call for Entries: 2011 Focus Features’ Africa First (Film) Program

    Call for Entries: 2011 Focus Features’ Africa First (Film) Program

    Deadline: 22 August 2011

    2011 ENTRY PERIOD FOR FOCUS FEATURES’ AFRICA FIRST PROGRAM TO COMMENCE MAY 16th; $10,000 IN FINANCING APIECE EARMARKED FOR NEW FILMMAKERS

    Focus Features will accept entries for its Africa First Program – entering its fourth year – beginning Monday, May 16th and continuing through Monday, August 22nd. Focus CEO James Schamus made the announcement today.

    The uniquely conceived initiative, with funds earmarked exclusively for emerging filmmakers of African nationality and residence, is for the fourth consecutive year offering eligible and participating filmmakers the chance to be awarded $10,000 in financing for pre-production, production, and/or post-production on their narrative short film made in continental Africa and tapping into the resources of the film industry there. The program also brings the filmmakers together with each other and with a renowned group of advisors, major figures in the African film world, for support and mentorship. Complete details on Africa First – including application information – can be accessed year-round through www.focusfeatures.com/africafirst.

    This year, the submissions period begins on Monday, May 16th, 2011 and runs through Monday, August 22nd, 2011. The five filmmakers selected will be notified in late September 2011 and will retain the copyrights and the distribution rights to their completed shorts, with the exception of North American rights; Focus retains those, as well as the right of first negotiation to productions derived from the shorts, such as a feature-length expansion.

    Completion is developing feature, documentary, and television projects. Its president, Mrs. Cameron-Dingle, previously worked as director of development at Walden Media, and as an executive at New Line Cinema, where she oversaw the development and production of Spike Lee’s Bamboozled.

    Focus Features and Focus Features International (www.focusfeatures.com) comprise a singular global company. This worldwide studio makes original and daring films that challenge the mainstream to embrace and enjoy voices and visions from around the world that deliver global commercial success. The company operates as Focus Features in North America, and as Focus Features International (FFI) in the rest of the world.

    Guidelines:

    • Focus Features Africa First will give awards to up to five (5) filmmakers.

    • Each award will be in the amount of USD $10,000.00.

    • Awards are given to assist emerging African filmmakers with the production and post-production of their film.

    Please read the Official Rules carefully before applying. The Africa First Short Film Program is not a grant. Recipients will retain full ownership of the copyright to their projects as well as all distribution rights throughout the world except for North America; however, for and in consideration of the Award, Award Recipients shall grant to Sponsor (i) the exclusive right in perpetuity to distribute and otherwise exploit the Project in North America in any and all media whether now known or hereafter discovered; (ii) the non-exclusive worldwide right in perpetuity to the exploit the Project on the Internet, including, without limitation, the right to upload the Project to the Website, and to permit visitors to view and download the Project; and (iii) the right of first negotiation for derivative production rights in and to the Project such as sequels, prequels, remakes, and other adaptations.

    Applicant Qualifications

    * Applicants must be at least 18 years of age, of African nationality, and must have resided in Africa for a minimum of two (2) years before applying.
    * Applicants must be independent producers. This means that the individual applicants:
    1. own the copyright of their production;
    2. have artistic, budgetary, and editorial control of their project;
    3. are not regularly employed by a public or commercial broadcast entity.
    * Applicant/co-applicant must have previous film or television production experience in a principal role (producer, co-producer, director, or co-director) as demonstrated by a sample DVD or videotape of completed work submitted with application.

    REQUIREMENTS

    All projects entered into the Focus Features Africa First Short Film Program must meet the requirements below:

    * Produced in continental Africa;
    * 5-25 minutes in length with narratives taking place exclusively in Africa. Feature and/or documentary submissions will not be accepted;
    * In preproduction, production, or postproduction;
    * Project must be filmed in continental Africa and contribute to the development of the local film industry by using local key production staff and using local facilities;
    * All Program documents must be written in the English language; however, if the original language of the screenplay was not in the English language, an English-language translation of the screenplay is acceptable;
    * Project must be either (i) in the English language or (ii) if not, be delivered with English-language subtitles in 16mm, Super 16mm, 35mm, HDTV, DigiBeta, or Beta format.

    Award Selection

    The final selection of up to five (5) award recipients will be made by Completion Films and the Focus production team, with the final decision being made by Focus. Projects will be judged by taking into consideration such factors as originality, creativity, quality, and artistic contribution to African filmmaking.

  • GMC - American Black Film Festival's $5,000 Screenplay Competition 2011

    GMC - American Black Film Festival's $5,000 Screenplay Competition 2011

    Deadline: 29 April 2011

    gmc SCREENPLAY COMPETITION 2011 OVERVIEW, ELIGIBILITY & INSTRUCTIONS

    gmc is America’s favorite channel for uplifting music and entertainment. It can be seen in almost 48 million homes and is available nationally on DIRECTV Channel 338, Verizon FiOS Channel 224 and on local cable.

    Contest Overview

    The gmc SCREENPLAY COMPETITION 2011 is meant to encourage and promote the production of faith-friendly, family-friendly and inspirational screenplays and films. The competition is meant to:

    • Encourage filmmakers to go beyond the “pastor’s story” and beyond the “church story” as the only settings for family-friendly and faith-friendly stories.
    • Encourage filmmakers to organically incorporate faith and faith elements into stories that resonate and appeal to broad audiences.
    • Expand interest beyond “Christian”/”evangelical” films, to include films that are consistent with Judeo-Christian values, and that have mainstream commercial appeal.
    • Expand the genres/formats that tell these inspiring stories like dramas, comedies, romantic comedies and action movies.
    Three (3) Finalist Screenplays will be chosen and sections of each will be read during a Table Read in front of a live audience at the American Black Film Festival 2011 (ABFF).
    One (1) Grand Prize Winner will be selected from the three Finalists and announced at the closing night event of ABFF.

    Eligibility Requirements

    1. Screenplays must be faith-friendly and family-friendly. They must incorporate messages, themes or topics that include, depict, reflect, and/or are set in an American Black cultural experience.

    2. Screenplays must be written for a two (2) hour television movie (approximately Eighty-Eight (88) minutes of content, excluding commercials).

    3. Screenwriter(s) must be Eighteen (18) years of age or older as of the Date of Submission as stated in the Submission Form.

    4. The contest is only open to United States residents.

    5. All screenplays must be submitted in English.

    6. Screenplays must be original with the Screenwriter, and must not have been produced, or be scheduled to be produced, in any form (television, live-theatrical, feature film, on-line).

    7. Screenplays must be complete and have been written by the Date of Submission.

    8. No individual Screenwriter can be attached (either as the sole Screenwriter or as a Co-Screenwriter) to more than three (3) submitted Screenplays.

    9. The Screenplay must be the original work of the Screenwriter(s) and may not be based, in whole or in part, on any other work to which the Screenwriter(s) does/do not own the rights.

    10. Employees of Gospel Music Channel, LLC, its parent, affiliate or subsidiaries (whether permanent or temporary), and their respective immediate family members and/or those living in the same household, are not eligible to participate in the gmc SCREENPLAY COMPETITION 2011.

    Submission Instructions

    1. Each Submitted Screenplay must be submitted and received with the following items on the list below to qualify for entry:

    o Two (2) completed copies of the Submission Form.
    o Two (2) original and signed copies of the Submission Guidelines and Release.
    o Two (2) original copies of the Screenplay.
    o Each Screenplay should be submitted on 8-1/2 x 11, white, 3-hole punched paper, with only two brass fasteners (top & bottom).
    o Each Screenplay should be a minimum of 88 pages and maximum of 100 pages.
    o Each Screenplay should be typed in standard script format, in black ink, in 12 pt Courier or Times Roman font.
    o Two (2) copies of a short Synopsis of the Screenplay (between 75 – 100 words).
    o Two (2) copies of a written Biography and color Photo of each Screenwriter(s).
    o Two (2) copies of a written list of writing and/or production Credits for each Screenwriter(s), including any work that has been produced or is scheduled to be produced, in any form, as of the Date of Submission.

    2. The title of the Screenplay and name(s) of each Screenwriter(s) must be on all Submission Materials.

    3. Each submitted Screenplay must be submitted with a separate Submission Form and separate Submission Materials as outlined below in the section titled “Submission Materials”.

    4. Submission Materials (including the Screenplay, the Submission Form, and the Submission Guidelines and Release) should be mailed (by regular postage or express delivery) to:

    gmc SCREENPLAY COMPETITION 2011
    c/o Film Life, Inc.
    116 West 23rd Street, 5th Floor
    New York, NY 10011.

    NOTE: We will not accept electronic copies of any Screenplays or Submission Materials.

    5. Submission Deadline: All Submission Materials must be received by 5PM on FRIDAY, APRIL 29, 2011. If any Submission Materials are received after 5PM on FRIDAY, APRIL 29, 2011, the Screenplay will not be considered.

    6. Please note that Submission Materials will not be returned.
    Selection and Prizing

    If your Screenplay is selected:

    1. Finalists:

    o GMC shall select three (3) “Finalist Screenplays” and shall notify the appropriate contact for each Finalist Screenplay of its selection no later than Thursday, May 26, 2011.
    o GMC shall host a Table Read at the American Black Film Festival where a section of each Finalist Screenplay shall be read in front of the attendees of the Film Festival.

    2. Grand Prize Winner:

    o GMC shall select one (1) “Grand Prize Winner Screenplay” from the three (3) Finalist Screenplays.
    o The Grand Prize Winner Screenplay shall receive Five Thousand Dollars ($5,000) and shall be announced at the awards event for the Film Festival.

    3. Travel and Accommodations to attend American Black Film Festival: For each Finalist Screenplay selected, GMC shall provide the following in connection with the American Black Film Festival: up to two (2) round-trip coach-class airfare tickets to Miami, Florida, shuttle ground transportation from the airport to the hotel on the day of arrival and from the hotel to the airport on the day of departure, and one (1) standard hotel accommodations (either single or double occupancy) for up to four (4) nights. (Approximate Value: $1,926.00). Each Finalist shall also receive up to two (2) Marquee Passes providing access to the American Black Film Festival events. (The Marquee Passes do not include or provide access to the Master Classes/Workshops.) Any other costs associated with the prize receipt and/or use that are not expressly stated above are not included in the prize package and are solely the responsibility of the Finalists.

  • Call For Papers (Edited Collection): Transnational Laughter: Contemporary Film and TV Comedy

    Deadline: 30 April 2011

    CALL FOR PAPERS: Transnational Laughter – Contemporary Film and TV Comedy across National Borders

    I am seeking proposals and contributions for a collection of original essays entitled Transnational Laughter: Contemporary Film and TV Comedy across National Borders. As the first edited volume of its kind, Transnational Laughter seeks to expand the field of media studies and shed light on overlooked areas of academic interest, taking comedy and its various subgenres (including black comedy, improv, modern slapstick, the romcom, satire, scatological humor, sketch comedy, spoofs, stand-up, and so forth) as vehicles through which to assess the international transit of these specific cultural forms over the past 25-30 years. Focusing on recent industrial and technological developments that have facilitated the global circulation, consumption, and reception of humor-based short films, feature-length motion pictures, and television programs (from Canada to Romania to South Africa to New Zealand to Taiwan to Venezuela and beyond), the essays in this volume will collectively make the case that, counter to traditional wisdom, comedy does travel, albeit often in limited (and unexpected) ways due to cultural differences, industry regulations, political factors, and/or language barriers.

    Although an emphasis will be placed on the reception of texts across national and regional borders, contributors are invited to take a variety of critical approaches or theoretical perspectives in the analyses of their chosen case studies. Contributors should feel free to pursue qualitative research in the areas of media industries, audience studies, spectatorship, situated (counter)publics, and resistant or negotiated reading strategies adopted by in-group or out-group members. In hopes of reaching a wide readership, the essays should be sophisticated and scholarly, yet relatively jargon-free.

    Possible topics include, but are not limited to:

    · culturally specific forms of physical and/or spoken comedy located in selected national contexts, e.g. Australia, Brazil, Canada, Denmark, Egypt, England, France, Germany, Greece, India, Iran, Israel, Japan, Mainland China, Mexico, New Zealand, Nigeria, Russia, Senegal, South Korea, Spain, Sweden, and so forth

    · exemplary, humor-based works that have been produced in largely overlooked areas of the world, i.e., countries that have not received much attention in the existing literature on international film and television comedy

    · recent film and TV remakes of international comedies and the challenges of cultural translation/adaptation

    · different manifestations of comic satisfaction, such as laughter, finger-snaps, whistles, etc., found in regionally specific contexts of film and television reception

    · humor "on the move” and the mobile consumption of comedy (liminal spectatorship)

    · cross-cultural "cringe,” the global "gross out” moment, and the affective trajectories of scatological comedy

    · international comedy film festivals, media outlets, cable networks, and the marketing/selling/exhibition of humor-based cultural productions across borders

    · YouTube and other video-sharing websites through which comedy is made to "circulate” virtually

    · stars of global comedy and the "transnationalizing” of comedic talent

    · racial and ethnic diversity in internationally distributed comedy productions

    · sexual identity and gender politics in internationally distributed comedy productions

    · social class and strategies of "containment”

    Please send your abstract (500-750 words in length) or completed essay (5,000-7,000 words), plus a brief biographical statement, as e-mail attachments (in Word or as a Rich Text File) to the email address listed below.

    The deadline for the submission of proposals is April 30, 2011. Once I have determined which essays to include in the volume, I will send the manuscript proposal to a university press this summer. The tentative deadline for the completion of essays (after acceptance) will be December 30, 2011.

    Dr. David Scott Diffrient
    Assistant Professor of Film and Media Studies
    Department of Communication Studies
    Colorado State University
    Scott.Diffrient@colostate.edu

  • Call for Film Submissions: The Women of African Descent Film Festival

    Deadline: 14 January 2011

    The Women of African Descent Film Festival, presented by the Brooklyn Chapter of the Links Inc., seeks feature length and short films directed, written or produced by female filmmakers of African descent. The festival is now accepting submissions of narrative feature and short films, documentaries and animations for the festival, which will take place in May 2011 in Brooklyn, NY.

    Submissions can be registered through the festival’s Withoutabox site, which also includes additional information about the event. To access the application form through Withoutabox please visit - https://www.withoutabox.com/login/6442

    ABOUT THE FESTIVAL

    The Women of African Descent Film Festival celebrates its 10th anniversary in 2011. The Festival is presented each May in Brooklyn, NY by The Brooklyn Chapter of the Links. In 2002, to mark the milestone of its 50th Anniversary, and to continue its legacy of showcasing the talent and accomplishments of African American artists, the Brooklyn Chapter began sponsoring this film festival for women filmmakers. This tradition has continued annually since then and takes place at the Spike Lee Screening Room at the Brooklyn Campus of Long Island University in May of each year.

    Formed in 1952, The Brooklyn Chapter of The Links, Inc., an organization of African American professional women, is dedicated to the support of educational, civic, and cultural activities in Brooklyn. A chapter of The Links, Inc., an international organization comprised of 276 chapters and over 11,000 members in 42 states, the District of Columbia, South Africa, the Bahamas and Germany, the Brooklyn Chapter works under the guidelines of the national body in providing services to its Brooklyn community in four mission areas: services to youth, health and wellness, the arts, and civic involvement.

    The foundation for all of the chapter’s programs and services is rooted in the African American tradition of giving and volunteerism. Members share a deep sense of communal responsibility, and for the past 50 plus years have been committed to actively initiating and supporting educational, cultural, and civic programs, that positively impact the lives of people from Brooklyn’s African American/Caribbean communities.

    GENERAL RULES

    Only films directed by, written by or produced by female filmmakers of African descent will be considered. Please do not submit if you do not fit this criterion.

    Submission must be made online. At the end of your submission process you will be asked to complete the online Terms of Submission Agreement form which you must sign in order to complete your submission.

    Any number of titles may be submitted by an entrant. A separate entry form must be submitted for each title. Separate DVDs must be submitted for each entry.

    Entries must be complete works no longer than 120 minutes in length. They must have been completed on or after January 1, 2008. Industrial or instructional works and those previously submitted to the Film Festival are not eligible. All films and videos in a language other than English must be subtitled in English for Festival presentation. All entrants must complete the online application form and mail or hand-deliver a DVD for jury screening.

    LABELING

    All tapes must be labeled with the following information:

    * Film Title, total running time, and category (narrative; experimental; documentary; animation.)
    * Shipper’s name and email address.
    * Withoutbox tracking number.

    Entries may be disqualified if they are not properly labeled.

    PACKAGING

    Films and videotapes must be shipped in a padded envelope.

    RETURN OF ENTRIES

    Please include a self-addressed stamped envelope if you would like us to return your DVD. Be sure to indicate that you would like your preview screener returned; we will not do so unless you indicate for us to do so on your application form.

    JUDGING AND NOTIFICATION

    Judging will take place January –February 2011 by a jury of Links members and film industry professionals in the New York metropolitan area.

    Submit here.

    More information here

  • Call for Films: 21th Cairo International Film Festival For Children

    Call for Films: 21th Cairo International Film Festival For Children

    Deadline: 1 February 2011

    The 21st Cairo International Film Festival for Children will be held during the period from 3 – 10 March 2011.

    The aim of the festival is to sustain and encourage the artistically appreciated Films and programs interested in world problems of Children and Youth in all levels (Local and International). And aiming to collaborate in their bringing up guiding their behavior and in their entertainment.

    The Festival includes the following films:

    - Feature films for Children and Youth up to 14 years old and for their families.
    - Short documentary and education films.
    - Animation films.
    - TV films and programs.

    The Films will be shown in the following sections:

    - Official Competition.
    - Out of competition.
    - Information section.
    - Festival of Festivals.
    - Tributes.

    Competition Section:

    - Long Feature films.
    - Short Feature films.
    - Long and Short TV programs (Video-DVD).
    - Long and Short animation films (Video-DVD).

    General conditions for participation in the Competition sections :

    - Long Feature Films must be on 35mm or Digi Beta.
    - Films must be of the same year or two previous years production.
    - Films must be Egyptian premier.
    - Films participating in any section of the festival which are in their original language must be with English or French subtitles.
    - The Festival's Management has the right to invite some films of special importance to participate at any section of the Festival.
    - Entry forms, special information and necessary publicity material for each film must be sent to the Secretariat of the festival before 1st of February 2011.

    General conditions for participation in the different sections:

    - Films on Video-Cassettes VHS or DVD should be delivered and previewed by the selection committee.
    - The following should be sent for each film:
    - Entry form fully filled. - Photographs and publicity material. - Press File.

    The International Juries: The Festival's Management will incorporate two International Juries : One for Feature & Short Films and the other for TV. Films and programs & Animation Films. Each jury will include experts and children from all over the world. Concerning the participant children, their artistic knowledge and information about the production is required.

    Prizes: The two juries will attribute three prizes to the best three films in each category of the competition.

    - First Prize: Golden Cairo
    - Second Prize: Silver Cairo
    - Third Prize: Bronze Cairo.

    Participants will bear the costs of shipment from the print's origin to Cairo Airport. The Festival will insure the costs of returning the print from Cairo Airport to its origin within 15 days, after the end of the festival. Packages containing films and numbered reels should be provided with labels indicating the name of the festival in RED letters. Participants must inform the Festival's Management with dispatching details of their films by Fax. - Definitive print of each participating film must arrive to the Customs Agent of the Festival at Cairo International Airport before 10th of February 2011.

    The Festival insures the print of the film since its reception at Cairo International Airport and till its dispatching to its origin.

    - Should a print be lost, the responsibility of the festival will be limited only to the extent of the value indicated by the producer on the entry form.
    - Should a print be damaged the producer must sent an approved laboratory bill no later than one month after receiving his print in order not to lose his right at the Insurance Company.

    These Regulations have been written in Arabic and translated to English and in case of conflicting interpretations; the Arabic text will be referred to.

    Participating in the festival implies full acceptance of all conditions mentioned in these Regulations.

    Address of the Cairo International Film Festival for Children 17, Kasr El Nil St, Cairo - Egypt
    Tel.: ( 202) 23923962 - (202) 23923562 Fax : (202) 23938979 Website: www.CiffChildren.org

    E-mail:Info@cairofilmfest.org

  • Call for Filmmaker Application: 4th Talent Campus Durban

    Call for Filmmaker Application: 4th Talent Campus Durban

    Deadline: 15 March 2011

    The 4th edition of Talent Campus Durban will take place from 22-26 July 2011, during the 32nd Durban International Film Festival (21-31 July). Talent Campus Durban is an intensive 5-day programme delivered by film professionals to enhance both theoretical and practical approaches to filmmaking. Themed Africa in Motion, the 4th Talent Campus Durban presents a unique platform for African filmmakers to propel their careers through participation in a comprehensive series of seminars, workshops and industry networking activities. This year includes the addition of a Doc Station, where selected documentary projects submitted by accepted talents will be finessed and packaged for presentation within the Durban FilmMart.

    40 filmmakers from 20 countries in Africa were selected for the successful 2010 edition, imbuing the Campus with a rich intercultural nature, and sparking exchanges and cooperation that will continue to feed the development of filmmaking across borders of this continent. Talent Campus Durban now invites filmmakers from Africa to apply to participate in the 2011 programme, which takes place in Durban, South Africa, over five days. In addition to specific activities offered by the Campus, the selected talents will have the opportunity to attend films and events at the 32 nd Durban International Film Festival.

    Full rules and on-line application form hosted on the Berlinale Talent Campus - 4th Talent Campus Durban

    or if the link doesnt work please copy and paste http://www.berlinale-talentcampus.de/campus/ap/select/event/23 into your browser (cookies must be enabled)

    Deadline for application: 15 March 2011

    For further details:

    Phone: +27 (0)31 260 2506/1704
    Fax: +27 (0)31 260 3074
    Email: talent@ukzn.ac.za or talent.durban@gmail.com

    Talent Campus Durban is a cooperation between the Durban International Film Festival and the Berlinale Talent Campus of the Berlin International Film Festival and is supported by the German Embassy in South Africa, the Goethe-Institut South Africa and the KwaZulu-Natal Department of Economic Development and Tourism.

    The Durban International Film Festival is organised by the Centre for Creative Arts (UKZN) with funding and support from the National Lottery Distribution Trust Fund (principal funder), National Film & Video Foundation, HIVOS, City of Durban and other valued funders and partners.

    Contact Talent Campus Durban at talent@ukzn.ac.za

  • Apply for The Jan Vrijman Fund for Creative Documentaries and Documentary Events in Developing Countries

    Deadline: 15 May 2011

    The Jan Vrijman Fund is looking for creative documentaries and documentary events in developing countries. When selecting projects, the fund strives to have a minimum of 18% of the selected projects from countries from the two left columns on the DAC list (Least Developed Countries and Lower Income Countries). Furthermore applicants should be aware that the fund’s current budget does not allow to select more than 8% of the projects submitted.

    Application Deadlines: The Jan Vrijman Fund gives financial support twice a year. Application deadlines are January 15 and May 15.

    To apply you need to:

    1. Read the regulations below to see if your project meets the basic criteria
    2. Fill out an entryform (available at MyIDFA from the 1st of April 2011)
    3. Send all requested materials depending on the category that you’re applying for to janvrijmanfund@idfa.nl (see all categories and requested materials below

    Regulations

    1. The director should have the nationality of a developing country and live and work in a developing country, as defined on the DAC list. In addition the production company attached to the project must be based in a country on the DAC list. PLEASE NOTE: as of June 2008, filmmakers from Croatia cannot apply anymore.
    2. If a production company from a non-DAC list country is attached to the project, it is also necessary that the project has a producer and production company in a developing country. In this case, the application to the fund must be filed by the producer in the developing country.
    3. A project can be submitted only once for the category Script and Project Development and once for the category Production and Post-production.
    4. Projects rejected for a production contribution can apply again for a post-production contribution, but only if the application is accompanied by a rough-cut of at least 20 minutes.
    5. If a project is selected, the contribution must be spent in a developing country and all distribution rights for the Benelux countries must be reserved for the Jan Vrijman Fund.
    6. When applying for Other Activities, the event must take place in a country on the DAC-list. Also the organiser and organisation of the event must be based in a country on the DAC-list.
    7. The event should not take place or start within three months after the deadline.
    8. In the category Other Activities the following countries can not apply anymore: Argentina, Brazil, Chile and Mexico.
    9. Entry forms must be filled out in English, and all additional material should be in English as well. Only for applications coming from French-speaking African countries and Haiti, the Fund offers the possibility to submit the applications in French.
    10. The application should preferably be sent by e-mail as a file attachment. It is also possible to send the application by regular post.
    11. Applications must be in our office no later than on the date of the deadline. DVD’s and vimeo or youtube links can arrive until 1 week after the deadline. Make sure that the documents and additional materials are complete and clearly marked with the project title.
    12. Questions?: Please first check our Frequently Asked Questions before emailing our office at janvrijmanfund@idfa.nl.

    Categories

    Script and Project Development

    A contribution for Script and Project Development can be spent on research and on the development of a script and/or on the production of a trailer. The maximum contribution for script and project development is €5.000.

    Applications should be accompanied by:

    * Entry form (available from the 1st of April 2011)
    * Application Form Script and Project Development (available from the 1st of April)
    * If applicable max. 1 DVD with previous work, but only if related to the current project.

    Production and Post-production

    The maximum contribution for this category is €17.500.

    Applications should be accompanied by:

    * Entry form (available from the 1st of April 2011)
    * Application Form Production and Postproduction (available from the 1st of April)
    * DVD with audiovisual material from the project with english subtitles OR a link to Vimeo or Youtube. (i.e. a trailer, an edited sequence, an introduction of the character(s)) NO HD DVD.
    Filmmakers from African countries (except South Africa) can also send stills of the project (by email) instead of audiovisual material.
    * In case of an application for post-production only (after shooting is finished): a DVD with the rough cut or edited sequences of at least 20 minutes with english subtitles OR an upload on Vimeo or Youtube.
    * In case of a co-production: a copy of the signed co-production agreement.

    Other activities

    PLEASE NOTE that, in the category Other Activities the following countries cannot apply anymore: Argentina, Brazil, Chile and Mexico. Furthermore preference will be given to initiatives from countries from the two left columns of the DAC list (the Least Developed Countries and Other Low Income Countries) or countries in conflict areas.

    The Jan Vrijman Fund is looking for local documentary related events which stimulate the documentary film climate in developing countries. The following activities will be considered for financial support:

    * Distribution initiatives: Film screenings, preferably of local or regional documentaries, such as mobile cinemas, travelling film festivals or special screenings in remote or conflict areas. Overall, the fund is receptive to alternative and innovative ideas, as long as these are well-founded in a clear plan of implementation.
    * Documentary film festivals: Film festivals that aim to promote the documentary film genre and that act as a meeting point for local filmmakers and audiences.
    * Documentary workshops: Workshops for filmmakers and/or producers from non-Western countries as defined by the DAC list, dedicated to documentary script development, production and/or distribution and sales.

    The maximum contribution is €15.000.

    Applications should be accompanied by:

    * Entry form (available from the 1st of April 2011)
    * Application Form Film Festivals / Application Form Workshops / Application Form Distribution (available from the 1st of April)

  • Call For Film from Queer Women of Color Filmmakers (California)

    Call For Film from Queer Women of Color Filmmakers (California)

    Deadline: 31 December 2010

    CALL FOR FILMS from Queer Women of Color Filmmakers for our 7th Annual Queer Women of Color Film Festival Queer Women of Color Media Arts Project (QWOCMAP) invites queer women of color to submit short films to our 7th annual Queer Women of Color Film Festival, to be held June 10-12, 2011 at the Brava Theater, in San Francisco.

    * Required

    SUBMISSION GUIDELINES

    1. Films MUST be made by a queer woman of color filmmaker. 2. Year of completion must be between 2008 and 2011. 3. Film must be 15 minutes or under. 4. Complete the Festival Entry Form below. 5. Submit a VHS (NTSC) or DVD (Region 1) preview copy of your film/video. These items will be archived and will not be returned. 6. Include a CD of three high-resolution stills (300 dpi). 7. Final exhibition format must be on Mini-DV (standard definition) tape.

    DEADLINE

    5pm, Friday, December 31st, 2010 (to be RECEIVED in our QWOCMAP office)

    MAIL ITEMS TO

    2011 Queer Women of Color Film Festival c/o QWOCMAP 59 Cook Street San Francisco, CA 94118 U.S.A.

    CONTACT

    Liliana Hueso Program Manager festival@qwocmap.org 415.752.0868 www.qwocmap.org

  • 5th Abu Dhabi Film Commission Annual Shasha Screenwriting Competition (Middle East/ North Africa)

    Abu Dhabi Film Commission (ADFC) has called for entries for the 5th annual Shasha screenwriting competition designed to identify, develop and launch the career of talented filmmakers.

    The competition is open to UAE nationals, or UAE residents of over five years, citizens from other countries in the Middle East or individuals with Middle Eastern or North African parentage. Scripts can be submitted in English or Arabic and applicants must be comfortable pitching their projects to an industry panel in either English or Arabic.

    10 scripts will be shortlisted on 1st August 2011 and six finalists will be announced on 4th September 2011.

    The Film Commission will invite the six Shasha Grant finalists to Abu Dhabi this coming October to attend the pitching sessions which involve each finalist being paired with an industry executive to create and refine pitch strategies for their scripts.

    During the final pitching session each finalist will pitch their script to a selection jury comprised of industry professionals for evaluation. The winning project will receive the $100,000 development grant and ongoing production support from the Abu Dhabi Film Commission.

    For the full rules and regulations and to apply, please visit the commission website www.film.gov.ae or email inquiries to shasha@film.gov.ae

  • Young People Against AIDS: $2,500 Scenarios from Africa Film Contest

    Deadline: 1 April 2011

    SCENARIOS FROM AFRICA

    Young people against AIDS!

    International Contest

    1st December 2010 to 1st April 2011

    Create an original idea for a film about AIDS and see your film broadcast on national and international TV and on the Internet.

    Take part in the contest and help other people learn about HIV/AIDS … and at the same time, win cash prizes!

    Go for it!

    The contest will take place across Africa and among the African diaspora from 1st December 2010 to 1st April 2011. The contest is open to ALL young people who will be under the age of 25 on 1 April 2011. (If you are older than 24, encourage younger people to take part and give them a hand.)

    You are invited to come up with an original idea (a "scenario") for a short film up to 10 minutes in length. The best ideas will be adapted by professionals and turned into films by some of Africa's greatest directors.

    It's up to you to decide what form your idea will take. It can be a short story, a theatre piece, a comic strip, a song, a poem… You can even make an audio or video recording of your idea and send it in on a CD or DVD, if you would like! Anything is possible as long as the text is in English, French or Portuguese.

    As you create your scenario, please talk to organisations or individuals in your community who can provide you with good information on AIDS.

    How to Participate

    You can take part alone or in a team. Working in a team has its advantages. It's a great opportunity to talk about AIDS together and to learn what other people think and feel. Each team must choose a leader.

    The participant (or the team leader) must fill in the questionnaire that you will find on this leaflet. So, to participate in the contest, you must provide two things: your scenario and your completed questionnaire. Those two things must reach one of the addresses listed on this leaflet by 1st April 2011, at the latest. Photocopied scenarios will not be accepted.

    Each scenario may be up to 10 pages long (maximum!). The length of scenarios recorded on CD or DVD may not be more than 10 minutes. Write your name (or the name of the team leader) at the top of each page, and number the pages, please.

    Prizes:

    The scenarios will be examined by juries made up of specialists in the areas of AIDS and of film. The final international jury will meet in September 2011. There will be 25 winners of the international contest. Each of these winners or winning teams will receive a cash prize of 100 Euros (or US $125, whichever is greater when the prizes are awarded), as well as the possibility to have a film based on their idea made and shown on TV and the Web. In addition, the top 3 winners or winning teams will receive special cash prizes:

    1st place scenario : 2.000 Euros (ou US $2,500)
    2nd place scenario : 1.000 Euros (ou US $1,250)
    3rd place scenario : 500 Euros (ou US $625)

    Winners of the international contest will receive their prizes on or before 1st December 2011 at the address they give on their questionnaire. Only one prize will be given to each winning team. The juries' decisions are final.

  • Call for Applications: Greenhouse Mediterranean Documentary Film Development Program (Algeria/ Egypt/ Morocco/ Tunisia)

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