Case study: Prison Valley

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power to the pixel

Joel Ronez's case study at the first day conference of Power to the Pixel's Cross-Media Forum, 12 October 2010

Prison Valley, it’s:
• A webdocumentary released the 22d april 2010 on
http://prisonvalley.arte.tv
• A TV documentary 59 mn on ARTE the 6th July 2010, also
available on iTunes
• A free iPhone app
• A book Arte Editions / Democratic Books / sept 2010
• A photo exhibition (May 11th – june 12th, galerie Since, Paris)

trailer
• http://www.upian.net/prison-
valley/trailer/211109_TRAILER_PV_DEF_low.zip
• http://vimeo.com/7898134
• http://vimeo.com/15744849

Discussion
between viewers,
and with the
characters

Narrative, graphic
& technical codes
Inspired by game.

iPhone App with
portfolios +
discussion tools

A TV version 59’ Prime time (Arte, 20h30, 6th
July)

A parnterhsip with Yahoo.fr – Libération.fr
and Franceinter.com

Facebook & Twitter : + 5000 tweets with
#prisonvalley

The audience on the 30 september 2010
TV documentary (59mn, june 11th and le Tuesday 6th july at 20h35 (Thema
Prison, FRANCE 1,3% PDA et 285 K, Allemagne 0,66% et 209 K).
VOD on artevod.com (23 sales) and iTunes (309 sales).
iPhone app downloaded 1534 times.
A book (224 pages) éditions Democratic Book/ARTE Editions

MERCI !
Joël Ronez
j-ronez@artefrance.fr
twitter: @ronez

This presentation is a discussion of the issue of legal competency, also called the competency to stand trial, with specific application to competency determinations under Wisconsin state law. It uses the so-called "Slender Man case" that arose in May 2014 in Waukesha, Wisconsin, as a case study into the application of competency law. This presentation is geared particularly to undergraduate and graduate-level students preparing for work in mental health fields, or for anyone who has an interest in understanding legal competence. DISCLAIMER: The creator of this presentation is not an attorney at law or legal counselor. The information presented here is general information only, and is not to be considered as legal advice.

Presented by Lavinia Ciuffa, at the Annual Conference of the Visual Resources Association, March 12-15, 2014 in Milwaukee, Wisconsin. Session 9, Case Studies in International Copyright Compliance: Untangling the Web of Publishing and Sharing Copyrighted Content Online ORGANIZERS: Cara Hirsch, Artstor Allan Kohl, Minneapolis College of Art and Design (on behalf of the VRA Intellectual Property Rights Committee) Vicky Brown, University of Oxford (on behalf of the VRA International Task Force) MODERATOR: Allan Kohl, Minneapolis College of Art and Design Vicky Brown, University of Oxford PRESENTERS: • Matthias Arnold, University of Heidelberg (Germany) • Vicky Brown, University of Oxford (United Kingdom) • Marta Bustillo, National College of Art and Design, Dublin (Ireland) • Lavinia Ciuffa, American Academy in Rome (Italy) • Marika Sarvilahti, Aalto University, Helsinki (Finland) Teachers, students and scholars have long been able to rely on fair use in making content available for teaching, research and study within the United States. However, such protections don’t exist outside the United States. This session explores the various ways that visual resource professionals have addressed copyright compliance issues when making images available for educational and scholarly purposes outside of the United States. Using various case studies, the session will address the sharing of image resources between and among different institutions, determining when and how images can be made available to the general public, creating image-based research collaborations across national boundaries, and the international aspects of publishing with images.

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Of course it’s exciting when people offer you money to make your project, but in this fragmented world of cross-platform production, more often than not, you will be working with several funders, in different territories, for a variety of audiences, on many platforms, over extended periods of time. This cautionary tale uses case studies and personal experience to highlight the potential pitfalls of working on a large-scale cross-platform production and aims to provide strategies for creating a story-world that covers all the bases whilst keeping true to the heart of the project.

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Well, not really. But if you want to be truly independent in your art and craft, you need to establish a business model that works for you and your company. Even in a world where audiences spend more time online than watching TV, financing digital and cross-media content is still a challenge. The entertainment industry is still organised in a silo structure and new, experimental and creative projects struggle to get the necessary funding. To succeed producing cross-media you need to understand the limitations and the opportunities available, from searching for available funding at the right places, to combining traditional and new sources of financing and working with brands and advertisers, without ever forgetting the potential international market. In the last decade, Nuno Bernardo was able to finance and produce iconic cross-media projects, from Sofia’s Diary to Beat Girl, that got awards and recognition but also generated the important revenues.

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