The Artist’s Salary color, 60 minutes
From 1989 to 2000, Jacqueline Veuve, together with cameraman Milivoj Ivkovic, followed the life of a young artist, her son, Laurent Veuve who lived in New York with his family. This is a picture of an artist’s social environment and those who live with his painting.

Barracks Man color, 90 minutes
This film deals with the issue of mandatory military service in Switzerland. Time is spent on new recruits and superior officers. The recruits’ remarks underline problems concerning not only the army, but life in general, including unemployment, drugs and the many changes going on in the world today.

The Death of the Grandfather or the Sleep of the Just color, 87 minutes
A tale, told by his five daughters, of the life and death of a man very representative of a Protestant Switzerland in the early 20th century where life was conditioned by the work ethic. The film illustrates the ideas of Max Weber, known for their importance in understanding the Western civilization that emerged from the Reformation.

Diary from Rivesaltes 1941-1942 color, 77 minutes
From August to October 1942, over 2250 Jews were deported from the internment camp of Rivesaltes to Auschwitz by way of Drancy. Among them were 110 children. This film follows a Swiss nurse on a visit to that still intact site as well as through the pages of the journal she wrote in those dark days. A beautiful, haunting documentary.

The Heart’s Nebula color, 90 minutes
A trip through the heart. A poetic, moving, cruel, ironic, at times a cynical trip. A trip that takes us to a church, hospital, butcher, a museum, and deep into the heart of the filmmaker as well as humanity.

Little Lady of the Capitole color, 55 minutes
Lucienne Schnegg is a little woman brimming with energy. At 80, she remains at the helm of the cinema Capitole. Hired as a secretary in 1949, she has become the heir of the movie house and its very soul. Cashier, cleaning woman and manager all in one, she tells us about her cinema, the grandest, the largest and the oldest of Lausanne, Switzerland.

Market Day color, 90 minutes
This film pays homage to the over 500-year-old outdoor market in the Swiss town of Vevey. Today, market gardeners, mushroom pickers, fishermen and flower vendors sell the produce of their effort and their passion, on which the rules of world trade are very harsh. They are all people who make a scant living, and who with each passing year are being replaced at the market by retailers.

A Peasant Chronicle in Gruyére color, 100 minutes
The shooting of this peasant chronicle in the Gruyére region of Switzerland lasted a whole year, from July 1989 to July 1990. The film shows a way of life nearly untouched by modernity, preserving the history of the region for future generations. It displays the patient and human approach of an almost silent minority of Switzerland.

Swiss Graffiti color, 6 minutes
An animated cartoon about the Creation myth reviewed and corrected by two women. God the magician has decided to create a paradise: Switzerland. He covers it with trees and cows, until Adam is born. After exploring his paradise, Adam creates Eve from one of his ribs. Man is shown as an erect penis, woman by a limbless trunk.

Vineyard Chronicle color, 84 minutes
How does one make wine from grapes? Following the rhythm of the four seasons of a wine grower’s year, this film shows us the work, the worries and the joys of a family of wine growers and producers, the Potterats of Lavaux, Switzerland. Three generations who live and work together, keeping up old-time traditions.

Wood Crafts series color, 26-44 minutes
A series of of ten short films (one currently in production) about traditional wood tradesmen of Switzerland. Profiles the work of: a sledge-maker, a toy-maker, wood carriers, a luthier, a carpenter and sculptor, shingle-makers, a turner, a cooper, and cement-makers.

$1.2 Million To Support Independent Feature-Length Documentary Films

Exploring Social Entrepreneurship

Los Angeles, CA – Sundance Institute has initiated a Request for Proposals for STORIES OF CHANGE: SOCIAL ENTREPRENEURSHIP IN FOCUS THROUGH DOCUMENTARY. The one-time funding initiative will provide $1.2 million in film project grants to enable the development and/or production of new feature-length independent documentary films that frame, examine and amplify social entrepreneurship as an innovative approach to the central questions of our time.
STORIES OF CHANGE is part of a $3 million, three-year partnership with the Skoll Foundation designed to explore the role of film in advancing knowledge about social entrepreneurship. The initiative builds on earlier work between the Skoll Foundation and Sundance Institute to combine the art of storytelling with the impact of social entrepreneurship. This partnership will help create new opportunities for leading social entrepreneurs and outstanding documentary filmmakers to collaborate and to create new projects that advance the innovative approaches found in both fields. The initiative
anticipates funding up to 8 films in the range of $30,000-$150,000 per project, with editorial control being retained by the filmmaker(s).

“Documentary filmmakers and social entrepreneurs have much to contribute to the challenges we currently face as a global society,” said Cara Mertes, Director, Sundance Institute Documentary Film Program. “This initiative is the first of its kind to bring the two fields together to seek inspiration, innovation, and creative experimentation around our most urgent social concerns.”

“The Sundance Documentary Film Program is designed to nurture film artists who tell vibrant stories about contemporary social issues,” said Ken Brecher, Executive Director of Sundance Institute. “Social entrepreneurs are, by definition, people who imagine and invent concrete new solutions to those issues. Together, filmmakers and social entrepreneurs can envision new possibilities for the future.”
In addition to funding the creation of new documentary films, STORIES OF CHANGE supports convenings of leaders in both documentary film and social entrepreneurship at key gatherings over the course of the three year partnership. Recent convenings have been held at the 2008 Sundance Film Festival in Park City, Utah, and at the 2008 Skoll World Forum for Social Entrepreneurship in Oxford, England. The initiative aims to expand the audience for documentary films concerned with social entrepreneurship; create an online resource for social entrepreneurs and filmmakers to facilitate
individual and community-level networking, collaboration and exchange of information, knowledge and expertise. It will also present case studies to frame and shape how those working in social entrepreneurship and film/media approach creative concept development.

Deadline for Submissions: August 15, 2008

Awards Announced: December, 2008

Those with proposals for documentary films on topics in social entrepreneurship, including the work of specific social entrepreneurs, are encouraged to apply directly to Sundance online. Projects that demonstrate high potential for coproduction and distribution possibilities, including theatrical, broadcast, home and educational video sales, etc. are eligible. Films at any stage of development, production or post-production may apply. Completed films will not be considered. Interested parties are directed to visit sundance.org/DocSource and sundance.org/skoll or to query
dfpskoll@sundance.org.

For more information, please contact Brooks Addicott, Sundance Institute 435/658-3456 or brooks_addicott@sundance.org

Global Stories Resonate With International Talent

Los Angeles, CA – Today, the Sundance Institute Documentary Film Program announced 16 film projects to
receive financial and creative support from the Sundance Documentary Fund. Out of 325 applications working in
more than 52 countries, the 16 feature-length documentary films selected will receive a total of $512,500 in
support for emerging and established filmmakers. The Sundance Documentary Film Program supports U.S. and
international documentary filmmakers who explore the critical issues of our times with highly crafted storytelling
and stylistic innovation.
“The films funded in this round reflect the Sundance Documentary Film Program’s continuing commitment to identifying and supporting global storytellers” said Cara Mertes, Director of the Sundance Institute Documentary Film Program. “From China, Kyrgyzstan, Indonesia, Iran and the United States, the Documentary Film Program considered our most international docket yet. With this round we also introduce Engagement grants which are designed to extend the continuum of support the Fund offers by providing seed money for innovative distribution strategies for films that have received Sundance DFP funding previously. ”

The Sundance Institute Documentary Fund is a central element of Sundance Institute’s Documentary Film Program, which provides year-round creative support to nonfiction filmmakers through creative labs, work-in progress screenings, and activities related to the distinct stages of the filmmaking process. Grants are announced twice a year and submissions are judged on their approach to storytelling, artistic treatment and innovation, subject relevance and potential for social engagement. The Sundance Institute Documentary Program considers projects in the Development and Production/Post-Production phases. The film selection of is juried by creative film professionals and human rights experts. In addition to financial support, the artist will receive an abundance of creative and editorial support from Sundance Documentary Program staff and advisors.

Films funded in this round tell stories of the emotional impact of the death penalty, artists in exile from Burma, the largest annual migration of Chinese in the world, and Muslims in a post-9/11 world.

PROJECTS IN DEVELOPMENT
Tomáš Kudrna
ALL THAT GLITTERS (Kyrgyzstan/Czech Republic)

In a remote village in Kyrgyzstan, the discovery of gold by an international mining company offers life
changing benefits –and threats– to the community and the environment.

Nic Dunlop
BURMA SOLDIER (Burma/Thailand/U.S.)

Myo Myint’s dramatic transformation from a soldier of Burma’s junta to a pro-democracy activist; from a
tortured political prisoner to a refugee making a new life in America, tells the story of modern Burma today.

Maria Teresa Rodriguez
¿DÓNDE ESTÁN? THE DISAPPEARED CHILDREN OF EL SALVADOR (U.S./El Salvador)

Margarita Zamora, an investigator and a survivor of the civil war in El Salvador, tracks down disappeared
children and reunites them with their families. Miguel Morales and Jenny Wolf- two disappeared children
now residing in the US- represent the war’s legacy of unemployment, violence and migration, a legacy
that civil society — both here and there – is struggling to address.

Amlan Datta
IMAGE: DEMOCRACY (India)

India’s 350 million citizens must each receive a photo identity card prior to the 2009 elections in the
world’s largest democracy. Many have never been photographed in their entire life, and the process is
creating a new image for modern India. 

Bishnu Dev Halder
A TALE OF THREE SISTERS (India)

Two sisters from a remote Indian village leave tradition behind and migrate to the city, New Delhi, for a
new life while the third sister awaits her turn in this contemporary, coming-of-age story.

Leonard Retel Helmrich
POSITION OF THE STARS (Indonesia/Netherlands)

From the director of EYE OF THE DAY and SHAPE OF THE MOON comes a third film in a trilogy
following the life of the Sjamsudin family in Indonesia since the fall of President Suharto.
 

PROJECTS IN PRODUCTION/POST-PRODUCTION
Carol Dysinger
CAMP VICTORY: AFGHANISTAN (U.S.)

The U.S. National Guard has been deployed to Afghanistan to train the Afghan National Army. CAMP VICTORY, AFGHANISTAN follows several soldiers—Afghan and American—who across the divide of
language, culture and religion must accomplish a near impossible task: crafting a modern army to serve a struggling nation. 

Heather Rae
FAMILY: THE FIRST CIRCLE (U.S./Native American)

FAMILY: THE FIRST CIRCLE looks at the Foster Care system and the challenges now faced due to
methamphetamines. The film follows families struggling to heal, administrators working for change, and
the isolation of a western landscape responsible for both the manufacturing of and liberation from
addiction.

Michael Collins
GIVE UP TOMORROW (U.S./Philippines)

A high-profile miscarriage of justice landed a young man on death row in the Philippines. Tireless grassroots
campaigning sets off a chain of events that resulted in historic outcome and the abolition of the
death penalty.

Barbara Attie and Janet Goldwater
GOUNDO’S DAUGHTER (U.S.)

If Goundo is deported to Mali from Philadelphia, her two year-old daughter will almost certainly be forced
to endure female genital mutilation—performed on 92% of the female population in Mali. GOUNDO’S DAUGHTER is the story of Goundo’s fight for political asylum in the U.S. and her desperation to protect her daughter and stop the cycle of FGM.

Lixin Fan
LAST TRAIN HOME (China)

China experiences the largest internal migration in the world as rural workers travel to cities for jobs. The
Zhang family has been torn apart by years of separation in the era of “labor export” and urban migration.
They save all year to travel home each Chinese New Year, along with over 100 million other migrant
workers, hoping to salvage their relationship with their teenaged daughter.

Jennifer Maytorena Taylor
NEW MUSLIM COOL (U.S.)

Jason “Hamza” Perez is a Puerto Rican American and ex-gang member who has converted to Islam.
Over the course of three years he struggles to maintain his family, faith and artistic pursuits in
contemporary, post 9/11 America.

Orhan Eskiköy and Özgür Dogan
ON THE WAY TO SCHOOL (Turkey)

Since the 1920’s, Kurds in Turkey have resisted the official ban on speaking or writing Kurdish. Made by a Turkish
and Kurdish filmmaker, the film follows a year in the life of a Turkish teacher teaching Kurdish children in eastern
Turkey, revealing the reality of Turkish policy in the lives of remote Kurdish villagers with intimacy and
compassion.

Laura Poitras
RELEASE (U.S./Yemen)

This is the second documentary in a trilogy titled The New American Century about America post 9/11.
The first film in the trilogy, MY COUNTRY, MY COUNTRY, documented the occupation of Iraq. Filmed in
Yemen, RELEASE follows the stories of men released from Guantanamo Bay prison and returning
home. The final film will focus on domestic surveillance and warrentless wiretapping in the United States. 

Jakob Preuss
THE OTHER CHELSEA (Germany)

Alexei and Nikolai, two middle-aged Ukrainian miners are trying to keep pace with the political and
economical changes in their home country. Discordant worlds, soviet culture and oligarch capitalism,
come together in their favourite place: the football stadium. A serious and humorous approach to postsoviet
reality.

Gef Senz
VIRTUAL FREEDOM (Australia)

Part animation, part documentary, VIRTUAL FREEDOM is an innovative portrayal of contemporary
Burma via the internet, as seen through the eyes of charismatic Burmese exile, animator, chef and
political activist, Maung Maung Aye.

Farid Haerinejad and Mohammad Reza Kazemi
WOMEN IN SHROUD (Iran/Canada)

A dedicated group of Iranian lawyers and activists work together to counter the injustice of the death penalty. In
Tehran, this means risking everything to mount “Stop Stoning Forever,” a campaign to end the practice of
execution by public stoning, and to lessen this practice’s impact on women in Iran. 

AUDIENCE ENGAGEMENT GRANTS

Pamela Yates
STATE OF FEAR (U.S./Peru)

Filmed by a U.S./Peruvian team, STATE OF FEAR tells a gripping story of repression and resistance as
Peruvian leaders used the threat of terrorism to gut the democracy, making Peru a virtual dictatorship. In
2001 a new democratic government established a Truth and Reconciliation Commission and granted
Skylight Pictures access to bring this timely story to an international audience. The Audience
Engagement grant will support the film’s first screenings in the Quechua language. The screenings will be
part of a multi-platform outreach strategy that uses Google mapping to create a truth and justice hub for
Peru. The site will receive live news feeds of the Fujimori trials, facilitate human rights social networks,
use Twitter to post cellphone text messages from the field, and support ongoing work with the Quechua
version of STATE OF FEAR.

Tia Lessin and Carl Deal
TROUBLE THE WATER (US)

An aspiring rap artist and her streetwise husband show what survival is all about when they are trapped in
New Orleans by deadly floodwaters and then seize a chance for a new beginning. The Audience
Engagement grant will support the filmmakers as they move beyond their theatrical and DVD release to a
national youth engagement campaign in partnership with music industry creative executives and national
and New Orleans based recording artists.

Sundance Institute’s Documentary Program is made possible by generous support from The Ford Foundation, Open Society Institute, The Charles Engelhard Foundation, The Gill Foundation, S.J. and Jessie E. Quinney Foundation, Woodruff Charitable Memorial Trust and the Skoll Foundation. Sundance Institute also gratefully acknowledges the generous assistance provided by the following organizations:

Alesis Corporation, Apple Computer, Avid Technology, Inc., Hewlett-Packard Company, HP Marketing,
JBL Professional, LaCie Limited, Mackie, Mark of the Unicorn, Sony Business and Professional Products,
Sony Media, Sony SXRD and Soundcraft.

For more information contact: Brooks Addicott, Sundance Institute 435/658-3456 or brooks_addicott@sundance.org

You can find out more at www.OurFilmSpace.com or Click on the Link Below:

http://www.ourfilmspace.com/events/event/show?id=2045657%3AEvent%3A20745

Check out Karen Webb’s OurFilmSpace Personal Page, the Co-Producer of The Joy of Sox Movie by Clicking on the Link Below:

http://www.ourfilmspace.com/profile/KarenWebb

Visit OurFilmSpace.com at: http://www.ourfilmspace.com

Imparja Television

IAD Press, the publishing arm of the Institute for Aboriginal Development in Alice Springs, Central Australia, is pleased to announce the recent publication of ‘A Remote Possibility:  the battle for Imparja Television’ by communications and management scholar Dr Wendy Bell.

‘A Remote Possibility’ recounts the story of the formation of the renowned Australian Indigenous media group CAAMA (the Central Australian Aboriginal Media Association) in 1980, and the genesis of CAAMA’s first Aboriginal radio station 8KIN FM.  The story follows CAAMA as it begins recording Aboriginal music artists, distributes audio-cassettes to remote communities, opens the CAAMA shop, and shifts into video production.

CAAMA’s formation coincided with government planning for Australia’s first national communications satellite capable of broadcasting commercial television across the vast continent.  A wide-ranging, informal debate followed over the many possible impacts on remote Aboriginal communities of commercial television delivered by satellite.

CAAMA was keen to gain access to the satellite to distribute 8KIN FM but by the end of 1984 with no answers to its submissions for access to the coming satellite, and no resolution of the debate over the likely impact of television on remote Indigenous communities, CAAMA responded to the Australian Broadcasting Tribunal’s call for applications to operate the Remote Central Television Service (RCTS) Licence itself. CAAMA’s battle to win the broadcasting licence in the name of its subsidiary Imparja, meaning ‘tracks’ in the Arrernte language, was a long and strenuous cultural political campaign animated by a cast of tenacious and memorable characters. It stretched from Christmas 1984 until the station’s official opening on 15 January 1988.

Selected transcripts from the Remote Commercial Television Licence (RCTS) hearings are reported in the book, giving a rare insight into the drama of the contest and what witnesses — many from remote communities — thought about the arrival of television and the issues it raised for cultural identity and power.

The publication of ‘A Remote Possibility’ coincided with Imparja’s 20th anniversary and the opening of its new building with state-of-the-art office and digital studios in Alice Springs on 22 May 2008.

A Note from the Author Wendy Bell:

Imparja Television’s story is an important slice of Australian history that celebrates the audacity and achievements of Aboriginal and non-Aboriginal Australians concerned for the plight of ‘remote’ communities in Central Australia with the introduction of satellite-delivered remote commercial television broadcasting into their desert homeland country. The issues raised and the arguments presented over the ‘best’ model for development of Aboriginal television and the likely impact of the sudden introduction of ‘western’ ways of life resonates even more urgently today than it did when Imparja won the licence in 1988.

The early 1980s represents an unparalleled political moment of tremendous social, economic and technological change affecting Central Australian Aboriginal people. Yet, the Imparja Television story illustrates with clarity how government policies and the aspirations and actions of public, private and community media organisations competed to shape the structure of Australian broadcasting.

The battle for Imparja was not a racialised black and white conflict but the playing out of the competition that always exists between opposing ways of life for new technological resources. Victory was the prize for the competitor with the audacity to persevere, state its case, value what it had, and shed any baggage that was in the way. There are lessons here for today’s contemporary debates over media and also for broader discussions about self-determined community development, health, employment and economic development put forward by those same Aboriginal people who have sustained Imparja and its creator, CAAMA, for the last 20 years.

$50,000 in prizes, fantastic videos, and a whole new insight into American Muslim life - that’s what happened last year and why we’re doing it again! We’re now calling for entries in this year’s “One Nation, Many Voices” Online Film Contest.

The “One Nation, Many Voices” Online Film Contest is offering $50,000 in prizes for short videos illuminating the American Muslim experience. Everyone in the U.S. is invited to compete, regardless of race or religion, so grab a camera, visit our website for the complete Rules and Regulations, and get filming! The deadline is September 26, 2008.

We are looking for outstanding entries in these five assignment areas: American Muslim Life, American Muslim Women, American Muslim Youth, 60-Second Spot and Interfaith. Winners for each assignment will be awarded $5,000 and all finalists will receive a FLIP camera and will also be eligible for the $20,000 Grand Prize! Need inspiration? Check out last year’s winners.

Prize winners will be selected by a panel that includes musician/activist Kenneth Gamble, screenwriter/director Callie Khouri, writer/activist Ausma Khan, 2007 One Nation festival Grand Prize winner Lena Khan, author Christopher Lowney, comedian Preacher Moss (of Allah Made Me Funny) and country music singer Kareem Salama. Winners will also be aired nationally on Link TV.

Watch and Vote

Online voters will determine the finalists in each assignment area. Top vote-getters will become finalists and eligible to win the Grand Prize. Be sure to remember these important dates: Deadline for entry is September 26, 2008; Online voting runs from September 29 to October 8, 2008.

Open Call provides finishing funds for single public television programs on any subject, from any viewpoint and in any genre. Projects must have begun production as evidenced by a work-in-progress tape.

Diversity Development Fund
Deadline: September 26, 2008

The Diversity Development Fund seeks talented minority producers to develop projects for public television. ITVS supports minority artists in telling their stories and reaching audiences often overlooked by conventional programming. Projects must be in the research or development phase, and cannot have begun production.

Have additional questions about the Diversity Development Fund? Email Kathryn_Washington@itvs.org or call 415-356-8383 x258. Applicants will be notified of the status of their request within four to six weeks.

Find guidelines and FAQs for these upcoming calls >>

Learn more about ITVS funding including helpful tips and resources >>

(Reading time: 5:05 minutes – 460 words)

Click here to download a printable PDF of this issue.
Missed June’s issue? print version

Note to readers: This is part two of an analysis of three character-driven films. Read the previous issue as a reminder or introduction.

After analyzing the relationship between filmmaker and character, we can delve into the character’s role and challenges within the documentary. Some might think that when making a character-driven film there isn’t much to worry about. In today’s market, character rules over topic; and in terms of structure, it’s easy, we think: just follow the character in chronological order. True, sort of.

Nanette Thylan, who portrays the final months of her friend Charlene’s life in Never Enough Time; had just a few interviews, very little vérité footage and some b-roll. Nanette couldn’t break her promise to her friend; but can the story still be told?

Teresa Loong’s Everyday Is a Holiday –about her father’s hidden past as a British colonial POW of Chinese descent in Japan– featured a willing and available character. The limitations were more emotional and contextual than material. How to make his very particular story universal?

And finally, Jon Cofinas’ Committed documents his heavily-medicated childhood friend’s journey to China to meet his online love who promised him, “I’ll be your medication”, had 250 hours of footage and a 2:45 rough-cut. Limitation wasn’t his problem, to say the least.

In Nanette’s case we opted for an expansive view of what a documentary can be. Charlene wasn’t among us any more, but the people and places she frequented were. We spotted all the missing links in the structure and brainstormed how to bring them to life. Subjective cameras walking up and down the hospitals of her daily routines, collages she made from her dreams, photos of her last healing vacation––all these and more could enrich the story. When Nanette gave herself permission to leave vérité behind, a torrent of possibilities ensued.

Archival footage would be the answer for Theresa. We needed to understand better the historical events surrounding her father’s life. It seemed an obvious solution; but how much history could we add without turning a personal portrait into a textbook historical film? The secret was to build her father’s story first and only then intuitively spot where we were missing contextual information. We also reduced all historical information to telegraphic lines to guide us through the narrative. Not an exact science, but it was better than overwhelming the doc with data.

Jon Cofinas didn’t have to add a single thing. Or did he? In his thorough 2:45 cut we couldn’t assume we had what we needed. In the two days we spent doing a scene breakdown we discovered some missing plot points and some redundant moments. Knowing the objective of each scene allowed Jon to make some harsh decisions about what could –and needed to– stay and what could go without jeopardizing the balance of the story.

Still, these three cases are not staple solutions to apply systematically to every film that has a character. Each documentary has its own logic and calls for its own approach. Throw the cookie cutter away and ask yourself, Who is this person? How can I better serve his/her story?

Conclusion: A character can drive a film as long as the filmmaker is the GPS .

The Doctor will see you now: The Doc will be lecturing in Israel and Europe in June and July. For details check www.documentarydoctor.com.

Character-ized – Case Study: Three Character-Based Films.
Article by Fernanda Rossi | edited by Marcia Scott | photo by Tania Retchisky
published by Documentary Educational Resources

Fernanda Rossi, 2008. All rights reserved. This article can be reprinted in its entirety for educational purposes only, as long as no charges of any kind are made. Partial reproductions or modifications to the original format are strictly prohibited.

Eligible women may enter by submitting a registration form online at www.lmn.tv/filmcontest, along with an original, non-documentary short film. The Competition runs from March 28, 2008 at 6:00 p.m. Eastern Time and continues through July 8, 2008 at 11:59 p.m. ET. Winners of the 2008 LMN Film Competition will be announced on the Website and in the press on or about October 1, 2008.

Eligibility: The Competition is open to all women who are legal residents of the 50 United States or the District of Columbia and who as of the date of entry: a) are 18 years of age or older and b) are not a member of SAG, DGA, or any other guild that would prohibit entrant from rendering the services contemplated herein. The First and Second Place winners of the 2007 LMN Student Film Competition are not eligible to enter their winning films, but are eligible to enter or win the 2008 Competition with another Short Film. The Honorable Mention winners of the 2007 LMN Student Film Competition are eligible to re-enter the Short Film they submitted for the 2008 Competition.

How to Enter: Go to the Website, read and indicate your acceptance to the Official Rules, complete the Registration Form found on the Competition page, and follow the prompts to upload and submit your Short Film along with a synopsis (no longer than 150 words in length) and your biography (no longer than 150 words in length).
For more information on the competition, please go to http://www.mylifetime.com/sweeps/ewfc/submit.php

Applications are now being accepted for the post of Toronto Documentary Forum Director. A seven-to-eight month contract position with the potential for full-time or contract extension, the TDF Director will oversee all aspects Hot Docs’ renowned market event, happen May 6 & 7 during the festival.

Interested applicants should review the job posting and forward their resumes and cover letters by no later than August 1, 2008.