﻿<?xml version="1.0" encoding="utf-8"?><rss version="2.0"><channel><title>Screened Music Network Feature Articles</title><link>http://www.screenedmusic.com/rss.aspx3</link><description>In-depth film and TV music related articles</description><copyright>Copyright 2007 - 2010 ScreenedMusic.com. All rights reserved.</copyright><pubdate>Thursday, 02 Aug 2007 00:00:00 GMT</pubdate><item IsPermalink="true"><title>Britdoc Festival Feedback</title><description>Last week Keble College in Oxford played host to the second year of Britdoc, a three-day festival organized by The Channel 4 British Documentary Film Foundation.  It is flagged as an essential annual event for every key player in British documentary production, bringing together international film producers, distributors, and financiers to meet British talent face to face.  Screened Music Composer Rob Manning took a day out of his busy composing schedule to find out if this event has anything to</description><link>http://www.screenedmusic.com/resources_features.aspx?NewsItemID=32</link><pubDate>Thursday, 02 Aug 2007 00:00:00 GMT</pubDate><GUID>http://www.screenedmusic.com/resources_features.aspx?NewsItemID=32</GUID></item><item IsPermalink="true"><title>Sync Licensing Seminar – London Calling 29/06/07</title><description>For screen composers, the use of pre-existing, and often pre-cleared, tracks in preference to specially commissioned music might well be seen as an unwelcome phenomenon.  So what proportion of the music used today in film, television and other media falls into this category and just how lucrative is it for recording artists to have their music used?</description><link>http://www.screenedmusic.com/resources_features.aspx?NewsItemID=17</link><pubDate>Wednesday, 11 Jul 2007 00:00:00 GMT</pubDate><GUID>http://www.screenedmusic.com/resources_features.aspx?NewsItemID=17</GUID></item></channel></rss>