By Sheila Curran Bernard
Archival Storytelling is a necessary, pragmatic advisor to at least one of the main difficult concerns dealing with filmmakers this present day: using photographs and track that belong to another person. the place do manufacturers opt for reasonable stills and photographs? How do filmmakers assessment the historic worth of archival fabrics? What do verite' manufacturers want to know while documenting a global full of rights-protected photos and sounds? How do filmmakers shield their very own artistic efforts from infringement?
Filled with recommendation and perception from filmmakers, archivists, movie researchers, song supervisors, highbrow estate specialists, coverage executives and others, Archival Storytelling defines key terms-copyright, reasonable use, public area, orphan works and more-and demanding situations filmmakers to develop into not just archival clients but additionally archival and copyright activists, making sure their ongoing skill as creators to attract at the cultural fabrics that encompass them.
Features conversations with leaders together with Patricia Aufderheide, Hubert top, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and lots of others.
Additional compliment for Archival Storytelling:
"I've been making old documentaries for a few years, but I realized new issues from this publication. this can be the definitive consultant for archival examine for documentary filmmakers. a useful resource." -Mark Jonathan Harris, exclusive Professor, college of Cinematic Arts, college of Southern California, and writer/director, The good distance Home and Into the fingers of Strangers
"One of the best-and such a lot needed-[books] i've got noticeable in a while..The problem is to maintain what's a pretty technical point of filmmaking attention-grabbing with out compromising the standard and intensity of knowledge. The authors have performed a good task during this regard through the cautious interweaving of interviews with researchers, filmmakers and felony specialists in the course of the real material.There is the robust feel of being within the presence of skilled filmmakers and researchers who settle for that whereas there are ordinary practices, archival use and highbrow estate legislation and so on. are contingent fields within which each one case needs to be assessed and handled on its merits." -Bruce Sheridan, Chair, movie & Video division, Columbia College
"It's tough to visualize a extra prepared, complete dissection of Byzantine fabric. The authors have produced an enormous consultant for all who use archival assets. better of all, due to their attempt, i think extra members may be capable of entry and correctly make the most of such fabric. This e-book will serve filmmakers and, in flip, the general public for years to come." -Thomas Speicher, manufacturer, Pennsylvania collage of Technology
"Not easily a 'how-to' handbook, it's also a dialogue of rules, concerns and historical past that creates an relaxing textual content even if the subject material turns into complicated.The genuine international examples, the roundtable discussions, and the exploration of rules and matters surrounding the technical features are very welcome and good done." -Dustin Ogdin, Filmmaker, Spoke electronic Films
"The booklet accurately advances the proposal that 'films matter,' yet this is often countered through discussants with 'films rate cash too.' Filmmakers may well take many years to recoup, and licensing is helping. it really is an ongoing volley, the bankruptcy engenders a street map throughout the cut up, the stress makes an exceptional read...This authorative booklet belongs on each producer's shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson university
Read or Download Archival Storytelling. A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music PDF
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Extra info for Archival Storytelling. A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music
The Civilian Conservation Corps Collection photographs (1933– 1942). These show the work of the CCC, a program that put people to work doing rural reclamation, reforesting, and restoring historic buildings and sites. The Works Project/Progress Administration collection (1922– 1944). Includes photographs and artifacts from the WPA and related organizations pertaining to construction projects, conservation activities, health and sanitation efforts; art (including the Federal Art Project), music, theater (including Federal Theatre Project posters and other visuals); infrastructure work, such as the construction of airports, bridges, and roads; and photographs collected for use in the state guidebooks created by the Federal Writers Project.
When to Contact a Consultant Music and visuals experts agree that too often they’re called in at the last minute to ﬁnd or negotiate for materials after a member of the production staff—often the most junior member—has hit a dead end. Not only does this make the consultant’s job more difﬁcult because it means starting by untangling someone else’s work (or smoothing over strained relations between the staff member and rights holders), it also means that opportunities for archival content may have been missed.
You’re beneﬁting not 51 only from the speed factor, because we cut through and get callbacks and emails returned, [but] also we just know where the good stuff is,” says Canadian researcher Elizabeth Klinck. Furthermore, she adds, a researcher is likely to know when a company is charging as much as $40 per second for material that is available rights free elsewhere, such as at the National Archives. Can You Do It Alone? 52 If you’re seeking a fairly small amount of material, or if it’s from local or familiar sources (people you know, historical societies, a local corporation), you don’t necessarily need a researcher.
Archival Storytelling. A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music by Sheila Curran Bernard
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