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xi) Award for Best Use of Footage in a Cinema Release |
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Capitalism: A Love Story
Front Street Productions LLC
USA / 2009
Producer: Michael Moore
Director: Michael Moore
Footage Archive Researcher(s): Judy Aley & Pearl Lieberman
Top 5 Source(s) of Library Footage used in Production cited:
BBC / CBS News Archives
ABC News VideoSource
Cable News Network
Getty
J Fred MacDonald & Associates
On the 20-year anniversary of his groundbreaking masterpiece Roger & Me, Michael Moore’s Capitalism: A Love Story comes home to the issue he’s been examining throughout his career: the disastrous impact of corporate dominance on the everyday lives of Americans (and by default, the rest of the world). But this time the culprit is much bigger than General Motors, and the crime scene far wider than Flint, Michigan. From Middle America, to the halls of power in Washington, to the global financial epicenter in Manhattan, Michael Moore will once again take filmgoers into uncharted territory.
To highlight the great work of Judy and Pearl in making this film.
Crude
@radical.media
USA / 2009
Producer: Joe Berlinger
Director: Joe Berlinger
Footage Archive Researcher(s): Michael Bonfiglio
Top 5 Source(s) of Library Footage used in Production cited:
Getty Images
Streamline Stock Footage
Democracy Now
Chevron Corporate Archive
Live Earth
Three years in the making, this cinéma-vérité feature is the epic story of one of the largest and most controversial environmental lawsuits on the planet. The inside story of the infamous “Amazon Chernobyl” case, Crude is a real-life high stakes legal drama, set against a backdrop of the environmental movement, global politics, celebrity activism, human rights advocacy, the media, multinational corporate power, and rapidly-disappearing indigenous cultures. Presenting a complex situation from multiple viewpoints, the film subverts the conventions of advocacy filmmaking, exploring a complicated situation from all angles while bringing an important story of environmental peril and human suffering into focus.
Highlighting the claims made by both the plaintiffs and the defendants, the archival footage employed in CRUDE further explores the arguments on both sides of this David versus Goliath lawsuit. In addition to providing visible evidence for that which is discussed in the trial, CRUDE also employs archival footage to demonstrate the ways in which the lawsuit gains traction through various media outlets. Thanks to archival footage, CRUDE is not simply an advocacy documentary as much as it is a portrait of the advocacy movement. The archival footage functions as an indicator that this lawsuit is not only relevant to its immediate players but is of global significance, demonstrating the ways in which the plight of 30,00 indigenous Ecuadorean rainforest dwellers makes its way to the forefront of global public consciousness.
Déchaînées (Unleashed)
Rita Productions
Switzerland / 2009
Producer: Max Karli & Pauline Gygax
Director: Raymond Vouillamoz
Footage Archive Researcher(s): Michel Schoepfer
Top 5 Source(s) of Library Footage used in Production cited: TSR - Télévision Suisse Romande, INA
Lucie, a 19 years old student, is pregnant. Between her mother who wants her to have an abortion and her ex-boyfriend who offers her a wedding ring, she doesn’t know hot to react. So, when Lucie sees her double in an old may 68 Swiss TV archive, she convinces herself that the key of her future is hidden in this mysterious woman and decides to find her. Soon, she understands that this double - Geneviève, a well-known feminist militant in Geneva - is her real grandmother. Why did she disappear? Why nobody, in Lucie’s family, seems to remember her? Challenging her own mother, Lucie will find the true nature of Geneviève and discover the eventful history of the fight for women’s rights in Switzerland.
Earth Days
Robert Stone Productions Ltd
USA / 2009
Producer: Robert Stone
Director: Robert Stone
Footage Archive Researcher(s): Hazel Gurland & Robert Stone
Top 5 Source(s) of Library Footage used in Production cited:
Boston Public Library
San Francisco Public Library
Spencer Research Library
DC Public Library
William J. Clinton Library
EARTH DAYS is a feature-length documentary that chronicles the history of our environmental undoing through the eyes of nine Americans whose work and actions launched the modern environmental movement. The film tells the epic story of our awakening to the environmental crisis through personal narrative, examining both the root causes of our impact on the Earth's ecosystem and our more recent efforts to confront them.
The film features active participants in these watersheds events, representing a diverse cross section of American life and politics.
Farewell
Pieter van Huystee Film & TV
The Netherlands / 2009
Producer: Pieter Van Huystee
Director: Ditteke Mensink
Footage Archive Researcher(s): Gerard Nijssen
Top 5 Source(s) of Library Footage used in Production cited:
Zeppelin Museum Friedrichshafen
Nederlands Filmmuseum
Bundesarchiv - Filmarchiv
NARA National Archives Washington
Nederlands Instituut voor Beeld & Geluid
FAREWELL tells the story of Lady Grace Drummond-Hay, the only female passenger on the first journey around the world of the Graf Zeppelin in 1929. Grace writes about her adventures on the journey, not only in articles in the Hearst Newspapers, as a reporter, but also in her diary. Traveling high in the sky, up over a world, in a way she has never experienced before, Grace changes. Her former lover Karl von Wiegand is amongst the other passengers. During her long voyage their love is once again tested. When the Zeppelin finally flies over New York Grace says goodbye to Karl and the lovers lose touch. Landing in New York she is welcomed like a cinema star. In 1929 people were convinced this journey would be a splendid turning point in history. A few weeks later Wall Street crashed and a dark period in history began.
This film is made with archival footage only! It is one of the best examples what one can do with archival film material. The film is 'Groundbreaking' built entirely on beautiful archive footage' so the newspapers wrote after the screening on IDFA. The audiences kept on clapping and right so.
L'Enfer d'Henri-Georges Clouzot (Henri-Georges Clouzot's Inferno)
LOBSTER FILMS
FRANCE / 2009
Producer: SERGE BROMBERG & MARIANNE LERE
Director: SERGE BROMBERG & RUXANDRA MEDREA
Footage Archive Researcher(s):
Top 5 Source(s) of Library Footage used in Production cited:
LOBSTER FILMS
INA
In 1964, Henri-Georges Clouzot choose Romy Schneider aged 26 and Serge Reggiani, 24 to be the stars of Inferno. It was an enigmatic and original project with an unlimited budget that was to be a cinematic event upon its release. But after three weeks into shooting, things took a turn for the worse. The project was stopped and the images which were said to be incredible would remain unseen. These images, forgotten for over half a century, were recently found and are more breathtaking then legend had predicted. Our film shows Inferno as it was shot and tells the story of this magnificent tragedy.
These 15 hours of film like the mixed pieces of a puzzle probably old the secret of an unprecedented creative process. We found the technicians and actors who participated in the 1964 shoot. We found other elements that were tied to the film: storyboard, photographs and sound recordings which particularly show Marcel's madness. By putting these testimonials and different elements into perspective, we discover the story of a film and see these images in a new light. Watching them, following Clouzot through the maze of his inner madness, only to lose ourselves in a story and in visions which are both stunning and incomprehensible - there lies the mystery of Clouzot
Looking for Eric
Sixteen Films
UK / 2009
Producer: Rebecca O'Brien
Director: Ken Loach
Footage Archive Researcher(s):
Top 5 Source(s) of Library Footage used in Production cited: TBA
The plot revolves around a football fanatic postman (Evets) whose life is descending into crisis. Looking after his granddaughter is bringing him into contact with his ex-wife, and his stepson is hoarding a gun for a local gangster. At his weakest moments, when he considers suicide, his hallucinations bring forth visits from his footballing hero, the famously philosophical Eric Cantona.
Eric the postman is slipping through his own fingers... His wife has gone, his stepsons are out of control and the house was chaotic even before a cement mixer appeared in the front garden. Life is crazy enough, but it is Eric's own secret that is driving him to the brink. How can he face up to Lily, the woman of his dreams that he once loved and walked out on many years ago? Despite the comical efforts and misplaced goodwill of his mates, Eric continues to sink. In desperate times it takes a spliff and a special friend to help a lost postman find his way, so Eric turns to his hero: footballing genius, philosopher and poster boy, Eric Cantona. As a certain Frenchman says "He who is afraid to throw the dice, will never throw a six." The lead actors are Steve Evets and Eric Cantona, with Stephanie Bishop, Gerard Kearns and John Henshaw. It was shot entirely on location in Manchester.
Miss Stinnes Motors Round The World
Taglicht media Film- & Fernsehproduktion GmbH
Germany / 2009
Producer: Bernd Wilting
Director: Erica von Moeller
Footage Archive Researcher(s):
Top 5 Source(s) of Library Footage used in Production cited: Private Archive: Ulf Soederstroem
Back in 1927, a dainty little woman turned the world upside down: Clärenore Stinnes, daughter of an industrial “steel baron”, set out to circle the globe in a car. No other woman before her had ever attempted it. Large portions of the world were in the throes of civil war and chaos; there were not even roads most of the way. Together with two mechanics and a cameraman, she departed Frankfurt in an “Adler Standard,” a normal, everyday car. The cameraman was Carl-Axel Söderström, a Swede who had just completed a film with Greta Garbo. The team set out on a 48,000-kilometer journey.
The film tells the story of a romantic adventure, one of the most extraordinary tales of the 20th century, in a fascinating mix of newly created scenes and black-and-white original footage shot by Carl-Axel Söderström during the actual journey.
Pax Americana
Lowik Media
Canada / 2009
Producer: Lucie Tremblay
Director: Denis Delestrac
Footage Archive Researcher(s): Nancy Marcotte
Top 5 Source(s) of Library Footage used in Production cited:
MacDonalds and associates
WPA
US agencies (NASA, AFST, DOD)
World Security Institute
Getty Images
Pax Americana explores the origins and present day reality of the militarisation of space. With testimonies and archives, the documentary articulates itself on 3 axes: militarisation of space from the Nazi regime to modern day domination of the USA, the risks of this militarisation on geopolitic, economic, commercial, social and environmental levels and moral and ethic questions associated with activists struggling for a non militarised space
Pax Americana is made of around 48 minutes of archival footage. Some of this footage shows what the space weapons that the Pentagon is testing are and it was not always easy to get. I also had to go through lost of Pentagon interviews to find the right statement, appropriated to the film and I requested and managed more than 300 archival tapes requested only by e-mail or phone (no budget to travel). There is a variety of footage, relevant to what the interviewers are saying and the footage is not only illustrative. It is also used to tell the story of the militarisation of space from the nazi regime to modern day domination of the USA.
Rerberg and Tarkovsky. The Reverse Side of “Stalker”
MD Project Ltd
Russian Federation / 2009
Producer: Igor Mayboroda
Director: Igor Mayboroda
Footage Archive Researcher(s): Igor Mayboroda
Top 5 Source(s) of Library Footage used in Production cited:
RGAKFD in Krasnogorsk
Danish Film School
Gosteleradio of the USSR Archive
Gosfilmofond (Moscow, Beliye Stolbi)
A lot of private archives
The film “Rerberg and Tarkovsky. The Reverse Side of “Stalker” is the detective story about real tragedy which was happened in the time of shooting A.Tarkovsky’s SF film STALKER, which is based on previously unknown factual material discovered during the making of the film. The viewer will be in for many surprises. Before this Film, only one side of the story had been voiced – Andrei Tarkovsky’s side. In his diaries published outside Russia after his death he blamed his friends and colleagues for the mishaps that took place during the shooting of “Stalker”. The film “Rerberg and Tarkovsky. The Reverse Side of “Stalker” gives everyone he blamed a chance to tell their side of the story. In the end, it turns out everything isn’t as simple as it seemed according to Tarkovsky’s diaries. A true human tragedy took place on the shooting set of “Stalker”. The film ruined the future of some who took part in creating it, and cut short the lives of others. However, the real point of the film is not to uncover the story of dramatic conflict which took place between Georgi Rerberg and Andrei Tarkovsky, but to call the viewer’s attention to a great “passed personalities” of Andrei Tarkovsky, Georgi Rerberg, Victor Astafiev, Pavel Lebeshev, Sven Nykvist… A great illustration of the “time collapse” of the film is the images shot by Rerberg of the last philosopher of the “silver age” Alexei Losev, great conductor Evgeni Mravinski, famous musician Mstislav Rostopovich. “The film “Rerberg and Tarkovsky. The Reverse Side of Stalker” is a true pearl in re-discovering the Soviet history and the Soviet film history as well as getting to know the fascinating person of the true artist hidden behind his camera, Georgi Rerberg”, -from The Catalogue of the 38th International Film Festival Rotterdam 2009
This Film is based on photo, video, cinema and audio materials not only from state archives, but from a lot of private archives of the people who knew Andrei Tarkovsky and Georgi Rerberg. More of this materials - approximately 80% was founded in the time of shooting of the film, and spectators will see them for the first time - for example - photos of the searching location by Tarkovsky in Isfara(1975, Tajikistan),photos of the shooting of the first version of his film 'STALKER', Tarkovsky's audio , etc. Many of materials was restored. If there was not producing of the "Rerberg and Tarkovsky.The R S of "Stalker" this priceless materials was not found and will come to nothing
Son and Moon (The Astronaut’s Diary)
BAUSAN FILMS, MEDIAPRO & PENTAGRAMA FILMS
SPAIN / 2009
Producer: Loris Omedes & Jaume Roures
Director: Manuel Huerga
Footage Archive Researcher(s): MANUEL HUERGA
Top 5 Source(s) of Library Footage used in Production cited:
NASA
CNN ImageSource
NHK
DISCOVERY CHANNEL
LEMAN BLEU TV
A human story, narrated in the first person by its protagonist, Commander Michael López-Alegría, about the difficulties a father faces in maintaining family ties with his seven year-old son during Expedition 14, a period of seven months and at a distance of 400 kilometres from the Earth. Son and Moon’ approaches the space world from an unusual point of view, combining spectacular images with others, private conversations between father and son via a simple webcam. The figure of space heroes bring them closer to us terrestrial beings by having them share the same difficulties.
Son and Moon takes a look at the world of space travel from an unusual standpoint. It combines spectacular images and archive images with private father-son conversations held through a simple webcam. The most spectacular images are intertwined with prosaic day-to-day aspects, thus bringing the image of space heroes that bit closer to viewers on Planet Earth. Forty years from the date mankind first stepped onto the moon, this film makes an original contribution to the debate between a commitment to life and to our species’ survival.
Soul Power
Antidote International Films, Inc.
USA / 2009
Producer: Jeffrey Levy-Hinte
Director: Jeffrey Levy-Hinte, David Sonenberg & Leon Gast
Footage Archive Researcher(s): Jeffrey Levy-Hinte & David Smith
Top 5 Source(s) of Library Footage used in Production cited: DASFilms, Ltd.
In 1974, the most celebrated American R&B acts of the time came together with the most renowned musical groups in Southern Africa for a 12-hour, three-night long concert held in Kinshasa, Zaire. The event was combined with “The Rumble in the Jungle,” the epic fight between Muhammad Ali and George Foreman. SOUL POWER is a verité documentary about this legendary music festival (dubbed “Zaire ‘74”), and it depicts the experiences and performances of such musical luminaries as James Brown, BB King, Bill Withers, Celia Cruz, among a host of others. The concert has achieved mythological significance as the definitive Africa(n)-American musical event of the 20th Century.
SOUL POWER is crafted from the extensive “outtakes” that remained after making WHEN WE WERE KINGS which documented the Ali-Foreman fight. As that film neared completion, it became clear that there was a tremendous wealth of material that was being sent back to the vault. The neglected footage was the extensive coverage of “Zaire ‘74”, the legendary three-day music festival. Besides the concert itself, there was wonderful footage of the efforts to organize the festival, prepare the stadium, and the experiences of the artists who made the life-changing journey to Africa. It was a difficult path, but it was decided anything not part of the original film shoot was off limits. We wanted to make a film that would fully immerse the audience in all aspects of the music festival, and allow the filmed material— and the people and events it portrayed — to speak for itself. Lensed primarily by celebrated cinematographers Albert Maysles, Paul Goldsmith, Kevin Keating and Roderick Young, SOUL POWER finally provides the opportunity to experience this historic musical event in all of its magnificent, filmed glory.
Starsuckers
S2S Productions
UK / 2009
Producer: Felicity Leabeater & Christina Slater
Director: Chris Atkins
Footage Archive Researcher(s): Sam Dwyer
Top 5 Source(s) of Library Footage used in Production cited:
AP Archive
Clips & Footage
ITN Source
Huntley Archives
Streamline Films
Made completely independently over 2 years in secret, the film journeys through the dark underbelly of the modern media. Using a combination of never before seen footage, undercover reporting, stunts and animation, the film reveals the toxic effect the media is having on us all – and especially our children. It shows how truth has become a distant memory in the modern news and climaxes with a shocking and startling revelation of just how bad things can get when we let entertainment reach out into politics and charity. The first rule of working in the media is - do not criticise the media. Well, we've decided to break this golden rule, and if we ever work in this town again we won't have done our jobs properly. A film so controversial it will never be shown uncut on TV, and will pull the rug underneath a string of untouchables.
Chris Atkins proves himself yet again as a champion of archival footage which is used in a consistently interesting and compelling way.
Surrogates (title sequence)
PIC Agency
USA / 2009
Producer:
Director:
Footage Archive Researcher(s): Pamela Green & Mike Anders
Top 5 Source(s) of Library Footage used in Production cited: TBA
The film Surrogates is about society in the near future, where almost all human interaction has become obsolete. Rather, people interact with one another via remote controlled surrogates. Our opening sequence establishes
We believe that sometimes the best way to tell a fictional story is to give the audience a foundation built in reality. With Surrogates we wanted to show that modern advances have come far enough that we could create a realistic narrative history for this science fiction film. The best way to do that was select from a wide range of fantastic stock footage. We feel that careful selection and creative editing paints a picture that shows the real world can be just as fascinating as any film.
The Man Who Bottled Clouds
Good Ju-Ju
Brazil / 2009
Producer: Denise Dummont
Director: Lirio Ferreira
Footage Archive Researcher(s): Antonio Venancio
Top 5 Source(s) of Library Footage used in Production cited:
INA - France
CRISTALDIFILM - Italy
Producer Library - USA
Crawlley Films - Canada
Jean Manzon Archive - Brazil
Music documentary chronicling the life and work of the composer, lawyer, politician, and creator of copyright laws protecting Brazilian artists, Humberto Teixeira. Also known as “The Doctor of Baião,” he is celebrated for his popular classics, among them the “anthem of drought,” Asa Branca.
25% of this 105 minutes documentary is composed of archive images from places like Brazil, North America (USA and Canada) and Europe (France and Italy), researched for more than a year. Many of these images are considered very rare in Brazil and others are simply exquisite, like actress Silvana Mangano singing a cover of the Brazilian song "Baião de Ana", and parts of this performance were used in the Italian movie "Cinema Paradiso". All types of formats were utilized for these images, such as Super 8, 16mm, 35mm, Umatic, Beta and even VHS. This archive material helps to illustrate the history of the life and work of Brazilian songwriter Humberto Texeira. Director Lirio Ferreira tells two parallel stories: the lifetime of Humberto Texeira and his relationship with his daughter Denise Dummont, producer of the movie.
What do you know about me
Ameuropa International
Italy / 2009
Producer:
Director: Valerio Jalongo
Footage Archive Researcher(s):
Top 5 Source(s) of Library Footage used in Production cited: TBA
Seemingly a docu-drama on the hard life of Italian filmmakers fighting to get their films made, “What Do You Know About Me” takes off as an inquiry on the sudden disappearance of great Italian cinema, in the Seventies. Featuring a range of remarkable archive footage, clips from film masterpieces, TV shows and great interviews with Fellini, De Laurentiis, Berlusconi and prominent Italian and European film directors, this documentary unveils some of the mysteries behind the abrupt political and cultural mutation described by Pasolini over thirty years ago. “What Do You Know About Me” portrays Italy almost as a laboratory case-study, eventually turning out to be a provocative, quirky and very entertaining investigation on how commercial televisions, multiplexes and audience measurements are changing European cultural identity.
