Winners in the world's leading and most complete set of awards for the archive footage industry!
The FOCAL International Awards 2011 in association with AP Archive were presented 11th May 2011 at the Lancaster London Hotel, London by Greg Dyke, Patron FOCAL International.
And the final nominations are.....
BBC Motion Gallery is the BBC's agent for the licensing of all footage from its world-class archive. Customers can now have direct hands-on access to thousands of clips via www.bbcmotiongallery.com. Launched in June 2004, the website allows users to search for, view and download from a selection of Rights Managed and Royalty Free footage and fresh content is added every day. With offices in London, New York, Los Angeles, Toronto, Sydney, Hong Kong, Paris, Tokyo, Mumbai and Dubai the archive is a truly international resource.To complement the core collection BBC Motion Gallery also represents a number of major broadcast and specialist archives. These include CBS News, NHK Japan (HD content), CCTV China, Ripcurl and Nugus / Martin.
ITN Source is the gateway to over one million hours of iconic footage and creative moving imagery captured over three centuries. From news to drama, celebrity, comedy, music, wildlife, natural history and film, to an inspirational stock footage section and growing at a rate of over 20 hours of digitised content a day, ITN Source is the most diverse commercial archive in the world.
Ina is one of the largest archive centres in the world and the world's largest digital audiovisual source. Every day, we license our images and sounds worldwide to over a thousand clients (producers, broadcasters, publishers, agencies, any companies...).
An outstanding archive:
Ina has a unique collection of archives drawn from original sources. You will discover not only France but the French views of the world since 1914 through a variety of programmes and footage: world newsreels, music & art performances, reports, animation, sports, variety shows, literary adaptation, short films, magazine shows, entertainment, documentary, fiction, feature films, biography & interviews, ...
It is now all the rage, but can you remember when everyone in America was not "Going Green"? AMERICAN EXPERIENCE's Earth Days looks back to the dawn and development of the modern environmental movement through the extraordinary stories of the era's pioneers — among them Former Secretary of the Interior Stewart Udall, biologist/Population Bomb author Paul Ehrlich, Whole Earth Catalog founder Stewart Brand, Apollo Nine astronaut Rusty Schweickart, and renewable energy pioneer Hunter Lovins.The 1970s became known as 'the environmental decade', and new federal legislation made great strides in cleaning up our skies, lands, lakes, and oceans. Directed by acclaimed documentarian Robert Stone (Oswald's Ghost, Guerrilla: The Taking of Patty Hearst) Earth Days is both a poetic meditation on man's complex relationship with nature and an engaging history of the revolutionary achievements — and missed opportunities — of groundbreaking eco-activism. Earth Days extensively utilizes archival footage to convey the beginnings of the American Environmental Movement in the late 1960s and early 1970s.
In March 1933, within weeks of his inauguration, President Franklin Roosevelt sent legislation to Congress aimed at providing relief for unemployed American workers. He proposed the Civilian Conservation Corps (CCC) to provide jobs in natural resource conservation. Over the next decade, the CCC put more than three million young men to work in the nation's forests and parks, planting trees, building flood barriers, fighting fires, and maintaining roads and trails, conserving both private and federal land.In The Civilian Conservation Corps, four alumni Corpsmen share their experiences of poverty, racism, hard work and brotherhood from their time in the CCC. From Producer Robert Stone (Earth Days, Oswald's Ghost), the film tells the tale of one of the boldest and most popular New Deal experiments. The Civilian Conservation Corps uses archival and library footage to illustrate the life of the CCC workers and the type of work that was done by the organization.
This photograph was taken one year before the fall of the Berlin wall, during a clandestine meeting in a undisclosed location deep in the woods, at the border between Poland and Czechoslovakia. Among those who attended this meeting, Czech and Polish political opponents to the communist regimes ruling their countries. The members of this "generation of democratic conspiracy were called dissidents.
Number of archives that I can qualify as extraordinary. I do not pretend that these archives have never been viewed. Some images of the Polish secret police (UB) showing some of the dissidents being tailed have already been shown on Polish television; the same applies to other Czech archives showing the interception of a van transporting underground literature: one can see the van being completely disassembled, as well as the interrogatory of the "smugglers”. But the idea of editing these images and gathering them in the same film is absolutely exciting and I'm sure will attest, as it is rarely the case, of this atmosphere of repression against which the dissidents have had to fight.
The first-ever feature film based on the Gospels, From the Manger to the Cross, was shot in Palestine in 1912. Throughout investigations leading to New York City, Nantes and Jerusalem, Premiere Passion digs out the story of this historic shooting, back in early twentieth century Palestine.While casting a closer look upon this cinematographical epic on Jesus Christ, this documentary takes one on a journey back to the origins of cinema, questioning the connections between image and religion.
Premiere Passion tells the extraordinary story of "From the Manger to the Cross” shot by Sidney Olcott in 1912. Our documentary is composed by more than ÂĽ footage, mostly provided by Lobster Films, the coproducer. And we believe that our film fits to the spirit of Focal.It was screened at Le Giornate del Cinema Muto in Pordenone last October, and David Robinson wrote: Â« Here is rarity, a vivid and gripping story matched with real scholarship
Cree filmmaker Neil Diamond takes an entertaining and insightful look at the Hollywood Indian, exploring the portrayal of North American Natives through a century of cinema.Travelling through the heartland of America, Diamond looks at how the myth of "the Injun” has influenced the world's understanding – and misunderstanding – of Natives.With clips from hundreds of films, and candid interviews with celebrated Native and non-Native directors, writers, actors and activists, including Clint Eastwood, Robbie Robertson, Sacheen Littlefeather, John Trudell and Russell Means, Reel Injun traces the evolution of cinema's depiction of Native people from the silent film era to today.
Directed by Quebec/Cree filmmaker Neil Diamond, this Rezolution/NFB co-production plays an historic role in presenting, for the first time, the true face of Canadian Aboriginal and Native American peoples in the movies. Taking audiences behind the stereotypes of the Hollywood "Injun" and the images they have created of aboriginal people in Canada and around the world. It does so in an entertaining and highly accessible way, presenting Natives in cinema in their own words, while hearing from leading Aboriginal historians and activists, and with clips from hundreds of classic and recent Hollywood movies.
Julien Temple's film evokes an apocalyptic vision: a slow-motion Katrina with many more victims. Once America's fourth largest city, Detroit was built by the car for the car, with the first freeways, suburbs and shopping centres. It embodied the American Dream. Its race riots and union struggles were American nightmares.Now it is a dystopic city. Greenery grows through ruined office blocks, car plants and police stations. There is no more rush hour. Crime and arson and rife. But there is hope. Streets are being turned to art. Farming is coming back. Is this the future for the post-industrial city?
With an initial archive budget of ÂŁ8K, we had a challenge on our hands! However we were lucky to track down quite a bit of PD footage e.g. the material of the Ford Rouge Plant, the 1940's strikers and rioters and news rushes from the 1967 Riots which our producer George brilliantly unearthed at the Walter Reuther Library in Detroit. We also found another PD gem - The Detroit You've Never Met . The clip of the Mayor Of Detroit projected over the decaying buildings looked incredible, although the occupants of the crack den we disturbed at 3am were none too pleased... The PD film The City also provided some amazing images for projection, Footage Farm came up trumps and then there was the interviewee home movie footage (although we had the bear the cost of cleaning/transferring). Add into the mix the wonderful US car ephemera from FILM Archives, JE Allen and Macdonald & Co, the BBC music clips plus other assorted footage from Getty and AP, all of which enabled Julien to illustratively interweave the archive with fascinating interviews and modern day footage. Another coup was getting hold of the production notes for ‘America On Wheels' the 1990's PBS series on the US car industry. This helped us to ID the rights owners to a number of key shots Julien wanted for the film. In the end, the total archive costs to clear the film came in around ÂŁ15K – pretty amazing really!
‘Shooting the War' shows WW 2 in Britain and Germany as it has rarely been seen: through the lens of home movie makers. Some of these amateur film enthusiasts were soldiers who took their cameras to the front line and filmed men at war. They filmed the horrors of war alongside the mundane and the monotony of life as a soldier or airman. These remarkable amateur films and the stories of the fighting men in them, take us into the heart of the wartime experiences of ordinary people and show us how they survived these extraordinary times. The home movie is an underrated archive film source for the study of 20th Century history as this film demonstrates. The films shot by soldiers on the front line while not telling the whole story of war, provide us with a unique and alternative incite into a world that we see all too rarely.
Planned Obsolescence, the deliberate shortening of product life spans to increase consumer demand, makes the modern economy tick. From light bulbs and nylon stockings to inkjet printers and the iPod, manufacturers engineer products to fail --and consumers are encouraged to replace rather than repair them. This film traces the untold story of Planned Obsolescence, from its invention in the 1920s to present-day stories involving cutting edge electronics and the growing spirit of resistance amongst ordinary consumers.Planned Obsolescence is unsustainable in the long run, as the limitless consumption of resources is incompatible with a finite planet. So what are the alternatives?
This film not only tells a gripping story spanning the best part of a century, but also introduces a number of abstract concepts, such as a reflection on the consumer society and the validity of our current economic system. All of this would have been difficult to visualise for popular television audiences without the imaginative combination and juxtaposition of different types of archive footage, obtained from different countries (France, UK, Spain, US, Germany) and a wide variety of sources (feature films, news footage, home movies, private collections, corporate and educational material from the 1950s), some of them unedited on television.
Over the century people have been drawn to the sea for different reasons. The unpredictable power of the sea has a nasty habit of catching them out and when they are caught out they have called on the resources of the rescue services. Just occasionally home movie makers managed to capture some of the exploits of these rescue services and their astonishing amateur films are the visual spine around which these stories of bravery at sea are woven. Available Light was researching a series about our relationship with the sea for BBC4. During that research we came across film archive shot by ordinary people of extraordinary events including rescues at sea and by helicopter. It was these remarkable films that enabled us to make For Those In Peril, a film we never thought we would be able to make.