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Which clippings match 'Production' keyword pg.1 of 2
27 JULY 2010

NZ on Screen: An Archive of Aotearoa New Zealand Screen Culture

"In 2007 NZ On Air initiated the NZ On Screen project as an integral part of its digital strategy. Since 1989 NZ On Air has funded over 15,000 hours of local television production. Much of this content, as well as thousands more hours supported by broadcasters, film investors and other funding sources, is not easily accessible to the public.

NZ On Screen is unlocking the treasure chest, providing access to the wealth of television, film, music video and new media produced in NZ, along with knowledgeable background information."

(New Zealand on Screen)

Fig.1 Murphy, G. (1981). Goodbye Pork Pie. Aotearoa New Zealand, NZ Film.
Fig.2 Tamahori, L. (1994). Once Were Warriors. Aotearoa New Zealand, New Zealand Film Commission
Fig.3 Ballantyne, A. (2009). The Strength of Water. Aotearoa New Zealand, NZ Film.

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TAGS

19892007Aotearoa New Zealandarchivebroadcastcontentculturedigital strategyfilmfilm makingfilmmakerfundinginvestmentiwi • local television production • Maori • Maori Television • mediamedia culturemoving imagemusic videoNew Zealand cinema • New Zealand on Screen • NZ Film ArchiveNZ on Screenold mediaproductionscreen culture • Te Mangai Paho • televisionTVNZ • TVNZ Archives

CONTRIBUTOR

Simon Perkins
03 NOVEMBER 2009

Open source as social organization of production and as a form of technological innovation based on a new conception of property rights

"Open source exposes the new logic of organisation of production in a knowledge intensive economic process. The development of software is made up of digitally encoded knowledge that combines from the bottom up in the process of production. Furthermore, as mentioned above, open source is an experiment in production built around a distinctive notion of property. The traditional notion of property is based on the right to exclude the non owners from the use of something that is owned by someone. On the other hand, open source property is configured around the right to distribute, not the right to exclude. This is in fact in the tradition of 'fair use' of intellectual products that are used without securing their property. Under an extended notion of fair use, no individual´s fair use will be permitted to constrain subsequent fair use by another individual and for any purpose. (On 'fair use', and the transformation of the notion of intellectual property rights see the definitive analysis by Lawrence Lessig 'Free Culture' , 2004)"

(Manuel Castells, World Social Forum 2005)

Presentation by Manuel Castells in the World Social Forum 2005

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20042005Creative Commonsfair usefree cultureintellectual property • intellectual property rights • IP • knowledgeLawrence LessigManuel Castellsopen sourceownershipproductionproperty • property rights • remix culturescriptiblesharing • social organisation of production • World Social Forum

CONTRIBUTOR

Simon Perkins
30 OCTOBER 2009

EM Media: Screen Agency for the East Midlands region of England

"EM Media is the Screen Agency for the East Midlands region of England.

EM Media invests in East Midlands based creative talent, supporting and developing projects and activities which meet our business aims....

EM Media works in partnership with a range of organisations at a local, regional and national level including the UK Film Council, the East Midlands Development Agency and Screen England; the network of English Screen Agencies."

(EM Media)

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siness development • creative economycreative industriescreative practicecreative talentDerbydevelopment agencyEast MidlandsEast Midlands Development Agency • EM Media • English Screen Agencies • filmfundinggamesinnovationinteractiveinvestmentLeicester • locations • media • media production • networkNottinghamorganisationsproductionpromotionregional • Screen Agency • Screen England • skills development • support • support services • trainingTVUKUK Film Council

CONTRIBUTOR

Simon Perkins
10 OCTOBER 2009

Mainstreaming sustainable fashion

"4,5 Katharine Hamnett in a video interview explained how in the late 1980s she had been prompted to check, to make sure the company were not doing any harm. That meant looking at the entire supply chain to make sure that every phase was as good as possible. They had to apply very stringent standards from the very beginning. It started with the farmers given the millions involved in cotton agriculture who are exposed to pesticides, on a daily basis. It lead to focus on organic cotton but regrettably not using silk and considering all the packaging, dyes and printing inks. She has used certification, traceability and accountability, right the way through the supply chain but found taking complete control of this complex supply chain was the only way to enable this. She believed that the most effective to target were the CEO’s, of clothing companies and fashion retailers. Mainstreaming sustainable fashion was happening because large retailers were realising that it was increasingly what consumers wanted: products that don’t do damage to the environment, or that use child or sweated labour. Retailers ignored this at their peril. Sustainable clothing had to be sophisticated, glamorous and the bottom line was always economic. Sustainable clothing did not have to be more expensive. It could and should be affordable. She though that the ETI labour code should be compulsory and governments should act to have country of origin labelling for fibres."

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art for housewives • art of recycling • belongingblogbricolagechangecommoditycommunityconsumptioncraft • crochet • Cynthia Korzekwa • design intelligencedesign responsibility • domestic arts • dyeecology • embroidery • emotive manipulationengagementenvironmentenvironmentalethicsfashion • fiber arts • folk art • homemade • jewelleryjunk art • Katharine Hamnett • knitting • making art with recycled materials • obsolescenceorganicpaper • pesticide • productionprotest • reconstructed fashion • recyclerecyclingremakereusesocial changesocietysustainability • textile arts • transformation • trashion • urban crafts • waste

CONTRIBUTOR

Simon Perkins
09 MARCH 2009

Celtx: media pre-production planning tool

"Celtx is the world's first all-in-one media pre-production software. It has everything you need to take your story from concept to production. Celtx replaces 'paper, pen & binder' pre-production with a digital approach that's more complete, simpler to work with, and easier to share."
(Celtx Software, Canada)

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Celtx • designfilmmakingmanagement • media pre-production • multimedianew mediaplanningproductionscripting aid • scriptwriting • sequence designshort filmstoryboard

CONTRIBUTOR

Simon Perkins
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