Film Strategy

The Karlovy Vary Festival is one of the oldest in the  world  and has become  Central and Eastern Europe’s  leading film event.  Here are 2015's winners: Crystal Globe Winner (Grand Prix) Bob and the Trees  (USA, France) – director, Diego Ongaro Bob and the Trees  is a 2015 verite drama film that won the  Crystal Globe  at the  Karlovy Vary International Film Festival .  Shot in  The Berkshires ,  Bob and the Trees  follows farmer and logger Bob Tarasuk (played by himself), his son and business partner Matt (Matthew Gallagher), and Bob's wife Polly (Polly MacIntyre) as they work to earn money during winter.   The film, Diego Ongaro's feature-length directorial debut, premiered in the noncompetitive Next  section of the  2015 Sundance Film Festival  in January 2015, where it was met with warm critical reception. According to the website, "Bob and the Trees is proud to be one of the first feature films shot on the Black Magic Pocket Cinema Camera." No

In his Art of War, Sun Tzu wisely counseled, "Assess the advantages in taking advice, then structure your forces, accordingly to supplement extraordinary tactics." With that kernel of wisdom in mind, I looked at this year's Pricewaterhouse Coopers Global Entertainment and Media Outlook 2015-2019 and studied their summary of " Filmed Entertainment ." Although I have not read the full report, the summary provides plenty food for thought so I asked myself what would I do with this data as a filmmaker? My answers are below labeled, "The Film Strategy tip." Let me know what you would do with that data. Note, I have not purchased the full report and I am only basing this on the insights they published. But even those short insights are revealing. Growth around the world will boost filmed entertainment revenue.   Global total filmed entertainment revenue will rise at a 4.1% CAGR (Compounded Annual Growth Rate) to 2019, reaching US$104.62bn. Particularl

Economics of the film avant-garde:  networks and strategies in the circulation of films, ideas, and people by  Kathryn Ramey How do experimental filmmakers survive? And not just in tough economic times, but routinely? Can they make a living from their creative work, and if so, how? If not, how do they keep going? What social networks, communities, and institutions do they make or work within to continue their art-making? What ideas do they have about their chosen profession? How do they evolve and change with changing technologies and new opportunities? These are the kind of questions that motivated me to do an ethnographic study of the avant-garde film art world. Here I want to lay out one aspect of that project. Methodology* This essay was originally written as part of a multi-sited ethnography on late 20th century experimental filmmakers in North America focusing primarily on New York and Chicago and their environs in partial completion for a Ph.D. in socio-cultural