Call Number: General Stacks PN1995.9.D6 N5425 2016
Publication Date: 2016
How do issues of form and content shape the documentary film? What role does visual evidence play in relation to a documentary's arguments about the world we live in? In what ways do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? Can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways documentaries strive for accuracy and truthfulness and simultaneously fabricate a form that shapes reality. Such films may rely on reenactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor or devices such as irony to make a point. Documentaries are truly a fiction unlike any other. With clarity and passion, Nichols offers incisive commentaries on the basic questions of documentary's distinct relationship to the reality it represents, as well as close readings of provocative documentaries from this form's earliest days to its most recent incarnations. These essays offer a definitive account of what makes documentary film such a vital part of our cultural landscape.
This policy and guidelines are designed to ensure all faculty, staff, and students have access to consistent information on copyright in accordance with federal law.
Clearance and Copyright by Michael C. Donaldson; Lisa A. CallifClearance and Copyright is the industry-standard guide to almost every conceivable rights issue that filmmakers, videomakers, television producers, and Internet content creators might encounter. From the initial acquisition of material through the rights issues that arise during preproduction, production, postproduction, and release, this legalese-free guidenow extensively revised, updated, and expandedwill help you protect yourself and your work from disastrous legal actions. Among this edition's new features are links to 25 downloadable contracts and 50 illustrative film clips.
Using copyrighted materials? Get permission and stay legal If you plan to use any copyrighted material for your own purposes, you need to get permission first from the owners of that work. If you don't, you could find yourself slapped with an expensive and time-consuming lawsuit. Getting Permission tackles the permissions process head-on -- without the legalese. It shines the light on whom to ask for permission, as well as when -- and how much to expect -- to pay for permission. Comprehensive and easy-to-read, the book covers: the permissions process the public domain copyright research fair use academic permissions the elements of a license and merchandise agreement the use of a trademark or fictional character and much more Getting Permission includes agreements for acquiring authorization to use text, photographs, artwork, and music, whether it's found online or off. The 4th edition of this essential guide is completely updated to reflect the latest laws and court decisions. Plus, read an all-new collection of practical, real-life FAQs, based on author Richard Stim's popular intellectual property blog, Dear Rich: Nolo's Patent, Copyright & Trademark Blog.
* How can you use a state's film tax credits to fund your film? SEE PAGE 63. * You have an idea you want to pitch to a production company; how do you safeguard your concept? SEE PAGE 77.nbsp; * How can you fund your production with product placement? SEE PAGE 157. * How do you get a script to popular Hollywood actors and deal with their agents?nbsp;SEE PAGE 222.nbsp; nbsp;Find quick answers to these and hundreds of other questions in this new edition of The Pocket Lawyer for Filmmakers. This no-nonsense reference provides fast answers in plain English-no law degree required! Arm yourself with the practical advice of author Thomas Crowell, a TV-producer-turned-entertainment-lawyer. This new edition features: * New sections on product placement, film tax credits and production incentive financing, Letters of Intent, and DIY distribution (four-walling, YouTube, Download-to-own, Amazon.com, iTunes, and Netflix) * Updated case law * Even more charts and graphics to help you find the information you need even more quickly. This book is the next best thing to having an entertainment attorney on retainer!
November 2005. Report by: Association of Independent Video and Filmmakers, Independent Feature Project, International Documentary Association. National Alliance for Media Arts and Culture, Women in Film & Video (Washington, D.C. chapter). In consultation with: The Center for Media & Social Impact,, American University, The Program on Intellectual Property and the Public Interest, American University Washington College of Law. With funding from: The Rockefeller Foundation, The John D. and Catherine T. MacArthur Foundation