Author: riem1

Martin Rieser Short CV In 1989, curated the first International survey exhibition of Digital Printmaking: the Electronic Print at the Arnolfini in Bristol. He was also a consultant in the Art and Computers exhibition in Computer Art held in Cleveland that year and wrote the catalogue introduction. He also has experience of curation and judging through number of other international exhibitions in electronic art, including Arcade 2- 1997, Arcade 3 2000, the Electronic Eye at Watershed in 1986. In 1988, he exhibited at the First International Society of Electronic Artists (FISEA) conference held in Utrecht. In 1990, created an interactive exhibition utilising giant digital panels and interactive sound installations with an accompanying multimedia program on the theme of the Electronic Forest. This was one of the first such installations of its type and prototyped the connection of such exhibitions to the internet. In 1990 he began experimenting with permanent digital ceramic printing for Public Art. Since then, he has regularly participated in ISEA. In 1992, he delivered a paper on Digital public art at ISEA Minneapolis. At ISEA1995, gave a paper and chaired the panel on interactive narrative in Montreal. At ISEA1996 in Rotterdam, he gave another paper on interaction and narrative and at ISEA1997 in Chicago, he delivered a paper on interactive public art and architecture. Later commissions were Understanding Echo, funded by the DA2 Open Commission. An interactive video drama, it was shown at the Cheltenham literary festival, Watershed Bristol and at ISEA2002 in Nagoya Japan. In 1996-7 he collaborated with Inscape Arcitects on an ambitious Millennium project for Bristol called Orbit He helped to make a successful lottery bid to fund a national digital arts initiative Imag@nation transformed into DA2: a major arts initiative promoting digital art practice nationally, and internationally. Residencies include: Watershed/Cambridge Darkroom, which involved constructing a self-curating web site and multimedia piece called Screening the Virus, based around publicly submitted artwork on HIV/Aids related themes. This was later short listed for a Wellcome Trust Sci-Art award. He also directed the Media Myth and Mania section of the joint Watershed/Artec exhibition and CD publication From Silver to Silicon. The latter piece has been shown at many venues around the world including Milia in Cannes; Paris; ICA and the Photographer’s Gallery, London and at ISEA Montreal. Other visual research projects included the direction of a collaboration involving five other artists (collectively known as Ship of Fools) using the subject of mythologies to explore the full range of narrative and visual interfaces in interactive media in a piece called Labyrinth. This work involved drama, digital image, virtual environments, and interactive video at F-Stop Gallery in Bath and as part of the Cheltenham Literary Festival. It has been previewed at a number of venues including the Oberhausen Short Film festival in Germany and at ISEA in Montreal. In 2001 his research project Triple Echo won an AHRB award and involves a three screen interactive video depicting a love triangle based on the Orpheus legends. Recently edited: New Screen Media: Cinema/ Art/Narrative (BFI/ZKM, 2002)- which combines a DVD of current research and practice in this area together with critical essays .He was on AHRB research leave during 2004-5 creating a new locative work for Bath called Hosts which uses mobile and positional technologies combined with interactive sound and video and is authoring a book on locative technology called The Mobile Audience He is currently employed by Bath Spa University at Bath School of Art and Design as Professor of Digital Arts and Senior Teaching Fellow in the CETL Labs, was Principal Lecturer in Digital Media at Napier University in Edinburgh at the Department of Photography, Film, and Television 1997-2000. in post as Senior Lecturer in Electronic Media at UWE Bristol between 1986 - 1998 He set up one of the first post-graduate courses in the country in Digital Art and Imaging at the City of London Polytechnic, now the London Guildhall University 1980-85 His teaching and practice centres on new types of interactive art which use non-linear narrative in new media through CD-ROM, interactive installations, networked art projects and collaborations with architects. He is in the penultimate year of a PhD in interactive installation and permanent interactive environments at Middlesex University.. He has acted as consultant to bodies such as Cardiff Bay Arts Trust and the Photographers Gallery London.

Rules and Submission

July 27, 2017

NEWLYN FILM FESTIVAL 2018 SUBMISSION GUIDELINES
& TERMS AND CONDITIONS

FINAL SUBMISSION EXTENDED DEADLINE: 28th February 2018

THE ORGANISATION

1. The 2018 festival takes place in Newlyn, UK, on the 6th, 7th & 8th April 2018.

2. The final selection of all films presented at the festival and their placement in the program is the responsibility of the Film Programmer for Newlyn Film Festival the process is overseen by the Festival’s Managing and Artistic Directors. The organisation of the event and programming of all other non-competitive elements is the responsibility of the Artistic and Managing Director and the Festival team.

ELIGIBILITY

3. The Festival is open to short films of all production techniques, including animation, documentary, drama, experimental or artist film and hybrid work from low to high budgets. We are also open to feature films released since 2017.

4. The primary contact completing the submission process must be authorised to submit the film for consideration, including permission from a distributor or sales agent representing the film and must have obtained necessary permissions for the inclusion of copyrighted music and/or images within the films. With this submission, the applicant confirms that they possess all rights necessary for the screening of the submitted film at this Film Festival.

6. Short films must have a maximum duration of 30 minutes including credits.

7. Newlyn Film Festival does not require any premiere status but notes that this may come into consideration during the selection process.

REGISTRATION AND DATA PROTECTION

8. Before you can submit your film you will be asked to register your contact and film details. These details will only be shared with Newlyn Film Festival. Newlyn Film Festival ensures this information will NEVER be used for anything other than direct contact from the Festival or one of the Festival’s submission partners and will NEVER be shared with anyone else.

ENTRY FEES & REFUNDS

9. There is a submission fee to enter your films to Newlyn Film Festival. These costs equate to the administration of the entries and viewing library facilities. We offer reduced rates for student submissions.

10. Plymouth Film Festival does not have the facility to apply refunds. Discounts and waivers must be sought before the films have been submitted.

11. The cost of submitting a film to the festival for 2018 is £20. For the student category it is £10. Early bird entries for films entered between July 2017 – 1st November 2017 are £15 and £7.50 for the student category.

12. A separate entry form and additional entry fee is required for each film submission.

DIGITAL SUBMISSIONS

13. Please ensure that the digital video file you’re entering is the highest quality copy of your film, if your film is selected you will be contacted to confirm this.

14. For entry by postage please send a clearly labelled data disc (Entrants name and Film Title) with your film in the above file format to: 1 Mill Avenue,

Redcliffe Films
1 Mill Avenue, Queen Square
Bristol BS1 4AJ
email:
antheapage@hotmail.com
diana_taylor24@hotmail.com

15. Films that are submitted on unreadable discs or files will not be considered for selection, it is up to the applicant to ensure that the preview copy is in full working order. The festival is unable to return any data discs.

SELECTION PROCESS

16. A film’s success is dependent not on its budget or length, but on its core vision and the creativity/efficiency with which it communicates that vision. Programs consist of these diverse visions assembled in an order and rhythm so that even in contrast each is mutually complimentary.

17. Successful entrants will be notified of their inclusion in the festival by the 28th February 2018.

18. After selection, notification letters will be sent electronically; please provide an email address that is checked regularly and ensure that the user account enterPFF@gmail.com is permitted to email you.

19. Due to the large amounts of submissions that the festival receives we are unable to give comments on individual films prior to submission or offer feedback for unsuccessful entries.

FESTIVAL SCREENINGS

20. There are no fees for participating in the festival. Participants are not entitled to claim rental or other fees for the screenings of their films at the festival.

PUBLICITY

21. In addition to the reproduction of stills and clips of selected films (under 1 minute) for all Newlyn Film Festival publications, festival trailer, press and TV coverage, they may also be screened as part of preview screenings to promote the event.

SUBMISSION AGREEMENT

22. Within your submission you will be asked if you have read and agreed with the Terms and Conditions laid out in this document. By agreeing to proceed with your submission you are agreeing to these Terms and Conditions and your application can then be processed. Entry of a film is binding and implies acceptance of these regulations.

23. In the event of disagreement concerning the interpretation of the regulations, the interpretation of the festival will take precedence.

24. Failure to comply with these Terms and Conditions may result in the submission being disqualified.
25. A film that has been selected to screen may subsequently be removed from the schedule prior to the event for the following reasons:
i. Any unresolved dispute as to the films ownership causing potential problems.
ii. Falsification of information on entry form.
iii. Any reasonable grounds for concern over the films screening as determined by the festival organisers.

26. These regulations are subject to change without prior notice.