Tag Archives: workshop

2 Week Screenwriting, Producing and Directing Workshop, 9 May 2011, from Centre for Excellence in Film and Media Studies and Amaka Igwe Studios


Screenwriting,Producing and Directing Workshop.

The Centre for Excellence in Film and Media Studies and Amaka Igwe Studios present a 2week Screenwriting, Producing and Directing Workshop. Classes hold on Mondays to Fridays only and commence on the 9th of May, 2011.

For screenwriting, some of the courses to be covered include; Who’s a Screenwriter?, Script appreciation, Finding the Story, The Film story, Story Development, Dialogue , Writing for film and writing for Television, Characterisation, Plot and Conflict and Understanding Genre.

For Producing; Who is a producer? ,What is producing?, Breaking down a script, Shooting on time and budget, working with a director and crew, production project management. Creative producing, fundraising, Sponsorship and strategy.

For directing; Who is a Director?, Shot by Shot, Casting , Grammar of Directing, Planning the Shoot, Handling Cast and Crew, Geography of Shots, Shot Composition, Blocking and Choreography, Camera Placement, Directing Talent, Shooting for Edit.

All those specializing in screenwriting will be expected to complete the screenplay for a short film during the workshop.

Those for directing will be expected to shoot a short film.

Workshop fee is N50, 000 and this covers training materials, tea/coffee break and lunch.

Workshop is open to only 25 participants.

The team of facilitators will be led by Amaka Igwe.

For further information please call 08030833769, 08023525104 or come to 44A Palm Avenue, MKO Abiola Gardens, Alausa ikeja Lagos.

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Aspiring Filmmaker Series: Scriptwriting and Directing Masterclass, with Naresh Sharma, Bond Emeruwa, and Jose Varghese, 25 March 2011, Yenagoa, Bayelsa State


PRESS RELEASE 
  
Aspiring Filmmaker Series: Scriptwriting and Directing Masterclass

BLUES & HILLS Consultancy and Africa Film Academy call for interested aspiring filmmakers to register for the Scriptwriting and Directing Masterclass Workshop, to be facilitated by Indian filmmaker and cinematographer, Naresh Sharma on 25 March, 2011 at Niger Delta Wetland Centre, Ekike, Yenogoa, in Bayelsa State. He will be joined by Nigerian filmmaker, Bond Emeruwa and Indian creative writing teacher, Jose Varghese.

Mr Sharma is the Director of Centre for Research in Art of Film & TV (CRAFT), Delhi. After graduating from Film and Television Institute of India, (FTII, Pune ) in December of 1993, he acquired on-floor expertise while working with ace cinematographers like Ashok Mehta and Vikas Shaivaraman.

His independent works include advert films, promos, corporate and documentaries. He has worked with Grey Worldwide, Triton advertising, Bharat Bala Prods, Shot in the dark, Mise-en-scene, Squirkle, Percept Advertising, Universal Music, T-Series, Channel [ v ] ,B4U and others. He shot the music video of “Nishani” for popular star, Jassi.  In 2001, he shot a Hindi feature length fiction directed by Senior FTII 1974 graduate batch on 35mm.  In 2005, he shot 2nd feature length fiction film on 35mm Cinemascope format “Sonam” about the Monapa community of Arunachal Pradesh. He is widely travelled and has facilitated workshops across the world.

 For registration and further enquiries, contact: bluesandhills@gmail.com

Event Listing:

Bayelsa Book & Craft Fair: 24-26 March, 2011 at Niger Delta Wetland Centre, Yenogoa. Exhibitors can contact bluesandhills@gmail.com

Onyeka Nwelue, author, The Abyssinian Boy (DADA Books, 2009)
Writer-in-Residence, Centre for Research in Art of Film & TV (CRAFT),
272, FIRST FLOOR, NAHARPUR CAR MARKET, ROHINI SECTOR 7,
DELHI 110085, INDIA
+919654516737
http://bookandfilm.blogspot.com
www.onyekanwelue.com

Call for papers for international workshop held in Illorin July 7-10: “Nollywood: a National Cinema” Deadline 15 June 2010


Call For Papers

 “Nollywood: A National Cinema?” An International Workshop

Workshop dates: July 7-10, 2010

Venue: Kwara Hotel/Kwara State University, Malete, Ilorin, Nigeria

            Inevitably, questions asked about the social and cultural veracity of the art of Nollywood coalesce into one grand probe, which seeks to interrogate Nollywood as a trustworthy machine for the production of culture in contemporary Nigeria. Indeed, some critics have argued that the popularity that Nollywood has engendered in the last ten years in Europe and America may well be explained in term of its re-invention of the image of the noble savage. Others disagree with this reading of the global reception of Nollywood. Constructed as questions around “cultural authenticity” in which echoes of the Kwame Nkrumah vision of pan-Africanism is all too visible, and as a site that instigates the “rough side of us,” critics have taken Nollywood apart, claiming that what it produces as culture is, to put it mildly, “false culture.” The anxieties which this argument generates can be put in this way: if Nollywood is so ubiquitous in the global marketplace of cultural commodities, there is the need to discipline it so that it does not mis-represent “us” as “nation.” Its sloppy narrative regimes must be disciplined; and its uncritical and superficial re-production of culture must be questioned, if not disciplined. Often read as the producer of “false culture,” anxieties concerning the ways that Nollywood narrates “our nation” form the bedrock of the discourses that negate Nollywood as a culture machine. While this mode of interrogation is not new-Emmanuel Obiechina makes a similar observation in his brilliant and groundbreaking study of the Onitsha Market pamphlet (Onitsha Market, Cambridge University Press, 1971)-Nollywood gives contemporary cultural mediators who make these claims even better reasons to doubt. However, we note that nowhere in these arguments that Nollywood has spurned in the last ten years is there a careful and sustained analysis of the industry as a method of articulating popular sentiments for popular consumption. Nollywood is narratively eclectic. It is linguistically diverse and accessible. Its mode of inquiry is quotidian and it critical frame of reference is unsophisticated.  In this cultural practice, there is no pretence to any intellectual engagement with the profilmic world. The texts of Nollywood films are easily recognized because they come from and are built around rumors from the streets of Nigerian cities where they fester, grow, and are transformed yet again into Nollywood films. Thrown back into the streets, these video stories are reconstituted and reinterpreted in the streets yet again and then re-made into Nollywood films so that what is initially a rumor of the inevitable death of the rich man whose source of wealth is to say the least dubious is continuously reconstituted as stories and discourses of Nollywood films and of the streets. Evidence is beginning to emerge to the effect that many countries in Africa and in the African diaspora are beginning to look to Nollywood to grow their local film industries. The sum total of the anxieties expressed by these cultural mediators comes from the unique qualities of Nollywood as popular art.

               This workshop interrogates the intersection between the nation as a narrative entity and the uses of Nollywood as agent of this act of narrativity. Among other concerns, this workshop asks the central question: is Nollywood a national cinema?” If so, what nation does it narrate? How does it make or re-mark itself as a narrative machine? Are the un-manned but eloquently articulated sites of women in this filmmaking tradition “nationalistic” in any way? How do these films read the nation as an entity? Papers are invited from presenters and contributors on these and other topics that are related to the main theme of this workshop, and must reach the organizers on or before June 15, 2010. Contributors are required to send e-copies of their abstracts to the guest-convener at onookome.okome@kwasu.edu.ng or ookome@ualberta.ca. Selected and refereed papers will be published in two books to be co-edited by Abiola Irele, Awam Amkpa, Onookome Okome and Abdul-Rasheed Na’Allah. Confirm guest speakers include Prof. John McCall, University of Illinois; Professor Jon Haynes, Long Island University, New York; Mr. Afolabi Adesanyan (NFC), Mr. Emeka Mba (NFVCB); Barclays Oyakoroma(NICO);Prof. Manthia Diawara, NYU, New York, and Professor Jane Bryce, University of the West Indies, Cave Hill, Barbados.

               Interested participants must also pre-register for the workshop no later than June 15, 2010. Registration fees may be wired/transferred to KwaSU workshops/conferences accounts- FinBank, Ilorin, Nigeria-KwaSU Conferences/workshops current account: 120430000323901; domiciliary account number—120440000006502. International participants: US$120, local participants, N10,000.