Community Media - Interactive World

A Still from Naata / The Bond 2003 How do we move from a state of secrecy to publicity, openness and celebration? The aim of this blog is simply to outline how you can achieve your aims by asking (and answering) a set of questions about your identity now, and thinking about where you want to get to. Building better communications may initially encounter resistance within a group or an organisation. So it’s a good idea to start with some basic questions such as Where are we now? Is our group or service a well-guarded secret? How do we promote our services? Why do we want people to be more aware of what we do? What is unique about what we do? Here are some questions to consider  … Does your community group, charity, or service communicate a clear ‘emotional charge’ or a unique identity? maintain its relevance over time by evolving in response to changing perceptions? make people want to get involved? get demanded by service users because it represents ex...

If we want to create a powerful and authentic message there are many tools and media available. If you are thinking about commissioning a film, or online steaming video, there are some strong reasons to favour a participatory approach to your project. Clients are increasingly expecting information to be available in accessible audio-visual formats - that's why YouTube is now the second biggest search resource after Google.  "8 Reasons to Commission a Film to get your Message Out" : a short film has more impact than a text-based manual or policy document, which will sit unread on the office shelf. film has the capacity to broaden engagement and participation as many service users have very poor or weak literacy, but will relate to film and web resources film delivers the same message every time leading to clear and reliable outcomes, rather than confused or mixed messages. For instance, we might ask clients to identify the biggest issue that they currently f...

Film: Breaking the Silence Volunteering and Film In this blog I’ve tried to move beyond the tired discourses of PR and Marketing and Management Science, to explore what really happens inside a charity, group or social enterprise when volunteers have a leading, structured and valued role in a film project. I argue below that a film project unlocks creative potential, and that it is an excellent tool for evaluation and improvement. What happened to the outputs? It is tempting to see a film project as something driven by the need to promote your work or your organization; to raise funds, or to increase public awareness. These are solid and worthy objectives. They are also measurable in terms of immediate impact.  If you are successful in your film product then improvements in these areas are likely to result. But many films often just sit on a shelf after the debut screening; there is a sense of deflation and perhaps unfulfilled expectations of being a big hit on YouTube, or a...

A Scene from Te Whare (The House), Dir. Richard Green  Please comment below if there are other sites that you have found helpful for your fim and community work The International Community Film Forum and Facebook Site offers general support and advice for community film makers and participatory video. FilmAid engages communities to shape the messages most needed for their survival and strength. We work with communities to create films and videos in their own voice, and to show these films in the most impactful and appropriate settings. FilmAid screenings range from intimate discussion of 40 people to large outdoor screenings, reaching thousands at one time.  Culture Unplugged . Watch films (documentaries, short films, interviews) at this online film festival. Discover film-makers and their voices. Learn about social issues prevalent in the modern world. Vote for the art & entertainment that is evolved and exists for transformation towards new futu...

The Spectre of Community Rebranded as the Big Society, notions of citizenship and community are back in fashion. To borrow and adapt Marx’s Manifesto (1848), the spectre of the community (not communism) is stalking contemporary society. For some commentators it is feared that an army of community organizers are poised for subversive warfare. Alternatively, the force is an awkward spectre awakened from the vestiges of a tired capitalist system. That’s one side of the argument. The other is that a nostalgic return to the community spirit is just a cover for cuts to public services. Furthermore, there are no plans to limit or democratize corporate economic power, or the private enterprise and management structures. Isn't Big Society linked to less global corporate power? Can a big Society really be forged by simply adding together thousands of local activities? The semantic force of community is oddly resurgent , even as we begin to trace its loss: the familiar lament for lost idea...

In low budget and community film making a lot of attention is paid to the participatory process and less to what creates an imaginative product worthy of a wider public. But I believe that creativity and quality are essential. Experience shows that there’s some core advice that could help you to produce a high impact and engaging product.  With that in mind I’ve produced a short list of tips from my project notebooks. in order to help you to create an award-winning short film.  If you have any other tips and advice or stories, why not share your experiences? We followed a 40 20 40 'Guide' for project time and resources: 40% Pre-Production planning / 20% Production Filming / 40% Post-production - editing, reflecting, promoting, screening We are close to the life of the people involved (by us, for us / inside out) We have a lively sense of where we live: place, environment, or locality = our grassroots, our heritage, our futures ...

1. Postfilm is FREE. We are already bombarded by moving images, simulations and surveillance. We resist merely by volunteering our time and our dedication. We subscribe to Creative Commons. No restriction or ownership, please. 2. Postfilm is COMMUNITIES. Working with others we begin to disrupt a mono-cultural “Industry” that serves limited interests and false commercial tastes. By linking with other postfilm communities we combat shallow and deluded capitalist interest groups. 3. Postfilm is OPEN. We will not be asked to produce qualifications or college certificates; or guild, union, association, industry, or any other exclusive membership card. If you have one, throw it away. 4. Postfilm is a range of Co-OPPORTUNITIES for us to think outside the Box (Office) 5. Postfilm is an act of LOVE. We are enriched by a love for what we do and how we share it. 6. Postfilm welcomes MULTI-MEDIA, and TRANSMEDIA. We resist the strait-jackets of specialisation and creative alienation. We play, we...