By Sheila Curran Bernard
Archival Storytelling is a necessary, pragmatic advisor to at least one of the main demanding concerns dealing with filmmakers at the present time: using photographs and tune that belong to another person. the place do manufacturers opt for cheap stills and pictures? How do filmmakers evaluation the ancient price of archival fabrics? What do verite' manufacturers want to know while documenting a global jam-packed with rights-protected photographs and sounds? How do filmmakers shield their very own inventive efforts from infringement?
Filled with recommendation and perception from filmmakers, archivists, movie researchers, tune 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 most sensible, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and plenty of others.
Additional compliment for Archival Storytelling:
"I've been making old documentaries for a few years, but I realized new issues from this e-book. this is often the definitive consultant for archival learn for documentary filmmakers. a useful resource." -Mark Jonathan Harris, amazing Professor, university of Cinematic Arts, college of Southern California, and writer/director, The good way Home and Into the fingers of Strangers
"One of the best-and so much needed-[books] i've got noticeable in a while..The problem is to maintain what's a reasonably technical element of filmmaking fascinating with out compromising the standard and intensity of knowledge. The authors have performed an excellent activity during this regard through the cautious interweaving of interviews with researchers, filmmakers and felony specialists during the authentic material.There is the powerful feel of being within the presence of skilled filmmakers and researchers who settle for that whereas there are typical practices, archival use and highbrow estate legislation and so on. are contingent fields within which each one case has 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 a huge advisor for all who use archival assets. better of all, as a result of their attempt, i think extra members can be in a position to 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 principles, matters and historical past that creates an stress-free textual content even if the subject material turns into complicated.The genuine global examples, the roundtable discussions, and the exploration of principles and concerns surrounding the technical points are very welcome and good done." -Dustin Ogdin, Filmmaker, Spoke electronic Films
"The booklet safely advances the inspiration that 'films matter,' yet this is often countered by way of discussants with 'films expense funds too.' Filmmakers could take a long time to recoup, and licensing is helping. it truly is an ongoing volley, the bankruptcy engenders a street map during the cut up, the stress makes an outstanding read...This authorative publication belongs on each producer's shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson collage
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
Given that kind of information, a ﬁlmmaker can reevaluate his needs and budget and decide whether or not to request more. As noted, most visuals researchers charge a day rate while they’re researching on-site, but they may instead charge a per-hour rate if they are doing little bits and pieces of work, waiting for a phone call back from an archive or for a screener to arrive. 55 Quality Research Often Demands More Time Producers who turn out documentary “product” on impossible schedules and budgets, often for commercial cable venues, may have to settle for whatever archival material is quickly available.
But why limit distribution of your work in this way? 33 Legitimate Use of Images Found Online As we’ll discuss in later chapters, there is a substantial (and growing) amount of archival material put online by rights holders and intended for you to download, provided any necessary licensing and payment have been arranged. In these cases, the provenance is known and usually provided. Whatever you download from these sites, keep track of the URL and any other source information in detail. The complexity of these sites demands that you pay close attention not only to the web address but also to the collection name and an accession or identiﬁcation number.
S. government collections are often in the public domain, in which case no use licenses are needed. Some of the most important sources of this material are located in or near Washington, the nation’s capitol. S. S. National Archives and Records Administration (NARA). S. gov). Yet this small fraction of the total materials represents millions of print and audiovisual materials. “In Washington alone these records total more than six billion pieces of paper and over 13 million still pictures; 365,000 reels of motion pictures and 345,000 sound and video recordings; 3 million maps and charts; 4 million architectural and engineering plans; and 27 million aerial photographs,” according to NARA.