Looks like you are a new visitor to this site. Hello!
Welcome to Hope For Film! Come participate in the discussion, and I encourage you to enter your email address in the sidebar and subscribe. It's free! And easy! If you have any suggestions on how to improve this website or suggestions for topics please don't hesitate to write in to any of the blogs.
(If you keep getting this message, you probably have cookies turned off.)
I keep trying to define my own personal mission. Do you? I think knowing what we want to do, to accomplish, goes a long long way towards maintaining our enthusiasm as to how we use our labor.
Such a definition though is a bit fluid and needs regular check-ups. It is dependent on our time — both in terms of where we are (the right here, right now variety) and how it is expended (the tick tick tick beating of the eternal clock).
In so many ways I am fortunate. One of them is [...]
The recent article on Hollywood in The Economist is a MUST read. Stop what you were planning to do for the next ten minutes, read this post and then read the article. You must. MCN pointed to it with the blurb: “Between 2007 and 2011, pre-tax profits of the five studios controlled by large media conglomerates fell by around 40%”. That hooked me. I read, and then I wept.
I don’t see how anyone can read that and NOT come to the conclusion that all the publicly-traded companies will divest their movie studio assets within the year. Maybe they will; maybe they won’t, but you know the [...]
Here’s another excerpt from Sherry B Ortner’s new book Not Hollywood, an ethnographic look at Independent Film since the late 80s. In this excerpt Sherry looks at social and economic background of producers in the independent sphere, finding that the majority come from upperclass background and educations.
The Sociology of Producers and the Neoliberal Economy of the 1990s
The independent producers who are part of this project are mostly within the age range of the ﬁlmmakers, Generation X, born between the early 1960s and the early 1980s. Some are a bit older, and most fall at the early end of the Gen X range, but on the whole there is not a major age/generation gap between the producers and the ﬁlmmakers. This is relevant in the sense that the producers and the ﬁlmmakers would share the worldview and the general aesthetic behind the independent ﬁlms they make together. Beyond this, however, there are some interesting differences. First, gender: As we will see in the next chapter, women form a relatively small percent of directors and ﬁlmmakers. But it is a striking fact that women constitute almost half of the ranks of producers. In 1974, the Producers Guild of America (pga) recorded that 8 out of 3,068 members were female, or 0.3 percent (Abramowitz 2000: 65). According to Vance Van Petten, executive director of the pga, currently about 45 percent of its members are women (interview, December 13, 2007).
Next, class: It is an equally striking fact that independent producers tend to come from relatively high capital backgrounds and collectively are clearly part of the Professional Managerial Class or pmc. Many come from upper-middle-class families with signiﬁcant amounts of money. Even if they are not all members of the pmc by virtue of money, they are almost uniformly so by virtue of higher education. [...]
Today we’re happy to provide you with an excerpt from Sherry B Ortner’s new book Not Hollywood. Subtitled “Independent Film at the Twilight of the American Dream”, its an ethnographic look at Independent Film since the late 80s. In this excerpt Sherry looks at the darkness that is endemic of so many independent features. What do you think?
From the beginning of this project, I immersed myself in independent ﬁlms. At ﬁrst I was somewhat mystiﬁed. While many of them were compelling, many of them were also quite dark and, in one way or another, disturbing. They were clearly ‘‘not Hollywood.’’ This generated the ﬁrst question of my research beyond the purely ethnographic: what was this all about? In Part I of this chapter, I tackle this general question of ‘‘darkness’’ and propose to understand it in terms of the generational positioning of a new breed of ﬁlmmakers, the ﬁrst post-boomer generation usually known as Generation X. I argue further that ‘‘Generation X’’ represents not a particular cohort that ended at a certain point in time, but an ongoing and open-ended social entity that is bearing the brunt of the massive economic transformations called ‘‘neoliberalism.’’ [...]
By Rob Millis
Two changes in tech and finance are about to have a huge impact on independent film: crowdfunding and the JOBS Act.
We all know about Kickstarter and IndieGoGo, the crowdfunding platforms that have been helping independent creators launch projects. These platforms and others have already been hugely successful with DIY projects and direct-to-fan networking, yet even after years of growing popularity they haven’t come anywhere close to their full potential.
Last year the Slated networking and fundraising platform joined the market as well. Slated offers a system geared toward film professionals seeking (or supplying) investment dollars. Unlike previous crowdfunding platforms, Slated’s approach is less about DIY and more about professional partnerships. In short, they are taking crowdfunding to the next level. [...]
By Roger Jackson
Previously: Video-on-Demand Sales Tips
Distributing the Betas
We’ve started delivering films to video-on-demand outlets. That may not sound like much — we could have done it 3 months ago by sending them a hard drive. But these are highly complex — and automated — deliveries, with literally hundreds of variables in the transcode presets, the type of poster image, the metadata fields, the trailer, the subtitles or closed captions…an error in any element will get the film rejected by the very rigorous Quality Control (QC) at the outlets. We’re impatient to get the films live so we can share some links with you — but we’re sanguine also. Even after a film gets to Amazon or iTunes or any other outlet it can take up to 90 days to go live — like it or not, that’s the reality we face.
Greek, Spanish & English
We decided to use a foreign film — the stunning Greek drama DOS — as our very first delivery. It looks stunning, every outlet has ordered it, and DOS is a great “use case” since it involves three languages. It’s a Greek film — set in Spain — with English subtitles. [...]