These are the two remaining bibliographies that I researched:
3, Rutherford, A. (2012). “Not Firing Arrows”: Multiplicity, Heterogeneity and the Future of Documentary: Interview with Amar Kanwar. asian cinema, 16(1), pp.117-124.
This article is an interview conducted by Anne Rutherford with a Delhi-based documentary filmmaker Amar Kanwar, whose documentary provokes a special magical connection with the audience, which is not seen in most of the documentaries. The articles is addressed towards students of media and documentary filmmaking. The filmmaker gives his views that about the film being an amazing medium which utilizes sound, image, and color and that you can do anything with it. It also gives an opportunity with experiencing different lives of subjects, getting different reactions from audiences around the world and also providing a variety in the filmmaking perspective. Amar points out that obsession is the key in order to engage with audience. This obsession leads to a certain mental state of mind for example when a dancer enters into that zone during an act, the audience feels the connection and this relationship changes between the two as they enter into that frame of mind. One interesting point to notice is that the filmmaker also gave his insights to future of storytelling, pondering on the notion that the documentary filmmakers are shifting towards shorter form of filmmaking, with the only purpose to satisfy their own research and furthermore creates new types of storytelling.
The article has reasonable information and seems fit for our research purpose as the interview is from the industry practitioner itself and gives out the understanding of conventional documentary filmmaking, and also invokes to rework our own understanding of reality and the means of communicating.
4, Stoeltje, G. (2003). Light in Custody: Documentary Films, the Teach Act and the DMCA. Santa Clara Computer High Technology Law Journal, 20(4), pp.1075-1112.
The article outlines the legal issues that surrounds the licensing and distribution aspect of independent documentary films in the digital age. At current stage, documentaries are being distributed by small distributors mostly on VHS tapes, but as digital formats becomes affordable, the distributors will begin to convert the analog tapes into digital formats which also includes streaming or video on demand services. the author also informs that educational institutions are developing new teaching models like distance learning programs which can be accessed in digital form for student access. This article is addressed towards media regulators and students of documentary filmmaking. The author also discusses the technical details about current format and licensing practice, the economics of documentary practice, and the relationship of documentaries to the Fair Use Doctrine. One of the interesting features of the article is the short and long term licensing questions that are brought out by new laws and new technologies. Two bills namely the Digital Millennium Copyright Act (DMCA) and the Technology, Education and Copyright Harmonization (TEACH) Act are also discussed in this article.
This article provides rational information regarding rules and regulation of distribution of documentaries. I believe that it is vital to know about these licensing issues as filmmaker and be aware of changing developments in these regulations to stay in the game. As technology progresses, laws will change by time too and does the platforms for delivering our content.