Author: Kirby Ferguson
Date: 2011
Duration: 11 min. 17 sec.
Website: http://www.everythingisaremix.info
Detailed information about the sources and tools used in the production of the film are available at this website.

This post is part of the series What is remix?

• EMBED is a place where audiovisual researchers, professionals and festivals meet to talk, think and test old and new ideas in cinema, television, games, internet, transmedia, remix, copyleft and people.
• EMBED is an initiative by Festivalito, Movil Film Fest, Yerblues.net and ZEMOS98 with the support of Instituto Cervantes and Junta de Andalucía (all based in Spain).
• EMBED is interested in new ways of showing and distributing audiovisual content and live performances as “Audiovisual Source Code” inviting filmmakers, musicians and artists to reveal their inspirations on stage.
• EMBED has a website at www.embed.at with articles and news and some private email lists to keep all members in touch. Interested? Write to us: info@embed.at.

This initiative was presented by Joan Carles Martorell ( yerblues.net // info@yerblues.net), one of the creators involved in the development of this initiative. His debut in film was “Noches Blancas” (2002), one of the first multimedia digital shorts produced in Spain, for which he received a dozen awards, including runner-up for the Premio Nacional de Audiovisuales granted by the Spanish Government’s Youth Institute (Injuve) in 2005. That same year, he directed an express short film “Batman By Your Side,” as part of the La Palma International Film Festival “Festivalito” (Canary Islands), which was distributed internationally. He also attended a workshop with Víctor Erice and Abbas Kiarostami for the “Erice-Kiarostami” exhibition at the CCCB (Barcelona’s Center of Contemporary Culture), with his short film “La línia de l’arbre” (2006). In early 2007, he presented “Urban Surround,” a music and audiovisual project, in Basel (Switzerland), as part of the Les Muséiques international festival. In 2008, his short “Microfísica” was screened in the Official Section of the Gijón Film Festival. The film has won awards at several competitions, including the Chicago Film Festival, was screened at Cannes, and was also selected to participate in the Clermont-Ferrand, Málaga, and Saint Petersburg festivals, among others. In 2009, his express short film “Incondicional” received Special Jury Mention and the Best Actor award at the Movil Film Fest.

Author: Brett Gaylor | @remixmanifesto
Date: 2008
Duration: 85 min. 25 sec.
Website: www.ripremix.com

This documentary was screened on March 23rd 2011 at Modern Art Oxford as part of the Bonus Tracks programme, a series of public events organised in the context of the Remix Cinema Workshop.

This post is part of the series What is remix?

In RiP: A remix manifesto, Web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers.

The film’s central protagonist is Girl Talk, a mash-up musician topping the charts with his sample-based songs. But is Girl Talk a paragon of people power or the Pied Piper of piracy? Creative Commons founder, Lawrence Lessig, Brazil’s Minister of Culture Gilberto Gil and pop culture critic Cory Doctorow are also along for the ride.

Brett Gaylor is a documentary filmmaker and new media director. He is the creator of opensourcecinema.org, a video remix community which supports the production of his feature documentary RiP: A remix manifesto.

Through an evaluation of movies and animation series ongoing in Brazil, it’s possible to assert that the studios in the country miss a solid industrial philosophy of animation production and an applied professionalism, which is already current in other international markets. The lack of professional training in the market is also an obstacle for all kinds of production processes, with major impact on bigger scale productions like Cinema.

This brief paper aims to study collaborative animation models — production models whereupon a bunch of individuals sum forces over a problem solution or by achieving a common goal — by studying two recent successful cases in which collaborative production methodologies were applied: the movies Big Buck Bunny and Live Music. Based on different strategies, both movies exemplify well the collaborative economy concept applied to the animation industry. These case studies show that it is possible to dare in such competitive market without losing the quality and profitability of the animated pieces, being even capable to conclude these productions in an equal or (eventually) smaller time than similar standard productions. The benefits brought by these models are tangible, enabling more dynamics, creative and faster productions which, in some cases, have technical, aesthetical and narrative qualities comparable to established studios’ features, such as Pixar and DreamWorks. All of this by just the use of the free motivated collectivity power, guided by a clear goal.

The appliance of the collaborative economy concept in a developing country’s cultural industry, such as Brazil’s, would enable a reorganization of the elements that compose it; the solution of the lack of local professional training problems (after all, the motion picture now should be global) and the national industry equivalence to international established studios. It is an initiative that could move Brazil’s economy, generating new professionals to the emerging collaborative market, the end of the Brazilian Cinema’s dependence of public funding, the technical exchange between artists and professionals all over the world and the quick inclusion of new and young talented professionals.

Download the poster in PDF

Authors

Name: Rafael Siqueira Cruz
URL: http://www.tecnologia-e-cinema.com
Affiliation: Universidade Federal Fluminense (UFF). Rio de Janeiro, Brasil.
Country: Brazil
Bio statement: Cinema undergraduate at Universidade Federal Fluminense (UFF) on 2010.

Name: Daniel Moreira de Sousa Pinna
URL: http://quadronegroanimado.blogspot.com
Affiliation: Universidade Federal Fluminense (UFF). Rio de Janeiro, Brasil.
Country: Brazil
Bio statement: MSc. in Design, Designer and cartoon animator. Professor of the Cinema course at Universidade Federal Fluminense (UFF).

References

Barbosa Júnior, A. L. (2002). Arte da Animação: técnica e estética através da história. São Paulo: SENAC.
Barnes, B. (2009) “An animated film is created through internet consensus”. The New York Times, New York, Jul. 15. http://www.nytimes.com72009/07/16/movies/16mass.html?_r=3&ref=arts Accessed 30 Nov. 2010.
Blender Foundation. http://www.blender.org/blenderorg/blender-foundation/ Accessed Dec. 11 2010.
Halas, J.; Manvell, R. (1979). A técnica da animação cinematográfica. Rio de Janeiro: EMBRAFILME / Civilização Brasileira.
Karasinski, E. (2010). Nos bastidores das grandes produções e animações 3D. Baixaki Tecnologia, Jul. 16 2010. http://www.baixaki.com.br/tecnologia/4623-nos-bastidores-das-grandes-producoes-e-animacoes-3d.htm Accessed Dec. 11 2010.
Lemos, R. (2005). Direito, tecnologia e cultura. Rio de Janeiro: FGV.
Massanimation. http://www.massanimation.com/ Accessed Dec. 11 2010.
Tapscott, D.; Williams, A. (2007). Como a colaboração em massa pode mudar o seu negócio. Rio de Janeiro: Nova Fronteira.

The Cosmonaut is a feature film project produced by Riot Cinema Collective. It proposes a new model of financing, production and distribution; making the most of the available communication tools: the Internet, social networks and mobile communities. The Cosmonaut has approached the audience from the beginning of the project, fostering a close and transparent relationship, inviting them to participate in the process of the film’s production by inviting them to be part of a community through the use and distribution of material licensed under Creative Commons. It is one of the first projects in the world to try to create a new business model based on added values and stimulating the participation of the audience.

In April 2010 they concluded the Teaser Remix Experience, and Robert Pratten got the first prize with this remix of the teaser trailer:

Cosmonaut Trailer from ZenFilms on Vimeo.

Antoni Roig Telo

Participatory film production as media practice: a theoretical and methodological approach

In this presentation he will outline his theoretical and methodological approach to the study of participatory media production, deployed around his  previous research on European cinematic projects which rely heavily on creative online communities, like A Swarm Of Angels and Star Wreck/ Iron Sky. As we are witnessing an unprecedented explosion of cultural practices related to DIY media production, like remix practices, and how these wide variety of interrelated media practices are challenging established boundaries of market/non-market, professional/amateur or production/consumption, it is equally relevant to assess them in terms of change but also of continuity. Drawing from the contemporary theorisation of practice in culture (Schatzki, 1996; Swidler, 2001; Knorr-Cetina, 2001; Reckwitz, 2002; Warde, 2005; Couldry, 2004, 2010), he will try to show how theories of practice can be a helpful theoretical and methodological contribution to the understanding of the processes of negotiation and construction of identities, rewards, hierarchy, collaboration or normativity around incipient participatory models of production, accounting for motivations behind affective engagement of dedicated users in these kind of creative communities.

Antoni Roig Telo. PhD in Information and Knowledge Society, degree in Audiovisual Communication. Professor at the Universitat Oberta de Catalunya, director of the undergraduate programme in Audiovisual Communication and director of the postgraduate programme in Audiovisual Media Innovation UOC-Digitalent. His research focuses on collaborative cinema, fandom, crossmedia narrative experiences, new models of production and participatory cultural practices in audiovisual media. He has contributed to different collective works and international journals. He has coordinated the compilation Comunicación audiovisual digital (2005); author of Cine en conexión: produción industrial y social en la era cross-media (2009) and co-author of Exploraciones creativas: prácticas artísticas y culturales de los nuevos medios (2010).

References

Couldry, Nick (2004). Theorising Media as Practice, in Social Semiotics 14(2): 115-132.

Couldry, Nick (2010). Theorising Media as Practice: further reflections, in Bräuchler, B; Postill, J., Theorising media and practice. Oxford and New York: Berghahn Books.

Knorr Cetina, Karen (2001). Objectual Practice, in Schatzki, T. R., Knorr Cetina, K. and Von Savingy, E. (eds.), The Practice Turn in Contemporary Theory. London: Routledge.

Schatzki, T. 1996. Social Practices: A Wittgensteinian Approach to Human Activity and the Social. Cambridge, MA: Cambridge University Press.

Reckwitz, Andreas (2002). Toward a Theory of Social Practices. A Development in Culturalist Theorizing, in European Journal of Social Theory 5(2): 243–263. Londres: Sage Publications.

Swidler, Ann (2001). What anchors cultural practices, in Schatzki, T. R., Knorr Cetina, K. i Von Savingy, E. (eds.), The Practice Turn in Contemporary Theory. London: Routledge.

Warde, Alan (2005). ‘Consumption and theories of practice’, in Journal of Consumer Culture 5(2):131-153. Londres: Sage.

Author: Kirby Ferguson
Date: 2011
Duration: 9 min. 48 sec.
Website: http://www.everythingisaremix.info
Detailed information about the sources and tools used in the production of the film are available at this website.

This post is part of the series What is remix?

Author: Kirby Ferguson
Date: 2010
Duration: 7 min. 18 sec.
Website: http://www.everythingisaremix.info
Detailed information about the sources and tools used in the production of the film are available at this website.

This post is part of the series What is remix?

Directed by: Andreas Johnse, Ralf Christensen & Henrik Moltke
Date: 2007
Duration: 58 min. 54 sec.
Website: http://www.goodcopybadcopy.net

This post is part of the series What is remix?