DON'T STOP BELIEVIN' director talks about being on the road with one of the world's most famous rock bands.
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The Sundance Institute recently named Tabitha Jackson as the new director of its Documentary Film Program (DFP); she succeeds Cara Mertes, who stepped down this past summer to take on the director position at the Ford Foundation's JustFilms program. Jackson will plan and implement strategic partnerships, oversee the DFP's funding programs and host five annual Labs for documentary filmmakers. As she moves from London—where she served as commissioning editor for arts at Channel 4 Television—to Los Angeles, she brings more than 20 years of experience in the documentary and nonfiction field. While
'Tim's Vermeer' opens nationwide through Sony Pictures Classics.
Wiseman Plays Berkeley: The Legendary Documentarian Takes on the Decline in Funding Public Education
'At Berkeley' airs January 13 on PBS' 'Independent Lens.'
Over the past five or six years, two of the leading national sports networks—ESPN and Fox Sports Net—have developed documentary series that have taken their places among the pantheon of the sports documentary genre. ESPN Classic's SportsCentury has earned Emmys and Peabodys for its flood-the-zone approach to telling the story of the world's greatest athletes, while Fox Sports Net has carved its own niche with Beyond the Glory, a series of profiles of some of the most legendary and controversial athletes in recent history-narrated, for the most part, by the athletes themselves. With three
If there's one image that sums up the overwhelming workload of our nation's public defenders, it can be found in the middle of Dawn Porter's recent documentary Gideon's Army. The image surfaces when we enter the office of Travis Williams, a young attorney who is practically buried by mountainous stacks of papers and files that amount to his current and ongoing caseload. At times tackling over 100 cases simultaneously, Travis is just one of the 15,000 men and women who provide proper legal council and services to those in the US who could not otherwise afford an attorney. Along with several
" To Be and To Have isn't a documentary in the traditional sense, with a demonstrative and didactic approach," says its maker, Nicolas Philibert. "I wanted to tell a story." That "traditional" documentary is passing away, and this approach, which Philibert so masterfully executes in his story of a teacher and his young students in a one-room schoolhouse in rural France, is becoming more conventional than unconventional. Philibert doesn't tell us that learning is difficult; he shows us with scenes of boys and girls struggling at home while their mothers and fathers, aunts and uncles all gather
"The idea was simple and big. Capturing drama in real life could allow viewers to experience other worlds with their own senses. Carrying out that idea is taking more than a lifetime." This reflection from documentary pioneer Robert Drew kicks off a 48-page booklet that accompanies the release of a 10-DVD boxed set of the work of his filmmaking conglomerate, Drew Associates, from 1960 to 2008. The collection, Robert Drew: Ten Masterworks of American Cinema Vérité, is of excellent quality, having been digitally mastered from the original films preserved at the Academy of Motion Pictures Arts
Who owns the images of our world? Where do ideas end and images begin? How can we both defend the freedoms and rights of filmmakers and encourage the fostering of the evolution of film? This may seem like too "heady" a thought for those of us in the trenches, trying to slog out a living in the world of indie film. But if we don't care, who will? Let's make the philosophical practical for a second. I made a film about New York after 9/11 called 7 Days in September. I wanted to create a work that would be enduring. Now the film is about to be released on DVD, and I'm trying to think about how I
Film History, An International Journal Volume 16, Number 1, 2004 Editor-in-Chief: Richard Kozarski Indiana University Press and John Libbey Publishing Single copies: $17.95 ISBN 0-253-11710-0 An exemplary journal of motion picture scholarship, the current issue of Film History is dedicated to early British cinema and is edited by Stephen Bottomore. One essay in this issue, "Panoramas, Parades and the Picturesque: The Aesthetics of British Actuality Films, 1895-1901" by Gerry Turvey, is of particular interest to students of documentary film. Many students of documentary will be familiar with