1994 Black Harvest Produced and Directed by Bob Connolly and Robin Anderson Freedom on My Mind Produced and Directed by Connie Field and Marilyn Mulford Hoop Dreams Produced by Frederick Marx, Steve James, and Peter Gilbert Directed by Steve James I Am a Promise: The Children of Stanton Elementary School Produced by Alan Raymond and Susan Raymond Directed by Susan Raymond Moving the Mountain Produced by Trudie Styler Directed by Michael Apted 1995 America and Lewis Hine Produced by Daniel Y. Allentuck and Nina Rosenblum; Directed by Nina Rosenblum George Stevens: A Filmmaker's Journey Written
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OUT OF MY MIND Producer and Director : Katie Cadigan Distributor: Filmakers' Library This remarkable first-person account of schizophrenia focuses on the filmmaker's younger brother, John, a promising artist whose college career was halted by the onset of severe mental illness. After developing symptoms of schizophrenia during his senior year, John came to live with Katie Cadigan and her husband. Out of My Mind explores the ongoing nature of John's paranoia, his experience with various therapies, and the family love that sustained him through multiple crises. It sheds light on the terribly
As the president and chief operating officer of Turner Entertainment Company, Roger Mayer has made a significant contribution to preserving and protecting the vast Turner film library. Mayer's responsibilities at Turner Entertainment include overseeing the restoration, preservation, and storage of the company's film holdings. He supervises licensing of film clips and stills, dubbing, booking and shipping of library films, and coordinating remakes and sequels of titles in Turner's library . His success in ensuring the future of these irreplaceable films is a source of inspiration to all who
Among the most celebrated documentary filmmakers, Marcel Ophulus revolutionized the nonfiction genre with his monumental The Sorrow and the Pity (1969), a wrenching exploration of French collaboration during the Second World War. Featuring Ophulus' now well-known combination of extensive interviews and archival footage, the film exposed the shameful reality of the French people's cooperation with the Nazis and established Ophulus as a pioneering and uncompromising practitioner of the documentary form. A product of German, French, American, and Jewish culture, Ophulus was born in 1927 in
It is 40 degrees, raining and windy, and my wife and I are on Inishmore, one of the Aran Islands, sitting on a horsedrawn cart and heading to the Man of Aran cottage to explore the locations that Robert Flaherty used in his 1934 film. I am excited thinking about how I could show Man of Aran to my graduate documentary seminar. I am also thinking of how the discussion could go in class, how I can show my own images of the island today, and then, with regret, how I can't bring Flaherty himself in to talk with the students about his work. That would be the best: Flaherty and his films, live in
Human Rights Watch—the largest U.S.-based organization devoted to safeguarding human rights internationally—founded its annual film and video festival six years ago as a showcase to exhibit documentary and fiction works on human rights themes. The festival illustrates the faith of its founders that film and video are ideal tools for education and persuasion: they are fast, portable, flexible, adaptable to various formats, capable of speedy revision of both picture and sound components, and can be transported, exhibited, and reproduced relatively inexpensively. Because the watch monitors human
A few months ago ( ID, July/August 1995), I explained why and how I made my first independent documentary. Using my own funds, I produced a half-hour video, Off the Wall!, dealing with the elimination of graffiti. It revolved around the activities of a charismatic activist named Joe Connolly. That was the fun part. Then came the hard part: getting the program distributed. How would I convey my antigraffiti message to millions of Americans? I knew that there was little chance of getting it on the broadcast networks. Obtaining a decision from any of the cable networks would require an enormous
IDA member Peter Stuart is one of the few American nonfiction producers to have made a successful career in Europe. This article about Stuart was first published in the July 31, 1995, Issue of Forbes . London's Sun tabloid calls it "the rudest telly show ever," but Eurotrash is one of the highest-rated shows on Channel Four In Britain, watched every Friday night at 11 p.m. by some 3 million Brits. Eurotrash is aptly named. Its French hosts, Jean-Paul Gaultier and Antoine De Caunes, treat viewers to such items as a Berlin cleaning agency that for $50 an hour will have naked men clean your house
A young mother brings her newborn baby into the city from the countryside. With her last few dollars, she checks into a cheap hotel and asks the whereabouts of the district court. She's come to find the father of her illegitimate child and sue him for child support. The ensuing battle between the desperate mother and the recalcitrant father, in and out of court, has all the essential elements of a melodrama. Yet this is not a daytime soap. It's a real-life story that happened in Shanghai in 1993. And, thanks to Shanghai TV's progressive documentary unit, we have it on videotape in a
The distribution of audiovisual works to educational and individual users, unlike that of printed materials (books), has a relatively short history. Video buying by schools, libraries, and individuals is only about a 20-year-old business. Prior to the marketing of video, these buyers purchased 16mm prints. This market began its rapid growth as 16mm projectors declared surplus by the U.S. Armed Services at the end of World War II found their way or were sold to schools, libraries, churches, and other users for entertainment and education. Film became a great medium for teaching. To understand