Archival Storytelling: A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music
Sheila Curran Bernard
Format: PDF / Kindle (mobi) / ePub
Archival Storytelling is an essential, pragmatic guide to one of the most challenging issues facing filmmakers today: the use of images and music that belong to someone else. Where do producers go for affordable stills and footage? How do filmmakers evaluate the historical value of archival materials? What do verite' producers need to know when documenting a world filled with rights-protected images and sounds? How do filmmakers protect their own creative efforts from infringement?
Filled with advice and insight from filmmakers, archivists, film researchers, music supervisors, intellectual property experts, insurance executives and others, Archival Storytelling defines key terms-copyright, fair use, public domain, orphan works and more-and challenges filmmakers to become not only archival users but also archival and copyright activists, ensuring their ongoing ability as creators to draw on the cultural materials that surround them.
Features conversations with industry leaders including Patricia Aufderheide, Hubert Best, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and many others.
Additional praise for Archival Storytelling:
"I've been making historical documentaries for many years, yet I learned new things from this book. This is the definitive guide for archival research for documentary filmmakers. An invaluable resource." -Mark Jonathan Harris, Distinguished Professor, School of Cinematic Arts, University of Southern California, and writer/director, The Long Way Home and Into the Arms of Strangers
"One of the best-and most needed-[books] I have seen in a while..The challenge is to keep what is a fairly technical aspect of filmmaking interesting without compromising the quality and depth of information. The authors have done an exceptional job in this regard by the careful interweaving of interviews with researchers, filmmakers and legal experts through the factual material.There is the strong sense of being in the presence of experienced filmmakers and researchers who accept that while there are standard practices, archival use and intellectual property laws etc. are contingent fields in which each case must be assessed and dealt with on its merits." -Bruce Sheridan, Chair, Film & Video Department, Columbia College
"It's hard to imagine a more organized, comprehensive dissection of Byzantine material. The authors have produced a tremendous guide for all who use archival resources. Best of all, because of their effort, I believe more individuals will be able to access and properly utilize such material. This book will serve filmmakers and, in turn, the public for years to come." -Thomas Speicher, Producer, Pennsylvania College of Technology
"Not simply a 'how-to' manual, it is also a discussion of ideas, issues and history that creates an enjoyable text even when the subject matter becomes complicated.The real world examples, the roundtable discussions, and the exploration of ideas and issues surrounding the technical aspects are very welcome and well done." -Dustin Ogdin, Filmmaker, Spoke Digital Films
"The book properly advances the notion that 'films matter,' but this is countered by discussants with 'films cost money too.' Filmmakers may take decades to recoup, and licensing helps. It's an ongoing volley, the chapter engenders a road map through the split, the tension makes a good read...This authorative book belongs on every producer's shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson College
the CBC. There’s such a strong tradition of documentary ﬁlmmaking here in Canada. That’s our real forte. We do have vintage dramas, things like that, but documentary, deﬁnitely, A GLOBAL PERSPECTIVE has always been the strength in Canada, so that material is generally really well shot. You mentioned something called the Audiovisual Trust in Canada. Will you tell me about that? The Audiovisual [Preservation] Trust started about 10 years ago, as an initiative by the Library and Archives Canada,
formats—perhaps digital or HD video, or possibly ﬁlm. Depending on what format you’re ordering your copy from (the preprint) and what format you need, what’s the best route to get there? A general word of advice: Without limiting your search, keep in mind that the more items you order and can ultimately license from fewer sources, the less your budget is likely to suffer. Ordering Materials for Ofﬂine Editing In many cases, while you’re immersed in ofﬂine editing you’ll be less concerned about
a ﬁlm is ever trying to make a deﬁnitive anything. No book is deﬁnitive, and certainly no ﬁlm can be. Which gets to the notion that to be effective, you need to make choices. Even at Florentine, where you have the relative luxury of making lengthy series, with a broad topic you still need to focus and tell compelling stories. You can’t do it all. There are whole aspects of all these stories that we never touched upon. It’s sort of like a 12-year-old who knows everything about baseball and wants
ways. That, to me, is an ethical issue. It means accepting actuality and reenactment, ﬁdelity and imagination, newer kinds of narrative, not eternalizing the present, because you can use archival material as a key to an eternally emergent media culture. Archival material has got a long history, but I think we’ve only begun to see its potential. And I have a 147 ETHICAL CONSIDERATIONS feeling that in 20 years we’ll look back on work that we couldn’t have imagined today, that’s archivally
consent you need but have not gotten or perhaps can’t get. Right of Publicity Right of publicity keeps people from exploiting the name and reputation of famous people—living and dead—in ways not approved of by them or their representatives. Before they’ll license a clip, still, or poster to you, Hollywood studios will demand that you clear the likeness, or right of publicity (also sometimes known as the right of personality or personality rights) of an actor or other recognizable celebrity.