When good intentions meet bad assumptions on the film festival circuit By Samuel Habib, Dan Habib, Sara Bolder, and Jim LeBrecht Editor’s Note: The
Accessibility Issues
In a world rent asunder, conference speakers thrust documentary ethics into reality.
Since Pedro and I first started filming unseen in May 2016, I’ve always told him that my main audience for our film is no one else but him. After all, unseen is about his life and his decade-long journey to become a social worker. What makes the pursuit of this goal not so straightforward is the fact that Pedro is blind. If Pedro is truly my main audience, how can I make a film (arguably a primarily visual medium) not only accessible for him but, more so, enjoyable?
During Ranell Shubert’s first eight-year span on staff at IDA, she has had the opportunity to work across many departments, giving her a unique
Winner of the Directing Award for US Documentary at this year’s Sundance Film Festival, Reid Davenport’s debut feature, I Didn’t See You There, is
IDA is proud to announce an exciting new partnership with Rev as our official accessibility partner! Rev provides an array of services for documentary
I attended my first conference in yoga pants and a t-shirt with snacks and a coffee mug on my desk, a cat and dog, and stretch breaks whenever I wanted.
Take a moment to imagine the following scenario. You open up your laptop, log in, launch your web browser... and then your screen goes blank. “The
Getting Real ‘20, our biennial conference on documentary media, happened from September 9 through Oct 3. On the opening day, we joined “ Expanding
The makers and artistic collaborators of Vision Portraits and Crip Camp discuss the creative process behind their use of accessibility features such as audio description and closed captioning.