Karin Stellwagen of The Brooks Institute works with a panel of documentarians, jouralists and legal professionals to decipher the intricate balance between video journalism and documentary filmmaking.
Legal
Documentary filmmakers who use archival materials fall into two basic categories: those who are savvy about rights clearance issues and those who aren
If you have ever used a clip or a photo or an existing piece of music in your documentary, you must have spent more than a little time looking for the
By Pat Aufderheide and Peter Jaszi A study conducted with some 50 documentary filmmakers over the course of a year, the American University's "Untold
Documentaries about 20th century artists are rarely produced these days, and for a very good reason: The filmmakers can't afford to pay for rights. It
This past year has been a watermark year for documentarians, with documentaries moving more and more into the mainstream of public awareness and
Also: Features on 'Rize'; 'School of Rock'; Al Wasserman, 1921-2005
A review of 'Risky Business: Financing & Distributing Independent Films'
Hot Coffee" src="http://www.documentary.org/images/magazine/2012/FromTheCourtroomToTheEditRoom_Summer12.jpg" style="width: 647px; height: 411px;"> The
"Help, I need Errors & Omissions for my film. Why do I need it? How do I get it done?" To answer these questions, I, the Good Witch...well, the