Current (https://current.org/tag/documentaries/page/5/)
If you stand quite rightly in awe at Michael Apted’s 49 Up, which aired on P.O.V. [in October 2007], you’re likely to be cheered by the news that a Frontline producer is now in postproduction to start similar series of periodic interviews with nine diverse people in China….
The Association of Independent Video and Filmmakers, a 30-year-old group that coordinated activism and provided networking and training for independent filmmakers, shuttered its offices and shut down operations in late June. The Manhattan-based association told members in March that it faced a financial crisis, but an emergency fundraising appeal didn’t generate enough contributions to maintain operations. The AIVF Board is looking for another group to take over publication of The Independent, AIVF’s monthly magazine. Although the board considered a scenario of eventually resuming operations, it’s unlikely that the association will revive, said Bart Weiss, organizer of the Dallas Video Festival and board president. “I wish it could, but I don’t see how it could happen,” he said.
The title character of The Teachings of Jon is a middle-aged North Carolina man with Down syndrome who has an IQ of 20, can’t speak and has a job that pulls in 27 cents a week. “But my film is not about Down syndrome at all,” says Jennifer Owensby, producer, director — and Jon’s younger sister. She says the documentary is not really about Jon, either. “My brother can’t be the main character because my brother never changes. It’s my family and the audience as they’re watching who become the main character.”
The Teachings of Jon offers an entertaining short course on family values, albeit as embodied by a somewhat unorthodox family.
Friday afternoon, things changed for producers who need to use somebody else’s footage and music in their documentaries. Clearing rights may still cost a lot and take too much time, as in the past, but Patricia Aufderheide and Peter Jaszi believe producers now have a solid rationale for not paying excessive and confounding fees for copyrighted materials in certain cases. On Nov. 18 [2005], the Association of Independent Video and Filmmakers, the Independent Documentary Association, public TV’s Independent Television Service and the series P.O.V., and other media groups endorsed a Statement of Best Practices defining four kinds of situations when a producer, under the “fair use” provisions of copyright law, need not pay for a film clip, a shot of a painting or a snatch of music. Aufderheide, director of the Center for Social Media at American University in Washington, D.C., and Jaszi, an intellectual property expert at the university’s law school, convened groups of experienced filmmakers around the country to look closely at the producers’ (and their lawyers’) working definition of fair use.
Thoughts of Appalachia may stir up visions of either hillbilly backwoods or quaint Edens, but both miss the complicated truth illuminated by three documentaries coming to public TV. The docs diverge in their depictions of the mountain region
The Idaho Legislature is the subject of Frederick Wiseman’s next cinema verite documentary. Starting with his controversial film Titicut Follies in 1967, Wiseman has filmed the day-to-day workings of American places and institutions — public housing developments, high schools and an old Maine seaport town, among other subjects. His last PBS broadcast, Domestic Violence, was filmed in a shelter for abused women and children, called the Spring, in Tampa, Fla. Wiseman, who doesn’t discuss his film projects until they’re near completion, declined Current’s request for an interview. But he told Idaho statehouse reporter Betsy Russell that he chose the Idaho Legislature because he wanted to film an American institution in the West.
Twenty-nine years after their pioneering observational doc series entranced PBS viewers, the filmmakers Alan and Susan Raymond are bringing back the Loud family one last time. They are talking with WETA about offering the new hour-long episode to PBS, according to Mr. Raymond and Jim Corbley, v.p. of production management at the Washington station. If a deal is struck, the film could be ready this fall, Raymond said. The occasion was the death Dec. 21 [2001] of Lance Loud, eldest son in the Santa Barbara family, who stunned his family and became a symbol of gay liberation in 1973 by coming out on national television.
If Frederick Wiseman’s High School works like a time machine, transporting viewers back to their own coming of age experiences in this quintessential American institution, the journey will be bittersweet for alumni of Philadelphia’s Northeast High School, where the landmark documentary was shot. Most alums have never seen the documentary, but they remember the local controversy over how it depicted their alma mater. Threatened with what he describes now as “vague talk” of a lawsuit, Wiseman in 1968 agreed not to screen High School within miles of the city. More than three decades later, the documentary has achieved classic status among independent films. PBS will present it as such Aug. 28 [2001] as a P.O.V. Classic, a new strand developed by Executive Producer Cara Mertes.
… David Isay, along with a growing number of gifted documentary-makers, are now experiencing the satisfaction of creating serious inquiries into contemporary events and, especially, human nature….
In the long ago 1950s, a friend of mine, the gifted writer Marya Mannes, composed short features for a lively magazine called The Reporter. Each was a fictional profile of some recognizable personality, a “type” that most of us encounter in life’s daily round: a nervous business executive, the owner-manager of a small restaurant, a bag lady picking her way daintily through the damp contents of a public trash basket. The column was called “Any Resemblance?” and it persuaded most readers that they, along with Ms. Mannes, were splendidly perceptive. I often think of these descriptions when listening to David Isay’s radio documentaries, most of them concerning mildly eccentric persons from, as he says, “the margins of society.”
As provocatively staged “reality TV” series explode on the commercial networks, PBS is expanding its own slate of what it calls “observational documentaries” in the network’s reinvention under President Pat Mitchell. In April [2001], American High, a fast-paced docusoap series dropped by Fox last summer, will lead off a new weekly PBS strand targeted to teens and young adults. Then, in the fall, Senior Year, a 13-part series that PBS execs promoted to television critics during the January press tour, will take over the same Wednesday 10 p.m. timeslot. This summer P.O.V. also will present Fred Wiseman’s 1968 film High School, a national broadcast debut that was also promoted at the press tour. With American High and Senior Year, PBS aims to create a new strand, “so the audience can find it and know it’s going to be there,” and keep tuning in, said John Wilson, senior programming v.p. PBS has scheduled repeats of American High through the summer, and is considering a second run of Senior Year after its debut.
Not every American will buy what Ric Burns and Lisa Ades are selling, but in the 10 hours airing this week on many public TV stations they make the strongest possible case for the greatness of New York City. Diehard New York–haters will quickly overdose on the soaring rhetoric and the flyovers of the fantastical Chrysler Building, but that’s no surprise to Burns. “The ambivalence toward New York is very powerful and a central component of the story,” he says. “It has only gotten stronger as power has accumulated there.” The story was so big that the producers gave up squeezing it into 10 hours and will deliver two more hours early next year — a sixth episode covering 1931-99.
One witness the congressmen didn’t lecture about donor-list improprieties at a House telecom subcommittee hearing July 20 [1999], was documentarian Ken Burns, who carried the historical weight of Sullivan Ballou, Thomas Jefferson and Satchel Paige with him. His remarks for the rapidly organized hearing echoed parts of his keynote at the PBS Annual Meeting in June 1999. Let me say from the outset — as a father of two daughters and a film producer, increasingly concerned about violence on television — that I am a passionate lifelong supporter of public television and its unique role in helping to stitch our exquisite, diverse and often fragile culture together. Few institutions provide such a direct, grassroots way for our citizens to participate in the shared glories of their common past, in the power of the priceless ideals that have animated our remarkable republic and our national life for more than 200 years, and in the inspirational life of the mind and the heart that an engagement with the arts always provides. It is my wholehearted belief that anything which threatens this institution weakens our country.
Various people tried to prepare Juanita Buschkoetter for the public reaction to The Farmer’s Wife, filmmaker David Sutherland’s cinema verite depiction of the real-life struggle to keep her husband’s farm and their marriage afloat, but the reponse to the show’s debut this fall was far beyond her expectations. “I had no idea how many people would actually watch it,” she said in a recent interview — let alone the folks who would go far out of their way to drive by the Buschkoetter house, or send the family generous gifts. “Since the film, people come by to take pictures, pull in and talk,” Buschkoetter added. It’s gotten so she doesn’t want to leave her three daughters at home alone anymore. Since the eldest is now 12, she previously had found it safe to do so.
Henry Hampton, the visionary filmmaker who documented the history of the civil rights movement with the landmark PBS series Eyes on the Prize, died Nov. 22 [1998]. He was 58. Hampton recovered from lung cancer some nine years ago, but complications from the treatment that sent the disease into remission claimed his life. The official cause of his death was myelodysplasia, a bone-marrow disease.
On a warm summer day in 1946 I find myself, somewhat improbably, at the helm of a U.S. Navy ocean tug, threading through a crowded, palm-fringed Pacific atoll called Bikini. We stay only long enough to anchor the derelict ship we’ve towed here from the Philippines. Several days later, making slow progress east to Honolulu, we learn that the wreck we had pulled into that pristine island sanctuary had been obliterated — along with everything else in the lagoon — by two atomic bombs. More than a few of my shipmates are bitter that, unlike others, they had been denied an extremely close look at the destruction. But for most of us it is simply an isolated event, one among many in those rather bewildering post-war days following the bombings at Hiroshima and Nagasaki.
At first glance, the girding storyline is whether Darrel and Juanita Buschkoetter, a farming couple raising three young daughters in Lawrence, Neb., can realize Darrel’s dream of farming his father’s land …
As I write these words, Frederick Wiseman’s 30th film, Public Housing, is about to be broadcast, Dec. 1 [1998], through PBS, the national network that has presented all of his documentaries. It concerns the Ida B. Wells housing development on Chicago’s South Side. The sites of his past documentaries have varied from high schools to hospitals, from public parks to private playgrounds. He has shown us the inside of military and police units, welfare and model agencies, prisons, a primate research lab, a meat packing plant and a zoo.
KQED has dropped plans for a public TV documentary about pioneering Napa Valley winemaker Robert Mondavi after widespread newspaper reports that an organization funded largely by Mondavi had supplied the first and only seed money.
Admired series disappears into copyright limbo
Followup, 2008
The series contained so many musical clips that the producers apparently didn’t want to spend what it would take to extend their broadcast rights. For years, as a result, the series has not been available for broadcast or for purchase on DVD or videocassette. As a result, PBS’s online store began selling videos of Time-Warner’s rock history series not originally made for public TV, The History of Rock ‘N Roll. New York Times critic John O’Connor preferred the BBC/WGBH series. Buying extensive new rights to resume broadcasts of the famed doc series Eyes on the Prizecost hundreds of thousands of dollars in 2006.