Jim Dine: A Self-Portrait on the Walu Producers: Nancy Diane and Richard Stilwell Director: Nancy Dine Cinematographer: Rudiger Kortz Editor: Maro Chermayeff Distributor: Outside in July, Inc. Jim Dine: A Self-Portrait on the Walu offers an entertaining and accessible look at the work of a prominent American artist. Over six days, Dine transforms the interior space of a German museum with massive charcoal drawings worked directly on the surfaces of its walls. Capturing humor and introspection along with the grime, dust, vacuuming, and handily improvised use of all manner of drawing implements
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Following a stormy year surrounding the snubbing of such highly acclaimed documentaries as Hoop Dreams and Crumb for Oscar nominations, the Academy of Motion Picture Arts and Sciences this year announced the nominations for best documentary under new guidelines in this category. These revisions, announced last June after a three-month review by Academy President Arthur Hiller, were designed to ease the workload of the Documentary Screening Committee, which had reviewed as many as 65 feature length films in a given year. Among the procedural changes that took effect this past year was a split
Japan's biennial celebration of documentary cinema, the Yamagata International Documentary Film Festival, ended its fourth week long event on October 9, 1995, with gala ceremonies and cash awards of $61,000. The International Jury evaluating 15 competing feature-length documentaries was composed of Barbara Hammer (United States), Tracey Moffatt (Australia), Tarr Bela (Hungary), Hou Hsiao-hsien (Taiwan), and Kudo Elichi (Japan). The Robert and Frances Flaherty Prize of $30,000 went to Tsipi Reibenbach of Israel for her two-hour Choice and Destiny, a lovingly detailed portrait of her elderly
November 3, 1995: Leona's Sister Gerri filmmaker Jane Gillooly's documentary, airs. Millions of PBS viewers who watch the P.O.V. special program are invited to participate in an intriguing new experiment to be called Two-Way TV. FLASHBACK 1964: Geraldine "Gerri " Twerdy Santoro dies naked and alone on a motel room floor from a botched illegal abortion. A police photographer captures the tragedy in one still frame: a woman crouched face down with her breasts to her knees, her head away from the camera, her feet and a blood stained towel in the foreground. 1973: The police photo of an anonymous
As with Oskar Schindler, most audiences won't have heard of Charles Bedaux prior to seeing the film based on his life. Despite obvious formal differences between Schindler's List, Steven Spielberg's Hollywood epic, and The Champagne Safari the comparison between the films makes perfect sense in light of the moral ambiguity surrounding their subjects' actions prior to and during World War II. Bedaux was an ardent capitalist who first gained prominence through his theories of labor and improvement of worker productivity. Suffice it to say, if Bedaux were alive and selling his package today, he'd
Anne Frank Remembered Producer, Director, and Writer: Jon Blair Director of Photography: Barry Ackroyd Editor: Karen Steininger Narrator: Kenneth Branagh Extracts from The Diary of Anne Frank read by: Glenn Close Distributor: Sony Pictures Classics The first filmed eyewitness account about Anne Frank, Anne Frank Remembered combines personal testimony, never-before-seen photos, newly discovered family letters, rare archival footage, and evocative contemporary film, including the first re-creation of the secret hiding place as it was at the time that the Frank family hid from the Nazis more than
The IRS could very well be the death of the freelance video and film professional this year. The tax police are arming for what promises to be the biggest assault this industry has ever seen. And if you've ever hired a freelance grip, gaffer, camera operator, or production assistant for even half a day, if you consider yourself an independent contractor, or both of the above, you could be in big tax trouble. If you're not scared yet, you should be. Under new federal guidelines taking effect this month, what you thought was an independent could be reclassified as an employee. That relationship
One of the most daunting tasks facing small documentarians with big ideas is getting access to the large enterprises—Fortune 500 businesses, state governments and federal bureaucracies, nongovernmental agencies, and the like—that dominate American society. The scope of these concerns makes their problems and weaknesses of fundamental interest and import to the society's well-being. Unfortunately, their bureaucratic and protective natures makes them obscure and, sometimes purposefully, impenetrable. "We can't just get [audiences] to feel guilty or sad or outraged about certain situations," says
As the IDA Board of Directors plots the course of the coming year and conjures new ways to spread shrinking funds over continuing and new programs, we'd like to hear from our membership. What do you see as the most pressing needs of the documentary community, and how can the IDA address them? We will give you a forum for these questions and many more when we mail you a member survey along with your membership renewal this month. Please take the time to read and answer the survey. Let us know if we are on target in serving your needs and how we can do a better job. The IDA's mission statement
First and above all, the motion picture camera is a recording device. It shows what's in front of it. Even a blue screen. Even computer generated images. When Godard said that cinema was truth at 24 frames per second, he meant it literally, not portentously. How we perceive, interpret, and react to those images means nothing to the camera. So every movie is at least in some sense a documentary, to the extent that it shows us what it sees is there. It's poignant now to watch Chaplin's first film, Kid Auto Race at Venice (1914). Mack Sennett's crew went to Venice, California, to shoot a real