Creative Capital is On Our Radar
The fantastic folks at Creative Capital have created yet another way to support the artists in their universe.
The fantastic folks at Creative Capital have created yet another way to support the artists in their universe.
At the end of last month I went to a Copyright and Fair Use Workshop with Attorney Karen Shatzkin, sponsored by Emerson College’s department of Visual and Media Arts.
Earlier this year, we decided a party was in order as part of celebrating the 10th Anniversary of the LEF Moving Image Fund.
I had the privilege last week to be among a small group gathered for the New Arts of Documentary summit, a project of the Open Doc Lab at MIT.
The LEF staff has been out and about! Following up Sara’s post about True/False, I’m reporting back on my time at the Big Sky Film Festival in Missoula, Montana where the Big Sky team headed by Mike Steinberg put together some really wonderful programming.
After an amazing weekend in Columbia, Missouri at the True/False Film Fest, I was prepared to write a full-on public Love Letter (capitals intended) to the festival praising its spirit, its vision and its whimsy.
The Balagan Film Series had its final screening of the season earlier this week with “Our Departed,” a program comprised of work from filmmakers who passed
Last week, I lucked out in getting to see and hear 2 presentations by documentary greats: Errol Morris and Frederick Wiseman. Both gave talks within a stone’s
The past few years have seen new energy and investment in thinking about what’s next for public media.
As part of the ongoing Frederick Wiseman retrospective happening at the Harvard Film Archive, this week brings us screenings of the Cambridge-based filmmaker’s Belfast, Maine (1999) (Sunday 20 Nov. at 6pm) and Titicut Follies (1967) (Monday 21 Nov at 7pm).
The Center for Social Media at American University has created yet another helpful and informative study examining the work of nonfiction filmmakers.
A few weeks ago, I had the pleasure of attending the IFP’s Indie Film Week. It had been years since I had gone and I knew that in just the last year or so, the format had changed dramatically. LEF had one film in the market this year, Banker White’s THE GENIUS OF MARION, and so I took the opportunity to see what was new at the IFP.
The fantastic folks at Creative Capital have created yet another way to support the artists in their universe.
At the end of last month I went to a Copyright and Fair Use Workshop with Attorney Karen Shatzkin, sponsored by Emerson College’s department of Visual and Media Arts.
Earlier this year, we decided a party was in order as part of celebrating the 10th Anniversary of the LEF Moving Image Fund.
I had the privilege last week to be among a small group gathered for the New Arts of Documentary summit, a project of the Open Doc Lab at MIT.
The LEF staff has been out and about! Following up Sara’s post about True/False, I’m reporting back on my time at the Big Sky Film Festival in Missoula, Montana where the Big Sky team headed by Mike Steinberg put together some really wonderful programming.
After an amazing weekend in Columbia, Missouri at the True/False Film Fest, I was prepared to write a full-on public Love Letter (capitals intended) to the festival praising its spirit, its vision and its whimsy.
The Balagan Film Series had its final screening of the season earlier this week with “Our Departed,” a program comprised of work from filmmakers who passed
Last week, I lucked out in getting to see and hear 2 presentations by documentary greats: Errol Morris and Frederick Wiseman. Both gave talks within a stone’s
The past few years have seen new energy and investment in thinking about what’s next for public media.
As part of the ongoing Frederick Wiseman retrospective happening at the Harvard Film Archive, this week brings us screenings of the Cambridge-based filmmaker’s Belfast, Maine (1999) (Sunday 20 Nov. at 6pm) and Titicut Follies (1967) (Monday 21 Nov at 7pm).
The Center for Social Media at American University has created yet another helpful and informative study examining the work of nonfiction filmmakers.
A few weeks ago, I had the pleasure of attending the IFP’s Indie Film Week. It had been years since I had gone and I knew that in just the last year or so, the format had changed dramatically. LEF had one film in the market this year, Banker White’s THE GENIUS OF MARION, and so I took the opportunity to see what was new at the IFP.