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James Bond 007 No time to die 2020 Daniel Craig, Rami Malek

Trailers for May 2020

ÉCU-The European Independent Film Festival


ÉCU - The European Independent Film Festival is dedicated to the discovery and advancement of the very best independent films from around the world. We are a festival who believes in our independent filmmakers and their artistic talents. ÉCU proudly provides a unique platform that brings together diverse audiences who are hungry for something other than major studio productions and original and innovative filmmakers. 

 
The 16th edition of ÉCU - The European Independent Film Festival will take place on 9th-11th April 2021. Now open for submissions!

 

 

 

For more details regarding the festival, please visit our website at www.ecufilmfestival.com

 

 


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Girl Talk: Art and Copyright

by Marc Rickenbach

American mash-up master Girl Talk has been the subject of much
controversy due to his copyright-bending art and wild live shows. With a
new album out (available as a free download), we take a look at an
artist who calls attention to the possibilities of the Internet in
enhancing creativity via mash-up style music videos – which are in turn
often put together from existing content.

If there’s one musician who truly represents the current state of
affairs on intellectual property and copyright-bending art, as well as
shakes up the established order (and somehow gets away with it), it
would be Gregg Gillis – better known as Girl Talk.

In the last decade, Girl Talk has released four brilliant mash-up
albums that have gained an unclassifiable, but loyal, following. He’s
managed to make fans of The Verve spit Ludacris’ ‘booty’-laden pick up
lines, and couple the sounds of Britain’s Spencer Davis Group with
Texas’ UGK, and it all seems to make perfect sense.

Now with the release of his new album All Day, Girl Talk and label
Illegal Art have made the inevitable next move of giving away the entire
album for free.

Gillis is no stranger to legal threats concerning copyright
infringement claims. Not even iTunes carries his albums out of these
concerns. Though he has relied on a fair use claim as cover, which has
staved off anything serious thus far, he has been the subject of plenty
of polemics on copyright in the 21st century. He even got a mention in
the U.S. House Subcommittee on Telecommunications which discussed the
future of copyright.

It seems that Gillis has been sliding through based mostly on the
fact that big labels are too hesitant to take him to court in the fear
that he might win and set precedent. Personally I’d like to think (and
there is no data to prove this): couldn’t it be that Girl Talk’s wide
choice of music and popularity might act as a promotional asset? Just as
DJ Danger Mouse’s The Grey Album got me, a huge Beatles fan, to be
become a Jay-Z fan?

Much to the ire of big-label sensibilities – as can be seen by broken
links and removed content on YouTube – Girl Talk’s videos follow the
same thread. His clips have been made mostly by his fans, following the
same method in which his albums are produced. Pull a clip from here,
pull a clip from there, match and mash them up, and voilà: Girl Talk for
the eyes.

There are also some fan-made clips from footage of Girl Talk’s
infamous performances. “Bounce That” and “No Pause” are two notable
videos worth taking a look at.

Gillis isn’t the only one with these sorts of videos. Ed Banger
artists, Carte Blanche (DJ Mehdi and Riton), have a video out for the
track “Gare du Nord”, a nostalgic trip back to 1980s Detroit. And
Argentinian artist-musician-expat now calling London home, Sebastian
Litmanovich aka Cineplexx, has a few mash-up style clips up on his
YouTube channel as well.

Now, of course we here at ÉCU do not condone the illegal use of
copyrighted material, but it’s a subject worth exploring as it most
certainly will be hashed out on every level of artistic creation in the
coming years.

So if you yourself are feeling the itch to mix and match, take a look
around for Public Domain or Creative Commons License sites for open
source videos that are free to use (though make sure you check the
specific license attributed to each clip). Sites like Community Video
offer up a random helping of obscure clips from around the world. Take a
look around, maybe even set up a homemade green screen and have a go at
it.

 

Girl Talk : L’Art et les droits d’auteur

Girl Talk, le maître américain en matière de mash-up*, a
fait polémique en raison de ses entorses aux droits d’auteur et de ses
concerts live déjantés. À l’occasion de la sortie de son nouvel album
(disponible en téléchargement gratuit), penchons-nous sur cet artiste
qui met en valeur la capacité d’internet à développer la créativité, à
travers des clips
mash-up, qui rassemblent souvent des morceaux déjà existants.

S’il
est un musicien qui incarne fidèlement l’état actuel du débat sur la
propriété intellectuelle et les créations non-respectueuses des droits
d’auteur, et qui perturbe l’ordre établi (mais finit par s’en sortir),
c’est bien Gregg Gillis, alias Girl Talk.

Au
cours de la dernière décennie, Girl Talk a sorti 4 albums mash-up qui
ont fait des adeptes aussi inclassables que fidèles. Il a réussi à
faire recracher les phrases de drague salaces de Ludacris par des fans
de The Verve, à mélanger la musique de l’Anglais Spencer Davis Group
avec celle du Texan UGK, et le résultat semble tout à fait naturel.

Avec son nouvel album All Day, Girl Talk et le label Illegal Art ont franchi le pas, devenu inévitable, de donner l’album entier gratuitement.

Gillis
n’est pas étranger aux menaces légales liées aux poursuites pour
infraction des droits d’auteur. Même iTunes refuse de proposer ses
albums par crainte des sanctions. Même en invoquant le droit à l’usage
loyal, qui lui a épargné des ennuis sérieux jusqu’à présent,
il a nourri de nombreuses polémiques sur les droits d’auteur au 21ème siècle. Il a même été mentionné par le Sous-Comité des Télécommunication américain (U.S. House Subcommittee on Telecommunications), qui a débattu de l’avenir des droits d’auteur.

Il
semblerait que Gillis a su esquiver les attaques grâce au fait que les
grandes maisons de disque hésitent à le traîner en justice, de peur
qu’il en sorte vainqueur et fasse jurisprudence. Bien que l’on n’en ait
aucune preuve, j’aime à penser que le large éventail musical de Girl
Talk et sa popularité constituent un avantage promotionnel. C’est comme
ça que
The Grey Album, de DJ Danger Mouse, a converti le fan des Beatles, que je suis, en fan de Jay-Z ?

À
la grande colère des maisons de disque dominantes, comme le montrent
les coupures et les liens brisés sur YouTube, les clips de Girl Talk
suivent la même logique. Ils sont surtout faits par des fans, selon la
manière dont sont produits ses albums. Un clip par-ci, un clip par-là,
on secoue bien fort, et voilà : Girl Talk version image.

Il y a aussi des clips faits par des fans à partir de vidéos de ses infâmes concerts. Les clips de “Bounce That” et “No Pause” en valent la peine.

Gillis
n’est pas le seul à proposer ce genre de clips : Ed Banger artists,
Carte Blanche (DJ Mehdi et Riton), en ont sorti un pour le titre
“Gare du Nord.”,
un retour nostalgique au Detroit des années 80. Sebastian Litmanovich
aka Cineplexx, l’expat-musicien-artiste argentin qui se dit maintenant
londonien, a aussi quelques
clips mash-up sur YouTube.

Bon,
ÉCU n’excuse pas l’usage illégal d’oeuvres protégées par les droits
d’auteur, mais c’est un sujet qui mérite d’être exploré, étant donné
qu’il sera certainement dépouillé à tous les niveaux de la création
artistique dans les années qui viennent.

Donc
si l’envie de faire des mélanges vous démange, allez-voir les sites
relevant du domaine public et sous licence Creative Commons pour trouver
des clips libres d’utilisation (vérifiez quand même la licence
spécifique accordée à chaque clip). Des sites comme
Community Video
offrent un choix aléatoire de clips du monde entier. Je vous conseille
d’y jeter un oeil, voire de monter votre propre écran vert, et de vous
lancer !

*Mash up : Genre musical hybride qui consiste à associer dans un même morceau plusieurs titres existants.

 

 

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About ÉCU-The European Independent Film Festival

Hillier Scott
(ECU)

 

 

Scott Hillier, Founder and President of ÉCU - The European Independent Film Festival
 
Scott Hillier is a director, cinematographer, and screenwriter, based in Paris, France. In the last 20 years, Hillier has gained international recognition from his strong and incredible cinematography, editing, writing, producing and directing portfolio in both the television and film industries.  
 
Scott began his career in the television industry in Australia. In 1988, he moved to London getting a job with the BBC who then set him to Baghdad. This opportunity led him to 10 years of traveling around world for the BBC, mainly in war zones like Somalia, Bosnia, Tchetcheynia, Kashmir, and Lebanon. After a near fatal encounter with a Russian bomber in Tchechnyia, Hillier gave up his war coverage and began in a new direction. 
 

He moved to New York City in 1998.  He directed and photographed eight one-hour documentaries for National Geographic and The Discovery Channel. Based on his war knowledge and experience, Hillier wrote and directed a short film titled, “Behind the Eyes of War!" The film was awarded “Best Short Dramatic Film” at the New York Independent Film and TV Festival in 1999. From that he served as Supervising Producer and Director for the critically acclaimed CBS 42 part reality series, "The Bravest” in 2002 and wrote and directed a stage play called, "Deadman’s Mai l," which ran at Le Théâtre du Moulin de la Galette in Paris during the summer of 2004. He then became the Director of Photography on a documentary titled, “Twin Towers." This was yet another life changing experience for Hillier. The riveting documentary won an Academy Award for "Best Documentary Short Subject" in 2003. In 2004, Hillier changed continents again, spending three months in Ethiopia. He produced “Worlds Apart,” a pilot for ABC America / True Entertainment / Endemol. As you can see, Hillier was and is always in constant movement and enjoys working in a number of diverse creative areas including documentaries, music videos, commercials, feature and short films.

 
Scott studied film at New York University and The London Film and Television School. He also studied literary non-fiction writing at Columbia University. Hillier's regular clients include the BBC, Microsoft, ABC, PBS and National Geographic. Between filming assignments, he used to teach film, a Masters Degree course in Screenwriting at the Eicar International Film School in Paris, France and journalism at the Formation des Journalistes Français in Paris, France. 
 

 


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