DocuWeek and the Academy Awards
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Two themes in one issue: Web 2.0 and Green 2.0
by Thomas Rigler Earlier this year, at the annual TV business circus called NATPE, attendees were treated to an unconventional keynote speech. Its unlikely presenter was Gary Carter, a senior executive at FremantleMedia, and the company behind the global Pop Idol phenomenon (American Idol in the US). The speech managed to clarify the current dilemma of whether or not we are actually mourning the demise of television brought on by technological innovation, which, according to Carter, misses the point: "Technological development is a story which runs through human history, and part of that story
As part of our collection of 25th anniversary essays , Cara Mertes, director of the Sundance Institute's Documentrary Program, writes about the future of documentary storytelling.
As part of a collection of 25th Anniversary essays, IDA Preservation & Scholarship honoree Michael Rabiger reflects on 25 years of documentary education.
As part of our 25th anniversary essays, distribution maven Peter Broderick writes about how docmakers can maximize their revenue streams by cutting out the middle man.
Over the next few weeks, we at IDA will be introducing our community to the filmmakers whose work will be represented in the DocuWeek TM Theatrical Documentary Showcase, August 8-14 in New York City and August 22-28 in Los Angeles. We asked the filmmakers to share the stories behind their films--the inspirations, the challenges and obstacles, the goals and objectives, the reactions to their films so far. So, to continue this series of conversations, here are Stephen Higgins and Nina Gilden Seavey, directors/producers of The Matador. Synopsis: The Matador is the epic tale of David Fandila's
Putting the "International" in International Documentary Association.
Putting the "International" in International Documentary Association.
On The San Francisco Bay Area documentary community.