spoke digital films

I recently had the good fortune of reviewing an advance manuscript for a forthcoming book assured to be a valuable resource to documentary filmmakers (and other filmmakers as well). The book, titled Archival Storytelling: A Filmmaker’s Guide to Finding, Using, and Licensing Third-Party Visuals and Music, does exactly what the title suggests, and then some. The process of procuring archival footage, photographs, or music can be very complex and sometimes daunting without some very specific guidelines. Luckily, this book provides a detailed road map through the process and also manages to create a compelling and interesting book at the same time.

The complicated subjects of copyright and intellectual property law are by no means glossed over; they are bolstered with historical anecdotes, personal stories, discussions with filmmakers and archivists, and plenty of real world examples spoken in plain language. This is a book written by creative people with a passion for filmmaking, and it shows in the text. They constantly remind the reader that even this process, procuring third-party materials, can (and should be) done with a creative, artistic approach. Simply checking off a box of required images (such as “1960’s cop car” or “Vietnam War protest”) and finding something adequate means greatly limiting the creative potential of your film. The authors offer countless ideas for how to find treasures in places you likely never thought to look or never knew existed. They also discuss how important and creative the role of a film or music archivist can play in developing your film, not to mention how much time and money can be saved by hiring someone who understands how to look, where to look, and what to look for.

For the record, though, this is not a book only for those with deep pockets or big money grant funding. The authors realize that most of us probably can’t write a check for several Rolling Stones songs, or dozens of network newsreels from a certain historical event. They discuss how to get materials on any budget, even free.

In short, this book should be part of any filmmaker’s library, especially documentary filmmakers. My expectations for the text were pretty high knowing that Sheila Curran Bernard (who wrote, directed, and produced part of the Eyes on the Prize documentary series) was one of the authors. Her Documentary Storytelling is one the best texts I’ve read regarding documentary filmmaking (click here for a short review of that book). Her teaming up with co-author Kenn Rabin, a professional archivist and audiovisual researcher, was obviously a great move. I’m sure Rabin deserves plenty of credit himself for the passion with which the subject is discussed given his impressive career as an archivist and archival consultant to some of the most respected names in Hollywood and elsewhere.

Archival Storytelling won’t hit bookstores until October 2008 (and I’m hiding my review manuscript for safe keeping in the meantime).

-Dustin Ogdin