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The Rhetoric of the New Political Documentary Edited by Thomas W. Benson and Brian J. Snee Southern Illinois University Press, Carbondale 2008 226 pages $35.00 In one sense, the title says it all. The Rhetoric of the New Political Documentary is a classic university press publication, in this case written by scholars who are based in the discipline of rhetorical inquiry. None of the 11 contributors are best known for their work in cinema studies, despite the complimentary back cover blurb by documentary academic extraordinaire Michael Renov. Another tip-off to its raison d'être is its $35.00
Filmmaker Paul Devlin hates fundraising. He would never solicit donations in a newsletter to friends and fans; he considers it an improper imposition. And don't get him started on fundraising parties. "I don't have the personality to do that," he says. "The whole idea turns me off entirely. That wasn't an option for me." So Devlin had high hopes that when he signed up as the first filmmaker to raise money on the website ArtistShare.com--which, since 2003, has helped musicians fund albums by allowing their fans to pay to participate in, or have access to, the artists and their creative
RiP: A Remix Manifesto, the controversial new doc by Montreal filmmaker Brett Gaylor, opens with a startling scene. A musician is prepping backstage for a club date, donning shades and putting on his hoodie.
Filmmaking is a constant struggle between creative vision and budgetary restraint. In the production of our documentary, Bigger Stronger Faster, no issue better demonstrated this tug-of-war than our use of archival footage.
Grappling with structure on a documentary about President-Elect Barack Obama, Sam Pollard took a break to talk about his life as an editor. For him, great storytelling is not so uch a gift as the end result of hard work. Mentoring and consulting on many films, he is a gift to many filmmakers. As a full-time professor at New York University since 1994, Pollard says, "I think in some ways, it saved my career as an editor and keeps me inspired as a filmmaker; I'm constantly in the orbit of young people who have such imaginations and creative ideas." He is one of the few successful African
There is a lesson to be learned from Charles Guggenheim's Academy-Award-winning documentary eulogy, Robert Kennedy Remembered, shown to an invited audience on the final night of SilverDocs this past June. It is this: Let the viewers see the person. Give us the visual evidence and let us make up our own minds. That's what Guggenheim did brilliantly in this film and in a series of political spots shown before it. The notion of a 40th anniversary showing at SilverDocs started when a clip from the film was shown to young South African filmmakers during a cultural exchange visit that festival
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