task 1 - film funding
Hush is a 2009 horror film directed by a former BBC1 Radio DJ Mark Tonderai. The film was funded by Film4 the UK Film Council and Warp X on a budget of £1 million. The film took £90,455 in the UK and $288,667 worldwide. So it did not make a profit. It was distributed by Studio Canal (Optimum, which specialises in distributing independent films. It did not release a soundtrack but there were several TV interviews featuring both the lead actor William Ash and the director to help promote the film.
film_funding.docx | |
File Size: | 149 kb |
File Type: | docx |
Task 2 - Who's who.
Above the Line and Below the Line
In terms of the film and television industry, above and below the line concerns the budget and salary that crew earn. Above the line are the people who contribute to the creative process and narrative of the film and they have a fixed cost. So for example, if an actor has a small scene or if a scene is cut from the script, the actor and the screenwriter will still earn the same amount of money.
Below the line job roles include all behind the scene personal. Department heads, costume designers, lighting, sound mixers, grips, runners, cinematographers and editors, including many more are considered to be below the line. The difference between the two is that below the line workers have their pay subject to what is needed. For example if a scene is cut that is set in a small location but the location is only seen then, the set wouldn't need to be built or the costumes for that particular scene won't need to be made. This means that the department or workers wouldn't be paid for this because it is not needed.
A key characteristic and skill that is essential to any role within the industry is experience. By taking work experience job on sets or in production offices, shadowing a person in the role you wish to have in the industry or doing producing small experiments on the Internet to demonstrate your abilities in the job role you wish to have. There are multiple websites dedicated to specific careers within the industry in which you can visit and enquire to show you have an interest.
Above the Line Jobs
Executive Producers
There are several types of producers in the industry. An Executive producer is the person or persons that both supervise and help prepare the filmmaking process. They are vitally important to the process because they are the ones who pitch a film idea to big studios in order to gain funding. Once a film has been green-lit the executive producer could begin to focus on the business and budgetary side of the production and legal contracts however they still oversee the entire process.
A deep knowledge in business management, along with a cooperative attitude and organized mindset are key skills in becoming a producer. Because of the number of jobs a producer takes on they themselves will need to be able to take on a heavy load of work and work through them at a professional and quick pace (depending on the task). There are several film degrees that offer knowledge in the production and practical elements that can help future aspiring producers. From a degree level the aspiring producer could go straight into a job for a studio as someone lower down the job ladder and then move their way up the ladder until they are a producer. Another way could be to work your way up through other jobs within the industry like a writer or editor or director even. Another way in which you could go straight into a producing role is to seek out an independent film crew who could possibly be looking for a producer or with a group of a crew of aspiring film industry workers, could start producing their own short or feature films on a low budget.
Director
The director is the most influential creative person in the filmmaking process. The role of the director is to ensure the flow of the plot by directing actors, camera movements and lighting to ensure a creative and astatically pleasing, well told and acted story. Despite the control over the process and the influence the director has they are still under the producer in terms of control because it is the producer who liaise between the studio and director to ensure that the film is to the standard of the studio. The director can sometimes also be a producer meaning they have more control over the business side to the process as well as the creative side.
There are many ways to become a director but there are several skills that one must have in order to be a good one and to stand out against others. Communication, creativity, knowledge of the story and an understanding of what you want the film to be are all key traits of a good director along with things like creative flares and trademarks that are distinguishable for that director. Working your way up through the ranks is a common way for many aspiring young directors, from a runner, 1st AD or 2nd AD up through to an assistant director or DoP and then finally a director. Some people start out as writers like Quentin Tarantino or have been directing from the start like Christopher Nolan or Gareth Edwards. These tactics are less common because it take an incredible amount of unique talent to be noticed so early on in their careers.
Screenwriter
The screenwriter quite literally the person who writes the screenplay which is then purchased and converted into a feature length film, short film or television episode. Many people who start out in the screenwriting profession begin working freelance, meaning they go unpaid. Starting out on spec scripts, freelance writers could spend years writing such scripts as an attempt to enter the industry and eventually become represented by a talent agency which could help get their scripts to studios meaning the writers would begin getting paid.
Actors
Another creative job that is significantly boosted by having a talent agency represent you, acting is fundamentally important to a film or television show. Although there are several experimental films that do not feature any actors, a higher percentage of films do. Acting is essential to drive the plot forward and good acting is essential to make the story believable. The actors work closely with both the director and screenwriter (at times) in order to get a clear picture of the characters motivations. The director and screenwriter however only have a certain amount of influence over the actors because it is ultimately them who have to portray the character in a certain way and sometimes the type of actor, method or classical, will have an influence over the character they act.
To become an actor, no degree is definitely required but a degree in acting does help those who take it to better themselves as actors. The ability of the actor themselves is a majority of how well they will do in the industry. A talent agent is also helpful in landing auditions for projects but actors without can attend open auditions, which gives them a chance to show their talent to scouts. Acting is usually a talent explored in early childhood although there are a number of practitioners who started out later in their lives. Progressing from an amateur actor to an A-list celebrity (although it is not the goal of some actors) is a difficult task and although some have gone from independent features to big studio franchises, launching them into stardom (Jennifer Lawrence is notable example). The more roles and acting jobs an aspiring actor takes, extras and background roles, it will hopefully lead them to supporting and eventually lead roles. Some actors then begin to take on other roles like producers (Sarah Jessica Parker), writers (Wentworth Miller) and even directing (Angeline Jolie) whilst acting, in order to further their talents and influence in the industry.
Below the Line Jobs
There are more below the line jobs than the ones listed below but these are several different roles in different departments.
Assistant Directors
1st, 2nd and 3rd Assistant Directors (usually abbreviated as AD) are in charge of organizing the schedules and overseeing a lot of the running of the production. Working with the director and other assistant directors, they sort out the necessary shooting schedules; call sheets and logistical elements for the days, weeks and months to follow. The AD's are also responsible in calling the attention of everyone on set to begin filming and calling out such things as 'Final Check', 'Lock It Down' or 'Set' at different point during the pre-shooting portion of the scene.
Like a number of roles in the film industry, a higher education degree is not essential. Organizational skills, budgeting and a level of knowledge in health and safety regulations is basic knowledge someone should have if they wish to go into this profession. Starting as a runner or in a production office is a good place to start and then working up the ranks through the 2nd and 3rd AD’s.
Sound Recorder
A sound recorder is the person who is responsible for recording all sound on location or on set, monitoring the quality of sound during production. They work closely with the director and boom operators so that they can record quality sound. Most of the recorders work takes place in production but they can work closely with a sound mixer in post-production.
A degree in either sound technology, audio engineering or music technology could show that you have an interest in the field to a possible employee but again it is not essential to have a degree. Just knowledge in the area, experience and enthusiasm for the role you wish to peruse. To work your way up through the ranks starting somewhere in radio, shadowing a professional or doing sound work in theatre is a good place to start and then move through different roles like boom operator or a sound assistant until you become a recorder.
Hair and Make-up Artist
Hair and make-up is an important but not excessively recognized in movies. The artists themselves work under the designers and execute the designs that have been approved by the director. Instead of designing the make-up and hair designs, the artist is responsible for applying the make-up and doing the hair. They would need to keep continuity throughout the film and ensure that the continuity is kept throughout.
To be an artist in this field you would need to have a qualification (Level 2 or above) in media make-up and an NVQ in hairdressing. Experience is also essential because it will equip aspiring artists with skills working on a set and working to a strict schedule. Before working on feature films an aspiring artist would start as a trainee within the industry and then over a decade or so move up through the ranks and could eventually become a designer depending on the skill demonstrated.
Director of Photography / Cinematographer
A DoP is the person who is in charge of both the camera and lighting teams on a film or television set. The DoP works closely with the director so that they can get an idea of the directors vision for the scene so that they can then direct the lighting crew. Depending on the director, the DoP might have room to make some decisions themselves on how some scenes should look. Some directors might be strict and have the DoP do everything that the director envisions.
Knowing about camera equipment, having a creative mind and the ability to find inspiration in all sorts of places are all key skills that a DoP would need to have. A degree in photography would give the aspiring DoP a good understanding of composition and lighting but a degree in film/media production would also give you a foundation in the film industry. Working as a still photographer on the film set, working in the lighting department, camera operating or doing second unit work could give you the skills and experience needed to become a successful DoP. Some DoP's also go into directing.
Runners
There are several different types of runner in the industry in different departments. A floor runner is on set working with the directing crew ensuring that both people and certain things are in place and ready for the scene. The needs of the cast and crew are what the floor runners primary task is, whatever it might be. A production runner comes on board just before principle photography begins. Their job is to keep communication between the crew departments through paperwork like call sheets, notes and maybe scripts. A 'rushes' runner does not work on set but is still an experience to get into the business with. The 'rusher' is tasked with transporting the footage shot that day from the set to the post-production location. Some companies will have office runners, which are tasked with various duties around production offices, which can give runners a way into post-production side of filmmaking or production work.
Almost everyone in the film industry starts as a runner. Getting in on a short film is a good way of getting experience as a runner so that you could work up to a feature film and then work your way up from there to a desired job role. There are no degrees needed to become a runner but you would need to be punctual, willing to do anything, work hard and do exactly as the person asking tells you.
Gaffer
A gaffer is the head electrician on a film or television set. They are responsible for managing all sorts of lighting equipment, mounts, apparatus and other electrical equipment under the direction and guidance of the DoP or lighting director. This job can involve a lot of improvising and experimenting with lighting in order to achieve new and interesting techniques with light.
To become a gaffer you would need to be a qualified electrician. From here you could start as a lighting electrician and then work your way up to a best boy – gaffers assistant- and then to a gaffer. From there you could progress up to a lighting director, which would allow you to choose the lighting for the film and work closely with the director.
In terms of the film and television industry, above and below the line concerns the budget and salary that crew earn. Above the line are the people who contribute to the creative process and narrative of the film and they have a fixed cost. So for example, if an actor has a small scene or if a scene is cut from the script, the actor and the screenwriter will still earn the same amount of money.
Below the line job roles include all behind the scene personal. Department heads, costume designers, lighting, sound mixers, grips, runners, cinematographers and editors, including many more are considered to be below the line. The difference between the two is that below the line workers have their pay subject to what is needed. For example if a scene is cut that is set in a small location but the location is only seen then, the set wouldn't need to be built or the costumes for that particular scene won't need to be made. This means that the department or workers wouldn't be paid for this because it is not needed.
A key characteristic and skill that is essential to any role within the industry is experience. By taking work experience job on sets or in production offices, shadowing a person in the role you wish to have in the industry or doing producing small experiments on the Internet to demonstrate your abilities in the job role you wish to have. There are multiple websites dedicated to specific careers within the industry in which you can visit and enquire to show you have an interest.
Above the Line Jobs
Executive Producers
There are several types of producers in the industry. An Executive producer is the person or persons that both supervise and help prepare the filmmaking process. They are vitally important to the process because they are the ones who pitch a film idea to big studios in order to gain funding. Once a film has been green-lit the executive producer could begin to focus on the business and budgetary side of the production and legal contracts however they still oversee the entire process.
A deep knowledge in business management, along with a cooperative attitude and organized mindset are key skills in becoming a producer. Because of the number of jobs a producer takes on they themselves will need to be able to take on a heavy load of work and work through them at a professional and quick pace (depending on the task). There are several film degrees that offer knowledge in the production and practical elements that can help future aspiring producers. From a degree level the aspiring producer could go straight into a job for a studio as someone lower down the job ladder and then move their way up the ladder until they are a producer. Another way could be to work your way up through other jobs within the industry like a writer or editor or director even. Another way in which you could go straight into a producing role is to seek out an independent film crew who could possibly be looking for a producer or with a group of a crew of aspiring film industry workers, could start producing their own short or feature films on a low budget.
Director
The director is the most influential creative person in the filmmaking process. The role of the director is to ensure the flow of the plot by directing actors, camera movements and lighting to ensure a creative and astatically pleasing, well told and acted story. Despite the control over the process and the influence the director has they are still under the producer in terms of control because it is the producer who liaise between the studio and director to ensure that the film is to the standard of the studio. The director can sometimes also be a producer meaning they have more control over the business side to the process as well as the creative side.
There are many ways to become a director but there are several skills that one must have in order to be a good one and to stand out against others. Communication, creativity, knowledge of the story and an understanding of what you want the film to be are all key traits of a good director along with things like creative flares and trademarks that are distinguishable for that director. Working your way up through the ranks is a common way for many aspiring young directors, from a runner, 1st AD or 2nd AD up through to an assistant director or DoP and then finally a director. Some people start out as writers like Quentin Tarantino or have been directing from the start like Christopher Nolan or Gareth Edwards. These tactics are less common because it take an incredible amount of unique talent to be noticed so early on in their careers.
Screenwriter
The screenwriter quite literally the person who writes the screenplay which is then purchased and converted into a feature length film, short film or television episode. Many people who start out in the screenwriting profession begin working freelance, meaning they go unpaid. Starting out on spec scripts, freelance writers could spend years writing such scripts as an attempt to enter the industry and eventually become represented by a talent agency which could help get their scripts to studios meaning the writers would begin getting paid.
Actors
Another creative job that is significantly boosted by having a talent agency represent you, acting is fundamentally important to a film or television show. Although there are several experimental films that do not feature any actors, a higher percentage of films do. Acting is essential to drive the plot forward and good acting is essential to make the story believable. The actors work closely with both the director and screenwriter (at times) in order to get a clear picture of the characters motivations. The director and screenwriter however only have a certain amount of influence over the actors because it is ultimately them who have to portray the character in a certain way and sometimes the type of actor, method or classical, will have an influence over the character they act.
To become an actor, no degree is definitely required but a degree in acting does help those who take it to better themselves as actors. The ability of the actor themselves is a majority of how well they will do in the industry. A talent agent is also helpful in landing auditions for projects but actors without can attend open auditions, which gives them a chance to show their talent to scouts. Acting is usually a talent explored in early childhood although there are a number of practitioners who started out later in their lives. Progressing from an amateur actor to an A-list celebrity (although it is not the goal of some actors) is a difficult task and although some have gone from independent features to big studio franchises, launching them into stardom (Jennifer Lawrence is notable example). The more roles and acting jobs an aspiring actor takes, extras and background roles, it will hopefully lead them to supporting and eventually lead roles. Some actors then begin to take on other roles like producers (Sarah Jessica Parker), writers (Wentworth Miller) and even directing (Angeline Jolie) whilst acting, in order to further their talents and influence in the industry.
Below the Line Jobs
There are more below the line jobs than the ones listed below but these are several different roles in different departments.
Assistant Directors
1st, 2nd and 3rd Assistant Directors (usually abbreviated as AD) are in charge of organizing the schedules and overseeing a lot of the running of the production. Working with the director and other assistant directors, they sort out the necessary shooting schedules; call sheets and logistical elements for the days, weeks and months to follow. The AD's are also responsible in calling the attention of everyone on set to begin filming and calling out such things as 'Final Check', 'Lock It Down' or 'Set' at different point during the pre-shooting portion of the scene.
Like a number of roles in the film industry, a higher education degree is not essential. Organizational skills, budgeting and a level of knowledge in health and safety regulations is basic knowledge someone should have if they wish to go into this profession. Starting as a runner or in a production office is a good place to start and then working up the ranks through the 2nd and 3rd AD’s.
Sound Recorder
A sound recorder is the person who is responsible for recording all sound on location or on set, monitoring the quality of sound during production. They work closely with the director and boom operators so that they can record quality sound. Most of the recorders work takes place in production but they can work closely with a sound mixer in post-production.
A degree in either sound technology, audio engineering or music technology could show that you have an interest in the field to a possible employee but again it is not essential to have a degree. Just knowledge in the area, experience and enthusiasm for the role you wish to peruse. To work your way up through the ranks starting somewhere in radio, shadowing a professional or doing sound work in theatre is a good place to start and then move through different roles like boom operator or a sound assistant until you become a recorder.
Hair and Make-up Artist
Hair and make-up is an important but not excessively recognized in movies. The artists themselves work under the designers and execute the designs that have been approved by the director. Instead of designing the make-up and hair designs, the artist is responsible for applying the make-up and doing the hair. They would need to keep continuity throughout the film and ensure that the continuity is kept throughout.
To be an artist in this field you would need to have a qualification (Level 2 or above) in media make-up and an NVQ in hairdressing. Experience is also essential because it will equip aspiring artists with skills working on a set and working to a strict schedule. Before working on feature films an aspiring artist would start as a trainee within the industry and then over a decade or so move up through the ranks and could eventually become a designer depending on the skill demonstrated.
Director of Photography / Cinematographer
A DoP is the person who is in charge of both the camera and lighting teams on a film or television set. The DoP works closely with the director so that they can get an idea of the directors vision for the scene so that they can then direct the lighting crew. Depending on the director, the DoP might have room to make some decisions themselves on how some scenes should look. Some directors might be strict and have the DoP do everything that the director envisions.
Knowing about camera equipment, having a creative mind and the ability to find inspiration in all sorts of places are all key skills that a DoP would need to have. A degree in photography would give the aspiring DoP a good understanding of composition and lighting but a degree in film/media production would also give you a foundation in the film industry. Working as a still photographer on the film set, working in the lighting department, camera operating or doing second unit work could give you the skills and experience needed to become a successful DoP. Some DoP's also go into directing.
Runners
There are several different types of runner in the industry in different departments. A floor runner is on set working with the directing crew ensuring that both people and certain things are in place and ready for the scene. The needs of the cast and crew are what the floor runners primary task is, whatever it might be. A production runner comes on board just before principle photography begins. Their job is to keep communication between the crew departments through paperwork like call sheets, notes and maybe scripts. A 'rushes' runner does not work on set but is still an experience to get into the business with. The 'rusher' is tasked with transporting the footage shot that day from the set to the post-production location. Some companies will have office runners, which are tasked with various duties around production offices, which can give runners a way into post-production side of filmmaking or production work.
Almost everyone in the film industry starts as a runner. Getting in on a short film is a good way of getting experience as a runner so that you could work up to a feature film and then work your way up from there to a desired job role. There are no degrees needed to become a runner but you would need to be punctual, willing to do anything, work hard and do exactly as the person asking tells you.
Gaffer
A gaffer is the head electrician on a film or television set. They are responsible for managing all sorts of lighting equipment, mounts, apparatus and other electrical equipment under the direction and guidance of the DoP or lighting director. This job can involve a lot of improvising and experimenting with lighting in order to achieve new and interesting techniques with light.
To become a gaffer you would need to be a qualified electrician. From here you could start as a lighting electrician and then work your way up to a best boy – gaffers assistant- and then to a gaffer. From there you could progress up to a lighting director, which would allow you to choose the lighting for the film and work closely with the director.
whos_who_copy_updated.docx | |
File Size: | 23 kb |
File Type: | docx |
Part 2 of this task is in the link below, the format and the structure of the document wont translate to the website well enough.
brochure.docx | |
File Size: | 5017 kb |
File Type: | docx |
task 3 - legal, ethical and contractual obligations
Legal, Ethical and Contractual Obligations
In the media industry there are certain blocks put in place to protect the integrity of the film shoot, the actors, crew and extras. The difference between each of the three is quite simple; 'legal' refers to the laws in place to protect the shoot, 'ethics' concerns morals on the shoot and 'contract obligations' concerns the cast and crew.
Legal
The legal side of film and television spans a huge range of issues and topics. The most common legal concerns that crop up on shoots include, animal and childcare, location security and healthy and safety. Over the decades there have been more companies set up to protect certain parties involved in the shoot. The thing with legal issues is that prosecution is the consequence of failure to comply, where as ethical and contractual issues have less severe consequences.
Health and safety is a huge on set worry and issue because failure to comply could end up in a heavy lawsuit. On the recent film set for Midnight Rider 2nd AD Sarah Jones, was killed in an accident. During an investigation into the incident, it was found that serious and willful safety violations were committed, resulting in the 1st AD and Executive Producer being charged with involuntary manslaughter and criminal trespass. This incident however did inspire film crews to pay tribute to her by posting slates in her memory. Many TV shows also adopted this and it was later adopted by the Academy Awards ceremony, where a number of winners and guests wore a ribbon in her memory. This incident has led to safety regulations within the industry to be questioned and addressed.
The 'AHA' is a company specifically dedicated to protecting animal rights in movies. Their image 'No Animals Were Harmed' appears on many films to show that the animals used on set were not armed in anyway. Beginning in 1940, the companies set out to monitor and protect animals on set. There have been other companies since to adopt this particular area of film.
Films need to land the rights to shoot on certain locations. Darren Aronofsky famously didn't have the rights to shoot the film Pi on the streets, so they had people looking out for police in case they were caught. Other institutions like the school system plays a large part in film also, especially if a film wants to shoot on location there. Scream is notable for being rejected by their first school choice for being too violent and the school did not want the violent nature to be associated with the school (Wes Craven got his own back in the credits where he shamed the school for not allowing filming there).
Ethics
The ethical issues on a film set concern mostly actors and crew. A number of 'Acts' have been put in place to protect actors and crew from sexist, racist and homophobic discrimination from others whilst on set. The Sexual Discrimination act 1975, The Equal Pay act 1970, The Race Relations act 1976 and The Disability Discrimination act 1995 are all put in place to protect the interest of all involved and the breaking of these acts have been met with harsh criticism from industry professionals. It does not look good on the part of a studio or production company if ethical issues go without being addressed or perused.
On set of Grey's Anatomy series regular Isaiah Washington was fired from the show after 3 seasons after he used homophobic language towards openly gay actor TR Knight. Despite denying that he used the language, other cast members said that they heard him, which caused ABC (the channel it is made and shown) to fire him because it went against both the Sexual Discrimination Act and the companies policy against verbal abuse.
Other channels like A+E dropped suspended a star from Duck Dynasty after a video surfaced of Phil Robertson going on a homophobic rant, ABC fired star Columbus Short after reports he attacked his wife, the studio behind Ted 2 fired star Stephen Collins after he confessed to child sex abuse and Paula Dean being dropped by her publisher and the food network after her racist remark scandal came to light in 2013.
Large companies like these find their hands tied in situations like these because it can brand the studio or company as an endorser of racial, sexual, domestic or homophobic abuse for not punishing those who cross the ethical barrier, which directly affects another member of cast or crew. Although a number of decisions have led to public outrage for being too fair or too harsh like only the suspension of Phil Robertson and him not being fired considering ABC's policy on homophobic abuse.
Contracts
Before starting a film shoot, studios must work with agents to write up a contract for the actors involved. Certain actors will work in their own personal 'wants' into the contract to protect their interests and make the shoot better for them. The contract could cover everything from nudity on screen to the position of the stars name on promotional material. For example, Sarah Jessica Parker had it in her contract that she would not appear naked on Sex and the City making her the only star not to appear naked. Dakota Fanning took a huge pay cut to have her name put next to Robert DeNiro on promotional material on Hide and Seek.
There have been some notable cases where contracts and agreements cannot be reached meaning either stars drop out or re-work their contracts to still star in the film. Notable cases include Catherine Zeta-Jones and Renee Zellweger's agents being involved in a long battle as to promotional material and which star would receive the 'top billing' but it was eventually solved by having diagonal billing meaning depending on which way you would read it, both would have top-billing.
Major studios include clauses into certain contracts that mean actors belong to that particular studio and/or franchise. Jennifer Garner was under contracts to appear in the Elektra spin-off despite her dislike of the project. All the Marvel Universe stars are contracted for a certain number of films meaning they must appear in the films regardless of other commitments. Idris Elba has recently said that he wants out of his contract and the film universe. During Gillian Andersons run on the TV show The X-Files, it was in her contract that she could not portray another FBI agent in show or film during her run, meaning that she missed out on the part of Clarisse Starling in the 2001 film Hannibal. Contracts like these can be restrictive and cut out a lot of work for actors but can provide a safe working environment and wealthy outcome.
Bette Davis was under the 'studio-system’, which dominated Hollywood during its Golden Age in the 20’s-60’s. This system referred to major studios like MGM, Paramount and Fox who controlled a hundred percent of the filmmaking, distribution and cinema chains. The contracts under this system were long term and included certain stars belonging to certain studios and certain cinemas being paired with a studio, showing their films only. However this system came to an end after a court decision decided that studios could no longer 'block-book' cinema chains and actors. Actors were owned by their respective studios, so when Bette Davis moved to England and planned on making movies their, she was thrown into a legal battle with Warner Brothers who did not want her making movies anywhere else and despite her suing to get out of her contract she lost but benefited from this greatly because the studio presented her with bigger and better roles, which let to her Academy Award wins and nominations.
legal.docx | |
File Size: | 131 kb |
File Type: | docx |
task 4 - developing technology
Below is the link to my 'Reel History' website which contains pages about the development of movie cameras, how media is given to the audience and a few pages on different transmission methods.
http://reelfilmhistory.weebly.com/
http://reelfilmhistory.weebly.com/
task 5 - planning for my future
my_cv_-_unit_8.docx | |
File Size: | 4 kb |
File Type: | docx |