The must-have guide to traditional, emerging and creative TV funding models that are being developed and exploited by social media-savvy documentary filmmakers. Each chapter covers a different form of funding and combines advice from industry insiders - producers, buyers, specialist media agencies and corporate funding bodies - and entertaining case studies that illustrate the benefits and pitfalls of each method. With practical tips, case studies and advice it reveals what grantors, brands and NGOs are looking for in a pitch (they all have different needs and expectations), and the cultural differences that can trip up the unwary producer. Funding examples range from blue-chip TV documentaries, such as Planet Earth, which was co-funded by the BBC, Discovery NHK and CBC to The TV Book Club (More 4), which is funded by Specsavers opticians; to Lemonade Movie, which harnessed the power of Twitter to source free equipment and post-production resources. Readers will discover: the difference between co-productions, pre-sales and acquisitions; how to develop and pitch advertiser funded programming; the new rules on product placement; where to hunt for foundation and grant funding and how to fill in those fiendish application forms; the power of crowd-funding and how to harness the internet; how to sniff out grants and funds held in non-film focused organisations such as the Wellcome Trust; why corporations are keen to fund your documentary and how to get them to part with their money without giving up your editorial control.

Cities are breeding grounds for possibilities… Almost anything and everyone has a chance to be good, bad, heroic, evil, mundane, and magical. And most things, and people, are hybrids. Consider the countless opportunities for people to develop unique, innovative solutions to their problems; consider the challenge of surviving in the chaos of a teeming city where survival is a challenge; consider the opportunities for complete failure; and consider the options available. The urban environment is not forgiving and you should count on survivors using whatever tools they have at hand. You even need to expect magic. Always expect magic, even if there might be a cruder, more expedient, more obvious way of doing things, because witches are people.

First Published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.

In contemporary popular culture, armed women take center stage - but how can they be read from a feminist perspective? How do films, comics, and TV series depict the newly fashionable gunwomen between objectification and feminist empowerment? The contributions to this volume ask this question from different vantage points in cultural and literary studies, film and visual culture studies, history, and art history. They examine military and civic gun cultures, the rediscovery of historical armed women and revolutionaries, cultural phenomena such as gangsta rap, narcocultura and US politics, Bollywood and French cinema, and distinct genres such as the graphic novel, the romance novel, or the German police procedural Tatort.

She thinks she can escape me? She’s wrong. She will never escape. Ella Ashmore was perfect. Hell, she still is. Kind. Sweet. Pretty. A body that doesn’t quit. She’d have guys lined up around the block if they weren’t so worried I’d kill them for looking. Because I never stopped loving her. Even when she found out about me. About my family. Got sickened and disgusted about what I did for a living. Told me to get the hell out. Sure, I left. But I knew I’d be back. That I’d make her mine. And now… I’m back, baby. She needed saving. She put herself out there. For sale. Anyone coulda had her. But I got her. I paid good money for her. And now I’m going to collect.