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!
Kathy K. Im, Director of the MacArthur Foundation, reflects on the importance of protecting independent journalism and journalists.
Increasingly, and for some time now, reporting that takes four months, 12 months, or two years is unthinkable for most commercial news organizations, and so nonprofit newsrooms and organizations have been filling this gap, with philanthropic support. But there are new challenges threatening these types of investigative and international reporting and reporters: legal intimidation and lawsuits that inhibit access to information, data, and sources; digital privacy and security breaches that jeopardize or derail reporting; and physical risks and personal threats faced by reporters in conflict areas.
At Indiewire, Graham Winfrey reports on FilmRise, an indie distributor planning to spend $27 million in 6 months.
Most of FilmRise's distribution deals fall in the $50,000 to $500,000 range, but the company has bid more than $2 million for individual titles. "We really look for films that are conversation starters and get people talking," Fisher said, adding that the company has gravitated toward edgy subject matter. "We're not afraid to take chances."
At POV, Eileen Meyer interviews film editor Greg Finton about his craft.
"When I worked on big studio films, it occurred to me that we were always taking these larger than life, big name actors, and doing everything in our power to make them seem like average, everyday people. And with documentary editing I think we do the opposite. We take average, everyday people and we do everything in our power to make them larger than life heroes for the most part. And I just find that so much more satisfying. Another thing I love about documentary editing is the fact that we are basically writing the story and finding the film's structure while we edit. I love being able to work with a director during that 'process of discovery.' Being able to suggest scenes we might shoot, or people we might interview as the film is being made is input that most editors in other genres aren’t allowed to have."
Storyhunter offers a comprehensive guide to commercial drone regulations around the world.
Drones with cameras that are used for aerial work like photography and filming are generally considered to be 'commercial' drones. This means that the operator intends to profit from the work while a hobbyist flies for private use or recreation. Most countries with drone laws have different regulations based on whether the drone is being flown for a hobby or for profit.
At Filmmaker, Paula Bernstein reports on the disturbing trend of doc filmmakers arrested for doing their job.
"When I was arrested, I was doing my job," Schlosberg said in a statement. "I was reporting. I was documenting. Journalism needs to be passionately and ethically pursued and defended if we are to remain a free democratic country. Freedom of the press, guaranteed by the First Amendment, is absolutely critical to maintaining an informed citizenry, without which, democracy is impossible."
"There has never been a more dangerous time for documentary filmmakers. Many work independently without organizational backing and are literally on the frontlines, taking on challenging situations, often without the protections that journalists doing similar work have in place. Taking on financial, physical, legal and technological risks, the documentary filmmaker often fights the lone battle, whether in a war zone, or against government, powerful corporations or individuals."
Luke W Moody Appointed as Director of Film Programming at Sheffield Doc/Fest
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IDFA Forum Selection 2016 Announced
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Netflix Abandons China Launch Plans
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Participant, Steve James Ramp Up TV Production
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POV and NowThis Are the First to Bring Independent Films to Snapchat Discoverd
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