Notes

■ Chapter 1

1 “The Documentary Producer.” Cinema Quarterly, 1933, 8.

2 Yates, Pam, and Paco de Onís. “Reflections on Getting Real: Debunking Five Myths That Divide Us.” Documentary Magazine, International Documentary Association, February 23, 2015. Web. July 4, 2015.

3 Fitch, Nathan. “Mikrós Soldier,” (MFA thesis, Integrated Media Arts, Hunter College (CUNY), 2014) 11–12.

4 Tharp, Twyla. The Creative Habit: Learn It and Use It for Life (New York, NY: Simon and Schuster, 2003) 6–8.

5 Sullivan, Graeme. “Artefacts as Evidence within Changing Contexts.” Working Papers in Art and Design 4 (2006), 1.

6 Buñuel, Luis. My Last Breath (London: Fontana Paperbacks, 1985) 42.

7 Vélez, Edin. Personal interview. March 9, 2014.

8 Rosenstein, Jay. Personal interview. May 27, 2014.

9 Cunningham, Megan. The Art of the Documentary (Berkeley, CA: New Riders, 2005) 52.

10 Rabiger, Michael. Directing the Documentary (Burlington, MA: Focal Press, 2009) 31–32.

11 Lucas, Martin. Personal interview. January 15, 2014.

12 Some of the points in this section are culled from “9 Filmmakers Tell Us What Makes the Perfect Documentary Character.” Tribeca Film Institute Blog, Tribeca Film Institute, November 20, 2014. Web. July 4, 2015.

13 “If I Can’t Do It (Film Description).” POV. PBS, n.d. Web. July 13, 2015.

14 Albert, Mitch. “A Family Affair: The Films of Alan Berliner.” The Independent Film and Video Monthly. May 1997, 2.

15 Gold, Tami. Personal interview. May 12, 2014.

16 Ibid.

17 de Onís, Paco. Personal interview. March 27, 2015.

■ Chapter 2

1 Sachs, Lynne. Personal interview. February 14, 2014.

2 Sadoul, Georges, as quoted in Dai Vaughn, For Documentary (Berkeley, CA: University of California Press, 1999) 4–5.

3 Vaughn, Dai. For Documentary (Berkeley, CA: University of California Press, 1999) 5.

4 Balázs, Béla. “Filming Death.” Imagining Reality: The Faber Book of Documentary. Ed. Mark Cousins and Kevin Macdonald (London: Faber and Faber, 1996) 29–36. Print.

5 Barnouw, Erik. Documentary: A History of the Non-Fiction Film (New York, NY: Oxford University Press, 1993) 77–80.

6 Grierson, John. “First Principles of Documentary.” Non-Fiction Film Theory and Criticism. Ed. Richard M. Barsam (New York, NY: Dutton, 1976) 19–30. Print.

7 Rosenstein, Jay. Personal interview. May 27, 2014.

8 Ibid.

9 Maysles, Albert. “Sheffield Doc/Fest 2011: Albert Maysles Masterclass.” YouTube. Sheffield Film Festival, April 17, 2012. Web. July 6, 2015.

10 Levin, G. Roy. Documentary Explorations: 15 Interviews with Film-Makers (New York, NY: Anchor Press, 1971) 316–331.

11 Barnouw, Erik. Documentary: A History of the Non-Fiction Film (New York, NY: Oxford University Press, 1993) 254–255.

12 Gustafson, Julie. Personal interview. 1991.

13 Ibid.

14 Winston, Brian. “Tsunami Hits Cannibal Tours: Documentary in the Twenty-first Century.” Remarks delivered at Codes & Modes Conference, Hunter College, NY, November 7, 2014.

15 Turse, Nick. “What Sebastian Junger and Restrepo Won’t Tell You about War.” The Huffington Post. TheHuffingtonPost.com, July 13, 2010. Web. July 6, 2015.

16 Stoney, George. Interview. Everyone’s Channel. Dir. David Shulman. 1990. VHS tape.

17 Morris, Errol. “Play It Again, Sam (Re-enactments, Part One).” New York Times Blog. New York Times, April 3, 2008. Web. July 9, 2015.

■ Chapter 3

1 Schank, Roger C. Tell Me a Story: Narrative and Intelligence (Boston, MA: Northwestern University Press, 1995).

2 Curran Bernard, Sheila. Documentary Storytelling: Creative Nonfiction on Screen, (Burlington, MA: Focal Press, 2011) 15.

3 Rosenstein, Jay. Personal interview. May 27, 2014.

4 Interview with Jennifer Baichwal. ETV Productions. myETVmedia, January 2014. Web. July 4, 2015.

5 Glassman, Marc. Interview with Jennifer Baichwal and Nick de Pencier. Point of View 91 (Fall 2013). Web. July 4, 2015.

6 Ibid.

7 Wilson, Keith. Personal interview. April 9, 2015.

■ Chapter 4

1 Chiang, S. Leo. A Village Called Versailles ITVS Proposal. n.d.TS. Personal collection of the author.

2 Ibid.

3 Ibid.

4 Alvarado, David, and Jason Sussman. The Immortalists Press Kit. 2014. TS.

5 Ibid.

6 Chiang, S. Leo. A Village Called Versailles ITVS Proposal. n.d.TS. Personal collection of the author.

7 Ibid.

8 Interview with S. Leo Chiang. Independent Lens. PBS.org, n.d. Web. July 4, 2015.

■ Chapter 5

1 See, for example: Gefter, Philip. “The Theater of the Street, the Subject of the Photograph.” The New York Times, March 16, 2006. Web. July 4, 2015.

2 Gold, Tami. Personal interview. May 12, 2014.

3 Gentleman, Amelia. “Defeat for Teacher who Sued over Film Profits.” The Guardian, September 29, 2004, US Edition. Web. July 5, 2015.

4 Chayet, Delphine. “Etre et avoir—un succés au goût amer.” Le Figaro, October 14, 2003, 10. Print.

5 Lund, Andrew. Personal interview. July 13, 2015.

6 Ibid.

7 Swami, Praveen. “A Missionary Enterprise.” Frontline, March 12, 2005. Web. July 5, 2015.

8 Ibid.

9 “Finalists for 2011 PUMA. Creative Impact Award Announced at Durban International Film Festival.” News.puma.com. Puma. July 25, 2011. Web. July 5, 2015.

10 Rabiger, Michael. Directing the Documentary (Burlington, MA: Focal Press, 2009) 351–354.

11 “RTDNA Code of Ethics.” RTDNA. Radio Television Digital News Association, n.d. Web. July 6, 2015.

12 “PBS National Program Funding Standards and Practices.” PBS.org. PBS. February 3, 2014. Web. July 5, 2015.

13 Hampe, Barry. Making Documentary Films and Videos (New York, NY: Henry Holt and Company, 2007) 141.

14 Boykoff, Jules, and Maxwell Boykoff. “Journalistic Balance as Global Warming Bias.” Fairness and Accuracy in Reporting. November 1, 2004. Web. July 5, 2015.

15 Bullert, B. J. Public Television: Politics and the Battle over Documentary Film (New Brunswick, NJ: Rutgers University Press, 1997) 156.

■ Chapter 6

1 Alvarado, David. Personal interview. May 10, 2014.

2 “Get Permission.” Film London—Get Permission. Film London, n.d. Web. July 25, 2015.

3 www.bbc.co.uk/filmnetwork/filmmaking/guide/production/insurance. Web. Feb 4, 2016.

4 Bahar, Robert. “Don’t Fudge on Your Budget: Toeing the Line Items.” Documentary Magazine, International Documentary Association, February 2006. Web. July 5, 2015.

5 Ibid.

■ Chapter 7

1 Mackendrick, Alexander. On Film-Making: An Introduction to the Craft of the Director (New York, NY: Faber and Faber, 2005) xxxv.

2 Chiang, S. Leo. Personal interview. May 15, 2014.

3 Hampe, Barry. Making Documentary Films and Videos (New York, NY: Henry Holt and Company, 2007) 112.

4 Heinzerling, Zachary. “Documentary Shooting and Directing.” (panel presentation, Documentary Fundamentals 2014, UnionDocs Center for Documentary Art. Brooklyn, NY, May 16, 2014).

5 Chiang, S. Leo. Personal interview. May 14, 2014.

6 Ibid.

■ Chapter 8

1 Anderson, Joseph, and Barbara Anderson. “The Myth of Persistence of Vision Revisited.” Journal of Film and Video 45 (1993), 3–12.

2 Barnouw, Erik. Documentary: A History of the Non-Fiction Film (New York, NY: Oxford University Press, 1993) 236–242.

3 Chiang, S. Leo. “Re: Format Question.” Message to Kelly Anderson. June 25, 2014. E-mail.

4 Alvarado, David. “Re: Format Question.” Message to Kelly Anderson. June 29, 2014. E-mail.

5 Laforet, Vincent. “The Hobbit: An Unexpected Masterclass in Why HFR fails, and a Reaffirmation of what makes Cinema Magical.” vincentlaforet.com. December 19, 2012. Web. July 5, 2015.

6 Grossman, Todd. Shooting Action Sports: The Ultimate Guide to Extreme Filmmaking (Burlington, MA: Focal Press, 2008) 26.

7 “POV’s 2013 Documentary Filmmaking Equipment Survey.” POV. PBS, n.d. Web. July 5, 2015.

8 Cook, Adam. “Heavy Metal: An Interview with Liviathon Co-Director Véréna Paravel.” Notebook, August 28, 2012. Web. July 5, 2015.

9 Cain, Bennett. “HD Monitor Calibration—White Balance and Color Bars.” RSS. Bennett Cain, n.d. Web. July 06, 2015.

■ Chapter 9

1 Chiang, S. Leo. Personal interview. May 14, 2014.

2 Herzog, Werner. “On the Absolute, the Sublime, and Ecstatic Truth.” Arion, Boston University College of Arts and Sciences, n.d. Web. July 5, 2015.

3 Alvarado, David. Personal Interview. July 8, 2013.

■ Chapter 10

1 “POV’s 2013 Documentary Filmmaking Equipment Survey.” POV. PBS, n.d. Web. July 5, 2015.

2 Alvarado, David. Personal Interview. May 10, 2014.

■ Chapter 11

1 Ray, Man. La Photographie N’est Pas L’Art (Paris: GLM, 1937).

■ Chapter 12

1 Brown, Blain. Cinematography: Theory and Practice: Image Making for Cinematog raphers and Directors (Burlington, MA: Focal Press, 2002).

2 Chiang, S. Leo. Personal interview. May 14, 2014.

3 Gustafson, Julie. Personal interview by Tami Gold and Kelly Anderson. 1991.

4 Azoury, Philippe. “Caméras Libres”, Libération, Paris, August 11, 2004.

■ Chapter 13

1 Barbash, Ilisa, and Lucien Taylor. Cross-Cultural Filmmaking: A Handbook for Making Documentary and Ethnographic Films and Videos (Berkeley: University of California Press, 1997) 172.

2 Brooks, Daniel. Personal Interview. September 10, 2014.

3 Takagi, JT. Personal Interview. September 11, 2014.

4 Brooks, Daniel. Personal Interview. September 10, 2014.

■ Chapter 14

1 Alvarado, David. Personal interview. May 10, 2014.

2 Takagi, JT. Personal Interview. September 11, 2014.

3 Ibid.

4 Brooks, Daniel. Personal Interview. September 10, 2014.

5 Brooks, Daniel. Personal Interview. July 11, 2015.

■ Chapter 15

1 Heinzerling, Zachary. “Documentary Shooting and Directing.” (panel presentation, Documentary Fundamentals 2014, UnionDocs Center for Documentary Art. Brooklyn, NY, May 16, 2014).

2 Spence, Louise, and Vinicius Navarro. Crafting Truth: Documentary Form and Meaning (Piscataway, NJ: Rutgers University Press, 2011) 51–53.

3 Gold, Tami. Personal Interview. May 12, 2014.

4 Rabiger, Michael. Directing the Documentary (Burlington, MA: Focal Press, 2009) 463.

5 Gold, Tami. Personal Interview. May 12, 2014.

6 Fan, Lixin. Interview by Adnaan Wasey. Rooftop Films Blog. Rooftop Films, August 12, 2010. Web. July 5, 2015.

■ Chapter 16

1 Brooks, Daniel. Personal Interview. September 10, 2014.

2 Many thanks to educator, author, and DP Harry Box for his valuable input on this section.

■ Chapter 17

No notes

■ Chapter 18

1 Oldham, Gabriella. First Cut: Conversations with Film Editors (Berkeley, CA: University of California Press, 1992) 45.

2 “Documentary Film and Nonfiction Programming.” wga.org. Writer’s Guild of America, n.d. Web. July 4, 2015.

3 Alter, Nora. Chris Marker (Champaign-Urbana, IL: University of Illinois Press, 2006).

■ Chapter 19

1 Eisenstein, Sergei. Film Form: Essays in Film Theory (New York, NY: Harcourt, Brace and World, 1949) 72.

2 Morris, Errol. Interview by Homi Bhabha. errolmorris.com. n.d. Web. July 5, 2015.

3 Vélez, Edin. Personal interview. March 9, 2014.

■ Chapter 20

1 Bennett, Ann. Personal Interview. February 8, 2015.

2 Ibid.

3 Ibid.

4 Ibid.

5 “Documentary Filmmakers’ Statement of Best Practices in Fair Use.” Center for Media & Social Impact. American University School of Communications, November 2005. Web. July 10, 2015.

6 Lund, Andrew. Personal interview. July 10, 2015.

7 “Own-it | Intellectual Property Advice for Creative Businesses.” Own-it. University of the Arts London, n.d. Web. July 22, 2015.

8 Bernard, Sheila Curran, and Kenn Rabin. Archival Storytelling: A Filmmaker’s Guide to Finding, Using, and Licensing Third Party Visuals and Music (Burlington, MA: Focal Press, 2009).

9 www.free-culture.cc

10 “Journalistic Guidelines.” Frontline. n.d. PBS. Web. July 5, 2015.

■ Chapter 21

1 Barnouw, Erik. Documentary: A History of the Non-Fiction Film (New York, NY: Oxford University Press, 1993) 93.

2 Alvarado, David. Personal Interview. May 10, 2014.

3 “Documentary Filmmakers’ Statement of Best Practices in Fair Use.” Center for Media & Social Impact. American University School of Communications, November 2005. Web. July 10, 2015.

4 “All Clear—Music Clearance Primer.” The Music Bridge. The Music Bridge, 2005. Web. July 23, 2015.

5 Chion, Michel. Audio-Vision: Sound on Screen (New York, NY: Columbia University Press, 1994).

6 Castaing-Taylor, Lucien. Audio Commentary. Sweetgrass. Dir. Lucien Castaing-Taylor and Ilisa Barbash. PBS. 2009. DVD.

7 “Sweetgrass Documents a Dying Tradition through Quiet Observation.” Art Beat. PBS Newshour. March 25, 2010. Web. July 5, 2015.

8 Castaing-Taylor, Lucien. Audio Commentary. Sweetgrass. Dir. Lucien Castaing-Taylor and Ilisa Barbash. PBS. 2009. DVD.

9 Tamés, David. “Sound for Documentary, Part 2: What Is It and Why Is It so Important?” KinoEye.com. March 16, 2013. Web. July 11, 2015.

10 Berliner, Alan. Interviewed by Scott MacDonald in A Critical Cinema 5: Interviews with Independent Filmmakers (Berkeley, CA: University of California Press, 2006) 169.

■ Chapter 22

1 Boyd, Brian. “Re: Interview for our Book.” Message to Kelly Anderson. February 21, 2015. E-mail.

2 Ibid.

3 Shapiro, Keith. “Re: Quick Question for our Book.” Message to Kelly Anderson. January 5, 2015. E-mail.

■ Chapter 23

1 Radivojevic, Iva. Personal Interview. February 21, 2015.

2 Interview with Gregorio Smith. Tugg School. Tugg.com. n.d. Web. July 5, 2015.

3 Finneran, Patricia, “Documentary Impact: Social Change through Storytelling.” Hot Docs, Inspirit Foundation and Panicaro Foundation. 2014. pdf via web. July 13, 2015.

4 “Assessing Creative Media’s Social Impact.” The Fledgling Fund RSS. The Fledgling Fund, January 2009. Web. July 13, 2015.

5 “Horticulture Tools.” Howdoweknow.net. Active Voice Lab, n.d. Web. July 13, 2015.