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Archival Storytelling: A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music | 
| Authors: Sheila Curran Bernard, Kenn Rabin
Publisher: Focal Press
Category: Book
List Price: $34.95
Buy New: $27.17
You Save: $7.78 (22%)
Rating:  2 reviews
Sales Rank: 96086
Media: Paperback
Pages: 336
Number Of Items: 1
Shipping Weight (lbs): 1.4
Dimensions (in): 8.8 x 5.9 x 1.3
ISBN: 0240809734
Dewey Decimal Number: 070.18
EAN: 9780240809731
ASIN: 0240809734
Publication Date: September 29, 2008
Availability: Usually ships in 1-2 business days
Condition: All orders ship same business day via standard shipping (USPS Media Mail) if received by 1 PM CST.
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| Editorial Reviews:
Product Description
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.
* Nearly all filmmakers, at some point in their careers, will want to use third-party materials, or will be asked to license their own work to someone else. This book will show you how to do it (and stay on-time and within budget)
* This book, by clarifying and defining such terms as fair use, copyright, intellectual property, and Creative Commons, can better prepare media makers to not only protect their own creative rights but to understand and respect those of others.
* Additional resources are available on the authors' website: http://www.archivalstorytelling.com
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| Customer Reviews:
We Now Have a Definitive Book on Archive-Based Programming January 8, 2009
Matthew White
Kenn Rabin and Sheila Curran Bernard have written an important book, one that will serve as the definitive text on archive-based filmmaking for years to come. The authors are among the most seasoned professionals in the field, and they generously share their deep knowledge of the subject. Film and video archives are a stimulating palette for filmmakers, although the enormous technical, legal, and research demands can be overwhelming. This book masterfully navigates these routines while keeping the focus on the creative process: a collaborative process that relies on researchers and archivists, as well as producers and story-tellers, to create programs. In the end, this is an engaging and inspirational book about making GREAT programs, and it also serves as a reliable reference to research sources, production routines, and legal considerations. I have been working with film and video archives for over twenty years, and I understand the hunger for this information in the production communities. This book delivers the information, but also reinforces why the archive-based program, done right, is a critical part of our cultural conversation. Clearly, I recommend this book to those interested in the subject, and I am thankful that the authors provided us with this wonderful gift.
First book of its kind, very very helpful! October 6, 2008
A. Hanawalt (Los Angeles, CA USA)
2 out of 2 found this review helpful
I'm a documentary filmmaker currently producing a feature documentary about the history of urban planning. I'm going to be relying on use of a lot of archival material, so when I saw this book on the Focal Press site several months back, I pre-ordered and anxiously awaited its arrival.
I was already familiar with the popular footage licensing archives and have spent many hours perusing material in the Prelinger collection at archive.org, and also quite familiar with other topics the book covers such as Fair Use and how E&O insurance comes into play - so I had the usual reservations about whether this book would have too much more to offer. My worries were put to rest. This book is right on target for anyone embarking on any sort of project that is going to require the use of archival footage.
I think the book might best be described as a sort of prologue to the work that eventually takes place whether a professional archival researcher is hired or a producer is going at it on their own. The segway from the book as prologue and the beginning of archival research is the book's website which has a fairly comprehensive list with brief descriptions of each source of footage that the book covers. This list is incredibly useful on its own. Having read the book, however, I feel armed and prepared to not make many mistakes I may otherwise have made just going down the list - mistakes which could have cost money, time, or even prevented me from obtaining footage I hope to use. The book sets up and explains the theoretical background many archives operate on - and dispels some of the mystique of some of the larger corporate and network archives (Getty Images, NBC, etc.)
Where the book adds an interesting dimension is in its discussion of Copyright law. To read between the lines, there is an urging that because we live in a time and place where we have amazing access to great quantities of material it is criminal not to make use of it. The extent to which Youtube contains copyright violating work is a vote of no-confidence in existing copyright law. Things are changing very quickly and the regulations which have bound and often prevented unadulterated creativity by way of use of other's material are not as restrictive as they once were.
Authors have been quoting other authors for centuries, musicians have been sampling other musicians for decades, and we now live in an era in which films and videos can make use of pre-existing content to create new works without the mega-budgets of TV networks or studios. This book is an excellent guide to navigating the still often rough waters of archival footage research and licensing and I know I'll be thankful to have read it as I begin pulling material for my own project.
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