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Writer-editor Jack Kroll interviews filmmakers Albert and David Maysles in 1969 about what they called at that time a "new technique of natural movie making, direct cinema." Conversation topics include how the Maysles actually filmed, how they got the subjects to agree to being filmed, and their reaction to being innovators.
Hollywood's version of the news was sanitized until a program called March of Time, a theater newsreel program, established the standards still used in the industry today. Traces the history of the filmed-news industry from the development of the movie camera in 1895 which quickly led to newsreels shown in vaudeville and then in movie theaters twice a week.
A film biography of Marlon Riggs, the gifted, gay, black filmmaker who produced documentary films addressing issues of identity among Afro-Americans and gays. This program provides an in-depth look at the film work of Jean Rouch and his associates from Niger who participated in production of many of Rouch's Niger-based films. Ken Burns has revolutionized the art of making documentaries, bringing American history to life in a very personal way. Jayasinhji Jhala, professor of Anthropology at Temple University, interviews filmmaker, educator and visual anthropologist, Timothy Asch, in his Los Angeles home.
Follows the film crew of "Madame l'Eau" and provides a glimpse behind the scenes as director Jean Rouch and his four friends from Niger make their film. During the 1960s, filmmakers came to Appalachia to document the dire conditions of the region's poorest residents.
Australian documentary filmmakers explore the issues and pitfalls of filming across cultural boundaries through interviews and samples of their films of Papua New Guinea including Trobriand Cricket, First Contact, The Shark Callers of Kontu, Joe Leah's Neighbors, Black Harvest, Cannibal tours, and others. Interviews with Leni Riefenstahl, now in her nineties, flash-backs and modern film sequences tell the story of the most famous woman film director of all time.
SuperForester Whitney recently sent us an email that described the latest inspirational documenter by film director, Tom Shadyac. SuperForesters are all over planet Earth, all united in exploring how to redefine "environmentalism" and "sustainability" to encompass every aspect of our lives.
Program includes excerpts from their feature length film "The Salesman" in which they followed the salesmen around in an early example of "cinema verite." 52 min.


As World War II progressed it provided a forum for competition between numerous news agencies.
Clips from his films show how he evolved a unique experimental documentary style, mixing poetry, criticism, the personal and the political. Rouch, Philo Bregstein and Niger cameramen discuss filmmaking and filmmakers who have had historical influence in the field. In this program, he discusses the painstaking research, hands-on techniques and limitless energy that have won him fame. Asch, expresses his views on his life and work and reveals intimate perspectives on confronting his death from cancer. This outsider's view of "Madame l'Eau" provides insight into how Rouch approaches his films.
The use of the striking images of poverty raised questions about whether media-makers with otherwise good intentions exploited and perpetuated long-held stereotypes of Appalachia. It also covers the work of indigenous Papua New Guinea filmmakers and their own experience making sense of film and culture.
Known for her films made during the Third Reich, Riefenstahl's story is a controversial one. Because she does such an excellent job of describing it in her message, I’ll just paste most of it below. It really does look amazing and inspirational and I thank Whitney wholeheartedly for the share. Rich in excerpts from verite classics with commentary by filmmakers, this is the first film to capture all the excitement of a revolution that changed movie-making forever, with its influences on everything from TV news to music videos to Webcams. Includes newsreel footage of World War II and of D-Day, with commentary by war correspondents. It also documents his long battle against AIDS until his death in 1994 and includes interviews with family, friends, and co-workers.


Segments from several of Rouch's earlier film works are interspersed with the filming in Niger and interviews.
Biographical details such as how he got his start, who influenced him, and where he finds inspiration offer an illuminating glimpse of this remarkable artist. Excerpts from Asch's films representing his groundbreaking fieldwork with the Yanomamo and the indigenous peoples of Indonesia are woven into the dialogue. Includes a cross-section of Rouch's work with clips from his documentary Les Maitres Fous, his cinema verite classic, Chronique D'ete, and his pioneering masterpiece Moi, Un Noir(Treichville).
In most of his films, Jean Rouch has used his four African friends; Damoure Zika, Lam Ibrahim Dia and Tallou Mouzourane as actors and Moussa Hamidou as sound man. In 1967 this tension between media and community led Kentuckian Hobart Ison to kill filmmaker Hugh O'Connor. Featuring: Gary Kildea, Dennis O'Rourke, Chris Owen, Bob Connolly, Robin Anderson, Steve McMillan, Martin Maden, Ian Dunlop, Kuman Kolain. Best known for her "Triumph of the Will," the film made of the 1934 Nazi Party Congress, it proved to be her undoing.
Film clips from his documentaries underscore the power of his methods and the passion of his vision.
Throughout the interview Diawara places Rouch's films in the context of the on-going struggle of Africans to construct their own vision of modernity. Rouch has been their friend for more than forty years and this complex bond of friendship serves as the theme for this documentary. Shadyac uses experts in many fields around the world to discuss how we’re all connected, how every little action has an impact, how love truly creates a better world from the individual level to the universalistic level.



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