Essential Doc Reads is a weekly feature in which the IDA staff recommends recent pieces about the documentary form and its processes. Here we feature think pieces and important news items from around the Internet, and articles from the Documentary magazine archive. We hope you enjoy! At Film School Rejects, Christopher Campbell considers the way that certain films, mostly docs, get a second chance for awards recognition. The allowance for overlap between the Oscars and the Emmys, which tend to be associated respectively as an honor for film and an honor for television, has been a place to find
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This past summer, the 3rd annual Podcast Movement Conference was held at the Hyatt Regency in Chicago. Gathered were podcasters from all kinds of backgrounds and levels of podcasting expertise, from novice to professional. As a nonfiction media-maker, film professor and public radio devotee, I've been keeping tabs on the upsurge in podcasts. And I've been giving a lot of thought to the crossover between documentary filmmaking and audio storytelling. When my summer plans unexpectedly changed and I was unable to attend in person, I took advantage of the Virtual Ticket: access to every keynote
Jenni Olson's The Royal Road, which recently arrived on DVD and VOD via Wolfe Video, is a movie whose actual scale is nearly impossible to discern. It's clearly a minimalist work, composed of static, long-take 16mm landscape shots paired with Olson's lyrical voiceover, and it's brief, running just 65 minutes. But it's also a film of expansive ambition, tackling the Spanish conquest and colonization of California, the mythical power of classic Hollywood, and the value of nostalgia. These 65 minutes are the result of a 20-year process. Loosely following Junipero Serra's titular trail between San
The three-day agenda of IDA's Getting Real '16 conference contains as many strands: art, diversity and sustainability braid together to form a rope, offering the entire documentary community a way to climb. "Programming a conference" accurately describes the Getting Real team's ultimate task, but it doesn't adequately evoke their process, which has been responsive, mindful and organic. Ken Jacobson, the conference's director of programming, with IDA Executive Director Simon Kilmurry, launched a dialogue in early 2016 with artists around the country, inviting them to unpack their needs. "We
The arts and creative practices are inextricably embedded in American life, are uniquely positioned to tell the story of our nation’s people, and are inseparable from our diverse heritages. Just as the arts are interwoven into the economies, health care, expression, and education of our nation and its global partnerships, a vast array of policies impacts our individual and collective cultural well-being. The arts are a powerful conduit for communication, inspiration, and unity, and their inclusion will inform and improve the policy-making process. We urge the new Administration to leverage the
Essential Doc Reads is a weekly feature in which the IDA staff recommends recent pieces about the documentary form and its processes. Here we feature think pieces and important news items from around the Internet, and articles from the Documentary magazine archive. We hope you enjoy! At The Wall Street Journal, Ben Fritz explores the tricky business of tallying box office revenue for independent films. In a bid to stand out from competitors, one independent distributor, the Orchard, is making a radical play for transparency. The company, which recently released Hunt for the Wilderpeople - its
As audiences continue to voraciously consume true crime stories, Deborah Esquenazi's debut documentary, Southwest of Salem: The Story of the San Antonio Four, sheds light on an extreme miscarriage of justice against four openly gay women in the 1990s, and their subsequent fight to clear their names. The film, which premiered at the Tribeca Film Festival in April, unravels the story of a couple, Anna Vasquez and Cassie Rivera, and their friends, Kristie Mayhugh and Liz Ramirez, who were convicted of gang-raping Liz's young nieces, ages 7 and 9. We quickly learn that the case is far more complex
In the ninth grade, punk rock was writer-musician Laura Albert's salvation. Punk would also become part of the reason she would trust documentarian Jeff Feuerzeig with the story of her life - and the lives she created in a masterful, decade-long hoax cum performance art project. Albert, 50, conjured up JT LeRoy, and through this teenage wunderkind avatar, created a series of darkly lurid, hardscrabble books about male prostitution and drug addiction that shook the world and seduced an avid corps of artists - Lou Reed, Gus Van Sant, Asia Argento, Courtney Love among them - to champion and
Over the last quarter-century, Kirsten Johnson has lensed some of the most challenging and impactful documentaries of our time, ranging from Laura Poitras' The Oath and Citizenfour to Kirby Dick's This Film Is Not Yet Rated and The Invisible War. She contributed additional camera work to Michael Moore's Fahrenheit 9/11, and early in her career she shot many interviews with Holocaust survivors for the Shoah Foundation. Her other credits include Darfur Now, Pray the Devil Back to Hell, 1971 and Two Towns of Jasper. In 2009, Johnson decided to make her own documentary, focusing on two young
Essential Doc Reads is a weekly feature in which the IDA staff recommends recent pieces about the documentary form and its processes. Here we feature think pieces and important news items from around the Internet, and articles from the Documentary magazine archive. We hope you enjoy! At Filmmaker, director Penny Lane asks whether documentary films should have footnotes. In "Honest Truths: Documentary Filmmakers on Ethical Challenges in Their Work," an excellent report put out by the Center for Social Media, a sample of 45 filmmakers expressed daily frustration at the lack of standards and