fbpx

TAC Fest 2019 Pages

Award Selections

TAC Festival 2019

Best Film (by Jury)

Confucius

(Produced by Lion TV; directed by Hugo Mac Grégor; UK)

 

Honorable Mention for Best Film Category (in order): 

The Birth of Printing: The Gutenberg Revolution

(Produced and distributed by Seppia; directed by Marc Jampolsky; France)

 

The Origins of Music

(Produced by Daniel B. Arvizu, Shenny A. Madrigal and Andrea Spalletti; directed by Daniel B. Arvizu and Andrea Spalletti; distributed by Daniel B. Arvizu; Spain)

 

Mont Saint Michel: Scanning the Wonder

(Produced by Gedeon Programmes; directed by Marc Jampolsky; distributed by Terranoa; France)

 

Mosques: Art and Space

(Produced by Arte France and ZED; directed by Bruno Ulmer; France)

 

Best Narration (by Jury)

Mont Saint Michel: Scanning the Wonder

(Produced by Gedeon Programmes; directed by Marc Jampolsky; distributed by Terranoa; France)

 

Honorable Mention for Narration (in order): 

The Birth of Printing: The Gutenberg Revolution

(Produced and distributed by Seppia; directed by Marc Jampolsky; France)

 

Mosques: Art and Space

(Produced by Arte France and ZED; directed by Bruno Ulmer; France)

 

The Origins of Music

(Produced by Daniel B. Arvizu, Shenny A. Madrigal and Andrea Spalletti; directed by Daniel B. Arvizu and Andrea Spalletti; distributed by Daniel B. Arvizu; Spain)

 

First Encounter

(Produced and distributed by Brad Clonch, Chickasaw Nation; directed by Philip Sullivan, Chickasaw Nation; USA) 

 

Best Animation & Effects (by Jury)

Mont Saint Michel: Scanning the Wonder

(Produced by Gedeon Programmes; directed by Marc Jampolsky; distributed by Terranoa; France)

 

Honorable Mention for Animation & Special Effects (in order): 

Roman Engineering: Aqueducts II

(Produced by Jose Antonio Muniz and Jose Antonio Sanchez De Leon; directed by Jose Antonio Muniz; distributed by ONZA Partners; Spain)

 

The Origins of Music

(Produced by Daniel B. Arvizu, Shenny A. Madrigal and Andrea Spalletti; directed by Daniel B. Arvizu and Andrea Spalletti; distributed by Daniel B. Arvizu; Spain)

 

The Birth of Printing: The Gutenberg Revolution

(Produced and distributed by Seppia; directed by Marc Jampolsky; France)

 

Caveirac: A Castle Regained

(Produced by Bertrand Abadie, PY Films; directed by Henri-Louis Poirier; distributed by PY Films; France)

 

Best Public Education Value (by Jury)

The Birth of Printing: The Gutenberg Revolution

(Produced and distributed by Seppia; directed by Marc Jampolsky; France)

 

Honorable Mention for Public Education Value (in order):

Confucius

(Produced by Lion TV; directed by Hugo Mac Grégor; UK)

 

Mont Saint Michel: Scanning the Wonder

(Produced by Gedeon Programmes; directed by Marc Jampolsky; distributed by Terranoa; France)

 

Who Killed the Neanderthal?

(Directed by Thomas Cirotteau; produced by Sophie Parrault; distributed by Lucky You; Australia)

 

To Auschwitz and Back: The Joe Engel Story

(Produced and directed by Ron Small; distributed by Dreamscape Media, LLC; USA)

Best Script (by Jury)

The Birth of Printing: The Gutenberg Revolution

(Produced and distributed by Seppia; directed by Marc Jampolsky; France)

 

Honorable Mention for Script (in order):

Mont Saint Michel: Scanning the Wonder

(Produced by Gedeon Programmes; directed by Marc Jampolsky; distributed by Terranoa; France)

 

Confucius

(Produced by Lion TV; directed by Hugo Mac Grégor; UK)

 

Mosques: Art and Space

(Produced by Arte France and ZED; directed by Bruno Ulmer; France)

 

The Origins of Music

(Produced by Daniel B. Arvizu, Shenny A. Madrigal and Andrea Spalletti; directed by Daniel B. Arvizu and Andrea Spalletti; distributed by Daniel B. Arvizu; Spain)

 

Best Cinematography (by Jury)

Mosques: Art and Space

(Produced by Arte France and ZED; directed by Bruno Ulmer; France)

 

Honorable Mention for Cinematography (in order):

The Origins of Music

(Produced by Daniel B. Arvizu, Shenny A. Madrigal and Andrea Spalletti; directed by Daniel B. Arvizu and Andrea Spalletti; distributed by Daniel B. Arvizu; Spain)

 

Mont Saint Michel: Scanning the Wonder

(Produced by Gedeon Programmes; directed by Marc Jampolsky; distributed by Terranoa; France)

 

Sacred Sites: Petra

(Produced by Tim Evans, David Royle, David Ryan, and Stephen Rooke; directed by Stephen Rooke; distributed by Smithsonian Channel; USA)

 

The Builders of Stonehenge

(Produced by Arte France and Tournez SVP; directed by Agnès Molia; France)

Best Music (by Jury)

Leonardo: The Mystery of the Lost Portrait

(Produced by Arte France, ZED Production and Sydonia; directed by Luca Travellesi Asana; France)

 

Honorable Mention for Music (in order):

Caveirac: A Castle Regained

(Produced by Bertrand Abadie, PY Films; directed by Henri-Louis Poirier; distributed by PY Films; France)

 

The Origins of Music

(Produced by Daniel B. Arvizu, Shenny A. Madrigal and Andrea Spalletti; directed by Daniel B. Arvizu and Andrea Spalletti; distributed by Daniel B. Arvizu; Spain)

 

Confucius

(Produced by Lion TV; directed by Hugo Mac Grégor; UK)

 

Manchurian Sleepwalkers

(Produced and distributed by Chemodan Films; directed by Thomas Lahusen; Canada)

 

Most Inspirational (by Jury)

Confucius

(Produced by Lion TV; directed by Hugo Mac Grégor; UK) 

 

Honorable Mention for Inspiration (in order):

The Builders of Stonehenge

(Produced by Arte France and Tournez SVP; directed by Agnès Molia; France)

 

The Sacred Geography of the Incas

(Produced by Tournez SVP; directed by Agnes Molia and Nathalie LaVille; distributed by Arte France; France)

 

The Origins of Music

(Produced by Daniel B. Arvizu, Shenny A. Madrigal and Andrea Spalletti; directed by Daniel B. Arvizu and Andrea Spalletti; distributed by Daniel B. Arvizu; Spain)

 

To Auschwitz and Back: The Joe Engel Story

(Produced and directed by Ron Small; distributed by Dreamscape Media, LLC; USA)

 

Audience Favorite Competition (by Festival audience)

To Auschwitz and Back: The Joe Engel Story

(Produced and directed by Ron Small; distributed by Dreamscape Media, LLC; USA)

 

Honorable Mention in Audience Favorite Competition (in order):

First Face of America

(Produced and directed by Graham Townsley for WGBH NOVA; distributed by WGBH NOVA; USA)

 

Mont Saint Michel: Scanning the Wonder

(Produced by Gedeon Programmes; directed by Marc Jampolsky; distributed by Terranoa; France)

 

Leonardo: The Mystery of the Lost Portrait

(Produced by Arte France, ZED Production and Sydonia; directed by Luca Travellesi Asana; France)

 

Who Killed the Neanderthal?

(Directed by Thomas Cirotteau; produced by Sophie Parrault; distributed by Lucky You; Australia)

 

Special Mention (by Jury)

First Encounter

(Produced and distributed by Brad Clonch, Chickasaw Nation; directed by Philip Sullivan, Chickasaw Nation; USA);

For outstanding American Indian awareness

 

Manchurian Sleepwalkers

(Produced and distributed by Chemodan Films; directed by Thomas Lahusen; Canada);

For outstanding documentation of culture change

 

The Origins of Music

(Produced by Daniel B. Arvizu, Shenny A. Madrigal and Andrea Spalletti; directed by Daniel B. Arvizu and Andrea Spalletti; distributed by Daniel B. Arvizu; Spain);

For outstanding documentation of music

 

Mysterious Discoveries in the Great Pyramid

(Produced by Bonne Pioche, Sophie Parrault and Emmanuel Priou; directed by Florence Tran; distributed by Lucky You; France);

For excellence in the use of scientific techniques

 

TAC Festival Banquet

Back to the Festival Page

Wednesday, May 1, 6 - 9 pm ($65 per plate)

Location: Hotel Eugene, 66 E. 6th Ave., Eugene, OR

Who Can Come: Everybody who is interested, up to the capacity of the room

Description: The Festival banquet kicks off our event formally with a tasty feast at the Hilton, complete with Keynote Address by Dr. Fredrik Hiebert of the National Geographic Society.  Reserve your place early, as the room can hold only 64 people!

Meal options include Grilled Flat Sirloin Steak, Pan Seared Salmon.  Vegetarian and gluten-free by special request.

Registration:

PDF icon or Word Doc icon

Call us at 541-345-5538 or email form to This email address is being protected from spambots. You need JavaScript enabled to view it..

Payment can be made:

by check (made out to ALI or Archaeological Legacy Institute and sent to PO Box 5302, Eugene, OR 97405)

credit card (call 541-345-5538 with the number)

or by PayPal.

Deadline for Registration: Monday, April 29th

The Festival banquet kicks off our event formally with a tasty feast at the Hotel Eugene, complete with Keynote Address by Even Hadingham of WGBH NOVA.  Reserve your place early, as the room can hold only 64 people!

List of Festival and Conference Activities

Back to the Festival Page

Wednesday, May 1, through Sunday, May 5, 2019

Banquet, Hotel Eugene, Wednesday 7 - 9 pm ($65/plate)

Conference presentations, Hotel Eugene; Thursday, Friday, Saturday 10 am - 5 pm (ticket prices vary) [PDF] (Conference Page)

Film Screenings, The Shedd Recital Hall (free)

  • Thursday 7 - 10:30 pm
  • Friday 7 - 10:30 pm
  • Saturday 10 am - 7 pm
  • Sunday 10:30 am - 7 pm

Video Bar, Hotel Eugene; Thursday, Friday, Saturday 10 am - 5 pm (free) [PDF]

Cascadia Cave tour, Friday 9:30 am - 5 pm (free; $20 contribution encouraged)

Saturday Social, Capitello Wines, Saturday 7 - 10 pm (free)

Public Lecture by Evan Hadingham, Eugene Public Library, 100 W. 10th Ave., Wednesday, May 1, 12 - 1pm  (free)

Awards Reception, Capitello Wines, Sunday 7-9 pm ($5; free for Conference registrants)

 

Day Trek to Cascadia Cave

Friday, 3 May, 9:30 am – 5:00 pm

Ages: 12 and up, in good physical condition

Guide: Tony Farque, Archaeologist, Sweet Home Ranger District, Willamette NF

Join us for a special TAC Festival guided tour, hosted by the Willamette National Forest, to one of western Oregon’s most visually impressive archaeological sites. Used by people for at least 8000 years, Cascadia Cave is on significant indigenous travel routes and provided important cultural functions to multiple tribal groups. Here, the largest group of rock art panels in western Oregon remains in excellent condition. View the site, hear excavation conclusions, discuss rock art interpretations, and help plan site restoration, protection, and interpretation.

Registration: Please contact ALI (This email address is being protected from spambots. You need JavaScript enabled to view it. or 541-345-5538) and register as early as possible.

Fee: No admission fee is required. However, we would appreciate a $20 or more donation(s) to support the program.

Trip Specifics: Bring a lunch to eat in the cave. A van will be provided (8 passengers max.) and the drive is 2 hours each way. Car pooling will be needed for additional participants. Be prepared for a 2 mile round trip hike through the woods along a flat river terrace. Also bring rain gear, boots and a change of warm clothes. We will cross one stream and follow a muddy path. We park at Cascadia State Park and use the rest rooms to change clothes if necessary. Meet at the pullout on 7th Ave. on the south side of the Hilton.

 

Public Lecture by Evan Hadingham

Eugene Public Library

100 West 10th Avenue

Wednesday, 1 May, 12-1 pm

Ages: Open to all ages

Fee: FREE! No pre-registration required. Seating is limited.

Evan Hadingham, Senior Science Editor with WGBH NOVA, has written feature articles on the archaeology of Egypt, China, Greece, and the Americas for magazines such as The Atlantic Monthly, Smithsonian, Discover, and Reader’s Digest. His books include Lines to the Mountain Gods, Ancient Carvings in Britain, Circles and Standing Stones, Early Man and the Cosmos, Secrets of the Ice Age, and The Fighting Triplanes. For the NOVA productions, he is involved at every step, from development through final script writing. Among the shows he has produced for NOVA are Search for the First Americans, Who Killed the Red Baron? and Decoding Nazi Secrets. Hadingham is welcomed this year as the Keynote Speaker for The Archaeology Channel International Film Festival in downtown Eugene.

 

Saturday Social

Capitello Wines

540 Charnelton Street 

Saturday, 4 May, 7 - 10 pm

Ages: Open to all ages

Fee: FREE!  No pre-registration required.

Hobnob with filmmakers, Festival organizers, Conference presenters, and other Festival-goers while enjoying food and drink and grooving to the 70s rock sounds of Deerspirit, featuring Kent Goodman and friends.  At this party, we let our hair down and cultivate an authentic form of American cultural heritage.  This is all free, but we’ll give you a chance to make a contribution if you like!

 

Awards Reception

Capitello Wines

540 Charnelton Street 

Sunday, 5 May, 7 - 9 pm

Ages: Open to all ages

Fee:  $5 general admission; free for Conference full-package registrants.  Tickets at the door.  No pre-registration required.

After all the films have been screened and you have cast your ballots, joins us for some finger food and beverages as we compile the results of the competition. When the jury and audience voting tallies are complete, sit back and watch the announcement of the winners. We will show clips of the top films and open sealed envelopes to reveal the final outcome. The room has limited capacity, so don’t be late!

 

Back to the Festival Page

Fourth Call for Entries (issued 12 October 2018)

We invite you to submit entries now for the 2019 edition of The Archaeology Channel International Film Festival, the Sixteenth Annual edition of TAC Festival. This is one of only two international competitions for this genre in the entire Western Hemisphere and a wonderful showcase for your work. Our deadline for receipt of entries is November 15, 2018. TAC Festival 2019 takes place May 1-5, 2019, in the Recital Hall of The Shedd Institute and at the Hilton Eugene and Conference Center here in Eugene, Oregon, USA. To enter, please use our online entry form, or download one here [.docx] with the Festival entry guidelines. Please read the guidelines carefully. We require entries with signatures, which may be sent through the regular postal mail or as electronic (signed) copies via e-mail (either in Microsoft Word or Adobe PDF).

For TAC Festival 2018, we received 800 entries, reviewed 176 titles from 45 countries and selected 29 to screen in the Recital Hall. By all measures, this was one of the best groups of films in the history of TAC Festival, which began in 2003.  In the 15 years of TAC Festival so far, we have received entries from 84 countries.  In this coming year, we hope to continue the trend toward ever-improving film quality.

Here are some important facts about our entry regulations and procedures:

  • We rely on you for information about the film. So please be very careful to enter the correct film title as well as the correct information for crediting the film makers
  • We accept all entries, regardless of the topic. Be advised, however, that if your topic does not relate to the human cultural heritage or the human past or the investigation of such subjects, it will be at a serious disadvantage in the competition.
  • For entry review, please send us a digital file of your film.  We accept entries in either the PAL or NTSC TV system.  Inquire with us for our perferred methods of file transfer.
  • Please do not send  DVDs or Blu-ray disks as review copies.
  • To be fair to smaller producers, we have a limit of two entries per producer. By “producer” we mean the person or group of persons who directly made the film. However, it is perfectly acceptable for a distribution company to submit films from two or three or more different producers, as long as these producers are separately identified and credited.
  • Entrant distributors must provide assurance through their signature that the producers of the entered films have agreed to their entry in TAC Festival.
  • Films must have been produced in 2012 or later and must be in English or have English subtitles.
  • You must complete the Film Summary section.
  • If you are interested in making your film available for sale to our Festival audience, please inform us of that and let us know the purchase procedures. If you would like us to assist you in making your film available for sale, please contact us so we can discuss ways to accomplish that.

Please do not delay in sending your entries! Consider that a flood of entries in the last week will slow down our review and notification process, so you can help us a great deal by sending your entries now. In previous years, some entries regrettably were rejected because of errors in entry forms or problems with the film review copies. If you allow plenty of time for these problems to be resolved, you can help assure that you will not be excluded from consideration. Also, we encourage you to make plans to attend the Festival to represent your films and also to participate in our Conference on Cultural Heritage Media.

ENTRY DEADLINE: November 15, 2018. All entry materials must be received by this date. This is not a postmark deadline.

 

GENERAL RULES

Submission to the 2019 The Archaeology Channel International Film Festival (TACIFF) constitutes an agreement with all Festival terms and conditions, and permission to exhibit the work during the Festival if selected. Entrants warrant that they have the legal right to submit the work to TACIFF, that all statements made in this application are true and accurate, and that all necessary rights and clearances have been secured to exhibit the work at the Festival in Eugene, Oregon, USA.

To be eligible for the 2019 TAC International Film Festival, submitted work must have been completed after January 1, 2012.

Work accepted to screen at the Festival will be programmed in competitive and non-competitive categories at the sole discretion of TACIFF. Venue(s), program time(s) and number of screenings of selected work are also at the sole discretion of TACIFF. The number of scheduling slots available for competitive and non-competitive narrative features, documentary features and short films may vary from year to year.

TACIFF DOES NOT provide screening fees or honorariums for submitted work — or for any film screening as part of the festival’s juried competition. Films not accepted into the juried competition may still be eligible for audience awards, as determined by the TACIFF programming committee.

TACIFF may deny acceptance of any film at its sole discretion. ENTRY FEES, IF ASSESSED, ARE NON-REFUNDABLE.

Digital film copies must be provided for submissions to be reviewed by the TACIFF programming committee. If not provided through a specific submission platform, a method as determined on the completed entry form will be used.

Entrants will be notified of their submission’s selection status on or about January 1, 2019.

If accepted, the entrant agrees to provide an exhibition file in TACIFF's required format by April 1, 2019. Foreign language films must be subtitled in English or with English subtitling. Any costs necessary to deliver the exhibition file to TACIFF in the required format, or for any necessary subtitling, is the sole responsibility of the entrant.

Entrant also agrees to allow TACIFF to keep a copy of their submission in the TACIFF Video Bar, should it be accepted as a Festival entry. The Festival Video Bar allows audience members in Eugene to enjoy films that have been submitted and accepted to the Festival, on individual viewing stations on demand, outside of any scheduled screening times. (To opt out of the TACIFF Video Bar, please notify TACIFF in writing by February 1, 2019.)

If the submission becomes an "Official Selection" and/or wins a Jury or Audience Award, TACIFF requests that this be noted on promotional materials. Festival laurels are available to all Official Selections and Award winners.

All materials sent from outside the United States must be sent "free domicile" to the TACIFF office, with all transportation charges, duties and taxes prepaid by shipper. TACIFF will not handle customs clearances, so please be sure to include all of the proper customs documentation required by your shipping service.

Although every possible care will be taken with exhibition material in our possession, TACIFF is not responsible for loss or damage. Please do not send originals, special prints or master tapes.

Third Call for Entries (issued 5 September 2018)

We invite you to submit entries now for the 2019 edition of The Archaeology Channel International Film Festival, the Sixteenth Annual edition of TAC Festival. This is one of only two international competitions for this genre in the entire Western Hemisphere and a wonderful showcase for your work. Our deadline for receipt of entries is October 15, 2018. TAC Festival 2019 takes place May 1-5, 2019, in the Recital Hall of The Shedd Institute and at the Hilton Eugene and Conference Center here in Eugene, Oregon, USA. To enter, please use our online entry form, or download one here [.docx] with the Festival entry guidelines. Please read the guidelines carefully. We require entries with signatures, which may be sent through the regular postal mail or as electronic (signed) copies via e-mail (either in Microsoft Word or Adobe PDF).

For TAC Festival 2018, we received 800 entries, reviewed 176 titles from 45 countries and selected 29 to screen in the Recital Hall. By all measures, this was one of the best groups of films in the history of TAC Festival, which began in 2003.  In the 15 years of TAC Festival so far, we have received entries from 84 countries.  In this coming year, we hope to continue the trend toward ever-improving film quality.

Here are some important facts about our entry regulations and procedures:

  • We rely on you for information about the film. So please be very careful to enter the correct film title as well as the correct information for crediting the film makers
  • We accept all entries, regardless of the topic. Be advised, however, that if your topic does not relate to the human cultural heritage or the human past or the investigation of such subjects, it will be at a serious disadvantage in the competition.
  • For entry review, please send us a digital file of your film.  We accept entries in either the PAL or NTSC TV system.  Inquire with us for our perferred methods of file transfer.
  • Please do not send  DVDs or Blu-ray disks as review copies.
  • To be fair to smaller producers, we have a limit of two entries per producer. By “producer” we mean the person or group of persons who directly made the film. However, it is perfectly acceptable for a distribution company to submit films from two or three or more different producers, as long as these producers are separately identified and credited.
  • Entrant distributors must provide assurance through their signature that the producers of the entered films have agreed to their entry in TAC Festival.
  • Films must have been produced in 2012 or later and must be in English or have English subtitles.
  • You must complete the Film Summary section.
  • If you are interested in making your film available for sale to our Festival audience, please inform us of that and let us know the purchase procedures. If you would like us to assist you in making your film available for sale, please contact us so we can discuss ways to accomplish that.

Please do not delay in sending your entries! Consider that a flood of entries in the last week will slow down our review and notification process, so you can help us a great deal by sending your entries now. In previous years, some entries regrettably were rejected because of errors in entry forms or problems with the film review copies. If you allow plenty of time for these problems to be resolved, you can help assure that you will not be excluded from consideration. Also, we encourage you to make plans to attend the Festival to represent your films and also to participate in our Conference on Cultural Heritage Media.

ENTRY DEADLINE: October 15, 2018. All entry materials must be received by this date. This is not a postmark deadline.

 

GENERAL RULES

Submission to the 2019 The Archaeology Channel International Film Festival (TACIFF) constitutes an agreement with all Festival terms and conditions, and permission to exhibit the work during the Festival if selected. Entrants warrant that they have the legal right to submit the work to TACIFF, that all statements made in this application are true and accurate, and that all necessary rights and clearances have been secured to exhibit the work at the Festival in Eugene, Oregon, USA.

To be eligible for the 2019 TAC International Film Festival, submitted work must have been completed after January 1, 2012.

Work accepted to screen at the Festival will be programmed in competitive and non-competitive categories at the sole discretion of TACIFF. Venue(s), program time(s) and number of screenings of selected work are also at the sole discretion of TACIFF. The number of scheduling slots available for competitive and non-competitive narrative features, documentary features and short films may vary from year to year.

TACIFF DOES NOT provide screening fees or honorariums for submitted work — or for any film screening as part of the festival’s juried competition. Films not accepted into the juried competition may still be eligible for audience awards, as determined by the TACIFF programming committee.

TACIFF may deny acceptance of any film at its sole discretion. ENTRY FEES, IF ASSESSED, ARE NON-REFUNDABLE.

Digital film copies must be provided for submissions to be reviewed by the TACIFF programming committee. If not provided through a specific submission platform, a method as determined on the completed entry form will be used.

Entrants will be notified of their submission’s selection status on or about January 1, 2019.

If accepted, the entrant agrees to provide an exhibition file in TACIFF's required format by April 1, 2019. Foreign language films must be subtitled in English or with English subtitling. Any costs necessary to deliver the exhibition file to TACIFF in the required format, or for any necessary subtitling, is the sole responsibility of the entrant.

Entrant also agrees to allow TACIFF to keep a copy of their submission in the TACIFF Video Bar, should it be accepted as a Festival entry. The Festival Video Bar allows audience members in Eugene to enjoy films that have been submitted and accepted to the Festival, on individual viewing stations on demand, outside of any scheduled screening times. (To opt out of the TACIFF Video Bar, please notify TACIFF in writing by February 1, 2019.)

If the submission becomes an "Official Selection" and/or wins a Jury or Audience Award, TACIFF requests that this be noted on promotional materials. Festival laurels are available to all Official Selections and Award winners.

All materials sent from outside the United States must be sent "free domicile" to the TACIFF office, with all transportation charges, duties and taxes prepaid by shipper. TACIFF will not handle customs clearances, so please be sure to include all of the proper customs documentation required by your shipping service.

Although every possible care will be taken with exhibition material in our possession, TACIFF is not responsible for loss or damage. Please do not send originals, special prints or master tapes.

Second Call for Entries (issued 9 July 2018)

We invite you to submit entries now for the 2019 edition of The Archaeology Channel International Film Festival, the Sixteenth Annual edition of TAC Festival. This is one of only two international competitions for this genre in the entire Western Hemisphere and a wonderful showcase for your work. Our deadline for receipt of entries is October 15, 2018. TAC Festival 2019 takes place May 1-5, 2019, in the Recital Hall of The Shedd Institute and at the Hilton Eugene and Conference Center here in Eugene, Oregon, USA. To enter, please use our online entry form, or download one here [.docx] with the Festival entry guidelines. Please read the guidelines carefully. We require entries with signatures, which may be sent through the regular postal mail or as electronic (signed) copies via e-mail (either in Microsoft Word or Adobe PDF).

For TAC Festival 2018, we received 800 entries, reviewed 176 titles from 45 countries and selected 29 to screen in the Recital Hall. By all measures, this was one of the best groups of films in the history of TAC Festival, which began in 2003.  In the 15 years of TAC Festival so far, we have received entries from 84 countries.  In this coming year, we hope to continue the trend toward ever-improving film quality.

Here are some important facts about our entry regulations and procedures:

  • We rely on you for information about the film. So please be very careful to enter the correct film title as well as the correct information for crediting the film makers
  • We accept all entries, regardless of the topic. Be advised, however, that if your topic does not relate to the human cultural heritage or the human past or the investigation of such subjects, it will be at a serious disadvantage in the competition.
  • For entry review, please send us a digital file of your film.  We accept entries in either the PAL or NTSC TV system.  Inquire with us for our perferred methods of file transfer.
  • Please do not send  DVDs or Blu-ray disks as review copies.
  • To be fair to smaller producers, we have a limit of two entries per producer. By “producer” we mean the person or group of persons who directly made the film. However, it is perfectly acceptable for a distribution company to submit films from two or three or more different producers, as long as these producers are separately identified and credited.
  • Entrant distributors must provide assurance through their signature that the producers of the entered films have agreed to their entry in TAC Festival.
  • Films must have been produced in 2012 or later and must be in English or have English subtitles.
  • You must complete the Film Summary section.
  • If you are interested in making your film available for sale to our Festival audience, please inform us of that and let us know the purchase procedures. If you would like us to assist you in making your film available for sale, please contact us so we can discuss ways to accomplish that.

Please do not delay in sending your entries! Consider that a flood of entries in the last week will slow down our review and notification process, so you can help us a great deal by sending your entries now. In previous years, some entries regrettably were rejected because of errors in entry forms or problems with the film review copies. If you allow plenty of time for these problems to be resolved, you can help assure that you will not be excluded from consideration. Also, we encourage you to make plans to attend the Festival to represent your films and also to participate in our Conference on Cultural Heritage Media.

ENTRY DEADLINE: October 15, 2018. All entry materials must be received by this date. This is not a postmark deadline.

 

GENERAL RULES

Submission to the 2019 The Archaeology Channel International Film Festival (TACIFF) constitutes an agreement with all Festival terms and conditions, and permission to exhibit the work during the Festival if selected. Entrants warrant that they have the legal right to submit the work to TACIFF, that all statements made in this application are true and accurate, and that all necessary rights and clearances have been secured to exhibit the work at the Festival in Eugene, Oregon, USA.

To be eligible for the 2019 TAC International Film Festival, submitted work must have been completed after January 1, 2012.

Work accepted to screen at the Festival will be programmed in competitive and non-competitive categories at the sole discretion of TACIFF. Venue(s), program time(s) and number of screenings of selected work are also at the sole discretion of TACIFF. The number of scheduling slots available for competitive and non-competitive narrative features, documentary features and short films may vary from year to year.

TACIFF DOES NOT provide screening fees or honorariums for submitted work — or for any film screening as part of the festival’s juried competition. Films not accepted into the juried competition may still be eligible for audience awards, as determined by the TACIFF programming committee.

TACIFF may deny acceptance of any film at its sole discretion. ENTRY FEES, IF ASSESSED, ARE NON-REFUNDABLE.

Digital film copies must be provided for submissions to be reviewed by the TACIFF programming committee. If not provided through a specific submission platform, a method as determined on the completed entry form will be used.

Entrants will be notified of their submission’s selection status on or about January 1, 2019.

If accepted, the entrant agrees to provide an exhibition file in TACIFF's required format by April 1, 2019. Foreign language films must be subtitled in English or with English subtitling. Any costs necessary to deliver the exhibition file to TACIFF in the required format, or for any necessary subtitling, is the sole responsibility of the entrant.

Entrant also agrees to allow TACIFF to keep a copy of their submission in the TACIFF Video Bar, should it be accepted as a Festival entry. The Festival Video Bar allows audience members in Eugene to enjoy films that have been submitted and accepted to the Festival, on individual viewing stations on demand, outside of any scheduled screening times. (To opt out of the TACIFF Video Bar, please notify TACIFF in writing by February 1, 2019.)

If the submission becomes an "Official Selection" and/or wins a Jury or Audience Award, TACIFF requests that this be noted on promotional materials. Festival laurels are available to all Official Selections and Award winners.

All materials sent from outside the United States must be sent "free domicile" to the TACIFF office, with all transportation charges, duties and taxes prepaid by shipper. TACIFF will not handle customs clearances, so please be sure to include all of the proper customs documentation required by your shipping service.

Although every possible care will be taken with exhibition material in our possession, TACIFF is not responsible for loss or damage. Please do not send originals, special prints or master tapes.

Subcategories