Saturday, November 19, 2011

Join the massive PICKET in Cape Town and Johannesburg, to call for order at SABC!




The Support Public Broadcasting Coalition (SOS), of which SASFED is an active member has called for massive picketing action at the SABC’s Auckland Park headquarters in Johannesburg on November 24, similar to what happened at the broadcaster in 2009. Protesters are asked to wear red and black and "to bring your placards".

The SOS, a massive public pressure and interest group representing the vast majority of South Africa's TV industry and who've called for Dr Ben Ngubane, the SABC chairperson to resign, says "South African citizens demand a public broadcaster that has the resources and strategic leadership to meet the information needs of all South Africans."

"We demand a SABC that holds government and corporate power to account, and provides the information and platforms for discussion vital to the functions of our democracy."

The SOS Coalition requests your support as a filmmaker and industry player:


Date: This Thursday 24th November 2011
Time: lunchtime – 1pm to 2pm
Venues as follows:
JHB - SABC, Auckland Park, Henley Ave
CT - Parliament, Visitor’s Centre

For more information about the picket please contact SOS coordinator Kate Skinner on 082 926 6404. You can also read more in Screen Africa here, including the full letter sent by SOS to the SABC Board and Chair.

Tuesday, March 8, 2011

BCCSA lashes SABC in Sterenborg complaint

Friday, 04 March 2011 06:49
The Broadcast Complaints Commission (BCCSA) has found that the SABC was "unprofessional and actually reckless", as well as "duplicitous" and deceptive, in its broadcast of allegations by controversial businessman Robert Gumede about investigative journalist Sam Sole.


Robert Gumede alleged that Sam Sole was 'bribed' with a R900 air ticket by John Sterenborg, a former business partner of Gumede, to investigate him, writes Herman

The complaint with the BCCSA against the SABC was laid by Sterenborg, who argued that the SABC failed to verify allegations against him prior to broadcasting the interview under dispute; to obtain his input on allegations of bribery made against him; to make contact with other relevant parties (Sam Sole and the Mail & Guardian newspaper) or to give him the right of reply as requested by him.

His right of reply was further skewed by the SABC when it finally did offer his views in a subsequent broadcast.

Not checking allegations

In a scathing judgement, the BCCSA wrote: "We regard SABC [as] unprofessional and actually reckless in not checking RG's [Robert Gumede] allegations prior to airing the interview. We regard SABC [as] duplicitous in their communications with Sterenborg, taking an interview with Sterenborg promising to air it and then not doing so, giving false reasons."

The BCCSA also found that the SABC tried to "deceive Sterenborg" in their communication with him. The SABC had interviewed Sterenborg for his version of events as his right of reply but failed to air the interview on the due date, claiming technical problems. It later wrongly paraphrased his interview and the BCCSA found that "in any event there was no technical problem but that a management decision by SABC was behind not to air the interview or read out the interview."

The SABC argued that since it obtained and reported on a denial of the alleged bribery by M&G editor Nic Dawes, "there was deemed to be no further need to approach any other parties mentioned in the story regarding the allegation of bribery, as it had effectively been denied by Mr Dawes." It also argued that since it had a copy of the cheque in question "that in itself amounts to adequate confirmation that a payment was made".

"Broadcaster should have taken every care"

"Since the reputations of persons are at stake in this case, the broadcaster should have taken every care to ensure that facts were presented clearly and accurately," the BCCSA found in its ruling.

"Mr Sterenborg's objection to the way in which his rebuttal was broadcast is justified. People have the right to dignity, and once a reputation is sullied, it is extremely difficult to restore it. News broadcasters have a duty to ensure that facts are presented fairly and accurately, and that people's right to reply is fully respected."

The BCCSA found that the Broadcasting Code has not been complied with and reprimanded the broadcaster "for the ambiguity in its reporting of the reply".

Complaint also submitted by M&G

A complaint on the same news item was also submitted by the M&G but has not yet been ruled on. As a result, Dawes told Bizcommunity.com, "We have read with great interest the ruling of the BCCSA in relation to John Sterenborg 's complaint. We look forward to the commission's ruling in the Mail & Guardian's complaint about the same story."

Thursday, March 3, 2011

The DFA supports the appointment of Denis Lillie as the Cape Film Commissioner

The leading organisation for documentary filmmakers in South Africa, the Documentary Filmmakers' Association (DFA), has expressed its support over the appointment of Denis Lillie as the Cape Film Commissioner.

The DFA represents the interests of South African documentary filmmakers. Since its inception the organisation has been actively engaged in the transformation of the documentary sector.

After two meetings with the newly appointed Commissioner, the DFA is encouraged by his accessibility. Denis Lillie has demonstrated his openness to working with all members of the South African filmmaking community. Documentary film is an untapped and unexplored source of economic activity in South Africa, but Lillie has indicated that he will travel this unfamiliar road with local documentary filmmakers. For hundreds of SMME producers who previously generated content for and income through the SABC this is heartening and suggests the potential for growth of documentary film that has been stifled in numerous ways in the past.

Denis Lillie met with representatives from the DFA Western Cape soon after his appointment and tabled a proposal to include the DFA and the documentary industry in the CFC's new five year strategy plan. The CFC Board accepted the proposal to co-opt the DFA onto the board in recognition of the role of documentary film in the province. The DFA looks forward to inputting constructively in developing this genre within the province and we look forward to a positive relationship with the new CEO and the CFC.

In the past the DFA has had a good working relationship with the CFC and has had support from the CFC on various projects. The Documentary sector's role in the Western Cape is both economic and social and the DFA believes a strong documentary voice on the CFC board is required to ensure the growth of our industry. We appreciate the recognition of this by the new CEO.

The CFC has under the new Commissioner's leadership most recently supported a DFA/CFC seminar on Commercial Documentaries for the International Market as part of our Professional Development Programme.

The DFA supports the new CEO's hands-on and tangible attempt to engage the documentary industry and his acknowledgment of our contribution to the development of the film industry in the Western Cape.

The DFA believes that filmmakers need to be able to work with someone like Lillie, who in his brief period at the helm of the CFC, has shown he is able to grasp the complex issues, passions and interests of the film industry landscape. The DFA is confident that he will work with all filmmakers to find an appropriate way forward.

Issued by the Documentary Filmmakers' Association (DFA)
http://docfilmsa.com http://blog.docfilmsa.com/

SAGE hosts a Digital Workflows workshop at AFDA on 08 March

SAGE UPGRADES presents Tracey Williams (Director of Post-Production, Refinery)in a workshop on Digital Workflows / Getting a film onto the big screen in digital format or 35mm print on the 08.03.2011 at 19:00 – 21:00

Venue - AFDA . 41 Frost Ave. Auckland Park . Johannesburg

Cost - Students - R30,00
SAGE members - R50,00
Affiliates - R80,00. R100,00 at the door

Banking details .
ABSA Melville branch . South African Guild of Editors . Acc. # 4056302496

RSVP DaveO@afda.co.za with your name & the workshop date to secure your place

Monday, February 28, 2011

Gary Smith: Co-production now “an integral part of production and distribution process” - MIPTV daily News' Gary Smith takes the pulse of contemporary coproductions such as Hat Trick's "Episodes"

A measure of just how much money and faith is being invested in co-productions right now came when MIPTV 2011 Producers’ Forum Keynote speaker Rodolphe Belmer, COO of Canal+, announced recently that in 2011 the broadcaster would be investing €50 million in high-end drama co-productions such as XIII and The Borgias, representing an increase of 25% on the previous year.

A process that started more or less exclusively as a way to get series made has, over the last five years, become an integral and creative part of the production and distribution process.

“The co-production model is extremely important – and gaining momentum,” says Martin Irusta, SVP global programming & acquisitions, Universal Networks International (UNI). “From the production perspective, we get a lot of pitches from North American and international producers who are encouraged that UNI is interested in a model that doesn’t require all the financing to be sewn up by one broadcaster. Co-producing means that there are innovative routes to getting a project off the ground and on air in multiple territories.”

From UNI’s perspective as a pay-TV broadcaster, co-productions open up the possibility of new kinds of collaboration: “It means we can weigh in creatively during the development process,” Irusta says, “in order to ensure the concept is an appropriate fit for the channel brand, and that the audience gets to see original shows that they can’t find elsewhere.”

Paul Cohen, commercial director, Hat Trick Productions remains unconvinced that co-producing is the answer every time: “Co-productions are often touted as a panacea for funding pressure and have worked brilliantly in some genres such as high-end drama, but the model doesn’t always fit others, especially comedy.”

On occasions it can work, however. Hat Trick recently produced Episodes for the BBC in the UK and Showtime in the US. “The series was a success thanks to several key elements,” Cohen states. “First, a premise that resonated with both audiences – an English couple resettling in LA to remake their successful TV show for an American audience – a scenario that worked thanks to first class writing by David Crane (Friends) and Jeffrey Klarik, (Mad About You).”

The show’s premise also meant it could use both UK and US actors including (Matt Le Blanc (Friends), Stephen Mangan (Free Agents) and Tamsin Greig (Green Wing) without it looking forced. Equally important was the fact that the two broadcasters had the same editorial take on the project: “Even what might be considered a small thing such as the running time was hugely important. Neither the BBC nor Showtime take ads so their running times were almost identical, meaning there was no need for costly re-edits with different comedy beats to meet ad breaks.”

With budgets being cut for factual programming and documentaries, factual producers are more than ever looking for other sources of funding. “Using a combination of broadcast and state funding is already common In continental Europe, in the UK less so” David Hooper, managing director, Espresso TV, observes. “But boutique distributors like us are now very active in assisting small and medium-sized producers to source co-production funding either through international broadcasters, or through grants, sponsorships, advertiser funding and even charities.”

The Durban International Film Festival has announced that its 32nd edition will take place from 21 to 31 July 2011.

Supported by the National Lottery Distribution Trust Fund (principal funder), National Film and Video Foundation and other valued funders and partners, the festival will present over 200 screenings of films from around the world, with a special focus on films from South African and Africa. Screenings will take place throughout Durban including township areas where cinemas are non-existent. The festival will also offer an extensive seminar and workshop programme featuring local and international filmmakers. 2011 will also see the return of Talent Campus Durban and the Durban FilmMart.

The festival calls for entries from around the world. Feature films, short films and documentaries are all welcome. The festival does have a competition component. The deadline for entries is 31 March 2011 for short films and documentaries; 15 April 2011 for feature films. Early submissions are encouraged.

All submissions will be done online via Eventival. Please create an account to submit.

CALLING ALL AFRICAN FILMMAKERS!
Take part in the 4th Talent Campus Durban and the 2nd Durban FilmMart.

For more information visit: www.cca.ukzn.ac.za or email diff@ukzn.ac.za
Call +27 (0)31 260 2506
Media Queries: Versfeld and Associates
Tel: 031-8115628
Fax: 0866827334
Email: sharlene@versfeld.co.za

Thursday, February 17, 2011

CAPE TOWN FESTIVAL’S ‘NIGHT VISION’ IS BACK BY POPULAR DEMAND! SATURDAY, 12 MARCH 2011, CAPE TOWN STATION FORECOURT AND ADDERLEY STREET

“Celebrating our Cultural Diversity to Connect and Unite Cape Town”
The Cape Town Festival’s (CTF) multi-dimensional street festival Night Vision is back by popular demand on Saturday, 12 March 2011 from 6pm till midnight at the newly revamped Cape Town Station Forecourt, extending festivities into Adderley Street between Strand Street and the fountain. The CTF, incorporating the One City, Many Cultures (1CMC) Project, is supported by the National Lottery Distribution Trust Fund (NLDTF).

After a three-year break, Cape Town’s nocturnal urban street festival, Night Vision, is back with a bang, only this time bigger and better than ever before! Night Vision promises to dominate the city night life with a party-thumping arts and entertainment extravaganza. The event will lead up to a climax of explosive live on-stage performances by iconic bands such as High Voltage Collective featuring EJ Von LYRIK, Theba Shumba and D.form; 340ml; The Dirty Skirts and headline act, 2010 SAMA Award Winners, Big NUZ who will take the party well into midnight.
The evening programme launches at 6pm amid a vibrant carnival atmosphere complete with street parade, roving buskers, stilt-walkers, mimes, jugglers and loads of other amusement activities. This, juxtaposed with a bustling street market laden with exquisite arts, crafts, vintage collectables and organic market, will leave the whole family spoilt for choice. Food vendors catering to a variety of culinary preferences will provide quality catering service at the food court. Bar facilities will be dotted around the venue.

Powering up the Night Vision stage is High Voltage Collective. This dynamic Cape Town ensemble comprising EJ Von LYRIK, Teba Shumba and D.form blend their individual musical styles to put on a show of electrifying proportions.
A prolific and dynamic songwriter, music producer and performer, the vivacious EJ von LYRIK hails from Mitchells Plain on the Cape Flats and is known for her inspiring and uplifting lyrics fragranced with positive messages. She has been writing and performing her own material since 1997, with a distinct interest in music production. Her music is an eclectic mix of funk, rock, dancehall, hip hop and roots reggae. EJ feels “the reason for this cross-over of musical genres is to reach out to a more diverse audience because the music is message-orientated”. She has performed on various international stages as well as collaborated with some hefty names in the music industry. A former member of the legendary female hip hop group Godessa, EJ has traversed the globe with performances in the Netherlands, Belgium, France, Spain, Norway, Cuba, USA, UK, Ethiopia and Tanzania. Her confident energy, thought provoking lyrics and stirring melodies backed by a solid group of musicians, will be sure to captivate the Night Vision audience.

Teba Shumba is a ragga muffin artist born and raised in Gugulethu, Cape Town, and whose love for the arts started in community theatre. His music career started with the Kwaito band Skeem who were the proud recipients of the FNB Sama Award for ‘Best Township Pop’ for their debut hit song Waar Was Jy? in 1997. Since the release of his debut soul-afro-reggae-dancehall album 20-5-2-1 Manifesto in 2004, Teba performed at the 2005 Wurzburg Afrika Festival in Germany, sharing the stage with Julian Marley. He also performed at the 2006 Rototom in Italy alongside acclaimed artists like Andrew Tosh, Third World, Alpha Blond and Burning Spear. His dedication and perseverance has allowed him to travel to countries like France, Australia, New Zealand, South Pacific Islands, Solomon Islands, Finland, and closer to home - Namibia, Botswana, Swaziland and Lesotho. Championing the cause of the voiceless, Teba’s music deals with social justice, universal love and songs of inspiration. His performance is nothing short of exhilarating and massive.

The third party to High Voltage Collective is none other than D.form, a product of a family of eccentric entertainers raised on a strict diet of jazz, soul, funk, reggae, disco and goema. It is therefore no surprise that his passion for the arts was unleashed at the young age of 10 when he joined his first b.boy/break-dance crew and at age 15 was part of his first rap group. He entered many talent shows as a rapper and dancer and went on to join the African Hip Hop Movement in 1988. He formed one of the first graffiti crews in Cape Town known as the Bomb-Crazy Crew and found himself involved with many conscious organisations in the hip hop community involved with acting and speaking out against the crimes and injustice of the Apartheid regime. By starting one of Cape Town’s first monthly hip hop nights known as ‘geto3000’, D.form has been instrumental in bringing together rappers, deejays, b.boys and graffiti artists – the basic four elements of hip hop culture under one roof.

The programme then makes way for the hip hop, African and fusion outfit 340ml, a name taken from the ubiquitous measurement on beverage cans. The Mozambican dub-jazz foursome comprising of Pedro da Silva Pinto on vocals, Paulo Chibanga on drums, Rui Soeiro on bass and Tiago Paulo on guitar, displays an organic musical influence that is unquestionably Latin music subtly laced with traditional Mozambican folk music (Marrabenta), synonymous with the sounds of marimba and the acoustic guitar. Their unique musical style incorporates Dub, Jazz, Ska, Afro-jazz and Reggae. Their debut album Moving was released in 2004 to rave reviews and what follows was nothing short of mass airplay on national radio and television across South Africa. Four years later they released their second album Sorry for the Delay. Apart from South Africa and Mozambique, 340ml has performed in Tanzania, Zimbabwe, Swaziland, Reunion Island, England and France. Their music has been described by leading South African journalists as “an elaborate musical cocktail”, and certainly one that will go down especially well at this sizzling-hot show.

The fiendishly independent alt-indie-rock band The Dirty Skirts is based in Cape Town and is made up of Jess de Tolly on lead vocals and guitar, David Moffatt on guitar, Passion Paliaga on bass and Markie de Menezes on drums. Their sound has segued from rock electro to alt pop, and is steeped in an alternative rock tradition stretching back some forty odd years - think David Bowie, John Lennon, Talking Heads and The Cure. The band has toured the USA, UK, and the United Emirates. In South Africa they have shared festival stages with Oasis, Snow Patrol, Panic at the Disco, and Evanescence. They have independently recorded and released their eponymous debut mini-album in 2005. Singles such as Feeling the Pressure and Set Me Alight scorched up the local and student charts. The album Daddy Don’t Disco was released in June 2008 and enjoyed four radio play-listed singles. Daddy Don't Disco was nominated in the ‘Best Rock Album’ category at the SAMA’s. Winners of the inaugural Red Bull Soundclash, this quirky group will be sure to live up to their reputation of captivating live audiences.
Night Vision will draw to a monumental close with the headline act, 2010 SAMA Award-winning kwaito group, Big NUZ featuring Jojo aka Mampintsha, Mzi aka Danger and Sbu aka R Mashesha. Big because they are doing big things in the music world and NUZ being the vehicle registration prefix for the township of Umlazi next to Durban, from where the trio hails. The group was formed in 2002 when they moved from Durban to Jo’burg to hustle for a record deal. But years of perseverance ultimately paid off. In 2006 they released their debut album Zozo under Gallo Records working with the late Kid Mokoena from Why Not Entertainment. The rest is history. The trio, riding on the strength of its smash hit album, Umlilo, swept three awards – ‘Best Album of the Year’, ‘Best Kwaito Album’ and the prestigious ‘MTN Record of the Year’ - an accolade for which they were congratulated by President Jacob Zuma. The group also shared the stage with international acts including Rick Ross, T Pain and 2Face at the 2010 MTV African Music Awards and came home with ‘Best Performance Award’. They were also nominated in the category ‘Best Anglophone’. They have performed at a host of prestigious events including Mandela Day and the opening ceremony of the 2010 Soccer World Cup televised to millions of people the world over.

Night Vision is Cape Town’s premier free-to-the-public street festival, originally held on Long Street in the CBD and known for attracting over 30 000 reveling party-goers consisting of both locals and tourists. “With the jam-packed line-up on this year’s entertainment bill, we expect to host our largest audience yet,” said Cape Town Festival Founder and Executive Chairperson, Ryland Fisher, “we are happy to have secured the Cape Town Station Forecourt as the new home of the annual Night Vision in a bid to maximise the infrastructure legacies left behind by the 2010 Soccer World Cup,” he added.
Parking, public transport, road closures, etc. are among those logistical considerations that will be confirmed within the next week.

Night Vision forms part of the CTF’s year-long programme of events which also includes a 1CMC Discussion; Community Youth Workshop Programmes; Senior Citizens Day; Leadership Forum; Multimedia Exhibition; and Community Festivals. These interventions are strategically designed to engage publics at social, educational, business and creative level in the broader Cape Town society to showcase “a united city celebrated for its diversity and liveability.”
The 12th annual CTF kicks off on Friday, 18 March 2011 and culminates in the Human Rights Day celebrations on Monday, 21 March at the Company’s Garden in the CBD between 12pm and 8pm daily.

For more information, visit www.capetownfestival.co.za or email info@capetownfestival.co.za

ENDS

High resolution images are available on request.

For interviews, accreditation or general media enquiries, please contact;
Esther Henderson
Synapse Communications
Landline: 021 903 8762
Mobile: 074 232 7969
E-mail: esther@synapsecommunications.co.za

Wednesday, February 9, 2011

SASFED and NFVF sign Terms of Engagement

09 February 2011: The National Film and Video Foundation (NFVF) and the South African Screen Federation (SASFED) today signed an agreement that sets out the terms of engagement between the two organisations. The signing ceremony, attended by representatives from both the NFVF and SASFED, took place at the NFVF offices in Houghton.

The terms of engagement are a culmination of various engagements which took place between the NFVF and SASFED since 2006 “We are happy that today we’re concluding a process in which both the NFVF and SASFED have engaged enthusiastically. The significance of this agreement is the synergies that can be drawn out of both our roles and mandates in the South African film and video industry to enhance the promotion, development of a sustainable, viable and transforming industry,” says NFVF CEO Eddie Mbalo.

The NFVF’s mandate is to promote and develop the South African film and video industry. In terms of its Positioning Strategy in the Value Charter, the NFVF is the mediator between the government, civil society and the industry. Section 4(1) (f) and subsection (f) of the NFVF Act empowers the NFVF to enter into relationships and cooperate with any person, institution or institutions for the purpose of meeting the objectives of the NFVF Act.

SASFED is a nonprofit organisation formed in 2006 and is an industry- wide national voice representing its members on industry development issues. “As an industry federation we represent writers, directors, editors, actors, artists’ producers and niche focus groups in the film and television industry,” says SASFED Chairperson Feizel Mamdoo. SASFED’s formation was the outcome of Indaba 2005 resolutions where it was proposed that one of the measures to ensure sectoral co-ordination was the formation of an umbrella body to be constituted by the existing industry bodies.

“The agreement recognises the importance of regular engagement between us and the NFVF on industry policies and strategies that impact on the growth and development of the South African film and video industry,” Feizel Mamdoo.

The agreement sets out terms of engagement which will inform the relationship between the NFVF and SASFED towards areas that relate to the development and growth of the local film and video industry. It established a forum that will provide a platform for consultation, debate and discussion on the various industry policies and strategies that are developed.

For any queries, kindly contact Ms Aifheli Makhwanya; Head of Policy and Research at the NFVF on 011 483 0880 and Mr Ramadan Suleman: Chairperson of the SASFED NFVF Subcommittee on 083 901 2000

SASFED Signs Historic Terms of Engagement (TOE) with NFVF

The National Film and Video Foundation (NFVF) and the South African Screen Federation (SASFED) today signed an agreement that sets out the terms of engagement between the two organisations.

The signing ceremony, attended by representatives from both the NFVF and SASFED, took place at the NFVF offices in Houghton today.

The official press-relase on the TOE here.

The signed TOE scan can be seen here. Note the signatures have been blurred to protect them.

--------


09 February 2011: The National Film and Video Foundation (NFVF) and the South African Screen Federation (SASFED) today signed an agreement that sets out the terms of engagement between the two organisations. The signing ceremony, attended by representatives from both the NFVF and SASFED, took place at the NFVF offices in Houghton.

The terms of engagement are a culmination of various engagements which took place between the NFVF and SASFED since 2006 “We are happy that today we’re concluding a process in which both the NFVF and SASFED have engaged enthusiastically. The significance of this agreement is the synergies that can be drawn out of both our roles and mandates in the South African film and video industry to enhance the promotion, development of a sustainable, viable and transforming industry,” says NFVF CEO Eddie Mbalo.

The NFVF’s mandate is to promote and develop the South African film and video industry. In terms of its Positioning Strategy in the Value Charter, the NFVF is the mediator between the government, civil society and the industry. Section 4(1) (f) and subsection (f) of the NFVF Act empowers the NFVF to enter into relationships and cooperate with any person, institution or institutions for the purpose of meeting the objectives of the NFVF Act.

SASFED is a nonprofit organisation formed in 2006 and is an industry- wide national voice representing its members on industry development issues. “As an industry federation we represent writers, directors, editors, actors, artists’ producers and niche focus groups in the film and television industry,” says SASFED Chairperson Feizel Mamdoo. SASFED’s formation was the outcome of Indaba 2005 resolutions where it was proposed that one of the measures to ensure sectoral co-ordination was the formation of an umbrella body to be constituted by the existing industry bodies.

“The agreement recognises the importance of regular engagement between us and the NFVF on industry policies and strategies that impact on the growth and development of the South African film and video industry,” Feizel Mamdoo.

The agreement sets out terms of engagement which will inform the relationship between the NFVF and SASFED towards areas that relate to the development and growth of the local film and video industry. It established a forum that will provide a platform for consultation, debate and discussion on the various industry policies and strategies that are developed.

For any queries, kindly contact Ms Aifheli Makhwanya; Head of Policy and Research at the NFVF on 011 483 0880 and Mr Ramadan Suleman: Chairperson of the SASFED NFVF Subcommittee on 083 901 2000

Wednesday, February 2, 2011

New SASFED Constitution Released

At the 2010 SASFED AGM, which took place on the 9th of November 1010 in Johannesburg, a new and improved SASFED Constitution was presented, and unanimously accepted. A few small changes were requested at the AGM and the Constitution as accepted subject to these changes. The changes have now been completed, and as such the new SASFED Constitution can now be downloaded as a PDF file HERE.

Monday, January 31, 2011

Interviews for positions on the NFVF Council begin today.

The schedule is as follows:


Monday
Ayesha Kajee 13h50
Gina Bonmarriage 14h50
Paul Raleigh 16h20

Tuesday
Kevin Fleischer 10h00
Prof Keyan Tomaselli 11h00
Brenda Sisane 12h30
Zama Mkosi 15h50

Wednesday
Sulona Reddy 12h30
Tshepo Shabangu 14h50

The venue is the Premier Hotel, 73 Gladiator Street, Kempton Park.

If you have the time, please do attend.

Thursday, January 27, 2011

4th TALENT CAMPUS DURBAN calls for filmmaker applications

The 4th edition of Talent Campus Durban will take place from 22-26 July 2011, during the 32nd Durban International Film Festival (21-31 July). Talent Campus Durban is an intensive 5-day programme delivered by film professionals to enhance both theoretical and practical approaches to filmmaking. Themed Africa in Motion, the 4th Talent Campus Durban presents a unique platform for African filmmakers to propel their careers through participation in a comprehensive series of seminars, workshops and industry networking activities. This year includes the addition of a Doc Station, where selected documentary projects submitted by accepted talents will be finessed and packaged for presentation within the Durban FilmMart.

40 filmmakers from 20 countries in Africa were selected for the successful 2010 edition, imbuing the Campus with a rich intercultural nature, and sparking exchanges and cooperation that will continue to feed the development of filmmaking across borders of this continent. Talent Campus Durban now invites filmmakers from Africa to apply to participate in the 2011 programme, which takes place in Durban, South Africa, over five days. In addition to specific activities offered by the Campus, the selected talents will have the opportunity to attend films and events at the 32nd Durban International Film Festival.

Full rules and link to the on-line application form at: www.cca.ukzn.ac.za/talentdiff2011.htm
Deadline for application: 15 March 2011

For further details:
Phone: +27 (0)31 260 2506/1704
Fax: +27 (0)31 260 3074
Email: talent@ukzn.ac.za or talent.durban@gmail.com

Talent Campus Durban is a cooperation between the Durban International Film Festival and the Berlinale Talent Campus of the Berlin International Film Festival and is supported by the German Embassy in South Africa, the Goethe-Institut South Africa and the KwaZulu-Natal Department of Economic Development and Tourism.

The Durban International Film Festival is organised by the Centre for Creative Arts (UKZN) with funding and support from the National Lottery Distribution Trust Fund (principal funder), National Film & Video Foundation, HIVOS, City of Durban and other valued funders and partners.

SABC RESPONDS TO COURT RULING AGAINST ICASA

Johannesburg, 26 January 2011 – The South African Broadcasting Corporation (SABC) has noted the judgment by Judge Neels Claassen of the South Gauteng High Court in Johannesburg against the Independent Communications Authority of South Africa (ICASA) in a matter between them and the Freedom of Expression Institute, concerning the SABC.

In 2006, FXI lodged a complaint with ICASA against the SABC in respect to the alleged banning of certain political analysts. ICASA presided over the matter and came to a decision that it did not have jurisdiction over the editorial independence of the SABC.

FXI appealed the ruling, and it was confirmed on appeal. FXI then referred the matter for review to the South Gauteng High Court, against the ruling of ICASA’s appeal tribunal.

The Judge in delivering his judgment made passing references to the SABC, which has led to misrepresentation by some media outlets that the ruling was against the SABC and this has to be corrected. FXI did not take the SABC to court, but rather it was a matter between FXI and ICASA and therefore the judgment is not against the SABC but was against the Regulator.

Since the FXI took this matter to the Regulator a new Board has been appointed, as well as a new Head of News. The SABC is committed to respecting the legislation and editorial code that governs the public broadcaster and in this regard has committed to creating an editorial policy unit to providing internal oversight and a public review of its editorial policies.


.

ENDS

Issued By: Group Communications
Media Enquiries: Kaizer Kganyago
082 306 8888

The National Film and Video Foundation Call to Observe Public Interviews

As a follow-up to the public call to nominate members to serve in the NFVF Council,
members of the film and video community and the general public are hereby invited to
observe the proceedings of Council interviews. This call is in line with the requirements of the National Film and Video Foundation Act, 1997 (Act 73 of 1997). The objectives of the NFVF include advising the film and video industry, encouraging persons, especially from disadvantaged communities, to get involved in the film and video industry, encouraging the development and distribution of local products and addressing historical imbalances in the infrastructure and distribution of skills and resources.

An independent panel has been appointed by the Minister of Arts and Culture to conduct the interviews. The purpose of the panel will be to ensure that suitably qualified candidates are selected and are representative of the demographics of the Country, to comply with the laws of the country.

The Council will consist of no fewer than nine (9) and no more than fourteen (14) members. Any member of the public may object in writing to the nomination of any person. Due to limitations imposed by the venue, representative organisations will be given priority.

Venue: Premier Hotel, 73 Gladiator Street, Kempton Park.
Date: Monday, 31 January 2011 to Wednesday, 2 February 2011
Time: 09:30-17:20

Correspondence can to be directed to Mr Sizeka Mabunda and Ms Tsakani Sithole
at the Department of Arts and Culture, Private Bag X897, Pretoria 0001 or fax:
(012) 441-3456 or tel. (012) 441-3649/3606.

Friday, January 21, 2011

Hunt starts for next big boss at the SABC

Jan 20, 2011 9:56 PM | By KHETHIWE CHELEMU

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The SABC has begun the search for a new group CEO and its board is expected to meet soon to discuss a head-hunting strategy.

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CEO Solly Mokoetle resigned on Wednesday after a protracted battle with the broadcaster's board following his suspension last year.

Advertisements for the post are expected to be placed soon.

Mokoetle, one of the briefest- serving SABC group CEOs, is said to have walked away with a golden handshake of millions, eight months into his job.

But neither he nor the corporation will reveal the terms of the settlement, citing a confidentiality clause.

Mokoetle was appointed by the SABC board in December 2009 but did not start work until January 4 last year.

He was suspended on full pay in September after claims by the board that he failed to devise a turnaround strategy for the finance-strapped broadcaster.

Minister of Communications Radhakrishna "Roy" Padayachie commended both the SABC board and Mokoetle for the "mature" way in which they handled the protracted dispute .

Padayachie said he hoped that Mokoetle's resignation would allow the board to start focusing on stabilising the SABC and creating an environment conducive to the implementation of a turnaround strategy.

"The importance of a stable public broadcaster, that functions optimally to meet its mandate, cannot be overemphasised," he said.

He said that in recent months the SABC had been bedevilled by reports of tension between board members and senior management, a total breakdown of corporate governance and financial instability leading to cash flow difficulties.

DA MP Natasha Michael yesterday called on both the SABC and the Department of Communications to reveal the amount of the "under-performing" Mokoetle's settlement payout. She said it appeared that he was at the job only to ride "the gravy train".

Mokoetle's predecessor, Dali Mpofu, who has gone back to practising as an advocate, was given a R14-million settlement on his departure from the SABC.

Michael said it is becoming a trend for [parastatal] companies to pay huge payouts to badly performing CEOs and that this practice had cost the public about R250-million in the past 10 years, with no company held accountable.

"In fact, in most instances, senior management have directly benefited for their lack of performance," said Michael.

She said that most senior managers were rewarded with inflated bonuses, golden handshakes and senior positions in the government.

"Mr Mokoetle would be yet another example of just such a CEO."

SASFED Statement on Resignation of Mr Solly Mokoetle at SABC

21 January 2011

The SA Screen Federation (SASFED), representing the independent film and TV production sector welcomes the resignation of Mr Solly Mokoetle in light of the delay this and other factors have caused in the SABC implementing a viable turnaround strategy.

SASFED notes the damage that has already been done to the independent film & television production industry due to the lack of effective leadership at the SABC over the past few years. We look forward to a swift and transparent process in appointing a new CEO who has the appropriate broadcasting experience, vision and leadership skills to lead a turnaround at the national broadcaster.

SASFED strongly supports ongoing consultation between the SABC and the film & television production sector in developing a turnaround strategy that can build a healthier and sustainable national broadcaster.

The SASFED Chair, Feizel Mamdoo, commented on the resignation, "SASFED reaffirms its support for transparent and accountable governance at the SABC and in all its dealing with the film & TV industry and the wider public. SASFED looks forward to engaging with the SABC on its turnaround strategy to alleviate the bottlenecks that have occurred in the commissioning of new programs."

ENDS