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Like, Link, Share: New Tools for Legacy Organizations

Like Link Share Cover

New research proves that established and traditional cultural institutions--museums, orchestras and libraries--are adjusting to a new digital reality. Looking to accommodate the public expectation of engaging with culture without sitting through a long performance or attending an exhibit, these legacy institutions are changing traditional ways of thinking and operating. Read more...

Bleeding-Edge News at SXSW

SXSWSXSW panels and events take the pulse of cutting—OK, bleeding—edge trends in tech for film. Seven takeaways from panels:

#1: Streaming video: Open and closed video streaming platforms are now mainstream, and funding programming. In fact, according to Buzzfeed’s Summer Anne Burton, YouTube (c. 160M monthly desktop viewers) is now a lean-back, longform(ish) medium—suitable for evening viewing. Read more...

Do Filmmakers Know Their Rights?

MaidanConversation on the filmmaker v. journalist distinction that happened at Sundance was also picked up at this year’s True/False Film Fest. Filmmakers who took some big risks took part in an “I Know My Rights” discussion that perhaps should have been more of a question than a statement. Nick Broomfield (Tales of the Grim Sleeper), David Felix Sutcliffe ((T)ERROR), Matthew Hieneman (Cartel Land) and Serhy Stetsenko (Maidan) spoke to many of the issues covered in the Center report released in February: “Dangerous Documentaries: Reducing Risk When Telling Truth to Power.” Read more...

Dollars, Doughnuts and Distribution

Photo by Rebecca Allen via True/False Film FestA few dollars and a doughnut are what most filmmakers can expect to have leftover after a distribution deal has been milked by distributor, exhibitor, sales agent, deliverables and marketing costs. Prospects for money from this traditional model are grim according to a panel discussion at the 2015 True/False Film Fest, and self-distribution is the way to go. Read more...

Josh Oppenheimer Wants to Reinvent the Human Rights Film

The Look of SilenceAt the Based on a True Story conference associated with the True/False Film Fest, filmmaker Josh Oppenheimer explained why his latest film, The Look of Silence, is not about past genocide but about current trauma.

The maker’s earlier Oscar-nominated work, The Act of Killing, followed Indonesian gangsters who are still congratulating themselves on their work in the mid-1960s murdering workers who were accused of being Communists. In The Look of Silence, he follows a survivor—the younger brother of a man whose murder was, unusually, witnessed. The survivor begins a process of confronting murderers who are still supported by the most powerful political forces in the society. Read more...