We are an open and inclusive collective of student artists and student entrepreneurs who band together for social contacts, artistic education and stimulation, entertainment and all things pertaining to the advancement of our dreams and careers in media, journalism, film, television, music, sound and video recording and distribution, set design, costume design, lighting design, concert, online innovations, photography, architecture, mixed and multi-media and dramatic performance.
Film Blog for Assistant Editors might be of interest to film students and educators . . .
An interesting blog for assistant film editors is at Post Production Standards.
It looks to be a good place for standardizing editorial practices and sharing ideas. And its not just for assistants.
The LA Film School sponsored a seminar on editing in early 2007, hosted by Joe Byron. The panel included editors Stuart Bass, A.C.E., Tchavdar Georgiev, and Stephen Rivkin, A.C.E. along with assistant editors Andrew Charlton, Meagan Keane, and Alan McCurdy.
It was moderated by Harry Miller, A.C.E.
Topics include how each got into the film business, collaboration in the edit suite, creativity and the use of technology, and finally a Q&A with the students.
The series is posted on the web site Digital Content Producer, from the publishers Millimeter magazine.
eDIT The Filmmaker's Festival is an international platform for filmmakers from all disciplines of film production to meet and share ideas about how to make good films. After all, working in film means working as a team.
The Festival partners with the editors’ association A.C.E. and the European Federation of Cinematographers IMAGO to present a state of the art program around the creation of moving image as contemporary storytelling.
eDIT The Filmmaker’s Festival features top international speakers to present their work. The festival program focuses on visual effects, animation, cinematography, editing and production for cinema, television and advertising.
The Festival is visited by film-professionals from all areas with an emphasis on digital media and production techniques.
Altogether, the events of eDIT The Filmmaker's Festival register about 7.000 visitors annually, including about 30% students.
As in the past, eDIT: eDucation continues to provide an important service to pupils and students.
Festival screenings are catering to the public's interest in new international films.
The “Best of Festivals” series is used to showcase productions that are not commonly seen in German cinemas despite having received acclaim at international festivals.
The highlight of the festivities is the festival gala where outstanding filmmakers are presented with festival honors in front of a crowd of 800 invited celebrity guests from the film industry and society.
Also the extraordinary cultural program (featuring the likes of Grace Jones, William Forsythe, Nina Hagen, Branford Marsalis or Helen Schneider) makes the opening gala a highlight amongst the events of the fall.
The festival party or lounge marks the middle evening of eDIT The Filmmaker's Festival. It is the place to be for networking, entertainment, fun.
eDward is the international young filmmakers award of the eDIT The Filmmaker's Festival. An acclaimed international jury chooses the best 30-second-film on a given subject.
All filmmakers up to 30 years of age can participate.
With the State of Hessen, the City of Frankfurt and the Office for public broadcasting and new media in Hessen public bodies are funding eDIT The Filmmaker's Festival, enabling it to be an independent event, free of economic interest and obligations other than the pure commitment to the art and science of the moving image.
Be sure to log onto the festival website and sign up to the FREE newsletter!!!
See you at eDIT The Filmmaker's Festival!
You can learn more about eDIT The Filmmaker's Festival here:
Fastshooters is an on-line database filled with short films & documentaries
All productions in the database are for sale ... (available rights)
The aim of this website / database is to bring filmmakers and Acquisition Managers, Programme Buyers, Distributors, Sales Agents, Co-Producers and other film & TV related professionals together.
Fastshooters.com provides an online database of short films. Put your production on-line and reach a targeted audience of entertainment professionals actively seeking their next programming opportunity.
Searching the database is completely free of charge.
Adding your production information is also completely free of charge!
Although open to the general public, this site is especially interesting and useful for Acquisition Managers, Program Buyers, Distributors, Sales Agents, Co-Producers and other film & TV related professionals.
Main rules: the film has to be finished, maximum 25 minutes in length, and produced/finished after 1993.
For a lot of students who desire to become producers, there's got to be a shock when first exposed to the 'legalese' speak of entertainment lawyers and barristers.
Recently I needed to shift gears: I thought I would be developing a new feature film this year, but the worldwide credit crunch put that on hold for the time being.
But I had already started trading with my new company, and I needed to find ways to develop cash flow.
In a report on filmmaking by the British Council last year, and emphasis was made on developing 'diversified revenue streams' for small producers to stay afloat.
The projected areas of growth included New Media and international co-productions:
The UK Association of Independent Film Producers (PACT) supports the decision of our company to ‘diversify’ our ‘revenue streams’, and not only to rely upon feature film production:
“The call to arms for independents is you better start growing those other revenue streams,” said Oliver. “You’ve got to look at what your share of revenue is from secondary and new media exploitation and if that’s sufficient. That means a shift in business focus to maintain momentum.” (PACT 2008a: 7)
This year, for example, both new media revenues and international revenues were down. Over the last three years, though, both areas have shown significant growth, and as revenues from UK primary commissions begin to level out, both markets are going to be key to the continued growth of the sector. (PACT 2008a)
PACT (2008a). Independent Production Census. London, PACT UK Independent Film Producers Assocation.
We have already 'diversified' and we're going after production contracts in specialty 'niche market' areas, which other market research tells us might be a better bet to 'weather out' the global credit slow down for feature films.
Either way, I found myself having to know an awful lot recently about U.S. financing, as well as international co-production treaties and contract details.
I found that a course I took at the Miami School of Entertainment Technology when I was doing the Associate of Science program in Film Production Technology really came in handy, so thanks Prof. James, where ever you are right now.
I had such a great time studying film at Miami-Dade College!
And for that class we used a fantastic book, which is still current and helped me in my 'catching up' again with legal and contract details, by Mark Litwak:
Here's more about the book:
Dealmaking is the first self-defense book for everyone working in the film and television industry, Addressing a general, non-attorney readership, it is a fascinating, highly accessible and practical guide to current entertainment laws peculiarities and "creative" practices.
Armed with this book, filmmakers can save themselves thousands of dollars in legal fees as they navigate the entertainment business's shark-infested waters. Whether you are a professional or wannabe producer, writer, director, or actor, Litwak can help you make the most of your business dealings while steering you clear of contractual traps.
The second edition of this popular book contains hundreds of updates and revisions of the first edition and includes two new chapters: Legal Remedies and Retaining Attorneys, Agents, and Managers.
I think everyone should have copy of this book in their library, especially if they hope to work in the US or do co-production deals that involve talent or crew from the states or Canada.
Click here to go directly to my personal blog page called Welsh-American Family Genealogy, on the World Wide Web.
Click here to go directly to my personal blog page called Welsh Music, Film, and Books Symposium, on the World Wide Web.
Click here to go directly to my personal blog page called Celtic Cult Cinema on the World Wide Web.
The first issue of this new Journal of Adaptation in Film and Performance has just been published by Intellect.
It is edited by Richard Hand and Katja Krebs with the help of Martha Minier and marks a step forward for Cardiff School of Creative & Cultural Industries (CCI/ATRiuM) in having an internationally refereed journal coming out of the faculty.
This is a fantastic achievement and is recognition of CCI/ATRiuM's growing stature in this field of research.
Editors: Richard J. Hand University of Glamorgan rhand[at]glam[dot]ac[dot]uk
Katja Krebs University of Glamorgan kkrebs[at]glam[dot]ac[dot]uk
Adaptation, or the conversion of oral, historical or fictional narratives into stage drama has been common practice for centuries.
In our own time the processes of cross-generic transformation continue to be extremely important in theatre as well as in the film and other media industries.
Adaptation and the related areas of translation and intertextuality continue to have a central place in our culture with a profound resonance across our civilisation.
Aims and Scope:
Adaptation in the form of the conversion of oral, historical or fictional narratives into stage drama has been common practice for centuries.
In our own time the processes of cross-generic transformation continue to be extremely important in theatre as well as in the film and other media industries.
Adaptation and the related areas of translation and intertextuality continue to have a central place in our culture with a profound resonance across our civilisation.
As an academic discipline, Adaptation Studies has begun to establish itself in the last few decades as an important area of scholarship and research which continues to make significant contributions to our analysis and understanding of a complex and increasingly diverse world culture.
Journal of Adaptation in Film & Performance is a new, peer- reviewed journal designed to engage with specific issues relating to performance on stage, film, television, radio and other media.
Embracing comfortably these disciplines under the umbrella of adaptation theories and practices, it attempts to challenge widespread views of national cultural histories and global constructions of performance culture by analysing methods, histories and occurrences of adaptation across a range of media.
We would like to invite contributions that offer historical, theoretical or practice- based considerations and discussions of adaptation in performance in the context of one of the following topics:
Translation as adaptation / Theatre / Film / Television / Radio / Gaming / Graphic narratives Submission Details
To submit to future editions, please, send your completed papers (4,000 – 6,000 words) accompanied by a short CV to the editors Richard Hand and Katja Krebs.
If you would like to discuss any specific proposals before submitting a completed paper, please contact the editors.
Short ‘Notes and Comments’ contributions (up to 1000 words) that facilitate debate and exchange will also be considered.
Articles in the current issues include:
Art of the Past: Adapting Henry James’s The Golden Bowl Authors: Sarah Artt
Adaptation as Education: A Lady Macbeth of the Mtsensk District Authors: Freda Chapple
In Praise of Treason: Translating Calabar Authors: Pedro de Senna
Uncle Tom’s Cabin as Dominant Culture Authors: Jim O’Loughlin
Translating the City: A Community Theatre Version of Wim Wenders’ Wings of Desire in Newcastle-upon-Tyne Authors: Duˇska Radosavljevic
It has been estimated that an overwhelming percentage of Welsh films and television dramas are intentionally based upon other literary sources.
This overwhelming dependence upon literary adaptation is primarily from important Welsh literary or cultural sources.
This suggests an attempt to ‘recall and recollect’ and to re-‘write the nation’, after a period of suppressed or neglected representations of Welsh-ness.
While Dave Berry’s book and other studies have attributed this Welsh dependence upon literary adaptation as ‘laziness’ (Berry 1994: 234), we see it as being related to issues of post-colonial ‘re-telling’ of a national story, or more related to the economics of production.
For example, Stephen Bayly directed Joni Jones (1982) as a well-received television series for S4C, an adaptation based upon the well-known children’s stories by R. Garallt Jones entitled Gwared y Gwirion or ‘Redemption of the Innocents’.
It is often the case in Wales, that directors will create a series which is actually suited to be converted into a feature film at a later date, should the funding and political will be present to effect the re-formatting.
Additionally, one of Wales's most famous sons is Andrew Davies, who is known around the world as the 'Prince of Adaptation'.
Andrew Wynford Davies (born September 20, 1936 in Rhiwbina, Cardiff, Wales) is a British screenwriter.
He is the creator of the children's Marmalade Atkins television series and A Very Peculiar Practice, and is also well known for his adaptations of classic works of literature, including the 1995 television adaptation of Pride and Prejudice starring Colin Firth and Jennifer Ehle and the 1998 adaptation of Vanity Fair.
Literary and stage adaptations have added clout with film production investors, who assume that a successful novel or stage play will naturally make a successful film.
Some screenwriters have been known to 'invent' a novel AFTER writing a film script, for purposes of marketing the film, and for raising venture capital.
In small nations, broadcasting drama department Commissioning Editors often opt for an adaptation. This satisfies several remits: nationalistic and cultural agendas are fulfilled, while it's assumed that an established audience exists for the new film or TV series.
My favorite book on film and literature in general is Tom Corrigan's 'Film & Literature' (1999, Prentic Hall Inc / Simon & Schuster).
Here's a pleasant Youtube tribute to Colin Firth in Pride & Prejudice:
'Adaptation: Studying Film and Literature' (Paperback) by John Desmond (Author), Peter Hawkes (Author) is concise and readable new text for courses in Film Adaptation or Film and Literature introduces students to the art of adapting works of literature for film.
'Adaptation' describes the interwoven histories of literature and film, presents key analytical approaches to adaptation, and provides an in-depth overview of adaptations of novels, short stories, plays, nonfiction, and animation.
The book concludes with an analysis of why adaptations sometimes fail.
For additional info please contact Dr. Mark Leslie Woods at mwoods[at]glam.ac.uk
The Skillset Screen Academy Wales (SSAW) is a new partnership for high-level training and education that focuses on the film industry.
Date for your diary . . . SSAW event for new and returning students
The Skillset Screen Academy Wales (SSAW) warmly invites new and returning students* to an evening at Cineworld Cinema, Mary Anne Street, Cardiff on the 18th of October 2007
New students - wondering what advantages being an SSAW student will offer? returning students - want to find out more about collaborating with other SSAW courses on your graduation films, or find out about what you can expect this year in terms of masterclasses and festival visits?
Then join us for one or all of the following…
5-7pm (Bar) A speed-networking event for students from different SSAW courses (meet the collaborators for your graduation films!)
5pm (Cinema) A screening of the best animation films from 2006 and 2007 graduates
6pm (Cinema) A screening of the best live action films from 2006 and 2007 graduates
7pm (Cinema) An industry masterclass on film and animation in Wales
8pm (Bar) A networking reception with students and with SSAW Industry Panel members
Space for 170 students and staff.
To book your place (please specify which elements you would like to attend) email hannah@screenacademywales.org before the 15th of October
* Students starting, or returning to, film and animation courses at the International Film School Wales (University of Wales, Newport), Faculty of Creative and Cultural Industries (University of Glamorgan), School of Digital Media (Swansea Institute of Higher Education) and the Royal Welsh College of Music and Drama. To check you are an SSAW student click
Are you a member of the AIM / ATRiuM Intelligent Media? Why not? It’s free and some your friends are joining – so what are you waiting for?
Just what are the Five Primary Aims of AIM / ATRiuM Intelligent Media?
Our Five Primary Aims
1) We are an open and inclusive collective of student artists and student entrepreneurs who band together for social contacts, artistic education and stimulation, entertainment and all things pertaining to the advancement of our dreams and careers.
2) We devise and launch events and projects related to media, journalism, film, television, sound and video recording and distribution, set design, costume design, lighting design, concert, festival and special events promotions, online innovations, presentational graphics, photography, architecture, mixed and multi-media, dramatic performance, public speaking, performance art, individual or collaborative projects and other diversions.
3) We assist each other in developing and perfecting our art forms and professions.
4) We sponsor, attend and promote artistic, educational and social events, including imagined, narrated, fictional, real and virtual.
5) We assist one another in developing our artistic and professional portfolios, and we share these creations at various networking opportunities; with all these activities, we commit ourselves to the promotion and refinement of our own as well as our colleagues’ artistic portfolios and professional dossiers.
Is AIM a political or religious organization?
While it’s true that our ultimate goal is WORLD DOMINATION balanced with INTRINSIC FULFILLMENT nuanced with MEANINGFUL / MEANINGLESS PLEASURE enhanced by INCREDIBLY GREAT STYLE / LACK OF STYLE, and the inevitable material / spiritual gains / losses that accompany these goals, AIM respects the fact that we’re all on similar / different and interesting / mind-numbingly-boring paths; to this end, we neither affirm, deny or espouse any one political view or religious / non-religious, irrational / rational viewpoint.
Is AIM an arts club, a social fetish, a secret society, or a Cult of Personality?
It’s all of these things and none of these things. It has never existed and it has always existed. If it ceased to exist tomorrow, in the GREAT UNIVERSAL SCHEME OF THINGS, hardly anyone would care.
How do I join?
Email our Faithful Leader and Esteemed Founder, Dr. Mark Leslie Woods at mwoods[at]glam.ac.uk
When Dr. Mark collects a sufficient number of interested students’ names and details, he will announce an initial organizational meeting.
He’ll probably call or write to you before the end of October 2007, just in time to plan your Halloween costume.
Please include at least your name, alias, email address, mailing address, interests, Zodiac sign, your favourite ice cream flavour and hat / rollerblade size. Dr. Mark will use his extraordinary intuition to guess in which century you were born.
Where will the meetings be held?
The first meeting will be held at either ATRiuM or Ty Pont Haearn in the Cardiff City Centre. ATRiuM students and Ty Pont Haearn residents will host the first meetings to assist the launch of our collective.
Later meetings will held in Newport, London, Aberystywth, Port Meirion, Castle Harlech, Salisbury Plains, among the Roman ruins of Caerleon and the Norman ruins of Ogmore Castle, online, via pod-casts and video-conferences, in eventually in Copenhagen, Seattle, Los Angeles, New York, Miami, Toronto, Prague, Southern Italy, Barcelona and Amsterdam.
Conversations will take place in the past, present, future, conditional, imperative, pluperfect, and in other dimensions.
Can anyone be a member of this collective?
Well, the collective intends to include all interested residents of Ty Pont Haearn and other local student residences, communes, and shared living arrangements in the Cardiff City centre area.
Students or faculty can be affiliated with ATRiuM, UWIC, Coleg Glan Hafren, Cardiff University, Swansea University, Swansea Institute, Newport School of Art, Media and Design, or other institutions. Enthusiastic, dynamic and artistic friends and families of these students are also welcome to join.
What will be the social and political ethos / mythos of this collective?
Our collective will vacillate between historical notoriety and contemporary obscurity. We will foster greatness and encourage Misfits and other Outcasts. Invariably power struggles, nepotism, clicks, sub-groups, spin-offs, copycats, crass commercialism and other controversies will overtake our collective.
Obviously some of us are destined for Greatness; what will become of our collective?
Our Great Leader and Esteemed Founder Dr. Mark will attempt to arbitrate petty in-fighting and common resentments between members, including jealousy and jousting / fencing / armed pistol duels and mud-wrestling /cock fights; but eventually he too will tire of the fuss and choose to instead balance his check book and go into the West with the other Elves. Product line extensions, copyrighted residuals and returns, film franchises, Japanese language comic book series based-upon-our-lives and computer games will go on forever.
Are the members of this group either successful, aspiring or wannabe ‘Media Whores?’
Yes.
What will be the first projects of our collective?
a) We will organize and elect / appoint officers. All members will have important titles and hold multiple posts. Powdered wigs and celebrity entourages / limousines are optional.
b) We will launch a project to create and produce glossy 8x10 headshots, personal and group biographies, news releases, and promotional gimmicks of our ever-more glorious and celebrated selves. And this is only the beginning! Next we’ll develop video calling cards, websites and blogs, and various innovative ideas yet to be conceived or exploited.
c) We will organize and plan a variety of domestic and international trips, events and study abroad projects; we will involve ourselves in fund raising, grant writing, and other activities to fund our projects.
d) We will enhance our current research and study with activities including TV & Film Retrospective Screenings, exhibits and performances, speeches and debates, parties and festivals, media and print ‘guest articles and appearances, etc.
e) We will always call ourselves the ‘AIM Collective’ and we will write endless Manifestos. We will do this mostly because we like the sound of the word, ‘Manifesto’.
We are the spiritual and artistic heirs of many enigmatic icons, including but not limited to D.W. Griffith, the Marx Brothers, Rock Hudson, Doris Day, Marilyn Monroe, Che Guevara, Billy Holiday, Victor Hugo, Luis Buñuel, Michelangelo, Jacques Brel, Bertol Brecht, Edith Piaf, Grace Jones, Simone Weil, Louie Armstrong, Flip Wilson, Arthur Godfrey, Jackie Gleason, Walt Disney, Merv Griffin, Marlene Dietrich, Bette Davis, Donna Reed, Al Jolson, Harvey and Bob Weinstein, Joel and Ethan Coen, John Dewey, Marcel Proust, Elvis Presley, The Artist Formerly-known-as-and-once-again-known-as Prince, William Shakespeare, Sir Salman Rushdie, porn star John Holmes, Buckminster Fuller, John Waters, Lucille Ball, Milton Berle, Mel Brooks, Frank Lloyd Wright, and too many others to list.
I’m a painfully ordinary and dismally plain wallflower: can I join?
Yes.
I’m a fabulous reincarnation of Mother Teresa, P.T. Barnum, Madonna, Cher and David Bowie: can I join?
Yes.
I’m heterosexual / metro-sexual / gay / lesbian / transgender / asexual / celibate / neuter / spayed, all-of-the-above or unsure: can I join?
While your sexual orientation / relationship status / dating availability are immensely interesting / mind-numbingly-boring to all of us, we recommend that you share the intimate details of your life only with qualified gossip-mongers, literary agents, and assorted predatory paparazzi, until we get to know you better.
I’m naïve, innocent, pompous, moody, broke, or morally bankrupt: can I join?
Yes.
AIM seems to intentionally side-step answers while asserting ambiguities and ambivalent stances; do you have any core values?
YES!
We value humour, and we try to always take ourselves seriously / not take ourselves (or others) too seriously.
We value creativity and we like to pay our bills and get along with others; we are constantly seeking ways to avoid Writer’s Block, balance our check books, and have fun.
We value mutual respect and consideration for others. These simple values guide all our other activities.
We value having and nurturing within ourselves a good attitude and productive work ethic; but if we can’t be optimistic and helpful, we can always be spiteful and distracting.
We value kindness, altruism, and transcendent human equalities; we also recognize and delight in our ruthlessness, compassion, competitive spirit, neo- Machiavellianism, and related vagueness.
How will it benefit me to join this group?
Only you can answer that question. Generally, you will sound smarter-than-your-mates, make more friends, have better sex, consume less fat, sodium and sugar, have whiter teeth, you will lose weight, gain muscle, look better, feel better, gain self-esteem, and eventually make more money or not care about making more money.
Remember, the more people put into something, the more they seem to get out of it. Some folks are never happy, and as Abraham Lincoln supposedly said, “ People are just about as happy as they make up their minds to be.”
Who will run the collective?
This group will be run entirely run by student members. Dr. Mark and other faculty, University staff, Advice shops, Resident Hall Activities Coordinators, and qualified volunteers will also advise and help as needed.
Who is the Faithful Leader and Esteemed Founder, and why do we call him that?
Dr. Mark Leslie Woods is the fabulous author and initiator of this collective, and we owe him our lives! Also, he likes to wear wizard capes and over-stuffed animal costumes, clown make-up, clever disguises and gangster suits, and he really likes weird titles and decorative headpieces and likes wigs, hats, plumes, crowns and space helmets.
While he prefers to play the head, he has occasionally been the horse’s ass.
Okay, so just who is this Man-behind-the-curtain, Dorothy?
Dr. Mark Woods is the Ty Pont Haearn Resident CCI Senior Welfare Tutor:
Dr. Mark is a filmmaker and scholar from Miami Beach, Florida, who has recently completed his Ph.D. in Film Studies.
His long and diverse background in the arts and creative industries allow him to offer advice and guidance to many different students:
He studied performance voice and keyboards and attended a Theatre & Drama Program for the Arts. He sang 1st Tenor with regional opera company choruses, and has done back-up vocals for Gospel, Bluegrass, Jazz and Folk concerts.
He studied Film Production Technology and worked on the Miami film production crews of feature films starring Will Smith and Monica Potter.
He has worked on both independent and studio productions, film festivals, and music videos and television & radio advertising campaigns in Miami, New York and California. He is currently studying the
He edits 9 blogs and three award-winning websites.
His specialties include Welsh, Italian and European Minority Language Cinemas, Hollywood & Cult Films, Feminist & Gay cinemas, Broadway Musicals, Horror, Mythology & Fantasy films.
Dr. Mark is a student of Latin, Welsh, French, Italian and several other languages. He lifts weights and is an unreformed Romantic / Socialist / Hippie / Health Nut / Jesus or Krishna Freak / Pagan / Anti-war agitator / Satirist.
Dr. Mark is friendly and helpful and a bit of a perfectionist, and he engages in shameless self-promotion, so let that be a lesson to you all!
Why is ATRiuM spelled with three initial swollen letters, followed by two sick, humiliated and bent-over letters, followed by a mountainous and glorious final letter?
Good question.
I am sleep-deprived / hung-over / brain dead, so please tell me again: How do I join?
Email our Faithful Leader and Esteemed Founder, Dr. Mark Leslie Woods at mwoods[at]glam.ac.uk
[Pictured above: a visitor enjoys the internationally-celebrated art collection at the Amgueddfa Cymru – National Museum Wales.]
Amgueddfa Cymru – National Museum Wales is within walking distance of the new University of Glamorgan ATRiuM Arts & Media Learning Centre, located on Adam Street in the Cardiff City Centre.
It's imagined that a massive urban influx of ATRiuM Art & Media Students can be expected to swell attendance numbers at the nearby National Museum of Wales attractions.
The museum has just completed most of the phases of a comprehensive re-furbishment project.
The project, which is supported by the Welsh Assembly Government, will safeguard and improve access to the national art collections of Wales for generations to come.
Coincidently, the techno-savvy ATRiuM students will be able to see glimpses of many art treasures online, prior to planning their visits:
A new website to access our "hidden" treasures has just been announced, to coincide with the transfer to Cardiff of thousands of new ATRium Arts & Media students and their faculty and staff.
At 12 o'clock, Friday 31 August, Amgueddfa Cymru launches Rhagor - a brand new website that reveals, for the first time, many of the treasures previously hidden in the collections at Wales's seven national museums.
Going live with over a hundred illustrated articles, maps and puzzles Rhagor features:
delicate 19th-century glass models of exotic sea-creatures
a miniature 17th-century portrait complete with costume disguises, which you can now 'drag and drop' online
meteors - the oldest items in the collections
the largest object made of Welsh gold
photographs, memories and personal stories submitted by the public.
These are among many items that are used for expert research or are that are simply too fragile to be exhibited conventionally.
"This is the first phase of a very exciting project for Amgueddfa Cymru," said Robin Gwyn, Director of Communications.
"Rhagor will develop over time to include more articles, images and other interactive features to make the Museum's collections, research and expertise accessible worldwide."
The creation of Rhagor is a major highlight of Amgueddfa Cymru's centenary celebrations. From 31 August, Rhagor can be experienced at
