22 May 2009
The winning filmmaker will receive R15, 000 worth of equipment rental at any office of Media Film Service (excluding insurance which must be paid for by the filmmaker), a LaCie Hard Disk Triple Design by Neil Poulton 1Tb, courtesy of DDS and the Visual Impact Group and a R2, 500 cash prize from the Documentary Filmmakers’ Association.
The runner-up will receive a G Tech GDriveQ 500GB Hard Drive, courtesy of SyntechSA and the Visual Impact Group.
All filmmakers who enter a film will receive a year’s free membership to the Documentary Filmmakers Association (July 2009 – June 2010).
This competition is brought to you by the DFA and Encounters Film Festival, and prizes are sponsored by:
21 May 2009
20 May 2009
This received yesterday from the Save our SABC Campaign (edited by SASFED).
As I am sure you have all seen the financial crisis at the SABC is deepening. There have been a flurry of articles over the weekend and also yesterday.
The Mail and Guardian is claiming that the problems lie with Snuki Zikalala's international news empire i.e. Snuki incurred huge costs by setting up news bureaux all over the world to gather news and to comment on international issues from an African perspective. The problem was that material was broadcast on an obscure satellite platform and never had an audience beyond a few thousand. No advertisers were prepared to touch the channel and so there were huge costs and no revenue.
Jocelyn Newmarch's article in the Weekender points to a number of problems including the fact that the SABC had to give back substantial money to advertisers because they hadn't scheduled the programmes correctly and advertisers were correctly insisting on particular slots. In a follow-up article yesterday in Business Day she points to problems including the SABC's masssive consulting fees, bloated management structures and its buying of inappropriate programming eventually never screened. She points out that in fact advertising revenues have not dipped over the last few months, in fact they have risen overall in comparison to last year. The SABC has been using this as a major excuse for its deficit. She claims that the losses are due to managerial incompetence.
In the meantime independent producers have not been paid. They are owed approximately R35m (Note from SASFED: Latest figures appear larger).Also, staff salary increases have not been paid. These were negotiated as part of a three year agreement. Bemawu is considering taking the SABC to court. CWU is considering taking the SABC to the CCMA. In the meantime the independent producers have been meeting to discuss their options. They met yesterday late afternoon. They will also be meeting with the Department of Communications today. I will keep you updated on all developments. It seems major demonstrations are now be on the cards.
Please see below for some web addresses of relevant articles:
In terms of our discussions around nominations for the Board(removed comment to SOS group).The plan is to hold a working group meeting on either the 25th or 26th of May next week to nail this down. We will keep you all updated. In the meantime I hope you are all strongly encouraging excellent, experienced people to apply for the SABC GCEO position. The deadline for applications is the end of this month.
Further, SOS is now embarking on its research programme to further strengthen its Civil Society Discussion Paper on the SABC.
(Additional content removed).
American University’s Center for Social Media and AU’s Program on Information Justice and Intellectual Property, in collaboration with Stanford Law School’s Fair Use Project, are launching a new video explaining how online video creators can make remixes, mashups, and other common online video genres with the knowledge that they are staying within copyright law.
The video, titled Remix Culture: Fair Use Is Your Friend, explains the Code of Best Practices in Fair Use for Online Video, a first of its kind document—coordinated by AU professors Pat Aufderheide and Peter Jaszi—outlining what constitutes fair use in online video. The code was released July 2008.
“This video lets people know about the code, an essential creative tool, in the natural language of online video. The code protects this emerging zone from censorship and self-censorship,” said Aufderheide, director of the Center for Social Media and a professor in AU’s School of Communication. “Creators, online video providers, and copyright holders will be able to know when copying is stealing and when it’s legal.”
Like the code, the video identifies six kinds of unlicensed uses of copyrighted material that may be considered fair, under certain limitations. They are:
• Commenting or critiquing of copyrighted material
• Use for illustration or example
• Incidental or accidental capture of copyrighted material
• Memorializing or rescuing of an experience or event
• Use to launch a discussion
• Recombining to make a new work, such as a mashup or a remix, whose elements depend on relationships between existing works
For instance, a blogger’s critique of mainstream news is commentary. The fat cat sitting on the couch watching television is an example of incidental capture of copyrighted material. Many variations on the popular online video “Dramatic Chipmunk” may be considered fair use because they recombine existing work to create new meaning. “The fair use doctrine is every bit as relevant in the digital domain as it has been for almost two centuries in the print environment,” said Jaszi, founder of the Program for Information Justice and Intellectual Property and a professor of law in AU’s Washington College of Law. “Here we see again the strong connection between the fair use principle in copyright and the guarantee of freedom of speech in the Constitution.”
Remix Culture: Fair Use Is Your Friend is a collaborative project of the Center for Social Media—a center of AU’s School of Communication—and the Program on Information Justice and Intellectual Property—a program of AU’s Washington College of Law—along with Stanford Law School’s Fair Use Project. It was funded by Google.