Tuesday, 15 September 2015

FrightFest 2015 Coverage

FrightFest is one of the best genre film festivals around. It continually gives us sneak peeks at exciting prospects while allowing attendees to discover films from out of the blue. As always, the selection is eclectic and ranges from genre exploitation pictures like Stung to dramatic thrillers like Emelie (pictured above).

My FrightFest 2015 coverage is in two parts for Next Projection: Part 1 and Part 2.

Sunday, 6 September 2015

Black Coal, Thin Ice Review


China has a lot of filmic potential and considering the size of its country, it feels like we do not receive enough artistic creations from the population leader. Around the large cityscapes are huge swathes of agrarian gorgeous land that is barely touched. With all the repression, poverty and negatives of the country, cut it and it’s bound to bleed noir. Diao Yi’nan’s does in this murder mystery that scars its ex-cop protagonist and continues to scratch it open for the next six years to make sure the wound is always raw. Sadly, the lack of disciplined filmmaking sags the middle like a leaking roof which restricts its ability to be great.

Bait Review


Dominic Brunt moved into directing with Before Dawn, a zombie film by the self-confessed zombie-obsessive. Now Dominic Brunt has turned to something all the too real for comfort: loan sharks. After the fast-paced zombies showing the inevitability of death during a dramatic crisis, this shows the inevitability of destruction that debt causes. Bait, also known internationally as The Taking, focuses on the characters in the unenviable position of ambitious business owners with the lack of credit behind them to put their plan into action. That is until they meet a generous stranger with a wallet of gold who is willing to be a silent partner in their café dream. What follows is more of a nightmare.

Ultimate Guide: Market Power of Translating Media


Let your media travel

There is no better time to accentuate this than now: domestic box-office is not as integral as it used to be. Hollywood relied on most of its gross coming from its own shores, but there are a few reasons for the sudden decline in influence. The first being piracy, no matter what people say it is detrimental to box office and becoming increasingly so in America and the UK to some degree; the second being that there is a realisation of the power of overseas market and the sheer potential by numbers; and thirdly, foreign markets now want to see these huge-scale blockbusters that only Hollywood has the resources to make. Hollywood is a global commodity. How does Hollywood reach these audiences? They use subtitle services and dubbing services according to each nation’s preference.

Ultimate Guide: Market Power of Translating Literature

Statistics of Translating Literature

Now, more than ever, with further globalisation by internet and online platforms (video on-demand, eBooks and so on) comes increased power of translating media. You can now reach bigger audiences making diving in out of these countries easy, but you do have to cater to their language which requires translation services.
That does not mean you cannot get into main bookstores and cinemas. Foreign box-office is where it’s at, usually being the majority of gross for Hollywood films. It simply means there’s another ‘market-within-the-market’ through VOD (video on-demand) and other electronic marketplaces. Even translating music can be beneficial as proven by ‘99 Red Balloons’ and the ‘Ketchup Song’.
Below is largely based on estimations from websites like Box Office Mojo, IMDb and other media statistic outlets. It is to show the potential of translating your literature/media for other marketplaces. With VOD and eBooks, figures are scarce as companies like Netflix like to keep them under wraps . We shall soon  see if it changes and becomes bragging material like the Box Office has become in the next few years. Studios often use the box office as a measure of success, barometer of quality, guide for future investment. It would be interesting to see if online sales and VOD becomes a similar guiding measurement.

Dominic Brunt Interview



Although Dominic Brunt has appeared in over 1200 episodes of Emmerdale as Paddy, you may start to recognise him as a horror director. After his debut feature, Before Dawn, where fast-paced zombies are introduced during a dramatic moment, Dominic returns with a horror film a lot closer to home. Debt is something that a lot of people can relate to and when debt is actualised into a terrifying loan shark who will do whatever to get his money.
Before Dominic Brunt’s sophomore feature premieres at FrightFest, Ashley Norris got a chance to discuss the film in-depth with the director to learn more about how the film came to him, New French Extremism and if the film is an allegory…