Industry Report: Documentary
Section dedicated to the European Documentary Industry
Susanna Lotz, mentor and coordinator of the “Web Lab” at the “i_doc workshop”, and online editor for the web department of “Arte”, helps us to better understand what the new challenges and opportunities of digital storytelling are.
David Dufresne, mentor of the "Web Lab" at the "I_doc workshop", writer and independent filmmaker, talks to us about his latest documentary/interactive game Fort McMoney and his thoughts on web documentaries
“i_doc workshop: a project development programme for expanded documentaries”, a collaboration between the Laboratory of Visual Culture of SUPSI and the Visions du réel International Film Festival of Nyon (27 April – 1 May 2014)
Yves Jeanneau tells about the Sunny Side adventure that made him cross the world in the past 25 years, and about the links bounding one continent to the other, the exchanges, the dialogues that this very special market has created for the professionals of the sector
Everyday a new french documentary is released in cinemas, even if their circulation is mainly on TV. Besides the author's talent, the reason of this great circulation is that the channels and support mechanisms have increased enormously. Which are the complex mechanisms that drive the founding of this production, yet so difficult to define?
Entreprises producing documentaries are the most numerous among the audio-visual production companies. This profusion of small companies can be explained by the fact that documentaries are particularly demanded by TV channels, as they are generally cheap and adaptable to their needs. Benoît Danard analyses the sector functioning.
The 23rd edition of Sunny Side of the Doc: the documentary co-production market opened in La Rochelle (France). Cineuropa is live tweeting the event with comments, quotes and interviews of the documentary sector's professionals...
The earliest films were all documentaries. Symply by pointing a camera at it, these moving pictures made everyday life seem incredible. Then, documentaries were relegated to wartime newsreels and exotic travelogues. It took the creation of reality television programing to revitalize the genre.
Despite the fears of a drop in participation because of the crisis, the numbers of the ten-day Docs for Sale at IDFA remained the same as in 2008 – with 460 films, 65 distributors, almost 100 buyers and 78 festival directors from around the globe.
NOW is the Golden Age of Documentaries. This is my answer when I take part in workshops and festivals around Europe. The answer to the big question about the state of the art: the European documentary...