Part 1 - Context
Go to:
http://www.bfi.org.uk/sightandsound/feature/237/
Read the article entitled: “Eat my shorts”
Make notes on:
•why people go to the trouble of making short films in the first place
Some filmmakers see short films as an art form in its own right; allowing them to exercise their skills and abilities in a unique way. Film industry professionals and the media see short films as personal ads and a way for directors/writers to go on and make feature films. Also, it allows for stand out talented directors such as Lynne Ramsay and Asif Kapadia to surface.
•the situation with short filmmaking when shorts were still being shot on celluloid
It was tough to secure funding, for example, Caroline Cooper said "The situation in the late 1990s was that there were limited opportunities for a small clique of people to get healthy funding for their shorts but there was very little investment in the discovery of new talent.” The budgets for 35mm Celluloid shorts was increasing and films made under Film Four’s Sort and Curlies strand cost somewhere between £60,000 and £90,000. The primary problem with this was that shorts were not being viewed enough as they weren’t being screened in cinema or on television. Also, these costs were unjustifiable when emerging filmmakers could be supported to use digital equipment.
•the impact that DV technology has had on short film productions
It has allowed more shorts to be made because films can be produced on a much cheaper format and could be edited on software for home computers so; basically, there is now access to cheaper equipment. Overall, DV “democratised film-making.” Filmmakers can secure funding from short film schemes and can even distribute online. Also, an audience is now a lot easier to attract due to DVD and web-streaming making more people aware of the short film industry.
•the distribution and exhibition possibilities for short films made in the UK
It appears that the shorter the short the better the film’s chances of being distributed as short film coordinator, Damien Spandley from City Screen, says: "With a 90-minute feature we wouldn't usually run anything longer than ten minutes, and we wouldn't programme anything with a two-hour film," This shows how there are restrictions in the distribution and exhibition process for filmmakers. However, several cinemas across the UK do try to host short films each month. Another method of distributing short films is to attach it to a feature film like what Short Circuit Films do. This way, there are more chances of the shorts being viewed by audiences. Although cinema managers will have to be enthusiastic enough about this process as it’s down to them what gets screened.
•the limitations of the format (what, according to some, can’t shorts achieve that features can?)
A 16mm or 35mm print made from digital master tape is too expensive; costing about £3,000 which makes it almost impossible to get a short film programmed like a feature film. In terms of the actual film, Kapadia says: "The problem with most three-minute shorts is they're little more than a witty idea with a sting in its tail. Some short-film-makers aren't learning to develop characterisation, and so financiers aren't convinced they can make features," This shows the limitations that occur when making a short film. He then goes on to say about how the UK film industry should do more to aid directors and producers who have made successful shorts but are struggling to make a feature film. I think this is because different rules apply in terms of characters, plot themes etc. which allows people to differentiate thoroughly between the narrative of a feature and short.
There are also some limitations and negativity surrounding DV cameras because sometimes the moving image can come out grainy and slightly distorted in some cases. In spite of this, Simon Ellis says: "I've learned how to make DV look less like DV, but that doesn't mean emulating celluloid" proving that the cheaper digital technology is mainly beneficial and there are more pros than cons.
•the conclusion reached by the writer about the situation of short film in the UK at the time of the article’s publication
I believe the writer is saying how crucial digital technology is to short filmmakers mainly as a result of finances because, to reiterate, cheaper equipment has led to more short films being made. This is sustained by the fact “the UKFC has been sharp enough to use the cheapness of DV to help empower hundreds of would-be film-makers” and although this can only be a good thing, it does have some setbacks. For example, Caroline Cooper said she has read over 1,000 scripts and the average quality isn’t high because more and more potential filmmakers now try to develop a story and narrative without fully being prepared. In my opinion on this matter, now technology is cheaper, people just try to get on with making films simply because they can afford to. This results in the writing and production not always being of a high standard.
•how up-to-date you think the article is (providing reasons)
I don’t believe the article is that recent because it fails to mention a lot about high definition cameras (which is important to the film industry) and other technologies relating to films like blu-ray whereas it covers DVD which isn't as popular as blu ray nowadays. Also, it doesn’t give much detail about online distribution. It says about how it’s possible but it gives no specifics like youtube or myspace, which proves to be popular for filmmakers trying to be totally independent.
Catch 22
Short films represent the way that many if not most filmmakers get recognised initially. Done superbly well, they can become a new director’s ticket onto the restricted access ladder that leads to making a feature film. Yet so many obstacles still stand in the way of short filmmakers and the all important “airplay” of the short films they make.
How effectively does the article explain and answer this paradox?
I think the article effectively explains and answers this paradox because it goes into detail about how it is extremely important for filmmakers to start off by making shorts before moving on to features. However, it does contradict the point slightly because it states how short films initially help a filmmaker to get recognised, which is true to an extent, but then the article also mentions how short films can be unpopular because it’s a struggle to get them screened. Therefore, if short films are rarely viewed it would be really difficult for directors to break into the film industry. Overall though, I feel as though the article expresses the paradox with clarity.
http://www.scottishscreen.com/content/sub_page.php?page_id=21&sub_id=179
This brief article from Scottish Screen explores the importance of short films and provides a particular definition of them. Also, it explains what happens when a short film becomes widely successful.
http://www.movingpicturesmagazine.com/NewsViews/tabid/60/entryid/3518/Cannes-Short-Film-Corner-Takes-the-Long-View-on-Short-Films.aspx
This article covers a lot about short films while talking about its market and how it differs from feature films. Also, it explains certain aspects of the cinema and the step from short films to feature films.
Part 2 - Funding & Support
http://www.ukfilmcouncil.org.uk/
What is the UK Film Council doing to support short filmmakers and short film making?
The UKFC aims to support a range of short films and develop new filmmakers. They also want to widen audiences throughout the UK in a “diverse and vibrant film culture.” It has set up many distribution and exhibition schemes to bring attention to short films in an effective way. This is all primarily for aspiring filmmakers who make shorts but then want to eventually go on to make feature films.
Firstly, the innovation fund, due to launch in autumn 2010, wants to ensure there is support for a number of digital opportunities across all areas such as communicating the films to new audiences and investing in innovative business models. Also, the fund concentrates on distribution and delivery platforms and development and market intelligence. The UK has recently invested in digital screens which show non mainstream films. This is so that more people are aware of the film industry because short films never receive a lot of marketing so they’re usually viewed by a niche audience.
Secondly, it's neccessary to note that UKFC fund other institutes such as the British Film Institute, who are attempting to widen audiences and instigate different debates about film and give information about cinema heritage. They’re also there for educational purposes in terms of analysing short films. This supports filmmaking by allowing a wide range of people to understand the processes directors, producers and writers go through to reach their finished product; a short film which could possibly be there way in to making feature films. Also, Film fund take risks with films which appear unmarketable but are quality British films. They focus on creative excellence and aspiring directors, producers and writers.
Thirdly, Cinema Extreme has been really successful with Film Four and the UKFC. A good example to come out of this scheme is Andrea Arnold, who is known for ‘Red Road’, ‘Wasp’ and ‘Fish Tank.’ Both Film Four and UKFC are extremely proud of what’s been achieved and the cinema fund continue to has continued to support short film making. This also shows how with the right support, short film makers can go on to make decent feature films.
In addition, as Digital Shorts plus allows the more established filmmakers to work with companies throughout the UK. This scheme aids in the portfolio building process for a filmmaker. Also, it can be used as evidence for directors regarding funding in the future. 12 films are chosen after the scripts have been developed. After this process, the films are shot using technology with a budget of around £17,000-£20,000.
What are the nine Regional Screen Agencies (RSAs) that Film Council funding is delivered through?
The UK Screen Agencies are development agencies attempting to make the film culture more accessible for the public while also building vibrant and substainable media sectors across Britain. They bring together existing national and regional film bodies, media development agencies and commissions.They are self governing with the majority of funds coming from the UK film council.
Firstly, EM media who are based in the East Midlands focuses on creative talent while supporting and developing a diverse range of projects. Since 2002, they have made over 600 investments which have totalled to £11,000,000. The EEMI fund (East Midlands Media Investments) saw EM media invest £6,000,000 of ERDF (European Regional Development Fund) finance generated a ground-breaking economic benefit of over £70m to the East Midlands. EM media are versatile and don’t just invest in feature films although they had a lot of success with Shane Meadows’ BAFTA winning ‘This is England.’ EM media are partnered with a range of regional and national organizations like the UK Film Council, the East Midlands Development Agency and Screen England.
Secondly, there’s Film London who simply strive to enrich the film culture and to make sure that London have a thriving media sector. They were formed in 2003 and are primarily funded by the UK film council. They also receive support from the London Development Agency, Arts Council England London, the Mayor of London and Skillset. Film London mainly wants the public to recognise London as “film friendly” and allow people to appreciate the film culture’s diversity which will hopefully ensure wider audiences will view a different range of films. They recently had the highest level of inward investment with £752,000,000. 2009 continued to be a good year as the production figures state that Film London assisted with 30% TV projects, 13% features, 19% commercials and promos and 19% short films. Also, during the same year, Film London hosted the third Production Finance Market in association with the London Film Festival and nearly 150 projects from 14 different countries were presented during this two-day event. Projects funded by Film London have picked up several awards including a BAFTA for the short film I Do Air.
Thirdly, we have the Northern film & media whose aim is to establish a commercially creative economy in the North East. They invest in diverse range of talent and support many different ideas. The organisation was formed in 2002 and has since been very successful, creating growth commercially in Northumberland, Tyne & Wear, County Durham and Teesside. Thanks to the latest technologies, they are able to host events which attract audiences wanting to be a part of the commercial innovation in film, television, games, animation, music and digital media. They are partnered with many active organisations whose projects are all beneficial to the film culture. For example, they work alongside with ONE North East, Business Link and, of course, the UK film council. One of their biggest groundbreaking finances is the Business - North East Creative Content Fund which accumulated £2.4, 000,000.
North West Vision and Media is there to help the digital and creative industry in England's northwest. They do this by delivering projects and programmes that help creative companies and individuals (at all levels) in TV, Radio, Publishing, Music, Games, Film and Digital and Creative services. Also, they aim to help productions find locations and staff in the region. Supporting film festivals is also important to them because it’s vital for the film culture. They believe they can make a difference through Strategic leadership, helping to grow and attract businesses, promoting creativity and culture and develop skills and talent.
Screen East are based in Norwich. It is the regional screen agency for the East of England dedicated to developing a vibrant and flourishing film, TV and digital media industry. They aim to do this through the activities of four different departments. These are Locations, Production, Enterprise and Skills, and Audiences and Education. They are funded by the UK Film Council and EEDA (East of England Development Agency). They take film and education very seriously and try to develop young people’s understanding of the film culture by using techniques such as the 21st Century literacy strategy and different media schemes. Another aspect of the film culture they consider to be crucial is cinemas and festivals. They support regional cinema networks so audiences in rural and urban areas can be attracted and aware of film.
Screen South support media and film based in the south east. They believe "There's a wealth of talented film makers and skilled crew here. I want them to feel confident they can make a success in the industry from their regional base, and maximise opportunities with national and international partners" according to their chief executive, Jo Nolan. They’re very passionate about developing a dynamic environment in which film and media culture can flourish. They set up different film programmes for aspiring filmmakers whether it’s about feature films, short films or documentary. For example, the latest programme is docs360 is a 9-month development programme and competition for documentary filmmakers where you could get £25,000 if your team wins. They also host festivals with awards accompanied by Skillset and most recently at pinewood studios in which they used the latest technology to screen short films. Their website states how they aim to:
•“Provide the first port of call for funding and information relating to film in the region
•Collaborate with existing organisations to develop hubs of activity and expertise
•Encourage networking and collaboration between media practitioners
•Work with the industry to set standards for excellence, creativity and innovation
•Act as an advocate for the region’s film and media industry nationally and internationally
•Promote the profile of the region to attract inward investment
•Find creative ways of developing audiences for film and the moving image, promoting opportunities for education and wider access
•Act as a key route for the flow of information between the Film Council, regional organisations and film makers”
South West Screen are a regional agency based in Bristol who fund, support and campaign for industries and help to train and develop whoever works with them. In 2009, they helped 4,639 companies directly, registered £66,000,000, made awards worth £685,558 and direct investments of £789,245 and safeguarded and created 482 jobs.
Screen WM is the lead agency for film, television and digital media in the West Midlands. This region is trying to innovate cross media collaboration in content creation and remit is to develop the economic, social and cultural wealth of the region through supporting the screen media industries. They’re also trying to develop different audiences on a national and international level, making film “stimulating, entertaining and sustainable”. Screen WM also invest in education as they believe moving image is a vehicle for individual development and growth so a lot of short films are viewed and analysed in schools while features are just simply there for viewing pleasure to get the young audience interested in the film culture.
Finally, Screen Yorkshire is the regional screen agency for Yorkshire and Humber. Their mission is to inspire, promote and support the development of a successful film, TV, games and interactive media sector to grow the economic, social and cultural wealth of the region. This is a challenging but rewarding task as innovating film as a culture is important to society. They are funded by the regional development agency Yorkshire Forward and the UK Film Council. Like the other screen agencies they take education and film very seriously, believing that children need a good understanding of media literacy in today’s world.
As a short filmmaker, what funds could you apply for?
Obviously as a short filmmaker I’d need to have a powerful narrative with an indulging character and plot to even attempt to apply to a fund but if I did I’d probably apply for the UK Film Council’s digital short scheme or the South Screen as it’s more local to me. However, I’d have to be prepared with my own actors, crew etc.
Part 3 - Other Funding Sources
Outside of the UK film council, are there any other schemes that exsist to help fund short films?
http://www.bfi.org.uk/about/whatwedo.html
The British Film Institute who run the annual London film festival and promotes understanding and appreciation of film and television heritage and culture was established in 1933. They would be a good choice for aspiring filmmakers searching for funders.
Part 4 - Festivals
Make notes about the kinds of festivals that short filmmakers can apply to, to have their works entered in.
Go to:
http://www.encounters-festival.org.uk/
Main Sponsors: Bristol City Council, South West Screen, Skillset, South West Of England Regional Development Agency
http://www.kinofilm.org.uk/
Since 1995, Kinofilm has supported over 3000 filmmakers, screening short films from over 20,000 international submissions
http://www.sohoshorts.com/
A week long event with over 140 free screening and seminars in bars
Budgets ranger from £50 - £2.5 million
Categories: Short Film, New Comers, Animation, International, Music Video, Documentary
Long Form Broad Cast Design
http://www.shortfilms.org.uk/
Ten day event at ten major London venues
Over 200 films screened
Key Sponser: UKFC
UK’S largest public event
Established in 1956
http://www.leedsfilm.com/
Main Sponsers: Leeds City Council, VUE Cinema, Magnitude and Ancnoc
They screen any genre
Under 45 minutes is a short
How do the festivals market and promote themselves?
They have many different ways depending on who their target audience is. For example, they may use social networking sites like Myspace and facebook if it's a student film festival. Print advertising is also quite successful with some advertisements appearing in newspapers. If you’re a filmmaker or just a film fan in general you’ll more than likely read film magazines such as sight and sound. Therefore, the magazine will promote a number of festivals.
Why is it important to be screened at one?
Film professionals will be at the festivals therefore it allows a film to gain recognition. Also, the large audience there will be able to give constructive compliments and criticism. As a filmmaker, advice and criticism is highly appreciated because, of course, they’re always looking to improve and harness new skills.
Who attends them?
Agencies, critics, journalists, film professionals, directors, celebrities, the press and people who are passionate about film whether they're aspiring filmmakers or just enjoy it in general.
How are they supported?
Usually by different sponsors and fans. One of the best sponsors is probably Sony because not only do they have a great knowledge and understanding of national and international aspects of the film culture but they’re also extremely popular within the media industry. Also, the money that’s received as a charge when entering the festival amounts to better facilities. As a last resort, fans can convey information about the festival to friends, family etc. therefore word of mouth is supportive.
What have you noticed about the structure/style of the sites?
I noticed how they're easily accessible as the content of the sites is split into different categories. The graphological features result in the sites being aesthetically pleasing with a diverse range of typography which ensures that dates and times can be viewed with clarity. Overally, everything on the sites is appealing and gives a lot of information which is easily digestible. Initially, as soon as you enter the site you can identify which festival is suitable for you.
Key National/International film festivals.
LA short film festival, based in West Hollywood CA, show any genre from action to musical, it's the largest short film festival in the world with over 8,000 moviegoers, filmmakers, and entertainment professionals looking for the hottest new talent. Main Sponsors: Panavision, Nevada film office, Laemmle Theatres and Starbucks.
London Film Festival who are funded by the National Lottery. Awards ceremony which present an enhanced range of awards. Sponsored by The Times newspaper, Renault cars, Skillset, American Airlines, MOFILMs and The May Fair Hotel.
Find out about any national or international student film festivals.
Screen Test - The National Student Film Festival
Established in 2004, 3 day duration, based in Bristol, there are celebrity guest speakers with different workshops, there are screenings and an awards ceremony, they’re partnered with the Cambridge Student Film Festival.
Part 5 - Online Screening
The following sites offer a range of short films:
http://www.bbc.co.uk/dna/filmnetwork/
http://www.film4.com/videos/film4-shorts
http://www.triggerstreet.com/gbase/Trigger/Homepage
http://www.atom.com/
http://www.virginmediashorts.co.uk/
http://www.vimeo.com/
http://www.youtube.com
What sorts of films are exhibited at these sites?
A range of short films with most genres being exhibited. There’s also a hybrid of genres in most cases. For example, the BBC film network is showing a film named ‘Far from the sodding crowd’ which is of the documentary and comedy genre. Also, there are many short films which fall under the experimental category. In addition, FilmFour offer a much more diverse range of films with over 150 shorts on the website alone. Youtube and Vimeo are uploaded through users and can be independent short films with an extremely low budget or no budget at all. Websites like this allow for new talent to emerge. However, with sites like Youtube, there’s a huge range of videos being uploaded and some are pointless and unwanted which can overshadow more sophisticated shorts or videos.
Who is the audience?
Anyone who’s interested in short films whether they’re aspiring filmmakers, critics or people who just enjoy short films as viewing pleasure. Some sites advertise quite frequently on the site itself which shows how it's attempting to reach out to most ages. Although, taking into consideration stereotypical views, an elderly person may not have the accessibility to these sites and the content therefore this narrows the target audience. For BBC the network is used to attract a mainstream audience.
What is the submission process?
With sites like the BBC network and Virgin Media, there is a process where you have to sign up to submit your short film, however, there is a chance that your film won't be published on the site; which is a negative aspect when it comes to getting your film viewed and making an people aware of it. In the case of Youtube and Vimeo, all you have to do is sign up to the site and upload any video within reason.
What are the benefits to having a film screened on site as opposed to another?
There’s a range of different benefits for each site. Examples of this include Atom, who allow distribution through the internet, mobiles and Xbox; as downloads. Also, they can be screened on Atom TV. The primary benefit you gain from Trigger Street is guaranteed feedback about your film. With the BBC network, your film is held for 5 years and users are able to get in contact with you to give professional feedback etc. Also, you’re able to view other filmmaker’s profiles which can possibly provide some inspiration.
What have you noticed about the structure/style of the sites and their presentation of the material?
Each site can be navigated easily and the films presented are effortlessly accessible. However, in the case of Trigger Street, you must sign up and become a member before being able to view the content of the site. People may find this slightly time consuming and therefore opportunities are missed for both Trigger Street and the potential “member”. The layout of most of the sites is extremely organised, which, to reiterate, is a positive aspect when it comes to finding your way around.
Part 6 - Short Screenplay Writing
http://www.screenonline.org.uk/tours/shortfilm/tour1.html
http://www.netribution.co.uk/features/howto/scriptwriting_5_short_film.html
https://www.shootingpeople.org <--- gives valuable advice once you’re a member, it only costs £30 a year which is worth it if you’re serious about working in the film industry as a screen writer or in general.
http://www.scriptfactory.co.uk/
Investigate the advice given to support new writers. Make notes.
The site highlights the questions which short filmmakers are immediately faced with. The questions are:
•“Who is the protagonist?
•What is the active question, which is the basis of the action in film?
•Who or what opposes the protagonist?
•From whose point of view is the audience being shown the story?
•What is it about? or, What is the theme?
•What is the style of the film?”
These questions are supposed to make the process of developing character, plot and narrative easier. Over the last decade, a decent screenplay has become an absolute crucial aspect to the overall effect of the film so that’s why I believe the site offers this tour of advice on how to write the film. The most important question out of all of them which should initially be taken into consideration is “who is the protagonist?” Because the character is at the heart of any story according to the site and it drives the narrative to reach whatever conclusion it’s aiming for.
The next important aspect is to think about is establishing a world and a problem; followed by a want, a need and an obligation for the main character. There has to be a climax which can be easily recognisable to the audience because the minute they lose interest is the minute the short film loses its intended impact. There isn’t time to put too much into it which is something any filmmaker should remember when writing the script because it needs to be decided whether the film will have a frequent amount of dialogue or not. Either way, a filmmaker needs to ensure that every detail is visible to the audience so, for example, if the character feels insecure about a situation it should be shown through camera. To restate, this is a highly necessary factor to consider when writing.
In relation to the writing process writing, Andrew Lowes has an article on ‘Netribution’ describes how every word that’s said in the film should mean something. This way, you can keep dialogue to a minimum and it allows the audience to focus on the story behind it. He also says you shouldn’t cram everything in like some writers do because shorts are primarily for experimentation. He believes making a short is more challenging than making a feature and that you should only use a few key characters for a better effect.
There must be someone or something in the film which completely opposes the protagonist because then the problem is obvious to the audience from the very beginning and that’s the aim, to keep the audience engrossed from the get go otherwise your short won’t have as much impact as it should. There should always be a meaning of some kind and the audience will be able to work this out if they fully understand from the beginning of the film.
In addition, the sites also give advice about point of views because the view it’s written from can affect the overall plot, narrative and story. If the POV frequently changes then the audience will immediately lose interest because they may not understand it. There simply isn’t enough time to put too much into a short film and I learnt that through these websites and through personal experience from when I was preparing my own 4 minute film for A2 Media Studies.
There must be a correct theme so the narrative style can be understood by the audience. It’s also worth thinking about underlying meanings so the film will have a stronger impact on the audience.
Part 7 - Training & Development
Investigate other agencies and organisations that offer support to filmmakers and make notes on the training they offer and how they help to develop projects.
Examples:
http://www.lighthouse.org.uk/
Training courses includes script development workshops and introductory courses for screenwriters. There's also a range of short courses in various aspects of filmmaking and digital and moving image art production aimed at both beginner and intermediate levels.
http://www.raindance.co.uk/site/
Evening or weekend writing courses explains storytelling and screenwriting from a different perspective so you get a better understanding.
The producing courses offer inspirational techniques and diverse methods which are currently in use in the industry. They also aim to provide a comprehensive overview.
The directing courses want to help you embrace a wide range of directorial techniques. They also try and set you up for your first film and want to mould you so you have your own unique style.
http://www.skillset.org/
Their aim is to keep the film industry competitive and they provide different courses in writing, producing and direction.
http://www.scriptfactory.co.uk/
Has a range of training courses such as story design and script reading.
http://www.netribution.co.uk/funding/regional/lfvda.html
The London Film and Video Development Agency (LFVDA) is the production agency for the London region. It combines its own funding sources with both Charlton television and FilmFour to create a fund known as “The London Production Fund”. The fund supports professional filmmakers who live and work in London. However, TV series’, students and feature films are not eligible to access the funding. The LFVDA has been commissioned by FilmFour Lab to deliver a slate of short digital narrative films through its London Production Fund arm for broadcasting on the FilmFour digital channel and website and potentially for cinema exhibition.
Part 8 - Distribution & Exhibition
The ratio of shorts that make money through more conventional channels of distribution and exhibition to those that don’t is diminutive. Why do you think this is?
I think there are a number of reasons why. One could be that people with more experience are more likely to be able to get money the conventional way rather than people who have to apply for a budget. When I say people with experience, I mean people who have been to a film school or achieved a degree from university so their experience is on paper.
In what contexts have the following anthologies/collections of short films been created and how have they been put together?
http://www.cinema16.org/home.php
Contains 16 of the best classic and award winning short films and gives filmmakers and movie lovers in general access to great films they wouldn't otherwise get to see.
There's also 5 hours worth of films on a double DVD edition and has been compiled by producer Luke morris.
http://www.bfi.org.uk/education/teaching/movingshorts/
A DVD compilation and teaching guide including a carefully selected collection of 10 films which are suitable for 12+.
The films have be selected through a process of consultation with practising teachers and each film was chosen because its well made, number of interesting features and layered with several meanings.
http://www.futureshorts.com/htmlViewer.php?id=15
The site has several DVD's to offer including 'Gingerbread Man' which was best of 15 film festival shorts.
It's been put together by placing the best, award winning and overall most popular.
http://www.raindance.co.uk/site/index.php?aid=720
Has 2 DVD compilations called Best V Best vol.1+2 and major prize winning short films from the world's most influential film festivals.
Best V Best vol. 1 contains 7 films.
Best V Best vol. 2 contains 10 mini dramas + documentaries.
http://shootingpeoplefilms.com/content/bvb1and2
Currently only has 1 DVD called' Short cinema journal'.
Contains 13 shorts, many of which are award winning.
http://www.shortfilmsdvd.com/
There's a collection of short films and music video's around the world and it also consists of 16 award winning films.
It's their first DVD to be released.
It's been put together by a team determined to push the boundaries of the cinematic experience.
What is the implication of shorts being offered alongside features for direct download at sites such as http://mubi.com/ ?
Not everybody is going to want to download shorts because features are a much more popular choice, mainly due to the fact they're advertised better and get much more exposure than short films. However, on a positive note, writers/directors/producers of short films are giving their film a chance to gain an audience which, of course, is the most important factor. Therefore, the chance to download may rise the popularity of the short film.
