Panel Discussion moderated by Center director Pat Aufderheide with Outfoxed director Robert Greenwald, Super Size Me director Morgan Spurlock, Control Room editor Julia Bacha and Fahrenheit 9/11 producer Jeff Gibbs at the 2004 Aspen Film Festival.
This paper considers case studies of three documentaries in terms of what new insights a conversion perspective brings to an understanding of their immediate and long-term impact. To do so, a range of research methods and data-gathering tools are employed: scholarly publications, memoirs, outreach materials, websites, video records of public events, and personal interviews.
Read how various organizations are making an "impact," which can mean many things. It is important to think about many channels and diverse audiences, and particularly the networks and infrastructure that exists today, upon which we can continue to build.
Ellen Schneider and Melaine Piersol discuss the importance of outreach campaign evaluations. They move past the primary successes and failures of projects to the reassessment of how filmmakers and outreach coordinators develop new programs and redefine goals and objectives.
The wide availability of inexpensive and user-friendlier production tools has finally brought us closer to the long-deferred dream of mass moving image authorship. But while many (though not all) obstacles to production have crumbled, distribution problems are escalating.
Welcome to the Code of Best Practices in Sustainable Filmmaking. This site currently contains the Code’s Principles (see below) as well as its checklists, carbon trackers, and Web resources. These may be downloaded from the Code. We are working to create an independent website for this project, where we will provide comprehensive and interactive resources for those interested in sustainable filmmaking.
This study provides a map of perceived ethical challenges that documentary filmmakers—directors and producer-directors—in the United States identify in the practice of their craft. It summarizes the results of 45 long-form interviews in which filmmakers were asked simply to describe recent ethical challenges that surfaced in their work. This baseline research is necessary to begin any inquiry into ethical standards because the field has not yet articulated ethical standards specific to documentary.
This paper defines the field of socially engaged media in public access television and provides a framework for how social media is being used in public access TV. Socially engaged public access television productions take many forms, including town hall dialogues, oral history documentaries, organizing videos, coverage of school board meetings, and critiques of mainstream media.
Documentary films are serving as the core for innovative spaces and practices that mark a new kind of public media – accessible, participatory and inclusive. This article examines the campaigns surrounding three films: Not in Our Town, Lioness, and State of Fear to uncover how emerging strategies for online and offline engagement are laying the groundwork for "public media 2.0."