An outreach campaign need not be time-consuming or expensive, the Documentary Doc writesApril 1st, 2005 | Fernanda Rossi
Dear Doc Doctor:
My film projects and ideas are well-suited for public television. But as an independent filmmaker I cant envision my work fitting into pre-formatted programs. Do I have any options besides just selling a finished film?
Independents take to the roofApril 1st, 2005 | David Alm
In New York, a rooftop is not merely a rooftop. Part refuge, part observation deck, the roof is where New Yorkers go to escape, embrace, and celebrate their city. Its no surprise then, that filmmakers have long used rooftops to convey New York life: theyre ubiquitous, photogenic, and, most of all, emblematic.
Vice President and Director of Programming at Thirteen/WNET New YorkApril 1st, 2005 | Rebecca Carroll
Rebecca Carroll: Where are we with public television? What do peopleboth those who are watching and not watchingneed to know about public television now thats different from 10 years ago?
Foreign films foster awareness and toleranceApril 1st, 2005 | Derek Loosvelt
Inside Manhattans City Hall Academy on a dark and wet Friday morning this past February, actor Liam Neeson introduced some 35 New York City public school teachers to Journeys in Film, a nonprofit educational program using feature-length foreign films such as Whale Rider, Bend it Like Beckham, and The Cup as a springboard to instill cultural awareness and tolerance among
The making of an arresting filmApril 1st, 2005 | Stephen Marshall
In June 2004, I watched Ted Demmes inspirational profile of 70s filmmakers, A Decade Under the Influence, which is basically a call-to-arms for indie auteurs to use whatever means they have at their disposal to make movies. Afterward, I just started riffing with a producer friend, Bob Jason, on how the time was ripe for a radically politicized homage to the Cassavetes era.
Is public broadcasting filling the wasteland of commercial TV?April 1st, 2005 | Amy Albo
Lois Vossen thinks she has the best job in the world. She works 60 hours a week, and much of her time is spent thinking about or watching films about some of the most deeply troubling aspects of humanity: genocide, the child sex trade, domestic abuse, and sweat shops, to name just a few. But Vossen remains optimistic.