Tag Archives: Canadian Film Centre

Becoming AFI Celebrates 50 Years Of American Film Institute

“This book puts you directly behind the scenes for a story that began with a dream,
overcame constant challenges, and evolved into the institution it is today.”
―Steven Spielberg
 
“Documented here by the people who lived it, this is a remarkable tale of how a major institution,
created out of whole cloth, wove itself into the American fabric.”
—Cokie Roberts, author and political commentator for ABC and NPR
  
 
Image
For over fifty years, the American Film Institute has flourished as one of America’s great cultural entities. Its graduates, faculty, supporters, and trustees have included such acclaimed individuals as Steven Spielberg, Maya Angelou, Gregory Peck, Sidney Poitier, Meryl Streep, Les Moonves, Patty Jenkins, David Lynch, Jane Fonda, Edward James Olmos, Shonda Rhimes, James L. Brooks, and many other respected leaders in the worlds of film, television, digital media, and philanthropy.
 
In their new book, Becoming AFI: 50 Years Inside the American Film Institute (Santa Monica Press/October 2017), Jean Picker Firstenberg and James Hindman provide a candid look at how this remarkable organization brought together aspiring filmmakers, educators, and artists who helped AFI become the foremost national champion for moving images as a vibrant art form.
Preview page from BECOMING AFI: 50 YEARS INSIDE THE AMERICAN FILM INSTITUTE
From its early years operating out of the Kennedy Center in Washington, DC, and the legendary Greystone mansion in Beverly Hills under the leadership of George Stevens Jr., through its incredible growth into an influential cultural institution at its landmark Hollywood campus under the guidance of Jean Picker Firstenberg, to its continued excellence today under the dynamic leadership of Bob Gazzale, the organization and its history are chronicled in Becoming AFI through in-depth essays written by those who have been involved in its adventures, growth, and success.
2007-10-03_NATM_GroupShots_VC-208
“After being asked so many times what our book would be about, we decided to put together AFI’s history as we experienced it personally,” explain Firstenberg and Hindman. “As we structured the book with the stories we wanted to tell from those years, we realized that some of those stories really belonged to other voices. So, we went to several former colleagues and asked them to join our band. Each chapter tells a stand-alone story about an aspect of AFI, but together, they add up to the full picture.”
 
Becoming AFI provides an insightful, behind-the-scenes look at how AFI, with passionate determination, overcame the hurdles of advancing technology, political shifts, and new audience dynamics to turn its aspirations into a substantial and highly successful organization, becoming a tireless advocate of moving images as one of America’s most popular forms of art, and maturing into one of the world’s most respected educational and cultural institutions. For the Silo, Trina Kaye.
 
 
“No matter how divisive life in this country may become, the movie theater  has always been a place where we can discover what unites us.”
—Vernon Jordan Jr., New York Times
  
44 2006-05-31_COMMENCEMENT_HonoraryDegrees_Basinger_Fries_Jones_Pollack-0131
 
“AFI saved our film history. AFI celebrates filmmakers. AFI trains the next generation. Thanks to Becoming AFI for telling us the fascinating story of its fifty-year history. And a big thank you to Jean Picker Firstenberg and James Hindman for documenting all of it! Here’s to the next fifty!”
―Edward James Olmos, actor and AFI trustee
 
 
About the Authors
 
Jean Picker Firstenberg served as president and CEO of the American Film Institute from 1980 to 2007, overseeing the development of AFI as one of America’s greatest national, cultural, and educational resources. She received an AFI Life Achievement Award for Service to the Institute and was named president emerita and a lifetime trustee. In 2016, Firstenberg was named to the California State University Board of Trustees by Governor Jerry Brown, overseeing the largest four-year public university system in the United States, with twenty-three campuses educating the most diverse student body in the nation. Prior to serving at AFI, Firstenberg spent four years as a program officer at the John and Mary R. Markle Foundation. She also served as director of Princeton University’s Publications Office. Firstenberg is a summa cum laude graduate of Boston University’s College of Communications. She has served on several boards, including that of Boston University (1984–1996), the George Foster Peabody Awards at Georgia University (1985–1997; board chair 1991–1997), and the United States Postal Service Citizens’ Stamp Advisory Committee (2002–2014; committee chair 2008–2014). She has won numerous awards and honorary degrees.
 
James Hindman, PhD, has spent his career in cinema and performing arts, creating and leading professional and public education programs at major institutions. During his twenty-four years at the American Film Institute, where he served as co-director and chief operating officer, he was provost of the AFI Conservatory, which he nurtured through WASC accreditation. He was also the uncredited producer of the award-winning feature documentary Visions of Light and the television series Starring the Actor. He developed the AFI Silver Theatre and Cultural Center in Silver Springs, Maryland, as well as numerous television projects and international film and television festivals. Subsequent to AFI, he developed and led film schools in the U.S. and internationally, including the Red Sea School of Cinematic Arts in Aqaba, Jordan, and New Mexico State University’s Creative Media Institute in Las Cruces. He is currently on the board of the New Mexico School for the Arts in Santa Fe, charged with creating a new cinematic and media arts program and facilities for the school. Prior to AFI, he served as head of graduate studies in the Performing Arts Department at American University in Washington, DC, having previously taught at the University of North Carolina. Hindman holds a PhD in drama from the University of Georgia and has served on the boards of the AIDS Service Center and LAMP in Los Angeles. He currently splits his time between Santa Monica, California, and Taos, New Mexico.
 
Patty Jenkins made history in 2017 when she directed her second film, Wonder Woman, becoming the first woman to direct a studio superhero movie and earning the biggest domestic opening of all time for a woman director. Jenkins wrote and directed her first film, the crime drama Monster, in 2003, launching Charlize Theron’s career with many awards, including an Oscar for Best Actress. Jenkins graduated from the Cooper Union for the Advancement of Science and Art in 1993 and the AFI Conservatory in 2001.
 
Dana Gioia was appointed Poet Laureate of the State of California in 2015 by Governor Jerry Brown. An award-winning poet who has published five collections of poetry, Gioia served as chair of the National Endowment for the Arts from 2003 to 2009, and was named a USC Judge Widney Professor in Poetry and Public Art in 2011.
 
David Lynch, born in 1946 in Missoula, Montana. Eagle Scout.
 
 
BECOMING AFI: 50 YEARS INSIDE THE AMERICAN FILM INSTITUTE
By Jean Picker Firstenberg and James Hindman
Foreword by Dana Gioia
Preface by Patty Jenkins
Afterword by David Lynch
Santa Monica Press/October 2017
Hardcover/$27.95 usd
ISBN-13: 978-159580-094-7

US Premiere of Small Wonders: The VR Experience At Metropolitan Museum Of Art

Walking through 500-year-old artOnce I put the VR headset and headphones on, it truly felt like I was transported to another world. You could walk through the levels of sculpture and detail in the bead, which was a frieze of heaven on top, purgatory in the middle, and hell below it. There were easily 20 fully carved objects – humans, demons, and animals – in the five centimeter bead, with multiple layers of objects on top of one another to create a three-dimensional image. I was astounded to be able to see, as close as I wanted to get, the bead in all its detail.”— Stefan Palios,betakit

The Canadian Film Centre’s Media Lab (CFC Media Lab), Seneca’s School of Creative Arts and Animation, and the Art Gallery of Ontario (AGO) are pleased to announce their groundbreaking virtual reality (VR) collaboration, Small Wonders: The VR Experience. It will screen for a special four-day limited-run as part of The Metropolitan Museum of Art’s new exhibition, Small Wonders: Gothic Boxwood Miniatures, February 22-27, 2017 at The Met Cloisters (99 Margaret Corbin Drive, Fort Tryon Park, New York, NY 10040).

From February 24 to 27 during public hours, visitors can don a VR headset and explore a 3D rendering of a miniature boxwood carving from the AGO’s collection. The experience is free with general admission, reservations required, and marks a significant first for The Met Cloisters—the integrated use of VR to enhance the exhibition experience.

The exhibition Small Wonders: Gothic Boxwood Miniatures, which runs through May 21st, brings together for the first time some 50 rare boxwood carvings from museums and private collections across Europe and North America. The exhibition offers new insight into the methods of production and cultural significance of these awe-inspiring works of art. Small enough to fit in the palm of the hand, these tiny masterpieces depict complex scenes with elegance and precision. Without fail, they inspire viewers to ask how a person could have possibly made them, a question that can only be answered today and a challenge perfect for VR technology.

“Much of the success of new VR will hinge upon the quality of experiences being created. Everyone is searching for that sublime encounter one can only have in VR. With the boxwood miniatures and their high-resolution scans, we have found the perfect, transcendent landscape to explore in this medium,” says Ana Serrano, Chief Digital Officer, CFC, and Producer, Small Wonders: The VR Experience.

The AGO, CFC Media Lab and Seneca’s School of Creative Arts and Animation partnered to create Small Wonders: The VR Experience. Using one of the AGO’s micro-computed topography (micro-CT) scans of the miniatures, the creative and technical team led by interactive artist and designer, Priam Givord, developed an experience specifically for the HTC Vive platform. Viewers can explore the intricate carvings of the prayer bead from various angles and in detail otherwise inaccessible to the human eye. The soundtrack, Treasures of Devotion: Spiritual Songs in Northern Europe 1500-1540, echoes the ambience of the wider show. The result: VR enriches the contemplative and immersive experience.

Barbara Drake Boehm, the Paul and Jill Ruddock Senior Curator for The Met Cloisters said: “At first glance, the VR experience might seem anomalous in the medieval ambiance of The Met Cloisters. But, thanks to the efforts of the CFC Media Lab, Seneca and the AGO, VR opens a portal through which our visitors can tumble into a tiny world, and sense the meditative power that these centuries-old works of art were intended to convey.”

Small Wonders: The VR Experience was created by Lisa Ellis, Conservator of Sculpture and Decorative Arts (AGO); VR Creative and Technical Director Priam Givord (Interactive Artist/Designer); VR Producers Ana Serrano (CFC Media Lab) and Mark Jones (Seneca College); VR Technical Team Craig Alguire, Morgan Young (Quantum Capture) and Tyrone Melkitoy (Mobius Interactive); Composer/Vocalist Anne Azema, Artistic Director (The Boston Camerata); Narrator Gillian McIntyre; and Micro-CT Scanner Andrew Nelson, Associate Professor of Anthropology, Sustainable Archaeology (Western University).

The exhibition continues at The Met Cloisters through May 21, 2017, but the VR experience will only run during public hours, February 24–27. To learn more about the Small Wonders exhibition and to plan your visit, go to: http://www.metmuseum.org/exhibitions/listings/2017/small-wonders

At The Met Cloisters, Small Wonders: Gothic Boxwood Miniatures is made possible by the Michel David-Weill Fund. It was organized by the Art Gallery of Ontario, Toronto; The Metropolitan Museum of Art, New York; and the Rijksmuseum, Amsterdam.

Social Media

Canadian Film Centre (CFC)
@cfccreates.comfacebook.com/cfccreates CFC Media Lab (CFC Media Lab)
@cfcmedialabfacebook.com/cfcmedialab
Seneca College
@senecacommsfacebook.com/senecacollegeArt Gallery of Ontario (AGO)
@AGOTorontofacebook.com/AGOToronto

The Metropolitan Museum of Art
@metmuseum | facebook.com/metmuseum

About CFC

The Canadian Film Centre (CFC) is a charitable organization whose mission is to invest in and inspire the next generation of world-class Canadian content creators and entrepreneurs in the screen-based entertainment industry. A significant economic and cultural driver in Canada and beyond, CFC delivers a range of multi-disciplinary programs and initiatives in film, television, music, screen acting, and digital media, which provides industry collaborations, strategic partnerships, and business and marketplace opportunities for talent and participants. For more information, visit  cfccreates.com.

About CFC Media Lab

The Canadian Film Centre’s Media Lab (CFC Media Lab) is an internationally acclaimed digital media think tank and award-winning production facility. It provides a unique research, training and production environment for digital media content developers and practitioners, as well as acceleration programs and services for digital entertainment start-ups and related SMEs. The Silo founder and Digital Editor Jarrod Barker and contributor Arthur Maughan are graduates and fellows of the CFC Media Lab. Program participants have emerged as leaders in the world of digital media, producing groundbreaking projects and innovative, sustainable companies for the digital and virtual age. CFC Media Lab is funded in part by the Federal Economic Development Agency for Southern Ontario. For more information, visit  cfccreates.com.

About Seneca

With campuses in Toronto, York Region and Peterborough, Seneca offers degrees, diplomas, certificates and graduate programs renowned for their quality and respected by employers. It is one of the largest comprehensive colleges in Canada, offering nearly 300 full-time, part-time and online programs. Combining the highest academic standards with work-integrated and applied learning, expert teaching faculty and the latest technology ensure Seneca graduates are career-ready. Find out more at  senecacollege.ca.

About AGO

With a collection of more than 90,000 works of art, the Art Gallery of Ontario is among the most distinguished art museums in North America. From the vast body of Group of Seven and signature Canadian works to the African art gallery, from the cutting-edge contemporary art to Peter Paul Rubens’s masterpiece The Massacre of The Innocents, the AGO offers an incredible art experience with each visit. In 2002, Ken Thomson’s generous gift of 2,000 remarkable works of Canadian and European art inspired Transformation AGO, an innovative architectural expansion by world-renowned architect Frank Gehry that in 2008 resulted in one of the most critically acclaimed architectural achievements in North America. Highlights include Galleria Italia, a gleaming showcase of wood and glass running the length of an entire city block, and the often-photographed spiral staircase, beckoning visitors to explore. The AGO has an active membership program offering great value, and the AGO’s Weston Family Learning Centre offers engaging art and creative programs for children, families, youth and adults. Visit ago.net to learn more.

About The Metropolitan Museum of Art

The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in three iconic sites in New York City— The Met Fifth Avenue, The Met Breuer, and The Met Cloisters. Millions of people also take part in The Met experience online. Since it was founded in 1870, The Met has always aspired to be more than a treasury of rare and beautiful objects. Every day, art comes alive in the Museum’s galleries and through its exhibitions and events, revealing both new ideas and unexpected connections across time and across cultures.

The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in three iconic sites in New York City— The Met Fifth Avenue, The Met Breuer, and The Met Cloisters. Millions of people also take part in The Met experience online. Since it was founded in 1870, The Met has always aspired to be more than a treasury of rare and beautiful objects. Every day, art comes alive in the Museum’s galleries and through its exhibitions and events, revealing both new ideas and unexpected connections across time and across cultures.

Reflecting On Baumgartner’s Free Fall Attempt From The Edge Of Space

Tune in here on Tuesday October 9th and watch Felix Baumgartner make his record freefall attempt.

It’s October 5, 2012 and Felix Baumgartner is about to smash the 50+ year old free fall height record and break the sound barrier along the way.

Using a lighter-than-air balloon for the ascent stage, Baumgartner will float above Roswell, New Mexico, USA  to the edge of space and then open the door of his pressurized capsule. It will be one small step for a man, and one giant fall for Felix and one giant marketing coup for RedBull.

When I was a fellow at the Canadian Film Centre’s New Media Lab  in 2009, I was asked to make three predictions about future ‘real-life’ trends. Near the top of my list was increasingly ‘extreme’ extreme sports. I think I have gotten that one right, and if you’d like to know what the other two were drop me an email.  With each leap in technology, mankind has been able to attempt more extreme feats. Technology has allowed us, the viewer, to live directly through real life participants much more vicariously than ever before, and mainstream virtual reality is just around the corner.  Like a feedback loop, technology pushes the boundaries of what the human mind can conceive and what the human body can accomplish. Symbiotically, as we achieve more and more incredible feats, technology is utilized to not only showcase these feats but to instill an empowerment. More on this later….

In the early decades of the last century, extreme sports included seemingly placid activities when viewed with today’s sensibilities.  Consider these examples: crossing the English Channel by airplane, modifying an automobile with solid rockets to reach a speed of 100 miles per hour, diving into the sea from a height of one hundred feet. In their allotted place in time, these activities were considered to be incredibly extreme and borderline committable.

Technology at that time meant that in order for a viewer to share in the participant’s experience, the viewer needed to read about the event in the newspaper, listen to the event on the radio or visit the event in person. This was a time of great internal imagination as methods and technologies in play were mystical and were not an everyday occurrence in those viewers lives. That being said, the crossing of the English Channel by airplane and other flights of fancy were made possible due to “magical signals traveling through the ether”.  Aka: wireless radio technology.  A pilot was now able to fly by honing in on radio signals. This same technology was used to broadcast news of the flight and this connectedness via the same technology  may not be symbiosis in the traditional ecological sense but is most certainly a form of  extreme mutualism. (Spinoza’s Theory of Imagination says essentially the same thing in his Extended Pattern Preservation Doctrine: The persistence of an individual [replace ‘individual’ with ‘same technology’] through time consists not in the sameness of underlying substance but, insofar as it is conceived through extension, in the persistence of a distinctive pattern of communication among moving parts. *

Our era  is markedly different.

It is one of internal and external  imagination. When Felix Baumgartner rides to the edge of space, we get to ride with him. We can watch a live stream of his progress, observe his ‘vital stats’: real-time mission statistics by watching the graphics on our smart device. We can hear the banter between mission control and Felix. We are in effect Felix Baumgartner’s mute passenger.  (We will be hosting the LIVE feed right here in this post at the window below. UPDATE due to high winds today’s rescheduled attempt has been postponed until further notice. Check #freefall on Twitter for latest updates. )

This is a much more immediate and virtual form of reality and the excitement is compounded by our anxiety and our sense of power.

We sense our power because we have the very same technology that makes this attempt possible.  If you happen to be a regular watcher of a reality television show involving a performance and a smartphone voting system you are essentially experiencing an empowerment.  You hold in your hands an actual component of the program and take part in a communal experience.  This is not just “must see t.v.”, this is  “must do t.v.”

“Fearless” Felix

Much like NASA and the current MARS mission,  Baumgartner’s team and sponsor Redbull have come to understand the necessity for hype and sensationalism in order to draw attention to their work and secure future projects. If no bucks=no Buck Rogers, then no Buck Rogers= no bucks.

Gemini and Apollo astronaut Gus Grissom. RIP Gus.

Really though, it’s not an economic strategy that I wish to point out here.

It’s the potential for an economic strategy, the potential for a social strategy, the potential for an emotional strategy and in fact all the potential strategies that our digital age has room for. Extreme human activities are by their very nature extremely emotional. They connect with us on a deep rooted, conscious and subconscious level. It’s like a modern incarnation of the primitive hunt or the ancient journey.

The development of economy and a look at where experience currently influences commerce.

If you choose to experience Felix Baumgartner’s highest free fall record attempt live on your smart device or project it into your living room like we are planning on doing here at the Silo office- you will be transformed on some level. (In the marketing and advertising world this is known as Pine and Gilmore’s Experience Economy.) That’s probably due to the fact that the natural environment, though beautiful, is incredibly dangerous and deadly and throughout our development as we have come to dominate this planet, we have developed and conquered by using technology. Is it incredulous to suggest that by using our smart device to experience these dangerous feats, we are in fact celebrating mankind’s conquering of danger and nature through technology? The very technology that we now hold in our hands? For the Silo, Jarrod Barker.

* Representation and Consciousness in Spinoza’s Naturalistic Theory of the Imagination, D. Garrett, New York University