"Private broadcasters should respect the conditions of their licence and public broadcasters should get back exactly what their name calls for — public broadcasting."
Director Shannon Walsh reflects on bringing the social-change aspect of documentary into the process behind the camera.
Canadian film funding received further consideration as it pertains to independent documentaries and the big public spenders like CBC and the NFB.
Just because the long-form documentary is the king of the hill now, doesn’t mean we can take it for granted.
Hot Docs' Deal Maker matched up roughly 50 filmmaking teams with broadcasters for intense, one-on-one meetings to discuss selected projects.
Linda Vastrik and Mila Aung-Thwin discuss their international co-production Forest of the Dancing Spirits.
Of starfish and jellyfish“Isn’t it better to have a lot of people seeing films that convince them to make a little bit of change, instead of only a few people seeing films that may or may not convince them to make big changes?” This question was posed to me one summer evening by an emergency
How do we figure out new rules with a policy framework that still has Canadian culture and cultural job protection in the mix?
For documentary filmmakers in the USA, independence is crucial to artistic voice and vision, and to truthseeking and storytelling.
If you were to make a documentary about the life of Bonnie Sherr Klein, you might begin with the old episodes of Dick Clark’s American Bandstand.