CIBERCRÍTICA

“Lunatics” Animated Science Fiction Web Series Kickstarter | QuestionCopyright.org

Francisco Arlindo Alves — Thu, 05 Apr 2012 04:50:30 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

http://questioncopyright.org/lunatics_kickstarter1

Via questioncopyright.org

Man With A Movie Camera: The Global Remake – the Manitoban

Francisco Arlindo Alves — Thu, 05 Apr 2012 04:29:33 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

Man With A Movie Camera is a Russian film originally made in 1929 by filmmaker Dziga Vertov.

Man With A Movie Camera: The Global Remake, not to be confused with the former, was created by Perry Bard, an artist who grew up in Quebec City, and currently lives in New York.

Via www.themanitoban.com

Financiamento colaborativo para documentários

Francisco Arlindo Alves — Mon, 02 Apr 2012 20:21:02 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

Artigo sobre o cenário de financiamento colaborativo para documentários nos Estados Unidos, discutindo vários projetos em produção. A plataforma Kickstarter deverá levantar US $ 150 milhões em 2012 – que é mais do que o NEA (National Endowment for the Arts) – a principal agência de financiamento cultural no país.

Via collabdocs.wordpress.com

Iron Sky: Os primeiros 4 minutos

Francisco Arlindo Alves — Mon, 02 Apr 2012 19:59:30 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

Os 4 primeiros minutos da maior produção de aventura já realizada financiada diretamente pelos fãs na história do cinema. Um dos mais comentados desta edição do Festival Berlim. ( A cena mostra quando astronautas americanos descobrem uma base nazista na lua).

Via www.youtube.com

Patent Absurdity — How software patents broke the system

Francisco Arlindo Alves — Sat, 24 Mar 2012 02:40:20 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

O documentário “Patent Absurdity” explora o caso das patentes de software, a história de ativismo judicial, e os danos que essas patentes provocaram para desenvolvedores de software e para a economia como um todo. O filme é baseado em uma série de entrevistas durante o julgamento em re Bilski, um caso de patente de um algoritmo e um método de negócio que o Supremo Tribunal dos EUA vai decidir em breve.

Via patentabsurdity.com

ESPERANDO el TSUNAMI película de Vicent Moon e LulaCruza

Francisco Arlindo Alves — Sat, 17 Mar 2012 21:39:08 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

O filme realiza uma viagem a regiões remotas da Colombia em busca das raízes da música, e sobre o modo como ouvir a natureza, conversamos com ela e improvisar com músicos locais em suas regiões.

O financiamento para este projeto foi levantado através da plataforma de financiamento colaborativo Kickstarter e cerca de 200 pessoas doaram ao projeto.

Desde o lançamento do filme, pessoas já organizaram mais de 50 exibições do mundo. As pessoas estão se organizando para seções em lugares como Colômbia, Argentina, EUA, México, Venezuela, Inglaterra, Rússia, França, Portugal, Brasil, África do Sul, Marrocos, Indonésia e outros.

Via lulacruza.com

A cultura é livre! Creative Commons e Copylef

Francisco Arlindo Alves — Thu, 15 Mar 2012 20:50:12 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

Vou conduzir nos dias 20 e 21/03 a conversa A cultura é livre! Creative Commons e Copylef.Terça e quarta, das 15h às 18h.

Serão discutidas novas possibilidades de criação, compartilhamento e distribuição no campo da música, cinema, literatura e educação a partir da utilização de licenças com direitos autorais flexíveis. Serão apresentadas, trechos de documentários, ferramentas de pesquisa e divulgação de conteúdo livre, e projetos realizados.

INSCRIÇÕES:

Todas atividades são gratuitas e as inscrições podem ser realizadas pessoalmente sala de internet do Sesc Belenzinho ou no e-mail: cursos@belenzinho.sescsp.org.br

Via ilbelenzinho.tumblr.com

Web 2.0 Storytelling: Emergence of a New Genre | EDUCAUSE

Francisco Arlindo Alves — Mon, 12 Mar 2012 18:02:48 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

A story is told by one person or by a creative team to an audience that is usually quiet, even receptive. Or at least that’s what a story used to be, and that’s how a story used to be told. Today, with digital networks and social media, this pattern is changing. Well, maybe not. This is quite a lengthy article but rich in offering lots to chew on. Here’s what I like: It contains a very decent history of digital storytelling. It chats about one of my favorite sites on different tools to use to create digital stories, 50 Tools (the author of that site is also one of the authors of this article) — (http://cogdogroo.wikispaces.com/StoryTools) It names Web 2.0 storytelling as a new genre But a lot of their premises that they base their thinking on is flawed. For example, they state, “Today, with digital networks and social media, this pattern is changing. Stories now are open-ended, branching, hyperlinked, cross-media, participatory, exploratory, and unpredictable.” That dynamic has actually been happening for millenia as people tell open ended stories in conversation, branch into different stories when chatting, our brains effortlessly hyperlink experiences and stories together, we re-fashion our stories into art / architecture / fashion and other media, we participate in other people’s stories (that what being human is), plus we explore and recraft stories in unpredictable ways. Many writers in this technology field are just simply unaware of the work of social /cultural scientists in how stories have been shaped, moved, and disseminated across time and space since the dawn of time. Yet what Web 2.0 does for us is make the naturally occuring often invisible dymnamics of storytelling more visible. For years I’ve said that storytelling is creating art in the air. Web 2.0 storytelling helps us see the ephemeral nature of storytelling. And I agree with the authors that Web 2.0 speeds the whole process up. Another premis in this article that is problematic is the statement that micro-content on the web is storytelling. Well, it’s actually a conversation. Some are stories, some are not. They are the fabrication of relationships and connection that build a metaphoric story. Sam Keen and other psychologists have apply named this aggregation as the ‘myths we live by.’ The story definition the authors use is quite weak: ”art of conveying events in words, images, and sounds often by improvisation or embellishment.” This comes from wikkipedia. And you can see how this definition is so general that it is almost meaningless. Here’s a better one that I’ve used for years: “A story is an act of communication providing packets of sensory material and characters, structured along an arc, allowing the listener to quickly and easily internalize the information, understand it and create meaning from it.” This helps us articulate the difference between microcontent and a story. Aggregates of the word “I feel…” from across the web are not a story. But it is fascinating information! Not everything is a story. Another false premis: “At a different—perhaps meta—level, the boundaries of Web 2.0 stories are not necessarily clear.” Well, in truth, the boundaries of ANY story are not necesssarily clear. They are only clear if you think a story starts at the beginning and ends at the end. Yet if we look at storytelling as a dynamic event, then the storytelling event starts way before the words “Once upon a time” are uttered, and only ends if the story becomes completely forgotten. Serial storytelling is not new and the meaning of a story is endlessly varied. But it is a lot of fun using Web 2.0 technologies to craft, share, and digest stories. Read the article from these adjusted lenses I’ve given you and let me know what you think.
Via www.educause.edu

Nuno Bernardo: Transmedia in Documentary Storytelling

Francisco Arlindo Alves — Mon, 12 Mar 2012 18:01:23 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

The head of beActive Media & MIPCube speaker explains how transmedia tactics can be applied to documentary and factual entertainment shows
Via blog.mipworld.com

Artigo sobre “Nasty old People” Hanna Sköld, filme lançado diretamente do Pirate Bay

Francisco Arlindo Alves — Sun, 11 Mar 2012 18:39:51 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

http://media.marie.biip.cc/2010/10/short_paper_final_nasty_old_people.pdf [...] Uma das muitas razões importantes pela qual tantas diferentes pessoas que baixaram o filme, mostraram o seu apreço e apoio através de doações em dinheiro, acreditamos que é o fato de que há um grande número de pessoas lá fora que estavam à espera de algo assim acontecer. Pessoas que acreditam que não deve haver apenas uma forma de distribuir e fazer filmes e apoiam a idéia de que arte e cultura deve ser disponível para todos, independentemente do tamanho de suas carteiras.[...]

99% — The Occupy Wall Street Collaborative Film

Francisco Arlindo Alves — Wed, 29 Feb 2012 15:27:50 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

99 Percent: The Occupy Wall Street Collaborative Film is a documentary film project founded by independent filmmakers working in conjunction across the country. Among them are the directors, producers, editors and cinematographers of many award-winning, internationally distributed films.
Via www.99percentfilm.com

Okupados, primera película española que se estrena en exclusiva en una red social

Francisco Arlindo Alves — Wed, 29 Feb 2012 13:50:27 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

Tuenti presenta en exclusiva la película de terror Okupados, dirigida por Fernando Herrero y Eduardo Sáinz de Vicuña. Se trata de la primera vez que un filme español es estrenado en primicia total en una red social. De esta forma, sólo los usuarios de Tuenti podrán disfrutar de la obra.
Via www.porlared.com

Selling Your Film Without Selling Your Soul

Francisco Arlindo Alves — Wed, 29 Feb 2012 13:41:24 +0000

Via Scoop.it – Cinema Libre + Cultura Libre

“Vendendo seu filme sem vender sua alma”. Documentário de Orly Ravid & Jeffrey Winter sobre novas estratégias de distribuição de filmes independentes
Via www.sellingyourfilm.com