₦airaland Forum

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I wanted to start this piece with the definition of hagiography but doing so I believe will be me assuming this piece is for the consumption of unscholarly readers which it's not.

Also because it has two meanings both of which featured prominently in the book; while my writing will seek to address one - the book address the other. Before I journey further I admit not to have read the book in full and I might rescind the content of this piece when I do (which I doubt) but gauging by the excerpts, reviews and citations associated with the book I think I have no reason to rescind.

There is something inexact about this book even without a flip of its pages. Something imprecise that occupies each page - a flaw of expressive writing, time and the resulting attribution bias. Time is a factor in whatever happened and a crucial part of the decision to lay them straight. The reason why I find fault in a book where my only source for condemnations are excerpts and reviews is time.

Memoir as a literary rendition of a particular event(s) must have the objectivity and fairness of non-fictions. Devoid of self-gratification and overly resort to bias. It must seek to not just be a monologue of one's emotions or sentiments. It must adhere to the principle of fairness and withstand scrutiny or rebuttal. It must not just seek to attract the sympathy of friends but through objectivity seek repentance and forgiveness. Typical of memoirs, we are often lured to write our truths - unknowingly ignoring the truth, sinking into the abyss of partiality. It must not just dwell on facts but all facts.

I believe the timing for this memoir is hurried because constructively it will be but a parade of lettered emotions. The whole incident is fresh hurrying to document it in a book will in my own opinion satisfy just the benefits of expressive writings (Dr James W. Pennebaker, currently, chair of the psychology department at the University of Texas, Austin, has made tremendous research about expressive writing and its benefits you can check it out).

Allowing the writer the atmosphere to express herself without inhibition - freely expressing innermost pain of outright self-serving bias. Because it is expressive, it is muscled with raw emotions tightly knitted sentiments. It makes it very hard to categorise it as an opinion rather than stated facts.

The emotions, pains and sentiments in expressive writings sometimes cloud the facts and take the writer on a self-serving chase. It not only take the writer on such chase but conclusively makes their writing a pile of self-serving bias. The emotions hereby make the piece or in this case, the book prejudiced in view and lopsided in the context.

What I can deduce from the available materials I have scoped is a genuine intent to contribute to the emerging feminism discourse using her story which is condemnable. Also is the portrait of a hard-working woman pregnant with pain and willing to share. But the timing of the book can really sacrifice objectivity. It (could) robs the narrative of fairness and objectivity - and the writer also ample time of critical and logical retrospect devoid of emotions or sentiments.

It makes of the writer a saint in the events and makes everyone a devil or accomplice. Thereby, "becoming hagiography"

http://pulse.ng/bloggers/pulse-blogger-a-psychoanalytic-criticism-of-on-becoming-by-toke-makinwa-id5843085.html#top

To make the leap from one part of production to another might sound or look all easy a decision to make. In the real sense It is not. There are filmmakers who have carved a niche for themselves in a particular production form, there are film makers who only shoot music videos, some shoot features, some just documentary. But the nirvana of every filmmaker is feature film. It is an unstated truth that every filmmaker knows. This post will talk about how to make that bold transition from a music video director/producer to that with a feature film to her name.

You will need lots of handshakes and smiles. Trust me, moving from music video to feature films will mean lots of casts, crew and help. If you make that switch, you will need to call in lots of favour. You might not have a full understanding of that part of production, so you will need help from people and companies vast and operational in that field. Don’t be ashamed to ask for help if you think you are deficient in any part. If you are waiting for when you will translate just your knowledge of music video to feature film, you will wait for a long time.

You will need your crew. Yes, your music video crew. If you want to shoot your first feature you will need people you understand, who understand you. Understanding you in this context involves understanding deferred payment, small honorarium and volunteering. If you can get your music video crew to understand and reason along with you to work with you, it will save a lot of unavailable cash and time.

The switch must be made in consensus. Before you switch or shoot feature make sure you intimate your music video crew. Let them understand why they should join you to shoot film. Honestly state what they will be paid when money flows. Make them make that switch with you. Bring in people with experience in feature films to man few other areas especially that of assistant director, camera operator and continuity.

Before you shoot your feature film let the script be within your budget. The script must be unique, interesting but it must be within budget and favour reach. The script should not be too bogus and out of budget reach. Weave the script around things you can get, things you know how to easily get, things you have gotten before. Make sure your script gives you breathing space to shoot, if not looking like that, edit, edit, edit.

Time is of essence. In Music Video, there is a lot of time wasting on not needed shots. If you are making a feature film, you don’t have the luxury of uncountable needless shots. Your shots must be precise. You don’t have all the time in the world. So if you will shoot on schedule you need to shoot what you need.

If there is a part of production, music video company don’t tread - that is distributing. This end of music videos is done by artiste or their record company. If you have to shoot a feature, you must know about how you will distribute your work. You must have an understanding/agreement with a distribution company before you set out to shoot if you don’t want your work sitting on you shelf or living in your hard drive.

If you want to shoot your first feature film as a music video director (and you should) you will find this insightful.

http://filmsharks..com/2016/10/music-video-to-feature-film-how-to-make.html

To make the leap from one part of production to another might sound or look all easy a decision to make. In the real sense It is not. There are filmmakers who have carved a niche for themselves in a particular production form, there are film makers who only shoot music videos, some shoot features, some just documentary. But the nirvana of every filmmaker is feature film. It is an unstated truth that every filmmaker knows. This post will talk about how to make that bold transition from a music video director/producer to that with a feature film to her name.

You will need lots of handshakes and smiles. Trust me, moving from music video to feature films will mean lots of casts, crew and help. If you make that switch, you will need to call in lots of favour. You might not have a full understanding of that part of production, so you will need help from people and companies vast and operational in that field. Don’t be ashamed to ask for help if you think you are deficient in any part. If you are waiting for when you will translate just your knowledge of music video to feature film, you will wait for a long time.

You will need your crew. Yes, your music video crew. If you want to shoot your first feature you will need people you understand, who understand you. Understanding you in this context involves understanding deferred payment, small honorarium and volunteering. If you can get your music video crew to understand and reason along with you to work with you, it will save a lot of unavailable cash and time.

The switch must be made in consensus. Before you switch or shoot feature make sure you intimate your music video crew. Let them understand why they should join you to shoot film. Honestly state what they will be paid when money flows. Make them make that switch with you. Bring in people with experience in feature films to man few other areas especially that of assistant director, camera operator and continuity.

Before you shoot your feature film let the script be within your budget. The script must be unique, interesting but it must be within budget and favour reach. The script should not be too bogus and out of budget reach. Weave the script around things you can get, things you know how to easily get, things you have gotten before. Make sure your script gives you breathing space to shoot, if not looking like that, edit, edit, edit.

Time is of essence. In Music Video, there is a lot of time wasting on not needed shots. If you are making a feature film, you don’t have the luxury of uncountable needless shots. Your shots must be precise. You don’t have all the time in the world. So if you will shoot on schedule you need to shoot what you need.

If there is a part of production, music video company don’t tread - that is distributing. This end of music videos is done by artiste or their record company. If you have to shoot a feature, you must know about how you will distribute your work. You must have an understanding/agreement with a distribution company before you set out to shoot if you don’t want your work sitting on you shelf or living in your hard drive.

If you want to shoot your first feature film as a music video director (and you should) you will find this insightful.

http://filmsharks..com/2016/10/music-video-to-feature-film-how-to-make.html

To many, short films doesn't come with any form of financial benefit. And should so serve basically for exposure. Although true it doesn't however dismiss the fact that one can make money from shorts. Investment gains might not be a par with investment cost but it will serve as motivation. Short films is hobby to some. Others indulge in the art just to improve their craft, experiment and showcase their works. Some say its a wise and effective way of spending money as a filmmaker. It is an investment that will yield returns in future to some. No matter why you are into shorts, a few financial returns won’t hurt.

Make money through You Tube or Vimeo. Your shorts can earn you cash on any of the VOD platforms like Vimeo, Hulu, Netflix, You Tube. All you need to do especially on You Tube is to build an audience before you post your shorts. To make money on You Tube you need the right groundwork.

Before posting on You Tube or any other VOD platforms, build an audience for yourself. Use other social media platforms to interact and build a network/audience. Flaunt your works. Post viral videos regularly on You Tube before attempting or posting your short film. After amassing the needed audience, it is time to post your shorts and make money monetizing it

In the plane one day while shuffling for what to watch. I stumbled on short films. I was amazed. This is a fortune for Short filmmakers I said to myself. Airlines can make use of short films especially for flight with short duration. You can make money by having your shorts featured in flight.
You can personalize or tailored it for individual airlines. Also short films about destinations is another way airline can release money to you as a short filmmaker.

You can send your short to film festivals with a token and pray it is screened so you can make few bucks. Before you enter your shorts for screening at any festival make sure it is exceptional. That way you can make money. I personally will not encourage you to see film festival as a way of recouping few bucks off your shorts although it is a means. Its going to give you exposure more than cash.

Another way to make money from shorts is the promotion of services or campaigns. For example, HIV/AIDS campaigns in Africa. Short films is a veritable tool NGOs use to drive home campaign messages. To make money through this medium you will have to either be contacted or contracted. You can approach them with a short that has a message (s) that tallies with their campaign.

Making money from short film might be chancy but with consistency it is assured in the long term. If you want your short to make money, you must shoot for exposure. It must be a digital testament of your abilities as a filmmaker. It must carry a voice that must be heard by producers, directors, production companies, script writers. Make your short a calling card and it will in turn bring in money.

The rule however is - Never shoot shorts for money.


CC lalasticlala


http://filmsharks..com/2016/09/make-money-with-short-films.html

You can send your short to film festivals with a token and pray it is screened so you can make few bucks. Before you enter your shorts for screening at any festival make sure it is exceptional. That way you can make money. I personally will not encourage you to see film festival as a way of recouping few bucks off your shorts although it is a means. Its going to give you exposure more than cash.

Another way to make money from shorts is the promotion of services or campaigns. For example, HIV/AIDS campaigns in Africa. Short films is a veritable tool NGOs use to drive home campaign messages. To make money through this medium you will have to either be contacted or contracted. You can approach them with a short that has a message (s) that tallies with their campaign.

Making money from short film might be chancy but with consistency it is assured in the long term. If you want your short to make money, you must shoot for exposure. It must be a digital testament of your abilities as a filmmaker. It must carry a voice that must be heard by producers, directors, production companies, script writers. Make your short a calling card and it will in turn bring in money.

The rule however is - Never shoot shorts for money.


CC lalasticlala


http://filmsharks..com/2016/09/make-money-with-short-films.html

Before posting on You Tube or any other VOD platforms, build an audience for yourself. Use other social media platforms to interact and build a network/audience. Flaunt your works. Post viral videos regularly on You Tube before attempting or posting your short film. After amassing the needed audience, it is time to post your shorts and make money monetizing it

In the plane one day while shuffling for what to watch. I stumbled on short films. I was amazed. This is a fortune for Short filmmakers I said to myself. Airlines can make use of short films especially for flight with short duration. You can make money by having your shorts featured in flight.
You can personalize or tailored it for individual airlines. Also short films about destinations is another way airline can release money to you as a short filmmaker.

Make money through You Tube or Vimeo. Your shorts can earn you cash on any of the VOD platforms like Vimeo, Hulu, Netflix, You Tube. All you need to do especially on You Tube is to build an audience before you post your shorts. To make money on You Tube you need the right groundwork.

To many, short films doesn't come with any form of financial benefit. And should so serve basically for exposure. Although true it doesn't however dismiss the fact that one can make money from shorts. Investment gains might not be a par with investment cost but it will serve as motivation. Short films is hobby to some. Others indulge in the art just to improve their craft, experiment and showcase their works. Some say its a wise and effective way of spending money as a filmmaker. It is an investment that will yield returns in future to some. No matter why you are into shorts, a few financial returns won’t hurt.

To many, short films doesn't come with any form of financial benefit. And should so serve basically for exposure. Although true it doesn't however dismiss the fact that one can make money from shorts. Investment gains might not be a par with investment cost but it will serve as motivation. Short films is hobby to some. Others indulge in the art just to improve their craft, experiment and showcase their works. Some say its a wise and effective way of spending money as a filmmaker. It is an investment that will yield returns in future to some. No matter why you are into shorts, a few financial returns won’t hurt.

Make money through You Tube or Vimeo. Your shorts can earn you cash on any of the VOD platforms like Vimeo, Hulu, Netflix, You Tube. All you need to do especially on You Tube is to build an audience before you post your shorts. To make money on You Tube you need the right groundwork.

Before posting on You Tube or any other VOD platforms, build an audience for yourself. Use other social media platforms to interact and build a network/audience. Flaunt your works. Post viral videos regularly on You Tube before attempting or posting your short film. After amassing the needed audience, it is time to post your shorts and make money monetizing it

In the plane one day while shuffling for what to watch. I stumbled on short films. I was amazed. This is a fortune for Short filmmakers I said to myself. Airlines can make use of short films especially for flight with short duration. You can make money by having your shorts featured in flight.
You can personalize or tailored it for individual airlines. Also short films about destinations is another way airline can release money to you as a short filmmaker.

You can send your short to film festivals with a token and pray it is screened so you can make few bucks. Before you enter your shorts for screening at any festival make sure it is exceptional. That way you can make money. I personally will not encourage you to see film festival as a way of recouping few bucks off your shorts although it is a means. Its going to give you exposure more than cash.

Another way to make money from shorts is the promotion of services or campaigns. For example, HIV/AIDS campaigns in Africa. Short films is a veritable tool NGOs use to drive home campaign messages. To make money through this medium you will have to either be contacted or contracted. You can approach them with a short that has a message (s) that tallies with their campaign.

Making money from short film might be chancy but with consistency it is assured in the long term. If you want your short to make money, you must shoot for exposure. It must be a digital testament of your abilities as a filmmaker. It must carry a voice that must be heard by producers, directors, production companies, script writers. Make your short a calling card and it will in turn bring in money.

The rule however is - Never shoot shorts for money.


CC lalasticlala


http://filmsharks..com/2016/09/make-money-with-short-films.html

Smallville10:
Thanks

you welcome. will be on hand if you any further info. Thanks

Choosing what to write about sometimes can be more of an arduous task than writing. To sift through lots of conflicting article begging for space is no mean task. While i was thinking of what i should write i got a call from someone who wanted to become a video director and am like okay - lets talk about this.


I get a lot of calls from neophytes desperate about getting an inroad into the production business. I must admit that most of the calls are from people who are compelled by news of the financial opportunities involved and grand-standers. Well, i won’t want to put everyone under this umbrella. I will for the sake of people that genuinely want to be a film director share a few ways to achieve that aim.


You don’t have time on your side as everything you need to be a video director is in you. Beyond the cameras, crew and grips is a determination and passion to be a director. You are a director the moment you think you want to be a director but your motivation will determine if you will be a successful one or a stint worker. There is no career that your reason for joining it should be money. The frustration embedded in directing makes it stand out. You can’t be a director because you want to make money but you can make money being a director. Your drive must essentially be to shoot differently. Interpret visuals precisely. Creatively present your imagination. I have the opportunities of working with a-list directors and fraternize as friends. Trust me you won’t believe how passionate they are about their works. They are motivated, sustained and impelled by staunch devotion to their passion. They are not in the business because someone somewhere is making money from the business they are in it as long as the business keep giving them the opportunity to express themselves in frames.


See I don’t know about anywhere else in the world but in Nigeria to be a director you don’t have to follow any stringent or carved canon. Its encouraging to know that being a director is a leap a video editor has attained. A space a gaffer has occupied and a dream a film graduate has reached. I know of actors who are now directors, know of people who just learn under a cousin/uncle, know someone who went to film school and didn’t finish, know about someone who studied nothing close to media or film making calling director’s shot, people who learn on youtube or vimeo and film school graduates making amazing works.


All am saying is that there is no constitution on how to be a director - you just have to follow your dreams independent of you present situation or predicament. I am not saying you won’t need experience or knowledge of the know how but you should not be stereotyped to think that to be a director you must pay handsomely in a foreign film school. You can learn through resources online, be an intern, read books about production, start work from the lowest caste of production like best boy and walk your way up, learn how to edit or film, or you can direct and learn hands on. You don't have to limit or restrict your dream because of the scary film school fees - they are a-list directors who never stepped into any of the film schools. If you can afford it - trust me, it will save lots of stress but everyone still learn on the job at the end.


You don’t have an excuse to be what you want to be in life you only need to have a motivation that is much more than money.

http://filmsharks..com/2016/09/you-too-can-be-film-director.html

a good being? that didn't come out right.

This popular popped corn that has become part of the theatre taste was once banned from the opulent theatre auditorium. This alluring mix of salt, corn and butter associated with present days theatre culture spawned out of desperation to survive and a marketing ploy.

During the severe worldwide economic downturn of the 1930s known as the Great Depression, Pop Corn saves the movie theatre industry from near collapse. Yes you heard me right. According to wikipedia, the Great depression “was the longest, deepest, and most widespread depression of the 20th century”. The tempting aroma and taste of pop corn at the right place saved the day (at least for movie theatre industry).

Pop corn to some dates back to 3600 BC. And could be term man’s oldest snack but the first variation of maize cultivated in Central America, which later finds it way to North America and later New England in the early 19th century. In 1885 the first steam power pop corn maker was invented by Charles Cretor. This mobile pop corn maker makes growth of this buttery puffy snack fast.

Regarded as a snack for the poor by theatre owners because it is inexpensive - just butter, corn and salt under conditioned heat. It was not admissible in theatres because the high-taste auditorium of the theatres is revered for the elite and polished who will not want the crunchy sound of popped corn distract the movies because then movie has no sound and people rely on inter-titles. When movie added sound in 1927 it opened the theatre to a brand new clientèle and literacy was no longer a need for the movies. It became a pleasure both the educated and illiterate can indulge. This resulted in mass patronage at the theatres. With the huge surge goes huge profits for Theatre owners and pop corn vendors. Not to renegade on its “standard” pop corn was not allowed in the theatre. A snack of choice at parks, circuses, bars and everywhere but not the theatre of movies (Yet).

During the Great depression, the Theatre industry plunged into recess while the pop corn vendors were smiling to the banks. Vendors positioned there stands close to the theatres selling their aromatic snacks to moviegoers before they entered the theatre. It is on record pop corn was smuggled undercoat into the theatre. Moviegoers were subjected to search for popped corn undercoat. As more and more people come to the theatre with pop corn bought across the street in hand, theatre owners couldn’t let this profit opportunity pass by no more. The financial appeal made theatre owners leased "lobby privileges" to vendors for a daily fee. They later cut the middlemen (vendors) by directly selling pop corn to save there crippling theatres.

When in the mid-1930s movie theatres starts sinking and gasping for survival, those selling pop corn stayed afloat. This made Movie theatre owners come to understand the financial power of concessions and its potency for profit. Concession stands were installed in the theatres and the magical marriage between the theatres and pop corn was cemented till present. Now you know why that cheap luxury in plastic buckets is allowed into the theatres.

READ MORE : http://filmsharks..com/2016/09/read-this-before-you-eat-pop-corn-at.html