TVDM 49600: Documentary Workshop
About this Guide
Course:
A challenging workshop and lecture course in which students carry out research, planning, production, and postproduction for a video documentary and formal program proposal. Major topics include documentary genres and techniques, criteria for selecting subject matter, primary and secondary sources of information
Library Support:
This guide presents multiple to mine the web, library databases, and archives for content to create documentary films. It includes information on copyright & permissions.
Librarian Visit: During my visit I hope to explore how to mine a database for transcript information, how to identify relevant archives using Worldcat, and collect information for credits.
Great Books
Stock Footage + Everything under the Sun by
This is the only book that gives an overview of the use of archival footage and how it played an expanding and crucial role in documentary and TV films. Readers learn how to research images and clear the rights. Part One is an overview of archival footage, reviewing exactly what constitutes archival material and how it fits within the broader history of film and TV production. It also introduces the areas of research and legal parameters to the reader. Part Two examines the variety of styles of entertainment programming that use archival footage, including separate sections on network magazine formats, cable reality shows, webisodes, PBS documentaries, feature-length documentaries, and how documentaries can sway public opinion. Each Part offers interviews with experts who give a realistic idea of how they've used stock footage in their own work. Part Three covers Visual Literacy 101, a short course on how to "read" a film. By looking at only a few seconds of footage, one can deduce some very important facts about the film. This part makes a detective out of any researcher or editor who is determined to find the most authentic setting and context for their film. Part Four discusses how to use archival footage, writing a script that includes archival material, editing archival material, negotiating rights and budgeting constraints.
Call Number: General Stacks PN1995.9.S6964 F67 2019ISBN: 9781615932955Publication Date: 2019
Archival Storytelling by
Fully revised and updated, Archival Storytelling second edition is a timely, pragmatic look at the use of audiovisual materials available to filmmakers and scholars, from the earliest photographs of the 19th century to the work of media makers today.　 Whether you're a top Hollywood filmmaker or a first-time documentarian, at some point you are going to want to find, use, and license third-party materials--images, audio, or music that you yourself did not create--to use them in your work. This book explains what's involved in researching and licensing visuals and music, and exactly what media makers need to know when filming in a world crowded with rights-protected images and sounds. Filled with insights from filmmakers, archivists, and intellectual property experts, this second edition defines key terms such as copyright, fair use, public domain, and orphan works. It guides readers through the complex archival process and challenges them to become not only archival users but also archival and copyright activists.　 This book is an essential resource for both students and professionals, from seasoned filmmakers to those creating their first projects, offering practical advice for how to effectively and ethically draw on the wealth of cultural materials that surround us.
Call Number: Online, 1 user at a timeISBN: 9781000046991Publication Date: 2020, 2nd ed.
Archival Storytelling by
Archival Storytellingis an essential, pragmatic guide to one of the most challenging issues facing filmmakers today: the use of images and music that belong to someone else. Where do producers go for affordable stills and footage? How do filmmakers evaluate the historical value of archival materials? What do verite'' producers need to know when documenting a world filled with rights-protected images and sounds? How do filmmakers protect their own creative efforts from infringement? Filled with advice and insight from filmmakers, archivists, film researchers, music supervisors, intellectual property experts, insurance executives and others, Archival Storytelling defines key terms-copyright, fair use, public domain, orphan works and more-and challenges filmmakers to become not only archival users but also archival and copyright activists, ensuring their ongoing ability as creators to draw on the cultural materials that surround them. Features conversations with industry leaders including Patricia Aufderheide, Hubert Best, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and many others. Additional praise for Archival Storytelling: "I''ve been making historical documentaries for many years, yet I learned new things from this book. This is the definitive guide for archival research for documentary filmmakers. An invaluable resource." -Mark Jonathan Harris, Distinguished Professor, School of Cinematic Arts, University of Southern California, and writer/director, The Long Way Homeand Into the Arms of Strangers "One of the best-and most needed-[bookses conversations with industry leaders including Patricia Aufderheide, Hubert Best, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and many others. Additional praise for Archival Storytelling: "I''ve been making historical documentaries for many years, yet I learned new things from this book. This is the definitive guide for archival research for documentary filmmakers. An invaluable resource." -Mark Jonathan Harris, Distinguished Professor, School of Cinematic Arts, University of Southern California, and writer/director, The Long Way Homeand Into the Arms of Strangers "One of the best-and most needed-[books] I have seen in a while..The challenge is to keep what is a fairly technical aspect of filmmaking interesting without compromising the quality and depth of information. The authors have done an exceptional job in this regard by the careful interweaving of interviews with researchers, filmmakers and legal experts through the factual material.There is the strong sense of being in the presence of experienced filmmakers and researchers who accept that while there are standard practices, archival use and intellectual property laws etc. are contingent fields in which each case must be assessed and dealt with on its merits." -Bruce Sheridan, Chair, Film & Video Department, Columbia College "It''s hard to imagine a more organized, comprehensive dissection of Byzantine material. The authors have produced a tremendous guide for all who use archival resources. Best of all, because of their effort, I believe more individuals will be able to access and properly utilize such material. This book will serve filmmakers and, in turn, the public for years to come." -Thomas Speicher, Producer, Pennsylvania College of Technology "Not simply a ''how-to'' manual, it is also a discussion of ideas, issues and history that creates an enjoyable text even when the subject matter becomes complicated.The real world examples, the roundtable discussions, and the exploration of ideas and issues surrounding the technical aspects are very welcome and well done." -Dustin Ogdin, Filmmaker, Spoke Digital Films "The book properly advances the notion that ''films matter,'' but this is countered by discussants with ''films cost money too.'' Filmmakers may take decades to recoup, and licensing helps. It''s an ongoing volley, the chapter engenders a road map through the split, the tension makes a good read...This authorative book belongs on every producer''s shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson College serve filmmakers and, in turn, the public for years to come." -Thomas Speicher, Producer, Pennsylvania College of Technology "Not simply a ''how-to'' manual, it is also a discussion of ideas, issues and history that creates an enjoyable text even when the subject matter becomes complicated.The real world examples, the roundtable discussions, and the exploration of ideas and issues surrounding the technical aspects are very welcome and well done." -Dustin Ogdin, Filmmaker, Spoke Digital Films "The book properly advances the notion that ''films matter,'' but this is countered by discussants with ''films cost money too.'' Filmmakers may take decades to recoup, and licensing helps. It''s an ongoing volley, the chapter engenders a road map through the split, the tension makes a good read...This authorative book belongs on every producer''s shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson College
Call Number: General Stacks PN1995.9.D6 B393 2009ISBN: 0240809734Publication Date: 2008 print ed.
Pulitzer Prize Winners
Take a look at the list of Past winners & finalists for the Pulitzer Prize. There are many categories such as: Explanatory Journalism, Investigative Reporting, National Reporting, Breaking News, Public Service, Local, etc.
