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GZK Kampala is excited to announce that applications to the 8th edition of the Ngalabi Short Film Festival are finally open. Filmmakers from Uganda, East Africa, Africa, and the African Disapora are invited to submit their short films for a chance to share their unique creative voices with the Ngalabi family. To merit consideration for the Ngalabi Short Film Festival, all submissions must fulfill the following requirements: 1) The applicant must be over 18 years old. 2) The applicant must own all screening rights to their short film. 3) The submission must include a Synopsis (100-150 words). 4) The submission must include a Director's Biography (100-150 words). 5) The submission must include 3 high resolution Director's Headshots (300dpi). 6) The submission must include 3 high resolution screengrabs from the short film (300 dpi). 7) The submission must not exceed a runtime of 30 minutes. 8) The submission must include English subtitles. 9) The submission must include a downloadable film link uploaded to Google Drive, Vimeo, Dropbox, or WeTransfer (no more than 2GB) All short film submissions should be sent to curator.ngalabishorts@gmail.com between Monday 4th March, 2024 and Friday 3rd May, 2024. Best of luck in your submissions! We can't wait to build another unforgettable cinematic experience with you this year.

GZK Kampala is excited to announce that applications to the 8th edition of the Ngalabi Short Film Festival are finally open. Filmmakers from Uganda, East Africa, Africa, and the African Disapora are invited to submit their short films for a chance to share their unique creative voices with the Ngalabi family. To merit consideration for the Ngalabi Short Film Festival, all submissions must fulfill the following requirements: 1) The applicant must be over 18 years old. 2) The applicant must own all screening rights to their short film. 3) The submission must include a Synopsis (100-150 words). 4) The submission must include a Director's Biography (100-150 words). 5) The submission must include 3 high resolution Director's Headshots (300dpi). 6) The submission must include 3 high resolution screengrabs from the short film (300 dpi). 7) The submission must not exceed a runtime of 30 minutes. 8) The submission must include English subtitles. 9) The submission must include a downloadable film link uploaded to Google Drive, Vimeo, Dropbox, or WeTransfer (no more than 2GB) All short film submissions should be sent to curator.ngalabishorts@gmail.com between Monday 4th March, 2024 and Friday 3rd May, 2024. Best of luck in your submissions! We can't wait to build another unforgettable cinematic experience with you this year.

Call for Papers Mapping German Film Exile. A Transnational Perspective Workshop: 20-22 June 2024 at Johannes Gutenberg-University, Mainz In the context of our DFG-funded research project on the historical film exile “Mapping German Film Migration, 1930-1950) we invite scholars to contribute to a workshop and publication. Our own project takes the archival files of Günter Peter Straschek as a starting point for re-visiting the historical film exile with digital methods. We focus on escape routes, networks of production and the diversity of film professionals on the run. Straschek has compiled the names of over 4000 persons over a period of close to thirty years. For him the German film exile encompasses all individuals who were involved in the German film industry and film culture between 1920 and 1933, and who had to exile before 1945. Topics for the workshop and publication may include but are not limited to: - Research on the film production in the context of the historical film exile (working conditions, the creation of new production companies) - Transnational co-operation before, during and after exile - Production facilities in Europe in the 1930s - The role of the work of exiled crew members for a specific country of exile - The historical film exile and its relation to international film cultures - Film production as a means of resistance - etc. Timeline: Please submit an abstract of 200-250 words with references and a short bio by February 3rd 2024. A first draft of the paper (max 15 pages; for circulation among participants of the workshop) is due on May 15th 2024. The deadline for the final paper is set for August 31st 2024. The book shall be published in 2025. Dr. Imme Klages & Prof. Dr. Alexandra Schneider https://lnkd.in/ee9Vi6EH Contact: iklages@uni-mainz.de 

Filmmakers: Let’s talk about submitting your film to the Rutherford Film festival. Why should you do it?... By submitting your film, you will: 1. Compete for any of the 11 awesome awards from the truest film festival in the state: Best Feature Best Short, Best Documentary, Best High School Film, Best College Film, Best Screenwriting, Best Cinematography, Best Art Direction, Best Sound Design, Best Music and Score, William Carlos Williams Screenplay Award 2. Gain Exposure: The Rutherford Film Festival will provide a platform with 3 screens in the same facility dedicated to showcase your work to a wider audience, including industry professionals, critics, and potential collaborators. This exposure can lead to networking opportunities and increased visibility for your film. 2. Gain Validation and Recognition: Winning or even being selected for the Rutherford Film Festival will provide validation and recognition for your work. It can boost your confidence as a filmmaker and lend credibility to your future projects. 3. Get Audience Feedback: The Rutherford Film Festival will include lectures, Q&A sessions, parties, and celebrations of the beauty and versatility of cinema, allowing you to receive valuable feedback from viewers. This feedback can help you understand how your film resonates with different audiences and guide your future creative decisions. 4. Make Industry Connections: The Rutherford Film Festival will attract industry professionals, including producers, distributors, and agents. By participating in our festival, you will have the opportunity to network and establish connections that may lead to future collaborations or distribution deals. 📌 There’s no time to waste – click here to submit your film👉🏻 https://lnkd.in/d2KtFSWy #rutherfordfilmfestival #filmfestival #filmindustry #newjerseyfilmmakers #williamscenter #filmmaker #filmmaking

Good Afternoon WLFF @followers We’ve been quiet recently, busy but quiet; we’re excited to share some great updates with you! 🎬 Submissions Update: So far, 17 talented filmmakers have submitted 18 films, and we’ve already had one filmmaker return with a second submission in a different category. We love seeing the passion and creativity in action! New Website Coming: We're also working on a brand-new website. As soon as it's completely ready, we will share it. We are in maximum effort mode, and as soon as we are happy with the site from top to bottom it will be all we talk about—stay tuned! Categories for 2025: All the categories from 2024 will be returning in 2025, PLUS we’re introducing some new ones, including: - Best Young Person Film (12 years and under) - Best Young Person Film (13 years to 18 years) - Best Young Person Film (19 years to 26 years) - Best of Home Nations - Best of Celtic Nations - Best Screenplay - Best Supporting Actor - Best Supporting Actress - Most Authentic Background If you're submitting your film to any of these categories: - Best Feature Film - Best Short Film - Best Film (12 years and under) - Best Film (13 years to 18 years) - Best Film (19 years to 26 years) - Best Student Film - Best Documentary - Best Animation - Best TV Series (Pilot/Concept/Web Series) And if you plan to submit to additional categories, we’d love to discuss discounts. Reach out to us for a full list. 💡 Since there’s no longer an “All Categories” option, please contact hello@westlothianff.scot for details on obtaining category passwords and a potential discount for large category submissions. Fee Waiver Information: In exceptional circumstances, we may waive fees for those who meet the criteria. These requests must be received no later than December 31, 2025, and should include: - 4K MP4 of Film and Trailer - Verified DCP File - Press Release (published or unpublished) - Cover Letter addressed to the Festival Director - High-Res BTS photography and stills - Official Movie Poster (40"x30" or 30"x40") - Participation in PR-related activities - British Board of Film Classification (negotiable) Note: Waivers do not guarantee a screening spot or nominee status. Become a Judge at WLFF 2025! Do you have a passion for film and want to help shape the future of independent cinema? We’re looking for new judges to join our panel for WLFF 2025! This is a great opportunity to engage with exciting new voices in the film industry, share your expertise, and be part of something special. If you're interested in this unique experience, please contact us at hello@westlothianff.scot to learn more about how you can get involved. 🎥🗳️ We’re looking forward to another incredible festival in 2025, and we can’t wait to see what you’ve been working on! 🎥 https://lnkd.in/ew6yPkUs #WLFF2025 #filmsubmissions #filmmakersunite #filmfestival #newwebsite #independentfilm #youngfilmmakers #scotlandfilmfestival #discountcodesavailable #maximumeffort

FRENCHMADE FILMS #Cinema #frenchmadefilms #cannes Few movements stand as boldly innovative and influential as the French New Wave. Emerging in the late 1950s and flourishing throughout the 1960s, this avant-garde movement not only transformed the landscape of French cinema but also left an indelible mark on global filmmaking. At its core, the French New Wave represented a rebellion against the traditional conventions of filmmaking. Rejecting the glossy, polished productions of mainstream French cinema, directors such as François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette sought to create films that were raw, spontaneous, and reflective of their own personal visions. One of the defining characteristics of the French New Wave was its innovative approach to storytelling and filmmaking techniques. Filmmakers embraced handheld cameras, natural lighting, and location shooting, eschewing the elaborate sets and controlled environments of studio filmmaking. This newfound freedom allowed for a sense of authenticity and immediacy in their work, blurring the lines between fiction and reality.

One of the most extensive networks of amateur filmmaking in the interwar period emerged in Japan. By the late 1920s, amateur movie clubs had taken root across Japan as well as in its colonies of Manchuria, Taiwan, and Korea. Amateurs in Japan displayed interest in abstract, experimental, and animated filmmaking as well as in narrative fiction films. Over the course of the 1930s, amateur activities were increasingly inflected by nationalism and state control over film production. Noriko Morisue provides an introduction to this fascinating history with "Amateur Cinema Between the Wars in Japan," complete with timeline of important events, a map of movie clubs, and some significant films (with links to view some of them). https://lnkd.in/gxqp7VRy #research #filmhistory

The state of the UK film and tv industry is concerning - and we should not be worried to discuss the topic. On a more positive note, a good weekend! House of Mystic Magic won 'Best Cinematography' at the Covent Garden Film festival in London! A huge congratulations to all the team! The event was hosted at the amazing cinema in the Courthouse Hotel London The next festival is at the end of month, South London Film festival - that will finish our run of 30 festivals worldwide, winning 13 awards to date! We will do a social media release for Easter! (Watch this space!) We are also looking for fashion magazines and other avenues to release the film, if anyone can link us up? I produce content for commercial, but also produce on a range of cultural films, film and television. The institutions have a responsibility to support and continue to grow the amazing UK industry that we are priveleged to have. The UK honestly has the most innovative and creative industry. We risk a 'brain drain' of talent in the UK if support is not provided, creatives will always be innovative to make great work, but institutions need to keep up with the pace of change. I attend many festivals, its always uplifting and positive to see the amazing work that is produced in the UK, there is no lack of ideas, creativity and a huge opportunity of 'soft power' for the UK to continue exporting great content. The UK cannot take our industry and creatives for granted. Now is not the time to let the industry flat line, but maybe the time to change perspective of how audiences consume content, and what can be done differently than the competition to make content platforms stand out. What are your thoughts on the state of the industry? #filmindustry #cinematography #filmandtv #londonfestival #london #filmfestival #content #creative #producer #filmproducer #awardwinning #festivals #coventgarden #filmconversation #industryinsights #filmmagazines #fashionfilm #fashionmagazine

Film Jargon #8: Dutch angles! There comes point in all good films when there is a moment – or multiple moments – of heightened tension or where the director wants the create a sense of unease, disorientation or shock in the viewer.   Step forward, the Dutch Angle. Sometimes known as a Dutch Tilt, canted angle or oblique angle, this is a shot where the camera is rotated around the x-axis, so that the scene appears to be tilted, to create a sense that something is wrong, unstable or out of kilter. The technique was first used by German filmmakers in the early twentieth century – so perhaps the shot should be better known as the ‘Deutsch angle’.  Either way, it was quickly adapted by the makers of films that came be known as ‘film-noir’ – those gritty, often wonderfully lit black and white films such as The Third Man (1949), The Maltese Falcon (1941), The Asphalt Jungle (1950) and Double Indemnity (1944).  The Third Man used the technique extensively and to great effect.  However, film legend has it that director, Carol Reed, was later presented a spirit level by fellow-director William Wyler (best known for the 1959 production of Ben Hur) with the instruction to attach it to his camera next time he made a film! Although we’ve been known to make use of Dutch Angle shots, it’s not something that we do very often – mainly because few of the films we create for our industrial clients benefit from creating a sense of unease or instability! #filmmaking #b2bmarketing #videomarketing #dutchangle #filmnoir

🚀 The Toronto International Film Festival (#TIFF24) isn’t just about films; it’s about putting the audience in charge. There’s no professional jury here—it’s the viewers who decide. And that’s what makes it special, keeping the audience at the heart of it all. Kind of like Filmustage, which helps filmmakers take charge of the pre-production process. Filmustage is your go-to tool for prepping your shoot. It breaks down scripts, builds shooting schedules, and makes the whole pre-production process easier. Just like TIFF lets the audience pick the winners, Filmustage makes pre-production simple and accessible for every filmmaker. Ready for a filmmaking revolution? Subscribe to Filmustage and make your pre-production as smooth as TIFF’s audience-powered magic! 🎥✨ https://lnkd.in/egjcZy6D Photo Credit: Liisa Ladouceur #FilmTech #FilmIndustry #IndieFilm #Cinephile #Filmmaking #CreativeProcess #Filmustage #TIFF