From Katrina Browne's Traces of the Trade, which was made as part of the WGBH Filmmakers-in-Residence Program. Photo: Amishadai Sackitey The traditional broadcast networks aren't the only ones who need to figure out how to adapt as online video and new technologies continue to change how people receive their news and entertainment. Public stations recognize that the media landscape is changing, and they too must actively take part or else lose out on the next generation of new voices. Boston-based WGBH, a leading producer of PBS prime-time programs and online content, has created the WGBH Lab
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The most successful documentaries have lasting impact. This concept isn't revolutionary. Any director pouring his or her life into a documentary wants that effort to be worthwhile. But in today's swiftly changing media landscape, how do filmmakers achieve that impact? And perhaps more importantly, how can this new landscape create opportunities that enable the impact we strive for? There seems to be a lot of talk these days about transmedia storytelling among the documentary community. Certainly there are those who have been aware of the concept since it was first introduced in the '90s and
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Niger '66: A Peace Corps Diary takes audiences some 45 years back in time on a journey with 65 idealistic youngsters who made a valiant attempt to make a small part of the world a better place to live. They were Peace Corps volunteers on a mission to the land-locked, poverty-stricken African nation of Niger--some 80 percent of which is in the Sahara desert. The 75-minute documentary was co-produced and directed by Judy Irola, ASC (American Society of Cinematographers), who was one of the early volunteers. She served in Niger for two years, beginning in June 1966. "My experience in the Peace