L access to finance coaching works is difficult
major and crucial problem: there is no money, not enough revenue to pay for lift the work of filmmakers and producers.
Directors who accompany their movie, sometimes for six months of touring in theaters, are very often not paid for this work of cultural activity throughout the territory. Moreover, it is not uncommon for them to lose their rights to unemployment compensation because they give up a job creation during this period. Rooms, primarily, rarely remunerated work, lack of money and sometimes simply for lack of awareness: "The rooms are not always aware of the economic chain and their responsibility vis-à-vis her. We are all caught in this logic of numbers: of course we are required by the guardianship but not always! It is an internalized psychological pressure. "
Associative structures working outside cinema, meanwhile, suffer from their status when they are involved in the broadcast. Their actions at the territorial level are indeed sometimes not recognized as an integral part of dissemination policies and cultural action film.
We consider that the work conducted outside the rooms is not cinema.
Sunday, May 17, 2009
What Does A Vga Switch Card Do
A summarizes this testimony paradox 
"
I work in rural areas where past five years we project movies on video in all sorts of places: the halls, barns, fields, etc.. We move house films, documentary films and we invite developers. We often "room" full. Viewers come forty miles away. We create very special atmosphere, with sets adapted to the context and the film, with meetings and a lot of dialogue ... But we've really begun to be considered in terms of "cinema" in our region, from when we worked in a cinema, a true "room with armchairs. This recognition is linked to entry into the room, but not really the work we are doing for years. " " We stand against this view that regulation tends to confirm and that there are at least two types of film and audiovisual cultural action: the action and action in room off hall. This separation is a danger against which we must assert a unity in the conception of cultural action: to demonstrate that beyond these specific differences, we meet on common goals. We, who work both in cinemas and in the media centers, houses of culture, MJC, prisons, hospitals, community halls etc ..., do the same job!
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