Television

Sustaining Big Projects through Small Gigs

A trend toward online documentary-style commercials might be a good source of supplemental income for filmmakers.


Filmmakers like Dave Jackel are meeting the growing demand for documentary-style online commercials.

Corporate television commercials are quickly becoming a thing of the past. Instead, businesses both big and small are turning to documercials, commercials shot like documentaries, to more sincerely convey their message via the Internet. Like it or not, this trend is opening up doors for independent filmmakers — both financially and professionally.

A machine’s dial turns, and a white powder is added to a spinning beaker of water as a woman’s voice overhead talks about toothpaste and animal testing. It looks like a documentary you might find on PBS, but instead, it’s a commercial for Tom's of Maine.

The Transformation of Television

A review of the new cross-platform media center, boxee.


A screenshot of the boxee software.

The new social media center, boxee, aims to change the way you watch TV by bringing all your favorite media into one place, whether it be from the Internet, Hulu or CBS. But, could this mean a change for broadcasting independent films as well?

Joost, Hulu and boxee – one thing is for sure, names like the American Broadcasting Company (aka ABC) are a thing of the past. Instead, the future of broadcasting is filled with silly-named companies that aim to overthrow your idea of television.

As Sundance Sells to Cablevision, Filmmakers Ponder the Future

Is the $496 million deal good or bad for independent filmmakers who rely on the channel for a sense of community and crucial distribution?


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Bigfooted: Cole Gerst's "Yung Yeti" appears on the Sundance Channel, which was just acquired by Cablevision.

On Wednesday, May 7, the Sundance Channel announced that it had been acquired by Cablevision—the nation's fifth biggest operator, the parent of IFC and AMC, and a big player in the Northeast—for nearly $500 million. Robert Redford would remain affiliated with the network under the terms of the deal. So what does this mean for filmmakers who view the channel as both a key distribution outlet and a place that creates a sense of community for them? The Independent's Mike Hofman asked a few filmmakers for their views on the deal. Do you have an opinion? If so, read the article and then add your comment.

The Sundance Channel was scooped up by Cablevision's Rainbow Media for $496 million on May 7. That division of Cablevision also owns the IFC Channel, AMC, Fuse, and We. In announcing the deal, officials took pains to quash speculation that Cablevision would combine IFC and Sundance, the channel founded in 1996 by Robert Redford and partially owned by Redford, General Electric's NBC, and CBS Corp.

How to Get a Short on Logo

Marc Leonard, an executive at the cable network, talks about "The Click List," a weekly program devoted to short film


Pool boy: A scene from "Dare," a short film currently airing on Logo's "Click List."

Sixty short films a year are aired by the Logo Network on its Wednesday night program "The Click List: The Best in Short Film." Marc Leonard, an executive at Logo, talks about the evolution of the program, its online reach, how films are selected, and why he thinks Talladega Nights was a bit of a watershed moment in the depiction of LGBT characters on film. (The photo above is from Dare, a current Click List short by filmmakers Adam Salky and David Brind.)

Grassroots filmmakers are always looking for mainstream distribution, and short films often have a particularly tough time gaining exposure. Which is why the success of the Logo Network’s short-film programming is welcome news. Two years ago, Logo, which is basically MTV’s gay cousin, launched The Click List: The Best in Short Film, a weekly show featuring an eclectic mix of stories.

AIVF: And What it Meant to Me

I first became aware of AIVF when Martha Gever was editor of The Independent. I marveled at this national organization that put out each month a magazine chock full of weighty, intellectual and critical articles on film and video.

Voices from Issues Past

What happened at AIVF over the last 30 years?

Making it on public TV

The Documentary Doc outlines how you can get on PBS, and the difference between the network's hard and soft feeds


Dear Doc Doctor:
How can I get my work onto public television?

Hell or High Water

How the independent film community is coping with Katrina


In 1998, I joined the production team of Julie Gustafson’s Desire, a documentary about teenage girls from three diverse New Orleans neighborhoods. Funded by both local and outside foundations, Desire was one of the first in New Orleans to create paid opportunities for local documentary makers.

How Far We've Come

After 15 years, ITVS looks back even as it looks ahead.


In 1988, 19-year-old Joanna Katz and her friend were abducted at gunpoint by five men who took turns raping, beating, and torturing them. Joanna managed to escape and later testified in the trials that led to the sentencing of all five men to 30 to 35 years in prison.

Room for INPUT

The annual conference is more dialogue than market


The International Public Television (INPUT) conference was hosted this year by Independent Television Service (ITVS). Held in a different country (and hosted by a different public media outlet) each year, INPUT serves public television executives and

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