{"id":1710,"date":"2022-10-16T11:00:18","date_gmt":"2022-10-16T11:00:18","guid":{"rendered":"https:\/\/www.lafraguabruta.com\/?p=1710"},"modified":"2022-12-31T12:30:25","modified_gmt":"2022-12-31T12:30:25","slug":"no-es-cosa-seria-2","status":"publish","type":"post","link":"https:\/\/www.lafraguabruta.com\/index.php\/2022\/10\/16\/no-es-cosa-seria-2\/","title":{"rendered":"(NO) ES COSA SERIA"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>PREPARAR UN DOSSIER Y APLICAR A CONVOCATORIAS<\/strong>. II EDICI\u00d3N<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong>SEMINARIO INTENSIVO. ENERO 2023<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Muy sencillo y muy r\u00e1pido: un taller para aprender definitivamente c\u00f3mo debes aplicar a una convocatoria de cine y\/o artes visuales.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>AL DETALLE<\/strong>:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SESI\u00d3N 0: <strong>Conversaci\u00f3n inaugural<\/strong><\/strong>. \u00bfDe qu\u00e9 va esto de aplicar? Qu\u00e9, c\u00f3mo, por qu\u00e9. (L. 10)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SESI\u00d3N 1 y 2: <strong>Las cuestiones que ata\u00f1en al apartado de proyecto<\/strong><\/strong> <strong>I<\/strong>. El guion. (L. 10 y M. 11)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>1.1<\/strong>. Logline, sinopsis y tratamiento. Las cosas claras, sint\u00e9ticas y con gancho. No es publicidad pero es publicidad. <strong>2.1<\/strong>. Lo que se espera de un guion para una convocatoria de ficci\u00f3n y lo que se espera de un guion para una convocatoria de documental. <strong>2.2<\/strong>. Lo que de ninguna manera se espera, ni se pide, ni se valora en ninguna convocatoria.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SESI\u00d3N 3: Las cuestiones que ata\u00f1en al apartado de proyecto<\/strong> <strong>II.<\/strong> El proyecto de cine o de arte. (X. 12)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>3.1.<\/strong> Memoria de proyecto \u00bfpero tiene memoria el proyecto?  <strong>3.2.<\/strong> Conceptualizaci\u00f3n y otras moderneces. <strong>3.3<\/strong> Tratamiento visual o c\u00f3mo decir lo que el esteticista, sentado en su despacho, quisiera saber (\u2013dicho de otro modo: la forma que habla en coherencia\u2013). <strong>3.4<\/strong>. Referencias, tradiciones, citaciones. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SESI\u00d3N 4: <strong>Las cuestiones que ata\u00f1en al apartado de direcci\u00f3n (o del artista)<\/strong><\/strong>. (J. 13)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><strong>4.1.<\/strong> <\/strong>Memoria de direcci\u00f3n. Pero \u00a1si soy peor que Nemo!<strong> <strong>4.2.<\/strong> <\/strong>Trayectorias rectas, curvas y\/o a trompicones.<strong> <strong>4.3<\/strong> <\/strong>\u00bfCurr\u00edculo en tercera persona, en primera, escrito por mi abuela? \u00bfpongo primero que fui al cole o dejo para lo \u00faltimo la residencia art\u00edstica en casa de mi primo que me hice este verano? <strong>4.4. <\/strong>Si quieres incluirlo, los anexos est\u00e1n para algo. Cartas de recomendaci\u00f3n y otros extras del mont\u00f3n.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SESI\u00d3N 5:<\/strong> <strong>Perspectiva del asunto desde el arte contempor\u00e1neo. <\/strong>(V. 14)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>5.1.<\/strong> \u00bfC\u00f3mo lee un proyecto alguien especializado en arte? \u00bfQu\u00e9 pone en valor: la trayectoria del artista, la actualidad (pol\u00edtica) del discurso, la rentabilidad para la entidad a largo plazo o de todo un poco? <strong>5.2.<\/strong> \u00bfEs lo mismo una convocatorias de una entidad p\u00fablica que de una privada?. <strong>5.3.<\/strong> \u00bfPero esto es arte? Las siete diferencias entre industria, cultura y arte o c\u00f3mo ponerse el sombrero zalamero sin perder la necesidad y el instinto de b\u00fasqueda de aquel que hace.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SESIONES 6-8:<\/strong> <strong>Las cuestiones que ata\u00f1en al apartado de los n\u00fameros<\/strong>. (L. 17, M. 18, y X. 19)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>6.1. <\/strong>Pensar en global y de forma estrat\u00e9gica. <strong>6.2.<\/strong> Hacer pron\u00f3sticos que no sea en base a ning\u00fan hor\u00f3scopo. Decir que adaptar\u00e1s Mobydick y luego poner un boquer\u00f3n en el papel de la ballena, no vale. <strong>8.1.<\/strong> Presupuestar y se\u00f1alar fechas en un calendario. <strong>8.1.<\/strong> De c\u00f3mo aprender d\u00f3nde y c\u00f3mo solicitar dinero y dise\u00f1ar un plan de financiaci\u00f3n realista. <strong>8.2.<\/strong> Panorama de las fuentes de financiaci\u00f3n. <strong>8.3.<\/strong> Dudas de este planeta.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>SESI\u00d3N 9 y 10:<\/strong> <strong>Las cuestiones que ata\u00f1en a la distribuci\u00f3n<\/strong>. Festivales y circuitos. (J. 20 y V. 21)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>9.1.<\/strong> La corta vida de las pel\u00edculas o c\u00f3mo hacer que beban de la fuente de la eterna juventud antes de envejecer a fin de a\u00f1o. <strong>9.2.<\/strong> C\u00f3mo aplicar y moverse dentro del complejo mundo de los festivales<strong>. <\/strong>Clases de festivales, calendarios y solapamientos. <strong>10.1.<\/strong> Televisiones y dem\u00e1s circuitos torturantes. <strong>10.2.<\/strong> \u00bfSon alternativas las alternativas? Otras estrategias de distribuci\u00f3n. <strong>10.3.<\/strong> \u00bfEn serio hablamos de arte? \u00bfQu\u00e9 pasa en los museos, las galerias, las ferias y las bambalinas? <strong>10.4<\/strong> Materiales promocionales de una pel\u00edcula.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>DIN\u00c1MICA<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Esta vez, la ortodoxa. Un grupo en un aula virtual escuchando lo que alguien dice, tomando notas y haciendo preguntas. Quien habla m\u00e1s pondr\u00e1 su <em>powerpoint <\/em>o similar con ejemplos y soltar\u00e1 chascarrillos para amenizar el contenido. Se compartir\u00e1n algunos materiales pr\u00e1cticos. Quien habla menos nos har\u00e1 llegar un trabajo en lo que est\u00e9 o haya estado trabajando parapuntualmente asesorarlo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>DESTINATARIOS<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Destinado a quienes a\u00fan no han aplicado con fe a ninguna convocatoria, ayuda, beca, residencia o similar.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>HORARIOS Y PRECIOS<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On-line.<br>Del 09 al 20 de enero del 2022.<br>L, M, X, J y V de 19h. a 22h. <br>Posibilidad de asistir a sesi\u00f3n\/m\u00f3dulo independiente.<br>Grabaci\u00f3n y acceso a grabaciones durante 15 d\u00edas. <br>275\u20ac taller completo.<br>50\u20ac sesi\u00f3n suelta.<br>Pol\u00edtica de bolsillos apretados (preg\u00fantanos).<br>Descuento DOCMA, CINECLUB y UNI\u00d3N DE CINEASTAS del 10%. <br>V\u00edtores y aplausos a quienes se matriculen corriendo y no lo dejen para \u00faltima hora (10% no acumulable).<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>A CARGO DE<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Elisa Puerto (guion), Oscar Garc\u00eda (Cofundador\/Director de la PAC, Coordinador de JustMAD Art Fair y comisario independiente), Elena Arroyo (proyecto), Irene Borrego (de \u00ab59 en Conserva\u00bb en producci\u00f3n),  Andrea Guzm\u00e1n Urz\u00faa (de DOCMA, en distribuci\u00f3n), David Varela (de DOCMA, en festivales).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>INSCRIPCI\u00d3N<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La inscripci\u00f3n se realizar\u00e1 mediante el env\u00edo de email a <a href=\"mailto: lafragua@lafraguabruta.com\">La Fragua Bruta<\/a> especificando la actividad a la cual se quiere asistir. El pago se realizar\u00e1 mediante transferencia bancaria indicando como concepto <strong>DOSSIERES<\/strong>. Una vez recibamos el justificante de ingreso, os reservamos la plaza para el encuentro respondiendo a vuestra inscripci\u00f3n con un correo de confirmaci\u00f3n.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Muy sencillo y muy r\u00e1pido: un seminario para aprender definitivamente c\u00f3mo debes aplicar a una convocatoria de cine y\/o artes visuales. (II Edici\u00f3n)<\/p>\n","protected":false},"author":1,"featured_media":1711,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"tags":[85,88,90,84,34,91,87,83,46,93,95,97,92,86],"class_list":["post-1710","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","tag-aplicar-subvencion","tag-ayudas-de-arte","tag-becas-de-cine","tag-carpeta-de-produccion","tag-cine-documental","tag-convocatorias-de-arte-2","tag-docma","tag-dossier","tag-guion","tag-memoria-de-direccion","tag-memoria-de-produccion","tag-plan-de-financiacion-cine","tag-presupuestos-de-cine","tag-subvencion"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>(NO) ES COSA SERIA -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.lafraguabruta.com\/index.php\/2022\/10\/16\/no-es-cosa-seria-2\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"(NO) ES COSA SERIA -\" \/>\n<meta property=\"og:description\" content=\"Muy sencillo y muy r\u00e1pido: un seminario para aprender definitivamente c\u00f3mo debes aplicar a una convocatoria de cine y\/o artes visuales. 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