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Articles by Patricia Aufderheide

A black-and-white photo of Colette, an African woman with hair parted to one side, flanked by black-and-white photos of African families. From Alain Kassanda’s ‘Colette et Justin.’ Courtesy of IDFA
IDFA 2022: Decolonization, Ethics, Archives
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Kelsey Peterson is a white woman seen here lying on her back, wearing a black bandeau. From Peterson’s ‘Move Me.’ Courtesy of Full Frame Film Festival.
Bare Bones Full Frame 2022: The Limits and Benefits of Virtuality
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Attendees and festival crew take the stage to raise a toast to the 2022 edition of True/False Film Fest.Photo courtesy of True/False Film Fest. Photo by Karl Bussen.
True/False 2022: Revealing Racism
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A woman holding a TV remote control facing a screen displaying the homepage of Prime Video.
Why the Amazon-MGM Merger Is Bad for Indie Film
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Black and white photo of two young Black men lying on a mat. (l. to r.) Mohammed Arif and Ibrahim Mohammed, two boys from Harar, Ethiopia, as seen in Faya Dayi, directed by Jessica Beshir. Courtesy of Merkhana Films.
Full Frame 2021: Something for Everyone, Online Only
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IDFA 2020: Decolonizing the Documentary, Virtually
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Double Exposure 2020: Investigative Documentary Investigated
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AFI Docs 2020: The Stories behind the Headlines, the Business behind the Stories
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SVOD in Europe, COVID and Post-COVID
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True/False 2020: Reality, Fiction, Foresight
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IDFA 2019: Telling Truths and Meeting Friends
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Negotiating Copyright Exceptions across Borders
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Truth and Power at AFI Docs 2019
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Tribeca Film Fest 2019: Big and Shiny
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SXSW: Performance, Experience, Immersion
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IDFA 2018: Inclusion Everywhere
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Trumpeting Decency in Trump's Town: AFI Docs Showcases Big Issues
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Hot-Topic Documentaries at Tribeca Go Beyond the Headlines
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Beyond FOMO at #SXSW2018: The Eclectic Documentary Agenda
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IDFA at 30: Sounding the Alarm and Creating Resistance
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Double Exposure: Filmmakers Tell Truth to Power
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At the Sydney Film Festival, Diversity in Documentary
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As the Australian International Documentary Conference Celebrates 30, New Challenges for Makers
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Slow Cinema in the Fast Lane at DocLisboa
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Why Study Film History? I Came to Learn the Craft!
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The New Chinese Documentary: Building the Bridge between East and West
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At Tribeca, Journalistic Docs Shine
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At SXSW, Documentaries Feature the Obscure and the Super-Famous
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Rethinking the Next Big Thing at IDFA's DocLab
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How Tribeca Thrives as a Virtual and Actual Reality Showcase
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Honest Truths: Looking at a Groundbreaking Ethics Report, Five Years Later
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The Docs at SXSW
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International INPUT into Public Television
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Silverdocs Shine with Elegance and Energy
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Docs Run Long in Toronto
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Participatory Democracy through Film: Social Documentaries Thrive in Multiple Media Environments
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Eclecticism on Display at Tribeca Film Festival
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Immersion, Integration, Interactivity! Tribeca Insights
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SXSW Panels: Unbranded Content, Storyworlds, Toolkits and Crowdfunding
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SXSW Documentaries: Invisible, Underwater, on Trapezes and Trees
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IDFA 2013: Wintonick, Interactive, Pitches and, Oh Yes, Documentaries
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'Original Child Bomb' and 'Death in Gaza' Split the Gold at Silverdocs
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SXSW 2013: It's All About the Synergy
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Docs Go Dutch: Annual Amsterdam Festival Supports Freedom of Expression
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Fair Use: The Documentarian's Best Friend
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Toronto's One-Stop Doc Shop
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SXSW 2012: Where Platforms Converge
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Weird Is Good: SXSW 2011
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Going Dutch: IDFA Showcases Wealth of Docs Amid National Cuts to Cultural Funding
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Toronto International Film Festival: Big, Shiny Docs and More
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