“Tell the world the way it should be. Is open sharing of ideas and information important to you? Form a team or go it alone and make a video to demonstrate the value of information sharing as you see it.” http://www.sparkyawards.org/
An interesting piece on understanding the pyramid of potential audiences for your documentary at DocumentaryTech.
Reception with artist Yevgeniy Fiks and guest curator Stamatina Gregory Friday, September 24, 6 – 8 pm Temple Gallery, Tyler School of Art 12th and Norris Streets Film Series: Mission To Moscow (1943) and North Star (1943) Monday, September 20, 6 pm Refreshments will be served for more information….
“We use photographic and animation techniques that were developed to draw moving 3-dimensional typography and objects with an iPad. In dark environments, we play movies on the surface of the iPad that extrude 3-d light forms as they move through the exposure. Multiple exposures with slightly different movies make up the stop-frame animation.”
It can be challenging to identify the best films to work with in the classroom, especially when dealing with complex and sensitive issues. There are many great resources out there to help find narrative, documentary, and short films that will help spark fruitful discussion and meaningful engagement with the subject matter. I recently attended a conference presentation that highlighted just one such resource – the Films for the Feminist Classroom open-access web journal, a new joint effort from Signs: Journal of Women and Culture in Society and Rutger’s Women’s and Gender Studies Department. Check out their insightful reviews and feature articles at their site: http://www.signs.rutgers.edu/ffc_home.html
“One change in particular is making waves in academe: an exemption that allows professors in all fields and “film and media studies students” to hack encrypted DVD content and clip “short portions” into documentary films and “non-commercial videos.” (The agency does not define “short portions.”) This means that any professors can legally extract movie clips and incorporate them into lectures, as long as they are willing to decrypt them — a task made relatively easy by widely available programs known as “DVD rippers.” The exemption also permits professors to use ripped content in non-classroom settings that are similarly protected under “fair use” — such as presentations at academic conferences. “
“The rules are broader than many expected, but still involve strict restrictions. The exemption for use of motion pictures on DVD—which lumps together doc filmmakers, college teachers and film/media studies students and noncommercial video creators such as remixers–is limited only to criticism and commentary, not to all potential fair uses; the excerpt must be “relatively short”; a new work must be created; and the maker must have a reason why an inferior quality (such as one shot off a screen or from a VHS) is not good enough. The rule only applies to DVDs, not to all audio-visual material–for instance to video games or slideshows. But the Librarian made no quantitative restrictions, in fact refusing to define “relatively short,” which means that makers can judge the length according to their critical or commentary needs; and the decision about whether high quality is necessary is left to the user.”
Announcement from ARTstor: “The Rogovin Collection has contributed 260 images of Milton Rogovin’s social documentary photography, now available in the Digital Library. A documentary photographer and political activist, Milton Rogovin (b. 1909) is best known for his portraits of the poor and working class, and his depictions of their lives, communities, and working conditions. Trained as an optometrist, Rogovin turned to photography when his political activism drew the attention of the House Committee on Un-American Activities in 1957 and negatively impacted his practice in Buffalo, NY. In 1958, Rogovin began his first photographic series, documenting Store Front Churches in the African-American community in Buffalo’s East Side. From the 1960s through the 2000s, Rogovin continued to photograph the working people and ethnic communities in the Buffalo area, often photographing his subjects both at their workplaces and in their homes. Further afield, Rogovin explored the plight of workers, particularly miners, in the small towns of Appalachia. In 1983, Rogovin received the W. Eugene Smith Grant in Humanistic Photography, which allowed him to expand his “Family of Miners” series to include workers in Scotland, France, Spain, Germany, Czechoslovakia, Cuba, Mexico, China, and Zimbabwe. Throughout his career, Rogovin has participated in 60 solo exhibitions and more than 30 group exhibitions and his work has appeared in more than 160 journals, magazines, and other publications. To view the Milton Rogovin: Social Documentary Photographs collection: go to the ARTstor Digital Library, browse by collection, and click “Milton Rogovin: Social Documentary Photographs”; or, if you are at your institution or have an ARTstor account, simply follow this link: http://library.artstor.org/library/collection/rogovin_milton For more detailed information about this collection, visit the Milton Rogovin: Social Documentary Photographs collection page.”
The Top Secret Rosies of WWII An Illustrated Lecture by LeAnn Erickson March 30, 1:30 pm At Paley Library, Temple University Filmmaker and Temple professor LeAnn Erickson reveals a hidden history of top-secret women war workers during World War II. Through her lecture, she will demonstrate how she constructed her historical documentary, and how libraries, archives, documents and painstaking research come together to create her documentary project The Top Secret Rosies: The Female Computers of WW II. This event includes a screening of the trailer of Erickson’s still-in-process documentary.
The FMA Screen in Annenberg Hall and FMA Live Stream are now playing student work 24 hours a day to a worldwide audience. The current lineup includes work from classes like Editing Film and Video, Experimental Video, and Graduate Advanced Videography, as well as early Termite TV episodes and selections from the 2009 Diamond Screen Film Festival. Check here for an up-to-date schedule. If you’d like to see your work on the LIve Stream and FMA Screen, speak to your production class instructor. Programming is curated on a class-by-class basis and through the Diamond Screen selection process. Information on proper formatting can be found here. —-FMA Channel Coordinator – Bruce James