Award
for Best Use of Footage in a Feature Film
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Nominations details
Cited Work |
Giuliani Time |
Production Company |
K Video Productions |
Producer |
Williams Cole |
Director |
Kevin Keating |
| Film/VT Editor |
Peter Tooke |
Archive Researcher (s) |
Williams Cole |
| Top Sources of Footage |
ABC VideoSource |
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NBC News Archives |
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ITN Archive |
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CNN ImageSource |
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BBC Motion Gallery |
Duration |
130 minutes |
First Shown |
Magno Sound, NYC 31/08/2004 |
Country of Origin |
USA |
Synopsis |
Ever since the events of 9/11 Rudy Giuliani has become a name recognized the world over. But what defined 'America’s Mayor' before he was catapulted to a secular sainthood? Giuliani Time investigates the stories behind the 'new' New York City that Giuliani laid claim to. From 'quality of life' policing to welfare reform and First Amendment-related debacles, the feelings about the Giuliani years largely depended on where you stood. Giuliani Time is a wild ride of political ambition and public amnesia, alternate realities, wars of perception and dramatic, even cataclysmic, events. of the World.' It is a wild ride of political ambition and public amnesia, alternate realities, wars of perception and dramatic, even cataclysmic, events. |
Reasons for Submission |
Giuliani Time is a feature length documentary that is largely dependent on the use of a wide array of archival footage. It took many years of intensive research to collect more than 200 hours of archival screening cassettes and find just the right moments to illustrate the narrative. Giuliani Time does not utilize an omniscient narrator. Rather, much like the fine cutting of interviews to create an analytical narrative, the use of archival footage and interviews was essential in order to create, not just visually illustrate, the narrative. In this way, much of the film is a compilation, but a compilation with a strong story line and critique. Giuliani Time not only uses material culled from news archives but also utilizes historical material, home movie footage and footage shot by a variety of amateurs and independent archives. Essentially, the film would have been impossible without the accessible array of footage sources that we were able to access. Footage is history no matter if it was half a century ago or just yesterday. Giuliani Time realizes how archival footage can be used not only to represent and recap. But, more importantly, we feel the film shows how archive can be used to create an analytical narrative where the footage is key. |
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| JURY COMMENTS |
A great social history of the US and New York illustrated by subtle use of interesting and powerful archive footage perfectly woven with the narrative. |
Cited Work |
Going Upriver |
Production Company |
White Mountain Films |
Producer |
Sarah Scully |
Director |
George Butler |
| Writer |
Joe Dorman |
| Film/VT Editor |
Tim Squyres |
Archive Researcher (s) |
Prudence Arndt |
| Top Sources of Footage |
BBC Motion Gallery, CBS News Archive Collection |
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Vietnam Vet Home Movies |
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NARA |
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National Film Board of Canada |
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Wayne Weiss, Private Collector + Dick Cavett Productions |
Duration |
90 minutes |
First Shown |
Theatrical Release, 2004 |
Country of Origin |
USA |
Synopsis |
Going Upriver: The Long War of John Kerry takes an extraordinary inside look at character and moral leadership during a time of national crisis. Loosely based on Douglas Brinkley’s best-selling book Tour of Duty, this incredibly intimate film delves into the life of John Kerry and focuses on the key events that made him a national figure and the man he is today. The film places particular emphasis on his bravery during the Vietnam War and his courageous opposition to the way upon his return. Acclaimed director George Butler (Pumping Iron, The Endurance: Shackleton’s Legendary Antarctic Expedition) has known Senator Kerry since 1964 and in 1969 began photographing him, in an effort to document his life and career. Using his unique collection of images, the film weaves together Butler's photography with archival material, interviews with Kerry's closest associates as well as contemporary footage of him at home and abroad. More than a biography of John Kerry, Going Upriver is the story of an American generation that came of age in the tumultuous ‘60s and that has now come to national leadership at the beginning of a new century – when issues of war and morality once again hold centre stage. |
Reasons for Submission |
Makes good use of a wide array of archival footage from various sources. 70% of the archival materials had never been released or seen by the public until the release of this film. |
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This facility available to FOCAL Members only. Email: info@focalint.org for your unique Password. |
| JURY COMMENTS |
Excellent allowing political analysis via archive footage that speaks for itself. Evocative and moving using powerful images. Very good and balanced use of appropriate archive images. Gives a fascinating insight into the relevance of the Vietnam veteran's experience when applied to the current conflicts - should be compulsory viewing. |
Cited Work |
Fahrenheit 9/11 |
Production Company |
Westside Productions/Dog Eat Dog Films |
Producer / Director |
Michael Moore |
| Writer |
Michael Moore |
| Film/VT Editor |
Kurt Engfehr, T. Woody Richman, Chris Seward |
Archive Researcher (s) |
Carl Deal |
| Top Sources of Footage |
ITN Archive |
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ABC News Videosource |
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BBC Motion Gallery |
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Journeyman Pictures |
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Al Jazeera |
Duration |
210 minutes |
First Shown |
Theatrical Release, 2004 |
Country of Origin |
USA |
Synopsis |
Fahrenheit 9/11 is Michael Moore's expose of the Bush administration's actions following the 9/11 terror attacks in the US. With humour and commitment to uncovering facts, the film shows how President Bush exploited 9/11 to implement a radical right-wing agenda. It examines how -- and why – Bush avoided pursuing the Saudi connection to 9/11, and shows a nation paralyzed by fear and lulled into accepting a legislative assault on civil rights, The USA Patriot Act. It is in this atmosphere that the Bush Administration makes a headlong rush to war in Iraq, without serious questions from the media. Fahrenheit 9/11 takes the viewer inside the lies to illustrate the awful human cost of war. |
Reasons for Submission |
Sixty percent of Fahrenheit 9/11 is made up of archive images from an unusually broad array of traditional and non-traditional sources. The use of archive footage to present facts, create emotion, debunk the political culture, and convey point of view was essential to the tremendous impact the film has had. |
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This facility available to FOCAL Members only. Email: info@focalint.org for your unique Password. |
| JURY COMMENTS |
Excellent and supremely intelligent use of archive footage. Elaborate propoganda using archive footage. Entertaining yet moving. Great choice of archive clips used in a dynamic way to tell a compelling story. |
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