By MCN Editor editor@moviecitynews.com

ACADEMY GRANTS MORE THAN $500,000 TO FILM ORGS

Posted Tuesday, May 24th, 2011 - Comments Off on ACADEMY GRANTS MORE THAN $500,000 TO FILM ORGS
Be Sociable, Share!

May 24, 2011
FOR IMMEDIATE RELEASE

Beverly Hills, CA –The Academy Foundation of the Academy of Motion Picture Arts and Sciences has awarded 68 grants totaling more than $500,000 to nonprofit organizations and institutions of higher learning throughout the United States as part of its annual Institutional and Internship Grants programs.  The monies will fund film-related internships, job training programs, filmmaking workshops, scholarly seminars, visiting artist programs and screening series.

“The Academy strives to make the motion picture industry as accessible as possible to new talent and the public,” said Grants Committee Chair Andrew Marlowe.  “Among the wide variety of programs earning the Academy’s support are internship and job training programs that provide students in underserved communities direct access to the industry, a key stepping-stone that might be otherwise unavailable.”

The Academy Foundation’s Grants Committee selected the following programs for 2011–2012:

Internship Grants
$12,500
California Institute of the Arts (Valencia)
University of North Carolina at Chapel Hill

$10,000
Columbia University School of the Arts (New York City)
Cornell University (Ithaca, NY)
Emerson College (Boston)
Loyola Marymount University (Los Angeles)
New York University – Kanbar Institute of Film & Television
New York University – Moving Pictures Archive and Preservation Program
Stanford University
University of California, Los Angeles – Film and Television Program
University of North Carolina School of the Arts (Winston-Salem)

$9,000
University of Southern California (Los Angeles)

$7,500
DePaul University (Chicago)
Florida State University (Tallahassee)
Hampshire College (Amherst, MA)
University of Chicago

$6,765
Purchase College, State University of New York (SUNY)

$5,000
Columbia College Hollywood (Tarzana, CA)
Montclair State University (New Jersey)
University of Arizona (Tucson)


Institutional Grants
$15,000
FilmAid International (New York City) – African refugee camp screening program
Inner-City Filmmakers (Los Angeles) – Job training program
Streetlights (Los Angeles) – Job training program

$10,000
American Film Institute (Los Angeles) – Directing workshop for women
George Eastman House (Rochester, NY) – Visiting artist series
Los Angeles County Museum of Art – Film program
Writers Guild Foundation (Los Angeles) – Education programs

$7,500
The ACME Network (Los Angeles) – The ACME Animation Program
American Documentary (New York City) – History of Documentary film project
California Institute of the Arts (Valencia) – Skirball Screening Series at REDCAT
Facets Multi-media (Chicago) – CineChat series
Film Independent (Los Angeles) – Project: Involve
Film Streams (Omaha) – Visiting artists program
The Flaherty/International Film Seminars (New York City) – 57th Flaherty Film Seminar
Frameline (San Francisco) – Frameline at the Center screening series
International Documentary Association (Los Angeles) – Doc U seminar series
Maysles Institute (New York City) – Producers program
The Museum of Fine Arts, Houston – Visiting artists program
Museum of the Moving Image (New York City) – Avant-garde filmmaker retrospectives
National Association of Latino Independent Producers (Santa Monica, CA) – Latino Producers Academy
UCLA Film & Television Archive – L.A. Rebellion screening series
Wesleyan University (Middletown, CT) – Guest speakers program

$6,000
Jacob Burns Film Center (Pleasantville, NY) – Filmmaker residencies
Northwest Film Forum (Seattle) – Visiting artist program
Ringling College of Art and Design (Sarasota, FL) – Visiting artist program

$5,000
Appalshop (Whitesburg, KY) – AMI Advanced Lab program
Brooklyn Academy of Music (New York City) – Cuban film screening series
Cinema St. Louis (St. Louis) – “Vincentennial,” a Vincent Price retrospective
Hofstra University (Hempstead, NY) – Documentary Perspectives screening series
Hot Sun Foundation (Nairobi, Kenya) – Kibera Film School
IFP (New York City) – Independent filmmaker labs
Los Angeles Filmforum – Screening program
Millennium Film Workshop (New York City) – Personal Cinema screening series
New York Stage and Film Company (New York City) – Powerhouse Filmmakers Lab
Ninth Street Independent Film Center (San Francisco) – Canyon Cinema screening program
Purchase College, SUNY – Filmmaking workshops and seminars
San Francisco Cinematheque – Restoration and preservation program
San Francisco Film Society – Artist-in-residence program
South Arts (Atlanta) – Southern Circuit Tour of Independent Filmmakers
Squaw Valley Community of Writers (CA) – Screenwriting program
Tribeca Film Institute (New York City) – Tribeca All Access program
University of Colorado Foundation (Boulder) – Brakhage Symposium
Wexner Center for the Arts (Columbus, OH) – Visiting artist program
Yale University (New Haven, CT) – Films at the Whitney screening program

$4,000
University of North Carolina School of the Arts Foundation (Winston-Salem) – Visiting artist program

$3,500
IFP Chicago – Producers workshop series
IFP Minnesota (St. Paul) – Independent Producers Conference and IFP Pro Program

$3,000
Northeast Historic Film (Bucksport, ME) – Summer film symposium

Since its establishment in 1968, the Academy Foundation has distributed more than 778 institutional grants totaling more than $6.8 million in funding.  For more information on the grants program, visit http://www.oscars.org/education-outreach/grants/.

The Academy Foundation – the Academy’s cultural and educational wing – annually distributes more than $1 million to film scholars, cultural organizations and film festivals throughout the U.S. and abroad.  The Foundation also presents the Academy’s rich assortment of screenings and other public programs each year.

# # #

ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards – in which the members vote to select the nominees and winners – the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on ACADEMY GRANTS MORE THAN $500,000 TO FILM ORGS

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon