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Babelgum Film
OzDox: Documentary "Making Of's"
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OzDox: Documentary "Making Of's"
Babelgum
OzDox: Documentary "Making Of's"
[ 01:21:15 ]
In this April ozdox session we meet visiting American documentary filmmaker Todd Grossman. We will look at how his career developed in tandem with his love of action sports, and how that led to being involved in a major action movie, namely XXX, and now in Australia, Stealth - with the same director Rob Cohen. What challenges, technical or otherwise, occur whilst creating a "making of"? How does the relationship develop with the director and producers on such feature films? What is the future for making-of's for independant filmmakers? Being prepared at all times... what equipment do you need? These are just a few of the questions Todd will address in this session.
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01:20:28
OzDox: Emerging Documentary Filmmakers
Panel: Sam Doust, Jan Ryall, Dee Jefferson, Lisa Scott and others. Chaired by Loosie Craig and Imogen Semmler. Emerging from diverse backgrounds, the next wave of doco makers can be found at film schools, within broadcasting bodies, as video artists, in production companies, as animators, or making films in their bedroom... there is no 'right' pathway but each has an interesting story to tell and this is your chance to tell it! The first half of the session is a screening: a showcase of work and excerpts from a diverse pool of documentary makers including recent AFTRS graduates, UTS and Sydney Film School students as well as emerging animators, video artists and independent filmmakers. The second half of the session, an open forum discussion, will be moderated by OZDOX Committee member Imogen Semmler. This is an opportunity to share your stories and to discuss the different career pathways within the documentary industry AND to learn more about the broadcasting, funding and festival opportunities for emerging artists.
Panel: Sam Doust, Jan Ryall, Dee Jefferson, Lisa Scott and others. Chaired by Loosie Craig and Imogen Semmler. Emerging from diverse backgrounds, the next wave of doco makers can be found at film schools, within broadcasting bodies, as video artists, in production companies, as animators, or making films in their bedroom... there is no 'right' pathway but each has an interesting story to tell and this is your chance to tell it! The first half of the session is a screening: a showcase of work and excerpts from a diverse pool of documentary makers including recent AFTRS graduates, UTS and Sydney Film School students as well as emerging animators, video artists and independent filmmakers. The second half of the session, an open forum discussion, will be moderated by OZDOX Committee member Imogen Semmler. This is an opportunity to share your stories and to discuss the different career pathways within the documentary industry AND to learn more about the broadcasting, funding and festival opportunities for emerging artists.
01:34:49
OzDox: Feature Filmmakers and their Documentaries
Should docos be made for the cinema or for television or other media? Does it depend on the content? What would you suggest works better on the big or small screen? Advances in technology: do they make doco- making more attractive to you now, or less so? Are Australian doco makers telling enough grassroots Aussie stories; are they thinking outside the square? How does the discipline of making docos inform directing other genres? Two industry stalwarts explore the use of fiction filmmaking techniques in telling a non- fiction story as a preferred way of working. What is wrong/right with today's doco scene in Australia? Is it about funding and budgets, commissioning editors and broadcasters less/more willing to push the envelope, a paucity or plethora of meaningful ideas, or the effects of several years of a government that prefers us to be "relaxed and comfortable"?
Should docos be made for the cinema or for television or other media? Does it depend on the content? What would you suggest works better on the big or small screen? Advances in technology: do they make doco- making more attractive to you now, or less so? Are Australian doco makers telling enough grassroots Aussie stories; are they thinking outside the square? How does the discipline of making docos inform directing other genres? Two industry stalwarts explore the use of fiction filmmaking techniques in telling a non- fiction story as a preferred way of working. What is wrong/right with today's doco scene in Australia? Is it about funding and budgets, commissioning editors and broadcasters less/more willing to push the envelope, a paucity or plethora of meaningful ideas, or the effects of several years of a government that prefers us to be "relaxed and comfortable"?
01:40:22
OzDox: Forum on Personal Documentary
In documentary, the personal is always political, but it also needs to be courageous, engrossing, challenging. Today, the ease and relative low cost of production with digital cameras and desktop editing has brought a flood of personal films - non-linear, sometimes an essay, sometimes a diary, sometimes a journey - but not all succeed. This new style has brought with it new challenges for both film-maker and audience. What are the strategies by which a personal film engages with the wider society and with its audience. These are the questions we're throwing at our panel of documentary-makers, including Tahir Cambis (director of 1997 doco, "Exile in Sarajevo") and Ross ("Sherman's March") McElwee. McElwee is a Visiting Lecturer at Harvard University's Dept of Visual and Environmental Studies, where he teaches a course in film-making. "Bright Leaves", his subjective autobiographical meditation on the allure of cigarettes and their troubling legacy, is also about film-making - home movie, documentary and fiction film.
In documentary, the personal is always political, but it also needs to be courageous, engrossing, challenging. Today, the ease and relative low cost of production with digital cameras and desktop editing has brought a flood of personal films - non-linear, sometimes an essay, sometimes a diary, sometimes a journey - but not all succeed. This new style has brought with it new challenges for both film-maker and audience. What are the strategies by which a personal film engages with the wider society and with its audience. These are the questions we're throwing at our panel of documentary-makers, including Tahir Cambis (director of 1997 doco, "Exile in Sarajevo") and Ross ("Sherman's March") McElwee. McElwee is a Visiting Lecturer at Harvard University's Dept of Visual and Environmental Studies, where he teaches a course in film-making. "Bright Leaves", his subjective autobiographical meditation on the allure of cigarettes and their troubling legacy, is also about film-making - home movie, documentary and fiction film.
02:06:49
OzDox: Shaping Our Documentaries
With Dasha Ross, Chris Kiely, Susan MacKinnon, Julia Overton, and Penny Robins. How do broadcasters, funders and distributors shape Australia's documentary output? Commissioning editors from SBS, ABC and Film Australia, distributors and representatives from funding bodies discuss their visions of what documentaries should be made, how they contribute to what gets made, where documentary is heading - theatrical exhibition; or television?; Series or singles? - and strategies for success. Documentary filmmakers and teachers Gillian Leahy and Pat Fiske will moderate the session.
With Dasha Ross, Chris Kiely, Susan MacKinnon, Julia Overton, and Penny Robins. How do broadcasters, funders and distributors shape Australia's documentary output? Commissioning editors from SBS, ABC and Film Australia, distributors and representatives from funding bodies discuss their visions of what documentaries should be made, how they contribute to what gets made, where documentary is heading - theatrical exhibition; or television?; Series or singles? - and strategies for success. Documentary filmmakers and teachers Gillian Leahy and Pat Fiske will moderate the session.
01:24:51
Documentary Australia - a philanthropic initiative
Documentary Australia is an initiative to attract private money to the documentary industry. Its focus is to encourage philanthropy in the area of documentary and to inform private foundations, charities and filmmakers of the benefits of working together. There are approximately 1,500 trusts and foundations in Australia which give over half a billion dollars in estimated donations each year to health, education, the environment, social welfare, indigenous issues and the arts. Foundations need to see that documentaries are an extension of grant-making activities. Filmmakers are encouraged to shift their thinking towards new partnerships with charities and foundations.
Documentary Australia is an initiative to attract private money to the documentary industry. Its focus is to encourage philanthropy in the area of documentary and to inform private foundations, charities and filmmakers of the benefits of working together. There are approximately 1,500 trusts and foundations in Australia which give over half a billion dollars in estimated donations each year to health, education, the environment, social welfare, indigenous issues and the arts. Foundations need to see that documentaries are an extension of grant-making activities. Filmmakers are encouraged to shift their thinking towards new partnerships with charities and foundations.
01:28:13
OzDox: Making Australian Histories
Panel: Malcolm McDonald, Paul Rudd, John Hughes, Vicki Grieves. Chaired by Jeni Thornley. Panel discussion - How are documentary filmmakers working with ideas of 'nation' and story telling? Chaired by Jeni Thornley, three experienced documentary filmmakers with very different approaches to Australian history and documentary will screen excerpts and discuss their recent TV series and works-in-progress. A historian will respond to their work in discussion with the audience. Their work includes reality TV, dramatisation, compilation archival, and a deconstructionist 'cross platform' DVD, film, installation approach. The panel discussion explores questions of memory, history and 'narrating the nation'. It will also consider the international co-production contexts of some of these documentary programs.
Panel: Malcolm McDonald, Paul Rudd, John Hughes, Vicki Grieves. Chaired by Jeni Thornley. Panel discussion - How are documentary filmmakers working with ideas of 'nation' and story telling? Chaired by Jeni Thornley, three experienced documentary filmmakers with very different approaches to Australian history and documentary will screen excerpts and discuss their recent TV series and works-in-progress. A historian will respond to their work in discussion with the audience. Their work includes reality TV, dramatisation, compilation archival, and a deconstructionist 'cross platform' DVD, film, installation approach. The panel discussion explores questions of memory, history and 'narrating the nation'. It will also consider the international co-production contexts of some of these documentary programs.
02:07:59
OzDox: Craft Session on Editing
With Franz Vanderburg, Denise Haslem, Ruth Cullen, Jennifer Abbott, Emma Hay Chaired by Karen Pearlman and Mitzi Goldman Moderator, Karen Pearlman, is an editor and is currently writing and producing a Doctorate of Creative Arts with UTS on the art of editing, focusing particularly on rhythm. She asks our experienced panel for their advice for new editors.
With Franz Vanderburg, Denise Haslem, Ruth Cullen, Jennifer Abbott, Emma Hay Chaired by Karen Pearlman and Mitzi Goldman Moderator, Karen Pearlman, is an editor and is currently writing and producing a Doctorate of Creative Arts with UTS on the art of editing, focusing particularly on rhythm. She asks our experienced panel for their advice for new editors.
47:46
OzDox: Screening: Voices of Guerrero
With director Adrian Arce. Chaired by Pat Fiske. 'Voices of Guerrero' is a documentary film that shows the results and experiences from a photography and video workshop run for street-kids in a poor neighbourhood of the biggest city in the world. Apart from being the main characters, these guys, to a great extent, produced the film. It's a social, artistic project aimed at fostering marginalised people's development through art and opening new communication channels between community and the street-kids. By using innovative approaches to media, the documentary allows the audience to see the life of these street-kids through their own eyes, transforming them from passive media consumers into active producers.
With director Adrian Arce. Chaired by Pat Fiske. 'Voices of Guerrero' is a documentary film that shows the results and experiences from a photography and video workshop run for street-kids in a poor neighbourhood of the biggest city in the world. Apart from being the main characters, these guys, to a great extent, produced the film. It's a social, artistic project aimed at fostering marginalised people's development through art and opening new communication channels between community and the street-kids. By using innovative approaches to media, the documentary allows the audience to see the life of these street-kids through their own eyes, transforming them from passive media consumers into active producers.
01:44:24
OzDox: Sedition and Anti-Terror Laws
With Julie Rigg, Richard Harris, Alida Stanley, Julian Morrow. Charied by Martha Ansara. Alarm bells are ringing in the Australian Creative Community as the Howard government cracks down on dissent. Why are they doing so at a time when other democracies have repealed their Sedition Laws? What are the consequences of this legislation for you, and what are we going to do about it? All these questions and more will be discussed at the lively (and possibly seditious) Ozdox Forum. Is Sedition only a storm in a tea-cup, or if there is something very weird happening right now in the land of Oz... There will be a screening of anti-sedition work and a free-speech forum with Julie Rigg (ABC Film Critic, member of the Watch on Censorship); Richard Harris (Executive Director of the Australian Screen Directors Association) who organised the infamous illegal screening of the banned move Ken Park; Alida Stanley, Senior Solicitor at the Arts Law Centre; and special guest Julian Morrow of the Chaser. You may like to read a previous background paper about Proposed Offences for Sedition in the Anti-Terrorism Bill 2005. This was a Submission to the Senate Legal and Constitutional Committee 27 October 2005 - by Chris Connolly. Law Faculty, University of NSW The Sedition Act undermines the right of free speech, which has ever been justly deemed the only effectual guardian of every other right. James Madison, 1778 Fourth US President and "founder" of the US Constitution.
With Julie Rigg, Richard Harris, Alida Stanley, Julian Morrow. Charied by Martha Ansara. Alarm bells are ringing in the Australian Creative Community as the Howard government cracks down on dissent. Why are they doing so at a time when other democracies have repealed their Sedition Laws? What are the consequences of this legislation for you, and what are we going to do about it? All these questions and more will be discussed at the lively (and possibly seditious) Ozdox Forum. Is Sedition only a storm in a tea-cup, or if there is something very weird happening right now in the land of Oz... There will be a screening of anti-sedition work and a free-speech forum with Julie Rigg (ABC Film Critic, member of the Watch on Censorship); Richard Harris (Executive Director of the Australian Screen Directors Association) who organised the infamous illegal screening of the banned move Ken Park; Alida Stanley, Senior Solicitor at the Arts Law Centre; and special guest Julian Morrow of the Chaser. You may like to read a previous background paper about Proposed Offences for Sedition in the Anti-Terrorism Bill 2005. This was a Submission to the Senate Legal and Constitutional Committee 27 October 2005 - by Chris Connolly. Law Faculty, University of NSW The Sedition Act undermines the right of free speech, which has ever been justly deemed the only effectual guardian of every other right. James Madison, 1778 Fourth US President and "founder" of the US Constitution.
01:02:14
OzDox: Video activism and the Chiapas Media Project
World-wide along with the extended use of video in both domestic and public environments, in the last decade we have seen the development of different independent and community media projects (not affiliated to media networks). These projects are run by communities (virtual or real) and respond to the beliefs and information needs of individuals not of large corporations. Independent media are becoming important instruments of democratisation, attempting to empower minorities and to challenge media institutions and their links to power structures. Amongst the different independent media projects video technology is playing an important role. Video technology allows ordinary people to register and report issues and events the big mainstream media corporations do not cover, like the uprising of the Ejercito Zapatista de Liberacion Nacional or Zapatista Nartional Liberation Army (EZLN) on 1 January 1994. Thanks to the auspices of the Pro medios de Comunicacion Comunitaria, also known as the Chiapas Media Project, indigenous Zapatistas in Chiapas and peasants in Guerrero, Mexico, have been able to learn how to use the video camera as a key weapon in their struggles for recognition and self-determination. The Chiapas Media Project is a collective media project that provides training and tools for indigenous peoples and peasants to produce their own videos. What makes the experience of the Chiapas Media Project unique is that it works with indigenous peoples and peasants. It has given them the training and equipment to become independent video-makers, to be able to self-represent and create their own audiovisual messages about who they are what are they fighting for, and what are they accomplishing in their struggle.
World-wide along with the extended use of video in both domestic and public environments, in the last decade we have seen the development of different independent and community media projects (not affiliated to media networks). These projects are run by communities (virtual or real) and respond to the beliefs and information needs of individuals not of large corporations. Independent media are becoming important instruments of democratisation, attempting to empower minorities and to challenge media institutions and their links to power structures. Amongst the different independent media projects video technology is playing an important role. Video technology allows ordinary people to register and report issues and events the big mainstream media corporations do not cover, like the uprising of the Ejercito Zapatista de Liberacion Nacional or Zapatista Nartional Liberation Army (EZLN) on 1 January 1994. Thanks to the auspices of the Pro medios de Comunicacion Comunitaria, also known as the Chiapas Media Project, indigenous Zapatistas in Chiapas and peasants in Guerrero, Mexico, have been able to learn how to use the video camera as a key weapon in their struggles for recognition and self-determination. The Chiapas Media Project is a collective media project that provides training and tools for indigenous peoples and peasants to produce their own videos. What makes the experience of the Chiapas Media Project unique is that it works with indigenous peoples and peasants. It has given them the training and equipment to become independent video-makers, to be able to self-represent and create their own audiovisual messages about who they are what are they fighting for, and what are they accomplishing in their struggle.
