AIVF's Future Uncertain, Efforts Underway to Continue The IndependentJuly 2nd, 2006
In the March issue of The Independent, we reported that AIVF faced a financial crisis and an uncertain future. As of this writing (June 2, 2006), AIVF is in the process of closing down operations and vacating its office space.
After 17 years publishing Moving Pictures magazine, the Maitland Primrose Group is partnering with other outlets to launch an alternative distribution channel. Maitland
Primrose Media will “offer a complete chain of digital distribution for independents” that is “focused on the audience- viewer side” says Moving Pictures publisher C. Margaret Tritch.
When I started to write this article, I began with a David Letterman-esque list of 20 reasons we need AIVF. I included practical items like “to get a job,” “to fill out an IRS schedule C for an unincorporated business,” and “to find out which film festivals are scams.” But the real reason we need AIVF is to find each other. We need to know where we are.
The original idea was to drive filmmaker Ben Blaine into the countryside and abandon him, but since Ben can’t drive and doesn’t own a mobile phone, his friends “thought it’d be great to do an event where I’m driven into the countryside and abandoned and people have to find me just using the Shooting People mailing list,” explains Blaine.
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.
“We were starving artists. Starving to feed ourselves on celluloid and barbequed chicken,” recalls filmmaker Ron Mann of the time during the late ‘70s when he hitchhiked from Paris to Cannes, slept on the beach, and carried his sleeping bag to meetings with producers. Somewhere along that route, he met director Frederick
What happened at AIVF over the last 30 years?
The future of distributionJuly 1st, 2006 | Danielle DiGiacomo
A forerunner on 40 years of Super 8July 1st, 2006 | Toni Treadway
Long before Super 8’s 40-year march from home movie to Kodak’s hot new kid, long before camcorders, and long before desktop editing and filmmakers like us needed information, Bob Brodsky and I were pleased to have Super 8. When we began filmmaking in the 1970s we used it more often than 16mm to make community documentaries and short films.
Ask the Documentary DoctorJuly 1st, 2006 | Fernanda Rossi
Dear Doc Doctor:
My documentary has three potential endings. How do I choose one?
False starts, fake endings, such are the tricks that storytelling—and life—plays on us. But it’s important to remember that endings are choices, even when documenting real events.