The Children’s Media Foundation is a UK based non profit organization concerned with securing the best media choices for young people across all platforms. The foundation was launched in 2011, bringing together academic researchers, the children’s content industry, regulators, and politicians in numerous different ways.
Just like for diversity and inclusion, environmental sustainability in our sector is not just on-screen (the stories we choose to tell) but also off-screen. Green practices can be integrated in the workflow not only of any film production, but also in the organisation of festivals.
Cinema, television and VOD industries play a crucial role in increasing diversity and promoting inclusion, but we’ve got still a long way to go. The IRIS Plus report Diversity and inclusion in the European audiovisual sector (2021) is a valuable and up-to-date source for getting a sense of the current situation in these fields in Europe.
The research project Reaching Young Audiences: Serial Fiction and Cross-Media Storyworlds for Children and Young Audiences (RYA) combines production and audience analysis when studying the current production and reception of film, TV and online fiction for children and young audiences. The project is based at the University of Copenhagen (with Associate Professor Eva Novrup Redvall as Project Leader) and runs from 2019–2024 (supported by Independent Research Fund Denmark).
Key Trends 2020/2021 is the European Audiovisual Observatory’s yearly digest of what’s hot in European media: TV, film, and VOD. This new edition outlines the big picture of the European audiovisual sector, presenting recent trends and hot issues, including ongoing insights into the impact of the COVID-19 pandemic on the various audiovisual industries in Europe.
Speaking from two different perspectives, Alan Bernstein and Andrew Burn explore in “Perspectives: A dialogue upon the question of value in film education” published in Film Education Journal 2019 the role of value in film education, and film culture more widely. Their dialogue shows some common starting points but then different views (the first more related to practice, the second recognising the importance of theory). It may serve as inspiration both for film educators and other film professionals and practitioners as well, called upon to reflect on what constitutes the value of the films they make or propose.
Made by Susanne Schmitt, Creative Europe Desk Berlin, in collaboration with Desk Denmark, Poland and the Polish Film Institute, 2014.
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ECFA survey on short film compilations in European theatres (11/2013)
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