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Kotatsu Japanese Animation Festival to celebrate their 10th anniversary online

On July 25, at 11am/6pm, a special edition of the Kotatsu Japanese Animation Festival will be held in honour of its 10th anniversary on YouTube. The festival will present a free online screening of shorts from an all-female line-up of directors ranging from university students to the current crop of animators working today and an animation industry legend who we are celebrating with a centrepiece presentation featuring an interview we have recorded with her.

The Animators

Fusako Yusaki (湯崎夫沙子)

Fusako Yusaki (湯崎夫沙子)

Yusaki is an award-winning claymation pioneer who emerged in the 1960s after moving to Milan and establishing her own independent studio, Studio Yusaki. Her works consist of commercials, films, and children’s television programmes which were made for public broadcasters such as RAI and NHK. Yusaki’s famous works include clay animation advertisements for the liqueur Fernet-Branca, and popular TV character Peo the blue dog. We have programmed four of her works and have an interview with her where she talks about her career.

Miho Yata (やたみほ)

The King of Amechau Country

Tokyo-based Miho Yata is a graduate of Shirayuri Women’s University, and is currently a part-time lecturer there. Since 1999, he has produced many animations and content, producing for TV commercials, teaching materials, picture books and illustrations, as well as holding workshops on animation, and visual toys. Her works are based on the art of knitting and her most famous work is Knit & Wool, which airs on NHK E-TV for kids early in the morning. We have programmed Amechu to show what she can do.

Arisa Wakami (若見ありさ)
The story of Toto-chan in Mom’s belly, followed by little Takuta being born.

Birth-the dance of life.

Arisa Wakami is a professor at Tokyo Zokei University and a lecturer at Joshibi University of Art and Design. More importantly, she is an animator and works with both hand-drawn and stop motion animation who has utilised a range of “materials” from people to sand on glass boards. Her works cover films, TV programmes and workshops and they feature poetic imagery and have been screened at famous festivals around the world. We have programmed, three films including “Blessing,” which is a stop motion animation of a baby and its birthday presents.

Mone Kurita (栗田 百嶺)

A day when became a Asparagus man

Kurita represents the next generation of animation talent. A recent graduate of Tokyo Polytechnic University, she combines colourful hand-drawn images with computer manipulation. Her work, A day when became a Asparagus man, has been selected for the Tokyo Anime Award Festival. We have selected her film Brassiere Cat as the title we will screen.

We will also have a selection of graduate works from some of the students at the Graduate School of Film and New Media, Tokyo University of the Arts (film titles will be confirmed shortly).

This screening is free to watch. This has been made possible with supported from Film Feels Connected and is supported by Film Hub Wales as part of the BFI Film Audience Network (FAN), made possible by the National Lottery.

The Kotatsu Japanese Animation Festival relies on sponsors and donors to help us deliver screenings. If you would like to show your support, you can do so with a voluntary contribution at the festival’s Patreon page. Alternatively you can support the festival without paying extra money by signing up to Easyfundrasing and choosing to support Kotatsu. When you shop via Easyfundrasing website, a percentage of your purchase will be automatically donated to the festival. If you are shy, you can choose a setting that allows you to be an anonymous supporter.

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Bfi Covid 19 Support For Uk Industry 1000×750 1 (1) (2)
COVID-19 Screen Sector Taskforce announced

There is a huge amount of work being done across the sector in response to the COVID-19 crisis. The Screen Sector Taskforce, coordinated by the BFI, is a group of the UK’s leading film, TV and moving image bodies and organisations working together to identify challenges and develop policy recommendations for Government  in response to the COVID-19 crisis.  

Originally brought together in response to the Brexit referendum, the Taskforce membership has grown from 30 to more than 100 senior representatives from film, TV, animation, VFX and video games. It currently operates through five sub-groups focusing on different aspects of the screen sector value chain, which are chaired by leading bodies in this area – distribution and exhibition (chaired by UKCA and FDA) inward investment (British Film Commission), independent film production (BFI), TV production and broadcasting (Pact), and video games (Ukie).  Each working group will develop policy interventions designed to get the sector back up and running as quickly as possible, with these presented to Government as a single package of measures designed to help right across the sector.

Quantifying the cost of re-opening cinemas in line with social distancing and the impact on consumer demand have been priority workstreams for the distribution and exhibition sub-group. This will inform asks to Government designed to mitigate this cost and keep the exhibition sector sustainable in the aftermath of lockdown. This work complements that by the UKCA to develop guidance and safety protocols for cinemas on how to reopen in line with social distancing, which is with UK and devolved governments for consideration.

Here is a list of those involved in the Distribution and Exhibition subgroup:

  • Andy Leyshon – Film Distributors’ Association (co-chair)
  • Phil Clapp – UK Cinema Association (co-chair)
  • Hamish Moseley – Altitude Films
  • Shaun Jones – Cineworld Cinemas
  • Sambrooke Scott – Creative Scotland
  • Justin Ribbons – Empire Cinemas
  • Kezia Williams – EOne Entertainment
  • Crispin Lilly – Everyman Cinemas
  • Pauline Burt – Ffilm Cymru
  • Catharine Des Forges – Independent Cinema Office
  • Matt Smith – Lionsgate UK
  • Kevin Markwick – The Picture House, Uckfield
  • Joan Parsons – Queen’s Film Theatre, Belfast
  • Ian George – Sony Pictures
  • Rob Huber – Universal Pictures
  • Craig Jones – Walt Disney
  • Mark Cosgrove – Watershed, Bristol
  • Ben Luxford – BFI
  • Stuart Brown – BFI
  • Julia Lamaison – BFI
  • Tricia Tuttle/ Anu Giri – BFI
  • Jennifer Kimber – BFI
  • Jack Powell – BFI
  • Elizabeth Mitchell – DCMS
  • James Butler – DCMS
  • Olivia Coxhead – DCMS

If you have a COVID-19 related enquiry, please contact covid-19.queries@bfi.org.uk which acts as a centralised point for all COVID-19 enquiries, and from where BFI can also signpost you to the most relevant advice if necessary.

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Savoy Theatre, Monmouth
Into Film’s ‘Cinemas That Made Me’: Chris Ryde From Monmouth’s Savoy Theatre
With cinemas closed due to COVID-19, Into Film are celebrating venues and cinema operators across the UK in a new series, Cinemas that Made Me. Here they pay tribute to a Film Hub Wales member, The Savoy Theatre in Monmouth, Wales, and its Director and General Manager Chris Ryde.

The Savoy has a long and fascinating history. It is one of the oldest working theatres in Wales, and is located on the oldest known theatre site in the country. Today it’s a mixed-arts venue, programming films and event cinema alongside live music, comedy and more. Director and General Manager Chris Ryde has been working at the Savoy Theatre in various roles since 2009, and brings a wealth of industry experience with him. Here, he offers some insight into the venue’s significance to South Wales as both a nostalgic link to the past and a much-loved present-day destination that has adapted to many challenges in order to survive. Long may it continue!

What does the Savoy Theatre mean to its local community?

For many, it represents a link to their past and recalls either their movie-going heritage or a link to places they were brought up. It’s a place where films were meant to be seen. It is not a box or a multiplex; it is a purpose-built venue in which films are meant to be enjoyed. Our Art Deco design motif brings back the feel of movie-going in its heyday and gives a holistic experience to customers, as they can read all about the building and put their visit into context. It is a constant joy to see the look on people’s faces as they enter the auditorium from the street and realise they have walked into a piece of history.

Where did your own history with cinema begin? 

I am delighted to say that the cinema that shaped my life is still going. The Ritz in Belper, Derbyshire, which I visited for the first time in 1957, and is still in operation thanks to a husband-and-wife team (the Mundins) who bought it, restored it, and made it operational. I visited them two years ago and it was a magical experience to go back.

What was your first job working with film?

My first job in the film industry was as a trainee producer in the 1970s. I worked with Nic Roeg, Adrian Lyne, and Ridley and Tony Scott. From 1977-2012 I worked for Equity, the union for performers and creative practitioners, which brought me into contact with plenty of filmmakers, and I spent many an hour on film sets.

What initiatives are you most proud of having worked on at the Savoy Theatre?

The most successful by far was re-introducing live entertainment, because it has been a massive success, and is what people most celebrate. Second to that was getting the funds secured for digital exhibition back in 2013. We had no money and there was a real prospect that we would not be able to survive as a first-run cinema, but we got there.

While cinemas are closed due to the COVID-19 lockdown, have you begun any new initiatives to reach audiences at home?

The lockdown has had a big impact on our team, with almost all of our staff furloughed. Sadly this means we do not have the capacity to start any new projects right now, but we are keeping in touch with our audiences through newsletters and social media. We’re running a fundraiser to help the Savoy Theatre through this difficult time, and still welcoming supporters to our Friends of the Savoy scheme.

Once cinemas can reopen which film would be your first choice to see on the big screen?

The film that most exemplifies the spirit of the Savoy: The Smallest Show on Earth with Peter Sellers and Margaret Rutherford, made in 1957. I’d love to play it here.

If you’re a fan of the Savoy Theatre and would like to support them at this difficult time, you can donate to Chris’s fundraiser, Savoy Survival. If you’d like to support other independent cinemas in the UK, consider donating to the UK Cinema Fund. These donations will be added to the BFI FAN COVID-19 Resilience Fund and used to offer critical relief and business continuity to exhibitors across the UK.

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Film Hub Wales BFI FAN COVID 19 Resilience Fund Social Image
BFI Fan Covid-19 Resilience Fund: Emergency funding to help independent exhibitors survive ongoing venue shutdown

BFI FAN Covid-19 Resilience Fund

Emergency Funding To Help Independent Exhibitors Survive Ongoing Venue Shutdown


National Lottery funding through the BFI Film Audience Network supports members of the UK-wide network in critical need and facing closure

 

London, Friday 12 June 2020: The Rhwydwaith Cynulleidfa Ffilm BFI (FAN) has allocated emergency funding to independent exhibitors across the UK through the BFI FAN COVID-19 Resilience Fund. £1.3m National Lottery funding, plus a £150,000 contribution from the Mayor of London’s Culture at Risk Business Support Fund, has been made available to provide grants to those in critical financial need as they continue to face months of closure and uncertainty. BFI FAN – a unique collaboration of eight Film Hubs managed by leading film organisations across the UK – targeted the fund to help small and medium sized audience-facing organisations with a particular focus on venue-based exhibitors.

Ben Luxford, Head of UK Audiences, BFI, said:

“Mae ailgyfeirio cyllid y Loteri Cenedlaethol a Maer Llundain i roi grantiau argyfwng i’n harddangoswyr annibynnol wedi bod yn llinell bywyd, gan alluogi ein lleoliadau, sinemau a gwyliau gwych ar draws y DU i aros mewn busnes yn y tymor byr. Ond, mae’n amlwg bod y cyrff hanfodol ac unigryw yma, sydd yn hollbwysig i wead diwylliannol cyfoethog eu cymunedau lleol yn parhau i fod mewn argyfwng. Pan fyddan nhw’n cael ailagor, fe fydd gweithredu canllawiau cadw pellter cymdeithasol yn ddiogel yn amhosibl o ran logisteg i rai, a hefyd fe fydd nifer yn annhebygol o allu talu eu costau wrth weithredu ar gapasiti llai. Fe fyddai colli’r arddangoswyr yma yn golled diwylliannol enfawr i gynulleidfaoedd y DU ac felly rwyf yn falch bod FAN wedi gallu eu helpu i gadw’r goleuadau ymlaen tra mae pawb ohonom yn wynebu’ sialensau i ddod.”

The Fund has supported 130 FAN Members across the UK with awards ranging from £415 to £23,000 each. These include MacRobert Arts Centre in Stirling, Jam Jar Cinema in Whitley Bay, Magic Lantern in Tywyn, and Bounce Cinema in London, supporting exhibitors who often representing the only cultural offer in their local area. Helping to ensure they can survive is crucial, particularly to provide an offer to audiences to support wellbeing after a prolonged period of lockdown and isolation.

The BFI FAN COVID-19 Resilience Fund was administered through each of FAN’s regional and national based Film Hubs, working with the BFI, set up to support exhibitors and festivals which have faced unprecedented challenges, with many at risk of making staff redundant and permanent closure. The Independent Cinema Office (ICO) conducted a survey – Reopening Cinemas the Independent Way – to understand the impact of the COVID-19 pandemic on the independent exhibition industry. It found only 59% of respondents considered they could reopen with social measures in place, with 63% stating they could survive for only three months. Almost half of the 59% believe they will be able to open in September at the earliest.

The Resilience Fund is part of a package of support the BFI has quickly responded with in order to support individuals, productions, organisations and businesses that have been hardest hit by COVID-19.

The BFI also continues to work closely with industry and Government to develop and implement a robust, sector-wide strategy for recovery. Out of its Screen Sector Task Force, a number of working groups are focused on key areas: inward investment; independent film; distribution and exhibition; and television and broadcasting. The BFI has up-to-date industry advice for the sector at www.bfi.org.uk/supporting-uk-film/covid-19-answering-questions-screen-sectors.

The UK Cinema Association and the Film Distributors’ Association have been developing guidance to support cinemas reopen. In the first instance it is likely only multiplexes and larger chains and will be able to open once Government guidance allows, with smaller independent venues hoping to follow later in the year.

Comments from some BFI FAN Covid-19 Resilience Fund recipients:

 Dan Ellis, Managing Director, Jam Jar Cinema, (FAN Hub North member) said: “Jam Jar Cinema has become a hub for our community, a key attraction for our high street and most importantly something that local people love, and are proud of, in the town. The reality is that without BFI Resilience funding all of the hard work, audience development and local buy-in would be lost as we probably wouldn’t survive this crisis. This support gives us a fighting chance to reopen and we’re using this time to figure out what we need to do differently, as well as identifying the important bits – the ones that make us who we are – to keep the same in the future. But it’s not just enough to survive, it’s about coming back and being there for the people who use us, need us and are yet to discover us. It’s about cinema for all. It’s about local people, finding local solutions to local problems. It’s about being the best we can be. With this support we hope we can work together with our audiences so that our organisation, our community and our town can thrive once again.”

Natalie Jode, Executive Director, Creative Arts East (FAN Hub South East member), said: “BFI FAN COVID-19 Resilience investment for Creative Arts East will make a significant difference to our survival, both this year and next. This year it will allow us to balance the books, maintain employment for our staff and continue to support our network of 64 community cinema groups with remote training and digital programming.  Crucially, this investment affords us the time and capacity to move out of a financial firefight for 2020-21 and begin looking to and preparing solutions for the medium and longer-term challenges that we are facing alongside our colleagues in the wider arts and cultural sector.”

Jessica Brewster, Director, The Roses Theatre, (Film Hub South West Member) said: “The BFI Resilience Fund is a game changer for The Roses at an incredibly difficult time. As well as ensuring our survival through the next few months, it will give us the staff capacity to innovate our film programme to better serve our communities while the doors are closed, allowing us to reach new audiences and start new conversations around independent film.”

Rhiannon Wyn Hughes, Festival Director & Cinema Co-ordinator, Wicked Wales Film Festival and Cinema, Rhyl (Film Hub Wales member), said: “Having the support and funding from the BFI and Film Hub Wales means a great deal to our team of young volunteers who run the Wicked Pop Up Cinemas at Rhyl Little Theatre in North Wales. With Film Hub Wales support we started our community cinema 3 years ago bringing affordable cinema back to some of the most deprived communities in Wales. This period of lockdown meant losing contact with the audiences we had worked so hard to build up. This funding will enable our volunteers to continue to have a place to work from and an opportunity to reach out to our existing and new audiences ready for when we open the doors again.”

Nerve Centre/ Foyle Film Festival (Film Hub NI Member) said: “BFI Covid 19 Relief Funding will strengthen our resilience to the impact of COVID-19, by helping us to maintain our connection with our strongest supporters our film audiences and the young people who make the Nerve Centre what it is – a hub for youth culture in Derry-Londonderry. We’re a venue that’s open for business, building new ways of reaching out and welcoming new audiences, online and in venue.”

Beth Bate, Director of Dundee Contemporary Arts, Dundee (Film Hub Scotland Member) said: “DCA is delighted to be a recipient of the BFI FAN Resilience Fund: this vital funding will support our cinema team during a time of immense pressure and change to ensure we can reopen our doors to our audiences as soon as possible, with a programme that’s as diverse and exciting as ever.”

Paul Carr, The Northern Light Cinema, Wirksworth Derbyshire, (Film Hub Midlands Member) said: “We’re a small rural independent cinema tucked away in Derbyshire and although we have a terrific community around us, it’s still easy to feel pretty isolated as far as the cinema is concerned. Independence comes with a price. So the BFI Resilience Fund did more than just throw us a financial lifeline. It connected us back to the big picture, reminded us we weren’t alone and gave us the breathing space, and the confidence, to plan our way back.”

Watermans (Film Hub London Member) said: “We are delighted to have been selected to receive this funding from the Mayor of London, BFI and Film London. Watermans is a small independent cinema facing huge challenges at this difficult time – along with so many others – and this grant will help us to weather the storm. But it isn’t just about keeping a cinema going during hard times; it’s about supporting a place that is at the heart of its community in Hounslow, a place where people meet, make connections, are inspired by talks, festivals and an eclectic selection of film. It’s a place where we welcome people whatever their background and put increasing access to the inspiring world of cinema at the heart of our programming. At a time when life may be difficult for so many in the coming years, places that bind communities in all their diversity will be more important than ever, and this grant recognises the role that a cinema like Watermans can play in that.”

ENDS

Download the Full Press Release here.

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Montage All Venues 3
£100,000 o gyllid brys i gefnogi sinemau yng Nghymru sydd mewn angen dwys yn ystod Covid-19

Datganiad i’r Cyfryngau: 15fed Mehefin 2020

Dyfarniad Canolfan Ffilm Cymru o £100,000 o gyllid brys i gefnogi sinemau yng Nghymru sydd mewn angen dwys yn ystod Covid-19

Dysgwch sut mae’r bobl y tu ôl i’r sinemau yng Nghymru yn goroesi’r cyfnod cloi

Mae Canolfan Ffilm Cymru wedi dyfarnu cyllid Loteri Cenedlaethol o £100,000 i 16 o sinemau annibynnol a gwyliau ffilm yng Nghymru sydd wedi cael eu heffeithio’n ddifrifol gan Covid-19. Wedi gorfod cau eu drysau ar ddechrau’r cyfnpd cloi yn y DU, mae’n debygol mai’r lleoliadau hyn fydd rhai o’r cyrff olaf i ailagor wrth i’r pandemig gilio.

Gyda misoedd o fod ar gau ac ansicrwydd o’u blaenau o ganlyniad i’r pandemig, fe fydd y cyllid yma yn cynorthwyo sinemau sydd mewn angen ariannol dwys.

I gynnal incwm hanfodol yn y tymor byr ac i gadw mewn cysylltiad gyda chynulleidfaoedd, mae rhai lleoliadau yn datblygu gweithgareddau ar-lein. Yn Nhywyn, fe fydd y Magic Lantern yn cynnal prosiect cof digidol dwyieithog i edrych ar rôl y sinema yn y gymuned. Yn y Bari mae Memo Arts Centre yn cynllunio prosiect amlgyfryngau gan weithio gyda grwpiau hyglwyf i nodi cymhlethdodau ailymgysylltu cynulleidfaoedd yn ystod ac ar ôl Covid-19.

Maen nhw hefyd yn chwilio am gyllid pellach i edrych ar gynlluniau goroesi busnes ar gyfer y dyfodol., yn cynnwys syniadau ar gyfer digwyddiadau cadw pellter cymdeithasol a fydd yn hanfodol er mwyn osgoi cau yn barhaol. O syniad Cellb o sinema awyr agored ‘Mwoo’, lle byddai cynulleidfaoedd yn cadw pellter cymdeithasol ar lled buwch; i blatfform ‘Ein Dalgylch’ Neuadd Ogwen sydd â’r nod o ddod ag artistiaid o bob disgyblaeth allan o’r lleoliad i berfformio yn y dyffryn, fforestydd a mynyddoedd.

Mae sinemau a gwyliau yn cael eu gyrru yn ystod y cyfnod anodd hwn gan bobl ymroddedig sydd yn gweithio tu ôl i’r llenni, yn ceisio dwyn cymunedau yn ôl at ei gilydd drwy ffilm. Mae Canolfan Ffilm Cymru yn gweithio’n galed gyda’r 16 partner i ddeall sut mae Covid-19 wedi effeithio arnyn nhw, fel bod modd cyflwyno’r dewis mwyaf o sinema i gynulleidfaoedd ar draws Cymru unwaith eto.

Mae Hana Lewis, Rheolwraig Strategol Canolfan Ffilm Cymru yn esbonio:

“Mae sinemau yn gwneud cymaint inni; maen nhw yno pan rydyn ni eisiau dianc, maen nhw’n dod â ni at ein gilydd ac yn ein cysylltu gyda’r byd. Rydyn ni wedi cael ein rhyfeddu gyda chapasiti staff sinemau i ofalu am eu cynulleidfaoedd, o gyflenwi cyflenwadau lleol, i gyfarfod eu hymrwymiadau ariannol. Roedden ni eisiau manteisio ar y cyfle i rannu eu straeon.

“O ganlyniad i’r cyfnod cloi, daeth incwm o werthiant tocynnau a chonsensiynau i ben dros nos, gan roi nifer o gyrff annibynnol a’u timau mewn perygl. Mae’r daith ymlaen yn hir ac fe fydd sinemau angen cefnogaeth barhaus. Rydyn ni’n gobeitho y gall cronfa gwytnwch FAN BFI ddechrau’r daith tuag at ailagor.”

Dywedodd Ben Luxford, Pennaeth Cynulleidfaoedd BFI:

“Mae ailgyfeirio cyllid y Loteri Cenedlaethol a Maer Llundain i roi grantiau argyfwng i’n harddangoswyr annibynnol wedi bod yn llinell bywyd, gan alluogi ein lleoliadau, sinemau a gwyliau gwych ar draws y DU i aros mewn busnes yn y tymor byr. Ond, mae’n amlwg bod y cyrff hanfodol ac unigryw yma, sydd yn hollbwysig i wead diwylliannol cyfoethog eu cymunedau lleol yn parhau i fod mewn argyfwng. Pan fyddan nhw’n cael ailagor, fe fydd gweithredu canllawiau cadw pellter cymdeithasol yn ddiogel yn amhosibl o ran logisteg i rai, a hefyd fe fydd nifer yn annhebygol o allu talu eu costau wrth weithredu ar gapasiti llai. Fe fyddai colli’r arddangoswyr yma yn golled diwylliannol enfawr i gynulleidfaoedd y DU ac felly rwyf yn falch bod FAN wedi gallu eu helpu i gadw’r goleuadau ymlaen tra mae pawb ohonom yn wynebu’ sialensau i ddod.”

Ychwanegodd Rhys Roberts, Cydlynnydd Sinema yn CellB:

“Mae digwyddiadau yn y gorffennol yn sinema CellB Blaenau Ffestiniog ar adegau wedi cystadlu gyda’r ddrama a welir fel rheol ar ein sgin sinema. Rydyn ni wedi gweld ein cymuned a sêr Hollywood yn cefnogi dyfodol llachar i’r ased mwyaf gwerthfawr yn ein cymuned.

“Yn ddiweddar rydym wedi wynebu bygythiad swreal y pandemig Covid-19, a diolch i gefnogaeth Canolfan Ffilm Cymru a FAN BFI rydyn ni’n gweld y sinema bach dewr yma yn ymladd yn ôl unwaith eto gan gamu i fyd newydd a gwahanol sydd yn cael ei yrru gan ein pobl ifanc creadigol, yr ydym yn eu galw yn ‘Quaran-teens’. Rydyn ni’n barod am y bennod nesaf yn ein drama.”

Dywedodd Lauren Orme, Cyfarwyddwraig Gŵyl Animeiddio Caerdydd:

“Mae Covid-19 wedi cael effaith enfawr ar Ŵyl Animeiddio Caerdydd, fel ag ar cymaint o gyrff celfyddydol. Roedd gorfod gwneud y penderfyniad i ohirio ein gŵyl dair wythnos yn unig cyn ein dyddiadau gosod wedi gallu bod yn ddiwedd arnom ni fel corff.

Mae Canolfan Ffilm Cymru wedi bod yn eithriadol o gefnogol drwy gydol y cyfnod yma. Mae’r cyllid newydd yma yn llinell bywyd a fydd yn ein galluogi i gefnogi gweithwyr llawrydd a chontractwyr, datblygu gwaith newydd a chyffrous i wasanaethu’r gymuned sydd wedi’i hadeiladu o gwmpas ein gweithgaredd dros y pum mlynedd a hanner diwethaf, a helpu ein cynulleidfaoedd i deimlo’n gysylltiedig drwy animeiddio annibynnol tra rydyn ni ar wahân."

Mae’r gronfa gwytnwch ar gael drwy gyllid y Loteri Cenedlaethol, a ailbwrpaswyd gan Y Sefydliad Ffilm Pryfdeinig BFI drwy ei Rwydwaith Cynulleidfa Ffilm (FAN). Mae’r gronfa yn cynnig rhyddhad hanfodol a pharhad busnes i arddangoswyr ar draws y DU gyfan.

Gweinyddir cronfeydd yng Nghymru gan Ganolfan Ffilm Cymru drwy Chapter fel y Corff Arweiniol Canolfan Ffilm. Fe fyddan nhw’n cael eu defnyddio tuag at gostau na ellir eu hadfer, i ddarparu gweithgareddau creadigol ar-lein yn ystod y cyfnod cloi ac amser staff i gynllunio tuag at ailagor yn ddiogel.

Diwedd

Darllenwch y datganiad i’r wasg llawn yma.

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Montage
Cyfarfod y bobl y tu ôl i sinemau yng Nghymru yn ystod y cyfnod cloi

Mae Canolfan Ffilm Cymru wedi dyfarnu cyllid Loteri Cenedlaethol o £100,000 i 16 o sinemau annibynnol a gwyliau ffilm yng Nghymru sydd wedi cael eu heffeithio’n ddifrifol gan Covid-19. Wedi gorfod cau eu drysau ar ddechrau’r cyfnpd cloi yn y DU, mae’n debygol mai’r lleoliadau hyn fydd rhai o’r cyrff olaf i ailagor wrth i’r pandemig gilio.

Darllenwch y datganiad i’r wasg llawn yma.

Cyfarfod y bobl ymroddedig sydd yn gweithio tu ôl i’r llenni yn y sinemau a’r gwyliau lleol, sydd yn ceisio dod â chymunedau yn ôl at ei gilydd drwy ffilm:

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Chelt 2020 Logo 1
Cheltenham International Film Festival Virtual Screening Partnership and discounted tickets offer

Cheltenham International Film Festival invites you to partner with us to promote our online programme of new films to your audiences a discounted rate. In return, we will pay you a commission of 10% on ticket sales resulting from referrals from your website.

When the government introduced lockdown measures in March, CIFF took the decision to upload the entire festival onto a streaming platform. The programme underwent some changes, but they are happy to announce that the festival will open on 8th June with Lost Transmissions starring Simon Pegg, and close on the 14th with White Riot. Simon, who is our Honorary Patron, will take part in a live streamed Q&A after the screening of Lost Transmissions, while White Riot director Rubika Shah will close the Festival with a Q&A on the 14th June.

CIFF recognise that cinemas throughout the country are struggling without audiences during lockdown, and in a small way, they may be able to support you by inviting you to promote their festival to your audiences as a ‘Virtual Screening Partner’. They are offing you the opportunity to offer tickets to your audience at a discounted rate, and in return they will pay you a commission of 10% on all tickets purchased through your referrals. As a Virtual Screening Partner, they will provide you with a unique coupon code for your audience to enter at checkout, giving them a 20% discount. You will only need to share a link to the Festival programme page and their back office analytics will track all ticket purchases sold through your referrals.

The programme includes over 30 feature films and documentaries, which have been selected to screen at prestigious films festivals around the world, plus shorts. Almost all the films have not yet been released in the UK and will be unavailable on any other streaming platform during the festival. They have lined up several Q&As after screenings to try to retain some of the spirit of a live festival.

Tickets go on sale to the public on Monday 1st June

To become a Cheltenham International Film Festival Virtual Screening Partner please contact: patrick.bliss@gmail.com

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Bfi Film Forever
COVID-19: an update from the BFI’s Screen Sector Task Force

BFI Chief Executive Ben Roberts sets out how the task force is working to secure screen sector recovery.

There is a huge amount of work being done across the sector in response to the COVID-19 crisis and it’s been brilliant to see the way everyone has come together. I just wanted to express my own thanks for the support I have had and also to give you an update on the progress of the Screen Sector Task Force and our work with Government as we turn attention to the recovery phase. The Task Force is convened by the BFI and brings together organisations from across the full breadth of the UK”s screen industries, to develop a co-ordinated response to the COVID-19 crisis and shape how to get the sector back up and running quickly and safely.

The Task Force has been split into five sub groups (inward investmentindependent film productionTV production ac broadcastingdistribution and exhibition ac video games) where immediate priority has been given to the following three cross-cutting issues – health and safety codes of practiceinsurance; and the knock on impact on the cost of production. The drafting and evidence gathering work on each of these strands is being led by a specialist group and then shared with the other Task Force groups and beyond. We are working to ensure that recommendations from the Task Force to Government are well evidenced and scalable to meet the needs of different parts of the screen eco-system, and also work together to ensure that no part of the sector or its workforce is left behind and that all specificities are considered.

1. Codes of Practice

With a focus on health and safety, the sub groups have been developing codes of best practice that are endorsed by the Health & Safety Executive (HSE) to ensure that film and TV productions of all sizes and cinemas can get back up and running as quickly and as safely as possible.

The inward investment group led by the British Film Commission (BFC) has drafted a set of codes of practice for film and high-end television drama production. These have been out to consultation and shared with Government and the hope is to have them completed and rolled out for productions by the end of May and provide detailed and comprehensive guidance for returning to work and resuming production as safely as possible. They have been developed to meet the needs of both studio and independent production, although productions will still need to make sure they satisfy any requirements put in place by insurers, financiers or completion bonders. The codes of practice are designed to act as a resource for productions based in each nation of the UK as lockdown is eased in each of them respectively. They will also read across to the guidelines developed for television produced and published by the broadcasters and Pact today and which you can read yma.

The UKCA ac FDA have led a working group for Distribution and Exhibition to develop plans for the reopening of cinemas. The Government’s recovery strategy states that cinemas in England will potentially be able to open on 4 July at the earliest and the Task Force is working with the DCMS to ensure this change to lockdown rules is introduced at the best possible time for all venues. At the same time it is gathering evidence to propose what additional support might be needed specifically for the exhibition sector.

2. Insurance

Cover for COVID-19 is an issue for both film and TV productions and could be a barrier to the Government’s return to work plans. A specialist insurance sub-group is looking at potential solutions to this problem (led by Pact as part of the TV and broadcasting group). The Task Force is working hard to ensure that the scale of the problem is evidenced for Government and that the sector is represented on any wider insurance conversations across Whitehall. Insurance is also an issue to be considered with regard to Distribution and Exhibition.

3. Cost of Production

The working groups are calculating how much it could cost to implement codes of practice for returning to work in their respective areas. Different budget production levels are being costed out and in the case of exhibition, the anticipated reduced audience capacity as well as unknown levels of audience anxiety are being factored in. This will allow us to understand the financial viability of a return to work for productions and exhibitors of all sizes and will inform Task Force discussions with Government regarding support for this process.

The BFI are updating information regularly on our website about working in the industry during COVID-19, support packages and further sources of information can be found yma.

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CAF Wide
Cardiff Animation Festival yn cynnal digwyddiadau ar-lein yn ystod cyfyngiadau symud.

Efallai bod cyfyngiadau symud wedi gorfodi gohirio Cardiff Animation Festival 2020 yn y cnawd ond mae’r tîm wedi bod yn brysur tu ôl i’r llenni. Er cyflwyno cyfyngiadau symud mae’r tîm wedi bod wrthi fel lladd nadredd yn symud digwyddiadau i YouTube Live, Slack a Zoom i ddiddanu cynulleidfaoedd a chdaw animeiddwyr mewn cysylltiad wrth gadw pellter cymdeithasol. Nawr mae gan Cardiff Animation Festival bedwar digwyddiad newydd ar gyfer ffans animeiddio ym mhob cwr o’r byd – dosbarth meistr ar-lein gyda Chyfarwyddwr Animeiddio Cartoon Saloon Lorraine Lordan, gweithdy ar-lein gyda’r animeiddiwr o Gymru Kyle Legall, a chyfle i weld rhai o’r ffilmiau annibynol o bedwar ban ar cyfer teuluoedd ac oedolion wedi’i ffrydio dros y we.

Bydd Cardiff Animation Nights, noswaith rad ac am ddim o ffilmiau byr bob deufis, yn dychwelyd i YouTube Live am yr eildro ar ddydd Iau 30 Ebrill am 8.15pm, gydag 11 animeiddiad gwych arall. Pan aeth y tîm â Cardiff Animation Nights ar-lein am y tro cyntaf yn gynharach yn y mis ymunodd rhyw dair gwaith yn fwy o bobl nag arfer - dros 500 o bobl o bob cwr o’r byd - i wylio ffilmiau byr gyda’i gilydd, ar wahân.

Ar fore sadwrn gall y plant anghofio am y cartŵns arferol a mwynhau awr o animeiddio anibynnol i’r teulu cyfan. Bydd Cardiff Animation Kids yn ffrydio’n fyw ar ddydd Sadwrn 2 Mai am 10.30am, gan gynnwys dangosiad ar-lein cyntaf o ffilm stop-motion anibynnol Sum of its Parts wedi’i chyfarwyddo gan Alisa Stern.

Ar brynhawn dydd Sadwrn 2 Mai am 4pm, bydd y Cyfarwyddwr Animeiddio Lorraine Lordan yn ymuno â Cardiff Animation Festival yn fyw o Iwerddon mewn dosbarth meistr i roi o’i phrofiad helaeth yn y byd animeiddio rhyngwladol, wedi’i gyflwyno ar y cyd â ScreenSkills. Mae Lorraine wedi treulio mwyafrif ei gyrfa gyda’r stiwdio Wyddelig enwog Cartoon Saloon, gan gynnwys fel Goruchwylydd Animeiddio ar y gyfres deledu a enwbwyd am wobr Annie Puffin Rock, Goruchwylydd Animeiddio Cyfres ar The Breadwinner a enwbwyd am Oscar, ac fel Cyfarwyddwr Cynorthwyol ar ffilm hir newydd Puffin Rock. Mae ei gyrfa wedi mynd â hi i bob cwr o’r byd i stiwdios yn Cechia, yr Almaen, Kuala Lumpur, Malaysia, Cambodia a’r DU. bydd Lorraine yn trafod bywyd dan gyfyngiadau symud, sut mae wedi llwyddo i gynhyrchu ffilm fer tra’n arwain gwaith ar ffilmiau hir, ac yn rhannu’r hyn mae wedi dysgu yn ystod ei gyrfa drawiadol.

Gall animeiddwyr newydd neu unrhyw un sydd angen ymarfer ymuno â gweithdy dylunio cymeriadau ar-lein gyda’r animeiddiwr a’r artist amlgyfrwng o Gymru, Kyle Legall ar ddydd Mawrth 5mai am 6pm, wedi’i gyflwyno ar y cyd â Cinema Golau. Dechreuodd Kyle ei yrfa’n gwneud ffilmiau animeiddio byr am hanes pobl dduon a’i filltir sgwâr yn Butetown, Caerdydd, gan gyfarwyddo, dylunio ac animeiddio ffilmiau byr ar gyfer Channel 4 ac S4C. Wedi gweithio mewn amryw gyfryngau gan gynnwys gair llafar, cerddoriaeth fyw, celfyddyd berfformio, graffiti a dylunio dillad, mae’r Kyle amryddawn yn dychwelyd at animeiddio. Bydd cyfle i animeiddwyr sy’n dechrau ar eu taith fraslunio wrth i Kyle roi cyngor ar ddefnyddio dylunio cymeriadau i gyfleu emosiwn.

Noddir Cardiff Animation Festival gan Gyngor Celfyddydau Cymru, Ffilm Cymru Wales, a Canolfan Ffilm Cymru fel rhan o Rwydwaith Cynulleidfa’r BFI Film (FAN), BFI NETWORK Wales, ac Ymddiried drwy Gronfa Ysgoloriaeth Owen Edwards, gyda nawdd ychwanegol gan Cloth Cat Animation, Picl Animation, Creative Europe Desk UK – Cymru, Prifysgol De Cyrmu, Prifysgol Fetropolitan Caerdydd, Jammy Custard Animation, Gwobrau Animeiddio Prydain, S4C a Chronfa Sgiliau Animeiddio ScreenSkills gyda chyfraniadau gan gynyrchiadau animeiddio o’r DU.

Am y wybodaeth ddiweddaraf, dilynwch Cardiff Animation Festival ar Twitter, Facebook ac Instagram a chofrestru i dderbyn ein cylchlythyr e-bost.

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Cineworld Cardiff
Cineworld: Event Working and Social Media Scheduling by Emily

As well as continuing to learn all about the programming at Cineworld, and even creating the schedule for a film myself, I was also given the opportunity to encounter other aspects of the exhibition sector. Something I was especially looking forward to discovering more about was social media scheduling/marketing as this is an area I could picture myself working in in the future.Screenshot 2020-03-26 at 11.28.51.png

After meeting the member of staff who runs the social media, I was briefed about his role each week which involves scheduling the Facebook posts for the following week and putting up posters throughout the building. As this doesn’t tend to take him more than a day to complete, and similarly to the staff working on programming, he also works on front of house on the other days serving customers at the tills and checking tickets before customers enter the screening room.

I never quite realised how much thought had to go into the planning process of the social media. Because of the Facebook algorithm, for example, they aim to only post 3 statuses at peak times (between 10:00am and 2:00pm) throughout the week to ensure as many people as possible are seeing the posts.

If any events are coming up or a new film release, he tries to make sure these feature on their social media. And sometimes head office make specific requests about what should be promoted that week. Together we undertook the careful research task to discover which film poster was the most appropriate to use, being an official poster instead of a fan-made one, for example. Precision and an eye for detail were required when ensuring that we attached the correct link to take customers straight onto Cardiff Cineworld when booking tickets.

The layout of the post tends to include: the film/event title, a brief synopsis of the film/event, the link to book tickets and the film/event poster. 

Learning about the attention to detail and thought that has to go into each and every Facebook post as well as how to use Facebook as a marketing tool was interesting. Although I did get to help with this role and learnt a new side of marketing, I believe I already had some pre-existing knowledge on the subject.

What I really developed from this experience on social media was my professionalism in terms of language skills when marketing online to customers and attempting to entice them into booking tickets and why Cineworld should be the place they choose to go to.

Once the social media posts had all been scheduled, myself and the social media programmer went for a walk around the building to see what posters needed to be taken down and if any new ones had arrived to be put up. He explained how Cineworld’s policy was to take down the posters as soon as the film has been released so a new poster promoting an upcoming film could go in that space. The staff are then allowed to take posters that are no longer in use. I even got to take a Little Women (Gerwig, 2019) poster home for my flat..

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Cinema & KO! My Final Placement by Sam

The last month of my placement at Cinema & Co. was unfortunately cut short due to the current climate (hope everyone’s keeping safe!) but the good news is that, following on from my previous blog (which you can read yma) myself and the team managed to launch Cinema & KO. to great success. In this final blog, I’ll be discussing how Johan and I made final preparations for the event, the successes and failures of the event itself, and also reflecting on my time as a whole.

The first day back after uploading the last blog consisted of improving on skills I’d gained previously. To begin, I helped once again edit an updated trailer reel, removing old events and trailers that had already been, and replacing them with new ones. This editing proved to be a lot quicker than the last (a sign of my skills improving I’m sure) and I still felt as though I’d managed to further improve my editing skills even more. This would prove incredibly useful for university assessments like video essays, but also for personal projects like making short films and more. After this, Johan and I moved onto making sure everything was in place for the main event: Cinema & KO.

The event itself was to be split into two main parts. Both taking place on a Saturday, the first half would be open to everyone. We planned on having Nintendo Switches set up in the main cinema room, and a backup in the entrance area for when the main tournaments weren’t on. This event would run until 5, at which point we’d close up, and begin swapping out the switches for an Xbox one, for our main tournament event (that was for over 18’s only, since the game Mortal Kombat 11 was rated 18). This tournament would run until 9pm, with the bar being open for the entire event.

In order to make sure we were fully prepared; we did several things. First of all, I made contact with Game once again, ensuring we had consoles and games ready for both halves of the event. Having this contact before starting the event proved crucial, as without Game, the first half would more than likely have not existed, as Game provided both the switches and games we used for the mini tournaments (The Xbox and copy of Mortal Kombat 11 belonged to the cinema).

The second half of the preparation revolved around creating a tournament bracket for the second and main half of the event, as professionalism was key. Though our main goal was to ensure everyone had fun and enjoyed themselves, it was also crucial to ensure the tournament itself was fair and done professionally, as this would ensure satisfaction from everyone, and (hopefully) ensure they would return to the next event, and bring more people too.

We experimented with a few different ideas, from creating the bracket in different formats such as Microsoft excel, to using an automatic generator. Though I developed my technical skills here, by beginning to create a working bracket on my laptop, eventually we opted for an online one that would generate the brackets randomly and uniquely. This was to ensure the bracket itself looked professional and that there would be no problems in functionality, that could cause delays in the event.

After this, we decided to review the overall plan, before agreeing to meet next on the Saturday of the event. This would be the accumulation of all our hard work over the past few weeks, and so we were both excited and nervous to see how the event would proceed.

The Saturday of the event arrived, and would also mark the end of my time on placement at Cinema & Co. The first half of the event, where we opened it up for everyone to play Mario Kart and Super Smash Bros. proved to be very successful. Though not our target audience (and not our main event) it was certainly exciting to see how popular it was, with many families and some adults coming in to have a look and get involved. I developed a few skills during this first half, mainly to do with communication and management. As a sort of co-host, I was helping to ensure everything was running smoothly. This meant juggling tasks such as monitoring one of the two Nintendo Switches we had at the time and answering any questions in regard to how to play the games, how long we were running it for, and if the event would be held again.

After this, I felt a lot more confident in my management ability, and though I’ve always felt my communication skills are fairly good, I still thought that hosting the first half had improved them even more.

After swapping out the consoles and getting the tournament bracket ready, it was almost time to re-open for our second and main event. Unfortunately, this event proved to be less popular than the opening one, which we thought could be down to many factors.

The event was planned to take place on the first Saturday of every month, so obviously we had to kick this off on a Saturday. The bad news was that this particular Saturday was a perfect storm of problems (or at least, problems that we thought would’ve had some significant effect on the turnout).

First of all, the weather in the night became extremely bad, potentially putting people off travelling the distance for a few hours of gaming. Secondly, this was towards the beginning of the COVID-19 outbreak in the UK, so understandably we thought that many would be hesitant to come hang out in a potentially busy public cinema. Finally, the timing (being more towards the night-time) and fact that the game being played was rated 18 meant that we were cutting out a major crowd, as anyone who was in town passing time would already be gone, and anyone under the age of 18 would be unable to attend.

Despite all this, the event was not completely unsuccessful. We had a turnout of around 15 people, who seemed to really enjoy their time and expressed interest in returning to the next one. This allowed us also to run the tournament smoothly, without having to substitute any plans due to low numbers. Once again, I felt as though my managing skills were improving, as I was a lot more confident in the plans and layout this time around. As previously stated, though my communication skills were already fairly good, this once again did help, as I was letting people know about future plans for the event and more.

After the event concluded, Johan and I decided to brainstorm quickly on how we could increase its popularity, and also took onboard some feedback from those we attended. What we concluded was that for the next event, we’d create some sort of poll in which attendees could vote for what games and specific activities they want to see, therefore ensuring that they would definitely be interested. Obviously, as was the case with this particular event, sometimes other factors such as weather and illness can have serious effects, but we decided that if we tried our best to control all other factors, then things should run even more smoothly for the next time.

As I said earlier, this unfortunately turned out to be the last time I would be working at Cinema & Co. due to current circumstances. As of right now, there has yet to be a follow up event (due to not enough time passing too) so I can’t comment on if the next event proved to be more popular. However, I have no doubt that it will continue to improve, and I can’t wait to see what happens next!

Overall, my time at Cinema & Co. has been a rewarding experience, and I feel as though I’ve certainly learnt new things and improved on skills I’d picked up previously. Seeing how an independent cinema is run and maintained was very intriguing, and how they decide on what to show and when was especially interesting. However, the most rewarding element was improving my editing and managing skills.

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Untitled Design 2
MUBI launches fundraising campaign to support cinemas in the UK through BFI FAN COVID-19 Resilience Fund

Curated streaming service and theatrical distributor MUBI has created a UK Cinema Fund to help support the exhibition sector across the UK impacted by the coronavirus pandemic.

A united front: London’s Genesis Cinema joins MUBI and other cinemas in raising awareness of the new UK Cinema Fund.

The fund has been started with a £10,000 donation from MUBI, and the campaign aims to raise £100,000. The total raised will be donated to the BFI FAN COVID-19 Resilience Fund, which was set up this month by the BFI and its UK-wide Rhwydwaith Cynulleidfa Ffilm BFI (FAN) to offer critical relief and business continuity to exhibitors across the UK.

Donations will be used to support independent cinemas, film festivals and other organisations whose mission to bring fantastic cinema to audiences across the UK is now impossible due to the COVID-19 pandemic. Many of these small and medium sized businesses are now facing permanent closure. These organisations will range in scale and type but they all share a passion for the best and broadest in UK and world cinema.

To raise awareness of the initiative and drive further support, MUBI has collaborated with cinemas across London to hire their marquees to display a defiant message of solidarity. Cinema partners include the Phoenix Cinema, which was built in 1910, the family-run Genesis Cinema, which has been central to the arts community since the mid-nineteenth century, the Grade II listed Rio Cinema ac Catford Mews, which only opened seven months ago and quickly established itself as a key community cinema.

Efe Cakarel, Founder and CEO of MUBI said:

Cinemas and their staff are our partners, friends and colleagues. We have been working closely with UK festivals and cinemas for years and have been deeply saddened seeing the impact of the closures. We want to support them in any way we can during this incredibly difficult time, because we can’t imagine a world without them. We hope this fund gives them some of the support they need to reopen as soon as it’s possible.

Ian Wild, CEO of Showroom Workstation said:

In these unprecedented circumstances it is heartening to see MUBI support the independent exhibition sector with this initiative. We hope that the fund reaches its target to help us provide more vital support through the BFI FAN Resilience Fund.

The fundraising campaign runs until Monday 25 May 2020 and the webpage for the fund is now open to donations from anyone that wants to contribute here: gofundme.com/dearvirus

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