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Spring 2022

Spring 2022

Cinemateca workers protest outside the Cinemateca Brasileira. They’re holding signs and cardboard cutouts of film reels. Photo by Benedito Faga / Alamy Stock Photo.

Spring 2022

The Spring 2022 issue takes the temperature of this moment of change, tension and upheaval, and of the potential for the power and spirit of labor movements to take hold in the documentary ecosystem—both in the US and around the world. And just to add an editor’s note here: While it might seem a calculated move on our part to unveil this issue just as our comrades at IDA were launching Documentary Workers Union, we were merely being prescient.

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Features
Projectionist Tim White is a white man working a film projector at a Flaherty Film Seminar. Photo by Anne-Katrine Hansen; courtesy of The Flaherty.
Feature | Spring 2022
Film Festival Workers Unite!
By Anthony Kaufman
Labor IssuesFestivals
A collection of signs that state “Writers Guild of America: Without Us, There’s Only Reality.” Courtesy of Shutterstock
Feature | Spring 2022
The Guilds and Documentary Indies: Trying to Form a More Perfect Union
By Addie Morfoot
Labor IssuesProduction CompaniesProducing
The DGA emblem at its New York office entrance. Photo by DCStockPhotography/Shutterstock.
Feature | Spring 2022
DGA's Documentary Committee: Empowering Filmmakers As They Empower the World
By Alexandria Stapleton
Labor IssuesDirecting
Participants in a panel at DOC NYC about the ADE Guidelines and the BIPOC Editors Database pose in front of a screen with text on it. Courtesy of DOC NYC.
Feature | Spring 2022
Alliance of Documentary Editors Unveils Scheduling Guide
By Darianna Cardilli
Editing
The Color Congress logo uses colorful, modern sans serif text.
Feature | Spring 2022
A Kaleidoscope Coming Together: An Introduction to Color Congress
By Rashid Shabazz
Field Diversity, Equity, and Inclusion (DEI)
A group of Indian children and adults are gathered together outside at night, watching a film from the People's Film Collective.
Feature | Spring 2022
India's People's Film Collective and Its Fight to Keep Documentary Free and Independent
By Sudipto Sanyal
Indian Media
Cinemateca workers protest outside the Cinemateca Brasileira. They’re holding signs and cardboard cutouts of film reels. Photo by Benedito Faga / Alamy Stock Photo.
Feature | Spring 2022
The Brazilian Cinematheque's Fight for a New Start
By Ela Bittencourt
Labor IssuesArchivesLatinx MediaSouth American Media
A black-and-white image of a woman with dark skin and dark curly hair holding an early Sony video camera. Courtesy of DCTV
Feature | Spring 2022
DCTV Celebrates 50 Years of Media Activism and Training
By Patricia Thomson
Documentary HistoryEducation
Columns
Blue background with white text that reads fast foreword The Editor's Column.
Column | Spring 2022
Fast Foreword: The Editor's Column, Spring 2022
By Tom White
Fast Foreword
Thomas Allen Harris is a Black male filmmaker, seen here wearing a blue shirt, glasses, and a surgical mask. He is taking a selfie, and his students are visible in the background. Courtesy of Thomas Allen Harris.
Column | Spring 2022
Thomas Allen Harris Launches Institute for Inclusive Storytelling at Yale
By Juan Michael Porter II
Doc UniversityEducationAfrican American MediaLGBTQ Docs
Welsh actor Adam O'Brian is a white male lying on a bed, wearing a hooded jacket—playing Fredric Bourdin. From Bart Layton’s ‘The Imposter.’ Photo by Erik Wilson.
Column | Spring 2022
Playback: Bart Layton's 'The Imposter'
By Chico Colvard
Playback