ARRQ

2 articles

Conférence sur le financement participatif (ARRQ)

Un enregistrement vidéo d’une rencontre sur le financement participatif, présentée par L’Association des réalisateurs et réalisatrices du Québec (ARRQ) le 28 avril 2015. Dans un contexte où les modèles d’affaires sont bouleversés dans les domaines de la télévision, du cinéma et des médias numériques, le socio-financement ou financement participatif représente un moyen réaliste de réaliser les projets qui nous tiennent à cœur ou pour compléter un financement.

Conference on Crowdfunding (ARRQ)

(Only available in French) A video recording of a discussion on crowdfunding, presented by l’Association des réalisateurs et réalisatrices du Québec (ARRQ) on April 28, 2015. In a context where business models for the television, film and digital media sectors are in a state of uncertainty, crowdfunding or participatory financing models are now viable options in carrying out projects of importance.

1 January 2014

Caring for Video Art: Best Practices Guide (Vtape) 3

This guide was developed by Vtape as a tool for organizations to develop best practices that will assist in documentation and inventory, the creation of suitable storage environments, as well as the handling and maintenance of their video art. The techniques and processes discussed in this guide are for video works created and found on magnetic videotape formats such as ½˝ open-reel, ¾˝ Umatic, VHS, Betacam SP, MiniDV and Digital Betacam.
3 October 2017

Contract Templates for Artists (CQAM) 3

The Conseil québécois en arts médiatiques (CQAM), in collaboration with consultant Georges Azzaria and a committee of artists in digital arts, have developed a series of contract templates for use by the media arts community.
18 December 2018

Think Before You Appropriate: A guide for creators and designers 1

People and cultures have always exchanged and borrowed ideas from each other to create new forms of art and symbolic expression. Whether intentionally or not, most if not all human creations reflect varied sources of inspiration. Why, then, are some products negatively labelled “cultural appropriation” or their creators accused of disrespecting the very cultures they found inspiring? And why do products inspired from Indigenous cultural heritage seem to spark particularly strong reactions and pushback? This guide, developed by The Intellectual Property Issues in Cultural Heritage (IPinCH), unpacks these important questions. It provides advice to designers and marketers on why and how to avoid misappropriation, and underlines the mutual benefits of responsible collaborations with Indigenous artists and communities.