The cultural plans for New York City's Ground Zero—the site of the terrorist attacks on September 11, 2001-calls for attractions that infuse life back into the site of so much death. For ten days in May, the Tribeca Film Festival did just that. Where else could you leave a post-screening party at 2:00 a.m. and walk two blocks for a $7 manicure? See smiles light up as a security guard refuses to back down from an arrogant film director trying to sneak into his own screening without a proper pass? Have greater access to film tickets by virtue of being a resident New Yorker? Or be treated to an
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The Moving Image: The Journal of the Association of Moving Image Archivists Volume 4, Number 1 (Spring 2004) University of Minnesota Press 176 pps. Subscriptions, One Year $75 ISBN 0-8166-4530-2 Published twice a year, The Moving Image is a journal devoted to issues of preservation, archiving and presentation of historic motion pictures, whether on film or videotape. The current issue, devoted to programming of historic films, features a cover story that will be of interest to all students of documentary history. Titled "Lumière's Arrival of the Train, Cinema's Founding Myth," and written by
Documentary film winners David Aristizabal of the USC (left), Rachel Loube of the School of Visual Arts (center) and Daniel Kowhler of Elon University prior to the 40th Annual Student Academy Awards this past June in Beverly Hills. Photo: Matt Petit / A.M.P.A.S. Since the early 1980s, I have been examining and revisiting the subject of film education and training in numerous publications. In my article about documentary training programs that appeared in the September-October 2004 issue of Documentary magazine, I referenced a report in Daily Variety that stated that ten feature-length
KCRW’s Matt Holzman sat down with Lucy Walker, Kevin Pearce, and his brother Adam after the screening to discuss using this project to discuss important issues.
Six feature-length documentary films have been selected to receive a total of $95,000 from the IDA Pare Lorentz Documentary Fund this year.
Since 1970, the giant screen 15/70mm IMAX format has provided a close-up and experiential view of nature's wonders. Historically, natural history and science films have provided the colorful backbone for content in this most immersive of motion picture mediums. The 15/70 film frame, which travels horizontally through the camera and projector, is almost nine times larger than a conventional 35mm film frame. Combine that kind of realism with 12,000 watts of surrounding six-channel sound and you have a medium that places audiences directly into the environments they depict, whether it is an
Ross McElwee's genial humor has guided him through some of the more thoughtful feature documentaries of the last 25 years: his pioneering Sherman's March (1986), Time Indefinite (1993), 6 O'Clock News (1997) and this year's release, his sixth feature, Bright Leaves. In each of his decidedly personal films, McElwee journeys from his base in Cambridge, Massachusetts, to his home state of North Carolina, visiting with old friends and family and using the past as a jumping-off point for his cinematic ruminations. He's inspired by these "periodic transfusions of Southern-ness." Although McElwee
Recently my company, HD Studios, contacted to co-produce a half-hour high-definition (HD) television series entitled Journey to Hollywood. Each of the 13 episodes deconstructs a specific area of Hollywood cinematic production—financing, costumes, acting, etc. Journey to Hollywood was shot in 23.976 PsF (progressive frames), using one of our Sony HDW-F900 high definition cameras. Sony BCT 40 HDCam master tapes were down-converted to Sony DVCam 64 using a Sony HDW F500 HD deck, and offline editing was done on an Avid. Online, primary and secondary color correction were done in-house on an Avid
It is an ironic metaphor that the most recent giant screen film to be funded with a grant from the National Science Foundation and investment capital from the Museum Film Network is Dinosaurs! Many large format filmmakers, distributors and exhibitors alike worry that this fractionalized industry is on the verge of becoming a dinosaur itself unless it reinvents the business from the inside out, both creatively and financially. That was the general consensus of those who attended the Large Format Cinema Association (LFCA) conference, held at Universal Studios in Los Angeles last April. The
DOCS ROCK, a bold new program developed for high school students by the IDA, is anchored on the premise that documentary films are a cultural art form that stimulates the development of basic principles of critical analysis. This program cultivates the ability to make judgments about media from a perspective of what is fiction and what is nonfiction, and expands this skill as it may be applied to all aspects of development, learning and human experience. The DOCS ROCK outreach program has steadily thrived and continues to grow. In December 2003, the curriculum received full accreditation for