A review of Jon Else, True South: Henry Hampton and Eyes on the Prize, the Landmark Television Se... more A review of Jon Else, True South: Henry Hampton and Eyes on the Prize, the Landmark Television Series That Reframed the Civil Rights Movement
Where are diverse makers and subjects most likely to be found in U.S. TV documentary? This study ... more Where are diverse makers and subjects most likely to be found in U.S. TV documentary? This study compares commercial and public TV series, and also anthology formats (“authorial” series) and executive-produced formats. A content analysis for characters and makers showed that public TV authorial series are more diverse than either commercial or other public TV series. Executive-produced public TV does not show consistent commitment to diversity. Independent documentaries have diversity value both in commercial and public TV settings.
This study tracks changes in behavior and attitude among visual arts professionals after the deve... more This study tracks changes in behavior and attitude among visual arts professionals after the development of a code of best practices in the copyright doctrine of fair use. A survey of 2,400 professionals fielded only months after its publication demonstrated broad awareness of the code, informing practice and inspiring efforts to spread awareness. The greatest degree of awareness and change was among editors, several of whose publications altered their copyright policies. Professional and social networks were critical to spreading awareness. Despite a continuing lack of confidence in interpreting the law among individual professionals, the existence of a code contributed to significant change in norms and practices via institutional adoption. This study demonstrates that codes of best practices can affect field behavior, but that change depends on publicity, formal education, continuing support for early adopters, and institutional policy changes.
As digital opportunities emerge in the visual arts—to produce multimedia art and digi... more As digital opportunities emerge in the visual arts—to produce multimedia art and digital scholarship, publish online, hold online museum exhibitions—old copyright frustrations have worsened in a field where getting permissions is routine. A national survey of 2,828 visual arts professionals, combined with 100 inYdepth interviews of visual arts practitioners throughout the U.S., explored how visual arts professionals use the U.S. copyright doctrine of fair use. Results showed widespread lack of confidence and misconceptions about fair use; resulting 1
exaggerated risk assessment; personal and social relations within the community that deter reliance on fair use; and consequent delays, deformations and failure to execute mission.
Documentaries about the Iraq war are not only movies about the war, but they are part of a proces... more Documentaries about the Iraq war are not only movies about the war, but they are part of a process of constituting a public around the issues of the Iraq war. How can we understand them specifically in their role as agents of the construction of publics? Different kinds of work approach and even define the problem differently, with different implications for the nature of public engagement. Here, three approaches are addressed: essays about the legitimacy and logic of the war; films about soldiers’ experiences; and films about the Iraqi experience of war.
INTRO Sixty years ago, synchronous sound and the advent of television dramatically transformed do... more INTRO Sixty years ago, synchronous sound and the advent of television dramatically transformed documentary filmmaking. Once again, we are experiencing a major technological evolution that offers new opportunities and new challenges. 21 st century filmmaking tools, social media, and the Internet are giving rise to transmedia, interactive, and immersive modes of nonfiction storytelling. How we create and distribute nonfiction film is substantially changing, not only how we tell stories but also who is telling them, who is watching them, and who is participating in them. Anyone with a smartphone can make and share a film today. Digital devices, the Internet, social media, mobile Apps, augmented reality, and other media technologies are providing a sumptuous buffet of possibilities. The challenge is how do we teach this vast array of new forms and how do we prepare students for continual change? What does a documentary program of the future look like? How do we possibly cover everything? How do we keep up with the changes? How do we integrate emerging media forms with the foundational elements of traditional media? How do we evolve our university film/TV/new media programs to inspire students to produce creative, poignant and meaningful media that has impact? How do we prepare, influence and inspire the next generation of filmmakers? This chapter examines the future of documentary filmmaking from creation to distribution, and shares what we are doing to forge a path ahead. We have been revisiting our pedagogy for several years, trying to understand and embrace the changes while continuing to build on our solid foundation of traditional filmmaking. Often, technology dominates the discussion, luring us with its latest gadgets, Apps, and next-gen devices. But we know, fundamentally, a story that touches the human heart and soul will have the greatest impact and endure over time. The story might be about environmental, political and social issues, or about the beauty of the world around us. It might be a feature-length film or told through a series of short web videos that individuals watch on a small mobile device. It might engage viewers in an interactive theater or through a video game. Documentary film has always been an extraordinary medium of transformation and expansion, touching people through its connective humanity. There's an old saying that it takes a village to raise a child. This adage applies, more than ever, to the next generation of emerging filmmakers. In this chapter, the authors share perspectives, concrete information and case studies from our many discussions, including statistics on how media production and distribution are changing. We scrutinize issues of inclusivity, representation, and best practices in this ever-evolving landscape. By sharing our grand experiments, failures and successes, we help each other expand our pedagogical acumen so that we can all walk a successful path with our students.
As measuring social impact becomes a default expectation in documentary filmmaking, what measures... more As measuring social impact becomes a default expectation in documentary filmmaking, what measures are appropriate? Who should do that work? And what happens to the role of the filmmaker? This paper provides a mapping of both concerns and actions in measuring social impact in filmmaking.
This study, based on a survey of 489 documentary filmmakers, is a case study in copyright policy ... more This study, based on a survey of 489 documentary filmmakers, is a case study in copyright policy in and through practice. It assesses the changes in documentary production practice around clearance of copyrighted material since the creation of the Documentary Filmmakers’ Statement of Best Practices in fair use in 2005. Fair use, an exotic and occasional feature of documentary film in 2004, has become well-known and commonly employed. Creative options for filmmakers concerning use of third-party material have dramatically improved with changes in norms after the issuing of the Statement. Attitudes about fair use are strongly associated with free expression and creative opportunity, and vary with experience. Where filmmakers have changed work because of copyright concerns, they themselves rather than any gatekeeper have made the decision to do so. Where change is associated with fair use, risk is a common concern. Newer filmmakers are more likely to support use of copyrighted material to make new work, but less likely to know about fair use, and also more likely to have experienced takedowns online. Both education about and experience with fair use appear to have an effect on practice. Filmmakers continue to lack reliable information on the actual risk landscape, and about fair use on digital platforms.
The interactive digital documentary has attracted both enthusiasm and analysis among documentaria... more The interactive digital documentary has attracted both enthusiasm and analysis among documentarians, festival programmers and academics, and has been associated with social-action goals of engagement and activism. This article focuses on the claims to interactivity of several interactive documentaries with social-action purposes made between 2008 and 2013, through the lens of navigation. The article considers the implications of simple v. global navigation, the use of metaphor in navigation, and match with interactive objectives. The article concludes that navigation techniques are used that mimic earlier formats, and that user interactivity is currently limited largely to consumer choice, across a range of approaches. The experimental nature of the moment is noted.
A survey of 350 communication scholars internationally shows that, while scholars are increasingl... more A survey of 350 communication scholars internationally shows that, while scholars are increasingly aware of fair use and when aware of it benefit from the existence of the Code of Best Practices in Fair Use for Communication Scholarship which they created, they continue to suffer from confusion and ignorance about how to apply this feature of copyright law that is crucial to their work. Most are not aware of the Code, although those who use it report success. The survey results point to the need for discipline-wide education and application of the code’s affordances for institutional reform.
In this review of leftist, gay documentary film scholar Thomas Waugh’s The Right To Play Oneself.... more In this review of leftist, gay documentary film scholar Thomas Waugh’s The Right To Play Oneself. Looking Back on Documentary Film, Patricia Aufderheide calls attention to the significance of assembling essays, some of which were historically significant and many of which played a role in shaping queer film studies, in one volume. She critiques Waugh's unexamined use of the term “committed”, and also notes his stature as a leading advocate of socially and politically critical documentary.
This paper discusses the nature of copyright exceptions to the limited monopoly rights of copyrig... more This paper discusses the nature of copyright exceptions to the limited monopoly rights of copyright holders as well as why a grasp of copyright exceptions is central to the evolution of participatory and online video environments. It also explains the historical underpinnings of unbalanced copyright policy, and how challenging attempts to rebalance it have been. In that light, the success of practice-related rebalancing efforts has been remarkable. These rebalancing efforts are of particular interest to participatory and online video creators and users, who can both make use of their successes and translate their techniques into the copyright regimes of their own national environments. Finally it argues that such participation in rebalancing copyright will be critical to the evolution of participatory and online video culture.
This paper discusses how, in the first decade of the 21st century, documentary film rose to unpre... more This paper discusses how, in the first decade of the 21st century, documentary film rose to unprecedented significance in American media, succeeding not only in establishing a commercially viable niche in the filmic landscape but also having discernable impacts on public opinion, public actions and even public policy.This decade was one of unprecedented burgeoning of documentary production and consumption that entailed a great increase in output and some qualitative advances. While televisual documentary came to be associated with certain factory values that reflected the TV industry’s vast need for programming, theatrical documentary came in this period to be seen as a much more individually crafted, courageous, human-scale response against social injustice and the abuse of power. Hence, the era also raised questions about the social role of documentary, including the responsibility of filmmakers to serve the public's informational needs and to honor traditional journalistic goals, such as accuracy.
A review of Jon Else, True South: Henry Hampton and Eyes on the Prize, the Landmark Television Se... more A review of Jon Else, True South: Henry Hampton and Eyes on the Prize, the Landmark Television Series That Reframed the Civil Rights Movement
Where are diverse makers and subjects most likely to be found in U.S. TV documentary? This study ... more Where are diverse makers and subjects most likely to be found in U.S. TV documentary? This study compares commercial and public TV series, and also anthology formats (“authorial” series) and executive-produced formats. A content analysis for characters and makers showed that public TV authorial series are more diverse than either commercial or other public TV series. Executive-produced public TV does not show consistent commitment to diversity. Independent documentaries have diversity value both in commercial and public TV settings.
This study tracks changes in behavior and attitude among visual arts professionals after the deve... more This study tracks changes in behavior and attitude among visual arts professionals after the development of a code of best practices in the copyright doctrine of fair use. A survey of 2,400 professionals fielded only months after its publication demonstrated broad awareness of the code, informing practice and inspiring efforts to spread awareness. The greatest degree of awareness and change was among editors, several of whose publications altered their copyright policies. Professional and social networks were critical to spreading awareness. Despite a continuing lack of confidence in interpreting the law among individual professionals, the existence of a code contributed to significant change in norms and practices via institutional adoption. This study demonstrates that codes of best practices can affect field behavior, but that change depends on publicity, formal education, continuing support for early adopters, and institutional policy changes.
As digital opportunities emerge in the visual arts—to produce multimedia art and digi... more As digital opportunities emerge in the visual arts—to produce multimedia art and digital scholarship, publish online, hold online museum exhibitions—old copyright frustrations have worsened in a field where getting permissions is routine. A national survey of 2,828 visual arts professionals, combined with 100 inYdepth interviews of visual arts practitioners throughout the U.S., explored how visual arts professionals use the U.S. copyright doctrine of fair use. Results showed widespread lack of confidence and misconceptions about fair use; resulting 1
exaggerated risk assessment; personal and social relations within the community that deter reliance on fair use; and consequent delays, deformations and failure to execute mission.
Documentaries about the Iraq war are not only movies about the war, but they are part of a proces... more Documentaries about the Iraq war are not only movies about the war, but they are part of a process of constituting a public around the issues of the Iraq war. How can we understand them specifically in their role as agents of the construction of publics? Different kinds of work approach and even define the problem differently, with different implications for the nature of public engagement. Here, three approaches are addressed: essays about the legitimacy and logic of the war; films about soldiers’ experiences; and films about the Iraqi experience of war.
INTRO Sixty years ago, synchronous sound and the advent of television dramatically transformed do... more INTRO Sixty years ago, synchronous sound and the advent of television dramatically transformed documentary filmmaking. Once again, we are experiencing a major technological evolution that offers new opportunities and new challenges. 21 st century filmmaking tools, social media, and the Internet are giving rise to transmedia, interactive, and immersive modes of nonfiction storytelling. How we create and distribute nonfiction film is substantially changing, not only how we tell stories but also who is telling them, who is watching them, and who is participating in them. Anyone with a smartphone can make and share a film today. Digital devices, the Internet, social media, mobile Apps, augmented reality, and other media technologies are providing a sumptuous buffet of possibilities. The challenge is how do we teach this vast array of new forms and how do we prepare students for continual change? What does a documentary program of the future look like? How do we possibly cover everything? How do we keep up with the changes? How do we integrate emerging media forms with the foundational elements of traditional media? How do we evolve our university film/TV/new media programs to inspire students to produce creative, poignant and meaningful media that has impact? How do we prepare, influence and inspire the next generation of filmmakers? This chapter examines the future of documentary filmmaking from creation to distribution, and shares what we are doing to forge a path ahead. We have been revisiting our pedagogy for several years, trying to understand and embrace the changes while continuing to build on our solid foundation of traditional filmmaking. Often, technology dominates the discussion, luring us with its latest gadgets, Apps, and next-gen devices. But we know, fundamentally, a story that touches the human heart and soul will have the greatest impact and endure over time. The story might be about environmental, political and social issues, or about the beauty of the world around us. It might be a feature-length film or told through a series of short web videos that individuals watch on a small mobile device. It might engage viewers in an interactive theater or through a video game. Documentary film has always been an extraordinary medium of transformation and expansion, touching people through its connective humanity. There's an old saying that it takes a village to raise a child. This adage applies, more than ever, to the next generation of emerging filmmakers. In this chapter, the authors share perspectives, concrete information and case studies from our many discussions, including statistics on how media production and distribution are changing. We scrutinize issues of inclusivity, representation, and best practices in this ever-evolving landscape. By sharing our grand experiments, failures and successes, we help each other expand our pedagogical acumen so that we can all walk a successful path with our students.
As measuring social impact becomes a default expectation in documentary filmmaking, what measures... more As measuring social impact becomes a default expectation in documentary filmmaking, what measures are appropriate? Who should do that work? And what happens to the role of the filmmaker? This paper provides a mapping of both concerns and actions in measuring social impact in filmmaking.
This study, based on a survey of 489 documentary filmmakers, is a case study in copyright policy ... more This study, based on a survey of 489 documentary filmmakers, is a case study in copyright policy in and through practice. It assesses the changes in documentary production practice around clearance of copyrighted material since the creation of the Documentary Filmmakers’ Statement of Best Practices in fair use in 2005. Fair use, an exotic and occasional feature of documentary film in 2004, has become well-known and commonly employed. Creative options for filmmakers concerning use of third-party material have dramatically improved with changes in norms after the issuing of the Statement. Attitudes about fair use are strongly associated with free expression and creative opportunity, and vary with experience. Where filmmakers have changed work because of copyright concerns, they themselves rather than any gatekeeper have made the decision to do so. Where change is associated with fair use, risk is a common concern. Newer filmmakers are more likely to support use of copyrighted material to make new work, but less likely to know about fair use, and also more likely to have experienced takedowns online. Both education about and experience with fair use appear to have an effect on practice. Filmmakers continue to lack reliable information on the actual risk landscape, and about fair use on digital platforms.
The interactive digital documentary has attracted both enthusiasm and analysis among documentaria... more The interactive digital documentary has attracted both enthusiasm and analysis among documentarians, festival programmers and academics, and has been associated with social-action goals of engagement and activism. This article focuses on the claims to interactivity of several interactive documentaries with social-action purposes made between 2008 and 2013, through the lens of navigation. The article considers the implications of simple v. global navigation, the use of metaphor in navigation, and match with interactive objectives. The article concludes that navigation techniques are used that mimic earlier formats, and that user interactivity is currently limited largely to consumer choice, across a range of approaches. The experimental nature of the moment is noted.
A survey of 350 communication scholars internationally shows that, while scholars are increasingl... more A survey of 350 communication scholars internationally shows that, while scholars are increasingly aware of fair use and when aware of it benefit from the existence of the Code of Best Practices in Fair Use for Communication Scholarship which they created, they continue to suffer from confusion and ignorance about how to apply this feature of copyright law that is crucial to their work. Most are not aware of the Code, although those who use it report success. The survey results point to the need for discipline-wide education and application of the code’s affordances for institutional reform.
In this review of leftist, gay documentary film scholar Thomas Waugh’s The Right To Play Oneself.... more In this review of leftist, gay documentary film scholar Thomas Waugh’s The Right To Play Oneself. Looking Back on Documentary Film, Patricia Aufderheide calls attention to the significance of assembling essays, some of which were historically significant and many of which played a role in shaping queer film studies, in one volume. She critiques Waugh's unexamined use of the term “committed”, and also notes his stature as a leading advocate of socially and politically critical documentary.
This paper discusses the nature of copyright exceptions to the limited monopoly rights of copyrig... more This paper discusses the nature of copyright exceptions to the limited monopoly rights of copyright holders as well as why a grasp of copyright exceptions is central to the evolution of participatory and online video environments. It also explains the historical underpinnings of unbalanced copyright policy, and how challenging attempts to rebalance it have been. In that light, the success of practice-related rebalancing efforts has been remarkable. These rebalancing efforts are of particular interest to participatory and online video creators and users, who can both make use of their successes and translate their techniques into the copyright regimes of their own national environments. Finally it argues that such participation in rebalancing copyright will be critical to the evolution of participatory and online video culture.
This paper discusses how, in the first decade of the 21st century, documentary film rose to unpre... more This paper discusses how, in the first decade of the 21st century, documentary film rose to unprecedented significance in American media, succeeding not only in establishing a commercially viable niche in the filmic landscape but also having discernable impacts on public opinion, public actions and even public policy.This decade was one of unprecedented burgeoning of documentary production and consumption that entailed a great increase in output and some qualitative advances. While televisual documentary came to be associated with certain factory values that reflected the TV industry’s vast need for programming, theatrical documentary came in this period to be seen as a much more individually crafted, courageous, human-scale response against social injustice and the abuse of power. Hence, the era also raised questions about the social role of documentary, including the responsibility of filmmakers to serve the public's informational needs and to honor traditional journalistic goals, such as accuracy.
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exaggerated risk assessment; personal and social relations within the community that deter reliance on fair use; and consequent delays, deformations and failure to execute mission.
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exaggerated risk assessment; personal and social relations within the community that deter reliance on fair use; and consequent delays, deformations and failure to execute mission.