Cobain: Montage of Heck
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Videography and Photography: Critical Thinking, Ethics and Knowledge-Based Practice in Visual Media
Videography and photography: Critical thinking, ethics and knowledge-based practice in visual media Storytelling through videography and photography can form the basis for journalism that is both consequential and high impact. Powerful images can shape public opinion and indeed change the world, but with such power comes substantial ethical and intellectual responsibility. The training that prepares journalists to do this work, therefore, must meaningfully integrate deep analytical materials and demand rigorous critical thinking. Students must not only have proficient technical skills but also must know their subject matter deeply and understand the deeper implications of their journalistic choices in selecting materials. This course gives aspiring visual journalists the opportunity to hone critical-thinking skills and devise strategies for addressing multimedia reporting’s ethical concerns on a professional level. It instills values grounded in the best practices of traditional journalism while embracing the latest technologies, all through knowledge-based, hands-on instruction. Learning objectives This course introduces the principles of critical thinking and ethical awareness in nonfiction visual storytelling. Students who take this course will: Learn the duties and rights of journalists in the digital age. Better understand the impact of images and sound on meaning. Develop a professional process for handling multimedia reporting’s ethical challenges. Generate and translate ideas into ethically sound multimedia projects. Understand how to combine responsible journalism with entertaining and artistic storytelling. Think and act as multimedia journalists, producing accurate and balanced stories — even ones that take a point of view. Course design This syllabus is built around the concept of groups of students going through the complete process of producing a multimedia story and writing journal entries about ethical concerns that surface during its development and execution. -
The Kid Stays in the Picture Discussion Guide
www.influencefilmclub.com The Kid Stays in the Picture Discussion Guide Directors: Nanette Burstein, Brett Morgen Year: 2002 Time: 93 min You might know these directors from: Going the Distance (2010) American Teen (2008) On the Ropes (1999) FILM SUMMARY Based on his best-selling autobiography, Oscar-nominated film, THE KID STAYS IN THE PICTURE, takes us through the extraordinary life and career of boy wonder film producer, Robert Evans. Despite his reputation of being a bullshitter’s bullshitter, Evans exposes his highs and lows with all honesty, along with large doses of self- reflection and deprecation. Evans was the driving force behind some of the greatest films to ever come out of Hollywood, including Chinatown, Rosemary’s Baby, Godfather I and II, Harold and Maude, and a jaw-droppingly impressive list of others. To hear his tales about how these films were made - and the drama behind the scenes - is riveting. Unique in documentary filmmaking, Evans speaks ‘to’ the camera, narrating the story in his distinctive old- Hollywood style while liberally employing the use of out-dated hipsterisms such as ‘dame’, ‘broad’ and ‘buckeroos’. His remarkable collection of photographs become almost film-like, giving the viewer a unique view into his life, as well as into some of Hollywood’s golden periods. It is the friends, enemies, lovers, haters, admirers and many others in Evans’ network who create the fabric of this story. Everyone made their mark on him in some way, and by the film’s end, we understand why the kid was able to stay in the picture, despite some extraordinary falls from grace. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
A Film Music Documentary
VULTURE PROUDLY SUPPORTS DOC NYC 2016 AMERICA’s lARGEST DOCUMENTARY FESTIVAL Welcome 4 Staff & Sponsors 8 Galas 12 Special Events 15 Visionaries Tribute 18 Viewfinders 20 Metropolis 24 American Perspectives 29 International Perspectives 33 True Crime 36 DEVOURING TV AND FILM. Science Nonfiction 38 Art & Design 40 @DOCNYCfest ALL DAY. EVERY DAY. Wild Life 43 Modern Family 44 Behind the Scenes 46 Schedule 51 Jock Docs 55 Fight the Power 58 Sonic Cinema 60 Shorts 63 DOC NYC U 68 Docs Redux 71 Short List 73 DOC NYC Pro 83 Film Index 100 Map, Pass and Ticket Information 102 #DOCNYC WELCOME WELCOME LET THE DOCS BEGIN! DOC NYC, America’s Largest Documentary hoarders and obsessives, among other Festival, has returned with another eight days fascinating subjects. of the newest and best nonfiction programming to entertain, illuminate and provoke audiences Building off our world premiere screening of in the greatest city in the world. Our seventh Making A Murderer last year, we’ve introduced edition features more than 250 films and panels, a new t rue CriMe section. Other fresh presented by over 300 filmmakers and thematic offerings include SceC i N e special guests! NONfiCtiON, engaging looks at the worlds of science and technology, and a rt & T HE C ITY OF N EW Y ORK , profiles of artists. These join popular O FFICE OF THE M AYOR This documentary feast takes place at our Design N EW Y ORK, NY 10007 familiar venues in Greenwich Village and returning sections: animal-focused THEl wi D Chelsea. The IFC Center, the SVA Theatre and life, unconventional MODerN faMilY Cinepolis Chelsea host our film screenings, while portraits, cinephile celebrations Behi ND the sCeNes, sports-themed JCO k DO s, November 10, 2016 Cinepolis Chelsea once again does double duty activism-oriented , music as the home of DOC NYC PrO, our panel f iGht the POwer and masterclass series for professional and doc strand Son iC CiNeMa and doc classic aspiring documentary filmmakers. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
Jack King Owner/Mgr. 159 AM Talent Mgmt. 9701 Wilshire Blvd., 10Th Fl., PMB 241 Beverly Hills, CA 90212 Rachel Wu Asst. 159 AM T
Jack King Rachel Wu Howard Klein Owner/Mgr. Asst. Partner 159 AM Talent Mgmt. 159 AM Talent Mgmt. 3 Arts Ent., Inc. 9701 Wilshire Blvd., 10th Fl., PMB 241 9701 Wilshire Blvd., 10th Fl., PMB 241 9460 Wilshire Blvd., Seventh Fl. Beverly Hills, CA 90212 Beverly Hills, CA 90212 Beverly Hills, CA 90212 Erwin Stoff Michael Rotenberg Dave Becky Partner, Chairman Partner Partner, Talent & Lit. Mgr. 3 Arts Ent., Inc. 3 Arts Ent., Inc. 3 Arts Ent., Inc. 9460 Wilshire Blvd., Seventh Fl. 9460 Wilshire Blvd., Seventh Fl. 9460 Wilshire Blvd., Seventh Fl. Beverly Hills, CA 90212 Beverly Hills, CA 90212 Beverly Hills, CA 90212 Molly Madden David Miner Tatiana Sarah Partner, Talent Mgr. Partner Talent Mgr. 3 Arts Ent., Inc. 3 Arts Ent., Inc. 3 Arts Ent., Inc. 9460 Wilshire Blvd., Seventh Fl. 9460 Wilshire Blvd., Seventh Fl. 9460 Wilshire Blvd., Seventh Fl. Beverly Hills, CA 90212 Beverly Hills, CA 90212 Beverly Hills, CA 90212 Olivia Gerke Nick Frenkel Mark Schulman Talent Mgr. Talent Mgr. Talent & Lit. Mgr. 3 Arts Ent., Inc. 3 Arts Ent., Inc. 3 Arts Ent., Inc. 9460 Wilshire Blvd., Seventh Fl. 9460 Wilshire Blvd., Seventh Fl. 9460 Wilshire Blvd., Seventh Fl. Beverly Hills, CA 90212 Beverly Hills, CA 90212 Beverly Hills, CA 90212 Pam Kohl Greg Walter Tom Lassally Talent Mgr. Talent Mgr. Talent Mgr./Prod. 3 Arts Ent., Inc. 3 Arts Ent., Inc. 3 Arts Ent., Inc. 9460 Wilshire Blvd., Seventh Fl. 9460 Wilshire Blvd., Seventh Fl. 9460 Wilshire Blvd., Seventh Fl. Beverly Hills, CA 90212 Beverly Hills, CA 90212 Beverly Hills, CA 90212 Josh Lieberman Richard Abate Avi Gilbert Talent Mgr. -
Wff Freeman Insert
TABLE OF CONTENTS 3 About WFF 4 Hudson Valley FIlm Commission 6 Features Contact info 12 Documentaries Woodstock Film Festival, Inc. PO Box 1406, Woodstock, NY 12498 email: [email protected] 19 Shorts website: www.woodstockfilmfestival.com 22 Panels 24 Concerts 25 Souvenier, Sponsors & Advertisers 26 Ticket Information Box Office Location: (NEW LOCATION) 27 Schedule 34 Tinker Street Woodstock, NY 12498 (We are right in the center of town across from Joshua’s Cafe and next to the Kleinert/James Art Gallery) phone#: 845-810-0131 email: [email protected] Tickets and up-to-date schedule info are available online at www.woodstockfilmfestival.com ALL INFORMATION IS SUBJECT TO CHANGE. FOR THE MOST UP-TO-DATE INFO INCLUDING SCHEDULES, ADDED SCREENINGS AND OTHER EVENTS, PLEASE VISIT www.woodstockfilmfestival.com WOODSTOCK FILM FESTIVAL 2007 ABOUT THE WOODSTOCK FILM FESTIVAL The Woodstock Film Festival As a not-for-profit, 501(c)(3) organization, our mission is to present an annual pro - celebrates new and established gram and year-round schedule of film, voices in independent film with music and art-related activities that pro - screenings, seminars, workshops mote artists, culture, and inspires learning and diversity. The Hudson Valley Film and concerts throughout the mid- Commission promotes sustainable eco - Hudson Valley. nomic development by attracting and sup - porting film, video and media production. Every fall, film and music lovers from around the world gather here for an exhilarating vari - Founded by filmmakers, ety of films, concerts, celebrity-led seminars, workshops, an awards ceremony and superlative the festival is centered in parties. Visitors find themselves in a relaxed, receptive atmosphere surrounded by some of the the historic arts colony of most beautiful landscapes in the world. -
COM 321, Documentary Form in Film & Television, Spring 2012 Take
1 COM 321, Documentary Form in Film & Television, Spring 2012 Take-home Essay Exam Due--10:00 am, Thur., May 10 (at the beginning of the required COM 321 Documentary Premiere Screening session) Worth–40 pts. (20% of your course grade). Two items are worth a maximum of 15 pts. each, and one is worth a maximum of 10 pts. You must respond to all three essay questions (each involves some choices on your part). Begin your answer to each question on a new sheet of paper, headed by your student ID number and the item letter/number only. Write a maximum of five typed (double-spaced) pages total across all three questions. For all questions, be sure to demonstrate knowledge you gained in class, via lecture, handouts, viewing, and discussion. Unless otherwise noted, this will serve as the primary source of evaluation for your answer. 1. (maximum 15 pts.): Select five of the following individuals, and indicate: (a) How would Barnouw categorize their work? (Entries with a star (*) are actually mentioned in the Barnouw book.) (b) What do you personally like or dislike about each of the filmmakers’ work? (SELECT FIVE) a. Joris Ivens* b. Jean Rouch* c. the Maysles brothers* d. Christopher Guest e. D. A. Pennebaker* f. Frederick Wiseman* g. Marlon Riggs* h. Michael Rubbo* i. George C. Stoney* j. Les Blank* k. Agnes Varda l. Kevin Brownlow* m. Ken Burns* n. Georges Franju* o. Errol Morris p. Stan Brakhage q. Michael Apted* r. Orson Welles s. Carl Sagan* t. Werner Herzog u. Michael Moore* v. Bill Guentzler w. -
FILM GUIDE Contents
PARK CITY, UTAH JANUARY 17–27 FILM GUIDE Contents Welcome to the Festival ................................................................................................. 2–3 Presenting, Leadership, and Sustaining Sponsors ....................................................... 4–5 Institute Associates and Official Providers .................................................................. 6 the Films ............................................................................................................... 7 Opening Night Park City, Salt Lake City Gala, and Closing Film ................................. 8–9 Documentary Competition ............................................................................................. 10 Dramatic Competition ..................................................................................................... 16 World Cinema Documentary Competition ................................................................... 22 World Cinema Dramatic Competition ........................................................................... 28 Premieres .......................................................................................................................... 34 Spectrum .......................................................................................................................... 43 Park City at Midnight ...................................................................................................... 50 Sundance Collection ...................................................................................................... -
Journalism 286 History of Documentary Spring 2020 3 Units
Journalism 286 History of Documentary Spring 2020 3 units, Wed 2:00pm - 5:00pm, Production Lab, Room 101 Carrie Lozano, Lecturer office hours: I will provide a link for office hours appointments in bcourses. (email) [email protected] Julia Sizek, Reader [email protected] Course Description History of Documentary covers the evolution of primarily American documentary film from the first moving images to the present. We will focus on both commissioned and independent films, produced for a variety of distribution models including theatrical, broadcast and digital. Where possible, we will also discuss international documentaries, the current documentary landscape, and big-picture field and career insights. Please note that this course is prerequisite for graduate students who intend to enroll in the documentary thesis seminar in their second year. In addition to a historical and genre overview, we will concentrate on the practicalities of producing non-fiction documentaries for broad audiences, and on documentary materials, structure, genre, points-of-view and ethics. Considering issues of representation, race, class, gender, identity and power, we will debate and deconstruct the ways in which documentary film has both upheld and challenged some of the U.S.’s most entrenched and problematic narratives. The class’ success demands that students keep up with screening, reading and writing. I hope the class will be fun, interesting, inspiring, and occasionally paradigm shifting as we delve into deep philosophical, creative and journalism questions. House Rules Class starts at 2pm sharp on Wednesdays in the TV Lab, adjourning at 5:00pm. This syllabus is a living document and will change from time to time. -
Death of Prince Heir Complicates Estate Settlement Even More - Startribune.Com Page 1 of 4
Death of Prince heir complicates estate settlement even more - StarTribune.com Page 1 of 4 PRINCE Death of Prince heir complicates estate settlement even more Nearly a third of Prince's estate could go to parties not related to him after two siblings signed agreements with Primary Wave. By Mike Hughlett (http://www.startribune.com/mike-hughlett/89522247/) and Jon Bream (http://www.startribune.com/jon-bream/10644496/) Star Tribune FEBRUARY 22, 2020 — 8:31AM The death of Prince’s brother Alfred Jackson, along with his contested will, are raising new questions in the endlessly complicated efforts to settle the legendary musician’s estate, including whether a California man with a reputation for cozying up to celebrities will end up with one-sixth of Prince’s riches. Jackson, one of six sibling heirs to a fortune worth at least $100 million, sold 90% of his Prince estate rights last year to Primary Wave, a well-funded and growing entertainment company that invests in music publishing and recording rights. Prince’s sister Tyka Nelson also cut a deal with Primary Wave, getting cash up front as the estate proceedings drag on. As a result, close to one-third of Prince’s assets could end up controlled by parties not related to him, further complicating the difficult task of settling Prince’s estate. Within hours of signing with Primary Wave in August, Jackson, 66, died of heart disease at his home in suburban Kansas City, Mo. Unlike Prince, he had signed a will. He did not have a wife or children and, in another twist, instead of leaving his estate to his siblings, he bequeathed his assets to a friend, Raffles Van Exel. -
Sundance Film Festival Awards 1985-2008
SUNDANCE FILM FESTIVAL FILMS HONORED 1985-2008 2008 • Grand Jury Prize Documentary – TROUBLE THE WATER, directed by Tia Lessin and Carl Deal. Dramatic – FROZEN RIVER, directed by Courtney Hunt. • World Cinema Jury Prize Documentary – MAN ON WIRE, directed by James Marsh. Dramatic –KING OF PING PONG (PING PONGKINGEN), directed by Jens Jonsson. • Audience Award Documentary – FIELDS OF FUEL, directed by Josh Tickell. Dramatic – THE WACKNESS, directed by Jonathan Levine. • World Cinema Audience Award Documentary – MAN ON WIRE, directed by James Marsh. Dramatic – CAPTAIN ABU RAED, by director Amin Matalqa. • Directing Award Documentary – Nanette Burstein, director of AMERICAN TEEN. Dramatic –Lance Hammer, director of BALLAST. • World Cinema Directing Award Documentary – Nino Kirtadze, director of DURAKOVO: VILLAGE OF FOOLS (DURAKOVO: LE VILLAGE DES FOUS). Dramatic – Anna Melikyan, director of MERMAID (RUSALKA). • Waldo Salt Screenwriting Award Alex Rivera and David Riker, writers of SLEEP DEALER. • World Cinema Screenwriting Award Samuel Benchetrit, writer of I ALWAYS WANTED TO BE A GANGSTER (J'AI TOUJOURS RÊVÉ D'ÊTRE UN GANGSTER). • Documentary Editing Award Joe Bini for ROMAN POLANSKI: WANTED AND DESIRED. • World Cinema Documentary Editing Award Irena Dol for THE ART STAR AND THE SUDANESE TWINS • Excellence in Cinematography Award Documentary – Phillip Hunt and Steven Sebring, for PATTI SMITH: DREAM OF LIFE. Dramatic –Lol Crawley, for BALLAST. • World Cinema Cinematography Award Documentary – al Massad, for RECYCLE. Dramatic – Askild Vik Edvardsen, for KING OF PING PONG (PING PONGKINGEN). • World Cinema Special Jury Prize BLUE EYELIDS (PÁRPADOS AZULES), directed by Ernesto Contreras. • Special Jury Prize Documentary – GREATEST SILENCE: RAPE IN THE CONGO, directed by Lisa F. Jackson.