Artovan hengesssä mallinnetaan omaehtoinen ja itseohjautuva toimintatapa. Seurattavat projektit ja tapahtumat ovat:
- Artovan Henki (37)
- Laadulliset tekijät / Qualitative considerations (33)
- Projects / Events in english (142)
- Projektit / Tapahtumat (178)
- Prosessin hallinta / Process management (228)
- Ajankäyttö / Time management (75)
- Avoimuus / Läpinäkyvyys / Openness / Transparency (39)
- Motivaatio / Motivation (80)
- Omaehtoisuus / Itseohjautuvuus / Initiative / Self-direction (67)
- Ryhmän dynamiikka / Group dynamics (71)
- Sitoutuminen / Commitment (66)
- Viestintä / Markkinointi / PR / Marketing (106)
- Prosessin kulku / Process development (170)
- Uncategorized (43)
- Vieraileva kirjoittaja / Guest writer (4)
- Yhteistyö / Co-operation (164)
Kysely projektien ja tapahtumien tekijöille
Category Archives: Yhdistykset / Associations
Elokuvakopioiden ja oikeuksien metsästäminen on omanlaista salapoliisityötä – kiehtovaakin oikeiden henkilöiden ja yhteyksien etsimistä. Helpoimmalla tässä työssä pääsee jos elokuva on ollut Suomessa teatterilevityksessä lähiaikoina. Silloin elokuvasta on todennäköisesti saatavilla esityskopio ja jollain suomalaisella on taholla on myös elokuvan esitysoikeudet.
Haastavaa elokuvakopion metsästys on silloin kun halutaan esittää elokuva, joka ei ole koskaan ollut Suomessa elokuvateatterilevityksessä. Vaikka tällaisia elokuvia näkeekin välillä esimerkiksi Kansallisen audiovisuaalisen arkiston (Kava) sarjoissa on Artova Kinon kautta tullut opittua, että Kava näyttää ohjelmistossaan myös elokuvia joiden kopioita ei Kavalla itsellään ole. Esimerkiksi Abbas Kiarostamin elokuvista vain elokuvista Kirsikan maku ja Iltapäivä Toscanassa löytyy (tai on ainakin joskus löytynyt) oikeudet ja 35 mm filmikopio Suomesta. (more…)
Mari Andersson ja Azar Saiyar deconstructed the Artova Kino concept into bite-size entities in Artova Film Festival (AFF) mini seminar 7.9.2012 (see the video in this post). They told about the joys and challenges of running a movie club that has established itself in the Helsinki movie scene. They also told about funding, facilities, hunting down rights to films, film traffic, motivation, ambition and the magic of the moving picture.
Translation by Pigasus Translations.
Mari Andesson ja Azar Saiyar purkivat Artova Kinon konseptin käsinkosketeltavaksi Artova Film Festival AFFin miniseminaarissa 7.9.2012. He kertoivat paikallisen, Helsingin elokuvakentälle paikkansa vakiinnuttaneen elokuvakerhon pyörittämisen iloista ja haasteista, rahoituksesta, tiloista, filmioikeuksien metsästämisestä, filmiliikenteestä, motivaatiosta, kunnianhimosta ja elokuvan lumosta.
Kotikaupunkipoluissa ja Minun taloni -konseptissa on paljon yhteistä. Molemmat auttavat tutustumaan paremmin kotiseutuihin tai vaihtoehtoisesti itselle aivan uusiin kulmiin. Toisaalta molemmat konseptit myös muistuttavat, että paikalliset itse ovat parhaita asiantuntijoita. Jos on käynyt Kotikaupunkipolun kierroksella, varmasti haluaa tulla Minun taloni -kierrokselle. Ja toisinpäin – toisen ihmisen kertomiin tositarinoihin jää koukkuun! (more…)
My House Arabianranta is a week-long event in autumn 2012 that charts the voyage of five local residential buildings from the drawing board of the architect into the everyday lives of the residents.
The event aims at raising awareness of how blocks of apartments are built, what factors affect the local architecture and how the Percent for Art principle can be seen in the art purchases of the buildings. More information about the initiative can be found here.
Would you like to introduce you home building or perhaps even your own home in the autumn during WDC Helsinki weeks or during Design Week? Sign your building up for My House Arabianranta. We pick the five most unique locations!
We are especially interested in:
- environment that encourages spending time together
- utilizing common areas in new ways
- residents participating in the event
Let us know also if you already have in mind an enthusiastic contact person or if you have co-operated earlier with the architect and the artist of the building.
We are also searching for volunteers to make My House Arabianranta happen! Come and make use of your skills and interests in presenting the design of home living. You can take photos, act as our spokesperson, tell stories… Turn yourself in!
You can sign up until the 3rd of February to the contact person of the project: satu.onnelagmail.com
Translation by Pigasus Translations.
My House Arabianranta is a week-long event that takes place in autumn 2012 and illustrates the journey of five local buildings from the drawing board to the everyday life of its residents.
The goal is to raise awareness of how blocks of flats are built, what are the factors that affect the local architecture, and how the Per cent for Art Scheme has been used in the art purchases of the buildings. You can read more here.
Would you like to open your building, or perhaps even your own flat, to the public in autumn during Helsinki Festival or Design Week? Ask your housing co-operative to sign up for My House Arabianranta event! The five most distinctive buildings will be taken on board. (more…)
Minun taloni Arabianranta on syksyyn 2012 sijoittuva viikon mittainen tapahtuma, joka kuvaa viiden paikallisen asuintalon matkan piirustuspöydältä asukkaiden jokapäiväiseen arkeen.
Tapahtuman tavoitteena on kasvattaa tietoisuutta siitä, millä tavalla kerrostaloja rakennetaan, mitkä tekijät vaikuttavat paikalliseen arkkitehtuuriin ja miten esimerkiksi prosenttiperiaatetta on toteutettu talojen taidehankinnoissa. Lisätietoja hankkeesta täältä.
Haluatko esitellä talosi, jopa kotisi syksyllä WDC:n Helsingin juhlaviikoilla tai Design Weekin aikana? Ilmoita taloyhtiönne Minun taloni Arabianranta -tapahtumaan. Valitsemme mukaan viisi omaleimaisinta kohdetta! (more…)
Hunting down movie copies and licences is a whole world of sleuthing of its own – sometimes it grows into a fascinating search for the right people and connections. The cases where the film has been running recently in Finnish cinemas are the easiest. It’s likely that there is a copy you can get your hands on and there is a Finnish person, association or company that has the licence to show it.
Things get tricky when you want to show a film that has never been distributed in Finnish cinemas. Although you sometimes see movies like this in, say, the series shown by the National Audiovisual Archives (Kava), we’ve learned during our time in Artova Kino that Kava also shows films that they don’t have a copy of at all. For example, out of the works of Abbas Kiarostami, the rights and a 35 mm copy can or could be found in Finland for only The Taste of Cherry and Certified Copy.
If the movie has never been distributed in Finland, the licence must be sought elsewhere. When we decided to show the Kiarostami film Close Up in Artova Kino, the licence was finally found in France. In this case, we were tipped off to the right direction by people who had film festival experience of movie distribution. They had the contact information of the quarters who distribute films they have shown in other film festivals.
You can find a surprising amount of info on the distributors online: the Internet Movie Database and, for films previously shown in Finland, Elonet service are useful. We’ve also made phone calls to Kava and the national broadcasting service, Yle, when looking for contact info. In our experience, people are happy to give a hand.
One observation we’ve made is that one movie can have a number of distributors – one for Europe, one for North America, or even smaller areas, like distributors for France and the UK but no-one for the Nordic countries. Often it has taken several forwarded e-mails to reach the right person. Times like those one is grateful for having started out with a lenient schedule. Finding the right person may well take four weeks what with all the forwarded e-mails. It has been helpful to sit down and write a well thought out message that contains the introduction of Artova Kino and enquiries of a licence / film copies. Later on, work gets done faster when you can simply modify the old text.
While sleuthing, you also find new European distributors. Writing these down for future reference might come in useful when compiling new programs later on. Even if the distributor company isn’t the one you are looking for this time.
When the copies and licensors are located, the next question is the price for showing the film. The prices may vary a lot depending of the distributing company, producer or where the movie was made. Time of publication can also affect the price. The most expensive recompense suggested to Artova Kino for one-time screening of an entire film from a DVD was one thousand euro. (The movie was not shown.) On the other hand, some production companies are happy to give the licence and the film copy for free, given that the showing is organised by volunteers and that there is no entrance fee.
This far Artova Kino has paid 0–450 euro per screened film. After a bit of haggling, the licence for Kiarostami’s Close Up was acquired for 400 euro. The movie was shown from a DVD that had to be bought for the show. Rights for the same movie shown on film would have cost double. Of course, that wouldn’t include the rent of the film copy and delivery to Finland. Sometimes the solutions can be inventive – it never hurts to ask. When negotiating about Derek Jarman’s Blue, we cut a deal directly with the producer, who sent the film copy from London to Helsinki. We were able to incorporate Love&Anarchy film festival into the screening. The festival was useful when transporting the film to Finland.
When planning the Artova Kino screenings, we strove to find different solutions to how to screen films that are usually difficult to show due to transporting expenses. When we found a particular film we wanted to screen, we also thought of possible co-operation partners that would fit the nature of the film. This approach allowed us to import film copies from France as well as the UK. Co-operation continues in showing Nordic films.
The most tricky situations occur when the distributing company has gone bankrupt and the licences are “lost”, in a way. The licensor might be, for example, the company who bought the bankrupt distributor, but the new licensor might be disinterested in selling licences. This leads to a situation where somebody has created a wonderful, exciting film, but it can’t be shown as no-one is taking care of the licences. For the makers, the first priority would probably be that the film gets to be seen.
This was the situation with Gummo by Harmony Korine. The distributor had gone out of business and no-one seemed to have interest in the licences. We e-mailed various production and distribution companies that had, at some point or another, been linked to any of Korine’s productions, but no-one was actively controlling the licences. In the end, we decided to show the film.
To wrap up, here are four guidelines for those who are searching for licences and film copies.
1. Think of suitable individuals, groups or companies who can help you find licences and copies or who might be interested in producing the show. Go directly to producers, directors.
2. Reserve sufficiently time for enquiries.
3. Sit down and write a well thought out e-mail template in Finnish and in English that you will use when looking for the movie licences and copies.
4. Have a list of distributors that you’ve e.g. contacted or found when looking around the Internet.
Translation by Pigasus Translations.
Towards the end of summer, I contacted Helsinki Region Kennels Union (HRKU). I wanted to ask if the union could give a consulting hand in the planning phase of Design Dog Park, especially concerning the safety of dogs and the practicality of the fence.
I told them that our initiative had potential to affect on a wider scale and bring about improvements in the safety, functionality, pleasantness, design and stimulating qualities of dog enclosures by making use of the co-operation with the city and funding from our commercial sponsors. Subject to improvement could be, for example, lightning, fence materials, notice boards, gate models, furniture, stimulating elements, shape of the enclosure, shape and features of the terrain, facilitating the upkeep (litter bins, equipment), etc. (more…)