Now you can do this with anything, a dance studio, a personal interest story, or on a general topic where you are hunting for  shots so you can add your voice over.
The main poster for Amy, the forthcoming documentary film about Amy Winehouse, has been unveiled. The feature-length documentary from Asif Kapadia, the BAFTA-winning director of Senna, premiered at the Cannes Film Festival on Saturday (May 16) to rave reviews and will open in UK cinemas on July 3.
Speaking about the film earlier this year, David Joseph, UK CEO of Winehouse's label Universal Music said: "About two years ago we decided to make a movie about her - her career and her life.
The first trailer for the documentary film was unveiled last month (April) and will be followed by a second, main trailer to be released tomorrow (May 20). Through a dialogue on documentary film, Guest Editors Fridus Steijlen & Bart Barendregt spark the debate in this issue’s pullout section of the Focus newsletter.
November 2013’s issue of the International Documentary Festival Amsterdam (IDFA) included a theme program on ‘Emerging Voices from Southeast Asia’, featuring fourteen recent documentaries from the region and several Q&A sessions with some of the directors. The Newsletter is a free academic publication produced three or four times a year by the International Institute for Asian Studies. In a world of tight schedules and limited budgets, real people are more often than not getting turned into underpaid actors. Samir picked up his wife’s hand and told her he’d been thinking long and hard about their 10-year marriage. Pay now with a credit card and take advantage of our earth-friendly automatic renewal savings plan. The 2013 edition of Iran’s Cinema Verite International Documentary Film Festival has selected a number of works created by women documentarians. The works of 11 women filmmakers from among 108 female documentarians entered this year’s film line up. The selected screen creations are scheduled to be presented at the national section of the event. The works are to compete at the different categories of the festival such as Social documentary, Islamic Revolution and Scarified Defense, Portrait Documentary and Anthropology Documentary.
Azadeh Mousavi, Zahra Moshtaq, Mahvash Sheykholeslami, Maryam Nouri and Sepide Berenji are among the selected women directors whose films will be screened at this year’s Cinema Verite festival.
Mohammad Afarideh, Mojtaba Raie, Ja’afar Sanei Moghaddam, Farhad Mehranfar, Mehrdad Oskui, Mostafa Al e Ahmad and Ebrahim Haqiqi have been selected to judge at the national section of the event. They are slated to select some movies from among 123 participated documentaries in the national competition section of the event.
The festival’s website had earlier announced names of 19 films that are to be screened at the Narrative Documentary and Political-Economical Documentary sections of the event. The seventh edition of the festival will be presented in two sections of national and international competitions.
The films will compete in various categories including short documentaries, medium-length documentaries, and full-length documentaries, as well as Special section of international competitive and non-competitive section. The participants in national section are required to focus on number ‘seven’ as a sacred number representing several symbolic meanings in the Iranian culture.
Iran’s 2013 Cinema Verite International Documentary Film Festival is to screen a wide range of productions such as political, historical, ritualistic, religious, social, environmental, scientific, ethnological and war documentaries.


The festival at this year’s edition is also programmed to host a new section of Docudrama films in three categories of short, semi-length, full-length productions.
Some 89 Iranian and international documentary productions were screened in last year’s edition of the festival. Organized by Iran’s Documentary and Experimental Film Center (DEFC), the annual festival tries to express the relationship between reality and truth though documentary films.
The 2013 edition of the festival, with the motto of “Truth Is the Best Guide”, will be held in the Iranian capital, Tehran, from December 10 through 17.
IFP has taken a look at the front pages of newspapers on Monday and picked headlines from 20 of them. It’s amazing to watch, and he was presenting at a gallery and we got permission to shoot the entire event. It promises "previously unheard tracks" and "extensive unseen archive footage" and is billed as the story of the six-time Grammy-winner "in her own words". A posthumous compilation album titled 'Lioness: Hidden Treasures' followed later that year. You ask if you can interview people (and have them sign a release) or put up a sign that says DOCUMENTARY FILMING IN PROGRESS and you are golden. Opening day the gallery, we shot all this exhibited paintings, we shot people looking at Robert’s artwork, we shot Robert presenting to a student body of artists who made the trip to see his gallery event. Get to know your equipment, see when you recorded without sound, see when your record button got hit(turned off) in the mash pit while you trying to record your friends band! However, the Winehouse family has recently distanced itself from the film, claiming Amy is "both misleading and contains some basic untruths".
This was their anniversary dinner, after all, and she was expecting heartfelt sentiments and, at least, a bunch of red roses.
Later Robert Weibel did a demonstration of his gunpowder painting technique and we got that on film, had him wear a GoPro to get the artists perspective, and  even had a guy on the roof getting a long shot from on high. You are still free of the stress and problems you need to overcome with narrative filmmaking. Get to know your gear, and get to know the million little things you need to watch out for when you shooting a film.
Now all we had to do is do an interview, create a montage of this artwork, show the demonstration, and do a small amount of voice over to structure and finish the documentary. Scholars are familiar with close reading of texts, but do they similarly ‘close read’ images?
Utne Reader offers provocative writing from diverse perspectives, insightful analysis of art and media, down-to-earth news and in-depth coverage of eye-opening issues that affect your life. This will make you a great filmmaker, and is the best route to go when you are starting out. If you are going blank on topic, just find some events.And shoot the event, talk to the people, get there opinions, they are already there and are very receptive to share there thoughts on camera.
In the show, we took boorish, unromantic slobs and turned them into suave gentlemen for their wedding or anniversary. It was typical makeover fare and required just two things—a real person and a happy ending.


How we turned those two things into good ratings was less simple and involved a complex dance of mutual exploitation. We needed to mine the maximum amount of drama out of their lives in the shortest possible time, and they wanted a free suit and fame. After a week of trying to teach Samir table manners and getting him in touch with his feelings, we found our subject had made no romantic progress whatsoever, but he had become a sly collaborator in the process of producing reality TV. Since then I haven’t made another reality show, but I am making documentaries, and I keep asking myself if they are really that much different. After all, documentary filmmakers are also purveyors of a tell-all, show-all, know-all culture. Everyday life has become pop-culture entertainment, exploited as much by big TV networks and social-media companies as by the Jacks and Jills who offer up their lives in exchange for being noticed.That makes me, your typical liberal who wants to make a difference with my art documentaries, a bit queasy. What is happening when I take the raw ingredients of life and turn them into an entertaining product?
And is that end product an approximation of reality, a blatant exploitation of it, or a mushy in-between that is blurring the lines of fact and fiction?I know as well as anyone that the best moments are the real moments, ones that haven’t been set up or redone.
But in a world of tight schedules and limited budgets, real people are more often than not getting turned into underpaid actors.
In his film Little Dieter Needs to Fly, the subject, Dieter, escaped from a Cambodian prison camp.
In the film, we see Dieter entering his house and then opening and closing the door obsessively from both sides, over and over, to make certain he isn’t locked in.
It was 100 percent Herzog’s creation.We all know that filmmaking by its very nature has to bend the facts. I often think back to something a respected documentary director said to me when we were in the edit room piecing together a film he had shot. I was just a neophyte producer at that time, and when I saw him borrowing bits and pieces of footage and using them in unrelated scenes, I asked him what he was doing.“Lying the truth,” he responded with a dramatic flourish of the paste key. In other words, there is a greater truth to which you must remain loyal, but the means by which you express this truth are a bit looser.The debate over a documentary’s “creative use of actuality,” as genre pioneer John Grierson put it, is one we’ve hashed out many times as documentarians, but now I think it’s only half of the question.
What’s happening on the other end of the lens?I’m part of a documentary community, which has been capturing people’s lives on film for more than a hundred years. We don’t just worry about bending the truth of our subjects’ lives, we now have to wonder just how “truthful” are the lives we’re supposedly documenting.
There are umpteen cases of outright fraud—the fake marriage betrayal on Moment of Truth and half the stories on Jerry Springer come to mind—and even 2011’s bumper documentary crop produced a few head-scratchers like Exit Through the Gift Shop and Catfish.
It’s not as if we’ve turned into a planet of liars, but we do live in a media-saturated, celebrity-obsessed world where your personal story, as dramatic and embellished as possible, is a commodity you can buy and sell.As filmmakers we’re part of the mutual-exploitation vortex.



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